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Post Day 19 Assignment Here
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Karin Hallén’s Act 3 Turning Point
What I learned doing this assignment is that the emotionally charged scenes are easier to write, it’s the in between scenes that hold up and carry the story in between that are difficult. I also learned about my characters that they are both in pain from arguing and being so emotionally alienated from each other even though they were not friends, to begin with.
Outline Key Scene(s) 4 – Turning Point 3.
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
ext. CONVENTION CENTER – DAY – LATER
Someone mistakes George for being Geena’s assistant. Maybe while selling books? He is completely broken. Runs after Geena
EXT. PARK – DAY
George and Geena fight. George is furious at the recent turn of events. He accuses Geena of being power hungry. She fights back. Saying she’s just 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. 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? 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 away, fighting. One part of a couple sitting at a picnic 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 Turning Point 3 – Protagonist faces their lowest low
Key scene 4 A – George
EXT. NEWSSTAND -DAY
George walks through a new city with light steps. He stops at a newsstand and picks up the local newspaper. There is an article in it about him and Geena coming to town to speak. George opens the paper and checks out the article as he walks.
In the newspaper picture Geena is in the foreground and George is barely visible behind her. And Geena’s name is printed first in the article. George frowns as he reads. He closes the newspaper and keeps walking, looking a bit less chipper than he did moments ago.
He stops outside a coffee shop.
Key scene 4B – George
INT. COFFEE SHOP – DAY
George enters and gets in line to buy coffee. He has the newspaper under his arm. He overhears two women talking about his book in front of him in line.
WOMAN 1
I just finished the George Wallow book last night. I have to say I found some golden nuggets in it.
George perks up and makes a move to approach the women.
WOMAN 2
But I heard that his partner, the woman, Geena ghostwrote the whole book and he just put his name on it. And got all the credit.
Another woman leans in from a nearby table and chimes in.
WOMAN 3
I heard that too. Everyone knows it.
WOMAN 1
Oh, really? Yeah, I wouldn’t be surprised, from what I hear she’s the only one who has something to say at their seminars. She’s so much smarter. So, he’s just freeloading on her.
WOMAN 2
Typical men.
George is flabbergasted and just gapes.
The women grab their coffees and walk away. George reacts and takes a step towards the women, but the Customer in line behind him is in the way.
GEORGE
Wait, no!
CUSTOMER
Whoa, dude! Take it easy.
BARISTA
Do you want to order something, or not?
Key scene 4 C – George
INT. CONFERENCE CENTER – DAY
There is a multi speaker event going on. There are a lot of people in the entrance area and foyer. George enters the building. He looks around and spots Geena a bit further away. She’s on the phone. George heads over to her. Geena spots him, waves excitedly and hangs up the phone.
GEENA
Guess what? Guess what?
GEORGE
What?
GEENA
Oprah just called me! She wants to interview me on her show!
GEORGE
You mean us? She wants to interview us.
GEENA
No, I’m sorry. Just me.
George pales. He loses it. He slams the newspaper in the floor hard and screams like an injured animal.
GEORGE
Aaarrrgghh!
People stop talking toi each other and e look at him, startled. George is oblivious to their stares.
GEORGE
Who even gave you a phone? This is all mine! You hear me! All mine! Oprah is mine! You’re just my assistant. Remember that! You…are…
George notices everyone staring at him, holding their breath. He quickly makes and effort to compose himself and recover.
GEORGE
…a very good assistant.
George smiles a forced smile at the people around, turns on a dime and rushes out of the building. They frown at him. Several reporters seize the moment and gather around Geena. She glows like the sun in the spotlight.
REPORTER 1
How about the full inside scope?
GEENA
For the right price, yeah.
REPORTER 2
The Daily Report wants it.
REPORTER 1
Excuse me, I was first.
Several other reporters join them. Geena is completely at ease being their center of attention.
Key Scene 4 D – George
EXT. CONVENTION CENTER – DAY – LATER
Geena exits the building. George exists several yard behind her. A TEENAGE BOY runs up to George.
TEENAGE BOY
Excuse me! Sir! Do you work for her?
GEORGE
What?
TEENAGE BOY
Geena. Are you her assistant? Can you help me get her autograph?
George throws a book at the teenager.
GEORGE
Piiiissss offfff!
EXT. PARK – DAY
George catches up with Geena as she reaches a small park with a few tables and benches and a small playground.
GEORGE
Stop!
GEENA
I need to eat.
GEORGE
No! Stop!
George grabs Geena’s arm.
GEORGE
This is not fair! You are becoming a power hungry, greedy, gloating horrible person! All you care about is money!
GEENA
Oh, really! Without me you’d be nothing and you know it! What’s so horrible about me trying to make some money for my retirement while helping you?
GEORGE
Care? Let me remind you that it’s up to me to decide when you can come out of the lamp and if you’re ever going to retire. And right now I don’t think you deserve it.
A young couple sits at a picnic table close to them holding hands. They listen intently to George and Geena.
YOUNG MAN
Ouch.
Geena pales.
GEENA
It’s not my fault that people like me better than you. Maybe it’s because I actually care?
GEORGE
You? Care? Ha!
GEENA
You’re just so jealous it’s pathetic.
A YOUNG MOTHER and her two small children appear with hotdogs and a soccer ball.
YOUNG MOTHER
Excuse me, can you take your fighting elsewhere. This is a place for children.
George and Geena storm off, arguing.
YOUNG MAN
See, that’s why I don’t want to get married.
The young woman pulls her hand back from his.
Key Scene 4 E – George Key Scene 4 Geena
INT. HOTEL ROOM 4 – DAY
George and Geena enter the hotel room, still arguing.
GEORGE
I’m just never going to ask you to help me again.
GEENA
You can’t do it without me. You know that. Anyway, what do I care? I have enough money to retire now.
GEORGE
Retire! In your dreams! Maybe after the next time I order you into the lamp I just throw it in the dumpster and you end up in a landfill for the rest of eternity!
GEENA
You wouldn’t dare!
GEORGE
Oh, I Wouldn’t? I wouldn’t? You just try me.
GEENA
And you’ll end up in the dumpster of life for the rest of your life, like the failure that you are, the failure you keep trying to prove to that invisible mother of yours that you are not. But you are!! She was right. You are a failure and nobody likes you! You stink like an old fridge and sweaty socks! You’re going to be alone for the rest of your life and everyone thinks you’re pathetic!
GEORGE
Shut up!
GEENA
They laugh at you!
GEORGE
I hate you!!! I wish I’d never have to see you again!
Geena immediately smiles. She makes a flamboyant gesture.
GEENA
Your wish is my command.
Geena swirls into a typhoon and disappears with a SWOOSHING SOUND. Geena’s lamp on the desk falls into the floor with an exploding sound and shatters into millions of pieces.
George is alone. It’s eerily quiet. It starts to rain.
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pen and signs the many pages.
JOE SCHMIDT
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
Rae’s Act 3 – Turning Point
What I learned from this assignment, is how to effectively use the beats and tie them into this story, and so far it is working like clockwork. I’m finally realizing how well this structure works.
ACT 3 – KEY SCENE #4 – TURNING POINT Protagonist faces her lowest blow.
INT. JOHNSON RESIDENCE – LATE NIGHT
Jesi walks in, exhausted. Hears noise in the living room, flicks a light. Gerard stands in the center of the room with champagne and glasses. He pops champagne, pours and toasts.
GERARD LEBLANC
Here’s to Mr. & Mrs. Leblanc! May they live forever after, in harmony.
They each swill the champagne, then fall onto the couch kissing.
JESI
Wait, let’s turn on Sinatra.
GERALD LEBLANC
Uh uh, Sinatra can wait.
His kiss is hungry. She responds with the same. He helps rip off her blouse. Neither one can wait any longer, as he lifts her skirt and they make hot, steamy love.
INT. HENRY’S OFFICE – NEXT DAY
Jesi enters, slaps her new listing info down on Henry’s desk.
JESI
The seller just signed, thirty units in Bellflower. So I’m giving you the first shot. And oh, 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, young lady.
JESI
Thanks, I love my new office.
MICHAEL
Didn’t you hear? You just won “Rookie of the Year.” There’ll be an award celebration. Thank God, a chance to dress up.
JESI
Oh shit! You’re kidding me.
Her cell lights up, it’s Gerald.
GERALD LEBLANC
Can I pick you up in an hour?
JESI
Hi — what for?
GERARD LEBLANC
We’re going to the courthouse, to get the marriage license. Then after we get the license, I’ll drop you at your house so you can pack a beg. I want to sail you to Catalina on my small but very adequate yacht. It will be our honeymoon —
JESI
Oh God, I’ve been so busy listing units, I forgot. You know, I can’t do today — sorry, too busy.
GERALD LEBLANC
What’s more important than this, baby. I put off my surgery —
JESI
I’m sorry, not today. I just can’t.
GERARD LEBLANC
Okay, then it’s time we laid out a game plan and let everyone know. This secrecy is not working for me. I don’t do well without structure. I need time frames. I need a date, Jesi. To consummate that you’re my wife!
JESI
Sweetheart, I love you, and in my eyes we are already married.
GERALD LEBLANC
That’s not good enough. It’s not how the government sees it.
JESI
Ger, we’re married! Let that be enough for now. I’m so stressed with all these listing demands I just can’t do it.
GERALD LEBLANC
(tenses)
Then let me know when you come to your senses.
Gerald abruptly ends the call.
JESI
Damn it!
Jesi looks up as Michael knocks and enters.
MICHAEL
Hey, top producer.
Jesi bursts into tears.
MICHAEL
What, what did I say?
JESI
Can you close the door?
Michael moves closer.
MICHAEL
What? Was it goddamn Henry again?
JESI
No. I’m married.
MICHAEL
Goddamn, son-of-a- bitch.
JESI
Well sort of married. We still need to get the license.
(sobbing)
I love him so much — but I don’t have time for him.
MICHAEL
Now, wait a minute. In my world that’s an oxymoron. We do anything for that kind of love. Who is he?
JESI
I can’t say —
MICHAEL
It’s Henry? Jason?
She hold out for awhile.
JESI
The doctor —
MICHAEL
What the hell. What doctor?
JESI
The one who attended my father. It was crazy. We fell in love. We got married that first month. We were married in a restaurant three months ago, by his friend, a wedding celebrant. It’s was pure spontaneity. The celebrant said it’s legal – all we need to do is get the license. We vowed to do this together — but I haven’t had time.
MICHAEL
What’s the hell’s wrong with you? What’s the use of all this business if you’re gonna be this miserable? Go get him, goddamn it. On second thought, I could take your place. Doctor is sounding extremely sexy —
JESI
(laughs, through tears)
Stop it, Michael. This is serious. I love him, but as for marriage, I simply don’t have time. I’ve got these humungous bills to pay, and they’re not just the medical. The IRS is after my Dad. He then also left me a last will and testament kind of letter, begging me not to sell his house.
MICHAEL
The IRS? What the hell did he do? They get real nasty.
JESI
Why am I telling you all of this?
He’s got unpaid taxes. Gambling debt —
MICHAEL
Jeez Louise, either one could of those is a cardinal offense — but both!
JESI
Thanks for the constructive comments. Michael, what do I do?
He hands her a bottle of water. She drinks it in one swill.
MICHAEL
You marry the doctor.
Jesi’s cell sounds. She checks the caller.
JESI
Mr. Schmidt, I mean Joe. How are you?
(listens)
You have MORE units for me to list? You know Joe, I may have to refer you to my side kick. His name is Michael. He’s also a top producer, and he’s amazing.
(listens)
Harold said if not me, use Henry? Oh no, no, no. Michael’s gonna give you hands on treatment, like you deserve. I’ll have him call you in ten minutes.
Michael dances around they room, doing a Latin number.
MICHAEL
Now, that was a brilliant move. But first, and most importantly, is he queer?
Jesi bursts out laughing, and relaxes a bit.
INT./ EXT. INTERNAL REVENUE (LONG BEACH) – DAY
Jesi sits in a small room with AGENT WHIPPLE, trying to make a payment deal with him – one that is livable.
JESI
What is the minimum you will accept? I mean on installment.
AGENT WHIPPLE
I recognize your dilemma, but to be honest, the IRS doesn’t care. The state and federal tax owned on this debt to date is pushing five hundred thousand. He was big time, Miss Johnson. Sorry, is that Miss or Mrs?
JESI
Right now, I wish it was Mrs.
Jesi leaves the office, steps outside the building, calls Gerard.
JESI
Hi there, it’s me. You could be in surgery, so call back whenever you can. I can’t stand this, I need to see you. Oh hell, I’m driving over to you. And screw it, we’ll get the license — and sail to Catalina.
EXT. MEDICAL BUILDING (CONTINUOUS)
Jesi drives up to the building looking for a parking spot.
POV
Gerard exits the glass entry glass doors with a pretty WOMAN (25). His arm is wrapped tight around her shoulders. They glimpse at each other, laugh. He plants a kiss on her lips.
Jesi pulls to the curb, hides her face, hopes they won’t see her. Gerard sees the car, says something to the young woman and runs over.
Jesi plants a foot. The car takes off. Gerard chases it for half a block.
GERALD LEBLANC (O.S.)
Jesi, hold on, wait! Goddamn it.
His cell phone rings. He gropes for it, answers.
JESI
How could you! Who the hell was she!
Still running, Gerard drops his phone. It crashes into the street, completely broken.
INT. JOHNSON HOME (DAY)
Jesi crashes and burns, falls onto her father’s recliner, curls up crying. After awhile she gets up, turns on Sinatra. The song is, “How Little it Matters.”
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Stafford’s Act 3 Turning Point
What I learned from this assignment was at some point in the story… My lead is going to hit rock bottom. The walls around them are crumbling and they feel absolutely helpless. Now, is where we see what they’re really made of, and how they will prevail.
- Beginning – Mateo reluctantly walks into the police precinct.
- Middle – Mateo opens up to Detective Fuentes, and reveals his suspicions about Glorivetts’s wrong-doings.
- End – As Mateo’s about to leave, Detective Fuentes tells Mateo he’ll look more into Glorivette’s past, and Mateo should be careful in the meantime.
INT. POLICE PRECINCT – DAY
Mateo steps inside. Looks restless as he moves past the traffic taking place. He approaches an OFFICER, 60s. Looks like he’s ready to retire. He gazes upward at Mateo —
OFFICER
Can I help you?
MATEO
Um, yeah. I’m here to see Detective Fuentes. He around?
OFFICER
All right, hang on.
The officer picks up a phone, dials an extension…
OFFICER (CONT’D)
Yeah, Gus… Someone’s here to see ya. All right.
The officer hangs up.
OFFICER (CONT’D)
He’ll be right with you.
INT. POLICE PRECINCT – OFFICE – DAY
Gus opens the door —
GUS
We can talk in here.(shuts on the light)Take a seat anywhere, Mr. Vargas.
Mateo steps inside. Takes a seat as Gus shuts the door.
GUS(sits on desk)
What is it I can for you?
MATEO
Thanks for seeing me on such short notice. I didn’t have no place else to run.
GUS
What the matter? Are you all right? You don’t look too good.
Mateo sighs. Grips the back of his neck.
MATEO
Things have been weird at Aceveda Logistics. Long before the poison incident at the pot luck. It’s, it’s this woman–
GUS
Woman?
MATEO
Glorivette Gomez. She’s a temp at the job. We hooked up once or twice– When I refused her advances and broke things off… she changed.
GUS
For the worse, I assume.
MATEO
My good friend suddenly dies in a freak accident. My supervisor is murdered. My boss is missing. And all of a sudden people get sick after drinking punch?
GUS
Why didn’t come forward before?
MATEO
You can’t bark these kind of allegations without proof, Detective. Gotta admit, she’s pretty good at covering her tracks. Bitch has successfully disturbed my peace at work and my home.(scoffs)She told my fiancé about us. And now I’m out on my ass; living in a shitty motel. Where she Glorivette showed up and attacked me. I’m here to get a restraining order.
GUS
That can be arranged. If you feel your life is really in danger.
MATEO
I do. And I’m coming to you before I do something I’ll regret. That woman… is a different kind of dangerous. I’m scared for my life, and she’s backing me in a corner– I… I need your help, Detective. I’m not trying to become a savage to slay my demons.
Beat. Gus stands to his feet. Paces around the office.
GUS
I’ll look more into Glorivette’s past. See what comes up.
Mateo shakes Gus’ hand.
MATEO
Thank you, Detective! Thank you so much.
Mateo stands, prepares to leave the office —
GUS
Uh, Mr. Vargas… if anything else comes up, don’t hesitate to reach out. You can file the restraining order at the front desk. And if Miss Gomez is as dangerous as you say… I’d watch my back if I were you.
Mateo nods. Shuts the door after he exits.
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Mickey Gonzalez Act 3 Turning Point
What I learned doing this assignment is get to writing again let see what happens as the rest comes in and let me do the writing.
Outline Key Scene 4 – Turning Point 3.
Raquel walks out on him. After she tries to get him to stop and go with her. He gets ready upset starts to argue and show his lost and wants her not to go.
He leaves. He comes back for her. She is nowhere to be found. He looks for her at places where they been. Calls the apartment.
She is walking down an isle of a TV studio. She wants to talk to a TV producer in charge so maybe she can get the story aired. The story what have been going through because of the missing collection and manuscript.
An older producer has a different idea. As tries to seduce her. She leaves first chance she gets away, when he gets up to answer the office door. This leads him away from her side.
Write Turning Point 3 – Protagonist faces their lowest low
INT RAQUEL’S APARTMENT – NIGHT
Raquel wants to get Mark to leave it alone.
INT. TV BUILDING – DAY
Raquel is getting to the point if Mark couldn’t get it done. Maybe she can.
INT. PRODUCER OFFICE – DAY
She paces back and forth as the secretary gets the word out to the producer. She is let in.
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THIRTY DAY SCREENPLAY ASSIGNMENT 19
James E. Clark Act 3: Turning point
What I learned from this assignment : This TP is the “final straw”. It forces the Protagonist into making one final decision that will bring the story to a conclusion.
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 Turning point
KEY SCENES 4
INT. BUS – DAY
Carrie gives Florida one final tap with her left ring finger. She checks her phone map. Driving distance to Miami is 1723 miles. She turns the ignition on and puts the bus in gear.
EXT. CAMPGROUND – DAY
Shenandoah Valley, Virginia.
Carrie’s chatting with a neighbor who looks surprised when Carrie’s nose starts to bleed. Embarrassed, Carrie excuses herself.
INT. BUS – DAY
Carrie cleans up. The bleeding has stopped.
INT. BUS – NIGHT
Carrie’s eating a dinner of canned Vienna Sausages. She eats methodically with the thousand yard stare. She has tissue in each nostril. Next to her is a pile of tissues that are soaked in blood. The tissue in her nostrils quickly gets soaked in blood. She removes them and puts in two fresh ones.
EXT. HIGHWAY – DAY
The bus starts to wobble. It starts to slow. Carrie pulls it over to the side of the road. The front axel breaks on the right. The bus shivers and leans to the right.
INT. BUS – DAY
Carrie needs support to walk. She has little strength left. She checks her GPS. She’s twenty miles from the Florida state line. She calls a towing service. Then she calls Nelson.
INT. TOW TRUCK -DAY
Carrie sits next to the driver as they cross the state line into Florida. She smiles.
INT. MOTEL ROOM – DAY
Carrie is in bed she has little energy. Nelson is in a chair holding her hand. He tells her that he got her a good deal on the bus from a former SEAL buddy. Nelson asks her if she’s ready to go home to the camp. She asks Nelson to pass her purse.
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JAYE’S ACT 3 TURNING POINT
What I learned is that this is not just a transition to the final act; this is where my protagonist hits their lowest low.
Here, Hero is stealing… becoming a Villain.
INT. VILLAIN’S CAVE / LIVING ROOM – LATE AFTERNOON
Villain comes out of the bathroom. Clean forehead, fresh change of
clothes. Hero has already washed and changed.Hero is at the stove, apron, frying chicken breasts.
Villain looks at Hero’s pants. X-ray vision reveals a diamond in Hero’s
pocket. Not a surprise.VILLAIN
What if this is our life now?
Two broken supers.HERO
I always thought you had a
choice.VILLAIN
You don’t think you have a
choice?HERO
I don’t know.
(beat)
Eventually the snake bites.Villain chews his lip.
HERO (CONT’D)
You ready to be the Hero?VILLAIN
I hate everything that’s
happened to me.
(beat)
Except I’ve never had a friend
before.Hero turns the chicken. He looks at Villain and smiles. A shared
connection. -
Christi’s Act 3 Turning Point
I really polished this in the previous assignment so I’ve got it down now. I learned that I do like to jump ahead. Lol.
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Judith Abingdon Act 3 Turning Point
“What I learned doing this assignment is…?” Still confused about where my scenes should end, I know when I feel a definite crescendo, but some scenes feel too short? Oh, well, carry on!
1. Outline Key Scene 4 – Turning Point 3.
INT. DEPARTMENT STORE DAY
Juliet and Inez are out shopping
INEZ
Anything you want Monkey. You finished school and are about to set off in the world.
Juliet is eyeing a display of grey lace up front hot pants and multi-colored Missoni-looking puffy crop top.
Your mother will kill me but what else is new. I always say, if you’ve got it flaunt it, cos you won’t have it forever, as you can see!
JULIET
So far out! I just love them!
INEZ
No one can accuse you of not having style! Always be true to yourself my darling girl!
JULIET
Now let’s go pick something out for you.
INEZ
And where would I wear it?! They probably don’t have anything that fits me! Anyway, I’m ready to go, I hear a drink calling my name.
INT. INEZ’S CAR DAY (a Thunderbird, driving home )
JULIET
Inez I can’t help thinking I am doing everything wrong. I feel so restless and bottled up, like I could explode at any moment! Did you feel this way when you were my age?
INEZ
Well of course monkey, I guess I really didn’t have time to think about it. Our country was in an uproar, war was imminent. Things were just a struggle from day to day. And I have made my share of mistakes, no doubt, but you know what I’m still standing and I have everything I need now.
JULIET
But did you feel like you had made a colossal mess and things were never going to work out?
INEZ
Of course! It’s natural. I think we humans are fatalists at heart, or we just like a good drama. Look at Madalyn, she has nothing to worry about, but is she happy? I think finding problems makes her happy in a perverse way.
JULIET
I can’t really stomach Madalyn and her creepy son any longer. I don’t know how you do it. You are a saint.
INEZ
Oh hell no, far from it.
JULIET
What was my mother like at my age?
INEZ
I don’t think you will believe it, but she was very much like you. belle of the ball, loved to dance and go to concerts! Full of life.
JULIET
What happened, where did that person go?
Inez
A lot of things, my love. You know her dad died just a few years before war broke out, then her mother died just before we left, the politics were changing and things were a struggle. I think she used up her last bit of courage just getting here with you. So try to go easy on her.
JULIET
I suppose you are right. Actually it sounds a lot heavier than my problems.
Inez
And she has her husband to deal with.
JULIET
OH, jeez, that guy! I think he is living in another century.
INEZ
Well he will not be your problem for long. Listen things are changing in your life, it’s smart to question them, Just follow your heart and you will not go wrong, trust me.
JULIET
I think I need to go back and try and give her a hand
INEZ
Whatever you decide, I’m with you monkey.
JULIET
Thanks INEZ!
End scene
-
BERNADETTE WILSON – LESSON 19 – TURNING POINT
What I learned doing this is that I have to commit more character sketches to fill in. But there’s more atmosphere, more work to do before I get to this Turning Point.
TURNING POINT
The part of the hospital records where Brinda figures out how her mother died and that Dr. Sonya was a part of it. Both Cal and Brinda figure out that Mary Lou Baker might be the killer, but she has no record of escape
The Antagonist Mimi is coming closer to trying to save Brinda from the people that screwed her and now they’re getting to Brinda. They’re turning her away from her like they origianlly did.INT. BRINDA’S APARTMENT – NIGHT
Brinda is still wondering about the place where she was and how long she’s come.
She goes to her closet and takes out an old suitcase.
She starts looking through old memories and finds an early picture of her mother. And a wedding photo of her parents. How young they look. How innocent.
FLASHBACK: INT. OLD CHEVY CAR – DAY
Brinda as a little girl is driving in a huge old chevy with her mother.
Her mother looks beautiful but unsteady.
MIMI
It’s what we have to do baby. Don’t let any of them think their dirty thoughts on you baby.
END FLASHBACK
Brinda cannot fathom what she’s thinking and feeling. She has thoughts for Cal but she’s afraid of them.
THE PHONE RINGS
Brinda goes and answers.
BRINDA
Hello?
It’s the crying woman again.
MIMI
They’re gonna hurt me.
BRINDA
Who is going to hurt you?
MIMI
YOU KNOW BABY.
BRINDA
I don’t know. You have to tell me.
MIMI
Don’t let him touch you baby.
BRINDA
Is this Mary Lou?
There’s a dead silence on the phone. There’s hardly a breathe. Then the line goes dead.
Brinda hangs up the phone, gets her things and runs out.INT. HOSPITAL ROOM – DAY
Brinda comes into hospital room. Dr. Sonya is awake. Her eyes are still bandaged.
DR. SONYA
Who is it?
BRINDA
It’s me.
DR. SONYA
Thank God.
BRINDA
Sonya, I need to ask you about someone you might have remembered.
DR. SONYA
Yes?
BRINDA
She was a person you treated at Silver lake. A Mary Lou Baker
Dr. Sonya is drugged and doesn’t respond.
BRINDA
She was there around the same time that my Mom was there.
Sonya struggles a bit.
DR. SONYA
I don’t remember.
BRINDA
Her file said that you were her doctor. But there’s no indication that she was still there or gone.There Was no release record.
DR. SONYA
I would have to look at my files but I at the moment I don’t recall her.
BRINDA
Of course.
Brinda looks across at the closet and silently goes and opens it.
She looks for Dr. Sonya’s keys.
DR. SONYA
Is Doctor Owen still there?
BRINDA
Ah, no. We only were able to talk to Dr. Peele. Do you know her?
DR. SONYA
No, she must of come as a replacement after I left.
BRINDA
Yes it’s been a while.
Brinda finds certain keys and puts them in her pocket.
A night nurse comes in with some medication.
BRINDA
You must be tired. I will tell Cal.
DR. SONYA
Thank you.
Brinda leaves the hospital room as the nurse gives Dr. Sonya some drugs.INT. DR. SONYA’S OFFICE – NIGHT
Brinda starts going through the different file cabinets of Dr. Sonya’s.
She can’t find anything so far.
Then she look at an old key on the chain.
She starts opening different drawers.
At the bottom drawer she finds a wooden box.
Brinda takes out the box and sees a group of files.
THERE”S A SOUND OF SOMEONE IN THE HALLWAY.
Brinda takes the wooden box out and takes it with her.INT. BRINDA’S APARTMENT – NIGHT
Brinda starts searching through the files.
She comes across a Miriam Joan Cage, a brown-haired beauty who looks alot like Brinda.
She knows it’s the file of her mother. Reading this file is horrifying to her.
In this file she finds out who put her there. It was a different circumstance than the one she was told. She finds out that Dr. Sonya was the doctor attending her.
Brinda takes out another file.
It’s the Mary Lou Baker file. She realizes that there were files switched.
Brinda attempts to call Cal.
THE PHONE RINGS OFF THE HOOK.
She grabs her stuff and goes to leave. She thinks a minute and then she goes to the bedroom, opens the night table and takes out the gun and puts the bullets in.
She then exits.
INT. BRINDA’S APARTMENT STAIRWELL – NIGHT
As Brinda comes down the stairs because she lives five flights up, she notices MAYBELLE on the third level coming out.
MAYBELLE
What’s cooking honey?
BRINDA
I have to go.
MAYBELLE
Baby – where you skitdaddlin to?
Brinda hurries away.INT. NEW YORK BAR – NIGHT
This is a place that Cal comes frequently.
He notices a blonde looking woman at the bar. But not bombshell material. She doesn’t look like Marilyn. She looks like a respectable woman.
CAL
Can I buy you a drink?
MIMI
Why sure.
Only it is the REAL Mimi!
INT. THE POLICE DEPARTMENT – CAL’S DESK – NIGHT
Brinda comes in and finds that Cal is not at his desk.
A COP is at his desk.
BRINDA
Is Cal around.
COP
He left half an hour ago.
BRINDA
Do you know where? He’s not at home.
COP
Don’t know. Maybe a drink?
BRINDA
You know what bar he goes to?
COP
We all go to Smith’s on 44th
BRINDA
Thanks.
Brinda leaves.PLACEHOLDER: Another part of the script – I have to introduce Mimi as answering a question to someone at another bar – the same way – right before she drugs them. Gets them out of the bar or wherever she picks them up, and then kills them.
PLACEHOLDER: Somewhere here I have to put down that Jack Cage was working as a cop on the beat with the BOSS. Mimi, before Jack Cage came home from the war, was having an affair with Mr. Webber, Jesse’s father. She was even passed around to the BOSS at one point.
When Jack came home, Mimi kept up the front, but was losing it. Jack found out about it somehow. Even though Webber told Mimi to keep her mouth shut.
Mimi was well in the mental institution before Jack found out that the person he was working for, WEBBER, was the one doing his wife.
Unbeknownst to Jack, BOSS was working for Webber and in the heat of the night, Boss killed Jack. IT WAS NOT AN ACCIDENT! BOSS got promoted. Mimi still in institution.
PLACEHOLDER: In order to escape the mental institution of which Webber gives a shit load of money to, Mimi switched the files of who was going to be lobotmized. She went in, switched them and then escaped as Mary Lou Baker.
Dr. Sonya knew all about what Mimi did, but changed the files. She knew Brinda’s mother was still alive, but she played the game because Webber knew how to promote her as well.
Only Mimi turned on Dr. Sonya especially when it came to Brinda. Especially when mimi found out that she was grooming Brinda for the same fate.PLACEHOLDER:
Where is Mimi getting the money for expensive up keep? She’s dancing’/stripping for her supper as Mary Lou. She has a different disguise. Instead of brown hair she has blonde hair. Like Mary Lou. For 7 years.
How do we
Where is she getting the drugs to poison the men? Does she have a prescription from her doctor? – Dr. Feelgood?
Why can’t she get to the BOSS and Jesse’s Father – Mr. Webber? – She wants her daughter first.
Mimi wants revenge and she wants her daughter back.
How does she know that Jack was killed by BOSS?
Was she there and then got away? -
Rich and Mary Chamberlin’s Act 3 Turning Point
What I learned doing this assignment is that when running short on time, powerhousing through is far preferrable to procrastinating and waiting for enough time to complete it “right.” This is moving us ahead in a professional way, and breaks it up into bite size pieces (as time seems to come to us in these small increments).
1. Outline Key Scene 4 – Turning Point 3.
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 Turning Point 3 – Protagonist faces their lowest low.
EXT. AIR SHOW FAIRGROUNDS – DAY
It’s a lovely spring day, perfect for air shows and picnics. From his perch in the control tower, Air Force Reserve Major BENNY ARNOLD takes in the vintage planes being wheeled out of the hangar. He will make some money for the Air Show Committee today, he is certain. People are already coming through the public gate in droves, to spend the day on the grounds, buy drinks and eats at the food concession, and in general spend, spend, spend.
At one booth, BELLA BUSTAMONTE is getting ready to present, looking through her notes.
A car pulls into one end of the parking lot. The loud muffler could be heard across the field. It is Morty’s car Mabel.
INT. CAR – DAY
MORTY: Okay, here we are. Air Show A-Roony. Everyone out.
KYLE: Yeah, man!
The doors of the car creak open. Out piles, Morty, Jax, Melanie and Kyle.
MELANIE: Don’t run ahead. You stay with us.
KYLE: Aww, mom.
MORTY: My date is supposed to meet us at the Spitfires at three. In the meantime, let me show you those WW11 planes, Kyle.
They’re the best. Come over here with me.
Morty whispers to Jax.
MORTY: (whispering) Now’s a good time to tell Melanie how you feel, bro.
Morty and Kyle wander over to some of the planes leaving Jax and Melanie.
JAX: It’s great he’s having a good time.
MELANIE: Morty’s a lot of fun, Jax. How’s the screenplay going?
JAX: Okay, I guess. Just movin’ along. You know Mel–
MELANIE: -bet it’s a hoot working together. Wish I had someone like that.
JAX: Melanie, that’s what I wanted to talk to you about. You see, I was thinking that–
Kyle comes running back to them.
KYLE: Mom, you should see the noses on those planes. Painted with busty women and everything.
MELANIE: Kyle!
MORTY: Wasn’t me, although I’ve painted Rita Hayworth on a vintage bomber once for my Dad. All him.
KYLE: Aww, mom, you should be more like Morty, not so old-fashioned.
Kyle pulls Melanie to see the planes.
MORTY: (To Jax) Well?
JAX: Well what? You came back so fast I didn’t have a chance.
MORTY: What’s the matter? Move like an old man. And no buck, I said it.
JAX: Let’s catch up.
They follow them to the planes, and catch up. But when they turn around, they run right into Benny Arnold, Jax’s dad.
JAX: Uh….
BENNY ARNOLD: Jax?
MORTY: Hello.
JAX: Uh, Morty, this is Major Benny Arnold. My dad.
They exchange handshakes.
JAX: You already know Melanie and Kyle.
BENNY ARNOLD: Yes.
MORTY: Oh, Mr. Arnold. Your son is a great writing partner. He sure will go far.
BENNY ARNOLD: Hmm. Jax, can I talk to you for a second.
Benny and Jax move a bit away from them.
BENNY ARNOLD: What’s going on Jax?
JAX: What do you mean?
BENNY ARNOLD: What’s with this old guy?
JAX: Who? Morty?
BENNY ARNOLD: I thought I’m sending you to school to excel, work with the best. Isn’t he kind of old for school?
JAX: Morty?
Mr. Arnold relentlessly continues.
BENNY ARNOLD: And if I told you once, I’ll tell you again. Ditch that Melanie and her son. They’re nothing but mooches.
Jax getting angrier by the minute.
JAX: Now listen up, Dad. Morty is a good guy which is more than I can say for you. And, Melanie and Kyle are better than
anything you’ve ever dealt up on your platter of properness. I’m not a traitor. You certainly live up to your name.
BENNY ARNOLD: I’m cutting off the money. You obviously can’t be responsible.
JAX: I don’t care Dad. Keep your bribes. I don’t need them.
Jax walks away. Morty, having heard a bit, approaches Mr. Arnold.
MORTY: My father was 39 when he was in World War 11. And one day, this young pup fresh out of high school shows up. My dad teaches him code just like
the pros. He sits there quietly most of the time, but he learns the code. Turns out the young pup ends up saving 20 planes by transmitting the code just at the right time. Life surprises all the time.
Morty walks away and right into Bella Bustamonte.
MORTY: Ms. Bustamonte, what are you doing here?
Morty is joined by Jax, Melanie and Kyle.
JAX: (whispering to Morty) Morty, you dog. I knew it was her.
MORTY: No–
JAX:-Ms. Bustamonte, Morty is an expert on airplanes. Aren’t you Morty?
MORTY: Well–
MS. BUSTAMONTE: Why, how about that. I am an expert on the F16, my plane. Air Force Major Bustamonte, Busty, they used to call me. Oh, sorry.
(looking at Kyle)
KYLE: See I told you it was natural.
MORTY: You, an Air Force Major?
MS. BUSTAMONTE: Retired – now reserves.
JAX: That’s super. You two are going to have so much fun together.
MS. BUSTAMONTE: I don’t date students.
MORTY: Us?
Just then, Melanie’s Mom, shows up.
MELANIE’S MOM: There you are, Morty. I got here a little early. Decided to find you in the crowd.
MELANIE: Mom?
JAX: Mrs. —–
MS. BUSTAMONTE: I’m almost on. Presenting on the F16. Come take a look, maybe good research for your screenplay, hey guys.
She walks a way.
MELANIE: Mom—
MELANIE’S MOM: I didn’t know you knew my daughter, Morty. Shall we go to the speech?
Jax pulls Morty aside.
JAX: What is this, Morty? She’s your date?
MORTY: Yeah. What of it?
JAX: No, Morty. It’s just not right. You can’t date Melanie’s mom.
MORTY: Why not?
JAX: It’s just not done. It’s weird. It’s crazy.
MORTY: What, you don’t wanna’ double date, or what? Really, Jax, you’re not thinking right.
JAX: I’m not thinking right, you’re not.
MORTY: That’s stupid.
JAX: Well, if I’m so stupid then maybe we shouldn’t be working together. I’m outta’ here.
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