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Post Day 17 Assignment Here
Click reply and post your assignment here.
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12 Replies
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Stafford’s Act 3 Reaction to Midpoint
What I learned from this assignment, like any other story, everything has a cause and effect. For every setup we create, it has to follow through with a pay-off.
Midpoint: Marisol confronts Mateo about his affair with Glorivette; she kicks him out, and Mateo checks into a motel.
Reaction/Rethink: Glorivette shows up to Mateo’s motel room. Continues to harass and threatens his life. A huge fight breaks out between the two, Miguel threatens Glorivette’s life to show that he’s as crazy as she is.
INT. MOTEL – FRONT OFFICE – NIGHT
Frustrated look on his face, Mateo carries his work-bag on his shoulder as he leans on the counter —
MATEO
A room, please.
MOTEL CLERK, mid 30’s. Stands behind the counter as he types on a computer.
MOTEL CLERK
I.D.
Mateo pulls his wallet from his back pocket — passes his I.D. to the motel clerk.
MOTEL CLERK
Thank you.(types at computer)Would you prefer a standard bed or king?
MATEO
Doesn’t matter.
MOTEL CLERK
And how many nights?
MATEO(annoyed)
Not sure. Can you just get me the room?
INT. MOTEL ROOM – NIGHT
Mateo lies in his bed. Stares at the ceiling. Probably wondering how did he get here.
MATEO
Puta madre.
Mateo shuts off lamp next to his bed. The room goes dark.
INT. MOTEL ROOM – NIGHT
Mateo sits in a chair. Watches TV as he eats Chinese food from the carton and sips on a beer. He hears a KNOCK at the door; catches him off guard.
Mateo sets his food and beer next to the TV as he prepares to open the door.
He wipes his mouth. Opens the door to see Glorivette standing there.
MATEO
What the hell are you doing here? How’d you find me?
GLORIVETTE
Relax… I just want to talk, Mateo.
MATEO
We’ve got nothin’ to discuss, bruja. Adios!
Mateo closes the door, Glorivette uses her hand to push it back open —
GLORIVETTE
I think you might want to hear what I have to say.
Mateo’s reluctant to open the door; lets Glorivette inside.
Mateo shuts the room door. Glorivette studies the room.
GLORIVETTE(amused)
I guess Marisol didn’t take my news very well?
MATEO
What the fuck did you say to her?
GLORIVETTE
Nothing but the truth. I found her Facebook– Didn’t expect her to respond to my message so fast.
MATEO
Are you fucking crazy? Do you know what you’ve done? You possibly ruined my life.
GLORIVETTE
Now, we can finally be together–
MATEO
Not a chance! Never!
GLORIVETTE
What is it about her? Look at me, and look at her. I know you still think about our time together–
MATEO
Callate! I don’t wanna hear it! You need to go!
GLORIVETTE
You must not understand how this works: If I can’t have you, no one will.
MATEO
You keep the Mari, entender?
GLORIVETTE
What are you gonna do, eh? You don’t have the “cojones” to stop me.
MATEO
You’re fuckin’ crazy. Get out! Ahora!
GLORIVETTE
Fine! Go back to that disgusting perra you’re so “committed” to.
MATEO
I’d choose her over you any day, pendeja. Face the fact that you’re a washed up skank and a lousy lay. Now get the hell out of here.
Mateo turns his back.
Glorivette’s triggered. Grabs Mateo’s beer bottle —
GLORIVETTE(SMASHES bottle over Mateo’s head)
Pinche cabron!
MATEO
Mierda!
Glorivette hops on Mateo’s back with her arms around his neck.
She CHOKES and digs her nails in his face. They destroy the room; KNOCKS over the TV.
MATEO
Ahh!
Mateo SWINGS Glorivette off his back. She BOUNCES off the bed.
Glorivette gets off the ground — JUMPS over the bed to attack again.
Mateo tries to restrain her. Glorivette SCREAMS as she hits him.
Mateo STRIKES Glorivette in the face. She falls back on the bed. Mateo GRIPS her by the throat —
MATEO
Look at me! Look…at…me! You listen… if you come near me or Mari again– I’m gonna show you how loco I can be! I can be just as crazy as you! I’m gonna hurt! I’m gonna–
Mateo grabs Glorivette by her hair —
MATEO
Get the fuck outta here!
Mateo DRAGS Glorivette on the floor. Pulls her by the door. Opens and throws Glorivette out of his room. SLAMS the door shut. Glorivette kicks at the door —
GLORIVETTE (O.S.)
You haven’t heard the last of me, pendejo!
Mateo, out of breath, sits on his bed as he looks towards the door.
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Karin Hallén’s Act 3 Reaction to Midpoint
What I learned doing this assignment is that I had too many scenes planned for Act 3 and I am having to cut and/or combine some. I learned that in order to keep both character’s journeys interesting (buddy comedy) I have to find and identify the key scenes not only for the protagonist but also for my antagonist.
I’m also still learning to be ok with not having the dialogue I want in place before moving forward.
Outline Act 3 Key Scenes
Act 3.
Rethink everything
Key Scene1.
EXT. CONVENTION CENTER – DAY
Beginning
George and Geena exit the building. Geena carries the box of books that now has a visible dent in its’ stock. As soon as they come outside, George tells Geena off.
Middle
He’s interrupted by a couple of guys who comes up and praises him for the structure of his seminar and how much more dynamic and fun it was compared to more traditional approaches. The other guys says that he understands much better now thanks to Geena, what George mean with his theories. That they are an awesome team etc. The guys leave.
End
George looks pensive.
Key Scene 1B
INT. HOTEL ROOM 2 – NIGHT
George sits by the hotel desk and counts book sales and inventory. He looks pleased. He thinks. Geena’s lamp sits on the side table. You can see slight movement inside it.
Key Scene 1 C (or is it key scene 2?)
INT. LECTURE HALL 3 – DAY
Beginning
George orders Geena to sit closer to the stage. He makes a joke about Geena trying to mimic her style and make her counter with a comment. It doesn’t work. He is not funny. Geena remains silent. An audience member asks specifically for Geena to answer her question.
Middle
George swallows his pride for the sake of business and observes Geena’s charisma on stage and adjusts his strategy for how he uses Geena.
End
George lets her stay onstage for the the rest of the seminar and takes the credit for planning her into the “show”.
PLACEHOLDER: Key Scene 2, or 3 George
MONTAGE
Scene(s) that shows that George uses Gena more and in different ways.
Key Scene 2 Geena’s perspective
INT. LECTURE HALL 4 – DAY
Beginning
Geena says she’s tired. Says she’s not used to talking this much. She had nobody to talk to for 3 millenniums. Geena tells George that she not interested in going any further than the wishes have obliged her to. George doesn’t care. Geena decides to use her new power to make things more difficult for George, so that he’ll get tired of her and finally ask for his last wish.
Middle
Geena says bad things about George and answers in a rude way to the audience. But it all backfires, because she is so funny that the audience loves it and roars with laughter.
End
A lot of books sell. Geena is pissed off. So is George. But he’s happy with the book sales.
Key Scene 3 Geena 3 B George
EXT. TENNIS COURT – DAY
Beginning
Geena and George play tennis. Someone comes up to Geena and asks her something.
Middle
She says something to deliberately reflect poorly on George. He realizes that Geena has power with people now, and that he needs to change his manners towards her and be nice, to try to get her to change her attitude, without him having to ask for his last wish.
End
He lets her win in tennis and praises her after the game. She sees through him and lets him know she’s onto him.
Key Scene 3 C George, 3B Geena
INT. LARGE CONFERENCE ROOM – DAY
Beginning
George pushes Geena even more time at an all day seminar, cashing in on her popularity. Geena is exhausted and completely fed up.
Middle
After a short coffee/bathroom break in the lecture, Geena changes her strategy and starts mimicking George’s way of talking and the audience quickly loses interest. Some leave.
End
While George and Geena pack up after the lecture George confronts Geena about her change of style to deliberately chase people away. She plays oblivious and innocent. She says “What do you mean, I talked exactly the way you do? I learned from you.” First George argues and says she didn’t sound at all like him. She makes actual comparisons between what she said to what he always says and proves that she is right. After a moment George realizes that she’s right. George looks shocked and Geena looks smug. She hums a happy melody. It’s obvious that she knows she has the upper hand now.
INT. PUBLIC RESTROOM – DAY
George looks in the mirror. He looks defeated. He sees an imaginary image of Geena behind him in the mirror, talking and sounding exactly like him and it’s monotonous and dull. George buries his face in his hands.
EXT. CITY – DAY
Placeholder
On the way to hotel, after lecture. Geena tells George that she will make him so unpopular by being exactly like him that nobody will buy his book or ever come to see him again, unless he will ask her for his last wish just to. George hangs his head, resigned and defeated.
Key scene 3 C Geena
INT. HOTEL – DAY – MOMENTS LATER
TRANSFORMATIONAL EVENT 6B
Geena grabs a golf resort pamphlet and reads it at the bar. She spits out her drink when she sees a price for a golf stay there. She realizes that golf at resorts costs a lot of money. She needs money! Suddenly success becomes important to her as well.
INT. HOTEL ROOM 3 – DAY
Placeholder:
Geena tells George they need to get to work, because she needs money. Now George has the power. He plays hard to get, but only for a minute. He needs Geena. She makes a deal with him to get a percentage of the book sales and speaker fees.
MONTAGE:
Scenes of mostly Geena speaking at different convention centers and book stores and hotels. She gives it her all now. She has her eyes set on success, which in her eyes mean money. Huge applause and great book sales. The success is there. The money. The audience.
Key Scene 3 D – for both George and Geena
INT. LECTURE HALL – DAY
Beginning
End of a seminar. Huge success. George and Geena doing a high five and actually getting along. Talking about how awesome it’s going.
Middle
Geena counts money. That’s all she cares about. George talks about how he’s becoming famous. He’s beaming. Maybe he even thanks Geena.
End
A moment of positive peace. It looks like they are both on their way to get what they want.
Key scene 4 A – George
EXT. NEWSSTAND -DAY
George picks up the local newspaper and there is an article about him and Geena coming to town to speak. In the picture Geena is in the foreground and he is barely visible behind her. And her name is first in the article.
Key scene 4B – George
INT. COFFEE SHOP – DAY
Beginning
George stops to get a coffee. He overhears two women talking about his book in front of him in line.
Middle
He perks up and is about to approach them when one of the woman says that she heard that Geena ghostwrote the book and George just put his name on it an got all the credit. The other one says “I heard that too. Everyone knows it. She is so much smarter” “Typical men”.
End
The women grab their coffees and walk away. George reacts.
Key scene 4 C – George
INT. CONVENTION CENTER – DAY
Beginning
Oprah calls Geena and wants to interview her, and only her.
Middle
George completely looses it and yells at Geena. “ This is all mine! You’re just my assistant.” Or something like that. A lot of people hear him and frown upon George.
End
They all turn to Geena, who offers a couple of nearby reporters interviews (the inside scope) for money.
Key Scene 4 D – George
INT. CONVENTION CENTER – DAY – LATER
Someone mistakes George for being Geena’s assistant. Maybe while selling books? He is completely broken.
Key Scene 4 E
INT. LUNCH RESTAURANT – DAY
PLACEHOLDER:
SCENE THAT SHOWS: Geena makes no secret of loving her new power and making money for her golf retirement. At the same time she is tied to and by George’s control until he’s asked for all his wishes. And George is furious at the recent turn of events. He yells and whines about how unfair everything is. And he reminds Geena that she can only come out of the lamp when he asks her to be by his side? He brings this up in a fight at the restaurant. And he reminds her that it’s up to him if she’s ever going to retire and he says she doesn’t deserve it. Maybe they storm out, fighting. Maybe one part of a couple sitting at another table nearby says something like, “See that’s why I don’t want to get married.” Or some other misinformed comment.
Key Scene 4 E – George Key Scene 4 Geena
INT. HOTEL ROOM 4 – DAY
Beginning
George threatens to never ask Geena a to come out of the lamp again. Geena says that he can’t do without her. After all, she the reason they’re successful. But she doesn’t care, she has enough money for golf in Florida now.
Middle
George threatens to throw the lamp in a dumpster with her in it. She pales but says he wouldn’t dare. They both express all the pain of a horribly co-dependent relationship. The fight escalates. Geena says something that is the straw that breaks the camel’s back. George completely loses it and without thinking he blurts out: “I wish I never had to see you again!”
End
Geena Makes a victorious gesture (maybe she had planned this all along with this fight??) She grants him his wish and “swoosh”, she disappears. Maybe the lamp should explode into pieces when this happen, illustrating George’s complete crash and the irrevocable nature of the moment??
Write Key Scene 1: Reaction/Rethink
KEY SCENE 1 A
EXT. CONVENTION CENTER – DAY
Short scene of people outside the convention center, in line at the cafeteria, at lunch tables etc, talking and spreading the word that George’s lectures are worth checking out. They frequently mention his “sidekick.
George and Geena exit the building. Geena carries the box of books that now has a visibly less books in it than earlier. As soon as they come outside, George unleashes on Geena.
GEORGE
I can’t believe the level of lying and backstabbing you are capable of.
GEENA
And what exactly did I lie about?
GEORGE
You…
George is interrupted by the Impatient Man and the Short Man who come up to them to shake George’s hand.
IMPATIENT MAN
Really brilliantly structured seminar. I’ve never seen anything like it in this industry. Way more dynamic and engaging than the traditional approach.
George gathers himself.
GEORGE
Thank you.
SHORT MAN
Yeah, man, I understand what you mean with your theories way better now. The way she played it after you pretended to get sick. You make an awesome team. Hey, can I buy another book, I want to give one to my sister. Her birthday is coming up.
GEORGE
Sure, of course.
George gives the man a book from the box Geena is still holding.
SHORT MAN
Would you sign it, please? To Lizzy.
George beams as he signs the book with flair. The Short Man turns to Geena.
SHORT MAN
Would you sign it too, please?
George steps in front of Geena.
GEORGE
Oh, she’s got nothing to do with the book.
George nods goodbye and stands in front of Geena until the men leave. After they are gone he and Geena keep walking. George looks pensive.
KEY SCENE 1 B
INT. HOTEL ROOM 2 – NIGHT
George sits by the hotel desk and counts book sales and inventory. He enters the numbers into his laptop program. He looks pleased. He ponders, tapping his fingers on then desk. He looks over at Geena’s lamp which sits on a side table in the corner. You can see slight movement inside it.
Key Scene 1 C (or is this 2?)
INT. NEW SEMINAR ROOM – DAY
George and Geena put out books on a table by the wall and Geena takes a seat behind the table.
GEORGE
No, I want you to sit here by me until the seminar is over. There, just to the side a little.
George points at the stage. Geena moves her chair while people enter the room.
George takes center stage.
GEORGE
Welcome. Here we are at a wellness convention and all is well, just ask my assistant Geena here WELL on her way get it… WELL…haha, to learn how to speak in front of an audience from working with me, or what do you say Geena, do your eyes WELL up with gratitude at this opportunity? (Insert a joke about Geena trying to mimic her style and make her counter with a comment.)
Geena meets George’s joke with a blank stare. The audience looks uncomfortable the way an audience does when a stand up comedian is embarrassing and unfunny.
George leans over whispers to Geena but forgets that his microphone is on so everyone can hear him.
GEORGE
(whispers) Stand up and say something that starts with well, well, well now.
Geena shakes her head.
GEORGE
C’mon I spent all night writing that.
The audience laughs. George looks surprised. Then he realizes his microphone was on. His face turns red.
An AUDIENCE MEMBER raises her hand and addresses Geena.
AUDIENCE MEMBER
I’d like for Ms Geena to answer this question. (Insert question for Geena here.)
Geena stays in her chair.
GEORGE
Answer her.
George hands Geena the microphone. Geena stays in her chair and answers.
GEENA
(Insert intelligent, insightful and witty answer here)
The audience applauds and laughs in a good way. Another person in the audience says something to Geena and she counters with a perfect answer/comment.
AUDIENCE MEMBBER 2
Insert dialogue here
GEENA
Insert answer here
George observes. He looks tense, his hands are clenched into fists, but he manages an unnatural smile when the audience cheers and applauds. He fights hard to keep up appearances and reminds himself with an INTERNAL MANTRA over and over of what’s most important.
GEORGE (V.O.)
Sales comes first, sales comes first, sales comes first.
George steps up to Geena and pulls her up from the chair and into center stage.
GEORGE
Geena everybody! Geena why don’t you stand up here with me for the time we have left today. Seems we make a good team.
Geena shakes her head. The audience chants her name.
GEORGE
(Insert dialogue in which George takes credit for planning Geena into his “show”) (Something along the lines of:
Thank you, thank you. I have always been great at reading people and I’m glad my gambling with an unknown like my assistant Geena is… who is from hereon part of my every speaking engagement. Because why settle for just a seminar when we can have a show. Right, Geena?
GEENA
I don’t know, you tell me, that’s what you do all day long, anyway.
The audience laughs.
The rest of the seminar goes great and when it’s over a line forms behind the table to buy books.
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Bernadette Wilson – Lesson 17 – Act 3 begins
What I learned in this lesson is that there was a serious gap in my thinking about the midpoint. But building the scenes up to it got me to the midpoint. Lots of overwriting and underwriting but finally getting to the point of emotion where Brinda has to save herself propelled me into Act 3. Pressing on.
INT. SILVER LAKE FACILITY – DAY
Brinda and Cal arrive at the Mental Instittuion.
CAL
We’re here without the bosse’s permission so let me do most of the talking.
BRINDA
Why do we need his permission?
They enter into the Institution and are greeted by guards. Heavily guarded gated facility.
Brinda is a little nervous being there. She hated it here.
CAL
We’re here to see the administrator.GUARD
Do you have an appointment?
CAL
No, just credentials.
The guard looks at his badge and calls the administrator.
GUARD
She’ll be right out.
BRINDA
She?
Brinda turns around and looks at Cal.
BRINDA
They’ve changed administrators.
An Ver Well Dressed ADMINISTRATOR, VIVIAN PEELE comes to the front.
VIVAN
How do you do?
CAL
I’m Cal Pratner. This is…my partner, Julie.
Brinda looks at him weird but she goes along with it.
VIVAN
Will you follow me please.
INT. VIVIAN’S OFFICE – DAY
VIVAN
It’s not really our procedure to go into someone’s private files detective unless you have a warrant.
CAL
I understand that but we need to answer a few questions. A Dr. Sonya has been hurt and we need to find out who might have done this to her.
VIVAN
Dr. Sonya Vieteg.
CAL
Yes.
VIVAN
She has not been here in 4 years let alone have any clients here any longer.
CAL
Did the Doctor leave with a good record.
VIVAN
As far as I know. I came after her.
CAL
Do you know anyone who might want to have hurt her. An angry patient. Someone psychotic.
VIVAN
From what I understand Dr. Vieteg had an impeccable reputation here. She was mostly on the side of the patient.
CAL
On the side of the patient.
VIVAN
Yes, I understand that she stopped many a lobotomy that was unneccessary.
BRINDA
We’re inquiring about a Miriam Cage, who was here.
VIVAN
One moment let me check.
Cal looks at Brinda weirdly.
CAL
What? A relative?
Vivian comes back.
VIVAN
I’m sorry there was no one under that name here within the past 10 years.
BRINDA
Not here?
VIVAN
I’m sorry?
BRINDA
Maybe an alias? Another name? Someone by the name of Baker?
Vivian looks again.
VIVAN
Yes – here we are. Mary Joe Baker.
Vivian take the file out and examines it. She hands it to Cal.
BRINDA
Mary Joe Baker was not lobotimized.
CAL
How do you know this?
BRINDA
My dad put me in here under my mother’s maiden name. Baker.
Cal is astonished.
BRINDA
AShamed I guess.
VIVIAN
Here we are. There’s a Mary Lou Baker.
BRINDA
Bingo.
Vivian looks at the file.
VIVIAN
There’s no further record on her I’m afraid. Doesn’t have a release date.
BRINDA
May I?
Vivian gives her the file.
BRINDA
So this Mary Joe Baker was not lobotomized and has no record of being here as of 7 years ago.
CAL
It doesn’t say anything.
BRINDA
What happened to her?
VIVIAN
It could be a family situation. For privacy reasons. We have no way of knowing.
BRINDA
Who was the doctor attending to her?
VIVIAN
Dr. Sonya Vieteg.
BRINDA
How could you k not know about a patient here?
VIVIAN
Miss, I’m not at liberty to discuss any patient with you. Now if you have a search warrant or are family, then maybe we can help you.
CAL
We’re sorry. We’re just looking for a lost relative. Please, can we take this file?
VIVIAN
I’m sorry I can’t do that.
Someone calls out Vivian for a moment.
VIVIAN
Will you excuse me?
She leaves the room for a moment.
Brinda and cal start looking through the files. And Brinda has a camera with her. And takes pictures of the file.
Or no – she’s right outside the door.
Vivian comes back in –
VIVIAN
I’m sorry I have a meeting to attend to. Thank you for coming.
CAL
I appreciate your help.
Both Brinda and Cal leave the office.INT./EXT THE MENTAL HOSPITAL’S LOBBY – DAY
Brinda and Cal are walking out of the lobby when a PATIENT passes by who Brinda recognizes. THE person is lbotomized.
BRINDA
Kathy…Is that you.
Kathy looks up at her but does not really recognize her.
BRINDA
It’s Brinda. Remember?
Kathy looks up and stares and smiles at her. But she does not really respond.
The NURSE keeps wheeling her along.
Brinda is quite pulverized by the reaction from Kathy.
Cal and Brinda walk out of mental institution.
INT. CAL’S CAR – DAY
Brinda is really shocked by what she just saw.
Cal understands because he knows that Brinda almost met the same fate like her mother before her.
He pulls over.
CAL
YOu know you don’t have to do this anymore.
For the first time we see Brinda break down in tears and Cal holds her. She really breaks down.
PLACEHOLDER: Does she kiss him or not? Maybe not. Does she tell him that she’s a virgin?
EXT./INT. OUTSIDE BRINDA’S APARTMENT – NIGHT
Cal pulls up to Brinda’s apartment.
CAL
You want me to come up?
BRINDA
No, I’m fine. I’ll be alright.
CAL
You sure?
BRINDA
Yeah. Thank God I got out of there. Some of us were not so lucky.
She begins to get out of the car.
CAL
Hey. Call me if you need anything.
BRINDA
Sure thing.
Brinda gets out and goes up to her apartment.
INT. HOSPITAL ROOM – DAY
Brinda is in there talking to a very Sick Sonya.PLACEHOLDER – Perhaps in this scene we see Mimi’s file, but there’s another file of a Mary Joe Baker.
In Mimi’s file we see that she was lobotomized for violent tendencies and died 7 years ago here.
Mary Joe Baker was releaased but there is no record.
Perhaps Mimi ran away, but is disguised as a hospital worker/nurse and getting the drugs from this hospital.
They pass by a woman who has a bunch of files with her. She looks at Brinda and Cal as they pass by.-
This reply was modified 3 years, 11 months ago by Byrne Wilson.
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This reply was modified 3 years, 11 months ago by
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Rich and Mary Chamberlin’s Act 3 Reaction to Midpoint
What I learned doing this assignment is to regroup the outline at the midpoint of it all is good, and as we brainstormed changes to Act 3 we got several amazing change ideas.
1. Using your Beat Sheet, outline your Act 3 Key Scenes.
Key Scene 1: React/Rethink the new reality revealed by Midpoint
EXT.- JAX’S APARTMENT – DAY
Morty shows up as Melanie is leaving with her son, Kyle. Kyle begs to get together soon, Melanie relents. Morty says we’ll go flyin’, maybe in a big grass field.
There is a local air show over the three day weekend and maybe they all can go. Jax hears/sees Morty in a new light. Morty beams, tells Melanie
and Jax that last night when he got home, the App had setup a first date.
Key Scene 2: Makes a new plan.
INT. JAX’S APARTMENT – DAY CONTINUOUS
Morty tells Jax that maybe he should get a job. Then, Morty comes up with an idea. Go apply for his old job and see if he gets hired a la his company telling him that they were getting rid of people to downsize and not hiring anymore. Then, Morty will know whether or not their was ageism against him. Morty tries to find Jax’s Dad and get him to “show up” for their presentation. Melanie mentions her Mom has a new beau, that he’s older but “a catch.” They plan the flying party, making it a celebration of all their good news.
Key Scene 3: Things start going well, until…
INT. DINER – NIGHT
They work on scenes. A whole new idea combining their concepts, Yard Wars. Jax tells Morty that the job was labeled as assistant, but Morty sees that
it’s the same job only less money. Morty is convinced now that it was ageism that got him fired. With a three-day weekend coming up, they decide to take
a writing break and have the Picnic then. Morty can invite his new date and Jax can invite Melanie and Kyle.
Key Scene 4: Turning Point – Protagonist faces their lowest low.
EXT. AIR SHOW FAIRGROUNDS – DAY
Jax’s Dad, who is a bigwig at the airshow presenting corporate stuff, notices Jax driving in. Bella Bustamonte is with him, she’s an ex-air force flyer
demonstrating planes today. Jax sees Bella, thinks she’s the “mystery” date of Morty’s. But then, he is surprised when Melanie’s mom shows up and is Morty’s date.
Jax gets into an argument with his Dad, because he sees him with Melanie and Kyle. Dad cuts off funds. Morty tells the Dad off, too, after Jax leaves on the sly.
Says “I wish I still had a son to screw up like you have.” Later Jax confronts Morty about dating Melanie’s Mom. They argue, then he sees Bella getting Kyle to do push-ups and he likes military discipline – Jax goes wild, shades of his Dad’s stern ways.
2. Write Key Scene 1: Reaction/Rethink.
EXT.- JAX’S APARTMENT – DAY
Morty puts Mabel into neutral as he parks in the only street spot open.
MORTY:This seems to be my lucky day!
He knocks at Jax’s door, and when it opens Kyle runs by and jumps into his arms, like an plane. Morty catches him and proceeds to carry/fly down the sidewalk.
MELANIE: We were just leaving – by car, that is.
JAX: And we have a lot of writing to do, champ. Grown-up stuff.
KYLE: Mom! Can we visit Uncle Morty? I want to see his bachelor launching pad.
MELANIE: We were just talking about the big Air Show over the holiday weekend. Maybe we all can go together.
MORTY: I’d love that, they have a picnic ground there, we can make it a shin-dig.
Jax hears/sees Morty in a new light. Morty beams, about to share other news.
MORTY (CONT) Last night, when I got home, I saw that those people at the App had sent a note. I’m having my first date!
KYLE: First date in your life?
MORTY: Seems like it.
MELANIE: Congrats big guy. Break a leg, or whatever people do on dates anymore. Not that I’ve been on one in forever either.
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THIRTY DAY SCREENPLAY ASSIGNEMTN 17
James E. Clark Act 3 Reaction to midpoint
What I learned from this assignment: The processing of the outline into a scene gives structure to the process but also inspires creativity because it removes the problem of having to think of story structure on the fly.
OUTLINE OF ACT 3 KEY SCENES
KEY SCENE 1 TE 9 & TE10
Beginning
EXT. CAMP – DAY
Carrie is at a table down by the lake. Her Bible is open. She prays asking for guidance in dealing with civilian life.
Carrie starts to treat the volunteers as her equals rather than like young sailors.
Middle
The volunteers start to include Carrie in their off time activities. She builds a relationship with a woman close to her age.
Nelson starts to see a change in Carrie
Nelson and Carrie spend time together and eat at the same dining hall table.
Carrie is manifesting more symptoms of her disease.
End
Carrie makes plans to complete her 50 state journey.
KEY SCENE 2 TE 11
Beginning
Carrie is on the road. She stops by a river and soaks her feet in the water as she lays on her back watching the birds and clouds fly by.
She thanks God for letting her go on this journey
Middle
Carries driving through a small Midwest town. A poor farming community. She passes a Christian school.
She notes the leaning flag pole, the tattered US and State flags.
Carrie stops at the hardware store. She gets the flags,, rope, paint and a bag of cement.
Carrie gets permission from the school. She unloads the materials.
End
Flagpole is completed and standing upright.
KEY SCENE 3 TE 12
Beginning
Back on the road. Carrie is in a campground for the night.
She tells God she’s still mad at him for cutting her life short. But, she understands He’s in charge, not her.
Middle
Carrie’s in a restaurant going over her map. She has six states left to complete her journey. She notes that the last three will be South Carolina, Georgia and Florida.
She heads for New Hampshire, Vermont and Maine are also unmarked
Carrie’s in Maine. She opens her map. Vermont and New Hampshire are done.
KEY SCENE 4 TE 13
End
Carrie is beginning to have increased mobility issues.
ACT 3 REACTION TO MIDPOINT
KEY SCENE 1
EXT. DECK – DAY
Carrie is making notes on what needs to be done. Two girl volunteers walk by and don’t see her.
GIRL 1 (VO)
I just wish she were nicer.
GIRL 2(VO)
I know. And now the Camp Director is Navy too. Hope he’s nicer than her.
GIRL 1(VO)
Yeah. But he’s sure easy on the eyes.
GIGGLES
EXT. CAMP BY LAKE – DAY
Carrie is sitting at a picnic table. Her Bible is open. Her head is bowed.
CARRIE
Lord, please help me to be a better example of what a leader should be.
INT. DINING HALL – NIGHT
Carrie and Nelson are having a cup of coffee.
NELSON
So?
CARRIE
Treat them with respect.
NELSON
Yup. Nice goes a long ways.
EXT. CAMP – DAY
Carrie has a group of women volunteers. She’s giving them training on the use of power tools.
CARRIE
See? You can use power tools. Now you can go home and show up your husbands. Who wants to learn how to drive a skip loader tomorrow?
Every hand goes up.
SHEILA
Wanna join us for S’mores at the fire pit after dinner.
Carrie – big grin.
CARRIE
Yeah, nice.
INT. CARRIE’S RV – DAY
Carrie rolls out of bed and falls. She’s having trouble moving her legs.
INT. CAMP OFFICE – DAY
NELSON
You sure?
CARRIE
It’s time. I haven’t made my goal yet. I’ll come back.
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Assignment 17. Act 3- rethinking N. Lucas
Hal and Cheryl, this is still in ‘story’ form, complete with typos- but it is the point where he is confronted that someone else may care for Nicky and he realized his jealousy. And he also realizes he does not care for Daphne’s type. He wants to change his life his circumstances- and environment and that opportunity is right around the corner–
Great news- the sister has everything set up . we are looking forward to a friends and family diner at the the elegant stupid — and on Saturday morning—We are doing a late morning wedding on the beach
“Well that sounds beautiful”
Her wedding dress is having its final alterations done and, with the sunshine on our side—I think the day will be beautiful.
“wont you please join us, Nicole? You are like family already—you have been such an aid to us all”
Well—let me see – I mean someone will have to cover here – I would have to check with my sister. And its Christmas eve—
You know what – how silly of me—it is! I have an even better idea—how about your sister and her whole family come! It would be so wonderful! Let the kids run around—who cares—all that matters is the moment!
“well, I..” Nicole hesitated until Daniel insisted. Sure. I ‘l mention it to my sister—that is so gracious of you. Thank you so very much.
(Dinner—what happens? Daphne? A dance beween them” at the dinner—the sister has a phone call and needs to get back to the hotel?
The sister and her family leaves – the kids need to go to bed so santa can come
At the dinner—
Well im so happy the couple is ready
I think it is all settled, we have the arch, the flowers,
Did the bride decide on a wedding cake? Its fine. It will all work out.
The song that is playing Eros Ramizotti Piu Che Puoi “all you can” more than you can.
nicole takes a phone call – but looks over to tell Peter she needs to leave. She sees him dancing with Daphne—who is laughing with Peter and happens to glance over to NIole giving her a shrewd look.
Nicole looks down at her plate- to see her reflection. She doesn’t need to get into a boxing ring to fight for love—that is not how it works. Brandon, a good friend of the groom, asks her to dance. Astonished, she is happy to and out of the corner of her eye, she finds Peter looking at her. Brandon gives her a kiss on the cheek thanking her for the wonderful dance and complimenting her on her dress. You look absolutely beautiful –
He asks her if she would like a cocktail – and she accepts—they find their own corner–,and peter sees him and her in a corner – both drinking a martini—her raven hair long an flowing – but then, realizing the time, Nicky needs to leave…
Now Peter is dancing with daphne—
Daphne says: “look at those two they are drinking martinis as though they are making future plans” she laughed at him – who is peter is now just staring at them—yes so silly
Well we have a full life up there in Chicago
Who knows what lies ahead for us.! We have the world by the tail- you know—im excited for you to become permanent partner at the firm—it s just down the street—maybe we can have lunch together now and then.
Sure that sounds like a great idea.. peter nods while still looking away.
peter steps up his game but to no avail. Daphne gets in the way somehow
Nicky takes her car back home. She checks on the hotel and puts on her sweats and heads to the restaurant.
There she begins decorating the restaurant and making the surprise wedding cake for the happy couple.
And a vegan, and a gluten one and a carrot cake for the lucky man.
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Rae’s Act 3 – Reaction to mid-point
What I learned with this assignment, is this a brilliant framework in which to write a script. It is starting to flow like magic.
ACT #3 OUTLINE:
KEY SCENE #1
RE ACT/ RETHINK THE “NEW REALITY” REVEALED AT MID-POINT
INT. SCHINDLER INVESTMENT PROPERTIES – DAY
Jesi knocks and enters Jason’s office. He looks up, disinterested.
JESI
Jason, I want to apologize for my bad behavior over the past three months. There’s no excuse, it’s just I’ve had a lot on my plate, dealing with the aftermath of my father’s death and manning his construction company. I’ve been running myself ragged. So I’ve been on edge —
JASON
(stops and listens)
Take a seat.
She looks down at her right hand. Sees the wedding ring, rips it off and stuffs it in her purse.
JESI
You weren’t here, but I’m sure you heard that I lost it in the bull pen day before last.
JASON
So I heard.
JESI
Well, all that has changed. I just signed up two new listings. Thirty units in The Shores, and a twenty five unit building in Anaheim.
JASON
(beams, shakes her hand)
Well, congratulations! Wow! Now you’re talking. Need any help?
JESI
I sure do, and it’s gonna be a big learning curve. Both Michael and Suze have agreed to walk me through the listing and marketing procedures — so far it’s all going well.
JASON
Well, I’m here for you as well. Keep this up and you could be our new “Rookie of the Year.”
JESI
Any advice you might wanna throw in?
JASON
Share your listings with the guys. You might make some friends out there. We all need friends, you know.
JESI
(grins)
Even you?
JASON
Even me.
(pauses)
Say, where did you get those leads?
JESI
Friends of friends. It’s amazing what can happen when you put yourself out there.
JASON
Have you told Henry?
JESI
Henry and I aren’t getting along these days — but maybe I will.
INT. BULL PEN – LATER
Jesi approaches the bull pen, stops in the center and clears her throat. No one flinches or even looks up.
JESI
Hey, fellas!
TWO MEN look up from their desks, that’s all.
Jesi gives a loud pitched dog whistle! She gets all of their attention.
JESI
I just want to say, to all of you, that I’m sorry. I was an unmitigated creep the other day.
Heads are nodding in agreement. She gets a few smiles.
JESI
Again, I’m sorry.
Michael snaps beside Jesi to give support.
MICHAEL
Guys, lets hear it for our top producer. Listed 20 units and sold them in a day. I also heard she’s got one or two more listings coming up.
This gets their attention.
AGENT #1
Where are they located? What’s the price per door? I’ve got buyers.
AGENT #2
Do we get first shot? I mean before the word gets out.
JESI
Yeah, for sure. I will definitely let you know.
IN THE REAR
Henry’s at the door of his office watching the whole scene. Shakes his head in the negative, returns to his desk.
ON JESI AND MICHAEL
She squeals as Michael lifts her, spins her off her feet.
TIME LAPSE
Jesi knocks on Henry’s door, peeps inside. Henry’s disinterested.
JESI
How’s the Haiku going?
HENRY
(grunts)
What, did you come to flaunt your listings? How the hell did you even get your foot in the door?
JESI
Female prowess.
HENRY
Well, if and when you decide to share I’ve got the buyers.
JESI
Of course. Once I get the green light I’ll be sharing with all of our agents.
HENRY
Give me a two day exclusive and I’ll give you a percentage.
JESI
I didn’t know you were that desperate.
HENRY
Okay, forget it.
JESI
Sorry, that was nasty. It must be the residue from you stealing Harold’s listing.
(extends hand)
Can we be friends?
HENRY
Yes, we can, friends.
(hesitates)
And sorry to be such a prick. It’s a defense mechanism. Ever since I came to the school of hard knocks.
INT. BULL PEN/ HENRY’S OFFICE (LATER)
Jesi sits and writes a Haiku to Henry.
HAIKU
Sorry takes courage;
Comes from the enlightenment;
That lives in the heart.
Jesi approaches Henry’s office, knocks and enters. She hands him the Haiku. He reads it and smiles. All of the past negative fall out seems to fall away.
MONTAGE:
INT. YACHT CLUB (LONG BEACH) – EARLY EVENING
Jesi meets with BOSS MULLER (75), one of Harold’s property rich buddies. They sit casually, on stools at the bar. She hands him a contract to sign.
BOSS
This is what I like, good old fashioned pen to paper. Don’t need any of that fancy E-sign. Have you told Harold?
JESI
Told him what?
BOSS
That I caved in and gave you a shot at selling my property?
JESI
Yes I did, and he was thrilled.
BOSS
Sneaky old bastard. Now don’t you go giving him a finder’s fee. He’s got more money than God.
JESI
Of course not.
Jesi tucks the signed contract safely in her purse.
INT. YACHT CLUB (LONG BEACH) THE NEXT EVENING
Jesi meets JOE SCHMIDT (80), at the same bar as the night before. He’s a little more conservative than his buddy Boss. He takes forever to read every line. Finally he picks up a pen and signs the many pages.
JOE SCHMIDTI
I was an engineer, you know. We’re a real pain in the ass when it comes to reading contracts.
JESI
(she knows this)
Absolutely not!
TIME LAPSE
Jesi and Joe are still at the bar. They have polished off a bottle of wine and the barman is opening another.
JOE SCHMIDT
Don’t you bringing me anything less than a full price offer, young lady.
JESI
I’ll do my best, Sir.
JOE SCHMIDT
When you sell this one I’ve got.
END MONTAGE:
INT. HENRY’S OFFICE – NEXT DAY
Jesi enters, throws another new listing on Henry’s desk.
JESI
Start calling your clients. You’ve got a twenty-four first shot.
HENRY
Another one!
JESI
Yeah, and that’s not all. I’m listing his Newport units next week.
SUPERIMPOSE: ONE MONTH LATER
INT. JESI’S PRIVATE OFFICE
Six months on the job, Jesi now occupies a private office. Michael enters, congratulates her.
MICHAEL
Congratulations, babe.
JESI
Thank, I love my new office.
MICHAEL
Didn’t you hear? You just won “Rookie of the Year.” There’ll be an award celebration.
JESI
Oh shit! You’re kidding me.
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JUDITH ABINGDON Reaction to Midpoint
“What I learned doing this assignment is…?” I’m just going to trust the plan!
outline Act 3 Key Scenes
1.After her party and the weeks of late nights there is talk of her going back home.,
she talks with Mel and Inez.
2. When Michael tries to have sex with her, she decides this is really not working.
4.Seeing that none of these plans are working, Juliet decides she must follow the whispers of the universe and move out on her own, or with friends and begin her own journey.
2. Write Key Scene 1: Reaction/Rethink.
INT. MEL’S ROOM EVENING
Johnny Carson is on in the background on Mel’stiny tv
JULIET
Oh, Mel, why cain’t I get my shit straight?
Mel
Because you’re a teenage girl! Stop being such a hard case! Remember what I said, tightrope act?! A few steps forward, a few steps back, perfectly normal my little Jewel.
JULIET
How can you always be so relaxed?
MEL
I only get the best weed. Seriously, take my advise! Have a joint. Hey, all this shit will seem so minor by next year. Just go with the flow.
JULIET
I wish I could. But see your parents support you, it makes a big diffrence.
MEL
It is cool to know that they have my back, but hey, I got your back Jules!
JULIET
I know you do, and I really do dig ya for it, but I need to figure out what the hell I’m gonna do with the rest of my life.
MEL
Just do what comes natural, which I think might be singing and dancing!
JULIET
Oh yeah, those jobs are just falling out of the sky.
MEL
Well if you focus on it, they just might.
JULIET
I’ll try and be open to that. For now, I guess I’m gonna hafta move back home, Inez’s sister is a real bummer. Not just to me, I hate the way she treats Inez. You know Inez bought that house with her own savings and let her sister move in when she had nowhere to go, and all she does is give her shit. No wonder Inez drinks every night.
MEL
That does suck. Inez is a solid person, I guess her karma will kick in at some point.
JULIET
Her what
MEL
OH, nothin, that’s a topic for another day. Hey on the right side, you will be back in the hood and we can hang like old times!
JULIET
You always make me smile, see ya soon.
INT. INE’S KITCHEN NIGHT
Inez sits at the kitchen table with the requisite bottle of beer and shot of whiskey beside it. She is just staring into space as Juliet comes in, goes over gives her a big hug
JULIET
How is my most favorite woman in the world?
INEZ
Just carrying the weight of the world as usual. How are you monkey?
JULIET
Oh Inez, I hope have not let you down. I can’t seem to do anything right these days.
INEZ
Don’t be silly my love, how should you know how to deal with things that have never happened to you before. I think you are doing just fine. It’s other people’s expectations that get out of hand. If you are talking about Madalyn, just remember nothing makes her happy, except her golden boy, Michael and that pedestal is so high he is sure to fall off one day soon.
JULIET
Oh INEZ, why couldn’t you have been my Mom! Life would be so much sweeter.
INEZ
But Monkey, if I was your MOm we would not have this great relationship. It’s just how things work. Anyway this way I get to spoil you. Now come over here and let me give you some love. YOU are going to be OK, I know it!
END SCENE
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What I learned doing this assignment is writing to pick up old ways to new ways get to a answer scenes from act 2 to new beginning, middle and end.
Using your Beat Sheet, outline your Act 3 Key Scenes.
Write Key Scene 1: Reaction/Rethink.
INT. RAQUEL APARTMENT – NIGHT
She avoids his passes. Mark wants her to listen.
Reaction/Rethink: She tells him about her intentions on leaving.
He is not willing to listen.
Phone rings.
Mark picks it up. He hands it over to Raquel. On the phone she hands it back. The phone call is for Mark. The caller wants him at a docking area.
Reaction/Rethink: Mark and Raquel start to go. Mark tells her to stay.
Mark goes to the docking area. Why the newspaper reporter didn’t come in. He thinks the kidnapping is a hoax.
INT. MARK’S APARTMENT – NIGHT
Mark walks in. Raquel is in the apartment. She tells him she had to leave because she couldn’t wait for him. Raquel is going through the apartment. He tells her what he thinks happen.
Reaction/Rethink: She sits up on the bed. Mark jumps back and sits on the top of an empty desk.
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JAYE’S ACT 3 REACTION TO MID-POINT
What I learned is that this is a pivotal turning point in the script. I have to prepare my protagonist to face his lowest low.
In the previous scene, that I’m not sure how much I should reveal in the scene itself, Mayor has propositioned Villain to betray Hero and Villain objects, but before he can act, Scientist implants a device in him that tracks and listens, and will explode at the push of a button if Villain gives anything away.
In this scene, the beginning of Act 3, Villain is struggling with trying to interact with Hero while holding onto a dark secret. He wants to figure out a plan, but has to keep Hero’s knowledge out of it.
INT. HERO’S PENTHOUSE / LIVING ROOM – SUNSET
Hero is pacing the floor, annoyed. Chugging a beer. A KNOCK.Hero opens the door. It’s Villain. Looks distressed.
HERO
(pissed)
What happened to you?Villain holds the right side of his abdomen.
VILLAIN
Nothing.HERO
You look like shit.Hero walks away, leaves Villain standing in the doorway. Villain
lumbers in.HERO (CONT’D)
You with the Mayor this whole
time? What’d you talk about?VILLAIN
I was trying to fly.Hero laughs.
HERO
Without me?VILLAIN
It’s obvious we’re not changing
back.HERO
Take me to your house.Villain almost seems startled.
VILLAIN
No.Hero stops. Baffled.
HERO
No?Villain steps in. Closes the door.
VILLAIN
I need to lie down.Villain ambles gingerly to the couch. Lays back. Hero goes to the
kitchen, grabs a beer.Villain lifts his shirt. Reveals a three-inch wound on his right side.
It’s inflamed. Sutured. Looks fresh and painful. He touches it.
Winces.Hero comes back with two beers and Villain quickly pulls his shirt
down. Hero holds a beer out to him.HERO
Lemme see.Villain chugs.
VILLAIN
It’s nothing.Hero goes to the window.
VILLAIN
Why do you want to go to my
house?Hero stares out at the city.
HERO
It’s only fair. You’ve seen where
I live. I wanna know where you
live.Hero drinks. Villain is silent. Hero turns back around.
HERO
I’m changing. And I hate it.VILLAIN
You’ll get used to it. Might even
like it.Villain drinks.
HERO
That’s why I hate it. -
Lesson 17
What I learned for this Assignment:
I want to highlight the character relationships and also keep the story moving.
Act Three Key Scenes.
Ext: Jackson House- Day
Jackson waits next to his packed truck. He is worried that is wife is still refusing to leave even after they have been told by the military to evacuate.
Ext: Downtown Philadelphia-Day
The army is fighting the aliens.There is a large explosion and city hall falls. The soldiers fall back, and the population begins to evacuate the city.
Ext: George Washington Bridge Bus station -Day
The bus station has been transformed into a large evacuation center. Kendra leaves Michael and the little girl in the care of the military. She crosses the bridge and enters New jersey.
Key Scenes:
Int: Jackson House-Day
Jackson sits across from his wife pleading with her to leave with him. She keeps insisting that the military is going to take care of the aliens. Jackson tells her he has to get the children to safety.
Ext: George Washington Bridge-Day
Michael learns from the Army Sergeant that Kendra has crossed the bridge into New jersey. Michael and the little girl decide to go after Kendra.
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Christi’s Act 3 Reaction to Mid point
Well, I learned that since my midpoint was wrong, I needed to do some surgery. I had to kill one of my favourite scenes -not the first time, won’t be the last time- and developed the stress for the detective to an amped degree. He’s new marriage is falling apart, he can’t save Bryce and it’s clear to everyone he doesn’t seem to be following procedure.
I know this is for people to write screenplays but I’m finding this very helpful in the rewrite!
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