-
Post Day 17 Assignment Here
Reply to post your assignment.
-
16 Replies
-
Charles Ferrell’s Act 3 reaction to Midpoint
What I learned doing this assignment is how to make the protagonist dig deeper in his/her well of reaction and still be wrong.
ACT 3
INT.THE LIBRARY BAR – AFTERNOON
Duncan asks Lance to join him at the bar, grabs a booth in the back won’t sit at the bar.
LANCE LARRSON
So, buddy, whats up..you looking a little green around the gills
DUNCAN SMALLS
Hitomi’s in the hospital and I just got fired
LANCE LARRSON
I thought she’s in the hospital everyday cause she works there and how did you get fired?
DUNCAN SMALLS
She’s in the hospital, not at the hospital and I apparently jumped the gun on my thesis
LANCE LARRSON
Lance leans back and makes a time out sign with his hands
Wait, what, time out…Back up this train. Your girl is a patient and not treating them and you somehow got fired because of your thesis?
DUNCAN SMALLS
I got the Regent to approve my theme and that pissed off the Chancellor who fired me, for going over his head. Hitomi got run off the road, Oh and someone broke into my car.
DUNCAN SMALLS
I think someone is out to get me
Lance puts his face in in hands then rubs them back and forth across his head a few times, he pulls out a cigarette and lights it
DUNCAN SMALLS
Mind if I have one (reaching out, Lance hands him one and lights it)
LANCE LARRSON
Yeah, buddy..I think we need the old glass bong for this one. (takes a long deep drag) so first off is your girl ok?
DUNCAN SMALLS
Yeah, just a broken arm and banged up but she’s safe in the hospital
LANCE LARRSON
Ok, check one. Anything taken out of your car?
DUNCAN SMALLS
Yeah, file copies for my research
LANCE LARRSON
Well, you can make new copies…no biggee (nodding his head as if he’s working it all out)
DUNCAN SMALLS
Nope, the originals were stolen from the state archives and someone tossed my apartment
LANCE LARRSON
Now that is interesting, quite curious indeed…so some dipshit misplaced them, coincidence man, at the same time your girl gets in a fender bender..oh and some student broke into your place to steal pizza money…definitely a bad day but by no means CIA shit.
Duncan is looking out the window and checking around the room, obviously spinning in his head
LANCE LARRSON
Hey man, I appreciate you reaching out but what is it you want me to do. I’d think you would want to be with your girl right now..
DUNCAN SMALLS
I want you to help me steal a boat, I need to know whats in that lake.
LANCE LARRSON
Doo, Whaaat? Friends are supposed to help you hide the bodies, not search for them. I’m not a thief.
DUNCAN SMALLS
I know you didn’t buy all that shit in our dorm room, I need your help now.
LANCE LARRSON
Hey, you used that stereo just as much as I did. So I don’t wanna hear any shit out of you…Look, we can’t steal a boat and..and even if we did, say we find an old boot or a helmet? That proves nothing, its just old trash.
DUNCAN SMALLS
I know I’m onto something, someone is out to stop me..Now I have to know
LANCE LARRSON
This is def some overthinking and not overdrinking, conspiracy theory shit…none for me
-
Don Thompson’s Act 3 reaction to Midpoint
What I learned: In this case, the protagonist ponders his situation and sums up his situation. Eventually, he will need to react to the betrayal of the antagonist.
EXT. CANNON PORTAL – NIGHT
Billy sits on a small ledge that juts out from a cannon portal. Squeak finds him there and crawls out on the ledge with him.
SQUEAK
Good evenin’, Budd.
BILLY
Evenin’ Mr. Squeak.
Beat.
SQUEAK
It’s a calm sea tonight.
BILLY
Calm as glass.
Beat.
SQUEAK
I like a calm sea. It puts my mind at ease. Except for on this ship.
Billy looks him over.
SQUEAK
You know the impressments are complaining.
BILLY
I never put much stock in complaining.
SQUEAK
Well, they’re complaining, and in my mind, they sound like the crew of the Nore.
BILLY
You mean the mutiny?
SQUEAK
Aye. Did you hear about that?
BILLY
Everyone knows about the Nore.
SQUEAK
I fear we’re heading there. Claggart and his harsh rule. The Captain runs to his maps. Seymour and Radcliff hardly ever leave the Quarter Deck.
Budd nods.
BILLY
That’s not enough reason to mutiny.
SQUEAK
Not even against Claggart? You like him?
BILLY
I’d like to be his friend. He seems like a lonely man to me.
Squeak LAUGHS.
SQUEAK
Lonely? He’s too damn cold-hearted to be lonely!
BILLY
Every man needs a friend, someone to talk to.
SQUEAK
I’d like to take a wife someday.
Beat.
<b align=”center”>BILLY
Aye – a wife and children. But not on a seaman’s pay. (pause) I’ll doubt I’ll ever marry.
SQUEAK
Why don’t you join me and the other impressments? We’ll make a go at takin’ over the ship.
But raises his eyebrows.
BILLY
I ain’t a mutineer, Mr. Squeak. I have much too much respect for me elders. If you give them respect, generally they repay you in some way.
SQUEAK
With the lash.
BILLY
I got a promotion.
SQUEAK
At the cost of a dead man.
Billy looks down.
BILLY
That he is. But he brought it on himself.
Squeak looks him over.
BILLY
Kinkaid is the only one with any killin’ on his mind, in my opinion.
SQUEAK
But he’s not a recruit — he’s a navy man through and through.
SQUEAK
Thanks for the chat, Budd. Don’t be tellin’ the Captain about what we discussed… I’ll deny it!
BILLY
I won’t tell anyone. You have me word.
Squeak nods and leaves.
-
Lesson 17: Act 3 Begins
ASSIGNMENT
BG’s Act 3 Reaction to Midpoint
What I learned doing this assignment: Trying to keep straight my acts, my 4 Act Transformational Structure, my Beat Sheet…
Using your Beat Sheet, outline your Act 3 Key Scenes.
Outline of Act 3 Key Scene 1: Reaction/Rethink.
BEGINNING: Six agents from MI6 show up to search the St. Michael conference room. No bugging devices are found.
MIDDLE: Hostess makes a call on a secure link.
END: Energy Mogul hires an ASSASSIN.Write Key Scene 1: Reaction/Rethink.
INT. ST. MICHAEL CONFERENCE ROOM – DAY
Five men and one woman are buzzing around with wands, scanning all the walls, furniture, equipment, anything they can reach. They are AGENTS from MI6. They don’t look like James Bond. Billionaire hovers like a mother hen.
AGENT 1: Clear!
AGENT 2: This room is clean, sir.
Billionaire looks relieved.INT. CORRIDOR OUTSIDE ST. MICHAEL CONFERENCE ROOM – DAY
In the distance, Hostess turns the corner and disappears.INT. GERMAN INTELLIGENCE AGENCY – DAY
Intelligence agency boiler room. Agents working at their desks. Screens all around. One GERMAN AGENT feels a slight buzz in his pocket. Checks his phone and stands up. He does look like James Bond. He leaves the room.EXT. GERMAN INTELLIGENCE AGENCY – DAY
Beautiful grounds surround the agency buildings. German Agent sits on the grass under some 100 year old trees, talking on his phone.INT./EXT. HOSTESS’S CAR NEARBY STREET – DAY
Hostess in her car with cellphone to her ear.
HOSTESS: Bees buzzing in the hive. Damn bees! They will sting me one day!
GERMAN AGENT (on Hostess’s phone): Talk is yellow jackets from across the pond got a whiff of a high-latitude flower.
HOSTESS: I’ll have to figure out something to distract them away from the mule.INT. ENERGY MOGUL’S LONDON PAD – DAY
Killed and stuffed animal heads adorn the walls. Lots of horns. Energy Mogul has propped up his right leg and talks on the phone.
ENERGY MOGUL: I’m planning to walk a little in the park today. Need exercise.EXT. HYDE PARK – DAY
Energy Mogul walks slowly with a slight limp under the trees. Next to him is a nondescript man, wearing glasses, a cap and an expensive light trench coat. He is ASSASSIN. They seem to know each other well.
ENERGY MOGUL: He’s such an idiot. It’s always his club, his precious conference room, his plan! He thinks he is emperor of the world!
Assassin walks with a blank face.
ENERGY MOGUL: I don’t like smart people! They are dangerous!
Assassin finally sneaks a sideways glance, as if to say, This idiot doesn’t seem to think I’m smart.
ASSASSIN: I thought no bugs were found.
ENERGY MOGUL: Doesn’t matter, I know that young man did it! I told him! I said that young man is too smart, too good-looking. Get rid of him! Does he listen to me? Nooo! He’s such an idiot!
He turns to the Assassin.
ENERGY MOGUL: I guess he likes him because the young punk is smart!
ASSASSIN: What would you like me to do?
ENERGY MOGUL: I don’t want you to kill him or anything. Just break every bone in his body. I want him in the hospital for a year! Out of my hair! Until this opportunity is over.
ASSASSIN: Yes, sir.
ENERGY MOGUL: Let him choose his own damn wine!
Energy Mogul’s limp has become more pronounced. Assassin slows down.
ASSASSIN: Leg bothering you, sir?
ENERGY MOGUL: Damned gout! He serves me roast pheasant! Every time! I know he’s doing it deliberately – I know it! He knows I can’t resist it and that it causes my gout to flare up! I know it!
He frowns.
ENERGY MOGUL: And make it look like he was mugged.-
This reply was modified 3 years, 3 months ago by BG ERENGIL.
-
This reply was modified 3 years, 3 months ago by BG ERENGIL.
-
This reply was modified 3 years, 3 months ago by
-
Janeen’s Act 3 – Reaction to Midpoint
What I learned doing this assignment is my beat sheet was more complete because I had outlined the movie in a previous class (Action). When actually writing the scenes, I add transition scenes, etc. as I go sort of automatically. Less to do on the 4th day.
OUTLINE:
Key Scene 1: React/Rethink the new reality revealed by Midpoint
INT. NICK’S 2ND CAR – LATER
Nick pulls into an abandoned farmstead for a bio break. Ivy and the parents share info about the FBI radio’s tracker and Nick’s cottage plan, Ivy will see them at the cottage. The parents tell Nick about the radio tracker. He doesn’t believe them.
EXT. SMALL TOWN HOUSE – NIGHT
Nick sees an older car for sale, stops, buys it with cash, makes them change clothes again, this time in ridiculous Christmas outfits. Grizzly pees on the FBI radio, so Nick throws it into an open moving vehicle because he trusts her opinion – and it stinks.
INT. TERRORIST’S HQ – MORNING
Leader says the FBI agent was an idiot, heard how he screwed up at gas station. Orders hit men to clean up everyone at the house — they know where it is.
EXT. IVY’S HIPPIE VAN – MORNING
Ivy talks to Joy on the phone. She’s found Nick’s great aunt’s house and plans to sneak in. She leaves the hippie in a nearby park and walks back to the house.
Key Scene 2: Makes a new plan.
INT. LAKE HOUSE – MORNING
Ivy investigates the house — key was under the mat. It is old lady chic. She hears a car outside, sees it is Nick’s clunker.
EXT. LAKE HOUSE – MORNING
At the lake house Grizzly is excited (happy) to see Ivy and Nick sees her when she’s trying to get Grizzly to leave her. They fight, holiday style, with the parents trying to stop Nick. Ivy realizes she still has her phone. Big time screwup.
Key Scene 3: Things start going well, until…
INT. LAKE HOUSE – DAY INT. WHITE HOUSE – DAY
Nick tells her to call the President and fill him in. President tells them to hole up until he can get it all sorted. He trusts Ivy.
EXT. LAKE – DAY
Nick is in a kayak with Ivy’s phone. He takes it to the middle of a lake, sets it afloat in a milk jug and goes back to the lake house.
INT. LAKE HOUSE – DAY
Ivy says Rudy needs his HBP med. He says they need to move and grabs a couple of keys from his aunt’s key rack, telling the parents to fill in the rack with other keys.
INT. LAKE HOUSE 2 – DAY
Nick and Ivy look for meds in the houses on either side of the parents, and don’t get caught. Ivy raids the medicine chest for meds and leaves. (Fun distraction at door).
INT. LAKE HOUSE 3 – DAY
Nick raids the refrigerator and pantry, putting things in a grocery sack and takes keys from the key rack. Everyone trusts their neighbors here and he seems to know them all. He leaves.
INT. LAKE HOUSE – DAY
They return, Nick tells them to grab anything they think will be useful. They are going to another house.
EXT. DINGHY – DAY
Bundled up and dressed as Santa and his elves, the parents and Ivy get in a dinghy. They hear car doors and Nick runs down the iced over canal, pulling the dinghy. Later, we see Ivy pulling the dinghy and finally both of them. They stop at a boat ramp, help the parents out. A snowmobiling group shows up, they ask for a lift and ride to Lake House 4 (or thereabouts).
INT. LAKE HOUSE 4 – LATER
Ivy is cleaning up the kitchen after a meal. Nick is sleeping like a baby, Grizzly cuddled between his shoulder and ear. Holly and Rudy doze in chairs. Holly catches some sleep too.
END OF LESSON 18
Key Scene 4: Turning Point – Protagonist faces their lowest low.
INT. LAKE HOUSE 4 – EVENING
Holly turns the TV on. The newsman says the search is going house to house. The TV shows the assassins intermingled with FBI agents.
END OF ACT 3
SCENES
INT. NICK’S CLUNKER – LATER
NICK is driving, HOLLY and RUDY are still huddled under the Santa suit in the back seat.
Nick sniffs the air, looks around, sees Grizzly sitting next to the FBI radio in the passenger seat.
NICK
You didn’t.
Holly and Rudy wake up, look around, wondering.
Grizzly whines, puts her head down.
NICK
You did. You little bitch!
HOLLY
I didn’t do anything.
Nick shakes his head, furious.
NICK
Grizzly did. She peed on the FBI radio.
Nick looks ahead at the deserted road, spots a driveway into an abandoned farmstead, pulls in.
He stops the car, pulls wipes from his go bag on the floor and cleans up the radio.
NICK
This is gross. Why didn’t you tell me you had to go?
Grizzly whines and looks at him with pleading tiny poodle eyes. Nick softens.
NICK
Alright. Maybe you tried.
Holly and Rudy smile at each other and chuckle in the back seat.
NICK
You two, stay right here. Do not move a muscle!
He gets out of the car, turns back, waiting for Grizzly. She doesn’t move.
NICK
I see. You blew the whole wad on the radio. Nice work partner.
He leans in to talk to Holly and Rudy.
NICK
Unlike you, I didn’t get a break at the rest area. I’m going to visit some thirsty bushes. Don’t move.
Holly and Rudy chuckle again.
INT. IVY’S HIPPIE VAN – NIGHT
IVY watches from a distance, pulled over on the deserted road’s shoulder, lights out. She rolls down the van’s window and slips out, moving stealthily toward Nick’s clunker.
Once there, she taps on Rudy’s window, telling him to roll it down.
Rudy tries, but without power, he can’t.
Ivy moves to the passenger side, away from Nick’s tracks and opens Holly’s door.
Grizzly immediately jumps to the back seat, neatly landing between Holly and the open door.
IVY
Do you need to get out, little sweetie?
HOLLY
She went on the FBI radio.
IVY
Tell your chauffeur to get rid of that thing. That’s how the FBI, and I, have been tracking you. I don’t know how he could be so stupid.
Ivy picks up and cuddles Grizzly who rubs on her.
HOLLY
He’s had a lot on his mind, I think.
RUDY
He’s a hell of a fighter. Saved us from the foreign dudes.
IVY
Is he a good guy or a bad guy?
Grizzly licks her hand.
IVY
Well I’m sure you think he’s a good guy, you little cutie.
RUDY
I think he’s a really good guy.
HOLLY
Really good. You should consider dating him.
Ivy immediately puts Grizzly down, gets serious.
IVY
Are you two out of your mind? I’m trying to keep you alive.
HOLLY
So is Nick.
RUDY
He’s taking us to his great aunt’s lake house in Iowa. He hasn’t been more specific than that.
IVY
I’m sure Joy can find it for me. I’ll see you guys there. And make sure he gets rid of that radio.
Grizzly whines. Ivy picks her up, gives her a hug and plants a kiss on the top of her head.
IVY
Be good, you two.
She slips Ivy back over the seat to the front.
IVY
Shut the door when he gets back. Tell your chauffeur you thought the dog had to go potty if he asks.
Ivy slips away into the dark.
INT. NICK’S CLUNKER – MOMENTS LATER
NICK opens the front door, slips in.
NICK
Why is that door open? Did I not tell you to stay in the car?
RUDY and HOLLY exchange a look. Holly nods for Rudy to speak.
RUDY
Grizzly was moving around. We though maybe she needed a potty break. She didn’t go out, though.
HOLLY
We thought she might change her mind and left the door open for you.
Nick rolls his eyes, pats Grizzly on the head.
HOLLY
Are you married?
Nick looks at her in the mirror, frowning, wondering.
NICK
Why are you asking?
HOLLY
Just curious. You’re rather good looking, seem to have plenty of money for a mall Santa.
RUDY
And you’re a really good fighter.
Nick fires up the car, backs out of the farmstead.
NICK
No, I’m not married and I’m not interested in you Holly. I’m never interested in married women.
Holly and Rudy laugh. Eventually, Nick smiles too.
After a moment, Rudy nudges Holly, pointing slightly toward the radio. Holly addresses Rudy, not Nick.
HOLLY
Don’t those FBI radios have trackers in them the same way phones do?
Nick closes his eyes, mortified.
RUDY
I think so.
NICK
Damn it! How could I be so stupid!
EXT. NICK’S CLUNKER – LATER
Nick rolls onto a four-lane, pulls up behind a pickup without a topper, rolls down his passenger window.
HOLLY
We’re freezing back here. Shut that window.
Nick speeds up, passes the pickup, doing an underhand throw of the radio that lands neatly in the pickup bed.
He rolls up his window, backs off from the pickup, rolls up the window, and takes the next exit.
EXT. SMALL TOWN HOUSE – NIGHT
NICK pulls in to a parking spot on a deserted residential street. Picks up his go bag. Walks down the street.
EXT. SMALL TOWN HOUSE – NIGHT
NICK knocks on the door. A scraggly looking young man answers.
Nick hands him a wad of cash and takes the keys from him.
He opens the car door, sets his go bag on the seat, opens the bag. GRIZZLY hops out. He rezips the bag and shoves it onto the floor on the passenger seat.
NICK
Let’s go pick up some new duds for Holly and Rudy.
INT. NICK’S CAR – NIGHT
NICK is driving on a four lane highway again, wearing the Santa suit.
HOLLY and RUDY are in elf costumes, asleep in the back seat. GRIZZLY is asleep in Nick’s lap.
INT. TERRORIST’S HQ – MORNING
Several TERRORISTS are in the office with the HEAD TERRORIST.
HEAD TERRORIST
Dasher and his men are idiots. Complete rout at the easiest place to catch them.
TERRORIST
What do we do now?
HEAD TERRORIST
Call in Vickson and Cometti. Tell them to stand by to clean up Dasher and his crew. Give them the go-ahead as soon as we find out where Santa and his crew are going next. Then they can take out Santa and his crew, but not the parents. Is that clear?
TERRORIST
Yes, boss.
The head terrorist contemplates, venom in his eye.
EXT. IVY’S HIPPIE VAN – MORNING
IVY is driving slowly on a cramped residential street of lake cottages. She is on the phone.
IVY
I took a drive by of the great aunt’s house. It looks deserted. I’ll sneak in and wait for them.
JOY
What’s the plan?
IVY
I’ve parked the van at Van Meter park. I told the hippie couple I’d get them their van back today. Have it towed to the rest area where I picked it up. I’ll leave the keys in it.
JOY
How do we find them?
IVY
My guess is they’ll still be sleeping in my car at the rest area. Have the tow truck pick that up and have it deep cleaned.
Ivy shudders. Joy laughs.
JOY
Will do, boss.
-
Peter Birdsong’s Act 3 Reaction to Midpoint
What I learned: I won’t lie. Today was difficult. I think my midpoint is all wrong and will be completely redone. The good thing is I think I know what it should be. I wasn’t able to map out my 4 key scenes because I’m honestly not sure now what the third one is. But… Hoping I have an epiphany this evening. Sorry… this looks like a journal entry. What did I learn… I learned I can keep going and not get hung up on one scene.
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.
EXT. OCEAN – DAY
The fishing line dips suddenly.
I/E. YACHT – DAY
The reel on the rod clicks. Then… ZZZZZZZZZ!
The line takes off!
INT. SALON
ZZZZZZZZZZZ!
Carly shoots her gaze at the line.
CARLY
Oh my God. Mom? MOM!
She jumps up and rushes for the doors.
I/E. YACHT – DAY
Carly makes it to the rod, and looks it over confused. She looks out into the water. The line shoots off sideways suddenly!
Carly darts back into…
INT. SALON
And quickly moves down the steps to her mother’s cabin.
BANG BANG! She knocks!
CARLY
Hey!
The door swings open. Laurel looks confused and tired. Caryl is taken back for a minute.
CARLY
Hey.
LAUREL
What?
CARLY
What? Oh… fish. FISH!
Laurel’s eyes go wide and she pushes past daughter!
I/E. YACHT
Laurel runs to the rod as the line spools out!
CARLY
I’ll take the wheel.
LAUREL
Are you sure?
CARLY
Yes! Set the hook this time!
LAUREL
What?
CARLY
I don’t know, I read it. I figured you’s know!
LAUREL
No!
Laurel locks the reel and it SNAPS to a stop. She begins to work the reel. Laurel screams trying to reel it in!
CARLY
What?
LAUREL
It’s heavy! Damn heavy! Help me!
CARLY
What about the boat?
LAUREL
Forget it! Help!
Carly runs down to her mother.
CARLY
What do I do?
Laurel turns the crank but it’s slow going.
CARLY
Don’t lose it.
LAUREL
What do you think I’m trying to do?
CARLY
Okay! Okay.
Laurel pulls on the crank, but she can barely get it to budge!
LAUREL
I can’t. It’s too heavy.
CARLY
Give it slack.
LAUREL
What?
CARLY
I’ve seen that before. Give it slack and then reel.
LAUREL
Get behind the rail.
CARLY
What?
LAUREL
We’re going to do this together and I don’t want this thing pulling us into the water.
Carly braces herself against the rail, and grabs hold of the rod. Laurel lifts the rod out of it’s bracket and the whole things jerks hard!
They hold on, screaming against the strength of their catch!
LAUREL
Pull!
They pull together, and then loosen reeling line in as they do.
LAUREL
Again!
They pull! Carly bracing her stance wide. The relax and Laurel reels!
LAUREL
Keep going!
They tug!
Laurel reels!
LAUREL
Again!
PULL!
REEL!
CARLY
We’re doing it!
LAUREL
Pull!!
They pull again! The fish jumps!
CARLY
Holy shit!!
LAUREL
I know!! PULL!
They pull together! Laurel reels as fast as she can!
CARLY
The net!
LAUREL
I don’t think it’s going to fit!
They pull again and Laurel reels!
LAUREL
Grab the gaff.
CARLY
The what?
LAUREL
Pull!
They pull again!
LAUREL
See that poll with the hook mounted to the rail?
Carly reaches for it, and Laurel feels the rod slip!
LAUREL
Wait!
Carly grabs her mother and the rod.
CARLY
What’s the plan?
LAUREL
I’m not losing this rod. It was expensive.
CARLY
One of us has to let go!
LAUREL
Move back to the bracket. On three. One. Two. Three.
Together they shuffle back to the bracket and push the rod inside locking it in place.
Carly grabs the GAFF of the rail.
CARLY
I’m afraid to ask.
The fish is close. They cane see it fighting the line not ten feet off the boat.
LAUREL
Well… you need to step down there and pull the fish onboard.
CARLY
How!?
LAUREL
You stab it with the hook.
CARLY
WHAT!?
LAUREL
Or you can reel it in closer.
Carly look at the rod, then the gaff. There’s a lanyard on the handle. She loops it around her wrist.
CARLY
I can do this.
Carly steps down to the starboard aft. She’s just over the water now. The fish dragging just out of reach.
CARLY
I can do this.
LAUREL
Get ready!
CARLY
Shit… I’m going to do this.
Carly extends the gaff and hits the water. Miss!
CARLY
Closer!
LAUREL
(grunting)
Trying!
Carly tries again. Splash! MISS!
CARLY
I can’t reach it! We’re going to lose it!
Carly reaches and slams the gaff down! It smacks and jerks in her hand.
CARLY
I got it. I GOT IT!
The gaff goes wild and Carly grabs hold with both hands.
LAUREL
Pull!!
Carly summons every bit of upper-body strength he has and hauls onboard the largest fish she has ever seen!
They both breathed a sign of relief. The mahi-mahi flopped and Carly SCREAMED!
Laurel sunk to the deck breathing hard and leaning against the boat.
LAUREL
Drag it up here.
Carly Stumbled to her feet and began to pull the large fish up to the main deck.
Laurel pulled herself up and walked to the doors.
INT. SALON
Laurel opens a drawer and retrieves a long knife.
I/E. YACHT
Laurel emerges, knife in hand.
CARLY
What are you going to do?
LAUREL
You’re going to-uh-you’re going to make a deep cut just behind the–
CARLY
The hell I am!
LAUREL
Well! Are you just going to let it lay there and die?
CARLY
I had considered it! Why don’t you do the-the deep cut thing?
LAUREL
I reeled it in.
CARLY
I hauled it in!
LAUREL
I know, and now you can finish the job.
Laurel holds the knife out to Carly. The fish FLOPS near her feet.
CARLY
I’m not cooking or cutting it up.
LAUREL
Fine.
CARLY
Fine.
Laurel is still holding the knife.
LAUREL
Carly.
CARLY
OKAY! Okay…
She takes the knife.
CARLY
Where?
LAUREL
Just behind the head. You’re severing the spin.
CARLY
Have you–have you don’t this?
LAUREL
Of course not. The man who sold the rod told me.
Carly leans down. The fish jumps causing Carly to SCREAM and jump up!
CARLY
Shit! Shit! Shit!
LAUREL
We’re going to talk about your unladylike language later.
CARLY
Oh like THIS is lady like!
Carly bends down again. She close now. She positions the knife… and pushes. The blade sinks deep and the fish relaxes.
CARLY
There.
Carly looks up and sees her mother with her hands over her face.
CARLY
You’re hiding!?
LAUREL
Yes. Sorry.
(beat)
Nice work!
INT. SALON – NIGHT
A fully cooked fish filet steams on a plate in front of Carly.
She cuts into it and forks a bite. She slowly puts it into her mouth.
LAUREL
Better than beans.
Carly’s eyes roll up as she relishes the fresh taste.
CARLY
Much.
Laurel hold her glass up. Carly pauses mid-chew and looks at her questioningly.
LAUREL
To our first fish.
Carly considers this for a moment. She take her glass and DINGS her mom’s.
They both drink.
CARLY
I took your book.
LAUREL
Oh?
Carly studies her.
CARLY
You didn’t notice?
LAUREL
Yes.
CARLY
I’m just thinking… we both have places we’re trying to get to.
Laurel sips her drink, but remains silent.
CARLY
If I help, maybe… Maybe we’ll get this trip done and we can both get where we want to go.
LAUREL
To California?
CARLY
Yeah. Well, and you your big CEO job.
Laurel considers this. She feigns a smile and raises her glass. Carly raises hers.
LAUREL
Sounds like a deal.
CARLY
Okay.
INT. SALON – MOMENTS LATER
Carly has the book open in front of her. She has a sailing LINE in her hand and she’s turning it to form a loop. Studying the book closely, she snakes the other in around, and then through. She pulls it tight in a perfect bowline knot.
INT. SALON – DAY
Carly sits at the NAV STATION studying the digital chart on the screen. She looks back at the book, then the chart again. She takes down a note in the book, and underlines some text.
She heres a noise and looks up. The sunroof that gives her a view of the mainsail above. It’s filling with air! She watches it noticing the top-quarter fluttering.
I/E. YACHT – DAY
Carly stands at the helm watching the sail above. She touches the wheel. Then, she gently takes hold.
Carly looks upward again, and then at the horizon. She breathes and looks at the sail again.
Carly turns the wheel. It easy, and it responds to her. The boat yaws port and the flapping of the sail becomes louder!
Carly turns starboard. The sail fills out completely.
She hangs on keeping the course straight on its new direction.
She taps the computer to re-engage the auto-pilot. The boat steer port returning to it’s original heading.
The mainsail begins to flap.
Carly inspects the lines leading up the boat to the mast. She opens the book.
I/E. YACHT – DAY
Barefoot and at the base of the mast, Carly continues to inspect how things are setup. She frequently looks back at the book and then the mast again.
She slams the book shut and moves expertly back to the helm station. She grabs a single line and pulls.
The sail responds moving the BOOM slightly. The mainsail fills completely and the flapping stops.
Satisfied, she locks down the line.
-
Subject line: Daisy Ridgway Khalifa’s Act 3 Reaction to Midpoint [Lesson 17]
What I learned doing this assignment: I realized that the text/content that I wrote for the Midpoint was actually a solid REACTION to the Midpoint. Having fallen behind —but NOT stalling — on scenes in Act. 2, I am plowing through my writing of outlines and scenes for Act. 2 and outlines for key scenes going forward, and I am not worrying nor am I wordsmithing. This is a point in the 30-day lesson that is challenging only in that one gets a sense of whether the story is working at all. But, I am not asking that question yet. The mantra for the day—and the week—is “today, a 20 percent quality level is acceptable”.
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:
-
“he mantra for the day—and the week—is “today, a 20 percent quality level is acceptable”.”
Yes. Thanks for that reminder.
-
-
Vic Valleau Act 3 begins Lesson 17,
What I learned: My wertiting is largely intuitive so I can hide the message. This speed writing
Makes meanings pop out, because no time to finesse, wordsmith etc.
INT. COURTHOUSE STEPS – DAY
FAÇADE ON COURTHOUSE SHOWS JUSTICE IS BLIND AND SCALES ARE IN BALANCE.
NANCY I Know what it is, I know what it is men want!
ELIE: (Not hearing) You cant be late for court, keep you out of jail.
NANCY: Men are just as justified as women. Big mistake blaming them.
It takes two to tango.
Elie: Who wants to Tango? I just want an understanding man!
INT. OUTSIDE COURTROOM – CONTINUOUS
Couples argue. Occasionally their lawyers get into arguments.
ELIE: AT my women’s club, I see everywhere, failing with men.
NANCY: Women got it wrong! Wives and girlfriends are valuable.
Why would a man want a woman as a partner, like business, when he can and does have
Many partners?
ELIE: So I can have a romantic man, love and marriage?
NASNCY: We gave up our advantage with business success and feminism.
Women rule the roost at home, if they want to get and keep a man.
NANCY: I have compassion for men, feel their pain. We are forcing them to be women. .
Feminizined men, GENTLE, FEELINGFUL, are all today’s women know.
They dance, sing a song from her childlhood and clown to please her.
THEY SEE MAN WHO IS CONTEMPTUOUS OF HIS EX- WIFE. Elis is attracted
To his rawness. Flirts, gets his attention.
ELIE: BUT WOULD HE APPROVE OF ME? .
NANCY: Declares freedom from his approval. Just be careful with
The lone wolf, so called Alpha Males. They are hit and run artists.
Never mate. Just rotate willing women,
Great lovers but not caring, taking her, on edge of violent, firm yet gentle enough.
-
Patrick Downey – Act 3 Reaction to Midpoint
What I learned doing this assignment is that my story is far from being done. I had a beginning, a middle, and an end but no midpoint changes, only one major change, and a lack of intertwining scenes.
Key Scene 1: REACTION/RETHINK
INT. H.A.V.O.C. OFFICES — DAY
Dardanos is pushing the envelope with regards to the bets and being careless which raises some concerns amongst the others.
Patrick
What is this I am hearing about side bets going on with our money? Not to mention we are still behind on this current money play you sold us.
Graham
Dardanos, you had better not be screwing us over! So help me if I catch wind of any funny business going on, I will personally beat you right out of this organization.
Dardanos
Are you two threatening me? If I remember correctly, it was my plan that put us in the driver’s seat of this company. So, sit down and shut the hell up!
Patrick
You son of a bitch, who do you think you are talking to?
Dardanos
A bunch of grown men that didn’t have the balls to stand up to Ray and Audie.
Kristos
Dardanos that’s enough!
As Dardanos looks towards his father, Graham draws back his cement block of a fist and cold cocks Dardanos right in his jaw. Dardanos stumbles back flips over a chair and lays on the ground bewildered. Graham starts at him again when Crutch breaks into the room and grabs Graham by both arms.
As the shouting continued the O’ brothers were clearly upset and came just short of blaming Dardanos for this mess. Kristos said that without his friend Audie there and Ray gone that this was his last year in the business. Then Graham asked Dardanos point blank what he knew about this organization on the Indian reservation and swore that if he had got them mixed up with this group, he would suffer the same consequences as Ray. As the room erupted in chaos Crutch had heard with his own ears that they were the ones that killed Ray, but their egos were too inflated with rage to realize someone was in the room that wasn’t part of the crime. This division and untrust amongst the Handlers gave Cayman the perfect opportunity to implement his final plan.
If Cayman was not already motivated enough, that was the nail in the coffin that set it all in motion. Cayman recorded an audio file in James Earl Jones voice and had it delivered via bike messenger at the Mac-N-Cheeze truck the Thursday before the Championship games. Agents Belfiore and Greene still on the case listened intently to every bit of evidence they were given and connected the missing links together. At the end of the tape there was one final demand before they were handed over to them the final instructions to bring down the HAVOC four. The FBI was instructed to give immunity to Audie, Carmella, and Mathis who had helped to gather the information about the others.
INT. FBI OFFICE – DAY
Agent Belfiore
This is bullshit to let the three just walk away without so much as an indictment. We have the tape that confirms exactly what we have expected for years now.
Director Grice
Slow down Agent Belfiore. We need to assess our options because this is the biggest break we have gotten in the past 8 years. We know that Ray Stingnelli is dead, Audie is a very smart businessman with plenty of lawyers and we would have a hard time getting a conviction on our limited evidence for Mathis and Carmella. At best they would be accessories to a crime which carries minimal sentencing.
Agent Greene
Can’t we go after them when this is all over for something else?
Director Grice
Like what do you have in mind? They said complete and total immunity.
Agent Belfiore
I don’t know I’m not a damn attorney but what I do know is that my team busted their ass day and night out on stakeouts just so we can let half of them walk out the door.
Agent Greene
Agent Belfiore look Ray was admired in Chicago that was going to be a tough sell if we had landed him anyway. Audie has a legitimate and respectful sports agency, Carmella and Crutch are small fish in the big picture. Director Grice is right; we can nab the Alexandrites who own several professional sports teams and the “O” brothers who were ex-commissioners. There is enough in those 4 men to put all this sports gambling and illegal activity to bed for good.
Director Grice
It also shows that we are willing to go after the very top of any organization to put an end to corrupt activity in sports betting. It sends a strong message to the community, businesses and the sports arena that no one is above the law.
Agent Belfiore looking defeated with his elbows on the table and hands on his head finally looks up and nods his head several times.
Agent Belfiore
You’re right, both of you, it just stinks that bad guys are getting away when lives have been destroyed and crooked rich people get richer. Agent Greene will you get the paperwork together for the Director and Attorney General to sign?
Agent Greene heads off to his desk and the Director reaches out to Agent Belfiore for a handshake.
Director Grice
Agent Belfiore you and your team did one hell of a job on this case. Don’t be disappointed in the outcome just go out there and bring it home. Nice work son!
-
Benito Selim’s Act 3 Reaction to Midpoint
What I learned in this assignment is now you let all your hair down in this act to get the entire story out. I found myself going back to the previous acts to make this act more solid.
ACT 3
EXT. DARRYL’S DORM- LATER
BEGINNING: Darryl arrives at his dorm and is met by Tina, her sorority sisters, and the police.
MIDDLE: Tina yells at Darryl which he questions. Tina tells him she found Karen’s locket in his clothing. She is upset he hid knowing her.
END: Tina told him she notified the police. Detective Garnett takes Darryl into custody for questioning. His friends watch speechless as he is taken away.
INT. ELLEN’S HOUSE- EVENING
BEGINNING: Ellen settles in for the evening when she hears noises coming from outside her house.
MIDDLE: Ellen grabs her gun and investigates. A dark figure appears and attacks her, it’s knocked her gun out of her hand. Ellen fights back and tries to regain her gun.
END: Ellen retrieves her gun again and fires. She hits the figure, but they get away.
INT. POLICE STATION INTERROGATION ROOM- LATER
BEGINNING: Detective Garnett questions Darryl about being in possession of the locket. Darryl tells him he found it at Starkoaks, which Detective Garnett questions.
MIDDLE: Detective Garnett then questions his relationship with Ellen.
END: Detective Garnett tells Darryl he cannot hold him since there is no evidence of foul play but warns him that Ellen is dangerous and caused the former sheriff to be committed. Detective Garnett informs Darryl he will be keeping his eye on him.
MIDPOINT: Darryl doesn’t know what to believe and starts to think is Ellen all smoking mirrors. Detective Garnett believes Darryl killed the two.
-
Rebecca Jordan’s Act 3, Key scene 1 – Reaction/Rethink to Midpoint, Lesson 17
What I learned from doing this assignment is that overthinking and going back at all only confuses me and bogs me down instead of just trusting the process. Allowing the confusion to be there for later while forging ahead keeping it simple 20%. Definitely the way to go. Funny how keeping it moving forward allows everything to fall into place anyway. And it’s easier.
Beginning: Rachel has breakfast with Glen and Sheila, after having crashed her car the night before. Causing her to have to spend the night.
Middle: Glen gives Rachel the old PO Box address where he used to send the rent checks to her Mom, until he started using Zelle. The couple speaks kindly of Rachel’s mom and show her the woodwork she’s done around the house. Rachel inspects the work massaging the grooves.
End: Glen and Sheila have made Rachel a care package for her journey ahead. They drop her at the tow yard and send her off with well wishes. Rachel is genuinely moved and grateful for her new friends.
INT. KITCHEN – MOMENTS LATER
Rachel, cleaned up, hair wet, at the table with Glen and Sheila eating breakfast. Drinking coffee. Glen takes a piece of paper out of his pocket.
GLEN
Hey Rachel. So I wrote down the Post Office Box address where we used to send our rent checks. Before we started using zelle.
SHEILA
That’s been awhile.
Hands it to her.
RACHEL
Oh. Thanks.
SHEILA
Gotta be at least 5, 6 years now.
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.
Hesitant. Put out. Then.
RACHEL
Road trip!
They are up from the table.
GLEN
Well it’ll be an adventure, if nothing else.
RACHEL
I’ll say. I have some calls I don’t want to make. But / la dee da!
SHEILA
You’re mother. I remember that she was nice. And very handy. Right honey.
GLEN
Yes she was.
Sheila points out the ornate wood work on the banister and kitchen cabinets.
SHEILA
Apparently, she did all of this herself.
Rachel runs her fingers along the etchings in the wood.
SHEILA
I remember when we came to look at the house the first time. She had all the big tools out. Saws and drills. A real pro.
GLEN
Pretty impressive.
SHEILA
Are you handy too?
RACHEL
…I guess.
Rachel smiles knowingly to herself.
GLEN
Ah, the branch doesn’t fall far from the tree.
SHEILA
Ba damp bump.
Charmed.
RACHEL
Well, I better get my stuff together. Are you sure you don’t mind giving me a ride?
GLEN
You betcha.
RACHEL
I could get an Uber… Or a cab.
SHEILA
We’ll be going to town anyway.
RACHEL
Okey dokey. I really appreciate it. I’ll be right down.
SHEILA
Take your time, honey. Oh, and we have a little care package for you to take.
Rachel stops.
RACHEL
Oh my goodness. You’re both too kind. You’re so nice.
SHEILA
Just some snacks and drinks for the ride. For your journey.
RACHEL
I don’t know what to say —
SHEILA
You don’t have to say anything.
RACHEL
I’m very grateful. Opening your door to a complete stranger. That’s unheard of these days.
GLEN
Happy to do it. Happy to help.
SHEILA
Yes. Come on back through. You’re welcome to our little pit stop. Anytime.
RACHEL
Holy cow.
Rachel hurries up the stairs.
RACHEL
I’ll be right down.
GLEN
No rush.
EXT. TOW TRUCK LOT – CONTINUOUS
Rachel 50’s, exits the Tow truck office, carrying her duffel and the care package. She waves vigorously at the nice couple.
Finds her truck.
Glen and Sheila ride off waving back.
-
Andrea Cabañas – Act 3 Reaction to Midpoint
What I learned with this assignment is knowing that my protagonist is still naive to the point of making the wrong decision again but believing she’s doing the right thing. Loved working with this part.
— ACT 3 —
RETHINK EVERYTHING
INT. KATRINA’S HOUSE – LOUNGE – NIGHT
Georgia picks up Zoe and brings to her house. Katrina wakes up, it’s 2 am.
Georgia greets her, she doesn’t react much as always. When Zoe tells what happened, surprisingly Katrina doesn’t react badly.
They go to Zoe’s room where
INT. KATRINA’S HOUSE – ZOE’S BEDROOM – NIGHT
Zoe tells Georgia what happened (Paula with another woman). She also shows Georgia the drug she took from Juan.
INT. KATRINA’S HOUSE – ZOE’S BEDROOM – DAY
Katrina wakes Zoe up. There’s a visitor for her: Juan.
He brings her flowers, hears from her mother what happened. He thanks for the enjoyable night they had – Katrina’s enchanted by him.
Before leaving, he tells Zoe she ‘owes something to him.’ She pretends she doesn’t know what he’s talking about. (Does he mention what she saw?)
INT. GEORGIA’S STUDIO – DAY
Desperate, Zoe tells Georgia about the drugs and the dead man.
Georgia freaks out, tells Zoe to give it back to Juan and stop working for him. She says to call Paula, to ask for her help.
Zoe says she will sort this out by her own, even if she needs to sell the drugs she took.
INT. KATRINA’S HOUSE – ZOE’S BEDROOM – DAY
Zoe makes a few phone calls. Reluctantly, she also calls Paula, who doesn’t answer.
INT. RESTAURANT – NIGHT
Zoe meets Georgia’s new boyfriend Stewart.
James appears with another woman; Georgia makes sure he sees Zoe.
Zoe’s heartbroken, Georgia tells her off.
A NEW PLAN
INT. JUAN’S HOUSE – LOUNGE – DAY
Zoe tells Juan she can’t mix work with a relationship and tells him she rather be with him.
He tells her that he doesn’t bother mixing the two, as long as she does a good job. They have sex.
Zoe leaves with an Uber. Suspicious, Juan orders one of his man to follow her. He calls Paula: her deadline is approaching.
On her way back home, James calls her. They talk briefly over the phone.
INT. KATRINA’S HOUSE – LOUNGE – DAY
James makes Zoe an unexpected visit. When he leaves, Zoe notices a car parked nearby – she’s been watched again.
Zoe rages and calls Paula.
EXT. PAULA’S OFFICE – DAY
Zoe hesitates to come in.
INT. PAULA’S OFFICE – DAY
Zoe storms into Paula’s office and demands her to stop following her. Paula tells it’s not her; they killed one of her man.
Paula tells Zoe she knows she’s been seeing Juan. She warns Zoe about the danger she’s getting into.
Frustrated, Zoe calls James.
— ACT 3 —
RETHINK EVERYTHING
INT. KATRINA’S HOUSE – LOUNGE – NIGHT
Zoe turns on the light and enters with Georgia. Zoe looks awful, a mixture of hangover, fear, sadness. They go straight to the
KITCHEN
Where Zoe takes a beer and offers it to Georgia.
GEORGIA
Oh no, thanks. I’m driving.
Zoe gives her the finger. They laugh.
ZOE
Thank you. You are the best.
Georgia teases Zoe, adding drama to her voice tone.
GEORGIA
Huh, I really must be. Who else would wake up at this time to save a friend from going to jail.
Katrina appears in a pink pajamas, disheveled, eyes squinted.
KATRINA
What’s going on? Are you okay?
GEORGIA
Hi, Katrina.
She mentions to go but Zoe stops her.
ZOE
I got caught drunk driving.
KATRINA
Where you with that–
ZOE
Mom! Not now.
Katrina sighs.
GEORGIA
Why you didn’t call me?
ZOE
Because I didn’t want to wake you up.
KATRINA
You did now, hey.
Zoe rolls her eyes and takes Georgia with her into her bedroom.
INT. KATRINA’S HOUSE – ZOE’S BEDROOM – NIGHT
Zoe and Georgia are seated on the bed side by side, starring at the two little packs of cocaine between them.
GEORGIA
Son of a bitch.
ZOE
I know. That’s why I went there.
GEORGIA
To steal Juan.
ZOE
And fuck him.
They laugh.
Zoe massages her face and tucks her face in her hands.
ZOE
Aaaaahhhhhh, he’s so charming. I couldn’t resist! And I was so mad at her that bloody hell, why she did that to me?
GEORGIA
I can’t believe it.
Georgia keeps staring at the drugs.
ZOE
I know.
Zoe has another glance on it.
ZOE
Have you tried before?
GEORGIA
Yep. With your uncle. Crazy nights together. But I didn’t like it much the following day. You’ll see it when you wake up.
Zoe sighs.
ZOE
You need to help me.
GEORGIA
What?
Zoe settles in bed and whispers to Georgia.
ZOE
I saw them killing a man.
GEORGIA
What?
ZOE
It took me ages to find my car key and I heard something. It looked like someone was being beaten… I walked a few meters away and I saw it… They killed a man.
Georgia’s mouth is wide open.
GEORGIA
And what did you do?
ZOE
I ran, got into my car and drove. I was so nervous that I couldn’t see anything in front of me…
GEORGIA
Did anyone see you?
ZOE
I don’t know.
Georgia stares at Zoe.
GEORGIA
You didn’t see anything.
ZOE
I saw it. And I’m quite sure it was the same guy who was following me.
Georgia is authoritative.
GEORGIA
Listen to me. You didn’t see anything.
Both stare at each other for a moment.
GEORGIA
Now I agree with Paula more than ever. You need to run.
Zoe stands up and paces.
ZOE
Are you out of your mind? I… I’ll deal with it.
GEORGIA
Oh, really? And what are you going to do? You decided to go ahead with his project when you should have left ages ago. You slept with him, had drugs with him, stole his–
ZOE
Sssshhhhhhh, please.
Georgia breathes heavily.
GEORGIA
Where’s Paula?
ZOE
Helloooo, everything just happened for Christ sake.
A moment of silence.
GEORGIA
You need to find a way to get out of this, babe. Call the police.
ZOE
Are you crazy?
GEORGIA
What about those guys who came here? Weren’t them after him? Isn’t it weird that no one have done anything yet to put him in jail?
ZOE
Things don’t happen like movies, Georgie.
Zoe tucks her head again between her hands. Georgia does the same.
ZOE
I’ll talk to him. I’ll tell him I can’t finish his project because something else came up and…
GEORGIA
And give him back his cocaine, unless you’re thinking of making money out of it. Or die from an overdose.
Zoe throws herself on the bed and covers her face with a pillow. She yells.
Georgia goes to the window and looks outside. She closes it and turns to Zoe, who stares at the ceiling.
GEORGIA
Can I spend the night here? Just in case someone is already after me.
Zoe throws the pillow on Georgia.
-
TIM’S ACT 3 REACTION TO MIDPOINT – DAY 17
What I learned doing this assignment is that I don’t quite have a traditional protagonist journey so fitting my scenes into these “key scene” descriptions is difficult.
Duke’s reaction/rethink:
Duke sees no choice but to give his new owner’s a chance, but he’ll always have his eyes open for a chance to escape, rejoin the crew, and get revenge on Rexy. If may be reluctantly at first, but he is on the road to regaining his position as man’s best friend.
INT. Emma’s room – DAY
Emma and Duke are in her room. She’s on the bed.
Duke notices photos of her before she lost her leg: skiing, playing soccer, and happy.
Emma struggles with the prosthetic leg. She puts in on, but it’s not comfortable. It just doesn’t feel right.
She stands, wobbles, tries to take a few steps.
She trips and falls against the bed.
Duke starts to come to her but stops. He’s still not ready to like, or help, humans again.
Emma gets back on the bed and removes the leg, and throws it on the floor.
-
Robert Wood’s Act 3 Reaction to Midpoint
What I learned: Well, first, I’ve fallen way behind. That’s life sometimes. Second, I don’t think this is actually a reaction scene to the midpoint, but it’s the first scene of Act 3, so I’ve written it! Onward…
EXT. FAMILY HOUSE – DAY
A haunting grey winter day.
Front door opens – Matt emerges, followed tentatively by Bert. Matt looks up at the sky.
MATT
You better be sure about this.
Bert searches himself – he’s missing something.
MATT
What is it?
BERT
If I knew that I wouldn’t be standing here like an old fool patting my pockets!
MATT
What did you normally take with you out on the lake?
Bert goes through a mental checklist. A lightbulb goes off! Turns back into the house.
Matt stands on doorstep as a 1980-vintage car pulls over on the road in front of the house.
Matt nearly recognizes the car and takes a step toward it as Young Bert and Young Matt (downcast, dragging a backpack) emerge from the house.
YOUNG MATT
But I want to go with you guys!
YOUNG BERT
You’ll have a fun sleepover with Sam at his house.
The WOMAN driving the car waves to them. Young Bert waves back. The backseat window rolls down revealing SAM, 10.
MATT
(under his breath)
Sam.
SAM
Come-on, Matt! Look, I’ve got the new Star Wars figures!
Sam waves two Star Wars action figures out the window.
YOUNG MATT
(to Young Bert)
Star Wars is stupid.
YOUNG BERT
I thought you liked Star Wars?
YOUNG MATT
Let me go with you.
YOUNG BERT
Sorry, not today, bud — Harris and I have a bunch of boring work to take care of. You can come again next time.
Young Matt sulks.
YOUNG BERT
Okay?
YOUNG MATT
Okay.
YOUNG BERT
All right — now cheer up, and go and have a good time.
Young Bert ruffles Young Matt’s hair.
YOUNG BERT
See you tomorrow.
The boy goes to the car and gets in. Waves as the car drives off.
Matt and Young Bert turn in near unison back to the house.
Harris stands in the doorway.
HARRIS
Now I feel bad.
YOUNG BERT
Don’t worry — he’ll have fun. So will we!
Bert steps forward in the doorway, triumphantly raising his hand…
BERT
Binoculars!
Bert strides to Matt’s car with every ounce of enthusiasm Young Matt lacked.
-
Dana’s Act 3 Reaction to Midpoint
What have I learned from this assignment?
My protagonists have been headed in the same direction with the different objectives, one wanting vengeance and the other justice. The Midpoint twisted the story, and the beginning of Act 3 is now emphasizing their divergent personalities.
OUTLINE
INT. GOVERNOR’S MANSION – DAY
BEGINNING: The governor is outraged at the political mess Hill has created. That Jack and Frank have killed the technician. He thinks me may have to drop from VP consideration.
MIDDLE: Margery excuses Hill from the room. She tells him he’s not dropping out. She has her own ambitions beyond him. She’s tolerated his philandering, his affair with his campaign manager. She then tells him what she has done to protect them.
END: Margery orders him to do a press conference about law and order. And that she’ll clean up the mess.
EXT. JORGENSEN HOME – NIGHT
BEGINNING: Jorgensen’s body flops into the pool. He’s already dead or drugged.
MIDDLE: Simon receives a phone call. He informs his client he did not kill the technician. They must have another player in the game. He’ll sort it out.
END: Simon makes sure Jorgensen is drowned in the pool. Then leaves.
INT. SAFEHOUSE – NIGHT
BEGINNING: Jack and Frank argue over Frank’s involvement with the Russians. Jack is not compromised.
MIDDLE: After the argument, they try to answer the question. Why would the governor what Marcus Jones dead?
END: They decide to investigate Marcus Jones. Who was he? Who would know?
SCRIPT –
INT. OFFICE – GOVERNOR’S HOME – NIGHT
Newbaum is angry and depressed. He’s pacing, almost on the verge of tears. Douglas Hill stands near the door, patient, listening.
Margery is more poised, allowing her husband to vent.
NEWBAUM
I don’t believe this. I DON’T BELIEVE THIS!
(to Hill)
How could you let this happen? You were supposed to muscle these guys out of state. And now they’re out there taking revenge on everybody who put them away!
HILL
They can’t get to you, governor, if that’s what you’re concerned about.
NEWBAUM
What makes you so sure? Because you’ve done such a bang-up job so far? And don’t think for one minute you’re not in their crosshairs.
MARGERY
Relax, Bill. Douglas is right. You’re not in any physical danger. But we have to repair the damage and protect your legacy.
NEWBAUM
My legacy? And exactly what is that, Margery? My prison reform program just let out to maniacs!
Newbaum stops pacing, thinking, dejected.
NEWBAUM (CONT’D)
I’ll have to withdraw from VP consideration.
Margery doesn’t like that news. She looks to Douglas.
MARGERY
Douglas? Will you excuse us?
HILL
Of course.
Hill excuses himself, closing the door softly behind him.
Newbaum looks at his wife, confused.
NEWBAUM
What?
MARGERY
You’re not withdrawing from anything. Do you understand? We’ve been preparing for this opportunity since law school. And now we’re one breath away from the vice presidency. So stop acting like a nervous virgin on her wedding night and step into the game.
NEWBAUM
What do you suggest I do, Margery? The press is killing me on this.
MARGERY
You do what all good politicians do. You pivot. You’ll hold a press conference tomorrow and talk about the rule of law. You’ll praise the merits of your program but put the blame on the parole board for not consulting you before they released these two men. You will mention them by name and assure the public they will be found and punished. We will arrange for you to receive the right questions from the standard reporters and show the public that you’re not afraid — and spin this moment into victory.
NEWBAUM
Maybe they should offer you the vice presidency.
MARGERY
Don’t think I wouldn’t accept it. My ambitions reach far beyond your own. Or do you think I’ve stayed with you all these years just to revel in your achievements? The little woman home baking cookies? I’ve tolerated your philandering, your whores. Your dalliances with interns. Do you think I don’t know about your chief of staff? Who do you think brought her into your campaign? It was safer for you to be involved with one whore than aiming that foolish thing of yours at everyone else.
Newbaum is dumbfounded, gazing at his wife, embarrassed.
MARGERY (CONT’D)
I’ve cleaned up every one of your messes. I’ve protected you from yourself for years. And tomorrow, when you step before the public, you’re going to return the favor.
NEWBAUM
What have you done?
MARGERY
What you never had the ball to do.
Margery turns and leaves, closing the door.
Newbaum stands in the middle of the room. He’s now alone.
CUT TO:
EXT. SWIMMING POOL – UNDERWATER – NIGHT
Jorgensen’s body splashes into the water, buck naked. Dead? Drugged? He floats for a moment.
EXT. SWIMMING POOL – JORGENSEN’S HOUSE – CONTINUOUS
Simon stands at the edge of the pool making sure Jorgensen doesn’t recover and swim out. His phone BUZZES.
SIMON
Hello? — Yes. I’m taking care of that now.
(he listens)
I heard. I assumed Mr. Hill was up to his usual stellar performance.
(he listens)
No. I don’t think it’s them. From what I know, Valentino has the sand, but not Donovan. He wouldn’t allow it. You may have another player.
INT. A ROOM IN THE GOVERNOR’S HOME – CONTINUOUS
Margery is on her cell phone.
MARGERY
Flush them out. I need to know who it is.
INTERCUT CONVERSATION
SIMON
That’s not our arrangement.
MARGERY
I’ll make it worth your while. But I need this resolved in forty-eight hours.
SIMON
I’ll see what I can do. But try to keep Mr. Hill on a lease. He tries to impress the governor too much.
Margery hands up.
EXT. SWIMMING POOL – JORGENSEN’S HOUSE – CONTINUOUS
Simon puts his phone away. Satisfied Jorgensen is dead, he heads out.
Final shot of Jorgensen floating in the pool.
CUT TO:
INT. A SAFE HOUSE ROOM – NIGHT
It has a decided Russian flair to the furnishings.
Frank pours two whiskeys from a snifter.
He hands a glass to Jack who’s sitting in a chair. Jack takes it, reluctantly. His mind is elsewhere.
JACK
What did you do for these people?
FRANK
It’s blood under the bridge.
JACK
Not any more. You’ve compromised me. Whatever you owe them, I owe them.
FRANK
No. This is on me. Not you. Oksana knows that.
JACK
And you trust her? Are your out of your mind?
Jack storms out of his chair.
JACK (CONT’D)
Oksana Volkov doesn’t forgive a debt. I heard what she did to her uncle.
Frank ignores his friend and slides in chair.
JACK (CONT’D)
(staring into his drink)
You’ve cursed us both. I’ll never get back to my daughter.
FRANK
Take a drink.
Jack signs heavy, then swallows his whiskey in a gulp.
FRANK (CONT’D)
The rumors about her uncle are false.
(long beat)
It was her father.
JACK
Oh, that’s much more comforting. How you know you can even trust her? She could be selling us out right now.
FRANK
Oksana may be a mobster, but she’d never backstab a deal. It’s bad for business. That makes this place the safest hole in town. And right now, we have every cop and state agency looking for us. We need to lay low and figure this shit out. So before you curse us to eternal damnation, pour yourself a drink and chill.
Jack relents and pours himself another whiskey.
JACK
Why would Newbaum want Marcus Jones killed?
FRANK
A twenty-year-old black activist? He was a threat of some kind. And remember, Newbaum was the AG back then.
JACK
Riding our ass to the governor’s mansion.
(thinking)
We need to find someone who knew this kid.
FRANK
Unfortunately, anybody who knew him ain’t gonna talk to us.
JACK
Then maybe we should talk to Marcus himself.
Jack tips his drink to Frank, who looks as confused as hell.
-
Lori’s Act 3 Reaction to Midpoint
Act 3 Scenes:
Key Scene 1: React/Rethink the new reality revealed by Midpoint
If Thomas continues down this path, he may lose everyone else, not just his wife.
Key Scene 2: Makes a new plan.
He will pretend that everything is fine.
Key Scene 3: Things start going well, until…
Pretending nearly kills him.
Key Scene 4: Turning Point – Protagonist faces their lowest low.
Thomas spirals downward, and all hope is lost.
Key Scene 1:
INT. CHURCH – CONTINUOUS
Thomas enters the church’s side door near the front of the church, where a choir is gathered and practicing Christmas carols.
The church is beautifully decorated with candles and poinsettias. And the singing is almost angelic. The emotion of it all takes Thomas by surprise, and he has to sit down on the front pew.
As he takes it all in, he notices Miriam singing in the choir. She’s looking right at him, almost through him.
Thomas crosses his arms and looks down at the floor.
The music comes to an end.
CHOIR LEADER
Great practice, everyone. I’ll see you all again Thursday at 6:30.
Thomas remains seated as the choir disperses and leaves, taking their coats and other belongings. Some give Thomas a sorry look as they walk by, while others seem to avoid eye contact with him, and then there’s Miriam, who hangs back and is the last remaining choir member.
Miriam slowly gathers her things and waits until the others have left before walking over to sit on the pew with Thomas.
THOMAS
Good evening, Miriam.
MIRIAM
Thomas.
THOMAS
Is there something on your mind?
MIRIAM
As a matter of fact, there is. Did you hear about Chelsea’s funeral?
THOMAS
I did.
MIRIAM
If you continue acting this way, you’re going to let Henry Spencer take everyone from you, not just Joan.
Miriam looks at Thomas for a long time, waiting for a response, but when she doesn’t get one. She takes her things and leaves.
Thomas watches the door close behind her and then looks at the cross at the back of the stage.
Thomas SIGHS.
-
This reply was modified 3 years, 2 months ago by Lori Lance.
-
This reply was modified 3 years, 2 months ago by
Log in to reply.