-
Post Day 19 Assignment Here
Reply to post your assignment.
-
15 Replies
-
Peter Birdsong’s ACT 3 Turning Point
What I learned: I’m still learning and enjoying the benefits of writing without all of the answers. I’ve moved on past areas that would have hung me up for days in the past. Today is the first day I feel really good about where this draft is going. I’m anxious for my first rewrite. The script is also still a bit light, but not bad. The draft might top out at 90 pages.
EXT. ATLANTIC OCEAN
Serene. Blue. The only sound is the most relaxing mix of air and waves. The type of ambiance others may recreate digitally for a good night’s sleep.
The Catamaran is so small on the vastness of the ocean, and yet it dominates the waves and commands the wind to carry it forward.
INT. SALON – DAY
Carly emerges from her side of the yacht rubbing sleep from her eyes. She notices the doors are open, and the KUERIG is on.
A mug and an unopened tea bag sits next to it. She looks up through the sunroof and sees the mainsail is out.
I/E. YACHT – DAY
Hot MUG in hand, Carly steps into the cockpit and up to the helm where she finds her mother, relishing the morning air.
Carly gestures to her mug.
CARLY
Thanks.
Laurel smiles.
CARLY
How’s the boat?
LAUREL
She good.
Laurel nods forward, beckoning Carly to look. Carly looks ahead.
LAND. Just poking over the hazing horizon the peak of a small island.
CARLY
Wow. We did it.
LAUREL
We did.
They sail in silence, marveling over the sight before them. The end of their journey now lies ahead. The ocean, it’s memories, behind them.
LAUREL
Grant will be there. You should straighten up your cabin. We’ll stay in the hotel tonight.
They watch the water together. The sails. Listen to the light waves.
I/E. YACHT – DAY
The sails are stowed. The engines PURR. Carly, barefoot, moves across the bow deploying fenders tied to knots she expertly formed.
Yachts in their slips surround them as Laurel pilots the boat slowly through a Marina.
Ahead, Carly sees their own slip. She can see a few people standing on the dock that stand out from the tanned dockworkers moving about. Dressed all too American.
Carly moves back to the helm next to Laurel. Her mom sees them too.
LAUREL
You want dock?
CARLY
Yeah?
LAUREL
Sure. I’ll spot for you.
CARLY
(concerned)
But what if–
LAUREL
You’ll be fine.
Laurel steps aside making room for her daughter. Carly takes the wheel.
LAUREL
Put your other hand on the throttles. You can steer by these pushing one over the other.
CARLY
Got it.
LAUREL
Keep it slow. The wind is out of the south. That should make it a little easier.
Carly fully takes the helm. Her eyes watch the bow of the boat. Laurel looks on giving her daughter space.
LAUREL
I’ll throw the lines.
Laurel moves tot he bow and begins to prep lines at each corner of the boat.
Laurel steps to the starboard bow, LINE in hand. She nods to the Americans standing on the dock.
LAUREL
Hi Grant. Lacey.
GRANT
(smiles)
Laurel. Good to see you. It’s a beautiful vessel.
Laurel tosses him the line.
LAUREL
Yes she is. Hi Lacey.
LACEY
You got some sun.
Grant takes the line and wraps it professionally around a nearby cleat. A DOCK HAND runs across grabbing a second line from Laurel on the port side.
Carly watches them secure the boat. She cuts the throttle and moves to the starboard aft. She grabs a line and turns to see Grant standing there with an empty hand ready to take the line.
GRANT
You must be Carly.
(beat)
Grant Donavan. I’ve heard a lot about you.
Carly hands him the line and he secures it quickly on a cleat. Grant point to the other end of the line.
GRANT
You’ll want to tighten that end up.
Carly looks down and pulls the line. She wraps it a few times.
GRANT
Permission to come aboard?
CARLY
Yeah. Sure.
Grant steps on board. He eyes the surroundings.
GRANT
Thanks for taking such good care of her.
Carly nods awkwardly.
GRANT
Well, I’m sure you both need to get some rest. We’re set up in the hotel just over there.
(to Carly)
And yes, they have wifi.
INT. CARLY’S CABIN – MOMENTS LATER
Carly ZIPS her bag shut, and throws the straps over her shoulder. She smooths the sheets on the bed, and stops. She lifts the mattress and retrieves her map and compass. She turns the compass over in her hand.
Biting her lip, she sets it on the bed. She stares at it for a moment, and then walks out.
The compass, abandoned, rests neatly on the made bed.
The door swings open and Carly darts in, grabs the compass, and races out.
I/E. YACHT – CONTINUOUS
Carly emerges greeted by Grant and her Mother.
LAUREL
Got everything?
CARLY
Yeah.
LAUREL
Mr. Donavan is going to take it for a demo cruise this afternoon.
GRANT
Not far. Just out from the marina where I can open the sails.
LAUREL
He’s asked if you would care to go.
CARLY
You aren’t going?
LAUREL
I have a conference call setup this afternoon.
GRANT
No rest for our future CEO.
CARLY
(to Grant)
I’ll pass.
LAUREL
You sure?
GRANT
It’s fine. I’ll manage.
Carly, bag over her shoulder, carrying her heels in the other hand, steps onto the dock barefoot. She stumbles a bit, and Lacey quickly grabs her.
LACEY
Sea legs?
CARLY
I guess so.
INT. HOTEL ROOM – DAY
Carly lays on her back in bed. Wrapped in a towel. Hair still wet. Staring at the ceiling.
Laurel walks into the room, and hands her a note.
LAUREL
Here’s the wifi password.
CARLY
My phone’s dead.
LAUREL
I’ll just set this over here then.
Carly continues staring at the ceiling.
CARLY
Did he take the boat out?
Laurel walks over to the window overlooking the marina.
LAUREL
Looks like it.
(beat)
Listen, I’ll be in a meeting for the next little while. They gave us a private conference room downstairs. So, if you need something.
Laurel looks at her. Carly doesn’t respond. Laurel heads for the door.
LAUREL
We’re on the first flight out tomorrow morning.
Laurel leaves and the door latches shut.
-
Lesson 19: Act 3 Turning Point
ASSIGNMENT
BG’s Act 3 Turning Point
What I learned doing this assignment is: I’m trying to avoid the temptation to write the scene first, and then figure out the outline from the long mess.
1. Outline Act 3 Key Scene 4 – Turning Point 3.
BEGINNING:
INT.HOSTESS’S CAR – PARKING LOT – NIGHT
Reporter confronts Hostess, who is revealed to be a German agent, also trying to stop the plot.
MIDDLE:
Reporter asks Hostess if she had anything to do with the abduction of his friend, Hacker. She does not answer. Instead, she tells him she can help him find his friend. “You help me, I help you.”
END:
INT. OFFICE OF STATION CHIEF – CIA SAFE HOUSE – NIGHT
DOCTOR reports Hacker has been interrogated, he’s in bad shape, and insists he didn’t hack or send any hacked materials to Reporter. STATION CHIEF does not believe. She tells DOCTOR to keep on trying.2. Write Turning Point 3 – Protagonist faces their lowest low.
INT.HOSTESS’S CAR – PARKING LOT – NIGHT
Reporter motions toward her communications gear.
REPORTER: Intelligence agency grade gear.
It’s not a question, it’s a statement.
HOSTESS: You read a lot, don’t you?
REPORTER: You removed the bug from the conference room.
Hostess looks uncertain — it’s a first.
REPORTER: Russian agent, huh?
HOSTESS: No, German.
REPORTER: German!
Hostess no longer looks uncertain.
HOSTESS: We, too, are trying to stop this plot.
(beat)
HOSTESS: We don’t want to buy expensive LNG. We want the cheap Russian gas. Billionaire’s group wants us to buy their expensive LNG. See, they want to start a war and blame Russia. Then, the German public won’t be able to resist pressure from some of our allies to give up the cheap Russian gas and buy the expensive LNG! They want us, the Germans, to take one for the team!
REPORTER: Yes, I figured out that much. But why me? Why didn’t you send your tip to a real journalist? Why me?
HOSTESS: I assume by real journalist, you mean big media. They wouldn’t have printed it. New York Times, Washington Post, The Guardian, they are all pro war. They believe war is necessary to take Russia down a peg and perpetuate the Western-led world order.
REPORTER: You used me.
HOSTESS: I chose you. I wanted a scientist, a thinker, not a bought-and-paid-for Western journalist.
REPORTER: My friend is missing.
Hostess remains silent.
REPORTER: Did you have something to do with that?
HOSTESS: I can help you find him. I know some people. You help me, I help you.INT. OFFICE OF STATION CHIEF – CIA SAFE HOUSE – NIGHT
Small operation. No expensive monitors or equipment around. STATION CHIEF sits at her desk, sifting through piles of paper. Looks like this lady hasn’t been promoted in ages. A harried-looking DOCTOR enters.
DOCTOR: Look, I don’t think I’ll be able to get anything more out of him. Short of drowning him, I guess. He insists he didn’t hack or send any hacked materials to Reporter. He just saw some of the stuff that was sent to Reporter. Does not know by whom.
STATION CHIEF: Well, I don’t believe him. Keep on trying.
DOCTOR: He doesn’t look good. We’ll all look bad if he has a cardiac arrest or something.
STATION CHIEF: We’ll look worse if we fail.-
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 BG ERENGIL.
-
This reply was modified 3 years, 3 months ago by
-
Don Thompson’s Act 3 Turning Point
What I learned: this turning point is the lowest point in the protagonists journey. For Billy, he has to defend himself from Claggart after reaching this low point.
EXT. QUARTER DECK – SAME TIME
Vere looks up to Mr. Seymour and Mr. Radcliff who man the Quarter deck.
VERE
Lt. Seymour and Radcliff! I must see you. Make haste!
BACK TO OFFICE
Vere returns to his desk, and Seymour and Radcliff enter. Once they do, he nods to Claggart.
VERE
Mr. Claggart, tell these two gentlemen what you just told me.
Beat.
CLAGGART
(takes a breath)
I told him that last night Kinkaid and Budd conspired to kill me but were thwarted by Mr. Seymour.
Vere eyes over Seymour.
VERE
Is this true, Seymour?
Seymour takes a deep breath.
SEYMOUR
Sir, I don’t believe it is entirely true.
VERE
Entirely true? They either wanted to kill him or they didn’t. Did you find a weapon?
SEYMOUR
Kinkaid had his knife ready, apparently. But I cannot and will not make a specific judgment as to his intent.
Vere is trying to assess things as he hears them. He nods to Claggart.
VERE
Claggart, go retrieve your assistant and Billy Budd.
RADCLIFF
You might bring in the Black Man Danskar as well. He is often speaking with Billy and may know something.
VERE
(nods to Claggart) Danskar as well.
Claggart retreats from the room. Once gone, Seymour confronts the Captain.
SEYMOUR
Captain, I’m sure Budd had no intention of killing Claggart, as much as Claggart was deserving and how he was pretty much uniformly despised by the men.
Vere puts his hand up to stop him.
VERE
Don’t! Don’t I tell you! Don’t speak that way about Mr. Claggart! Let him make his case.
Beat. The Captain stands and approaches the two men.
VERE
This is precisely what we don’t need. My career will likely be ruined when Admiralty gets wind of this. It comes down to me, you know, they will blame me for all of this!
The two men are silent. Claggart re-enters with Budd and Squeak.
CLAGGART
I was able to find Budd and Squeak. I have the word out for Danskar to come here as soon as he can.
Captain Vere looks both of the men over.
VERE
Mr. Squeak, stand aside.
Squeak stands back, leaving Billy standing alone in the middle of the room..
VERE
Mr. Claggart, I want you to face Mr. Budd and tell him exactly what you told me.
CLAGGART
Easily. Budd, I told the Captain that you, in alliance with Mr.
Kinkaid, were conspiring to kill me. That you were stalking me in the shadows and had it not been for Mr. Seymour would certainly have succeeded in your mission.
Billy STAMMERS a response.
BILLY
But… but…
The Captain raises his hand.
VERE
There’s more, Mr. Budd. Believe it or not! Mr. Claggart, do continue!
CLAGGART
I told him that you and Kinkaid were conspiring to kill me and that after my death was going to raid the gun lockers and take the ship by force.
Billy looks wide-eyed at Vere and Claggart.
CLAGGART
Tell him Squeak! Tell them how they were conspiring against me!
Squeak says nothing.
CLAGGART
Tell them Squeak what you told me! That Billy Budd is ill-intended and was conspiring to mutiny with the other impressments and take the ship!
Squeak still will not speak.
CLAGGART
He told me so, last night, to my face!
Vere, incredulous at the accusations, turns to Budd.
VERE
Budd, what do you have to say about all of this?
Billy STAMMERS. He cannot speak.
BILLY I… but… I…
CLAGGART
Just as I thought! He cannot answer because we know his intent! We know what he is thinking – the hatred he holds for me and the contempt he holds for the Captain!
Billy continues to try to stammer a response.
BILLY
But… b… but…
Just then Billy reaches back and strikes Claggart with a single blow to the temple. Claggart falls back.
Vere rushes to his side, as do Seymour and Radcliff. At first, Claggart seems alright. He has the same ambiguous smile on his face that he had when he first looked at Billy in the beginning of the film.
Then, quite suddenly, he slumps over, dead.
-
Patrick Downey – Act 3 Turning Point
What I learned doing this assignment is having a beginning, middle, and end is not enough. A good screenplay must have multiple layers for the pure entertainment of the reader or audience.
3<sup>rd</sup> Act Turning Point
INT. CAYMAN’S ROOM – NIGHT
Cayman had spent the last couple of years looking at all angles. He was sure that his plan had covered everything without a leak. However, it seems as though there is something or someone involved in turning this into a disaster. He sends a email to Audie to make sure all his people are trustworthy and there are no leaks. He knows all his team are good but sends out an email for them all to watch their backs and make sure they aren’t being followed.
EXT. DOWNTOWN PARK – DAY
Cayman calls a meeting with his crew to run through some scenarios and it’s obvious that Cayman is extremely stressed. His friends have never seen him like this before and it’s worrisome. It doesn’t look like Cayman has slept in days. He has dark circles under his eyes, hair looks disheveled, and his thoughts are confusing.
Cayman
I don’t want to involve the FBI anymore. I just want them to lose their money.
Cornelius
Cayman, what are you talking about? You’ve already given them the tape and the letter. There’s no going back now.
Jam-Sabo
Dude, let’s stick to the plan. It’s a good one and you put so much into it. Believe in yourself bro!
Cayman
I can’t let them beat me. I’ve waited so long, and I owe this to my grandfather. Dardanos is a scum bag who deserves to be put away forever. He thinks he’s so damn smart and nobody can touch him.
Cayman breaks down in tears and his friends all huddle around and console him and assure him this will work.
-
Subject line: Daisy Ridgway Khalifa’s Act 3 Turning Point [Lesson 19]
What I learned doing this assignment: I learned that it never hurts to refresh oneself on the “High Speed Writing Rules”
Act. 3/Key Scene 4/Turning Point 3/Protagonist’s Lowest Low/Outline:
EXT. PINECLIFF GARDEN – DAY
TE/Key Scene 4/Turning Point/Lowest Low: Mia gets to Pinecliff, which is still abandoned but it looks different. When Mia finally figures out how to reach Charles*, they spar over what to do. Charles won’t move and Mia appears to be shut off from Charles.
BEGINNING: Mia finally gets to Pinecliff again, but she has never lived there, and she wonders if Charles will know who she is.
MIDDLE: To Mia’s relief, Charles does recognize her. Because his time hasn’t move forward since the last few times he saw Mia, even as Little Mia. Mia learns that he is still convinced that Little Mia and Adult Mia are nothing more than a Muse.
END: Charles feels that Adult Mia is pushing far too much, after she pleads with him to reconsider moving. He insists on staying at Pinecliff, and has “already set that in motion.” He refuses to listen to her anymore and he disappears. Before he goes, he says “for what it’s worth” he asked Michael Gardner to move to Los Angeles, and that Gardner said yes.
Scene:
TK
-
Janeen’s Act 3 Turning Point
What I learned doing this assignment is drafting quickly doesn’t add as much humor as I’ll need later, but leaves me plenty of space to do it on a humor rewrite pass.
OUTLINE
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.
SCENE
INT. LAKE HOUSE 4 – EVENING
HOLLY and RUDY are snuggled up on the couch. NICK is on the floor playing with GRIZZLY and HOLLY steps to the TV.
HOLLY
Let’s see what’s on the ten o’clocknews.
The video shows pictures of Holly and Rudy in one corner and a video of an FBI team going door to door.
NEWSCASTER
Tonight, the hunt is going door todoor in search of the President’s parents who are believed to be hiding out in the lakes area.
Everyone cranes their necks, watching the TV. IVY pauses it, points to a guy in the group of agents.
IVY
That’s Dasher, but that guy isn’t FBI. He’s a known assassin on the FBI’s most wanted list.NICK
But he’s with Dasher.IVY
You know what that means, don’t you?RUDY We’re in big trouble.
NICK Big trouble.
Grizzly whines.
HOLLY Uh oh.
-
Vic Valleau 18 lesson act 3 middle scenes
Vic Valleau Lesson 19 Act 3 Scene 4 turning point
Vic Valleau Lesson 20 Finish Act 3
-
Charles Ferrell’s Act 3 Turning Point
What I learned from doing this assignment is how to find the ways in which the emotional dominoes can be lined up.
EXT.LAKE DOCKS – 3 AM
Alone in the world with no reason to stay home he returns the lake with paper and pen in his backpack to map out the foundations of buildings he found on the bottom.
He quietly climbs into the same boat and begins to unpack his backpack
DUNCAN SMALLS
(to himself) fish finder, battery, notepad, pe..
when there is a hand on his shoulder.
FAKE POLICE THUG 1
You are gonna need to come with us sir.
DUNCAN SMALLS
But I was just,
FAKE POLICE THUG 1
Don’t bother, we know this isn’t your house or your boat. Please don’t make this difficult for yourself.
They cuff him by flashlight and put him in the back of an unmarked car.
EXT.DIRT ROAD – BEFORE DAWN
Police have Duncan cuffed in the backseat, pull out from the lake onto the two lane highway and then turn off the highway down a dirt road.
DUNCAN SMALLS
This isn’t the way to town, or the police station
FAKE POLICE THUG 1
Great guess genius (he says removing his uniform)
DUNCAN SMALLS
I’m guessing you two aren’t the police?
FAKE POLICE THUG 1
Another great guess, you catch on fast but not fast enough, you came along without a fight. (he looks at the driver and they laugh)
They reach the end of the dirt road and pull over, the driver gets out and removes his police costume and they drag Duncan from the car.
FAKE POLICE THUG 1
We are going to have this little chat, one time and one time only. (he punches duncan who is on his knees in the dirt handcuffed) No more questions about the lake, or any camp nonsense
FAKE POLICE THUG 2
(kicks Duncan in the stomach) We really need to you to get, that this is serious, some things are best staying buried.
They continue to beat him bloody, then remove his handcuffs and pull away, leaving him lying in the dirt with the rising sun
Duncan hears the car stop down the road, looking througha bloody swollen eye, hoping they are not coming back he notices another car that was watching by the dashboard light it looks to be professor Winfield, he then pulls away.
EXT.UNIVERSITY – DAY
We see Duncan dirty, bloody and tired walking near the end of the dirt road, now reaching the paved road he is hitchhiking.
We see a local give him a ride to the university in the back of his truck.
He reaches his apartment to find a notice on the door, one says he has been removed from the university. The second says student housing is only for faculty and students in good standing and he has 10 days to move out.
-
Rebecca Jordan’s Act 3, Key Scene 4 – Turning Point 3, Lesson 19
What I learned from doing this assignment is to embrace the unknown. I’m at a point where I’m uncertain about what will go where. And how the structure should look from here on to the end. But I’m just filling in the blanks and enjoying writing the dialogue without having to know where I’m going or what will happen.
Turning Point 3:
Beginning: After hearing from the Convalescent Home that her mom is residing there, Rachel finally gets to confront her Mom. Rachel arrives at the home only to find that it’s after visiting hours.
Middle: Rachel sneaks back into the Convalescent home. Finds her Mom in her room hooked up to various machines. Not realizing that her Mom is unconscious, Rachel whispers, tries to wake her up to no avail. Giving up, Rachel plays her guitar softly and sings to her Mom.
End: Until a nurse enters. It’s Eleanor. Rachel recognizes her from the other day and thanks her for having the home notify her of her Mom’s whereabouts. Rachel asks Eleanor if she knows her from her past. Eleanor evades the question. Rachel learns that her Mom has been unconscious for a long time and isn’t expected to wake from her coma. And that “She never mentioned having a daughter.” Eleanor lets Rachel know it’s time to leave. Visiting hours are long over.
EXT. CONVALESCENT HOME – EVENING
Rachel lands into a parking spot.
INT. TRUCK – CONTINUOUS
Takes out the pint of JD.
Grunts.
Puts it back.
INT. CONVALESCENT HOME, RECEPTION – CONTINUOUS
Rachel looks around assesses the facility. Waits. Paces. Checks her phone.
Finally, RECEPTIONIST, 40’s, tired, returns. Hands Rachel some some papers.
RECEPTIONIST
Here you go. The room number is at the top of the page.
RACHEL
Thank you.
Rachel peers down the various hallways.
RECEPTIONIST
Her room is that way. But you’ll have to come back tomorrow during visiting hours. Everyone’s in bed. Last rounds have been made. Etcetera.
RACHEL
Oh. Bummer.
Backs away from desk.
RACHEL
Thanks again.
RECEPTIONIST
You are welcome. Good night.
RACHEL
Good night. See you tomorrow then.
Receptionist glances up. And back to work.
INT. CONVALESCENT HOME – MOMENTS LATER
Nobody at reception.
Rachel 50’s with her guitar, sneaks down the hallway, ducks into the restroom to avoid being seen.
INT. CONVALESCENT HOME, HALLWAY – CONTINUOUS
Rachel pops out of the restroom. Looks both ways and continues on tip toes. Looks into rooms with open doors until she finds her Mom’s room number.
Takes a deep breath.
Disappears into the room.
INT. MOM’S ROOM – CONTINUOUS
Rachel let’s her breath out.
SOUND of machines breath, suction, beeps in rhythm with one another.
Rachel sees her Mom hooked up to machines.
Paralyzed with shock. Hot tears pour down her face.
Quiet guttural sobs. Tears flying from her face.
Rachel at a loss. Sits in the chair. Stares at her Mom for a long time.
Finally, Rachel forces herself to stop crying.
Steps close to her Mom to get a good look at her.
RACHEL
(whispers)
Mom? Hi Mom? You probably don’t want me here. That’s okay. You can stay sleeping.
Waits.
RACHEL
I came to tell you that Uncle Ben is dead… He’ killed himself… shot himself in the head.
Rachel takes her guitar out of its case and straps it over her shoulder.
She puts her ear up to the door and listens.
Then gets close to her mom.
RACHEL
How bout I sing for you. That ought to wake you up. Or at least make your nose wrinkle. You always hated when I sang. I always thought it was cause I was no good. I thought I’d never sing again. But I like to sing. I’m in a really good band.
Tunes up guitar.
RACHEL
I wrote you a song. Well a lot of them are about you. I guess. But this is my favorite.
Sighs.
RACHEL
I’m nervous and don’t even know if you can hear me. That’s crazy. … Okay. Here goes.
Strums the wrong chord.
RACHEL
Jeez. Come on. You’re not that girl anymore.
Rachel plays and sings softly to her Mom, accompanied by more tears.
Eleanor enters.
Rachel starts.
RACHEL
You scared me.
ELEANOR
Visiting hours are over.
RACHEL
I haven’t seen my mom in a really long time.
ELEANOR
She never mentioned having a daughter. And anyways, you can’t be making noise in here. It’s after bed time. // Everyone is asleep.
RACHEL
Wait. I recognize you.
ELEANOR
Yes, you’re the young lady who almost knocked me on my tush the other day.
RACHEL
Thank you for having them call me.
ELEANOR
Like i said, no mention of a daughter.
RACHEL
Do you know my mom? Your’e not the same eleanor I met when I was a kid?
ELEANOR
You need to go. You can come back during visiting hours if you want. It’s up to you. But she won’t even know you’re here. She’s been unconscious a long time.
RACHEL
Is she gonna wake up? Ever?
Eleanor shrugs.
ELEANOR
Visiting hours are long over. Dear.
RACHEL
So your’e not the same —
Eleanor is gone.
-
This reply was modified 3 years, 3 months ago by Rebecca Jordan.
-
This reply was modified 3 years, 3 months ago by
-
<div>
TIM’S ACT 3 TURNING POINT – DAY 19
What I learned doing this assignment is that THIS is perhaps the most important scene to achieve a satisfying resolution. If the stakes aren’t high enough, if the potential loss isn’t great enough, the resolution will fall flat.
Act 3 TP Outline:
Duke is happy with Emma and her family, but he must help Sunny find her family, as he promised. He follows his nose while on a walk with Emma, but when the Crew shows up and attacks Sunny, Duke has to defend her and he accidentally knocks over Emma. Her dad sees it all happen and tells Duke it’s strike three for him and he’s going to the pound again, for the last time.
Duke runs off, a hunted dog. He’s failed at everything: establishing his new home, reuniting Sunny with her family, and getting revenge on Rex.
</div>
EXT. TOWN – DAY
Emma walks Duke, but actually he’s leading her.
He caught the scent that Sunny described as being near her home and he’s following it in hopes of finding her family.
As they approach the main intersection downtown, Rex and the Bad Boys Crew show up and cause trouble.
They disrupt traffic, harass walkers, and chase Sunny.
Duke lunges to protect Sunny and pulls Emma to the ground.
He turns to see if she’s okay, but has to go help Sunny.
Emma’s dad, among others, see it happen and are upset with Duke.
Emma’s dad decides that Duke can’t change and he’ll never be a good dog, so he has to go back to the pound.
Duke helps save Sunny for now, but he can’t stay.
He barely escapes both the BBC, police, and Emma’s dad.
He’s on the run, having failed Sunny, Emma, and wasted his last chance at becoming man’s best friend again.
-
Benito Selim’s Act 3 Turning Point
What I learned in this assignment is combining all the small scenes as well as place holds closes the act to set up your final act.
INT. DARRYL’S DORM- LATER
BEGINNING: After his premonition, Darryl rushes to his dorm to get changed. Marcus is right behind and insists he goes to the hospital. Gary comes in and is limping.
MIDDLE: Darryl denies Marcus’ requests and says he must go.
END: Marcus insists on driving him where he needs to go, Gary stays behind and questions.
INT. MARCUS’S MOVING VEHICLE- LATER
BEGINNING: Marcus drives Darryl to Ellen’s house. Darryl tells Marcus about his schizophrenia and why he hid it from everyone.
MIDDLE: Marcus questions if he is having illusions. Darryl denies and tells him about Ellen informing him about his gift.
END: Marcus is reluctant to believe but continues with their trip. They arrive to Ellen’s place to find the police there. Darryl tells Marcus to take him to the hospital.
EXT. COLLEGE CAMPUS COURTYARD- AFTERNOON
BEGINNING: Gary joins Lorraine, Andrew, and Calvin, they inform Gary about the murders off-campus.
MIDDLE: Lorraine informs Gary rumors are flying that Darryl snapped because of the altercation at the bar. Gary tells them about the mental breakdown Darryl had in the morning.
END: Calvin disagrees and says he found something at the farm that day also. He invites the group back to the edit suite. They agree to meet him later since they all must go to class.
INT. HOSPITAL- LATER
BEGINNING: Darryl and Marcus check to see if Ellen has been admitted. The nurse informs them she is being discharged. A nurse passes pushing a gurney with Tina on it.
MIDDLE: Darryl immediately runs to her and questions. Tina acts frighten and asks him why. Darryl is confused and runs away. He meets back up with Marcus as Ellen enters the lobby.
END: Ellen tells them they need to leave now everyone with Darryl’s circle is in danger and this case needs to be resolved. They leave as Detective Garnett arrives, he informs other officers to follow the car and he’ll get their location later.
INT. EDIT SUIT- LATER
BEGINNING: Calvin waits for his friends to arrive but decides to call Marcus since he can’t get ahold of Darryl.
MIDDLE: Calvin leaves a message for Marcus to pass on to Darryl. Calvin reveals he found a fraternity pin at the farm, but it doesn’t belong to Jeff. He believes Jeff and Karen were set up but does not know why.
END: Calvin hangs up the phone and is attacked and killed.
TURNING POINT: Someone within this circle of friends is connected to these missing teens but is setting up Darryl.
-
Robert Wood’s Act 3 Turning Point
What I learned is that my script is still running very short (I’m at 49 pages now but will get a bit more when I fill in a couple minor scenes in Act 3 for the next lesson), but I do have pages of additional notes I’ve made myself that could turn into extra scenes I can weave back through, so I’m feeling hopeful about that and continue to press forward…
EXT. BOAT ON LAKE – RATTLESNAKE ISLAND – DAY
The boat approaches Rattlesnake Island.
Matt starts steering a berth around the island, but Bert is drawn toward it…
BERT
The monster…
MATT
Yeah, we’re heading to Squally Point.
BERT
No. The monster… I can feel it.
MATT
What, here?
Bert nods.
MATT
The island?
Matt slows the boat.
BERT
It’s here, Matty. It’s here!
Bert’s eyes tear up. He fights to not be overwhelmed by the wave of emotion.
Matt brings the boat to a stop and goes to Bert.
MATT
Are you okay?
BERT
The monster… It’s here… It’s on the water.
MATT
It could be out there, Bert. It could be anywhere…
BERT
No… it’s here. It’s here, I tell you!
Bert is nearly overwhelmed with emotion again.
MATT
What is this about?
BERT
The island. Bring us closer.
Matt, with a concerned eye on Bert, revs up the engine and aims toward Rattlesnake Island.
Bert appears halfway between horror/Hell and salvation. (Hell and damnation’s just salvation upside down.)
The boat slows to a gentle coast as it nears the island, its prow barely disturbing the silver-sleek surface.
BERT
The monster… it’s here.
MATT
How do you know that? I haven’t seen anything…
BERT
I have.
MATT
Are we still looking for Ogopogo?
BERT
This is the place… The monster’s always been here…
MATT
What are you talking about? Maybe we should go back–
BERT
NO!! We’re not going back!
Emotions flood Bert again as he looks toward the island.
MATT
What are you seeing?
BERT
The monster…
MATT
Was it that day?
Bert almost acknowledges it was…
MATT
That day you sent me off for a sleepover?
Young Bert and Harris are on the boat with them. Young Bert talks business…
YOUNG BERT
Literally hundreds of sightings since 1872. They can’t all be wrong, you know.
HARRIS
No, they can’t.
YOUNG BERT
It can’t all be God-damned thermal stratification waves!
HARRIS
You’re right.
YOUNG BERT
Damn right I am.
Harris steps closer to Young Bert.
HARRIS
And you’re very hot when you’re right.
He leans in for a kiss.
YOUNG BERT
Again with this?
HARRIS
Yeah, of course. What the heart wants…
YOUNG BERT
It doesn’t always get.
HARRIS
Why not? You were into me yesterday.
YOUNG BERT
Yeah, well… that was then.
HARRIS
And right now?
YOUNG BERT
I just don’t think I should be doing this. It’s wrong.
HARRIS
It’s not wrong.
YOUNG BERT
A mistake.
HARRIS
It’s not a mistake. I’m not a mistake… and neither are you. Not the real you — and you know you want me!
YOUNG BERT
I don’t know what I want! I don’t even know what I am!
HARRIS
Let me help you remember…
Harris tries to kiss Young Bert again.
Young Bert rebuffs him with a shove, but Harris persists.
A brief struggle ensues and Harris’s Nessie pin is knocked off his lapel and falls to boat floor.
The boat rocks under their weight. Harris loses his balance, slips and falls.
His head hits the side of the boat as he falls overboard.
Harris hits the water, unconscious.
YOUNG BERT
Oh my God, Harris! Harris!!
Not breathing, Harris begins to sink down into the dark water…
Young Bert dives in after him, submerging into the depths.
He surfaces again, gasping for air, then plunges under the surface again. Dark water swirls in his wake.
Over and over, he dives down and resurfaces, until he is so exhausted and breathless and frozen by the frigid winter water that he can barely stay afloat.
Hardly able to grasp the rungs of the boat ladder, Young Burt struggles to pull himself up and back into the boat, where he collapses, cold and shivering.
EXT. BOAT ON WATER – RATTLESNAKE ISLAND – DAY (LATER)
Young Bert sits, huddled in a blanket, staring vacantly in shocked silence into the water. How long has he been sitting like this? An eternity.
He notices a smear of red on the edge of the boat where Harris hit his head.
He breaks into devastated sobs.
Then, panic!
He looks around for signs of other boats. There are none.
He grabs a cloth and cleans the blood from the side of boat.
A glance downward breaks his heart again…
Harris’s Nessie pin lies on the floor of the boat.
He picks it up and puts it in his pocket.
-
Andrea Cabañas ACT 3 Turning Point
What I learned (or better: what I’ve been learning) is that I really can’t be a perfectionist now because this is the first draft. Nonetheless, in every assignment, I learn more about my protagonist’s journey and with this particular lesson, even the turning point has changed.
1. Outline Key Scene 4 – Turning Point 3.
Zoe works, James calls her. For the first time, she says no to him.
Georgia picks up Zoe, and on their way to the studio, Zoe has a panic attack. She asks Georgia to drop her off at Paula’s office.
Once she arrives, she sees Juan leaving. At Paula’s office, she demands answers and Paula tells her she needs to hide.
2. Write Turning Point 3 – Protagonist faces their lowest low.
INT. PAULA’S OFFICE – RECEPTION – DAY – CONTINUOUS
Just before reaching the reception of the building, Zoe sees Juan with two more men leaving the elevator in a hurry. Juan doesn’t seem happy.
She hides, turns her back on them, pretends she’s on the phone with someone. She eyes them through their reflection on the glass in the reception window.
Outside, Juan picks up his phone, makes a call. Her phone RINGS. She rushed to turn it off. He looks sideways, turns it off, walks forward and gets into the car already waiting for him in front of the building.
Zoe goes to the elevator.
INT. PAULA’S OFFICE – DAY
Zoe storms into Paula’s office, followed by Marina, who tried to avoid it.
Paula talks with three MEN, all around ‘40s; all have their guns at their waists.
They stare at Zoe, who hesitates but doesn’t move.
Paula makes a move to them, who leave the room, including Marina.
ZOE
Can you tell me what is this about? What he was doing here?
Paula takes a cigarette, lights it and blows the smoke in the air. She keeps calm.
PAULA
I’m fine, thanks.
Zoe looks away. Takes a breath.
ZOE
You told me you didn’t have anything to do with him anymore.
PAULA
Since you started fucking him, I got involved too.
Zoe scoffs.
ZOE
Excuse me?
Paula stands up.
PAULA
I told you to keep away from him but no. You kept working for him, pretending he was no one.
She comes closer.
PAULA
And then you didn’t resist–He’s charming, alluring, huh? Difficult to resist, I know.
Paula walks away, gives another drag and turns to face Zoe again.
PAULA
You even stole him.
Zoe reacts. Paula tuts.
PAULA
And now you come here demanding answers?
ZOE
What’s going on?
Paula comes closer.
PAULA
You played with fire, Zoe. Because of your childish action, he killed one of my men and now, he’s demanding something that I’m not able to do.
Zoe’s eyes well, her breath increases rapidly. She turns her back to Paula.
ZOE
I saw it.
PAULA
What?
ZOE
I saw his man killing him.
PAULA
(in Spanish)
¡Joder!
ZOE
Nobody saw me, I swear.
Paula goes to Zoe and turns to face her.
PAULA
You need to hide.
-
Dana’s Act 3 Turning Point
What have I learned from this assignment?
I had to reconsider how to elevate the conflict between protagonist and antagonist that would threaten the main character to his core. I created a daughter early in the story to reveal the life my character had lost and his motivation to get it back. Having the antagonist threaten his daughter’s life at the Turning Point, demanding the protagonist exchange his life for hers, not only pushed the scene to it’s limit, but it offered me a choice of ending I hadn’t considered.
OUTLINE KEY SCENE 4
INT. LIVING ROOM – NIGHT
BEGINNING: Jack and Frank arrive at Janice’s home. She’s distraught and crying and blames Jack for Heidi’s kidnapping. Her new husband explains they received a phone call from a man telling them he’s taken Heidi. Not to call the cops. Wait by the phone.
MIDDLE: Jack and Frank know who has taken her, but they say nothing. Jack takes the call from Hill, who wants a trade – Jack and Frank and the missing hard drive for Heidi’s life. He threatens Heidi if Jack and Frank don’t cooperate. Jack agrees.
END: Jack asks Mark for a hard drive to use as a ruse. He warns Janice to flee the house, find a place to hide. Mark finds a hard drive for Jack to use. Janice demands he bring Heidi home safe. Jack promises to bring her home and threatens to kill everyone involved, to Frank’s delight.
SCRIPT
INT. LIVING ROOM – DAY
Janice answers the door and Jack storms inside followed by Frank. Janice is frantic. She’s been crying, her eyes red.
JACK
Where is she?
JANICE
Gone! You bastard. I knew this had to be you. My daughter’s been taken because of you!
Janice slaps Jack across the face. Jack accepts it, and Janice backs away, face in her hands.
MARK JACOBS, Janice’s husband, takes Janice in his arms to calm her down.
MARK
We got a call from some man. He put Heidi on the phone. He told us not to call the police. That he’d be in touch.
JANICE
Who has my daughter?
JACK
I don’t know.
JANICE
Liar! You know exactly who has her. This is about you. About you and that boy you killed. You and your fucking partner!
The house phone on a side table RINGS. Everyone stops. Jack answers the call.
JACK
Donovan.HILL (O.S.) (on phone)
We have your daughter.
JACK
What do you want?
HILL (O.S.) (on phone)
You. And your partner. And the hard drive you took from the technician.
Jack hesitates, a furrowed brow. Confused.
HILL (O.S.) (CONT’D) (on phone)
You still there?
JACK
I’m here. I want proof of life.
A moment, soft SOUNDS. Then.
HEIDI (O.S.) (oh phone; afraid)
Mommy?
Jack fumes. Says nothing. Heidi’s gone in a second.
HILL (O.S.) (on phone)
You know the score. No tricks. Just you and your partner. You lives for hers. Or she’s dead.
JACK
Where?
HILL (O.S.) (on phone)
Call your Russian girlfriend in an hour. She’ll give you directions.
(beat)
Don’t fuck this up.
The phone goes dead.
JACK
She’s alive.
Janice nearly collapses in grief.
JACK (CONT’D)
They’ll trade. Heidi for us. And they want the technician’s hard drive.
FRANK
They don’t have it.
(beat)
Then who does?
Jack looks at Mark.
JACK
You’re a tech guy. You have a spare hard drive around here? The older the better.
MARK
I can find one.
JACK
Get it.
Mark heads off to find a hard drive.
FRANK
Where and when?
JACK
They’ll call your friend in an hour, give us directions.
(to Janice)
Get out of the house. Pack a bag and disappear. Find a cheap motel, something out of the way. I’ll call your cell when it’s over.Janice steps in close to Jack.
JANICE
Bring her back to me. Please!
Jack takes her shoulders and peers resolute into her eyes.
JACK
Whoever did this is going to die. Every last one of them.FRANK
It’s about fucking time.
Jack kisses her on the forehead.
Mark returns and hands Jack a hard drive.
MARK
It’s old. And encrypted. I don’t know what’s on it.
JACK
I’ll do.One last reassuring look, and Jack follows Frank out, closing the front door.
CUT TO:
-
Lori’s Act 3 Turning Point
What I learned from this assignment is that the Act 3 turning point must bring my protagonist to their lowest point so that Act 4 will have the most significant impact.
Key Scene, Turning Point 3:
Beginning: The Christmas play ends with a beautiful song about Immanuel.
Middle: Thomas avoids speaking to people at the church.
End: Thomas is confronted by his wife’s killer.
INT. CHURCH – NIGHT
The Christmas play is wrapping up on stage in front of an audience seated in the church.
GEORGE is well and back to playing the father’s role in the play.
GEORGE
Fear not, for behold, I bring you good news of great joy that will be for all the people. For unto you is born this day in the city of David a Savior, who is Christ the Lord.
The stage darkens on the “family Christmas,” and a WOMAN appears alone on the stage in a white robe and sings a beautiful song about Immanuel.
Thomas sits solemnly in the audience near the back of the church.
INT. CHURCH – A LITTLE LATER
John and Miriam are greeting people on the way out of the church at the exit doors.
Thomas reluctantly responds to a few people who greet him as he makes his way to his office.
Many give Thomas an apologetic look. Still, others seem to be avoiding him.
Thomas makes hurries past many as he makes his way toward his office, and then,…
HENRY SPENCER
(from behind Thomas)
Pastor Thomas?
Thomas freezes and fearfully turns toward Henry. The sight of the man responsible for Joan’s death brings up the worst anger and heartache all at once as evident by the look on his face.
HENRY SPENCER
That was a beautiful play.
Thomas stares through him and doesn’t respond.
HENRY SPENCER
You’ve probably heard that I’m not doing well.
Miriam and John continue shaking hands and offering warm Christmas wishes.
Miriam notices Henry talking with Thomas and looks worried.
THOMAS
Uh,…
HENRY SPENCER
I’m not here for me. I want to make amends. But, I don’t expect you to ever forgive me. I don’t deserve it. I wish it had been me and not Joan.
THOMAS
Don’t, don’t say her name.
HENRY SPENCER
I’m sorry, Thomas. You will never have to see me again.
Henry walks out of the church, past a shocked Miriam on his way out.
Miriam and Thomas meet eyes.
Thomas spins around and hurries to his office.
INT. THOMAS’ OFFICE – CONTINUOUS
Thomas rushes into his office and closes the door behind him. He picks up the picture of Joan off of his desk.
THOMAS
(sobs)
Joan.
Log in to reply.