25: Lawrence Olivier (Mr. Darcy) asks to be introduced to Greer Garson (Elizabeth Bennet) and when he asks her to dance she refuses. She dances with another and says about Mr. Darcy, "The man must be mad." The birth of something new.
45: Darcy pursues Elizabeth in the garden and redirects an unwelcome suitor. She thanks him. He invites her to shoot some arrows. He mistakenly believes she's a beginner... Now that I'm aware.
60: She declines a marriage proposal from the unwanted suitor. There's no going back now.
-45: Dame Edna May Oliver entertains Elizabeth and her sister and others. Mr. Darcy arrives and discovers that Elizabeth is present; when he converses with Elizabeth it's clear they're in love. Discovery.
-25: Elizabeth to her sister: "Will he ever ride back? That chapter is definitely closed...He asked me to marry him...I said I hated him and never want to see him again...I love him. It's all my fault...what a fool I've been." Her sister: "You've got to learn to dream like I do...sometimes we're dancing." Eventually, they both connect with the ones they love. The final turning point.
The Fugitive Kind
Good opening scene for actors to study Marlon giving a monologue. He also has some great lines about birds.
25: He drives Joanne. She moves her legs seductively. They go to a new place, a bar. The birth of something new.
45: Marlon talks about life. "I'm not tired, I'm just fed up...there are two kinds of people: buyers and the ones who get bought...there's a third kind: the kind that don't belong no place. The kind that's like a bird that has to keep flying...they sleep on the wind...they just spread their wings out and go to sleep on the wind." Now that I'm aware.
60: Marlon tells Joanne "You take this to Birdy." Birds are heard loudly chirping as they talk. Joanne tells Marlon he's put on a nice uniform of a convict - a suit. Marlon: "Fly away. Fly away little bird before you get broke." There's no going back now.
-45: Marlon with Lady Torrance (Anna Magnani). Lady Torrance offers Marlon a room. Marlon: "Nobody gets to know anybody." Marlon enters the room and discovers a painting of a naked woman. Discovery.
-25: Lady Torrance cries, suffocating music dominates. A man tumbles down the stairs. Marlon carries him up the stairs. Later, Marlon helps a blind woman who falls, but a policeman arrives and treats Marlon with no respect. Later, at the end, Marlon will be forced by water hoses into a fire and Joanne, the bird, flies away in a car. The final turning point.
25: He drives Joanne. She moves her legs seductively. They go to a new place, a bar. The birth of something new.
45: Marlon talks about life. "I'm not tired, I'm just fed up...there are two kinds of people: buyers and the ones who get bought...there's a third kind: the kind that don't belong no place. The kind that's like a bird that has to keep flying...they sleep on the wind...they just spread their wings out and go to sleep on the wind." Now that I'm aware.
60: Marlon tells Joanne "You take this to Birdy." Birds are heard loudly chirping as they talk. Joanne tells Marlon he's put on a nice uniform of a convict - a suit. Marlon: "Fly away. Fly away little bird before you get broke." There's no going back now.
-45: Marlon with Lady Torrance (Anna Magnani). Lady Torrance offers Marlon a room. Marlon: "Nobody gets to know anybody." Marlon enters the room and discovers a painting of a naked woman. Discovery.
-25: Lady Torrance cries, suffocating music dominates. A man tumbles down the stairs. Marlon carries him up the stairs. Later, Marlon helps a blind woman who falls, but a policeman arrives and treats Marlon with no respect. Later, at the end, Marlon will be forced by water hoses into a fire and Joanne, the bird, flies away in a car. The final turning point.
The Deadly Affair
25: He finds out a man called for a wake up call two hours before he supposedly committed suicide. The birth of something new.
45: Informer talks about a Scotsman with false papers and a car. James Mason see his tire slashed and finds the car. He's hit from behind and nearly killed by a tall man with a crew cut if not for a homeless man. Now that I'm aware.
60 and -45: In a theatre where witches plot, Inspector Mendel learns from a clumsy prop girl the tall man with a crew cut was with a woman. There's no going back now.
-25: James Mason talks about the wife of the man who was killed. "I want to find the communist who's using her." James finds him, he's having an affair with his wife that ends with his death. The final turning point.
45: Informer talks about a Scotsman with false papers and a car. James Mason see his tire slashed and finds the car. He's hit from behind and nearly killed by a tall man with a crew cut if not for a homeless man. Now that I'm aware.
60 and -45: In a theatre where witches plot, Inspector Mendel learns from a clumsy prop girl the tall man with a crew cut was with a woman. There's no going back now.
-25: James Mason talks about the wife of the man who was killed. "I want to find the communist who's using her." James finds him, he's having an affair with his wife that ends with his death. The final turning point.
North by Northwest
25: A woman we've never seen before enters the room full of police and claims to know Roger. The police believe her. The birth of something new.
45: Roger boards a train and runs into Eve. They become aware of approaching police. She helps him escape. He watches her walk down the aisle. They dine together. Now that I'm aware.
60: They kiss in her room. She sends a note to Vandamm and we wonder if she can be trusted. There's no going back now.
-45: The auction scene. Roger provokes everyone and interrupts the bidding. He's taken away by police, escaping Vandamm's men. Discovery.
-25: He learns she's going back to Vandamm and he doesn't like it. She runs off and when he tries to stop her he's knocked unconscious. Because of his love and concern for her safety he goes off to help her and manages to save her. The final turning point.
45: Roger boards a train and runs into Eve. They become aware of approaching police. She helps him escape. He watches her walk down the aisle. They dine together. Now that I'm aware.
60: They kiss in her room. She sends a note to Vandamm and we wonder if she can be trusted. There's no going back now.
-45: The auction scene. Roger provokes everyone and interrupts the bidding. He's taken away by police, escaping Vandamm's men. Discovery.
-25: He learns she's going back to Vandamm and he doesn't like it. She runs off and when he tries to stop her he's knocked unconscious. Because of his love and concern for her safety he goes off to help her and manages to save her. The final turning point.
Vertigo
25: He follows her to the museum where she sits in front of Carlotta's portrait. He notices the flowers and hair style match. The birth of something new.
45: He sees her in a red bathrobe. She wants to know why she's there. He tells her she fell in the bay. He becomes aware how beautiful she looks, he looks at her as if in love. Now that I'm aware.
60: Redwood forest. He finds her against a tree, he asks her many questions. Tension, turbulence. Later, by the water, he tells her that since he saved her he's now responsible for her and he's "committed" to her. She talks about dying. A few minutes later they kiss by the water. There's no going back now.
-45: He's found not guilty and his old "friend" says he's going to get away and never come back, then says, "You and I know who killed Madeleine." Roger then visits her grave and the screen turns black. Roger starts to have nightmares and loses his grip on reality. He enters a clinic. Discovery.
-25: They have their first date, he sees a woman in a grey outfit like Madeleine's. She knows what he wants. Back at her place he asks her out and tells her he wants to take care of her. She refuses because she knows she reminds him of Madeleine. She agrees to see him. The final turning point.
45: He sees her in a red bathrobe. She wants to know why she's there. He tells her she fell in the bay. He becomes aware how beautiful she looks, he looks at her as if in love. Now that I'm aware.
60: Redwood forest. He finds her against a tree, he asks her many questions. Tension, turbulence. Later, by the water, he tells her that since he saved her he's now responsible for her and he's "committed" to her. She talks about dying. A few minutes later they kiss by the water. There's no going back now.
-45: He's found not guilty and his old "friend" says he's going to get away and never come back, then says, "You and I know who killed Madeleine." Roger then visits her grave and the screen turns black. Roger starts to have nightmares and loses his grip on reality. He enters a clinic. Discovery.
-25: They have their first date, he sees a woman in a grey outfit like Madeleine's. She knows what he wants. Back at her place he asks her out and tells her he wants to take care of her. She refuses because she knows she reminds him of Madeleine. She agrees to see him. The final turning point.
Kiss Kiss Bang Bang
This was a very funny movie. If you're an actor it's a must see.
25: She just slammed the door on him after he failed to adequately explain why he slept with someone else. "Day 2 Lady in the Lake" fades up and we go to Bear Lake where Robert starts his new career as a private detective with Val. The birth of something new.
45: Robert and Michelle sit at a diner talking about who killed her sister. They watch a news report about a dead body found on the street that used to be in the lake and Robert's bathroom. Now that I'm aware.
-45: 138 - 45 = 53: He arrives at the party buzzed with drugs because a doctor just reattached his finger. Michelle wears a cute Santa hat. Robert talks about why many women living in SoCali are different. Val dodges a drink. Discovery.
-25: 138 - 25 = 113: They're in bed, he's about to leave because he's turned on and she keeps him there and they kiss. In a few moments she discovers something that helps solve the movie. The final turning point.
25: She just slammed the door on him after he failed to adequately explain why he slept with someone else. "Day 2 Lady in the Lake" fades up and we go to Bear Lake where Robert starts his new career as a private detective with Val. The birth of something new.
45: Robert and Michelle sit at a diner talking about who killed her sister. They watch a news report about a dead body found on the street that used to be in the lake and Robert's bathroom. Now that I'm aware.
-45: 138 - 45 = 53: He arrives at the party buzzed with drugs because a doctor just reattached his finger. Michelle wears a cute Santa hat. Robert talks about why many women living in SoCali are different. Val dodges a drink. Discovery.
-25: 138 - 25 = 113: They're in bed, he's about to leave because he's turned on and she keeps him there and they kiss. In a few moments she discovers something that helps solve the movie. The final turning point.
Twilight
25: The moon is full, Bella sees Edward in her bedroom and he disappears. Her VO: "And that was the first night I dreamt of Edward Cullen." The birth of something new.
45: They arrive at the police station and learn that her father's friend has been killed by animals. Edward and Peter Facinelli exchange a knowing look. Now that I'm aware.
60: He starts telling her everything about himself. He tells her he doesn't want to be a monster. He tells her there are other vampires out there and that he can read minds. He invites her to his home for dinner. There's no going back now.
-45: He dances with her in his bedroom as they listen to gentle music. He takes her outside and climbs up trees and they fly from tree to tree. They view the forest and lake. Discovery.
-25: She is in the pick up truck and she sees her high school friends leave a restaurant. We get the feeling she doesn't want to be a part of that group and wants to become a vampire. Laurent warns them about James (Cam Gigandet) and Victoria. Edward tells Bella "You're a part of my life now." The final turning point.
45: They arrive at the police station and learn that her father's friend has been killed by animals. Edward and Peter Facinelli exchange a knowing look. Now that I'm aware.
60: He starts telling her everything about himself. He tells her he doesn't want to be a monster. He tells her there are other vampires out there and that he can read minds. He invites her to his home for dinner. There's no going back now.
-45: He dances with her in his bedroom as they listen to gentle music. He takes her outside and climbs up trees and they fly from tree to tree. They view the forest and lake. Discovery.
-25: She is in the pick up truck and she sees her high school friends leave a restaurant. We get the feeling she doesn't want to be a part of that group and wants to become a vampire. Laurent warns them about James (Cam Gigandet) and Victoria. Edward tells Bella "You're a part of my life now." The final turning point.
Firewall
25: Harrison Ford (HF) learns that the kidnappers/thieves will monitor him and his family. The birth of something new.
45: Using a device HF creates signal interference, using a fire extinguisher he sounds an alarm allowing his family a chance to escape. Virginia and the children get in the car but Paul becomes aware of where they are and stops them. Now that I'm aware.
-45: 141 - 45 = 56: Paul wants Janet fired, HF fires her. Later Janet helps HF get the phone that helps them resolve everything. Discovery.
60: HF helps the thief transfer the money, then stalls two execs to give the thief time to transfer all of the money. There's no going back now.
-25: Paul kills HF's friend with HF's gun. HF realizes he's being framed for murder and drives to Janet's apartment to get a phone that will help him get leverage against Paul. The final turning point.
45: Using a device HF creates signal interference, using a fire extinguisher he sounds an alarm allowing his family a chance to escape. Virginia and the children get in the car but Paul becomes aware of where they are and stops them. Now that I'm aware.
-45: 141 - 45 = 56: Paul wants Janet fired, HF fires her. Later Janet helps HF get the phone that helps them resolve everything. Discovery.
60: HF helps the thief transfer the money, then stalls two execs to give the thief time to transfer all of the money. There's no going back now.
-25: Paul kills HF's friend with HF's gun. HF realizes he's being framed for murder and drives to Janet's apartment to get a phone that will help him get leverage against Paul. The final turning point.
The Sentinel
25: Informer gives Michael Douglas evidence a mole in the White House has an intent to kill the President. The birth of something new.
45: Assassin escapes after shooting Douglas' partner and others at the mall. Three minutes later the President's helicopter is shot down. Douglas and others are now aware no one would want the informer dead unless he was telling the truth. Now that I'm aware.
-45: 1:43 - 45 = 58: Kiefer tells his team that Douglas will be a tough guy to catch. Douglas starts preparing to meet the first lady. Discovery.
60: The first lady and Douglas meet, he tells her he was framed. Tense and turbulent scene as she warns him he'll be shot and he asks her to find out info to help him. There's no going back now.
-25: Douglas has just shot a member of the assassins. Douglas finds a cell phone, cash, weapons, and gets fingerprints. Later when he has the prints checked, Kiefer finds him and they agree to work together to find the mole. They find him. The final turning point.
45: Assassin escapes after shooting Douglas' partner and others at the mall. Three minutes later the President's helicopter is shot down. Douglas and others are now aware no one would want the informer dead unless he was telling the truth. Now that I'm aware.
-45: 1:43 - 45 = 58: Kiefer tells his team that Douglas will be a tough guy to catch. Douglas starts preparing to meet the first lady. Discovery.
60: The first lady and Douglas meet, he tells her he was framed. Tense and turbulent scene as she warns him he'll be shot and he asks her to find out info to help him. There's no going back now.
-25: Douglas has just shot a member of the assassins. Douglas finds a cell phone, cash, weapons, and gets fingerprints. Later when he has the prints checked, Kiefer finds him and they agree to work together to find the mole. They find him. The final turning point.
Great Expectations
25: Young Pip speaks with Ms. Havisham who tells Estella to play cards with Pip and encourages her to break his heart. The birth of something new.
45: Pip is riding on a horse carriage and arrives in London. He admires the buildings and meets interesting people, including his lawyer who informs him he'll have a place and a salary. Now that I'm aware.
60: Pip and Joe talk, and Joe acts stiff and awkwardly formal toward Pip, resulting in some tension after his falling hat makes a mess of things. Joe says his farewell to Pip after telling him where he belongs. Pip in VO tells us he made up reasons why he won't go back to sleep at Joe's place. There's no going back now.
-45: There's rain over London as Pip reads and someone knocks. Pip opens the door to reveal the Convict. Pip doesn't recognize him, then learns that he's the Convict he helped long ago, and incredibly, it has been the Convict who has been his wealthy patron who has funded his life as a gentleman. Discovery.
-25: Alec Guinness, Pip, and the Convict sit and eat and together they plan the Convict's escape. Pip has a VO has he describes how they will get the Convict away. He mentions that he felt watched by unfriendlies. Later, the Convict is caught and dies but through his effort to help his Patron, Pip has become a man and at the end he and Estella have a future. The final turning point.
45: Pip is riding on a horse carriage and arrives in London. He admires the buildings and meets interesting people, including his lawyer who informs him he'll have a place and a salary. Now that I'm aware.
60: Pip and Joe talk, and Joe acts stiff and awkwardly formal toward Pip, resulting in some tension after his falling hat makes a mess of things. Joe says his farewell to Pip after telling him where he belongs. Pip in VO tells us he made up reasons why he won't go back to sleep at Joe's place. There's no going back now.
-45: There's rain over London as Pip reads and someone knocks. Pip opens the door to reveal the Convict. Pip doesn't recognize him, then learns that he's the Convict he helped long ago, and incredibly, it has been the Convict who has been his wealthy patron who has funded his life as a gentleman. Discovery.
-25: Alec Guinness, Pip, and the Convict sit and eat and together they plan the Convict's escape. Pip has a VO has he describes how they will get the Convict away. He mentions that he felt watched by unfriendlies. Later, the Convict is caught and dies but through his effort to help his Patron, Pip has become a man and at the end he and Estella have a future. The final turning point.
Dr. Strangelove
25: The president expresses dismay; he thought he was the only one authorized to fire nuclear weapons. Plan R is mentioned; a lower commander can trigger a nuclear war. The birth of something new.
45: The President and the joint chiefs learn about the doomsday machine, a device that destroys all life. Now that I'm aware.
-45: Talk about the surface of the earth after the Doomsday machine fallout. Discovery.
60: Jack Ripper and Mandrake look exhausted. Mandrake is hoping for the code that could stop the bomb from dropping. Jack kills himself. The next shot is of a B-52 flying toward Russia. There's no turning back now.
-25: Mandrake has a tense argument with a soldier trying to connect Jack (now dead) with the President. Mandrake fails to connect with the President because he hasn't enough coins. The final turning point.
45: The President and the joint chiefs learn about the doomsday machine, a device that destroys all life. Now that I'm aware.
-45: Talk about the surface of the earth after the Doomsday machine fallout. Discovery.
60: Jack Ripper and Mandrake look exhausted. Mandrake is hoping for the code that could stop the bomb from dropping. Jack kills himself. The next shot is of a B-52 flying toward Russia. There's no turning back now.
-25: Mandrake has a tense argument with a soldier trying to connect Jack (now dead) with the President. Mandrake fails to connect with the President because he hasn't enough coins. The final turning point.
The Thin Man
25: Four people talk of murder. Detectives enter and start asking questions. The birth of something new.
45 and -45: Nick shoots balloons off the Christmas tree as his wife observes. The dog enters, then leaves. Now that I'm aware.
60: Wynant is publicly charged with a second murder. Everyone thinks he's the killer. There's no turning back now.
-25: Nick and the dog search a building and calls the police that he's found a body. A bookkeeper complicates things and Nick covers him with a gun. The final turning point.
45 and -45: Nick shoots balloons off the Christmas tree as his wife observes. The dog enters, then leaves. Now that I'm aware.
60: Wynant is publicly charged with a second murder. Everyone thinks he's the killer. There's no turning back now.
-25: Nick and the dog search a building and calls the police that he's found a body. A bookkeeper complicates things and Nick covers him with a gun. The final turning point.
San Francisco
25: Clark won't allow Jeannette to audition for the opera because of a two year contract. Jeannette is heartbroken. A rival of Clark's tells Jeannette he won't quit. The birth of something new.
45: Clark and Jeannette enter a room she's never entered. Clark tells her about a $10k contest. He tells her he's crazy about her, but she's scared. Now that I'm aware.
60: She sings in an opera, Clark listens and is so impressed he punches someone he hired to stop him from ruining her performance. There's no turning back now.
-45: Spenser won't allow Jeannette to perform in an "immoral" outfit. Clark punches Spenser and Jeannette is shocked by Clark's violence; she leaves with Spenser. Discovery.
-25: Jeannette sings San Francisco and wins the $10k contest. Clark arrives and so does the earthquake and fire. The final turning point.
45: Clark and Jeannette enter a room she's never entered. Clark tells her about a $10k contest. He tells her he's crazy about her, but she's scared. Now that I'm aware.
60: She sings in an opera, Clark listens and is so impressed he punches someone he hired to stop him from ruining her performance. There's no turning back now.
-45: Spenser won't allow Jeannette to perform in an "immoral" outfit. Clark punches Spenser and Jeannette is shocked by Clark's violence; she leaves with Spenser. Discovery.
-25: Jeannette sings San Francisco and wins the $10k contest. Clark arrives and so does the earthquake and fire. The final turning point.
Tarzan, the Ape Man
25: Jane marches with her group deeper into the jungle. They reach a river and have to build rafts to cross it. They shoot at hippos and later hippos and alligators attack them. The birth of something new.
45: Tarzan rides on an elephant and rescues a trapped elephant. Now that I'm aware.
-45: Two lions nearly kill Tarzan. An elephant helps Tarzan escape. Discovery.
60: Tarzan lies unconscious as an elephant tries to revive him. Jane is guided by monkeys to Tarzan and cares for him. There's no going back now.
-25: Tarzan walks away from Jane, Jane cries out for him to come back. "He belongs to the jungle." Jane: "He belongs to me." Later, Jane stays with Tarzan in the jungle. The final turning point.
45: Tarzan rides on an elephant and rescues a trapped elephant. Now that I'm aware.
-45: Two lions nearly kill Tarzan. An elephant helps Tarzan escape. Discovery.
60: Tarzan lies unconscious as an elephant tries to revive him. Jane is guided by monkeys to Tarzan and cares for him. There's no going back now.
-25: Tarzan walks away from Jane, Jane cries out for him to come back. "He belongs to the jungle." Jane: "He belongs to me." Later, Jane stays with Tarzan in the jungle. The final turning point.
Bunny Lake Is Missing
25: Bunny is missing, Steve wants to call the police. After a tense exchange with a school employee, Steve dials the police. Lawrence Olivier, police superintendent Newhouse, arrives. The birth of something new.
45: Ann Lake finds a present she bought for Bunny. The search for evidence that Bunny exists begins. Now that I'm aware.
60: Mr. Wilson, drunk, visits Ann. Steve and Supt. Newhouse argue. Steve leaves after convincing Newhouse Bunny is probably not really a person, just Ann's imaginary friend. There's no going back now.
-45: Newhouse and Ann leave to find Bunny. Police search Mr. Wilson's apartment and don't find any evidence of Bunny. Mr. Wilson doesn't seem to be a kidnapper. Discovery.
-25: In the hospital, Ann is unconscious in a hospital being led away on a gurney. We now know the brother is the one who is insane and things seem at their worst for Ann as she's rolled to a bed where she's likely to stay for a long time. Ann awakens and crawls out of the bed and escapes. She eventually finds Bunny and her brother is arrested. The final turning point.
45: Ann Lake finds a present she bought for Bunny. The search for evidence that Bunny exists begins. Now that I'm aware.
60: Mr. Wilson, drunk, visits Ann. Steve and Supt. Newhouse argue. Steve leaves after convincing Newhouse Bunny is probably not really a person, just Ann's imaginary friend. There's no going back now.
-45: Newhouse and Ann leave to find Bunny. Police search Mr. Wilson's apartment and don't find any evidence of Bunny. Mr. Wilson doesn't seem to be a kidnapper. Discovery.
-25: In the hospital, Ann is unconscious in a hospital being led away on a gurney. We now know the brother is the one who is insane and things seem at their worst for Ann as she's rolled to a bed where she's likely to stay for a long time. Ann awakens and crawls out of the bed and escapes. She eventually finds Bunny and her brother is arrested. The final turning point.
The Verdict
25: Frank (Paul Newman) takes photos of his patient who lies in a vegetative state in a hospital bed; we see the photos fully develop. Frank's expression becomes more tense, we can tell seeing his client in such a sad state has made an impact. The movie is about Frank slowly emerging from alcoholism and failure as an attorney. A nurse walks in and tells him to leave. He stays, saying "I'm her attorney." His eyes reveal a renewal in Paul's sense of purpose. In the next scene when Paul refuses a 210k settlement we know why. The birth of something new.
45: In judge's chambers Paul declines the 210k settlement check again and is aware that once Concannon (James Mason) exits the offer of 210k is withdrawn. The judge tries to convince Paul to take the money but he refuses. The judge and lawyers are aware they are going to court. Now that I'm aware.
60: Paul tries to stop the matter from going to trial and asks for the 210k but is refused. He starts to drink again and gets his friend Mickey to help him find another expert witness. There's no going back now.
-45: Dr. Thompson is on the stand and though the judge would like to call it a day Frank refuses and starts his questioning. The judge interferes and acts in a hostile manner, saying "The doctors were not negligent." Paul discovers the judge is against him. Discovery.
-25: Mickey finds the check in Laura's purse; he knows Concannon is paying Laura to betray Paul. The next scene is at the playground where Paul visits the key witness who will turn the tide in his client's favor. The final turning point.
45: In judge's chambers Paul declines the 210k settlement check again and is aware that once Concannon (James Mason) exits the offer of 210k is withdrawn. The judge tries to convince Paul to take the money but he refuses. The judge and lawyers are aware they are going to court. Now that I'm aware.
60: Paul tries to stop the matter from going to trial and asks for the 210k but is refused. He starts to drink again and gets his friend Mickey to help him find another expert witness. There's no going back now.
-45: Dr. Thompson is on the stand and though the judge would like to call it a day Frank refuses and starts his questioning. The judge interferes and acts in a hostile manner, saying "The doctors were not negligent." Paul discovers the judge is against him. Discovery.
-25: Mickey finds the check in Laura's purse; he knows Concannon is paying Laura to betray Paul. The next scene is at the playground where Paul visits the key witness who will turn the tide in his client's favor. The final turning point.
Gunga Din
25: They are in the middle of a fight that lasts about 10 minutes. During the fight, MacChesney remarks that he is surprised to see Din. They have this exchange: Din: "I could be first class soldier." MacChesney: "Oh, don't make me laugh." This movie is about the change in opinion of Gunga Din by the British soldiers. At 25, one of them expresses that he's impressed with Din. The birth of something new.
45: The story is about three friends and one of them, Ballentine, is in love with Emmy and will be leaving to get married. At the dance, Cutter and MacChesney get Higginbotham to drink loaded punch and he gets so sick that he can't replace Ballentine. Ballentine will have to stick around with his friends. Now that I'm aware.
60: The elephant on the bridge scene. Cutter and Din cross the bridge with the elephant causing problems. There's no going back now.
-45: Din and the elephant are found. MacChesney thinks Din stole the elephant until Ballentine questions Din about Cutter's whereabouts. Din tells them Cutter needs a rescue and will lead them back. Discovery.
-25: The marching soldiers arrive and are walking into a trap. Soon, Din will sacrifice himself to warn the approaching soldiers. Thanks to Din, the battle is won. The final turning point.
45: The story is about three friends and one of them, Ballentine, is in love with Emmy and will be leaving to get married. At the dance, Cutter and MacChesney get Higginbotham to drink loaded punch and he gets so sick that he can't replace Ballentine. Ballentine will have to stick around with his friends. Now that I'm aware.
60: The elephant on the bridge scene. Cutter and Din cross the bridge with the elephant causing problems. There's no going back now.
-45: Din and the elephant are found. MacChesney thinks Din stole the elephant until Ballentine questions Din about Cutter's whereabouts. Din tells them Cutter needs a rescue and will lead them back. Discovery.
-25: The marching soldiers arrive and are walking into a trap. Soon, Din will sacrifice himself to warn the approaching soldiers. Thanks to Din, the battle is won. The final turning point.
I was a fugitive in a chain gang
25: In chains, he arrives at a quarry where he works all day breaking rocks. The birth of something new.
45: He escapes and is told he looks like a new man. Now that I'm aware.
-45: After nearly being recognized by a policeman in the barber shop, he arrives in an apartment building and sees an old friend who provides a place to hide. Discovery.
60: Marie says if he marries her, she won't inform the police he belongs in a chain gang. He marries her. There's no going back now.
-25: Two detectives arrive with a warrant for his arrest. He goes back to prison and escapes but lives a life in the shadows. The final turning point.
45: He escapes and is told he looks like a new man. Now that I'm aware.
-45: After nearly being recognized by a policeman in the barber shop, he arrives in an apartment building and sees an old friend who provides a place to hide. Discovery.
60: Marie says if he marries her, she won't inform the police he belongs in a chain gang. He marries her. There's no going back now.
-25: Two detectives arrive with a warrant for his arrest. He goes back to prison and escapes but lives a life in the shadows. The final turning point.
Goodfellas
25: Paul becomes a partner of the restaurant. The birth of something new.
45: Karen and her parents wait for Henry, lots of yelling. Henry arrives, laughs, and leaves. Karen talks about the women and they talk about death. Now that I'm aware.
60: Paul, Tommy, and Jimmy are back in the car listening to what is moving in the trunk - we're back to when the movie started. We see the open trunk and the stabbing again. Henry's VO talks about all the killings and warns us that Billy's death is problematic. There's no going back now.
-45: Jimmy gives Henry a bag and Jimmy's in the car paranoid about the helicopter and nearly gets in an accident. He looks terrible as the drugs and crime are taking a toll. Discovery.
-25: The bar where the thieves celebrate a huge airport heist. Jimmy's angry about the buying of expensive gifts. Soon nearly all the thieves are killed. The end of the movie talks about death, divorce and jail time. The final turning point.
45: Karen and her parents wait for Henry, lots of yelling. Henry arrives, laughs, and leaves. Karen talks about the women and they talk about death. Now that I'm aware.
60: Paul, Tommy, and Jimmy are back in the car listening to what is moving in the trunk - we're back to when the movie started. We see the open trunk and the stabbing again. Henry's VO talks about all the killings and warns us that Billy's death is problematic. There's no going back now.
-45: Jimmy gives Henry a bag and Jimmy's in the car paranoid about the helicopter and nearly gets in an accident. He looks terrible as the drugs and crime are taking a toll. Discovery.
-25: The bar where the thieves celebrate a huge airport heist. Jimmy's angry about the buying of expensive gifts. Soon nearly all the thieves are killed. The end of the movie talks about death, divorce and jail time. The final turning point.
Introduction to The 5 Moments
When editing a movie or organizing the story structure of a screenplay, do filmmakers follow a structural plan involving 5 moments? What if they did? Would you want to know about the 5 moments?
The next time you watch a good movie, notice what happens at 25 minutes into the film, 45 minutes into the film, 60 minutes into the film, 45 minutes before the film ends, and 25 minutes before the film ends: 25 45 60 -45 -25. Calculate -45 and -25 when the story ends, not when the final credits end.
Notice how professionals seem to place their most important moments at 25 45 60 -45 -25:
25 minutes into The Bourne Ultimatum the CIA finds Bourne and issues an order to kill him. 45 minutes into Straight Time Dustin Hoffman steals a car and handcuffs his parole officer to a fence on the freeway. 60 minutes into Iron Man Tony Stark flies around the room and says “Yeah, I can fly.” 45 minutes before Schindler’s List ends, Ben Kingsley’s character Itzhak Stern holds up the list and says “The list is an absolute good. The list is life.” 25 minutes before Transformers ends a Decepticon crashes through a bus on the freeway.
In the above films, 25 45 60 -45 -25 are pivotal moments, inspirational, entertaining, emotionally turbulent moments that helped the screenwriter and filmmaker persuade the audience to care about their characters and what happens to them.
The 5 moments in Iron Man:
25: Tony Stark is in the cave, he examines a metal ring used to create the mini arc reactor that will fit in his chest. Soon, the light of the arc reactor turns on, his new power source is born. The birth of something new.
45: An emotionally intense Tony Stark tells the press he never said good-bye to his father. He declares that because his weapons have fallen into the wrong hands he’s shutting down his company’s weapons production. Now that I’m aware.
60: He’s flying around the room, struggling to control his power, and he succeeds: “Yeah, I can fly.” He's making real progress, there’s no going back to the drawing board. There's no going back now.
-45 (1:57 - 45 = 1:12 into the film) Tony receives new information about a besieged village from a reporter, learns more about the situation and escalates his action: he flies to the village and starts rescuing people. Discovery.
-25 (1:57 - 25 = 1:32 into the film) Pepper discovers the video that proves Obadiah Stane wants Tony dead. Final turning point.
In every good film and screenplay you'll find these 5 moments:
25: The birth of something new.
45: Now that I'm aware.
60: There's no going back now.
-45: Discovery.
-25: The final turning point.
The symmetry of 25 45 60 -45 -25 obeys a dynamic truth of nature: What goes up, must come down. So it is in the beginning, so it is in the end: 25 45 60 -45 -25.
You'll find the 5 moments in all your old favorites. Examine the following 5 moments in Romancing the Stone, and notice that -45 comes before 60 because Romancing the Stone lasts an hour and forty-three minutes: 1:43 subtracted by 45 means 58 comes before 60.
25: Joan is alone on a mountainous road, the antagonist walks into frame, pulls out a gun and aims it at her. Jack Colton arrives and discharges a barrage of gunfire to chase away the antagonist. 25 is where the heroine is confronted by the antagonist and where the love affair begins. The birth of something new.
45: Joan and Jack sit in a torn up cargo plane. Jack offers Joan a bottle of tequila and wants to become aware of why Joan left NYC for Columbia. Joan lies about why she’s in Columbia. Within two minutes Jack finds the treasure map, a discovery that ignites future turbulence between Jack and Joan. Now that I'm Aware.
-45: (1:43 – 45 minutes = 58 minutes into the film) The ally with the monster truck opens the door and asks, “You are Joan Wilder, the novelist?” An almost unbelievable coincidence but since we love Joan and Jack we don't care. Because Juan (Alfonso Arau) learns Joan writes the books he loves he lets them in. Discovery.
60: Joan and Jack tour Juan’s home and within minutes they’re in a monster truck that jumps over a stream to escape the antagonists. There's no going back now.
-25: (1:43 - 25 minutes = 1:18) Joan and Jack reach Mother’s Milk, a small pool where they find the green diamond. The final turning point.
Knowing where the 5 pivotal moments belong in a screenplay will fundamentally change how you look at movies and how you read and write screenplays. The 5 moments will beef up your confidence because they offer an objective formula pinpointing exactly when key moments happen. It's a precise structural tool to improve your ability to analyze and organize story structure so you can tell a better story.
If you've read a lot of books on screenwriting then you're aware of certain approximations when it comes to story structure (p. 10-20, p. 50-60, p. 80-90). If you're looking for precise guidance when it comes to story structure, the 5 moments offer a reliable, objective, naturally strong structural dynamic.
When your subject matter means the world to you, you owe it to yourself to know exactly where everything goes. Look at what the professionals are doing. They know exactly where everything goes, don't they? Shouldn't you?
A writer of 31 screenplays, Martin Felando is available for screenwriting assignments, private consultations, and speaking engagements. See above for script consulting services and rates. Email him at martinfelando@yahoo.com.
The next time you watch a good movie, notice what happens at 25 minutes into the film, 45 minutes into the film, 60 minutes into the film, 45 minutes before the film ends, and 25 minutes before the film ends: 25 45 60 -45 -25. Calculate -45 and -25 when the story ends, not when the final credits end.
Notice how professionals seem to place their most important moments at 25 45 60 -45 -25:
25 minutes into The Bourne Ultimatum the CIA finds Bourne and issues an order to kill him. 45 minutes into Straight Time Dustin Hoffman steals a car and handcuffs his parole officer to a fence on the freeway. 60 minutes into Iron Man Tony Stark flies around the room and says “Yeah, I can fly.” 45 minutes before Schindler’s List ends, Ben Kingsley’s character Itzhak Stern holds up the list and says “The list is an absolute good. The list is life.” 25 minutes before Transformers ends a Decepticon crashes through a bus on the freeway.
In the above films, 25 45 60 -45 -25 are pivotal moments, inspirational, entertaining, emotionally turbulent moments that helped the screenwriter and filmmaker persuade the audience to care about their characters and what happens to them.
The 5 moments in Iron Man:
25: Tony Stark is in the cave, he examines a metal ring used to create the mini arc reactor that will fit in his chest. Soon, the light of the arc reactor turns on, his new power source is born. The birth of something new.
45: An emotionally intense Tony Stark tells the press he never said good-bye to his father. He declares that because his weapons have fallen into the wrong hands he’s shutting down his company’s weapons production. Now that I’m aware.
60: He’s flying around the room, struggling to control his power, and he succeeds: “Yeah, I can fly.” He's making real progress, there’s no going back to the drawing board. There's no going back now.
-45 (1:57 - 45 = 1:12 into the film) Tony receives new information about a besieged village from a reporter, learns more about the situation and escalates his action: he flies to the village and starts rescuing people. Discovery.
-25 (1:57 - 25 = 1:32 into the film) Pepper discovers the video that proves Obadiah Stane wants Tony dead. Final turning point.
In every good film and screenplay you'll find these 5 moments:
25: The birth of something new.
45: Now that I'm aware.
60: There's no going back now.
-45: Discovery.
-25: The final turning point.
The symmetry of 25 45 60 -45 -25 obeys a dynamic truth of nature: What goes up, must come down. So it is in the beginning, so it is in the end: 25 45 60 -45 -25.
You'll find the 5 moments in all your old favorites. Examine the following 5 moments in Romancing the Stone, and notice that -45 comes before 60 because Romancing the Stone lasts an hour and forty-three minutes: 1:43 subtracted by 45 means 58 comes before 60.
25: Joan is alone on a mountainous road, the antagonist walks into frame, pulls out a gun and aims it at her. Jack Colton arrives and discharges a barrage of gunfire to chase away the antagonist. 25 is where the heroine is confronted by the antagonist and where the love affair begins. The birth of something new.
45: Joan and Jack sit in a torn up cargo plane. Jack offers Joan a bottle of tequila and wants to become aware of why Joan left NYC for Columbia. Joan lies about why she’s in Columbia. Within two minutes Jack finds the treasure map, a discovery that ignites future turbulence between Jack and Joan. Now that I'm Aware.
-45: (1:43 – 45 minutes = 58 minutes into the film) The ally with the monster truck opens the door and asks, “You are Joan Wilder, the novelist?” An almost unbelievable coincidence but since we love Joan and Jack we don't care. Because Juan (Alfonso Arau) learns Joan writes the books he loves he lets them in. Discovery.
60: Joan and Jack tour Juan’s home and within minutes they’re in a monster truck that jumps over a stream to escape the antagonists. There's no going back now.
-25: (1:43 - 25 minutes = 1:18) Joan and Jack reach Mother’s Milk, a small pool where they find the green diamond. The final turning point.
Knowing where the 5 pivotal moments belong in a screenplay will fundamentally change how you look at movies and how you read and write screenplays. The 5 moments will beef up your confidence because they offer an objective formula pinpointing exactly when key moments happen. It's a precise structural tool to improve your ability to analyze and organize story structure so you can tell a better story.
If you've read a lot of books on screenwriting then you're aware of certain approximations when it comes to story structure (p. 10-20, p. 50-60, p. 80-90). If you're looking for precise guidance when it comes to story structure, the 5 moments offer a reliable, objective, naturally strong structural dynamic.
When your subject matter means the world to you, you owe it to yourself to know exactly where everything goes. Look at what the professionals are doing. They know exactly where everything goes, don't they? Shouldn't you?
A writer of 31 screenplays, Martin Felando is available for screenwriting assignments, private consultations, and speaking engagements. See above for script consulting services and rates. Email him at martinfelando@yahoo.com.
Citizen Kane
I remember reading an article about Citizen Kane and the author of the article said that the shot of the bridge before seeing Leland didn't make sense. The bridge shot made sense to me because I took it as visually telling the audience that Leland was Kane's bridge to the working man. The shots that stick in my mind is the marriage montage at the table, the roof top shot through the building sign, the snow and handwriting dissolve, and Kane dancing on the city.
25: Kane in newsroom with his two friends and Thatcher. Kane gives the line about "I'll provide the war." Kane intensifies the turbulence when he talks about his stock holdings and his passion for protecting the underprivileged as publisher of the Inquirer. This begins Kane's mission to help the less fortunate. The birth of something new.
45: Leland and Bernstein in a room full of statues talking about Kane getting the world's biggest diamond for his new romance. In the next scene Kane accepts a trophy and announces his engagement. Now that I'm aware.
60: Kane is with Susan as she sings at the piano. Kane applauds and applause connects us to the next scene with Leland talking to a group of people about Kane helping the working man. The next scene is Kane speaking about dishonesty to a large audience with many signs and a big image of Kane. We soon learn that Kane's wife will discover Kane's betrayal and this revelation will cost Kane the election. There's no going back now.
-45: In the newsroom with Kane after the election loss, Bernstein exits. Leland enters, drunk. They talk about how Kane's flaw has set back the cause of reform. Leland talks about the people and their rights not belonging to Kane. Discovery.
-25: Susan is on stage at the start of a large production and she sings poorly. Kane and Susan withdraw from the public eye and eventually she leaves him and he dies. The final turning point.
Bullets Over Broadway
25: Cheech introduces himself after threatening David and will observe from the seats. Eventually, Cheech's observations and creative ideas will cause the storyline and characters to change direction. The birth of something new.
45: Cheech offers a great idea to improve the play and everyone but David loves the idea. Now that I'm aware.
-45 (136 - 45 = 51): At the nightclub, Cheech tells David how to improve the play. Discovery.
60: In the pool hall, Cheech reveals how he became a gangster and David tells him he has a huge gift and enviable instincts. There's no going back now.
-25: Intense turbulence as Cheech tells David that Olive is ruining his play and says it's like "a knife in my fucking heart." Cheech will later die because he killed Olive to improve the play. The final turning point.
Executive Suite
William Holden's great speech at the end of this movie just keeps building and building, he really shows how good an actor he is and how good Ernest Lehman can write a screenplay. I think of the movie business when Holden gives his final speech. Every performance is authentic, and I really like how Stanwyck delivers her final line. This movie will always be relevant and an inspiration to anyone who cares about how to do business.
25: Julia is in her dead husband's office, she sits in his chair and holds his pipe. The executives vying for control of the company leave the boardroom. Shaw offers to drop Dudley off at the airport, Shaw later follows Dudley to his lover's apartment to get his vote. The power play moves begin. The birth of something new.
45: Alderson and Walling wonder who the former founder of the company wanted to lead the business going forward. They don't want Shaw to lead but, "Who's going to stop him?" Now that I'm aware.
60: Shaw and Caswell conspire for mutual gain. If Caswell votes for Shaw he'll get stock to cover a short position vulnerable because of a soon to be made public positive earnings report. There's no going back now.
-45: Walling is in the factory and one of the workers asks, "Where do we go from here?" They talk about the KF line and how it isn't good enough. The worker asks "Why did he allow it?" Factory workers wonder what's going to happen to them. Walling assures them that "nobody's going to shut down anything." Discovery.
-25: Julia burns papers and Walling wants her to hold onto her stock. Lots of intense turbulence as Walling gets Julia to realize that she's selling only to "pay him back for loving the company more than he loved you." The final turning point.
National Velvet
25: Mi and Velvet talk in the barn. He tells her he hates horses, she tells him she loves horses and wants to be the best rider in England. The next scene at the butcher shop she convinces her parents to go with Mi. On the road they watch Pie jump over a fence. The birth of something new.
45: She says she'll die if Pie dies. She talks of racing Pie in the Grand National. Mi tells her there's no bigger race to win. Now that I'm aware.
60: Mi is back from his trip, he didn't find a jockey. He tells Velvet, "From now on it's your show." Mi and Velvet agree to train Pie to race in Grand National. There's no going back now.
-45: Mi and Velvet leave with Pie to get to the race. They talk about meeting the jockey and she takes off her braces. We reach the racetrack and see new people, horses, and structures. Discovery.
-25: The race starts at 25 minutes before the end of the movie. Velvet wins. The final turning point.
Twentieth Century
25: Oscar says good-bye to Lily and fakes a suicide attempt. Lily slaps him, cries, and they begin a romance. The birth of something new.
45: On the train with George, her new beau, Lily wants him off the train, he stays. Their hostility towards each other suggests they won't last. "George, you annoy me." Now that I'm aware.
60: Oscar argues with a friend over getting Lily to act in a play. His friend needs 250k to finance the play. He sits next to a lunatic who says he has a lot of money and wants to invest his fortune in a play. There's no going back now.
-45: George suspects Lily doesn't want him around because of Oscar. Discovery.
-25: Lily breaks up with George, Oscar arrives and renews their relationship. The final turning point.
Appaloosa
25: Virgil, Everett, Allison at the table. Virgil and Allison talk about truth telling. Virgil gets upset and this new extremism is new - he beats up an innocent man. The birth of something new.
45: Allison kisses Everett, Everett won't reciprocate. Now that I'm aware.
60: Everett allows Bragg to be exchanged for Allison. There's no going back now.
-45: Three minutes after the exchange: the train reverses and Virgil and Everett discuss how they will hunt for Bragg, Allison, and the others. Discovery.
-25: Before the gunfight, Virgil tells Everett several reasons why he stays with Allison. Soon, they survive the gunfight and Virgil will stay with Allison and Everett will ride off alone. The final turning point.
A Song Is Born
My grandfather worked on this film as a Technicolor color consultant. Howard Hawks directed and Billy Wilder helped write the screenplay.
25: At the Crow's Nest, Virginia Mayo sings and Danny Kaye sees her for the first time. The birth of something new.
45: Virginia Mayo learns from two associates that Tony Crow is in NJ and wants to marry her, and they give her what she wanted: a large diamond ring. Now that I'm aware.
60: Danny Kaye starts to reveal his feelings for Virginia. She walks to the window to look better for him. She pretends to fall for him and kisses him, teaching him about yum-yum. There's no going back now.
-45: Danny is at the table with the professors and he's so smitten for Virginia that he shuffles toast like a deck of cards and stirs his coffee with a pickle. The next scene he offers Virginia an engagement ring and Virginia learns that she has two engagement rings. Discovery.
-25: At the table, the professors sing a couple songs and Danny leaves to get advice from one of the professors but he enters Virginia's room by mistake. Because it's dark Danny doesn't realize he's talking to Virginia. Danny reveals that he loves her and it's his first love and he can't stop thinking about her. Virginia realizes Danny's feelings are authentic and this makes a difference: She kisses him and keeps kissing. Eventually they'll marry. The final turning point.
The Dark Knight
25: Joker introduces himself to the crime lords and makes an offer: he wants half their money after he kills Batman. The birth of something new.
45: At Bruce Wayne's fundraiser, Bruce makes a speech: "I believe that on his watch, Gotham will feel safer and more optimistic...look at his face, this is the face of Gotham's bright future." Then Bruce lets Rachel know that he could be available; because of Harvey's progress, Gotham may not need a Batman. But Harvey loves Rachel and vice versa. Soon, the Joker will escalate the situation by assassinations and an attempt to kill Rachel. Harvey becomes aware that Bruce supports him. Rachel becomes aware that Bruce is willing to stop being Batman and marry her. Bruce becomes aware that Harvey could take Rachel away from him. Now that I'm aware.
60: The parade scene: Bruce races on his motorcycle to locate the Joker and stop him. Gordon sends messages to his officers to prevent any crime. The Mayor makes a speech about protection and Gordon. Bruce finds the cops without their uniforms. Soon, the Joker and his men will try to kill the Mayor. Gordon saves the Mayor and appears dead. Dent drives off with one of the Joker's men and tries to force a confession - Batman appears to stop him from crossing the line. There's no going back now.
45: At Bruce Wayne's fundraiser, Bruce makes a speech: "I believe that on his watch, Gotham will feel safer and more optimistic...look at his face, this is the face of Gotham's bright future." Then Bruce lets Rachel know that he could be available; because of Harvey's progress, Gotham may not need a Batman. But Harvey loves Rachel and vice versa. Soon, the Joker will escalate the situation by assassinations and an attempt to kill Rachel. Harvey becomes aware that Bruce supports him. Rachel becomes aware that Bruce is willing to stop being Batman and marry her. Bruce becomes aware that Harvey could take Rachel away from him. Now that I'm aware.
60: The parade scene: Bruce races on his motorcycle to locate the Joker and stop him. Gordon sends messages to his officers to prevent any crime. The Mayor makes a speech about protection and Gordon. Bruce finds the cops without their uniforms. Soon, the Joker and his men will try to kill the Mayor. Gordon saves the Mayor and appears dead. Dent drives off with one of the Joker's men and tries to force a confession - Batman appears to stop him from crossing the line. There's no going back now.
-45: Alfred end his story about the mad man with the line: "We burned the forest down." Dent is in the hospital with his face half burned, finds the coin, and sees one side of the coin is ruined. He anguishes, there's a flash of Rachel. Harvey begins his descent into madness. A quick scene with the reporter and Reese about to reveal the true identity of Batman, then Gordon enters Dent's hospital room and we discover the name they used to call Harvey: "Two-Face." Discovery.
-25: Dent is in the car with the crime lord, Dent kills the driver and the car crashes. People get on the ferries. Ferries leave the dock. Ferries loses power. People on both ferries find the detonator and Batman learns about the ferries and takes action to prevent murder. The final turning point.
Some Like It Hot
25: They are about to board the train and for the first time we see Marilyn Monroe. The birth of something new.
60: On the beach, Tony speaks with Marilyn while acting like he's a rich Cary Grant type. She finds out he has a yacht and that he's not married. A connection has been made. There's no going back now.
-45: Tony and Marilyn meet at the dock and together they go to the yacht. Discovery.
-25: Fats arrives at the hotel and their guns are taken from them. The cop questions them, indicating they won't get away with murder. The final turning point.
-25: Fats arrives at the hotel and their guns are taken from them. The cop questions them, indicating they won't get away with murder. The final turning point.
The Spirit of St. Louis
25: He gets financial backing and a new name for the plane. The birth of something new.
45: He becomes aware of news about pilots dying - this escalates the situation. He reaches St. Louis and financial backers doubt he'll survive the attempt. Lindbergh is now aware of the deadly risk he's taking and wants to "try until it is done." Now that I'm aware.
60: "Let's roll her out." They push the plane out of the hangar and everyone follows the plane down the runaway. There's no going back now.
-45: He no longer flies over land, for nearly the rest of the way the plane flies over ocean. Discovery.
-25: He's trying to fly in the right direction, he tries to calculate but he falls asleep and nearly crashes. He wakes up and continues onward until he lands in Paris. The final turning point.
45: He becomes aware of news about pilots dying - this escalates the situation. He reaches St. Louis and financial backers doubt he'll survive the attempt. Lindbergh is now aware of the deadly risk he's taking and wants to "try until it is done." Now that I'm aware.
60: "Let's roll her out." They push the plane out of the hangar and everyone follows the plane down the runaway. There's no going back now.
-45: He no longer flies over land, for nearly the rest of the way the plane flies over ocean. Discovery.
-25: He's trying to fly in the right direction, he tries to calculate but he falls asleep and nearly crashes. He wakes up and continues onward until he lands in Paris. The final turning point.
The Apartment
25: Baxter and Fran converse in the elevator and really connect: He invites her to lunch, she gives him her flower. He then speaks with Sheldrake and gives him a key, starting a relationship that results in conflict between the three of them. The birth of something new.
45: Baxter is now in his new office. The four men who borrowed his key are wondering why he's locking them out. Sheldrake enters and the four men exit. Sheldrake wants a second key and we learn (and Baxter becomes aware) Sheldrake is not in love with Fran. Now that I'm aware.
60: An unloving Sheldrake gives Fran $100 on Christmas Eve, making her feel sad. Minutes later Fran overdoses and Baxter finds her on his bed; he starts taking care of her. There's no going back now.
-45: Baxter calls Sheldrake and informs him of Fran's suicide attempt. We see Sheldrake with his two boys as they play with their toys. Fran wakes up. Baxter hides the razor blades, aware that Fran needs looking after. Discovery.
-25: Fran talks with Sheldrake over the phone. Sheldrake attempts to make Fran believe she's lucky he's not angry at her. Sheldrake's assistant listens in and informs Mrs. Sheldrake. Fran eventually leaves Sheldrake for Baxter. The final turning point.
45: Baxter is now in his new office. The four men who borrowed his key are wondering why he's locking them out. Sheldrake enters and the four men exit. Sheldrake wants a second key and we learn (and Baxter becomes aware) Sheldrake is not in love with Fran. Now that I'm aware.
60: An unloving Sheldrake gives Fran $100 on Christmas Eve, making her feel sad. Minutes later Fran overdoses and Baxter finds her on his bed; he starts taking care of her. There's no going back now.
-45: Baxter calls Sheldrake and informs him of Fran's suicide attempt. We see Sheldrake with his two boys as they play with their toys. Fran wakes up. Baxter hides the razor blades, aware that Fran needs looking after. Discovery.
-25: Fran talks with Sheldrake over the phone. Sheldrake attempts to make Fran believe she's lucky he's not angry at her. Sheldrake's assistant listens in and informs Mrs. Sheldrake. Fran eventually leaves Sheldrake for Baxter. The final turning point.
Out of the Past
25: Jeff and Kathie kiss on the beach and begin a romance. "You do believe me." "Baby I don't care." The birth of something new.
45: In Tahoe, Whit speaks with Jeff. Jeff discovers that Kathie will be eating with them. They're both back in Whit's fold and Whit gives Jeff new instructions. Now that I'm aware.
-45: Jeff enters Leonard's apartment and has a drink with him and his lover. Jeff warns Leonard all is not what it seems but after dropping off the woman and going back to the apartment Jeff discovers that Leonard is dead. Jeff knows his fingerprints are on a drink he had with Leonard. He hides the body in a closet. Discovery.
60: Jeff searches another apartment and Cathie enters. Jeff learns Cathie is in on Leonard's murder and is part of the frame up. Whatever feelings he had or has for Cathie, he knows he can never trust her. There's no going back now.
-25: Jeff tells Cathie and Whit's henchmen "...give you extra time to cross me." Jeff throws a cigarette butt to the floor and one of the henchmen stamps it out. They do try to cross him, but it's Cathie who eventually kills him. The final turning point.
45: In Tahoe, Whit speaks with Jeff. Jeff discovers that Kathie will be eating with them. They're both back in Whit's fold and Whit gives Jeff new instructions. Now that I'm aware.
-45: Jeff enters Leonard's apartment and has a drink with him and his lover. Jeff warns Leonard all is not what it seems but after dropping off the woman and going back to the apartment Jeff discovers that Leonard is dead. Jeff knows his fingerprints are on a drink he had with Leonard. He hides the body in a closet. Discovery.
60: Jeff searches another apartment and Cathie enters. Jeff learns Cathie is in on Leonard's murder and is part of the frame up. Whatever feelings he had or has for Cathie, he knows he can never trust her. There's no going back now.
-25: Jeff tells Cathie and Whit's henchmen "...give you extra time to cross me." Jeff throws a cigarette butt to the floor and one of the henchmen stamps it out. They do try to cross him, but it's Cathie who eventually kills him. The final turning point.
The Seven Samurai
25: The veteran samurai Kambei (played by Takashi Shimura), has a new follower Katsushiro after the youth begs to be his disciple. Kikuchiyo (Toshiro Mifune) stands between the veteran and the disciple and a group of farmers who need protection. The birth of something new.
45: A newly hired samurai recruits the light hearted and amusing woodcutter samurai. When the woodcutter becomes aware that they will take on thirty bandits he misses the wood. We then watch Kyūzōa, a serious, magnificent samurai, win a duel. We become aware of who these seven samurai are and discover that they have different personalities. Now that I'm aware.
60: Mifune is drunk as the samurai who committed to the fight against the bandits prepare to leave the town and head for the farm where some of them will die. "Is he really a samurai?" asks one of them. Mifune will eventually prove that he really is a samurai. There's no going back now.
-45: Everyone waits to find out what happened with Kyūzōa. Kyūzōa returns with a gun and says "Two more down." Everyone marvels at Kyuzoa's accomplishment. Katsushiro approaches Kyuzoa and says "You are a magnificent person." Discovery.
-25: Kyūzōa speaks with his men and then confers with Kambei. Kambei: "Next time they come, we fight to the finish." He's right. The final turning point.
45: A newly hired samurai recruits the light hearted and amusing woodcutter samurai. When the woodcutter becomes aware that they will take on thirty bandits he misses the wood. We then watch Kyūzōa, a serious, magnificent samurai, win a duel. We become aware of who these seven samurai are and discover that they have different personalities. Now that I'm aware.
60: Mifune is drunk as the samurai who committed to the fight against the bandits prepare to leave the town and head for the farm where some of them will die. "Is he really a samurai?" asks one of them. Mifune will eventually prove that he really is a samurai. There's no going back now.
-45: Everyone waits to find out what happened with Kyūzōa. Kyūzōa returns with a gun and says "Two more down." Everyone marvels at Kyuzoa's accomplishment. Katsushiro approaches Kyuzoa and says "You are a magnificent person." Discovery.
-25: Kyūzōa speaks with his men and then confers with Kambei. Kambei: "Next time they come, we fight to the finish." He's right. The final turning point.
African Queen
25: She proposes they sink a gunboat. The birth of something new.
45: She sees how he changes when he's drunk so the next day she dumps all of his gin overboard. Now that I'm aware.
60 and -45 (145 - 45 = 60): The story is about their romance and this is when they kiss for the first time. She talks about flowers, he keeps his hand on her shoulder, she touches his hand, and then they kiss. They're no longer just friends. There's no going back now.
-25: All the leeches are off him but the boat gets stuck and he's forced to jump into the water and pull the boat. She helps but they soon realize the boat is stuck in the mud. He tells her he has no regets, she prays to be judged by their love. It rains, the boat continues on and eventually they sink the gunboat. The final turning point.
45: She sees how he changes when he's drunk so the next day she dumps all of his gin overboard. Now that I'm aware.
60 and -45 (145 - 45 = 60): The story is about their romance and this is when they kiss for the first time. She talks about flowers, he keeps his hand on her shoulder, she touches his hand, and then they kiss. They're no longer just friends. There's no going back now.
-25: All the leeches are off him but the boat gets stuck and he's forced to jump into the water and pull the boat. She helps but they soon realize the boat is stuck in the mud. He tells her he has no regets, she prays to be judged by their love. It rains, the boat continues on and eventually they sink the gunboat. The final turning point.
Miracle on 34th Street
25: Susan is starting to believe in Santa, Doris wants Kringle to tell her the truth. Doris: "Please tell her that you're not really Santa Claus, that there actually is no such person." Kringle tells them he's really Santa Claus. Susan's birth of belief about whether or not there really is a Santa drives the story forward as Susan intends to fire Kringle. The birth of something new.
45: Susan is in bed and shows Kringle a picture of a house she wants to live in. Susan says if he's really Santa then he'll deliver the house. Kringle is now aware of what he has to do to get Susan and the other main characters to have faith and believe. At the end of the movie Kringle will get her the house. Now that I'm aware.
-45 (1:36 - 45 = 51): Kringle meets with Alfred for lunch. Kringle discovers that Sawyer disapproves of Alfred dressing up as Santa and giving away presents - Sawyer believes Alfred has a guilt complex and is maladjusted. Kringle confronts Sawyer and they argue about what Alfred ought to believe about himself. Discovery.
60: Fred visits Kringle in Bellevue hospital after Kringle deliberately failed the exam. They talk about belief, Kringle is frustrated that Sawyer is perceived as normal and he isn't. Fred tells Kringle not to quit, that he can't let others down and Kringle promises he'll go out swinging. They decide to fight Sawyer in court. There's no going back now.
-25 (1:36 - 25 = 1:11): Fred tells Doris he's quit his job to help Kringle. They argue about being realistic, having a career and getting ahead. Fred tells Doris "Faith is believing in things when common sense tell you not to...it's not just Kringle on trial, it's kindness and joy and love and all the other intangibles." Fred's ideas win in the end. The final turning point.
45: Susan is in bed and shows Kringle a picture of a house she wants to live in. Susan says if he's really Santa then he'll deliver the house. Kringle is now aware of what he has to do to get Susan and the other main characters to have faith and believe. At the end of the movie Kringle will get her the house. Now that I'm aware.
-45 (1:36 - 45 = 51): Kringle meets with Alfred for lunch. Kringle discovers that Sawyer disapproves of Alfred dressing up as Santa and giving away presents - Sawyer believes Alfred has a guilt complex and is maladjusted. Kringle confronts Sawyer and they argue about what Alfred ought to believe about himself. Discovery.
60: Fred visits Kringle in Bellevue hospital after Kringle deliberately failed the exam. They talk about belief, Kringle is frustrated that Sawyer is perceived as normal and he isn't. Fred tells Kringle not to quit, that he can't let others down and Kringle promises he'll go out swinging. They decide to fight Sawyer in court. There's no going back now.
-25 (1:36 - 25 = 1:11): Fred tells Doris he's quit his job to help Kringle. They argue about being realistic, having a career and getting ahead. Fred tells Doris "Faith is believing in things when common sense tell you not to...it's not just Kringle on trial, it's kindness and joy and love and all the other intangibles." Fred's ideas win in the end. The final turning point.
Casablanca
25: Rick is at the table talking with Strasser and Renault. The discussion is about Victor and there's disagreement about whether or not Rick is someone the Nazis should worry about. Ilsa and Victor enter Ricks for the first time. Ilsa and Sam exchange a look. The birth of something new.
45: Rick and Ilsa with Sam in Paris. They talk about leaving Paris on the train, Rick talks of marriage. Ilsa looks sad - she's aware that Victor has been found outside of Paris - she tells Rick she loves him very much, and they kiss as if for the last time. Only later in the movie (a few minutes after -25) will Rick learn that back in Paris Ilsa thought Victor was dead. Now that I'm aware.
60 and -45: Victor tells Ilsa he loves her very much. They search for two exit visas and learn from Ferrari that Rick has the letters of transit. Victor and Ilsa realize Rick is the one who decides whether or not they will escape from the Nazis. There's no going back now.
-25: Victor and Ilsa talk about the letters of transit and why Rick won't help them. Victor tells Ilsa again that he loves her. When Victor leaves to go to a meeting, Ilsa says be careful. We know she still cares about him. The next scene Rick learns that Ilsa still loves him after Ilsa implored Rick to "Put your feelings aside for something more important." Later, despite his feelings, Rick will give up the letters of transit to help a cause. The final turning point.
45: Rick and Ilsa with Sam in Paris. They talk about leaving Paris on the train, Rick talks of marriage. Ilsa looks sad - she's aware that Victor has been found outside of Paris - she tells Rick she loves him very much, and they kiss as if for the last time. Only later in the movie (a few minutes after -25) will Rick learn that back in Paris Ilsa thought Victor was dead. Now that I'm aware.
60 and -45: Victor tells Ilsa he loves her very much. They search for two exit visas and learn from Ferrari that Rick has the letters of transit. Victor and Ilsa realize Rick is the one who decides whether or not they will escape from the Nazis. There's no going back now.
-25: Victor and Ilsa talk about the letters of transit and why Rick won't help them. Victor tells Ilsa again that he loves her. When Victor leaves to go to a meeting, Ilsa says be careful. We know she still cares about him. The next scene Rick learns that Ilsa still loves him after Ilsa implored Rick to "Put your feelings aside for something more important." Later, despite his feelings, Rick will give up the letters of transit to help a cause. The final turning point.
The Adventures of Robin Hood
25: The birth of a movement as Robin asks a crowd at gallows oaks, "Are you with me?!" They swear an oath to improve their community and fight their oppressors. The birth of something new.
45: Robin and Marian walk among the poor in Sherwood Forest. Marian changes her attitude as she hears Robin talk about injustice and seeing how others speak to him. Marian: "I do begin to see, a little now." Robin kisses Marian's hand and Marian realizes she's falling in love. Now that I'm aware.
-45: The arrow tournament: Marian recognizes Robin and lies to protect him. Robin splits the arrow and wins. Discovery.
60: Robin is in chains and Guy reads charges against him. Robin mentions injustice as he learns he's to be hanged. There's no going back now.
-25: The Bishop enters an inn where the King and his men sit and eat. The Bishop learns the identity of the King and leaves to inform Prince John. The King speaks of Robin Hood and indicates he will meet with him. Thanks to Robin and his men the King removes Prince John from power. The final turning point.
45: Robin and Marian walk among the poor in Sherwood Forest. Marian changes her attitude as she hears Robin talk about injustice and seeing how others speak to him. Marian: "I do begin to see, a little now." Robin kisses Marian's hand and Marian realizes she's falling in love. Now that I'm aware.
-45: The arrow tournament: Marian recognizes Robin and lies to protect him. Robin splits the arrow and wins. Discovery.
60: Robin is in chains and Guy reads charges against him. Robin mentions injustice as he learns he's to be hanged. There's no going back now.
-25: The Bishop enters an inn where the King and his men sit and eat. The Bishop learns the identity of the King and leaves to inform Prince John. The King speaks of Robin Hood and indicates he will meet with him. Thanks to Robin and his men the King removes Prince John from power. The final turning point.
Captain Blood
25: An important official has gout, Dr. Peter Blood cures him and because of his new status as a doctor he's able to escape and become a pirate. The birth of something new.
45: Blood kisses Olivia and Olivia slaps him. Olivia watches Blood ride off as the romance blossoms. Blood treats an important official and then learns that his friend is in chains. Now that I'm aware.
60: Bishop arrives on Blood's ship and he's treated as disrespectfully as he once treated them. Bishop's offer of possible justice for the former slaves is refused. He's thrown overboard. There's no going back.
-45: Blood with Rathbone in a tavern as they solidify a partnership. Blood tells Rathbone that women will be the death of him and later in the movie Rathbone dies over a woman. We learn that there are differences in opinion about who is the better captain, Blood or Rathbone, sowing the seeds of future conflict. Discovery.
-25: Olivia speaks with Lord Willoughby about Blood. Olivia wants Blood to end his revenge quest. Eventually, Blood will focus all his attention on Olivia and end all revenge action. The final turning point.
45: Blood kisses Olivia and Olivia slaps him. Olivia watches Blood ride off as the romance blossoms. Blood treats an important official and then learns that his friend is in chains. Now that I'm aware.
60: Bishop arrives on Blood's ship and he's treated as disrespectfully as he once treated them. Bishop's offer of possible justice for the former slaves is refused. He's thrown overboard. There's no going back.
-45: Blood with Rathbone in a tavern as they solidify a partnership. Blood tells Rathbone that women will be the death of him and later in the movie Rathbone dies over a woman. We learn that there are differences in opinion about who is the better captain, Blood or Rathbone, sowing the seeds of future conflict. Discovery.
-25: Olivia speaks with Lord Willoughby about Blood. Olivia wants Blood to end his revenge quest. Eventually, Blood will focus all his attention on Olivia and end all revenge action. The final turning point.
Speed Racer
25: Speed and his family enter Royalton's corporate HQ and it's like entering a new world. The birth of something new.
45: Royalton tells Speed about the powerful men who started the racing league. He says the 43 Prix was fixed and racing is all about power, money, and stock prices. Now that I'm aware.
60: Inspector Detector and Racer X fail to convince Pops to allow Speed to enter a dangerous race. Speed and Trixie flirt and decide on their own to enter the race. There's no going back now.
-45: Pops arrives to defeat the Ninjas. Horuko arrives and we learn that Taejo has been poisoned and can't race. Trixie's eyebrow indicates she's up to something - we learn later that she replaces Taejo. Discovery.
-25: Pops tells Speed he loves him and vice versa. Speed says he's caught in a tailspin because of the 43 Prix being fixed. Pops says Royalton is a crook and can't be trusted. Horuko arrives and offers Speed an invite to the Grand Prix. Later, Speed is allowed to race and wins. The final turning point.
45: Royalton tells Speed about the powerful men who started the racing league. He says the 43 Prix was fixed and racing is all about power, money, and stock prices. Now that I'm aware.
60: Inspector Detector and Racer X fail to convince Pops to allow Speed to enter a dangerous race. Speed and Trixie flirt and decide on their own to enter the race. There's no going back now.
-45: Pops arrives to defeat the Ninjas. Horuko arrives and we learn that Taejo has been poisoned and can't race. Trixie's eyebrow indicates she's up to something - we learn later that she replaces Taejo. Discovery.
-25: Pops tells Speed he loves him and vice versa. Speed says he's caught in a tailspin because of the 43 Prix being fixed. Pops says Royalton is a crook and can't be trusted. Horuko arrives and offers Speed an invite to the Grand Prix. Later, Speed is allowed to race and wins. The final turning point.
Sugarland Express
Notice that at 45, 60, and -45 the stolen police car is not on the freeway, it's parked.
25: Lou Jean and Clovis have stolen a police car and the police are beginning to understand that one of their officers has been kidnapped. The birth of something new.
45: The car isn't moving, it's the portable toilet scene. Police cars are all over the place. Clovis realizes something: "We're in real trouble." Now that I'm aware.
60: A chopper arrives and Lou Jean's father tries to communicate to his daughter. The car is parked, the kidnapped officer is in the backseat. There's no going back now.
-45: The kidnapped officer has been listening to Lou Jean's father, who reveals himself to be unloving and unsupportive. The officer to Lou Jean: "I know you're alright, that you're a good woman at heart..." Discovery.
-25: The officers with rifles arrive at the house where the child is located. The officers will eventually kill Clovis. The final turning point.
25: Lou Jean and Clovis have stolen a police car and the police are beginning to understand that one of their officers has been kidnapped. The birth of something new.
45: The car isn't moving, it's the portable toilet scene. Police cars are all over the place. Clovis realizes something: "We're in real trouble." Now that I'm aware.
60: A chopper arrives and Lou Jean's father tries to communicate to his daughter. The car is parked, the kidnapped officer is in the backseat. There's no going back now.
-45: The kidnapped officer has been listening to Lou Jean's father, who reveals himself to be unloving and unsupportive. The officer to Lou Jean: "I know you're alright, that you're a good woman at heart..." Discovery.
-25: The officers with rifles arrive at the house where the child is located. The officers will eventually kill Clovis. The final turning point.
Saving Private Ryan
25: They were getting killed on the beach, but after incredibly intense fighting they have secured the beach. The birth of something new.
45: Talk of the mission and how they realize they may die because of their mission to save Ryan. Now that I'm aware.
60: Tom Hanks thinks he's found Ryan but it's the wrong man. They continue onward, battling and dying as they try to find Ryan. There's no going back now.
-45: They prepare to battle: a machine gun is lifted into the tower, they create mud sock bombs, mines are gathered, they establish their final fall back position known as Alamo. Notice the row of "X"s on the ground, indicating future deaths. Discovery.
-25: Ryan nearly killed by tank fire. A deadly gun kills a group of US soldiers on the tank. The killing continues, including Tom Hanks' character. The final turning point.
45: Talk of the mission and how they realize they may die because of their mission to save Ryan. Now that I'm aware.
60: Tom Hanks thinks he's found Ryan but it's the wrong man. They continue onward, battling and dying as they try to find Ryan. There's no going back now.
-45: They prepare to battle: a machine gun is lifted into the tower, they create mud sock bombs, mines are gathered, they establish their final fall back position known as Alamo. Notice the row of "X"s on the ground, indicating future deaths. Discovery.
-25: Ryan nearly killed by tank fire. A deadly gun kills a group of US soldiers on the tank. The killing continues, including Tom Hanks' character. The final turning point.
How Green Was My Valley
25: A rock is thrown through the window and the sons punch the man who threw it. The mother addresses the angry mob and threatens them. She walks off with her youngest son and both of them nearly die when they are pulled out of the ice. Because of the ice, the boy can't walk for awhile. The birth of something new.
45: Talk of the sons leaving the home. Big crowd gathers as everyone wants to become aware of what is in a letter sent from Windsor Castle to one of the sons. We learn that one of the sons has been invited to sing before the Queen. Now that I'm aware.
60: The cold, rich suitor arrives in the home to request that he begin courting Maureen O'Hara's character. Eventually Maureen will marry the rich suitor, ending any future relationship with Walter Pigeon's character. There's no going back now.
-45: Father gives youngest son money for every injury he receives from fighting. Mother and father conflict over whether or not the boy should fight. The youngster begins his training to learn how to fight. Discovery.
-25: Maureen O'Hara's character returns to the town to a house on the top of the hill. Roddy McDowell's character, Huw, arrives and tries to hug her but she keeps her distance and looks unhappy. Maureen asks about Walter, and we know she still loves him. The final turning point.
45: Talk of the sons leaving the home. Big crowd gathers as everyone wants to become aware of what is in a letter sent from Windsor Castle to one of the sons. We learn that one of the sons has been invited to sing before the Queen. Now that I'm aware.
60: The cold, rich suitor arrives in the home to request that he begin courting Maureen O'Hara's character. Eventually Maureen will marry the rich suitor, ending any future relationship with Walter Pigeon's character. There's no going back now.
-45: Father gives youngest son money for every injury he receives from fighting. Mother and father conflict over whether or not the boy should fight. The youngster begins his training to learn how to fight. Discovery.
-25: Maureen O'Hara's character returns to the town to a house on the top of the hill. Roddy McDowell's character, Huw, arrives and tries to hug her but she keeps her distance and looks unhappy. Maureen asks about Walter, and we know she still loves him. The final turning point.
The Third Man
25: About a minute before 25, Holly becomes aware of a third man at the scene of the crime. Holly wants the porter to talk to the police, the porter's child plays with his ball. The porter will die later because the criminals don't want the police to know the truth. The birth of something new.
45: Porter agrees to meet with Holly and turns and looks frightened as he becomes aware someone is in his room offscreen. We suspect the porter hasn't long to live. In the next scene, Anna asks Holly about Harry Lime and we're more aware that Anna really loved Harry and that Holly hasn't much chance of establishing love with Anna. Now that I'm aware.
60 and -45: The police offer evidence to Holly, and Holly believes the police. He now understands that Harry, his good friend, has been involved in murder. From the start of the movie, Holly was trying to establish who killed Harry and believed that Harry was innocent, but the facts have completely changed his beliefs and he's ready to move in a new direction not for Harry but against him. There's no going back.
-25: The famous scene in the Ferris wheel where Orson Welles says people are happier dead and the line about the cuckoo clock. Holly understands that his life is in danger and a former friend could kill him. The final turning point.
45: Porter agrees to meet with Holly and turns and looks frightened as he becomes aware someone is in his room offscreen. We suspect the porter hasn't long to live. In the next scene, Anna asks Holly about Harry Lime and we're more aware that Anna really loved Harry and that Holly hasn't much chance of establishing love with Anna. Now that I'm aware.
60 and -45: The police offer evidence to Holly, and Holly believes the police. He now understands that Harry, his good friend, has been involved in murder. From the start of the movie, Holly was trying to establish who killed Harry and believed that Harry was innocent, but the facts have completely changed his beliefs and he's ready to move in a new direction not for Harry but against him. There's no going back.
-25: The famous scene in the Ferris wheel where Orson Welles says people are happier dead and the line about the cuckoo clock. Holly understands that his life is in danger and a former friend could kill him. The final turning point.
The Seventh Seal
25: In a tavern, Jons the squire speaks of a man who lives in a world that exists only for himself, there is meaningless in Heaven and indifference in Hell. Antonius and the squire leave the tavern and meet a new character: a woman accused of being a witch. Antonius and the squire learn several things: the accused woman is to die at the stake because she has carnal knowledge and killing her will keep the Devil away, they are told smell will keep the Devil away. The birth of something new.
45: In a tavern, a blacksmith talks to Joseph, an actor, about killing another actor who has seduced Lisa, his wife. Another person listens in and accuses Joseph of seducing Lisa because the seducer is an actor. The tavern occupants look upon Joseph as if he was guilty of seduction and then force Joseph to do humiliating things. Joseph realizes that if he doesn't do whatever they say he'll be harmed. Now that I'm aware.
-45: Injured, Joseph returns to his wife after the beating in the tavern. Antonius observes the loving family as Joseph gives his wife a bracelet and they play with the baby. Later, Antonius shares wild strawberries and milk with them.
60: The blacksmith again anguishes over his cheating wife. Jons the squire tells the smith that only fools die of love. The blacksmith joins them on their journey and later chases off Lisa's seducer. There's no going back now.
-25: The woman accused of being a witch is on a wagon and she and the soldiers join Antonius's group. They reach the stake and see skulls on the ground. Antonius asks the woman if he can talk to the Devil so he can get to know God. Antonius sees only terror, not the Devil in the woman's eyes. "Who will look after her?" We get the sense there is only the terror of knowing death, and no one to help us after it. The final turning point.
45: In a tavern, a blacksmith talks to Joseph, an actor, about killing another actor who has seduced Lisa, his wife. Another person listens in and accuses Joseph of seducing Lisa because the seducer is an actor. The tavern occupants look upon Joseph as if he was guilty of seduction and then force Joseph to do humiliating things. Joseph realizes that if he doesn't do whatever they say he'll be harmed. Now that I'm aware.
-45: Injured, Joseph returns to his wife after the beating in the tavern. Antonius observes the loving family as Joseph gives his wife a bracelet and they play with the baby. Later, Antonius shares wild strawberries and milk with them.
60: The blacksmith again anguishes over his cheating wife. Jons the squire tells the smith that only fools die of love. The blacksmith joins them on their journey and later chases off Lisa's seducer. There's no going back now.
-25: The woman accused of being a witch is on a wagon and she and the soldiers join Antonius's group. They reach the stake and see skulls on the ground. Antonius asks the woman if he can talk to the Devil so he can get to know God. Antonius sees only terror, not the Devil in the woman's eyes. "Who will look after her?" We get the sense there is only the terror of knowing death, and no one to help us after it. The final turning point.
Juno
25: Juno is in the process of telling her parents she's pregnant. We find out Paulie is the father and that Juno wants to give the baby up for adoption. The birth of something new.
45: Juno with Mark, shows him an ultrasound of the baby. They listen to music and talk about horror. Juno criticizes a horror flick before seeing it, then is impressed while they watch it. Now that I'm aware.
60: Vanessa touches Juno's stomach and speaks to the baby. Juno can tell Vanessa cares and we get the sense that Juno believes Vanessa is the right mother for her baby. There's no going back now.
-45: Vanessa arrives home and Juno shows her the ultrasound. Juno sees that Vanessa bought a lot of stuff for the baby and learns that things aren't set in stone as far as Vanessa and Mark. Discovery.
-25: Juno is with Mark and shares music with him. They slow dance, Mark tells Juno he's leaving Vanessa and minutes later the split between Mark and Vanessa appears final. Juno worries about who will care for the baby. The final turning point.
45: Juno with Mark, shows him an ultrasound of the baby. They listen to music and talk about horror. Juno criticizes a horror flick before seeing it, then is impressed while they watch it. Now that I'm aware.
60: Vanessa touches Juno's stomach and speaks to the baby. Juno can tell Vanessa cares and we get the sense that Juno believes Vanessa is the right mother for her baby. There's no going back now.
-45: Vanessa arrives home and Juno shows her the ultrasound. Juno sees that Vanessa bought a lot of stuff for the baby and learns that things aren't set in stone as far as Vanessa and Mark. Discovery.
-25: Juno is with Mark and shares music with him. They slow dance, Mark tells Juno he's leaving Vanessa and minutes later the split between Mark and Vanessa appears final. Juno worries about who will care for the baby. The final turning point.
Bangkok Dangerous
25: Joe meets someone new and falls in love with her. Joe shows Fon, his love interest, his wound. Fon touches Joe. They communicate without speaking. The birth of something new.
45: Joe with Fon on a date, touching again, this time they touch an elephant. He takes a call that involves his employer who he learns has become his antagonist. Minutes later, as an elephant observes, Joe will throw away heroin as a sign he will spare the life of his student. Now that I'm aware.
-45: Joe with Fon and with Fon's mother. Her mother asks where he is from and what is his work. Joe lies and says he's a banker. Discovery.
60: Joe with Fon in a holy cave, once again together without words. Joe's actions indicate he's realizing life is sacred. There's no going back now.
-25: The student's girlfriend is kidnapped, the student asks Joe if this is his last job. Joe says yeah. At the end of the movie Joe dies, it was his last job. The final turning point.
45: Joe with Fon on a date, touching again, this time they touch an elephant. He takes a call that involves his employer who he learns has become his antagonist. Minutes later, as an elephant observes, Joe will throw away heroin as a sign he will spare the life of his student. Now that I'm aware.
-45: Joe with Fon and with Fon's mother. Her mother asks where he is from and what is his work. Joe lies and says he's a banker. Discovery.
60: Joe with Fon in a holy cave, once again together without words. Joe's actions indicate he's realizing life is sacred. There's no going back now.
-25: The student's girlfriend is kidnapped, the student asks Joe if this is his last job. Joe says yeah. At the end of the movie Joe dies, it was his last job. The final turning point.
Jaws
25: On a pier, two fishermen throw meat into the water. Cut to Martin examining photos of sharks and people attacked by sharks; he begins to understand the size and impact of sharks on people. Cut to pier, the meat is taken and the pier collapses, the fisherman falls in and is nearly eaten. The birth of something new.
45: Hooper tells Martin the shark is a rogue and is establishing his territory. Hooper tells Martin he's going to look for the shark. Martin goes with him. Both understand more about the nature of the shark. Now that I'm aware.
60: Tourists leave the water in a panic. The mayor looks depressed, his efforts to keep a lid on the presence of a killer shark have failed. He understands people are going to leave and take their money elsewhere. There's no going back now.
-45: Quint reels in the shark and tells us the shark is very smart and very big. Quint argues with Hooper. Minutes later Martin tells Quint "You're going to need a bigger boat." Discovery.
-25: A yellow barrel emerges from the water. The boat isn't moving. The shark emerges and takes the rope, causing hands to bleed. Martin starts to radio for help but Quint takes a bat and destroys the radio. Quint later dies. The final turning point.
45: Hooper tells Martin the shark is a rogue and is establishing his territory. Hooper tells Martin he's going to look for the shark. Martin goes with him. Both understand more about the nature of the shark. Now that I'm aware.
60: Tourists leave the water in a panic. The mayor looks depressed, his efforts to keep a lid on the presence of a killer shark have failed. He understands people are going to leave and take their money elsewhere. There's no going back now.
-45: Quint reels in the shark and tells us the shark is very smart and very big. Quint argues with Hooper. Minutes later Martin tells Quint "You're going to need a bigger boat." Discovery.
-25: A yellow barrel emerges from the water. The boat isn't moving. The shark emerges and takes the rope, causing hands to bleed. Martin starts to radio for help but Quint takes a bat and destroys the radio. Quint later dies. The final turning point.
Slumdog Millionaire
25: The three children are taken to a new place: the orphanage. The birth of something new.
45: He becomes aware that he can make a living at the Taj Mahal as a tour guide. Now that I'm aware.
60: They enter the hotel. He won't look at her when she's naked, he's in love. There's no going back now.
-45: He's at work, puts on a headset, talks to Scotland. Soon, he'll find his brother's contact info and call him. Discovery.
-25: He's in the bathroom with the TV host. "Take the money and run...maybe it's written. I got a feeling you're going to win." "B" is on the glass. The final turning point.
45: He becomes aware that he can make a living at the Taj Mahal as a tour guide. Now that I'm aware.
60: They enter the hotel. He won't look at her when she's naked, he's in love. There's no going back now.
-45: He's at work, puts on a headset, talks to Scotland. Soon, he'll find his brother's contact info and call him. Discovery.
-25: He's in the bathroom with the TV host. "Take the money and run...maybe it's written. I got a feeling you're going to win." "B" is on the glass. The final turning point.
Shadow of a Doubt
25: Charlie gives Teresa Wright a ring. Teresa notices an engraving. It's the first time we see Charlie angry with Teresa and it's the first bit of evidence Teresa has her uncle is a killer. Note the title of the movie involves doubt: 25 is when Teresa's doubt has reason to start. The birth of something new.
45: An FBI agent enters the home and asks questions about Charlie. Teresa has no doubt about her uncle, she wants to protect him: "My uncle doesn't want to be bothered by lots of questions." The situation escalates as law enforcement arrives in the home. Now that I'm aware.
60: Teresa finds a newspaper in the library. "Where is the Merry Widow Murderer?" asks a headline. We read an article in the paper, we learn as she learns. We listen to the music as it becomes more dramatic and warped. She sees names. She looks at the ring Uncle Charlie gave her at 25. The initials on the ring match the initials in the paper, proof her uncle is probably a murderer. Teresa's doubt is growing and there is no stopping it, there's no going back to the world of no doubt about Uncle Charlie. There's no going back now.
-45: Just a few minutes after the library scene, Charlie asks where Teresa is - we begin to suspect Teresa is in danger. Teresa is in the kitchen with her mom as her mom hums a waltz. Teresa can no longer listen to the waltz because it reminds her of Charlie and asks her mom to stop. Teresa experiences intense inner turbulence. The discovery is that Uncle Charlie is probably going to try and kill Teresa and Teresa can no longer do nothing about her uncle. Discovery.
-25: Teresa walks along the sidewalk with FBI men and a friend. Uncle Charlie and Teresa talk a bit. There's tension and a new look on Teresa's face. There's talk about the Merry Widow Murderer being caught. Uncle Charlie walks up the steps and turns to look at Teresa. Uncle Charlie realizes Teresa isn't convinced he's innocent and he experiences intense inner turbulence. Teresa's doubts turn to anger and fear. Uncle Charlie carries his inner turbulence to the end when he tries to kill Teresa on the train. The final turning point.
45: An FBI agent enters the home and asks questions about Charlie. Teresa has no doubt about her uncle, she wants to protect him: "My uncle doesn't want to be bothered by lots of questions." The situation escalates as law enforcement arrives in the home. Now that I'm aware.
60: Teresa finds a newspaper in the library. "Where is the Merry Widow Murderer?" asks a headline. We read an article in the paper, we learn as she learns. We listen to the music as it becomes more dramatic and warped. She sees names. She looks at the ring Uncle Charlie gave her at 25. The initials on the ring match the initials in the paper, proof her uncle is probably a murderer. Teresa's doubt is growing and there is no stopping it, there's no going back to the world of no doubt about Uncle Charlie. There's no going back now.
-45: Just a few minutes after the library scene, Charlie asks where Teresa is - we begin to suspect Teresa is in danger. Teresa is in the kitchen with her mom as her mom hums a waltz. Teresa can no longer listen to the waltz because it reminds her of Charlie and asks her mom to stop. Teresa experiences intense inner turbulence. The discovery is that Uncle Charlie is probably going to try and kill Teresa and Teresa can no longer do nothing about her uncle. Discovery.
-25: Teresa walks along the sidewalk with FBI men and a friend. Uncle Charlie and Teresa talk a bit. There's tension and a new look on Teresa's face. There's talk about the Merry Widow Murderer being caught. Uncle Charlie walks up the steps and turns to look at Teresa. Uncle Charlie realizes Teresa isn't convinced he's innocent and he experiences intense inner turbulence. Teresa's doubts turn to anger and fear. Uncle Charlie carries his inner turbulence to the end when he tries to kill Teresa on the train. The final turning point.
The Anderson Tapes
25: Anderson visits someone new: Spencer. More surveillance, this time it's the FBI. Wherever he goes, he's watched. The birth of something new.
45: Anderson learns that he must murder someone the mob wants dead. The situation escalates and poses a question: Will he kill him? Now that I'm aware.
60 and -45: The Mayflower truck arrives at the building where the crime is co
mmitted. They tie up the doorman. There's no going back now.
-25: "Maybe they're on to us." First indication from the thieves the cops could know about the robbery. A man is followed and we see cops blocking the street. We know something the thieves don't: the cops know. At the end, the thieves are caught. The final turning point.
45: Anderson learns that he must murder someone the mob wants dead. The situation escalates and poses a question: Will he kill him? Now that I'm aware.
60 and -45: The Mayflower truck arrives at the building where the crime is co
mmitted. They tie up the doorman. There's no going back now.-25: "Maybe they're on to us." First indication from the thieves the cops could know about the robbery. A man is followed and we see cops blocking the street. We know something the thieves don't: the cops know. At the end, the thieves are caught. The final turning point.
Straight Time
25: Selma tells Max not to associate with Willy, her husband. Willy and Max spend more time together and later near the end of the movie they commit a crime. The birth of something new.
45: Max becomes aware that Earl is a negative influence and just wants to control him; they're on their way to a halfway house. Max gets control of the car and handcuffs Earl to a fence in the middle of a freeway. Now that I'm aware.
60: Max kisses Jenny, they're committed to each other. There's no going back now.
-45: Max waits in the car with Jerry, they want to rob some poker players but need a shotgun. Max discovers the shotgun isn't going to arrive. Discovery.
-25: Jerry dies. Max and Jenny drive down a desert highway and soon separate. The final turning point.
45: Max becomes aware that Earl is a negative influence and just wants to control him; they're on their way to a halfway house. Max gets control of the car and handcuffs Earl to a fence in the middle of a freeway. Now that I'm aware.
60: Max kisses Jenny, they're committed to each other. There's no going back now.
-45: Max waits in the car with Jerry, they want to rob some poker players but need a shotgun. Max discovers the shotgun isn't going to arrive. Discovery.
-25: Jerry dies. Max and Jenny drive down a desert highway and soon separate. The final turning point.
Die Hard
25: For the first time the antagonist, Hans Gruber speaks to the hostages. He gives details of an exec he will later execute. The birth of something new.
45: McClane tries to get the police dispatcher to believe in him. We cut to a store where we first meet Al Powell, the cop who later befriends McClane. Sgt. Powell buys candy and learns about possible trouble at the building. Now that I'm aware.
60: McClane and Gruber talk for the first time. Gruber wants to know who McClane is. McClane lets Gruber know he's not someone to take lightly and forces Gruber to take action to find him. There's no going back now.
-45: McClane and Sgt. Powell talk about kids and family. Gruber learns from a reporter that McClane is a cop and his wife is a hostage, now Gruber has leverage over McClane. Discovery.
-25: The FBI forces the shutting down of an electrical grid that opens the bank vault for the antagonists. Just before this scene, Sgt. Powell warns McClane the Feds are in charge. McClane takes matters into his own hands and resolves the conflict on his own with some help from Sgt. Powell at the end. The final turning point.
45: McClane tries to get the police dispatcher to believe in him. We cut to a store where we first meet Al Powell, the cop who later befriends McClane. Sgt. Powell buys candy and learns about possible trouble at the building. Now that I'm aware.
60: McClane and Gruber talk for the first time. Gruber wants to know who McClane is. McClane lets Gruber know he's not someone to take lightly and forces Gruber to take action to find him. There's no going back now.
-45: McClane and Sgt. Powell talk about kids and family. Gruber learns from a reporter that McClane is a cop and his wife is a hostage, now Gruber has leverage over McClane. Discovery.
-25: The FBI forces the shutting down of an electrical grid that opens the bank vault for the antagonists. Just before this scene, Sgt. Powell warns McClane the Feds are in charge. McClane takes matters into his own hands and resolves the conflict on his own with some help from Sgt. Powell at the end. The final turning point.
Intense Turbulence
Focus on creating scenes with intense turbulence because when a lot is going on in the situation and inside your main characters that's when your audience cares about what happens next in your story.
One of the goals of your screenplay is to create memorable characters, and when you think of memorable characters you don't see them resting on a couch, they are usually involved in something very intense.
Every good screenplay has 5 pivotal moments. Focus on creating four to five intense moments before and after each of these 5 moments. During the last 25 pages of your screenplay focus on creating at least ten intense moments. Take a look at good movies and you'll see they follow this intense turbulence standard of four to five moments before and after 4/5s of the movie, and having 10 intense moments during the last 25 pages.
Have the 5 moments act as a guide as you write and after you write. If you have completed a screenplay, count the intense turbulence moments. See if there is any way to intensify the turbulence - inside and out - as the story progresses.
Think for a moment about your favorite movie and write down the most memorable moments. Think about how the best movies have rising conflict. Things within the characters are escalating as the story unfolds, and the situation escalates too. Is your story full of moments that are escalating in intensity?
In Casablanca, the turbulence increases because we see that Rick and Ilsa have rekindled their romance. Inside turbulence: they love each other but someone else is involved - will she leave Victor? Will Rick pressure Ilsa to leave Victor? Or will Rick pressure Ilsa to stay with Victor? What kind of man is Rick? At the end of the story, we know what kind of man he is. By his actions, we know him. He pressures Ilsa to go with Victor. "You're getting on that plane."
The turbulence inside Ilsa and Rick cannot get any more intense than at the airport when they say good-bye. Everything escalates to that moment.
Focus on Casablanca's outside turbulence: What's the situation that Rick and Ilsa find themselves? The freedom of the world is at stake. Victor is not a nobody, he's a somebody. Rick has heard about him and admires him. People in Casablanca are getting shot, they are selling their valuables, they are selling their bodies, they are waiting for a chance to get out of that city, and nearly all the countries in the world are at war.
What's your story's situation? Is it turbulent? Is their rising turbulence in the situation? What kind of turbulence is happening inside your main characters? Is their rising turbulence? How many times are their intense moments before and after each of the 5 key moments? Is their at least 4 or 5 during 4/5s of the story? 25 minutes before the end of your screenplays, how many intense moments are there? If there's less than ten, see if you can add a few more.
One of the goals of your screenplay is to create memorable characters, and when you think of memorable characters you don't see them resting on a couch, they are usually involved in something very intense.
Every good screenplay has 5 pivotal moments. Focus on creating four to five intense moments before and after each of these 5 moments. During the last 25 pages of your screenplay focus on creating at least ten intense moments. Take a look at good movies and you'll see they follow this intense turbulence standard of four to five moments before and after 4/5s of the movie, and having 10 intense moments during the last 25 pages.
Have the 5 moments act as a guide as you write and after you write. If you have completed a screenplay, count the intense turbulence moments. See if there is any way to intensify the turbulence - inside and out - as the story progresses.
Think for a moment about your favorite movie and write down the most memorable moments. Think about how the best movies have rising conflict. Things within the characters are escalating as the story unfolds, and the situation escalates too. Is your story full of moments that are escalating in intensity?
In Casablanca, the turbulence increases because we see that Rick and Ilsa have rekindled their romance. Inside turbulence: they love each other but someone else is involved - will she leave Victor? Will Rick pressure Ilsa to leave Victor? Or will Rick pressure Ilsa to stay with Victor? What kind of man is Rick? At the end of the story, we know what kind of man he is. By his actions, we know him. He pressures Ilsa to go with Victor. "You're getting on that plane."
The turbulence inside Ilsa and Rick cannot get any more intense than at the airport when they say good-bye. Everything escalates to that moment.
Focus on Casablanca's outside turbulence: What's the situation that Rick and Ilsa find themselves? The freedom of the world is at stake. Victor is not a nobody, he's a somebody. Rick has heard about him and admires him. People in Casablanca are getting shot, they are selling their valuables, they are selling their bodies, they are waiting for a chance to get out of that city, and nearly all the countries in the world are at war.
What's your story's situation? Is it turbulent? Is their rising turbulence in the situation? What kind of turbulence is happening inside your main characters? Is their rising turbulence? How many times are their intense moments before and after each of the 5 key moments? Is their at least 4 or 5 during 4/5s of the story? 25 minutes before the end of your screenplays, how many intense moments are there? If there's less than ten, see if you can add a few more.
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