Post Day 15 Assignment Here

[Giles]

Charles Ferrell’s Act 2 TP – Midpoint

What I learned doing this assignment is to push the protagonist forward in his new found sense of exploration, until his world pushes back against his half hearted attempt.

EXT.STATE ARCHIVES – MIDDAY

Duncan arrives in the Capitol City and parks at the building housing the state archives, he pulls an empty file box from his trunk before going inside.

DUNCAN SMALLS

I need all palarm creek land records prior to 1951

ARCHIVES ASSISTANT

Here are land records, arial photograph, platts and newspapers are still on microphish in the corner

DUNCAN SMALLS

Finds promising records, some sketchy transactions between the fed, the state and fed funding

finds records transferring the land to the state and the federal grant to damn the creek and create the lake. Starts making copies to go in his file box.

As he is making copies he gets a call from the hospital that hitomi has been in a car accident. He quickly dumps the files in the “reshelve” bin and rushes out.

INT.EMERGENCY ROOM – EARLY EVENING

He rushes an hour away to the hospital, through traffic and road construction.

Local police are in the waiting room, waiting for him. Question him about his where abouts today if he knows of anyone that would want to hurt her.

Learns that she was followed then purposefully run off the road by two black cars that left the scene. By the time he is finished with the police, Hitomi is asleep on pain meds. Attending says she has a broken wrist and a concussion they want to keep her overnight for observation.

His car was broken into at the hospital and the copies of the records stolen. He returns home to find his apartment ran sacked.

INT.DUNCAN APT – NEXT MORNING

he is cleaning up the mess, putting things back in place. Looks out the window at his car trunk being held shut with string due to the broken lock, gives him an idea.

He calls the state archives and asks if they could make additional copies of the files he left in the bin for reshelving.

After waiting on hold, the files are missing and not reshelved. Hitmomi was targeted while he was out of town, the records were stolen where anyone knew he would come to see her and now the originals are gone, he’s onto something big.

INT.CHANCELLORS OFFICE – MID MORNING

He is called to the Chancellors office

The chancellor is visibly angry, doesn’t appreciate Duncan going over Prof Winfield and his head to the Regent.

Chancellor puts his position on suspension for going to the Regent, he can’t remove him from the PhD program since the Regent approved it. It is however well within his power to suspend his teaching position and require him to see the therapist to stay in the program.

[Janeen Johnson]

Janeen’s Act 2 TP – Midpoint

What I learned doing this assignment is I needed to expand this section to provide intercuts, observations, etc. to make the scene work.

OUTLINE

EXT. CONVENIENCE STORE — NIGHT

Ivy has been tracking the parents using her own methods — finding/following Nick, unsure if he’s a good or a bad guy. She sees Dasher and his goons enter the C-store and deflates the goon’s tires and has their car electronically disabled. She puts a tracker on Nick’s car.

INT. CONVENIENCE STORE – NIGHT

Nick battles the agents at a rest stop. Again, Nick defeats those who followed them and escapes.

EXT. CONVENIENCE STORE – NIGHT

Nick finds Ivy’s tracker on his car and escapes.

Ivy follows him onto the highway.

SCENE

EXT. REST STOP – NIGHT

IVY (into phone)

Three seven four, got it?

JOY (O.S.)

Got it.

27.

IVY
Report it stolen and disable it.

Fast!

JOY On it.

(pauses)
What about Santa’s car?

IVY
I want to see how he deals with these

guys first. He stopped for a rest break, he’s kind — or else he couldn’t stand Rudy’s whining any more.

JOY
But he’s still holding them hostage?

IVY
I don’t know. I’ll check back when

I know. INT. REST STOP – NIGHT

Blitzkrieg goes in the Men’s room. There is a general rumble of “What the hell?” From inside. He emerges, shaking his head.

Nick moves closer to the Family Bathroom, snatching up a kid’s stray mitten from the floor.

INT. WOMEN’S BATHROOM – NIGHT

DASHER enters the Women’s bathroom holding his badge in front of him like a shield, causing consternation and fear in the occupants.

AGENT DASHER
FBI. Nothing to fear. Just checking

something.

He looks under the doors of all of the stalls, women inside shriek, others shrink from him as he moves through the crowded bathroom. Still holding his badge out in front of him, he exits the bathroom.

INT. REST STOP – NIGHT

DASHER spots NICK lingering in front of the Family Bathroom, doesn’t recognize him as Santa.

AGENT DASHER Who’s in there?

28.

INT. FAMILY BATHROOM – NIGHT

Holly listens at the door as Rudy stands in front of the toilet. Rudy and Holly freeze when they hear the conversation outside – Rudy, midstream.

INT. REST STOP – NIGHT

NICK
My wife and the kids. They’ll be a

while.

Dasher doesn’t look convinced. Nick fiddles with the kid- sized mitten.

NICK (CONT’D)
Two diaper changes — the bad kind.

Dasher grimaces.
INT. FAMILY BATHROOM – NIGHT

Holly does an imitation of a whiny kid. Rudy indicates he’s struggling to finish the job.

INT. REST STOP – NIGHT

The kidnappers move to another part of the Rest Stop. Nick taps on the door.

NICK
Hurry it up in there. They’re gone.

INT. FAMILY BATHROOM – NIGHT
Rudy groans and Holly rolls her eyes. EXT. REST STOP – NIGHT

Ivy stands by a young couple in an old van, proffering her keys.

IVY
Even trade and I’ll throw in gas

money. I just need it until tomorrow.

VAN GUY Is it hot?

IVY
No, I just need a different vehicle

for a quick run to pick up some friends. Sleep in my car for the night. I’ll be back in the morning with the van.

29.

The young couple considers, doubting.

IVY (CONT’D) Alright, truth. There’s a really

hot guy waiting for me just over there. I want to bang him all night and he’s willing. It’s a once in a lifetime opportunity for me because he’s got the biggest dick I’ve ever seen, but he’s got a bad back so we can’t do it in our cars — or in a stall.

She hands over another $100 bill.

IVY (CONT’D)

New sheets.
They consider. She hands over another couple of bills.

IVY (CONT’D) New mattress.

The guy pockets the money and they swap keys. Ivy flashes her badge.

IVY (CONT’D)
No drugs or dope in my car. I’m

Secret Service. Now scoot!

The couple looks shocked, but hustles away.

INT. REST STOP – NIGHT

HOLLY and RUDY emerge from the bathroom and NICK hustles them out a back door.

EXT. REST STOP – CONTINUOUS

NICK hustles HOLLY and RUDY into the back seat of the car.
He turns and sees the kidnappers heading toward the exit doors.

NICK
Don’t even think about getting out

of this car. I’ll be back.

Holly giggles at the Schwarzenegger line and Rudy groans at her.

Nick skirts the parking lot and then heads back toward the rest area door.

IVY stands next to the van, on high alert, watching Nick. ###CHOREOGRAPH THE FIGHT SCENE HERE — LOTS OF HOLIDAY WEAPONS.

30.

31. INTERCUT AS NEEDED with BELOW OBSERVATIONS/CONVERSATIONS

INT. CAR – NIGHT

Holly and Rudy watch from the car and are worried when it looks like Nick is outnumbered.

INT. VAN – NIGHT

Ivy debates joining the fray from inside the van. She makes a call.

IVY
Is the car disabled?

JOY Yes.

IVY
Send me a picture of Santa, out of

costume.

JOY Nudes?

IVY (shocked)

No! No, I want a picture of his face.

She hangs up and looks from her phone to the fight to her phone again.

EXT. REST STOP – NIGHT

Nick takes down all of the bad guys using a variety of military fighting skills and great awareness of his surroundings.

When the bad guys are subdued and groaning, he gathers up their guns and throws them under various cars as he hustles back to his car.

INT. VAN – NIGHT

IVY looks very impressed by the picture Joy sent and Nick’s actions against the agents.

IVY Joy, disable my car.

JOY Your car? Why?

IVY
I loaned it to some hippies. Just

do it.

JOY Got it.

IVY
Oh, and thanks for the pic. I’m

pretty sure he’s not with the kidnappers from the mall, but I don’t know why he’s driving cross-country. Later.

She hangs up and watches the action.
INT. CAR – NIGHT
Holly and Rudy are shocked at Nick’s skills.

HOLLY He’s good.

RUDY
No kidding. Even better than when

he was Santa. Nick enters the car.

NICK You two alright?

HOLLY We’re fine. Are you?

NICK
We’re all good. Buckle up.

Nick hightails it out of the parking lot. Holly looks out the back window.

HOLLY
The kidnappers are watching us.

NICK
Damn, we’ll have to change cars again.

EXT. REST STOP – NIGHT

Ivy sits in the van, watching the bad guys gathering their wits. Waiting.

[Robert Wood]

Robert Wood’s Act 2 TP – Midpoint

What I learned doing this assignment is that I’m still way short on page count. Only 33 script pages by end of Act 2. I guess there will be more in today’s lesson finishing Act 2, but I can see that there will be lots of fleshing out to do later in rewrites!

INT. FAMILY HOUSE – BERT’S BEDROOM – DAY

Matt enters.

Bert is still sitting on the edge of the bed, holding the hairbrush. Confused and sad.

BERT

Matty… This was your mother’s brush… What am I doing with it?

MATT

You’re packing, Dad.

BERT

Packing… Are we going away?

MATT

Yeah… but it’s not a rush. You got time.

BERT

Good, good. I know there’s something I should be doing. We’re going to go out on the lake again, aren’t we, Matty?

MATT

Sure, Dad.

BERT

We have to find it.

MATT

I know.

BERT

The monster’s out there, somewhere…

MATT

Sure it is.

(BEAT)

Hey, Dad, can I ask you something?

BERT

Of course.

MATT

Tell me about Harris.

BERT

Harris? I’m surprised you even remember him.

MATT

I do.

BERT

That was so long ago.

MATT

Humor me.

BERT

He was a recent university graduate. Studied anthropology, with a special interest in cryptozoology.

MATT

And that led him to come over here, place that ad, and meet you.

BERT

Yes, the similarities between the Loch Ness Monster and Ogopogo seem greater than the differences.

MATT

So you studied the monster together.

BERT

We did, yes.

MATT

What else?

BERT

We didn’t find it. What else is there?

MATT

Just curious.

BERT

Well, you were there for a lot of it, weren’t you? We took you out on the boat…

MATT

Yeah, I was there some of the time. But I’m thinking about the times I wasn’t there…

BERT

I’m not following you.

Matt looks at the old man, still clutching the hair brush.

MATT

You had an affair, Dad.

BERT

What?! Nonsense! Where did you get that idea?

MATT

I’ve seen the letters, photos. Put two and two together.

BERT

That’s ridiculous. You’re imagining things!

MATT

I’m not, am I?

BERT

Making it up, that’s what you’re doing!

Bert puts the brush down, rises, tries to find something else to focus his attention on.

MATT

Don’t avoid it.

BERT

You were a kid — you don’t know what you saw, or what you remember!

MATT

I’m remembering things, and stuff like this is filling in the blanks…

Matt holds up Harris’s letter after the boat trip.

Bert grabs it and reads it.

BERT

A simple thank you from a polite young man. That’s all I see here.

MATT

Come on — there’s more to it than that.

BERT

Besides — maybe you’re the one who was attracted to Harris!

MATT

I was 10!

BERT

Exactly! Don’t go on about things you don’t understand!

Bert waves him off.

BERT

Now, get out. Out!

MATT

I’m going to make dinner soon.

BERT

I don’t want any. I’m not hungry… and I’m feeling rather tired now…

MATT

I can bring you some–

BERT

Just leave me be! You’ve done quite enough already.

Bert resumes puttering in the bedside table drawer as Matt leaves.

[Peter Birdsong]

Peter Birdsong’s ACT 2 TP – Midpoint

What I learned: now that I have a better idea where my midpoint is in the story, I have quite a few scenes to fill out that will lead up to that point. Yesterday I was worried about how light my screenplay is. Now I’m not.

INT. SALON – DAY

Carly climbs the steps taking in the eerie calmness of the vessel. The boat is barely rocking. She’s managing quite well as she moves around. She peaks at the folded map laid open to show the Atlantic.

She looks at the display showing the boat’s GPS position and relative speed: 0 knots.

CARLY

What the hell?

She looks around more urgently now. He spots her mother on the bow. DRINK in hand. Sunbathing.

I/E. YACHT – DAY

Laurel bikini-clad lays out on cushions. She takes a sip from her MARTINI.

CARLY

What are you doing?

Laurel Looks at her in the sun.

CARLY

Why are we stopped??

LAUREL

No wind.

CARLY

So you’re drinking!?

LAUREL

Resting. But yes.

CARLY

Resting. I don’t believe this.

LAUREL

It’s been a long voyage, and I’m a crew of one.

CARLY

I didn’t even want to be out here! Where the HELL ARE WE!?

Carly gestures out into the ocean. Nothing but water in all directions!

LAUREL

You want to get underway.

CARLY

Yes!

LAUREL

Then help! I’ve single-handed this boat since we left, cutting corner where I could–

CARLY

You could have sold the boat in France!

LAUREL

But I didn’t and here we are!

CARLY

Here we are! Trapped in the middle of the goddamned ocean!!

(beat)

Why are we doing this? We might die out here!

LAUREL

We’re not going to die.

CARLY

Why are we here?

Laurel sips her drink.

LAUREL

Your father wanted to sail.

CARLY

Oh. I get it. You feel guilty.

LAUREL

Guilty? It’s because of me he could even afford this boat.

CARLY

You feel guilty! You were never around.

LAUREL

Don’t be ridiculous. I sacrificed–

CARLY

You sacrificed alright. You gave us both up for your stupid job!

LAUREL

If it wasn’t for this job you’d have nothing.

CARLY

I have nothing now!

LAUREL

You ungrateful–I have given you everything you need!

CARLY

Except a mom! And dad never had a wife!

LAUREL SLAPS CARLY! The shock shoots through them both and Laurel’s eyes begin to water.

Carly caresses her cheek. They Stand in silence for a minute. Carly begins to tear up.

LAUREL

If you want off this boat, I suggest you help. Then, you can be rid of it.

Laurel empties her glass over the side of the boat and heads back in.

Carly continues nursing her face for a moment. She looks up at the sails laying limp against the mast.

INT. LAUREL’S CABIN – DAY

Laurel lays on her side of the bed, hand resting in the empty space next to her. Tears stream down her face.

LAUREL

I need help.

INT. SALON – DAY

Carly can hear her mother crying. It may be the first time she’s ever heard that sound.

She sits at the table with the sailing book. She opens it and begins to flip through the pages.

[Daisy Khalifa]

Subject line: Daisy Ridgway Khalifa’s Act 2 TP -Midpoint [Lesson 15]

What I learned doing this assignment: I learned that Midpoints are tricky while also very helpful in directing the writer to think through each scene and its respective significance.

Act. 2/Key Scene 4/Midpoint/Outline:

BEGINNING: Mia wakes up to the sound of a ringing phone and finds that she is in an entirely new reality- indeed, she is in her own home, but she has a totally different life.

MIDDLE: Mia explores her house and unearths a little of information about who she is in this new reality, and she is perplexed and panicked.

END: She decides that she needs to find Ian, given he is the only one who might understand what has happened.

Act. 2 /Key Scene 4/Midpoint/Scene:

INT. WASHINGTON, DC – MIA PAULEY’S APARTMENT – MIDPOINT

Mia is in bed and opens her eyes to the ringing phone. As she rolls over to her side, she almost jumps out of her skin and nearly falls off the mattress. These aren’t her sheets, her window is different. This isn’t even her room. When she looks at the phone, which also has caller i.d., she sees that it is her sister, Carey. But, even the phone is different, actually a nicer Panasonic.

She is in a panic. She answers the phone tentatively.

MIA

Hello?

CAREY

Hey, Mi. How are you? Just wanted to say that —

MIA

Hey. Um, how are you?

CAREY

I am fine, Sweetie. You okay? I am actually in a hurry but wanted you to know that Laura knows you’re calling and is looking forward to talking about their contribution to the museum. I think it’s gonna happen- even a half million would be outstanding–

Mia is still, like a zombie. She talks very slowly.

MIA

A half million is always good. Thank you?

CAREY

Right. I am going to email you her phone number and contact information again. I have to fly to San Francisco in a couple of hours, so I’ll talk with you maybe tonight or tomorrow. Getting ready for another Hoard Festival, but I’ve hired an agency this time. Thank God.

MIA

Right. Agencies are …really helpful. Let them do everything.

CAREY

We’ll see, You know what a control freak I am. I love doing it and knowing everything. Just like my baby sister. Alright, I love you. Gotta run. Oh, did you get your plane ticket for Christmas? Dad and Mom are having a semi-big gathering Christmas Day. And Mom got another cat, of course. That’s five now. She says that’s all she wants for Christmas. Yeah. Right. Only yesterday she sent a picture of some French cookware she covets.

MIA

Five cats. Shoot.

CAREY

Go make some coffee. Talk to you later. Mwaa.

Carey hangs up on her sister. Mia is sitting up in bed, a bed that she is certain can’t be hers. There are pillows in Porteuil cases and Yves DeLormes sheets around her, and a headboard. She touches the fabric headboard.

MIA

Nice.

Her black humor is all she can resort to as she proceeds to get out of bed cautiously. She is in a very attrative bedroom. An armchair looks familiar — it was something from Katrina. But the windows are different. She realizes she is not in an apartment. She is in a house. A little house.

She starts muttering to herself. Audible shock.

MIA

Shit. Shoot. Shit. Shoot. No, no, no, no, no. Mia, just be you. Figure this out.

She walks into a very lovely, small and well-appointed living room and kitchen area. She spots a purse, hers presumably. She also pauses to peer around the place to make sure no one else is there. She nods to herself with a sigh of relief.

She rushes to the purse. And she also sees her mail.

MIA

(still muttering)

Aah. Sources. Data points. Where the eff am I?

She goes to the purse. It is a woven leather bag. She lifts it up.

MIA

Nice. Bottega? But I hate Bottega.

She pours the contents of her purse out. A large Gucci wallet falls out. A glasses case and a card holder, also Gucci, but old. Her old cardholder that she has always used.

MIA

A clue. A parallel.

Before looking any further, she sits back on her heels and looks around and thinks.

MEMORY FLASH

Charles and Mia are parting ways at PINECLIFF. On Charles, as he listens intently to Mia– about earthquakes.

MIA

There was not a major earthquake until 1971. The Silmar Quake. Take it for what it’s worth. I can see you find this outlandish. Too incredible?

CHARLES

No. Certainly not, Madame. Everything is significant. You are helping me arrive at a simple decision.

MIA

What decision?

CHARLES

That we can stay here, perhaps. I can live in this heavenly villa for a few more years.

MIA

All I know is that it might be good to collaborate more wiht Micahel Gardenr. That Berkeley Byron expert.

BACK TO PRESENT

Mia shakes her head. She opens the card case and pulls out one of the business cards with her name on it:

“MDP Consulting & Development, Mia Donovan Pauley, Founder & Principal”

She is shaking at this point. She reaches for the Gucci wallet and opens it.

ON WALLET

There are an assortment of platinum and gold credit cards inside. She pulls one out and sees that her name is on it. There are also all sorts of bills pushing out of the money slot, including a couple of c-notes.

ON MIA

She looks through the items in the purse for something. No luck. She gets up and looks around the kitchen and living room.

MIA

Just think as you would normally think. Calendar. Calendar.

Beat.

I better not have a secretary.

Pull back on Mia standing in her house. She is in a crisp new-looking pink satin nightgown. She folds her arms and hugs herself. She has an idea.

MIA

Find Ian. Today, I must find my friend Ian.

(sighs)

Along with, maybe, figuring out who I am — and, why not, getting that half mill.

DISSOLVE TO:

ACT. 3

[Don Thompson]

Don Thompson – Act 2 TP – Midpoint

What I learned: The midpoint TP continues to build tension into Act III by introducing a major twist. In this scene, we learn that the Antagonist (Mr. Claggart) has an element to his background that will prove pivotal in the outcome of the story.

EXT. MID-SHIP DECK – DAY

Kinkaid is tied on mid-deck, ready for his lashing.

Claggart nods to the sailor holding the staff to begin the punishment.

CLAGGART

One… two… three… four…

five… six… seven… eight…

nine… ten… el…

(Claggart almost says ‘eleven’ but holds his tongue.)

Claggart nods to the sailor with the lash, who releases Kinkaid. Kinkaid has suffered some, but clearly not to the extent that Claggart would like.

Seymour stands in front of the crew.

SEYMOUR

Dismissed.

INT. CAPTAIN’S QUARTERS – MINUTES LATER

There is a KNOCK on the Captain’s door. The Captain looks out the rear window of his cabin.

CAPTAIN

Come in.

Seymour enters.

SEYMOUR

You called for me.

The Captain nods for him to sit, then sits at his desk.

CAPTAIN

As you know, I’m concerned about Claggart. There’s something about him, something underneath his skin, that concerns me.

SEYMOUR

May I speak frankly?

CAPTAIN

I expect you must.

SEYMOUR

Well… he has, shall we say, a mixed background. He was forced into the Navy, more or less.

CAPTAIN

Forced?

SEYMOUR

As is rumored, it seems he may have killed a man. But the circumstances are somewhat murky. I knew of these things from his on boarding documents but for various reasons have kept them to myself.

Beat.

SEYMOUR

It was a friend of his that was killed. A close friend – a very close male friend, if you catch my meaning.

CAPTAIN

Really? He wasn’t married?

SEYMOUR

No. And he has confirmed this to me.

CAPTAIN

And this ‘close friend’ was a casualty of sorts. Perhaps.

SEYMOUR

It appears so. Again… I don’t know the specifics. But apparently if he wasn’t on board this ship Claggart would be rotting in a London jail.

CAPTAIN

That’s comforting.

SEYMOUR

It’s that way with half the men on this ship. Meaning the impressments. We know that it’s hard to find willing recruits in these heady days of freedom, liberty, and the Rights of Man.

The Captain nods.

CAPTAIN

I need Claggart. For now. I need him for the fear he instills. But I can’t let him take it too far. We’ve seen the results already.

Beat.

CAPTAIN

I hope by promoting Budd I sent a signal to him. He needs to know who commands this ship. And Budd can provide a little balance – at least that’s my hope.

Beat. The Captain moves to his map table and splays a world map out in front of the two of them.

CAPTAIN

You see this, Mr. Seymour. (he points)

CAPTAIN

Here, here and here is the current extent of our Empire. How long do you believe it will last?

SEYMOUR

All empires end. The Byzantine, the Roman, the Ottoman. We’re just the next in line in a long list.

Beat.

SEYMOUR

But all that’s philosophy sir, and not good for morale. We have a war to fight. I, for one, will not turn against my country in times of trouble.

The Captain nods and looks at him intently.

[Benito Selim]

Benito Selim’s Act 2 TP – Midpoint

What I learned in this assignment is this is the point where our main character changes their initial journey and thought. This will play into how we end our story.

EXT. PARK – DAY

Darryl reaches out to Tina to meet up with him. Tina joins him and the two talk about their college experience. Darryl opens to her about his father’s death and rocky relationship with his mother. The two share an intimate kiss and Tina invites him back to her place.

INT. TINA’S APARTMENT- NIGHT

Darryl and Tina make love, it being Darryl’s first time. They talk after about how they will make the most out of college. Tina expresses her disdain for certain sorority sisters and feels they hold her back. They both fall asleep in each other’s arms, a new feeling for Darryl.

BATHROOM- LATER

Darryl grabs his clothes and gets dressed in the bathroom. Darryl puts his pants on and slides his hand in his pocket. He removes the locket he found at Starkoaks, upon examining it he opens it and in shock. The pictures inside are Karen and Jeff.

The bathroom grows cold, and Karen appears behind him. She whispers in his ear, he’s the only one that can help her. Darryl is frozen with fear, Tina grabs his shoulder, and he snaps out of the trance. Darryl falls to the ground.

Tina gets him up and mentions how cold the bathroom is, she checks the window, it’s closed and locked. Darryl then asks for his pills in his bag. Tina questions and Darryl confides in her that he’s schizophrenic. Tina consoles him and the two head back into her bedroom.

After they exit the bathroom, the shower curtain moves.

EXT. DARRYL’S DORM- DAY

Darryl looks at the locket again, he grabs his pills and throws them away. The events the night before make a true believer out of him. He proceeds to call Ellen and wants to know more about the Vernon case. Ellen invites him to meet.

Before Darryl can leave Detective William Garnett stops by to visit Darryl and ask him questions about several disappearances on campus. Darryl gives vague answers and Detective Garnett asks him to keep in contact if he hears of any information.

EXT. PARK- DAY

Ellen meets with Darryl; she informs him how she rarely comes out because of her traumatic past. Detective Garnett follows the two since he believes Darryl knows more than what he is saying.

Ellen informs Darryl that Karen was the daughter of the sheriff who caught Vernon and saved Ellen’s life. Darryl now makes it his personal mission to not only avenge his father but catch Karen’s killer as well.

[BG]

Lesson 15: Act 2 TP – The Midpoint

ASSIGNMENT

BG’s Act 2 TP – Midpoint

What I learned doing this assignment: Epiphany: I discovered the wisdom in Hal’s insistence that we outline first! It keeps me from wandering into irrelevancies, falling in love with them, and then distorting the screenplay’s backbone to fit them in!

Outline your Key Scene 4: The Midpoint.

BEGINNING: His first plan having failed, Reporter makes a new plan to investigate the conspiracy: He takes a dangerous and semi-illegal step: He plants a listening device in the thermostat of the St. Michael conference room.
MIDDLE: Billionaire presides over a Northstar status meeting of with the other conspirators. Reporter, listening in in his car, is upset and pissed. He has a short phone call, over an encrypted connection, with his Editor to report. He cannot avoid a small, emotional outburst: Just who are these men who feel entitled to start wars and consign so many to destruction and death for their own purposes?
END: At CIA, Langley, Deputy Director for Eastern Europe meets with underlings. They are not only aware of Northstar, but they are covertly supportive. NSA has warned them that the press may be onto Northstar. They decide to alert Billionaire via MI6 and other cutouts.

Write the Midpoint scene.

INT. CHEAP HOTEL – LONDON – NIGHT
Reporter sits in front of his laptop at the desk.
ON THE SCREEN: Images and instructions for various listening devices, electrical circuitry…
EXT. BUSTLING STREET – LONDON – DAY
Reporter enters a shop. The sign above the door reads: “You-Do-It Electronics.”
EXT. OUTSIDE THE CLUB – NIGHT
Reporter, dressed in dark slacks and turtle-neck, stands eyeing a partially-open, second-floor back window that overlooks the dark alley behind The Club. He starts to climb up the drain-pipe, steps on the decorative ridges and disappears into the window.
INT. INSIDE THE CLUB – NIGHT
Using a tiny screwdriver, he opens the thermostat of the St. Michael conference room and installs a tiny device.

INT. ST. MICHAEL CONFERENCE ROOM – NIGHT
A modern-day star chamber in an Empire-style conference room, with computer screens everywhere. Billionaire sits at the head of 15-foot long table, presiding. Around the table are an ENERGY MOGUL, a DEFENSE MOGUL, a retired 4-star GENERAL, and a former PRIME MINISTER.
BILLIONAIRE: Gentlemen, Northstar’s foundation is in place. We are ready to launch.
The Energy Mogul shifts uncomfortably in his seat.
ENERGY MOGUL: So the 20 billion is in the bank and we can start to transfer some funds to our Turkish friends running the ops?
He is an American oil and gas billionaire, whose goal in life is growing his energy empire by selling LNG (liquefied natural gas) to Europe. A big, ruddy man, he sits with his right leg propped up on a velvet-covered Ottoman – painful, his gout is acting up.
GENERAL: Are we really sure we can trust their action plan?
PRIME MINISTER: Our experience has been that militants they transferred to other theaters have not stayed loyal.
BILLIONAIRE: I think we have no choice but to trust their judgment at this point. The media campaign I have initiated is showing success. Public demand for military action is growing.
(beat)
BILLIONAIRE: Well, that’s it, gentlemen.
He stands up — terse, not a man who would brook insubordination.

INT./EXT. REPORTER’S CAR – STREET NEAR THE CLUB – NIGHT
Reporter, sitting in his car, looks upset and pissed off. He turns off the hand-held, listening-device remote and pulls out his cellphone. He touches the secure-link icon on the phone.
INT. NEWSROOM – DAY
Editor, sitting at his desk, is visible through the glass wall of his office. His desk phone RINGS with a special sound.
INT. EDITOR’S OFFICE – NEWSROOM – DAY
Editor presses a special button on his desk phone and picks up.
EDITOR: Keep it short, I’ve lost faith in secure connections.
REPORTER (on Editor’s intercom, blurting): Just who the hell do these guys think they are?
Editor shakes his head and smiles — Kids! They need time to figure things out.
EDITOR: Masters of the universe?
REPORTER (on the intercom): This whole Northstar thing is just to stop Nord Stream 2!
EDITOR: You better watch your ass, kid!

INT. CIA CONFERENCE ROOM – LANGLEY – DAY
DEPUTY DIRECTOR for Eastern Europe in a meeting with several STAFFERS.
DEPUTY DIRECTOR: We have received an alert from the NSA. Their keyword monitoring systems have picked up a reference to Northstar in an encrypted overseas communication.
STAFFER 1: So they don’t yet know who was communicating with whom?
DEPUTY DIRECTOR: No. They just deciphered the word Northstar.
He looks around the table.
STAFFER 2: It looks like some new players have entered the game.
STAFFER 3: We should warn MI6 so they can inform our Northstar friends.

• This reply was modified 3 years, 3 months ago by  BG ERENGIL.

[victor Valleau]

LESSON 15: ACT 2 TP- THE MIDIPOINT

KEY SCENE 4: TURNING POINT 2

BEAT: JT HAS INTERNET TALK SHOW INTERVIEWS NANCY.

HIS PLAN IS TO SHOW HER AS DAMAGED GOODS, NEEDING A WARNING LABEL TO MEN.

JT SPEAKS TO HIS ONLINE AUDIENCE

JT: women use sex to get their man, will that ever change? We have here TODAY an expert on the subject of

Getting her man, three times divorced and of course three times married, got her man Nancy. Please your answer!

NANCY: I.i.i.i.i.i

JT: the other problem of course is women want the impossible.

NANCY: what am I supposed to say?

JT: there’s an expression: no honor among thieves. Women’s biggest problem is not men, they’re patsies,

but other women, stiff competition. They break ranks all the time. Men are trained to be part of a team.

JT: men have a colorful expression Pussy whipped. What do you suppose that means?

NANCY: love is the strongest force in the world but you don’t have it and need it.

JT: Is that a question?

NANCY: Your aura has been eaten by lion. You are unlucky in love. Is that why you are so cynical?

JT: So you believe in soul mates;? Tell us about your three divorced soulmates!

NANCY: You are a very high status man, at 40, ready for marriage and family. What are you TODAY,

just bait to hungry she-lions.

JT Smirks.

JT: so I need to find my soul mate?

NANCY: YES.

JT; That’s ridiculous. I have dozens of soulmates and according to you I am here I am serving bait to my vast audience.

NANCY: For you a woman like you, a soulmate means a smart, focused, go getter kind of woman.

JT: Don’t women say first sense of humor?

NANCY; Sense of humor and jokes shows a person’s best or worst qualities. If your pain is funny to them,

You should move on. Forget that you have the same likes, food, music, sports.

JT: We are out of time Miss three times divorcee preaching soul mates!

NANCY: If anyone in your audience wonders why women withhold sex, this interview

Should answer that question. If you want a real relationship, be a real women.

JT: I’m here ladies. I’m ready!

NANCY: Me too!

JT: We’re off the air!

DIFFERENT GOAL OF NANCY FROM USING SEX TO SELF-RESPECT AND GETTING INTO HIS HEAD (SOULMATES)

[Patrick Downey]

Patrick Downey – Act 2 TP Midpoint

What I learned doing this assignment was how to contact more players into the story. I was looking for a scene to introduce various parties and previously had them popping in wherever, but this makes more sense.

Key Scene 4

INT. H.A.V.O.C. OFFICES

Dardanos takes over as leader of the organization just as Cayman had thought and he immediately starts making changes. Dardanos first suggestion was to remove Crutch because he had been hired by Ray and Audie, but he was quickly out voted by the others. A moment of concern for the team but luckily avoided.

We see where Dardanos has some very different plans for the company and has taken some liberties to move ahead on some of them without the others knowledge or approval. This causes tension between the partners and a split starts to form between the Alexandrites and the O’ brothers.

Dardanos has partnered with a Native American tribe just north of Las Vegas to run extra bets on the side to multiply his winnings without the partners knowledge. This is an extremely risky move because Vegas has been run by the “family” since the 1940’s so, any outsider would be strongly frowned upon.

Cayman takes a small setback in his overall plan when the Chicago Cubs win the World Series. However, it requires him to look at his entire operation once again to make sure it covers all bases.

Same Journey: Dardanos is still following the basis procedures and formulas that have worked for the firm over the years to make their money.

Different Meaning: but now it’s all about his greed and his legacy as the leader of H.A.V.O.C.

[Rebecca Jordan]

Rebecca Jordan’s Act 2 Turning Point, Midpoint:

What I learned from doing this assignment is that it gets easier to fill in the gaps with each act. Also that by now, things are making sense and there is hope now.

Beginning: With nowhere to go, Rachel winds up back at the nice couple’s/mom’s house. She humbly accepts their invitation to come in and spend the night.

Middle: The next morning, Rachel has breakfast with the kind couple. The man gives Rachel a PO Box address where he sends the rent checks. Rachel unexpectedly feels excited and curious. Up to the challenge of finding her Mom. The couple give Rachel a care package with snack and drinks for her journey. There’s no turning back. She thanks them graciously.

End: Glen and Sheila drive Rachel to the tow yard. These people have made Rachel see a new way. She waves to them. Loads up and takes off on her new journey.

____________________

INT. GUEST ROOM – MOMENTS LATER

Glen and Sheila, in their pajamas and robes, set Rachel up in guest room. Sheila brings towels, etc.

SHEILA

Here ya go. Make yourself at home.

RACHEL

This is so embarrassing.

SHEILA

Don’t worry honey. Get some rest.

Glen and Sheila are perplexed. They avoid asking questions.

GLEN

Help yourself to the kitchen. If you need something to drink or if you’re hungry. Lots of left overs in the fridge.

RACHEL

You’re both so nice.

SHEILA

Bathrooms right down the hall. Help yourself to a shower.

RACHEL

You don’t even know me.

SHEILA

We’ll have a nice breakfast waiting for you when you wake up. Just come on down whenever you’re ready.

GLEN

You won’t be able to resist. Sheila here is a great cook. Just follow your nose.

Sheila waves him off with modesty.

SHEILA

Alright, honey. Sleep well. Let us know if you need anything. We’re right down the hall there.

RACHEL

I don’t know what to say.

GLEN

That’s alright. We can talk tomorrow.

RACHEL

Thank you so much.

They leave her.

RACHEL

Good night.

SHEILA AND GLEN

Nighty-night.

Rachel watches them go. Closes the door.

INT. GUEST ROOM – CONTINUOUS

Rachel changes into sweats and t-shirt.

She sits on the bed. Opens her computer.

She gets back up. Finds the weed in her bag. On second thought, wraps it up in a sock and buries it deep into her duffle bag.

Back on the bed. She types.

PLACEHOLDER: (1977 SCENES)

INT. GUEST ROOM – CONTINUOUS

Rachel wakes up with open computer lying next to her. She digs in her duffel bag for her weed but again resists the urge.

She sits on the bed and reads what she’s written.

Turns off the light. Gets under the covers.

PLACEHOLDER: (1977 SCENES CONTINUED)

INT. GUEST ROOM – MORNING

Rachel wakes up. Shuns from the bright like. She’s hungover. Takes a drink of water from the bottle in her bag.

Looks in the mirror. Finds the rolled up sock. Takes a little bump from last nights packet.

Grabs the towel and her toiletries.

INT. KITCHEN – CONTINUOUS

Rachel, cleaned up, hair wet, at the table with Glen and Sheila eating breakfast. Glen takes a piece of paper out of his pocket.

GLEN

Hey Rachel. So I wrote down the Post Office Box address where I send our rent checks.

Hands it to her.

RACHEL

Oh my God. That’s awesome. Thank you.

GLEN

I don’t know if it’ll help. But you can start / there.

RACHEL

No. This is great.

Looks at the paper.

RACHEL

Oh my. That’s quite a ways away.

GLEN

Indeed.

Sardonic. Hesitant. Put out. Rachel tries..,

RACHEL

Road trip!

GLEN

Well it’ll be an adventure, if nothing else.

RACHEL

I’ll say. I’ll have to figure out my schedule…

SHEILA

Your mother. I remember that she was nice. And very handy. Right honey.

GLEN

Yes she was. More so than I could ever be.

Sheila points out ornate wood work and kitchen cabinets.

SHEILA

Apparently, she did all of this herself.

RACHEL

Doesn’t surprise me.

SHEILA

I remember when we came to look at the house the first time. She had all the big tools out. Saws and drills.

GLEN

Pretty impressive.

Rachel smiles at them knowingly. Gets up.

RACHEL

Well, I better get my stuff together. Are you sure you don’t mind giving me a ride.

GLEN

Sure no problem.

SHEILA

We need to go into town anyway.

RACHEL

Okay. I really appreciate it. I’ll be right down.

SHEILA

Take your time, honey. Oh, and we have a little care package her for you to take.

RACHEL

Oh my goodness. You’re both so kind. Too kind.

SHEILA

It’s no big deal. Just some snacks and drinks for the ride.

RACHEL

I don’t know what to say.

SHEILA

You don’t have to say anything.

GLEN

Really. It’s our pleasure.

RACHEL

Well. I don’t know how to thank you.

EXT. TOW TRUCK LOT – CONTINUOUS

Rachel 50’s, exits the Tow truck office, carrying her duffel and the care package. She waves graciously at the nice couple. They drive off. She finds her truck and loads up.

INT. PICK UP TRUCK – DAY

Rachel’s 50’s, drives. She turns on the music.

[Timothy McDevitt]

TIM’S ACT 2 TP – MIDPOINT – DAY 15

What I learned doing this assignment is it’s an important balancing act of keeping the protagonist on his journey while significantly changing the journey in some way.

MIDPOINT OUTLINE:

BEGINNING: Duke is in the pound a 2^nd time. He conspires with Sunny to escape again.

MIDDLE: Dog catcher tells Duke he’s down to his last strike. Next time he gets put down. Sunny worries for Duke and tells him to be good and get adopted. Duke is defiant.

END: Emma surprises her dad (dog catcher) by choosing Duke to adopt.

INT. DOG POUND – DAY

Duke is in the cage again, with Sunny perched outside on the window sill.

They discuss their options.

DUKE

Tonight, we bust me out of here like last time.

SunnY

(pushes on screen)

Will be even easier this time.

Duke laughs. Stupid humans.

SunnY

You’re not going back to them, are you?

DuKE

Who else do I have?

(off her reaction)

Oh yeah, I have you of course, but dogs are my people, well not people, but you know what I mean.

Sunny is still hurt.

SUNNY

Well, squirrels are my people…

(sternly)

If you want my help this time, you have to promise to help me find my family.

DUKE

Sure, sure, but first –

SUNNY

No! I’m first. Then you can do whatever you want. You won’t ever have to hear my annoying voice again.

Duke feels like a jerk. He nods.

SunnY (CONT’D)

Say it.

Duke

Ok, I promise.

The dog catcher stops by to see Duke.

Dog CATCHER

This is strike two, Duke. You’ve got one last chance to turn things around.

Duke casts him a mean look.

DOG CATCHER (CONT’D)

Strike three gets you a one way ticket to doggie heaven, or worse.

Sunny gasps but by the time Dog Catcher looks that way, she’s ducked out of view.

To distract him from staring too closely at the ripped screen, Duke barks fiercely at him.

DOG CATCHER

Tsk. That’s not the winning attitude.

The door at the end of the kennel swings open and Emma enters, on crutches, with Mrs. Dog Catcher.

Dogs in nearby cages respond with friendly barks.

Dog Catcher gives them a smile, but Emma is grumpy.

Emma

This is stupid. I don’t want a pet.

Mrs. Dog catcher

You say that, but once you have one, in no time at all you’ll be B-F-Fs.

(feeling cool)

You kids still say that?

EMMA

Not anymore. Once parents use an expression, it’s dead.

MRS. DOG CATCHER

Cool. I’m jiggy wit it.

EMMA

(eye roll)

Ugh, what century are you from?

MRS. DOG CATCHER

Ooo, maternal unit burnt to a crisp.

EMMA

Dad! Make mom stop!

DOG CATCHER

Sorry, uber-cool mom is unstoppable.

Duke watches with amusement, but with angry facade in tact.

Emma wants it to end, so she studies the dogs.

She strolls from cage to cage, met by a variety of cute, friendly faces and wagging tails.

DOG CATCHER

Whatever one you want, honey.

Mrs. Dog Catcher can’t help but comment on each dog.

Mrs. DOG CATCHER

This one is so cute.

(next cage)

Oh, isn’t this guy adorable?

(next cage)

This one has some Golden in him.

DOG CATCHER

These are all good choices.

Emma isn’t satisfied. Cutesy just isn’t her, not today.

Finally, she reaches Duke. He looks miserable, like her.

They scowl at each other.

Dog CATCHER

No, no, not this one.

EmmA

I kinda like him.

Duke and Dog Catcher are shocked.

DOG CATCHER

He’s bad news. His last owner said he was incorrigible and bad with kids!

EMMA

(wicked smile)

I’m bad with kids too.

Mrs. DOG CATCHER

He’s a drooler.

EMMA

So he already has something in common with dad.

Dog CATCHER

Hey, I’m not responsible for my actions once I fall asleep.

Emma’s parent exchange looks – what can we do?!

EMMA

He looks like he needs somebody but doesn’t want anybody.

Dog catCHER and mrs. Dog catcher

(relieved)

Exactly!

EMMA

I’ll take him.

Everyone is stunned, especially Duke and Sunny.

[andrea cabanas]

Andrea Cabañas, ACT 2 TP – Midpoint

I learned from this that I had to go back one more time a few scenes ago to get into the momentum of my Midpoint. Plus, I discovered more vital layers in my protagonist, making her more vulnerable; therefore, the ‘no way out’ is more believable.

MIDPOINT OUTLINE

EXT. FRONT OF JUAN’S HOUSE – NIGHT

Zoe parks her car but can’t go in. Adriano meets her outside.

INT. JUAN’S HOUSE – NIGHT

Paula and Juan have sex. She tries cocaine for the first time and enjoys it.

EXT. JUAN’S HOUSE

When leaving unnoticed, she sees something suspicious. She speeds.

EXT. STREETS – NIGHT

The police catch Zoe: she’s still drunk and high. They find a small pack of cocaine with her (or she just hid, and they didn’t find it?).

MIDPOINT SCENE

EXT. FRONT OF JUAN’S HOUSE – NIGHT

Zoe parks her car in front of Juan’s house and stares at it. She looks at herself in the car’s rearview mirror, rubs her face, smooths her hair. She stares at her image and leans back against the car seat.

She looks sideways at the house and sighs heavily.

ZOE

(to herself)

What are you doing, Zoe?

Zoe closes her eyes gives another sigh, and when she moves to turn on her car, Adriano appears out of nowhere and knocks at her window. She jumps in fright.

ZOE

For Christ sake!

ADRIANO

Sorry if I scared you.

She opens her window breaths heavily.

ADRIANO

Mi patrón waits for you.

Zoe frowns glances sideways. Adriano waits patiently with a soft smile.

She hesitates for a moment, takes a deep breath and follows him.

INT. JUAN’S HOUSE – NIGHT

Zoe walks in, followed by Adriano, who closes the door softly and leads her to the main lounge. A piece of soft Cuban music plays in the background.

Adriano leads her to sit on a comfortable sofa when Juan appears. He wears bright, comfy clothes contrasting beautifully with his tanned olive skin.

JUAN

There she is.

He approaches, holding a glass of whisky. He kisses her softly, stops for a second, moves slightly close to her neck and smells her skin.

JUAN

Not sure if I recognize this perfume.

Zoe clears her throat nervously.

ZOE

I’m not wearing any perfume.

JUAN

A natural sense, then.

He backs away and stares at her.

JUAN

I like it.

She glances at his soft, tempting lips and looks away nervously.

Juan scoffs softly, charmingly, and motions her to another area of the house.

INT. JUAN’S HOUSE – ENTERTAINMENT ROOM – NIGHT

The living room is large, with a glass wall overlooking the sea. The lights of the surrounding mansions add to the charm of the look. The music comes from there.

Colourful artwork frames are hung on the wall. Zoe eyes everything in detail while Juan pours brandy on a glass. She notices there’s cocaine lined in a plate nearby.

Juan approaches and gives the glass to her. He glances at the drug.

JUAN

I hope you don’t mind.

ZOE

No, not at all.

They toast, she sips her drink. He doesn’t stop admiring her.

JUAN

I wonder why you took so long to come in and knock on my door.

ZOE

How did you know I was here?

JUAN

You didn’t answer my question.

ZOE

(blows her mouth)

I wasn’t sure if it was the right move to make.

JUAN

Did you argue with someone?

She avoids eye contact.

ZOE

Mom… She drives me crazy sometimes.

JUAN

I see. Mothers can be too controlling. They believe they own us till the end of their lives.

He takes the cocaine and prepares another line. He motions it to her, but she doesn’t accept it.

JUAN

My mother was a little bit like that, sometimes too much. We used to have big arguments, mainly when I took some girlfriends home, you know.

He snorts a line, closes his eyes for a second, exhales with pleasure and takes a sip of his drink.

JUAN

Then she would come and make me pray with her because it was a sin what I was doing. No, no, no, I couldn’t have sex before marriage; it was a nightmare for her.

He giggles softly, stares at the view outside for a moment and places a kiss on the golden cross of his neckless.

JUAN

I learned how to pray with her.

Juan stares at her.

JUAN

Do you know how to pray?

ZOE

Yes.

JUAN

And what about dancing to Cuban music?

Zoe scoffs softly and locks eyes with him.

SERIES OF SHOTS

Juan and Zoe dance to Cuban music.

They have sex; they talk a lot. They laugh.

Juan snorts cocaine, Zoe watches, he offers her, and she accepts. They have more sex.

Zoe snorts more cocaine while he talks; she rolls her eyes, yells and jumps excitedly; they dance more, they laugh more, they have a good time.

INT. JUAN’S HOUSE – BEDROOM – NIGHT

Juan sleeps deeply, but Zoe can’t relax. She looks sideways and slowly gets out of the bed. Silently, Zoe wears her clothes and eyes a small pack of cocaine intact placed on top of a small table near the bed.

She walks towards it and hesitates for a moment. She looks at Juan over her shoulders; he sleeps deeply. She opens the drawer curious and finds more. Zoe twists her lips, glances at him again, grabs two small packs when she sees a gun inside the drawer. She walks back, eyes wide open. She closes the drawer slowly, places the cocaine in her bag and leaves.

Juan opens her eyes but doesn’t say anything.

EXT. JUAN’S HOUSE – NIGHT

Zoe is about to enter her car when she hears a noise coming from the back of the wall. She looks sideways. There’s no one. She moves forward and hears that someone is getting beaten up.

Suddenly, her eyes are wide open, and we only hear the sound of someone hitting a person with hard wood, followed by the sound of a body falling to the ground.

Zoe’s eyes well, jaws dropped. She moves backwards and rushes to her car. She opens the door nervously and speeds.

Adriano sees her leaving. He holds a baseball bat with a bloodstain.

EXT. STREETS – NIGHT

Zoe cries, speeds and mumbles inaudible words. She drives careless; doesn’t pay attention to traffic lights when she passes through a police car.

The POLICEMAN turns on his car lights and follows her. With no way out, Zoe pulls over and waits to breathe heavily. She keeps mumbling words as if praying.

[Dana Abbott]

Dana’s Act 2 Midpoint

What have I learned from this assignment?

Understanding the midpoint twist creates a new plot for the story, giving my script a new direction to follow. You’re giving the audience, in a sense, two completely different stories, each with their own beginning, middle, and end.

OUTLINE –

INT. RUSSIAN SOCIAL CLUB – DAY

BEGINNING: Jack and Frank seek out the Russians for help. They need a place to hide. Jack learns that Frank did favors for the Russian while in prison to save their lives.

MIDDLE: She tells them they were paroled at a lesson to the governor. A reminder of his friend’s power. They learn the governor withheld evidence to guarantee their conviction and give him the governorship.

END: The Russian tells them they have been too involved in who. Now they should seek the whys.

SCRIPT –

INT. RUSSIAN SOCIAL CLUB – NIGHT

It’s a dark, long, private club. Very few people, shadows of people, mostly men.

OKSANA VOLKOV, 50’s, elegant, long raven-black hair, black attire, formidable. She sits at a private round table in the very back steeping her Russian tea.

A RUSSIAN BODYGUARD slides up and quietly whispers in her ear. She listens, approves and nods. The bodyguard signals another.

Frank and Jack are ushered into view by another bodyguard. Frank stands in front. He seems to know what’s happening. Jack is wary and uncertain.

Oksana smiles a subtle, patient smile.

OKSANA

Frank Valentino. We meet in the flesh — after all these years. And this must be the notorious Jack Donovan. I’ve heard about you.

(beat)

Please. Sit.

Jack and Frank take opposite sides, placing Oksana in the middle of the conversation to come.

OKSANA (CONT’D)

Would you care for some tea? It’s Russian. So be warned.

FRANK

I could use some coffee.

OKSANA

(smiling)

Of course.

(to a bodyguard)

Bring two espressos for our guests. They look in need of a jolt.

Oksana waves off he other bodyguard for privacy. She stirs her tea pensively.

OKSANA (CONT’D)

Okay, gentlemen. What brings you here to see me on this fine day?

FRANK

You know I wouldn’t be here if I didn’t have to be.

OKSANA

Nobody ever wants to be here, Frank. You, of all people, know that.

Oksana sips her tea. She and Frank are sharing a moment. Jack watches their interaction, somewhat lost.

FRANK

We need your help.

OKSANA

I’m sure you do. Torturing and killing that poor technician and his wife. You’re wanted men now.

JACK

We didn’t killed anybody.

OKSANA

That was your defense at your last trial. How did it work out for you?

A man brings Jack and Frank their coffees and quickly leaves.

FRANK

We need a place to lay low for a few days. Figure things out.

OKSANA

You know me. I never refuse an accommodation. But nothing is free. Everything comes with a price.

JACK

What are you doing? Asking her for help? Are you out of your mind? Do you want us to be in indebted to this one?

Oksana remains patient, smiling and sipping her tea. She looks to Frank.

OKSANA

He doesn’t know, does he?

Frank says nothing.

OKSANA (CONT’D)

Frank did favors for us while he was inside. A witness here. An informant there.

Jack looks across the table at his partner, staggered.

OKSANA (CONT’D)

Don’t judge your partner too harshly, Mr. Donovan. Prison has a way of bringing out a man’s animal nature — as you well know. And serving our interests kept him alive…

(beat)

And you.

Jack shoots a stare back at Oksana.

OKSANA (CONT’D)

Do you really think you survived prison by hiding in your little cell? Frank traded lives. His and yours for men of little importance.

JACK

I didn’t ask him to do that.

OKSANA

Nonetheless, you’re here now due to your partner’s altruism. You should thank him. Without our protection, you would have been dead within a year. The governor’s friends have a very long reach.

JACK

The governor?

OKSANA

You didn’t know?

Oksana studies the numb faces at her table. She feigns anger at herself.

OKSANA (CONT’D)

When will I ever learn to keep my mouth shut? It’s one of my biggest faults. Second to vengeance.

(she sips her tea)

Prosecuting you gave him his job. But he needed to guarantee your conviction first.

JACK

How do you know this?

OKSANA

Some rumors always ring true.

FRANK

Do you have your hooks in him?

OKSANA

No. And we don’t pilfer. But from time to time, we paid his friends for his services.

(she sips her tea)

Cultivating a politician takes time and money. Like a great artist or a poet. But sometimes, even the most obedient pet forget his benefactors and needs to be reminded who they serve.

JACK

And we’re the reminder.

OKSANA

His friends were concerned that he would forget them on his political ascension to Washington.

FRANK

And that’s why they got us out of prison?

OKSANA

Your pawns in a three dimensional game of chess with many players.

Jack and Frank look across the table at each other, finally recognizing the real power they’re up against.

OKSANA (CONT’D)

Now that you know the who of things, perhaps you should consider the why?

FRANK

You just told us why.

OKSANA

Not the why of you.

JACK

You mean Marcus Jones.

Oksana tips her cup of tea to him.

FRANK

Why don’t you tell us?

CLOSE SHOT – OKSANA

She smiles wryly, her cup to her lips.

OKSANA

What would be the fun of that?

She sips her tea again.

[Jess Paxton]

JESS’S TURNING POINT 2

THE MIDPOINT

What I learned doing this assignment is that the MidPoint isn’t just a reaction, but a full mini-act in itself. I wrote it as three scenes that all take place in one night, with several revelations.

INT. PRESIDENT’S SUITE — EVENING

Munson opens his hallway door. Olivia is there. He lets her in.

MUNSON

I wasn’t expecting you, Doctor.

OLIVIA

No. I mean, yes. I’m going to

dinner with Will, uh, Mister
Davies.

MUNSON

Can I get you a drink, Doctor?

OLVIA

Yes, I think so. anything.

Munson pours from his martini pitcher, looks at her curiously. He hands her the drink.

OLIVIA

I’m here to tell you that I won’t

be able to continue with the

therapy.

MUNSON

Why not?

OLIVIA

Therapy has to be confidential.

Between the therapist and the patient.

MUNSON

I haven’t told anyone about it. And I

hope you haven’t. Not even to Will.

OLIVIA

It’s not that. It’s Secret Service.

MUNSON

What about them?

OLIVIA

They have cameras and microphones

here, recording us.

Munson stops in his tracks.

MUNSON

Who told you that?

OLIVIA

Mr. Barnes. He says they can’t trust

even me alone with you. I don’t

know if they’re afraid for my life or

yours.

MUNSON

I see. And you feel this violates the

doctor-patient confidentiality?

OLIVIA

I can’t — I don’t want to operate
under these conditions. Especially

with as critical a case as this.

MUNSON

I have a lot of notes to go over.

Please sleep on it tonight, Doctor.

We can talk again in the morning.

INT. DAVIES’ APARTMENT — NIGHT

Davies dishes take-out onto some plates. Olivia peeks through the slats of the blinds and checks out the Secret Service men in the street below.

OLIVIA

Are they here for you or for me?

DAVIES

Both, I imagine. Although they don’t

seem to follow me to dinner when I’m

alone, so maybe for you.

OLIVIA

I’m quitting, Will. It’s over.

DAVIES

You know it’s not like that. You

can’t just up and leave. Do you

prefer a Beaujolais or a Bordeaux?

OLIVIA

It’s Italian. Do you have a Chianti?

DAVIES

Somewhere here…

He rummages through his wine rack.

OLIVIA

I told him tonight.

DAVIES

And he said?

OLIVIA

He said to sleep on it.

DAVIES

Good idea.

OLIVIA

I’ve slept on it, Will.

DAVIES

You need to realize that you’re

in this as deep as you can get.

Say when.

Davies brings her a glass. She holds it while he pours.

OLIVIA

I’m in deeper than you know.

DAVIES

What’s that supposed to mean?

Hey, you always say when at

half-glass. What gives?

OLIVIA

I don’t want to think tonight.

I want to get drunk, have dinner,

and go to bed.

DAVIES

I like all three ideas.

OLIVIA

No, Will, I don’t mean that.

DAVIES

Why not? They can’t see in here.

OLIVIA

I gave Munson a bullshit reason.

The real one is that it’s becoming

personal.

DAVIES

The clothes, you said. I never thought

he’d act like that. He’s out of line and

I don’t blame you.

OLIVIA

It’s not him, Will. It’s me.

DAVIES

What the hell are you saying?

OLIVIA

Come on, Will! You of all people

know that I have a thing for

authoritarian men.

DAVIES

How am I supposed to know that?

OLIVIA

Why do you think I slept with you

at Yale? Did you think you were the

love of my life? You heard the story

about my mother going to my father’s

office and tearing the bronze letters of

his name off the door? Her fingers were

all bleeding and she had no nails left.

Didn’t you ever figure out why she did

that?

DAVIES

She caught him playing around with

a coed. That’s why I never got married.

OLIVIA

Yes, Will. He was playing around with

a Stanford coed. One who inherited her

mother’s submission to powerful men.

She found out he’d been fucking his

daughter!

DAVIES

I hope you have a sister I don’t know about.

OLIVIA

She found the photos he took of me.

DAVIES

Photos of you? Dirty pictures?

OLIVIA

As dirty as they could be. I did

everything he asked, just like she

did. She couldn’t even bring herself

to divorce him. I transferred out to

Yale, and there you were, waiting for

me. I must have looked like a rabbit

in the headlights to you.

DAVIES

Whoa, kiddo, that’s unfair.

OLIVIA

I spent years in therapy trying to get

over the two of you, and just when I

think I’m going to be okay, you come

knocking on the door again and I hit

the mattresses.

DAVIES

I thought we had something a little

deeper than that.

OLIVIA

There is nothing deeper than that! I was

the totally traumatized girl you were

always looking for, and you were the

young, handsome, intellectual political

science professor of all my neuroses.

DAVIES

So, what do we do now?

OLIVIA

We don’t do anything. I have

to leave.

DAVIES

Because of me?

Olivia scoffs.

OLIVIA

Don’t you get it? You just

made me the therapist of the

ultimate alpha male on the

entire planet, Daniel Munson.

Davies grumbles.

DAVIES

That son-of-a-bitch. He always wins,

doesn’t he?

OLIVIA

Munson? Of course he wins. He’s

the President.

DAVIES

I can’t believe this is happening

again!

OLIVIA

Again?

Davies slams his wine glass into the sink, where it bursts.

DAVIES

How do you think he met Aubrey?

She was my girlfriend before you.

He took her away from me. I had to

be his best man, when he married

the woman I was in love with!

OLIVIA

You loved her?

Davies is sweating, panting, pacing.

DAVIES

She’s the reason I left Yale and you.

She came to me and begged me to

be his campaign manager, and later

I stayed on as Chief of Staff. I wouldn’t

have done it for him, but for her…

Davies strides over to Olivia. She backs up until she feels wall behind her.

DAVIES

Aubrey fell under his spell.

Don’t you do it, too. I couldn’t

stand for that again!

OLIVIA

What do you expect me to do?

My God, you and he are like

finger and thumb, and I’m the one

pinched in between!

Davies raises a hand, then stops himself and lowers it.

OLIVIA

I’m leaving, Will. Take me back

to the White House. And find my

clothes. Or I swear I’ll go to the

press and tell them all about your

sick little menage a trois.

Will backs off. He nods, then gestures at the door.

INT. FIRST LADY’S SUITE — LATER

Olivia finds an envelope on the bed. She aims it at the waste basket, then opens it.

The letter inside reads “All the cameras and microphones have been removed. Please stay.”

INT. PRESIDENT’S SUITE — MINUTES LATER

The table is covered with documents. Munson is in his shirt sleeves, his head in his hands.

A knock comes from the door adjoining the First Lady’s Suite.

Munson shakes his head to clear it. The rapping repeats.

Munson rises and crosses to the door.

When he opens it, Olivia is there.

In Aubrey’s underwear.

She reaches up and pulls his face down to hers.

[Lori Lance]

Lori’s Act 2 TP – Midpoint

What I learned from this assignment is…this is the same journey, but with a different meaning now.

Outline Scene:

EXT. CHURCH – NIGHT

Beginning – Thomas arrives and sees the live nativity scene, then drives around to the back of the church.

Middle – John has new information about the wreck that killed Chelsea Peterson.

End – The conversation turns dark and hints at Joan’s cause of death.

EXT. CHURCH – NIGHT

A beautiful live nativity is set up in front of the church. There are other cars stopping to look, and an audience along the sidewalk.

Thomas makes his way around to the back of the church to the parking lot.

John drives up in a truck hauling a small animal trailer.

The men GREET one another.

JOHN

Good news, I’ve found a calf.

John pats the side of the trailer.

THOMAS

That’s great.

JOHN

I heard some news today.

Thomas looks with concern.

THOMAS

Yeah?

JOHN

It’s about Chelsea Peterson’s death.

Thomas furrows his brow with worry.

JOHN

It’s what they expected, an accident due to the icy roads. No one was at fault.

Thomas nods.

THOMAS

I guess that’s good to know. But who do you blame, when there’s no one to blame, God?

John looks shocked.

JOHN

Do you blame someone for Joan’s death?

THOMAS

Henry Spencer, drunk as a skunk.

JOHN

He did his time.

THOMAS

Six months? You call that time?

JOHN

You know why they released him early. He’s seventy years old and in bad health.

THOMAS

Forget it. Why are we talking about this again?