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Dave Holloway’s Act 2 Middle Scenes
What I learned doing this assignment is that the fast writing technique does encourage more experimentation with new idea for scenes that might lead the script in good directions.
OUTLINE – SCENE 2
BEGINNING: Nigel and Roger reach the Native-American state, Tribal Nations. They are informed by a Native man there that some Natives completely reject the “white ways” because they were brought about by people who committed genocide against Native people, and because they also devastated the earth, water and air. Some Natives accept some of the “white ways”, and live in houses, in towns, drive cars, etc. However, there is no road all the ways across the Native state, so they will have to go overland.
MIDDLE: They buy two horses and throw away their suitcases and some of their luggage. Then they hire a young woman, AMELIA, 24, to serve as their guide to get across the state as quickly as possible. They start off on the horses. When they encounter a Native village, Amelia says they should try to buy one of their canoes to get across the state faster. She speaks to a Native woman in the village, and buys one of the canoes.
END: They drift downriver in the canoe through beautiful country. Then the current grows faster, and they find themselves in rapids. The canoe goes over a submerged rock and spills them into the river.
OUTLINE – SCENE 3
BEGINNING: They’re hiking now, and as they move toward the border with The Estate, they see a battle between Natives and whites. Amelia tells them two of the families in The Estate have hired a private army to invade Tribal Nations and try to capture some of its land, to be used as grazing land for their vast herds of cattle.
MIDDLE: They near the battle, fascinated. Roger is particularly excited. They see men on both sides get shot and fall. Suddenly, a stray bullet from the fight hits Nigel in the shoulder, and he goes down. Nigel is still conscious, but quite scared.
END: Amelia pulls out her first-aid supplies and cleans and dresses Nigel’s wound. The bullet went all the way through his shoulder, and Nigel is relieved to know he’ll be okay.
SCENE 2
Nigel and Roger approach a small, wooden building with the words ‘Tribal Nations’ placed above the front door. They enter and find a tall, NATIVE MAN inside. He rises from his desk and approaches them. His voice is deep and solid.
NATIVE MAN: Can I help you gentlemen?
ROGER: We were hoping to cross the Tribal Nations state, sir.
He’s quiet for a moment.
NATIVE MAN: You’ll have to go by horse. Or on foot.
Nigel and Roger look at each other.
NIGEL: There are no roads?
An edge of anger and bitterness enters the Native Man’s voice.
NATIVE MAN: Roads and automobiles were brought here by the whites. They destroyed the the land. And poisoned the air. Many decided to return to the old ways. The whites brought nothing but sorrow.
ROGER: So there are no modern – conveniences?
NATIVE MAN: Some of the tribes kept the new ways. They live in houses with electricity. They have cars and roads in the local area. But there are no roads across the state. And no trains.
Roger and Nigel look at each other.
NIGEL: Where can we get horses?
NATIVE MAN: A man will sell you horses. Fifty yards up on the right.
There’s silence for several seconds.
NIGEL: Thank you, sir.
EXT. OPEN COUNTRY – DAY
They ride along, and see a number of teepees along the river up ahead. There are canoes along the shore. Amelia speaks softly.
AMELIA: We could get across the state a lot quicker traveling on the river. Wouldn’t have to stop for sleep or food – for us or the horses. Let’s get off, and I’ll talk to these people.
They dismount, and approach the village. Amelia sees a young woman outside a teepee and speaks to her in an Indian dialect. She returns to Nigel and Roger.
AMELIA: She says 50 dollars for a canoe.
Nigel and Roger reach into their pockets, pull out the money and hand it to her.
Amelia hands the money to the Native woman.
EXT. OPEN RIVER – DAY
Nigel sits in the front of the canoe, Amelia in the middle, and Roger at the back. They pass through beautiful, forested country. A new sound arises from the river.
NIGEL: What’s that, then?
AMELIA: Oh my God. I think I know.
They round a bend in the river and see white water ahead. The current grows faster, and they try to paddle the canoe off to the side, but they can’t overcome it. Soon the canoe is rolling and bucking in the rapids, its path and speed controlled by the water.
AMELIA: Hang on! Try to stay with the canoe!
The ride over a submerged boulder and as the canoe dives down the other side, it twists and spills them into the water.
SCENE 3
The three hike along in an open field. They begin to hear what sound like shots up ahead of them.
NIGEL: Is that gunfire?
AMELIA: I think so. We’d better get into the trees.
They walk quickly toward a grove 50 yards to their left. Once inside, they continue walking forward.
AMELIA: I’ve heard rumors the owners of The Estate have hired a private army and are trying to take some of the tribes’ land.
ROGER: What’s the Estate?
AMELIA: The next state to the west. It’s owned by four families that were some of the richest in America, when it still existed. A couple of them want more land to graze their herds of tens of thousands of cattle. Looks like they might be trying to take it from the tribes.
NIGEL; All that money, and they’re still trying to steal from others to get more. Unbelievable.
Roger: Greedy bastards.
They near the battle, until they are only 50 yards from it. They see men on both sides get hit and fall. A bullet hits Nigel in the shoulder and knocks him down. Roger and Amelia surround him.
ROGER: All right, mate?
NIGEL: Think I’ve been shot.
There is bloody seeping through his shirt from the shoulder. Amelia digs into her pack and pulls out a first-aid kit. She opens it, takes out a wad of cotton, holds it to the top of a bottle and upends the bottle, letting liquid seep into the cotton. She opens Nigel’s shirt and finds the wound in the shoulder.
AMELIA: Grit your teeth, Nigel. This is gonna sting.
She places the cotton against the wound. Nigel grimaces and groans for a moment. After several seconds, she takes the cotton away. She takes a bandage and places it over the wound, then stretches two strips of tape across it to fix it in place. She gently turns Nigel’s torso partway around and looks at his back.
AMELIA: The bullet went all the way through. That’s a lucky break. The wound in your back isn’t as bad. Grit your teeth again.
Nigel braces himself, then grimaces quickly as she applies the antiseptic to the wound in his back.
NIGEL: Well done, Amelia. I’m grateful.
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Assignment 14
Aleta Rafton’s Act 2 Middle Scenes
Outline Key Scene 2
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
Outline Key Scene 3
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
Key Scene 2
Exterior street night with garbage truck fading into distance
Beginning: Grandpa pulls up in motorcycle sidecar with Shadow riding in it.
Grandpa
Hop in fast! Let’s go!!!
(Hank and Jack crowd in with Shadow on Hank’s lap)
Jack
Give me some room!
Hank
I’m trying. It’s all I’ve got.
(Grandpa steps on gas hard and they all nearly fly out of the sidecar. Sidecar wobbles and tips on wheels)
Hank
Slow down! You’re way over the speed limit! You’re breaking all the rules!
Jack
Let him drive! We’ve got to catch the truck! You and your rules!! That’s how we got into this mess!
Grandpa
Jack! Enough! Hank is sorry!
Jack
Grandpa! Turn left!!!!
(Sidecar makes crazy left turn almost getting hit by city bus)
Hank
Oh my God, this is crazy!!!
(Grandpa drives crazily between squeezing between a car and a truck. Hank terrified, close his eyes. Sidecar is now even with the garbage truck)
Grandpa
Ok Hank get ready to grab it!
(Grandpa pulls up beside garbage truck, Hank opens his eyes and sees the ornament but is terrified and unable to move)
Jack
Grab Hank! Grab it now! Now!
(Hank finally reaches out but it’s too late as the garbage truck takes right turn. The sidecar keeps going straight. Suddenly there are garbage trucks going every direction and they don’t know which one to follow)
Jack
What is wrong with you? You had your chance and didn’t take it!!! Now it’s lost forever!!!
(Grandpa stops driving and pulls over to the side of the street. Hank feels like a failure. A tear rolls down Jack’s cheek)
Act 2
Key Scene 3
Exterior Everyone standing bedside parked sidecar, night. Grandpa is exhausted, Jack has a tear rolling down his cheek. Hank feels terrible, reaches into his pocket and feels the tracking device)
Hank
Wait! Everything’s going to be ok. My device. It will find it!
(Hank turns on device but nothing happens)
Hank
Never mind…I can’t believe this is happening!
(Hank is about to give up. Following the rules hasn’t worked and instead has ended in disaster)
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Dale’s Act 2 Middle Scenes
What I learned doing this assignment is: the second scene I called a “reaction” scene in Lesson 12, actually belongs here, as the “takes on a plan” key scene 2. So…
Key Scene 2: Her plan is to prove she can work with Richard in a professional manner with the personal kept out. Scene with Richard, going over a student paper, and this scene turning into a type of flirtation, despite Liz feeling like she had been running the meeting. (Old ways not working.)
Key Scene 3: While at an off-campus coffee shop, Richard joins her at her table and their casual conversation turns into stories of their parents and younger years, which again, despite Elizabeth’s intentions to the contrary, re-enforces a growing intimacy.
Outlines, Sc. 2 & 3:
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. LOCAL COFFEE HOUSE – AFTERNOON
Beginning: Richard comes in and asks, since there are no other seats, if he can sit with Elizabeth. She agrees, a bit reluctantly
Middle: They launch into a discussion which includes talking about their parents and what they meant to them. Much warmth and connection between them.
End: Barbara comes in, “discovers” them in deep conversation. They immediately draw apart, sensing somehow the wrongness they are feeling. When he leaves, Barbara casually comments on Richard’s sexiness – something Elizabeth balks at.
DRAFT OF Sc. 2 & 3:
INT. STANTON UNIVERSITY – ELIZABETH’S OFFICE – DAY
RICHARD is sitting in a chair, while Elizabeth looks over some student papers.
ELIZABETH (CONT’D)
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.
INT. LOCAL COFFEE HOUSE – AFTERNOON
Elizabeth is seated, waiting. Richard walks by, coffee and scone in hand, sees Elizabeth.
RICHARD
Hello, Professor. Are you alone?
ELIZABETH
Uh… well, …I’m waiting for Professor Biden
RICHARD
Do you mind if I sit here until she arrives?
Elizabeth hesitates.
RICHARD
There don’t appear to be any other tables.
ELIZABETH
Oh. Well, yes, sure, why not.
Richard sits down.
RICHARD
It seems strange to see you… outside the four walls of Wittaker Hall.
ELIZABETH
It’s a rare sighting, I assure you.
RICHARD
That only means you love your work.
ELIZABETH
Some people might call it obsession.
RICHARD
I think it’s jealousy, actually. The way people who don’t have an all-consuming passion seem to resent those who do. I’m told all the time that I’m too intense! When maybe they’re the ones who aren’t intense enough! Take my ex-girlfriend, for example. She kept trying to get me to go out to more parties! Give me a good blues concert, I’m there! Give me a salsa club, I’ll dance till 4:00. But put me in a room with a bunch of people, most of whom won’t rub two thoughts together to make an idea, I’m ready to jump out of my skin!
ELIZABETH
I know that feeling. Even in academia…
RICHARD
Professors who just go through the motions.
ELIZABETH
Right.
RICHARD
(beat)
Your…ex-husband…
(off her look)
I heard you were divorced. Is he a professor, as well?
ELIZABETH
Of chemistry, yes. At another institution.
RICHARD
Oh. So… that other Professor Drewer I’ve heard about here…
ELIZABETH
That would be my father.
RICHARD
Your father. Is he still teaching?
ELIZABETH
No, he… died. Two years ago.
RICHARD
I’m sorry.
ELIZABETH
But he taught right up until the end.
RICHARD
What was his field?
ELIZABETH
Classics. He was the one who first taught me the Socratic Method.
RICHARD
Really?
ELIZABETH
Yeah. A schoolgirl’s primer for dialectical argumentation! And he was tough! He wouldn’t let me get away with a single frivolous statement.
RICHARD
How do you mean?
ELIZABETH
Well, for example, when I was young, I couldn’t say something like: “Wanda Peterson hates my guts!” My father would instantly pounce: “Why do you think Wanda hates you?” “Because she said she did!” “And do you believe everything someone says?” “…Yeah.” “Do you believe your mother when she says she’ll never have another cigarette?””Well, no.” “And do you believe your cousin, Tommy, who says he has never stolen a candy bar from Brewster’s Market?” “Of course not, but–” “Then it follows you should not make the assumption that Wanda Peterson hates you simply because she says she does.”
RICHARD
Whoa.
ELIZABETH
I know. He’d back me like that into a corner and just leave me dangling. Though by the time I was maybe, thirteen, it wasn’t so easy to get me in that corner. And by college, I could head him off at every turn and force him into a stalemate. But, I’ll tell you, when the day came that I backed him into a corner, you should have seen the pride in his eyes.
(smiles)
I guess you’d have to say I was trained by a master.
RICHARD
It sounds like you loved him a lot.
ELIZABETH
I did. …And I miss him every day.
A beat. They smile at each other.
ELIZABETH
And you? Are you close to your father?
RICHARD
Oh, …I never really knew him. I was… unexpected.
ELIZABETH
Oh.
RICHARD
He and Mom had just broken up when she found out, and since he was moving away, she decided to… just not tell him.
ELIZABETH
I see.
RICHARD
He was the earnest type, she said. He would have insisted on marriage and they would have both been miserable. Which was a pretty outlandish thing to do, for a Latina back then, brought up to be a good Catholic girl, but she was never one to play by the rules.
ELIZABETH
Like her son.
RICHARD
Yeah! …Mom’s great. She’s a real reader, for one thing, she instilled that in me. And she worked like crazy getting me my education.
ELIZABETH
Bless her for that.
RICHARD
But I was always curious about my Dad. So one day, when I was in high school, I went to the city where I knew he lived, and I looked him up.
ELIZABETH
Really?
RICHARD
I slipped into the back of the inner city class where my father, el Señor Luis Gonzales was teaching. I saw he was putting his earnestness to good use. I slipped out again without exchanging two words with him.
ELIZABETH
You didn’t want to talk to him?
RICHARD
Of course. But I also didn’t want to disrupt his life. …What’s odd is I had thought that finding my dad would answer the question of who I was. But all it answered was the genetic part, not the soul part.
ELIZABETH
So how did you try to answer that?
RICHARD
By hitting the road, mostly. After high school, I took some time off. I started with my grandparents’ town in Jalisco. I immersed myself in Mexican mythology, magic realism, poetry. I guess you could say I was listening to the call of my blood. Then I spent the next few years traveling all through the Middle East and Asia. Worked at manual labor jobs. Climbed to the top of Mt. Fuji. Lived in an Ashram. Witnessed the whirling dervishes in Turkey.
ELIZABETH
My!
RICHARD
Amazing, how through the rhythms of the body, they were touching the world of spirit.
ELIZABETH
…My God, Richard, you’re a mystic.
RICHARD
Yes, I suppose in some ways I am.
ELIZABETH
So why not religious studies?
RICHARD
Are you kidding? Since I view most established religions as an institutional excuse for destroying the mysticism at their core, well… you can imagine, I would have been even more a thorn in their side than yours.
ELIZABETH
You’re not a thorn in my side.
He smiles at her.
ELIZABETH
Well, maybe a minor thistle.
They laugh, exchanging a conspiratorial look, as if sharing a secret. As they continue to look into each others’ eyes…
Barbara walks into the coffee shop and looks around. She spots them and comes up to them.
BARBARA
Hello! Sorry I’m so late!
Almost guiltily, Elizabeth and Richard draw apart.
BARBARA
Mr. Amado. And how are you?
Richard jumps up and motions Barbara to sit down.
RICHARD
Fine, Professor Biden. I’ve been… keeping your seat warm for you.
BARBARA
Why thank you, young man.
RICHARD
Uh, I’d better get going. 3:00 meeting with Jimmy Buck. Adios señoras!
He leaves. Barbara watches him go.
BARBARA
Mmmm. Mmmm. Mmmm! I wouldn’t kick that one out of bed!
ELIZABETH
Barbara!
BARBARA
What? …You telling me you don’t find him attractive?
ELIZABETH
Well, I…! He’s… my TA, for God’s sake! He’s a boy!
BARBARA
He’s twenty-nine, that’s a grown-ass man. And none of those things would keep me from fantasizing, I can assure you.
ELIZABETH
Well, luckily, I am not you!
BARBARA
No, you’re not. More’s the pity.
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Fred’s Act 2 Middle Scenes
What I learned doing this assignment is that sometimes characters will make different decisions than the ones I drew up on the outline. In the revision process I will go over whether these action are in line with the character’s arc and if they challenge the Old Ways enough.
Act 2: Key scenes 2 & 3 – Protagonist takes on a plan and executes it, Not only does their plan fail but…
INT. GRANDPARENT’S HOUSE – DAY
Beginning: Han drops Jin at grandparents to babysit him. Does he threaten him to keep it a secret?
Middle: Jin watches TV with them and talk about a recent cheating scandal on the news.
End: Jin gets a call from Emma through the house phone.
EXT. GRANDPARENT’S HOUSE – NIGHT
Beginning: Jin meets Emma and they go out for dinner.
Middle: Emma wants to know what’s going on but Jin doesn’t tell her.
End: Jin asks Emma for her phone and tracks down his dad w/ his phone.
EXT. RESTAURANT – NIGHT
Beginning: Jin and Emma find Han at dinner with the mistress.
Middle: Jin tries to get closer to take photos and eavesdrop on them. Or he makes Emma go away?
End: Jin overhears an IMPORTANT PIECE OF INFORMATION (not sure yet), and also his grandparents call Han to locate Jin who has been out for a worrying time. Jin has to race back and beat Han.
Placeholder: Gives Emma back her phone but won’t tell her what’s going on. She gets concerned so she meets up with Han in secret. Han tells the story from his side and wins over Emma over drinks.
Meanwhile: Jin meets with his mother to get her to explain everything to his grandparents. Says he has evidence. She wavers, but ultimately agrees.
Jin meets Emma late, she is drunk and giddy, says she had drinks with his father and his friends. Says he’s just trying to protect you. She deleted all the photos for his good. His argument is that he made a mistake but he kept his family together for Jin. Could’ve gone through with divorce but didn’t.
INT. GRANDPARENT’S HOUSE – DAY
Jae-sa, everything is running late because Jin’s mother isn’t there. Then finally she appears to break the news. Family members uncomfortably become silent. Jin realizes that they’ve known all along but have been looking the other way. Only women?
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Janeen’s Act 2 Middle Scenes
What I learned doing this assignment is that writing only the key scenes has left me a lot of leeway page-wise to add in subplots and steps in the subplot to move that forward too. I suspect I’ll add those in a subsequent writing pass.
INT. JYM’S OFFICE – NIGHT
JYM is contemplating an hour by hour diary of what she ate and what she did that that week.
We see that within an hour of the Cam’s Fat-Busting class, she either breaks her diet (at something sweet or chips) or was suffering from cravings that required all her willpower.
MARTA enters the office.
MARTA
What are you looking so worried about?JYM
Not worried, but – look at this. Why am I so incredibly hungry an hour after his class?MARTA
Because your blood sugar is low.Once your body rests a little, it screams at your to get something to boost your blood sugar. (smiling)
It looks like most of the time you do.JYM That sucks!
MARTA
That’s why Cam doesn’t allow anyone with diabetes to take that class.JYM
But what about the rest of us? Does he know how hard it is after class?MARTA
Nearly everyone taking the class is doing the keto diet, right? You are, right?JYM
Right, so my blood sugar should be replaced by ketosis and I shouldn’t be getting these cravings.MARTA
Are you sure you’re in ketosis?It’s hard for women to get there.
JYM
Well, I pee on the strips, but they almost never turn the right color in the time limit they give. I thought maybe they were old or I just wasn’t doing it right.MARTA
I’ll help you check. I’ll recommend a glucose monitor for you. Test yourself before and after the class.JYM Okay.
MARTA
Do you need instructions?JYM
I’ve been watching Ashley do it foryears. If I need any help, I’ll just call her.
MARTA Good girl.
INT. DOC’S OFFICE – DAY
Ben consults his wife’s chart and his Type II decline wall chart.
PARTNER1 comes into his office.
PARTNER1
You had a question for me?BEN
Yeah, sit down, sit down. I have aclient whose glucose levels still aren’t stable even with a pump. What’s next?
26.
PARTNER1 grabs a pad of sticky notes and writes a product name.
PARTNER1
What kind of diet compliance are yougetting?
BEN
Not great, actually.PARTNER1
They usually claim compliance.BEN
I’ve had her keep a log of what she’s eaten and she generally confesses to cheating before each out of control episode. The problem is, it takes so little to get her out of control.PARTNER1 Meter problems?
BEN
We’ve been on the phone with the company a bunch of times, but can’t see anything wrong.PARTNER1
Finger stick or continuous testing?BEN
We went to both when we started havingproblems.
PARTNER1 That’s a tough one.
They sit in silence for a beat.
PARTNER1 (CONT’D)
I’d go with this if a patient reaches –He positions the note farther down the chart’s slope from the insulin pump.
PARTNER1 (CONT’D) Here. That’s about all you can do.
BEN
That’s the prepackaged diet, right?Right.
PARTNER1
27.
BEN Pricey?
Very.
PARTNER1
BEN
Of course. Thanks.PARTNER1
That’s what I’m here for. Good luck.BEN
I have a feeling we’re going to need it.Ben pulls the sticky off the chart and goes back to his desk. He googles it and groans when he sees the price.
BEN (CONT’D)
That’s outrageous. It had better work.
He pushes the ‘Order’ button. -
Melanie’s Act 2 Middle Scenes
What I learned: it’s important to find a routine to write everyday! I’m still working on it…
Key Scene 2: Protagonist takes on a plan and executes it
EXT. Road – Night
BEGINNING: Sybil decides to go looking for her horse in the forest. She is now drenched in the downpour. She comes across a field of dead bodies of soldiers, strewn across the field. Among them is a boy who is collecting valuables. She protests, yelling at the boy but suddenly a man with a green jacket appears. She tells the boy to hide behind one of the bodies. She does the same.
MIDDLE: The man grabs the boy, scoops him up and takes him off. The boy looks in Sybil’s direction but she doesn’t see her.
END: Sybil glances at him as he screams. She hangs onto the tree, scared. But keeps on.
Key Scene 3: Not only does the plan fail, but…
EXT. BRITISH ENCAMPMENT – NIGHT
BEGINNING: Sybil is drenched, cold and tired when she finally sees a campfire in the distance. The rain is starting to let up. She makes her way towards it and sees her horse tied up. She inches towards Star who makes a noise seeing her.
MIDDLE: Sybil remains hidden approaching past a tent. British soldiers talk over a campfire. She sees Samuel who talks about what a coward she is, running away in the night. And that they have nothing to worry about.
END: Sybil frees her horse, hops on her but Samuel sees this and starts after them again firing at them and wounding her horse.
Scenes:
EXT. FOREST – LATER
Sybil makes her way through the dark forest trying to track her horse. The rain finds its way down through the branches. She weaves in and out, her dress getting torn. She doesn’t see any hoof prints in the leaves.
Frustrated, she leans against a towering pine tree. She presses on.
In the clearing ahead of her, though, she spots something move. She ventures closer and under the moonlight she makes out a figure. She gets closer and sees that it’s a BOY, maybe 15, a welcome relief to being alone.
SYBIL
Hello?
She suddenly trips over something on the ground. And GASPS. It’s a dead soldier, his eyes wide open, blood sullying his uniform. She jumps back into another body.
The field is covered in dead soldiers. Some wear red coats, others wear confederate uniforms. The boy quickly goes from body to body.
SYBIL
Excuse me.
HE stops, looking up.
SYBIL
Have you seen a horse come through here?
BOY
No and you should go home.
SYBIL
What are you doing?
BOY
Mind your own business.
A glint of something silvery catches her eye as he shoves it into his pocket.
SYBIL
Are you taking their things?
BOY
If you haven’t noticed, they’re dead. They won’t be using these anymore.
SYBIL
But that’s stealing. That’s a sin.
BOY
So be it. There are worse things in life.
There’s a rustle in the bushes. The boy’s face goes whiter than it already is.
BOY
Hide!
He drops next to one of the soldiers pretending to be dead. Sybil looks at the edge of the opening, seeing a tall figure. She drops to the ground, tucking her dress lower.
The figure approaches, as he gets closer she can see he is wearing a green coat. He’s tall, burly, with a full beard, carrying a bayonet affixed to a rifle. He strides over to examine what he saw from a distance and nudges at the boy. The boy tries not to move but as soon as the man nudges him harder, he bolts.
The man catches him in the arm, putting the bayonet under his chin.
MAN
Move on muscle boy and you’ll lose your head.
The boy freezes, caught. Casts a glance over to Sybil who has crawled behind a dead soldier. The man follows his glance.
MAN
What’re you looking at?
BOY
Just another dead person. Who should find his way home.
MAN
You talking about a ghost?
BOY
Nothin’.
The man reaches into the boy’s pockets, finding the pocket watch and other trinkets.
MAN
Caught myself a thief, have I? It’s easier stealin’ from you. You did all the work for me.
He puts all the finds into his pocket.
MAN
C’mon now, off with you!
He leads him off the field. Sybil watches, finally breathing. And rolls the dead man off her, wiping off the dirt.
CUT TO:
EXT. FOREST – LATER
Sybil makes her way through the forest. It’s wet, damp and she stops to pull her skirt from another bush. When she realizes the branch has a clean break.
FLASHBACK TO:
EXT. FOREST, NEAR LUDINGTON FARM – DAY
It’s a warm summer day. Her friend, the Iroquois teen, brandishes a knife as they circle each other before a fight. He suddenly shushes her, hearing something run through the forest. He waves her to follow him and she does.
The sunlight drips through the leaves in the forest, spreading shadows everywhere. The birds stop chirping as they pass by silently.
The Iroquois waves her closer, shows her a branch with a clean break at about the level of her shoulder.
IROQUOIS
Horse.
He lifts the branch and up ahead through the trees he points to a horse tied to a tree. She smiles at him, intrigued.
CUT TO:
EXT. FOREST – CONTINUOUS
Sybil looks at the branch closer.
SYBIL
Horse.
With a renewed since of confidence and by the light of the moon, she starts to make her way tree by tree, finding a trail of broken branches.
She picks up the pace, excited by her discovery.
She finally comes to the edge of the woods, seeing a clearing up ahead. And smoke from a fire spiraling up to the sky.
Peering into the distance she is able to make-out a campsite. With tents, a fire surrounded by red coats and several horses tied up next to them. One of them is Star.
CUT TO:
EXT. CAMPSITE – LATER
Three SOLDIERS sit next to a fire, talking and roasting some sort of dinner. Samuel leans back, his tawny physique apparent even at night.
RED COAT 1
What did you say brought you into the forest, again, soldier?
SAMUEL
A girl.
RED COAT 1
A girl?
RED COAT 2
Well, that’s a first.
SAMUEL
Not like that. She’s a colonist. She was running from me…
RED COAT 2
Not sure I’d boast that, boy.
SAMUEL
She was trying to get a message to the militia that we’re here.
RED COAT 1
A girl? Now that’s a good one.
Sybil listens angrily from the back of a tent. She makes eye contact with Star, who seems to actually want to see her. Sybil motions for her to stay quiet as she quietly approaches her.
SAMUEL
I got her horse.
RED COAT 1
Well, that’s one way of puttin’ it.
Laughter.
SAMUEL
She probably went home by now. Women. Don’t have any courage, you know.
Sybil has now made it to the row of horses, sneaking in between them and siding up to Star. Star NEIGHS and SNORTS, as if welcoming her.
The group of soldiers look over at the horses, but Sybil stays still, hiding behind them. They go back to drinking.
Sybil pets Star’s head gently.
SYBIL
Shush. We have to be quiet.
Slowly, she checks the saddle to make sure it’s ready. She unties Star from the tree and backs her slowly away.
As soon as she is away from the other horses, she climbs into the saddle and they take off.
One soldier hears them and peers over.
RED COAT 1
How many horses did you have?
SAMUEL
Two. Why?
RED COAT 1
Looks like you only have one now.
Another soldier laughs. Samuel shoots up angrily, grabbing his musket.
SAMUEL
Blazes. That girl!
He runs to his horse and takes off after her.
They run in the darkness, through the forest. Sybil rides low and tucked next to Star who runs as fast as she can through the trees. But they know Samuel is following close behind.
BADATHUMP! BADATHUMP! BADATHUMP!
Sybil barely misses one branch, but others cut her arms and legs as they pass through. Star flies, ready to escape!
Samuel drives had behind them, and manages to load his musket. He stops for a brief second and FIRES…
Sybil feels the force of the bullet come at them but checks herself and she seems to have missed it. A barn next to an old farmhouse in the distance becomes her sole focus. She pushes Star harder who seems to see the barn as well. They sweep into the old seemingly empty wooden structure, and take refuge behind one of the stalls.
Star breathes hard, Sybil slides off clutching her neck. They wait.
Out the door they see Samuel come out of the forest, towards the farm house. He loops around once and then they lose sight of him.
Sybil takes a moment to regroup patting Sybil’s nose.
SYBIL
Star, you saved us! Thank you.
Something red catches her eye and she stops. There’s blood on her hand.
SYBIL
Oh no…
She checks herself again finding all is intact, no blood on her. Slowly she looks at Star who looks back. In the moonlight coming through the shafts, she finds the wound…on Star’s side. Sybil GASPS, the world starts to spin.
SYBIL
No, no, not you!
The gash bleeds. Sybil tears up.
SYBIL
This can’t be happening.
She collapses in tears, hugging her horse.
SYBIL
It’s my fault, girl. I did this. This is all because of me.
She holds her head close, petting her, weeping.
SYBIL
I never should have asked this of you. You didn’t want to even go in the beginning. How will you ever forgive me?
CUT TO:
-
What I learned doing this assignment is the importance of having characters in the scenes that adds dimensions to the story, in my case mild humor.
Ricardo Williams Act 2 Middle Scenes:
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.
Scene 3 Events:
INT. OFFICE OF BALDWIN ICE CREAM CO – DAY
JOLYN calls a meeting with TROY THOMAS and CHARLOTTE to discuss the operations.
EXT. AMERICAN NATIONAL BANK LOBBY – MORNING
JOLYN pacing the lobby of the bank waiting for a loan specialist. Stipulations enforced by the CHICAGO AVIATION AGENCY has delayed the opening of the airport concession stands by 6 months. She needs a loan to offset the expenses caused by the delay. A white loan officer MR. BLAND in his twenties, approaches her to discuss her loans.
MR. BLAND
MRS. ROBICHAUX, we are very concerned with your financial statements for the last two quarters. Seems like you’ve been losing money.
JOLYN
I apologize MR. BLAND, but we were experiencing some difficulties with our airport stores that were closed due to new airport regulations. They have since resolved the issues, so things are going to improve.
MR. BLAND
So you are the CEO of the company?
JOLYN
Yes, I am.
MR. BLAND
Why, at your age would you want to run a company? My mom is your age and she stays at home taking care of her grandchildren.
JOLYN
I’m sorry MR. BLAND, but I am not your average grandma.
MR. BLAND
Tell you what MRS. ROBICHAUX, I am seeing some troubling signs in your financial statements. You’ve been bleeding cash. We also have a letter on file that alerts us about your state of mind.
JOLYN
What letter are you talking about? I’ve been a loyal customer with your bank for 15 years.
MR. BLAND
The letter we have is on your letterhead and it is signed.
JOLYN
I need a copy of that letter.
MR. BLAND hands JOLYN a copy of the letter. She stares on the signature, her eyes bulging with disbelief, the words TROY THOMAS is written in the signature box. A cold feeling of fear runs through her veins. She feels like her world has crumbled.
MR. BLAND
MRS. ROBICHAUX, I am afraid we’ll have to ask you to pay off your loans. I am giving you 6 months to do so.
JOLYN
It is impossible to pay up in 6 months with my airport stores struggling. I guess I won’t be doing business with your bank anymore. I am going to move my accounts.
EXT. LOBBY OF EXCHANGE BANK – DAY
JOLYN walks aimlessly through the lobby of EXCHANGE BANK, she is worried and conflicted when a gentleman approaches her.
MR. CARTER
Hello there. I know you. What are you doing here?
JOLYN
MR. CARTER from AMERICAN NATIONAL BANK? (JOLYN looks puzzled).
MR. CARTER
I am now the Vice President of Exchange Bank.
JOLYN
MR. CARTER in all my years of dealing with American National Bank, I have never had a problem, but today a loan officer turned down my request and called my loans. He gave me 6 months to pay them off.
MR. CARTER
What happened?
JOLYN
Our business is booming and we expanded to O’Hare Airport. We invested $1 million to build 5 concession stands and when we were about to open, the Aviation Department stalled us for 6 months. We are open now, but the delays put us in a hole when it comes to cash.
MR. CARTER
Come with me, let me look into it.
JOLYN follows MR. CARTER to his office. He closes the door behind her and offers her a seat.
INT. CARTER’S OFFICE – DAY
MR. CARTER shuffles through some files. He stops at a letter from BALDWIN ICE CREAM COMPANY.
MR. CARTER
I see the problem.
JOLYN
What problem?
MR. CARTER
MRS. ROBICHAUX, do you have a manager named PAUL THOMAS?
JOLYN
Don’t tell me you have a letter signed by him. Do you?
MR. CARTER
Yes. We have a letter on file signed by him stating that you are mentally incompetent and is forbidden from doing any business transactions under Baldwin Ice Cream Company.
JOLYN
I’ll be darned. I knew something wasn’t right? I was being turned down in all my business transactions.
MR. CARTER
He must have sent out letters to everyone you’ve done business with.
JOLYN
He is no longer with the company, but he had an insider feeding him the information. What am I supposed to do?
MR. CARTER
Those fools don’t know you as I know you. I have seen you get out of some tough scrapes and you will get out of this one. I can help you. Let me transfer your accounts to Exchange Bank. We will assume the balance of your loans and give you an additional $75,000 to help ease your burden.
JOLYN
You are such a life saver. Thank you. (She is hugging him frantically).
INT. ZENOBIA’S HOME – NIGHT
JOLYN pays ZENOBIA an unexpected visit. ZENOBIA half opens the door and tries to close it on JOLYN. JOLYN pushes the door open.
ZENOBIA
What are you doing? I wasn’t expecting you.
JOLYN
I wasn’t planning on visiting you.
ZENOBIA
Then why are you here?
JOLYN
Mother, I’ve just found out that PAUL has written letters informing the banks and all my business associates that I am incompetent and not fit for business. Do you know anything about this?
ZENOBIA
How will I know?
JOLYN
We are supposed to be a close knit family. I thought he may have said something.
ZENOBIA
I knows nothing about that. But what I know is that you should have let him manage the company. You have caused him a lot of damage.
JOLYN
MOTHER, the company has grown since I took over. We probably would be doing even better if Troy hadn’t sabotaged us. He is going to have to pay for what he’s done.
JOLYN hears some movement in the house.
JOLYN (CONT’D)
Do you have company? I thought I heard movements.
ZENOBIA
No. (ZENOBIA looks nervous and suspicious).
JOLYN gets up and follows the direction where the sound came from. She pushes the door open to the bathroom. She sees TROY THOMAS crunched on the toilet. She walks in on him and grab him by his ears and yanks out of the seat.
JOLYN
You have some explaining to do.
TROY THOMAS
Ouch, you are hurting me.
JOLYN
Tell me the truth. Are you trying to sabotage my company?
She pulls him out by the ear in front of ZENOBIA.
ZENOBIA
Let him go.
JOLYN
So that’s it? (Shouting).
I am spending money to allow you to live a comfortable life, and here you are housing the very person who is trying to take down me and my company.
ZENOBIA
He had no way else to go.
JOLYN
I don’t know how I will ever be able to trust you.
TROY THOMAS
It is not her fault. She knows nothing about it. I did it, and I am sorry. I just didn’t think you were capable of running the company. I was wrong.
JOLYN
I thought family was the most important thing to you? I guess I don’t qualify as family?
TROY THOMAS
I said, I am sorry. You are an important part of our family.
-
Sandra’s ACT 2 Middle Scenes
What I learned doing this assignment is how to really focus on the plan, and how the protagonist’s old ways fail and makes the situation worse.
After Lucy finds a dead lab mouse and discovers it was poisoned, she jumps to conclusions and assumes it was her lab assistant.
The plan is for Lucy to confront her lab assistant and find out why she is poisoning the mice.
Key Scene 2: Protagonist takes on a plan and executes it.
INT. UNIVERSITY RESEARCH LAB – DAY
BEGINNING: Research assistant returns from class, acting anxious, distracted, and nervous.
MIDDLE: Lucy confronts the assistant about poisoning the mice.
END: Assistant denies poisoning the mice. She doesn’t have a motive.
Key Scene 3: Not only does their plan fail, but…
INT. UNIVERSITY RESEARCH LAB – DAY
BEGINNING: Assistant finds the vial and eye dropper hidden in a baggy in her drawer.
MIDDLE: Lucy tests the vial. It tests positive for arsenic.
END: Assistant believes she’s being set up. Assistant tries to warn Lucy about Professor Clark, he’s not who he says he is. Shows Lucy an article of a professor who killed a student and disappeared.
-
What I learned From doing this assignment is that I am now feeling out where in the main story line the subplots and supporting story lines will go.
Lesson 14: Mark’s ACT 2 Middle Scenes
KEY SCENE 2 OUTLINE:
INT. SHIP PASSENGER AREA – DAY
Victoria huddles with some of the women passengers, afraid.
Two women question her about why she is on board. She reveals that she is working on the research efforts and won’t be getting off the ship when they reach port.
One woman is a doomsayer, telling her that she should leave the ship at the earliest opportunity. The other woman dislikes her and thinks Victoria is a loose woman, being on a ship with men.
INT. SHIP DINING AREA – DAY
Twenty-five people at a time can be seated. Victoria is seated with a few of the passengers. The disapproving woman makes a snide comment, but Victoria is polite and offers words of encouragement.
The weather man tells her that they are taking shifts on deck to make weather observations and provide a lookout for rescue. Victoria volunteers to take a watch. Even though the weather man advises her not to. She “wants to fit in.”
Word comes in to the room that a ship has been sighted. They rush up to the deck.
KEY SCENE 3 OUTLINE
EXT. ON DECK – TWILIGHT
BEGINNING:Night and day merge together into an arctic twilight of gloom. Around them, as far as they can see, massive shapes surge and crash as the ice shifts in the wind and sea.
The lookout yells ”Ship ahoy to starboard.”
MIDDLE: Everyone rushes to the rail to see. Almost everyone on board is excited. Some hold their breaths, afraid to celebrate yet.
Its a ship. But god, what a nightmare. Its 50 years old, with rigging and masts and tattered sails encased in ice. As it moves past they see the corpses – frozen in place – still waiting for rescue.
END: Everyone is horrified. Screams and yells erupt.
Victoria shudders in horror.
The man behind her begins to laugh. Her horror rises to a new level as she recognizes Drake, the man who followed her.
He mocks the dead corpses, saying they’ll never be rescued, and all of them will be joining those derelicts.
Victoria rushes below deck. He watches her go, leering.
KEY SCENE 2: Protagonist takes on a plan and executes it
INT. SHIP PASSENGER AREA – DAY
Victoria huddles with some of the women passengers, afraid. She sits next to TWO LARGE MIDDLE-AGED WOMEN.
VICTORIA
Are you cold? I can get you a blanket.
LARGE WOMAN 1
Ah, one more blanket won’t help.
Victoria, miserable, just nods.
VICTORIA
I never expected this.
LARGE WOMAN 2
What did you expect, sweetie pie?
Victoria is silent, unsure.
LARGE WOMAN 2 (CONT’D)
Expect the worst in Alaska. It always happens that way. Ever since my husband took the job at the Barrow station, I have to make the trip twice a year. This is the last time, I swear.
LARGE WOMAN 1
You may get your wish.
(to Victoria)
Why are you here? You a tourist.
VICTORIA
I’m not a passenger. I am part of the research team.
LARGE WOMAN 1
(surprised)
Oh, what do you do? What’s your job? You a scientist?
VICTORIA
Well, I don’t exactly know yet.
Large Woman 2 smirks.
LARGE WOMAN 2
Oh, I bet you don’t. You’ll find out soon enough…on a ship full of men.
LARGE WOMAN 1
You mean you aren’t getting off in port?
VICTORIA
I wish I were now. No, I’m stuck here. So I hope to help out some way.
LARGE WOMAN 1
If we get to – when we get to port, you must get off this ship. I’m telling you. This ship is doomed.
VICTORIA
Don’t be afraid.
INT. SHIP DINING AREA – DAY
Twenty-five people at a time can be seated. Victoria is seated with a few of the passengers at a long table. A MOTHER and seven year-old BOY are next to her.
VICTORIA (CONT’D)
This food isn’t as good as your mother makes, is it?
SEVEN YEAR-OLD
I don’t know what it is. And I don’t like it.
VICTORIA
Me too. But its better than nothing, eh?
The boy smiles.
VICTORIA (CONT’D)
Have you ever been on a ship before?
SEVEN YEAR-OLD
No. I don’t like them.I like airplanes. They make noise.
VICTORIA
I do too. I had a ride in one. My friend is a pilot. They are wonderful.
Large Woman 2 sits down across the table.
LARGE WOMAN 2
You’re not sitting at the table with your men friends?
VICTORIA
Those men are your friends too. They will get us rescued.
LARGE WOMAN 2
(softens
I hope so.
Victoria gets up and moves to the science team table. The weather man is seated with four of the team who are looking over a map and notes.
WEATHER MAN
Everyone, you know Victoria.
They nod and acknowledge her, then go back to their conversation.
VICTORIA
What are they working on?
WEATHER MAN
Comparing the temperature readings to the historical trend. This blizzard is a historic low.
VICTORIA
I would like to be doing something to help.
WEATHER MAN
Not much to do. Jensen only allows one of us on deck at a time in these conditions. We can’t take water temp readings because there is no water. Only air temp. So we are doing half-hour shifts to record air temps and be a lookout.
VICTORIA
A lookout. For what?
WEATHER MAN
Dog teams, I suppose. It’s the only way over the ice.
VICTORIA
I can volunteer. I will take a shift.
WEATHER MAN
You don’t know what its like.
VICTORIA
I want to do something.
WEATHER MAN
I advise you not to.
VICTORIA
Why do you? I want to fit in.
A crewman shouts from the doorway.
CREWMAN
A ship! A ship is sighted!
Instant pandemonium. Everyone rushes out in excitement.
KEY SCENE 3: Not only does the plan fail…but
EXT. ON DECK – TWILIGHT
Night and day merge together into an arctic twilight of gloom. Around them, as far as they can see, massive shapes surge and crash as the ice shifts in the wind and sea.
The lookout yells ”Ship ahoy to starboard.”
EXT. ICE FIELD AND HORIZON – TWILIGHT
A tiny silhouette with masts can be seen far off in the distance.
EXT. ON DECK – TWILIGHT – CONTINUOUS
Everyone rushes to the rail to see. Almost everyone on board is excited. Some hold their breaths, afraid to celebrate yet.
EXT. ICE FIELD AND HORIZON – TWILIGHT
Its a ship. But god, what a nightmare. Its 50 years old, with rigging and masts and tattered sails encased in ice. As it moves past they see the corpses – frozen in place – still waiting for rescue.
EXT. ON DECK – TWILIGHT – CONTINUOUS
Everyone is horrified. Screams and yells erupt.
Victoria shudders in horror.
The man behind her begins to laugh. Her horror rises to a new level as she recognizes Drake, the repulsive man who followed her.
DRAKE
They’ll never be rescued. Sailors at sea forever. And here we are to join em. Together with the dead we are.
Victoria rushes below deck. He watches her go, leering.
-
DeRuve’s Act II Middle Scenes
What I am painfully learning through this process is how to accept 20%. I knew I would struggle with this from the beginning, but it’s been harder than I thought. It’s not because I want it to be perfect, but my ideas seem to not be as plentiful because of the pace. After falling behind a few days feeling as though I was in a slump, I am trying a new approach. I understand that this is the bottom floor, the basement even, and will be a skyscraper eventually.
At the end of Act I, Rhino is struggling with his identity as a professional boxer/leg breaker for the mob. He has a love interest/catalyst who has given him new perspective of himself. In these scenes Rhino is to carry out a hit, but doesn’t, and soon will catch up to him.
Scenes –
INT. NOAH’S HOUSE – NIGHT
NOAH, 42, pours himself a glass of bourbon, and makes way down the hall of the dim house. He passes through the dark living room and stops. He turns to the nearly black corner.
Rhino calmly sits in the shadows cast by the drapes. Noah drops his glass to the floor, frozen.
RHINO
You know who I am?
Noah forces a nod. Rhino takes the firearm out of his coat and holds it in his lap, non threatening, but visible. Noah swallows, unable to move.
RHINO (CONT’D)
I want you to pack up your family, and disappear.
NOAH
What…
RHINO
Get in your car, and go.
Noah stares at him blankly, a painful silence ensues.
LATER…
EXT. TRUMP CASINO HOTEL – ATLANTIC CITY – NIGHT
Rhino parks his jalopy, smokes the last of his cigarette, and makes way for the entrance. Through the parking lot of spectators Rhino is surprised to find Noah in the crowd.
He sneaks up from behind him, calm but ferocious. He grabs the back of his jacket discreetly, gritting his teeth in his ear.
RHINO
Come with me.
Noah is shaken to the core, complying to the demand. Rhino leads him by his back like a puppet, ducking into the garbage alley of the stadium.
RHINO (CONT’D)
I told you to disappear, this is fuckin’ South Jersey.
NOAH
I know, I’m sorry, Rhino…
RHINO
Sorry?
(beat)
They’re gonna kill you.
NOAH
Why didn’t you when you had the chance?
Rhino grits his jaw disdainfully.
RHINO
When I say get in your car and drive, I mean don’t stop ‘til you get t’China.
NOAH
Understood…
Rhino shakes him, finally lets go, he scampers off.
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Lesson 14 ACT2 middle scenes
Mary Buchanan
What I learned from this assignment is the process is easy, but I think I am too detailed as far as ideas, too many scenes. I may need to delete some of the incidents. too many levels. I’m trying to write without working on vocab, grammar corrections, etc
Scene INT MARTY MATHIS’ SUITE DAY
Marty, Jill and Becca adjust their plan, due to early arrival of Dan and Charlie.
SPLIT screen phone call
MARTY
( Whispering) Mom, are you okay? IS Dad mad at us?
JILL
Hello, Dear. Of course, we would love to go shopping with you. I’ll, ugh,
we’ll be ready in five minutes.
MARTY
Elevator!
JILL
Okay, Dear
Scene INT MEZANEENE CAFÉ DAY
Jill, Becca and Marty are strategizing.
MARTY
Did you tell Dad what’s going on?
JILL
No, the plan is a secret. We have to make adjustments.
MARTY
What are we going to do?
JILL
(Thinking) We have to change the dinner plans. Becca, you arrive
at 7:10 in the restaurant. Travis will not make a scene in front of
Dad and Charlie.
The bellhop enters the café and gets a drink and chips, goes to a table near the ladies.
MARTY
Then what?
JILL
After dinner, I will suggest we go on a carriage ride.
MARTY
That’s a great idea. You and Dad get in one. Charlie and I
in one and Becca and Travis in the last one.
JILL
If he balks at the idea when we get there,( to Becca), you grab
his hand and say, “Let’s ride together in case I have to go home
tomorrow.”
BECCA
I got it.
JILL
This will be your opportunity to talk to him about the future.
BECCA
I understand. I will persuade him, even if it takes desperate measures.
MARTY
And if things go well, you could suggest you guys walk and shop after dinner.
The stores on Main Street stay open until ten.
JILL
Good thinking, Marty. Does everyone understand the new plan.
MARTY
What if something goes wrong again?
JILL
What can go wrong? All we are doing tonight is eating dinner.
BECCA
It’s simple and I will make it work. I need to run to the pharmacy
and get a few things.
JILL
Good, I need coffee.
MARTY
Me, too. Wait! You told Dad we were going shopping today.
JILL
Yes, I did. Didn’t I. We are forced to go shopping. I think I will buysomething expensive to teach my husband not to surprise me.
MARTY
Let’s go!
The bellhop writes notes on a pad. “Three women have a plan. need materials from pharmacy. want to teach husband a lesson.”
Scene INT TRAVIS’ SUITE
Travis receives Jake Jones tickets and changes dinner plans.
Split screen phone call
Travis calls his mother.
TRAVIS
Dad ? When did you get here?
Dad
Charlie and I caught an earlier flight. We got here about two hours
ago.
Travis
Good. I’m so glad you are here tonight. Guess what I have in my hands?
Dan
I hope it’s duck tape I can use the next time your mother screams.
TRAVIS
Mother is screaming?
DAN
Our early arrival shocked her for some reason.
TRAVIS
This is better than duck tape for mom’s mouth.
DAN
What did you buy?
TRAVIS
I have six tickets to the Jake Jones concert tonight in the lounge. Free tickets
Dan
How did you get those?
TRAVIS
I met a salesman on the train and she was able to get these tickets
for me. We need to change our dinner time from seven to six.
DAN
I’ll let everyone know. Meet you in the restaurant at six.
TRAVIS
The concert starts at eight and I want to get there early to
find our seats.
DAN
I’m glad you are in such high spirits, Son.
TRAVIS
Nothing can spoil this day. I going to a Jake Jones concert.
Scene INT DAN HARVELLE’S SUITE DAY
Split screen.
Phone call between Dan and Jill, Jill is in a store.
DAN
Hey, are you spending all my money?
JILL
Yes, Dear.
DAN
I have good news.
JILL
What?
DAN
Travis has acquired tickets to the Jake Jones concert tonight.
JILL
Oh, that’s wonderful. He loves that guy.
DAN
Which means we are eating dinner at six instead of seven.
JILL
Oh, my!!
DAN
Is that a problem?
JILL
No, Dear. We will be back at the inn in a few minutes.
Jill immediately attempts to call Becca who does not answer.
JILL
I have to call Becca. Change in plans. She is not answering.
MARTY
What do you mean? Change in plans?
JILL
Did Becca have her phone with her in the café?
MARTY
Yes, I think so. What’s happened?
JILL
Where did she say she was going?
MARTY
To a pharmacy. Please tell me why we need to find Becca?
(Jill looks in her purse for the City of Wellington brochure. She stops to call Becca
Looks again for the brochure. Finds it.)
JILL
Can’t leave a message. Let me think.
MARTY
Tell me what happened to the plan?
JILL
Travis got tickets to the Jake Jones concert tonight. We are eatingdinner at six not seven.
MARTY
I’ll take the south side of Main Street and you take the north. Look
in the stores especially the pharmacy. How many are there?
JILL
This brochure shows two. One on each side.MARTY
Okay. Stay calm. We will find her.
JILL
Yes.
MARTY
What is the new plan?
JILL
Tell her to come at 6:10 to the restaurant.MARTY
It’s almost five o’clock. We need to hurry.
Scene EXT MAIN STREET. (IT IS SNOWING) DAY
Split screen. Marty is searching on one screen and Jill is searching the stores on the north side.
END Split screen
Jill and Marty meet at the end of several blocks.
JILL
I don’t remember ever being this cold. You didn’t find her either?
MARTY
She shakes her head. She is freezing. They walk toward the inn.
JILL
She is not in our room.
MARTY
She is not in ours.
JILL
Forget plan B.
MARTY
This makes me nervous.
JILL
I will leave a note in her suitcase telling her to call us ASAP.MARTY
Okay. My hair looks awful. I’m cold. I hope I don’t catch a cold.
JILL
I will never complain about hot weather again. Oh No!!
MARTY
What now?
JILL
My phone just died.
They enter the Bradford Inn.
Scene INT THE BRADFORD INN RESTAURANT NIGHT
Jill, Dan, and Travis are seated at the restaurant. Soon after Charlie and Marty arrive, Annabelle makes
big announcement about Christmas activities for the next two days. Marty has communicated with Becca. The family begins the meal with the salads placed at each seat. Server move around offering, coffee, tea and water.
MARTY
Sorry, we are running a little late. I had to dry my hair. The table scape is beautiful.
Marty glances toward Jill and gives her a thumbs up.
JILL
Christmas decorations are beautiful in this hotel. (calling a server) Server?
SERVER
Yes?
JILL
Why are the Christmas trees in those corners not decorated?
SERVER
The children are invited to eat breakfast with Ms. Annabelle each day and make
ornaments and other decorations for the trees and the brunch centerpieces.
JILL
What a neat idea. That gives parents a small break from the children.
SERVER
They sign their creations and Sunday, when Santa visits, the children show their
decorations to him as he tours the restaurant.
MARTY
I love that. Sweetheart, we will bring our children here for at least one
holiday so they can have that experience.
DAN
And when can we expect these grandchildren?
CHARLE
I promise you will be the first to know. (He winks at Marty.) Travis,
I know you are excited about the concert. I’m surprised a big
country singer would be having a concert in a small town like this.
TRAVIS
This is his hometown. He’s returns here for Christmas.
CHARLIE
That’s good luck for you. You have all his CD’s don’t you?
JILL
I can testify to that because I had to listen to every one of them lastsummer by the pool when Travis came to stay a week.
TRAVIS
I was trying to improve your country culture.
They laugh at that comment. The sound of bells is heard. Annabelle Bradford enters the restaurant on a rolling stage. The evening buffet is on the front of the stage. All the servers gather in the corners of the restaurant and stand still.
ANNABELLE
Before we serve our main course, I want to draw your attention to our Christmas
contest that starts tomorrow at 9AM in the main lobby.
Becca enters the room but steps aside the main entrance and listens to Annabelle.
ANNABELLE (CONT)
This scavenger hunt is for an individual guest or a family as a group. The art students
who attend Wellington College Prep School decorated Christmas ornaments. They
have the letters WCP on the ornaments. When you find a WCP ornament, you and
those who are registered for your suite will get a free breakfast in the restaurant.
The audience applauds.
ANNABELLE (CONT)
Three ornaments were chosen for their outstanding designs. One has the numeral 1
on it. Whoever finds it first, receives $500
The crowd cheers.
ANNABELLE (CONT)
The one with numeral 2 on it is worth $1,000.
The crowd gets louder.
ANNABELLE (CONT)
The one ornament with the numeral 3 gets ( she pauses) $1,500.
The audience screams loudly.
ANNABELLE (CONT)
Beware, there are some decoy ornaments with numbers on them but they do
not have “WCP”. When you find one of the prize ornaments, take it to the lobby
immediately. See you in the morning at nine o’clock sharp in the lobby.
The crowd applauds.
ANNABELLE (CONT)
Now, welcome to our Friday night feast prepared by our own Chef Miguel.
Enjoy. Servers will take your orders: Vegetarian, Beef, Pork or Chicken. The
dessert tables on the sides. Choose your own dessert.
Scene: INT INN HALLWAY
Becca exits the restaurant. She begins searching for best hiding places in the main corridor.
BECCA (V.O.)
I need to find that third ornament. That will buy my ticket home. I don’t care
about dinner. I need money now.
She stops and looks behind potted plants.
BECCA (CON”T) (V.O.)
This is a great place to plant an ornament.
She moves toward main lobby.
BECCA (CON”T) (V.O.)
When I set this plan into action, I told Jill what to do. She is not following my plan.
I’m broke. I need to be Ms. Travis Harvelle again.
Becca’s phone rings. It’s Marty. She looks at it and turns her phone off.
Scene: INT RESTAURANT BATHROOM NIGHT
Marty and Jill try to connect with Becca who did not show up for dinner.
JILL
Leave Becca a message. Tell her to go to the lounge at 7:55. Find our table and sit
at the exact beginning of the concert.
MARTY
Where is your phone?
JILL
It’s charging. We have to go back to our table. The guyswant to go straight to the lounge.
MARTY
Have you noticed Travis looks happier?
JILL
Yes, Dan noticed it earlier, too. I hope the idea of reuniting with Becca is
growing on him. I think it shocked him at first.
Marty
Wouldn’t it be wonderful if our plan worked. Travis would be
happy again. Travis will never forget this Christmas because of us.
Marty hugs Jill.
Scene: INT LOBBY NIGHT
Desk clerk and bellhop review notes on investigation of “Sarah”.
DESK CLERK
Have you found the missing “Sarah”?
BELLHOP
No, but something is not right with Suite 210. The woman was surprised
when her husband showed up. She and two other women are always
in a group talking about a plan.
DESK CLERK
What kind of plan?
BELLHOP
I try to get close, but the leader always gets quiet. Very strange.
DESK CLERK
Keep watching. Let’s meet every night to update each other.BELLHOP
I’m on the case. (gives a thumbs up) Sarah will make a mistake. -
Subject line: (Mary Ellevold’s) Act 2 Middle Scenes
What I learned doing this assignment is that every action has a reaction.
2. Write Key Scene 2: Protagonist takes on a plan and executes it.
The Phobia Action plan is for Counter-Conditioning, starting with Virtuo-Reality.
1. Write Key Scene 3: Not only does their plan fail, but…The Antagonist turns up
The dials and the machine goes hay-wire, trapping the protagonist. He storms out,
Refusing further treatment.
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Justine’s Act 2 Middle Scenes
I learned that the empowerment video is KEY when starting on an assignment. It’s been helping me stay unstuck.
Key Scene 2
INT. DOCTOR’S EXAM ROOM – DAY
Beginning: Annie sits on the doctor’s examination table, feet swinging. She explains, reluctantly to the doctor that she’s been hearing a ‘sound’ since the other night and describes this sound as harsh and nagging. While explaining this, the Inner Critic paces the room, unseen by the doctor.
Inner Critic (annoyed)
You’re wasting your time. Even if there was something wrong, you’d never follow up on it.
Middle: Annie goes through the MRI machine, the doctor looking for anything that would indicate a non-stop, intrusive sound. Over the rumbling and chugging of the machine, Annie can’t hear anything. She looks down towards her feet through the opening of the tube and sees the Inner Critic standing there, looking perturbed. Waiting.
End: The doctor explains that Annie’s MRI is ‘perfect’. He says that it sounds like the stress of turning 30 based on Annie’s ‘sedentary’ lifestyle may be partially to blame for what he calls “idiopathic tinnitus”. He suggests she see a counselor. The Inner Critic laughs harshly. Annie looks comfortable. The doctor says if she won’t see someone, the least she can do is change her lifestyle, meditate, maybe engage in some physical activity outdoors. At the very least, it may provide a nice distraction. Annie listens intently and reluctantly agrees. She’ll try that.
Key Scene 3
INT. ANNIE’S APARTMENT – DAY
Annie takes out the gym-shoes she has and has never worn. She puts them on, doing some stretches. The Inner Critic is sitting on the couch, listing times that Annie has attempted to workout and failed. Remember the time Annie swimming labs and nearly drowned? People have died from running cramps! Annie shakes her head, walks out the apartment door.
EXT. ANNIE’S APARTMENT – DAY
Annie starts to run, slowly. The Inner Critic jogs next to her. She states if Annie is going to try this, she may as well run a little faster. Annie starts to speed up and momentarily feels great, the Inner Critic does too! After about a block, the Inner Critic starts to fall behind, complaining loudly about a side cramp. She stops running and yells after Annie “This is too hard!! You’re going to die!”. Annie stops running, leans against a tree to catch her breath, struggling to breath. The Inner Critic calls from back where she is standing, gasping for air “I told you you can’t run!”
Key Scene 4
INT. EDITOR’S OFFICE – DAY
Beginning: Annie sits at her desk, staring at a blank document on her computer. The Inner Critic sits with her legs crossed next to Annie’s monitor. Annie has two post-its on her monitor. One reads “Man whose superpower is to inhabit anyone temporarily gets trapped in someone’s body and has to deal with the consequences” while the other reads “World War II love story?”
Middle: Annie has a whispered, quiet argument with Inner Critic about which story to write when Jenn enters cubicle. Jenn asks if Annie has come up with an idea for the writing contest and Annie says she’s stuck between the two. Jenn suggests the Superhero movie after discussing the intricacies of having to suffer the consequences, when the man usually doesn’t. Annie says it’s too ‘out there’, which is something the Inner Critic had been insisting. When Annie asks Jenn about her story idea, Jenn shrugs it off, nothing yet.
End: Annie settles on the safe, almost cliché World War II romance story. The Inner Critic is pleased.
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Bob Colley – Act 2 Middle Scenes
What I learned doing this assignment is my idea requires I bang a square peg into a round hole.
Key Scene 2: Protagonist takes on a plan and executes it.
EXT. FIELD – DAY
Just out of town in a grass field, John and Kyle are standing beside John’s horse.
KYLE
So what are we doing with this?
JOHN
This is called a horse. That’s the front end.
Don’t mess with the other end. Simple.
Kyle puts on a face like a kid that just ate their first Brussels sprout.
KYLE
There’s no fucking way I’m getting on
that thing.
JOHN
What are you going to do you pussy?
Learn to ride or walk through the back country?
KYLE
Meow.
John throws his hands up in frustration.
KYLE (con’t)
I can ride a motorcycle. I can’t slide
around corners one handed shooting at bad guys,
but I can ride any trail.
JOHN
I never learned to ride a motorcycle.
EXT. DEEP WOODS – AFTERNOON
John and Kyle are hiking through the backcountry a few miles out of town.
KYLE
Fuck this. I order you to ride
a motorcycle.
JOHN
Why are you wearing loafers? Left
you’re flip-flops at home?
KYLE
We’re doing it my way.
JOHN
Yeah, well I’m getting low on steam so
we have to think of something better.
INT. HOUSE – NIGHT
John is lying on a sofa and Kyle is lying back in a recliner. Both are dusty, dirty and sweaty.
KYLE
Let’s do this again tomorrow.
Key Scene 3: Not only does their plan fail, but…
INT. CAFE – MORNING
John and Kyle are eating breakfast.
JOHN
Well boss, what’s your plan?
KYLE
Get me back to the city so I can shoot
something or someone.
A pile of rags in the corner of the cafe comes to life with a grizzle and a snort. PASSOUT is a 65 year old official town drunk.
PASSOUT
You two knuckleheads better get your
shit together. I was ten miles away from you
yesterday and you made so much noise you
were scaring the rocks.
Both John and Kyle shake their heads.
JOHN
Passout is right.
KYLE
That drunkard?
PASSOUT
Hey, hey, hey. You need to cover distance
and be quiet. How about an electric bike. The
ones hunters use would be perfect.
-
Paul’s Act 2 Middle Scenes
4 – What I learned is that this method is a useful technique to use.
1. Outline Key Scenes 2 & 3.
Key scene 2 is when Patricia follows her father Jesse and finds a family secret. Although, Patricia is successful in her quest, what she finds out devastates her.
Key scene 3 is when Patricia armed with the above knowledge doesn’t know what to do with it – should she use it or not?
2. Write Key Scene 2: Protagonist takes on a plan and executes it.
EXT. HOUSING BLOCK – MORNING
Patricia is unsure where Jesse went. She nervously peers around one corner, can’t see him.
A door of a flat opens behind her, a deep voice asks her.
MAN
You lost?
PATRICIA
Uh, know, I was just, um… Waiting for um, a friend.
MAN
Then go to their place instead of hanging around here.
Patricia moves on, wary that with each step she might be discovered by her dad.
As she proceeds she hears the familiar sound of her dad, he’s happy, singing.
JESSE
You give me fever.
It’s coming from a unit that has the front door open.
From a safe distance, Patricia peers inside and sees a boy her age get a hug from Jesse.
JESSE
How’s my boy?
The boy flexes his biceps.
FLOYD
Nearly as big and as strong as you, Daddy.
Patricia’s shocked, she backs away from the unit. Then runs past the van, crying.
EXT. CITY STREETS – DAY
Patricia wanders the streets, teary-eyed.
3. Write Key Scene 3: Not only does their plan fail, but…
INT. PEARL’S LIVING ROOM – NIGHT
Patricia enters to see Jade on the sofa watching a TV show.
PATRICIA
Where’s Mom?
JADE
Next door. Where you been?
Patricia sits beside her and takes a moment before she’s brave enough to ask.
PATRICIA
Jade, what would you say if I told you Dad was cheating on Mom?
JADE
Do you wanna be homeless?
PATRICIA
What?
JADE
You heard me. What do you think’s gonna happen if you tell Mom? You’re either gonna embarrass her, or she’s gonna get into a big fight with Dad. Then what? If she’s lucky, she gets a busted lip, and Dad stops paying the bills. And when that happens? You better find a good park bench, ‘cause there’s no way we can afford this place on what Mom makes.
Jade grabs Patricia’s shirt and pulls her in close.
JADE
Whatever you heard or saw, or think you know. Forget it!
Jade shoves her away as she exits the room. Patricia realizes the dilemma she’s in.
-
Gayle’s Act 2 Middle Scenes
What I learned in doing this assignment… to take each scene one beat at a time. I like the less is more way of plotting so I do not overcomplicate things.
Key Scene 2 – Protagonist takes on a plan and executes it/ RICK WOOS SAMANTHA WITH FLOWERS AND PROMISES AS HE AND JOSIE (THEIR AGENT) PITCH THE PLAN TO HER
Beginning: Rick and Josie try a calm approach to go back to the way things were in Rick and Samantha’s marriage.
Middle: Rick’s arrogance does not impress Samantha which riles Rick’s emotions – he is unable to admit any fault
End: Josie presents the plan to have the couple working together again – stressing that it is what they both love, are good at and makes them money.
RICK: We both have said things—
Josie coughs to warn Rick
RICK: I mean, I have said… and done things that have hurt the brand.
SAMANTHA: The brand?
RICK: Us.
SAMANTHA: Our marriage. You can’t even say it, can you?
RICK: Of course I can say it. Marriage. Marriage.. Our – Marr—(he chokes)
SAMANTHA: Bye.
JOSIE: Wait, Sam, please. Hear us out. The TV series offer is real. Fifty grand just for the pilot. All you have to do is what you usually do. Go to a haunted house, investigate the manifestation and clear it for the homeowners. Show how much you love each other and we all make tons of money.
SAMANTHA: Josie, you’re as bad as he is.
Key Scene 3 – Not only does their plan fail…/ SAMANTHA NOT ONLY DISMISSES THE PLAN BUT TELLS HIM SHE PLANS TO SELL THE HOUSE AND NEEDS HIS SIGNATURE. TRIGGERS CAROLINE.
Beginning: Rick and Josie try to play to Sam’s ego which pisses her off.
Middle: Sam rejects the idea of working together suggesting Rick go it alone from now on.
End: Samantha serves Rick with a Quit Claim Deed and tells him she is selling the house and he needs to sign and she will split the proceeds.
RICK: It’s perfect. You love that stuff, you could do it in your sleep with one hand behind you back.
SAMANTHA: So could you. Why don’t you do it and I’ll stay here and take care of the property settlement.
JOSIE: It’s not the same.
RICK: What property settlement?
SAMANTHA: Actually, I’m glad you came over. Saves me hiring a Process Server.
She slaps a notice of intent to sell—a quit claim deed for the house.
SAMANTHA: Notice of intent to sell. And I need you to sign the Quit Claim Deed. I’m selling the house.
RICK: What? Are you out of your mind?
SAMANTHA: My house… per our prenup.
RICK: I didn’t…
SAMANTHA: You did. And I’m prepared to give you have the proceeds from the sale.
-
Aline’s Act 2 Middle Scenes
What I am learning as I try to follow the exercise direction: I start writing the scene outline and I end up writing a rough draft of the scene… and some connecting scenes- all very rough but when it comes I just jot it down to help me later. But as a result I have some scenes that don’t match the exercise description. I am not convinced my Act 2 is eventful enough but for now I will focus on the exercises and then revisit this structure- once I can put it all together and rewrite.
I am a little overwhelmed but I am still hopeful I will pull this off.
-
Adam’s act 2 middle scenes
What I learned – I may need to go back as make sure this isn’t just another reaction scene to TP 1. The process is making things more clear about what should happen when.
INT. LES’S OFFICE – DAY
Beginning: As Donna cleans up the house she comes into Les’s office – and stops in her tracks. On the wall in front of her is the wall covered in printed papers, lines drawn in marker, notes of conspiracies, strings linking events, etc. She drops her cleaning supplies.
Middle: Donna walks up, studying closely all the notes.
End: She backs out, closes the door.
INT. LES’S HOUSE – LATER
Beginning: Les walks in and drops a bunch of stuff. Deflated. He stands a moment unsure what to do with himself. The future seeming bleak.
INT. KITCHEN – MOMENTS LATER
Middle: Les grabs a beer, leans and sips. He looks at the beer then goes and gets the scotch.
End: Donna walks in says she’s worried about him. He says he’s in quarantine. They need to talk. I saw your wall. Les – I’m terrified and I can explain everything – give me an hour.
INT. OFFICE – 1 HOUR LATER
Beginning: Les brings her into the office. Sits her down in front of the wall. Says her mind is about to be blown and she needs to be sitting. He begins in the 1960s…
Middle: Les is passionately acting out scenarios, talking emotionally about deep state connections, corruption – Montage with sound bytes. Donna sits staring – trying to keep it all straight.
End: Les finishes up talking about the vaccine and its’ potential dangers. Les: ‘So what do think? Crazy right? Living this lie for so long, all this going on behind our backs…’ Donna: ‘I think you forgot the alien connection and how they read our minds through satellites. Let’s order out tonight, I’m exhausted. And you need to get your head straight. You sound kinda nuts.’
INT. OFFICE – NEXT DAY
Les’s son sits shaking his head as Les does the same spiel for him.
INT. OFFICE – NEXT DAY
Les’s daughter sits, flipping on her phone as he goes at it again.
INT. KITCHEN – DAY
Donna sits on her computer – she’s booking her vaccine time.
INT. LES’S OFFICE – NIGHT
He talks on the phone with Jen. They talk in depth about the issues. Les ‘At least I have one ally’.
NEWS: Middle class getting dismantled; Billionaire wealth exploding; police arresting protesters, Mayor speaking to masses (looks eerily Nazi like) with passion from the vax party bus – she says all our vaxxing efforts are paying off
INT. KITCHEN – EVENING
Les walks in, Donna is there. It’s awkward. He says they can’t keep this up. He doesn’t understand how she can’t see it when it’s right in front of her.
She tells him she got the vaccine today. Les is in shock – can’t believe it! He feels he’s completely failed her. He can’t even save his own wife. Says she’s going to go to her parents for a while – for a break. They both need to straighten out a bit.
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John T’s Act 2 Middle Scenes
What I learned doing this assignment is that this part of the story can be the hardest to write, the final version of which must come later, once we know more about the ending.
Clare secretly visits the boatman to get off the island – he’s the pilot’s twin!
He says no due to the storm.
Clare begs the boatman to take her back but there’s a storm approaching, have to wait. Clare approaches the boatsman, offers to pay him.
BOATMAN
Lady, you see those clouds out there? They’re headed this way, it’s what we sailors call a shitkicker. My advice to you is to find a place below ground and hunker down with a good flashlight, a good book and some decent food. It’s gonna be a few hours for this thing to pass.
Clare offers him $1000 if he’ll leave right now.
Lady, I wouldn’t bet my life for a hundred thousand. And I hope you won’t either.
They parry, draw even, not quite willing to share enough to take the advantage.
Clare notices that he is the pilot’s twin brother. “Yeah, we have a lot of fun with that.”
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.
Morning:
KEY SCENE 2: PROTAGONIST TAKES ON A PLAN AND EXECUTES IT using
the old ways that fail. <div>Clare
engages her cyborg with a vengeance, daring it to raise the stakes so she can
at least win the prize money.Clare presses too much and begins to lose points
by betting more than she should. Her clone enjoys winning a little too much. It
begins to act like Clare, refusing to join in and refusing to enage.We see other guests gain insights but several are starting to grow frustrated by always knowing what their cyborg knows. But then the games begin with an element of chance and people re-engage.
The games:
Clare tells MICCLARE that she relates better to a frog than a machine. Clare opens up a bit – talks about herself as being distrustful, detached, inquisitive, protective of animals. Clare admits she feels detached from humanity.
BAD CC is eerily cheery and full of witticisms like Clare might say if she were angry and high. Clare instructs her clone to walk behind her and be quiet.
Clare tells Jill that she can’t stand most people. I’m not most people. I’m sorry.
Clare shares an insight with Jill. Clare tells Jill she hates most people or is indifferent.
Clare makes inroads in self-reflection with Jill after they make up.
MIC CLARE pipes up.
MIC CLARE
Excuse me, but I believe we are supposed to be engaging now.
CLARE
In a minute, okay?
EXT. Garden by the pond – DAY
Rod walks with his twin.
MIC ROD is just as bitingly sarcastic and offensive as Rod, gives as good as he gets.
BY THE GARDEN
Clare and Jill come to a fork in the path.
JILL
So I’ll see you later.
CLARE
Okay.
They split up.
CLARE
Alright, follow me. I command you.
If Clare had a tail, she’d be wagging it.
They walk slowly, Clare admiring the variety of fauna and flowers.
CLARE
Okay, McGiver, let’s get to it.
Clare probes for weaknesses, wins lots of points using logic and paradoxes, asks weird questions that stump MCCLARE. Clare decides to have a little fun.
CLARE
I think I hate myself.
MIC CLARE: I don’t know what you mean.
CLARE: That’s the problem, isn’t it? You can’t relate to that so this is a waste of time. And I don’t hate myself.
MIC CLARE
So you were lying?
CLARE
I can’t say. I’m sworn to secrecy.
MC CLARE
How can that be, I am you. I know you, I know all about you.
CLARE
Oh yeah, what am I thinking now?
MC CLARE
I cannot read minds.
CLARE
Why not, if you are me?
MC CLARE
I will have to–
CLARE: Never mind. I’m glad you can’t read my mind or else you’d know I plan on pulling your plug.
MIC CLARE: If you plan on deceptively depowering me, why would you reveal such?
CLARE: For me to know and for you to find out.
MIC CLARE: I don’t understand.
CLARE: Of course you don’t – you don’t know how to play the piano either.
MCI CLARE: I do not… compute. You do not play—
CLARE: But I love football, especially tackling the quarterback.
MIC CLARE: You… like football but you… don’t like football?
CLARE: Okay, snap out of it. Let’s play a game.
MIC CLARE: Alright, I would like that.
CLARE
You like challenges right, so next time you see Rod, I want you to pretend to be me.
MIC CLARE
For what purpose.
CLARE
So I can avoid his ass. And when you’re alone with him, tell him to go fuck himself.
INT. SPECIAL MEETING ROOM – DAY
Clare sits, perfectly bored. MIC CLARE with her usual stoned smile.
A facilitator, Jean, presides over today’s problematic human/cyborg exchange.
JEAN
Clare, I hear that you’re not happy with your encounters so far.
CLARE
Well, 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 perks up in anticipation.
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.
MIC CLONE
I couldn’t agree more.
CLARE
Let’s just stick to logic and puzzles, okay?
JEAN
If that’s where you’d like to start then by all means. Some of our guests are incentivized by our points competition, the guest with the most points at the end of our discovery will receive a check for $50000 and an invitation to visit us again.
CLARE
Fifty thousand?
JEAN
Yes, can I leave you two now?
CLARE
See ya.
JEAN
Wonderful. Your next station is down by the fish market then to the archery field.
EXT. FISH MARKET – DAY
During their walk Clare draws even with her cyborg in a game of Know Thyself but Clare kicks ass on a series of math paradoxes. 1 = .99999,
Clare asks MCCLARE to get her a drink. “Get it yourself.”
EXT. ARCHERY FIELD – DAY
Clair asks for a rifle instead of a bow and arrow, The armorer obliges, instructing her on how to shoot at the target using a scoped rifle.
CLARE
Never fired a gun before.
INSERT: Clare 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. Rod and his clone play tricks on each other, escalating to the point of nastiness. Rod wins 1000 points but soon loses half of them by being dishonest.
INT. LUNCH ROOM – DAY
Rod constantly embarrasses Clare in front of the group. She becomes visibly upset.
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
INT. GROUP ROOM – DAY
TE 6: Clare suffers a humiliating defeat after Rod tells the whole group how she freaked on her first encounter. Clare had enough and decides to leave the island.
INT. MEETING ROOM – DAY
Clare decides to ignore the mean guests and be friends with Jill who opens up to Clare much more than she did to her twin
Clare figures out that the cyborgs can only superficially engage with others not their twin.
KEY SCENE 3: NOT ONLY DOES THEIR PLAN FAIL, BUT things get worse
leading up to the MID PT TP, the storm.</div><div>MCCLARE protects Clare.
MCCLARE imitates Clare. “Must you dress like me?” “I am you, Clare.”
MCCLARE follows her everywhere, even to the bathroom, offers to run errands, favors, bring food.
A lady hides her fear of rejection. Another confides that she is food insecure.
A man hides the fact that he cheated on his wife, outed by his clone.
Clare gets whacked by a tennis ball, MICCLARE apologizes. She’s learning.
Clare tells MICCLARE not to dress like her again. Because there’s this thing called individuality.
Clare walks with MICCLARE through the resort garden, shows her plants eg. Castor beans – ricine. And jimsom weed, toxic.. Clare asks why the poison plants? MCCLARE: to keep the predators at bay. Clare takes guns lessons. Tells MCCLARE to sit and watch.
CLARE: “I don’t know why I’m enjoying this. I hate guns.” MICCLARE asks if she would like to terminate Rod.
BAD CC is eerily cheery and full of witticisms like Clare might say if she were angry and high.
Rod is rude to Clare – MIC CLARE splashes Clare’s glass of wine in Rod’s face. Go fuck himself. Dr Forestor apologizes and promises to make an adjustment. “MIC CLARE, come with me.” She hesitates with a frown, then follows. Dr Richter take her back for a mod, explaining that a new subroutine was recently installed that enhances human qualities.
At night, the cyborgs back into recharging units like an army of I-robots.
At dinner, after insulting Clare, MCCLARE splashes wine in Rod’s face, forced to apologize
Dr. Richter takes her back for an adjustment, explaining that a new protocol was not optimized as is should have been. Dr Forestor apologizes and promises to make an adjustment. “MIC CLARE, come with me.” She hesitates with a frown, then follows. Dr Richter take her back for a mod, explaining that a new subroutine was recently installed that enhances human qualities.
At night, all the cyborgs march back to the charging center – they all back up into their stations like I-robot vacuums.
Dr Forester argues with Dr. Richter about de-accelerating the computational speed of the cyborgs.
MIC CLARE gets angry watching a fisherman chop off fish heads. She holds the man’s hand down with her left hand and raises the clever with her right. CLARE: MICCLARE, no! She starts down and stops an inch away from the man’s finger. What are you doing? I didn’t like the way he was treating the fish. God, they need to adjust you again. Is there that much inner rage in me?
Weird questions with Clare
They walk along the beach, MCCLARE talking about murdering Rod.
CLARE: detached, distrustful, animal lover (protective) inquisitive
Clare takes guns lessons. Tells MICCLARE to sit and watch.
CLARE: “I don’t know why I’m enjoying this. I hate guns.”
Middle:
Rod reveals to MIC ROD that he is extremely insecure about his masculinity and MIC ROD agrees. Rod sees himself as others see him – his clone is an ass.
Dr Forester argues with Dr. Richter about what to do about the approaching storm, and about decelerating the computational speed of the cyborgs.
</div>
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EUGENE’S ACT 2 MIDDLE SCENES (Lesson 14)
What I learned doing this assignment is that it is not getting any easier.
INT. OBEROENDE – PATRICK’S CAMPAIGN HEADQUARTERS – 1ST FLOOR – L.A. – DAY
Beginning: Patrick is on the computer and with the help of Celeste they are trying to find out how the FBI could possibly believe that Seco had anything to do with the assassination attempt.
Middle: They finally realize that the only connecting link must be the assassin.
End: They finally locate his name and the mental hospital he has been confined to.
INT. MENTAL INSTITUTION – L.A. – DAY
Beginning: Celeste & Patrick question the man that shot Patrick.
Middle: He is very evasive concerning the assassination and their probing questions.
End: One of the hospital staff finally tells them that their time is up after little progress.
EXT. ANGEL CITY – L.A. – DAY
Beginning: Some of the first homeless are being interviewed to possibly be admitted to Angel City.
Middle: One of the homeless was a resident at the same hospital as the assassin.
End: He tells them how the police tried to get him to change his story on a crime he committed and they would get him out of the asylum. This story gives Celeste an idea.
INT. OBEROENDE – PATRICK’S CAMPAIGN HEADQUARTERS – 1ST FLOOR – L.A. – DAY
Patrick is on the computer while Celeste looks over his shoulder watching the screen.
CELESTE
Is there anything on the case against Seco. Anything at all.
PATRICK
It looks like their must be some apparent witness that gave the police some damaging testimony.
CELESTE
Somebody at the scene who gave false testimony against Seco?
PATRICK
I guess so.
CELESTE
It couldn’t be any of our people. Maybe the assassin, the mental patient?
PATRICK
Maybe.
Patrick searches the material on his attempted assassination and finds the name of the assassin and the mental hospital he has been committed to.
PATRICK
I found him, he’s in the at Metropolitan State Hospital.
INT. MENTAL INSTITUTION – L.A. – DAY
Celeste & Patrick sit across from the MENTAL PATIENT, who seems suspicious of them.
CELESTE
Do you remember Patrick Lee?
MENTAL PATIENT (looking away, not making eye contact)
The name sounds familiar.
CELESTE
Do you know why you are here?
MENTAL PATIENT
Cause I have problems.
CELESTE
Do you remember having a gun?
MENTAL PATIENT
Yes.
PATRICK
Do you remember shooting me?
MENTAL PATIENT
Oh, that. That Patrick Lee.
CELESTE
Remember that day?
MENTAL PATIENT
Yeah.
CELESTE
Did you talk to anybody about that day?
MENTAL PATIENT
They questioned me.
CELESTE
When? Recently?
WE SEE a HOSPITAL WORKER standing behind Celeste.
HOSPITAL WORKER
I’m sorry your time is up. He has to take his medication now.
CELESTE
Can we talk to him after his medication.
HOSPITAL WORKER
I’m afraid it would not be very productive to wait. He won’t be very coherent after taking his meds.
EXT. ANGEL CITY – L.A. – DAY
Celeste & Patrick are interviewing a POSSIBLE RESIDENT of “Angel City.” They sit at what looks like a picnic bench.
CELESTE
How long have you been homeless?
POSSIBLE RESIDENT
Almost 6 months now.
CELESTE
And did you end up on Skid Row?
POSSIBLE RESIDENT
I don’t call it by that name. After all, I don’t drink or take drugs.
PATRICK
How did you end up on the streets? What happened?
POSSIBLE RESIDENT
Well, it’s a long story, but I was previously a resident of Metro.
CELESTE
Metropolitan State Hospital?
POSSIBLE RESIDENT
Yes.
CELESTE
How long were you there?
POSSIBLE RESIDENT
About a year.
CELESTE
And?
POSSIBLE RESIDENT
It’s a long story…
CELESTE
Go ahead…
POSSIBLE RESIDENT
Well I was involved in some criminal activities and I was found to be incompetent to stand trial. I was committed to a mental institution.
CELESTE
And you were released without having to go back to court.
POSSIBLE RESIDENT
Well, I couldn’t stand Metro. I had to get out. I made a deal with the cops. I named names. I thought they were going to give me pigeon protection, a new identity and a place to live. No, they just left me out on the streets to fend for myself.
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