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Day 6 Assignment
Reply to post your assignment.
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11 Replies
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Armand Hope/Fear in action
What I learned…
STRATEGY TO BUILD HOPE/FEAR:
1. Pick a scene where the hero is going for a goal and a potential threat is present. List the situation, goal and main threat.
2. Write out the structure of a scene where the hero is going for a goal and it’s threatened.
3. Go back through and look for places where they can get hope they’ll succeed and where that hope can be threatened. Add those to your structure.
Name: TYLER, THE GHOST
Traits: Arrogant, Sarcastic, Immature, Romantic
Subtext: Scared, in Denial
Character Logline: Tyler is the ghost of an entitled college jerk who was murdered 20 years ago by a masked serial killer, and now has to overcome his hidden guilt and fears to save a new group of college kids from suffering the same grisly faith as him.
Name: MADDIE, THE FINAL GIRL 20 YEARS LATER
Traits: Brave, Tough, Stubborn
Subtext: Paranoid
Character Logline: Maddie is the sole survivor of the original massacre who is obsessed with the return of the masked killer who was never caught and sets out to stop the killer at any cost now that the killer’s back.
Name: CHARLES, THE MASKED KILLER WHO WAS NEVER CAUGHT
Traits: Nerdy, Rational, Sadistic
Subtext: Concealing, Nice Exterior
Character Logline: Charles is Tyler’s nice and nerdy half-brother (only seen briefly in the opening scene) who wants to fulfill his secret urge to murder people and getting away with it, but now has to face off with the ghost of his brother and the final girl (Tyler’s girlfriend) he’s always loved.
LEX, THE GOTH HIGH SCHOOL GIRL
Traits: Prickly, Sarcastic, Intelligent, Resourceful
Subtext: Lonely
Character Logline: Lex is a brilliant high-school goth obsessed with true crime and grisly murder mysteries who (secretly) came to the manor with her college-aged sister (and her party friends) to attempt communicating with Tyler’s ghost.
DALLAS, LEX’S COLLEGE-AGE HALF-SISTER
Trait: Vapid, Romantic
Subtext: Insecure
Character Logline: Dallas is a superficial but deep down kind college girl peer-pressured into hosting a weekend party at the manor (just purchased by her rich dad), and just wants to fit in.
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Situation: Tyler realizes the killer is back in the manor
Goal: Scare the college kids out of the manor
Threat: College kids are glued to social media, drinking, self-absorbed college kids
A. Tyler sets out to scare the college kids so they leave the manor
B. The college kids are too self-involved and don’t realize they are being scared
C. Tyler discovers Lex is into paranormal tv and tries to convince her, she celebrates making contact with a ghost.
(HOPE) A. Tyler realizes he’s a ghost and he could scare the college kids away in order to save them.
(FEAR) B. He realizes he’s never haunted anyone before.
(HOPE) C. He knows movies, just do what ghost do in movies.
(FEAR) D. He tries to scare Dallas, she’s too busy taking selfies
(HOPE) E. Tyler complaints, Lex says: “who said that?” She can hear him through her EVP app.
INT. LIVING ROOM – MANOR – NIGHT
The college kids sit by the fire, drinking and smoking pot. Tyler observes them, they can’t see him.
Tyler stands in front of of SORORITY GIRL, who’s glued to her phone.
TYLER
All I have to do is scare them. How?
Tyler glances around.
TYLER
(to himself)
Think, you’ve watched hundred of ghost movies.
THE COLLEGE KIDS POV: A book falls from a shelf.
The SORORITY GIRL is unfazed.
SORORITY GIRL
Did you hear something?
DALLAS
I should check on my sister.
Dallas exits into
INT. HALLWAY – MANOR – CONT.
Tyler follows Dallas.
DALLAS
Lex?
TYLER
Where are you little goth girl?
LEX (O.S.)
Who said that?
Tyler turns around, discovering Lex holding her phone like a compass.
TYLER
You can hear me.
Lex jumps scared.
LEX
Who said that?
TYLER
How can you hear me?
LEX
It worked. (excited) It works!
TYLER
What?
Lex points at her app.
LEX
I built this app. It’s designed for EVP data collection.
TYLER
Huh?
LEX
Ghost hunting. I can hear your voice!
DALLAS
Shouldn’t you be in bed?
LEX
Listen to this. Say something, ghost.
TYLER
Something, ghost.
DALLAS
Very funny. Stop playing and go to bed.
LEX
She didn’t believe me. She never takes me seriously.
Lex walks away, Tyler follows her.
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Rob Bertrand’s Hope/Fear in Action
What I learned: I learned that building hope/fear into a scene is a lot like riding a roller coaster. The back-and-forth swings in momentum and control should take your reader on an unpredictable, edge of your seat journey.
CHARACTERS
Annie Andrews – Protagonist
Basic character traits: Sarcastic, quick tempered, fragile teenager who aches for acceptance.
Character Logline: Annie is a high school student, overwhelmed with guilt over the death of her mother, who’s struggling to come out to her traditional father.Danny Laplante – Antagonist
Basic character traits: Traumatized, delusional, Liar, who’s dangerous.
Character Logline: Danny is a high school drop out with a history of mental illness, who becomes obsessed with tormenting Annie after she rejects his affections.Jack Andrews – Side Character
Basic character traits: Exhausted, foul-mouthed, conservative father, who’s protective of his daughters.
Character Logline: Jack is an overworked auto mechanic, who’s grieving the death of his wife, Nora, while struggling with alcoholism and his daughter’s deteriorating mental health.SCENE STRUCTURE
Situation: Danny has taken Jack hostage and is threatening to kill him in front of Annie.
Goal: Annie wants to save her father from Danny.
Main Threat: Danny is psychotic and has taken on the persona of Annie’s mother, Nora.Annie discovers her father tied up in the basement and Danny reveals himself, wearing her mother’s wedding dress and a blonde wig.
Danny is psychotic and has taken on the persona of Nora, offering Annie the choice to bring her mom back. All she has to do is kill her father.
Annie tricks Danny into giving her the hatchet.
HOPE: Annie finds her father in the basement, after climbing through the walls.
FEAR: Danny reveals himself, wearing Nora’s wedding dress, a blonde wig and smudged makeup. He has taken on the persona of Annie’s mother. “Call me, mom.”
HOPE: Danny seems to calm down when Annie plays into his psychosis. She speaks to him as if he was her mom.
FEAR: Danny wants to take care of Annie. Make everything better. Be a family again. Do it right this time.
HOPE: Annie wants that too. “With you and dad.”
FEAR: “No! You were right, Annie. The wrong parent died.”
HOPE: Jack tells Annie that he loves her. He’s always loved her. Now get out.
FEAR: Danny reveals he’s been watching his “family.” He knows all their secrets. Jack has been unfaithful. He was planning on leaving the family. Jack’s not always working late…he’s seeing a lady with her own children. Danny says Jack would rather be there!
HOPE: Jack apologizes to his daughter. Gets angry with Danny.
FEAR: Danny talks about the sanctity of marriage and the meaning of wedding rings. Danny then chops Jack’s wedding ring hand off with a hatchet.
HOPE: Annie tricks Danny by pretending to be on his side. She should be the one to kill her father.
FEAR: Annie raises the hatchet above her father’s head, ready to strike.
HOPE: Annie drives the hatchet deep into Danny’s shoulder. Annie begins to untie her father.
FEAR: Danny comes back to life and attacks.
HOPE: Jack douses Danny with alcohol and Annie lights him on fire.
FEAR: Danny runs off screaming and disappears.
HOPE: Annie helps her father to safety.
SCENE
INT. WALL – NIGHT
Annie climbs down through the interior of the wall, towards the sound of wedding music. Her feet and hands carefully search for purchase inside the darkness. Her breath comes in waves of panic.
A pinhole of light from below. Annie descends towards it.
Finally, Annie’s foot touches ground and she steadies herself. She finds herself in a tight crawl space within the wall and shuffles towards a light streaming in from a small peephole. Quietly, she looks through.
ANNIE’S POV – The basement is lit by hundreds of candles. Dead center of the room, with his back to Annie, sits Jack.
ANNIE (O.S.)
Dad!END ANNIE’S POV
Annie shuffles deeper into the crawlspace and finds a hole in the sheet rock. Without thinking, she ducks through.
INT. BASEMENT – NIGHT
Squeezing between the wall and the freezer, Annie runs to her father.
ANNIE
Dad! What are you doing––Annie stops midsentence when she finds her dad is gagged and bound to a chair with duct tape. Blood drips from Jack’s head wound.
Jack and Nora’s wedding song plays from an old record player. The room has been turned into a shrine to Nora Andrews.
Annie rips the gag off of Jack’s mouth.
JACK
(screams)
Annie, get out of here! He’s dangerous! Run!Annie, in a panic, begins ripping at the duct tape holding Jack’s wrists to the arm rests.
JACK (CONTINUED)
Go! Leave me! Get out––From the darkest corner of the room, comes a cold and sinister voice. A male voice, yet feminine.
DANNY (O.S.)
Annie. Sweetheart…I came back for you…A ghostly shape emerges from the darkness behind Jack’s chair, wearing a dirty blonde wig and Nora’s filthy wedding dress, pulled from the trash can. Only it’s not the ghost of Nora Andrew’s.
It’s DANNY LAPLANTE!His face is a nightmare of blotchy white foundation, eyes painted black with makeup that has stained his face from prior tears. Worse, is the red lipstick smudged across his lips. Like the bloody jaws of a predator.
Annie recoils in terror and falls to the ground.
JACK
Stay away from her, you sick fuck!ANNIE
D…D…DANNY?DANNY
Call me mom…Annie sees the hatchet in Danny’s hand, slapping against his leg.
ANNIE
Danny…what are you–DANNY
(raging)
I said call me mom!Danny points the hatchet at Annie. Insanity burns in his eyes.
Annie stifles a scream, as Jack fights against his restraints.
JACK
I’m going to kill you. I’m going to fucking kill you!Danny grabs Jack by the hair, rips his head back and holds the hatchet to his exposed throat. Blood drips down Jack’s neck.
DANNY
Shhhh….Now, honey. Is that any way to speak to your dear ol’ wife?Concern on Annie’s face as a million ideas play in her mind.
ANNIE
Wa…wait. Mom, it’s…it’s good…to see…I mean…I’ve missed…We’ve missed you.Danny relaxes the hatchet, as a smile plays across his evil face.
DANNY
I’ve missed you too, baby. But I’m back.Danny’s eyes fill with tears.
DANNY (CONTINUED)
I’m back now…to take care of you. Momma’s gonna make everything better now, okay?Danny’s eyes fill with crazy as he lifts the hatchet over Jack’s head. Ready to strike.
JACK
Stop! Stop….Nora! Stop!Danny grins, dropping the hatchet to his side. Danny strokes Jack’s hair, lovingly.
Jack, closes his eyes.
DANNY
We could be a family again, Annie. Do it right this time…ANNIE
I want that! I want that so much. You, me….and dad. Together!Danny shakes his head, violently.
DANNY
No! No! NO! You said it, Annie. The wrong parent died. It should have been him! We can set things right…JACK
You’re right. You’re right, Nora. Please. Let Annie go. You can take it out on me…just let Annie go.Danny leans close to Jack’s ear and whispers.
DANNY
I’m going to set Annie free…from you.Tears flood Jack’s eyes.
JACK
Annie, listen to me. I’m sorry. I’m so fucking sorry. It should have been me. It should have been me that died. I’m so fucking stupid. I love you, baby. I love you so much.Annie can’t stop the tears from bursting from her eyes.
ANNIE
Oh, dad. I love you too. I love you too, dad!JACK
Now, let her fucking go and take it out on me!Danny crosses behind Jack’s chair, running a hand along his body.
DANNY
Oh, Jack…ANNIE
Stop! We can be happy again. All of us!DANNY
You wanna know the best thing about being a ghost, Annie? You get to hear all the family secrets. Do you wanna tell her, Jack? Or should I?Jack is confused.
JACK
What! What the fuck are you talking about?Annie locks eyes with Jack. Desperate to find a way out of this.
DANNY
Your dad is a liar, Annie. A filthy, dirty cheater. He was going to leave me…before I died.
(rage)
He was going to leave us!Jack squeezes his eyes shut, humiliated and full of rage.
JACK
Fuck you, you sick fuck!DANNY
Truth is, Annie. He doesn’t ever work late. He just prefers his new girlfriend’s family over you.The dawning realization sinks in as anger and rage fill Annie’s eyes. She steps forward and slaps Jack across the face.
Danny laughs.
JACK
I’m sorry, Annie. I…I never would have…Without warning, Danny brings the blunt end of the hatchet down on Jack’s knee. Jack shrieks in pain.
JACK (CONTINUED)
Fuck! God damn you! You crazy–Danny shoves his hand over Jack’s mouth.
DANNY
Shhh….shhh…..shhh. You’re still wear the wedding ring I gave you? Now that’s sick…Jack’s left hand pulls hard against the tape. The ring clearly visible.
DANNY (CONTINUED)
You made a vow, Jack. A holy vow before God and all. To love and to honor through sickness and in health. With this ring…a symbol of love and commitment. But you cheated…ANNIE
Please….stop!DANNY
With this ring, I de-wed!In a blink of an eye, Danny raises the hatchet and brings it down with full force. The sound is sickening.
Jack’s severed hand falls to the ground, with a dull thud. Blood pours out onto the floor. All Jack can do is stare with stunned disbelief. He tries to scream, but can’t make a sound.
Danny laughs maniacally
Annie springs to action, ripping her hoodie off and wrapping it around Jack’s bleeding stump.
DANNY
Move out of the way, sweetheart. Let me finish him.Annie stands, with fierce determination. Her eyes, cold with hatred.
ANNIE
No. I should do it.DANNY
It’s okay, my darling. I’ll–ANNIE
After what he did to us…Give me the hatchet, mom. Let me do this…A smile creeps across Danny’s face.
DANNY
I’m so proud of you. My special daughter…Danny hands the hatchet over to Annie. She smiles back at Danny, calming his rage.
Annie turns to her father. With both hands, she raises the hatchet high above Jack’s head. Jack, barely conscious, looks up with fear. A tear rolls down his cheek.
Danny steps close to Annie.
DANNY
Do it. Kill him, Annie. Kill him!ANNIE
I hope you rot in hell, you sick mother fucker!She swings the hatchet with all her might and drives it deep into Danny’s shoulder.
Danny squeals in pain, reaching for the hatchet, but it’s just out of reach. He falls backwards, bellowing like a wounded animal.
JACK
(groggy)
In da cabinet….top…top shelf. Be…behind the books.Quickly, Annie moves to a cabinet and dumps the books out on the floor, revealing a bottle of bourbon. She grabs it when a bloody hand grabs her from behind.
It’s Danny pulling her backwards. Annie spins, bringing the bottle down on Danny’s head. The bottle shatters, pouring booze down over Danny’s body.
With a warrior’s scream, Annie pushes Danny, who falls backwards against a table full of candles. He instantly burst into flames. His screams echo through the house as he runs off, disappearing up the stairs.
ANNIE
Dad!Annie returns to her father and begins slashing at the duct tape with the broken glass bottle neck still in her hand.
CUT TO:
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Budinscak Hope/Fear in Action
Day 6
What I learned doing this assignment:
o Uncertainty, reversals, adding conflict, elevating the stakes … the message is clear – keep the reader and the audience engaged.
o He wants something, he does something, there’s consequences.
o We’ve had some great examples with our lessons. Thoroughly enjoyed the analysis of “ROAD WARRIOR”.
o Helluva idea to strive for hope and fear in every scene.
Characters:
Jack – slick/street smart, selfish, condescending, generous
Subtext – Conniving
Logline – Jack isn’t a role model, nor does he want to be, but … when presented with a captive audience – his nephews, Puck & Sal – he will present whatever version of his facts as he sees fit.
Don Vito – Dictatorial, aloof/arrogant, narcissist, sneaky
Subtext – Underhanded
Logline – Don Vito rules with an iron fist and relishes his reputation. He is rarely fooled and plays a nasty game of poker, especially when he holds all the cards.
FBI GUY 1 – snooty, authoritative, gullible, pompous
Subtext – Noncommittal
Logline – FBI Guy 1 believes he will right any wrong and has the authority to use any method in his employ to achieve the desired result.
Situation/Goal/Main Threat
Situation: After arriving in Burbank, Jack is separated from his nephews.
Goal: Escape from his current situation and rescue his nephews.
Threat: Don Vito and two of his Goons.
Scene Structure:
Jack watches his nephews taken from an office in the Burbank funeral home.
Jack sits opposite Don Vito and is flanked by the two Goons.
There’s a distinct sound that surprises everyone.
Scene:
INT. FUNERAL HOME OFFICE – DAY
Jack helplessly watches Puck and Sal coaxed from the office by one of Don Vito’s men. ***FEAR***
DON VITO
Don’t worry Jack, your nephews won’t be harmed, unless… ***HOPE***
Jack stands, the two Goons flanking him take a step forward. ***FEAR***
DON VITO
Unless you come clean about what you saw in Geeville. ***HOPE***
Before Jack can utter a word, the two Goons each grab an arm and lift Jack from his chair. ***FEAR***
SAL (OS)
Hey! ***HOPE***
DON VITO
Leave him, get the boy. ***FEAR***
The two Goons take one step towards Sal when the “click” of a gun being cocked stops them.
PUCK
No one move. I got them covered, Uncle Jack. ***HOPE***
DON VITO
Stop playing, little boy. You don’t know what this is about. ***FEAR***
PUCK
Wrong, wrinkly old guy, I know exactly what this is about. It’s about me, my cousin and our uncle. It’s about family.
Jack rushes to Puck and grabs the gun. He turns it on Don Vito and his men. ***HOPE***
JACK
Like Puck said…
FBI GUY 1 (OS)
No one move. ***FEAR***
The FBI snuck in unseen during the commotion.
SAL
Aren’t you the good guys? ***HOPE***
DON VITO
No, they’re with me. ***FEAR***
One of Don Vito’s Goons gets the drop on the two FBI agents.
FBI GUY 1
Reinforcements are on the way. Don’t do anything stupid, Don Vito. ***HOPE***
The FBI agents are handcuffed to each other by Don Vito’s men. ***FEAR***
All the bad guys get a good laugh, until the unmistakable sound of a shotgun being racked. The whole words stops moving.
DRIVER
Hey, Jack. Thought you and boys could use a hand. ***HOPE***
Jack, Driver, Puck and Sal lead everyone else to the casket display room where everyone is assigned an appropriate casket.
LAPD sirens grow loudly in the background as Jack closes the last lid – on Don Vito.
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Amy’s Hope/Fear in Action
What I learned doing this assignment is that this technique can work anywhere in your script. It doesn’t have to be at the end.
Andrea
Basic character traits: well-spoken, image conscience, playful, competitive
Want/Need: Wants to become a network anchor, wants Josh and her kids back, needs to feel validated
Paradoxes: Wants to be a good wife and mother but also wants a demanding career
Secret: She once gave a co-worker the wrong directions to a story location so that she could beat her to the story
Flaw: She can be selfish
Special: She was the ugly duckling at school until her braces came off and her acne went away, then she became one of the popular girls.
Situation: Andrea’s daughter Chloe has left her a heartfelt note telling her how much she loves her and how important it is for her to be at her swim meet the next day.
Threat: The note blows off the coffee table and under the couch with only a little bit peeking out.
Goal: For Andrea to read the note.
Chloe leaves a note for Andrea telling her about her swim meet and how much she wants her to be there.
The note falls on the floor and under the couch.
Andrea comes home, puts her stuff down and walks right past the note.
Andrea opens the mail and happens to glance over to the where the note is. She picks it up.
She takes the note into the kitchen with her and puts it on the table while she heats up her leftover dinner.
Andrea takes her dinner out of the microwave and takes it into the living room leaving the note.
Andrea sits on the couch and eats her dinner while she proudly watches a replay of her breaking news coverage.
Andrea needs something to drink so she goes in the kitchen. She sees the note and picks it up.
She comes back to the living room and puts the note on the table and goes back to watching the news coverage.
She gets up to put her plate back in the kitchen. When she does, the note blows off the table.
She comes back and lays on the couch with a blanket. Closes her eyes.
She hears a bump. Goes to check it out. When she comes back she sees the note peeking from under the couch. She picks it up and reads it. She smiles.
Scene:
INT. – LIVING ROOM – NIGHT
Chloe sits at the coffee table intent on what she’s writing.
Josh comes in the room and studies her
Josh
What are you working on so hard?
Chloe
I’m writing Mom a letter telling her how much I love her and reminding her about my swim meet tomorrow. I’m planning on beating my record and I want to make sure she sees it.
Josh
Okay. Then brush your teeth and get in bed.
Chloe
Okay, Dad.
INT. – LIVING ROOM – NIGHT – later
Andrea walks in and kicks her shoes off. She plops her purse on the coffee table. When she does the breeze blows Chloe’s note off the table. It slides under the couch.
She walks over to ledge and picks up the mail. While she thumbs through it, she happens to look up and notices the note sticking out from under the couch.
She walks over to the couch and picks up the note and walks out of the room with it.
INT. – KITCHEN – NIGHT
Andrea puts the note on the table.
She grabs some food out of the refrigerator and places it in the microwave. She continues searching through the mail while her food cooks.
When her food is done, she puts the mail down, gets her food out of the microwave, grabs a fork and leaves the room walking right past the note.
INT. – LIVING ROOM – NIGHT – CONTINUOUS
Andrea puts her plate on the coffee table and pulls out her phone. She pulls up a replay or her breaking news coverage and watches.
Suddenly, the thinks of something, pauses the replay, puts her phone down and leaves the room.
INT. – KITCHEN – CONTINUOUS
Andrea grabs a class out of the cabinet and fills it with water from the refrigerator.
On the way out, she sees the note and picks it up.
INT. – LIVING ROOM – MOMENTS LATER
Andrea finishes eating and gets up to take her plate to the kitchen. When she does the note blows off the table and wafts under the couch again.
INT. – LIVING ROOM – MOMENTS LATER
Andrea comes back and grabs the blanket off the back of the couch and lays down to go to sleep. She closes her eyes.
Suddenly, a LOUD THUMP IS HEARD.
Andrea sits bolt upright. When she does, her foot lands on the note sticking out from under the couch.
She picks it up and unfolds it.
She reads it and smiles.
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PS 80 Michelle Damis Uncertainty
What I learned doing this assignment is that if I’m almost going to quit in frustration, just take a deep breath and do it anyway. I wasn’t seeing how I could find a scene that would work, but I did and I’m quite happy with it. I do hope you are reading these and I hope you are amused by what I’ve tried to do. 😉
Situation-Marina and Nina are held captive by other vampires
Goal- to escape alive and not a vampire
Threat – The Vampires
(FEAR) Marin and Nina are held captive
(HOPE) They manage to get untied/out of restraints
(FEAR) Vampire is back before they can escape
(HOPE)Vampire is distracted by the Nun
(FEAR) Nun is also a Vampire
(HOPE)She is a good one
(FEAR)Vampire(s) return, Nun lies to them and goes with them, leaving Marin and Nina.
(HOPE) She somehow sneaks them a key
INT. UNDERGROUND “CELL” –
UNKNOWN TIMEMarin and Nina have been
trying to loosen their restraints. Nina keeps spitting on the cuffs to get them
slippery, Marin is half grossing out and half encouraging.NINA
Mom, I think it working!!!
Nina gets another mouthful
of saliva and lets spit drip down her moms arm towards the restraint.Marin almost gags and is
trying her best to ignore what is happening.MARIN
I’m fine, I’m fine (under her breathe) It’s gonna be
fine,Just breathe.NINA
Come on, try to spread it
around, think skinny wrists, skinny wrists. Aren’t you the Queen of positive
thinking?They both focus on slipping
their slimy arms out of the cuffs. They must hit the perfect angle as they both
slip out at the same time, barely catching themselves.Grabbing each other for a
quick hug before realizing they are embracing with spit covered arms.Marin starts furiously
wiping her arms on her jeans to get the spit off. Nina follows suit, stopping
quickly when she hears a noise.NINA
SHHH….Someone is coming.
Hurry, get back into position.They quickly arrange
themselves so they still look restrained.One of the Vampire returns.
It must be time. He is starting to
unlock the door when a scream comes from somewhere nearby.VAMPIRE GUARD
Don’t go anywhere…
He teases them as he puts
the keys back in his pocket and heads down the dark corridor.Nina and Marin hop up and
try the door, being as quiet as possible.They are distracted by a
“thud” not too far away, and the sound of keys causing them to hurry back and
assume their captive position once again. Marin’s back is to the door.MARIN
(whispering) When he comes
back in, our only hope is for us attack first.
You go for his legs, I’ll take the upper body.She hardly finishes before
the Vampire returns.MARIN
Got it?
NINA
What are you doing here?!
Nina is staring at the Nun
from the Church.Marin spins around to see
the Nun.NUN
There is a lot you don’t
know.MARIN
How to you two know each
other?NINA
I’ll explain later.
NUN
Right now ,I need to get
you two out of here. But you must know first that I am one of them.Panic crosses both their
faces and Marin pulls Nina back from the door.NUN
I’m not what you think,
I’ve been protected by the church for years. I choose to help humanity, not
hurt it. I see my curse as a gift. There
is a movement t…She is interrupted by sets
of footsteps coming their way.NUN
You HAVE to trust me. Get
back in place.She grabs Ninas sleeve
through the bars and hands her something before they rush back to their spots
once again.NUN
Here…
The Nun faces the sound of
the steps. Three Vampires approach.VAMPIRE GUARD 2
What are YOU doing here?
NUN
I have business with the
council.The Guard isn’t convinced,
nor are the others.VAMPIRE GUARD 2
But, what are you doing
HERE?Gesturing to outside the
cell with the mortals.NUN
I had heard the council was
interested in some humans and a particularly rare blood type.The vampire looks surprised
at her knowledge of the situation.NUN
I needed to see it with my
own eyes. It’s VERY interesting.She looks at Nina and Marin
as if she despises them.NUN
Now, take me to them.
She firmly directs the
three Vampires, all of whom are not pleased to be bossed around. They lead her
down the corridor.As soon as they cannot hear
footsteps Nina pulls the keys out to show her mother.END SCENE
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Not sure what happened with the format of my previous post….this looks better
INT. UNDERGROUND “CELL” – UNKNOWN TIME
Marin and Nina have been trying to loosen their restraints. Nina keeps spitting on the cuffs to get them slippery, Marin is half grossing out and half encouraging.
NINA
Mom, I think it working!!!
Nina gets another mouthful of saliva and lets spit drip down her moms arm towards the restraint.
Marin almost gags and is trying her best to ignore what is happening.
MARIN
I’m fine, I’m fine (under her breathe) It’s gonna be fine,Just breathe.
NINA
Come on, try to spread it around, think skinny wrists, skinny wrists. Aren’t you the Queen of positive thinking?
They both focus on slipping their slimy arms out of the cuffs. They must hit the perfect angle as they both slip out at the same time, barely catching themselves.
Grabbing each other for a quick hug before realizing they are embracing with spit covered arms.
Marin starts furiously wiping her arms on her jeans to get the spit off. Nina follows suit, stopping quickly when she hears a noise.
NINA
SHHH….Someone is coming. Hurry, get back into position.
They quickly arrange themselves so they still look restrained.
One of the Vampire returns. It must be time. He is starting to unlock the door when a scream comes from somewhere nearby.
VAMPIRE GUARD
Don’t go anywhere…
He teases them as he puts the keys back in his pocket and heads down the dark corridor.
Nina and Marin hop up and try the door, being as quiet as possible.
They are distracted by a “thud” not too far away, and the sound of keys causing them to hurry back and assume their captive position once again. Marin’s back is to the door.
MARIN
(whispering) When he comes back in, our only hope is for us attack first. You go for his legs, I’ll take the upper body.
She hardly finishes before the Vampire returns.
MARIN
Got it?
NINA
What are you doing here?!
Nina is staring at the Nun from the Church.
Marin spins around to see the Nun.
NUN
There is a lot you don’t know.
MARIN
How to you two know each other?
NINA
I’ll explain later.
NUN
Right now ,I need to get you two out of here. But you must know first that I am one of them.
Panic crosses both their faces and Marin pulls Nina back from the door.
NUN
I’m not what you think, I’ve been protected by the church for years. I choose to help humanity, not hurt it. I see my curse as a gift. There is a movement t…
She is interrupted by sets of footsteps coming their way.
NUN
You HAVE to trust me. Get back in place.
She grabs Nina’s sleeve through the bars and hands her something before they rush back to their spots once again.
NUN
Here…
The Nun faces the sound of the steps. Three Vampires approach.
VAMPIRE GUARD 2
What are YOU doing here?
NUN
I have business with the council.
The Guard isn’t convinced, nor are the others.
VAMPIRE GUARD 2
But, what are you doing HERE?
Gesturing to outside the cell with the mortals.
NUN
I had heard the council was interested in some humans and a particularly rare blood type.
The vampire looks surprised at her knowledge of the situation.
NUN
I needed to see it with my own eyes. It’s VERY interesting.
She looks at Nina and Marin as if she despises them.
NUN
Now, take me to them.
She firmly directs the three Vampires, all of whom are not pleased to be bossed around. They lead her down the corridor.
As soon as they cannot hear footsteps Nina pulls the keys out to show her mother.
END SCENE
-
INT. COLONIAL BEDROOM – NIGHT
As they are sleeping, Jake hits Litonya, screaming and pushing her on the floor. She finishes her night on the spare bed and he returns to his damaged head snoring until morning. The sun struggles to scream sanity through the bay windows.JAKE
I am sorry about last night. It wasn’t me.
Her eyebrows lift in confusion. She has a bruise on her forehead where somnolent Jake hit her.JAKE
I wasn’t conscious. You know, like Lady Macbeth, I was sleep walking. I am really sorry.He kisses her. She doesn’t respond. He pulls out a diamond ring.
She closes the case.
LITONYA
I like rocks in their natural state, not jewels.JAKE
Fine. I will make you a rock ring.
LITONYA
I don’t want to get married.
JAKE
Not yet, I think. But when?
LITONYA
Never is a big word.
Jolly Jake jumps out of the room.JAKE
Okay, let’s get up the kids and I will drive you to work. We have time to let them play in Palisades Park.EXT PLAYGROUND PALISADES PARK
Jake and Litonya let their kids Anahu, four, and Aanadi 6 loose in an empty playground by the Hudson River. Frustrated with the jungle gym, Litonya stands below a solid little igneous pitch.
JAKE
Do you actually talk to rocks?LITONYA
Not in human language, though they understand all languages. They have a deeper understanding of time and space.
JAKE
Is this your god?
LITONYA
Not in the way you think of gods. But these rocks are my transcendence.
JAKE
I prefer the sparkling white butt blast of the Gunks or the gorgeous Manhattan rocks. These Palisades rocks are boring—too ugly for decoration and not good for climbing or construction.
LITONYA
They make sharp tools for cutting. They help us cut things out of our lives.JAKE
That could work. The older we get, the more we must cut things and people out. Cut out the plaque. Declutter. Stop wasting time with useless people and activities. Aanadi and Anahu don’t want to cut anything out on purpose. They are at the greedy, acquisitive, curious stage, eating up the world. We were all like this. What happened? There is an old seesaw!
Aanadi is two years older but about the same weight so they seesaw together. Jake’s ADHD bounces into his silly rhmes.
JAKE
When you hit the ground rebound with hope
Push down and never mope
You can cope with anything
Use soap and never take dope
Nope I am clean and mean
Delphine uses the microscopeKisele the telescope
Don’t be a misanthrope
Dad is stuffing envelopes
But mom is worse than an antelope
Strong legs and small brain
The pain of Alzheimer’s
We need the Bright Space Brain Buffet
I will hold your rope forever
If you marry me Litonya
I gave up beer
For fear of brain damage
Dear family I love you
My ears are going deaf
Anaadi wants to be a doctor
What a great career
Anahu wants to study Shakespeare
A historian like his grandad
Who reminds me of King Lear
What a great year be of good cheer
On the seesaw of hope and fear
Let’s eat cantaloupe
Litonya will you elope with meLITONYA
No social constraints..JAKE
I have heard that before.Aanadi falls when she hits the ground, rolls over, and bangs her head. Not dead. No more rhymes. Jake morphs into his EMS tech persona, disinfecting and bandaging, and checking the vital signs of his beloved child. He picks her up and back pedals to the boat but Litonya helps when he loses his balance. They make it. Delphine hugs Aanadi. She is in good hands. Betty drives the boat upriver while Jake drives Litonya to work at the Earth Observatory.
EXT. JAKE’S CAR – DAY
Litonya and Jake watch the row of igneous rocks along the Palisades as they drive to her workstation.JAKE
Back to the rocks. Do they really talk? Were they trying to hurt Aanadi? Life is a seesaw between hope and fear. Don’t fear. Be sincere. These mean rocks want to make us fear. If they are so powerful, can I make a deal with them to marry you, save my parents and everyone from neurodegenerative diseases, and keep us healthy and fit forever and ever?
MM VOICE OVER
Fate versus Will by MM and JakeOnce the deep,
emotional connection is established, you and your partner may begin to
experience the See-Saw Effect. This occurs when you push down an emotion
within you and it comes up in your partner, much like a see-saw when you touch
the ground and your partner lifts into the air. Somehow this codependent
catastrophe is occurring between Jake and us. -
Pablo’s Hope/Fear in Action
What I learned: It’s one thing to invent some overall threat in a story, it’s another thing to really make the reader/viewer think that the heroes might actually lose or fail. The uncertainty that comes from bouncing between hope and fear only works if the fear is valid. I’ll admit, I cheated a bit on this assignment. I used Irmas general fear without providing a genuine, thought-out threat. I did come up with some better ideas for a scene while I was typing but this just came out first. At least it got me thinking.
EXT. DESERT – DAY
Irma and her sons sit in a triangle. Andres sips on juice boxes from the “gift” bag.
ANDRES: Who’s controlling them?
(FEAR)
IRMA: Whoever they are, they know where we are going.
ANDRES: And… Where do they go?
ANTONIO: They go where we go, dummy.
ANDRES: No… They have to go back somewhere. They have batteries. They need to go back to charge.
Antonio straightens up.
(HOPE)
ANTONIO: You’re right.
Antonio looks up and counts three drones.
ANTONIO: They can’t just stay out here forever. Whoever’s controlling them havet to bring them back to… wherever they are.
IRMA: Wait…
ANDRES: If we wait long enough…
(FEAR)
IRMA: No.
ANTONIO: It can’t be more than… What? A couple of hours?
ANDRES: Ugh. So we just have to stare at these things until then?
(FEAR)
IRMA: Absolutely not.
ANTONIO: Mama. It’s a long border. They know where we are headed but we can’t let them know exactly where. Or when.
(FEAR)
IRMA: And you want to follow them? What if they go right to the border patrol?
ANTONIO: Well we can’t go back anyway. And even if it does, they can’t touch us unless we actually cross the border.
IRMA: So what? Then we just start walking along the border wall until we find an opening?
ANTONIO: Well how else were we going to do it? Whatever plan Carlos had going probably went to shit anyway.
IRMA: Ok. So we find where they’re being controlled from. Then what?
ANDRES: We walk away.
IRMA: Huh?
(HOPE)
ANTONIO: If we know where the controller is, we could just start walking pretty much any other direction. It might actually be a good thing if its at least near the wall.
IRMA: Why?
ANDRES: All remote controls have a limited range.
Irma still isn’t following.
(HOPE)
ANTONIO: If we know where to walk away from, we know that eventually the drones wouldn’t be able to follow us once we are far enough away.
Irma ponders.
ANDRES: They wouldn’t be able to control them if-
IRMA: Yeah, yeah. I get it now.
Irma’s eyes go back and forth between her two sons.
IRMA: Do you guys think this is some game?
(HOPE)
ANTONIO: Well, when you get a couple free health packs… It kind of starts feeling like a game.
ANDRES: Kind of like Metal Gear Solid 7.
ANTONIO: Yeah right.
(FEAR)
IRMA: Boys, this is serious. We are not-
ANDRES: There! It just left!
ANTONIO: What? Which one?
Irma also looks up.
ANDRES: The one over by you. It went that way.
Andres points North.
ANTONIO: No it didn’t, it’s right there.
Antonio points at a drone.
ANDRES: Huh? I swear I just saw it go that way.
IRMA: They switched them.
The boys look at their mother.
IRMA: I didn’t see one leave but I’m pretty sure this one just arrived.
ANTONIO: They rotate them out. When one has to charge, a new one takes its place.
Andres has heard enough. He grabs his bag and heads north.
IRMA: Andres. No.
ANDRES: Mama. I hate to say this but you’re being dumb.
Antonio busts out a quick laugh before controlling himself.
IRMA: Andres!
ANDRES: Mom! All we have to do is follow them back to wherever and then walk the other way. It’s the easiest plan ever.
(FEAR)
IRMA: Boys. If hornets were following you, why would you want to find the hive?
ANTONIO: Mama. These aren’t hornets. These are men controlling these things.
Irma looks at her son incredulously.
IRMA: Yeah, Tony. I know.
(HOPE)
ANTONIO: Ok. So if some guy was controlling hornets to follow me, I’d like to find out who that guy is and kick him in the nuts.
Irma’s eyes roll all the way to Texas.
IRMA: Be serious.
ANDRES: And mom.
IRMA: What?!
ANDRES: Hornets don’t fly far from their hive.
Irma doesn’t reply.
ANDRES: Let’s just find the hive and walk away.
Andres starts walking. Antonio follows. Irma waits a solid ten seconds before giving in. She swears under her breath before grabbing her bag.
-
Janeen’s Hope/Fear in Action
What I learned doing this assignment is that hope and fear become a rhythmic oscillation in the scene that propels it to the ending.
CHARACTERS:
Daniel’s my villain, but without hope/fear, he’s 1 dimensional, so here he is:
Daniel Richards
Basic Character Traits:
Temperamental artist; Insecure; Incredibly good designer; Perfectionist <div>
Subtext Character Traits: Cloaking, Vengeful
Logline: Daniel is a fashion designer who finds himself venting his frustrations with his clients on his submissive wife but Morgan is somehow empowering his wife to defy him and that must stop.
Possible areas of subtext: Obsequiously bows to his clients’ wishes in fashion. Gets as nitpicky with his wife at home as he feels his clients are with him. Hates anyone who challenges his right to be absolutely, unequivocally in charge at home.
SCENE from OUTLINE:
Daniel was arrested for spousal abuse, but the client (heroine) who called the cops got into a verbal fight with him and he is now hoping to use that to help him get out of the abuse charge.
INT. POLICE STATION – EVENING
Daniel decides to capitalize on what the cops witnessed when Morgan lit into him. Because Amber refuses to testify, they side with him and ask for the restraining order he wants against Morgan.
SCENE OUTLINE:
FEAR: Daniel is brought into the police station in cuffs and is about to be formally charged. Daniel repeats his false claim that Morgan (heroine) is a spurned lover. He would never hurt his wife, just ask her.
HOPE: A policeman enters and says his wife refuses to testify. Says there is no problem. They uncuff him and say he is a free man. Daniel, angry and humiliated decides to turn the tables. He asks his lawyer if he can get a restraining order against Morgan since she is obsessed with him and he doesn’t want his family frightened again by the police.
FEAR: His lawyer tells him it would be highly unusual since there is no history.
HOPE: Daniel says she insisted on coming to his home for a fitting even though clients normally come to his studio. The police heard her. She is trying to get his wife to leave him. The lawyer checks and the police and Amber agree — Amber out of fear.
FEAR: So his lawyer decides Morgan is unstable and will lobby for a restraining order, although he thinks it is not likely on a first try.
HOPE/TRIUMPH: The lawyer pulls strings and the restraining order is issued against Morgan.
SCENE
INT. POLICE STATION – EVENING
FEAR: Daniel is brought into the police station in cuffs and is waiting to be formally charged. Daniel repeats his false claim that Morgan (heroine) is a spurned lover. He would never hurt his wife, just ask her.
DANIEL is in cuffs and brought into an interrogation room by POLICE 1.
DANIEL
This is wrong and you know it. That bitch is mad because I won’t leave my wife for her. I love my wife. I love my kids. I would never leave them.
Without a word, Police 1 leaves the room.
Indicate an hour has passed, Daniel’s LAWYER and been in the cell and left again.
POLICE 2 enters the room and speaks as he uncuffs Daniel.
POLICE 2
Your wife has refused to testify. She agreed that you’re a good husband.
Daniel smiles in contempt.
POLICE 2
And so you’re a free man.
Daniel leaves the cell and his lawyer is in the hallway.
DANIEL
I want a restraining order against that bitch! She’s been in my home, my studio, stalked my wife — I want a restraining order so she can’t come near me or my family again.
His lawyer exchanges a glance with Police 2 who shrugs.
LAWYER
I’ll see what I can do, but it would be highly unusual since there is no police history of any of this.
HOPE: A policeman enters and says his wife refuses to testify. Says there is no problem. They uncuff him and say he is a free man. Daniel, angry and humiliated decides to turn the tables. He asks his lawyer if he can get a restraining order against Morgan since she is obsessed with him and he doesn’t want his family frightened again by the police.
FEAR: His lawyer tells him it would be highly unusual since there is no history.
DANIEL
She insisted on coming to my home for the fitting tonight even though, like everyone else, she’s alway come to the studio where I have assistants as witnesses before. She’s escalating.
DANIEL
She confronted my family at a women’s shelter where my wife was donating some of my kids’ clothes. Ask Amber. She’ll tell you.
Daniel’s lawyer nods to Daniel and looks questioningly at Police 1.
POLICE 1
She’s in an interrogation room down the hall.
DANIEL
I’ll go talk to her
Daniel’s lawyer steps in front of him to stop him.
LAWYER
I’ll talk to her. Wait here.
His lawyer indicates the interrogation room and Police 1 nods.
HOPE: Daniel says she insisted on coming to his home for a fitting even though clients normally come to his studio. The police heard her. She is trying to get his wife to leave him. The lawyer checks and the police and Amber agree — Amber out of fear.
INT. POLICE STATION – NIGHT
AMBER sits in an interrogation room with her kids draped across her lap sound asleep. POLICE 1 and Daniel’s LAWYER enter the room quietly and stand near the door. Police 1 is large and threatening. Daniel’s lawyer sits quietly at the table across from Amber and leans across to speak quietly to her. Amber shrinks back, but can’t move much or she’ll wake the kids..
LAWYER
Your husband says Ms. Day accosted you at the women’s shelter where you were making a donation. Did she?
Amber considers, her eyes darting everywhere, but not changing her position so as not to wake the kids.
AMBER
She did.
Lawyer looks at Police 1 who gives a slight nod and the two quietly leave the room.
FEAR: So his lawyer decides Morgan is unstable and will lobby for a restraining order, although he thinks it is not likely on a first try.
INT. POLICE STATION – EVENING
Daniel’s LAWYER steps into the interrogation room where DANIEL is waiting, pacing, sipping coffee, agitated.
LAWYER
I’ve pulled some strings and got the restraining order issued.
LAWYER
It’s being served now. You and your family can go home. We’ll post surveillance around your place until morning, but I don’t think you’ll have any more problems with Ms. Day.
HOPE/TRIUMPH: The lawyer pulls strings and the restraining order is issued against Morgan.
</div>
-
Emmanuel’s Hope/Fear
What I learned doing this assignment is hope and fear is an excellent writing tool to keep readers on edge. If used well, it can turn the script into a page-turner.
-
Jodi’s Hope/Fear in action – Day 6
Having hope and fear, reactions to actions and then more chain reactions can help to create emotional scenes.
ELIZABETH BAILEY – Loving, Assertive, Vengeful
Subtext: Sorrow
Elizabeth’s Daughter Karen was killed. She does everything she can to numb the pain, she can’t let go and creates a group set out on revenge.
DESK SERGEANT MANNING – Stubborn, short-sighted
The face of Police Department, the first one you see. She prides herself in being a guard dog that people seldom get past.
MARY AHEARN – Believes in others in order to believe in herself
A fellow bereaved Mother, she finds her faith and strength through others, it’s what propels and sustains her.
MAYOR DOWNING – Self involved, Misogynist
A relic from bygone days of power, the Mayor belongs to that same ‘good ol’ boys’ club. He thinks women and their needs are irrelevant and silly, but knows how to schmooze the ‘stupid’ ones for their votes.
SITUATION: Elizabeth is trying to get the Police attention on the Bounty Hunters destruction when their path to their 10,000.00 civil lawsuit claims are obstructed or impeded.
GOAL: For the O.L.L. (Operation Life List) members to be arrested and tried for their crimes.
THREAT: Police aren’t taking her seriously, they ignore and excuse her away as a grief stricken Mother.
SCENE STRUCTURE:
A. Elizabeth goes into the police station to give them a tip on who possibly killed her Daughter
B. She is denied access to any investigator, the front desk Sergeant takes her complaint
C. Elizabeth tries to find ways to get the authorities to pay attention.
HOPE/FEAR STRUCTURE:
(FEAR) A. Elizabeth goes to the police station to seek out Detective Farras.
(HOPE) B. She insists that the desk Sergeant take her message to Detective Karras. Elizabeth sees her take the message.
(FEAR) C. Elizabeth is told by Mary that they are blowing smoke and she needs to take more action.
(HOPE) D. They decide to call the Mayor.
(FEAR) E. The Mayor yanks her chain with empty platitudes. Then yells at his Secretary. Mary says “more smoke”, they must do more to not be shut down.
(HOPE) F. Elizabeth, Mary and a couple volunteers hand out fliers in front of police headquarters, charging the OLL of being an assassins network.
(FEAR) G. OLL members strong-arm and grab their fliers. A couple police officers come out and tell Elizabeth they cannot pass out such propaganda without proof, as it’s defaming the OLL.
(HOPE) H. Elizabeth is told by her support group friends not to give up. They will protest with her to get attention. “You can’t give up”. They peacefully protest.
(FEAR) I. Police come out in riot gear with clubs, shields and stun guns. Police warn them of unlawful assembly. The Protesters ignore the police and get louder. The police arrest them all.
(HOPE) J. All the women in the holding tank join together in conversation of what Elizabeth should do next. Elizabeth’s thoughts are sparked by a lady who told her to “turn right back around and do unto them that do onto you”. This is the genesis of deciding to take matters into her own hands.
INT. POLICE HEADQUARTERS, FRONT DESK – DAY
Elizabeth and Mary AHEARN, another bereaved Mother, walk into Police Headquarters and approaches the front desk being operated by SERGEANT MANNING, she is the loyal watchful eyes and ears of the department, she recognizes Elizabeth.
SERGEANT MANNING:
Mrs. Bailey, as I’ve told you before, the Detectives are out in the field, if you have information you’d like to give us, you need to leave it on the tip line and it will be fully investigated.
ELIZABETH:
I have left messages on the tip line but no one calls me back.
SERGEANT MANNING:
I’m sorry Ma’am, those are the procedures we all follow.
ELIZABETH:
Could you please leave Detective Karras a message for me?
Sergeant Manning hesitates.
ELIZABETH (cont.): I’ve done everything you’ve asked three times over. As a citizen I ask that you please leave a message for me.
Sergeant Manning takes a pad and pen in hand. She looks at Elizabeth with a deadpan face.
SERGEANT MANNING:
Yes, what is it.
ELIZABETH:
Please tell her that I have strong information that is substantiated by my support group.
Sergeant Manning stops and looks at her incredulously. Elizabeth gestures for the Sergeant to continue writing.
ELIZABETH:
She has my phone number but I’ll leave it again anyway. It’s 210-555-1234. Please repeat that back to me.
Elizabeth listens intently.
SERGEANT MANNING:
I have strong information that is substantiated by my support group. Telephone number 210-555-1234.
Sergeant Manning is continuing to write.
ELIZABETH:
And my name is Elizabeth Bailey.
SERGEANT MANNING:
Yes, I know, Elizabeth Bailey.
ELIZABETH:
Thank you.
SERGEANT MANNING:
You’re welcome.
Sergeant Manning cracks a smile to her and Mary as they turn to leave. The Sergeant tears out the message from the pad, wads it up and throws it into the trash.
SERGEANT MANNING (sotto):
Now, two crazy women!
EXT. POLICE HEADQUARTERS – DAY
Elizabeth and Mary exit the headquarters.
MARY:
You can’t stop here Liz.
Mary stops, takes her cell phone out of her purse and hits a number. Ten audible tones are heard. Elizabeth looks at her.
MARY:
The Mayor. I have him on speed dial. Squeaky wheel.
Mary winks. Elizabeth nods in agreement.
MAYOR’S SECRETARY, JAN, VO:
Mayor Downing’s office. How may I help you.
MARY:
This is Mary Ahearn again, one of the Mayor’s most influential supporters, I’d like to speak to him please.
Elizabeth looks at Mary lifting her eyebrow in dissatisfaction. Mary cuffs her phone.
MARY (Sotto):
I’ve never voted for him. It’s the only way to get through.
MAYOR DOWNING, a rotund good ol’ boy from a bygone era answers the phone.
MAYOR DOWNING:
Yes, Mary, what can I do for my valuable voter?
He s grimaces like a child forced to drink castor oil. Mary passes the phone to Elizabeth.
ELIZABETH:
Mr. Mayor, my name is Elizabeth Bailey, and my Daughter was–
Mayor Downing is looking at his golf magazine. He turns a page.
MAYOR DOWNING:
Yes, oh, I am so sorry for your loss.
He continues to look at his magazine, and circles a putter on a page.
MAYOR DOWNING:
Oh yes, Mrs. Bailey, I will see what I can do. Thank you for calling. My thoughts and prayers are with you.
He hangs up the phone and anger registers on his face.
MAYOR DOWNING (cont.):
What da ya think I can do about it lady! Jan! Field the calls better or find another job! You got it!?
JAN, VO:
Yes, sir!
Elizabeth and Mary open their purses and pull out a few stacks of fliers.
INSERT:
The flier reads: OLL are killing our children for the sake of an embryo.
MONTAGE:
They walk to the sidewalk and start passing out the fliers. Many people read them, some keep them, some wad them up, some are walked on. A small group of OLL members grab the fliers away from the ladies and run off with them. The ladies run in different directions to chase them.
Another day Elizabeth and Mary are back in front of Police Headquarters with many members of their support group. They now have big signs that read “Operation Life List are ‘our’ babies killers” and “OLL are the real killers, they hunt down our girls like prey”. They are protesting. Elizabeth has a bullhorn.
ELIZABETH:
OLL is killing our girls over an embryo! Ten thousand cash is all it takes.
She repeats this chant while the crowd cries out “The state deputizes OLL who hunts down our girls like prey” and OLL are the real killers.
Two police officers come out of Headquarters and approach Elizabeth. One is Sergeant Manning.
SERGEANT MANNING:
Mrs. Bailey, do you have a permit to protest here?
ELIZABETH:
We don’t need a permit, this is free speech!
SERGEANT MANNING:
Free speech rights do not extend to defamatory allegations and statements, which you are clearly doing.
The chanting continues only louder now.
ELIZABETH:
You had your chance to help us.
Elizabeth turns her back on Sergeant Manning. She chants even louder and holds her sign up as high as she can get it.
SERGEANT MANNING:
This has clearly become unlawful assembly. Disburse now! Disburse now or you will all be arrested.
The chanting grows even louder, and a couple bad actors are heard challenging the police. Then others chime in with cursing the police. As more police rush out of the building they begin arresting the protesters.
INT. POLICE HEADQUARTERS, HOLDING CELL – LATER
Standing room only in the women’s holding cell. They are still riled up. Women who were not at the protest also chime in.
MARY:
We got em’ by the balls.
ELIZABETH:
Is it lost on you where we’re sitting right now? Who’s got who by the balls?
MARY:
We do! This will go out on the evening news. People will finally know what is really going on. They’ll know they’re hunting down our girls like prey for money, and some, like our Daughters, get killed.
The women unanimously agree and speak over each other in anger.
WOMAN 1:
You can’t give up now.
WOMAN 2:
There’s more than one way to warn the scent of a skunk.
WOMAN 3:
Turn right back around and do unto them that do onto you.
MARY:
Amen Sister!
A light bulb goes off for Elizabeth. She smiles.
ELIZABETH:
I’ll do just that, and I think I know how.
Lots of cheers are heard and high fives are
seen.
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