Post Your Lesson 19 Assignment Here

[Janeen Johnson]

Janeen’s Act 3 Turning Point

What I learned doing this assignment is that after using my beat sheet to rearrange and add some scenes, I have some scenes that seem like duplicates between the various parts of Act 3 when I wrote them. I’ll consider this at 20% and will fix it later.

INT. BEN’S HOUSE – DAY
BEN is home and comes into the kitchen.

BEN
Ashley, are you in here?

He opens the fridge and finds her stash of Mrs. Beeton’s biscuits and other foods while the freezer still has a lot of the PriPack foods in it.

He looks in the trash and finds food waste, not PriPack packaging. He mumbles to himself as though talking to Ashley.

BEN (CONT’D)
You’re not eating your food. What’s

going on?
He opens the refrigerator again and checks her insulin stash.

BEN (CONT’D)
The pump readouts were right. This

should have been used up by now. What the heck is going on?

One of the boys comes in the front door and Ben rushes out to him.

63.

BEN (CONT’D) Where’s your mother?

BOY1
Probably at the gym. She usually

is.

BEN
What’s been going on here?

Boy1 rushes to grab his equipment bag and heads for the door again.

BOY1
Nothing. I’ve got to go. Grandma’s

taking me to XYZsport. I’m late. Gotta go.

He stops as he’s closing the door.

BOY1 (CONT’D)
See you later, Dad. Welcome home!

Ben looks around one more time and then rushes out of the house.

INT. JYM’S GYM – DAY

BEN stalks into the gym and motions for Jym to follow him to her office. He slams the door once they are inside.

BEN
How could you give Ashley your stupid

diet? She is under a doctor’s supervision and changing her diet could have very dangerous consequences.

When Jym tries to respond, he continues.

BEN (CONT’D)
I have a good mind to call the bank

and call your loan. I’ll do it if you don’t cease and desist with your diet advice.

ASHLEY creeps in as he is finishing up. He hugs her protectively, but immediately calms down.

Jym pulls the shade and Ashley, still in Ben’s hug, motions for her to leave. She does.

ASHLEY
Jym didn’t give me any diets.

(MORE)

64.

ASHLEY (CONT’D)
I wasn’t losing weight on that really

expensive diet and I desperately wanted to try something new.

Now Ben is kissing her cheeks and neck as she gamely continues.

ASHLEY (CONT’D)
I begged Jym to help me find a new diet, but she wouldn’t hear of it.

Ashley breaks free a little from Ben’s caresses and locks the door.

INT. JYM’S GYM – MORNING

ASHLEY, bright and cheery, enters the gym and immediately straightens the diet corner materials and begins cleaning the treadmills.

JYM comes out of her office.

JYM
Ashley, what are you doing here? Is

everything okay?

ASHLEY
Everything’s fine. I got Ben calmed

down so you don’t need to worry about his wild threats. You know how he gets.

JYM
So are you back on the PriPack meals?

ASHLEY

Nope.

ASHLEY (CONT’D)
The only reason he came home was

because the insulin pump was reporting less insulin used. He’d been hounding Marta to see if there was a problem, but she told him everything was fine. He had to see for himself. He’s

gone back to XYZ.
Jym looks puzzled, but goes back to her office.
INT. JYM’S GYM – NIGHT
As a group of gals leave a class, Jym overhears them.

65.

MEMBER1
Nearly every one of the diets has

people eating salads with a ton of vegetables that are really pricey.

MEMBER2
Right. It’s never the cheap stuff

like carrots or potatoes. Vegetables are really expensive.

MEMBER3
So is meat. My kids wipe out any

meat I have in one sitting. They’re overweight, but I can’t help them lose weight on any of these diets. They’re too hungry.

MEMBER4
I have pre-schoolers and they don’t

really eat vegetables — at least not salad vegetables. They’d rather eat crackers or cookies.

MEMBER3
All of these diets are too expensive

if you have kids. Jym calls to them.

JYM
Can I ask you to do me a favor? Can

you anonymously write down your weekly or monthly food budget – make sure you tell me which it is – how many are in your household and how old they are? There are slips of paper by the suggestion box. If you could jot that down for me — anonymously, like I said — I’ll try to find some diet resources that might actually

be affordable.

MEMBER1
Some of the gals are on SNAP and

some on WIC too, so it isn’t always easy to get the food on the diet.

JYM
Write that down too and then just

slip it in the box. I’ll see what I can do.

Jym is visibly disappointed in the responses.

66.

JYM (CONT’D)
Cam, lock up for me, will you?

CAM Sure thing.

JYM
Ashley and Ben are still in my office.

Don’t lock them in and don’t go in there.

They both laugh.
INT. MENTOR’S OFFICE – DAY
DOC is in UNCLE JEROME’S office.

BEN
Why are there so many drugs in these

trials that lower A1C and increase insulin production?

UNCLE JEROME
Because that’s where the research

is. New drugs are being developed all the time, you know that. Why are you asking?

BEN
We get paid a lot of money to run

these trials. Why? I mean, why us?

UNCLE JEROME
Because we do it very carefully and

very thoroughly. We keep meticulous records on the diversean representative patients we recruit for the trials.

BEN
Shouldn’t we be finding ways to

prevent Type II and all of its side effects rather than treating symptoms?

UNCLE JEROME
That’s the researchers’ job, not

ours.

BEN And who are they?

UNCLE JEROME I don’t know.

(MORE)

67.

UNCLE JEROME (CONT’D) Son I don’t know what you’re trying to get at, but we are just a cog in

the whee of progress and it’s a lucrative and important cog. We’re here to protect people from bad drugs. We do our level best to make sure
any new drug is safe and effective. That’s the job.

Ben contemplates a moment.

UNCLE JEROME (CONT’D) Is everything okay? You haven’t

seen anything amiss in the studies or lacking in our procedures, have you? Because if you have, tell me and I’ll be all over it. I run an honest ship here.

BEN
No, no, not at all. I’m just worried

about Ashley, that’s all.

UNCLE JEROME Understandable.

INT BEN’S BEDROOM – NIGHT

BEN sneaks in the front door of his house and into the bedroom in the dead of night. He slips off his clothes in the hall and drops them on a chair inside of the bedroom. Then he slides into bed with ASHLEY.

BEN Surprise, sweetie.

ASHLEY You’re here?

She throws her arms around him and they kiss.

BEN
I just slipped home for a conjugal

visit. I have to go back tomorrow morning.

ASHLEY Are you serious?

I am.

BEN (MORE)

68.

BEN (CONT’D) (suddenly serious)

You’ve lost more weight, haven’t you? That could signal a serious problem, Ash. Why did Marta or you let me know?

ASHLEY
Don’t be silly. I’ve been working

hard to lose weight.

BEN
You’re sure nothing’s wrong?

ASHLEY Absolutely sure.

He begins to kiss her cheeks and neck.

ASHLEY (CONT’D)
I’ve been working out with Cam and

following a diet that Marta approves of.

Ben immediately switches to doctor mode. BEN

What diet?

ASHLEY
The same one Jym’s used to lose nearly

fifty pounds.

BEN
How could you do that without talking

to me first?

ASHLEY
I was struggling with the PriPack –

always hungry in only a couple of hours and craving all kinds of stuff. It was really hard. And you know I hated all those salads and vegetables.

She pauses to caress his shoulder and kiss his neck.

ASHLEY (CONT’D)
On this diet, I don’t have to eat

much of that stuff. If’s been saving us a lot of money too.

She kisses him again lustily and pulls him closer. Then pauses.

69.

BEN
No more diet talk tonight. I have

to leave in less than eight hours. They dissolve into lovemaking.

INT. JYM’S GYM – MORNING

BEN stalks into the gym early in the morning. A taxi waits for him outside. MARTA and GYM are working out. They are the only ones in the gym yet.

Ben begins yelling as he strides toward them in the far end of the gym.

BEN
What is wrong with you? I have you

strict instructions that you were NOT to give Ashley any more of you fad diets to try.

JYM
I din’t give it to her. She found

it herself.
Ashley enters the gym and heads for them.

MARTA
I approved of her diet choice –

BEN
Stay out of this. This is a family

matter.

Ben turns back to Jym and Marta grabs her towel and heads to the locker room.

Ashley steps between Ben and Jym.

ASHLEY
I decided what I did and didn’t want

to eat. I told you that last night.

BEN
Stay out of this. This is between

Jym and I.

She pushes between them again and tics things off on her fingers as she speaks

ASHLEY
No it isn’t. It’s between you and

me. I’ve been losing weight. My numbers are good.

(MORE)

70.

ASHLEY (CONT’D)
My need for insulin is down – you

saw that in the report from my pump. We’re saving money.

Ben is exasperated and merely waiting for her to finish.

ASHLEY (CONT’D)
Don’t you want me to get well? Don’t

you want me to feel good?

BEN Of course I do.

He rounds on Jym again.
BEN (CONT’D)

I’m warning you, Jym. If you don’t cease and desist all this “I’m a diet expert crap, I’ll call the authorities and have you charged with practicing medicine without a license. Do you understand me? Do you?

He stalks toward the door as CAM enters.

BEN (CONT’D) I’m going back to XYZ.

Cam steps back to let Ben pass.

CAM Wow! Should I ask?

JYM
No. It was a family matter between

Ben and me. Even Marta and Ashley aren’t considered family on this one.

Jym strides to her office.

CAM
I don’t understand, you’re his wife.

ASHLEY

Don’t ask.

Cam shrugs and heads for his desk. Ashley picks up a bottle of cleaner and heads to the treadmills.

71.

INT. BEN’S APT. – NIGHT

BEN’s desk in his apartment is littered with printouts of abstracts from studies on diabetes and diet. There aren’t that many. He mumbles to himself as he looks at them.

BEN
Nearly all of these studies are short

term — three months or less. And every one of them says people go back to their old way of eating when the study is over. They just give up on people. Give them drugs, apparently. That’s what they always said in school. “People won’t follow a diet. You can start there if you want, but you’ll end up using meds if you want your patients alive.

BEN (CONT’D)
No one’s seriously trying to control

diabetes with diet anymore. The ADA doesn’t even recommend a diet. They say the dietician should help the patient pick one that fits them. If they picked one that fit them, they’d stick to it. The assumption is that no one will change their diet permanently. No one has the willpower to do that.

Then he jumps up.

BEN (CONT’D)
Ashley. What’s going to happen to

her if she runs out of willpower? She’ll land in the hospital or worse.

INT. MENTOR’S OFFICE – DAY

BEN rushes into his office and shuts the door. He calls Jerome and tells him that he had a little crisis at home and will be tied up in his office most of the day. Then he phones Ashley.

BEN
Ash, I’m sorry. I shouldn’t have

yelled like that this morning.

ASHLEY No, you shouldn’t.

72.

BEN
We’ll talk tonight, but right now, I

just wanted to ask you what diet you’re on.

ASHLEY (hesitantly)

Banting.

Ben googles “Banting” and comes up with the RealMealRevolution website, among others.

BEN
Which phase are you on?

ASHLEY
Banting doesn’t have phases. You’re

looking at the wrong diet. Look for Banting’s Letter on Corpulence

BEN Letter on corpulence?

ASHLEY
Yes. And read all of it. Banting

was an undertaker. Ben snorts in derision.

ASHLEY (CONT’D)
He didn’t come up with the diet.

His doctor gave it to him and he got it from a doctor in Europe who developed it to fight obesity and diabetes. Read the whole pamphlet.

Ashley hangs up to Ben’s surprise. INT. BEN’S OFFICE – LATER

On a whiteboard on the wall of his office, BEN writes out the differences between today’s diabetes approach and that of Dr. Harvey’s mentor, M Bernards. The ADA recommends half the plate should be fruits and vegetables, one fourth protein and one fourth grains. On Banting’s side he has the four meals listed with their proportions in ounces. Then he adds a list of some of the classes of medicines used to control diabetes today. He draws a line of the Banting side. He talks to himself.

BEN
You didn’t have any medicines, M

Bernards, yet you kept people alive and from getting worse with Type II.

(MORE)

73.

BEN (CONT’D)
And this was also a weight loss diet.

Let me see.

He scrambles back to his desk for Ashley’s chart. He flips to a chart of her weight.

BEN (CONT’D)
This is before we started the PriPack,

this is while she was using the PriPack, and this must be when she switched to Banting. That’s amazing. Almost no weight lost.

He flips to the insulin usage chart from the pump.

BEN (CONT’D)
Lots of insulin before the PriPack,

just as much while on PriPack, but the line is smoother except for the Fourth of July. And on Banting, less and less insulin used as she spends more time on the diet.

He flops back in his chair.

BEN (CONT’D) Holy crap. What have I done?

He puts his head in his hands and leans over his desk.

BEN (CONT’D)
What am I doing here? She must hate

me.

[Sandra Nelles]

Sandra’s Act 3 Turning Point

What I learned doing this assignment is that the Act 3 Turning Point is the protagonist’s lowest low and where they embrace the new ways.

3^rd ACT TURNING POINT: Lucy has been too busy to listen to the weather report and has no idea that a huge storm is approaching. If the wind and rain aren’t bad enough, she’s rear-ended sending her car into the ditch where she’s trapped and can’t get out.

[Deleted User]

Bob Colley – Act 3 Turning Point

What I learned doing this assignment is I’ve painted myself into a corner and I have no idea how this is going to end.

EXT. CAVE AREA – NIGHT

John lowers his binoculars.

JOHN

Shit. Cynthia just whacked one of her own guys.

Come on.

John and Kyle ninja the fuck out of moving closer to Cynthia and hold up behind some rocks.

John unshoulders his rile.

JOHN

I’m going to take out Cynthia. Like in the sci-fi movies

when you kill the lead alien all the others die for no apparent reason.

KYLE

That’s your plan?

JOHN

If it doesn’t work we’ll run like hell back the

way we came.

John steadies his rifle on the top of the rock and adjusts the scope to focus tight on Cynthia’s head.

Click.

Kyle is standing behind and over John with his service revolver next to the back of John’s right ear.

KYLE

Step it back Puss and Boots.

[Dale Griffiths Stamos]

Dale’s Act 3 Turning Point

What I learned doing this assignment is that I felt like the turning point happens in 4 consecutive scenes that increase in intensity.

KEY SCENES 4

Turning point, 1^st scene: Richard corners Elizabeth at her at her car telling her he doesn’t like Liz’s minimal contact rule. This scene is witnessed from afar by Sarah, the student who had flirted with Richard, which Elizabeth sees as a potential problem.

In the next scene, Elizabeth receives multiple voice mails from Richard, and that night has a sex dream about him.

Turning Point, 2^nd scene: Lowest point. Richard then turns up at her house, knocking until she finally opens. She does everything to convince him and herself that this relationship cannot go further. Despite herself, the attraction is too strong and she gives in. This is a near final death blow to her old ways.

OUTLINES:

EXT. UNIVERSITY PARKING LOT – AFTERNOON

Beginning: Richard tells Liz he wishes she wouldn’t avoid her

Middle: Liz gives him all the reasons that she needs to

End: The student, Sarah, sees them – this worries Elizabeth

INT. ELIZABETH DREWER HOME – KITCHEN – EVENING

Beginning Elizabeth pours herself a drink, feeling frazzled

Middle: She listens to voice mails – a couple from Richard asking her to reconsider

End: She flings the phone against the wall.

INT. ELIZABETH’S BEDROOM – MIDDLE OF THE NIGHT

Beginning She tosses and turns

Middle: She has a dream about Richard

End: She wakes in a sweat

INT. ELIZABETH DREWER’S HOME – LIVING ROOM – EVENING

Beginning Richard knocks and knocks until Liz lets him in

Middle: He tells her he can’t stop thinking of her, he’ll transfer to another school if needs be. She says a second transfer would reflect badly and he’d end up somewhere substandard.

End: He asks for her to let him stay, and they can hide it, which she protests, but then when he kisses her again, she gives in.

EXT. UNIVERSITY PARKING LOT – AFTERNOON

Elizabeth is walking to her car which is parked in the faculty section. Richard, leaning against his own car, sees her and moves toward her.

RICHARD

Elizabeth.

ELIZABETH

Were you waiting there for me?

RICHARD

No. Yes. What can I do, you’ve been avoiding me.

ELIZABETH

I informed you that’s what I would do.

RICHARD

“Informed” me? Geez, could you be more officious?

ELIZABETH

It’s for our own good.

RICHARD

Then why doesn’t it feel good?

ELIZABETH

Feelings have nothing to do with it.

RICHARD

Feelings have everything to do with it.

ELIZABETH

And that’s where we differ.

RICHARD

Or that’s where you pretend we do.

He puts his hand on her arm. She shakes it off. At that moment she notices Sarah Reeves, standing at her own car and staring in their direction.

ELIZABETH

Who is that?

RICHARD

Huh?

ELIZABETH

That student. Isn’t she in the philosophy program?

Richard turns and looks quickly at Sarah, and then back at Elizabeth.

RICHARD

Yeah. Sarah Reeves.

ELIZABETH

Why is she staring at us?

RICHARD

I… I don’t know.

ELIZABETH

I think you do.

RICHARD

Yeah, okay. She uh… she has a little crush on me.

ELIZABETH

Jesus. That is just the kind of problem that– Please, Richard, I’m going to get in my car now.

RICHARD

Okay.

ELIZABETH

This has to stop.

She glances at Sarah, and quickly gets in her car and drives away.

INT. ELIZABETH DREWER HOME – KITCHEN – EVENING

Elizabeth is pouring herself a glass of wine. She looks frazzled. She begins preparing dinner. She puts her phone on speaker and presses the first voice message:

Richard’s voice comes on:

RICHARD (V.O.)

Professor Elizabeth Drewer. This is your colleague, Richard Amado, registering a formal complaint. Being that the party of the first part, myself, and the party of the second part, your very desirable self, have now no contact whatsoever… other than extremely officious e-mails and memos, I protest that this is having a detrimental effect on our department, our students, and the universe as a whole. I say this out of entirely altruistic purposes and would ask that you resolve this issue forthwith by contacting me immediately. Or just answering your damn phone! Okay. My lawyer will call your lawyer.

Elizabeth frowns. She then clicks on another message:

PHILIP (V.O.)

Elizabeth, this is Philip. Wondering what happened to you at Monday’s departmental meeting. I really could have used you backing me up on that issue of Distribution Requirements. You seem to hold more sway with our illustrious chairman, can’t imagine why. Anyway, everything all right?

She clicks another message:

BARBARA (V.O.)

Hey honey, what’s going on? You sure are scooting off campus awfully quick these days! Is this about you-know-who? Call me.

She clicks another message:

RICHARD (V.O.)

Okay, look. Here’s how I see it. We’ve opened a Pandora’s box, I’ll admit it. Our attraction has unleashed all kinds of complications. Not the least of which is the possible loss of our jobs and reputations. But here’s the thing. Have you ever heard any version of the myth where Pandora could close the box, once it was open? Well, I haven’t either. Come on, Elizabeth! This is not something you want to throw away! Please… let me come and see you. I’m tired of leaving messages on your cell. Give me one more chance to try and–

Elizabeth flings the phone across the room.

ELIZABETH

Leave me alone! Just leave me alone!

INT. ELIZABETH’S BEDROOM – MIDDLE OF THE NIGHT

Elizabeth is tossing and turning. Suddenly, she opens her eyes and looks across the room and Richard is standing there. He slowly comes toward her, their eyes fixed on each other. He takes off his shirt and she soaks in his body with her eyes. He falls into her bed with her and they begin kissing hungrily.

Elizabeth wakes up! She has a fevered look in her eyes.

INT. ELIZABETH DREWER’S HOME – LIVING ROOM – EVENING

Elizabeth is huddled on the couch, with a blanket on her. We hear knocking, at first soft, then more persistent. Elizabeth ignores it. We hear Richard’s voice from outside the door.

RICHARD (V.O.)

Elizabeth! Please, let me in. I want to talk to you. I know you’re there! I see your car. I’m not going away this time! I will stay here and knock all night if I have to! Elizabeth, please, open up!

Richard starts knocking again. Elizabeth puts her hands over her ears. Finally, as the knocking continues, she gets up and goes to open the door, leaving the chain on.

ELIZABETH

Go away, Richard.

RICHARD

Elizabeth! Let me in!

ELIZABETH

Go away!

RICHARD

I’m going to start knocking on the neighbors’ doors next! Get the whole neighborhood out! Come on, Elizabeth! I just want to talk to you!

He starts knocking again.

ELIZABETH

Stop that.

(He continues)

Stop that!!

(He continues)

All right! Damn it!

She unhooks the chain, opens the door and Richard comes in. Elizabeth goes to the far end of the room as if he were poison.

RICHARD

Well, I’m happy to see you, too.

ELIZABETH

What do you want, Richard?

RICHARD

I want you to stop following me around.

ELIZABETH

What?

RICHARD

I wake up in the morning and there you are. I try to sleep at night and you’re there again. It’s like I’m breathing you in!

ELIZABETH

What do you want me to say?

RICHARD

That you’re experiencing the same thing.

ELIZABETH

I can’t.

RICHARD

Why?

ELIZABETH

You know why.

RICHARD

My God, Elizabeth, this arbitrary line you’ve drawn! Don’t you know that even if we never touched again, you couldn’t erase what happened between us?

ELIZABETH

Maybe not. But I can try to return to some semblance of reason. One kiss is a mistake, taking it further would be a choice.

RICHARD

That’s a strange ethics.

ELIZABETH

It’s a strange situation.

RICHARD

(beat)

I’ll quit the program. then.

ELIZABETH

No.

RICHARD

I can… find another school.

ELIZABETH

You know that will be near impossible. Two transfers in one year?

RICHARD

I’m sure I can find some place that will take me.

ELIZABETH

Somewhere substandard. I will not allow you to do that. Not with the mind you have.

He moves closer.

RICHARD

Then allow me to stay.

ELIZABETH

No.

RICHARD

Who will know? We will be careful.

ELIZABETH

I will know.

RICHARD

This is absurd.

ELIZABETH

No, it just is what it is.

A beat. Then Richard comes closer still.

RICHARD

You’re right. And what it is… is this.

Richard leans in and kisses her. She accepts the kiss for a moment before pulling away and moving to the other side of the room. She turns away.

Richard comes up behind her and whispers to her.

RICHARD

This isn’t a mistake. And it’s not an aberration. You know it as well as I do.

He turns her around to face him. Her resistance is gone. He kisses her and she succumbs. They move together toward the bedroom.

[Pamela Rice]

Pam’s Act 3 Turning Point

What I learned: This scene has the biggest arc of all my scenes in the story. My protagonist goes from being really happy in his New World / New Ways — to facing a major dilemma and most likely needing to leave this world.

INT. HENRI’S APARTMENT – DAY

BEGINNING: Henri & Acadia wake up happy from their intimate night of passion. Dog(s) are in bed with them. They share coffee. It’s the Sunday morning of the Dog Fair.

MIDDLE: Acadia is in the restroom fussing with her pony tail. Henri offers to help, creates a beautiful French braid. She leaves with dog Hank. Kisses him goodbye and plans to see him later at Dog Fair.

END: Henri sees that he missed a call from Detective Stone the previous evening. Calls him back and gets devastating news: his cover is blown. Marc and MacKay have figured out his hiding spot in VT, and Bad Guys are no doubt on their way. Det. Stone tells Henri: Stay where you are. DO NOT go to the Dog Fair.

[Fred Seo]

Fred’s Act 3 Turning Point

What I learned doing this assignment is that the Protagonist has to face their lowest low using some of the New Ways.

INT. CHURCH – DAY

Beginning: Jin doesn’t know how to fit in with this family’s culture.

Middle: Jin asks for his uncle’s help. He pities her but can’t offer an exact form of revenge. Jin fails in his attempt to find new allies.

– orders in Mcdonalds for dinner instead of making it at home

End: Come back to Seoul disappointed, having failed in his mission. He goes to see Emma.

INT. DATE WITH EMMA – NIGHT

Beginning: Jin explains how exciting it was to have sisters he never had, but he realized they didn’t feel like family. The ones he has known since he was a kid, those are his family. Can’t forget the memories he’s forged. He has to separate that from his father.

Middle: Emma supports this theory and recommends that he compartmentalize his feelings. She tries to reason how his father had to do the same. Ends up revealing the big secret.

End: Jin explodes and condemns her for taking his side and keeping this from him. Points her as a contributing factor to the problem/situation. Breaks up with her by intentionally trying to hurt her with the truth.

[aleta rafton]

Assignment 19

Aleta Rafton’s Act 3 Turning point

What I learned is that I have to keep amplifying the story. It was too simple in the beginning.

Outline Key Scene 4&5

Key Scene 4

Hank, Jack and Grandpa confront each other verbally

Jack hugs Hank and Shadow joins in knocking them all to the ground

Owl flies down from tree and swoops up ornament

Hank chases owl, makes valiant attempt to save ornament but just as Hank reaches for it, owl flies off

Hank, Jack and Grandpa watch in silence as the owl flies off

Hank admits there’s a distance range for the tracker. They may lose owl for good.

Scene 5

Newsroom where Julie works showing story that city is safe because lion was found trapped in dump in a container.

She packs up her things and leaves to go home

Key Scene 4

Hank

Not sure what to say. Not sure what to believe. You two have been pretty clear how you feel about me.

Jack

Really Han. We didn’t mean all of it.

Hank

But you meant some of it, right?

Jack

Well…..

(Jack runs and hugs Hank and Shadow joins in knocking them both over just as Hank is reaching down to pick up the ornament. Hank on the ground now with Shadow licking his face. The owl who’d been watching it all, swoops down to grab the ornament and flies off with the ornament hanging from its beak)

Jack

Oh no! No, no, no!

(Hank gets up and runs for the owl climbing over trees and garbage to catch it)

Hank

Stop, you crazy bird!

(Hank bravely makes a flying leap off a tree branch and reaches out as far as he can and just barely misses grabbing the hanging ornament. The owl flies out of sight with the ornament hanging from its beak)

Hank

Oh my God!!! This can’t be happening!

Grandpa

Now what do we do???

(Hank, Jack and Grandpa watch in silence as the owl flies off. Shadow is sniffing around. Hank jumps of the tree and starts running)

Jack

Where are you going?

Hank

The tracker has limited distance range. If we lose it now, we lose it forever!

(Hank turns on the tracker and keeps running back to the sidecar through the garbage. Shadow follows. Jack and Grandpa follow too)

Scene 5

Newsroom Interior. Story on screen of police at dump with lion in cage

Tech worker

Wonder how the lion ended up in that container?

Julie

Yeah. Pretty odd. But at least the drama is over and I can go home!

(Julie packs up and leaves office)

Julie

See you after New Years!

[mark Morris]

What I learned from doing this assignment is I need to re-order some scenes to make them work with the transformational events and the turning points. Its kind of fun, yet creatively challenging. I realize that without this protagonist emotional roadmap, scenes might be randomly structured without as much impact.

Mark’s ACT 3 Turning Point

OUTLINE

BEGINNNING

EXT. ICE CAMP – DAY

Jensen announces the build of the runway. Astonishment, skepticism.

MIDDLE:

EXT. RUNWAY – DUSK

The runway is built, then cracks develop as the ice shifts each day.

END

EXT. RUNWAY – DAWN

The shifting ice has almost ruined their work. Crack in the runway. They despair.

Key Scene 4 – Turning Point

EXT. ICE CAMP – DAY

Drake and two sailors go from tent to tent, ordering everyone to assemble. Drake is harsh and kicks the men who don’t move fast enough. Everyone is stiff from the cold.

The crowd assembles in front of the large tent.

EXT/INT -WOODEN SHACK – DAY

The women’s quarters. Victoria goes in to summon the women.

VICTORIA

We are all being summoned to a meeting.

LARGE WOMAN 2

Look who it is. The captain’s pet.

VICTORIA

Please come to the large tent right away.

ANOTHER WOMAN

And who says so? Its too cold to go out. Haven’t you noticed, or is your blood too hot?

VICTORIA

This concerns all of you. But if you have better things to do, you can rot.

Victoria leaves the shack. Soon some of the women file out and join the large crowd.

EXT.CENTRAL ICE CAMP – DAY

Jensen stands on a few crates above the crowd.

JENSEN

We’ve prayed for rescue. We’ve called Nome on wireless. We’re told a ship can not get through the ice, week after week – for two months. Not til the ice starts to melt. Dog sleds might reach us, but they can never carry 100 people.

The crowd is shivering in the cold.

VOICE FROM THE CROWD

What’s left?

JENSEN

There is something else I now have come to believe…is possible. How many of you have seen that movie at the picture show – King Kong?

Twenty people gesture affirmative.

JENSEN (CONT’D)

What saved New York might save us – the airplanes.

People have various reactions – from laughs, to skepticism to disgust.

DRAKE

Cap’n I know about ships, not much about air-ships. But how’s one of them gonna zoom by, and snatch us up?

JENSEN

We are the only ones able to make it happen. We are going to build a runway on the ice!

Their faces are full of skepticism and astonishment.

EXT. RUNWAY – (SERIES OF SHOTS)- DAY

Dozens of men and some women are toiling away in the ice. They dig the snow away. They crush and haul away tons of ice blocks, making a level area.

When shovels break, they make tools. When those break, they use their gloved hands. When gloves wear out, they wrap their hands in cloths.

Exhaustion overcomes some. They have to be carried back to their tents.

Day after day they labor in the field.

EXT. RUNWAY – DUSK

The runway is built. It stretches hundreds of feet, smooth and level.

Several men have done work for the day, look back and admire it.

FIRST WORKER

Damn. It looks good.

SECOND WORKER

After all this. It doesn’t work, there’ll be hell to pay.

EXT. – ICE CAMP – NIGHT

TE 6: A polar bear attacks the camp and she braves danger to save lives. A woman and baby are spared.

EXT. ICE FIELD -NIGHT

The masses of ice are slowly churning, compressing, grinding.A huge dark shape moves among the ice mounds.

INT. WOMEN’S SHACK -NIGHT

Victoria lies on her cot listening to the SOUNDS OF ICE CRACKING & GRINDING in a gruesome noise. Soon another sound is repeated, getting louder and nearer – a RUMBLING GROWL

EXT. WOMEN’S SHACK -NIGHT

One of the married couples is outside. A huge polar bear looms from behind the shack.

The man and woman both scream, startling the bear, which backs away.

Instantly more men rush up and the bear growls defensively. It lunges at the nearest man.

Men bring torches and lunge back at it. A snarling fight erupts.

The bear charges through camp in fear and anger. Spectators dive out of its way, narrowly escaping its claws.

Men with torches try to drive it away, but it circles back just as Victoria and another woman come out of the shack.

The bear heads straight for them, charging full speed. A man with a torch tries to fend it off, but it swipes at him, sending to the ground writhing as he drops the torch.

Victoria, on the ground, picks up the torch and shoves it at the bear. But it is not afraid, and comes at her. Suddenly a deafening gun blast echoes and the bear falls dead.

CU – JENSEN

Holding his rifle

EXT. RUNWAY DAWN

Several men are inspecting the ice. Victoria walks out to the runway. As she approaches, she sees them flop down on the ice, strangely.

Then she sees – the ice has shifted into jumbled blocks and bulging ridges. All their work is ruined. The runway is unusable.

She wanders in disbelief and despair. All her hope and will is drained. She drops to her knees and loses it completely.

[Mary Buchanan]

Lesson 19 ACT 3 Turning Point

What I learned from this assignment is I realized I left out two scenes that I need to add before this scene. the meeting with the bellhop and the chief and the administration meeting of Bradford Inn where they are informed about the alleged murder.

Scene INT BECCA’s SUITE DAY

Becca has not been located because she went to the spa early. Jill and Marty are

frantic because the wedding ceremony begins at 11:00

JILL

Where have you been? We have been calling you all morning!

BECCA

I went to the spa this morning. What’s going on?

MARTY

Travis has bought the ring. You are getting married at 11:00

in the chapel.

BECCA

I don’t understand.

JILL

He is so happy. Our plan worked. Get into your wedding dress..

Hurry! We must walk through the door at 11:00

MARTY

Mom and I arranged everything. I can’t wait to see everyone

so happy.

Becca goes to her bedroom and puts on her dress.

BECCA (V.O.)

I’m getting remarried in this tacky thing.

(to Marty) Where are the matching shoes?

MARTY

Oh, no, we forgot shoes!

BECCA

Don’t worry, I’ll wear my red pair that goes with my

beautiful red outfit.

JILL
Perfect. That will cook good with the matching red bouquet.

Becca walks out. Her hair looks awful.

MARTY

Sit. Let me fix your hair.

JILL

You look fabulous. Travis will shocked that we pulled this off.

Travis was almost bouncing this morning. Was’t he?

BECCA

Do you know what caused this change of attitude?

MARTY

I’m sure it was the setting, coming back here, the private

time you had together. WE haven’t see you but a few times.

Becca looks at Jill and Marty. She doesn’t understand what they are

talking about.

Scene INT BRADFORD INN HALLWAY DAY

Becca, Jill and Marty walk slowly down the hall until they reach the

chapel doors.

JILL
You stay out here until 11:00. When you hear singing, walk in and go

stand in front of the notary. Okay?

BECCA

Okay!

MARTY

Should I stay out here with her?

JILL
No, we are taking pictures first. See you in about ten minutes.

Scene INT CHAPEL

Photographer is taking pictures of the men with Dad. Jill and Marty enter

and Jill directs the rest of the pics. Jake Jones enters with his guitar and sits

to the side of the stage.

A beautiful floral arrangement on a stand is in the enter behind the notary.

Everyone is laughing and having a good time, except for Jake. He is frowning.

TRAVIS

Hey, can I get a picture with Jake? (To Jake) Do you mind?

JAKE
Of course, not.

Photo is taken.

NOTARY

Now, if everyone will be seated. We can begin. It’s 11:00.

Everyone takes a seat in the chapel. Travis sits on the right side on the

front row. The rest of the family sits on the left side, front row.

Travis sees everyone is on the other side and starts to move, but Jill tells him

to stay. Dad leans over and gives Travis a thumbs up.

Jake starts singing “I love you Truly” accompanied by the guitar. Travis

leans back in the chair, loving the private concert he assumes is for him. He

is impressed with the song.

Becca enters from the back and Jill and Marty look back. Jake looks at her

and sings directly to her.

When Becca get to the stage, she takes a step up. Travis sees her.

TRAVIS (V.O.)

Is Becca marrying Jake Jones?

The song is over.

The Notary waits for a groom to go stand by the bride. No man moves.

The NOTARY
Will the groom please come forward?

Travis looks at Jake. Jake looks at Travis.

Dad and Charlie look at Travis.

TRAVIS

Who is the groom?

THE NOTARY
It says on this piece of paper – Travis Maxwell.

TRAVIS

(jumps up) That’s a lie. I am in love with Liz.

Becca looks at Jill.

JILL
That’s can’t be. Who is Liz? You’re in love

with her. (pointing to Becca)

TRAVIS

I don’t love Becca. I love Liz.

ANNABELLE

You’ll never marry my daughter. You two timmer.

Annabelle grabs a candlelabra and heads to Travis.

TRAVIS

Liz is not your daughter. She’s a salesman who travels.

Travis is looking at Annabelle and preparing to stop her from

hitting him.

J

Jake drops his guitar and heads to Travis and hits him from

the side and knocks him to the ground.

Marty faints. Charlie runs to help her.

Jill runs to help Travis. Dad runs after Jill.

The police come out of all the entrances with guns in

hand.

Becca screams “Don’t shoot me!” over and over. She runs

into the notary who falls and knocks down the flower

arrangement. The flowers and water fall out on Becca, ruining

her hair and dress. She tries to crawl for cover and her dress is

hung under the notary.

The police grab Jake and put him in handcuffs. Travis is hurt

and his jaw is swelling. Jill starts crying on Travis.

Another police office grabs Annabelle and takes the candlelabra from her.

She is screaming, “Stay away from my daughter.”

Jake is screaming, “He’s the bad man. He needs to be handcuffed. Not me. I am

innocent.

One police office grads Dad and pulls him to the side and stands in front of him

to protect him from being the murder victim. Dad wants to return to his wife so

he fights the policeman.

One police office runs to back so no one can enter the chapel.

The head of security screams for everyone to shut up. He finally blows his whistle.

Everyone gets quiet.

SECURITY CHIEF

We are going to get to the bottom of this situation, but the first

question is, “Which one of you is Sarah?”

Scene INT HALLWAY OUTSIDE OF CHAPEL DAY

Liz is pacing outside of chapel. The policeman is now standing outside the front door.

When the door opens, Jill, Dad, Marty and Charlie walk slowly out. The ladies are crying.

The photographers walks out, shaking his head.

The notary walks out, clothes are wet. He is wiping with a handkerchief.

Jake walks out. Travis is following him. Jake goes to Liz and gives her a big kiss. When Travis

sees it, he turns around and asks the policeman for another way to leave the chapel. The policeman shows Travis the side door.

LIZ

You are never to kiss me again. We are through. Do you understand?

JAKE

Travis is trouble. I am your soul mate. When are you going to

accept that?

LIZ

I have never loved you. We sang together beautifully. That

was all. Your leaving town after graduation was the best thing

that happened to me until yesterday.

JAKE

What happened yesterday?

LIZ

I found someone who is interested in me for who I am?

Goodbye, Jake.

Scene INT TRAVIS’ TEMPORARY APARTMENT DAY

(on phone ) Is a cabin available for the next train to Jacksonville? One way.

Travis Maxwell. I’ll be there in an hour. Thanks.

(another call) Sydnee, is the Christmas lunch invitation still open? (BEAT)

I’ll arrive in Jacksonville Christmas Eve. (BEAT) Thanks. (BEAT)

I think I need to tell you in person. Otherwise, You wouldn’t

believe it.

Scene INT ANNABELLE’S BEDROOM DAY

SPLIT screen; Annabelle and LIZ

LIZ

Can you tell me what happened?

ANNABELLE

Sweetheart, I have the headache of a lifetime. I am going

to bed until my head stops throbbing. Forget Travis .

Forget Jake. Life is too complicated. I promise we

will talk when I get up.

Scene: INT CHAPEL DAY

phone call) LIZ

Sam, do you know what happened in the chapel?

SAM

I talked briefly to the chief. It was all a misunderstanding. I

will have a report by the end of the day tomorrow.

LIZ

Was Travis involved in that?

SAM

His whole family was a part of it.

LIZ

I tried to contact him, but he doesn’t answer.

SAM

He stopped by about twenty minutes ago. He turned in

his key and checked out. He said he was tired of dealing

with people with secrets.

LIZ

I wonder who he was talking about?

SAM

According to the chief, Travis was scheduled to be

the groom in today’s ceremony.

LIZ

That can’t be! (BEAT) Could you have made a mistake?

SAM

No, that’s what the chief said. Travis.

LIZ

Thanks,

She laid the phone on the bed and cried.

LIZ

Travis’ whole family are con artists. They fooled us all.

I guess I will be alone forever.

[Ricardo Williams]

Subject line: Ricardo Williams Act 3 Turning Point

Answer the question “What I learned doing this assignment is the importance of trimming the script and focus on driving the tempo. I watched the new movie “Shiva Baby” and it gave me some great incite. I went back and trim my opening scenes as a result.

1. Outline Key Scene 4 – Turning Point 3.

2. Write Turning Point 3 – Protagonist faces their lowest low.

INT. HOME – DAY

JOSEPH JR visits JOLYN from his college break. She reaches out and hugs him.

JOLYN

Well, if it isn’t my handsome son. What a surprise!

JOSEPH JR

Hi MOM. I was thinking. I want to come and work with you and help you manage the business.

JOLYN

Why will you want to do that? I thought you wanted to be an engineer?

JOSEPH JR

No MOM. I just want to help you.

JOLYN

Are you saying after spending one year at FISK UNIVERSITY, you are going to give it all up to help me? Son, I can’t let you do that.

JOSEPH JR

I have dropped out of college. I want to help you, Mom.

JOLYN

I wish you didn’t. This is a hard business, but I can let you manage the new prototype building on 7959 KING DRIVE, but son it’s going to be a lot of work.

INT. BALDWIN ICE CREAM PARLOR – KINGS DRIVE – DAY

JOLYN and JOSEPH JR are observing the customers as they come into the newly opened building. They’re not happy. The white female teenage cashier is smiling as she serves the customers.

CUSTOMER ONE

I can’t believe how BALDWIN ICE CREAM sold out the BLACK COMMUNITY.

JOLYN is about to answer the customer, but holds herself back to allow JOSEPH JR handle it.

JOSEPH JR

What do you mean?

CUSTOMER ONE

First you use White contractors to build your store and now you hire a white cashier. You sold us out.

JOSEPH JR

But we also have Black workers.

CUSTOMER ONE

You sold out. Let us boycott this place. They sold out on us.

Other customers shout to boycott the shop.

JOSEPH JR

Can we really solve discrimination by engaging in it ourselves?

CUSTOMER TWO

We don’t have jobs to give to white folks who don’t need it. We are not going to support this.

Still shouts of boycott continue.

INT. HOME – DAY

JOSEPH JR sits with JOLYN in the living room. He seems agitated and frustrated.

JOLYN

What’s the matter son.

JOSEPH JR

MOM, I don’t want to manage any more. It is way too hard and we are not making a profit. I am going back to college and complete my degree.

JOLYN

It’s been a tough year for business, son and with Black folks not supporting the shop, I will have no choice but to close it down. In a way, I’m glad you have decided to go back to college. Business has been a constant struggle. We are not making money with the Airport Concession Stands either. I feel like my hands are tied.

JOSEPH JR

MOM, why it feels like you were never around when I was younger? So many times I felt alone and depressed.

JOLYN

Son, I am so sorry. I had to get out and make things happen for us. When your dad died, we were left with a struggling business. I had to take matters into my own arms to save it, but unfortunately it took me away from you. I wish I had spent more time with you.

JOSEPH JR

It was hard Mom.

JOLYN

I am so sorry Son. I wish I could have done it different, but I was up against a wall.

JOSEPH JR

I understand. The good news though, I have qualified for the DUAL DEGREE ENGINEERING PROGRAM at CLARK UNIVERSITY in Atlanta. I won the top honor out of 400 applicants nationwide.

JOLYN

Look at you. I am so proud of you.

JOSEPH JR

I thought you were going to be disappointed that I am not staying to develop the family business. I realized business is not for me.

JOLYN hugs her son.

JOLYN

That’s the important lesson in life. It is finding what’s best for you and committing to it. It will be all right, Son. It will all work out.

INT. OFFICE OF BALDWIN ICE CREAM CO – DAY

JOLYN opens a letter on her desk. It is from the Federal Government. They are suing Baldwin Ice Cream. She calls for an immediate meeting with the drivers. She is holding the letter, her hands shaking uncontrollably.

JOLYN

Are there any, any drivers here using underage kids to off load deliveries?

DRIVER 1

We’ve done it in the past, but we no longer do.

JOLYN

Well, I have a letter from the Federal government suing our company. They claim our drivers are using underage boys as helpers. Seven months ago, they were awarding us with the Entrepreneur of the Year Award and today, they are suing us.

DRIVER 2

MRS. ROBICHAUX, we shouldn’t be charged with something everybody does. All the delivery drivers for other stores do exactly that.

JOLYN

We are going to fight this. We are not giving in.

INT. CAFE – DAY

RITA ROGERS sits with JOLYN for lunch.

JOLYN

The Federal government is suing me for what they are calling driver’s aid. They are saying our drivers employ under-aged boys to help them off load our trucks. I am going to fight them every step of the way.

RITA ROGERS

In my experience, nobody brings the Federal government to court and wins. These cases normally drag on for years. You may as well pay them. What are they asking?

JOLYN

They want us to pay $500 a day with back pay stemming from the alleged violation.

RITA ROGERS

That’s impossible.

JOLYN

It is, and that’s why I am going to fight it.

RITA ROGERS

What evidence do they have?

JOLYN

I don’t know. They are asking anyone who has off loaded our trucks in the past to come forward with a promise to compensate them. I’ll show those fools how to run an investigation.

INT. OFFICE OF BALDWIN ICE CREAM COMPANY – DAY

JOLYN is seated in her office. She receives a package. It is from an investigator. It contains labelled photos. She writes a letter. She reads the letter aloud.

JOLYN (V.O.)

In the matter of the Federal Government vs. Baldwin Ice Cream Company, we understand your concern about the use of minors as drivers’ aid. We at Baldwin Ice Cream Company have a strict policy against such procedures. If you have any proof of our drivers engaging in such acts please provide them to me and we will be happy to investigate the issue. In the meantime, here are photographs showing 6 major White corporations engaging in the use of drivers’ aid with minors. Hope this helps with your investigation and we look forward to hearing from you soon.

JOLYN seals the envelope and addresses it to the Federal Government.

INT. FEDERAL GOVERNMENT – DAY

FEDERAL AGENT picks up the letter on his desk from BALDWIN ICE CREAM COMPANY. He reads it aloud, then looks at the photographs.

FEDERAL AGENT

Son of a Bitch.

INT. CHICAGO DINER – DAY

JOLYN meets with RITA ROGERS.

JOLYN

I’ve received a letter from the Federal Government. They have dropped the charges against Baldwin Ice Cream Co.

RITA ROGERS

How did that happen?

JOLYN

I simply volunteered to help them with their investigations and sent them some photographs of several major corporations that are engaging in driver’s aid, the actions we are accused of. The Federal Government would need to go after the powerful white organizations to appear equitable when taking Baldwin down.

RITA ROGERS

They underestimated your tenacity.

INT. OFFICE OF CHICAGO AVIATION AGENCY – DAY

JOLYN meets the MANAGER of Chicago Aviation Agency to discuss her plans to close the airport concession stands.

AVIATION MANAGER

MRS. ROBICHAUX, if you close your 5 stands it will look bad on you. You have been in the news for your groundbreaking accomplishments. We need you to stay.

JOLYN

No, it would look bad on you.

It makes no business sense for me to keep the locations. We are not turning in a profit and it is draining our wholesale finances. I will close the stands and accept my losses.

AVIATION MANAGER

I don’t want that kind of headlines for our department. We may have a buyer if you would like to consider that option.

JOLYN

Sure. I would be happy to sell.

AVIATION MANAGER

That would be a better option. We get a lot of people inquiring about concession stands.

INT. OFFICE OF BALDWIN ICE CREAM CO – DAY

JOLYN is going through her accounting books. A Japanese gentleman is standing at her door.

MR. WU

Hello MRS. ROBICHAUX.

JOLYN

Yes. Come in. How can I help you?

MR. WU

My name is MR. WU. The Chicago Aviation Agency recommended that I speak to you. I am looking to purchase your concession stands at O’Hare Airport.

JOLYN

Are you in the ice cream business?

MR. WU

Our company sells steaks, and we are looking to expand. Would you be interested?

JOLYN

Most definitely.

MR. WU

I will need your five locations.

JOLYN

You’ve got it.

[David Holloway]

Dave Holloway’s Act 3 Turning Point

What I learned doing this assignment is that having the character face the total failure of his plans will draw the audience’s sympathy, and cause them to root harder for him as he tries to come back from this ultimate low point.

Outline Key Scene 4 – Turning Point 3

BEGINNING: Nigel wakes in the morning at the hotel room he and Roger rented the night before. His cell phone on the nightstand is blinking, indicating a message.

MIDDLE: He watches the message. Livia, looking very worn down and sad, tells him the warden has informed her she will be executed in two days. She says she’d wanted more than anything to see him one last time, and is heartbroken that she won’t. She tells him she will always love him, and says good-bye.

END: As Nigel sees her image fade from the phone, his head lowers. He feels that hope is lost.

Turning Point 3

Nigel lies in bed in the hotel room. He looks haggard, as if he hasn’t slept. Finally he gets out of bed and dresses. He glances at the nightstand, and sees his cell phone is blinking, indicating a message. He sits down on the bed and presses a key. Livia’s face appears on the screen. She looks very worn out and sad as she speaks softly.

LIVIA: Nigel dearest, I’m not sure where you are, but I hope this message reaches you. The guard who’s a friend has lent me her phone. But I’m afraid this will be the last time I’ll ever speak with you. The Warden has informed me that I’m to be executed in two days. I had held out hope I might see you one last time, but it appears that I won’t. I just want to tell you that our years together were the happiest of my life. You were like a dream to me – a dream from which I never awoke. I’m sad to leave you, but I feel as if I’ve already had more happiness, in three years with you, than most people know in their entire lives. Please don’t try to rescue me, Nigel. The prison here is so brutal and every corner of it is under heavy guard and surveillance. It would be impossible for you, and I don’t want you to get arrested in this awful place. You must return to England and have a happy life. And now I’m afraid I must go, my dearest one. I’ll always love you.

As Nigel watches her face disappear from the screen, he hangs his head in despair. Roger awakes and looks at his friend with concern.

ROGER: What is it, mate?

Nigel’s tone is heavy with complete despair.

NIGEL: I’ve had a message from her. They’re going to execute her in two days.

Nigel hangs his head again and falls silent. Roger tries to sound encouraging.

ROGER: We’ll have to get moving, then.

Nigel doesn’t reply.

[MICHAEL O'KEEFE]

Clendon – Act 3 Turning Point

[1] What I learned doing this assignment? How to build up the elements and keep the tension increasing in a measured manner.

—————————————————————-

[2] Outline Key Scene 4 – Turning Point 3.

INT/EXT. SUV – MOMENTS LATER

BEGINNING: Clendon receives a dear John text from Gina, breaking up with him. He drives to her house.

MIDDLE: Clendon discovers she is gone, the whole family has moved. He gets a text from Detective Ramirez. She knows who killed Mary and they have to meet and talk.

END: Disgusted, depressed, having lost his girl and having to deal with the detective who knows, he lies down in the snow and makes a snow angel. From this point forward, he realizes lies have taken everything from him. And yet, to save Natalie that is exactly what he must do. Lie! Black and white is now a world of grey —

—————————————————————-

[3] Write Turning Point 3 – Protagonist faces their lowest low.

INT/EXT. SUV – MOMENTS LATER

Clendon READS Gina’s text, hangs a U-turn, drives over to her parents’ home. He whips into the driveway. No cars, No one appears to be home.

He marches up to the front door, rings the bell. No answer. He goes to the living room window. Curtained, he can’t see inside.

At the side gate, reaches an arm over, unlatches it.

There is only snow. No foot prints, no signs of life. He peers in the patio window. Everything is in boxes!

Clendon’s world comes crashing in around him. On cue, he gets a text, quickly checks it – hoping it’s Gina… Instead:

INSERT – TEXT

“I have a second match. We need 2 talk. Meet me at Starbucks Silver and 6th – thirty minutes.”

Clendon texts back:

“Be there in 1 hour.”

BACK TO SCENE

Clendon collapses in a lounge chair covered in snow.

FLASHBACK – GINA AND KLENDON’S PATIO – PHOTO SESSION

Dressed for Homecoming…pinning her corsage, Gina pretends he poked her. Matching boutonniere on the lapel of Clendon’s jacket.

KISSING when Gina’s mother goes inside for her camera.

BACK TO SCENE

Clendon scoops up a handful of SNOW — scrubs his face with it — skin turns red.

CLENDON “First JR and now you! Fuck family and fuck – fuck all of this!”

Clendon reaches up as if to rip off his crucifix — recalls he gave it to Gina — recalls too, his mother’s was missing!

FLASHBACK – MORGUE

Clendon going through his mother’s personal effects: purse, wallet, credit cards, photos, bracelet, rings — no cross!

CLENDON (stunned) “I-I’ve got to –“ Hope dies as he realizes he has no idea who took his mother’s cross, or if indeed it was even taken.

BACK TO SCENE.

CLENDON “You don’t know shit.”

He drops to his knees in the snow, falls back. He throws his arms out and begins making an ANGEL in the snow.

[Gayle Jackson]

Gayle’s Act 3 Turning Point

What I learned doing this assignment is the emotional low for the main character has to coincide with the low point in the story and the emotional high for the antagonist.

4. Protagonist faces their lowest low

BEGINNING: Josie fights both Rick and Samantha and sets a fire – Samantha puts it out as Josie about to kill and Rick knocks Josie down.

MIDDLE: The ghosts throw things at Josie and the Djinn opens a portal that strikes the Cowboy, turning him into particles – effectively killing him – sending his spirit up into the light

END: As the ghosts mourn and Rick and Samantha close the portal to prevent it from turning the other ghosts, Josie smiles and walks out.

INT. LIVING ROOM

Josie recites an incantation in Farsi.

NURSE: What’s happening?

A PORTAL opens and a ray of light descends into the room, sending light shafts like laser beams cutting down anything in its path.

RICK: What is she doing?

SAMANTHA: It’s not Josie anymore. The Djinn is in control.

RICK: Whatever it’s doing – I’m going to stop it.

SAMANTHA: Rick, no. We don’t know what it wants.

RICK: It wants us dead. Isn’t that obvious.

SAMANTHA: It can’t be that simple.

RICK: It is for me.

He takes the GUN.

SAMANTHA: You’ll kill Josie.

RICK: Let’s see if I can scare her into fighting back.

And as he aims at her back, she turns and one of those light shafts strikes – causing a fire to blow Rick backward.

COWBOY: I’ve had just about enough of this.

CAROLINE: This is no time to be a hero.

COWBOY: This is exactly the time.

NURSE: I believe in you.

The Cowboy uses all of his astral energy to summon Rick’s gun and is about to fire when – Josie summons another shaft of light that

STRIKES COWBOY – cutting him in half and disintegrating his sprit into particles, which ascend into the light.

NURSE: {Name!}

Caroline holds all the ghosts back.

Rick and Samantha put out the fire.

SAMANTHA: We have to close that portal before it kills us all.

RICK: Josie used the {NAME OF RITUAL}

SAMANTHA: Are you sure?

RICK: Yes.

Samantha smiles, seeing Rick’s new confidence doesn’t include the obnoxious bravado.

RICK: Hold on to something.

Samantha does as she’s told and Rick uses the ritual from the book to close the portal.

All is quiet.

SAMANTHA: Everybody okay?

CAROLINE: Cowboy.

SAMANTHA: I’m sorry. He was a positive spirit.

NURSE: At least he’s gone into the light.

RICK: Where’s Josie?

They all look around and see the front door wide open.