Lesson 20

[Stephen Maynard]

Subject line: Stephen Maynard Completed Act 3

“What I learned doing this assignment is…?” While I don’t have the page count
required for an ACT 3, I am satisfied
that I have the requisite scenes to do the job required of a third act. Such a
dilemma!

Do a quick read of Act 3 and make whatever improvements you’d like.

EXT. ROAD – DAY Key Scene 1 React/Rethink the new reality revealed by Midpoint & Key Scene 2: Makes a new plan.

Stevie and Johnny ride their bicycles. Chuey sleeps in the baby carrier at Stevie’s chest

JOHNNY

Ask yourself, Dude, Why were they crying?

STEVIE

Emotion, girls get emotional.

JOHNNY

Exactly. They were sad at the thought of losing

true love.

STEVIE

Meaning you and me?

JOHNNY

A girl wants to be wooed.

STEVIE

Wooed?

JOHNNY

Yeah. You know, they liked to be courted.

STEVIE

How does one court a girl who hates one?

JOHNNY

Well, one could bring one’s hateful girl flowers and

candy to soften her up.

STEVIE

How about we dress up like Troubodors and serenade

‘em? Make complete fools of ourselves.

JOHNNY

That’s good, Dude… Man’s purpose is to understand

what a woman wants and to give it to her.

STEVIE

You could be right.

JOHNNY

Sapere aude.

STEVIE

Dare to know. You’re on to something, Dude.

We go for the twofer.

JOHNNY

Sure, win the child and you own the parent.

And that’s the only path to saving Pearl’s property.

INT. EL CAMINO – MOVING – NIGHT Key Scene 3: Things start going well, until…

Johnny decelerates, switches off the headlights, turns, and does a slow roll through the gates and into the Bradford compound. They pull forward and stop behind the Range Rover.

JOHNNY

We’re in luck, Dude. Charlie’s here.

STEVIE

Two birds with one stone.

EXT. / INT. TREE – BRADFORD RESIDENCE – NIGHT

Stevie and Johnny wearing large colorful sombreros, stand on tree branches facing a second-story balcony.

Johnny tosses a rope over a branch, pulls it down, and ties it to his guitar strap. He pulls the rope, positioning the guitar at his waist, and hitches the rope to a branch,

Stevie hefts a handful of dried pinto beans and tosses them.

The beans chatter on the glass of the French doors.

He tosses another handful of beans.

Dawn appears wearing pajamas, squinting through a glass pane. She opens the door, and steps to the balcony.

Johnny strums his Guitar, searching for the right chord.

DAWN

Charlie, come see who’s here.

Charlie comes out in pajamas. The girls look at each other and giggle.

Johnny does a turn on his branch, wobbles clumsily, recovers his balance, takes the hanging guitar with a flourish, and strums.

STEVIE

(singing)

Ecstasy awaits you, darling ladies. Tarry not,

tonight’s the night. Pine, no more for carnal

pleasures, in our lust you’ll find delight.

DAWN

Oh, Yes. Sing to us… rhapsodize.

JOHNNY

We’re the downright, forthright, upright boys

that all girls dream about.

STEVIE

We’re the charming, handsome, skillful guys that

girls can’t do without.

JOHNNY

And we’re cute, got smarts and chemistry.

Stuff it takes to knock ‘em out.

STEVIE & JOHNNY

Rendezvous here in your garden

when the moon is shining bright.

Let it be our ecstatic journey.

Tarry not, tonight’s the night.

Johnny loses his balance and hits a sour note on his guitar. He attempts to recover but slips, knocking Stevie off the branch.

They fall.

Crashing through the leaves.

Bouncing off branches.

Landing SPLAT, in a flower bed.

Charlie and Dawn applaud and laugh as they look down at Johnny and Stevie sprawled out in the zinnias.

They look up at the hats and guitar left hanging in the tree.

DAWN

How adorable. They left mementos of

their visit.

INT. BANK – EXECUTIVE SUITE – DAY

Charlie and Dawn enter and hurry over to Bradford who sits at his desk.

DAWN

You sounded so upset on the phone, Daddy.

Is something wrong?

FLUSHING TOILET sound.

Gordon enters from the bathroom.

CHARLIE

Daddy! What are you doing here?

DAWN

What’s going on?

BRADFORD

Let’s sit on the couches, girls. Nothing

we can’t handle.

The girls go over and sit on one of the couches.

Bradford leaves his desk and joins by Gordon who has taken a seat on the couch opposite the girls. He leans forward.

GORDON

Girls, there’s something we need you to do.

BRADFORD

And mums the word. This is between the

four of us.

Bradford sits next to Gordon.

GORDON

Remember Miss Jackson…? The black lady

that used to babysit you in the stone house?

DAWN

Pearlie?

CHARLIE

Pearlie was our teacher, Daddy. Remember, she

had us reading when we were three?

DAWN

And she taught us how to grow tomatoes and do

long division.

CHARLIE

Is Pearlie in some kind of trouble?

BRADFORD

No, no. We’re working on a deal to buy her property…

so she can retire in style. We’re having trouble with a

couple of her tenants.

GORDON

A couple of feral boys from school. We need you to

distract ‘em.

The girls look at each other, confused.

DAWN

Which feral boys, Mister Gordon?

GORDON

Stephen Miller and John Grant.

CHARLIE

(To Bradford)

No, Daddy. We can’t be nice to them. They

hurt our feelings.

DAWN

And they can’t sing.

GORDON

What happened?

CHARLIE

They were mean to us.

BRADFORD

Well Honey, maybe you need to get back at

them.

DAWN

How could we ever be civil with those two again?

BRADFORD

A girl must have a few deception skills in her

bag of tricks, Dear.

GORDON

It’s an essential tool for the practice of revenge.

INT. NEWPORT BAY COLLEGE – STUDENT UNION – DAY

Johnny watches from the rear as Charlie closes her laptop and collects her books. Students watch as the COMPUTER SCIENCE NERD erases the blackboard.

COMPUTER SCIENCE NERD

You can use your password to access the tutorials

you’re enrolled in.

EXT. NEWPORT BAY COLLEGE – PARKING LOT – SAME

Johnny and Chuey follow the students and stand watching as Charlie makes for the Bentley.

Chuey runs to the Bentley and stands by the driver’s door indicating.

CHARLIE

(to Johnny)

Your dog’s in my way.

JOHNNY

Come, Chuey. Charlie nice girl.

Charlie moves to go around the puppy. Chuey moves to block. He barks and indicates.

JOHNNY (CONT’D)

Chuey.

Charlie reaches for the door handle. Chuey lunges, snarling.

JOHNNY (CONT’D)

He won’t bite.

Chuey runs to the back wheel, bites the valve stem, and pulls it out, deflating the tire.

JOHNNY (CONT’D)

Bad dog!

Chuey runs to the front wheel, bites the valve stem, and pulls it out, deflating the tire.

JOHNNY (CONT’D)

Chuey, you’re killing me!

LATER

Johnny, Chuey, and a perturbed and pouting Charlie stand in the empty lot watching as a TOW TRUCK GUY positions his rig in front of the Bentley.

He leaves his rig, goes to the Bentley, looks in at the driver’s side, and jumps back.

JOHNNY

(to Charley)

I’m so sorry this happened. He’s untrainable.

CHARLIE

If you can’t control that vicious animal you

need to put him down.

TOW TRUCK GUY

(to Charlie)

Miss, do you know there’s a rattlesnake in your

car?

INT. EL CAMINO – MOVING – NIGHT

Chuey sits between Johnny and Charlie. They look straight ahead grim-faced.

Charlie reaches and cautiously pets Chuey. She takes the puppy and places him in her lap.

CHARLIE

I need to stop at one of our rentals. I have

to set the alarm.

EXT. GORDON RENTAL HOUSE – NIGHT

The El Camino pulls into the driveway of an upscale residence. Using a controller, Charlie raises the garage door. Johnny and Charlie get out.

JOHNNY

Stay in the truck, Chuey. We’ll be right back.

Charlie ushers Johnny in through the garage. A shelf mounted one foot below the ceiling on three walls gets his attention.

JOHNNY (CONT’D)

What you got there?

CHARLIE

Mister Salvador, our tenant. He left in a hurry.

Charlie climbs a sliding library ladder and descends carrying a shallow wooden tray. She places it on a box.

JOHNNY

Looks like buttons

CHARLIE

Some sort of exotic Mexican fruit. Try one.

JOHNNY

Not me, thanks.

Charlie bites one of the buttons and chews. She’s just able to contain her disgust at the bitter taste.

CHARLIE

Oh, Johnny. Try one, taste good.

Johnny takes one, bites into it, and chews, grimacing. Charlie giggles.

JOHNNY

Delicious.

INT. GORDON RENTAL HOUSE – LIVINGROOM – NIGHT

Johnny sits looking mesmerized at a sheer window curtain stirring in the soft breeze.

Charlie dances around the room. She slips off her blouse and tosses it onto a lampshade, dimming the light. She drops her skirt, steps out, and kicks it aside.

JOHNNY

What’s that smell?

CHARLIE

Stephanotis.

JOHNNY

Who?

She takes his hand and leads him out to the

BACKYARD

around the swimming pool, past pool furniture, to a trellised vine covered with white flowers.

She picks a flower and hands it to him.

CHARLIE

Stephanotis.

She removes her bra and hangs it on the trellis. She steps out of her panties, goes to a lounge, reclines on it, and beckons.

JOHNNY

Are you hitting on me?

She spreads her arms wide, inviting him.

Johnny goes to her and stands looking down. His vision swirls.

A flower bud appears. It opens slowly, blushing with waves of color, about to reach full bloom.

He snaps out of it, lies on her, and looks into her face, more beautiful than ever, close in the pale moonlight.

Her face glows, dissolves, and reconfigures to a vacant white SKULL.

Johnny jumps up stunned. He steps back and stares wide-eyed in disbelief as Charlie’s SKELETON extracts itself from her body and resumes her dance.

CHARLIE’S SKELETON

(Andrews Sisters singing)

Oh, Johnny! Oh, Johnny! How you can love.

Oh, Johnny! Oh, Johnny! Heaven’s above. You

make my sad heart jump with joy.

She takes his hand and leads him to the pool, where they dance on the water.

CHARLIE’S SKELETON (CONT’D)

And when you’re near I just can’t… Sit still a

minute! I’m so Oh, Johnny! Oh, Johnny! Please

tell me dear. What makes me love you so?

You’re not handsome, it’s true. But when I look

at you… I just, Oh, Johnny! Oh, Johnny! Oh!

INT. GREYSTONE HOUSE – KITCHEN – DAY

Johnny and Chuey sit at the table. Johnny pushes Chuey’s bowl close to the edge and adjusts the puppy’s bib.

JOHNNY

Eat. You can start without us.

On the stove, a can of beans simmers on a full-up burner.

Stevie stands laughing as he serves out scrambled eggs on two plates. He turns the burner off, and with a pot holder, takes the hot can and serves out the beans.

JOHNNY

I’m telling you she was naked. I saw her

with my own two eyes. I think she even let me –

STEVIE

Watch your talk around C-H-U-E-Y, Dude.

Chuey looks up from his bowl.

STEVIE (CONT’D)

Let’s try to set a good example.

JOHNNY

As I was expounding, I believe intercourse

occurred —

STEVIE

She fed you peyote, Dude. You been punked.

He carries the plates over and places them on the table.

They dig into their breakfast.

JOHNNY

Musta been a peyote potion, cause I think

I’m in love!

EXT. BEACH – NIGHT

Stevie, Chuey, and Dawn walk near the surf. From her arm movements and body language it’s clear that she’s giving him a piece of her mind.

DAWN

You tell him to stay away from her.

STEVIE

You invite me to the beach to tell me that?

Chuey crosses in front of them and runs in the surf.

DAWN

Why don’t you keep that animal on a leash?

And you can tell him for me –

STEVIE

Ever wonder who you are when you’re

not hiding behind your tough persona?

She looks at him as if she’d caught him reading her soul, her eyes brimming.

He takes a tear with his fingers.

STEVIE (CONT’D)

I know… me too.

She falls into his arms. He holds her awkwardly, unsure of himself.

She pushes off, puts her arms around his neck, pulls him close, and looks into his eyes.

They kiss.

She pushes him away.

DAWN

I’m sorry Stevie, I’m so sorry… I invited you

here to tell you —

She sobs, struggling to control her emotions.

STEVIE

It’s okay, don’t cry. You can tell me.

She backs away slowly, gathering herself.

DAWN

Oh, Stevie. You’re not the one for me.

She bursts into tears, turns, and runs up the beach leaving Stevie and Chuey standing in the surf.

EXT. GREYSTONE HOUSE – BACKYARD – DAY Key Scene 4: Turning Point – The protagonist faces their lowest low.

Johnny and Stevie sit on lawn furniture, clutching half-full Mason jars and moping, as sunset turns to twilight.

Pearl arrives carrying a pitcher full of ice cubes and tea and fills their jars.

STEVIE

Nothing left to be done —

JOHNNY

Having screwed up everything royally.

PEARL

Don’t worry, boys. We’ve got carrots in the

ground and oranges to harvest come

November. We’ll get by.

STEVIE

I’m not sure you understand Miss Pearl.

The money’s gone. Nothing we can do to

stop the foreclosure.

Pearl hands Stevie the pitcher, lifts her apron, and wipes her teary eyes

PEARL

No one could ask for better sons. And don’t

you fret my lovely boys, the hero always

gets the girl.

She takes the pitcher and heads for the house.

The moping continues.

Chuey appears with a rolled-up newspaper in his mouth and goes to Johnny.

Johnny takes the paper, listlessly pets the puppy, and tosses the paper to the ground.

Chuey takes the paper in his mouth, goes to Stevie, and stands on his hind legs, wagging his tail.

Stevie pets the puppy, takes the newspaper, unrolls it, scans the first page, and opens the paper.

He pages through, eyes lingering on the various headlines before turning to the next.

Something grabs his attention. He sits up in his chair.

STEVIE

Check it out.

(reading)

The Pacific Classic is an American thoroughbred

horse race run annually on the second day of

September at the racetrack in Del Mar, California.

They look at the puppy.

JOHNNY

(to Chuey)

What’d you know about horses?

[Steve Jones]

Steve Jones completed act 3

What I learned in this assignment is that I have nowhere near the required page count to get to a 20% draft.

INT.VOR’S CLINIC/EARTH OFFICE – DAY/NIGHT

BEGINNING: Vor celebrates and contacts Keenan on Earth to check that the next delivery is on schedule.

MIDDLE: Keenan explains that it will be on the ship that is on it’s way to Earth when it returns to Mars.

END: Vor tells Keenan that he needs another job doing when the ship docks.

INT. VOR WORPLE’S CLINIC – DAY

Worple is at his desk. He calls Keenan who’s 3D image appears hovering above the teak surface.

Keenan is half asleep.

KEENAN

Yes?

WORPLE

Is the next shipment ready?

KEENAN

Yes, for the millionth time.

WORPLE

This is the last piece.

KEENAN

I know. It’s set. They’re ready to go when the shuttle returns.

WORPLE

Good. Keep it that way. No delays, no problems and no fucking stupidity. Understand?

KEENAN

Got it.

WORPLE

Belissimo, we’re celebrating.

KEENAN

Marvelous. I shall hoist the bunting.

Worple ignores the sarcasm.

WORPLE

You are about to have a visitor.

KEENAN

It’s the middle of the night. Why would anyone be visiting me in the…

WORPLE

Not right now, you berk!

KEENAN

Oh. When then?

WORPLE

Harry Koala and Carina Ellis are on the shuttle as we speak.

KEENAN

What? Why?

WORPLE

We beat them down. He’s run away and she’s given up the hunt. We have triumphed.

KEENAN

Great. So, I get the boss back do I?

WORPLE

I’m the boss.

KEENAN

You know what I mean. The boss here. In my face every day. I know you’re the real boss. But you’re up there.

WORPLE

Thank the saints.

KEENAN

Nice. So, what do you want me to do when they get here?

WORPLE

Good question. I have a few plans for Lieutenant Koala.

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