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Day 6 Assignments
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DAY 6 – Rules for a Great Ending
Lisa’s Rules!
What I learned is to brainstorm each moment and situation, each setup, each word to find the best possible ending.
RULE 5. Don’t go On-The-Nose. Check the current version of your 3rd Act and tell us where you highlighted any on-the-nose dialogue or action.
· Having the crowd sing Silent Night. Too on-the-nose. Will choose something else.
· Having the married couple ride off on a firetruck. If I do that, it should be a snowmobile.
· Mary gives up her dream of moving for a man. Is this realistic? Or too cliché?
RULE 6. The climax of the movie must be set in the quintessential
location for the conflict. Brainstorm possible locations for the best setting for your climax. Show us your list of possibilities and tell us which you’ve picked.· On the George Bailey Bridge
· Mary’s Christmas kitchen where the movie credits first began to roll
· Outside the church at the end of the downtown in the snow
· It’s a Wonderful Life Museum
· Top of a firetruck in the snow
· Middle of Main Street in the snow
RULE 7. Must keep us guessing to the very end. Tell us at least three things you’ll do to keep us guessing to the end.
· Mary tells her best friend, Annie that she’s enjoyed being on her own these past 3 years. Will she choose to continue to be alone?
· Will Peter go to jail and lose his business? Will Mary save him for a third time?
· Mary has decided to move out of town. Will she do that? Or will she stay in the only town she’s ever lived in where her family is and with people who love sand support her?
· Mary has moments with both of the love interests, Peter and Joseph; who will she choose? She and Peter share a tender moment outside the church on Christmas eve when they find their lost daughter. Following scene has Joseph proposing one last time…has Mary made up her mind? The camera freezes on her face prior to her answering the question. Fade out. Fade up to “One year later”, we see Mary’s kitchen decorated for Christmas and see Uncle Billy drinking water from his bowl. Uncle Billy runs into the living room barking as Janie and Ruthie enter on Christmas morning. Mary comes downstairs and tells them to open just one present. Mary yells up the stairs, “Come on or we’re going to start without you!” A surprise…is it Peter, Joseph, or someone else?
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Cameron Martin’s Rules!
What I learned doing this assignment is…This is a useful checklist, especially when I can’t get away with outlining my story on pure cinema or avoiding dialogue like it’s the plague. I knew I had some strengths in writing action, but the first script I wrote did suffer from breaking a couple of these rules, particularly rule 5. I based a lot of my decisions for the script in this course off of how Genndy Tartakovsky made the first season of PRIMAL, so that I could more easily promote my strengths and avoid where I’ve struggled. In the end, I think it actually helped me in adhering to a lot of these rules, because so much of what I wanted to do was dependent on what can be followed on film without explanation. Tony from the YouTube channel “Every Frame a Painting” does a great job talking about this as well with his essay on Akira Kurosawa.
Rule 5 – I haven’t really written a lot of my final act, outside of three scenes. One is a standard 3rd act horror scene, an assignment from the Horror course. The other two are about the bronchoscopy, in which Sully gives a monologue about a cat, which is a metaphorical story about his mother and what she was willing to sacrifice for Isaiah. No on-the-nose dialogue there. The other scene may have one (“You did this”). Beyond that, the action informs most of the story’s meaning. This was intentional from the beginning, however, because I came into this program with paltry talents in dialogue. My philosophy coming into this was the less dialogue, the better. Thill, this is a wonderful rule to keep in mind when outlining a story.
Rule 6 – The setting for this film was pretty limited by the inevitability of the action of this film, which is Isaiah being infected and needing to be treated. The best place for that is going to be a medical center based solely on the specific medical equipment needed. This setting works well due to its mirroring of a similar scene in the first act, that takes place in the colony’s medical center. In the first act, Sully dismisses Isaiah, and Isaiah refuses to listen to anything his dad says. It’s not an unfamiliar or uncommon relationship between a child and parent, but it does stand in contrast to the ending where Sully is present with Isaiah and Isaiah listens to his dad and faces his greatest anxieties in the process. What will need to be efforted between these two scenes are the actions between the two characters and the reason behind their shared conflict. The setup in the first act will help make the payoff in the third act more powerful.
Rule 7 – What’s been set up are that Isaiah is infected, the bunker full of alien hosts have been released, and the passenger ship of conscripted exterminators has arrived to kill everything caught outside the bunker. That’s three things right there. Beyond the setup and blocking action, a handful of other twists that occur from a structural standpoint can come from Isaiah being carried by his dad, to Sully asking Isaiah to carry him (metaphorically), to Sully treating Isaiah, to the exterminators breaking in and corning Sully and Isaiah, to the exterminators turning on the Hegemony.
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DEV ROSS – DAY 6 – RULES!
What I learned is by continuing to challenge my story with each new lesson, I find something. It might just be one line of dialogue or the discovery that I have a scene in the wrong place. But each time makes me dig deeper into character, strengthen motive, and more clearly define intentions.
RULE 5 – Don’t go on the nose:
In the beginning of my third act, I currently have a scene where Lincoln drives his wife, Nubia, home from the hospital after a miscarriage. At first my dialogue reflected her hurt and blame, and his contriteness and sorrow. That is still there but these feelings are now revealed by their discussion about going to church.
RULE 6 – The climax must be set in the quintessential location for the conflict.
To this end, I re-thought about having their final confrontation take place in an old, abandoned cotton mill. I placed them back at a rally – as in the beginning – but it didn’t have the one on one, stuck with each other with no way out feel. I also tried the old tried and true warehouse but that was just too easy and too familiar. Under a bridge, tearing through their city of haves and have nots. None of these resonated. I went back to the mill and found it did all the more. Our country built on cotton and, often, on the backs of the blacks. The mill abandoned like so much of what America once was. The desolation of that past, the poverty of mind, spirit and body it left behind. Staying with Cotton mill.
RULE 7 – Must keep us guessing to the very end.
1. I have Lincoln appear open to talking their conflict out.
2. Will the building collapse before they resolve their problem?
3. Clay appears to soften and want another way out.
4. Cops bearing down on them…
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PS81 Day 6 (Writing Great Endings) Anita’s Rules
What I learned: This is a good lesson with reminders – especially not to be too on-the-nose. In the past I have probably had a tendency to lead my reader too much by the hand, and have really worked at sharpening my skills at handling suspense in this script. As I finish the last few scenes I still need to write to flesh out my third act, I will definitely be looking for ways to keep the reader / viewer engaged!
Fulfill the last three rules of Great Endings in the following methods:
RULE 5. Don’t go On-The-Nose.
Check the current version of your 3rd Act and tell us where you highlighted any on-the-nose dialogue or action.
I haven’t written all the scenes for my 3<sup>rd</sup> act. But there are two important courtroom scenes: One argued for a law that would ban abortions; and Danica’s argument against this law. It is too easy to be trite or on-the-nose in these scenes, and I will revisit each of them.
One other place I have reconsidered at the very end:
Harley walks in, smiling, fresh as a daisy.
Danica is stunned silent. This is obviously her daughter, as they practically look like sisters.
I could possibly have Harley look nothing like Danica… but then I would have to make it dawn on Danica who she is…. And this would also diffuse the unstated but important point that her daughter mirrors herself.
RULE 6. The climax of the movie must be set in the quintessential location for the conflict.
Brainstorm possible locations for the best setting for your climax. Show us your list of possibilities and tell us which you’ve picked.
As I mentioned, I’ve already written this scene and it takes place in a hospital room like the one in the open where Danica gives birth. I think this is strong, and the following options – while plausible – seem weaker to me.
OPTIONS: Danica and Harley meet for the first time in a neutral setting like a coffee shop. They meet at Harley’s place of work (Lab) where she divulges she has been tracking Danica and Cyrus.
RULE 7. Must keep us guessing to the very end. Tell us at least three things you’ll do to keep us guessing to the end.
1) Danica’s boss tells her she is being put on furlough until (A) her health is better; and (B) She must resolve her situation with Harley, i.e. – meet with her.
2) Danica collapses on her way to meet Harley.
3) Cyrus is hit by a car, but we don’t know who is driving.
4) It is Danica, not Cyrus who wakes in the hospital – having received a new kidney.
5) Harley arrives to meet her mother and lets it be known that she was the one that killed Cyrus.
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June Fortunato’s RULES Day 6 of endings for Retirement
What I learned: Excellent advice to be aware of as I write my third act. I’d thought it should be payback after payback, but this is more complex, and helpful.
RULE 5. Don’t go On-The-Nose.
Third act isn’t fully written. I’ve combed through my script twice in the last two days- rearranged scenes, wrote short interstitials. But after looking at this assignment once again, I decided to write my third act. We haven’t written scenes for a week-and I don’t know if anyone else has a complete draft- but I’m on page 103, and still trying to get the best possible bang for my pages. Having revised several times, I edited out anything that smacks of on-the-nose- mostly in Roy’s emotional telling of how he got his war medal.
RULE 6. The climax of the movie must be set in the quintessential location for the conflict.
Retirement is about finding home, defining home.
I considered the hospital, which occupies much of the screenplay, but that isn’t right.
I considered Marilyn’s home but I will twist expectations and Roy and Kim will not land there.
It has to be Kim’s home. I considered the rooftop, and am still considering it.
RULE 7. Must keep us guessing to the very end.
I am setting up how Kim will win her house and her inheritance, and what exactly will happen to her brother and Ingrid. How Roy will win Kim’s heart permanently. What will happen to the dogs and to Marilyn.
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The Life of Pirate written by anna Harper
What I learned from this assignment; It was challenging to tell a difficult story without being on the nose. I hope I have woven enough humor with the boy’s antics and the dogs to cushion the difficult nature of the story.
Act 3
Largely based on real events
The Cuckoo’s Nest
Police reveal to a horrified Sophie, that one of her boys has been selling drugs in town. He was caught out by an undercover policeman. Worse he has been giving cocaine to Chris who is still very ill from septicemia. Sophie attends at the police station. RULE 5
not sure if this is too on the nose.
(This is a late at night surprise visit to the farm from the police, lights, and sirens.
Sophie has some trust built with the young boy questioned at the police station. (Another boy she found on the street) He reveals that a drug gang member (from London) has taken up residence in his mother’s flat, he uses the flat as a base to lure other teens into dealing drugs.
The mother is on welfare and not doing well. She neglects her son; he was taken away by the child protection, he ran away, ended up on the streets, and was recruited by the Cuckoo.
(location the local police station)
Colin comes to the rescue devising a plan with his former colleagues to ensnare the drug pimp and use him in exchange for a ‘deal’ to catch others playing the “Cuckoo” game. RULE 5 (Could be on the nose however I am choosing to take this risk.)
Alfie and Pirate are on hand when the Cuckoo tries to escape. The dogs take him down and scare the living daylights out of him. (Could be cliche, however, I think the audience will be cheering for the dogs,)
(location local park at night)
Chris has a relapse and almost dies. Pirate finds him on the floor and barks his head off to get help for Chris.
( location at the farm, in the horse barn) RULE 5 may be too on the nose
(location Colin’s place is a Cornish fisherman’s cottage on the seafront)
Sophie is ready to give up, maybe her ideas are useless, maybe she doesn’t have the chops. She is exhausted.
Sophie uses Colin’s shoulder to cry on. She suggests they go away together.
(moving from ambivalence to a serious relationship)
On her walk into town, she sees what looks like a pile of garbage bags moving. It’s another boy, with a garbage bag of his clothes (dressed from head to foot in hot weather in black) collapsed in a heap. RULE 5 Too on the nose
(location outside up a cobbled side street, beside an upscale coffee shop)
He is covered in bites from bed bugs at the shelter, half-starved, and delirious from dehydration. Sophie calls an ambulance.
Then Sophie calls Colin on her cell to come and get her. She sits on an ancient church wall and weeps as the ambulance drives off. RULE 5 too on the nose
Location Farm kitchen
Sophie is feeling the strain, she has an emergency meeting with the boys and opts to turn the farm over to the boys, turn it into a co-op farm, with a couple of hired hands/drug counselors helping out. The boys express regret, and secretly enjoy the prospect of agency and more freedom.
SHOT
Sophie and Colin walk along the canal bank to a barge.
The location is a tree-lined canal with a Dutch barge waiting. It is decorated gypsy style.
Dylan and Alfie head back on the train to Lyme Regis village. Alfie tells Dylan he wants to complete his search for the last of his littermates, Cocoa.
MONTAGE of happy scenes with the boys at the farm, riding the horses, feeding the chickens, wheelbarrow races, the boys doing responsible things cooking and cleaning, a scene of burning the dinner, music practice in the barn, the pigs run off down the road, and Pirate catches the boys trying to leave at night and chases them back. FINAL MONTAGE SHOT of a young person sleeping on the town street passed out, it’s raining, he is under a shop doorway with his legs protruding into the rain. He is oblivious, people walk by. Street musicians stop singing and leave the scene. People leave the supermarket with bags of groceries. RULE 5 (could be on the nose, will take the risk)
CUT TO
Sophie and Colin are chilling on the beautiful boat deck, chugging along the canal waterway, and drinking martinis. She looks at Colin and BEAT
SOPHIE
I just have to have a quick call and see if they haven’t burned the place down yet. Picks up her cell phone. I can’t stand not knowing what they are up to.
COLIN
Here we go again.
Final shot
CUT TO
Dylan’s cottage kitchen. (from Silent Night)
Alfie and Dylan are looking at the computer.
DYLAN
I’ve found Cocoa.
FINAL LOCATION CHOICES For Sophie and Colin. Thought about typical cliche locations, Spain, France, Portugal. Thought about extreme locations like Patagonia or an elephant sanctuary.
Discarded extreme locations as Sophie is exhausted, not feasible. Everyone escapes to tourist destinations like Spain etc. and decided on the canal boat as more unique.
3 Things that keep them guessing the third Act
What will Sophie do? Will she stay, will she go, will she come back?
What will happen to Colin and Sophie’s arm’s length relationship?
What will the boys do, and how will they make out with the new developments? Will they learn anything?
Will Dylan and Alfie find Cocoa?
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PS81 – Dana’s Rules
What I learned Doing This Assignment
There’s no such thing as a bad idea when you’re brainstorming. It forced me to open my imagination to find an alternative idea, however outlandish, which lead to a breakthrough ending I never considered.
I intend to blend two of the brainstorming idea locations, one for the end of Act 1 and another for the climax.
RULE #5: Don’t Go On-The-Nose
I found several places in the final dialogue between characters where my protagonist repeated the same line or expressed the same sentiment with different words. I need to improve the dialogue by expressing the meaning of the scene with less lines tighter dialogue.
RULE #6: Quintessential Location
My story takes place in a radio station with the protagonist and antagonist doing battle on over the radio. The final scene is, therefore, limited to the on-air studio. But the anterior characters (police), during this battle, search for the antagonist’s location, which I brainstorm for this assignment.
Possible Location for Protagonist:
Abandoned warehouse
Home basement
Abandoned shipyard
Rail yard
Sex Dungeon
Cemetery maintenance shack
Animal shelter
CHOSEN LOCATIONS: 1) Quonset hut/shipyard and 2) Home basement/sex dungeon
RULE #7: Keep Audience Guessing
The protagonist’s plan to recruit one of the caller’s personalities backfires when he sides with the antagonist personality. How then does she save her family?
The police learn the antagonist’s location, but it’s a race against time. Does the protagonist wait for the police, or does she deal with the antagonist in her own way?
At the final moment, the gun fires, and the call drops. For a long silent moment, no knows the outcome until the lead detective burst into the studio to inform the protagonist she succeeded.
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DEV ROSS – DAY 6 – FINAL PAGE
What I learned – again – is that by applying these different types of endings, my story’s ending went through enormous changes. Not sure if what I have now will stay but it’s a strong start and a commitment now to the story that will ultimately reach this ending.
A. The Setup / Payoff final page.
– In the opening, I have Adam Spencer come on as the possible antagonist. He really isn’t. But by setting up that he wants to be the next WHITE LEADER – because the new must replace the old. Clay doing everything he can though-out the story to prevent that. However, on the last page we realize that everything Clay has done has completely enabled Spencer to become the President of the United States.
B. The Contrast final page.
– Set up that Lincoln wants to resolve problem peacefully and gets Clay to agree. Emmy shows up and accuses her father of killing her mother. When Clay can’t excuse his way out of it – SHE DIDN’T BELIEVE IN ME, Emmy goes off on her father and he kills her. Lincoln kills Clay.
C. The Climax/Resolution final page.
– I believe that would happen after both Clay and Lincoln have killed each other. We think there will be a new strand created, a world of peace and it is. But then another strand evolves, one where Adam Spencer is in power.
D. The “Something good is going to come out of this mess” final page.
– This would resolve with both men killing each other. By this act, the next strand is able to evolve – and that is a world devoid of racial hatred.
E. The “One last gesture” final page.
– Emmy finds Eli at her house. He’s looking for Clay. Eli discovers that she’s alone. His Grandmother says she can stay with them. Emmy’s father did a good thing for Eli, now she’ll do something for his daughter.
F. The Shock final page
– After discovering her mother’s body, Emmy tracks down her father and kills him before Lincoln can. The police show up and kill Lincoln because they think she’s threatening Emmy. This produces Spencer’s world.
LAST PAGE:
INT. ABANDONED COTTON MILL – CONTINUOUS
With the SHIMMERS quickening, and the building shedding pieces of itself, Clay and Lincoln appear and disappear all over the mill. Their shouts become disembodied, broken up, elongated until they become a sound miasma – all while firing upon one another as they appear, disappear along with the SHIMMERS.
A huge, multi-colored SHIMMER passes, leaving the men facing each other like gunfighters. Then–
Lincoln suddenly regains a piece of his old self, looks at the gun in his hand as if seeing it for the first time.
LINCOLN
No… It shouldn’t end this way.
Clay shows nothing.
CLAY
It’s the only way.
Lincoln claws back at who he once was…
LINCOLN
Did you know my father was white?
Lincoln just put a claw into Clay, who steps back, suddenly out of balance.
CLAY
You’re still black.
LINCOLN
I hated him.
CLAY
I hated mine.
LINCOLN
Maybe we have more in common than you’re willing to admit.
CRACK! The cotton mill continues its slow breakdown.
CLAY
Nothing’s changed.
LINCOLN
I’ve got to hand it to you. I’m wavering here but not you.
But for a second Clay does. Lincoln sees that — and the SHIMMER that’s kicking up. Not about to lose the chance that might be his last, he fires! The SHIMMER washes over them, slowing his bullets — BAAAAM! BAAAAM. In that time, Clay fires too. BAAAAM! BAAAAM!
The SLO-MO bullets head to each other through the prolonged SHIMMER. Finally, they strike their targets, first Clay, second Lincoln.
A beat then…
Both men sink to their knees, doing so simultaneously, a mirrored image of each other.
A tide of SHIMMERS passes over the two who become one — their faces changing into each other over and over until a single body falls face first – smack into the warehouse floor. In the shadows and darkness, it’s impossible to tell which man it is.
EXT. SPACE
The multi-verse strands resonate like harp strings as the two damaged strands vibrate faster and faster until they are wholly merged and become one…
EXT. EVERYTOWN NEIGHBORHOOD – DAY
A beautiful blend of Clay’s and Lincoln’s neighborhoods only bathed in vivid color.
Emmy and her BLACK HUSBAND stroll with their baby passed an array of different kinds of people, all who express warm greetings.
MRS. ROCHE (Eli’s Grandmother) stops to admire the baby.
MRS. ROCHE
What a beautiful baby boy! What’s his name?
Emmy smiles.
EMMY
Eli.
MRS. ROCHE
Eli? Well, congratulations you two.
As the couple thanks her and moves on…
EXT. SPACE – ON STRINGS
The multi-verse strands stir until they’re humming and vibrating at such a force, in a burst of light they give birth to a new string…
INT. WHITE HOUSE PRESS ROOM – DAY
A crowded room of reporters wait anxiously as the White House’s Press Secretary, former White Supremacist leader Adam Spencer, steps to the podium.
ADAM SPENCER
Good morning, everyone. Naturally, the President has anticipated your questions over her sudden policy changes, so please, allow me to address your concerns… excuse me, questions.
And as reporters fire questions, Adam Spencer can’t help but smile his perfect school-boy smile…
FADE OUT:
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KATES RULES
What I learned doing this assignment is.. I haven’t actually written it all yet. I need to sharpen the conflict and make the goals harder to reach, less sure until the very end
RULE 5. Scenes to be on the look out for ON THE NOSE:
I haven’t actually written it all yet.. so this is a great heads up as I piece it together for the end.
• Luciana Tells Nia what really happened between her and Amahla into the flashback scene
• Coming up with the play idea
• What is said after the Desdemona scene
• Nia and Darroghs last meeting
RULE 6. The climax of the movie location for the conflict.
The live play (revealing all) is held IN THE FIELD where the bull dozers wait to begin development. Nia with her troupe and the local community – Darrough in the audience
There is no other place…
RULE 7. Must keep us guessing to the very end.
Tell us at least three things you’ll do to keep us guessing to the end.
1) Will the play actually happen?
due to weather, D not wanting to come, Nia getting old feet.
2) Bill pulls a gun on Nia and Luciana (A whole new idea….)
3) her goal of having a loving Father depends on how he takes the revelations in the play we don’t know that til the 2nd last scene of the play – it could go either way
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Day 6 – Rules for a Great Ending – Assignment
Mike O – Rules
What I learned doing this is the possibilities are predetermined by what you set up in the first two acts, you need to have a plan, a predetermined goal. The ‘things’ and inspiration that comes with the writing out the scenes will add to it because you have an outline, a framework to keep you from ‘wandering’
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Fulfill the last three rules of Great Endings in the following methods:
RULE 5. Don’t go On-The-Nose. — Check the current version of your 3rd Act and tell us where you highlighted any on-the-nose dialogue or action.
I am changing it from a Happy and too predictable/formulated ending to an Ironic ending. So Tarek, the love interest’s medical emergency happening in Chicago when he flew in to see Brooklyn and surprise her is being rewritten. Tarek is going to have the ruptured Appendix at his cabin, preventing him from surprising Brooklyn… TWIST. Also, when Brooklyn goes to see Tarek at the hospital, she sees Beth, his old flame, leaving his room. She goes in and tells Tarek, he should spend Xmas eve with Beth, and then Xmas morning with her and make a decision. He argues there is no decision to make, I have chosen. Then that is something you need to convey to Beth in person and in a way that doesn’t destroy Christmas for her. Tarek relents, understands.
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RULE 6. The climax of the movie must be set in the quintessential location for the conflict. — Brainstorm possible locations for the best setting for your climax. Show us your list of possibilities and tell us which you’ve picked.
1. The café where she first came to town and had lunch
2. The sidewalk outside the ruins of the art gallery (too on the nose)
3. Veneration – the restaurant and bar where Brooklyn met Tarek for dinner and saw who and what he was.
* Given the symbolism, the quintessential location is Veneration. After all, it’s where Brook says to Carolyn after she shows Richards the photos and sheriff arrests Richard, “Schooled him on his own playground.” Earlier Brooklyn says to herself at the restaurant watching Richard flirt, “I’m in Casanova’s playground.”
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RULE 7. Must keep us guessing to the very end. — Tell us at least three things you’ll do to keep us guessing to the end.
1. Brooklyn tells her love interest (Tarek) to spend Christmas eve with Beth (his old girl friend) then Christmas with her. He has to decide, she won’t be a consolation prize. Brooklyn tells Tarek, “She came here, brought you flowers. She obviously cares, you need to be honest with her and with yourself. Go, have your pot roast and spend the evening with her. Christmas morning, you’re welcome to come by my place.
2. Brooklyn is not sure she will stay in Evergreen now that the Gallery has been destroyed. Her legacy, her tie to her father is gone. The house is just that without a family…. Again, hinges on Tarek and his boys…
3. Carolyn and her family are staying at the cabin with Brooklyn. She sees the cabin is meant for a family, not one person….Carolyn asks Brook if she’s staying or coming back to Chicago. Brooklyn says, “It depends, just depends…. Carolyn WINKS mouths: he’ll come for you. Love finds a way.”
4. Carolyn’s son, Tommy, stands at the window, says: “There’s a big four-by-four coming up the road.”
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Matthew Frendo’s Rules!
WHAT I LEARNED: I learned 3 more rules to make an ending great. This will help me make more emotional and engaging endings to future scripts!
RULE 5. Don’t go On-The-Nose.
Much of my third act isn’t completely done. However, I did find one section where Alicia explains why she can’t fight with friends anymore. I’m going to take that out and fill it with silent subtext through action instead.
RULE 6. The climax of the movie must be set in the quintessential
location for the conflict.Since it’s at an abandoned circus:
animal cages
big top
strong man room
oddities tent
clown car
clown dressing room
hall of mirrors
I picked hall of mirrors. Since the main character is fighting her trauma at the end, this will symbolize how that trauma makes her see reality and truth in a warped way.
RULE 7. Must keep us guessing to the very end.
Have protagonist break down into panic attack during final battle
Have antagonist ruthlessly psychologically damage her while also physically damaging her
Have antagonist lock her up with him, away from her friends and helpers, during battle
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