Lesson 21

[Chris Spizuoco]

Act 4 First Scene

INT. FRANK’S CAR – DAY
Post funeral Frank passes Ken’s house and SLAMS the BRAKES. Backs up into Ken’s driveway.
EXT./INT. KEN’S HOUSE
He knocks twice and opens the door…Dot lays quietly on the sofa.
INSIDE THE HOUSE
She is half sleeping. Frank points to an interior door and she waves him in.
INSIDE KEN’S OFFICE
The walls are adorned with images of all the great philosophers: Aristotle, Socrates, Plato, Nietzsche, Karl Marx, etc.
Interior space is that of a hoarder house with random piles of books and magazines on science, politics, social/cultural, and economics.
A corner space is dedicated to Transcendentalism with beautiful black and white photos of local nature. Frank picks up a copy of “The Maine Woods” that has sleeves of negatives bookmarking the pages.
INSIDE THE LIVING ROOM
Frank spots a machete and picks it up.
FRANK
(to Dot)
Do you mind?
She waves him on his way.
FARM HOUSE – DAY
Frank parks and exits with the machete and book; heads toward the open field.
EDGE OF THE FIELD
Cool autumn days have reduced the brush but thick overgrown alders encroach the field. Frank furiously HACKS away; pushing from field over a rock wall and into the woods.
INSIDE THE WOODS
He finds “the place”. A stump centers a towering white pine, massive sugar maple, and smaller old hickory tree. He sits and thumbs the book; holds up and examines the black and white negatives.

• This reply was modified 2 years, 5 months ago by  Chris Spizuoco.
• This reply was modified 2 years, 5 months ago by  Chris Spizuoco.
• This reply was modified 2 years, 5 months ago by  Chris Spizuoco.
• This reply was modified 2 years, 5 months ago by  Chris Spizuoco.

[Benita Cullingford]

INT. SHOP – DAY

MARTY’S STOCKROOM

Tracy is sitting at Marty’s desk. An untidy pile of paper

faces her. Tracy sighs. She picks up an account book,

stares into space for a while, and then opens the book

Ping from the doorbell as the door opens.

Tracy gets up and hurries into the shop.

Constable Stone, out of uniform, thrusts his warrant card

at her.

TRACY

Yeah, I know who you are. What do

you want? Marty’s gone. You know

that, so there’s nothing you can

pin on him now. Why don’t you

leave us alone?

CONSTABLRE SHORT

Yes, and George Godwin has gone

too. Probably a good thing that.

But the evidence was clear. I

don’t think he went there to kill

George Godwin –

TRACY

Marty couldn’t hurt a fly!

CONSTABLRE SHORT (CONTINUING)

But, I reckon he went there to

steal. Goodness knows what that

man has tucked away. What’s more I

think there’s a good chance

whatever he took from Godwin is

here in this shop.

Tracy frowns.

CONSTABLE SHORT

Whether you know it or not what

say we have a look?

TRACY

You have no right to do that. You

need a search warrant. I thought

you were no more than a low level

guard dog. This isn’t even your

patch. I want you to leave. Get

out!

Constable Stone turned with a sneer on his face. He

reversed the door sign to CLOSED and clicked the door

lock.

Tracy retreated behind the counter.

CONSTABLE STONE

You don’t want to hinder a police

enquiry, now do you?

TRACY

I certainly want to hinder you.

Get out, I’m sure you need a

warrant to search somewhere.

Constable Stone raises the hatch in the counter. Tracy

steps sideways to block him.

Without warning, Constable Stone raises his hand and slaps

Tracy hard across the face.

Tracy gasps and stumbles back putting a hand to her left

cheek.

Stone ignores her and pushes past her into the stock

room.

CONSTABLE SHORT

Maybe you know where he hid his

stuff.

Trace quickly slips her phone out. Fingers moving

rapidly, she texts Jim.

HELP.

STOCK ROOM

Constable Stone is looking around. He sees-

KEYS hanging from hooks behind Marty’s desk. One key has

a label marked LOCK UP.

Tracy has followed him in.

TRACY

This is just you, isn’t it? It’s

nothing to do with the police –

what would that inspector of yours

make of what you’re doing here?

Stone pulls open the desk drawers one by one, each is

stuffed with paper and pieces of the trade: keys,

padlocks etc.

Stone turns towards Tracy, menacingly.

CONSTABLE SHORT

Where’s the safe?

TRACY

There’s no safe here. People tend

not to try and rob locksmiths.

Have you seen the lock on the

door? It’s state of the art.

Stone takes a step towards her.

CONSTABLE SHORT

I don’t believe you. I…

A loud pounding on the shop door. Pounding continues.

Constable Stone and Tracy stand unmoving, staring at each

other.

TRACY

You going on with this in front of

witnesses. Lots of witnesses?

SHOP

Tracy pushes past him and hurries towards the shop door.

Constable Stone follows.

Jim and a group of stallholders stand looking in.

Tracy unlocks the door.

Constable Stone steps outside holding up his warrant

card.

CONSTABLE SHORT

Police business. Nothing to see

here.

Jim enters the shop. Tracy and Jim hug each other. Jim

runs a finger down Tray’s reddened cheek.

JIM

Are you okay? What happened?

Did he hit you?

Tracy turns towards the door.

TRACY

Lets get out of here and I’ll tell

you all about it.

37.

INT. CAFE – DAY

Tracy and Jim sit at a table with mugs of tea and a kit

kat each. Tracy holds a cloth wrapping a number of ice

cubes to her left cheek.

JIM

So, he’s after Marty’s ill-gotten

gains and it’s him doing it and

not any sort of police

investigation. Right? How’s your

face feeling?

Tracy lowers the cloth.

TRACY

Getting better, I think, but it

bloody well stung. What a bastard.

JIM

I’m sure it did and we need to

report him. And take a photo

before it fades.

Tracy raises the ice pack again.

TRACY

No, listen, it would just open up a

whole area of police interest. And

what if there was stuff hidden

somewhere? It’s the last thing

Mary would want, too, worst of all

now she’s grieving.

JIM

Alright, we’ll say nothing. But if

Constable what’s his name comes

back, I’m not having you in any

danger – promise me you’ll think

again. Yes?

Tracy nods.

JIM

How about we go and watch a film

this evening? Forget about bent

cops?

Tracy removes her cloth and smiles.

[Douglas Booth]

Doug Booth – again, pretty rough, but I’m still heading for FADE OUT (at which point I’ll review everything and do my best to whip it all into shape)!

FOR BEGINNING OF ACT FOUR
IN THE BASEMENT OF THE MANSION

we see the 2 ghostly figures – Caspar and Alice – looking over Carl and Nick, both still unconscious. Note: they won’t be tied up, because that could look suspicious, if their bodies are found and they are tied up – won’t look like an accident. Not sure if Scott needs to be in there, to be a “credible witness” to the accident – “tried to save them”, etc – but couldn’t. Hmmm, Have to see!

NOTE: THERE IS A LOT TO WORK OUT HERE – INCLUDING THE WHOLE SETUP FOR THE FINAL WALK-THROUGH – HOW NICK AND CARL GET JUMPED, IS SCOTT THERE – A LOT MORE OF THE OVERALL PLAN – TO BLOW UP THE MANSION AND HAVE THAT, APPARENTLY, TRIGGER “ACCIDENTAL BLASTS” AT THE CHURCH AND THE HDFC – SO THE ENTIRE BLOCK IS DESTROYED AND, OF COURSE, NICK AND CARL ARE KILLED IN THE EXPLOSION, AS WELL.

5.

I SUSPECT SCOTT WILL, IN FACT, PLAY A LARGE ROLE IN ALL THIS – AND, OF COURSE, HE WILL HAVE TO GET HIS COMEUPPANCE THROUGH A NEAT FORM OF POETIC JUSTICE. SO… AS THE TWO GUYS ARE LYING, UNCONSCIOUS, IN THE BASEMENT, WITH THE EXPLOSIONS ALL CREDIBLY SET UP AND EVERYTHING WORKING LIKE CLOCKWORK!

CASPAR
Check out the valiant heroes!

ALICE
Hey, one of them is your grandson!

CASPAR
Oh dear. The ones we’ve entrusted

to save the neighborhood? He looks at Alice.

CASPAR (CONT’D) Remind me who was his father?

ALICE
Oh, Daddy! You really liked Edgar!

Caspar shakes his head.

CASPAR
Edgar. How could I forget!

ALICE
Quiet yourself, poppa! You know

both of their hearts are good – and, as far as their intentions – well, you know that my Carl’s are 100% pure!

CASPAR
Yes, but allowing themselves to be

suckered into such an obvious trap?

ALICE
Poppa – remember, you – apart from

being a philanthropist and a neighborhood hero – were also an out and out criminal! You had very well developed instincts!

CASPAR
True. But I was sure that other

one, Nick – he seemed to show some pretty good promise in that direction… though I know you spoiled Carl so the only things he learned were in books…

(MORE)

6.

CASPAR (CONT’D) but, seriously! Allowing

themselves to be…

ALICE
As I recall – YOU were one

kidnapped for 5 days… and laid low for the next three years after your “miraculous escape”!

CASPAR
Hey – that was Dutch Schultz’s mob –

they had serious skills. But then again, so did I. Lucky for you, because otherwise, you would never have been born!

ALICE
You know I love you, Poppa!

CASPAR
As do I, sweetheart – to infinity

and beyond! She gives him a look.

CASPAR (CONT’D)
You know I like to keep up with

what the new folks are doing down here…(if we needed to establish that he knows contemporary stuff, to finish up the story)

He looks down towards a corner in the basement.

CASPAR (CONT’D) Hey, you. Over there!

A rat poking around in the basement looks up. “Me”?

CASPAR (CONT’D)
Yes, you! Go wake that big stupid-

looking one up!

The rat looks from one to the other, not able to figure out which one is meant.

CASPAR (CONT’D)
I get it. Take your choice!

The rat gives Nick’s ear a gentle nibble. He stirs, moves, then sits up fast – and the rat, who had still been hanging on, is tossed away…

7.

And when he lands, he turns back to Caspar, CHITTERING his outrage!

CASPAR (CONT’D) Sorry, little fellah. I owe you

big time!

The rat recovers its composure and does a little “namaste” type bow and nod – and then skitters away.

As Nick rouses Carl.

NICK
Wake up, Carl! C’mon. We’re in

maximum trouble!
Carl does come back to consciousness.

CARL W-what happened?

NICK We got jumped…

(sees the flashing, beeping device set up in the basement)

What the hell is this?
Carl reacts – picks up a heavy brick…

CARL
No idea – but whatever it is – not

in my house!!!

He smashes the brick down and the device is pulverized and dies.

NICK
Whoa! That is so much cooler

than… “is it the red wire or the blue wire… holy shit, we’re gonna die”…

(laughing with nervous relief)

CARL
Yeah – luckily in the case,

neighborhood rules applied! CASPAR AND ALICE

barely visible, exchange looks. Alice beams and Caspar nods.

8.

CASPAR
I guess he takes after his Grandpop

after all!

AS SOMEONE FROM THE CHURCH CONGREGATION with whom Nick had made a previous contact (Riley?) sends a text to Nick’s phone. (PS dumb those guys didn’t take their phones. Is there a reason why Nick would have put his down inside his underwear, because he was afraid of something like that? Don’t know.

At any rate, Nick looks at his phone – reads:

NICK
It’s from Riley, Jenice’s son.

(reading text)
Hey, Nick! We just got an alert to clear the building! What do you think is going on? My mom’s not home and I can’t reach her.

Nick and Carl exchange looks.

NICK (CONT’D) (texting back)

On our way!

EXT. HOLSTEIN WAY

The guys leave the mansion and run past the church towards the HDFC.

(Is someone watching them from a car, across the street? Gets on the phone)

EXT. HDFC

Meanwhile, everyone is filing out, with firemen helping keep order… as Nick and Carl rush in, going in the opposite direction.

FIREMAN
You can’t go in! We’re clearing

the building!

NICK
I got a text from a disabled kid

who lives inside. He needs help getting out!

The fireman steps aside and Nick and Carl head in.

9.

INT. BUILDING

They see Riley, in his wheelchair, coming down the stairs, carried by a couple of his larger male neighbors! Tired but diligently making sure to give him a smooth ride!

RILEY
Hey, Nick! You didn’t have to come

– we’re all family here!

NICK
I know! I just used you as an

excuse to get in. How do I get to the basement?

One of the neighbors points to another staircase doorway.

NEIGHBOR
Over there. But we’re supposed to

be clearing the building… not messing around down by the boiler! If that sucker explodes…

NICK Exactly! Thanks!

He dashes off. Carl hesitates, then follows,

CARL
Hey, I’m coming too!

INT. BASEMENT

The two of them clamber down the basement stairs as fast as they can,

They find the boiler room – walled off from the rest of the basement. They open the door…

And when the lights come on, there is the natural gas-fired boiler – looking as big as an antique submarine. Yeah – if that thing blows…

CARL Where…? Where…?

And there it is, off in the far corner, snuggled up against gas intake line to the boiler,

Not dissimilar to the one at Carl’s house. The digital read- out is ticking down…

No bricks or anything to use…

10.

Nick pick it up with both hands – it weights about 40 and SMASHES it agsinst the boiler, And again.

CARL (CONT’D) Let me try.

Lifting it high over his head, he brings it down in a monumental smash – and, with sparks and light flashes device dies..,

NICK
Yeah. Way better than “red wire,

blue wire”…

Just as… there’s a HUGE EXPLOSION OS and the entire basement shakes…

EXT. BUILDING

Out on the street, everyone is rushing away from the explosion – as Nick and Carl burst outside, to see…

11. lbs –

– the

The entire church crumple and collapse with earth-shaking impact and a deafening roar. (ps looks like I lost my “save the cat” reference back with going to get Riley – unless Nick wanted to say that and Carl says “that’s stupid – tell ‘em you need to save the kid!”)

Then, Nick checks his phone…

NICK (reading text)

Shania’s in trouble.
Carl shrugs. He’s in it for the duration.

CARL You know where?

NICK Her place.

Not sure why it’s there and not where they were before? Hmmm.

CARL Let’s go.

CUT TO:

[michelle patnett]

INT. HOME – DAYTIME

Monique watches Mr. Miller as he sleeps. He draws a few, ragged breathes, then appears to stop breathing. Monique closes her eyes and turns away.

INT. HOME – NIGHTTIME

Monique in the kitchen, doing the dishes. Mr. Miller’s two children bicker in the background, arguing about who gets what.

MARGARET

The china is mine. And the furniture. You took the stamp collection, and that’s worth a whole lot more than this other junk.

BOB

Hey, I got here first. Not my fault you refused to come when I called you.

MARGARET

No, you took what you wanted, THEN called me.

BOB

Hey, early bird and all that.

MARGARET

And you – what’s your name again – make sure the kitchen is all packed up. We’re still paying you for the rest of the week.

Monique stares through the window and slowly wipes a plate.

INT. HOME – DAYTIME

Monique in the middle of packing boxes. Phone rings.

MARK (on the phone)

Hey, it’s me. Can you talk?

Monique tiptoes to a bedroom and closes the door.

MARK

We have a court date.

MONIQUE

What? How?

Close-up of Monique pressing the receiver to her ear, tears rolling down her face.

• This reply was modified 2 years, 3 months ago by  michelle patnett.