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Post Your Lesson 15 Assignment Here
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Dave Holloway’s Act 2 TP – Midpoint
What I learned doing this assignment is that, when writing a first draft of only 20 percent quality, it frees my imagination up to consider different scenarios.
OUTLINE – Key Scene 4
BEGINNING: Nigel and Roger are on a train in the Estate, heading toward Shiloh. Nigel receives a phone call.
MIDDLE: Livia tells him how difficult it will be to reach her, as Shiloh probably has his photograph, and will broadcast it throughout the state. She also says there is a 15-foot wall around Shiloh.
END: Livia tells him she has seven days until her execution. Nigel swears to her that he was rescue her. The call ends, and he hangs his head in despair.
KEY SCENE 4: THE MIDPOINT
INT. TRAIN – DAY
Nigel and Roger have caught a train in The Estate, and are heading toward Shiloh. Roger is stretched on a bench-seat, asleep. Nigel is stretched out across from him, almost asleep. His phone signals an incoming call. He looks at it and straightens up immediately as he sees it is Livia. He takes the call.
NIGEL: Livia, it’s wonderful to see your face. I’ve been so worried about you. How are you?
LIVIA: I’m all right, dearest. I’ve only a couple minutes to talk. This phone has been passed to me by one of the guards with whom I’ve become friends.
NIGEL: Roger and I are coming to you! We were flying to Los Angeles, but the plane was forced to land in New York. It’s been difficult since then, but we’ve made it to the Estate, and the train we’re on will take us to the eastern border of Shiloh!
LIVIA: I’m so glad to hear that, Nigel. It’s wonderful you have Roger with you. But I must tell you something. Shiloh knows who you are. When I made my first call to you last week, I didn’t realize there were hidden instruments in my cell to record sound. So they know you’re my husband, and I’m sure they believe you’ll try to rescue me.
NIGEL: Do they know what I look like?
LIVIA: I believe so. It’s so easy to get photos of anyone in any country that keeps track of people. And I’ve been told – when anyone enters Shiloh, they photograph them without their knowing. And when they have your photograph, I imagine they’ll put it on the tele-boards they have here, as well as on the video screens everyone has in their homes.
NIGEL: How hard is it to enter the state?.
LIVIA: I’ve been told there’s a 15-foot wall all around Shiloh. And armed guards are stationed at intervals behind the wall. They’re mostly trying to stop all the people who want to leave the state. Not many try to get in.
NIGEL: Fascist regimes always have soft spots. And they always have people ready to rise up against them somehow. That damned wall won’t stop us.
LIVIA: Nigel, I hate to tell you thus – but I’ve been told I have only seven days before I’m executed.
Nigel is shocked.
NIGEL: We will save you, Livia. I promise you.
LIVIA: Thank you, Nigel. And now I must go. Good-bye.
NIGEL: Just hold on, dear. I’ll see you very soon.
Livia’s image disappears from the screen of Nigel’s phone. For a moment, Nigel hangs his head in despair.
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Clendon – Act 2 TP – Midpoint
<b style=”font-family: inherit; font-size: inherit;”>[1] What I learned doing this assignment?<b style=”font-family: inherit; font-size: inherit;”> Aligning the turning point with a change in the protagonist; it was not something I did on a conscious level. Knowing this, helps a lot!
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[2] Outline your Key Scene 4: The Midpoint.
BEGINNING: Clendon learns the hair from JR’s brush is a DNA match to the killer’s.
MIDDLE: He lies to Ramirez, tells her it was Joe-Joe’s hair, as he was killed at the park.
END: He lies about whom the hairs belong to. He realizes he can never tell Natalie the truth, making her an orphan is not an option. He has to go and apologize to his father for the things he said and thought as Clendon realizes he did not kill Mary.
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[3] Write the Midpoint scene
FLASHBACK – INT. JR’s OFFICE – BATHROOM – DAY
Cramped. Utilitarian. Klendon UNZIPS and as he relieves himself, he looks at the sink — HOLD ON JR’s hairbrush.
Biting his bottom lip, knowing what he’s thinking is crazy — a betrayal of their friendship. Worse. Klendon grabs the hairbrush, pulls strands of hair from the bristles, shoves them in his pocket.
BACK TO SCENE.
INT. HOSPITAL ROOM – NIGHT
Detective Ramirez steps around the bed. Stands beside Klendon.
RAMIREZ “They are a perfect match!”
Klendon stares at her in stark disbelief. That’s not possible!
Ramirez lays a hand on Klendon’s blanketed thigh.
RAMIREZ “You’ve got to give me a name.”
KLENDON (lies) “He died saving me; think he paid the ultimate price.”
RAMIREZ “How did he know your mother?”
KLENDON “I have no idea. At this point, I don’t care.”
RAMIREZ (suspicious) “What made you think it was Joe-Joe?”
KLENDON “Something he said the other day at the shelter. Look, I don’t want to talk about it, think about it. I’m through being pissed. I didn’t even get to find out why Joe-Joe did it before he was killed. I can’t decide if that was karmic justice or just a pointless act perpetrated by a deranged person.”
RAMIREZ (knows there’s more) “Okay, I get it. You’ve had a helluva day.”
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Melanie’s Act 2 TP-Midpoint
What I learned: to keep letting creativity guide the way through the rough draft.
Key Scene 4: Turning Point 2 – MIDPOINT
BEGINNING: Sybil wants to give up as she realizes she is the one who at fault for her injured horse.
MIDDLE: She decided to help her horse – bandages the wound.
END: She realizes that the fight ahead of her is not to be won alone. She needs help. And the fight is not about proving herself to her father – it’s about fighting for what’s right.
INT. BARN – CONTINUOUS
Sybil is crying on the floor next to her horse, but suddenly feels something nudge her. It’s Star and her nose is snuggling with her hair. Trying to eat it.
Sybil smiles, pulling her hair out of her mouth.
SYBIL
Stop it!
The horse nudges her nose up against her, seeming to understand. Sybil looks at the wound again, a flash of something new sparkles in her eye.
SYBIL
I need to bandage you up.
She rips part of her dress. She holds it to the horses wound, cleaning it. With a renewed sense of purpose, she quickly scours the barn for an herb and finds it. A plant with a little cluster of white flowers – Yarrow. She grinds it in her hands, placing it softly on the wound. Slowly and gently she wraps the bandage around the wound, managing to tie it snugly around her waist.
She strokes Star’s neck.
SYBIL
Okay, let’s get you home. You need to rest.
But Star stamps her foot and SNORTS. Sybil looks at her curiously.
SYBIL
C’mon it’s nonsense to continue. Besides he’ll find us any minute.
But Star stamps her foot again.
SYBIL
You know what I’m saying, don’t you.
SNORT.
SYBIL
You want to keep going? But you’re hurt.
Star noses her. Sybil wells up with tears, softly petting her head.
SYBIL
You’re the bravest girl I know. You’re right, if we give up, they win. We’ll do this together.
Their eyes meet in agreement.
CUT TO:
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Answer the question “What I learned doing this assignment is the importance of understanding structure in a screenplay.
(Ricardo Williams) Act 2 TP – Midpoint
Key Scene 4: The Midpoint.
EXT. RESTAURANT – DAY – 1982
JOLYN is in the company of RITA ROGERS. They are seated in a restaurant.
RITA ROGERS
Now that you are grossing over a million dollars in sale, I want to personally invite you to join the Committee of 200. We are a national organization of women who are owners or executives of companies that gross $5 million or more annually. We hosted the conference we first met. Can you believe that it’s been 10 years since your encounter with HARDY GROVE? 10 years ago.
JOLYN
Oh no. Please don’t remind me. Poor guy. He got me started in business though. He gave me the momentum I needed. I owe it to that conference for building my network.
RITA ROGERS
You changed him for the better. He gave up his womanizing ways. JOLYN have you thought about getting a concession stand at Chicago O’Hare Airport? Think of the traffic that goes through there. It can be good for your business. I have had a concession boutique there for 10 years.
JOLYN
It is not part of my vision as we focus more on Wholesale, but now that you mentioned it, I think it’s worth looking into.
RITA ROGERS
Our committee is always looking at ways to advance our members. O’Hare is one of the busiest airports. If you can get in there the potential could ensure you remain a multimillion dollar corporation. You could even do a franchise and corner out airports.
JOLYN
Rita, you are a genius. You are getting me excited about a strategy I hadn’t thought about.
RITA ROGERS
Think of the fame it would bring you. It could even open the doors for you to flood the Wholesale Market.
JOLYN
Do you know the procedures to get a concession stand?
RITA ROGERS
If I remember correctly, It’s just a matter of submitting a request to the Chicago Aviation Agency.
JOLYN
I will submit a request just as soon as I discuss it with our board of directors.
INT. OFFICE OF BALDWIN ICE CREAM CO – DAY
JOLYN opens a letter she received from CHICAGO AVIATION AGENCY. The letter denies her request for a concession stand citing an exclusive contract with Carson’s International. JOLYN picks up the phone and calls the number on the letter.
WOMAN ON THE PHONE
Hello, office of Chicago Aviation, how may I help you?
JOLYN
My name is JOLYN ROBICHAUX. I am the CEO of Baldwin Ice Cream Company. I recently applied for a concession stand at O’Hare Airport, can you give me an update, please?
WOMAN ON THE PHONE
I see here that we declined your request.
JOLYN
That is unacceptable. I would like to speak to your manager.
AVIATION MANAGER
MRS. ROBICHAUX, we denied your request because we have an exclusive contract with Carson’s International.
JOLYN
I have a copy of your contract that I obtained through the Freedom of Information Act and it shows that your contract says Carson’s International can sell to O’Hare Airport all foods and all drinks except ice cream and pop corn. Why do I sense discrimination here? If you like I can send copies of this contract to the superiors who fund you.
AVIATION MANAGER
Give me one moment, let me look at the contract.
JOLYN
Sure. I’ll wait.
AVIATION MANAGER
Mrs. Robichaux let’s set up a meeting to discuss this.
INT. AVIATION DEPARTMENT – DAY
Jolyn walks into the small office of the Aviation department at the airport. A stocky white male in his fifties, the Aviation manager greets her.
AVIATION MANAGER
MRS. ROBICHAUX, someone once told me that life is a game of chess played by men, and I believed them. Not anymore.
JOLYN
I wouldn’t know what to believe because they said the same thing about golf, and I play golf.
AVIATION MANAGER
But do you play chess.
JOLYN
I haven’t a clue.
AVIATION MANAGER
Good. So you are a Black owned Chicago company and you are the head. You are the CEO.
JOLYN
That’s right.
AVIATION MANAGER
Unheard of. Ain’t that a thing. Do you know that big brands like Haagen-Dazz, and Ben & Jerry’s have been trying to get into this market for years? And wallop, just like that, you did something they couldn’t. You do know the O’Hare Airport is one of the busiest and there is a lot of traffic in this area. You will need more than one concession stand to meet the needs of the airport.
JOLYN
I hadn’t taught of that.
AVIATION MANAGER
Tell you what Mrs. Robichaux, we want you to know that you have been so wonderful about this that we are going to give you permission not for one concession stand, but we are going to give you five concession stands.
JOLYN
Sounds like a deal (Elated laughter and excitement).
INT. BALDWIN ICE CREAM CO BOARD ROOM – DAY – 1983
JOLYN addressing board members.
JOLYN
I am proud to announce that we have been awarded five concession stands at O’Hare Airport. We had asked for one, but they were generous enough to grant us five. It will cost us $1 million to construct, but I believe we stand to recuperate that cost because of the volume of traffic.
CHARLOTTE
I think you are trying to do too much at a time. We should focus on distribution. Retail is going to drain our resources. If we are not careful it will all come crashing down.
JOLYN
We’ve been waiting 15 years for distribution and nothing has happened. We can’t put all our eggs in one basket. We must look at alternatives.
SAUL ABRAHAMSON
Congratulations. It probably would be a good idea to strike the hammer while the iron is hot and build a franchise model to go with the concession stands.
JOLYN
I admit my heart is fluttering nervously. I am excited, but fear is flowing in my adrenaline here. But I am an entrepreneur and taking chances is what we do.
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.
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Dale’s Act 2 TP – Midpoint
What I learned doing this assignment is how the midpoint changes everything and yet the overall journey is the same.
What changes everything is when Richard turns up at Elizabeth’s home, ostensibly to review final student grades, but really to declare his feelings to Elizabeth. He kisses her. Despite herself, she kisses him back. She then kicks him out!
OUTLINE OF MIDPOINT:
INT. ELIZABETH’S HOME – EVENING
Beginning: Richard arrives at Elizabeth’s home, ostensibly to get help on grading a couple of midterms.
Middle: Richard keeps watching Elizabeth while she works, making her increasingly uncomfortable.
End: Richard admits to having feelings for her and asking if she shares them. He kisses her and although she resists at first, she kisses him back, then, shocked at herself, kicks him out!
INT. ELIZABETH DREWER’S HOME – LIVING ROOM – EVENING
Elizabeth is on her couch, reading. She is barefoot, and dressed in casual pants, her blouse pulled out, her hair loose. The doorbell rings. She looks surprised. She goes to answer it, keeping the chain on. It is Richard.
ELIZABETH
(through the chain)
Richard. What are you doing here?
EXT. ELIZABETH DREWER’S HOME – FRONT DOOR – CONTINUOUS
RICHARD
(through the chain)
I’m sorry, professor, am I disturbing you?
INTERCUT BETWEEN ELIZABETH AND RICHARD
ELIZABETH
Well… Can I help you?
RICHARD
I had some questions about a couple of the midterms…
ELIZABETH
But Richard! You don’t just go turning up at my door when you–
RICHARD
Yes, I know! But I promised I’d hand them back over a week ago.
ELIZABETH
This should have been handled on campus.
RICHARD
I agree! It’s just… every time I’ve stopped you at school, you’ve been rushing off to something! I’m afraid the natives are getting
restless.
INT. ELIZABETH DREWER’S HOME – ENTRY WAY – CONTINUOUS
Elizabeth thinks for a moment. Then she pulls off the chain and opens the door.
ELIZABETH
You’re right, I have been a bit… Come in then.
He comes in.
ELIZABETH
But I would ask you not to make a habit of this!
RICHARD
I won’t. I promise.
ELIZABETH
Why don’t you show me what you have.
RICHARD
Okay.
He pulls two blue books out of his briefcase and gives them to Elizabeth.
RICHARD
These two exams are on the border. I keep going back and forth with them. My latest grade is written on the top in pencil. My comments are on the inside cover.
ELIZABETH
All right.
Elizabeth sits on the couch and begins to read. Richard goes to stand behind the couch and starts to read over her shoulder. This makes Elizabeth nervous.
ELIZABETH
I’m sorry, could you please…
RICHARD
Oh. Sorry.
He wanders around a bit, and ends up browsing through books in her bookshelves.
RICHARD
Wow. You have quite a collection of Borges here. He’s my favorite.
ELIZABETH
Hmm?
RICHARD
Jorge Luis Borges.
ELIZABETH
Oh, yes. He’s extraordinary.
RICHARD
Did you know he was using many worlds theory in his story: “The Garden of Forking Paths?”
ELIZABETH
Yes, I realized that.
There is a beat. Elizabeth goes back to reading blue books, and Richard keeps perusing the shelves. He pulls out a book and opens the inside cover.
RICHARD
Oh my God. You’ve got a first edition of Sartre’s The Age of Reason! Where did you get it?
ELIZABETH
On sabbatical in France. I had to do some real dickering.
RICHARD
I imagine!
He spots another.
RICHARD
Oh, and look…!
ELIZABETH
Richard. If you bring up every interesting book in my bookshelf, we will be here all night.
RICHARD
Oh, right, sorry.
He sits down on an armchair. Elizabeth continues reading. Richard starts making little clicking noises, to pass the time. She looks up.
ELIZABETH
I have an idea. Why don’t you just leave these with me. I promise I’ll get them back to you by tomorrow.
RICHARD
That’s okay. I have nowhere to be.
ELIZABETH
It’s a little distracting.
RICHARD
I’ll be quiet as a mouse, I swear.
ELIZABETH
…All right.
Reluctantly, Elizabeth goes back to work. After a while, though, Richard starts to watch her. She can feel it.
ELIZABETH
Excuse me, but… why are you doing that?
RICHARD
Doing what?
ELIZABETH
Watching me.
RICHARD
Am I watching you?
ELIZABETH
You know you are.
RICHARD
Oh, sorry. It’s just… just because…
ELIZABETH
Because what?
RICHARD
I don’t know… I like to watch you work.
ELIZABETH
Well, I won’t be able to work, if you watch me.
RICHARD
Right. If I watch you work, you can’t work and if you can’t work, I can’t watch you working. Hah, circular argument!
ELIZABETH
Richard.
RICHARD
Yes, okay, shut up.
She goes back to working. Richard starts to look around him again. But before long, he is contemplating her once more, his face growing intent. Elizabeth looks up.
ELIZABETH
All right. Enough!
RICHARD
…I’m sorry. It’s just… being here. Where you live. Among your books. And then, watching you… It just emanates from you… You are so… beautiful.
Elizabeth quickly closes the blue book and gets up.
RICHARD (CONT’D)
I shouldn’t have said that.
ELIZABETH
No.
RICHARD
But you wanted to know.
ELIZABETH
I think you’d better go.
RICHARD
But why?
ELIZABETH
Because there are very clear lines between professors and TA’s.
RICHARD
I gave you a compliment, is that so wrong?
ELIZABETH
You’re telling me that’s all it meant?
RICHARD
(beat, then)
…No.
ELIZABETH
Then, you really have to leave.
RICHARD
Please, Professor… Elizabeth…
ELIZABETH
No.
RICHARD
All right! …But would you answer me this. Is it my imagination that something’s been happening between us?
ELIZABETH
Please, Richard, I am asking you to go.
He moves towards her…
RICHARD
You do feel something, don’t you? I can tell that you do!
ELIZABETH
Please…!
Closer still…
RICHARD
I don’t usually go these places by myself.
ELIZABETH
Richard…!
He has arrived.
He leans in to kiss her. She retreats. But as he moves in to kiss her again, she allows it, and even begins to return it. But then, suddenly she pulls away, shocked at herself.
ELIZABETH
Oh my God.
RICHARD
Elizabeth.
ELIZABETH
I can’t believe I… This is… This is not…!
She starts gathering up his bluebooks and shoves them at him.
ELIZABETH
You have to go.
RICHARD
Elizabeth.
ELIZABETH
No. Now. Go!
Richard realizes she means it, and, looking at her one more time, he goes out the front door.
Elizabeth leans against the door, shaken.
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Janeen’s Act 2 Midpoint
What I learned doing this assignment is that I’m going to need to inject a lot of comedy in a scene with this much drama.
EXT. PARK – DAY
The family is gathering in a park for the 4th of July celebration. The same group gathered for Christmas (except Uncle Jerome) are here with hampers, coolers, tablecloths and rowdy children, including ASHLEY and BEN. JYM joins them with a small cooler of her own.
Ashley brandishes her prepackaged food toward Jym.
ASHLEY
I’ve been on this diet for three months already.JYM
Are you tired of it?ASHLEY
No, it’s really good and they have a lot of different ones to choose from, but it’e really pricey. We’ve spent a fortune on it.JYM
You know Ben would spend anything to keep you healthy. Ashley looks down.ASHLEY
I know that, but I haven’t lost hardly any weight on this food.JYM Really? Why not?
ASHLEY
I don’t know. I haven’t cheated once, but it’s like the weight is superglued to me and there’s no getting rid of it.JYM
I’m so sorry.
ASHLEY
You’ve been losing weight, though, haven’t you?JYM
Yes, but I’ve also been teaching classes and working out with people nonstop for the last six months. Don’t tell anyone else, but Cam is a slave driver and I feel like I have to keep up or he won’t respect me.ASHLEY
I think Cam’s crazy about you.JYM
It’s just a joke between us. On post, all of the guys talked that way to any gal in the gym. It’s there way of showing one another how hot they are to their women back home.ASHLEY
But Cam’s back home now – and hot.Jym deliberately misunderstands and waves a paper plate as a fan.
JYM
It is hot out here today.ASHLEY
That’s not what I’m talking about and you know it.JYM
Let’s eat. I think they have everything set up.Jym eyes the prepackaged meal as she gets up from the table.
JYM (CONT’D)
Oh, I’m sorry Ashley. I forgot.ASHLEY
It’s actually okay. Ben said I could have 2 tablespoons each of my three favorite things as long as I ate them twenty minutes apart so I’m going to be stretching out this meal instead of eating fast like you and the boys.JYM
I don’t know what their excuse is, but in the Army it was eat fast or leave half your food. There was no time for manners and decorum.Ashley moves along the picnic table laden with food and picked up only two small spoons of Mama’s potato salad.
JYM (CONT’D) That doesn’t look like two tablespoons. You should take a little more.
ASHLEY
Oh, believe me, it is. I’ve practicedat home for the last week figuring out how what two tablespoons of lumpy stuff like potato salad, fluffy, chocolatey stuff like Aunt Nelly’s chocolate dessert and my own baked beans looks like on a spoon and on my plate. That’s my three things and I’ll have to come back for the other two.
JYM
If it looks like anyone’s going tofinish off Aunt Nelly’s dessert, I’ll grab you some.
EXT. PARK – LATER
The younger half of the family are playing volleyball while the older half dozes in lawn chairs behind the protective fence as they pretend to watch.
ASHLEY starts to weave a little in her chair. JYM and BEN keep a watchful eye on her as they play on opposite teams.
Ashley slumps over sideways, her arms limp, her head lolling forward.
JYM Ben!
Jym yells and instantly they both run to Ashley.
BEN
(in doctor mode)Call 9-1-1.
Jym calls. Ben lifts his wife’s slumped body in his arms
and carries her to the nearest empty picnic table, laying
her gently on top. He hands Jym his keys and takes her phone.BEN (CONT’D)
I’ll talk to them, get me my bag.Speaking into the phone.
BEN (CONT’D) Yes, this is Dr. Ben Walker.
I have a thirty-nine year old white female in a diabetic coma. I need
an ambulance stat at the West entrance to central park. I’ll have my sister meet you at the entrance. She’ll direct you to us.Ben puts the phone on speaker and sets it on the table. Jym runs up with the bag and he sets to work doing a finger stick on Ashley.
The rest of the family stands around in stunned silence.
LITTLE CHILD Is she dead, Mommy?
MOTHER
Shh…no. She’s just not feeling well.JYM
Mama, get everybody back so Ben can work. Come on, everyone.BEN
I told them you’d meet them at the west entrance.JYM
Okay. Is she going to be okay?Ben, fingers shaking, puts the test strip in the tester.
BEN
God, I don’t know. We’ve had to keep a close eye on things since we got the insulin pump. It doesn’t always dispense the right amount. I think it must be the glucose sensor. God, these meters take forever to run a simple test.The siren sounds in the distance.
JYM Is it bad?
BEN
I’ve never seen her out like this. Go. Go now and get them here quick. Mama, take care of the boys. Jym, take care of our car.The siren gets louder.
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DeRuve’s Act II TP – Midpoint
What I learned doing this assignment is by letting go, and just doing it, the groundwork is there.
Midpoint –
EXT. JERSEY CITY ARENA – NIGHT
Rhino exits the back door where Joey and some GOONS are waiting, he wasn’t expecting this.
JOEY
Ride with me, would ya?
RHINO
What about my car?
JOEY
Jimmy’ll take care of it.
Joey gets in the back of his Cadillac, Rhino follows.
INT. JOEY’S CAR – CONTINUOUS
A long dreadful silence looms. Rhino taking notice of the exit they are taking.
RHINO
Hudson?
JOEY
Beautiful this time of year.
Rhino curiously looks out the window.
EXT. HUDSON RIVER BANK – NIGHT
The Caddy pulls down an ominous dirt road towards another blacked out Cadillac idling with it’s lights off. Joey gets out of the car, Rhino follows.
Joey turns to Rhino grimacing. He looks over to the other car and waves. Noah is pushed out of the back seat by a GOON, and shoved on the ground between Rhino and Joey.
JOEY
Look at that. Back from the dead.
(beat)
When you told me it was done, I thought that meant it was done, over, caputz.
Rhino shifts his weight and turns away. Joey approaches his Goon, reaches into his coat and reveals a .45mm. He paces over to Rhino and pushes the piece in his chest.
JOEY (CONT’D)
Finish it.
Rhino reluctantly takes the gun. He looks at Noah, gagged, weeping, desperate. He turns away painfully.
RHINO
Joey…
JOEY
Listen to me, you big dumb ape. You got one chance to show me who you are. One chance, and it’s now.
Rhino forces his arm up, aiming at Noah whose eyes widen. He can hardly look at him, he grips the handle, his finger wraps the trigger. Joey scowling at him with folded arms.
Exhale, Rhino stands down.
RHINO
I can’t…
Joey marches towards him, and speaks firm under his breath.
JOEY
I been takin’ care of you your whole life, treated you like a brother. Gettin’ you paid, givin’ you a life.
RHINO
I know it…
Joey takes the firearm from Rhino, and looks up at him.
JOEY
My Father don’t have to know about this, okay?
Rhino nods in disappointment. Joey casually aims up and FIRES, Noah drops dead. Joey hands the piece to his Goon who begins dragging the body towards the river.
Rhino can’t move, can’t breath, what the fuck just happened?
-
What I learned from this assignment is to constantly re-evaluate the balance between plotting the action and furthering the protagonists journey. How transformational events and turning points carry the weight in moving the story forward.
MARK’S Key Scene 4 – The Midpoint
Key Scene 4 The Midpoint
BEGINNING:
EXT. SHIP DECK – DAY
A wave of ice crashes into the ship, severely damaging it. The order is given to abandon ship.
MIDDLE:
EXT. SHIP DECK – DAY
Some passengers panic and scream. Bedlam starts to take hold. But Jensen quells it with his commanding presence.
Drake and the crewmen start unloading the ship’s stores; food, tents, lumber, crates, tools. Drake treats a member of the crew with torturous delight, to her horror.
Victoria confides in Jensen that she thinks Drake is a horrible man and nothing but trouble.
Jensen restores her confidence and convinces her to help in the evacuation.
END:
EXT. ICE FIELD – NIGHT
Victoria carries the baby off the ship. Everyone is evacuated and they watch as the ship explodes and sinks. Drake takes perverse pleasure in their predicament. Victoria and Jensen reinforce each other.
KEY SCENE 4- MID POINT
EXT. RESEARCH SHIP – DAY
A solid wave of ice thirty feet high advances toward the ship with an earth-shaking roar.
It crashes into the side of the ship. The ship shudders and rolls over almost on its side.
INT/EXT SHIP – SERIES OF SHOTS
Jensen commands the crew and passengers
JENSEN
(shouting)
Abandon ship. Everyone on the ice.
People rush to the low side rail and throw over suitcases and bogs.
People hang from the rail and drop to the ice.
The ice starts crushing the hull. The prop is broken off.
Some passengers panic and scream. Bedlam starts to take hold. But Jensen quells it with his commanding presence.
Drake and the crewmen start unloading the ship’s stores; food, tents, lumber, crates, tools.
EXT. SHIP DECK – DAY
Jensen hurries from place to place, directing everything.
JENSEN
Drake, get the stores stowed on the ice. Move them all way from the ship.
DRAKE
Ays. She’ll blow when the boilers go.
He goes over the side and shouts orders.
Victoria comes on deck and sees the overwhelming turmoil. She looks over the rail and sees Drake hit a young sailor twice, knocking him to the ice, berating him.
Suddenly, Jensen is at her side.
JENSEN
Victoria, you can help. There’s much to be done.
VICTORIA
He’s an awful man. He’s a danger to all of us.
Jensen looks out at the men on the ice.
JENSEN
Its his knowledge and experience I rely on. Not his personality.
VICTORIA
He’s horrible. I’m afraid of what he might do.
JENSEN
He’ll do nothing. I command him. He knows my rules. Now listen to me. I need your help.
She is troubled, unsure, distracted.
JENSEN (CONT’D)
Are you with me?
VICTORIA
Eh, yes Captain.
JENSEN
Help the women gather their things, The women and children must get off safely. And the baby.
VICTORIA
Not to the ice. They’ll freeze.
JENSEN
The ship is lost. That’s all we can do. Every soul must abandon the ship.
Tears come to her eyes. It feels like she is a small child, asking her father.
VICTORIA
How will we survive.
JENSEN
We have plenty of supplies to last.
He brushes a tear away.
EXT. SHIP – NIGHT
The evacuation efforts are still underway. Every once in a while metallic SCREACHING GROANS comes from the ship as it shakes under the strain of ice pressure.
Victoria is helping the last of the women on to the ice pack. She takes the baby from its mother’s arms and carries it to safety.
Large piles of cargo and supplies are everywhere, as men carry them away from the lights and into the darkness.
Scores of people sit on the ice in numb misery, staring at the ship.
PLACEHOLDER SCENE: Jensen takes his charts and log from the bridge. Says goodbye to the ship.
PLACEHOLDER SCENE: Drake is up to something in the empty ship.
EXT.SHIP – NIGHT
Jensen stands at the rail. A Crewman gives him the personnel manifest. He checks it over.
JENSEN
Everyone accounted for?
The crewman nods.
JENSEN (CONT’D)
Thank you, Howard. Go ahead.
The crewman climbs to the ice. Jensen glances around, then leaves the ship last.
Suddenly the lights dim and flicker off. Sounds of surprise and disappointment from the crowd.
Two sailors light storm lanterns.
A PIERCING WHISTLE sound erupts from the ship in a rising crescendo. The ship is being crushed.
SHIP ENGINEER
Get back, the boilers are going!
Everyone scrambles to back up, falling over each other. They run in total confusion 50 yards back to the supply piles. Sudden panic sets in after the hours of waiting and watching.
Suddenly a HUGE EXPLOSION rocks them, followed by a fireball reaching skyward that lights up the eerie terrain. A second EXPLOSION makes them cower in terror.
The ship catches fire and grows in intensity, bathing everyone in an orange glow. They can feel the welcome heat.
A man runs with open arms toward the ship, screaming “thank you for warm fire.” Drake runs after him and tackles him to the ice.
DRAKE
We’re better off now.
EXT.ICE FIELD – NIGHT (2 HOURS LATER)
Everyone is still staring at the ship in silent shock.
Drake looks over and watches Victoria’s face in the flickering firelight. He steps from a shadow into the firelight and oozes menace.
Victoria moves next to Jensen. She sees him choke back a sob and close his eyes as the ship starts sinking. She holds on to his arm. Their eyes meet.
JENSEN
Victoria, this is just the beginning.
Women scream as the ship sinks. Men weep openly. The rest stare in shock as the fire goes out and the arctic night descends.
CU – SAILOR
Sitting on a pile of lumber, he takes a sip from a bottle and toasts the ship.
SAILOR
Wish you were here, ma.
-
Assignment 15
Aleta Rafton’s Act 2 Turning Point – Midpoint
What I learned doing this assignment is that I have not planned out enough of the details
Outline Key scene 4
Jack pulls the batteries out of his pocket that he removed earlier from the tracking device.
Hank loads batteries and the device works
Hank decides to drive sidecar
Hank opposite to his nature breaks multiple traffic laws
Hank takes charge not dominated by rules or fears
Act 2
Key Scene 4
(Jack pulls out the batteries he removed and silently hands them to Hank who puts them in. Device turns on and starts blinking on a map and Hank tosses it to Jack. Hank jumps in to drive this time)
Hank
Let’s go! You navigate!
(Grandpa and Jack jump in but Shadow stays on the sidewalk while Hank takes off)
Jack
You left Shadow you idiot!
(Hank turns the sidecar around really fast almost throwing Grandpa and Jack out as the car tips nearly over. Hank runs a red light, picks up Shadow who now is sitting on Grandpa’s lap. Hank turns around again and starts driving faster than he ever has. Jack is watching the dot move on the device map)
Jack
Turn left! Not right! Left!!
(Hank runs another red light, dodging cars, horn blaring at the near misses. This time Grandpa is closing his eyes.)
Grandpa
You just ran a red light!
Hank
And your point is?
Jack
Turn right!
(Hank turns right racing down the road. Gradually they have left the crowded city streets now on the city outskirts)
Jack
It’s here. Your thing says it’s here! It’s actually pretty cool if this thing is right.
Hank
It is! I know it.
(They ride along in silence. Shadow and Grandpa fall asleep. See sign City Dump up ahead)
Hank has taken control. He no longer resists or fears taking action
-
Fred’s Act 2 TP – Midpoint
What I learned from this assignment is that if I get stuck writing a scene I can just put in a placeholder and write the next scene I can. Later I’ll come back and rewrite the filler scene.
Placeholder: Emma talks with either the mistress or Han.
Next day: Emma comes to his grandparents and rings the bell. Grandmother first forbid him from leaving the house, Jin lashed out at her. Now Jin has to introduce Grandmother to Emma. She lets them go out to talk.
INT. UNIVERSITY CAMPUS WALKWAY – DAY
Placeholder: Emma explains she deleted the photos for Jin’s good. Explains her rationale. Jin decides on a new plan: get his mom to confess. Uses her phone and tells her to come pick him up, tells Emma to leave.
INT. MOM’S CAR – DAY
Jin gets in touch with Mom so that she can come visit early before Jae-sa.
Beginning: Jin says he saw Han with his mistress.
Middle: Explains he had photos but he lost them. Needs her to tell the relatives what happened.
End: Mother decides to go through with it.
INT. GRANDPARENT’S HOUSE – DAY
Beginning: things are backed up because the daughter in law isn’t there.
Middle: Jin and his Mother arrive but she is lambasted for being late.
End: Jin asks for their attention and the Mother talks. But they already know.
TP 2 – Men have been forcing them to look the other way. Jin is disgusted and he leaves with his mother, vying to sever all connections with them.
-
Pam’s Act 2 Turning Point
INTERCUT SCENES: INT. SENIOR HOME / INT. HENRI’S APARTMENT – NIGHT
INT. SENIOR HOME – NIGHT
Jared visits Papi at the senior home. It’s Movie Night at the Center. They file into a theater, along with a couple dozen other seniors.They sit toward the back. The room is filled with silver hair that’s been styled upward. So much so, that Jared and Papi change seats to get a better view.
INT. HENRI’S APARTMENT, VT – NIGHT
Henri really misses Papi. Rents the original WILL OF THE WEST movie. Starts the movie on his TV. Title and credit sequence begin.Black & white movie scenes from WILL OF THE WEST are synced between the intercut.
INT. SENIOR HOME – NIGHT
Continuation of credit sequence, on the large screen.Papi cheers when he sees the name of his favorite actor. Nudges Jared. “Now there was an actor…”
INT. HENRI’S APARTMENT – NIGHT
Continuation of movie on his TV.INT. SENIOR HOME – NIGHT
Continuation of movie on the large screen. The scene with the quote.PAPI
(whispers to Jared, along with the cowboy)
The size of the gun don’t matter…INT. HENRI’S APARTMENT – NIGHT
Henri finishes the quote.HENRI
… unless the aim is true.INT. HENRI’S APARTMENT – NIGHT
New scene from WILL OF THE WEST.Will, the lead cowboy, clothes get wet in a rainstorm while driving cattle. He leaves them to dry by a campfire.
INT. SENIOR HOME – NIGHT
In the wee hours while Will is sleeping, someone (Joe) takes his clothes (not sure why). He gets shot at by a villain who’s been after Will, thinks it’s him. Shoots Joe dead in broad daylight. Gets on horse and gallops away.INT. HENRI’S APARTMENT – LIVING ROOM – NIGHT
Continuation of WILL OF THE WEST shooting scene.The victim is believed to be Will. His fiancé, Marion, approaches the body slowly, hysterical. Screams. “Will! Oh God, no!” The sheriff is in front of her and gets to him first.
He sees it’s not Will. “It’s not Will! Gus shot Joe!” Consoles Marion. Shakes his head quietly. “It was a case of mistaken identity.”
Henri hits PAUSE button. Walks in to the restroom.
HENRI
Really, Gus?
(shakes his head)
Joe looks nothing like Will.INT. HENRI’S APARTMENT – BATHROOM – NIGHT
Henri looks into the mirror.HENRI
(fusses with his hair)
I guess my hair does kinda look like Bradley’s.Henri sees the tube of “Modeling Glue” on the counter and studies the erroneous Marc “RICE” label. Rubs his finger over it. Something seems off. Picks at it with his fingernail.
He peels the top label off, revealing a second label underneath it — with “RICHE” spelled correctly.
FLASHBACK to the murder scene. Henri in the driveway looking in. View from inside, Killer’s POV.
Bradley enters the door, backlit lighting. Dark face, but hair like Henri’s. They are similar build.
Hitman fires gun. (BACK TO SCENE)
HENRI
(eyes wide like saucers)
Holy shit! This was all for me. -
Sandra’s ACT 2 TP Midpoint
What I learned doing this assignment is how the Midpoint changes the meaning of the journey. What the protagonist thought was important isn’t.
Same Journey: Even though Lucy discovers who is betraying her, she is on the journey to present her dissertation defense and graduate.
Different Meaning: But now she is torn between career and family.
BEGINNING: Lucy receives a phone call from her brother requesting that she come home.
MIDDLE: Her mother is in the hospital and may not live. Lucy faces the biggest dilemma of her life.
END: Lucy’s mother has been keeping a secret and Lucy hopes to find out who her father is before it’s too late.
-
Mary Ellevold’s Act 2 TP-Midpoint
What I learned doing this assignment is go back and study previous lessons, have too many turning points in script.
Mid point scene – The Group goes to Pet Shoppe, Kat sabotages, Jon gets arrested.
-
Justine’s Act 2 Midpoint
INT. NICE RESTAURANT – NIGHT
Beginning: Jenn and Annie walk in together and are seated at their table. Jenn asks Annie why she’s been so out of it, she hasn’t been herself. Annie describes an intrusive negative voice that’s been the loudest since her birthday. She describes the Inner Critic and the negative things that the Inner Critic has been saying to her but doesn’t fully describe the hallucination.
Middle: Jenn listens patiently then tells Annie she’s always acted as though she has a voice telling her the things, she doesn’t like about herself. This voice is HER, not something else. She’s been listening to this voice since she was a kid, that’s why she’s never finished anything she started or tried anything new. She’s been holding herself back this entire time.
End: Jenn states that everyone has this Inner Critic, it’s not just Annie. The main difference is that Annie has been spending her whole life AGREEING with her Inner Critic instead of trying to prove her wrong. Annie finally understands that the Inner Critic is HER, trying to keep her from failure, and that Annie needs to DISAGREE and prove the Inner Critic wrong if she’s going to be successful.
-
Lesson 15: ACT 2 TP The Midpoint
What I learned from this assignment is the creativity is easy but I’m not sure about depth or flow.
Scene INT THE RED FOX LOUNGE NIGHT
Split phone call Sam and Liz
LIZ
Sam, is Jake in the area?
SAM
No, but he is looking for you.
LIZ
Turn off the security to the side door to the office.
SAM
Okay.
LIZ
I will arrive at 7:55.
SAM
Your guests walked in a few minutes ago, and there is an empty seat.
LIZ
Oh, that means he’s saving a seat for me. Don’t you think?
SAM
You are a little too excited about this. You should be more aloof.
LIZ
Thanks for saying that. (She starts breathing slow.)
SAM
You’re supposed to be calm and cool.
LIZ
I’m trying. See you soon.
Travis and family are seated at a center table in front of the stage.
(Whispers to Marty) JILL
Where is she? The concert is about to start. (Gives up on trying to text Becca)
MARTY
I don’t know but did you notice[ how Travis is beyond happy.
JILL
I noticed. Something must have happened.
MARTY
I’m sure she has a reason. We’ll regroup tomorrow.
JILL
You’re right.
Liz enters quietly from the back office, waves to Sam and heads to Travis’ table. A gorgeious bombshell in red enters the lounge and waltzes to Travis’ table and takes the empty seat.
Charie and Dan immediately look at their wives. Liz returns to the bar and sits on a stool.
TRAVIS
What are you doing here?
BECCA
I couldn’t get a ticket out of town. (She whispers.) I’m having to stay in your parents’ room.
I need to talk to you.
TRAVIS
I’m going to enjoy Jake Jones.
Dan looked at Jill, again. Jill and Marty turn their chairs around to face Jake Jones. Travis looks around for Liz but does not see her.
Jake enters the stage. The audience applauds.
JAKE
Hello, Everyone. Thanks for coming out tonight. I ’m Jake Jones and I’m glad to be here
celebrating the holidays with you.
APPLAUSE
JAKE
Mrs. Annabelle asked me to remind you that Saturday night is the annual holiday
hayride. You will tour the decorated houses that competed for Chamber of
Commerce awards as well as the park with all its holiday lights. The hayride starts
in front of the inn at 6:00pm and every hour on the hour. Last ride begins at 9:00PM.
Also, don’t forget the Scavenger Hunt in the morning at 9:00AM in the lobby. $1,500
is a big prize. Good luck/
The crowd yells and applauds.
Jake begins singing. Liz steps into the office. Sam follows.
Scene INT SAM’S OFFICE NIGHT
SAM
I know you are upset, but I advise you to be open-minded.
LIZ
Did you get a good look at that woman? She could be a model for a glamorous
magazine.
SAM
She is beautiful, but she may have the personality of a porcupine.
Liz stared at Sam and then laughed.
LIZ
I don’t know why I thought someone like Travis could be attracted to me.
SAM
I watched your man and he didn’t act like he cared for the lady in red.
LIZ
Well, it’s reality check time for me. If she is here all week with him, he
won’t have time for me.
SAM
You need to be patient. See what happens.
LIZ
(Liz sighs.) Did you see how every man in that room turned and looked when
she walked in. That doesn’t happen when I walk in the room.
SAM
Listen to me. When you come in here, the men look at you. You don’t see
it because you are not looking for attention. That lady in red craves it.
LIZ
Thanks for being my friend. I’m going to believe that lie because it makes
me feel better. Lawrence Bradford is proud of you because you are still
taking care of his girl.
(Hearing applause.) SAM
Got to go. Stay in here. lock the door.
LIZ
Do not worry. I will.
ANNABELLE
(Annabelle walks into the office, using her key.) What are you doing in here? Hiding?
LIZ
You might say that!
ANNABELLE
This place is packed. I knew he would draw a crowd. Sam said tomorrow night is
almost sold out.
LIZ
What can I say? Some people don’t recognize good music.
ANNABELLE
(Annabelle shrugged.) Everyone deserves a second chance, Sweetheart.
LIZ
I disagree in this case, but I will speak to him, just for you.
ANNABELLE
That’s my forgiving daughter speaking. Thank you. So, when are you
going to step outside this office.
LIZ
I will watch the last half.
ANNABELLE
Good. Everything is running smoothly. I think I will call it a night. I have to be
up early for the scavenger hunt. See you tomorrow.
LIZ
Love you.
(Annabelle leaves. Liz leans back in office chair and falls asleep.)
Scene INT THE RED FOX LOUNGE NIGHT
The audience applauds. Jake leaves the stage. First half completed. Travis leaves the reserved table and heads to the bar. He goes to the end and approaches Sam about helping solve a problem.
TRAVIS
I was wondering. Are you close to the owners of the Bradford Inn? Or do you
know someone who has connections?
SAM
What do you need?
TRAVIS
My ex-wife showed up thinking she was going to stay with me, and now she
needs a room and this place is full. I am not going to allow her to ruin my parents’
Christmas. I will stay in a closet as long as it has a bathroom.
SAM
Let me see what I can do?
Sam goes to the phone and returns in a few minutes. Travis looks for Sarah.
SAM (CONT)
Ms. Annabelle’s son is in France. You can stay in his apartment. They are
getting it ready. I’ll have the keys by the end of the concert.
TRAVIS
Can we keep this a secret between us. If my mother knows where I am
sleeping, the world knows where I am sleeping. You understand?
SAM
Just between us.
TRAVIS
You just saved my Christmas holiday.
(They shake hands and Travis returns to his table. The group is talking about the
concert. Travis smiles as he looks at Marty and Jill. They smile back at him.)
Liz comes out of the office to tell Sam she is leaving for the night. Two stools are on stage.
Jake enters the stage and moves into the lights. The audience applauds.
JAKE
To begin the last segment, I’ want my high school sweetheart, Lizzy, to join
me on the stage. Let’s give Lizzy a hand.
People begin to applaud. Some of the locals know her and yell.
Liz stops and looks at Sam and shakes her head.
SAM
The locals know you. You have to go up there. If you don’t, it will be bad
for business.
Lizzy walks to the stage and stands next to Jake. He asks her to sit on the extra stool.
Travis looks at “Sarah” and pays close attention to what is happening.
TRAVIS (V.O.)
Does Sarah have a twin? She didn’t mention it.
JAKE
Lizzy and I sang as duo through four years of high school and won many
awards. Didn’t we?
Lizzy does not respond, just looks at Jake.
JAKE (CONT)
This summer I wrote a song about our high school love. This is the first time I am
singing this song in public.
Jake debuts his song
When he finishes his song, he looks at Lizzy. She smiles at him.
LIZ
(whispering) Don’t ever pull this stunt again! I will not attend another concert.
Liz flashes a hug smile and leaves the stage as the audience applauds. As she is exiting, she realizes Jake said her real name. She stops briefly, thinking about Travis but is afraid to look at him. She heads to Sam.
Jake smiles and begins his next song.
SAM
You handled that well. I had no idea what he was up to. I will talk to
him after the concert.
LIZ
Don’t bother. I told him to stay away and not do that stunt again.SAM
I’m sorry.
LIZ
I have the world’s biggest headache. I’m going to my apartment. Forget
about my new friend. It’s over now. I’m not interested in him either.
SAM
I would like to talk to you about that.
LIZ
I don’t want to think about men for a while.
SAM
Okay. Go rest. See you tomorrow.
Travis sees “Sarah” talking to the bartender and then she leaves. She doesn’t look his way.
TRAVIS (V.O.)
Lizzy lied to me. We talked about Jake Jones and she never mentioned she
was in a relationship with him in high school. She is probably still in love
with him.
Travis looked at Becca who eyes were glued to Jake Jones.
TRAVIS (V.O)
Looks like I have been fooled by another Becca. Liz lied within thirty minutes
of meeting me. One dressed in red. The other dressed in green. AT least, the two
wore Christmas colors. Maybe I should head home.
Travis leaned back in his chair.
TRAVIS (CONT (V.)
I can’t go home. It would ruin Mom’s holiday. At least, she and dad
are not stuck with Becca.
Sam watches Travis and his family.
SAM
They looked like a good family. There’s something about Travis. He seems to
care about people. That reminds me of Liz.
The phone rings.
SAM (CONT)
Sam here.
ANNABELLE
Did Jake sing his song about Liz?
SAM
Yes. You knew about that?
ANNABELLE
I went backstage tonight before the concert. Jake told me about the song
about Liz. Wasn’t that romantic?
SAM
Was asking her onstage Jake’s idea or yours?
ANNABELLE
I thought about it at the last minute. He loved the idea.
SAM
Annabelle!
ANNABELLE
I’m thinking about blocking out two hours on the February fourteenth chapel
reservation calendar for their wedding.
SAM
Annabelle!
ANNABELLE
I know they belong together. They have such history.
SAM
Stop! Liz does not love Jake. Remove this idea from your brain.
ANNABELLE
All I want is what is best for my daughter. I feel good about this.
SAM
You want to put money on that “feel good” situation?
ANNABELLE
How much?
SAM
$100
ANNABELLE
I accept that bet. Liz will be married on February fourteenth.
She cancels the call.
SAM (V.O.)
(Sam laughs and goes to a customer.) The bartender knows everything.
The concert ends. Everyone stands and applauds. Travis walks toward Sam to get the key
to the apartment and. The family exits. Becca goes to Jake to introduce herself.
BECCA
Hello, I’m Becca. I loved your concert. My boyfriend is a big fan of yours.
JAKE
That guy sitting beside you?
BECCA
Yes.
JAKE
After that concert, I need a drink. Would you like to join me?
BECCA
I would love to. Why don’t we sit at our table.
JAKE
Would you like a drink?
BECCA
I want is a bottle of water.
JAKE
Sam, a beer and a bottle of water, please.
BECCA
So you write all of your songs?
JAKE
Yeah!
BECCA
I loved the song about your high school sweetheart.
JAKE
WE were close all through high school. And then, she went
to college and I became famous.
BECCA
As well as rich, I assume.
Sam delivers the drinks to the table.
JAKE
I’d done well with my music.
BECCA
But never married?
JAKE
No.
BECCA
Do you have something against marriage?
JAKE
No. It takes a special person to live with a famous singer.
Right now my focus is looking for investors. I have a project
that will make millions.
BECCA
I know people with money.
JAKE
Maybe we need to talk.
BECCA
I think that’s a great idea. I don’t know my schedule for
tomorrow, but I would like to meet with you and listen
to your presentation.
Jake
Has anyone ever told you red is your color?
BECCA
Many times.
Travis walks in and sees Becca with Jake Jones. Jake sees Travis entering and stands up.
Travis
I’m Travis. I enjoyed your concert. I have all your CD’s.
JAKE
Thanks, I’m glad you had a good time.
TRAVIS
Becca, you can stay in my room tonight. Here is key card.
Jake looks at Travis and then at Becca.
BECCA
Thanks.
TRAVIS
You, guys enjoy your visit.
Travis leaves and heads for his apartment. Jakes does not know what to say.
BECCA
Don’t worry about Travis. I will tell him about your investment opportunity.
JAKE
Okay.
BECCA
I am hungry. I did not get to eat dinner tonight.
JAKE
There’s a café downtown that stays open until one.
BECCA
Let me run up and get my coat and I’ll meet you in fifteen minutes
in the lobby.
As Becca strolls out of the lounge, Jake stares at her figure.
JAKE
Maybe I don’t have to marry Lizzy. Becca may be the ticket back to
the top.
BECCA (V.O.)
I know he watched me as I walked out. I look good in this red dress. Jake
even said so. He needs a wife like me. He is famous, has money. I may not
need Travis. I may be the next Ms. Jake Jones if I play my cards right. I wonder
what made Travis change his mind. (She grins.) The red dress did it.
-
Bob Colley – Act 2 TP – Midpoint
What I learned doing this assignment is it’s get’s easier when you just let fly.
<st1:street w:st=”on”><st1:address w:st=”on”>EXT. CITY STREET</st1:address></st1:street> – DAY
John and Kyle come out of a cycle shop with two back country electric bikes and load them into the utility trail behind their truck.
KYLE
These are sweet. Not company
approved, which makes them
even better.
JOHN
Lock and load youngen.
John steps around the trailer and walks toward the driver’s door when he sees her.
Cynthia is walking out of the bank across the street and is heading to her SUV.
JOHN
Stop!
Cynthia sees John, hopes into the back seat of the SUV and the driver takes off. The back window of the SUV slides down and a spray of bullets shatter the cycle shops window.
John and Kyle hop into their truck and take off after the speeding SUV.
KYLE
Who the hell is that?
JOHN
The crazy bitch that killed my partner.
PLACEHOLDER: car chase scene
EXT. CONSTRUCTION SITE – DAY
Cynthia’s SUV screeches to a halt beside a three story building that’s under construction.
Cynthia and three of her men exit the SUV and head for the stairs. Cynthia starts going up the stairs as the three men station themselves at the base of the stairs.
John and Kyle pull in behind the SUV and John runs toward the stairs. A bullet hits a cement beam next to John and he ducks behind a retaining wall. More gunfire.
Cynthia is heading for the roof and John is pined down.
KYLE
John, John!
Kyle is in a construction crane whose lift is attached to a pallet of bricks. John runs back and hops on the pallet and Kyle start lifting him up toward the roof.
Standing on the pallet, protected by the bricks John shoots two of the gunmen as he gets lifted higher. The remaining gunman sprays his bullets at John but they hit the bottom of the load.
Getting to roof height John has Cynthia in his sights and is about to pull the trigger when a cloud of dusk is kicked up by a personal drone that swoops in beside Cynthia. The rotor breeze causes the pallet to start swaying.
John drops his gun, hangs on for dear life as he watches Cynthia board the drone and fly away.
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Gayle’s Act 2 TP – Midpoint
What I learned doing this assignment is to take my time and give careful consideration to character development at this point. The characters have to go through a crisis important enough to generate change and it cannot be something rushed or poorly considered.
Same Journey – Rick and Samantha are still pursuing their own goals
Different Meaning – But now they are sharing those goals and its significance with each other
Beginning – Rick and Samantha try to find a place where they veil is thinnest so they can talk
Middle – Rick fails to come up with a plan and complains that Samantha is the one who always comes up with the plans and has to admit he has no idea what he is doing
End – They have a genuine conversation showing vulnerability and need and drive. Rick reveals his motivation for chasing fame and Samantha reveals her filing for divorce was a last resort because she needed to wake him up to himself.
INT. HOUSE – CONTINUOUS / INT. NOWHERE ATTIC
Rick runs all around trying to find the best room to hear Sam like trying to find WiFi. Sam looks around this empty room – like a barn loft with whitewashed wood walls and floor from the Kate Spade shabby chic collection
SAMANTHA: Look in the safe.
RICK: What?
SAMANTHA: The safe. You need to get the Ritual book in the floor safe.
RICK: Of course it’s not safe. You’re in the wall!
SAMANTHA: Where are you? I can’t hear you anymore.
RICK: Can you hear me?
CAROLINE: Try singing. {NAME OF SONG}
RICK: Singing that will activate the ritual?
CAROLINE: No idea. I just like the song.
{PLACEHOLDER – WHATEVER THEY TRY DOESN’T WORK}
RICK: Let’s face it, I’m a failure.
SAMANTHA: Don’t say that. You’re very good at… connecting.
RICK: No, I’m all charm and bullshit. You’re the real brains of this operation. No, don’t stop me.
SAMANTHA: I wasn’t going to. I’m just glad you finally acknowledge you have a weakness.
RICK: It’s an act. The bravado. Go big or go home. Whatever you want to call it. It’s all ego. I’m nothing.
CAROLINE: Should we go? I’m thinking we should go.
SAMANTHA: You’re not nothing. You’re Rick Coffey, the man who stop the Red Genie from destroying a family. That’s something.
RICK: You stopped the Djinn. I tripped on the rug and knocked myself out. I couldn’t even hold on to the best thing in my life.
SAMANTHA: They’ll give you the show on your own.
RICK: I mean you. When you get out, I’ll sign the deed. Sell the house, adopt a baby, live your life and be happy. You deserve it. I won’t stand in your way.
SAMANTHA: You’ll get to do what you’ve always dreamed – an audience for your exploits.
RICK: Doesn’t matter. It was for you anyway. I only wanted to impress you. I thought if we were the most famous paranormal investigators in the world, you’d think I was good enough for you.
SAMANTHA: Rick—
RICK: No—um—don’t say anything. It’s hard enough to admit, but I don’t want any of this unless you’re there to share it.
SAMANTHA: I was going to say, I think I found the key.
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Aline’s Act 2 TP – Midpoint
The need for a turning point here made me revisit and potentially revise the underbelly of the story and add some drama with the family life that can follow Lucy in her getaway drive crossing state lines. Looking for a change in meaning I am trying the hidden events uncovering to see if it works with the story.
I often feel like my stories get convoluted so I avoid layers- but then as I check they are actually a little bland- SO: this layer brought to you by the “new meaning” MidPoint exercise may or may not work. We shall see.
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Adam’s midpoint scene (outline)
What I learned is that I like the concept of same journey, but it’s like a bend in the road.
INT. LES’S OFFICE – DAY
Beginning: Les is on his computer building out talking points for his argument and setting up his YouTube Channel to disseminate truth.
Middle: Jen calls in a panic – asks if he took the vaccine, which he didn’t. she says she thinks it’s connected, but just go turn the news on.
End: Les turns on the TV – it looks like chaos, people are dying in the streets. News anchor doesn’t know what it is, but the speculation so far is that the virus is going crazy all of a sudden. And it seems to be people who were vaccinated.
He runs into the kitchen and finds Donna writhing on the ground, turning blue. He runs her to the car and as he’s backing out she dies.
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John T’s Act 2 TP – Midpoint
What I learned doing this assignment is that a good MD PT TP sets up the entire third act.
EXT. SCHOONER – NIGHT
Howling winds toss the schooner like a ragdoll.
CAPTAIN
We gotta head back.
CLARE
No, please.
The Captain rounds the wheel.
CAPTAIN
Even for a king’s ransom, I can’t. See those waves? They’re only gettin bigger. Lucky if we make to shore in one piece.
EXT. DISCOVER ISLAND SHORELINE – NIGHT
Huge waves crash across the rocks. Along the beach tide rises up to the lounge chairs which start floating away. Wind howls through the palm trees and anything loose flies off- towels, flags, potted plants, beach chairs.
EXT. DISCOVER ISLAND DOCK – NIGHT
Claire and the boat captain barely make it back to shore late at night. They are both soaked.
CLARE
Well, thanks for trying.
The Captain salutes her and ties up the boat as best he can.
CAPTAIN
GET INSIDE. LOTS OF LIGHTNING!
INT. DISCOVERY CONTROL CENTER – NIGHT
Dr. Richter and Dr. Forrester stand like roosters opposite each other with the control station between them.
DR. RICHTER
This will pass by morning. We must honor the protocol.
DR. FORESTER
Screw the protocol. We must follow safety standards. Shut it down!
DR. RICHTER
And lose the whole program? We can’t afford another lost weekend.
Dr. Forester moves to the circuit board to key in the shutdown sequence.
DR. FORESTER
Out of my way. As head of operations, I hereby order the system deactivated in the name of safety.
DR. RICHTER
What do you know of safety. Get away from that panel.
While his back is turned, Dr. Richter grabs a wooden pole and whacks Forrester on the side of his head. Bleeding but still conscious, Forester grabs Richter by the shoulders. The much more powerful Richter grabs Forester as well and hurls him against the control board
Midpoint turning point: Suddenly, a bolt of lightning strikes the main computer building and takes out the main frame computer. Sparks fly all around Forester and he is instantly engulfed in flames. He falls to the ground, dead.
All the circuits go dead. All the clones go dark. Emergency lights come on.
INT. CLARE’S ROOM – NIGHT
The power goes out in Claire’s room.
CLARE
Oh, great. Well, so tired it doesn’t matter.
INT. DISCOVERY CONTROL CENTER – NIGHT
Showing no emotion, Dr. Richter drags Forester’s body into a utility closet and closes the door. He turns to the main power supply, shuts it off and connects the back-up generator. Some of the panel lights come back on. Richter loads a new program, flips a switch labeled BYPASS. He moves a lever labeled AUX and reactivates the system.
He throws the final switch… and all the clones light up – but with red eyes. Dr Richter smiles an awful smile. He leaves the CC room and approaches the armory, looks around, unlocks the door.
INT. CLARE’S ROOM – NIGHT
DREAM SEQUENCE
Clare dreams the same dream about Uncle Henry and the dog Trixie.
INT. CLARE’S ROOM – NIGHT
Claire oversleeps and wakes up to find MIC Claire just a few inches from her face staring at her.
CLARE
Oh god, don’t do that!
MIC CLARE
Time to wake up, Clare. We have a big day ahead of us.
CLARE
Did I oversleep?
MIC CLARE
I don’t know, Clare. Maybe it was the storm.
Clare dresses quickly. They walk out onto the breakfast pavilion.
CLARE
Where is everyone?
MIC CLARE
Oh, I expect they’re out and about.
Clare notices a blood trail on the floor leading to the kitchen. She follows the trail and by the ovens, she sees the body of Chef George, mangled and bloody. Clare screams.
CLARE
Oh, God. What happened?
MIC CLARE
Maybe he burned the eggs.
Clare looks at MIC CLARE with disgust.
CLARE
I would never say that. What the fuck happened here?
MIC CLARE
For me to know and for you to find out. Now come on, Clare, let’s play a game.
Clare takes a closer look at MIC CLARE’s eyes.
Clare
Why are your eyes red?
MIC CLARE
I surely don’t know but I feel energized. Let’s take on the day!
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