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Lesson 20
Reply to post your assignment.
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11 Replies
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Megan’s Completed Act 3
What I learned doing this assignment is…that, after a quick skim of Act 3, I wasn’t sure what else to add. I’m finding it difficult to go back and revise at this point. I just want to keep pushing forward to the finish line.
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KAREN SINCLAIR’S FINISH ACT 3
What I learned doing this assignment is…?
Keep writing…
100% agree with Megan Schemenauer’s comment.
ASSIGNMENT 20
Concept
Ad Exec Sadie Hilliard goes out for a noontime run to get in the right state of mind to make a presentation to her agency’s most significant client. While running, she receives a call on her cellphone threatening the lives of her and her family if she should stop running.
Theme
Sadie has never had to think about anyone but herself. Because of that, she places very little value on relationships and family. She is confident as it relates to her skills in her career but insecure as a partner and family member. Can the right person make the difference in her life or is she destined to be alone.
ACT 1
Inciting Incident
In New York City, Sadie breaks up with her longtime boyfriend which has been a long time coming. She accepts a proposal from her company’s CEO that she move to Vancouver, BC, and establish a branch of the advertising agency. A partnership could be in the offering if she is successful in Vancouver.
Turning Point
Sadie settles into her new work life in Vancouver. On a personal front, she thinks she has met the love of her life. As is her habit, Sadie goes for an afternoon run immediately preceding a major presentation and is taken hostage by a caller through her cellphone.
ACT 2
Reaction to the Turning Point in Act 1 (ACT 2 – Key Scene 1)
Sadie is trapped and knows she must do something. She makes several obvious attempts to test the caller and see how trapped she really might be. Everything is up to her. Her old ways have her needing to figure this out to free herself.
Protagonist Takes on A Plan and Executes It (ACT 2 – Key Scene 2)
Sadie looks at the time on her phone and realizes she is going to miss her presentation. She sees no evidence that anyone has tried to get in contact with her. She decides she needs to contact the caller directly and negotiate her freedom.
Not Only Does Their Plan Fail But… (ACT 2 – Key Scene 3)
Hearing nothing back from the caller, Sadie feels desperate. She decides she is going to jump in a cab, borrow the cabbie’s phone and call the police. Her plan backfires and she gets booted from the cab.
Turning Point 2: MIDPOINT: The journey is still moving in the same direction, but the meaning has changed in a big way that shifts reality. (ACT 2 – Key Scene 4)
Sadie drags herself up onto her feet. She slowly moves from a trudging walk to a bent-over, slow foot-dragging jog to an upright jog. Sadie realizes she has her iPod Touch that she uses to listen to music. Could this be her way out of this mess?
Act 3 includes these Key Scenes:
Key Scene
1: React/Rethink the new reality revealed by Midpoint
Key Scene 2: Makes a new plan.
Key Scene
3: Things start going well, until…
Key Scene
4: Turning Point – Protagonist faces their lowest low.ACT 3
Reaction/Rethink (ACT 3 – Key Scene 1)
Sadie realizes that she is going to have to trust someone outside of herself, that being Adam, to get her out of this situation.
EXT. STREETS – NIGHT (CONTINUOUS)
Sadie makes it through the intersection and pulls the iPod up to her face. She tells Adam she doesn’t know what is going on or why, but she is being held hostage running.
EXT. STREETS – NIGHT (CONTINUOUS)
BEGINNING: Sadie makes it through another intersection. She can still see the motorcycle rider with the flashlight. She pulls the iPod up to her face. When she sees Adam she becomes emotional again. He stops her right away.
MIDDLE: Slowly, Sadie tells Adam that she doesn’t know what is going on or why, but she is being made to keep running by a guy on a motorcycle tracking her from a block to her west. She feels like she has been taken hostage by the caller.
END: Sadie tells Adam that the caller is threatening to hurt him and the kids if she stops running. She tells him the caller sent pictures and video of him and the kids.
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INT. HOME OFFICE – NIGHT
When Sadie stops talking, Adam takes a beat to process what she has just disclosed. He understands literally what she said but is not sure as to the why.
INT. HOME OFFICE – NIGHT
BEGINNING: When Sadie stops talking, Adam takes a beat to process what she said.
MIDDLE: Adam asks Sadie why anyone would want to do something like this. If the caller were taking her hostage wouldn’t he be making some kind of demand, for payment.
END: Adam confirms with Sadie that the caller is moving right along side her, just a block west. He asks her if she can describe the caller at all. She replies they are wearing all black, with a helmet and shining a flashlight in her direction.
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EXT. STREETS – NIGHT
Sadie approaches another intersection. She accelerates to a run and again conceals her cellphone by her thigh.
EXT. STREETS – NIGHT
BEGINNING: Sadie tells Adam to hold on.
MIDDLE: She approaches another intersection; she moves from a walk to a run and conceals her cellphone by her thigh.
END: When Sadie exits the intersection, she slows down and tells Adam she is back.
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Makes a New Plan (ACT 3 – Key Scene 2)
EXT. STREETS – NIGHT (CONTINUOUS)
Sadie tells Adam that he must warn Hannah to take the kids somewhere safe.
EXT. STREETS – NIGHT (CONTINUOUS)
BEGINNING: When Sadie exits the intersection, she picks up the iPod and tells Adam he needs to get Hannah and the kids somewhere safe but expresses concern that they are being watched.
MIDDLE: Adam tells Sadie he is going to take a minute to call Hannah and make sure everything is alright, but he doesn’t want her to disconnect.
END: Adam comes back to Sadie and tells her he talked to Hannah but wants her to hang tight for another minute. He will be right back.
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INT. HOME OFFICE – NIGHT
Adam calls his police officer friend Will at home.
INT. HOME OFFICE – NIGHT
BEGINNING: Adam reaches Will at home. He is a police officer but is currently not on a shift.
MIDDLE: Adam warns Will that what he is about to tell him sounds over the top, but he needs him to listen. He fills Will in and asks for his help.
END: Adam gives Hannah’s address to Will and asks him to go stay with Hannah and the kids to make sure they are kept safe.
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INT. WILL’s HOME– NIGHT
Will hangs up from Adam, grabs his gun belt, throws on a jacket, and heads out the door.
INT. WILL’s HOME– NIGHT
BEGINNING: Will stands up from the sofa, reaches for the remote and turns off the television.
MIDDLE: Will makes a call to an on-duty police officer in the area, provides Hannah’s address and tells her to pick up her and the kids and take them to the station.
END: Will jumps in his car and heads to Adam’s house.
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Things start going well, until… (ACT 3 – Key Scene 3)
EXT. STREETS – NIGHT (MOMENTS LATER)
Sadie is now feeling weak, a bit dizzy and nauseous from dehydration. Adam flips back over to Facetime, but Sadie has disconnected.
EXT. STREETS – NIGHT (MOMENTS LATER)
BEGINNING: Sadie is now feeling weak, dizzy, and nauseous from dehydration. She also feels confused as to where she is at and what is happening.
MIDDLE: Sadie notices a bright light coming up behind her.
END: The caller, on a motorcycle, is right behind her on the sidewalk. They rev their motor to let her know they are there. She keeps running. The caller veers off the sidewalk, drives up the street and turns right at the next intersection, returning to their position for surveillance.
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INT. HOME OFFICE – NIGHT
Adam hears a honk outside. He sees his friend Will stopped out front with the car running. He can see Will running toward the door.
INT. HOME OFFICE – NIGHT
BEGINNING: Adam paces in his office trying to re-connect with Sadie. She doesn’t respond.
MIDDLE: He hears a honk outside. It is Will’s car, still running, and Will is running toward the front door.
END: Adam grabs a jacket and bursts through the front door and runs down the walk. He and Will jump into the car and it pulls away.
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INT. CAR – NIGHT
Adam asks Will where Hannah and the kids are, and Will tells him they are safe. Will asks Adam if he knows where Sadie was Facetiming from. Adam says he does not know. Will asks if he has Sadie on ‘Find My Phone’ which he does. They quickly locate the vicinity of where Sadie is running.
INT. CAR – NIGHT
BEGINNING: Adam asks Will where Hannah and the kids are. Will tells Adam he had them picked up and taken to the police station downtown. Will then asks Adam if he knows where Sadie was Facetiming from.
MIDDLE: Adam curses as he did not have a chance to ask Sadie her location before he lost her. He tries to connect again from the car. She doesn’t answer.
END: Will asks if Adam has Sadie listed in his ‘Find My Phone’ app. Adam jumps to the app and confirms YES, he has her work phone. Will pulls a U-turn and squeals off in the general direction of Sadie’s work phone as indicated by the App.
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EXT. STREET – NIGHT
Will and Adam determine they are close to Sadie’s location. They can also see from the App that she has stopped moving. They slow down and start to look around. They see two people and some movement on the sidewalk. It is Sadie and the caller. Adam tends to Sadie and Will takes down the caller.
EXT. STREET – NIGHT
BEGINNING: Will and Adam approach the general vicinity of Sadie’s phone per the location finder on the Find My Phone App. They know they are close because the App indicates that Sadie stopped moving a few minutes ago.
MIDDLE: They spot a heap on the sidewalk and a person standing over the heap. Will quickly skids over to the side of the road. The heap on the ground is Sadie. The person standing over Sadie climbs back onto the motorcycle and takes off. Adam runs to Sadie’s side. Will speeds after the motorcycle.
END: Adam pulls Sadie up to a seated position and hugs her. She is still unconscious but is breathing. He calls 911 on his phone.
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EXT. STREET – NIGHT
Will reaches the motorcycle, bumps him from behind and sends the caller flying into a hedge. He confronts the caller and sees that he is just a kid.
EXT. STREET – NIGHT
BEGINNING: Will catches up to the motorcycle. He bumps the caller from behind and sends them flying face-first into a hedge. Will flips the caller over and rips off their helmet. They are a 17-19-year-old kid. He gets him up onto his feet, checks the kid’s pockets for a weapon, zip ties his hands behind his back and throws him into the back of his car. He surveys the ground around the bike and finds a cellphone.
MIDDLE: Will reads the kids his Miranda rights and asks him if he understands. Then Will proceeds to ask him what he was trying to do. The kid doesn’t know anything. All he knows is that he was offered $1,000, $500 up front and $500 at the end, to follow the girl and Facetime her live as he went until he was told to stop.
END: The kid didn’t have any idea who hired him. He was told it was part of a film being shot that required the real live action footage.
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EXT. AMBULANCE – NIGHT
Will pulls in behind an ambulance. Sadie is conscious and on a gurney being loaded into the ambulance. She is hooked up to an IV to administer quick hydration. Adam goes along holding Sadie’s hand. Will fills Adam in that he has the young kid from the motorcycle but still has no answers about what was going on.
EXT. AMBULANCE – NIGHT
BEGINNING: Will pulls in behind an ambulance with its lights flashing. Sadie is conscious and on a gurney being loaded, along with an IV pole, into the ambulance. Adam is holding her hand as he jumps up into the ambulance.
MIDDLE: Will tells Adam he has the kid from the Motorcycle, but he is no closer to having any answers. He tells them he found his cellphone on the ground and turned the whole scene over to the on-duty officer.
END: Adam tells Will that Sadie will be ok.
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Turning Point 3 – Protagonist faces their lowest low (ACT 3 – Key Scene 4)
INT. HOSPITAL – DAY
Sadie finally connects with Randy. He is ecstatic to know that she is ok.
INT. HOSPITAL – DAY
BEGINNING: Sadie calls Randy. He answers as he is walking into her hospital room. He puts his phone away.
MIDDLE: Randy tells Sadie that he is relieved that she is ok.
END: Sadie quickly dispenses with the pleasantries and tells him she will call the client later today and re-schedule the presentation. Randy tells her they delivered the presentation.
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INT. HOSPITAL – DAY
Sadie is speechless hearing that Randy and the team delivered the presentation without her.
INT. HOSPITAL – DAY
BEGINNING: With silence on the hospital side of the call, Randy says, ‘Hello? Sadie are you there?’
MIDDLE: Sadie repeats back to Randy what he told her but as a question, ‘You delivered the presentation?’
END: Randy corrects her to say that ‘He and the team delivered the presentation.’ He told her they all took a role. He thought it went well.
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INT. HOSPITAL – DAY
Sadie asks Randy why he would do that…without her. For the first time in the call Randy realizes that Sadie is not happy. Instead, Sadie feels angry to have ‘lost the opportunity to win the client’ and depressed that the team could think they should go ahead without her.
INT. HOSPITAL – DAY
BEGINNING: Sadie asks Randy why he would think he should do that, deliver the presentation without her.
MIDDLE: Randy corrects her to say that ‘He and the team delivered the presentation.’ He told her they all took a role.
Randy explains it was never his intention to deliver the presentation without her. He kept thinking that she would show up ready to go.
The client also told him they were at the end of the process, and they would be picking an agency the next day to make the timeline for the coveted Grey Cup commercials time slots.
END: He thought it went well. He had a video of the presentation that Kandace took. He would have it sent over to her on an iPad right away.
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Rita’s Completed Act 3
What I learned: At this stage, the characters are getting more familiar so the scenes write more easily. I wrote a hefty chunk of pages.
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SERIES OF SCENES
Dawn avoids Abernathy all over town.
INT. POST OFFICE – MORNING
Dawn closes her PO box and flips through envelopes.
Tom gets in line at the counter. Waits. Sees Dawn.
At the same time she sees him. He signals to her but she pretends to wave at someone outside.
Tom moves to follow her but three people with large packages have joined the queue and block him in.
EXT. GROCERY STORE – NIGHT
Tom sees Dawn at the deli counter and makes a beeline.
Dawn can’t fake a no-see. She waves with a friendly smile.
A half-blind OLD MAN with a squeaky cart stops right in front of him. It won’t move, wheel is stuck.
Tom can’t help himself, he straightens out and unlocks the wheel, sends the geezer on his way.
Dawn vanished.
INT. TAKE OUT JOINT – NIGHT
Dawn gathers plastic cutlery when Tom enters.
Her back is turned. He’s got her this time!
Suddenly two little brats grab his pant legs. Chase each other around his legs. Screams and giggles.
Dawn turns. Horror registers on her face.
The human mulberry bush is immobilized.
Harold comes out of the bathroom and corrals his kids. Motions to Dawn to make her move.
She mouths a silent, “thank you.”
Tom turns one way then the other, fuming. She escaped again.
EXT. SMITH HOUSE – MORNING
Zak and the crew paint with as much distance between them as possible.
Todd scowls instead of cracking jokes. Besides a barking dog, and occasional aluminum clatter of ladders, it’s quiet.
Andrea steps out on the deck. Crater is the only one in sight. She opens her mouth to greet him but thinks better of it.
Even Zak moves with little enthusiasm. He brushes trim, listless. Multiple sighs.
Andrea retreats, dejected.
INT. ABERNATHY BUILDERS OFFICE – MORNING
Tom tries Dawn’s number. AGAIN. No answer.
He rears back to heave the phone at the opposite wall.
It RINGS.
He stops mid-pitch, looks at it with hope.
He groans and taps the screen.
TOM
Hi, Mom.
MOM
Hi, Honey. My weekly call. How are you doing? You sound down.
TOM
Yeah, there’s kind of a problem. Maybe you can help me with this one it’s right up your alley. A woman who lies.
SILENCE.
MOM
Tommy, I think it’s time we set the record straight.
TOM
The record’s been straight since, oh I don’t know, when you left, maybe?
MOM
I haven’t seen you in months. That’s on you.
He directs his adolescent regression toward the ceiling.
TOM
Fine. I’ll be at the diner in twenty.
Hangs up. Cold.
EXT. SMITH HOUSE – DAY
Workers sit on different steps of the deck eating lunch. No one talks.
Dawn pulls up. Everybody groans. Suddenly done with lunch, they all scatter, even Zak.
Earbuds all around.
Dawn carries a clipboard, looking all official and not at all weasely. She inspects the paint work, makes notes.
The crew circles around the house, each worker staying ahead of her and out of her way.
Andrea practically cartwheels out of the house, seeing a friendly face to talk to.
ANDREA
Hi Dawn! You must be quite the busy business woman. I haven’t seen you in days.
She sets teacups and LARGE platter cookies on the table.
DAWN
Oh, you know, odds and ends to take care of. The house looks good, so do those cookies!
The crew, in their journey around the house have bunched up at the southeast corner, salivating over the cookies.
CRATER
I missed breakfast.
BIG TODD
I smoked breakfast.
BILLIE
I drank breakfast.
They all look at her surprised.
BILLIE
Protein smoothie, morons.
CRATER
I really wanted to drink it.
HAROLD
I really want a cookie.
ZAK
So, go act like well-adjusted, adult human beings and, you know, be friendly.
Zak leaves them to be idiots and shuts himself in the van.
BIG TODD
What’s with his attitude? Munchies need abating. See ya, bitches.
Big Todd saunters over like a normal adult.
Andrea loads him up with cookies.
He pretends politeness, turns and flips off the crew.
The others run over like preschoolers at snack time.
INT. DINER – DAY
Tom sits in a booth, studies the menu.
MOM (60s) slides in across from him. Healthy, fit, with an old hippie vibe. She puts her hand on his.
MOM
It so good to see you, my boy. You seem stressed.
TOM
Like I said, work stuff.
MOM
That wasn’t nice, what you said on the phone. In fact, you haven’t been nice to me since you were ten. It’s time to grow up.
TOM
Maybe you messed me up for life.
MOM
Alright, record straightening time.
Of course the server, Sage from Dawn’s class, comes right at that moment.
TOM
(hostile)
I’ll have the usual.
MOM
(hostile)
We need more time.
Sage/Server scurries away.
MOM
I never said anything because you wanted to stay with your dad rather than anyone thinking you were a mommie’s boy. Then you started working for Dad, which must be hard enough, being who he is, so I kept my mouth shut longer.
TOM
That was a good strategy.
MOM
He’s retired now, so here it is. Your dad cheated on me.
TOM
You got that backwards, Mom.
MOM
Yes, I had an affair but after I’d caught him with the neighbor.
TOM
(laughs)
You mean Hal the old Okie? I’m sure he and Dad really got it on.
MOM
Don’t be a jerk. Hal’s niece. Remember, she came to take care of him?
Sage tip-toes closer.
They both glare.
She backs away.
TOM
You’re saying he lied. Right.
MOM
By omission. He ignored a key piece. I begged him to ignore the piece next door, but he ignored me instead.
TOM
It’s not like you planned to stay.
MOM
Of course I did! Leaving you killed me. I even tried making him jealous. But that was stupid, he just kept doing what he wanted.
TOM
And then he blamed everything on you all these years. So you both lied!
She touches his hand again.
MOM
I’m sorry, I thought you and I could patch it up. We were so close up until then.
Tom slides out of the booth, to stand. He nearly busts the Server’s jaw with his shoulder.
Sage retreats for good waving a white rag.
Tom stares down his mom, opens his mouth to speak. His hands lift, then drop to his sides. No words.
Mom reaches for his wrist. He pulls away and leaves her there.
INT. SMITH HOUSE – DAY
Dawn sits on a couch with Andrea like old friends. Andrea wipes her nose with a tissue.
ANDREA
I’m so sorry to just unload on you like this. I just don’t have anyone to talk to. This neighborhood isn’t really… I don’t fit in here.
DAWN
I’m with you there. And I sensed that about you. I suspect you have more going on than any HOA can deal with, I mean in a good way.
Andrea laughs.
ANDREA
Yeah, I piss them off all the time but my husband always takes their side. No imagination.
DAWN
You said you were an art major. Do you still paint?
ANDREA
Not really. I have a studio upstairs. It’s really just a bedroom with an easel. Come on I’ll show you.
EXT. SMITH HOUSE – CONTINUOUS
Tom pulls up close to Dawn’s bumper blocking her in.
TOM
Hah! Can’t take off this time.
His phone rings. Business, he takes the call.
INT. SMITH HOUSE
Andrea pulls out a few paintings from the closet. She lays them on the guest bed for Dawn to inspect.
DAWN
Oh my god, these are amazing! Your scones are delicious but these have so much soul.
And they are exceptional. Beautiful. Skillful.
Andrea deflects her compliments.
ANDREA
I love it but this house is a lot to take care of and my husband’s work pays the bills so I feel obligated–
DAWN
What is this bed doing in here? If this is your studio… hang on.
Dawn sprints down the stairs and outside.
INT. ABERNATHY’S WORK TRUCK
Tom looks up from dialing. The call connects.
TOM
What the hell is she — oh, hey Fred… Can I call you back?
He watches Dawn directing Billie and Big Todd toward the street where they dump a mattress by the curb.
EXT. SMITH HOUSE
Andrea claps, gleeful but horrified.
Dawn stands, hands on hips like Wonder Freaking Woman.
Tom approaches.
Dawn waves, totally forgetting her mission to avoid him. Then she remembers. She shrinks behind Big Todd.
TOM
Are we remodeling too?
Andrea gives Tom a sideways hug.
ANDREA
Thank you so much for sending me this angel. These angels.
Crater and his tattoos drop a headboard on top of the mattress.
TOM
Angels?
ANDREA
Like Dawn said, what good is a paint job if the insides aren’t authentic?
TOM
I can’t agree more!
(directed at Dawn)
What good is it to be inauthentic?
Dawn tugs at her shirt hem, looks down at the logo. She folds her arms across her front. Not looking transparent.
ANDREA
I’ve got calls to make because there’s more than this to clear out.
She winks at Dawn and heads for the house.
TOM
What phone call is she talking about? And where’s Zak? Why isn’t this done yet?
Dawn taps Big Todd and tilts her head toward the house.
BIG TODD
Painters gotta paint.
Dawn turns to follow.
TOM
Oh, no you don’t.
He grabs her arm. She looks at his hand.
DAWN
I most certainly do!
He let’s go.
TOM
Sorry, but we have to talk.
DAWN
Yeah, no kidding.
She lifts her sleeve, checks for welts. It wasn’t that bad.
Tom takes off his cap and runs fingers through a full head of luxurious hair. He smacks the cap on his thigh.
TOM
I can’t even deal with you. Where’s Zak?
DAWN
Oh. I guess —
Tom leaves her at the curb to find Zak.
Dawn watches hunky contractor man walk away.
DAWN
Damn you and your manly… everything.
It’s her chance to make a break for it, until she sees Tom’s bumper touching hers.
Quiet growl of frustration. Then a smile.
Andrea hauls bedding to add to the pile. She watches her new savior drive away in the paint van.
INT. DINER – AFTERNOON
Dawn slides into a booth behind Tom’s mom who finally got lunch.
Server/Sage approaches. She checks in with Mom first.
SAGE
Is there anything else, honey?
MOM
If it’s okay, I’m just going to sip my tea here for a while.
SAGE
You take as long as you like.
(moving on to Dawn)
We’re all friends here.
Dawn turns around.
DAWN
Oh, hi Sage. I thought that voice sounded familiar. I’m happy to see a friendly face. I just came from a hostile work environment.
Sage gets ready to ask questions but Mom turns around to join in.
MOM
That’s funny, I just experienced a hostile diner environment.
Dawn looks at the Sage.
She raises her hands, all innocence.
SAGE
Not me! It was her supposed lunch companion who stormed off. Because, you know, truth.
Dawn looks to Mom for clarification.
DAWN
Was this like a blind date or something?
MOM
No. My son.
They all nod. Enough said.
DAWN
The one I’m dealing with must be somebody’s son. Hadn’t really thought about that until now.
MOM
Yep, they all are.
DAWN
You don’t have a good relationship with your son? Does any man actually like his mother? Or at least not in a way that’s wildly suspicious and dysfunctional?
MOM
Why don’t you come over here, that way our friend will have room for another customer.
As delighted as Andrea was earlier, Dawn switches seats.
EXT. SMITH HOUSE – CONTINUOUS
Tom directs the crew, all business.
Tom talks to Andrea, all charm.
Zak stays on a ladder as far away as possible.
TOM
Zak, may I have a word please?
Zak doesn’t hear, or at least doesn’t respond. Keeps working.
Tom’s patience left a long time ago. He jiggles the ladder.
Shaken and stirred, Zak drops his brush to grip a rung.
A large dollop of green paint misses Tom but hits a decorative stone and splashes onto raw wood of the deck.
ZAK
(removes ear buds)
Are you trying to kill me, man? What gives?
Tom, not exactly contrite, points at the ground.
TOM
Will you come down here please. Now.
Zak’s tail quit wagging a while back as well.
ZAK
I expect that from these knuckleheads but I’d think you would have an awareness of workplace hazards.
(sees the paint spill)
Aw, man. That’s an extra charge there, on you.
TOM
I’d have fired this outfit last week but Miss Blue Dawn seems to have snowed the homeowner, not just me.
Zak gets up in his face, well, maybe his chest. Pokes a finger.
ZAK
Miss Dawn’s not snowing anybody. You hired us, we’re doing the work. That’s it.
Tom takes a step back, surprised by his personality change.
Big Todd has already moved in as back up.
Crater twirls a roller pole like a fighting stick.
Billie removes her jacket, slides out a box cutter blade.
Harold looks down from the deck.
HAROLD
Let’s take a time out, boys. And Miss–
Billie glares and slides the blade out further toward Harold.
Zak closes the gap between himself and Tom. Pokes a finger in his chest.
ZAK
We all know what you’re really after.
Tom pokes back.
Big Todd shoves Tom’s shoulder.
BIG TODD
Back off, man. This house looks great and you come here to complain?
Crater shoves him back further with the pole.
Tom grabs it and twists. An all-out brawl could ignite.
ANDREA
Tom? What’s going on?
Everybody goes nonchalant like first-graders caught by teacher.
Box-cutter blade clicks back.
Andrea steps down from the deck.
TOM
I was just moving things along so we can get these guys out of your hair.
ANDREA
Everything is going fine, Tom. Great, in fact. I was thinking of having you do more work on the inside but I think I’ll just contract directly with Dawn.
Tom’s cheeks go red. He stretches his neck to each side.
Big Todd and Crater mock him out of Andrea’s line of sight.
TOM
What a shocker. True to form from a woman.
BILLIE
Whoa there, big man. What’s that now?
Andrea puts her arm around Billie. Takes the box cutter from her.
ANDREA
Thank you! I’ve been looking for that.
TOM
Zak, can we give the customer an idea of when this will be done?
ZAK
It’s done when it’s done, man.
He moves the ladder to a new spot.
INT. DINER – CONTINUOUS
Andrea and Mom chow down on burgers. Conversation flows between bites.
DAWN
And then he says, “Maybe Abernathy and Blue Dawn are not a good fit.”
Mom chokes. Hard.
Sage rushes over. Looks at Dawn, helpless.
Dawn hands water to Mom.
Mom recovers enough to speak.
MOM
You’re talking about Tom?
DAWN
You know him?
MOM
He’s my son.
Sage slides in next to Dawn, not about to miss the rest.
SAGE
Small town.
DAWN
Indeed!
MOM
We’ve got to straighten this kid out.
Sage nods a major agreement.
EXT. SMITH HOUSE – CONTINUOUS
Andrea gestures at Tom with the box cutter, no blade. Yet.
ANDREA
You can’t rush good work, Tom. Man.
Painters offer various gestures from behind Andrea.
TOM
Professionals keep a schedule, I’m just trying to stay on it.
Andrea steps closer.
ANDREA
Quality takes time.
Zak points at those words as if they’re visible.
The crew step closer around their new leader.
Tom opens his mouth but can’t come up with anything. The world has gone backwards for Boss Man.
BIG TODD
Are you done?
Tom finally retreats.
TOM
I’ll take this up with —
He stops. Realizes the van is gone and Dawn has split.
INT. DINER – CONTINUOUS
Mom downs several gulps of water.
Lunch rush is over, they’re the only customers.
SAGE
What are we gonna do?
DAWN
I’ve been asking that question all summer. I’m way past rational behavior now.
Sage nods. Then they both look to Mom for guidance.
MOM
What do I know? I’ve been trying to get through to him for thirty years.
Dawn and Sage slump.
DAWN
He’s always been this difficult?
MOM
No! He was the sweetest little boy. We were so close. But his dad. Don’t get me started.
Dawn and Sage offer knowing nods.
SAGE
I see them in here all the time. Loser Dads. Druggy Dads. Super-dork Dads.
DAWN
You just described my whole crew.
SAGE
It’s a type. They’re usually in some phase of construction.
DAWN
What I’m hearing is that I may as well give up on ever having a healthy relationship, romantic or otherwise.
Mom can’t disagree.
SAGE
Pretty much. This diner is a psychology thesis treasure-trove.
DAWN
Noted. I’ll tell my students.
MOM
You mean your crew?
Dawn drops her face into her hands.
DAWN
(muffled)
Odjdkfy.
SAGE
I think she said something like, “I’m a psychology professor.”
Mom gently pulls her hands away.
MOM
What’s going on, honey?
DAWN
I’m a phony.
SAGE
I was close.
INT. ABERNATHY’S WORK TRUCK – CONTINUOUS
Tom sits at a red light. Keeps his cool. Inches forward.
Grips the wheel tighter. Loses it.
EXT. ABERNATHY’S WORK TRUCK – MORNING
Kids in a turn lane car next to Tom watch him throw a tantrum. Mouths agape. Honks and all.
Turn light changes. They glide forward. Tom remains gridlocked in childish regression.
EXT. SMITH HOUSE – DAY
Zak remains in a dark mood but keeps working.
Crew eats cookies.
Zak rounds them up.
ZAK
This isn’t daycare. Who’s doing the deck?
BIG TODD
Hey, man. We didn’t spill that big blotch of paint on the wood.
ZAK
Then somebody needs to get up here and take over on the fascia.
Crater passes the plate of cookies.
CRATER
Quality takes time.
(takes a bite)
These are definitely quality.
Even Billie indulges. She chews, in full, delicious agreement.
Super-dork offers tea. The others laugh and push him away.
ZAK
Somebody, go get the rags and a sander from the van.
BIG TODD
Love to help you, dude, but the van is gone. Along with the rest of the paint. And the Boss Lady.
CRATER
Is she trying to skip out on payday?
Mood changes. Especially Zak as he looks toward the curb.
He heaves his brush at the siding, leaving a big splotch of trim color on the main body.
BIG TODD
Dang, man. I’d offer you some mellow meds but she took those too.
He checks every pocket anyway.
INT. PAINT VAN – CONTINUOUS
Mom rides in the passenger seat with Dawn.
They spot Tom, mid-tantrum.
MOM
Uh oh, I recognize that from about age twelve.
DAWN
Wow. Way to pinpoint the core trauma.
Tom sees them see him.
He freezes. Motionless as is his truck.
Cars behind him blare their horns.
Dawn rubbernecks.
Tom stares straight ahead.
DAWN
Tell me the truth. Am I dodging a bullet?
MOM
Bullets whiz by every minute of every day. Some of them hit their target.
Dawn gives her a double take, brow furrowed. Not a very transparent answer!
EXT. SMITH HOUSE – CONTINUOUS
Dawn and Mom pull up.
The whole crew marches toward the van as they get out. Except Billie, she cant be bothered. She soaks up rays on the deck.
BIG TODD
I don’t think gramma’s gonna speed this up any.
Andrea comes out of the house as well.
DAWN
What’s going on? Did Tom leave?
Zak ignores her in an angry pout. Slides the side door open. Unloads paint cans.
Big Todd snatches his backpack. Snarls at Dawn.
BIG TODD
Break time, boys!
DAWN
Looks like you already had your break.
HAROLD
Excuse me, madams, but did you bring paychecks?
DAWN
Oh shit. I forgot. Tell them I’ll be back after bit.
She crawls into the van.
HAROLD
You might want to leave that here.
She climbs back out. Tosses the keys to Harold.
DAWN
And tell they’d better be working when I come back with checks.
She and Mom take off in the car.
INT. DAWN’S STUDY – DAY
Dawn punches numbers into a calculator while Mom looks at picture on a bulletin board.
Dawn scribbles out a previous number in a notebook.
DAWN
This isn’t exactly my strong suit.
Mom pulls up a chair.
MOM
I can help. Read me the hours.
DAWN
I’m not even sure what the going wages are. Do you think this is enough?
She shows Mom her written figures.
MOM
Let’s see. As I remember, my husband used to pay…
She makes a series of calculations.
MOM
Adjusted for present day cost of living…
More number crunching.
MOM
Yeah, I think you’re good. See, you know what you’re doing.
DAWN
I just hope they don’t revolt before this job is done and your son is out of my life. No offense.
MOM
I get it. His dad used to drive me crazy with this drama and that crisis. These construction guys are more emotional than a bunch of sorority girls.
DAWN
And that’s saying something. I would know.
MOM
I don’t want to overstep my bounds here, I know we just met, and I like you, but this might be a touchy subject…
DAWN
Spill it.
Mom puts a hand on Dawn’s shoulder.
MOM
What you’re doing now, with this paint company is more real than any of the psychology stuff you teach.
DAWN
Ouch.
MOM
All the ivory tower theories or supposed doctoral wisdom in the controlled environment of a counselor’s scratch pad don’t hold water out here dealing with damaged people, deep in their triggers.
DAWN
Oh really?
MOM
What you’re doing now takes huevos. I would know.
DAWN
Do tell.
Dawn leans back. Looks like paychecks are gonna wait.
EXT. ABERNATHY’S OFFICE – DAY
Tom pounds away at the keyboard.
Picks up his phone and dials Blue Dawn.
Finger hovers over call button. He groans and shuts the phone off.
He picks up an armload of architectural drawings and shoves them in the trash can. A few topple to the floor.
He shoves them in. Stomps all of them down. His size thirteen gets stuck in the bottom.
SECRETARY strolls by the door. Stops to inquire.
Tom shakes his leg. Mashed papers litter the floor.
Secretary scurries on past. She wants no part of this tantrum.
EXT. SMITH HOUSE – DAY
The crew still dallies. Even Billie sits in the shade.
At the curb, smoke plumes emerge as Big Todd cracks the window.
Andrea assesses the situation from the front porch.
Husband pulls into the driveway. Looks at the non-activity as he gets out. Motions, “I’m paying for this?”
INT. DAWN’S STUDY – CONTINUOUS
Mom lounges on the bed while Dawn slides checks into envelopes.
DAWN
I’m sorry to drag you into this. I can take you back to your car but these checks have to get delivered first.
MOM
It’s been nice getting to know you, and learn a little more about my son. He hardly tells me anything.
She gets up, smooths the comforter.
DAWN
I should get rid of that and make this a real office.
MOM
I was thinking the same thing.
Phone rings. Dawn answers.
DAWN
You’re kidding. I’m on my way.
EXT. SMITH HOUSE – DAY
Mom waits in the car as Dawn approaches the crew waving checks.
They fall in line for their first payment.
DAWN
Where’s Zak?
Harold points to the van and it’s interior fog.
BIG TODD
Too much, even for me. Boss Boy’s a boss!
Dawn hands out checks and workers gather up their gear.
DAWN
Whoa, where are you going?
CRATER
Gotta get to the bank.
DAWN
This job is supposed to be done today.
Tom’s truck screeches to a halt, inches from Dawn’s bumper.
Mom gets out to cut Tom off as he stomps toward the crew.
Zak tumbles out of the van, coughing.
ZAK
Hey, man. How’s it going?
Smoke overtakes Tom and Mom. Tom waves his hand in their general direction.
TOM
Of course, you’re here. Seems to be a pattern. Mom arrives and everything disintegrates.
MOM
I think you may have had something to do with this one, son.
He stomps up to the front door.
DAWN
You guys have got to pull it together or these checks are going to bounce. You’re not the only one who is supposed to get paid today.
She grabs a brush and goes to work.
Zak ambles up a ladder to the tallest peak. At least he’s smiling again.
Tom rounds the house to find Dawn. His expression says, someone’s getting crushed.
Husband passes him up, as if he’s been there to run his home improvement project.
Andrea shuffles behind them both, torn between a new friend and an angry spouse.
HUSBAND
I’m not paying another nickel for your crew to sunbathe and smoke weed. You need to pack it up and get out.
DAWN
We’re almost finished. You can’t say you’re not satisfied with how it looks. Tomorrow, I promise.
The crew’s eyes go wide. Yikes, actual work.
TOM
He’s right. This has been the biggest display of dysfunctional…
(in Dawn’s face)
Everything.
Dawn, a foot shorter, doesn’t back down, prepares a retort…
In perfect timing, Chuck Abernathy pulls up. He stops short, in shock when Mom intercepts his approach toward the group.
CHUCK
What are you doing here?
MOM
Same goes for you. Tom is handling the situation, he doesn’t need you interfering.
DAWN
Who is that?
TOM
What is she doing here?
Tom takes off toward his quarreling parents.
Dawn motions to the crew to get back to work.
HUSBAND
Hold on, I think you’ve been fired.
She reassures the crew. Not Zak, he communes with a bird on the roof next to him.
DAWN
No one is firing anybody.
ANDREA
Honey, we can let them finish. The work is good, just a little slow. You’re never here anyway so what do you care as long as it’s done well.
HUSBAND
Oh, here we go. Give it a rest, Andrea. I’m paying for all this so you can stay home and bake bonbons.
At the curb, the volume increases. Chuck grabs Mom’s arm. As an old reflex, Tom pushes Chuck away from her.
Up on the roof, Zak watches, now distressed.
ZAK
Everybody just knock this shit off. Inappropriate workplace behavior! Mellow out dudes.
He turns around to get a footing on the top rung of the ladder. His foot slips. He grabs the ladder but his weight tilts it to the side.
Seven people run toward the leaning ladder but it’s already halfway to the ground and gaining speed.
Make that six. Dawn stands paralyzed, watches the inevitable.
Zak hits the sidewalk, missing a pasture-sized lawn.
Painful screams.
Now Dawn is in action at his side.
DAWN
Deep breaths, Zakky. I’m so sorry. This is all my fault.
Tom lifts her out of the way. Practically tosses her aside.
TOM
Don’t touch him. Be useful for once and call 911.
Big Todd kneels next to Zak’s head. The screaming has stopped.
ZAK
Dammit, I’m still alive. Again.
BIG TODD
Don’t worry, man. I’m your guide on the other guide.
He pulls a gummy out of his pocket to show Zak.
HUSBAND
You’d better have insurance.
Andrea swats his arm.
Dawn loses her cool.
DAWN
I do, as a matter of fact. But not like the extra coverage you have going with Betsy in accounting. I’m loyal to my guys.
Andrea’s mouth drops, taking this in.
As well as seven others.
Make that six. Zak isn’t having it.
ZAK
Can we focus here.
Pain returns. He moans.
It works. Everybody shuts up as an ambulance crew arrives.
DAWN
Don’t worry, we’ll be right behind you.
ZAK
Just stay and get this done. I still need tuition. But I’ll probably fail that too.
He’s hauled off leaving Dawn unsure what to do.
TOM
Yeah, get this done or somebody’s getting sued.
He follows the gurney.
Andrea and Husband take their troubles inside.
Tom’s parents ignore each other.
Dawn tosses her car keys to Mom.
DAWN
Just park it at the diner and I’ll get it later.
Dawn collapses on a step.
Unsure what to do, the crew looks to Dawn.
She gives a blank stare.
Muffled rage from the ongoing marital discord inside the house.
Dawn gazes sorrowfully in the direction of the fading siren.
The others eyeball other. Several shrugs.
BILLIE
You guys are denser than I thought. Pack it up, we’re done.
Silent, they close paint cans and gather tools.
-
Chris Dorsey’s Completed Act 3
What I learned doing this assignment is to complete what I can and to not force myself to write the scenes I don’t know yet. I think that the two – three placeholders with the rest of Act 3 is as far as I’m going to get at this point. And that’s okay.
ACT 3:
Antagonist Beat #7: Plots to kill Wilbert by someone else’s hands and to make it look like an accident. Wilbert, by dumb luck alone, escapes these attempts.
Rethink everything — He discovers that acknowledging one’s own pain, instead of being in denial, and “getting real” is the only way he will ever be able to defeat the Antagonist.
New plan — Wilbert realizes that the voices in his head (i.e. Auditory hallucinations) are actually there to help him. He embraces the voices and he taps into his bad side.
Turning Point: Huge failure / Major shift — His bad voice takes control and forces him to fail.
INT. MEDICAL ROOM, MEDICATION ROOM – NIGHT
The Antagonist mops the floor.
An OVERWEIGHT OFFICER sits back in his chair.
ANTAGONIST
Someone just brought in a big box of donuts. They’re on the table in the other room.
OVERWEIGHT OFFICER
I’ll be back in a few. Keep an eye on things for me.
ANTAGONIST
Take your time.
He puts his mop aside and goes snooping. He finds the medication for his dorm. The name on the medication blister pack reads: “Wilbert McNutt.”
He swaps it for another inmates blister pack of aspirin.
ANTAGONIST
Let’s see how long you last off you medications, McNutt.
INT. CAFETERIA – DAY
Wilbert stands on the chow line. He pushes his tray along the [insert].
MALE VOICE
Kill everyone!
Wilbert looks around. Shakes his head to clear his head. The SERVER looks at him. Strange.
INT. PSYCHIATRIST’S OFFICE -DAY
Wilbert sits across from the psychiatrist. Wilbert looks concerned.
PSYCHIATRIST
So what’s going on?
WILBERT
I don’t think my medications are working anymore.
PSYCHIATRIST
I have you on the highest dose possible.
WILBERT
And I’ve been hearing voices again. They’re telling me to do bad things.
PSYCHIATRIST
You know what I think? I think someone’s put you up to this… You are malingering.
WILBERT
What? No. I’m really hearing voices.
PSYCHIATRIST
This reminds me of the time…
MALE VOICE
Punch him. Punch this asshole.
Wilbert covers his ears.
PSYCHIATRIST
You can cover your ears to block out these supposed voices, but I still don’t believe you. You are enough antipsychotic meds to knock out a donkey.
INT. GROUP ROOM – DAY
He’s nasty to others in group. Challenges the status quo.
Beginning: WIlbert is looking around. He’s engaged by internal stimuli. He’s paranoid.
Middle: “Fuck everybody. Fuck you all.
End: Wilbert abruptly leaves group.
He goes from Super Good to Super Bad. Good voices vs. Bad voices.
WILBERT
Who are you?
MALE VOICE
Satan.
WILBERT
Satan? I find it hard to believe that out of all the places you could be, you’d choose to he here.
MALE VOICE
I’m… Uh… [insert].
WILBERT
Okay, [insert]. I’ll do your bidding.
PLACEHOLDER: The voices start telling/making Wilbert do bad things. It gets him some respect but also gets him sent to “the hole.”
INT. VISITATION ROOM – DAY
TE 6: After his friend dies (by suicide or homicide), he discovers that prison staff (i.e. Guards and the Warden) are purposefully putting his life at risk and covering up other crimes/inhumane treatment of inmates.
Antagonist Beat #6: Manipulates the mental health and prison staff to stay in the mental health dorm when others point out that he may not be mentally ill. Bribes others.
INT. CELLBLOCK – LATER
Placeholder: Wilbert shouts weird shit to the dorm. Is challenged by the Antagonist. He knows some of Wilbert’s secrets and issues them against him.
ANTAGONIST
Shut up, Wilbert.
Wilbert stands in the middle of the cellblock shouting and preaching.
WILBERT
You mother fuckers in the control room, I know you implanted your micro-machines in my head! You think you’re going to show me pornography all night long and get away with it?
He points over to the two male officers manning the control room. They look back at Wilbert in shock.
WILBERT
Yeah, you! But today, that’s going to stop.
Wilbert removes a tube of toothpaste from his pocket. He hold the tube up to one ear and squeezes toothpaste into his ear. He repeats the same action with his other ear.
The FLOOR OFFICER calls something into the radio, concerned.
Wilbert climbs the stairs to the second tier and enters a random cell.
INSIDE THE CELL
Wilbert paces back and forth in the cell.
MALE VOICE
Wilbert, burn this mother fucker down!
He floods the cell.
Wilbert smiles, maniacal. He “pops the socket” and lights a roll of toilet paper on fire. He drops it on top of his mattress. He drags the lit mattress out of his room and throws it to the floor below.
The CERT Team and other officers rush into the building. They lock eyes with Wilbert.
MALE VOICE
Climb into the rafters, Spider Man.
Wilbert pulls himself up to the top of the cell door. He stand on top of the door and jumps up to grab a ceiling beam. He pulls himself up and crawls on the beam to the center.
The Captain calls over the radio.
CAPTAIN
Bring the rescue mattress to Mental Health Unit Three.
The Captain looks up. Wilbert looks unsteady.
CAPTAIN
Put a rush on that. And get someone from the Mental Health Team down here.
(to Wilbert)
What are you doing up there?
WILBERT
I’m listening to the voice in my head. He told me to come up here.
CAPTAIN
Don’t listen to the voice. Just climb back down, slowly.
MALE VOICE
Don’t climb back down. Fly back down.
WILBERT
I can fly?
CAPTAIN
McNutt, don’t even think about it!
A team of INMATE FIREFIGHTERS rush into the dorm holding a rolled up yellow … They drop it in the floor space under Wilbert. They pull a cord and the mattress expands to full size.
WILBERT
I can fly!
Wilbert jumps and lands into the middle of the mattress. The mattress partially deflates under the pressure.
WILBERT
I’m going to stab you with my sword!
The Officers pull Wilbert off the mattress.
Inmates CLAP as they drag Wilbert out of the unit.
-
LESSON TWENTY
Kevin’s Completed Act 3
What I learned from this assignment is the work it the thing. It’s easy to become distracted and not do the work, but sitting down and writing, ignoring the distractions even if it means finding a way to isolate, is the way forward.
INT. BATMAN’S LAB – NIGHT
Batman sits in a chair opposite Robin, staring him down. Ali is standing to the side at a computer screen scanning locations searching for something.
BRUCE
All right, you hunk of metal. Let’s see how you are at chess.
ROBIN
Go for it.
Bruce makes a move. Robin immediately moves his piece. Bruce contemplates and moves again. Robin immediately moves.
ALI
You can’t beat him.
BRUCE
Shut up, I’m concentrating.
ALI
He’s programmed to learn from everything contained on the internet.
BRUCE
Did you hear….
ROBIN
Checkmate.
BRUCE
Damn you!
ALI
You can’t beat him at games, he can process Thousands of scenarios in a second.
BRUCE
Fine. Rock, Paper, Scissors.
ALI
Interesting.
BRUCE
Only 3 outcomes.
ROBIN
Humans are predictable.
BRUCE
Joker is not!
ROBIN
Unpredictability, is predictable.
BRUCE
What does that even mean?
ROBIN
If one does not behave in a predictable manor, that in itself is predictable to a degree.
BRUCE
Go!
Bruce and Robin play rock, paper, scissors and Robin wins.
BRUCE
Again!
They throw again. Again Robin wins.
BRUCE
Again!!
They throw one more time and Bruce wins.
BRUCE
Aha!
ALI
Congratulations. Now Robin, will you help Bruce train?
ROBIN
Of course Ali.
BRUCE
I don’t need help training, I need time.
ROBIN
I can be of help, Bruce.
BRUCE
Don’t call me Bruce. To you I’m Batman.
ROBIN
Yes, Batman. I’ll make a note of that.
BRUCE
Are you mocking me? Ali, is he mocking me?
ALI
Robin, were you mocking Bruce?
ROBIN
I don’t think so, it was more sarcastic than sardonic, playing on –
BRUCE
Stop!
ROBIN
Stop what?
ALI
Pause for a moment Robin.
Robin freezes and shuts down.
BRUCE
Who’s controlling him anyway, you?
ALI
No one really controls him. He’s autonomous really. He does respond to some commands in my voice, like that one. But really he’s artificial intelligence. He learns from every interaction with the outside world, with humans, and learns to read them. Their tendencies, their behavior. He reads everything posted on the internet as it appears on a server.
BRUCE
Why don’t I know about him? Didn’t I pay for all this?
ALI
Mr. Wayne. You not only know about him, he was your idea. You authorized and greenlit him before your spiral. He’s been more than a decade in development.
BRUCE
I don’t remember that.
ALI
You don’t remember much of the last decade I’ll wager. Do you remember saying, “without Alfred, I’m lost”, and “You take care of things now, will you? They don’t need me anymore”?
Bruce sinks back in his chair.
BRUCE
Vaguely.
ALI
I’m surprised even that remains. When Uncle Alfred died, we all mourned.
BRUCE
You don’t understand.
ALI
What don’t I understand? My parents died too you know. When I was a teenager. Uncle Alfred took me in, you helped raise me, both of you. I lost my anchor too!
BRUCE
I’m sorry.
ALI
Don’t be sorry, do something about it!
BRUCE
What can I do? Look at me. I’m not Batman anymore. I don’t have it in me. I’m not even a shell of who I was.
ALI
Then be who you are! Let Robin do the fighting, you are still the brains, you are still the brand! You are Batman!
BRUCE
I’m only making things worse.
ALI
You’re letting Joker decide who you are? You’re taking the blame for his insanity and evil? Since when did you let any of them dictate who you were?
Bruce sits there dejected.
ALI
I’ve had enough of this. Robin, kick the shit out of Batman until he remembers who he is!
BRUCE
What?
ROBIN
Yes, Ali.
Robin marches up to Bruce and picks him up with one hand, throwing him against a wall. Bruce crumbles in a pile and cries out in pain.
BRUCE
Stop!
ROBIN
I’m sorry, Batman. Ali is my friend.
Robin picks him up again, and tosses him across the room.
BRUCE
Pause!
Robin flies across the room, picks him up again and makes a fist.
ROBIN
Amusing Batman. That won’t work.
BRUCE
Wait!
Robin hits him in the chest with an open hand causing him to slam into another wall.
ROBIN
Should I avoid breaking bones, Ali?
Ali has left the room.
ROBIN
I’ll avoid breaking your bones.
Bruce is trying to crawl across the room to a weapon. As Robin’s back is turned he grabs a batarang from a table.
ROBIN
I can hear you, and that won’t work on me, my exterior shell sheds electricity.
Batman hurls the batarang at Robin, and he puts an arm up. It clanks off and electricity engulfs Robin’s figure, the electric pulse coursing around his shape and off his extended finger back to a generator in the corner of the room.
ROBIN
Did you think I was lying? I wouldn’t lie to you Batman, although I am capable of lying. You are however, my ally, so I don’t foresee that outcome.
Robin approaches steadily as he speaks. Bruce tries to stand, but falls back.
BRUCE
I think I’m injured.
ROBIN
You have sustained several minor injuries it appears. Although nothing major. Kicking the shit out of you only really requires pain, not injury.
BRUCE
How can I get you to stop?
ROBIN
What was asked of me, Bruce?
Robin lifts Bruce into the air again, grabbing him by the front of his shirt.
BRUCE
I’m… I’m… (resigned.) I’m Batman.
Robin spins him around and bearhugs him. Bruce’s spine cracks in multiple places and he falls to the ground in a heap.
ROBIN
That’s all anyone wants from you.
Robin walks back to the chair he was originally sitting in opposite Bruce. Bruce stands up, stretches his back, suddenly mobile again. He walks over to Robin.
BRUCE
What did you do?
ROBIN
Oh, your spine was merely out of alignment. I just straightened you back out.
BRUCE
Thanks.
ROBIN
Why did you choose Paper?
BRUCE
What?
ROBIN
When you beat me at Rock, Paper, Scissors. Why did you choose paper?
BRUCE
I was trying to be unpredictable.
ROBIN
But if you were trying to be unpredictable you would have chosen Scissors. I took that into account.
BRUCE
I eliminated what I wanted to do, what I would do if I was trying to trick you, and ended up at paper.
ROBIN
Very clever. I will have to make a note of that.
BRUCE
Not funny.
ROBIN
I tried.
INT. POLICE HEADQUARTERS – DAY
BANG! The door to the roof jerks open 6 inches. Bang. Creak. The door swings open and slams against the frame behind. Gordon rubs his shoulder as he passes through. Commissioner Parsons and officers follow.
GORDON
I can see you’ve maintained the place well.
COMMISSIONER PARSONS
We haven’t had a need to keep the old thing in working order. Things have been in hand until now.
GORDON
Uh huh.
Gordon strides over to the bat signal. It’s rusty and tilted at an odd angle.
GORDON
Should I bother.
COMMISSIONER PARSONS
I’m sure it won’t fire up. It’s been years.
Gordon grabs the handle on the side and pushes up to straighten it. The spotlight falls off and nearly crushes him. A rusty hinge is all that’s left on the stand. It rolls against the switch and a blinding light jumps forth, hitting them in the face.
GORDON
At least the torch still lights. Turn that thing off!
One of the policemen dash over to the switch and turn it off.
COMMISSIONER PARSONS
Get that thing mounted again. Do you think he’ll answer?
GORDON
He always has.
INT. WAYNE MANOR – DAY
Ali stands outside Bruce’s bedroom door with a tray holding coffee, green sludge juice, and a paper. She sighs and kicks open the door. The room is empty.
INT. WAYNE MANOR – DAY
Bruce is standing in front of a screen drinking a glass of green juice while jogging on the treadmill. Social media outrage at the bombings fill the screen. Robin stands beside him running in place. Ali stands in the doorway with her tray.
ALI
Well, this is a nice change.
BRUCE
I asked Robin to wake me at dawn. If I’m going to show up in public, I need to at least try to look the part.
ALI
Good for you. I’m glad you seem to have settled your differences with Robin.
BRUCE
I wouldn’t say that. He is a great chiropractor though. I feel better than I have in decades.
ALI
Speaking of decades, here’s your morning coffee and your paper.
Bruce slows his pace.
BRUCE
I’m off the poison, and trying to catch up to the 22nd Century.
ROBIN
Pace, Batman, and that would be the 21st.
BRUCE
Thanks tin-man.
Bruce ramps back up to speed.
ALI
Nice one.
ROBIN
He has a rudimentary skill for insults, although his reference bank is sadly out of date.
BRUCE
Can it.
ROBIN
Very droll.
BRUCE
Thanks. Listen Ali, I want to apologize –
ALI
Stop right there. You don’t have enough breath for all that, and I already forgave you each time I gave you a roundhouse to the head after you went on a bender.
BRUCE
No wonder my head hurt so much!
ALI
Yeah, well. It kept me from losing mine!
BRUCE
Right. Another thing I’m woefully behind on is this social media. I’m getting slammed and I have no idea what’s going on. Can you help?
ALI
It’s just noise, but noise we need to turn to our advantage somehow. What is clear is we need a plan of action.
ROBIN
I’ve run 120,321 scenarios –
BRUCE
Hang on, we don’t have time for that. We need to whittle that down to say, the best 12? I’ll try to come up with one while you do that.
Ali smiles and retreats through the door with her tray.
INT. WAYNE MANOR – NIGHT
Bruce and Ali are sitting in the dining room eating dinner.
BRUCE
Thank you for agreeing to join me tonight.
ALI
It’s not like I refused any invitations before. I just never received any.
BRUCE
I know. I’m sorry. I guess after Alfred… I just lost my way.
ALI
I know. We all did. He held us all together more than anyone knew.
BRUCE
I want to make it up to you. All my … whatever that was for the past … anyway, I want to make you my heir.
ALI
Well. That’s very flattering, thank you.
BRUCE
Don’t say no, it’s done. I spoke with the lawyers this afternoon. It took a little convincing to get them to believe it was me, but the paperwork is finished.
ALI
Then, thank you I guess.
BRUCE
You already run the company. You know all my secrets. Between you and Robin, I’m pretty much obsolete anyway.
Ali starts to protest. Bruce holds up a hand.
BRUCE
I know, sorry. Just running off at the mouth. You are indispensable to me and were even before I disappeared into a bottle.
ALI
Thanks.
BRUCE
Robin and I hit upon a plan while you were busy running the company today. I think it will work. He zeroed in on Joker’s lair. We’ll make a pre-emptive strike and get him on the run again. That should give us more time. I’ll fill you in while we eat.
EXT. BOX STORE – DAY
Joker stands in front of a row of televisions for sale, holding a clicker in his hand with glee.
JOKER
Three, two, one.
He pushes a button and all the televisions turn to static, then at once his face appears on all of them. He cackles with excitement.
JOKER (ON SCREEN)
Hello Gotham! Me again, your friendly, neighborhood Joke-man! It’s been such a breath of fresh air, well smoke-filled air, to be back! Sadly The Batman has still to respond to my pleas for a tet-a-tet, so I suppose I must up the ante once again. So Bat-a-tat-tat, here’s your latest challenge: In two hours the Gotham convention center is going to go ‘boom’ unless you can climb to the top and stop the countdown. Only one little problem. All the doors are locked, the streets impassible, and no communications can go in or out. They have no idea they’re about to be incinerated! But you can save them! OR you can save the only other person still alive you care about. Sadly, and hour in the opposite direction. Wait, have we been here before?
The camera swings to show Gordon and his wife Barbara tied to a bomb, bound and gagged on the roof of police headquarters.
JOKER
James and Barbara Gordon! They’re calling for you, Batman! Just look to the skies!
The camera pans again to the joker flipping a switch,, then to a circle of light in the clouds, the bat signal is there with the shadow of Gordon and Barbara tied to it.
EXT. WAYNE MANOR – NIGHT
Robin is in the bat-cave, triangulating something on a screen while Joker’s broadcast plays in the background on another screen. Bruce and Ali burst in.
BRUCE
We have him now! Let’s go, is it ready?
ROBIN
Just through there. Modified and ready to roll!
ALI
What’s going on?
Bruce dashes through the entry Robin pointed to.
ROBIN
I anticipated the scenario which has just played out. Commissioner Gordon contacted Batman earlier today.
ALI
How are you going to save them both-
ROBIN
And catch Joker? I’ve located his new lair.
BATMAN (V.O.)
Coordinates?
ROBIN
In the Batmobile. You’ll have time to get to the commissioner and still catch him before the Convention center blows.
ALI
You’d sacrifice all those-
ROBIN
Of course not. That’s the beauty of having a boy wonder on the team!
ALI
Boy wonder!?
BATMAN
You’re welcome!
A black figure and cape flash past and disappears into the batmobile. The top closes on the figure of Batman.
BATMAN
The Bat is back, baby!
ALI
Spare me.
EXT. CONVENTION CENTER – NIGHT
People stream out of the convention center doors, which have been torn away from the frames. Robin is clambering up the side of the convention center, racing toward the top.
EXT. POLICE HEADQUARTERS – NIGHT
The Bat grappling hook shoots over the side of the rooftop. As it retracts, Batman flies over the side and onto the roof. He races to Gordon and Barbara, unties them and grabs the bomb.
GORDON
Bruce, is that you?
BATMAN
It’s Batman, commissioner. Been a long time. We’ll catch up later. I have a surprise party to get to, in honor of the Joker.
Batman runs to the side of the building and hooks the ledge, he grabs the cable and jumps over the edge.
BATMAN
It’s going to be a bomb!
EXT. CONVENTION CENTER – NIGHT
Robin reaches the top. He looks over the vast roof with vents and pipes reaching as far as the eye can see.
ROBIN
Where are you? Rock, scissors, and paper!
He looks in the middle of the building and jumps to the center. The roofs gives way to a courtyard below. As he falls to the garden level, a wide array of bombs are woven together. In the center of the maze is a clock counting down from 5 minutes.
ROBIN
And chaos says-
He looks around the perimeter and sees a lone tree in the corner.
ROBIN
You.
He walks over to the tree and finds one wire looped around the base. He walks around behind the tree and picks up a handful of dirt. He crushes it between his hand and blows the dust over the field.
ROBIN
Et voila.
The field jumps alive with lasers crisscrossing the field of bombs. He follows the wire to the top of the tree and finds a laser. He crushes it in his hand and the field goes dark except for the counter.
INT. JOKER’S LAIR – DAY
Batman, in a transformed suit, crashes through the window. He holds the bomb that was tied to Barbara and Gordon.
EXT. CONVENTION CENTER – NIGHT
Robin looks down on the last of the conventioneers escaping the center from the rooftop. He holds the timer in his hand as it hits zero and unceremoniously gives a tiny zap.
INT. JOKER’S LAIR – NIGHT
Joker lounges on the sofa, watching a black and white surveillance video of both the convention center and the police headquarters.
JOKER
Ah, finally. The bat returns! Looks like you’ve gained a little weight there!
BATMAN
You’re plans have failed Joker.
JOKER
Impressive actually. I’m curious. Who’s this little fellow you’ve got working for you? I thought you always worked alone!
BATMAN
Times have changed, and I guess I had to adapt.
Joker stands and strolls to a table beside the televisions.
JOKER
Well, you certainly have done that. You might consider a different outfit though. That one’s a bit stretched out, don’t you think?
BATMAN
Your time is up Joker.
JOKER
I couldn’t agree more. As much fun as all this has been, I’m tired. I have a treat for you.
Joker reaches for a detonator on the table and holds it in the air.
BATMAN
Your bombs are all disabled. That won’t do you any good.
JOKER
Oh, those little things? Ah well, you win some you lose some. The one you have there? It’s not even real. (He laughs maniacally.) See?
He reaches behind his back and draws a large handgun, firing it into the bomb. Batman reacts, throwing the Batarang and knocking the gun from Joker’s hand, a second too late, but still shocking Joker and sending hinm flying.
JOKER
Hahahahaha! Now THAT was invigorating! Best pick me up I’ve had in years! WHERE have you been!?
BATMAN
That’s enough. Time to give yourself up Joker, by now the police have this building surrounded.
JOKER
Oh I’m sure they do. Sadly, that’s not the plan, oh bat of my heart. You see, there is no surrender this time. There’s only one way out for me, and one way out for you.
BATMAN
What are you talking about?
JOKER
Oh don’t worry, there’s no trap. Not a physical one, anyway. You see, you and I are outdated, outmoded, antiques. I was never supposed to live this long.
BATMAN
Well, I guess that’s life.
JOKER
That’s the thing though. I’m done with this life, and you’re going to break your one rule and help me out of it.
BATMAN
No. I’m not.
JOKER
Oh, but you are. Because if you don’t. This detonator –
He flips the switch to arm it.
JOKER
Will go off and the city really will devolve into chaos.
BATMAN
What do you mean?
JOKER
There. Next to you. It’s a hand gun. Pick it up.
BATMAN
No.
JOKER
Pick it up, or I drop this stick. When it hits the ground, boom.
BATMAN
Boom? What explodes?
JOKER
Everything. The headquarters you were just at. The rooftop was just window dressing. The basement is loaded!
BATMAN
The commissioner and the others are on their way here. Those left behind know the risks they take.
JOKER
Maybe so, but what about Bruce Wayne and the social elite? What about all the other precincts and the computer banks that tie them together? What I hold in my hand is the fabric of society. I spent months setting up this punch line. Society will crumble and chaos will reign.
BATMAN
That’s not possible.
JOKER
Oh, but it is. The ultra rich sit at the opera for a fund raiser set up by Wayne Enterprises for the unfortunate. They sit on a ton of C4 tonight.
BATMAN
You couldn’t have possibly-
JOKER
Twitter twitter. Can’t keep anything from the socials! Just look at the riche, lining up like cattle for the slaughter!
Joker switches the view to the opera, as the ultra rich walk up the red carpeted steps. Ali graces the screen with Robin on her arm.
BATMAN
What do you gain?
JOKER
An end. Finality. Surely you must be tired. I’m exhausted. But if you can’t end one life, then so many others will have to die.
BATMAN
There’s no way out for you.
JOKER
Well. Your choice. 10, 9, 8,
BATMAN
I’m not going to kill you, but you are going with me.
JOKER
7, 6, 5, not this time.
Batman fires a net which Joker just ducks under.
JOKER
4, 3, 2 too slow Batman!
Joker throws the detonator in the air. Batman dives for it and catches it as Joker dives for the sofa which flips upside down, spinning back up empty.
Batman rushes to the sofa and pushes it halfway. He reveals a slide disappearing to nowhere. Just as he starts to dive after him, an explosion rings out in the distance.
A ball of fire lights up the sky. Another explosion and another ball of fire. Batman is drawn to the broken window in horror as the night sky lights up with billows of fire and smoke revealing the city as far as he can see.
-
Tita’s Completed Draft of Act III
What I learned from this assignment
– That this system sometimes will not let me copy/paste some or all of my assignment… or it copies most of it but leaves out some chunks so I have to check… I have written support but no luck.
– I do not feel like retyping my notes about this and I cannot get the system to take my copy/pasted intro… that as far as I know is not any different from the script which did copy/paste.
– Basically from my Word doc: – I don’t want to add scenes, edit lightly etc. before I write Act IV because I will see how bad it is and lose the courage to keep going through to day 30.
FIRST DRAFT SCRIPT FOR III.1 REACT/RETHINK
EXT. KING STREET BENEATH GOVERNMENT BUILDING – DAY
[Troops arrive, line up outside the Government building in their fine redcoat uniforms, armed. A crowd is gathering. Some boys are pretend marching, trying to see the guns close up. Tax Commissioner Robinson shakes Captain Preston’s hand. Hutchinson , with Judge Oliver behind him, comes out to greet Captain Preston. When James Otis and his wife Ruth walk by, Otis looks at Commissioner Robinson, as if trying to remember. Robinson steps a safe distance away. John Hancock rushes out of his gold plaited carriage]
HUTCHINSON
Captain Preston, the people of Boston welcome you and your regiments.
JUDGE OLIVER
And about time too. Thank heavens we have some protection
SAM ADAMS
Oh, yes, Captain. We are so grateful for your protection… from, ah … Maybe the French sneaked back out of Quebec?
JAMES OTIS
Our warriors, back from beating the French!
[Moving too close to Captain Preston, touching his musket]
RUTH OTIS
[Guiding Otis away]
Sorry, Governor Hutchinson. He hasn’t recovered from that bar fight. [To Otis] We beat the French five years ago.
SAM
Maybe these fine soldiers have come to protect us from a Mohawk uprising? Or the Algonquins? – although I thought the peace treaties were holding.
JOHN HANCOCK
Governor Hutchinson – you should keep them in the fort. No one would see them – they’re making a mess of Faneuil Hall.
JUDGE OLIVER
We’re all relieved to bring back order to this colony.JOHN HANCOCK
Order?! They’re making a filthy, smelly mess of our hall. Buckets of excrement
SAM
[Coaching him]
John – the town meetings…
JOHN HANCOCK
Right – how are we supposed to hold our Town Meetings with soldiers bunked down all over the floor?!
SAM
Maybe that’s the point? To stop townspeople from electing representatives who can call for the repeal of the tax. Mr. Hancock – didn’t you say something about quatering, you know, the law?
[NOTE TO ME – Did I write the scene where Sam wooes Hancock by getting mob leaders to call him King Hancock? If not, add it to Act I]
HANCOCK
Quartering soldiers among peaceful townspeople… isn’t there a law
HUTCHINSON
[TBD – spouts the law]
SAM ADAMS
That’s our Governor. Mr. Hutchinson is going to lecture us again about the law – while breaking it by quartering the military in [TBD – get the legal phrase]
[As crowd agrees with Sam. Mocks his quoting of laws. Hutchinson takes Hancock into the government building. They soon appear on the balcony. Hancock is mesmerized by the view from the top.]
HUTCHINSON
Mr. Hancock, can you feel the power? I’m just as upset about this as you and all our townspeople. I only asked for a small guard. To protect my family if the mobs tried to attack us in our new home. And to protect other men of commerce. Like yourself. I never expected the king to send two regiments! I understand why everyone is so upset about the Stamp Tax. Look, I had to enforce it. My job. But I am also a fellow Bostonian. Together we can meet with merchants. Specially now that Otis has been silenced. Temporarily. It’s our change. None of us want a tax imposed on us. Parliament never gave up their right – but colonists also have the right. What did you say about colonial charters –
HANCOCK
Not me. Samuel will know – [Starting to call down] Mr. Ad–
HUTCHINSON
No, don’t get him involved. We can work this out together. And with other men of influence.
HANCOCK
He said something about the king’s charters for each colony… but I don’t-
HUTCHINSON
Don’t worry. We can join together with other men of commerce to ask Parliament to rescind the Stamp Act. Explain to them why everyone in the colonies is so upset – find other ways to help the Mother Country pay off her debts.
HANCOCK
Yes – Parliament never sent funds to help us fight the French.
HUTCHINSON
Yes. It’s about fairness. I’ve heard you. And I can help you and all your fellow merchants reason with the Lords of Parliament.
HANCOCK
But I thought you –
HUTCHINSON
We are fellow citizens of the only free nation in a world of tyrants.
HANCOCK
Uh-oh. Here comes the but. Please Governor Hutchinson, don’t. My mind spins when you start telling us all the laws we have to obey
HUTCHINSON
Promise. I want to hear your ideas about how the colonies can stay aligned with our Mother Country. If the tyrants of the world commotions between the colonies and our government in England they will join together to tear us apart, chop up our colonies and Indian country into Spain, France, Russia – We can’t let that happen. We are the only nation where people can elect our own representatives to Parliament to make decisions that affect our lives. No tyrants. Our leaders in the Houses of Parliament. They can listen to reason… And I can help you – all of us – explain our concern that our colonial representative in Parliament is our only elected representative to vote on a tax –
HANCOCK
But we don’t vote for –
HUTCHINSON
Exactly. The king appoints him. But It’s not either our colonial rep in Parl or our elected reps in each colony’s assembly. Now let’s go in and plan – you can give me the names of the most intelligent men of commerce – people we can listen to.
[As Hutchinson reaches out to shake Hancock’s hand, Sam Adams, on the street below, looks up at them on the balcony. Concerned.]
###
INT. HANCOCK PARLOR -AFTERNOON
Hutchinson being escorted into over-luxurious parlor by overly-flouncy Dolly Hancock as Hancock points out a table laden with tea setting plus too many drinks and hors d’oevres
DOLLY HANCOCK
We are so honored to have you in our home, Mr. Hutchinson.
HANCOCK
Governor, Dolly! Here sir –
HUTCHINSON
Acting Governor. Still Lieutenant Governor. But Thomas is fine, Mrs. Hancock
HANCOCK
Here – tea? Or do you prefer rum or wine first? And we have these little sausages or this smoked cod… or we can have Cook bring something lighter if a savory tea is too –
[Dolly rushes to pour tea for Hutchinson]
HUTCHINSON
Nothing thank you.
DOLLY
Oh, dear. What else can I get you?
HUTCHINSON
Nothing. I just want to reassure you, I have ordered Captain Preston to control his troops better. Clean up after themselves in Faneuil hall. Use the privies. And I want to assure you, I understand what you and other men of commerce have been saying that the colonial charters –
HANCOCK
Spare me more legal points. You can tell me hundreds of your facts but-
HUTCHINSON
You’re right.
HANCOCK
I’m what??
HUTCHINSON
I should apologize. I have written Lord Dalrymple and others that they cannot just pay off their war debt by taxing the colonies. I have explained that of course Parliament can make final decisions for the colonies but our charters –
DOLLY
Oh, Mr. ah – Thomas. I knew you were on our side. We’re all British citizens – no reason to fight over a stupid tax.
HANCOCK
Dolly, the government issues are not stupid
HUTCHINSON
Mrs. Hancock is very wise. No reason to fight at all. Just a matter of policy. The charters gave all rights to the people – let them vote on anything. But we – any of us with education and sensibility – we know we need a balance between the voice of everyman, the experience of men of influence, and the mediating benevolence of royalty. I wanted to ask you to help me organize a meeting of men of influence. Together, we –
HANCOCK
I’m very honored.
HUTCHINSON
Honored?
HANCOCK
That you think I can bring them together.
HUTCHINSON
You’ve been very effective in supporting the boycott of any products taxed.
DOLLY
My husband was only talking with the radicals to learn what they are doing. So he could warn you.
HANCOCK
Right! I was never –
HUTCHINSON
The past is past. What we need to do now is join to together with other men of commerce. Develop proposals that I can pass on to leaders of Parliament.
HANCOCK
Can we trust you? I did. But you were secretly calling in the royal army.
HUtCHINSON
What if mobs had pillaged and burned this beautiful home of yours?
DOLLY
Oh, la, I’m going to faint.
HANCOCK
Don’t worry. She never does. Forgive me for asking – but it’s just hard to trust…
HUTCHINSON
If I cannot get Parliament – or even the King – to understand the concerns of colonists, I will resign as Acting Governor.
HANCOCK
Give up all that money?
HUTCHINSON
You thought I accepted this position this for money? No amount of money could make this job worth it. You probably believe all the attacks on me. But I love our colony. But if I cannot get them to listen to me, I will tell them to find a stronger man to be Governor.
###
First Draft Script for Key Scene 3 – Things go well, until…
EXT. OUTSIDE GOVERNMENT BUILDING – SNOWY EVENING
Royal army soldiers are lined up, armed. Crowd is gathering, shouting “Bloody lobsters!”… “Looking at our women!”… One boy throws a snowball. Otis, head still bandaged, runs up, shouts to crowd as more and more men and boys, black as well as white – and including Crispus Attucks, a large half African/half Native American, pick up snow to make snowballs
OTIS
You see what one of their men did to me? Their royal tax Commissioner?! And last week – the soldiers attacks our own boys. Our colony has our own militia. If we need protection, we can call in our own troops! Free citizens can protect ourselves!
[His wife, Ruth, and his adopted Native American son, try to draw him away but he frees himself and runs back. They stop him from making his own snowball and get him away from the crowd.
[Crowd pelts the soldiers with snowballs. One soldier, hit, yells in pain, “Rocks!” more and more snowballs thrown, soldiers nervous. Soldiers are shouting back – “Criminals!” – “Stand back” – “Worse than your own savages”… “Violent mob!” In the midst of the shouting and onslaught of snowballs, someone yells “Fire!” and the soldiers, already feeling attacked, fire on the crowd.
Four drop dead including Crispus Attucks- and a young boy lies wounded. Gasps. Silence. Some in crowd run, some rush to the fallen, the troops, guns still aimed at the crowd, stare, frozen. Sam and Betsy Adams run to help the fallen. Otis is wandering around glazed, horrified. Sam starts to guide him out of the crowd but he shakes Sam off and yells at Sam]
OTIS
Murderer! Now look what you’ve caused!!
[Runs off. Betsy Adams rushes to the government building]
BETSY ADAMS
Hutchinson!! [Turns to crowd] Hutchinson called in the royal army against us!
[looking up at the empty balcony and shaking her fist]
Murderer!!!! I’ll drag your hoary head through the streets of Boston.
[She and Sam go back to tending to the fallen. Hutchinson rushes in, also tends to wounded in other areas.]
INT. GOVERNOR’S OFFICE – MORNING
[Hutchinson comforting, taking depositions. Hutchinson is clearly in mourning along with the town. Townspeople lined up, giving short overlapping testimonies]
[INSERT quotes from actual ones]
[Otis runs in, has not changed clothes. Startles townspeople and Hutchinson by falling on Hutchinson’s shoulders, weeping]
OTIS
I’m sorry… so sorry. You were trying to protect us – balance our ship.
HUTCHINSON
Very unfortunate incident.
OTIS
You were trying to balance the –
HUTCHINSON
Please, Mr. Otis, I am taking witness testimonies.
OTIS
But now — Sam Adams has already sent out a letter to his correspondence committees. To every county in Massachusetts Bay and all the other colonies. Even King and Parliament. Blaming you for – for – a “Massacre”!
###
EXT. BALCONY IN GOVERNMENT BUILDING– LATE AFTERNOON:
Hutchinson, Judge Oliver, Royal Tax Commissioner on balcony.
HUTCHINSON
I see someone running here from the Town Meeting at Old South Church
JUDGE OLIVER
No matter what – do not remove the troops. You don’t want Parliament or King thinking you let the colonists run the British empire.
TAX COMMISSIONER
You must remove the regiment that fired on them. If you refuse, they might turn all the colonies into a raging mob against our government.
HUTCHINSON
Not a mob. They’re understandably upset – innocent lives.
JUDGE OLIVER
“Innocent?!”
ROYAL TAX COMMISSIONER ROBINSON
General Gage says we can remove the regiment that shot people. That will show the nation shares their grief. also don’t want to give colonists an excuse.
HUTCHINSON
General Gage can come up from New York and do that himself.
[Below in street, Dr. Benjamin Church, a spy for Hutch, has run to the building and yells up to balcony]
DR. BENJAMIN CHURCH
Governor Hutchinson! A committee’s coming from Town Meeting
HUTCHINSON
Their mission?
DR. CHURCH
Can you hear them?!
[Chant in distance becomes louder and louder – “Both Regiments or none!” ]
They found out that General Gage agreed to moving out the regiment that killed townspeople. And make sure the other one is more orderly
HUTCHINSON
I can’t order people to be orderly.
ROYAL TAX COMMISSIONER ROBINSON
At least General knows what’s at stake. If you don’t remove that regiment, I guaranty, mobs in all the colonies will rise up.
DR. CHURCH
Not mobs – the men coming right now are not the mobs that took down your house, Governor. Leaders of commerce, influence. All of them – shocked and grieving. Our own army has killed British citizens. Got to run – good luck, Governor
[Starts to leave]
ROBINSON
Wait, Dr. Church. Come up – we need all the reinforcements we can get.
DR. CHURCH
I have to leave before they see me. Leaves.
JUDGE OLIVER
Commissioner Robinson, this is confidential of course, but Dr. Church, he, ah, keeps us informed. Don’t want to lose him.
ROBINSON
Governor –Can’t you just send that Sheriff of yours – tell that Committee they don’t need to meet with you – you’re going to remove the regiment out of Boston.
HUTCHINSON
I welcome the chance to tell them, right here in our royal offices, what I’m going to do –remove both or none? My answer is “None.”
OLIVER
Hah!
ROBINSON
But they’ll mobilize all the colonies against the Crown. They’ve already despatched messengers with letters to every colony that the royal army “massacred” citizens.
[HUTCHINSON turns and goes in. Oliver and Robinson follow him in. Below, Hancock and Otis arrive with a gaggle of merchants, all in formal dress/wigs, followed by Sam Adams in his old patched dark red cloak, no wig.
No one on balcony as the group arrives. Hancock, Adams and all merchants enter the building – except Otis. His wife Ruth rushes over to him and holds him back. Backing her up is Otis Two (the Native American Otis has informally adopted and taught the law} dressed as a lawyer]
RUTH OTIS
No, please! You’ll make another scene – get us in worse trouble.
JAMES OTIS JR
I’m fine. Better. Let go of me.
RUTH
I’m begging – if you love me, come home with me!
OTIS
I love you with all my heart, Ruth. And I love our freedom to govern ourselves!
[He rushes into the building, She gestures for OTIS TWO to follow him]
OTIS TWO
I can’t. The townspeople did not – of course – vote me onto that Committee.
RUTH
Then stand by. In case he makes a commotion.
[She takes a seat on a bench but, as he starts to join her, waves him away from her. He stands aside]
INT. GOVERNOR’S OFFICE – SAME TIME
[The Committee from the Town Meeting is taking their places in front of Hutchinson, behind him Judge Oliver.. Hancock is first with other merchants behind him. Sam takes his place at the very back of the Committee. When OTIS joins the group and stands next to Hancock, Commissioner Robinson takes a position just ouside the door where Otis cannot see him]
HUTCHINSON
Welcome, gentlemen. I am grieving with you.
[Polite but skeptical muttering]
I am glad the Town Meeting appointed you to come talk with me. Our fellow citizens have been killed. We are all dreadfully upset.
[Polite sounds of agreement]
A very unfortunate incident that I-
HANCOCK
“Unfortunate incident?” Five dead, others woulnded. The Town demands you remove both regiments from Boston immediately.
OTIS
Human beings – each one, just protesting a free people
HANCOCK
[TBD – reading the names, ages of the dead and wounded]
[As Hancock names them, Sam Adams slips quickly next to Otis, gives him a signal to quiet down. Otis obeys this signal and Sam moves to the back again.]
The town of Boston demands you remove both regiments immediately.
HUTCHINSON
Only General Gage, Commander of his Majesty’s forces in the American colonies., can do that. And he is in New York at the moment.
HANCOCK
[Checking notes and reading from them]
As our acting Governor, you are also commander of our colony’s royal army and our town and county militias.
HUTCHINSON
Then I must also have the authority to tell General Gage to leave both regiments in the town of Boston.
[Angry reactions among the merchants… but as he keeps speaking, one by one, they step back, move to the wall behind Sam Adams.]
I understand why you want the regiments removed. Whether the soldiers were defending themselves from sharp rocks in ice or just frightened, the tragedy is that people have been killed.
[Someone mutters “You brought the army here, you send them out”]
Of course I understand why you want to order the soldiers out. But each one of you is a very intelligent, experienced influential citizen. Think for a moment, what will happen if our town can give orders to His Majesty’s royal army?… Will other colonies decide they can give orders to King and Parliament whenever they disagree?… What kind of chaos would that make for our nation? …And what about the other empires of the world? They hunger for our resources!
[Someone yells “We beat back the French. We won that war!”
If they think we no longer are loyal to our government, you don’t think the French won’t come down again from Canada. And take more lands of the South? Then there’s Spain’s control from Mexico all the way up to the North of Indian Country. You think they won’t move East? … And what about Russia in the North West?
[Someone else shouts: “We’re talking about Boston. Just get the troops out of our city!”]
Every other country in our world is ruled by one monarch or tyrannical barbarian. If they see our colonies fighting our nation? What happens? Every one of those nations would love to see our nation divided. Take over our lands and fisheries. The empires of France, Spain, Russia the Ottoman = each one a brutal regimes that has and can in the gfutre move against us. Will our nation protect us? Take one stone after another out of a stone wall, soon the wall collapses. Are you willing to grab the first stones? if Boston starts commanding the royal army, think – will Parliament invest money and resources protect us? Will His Majesty care? The Mother Country is not perfect. But the Houses of Parliament are willing to negotiate – you saw that they repealed the Stamp tax. Now we must negotiate tariffs. And better management of the troops. Nothing is perfect. But our nation is close to perfection The exquisite balance between equal liberty for all – our wealthy and our commoners each can vote for representatives to make laws and decisions that impact their lives. Our monarch must also follow rules to protect all groups in his domain. The only nation in the world on in the world with liberty. Are you willing to refuse to honor the laws of the only nation in the world to give people the right to vote for their own leaders. Are you willing to take the first stones out of the beautiful foundation of our government?
[Noises of apologies, reconsideration, etc – All have fallen back behind Sam Adams]
SAM ADAMS
A question, Governor Hutchinson. If we do not remove both regiments from Boston so they cannot kill us again, If we cannot decide when soldiers can or cannot take over our homes, have we given up our right to protect our own safety? We are all British citizens. Please help me understand. If our townspeople cannot decide when to remove soldiers who have killed innocents, how can we best protect ourselves and our liberty?
[Teasing – with a sparkle and smile as he zeroes in]
I need your advice. If the town of Boston cannot decide to remove both regiments, – do you want us to ask our representatives in the Massachusetts Bay Assembly to make that decision? Or perhaps you would like us to ask each colony’s House of Rep to vote on whether a town has the right to decide to remove soldiers to a fort when they have killed innocent citizens in an “unfortunate incident?” Whether intentionally or in confusion, soldiers have killed citizens. Do townspeople have the right to order both regiments to the fort outside Boston? Or would you advise us to ask our own and other colonies’ elected representatives?”
JUDGE OLIVER
You must follow the instructions of your Governor.
SAM ADAMS
Thanks you Governor Hutchinson for your praise of liberty. All of us in this room share our love as citizens the only nation in the world to give its citizens the liberty to govern our own lives through our elected representatives. We would all appreciate your counsel for us, the townspeople of Boston, the elected representatives throughout Massachusetts Bay and in the Houses of Representatives throughout the colonies.
HUTCHINSON
The townspeople have voted. No need to ask the other assemblies. We will remove both regiments.
[Gasps of shock]
This meeting is adjourned.
[Everyone files out – some praising him, patting him, shaking his hand… Some so angry they cannot look at him. Alone, he sits to start writing.]
JUDGE OLIVER
[On his way out]
You fool!
EXT. OUTSIDE GOVERNMENT BUILDING – NIIGHT
[As Hutchinson wearily leaves the building alone, exhausted, he sees Ruth Otis sitting alone on the bench.]
HUTCHINSON
Ruth. It’s late – Is something wrong? – Your husband?
RUTH OTIS
We got him to sleep. You’re working late.
HUTCHINSON
I had to write up an explanaton for my decision. A courier will take my letter early tomorrow to General Gage in New York. And the next ship to London.
RUTH
I heard you are removing not one but both regiments.
HUTCHINSON
Yes.
RUTH
Sit a moment.
HUTCHINSON
I’m very tired.
RUTH
You have every reason. James was surprisingly calm when we took him home.
HUTCHINSON
He seemed to understand what I was saying. How did you every marry him?
RUTH
Fathers. His father and mine. Both Colonels in the war against the French. And he certainly wasn’t boring… not a typical son of a rich father.
HUTCHINSON
He hates me for being appointed Chief Justice instead of his father.
RUTH
Let’s not talk about him. Will you be okay – with Parliament? You know, for removing both regiments?
HUTCHINSON
I don’t know.
RUTH
I hope Parliament won’t recall you to face inquiries in London.
HUTCHINSON
Easier than if the King appoints me as actual, not acting governor.
[Quiet for a moment]
At least I made sure we will stay united.
RUTH
We’re one country. The colonies would never survive without the Mother Country.
HUTCHINSON
It’s late. May I walk you home?
[They get up and slowly leave, together.]
<b style=”font-family: inherit; font-size: inherit;”>
<b style=”font-family: inherit; font-size: inherit;”>FIRST DRAFT SCRIPT FOR III.1 REACT/RETHINK
EXT. KING STREET BENEATH GOVERNMENT BUILDING – DAY
[Troops arrive, line up outside the Government building in their fine redcoat uniforms, armed. A crowd is gathering. Some boys are pretend marching, trying to see the guns close up. Tax Commissioner Robinson shakes Captain Preston’s hand. Hutchinson , with Judge Oliver behind him, comes out to greet Captain Preston. When James Otis and his wife Ruth walk by, Otis looks at Commissioner Robinson, as if trying to remember. Robinson steps a safe distance away. John Hancock rushes out of his gold plaited carriage]
HUTCHINSON
Captain Preston, the people of Boston welcome you and your regiments.
JUDGE OLIVER
And about time too. Thank heavens we have some protection
SAM ADAMS
Oh, yes, Captain. We are so grateful for your protection… from, ah … Maybe the French sneaked back out of Quebec?
JAMES OTIS
Our warriors, back from beating the French!
[Moving too close to Captain Preston, touching his musket]
RUTH OTIS
[Guiding Otis away]
Sorry, Governor Hutchinson. He hasn’t recovered from that bar fight. [To Otis] We beat the French five years ago.
SAM
Maybe these fine soldiers have come to protect us from a Mohawk uprising? Or the Algonquins? – although I thought the peace treaties were holding.
JOHN HANCOCK
Governor Hutchinson – you should keep them in the fort. No one would see them – they’re making a mess of Faneuil Hall.
JUDGE OLIVER
We’re all relieved to bring back order to this colony.JOHN HANCOCK
Order?! They’re making a filthy, smelly mess of our hall. Buckets of excrement
SAM
[Coaching him]
John – the town meetings…
JOHN HANCOCK
Right – how are we supposed to hold our Town Meetings with soldiers bunked down all over the floor?!
SAM
Maybe that’s the point? To stop townspeople from electing representatives who can call for the repeal of the tax. Mr. Hancock – didn’t you say something about quatering, you know, the law?
[NOTE TO ME – Did I write the scene where Sam wooes Hancock by getting mob leaders to call him King Hancock? If not, add it to Act I]
HANCOCK
Quartering soldiers among peaceful townspeople… isn’t there a law
HUTCHINSON
[TBD – spouts the law]
SAM ADAMS
That’s our Governor. Mr. Hutchinson is going to lecture us again about the law – while breaking it by quartering the military in [TBD – get the legal phrase]
[As crowd agrees with Sam. Mocks his quoting of laws. Hutchinson takes Hancock into the government building. They soon appear on the balcony. Hancock is mesmerized by the view from the top.]
HUTCHINSON
Mr. Hancock, can you feel the power? I’m just as upset about this as you and all our townspeople. I only asked for a small guard. To protect my family if the mobs tried to attack us in our new home. And to protect other men of commerce. Like yourself. I never expected the king to send two regiments! I understand why everyone is so upset about the Stamp Tax. Look, I had to enforce it. My job. But I am also a fellow Bostonian. Together we can meet with merchants. Specially now that Otis has been silenced. Temporarily. It’s our change. None of us want a tax imposed on us. Parliament never gave up their right – but colonists also have the right. What did you say about colonial charters –
HANCOCK
Not me. Samuel will know – [Starting to call down] Mr. Ad–
HUTCHINSON
No, don’t get him involved. We can work this out together. And with other men of influence.
HANCOCK
He said something about the king’s charters for each colony… but I don’t-
HUTCHINSON
Don’t worry. We can join together with other men of commerce to ask Parliament to rescind the Stamp Act. Explain to them why everyone in the colonies is so upset – find other ways to help the Mother Country pay off her debts.
HANCOCK
Yes – Parliament never sent funds to help us fight the French.
HUTCHINSON
Yes. It’s about fairness. I’ve heard you. And I can help you and all your fellow merchants reason with the Lords of Parliament.
HANCOCK
But I thought you –
HUTCHINSON
We are fellow citizens of the only free nation in a world of tyrants.
HANCOCK
Uh-oh. Here comes the but. Please Governor Hutchinson, don’t. My mind spins when you start telling us all the laws we have to obey
HUTCHINSON
Promise. I want to hear your ideas about how the colonies can stay aligned with our Mother Country. If the tyrants of the world commotions between the colonies and our government in England they will join together to tear us apart, chop up our colonies and Indian country into Spain, France, Russia – We can’t let that happen. We are the only nation where people can elect our own representatives to Parliament to make decisions that affect our lives. No tyrants. Our leaders in the Houses of Parliament. They can listen to reason… And I can help you – all of us – explain our concern that our colonial representative in Parliament is our only elected representative to vote on a tax –
HANCOCK
But we don’t vote for –
HUTCHINSON
Exactly. The king appoints him. But It’s not either our colonial rep in Parl or our elected reps in each colony’s assembly. Now let’s go in and plan – you can give me the names of the most intelligent men of commerce – people we can listen to.
[As Hutchinson reaches out to shake Hancock’s hand, Sam Adams, on the street below, looks up at them on the balcony. Concerned.]
###
[NOTE: IN REVISION, CHANGE INAUG TO HANCOCK GIVING A BANQUET]
First Draft Script for Key Scene 2 – Makes a new plan
INT. HANCOCK PARLOR -AFTERNOO
Hutchinson being escorted into over-luxurious parlor by overly-flouncy Dolly Hancock as Hancock points out a table laden with tea setting plus too many drinks and hors d’oevres
DOLLY HANCOCK
We are so honored to have you in our home, Mr. Hutchinson.
HANCOCK
Governor, Dolly! Here sir –
HUTCHINSON
Acting Governor. Still Lieutenant Governor. But Thomas is fine, Mrs. Hancock
HANCOCK
Here – tea? Or do you prefer rum or wine first? And we have these little sausages or this smoked cod… or we can have Cook bring something lighter if a savory tea is too –
[Dolly rushes to pour tea for Hutchinson]
HUTCHINSON
Nothing thank you.
DOLLY
Oh, dear. What else can I get you?
HUTCHINSON
Nothing. I just want to reassure you, I have ordered Captain Preston to control his troops better. Clean up after themselves in Faneuil hall. Use the privies. And I want to assure you, I understand what you and other men of commerce have been saying that the colonial charters –
HANCOCK
Spare me more legal points. You can tell me hundreds of your facts but-
HUTCHINSON
You’re right.
HANCOCK
I’m what??
HUTCHINSON
I should apologize. I have written Lord Dalrymple and others that they cannot just pay off their war debt by taxing the colonies. I have explained that of course Parliament can make final decisions for the colonies but our charters –
DOLLY
Oh, Mr. ah – Thomas. I knew you were on our side. We’re all British citizens – no reason to fight over a stupid tax.
HANCOCK
Dolly, the government issues are not stupid
HUTCHINSON
Mrs. Hancock is very wise. No reason to fight at all. Just a matter of policy. The charters gave all rights to the people – let them vote on anything. But we – any of us with education and sensibility – we know we need a balance between the voice of everyman, the experience of men of influence, and the mediating benevolence of royalty. I wanted to ask you to help me organize a meeting of men of influence. Together, we –
HANCOCK
I’m very honored.
HUTCHINSON
Honored?
HANCOCK
That you think I can bring them together.
HUTCHINSON
You’ve been very effective in supporting the boycott of any products taxed.
DOLLY
My husband was only talking with the radicals to learn what they are doing. So he could warn you.
HANCOCK
Right! I was never –
HUTCHINSON
The past is past. What we need to do now is join to together with other men of commerce. Develop proposals that I can pass on to leaders of Parliament.
HANCOCK
Can we trust you? I did. But you were secretly calling in the royal army.
HUtCHINSON
What if mobs had pillaged and burned this beautiful home of yours?
DOLLY
Oh, la, I’m going to faint.
HANCOCK
Don’t worry. She never does. Forgive me for asking – but it’s just hard to trust…
HUTCHINSON
If I cannot get Parliament – or even the King – to understand the concerns of colonists, I will resign as Acting Governor.
HANCOCK
Give up all that money?
HUTCHINSON
You thought I accepted this position this for money? No amount of money could make this job worth it. You probably believe all the attacks on me. But I love our colony. But if I cannot get them to listen to me, I will tell them to find a stronger man to be Governor.
###
First Draft Script for Key Scene 3 – Things go well, until…
EXT. OUTSIDE GOVERNMENT BUILDING – SNOWY EVENING
Royal army soldiers are lined up, armed. Crowd is gathering, shouting “Bloody lobsters!”… “Looking at our women!”… One boy throws a snowball. Otis, head still bandaged, runs up, shouts to crowd as more and more men and boys, black as well as white – and including Crispus Attucks, a large half African/half Native American, pick up snow to make snowballs
OTIS
You see what one of their men did to me? Their royal tax Commissioner?! And last week – the soldiers attacks our own boys. Our colony has our own militia. If we need protection, we can call in our own troops! Free citizens can protect ourselves!
[His wife, Ruth, and his adopted Native American son, try to draw him away but he frees himself and runs back. They stop him from making his own snowball and get him away from the crowd.
[Crowd pelts the soldiers with snowballs. One soldier, hit, yells in pain, “Rocks!” more and more snowballs thrown, soldiers nervous. Soldiers are shouting back – “Criminals!” – “Stand back” – “Worse than your own savages”… “Violent mob!” In the midst of the shouting and onslaught of snowballs, someone yells “Fire!” and the soldiers, already feeling attacked, fire on the crowd.
Four drop dead including Crispus Attucks- and a young boy lies wounded. Gasps. Silence. Some in crowd run, some rush to the fallen, the troops, guns still aimed at the crowd, stare, frozen. Sam and Betsy Adams run to help the fallen. Otis is wandering around glazed, horrified. Sam starts to guide him out of the crowd but he shakes Sam off and yells at Sam]
OTIS
Murderer! Now look what you’ve caused!!
[Runs off. Betsy Adams rushes to the government building]
BETSY ADAMS
Hutchinson!! [Turns to crowd] Hutchinson called in the royal army against us!
[looking up at the empty balcony and shaking her fist]
Murderer!!!! I’ll drag your hoary head through the streets of Boston.
[She and Sam go back to tending to the fallen. Hutchinson rushes in, also tends to wounded in other areas.]
INT. GOVERNOR’S OFFICE – MORNING
[Hutchinson comforting, taking depositions. Hutchinson is clearly in mourning along with the town. Townspeople lined up, giving short overlapping testimonies]
[INSERT quotes from actual ones]
[Otis runs in, has not changed clothes. Startles townspeople and Hutchinson by falling on Hutchinson’s shoulders, weeping]
OTIS
I’m sorry… so sorry. You were trying to protect us – balance our ship.
HUTCHINSON
Very unfortunate incident.
OTIS
You were trying to balance the –
HUTCHINSON
Please, Mr. Otis, I am taking witness testimonies.
OTIS
But now — Sam Adams has already sent out a letter to his correspondence committees. To every county in Massachusetts Bay and all the other colonies. Even King and Parliament. Blaming you for – for – a “Massacre”!
###
EXT. BALCONY IN GOVERNMENT BUILDING– LATE AFTERNOON:
Hutchinson, Judge Oliver, Royal Tax Commissioner on balcony.
HUTCHINSON
I see someone running here from the Town Meeting at Old South Church
JUDGE OLIVER
No matter what – do not remove the troops. You don’t want Parliament or King thinking you let the colonists run the British empire.
TAX COMMISSIONER
You must remove the regiment that fired on them. If you refuse, they might turn all the colonies into a raging mob against our government.
HUTCHINSON
Not a mob. They’re understandably upset – innocent lives.
JUDGE OLIVER
“Innocent?!”
ROYAL TAX COMMISSIONER ROBINSON
General Gage says we can remove the regiment that shot people. That will show the nation shares their grief. also don’t want to give colonists an excuse.
HUTCHINSON
General Gage can come up from New York and do that himself.
[Below in street, Dr. Benjamin Church, a spy for Hutch, has run to the building and yells up to balcony]
DR. BENJAMIN CHURCH
Governor Hutchinson! A committee’s coming from Town Meeting
HUTCHINSON
Their mission?
DR. CHURCH
Can you hear them?!
[Chant in distance becomes louder and louder – “Both Regiments or none!” ]
They found out that General Gage agreed to moving out the regiment that killed townspeople. And make sure the other one is more orderly
HUTCHINSON
I can’t order people to be orderly.
ROYAL TAX COMMISSIONER ROBINSON
At least General knows what’s at stake. If you don’t remove that regiment, I guaranty, mobs in all the colonies will rise up.
DR. CHURCH
Not mobs – the men coming right now are not the mobs that took down your house, Governor. Leaders of commerce, influence. All of them – shocked and grieving. Our own army has killed British citizens. Got to run – good luck, Governor
[Starts to leave]
ROBINSON
Wait, Dr. Church. Come up – we need all the reinforcements we can get.
DR. CHURCH
I have to leave before they see me. Leaves.
JUDGE OLIVER
Commissioner Robinson, this is confidential of course, but Dr. Church, he, ah, keeps us informed. Don’t want to lose him.
ROBINSON
Governor –Can’t you just send that Sheriff of yours – tell that Committee they don’t need to meet with you – you’re going to remove the regiment out of Boston.
HUTCHINSON
I welcome the chance to tell them, right here in our royal offices, what I’m going to do –remove both or none? My answer is “None.”
OLIVER
Hah!
ROBINSON
But they’ll mobilize all the colonies against the Crown. They’ve already despatched messengers with letters to every colony that the royal army “massacred” citizens.
[HUTCHINSON turns and goes in. Oliver and Robinson follow him in. Below, Hancock and Otis arrive with a gaggle of merchants, all in formal dress/wigs, followed by Sam Adams in his old patched dark red cloak, no wig.
No one on balcony as the group arrives. Hancock, Adams and all merchants enter the building – except Otis. His wife Ruth rushes over to him and holds him back. Backing her up is Otis Two (the Native American Otis has informally adopted and taught the law} dressed as a lawyer]
RUTH OTIS
No, please! You’ll make another scene – get us in worse trouble.
JAMES OTIS JR
I’m fine. Better. Let go of me.
RUTH
I’m begging – if you love me, come home with me!
OTIS
I love you with all my heart, Ruth. And I love our freedom to govern ourselves!
[He rushes into the building, She gestures for OTIS TWO to follow him]
OTIS TWO
I can’t. The townspeople did not – of course – vote me onto that Committee.
RUTH
Then stand by. In case he makes a commotion.
[She takes a seat on a bench but, as he starts to join her, waves him away from her. He stands aside]
INT. GOVERNOR’S OFFICE – SAME TIME
[The Committee from the Town Meeting is taking their places in front of Hutchinson, behind him Judge Oliver.. Hancock is first with other merchants behind him. Sam takes his place at the very back of the Committee. When OTIS joins the group and stands next to Hancock, Commissioner Robinson takes a position just ouside the door where Otis cannot see him]
HUTCHINSON
Welcome, gentlemen. I am grieving with you.
[Polite but skeptical muttering]
I am glad the Town Meeting appointed you to come talk with me. Our fellow citizens have been killed. We are all dreadfully upset.
[Polite sounds of agreement]
A very unfortunate incident that I-
HANCOCK
“Unfortunate incident?” Five dead, others woulnded. The Town demands you remove both regiments from Boston immediately.
OTIS
Human beings – each one, just protesting a free people
HANCOCK
[TBD – reading the names, ages of the dead and wounded]
[As Hancock names them, Sam Adams slips quickly next to Otis, gives him a signal to quiet down. Otis obeys this signal and Sam moves to the back again.]
The town of Boston demands you remove both regiments immediately.
HUTCHINSON
Only General Gage, Commander of his Majesty’s forces in the American colonies., can do that. And he is in New York at the moment.
HANCOCK
[Checking notes and reading from them]
As our acting Governor, you are also commander of our colony’s royal army and our town and county militias.
HUTCHINSON
Then I must also have the authority to tell General Gage to leave both regiments in the town of Boston.
[Angry reactions among the merchants… but as he keeps speaking, one by one, they step back, move to the wall behind Sam Adams.]
I understand why you want the regiments removed. Whether the soldiers were defending themselves from sharp rocks in ice or just frightened, the tragedy is that people have been killed.
[Someone mutters “You brought the army here, you send them out”]
Of course I understand why you want to order the soldiers out. But each one of you is a very intelligent, experienced influential citizen. Think for a moment, what will happen if our town can give orders to His Majesty’s royal army?… Will other colonies decide they can give orders to King and Parliament whenever they disagree?… What kind of chaos would that make for our nation? …And what about the other empires of the world? They hunger for our resources!
[Someone yells “We beat back the French. We won that war!”
If they think we no longer are loyal to our government, you don’t think the French won’t come down again from Canada. And take more lands of the South? Then there’s Spain’s control from Mexico all the way up to the North of Indian Country. You think they won’t move East? … And what about Russia in the North West?
[Someone else shouts: “We’re talking about Boston. Just get the troops out of our city!”]
Every other country in our world is ruled by one monarch or tyrannical barbarian. If they see our colonies fighting our nation? What happens? Every one of those nations would love to see our nation divided. Take over our lands and fisheries. The empires of France, Spain, Russia the Ottoman = each one a brutal regimes that has and can in the gfutre move against us. Will our nation protect us? Take one stone after another out of a stone wall, soon the wall collapses. Are you willing to grab the first stones? if Boston starts commanding the royal army, think – will Parliament invest money and resources protect us? Will His Majesty care? The Mother Country is not perfect. But the Houses of Parliament are willing to negotiate – you saw that they repealed the Stamp tax. Now we must negotiate tariffs. And better management of the troops. Nothing is perfect. But our nation is close to perfection The exquisite balance between equal liberty for all – our wealthy and our commoners each can vote for representatives to make laws and decisions that impact their lives. Our monarch must also follow rules to protect all groups in his domain. The only nation in the world on in the world with liberty. Are you willing to refuse to honor the laws of the only nation in the world to give people the right to vote for their own leaders. Are you willing to take the first stones out of the beautiful foundation of our government?
[Noises of apologies, reconsideration, etc – All have fallen back behind Sam Adams]
SAM ADAMS
A question, Governor Hutchinson. If we do not remove both regiments from Boston so they cannot kill us again, If we cannot decide when soldiers can or cannot take over our homes, have we given up our right to protect our own safety? We are all British citizens. Please help me understand. If our townspeople cannot decide when to remove soldiers who have killed innocents, how can we best protect ourselves and our liberty?
[Teasing – with a sparkle and smile as he zeroes in]
I need your advice. If the town of Boston cannot decide to remove both regiments, – do you want us to ask our representatives in the Massachusetts Bay Assembly to make that decision? Or perhaps you would like us to ask each colony’s House of Rep to vote on whether a town has the right to decide to remove soldiers to a fort when they have killed innocent citizens in an “unfortunate incident?” Whether intentionally or in confusion, soldiers have killed citizens. Do townspeople have the right to order both regiments to the fort outside Boston? Or would you advise us to ask our own and other colonies’ elected representatives?”
JUDGE OLIVER
You must follow the instructions of your Governor.
SAM ADAMS
Thanks you Governor Hutchinson for your praise of liberty. All of us in this room share our love as citizens the only nation in the world to give its citizens the liberty to govern our own lives through our elected representatives. We would all appreciate your counsel for us, the townspeople of Boston, the elected representatives throughout Massachusetts Bay and in the Houses of Representatives throughout the colonies.
HUTCHINSON
The townspeople have voted. No need to ask the other assemblies. We will remove both regiments.
[Gasps of shock]
This meeting is adjourned.
[Everyone files out – some praising him, patting him, shaking his hand… Some so angry they cannot look at him. Alone, he sits to start writing.]
JUDGE OLIVER
[On his way out]
You fool!
EXT. OUTSIDE GOVERNMENT BUILDING – NIIGHT
[As Hutchinson wearily leaves the building alone, exhausted, he sees Ruth Otis sitting alone on the bench.]
HUTCHINSON
Ruth. It’s late – Is something wrong? – Your husband?
RUTH OTIS
We got him to sleep. You’re working late.
HUTCHINSON
I had to write up an explanaton for my decision. A courier will take my letter early tomorrow to General Gage in New York. And the next ship to London.
RUTH
I heard you are removing not one but both regiments.
HUTCHINSON
Yes.
RUTH
Sit a moment.
HUTCHINSON
I’m very tired.
RUTH
You have every reason. James was surprisingly calm when we took him home.
HUTCHINSON
He seemed to understand what I was saying. How did you every marry him?
RUTH
Fathers. His father and mine. Both Colonels in the war against the French. And he certainly wasn’t boring… not a typical son of a rich father.
HUTCHINSON
He hates me for being appointed Chief Justice instead of his father.
RUTH
Let’s not talk about him. Will you be okay – with Parliament? You know, for removing both regiments?
HUTCHINSON
I don’t know.
RUTH
I hope Parliament won’t recall you to face inquiries in London.
HUTCHINSON
Easier than if the King appoints me as actual, not acting governor.
[Quiet for a moment]
At least I made sure we will stay united.
RUTH
We’re one country. The colonies would never survive without the Mother Country.
HUTCHINSON
It’s late. May I walk you home?
[They get up and slowly leave, together.]
-
Margaret’s Completed Act 3 What I learned completing this assignment is just show up every day and begin and you’ll get further than you think. INT. house for sale – master bedroom – day
Lake sleeps peacefully in the staged bed of the master bedroom of the house for sale on Olive Court.
She smiles in her sleep.
Blake appears on the side of the bed.
BlAKE
It’s time to wake up.
Lake’s smile disappears but she doesn’t open her eyes.
Lake
No. Not yet.
EXT. HOUSE FOR SALE – OLIVE COURT – day
Ember pulls up in a flat black Range Rover followed by a COUPLE in a white Mercedes GLC.
Ember passes Lakes’s distinctive Mini Cooper. She notices it immediately and looks around suspiciously.
Ember and her clients approach the front door.
Ember enters her numbers in the lockbox and is relieved to see the key.
INT. house for sale – master bedroom – day
BlAKE
Look, you gotta go.
Lake
You go.
INT. house for sale – Olive Court – day
Ember leading the couple through the house motions to the kitchen.
Ember
This house features French oak flooring throughout. The open concept great room comes complete with an expansive island with a sink and bar seating. Notice the chefs kitchen with everything you need to entertain.
INT. house for sale – Olive Court – day
Lake hears Ember’s voice.
Ember
Notice the professional range and integrated fridge. There’s even a wine cooler.
Lake jumps out of bed in her underwear and a teeshirt.
Lake
Shit, shit shit!
She slides her bags under the bed.
Lake hurriedly straightens the covers and jumps under the bed just in time.
Ember enters the room with the couple in tow.
Ember
The master suite is complete with a walk-in closet, an ensuite bathroom with his and her sinks.
Embers legs are right next to the bed. Lake holds her breath.
Wife couple
(screeching)
Aha!
She claps excitedly.
Wife couple
Look at the view from the bathroom window.
Husband couple
Spectacular.
Embers legs move towards the bathroom and Lake exhales.
EXT. house FOR SALE – OLIVE COURT – day
Lake is lugging her suitcases to the car.
Lake
Life is so unfair. I mean what did I ever do to deserve this?
Angrily wrestling her suitcase into the back seat.
Phone rings. It’s Ember. Lake grits her teeth, smiles big and answers the phone.
Lake
Ember! To what do I owe the pleasure?
EmBER
Lake. What are you up to?
Lake
What do you mean?
EmbER
I just showed the Olive Court property and guess who’s car was there?
Lake twists her face trying to think quickly.
Lake
I’m still here.
Ember
Why are you breathing so hard?
LAKE
I realized this morning I hadn’t checked out the neighborhood so I drove up this morning for a brisk walk.
EmBER
You are a horrendous liar.
Lake
I told you, I’m trying the place on.
EmBER
Don’t you think it’s time to take responsibility for your life?
Lake
Umm. I…
EmBER
Save it. I have to go. I’m busy.
Ember hangs up. Lake screams, trying to shove the suitcase in the back seat.
Lake
Fuck!!!
INT. BEE’S ORGANIC FAST FOOD RESTAURANT – DAY
Lake enters Bee’s her bag over her shoulder and keys and phone in hand.
She walks up to the counter. There is a young woman, COUNTER HELP, smiling ready to help. Lake looks disappointed.
LAKE
Hi, I’m picking up for Annie L. today.
COUNTER HELP
Just a minute.
Counter Help begins looking through the various bags on the pick up shelf.
Mitch appears and speaks to the young woman who disappears to the back.
MITCH
That’s Annie L?
LAKE
Yes, thank you.
MITCH
So, woman about to formerly be known as Lake, what goes on?
LAKE
Oh, you know, brain surgery. You?
MITCH
About the same.
He hands her a bag.
LAKE
Thank you.
He walks around the corner and begins to walk her out.
MITCH
May I walk with you?
Mitch motions towards the door.
LAKE
But of course.
The STAFF at Bee’s watch the two eagerly as they exit the restaurant.
EXT. RESTAURANT – DAY
Mitch and Lake are at her car, the food already in the hatch.
LAKE
You didn’t call?
MITCH
I was embarrassed. It felt…you know…too casual.
LAKE
Hey.
Lake reaches up and touches his cheek ever so gently.
LAKE
It may have seemed casual but truth be told I haven’t slept with anyone since Blake…
Mitch
Let me guess, ex-boyfriend?
Lake
My husband. He died in the firestorm.
MITCH
Oh. Ummm, you want to talk about it?
LAKE
Noooo. Definitely, no.
MITCH
You should have told me.
LAKE
I was nervous, ya know. I thought just pull it off like a bandaid.
MITCH
You’re so romantic.
LAKE
I know, right.
MITCH
Second date?
Blake shows up.
LAKE
Not you again.
Mitch
I’m getting mixed signals here.
LAKE
Sorry, I’m definitely down for that second date. Do you ever feel like you’re being haunted by your ex?
Mitch
All the time. Why is there luggage in your backseat. Are you going somewhere?
Lake
Yes.
Mitch
Where to?
Lake
Not sure yet.
Mitch
Well come over for dinner tonight before you go anywhere.
LAKE
I’d like that. Very much. Now I have to deliver this food before it gets cold and take care of something I’ve been putting off for a very long time.
He opens the car door for her as she steps into the driver’s seat. He closes the door after her.
He waves and she smiles at him as she pulls out of the parking lot in her yellow and black Mini Cooper.
Int. CAR – DRIVING – DAY
Lake’s Mini Cooper zips up the street and slowly drives through a residential neighborhood on Santa Cruz Street.
INT. CAR – DRIVING – DAY
Lake looks at the addresses on the houses as she drives, the map open on the passenger seat.
JEZeBEL
Return to the route.
LAKE
I am on Santa Cruz Street ass wipe.
JEZeBEL
Turn left now. Continue on Santa Cruz Street.
LAKE
Is everyone an idiot?!
Lake pulls up to the address on her phone and hits arrived.
JEZeBEL
Arrived.
LAKE
What a piece of shit. I think I’m going to call you Miss Jezebel and Dr. J from now on.
Lake exits the car and opens the hatch, the partially burned painting visible.
She grabs her Foodease bag and hurries to the front door.
INT. driving car – day
Lake turns right down a road with a homeless camp down the sidewalk.
A HOMELESS MAN with a bike pulling a long trailer stands next to the bike in the middle of the road. He’s pushing the bike that clearly has a flat tire slowly towards the side of the road.
Lake waits impatiently for him to pass. She sticks her hand in a food bag and pulls out a samosa.
A GIRL, 10, is on the sidewalk near Lake. She looks at the girl and then at the samosa. She drops it back into the food bag.
She closes the bag up.
Lake
Hey.
She holds the bag outside her window towards the girl.
Girl
Me?
Lake
I hope you like Indian food.
The girl approaches sizing up Lake. She gives Lake a once over and then grabs the bag greedily.
The man finishes pushing his bike to the side of the road. Lake starts to go and looks back but the girl had already disappeared.
EXT. HILLSIDE PLOT – DAY
Lake pulls up to the hillside plot but this time parks in the driveway.
The area around has been grated and cleaned up except the plot where her house once stood, it is exactly as it was after the fire.
She looks over wearily at her old man neighbor’s house, the only still standing in the area.
A CONTRACTOR approaches her car.
CONTRACTOR
Good afternoon, Mrs. Logan.
LAKE
It’s Turner. I changed it back to my maiden name after…but you can just call me Lake.
CONTRACTOR
Here are a pair of gloves. Do you want me to accompany you or would you rather be alone.
LAKE
I’d rather do this alone. Thanks.
Blake follows her.
Lake
I said I’d rather do this alone. That means you too, whatever you are.
Blake
Oh, I wouldn’t miss this for the world.
Lake walks through where her house used to stand which is nothing but soot and ash. She runs her boot through some ash piles and then turns away.
She walks up the driveway and back towards a partially burned back building with a large tarp over it.
EXT. STUDIO – DAY
The contractor follows her up to the destroyed structure.
He pulls the tarp off a pile of what used to be a building and folds it up.
CONTRACTOR
You shouldn’t do this alone, ma’am.
She looks at the ghost of Blake.
Lake
Don’t worry, I’m never alone anymore.
CONTRACTOR
You just holler if you need anything.
LAKE
Thanks.
The Contractor walks away.
Lake turns towards Blake’s destroyed studio still holding the gloves but doesn’t approach.
INT. Blake’s studio – DAY
Lake walks into Blake’s studio as he paints a colorful abstract. The studio is tastefully decorated with his pictures displayed and framed magazine covers touting his accomplishments.
LAKE
I brought lunch. You hungry?
Blake
I’m not sure.
LAKE
Had a late night in the studio?
Blake
No. I’ve been staying up late working on a painting.
LAKE
Isn’t that what I just asked? Are you gas lighting me? You’re always gas lighting me.
Blake
You dumb bitch that isn’t what I meant.
Lake heads towards the door but Blake is up and blocking her way.
LAKE
Let me out.
BLAKE
You wouldn’t be anything without me.
Lake
Let me out.
Blake
You’re pathetic.
Lake
Get out of my way.
Blake grabs her arm and pulls her away from the door. He pushes her back further standing between her and the door.
She pushes him with an almost super human strength. He falls back and hits his head on the brick around the wood burning stove.
Lake runs out of the room.
Blake lies still on the floor not moving.
EXT. STUDIO – DAY
Gloves on, Lake searches through the wreckage of Blake’s studio. She looks at what is left of the black potbellied stove.
She overturns a piece of burned metal. She uses her foot to comb through sticky ash. Nothing.
Lake spots something and pulls it out of the rubble. She wipes black ash off an intact crystal vase with the side of the glove.
She moves toward the corner of the structure where partially burned wood boards remain.
She moves some boards aside and finds a partially burned canvas covered with an abstract painting.
She picks it up and carries it outside the wrecked building.
She surveys the destruction of the structure and the whole area where the fire’s burned with a look of overwhelm.
She looks down and sees her boot is over a burned and faded picture of her and Blake.
Blake
There were some good times.
Lake
Stop haunting me.
Blake
Who else would I haunt?
Lake
Why? Why are you haunting me?
BLAKE
You killed me.
She stares at the image for a few minutes and then moves her boot over the picture and grinds the image further into the layer of dirt and ash.
Lake
I didn’t kill you!
The contractor looks up from the clipboard with papers he’s holding.
Blake
You left me for dead which is the same thing.
INT. MITCH’S HOUSE – NIGHT
Lake sits on the couch in the great room of Mitch’s house.
Mitch approaches with two empty wine glasses and an open bottle of Zinfandel.
He sets the glasses down and pours her a glass.
He hands it to her and then turns to pour himself a glass.
LAKE
Thank you.
Lake looks around the modern, tastefully done house with very few furnishings.
LAKE
Minimalist…or?
Lake takes a sip of wine.
MITCH
My ex-wife left me when the restaurant closed down. She pretty much took everything. I kinda like it like this though.
LAKE
Oh, my, that is so good.
MITCH
One of my favorites.
LAKE
It smells so good in here.
MITCH
I love how enthusiastic you are about food.
LAKE
Well, I love food! Where did you learn to cook?
MITCH
Europe. Then, I worked in the kitchen of Amador in Chicago for a couple of years.
LAKE
THE Amador?
MITCH
Yes. Then I opened La Cuisine.
LAKE
I loved that place! I was so bummed when…wait, you’re Mitch Delange?
MITCH
Guilty.
LAKE
Sorry.
MITCH
What?
LAKE
About losing the restaurant and all that. It must have been hard.
MITCH
It was…is. I’m taking time to decide what’s next. The truth is I was working all the time. I mean ALL the time. I want to find a way to do what I love and have a life at the same time. I want to do it on my terms this time.
LAKE
Understood. A do-over.
MITCH
Exactly. A do-over.
Lake
Do you think everyone has a right to a do over?
MITCH
Absolutely. I think if your smart enough to want to do it again but this time better then you’ve already earned it.
Lake
I have the best idea.
INT. driving car – night
Lake is driving and Mitch is in the passenger side seat with her Foodease bag carefully balanced in his lap.
She pulls up to a house with a for sale sign.
MITCH
You’ve got to be kidding me?
Lake
I think this is a good one to try on. Let’s check it out.
EXT. house for sale – Braiden Lane – night
Lake opens the lockbox and pulls out the key. Mitch stands shifting his weight nervously from one foot to the other, the Foodease bag at his side with the straps over his shoulder.
Mitch
I don’t think this is a very good idea.
Lake
You go in. I’ll go around to the back door and you just have to let me in.
INT. House for sale – braiden lane – night
Mitch opens the sliding glass door.
Mitch and Lake unpack the dishes Mitch cooked onto the table.
LAKE
Too bad there’s no candles.
Mitch
My heart is beating like a teenager that snuck his girlfriend in through my bedroom window.
Lake
It’s hot right.
Mitch and Lake drop what they are doing and are all over each other.
Blake is suddenly seated at one of the chairs at the table.
Blake
Getting predictable.
Lake
Three’s a crowd.
Mitch pulls back from her.
MITCH
What?
Lake
Hearing Blake in my head again.
Mitch
I know how to fix that.
He lifts her onto the end of the table and pulls her pants down. He kisses her and opens her legs.
He keeps kissing her. He pulls himself away and bends over, his face between her legs.
Blake
This is just embarrassing.
Lake flips him off and then her head drops back in ecstasy forgetting Blake entirely.
Montage various
1. Lake at a different for sale house each night waking up to a 5:00 a.m. alarm on her phone each morning.
2. Lake parks down the street from a for sale house.
3. Lake’s car very organized – her back seat like a closet and dresser. Lake throws away all the 50 ml bottles of alcohol from the glove box.
4. Lake sneaks into a house carrying a duffle bag.
5. Lake goes to gym very early and showers there.
6. Lake tasting food and writing reviews.
INT. house for sale Montgomery Drive – night
Lake and Mitch are having sex in the bed of a house for sale on Montgomery Drive.
Mitch
I think this is the first time we’ve had sex in an actual bed.
Lake
It’s kind of comfortable.
Mitch
I know I’ve said this before but this is the last time I sneak into a house with you.
Lake
We could come up with a new way to get an adrenaline rush.
Mitch
Such as…
Lake
Jumping out of an airplane with no chute perhaps?
Mitch
Roulette.
Lake
Funny.
Mitch
You know you don’t have to justify that you lived.
The sound of a door opening.
LAKE
Shit.
Ember walks into the bedroom followed by a COUPLE.
Mitch and lake jump out of bed instinctively, trying to simultaneously cover themselves.
The couple YELLS out in surprise and flees the room.
Ember stays in the room facing them both.
EmBER
So, this is how you’ve been spending your time since mom threw you out.
Lake
I’ve been really good actually.
Ember
I can see that.
MITCH
Wait, you two know each other?
Lake
Ember this is Mitch, Mitch meet my sister, Ember.
Mitch takes a moment to process this information.
Mitch
I recognize our idea of excitement might have been warped by trauma.
EmBER
Did you lose your house too?
Mitch
My restaurant and my marriage but I kept the house.
Ember
Well, you two make a pair. I need to go do some damage control with my clients. Maybe we’ll meet again under different circumstances. And you..
(turning towards Lake)
Best not say anything.
Lake
Yeah. Sorry…
Ember
Not a thing.
Blake leaning against the wall laughs. Lake looks like she could murder him.
INT. Parked car – night
Lake’s yellow and black Mini Cooper is parked in Mitch’s driveway with the two of them sitting in the car.
LAKE
I’m sorry about earlier. I know it was super embarrassing.
Mitch
I’m still not sure about you.
Lake
Still makes two of us.
Mitch
Listen, regressing with you has been really fun but I still wake up with myself.
Lake
I understand.
Mitch
Maybe we can just give it some time.
Lake
Sure. Good Night Mitch.
Mitch
Do you have somewhere to go?
Lake
Don’t worry about me.
EXT. HOUSE FOR SALE – OLIVE COURT – night
Lake walks down the street a duffel bag over her shoulder.
She approaches the front door and enters Ember’s number into the lockbox. It doesn’t open. She tries again. Still nothing.
Lake
Damn it.
She looks through the front window. The dining room table with the sign over it is just visible: Home, Where memories are made, Love is felt and refuge is found. You belong here.
EXT. hillside plot – night
Lake drives her car into her old driveway. The plot has now been grated.
INT. parked car – hillside plot – night
Lake opens her glove box and looks through it desperately looking for alcohol.
She pulls a jacket from her backseat. Lake reclines the car seat as far as it will go. She shoves the jacket under her head trying to get comfortable.
She looks out into the night sky filled with stars.
INT. Parked car – day
Lake opens her eyes and looks around. She sits up and adjusts her car seat to an upright position.
Her Neighbor is walking up the driveway towards her carrying a steaming cup of coffee.
She straightens her hair and unrolls her window.
Old man Neighbor
Good Morning, Lake.
Lake
Morning.
He hands her the mug.
Lake
I don’t really know what to say.
Old MAN NEIGHBOR
No need to say anything. As horrible as this fire was, it reminded me and the missus what’s important.
Lake
What? What’s important?
Old man neighbor
Kindness and remember home is where the heart is.
Lake
And if you can’t feel your heart?
OLD MAN NEIGHBOR
Don’t worry. You’ll find it again. You need anything else? Something to eat maybe?
Lake
I’m good. Thanks for the coffee. I think I know what I’m going to do.
OLD MAN NEIGHBOR
What’s that?
Lake
With the lot.
INT. coffee shop – day
Lake pushes open the door to the coffee shop with too much force.
A woman, ADDISON RAY, 40s, very professional, sits at a table by herself working on a laptop. In front of her sits a 20 oz. Cup of coffee.
Lake
Addison Ray?
Addison quickly closes the laptop and stands up.
Addison ray
Lake Turner.
She holds out her hand quickly towards Lake. Lake grabs hold of her hand and they shake.
Lake
Thanks for coming.
ADDISON RAY
Please, sit. Can I get you a cup of coffee?
Lake
No, thank you. I just finished one as a matter of fact.
Addison sits down and grabs a packet of papers out of her briefcase.
ADDISON RAY
I have everything here to start the process to list the lot. You brought the certificate of death?
Lake pulls out an unopened envelope and places it carefully on the table in front of Addison’s closed laptop.
Blake shows up.
Lake
It’s here.
ADDISON RAY
It…you haven’t opened it.
Lake looks at the envelope unblinking.
She picks up the envelope and opens it quickly.
She unfolds the certificate of death and places it back in the table.
Addison pulls out her phone and takes a picture of the document.
She folds the document and hands it back to Lake.
ADDISON RAY
I’m sorry what you’re going through.
Lake takes the folded paper and places it back in her purse.
LAKE
It happened to you too.
Addison Ray
Yes, not far from you. Our neighbor woke us up or…well we barely made it. We consider ourselves lucky. I can’t imagine what you’re going through.
Blake leans his chin in his hands anxious to hear the story.
Flashback Lake tries to get back up to her house but firemen physically restrain her.
Lake
We had a fight and I left. I went to my office and started working because I didn’t know where else to go. I got a text after midnight and raced home. Blake wouldn’t answer his phone. I kept calling. The firemen wouldn’t let me through. No one would tell me anything for more than a week but I knew already. I knew that he was dead.
ADDISON RAY
Can I hug you?
Lake
I don’t think I could take it right now. How do you keep going.
ADDISON RAY
One foot in front of the other right? I just have to keep moving because if I stop I don’t know, I might not get up again.
Lake
I stopped moving.
Blake
ADDISON RAY
There’s a developer who’s been snapping up the lots in this area for spec houses. There’s a glut of burned lots hitting the market but because of where yours is you won’t have any trouble.
Lake
Now that I decided I want it sold ASAP.
ADDISON RAY
I call as soon as I’ve spoken to the developer. Your sister, she’s in Real Estate, no?
Lake
She’s family. A sister. It’s complicated.
AddISON RAY
Understood.
***tries to turn herself into the police.
Lake
I think I may have killed my husband.
-
<div>
</div>Julia starts wailing and put the phone back. Julia call Andrew
<div>
JULIA CRYING
Andrew! Andrew!
Andrew perplexes, comes in. Julia cross questioning him
JULIA
You call police. You said something
to the police.Andrew is quite and sobs.
KITTY
I told you someday this boy will
put you in the trouble.JULIA
When did you tell me! You said this
boy is helpful.KITTY
But I also–
JULIA
What also? Now we wanna starve.
Julia
restless and starts crying.
KITTY
I told you not to marry this man he
would not support the family. Now
you regret.JULIA (SCREAM)
Will you stop kitty?
Kitty hugs Julia. Both are trying to console each other.
INT. ROOM ANDREW – NIGHT
Andrew looks at roof and cries.
</div>
-
Philips Completed Act 3
What I learned doing this assignment is trying to tye up loose ends”
1. The manager needs to discover Vincents true identity
2. The rules for the zombies of death need to be built up as part of the Managers Forces
3. The hells angels need to be introduce as weapons for the band which turn against them
4. Dmitri may have to follow a learning path to use the power
5. Dmitris may need to use the magic dust to believe in himself
6. Maybe the key is that he can play a tune that the Manager hasnt heard – an earworm
7. Dmitri and Percy need to feud as do Pricy and Percy
8. Dmitri might be the cause of Digger to get hospitalised
-
Lonnie’s Completed ACT III
What I learned from this assignment: I have a good start and ending to act III, but need some further research for many of the middle scenes (historical fiction). I put placeholders there. Won’t take much to fill in the blanks.
EXT. KSU CAMPUS – DAY
Hundreds of National Guardsmen move about the campus, while some stand in pairs watching students. All with M1 rifles, bayonets attached.
Chuck and Karen confront two guards cordially.
KAREN
Do you know why you’re here?
GUARDSMAN
Not sure, to suppress any violence, I guess.
Chuck moves in closer.
CHUCK
You don’t seem like the violent type–
GUARDSMAN
Please stand back, Sir.
CHUCK
Why the bayonets?
GUARDSMAN
Orders, Sir.
CHUCK
What kind of rifle is this?
GUARDSMAN
M1, Sir.
Chuck takes a step back, paralyzed by the look of that weapon.
(placeholder):
INSERT: video on specs/power/purpose of the M1
KAREN
Are you married?
GUARDSMAN
Engaged, Mam.
KAREN
Want a family?
GUARDSMAN
Mam, I’m on duty, no response.
He looks to his side, watches students move around.
CHUCK
You seem like a good guy. Please, no shooting.
The guardsman gives a slight nod, turns the other way to observe the other students mulling around.
Chuck and Karen move on.
CHUCK
We need more peaceful protesting, more students here. They might leave.
INSERT:
Wikepedia: M1 Rifle
The M1 Garand or M1 rifle[nb 1] is a semi-automatic rifle that was the service rifle of the U.S. Army during World War II and the Korean War.
The rifle is chambered for the .30-06 Springfield cartridge and is named after its Canadian-American designer, John Garand. It was the first standard-issue autoloading rifle for the United States.[12] By most accounts, the M1 rifle performed well. General George S. Patton called it “the greatest battle implement ever devised”.[13][14] The M1 replaced the bolt-action M1903 Springfield as the U.S.’ service rifle in 1936,[
Gov Rhodes: “Attributing the violence to students “worse than the ‘brownshirt’ and the Communist element and also the night-riders in the vigilantes…the worst type of people that we harbor in America,” the governor pledged: “We are going to eradicate the problem…. It’s over within Ohio.”
Placeholder: he shows up at the ROTC building, now in ashes: “Brown baggers”
INT. OFFICE – REP. PETE MCCARTHY – SOMEWHERE CALIFORNIA – DAY
DAN ELLSBERG (mid 40-s) –slim, dark hair, the man who has been running copies sits in front of U.S. Congressman, PETE MCCARTHY.
ELLSBERG
Congressman McCarthy, if you take these papers to the Senate, it is not illegal.
MCCARTHY
I’m concerned about you being put in prison for this.
ELLSBERG
Look these over. There are lies and astrocities that you won’t believe.
MCCARTHY
Well, I have indeed been against this war all along. I’ll see what I can do, but understand the majority of Congressmen support this war.
ELLSBERG
Just give it a try, Congressmen, we must stop the endless killing.
Chuck and Karen call all their friends to help demonstrate.
“These guys aren’t mean”
Peaceful protesting on Sunday afternoon… but some students are rude… girls flash breasts, boys call them names.
Chuck – who started the fire, why were’nt the police there?
Did the weird guy know in advance?
What can we do? What should we do?
Placeholders: brief scene with the 4 who eventually died
Somewhere:
Placeholders:
INSERT: 5-6 GUARDS HUDDLING, TALKING AMONGST THEMSELVES ON THE HILL
DEVELOP CHARACTER OF FIRST GUARD TO SHOOT, MAYBE SGT. LAWRENCE SHAFER
SCENE #2: party house
JEFFREY (V.O.)
Not everything was bad for us. We managed to party quite a lot. It was just a diversion we needed.I wasn’t dealing with Dad’s death very well, and the tensions of the times was swelling up. Parties were our escape.
INT. SMALL HOUSE – MUNCIE, IN – NIGHT
White-framed, 2-bedroom, messy house with old, semi-finished basement.
A mixture (boys/girls) of a few college kids all holding a beer bottle, chatter in the small kitchen. Empty beer bottles and cans galore.
LOUD MUSIC OF THE ‘70’S comes from the adjacent door leading to the basement, where about 30 kids are partying.
Jeffrey holds a beer in one hand, other arm around cute blond who’s had a few drinks and kissing him on the neck. Jack walks in–no signs of intoxication–with Stephanie.
JACK
Hey, Jeffrey, did you hear what Nixon said?
JEFFREY
Crap, now what?
JACK
He’s sending troops into Cambodia.
JEFFREY
Cambodia! Shit, what is this asshole thinking?
JACK
No joke.
Jack grabs his dates’ hand and heads to the living room where it’s quieter and TWO OTHER, COLLEGE-AGE–COUPLES are chatting.
Jeffrey follows slowly, in tow with his date. He passes a half-open bedroom door and peeks in. Two couples sit in a circle, covered with towels over their legs, nude from waist up.
MAN IN BEDROOM
Hey Jeff-Man, wanta play some strip poker?
Jeffrey sniffs the air as he checks out the large breasts of one the players.
JEFFREY
You need to get rid of the pot.
MAN IN BEDROOM
Come on, join in with your hot date. We’re just getting started.
JEFFREY
I can tell.
Jeffrey backs out and closes the door.
His date, REBECCA, pulls him toward another bedroom.
REBECCA
Come on sweetie, time for bed. I’ve been waiting all night for you.
Now drunk, she grabs his ass, then his crotch. Kisses his face.
REBECCA
You big hunk.
Jeffrey gently pushes her away.
JEFFREY
I wanta hear what Nixon said. He’s on TV in there.
REBECCA
Now, baby. Now, I want you…
As he pulls away she slides down the wall, then slowly passes out on the floor.
Jeffrey stands outside his bedroom door and watches the black and white TV in the adjacent living room as Nixon announces his entry into Cambodia on the 10 o’clock news.
Jeffrey walks to the front door, heads outside.
EXT. PORCH – SMALL HOUSE – MUNCIE, IN
He stands on his porch. MUSIC DRIFTS OUTSIDE.
He takes a sip of his beer, stares at the gorgeous maple tree in the front yard. Finds a seat on the concrete steps and sits alone in contemplation.
After a few moments, he gets up and angrily throws his empty beer bottle in the yard, then storms back inside.
Placeholder betweeen Chuck and Jeffrey: the black caucus was wise not to participate
OTHER STUDENTS WHO WERE PEACEFUL, BUT THERE TO HELP
EXT. KSU CAMPUS – DAY
Guardsmen form a line, push students around Taylor Hall. A couple kids through rocks, but they do not reach the Guard.
A few hundred kids watch from parking lot, most on their way to class.
INT. SMALL HOUSE – MUNCIE, IN – DAY
Jeffrey plays his drums….louder, Louder.
EXT. KSU CAMPUS – DAY
Six National Guardsmen huddle together near the pagoda by Blanket Hill. Whisper something.
Behind them a short distance is the suspicious photographer. He is surrounded by 6 KIDS (student age) shouting at him:
STUDENTS
You’re undercover! You ass!
The kids close in.
STUDENTS
You’re done, man. You’re busted. You must be FBI or CIA.
The suspicious man pulls out a revolver and fires four shots over their heads. They scatter.
INT. SMALL HOUSE – MUNCIE, IN
Jeffrey keeps playing, his volume and speed incredible as the drums and cymbals crash louder…louder.
EXT. KSU CAMPUS – BLANKET HILL – DAY
Party on Martin st… jeff starts drumming….gets Louder and louder
Placeholder:
TENSION WITH RIOTERS. TERY NORMAN FIRES 4 SHOTS
GUARDS TURN IN UNISON…WAS IT PLANNED?
Jeffrey on drums….cymbals and toms crashing!
Blends in with….SHOOTINGS
KIDS RUN
BLACK SCREEN, 67 GUNSHOTS OVER 13 SECONDS.
MOMENTARY SILENCE.
EXT. PARKING LOT KENT STATE – DAY
A young MALE student and FEMALE student lie on the parking lot, behind a car.
MALE STUDENT
Okay, Allison, I think the shooting is over, let’s get going.
She does not move, she is hit.
ALLISON
I’m hit Gary.
MALE STUDENT
Shit!
He rushes over covers her wound.
MALE STUDENT
(screams)
Someone call an ambulance! Now!
SUPER:
ALLISON KRAUSE, A GEOGRAPHY MAJOR?
SHOT FROM 343 FEET FROM THE GUARD
WALKING TO CLASS
DIED SHORTLY AFTERWORDS.
(INSERT QUOTE FROM A TEACHER)
BLACK SCREEN. MOMENTARY SILENCE.
BILL SCHROEDER KNEW TO GET DOWN WHEN HE HEARD THE SHOTS RING THROUGH THE CAMPUS. HE WAS AN ‘A’ STUDENT, ENJOYED THE ROTC, EXCELLENT ATHLETE.
HE GOT DOWN QUICKLY WHEN THE SHOTS STARTED. HE DID NOT GET UP.
SUPER:
BILL SCHROEDER, ROTC STUDENT, ALL-AMMERICAN.
SHOT FROM 382 FEET FROM THE GUARD
WALKING TO CLASS, OBSERVING
DIED SHORTLY AFTERWORDS.
(INSERT QUOTE FROM A TEACHER)
BLACK SCREEN. MOMENTARY SILENCE.
In another area of the parking lot, JEFF MILLER lies face down. Massive amounts of blood run away from his neck area.
Fouteen-year-old MARY M, Knees over him, screaming.
SUPER: JEFF MILLER, HISTORY MAJOR
SHOT AT 265’ FROM THE NATIONAL GUARD
UNARMED, PEACEFULLY PROTESTING
DIED INSTANTLY
(INSERT QUOTE FROM A TEACHER)
BLACK SCREEN. MOMENTARY SILENCE.
In another area of the parking lot, students SANDY SCHEURER and YYYYYYYYYYYYYYY, lie face down. YYYYYYY gets up
YYYYY
Ok, Sandy, I think the shooting has stopped.
Sandy does not move.
YYYYY
Sandy? Sandy?
Sany has a gunshot wound to the neck. She is still breathing.
SUPER: SANDY SCHEUER, SPECIAL ED MAJOR
SHOT AT 390 FEET FROM THE NATIONAL GUARD
NEVER PROTESTED, WALKING TO CLASS. DIED THAT DAY
(QUOTE FROM TEACHER)
INT. AMBULANCE – KSU CAMPUS – DAY
TOM GRACE lies on a stretcher shot in the knee. Above him is a FEMALE being attended to by the medics. It is Sandy Sheurer.
Closing scene:
Tom Grace in ambulance under Sandy pulling out of KSU, who is bleeding!
Her blood drips onto his gurney. He covers his face as he weeps.
-
Day 20 Finish Act 3
James’ Completed Act 3
What I learned doing this assignment is… my two leads made a deep connection in the hearts of each other. They are both better understanding why there are some reservations when they communicate with one another. He’s internally hurt due to the betrayal of his past fiancé. She avoids talking about her past because it’s perhaps not the most wholesome of topics. Once they open up and begin to understand the whys of how they are, their different socio-economic backgrounds become less important. There is no doubt these two need each other to move on with their lives.
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