Day 9 Assignments

[Rachel Barrett]

What I learned:

That I would sooner swim piranha-infested waters dressed as a meatloaf, than post this for all to see when it still feels so unready and inconsistent.

But, the accountability to post and keep up with the assignments is part of the empowerment, for me. I’ll get there, one day… Big picture, then quality, big picture, then quality…

Rachel’s Act 1 Opening Scenes

FADE IN:

EXT. CEMETERY – DAY

CLOSE ON:

A horse’s flank, branded with 4 L’s back to back. Together the 4 L’s form a kind of cross.

The horse stands tied to a fence with others.

Beyond them:

Real crosses. Lots of them. A cemetery, mountains in the distance.

FOLKS gathered about one cross that looks awfully fresh. Carved in the cross-arm:

Clayton Leidy

1855-1900

Beloved husband and father.

A grizzled PREACHER intones from a Bible.

PREACHER

Ashes to ashes, dust to dust…

Near the head of the grave:

VICTORIA LEIDY (33), wearing black. She listens to the preacher and holds herself ramrod straight. She isn’t crying, not in front of people. But there are cracks in her surface.

Vic has her arm around SARAH LEIDY (16), who is openly crying. Wears her heart on her sleeve. Also dressed in black but her clothes are finer, tailored. She’s too old to be Vic’s daughter.

The preacher keeps reading. (Insert words)

Gathered are family, faces we don’t know yet but will:

JOHN LEIDY (50), straitlaced oldest of the Leidy brothers, with his wife RENA (50), both weathered by grief. Rena quietly grips Vic’s other arm.

WADE LEIDY (38) and his pregnant wife JEAN (34).

DAVE LEIDY (29), footloose prankster. No wife here.

And ELEANOR LEIDY (68), the matriarch and glue who holds this family together. Her husband’s grave is just the other side of Clayton’s. Arm around Dave, she is bowed with sorrow.

The funeral ends, and they all sadly disperse. Vic and Sarah stand alone.

As soon as the eyes are off them, Sarah pulls from under Vic’s arm.

Vic reaches out.

VIC

Sarah-

But Sarah gives Vic a hostile glare, turns her back and stalks away.

Vic braces herself and follows.

Beyond where the tied horses were, a team and wagon. Sarah climbs up to the high seat.

Vic unties the team. Finds an excuse to stay there, straightening the reins, so she doesn’t have to join Sarah.

Beside them, having lingered, John unties his horse.

JOHN

(quietly)

Want me to drive you?

Vic shakes her head. She climbs up in the wagon and snaps the reins without looking at Sarah.

EXT. WAGON ROAD

Dry countryside surrounds them. Vic lets the team poke along. She and Sarah don’t talk.

The silence grows deafening.

VIC

Sure is dry this summer.

No reply.

VIC

(finally)

Listen, while you were at school-

SARAH

I can’t wait to see my rose bushes.

Vic looks away, guilty.

VIC

Like I said, things are… different.

SARAH

Different, how?

VIC

It won’t look the same. Like you remember. We…

(deep breath)

We had to sell most of the horses. Now, not all of ‘em, but-

SARAH

Why?

VIC

You see any grass out there?

Sharp words hang in the quiet. Vic tries again.

VIC

Things’ll be tough, but we’ll make it.

SARAH

I should have known.

They drive on in stony silence.

EXT. RANCH

The home ranch: weathered old barn, dusty corrals, and a big rambling house.

Vic and Sarah drive into the yard. Sarah’s eyes fix on the house, and swiftly turn hostile.

At the shaded porch, a line of rosebushes…long dead.

Without a word Vic jumps down to unharness. A ranch hand comes out of the barn and helps.

Sarah is dragging a hefty suitcase from the wagon bed. Vic grabs another and they walk to the house, a gulf between them.

Vic stops short.

In the shadows of the porch, there’s a MAN. He’s 45, a city dude if there ever was one, neat suit without so much as a wrinkle.

He sits in a porch swing, petting a collie dog with her head in his lap, and looking far too at home.

VIC

Can I help you?

The man stands and meets them in the yard as the dog runs down to greet Sarah.

Vic faces the man as he sticks his hand out.

MAN

Good morning, Mrs. Leidy. Might I introduce myself. I represent the Drummond Land and Cattle company out of Salt River. I wondered if I might…

He retracts his hand when Vic just stares him down.

MAN

That is, well, I represent investors who would be most interested to discuss an arrangement to the mutual gratification of both parties-

VIC

No thank you.

MAN

(following)

Mrs. Leidy, they are prepared to make a more than generous offer, considering your tragic loss-

Vic wheels on him as Sarah watches.

VIC

My husband isn’t even cold in the ground. Tell your buzzards they can find some other bones to fight over. We aren’t selling.

MAN

“We”?

VIC

My daughter and I are staying here.

His eyes range from her over to Sarah, whose lip curls at the word ‘daughter’, and back again.

Out in the yard, John and Dave ride up. Wade and the rest of the women follow in a buggy.

VIC

If you don’t mind…

The man doffs his hat politely to them.

MAN

Good day, ma’am. Miss.

Vic stands next to Sarah, watching as the man strolls out of the yard.

SARAH

You might have at least heard him out.

VIC

Here we go again.

SARAH

Oh, it’s my fault you can’t so much as be polite?

VIC

You haven’t been home two hours. What do you want me to do, sell this place out from under you? From us?

Sarah breaks away, picks up her suitcase, and goes up the steps into the house. The door slams.

Vic sighs in despair. The collie dog comes up to her and she pets it.

VIC

<div style=”text-align: center;”>Some guard dog.</div>

To be continued…

[Tara Cowell-Plain]

I learned that tools make a huge difference in writing, understanding the intention behind every piece of the script is liberating.

OPENING:

INT. MOTHER’S HOUSE – DAY

KAYLA (38), beautiful in a hearty, simple way, on the phone as she pulls a roast out of the oven.

KAYLA

Bob, I understand and I know how busy you are, I wouldn’t ask .. But it’s for my Mom.

MOM (V.O.)

Kayla!

KAYLA

Oh, I gotta go

(listens)

Thank you!! I so appreciate it. Ok have a great night.

The door bell rings.

KAYLA

(to bedroom)

Coming!

Kayla races to the door, it’s FATHER REGAN, (70’s), sweet, wise eyes and calm demeanor, big smile.

KAYLA

Hi Father, come in. How are you?

FATHER REGAN

Fine, lovely Kayla, how are you?

KAYLA

I’m great, come in. Mom called out, follow me.

She walks toward the bedroom, the father follows.

FATHER REGAN

How is your beautiful mother?

KAYLA

Today is a good day.

INT. BEDROOM – CONTINUOUS

CATHERINE, 70, lies in a hospital bed, all the vanity of a true beauty in her day.

CATHERINE

Father Regan, how wonderful to see you!

FATHER REGAN

And you Catherine! You’re looking as fine as a peach.

CATHERINE

(big laugh)

Finally, someone to flirt with!

FATHER REGAN

Watch my heart, I’m an old man now.

CATHERINE

Would you like some tea? Kayla?

KAYLA

Sure, and you, Mom?

CATHERINE

Thank you my darling girl. Father, I would be lost without my Kayla. She is truly heaven sent.

Catherine suddenly looks teary.

FATHER REGAN

That she is.

Kayla laps up the praise, smiles beautifically.

KAYLA

I’ll get the tea.

EXT. MOTHER’S HOUSE – LATER

Father Regan stands by his car.

FATHER REGAN

I wish you’d let me call the driving club, really Kayla.

Reveal Kayla standing up, greasy, with a tire iron in hand.

KAYLA

That’s ok Father.. They take so long and I’m handy.

FATHER REGAN

I see that. Thank you!!

KAYLA

You’re most welcome. I so appreciate your visits. Mom is so uplifted by them.

FATHER REGAN

Your mother has always been irrepressible.

Kayla smiles sadly.

FATHER REGAN

How are you doing my dear?

KAYLA

Me? I’m fine.

FATHER REGAN

Have you considered what you’ll do after .. afterward?

KAYLA

Afterward?

FATHER REGAN

Life is for the living sweet Kayla. The time will come you know and I worry about you when it does.

KAYLA

I can’t think about that Father.

Kayla’s eyes are big as saucers.

FATHER REGAN

I’m here for you too.

He gives her a big hug.

ANTAGONIST INTRO:

INT. JAIL – WARDEN’S OFFICE – DAY

Kayla sits in a low chair facing the massive, antique oak desk of WARDEN BOX, 50’s, ex-football player, ever ready to tackle.

WARDEN BOX

So, you got your degree online?

KAYLA

Yes, I had to look after my Mom, so it worked out.

WARDEN BOX

The father is a good friend but this is a tough place. Think you can handle it?

KAYLA

I’m willing to try.

Warden humpfs.

WARDEN BOX

We just started hiring social workers. You’re the second.

KAYLA

Ah.

WARDEN BOX

I don’t like ‘em.

KAYLA

Why is that?

WARDEN BOX

If jail starts feeling like a resort, where’s the deterrent?

KAYLA

Right.

WARDEN BOX

Consequences. That’s what the law is all about. Are you going to be some long lost mother to these guys? I want them desperate to get out and never come back.

KAYLA

I’m-

WARDEN BOX

Don’t sweet talk me. And don’t sweet talk them either. Life is hard, and much harder if you don’t play by the rules, that’s the social work I want you to do. Got me?

KAYLA

I think so.

JOHN, 40’s, the first social worker hired, and been here too long, enters.

WARDEN BOX

John, meet Kayla. Newbie, show her the ropes.

JOHN

Will do.

WARDEN BOX

She’s scary innocent. Make sure she doesnt’ get killed.

Kayla laughs. The warden and John stare at her.

WARDEN BOX

I mean it, don’t get killed.

KAYLA

Yes sir.

[Joe Donato]

I learned that this formula is actually working! My characters are not nearly as intriguing as Elle or Trinity, but I do think I’ve set them up the way they need to be set up. I know this is a different kind of movie, which relies on minimalist reveals for the antagonist in the first half to develop the intrigue, and I want a mix of the love/hate of both characters, and I’m happy that I’m hitting on the theme, and I like the dialogue dynamic between the husband and wife, and I launched into the conflict by page 3, which I think is first for me, so I’m thrilled about all that…

ACT 1 SCENE 1

OUTLINE:

1 – INT. PERSONAL GARAGE

– An unidentified male passionately does techy stuff so that we see that he can control an electric car remotely with a phone app.

2 – EXT. MIDWEST GAS STATION

– The couple argues about something petty in the grand scheme of things, revealing that they are driving cross-country to California starting their early retirement. They made it past beautiful Colarado and are now entering the Nevada desert.

– The wife finds something unacceptable about the husband’s plans as they gas up their RV.

– Husband, annoyed pulls out and almost hits a teenager on a moped as they pull out onto the highway.

– The modern-looking car follows them.

SCENE:

FADE IN

INT. PERSONAL GARAGE – DAY

Young male hands meticulously wire together modern-looking components on a tiny motherboard.

Same hands feverishly typing code into laptop, Tony-Stark style.

Same hands attaching components under the hood of a car.

Iphone in foreground opening up an App and pushing START on app. In background, the modern-looking car comes to life.

INT. GAS STATION IN WESTERN COLORADO – DAY

CHUCK, middle aged, balding, a little overweight but not obese, exits the gas station. He courteously holds the door open for his WIFE who exits slowly, looking around.

As soon as she’s in the frame, he lets it go. She catches it before it hits her.

He heads to an RV at the pump and starts pumping gas.

She looks at the Colorado mountains in the distance, then turns and looks at the impending road into the desert ahead of them.

WIFE (TO HERSELF)

Goodbye paradise. Hello wastelands.

CHUCK

I’m telling you, $100 is more than enough to get us across the desert.

WIFE

As if filling it up will hurt?

CHUCK

But then I gotta dig into the reserve travel cash which is packed away in the trunk, and that’s gonna cut more time, so again, is it worth the effort and the extra stress? No.

WIFE

But if it makes your wife feel safer, is that such a bad thing?

Chuch groans

WIFE

So now I’m not worthy of a response?

CHUCK

Again, what are we stupid college kids? Do the math, trust science, we’re gonna get to California just fine. I made it this far didn’t I?

WIFE

If this is how you want to start your retirement, I don’t get the point of starting early.

She gets in RV and slams the door.

CHUCK (TO HIMSELF)

I wanted a different kind of stress, you know, for variety.

INTERCUT BETWEEN CAB OF RV AND EXTERIOR PARKING LOT

Chuck climbs into his cockpit and slams the door, all smiles.

WIFE

Look I don’t want to argue.

CHUCK

When we ran the numbers, we did it based on mileage, which is a different number than tank fill-ups isnt it? Next time we can do it your way if you like and calculate tank fill-ups. Besides ff gas is cheaper in California, you’ll be thanking me.

WIFE

And if its more expensive we can compensate by taking the surplus out of your precious exotic jerky fund.

CHUCK

That’s a pretty warped example of trickle-down economics, but ok fine, I’ll take that gamble.

He pulls off in haste, and almost hits a teenager on a moped driving into the lot. Wife SHREAKS.

CHUCK

(continuing; to teenager)

Sorry!

(to himself)

Stupid kids.

The teenager gives him the finger and walks off.

WIFE

He didn’t see you coming.

CHUCK

How can he not see me, I’m like 10 times bigger than him, what was he on his phone?

WIFE

Did you have the right of way?

CHUCK

If you’re in the forest and there’s a bear standing in the trail, who has the right of way? all I know is when I was his age, the bears had the right of way.

As the RV gets on the driveway and they continue to squabble, a modern looking electric car pulls out from behind the gas station and casually follows them.

END SCENE

[Will Keightley]

WILL’S ACT 1: OPENING SCENES

It helps me to remember that each scene is its own structural entity. A good thing to keep in mind as I build each one out.

—– SCENE ONE: ANTAGONIST INTRO —–

BEATSHEET VERSION:

EXT. INT. ANDERSON HOMESTEAD – COLD OPEN – NIGHT

ANTOINE comes to a Homestead and finds four freshly killed bodies. Intro JEAN CAYATTE who has just escaped from a century of imprisonment. He poses the question, “Who will stop me from doing my bad stuff?”

EXPANDED VERSION:

Beginning: Antoine, who will soon be dead, arrives at a darkened homestead at night.
Middle: He enters, calling out for the occupants. He gets no answer. Then he finds out why: They’re all hanging from the rafters. Fresh blood still drips. Yet, incredibly, he’s not surprised for some reason. Then a mysterious voice in the darkness, an old enemy, the man (or thing) responsible for this butchery. Antoine and the mysterious person talk. They know each other. Antoine states the theme: BALANCE MUST BE PRESERVED. And the voice poses the question: WHO WILL STOP ME?
End: They fight. But we cut away before we see the clash.

EXT. WOODS – NIGHT EXT. ANDERSON HOMESTEAD – DUSK

A nearly-full moon casts everything silver and black. A LONE HORSEMAN rides. Not at full speed. A decent trot. There’s not real urgency, but there’s surely a reason for the nighttime travel.

He rides through an opening in the trees. Reins in to a stop.

EXT. HOMESTEAD – NIGHT

A moonlit clearing. An impressive two story home rises like hulk in the moonlight. A barn sits about forty yards away, doors closed.

A single, pale light burns in one of the upper windows. A tendril of smoke from the chimney. He regards the home.

His name is ANTOINE, thirties, lean. His eyes narrow beneath dark eyebrows. Is that the hint of a shine in them?

Antoine urges his horse forward, turning slightly to regard the barn. The flutter of restless animals inside. The anxious complaint of goats and cows. They’re reacting to something.

The light in the upper window goes dark.

EXT. HOMESTEAD – FRONT PORCH – NIGHT

Antoine slides off his horse. Silent. Listens. Stepping onto the porch, he pauses. The front door is open.

INT. HOMESTEAD

Antoine enters. Framed in the silvery doorway before he steps into total darkness.

ANTOINE (hint of French accent)
Hello? (beat)

Weary traveler. Looking for a place to sleep the night.

Another beat, then a match flares in Antoine’s hand, touching the wick of a lantern. The front room of the house glows. Antoine turns. Then stops. Almost imperceptibly, his jaw tightens.

.A HEAVY RAFTER

Spans the width of the room. Four figures hang from it. An OLD WOMAN, a YOUNGER WOMAN, and TWO BOYS. They’re not hanging by the neck, but by the hand. One of each of their (right) hands has been nailed to the wood.

Blood drips lazily to small pools on the floor.

This has happened recently.

He steps past the bodies to look up a STAIRWAY leading to the second floor. It ascends into inky darkness. He looks for a beat, then senses — someone is _behind him_.

He quietly pushes back his cloak, revealing a pearl-handled PISTOL at his hip. But he doesn’t touch that. His hand settles on the hilt of a sword.

On the back of that hand is a curious tattoo: a bisected circle, one half filled in with black.

Without turning:

ANTOINE
How long have you been out?

A voice answers him O.S. It’s not a healthy voice. It may have been human once, but it sounds rusty, sibilant, perhaps creaky with disuse.

VOICE
You know me?

ANTOINE

Only by reputation.

He tilts his head slightly, indicating the macabre display.

ANTOINE

And you have a signature.

VOICE

I wondered if any of you were left.

ANTOINE

We are many.

VOICE

I don’t believe you.

ANTOINE
You’ll learn. Soon enough. We’ve changed since then.

VOICE

So have I.

ANTOINE

Oh, yes? How?

He slides his blade slightly out of its sheath.

VOICE

We’ll sort this out later, make it about subtext.

ANTOINE

You kill me you’ll be dead within days.

VOICE

I’ll feast on you and anyone else who comes.

ANTOINE

We’ll stop you.

VOICE

And if I kill you all?

Antoine turns finally, and looks behind him. A tall shadow blocks the doorway. Impossible to see detail, let alone face. Low, very wide hat.

ANTOINE

Someone else will. That’s how it is.

VOICE

This is getting dumb. I’m talking to you at 20%.

ANTOINE

I agree. Am I leaving this house alive?

The figure’s eyes glow _yellow_. That’s all the answer Antoine needs.

Antoine hauls on his blade.

—– SCENE TWO: PROTAGINIST INTRO —–

BEATSHEET VERSION:

EXT. FOOLS GOLD SALOON – DAY

Wil helps Lauren sober up. He’s kind to her, which she appreciated. He’s looking for a place to spend the night, someplace hidden, adding mystery.

Beginning: Wil Tucker finds Lauren passed on in an alley.

Middle: She’s blitzed on Laudanum. She wakes when he checks her bottle. She tries to stand up, but can’t keep her BALANCE. Wil needs a hidden place to sleep for the night. She refuses to help him out, but then passes out again. He catches her.

End: A passerby sees him holding her and asks with what he mistakes for concern, “Is she dead?”

EXT. FOOL’S GOLD SALOON – ALLEY – DAY

A wagon with a broken wheel is parked behind the saloon, flanked by some moldering bales of hay and a couple wooden crates.

Wil emerges from the rear door of the saloon and looks around, spying…

.A PAIR OF WORN AND DIRTY SHOES

jutting out from the end of the wagon. The owner of those shoes is LAUREN KILKENNY. The rest of her attire matches the shoes, kept in check by a stained apron.

WIL

Uh, Ms. Kilkenny?

No response. He spots a small bottle next to her leg. He picks it up. It’s empty. A colorful label on the side reads, “LAUDANUM.”

Wil picks up the bottle and gives it a sniff. Reacts.

He nudges Lauren’s boot. She sits up like she’s been shocked. Wil jumps back, genuinely surprised.

WIL

Ms. Kilkenny. Forgive me for startling you.

Lauren focuses on him, which is a real effort. Her JET BLACK HAIR is pulled under a hat. What few strands have escaped are wet with sweat. Four days from turning 18, she’s soft and down-turned, like a plant that needs a glimmer of water and a splash of sunshine.

And she’s blitzed.

Wil touches the brim of his hat and gives her a smile. He’s about to speak when he hesitates and looks more closely at her.

There’s something interesting about her eyes–

LAUREN

What?

WIL

Uh, Miss Kilkenny, gentleman next door said you might–

He hesitates and leans closer, fascinated. Lauren recoils slightly. Wil smiles an apology.

WIL

Uh, said you might be able to assist a man looking or somewhere to bed down for the night.

LAUREN

I’m not a whore.

WIL

Somewhere discreet.

LAUREN

Why are you staring at me?

WIL

Forgive me. Your eyes–

Lauren looks away self consciously. In that moment, the sun catches her eyes and we see it– Her eyes are brown, but the left iris is marked with a SPLASH OF GOLD, which for a split moment, lights up like a candle.

Lauren doesn’t like the attention. She tries to jump down off the back of the cart. And passes out.

Wil catches her. Just barely. For an awkward moment, he stands there, holding her. He shakes her.

WIL

Ms. Kilkenny?

Nothing.

A WOMAN sees his predicament from the end of the alley. She hurries up to him.

WOMAN

Is she dead?

WIL

I don’t think so.

The woman straightens, disappointed.

WOMAN

Too bad.

She turns and walks out of the alley.