Lesson 20

[Jeanne Sanner]

Jeanne Sanner Actually, what is below is a combination of lessons 18, 19, and 20. Long story as to why! What I have learned in doing Act 3 is how important it is to scenes effectively lead up to scene 4. I knew what I wanted to accomplish, but it wasn’t making sense on it’s own. So, I kept going back and forth to scenes 1, 2, and 3 to make scene 4 work. I loved the whole process. I love the creativity, and the challenges and the ways to get out of the boxes I got myself into. I don’t how a professional would look at what I have done, but I like how the story is progressing. Again, I love the process Hal and his group have created. The lessons are doable in one day, and they build on each other beautifully.

ACT 3
INT. DARIN’S KITCHEN – SATURDAY MID-MORNING.
Darin is finishing breakfast. Brad enters, in underwear, goes
to fridge, grabs a beer. Leaves.
Brad puts dishes in sink, goes to bedroom, Brad is getting
dressed. Darin sits on unmade bed.
Brad doesn’t look at Darin at all. He’s buttoning shirt,
looking in mirror to comb hair, etc.
BRAD
So, what’s up?
BRAD (CONT’D)
Jesus Christ, Darin, you’ve been
saying that all week.
DARIN
And you haven’t made any time all
week.
BRAD
So, go ahead talk. I can guess the
topic.
DARIN
You probably can. It’s what your
drinking is doing to me.
BRAD
Then it’s your problem isn’t it.
DARIN
You need help, Brad. Really. You
have a serious problem.
BRAD
Maybe you’re the one with the
problem, Darin. Maybe you need help
with how to be married.
41.
42.
DARIN
I do need help. I need help with
knowing how to live with an
alcoholic.
Brad swings around and backhands Darin so hard he’s thrown
off the bed. Brad leans down, points his finger in Darin’s
face.
BRAD
Don’t you ever say that word to me
again.
Brad leaves.
EXT. PARK BENCH – LATE MORNING
Darin talks with Shep. Darin’s cheek is already swollen and
bruised.
SHEP
So you think love means that you
continue to live with Brad for
better or for worse.
DARIN
That’s what we promised.
SHEP
That is not what you promised.
DARIN
What do you mean?
SHEP
You promised to stay with him, not
live with him.
DARIN
What’s the difference?
SHEP
Love means you don’t turn your back
on him. It means you remain
supportive. It means you don’t
judge him and that you embrace his
freedom to follow his path, his
journey.
DARIN
Are you saying I should leave him?
42.
43.
SHEP
I don’t give advice.
DARIN
Then what are you saying?
SHEP
There are many ways to stay in his
life, to remain supportive, to
avoid judgment, to embrace his
freedom. You have choices, but only
you can decide what to choose.
DARIN
I don’t know what to do.
SHEP
Yes you do, you just haven’t
listened to your highest self yet.
Have you asked?
DARIN
How do I know if I’m listening to
my highest voice.
SHEP
It will always be coming from love,
and it will give you peace, even if
the decision is a difficult one.
INT. ANDREA’S BEDROOM – SUNDAY – MORNING
Andrea puts on jogging clothes and calls Darin.
ANDREA
Oh, good, you’re home. Laura said
you’ve called several times. I’m
going for a run, want to join me?
DARIN
Of course! Out of the office,
exercise, and you. Wow! I’ve been
striving for that combo all week.
EXT. PARK – MORNING
Andrea and Darin are walking. His face is bruised.
DARIN
Not yet, but I’m getting close.
43.
44.
ANDREA
What’ll you do?
DARIN
Move out.
ANDREA
Actually, I’ll be setting sail
soon. I can ask Laura if she would
like a roommate while I’m gone.
DARIN
I have another friend who travels a
lot, too, and he said I could stay
at his house if I wanted.
ANDREA
I’m really sorry, Darin. I know you
loved him.
DARIN
That’s the problem. I still do.
Shep has been a big help, though.
ANDREA
Shep? How?
They pull sandwiches and water from their fannie packs.
DARIN
He’s helped me see that love,
doesn’t mean you take abuse. We
have choices.
ANDREA
True.
DARIN
He taught me I need to ACCEPT Brad
unconditionally, meaning, I
shouldn’t try to change him…
ANDREA
We can’t really change anybody
anyway.
DARIN
True, but I sure have tried! That’s
been my main focus.
ANDREA
I understand completely.
44.
45.
DARIN
Anyway, we also need to love
ourself enough to say good-bye, if
that’s what we need…Hey, that’s
enough about me. How are you?
ANDREA
Confused, depleted, discouraged,
lost, lonely, tired…Should I go
on?
Darin laughs and nods.
ANDREA (CONT’D)
You know, Darin, before I tell you
about my week, I need to ask you
something really important.
DARIN
Okay. Anything.
ANDREA
Why don’t you and Laura tell me how
to forgive my father? You two
seemed to have conquered the
forgiveness problem.
DARIN
Believe me, Andrea, we want to help
you, but we’ve come to see that
Shep’s method of finding
forgiveness really works.
Andrea sighs.
ANDREA
Well then, here’s what the two of
you have put me through. My search
for how to forgive my father
started with a minister…
FADE OUT:
FADE IN:
EXT. PARK – CONTINUOUS
ANDREA
Everything I thought would help,
failed. So, I went to the library.
DARIN
Did you find anything there?
45.
46.
ANDREA
Two books look promising, but…
DARIN
I know you’ll find the answer.
Darin pats bench where Shep sits.
DARIN (CONT’D)
You know my solution. As Shep says,
ooooops, I almost slipped.
ANDREA
Yea. If only…
INT. ANDREA’S KITCHEN – EARLY EVENING
Andrea and Laura sitting at kitchen table, dinner is done,
finishing a glass of wine.
LAURA’
Well, I better freshen up. I’m
meeting Matt for a cup of coffee.
ANDREA
Oh, that’s right. It’s Monday
night. (Imitating southern accent).
Don’t you keep that yungin’ out too
late now ya hear?
LAURA
Come with me?
ANDREA
He didn’t invite me for dinner and
then settle for coffee.
LAURA
Seriously, Andi, I’m not
comfortable after he lied and
seemed to want to hug me for more
than just a thank you.
Laura looks at Andrea with pleading eyes. Andrea slumps.
ANDREA
Okay. I’ll be your body guard.
They laugh.
46.
47.
EXT. IN FRONT OF MATT’S HOUSE – NIGHT
Andrea is sitting in the back seat. Matt opens car door, does
not see Andrea. Hi beautiful.
LAURA
Hi Matt. Andrea asked if she could
tag along, and I said why not, but
you don’t have to pick up her tab.
Matt’s smile fades, then returns quickly as he gets in the
car. He recovers from the unexpected intruder.
MATT
Oh, Hi Andrea. Well, the more the
marrier, right?
INT. COFFEE SHOP – MONDAY NIGHT
Andrea, Matt, and Laura sit at a table. WAITER brings orders.
Laura – soda, Andrea and Matt – beer. Matt raises his bottle
to make a toast.
MATT
Roberto used to love to give
toasts. (Whispers) I think it was
just so he could drink more.
Everyone laughs.
So I want to honor his tradition.
First, to Laura for all her
kindness! Thank you Laura for being
my comforter and taxi driver.
They clink glasses.
ANDREA
To Laura.
MATT (CONT’D)
To Laura.
LAURA
(With exaggerated accent)
Thank y’all! Thank y’all! Thank
y’all soooo much!
MATT
And now, to Andrea for her
courage… My heart hurt for you at
dinner. It made me cry inside, but
you have survived it, and I am
happy.
47.
48.
LAURA
To Andrea!
MATT (CONT’D)
To Andrea!
ANDREA
(Tongue in cheek)
Aw, shucks you guys. You shouldn’t
have!
They clink glasses.
ANDREA (CONT’D)
And let’s get together again to
celebrate when I have the courage
to finally forgive my father.
Matt gets serious.
MATT
What? Did you say you want to
forgive him? You really want to
forgive him for the way he treated
you? Why? Why?
ANDREA
I want what Laura has now, peace
and joy.
MATT
Peace? You think you can find peace
in forgiveness? No way! Your father
doesn’t deserve it. No way!
LAURA
Actually, Matt, I found it hard to
forgive my mom for something, but
when I finally did, wow!
MATT
Unh Unh Sometimes it isn’t even
possible to forgive. How can you do
that? I don’t get it.
Matt is restless, his face is taught and red.
MATT (CONT’D)
Well,
Matt rocks back and forth, stares at table, sips beer, slams
bottle down, makes a fist, rubs it into palm of other hand.
48.
49.
MATT (CONT’D)
There ain’t no way I want to
forgive them cops that killed
Roberto! Nooooo way! Noooo way man!
Unh unh
Matt pounds table with fist. Andrea jumps. They sit quietly.
ANDREA
Oh, God. We’re so sorry for your
pain, Matt…What you’ve been
through is horrible.
LAURA
Is there anything we can do to
help?
MATT
I’m the only one who can fix it,
and one day I will. I will, but it
won’t be with forgiveness. No way!
Matt jumps up. He’s fidgeting.
MATT (CONT’D)
Can you take me home now? I need
to go home. I’m sorry. I’m sorry.
Laura gets up, and gives Matt a hug.
MATT (CONT’D)
There’s nothing to be sorry about,
Matt. Really!
Laura escorts Matt out. Andrea signals for the bill.
INT. ANDREA’S LIVING ROOM – LATE MONDAY NIGHT
Andrea stretched out on couch, Laura in lounge chair.
ANDREA
He actually scared me! His anger
was so intense. Did you feel it?
LAURA
Oooooh, yes! I’m so glad you were
there, Andrea.
ANDREA
I’m glad he asked us to take him
home before things got really out
of hand.
49.
50.
Silence.
ANDREA (CONT’D)
Laura…
LAURA
What?
ANDREA
I wasn’t just scared of Matt. I was
scared of myself. I saw myself in
him!
Laura stays quiet.
ANDREA (CONT’D)
I really do need help. I really do
need to change, and I’ve decided to
set an appointment with Shep.
Laura smiles.
ANDREA (CONT’D)
Maybe if I do solve all this, I can
show Justin on our next cruise
assignment, that I’ve honestly
changed.
LAURA
Welcome back, Andrea.
EXT. PARK – THURSDAY – MORNING
Shep, a 32 year old Jamaican, handsome, 6’, great smile,
accent, is sitting on bench, Andrea approaches. Shep stands.
SHEP
Good morning.
Andrea’s eye brows go up, jaw drops.
ANDREA,
So you do have a voice. It’s a very
nice voice as a matter of fact
with, what? Jamaican I assume?
They sit. Shep keeps smiling.
SHEP
Proudly!
ANDREA
Do you have a name?
50.
51.
SHEP
I’ll keep the one you all have
given me for now. I like it!
ANDREA
Okay. I’m not one for small talk,
Shep, so let me be honest with you.
I need help, but I can’t deal with
the index cards.
SHEP
Okay.
Andrea pauses, looks carefully at Shep.
ANDREA
Really?
SHEP
Yep.
ANDREA
I’m not going to ask why; I’m just
goin’ with it.
SHEP
However…
ANDREA
I knew it.
SHEP
I’m still going with just a phrase
per session for awhile. It’s
important that you answer some
questions on your own. Okay?
ANDREA
It depends; however… you said,
“Forgiving is not something we can
do.” What do you mean?
SHEP
Forgiving isn’t something we can
do. Forgiveness is the result of
what we stop doing.
ANDREA
What do we need to stop doing?
SHEP
Ah, think about that over the
weekend. I’ll see you Monday at
11:00.
51.
52.
Andrea sits silently.
ANDREA
Okay. I’ll try it your way for now.
INT. ANDREA’S LIVING ROOM – THURSDAY AFTERNOON
Andrea has returned from her visit with Shep. Laura is
reading a romance novel.
LAURA
How did it go?
ANDREA
Half and half. Index cards are out,
but single phrases are still in.
LAURA
That sounds fair.
ANDREA
Right. So, I’m supposed to figure
out what it is we are to stop
doing. Got any hints?
LAURA
Unh, unh.
They laugh.
ANDREA
A romance novel. Are you picturing
anyone in particular as you read?
LAURA
I’m not tellin’.
EXT. PARK BENCH – MONDAY MORNING
Andrea is sharing her list with Shep.
ANDREA
Okay. What we are to stop doing:
One, stop reacting to everything my
father says.
SHEP
That’s a good idea, but how does
that lead to forgiveness?
ANDREA
It avoids conflict.
52.
53.
SHEP
But it doesn’t take you anywhere.
ANDREA
Okay. Two. Stop taking everything
personally.
SHEP
Beautiful, but – let me ask you
this. How can you see him
differently. That is the key.
ANDREA
Close my eyes?
They both laugh heartily! Shep looks at Andrea. He reflects
love, patience, and respect.
SHEP
I love you, Andrea. You are
priceless.
ANDREA
So are you, Shep.
SHEP
I can see I’m going to break all my
rules with you, partly because you
will be shipping out soon. So, what
we have to stop doing is:
condemning.
ANDREA
Wait. Wait. Are you saying I have
to stop condemning how he treated
me and who he is as a father?
SHEP
Yes.
ANDREA
Well, Shep. I think we’re done
here. There is no way I cannot
condemn him. Sorry, what he did is
wrong, wrong, wrong. Period, the
end, amen.
SHEP
There is a way, Andrea. I promise
you, but you must be willing to
seek it with an open mind.
53.
54.
ANDREA
You are a wonderful, gentle, loving
human being, Shep, but I will not
be making any more appointments.
INT. ANDREA’S LIVING ROOM – MONDAY LATE MORNING
Laura is on the couch reading a different romance novel.
Andrea is in the kitchen getting a soda.
ANDREA OS
I’m sorry Laura, I really am. I had
hope, but there is no way I can
stop condemning what my father has
done.
LAURA
I understand, Andi. I felt the same
way until Shep explained how to do
it, but my situation is so much
different from yours.
ANDREA
Is it? Isn’t forgiveness,
forgiveness? Anyway, I’m going to
do what I need to do. I’m going to
face my fear head-on.
Laura pops straight up.
LAURA
What do mean?
ANDREA
I am going to invite my father out
to dinner, and we’ll go to his
favorite Italian restaurant.
Laura grimaces. Andrea doesn’t see her.
INT. ITALIAN RESTAURANT – NIGHT
Andrea’s father is sitting along near the back. He is sipping
a glass of wine. Andrea enters.
Tells host she sees whom she has come to meet. Goes to table.
Her father stands, goes to hug Andrea. Her body becomes
rigid, she frowns, she avoids the attempt. She relaxes when
she is seated. (He repulses her, but she is trying.)
54.
55.
FATHER
I know the phone call and the
invitation must have been hard for
you, and I sincerely appreciate you
reaching out.
He signals for a waiter.
ANDREA
I just want peace between us.
FATHER
So do I. Shall we order?
The waiter arrives. They order. As they wait.
FATHER (CONT’D)
Did you die your hair?
ANDREA
It’s highlighted.
FATHER
Looks a little harsh.
ANDREA
I like it.
Andrea sits quietly while her father talks incessantly while
waiting for dinner. Dinner arrives. Andrea is eating her
salad.
FATHER
Why do you eat your salad with your
dinner fork? We taught you better
than that.
ANDREA
I like to put a lot of
different…Do you realize, how
often you criticize me, what I do,
how I look, my choice of career.
FATHER
Oh, Andrea. That’s ridiculous, and
I don’t know why you have to be so
difficult all the time. I thought
we were to have a good time
tonight.
ANDREA
That’s a perfect example, and my
purpose is a little different.
55.
56.
FATHER
What’s your purpose? To whine about
the past. To attack me? You think I
never say a kind thing to you, do
you ever say a kind thing to me?
ANDREA
If I’m to have peace with you, I
need an apology.
FATHER
For what? For loving you? For
teaching you how to enjoy intimacy?
How to handle yourself in the
bedroom, unlike your frigid mother,
so you can have a wonderful
marriage. Am I supposed to
apologize for that? You should be
thanking me.
Andrea stands up. Gets loud.
ANDREA
Thanking you for raping me for
years. For intimidating, scaring,
and hurting me physically and every
other way? It was never consensual.
I was manipulated from day one.
What do you mean manipulated? You loved it.
ANDREA (CONT’D)
I hated your smell; I hated your
body on me; I hated all the sounds
you made; I hated that I couldn’t
tell anyone, especially mom.
FATHER
Sit down, and keep your voice down.
I have friends in here.
ANDREA
And I hated all the counseling
sessions, and I hated every time
you came near me. And guess what
else…
ANDREA (CONT’D)
I finally told mom, that’s why she
left you. Too bad she didn’t live
long enough to enjoy life without
you! It’s like I’ve said all along,
it’s impossible to ever forgive
you.
56.
57.
Andrea grabs her purse and leaves. Lots of people are trying
not to stare, but can’t help it.
ANDREA’S LIVING ROOM
Laura is on the couch reading another romance novel. She
looks toward Andrea’s room and listens for any sound of life.
Andrea is lying on her well-made bed. She is wearing the last
night’s outfit. She has bags under her eyes. Her make-up is
smeared.
ANDREA’S PHONE RINGS
LAURA
Do you want me to get that for you,
Andi?
Andrea doesn’t answer, enters living room, picks up phone.
ANDREA
Hi Darin. What’s up?
Andrea listens.
ANDREA (CONT’D)
Of course. I got another six-pack
on the way home last night. See ya
soon.
ANDREA (CONT’D)
(To Laura)
Doesn’t sound good.
LAURA
I want to know how you are. From
how you look, I would guess not
well.
ANDREA
I’ll fill you in later.
TEN MINUTES LATER
DOORBELL RINGS
Darin walks in, heads to lounge chair. Andrea heads to the
kitchen, gets beer.
ANDREA (CONT’D)
What’s goin’ on, Darin?
57.
58.
DARIN
I just can’t stay there right now.
He’s on a rampage about his boss.
He quit his job.
LAURA
Quit or got fired?
DARIN
He says quit. I tried to sit and
listen – not even offer advice or
anything, and the next thing you
know he’s blaming me some how.
LAURA
Well, you’re welcome to stay as
long as you want. This couch has a
very comfy bed hiding inside.
DARIN
He usually goes to the gym on
Thursdays, so I’m hoping to be able
to go home for a little while.
He takes out his phone. Looks for messages. Puts it on the
end table beside the lounge chair.
DARIN (CONT’D)
I’m expecting a call from a new
client. Do you have a notepad?
ANDREA
Sure.
Andrea leaves, comes back with a notepad and pen.
DARIN
Thanks, Andi. I gotta go to the
john. My stomach is a mess.
Darin puts beer on end table near chair. Rushes to bathroom.
LAURA
I’m so sorry for him. They were so
happy at their wedding. Remember?
ANDREA
It’s sad.
DARIN’S PHONE RINGS.
58.
59.
DARIN OS
Andi, can you get that, it may be
my client. Act like a secretary and
tell him I’ll call him back.
Andrea picks up the phone, looks to see who it is and freezes
in place. The phone continues to ring.
DARIN OS (CONT’D)
Andi, are going to get that?
ANDREA
It’s Justin.
DARIN OS
Oh, shit! Shit! Shit! Shit! Don’t
answer it. I’ll get back with him
later.
Darin eventually appears. The girls are on the couch; waiting
patiently and quietly.
DARIN
Sorry, Andi. Really.
ANDREA
So is Justin your other friend who
travels a lot and whose place you
may use while he’s gone.
DARIN
Yes.
ANDREA
How is he?
DARIN
Fine.
ANDREA
Is he seeing anyone?
DARIN
Andi..
ANDREA
Is he Darin?
DARIN
Yes.
ANDREA
Is she in the cruise industry, too.
59.
60.
DARIN
No. Actually, no. She’s realtor he
met while looking for a new place.
ANDREA
What else?
DARIN
What do ya mean?
ANDREA
What else have you been keeping
from me.
DARIN
Well, you’ll find out soon enough.
He’s changed cruise assignments.
Andrea goes to her room and closes her door.
DARIN (CONT’D)
I’m gonna go. Justin was calling to

[Laurie Reilly]

Lesson 20- ACT 3 wrap up… onward. This is working for me.

Act 3:

INT. WOODVILLE- 1992- ANNIE AND JOE CABIN-LIVING ROOM CONT.

Annie is still on her knees clutching her stomach. She slowly sits up and slips her hand down inside her bathrobe. She closes her eyes and gasps as she feels that the scar is back. (we never see it).

ANNIE-35

I won’t desert you Maggie.

She then looks at a pair of Joe’s boots by the door and doubles over again.

ANNIE-35

How can I do this? It’s not fair, it’s not fair.

She scrubs her face with her hands then slowly rises and goes to the kitchen.

INT. ANNIE AND JOE’S CABIN, KITCHEN, 1992, AM

The clock shows 7:20. Annie has made an elaborate breakfast and is setting the plates on the kitchen table. The strain on her face increases when she hears the sounds of her family waking up and getting ready.[PLACEHOLDER background sounds]

Hunter comes into the kitchen, slings his backpack on the back of his chair and sits.

HUNTER-8

Mom! You made your homemade scones! On a school morning!

Erin enters and sits. Annie-35 is keeping busy with her head down.

ERIN-10

Ohhh with your raspberry jam.

Hunter takes a bite.

HUNTER-8

MMMMH. You should sell these. We’d be rich.

The kids are quickly eating. Annie sets down another plate laden with food.

ERIN-10

Biscuits and gravy, Dad’s favorite! Is it your anniversary or something?

Annie can hardly speak. She avoids eye contact as she touches both Erin and Hunter when she passes behind their chairs and hurries back to the kitchen.

ANNIE-35

No… just uh.. I have to get ready for work.

Annie rushes down the hall.

JOE-35 (O.C.)

Did I hear biscuits and gravy?

Annie rushes into the bathroom and closes the door just as Joe opens the bedroom door and heads to the kitchen.

INT. ANNIE AND JOE’S BATHROOM, 1992, CONT.

Annie has sunk to the floor and is leaning against the door. We can hear the sounds of the family at breakfast. [PLACEHOLDER].

Annie stares at her hands, the one ring on her finger.

JOE-35 (O.C.)

Annie? Are you joining us for breakfast?

Annie opens her mouth to speak, but finds she can’t muster a sound. She gets up and turns the shower on, but doesn’t get in, just sits back down against the door, on hand on her lower belly. She whispers to herself.

ALTERED ANNIE-35

I’m not going crazy, I’m not. This is..trauma. Or a dream. But… but if I’m dreaming, when did I start the dream? When I was 60? Last night? Oh my god. Did I dream up the accident? Maybe there is no runaway truck. I don’t know what is real. Oh Sarita..help me.

JOE-35 (O.C.)

Hurry up guys, the bus is here!

(pause)

Hunter, don’t forget your lunch. Have a great day guys.

Annie hears the front door slam as the kids leave, then Joe-35’s footsteps that pause outside her door. Joe-35 knocks on the bathroom door.

JOE-35 (O.C.)

That was a awesome breakfast honey, definitely in the top five, maybe even the top three!

Annie doesn’t respond, just squeezes her eyes shut. The shower is still running, the bathroom growing steamy.

PLACEHOLDER ADD IN JOE POV

JOE-35

(pause)

I gotta go, I need to be there when they pour the foundation. I’ll see you tonight!

Annie clasps her hands over her mouth and silently weeps.

INT. JOE AND ANNIE’S CABIN, LIVING ROOM HALLWAY. CONT.

Joe grabs his keys from the hook and opens up the door. He pauses and calls out loudly.

JOE-35

Love you Annie!

He exits and slams the door.

Big pause.

Suddenly Annie-35 dashes down the hallway, throws open the front door and runs out. Shiloh quickly escapes out the open door.

ANNIE-35

WAIT! Wait Joe, wait!

Joe is already in his truck, warming up, in the driveway, but gets out to try to grab Shiloh.

JOE-35

Oops.. here girl!

Shiloh goes around him and jumps into the open truck door just as Annie-35 reaches Joe-35. She throws her arms around him.

ANNIE-35

Joe, Joe, I love you.. I love you so much.

Joe laughs and hugs her back. She clings longer to him, half hysterical.

JOE-35

I love you too honey, but I gotta go to work.

ANNIE-35

Wait, just wait, don’t go yet.

Now Joe is concerned.

JOE-35

What’s going on?

ANNIE-35

It’s just… I’ve been having these dreams. Crazy.. dreams. Some of them are, are nightmares. And, and they feel real. So very real.

JOE-35

(nods sympathetically)

About your mom?

ANNIE-35

Uh.. yes, and about other…people…and a baby…there’s this baby. But they’re just.. visions… dreams nothing else-

Joe-35’s attention is caught by something. Annie-35 notices. They both turn and watch a large logging truck come barreling down the hill. They watch it pass, alarmed. Three seconds later, a tremendous crash is heard.

Joe-35 quickly slams the truck door to keep the dog in and they both dash out to the road and look down the little hill.

It’s a terrible scene. The truck is mangled, smoking.

JOE-35

Call 911!

He takes off running to the scene just a few hundred yards down the wooded road. The same path that Annie took in the Altered State memory.

Annie-35 is frozen to the spot. Eyes wide.

INT. WOODVILLE- 1992- ANNIE AND JOE CABIN, LIVING ROOM- EVENING

Joe-35 and Annie-35, are comforting Erin-10 and Hunter-8, on the couch.

ERIN-10

I can’t believe this happened right down the road from our cabin.

HUNTER-8

The bus went by it on the way home from school. The truck was smashed to smithereens.

ANNIE-35

(whispers half to herself)

It could have been so much worse.

JOE-35

Uh… yes of course, always could be worse, but the driver didn’t make it. That was bad enough.

ANNIE-35

That shouldn’t have happened.

Joe gives her a quizzical look.

HUNTER-8

Did you see him Dad?

Erin puts her hands over her ears, upset.

ERIN-10

I don’t want to hear, I don’t want to hear.I don’t want to talk about it anymore.

The phone rings incessantly. Finally Joe-35 gets up to answer it. Annie-35 is reluctant to let go of his hand.

JOE-35

(quietly)

I should get it. The sheriff said he might be calling me later to ask some more questions.

He answers, but it’s not the sheriff.

JOE-35

Hi Mary-Lou. Yes-she’s right here.

Annie-35 shakes her head no, and tightens her arms around Erin-10. Annie-35 mouths ‘later’ to him.

JOE-35

Um, she’s uh, with the kids….yah. You heard? …Such an awful accident… Me? I’m fine.

Joe walks a little farther away and drops his voice.

JOE-35

…We were standing in the driveway when it happened….If it had been just a few minutes later, well, who knows….Yeah she’s kind of shook up. I’m sure she will call you later, or tomorrow… Thanks for calling…(awkward pause). I, I’m Ok. Really.

INT. WOODVILLE- 1992- ANNIE AND JOE BEDROOM- EVENING

Joe-35 is asleep. Annie-35 is facing away from him wide awake, cradling her lower belly. She whispers to herself.

ANNIE-35

I’m sorry, I’m so sorry Maggie.

Annie’s eyes suddenly come into focus and she sits up slowly. She gets up, not bothering with a robe and leaves the room.

INT. JOE AND ANNIE’S CABIN, ERIN’S ROOM, CONT.

Annie-35 is watching Erin-10 sleep. She pulls the covers up around her and kisses her gently on the cheek.

INT. JOE AND ANNIE’S CABIN, HUNTER’S ROOM, CONT.

Annie-35 is sitting on Hunter-8’s bed. His covers are a mess. She tries to cover him up, but he throws it back in his sleep. Afraid to wake him, she blows him a kiss with her fingertips.

INT. JOE AND ANNE’S CABIN, BEDROOM, CONT.

Annie-35 climbs back onto the bed with Joe-35. She cuddles against his back for a moment and inhales his neck deeply. She pulls back and traces ‘I LOVE YOU’ on his back with her finger tip. He stirs, then falls back asleep. She turns over onto her back and puts her hand on her lower belly. She closes her eyes for a moment, then takes a deep breath and turns out of camera range.

EXT. MARY-LOU’S HOME, 1992 3 AM

Mary-Lou-45 answers the door in her robe, takes one look at Annie-35, also in her robe, and throws her arms around her.

MARY-LOU-45

Oh honey.

She pulls back and takes in Annie-35’s tragically stoic face and that she is wearing a bathrobe.

MARY-LOU-45

You drove here like that?

ANNIE-35

I was afraid if I stopped to get dressed I would change my mind.

MARY-LOU-45

Change your mind? Come in, come in. It’s been a traumatic day.

ANNIE-35

Please, can you hypnotize me? I can’t sleep, so I can’t dream…so you have to hypnotize me. Right now.

INT. MARY-LOU SUNROOM, 1992, CONT.

Annie-35 eyes flicker back and forth under her eyelids as Mary-Lou 45 tries to put her under. It’s not working too well. Mary Lou-45 places a hand on her wrist and leans close to her.

MARY-LOU-45

Let’s try again. You have to give yourself permission to let go. I can feel your pulse literally thrumming through your body. Let’s try this. Open your eyes. Look at me. Now match my breath.

Mary-Lou-45 takes long slow deep breaths, and Annie-35 tries to match her. Eventually it starts to work. Mary Lou-45 takes Annie-35’s hands and places them over Annie-35’s heart.

MARY-LOU-45

You are safe. Let yourself sink a little deeper into your breath. I’m going to count down from 10 this time. Each count, each breath allow yourself to relax into serenity. 10, relax your brow. 9 relax your jaw, your mouth. 8 relax your shoulders, that’s it. 7 relax your arms..6…5…4…3..

And she’s under.

INT. ALTERED STATE -CONT.

Again the tree is younger and Sarita is not the there. Annie-35 is stoic, serene, determined. The swarm of memories that swirl around her has two layers now, one colorful, and the one below it, shades of grey. She slows the colored stream down carefully, looking.

INSERT MEMORY SCENE 14

(In Color) Mary-Lou-50 hands newborn baby Maggie to Annie-40 in a hospital bed. Sean suddenly rushes into the room, happy and out of breath. The Erin and Hunter are not there this time.

Annie-35, watching in the Altered State, almost collapses in relief, then looks for one more memory in the colored stream.

INSERT MEMORY SCENE 15

(In Color) Annie-40 is cradling baby Maggie in her bed, she is singing a song to her. It is almost like her dream, except Sean is also cuddling Annie and baby Maggie.

Annie-35, in the altered state, has a soft smile on her face. Then she grows somber, eyes the stream of black and white memories swirling by, but she doesn’t want to look closer. Annie-35 takes a big breath and calls out.

ANNIE-35

Mary-Lou, bring me back, please, I’ve seen enough.

INT. MARY-LOU SUNROOM- 1992- CONT.

Annie-35 opens her eyes and refocuses on her surrounding.

MARY-LOU-45

Annie? That was quick. You ok? What, what did you see?

ANNIE-35

I saw Maggie. She was back. She was alive. Do you believe me?

Mary-Lou 45 hesitates and gives a small nod.

MARY-LOU-45

I believe that you absolutely saw this little girl. And your belief is so strong that I …almost…

ANNIE-35

And you were there. For her birth.

MARY-LOU-45

But … how…does this happen if Joe is-

ANNIE-35

There is only one way. I…I have to leave. Leave Joe. I have to. I must. So I can go find Sean. So there will be a Maggie.

INT. MARY-LOU SUNROOM-1992, NEXT DAY, AM

Annie-35 is asleep on the sunroom couch. The sound of a phone ringing in the next room slowly wakens her. She can hear Mary Lou-45 talking, but it’s not clear. She slowly gets up and opens the door slightly to listen.

MARY-LOU-45 (O.C.)

I’m so sorry you were worried, I’m sure Annie was going to call you as soon as she woke up. She had a tough night…. I think it was about 3 when she got here…no I didn’t know she was coming, she just showed up…. Well, yesterday was quite traumatic for her…yes, of course.

Annie-35 opens the door a little wider. Mary Lou-45 sees her but Annie-35 quickly shakes her head no.

MARY-LOU-45

Uh..How are Erin and Hunter doing?…Oh I think that’s a good idea. But maybe call the school and see if the counselor, their school has a one right? They might be organizing a grief session for the students, since it’s such a small town and all…Alright, I will have her call you…Bye Joe.

Mary Lou-45 hangs the phone up. Annie-35 trudges in and sits at the kitchen counter as Mary Lou-45 gets her coffee.

MARY-LOU-45

I’m glad you got a little sleep.

Annie-35 nods.

MARY-LOU-45

Joe said he thought at first that maybe you had an early shift at the bakery. And I guess you did, because they called him looking for you. He let the kids think you are at work.

No response.

MARY-LOU-45

(softly)

You should call him. He’s worried about you.

ANNIE-35

I can’t. Not yet. If I hear his voice….

Mary Lou-45 starts making breakfast. Annie stares woodenly at her ring finger.

ANNIE-35

In the future, some people breakup by texts on their cellphones.

Mary Lou-45 frowns in concern at this strange statement.

ANNIE-35

Now I know why. To hear him, I might lose my resolve. Go back.

MARY-LOU-45

Well. Maybe we should talk about that.

ANNIE-35

Please, please. Don’t try to talk me out of it. Joe’s alive. I saved him. I gave Hunter and Erin back their Daddy. Now I have to try and make sure Maggie..Maggie comes to be. I have to try and save her too.

MARY-LOU-45

Annie-

ANNIE-35

Don’t you think I know how it sounds? But you- you get it now, right? I told you about the runaway truck- and it really happened! It wasn’t a night mare or PTSD, or schizophrenia- it was, it was-I don’t know what to call it.

MARY-LOU-45

A premonition?

Annie-35 shrugs miserably. Mary Lou-45 is talking to her firmly, logically, trying to bring her around.

MARY-LOU-45

And that you have whole lot of them about people you haven’t met yet, haven’t been born yet?

ANNIE-35

They’re going to think I’m crazy-

MARY-LOU-45

Some might think you are some kind of seer or fortune teller or liar trying to take advantage. They will hound you.

Annie-35 nods slowly.

ANNIE-35

So, I can’t ever tell anyone.

MARY-LOU-45

Well, you could tell a therapist. They could help you, perhaps make sense of these, these visions-

Annie-35 looks at her incredulously.

ANNIE-35

I thought you believed me! Aunty, I don’t want this. I don’t want this. Do you think I would put myself through this if I didn’t know in my heart that there is a child waiting for me?

MARY-LOU-45

I’m sorry honey, I’m trying. I’m trying to believe it all.

ANNIE-35

I’m going for a walk.

Annie stalks to the sunroom but then turns back.

ANNIE-35

I, I don’t have anything to wear.

INT. MARY-LOU’S HOME, LIVING ROOM, 1992 CONT.

Annie is about to walk out the front door, wearing a purple track suit.

MARY-LOU-45

Annie- I’m on your side. Maybe, just maybe you didn’t bring any clothes with you last night, because you weren’t quite sure yourself. You thought you might be going right back. So you have to forgive me if I’m not sure what to think either.

Annie nods and exits. As she is closing the door, she speaks quietly.

ANNIE-35

I’m sure now.

INT. MARY-LOU HOME, LIVING ROOM, 1992, TWO HOURS LATER.

Mary-lou-45 is on the phone.

MARY-LOU-45

I’m sorry Joe, I did tell her to call you…I don’t know where she is, but the car’s still here, so she’s just walking….About two hours now….she’s just…upset, understandably after what happened yesterday. The accident…. Oh, so she was acting, um different, before the accident too? … I see…

Mary Lou-45 walks over and looks out the front window again.

MARY-LOU-45 (CONT’D)

No not really…. Well, yes, after she visited her mother she was a bit, um, reflective. About the past. And uh, what the future might hold.

Mary Lou hesitates and subconsciously drops her voice even though no one is there.

I know you guys sometimes smoke a little weed. Didn’t we all. Just wondering if she could have smoked some that had a little something extra in it? Maybe she didn’t even know, or she took a pill…. Oh I see…It’s been that long huh. Well of course, with the kids around and all. Anyway, I will tell her you called again…Ok, ok, give the kids a hug for me.

Mary Lou-45 walks back over to the phone and opens up her address book, running her finger down a name.

INSERT

Camarillo Hospital

Dr. Richards 805-555-4321

Mary Lou-45 picks up the phone, hesitates, then hangs up again. She goes into the sunroom, pauses, then rummages through Annie-35’s purse. Nothing. Then she looks into the pocket of her bathrobe-and finds the sheet of paper with the timeline Annie-35 made just the morning before. She scans the note and freezes.

INT. MARY-LOU KITCHEN COUNTER 1992, DAY CONT.

Annie-35 enters, then sees the timeline sheet laid out in front of Mary Lou-45 on the counter.

ANNIE-35

You went through my-

MARY-LOU-45

That’s not what’s important here.

Annie-35 nods and sits down.

MARY-LOU-45

How did you know the name Pierce Huxton?

Annie-35 doesn’t answer.

MARY-LOU-45

You have here – in 2007, wedding, Aunt Mary Lou and Pierce Huxton. I, went to college with Pierce. We dated, but I haven’t seen him since my junior year. I haven’t even thought about him in twenty years! I know I never said that name to you. And here, here, you have Mary-Lou loses her house and Pierce goes to jail. What the hell Annie? Why did you write that down?

ANNIE-35

I, I don’t want to say.

MARY-LOU-45

What do you mean, you don’t want to say? Is this something you saw in one of your visions? In, in the altered state?

ANNIE-35

Look- I was doing a lot of thinking while I was out walking.

Mary Lou-45 is growing a little agitated.

MARY-LOU-45

Well, I hope so, you’ve been gone for nearly four hours.

ANNIE-35

The truck driver wasn’t supposed to die. I mean originally. The way it happened before.

MARY-LOU-45

Oh.

ANNIE-35

Yeah. Joe died, but he lived. He was ok. He was a young guy. Went on to marry and have 4 kids. He had a mass said every year for Joe, he felt guilty, sent me Christmas cards too. Or he did. Or would have. Now, he’s dead. HIS kids will never be. Who knows what they would have done, who knows what else I have changed.

MARY-LOU-45

Annie- I don’t know what to think. But …help me understand how you know Pierce’s name- and that he comes into my life again.

ANNIE-35

I, I’m afraid to mess with the memories anymore, to make something else happen or not happen!

MARY-LOU-45

Well, it’s too late, I can’t unsee this! Oh I don’t know, maybe you saw his name somewhere, I never got a college yearbook, but you could go to a library and look it up I suppose. But why would you do that, go that far?

Now Annie-35 is angry.

ANNIE-35

Or, fake a scar? Here it is, look! It’s real!

Annie-35 pulls down the waist band and tries to show Mary Lou-45 who looks away, now they are both crying.

ANNIE-35

Oh, I know, I was the one who suggested that it might have been a childhood surgery- but why? Some kind of reverse psychology? To what, mess with your head, mess with my own head? I don’t know why this all happened to me! I just know what I know, and what I feel. And… all I can say is that right now, right now, my heart is breaking. And I need at least one person who knows. One person who believes me.

They stare at each other.

ANNIE-35

Pierce A. Huxton. The A is for Aloysius. You know why I know that? Cause I had your names engraved on a silver picture frame for your wedding. Twelve years from now.

Mary Lou-45 looks a little stunned. She wipes her tears away, then reaches out and wipes Annie-35’s tears. She starts to ask a question, but Annie-35 holds up her hand.

ANNIE-35

Just don’t call him back when he leaves you a message in about 10 years. That’s all I’m going to say. Except I don’t want to be hypnotized, or go to that place ever again. Knowing what happens is like a huge weight. And it’s crushing me.

INT. MARY-LOU SUNROOM 1992, ONE WEEK LATER, EARLY EVENING

Annie-35 is curled on the couch in the sunroom with the door closed, writing in a notebook. She hears a knock on Mary-Lou-45’s front door.

MARY-LOU-45 (O.C.)

Joe, oh.. I’m so sorry but you can’t come in. She doesn’t want to see you.

JOE-35 (O.C.)

Mary Lou please, please move out of the way. I have to talk to her! Did you know about this letter? This doesn’t make any sense?!

Annie-35 hurries out the patio door of the sunroom as she hears Joe hurrying through the house. Joe knocks on the sunroom door.

JOE-35 (O.C.)

Annie, I know you’re here. I know you don’t mean this, talk to me.

But Annie-35 has climbed over the back yard fence and run. Joe opens the sunroom door, sees her through the patio door and runs after her.

EXT. MARY-LOU’S NEIGHBORHOOD 1992, EVENING, CONT.

Annie-35 runs through a neighbor’s yard, onto the sidewalk and keeps running. A moment later Joe-35 appears, sees her, and takes off after her.

JOE-35

Annie, wait! Annie please!

Annie keeps running, tears streaming down her face.

JOE-35

What did I do Annie? This isn’t fair!

Annie keeps running, nearing a small park.

JOE-35

Stop! Please! I deserve a reason!

A man walking his dog grows concerned as Annie hurries past.

DOG WALKER

Ma’am. Are you ok? Is this man bothering you?

Annie finally stops.

ANNIE-35

No, no, it’s ok!

DOG WALKER

Are you sure?

Joe has stopped running and holds up his hands in a calming motion.

JOE-35

I’m her husband.

Dog walker is unconvinced.

DOG WALKER

I live right over there, I can go call the police.

ANNIE-35

It’s fine, really. Really.

She sits down, ironically, on a tree root. Joe sits down right on the sidewalk where he is.

The man slowly walks on.

DOG WALKER

I’ll be watching, I can see the park from my window.

They watch him walk away. When he enters his house. Joe gets up to move nearer.

ANNIE-35

Please no, don’t come closer. Stay over there.

Joe sinks down on the edge of the grass, baffled.

JOE-35

Annie! Annie, I’m not going to hurt you! I just want to know what’s going on. What is wrong?! Whatever it is we can fix it. Seriously, what is it? Your letter…you’re leaving me? Why? Why Annie?

Annie is completely miserably, barely able to speak.

ANNIE-35

I, I can’t explain. I just …

JOE-35

Did you stop loving me Annie?

ANNIE-35

No! no… it’s just that…

JOE-35

Just WHAT Annie? Finish the sentence. Whatever it is, we will fix it! We can go to counseling, see a therapist. You said just last week you were going to go see one after you visited your mother.

Annie-35 doesn’t respond. Long pause. Joe sighs deeply.

JOE-35

I also wanted to tell you in person. I talked to Dr. Richards.

Annie explodes.

ANNIE-35

WHAT! Why would you call him? Why? Why would you do that? Because I wouldn’t come to the phone?! I’m not like her. I haven’t done anything! I haven’t hurt my kids! EVER. Not like she did to me. I’m not her!

In the distance, the dog walker steps out onto his front porch, watching them. Joe is alarmed and tries to calm her.

JOE-35

Annie, Annie calm down. Shh. Shh. Honey, I didn’t call him. He called the house.

Joe is looking at her with a different kind of concern now. Annie looks confused- then it hits her.

JOE-35

Your mom is in a coma. Could be anytime now.

ANNIE-35

Oh. Oh. I see. Thank you for telling me.

Silence again. Joe grows nervous. Annie-35 realizes that this horrible miscommunication could also be the only reason he could accept. Mary Lou-45 has now arrived in the background and is assuring the neighbor, who goes back into his house.

JOE-35

Annie. Honey. Last week, you said you were having … nightmares. And right before the accident, you said…you said something about having visions. About a baby.

Joe has cautiously crept a little closer. He reaches out to her, but she scoots away and turns her back on him.

ANNIE-35

Don’t touch me. Please don’t touch me.

JOE-35

Are you seeing..things, people? People that maybe aren’t there, that you are afraid of?

Annie-35, her back still to Joe-35, closes her eyes and gathers her resolve. She gives the smallest of shrugs.

Joe nods.

JOE-35

So that is why you left. Before something could happen.

Annie-35 gives a small shrug again. She notices Mary Lou-45 standing to the side.

JOE-35

Ok. Ok. I understand now. This, this is a good sign. That you recognize that something is going on with you. We will get you some help. I’m not going to desert you.

ANNIE-35

I, I got to do this my way Joe. I’m going to have to go..somewhere. Tell the kids, tell them how very much I love them. And I will call them. And I will see them .. soon. I need you to go Joe, now. Please. Mary Lou is here. She, she knows.

Joe is struggling hard not to cry.

JOE-35

Ok, I get it. I will be waiting. Can I just, just give you a hug first?

ANNIE-35

Please don’t. I couldn’t bear it if you do. Just go Joe, please.

Joe-35 slowly gets to his feet, tears streaming down his face. He passes Mary Lou-45, grasps her outstretched hand for a moment, then struggles on. Once he has moved on, Mary Lou-45 rushes to Annie-35 and wraps her arms around her.

[Margaret]

Margaret’S COMPLETED ACT 3

What I learned: May still need a few more scenes for Act 3…

EXT. EBBA FOOTHILL – DAY

The Hedeon work together to construct a wall around Ebba. The wall is almost completed. Behind the wall is a large Hedeon tent Camp. Alo assures them Taaba is with them, they are protected.

Beginning: The Hedeon build a wall

Middle: Imara and Jabe discuss the meaning of the wall

End: Alo assures the Donek that Taaba is with them

EXT. EBBA FOOTHILL – DAY

The Hedeon work together to construct a wall around Ebba. The wall is a simple wooden frame, 6 feet tall; a plywood front backed by 2×4 framing and support.

Armann strolls along the wall, inspecting, accompanied by his Guards. The wall is almost completed.

Behind the wall is a large Hedeon tent Camp.

Armann address the Hedon WORKERS at the wall.

ARMANN

I want this finished today! The birds are in their nest, and not one of them must be allowed to fly away! We will crush them and their young, put an end to the Donek!

The Workers cheer his words.

EXT. EBBA FORTRESS – DAY

A wall surrounds the mountain top fortress, lined by Donek. On the Donek side, the Donek stand next to it on a raised platform, watching the movements of the Hedeon. Jabe, Imara, and Alo are among the watchers.

JABE

Their wall is almost done.

IMARA

But why a wall? Their camp is on the other side. Do they think we will seige them?

JABE

Nah. They want to keep us here. All of us.

Alo smiles.

ALO

Their work is in vain! We have no intention of leaving. We have everything we need, including the peace of Taaba.

The Watchers at the wall nod, smile at this proclamation.

Imara is not so sure.

IMARA

But, what if it doesn’t rain? What if we run out of seed for the fields?

JABE

Don’t borrow trouble. Today is today. As long they stay on their side of the fence, all is good!

Alo pats Jabe on the back.

ALO

Ah, my young son, there is more to life than waiting for things to happen or not happen.

JABE

Like no decision is a decision? What are supposed to be doing then?

IMARA

What can we do? We have put ourselves in a position, like a prison. What could can we do if we cannot even speak to the Hedeon, tell them of the Orb?

Alo signals for the Donek Watchers to circle around him.

ALO

Come, come, circle around.

The Donek leave the wall, form a semi-circle around Alo, Jabe and Imara.

ALO

Taaba has brought us to this place. We enjoy our freedom and safety but we must not rest.

The Patient Donek responds.

PATIENT DONEK

We have begun to work the fields. They will be ready soon for the rain.

ALO

We have another task. You see the sea of purple below? They do not know Taaba or his ways.

Jabe shrugs.

JABE

They made their choice. Live and let live. They don’t bother us, we don’t bother them.

ALO

No, we must pray that Taaba continues to have mercy on them, send them the Orb. Pray that we may once again live in peace with the Hedeon. Pray that Taaba’s protection will be with us here on Ebba.

IMARA

Yes! Alo is right. There are those among the Hedeon that need to know the truth. My own son, Grigo! I will pray you, Alo.

Imara kneels, followed by Alo. The rest of the Donek go to their knees.

Jabe is one of the last, but he also goes to his knees and joins the murmuring prayers of the Donek.

EXT. FOOTHILLS EBBA – Night

The Hedeon attempt to enter Ebba by the snake path but the few Donek hold them at bay.

Beginning: Jabe is at the top of the snake path, volunteers to stand guard

Middle: The Hedeon confront Jabe

End: Jabe realizes he has just killed Hedeon

Jabe approaches the DONEK GUARD at the entrance to the Snake Path that leads down the mountain.

JABE

Heh, there!

The Donek Guard, surprised by Jabe, draws his gun.

JABE

Whoa, there! Friendly here!

Jabe lifts both his hands as the sheepish Donek Guard puts his gun down.

JABE

Heard you been standing guard here every night.

DONEK GUARD

I won’t let the Hedeon through. Not here.

JABE

Well, since I haven’t had a turn and I’m having trouble sleeping, maybe I could relieve you tonight?

The Donek Guard brightens.

DONEK GUARD

Really? You’d do that?

JABE

Sure, just hand over your gun.

The Donek Guard rushes to give Jabe his gun. He calls back to Jabe.

DONEK GUARD

Thanks! Thanks again!

Jabe waves him on then peeks down the Snake Path.

Wait. Did he see something?

Jabe moves a few feet down the path, squints at the path.

A small movement far down on the path.

Jabe lifts his gun.

JABE

Heh! Heh! I see you! Don’t think about it!

He concentrates on the path, still not sure there is someone there.

Jabe takes a few steps back, sighs with relief.

BUMP. BUMP. BUMP.

Did something dislodge a rock? An animal?

Jabe stiffens. Looks again.

A faint purple aura moves up the path.

JABE

Hedeon! I see you! It would really be a mistake to try to come up here. Really, a BIG mistake.

The purple auras turn yellow but continue up the path. Jabe calls out.

JABE

O.K. Not going to tell you again. You keep coming up here and it is not going to end well for you!

Jabe steps behind a wall next to the path for protection, but has his gun resting on the wall, trained on the path.

The yellow becomes clearer. A HEDEON TRIO with the HEDEON LEADER emerge, slowly walk up the path. They are in range of Jabe’s gun.

JABE

Stop! Stop right there! Don’t even think about lifting your guns or I’ll shoot! Got you in my sights!

The Hedeon Trio stop. The HEDEON LEADER responds.

HEDEON LEADER

You might as well give up. If you do, we won’t kill you. You can’t stop us. Not sure why you are even trying.

JABE

Sorry. Don’t believe you, and even if I did, I would still try to stop you. So just go on. Go on back and let’s pretend this isn’t happening.

HEDEON LEADER

But it is happening. We are going to take you out and then take out everyone up there.

Jabe tightens the grip on his gun, poises his hand over it to trigger the spray.

JABE

Don’t do it. Last warning.

The Hedeon Leader and Trio take two steps forward.

The Hedeon Leader moves his gun up.

SWOOSH

The Hedeon Leader falls down, dead.

The Trio stop, stunned, their yellow aura intensifies.

The Trio reach for their guns.

SWOOSH, SWOOSH, SWOOSH!

The Trio drop, their aura gone.

Jabe peers at the Hedeon and then down the Snake Path. He sees no more movement.

Jabe sags into wall, tears streaming.

EXT. HEDEON CAMP – Armann’s Tent – DAY

Armann tells the Hedeon they must build a ramp and take the fortress. “We can ignore the threat and see our children fall to their deceit or we can fight and kill the insidious cancer that eats at our society, and captures the minds of our own.”

Beginning: Arkuji tells Armann the news of the men not returning

Middle: Arkuji realizes Armann’s ruthlessness

End: Armann decides to build a ramp

EXT. HEDEON CAMP – ARMANN’S TENT – DAY

The tent flap flies open, Akuji arrives unannounced, interrupting Armann’s meal.

ARMANN

I don’t remember an invitation given.

ARKUJI

I bring news.

ARMANN

News you risk your life over?

At this, Arkuji’s aura yellows. He ignores the question.

ARKUJI

The men you sent. They haven’t returned.

Armann smiles, plays with the food on his plate.

ARMANN

You thought they would return? Wasn’t their instructions to give a signal when they had taken out the guards?

ARKUJI

We received no signal. And they haven’t returned.

ARMANN

I ask again. Why would you think they would return?

Arkuji knows Armann playing with him, but the question confuses him.

ARKUJI

Well, if they couldn’t subdue the guards, or if there were too many of them…

ARMANN

In that case, if you had gone with them, would you return?

The light dawns, Arkuji attempts to back peddle.

ARKUJI

No, not I, sir. I mean, I would have succeeded.

ARMANN

And if you were unable to succeed, would you return?

Arkuji swallows against the lump in his throat.

ARKUJI

You would have ordered my death. So, so, I would have died fighting there, on Ebba.

Armann takes a bite of food, chews it slowly, scrutinizes Arkuji. Arkuji doesn’t meet his eyes.

ARMANN

So what is the news you have for me, then?

ARKUJI

The men you sent are dead, sir.

Armann takes another bite of food. Speaks with full mouth.

ARMANN

Next time I will send you then.

Arkuji’s aura reddens, but his answer is controlled.

ARKUJI

At your pleasure, sir.

Armann doesn’t speak, takes his time to enjoy Arkuji’s discomfort.

ARMANN

Do you understand why I won’t let the Donek enjoy their peace?

ARKUJI

They haven’t demonstrated their loyalty, sir.

Armann shakes his head.

ARMANN

Their loyalty is not what I want. They are a threat to the Hedeon.

We can ignore the threat and see our children fall to their deceit or we can fight and kill the insidious cancer that eats at our society, and captures the minds of our own.

Arkuji nods his understanding.

ARMANN

A fight worth giving your life for, yes?

Arkuji fears his words will trap him.

ARMANN

We will build a ramp. An immense ramp that will reach the top of the mountain. Then we will breach their walls and kill them all.

Arkuji nods enthusiastically, his answer filled with relief that the plan doesn’t involve personal sacrifice.

ARKUJI

An excellent plan! Excellent!!

ARMANN

Call the men together. I will meet with them tomorrow, 8 o’clock.

EXT. EBBA FOOTHILLS – DAY

Armann moves among the Hedeon, inspecting their work as they use tractors to move dirt to build an immense ramp leading up the mountain.

Hedeon men also work on an immense wooden structure, a siege tower, place wheels on it.

Beginning: The Hedeon work on the ramp and the siege tower

Middle: The siege tower is finished, stood up for the Hedeon to celebrate

End: The ramp is almost finished, darkness falls

EXT. EBBA FOOTHILLS – DAY

Armann moves among the Hedeon, watches as tractors remove dirt from around the Hedeon encampment and dump it to form a ramp, leading up the mountain. The ramp is almost completed.

Armann moves over to the construction site of siege tower. Hedeon have finished placing the wheels.

Armann signals for the men to stand the siege tower up. The Hedeon attach ropes, then pull the siege tower upright using the power of a tractor pulling the ropes.

The massive tower looms over the Hedeon encampment. Word moves quickly, Hedeon come out of their tents to view the tower.

The murmuring of the Hedeon swells into cheers as they see the finished tower.

Armann laughs, gloating over this small victory.

The sun sets as the Hedeon dump a large load of dirt to build up the ramp. The Hedeon leave the tractor in place, jump off, run back along the ramp, leaping and shouting as they see the siege tower standing.

Armann claps his hands together.

ARMANN

Soon. Soon.