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Lesson 21
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11 Replies
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Megan’s Act 4 First Scenes
What I learned doing this assignment is…adding a dilemma is crucial to the emotional impact of the climax. It can’t be an easy decision for the protagonist to face the antagonist. Something must be at stake. Something must be worth fighting for.
(Forgive the on-the-nose dialogue. 20% first draft)
INT. JAIL HOLDING CELL — DAY
Anna sits on the bench, her head resting in her hands. There is a metallic clang. Anna looks up. David stands outside the cell door, beside a FEMALE POLICE OFFICER.
DAVID
Anna.
ANNA
David!
Anna jumps to her feet and rushes to the door, placing her hands on the bars. David laces his fingers through hers.
POLICE OFFICER
You have ten minutes.
The officer leaves, the heavy metal door clanging shut behind him. David appears at a loss for words.
DAVID
What . . . How . . . Anna, what has been going on?? What have you gotten yourself into?!
ANNA
It’s a long story.
DAVID
Then give me the short version!
Now Anna appears at a loss for words. Finally, she blurts out
ANNA
I’m pregnant.
David’s face shifts from angry confusion to surprise and finally softens into amazement.
DAVID
Pregnant! Since when?! I mean, how long have you known? And why didn’t you tell me??
ANNA
It’s a boy.
DAVID
A boy! Anna, this is great news! I can’t believe you were keeping this big of a secret from me! But . . . what does it have to do with this terrorist group? How are your dad and Evan involved? How did YOU get involved??
Anna’s attempted distraction has failed. The last thing she wants to do is get David and Luke involved.
ANNA
Luke. Who’s watching Luke??
DAVID
Anna! Stop changing the subject! Why won’t you answer the question?!
Anna tightens her grip on David’s hands. She stares hard into his eyes, her voice barely a whisper.
ANNA
Not. Here. It isn’t safe.
She loosens her grasp. Louder, she repeats
ANNA
Who’s watching Luke?
David’s face has grown pale, a wash of fear and confusion.
DAVID
I asked Hunter next door to watch him for a few hours.
ANNA
Hunter already has his hands full with four girls, don’t you think? You should have called your parents.
DAVID
I wasn’t sure what was going on. I didn’t know how long I would be.
David’s eyes shift, searching for invisible cameras. He lowers his voice.
DAVID
Do I need to get you a lawyer?
Anna nods.
ANNA
And call your parents.
The outer door suddenly opens. The female police officer is back.
POLICE OFFICER
Time’s up.
DAVID
Has it been ten minutes already??
POLICE OFFICER
No. But we’ve since received orders to transfer her to the hospital for a checkup. Apparently, she’s pregnant.
DAVID
Yes. Yes, she is. Thank you. That’s really good of you.
POLICE OFFICER
Don’t thank me. Thank the Matriarchy. You’ll have to leave now.
DAVID
Oh. Sure. Of course.
David turns back to Anna.
DAVID
Honey, don’t worry about a thing. I’ll take care of it. All of it.
ANNA
I love you.
DAVID
Love you more.
The officer escorts David to the outer door and closes it behind him. She then returns, opens the cell door, and handcuffs Anna.
POLICE OFFICER
A pregnant woman wrapped up in an assassination attempt. Girl, what were you thinking??
Anna seems to be thinking aloud.
ANNA
What was I thinking?
As the officer leads her out of the cell to the outer door, Anna comes to a sudden stop with the realization.
ANNA
I was thinking that some things are worth fighting for.
The officer shakes her head skeptically as she jerks the outer door open.
POLICE OFFICER
Hope it was worth it.
INT. POLICE PRECINCT — DAY
The female officer is leading Anna down the hall when an emergency call comes in on her handheld radio.
EMERGENCY OPERATOR
Attention. Immediate officer presence requested at 1411 Hanover. Suspicion of narcotics and other illegal substances. Assume perpetrators are armed and dangerous.
POLICE OFFICER
Now?! You have got to be kidding me. It’s barely past noon! Aren’t all those druggies supposed to still be sleeping?
The female police officer glances around the precinct until her eyes fall on a YOUNG MALE BEAT COP, who is working on a report at his desk. She takes in his name tag: Officer Gallo.
POLICE OFFICER
Gallo!
Officer Gallo looks up quickly, as though he’s been caught doing something wrong.
GALLO
Yes?
POLICE OFFICER
New assignment. I need you to escort this young lady here to the hospital for a physical. You think you can handle that?
Officer Gallo leaps to his feet and takes Anna’s arm.
GALLO
Of course. On it! You can count on me.
POLICE OFFICER
I doubt it.
Without a backward glance, the police officer walks away, grabbing her walkie.
POLICE OFFICER
This is Officer Margo Hundt. On route to 1411 Hanover.
Gallo scoffs aloud.
GALLO
I miss all the action. Come on.
Gallo leads Anna out the front door of the precinct.
INT. POLICE CAR — DAY
Anna and Gallo sit at a standstill in the middle of traffic en route to the hospital. Gallo glances out the window at all the news cars and vans.
GALLO
What a circus. Her Majesty Madam Dictator gets a flesh wound and the entire world feels the need to report it.
ANNA
You don’t sound like you care for the president very much.
GALLO
Yeah, well, I guess I should do a better job covering that up. But I didn’t think I’d need to worry about that around you.
Gallo smiles at Anna in the rear view mirror. Anna relaxes somewhat. A call suddenly screeches through the radio. It’s Officer Hundt.
MARGO (O.S.)
Gallo? Come in, Gallo. Do you copy?
Gallo picks up the radio receiver.
GALLO
This is Gallo.
Margo
Gallo, I haven’t received confirmation yet that the suspect has been safely transferred. Where are you?!
GALLO
We’re still en route. Stuck in traffic. It’s a zoo down here.
MARGO
Well, turn on your lights and get her down there. Immediately. This is a high profile case.
GALLO
Copy.
Gallo hangs up the receiver. He scoffs under his breath.
GALLO
If it’s so high profile, why didn’t you take it?
He drums his fingers on the steering wheel but does not turn on his lights. He glances back at Anna again through the rear view mirror.
GALLO
It’s too bad you missed.
Gallo flips his lights on and the police car begins moving again.
INT. WALTER REED HOSPITAL LOBBY — DAY
Gallo fights through the media at the front door of the hospital and escorts Anna to the front desk. Seeing a uniformed officer and a woman in handcuffs, the NURSE jumps up.
GALLO
Good afternoon. I’ve got an Anna Fitzpatrick here for a prenatal checkup.
NURSE
Of course. We’ve been expecting her. Thank you. I can take her from here.
GALLO
Sorry, ma’am, but that’s a no can do. This woman here is a suspect in the assassination attempt and must therefore remain in police custody. I’m sure you understand.
The Nurse glances nervously at Anna.
NURSE
Oh. I see. Well, I’ve been told to take her directly to the third floor. Operating room 2.
GALLO
Operating room? For a prenatal checkup?
The Nurse shrugs.
NURSE
I just do what I’m told.
Gallo replies under his breath, only loud enough for Anna to hear.
GALLO
Of course you do. Lemming.
(Louder)
I’ll get her to the third floor.
The Nurse looks relieved.
NURSE
Okay. Thank you, Officer—?
GALLO
Hundt. Call me Hundt.
NURSE
Right.
Gallo leads Anna down the hallway toward a bank of elevators.
ANNA
Ummm, am I allowed to ask what’s going on?
GALLO
I don’t know what you’re talking about.
ANNA
Why didn’t you give her your real name?
Just before reaching the elevators, Gallo pulls Anna through a door leading to the stairs so suddenly, she doesn’t even have time to cry out.
INT. WALTER REED HOSPITAL STAIRWELL — DAY
A large MAN lurks in the stairwell, the same one who watched Anna leave the high school basketball game the other night.
He steps out of the shadows and Anna instantly recognizes the strong jawline and perfectly groomed head of hair.
Anna
You! You’re, you’re Edward Harris! The . . .
Edward
Go ahead. You can say it.
ANNA
The President’s husband!
Edward smiles sardonically.
EDWARD
I prefer the title “First Man.”
ANNA
First Man?! As in—?
Edward turns to Gallo.
EDWARD
I think you’re okay to release her now.
GALLO
You got it, Boss.
Gallo pulls the handcuff key from his pocket. He whispers to Anna as he unlocks the handcuffs.
GALLO
Eli says hi.
Rubbing her wrists, Anna turns to face Edward in confusion.
ANNA
I don’t understand. What’s going on? Do you have something to do with First Man?
EDWARD
Anna, I am First Man. Your father was only the front man.
Edward crosses to Anna and places a concerned hand on her shoulder.
EDWARD
I want you to know that I’m truly sorry about what’s happened to your brother. And your father. Believe me, we’re doing everything we can to find him.
ANNA
Why am I here?
EDWARD
I think you know why the Matriarchy sent you here. But I have another reason. Anna, what would you say to avenging your brother’s death? To finishing what he started?
Anna pales and looks from Edward to Gallo and back.
ANNA
You want me to assassinate the President?? Here? Now?!
EDWARD
The President is receiving treatment for her injuries in Ward 71. It’s completely locked down but of course, I can get you in.
ANNA
I can’t assassinate the President! I can’t!
Edward
No one ever wants to be the one to wield the sword of justice. But without the willingness to do battle, the innocent will continue to suffer.
ANNA
But I’m not a killer!
EDWARD
You don’t have to be. I only need you to be brave enough to fight.
GALLO
Think of your family, Anna. Aren’t some things worth fighting for?
Anna unconsciously puts a protective hand on her belly.
ANNA
Yes. Yes, there are.
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Rita’s Act 4 First Scenes
What I learned:
I am really just blasting through scenes at 20% (like Megan, asking forgiveness for my dumb dialog!) Dilemma is in these scenes but I’m sure it can be massively elevated and definitely finessed. I already see another thread to tie up as the hospital scene takes shape.
PREVIOUS SCENE: Zak has just been taken in an ambulance after falling off a ladder.
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EXT. SMITH HOUSE – DAY
Dawn gazes sorrowfully in the direction of the fading siren.
DAWN
Wait!
The crew pulls a “Red Light” and freeze in place.
Dawn paces in front her troops, more animated with each pass.
DAWN
I might be slow and maybe a little stupid.
Sideways glances, “she’s admitting it?”
DAWN
But I’m not a complete moron. I plucked you at random from a parking lot, for God’s sake! I could see something in each of you. And I’ve watched you learn, work hard, become friends…
Super-dork smiles, puts an arm Crater’s tattooed neck and Billy’s muscles, almost. Her glare makes him think better.
Crater shrugs Harold off and takes a step away.
DAWN
… And dare I say, you’ve become an actual, efficient team. Look at what you’ve accomplished here!
They all scan the nearly finished paint job. Pride all around.
HAROLD
If I may.
CRATER
Don’t ruin it dumbass.
HAROLD
None of this would have happened without you, Blue Dawn.
The realization lands. Dawn’s eyes well up with tears. The crew nods, they must concur with Super-dork’s logic.
Dawn sniffs and toughens up. Goes full drill-sergeant.
DAWN
Did Boss Boy show you what needs to be done?
Crater gets it.
CRATER
Sir, yes sir!
DAWN
Are you ready to step up, grow up and make this happen?
They all stand at attention.
ALL
Sir, yes sir.
DAWN
Are you still parking lot losers?
(she softens)
Sorry, I just go lost in–
ALL
Sir, no sir!
DAWN
Let’s do this, then! Finish this for Boss Boy!
ALL
Ma’am, yes Ma’am!
They huddle up.
DAWN
One, two three…
ALL
Blue Dawn!
Big Todd takes the lead, drops the comedy routine. He claps.
BIG TODD
Okay, kids. We’ve got a deadline. Let’s get ‘er done.
They scatter like productive worker ants on a mission to each unfinished part of the house.
Dawn arms herself with a weeny roller.
DAWN
(to Big Todd)
Where do you want me?
BIG TODD
You’re the captain. Go tend to your fallen soldier.
DAWN
But… Tom is there.
BIG TODD
(with a look)
Yes, he is.
DAWN
He doesn’t get to tell me what to do!
BIG TODD
Correct.
He reaches for the roller. She relinquishes the tool. Her walk toward the van picks up to a full out run.
She turns around.
DAWN
Hey, I need a rid to my car.
INT. HOSPITAL ROOM – DAY
Tom sits next to Zak’s bed while he sleeps. His leg is in a cast and elevated. Multiple bruises on his face and arms.
Dawn stops at the door, taking it in. He looks bad.
Tom rushes quietly toward her. Easily muscles her out the door.
TOM
The boy doesn’t need any more drama.
DAWN
He’s a young man and… he’s my young man so stand aside please.
Tom’s stationary bulk blocks her.
She steps to the right, he does too. Then left.
DAWN
Really?
Zak moans.
MOM
Tommy, let her through.
Mom has been watching from the hall. She pulls Tom away.
Dawn goes in and takes Zak’s hand.
DAWN
Zakky, we’re going to get through this. The guys are finishing up at Smith’s. I think the Smith’s are finishing up well.We’ve really shaken things up, come to think of it.
Zak twitches.
Chuck Abernathy stomps in, not at all a soothing presence.
CHUCK
If I was running this, you’d be facing charges by now.
Tom’s back.
TOM
But you’re not running the company anymore.
Mom follows. The room is getting full.
MOM
It’s time to let go, Chuck. And come clean.
Zak shifts in the bed, disturbed. Moans louder.
DAWN
Do you mind? Take it outside.
CHUCK
You need to get Abernathy Builders away from this mess.
(points an accusation)
And her!
TOM
You’re not calling the shots anymore.
MOM
It’s about time.
Zak’s eyelids flutter.
DAWN
Zak, it’s me, Dawn.
ZAK
Make them stop.
She looks at the feuding family, “He means you!”
CHUCK
Consider yourself lucky, kid. A woman can bust up a lot more than a few bones.
MOM
Who busts what? I think you might need to check into dementia care for your dad, Tommy.
TOM
Stop calling me Tommy.
ZAK
(to Dawn)
Will you help me over to the window? How high are we?
DAWN
I think you need to stay in bed… oh my god, did you fall on purpose?
This finally shuts everybody up.
Zak’s eyes are closed again. He rambles.
ZAK
Why won’t they stop? He just keeps pushing and criticizing.
They all look at Chuck.
Chuck waves his hand, through with the lot of them.
CHUCK
Suit yourself. See you in bankruptcy.
More mumbles among the bruises.
ZAK
And she just keeps taking it.
Mom sits down.
MOM
I did. Not anymore, though.
Tom eyes the door where his dad left. Looks at his mom. Then at Dawn.
TOM
I don’t know what kind of witchcraft you have going on but this is messed up!
Mom and Dawn both shush him.
Exasperated, he pulls a Chuck and leaves, avoiding conflict.
DAWN
It’s okay now. Everybody’s gone. No more diving off of ladders okay?
Zak, opens one eye in full consciousness. Half smiles. The other half is too swollen.
ZAK
Ouch.
DAWN
You did that on purpose?
ZAK
He’ll get it sooner or later.
MOM
Are you talking to me or Dawn?
Both women lean in, like pilgrims to a wise guru but Zak dozes off again.
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Chris Dorsey’s Act 4 First Scenes
What I learned doing this assignment is to look at the beat sheet and look for potential character dilemmas.
Reaction to 3rd Act Turning Point:
INT. MEDICAL UNIT – DAY
Individual Plexiglas cells. Wilbert is strapped down on a gurney. He looks at the restraints, perplexed.
Another inmate, a few feet away, is also strapped down to a gurney. This inmate is wearing a helmet, canvass mitts, and a mesh spit guard. He’s calm.
WILBERT
So, what are you in here for?
The other inmate struggles to get out of his restraints. He bangs the back of his helmet-covered head on the gurney. MUFFLED SHOUTING.
WILBERT
Ohh, sorry.
Nurses rush into the room. The hold him down and inject him in the buttocks. Within seconds he calms down.
NURSE 1
I wonder what set him off?
NURSE 2
Who knows?
NURSE 1
How are you doing today, Wilbert?
WILBERT
I don’t know. What happened to me?
NURSE 1
You lit your mattress on fir and jumped off
WILBERT
I think I remember a bouncy castle.
NURSE 1
Are you still hearing voices and seeing things?
WILBERT
No, I feel better. Much better. The voices stopped.
NURSE 1
I want to take a look at you blister pack.
Nurse 1 takes Wilbert’s blister back out of a cabinet. Three sheets of medications are secured with a rubber band. She studies each blister pack.
NURSE 1
This is strange. This doesn’t look like any of the medications you’re supposed to be prescribed. This is Aspirin, this is a multi-vitamin, and this is for bed-wetting. But these blister packs have your name on it. I don’t understand.
WILBERT
Someone switched them. My medications for someone else’s.
NURSE 1
But why would someone do that?
Wilbert doesn’t answer. He’s fuming. He’s going to get even.
NURSE 1
I’m going to look into it. It’s very concerning. But the good news is you’re free to go back to the dorm this afternoon.
PLACEHOLDER: Wilbert puts the Antagonist in front of everyone. “My parents always said I should be nice to people, no matter what.”
Dilemma Scene acted to Act 3:
INT. LAW LIBRARY – DAY
PRO BONO attorney meets with Wilbert.
ATTORNEY
I’ve been looking into you case and I found a possible way to win you your freedom.
WILBERT
That’s amazing. What did you find?
ATTORNEY
The woman you ran over with your car, she’s a scam artist. She’s been throwing herself in front of cars for year and accepting the insurance payouts.
WILBERT
But how are we going to prove that? They also convicted me on destruction of private property.
ATTORNEY
But you court-assigned lawyer didn’t advocate for you well enough. It was your first psychotic break?
WILBERT
Yes.
ATTORNEY
And then they took you to the psychiatric hospital and you became violent. The court found you guilty but mentally ill.
WILBERT
I was guilty but mentally-ill. But I’m still doing the same time as if I was just found guilty. It doesn’t make sense at all.
ATTORNEY
Yes, I know, and I want to fight that. But in your case, I found a sympathetic judge who is willing to overturn your conviction based on your underling mental health condition and the fact that the woman you hit purposely caused her own injuries.
WILBERT
But she broke both of her legs. I need to be punished for that.
ATTORNEY
You don’t. You need to start looking out for yourself instead of others, especially the one’s who don’t care a bit about you.
WILBERT
I’ll try.
ATTORNEY
There’s one more thing. There’s a good chance I could have you out in a couple of months, but you have to keep your mouth shut. You have to stay out of trouble and stop advocating for other inmates in your dorm.
WILBERT
But they need me.
ATTORNEY
If the prison finds out what I’m up to with your case, they might find a way to put extra charges on you and send you away to another prison for the next twenty years. They’re going to do everything they can to prevent you from exposing the poor mental health treatment inmates are receiving here.
Wilbert considers, torn.
INT. CELLBLOCK – DAY
Wilbert enters the dorm to see the Antagonist and his friends picking on Pinky.
ANTAGONIST
You’re going to give me all your store goods or else.
PINKY
(softly)
No.
ANTAGONIST
What the fuck did you just say to me?!
PINKY
I said “no”!
ANTAGONIST
Wrong answer, Pinky.
The Antagonist puts Pinky into a headlock.
ANTAGONIST
Give me your store good!
PINKY
No, you thieving bastard!
The Antagonist gives Pinky a good, hard kick to the ass while keeping him in the headlock.
ANTAGONIST
Give it up!
PINKY
I ain’t doing this anymore! It’s not fair!
ANTAGONIST
You want fair?
The Antagonist give Pinky another kick to the ass. This time it’s harder.
PINKY
You’re going to kick me to death because I ain’t giving you any more of my store goods.
ANTAGONIST
Have it your way.
The Antagonist winds up to give Pinky another kick.
WILBERT
Stop! Take your hands off Pinky.
ANTAGONIST
Or what?
WILBERT
Or else I’ll kill you myself.
The Antagonist lets go of Pinky. Pinky walks over to WIlbert and stands next to him.
ANTAGONIST
Lets do this thing.
WILBERT
We’ll do this thing, but I have something I want to say to everyone first.
PLACEHOLDER: Insert the final showdown.
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LESSON TWENTY- ONE
Kevin’s Act 4 First Scenes
What I learned from this assignment is that the buildup to the climax needs more set up.
INT. WAYNE CORPORATE HEADQUARTERS – DAY
Batman sits atop Wayne Corporate headquarters and looks around him as smouldering buildings and chaos hits the streets. He stares blankly at a cell phone feed.
JOKER
As once again the Batman fails you and doesn’t stop the carnage. This time your precious police force is reduced to rubble! The Lords of Gotham have ceased to be and left it all to you! Go get it, Armageddon is upon us! Chaos reigns! Chaos Reigns! Chaos Reins!
The figure on the screen glitches over and over repeating the last phrase. Batman just stares. The doors atop the roof open and Robin bursts forth with Ali.
ROBIN
There you are. Predictable, but not easy to find. What happened?
Batman stares off in the distance. Ali walks up.
ALI
Robin, pause.
Robin stops where he is and shuts down.
ALI
Uncle Bruce. I’m sorry. Empathy is hard to teach.
Batman lowers his head and drops the phone.
BATMAN
I couldn’t kill him.
ALI
It’s all right.
BATMAN
Really? Look around you. It’s clearly not all right. He just wanted to die. He wanted me to kill him. The gun was right there. I couldn’t do it, now this.
Batman looks at Ali. Then removes his mask. Realization crosses his face.
BRUCE
You’re alive.
ALI
Yes we all are.
BRUCE
How?
ALI
Robin sent a message. To everyone who was to attend the Opera, everyone working the event.
She brings up a text and shows Bruce.
ALI
Bomb threat. Stay away. Leave at once. We’re all safe. No one was there.
BRUCE
How did he know?
ALI
He said something about paper. A game you played. Robin?
Robin walks up to them.
ROBIN
Defeating the bombs was too easy. Given the previous plans, it was a fair deduction the target wasn’t the stated target and that many influential people in one place seemed too tempting a target.
BRUCE
What about the precincts?
ROBIN
Unfortunately that wasn’t as simple a fix. Fortunately though, most of the officers were either on their way to Joker’s lair or on patrol, so loss of life was significant, but not catastrophic.
BRUCE
But the news
ROBIN
Interesting thing about news nowadays. They tend to report other reports and everyone needs to be first. Sadly the first reports were that everyone at the opera perished in an inferno that disintegrated the bodies. All were lost.
ALI
I wonder where that report came from?
ROBIN
I doubt we’ll ever find out, but the guests and workers are all locked down and out of sight for now, giving you a window to lay a trap for Joker that he can’t resist.
ALI
But you need to get off your ass and back to the lab. The jet is ready to go.
She grabs Bruce’s hand and pulls him up. They follow the curve of the building as the Batjet comes into view.
INT. WAYNE MANOR – DAY
Screens with every social media platform play around the room as Robin and Bruce are at different stations in the lab.
BRUCE
Assuming I am able to lure him to an isolated location, and not the other way around, what then?
ROBIN
I’m working on a gas that’s undetectable and will render him immobile, but you will need to have your rebreather in place before you can use it, or you will both succumb to the toxin.
BRUCE
Excellent.
The lab door opens and Ali emerges with Gordon in tow.
ALI
There’s someone who has been trying to reach you, Mr. Wayne.
BRUCE
Jim!
Bruce runs to him and embraces him.
BRUCE
Barbara?
GORDON
She’s fine. We both are. After you rescued us, we left the building.
BRUCE
The commissioner?
Gordon shakes his head.
GORDON
Most of the top brass are gone. He hit us hard, Bruce. We are down.
ROBIN
But not out!
GORDON
What’s this?
ROBIN
What?
BRUCE
Who. Jim, who. This is Robin. My new sidekick.
Robin cocks his head.
ALI
Partner?
BRUCE
I don’t work with partners, but yes, non-human partner I suppose.
ROBIN
I superior form of intelligence at his disposal will do.
GORDON
I see.
ROBIN
Do you?
GORDON
No, not really. Anyway, what happened up there?
BRUCE
I
ROBIN
The Joker played on Batman’s humanity and tricked him, getting away but losing his advantage. We have his plans, and his hideout.
BRUCE
Thanks.
GORDON
The council has asked me to step in for now, and I’ve agreed. We need to find a way to end this. Now. Things are only going to get worse.
BRUCE
I know.
GORDON
No. Look at this.
He hands Bruce a handwritten note.
ALI
What is it?
GORDON
A declaration of war. On civilization. I don’t’ know if he has the capability.
BRUCE
(Reading) A nuclear device?
ALI
Is that possible?
ROBIN
It is.
ALI
Rhetorical.
ROBIN
Sorry.
GORDON
If he really has this thing, you never know with him, we need to stop him now, before he can re-group.
BRUCE
Yes.
ROBIN
I’ll start-
BRUCE
No. I’ll take care of it.
ALI
But
BRUCE
I have this. But standby. Commissioner?
GORDON
Good to have you back, Batman.
BRUCE
Follow me. Ali, I need you to get me on social media.
ALI
On it, boss.
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KAREN SINCLAIR’S ACT 4 BEGINS
What I learned doing this assignment is…?
I needed to write the entire 4th Act and then go back and work it over for the key scenes.
ASSIGNMENT 21
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 4
Reaction to 3rd Act Turning Point
(ACT 4 – Scene 1)INT. HOSPTIAL – DAY
Sadie catches herself being unappreciative and thanks Randy and the team for stepping up. She describes it as a lost opportunity to gain the account but a learning opportunity for the team. She has clearly resigned herself to not winning the account.
INT. HOSPITAL – DAY
BEGINNING: Sadie thanks him for stepping up.
MIDDLE: She tells him to please thank the team as well.
END: On the bright side, she comments that it was a good practice session for the team, clearly resigned to having lost the account.
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INT. HOSPITAL – DAY (CONTINUOUS)
Adam walks into Sadie’s hospital room and tells her that Will got the forensics back on the kid’s cellphone. The kid had received $500 up front through a video game portal. The $500 was 50% payment for the kid to Facetime Live the entire thing. He didn’t know Sadie was being taken hostage. He thought he was just taking some video for a gamer friend who said he would be using it as footage for a new video game.
INT. HOSPITAL – DAY (CONTINUOUS)
BEGINNING: Adam walks through the door to Sadie’s hospital room. He hands Sadie a gym bag full of clean clothes as she requested.
Randy steps aside but stays in the room as he doesn’t really know the whole story of what happened the day before.
Adam tells Sadie that the forensics are back on the kid’s cellphone. The kid used Facetime Live to film the entire event and it is recorded. He tells her she can watch it, but he wouldn’t recommend it.
MIDDLE: The kid thought that all he was doing was recording some footage for a video gamer friend to use in a video game he was creating. He thought Sadie was in on it.
Sadie is shocked as to why someone would want to do that and why they would think she was in on it. And what does he mean he thought he was innocently and passively videotaping me for a friend. He was sending threats to my cellphone…constantly.
END: Adam tells her that it wasn’t the kid that was sending her the threats. All he was doing was filming through Facetime Live. The flashlight she thought she saw was just the light on the phone, pointing in her direction.
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INT. HOSPITAL – DAY (CONTINUOUS)
Sadie now asks, if it wasn’t he kid threatening me, and the kids and you, who was doing the threatening and why?
INT. HOSPITAL – DAY (CONTINUOUS)
BEGINNING: Sadie is confused. If the kid wasn’t threatening her and the kids and Adam, who was? All the Kid did was Facetime Live.
MIDDLE: Adam said the Kid gave the police the gamer’s alias. He was paid through the game, by cash being dropped into his game account, so they never met face to face.
END: The Kid feels terrible and is cooperating fully with the police. They’ve still got his cellphone and all his credentials. The game they were playing seemed locked down as it relates to privacy. It might be a tough nut to crack.
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This reply was modified 2 years, 2 months ago by Karen Sinclair.
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This reply was modified 2 years, 2 months ago by
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Margaret’s Act 4 First Scenes What I learned completing this assignment is that I’ve never added in the dilemma at the beginning of act 4. Adding this choice into my projects will make all the difference. INT. police interview room – day
A POLICEWOMAN walks into the interview room with a file folder and sits down opposite Lake who fidgets nervously.
Policewoman
The desk officer says your interested in reporting a crime.
Lake
Thats right.
INT. Blake’s Studio – night
Blake
You fucking loser.
Lake struggles to get past.
Lake
Let me out.
Blake
If you go know don’t ever come back.
Lake tries to get past him. He pushes her.
She tries to flee.
He grabs her neck with his hands and wraps them around.
Lake
Let me go.
Blake
You’ll be alone foe the rest of your life.
Lake
Let me go.
She hits him in the face and he releases his hands. She breaths heavy touching her throat.
She tries to get by.
He pushes her.
She pushes him back with almost super human strength.
Blake falls and hits his head.
Back to scene:
Lake
I think I killed my husband.
PolICEWOMAN
It says here he died in the fire.
Lake
He did. We had a fight. I pushed him and he fell.
PolicEWOMAN
Go on.
Lake
I was so angry. I left. And that’s the last time I ever saw him again.
Policewoman
Let me guess. You’ve become homeless.
Lake
I feel like you aren’t hearing me.
Policewoman
You want a roof over your head. You can’t imagine how many times this has been happening a day. People would rather go to jail than be on the street.
Lake
You’re telling me people are confessing to crimes to avoid homelessness?
POLICEWOMAN
That’s what I’m saying. Is this your address before the fire?
Lake
Yes. That’s where we lived.
Lake
That’s a fancy neighborhood. Have you called your insurance company? Your policy should provide you with money for replacement housing for a full year, probably two, at least. Here is the name of a lawyer that has been helping people pro-bono with these issues. How is your mental health? Angry?
Lake
Maybe.
policewoman
Let me ask you some questions- do you consider yourself an angry person?
Lake
I would have, no. Not before the fire.
POLICEWOMAN
And now?
Lake
Maybe…probably.
POLICEWOMAN
Is your anger excessive and disproportionate?
Lake
Definitely. Yes.
Policewoman
Recommends anger management.
Lake
I can just drop in?
Policewoman
Let me ask you about work. Where were you working?
Lake
I worked at a marketing firm in San Rafael but afterwards…I couldn’t.
POLICEWOMAN
And now?
Lake
I’ve been delivering food part time and I have an idea for a business.
Policewoman
Go to the group and call your insurance company. Here’s my card if there’s anything else you want to tell me about that night…or anything.
Hands Lake a card. Because I am writing a series and not movie the dilemma comes later in the episode and it won’t be the last time she has to make a similar decision Choi I g healing and life over giving up. She goes to the liquor store and picks up some Alcohol to deliver. She looks at the small bottles she Has been drinking and threw away but she doesn’t buy any.
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Tita’s Act IV – the First Scenes (Assignment 21)
What I learned doing this assignment:
1. The SU template with structure points helps me notice early when I am including a scene that is too much background and doesn’t jump fast enough to what matters. Also, a simple reminder to sketch out a beat then divide it into beginning, middle and end stops me from just letting everyone talk and carry on. I can tell the folks fighting it out in my mind that I get to set priorities. And the template’s structure helps me skip scenes that would be tangents, slow, or off target.
2. As I look over my original beat sheet and descriptions of scenes, given the SU guidelines for what needs to happen in each act, I find that the events and interactions that actually happened in this historical time can easily be grouped into the SU outline. I don’t know if it’s just because I’m writing a script about a historical event or if this is organic human story telling and the elements of the SU outline would happen with any story.’
3. I realized for some stories, I would need to know what the climax involves and “backward chain” to the earlier scenes so they lead up and into the climax. I’ll think about trying this model on another play, but doing the assignments backwards so I know where I want to go before I start building Acts/Scenes.
4. To minimize the numbers of digital files flying around need to create an overall worksheet to help me track ‘n merge:
– My original beat sheet description/outline of the entire script
– For each Act and Assignments for Writing its Scenes, the related:
o SU dramaturgy notes as a template with notes for this step in the writing
o Impact on this assignment’s scenes from changes I made to the previous beats or sequence as I outlined and wrote them
o Outline of key scene(s) in the assignment
o First Draft of key scene(s) in the assignment
– A growing script, maybe with subheads that make explicit the trainer wheels (template elements), so I can track what’s what when I revise.
– A system for “nomenclature” so each file is titled in ways I won’t get mixed up with old/current drafts and will be able to find what I want when I need it for this script and future ones when the SU/Hal dramaturgy template will help me git ‘r done rather than snooze on the couch under a velvet blanket, flow with Hallmark tv love, walk or play with my cats during the hours I have reserved for script writing…
SU Notes on Act IV (Captured here so I kept them in mind while outlining and writing)
The 4th Act is the biggest of all the Acts. It is often where the lead character’s dilemma is resolved, the ultimate expression of the conflict is played out, and we get to see the final resolution. This is going to be fun to write! Everything that you’ve written before this has set up an amazing ending that will leave the audience blown away! Just follow the structure and it will happen.
Act 4:
Key Scene 1: Reaction to 3rd Act Turning Point.
· The 3rd Act Turning Point is the worst. It has brought the Protagonist to their knees and forced them to face utter failure. They are definitely going to have a reaction! However, in many movies, this reaction is short because things are happening fast.
· Essentially, we’re on the edge of a train wreck, so the reaction may happen in just a moment. Just ask yourself this, “If that 3rd Act TP happened to me, how would I react?” Be honest. That moment is very stressful. Ask the question about yourself, then ask it about the Protagonist. Even if he or she is a bad ass, this kind of attack will knock anyone for a loop
Key Scene 2: Protagonist faces their Dilemma.
Some dilemmas are faced before the Act 3 TP and others are faced right as the Protagonist goes into the Climax. And there are others that come up and the character makes a decision…only to change their mind in the Resolution. You decide when and how the Hero faces their dilemma. But there are three keys to a great dilemma: The dilemma:
has been pushing and pulling on their emotions throughout the story.gives them two choices, both of which are extremely uncomfortable or even terrible. makes the decision part of the Transformational Journey.
Remember, this story is about a character who was completely opposed to change. Then they took this journey and were forced to make this decision that truly shows that they changed. That is the role that the Dilemma plays in the journey. Don’t worry if you hadn’t built a dilemma into your script before this. You can go back at any time and add it to your story. Just look at the examples below and you’ll see where the writer did that. (Note ** Some questions – what is the main change the hero needs but doesn’t want to make? What happens that shows they have changed… what dilemma forces the decision to change?)
Key Scene 3: Climax – The Ultimate Expression of The Conflict.
Key Scene 4: Resolution – Wrap it up and show us the new status quo.
Outline of Act IV Early Key Scenes
Recap of Act III Midpoint/Turning Point 3:
· After royal army soldiers kill people in a mob on a Boston street, Hutchinson shocks himself and other royal officials when he listens to townspeople’s demands and lets them order him to remove both regiments from Boston
· Additional Scene: Meets with Tory woman, tries to explain why he made that decision. Trying not to admit he agrees with them
Outline of Act IV.1 Reaction to Midpoint/Turning Point 3:
· Beginning: Three tea ships have docked. Judge Oliver is warning Hutchinson about a massive town meeting and briefing him on what other colonies are doing (send ships back, boycott if they land and unload), Royal Tax Commissioner Robinson is demanding he call the troops – the town is sending letters all over counties in Mass and other colonies. Hutchinson saw the pain the townspeople are in – troops, killings, taxes, losing their ability to govern themselves
· Middle: Hutchinson runs into Town Meeting to reassure the townspeople he is writing to Parliament, explaining why they are upset about tax, killings, and now the tea tariff is a matter of principle… Tries to reassure them he is listening, writing to Parliament about why tariffs, in addition to taxes, upset the colonists even if they are confused – the charter is confusing. Gives too much to the people’s vote, not enough balance for men of wealth, education and commerce. People yell – Hutch asks why they can’t give him the same courtesy they want from him. Angry roars.
· Ending: Sam calms them gets others to say the ship;s captain has insisted on docking despite the request of the town… and to ask if Hutchinson can get them to turn around. Hutch says no, Sam says “Then there;s nothing more we can do fr our country Suddenly whoops – and townspeople don blankets, smudge their faces and leave whooping – including Otis but not his adopted Native American son who is exasperated that they make his people look like the criminals.
First Draft of Act IV Reaction Scenes
EXT. BOSTON DOCKS – DAY (FOUR YEARS LATER) (Beginning of Reaction)
[Captain Rotch – TBD: Check name spelling – of one of three large ships docked in harbor runs up to Judge Peter Oliver, Royal Tax Commissioner Robinson and Acting Governor Hutchinson[
CAPTAIN ROTCH
Thank you for coming. They hauled me into a massive Town Meeting. Demanded we take our ships back out of the harbor. I said impossible. I have contracts with the shippers. So they denied us the right to unload. And if we disobey their orders, they will boycott all sales of our teas and spices in your Massachusetts colony. They were nobody. Nobody in any position. Just a mob of your townspeople.
GOVERNOR THOMAS HUTCHINSON
Several ships have turned around without unloading. Captain Rotch, can’t you-
ROYAL COMMISSIONER ROBINSON
Governor Hutchinson other colonies called in troops to make sure they could unload their goods and do business without interruption. As acting governor you sent the troops out of Boston. Now is the time to call them back to protect men of commerce and their property. They can guard the unloading. Other colonies have sent their ships back.
HUTCHINSON
Those troops shot and killed five of them. Bringing in troops will only-
JUDGE PETER OLIVER
Thomas – order the troops to this dock. You saw the size of the crowd. People hanging out of windows, jamming the door. You cannot let Town Meetings dominate our government.
HUTCHINSON
The townspeople think their charter from the king gives them the right not to –
JUDGE OLIVER
Oh, no. Not another of your legalistic points!HUTCHINSON
-to set import tariffs Troops will only risk violence again and–
JUDGE OLIVER
Maybe we need violence to control the mobs! We must – let’s get back to your office. Captain Rotch, don’t worry. We will handle this.
HUTCHINSON
I’ll handle this!
JUDGE OLIVER
I know you will. Come, we’ll work out a strategy.
[Oliver and Robinson pressure Hutchinson to leave with them]
HUTCHINSON
With them!
[He breaks out and charges ahead]
INT. FANEUIL HALL – CONTINUOUS TIME (Middle)
[Hutchinson enters the mobbed Town Meeting – all classes of men, a few women and blacks on the sides of the room. The adopted Native American son of James Otis is also at the back, dressed as a Boston lawyer, observing. Sam Adams is Moderator. Charismatic Otis is talking]
JAMES OTIS JR
Yes, the tax on the tea is tiny – but if we let Parliament tax us one penny, we give up the right to tax ourselves through our elected representatives. One tiny step. Of course the Lords of Parliament and His Majesty will be pleased. Maybe order all their troops in the colonies back home. But I promise you – that tiny tax on tea is a giant step to giving up our right to govern ourselves. Will you-
SAMUEL ADAMS
Excuse me, Mr. Otis. We have a welcome visitor. Governor Hutchinson, I trust you have come to help us make the tea ships turn around and take their wares to our Mother Country.
HUTCHINSON
[Taking the podium as Otis reluctantly steps aside]
Believe me – I understand the charter for our colony is confusing but-
[Angry reactions]
HUTCHINSON
By ‘confusing’, I mean it seems to give the settlers of this colony the right to make all their laws and set taxes in their Assembly. It was obvious, you can’t wait a month or two to communicate with your representative thousands of miles away in Parliament. I understand your concerns. But when the king and Parliament drew up our charter, they did not give up their own right to-
SAM ADAMS
Governor! We have two questions –
HUTCHINSON
Mr. Adams, this is important. Many of you are men of commerce. And influential clergy. Educated. You must realize that our nation is the only nation in the world to give people the right to vote for their own leaders – but not just anyone. We’re the only nation in the world to give liberty to everyone. We let the people can vote for their leaders in our colonial assemblies here and in Parliament’s House of Commons. But the beauty of our system is to give self government not only to the common people but also to men of wealth and influence in Parliament’s House of Lords – all balanced with the wisdom of our monarch. Benevolent. And if not-
[Angry shouts interrupt him – “Parliament has no right to tax us or set tariffs on our imports!” … “[TBD – etc. Research actuals]”
HUTCHINSON, Contiuned
Why can’t you people give me the same respect I give you. I listen to your concerns without yelling at you.
[More angry shouts TBD]
(Ending)
SAM ADAMS
Mr. Hutchinson, perhaps you might just answer our question. Will you order the captains of those three ships to leave the port of Boston?
HUTCHINSON
Each of those ships has products to be sold to businesses throughout our colony and all of New England. We cannot-
SAM ADAMS
[Moving to take over the podium]
So your answer is No, you refuse to order the ships to leave Boston.
HUTCHINSON
I can’t because –
SAM ADAMS
[Raising his arm then slamming it down on the podium’
Then there is nothing more we can do for our country.
[Suddenly loud wild Native American hoops and battle cries burst out, terrifying Hutchinson but just amusing some of the townspeople and activating some to put on blankets over their heads, and blacken their faces from grease pots they had ready for this in their pockets. These “Indians” include Otis, and Hancock, his fancy velvet suit and lace cuffs identifying him under the blanket. The Indians rush out, followed by the crowd of townspeople not with blankets but also hooping. As the first ones pass Sam Adams he cautions:
SAM ADAMS
Remember – No stealing. No damage to the ships or their property
OTIS TWO (Otis’ adopted native American son, in formal lawyer’s suit)
[Irritated]
Thanks, Mr. Adams, for honoring my people.
[He leaves in a different direction from the townspeople]
Template for checking Act IV Reaction scene
(_) Is this worst point so far in story?
(_) Is Protag brought to knees, forced to face utter failure
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<b style=”font-family: inherit; font-size: inherit;”>Outline of Act IV Dilemma Scenes
Beginning: Hutch finds out Gage has shut down the port of boston because of the destruction of tea and other property. And Hutch must go to London to explain to Parliament what is happening. Hutch tries to lighten impact on boston.
Middle: Hutch’s spy rushes in and warns about an illegal meeting in Concord of the Massachusetts House of Reps to elect reps for a meeting of all colonies in Philadelphia. General Gage and others go off to order troops to stop the meeting in Concord and to protect a store of weapons in Lexington. Tells Hutch to go home and pack.
End: Otis, manic, tries to get Hutch to stop the meeting so they don’t give Gage an excuse to do worse, he climbs into the carriage uninvited with Hutch and Hutch’s slave Andrew.
First Draft Script for Act IV Dilemma Scenes
INT. GOVERNOR’S OFFICE – DAY (A FEW MONTHS LATER) <i style=”font-family: inherit; font-size: inherit;”>(Beginning of Dilemma)
[General Gage in full royal regalia stands before a seemingly shrunken Acting Governor Hutchinson. Throughout, his slave Andrew, elegantly dressed, stands near him, supportive]
GOVERNOR THOMAS HUTCHINSON
You can’t close the entire Port of Boston!!
GENERAL THOMAS GAGE
His Majesty and Parliament “can’t” what?
[Silence]
As Commander in Chief of the royal army in North America, I can’t what?
I’m sure you do not condone criminal damage to property. Dumping crates of tea into the Boston harbor is not just criminal. Your mobs destroyed the livelihood of many farming businesses, processors and their shippers.
HUTCHINSON
They weren’t really a mob. They –
GAGE
Yes, that’s the point. The mob included many men of commerce from your colony.
HUTCHINSON
They think they have the right to set their own tariffs on imports.
GAGE
You’re apologizing? Of course, your fellow countrymen.
HUTCHINSON
I’ve already shut down our House of Representatives. That will stop them from organizing with the other colonies. Bringing back the royal army, blocking all activity on the docks without permission – that will only –
GAGE
Governor Hutchinson, I realize the mobs destroyed your home in Boston. So I suggest you go to your country home and pack what you need for your journey home. You can explain how you tried to keep order in this colony to Parliament. And to His Majesty King George the Third. If he will give you an audience.
(Middle)
[Hutchinson silently bows and starts to leave. But his spy, Dr. Church – with Tax Commissioner Robinson – rushes in, warning them] – **TBD much earlier additional scene to intro Dr. Church, his mistress, his reasons for becoming a spy]
DR. BENJAMIN CHURCH
You shut down the House of Representatives – but they’re holding an illegal meeting in Concord – not far from your home in Milton, Governor.
GATES
Why? What are they up to now?!
HUTCHINSON
It’s why I shut down their House of Representatives.
CHURCH
Clearly didn’t work. General – they are voting on whether to send four representatives from Massachusetts to a meeting of all colonies in Philadelphia they are threatening to hold.
GAGE
That has not been authorized!
TAX COMMISSIONER ROBINSON
Welcome to the colonies, General Gage. Whatever the Mother Country authorizes they refuse. Whatever we don’t, they do
GAGE
Aren’t some of your representatives honest men? Haven’t they left the meeting? As soon as they realized they can’t –
CHURCH
They can’t.
GAGE
I know they can’t. They can’t start meeting together with other colonies.
CHURCH
They can’t leave. Samuel Adams has locked htem into the room until they vote. The only reason I know is one man pretended an urgent need to answer the call of nature.
GAGE
[Staring to leave]
That’s it. I’m ordering the troops to arrest the entire illegal assembly in Concord. Wait – isn’t there a large storage building with guns and ammo near there?
[To Hutchinson]
You must know! Where is it?
HUTCHINSON
Lexington.
GAGE
We’ll arrest any of the representatives who do not show remorse. And protect the military stores in Lexington.
[Stops Hutchinson]
You go to your home and start packing for your recall to London.
[Gage, Oliver and Robinson storm out. Hutchinson doesn’t move. Andrew starts guiding him out after the others have left.
EXT. HUTCHIINSON’S CARRIAGE – CONTINUOUS TIME
[OLIVER and ROBINSON are in street, leaving. As Hutchinson and Andrew start to get into carriage, James Otis Jr rushes up to them, hair mussed, coat half on, manic]
JAMES OTIS JR
Governor, they’ve called an illegal meeting
HUTCHINSON
Yes Mr. Otis, we know.
OLIVER
[As he runs off]
James – leave him alone. He has to go home to pack.
HUTCHINSON
I’ve been recalled. You aren’t with the others in that meeting?
OTIS
You know why! I wasn’t re-elected last year!
HUTCHINSON
Yes, I heard you are still recovering from your wounds. But the meeting is illegal I assumed that meant all of you could go.
OTIS
You must stop the meeting!
HUTCHINSON
I have to go home to pack.
OTIS
They will give General Gage every excuse he wants to crush them!
HUTCHINSON
Whose side are you on?
OTIS
Liberty!
HUTCHINSON
I’m not sure what that means anymore.
OTIS
Don’t go home to pack. Stay with us – stop the representatives from – from –
HUTCHINSON
From what?
OTIS
I don’t know! My head is aching again!
[He climbs, uninvited, into the carriage. Hutchinson and Andrew look at each other, shrug, and get in the carriage with Otis]
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Template Quality Check for Act IV Dilemma Scene
(_) What dilemma has been pushing/pulling emotions throughout? (e.g. order vs liberty)
(_) What is the choice in this scene, either one is awful?
(_) What decision is made in this scene and how does it show a transformation or first part of one?
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Philips Act 4 First Scenes
What I learned doing this assignment is whether I can closed the loop
Key Scene 1: Reaction to 3rd Act Turning Point.
The band regroup, Dimtri resolved to take the magic dust to help him play despite its effect on him
Key Scene 2: Protagonist faces their Dilemma.
Dmitri can save himself or the band or save Virginia
Key Scene 3: Climax – The Ultimate Expression of The Conflict.
Dmitri tricks the manager into ripping up the contract in a double or nothing
maybe because the devil cant have all the best tunes after all
Key Scene 4: Resolution – Wrap it up and
Dmitr and the band get back home, with Virginia to celebrate
but the Manager isnt finished and Toady seizes Virgina after her wedding to Dmitri
If they want to find her, they have to go back to the underworld
with new music ready to slay their audiences once again
show us the new status quo.
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Lonnie’s ACT 4 First Scenes
What I learned from this assignment: The importance of the response by the protagonist. In this historical fiction, there are many protagonists, one being Professor Frank who begs the students NOT to charge the guard…no more bloodshed. Later in the ACT, the parents of the shot students become the protagonists, and file suit against the guard and the State of Ohio.
ACT 4
EXT. KSU CAMPUS – DAY
SCREAMS FROM STUDENTS
Near Blanket Hill, about 50?? unarmed, angry and terrified STUDENTS organize, ready to charge the Guard.
STUDENT #1
For God’s sake their killing us!
STUDENT #2
Let’s rush those fuckers! They’re killing our friends!
PROFESSOR GLEN FRANK, grey hair, glasses shows up. He’s an emotional wreck. Begs students to back off.
PROFESSOR FRANK
I beg you please! Stop! They will shoot! There will be more bloodshed! I beg you! Give me just a moment. I will talk with them.
Professor Frank rushes back toward the Guard.
STUDENT #1
I say we charge those mother fuckers.
STUDENT #2
I’m pissed…so pissed. But, wait, let’s see what that prof can do…cause I don’t care if I die, but they’ll kill us all if we charge… kill all our friends.
He puts his hands up toward the students, holding them back
STUDENT #2
Let’s wait…no more death.
Meanwhile, in the parking lot, ET’s still attending to several students.
SIRENS roar as the last of the 13 shot are rushed off campus in ambulances.
On Blanket Hill many of the Guardsmen still have their guns pointed toward the students, while GENERAL CANTERBURY and other commanders stop them from shooting.
GENERAL CANTERBURY
No more shooting, put your rifles down.
Glen Frank rushes to the General.
PROFESSOR FRANK
Please, please! No more shooting. I talked with the kids. They are holding back.
GENERAL CANTERBURY
Good, cause we’re still ready if they charge.
PROFESSOR FRANK
For God’s sake, no more shooting! Please, I beg you.
GENERAL CANTERBURY
You tell those punks to stay right where they are.
PROFESSOR FRANK
I will General, I will. Please hold back your men.
Nearly all the students who had gathered slowly disperse.
KSU police discover suspicious man, TERRY NORMAN, and confiscate his hand gun…fired 4 times.
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LESSON 21
i learned building for climax add more scene for protagonist.
SCENE I
Police chasing jeff a parole prisoner.
Scene 3
Police in search of jeff a prisoner on parole. Jeff tries to kill Andrew by giving poison AS KILLING A DEAD PERSON IS NOT A CRIME. But Andrew rescue by a cat. Will Andrew go back home. Now. Andrew’s steal phone in kitchen. Tries to call dad. He talk to his parents mom and brother.
Police bring Jeff in the court of California and court punishes him for fleeing while on parole. In court jeff tells court. How he is a good citizen. He saves a person in accident while judge Robinson punishes him for the crime.
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Day 21 Act 4 Begins
James’ Act 4 First Scenes
What I learned doing this assignment is… the female lead faces a clear dilemma where she has to choose between forgetting about Rufus and avoid a nurturing relationship or try to reconcile with him and pursue what could be the love of her life for better or frightening worse. It’s the battle between Old Ways and New Ways where she is forced to grow and step out of her comfort zone. Ultimately, she chooses to pursue her goal of having her own podcast which could provide a customer base for her boutique. She uses the podcast platform to reach other embattled women of all ages. In a twist, her gay friend reaches out to Rufus and advises him to listen to the podcast and witness what Jessica is all about.
EXT. PARK – DAY
Jessica wanders on a winding path. The bright sun shines on her, yet melancholy is more her current state.
She watches a young couple play with their little child on the nearby grass.
She’s captivated with the love conveyed by the young family.
After a few moments, she continues on with her walk.
INT. JESSICA’S HOME – NIGHT
Jessica sulks on the couch not wanting to engage with anyone.
She has barely eaten anything as the takeout dinner containers are full.
Paul studies her with much concern.
PAUL
You have to eat something.
She remains quiet as the thoughts ruminate.
PAUL
Your agony is my fault.
JESSICA
Don’t. Tomorrow’s a new day.
PAUL
Would it help if I talked to him?
JESSICA
No. I’m not right for him.
Paul shakes his head as his mouth twitches feeling guilty.
JESSICA
There are new responsibilities to manage.
Paul snatches a tissue trying his best not to sob.
INT. LOCAL MEDIA CENTER – DAY
Jessica checks the clock as she winds down the show with the last caller of the day.
JESSICA
That’s a wonderful personal story, Mildred.
MILDRED (O.C.)
Thanks to you Jessica I overcame my felony convictions. I’m a new model senior citizen.
JESSICA
You’re quite welcomed. And we all can learn that no matter your past, your future can be the light at the end of the tunnel. Until next week, hold on to your power.
Jessica signs off knowing the difference she’s making in many lives.
INT. RUFUS’ BUILDING LOBBY – NIGHT
Paul paces near the front door. He anxiously surveys his surroundings causing the concierge to question his intentions.
CONCIERGE
Sir, can I help you?
PAUL
I’m waiting for a friend.
The concierge nods allowing Paul to continue waiting…
After a few moments, Rufus enters and is approached by Paul.
PAUL
Rufus, I need to have a word with you.
Rufus quickly recognizes who Paul is.
RUFUS
No. I believe I saw all of you already.
PAUL
The misunderstanding is my fault.
Rufus stops and gives Paul a chance to clarify.
PAUL
Jessica was helping me with my outfits for a modeling shoot.
RUFUS
She was working hard on her knees.
PAUL
It’s not like that. We’ve known each other for years. She’s like a sister to me.
Rufus still feels unconvinced.
RUFUS
I appreciate your effort, but it’s best we go our own ways.
PAUL
Wait! What attracted you to her in the first place?
Rufus ponders…
PAUL
Those qualities are still there, and will always be. Remember them?
A beat.
RUFUS
Yes, she’s very intelligent and articulate.
PAUL
Keep going?
RUFUS
And she’s caring, enough to melt hearts.
PAUL
Don’t let her get away. All because of a misunderstanding.
A beat.
PAUL
There’s nothing sexually intimate between us. And there never will be.
Rufus wonders about what Paul actually means.
PAUL
If you must know, I’m not a heterosexual. And I think I’m not a homosexual — the point is, Jessica’s a great woman.
A beat.
PAUL
I love her. And you would as well.
Rufus feels relaxed as the words sink in.
RUFUS
I understand.
PAUL
Listen to her next Follow Your Passion Podcast, and experience what she’s all about.
Paul reaches out for a handshake as the two come to an agreement.
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