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Lesson 16
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Benita more scenes from Act 11
Scene 4
EXT AVENUE – DAY
Sergeant James walks up the path of no 16 and knocks on the door. The door opens to an elderly lady holding a cat.
SERGEANT JAMES
Good morning, madam, sorry to disturb you. There was an incident last night at the big house up the avenue, and I wondered if you’d heard anything untoward at all.
MRS GARDENER
Now that you mention it, I might have. I was up in the night with Bella here. She needs medication four hourly. It’s very inconvenient and I’d set the alarm so I know I was up at 2 a.m. I couldn’t get back to sleep and a little after that I did hear a sound from outside, short and sharp. I paid no great attention to it. So not much help, I’m afraid.
SERGEANT JAMES
That’s quite alright Madam. Good of you to spare us a moment, thank you.
He turned and started back down the path.
MRS GARDENER
(calling out)
Perhaps you should ask Michael, he’s always about at that time.
Sergeant James goes back to her.
SERGEANT JAMES
And who is this Michael?
MRS GARDENER
He delivers the milk around here, bottled milk is making a comeback, you know, very ecological.
SERGEANT JAMES
Do you know the name of his company?
Sergeant James makes a few notes in his notebook while Mrs gardener disappears inside. She returns and hands him her latest bill.
SERGEANT JAMES
Most oblidged, um –
MRS GARDENER
I’m Mrs Gardener. And any further help I can –
SERGEANT JAMES (INTERRUPTING)
We’ll be in touch. Thank you. Good day, madam.
Sergeant James returns to the avenue and takes out his phone.
SERGEANT JAMES
Gov. Come up with info… Yes. Local milkman may be worth a visit. Got the depot phone number here… Right, I’ll do that. And a Mrs gardener No 16 heard a gunshot around 2 a.m… Yes, I’ll report back later.
EXT. STREET – DAY
SERGEANT James stands on the doorstep talking to the milkman,
MICHAEL, who has answered the doorbell in his dressing
gown.
MICHAEL
(rubbing his eyes)
How can I help?
SERGEANT JAMES
We’re investigating an incident
that occurred in the small hours
of last night. Were you anywhere
near Elm Avenue, say, well,
between one and three o’clock?
MICHAEL
Yes, I guess so, it’s on my round.
SERGEANT JAMES
Well, did you see anyone around at
all? It’s a quiet neighbourhood,
so anyone moving around would
surely have stood out.
MICHAEL
I don’t think so. The kind of
people that live there tend to
keep regular hours. I usually see
more cate than people, and foxes.
But let me think… I saw s few
cars – but, hang on, one thing I
remember no. I spoke to someone,
just to say good morning. I passed
him opening the boot of his car by
the kerb. Think I made him jump.
Sergeant James opens his notebook.
SERGEANT JAMES
Remember what he looked like?
MICHAEL
Didn’t see his face. But I
remember the car. It was old,
unusual. A Jowell, I think. Rather
before my time. I would need to
see a picture to be sure.
Sergeant James has already got up google on his phone. He
shows a picture to Michael.
CONTINUED:
22.
MICHAEL
Yes, could be. Didn’t see the reg
number. I was just passing in my
float.
MICHAEL
You’ve been very helpful. We may
be in touch. Thank you, sir.
Michael’s front door closes.
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Act 2 TP – Midpoint
scene outline
EXT. A MOUNTAIN TOP –
HARI sits cross legged in a saffron robe, head bowed in meditation. In front of him a terrifying black space that goes on forever. Akaash dismounts and approaches Hari. Akaash approachs the meditating figure of Hari And calls out to him. Hari’s ritual is disrupted he whirls around furiously hurling fire-balls and missiles at Akaash. The two men clash physically and Hari slips into the abyss of the Infernal Region.
Akaash hesitates then jumps in after Hari. He wants answers from his father above all.
…
EXT. A MOUNTAIN TOP –
HARI sits cross legged in a saffron robe, head bowed in meditation. In front of him a terrifying black space that goes on forever.
Akaash dismounts and approaches Hari. The Donkey flies into space. Akaash calls out.
AKAASH
I am Akaash, son of Vikram-Aditya.
HARI turns around, furious.
HARI
You dare to…
AKAASH
…disrupt your ritual to stop you evil plans.
Hari stands up and faces him.
HARI
You fool! You don’t know what you’ve done!
He swirls around, arms moving frenetically. Fireballs and missiles shoot at Akaash. He dodges them with agility then manages to hurl back an object.
Hari reels as it hits him then launches himself at Akaash. They wrestle. Akaash flings Hari backward. He rises. His foot slips and he falls backward into the abyss.
Akaash gazes down into the abyss.
AKAASH
I have to get my answers from my father.
Without further thought, Akaash leaps into the abyss after Hari.
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Doug Booth here – I am not sure what i have in the way of “fill-in-the-blank” scenes for Act II – so I’m skipping this (because I want to strike while the iron is hot) – to go on to Lesson 17!
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INT. SHOT – COFFEE SHOP, LATE NIGHT
Monique nervously stirs her coffee as an older woman approaches.
MONIQUE
Oh, mama. Thank you so much for coming. It’s nice to see you.
MAMA
Monica.
MONIQUE
I know it’s been a long time and I’m sorry for…everything that’s happened. I know it’s gonna take a while for you to understand why I did what I did, but you have to believe me. I’m sorry for what I did and if I could I would pay back every single penny that I took. It’s just that
MAMA
Stole
MONIQUE
Sorry, what?
MAMA
Stole.
MONIQUE
Um, right. Stole. Anyways, I actually need your help. I need to prove my identity
MAMA
Never thought a child of mine would be a low-down common thief. I raised you right. Both you and your sister. And to think you would steal from me every penny of my hard-earned money. And sneak away in the middle of the night like some hardened criminal. I hope you made good use of that money.
MONIQUE
I… I bought a bus ticket to Seattle. Met a really nice guy. Got married, got a real nice job. I’m… Was. VP of Sales in a pharmaceutical company.
MAMA
Was? What happened? They fire you? Can’t say I blame them.
MONIQUE
Steven – my husband- died and left me the house in San Marino. Someone’s claiming it’s theirs, and I lost my ID and all my paperwork and I need someone to verify my identity.
MAMA
What’s that got to do with me? I can’t help you.
MONIQUE
Well, yes you can. Do you have any old pictures or paperwork that I can have? The lawyer says
MAMA
Ohhh. You mean like certificates and report cards and school photos? That kinda thing
MONIQUE
Yes! Yes, that’s exactly what I want. OK, I need you to
MAMA
How’s that gonna help you?
MONIQUE
Well, I need photos with my name attached to it
MAMA
Yeah, well all the stuff I have lists you as Monica Francisca Rodriguez y Mendoza. Not Monique.. whatever your last name is now.
A stunned Monique gazes down at the table.
MONIQUE
Shit, I hadn’t thought of that.
MAMA
Whatever trouble you’re in, you’ll have to get yourself out of. I can’t help you no more. Don’t call me again.
MAMA leaves in dignified rage as MONIQUE slumps at table, thinking.
INT. SHOT – HALL OF RECORDS, NOON
Monique approaches counter hesitantly. The clerk, a young black woman, eyes her warily.
CLERK
Yeah?
MONIQUE
I need information on a property. Like, a sales history and a list of all previous owners.
CLERK
Why? What you gonna do with that?
MONIQUE
Excuse me?
The two engage in a brief stare down.
MONIQUE
Real estate records are a matter of public record. I have a right to view the history. Here’s the address.
MONIQUE shoves piece of paper at the clerk, who snatches it up and glares at it. She is taken aback when she reads it, then seems startled when she glances at MONIQUE. She turns to a computer monitor and punches in seemingly random numbers.
CLERK
Nothing under that address. You probably wrote it down wrong.
MONIQUE
What? No. No. Check again.
CLERK
Excuse you?
MONIQUE
I mean. Would you mind checking again.
CLERK
Yes, I would mind. Now unless you have legitimate business, you need to leave. We really don’t encourage the homeless to loiter. This is a place of business.
CLERK stomps away from counter and MONIQUE dejectedly walks away. She sits on a bench in the hallway and contemplates her next move. A few beats later the CLERK comes out the door and turns in the opposite direction without noticing Monique. She seems to be in a nervous hurry.
Monique waits until she’s out of sight, then returns to the counter. A different clerk is manning the station; she is an older Caucasian lady with glasses and white hair in a bun.
MONIQUE
Excuse me, ma’am.
CLERK
How can I help.
MONIQUE
My boss asked me to get property records for his house. Here’s the address. Can you please look it up?
CLERK
Your boss. Hm. OK, I see it. Did you want a print out for him? It’s $1 a page.
MONIQUE
Yeah. Yes. Please.
CLERK
That’s $6.
Clerk places papers on counter as MONIQUE counts out her money.
MONIQUE
Um, I only have $5. Is that ok? Can I leave out one sheet?
Clerk sighs huffily, grabs the money and shoves the stack of paper at MONIQUE.
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