Lesson 13

[Benita Cullingford]

Benita Lesson 13. Act 2 begins

Reaction to T.P. scenes.

EXT. AVENUE – NIGHT

Marty opens the boot of his old Jowett and puts his (now heavier) holdall inside. He is about to close the boot, when –

MILKMAN

Morning.

The milk-float travels on past. Marty pushes his face lower in the boot and doesn’t acknowledge the cheery greeting.

Marty shuts the boot, unlocks the car and gets into the driver’s seat.

INT. MARTY’S KITCHEN – NIGHT

The door of the washing machine is fully open.

Marty stands in his underpants at the table. He squirts stain remover over traces of blood on his clothes and bundles them in the washing machine. He adds a soap tablet and glances up at the ceiling. No sound above from Mary. Marty quietly clicks the door shut, and switches the machine on.

Marty collapses onto a kitchen stool and sinks his head in his hands.

INT. BEDROOM – NIGHT

The luminous clock on Marty’s bedside table shows 3.15 a.m. Beside it is Marty’s glasses.

Marty, in his pyjamas, climbs cautiously into bed beside Mary. He lies on his back staring upwards with compressed lips.

Mary is facing away from Marty. Her eyes open, then shut again, and a slight smile hovers on her lips.

INT. UTILITY ROOM – DAY

Portuguese cleaning woman. LOURDES (56) part-fills a bucket in the large sink and lifts it out. She collects a mop and leaves the room.

INT. HALLWAY – DAY

Godwin is still lying dead on the floor. Congealed blood has spread across the floor.

Lourdes comes into the hall with her bucket and mop. She stops. She gasps out loud, retreats several paces and sits on the stairs. She lets go of the bucket and it topples over spilling water on the floor.

She sees the gun in Godwin’s hand. Her face ashen she hugs her stomach and rocks backwards and forwards. Recovering, she gets up. Her movements slow and deliberate, she walks into the study.

INT. STUDY – DAY

Lourdes opens the drinks cabinet and pours herself a glass of Brandy. She downs it in one smooth gulp. She then moves to a side table, picks up the handset and dials 999 on the landline phone.

LOURDES

What service, you say? … Which ever one right for someone shot dead.

[Douglas Booth]

Go Benita!!!!

[Douglas Booth]

Doug – Happy I got this next section started. I have more to figure out, concerning “old ways” vs “new ways” – but it feels like I’m at least 20% moving in the right direction!

DAY 13 – DEC 12, 2022

EXT. 409 EDGECOMBE APARTMENT BUILDING – DAY

An elegant pre-war Sugar Hill apartment house – steeped in history, perched high in “the Heights”, looking out to airliners taking off and landing at LaGuardia Airport, far to the east.

Nick takes a breath and enters the lobby. The CONCIERGE looks up from behind his desk.

NICK Bertie?

CONCIERGE That’s me!

NICK
Uh, Jerome asked me to swing by and

pick up some real estate papers for him.

CONCIERGE (looking briefly through

the drawers of his desk) Don’t have anything here.

NICK
No, sorry – Jerome told me to get

them from his apartment.
Nick hands the Concierge his new business card.

CONCIERGE You guys work together?

Nick nods. right?

CONCIERGE (CONT’D) Cool. 11-D. You’ll have the key,

NICK Of course.

CONCIERGE
Say “hi” to Jerome – I’ll be off by

the time he gets home.

INT. ELEVATOR
The 11th floor lights up. The door opens.

INT. HALLWAY

Nick looks – finds 11-D at the end of the hall. He tries the door. Of course it’s locked, but he had to try. Next, he ruins a couple of credit cards, trying to swipe open the door latch – but the deadbolt isn’t giving him any slack.

Well… there’s always the window at the end of the hall. Rats! But he’s gotta try.

EXT. BUILDING – FEATURING HALLWAY WINDOW

It’s on the side not facing the street or other apartments. Nick edges out onto a narrow ledge. Inching along… he’s startled by a pigeon bursting out from its nesting place, almost into his face.

And… there’s the window to Jerome’s kitchen. Firmly shut.

The next one – to the dining room – is cracked open half-an- inch. Nick hesitantly, tremblingly, crouches down to wedge a couple of fingers into the crack. Bracing himself with his other hand, he pulls up… an inch… two inches… still stuck. Shifting his position, he goes for it – using both hands to jerk upwards – and the window creaks open with a bang – throwing him off balance – but he grabs the bottom of the raised window, spins, and tumbles inside.

Whew!

INT. APARTMENT – HOME OFFICE AREA

Nick finds the laptop inside an antique rolltop desk. Blessedly unlocked, though its small key is hanging just inside one of the cubbyholes within.

He opens the laptop. When prompted for a password, he enters “409Edgecombe” as Jerome had instructed, and, lo and behold, it works.

He looks for an appropriate folder – opens it – and is scanning a list of documents, when…

He hears someone unlocking the front door.

2.

He quickly opens the window gate leading to the outside fire escape, grabs the laptop and takes the desk key off its hook – shuts the rolltop desk, locks it, and pockets the key…

And is out on the fire escape, shutting the gate with a soft clang, as he hears…

SCOTT (O.S.)
Is someone in there? Nick? The

Concierge told me he sent you up. I can’t believe what happened to Jerome. The police…

EXT. BUILDING

But, by now, Nick s already clambering down – as quickly and silently as he can – the 11 stories to the ground – keeping the laptop safe and secure as he goes,

He hears a window open far above (he’s already descended much of the way to the ground) – and he crouches tightly against the building. Once he hears the window close, he scrambles quickly to the bottom of the escape – then, hanging by one hand from the bottom of the ladder (still high above the ground – with his other hand clutching the laptop) – he drops the final eight feet to the grass below, quickly rolling into the shelter of a nearby hedge.

Looking out from his place of concealment, he can see the front of the building…

As Scott exits, making a gesture of “no luck” to someone in the car, as he gets in and the car drives him away.

(OLD WAYS VS NEW WAYS) – should Nick join forces with the bad guys? Find out what’s going on and try to profit from it? Did Jerome give him a “charge” – telling Nick that he, Jerome, fucked up – but he’s really, really hoping that Nick can “save the ‘hood”. So that sounds like the ongoing debate.

DISSOLVE TO:

INT. STARBUCKS

Nick is going through the laptop and is starting to find “interesting items”.

DISSOLVE TO:

3.

EXT/INT – NICK’S APARTMENT
(we will have set all this up before)

Nick enters the building – but – before he heads up to his apartment, he goes down into the basement and stashes the laptop above some exposed water pipes in an obscure part of this murky area.

He then goes up to his apartment, opens the door…

INT. NICK’S APARTMENT

…and discovers that Scott is sitting on his couch, waiting for him.

SCOTT
The police are gonna want to talk

to you, Nick. You left the scene of a crime pretty fast.

NICK
I freaked out. Had to get away.

SCOTT (not a question)

You went to Jerome’s apartment.

NICK
I thought… maybe there was a

reason. That him getting killed wasn’t totally random. Not that that would make it any better, but…

SCOTT
What… did… you… find?

NICK
The door was locked. Of course. So

– nothing. What could I do, really, anyway? I… I went and sat in the freight elevator for a long time. Luckily no one called for it – and I was able to get it together. Sort of. When I went back down, the concierge was gone – so I just left. Walked around for a long time – and came back here.

SCOTT
What if I told you… horrible as

it is… that it was random? (MORE)

4.

Nick nods.

SCOTT (CONT’D) (beat)

Jerome’s Rolex and wallet were gone. We’re gonna have to get more security at our high-profile open houses – can’t just let anyone in the front door of a multi-million dollar mansion any more.

(beat)
Want me to walk you over to the 30th Precinct? They’re definitely gonna want to talk to you some more and it might be better if I were there…

EXT. STREET
The two are walking…

SCOTT Feeling better?

Nick shrugs.

SCOTT (CONT’D)
Jerome was our top agent. Grew up

on the same block as the Mansion – a real success story. A great person. Only a couple of family members left, but lots of friends. He will be missed.

(beat)
And… someone will have to look after his listings. There’s more than the Mansion up for sale on that block. There’s a large co-op building that is going to take some delicate handling, as well as the massive church property nextdoor. All Jerome’s listings – and we need someone we can trust not to screw things up and lose what’s bound to be a substantial commission – Jerome’s share of which will go to his sister and her disabled son – with him gone, they’re definitely going to need it.

He gives Nick a look.

DISSOLVE TO:

5.

SCOTT (CONT’D) Someone we can trust.

Nick takes a breath.

NICK For Jerome.

They shake hands – and enter the police station.
DISSOLVE TO:

NEXT SECTION –

Nick gets the computer out from its hiding place – scenes of him looking at the screen, writing things down, thinking…

Then walking on the block past the Mansion – to the HDFC apartment building. Rings the bell…

And is met in the lobby by Shirley – an elderly long-time resident and shareholder in the building. (Note: in an NYC co-operative building, the “owners” are known as “shareholders” – owning shares in the overall “HDFC Corporation” – a.k.a. the apartment building).

NICK Miss Shirley?

SHIRLEY You Jerome’s friend?

NICK
I hope so. I worked with him just

before his death. The company asked me to take over the buildings he’s working with.

SHIRLEY
(her basic attitude???)

Including his childhood home? Off Nick’s look…

SHIRLEY (CONT’D)
I knew him from the day he was

born. Running up and down these halls like a holy terror – and then him and his friends on their skateboards! Lord-a-mercy, it’s a wonder…

(beat)
Well. Let’s see.

(MORE)

6.

SHIRLEY (CONT’D)
The building is in trouble. Way

behind on taxes, heating bills, HPD mortgage payments.

(beat)
Jerome’s company – your company – is arranging for what’s called a 3rd party transfer – otherwise known as the city taking our home right away from us – the shareholders – and selling it to the highest bidder – to pay off all the bills.

NICK
Whoa. What happens to…?

SHIRLEY
We get to live here, but not as

owners anymore. All that investment and work we’ve put into creating our part of the American dream – poof! Gone. Back to being renters again – paying a landlord who doesn’t give a hoot about us or our legacy – for the roof over our heads… hoping they’ll fix it if it starts to leak again.

7.

[Marilynne Hebert]

Marilynne’s Reaction to Turning Point 1

What I learned doing this assignment is a better understanding of how the acts are connected

ACT 2 BEAT SHEET

INT. EMERGENCY ROOM – LATER THAT EVENING

Monroe visits Dr. Isy and she confides in Monroe her desperate search for funding to save her daughter.

INT. DEPARTMENT MEETING ROOM – NEXT DAY

A colleague “volunteers” to take over her project so it will succeed.

ACT 2 OUTLINE

INT. EMERGENCY ROOM – LATER THAT EVENING

BEGINNING: Monroe frantically searches for Dr. Isy.

MIDDLE: Dr. Isy confirms she is OK but Rana has a serious spinal cord injury.

END: Dr. Isy confides in Monroe there was something off about the shooter that somehow threatens her work. She is even more desperate to secure funds to quickly finish her research and save Rana.

INT. DEPARTMENT MEETING ROOM – NEXT DAY

BEGINNING: Department Head congratulates Dr. Isy on her research progress. He notes the “unfortunate accident” yesterday, but given research funding cuts, she’ll have to put her project on hold for now.

MIDDLE: One of her “colleagues” Dr. Ted Wingate, has been putting her down for years and volunteers to “take over her project.” He brags he has connections and can find the needed funding.

PLACEHOLDER: Does Dr. Wingate have some connection to the saboteur?

END: Dr. Isy won’t be dismissed again. She slowly stands and surveys each person around the table.

“That ‘unfortunate accident’ was no accident, and my daughter was seriously injured. All of you know this is a “once in a lifetime” opportunity. I’ve already made an amazing discovery and no one – I mean no one – is going to take over. I am done listening to your back-handed, insincere comments. I will find the funding I need with no help from any of you!”

[Chris Spizuoco]

ACT II

INT./EXT. HOUSE – NOON

Frank SLAMS through front door; his WIFE is there to greet him with CRYING BABY in tow.

WIFE

Something wrong?

He grabs a drink of water, ignores the question.

WIFE

What is it Frank – why are you home so early?

He exits and returns with a note pad.

FRANK

School assholes let me go.

WIFE

What happened?

FRANK

You know what I did? I was decisive and took the initiative to help my team. They get treated like the lepers of society…shitty equipment, stinky wrestling mat, and shitty condescending stares from the other students. I’m not backing down for doing the right thing.

WIFE

What about the farm? There’s always work out there.

FRANK

Not sure I’m ready for that kind of shit…

Frank dials the phone and has a brief conversation; mostly agreeable and hangs up.

FRANK

Done, done and done. I go in tomorrow. The new shoe shop has a manager’s position. Pretty sure I can get in there until we figure it out.

WIFE

Are you sure? You know how those factory jobs are…

INT. SHOE SHOP – MORNING

SHOP BOSS escorts Frank around; new tech equipment GRINDS AWAY as sheets of leather move from station to station forming shoes.

SHOP BOSS

So we’ll start you on 2nd shift and you’ll manage this side (pointing) of the floor. The leather comes in here, gets trimmed and station by station until it’s ready for the soul and heel. Punch cards there on the wall. Zero tolerance policy for coming on late.

Shop Boss pulls Frank away from the noisy equipment.

SHOP BOSS

(whispers)

Now look. I know your an educated man from the city. And you have options. These people do not. Out side these walls they have little choice but to take our pay and make our shoes. It’s hard work, but pays the bills; and managers here do VERY well. Half these fellas will end up at the bar down the street right after shift ends. So that keeps ‘em pretty motivated.

DREAM SEQUENCE INT. SHOE SHOP – CONTINUOUS

Frank RIPS the punch card machine off the wall and SLAMS it through an office door.

IN THE OFFICE

GREEDY MANAGERS are stacking up and counting bills. Frank SLIDES them out onto manufacturing floor and they pile up like cordwood.

MANUFACTURING FLOOR

He tosses them into the individual slicing, trimming, and heel press machines as the OPERATORS back off in pleasant shock. Frank hands out stacks of cash to the operators.

[Shahrukh Shackle]

Shah –Act 2 Reaction to TP 1 (place in first line)

<font face=”inherit”>I learned that </font>I<font face=”inherit”> have to work harder to externalise my character’s TP. I’ll set mind to it.</font>

EXT. PATHWAY TO THE GATE

It is a massive gate guarded by armoured men on both sides. Silently and swiftly, Akaash scales the gate and drops down safely on the other sides, shield by the darkness. As he’s getting up, he collides with something large. A deep voice speaks.

GIANT

Where do you think you’re going?

Akaash steps back and the giant’s outline begins to take shape.

AKAASH

I’m Akaash, Yuvraj of Avanti.

The giant laughs loudly.

GIANT

So you’re the one who’s running away!

AKAASH

Who are you?

GIANT

I’ve been sent by Indra to guard the gates of the city. No one comes in, no one goes out.

AKAASH

Why not?

GIANT

So that only the noble of heart van leave or enter. there are those from within and without who wish Avanti ill.

AKAASH

I’m the Yuvraj…

GIANT

Then why don’t you stay and protect it from your enemies?

AKAASH

I have a mission which needs o be accomplished before the period of protection is over. Even better, If I find my father, he can take his rightful place on the throne. Now let me pass.

The giant doesn’t budge. Akaash draws his sword. With a mighty roar, the Giant lifts him in the air and drops him from a great height. Akaash performs a few cartwheels, latches on to the giant’s belt with his arms and kicks hm in the face. Th fight continues until finally, the Giant howls for mercy. Akaash pulls himself together, wishes the Giant well and sets off.

EXT. OUTSIDE THE GATES – CONTINUOUS

The Giant follows. Akaash turns around.

AKAASH

What do you want?

GIANT

When Raja Vikram left Avanti it was to ask the Yogi Shant Sheel how to save your dynasty from curse cast by the Yogil Maldev. ShantSheel was the only one who could show Vikram the solution.

Akaash is shocked but determined. He bows to the Giant.

AKAASH

I humbly ask for our help. Tell me how to get there.

[David Bruno]

ACT 2: REACTION TO THE TURNING POINT

DAVID BRUNO

WHAT I LEARNED FROM THIS ASSIGNMENT: I’ve learned about sequential scene continuity.

1. ASSIGNMENT: Using your beat sheet, outline key scene 1. (Reaction to the Turning Point. The Old Ways are not enough.)

Beginning: Alistar wakes up with a hangover and answers the phone call from Max. He invites him to his dig in Egypt.

Middle: A knock at his door and the NSA asks questions about his field trip less than 24 hours later. Alistar knows there is something up.

End: Alistar goes to the NSA and is cagey. Leaving he is followed and loses them. They park outside his house.

2. Write the “Reaction to the Turning Point” scene.

INT. BEDROOM – DAY

Alistar wakes with a hangover to a phone call from Max. Max invites him to Egypt to see his discovery of artifacts. Alistar says he’ll think about it for now.

INT. FRONT DOOR – DAY

Alistar hears a knock at the front door. The NSA is there and begins to ask Alistar questions about his field trip. Alistar hedges and ask what this is about. The NSA agent hedges as well and invites Alistar to a meeting at the NSA office. Explains it’s not optional.

INT. ALISTAR’S HOME – DAY

Alistar calls his department head and wants to know why he’s being called on by the NSA. He explains that Alistar should cooperate fully in the NSA’s investigation, it’s a matter of national security. Alistar picks up and finishes the bottle of scotch.

INT. NSA OFFICE – DAY

Alistar appears for his appointment. He is asked several questions that are meant to dissuade him from believing that what he saw was real. Alistar placates them and stalls with any acceptance to their requests for videos of the incident.

EXT. STREETS – DAY

He leaves and finds himself being followed. He performs lane threading to lose the tail but picks up another one that follows him home and parks outside.

EXT. ALISTAR’S HOME – DAY

Walks to the parked black SUV and tries to talk to them. They only ignore his efforts.

[michelle patnett]

What I learned doing this assignment is the importance of turning up the heat for the protagonist. It’s a literal make-or-break point, and the more conflict there is, the deeper the audience will be pulled in.

EXT. HOUSE – DAY

Monique is agitated, pacing up and down the driveway while police officers casually chat with Martin.

OFFICER #1

You see that game last night?

MARTIN

I mean, double overtime and they still lost? Come on!

MONIQUE

So you’re making friends with this squatter guy, and I’m over here getting arrested cuz he outright stole my house? Is that it?

OFFICER #2

Ma’am, I keep telling you. Just produce proof that you own the house and we’ll go from there.

MONIQUE

How? You won’t let me in the house to get my stuff. I know exactly where it is, in the closet of the upstairs bedroom.

OFFICER #1

No way. Absolutely not. If it’s not your house, you don’t have permission to enter.

MONIQUE

Do you understand that’s a classic catch-22 situation? I can’t prove who I am because you won’t let me-

MARTIN (sighs heavily and claps his hands once)

Officers, if I may. What if I give her permission to enter – with you accompanying her, of course, so that she can see there’s literally nothing of hers here.

MONIQUE (moving towards the door)

Yes! I remember exactly where I put my stuff.

OFFICER #2

Hold up, hold up. Sir, are you sure you want her in your house? This could backfire on you. We’ve had reports of people canvasing houses beforehand, and a few days later the house is broken into.

MARTIN

Oh, I think I’ll be fine. Once she realizes she’s in the wrong house, I predict she’ll go quietly.

OFFICER #1

Okay, if you give permission, that’s fine. But you! Don’t touch anything, and don’t try anything funny.

MONIQUE

Oh, don’t worry. The only joker and thief is this guy right here.

MARTIN slow winks at the officers as she barges through the door.

INT. HOUSE – EVENING

MONIQUE runs through the house, frantically searching for her personal possessions, becoming increasingly panicked when she finds nothing. Martin on the sofa sipping a beer as both officers watch Monique agitatedly pace.

MONIQUE

Don’t look at me like I’m crazy. I know for a fact I put both my bags in the upstairs closet, on the bottom shelf, far left. I know I did.

OFFICER #1

Then where is it? Where’s all your stuff? Your clothes and makeup and shoes and everything else that women bring with them when they move in?

MONIQUE

Obviously he tossed it all! All of it. I mean, he had time. I was gone half the day. He’s obviously been stalking me and the house.

OFFICER #2

Really. You think you’re being stalked. In this neighborhood? It’s pretty safe.

OFFICER #1

Yeah, we very rarely get called out.

MONIQUE

Ok, yes, I get it! The white folks are well protected. OK! But what about me?

OFFICER #1

Ma’am, if you’re in any way implying this is motivated by factors other than-

MARTIN

Oh, it’s a very safe neighborhood! Precisely why I chose this house.

MONIQUE

You think I’m stupid. You see a brown skinned single woman and you automatically think she doesn’t belong. Well let me tell you something, I am currently the regional VP of Sales for a major beauty company. I have 75 direct reports, and I-

OFFICER #1

That’s all fine, but why can’t you prove this is your house? Where’s all your paperwork?

MONIQUE

I know every inch of this house. I had dinner here last night, next to the two chipped bricks on the fireplace. Here’s where I scratched the paint in the stairway when I brought up my luggage.

OFFICER #2

Sounds like you’ve been casing the place.

MARTIN

I agree. It’s troubling when a perfect stranger knows your house so intimately.

MONIQUE

Enough. Enough of this shit. I’m calling my lawyer in Seattle. He can prove who I am.

MONIQUE storms out the house to the driveway but stops short. Her car is gone.

EXT. HOUSE – NIGHT

MONIQUE whirls around frantically, looking down the empty street in both ways.

MONIQUE

My car! Where’s my car?

OFFICER #1

Was it the Land rover parked illegally? Blocking the sidewalk?

MONIQUE

Yes, yes! Where is it? Did someone steal it?

OFFICER #2

Mmm, probably it got towed. The neighbors must have called it in. They’re pretty strict about people blocking the flow of traffic.

MARTIN

True. We do abide by the rules in this little community.

MONIQUE

But, but. What am I supposed to do now? All my credit cards and cash and ID. All gone. I have to call my lawyer. I need to use the phone.

Monique turns to re-enter the house, but is blocked by the two officers.

OFFICER #1

Ma’am, are you saying you have no way to prove your identity?

OFFICER #2

That’s definitely a problem. You need to vacate this property.

MONIQUE

I’m not going anywhere. I’m not leaving this house.

OFFICER #1

Ma’am, if you refuse to leave, we’ll be forced to arrest you for trespassing.

MONIQUE

You can’t make me leave my own property.

OFFICER #1

And you can’t prove it IS your property. Can you.

MARTIN

Sounds like you need a lawyer. Or at the very least a ride to the nearest hotel.

MONIQUE

You smug bastard. When I get done with you, you’ll be lucky to own a piece of sidewalk.

OFFICER #1

Ma’am, come with us. You can phone a friend or relative to come get you.

MONIQUE

Get your hands off me. I… I don’t have anyone in town

OFFICER #2

Well, a hotel then. Or motel.

MONIQUE

How! How do I pay for a hotel with no cash, no cards, no luggage. No nothing!

OFFICER #1

Well, if all else fails, there’s always a homeless shelter or women’s

MONIQUE

I’m. Not. Homeless. I’m the VP of Regional Sales

OFFICER #2

Yeah, yeah. We get it. Well, your highness, your chariot awaits.

Both officers force a protesting Monique into the back of the police car while Martin leans casually against the front door, smirking.

EXT. HOMELESS SHELTER – NIGHT

Officers drag Monique from car, kicking and screaming.

MONIQUE

No! No, you WILL NOT leave me here. This is for homeless people and I have a home. Multiple properties and more cash than you two retards will ever make!

OFFICER #1

Well until your chauffeur comes to pick you up, you can have your choice of rooms here.

OFFICER #2

Oh. Don’t they usually fill up quickly?

OFFICER #1

Not our problem.

MONIQUE

Wait. So you’re just gonna leave me here. Outside a homeless shelter at night with weirdos wandering around. You can’t do that to me. Please, I’m sorry. Please. I’ll go to a hotel. I don’t care which one. You can’t leave me here. Don’t go! Wait! Come back!