Robert Wood
Forum Replies Created
-
Robert Wood’s Chronological Edit
What I learned is that this is what I’ve already instinctively been doing in the last couple lessons, despite having in mind the specific lesson’s goal. I find it impossible to see an error and not correct it at the time I see it. Same with a bad line of dialogue (although I still have lots of those!) This is really how I always edit, and as I’ve just done a full chronological edit for lesson 27 I’m also marking this one complete as well, knowing full well that there’s still lots of work to do on the script as it’s only 76 pages long and I still need to find a considerable amount of story somewhere…
-
Robert Wood – Solved Scene Problems.
What I learned doing this assignment is a reinforcement that writing and editing is a progressive process. I have been going through the script with the various assignments in mind, editing along the way and adding wherever things come to mind. I’ve been looking at character, dialogue, scene structure, and the flow of the entire piece. The script is still short, but has grown to 76 pages, so it’s starting to feel reasonably satisfying.
-
Robert Wood
I agree to the terms of this release form.
GROUP RELEASE FORM
As a member of this group, I agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.
This completes the Group Release Form for the class.
-
Hello everyone – I’m Robert Wood. I’ve written and co-written a number of scripts for both film and tv and am looking forward to eventually having something produced! I am just finishing up the 30-Day Screenplay course here, which is why I’m late joining in with you here.
Something odd about me? I’m an expert on the 1970s sci-fi tv series Space: 1999 and have written two books about it, the second of which is being released in March.
-
Robert Wood’s – Solving Character Problems.
What I learned doing this assignment is a reinforcement that in some ways the structure of my script is less typically “Hollywood” than this course is prescribing, as are its character conflicts. That said, I am very much aware that the dialogue for my character Bert needs considerable work in order to better reflect the fact that he is suffering from dementia. That is going to be an ongoing effort as I work on rewriting the script.
-
Robert Wood’s Solved Structural Problems.
What I learned doing this assignment is that there are a few points where my structure doesn’t quite match the desired structure of the assignment, but I’m not sure that’s necessarily a bad thing. I do need to continue doing more work expanding the script throughout as it is still too short.
Act 1:
Opening/Old Ways: I think the opening scene is engaging and lures us into the story. Matt’s “Old Ways” show up in his agitated, cynical, tense behavior and dialogue.
Inciting Incident: It shows Bert’s need to get out on the water and find the monster, which propels the story. Also, Matt begins to uncover the mystery about Harris.
Turning Point: The Turning Point locks us & Matt into the journey with “no going back” by showing the depths of Bert’s manic obsession to find the monster.
Act 2:
New Plan: Matt continues efforts to pack up his dad’s life and move him to a care home, while also uncovering more of the mystery about Harris.
Plan in action: Matt pursues this through talking to Bert and remembering times from his childhood.
Midpoint Turning Point: The midpoint doesn’t change the meaning, but it does set Matt off on the decision to go along with Bert’s need to search for his monster.
Act 3:
React/Rethink: Matt has agreed to go out on the lake with Bert; this process sets up the big reveals to come.
New Plan: They are on the water searching for the monster.
Turning Point: The lowest of the low. Bert remembers the day Harris died and the revelation that he killed him accidentally leads both Bert and Matt to their lowest point.
Act 4:
Dilemma: Matt must accept his father’s past affair and the accidental murder he committed and make the decision not to report it to police and allow Harris to remain a missing person forever.
Climax/Ultimate @xpression Of The Conflict: This is the ultimate expression of the conflict because it forces Bert and Matt to confront the reality that Bert himself is the monster on the lake that he’s been haunted by all these years. The “fight to the death” has already happened.
Resolution: Matt understands his father fully and accepts him.
New Ways: Matt’s New Ways are patience and kindness and understanding for his father, and he does exhibit those in action and dialogue in Act 4, particularly as it comes to a close.
-
Robert Wood Filled in Missing Scenes
What I learned… I’ve not finished this assignment as there’s much more work to do than can be done in one day. I did add 6 pages today to my script, mostly in bits and pieces here and there, fleshing out scenes, weaving in certain threads more strongly, etc… The script is still only at 68 pages so there is a LOT of work still to be done.
There was no specific scene added that I feel like posting here today.
-
Robert Wood’s Act 4 Resolution
What I learned is another confirmation that my script is really short… only 60 pages. There will be a lot to do in rewrites!
INT. RETIREMENT HOME ROOM – DAY
This is Bert’s room, without doubt — the main wall is covered in Ogopogo clippings, photos, and notes.
Bert sits at a desk, staring at the wall, a scatter of paperwork before him.
A knock at the door.
BERT
Who is it?
The door opens, revealing Matt, carrying a box.
MATT
Hey, Dad.
BERT
Visiting hours, huh?
MATT
Come on, that’s not fair.
Matt puts the box down on the bed.
BERT
What’s that?
MATT
Just some stuff…
Matt nods that Bert should go ahead and open it.
MATT
Go ahead…
Bert lifts the lid of the box. Inside are all the items related to Harris: photos, letters, and the Nessie pin resting on top.
MATT
I don’t know how we missed this box when we were moving you in here, but… here it is now.
Bert touches a few items.
BERT
Harris.
MEMORY FLASHES of happy times with Harris.
Bert looks up from the box.
Harris now stands in Matt’s place.
Bert stands, faces him.
BERT
I’m sorry.
Harris nods and half-smiles, as if saying, “I know — it’s okay.”
Bert raises his hands and holds Harris’s head, his fingers woven through the young man’s hair.
MATT (V.O.)
Bert.
BERT
Harris.
MATT (V.O.)
Dad.
Bert’s vision shifts in a blink. His fingers are now in Matt’s hair. He pulls them down in confusion.
BERT
Harris — where are you?
MATT
He isn’t here.
BERT
Harris — don’t go. Don’t leave me!
Matt grabs Bert’s shoulders, focusing him.
MATT
Dad! It’s just you and me here.
Bert returns to reality, like a punch in his gut.
Bert has no words.
MATT
I’m sorry if this brought back sad memories.
BERT
No — don’t be sorry.
MATT
I just thought you’d want this stuff.
BERT
Thank you. And the memories aren’t sad… except for the end.
MATT
I’m glad.
BERT
It was worth it… to remember him… and to finally reveal the truth.
Matt looks around the room; indicates the Ogopogo wall.
MATT
I’m sorry we never found it.
BERT
No… but we found something else.
MATT
Yeah…
BERT
I suppose you’ll be leaving now? Back the big city…
MATT
Yeah… about that… I’m not going back.
BERT
What about work?
MATT
There’s stuff I can do here.
BERT
But the house is sold…
MATT
My share of the money from the house is going to come in handy — thank you for that.
BERT
Of course.
MATT
And I’ve listed my place in Vancouver.
BERT
Where will you live? I don’t exactly have room here!
MATT
You probably don’t remember, but there was a winery listing that I was looking at–
BERT
At the dinner table! I may forget a lot of things, but bad manners I remember.
(lightbulb goes off)
You bought it?!
Matt nods happily.
MATT
I figured I’d see if I can’t grow a good grape.
BERT
My son, the farmer.
MATT
Vintner.
BERT
Fancy.
MATT
I take possession in a month.
BERT
I expect you’ll get me a weekend pass out of here and show me around the new place?
MATT
It’s a deal.
-
Robert Wood’s Act 4 Climax
What I learned is that this isn’t really the climax as that’s already happened, but this is another character climax/turning point, which leads into the end of the story fairly well.
INT. FAMILY HOUSE – KITCHEN – MORNING
Matt packs glasses into a moving box.
REALTOR (O.S.)
(calling)
Hello?
MATT
Hello?
He follows the voice to the
FRONT DOOR
It’s open. The REALTOR stands inside.
REALTOR
Hi Matt — the door was open, so I–
MATT
Open?
REALTOR
Yeah, so I–
Matt panics.
MATT
Dad?!
(BEAT)
You didn’t see him, did you?
REALTOR
No.
MATT
DAD!!
No answer. He runs out into the
FRONT YARD
MATT
DAD!!
Nothing. And no sign of Bert up or down the street.
Matt runs back inside and out again in a flash with car key in hand. He jumps in and goes…
INT. CAR – DAY
Matt makes an instinctive turn left leaving the driveway.
Heads off down the road, eyes peeled for Bert.
He drives for blocks. Nothing.
MATT
Dammit — where are you?!
Glances in the rear-view mirror signal his doubt: Was this the wrong way?
Suddenly — there! A figure stands at the next street corner…
Is it?
MATT
Yes!
He pulls over, jumps out…
EXT. STREET CORNER – DAY
Bert stands staring up at the street signs. Lost.
Matt takes his shoulders.
MATT
Hey, Dad.
BERT
Matty?
MATT
Yeah, it’s me. What are you doing here?
BERT
I… I went for a walk.
The weight of Bert’s confusion hits home as he looks up at the street signs again without recognition.
BERT
Where are we?
MATT
It’s okay — I’ll take you back to the house.
Matt, arm comfortingly around Bert, leads him to the car.
-
Robert Wood’s Act 4 First Scenes
What I learned is that my script continues to fall behind in overall page count. I think the first draft is going to be lucky to hit 75 pages, which is disappointing, and I put that on an inadequate amount of detail and development work done in the story development / beat sheet phase. But there’s nothing else to do at this point but keep pushing forward with what I’ve got…
EXT. BOAT ON WATER – RATTLESNAKE ISLAND – DAY
Young Bert panics, looks around to see if there are any other boats nearby.
The horizon is clear.
YOUNG BERT
Good, good…
Young Bert and Bert both race to the helm and kick the engine into high gear.
Matt is knocked backward into a seat.
The boat rapidly picks up speed, pulling away from Rattlesnake Island…
Matt struggles up against the boat’s momentum to get to Bert at the helm.
MATT
Bert! Bert!! Slow down! What the hell are you doing?
Matt reaches Bert and attempts to pull back on the throttle, but Bert resists.
MATT
Take it easy, Bert! Slow down!
Bert seems unresponsive, as if he can’t hear Matt.
MATT
What are you running away from? There’s no-one else out here for miles!
Matt grabs Bert’s shoulders and twists his body so they face each other.
MATT
Bert! Listen to me! It’s Matt!
Bert comes to his senses and releases his grip on the throttle.
Matt grabs the throttle and slows the boat.
MATT
It’s okay. It’s gonna be okay.
Bert collapses into a seat.
EXT. BOAT ON WATER – DAY
Matt consoles Bert as they drift on the lake.
BERT
I killed him.
MATT
It was an accident.
BERT
I’m afraid the outcome’s the same either way.
MATT
I don’t know how you’ve lived with this for forty years.
BERT
Don’t you think I haven’t struggled with this over the years? I’ve told myself I’m not guilty, but it doesn’t do any good — it doesn’t make it any better! It’s driven me crazy!
MATT
Yet you didn’t tell anyone… you didn’t confess…
BERT
You don’t know how many times I thought about calling the police and confessing what really went on… what really happened! I didn’t think I could take it anymore… But then what would it do? Where would it get me? Would it clear my conscience or just put me behind bars? And I had a family…
Matt nods encouragement.
BERT
I was panic-stricken. I felt like I was being sucked into a black hole, on the verge of breaking down and confessing…
MATT
But you didn’t.
BERT
Somehow, I came out the other side… The disappearance was never solved. Oh, the police searched for a while. I was interviewed, but things were different back then… And as the weeks went by and his body was never found, the investigation died out.
MATT
Simpler times.
BERT
Harris remains a missing person to this day… And now, the only person who knew the truth — well, until you now, of course — is losing his mind… And the mystery of what happened to Harris was going to disappear with my memory.
MATT
Did he have a family? They should know the truth–
BERT
Should they? What good would it do?
MATT
Closure.
BERT
It’s been forty years — that book was closed long ago.
MATT
And you lived with it.
BERT
Yeah… Yeah, I lived with it. I’m sure you’re wondering if I cheated on your mother again? Well, I didn’t. Never.
MATT
A one-time thing.
BERT
It didn’t have to be… But I kept my desires secret.
MATT
And never lived your authentic life.
BERT
What is that? We never talked like that back then. It just wasn’t done — not for most of us, and certainly not someone like me, with a family and a community… What was I going to do? No, there wasn’t a choice.
MATT
It could’ve been different for you and Harris.
BERT
Maybe now, sure… but not back then.
-
Robert Wood’s Completed Act 3
What I learned doing this assignment is that I’m going to have a huge amount of additions to make in the rewrite phase!
EXT. FAMILY HOUSE – DAY
A haunting grey winter day.
Front door opens – Matt emerges, followed tentatively by Bert. Matt looks up at the sky.
MATT
You better be sure about this.
Bert searches himself – he’s missing something.
MATT
What is it?
BERT
If I knew that I wouldn’t be standing here like an old fool patting my pockets!
MATT
What did you normally take with you out on the lake?
Bert goes through a mental checklist. A lightbulb goes off! Turns back into the house.
Matt stands on doorstep as a 1980-vintage car pulls over on the road in front of the house.
Matt nearly recognizes the car and takes a step toward it as Young Bert and Young Matt (downcast, dragging a backpack) emerge from the house.
YOUNG MATT
But I want to go with you guys!
YOUNG BERT
You’ll have a fun sleepover with Sam at his house.
The WOMAN driving the car waves to them. Young Bert waves back. The backseat window rolls down revealing SAM, 10.
MATT
(under his breath)
Sam.
SAM
Come-on, Matt! Look, I’ve got the new Star Wars figures!
Sam waves two Star Wars action figures out the window.
YOUNG MATT
(to Young Bert)
Star Wars is stupid.
YOUNG BERT
I thought you liked Star Wars?
YOUNG MATT
Let me go with you.
YOUNG BERT
Sorry, not today, bud — Harris and I have a bunch of boring work to take care of. You can come again next time.
Young Matt sulks.
YOUNG BERT
Okay?
YOUNG MATT
Okay.
YOUNG BERT
All right — now cheer up, and go and have a good time.
Young Bert ruffles Young Matt’s hair.
YOUNG BERT
See you tomorrow.
The boy goes to the car and gets in. Waves as the car drives off.
Matt and Young Bert turn in near unison back to the house.
Harris stands in the doorway.
HARRIS
Now I feel bad.
YOUNG BERT
Don’t worry — he’ll have fun. So will we!
Bert steps forward in the doorway, triumphantly raising his hand…
BERT
Binoculars!
Bert strides to Matt’s car with every ounce of enthusiasm Young Matt lacked.
EXT. CONVENIENCE STORE – DAY
Matt exits convenience store with a bag of supplies for the day…
INT. CAR – DAY
Bert waits in the car.
Matt slips into the drivers seat and hands the bag to Bert, who rummages through it.
BERT
Trying to save money on the retirement home?
MATT
What are you talking about?
BERT
This stuff will kill me! Pringles and chocolate bars.
MATT
And sandwiches and water!
BERT
My salvation.
MATT
Live a little — this trip’s your idea, remember?
BERT
Hard to forget when you keep reminding me.
EXT. BOAT RENTAL PLACE – DAY
Matt and Bert walk down the dock with the BOAT RENTAL LADY.
BOAT RENTAL LADY
Not too many customers this time of year.
BERT
Off season’s my favorite time for fishing.
BOAT RENTAL LADY
You haven’t got any fishing gear.
BERT
More of a scouting expedition this time, really.
MATT
The old man misses being out on the water.
BOAT RENTAL LADY
Well, you’re the exception I’d say.
MATT
Yeah, we’re crazy that way.
BOAT RENTAL LADY
First rental this week. Don’t know why I’m not on a beach in Mexico right now.
She stops in front of the rental boat and hands Matt the key.
MATT
Thanks.
She turns and walks away.
BOAT RENTAL LADY
Don’t be late.
Matt and Bert exchange glances — she’s a charmer — and step onto the boat.
EXT. BOAT ON LAKE – DAY
Calm, cool, grey day on the water.
Matt and Bert bob around in the boat; Bert staring through binoculars.
MATT
No sign of it — not even a ripple.
BERT
Don’t give up — the day’s still young.
MATT
The phony cheerfulness isn’t fooling anyone, Bert.
BERT
I know it’s out here, somewhere…
MATT
Eventually you’re gonna have to accept that it’s futile.
BERT
(sudden anger)
This is my last chance! After this, what?! Dribbling onto a fucking bib!
(calmer)
We just need to give it a little more time, that’s all… You think you can do that for me?
MATT
Yeah… Yeah, of course I can.
Bert resumes scanning with binoculars.
Young Bert and Harris are now with them on the boat; Young Bert’s eyes also glued to binoculars.
HARRIS
Work, work, work.
YOUNG BERT
Huh?
HARRIS
Ergomania. The obsessive need to work.
YOUNG BERT
It’s what we’re out here for.
HARRIS
I know, but I’m going to forget what you look like without those things glued to your face.
YOUNG BERT
I look the same as I did this morning.
HARRIS
Not the point — take a break, enjoy the view.
YOUNG BERT
Maybe you’re right…
HARRIS
Here — let me help you…
Harris makes a quick grab for Bert’s binoculars. Bert reflexively pulls away. A quick fumble.
The binoculars fly out of Bert’s hand, plunge into the dark water, and disappear.
YOUNG BERT
Fuck!
HARRIS
Oh my God!
YOUNG BERT
What did you do that for?!
HARRIS
I’m sorry! I didn’t mean to–
YOUNG BERT
I didn’t mean to — What good is that?
HARRIS
I’ll jump in — dive for them.
YOUNG BERT
Nah — it’s no use. They’re long gone. Sunk like a stone.
Harris reaches for Young Bert’s shoulder…
HARRIS
I really am sorry.
Young Bert pulls away.
HARRIS
I’ll buy you a new pair when we get back. Promise.
Harris stands directly before Young Bert and puts hands on shoulders.
HARRIS
I can make it up to you, you know…
Harris moves in for a kiss… but Young Bert pulls away again.
HARRIS
What’s the matter?
Young Bert looks at him like, “Isn’t it obvious?”
HARRIS
They’re just binoculars.
He reaches out for Young Bert again…
YOUNG BERT
Not now. All right? Let’s just focus on what we’re out here for…
HARRIS
Okay.
Bert puts down his binoculars.
BERT
Where the hell is it, Matty?
MATT
Your guess…
BERT
It’s out here… the monster… I can feel it.
MATT
I know you can, Bert.
BERT
There’s one place everything returns to…
YOUNG BERT
That’s it! I know where she’s hiding.
HARRIS
Where’s that?
YOUNG BERT
Rattlesnake Island… Squally Point…
BERT
Home.
EXT. BOAT ON LAKE – DAY (SHORT WHILE LATER)
Matt and Bert power through the water, searching as they go…
BERT
That’s where legend says its den is — an underwater cave at Squally Point.
MATT
I remember, but it’s never been found there either.
BERT
No-one’s gone looking at the right time! The big searches were always in the summer. Wrong.
MATT
Good tourism?
BERT
Summertime it’s out and active. There’s three hundred and fifty square kilometers of lake and it could be having lunch anywhere!
MATT
I hate to break it to you, but the lake’s the same size in the winter.
BERT
Yes, but it’s colder! If it slows down in the colder waters it might just hibernate. And if it does…
MATT
It might just be at home.
BERT
Squally Point.
MATT
But if it’s hibernating and down in its cave den we still won’t find it. Unless you have an underwater drone I don’t know about?
BERT
Let’s just hope it comes up occasionally for air.
MATT
Right!
Bert smiles as Matt gets into the game.
BERT
There’s the old Matty. You’re remembering the good times!
MATT
I never forgot.
BERT
The fun we used to have…
MATT
Yeah, but that was then.
BERT
And you’re the big man now.
MATT
It was childish. A waste of time.
BERT
Was it?
MATT
Gotta grow up sometime.
BERT
Why?
MATT
Oh, come on!
BERT
No, really. That sounds a lot like settling. Giving up on your dreams.
MATT
It’s called being an adult.
BERT
Maybe that’s the problem, huh? Maybe I never did that…
EXT. BOAT ON LAKE – RATTLESNAKE ISLAND – DAY
The boat approaches Rattlesnake Island.
Matt starts steering a berth around the island, but Bert is drawn toward it…
BERT
The monster…
MATT
Yeah, we’re heading to Squally Point.
BERT
No. The monster… I can feel it.
MATT
What, here?
Bert nods.
MATT
The island?
Matt slows the boat.
BERT
It’s here, Matty. It’s here!
Bert’s eyes tear up. He fights to not be overwhelmed by the wave of emotion.
Matt brings the boat to a stop and goes to Bert.
MATT
Are you okay?
BERT
The monster… It’s here… It’s on the water.
MATT
It could be out there, Bert. It could be anywhere…
BERT
No… it’s here. It’s here, I tell you!
Bert is nearly overwhelmed with emotion again.
MATT
What is this about?
BERT
The island. Bring us closer.
Matt, with a concerned eye on Bert, revs up the engine and aims toward Rattlesnake Island.
Bert appears halfway between horror/Hell and salvation. (Hell and damnation’s just salvation upside down.)
The boat slows to a gentle coast as it nears the island, its prow barely disturbing the silver-sleek surface.
BERT
The monster… it’s here.
MATT
How do you know that? I haven’t seen anything…
BERT
I have.
MATT
Are we still looking for Ogopogo?
BERT
This is the place… The monster’s always been here…
MATT
What are you talking about? Maybe we should go back–
BERT
NO!! We’re not going back!
Emotions flood Bert again as he looks toward the island.
MATT
What are you seeing?
BERT
The monster…
MATT
Was it that day?
Bert almost acknowledges it was…
MATT
That day you sent me off for a sleepover?
Young Bert and Harris are on the boat with them. Young Bert talks business…
YOUNG BERT
Literally hundreds of sightings since 1872. They can’t all be wrong, you know.
HARRIS
No, they can’t.
YOUNG BERT
It can’t all be God-damned thermal stratification waves!
HARRIS
You’re right.
YOUNG BERT
Damn right I am.
Harris steps closer to Young Bert.
HARRIS
And you’re very hot when you’re right.
He leans in for a kiss.
YOUNG BERT
Again with this?
HARRIS
Yeah, of course. What the heart wants…
YOUNG BERT
It doesn’t always get.
HARRIS
Why not? You were into me yesterday.
YOUNG BERT
Yeah, well… that was then.
HARRIS
And right now?
YOUNG BERT
I just don’t think I should be doing this. It’s wrong.
HARRIS
It’s not wrong.
YOUNG BERT
A mistake.
HARRIS
It’s not a mistake. I’m not a mistake… and neither are you. Not the real you — and you know you want me!
YOUNG BERT
I don’t know what I want! I don’t even know what I am!
HARRIS
Let me help you remember…
Harris tries to kiss Young Bert again.
Young Bert rebuffs him with a shove, but Harris persists.
A brief struggle ensues and Harris’s Nessie pin is knocked off his lapel and falls to boat floor.
The boat rocks under their weight. Harris loses his balance, slips and falls.
His head hits the side of the boat as he falls overboard.
Harris hits the water, unconscious.
YOUNG BERT
Oh my God, Harris! Harris!!
Not breathing, Harris begins to sink down into the dark water…
Young Bert dives in after him, submerging into the depths.
He surfaces again, gasping for air, then plunges under the surface again. Dark water swirls in his wake.
Over and over, he dives down and resurfaces, until he is so exhausted and breathless and frozen by the frigid winter water that he can barely stay afloat.
Hardly able to grasp the rungs of the boat ladder, Young Burt struggles to pull himself up and back into the boat, where he collapses, cold and shivering.
EXT. BOAT ON WATER – RATTLESNAKE ISLAND – DAY (LATER)
Young Bert sits, huddled in a blanket, staring vacantly in shocked silence into the water. How long has he been sitting like this? An eternity.
He notices a smear of red on the edge of the boat where Harris hit his head.
He breaks into devastated sobs.
Then, panic!
He looks around for signs of other boats. There are none.
He grabs a cloth and cleans the blood from the side of boat.
A glance downward breaks his heart again…
Harris’s Nessie pin lies on the floor of the boat.
He picks it up and puts it in his pocket.
-
Robert Wood’s Act 3 Turning Point
What I learned is that my script is still running very short (I’m at 49 pages now but will get a bit more when I fill in a couple minor scenes in Act 3 for the next lesson), but I do have pages of additional notes I’ve made myself that could turn into extra scenes I can weave back through, so I’m feeling hopeful about that and continue to press forward…
EXT. BOAT ON LAKE – RATTLESNAKE ISLAND – DAY
The boat approaches Rattlesnake Island.
Matt starts steering a berth around the island, but Bert is drawn toward it…
BERT
The monster…
MATT
Yeah, we’re heading to Squally Point.
BERT
No. The monster… I can feel it.
MATT
What, here?
Bert nods.
MATT
The island?
Matt slows the boat.
BERT
It’s here, Matty. It’s here!
Bert’s eyes tear up. He fights to not be overwhelmed by the wave of emotion.
Matt brings the boat to a stop and goes to Bert.
MATT
Are you okay?
BERT
The monster… It’s here… It’s on the water.
MATT
It could be out there, Bert. It could be anywhere…
BERT
No… it’s here. It’s here, I tell you!
Bert is nearly overwhelmed with emotion again.
MATT
What is this about?
BERT
The island. Bring us closer.
Matt, with a concerned eye on Bert, revs up the engine and aims toward Rattlesnake Island.
Bert appears halfway between horror/Hell and salvation. (Hell and damnation’s just salvation upside down.)
The boat slows to a gentle coast as it nears the island, its prow barely disturbing the silver-sleek surface.
BERT
The monster… it’s here.
MATT
How do you know that? I haven’t seen anything…
BERT
I have.
MATT
Are we still looking for Ogopogo?
BERT
This is the place… The monster’s always been here…
MATT
What are you talking about? Maybe we should go back–
BERT
NO!! We’re not going back!
Emotions flood Bert again as he looks toward the island.
MATT
What are you seeing?
BERT
The monster…
MATT
Was it that day?
Bert almost acknowledges it was…
MATT
That day you sent me off for a sleepover?
Young Bert and Harris are on the boat with them. Young Bert talks business…
YOUNG BERT
Literally hundreds of sightings since 1872. They can’t all be wrong, you know.
HARRIS
No, they can’t.
YOUNG BERT
It can’t all be God-damned thermal stratification waves!
HARRIS
You’re right.
YOUNG BERT
Damn right I am.
Harris steps closer to Young Bert.
HARRIS
And you’re very hot when you’re right.
He leans in for a kiss.
YOUNG BERT
Again with this?
HARRIS
Yeah, of course. What the heart wants…
YOUNG BERT
It doesn’t always get.
HARRIS
Why not? You were into me yesterday.
YOUNG BERT
Yeah, well… that was then.
HARRIS
And right now?
YOUNG BERT
I just don’t think I should be doing this. It’s wrong.
HARRIS
It’s not wrong.
YOUNG BERT
A mistake.
HARRIS
It’s not a mistake. I’m not a mistake… and neither are you. Not the real you — and you know you want me!
YOUNG BERT
I don’t know what I want! I don’t even know what I am!
HARRIS
Let me help you remember…
Harris tries to kiss Young Bert again.
Young Bert rebuffs him with a shove, but Harris persists.
A brief struggle ensues and Harris’s Nessie pin is knocked off his lapel and falls to boat floor.
The boat rocks under their weight. Harris loses his balance, slips and falls.
His head hits the side of the boat as he falls overboard.
Harris hits the water, unconscious.
YOUNG BERT
Oh my God, Harris! Harris!!
Not breathing, Harris begins to sink down into the dark water…
Young Bert dives in after him, submerging into the depths.
He surfaces again, gasping for air, then plunges under the surface again. Dark water swirls in his wake.
Over and over, he dives down and resurfaces, until he is so exhausted and breathless and frozen by the frigid winter water that he can barely stay afloat.
Hardly able to grasp the rungs of the boat ladder, Young Burt struggles to pull himself up and back into the boat, where he collapses, cold and shivering.
EXT. BOAT ON WATER – RATTLESNAKE ISLAND – DAY (LATER)
Young Bert sits, huddled in a blanket, staring vacantly in shocked silence into the water. How long has he been sitting like this? An eternity.
He notices a smear of red on the edge of the boat where Harris hit his head.
He breaks into devastated sobs.
Then, panic!
He looks around for signs of other boats. There are none.
He grabs a cloth and cleans the blood from the side of boat.
A glance downward breaks his heart again…
Harris’s Nessie pin lies on the floor of the boat.
He picks it up and puts it in his pocket.
-
Robert Wood’s Act 3 Middle Scenes
What I learned doing this assignment is that I continue to follow my new story structure, which is slightly off alignment with the specific instructions of the course, but it’s the only way forward at this point so I’ve got to do it…
EXT. BOAT ON LAKE – DAY
Calm, cool, grey day on the water.
Matt and Bert bob around in the boat; Bert staring through binoculars.
MATT
No sign of it — not even a ripple.
BERT
Don’t give up — the day’s still young.
MATT
The phony cheerfulness isn’t fooling anyone, Bert.
BERT
I know it’s out here, somewhere…
MATT
Eventually you’re going to have to accept that it’s futile.
BERT
(sudden anger)
This is my last chance! After this, what?! Dribbling onto a fucking bib!
(calmer)
We just need to give it a little more time, that’s all… You think you can do that for me?
MATT
Yeah… Yeah, of course I can.
Bert resumes scanning with binoculars.
Young Bert and Harris are now with them on the boat; Young Bert’s eyes also glued to binoculars.
HARRIS
Work, work, work.
YOUNG BERT
Huh?
HARRIS
Ergomania. The obsessive need to work.
YOUNG BERT
It’s what we’re out here for.
HARRIS
I know, but I’m going to forget what you look like without those things glued to your face.
YOUNG BERT
I look the same as I did this morning.
HARRIS
Not the point — take a break, enjoy the view.
YOUNG BERT
Maybe you’re right…
HARRIS
Here — let me help you…
Harris makes a quick grab for Bert’s binoculars. Bert reflexively pulls away. A quick fumble.
The binoculars fly out of Bert’s hand, plunge into the dark water, and disappear.
YOUNG BERT
Fuck!
HARRIS
Oh my God!
YOUNG BERT
What did you do that for?!
HARRIS
I’m sorry! I didn’t mean to–
YOUNG BERT
I didn’t mean to — What good is that?
HARRIS
I’ll jump in — dive for them.
YOUNG BERT
Nah — it’s no use. They’re long gone. Sunk like a stone.
Harris reaches for Young Bert’s shoulder…
HARRIS
I really am sorry.
Young Bert pulls away.
HARRIS
I’ll buy you a new pair when we get back. Promise.
Harris stands directly before Young Bert and puts hands on shoulders.
HARRIS
I can make it up to you, you know…
Harris moves in for a kiss… but Young Bert pulls away again.
HARRIS
What’s the matter?
Young Bert looks at him like, “Isn’t it obvious?”
HARRIS
They’re just binoculars.
He reaches out for Young Bert again…
YOUNG BERT
Not now. All right? Let’s just focus on what we’re out here for…
HARRIS
Okay.
Bert puts down his binoculars.
BERT
Where the hell is it, Matty?
MATT
Your guess…
BERT
It’s out here… the monster… I can feel it.
MATT
I know you can, Bert.
BERT
There’s one place everything returns to…
YOUNG BERT
That’s it! I know where she’s hiding.
HARRIS
Where’s that?
YOUNG BERT
Rattlesnake Island… Squally Point…
BERT
Home.
EXT. BOAT ON LAKE – DAY (SHORT WHILE LATER)
Matt and Bert power through the water, searching as they go…
BERT
That’s where legend says its den is — an underwater cave at Squally Point.
MATT
I remember, but it’s never been found there either.
BERT
No-one’s gone looking at the right time! The big searches were always in the summer. Wrong.
MATT
Good tourism?
BERT
Summertime it’s out and active. There’s three hundred and fifty square kilometers of lake and it could be having lunch anywhere!
MATT
I hate to break it to you, but the lake’s the same size in the winter.
BERT
Yes, but it’s colder! If it slows down in the colder waters it might just hibernate. And if it does…
MATT
It might just be at home.
BERT
Squally Point.
MATT
But if it’s hibernating and down in its cave den we still won’t find it. Unless you have an underwater drone I don’t know about?
BERT
Let’s just hope it comes up occasionally for air.
MATT
Right!
Bert smiles as Matt gets into the game.
BERT
There’s the old Matty. You’re remembering the good times!
MATT
I never forgot.
BERT
The fun we used to have…
MATT
Yeah, but that was then.
BERT
And you’re the big man now.
MATT
It was childish. A waste of time.
BERT
Was it?
MATT
Gotta grow up sometime.
BERT
Why?
MATT
Oh, come on!
BERT
No, really. That sounds a lot like settling. Giving up on your dreams.
MATT
It’s called being an adult.
BERT
Maybe that’s the problem, huh? Maybe I never did that…
-
Robert Wood’s Act 3 Reaction to Midpoint
What I learned: Well, first, I’ve fallen way behind. That’s life sometimes. Second, I don’t think this is actually a reaction scene to the midpoint, but it’s the first scene of Act 3, so I’ve written it! Onward…
EXT. FAMILY HOUSE – DAY
A haunting grey winter day.
Front door opens – Matt emerges, followed tentatively by Bert. Matt looks up at the sky.
MATT
You better be sure about this.
Bert searches himself – he’s missing something.
MATT
What is it?
BERT
If I knew that I wouldn’t be standing here like an old fool patting my pockets!
MATT
What did you normally take with you out on the lake?
Bert goes through a mental checklist. A lightbulb goes off! Turns back into the house.
Matt stands on doorstep as a 1980-vintage car pulls over on the road in front of the house.
Matt nearly recognizes the car and takes a step toward it as Young Bert and Young Matt (downcast, dragging a backpack) emerge from the house.
YOUNG MATT
But I want to go with you guys!
YOUNG BERT
You’ll have a fun sleepover with Sam at his house.
The WOMAN driving the car waves to them. Young Bert waves back. The backseat window rolls down revealing SAM, 10.
MATT
(under his breath)
Sam.
SAM
Come-on, Matt! Look, I’ve got the new Star Wars figures!
Sam waves two Star Wars action figures out the window.
YOUNG MATT
(to Young Bert)
Star Wars is stupid.
YOUNG BERT
I thought you liked Star Wars?
YOUNG MATT
Let me go with you.
YOUNG BERT
Sorry, not today, bud — Harris and I have a bunch of boring work to take care of. You can come again next time.
Young Matt sulks.
YOUNG BERT
Okay?
YOUNG MATT
Okay.
YOUNG BERT
All right — now cheer up, and go and have a good time.
Young Bert ruffles Young Matt’s hair.
YOUNG BERT
See you tomorrow.
The boy goes to the car and gets in. Waves as the car drives off.
Matt and Young Bert turn in near unison back to the house.
Harris stands in the doorway.
HARRIS
Now I feel bad.
YOUNG BERT
Don’t worry — he’ll have fun. So will we!
Bert steps forward in the doorway, triumphantly raising his hand…
BERT
Binoculars!
Bert strides to Matt’s car with every ounce of enthusiasm Young Matt lacked.
-
Robert Wood has completed Act 2 Draft 1
What I learned is that my script is becoming much more complicated and interesting than it started out as, but that much of that is going to have to come out in rewrites because this process is too fast to allow time for major research along the way.
Act 2 Draft 1
INT. FAMILY HOUSE – KITCHEN – DAY
Matt prepares breakfast. Bert sips coffee meditatively.
MATT
You want to talk about it?
BERT
About what?
MATT
Last night.
BERT
Not really.
MATT
Where were you trying to get to out there in that old canoe? It probably wouldn’t even stay afloat.
BERT
I don’t remember.
MATT
You said you were going out to face it. The monster on the lake.
BERT
Did I… Did I go?
MATT
No. I stopped you.
BERT
Yes, I remember now… the monster is out there. I know it.
MATT
Sure it is.
Matt slides scrambled eggs onto a plate and places it in front of Bert.
MATT
There’s toast, bacon, tomatoes… take what you want.
Bert reaches for toast and notices the old newspaper clipping of the classified ad sitting on the counter.
BERT
Where did you find this?
MATT
It was in your office.
BERT
That’s where it should have stayed.
MATT
Sorry.
Bert holds the clipping, lost in memory.
MATT
It took me a while to remember, too. Harris placed that ad, didn’t he?
BERT
Harris… yes, I suppose it was. You remember him?
MATT
Bits and pieces…
EXT. FAMILY HOUSE – FRONT YARD – DAY
Young Matt plays outside in the summer sun with his dinosaur figures.
A taxi pulls up and a man exits: HARRIS, 24, looking like he’s fresh off a boat from Europe. He pays the cab driver, then spots Young Matt. Approaches with a smile…
HARRIS
Hi! I’m Harris.
YOUNG MATT
I’m Matt.
HARRIS
Good to meet you, little man… I like your dinosaurs!
YOUNG MATT
Thanks.
HARRIS
You know what they’re all called?
YOUNG MATT
Of course! Tyrannosaurus, Triceratops, and Stegosaurus.
HARRIS
Top of the class! Where are your parents?
YOUNG MATT
Mom & sis have gone to Saskatchewan to help my granny for the summer –- she’s sick.
HARRIS
Oh, I’m sorry to hear that. Hope she’ll be okay.
YOUNG MATT
I think she will.
HARRIS
Good. And what about your dad?
YOUNG MATT
He’s inside.
HARRIS
Want to introduce me?
YOUNG MATT
Sure –- come on!
INT. FAMILY HOUSE – DAY
Young Matt brings Harris inside.
YOUNG MATT
He’s probably in his office — that’s where he usually is.
(calls out)
Dad!
YOUNG BERT (O.S.)
Yeah? What is it?
YOUNG MATT
Company!
YOUNG BERT (O.S.)
Oh? Who is it?
YOUNG MATT
Harris!
Young Bert emerges.
YOUNG BERT
Oh, hello. You’re the fellow from the newspaper ad.
HARRIS
Harris MacKay — good to meet you.
YOUNG BERT
And you. It’s so rare to find someone who shares this particular interest.
HARRIS
Indeed it is.
YOUNG MATT
What interest?
YOUNG BERT
Harris here has come all the way over from Scotland, isn’t that so?
HARRIS
That’s right. All the way from Loch Ness, actually.
(to Young Matt)
Have you heard of Loch Ness, laddy?
YOUNG MATT
Of course! The Loch Ness Monster!
HARRIS
That’s right.
YOUNG BERT
So you can probably figure out what brings Harris here to the Okanagan.
YOUNG MATT
Ogopogo!
HARRIS
That’s it, exactly. I think we’ve got rather a lot to discuss.
YOUNG BERT
We’ve got work to do, Matty, maybe you should go outside–
YOUNG MATT
No, I can help! I know a lot about sea monster dinosaurs — there’s the Plesiosaur, and Megalodon, and–
Harris and Young Bert look at each other with a smile and nod.
HARRIS
Okay, the kid’s got what it takes!
YOUNG BERT
We’ll work in my office. Can I get you a drink first?
HARRIS
Sure.
They walk through the kitchen, where Bert and Matt are finishing breakfast.
BERT
What the hell are we doing here, anyway?
MATT
We just finished breakfast.
YOUNG BERT
Coffee okay for you?
HARRIS
Fine, thanks.
Young Bert pours two coffees.
BERT
I haven’t completely lost my mind, you know.
MATT
I know.
Young Matt grabs a pop can from the fridge.
MATT
We’re gonna have to get to work soon, you know…
BERT
Work?
MATT
Packing.
BERT
No.
MATT
No?!
BERT
I’m not going anywhere. I’ve already told you that.
MATT
It’s already arranged. This place goes on the market Monday — same time you move into Silver Springs.
BERT
They can give my room to someone else. I’m sure there’s a line-up of old fogies waiting to get in there.
MATT
There is, but Jill and I were lucky enough to get you a room — better take it while you still can.
BERT
Jillian and you — you’re both in on it.
MATT
We’re only doing what needs to be done. You’re not safe on your own anymore.
BERT
You could stay here.
MATT
Oh no — we’re not even going there.
Bert flies into a sudden rage.
BERT
Well, what the hell do you want me to do?! You come into my home — my home — and want to kick me out? What the hell is that about?!
He heads upstairs, leaving Matt to reassess his approach.
INT. FAMILY HOUSE – BERT’S BEDROOM – DAY
Bert paces the room, agitated.
Young June sits on the bed, watching him sadly.
BERT
I don’t know what to do, June. They’re trying to take me away from you… but I won’t let them. I can’t…
Bert sits on the bed next to her.
BERT
There’s too much to do. And I must find the monster — must, must, must find it.
(to June)
I’m so sorry, June… they’re leaving me no choice!
Bert resumes his pacing…
June disappears.
Matt enters carrying an empty box.
BERT
What is that for?
MATT
If I’ve got to pack everything myself I’ve got to put it somewhere. Thought I may as well start in here…
BERT
You wouldn’t dare. Not my room…
MATT
If it’s a choice…
A BEAT as Bert considers his options.
BERT
All right, God damn it!
Bert grabs the box and looks around for a place to begin. He puts the box down by the bedside table and sits on the edge of the bed. He is reluctant; dejected.
MATT
Are you going to be okay in here?
BERT
Go… just go — do whatever you need to do.
MATT
I’m just down the hall if you need anything.
BERT
Fine.
Young June appears again, sitting next to Bert; her hand on his back.
Bert starts pulling small items from a bedside table drawer: a small box… a watch… a woman’s hairbrush…
Matt exits.
INT. FAMILY HOUSE – HALLWAY / MATT’S BEDROOM – DAY
Matt passes the open door to his room and glimpses the box inside out of the corner of his eye. A moment’s resistance, and then he goes to the box.
He picks up a few papers from inside. One is a photo of himself and Harris on a boat…
EXT. BOAT ON LAKE – DAY
Young Matt, Young Bert, and Harris are out searching. Young Bert steers the boat on a slow course through the water while the others peer through binoculars.
YOUNG BERT
Seeing anything?
HARRIS
Nothing. Just waves and more waves.
YOUNG MATT
Me too. This is getting boring.
Young Matt puts down his binoculars dejectedly.
HARRIS
Don’t give up, mate. It’s early days yet.
YOUNG MATT
And I don’t think I feel too good…
Young Bert looks back at his son.
YOUNG BERT
You are looking a little green around the gills.
Young Matt makes a break for the edge of the boat; Harris steadies him as he leans over the edge.
HARRIS
Whoa. Take it easy.
Young Bert shuts the engine off and goes to Young Matt’s side as he vomits over the edge. He rubs his son’s back.
YOUNG BERT
It’s okay — don’t worry about it. Just let it out.
HARRIS
Happens to the best of us.
As they both comfort Young Matt, still bent over the side of the boat, their arms brush against each other with electric effect.
They exchange looks, and Harris brings a hand up to Bert’s back.
Matt leans back from the edge of the boat.
HARRIS
A little paler, but none the worse for wear, huh?
YOUNG MATT
I’ll be okay.
YOUNG BERT
Sure you will. Hey, it’s time to head back anyway.
HARRIS
Right — we’re not finding anything today, anyway.
YOUNG BERT
I’ll see if I can get that sonar device for next time — then we’ll really be searching!
HARRIS
Yeah, we’ll be sure to find Ogopogo then. There’ll be no hiding from us in this lake.
YOUNG MATT
Okay…
INT. FAMILY HOUSE – ENTRYWAY – DAY
The trio — Young Bert, Young Matt, and Harris — arrive back inside.
Matt is there, holding a piece of paper, watching… remembering…
Before Young Matt takes off his shoes:
YOUNG BERT
Hey, weren’t your dinosaurs out there?
YOUNG MATT
Maybe.
YOUNG BERT
You better clean them up. Toys don’t get left in the front yard.
YOUNG MATT
Now?
YOUNG BERT
Yes, now.
Young Matt mopes back out, closing the front door behind him.
YOUNG BERT
He’ll get caught up playing with them and be out there for another hour.
HARRIS
You think so?
YOUNG BERT
Oh yeah.
Matt looks at the paper he’s been carrying around.
ON THE LETTER
“Thanks for yesterday. The boat trip was great but apres was better! Let’s do it again soon – xx H.”
Matt watches Young Bert lead Harris into the office.
They kiss, then passionately start pulling each others shirts off and undoing zippers…
Matt leaves them alone in the room.
INT. FAMILY HOUSE – BERT’S BEDROOM – DAY
Matt enters.
Bert is still sitting on the edge of the bed, holding the hairbrush. Confused and sad.
BERT
Matty… This was your mother’s brush… What am I doing with it?
MATT
You’re packing, Dad.
BERT
Packing… Are we going away?
MATT
Yeah… but it’s not a rush. You got time.
BERT
Good, good. I know there’s something I should be doing. We’re going to go out on the lake again, aren’t we, Matty?
MATT
Sure, Dad.
BERT
We have to find it.
MATT
I know.
BERT
The monster’s out there, somewhere…
MATT
Sure it is.
(BEAT)
Hey, Dad, can I ask you something?
BERT
Of course.
MATT
Tell me about Harris.
BERT
Harris? I’m surprised you even remember him.
MATT
I do.
BERT
That was so long ago.
MATT
Humor me.
BERT
He was a recent university graduate. Studied anthropology, with a special interest in cryptozoology.
MATT
And that led him to come over here, place that ad, and meet you.
BERT
Yes, the similarities between the Loch Ness Monster and Ogopogo seem greater than the differences.
MATT
So you studied the monster together.
BERT
We did, yes.
MATT
What else?
BERT
We didn’t find it. What else is there?
MATT
Just curious.
BERT
Well, you were there for a lot of it, weren’t you? We took you out on the boat…
MATT
Yeah, I was there some of the time. But I’m thinking about the times I wasn’t there…
BERT
I’m not following you.
Matt looks at the old man, still clutching the hair brush.
MATT
You had an affair, Dad.
BERT
What?! Nonsense! Where did you get that idea?
MATT
I’ve seen the letters, photos. Put two and two together.
BERT
That’s ridiculous. You’re imagining things!
MATT
I’m not, am I?
BERT
Making it up, that’s what you’re doing!
Bert puts the brush down, rises, tries to find something else to focus his attention on.
MATT
Don’t avoid it.
BERT
You were a kid — you don’t know what you saw, or what you remember!
MATT
I’m remembering things, and stuff like this is filling in the blanks…
Matt holds up Harris’s letter after the boat trip.
Bert grabs it and reads it.
BERT
A simple thank you from a polite young man. That’s all I see here.
MATT
Come on — there’s more to it than that.
BERT
Besides — maybe you’re the one who was attracted to Harris!
MATT
I was 10!
BERT
Exactly! Don’t go on about things you don’t understand!
Bert waves him off.
BERT
Now, get out. Out!
MATT
I’m going to make dinner soon.
BERT
I don’t want any. I’m not hungry… and I’m feeling rather tired now…
MATT
I can bring you some–
BERT
Just leave me be! You’ve done quite enough already.
Bert resumes puttering in the bedside table drawer as Matt leaves.
INT. FAMILY HOUSE – MATT’S BEDROOM – NIGHT
Matt lies in bed, drinking wine, surrounded by assorted papers from the box.
The sound of SHATTERING GLASS from downstairs sends Matt leaping from bed…
INT. FAMILY HOUSE – KITCHEN / BACK PATIO DOOR – NIGHT
Matt runs into the kitchen.
Bert stands in his bathrobe at the broken patio door; a plant pot thrown through it now smashed on the deck.
Bert stands amid broken glass, his bare feet bleeding.
MATT
Jesus, Dad!
BERT
It wouldn’t open.
MATT
It was locked! So you smashed it?
BERT
I don’t know what happened.
Bert starts to step toward Matt.
MATT
Wait a minute! Let me sweep the glass first. Jesus, you’re already bleeding!
Matt grabs the broom from the kitchen pantry; quickly sweeps a path through the glass for Bert.
MATT
What were you doing going outside anyway?
BERT
I have to find it. It’s out there Matty–
MATT
The damn creature. You can’t keep trying to get to the lake like this.
Matt leads Bert back inside to the kitchen. From their perspective neither looks down toward the boat dock…
EXT. FAMILY HOUSE – BOAT DOCK – NIGHT
As Bert and Matt re-enter the house, Young Bert and Harris go down to the dock, drinking beers, making out and stumbling goofily in the dark on their way
YOUNG BERT
Shhh! Don’t wake Matty.
HARRIS
Don’t worry about me — I’m not gonna be talking.
On the dock, Harris drops to his knees to give Young Bert a blow-job.
INT. FAMILY HOUSE – KITCHEN / BACK PATIO DOOR – NIGHT – RESUME
Matt sits Bert down on a chair; examines the cuts on his feet.
MATT
Seriously, Bert — I don’t know what I’m going to do with you.
BERT
I’ve got to find it. I’ve got to face it!
MATT
I know, I know–
Matt wets some paper towel and cleans the blood on Bert’s feet.
MATT
It’s not too bad — we’ll get you a couple bandages and you’ll be good as new… Almost.
BERT
Matty, you’ve got to take me.
MATT
It’s winter! No-one’s out on the water for a reason — it’s fucking cold! I don’t think that’s–
BERT
You’ve got to!
(calming himself)
Take me out on the lake… just one last time. It’ll be like old days. I’ve got to find it.
(BEAT)
Please.
MATT
Okay, Bert… Okay.
BERT
Tomorrow?
MATT
Sure. We’ll go tomorrow.
INT. FAMILY HOUSE – MATT’S ROOM – MORNING
Matt digs through the last contents in the box and finds — rattling around at the bottom — a pin of NESSIE, the Loch Ness Monster. Harris has been wearing it the whole time.
Harris and Young Matt are in the room now…
YOUNG MATT
I like your Nessie pin.
HARRIS
Thanks. It was given to me by my mentor at university, Professor Hancock. He taught me everything there is to know about cryptozoology.
Harris sees the envy for the pin in Young Matt’s eyes.
YOUNG MATT
Can I have it?
HARRIS
I’d love to give it to you little man, but this is real special to me so I’m going to hold on to it…
Young Matt’s optimistic envy turns to sadness
HARRIS
Tell you what –- I’ll find one just like it and send it to you after I’m back home. How’s that?
YOUNG MATT
Okay!
In a blink, Young Matt and Harris are gone.
Matt holds the pin in the palm of his hand. Harris would never have left it behind when he went home.
MATT
So why is it here?
INT. FAMILY HOUSE – KITCHEN – MORNING
Matt finds Bert sipping coffee.
BERT
Coffee’s on. See — I’m not completely useless.
Matt pours a cup.
MATT
How are your feet this morning?
BERT
Oh, fine. I’d almost forgotten about them until you mentioned it.
MATT
Good.
Matt goes silent; something’s on his mind.
BERT
Come on — out with it.
MATT
What happened to Harris?
BERT
What do you mean?
MATT
I don’t remember him saying goodbye. When he left, I mean…
BERT
I’m sure he did. You’ve forgotten.
MATT
I don’t think so.
BERT
You’re talking out of your ass again!
MATT
Nice.
BERT
He went home –- end of conversation!
MATT
Yeah, I guess it is.
BERT
Are we going or not? Ogopogo’s not getting any younger.
MATT
Yeah… Yeah, we’re going.
Bert smiles.
MATT
Out on the lake in the middle of winter.
-
Robert Wood’s Act 2 TP – Midpoint
What I learned doing this assignment is that I’m still way short on page count. Only 33 script pages by end of Act 2. I guess there will be more in today’s lesson finishing Act 2, but I can see that there will be lots of fleshing out to do later in rewrites!
INT. FAMILY HOUSE – BERT’S BEDROOM – DAY
Matt enters.
Bert is still sitting on the edge of the bed, holding the hairbrush. Confused and sad.
BERT
Matty… This was your mother’s brush… What am I doing with it?
MATT
You’re packing, Dad.
BERT
Packing… Are we going away?
MATT
Yeah… but it’s not a rush. You got time.
BERT
Good, good. I know there’s something I should be doing. We’re going to go out on the lake again, aren’t we, Matty?
MATT
Sure, Dad.
BERT
We have to find it.
MATT
I know.
BERT
The monster’s out there, somewhere…
MATT
Sure it is.
(BEAT)
Hey, Dad, can I ask you something?
BERT
Of course.
MATT
Tell me about Harris.
BERT
Harris? I’m surprised you even remember him.
MATT
I do.
BERT
That was so long ago.
MATT
Humor me.
BERT
He was a recent university graduate. Studied anthropology, with a special interest in cryptozoology.
MATT
And that led him to come over here, place that ad, and meet you.
BERT
Yes, the similarities between the Loch Ness Monster and Ogopogo seem greater than the differences.
MATT
So you studied the monster together.
BERT
We did, yes.
MATT
What else?
BERT
We didn’t find it. What else is there?
MATT
Just curious.
BERT
Well, you were there for a lot of it, weren’t you? We took you out on the boat…
MATT
Yeah, I was there some of the time. But I’m thinking about the times I wasn’t there…
BERT
I’m not following you.
Matt looks at the old man, still clutching the hair brush.
MATT
You had an affair, Dad.
BERT
What?! Nonsense! Where did you get that idea?
MATT
I’ve seen the letters, photos. Put two and two together.
BERT
That’s ridiculous. You’re imagining things!
MATT
I’m not, am I?
BERT
Making it up, that’s what you’re doing!
Bert puts the brush down, rises, tries to find something else to focus his attention on.
MATT
Don’t avoid it.
BERT
You were a kid — you don’t know what you saw, or what you remember!
MATT
I’m remembering things, and stuff like this is filling in the blanks…
Matt holds up Harris’s letter after the boat trip.
Bert grabs it and reads it.
BERT
A simple thank you from a polite young man. That’s all I see here.
MATT
Come on — there’s more to it than that.
BERT
Besides — maybe you’re the one who was attracted to Harris!
MATT
I was 10!
BERT
Exactly! Don’t go on about things you don’t understand!
Bert waves him off.
BERT
Now, get out. Out!
MATT
I’m going to make dinner soon.
BERT
I don’t want any. I’m not hungry… and I’m feeling rather tired now…
MATT
I can bring you some–
BERT
Just leave me be! You’ve done quite enough already.
Bert resumes puttering in the bedside table drawer as Matt leaves.
-
Robert Wood’s Act 2 Middle Scenes
What I learned is that I’m definitely not following the format structure we originally outlined, but I have to believe in my revised story and see it through. I think it’s stronger than what I had in the initial outline anyway, even if it doesn’t follow the recommendations exactly.
INT. FAMILY HOUSE – DAY
Young Matt brings Harris inside.
YOUNG MATT
He’s probably in his office — that’s where he usually is.
(calls out)
Dad!
YOUNG BERT (O.S.)
Yeah? What is it?
YOUNG MATT
Company!
YOUNG BERT (O.S.)
Oh? Who is it?
YOUNG MATT
Harris!
Young Bert emerges.
YOUNG BERT
Oh, hello. You’re the fellow from the newspaper ad.
HARRIS
Harris MacKay — good to meet you.
YOUNG BERT
And you. It’s so rare to find someone who shares this particular interest.
HARRIS
Indeed it is.
YOUNG MATT
What interest?
YOUNG BERT
Harris here has come all the way over from Scotland, isn’t that so?
HARRIS
That’s right. All the way from Loch Ness, actually.
(to Young Matt)
Have you heard of Loch Ness, laddy?
YOUNG MATT
Of course! The Loch Ness Monster!
HARRIS
That’s right.
YOUNG BERT
So you can probably figure out what brings Harris here to the Okanagan.
YOUNG MATT
Ogopogo!
HARRIS
That’s it, exactly. I think we’ve got rather a lot to discuss.
YOUNG BERT
We’ve got work to do, Matty, maybe you should go outside–
YOUNG MATT
No, I can help! I know a lot about sea monster dinosaurs — there’s the Plesiosaur, and Megalodon, and–
Harris and Young Bert look at each other with a smile and nod.
HARRIS
Okay, the kid’s got what it takes!
YOUNG BERT
We’ll work in my office. Can I get you a drink first?
HARRIS
Sure.
They walk through the kitchen, where Bert and Matt are finishing breakfast.
BERT
What the hell are we doing here, anyway?
MATT
We just finished breakfast.
YOUNG BERT
Coffee okay for you?
HARRIS
Fine, thanks.
Young Bert pours two coffees.
BERT
I haven’t completely lost my mind, you know.
MATT
I know.
Young Matt grabs a pop can from the fridge.
BERT
Aren’t we getting this place in shape?
Matt’s surprised at Bert’s sudden eagerness.
MATT
Okay, old man — I’m ready if you are.
INT. FAMILY HOUSE – BERT’S BEDROOM – DAY
As Matt and Bert begin to pack up boxes.
MATT
You think you’ve got things in here under control?
BERT
Of course. Go — do whatever you need to do.
MATT
I’m just down the hall if you need anything.
BERT
Fine.
Bert sits on the edge of his bed and starts pulling small items from a bedside table drawer: a small box… a watch… a woman’s hairbrush…
Matt exits.
INT. FAMILY HOUSE – HALLWAY / MATT’S BEDROOM – DAY
Matt passes the open door to his room and glimpses the box inside out of the corner of his eye. A moment’s resistance, and then he goes to the box.
He picks up a few papers from inside. One is a photo of himself and Harris on a boat…
EXT. BOAT ON LAKE – DAY
Young Matt, Young Bert, and Harris are out searching. Young Bert steers the boat on a slow course through the water while the others peer through binoculars.
YOUNG BERT
Seeing anything?
HARRIS
Nothing. Just waves and more waves.
YOUNG MATT
Me too. This is getting boring.
Young Matt puts down his binoculars dejectedly.
HARRIS
Don’t give up, mate. It’s early days yet.
YOUNG MATT
And I don’t think I feel too good…
Young Bert looks back at his son.
YOUNG BERT
You are looking a little green around the gills.
Young Matt makes a break for the edge of the boat; Harris steadies him as he leans over the edge.
HARRIS
Whoa. Take it easy.
Young Bert shuts the engine off and goes to Young Matt’s side as he vomits over the edge. He rubs his son’s back.
YOUNG BERT
It’s okay — don’t worry about it. Just let it out.
HARRIS
Happens to the best of us.
As they both comfort Young Matt, still bent over the side of the boat, their arms brush against each other with electric effect. They exchange looks, and Harris brings a hand up to Bert’s back.
Matt leans back from the edge of the boat.
HARRIS
A little paler, but none the worse for wear, huh?
YOUNG MATT
I’ll be okay.
YOUNG BERT
Sure you will. Hey, it’s time to head back anyway.
HARRIS
Right — we’re not finding anything today, anyway.
YOUNG BERT
I’ll see if I can get that sonar device for next time — then we’ll really be searching!
HARRIS
Yeah, we’ll be sure to find Ogopogo then. There’ll be no hiding from us in this lake.
YOUNG MATT
Okay…
INT. FAMILY HOUSE – ENTRYWAY – DAY
The trio — Young Bert, Young Matt, and Harris — arrive back inside. Matt is there, holding a piece of paper, watching… remembering…
Before Young Matt takes off his shoes:
YOUNG BERT
Hey, weren’t your dinosaurs out there?
YOUNG MATT
Maybe.
YOUNG BERT
You better clean them up. Toys don’t get left in the front yard.
YOUNG MATT
Now?
YOUNG BERT
Yes, now.
Young Matt mopes back out, closing the front door behind him.
YOUNG BERT
He’ll get caught up playing with them and be out there for another hour.
HARRIS
You think so?
YOUNG BERT
Oh yeah.
Matt looks at the paper he’s been carrying around.
ON THE LETTER
“Thanks for yesterday. The boat trip was great but apres was better! Let’s do it again soon – xx H.”
Matt watches Young Bert lead Harris into the office.
They kiss, then passionately start pulling each others shirts off and undoing their pants…
Matt leaves them alone in the room.
-
Robert Wood’s Reaction to the Turning Point
What I learned is that in restructuring my plot I’ve drifted a bit from the specific structural points initially outlined. I think overall that’s not going to be a problem, and feel that my new storyline is much stronger than before, so I’m moving on with it.
INT. FAMILY HOUSE – KITCHEN – DAY
Matt prepares breakfast. Bert sips coffee meditatively.
MATT
You want to talk about it?
BERT
About what?
MATT
Last night.
BERT
Not really.
MATT
Where were you trying to get to out there in that old canoe? It probably wouldn’t even stay afloat.
BERT
I don’t remember.
MATT
You said you were going out to face it. The monster on the lake.
BERT
Did I… Did I go?
MATT
No. I stopped you.
BERT
Yes, I remember now… the monster is out there. I know it.
MATT
Sure it is.
Matt slides scrambled eggs onto a plate and places it in front of Bert.
MATT
There’s toast, bacon, tomatoes… take what you want.
Bert reaches for toast and notices the old newspaper clipping of the classified ad sitting on the counter.
BERT
Where did you find this?
MATT
It was in your office.
BERT
That’s where it should have stayed.
MATT
Sorry.
Bert holds the clipping, lost in memory.
MATT
It took me a while to remember, too. Harris placed that ad, didn’t he?
BERT
Harris… yes, I suppose it was. You remember him?
MATT
Bits and pieces…
EXT. FAMILY HOUSE – FRONT YARD – DAY
Young Matt plays outside in the summer sun with his dinosaur figures.
A taxi pulls up and a man exits: HARRIS, 24, looking like he’s fresh off a boat from Europe. He pays the cab driver, then looks to the house and spots Young Matt. Approaches with a smile…
HARRIS
Hi! I’m Harris.
YOUNG MATT
I’m Matt.
HARRIS
Good to meet you, little man… I like your dinosaurs!
YOUNG MATT
Thanks.
HARRIS
You know what they’re all called?
YOUNG MATT
Of course! Tyrannosaurus, Triceratops, and Stegosaurus.
HARRIS
Top of the class! Where are your parents?
YOUNG MATT
Mom & sis are away in Saskatchewan helping my granny –- she’s sick.
HARRIS
Oh, I’m sorry to hear that. Hope she’ll be okay.
YOUNG MATT
I think she will.
HARRIS
Good. And what about your dad?
YOUNG MATT
He’s inside.
HARRIS
Want to introduce me?
YOUNG MATT
Sure –- come on!
-
Robert Wood’s Finished Act 1
What I learned doing this assignment is that I didn’t have enough material (and good “meaty” material) in my original story and beat sheet. I’ve now thrown out about 75% of what I had for acts 2-4 and completely revised it with a new major b-story — almost an a-story. My Act 1 was way too short (13 pages), but starting to weave in the beginnings of my new storyline has brought it up to 16 pages, which is getting better. I’m much happier with my overall story now. Wish I’d known what was coming in some of these lessons from the beginning – I would have made different choices from the start, but oh well – better that I figured out the problem and fixed it now rather than in another week or two!
ETA: Due to changing so much of my plot for Acts 2-4, I’ve had to go back and re-write Act 1 in order to be able to move forward.
Finished Act 1 (for now):
EXT. MOUNTAIN HIGHWAY – DAY
Winter highway. A car races past – shiny, expensive, and clearly exceeding the road conditions.
INT. CAR – DAY
MATT, 50, edgy and agitated, taps the steering wheel as he drives. Music cuts out and a call rings through the speakers. He glances at the name display: JILLIAN.
MATT
(cynical)
Awesome.
He hits the button to take the call.
MATT
Hey, sis.
JILLIAN (V.O.)
Hey, Matt. How are you?
MATT
Living the dream.
JILLIAN (V.O.)
On your way?
MATT
Yeah, not far now. You?
A BEAT – no answer.
MATT
Jill?
JILLIAN (V.O.)
Things are a little out of control here, Matt. Paul has meetings all week, and then the sitter cancelled, and–
MATT
Jesus, Jill!
JILLIAN (V.O.)
I’ve really been looking forward to seeing you.
MATT
Don’t do this to me.
JILLIAN (V.O.)
Sorry, but I’m really not going to be able to get away.
MATT
Damn it!
JILLIAN (V.O.)
You’ll do fine without me.
MATT
I’ve got a fucking life, too, you know, and asshole employees jerking off if I’m not there making sure they do their jobs.
JILLIAN (V.O.)
I know–
MATT
I don’t even want to do this!
JILLIAN (V.O.)
What — be responsible?
MATT
Oh, fuck you! Says the woman who’s not even coming.
JILLIAN (V.O.)
I’d be there if I could.
MATT
Right.
(BEAT)
Have you talked to him lately?
JILLIAN
He’s getting worse.
MATT
Sure.
JILLIAN
He can’t stay on his own anymore. Not there.
MATT
I’ll be there soon.
JILLIAN (V.O.)
I’m just a call away if you want my input on anything–
MATT
A call, and 4000 kilometers.
JILLIAN (V.O.)
…Or if you just want to talk.
MATT
Got it.
JILLIAN (V.O.)
You’ll do fine.
MATT
Glad you have such tremendous faith in me.
JILLIAN
Talk soon.
The call disconnects.
MATT
Great. Fucking great.
He taps the steering wheel harder.
INT./EXT. GAS STATION – DAY
Matt’s car is parked a lot adjacent to a gas station / convenience store.
Matt exits the store unwrapping a pack of cigarettes. He extracts one, lights up, and inhales like he hasn’t smoked for a year — which he hasn’t.
INT. CAR – DAY
Matt drives up to the family house and parks. As he looks at the house a lifetime of memories cross his face.
EXT. FAMILY HOUSE – FRONT STEP – DAY
Matt has the front door key on his ring, unlocks the door and enters.
INT. FAMILY HOUSE – ENTRY – DAY
Matt takes off his jacket and shoes. The house is quiet.
MATT
Dad?
No answer.
MATT
Hello?
He looks around a bit, peering around corners.
MATT
Damn, keep it hot enough in here?
He turns down the thermostat in the hallway.
MATT
Old people.
He enters the…
INT. FAMILY HOUSE – OFFICE – DAY
Matt enters his dad’s office, jammed with Ogopogo-related stuff –- newspaper clippings and blurry photos tacked up like wallpaper. Stacks of paper, old binders and books.
Some things never change.
A cardboard box catches Matt’s eye. He reaches for it, but is distracted by a photo pinned to the wall…
Himself age 10, beside a sculpture of the sea creature, smiling mascot for the city of Kelowna.
BERT
(singing)
His mother was an earwig; his father was a whale…
Matt turns to face his dad, BERT, mid-70s and showing every year but still possessing a wiry strength.
BERT
(singing)
A little bit of head; and hardly any tail; and Ogopogo was his name.
MATT
There you are.
BERT
I heard noises.
MATT
I let myself in.
BERT
Thought you might have been Mabel. She comes most days.
MATT
Just me.
BERT
It’s out there, Matty.
MATT
What is?
BERT
It’s always been out there, just below the surface.
MATT
The monster?
BERT
Here there be monsters…
Bert touches the same photo pinned to the wall.
BERT
There you are with Ogopogo. Doesn’t look much like a monster, huh? A spirit, they say… a cryptid, more like…
(BEAT)
Remember that day?
MATT
No. What was I, ten?
BERT
Full of spunk…
Matt is only slightly surprised to see a memory of himself — YOUNG MATT, age 10, pass by the open door — dinosaur figure in hand, roaring.
BERT
You don’t remember it?
MATT
No, sorry.
BERT
Greatest regret of my life. I was so damn close, I know it! It’s out there, under those waves…
MATT
Greatest regret of your life?!
BERT
What else is there?
MATT
Besides a fantasy sea monster?
BERT
Fantasy?! Huh!
MATT
I don’t know… things you didn’t do with your kids–
BERT
Legendary, certainly, but not fantasy!
MATT
Fights with your wife…
BERT
Fights with my…? No… Water under the bridge…
(BEAT)
The bridge…
Bert rummages through papers, following that train of thought.
BERT
There’ve been a lot of sightings around the bridge over the years…
Bert is now lost in his thoughts.
Matt shakes his head as he walks past the old man and leaves the room.
INT. FAMILY HOUSE – KITCHEN – DAY
Matt unpacks bags of groceries and a case of wine.
He opens the fridge freezer and finds a stack of frozen TV dinners. Eye roll.
MATT
Yum.
Bert enters, reading from a book on Ogopogo, mumbling to himself.
BERT
…zeuglodons, most likely…
MATT
Zeuglo-whats?
BERT
A sort of primitive, snakelike whale… Yes, yes… it’s in the undulating motion…
MATT
You don’t ever give it up, do you?
BERT
Why would I do that?
MATT
Might be nice to talk about something real-world.
BERT
Real world?!
MATT
Exchange pleasantries. How’s you’re life going and shit like that.
Matt pours a glass of wine and takes a sip.
BERT
Did you just say your life’s shitty?
MATT
No. You heard that?
BERT
I thought I did.
MATT
Well, no.
Bert gets a glass and pours wine for himself. They clink glasses.
BERT
There’s a logic to it somewhere… A thread… All these lake monsters around the world–
Doorbell rings. Both go to answer it…
INT. FAMILY HOUSE – ENTRY – DAY
Matt and Bert open the door to greet MABEL, 60s, who probably always smells of fresh baking, bearing a casserole.
BERT
There she is!
MATT
Hey, Mabel.
MABEL
Matt, good to see you. I didn’t know you were coming.
MATT
Yeah, well… it was time.
BERT
She’s so good to me.
MATT
We’re grateful, you know.
MABEL
Oh, it’s nothing — just a casserole here or there when I figure Bert might need a bit of home cooking…
She hands the casserole to Bert.
BERT
I’ll put this in the kitchen.
Mabel waits for Bert to leave.
MABEL
…And maybe a watchful eye.
MATT
Thanks for that. You know we’re grateful.
MABEL
You staying long?
MATT
Can’t leave him here alone anymore. We’re going to get everything packed up and move him into a care home.
MABEL
End of an era. You selling the house?
Matt nods. Mabel frowns.
MATT
I’ll keep you in the loop.
They hug and Matt watches Mabel walk up driveway.
INT. FAMILY HOUSE – OFFICE – DAY
Matt finds Bert organizing papers.
MATT
She’s a good lady, Mabel.
BERT
Always bringing me food.
MATT
She cares.
BERT
Don’t know what she wants to fatten me up for…
Matt spots the casserole sitting on a shelf, atop books. Picks it up.
MATT
Guess you didn’t get this to the kitchen yet.
BERT
Hmm? No… I just had to do something in here first.
MATT
That’s okay… I’ll take it.
A confused look crosses Bert’s face.
BERT
I never missed a weekend, did I?
MATT
A weekend of what?
BERT
We’d go out on the lake… searching for Ogopogo–
MATT
Well, it wasn’t every weekend…
BERT
You enjoyed it.
MATT
Sure, when I was a kid. Besides, wasn’t all that more for you than for me?
BERT
Back when kids could dream.
INT. FAMILY HOUSE – DINING ROOM – EVENING
At the dining table, Matt and Bert eat dinner and drink red wine. Matt scans realty pages on his iPad, clicks on a listing for a winery.
BERT
Rude to be looking at that thing at the dinner table.
MATT
Kids these days.
BERT
What are you looking at, anyway?
MATT
Comparable listings for selling this house.
BERT
(strains neck to see)
A winery? You thinking of becoming a farmer?
MATT
Farmer? That’s not what they’re called.
BERT
Everything has a fancy name these days.
MATT
Besides, I couldn’t afford it if I wanted to.
BERT
Nice to dream.
Matt shuts the cover on the iPad, goes back to his dinner.
BERT
Better than my usual.
MATT
Yeah, Stouffer’s have nothing on home cooking.
BERT
I eat well. And Mabel’s good to me… Of course, it’s not like when your mother was around…
Matt suddenly sees his family at the table with him and Bert: YOUNG BERT (35), YOUNG JUNE (40), YOUNG JILLIAN (13), and himself, YOUNG MATT. All smiling and enjoying the meal.
BERT
(shivers)
It’s getting cold in here.
MATT
It’s fine.
BERT
What did you do?
MATT
It’s normal room temperature.
BERT
It’s cold.
MATT
I’ll get you a sweater.
A switch flips in Bert.
BERT
No, no — don’t worry about me. Why start now?
MATT
What do you mean?
BERT
No — you’re the big man around here! Suffering with this doddering old idiot in your life.
MATT
Oh, come on–
BERT
How does it feel to play God with your old man’s life?
MATT
It’s not like that–
BERT
Don’t be a damn fool! I know I’m dying!
MATT
You’re not dying.
Bert’s rage dies down and he returns to normal.
BERT
No. No, I’m not… Not yet.
MATT
It’s okay, Dad.
BERT
What were we talking about?
MATT
Don’t worry about it. Just finish your dinner.
Matt pushes back his plate, takes his wine, and goes outside.
Bert is left staring at his meal.
EXT. FAMILY HOUSE – DOCK – NIGHT
Matt sits on the dock, alone with his thoughts, smoking a cigarette and drinking wine. Bert approaches, carrying a jacket.
BERT
Bad habit.
MATT
Don’t worry — I quit.
BERT
You must know a different definition of ‘quit’ than I do.
Matt throws the butt in the lake.
BERT
Littering — much better.
MATT
Very funny.
Bert hands Matt the extra jacket.
BERT
Here – you’ll catch your death out in this cold.
Matt puts on the jacket.
MATT
It’s not so bad.
Bert sits down on the dock. Belches.
BERT
Your dinner gave me heartburn.
MATT
Don’t worry — I won’t cook for you again.
BERT
You tell me not to worry quite often, have you noticed that?
MATT
And yet just thinking of coming here drove me to pick up a pack of cigarettes on my way.
BERT
I suppose that’s my fault.
MATT
It’s nothing.
BERT
Sure. We’ll find something else to fight about.
MATT
Haha.
They look out at the winter lake, dark and brooding.
YOUNG BERT and YOUNG JUNE emerge from the house, laughing, glasses of wine in hand, and walk to the dock. It’s a warm summer evening for them.
YOUNG JUNE
What a perfect night.
YOUNG BERT
It is, but any night is perfect with you.
YOUNG JUNE
You charmer!
She kisses him.
YOUNG BERT
I’m not looking forward to you going away for so long.
YOUNG JUNE
Oh, you and Matty will be fine.
YOUNG BERT
It’s not that. I’m going to miss you.
YOUNG JUNE
I’m going to miss you, too, but you know how sick Momma is, and there’s no one else to take care of her this summer… unless you want to go?
YOUNG BERT
Oh, no! No, no, no!
YOUNG JUNE
Then it’s settled.
(Laughs)
Besides, it’ll be good for Jillian and I to have some girl time alone. And for you boys to have some time alone, too!
YOUNG BERT
Yeah, you’re probably right.
YOUNG JUNE
Darn right I am.
Matt looks back out at the lake.
Young Bert and Young June are no longer on the dock.
BERT
I’m not leaving, you know.
MATT
What do you mean?
BERT
We’re all still here… I can’t leave your mother.
MATT
Dad, Mom’s gone.
BERT
You think I don’t know that?
MATT
It’s not about being here — her memory’s wherever you are.
BERT
Well, then right now I’ll take those memories back inside… where it’s warm!
MATT
You do that.
BERT
Don’t stay out here too late.
MATT
I won’t…
Bert pats Matt on the back and heads toward the house.
Matt downs the rest of his wine.
MATT
I have to refill my glass.
INT. FAMILY HOUSE – OFFICE – NIGHT
Matt sips from a full wine glass. Puts it down and pulls down the box he’d noticed earlier.
Inside are various old papers, letters, newspaper clippings, photos… all with a theme Matt has yet to figure out.
He reads the first newspaper clipping — a CLASSIFIED AD:
IN SEARCH OF OGOPOGO — VISITING FROM SCOTLAND AND LOOKING FOR LOCAL EXPERTS TO ASSIST IN SEARCH. CALL 555-0104.
YOUNG BERT now sits at the desk, newspaper in hand, picks up the phone and dials…
INT. FAMILY HOUSE – MATT’S BEDROOM – NIGHT
Matt enters the dark room carrying the box. Puts it down on a table in front of the bedroom window, closes his eyes and rubs them. It’s been a long day.
Opening his eyes, something catches his attention out the window…
MATT
What the hell?!
EXT. FAMILY HOUSE – BACK YARD – NIGHT
Bert, bare-footed and wearing pyjamas, pulls a battered old canoe down from the side of the house toward the lake.
By the time Matt emerges from the house, Bert has the canoe in the water, knee-deep in the cold water, and is trying to get into it.
Matt gets to Bert quickly and tries to calm him.
MATT
Whoa, Bert! Where are ya goin’?
BERT
Leave me alone!
MATT
It’s not a very nice night for a canoe trip.
Matt has a grip on the canoe, stopping Bert from pulling it out further into the water.
BERT
Let me go!
MATT
Where do you want to go?
BERT
I’m going to face it!
MATT
To face what?
BERT
The monster… out on the lake.
MATT
Not tonight. It’s cold and dark.
BERT
I don’t give a damn! You’ve got to let me go! You’ve got to!
MATT
I can’t do that. It’s not safe for you to go out there.
BERT
God damn you — let me go!
Bert struggles to pull the canoe out into the water but Matt holds it firm. Bert’s mad energy fades to a whimper…
BERT
Let me go.
Matt puts his arm around Bert to guide him out of the water.
MATT
Let’s go back inside.
Utterly drained, Bert complies.
-
Robert Wood’s Turning Point 1 Scene
What I learned doing this assignment is that I’m reasonably pleased with what I’m doing but am frustrated that my first Act is significantly short on material (for example here I am at my turning point and I only have one scene instead of several)… But I do have an idea I’m excited about for another angle on the story to weave throughout, and I plan to add it in the rewrite phase, or possibly during the last day of work on Act 1… will see how it goes!
Turning Point 1 Scene:
EXT. FAMILY HOUSE – DOCK – NIGHT
Matt sits on the dock, alone with his thoughts, smoking a cigarette and drinking wine. Bert approaches.
BERT
Bad habits are hard to break.
MATT
Don’t worry — I quit.
BERT
Huh. You must know a different definition of ‘quit’ than I do.
Matt throws the butt in the lake.
BERT
Littering now — much better.
MATT
Just relax!
Bert sits down on the dock. Belches.
BERT
Your dinner gave me heartburn.
MATT
Don’t worry — I won’t cook for you again.
BERT
You tell me not to worry quite often, have you noticed that?
MATT
And yet just thinking of coming here drove me to pick up a pack of cigarettes on my way.
BERT
I suppose that’s my fault.
MATT
Never mind. Just drop it, okay?
BERT
Sure. We’ll find something else to fight about.
MATT
Very funny.
They look out at the lake, illuminated by moonlight.
BERT
You know what we should do tomorrow?
MATT
What’s that?
BERT
Rent a boat. Get out there on the lake.
MATT
Oh no, no, no.
BERT
Just you and me. It’ll be like old times.
MATT
I didn’t come here for that!
BERT
What did you come here for if not to spend some time reminiscing about memories with your old man?
MATT
There’s a lot of work to do around the house before we can list it for sale…
Bert immediately lowers his head.
MATT
Sorry.
BERT
Jillian and you — you’re both in on it.
MATT
We’re only doing what needs to be done.
BERT
You could stay here.
MATT
Oh no — we’re not even going there.
BERT
So you’re going to sell it all.
Matt is silent.
BERT
Then all the more reason to go out on the lake tomorrow.
MATT
How d’you figure?
BERT
If this is the end of one life, and the beginning of another, why not end it with a bang?
MATT
A trip on the lake…
BERT
One last exploration trip. Father and son, just like we used to.
Bert is getting lost in his memories.
BERT
And maybe this time we’ll find what we’ve always been looking for… out there, under those waves.
MATT
I can’t believe I’m even thinking about this.
BERT
Good. Then it’s settled!
Matt downs the rest of his wine.
-
Robert Wood’s Inciting Incident.
What I learned doing this assignment is that I suspect I don’t have enough material in my first Act to generate enough pages. Oh well, I guess I can flesh it out and come up with more stuff during re-writes.
My Inciting Incident / Reaction Scenes:
INT. FAMILY HOUSE – KITCHEN – DAY
Matt unpacks bags of groceries and a case of wine.
He opens the fridge freezer and finds a stack of frozen TV dinners. REACTION?
Bert enters, reading from a book on Ogopogo, and mumbling to himself.
BERT
…the creatures are most likely zeuglodons, a sort of primitive, snakelike whale… Yes, yes… it’s in the undulating motion…
MATT
You don’t ever give it up, do you?
Bert looks up from the book, seemingly surprised at Matt’s presence.
BERT
Hm? Ah, well, I don’t usually have to worry about entertaining much these days. Cryptozoology not to your taste at the moment?
MATT
Might be nice to talk about something real-world.
BERT
Real world?!
MATT
Exchange pleasantries. How’s you’re life going and shit like that.
Matt pours a glass of wine and takes a sip.
BERT
Did you just say your life’s shitty?
MATT
No. You heard that?
BERT
I thought I did.
MATT
Well, no. My life’s pretty great, actually.
Bert gets a glass and pours wine for himself. They clink glasses.
BERT
Good, I like to hear that. The liquor store?
MATT
Best sales year ever so far. People are drinking like fish.
Matt’s demeanor reveals he’s not truly happy.
BERT
You’re a good salesman.
MATT
Manager.
BERT
Probably have to be there a lot, I imagine?
MATT
Can’t leave it to the employees.
BERT
No, I imagine not.
Bert sips wine thoughtfully.
BERT
Of course I was a salesman, you remember. An employee…
MATT
Come on, it was different back then!
BERT
Dinosaur days.
Matt shrugs his shoulders like, “Yup!”
BERT
I’m practically a cryptozoology specimen myself!
MATT
You said it, old man!
BERT
Well, don’t knock it. Back then you could raise a family as a furniture salesman.
MATT
Good thing I don’t have a family to worry about.
BERT
And I had every weekend off to take my son out on the lake searching for Ogopogo–
MATT
And here we go again…
BERT
You enjoyed it.
MATT
Sure, when I was five or ten. Besides, wasn’t all that more for you than for me?
BERT
Back when kids could dream.
INT. FAMILY HOUSE – DINING ROOM – EVENING
At the dining table, Matt and Bert eat dinner and drink red wine.
BERT
Better than my usual.
MATT
Yeah, Stouffer’s have nothing on home cooking.
BERT
I eat well. Of course, it’s not like when your mother was around…
(shivers)
It’s getting cold in here.
MATT
It’s fine.
BERT
What did you do?
MATT
It’s normal room temperature.
BERT
Did you turn on the air conditioner?
MATT
It’s summer in the Okanagan. Yeah, I turned on the fucking air conditioner!
BERT
You know how much air conditioning costs?!
MATT
I’ll pay the bill — don’t worry!
BERT
You always did love to waste money. Since you were a kid. Never could save a penny, and we gave you a good allowance… Waste not, want not, I always say.
MATT
Yeah, you do.
BERT
What’s that supposed to mean?
MATT
I don’t need to hear it. I’ve heard it all before! You “always say” it, yeah — over and over!
BERT
Well, forgive me if I don’t know what you’ve heard before, or what you remember.
MATT
Just like everything — you just repeat the same old stories and bullshit.
BERT
Better to repeat myself graciously than be ungrateful to still have this doddering old fool in your life.
MATT
Yeah, that’s right — it’s all on me.
BERT
It’s not all on you.
MATT
Always was.
BERT
I’m the one torturing you with endless repetition. Seems that’s on me.
MATT
Good to know some things don’t change.
Matt pushes back his plate, stands, grabs his wine, and storms outside.
Bert is left staring at his meal.
-
This reply was modified 3 years, 3 months ago by Robert Wood.
-
This reply was modified 3 years, 3 months ago by
-
Robert Wood’s Act 1: Opening Scenes
What I learned doing this assignment is that the preliminary work we did on our characters in advance has now really surprised me — their individual voices have come through much more clearly than I expected. I’m writing the script in Final Draft and copying and pasting here… Sorry, but I can’t help doing some editing! I’m feeling really pleased with these first two scenes. Onward tomorrow!
PROTAGONIST INTRODUCTION SCENE:
INT. CAR – DAY
MATT, 50-ish, edgy and agitated, taps the steering wheel as he drives. Music cuts out and a call rings through the speakers. He glances at the screen that says JILLIAN.
MATT
(cynical)
Awesome.
He hits the button to take the call.
MATT
Hey, sis.
JILLIAN (V.O.)
Hey, Matt. How are you?
MATT
Living the dream.
JILLIAN (V.O.)
On your way?
MATT
Yeah, not far now. You?
A BEAT – no answer.
MATT
Jill?
JILLIAN (V.O.)
Things are a little out of control here, Matt. Paul has meetings all week, and then the sitter cancelled–
MATT
Jesus, Jill!
JILLIAN (V.O.)
I’ve really been looking forward to seeing you.
MATT
Don’t do this to me.
JILLIAN (V.O.)
Sorry, but I’m really not going to be able to get away.
MATT
Damn it!
JILLIAN (V.O.)
You’ll do fine without me.
MATT
I’ve got a fucking life, too, you know, and asshole employees jerking off if I’m not there making sure they do their jobs.
JILLIAN (V.O.)
I know–
MATT
I don’t even want to do this!
JILLIAN (V.O.)
What — be responsible?
MATT
Oh, fuck you! Says the woman who’s not even coming.
JILLIAN (V.O.)
I’d be there if I could.
MATT
Right.
JILLIAN (V.O.)
I don’t want to fight, Matt.
MATT
I should’ve guessed — it’s always this way.
JILLIAN (V.O.)
I’m just a call away if you want my input on anything–
MATT
A call and 4000 kilometers.
JILLIAN (V.O.)
…Or if you just want to talk.
MATT
Got it.
JILLIAN (V.O.)
You’ll do fine.
MATT
Glad you have such tremendous faith in me.
JILLIAN
Talk soon.
The call disconnects.
MATT
Great. Fucking great.
He taps the steering wheel harder.
ANTAGONIST INTRODUCTION SCENE:
INT. FAMILY HOUSE – OFFICE – DAY
Matt enters his dad’s office, jammed with Ogopogo-related stuff –- newspaper clippings and blurry photos tacked up like wallpaper. Stacks of paper, old binders and books.
Some things never change.
Matt spots a photo of himself as a kid, alongside a sculpture of the sea creature, smiling mascot for the city of Kelowna. He studies it blankly.
BERT
(singing)
His mother was an earwig; his father was a whale…
Matt turns in surprise to face his dad, BERT, mid-70s and showing every year but still possessing a wiry strength.
BERT
(singing)
A little bit of head; and hardly any tail; and Ogopogo was his name.
MATT
Dad.
BERT
It’s out there, Matty. It’s always been out there, just below the surface.
MATT
You’re here?
BERT
Here there be monsters, right?
(Laughs)
No, it’s not a monster. A spirit, they say, but I’m damn sure it’s a cryptid.
MATT
No hellos, then.
BERT
Who has time? Get to the point, that’s what I always say.
MATT
Sure.
BERT
Nice picture of you with Ogopogo, huh?
(Laughs)
Remember that day?
MATT
No. What was I, five?
BERT
That’s how I like to remember you — full of spunk and inquisition… You don’t remember it?
MATT
No, sorry.
BERT
That’s too bad. Too bad… I regret that.
MATT
You regret I don’t remember one day from forty-five years ago?
BERT
Sure. That, and never finding the thing. Greatest regret of my life. I was so damn close, I know it! It’s out there, under those waves…
MATT
Greatest regret of your life?!
BERT
What else is there?
MATT
Besides a fantasy sea monster?
BERT
Fantasy?! Huh!
MATT
I don’t know… things you didn’t do with your kids–
BERT
Legendary, you could say, but not fantasy!
MATT
Fights with your wife…
BERT
Ah! Water under the bridge… The bridge…
Bert rummages through papers, following that train of thought.
BERT
There’ve been a lot of sightings around the bridge over the years…
Bert is now lost in his thoughts.
Matt shakes his head as he walks past the old man and leaves the room.
-
Robert Wood’s Beat Sheet Draft 2
What I learned doing this assignment is how much of my story is still revealing itself to me. It’s feeling a little too sweet to me – I think I’m going to have to be careful to keep it from becoming overly sappy. My Antagonist is very much a motivational agent of change as opposed to a real “baddie”… Anyway, it is what it is, and I’m excited to start the actual script-writing tomorrow!
Theme: Follow your dreams.
ACT 1:
INT. CAR – DAY
OPENING: In car, driving to dad’s house, talking to sister on speaker about what he must do. Edgy and agitated. He doesn’t want to do this or be responsible for it. Matt complains about time away from work. (Stuck in work routine – no time for dreaming.)
INT./EXT. GAS STATION – DAY
Stops at gas station – buys cigarettes. Has a smoke before getting back in car.
INT. CAR – DAY
Driving up to the family house – lots of memories.
INT. FAMILY HOUSE – DAY
Uses his key and goes in. Quiet. Looks around a bit and goes into the…
INT. FAMILY HOUSE – DEN – DAY
The office is still full of Ogopogo stuff – some things never change.
INCITING INCIDENT: Dad (Bert) shows up. They chat. Bert is still obsessed with the creature, but also disappointed that he’s never found it, or conclusive proof. Matt doesn’t understand him.
INT. FAMILY HOUSE – KITCHEN – DAY
TE 1: Time to make dinner – Matt brought some food. Matt talks about his work / liquor store – it’s all-consuming. But he doesn’t seem happy about it. No spark of joy. Bert loved the sales job at the furniture store, but even more loved every weekend off to take his son Ogopogo hunting… was it more for himself? Back when kids could dream. (Subtext is that Matt can’t ream anymore.) Throughout, Matt is quick to judge / Bert’s critiques – although unintended – cut deep. Matt realizes his relationship with his dad hasn’t changed.
EXT. FAMILY HOUSE – DOCK – NIGHT
TURNING POINT: Drinks & talking & bickering outside on the dock. Bert criticizes everything: Matt’s cooking gave him heartburn; Matt’s smoking, etc… Eventually talk about old times leads to decision (Bert urging / Matt relenting) to go out on one last exploration trip tomorrow.
ACT 2:
EXT. CONVENIENCE STORE – DAY
NEW PLAN: Morning – Matt exits convenience store with bag of supplies for the day… Bert waits in the car and then goes through the bag after Matt gets in the car… Bert criticizes purchases – terrible for his health – Pringles and chocolate bar. Matt points out the sandwich and water… Matt can’t do anything right. Matt’s doing this trip is to appease his dad, but really it’s to avoid the task he’s there to do.
EXT. BOAT RENTAL PLACE – DAY
Boat rental & embark on their final adventure together …
EXT. BOAT ON LAKE – DAY
PLAN IN ACTION: Calm day on the water. No sign of the creature – It’s futile / Matt’s not as enthusiastic but keeps going for Bert’s sake. But better head toward where he lives… Rattlesnake Island / Squally Point.
Searching as they go… lots of Ogopogo talk as they go – Bert knows it all! Being out on the water doesn’t Matt remember the fun they used to have? Yeah, but that was then. Childhood nonsense. Waste of time. Gotta grow up sometime. Does that mean settling and giving up your dreams? It’s called being an adult… Maybe Bert never did that.
Arrive at…
EXT. RATTLESNAKE ISLAND – DAY
TE 2: There – going to have lunch on the island. Gets close / drops anchor / throws pack over to land and cellphone and cigarettes fall out mid-air and drop into the water. Matt dives in after the phone, but it’s trashed. Has lunch on island.
EXT. BOAT AT ISLAND – DAY
MIDWAY TURNING POINT: Boat motor won’t start again. Struggles with it – no luck. Someone will come by, but no…
EXT. RATTLESNAKE ISLAND – NIGHT
Matt and Bert spend the night on island. Bert wishes Matt sweet dreams.
ACT 3:
EXT. RATTLESNAKE ISLAND – MORNING
RETHINK EVERYTHING: They wake in morning to storm squall blowing through. So much for dreams – Matt thinks it’s a fucking nightmare! Quick rain with thunder and lightning – dangerous here in the summer! Matt is starting to be put to the challenge by events he can’t control.
EXT. RATTLESNAKE ISLAND – DAY
NEW PLAN: Engine still won’t start… more criticism from Bert. They’re gonna have to hoof it!
EXT. RATTLESNAKE ISLAND / LAKE – DAY
Matt and Bert swim across the short distance from Rattlesnake Island to shore. Long walk ahead, heading north toward Kelowna…
EXT. LAKE SHORELINE – DAY
TE 3: Not long after they start off, they see that lightning started a fire up on the mountain above – it’s starting to come down. Must go faster. Smoke increasing. Bert knows how much danger they could soon be in.
Getting smokier / fire is moving faster than they are and is getting closer.
EXT. LAKE SHORELINE – DAY
Matt waves to water-bomber / helicopter but isn’t seen. Matt and Bert continue their ongoing back and forth – Attack / Counter Attack.
EXT. LAKE SHORELINE – DAY
TURNING POINT: Matt falls/slides down ravine – twists ankle. Just a sprain, hopefully. Bert encourages him. Matt manages to climb back up and out. Has to use a stick to walk.
EXT. LAKE SHORELINE – DAY
TE 4: Matt struggles, perseveres. No longer bickering, Matt asks Bert why he stayed in the house, even after his mom died? Couldn’t leave – that’s where her memory still lives… and his dreams… Matt realizes he has become much closer to his dad through the adversity they’ve faced. How many dreams does Matt still have? Or how many memories are tied to the old house? It’s a good house. Great. Sure, it may need a lick of paint or two, but that’s minor. Matt’s feelings about the place are shifting – he’s getting ideas…
ACT 4:
EXT. LAKE SHORELINE – DAY
CLIMAX: They come to the worst challenge yet: their path is blocked by fire – there’s nowhere else to go! Is this the end? Matt and Bert are gonna have to swim around a section of land.
EXT. LAKE / LAKE SHORELINE – DAY
TE 5: Matt and Bert swim around the section of land on fire then get back to shore, hopefully past the worst of it. In the water Matt sees something he can’t explain. Was it Ogopogo or just a log bobbing in the water?
EXT. LAKE SHORELINE – DAY
Ashore, no sign of a log in the water – or anything else – Matt and Bert talk about what they saw, and Matt is re-opened to believing and now finally understands his dad. The child-like ability to dream is re-awakened.
EXT. LAKESHORE ROAD – DAY
Matt decides to change his life, stay in the family house, and follow his dreams in the wine industry. Bert is pleased and knows Matt is going to find happiness here… maybe even love… might be nice to have some grandkids running around the old house? Finally get to end of Lakeshore Road, struggling along, but now at peace with each other / their bond fully healed.
EXT. LAKESHORE ROAD – DAY
RESOLUTION: They encounter an emergency vehicle / park Ranger helping ensure everyone’s evacuated from the fire. Ranger helps Matt into the passenger seat and they head off… There was no one else with him – Matt was alone the whole time, and now is going to follow his dreams.
-
Robert Wood’s High Speed Beat Sheet
What I learned doing this assignment is a different approach to structuring beat sheets. It’s a logical extension of the approach taken in this course so far and I’m pleased with it. I will definitely use the High Speed Writing Rules to get this script done at record speed, and am excited to start!
ACT 1:
INT. CAR – DAY
OPENING: In car, driving to dad’s house, talking to sister about what he must do. Edgy and agitated. He doesn’t want to do this or be responsible for it.
INT./EXT. GAS STATION – DAY
Stops at gas station – buys cigarettes. Has a smoke before getting back in car.
INT. CAR – DAY
Driving up to the family house – lots of memories.
INT. FAMILY HOUSE – DAY
Uses his key and goes in. Quiet. Looks around a bit and goes into the…
INT. FAMILY HOUSE – DEN – DAY
The office is still full of Ogopogo stuff.
INCITING INCIDENT: Dad (Bert) shows up. They chat.
INT. FAMILY HOUSE – KITCHEN – DAY
TE 1: Time to make dinner – Matt brought some food. Matt is quick to judge / Bert’s critiques – although unintended – cut deep. Matt realizes his relationship with his dad hasn’t changed.
EXT. FAMILY HOUSE – DOCK – NIGHT
TURNING POINT: Drinks & talking outside on the dock about old times leads to decision (Bert urging / Matt relenting) to go out on one last exploration trip tomorrow.
ACT 2:
INT./EXT. CONVENIENCE STORE – DAY
NEW PLAN: Morning – Matt & Bert are getting supplies at convenience store / sandwiches / water. Matt’s doing this trip is to appease his dad, but really it’s to avoid the task he’s there to do.
EXT. BOAT RENTAL PLACE – DAY
Boat rental & embark on their final adventure together …
EXT. BOAT ON LAKE – DAY
PLAN IN ACTION: Calm day on the water. No sign of the creature – It’s futile / Matt’s not as enthusiastic but keeps going for Bert’s sake. But better head toward where he lives… Rattlesnake Island / Squally Point.
Searching as they go… Arrive at island.
EXT. RATTLESNAKE ISLAND – DAY
TE 2: There – going to have lunch on the island. Gets close / drops anchor / throws pack over to land and cellphone and cigarettes fall out mid-air and drop into the water. Matt dives in after the phone, but it’s trashed. Has lunch on island.
EXT. BOAT AT ISLAND – DAY
MIDWAY TURNING POINT: Boat motor won’t start again. Struggles with it – no luck. Someone will come by, but no…
EXT. RATTLESNAKE ISLAND – NIGHT
Matt and Bert spend the night on island.
ACT 3:
EXT. RATTLESNAKE ISLAND – MORNING
RETHINK EVERYTHING: They wake in morning to storm squall blowing through. Quick rain with thunder and lightning – dangerous here in the summer! Matt is starting to be put to the challenge by events he can’t control.
EXT. RATTLESNAKE ISLAND – DAY
NEW PLAN: Engine still won’t start… more criticism from Bert. They’re gonna have to hoof it!
EXT. RATTLESNAKE ISLAND / LAKE – DAY
Matt and Bert swim across the short distance from Rattlesnake Island to shore. Long walk ahead, heading north toward Kelowna…
EXT. LAKE SHORELINE – DAY
TE 3: Not long after they start off, they see that lightning started a fire up on the mountain above – it’s starting to come down. Must go faster. Smoke increasing. Bert knows how much danger they could soon be in.
Getting smokier / fire is moving faster than they are and is getting closer.
EXT. LAKE SHORELINE – DAY
Matt waves to water-bomber / helicopter but isn’t seen.
EXT. LAKE SHORELINE – DAY
TURNING POINT: Matt falls/slides down ravine – twists ankle. Just a sprain, hopefully. Bert encourages him. Matt manages to climb back up and out. Has to use a stick to walk.
EXT. LAKE SHORELINE – DAY
TE 4: Matt struggles, perseveres, and realizes he has become much closer to his dad through the adversity they’ve faced.
ACT 4:
EXT. LAKE SHORELINE – DAY
CLIMAX: They come to the worst challenge yet: their path is blocked by fire – there’s nowhere else to go! Is this the end? Matt and Bert are gonna have to swim around a section of land.
EXT. LAKE / LAKE SHORELINE – DAY
TE 5: Matt and Bert swim around the section of land on fire then get back to shore, hopefully past the worst of it. In the water Matt sees something he can’t explain.
EXT. LAKE SHORELINE – DAY
Ashore, Matt and Bert talk about what they saw, and Matt is re-opened to believing and now finally understands his dad.
EXT. LAKESHORE ROAD – DAY
Matt decides to change his life, stay in the family house, and follow his dreams in the wine industry. Finally get to end of Lakeshore Road, struggling along, but now at peace with each other / their bond fully healed.
EXT. LAKESHORE ROAD – DAY
RESOLUTION: They encounter an emergency vehicle / park Ranger helping ensure everyone’s evacuated from the fire. Ranger helps Matt into the passenger seat and they head off… There was no one else with him – Matt was alone the whole time, and now is going to follow his dreams.
-
Robert Wood’s Transformational Events (Lesson 6)
What I learned doing this assignment is that I’m still learning a lot about my lead character and my story! More layers are revealing themselves as I do the work, and it’s very satisfying. I found this assignment more challenging, but absolutely worth it!
Character Arc: Matt starts out on a quick trip to clear out his dad’s house and ends up deciding to stay and reboot his life.
Old Ways:
– Matt is intending a quick trip
– Impatient & edgy / stressed
– At odds with his dad’s memory and their history
– In a rut of routine / work
– In control of his world, but unsatisfied / empty
– Non-believer in Ogopogo (has lost the innocence & openness of youth)
New Ways:
– At peace with his dad’s memory & their relationship
– Calmer, happy
– Decides to stay in family home and maybe have a family
– Ready to reboot his life and follow his dreams in the wine industry (uncertainty but satisfaction)
– Sees something he can’t explain and is re-opened to believing (regained innocence)
Revised Four-Act Structure (with Transformational Events worked in):
Act 1:
Opening: Matt drives to his dad’s house / talks on phone to sister about what he must do. He’s edgy & agitated. He doesn’t want to do this or be responsible for it.
Inciting Incident: Matt enters house / looks around / Dad (Bert) shows up – they chat & argue as always. Matt is quick to judge / Bert’s critiques – although unintended – cut deep. Matt realizes his relationship with his dad hasn’t changed.
Turning Point: Drinks & talking/bickering about old times leads to decision (Bert urging / Matt relenting) to go out on one last exploration trip on the lake tomorrow.
Act 2:
New Plan: Matt & Bert getting supplies & boat rental. Matt’s doing this trip is to appease his dad, but really it’s to avoid the task he’s there to do. They embark on their final adventure together…
Plan in Action: Searching on lake for sea creature. It’s futile / Matt’s not as enthusiastic but keeps going for Bert’s sake. Decide to go toward where he’s said to live – Rattlesnake Island / Squally Point. At island for lunch, Matt drops cellphone in water.
Midpoint Turning Point: Boat motor won’t start again. Matt struggles with it while Bert offers advice & criticism, but no luck… hope someone will come by, but no… They spend night on the island.
Act 3:
Rethink Everything: They wake to storm squall blowing through – quick rain, thunder & lightning – dangerous here in the summer! Engine still won’t start… more criticism from Bert. Matt is starting to be put to the challenge by events he can’t control.
New Plan: They’re gonna have to hoof it! Long walk ahead full of challenges / danger because the lightning started a fire on the mountain above. Bert knows how much danger they could soon be in. They head north as fire gets closer.
Turning Point / Huge Failure / Major Shift: Matt falls / slides down ravine and twists ankle. Bert encourages him. Matt manages to climb back up and out. Has to use a stick to walk. Matt struggles, perseveres, and realizes he has become much closer to his dad through the adversity they’ve faced. They come to the worst challenge yet: their path is blocked by fire… there’s nowhere else to go!
Act 4:
Climax / Ultimate Expression of the Conflict: Matt and Bert swim around the section of land on fire then get back to shore, hopefully past the worst of it. In the water Matt sees something he can’t explain. Ashore, Matt and Bert talk about what they saw and Matt is re-opened to believing and now finally understands his dad. Matt decides to change his life and stay in the family house.
Resolution: They finally struggle to a road, at peace with each other / their bond fully healed, and encounter an emergency vehicle / park Ranger helping ensure everyone’s evacuated from the fire. Ranger helps Matt into the passenger seat and they head off… There was no one else with him – Matt was alone the whole time, and now is going to follow his dreams.
-
Robert Wood’s 4-Act Transformational Structure
What I learned during this assignment is that having a clear conception of the conflict arc of the characters tied to the plot is much more emotionally rewarding than focusing on the plot alone.
Concept: Matt returns to his childhood home in Kelowna, British Columbia, on Okanagan Lake, where his elderly father continues his lifelong obsession with the legendary local sea monster Ogopogo. Despite their challenging history and relationship, Matt decides to help his old man on one last wild goose chase in search of the creature. Matt’s quest with his father doesn’t necessarily lead them to the creature (although maybe it does?!), but it does bring the son closer to his father than he has ever been before.
Main Conflict: Between Matt and his father: the strains of their relationship and history weigh on both and lead them to “press each other’s buttons”.
Matt’s Old Ways: Insensitive, judgemental, impatient, and agitated about dealing with his father.
Matt’s New Ways: Sensitive, understanding, sympathetic, patient, and at peace with their relationship.
Act 1:
Opening: Matt drives to his dad’s house / talks on phone to sister about what he must do. He’s edgy & agitated.
Inciting Incident: Matt enters house / looks around / Dad (Bert) shows up – they chat & argue as always. Matt is quick to judge / Bert’s critiques – although unintended – cut deep.
Turning Point: Drinks & talking/bickering about old times leads to decision (Bert urging / Matt relenting) to go out on one last exploration trip on the lake tomorrow.
Act 2:
New Plan: Matt & Bert getting supplies & boat rental.
Plan in Action: Searching on lake for sea creature. It’s futile / Matt’s not as enthusiastic but keeps going for Bert’s sake. Decide to go toward where he’s said to live – Rattlesnake Island / Squally Point. At island for lunch, Matt drops cellphone in water.
Midpoint Turning Point: Boat motor won’t start again. Matt struggles with it while Bert offers advice & criticism, but no luck… hope someone will come by, but no… They spend night on the island.
Act 3:
Rethink Everything: They wake to storm squall blowing through – quick rain, thunder & lightning – dangerous here in the summer! Engine still won’t start… more criticism from Bert.
New Plan: They’re gonna have to hoof it! Long walk ahead full of challenges / danger because the lightning started a fire on the mountain above. Bert knows how much danger they could soon be in. They head north as fire gets closer.
Turning Point / Huge Failure / Major Shift: Matt falls / slides down ravine and twists ankle. Bert encourages him. Matt manages to climb back up and out. Has to use a stick to walk. Matt struggles, perseveres, but their path is blocked by fire… there’s nowhere else to go!
Act 4:
Climax / Ultimate Expression of the Conflict: Matt and Bert swim around the section of land on fire then get back to shore, hopefully past the worst of it.
Resolution: They finally struggle to a road, at peace with each other / their bond fully healed, and encounter an emergency vehicle / park Ranger helping ensure everyone’s evacuated from the fire. Ranger helps Matt into the passenger seat and they head off… There was no one else with him – Matt was alone the whole time.
-
Robert Wood’s Character Interviews
What I learned doing this assignment included various specific details about my characters including their professions, Matt’s mom & sister’s names, and more… I’m not sure much of it is useful to fit into a revision of the Character Profiles, so I’m not going to update those at the moment, but it is great to have this extra information on my lead characters in this interview, which I’ll keep along with the Character Profiles. The other useful thing of course was to be able to switch into the characters’ voices for dialogue – not sure I was entirely successful with their individuality, but it’s a start and I’m aware of it.
I’m also not sure whether or not we’re supposed to share the entire interviews here, but here are mine…
QUESTIONS FOR MATT
Tell me about yourself. I’m Matt. I’m 50, single, and living in Vancouver. I own and manage a liquor store but have always been interested in winemaking… maybe I’ll get to that one day. Also, my dad recently died.
Why do you think you were called to this journey? Why you? Because my sister wouldn’t do it! (LAUGHS) She’s in Toronto – too far away and busy with her family. There was no one else who could go take care of clearing out Dad’s house… our old house.
You are up against Bert. What is it about him that makes this journey even more difficult for you? We were distant… too distant. I don’t think either of us meant to be, but we just never connected quite the way we could or should have. There was distance between us and I don’t think we knew how to reach past that. What’s gonna be difficult is walking back into that house and all those memories.
In order to survive or accomplish this, you are going to have to step way outside of your box. What changes do you expect to make and which of them will be the most difficult? I’m gonna have to just plow into it, I think. Keep the emotions off as much as possible. Not think too deep… because if I do that and let it get inside me, I could end up in a dark place. Besides, I’ve got a case of wine in the trunk, so that’ll help.
What habits or ways of thinking do you think will be the most difficult to let go of? Playing the son. I mean, I’m still his son – even though he’s dead – but I don’t think I ever stepped outside that role or made it past that in our relationship. I never got to really be an equal with him or deal with him on an adult man-to-man level.
What fears, insecurities and wounds have held you back? Oh man… wounds… well, that goes back to playing baseball as a kid. My mom took me to all the games, but my dad never came. Not to one. I don’t know why. He didn’t go to anything I did – never even went to a parent-teacher meeting. It was all my mom’s job. Fears? Maybe just that if I had a kid, I’d do the same things he did, and I don’t wanna do that.
What skills, background or expertise makes you well-suited to face this situation with Bert? I’ve just gotta go clear out the family house, pack it up, take the shit to charity shops, and maybe keep a few things for my sister… and probably a few things for me too. It’s not hard – and I’ve got wine to help with the pain. (LAUGHS)
What are you hiding from the other characters? What don’t you want them to know? From my dad? I guess I was hiding that I wish I’d been there more… especially in the last few years. But we had that distance… and I moved away and kept myself busy. Didn’t want to deal with it, I guess. Regret that now.
What do you think of Bert? I think he was a good guy. A nut. Eccentric. Not a great dad, but he tried in his own way. Difficult. Short fuse… guess that’s where I got that from. (LAUGHS.) Yeah, he was a good guy.
Tell me your side of this whole conflict / story. My side… we never really had a conflict. Bert was Bert. He did his thing and I just tried to live my life. Not perpetuate the cycle. I guess he was sad I moved away and didn’t keep trying to help him out or work together, or something. Whatever it was, we just never figured out a way to close the gap.
What does it do for your life if you succeed here? I guess it’s a kind of closure. A new chapter of the book. Maybe even a whole new book. Closing up the old family house… that’s gotta bring up some memories.
QUESTIONS FOR BERT
Tell me about yourself. Well, I’m dead for a start. My name’s Bert – Herbert, but my wife June never liked that name, so I became Bert. I was 75 when I died. Always thought I’d go a lot longer than that, but it wasn’t to be. I lived my life in the Okanagan Valley and had a furniture store for 30 years. I always kept an eye on the lake… You know Ogopogo, the sea creature? He lives there, and I’ve been tracking him most of my life, since I was a young boy.
Having to do with this journey, what are your strengths and weaknesses? Well, Matt’s coming to clear out our house. I should have done more of that myself and not left such a mess for him and his sister Jessie, but I guess I procrastinate about stuff like that. Maybe I can convince Matt to go on one last search out there on the water for Ogopogo – that’s my strength. I know everything there is to know about that beauty… except I haven’t found him yet. I keep saying he, but there’s a family of them down there, I’m sure of it. A small family, but there’s got to be more than one over all these years.
Were you a supportive father? Were you there for your son? Yeah, sure, I was supportive and tried to always be interested. But everyone has their own interests – I have mine, and the kids had theirs, and June had hers… I guess thinking about it maybe there were times I was a little too wrapped up in my own obsessions to pay much attention to theirs, but they always knew I loved them. Not everyone shows that the same way.
What do you get out of succeeding in your plan? To finally be the one to discover proof of the truth? It would be like having the biggest trophy in the world up there on my mantle! Maybe a little bit of bragging rights… maybe a little bit of vindication after all these years.
What drives you toward your mission / agenda, even in the face of danger, ruin, or death? Death doesn’t scare me anymore. (LAUGHS.) But I’ve worked so long, so hard, to prove something exists down there… be a shame to never learn the answer. It has to be!
What secrets must you keep to succeed? What other secrets do you keep out of fear / insecurity? Secrets… my secrets are probably just that I’ve doubted myself. Never let on about that, of course, but maybe I was just a foolish old man – and a foolish young man before that – chasing a myth that doesn’t exist. And maybe I should have spent more time on other things… like my family.
Compared to other people like you, what makes you special? No one’s had the dedication or perseverance I have to follow my passion for 70 years. And one day I’m going to find what I’m looking for.
What do you think of Matt? He’s a good boy. Always a hard worker and seems to have made a good life for himself. I don’t know… I think he might be lonely. Must be. Needs to find a good woman and settle down, have some kids… he’s only 50, so it’s not too late.
Tell me your side of this whole conflict / story. I don’t think there is a conflict between Matt and I, is there? News to me if there is. Distance is what it is. He chose to move away and didn’t come visit that much. I could have invited him more, but I was busy, too.
-
Robert Wood’s Character Profiles, Part 2
What I learned doing this assignment is that it’s pushing me to explore the depths of character even further than I thought I needed to.
Protagonist: Matt (son) is a “Fighter” who will not only rise to the immediate goal / challenges but will rise to the occasion of dealing with his dad and everything they encounter when their day trip doesn’t go as planned.
Antagonist: Bert (father) is a “Change Agent” who will be a thorn in Matt’s side but ultimately leads Matt to his full potential and to a better understanding of his father.
Other Characters: Minor Roles / Background Characters only: Matt’s sister (VO on phone call only), a boat rental lady, and a rescuer.
Genre: DRAMA
Time: Present (2022)
Location: Kelowna, British Columbia / Okanagan Lake
MATT
Role: Son / protagonist who is feeling put-upon to have to go to his dad’s to take care of things.
Age: 50ish male, in decent shape and working on it. Somewhat tightly wound as story starts.
Internal Journey: He begins agitated / impatient with his dad specifically (and with everything in general) and grows to a place of peace and understanding.
External Journey: Going on one last quest with his dad what they’re searching for (the sea monster) becomes less important than what he finds: a better relationship /understanding of his father.
Motivation: Want: To get to his dad’s and deal with what needs to be done (which we assume is to help move the old man into a home). Need: To reconcile his relationship with his dad.
Wound: Never having the bond with his dad that he wanted / imagined.
Mission / Agenda: To go on a last quest for the sea monster Ogopogo, but in the process finds his purpose: to reconcile himself with his dad.
Secret: His dad’s already dead. Matt’s going to clear out the old family house for sale, but isn’t quite ready to cope with it.
What makes him special: His willingness to humour his dad one last time, even though he’s seemingly cold and impatient with the old man.
What draws us to him? He’s a likeable everyday guy who ends up dealing with a challenging situation – the audience can put themselves in his shoes.
Traits: Decency, humour, impatience, tension.
Subtext: Hides his inability to say goodbye to his dad by manifesting and talking to memories of him.
Flaw: Impatience / sometimes saying something that he’ll quickly regret.
Values: Family (but sees family as imperfect and difficult, and is impatient with it.)
Irony: He values family but has never had one of his own because he’s never achieved peace with his own father.
What makes him right for the role? It’s his story! He takes his dad out for one final day trip in search of the sea monster but finds what he really needs: peace with his father’s memory.
BERT
Role: Father / antagonist who’s a critical conscience-like voice to Matt, reminding him of what he should or shouldn’t be doing.
Age: mid-70s, wiry build but clearly weakened by age.
Internal Journey: His antagonistic criticisms are a cover / shield that will fall away in tandem with Matt’s.
External Journey: Prompting his son to go out one final time on a father-son quest in search of the sea monster brings them closer together.
Motivation: To get his son to feel at peace with their relationship.
Wound: The same / mirror image as Matt’s: not having had the relationship either of them really wanted.
Mission / Agenda: To get Matt to a place of peace about their relationship.
Secret: He’s dead. He’s just a memory that Matt’s conjured up to relive / spend a bit more time “with” his dad.
What makes him special: In the beginning it seems he brings out the worst in his son but by the end he brings out the best.
What draws us to him? He’s a charming, eccentric old guy with a crazy lifelong passion / hobby / obsession: to find the legendary sea monster Ogopogo in Okanagan Lake.
Traits: Obsessive with details and very smart, gentle, a mentor / conscience figure.
Subtext: He’s avoiding the fact he’s dead and just a figment of his son’s imagination / memory.
Flaw: Was never able to be the father he really wanted to be.
Values: Imparting wisdom and curiosity.
Irony: He has to take a backseat and watch Matt make mistakes.
What makes him right for the role? It’s his quirky obsession that leads to the day trip which is then transformative for his son.
-
Robert Wood’s Character Profiles, Part 1
What I learned doing this assignment is that exploring the depths of character even further than I thought I needed to not only helps them become clearer in my mind, but also can lead to plot / story discoveries as well.
Protagonist: Matt (son) is a “Fighter” who will not only rise to the immediate goal / challenges but will rise to the occasion of dealing with his dad and everything they encounter when their day trip doesn’t go as planned.
Antagonist: Bert (father) is a “Change Agent” who will be a thorn in Matt’s side but ultimately leads Matt to his full potential and to a better understanding of his father.
Other Characters: Minor Roles / Background Characters only: Matt’s sister (VO on phone call only), and a boat rental lady.
Genre: DRAMA
Time: Present (2022)
Location: Kelowna, British Columbia / Okanagan Lake
MATT
Role: Son / protagonist who is feeling put-upon to have to go to his dad’s to take care of things.
Age: 50ish male, in decent shape and working on it. Somewhat tightly wound as story starts.
Internal Journey: He begins agitated / impatient with his dad specifically (and with everything in general) and grows to a place of peace and understanding.
External Journey: Going on one last quest with his dad what they’re searching for (the sea monster) becomes less important than what he finds: a better relationship /understanding of his father.
Motivation: Want: To get to his dad’s and deal with what needs to be done (which we assume is to help move the old man into a home). Need: To reconcile his relationship with his dad.
Wound: Never having the bond with his dad that he wanted / imagined.
Mission / Agenda: To go on a last quest for the sea monster Ogopogo, but in the process finds his purpose: to reconcile himself with his dad.
Secret: His dad’s already dead. Matt’s going to clear out the old family house for sale, but isn’t quite ready to cope with it.
What makes him special: His willingness to humour his dad one last time, even though he’s seemingly cold and impatient with the old man.
BERT
Role: Father / antagonist who’s a critical conscience-like voice to Matt, reminding him of what he should or shouldn’t be doing.
Age: mid-70s, wiry build but clearly weakened by age.
Internal Journey: His antagonistic criticisms are a cover / shield that will fall away in tandem with Matt’s.
External Journey: Prompting his son to go out one final time on a father-son quest for the sea monster brings them closer together.
Motivation: To get his son to feel at peace with their relationship.
Wound: The same / mirror image as Matt’s: not having had the relationship either of them really wanted.
Mission / Agenda: To get Matt to a place of peace about their relationship.
Secret: He’s dead. He’s just a memory that Matt’s conjured up to relive / spend a bit more time “with” his dad.
What makes him special: In the beginning it seems he brings out the worst in his son but by the end he brings out the best.
-
Robert Wood – Transformational Journey
What I learned from this is that it’s possible to do an Assignment without actually receiving or reading it as long as you can see everyone else’s homework. 😉 (Edited to add that I have now seen the Assignment and am leaving this Transformational Journey as originally written.)
Matt returns to his childhood home in Kelowna, British Columbia, on Okanagan Lake, where his elderly father continues his lifelong obsession with the legendary local sea monster Ogopogo. Matt decides to help his old man on one last wild goose chase in search of the creature.
Matt’s Internal Journey takes him from insensitive and judgemental in relation to his father to a new sympathetic and understanding bond, finally fully appreciating his father.
Matt’s External Journey is that the quest with his father to find a sea monster doesn’t necessarily lead them to the creature (although maybe it does?!), but it does bring the son closer to his father than he has ever been before.
Old Ways:
– Insensitive
– Judgemental
– Cold
– Impatient and agitated about dealing with his father
New Ways:
– Sensitive
– Understanding
– Sympathetic
– Patient and at peace with their relationship
-
This reply was modified 3 years, 4 months ago by Robert Wood.
-
This reply was modified 3 years, 4 months ago by Robert Wood.
-
This reply was modified 3 years, 4 months ago by
-
1. Robert Wood
2. At least 8 (some co-written with a writing partner), plus a short, but I don’t keep count!
3. Workable, successful methods to speed up the screenwriting process, and a finished draft by the end of the course.
4. I’ve also written, co-written, or edited 13 books.
-
Robert Wood
I agree to the terms of this release form.
-
Hi Jacqueline – I just wanted to give you encouragement for “Sorceress of Hollywood” – I think it’s a great concept and immediately envision the cutting between modern scenes in color and 1940s scenes in black & white. I look forward to seeing how it develops!
I’m slightly behind getting started on this course but should be able to post my Logline and One Page tomorrow for a film script called “Ghosts of You”, which I wrote a couple years ago about a woman who wakes up in a parallel universe.
-
I was running short, too, with only 13 pages for Act 1. Also unhappy I didn’t have enough “meat” in the beat sheet and overall story. Today I’ve come up with a new major b-story to add into it (threatening to become the a-story) and thrown out about 75% of what I had in Acts 2-4 of my beat sheet. First revision of Act 1 just finished, and adding in the beginning threads of the new story, it’s now 16 pages, so that’s better. I would have tackled this entire process differently from the start if I knew what was coming in the course ahead of time, but glad I caught the problems now rather than later. Keep going!
-
Hi Patrick – Just a little heads-up that you’ve posted your Lesson 4 assignment on the Lesson 5 page.
-
TERI MOORE – If you see this I hope it helps. You can see the assignments released each day by clicking on the “Your Screenwriting Classes” button at the top of the page – there you should see the 30 Day Screenplay course, click on that and see the daily courses. Today I started receiving the email assignments, but a day late and in the mid-afternoon Pacific time (instead of 9am as promised). Also the daily assignment in the class link on the website hasn’t been showing up for me until mid-afternoon Pacific time either, but at least it’s on the right day… Good luck!!