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Post Your Lesson 13 Assignment Here
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Janeen’s Act 2 Reaction to TP1
What I learned doing this assignment is that my beat sheet is extremely important in keeping me on track and a great way to reorganize things quickly and easily if I decide something needs to be added or moved.
INT. JYM’S OFFICE – NIGHT
CAM and JYM are in her office after the gym closes. Jym is pondering her white board in her office.
JYM
I’ve been on the Banting diet fortwo weeks. The first week, I drank glasses of wine with each meal where Banting did. Where he would have two, I’d have one – and by one glass I mean three ounces so not enough to move the Breathalyzer by much.
CAM
Did you lose weight?JYM
A few pounds, exactly the way thepamphlet said I would. CAM
So?
JYM
So I felt like I was about to bingeevery afternoon after Tea.
CAM You drink tea?
JYM
No, it’s like an after school snack.Two to three ounces of fruit and a rusk or two.
CAM What’s a rusk?
JYM
Very dry bread, but small.CAM
Two to three ounces of fruit isnothing.
JYM
It’s about two thirds of an orangeor a few grapes or part of an apple. CAM
Nothing.
JYM
Why do people binge?14.
CAM
I don’t know. I eat all day everyday and I look like this. JYM
Show off!
INT. BEN’S BEDROOM – NIGHTBEN and ASHLEY are getting changed for bed, but stop for a quick canoodle.
ASHLEY
I’ve been so tired this week. Ithought it was just the holidays last week, but I’ve been exhausted all week.
She rests her head on his shoulder and he caresses her shoulder.
BEN
How have your numbers been?ASHLEY
Better than they were after eatingat hour mom’s over the holidays, but not good.
He holds her close, looking worried.
ASHLEY (CONT’D)
Ben, is there anything we can do?He thinks long and hard, then speaks.
BEN
I think we’ll get you an insulinpump. That may help. Ashley pulls back, startled.
ASHLEY
You always said they were fordiabetics that were on their way downhill in a hurry. Are you saying –
He holds her close. Fiercely.
BEN
No. No, honey. I’m not saying that.I just think one of the newer pumps could level out your insulin levels so you’re not so tired all the time.
15.
He kisses her hair, cheeks and neck. She looks at him with complete trust.
ASHLEY You’re sure?
BEN
I’m sure.
He holds her close again, but tears come to his eyes.
INT. BEN’S BEDROOM – NIGHT
BEN, in pajamas, looks at a copy of his wall chart. The cursor is on the insulin pump on the slope.
ASHLEY comes out of the bathroom in a nightgown and Ben quickly closes the computer and gets up to put his arms around her.
ASHLEY
I was afraid my pj bottoms wouldcatch the edge of the bandage and pull out my port so I’m wearing this to bed.
BEN
Hmmm… better access for meASHLEY You’re incorrigible.
BEN And you love it.
ASHLEY
I do.
BEN
(in doctor mode)Are you in any pain?
ASHLEY
No. Well, only if I bump it orstretch too much.
BEN (caressing and kissing
her)
So marital bliss is off the table tonight?ASHLEY
Not if you’re on top if me.16.
BEN Adventure awaits.
He ushers her to the bed. She jumps in, giggling and eager.
ASHLEY
This is going to help me not be sotired, right?
BEN
It should. Are you too tired foradventure?
ASHLEY
Never.
He shuts off the lamp and climbs in bed.INT. JYM’S GYM – DAY
JYM is sitting in her office, glumly looking over her Banting menu and journal. CAM pauses outside her office and then enters with a grin on his face.
CAM Why so glum?
JYM
I’ve worked my way up to theObservation and Restoration phases of Noakes’ diet plan, but all there is to eat are these green list foods.
CAM
This stuff looks great. What’s sohard about it?
JYM
Most stuff on the list is expensiveand comes in quantities meant for families, not one person. Plus, I’m sick of salads and vinegar and fermented soy sauce. Half the stuff I buy goes to waste.
CAM
Yeah, but you’re losing weight, right?JYM
It’s not easy. No one else is goingto be able to do this — not with real food in the house for their families.
17.
CAM
Do you have real food?JYM
No.
CAM What’s the real hate to see you
problem here? I so miserable.
JYM
I did your fat-busting workout today.CAM
Great, huh? Really revs up yourmetabolism.
JYM
It revved up my appetite and cravings.I loved it while I was doing it, but it was murder afterwards.
JYM (CONT’D)
I ate about three times the food Iwas supposed to and cheated and had some leftover Orange List oranges and carrots. I almost nuked a potato too.
CAM But you didn’t.
Jym heaves a sigh.
CAM (CONT’D)
Skip the fat-busting workouts. Youdon’t need to lose weight. You’re already gorgeous.
Cam sweeps a lusty glance over her, grins broadly, taps on the door jamb as he leaves the office, glancing back over his shoulder before stepping out of sight to see if she’s watching him. She is.
INT. DOC’S OFFICE – DAY
It’s now spring. BEN is in his office with a couple of his colleagues.
BEN
My clients are struggling to stickwith the diet. How do you keep your folks motivated? I’m thinking my pep talks may be inferior in some way.
18.
them on
What do
Make it
He reaches in his prescription pad.
their way.
BEN you mean?
DOC2
easy for them to follow.pocket and pulls out a pre-filled-out
DOC1
Brenda at the desk for padsDOC1
Are they losing weight?BEN
Not like your clients. I can seethat your folks have lost weight. DOC2
Not yours?
BEN
Some have, but most aren’t. Theysay the diet is too hard.
DOC1
Recommend a different diet, givethem their prescriptions and send
Ask the
for each of these. They’re numbered so get these back to me.Ben looks wary, but picks up the prescription papers.
DOC2
Either one of those will help yourfolks stick with the diet. They’ll love you for it.
BEN
These could be dangerous for some ofmy clients.
DOC1
Not as dangerous as their obesity.The two docs agree with each other and head out the door. Ben ponders the scrips.
INT. JYM’S GYM – DAY
A few more weeks have passed.19.
JYM has lost about twenty pounds so her weight loss is obvious to some of her clients. They follow her to her office.
CLIENT1 What’s your secret?
CLIENT2
I want your diet. If you can dothis then maybe I can too. CLIENT1
Spill.
JYM
I just cut down on servings and I’vebeen exercising a lot. Cam’s fat- busting workout rocks.
CLIENT1
Not going to tell us, huh? Okay.We’ll find out on our own.
They leave her office. MARTA has been listening outside to the conversation and enters.
MARTA
What have you been doing?JYM
This.
She pulls up the Noakes’ Banting Diet info and shows it to Marta.
JYM (CONT’D)
I haven’t shared it because the foodscan get expensive, aren’t things we usually eat so I had to go to the pricey grocer to get some things and most of the gals can’t afford it – not with families to feed. Plus, it takes a while to prep all of the veggies and cook ahead.
MARTA
I don’t see ranch dressing on thelist anywhere. No fast food either. JYM
Exactly.
MARTA
You know what else I don’t see?(MORE)
20.
MARTA (CONT’D)
How dangerous this diet could be forsomeone on insulin if they’re not being monitored closely. This is a keto diet and that drastically changes the metabolism You don’t want to do this without medical supervision if you’re taking any medications and most of these gals are, I’m guessing.
JYM
Yet another reason why I can’t tellthem how I’m losing weight.
MARTA
This could be problematic.Marta gives Jym “the stare”.
JYM
I haven’t shared it. I won’t.INT. DOC’S BEDROOM – NIGHT
ASHLEY and BEN are snuggled in bed.ASHLEY
I had a really good day today. Igot so much done. Thank you for the pump.
BEN
I’m glad it’s helping. You had agood day?
ASHLEY
I did. I got groceries, went to thegym for a yoga class, went to the boys’ soccer practice, spring cleaned the downstairs bath and swept the patio.
BEN
That’s a lot considering how tiredyou were before. I’m glad it’s helping.
ASHLEY
I’m so glad I have you to take careof me. You’re my guardian angel.
Ben pulls her in closer, but looks desperately around the room, feeling guilty.
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Lesson 13 ACT II Reaction to TP 1
What I learned about this assignment is this was easy due to the preplanning and outlining. I wrote this in an hour. Of course, the coach may say I should have spent more time on this trash. Ha Ha.
TP : Travis learns part of what his meddling mother is planning.
Scene INT LIZ’S CAR DAY
Liz drives away from the parking garage and sees Travis waiting for Bradford Inn shuttle. She pulls over.
LIZ
Good morning. Want a lift to the Bradford Inn?
TRAVIS
Yes, thanks.
Travis puts suitcase in back seat and gets in front seat.
TRAVIS
I looked for you early this morning. I wanted to tell you how much fun I had last night.
LIZ
I had a good time, too. Jerry and Joan were a cute couple.
TRAVIS
I agree. You were right. This town is pretty at Christmas. And a shower of light snow is
greeting us. I wonder where my mother and sister are at this time.
Liz and Travis laughed.
LIZ
When this town began, the citizens planned for growth. In the business district, there are no homes. They planned the parks and even the arrangement of the types of business for main street. The women interrupted the meeting and demanded to be heard. They asked that motels and hotels be on each end of the business district. The original planners left a space in the center for a huge park, big enough that two years ago, the town built a parking garage on part of it.
TRAVIS
That is phenomenal. I wish big cities had planned that well.
LIZ
When you leave Bradford Inn, turn left and you can walk down one side of main street and
go back on the other side and visit all of the shops. There are coffee shops on each side and
a few restaurants near the park.
TRAVIS
I’m impressed. Do you moonlight as a tour guide?
LIZ
No, I just love the history of this little bit of heaven.
As Liz drives, Travis looks at all the Christmas decorations.
TRAVIS
I think there are more decorations up since I was here last time. This is awesome.
Travis looks at Liz.
TRAVIS (CONT)
For the first time, I’m glad I came to Vermont for Christmas.
Liz looks at Travis.
LIZ
I’m happy you came, too. Well, this is the Bradford Inn.
Travis looks at the building and doesn’t recognize it. He glances toward the big sign on the snow-covered lawn.
LIZ
What do you think of it?
TRAVIS
Mom was right. It’s beautiful. Are you going to park?
LIZ
No, I’m going to another area. Merry Christmas!
TRAVIS
Same to you. . Thanks for the ride.
Scene EXT OUSIDE BRADFORD INN DAY
Travis leaves the car and walks on the sidewalk. He stops when he remembers he didn’t get Sarah’s phone number.
TRAVIS (CONT)
Heck, I don’t even know her last name. but she must be staying here. I’ll find her.
Travis looks at the exterior of the inn.
TRAVIS (CONT)
Whoever the new owners are, they know what they are doing. And Sarah is staying here. This may be the best holiday yet.
SCENE INT. BRADFORD INN LOBBY DAY
Travis enters the lobby. In the middle stands the biggest holiday tree he has ever seen, It is filled with huge ornaments. There stands Mom and Marty gazing at the tree. Then Travis stops and stares at his ex-wife, Becca standing beside his sister. Mom turns and sees Travis first. Travis lowers his suitcase to the ground.
JILL HARVELL
Travis, we are so glad you have arrived. We ran into Becca who plans to stay for the holidays.
How was the train ride. (She hugs Travis.)
Travis continues to stare at Becca.
Marty hugs Travis. When Becca moves to hug him, Travis speaks.
TRAVIS
Hello, Becca.
BECCA
It’s good to see you, Travis. I think it is destiny that we are here at the same time.
TRAVIS
I’m going to check in. I will catch up with you guys later. Oh, when is Dad coming?
JILL HARVELLE
He and Charlie will arrive in the morning.
Travis moves toward the registration desk. Jill stops him.
JILL Harvelle
Sweetheart, we have a small issue.
TRAVIS
What?
JILL HARVELLE
That are no more rooms.TRAVIS
I don’t have a room. We reserved this place before Thanksgiving.
JILL HARVELLE
No, Becca doesn’t have a room.
Travis shrugs his shoulders. He grabs his suitcase and heads to the front desk.
DESK CLERK
How can I help you, Sir?
TRAVIS
I’m Travis Harvelle. I have a reservation.
DESK CLERK
Yes, I see. I need a major credit card, your driver’s license, please.
Travis provides all the items requested.
DESK CLERK (CONT)
Please sign here. These cards allow you into your suite. This is a City of Wellington map. This
brochure informs you of the activities offered in our hotel as well as community. This sheet is
our Christmas celebration schedule.
TRAVIS
Thank you.
DESK CLERK
The restaurant offers three meals a day. The café on the mezzanine offers sandwiches, short
order meals from 7 AM to 11:00pm.The RED FOX Lounge is open from four until 1:00 AM.
We offer a free shuttle on the odd hours beginning at 9AM to the skis resort which is thirty
minutes away. Do you have any questions, Mr. Harvelle?
TRAVIS
Has a lady named Sarah with beautiful, emerald eyes checked in recently?
DESK CLERK
No, Sir. These belong to you. (handing Travis his card and driver’s license) Call the front desk
if you need anything. Have a wonderful stay and Merry Christmas from the Bradford Inn.
TRAVIS
Merry Christmas to you, (Travis stops and asks) Can I leave a message for Sarah, She
will be checking in soon, I know.
DESK CLERK
Of course, Here is paper and a pen. We will hold your note until Sarah arrives. The
bellhop will take your bags to your room.
After Travis writes a note to Sarah, he and the bellhop move toward the elevators, Jill, along with the ladies, approach Travis again.
JILL HARVELLE
Travis, we still have an issue. Becca doesn’t have a room to stay in.
Travis looked at his sweet mother, ignoring Becca.
TRAVIS
If I remember, the suite has a living room with a TV as well as the bedroom.
She can stay with one of you tonight.
Travis turns to Becca.
TRAVIS (CONT)
Or the train leaves in about two hours. The Bradford Inn shuttle can take you there. Have a safe trip home.
Jill and Marty gasp at the turn of events.
TRAVIS (CONT)
Mom, see you at dinner. Let’s plan to eat at seven.
As Travis and bellhop enter the elevator A, Jill, Marty and Becca stare as the door closes.
Marty
Mom, what are we going to do? This is not going as planned.
JILL HARVELLE
I don’t know.
BECCA
Don’t worry. I can stay with one of you tonight. He’ll come around, but I won’t join
you for dinner. That will give you the opportunity to talk to him privately.
JILL HARVELLE
I believe that might be best, Dear. You can stay with me.Jill, Marty and Becca head to elevator B to go to their suites.
Scene INT LOBBY REGISTRATION DESK DAY
The desk clerk is searching for Sarah’s name on the reservation list.
BELLHOP
What’s wrong?
DESK CLERK
I searched the registration list and the reservation list three times for someone
named Sarah. Not one person has that name.
BELLHOP
Maybe she is using a middle name or a nick name?
DESK CLERK
I don’t know. If you hear the name Sarah, find out who she is and report
back to me. We need all the facts before we contact security or the administration.
BELLHOP
I got this. You can count on me. You know I am enrolled in the school of criminology
at the university.
Scene INT BRADFORD INN RESTAURANT DAY
Liz enters the restaurant, seeking Annabelle.
LIZ
Hey, Mom.
ANNABELLE
Wow! Your eyes are sparkling in that green sweater.
LIZ
Thanks. The place looks fabulous.
ANNABELLE
Can you believe the Main Street Florist was able to get this many small poinsettias
for our tables? I move them to the greenhouse every night, but it’s worth it.
LIZ
What are these for?
ANNABELLE
The kids color them during breakfast and the parents stick this piece on the back
which allows the Christmas to stand up. The child autographs their creation and
it is the centerpiece for the table at breakfast. We placed a temporary shelf on
that wall where they are stored all day as a decoration for people to view at lunch
and dinner.
LIZ
What a great idea.
ANNABELLE
Yesterday after breakfast, this set of twins. I think they are about six years old.
They asked me what time I arrived for breakfast every morning. I told them I came
at seven. They showed up today with mom wanting to help me place then on the
tables for the breakfast crowd.
LIZ
That is a sweet story. We need to ask the mom if we can do a press release on
them.
ANNABELLE
Okay. I’ll take care of that tomorrow.
LIZ
And when Santa comes on Sunday afternoon, he needs to walk with the children
down to the restaurant for their treat. They can show their decorated trees to him.
ANNABELLE
I love it. We make a great team, don’t we? (She hugged Liz.) Jake was in the lounge
several hours ago. Did you get to see him?
LIZ
He is sure problem. Remember? I don’t plan to see him.
ANNABELLE
The tickets went on sale thirty minutes ago and Sam said tonight’s concert is almost
sold out.
LIZ
Really! How did that happen?
ANNABELLE
Jake is handling all publicity through the radio and online. He asked me to tell you
he wants to see you before the first performance.
LIZ
I need to go see Sam. Do you want to go over the new contracts this afternoon?
ANNABELLE
No, just make sure the dates on my wall calendar in the office. You can tell us
about your trip at the next admin meeting. Good job!
LIZ
Thanks.
Scene INT HOTEL HALLWAY DAY
LIZ calls Sam on her walkie as she enters the hallway to the lounge.
LIZ
Sam?
SAM
Hello, Stranger. I was wondering when you were going to check in with your best pal.
LIZ
Are you in the lounge? I need to see you.
SAM
I’m in the office.
LIZ
Is it safe?
SAM
Yes, he left about thirty minutes ago.
LIZ
On the way.
Scene: INT BRADFORD INN LOBBY REGISTRATION DESK DAY
Dan Harvelle and Charlie Mathis enter and go to the registration desk.
DESK CLERK
How can I help you, sir?
DAN HARVELLE
We need to check in. We’re a day early, but out wives are already registered.
DESK CLERK
How is the room listed?
DAN HARVELLE
Try Dan or Jill Harvelle.
DESK CLERK
Yes, I will need a copy of your driver’s license only.
Dan presents his driver’s license to the desk clerk. Desk clerk makes a copy.
DESK CLERK
Everything is in order, sir. Room Suite 210
Charlie steps up and hands the clerk his driver’s license. The desk clerk makes a copy and hands it back to Charlie.
CHARLIE
I should be registered as Charlie or Marty Mathis.
DESK CLERK
Yes, I found your name. Please sign here. Your suite is 211. The bellhop will escort you
to your suites. Merry Christmas from the Bradford Inn.
The clerk hits the bell and the bellhop comes out of a room and grabs everyone’s bags
DAN and CHARLIE
Thank you.
Scene INT THE RED FOX LOUNGE DAY
Liz enters Sam’s office.
SAM
What took you so long?
LIZ
I stopped by the break room and grabbed a cookie and a bottle of water. I forgot to
eat lunch. These are good. I brought you one.
SAM
Your mom didn’t get my opinion on Jake. I’m sorry.
LIZ
I knew you had nothing to do with it? If I was in her shoes, I would probably do the
same thing. Obviously, her decision was a smart one. I understand you are about sold
out of tickets for the first concert.
SAM
Yep, tickets are going fast for all four nights. I’m worried.
LIZ
Worried about what?
SAM
Losing my mind, listening to Jake Jones four nights in a row.
LIZ
(Liz laughed and slapped Sam’s hand) I love you, Sam.
SAM
If only a woman my age would tell me that.
LIZ
I’m going to call your wife and tell her what you said. How are those concert
tickets numbered?
SAM
General admission tickets are not numbered. Reserved tickets have a
table number. Those tables are in the front and they are more expensive.
LIZ
Are all the tables sold out?
SAM
No, we have one left for tonight.
LIZ
I want that one. I’ll need six tickets.
SAM
You are going to a Jake Jones concert?
LIZ
(Liz chuckles) No, I met a handsome man on the train. He’s here with his family for
the holidays. He loves Jake Jones. I would like to give him a special table in the
front center.
SAM
Before we entertain this crazy idea of yours, I want to remind you,
about my training session regarding working with married men.
LIZ
He is not married. He is here with his parents and sister.
SAM
Okay, if this new friend loves Jake Jones, he must have a screw loose
somewhere.
LIZ
There is that issue, but (She flashes a big smile.)
SAM
You like this new guy.
LIZ
I think I do. I can’t stop thinking about him. It has to be a secret.
He has a meddling mom like me. And then, there is Jake. I don’t
know what he is up to. Jake wants to see me before the concert.
SAM
Yes, he asked me to give you that message. Are you going
to meet him?
LIZ
No, I’m avoiding him just like I did last year.
SAM
Alright, I’ll keep him away as long as I can.
LIZ
Thanks. How about those tickets for my new friend.
SAM
His parents, sister and your friend. That’s four tickets.
LIZ
His sister is married. That makes five.
SAM
There’s an extra ticket left.
LIZ
Since he has an extra ticket, he might invite me. That will let me know
if he is interested in me.
Sam goes to his filing cabinet, pulls out a folder, places six tickets in an envelope and gives it
to Liz.
SAM
You are willing to sit through a country music concert to catch this guy?
Liz looks at Sam and winks at him.
SAM
You know I have to approve this man before you marry him.
LIZ
I don’t think we have to worry about that decision this holiday season.
SAM
Good, because I spent all my money on my wife’s Christmas present and
I don’t have enough money to buy a wedding gift.
Liz hugs Sam.
Scene INT JILL HARVELLE’S SUITE DAY
Dan knocks on the door to his suite. Jill opens the door and screams. The bellhop
drops the suitcase and jumps in front of Dan to protect the screaming female.
BELLHOP
Mam, according to our records this gentleman claims to be your husband.
Do you want to press charges against him for stealing your husband’s identity.
JILL HARVELLE
That’s my husband.The bellhop turns around and looks at Dan who is shaking his head.
BELLHOP
Sir, does she usually scream when she sees you?
DAN HARVELLE
Only when I surprise her. (He winks at Jill.)
Dan walks in and kisses Jill and turns to the sofa and sees Becca sitting there. He
looks at his wife.
JILL HARVELLE
I can explain, Sweetheart.
Scene: INT REGISTRATION DESK DAY
No one is at the main desk. Liz leaves the envelope in the delivery basket and attaches a
note to explain about the tickets. she signs the note from SARAH.
LIZ
I don’t know Travis’ last name or his room number. What was I thinking?
She moves to the computer and checks registration list. She finds Travis Harvelle.
Liz writes Travis’ room number on the note and attaches it to the ticket envelope.
She goes out the back exit door. The elevator B door opens and the bellhop
approaches the main desk. He is very nervous.
The desk clerk returns and sees the note from Sarah. He looks around to see if
anyone is watching the main desk.
DESK CLERK
Takes this note and envelope to Room 214. It’s from Sarah. I was accurate.
We have a nonpaying guest on the premises.
Are you okay?
BELLHOP
Are there any group meetings scheduled here this late in the year.
DESK CLERK
Like what group?
BELLHOP
Like a group for people who need psychotic help.
DESK CLERK
Have you met some people like that?
BELLHOP
In room 210.
Maybe Sarah is in that group. Be on guard. We must find her.
I’m on the case.
The bellhop heads to elevator A, studying every person he meets.
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Pam’s Act 2 – Reaction to TP1
What I learned: I’m getting used to using the “Beginning, Middle, End” method before writing my scenes. This process is really helping me.
EXT. SITTING PRETTY SALON, VERMONT – DAY (ESTABLISHING)
Aerial view of a quaint, mountainous Vermont town. Green trees and grass, flowers in bloom. People mill about on the sidewalks. They wear comfortable, practical clothing: jeans, hiking boots, sweaters and hoodies. Henri stands at the entrance and reads the plaque: “SITTING PRETTY SALON.”INT. SITTING PRETTY SALON – DAY
Henri takes a deep breath and enters. The bells on the inside of the door jingle. He’s dressed to the nines in designer clothes and expensive shoes. His hair is moussed upward in his usual style.He approaches 40ish CAMERON PARKS (Add description. Muscular guy with a crew cut, since he’s ex-military?), who stands behind the counter. Henri extends his hand.
HENRI
Henri Ber–CAMERON
(makes eye contact with Henri and shakes hand)
Nice to meet you Mr. Shepherd.HENRI
Oh. Right. But call me Henry.CAMERON
Welcome aboard.Henri joins Cameron on the same side of counter. Henri looks around the shop.
HENRI
Where are the styling stations? Your chairs…?Before Cameron can answer, the door jingles. BETHANY, a blonde-haired woman with dark roots enters. She carries a small, brown and white wiry-haired Jack Russell Terrier. Henri studies her hair.
HENRI
(with a charming smile)
Hi, there. What’re we thinking about today? Simple root touch-up?
(looks closer, flirty)
Uh-oh. We might need to work on those split ends while we’re at it?Confused, the woman raises her eyebrows at Henri. Then looks at Cameron.
CAMERON
(smiles reassuringly)
Ignore the new guy, Bethany. We’ve got you and Charlie down for “the usual.”The door jingles again, as a man with a Black Labrador dog enters. He stands behind Bethany. Another man enters with a cute French Bulldog. He waits his turn in line.
HENRI
(under his breath to Cameron)
What is this… “Bring your Dog to the Hair Salon” Day? How Vermonty.CAMERON
(sarcastically, under his breath)
Yes, we strongly encourage that here.
(suddenly realizes)
Didn’t Detective Stone tell you this is a dog grooming salon?Henri is really thrown. Turns around so that customers can’t see his face. Panics. Exclaims silently.
HENRI
(mouthing the words)
Dios Mio! This is a nightmare.Henri slowly returns his breathing to normal. Steadies himself.
HENRI
(softly under his breath)
You can do this… Shepherd.Turns back around. His expression now calm. Directs his attention back to Bethany and her dog.
HENRI
(tries to appear knowledgeable)
Kurt Russell Terrier, right?Bethany stares at him. Pauses. Then laughs, assumes the joke was intentional. Cameron joins in with a fake chuckle. Pulls Henri aside.
CAMERON
Please try not to speak. Just follow my lead, okay?INSERT GROOMING MONTAGE HERE
Cameron takes Henri through the grooming gauntlet, from de-skunking baths to anal gland purges. They work as a team.The customers have all gone. Henri has made it through the day — but is frazzled, wet, and presumably smelly.
Cam tells Henri things will get better. Then asks him if he wouldn’t mind dropping off a case of doggie shampoo to his sister, Acadia, who runs the dog shelter. She’s on Henri’s way home. Henri nods his head yes and takes the box under his arm. He heads out the door alone.
HENRI
(sadly shaking his head)
Some things never change! -
Assignment 13
Aleta Rafton’s Act 2 Reaction to Turning Point 1
What I learned in this assignment is that I must keep adding action and comic relief to make the story better
Outline for Act 2 Key Scene 1, 2, 3
Exterior Street in front or house dusk
Beginning: Hank chases Jack for the length of the entire block
Middle: Hank offers to buy Jack a new similar ornament
End: Hank is frozen, can’t decide what to do
Exterior street night with garbage truck fading into distance
Beginning: Grandpa pulls up in motorcycle sidecar with Shadow riding in it. Hank and Jack crowd in
Middle: Grandpa driving like maniac between cars gets close enough to garbage truck for Hank to reach and grab ornament dangling off tree
End: Hank reaches out to grab tree and misses
Beginning: Grandpa gets really close again
Middle: Hank reaches out but hesitates
End; Grandpa veers off dodging oncoming car at intersection
Beginning: Stopped at intersection waiting for light watching garbage truck
Middle: Garbage trucks going every direction,
End: Lose sight of garbage truck, unsure which one to follow
Exterior Street intersection pulled over in motorcycle sidecar, all jump out
Beginning: Hank dejected puts hand in pocket and finds tracking device
Middle: Gets hopeful, turns it on, no operation light
End: Hank gives up again
Beginning: Jack gives Hank the batteries he removed.
Middle: Device works
End: All except Shadow jump back in sidecar. Grandpa starts driving on dark streets using tracker info to find tree. Jack sees shadow on corner. Grandpa does u-turn to pick up shadow and start again.
Beginning: Riding on street in sidecar, night. Now on city outskirts.
Middle: Tracker device shows it has stopped moving. Sidecar gets close and closer
End: Sidecar enters city dump.
Act 2 Reaction to Turning Point 1
Key Scene 1
Exterior Street in front of house dusk
Hank is running as fast as he can down the street after Jack who is chasing the garbage truck with his favorite Christmas ornament dangling off the tree hanging off the back of the truck.
Beginning: Hank chases Jack for the length of the entire block
Hank
Jack, wait for me! Wait! Stop!
Jack yelling at the driver of the garbage truck
Stop! Stop!
Inside the garbage truck has on headphones ands is till rocking out and can’t hear Jack or Hank
Exterior street dusk Jack has stopped chasing the garbage truck. Out of breath Hank comes up to him
Hank
I am so sorry Jack. I just can’t believe this happened. All the boxes
Jack
You and your stupid boxes!! You can’t do anything right!
Hank
Really, I was just trying to do everything perfect to prevent problems
Jack
Well, that worked out really well! Instead you created the biggest problem ever!! Good job, Hank!
Hank
Look I can buy you a new firetruck. It will be OK,
Jack
No, it won’t be OK. It will never be ok again! You have wrecked my life! Don’t you get it? How dumb are you? That was the last thing my dad gave me ever!!!!! You can’t replace it! Ever!
Hank stands in the street frozen as dusk turns to night. He can’t decide what to do. His ways don’t work.
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Dale’s Act 2 Reaction to TP
What I learned from this assignment is how to look at a scene as a “reaction to” a previous key scene.
KEY SCENE 1: REACTION TO THE TURNING POINT:
If the turning point is the first glimmer of an attraction, Elizabeth’s natural reaction to that will be denial and a certainty that she is still in control. So two scenes will show this. One with Philip where they talk about Richard and she says she is “handling” him and another scene with Richard, going over a student paper, and this scene turning into a type of flirtation, despite Liz feeling like she’s running the meeting.
INT. FACULTY LOUNGE – DAY
Beginning: Philip joins Elizabeth at her table, makes “nice.”
Middle: They discuss Richard and his renegade style
End: Elizabeth assures Philip she has him in hand. Philip is not entirely convinced.
INT. STANTON UNIVERSITY – ELIZABETH’S OFFICE – DAY
Beginning: Elizabeth starts to review Richard’s grades on student papers, expressing surprise at his mostly rational choices.
Middle: But she has issues with a student who argues for solipsism – a paradoxical statement.
End: Talk of solipsism leads into a more personal connection between this idea and how Richard views Elizabeth.
INT. FACULTY LOUNGE – DAY
Elizabeth pours herself a cup of coffee, and takes it over to a table. Philip enters the lounge. He sees Elizabeth and approaches her.
PHILIP
Hello, Elizabeth. Mind if I…
He indicates the empty chair at her table.
ELIZABETH
Go ahead.
PHILIP
Listen, I know our last encounter was a little… fraught.
ELIZABETH
You could say so.
PHILIP
For an ol’ Sophist like myself, choices can get quite blurry. But not for you the world of relativism, hmm?
ELIZABETH
I believe that may be one of the things bringing society down as a whole.
PHILIP
Ah, well, there, you see! You need only pity us poor slobs riding that particular mudslide…
ELIZABETH
Philip…
PHILIP
It’s okay. Actually, I envy you, Elizabeth. Things are so very clear to you. They haven’t been like that for me for a long time.
(beat)
Anyway… no lingering hard feelings, huh?
He reaches out his hand. Elizabeth takes it.
ELIZABETH
None.
PHILIP
Good. Because I suspect, actually, that we’re going to be seeing a good deal more of each other.
ELIZABETH
Really? Why’s that?
PHILIP
You’re Richard Amado’s advisor, aren’t you?
ELIZABETH
Yes.
PHILIP
Well, he’s quite taken to my Philosophy of Mind seminar. He’s already asked me to be one of his readers next year for his third year proposition. And your being his advisor, I assume you’ll be occupying the other slot.
ELIZABETH
Yes, I see what you mean. And we’ll both probably be on his Ph.D. committee.
PHILIP
So I figure, best to put our differences behind us and rally around this young man.
ELIZABETH
How very grown up of you, Philip.
PHILIP
I live to surprise. But I must say… our Richard Amado, he’s quite the pistol, isn’t he?
In my seminar he’s been combating materialism with quantum mechanics!
ELIZABETH
Yes, it’s one of his favorite topics!
PHILIP
And I don’t know a damn thing about quantum mechanics!
ELIZABETH
Well, from what I understand of it, there is some degree of relevancy. But it’s still quite a stretch.
PHILIP
Not, apparently, for Richard! What about you? How’s he working out as a TA? I can’t imagine he’s taking a direct stab at the syllabus.
ELIZABETH
Well, he has been… presenting the material rather unconventionally.
PHILIP
Why do I suspect that’s an understatement.
ELIZABETH
Not to worry. I had a talk with him.
PHILIP
Did you? And did it work?
ELIZABETH
I think I got through.
PHILIP
Well, good. Cause I have a feeling this one’s going to keep us on our toes!
INT. STANTON UNIVERSITY – ELIZABETH’S OFFICE – DAY
RICHARD is sitting in a chair, while Elizabeth looks over some student papers.
ELIZABETH
First of all, I think it’s important you understand why I decided to review your grades on these first papers. Given our… differences in style, I wanted to make sure when it came to grades we were essentially on the same page.
RICHARD
And?
ELIZABETH
And… I admit, by in large, you’ve made some very rational choices.
RICHARD
I am capable of rationality.
ELIZABETH
That’s not what I meant.
RICHARD
No? You always look at me as if I’m about to plunge off a cliff.
ELIZABETH
Do I? Well, it’s natural, you’re young. But it’s my job to reach out a hand and grab you whenever I think you’re too close to the edge.
RICHARD
What if you go over too?
ELIZABETH
(beat)
Don’t worry, I won’t.
(beat)
Now. I said, by in large, you made good choices. But we’re going to need to discuss this one. Annabelle Crioli.
RICHARD
Oh, yeah. Isn’t she something?
ELIZABETH
She’s something all right, but I’m not sure you should be encouraging her. My God, Richard, solipsism. She argued for solipsism in Descartes’s Cogito? Solipsism is the quagmire of philosophical thought. It’s the trap to avoid, not the place to purposely head!
RICHARD
To me, it’s one of the most fascinating ideas in philosophy!
ELIZABETH
Why doesn’t that surprise me. …Richard! Even you would have to admit, once you get stuck in solipsism, there’s no way out!
RICHARD
But that doesn’t mean it isn’t true!
ELIZABETH
Nor does it mean it is. Which is precisely why it’s paradoxical!
RICHARD
I know! That’s what’s so cool about it! Here I am sitting in the office of Elizabeth Drewer. Thinking I’m having a conversation with a living, breathing, very intelligent woman. But what if my mind is actually the only consciousness that exists and you are only a projection of my imagination!
ELIZABETH
What if I am? You can’t know it, can you? Because the world would appear exactly the same, figment of your imagination or not.
RICHARD
I know it would appear that way, but would the world of solipsism really be identical to that of independent consciousness? I mean even if I couldn’t prove Elizabeth Drewer exists, whether she does or doesn’t isn’t the same!
ELIZABETH
It is, rationally speaking.
RICHARD
Well, certainly not emotionally speaking! I’d kind of prefer to think you’re real.
ELIZABETH
Well, I am then, aren’t I?
RICHARD
Not if you’re just an image in my head, saying that!
ELIZABETH
But that’s what I would say, wouldn’t I? Projection or not. You embrace solipsism and you just end up chasing your tail.
RICHARD
That’s how it is with paradox! But if you dwell within paradox long enough, it begins to yield new insight.
ELIZABETH
How very Zen of you. But that’s a particularly subtle view. And it’s a view that’s well beyond Ms. Crioli.
There is silence. Then Richard smiles.
ELIZABETH
What?
RICHARD
Nothing. This is great, that’s all!
ELIZABETH
What is?
RICHARD
This. Discussion. Dissension. Dissection. And all with Elizabeth Drewer! I… well, I imagined us doing this. Picking apart some grand philosophical question.
ELIZABETH
Did you?
RICHARD
Yeah! Although, of course, in my imagination you always found me brilliant.
ELIZABETH
There you are, solipsism!
RICHARD
No, no. Forget solipsism! I happen to know Elizabeth Drewer is real.
ELIZABETH
Do you? And how’s that?
RICHARD
Well, because! Excuse me for saying this, but… the figment doesn’t hold a candle to the real thing!
He smiles at her, disarmingly. She is both charmed and troubled by this.
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Dave Holloway’s Act 2 Reaction to TP 1
What I learned doing this assignment is that it’s good to concentrate on the most important, dramatic scenes and to try to minimize the length of less important scenes.
OUTLINE OF SCENE
BEGINNING: Nigel and Roger decide to take a bus across the state of Commerce.
DEND: With Roger’s help, the man and his bodyguards subdue the police and leave them on the side of the road. They get back on the bus, which heads down the road again.
Nigel and Roger board the bus, parked along a sidewalk outside the airport. The interior of the bus is grimy, and the seat cushions are ragged. They take two seats near the center aisle.
They are shocked by what they see. There were people begging at the airport, and as the bus begins driving, they see an enormous amount of pollution. Beside a factory is a pond that looks poisonous. The land is covered by little but scrub brush. A MAN sitting across the aisle from them strikes up a conversation.
MAN: What you fellas from?
ROGER: We’re from England. We’re hoping to get to Shiloh as quickly as possible.
MAN: Shiloh – that’s a rough place. Watch out for yourselves there.
NIGEL: There seems to be quite a bit of poverty here. We’ve already seen quite a few people begging.
MAN: That’s because of the Owners. They take almost everything for themselves, and leave the scraps for the rest of us.
NIGEL: Who are the Owners?
MAN: The business people. They run the state. The only reason they keep us alive is to keep the factories and plants running.
NIGEL: Can nothing be done to help the workers?
The man lowers his voice and speaks confidentially.
MAN: We’re trying.
He pulls the sleeve of his shirt up above the right arm, exposing a red tattoo of the letter ‘W’ near the inside of his elbow.
MAN: The ‘W” is for the Workers – our underground movement. We’re trying to overthrow the Owners’ government.
They pass a billboard along the highway. It shows a video of a man being captured and handcuffed by two police. A headline announces: “Ben Sharp caught!”
MAN: Dammit! They caught Ben. He’s one of our leaders. He’d outfoxed them for three years, but the sons of bitches caught him.
ROGER: What did he do?
The man gives a half-smile.
MAN: Everything. He taught workers how to make homemade bombs, how to disable factory machinery, how to organize, establish a warning system to track the police. He was essential.
NIGEL: What will happen to him?
MAN: They’ll give him at least 20 years. Good chance he’ll be killed in prison. That’s what happens to a lot of our most important leaders. The bastards have him killed and make it look like an escape attempt.
Nigel sees a police car, its lights flashing, speed ahead of the bus. The car slows, making the bus slow and stop on the side of the road.
MAN: Shit!
He turns to two rough-looking men sitting near him.
MAN: You guys ready?
The two men nod.
A policeman bangs on the door of the bus. The driver opens it, and three cops climb aboard and move down the center aisle. One COP sees the man and shouts.
COP: O’Keefe! Hands behind your head!
The man and the two rought-looking men stand. The police come forward and soon the man and his two bodyguards are exchanging punches with them in the aisle. One cop gets past the two bodyguards and nears the man, but Roger stands and punches him in the face and the man falls, unconscious. The other two bodyguards subdue the two other cops.
MAN: Let’s get them off the bus.
He drags the unconscious cop up the aisle. The two bodyguards use the cops’ handcuffs to tie them up, then lead them down the aisle. They bring them out of the bus and place the unconscious man near the shoulder of the road. They take the guns from all three cops.
MAN: Let’s get out of here!
They hurry back up onto the bus, and the driver immediately pulls the bus back out into traffic. The man calls to the driver.
MAN: Thanks, Jimmy.
The driver gives him a thumbs up, and the bus gains speed on the highway.
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This reply was modified 4 years, 1 month ago by David Holloway.
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This reply was modified 4 years, 1 month ago by
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Sam Reynolds – Act 2 – response to turning point.
What I am learning is that outlining simply each scene is a great help is my thought processes.
INT. NADINE AND JOHNNY’S HOME
Johnny guides Nadine through the front door and closes the door behind him. It is quiet and still.
Nadine stands in the entrance. She doesn’t want to be here. This was supposed to be different – coming home after the hospital.
Johnny helps Nadine with her coat and her boots.
Silence.
Nadine feels her belly and looks at her clothes. They still have some sticky gel from the hospital on them.
NADINE
I need to get out of these. I need to shower. I smell like hospital. I hate hospitals. I feel yucky.
Nadine gets up and heads towards a narrow staircase.
JOHNNY
Need any help?
NADINE
No.
Nadine heads upstairs.
INT. NADINE AND JOHNNY’S HOME – UPSTAIRS
Nadine makes it to the top of the stairs. She pauses out of breath. We see the baby’s room to her left. Nadine takes a deep breath and heads for the bathroom and turns on the shower. As quickly as she can she strips off her clothes.
INT. NADINE AND JOHNNY’S HOME – BATHROOM
Nadine looks at herself in the mirror. She begins to touch the bruises on her belly. She then pushes them in harder and harder as if she can make them disappear inside of herself.
The mirror begins to steam up. It feels like we are in a dream. We hear a child laughing and giggling. Nadine wipes the steam from the mirror and all sounds disappear.
INT. NADINE AND JOHNNY’S BATHROOM – SHOWER
Nadine washes herself. She uses a loofa sponge and with enough force to create a severe red irritation she rubs the hospital goo away.
NADINE
You are ok. You are going to be ok. You are ok. You can do this.
INT. NADINE AND JOHNNY’S BATHROOM
Nadine is attempting to get dressed. Because of her tummy she still has sciatica pain and as she puts on her sweat pants she screams in pain.
NADINE
Fuck.
Nadine throws the pants onto the ground and crumbles to the toilet seat to recover. This is not going to be easy.
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Ricardo Williams Lesson 13 Act II Reaction to TP 1
What I learned from this lesson is structuring and how the Turning Point and Inciting Incident leads to a detailed reaction.
INT. JOLYN’S HOME – MORNING
JOLYN lies in bed. She has a pillow over her head. She weeps silently. She hear movements in the living room as MRS. HOWARD is helping the kids prepare for school. She hears the door closes as they leave the house.
INT. JOLYN’S HOME – NIGHT
There is a knock on the door. MRS. HOWARD enters the room. She gives JOLYN a comforting hug.
MRS. HOWARD
I am so sorry Honey. I wish there was something I could do. If you need me to stay with the kids while you take some time off, I am here for you.
JOLYN
I wish I had time MOTHER. I am in a very peculiar situation. My husband just signed a $75,000 loan for three new trucks. If this business fails, we can lose everything and the sad thing about it is that I am not even the one in charge of the business.
MRS. HOWARD
Well, can you not sell the business?
JOLYN
I could try, but there is no guarantee that I can recover my expenses, and I will still have to stay on and show the new owners everything. All my life I wanted to own my own business and when the opportunity comes, I find myself back up against a wall that’s about to crumble. Mother, I am going to take possession of my dream.
MRS. HOWARD
What ever your decision, just know you can count on me, and CHARLOTTE is always available to help.
INT. JOLYN’S HOME – NIGHT
Clothes are scattered on the floor. JOLYN hears the words, “You are running out of time,” echoing in her head. Then she hears, “Sell the company.” Then she remembers MARY MCLEOD BETHUNE shaking her hand and the words, “You can run your own company,” appear in her head. Then she hears the final stanza of INVICTUS, “I am the master of my fate, I am the captain of my soul.” She pulls herself together and gets out of bed. Bit by bit, she cleans up the room.
INT. JOLYN’S HOME – DAY
JOLYN, SHEILA, and JOEY are sitting at the breakfast table.
SHEILA
MOM, are you going to keep the business? I hope you do.
JOLYN
It’s a tough decision to make, but I will keep our business. I don’t think I can trust anyone to run it. I’ll do it myself. It’s going to be a lot of work and long hours. I have to be there for both you and JOEY.
SHEILA
I think you should do it MOM. I can look after JOEY while you work.
JOLYN
It’s a lot to ask of a 14 year old, after all JOEY is only 6 and he has Asthma.
SHEILA
I can do it, MOM. I know how to do his treatments.
The phone rings. JOLYN answers. CHARLOTTE is on the line.
CHARLOTTE (V.O)
JOLYN I know this is a difficult time for you, but I am here for you. I am willing to come work with you and help you grow the business.
INT. OFFICE OF BALDWIN ICE CREAM CO – DAY
JOLYN shows up at the office. The employees are surprised to see her. She sits at her desk. TROY THOMAS approaches her.
TROY THOMAS
I know this is a difficult time for you. I can assure you, the company is in good hands with me. You can take as much time as you want off.
JOLYN
I am not sure, I am comfortable with that. This is truly a difficult time.
TROY THOMAS
Don’t you worry. I’ve got this.
TROY walks away and as he passes by MS RANDALL’S desk, she get’s up and holds his hand and moves with her twitching motion. He slaps her on her rear. She sway her head back in full laughter. JOLYN gets up and take a closer look at TROY THOMAS. She notices a sales man handing him money. TROY shakes his hand as they part ways.
INT. OFFICE OF BALDWIN ICE CREAM CO – DAY
JOLYN calls a meeting with TROY THOMAS and CHARLOTTE to discuss the operations.
JOLYN
TROY, let me introduce to my sister CHARLOTTE. CHARLOTTE has a degree in Business Management from Fisk University. We want to discuss the operations with you to see how we can improve things. We are very concerned about the future of the company. How are things in your opinion?
TROY THOMAS
Things are great. It could be better, but it is great. Business is good.
JOLYN
Do you see any ways we can improve things?
TROY THOMAS
Not really. Everything is great. I mean not great, but it is good.
JOLYN
What do you think will make things great?
TROY THOMAS
I don’t know. Maybe more sales?
JOLYN
More sales is always a good thing. I have noticed some flaws in our operations. The drivers never seem to follow their schedules. That is not good for our reputation as a company. It is not good for business. I think we can fix that. CHARLOTTE?
CHARLOTTE
Yes. Punctuality is very important. I would like to sit down with you and workout drivers’ schedules. I want us to hold them accountable to their schedules.
TROY THOMAS
Are you saying you want to workout schedules or are asking me to do it? I can do it. I don’t need help.
JOLYN
Actually TROY, CHARLOTTE will do the schedules. She doesn’t need your help. Another thing, we are changing the focus of the company to Wholesale. We would be visiting some of the big companies to get more shelf space and expand our market. I, myself will network with other women in business.
TROY THOMAS
What makes you think these White owned companies are going to open their doors to a Black owned product? We’ve had Jesse Jackson and the Rainbow Coalition for years trying to make it happen and it didn’t. Sure, they gave us some space to make it look like they want our products, but they are never expanding their shelves to us.
JOLYN
You are right. It is going to be a challenge.
TROY THOMAS
These people only see dollars and unless we are making a lot of money, they are going to ignore us.
JOLYN
Another thing we are changing is office etiquette. We want to ensure that everyone is treated with respect. We want to address each other by last name and title MR., MRS, or MS.
TROY THOMAS
I may need a raise. You are asking for a lot.
JOLYN
Help us achieve the results we are looking for and then we can talk about a raise. And if you can’t, then I am happy to do it for you.
TROY THOMAS
Do what?
JOLYN
Run the company.
TROY THOMAS
You can’t run the company. Last I check you were a housewife. The employees won’t take you seriously. They respect me. They only respond to what I say.
JOLYN
Tell you what TROY. I will run the company until you commit to my terms. After all I am the one paying the bills around here, and I am the one paying your salary.
JOLYN is visibly annoyed. She gets up from her desk and walks to the main floor and calls for an abrupt meeting.
JOLYN (CONT’D)
Many people have asked what am I going to do with the company. Let me assure you that I am going to manage the business. My sister CHARLOTTE will be your SALES MANAGER. Together we will manage the company. As some of you may know, my husband, just before he passed gave us three new trucks. It shows that he understood the vision and today I want to honor his commitment by rolling out our new Mission Statement, one that is simple and projects our new direction, “Our business is Wholesale.” I now will allow Charlotte to say a few words.
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Clendon – Turning points – Assignment 13
[1] What I learned doing this assignment? The importance of turning points to keep the plot moving, the characters evolving and your audience invested in the show.
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[2] Write your Act 1 Turning Point
INT. HIGH-SCHOOL CLASSROOM – MONDAY MORNING
Seated at the back of the class, Klendon. He ignores the teacher droning on, DRAWS in his notebook instead.
INSERT – SKETCH
Pencil rendering of Gina: expression tender, bit mysterious.
BACK TO SCENE
Classroom door opens. Heads turn.
MR. JENKINS (school principal) enters, walks up to the teacher, speaks in a hushed voice. Thin, balding, and demonstrative, you either love Mr. Jenkins or hate the man.
TEACHER “Klendon Masters, principal Jenkins would like a word with you.”
No one makes a sound, all eyes are on Klendon as he leaves. Whispers ensue.
INT. SCHOOL HALLWAY – CONTINUOUS
Klendon and female DETECTIVE lock eyes.
KLENDON “What’s going on?”
DETECTIVE “I think you know.”
KLENDON “If this is about yesterday…”
JENKINS “Detective Ramirez is with homicide. I’m afraid there’s been an accident. Your mother’s…”
KLENDON “My mother?! (shakes head no) There must be some mistake. No, no way, it’s not possible…say it’s not so.”
Detective notes boy’s shock as blood drains from his face.
RAMIREZ “Do you own a .9mm?”
KLENDON (disbelief) “OhmyGod, was she shot?!”
JENKINS (fumbles) “I’m sorry, she was a great lady.”
HOLD ON Klendon’s devastated expression, his mind locks on the verb was.
Everything turns surreal.
School bell RINGS.
Hallway fills with TEENS as classrooms empty. Bedlam ensues.
Flanked between principal Jenkins and detective Ramirez, Klendon walks without seeing or hearing the world around him.
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[2] Write the “Reaction to the Turning Point” scene.
INT. POLICE STATION – DAY
Detective Ramirez escorts Clendon to one of the interrogation rooms. Several of the homeless, one in handcuffs, acknowledge Clendon.
Ramirez makes a mental note of this.
INT. INTERROGATION ROOM – CONTINUOUS
Clendon sits at a table, lost in thought.
RAMIREZ (across the table) “You were close to your mother?”
Clendon nods.
RAMIREZ “When your parents divorced, you chose to live with your mother?”
CLENDON “Yeah.”
RAMIREZ “Who else knows the code to your home security system?”
CLENDON “Myself and mother. Wait, Rosa, our cleaning lady might.”
RAMIREZ “Tell me again, why you didn’t go home last night.”
CLENDON “Just got my own place. I never should’ve moved out.”
DOOR OPENS – Clendon’s father, TREVOR, and his attorney enter the room.
LAWYER (drops papers on table) “My client has nothing further to say. If he’s not being formally charged, I demand his immediate release.”
Without checking the paperwork, Ramirez removes the handcuffs, leans in and whispers to Clendon:
RAMIREZ “ This isn’t over.”
CLENDON (whispers back) “Better hope I don’t find mother’s killer first, detective.”
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DeRuve’s Act II Reaction to TP1
What I learned doing this assignment is by following this arc, this reaction to the turning point, it helped me formulate where the character would go from here. This is a tough class! The process of powering through, and accepting 20% is really hard. This scene came out decent, and my beat sheet continuously to evolves during this process.
Scenes –
INT. LOCKER ROOM – NIGHT
Rhino lays back on the trainers table, the right side of his face looking like a grapefruit, he drags a cigarette.
Joey enters and locks the door behind himself. He looks over at Rhino, down to the floor, and paces over beside him. He stands over Rhino and holds a long stare.
He finds a bag of ice on the floor, picks it up and hands it over. Rhino places it on his face.
JOEY
See Gil, first thing tomorrow.
Joey exits hanging his head, Rhino hardly having moved.
EXT./INT. GIL’S HOUSE/GIL’S CAR – DAWN
A light rain dribbles, a grey and gloomy morning. Gil exits the backdoor making way for his pickup parked in the alley. He gets in the driver’s seat and pauses.
Quickly looking back over his shoulder to the backseat, empty. He sticks the key in the ignition, again freezing. He stares at the key in his grip, scared to turn it over.
He closes his eyes and turns the key. The truck starts right up, he’s safe, exhale. SMASH- the window busts open, Gil is grabbed and yanked through the window with ease.
Rhino swings him up against the garage.
RHINO
It’s been a week, Gil.
GIL
(broken)
Christ all mighty… Dear Father, Lord in heaven…
RHINO
Where’s the money, Gil?
GIL
…forgive me, for I know not what I’ve done…
RHINO
I don’t wanna hurt ya, Gil.
GIL
…Forgive me of my wickedness, and remember my sins no more…
Rhino smothers his mouth with a firm grip.
RHINO
Where’s the money, Gil?
GIL
I lost it, I lost it on your fight last night…
Rhino stares at him dumbfounded.
GIL (CONT’D)
Do what you gotta do.
Rhino snaps, bashing his face in with repeated lethal blows. Gil crumbles to pieces. Rhino taking no joy in this.
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Melanie’s Act 2 Reaction to TP1
What I learned: I had never really thought about what her reaction would be to the first turning point – and that I missed this on my beat sheet.
EXT. ROAD – LATER
Sybil rides her horse hard, as fast as she can. She looks over her shoulder and doesn’t see him coming. But that doesn’t stop her from riding as fast as she can.
Star obliges, but her ears are pinned tight to her head. She is not happy.
Lightning lights suddenly lights up the sky, she pets her neck…
SYBIL
It’s okay, Star. We have to keep going.
Another streak of lightning. And Star stops dead in her tracks. Sybil holds on, trying to not fall out of the saddle. Star’s ears search for answers, searching for where the storm is.
Another streak and just as soon as the lightning disappears a deep ominous rumble shakes the countryside.
Star rears back, in protest, in fear. He hooves clawing the air. Sybil flies off backwards, landing hard onto the dirt road.
She lays there for a second, trying to catch her breath. And looks at Star.
ANOTHER RUMBLE. Star bucks again and flees fast into the dark woods.
Sybil clutches her side and sits up.
SYBIL
Star! Star! Come back!
Before she can stand up, though, there’s another RUMBLE coming closer to her. Sybil’s eyes widen, knowing the source. She scrambles off the road to a nearby bush, hiding as best as she can.
Just as she has crawled into the thicket, a horse screeches to a stop. She catches her breath, seeing the bright red jacket though the branches.
Samuel and his horse are right in front of her. Looking. He gets off his horse to investigate. Now standing right next to her hiding place – she could almost touch his leg. Sybil holds her breath. Waiting.
Finally, he sees Star’s hoof prints and he jumps up onto the horse again, heading into the forest.
She breathes, and gets up out of her hiding place. She looks into the forest, helpless. The road before her is long. She tears up, looking back to the forest.
SYBIL
I’ll never make it if I walk.
The heavens open up covering her in a downpour.
CUT TO:ded to add this scene to my beat sheet!
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Sandra’s ACT 2 Reaction to TP 1
What I learned doing this assignment is that by moving the reaction scene to the beginning of Act 2, I need to move other scenes around.
INCITING INCIDENT: Lucy finds another dead lab mouse.
TURNING POINT 1: What happened to the lab mouse? Lucy does an autopsy. The mouse was poisoned with arsenic.
EMOTIONAL REACTION SCENE
INT. UNIVERSITY RESEARCH LAB – DAY
BEGINNING: Lucy sits at the desk, places her head on her arms, sobs. Looks up, wipes away her tears.
MIDDLE: Thinks her life is over. Everything she’s worked so hard for is ruined. Not sure how she will be able to do her dissertation today. Blames and berates herself for not testing the previous dead mice for poison. Swears. Kicks the garbage can.
END: Lucy picks up her phone, then puts it down. Checks the other mice – they are all okay. Checks the data. Paces the room deciding what to do. Declares she is will find out who did it and why.
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Fred’s Act 2 Reaction to TP 1
What I learned doing this assignment is that my protagonist hasn’t been able to use his old ways to react to the situation adequately. In order to solidify the chance and character arc I will have to fix this scene in later drafts.
INT. GARAGE – DAY
Jin gets of Mother’s car and runs up to the gate.
MOTHER
A suitcase won’t fit in my car, so just fill up your sports bag.
INT. HOUSE – DAY
The hallway has been cleaned up now. Jin rushes into his bedroom.
INT. BEDROOM – DAY
Jin takes out a soccer bag from underneath his bed and opens it up.
HAN (O.S.)
Did you come here with your mom?
Jin whips around to see Han standing in the doorway.
JIN
No.
HAN
Really? The intercom said her car just entered.
HAN
Did she tell you to pack a bag too?
Jin doesn’t respond.
Han turns around and heads out to the foyer, Jin follows in pursuit.
INT. GARAGE – DAY
Han goes up Mother’s car and violently taps on the window. Mother’s eyes frighten with fear. She locks the door.
HAN
Come out here.
JIN
Mom, don’t, stay in the car.
HAN
You go back inside the house.
MOTHER
(muffled)
Jin get in!
Han tries to go to other side to open the door. She reaches over and locks it just in time. Han continues to yank on the handle.
HAN
Open this. NOW.
JIN
Mom, just go!
Mother scrambles in her seat, unable to decide.
HAN
Go where? We’re going to talk about this.
The car roars to life and Han jumps back from the sound. Her car screeches out of the garage in a flash.
HAN
You see that. That’s your Mother right there. She left you without a moment’s hesitation. I’m the one who’s sticking around after all this.
Han goes around to his car.
HAN
Get in.
Jin complies.
INT. CAR – DAY
HAN
And hand me your phone too.
Jin looks at him.
HAN
Don’t make me ask twice.
He places it in his hand. Han starts the car.
EXT. ROAD – DAY
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What I learned from this assignment is its harder to write something out of thin air than it is to write as a progression of the motivations and needs of the characters that you have been using as a base for the story. The personal arcs are the spine of the action. and will always guide the writing.
MARK’S ACT 2 Reaction to TP 1
ACT 2 BEAT SHEET
PLACEHOLDER: The most powerful ice-breaking shop, the “Dreadnaght” is sent on a rescue mission from the Aleutians. A blizzard prevents it from reaching them.
PLACEHOLDER: Jensen assembles all 102 people to tell them the bad news. 88 men, 10 women (one pregnant) and 2 children.
PLACEHOLDER: Victoria talks to Jensen. Are we all right?
TE 3: A ship is sighted in the distance, and salvation seems at hand. But it is revealed to be a derelict with frozen corpses on deck.
Drake, laughs ghoulishly, reveals his ugly inner drive, and declares they will never be saved. She is shocked to see Drake for the first time, realizes its the man who followed her. She realizes what an awful danger he is..
INT. ABOARD SHIP – DAY
Victoria reveals her concern about Drake to Jensen. They relate to each other.
PLACEHOLDER: Victoria is stranded outside when the hatchways freeze shut. They have to be chopped open.
EXT. RESEARCH SHIP – DAY
Midpoint Turning Point: The ship is slowly crushed in the ice. They have to evacuate to the ice field.
ACT 2 OUTLINE
INT. SHIP MESS HALL – DAY
BEGINNING; Everyone on board assembles in the mess. 90 men, 10 women, one pregnant and two children.
MIDDLE: He tells them they are locked in the ice, trapped. An ice breaker is heading there to rescue them.
END: Radio message says the ice-breaker can’t get through the blizzard.
INT. HALLWAY – DAY
BEGINNING: Victoria confides in Jensen, asks if the ship will be all right.
MIDDLE: He reassures her that rescue is probable, and when a horrible grinding noise echoes through the ship, he brusquely excuses himself.
END: She see a trickle of water running down the passageway.
INT. SHIP MESS HALL – DAY
Everyone on board assembles in the mess. 90 men who are researchers, scientists and crew; 10 women passengers,one pregnant – and two children.
Victoria enters, passes by the kids and gives them an encouraging look.
Jensen commands their attention.
JENSEN
This is an ice storm, and it will pass. At the moment we cannot maneuver. The ice has us locked in. I want you…
CRIES of dismay from the crowd; “Not frozen in ice,” “Are we moving at all?” “Will we drift to land?”
JENSEN (CONT’D)
Please, listen. We are still moving. Wind is blowing us…
MORE CRIES; “Are we moving toward land?” “We’re drifting north!”
JENSEN (CONT’D)
We are! We are drifting farther north!
Stunned silence in the room as the gravity of their plight hits home.
JENSEN (CONT’D)
We are only ten miles from Barrow station. I have radioed for the ice breaker. It will be able to clear a path to port. Don’t be worried, There’ll be no losses aboard my ship.
INT. SHIP HALLWAY – DAY
People are dispersing as Victoria comes up to the captain.
VICTORIA
Captain Jensen. Thank you for your words. I am relieved.
JENSEN
Yes, miss. Has anyone assigned you yet?
VICTORIA
Mr. Halland was about to make assignments, but he was interrupted.
JENSEN
Don’t let them give you shit work. They do lots of that.
He starts to move off.
VICTORIA
Captain, uh. Is the ship, I mean – is it going to be all right.
He looks down and sees her trembling hand.
JENSEN
I have never lost a ship. They will send help – likely by tomorrow.
A HORRIBLE GRINDING NOISE echoes through the ship as a shudder shakes them.
JENSEN (CONT’D)
Excuse me.
He runs off. She continues down the hall. She notices her feet making splashing noises, looks down and sees a trickle of water running down the floor.
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Gayle’s Act 2 Reaction to TP1
What I learned doing this assignment is I can outline a beginning middle and end of each scene to keep them on track.
Act 2
Reaction Scene
Beginning: Rick does not believe Samantha wants a divorce; he uses his old lies trying to seduce her to reconsider and plays it off like she was joking.
RICK: Okay, you made you point. I get it, you want more credit. How about this, Samantha and Rick Coffey’s Ghost Stories… instead of Ghost Stories with Rick and Samantha.
SAMANTHA: You can sleep in the guest room until you can find a place. Unless you prefer a motel. You like being on the road so much, you may as well get used to the accommodations.
Middle: Until her divorce lawyer presents papers
RICK: It’s not even an official separation. Unless I get served with papers, I am still your husband and this is my house.
SAMANTHA: Consider yourself served.
RICK: Sam. Samantha, get back here. You can’t just tell me you want a divorce. What about the partnership? This is not part of the plan.
End: Caroline the ghost appears and calls in the others
CAROLINE: See? It’s like I told you. They need us.
COWBOY: Just a little dustup. I was always catching hell from the little lady out on the prairie.
CAROLINE: This isn’t the prairie. This is New Jersey and Samantha and Rick can’t divorce. They are the perfect couple. So romantic.
NURSE: You read too many romance novels, Caroline.
CAROLINE: What happens to us? We’re bound to them. If they aren’t together, will we be—
She makes a slash across her throat.
COWBOY: Done and dusted
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Justine’s Act 3 Reaction to turning point 1
What I learned in this assignment is that I don’t know what I’m doing, but at least I’m doing something. Even if it’s wrong.
INT. ANNIE’S APARTMENT – DAY
Beginning: Annie enters her apartment after the grocery store and looks around, assessing the mess. The Inner Critic appears again, this time Annie is less startled. The Inner Critic comments on Annie’s inability to finish what she’s started.
Middle: Annie accepts that she can’t run avoid the Inner Critic and listens to what she says. Annie starts to tidy-up and Inner Critic comments that Annie never finishes what she starts.
End: Annie agrees, stops cleaning, and sits down on the couch to watch TV instead.
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Aline’s Act 2
This exercise made me realize the plot needed some support. I looked at my original Act 2 Beat SHeet and focused on what it needed to amplify the stakes at those moments- thinking of what ifs;; What if, her father was more concerned with the CAR she took to run away because there were (guns,drugs… illegal things) in the trunk? What if he was using some dubious means to support the church finances or his own?I also looked at the timeline of the first Turning POint and the reaction to the consequences on her family side- the side that we don’t see but will be important for the reaction as she travels and becomes more committed to not returning and making it to LA.
The lesson structure allows me to focus on the stakes of the NOW: ACT 2 is all that matters and my usual worrying of “ what comes next” is replaced by a certainty that “ I will figure it out when it’s time”.
I had my first flash of inspiration as I was resting from the points I couldn’t connect. As I read a book, one line about guns turned into the above possibility. I am finally concentrating my creativity productively.
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Bob Colley – Act 2 Reaction to TP 1
What I learned doing this assignment is the best I’ll get out of this class is a puke draft.
EXT. EDGE OF TOWN – DAY
John and Kyle kick up some dust walking along the road heading out of town.
KYLE
You don’t like me very much, do you
Sheriff?
JOHN
If I gave it any thought, probably not.
Why’d you join the FBI?
Kyle stops, bends over and picks up a small rock and tosses it at a rabbit. He misses by twenty feet.
KYLE
Lost it in the sun. The FBI sounded exciting.
I get to drive fast, shoot guns and girls are
impressed when I whip out my big badge.
John horks up and lets it fly.
KYLE (con’t)
How’d you get this sheriff job? Come in a
box of Cracker Jacks?
John stops and looks Kyle up and down.
JOHN
I used to be you. Cocky, sure and invincible.
A no knock warrant raid I lead went south and my best
friend was killed.
KYLE
Fuck me FBI. That must have been rough.
JOHN
I lost my shit. Buried him then tossed my badge
on the director’s desk the next day.
Kyle looks off into the woods.
JOHN (con’t)
Wife divorced me and my son thinks I’m a loser.
I knew the old sheriff and when he retired I stepped in.
KYLE
Must have been nice. A quiet little town with
little stress and a million places to pee.
JOHN
Now someone is using it as target practice.
KYLE
And you have to take orders from me.
John squints at Kyle.
JOHN
Yeah.
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Paul’s Act 2 Reaction to TP 1
What I learned is that maybe I chose the wrong turning point for Act 1. But that’s ok, it’s all a learning process. I’m sure the next script that I go to write with this process will be that little bit easier.
Outline – Patricia’s reaction to her father denying she is his daughter is to hatch a plan that will enable her to follow him and discover the truth.
INT. PATRICIA’S BEDROOM – DAWN
Patricia wakes up early. Determination on her face, she gets out of bed, gets dressed, then raids her piggy bank.
INT. PEARL’S KITCHEN – MORNING
Patricia finishes eating her cereal as Pearl enters.
PEARL
You’re up early.
PATRICIA
Going to the park to exercise.
PEARL
Well, make sure you’re not late for school.
PATRICIA
I won’t, Mama.
Patricia rinses her bowl, gives Pearl a kiss, and exits.\
EXT. PEARL’S APARTMENT – MORNING
Patricia smiles as she stares at the car keys in her hand, then runs.
INT. LOCKSMITH – MORNING
A crotchety LOCKSMITH, 60’s, cuts a key as Patricia waits impatiently.
PATRICIA
Can you hurry it up, please?
LOCKSMITH
You want this freaking key to work?
PATRICIA
Yes.
LOCKSMITH
Then shut your mouth.
Patricia gets the hint, watches in silence as the Locksmith compares the two keys he has, then makes a final adjustment.
LOCKSMITH
That’ll be ten dollars.
Patricia shoves notes in his hand, takes the keys, and runs.
PATRICIA
Thanks!
She yells as she exits the shop.
LOCKSMITH
Damn kids, always in a hurry.
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John T’s Act 2 Reaction to TP 1
What I learned doing this assignment is that by outlining the basic idea, other ideas come up.
ACT II<div>
Key Scene 1: Reaction to the Turning Point. The Old Ways are
not enough. Clare resists engaging with her cyborg. She tries to get off the island. Once she realizes it will be several days before the boat leaves, she decides to win the points money but without sharing her issues.<div>
EXT – HELIPAD – DAY
Begin: Rod turns away from the disembarking passengers, wipes his mouth. Clare asks the pilot if there’s another way off the island. He says there’s a boat arriving the next day that can take her back to the mainland.
Middle: Rod asks Clare why she’s ready to quit so soon. Clare doesn’t answer. He pushes accusing her of being a quitter. She still doesn’t answer.
End: The couples are greeted by a caravan of carts and their drivers. In the front cart is Dr. Crestview, the director.
Begin: INT. DI MAIN MEETING ROOM – DAY
The guests are welcomed, meet the professor, Over a gourmet lunch, Dr Crestview briefs the crow, explains the plan. Others tell the rules, showcase the amenities. This is a 5-star resort. Dr. Forester introduces himself and plays a video during lunch.
DR FORESTER
Discover Island, where humans interact with their cyborg twins, a metallic match of mind and body, and thus we help our guests grow by knowing themselves. The goal of the game is to be honest with yourself. Points are awarded for insight, cleverness, and brutal honesty.
Clare notices that the video shows Cyborgs are nearly indistinguishable from their human counterparts except for a few giveaways: smiling too quickly, sudden jerks of the head, a bit too polite, looks away when computing.
TECHNICIAN CHARLIE
The cyborgs can only share what was in your mapping – they can’t recall repressed memories or things you learned since the mapping. Don’t try to trick your cyborg because you’ll get back as good as you give. If you’re prone to cheating, your cyborg will cheat. If you tell an occasional white lie, your cyborg will mimic that as well. If you’re mean and cruel, your cyborg will give you a taste of your own medicine. But don’t worry, the worst that can happen is you lose a few points. As a bonus, the person with the most points at the end of the weekend, wins $50000. Good luck everyone. The key is to be honest with yourself. A lot of murmurs.
DR FORESTER:
Folks, this is for your benefit. It is much better to deal with your issues here in a clean and safe environment. You’ll learn a lot about yourself, so please remember, you’ll get out of it what you put into it.
Dr. Richter hangs back in the shadows.
Middle:
CLARE
Excuse me, but how can metal clones help humans? Why should we trust what they say and do?
JILL, a bright-eyed 40-year-old stands up.
JILL
Yeah, why should we trust these machines with our innermost secrets?
Jill’s husband, Frank, nods in agreement. Some people start talking.
DR FORESTER
It’s alright, it’s quite natural to have reservations about such things, the idea of a duplicate having all your personal knowledge can be quite unsettling. Let me reassure you. Everything you say, everything you share, is held in the strictest confidence and completely erased from all computer systems once you leave the island. None of it is retained.
Clare’s not having any of it.
CLARE
Has there ever been a breach and have you never been hacked? And what about the gold mine of selling our information. How do we know if–
DR RICHTER (emerging from the shadows)
The quest to know thyself dates back to ancient times and the endless quest for humans to reach self-fulfillment. There has never been a more direct and insightful examination of the human condition with the potential of vast improvement amid the wreckage of humanity. That is why we are here, ladies and gentlemen. We have no interest in retaining your information. All encounters are filmed by your duplicate and given to you as a parting gift. All other information is erased and monitored by an independent third party. And we can’t be breached because we are a closed-loop operation. (Later, just before Clare wastes him, we find out that Richter is a clone cyborg.)
Middle:
INT. CER (CYBORG ENCOUNTER ROOM) – DAY
A long row of partitions, each with a desk. Opposite the desk a row of booths where the guests have their first look at their MIC’s.
DR FORESTER:
Please have a seat at your assigned number.
Everyone, sits, their attention drawn to a darkened glass booth on the other side of their desks. A man wonders from his wife and sits down at the wrong booth. A young attractive woman decides to take his seat.
DR FORESTER:
Ladies and gentlemen, meet the most important person in your life.
The doctor nods to a technician and suddenly the booths light up, revealing the cyborg occupants, standing at attention, alive, all with a built-in look of anticipation. Everyone gasps, for in the booths they see themselves. All except the young man who sees the attractive woman’s cyborg double. The cyborg frowns as if the smiles are all a façade. A technician quickly switches the two guests and the cyborgs resume their mechanical ritual. The booth doors swoosh open simultaneously. And all the cyborgs take a seat.
Some people laugh, others look disturbed seeing themselves as others do. Clare looks at her double with curiosity, as if she’s mentally rolling up her sleeves.
DR FORESTER:
Experience has taught us that the first encounter can be somewhat unsettling for some, hence the desk barrier. There’s no need to be alarmed. Please, relax and get to know yourself. When you are comfortable, touch the green light at your desk and the desk will move out of your way.
A few guests hit the button and the desks recede into the floor. Some of them shake hands with their double, start talking, asking questions.
DR. FORESTER
Whatever you do, however you greet yourself is totally up to you. All guests are now invited to the Encounter Garden to walk with yourself and begin the adventure.
BONNY
I guess introductions are not necessary.
BONNY CLONE
I guess not, but I do hope we can share with each other. I have a lot of insight into human behavior.
BONNY
I know. I do, too.
BONNY CLONE
Of course you do.
Everyone else has a similar experience, all except Clare. She’s frowning at her twin.
CLARE
What’s your name?
CLARE CLONE
Whatever you wish, but I am designated as MIC CLARE.
All the clones, including Clare’s exhibit a slightly unnatural smile.
CLARE
And how are you going to help me, McClare?
CLARE CLONE
In every way possible.
CLARE
Sounds like complete bullshit.
CLARE CLONE
Yes, it’s bullshit. So we have to figure it out.
CLARE
And what if I don’t feel like figuring it out?
CLARE CLONE
That’s your decision. It is your time to use or waste as you see fit. I am at your disposal.
CLARE
We’ll see about that.
CLARE CLONE
You love animals, don’t you?
CLARE
Nice try but I’m not falling for it.
CLARE CLONE
There are alternatives to direct self-exploration.
CLARE
Like what, McClaw?
Clare notices that her clone looks temporarily lost, then…
CLARE CLONE
Would you like to play a game?
CLARE
Alright, McDuggal, what did you have in mind?
CLARE CLONE
It is called, DISCOVER, and it simply matches wits, mine against yours, as a bridge to self awareness and actualization.
CLARE
Sounds perfectly boring, but go ahead.
CLARE CLONE
Very well, we shall begin by—
CLARE
And I never say that, “very well” and “shall” and things like that. Ya see, I’m human and you’re just a container of circuits mimicking what you’ve been programmed to say. So let’s get clear on that, okay?
A fleeting look of concern from Clare Clone, then the same smile.
CLARE CLONE
You are quite correct. As we get to know each other, the disparities in expression will abate.
CLARE
There you go again. So ask me a question.
Clare and her clone challenge each other on historical facts and trivia. Clare gets most of them right, begins to enjoy herself, as it were.
END
INT. DINING ROOM – NIGHT
The guests enjoy a sumptious white-glove dinner. The hall is abuzz with stories and laughter. At Clare’s table, Rod commands the discussion, finishing with a story about how clueless Clare is at discussions and finishing with a story of how scared she was on the helicopter.
Dr Richter moves to the podium.
DR RICHTER
Ladies and gentlemen, tomorrow afternoon we will begin the next phase of our encounter weekend. We will separate as couples for the quad encounters – one couple with their clones.
Clare turns sour.
EXT. TRAVEL OPERATIONS OFFICE – NIGHT
Clare dashes across a wet tarmac and a night sprinkle to the travel office. She enters.
INT. TRAVEL OPERATIONS OFFICE – NIGHT
Clare recognizes the helicopter pilot, Bob.
CLARE
Excuse me, I came in with you the other day.
BOB
Yes, ma’am.
CLARE
Well, I need to get off this island tomorrow.
BOB
No can do. Chopper’s down until I get a part for my oil pump.
CLARE
When is that arriving?
BOB
Should be here by tomorrow.
CLARE
And how is it being delivered?
BOB
By boat but it will take me awhile to take apart the engine and put it back together.
CLARE
And what about the boat?
BOB
Well, the schooner is only for deliveries. But Jim’s known to take a passenger or two.
EXT. CYBORG CHARGING ROOM – night
The cyborgs get recharged side by side. The eyes are open but nobody’s home.
INT. CLARE’S ENCOUNTER ROOM – DAY
A facilitator, Jean, presides over this morning’s human/cyborg exchange.
JEAN
Clare, I hear that you’re not happy with your encounters so far.
CLARE
I’m not getting this, I mean, talking to a robot.
JEAN
I understand. Is there something we can do to make it easier for you?
CLARE
No offense, McCLare, but you’re not my type.
MIC Clare is crestfallen.
JEAN
Perhaps I can help. Would you mind if I start a pathway facilitation?
CLARE
I don’t know what that is.
JEAN
It’s just a series of questions you answer to form a foundation for discovery. You can do this with or without your MIC. Do you mind if I begin?
CLARE
Go ahead.
MIC CLARE looks pleasantly engaged.
JEAN
Okay, I see from your profile that you enjoy animal rescue. You seem to be very good at it.
CLARE
Animals deserve better than what they get from humans.
CLARE CLONE
I couldn’t agree more.
CLARE
Let’s just stick to logical conundrums and puzzles, okay?
JEAN
If that’s where you’d like to start then by all means. Some of our guests find it helpful that the guest with the most points receives a check for $50000 and an invitation to visit again.
CLARE
Fifty thousand?
JEAN
Yes, can I leave you two?
CLARE
See ya.
Clare kicks ass on a series of math paradoxes. Clare draws even with her cyborg in a game of Know Thyself. She uses her creativity to extricate herself from an AR game involving chess and archery. She soon racks up twenty-one thousand points.
INT. ROD’S ENCOUNTER ROOM – DAY
Rod has finally met his match in bravado. His twin is the same type of blowhard.
INT. LUNCH ROOM – DAY
Rod constantly embarrasses Clare in front of the group, something that upsets her greatly.
</div></div>
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Renee’s Act 2 Reaction TP 1
What I learned doing this assignment is when I don’t think about things too much, I can quickly write a scene. While it might not be the best scene or the best writing, it is something that I can work with.
INT. CAFÉ – DAY
Mia is at the front counter taking a customer’s order.
MIA
Alright, I have a large extra double-shot vanilla mocha, a medium chai latte, and two bear claws. Is that correct?
CUSTOMER
You got it.
MIA
Alright, that will be $18.47.
The customer pays and moves to the end of the counter. Mia opens the pastry case and pulls out the bear claws and hands them to the customer. Brittany is busy making the drinks.
The front door opens, and a DELIVERY PERSON walks in carrying a large vase of beautiful flowers. He approaches the counter and sets the vase down. Mia approaches him.
MIA
Can I help you?
DELIVERY PERSON
Yeah, I have a delivery for Mia Roberts?
MIA
That’s me. Who are they from?
The delivery person looks at his clipboard.
DELIVERY PERSON
Doesn’t say. Can you sign here, please?
He hands Mia his clipboard and pen. Mia takes it and signs her name, and hands back the clipboard.
DELIVERY PERSON
Thanks. Have a great day!
MIA
Thank you.
Brittany spots the flowers from across the room and makes a beeline to Mia.
BRITTANY
Who are those for?
MIA
Apparently, me.
BRITTANY
Who are they from?
MIA
No idea. Wait, here’s a card.
Mia reaches into the middle of the flowers and pulls out a small white envelope. She opens it and pulls out the card. She frowns.
BRITTANY
Well, who is it from?
MIA
It doesn’t say.
Brittany snatches the card out of Mia’s hand.
BRITTANY
Do you think about me as much as I think about you? That is so sweet. I bet it’s from that hot guy that was in here the other day looking for you. What was his name again?
MIA
Ian.
BRITTANY
Ian, that’s right. Didn’t you go on a date with him?
MIA
Yeah, he took me to Bella Trattoria.
BRITTANY
Ohh, fancy.
MIA
I felt so out of place. But the food was delicious.
BRITTANY
I’ve never been, but I’ve heard nothing but fantastic things about the place. So . . .
MIA
So, what?
BRITTANY
Are you going to see him again?
MIA
I don’t know, I haven’t heard from him.
BRITTANY
You haven’t heard from him? It’s been more than three days. Did something bad happen during the date? Did you have lettuce stuck in your teeth? That can be a real turn off for some guys. Did you spend the entire time talking about yourself?
MIA
No, the date was fine. We talked and we laughed, and we even kissed.
BRITTANY
You kissed! Maybe you’re a bad kisser.
MIA
I’m not a bad kisser.
BRITTANY
How do you know?
The front door opens and a customer walks up to the counter.
MIA
I should get back to work. I don’t need to give Gretchen any more reasons to lecture me. And you have an order up.
Brittany sighs.
BRITTANY
Don’t think this discussion is over.
Mia rolls her eyes and turns to the customer. Brittany bounces back to the pickup window.
MIA
Good morning.
-
Adam’s act 2 reaction to TP1
ACT 2
EXT. PARLIAMENT – DAY
Mayor Elizabeth says they’ll be going into another full lockdown – if you’re seen outside you will be questioned. But the experimental vaccines to save all are here! They’re being rolled out. Oh what’s that behind me? Is that the vax party bus?
A bus drives up covered in ‘vaccinate now’ decals and music blaring. It’s had the roof removed like a parade float and men and women dance scantily dressed in nursing and doctor uniforms like you’d see at Halloween. They hold oversized syringes and squirt water at each other.
Slogan: Vax or you’ll get hit with more tax! Blares from the speakers.
Mayor dances awkwardly with the music. Like zero rhythm.
EXT. PARLIAMENT BUILDINGS – DAY
There is a large anti-everything protest which now just stares in shock at what they’re seeing.
INT. LES’S OFFICE – DAY
Beginning: Les sits down in his office – he has a blank white-board nearby and his computer. He starts to research.
Middle: Les has started to fill out the board as a diagram with Billionaire’s names, WHO/CDC, Trilateral commission and then arrows leading to $$ and Public Health. It looks super confusing at this point.
End: He sits staring at his board – no one could make sense of it at this point. In a burst of anger he wipes everything out. Thinks. “I need more space”. Then he looks at his wall.
INT. MAYOR’S OFFICE – DAY
Beginning: Camera crew and a nurse surround the Mayor. She smiles to the camera. ‘In an effort to combat vaccine hesitancy I’m going to show you just how safe it is. I’m going to take five shots of the stuff! I want you to know you can trust us.’
Middle: The nurse holds up 5 syringes and small vaccine bottles. She plunges them into the Mayor’s arm in succession all the while holding a cringed smile on her face. It hurts.
End: The camera crew packs up and Mayor goes to the nurse to make sure it was all 100% placebo. Nurse ‘oh ya! That would kill you’. Mayor: ‘You’re sure? My arm feels like a dead racoon.’
INT. CLASSROOM – DAY
Beginning: Les enters the class with a gusto and proceeds to stare at all the kids. They stare back. Then Les takes of his PPE. The kids GASP like he’s the devil incarnate.
Middle: He walks around the class, the kids look terrified. Les talks, ‘Do you all feel this is right?… To be masked? To be gagged? The breathe in your own bacteria all day? Take off your masks! All of you! Go ahead, you’ll all be fine.’
The kids hesitate, but eventually do, they seem happy to. ‘Now everyone get up and walk around, high five, hug… I don’t want you to learn to be afraid of each other. They say ‘we’re in this together’… well then let’s BE together!’ The kids cheer! They run around hugging and high fiving. A couple of jocks try to even kiss a couple of girls who slap them.
End: INT. PRINCIPLE’S OFFICE
Principal sits in front of Les shaking his head – Les pleads his case.
Principal – you can’t do that. Now I have to quarantine the whole class and you all have to get tested. Parents will be furious and so will the up abovers, but I can persuade them to keep you. We need all the help we can get.
-
EUGENE’S ACT 2 REACTION TO TP 1 (Lesson 13)
What I learned doing this assignment is that I am very confused about the framework of this class. The structure seems to be off center. Maybe that is the purpose of it.
Inciting Incident: Patrick Announces to a huge audience that the land that they are standing on will become “Angel City” the solution to L.A.’s homeless crisis.
Turning point: Celeste and Patrick are on the cusp of completing “Angel City” when a pivotal member of the team, Seco, is arrested right in front of them.
Reaction in Act 2
INT. L.A. JAIL – FRONT DESK – DAY
Celeste, Patrick and Samuel approach the DESK SERGEANT.
DESK SERGEANT
How can I help you?
CELESTE
Our friend Seco BrightCloud was taken into custody a short time ago. We would like to see him.
DESK SERGEANT
(looking over the paperwork)
I’m afraid no one can see him right now.
SAMUEL
He’s my son!
DESK SERGEANT
No one can see him. He’s being interrogated by the FBI.
CELESTE
What is this all about?
DESK SERGEANT
It’s a federal offense…Conspiracy…
SAMUEL
We can’t bail him out.
DESK SERGEANT
There’s no bail on this offense.
CELESTE
What is this Conspiracy charge all about?
DESK SERGEANT
Apparently, an assassination attempt on a Patrick Lee.
PATRICK LEE
That’s me!
SAMUEL
This is crazy. Where did you get this idea?
DESK SERGEANT
I’m afraid, I can’t say any more. I’ve said too much already.
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