-
Post Day 22 Assignment Here
Reply to post your assignment.
-
14 Replies
-
Don Thompson’s Act 4 Climax
What I learned: The climax of this story involves the death of the Captain as he was ultimately the cause of the protagonist’s death. In this sense, the film has more than one antagonist.
EXT. BOW OF SHIP – SAME TIME
The Watchman calls out:
WATCHMAN
Captain! Enemy ship to immediate port!
Seymour looks to port side, near the cliffs. One of the cliffs was a jetty, and a French ship was behind it. It is now revealed, and extremely close to the HMS Indomitable.
Seymour turns to the Captain.
SEYMOUR
Captain! Captain we have to prepare for battle.
The Captain waves him off.
Seymour moves toward midship, SHOUTING TO THE MEN.
SEYMOUR
Who has Claggart’s keys?
SAILOR
I do!
SEYMOUR
Get the rifles!
The CANNONEERS also SHOUT.
CANONMAN ONE
Man the cannons!
But it is too late.
The French ship FIRES at the HMS Indomitable, striking one of her masts – the one where Billy was hanging. It falls to the deck, trapping dozens of men who SCREAM in agony.
As it falls, it strikes Captain Vere, killing him.
Some of the riflemen line up and FIRE at the French Ship.
Danskar goes to Billy and looks at him. He notices Billy has the cross around his neck that he had given to him. He removes it from Billy’s neck and holds it in his hand.
The men continue to FIRE their rifles at the French ship and the Cannoneers manage to send a CANNON VOLLEY that hits the bow of the French ship, causing severe damage.
Suddenly, a THICK FOG engulfs the scene. The conflict quiets down as neither ship can see the other.
-
Lesson 22: Act 4 Climax
BG’s Act 4 Climax
What I learned doing this assignment: My ACT 4 has become too long. I have to see all of it at the same time to decide what I can move elsewhere. So I’m sticking to OUTLINE form at this point.
Outline ACT 4 Key Scene 1: Reaction to 3rd Act Turning Point.
BEGINNING: His friend’s abduction has caused Reporter to realize he needs a new plan.
MIDDLE: He brainstorms and decides staying as a waiter at The Club is no longer safe or useful.
END: He writes a letter to Billionaire, confessing and apologizing for working at his club under false pretenses.Outline ACT 4 Key Scene 2: Protagonist faces their Dilemma.
BEGINNING: He invites Hostess to lunch. They eat under some old trees to avoid satellite surveillance.
MIDDLE: Hostess tells him interagency chatter indicates Hacker is being interrogated at a desolate CIA safe house in the Scottish Moors.
END: Reporter decides to rescue him. He asks for Hostess’s helpOutline ACT 4 Key Scene 3: Climax – The Ultimate Expression of The Conflict.
BEGINNING:
INT./EXT. CIA SAFE HOUSE – NIGHT
Reporter and Hostess break the Hacker out of the CIA safe house with an elaborate plan and help from Hostess’s contacts.
INT. CHEAP HOTEL – NIGHT
Reporter, Hacker and Hostess make plans to divert the conspirators’ 20 billion dollar kitty to stop Northstar.
MIDDLE:
INT. ST. MICHAEL CONFERENCE ROOM – DAY
Status meeting. Billionaire is breathing fire: he has discovered 20 billion dollar kitty is no longer in the secret account. After a heated discussion, with recriminations flying around and Energy Mogul on the defensive, Billionaire terminates Northstar.
INT. BILLIONAIRE’S OFFICE – NIGHT
Billionaire, disenchanted with Energy Mogul for bringing unwelcome attention to the group, meets with Assassin and hires him for more money to kill him instead of Reporter.
END:
INT. BILLIONAIRE’S OFFICE – DAY
Climax: Billionaire gives an interview to Reporter to justify his worldview, to see how much he knows, and blame it all on Energy Mogul. During the interview, Reporter challenges Billionaire’s worldview. The balance of power between them has changed.Outline ACT 4 Key Scene 4: Resolution – Wrap it up and show us the new status quo.
BEGINNING:
INT. ENERGY MOGUL’S BEDROOM – DAY
Energy Mogul is found dead in his bed — attributed to sudden cardiac arrest due to colchicine, a gout medication.MIDDLE:
INT. ST. MICHAEL CONFERENCE ROOM – NIGHT
The floor of a hidden room behind St. Michael Conference Room suffers a sudden structural failure and collapses. The resulting fire from broken gas pipes destroys Northstar documents and equipment.
END:
INT. RESTAURANT – DAY
Reporter is seen smiling and animated, having dinner with Hostess/German Agent.-
This reply was modified 3 years, 3 months ago by BG ERENGIL.
-
This reply was modified 3 years, 3 months ago by
-
Charles Ferrell’s Act 4 Climax
What I learned doing this assignment is just how much fun it can be getting to this point, taking the ride with the characters. Plus the satisfaction of nearing completion on this time table.
INT.THE LIBRARY BAR – SAME TIME
LANCE LARRSON
What happened to your eye? Oh Jesus and that fat ass lip?
DUNCAN SMALLS
Thanks for meeting me, I’ll fill you in
We hear Duncan catching up Lance on the events and the plan with the student and Mr.Jenkins to this point.
LANCE LARRSON
You know if this is true, old Winnie is just gonna come after you harder with the boys.
DUNCAN SMALLS
I know, that’s why I need some ideas, I need something that will shine a spotlight so bright he doesn’t dare make a move.
LANCE LARRSON
And you said that you saw huge complex of building rubble in the lake, that matches the photo’s?
DUNCAN SMALLS
What if people think the photo’s are faked or from some other place?
LANCE LARRSON
I have an idea (takes a beat and a deep breath) its crazier than your boat shit but if we can pull it off, it will be a spotlight for sure. Hang on, I need to make a call.
Lance pulls out his cell and walks toward the door, motioning to Duncan to stay put and not follow.
EXT.CONSTRUCTION SITE – NIGHT
Its dark and by flashlight we can see Duncan and Lance is fumbling with keys to unlock a padlock on a large chainlink gate.
LANCE LARRSON
So, you remember those summers I worked road construction?
DUNCAN SMALLS
Summers? You didn’t last 4 weeks!
LANCE LARRSON
That’s not the point, I’m still buddies with some of the guys. Well and one (we hear the lock release) is now the owner, since his retired last year.
DUNCAN SMALLS
And so he just gives you the keys? And says here play around at night?
LANCE LARRSON
You know my dad was the county prosecutor for one term?
DUNCAN SMALLS
Yeah, so what?
LANCE LARRSON
Well, my construction buddy got in a little jam once. Something about punching a deputy. Well my dad helped keep it out of court and some money changed hands. The deputy got a new sports car and my buddy walked.
DUNCAN SMALLS
So he owes you? And is dad still pissed you didn’t go to law school?
LANCE LARRSON
Yep and Yep, he fuckin owes me. Anyway, this highway project is behind schedule and over budget, so to cut cost, they cut night security!
DUNCAN SMALLS
I still don’t get how this helps my situation?
LANCE LARRSON
You see that big ass backhoe?
DUNCAN SMALLS
Yeah, so?
LANCE LARRSON
Guess who knows how to use one? (points at himself) We just have to have it back and this place locked up before 5 am.
DUNCAN SMALLS
Still don’t get it
LANCE LARRSON
Oh, you will! Hop on bitch!
INT.NEWS STUDIO – MORNING
NEWSCASTER
Good morning viewers, if you are headed north we have some bad news. The freeway has been flooded by a break in the lake conway levee. That’s right, the lake is emptying into the surrounding forest and low lying sections of I-40. Our helicopters are on the way to the scene, we will bring you video soon.
EXT.LAKE – MORNING
We see helicopters flying over a flooded freeway then moving toward a almost empty lake bed.
INT.NEWS STUDIO – MOMENTS LATER
NEWSCASTER
And we are back with that exclusive footage of the levee failure we promised you! I’m sorry what?(news caster, holds her earpiece tighter in her ear) Sorry viewers, my helicopter crew says they see what looks to be foundations and maybe rubble of a large complex of building in the lake bed. (holds the other ear piece) My researcher on the news floor, says they can find no record of previous buildings before the damn was built.
We see the video footage from a low flight and then hovering directly over what was a huge complex of buildings.
INT.TEACHERS LOUNGE – SAME TIME
We see professors and teachers getting coffee, on the wall is a flat screen tv showing the newscast. We also see the back of Professor Winfield watching. Behind him we see the door opening and Duncan & Lance quietly walking in.
INT.CHANCELLORS OFFICE – MORNING
We see the chancellor watching the morning news in his office, we see him notice a piece of paper in the floor. As he picks it up, we can see that its the fake University paper story detailing the Universities actions to suppress Duncan’s research. He looks back up to the breaking news story.
INT.NEWS STUDIO – MOMENTS LATER
NEWSCASTER
Wait, wait, we have more! I’m told we have a newspaper reporter on the phone, who says recently he finished an interview with an eyewitness, this witness tells us this was a secret military prison camp. Oh and we have a picture coming in now!
INT.TEACHERS LOUNGE – SAME TIME
From behind we are still seeing professor Winfields back watching the screen as we see the old picture of him with his name clearly displayed, fills the screen. He drops his coffee cup on the floor and it breaks. The others in the room turn to look at him. He turns to leave the room and see’s Duncan and Lance across the room with a table in between.
DUNCAN SMALLS
Got something you would like to tell us?
Lance is standing behind Duncan with both middle fingers up in the air, we can see he’s bursting at the seams. Winfield is fuming but in a room full of people staring at him, he dare not to try anything.
LANCE LARRSON
Hey! Fuck You!
Winfield storms out the opposite toward his office. Lance’s cell rings and steps out into the hallway, Duncan walks behind him and we can hear Lance talking.
-
Peter Birdsong’s Act 4 Climax
What I Learned: I may have discovered a new or second theme for my story. There is a large grief element I have ignored in my characters. They are facing it now, but in my rewrite, I need to weave it into the story better.
INT. HOTEL LOBBY – DAY
Carly surveys the surroundings. Searching. She notices employees working. Ignoring her. She spots double doors that are shut.
INT. CONFERENCE ROOM – DAY
Laurel sits at a table. Staff line either side. Papers and notes everywhere. A number of laptops are open. Laurel addresses her own laptop.
Laurel is listening to a voice over the laptop drone on about numbers and figures on the company. Marketing strategies.
The double doors click open. Laurel glances up. Carly freezes with the door half open. They make eye contact. Carly slips in and shuts the door.
Laurel looks back at her computer.
LAUREL
Okay. Lets get a stock-holders meeting on the calendar.
Carly moves to a seat at the side of the room and sits.
VOICE
That’s what I was thinking too.
LAUREL
Lacey?
LACEY
It’s a good call. It could help instill confidence.
VOICE
We’re two months away form the vote. They need to see who’s keeping the ship right.
Carly stands up keeping her eyes on her mother. Lacey looks over at her questioning.
LAUREL
Is Grant back yet?
LACEY
I haven’t seen him.
LAUREL
He’s obviously not so worried.
Carly walks to the other end of the table. Laurel watches her. The staff look at Carly.
VOICE
The board is concerned. They think everything will be fine, but they want to see how this is handled.
(beat)
Laurel?
Laurel lets out a sigh.
LAUREL
Excuse me for a minute.
She shuts her laptop and stands.
LAUREL
Everyone out.
The staff look at each other confused. Lacey is the first to finally stand.
LACEY
Everyone? Out.
They each stand looking as confused as ever. One by one, they file out of the room, and the door latches behind them.
Laurel plops back down in her seat.
CARLY
Even on vacation they have their teeth in you.
LAUREL
I’ve never taken a vacation.
(beat)
That’s not true. Your dad and I. We went to a town for the weekend before you were born. In the mountains out west. I remember the little bed and breakfast nestled in a small mining town completely snowed in for the weekend. I can’t remember the name of the town. It’s lost forever.
CARLY
Minturn.
LAUREL
(tears welling)
What?
CARLY
You stayed in Minturn, Colorado. It was your five year anniversary. You and he stayed up all night together. It snowed a foot and you both dreamed that you could be trapped there together for the winter.
Laurel wipes a tear from her eye.
LAUREL
How can you know that?
CARLY
He told me. It was his favorite memory with you.
(beat)
I finally know why he bought the boat. He wanted us to make new memories.
LAUREL
I miss him.
CARLY
I know. I do too. Which is why I’m here.
LAUREL
What is it?
CARLY
I-I need a loan.
LAUREL
A loan?
CARLY
To buy dad’s boat. Mom. I want to buy Dad’s boat from you.
Laurel’s eyes well with tears. She can’t hold it in any longer. She’s just able to nod approval.
Carly walks to her and hugs her. Deeply. They hold each other, mother and daughter.
LAUREL
I’m so proud of you.
CARLY
Mom. I want you to come sailing with me.
LAUREL
Okay.
-
Rebecca Jordan’s Act 4 Climax – Lesson 22
What I learned from doing this assignment is that I was not and still am not certain how this will go in the end. But identifying the climax, ie. ultimate expression of the conflict, has helped me to understand the general direction of how to proceed. Also makes it easier to get rid of the riff raff.
Key Scene 3: Climax – The Ultimate Expression of The Conflict.
Beginning: Rachel returns for another visit with her Mom at the Convalescent Home. Upon entering she overhears Eleanor speaking to someone. She realizes that it’s her Mom who is cognizant and can speak, though her speech is slurred.
Middle: Shocked and infuriated, Rachel runs into the restroom down the hall. Hides in a stall and breaks down.
End: Then to the bar to tie one on. But has second thoughts and leaves without ordering.
INT. CONVALESCENT HOME, HALLWAY – MORNING
Rachel with her gear about to enter Beth’s room. Hears voices. Stops. Listens.
INT. BETH’S ROOM – CONTINUOUS
ELEANOR
Let’s just see how it goes. One day at a time.
Beth’s Speech labored and slurred.
BETH
I don’t want her here.
Rachel can’t make out what they are saying. Then she recognizes her mom’s voice.
Rachel flushes. Heart pounding. Runs down the hall and into the restroom.
INT. RESTROOM – CONTINUOUS
Rachel shoved into a stall with all her stuff. Crouches on the toilet. Sobs. Unable to catch her breath.
EXT. BAR – MORNING
Rachel paces outside the bar.
INT. BAR – CONTINUOUS
Rachel sits at the bar waiting.
From the end of the bar.
BARTENDER
The usual hon?
Rachel leaves.
BARTENDER
Okay.
-
Benito Selim’s Act 4 Climax
What I learned in this assignment is all the story and script come to this moment. This is the final face-off between your protagonist and antagonist. Use the past scenes from the previous acts as well as this one to get the climax the audience will enjoy.
EXT/INT. EDIT SUITE- EVENING
BEGINNING: Darryl arrives to look for Calvin, a murder of Crows squat and taught him from the surrounding trees. Some fly down at him, they want to prevent him from entering the building.
MIDDLE: Darryl gets past the crows, but when he looks back, they are gone. Darryl knocks on the suite door but no answer. Darryl looks to the floor that is wet, when he touches it, he realizes its blood. Karen appears and is violently pulled through the door by the unknown assailant.
END: Darryl snaps out of his trance and runs out of the building to a thunderstorm. Darryl calls to Marcus and Ellen and tells them they need to head back to the farm.
INT. MARCUS MOVING VEHICLE- LATER
BEGINNING: Marcus drives Ellen and Darryl to the farm.
MIDDLE: Darryl says he knows for sure Karen is buried there and holds the clues to her killing.
END: Ellen tells Darryl this will set Karen and him free.
EXT. STARKOAKS FARM- NIGHT
BEGINNING: Darryl hops out of the car and is met by a concerned Gary. Marcus tells Darryl he was scared and called Gary. Andrew and Lorraine also join them.
MIDDLE: Darryl informs them they must dig up inside the barn. Darryl removes several shovels from Marcus’s car.
END: Darryl, Marcus, and Ellen enter the barn while Gary, Lorraine, and Andrew gather belongings from their car.
INT. BARN- LATER
BEGINNING: Darryl walks around the barn with Ellen and Marcus, he finds a spot and begins to dig. The ground looks to be freshly dug already.
MIDDLE: Gary rejoins the group and tries to discourage them from digging anymore. Marcus asks for Lorraine and Andrew, but Gary doesn’t answer. Marcus gives Gary a shovel, Gary digs but keeps stopping to rub his arm. Darryl gives notice, but keeps digging, he stops when he hits something metal.
END: Darryl throws his shovel aside. He jumps to the ground and digs away with his hands the remaining dirt and hay. Marcus helps him they come to a latch in the ground and with all their strength pull it. The latch opens a door in the ground. When Darryl opens It, it leads to an underground shelter. The group tries to discourage him from entering, but Darryl disobeys.
INT. UNDERGROUND SHELTER- CONTINUOUS
BEGINNING: Darryl walks down a small staircase with Gary and Marcus.
MIDDLE: Darryl shines his flashlight around the room. There are abandoned equipment and junk.
END: Darryl is ready to walk back up when he shines his light on an old storage closet. Darryl investigates and opens the door. Inside are the bodies of Karen, Jeff, and Calvin. Darryl jumps back in fright, Marcus does as well. Gary stands shocked. Darryl calls up to Ellen but no answer.
Gary turns to Darryl tells him if he remembers the little girl, Emily. Darryl looks at Gary puzzled.
BEGIN FLASHBACK
EXT. CORNER STORE- DAY
Darryl age 8 and Mrs. Case walk out of the store to observe multiple cop cars in front of a residence. Cops bring out Johnny Vernon in handcuffs.
The coroner brings out three body bags, Gary age 8 screams to police to let his dad go, the coroner brings out one last body bag, it’s Emily. Gary screams that’s his friend and don’t’ take her away from him.
Mrs. Case tells Darryl to walk as she pulls his arm. Darryl looks to his side, Emily waves goodbye to him. Darryl then sees Silvia with cops as she identifies Emily’s body. Mrs. Case looks to Darryl and tells him to never speak of this.
END FLASHBACK
INT. BARN- LATER
BEGINNING: Darryl questions Gary as to how he knew her. Gary says she was my friend. Darryl realizes that Gary is Vernon’s son and was the little boy he erased from his memory. There are several loud bangs, Darryl and Marcus make their way up to the barn.
MIDDLE: Tina stands with a gun on Ellen. Lorraine and Andrew lie dead next to Tina. Gary removes a knife, he yells to Darryl how his father wasn’t crazy, but instead misunderstood for helping the dead. Darryl tries to calm Gary, but he takes his knife and stabs Marcus. Gary pushes Marcus down the stairs to the shelter.
END: Gary continues by telling Darryl. Ellen also falsely accused her along with Karen and her father, the sheriff. Gary explains his plan of locating Darryl and befriending fellow psycho Tina.
CLIMAX
The exchange with Gary and Tina was he would help her kill her annoying sorority sisters so she could move up in rank. She also was excited to help Gary since she was a fan of his father’s work. Gary says killing Eddy, Jeff and Calvin were bonuses since he just didn’t care for them. Gary points to Lorraine and Andrew and laughs while saying them too, Gary adds his father would be proud.
Gary nods to Tina who then shoots Ellen. Ellen falls to the ground; Darryl attempts to run to her rescue but has the gun on him. Gary informs Darryl rather than kill him they will pin the murders on him, this is a far better punishment.
Gary hands Darryl the knife, but Darryl refuses. Tina threatens to shoot him, but he still denies it. Through the commotion, Detective Garnett enters with his gun drawn. He tells them to put their hands up. Gary and Tina immediately begin to accuse Darryl. Gary pleads that’s why he contacted Garnett because he knew Darryl was the killer.
Detective Garnett calls for backup then attends to Ellen, she’s still alive. Gary grows impatient and retrieves the knife, he stabs Garnett in the throat. Garnett grasps for air and swings around and shoots Tina in the head killing her instantly. Garnett then dies himself.
Darryl dives for Garnett’s gun, but Gary jumps on his back, Gary then chokes Darryl until he passes out. Gary removes a lighter and proceeds to set the barn on fire. Marcus sneaks out of the shelter and can wake Darryl up.
Darryl jumps to his feet and grabs Garnett’s gun. Gary turns to Darryl and pleads his father was innocent. Gary then tries to grab Tina’s gun but is shot several times and falls to the ground. Marcus and Darryl attend to Ellen, all three start to make their way out of the barn; Gary wakes up. Karen emerges from the ground and grabs onto Gary, he screams for help. Jeff and Calvin then join Karen and he is taken underground.
The barn begins to collapse. Darryl, Marcus, and Ellen make it to safety. As the rain continues to pour down a stream of water drips through the shelter floor onto another floor below. That floor is in a hallway to an abandoned asylum.
-
Robert Wood’s Act 4 Climax
What I learned is that this isn’t really the climax as that’s already happened, but this is another character climax/turning point, which leads into the end of the story fairly well.
INT. FAMILY HOUSE – KITCHEN – MORNING
Matt packs glasses into a moving box.
REALTOR (O.S.)
(calling)
Hello?
MATT
Hello?
He follows the voice to the
FRONT DOOR
It’s open. The REALTOR stands inside.
REALTOR
Hi Matt — the door was open, so I–
MATT
Open?
REALTOR
Yeah, so I–
Matt panics.
MATT
Dad?!
(BEAT)
You didn’t see him, did you?
REALTOR
No.
MATT
DAD!!
No answer. He runs out into the
FRONT YARD
MATT
DAD!!
Nothing. And no sign of Bert up or down the street.
Matt runs back inside and out again in a flash with car key in hand. He jumps in and goes…
INT. CAR – DAY
Matt makes an instinctive turn left leaving the driveway.
Heads off down the road, eyes peeled for Bert.
He drives for blocks. Nothing.
MATT
Dammit — where are you?!
Glances in the rear-view mirror signal his doubt: Was this the wrong way?
Suddenly — there! A figure stands at the next street corner…
Is it?
MATT
Yes!
He pulls over, jumps out…
EXT. STREET CORNER – DAY
Bert stands staring up at the street signs. Lost.
Matt takes his shoulders.
MATT
Hey, Dad.
BERT
Matty?
MATT
Yeah, it’s me. What are you doing here?
BERT
I… I went for a walk.
The weight of Bert’s confusion hits home as he looks up at the street signs again without recognition.
BERT
Where are we?
MATT
It’s okay — I’ll take you back to the house.
Matt, arm comfortingly around Bert, leads him to the car.
-
Patrick Downey – Act 4 Climax
What I learned doing this assignment is to just write out your thoughts and ideas and if you need to enhance your ending, you can always do it later. Is there a perfect ending after all? Isn’t that for the audience to decide?
Superbowl Kick-off
We see sitting in the vault Dardanos, Kristos, Graham and Patrick glued to the TV with anticipation of a huge payday. There have been years before where they didn’t even necessarily watch all of the game and seldom if ever came together to watch a championship. However, with the large sum on the line, some dissention and hesitation amongst the group, and a tightly forecasted outcome everyone thought it better to watch at the office. What is typically a very quiet day at the Chicago FBI office, some 25 agents, task force, and other personnel are getting ready for their own celebration.
The end of the 3<sup>rd</sup> quarter has the HAVOC selection down by 3 points but the other teams star running back has just headed to the locker room with an injury which is a godsend since he already had a 165-yard rushing day and 3 touchdowns. The game is down to 5:12 in the 4<sup>th</sup> quarter and it is all tied up at 24-24. The vault reeks with the stench of cigar smoke and high dollar imported scotch two things Ray never allowed inside the vault but Dardanos continues to disrespect Ray even in his grave. The 2-minute warning has been given with their selection to win the Superbowl sitting at their opponent’s 28-yard line with a first down. This is purely clock management at this point with only a short field goal to win the Championship. First down they run the ball for 4 yards up the middle, clock still running. Second down they run the ball off the right side for 8 yards and a first down. The ball is now at the 16-yard line and the clocks starts up again on the referee’s whistle. The opponent has no timeouts, and the clock is down to 38 seconds and still running. First down they try a pass to the corner of the endzone, but the receiver was covered so the QB threw it out of the endzone. It is now second down, and the clock is stopped with the incomplete pass at 31 seconds. They hand the ball to the fullback who gets just 2 yards to center the ball. The clock is rundown to 8 seconds and the sidelines signals time out. Out comes the field goal unit on third down just in case something goes wrong with the snap or hold to attempt the game winning kick which happens to be a chip shot just a little more than an extra point kick.
INT. H.A.V.O.C. OFFICE VAULT – NIGHT
Dardanos
Gentlemen, you’re about to win the largest bet ever placed in American sports history. Don’t forget who you have to thank for it either. You would still be a bunch of bums without me!
Sensing the win, the tension has definitely lifted and the guys all chuckle and tell Dardanos where he can go.
Patrick
You’re still spoiled little brat Dardanos no matter how much money you have.
Graham
We don’t give a rat’s ass about history, we’re about the future daddy’s boy!
Dardanos doesn’t like the disrespect at all but looks over at his father who winks at him and laughs. Dardanos takes a big swig of his whiskey and laughs along with them.
(The radio sounds with the following command)
Agent Belfiore
All agents into final positions.
The vault is electrified with anticipation; the ball is snapped the kick is up and out of nowhere the starting free safety with a 6 yard running start times the snap perfectly and dives over the entire defensive and offensive lines to block the kick. The safety was a member of the United States Olympic team as a high jumper and as he flew through the air and blocked the kick it was even more incredible how he tucked and rolled and the end. The ball bounced one time off the turf right into the hands of the cornerback and in full stride as the clock winds down and no one chasing him except his own players the improbable happens and the Handlers have lost 472.5 million dollars just like that. If the mood wasn’t already shitty enough, in walks Agent Belfiore and Agent Greene with weapons drawn followed by another 12 or so agents.
Agent Belfiore
FBI, everyone stay exactly where you are with your hands in the air. You are under arrest for illegal gambling, extortion, money laundering and at least a half dozen other state and federal charges.
Kristos, Graham & Patrick all bolt for various exits in the building. Dardanos still sits stunned and numb with the actions on the field as agents cuff him. Kristos makes it out to the street through a side door and notices an uber car waiting for a customer and quickly jumps in and tells the uber driver to drive towards the airport and tosses him a $100 bill. Graham manages to exit through the basement level a section not known to all the Handlers, but Graham had discovered the exit during the initials days after the purchase of the building and disguised it as a huge hanging painting of his beloved NY Giants. Upon his exit, he headed towards the street and fell in with some partygoers and even grabbed a guy’s hat and a beer from another fellow. Patrick chose to take his chances inside the building and hide in the women’s restroom standing on one of the toilets.
High fives and cheers sound off outside the building as the streets fill with partygoers, bar hoppers and in a nearby van with Cayman’s gang celebrating with the most incredible last play ever seen in a Superbowl game. Heck for that matter any NFL game to date. Cayman and his group pile out of the van to get a first-hand look on the faces of the Handlers as they are escorted out of the building. Cayman wants to make sure that Dardanos gets a good look at the poor deaf boy that put him away. As Dardanos’s eyes meet Caymans, he opens his jacket and has on a sweatshirt that says “4 Ray” and flips Dardanos double fingers.
It just so happens that as Agent Belfiore is walking out Dardanos, Cayman looks at one of the agents and seems to recognize him but can’t place where from but with the excitement going on figures it was just at the Mac-n-Cheeze truck one day. About 5 minutes later as they are loading the men into the FBI vehicles, he sees this same agent putting Dardanos into his vehicle and it clicks. He reaches for his phone and pulls up the picture of Dardanos meeting with the guy at the Violet Hour six months earlier and it is the same guy. Cayman’s emotional state goes full on red like a bull charging a matador. He grabs the nearest agent’s gun from his holster and points it directly at this agent. In a split second a dozen officers and agents all pull their revolvers and aim directly at Cayman.
Agents/Officers
Drop the gun son! We don’t want to shoot you, but we will if we have to.
They are yelling at him to drop the weapon, but they don’t know he can’t hear them. Cayman’s friends try getting to him but are held back by other officers.
Agent Belfiore
Hold your fire! Lower your guns! This kid is deaf and can’t hear you.
The agent with Dardanos realizing the situation decides to reach for his weapon at the same time, however, barely gets his weapon out before he is shot in the shoulder by Cayman. As he turns the gun towards Dardanos ready to fire a second shot Agent Belfiore tackles him to the ground. Agent Belfiore
Cayman what the hell is wrong with you?
Cayman shows him the picture on his phone. Agent Belfiore quickly puts two and two together.
Agent Belfiore
Agent Greene put Agent Tortelli under arrest. I had long suspected a mole within our ranks but could never flush them out. It figures our only New York transfer that requested this field position. That should have been a red flag right there. No one request this shitty job. Get that piece of trash out of here.
We see the uber car that Kritos has jumped in pulling up to a red light with two large black SUV’s sitting on either side of them at the light. The guy driving the uber car puts in park and opens his door and walks away. Kristos is yelling at him asking him where the hell is he going when doors open on both sides of the car from the SUV’s and out steps FBI agents with handcuffs and guns drawn.
(CUT TO STREETS)
Switch to the calamity in the streets of people celebrating and the group that Graham has fell into. Graham tries to break off to head down another street less busy, but the guys won’t let him go. They put their arms around him, hugging him very tight as drunk guys do when they’ve had way too much alcohol. He pushes one guy off and another puts him in a headlock, laughing and wrestling with him. Patrick finally gets upset and yells “that’s it I’m done!” One of the guys says your damn right and three of the guys pull out their badges and put him under arrest. Patrick lasted almost 30 minutes until he became tired, and his foot slipped into the toilet bowl just as a female agent was entering the restroom to use it. Needless to say, he was quickly flushed out!
-
Andrea Cabañas ACT 4 Climax
What I learned with this: I need to work harder on this climax. It’s a final confrontation between daughter and mother in a difficult and delicate situation – both were kidnapped. Still working hard to figure out how to make it stronger, which may result in changing previous scenes.
INT. KATRINA’S HOUSE – LOUNGE – DAY
Katrina opens the door to Georgia. She has puffy red eyes, her face still wet from crying.
Katrina embraces Georgia who frowns, mouth slightly dropped.
GEORGIA
What happened, Katrina?
KATRINA
Please, tell her to stay. Talk to her. You’re the only one who she listens to.
Katrina strides away slowly, exhales.
GEORGIA
I’ll see what I can do, okay.
Katrina closes the door and motions Georgia to go forward.
INT. KATRINA’S HOUSE – ZOE’S BEDROOM – DAY
Georgia enters the bedroom, Zoe launches to embrace her.
ZOE
Oh… Thanks for coming.
Georgia scans the room; Zoe packs her things.
GEORGIA
Are you sure about this?
ZOE
I’m tired of doing what everyone tells me to do. I’m leaving this house today.
GEORGIA
Your mother is desperate. I’ve never seen her like this before.
ZOE
Typical of her. Don’t fall into her trap. That’s why I’m still stuck in here.
Georgia sits on the bed.
GEORGIA
Can you tell me what’s going on?
Zoe walks toward her and whispers.
ZOE
She found the cocaine and called the police because she thought I was buying from Paula.
GEORGIA
I told you to give him back–
ZOE
There was a microphone hidden in my room!
GEORGIA
Okay… Now it’s serious. So you’re a suspect now.
ZOE
No, but I believe I’ve been used as bait to find her.
GEORGIA
That’s why nothing has been done yet to get your Narco.
Zoe rolls her eyes. They hear the noise of a BROKEN GLASS. Georgia halts.
GEORGIA
What is it?
ZOE
Nothing. It’s her way of venting her feelings. She loves breaking something.
GEORGIA
And where are you going?
ZOE
I can’t tell, sorry, but I need a ride to the train station.
Another loud crash of a PLATE breaking followed by a CHAIR FALLING. Georgia turns her head to the door.
GEORGIA
I think you better check her.
ZOE
Georgia it’s nothing! I know her.
A piece of furniture is DRAGGED and several GLASSES are broken. Zoe exhales deeply.
ZOE
Shit!
She rushes followed by Georgia.
INT. KATRINA’S HOUSE – LOUNGE – DAY – CONTINUOUS
Zoe and Georgia halt seeing Katrina with her hands tied behind her, gagged.
Paco holds her tide with a gun pointed at her head.
PACO
(in Spanish, with subtitles)
Buenos dias, señorita. Sorry about the mess but your Mamacita didn’t want to cooperate with me.
ZOE
What is this?
Adriano comes from the kitchen, his gun held on his waist.
ADRIANO
Mi patron wants to see you.
Zoe looks sideways.
ZOE
He could have called me.
Adriano scoffs slightly.
ADRIANO
If you answered your phone…
He nods to someone who comes behind Zoe and Georgia. Two MEN grab both of them, but Georgia resists and fights but not for too long.
Zoe gets desperate, tries to break free but she can’t.
ZOE
No! Stop! Leave her alone!
They gag Zoe’s mouth, who tries to break free in vain.
Georgia is bitten and falls to the ground.
Zoe fights but can’t do much. She sees the man smirking, approaching fainting Georgia. He opens his pants.
Zoe screams even gagged but gets punched hard, which makes her faint.
Katrina reacts but it’s held by Adriano. She stares at him, who holds a radio. Someone talks through it.
MAN (O.S.)
It’s clear.
Adriano and his man walk to the front yard.
INT. ABANDONED HOUSE – LOUNGE – DAY
Zoe and Katrina are tied in chairs, facing each other. There’s a small table nearby with two glasses of water. The sound of WAVES breaks outside.
Zoe has her head down, Katrina’s head is up, alert, it moves at every noise.
Adriano approaches and takes out the bags off Katrina’s head. She stares at him, who blows her a kiss. He walks to Zoe, takes the bag off Zoe’s head. She wakes up slowly. He holds her chin tight to examine the dry blood near her eyebrow. She cringes at his touch.
JUAN (O.S.)
Well, well, well… Look what we got here.
Both look sideways and see Juan coming from the backyard entrance. He wears dark jeans and a black shirt opened to his chest, showing off hit gold neckless with the crucifix.
He stops near them, tucks his hand in his pockets. Have a glance at both. He motions to Adriano, who promptly takes off their gags.
ZOE
Why did you bring her? She has nothing to do with this.
Juan frowns, massages his chin and walks slowly around them.
JUAN
Mmmmmm. I think you’re wrong, cariño.
He stops behind Katrina, leans forward and talks near her ears, sensual.
JUAN
Your Mamacita here has a lot to do with it. Please, tell her. Or should I start talking?
KATRINA
I didn’t do anything to you.
JUAN
Well, as soon as the police found Paula, they messed up with my business.
He walks toward the window and stares at the view outside.
JUAN
Now, she’s having a little bit of difficulty finishing some–talking. That’s why you’re here.
He glances at Katrina.
JUAN
(to Zoe)
But as usual, your Mamá was in our way so that’s why she’s also here.
Zoe and Katrina exchange look.
INT. AIRPORT – DAY
-
Janeen’s Act 4 Climax
What I learned doing this assignment is that I need to choreograph a good part of the final fight scene. I added my notes for what I currently intend to have happen, but can’t visualize it yet. I’ll finish it in a rewrite.
OUTLINE
INT. LAKE HOUSE 4 – EVENING
Noise outside — the bad guys have arrived. They put Holly and Rudy in the coat closet, covered by coats — no one ever looks seriously there.
EXT. LAKE HOUSE 4 – NIGHT
The assassins show up. The ultimate Christmas weapon fight rages with Ivy and Nick outside, using the weapons they’ve set up, leaving one after another of the assassins tied up.
INT. LAKE HOUSE 4 – NIGHT
The fight moves inside. Grizzly tries to help and gets captured. The assassin holds her, threatens to kill her if Nick doesn’t give up. Holly shoots the guy between the eyes – she was an assassin in the CIA before she had the kid. Did wet work before wet diaper work. Nick flies into a rage, undeterred by anything the remaining assassins throw at him. They are successful. Once assassin falls for the snowmobile startup activated by Rudy. Grizzly was leading him down the stairs. Someone shoots a stuffed animal that looks like Grizzly that had a bottle of booze in it as a weapon. They think it is Grizzly and mourn.
INT. LAKE HOUSE 4 – LATER
While cleaning up, Nick hears Grizzly scratching at the door. She’s alive! Nick jingles another set of keys. There is another house yet.
SCENES
INT. LAKE HOUSE 4 – EVENING
NICK, IVY, HOLLY, and RUDY sit in the dark in the living room, tense, quiet.
Grizzly sits on a throw pillow in the front window looking intently into the dark.
Grizzly barks, runs to Nick, jumping into her helmet for safety.
NICK
Show time. To your places.
Rudy slips into the coat closet by the front door holding a teddy bear that is obviously heavy.
Holly slips into the guest room closet, a giant flashlight in her hands.
Ivy ducks down behind the kitchen counter.
Nick is hiding behind the chimney outside the house, a tire iron in his hand, a fishing line trip wire tied from a tree to a hose bib just uphill from him.
EXT. LAKE HOUSE 4 – NIGHT
The assassins roll up in an SUV, no lights, doors already cracked. They exit the vehicle quietly, splitting up on the front walk.
DANSER and DONNER go to the front door. BLITZKREIG and PRANZER go toward the side of the house.
Danser slips on the ice on the steps, falling backwards, grabbing for Donner. Danser’s foot catches on the brick trip wire.
Donner tries to catch Danser, but the bricks fall on both. They lay stunned on the concrete walk, struggling to right themselves and figure out what has happened.
Blitzkrieg lumbers after Pranzer as he picks his way down the slope in the dark.
Pranzer slips, falls on his back. Blitzkrieg tries to step around him with one big step, catches the trip wire, splats face down on the slope, skidding to a stop.
Nick jumps out and whacks Blitzkrieg on the back of the head with the tire iron.
Pranzer, gets to his feet, tries to rush Nick from behind, hits the trip wire, sprawls forward. Nick shoves him. Pranzer careens into the chimney.
Nick pauses, makes sure neither are moving and slips in through the back of the house.
INT. LAKE HOUSE 4 – NIGHT
DONNER and DANSER have regained their wits and shoot the lock off the front door.
RUDY, in the coat closet, can’t hold still, needs the bathroom.
They ram the door three times with their shoulders to dislodge the safety chain and open the door.
Rudy wiggles uncomfortably behind the coats.
IVY watches intently as the lock and chain give way on the front door.
Holding their shoulders, Donner and Danser cautiously enter the house.
Danser throws open the coat closet.
Rudy holds his breath and his, whatever.
Danser does a cursory push on the coats as Rudy leans back into the corner of the closet.
Danser follows Donner through the hall to the living room.
Ivy watches.
FINISH THIS!!
Grizzly tries to help and gets captured. The assassin holds her, threatens to kill her if Nick doesn’t give up. Holly shoots the guy between the eyes – she was an assassin in the CIA before she had the kid. Did wet work before wet diaper work. Nick flies into a rage, undeterred by anything the remaining assassins throw at him. They are successful. One assassin falls for the snowmobile startup activated by Rudy. Grizzly was leading him down the stairs. Someone shoots a stuffed animal that looks like Grizzly that had a bottle of booze in it as a weapon. They think it is Grizzly and mourn.
INT. LAKE HOUSE 4 – LATER
NICK sits on the couch, head in hands, silently sobbing.
HOLLY stands outside the bathroom with a pair of pants.
The bathroom door opens wide enough for RUDY’s hand to grab the pants.
RUDY
(dejected)
Thanks.
IVY holds a gun at her side, watching Nick, tears rolling down her cheeks too.
A sound comes from the toy garage door.
On high alert, Ivy moves toward the door, gun at the ready, reaches for the door handle.
Nick comes to alert on the couch. Freezes.
Ivy turns the handle, slowly opens the door. An inch. Another inch.
GRIZZLY bolts through the door, races to Nick, jumps when she gets near him and is instantly in his arms, licking his face as he kisses her head, her neck, her tummy.
Ivy cries out in delight.
HOLLY
She’s alive!
RUDY
Who’s alive?
HOLLY
Grizzly! She’s alive!
Rudy emerges from the bathroom, zipping up, joins Holly and Ivy watching Nick’s joy.
Nick takes a deep cleansing breath in, out. Stands.
NICK
Somebody call the White House. Tell them we’re safe.
Ivy pulls out the paper she wrote the number on, pulls a phone out of Danser’s back pocket.
HOLLY
I’ll make some coffee.
RUDY
(sheepishly)
I’ll see what I can do about the closet floor.
Nick stands, still holding Grizzly, pulls another set of house keys from his pocket.
NICK
This place is trashed. Let’s get out of here.
They all scan the home, now a wasteland, the row of tied up mercenaries in the entrance hall.
-
Subject line: Vic Valleau Act 4 KEY SCENE 3 Climax
What I learned. Climax means higher, higher, higher. THIS STRAINS MY BELIEVABILITY. I shy away from as unbelievable. NEW ME: I learn. I’ll take on new way since audiences, INCLUDING ME, love a well earned climax. This is a romantic comedy. Both lead characters are antagonist and protagonist since it takes two to Tango.
There are four parts to the Climax.
The test is will Nancy put JT’s needs above her own.
His needs include his professional reputation and business succeeding, keeping his friends Elton, wanting to get his mom’s ok with this hippie chick marriage. Nancy visits mom, who falls in love with her. Nancy brings her own mother to meeting.
Promising to take care of her son as she had done for her lifetime.
Her rehearsing vows written by JT that he is lord and master of all he surveys (look up men’s vows) is a clear indication that Nancy has changed.
JT dinner with top 10 girlfriends with history. He makes public confession he will not philander and remain true to Nancy.
Remember earlier he promised to not gamble to please Nancy.
JT WANTS TO BACK OUT AND ACTUALLY LEAVES BEFORE THE WEDDING. NANCY CHASES HIM DOWN
TO TELL HIM HE IS A COWARD, CANT FACE HIS OWN EMOTIONS, JUST LIKE ALL MEN. HE REPENTS, DOES WEDDING WITH SALSA DANCING.
WHAT IS HER NEW WAY TO SUCCEED? SHE IS COMMITTED TO MAKE MARRIAGE WORK, IN WHATEVER FORM IT TAKES!
INT. CHURCH – BRIDES READY ROOM – DAY
KIDNAP BRIDE NANCY
NANCY AND TWO BRIDESMADES AND ELIE AS MAID OF HONOR FUSS WITH HER DRESS, HAIR. SUDDENLY THREE HOODED MEN BURST IN AND KIDNAP NANCY, HELPED BY ELIE. THEY put a HOOD on NANCY, THEN ELIE HELPS WITH TAKING HER INTO VAN WHILE MEN STAND DOWN AGAINST groomsmen’s following them.
CHASING IN A CAR, FOLLOWING VAN. GROOMSMEN CHASE WATCH HER GOWN FLUTTER IN WINDOW, CHASE TO NANCY’S RESCUE. JT CONFESSES HE SHOULDN’T BE SO HARD ON HER UNUSUAL IDEAS ON MARRIAGE. Ie promises to lighten up.
JT CHASES WHILE NANCY SPILLS HER GUTS ON WANTING JT. ELIE IS WITH HER, LISTENS.
NANCY: Elie, why are you here. I can tell By your voice.
ELIE: Kidnapper is your handsome, wealthy X. He wants you back, marriage on your terms, you fool, so take it.
NANCY: He’s too possessive. No, its not about money. Its about love, freedom, trust. He gives me that! Like my dream of being nude in a crowd. I know JT likes it when other men look at me!
Turtle, snapping
ELIE: I THOUGHT YOU SAID YOU WEREN’T SURE ABOUT jt and about THIS MARRIAGE THING, ESPECIALLY TO JT. GAMBLING ADDICTION, WOMANIZER, AFRAID OF COMMITMENT. Blows hot and cold, on then off, its maddening.
NANCY: Who isn’t afraid of commitment. Its healthy to be concerned. Promising a lifetime of good cheer, good companionship, good sex, good housekeeping and good healthy body is a big promise to keep. This time, I intend to keep it!
ELIE: IS HE WORTH IT.
HE PROMISES AND I BELIEVE HIM. THAT’S THE NEW ME, WANT A MAN, NEED A MAN AND APPRECIATE THE RIGHT MAN, EVEN ADMIRE AND ADORE SOMETIMES, A TRUE PARTNERSHIP.
ELIE TAKES HER HOOD OFF, TELLS DRIVER TO TURN AROUND, BACK TO CHURCH.
INT. CHURCH – ALTER
COUPLE SAY THEIR I DO’S, RUN OUT INTO A STORM OF THROWING RICE, WEALTHY WINNER AT CRAPS TABLE NOW HANDS JT $10K CASH, SAYS ITS FOR YOUR HONEYMOON TO THIS INSPIRING WOMAN!
SCENE 4 WRAP IT UP AND SHOW US NEW STAUS QUO..
INT. RECEPTION – NIGHT
HE’S DANCING WITH ANOTHER WOMAN. SHE HAS JEALOUS FIT. HE WALKS AWAY. SHE APOLOGIZES. HE SAYS HE’S MARRIED BUT SHE CAN DANCE WITH ANYONE WHICH HE ENCOURAGES.
SHE APOLOGIZES SAYING: I’m part of a social community. You can join now that we’re married.
JT: Ok, lets join a newly married group
IT’S A NEW FORM OF MARRIAGE, NOT THE JEALOUS TYPE, THE SHARING WITH FRIENDS, OPEN COMMUNITY TYPE. HE MARRIED INTO HER COMMUNTY. IT TAKES A COMMUNITY TO MAKE A MARRIAGE.
CLOTHES FOR HONEYMOON.
NOT NECESSARY SINCE ITS AT A NUDE OPTIONAL RANCH IN HAWAII. SWIMMING NUDE, EATING NUDE.
SHE DOES CARD READING AT TABLE WITH HANDSOME MAN CUSTOMER, WHILE SHE CHASES HIM AWAY TO HARDEST ONE HE SAYS IS DANCING NUDE WITHOUT EMBARASSING HIMSELF, THEY BOTH LAUGH.
AFTER ALL, SHE’S A HIPPIE AND PART OF A NUDIST GROUP.
LAST SCENE WE SEE IS HIM OGLING A BEAUTIFUL NUDE WOMAN WITH NANCY STANDING NUDE NEXT TO HIM. HIS HEAD TURNS, SHE SMILES, PATS HIM APPROVINGLY, ENJOYS THE CHALLENGE, GIGGLES FLIRTING TO HIM.
THE END.
-
TIM’S ACT 4 CLIMAX – DAY 22
What I learned doing this assignment is it’s a lot like other assignments.
CLIMAX OUTLINE:
Duke battles Rex in defense of Emma.
Rex is stronger and gains the upper hand.
Duke has to combine his newfound courage with smarts and lure Rex into the cage dog run where he will be trapped.
EXT. DOG PARK – DAY
An intense wrestling match ensues.
They seems equally matched at first, but Rex’s strength and toughness gain him the upper hand.
He manages to sink his teeth into Duke’s hind leg.
Duke yelps and manages to shake loose his grip.
Rex smirks, moves in for the kill.
Duke backs up, looking around for help or an escape route.
He sees the open gate to the dog run and backs up towards it.
Rex follows slowly, enjoying the hunt.
Sunny and family watch from the fence, helpless.
Duke casts a reassuring glance at Sunny.
Duke backs inside the dog run.
Rex reaches the gate and grins.
Rex
Now you’re trapped.
Emma watches from the picnic table.
Vehicles screeching to a stop draw her attention to the parking lot.
Her father and Bob have arrived at the same time.
They exit their vehicles and run to Emma.
Back inside the dog run, Duke sprints deeper into the run, farther from the gate.
Rex pursues, slowly at first, then building speed.
Duke bolts towards the fence and leaps, like he and no one else thought possible, and clears the fence.
Rex follows, tries to jump but smashing into the fence, barely reaching halfway to the top.
Back at the gate, Sunny and her family are pushing the gate shut. They can’t get enough pressure to get the latch to click.
Duke and Rex look to the gate.
Duke sprints around the fence, heading for the gate.
Rex sets off for the gate too.
Duke jumps on the gate, slamming it shut, just before Rex arrives on the inside, again smashing his face.
Don, Bob, and Emma look on in stunned amazement as Duke and the squirrels celebrate.
-
<div>Dana’s Act 4 Climax
</div><div>What have I learned from this assignment?
</div>
I envisioned the climax when I finished Scene 2, but this assignment forced me to take the final scene to the next level to be believable and avoid the clichéd ending.
Outline Key Scene 3: Climax
BEGINNING: Jack and Frank are being held by Hill and his team at the trailer. Both are handcuffed and seated facing each other. They meet Simon for the first time. Hill introduces them, very cocky, and tells them Simon killed Marcus Jones. Simon explains the whole plot with Hill’s help.
MIDDLE: Loam plugs the hard drive into the computer and tries to decrypt the files while Hill talks with Jack and Frank. Loam complains that he can’t decrypt the hard drive, noticing it gets hotter and hotter until the C-4 Frank put inside explodes. In the confusion, Jack and Frank jump through the glass window and escape into the steel mill, heading in separate directions.
END: Hill and his team chase after them to kill them. Jack and Frank, free from their handcuffs, stalk Hill and his team and kill them off one by one. Hill shoots and kills Frank and wounds Jack. Jack is holding Frank in his arms with Hill standing over them. Hill tells Simon to earn his keep and finish the job. Simon shoots hill explaining that he was hired to clean up a mess. And Hill was the mess.
Key Scene 3: Climax – The Ultimate Expression of the Conflict
INT. TRAILER OFFICE – NIGHT
Jack and Frank are handcuffed and seated facing each other in the middle of the room.
Loam watches over them with an automatic weapon, but he’s more bark than bite.
Bosch is seated at the computer on the desk. Hill stands over him. Bosch is connecting the hard drive to the computer with a cable.
HILL
You sure you can do this?
BOSCH
It’ll take a few minutes.
HILL
Let me know.
Hill spins toward Jack and Frank and walks toward them. He’s in total control and is relishing the moment.
HILL (CONT’D)
I gotta admit, fellas. I didn’t think you had it in you. Torture? The technician I understand. Why not? He fucked you at trial. But the wife? That’s fucked up.
FRANK
Who the hell is he?
Simon sits on the sofa, relaxed.
HILL
Oh, right. You haven’t been properly introduced. Well, let me do the honors.
(stepping to Simon)
This is Mr. Simon. Or is it just Simon? It doesn’t matter. He’s the reason you went to prison. He’s the one who killed Marcus Jones.
Jack and Frank leer at Simon. Simon remains stoic.
HILL (CONT’D)
Jones was supposed to be killed during the protest and found on the street. But we missed our opportunity. Jones spotted us and ran — right into you. He smashed out your windshield to get himself arrested. I guess he thought he’d be safer in jail.
Simon isn’t pleased with Hill.
SIMON
That’s right, Mr. Hill. Let’s tell them everything.
HILL
What difference does it make now? They won’t be telling anyone. And a man has the right to know why he’s going to die.
JACK
How’d you get to Jones?
HILL
I loaned Mr. Simon my old blues. And with my cousin’s security card, he was just another cop walking into the station. Of course, he couldn’t just shoot Jones. All that noise. But that’s where Mr. Simon’s specialty comes in. He’s an expert with that kung fu crap. A couple of well-placed blows was all it took. Mr. Simon was in and out of that cell inside sixty seconds. It was dumb luck Jones was —
(to Simon)
— what do you call it again?
SIMON
Hemophiliac.
HILL
Right. Hemophiliac. Jones bled out faster than anticipated. We had an ex-con ready to take the fall. But when the pathologist miscalculated the time of the beating, we had to go to plan B.
JACK
Only you forgot to dismantle one of the cameras.
HILL
That was my bad. The hard drive got logged into evidence before I could get my hands on it.
JACK
And the technician?
HILL
We offered him a hundred grand. He demanded two. He could have asked for five.
JACK
He erased you from the hard drive and put it back into evidence.
HILL
He put a copy back into evidence. The son-of-a-bitch kept the original. He leveraged it to protect himself. And we couldn’t touch him for fear he made copies.
(grinning)
He just didn’t figure on the two of you.
Bosch at the computer growing frustrated.
BOSCH
This thing is encrypted.
HILL
What?
BOSCH
The hard drive. It’s encrypted.
Hill returns to Bosch.
HILL
Can you break it or not?
With Hill distracted, Simon speaks to Jack and Frank.
SIMON
For what’s it’s worth, I’m sorry you went to prison. I was hired to clean up a mess. Framing you was never part of the plan.
JACK
Was kidnapping my daughter part of the plan?
SIMON
Not mine.
(he looks to Hill)
I never involve children.
FRANK
What do you know? A hitman with scruples. How much did the governor pay you to kill his bastard son?
SIMON
Was that the motive? I never asked.
FRANK
You walked into the police station to kill a man and you didn’t ask why?
SIMON
I never concern myself with why. Only how much?
JACK
Why didn’t you just wait for Jones to be released?
SIMON
After Mr. Hill missed his chance on the street, my client was concerned Jones would use his day in court to make a statement. And given what I now know, I can understand why my client wanted him dead.
FRANK
Your client. Why don’t you just say Newbaum?
SIMON
Because governor Newbaum isn’t my client. Personally, I doubt if he even knows the truth.
Bosch shrugs and throws up his hands.
BOSCH
I can’t break the fucking encryption. I don’t even think this is the right hard drive. The dates are wrong.
(touching the hard drive)
And it’s getting hotter than hell.
Hill turns back to Jack and Frank.
HILL
It’s a fake, isn’t it? You don’t have the hard drive. You tortured the technician for nothing. Well, that’s too bad for you. And too bad for your wife and daughter. There’s nothing to protect them now that you’re dead.
Bosch stands from the computer, backing away from the hard drive, nervous
BOSCH
Hey. This thing is getting really hot!
BOOM!
The C-4 in the hard drive EXPLODES.
Bosch is thrown into the back wall.
Everyone is blown off their feet. Loam sails across the room. Hill lands hard on the floor. Simon hurls off the sofa.
Frank and Jack tumble off their chairs.
The room is smoke and flying papers.
Jack and Frank are first on their feet. They run for the window.
EXT. TRAILOR – CONTINUOUS
Jack and Frank CRASH through the window. Glass shattering. They land on the ground hard.
INT. TRAILER OFFICE – CONTINUOUS
Hill struggles to his feet. He grabs Loam and stands him up.
Simon stands slowly, trying to figure what happened.
Bosch is moving, barely.
EXT. TRAILOR – CONTINUOUS
Frank is on his feet first. Jack up next. They run, hands cuffed behind the back, toward the steel mill into the dark.
INT. TRAILER OFFICE – CONTINUOUS
HILL
GET UP! GET UP!
He grabs Loam and shoves him toward the window with the automatic weapon.
Loam aims wildly out the window and FIRES. The automatic SPITTING bullets after Jack and Frank.
Hill grabs Bosch and hoists the man to his feet. He’s barely able to function.
HILL (CONT’D)
GET AFTER THEM! GET AFTER THEM!
Bosch staggers toward the door. He grabs Jack’s .45 automatic off the floor.
EXT. TRAILOR – CONTINUOUS
The door SLAMS open and Loam charges out, followed by Bosch. They run after Jack and Frank toward the mill.
INT. TRAILER OFFICE – CONTINUOUS
Hill half aims Frank’s .44 magnum at Simon.
HILL
It’s time to earn your keep, assassin.
Simon slides his automatic from his shoulder holster, but from the look in his cool eyes, he’s rather use it on Hill.
Simon makes for the door.
INT. STEEL MILL – CONTINUOUS
Shafts of moonlight filter through the broken ceiling. It’s the only light. Grey shafts making the shadows darker.
Jack and Frank huddle together, exhausted, bleeding. They step through their handcuffs to free their arms.
JACK
You hurt bad?
Frank pulls a piece of glass from his bleeding neck.
FRANK
I’ll live.
JACK
We can do more damage spit up. I’ll cross over. You head up.
(before they split)
And don’t get killed. Oksana will never forgive you.
Frank winks and heads up a ladder to the catwalks above.
Jack heads across the mill, disappearing in the dark.
Bosch and Loam run into the mill. They grab cover, searching the dark.
Bosch points for Loam to head across to the other side of the mill. Loam ducks and runs toward the other side.
Bosch heads up the opposite side of the mill, keeping low to the shadows.
Hill enters through an open side door. He stops to listen, eyes wide, nervous. METAL BANGS AGAINST METAL somewhere in the blackness. His eyes lock on the sound. But he heads in the opposite direction.
Simon stands in the shadows, calm, searching. He slides into the dark like a cat.
Frank kneels on the catwalk, listening, searching below. He HEARS someone on the catwalk. He vanished into the shadows.
Jack HEARS SCUFFLING but can’t make anyone. He reaches down and grabs a metal bar off the ground. The bar SCRAPES when he picks it up.
Hill hears the SCRAPING SOUND, aims the .44 magnum and FIRES TWICE. Bullets RICOCHET.
Bosch hits the ground. Bullets RICOCHET over his head.
Loam moves step by step along he catwalk, searching ahead, automatic ready. Something stirs behind him. He spins.
Frank charges from the shadows. Both hands grab the barrel of the automatic. Loam FIRES. The automatic SPITS BULLETS.
Frank CRIES OUT from the heat burning his hands. The two men wrestle for the weapon. It SPILLS IT GUTS, FLAMING with every bullet.
Jack steps from cover when he spies his friend.
JACK’S POV
Frank and Loam wrestle for the automatic, bullets FLASHING, RICOCHETING everywhere.
Hill ducks for cover.
Bosch is already on the ground, covering his head.
Simon stands behind an large iron pot, nonplused.
Frank and Loam wrestling on the catwalk. The automatic SPITS its last bullet. We HEAR the CLICK of the empty chamber.
Frank releases is grip and SMASHES closed fists into Loam’s face. Blood spatters from his nose. The gun drops from his grip. It lands on the catwalk and over the edge.
Frank PUMMELS Loam in the face. The man staggers backward until he’s against the railing. Frank grabs and hoists Loam over the railing.
Loam sails over the edge, SCREAMING. We HEAR a LOUD THUD.
Frank looks over the railing.
Loam is impaled on a pile of rebar. He coughs blood, then his last breath wheezes from him.
Hill aims the magnum and FIRES up at Frank.
Frank ducks and runs. A bullet RICOCHETS and hits him in the side. Frank GROANS and falls hard. He crawls to his feet and staggers into the dark.
Bosch moves through the shadows and comes across the pile of rebar. He pies Loam’s body.
BOSCH
(whispering)
Shit.
He looks around, scared, the .45 ready.
Jack lunges at Bosch, swinging the steel bar. He strikes Bosch on left side. The .45 FIRES. Jack whirls from the bullet grazing his shoulder.
Bosch lands on the ground, the .45 still in hand.
Jack staggers away, wounded, and regains his bearing.
Bosch stands ready to fire again.
Jack brings the steel bar down, striking Bosch’s shoulder. The man SCREAMS as the bar CRACKS his shoulder, splitting skin and bone, digging deep. The .45 SPITS again, missing Jack.
Bosch drops to the ground, the steel bar stuck in his shoulder. He writhes in agony until he loses life.
Jack watches him die and then frisks Bosch for the handcuff keys. Quickly, he unlocks the handcuffs and grabs the .45 off the ground.
BULLETS RICOCHET around Jack. He ducks, covers and runs, lucky to escape.
Hill FIRES the magnum until the hammer CLICKS on an empty chamber. Hill drops and quickly reloads.
Simon watches from the shadows. He HEARS someone SCUFFLING across the catwalk above him.
Frank is struggling across the catwalk. He leans against the rail for balance. He checks his wound and pulls back a blood soaked hand. He’s hurt badly. He moves on.
Simon heads up the ladder to the catwalk.
Hill skulks through the machinery, stalking someone. A RAIN OF BULLETS suddenly RICOCHET around him and he falls to the ground. We HEAR him GROAN.
Jack looks up from his firing position to see if he hit Hill.
Hill rolls on the ground and checks his left shoulder. The bullet went clean through. He crawls to his feet, favoring his wounded arm.
Jack, unsure of his marksmanship, slips away.
Frank, leaning against a wall, is jimmying the handcuffs with a piece of metal. The lock pops. One hand his free. He starts working the other.
Simon reaches the top of the ladder. He looks both ways up and down the catwalk.
Frank pops the second lock and removes the handcuffs. He drops them with a SOFT BANG.
Simon hears the BANG to his right and moves closer.
Frank rubs his wrists and pushed himself to his feet. He looks around, seeing no-one steps from cover.
Simon spies Frank ahead of him. He aims carefully and FIRES.
Frank is hit twice. He lands on the catwalk and rolls over the side.
Frank LANDS on the ground hard.
Jack spies his friend on the ground.
Simon comes to the edge of the catwalk to search for Frank.
Frank is rolling on the ground, not yet dead.
Simon aims over the edge, ready to fire. Bullets suddenly SPRAY around him.
Jack is bolting across the mill floor, FIRING at Simon.
Simon ducks to avoid being shot.
Jack reaches Frank, grabs his arm and drags him to cover.
Simon jumps and aims his weapon over the railing, but Frank is gone. Simon heads for the ladder.
Jack drags Frank to cover and sits him up. He checks Frank’s wounds. His partner is hit and bleeding.
JACK
We have to get you to a doctor.
Frank laughs through bloody teeth.
FRANK
With my luck, the first doctor you find will be a proctologist.
JACK
Come on.
Jack tries to hoist Frank to his feet, but Frank puts a hand to Jack to stop him.
FRANK
Thanks for the thought. But what makes you think you’re gonna get out of here alive?
JACK
Always the optimist.
Hill is sneaking up, moving through the machinery.
Simon reaches the bottom of the ladder, making his way toward Jack and Frank from the opposite direction as Hill.
Frank grimaces and, with his last bit of strength, grabs Jack by the lapel of his coat.
FRANK
Forget about me. You still have two assholes out there. And if you want to save your daughter, they have to die.
The words stammer in Jack’s throat.
FRANK (CONT’D)
My fate was sealed when I crawled into bed with Oksana. Now do what you gotta do.
Frank’s grip slips from Jack, and he leans back, exhausted.
Something stirs near Frank. He spins and FIRES.
Simon ducks behind a dumpster at BULLETS SPARK and RICOCHET.
Hill pops up and FIRES.
Jack’s back shoulder splatters blood. He HOWLS and whirls and FIRES TWICE in the same motion. The .45 CLICKS. Empty. Jack falls and slumps on the ground.
Hill stands cautiously and moves closer.
Jack sitting on the ground. He spies Hill approaching. He tries to aim the .45 and fire again and again, but the gun CLICKS empty. Hill kicks the automatic from Jack’s hand.
Simon walks in calmly. He looks a the two men on the ground.
Frank looks across at Frank.
Frank is slumped over, sitting up, dead.
HILL
(to Jack)
You fucking cops. But just you had to push it. You couldn’t leave it alone. And now your daughter and your ex have to pay the price — for you.
Simon looks at Hill, troubled by his remark.
HILL (CONT’D)
(to Simon)
Okay, assassin. Time to get paid.
(glancing at Jack)
I got mine.
Simon steps closer to Jack — and Hill.
Jack returns Simon’s stare.
SIMON
(to Jack)
It’s not personal. It’s business.
Simon suddenly aims his weapon at Hill and FIRES point blank.
Hill’s head slams back. His body hits the ground.
Jack is startled for a moment. He’s too weak to fully react.
Simon kneels down in front of Jack.
SIMON (CONT’D)
I told you. I was hired to clean up a mess. And that —
(he nods toward Hill)
— that was the biggest mess.
(beat)
Where we go from here is up to you. I have no interest in your daughter or her mother. That was his play, not mine. But if you want to keep them safe, you need to accept that there’s no victory here, not now. You learned the truth, but at what cost? You lost your partner. How many more are you willing to lose?
Jack listens to Simon and nods. His head falls to his chest, and he begins to cry, totally defeated.
Simon stands, looks over the scene and steps away.
Jack continues to cry.
-
Lori’s Act 4 Climax
What I learned with this assignment was a realization about my antagonist. I’ve been using my change agent as the antagonist when Thomas’ real antagonist is Henry Spencer, his wife’s killer. He’s had a minor role in this script so far, but Thomas must confront him for the climax.
Key Scene 3:
Beginning: Thomas confronts Henry, ready to forgive him.
Middle: Henry is a mess and doesn’t want to accept forgiveness because he can’t forgive himself.
End: Thomas and Henry come to terms with each other and the truth.
EXT./INT. HENRY SPENCER’S HOME
Outside the small humble-looking home stands Thomas. He looks around, fidgets, and straightens his jacket and tie. He stares at the door and takes a deep breath before he KNOCKS.
Thomas looks like he wishes he could take it back. Maybe he should leave quickly. He looks back over his shoulder at his truck, but then the doorknob is turned, and the door creeks open.
Henry looks at Thomas with surprise, then concern.
HENRY SPENCER
Thomas?
THOMAS
Henry.
Henry opens the door further and invites in Thomas.
HENRY SPENCER
I didn’t expect to see you again.
THOMAS
Why’s that? It’s a small town.
HENRY SPENCER
I just didn’t, that’s all.
THOMAS
Henry, you can never undo what you did.
HENRY SPENCER
Oh, how I wish…
THOMAS
I’m just a man like yourself.
HENRY SPENCER
If I could erase my past.
THOMAS
If we were to all get what we deserve, we would all be most miserable.
HENRY SPNECER
Miserable.
Thomas gets emotional.
THOMAS
But God, but God forgave me of my sins, so I must forgive you if I’m to ever have peace and joy in my life again.
Henry begins crying, and he sits down on the couch.
HENRY SPENCER
I’m so sorry. I would never hurt someone on purpose. I know what’s it’s like to lose family.
THOMAS
But you did, and that’s something you will have to come to terms with. Maybe you need to get some help.
HENRY SPENCER
I’ve tried, but it’s just so hard. I’m not sure there’s any point to it now.
THOMAS
Make your last days your best, Henry, and make sure you don’t hurt anyone else.
Henry shakes his head in agreement.
Thomas looks around the room that seems so dark and lonely and then back at the frail-looking shell of a man, Henry. He nods his head and then leaves.
Log in to reply.