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Lesson 22
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10 Replies
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Megan’s Act 4 Climax
What I learned doing this assignment is…that the climax was the most difficult scene to write without wordsmithing. I wanted this final showdown between the protagonist and antagonist to be right. Satisfying. Exciting. Now that it’s finished, it still feels too talky, but I’m glad I pushed myself to just keep writing to get it down.
INT. WARD 71 PRESIDENTIAL SUITE — DAY
Anna enters. Bianca appears to be sleeping. Anna sets the flower arrangement on the floor by the door and crosses to Bianca’s bedside.
Anna takes in the sleeping President with all her wires and monitors. Then, she detaches the nurse’s call button.
Bianca stirs. Her eyes flutter open. Anna is staring back at her.
BIANCA
You. What are you doing here?
ANNA
Ostensibly, I’m here for a prenatal checkup. But I think you and I both know that’s a lie.
BIANCA
I meant, what are you doing here in my room.
Bianca reaches for the nurse’s call button but can’t find it.
BIANCA
My call button. What did you do with it??
ANNA
The Gender Disparity Act. How long has that little secret been going on?
BIANCA
Somebody get in here!
But with her injuries, Bianca’s hoarse voice doesn’t carry beyond the doorway.
ANNA
Don’t bother. He doesn’t work for you.
BIANCA
What do you want?
ANNA
Answers. The Gender Disparity Act. The murder of my mother and my baby brother.
BIANCA
I’m afraid I can’t help you. That would have been long before my incumbency. I had nothing to do with it.
ANNA
Oh, but that’s where you’re wrong. The Act may have been initiated before your presidency, but you had everything to do with it. See, that’s the thing about historians; we know how to dig up all kinds of dirt.
Anna pulls a folded piece of paper out of the pocket of her scrubs.
BEGIN Flashback:
The Women’s History Museum on Women’s Day. Anna is sitting at Jenny’s desk in her dark office, her face aglow in the light of the computer screen.
Her open laptop on the desk beside her shows the cue cards are already finished. Instead, Anna’s eyes frantically skim Jenny’s computer screen. Suddenly she stops, her eyes widening.
Anna hits print and grabs several sheets of paper from Jenny’s printer before picking up her laptop and leaving the office.
END FLASHBACK.
Anna opens the folded paper and reads aloud:
ANNA
“May 15, 2044. Senator Bianca Harris of California proposes Bill S. 3210 in regards to post-war population control in light of food rationing. May 31. The bill passes 73-27. June 6. Bill specifics retracted.”
Anna looks up at Bianca skeptically.
ANNA
Post-war population control? And yet somehow you got the majority of the Senate behind it.
BIANCA
The fear of starvation is an incredible motivator. Especially following a world war.
ANNA
And lucky for you there was no resistance from the White House with Daddy as President. But I do find myself wondering: Did he have any idea what he was signing? Or had his Alzheimer’s already begun to set in? At what point was he just another puppet for you to control?
Bianca bristles at the suggestion.
BIANCA
My father was an American hero. He brought this country through World War 3!
ANNA
And delivered it up on a silver platter right into the hands of the Matriarchy. Your hands.
Bianca sighs tiredly, for the first time looking her age.
BIANCA
What is it that you want, Anna? I can’t undo the past. I am simply working with the pieces that were left behind. Trying to rebuild a better world.
ANNA
A better world?! For whom? Not for my father or my brother. Not for my sons!
Anna lowers a protective hand to her belly. Bianca notices Anna’s gesture.
Bianca
Ah. So that’s what this is about. You would think by now I would know not to underestimate a mother’s love.
ANNA
You’ve allowed innocent lives to be taken! You’ve shut down dreams! You’re actively subjugating an entire gender!
BIANCA
Because they did it to us first! How many years did we have to fight for our rights? To work, to vote, to be seen as and treated as equals. How many women have been abused, mistreated, raped without justice? How many have been killed?!
ANNA
How can another wrong possibly make any of that right? As you already said, we can’t undo the past.
BIANCA
But I will make sure these things never happen again in the future. I’ll do whatever it takes.
ANNA
I’m afraid that won’t be an option anymore.
Anna takes the lanyard around her neck off. Attached is a small microphone pack. Anna plays back the President’s last words. Anna stops the recording.
ANNA
You may hold a lot of power. But there’s still a justice system in place that will be extremely interested in hearing this.
BIANCA
Are you actually threatening me? How dare you! Just who do you think you are?! You’re a nobody!
ANNA
Maybe. But this nobody will make sure that every media outlet in the country gets a copy of this tape.
Bianca attempts to pull herself upright, practically spitting fire.
BIANCA
Just try it. I will end you!
ANNA
I believe this interview is over.
Anna turns and walks back toward the door. Bianca hoarsely screams after her.
BIANCA
I will end you, do you hear me?? You, your father, your husband David—
ANNA
Good night, Madam President.
BIANCA
Your son Luke!
Anna freezes. Bianca smiles maliciously; she has gotten through to Anna.
BIANCA
Yes. Go ahead and share that tape with the world. And the moment you do, I’ll give the order to hunt down and kill that precious little boy of yours!
Anna hesitates by the door. She glances down at the flower arrangement on the floor. Bianca’s voice resumes its smooth, political tone, coaxing and manipulative.
BIANCA
Let’s be reasonable, Anna. It doesn’t have to be this way. We’re on the same side, you and I. Think of the good we could accomplish if we worked together!
Anna turns and walks back to the President’s bedside. She pointedly begins detaching wires from monitors.
ANNA
We may both be women. But we are not on the same side.
BIANCA
Stop! What are you doing?
ANNA
Rocking the boat.
Anna crosses back to the flower arrangement by the door. She picks it up and approaches the President, who eyes the flowers suspiciously.
BIANCA
Wait! Keep those away from me! I’m highly allergic!
ANNA
I’m just dropping these flowers off. They’re from your husband, the First Man?
Anna sets the flowers on the nightstand beside Bianca’s bed but just out of reach. Bianca is already beginning to gasp for breath as Anna turns and walks toward the door.
ANNA
Best wishes for a speedy recovery, Madam President.
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Alice’s Act 4 Climax
EXT. BUNKER’S YARD – DAY
Steals the track, but slips on roadside when pursued
INT. MEDICAL TRACK – DAY
Elizabeth awakes to…
Calming beep of medical device.
Doctor in white sits with his back to her in narrow space of emergency track.
Elizabeth turns to the window.
Bunker’s yard is full of people, streaming out, gathered together outside.
Woman in brown coat socializes with employees. Vivid talk.
SUDDEN EXPLOSION at far complex of buildings.
Woman in brown coat and her companions turn away to the side of explosion.
Cloud of smoke rises into sky.
Door knocks. Elizabeth reclines back. Pretends she’s still unconscious.
As guard with weapon passes by, Elizabeth opens her eyes.
Considers his gun in open holder.
Pulls it out. Shots the guard. Doctor jerks at alert. She jumps up and shots the doctor.
Yard beyond window is now full of commotion, as smoke reaches it.
EXT. BUNKER’S YARD – DAY
No one notices how small figure under hood gets out of medical car.
As if that’s the natural thing to do, Elizabeth rolls under the sliding yard door at the last moment.
Security guard in a booth ignores that.
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Kevin’s Act 4 Climax
What I learned doing this assignment is the climax is fun! I still have holes to fill and now that I’m this far I can see setups that need to be placed in the earlier scenes to make the payoffs work. Good stuff!
INT. JOKER’S HOTHOUSE – NIGHT
Joker is pacing back and forth in a hothouse full of dangerous toxic plants and test tubes of various poisons line the walls. Several screens dot the room, each with a different social media platform scrolling…
JOKER
Come on, Batman, I know you’re out there!
The screens all pop up versions of the same story. Batman’s face fills every screen.
BATMAN
I have a special greeting planned for the Joker. The Joke’s on him! Tonight at midnight, towering above Gotham, where all the city speaks out, I’ll be waiting and we will play out the end game of all end games!
JOKER
HAHAHAHAHA!!!! It worked! I’ve got you now, Batman. After tonight, you’ll never sleep again!
EXT. CELL TOWER – DAY
Joker stands on a platform below the cell repeaters on the tower. Detonator in hand. He holds a phone in his hand, outstretched.
JOKER
Ho ho, Gotham! Destiny awaits. Can Batman save the day, or will Gotham light up the night sky like a thousand suns and cease to be? Party like there’s no tomorrow! There may not be. Hahahahaha.
A batarang knocks the detonator out of Joker’s hand and a foot swipes down and kicks the cell phone into the clouds. The other foot thuds solidly against Joker’s chin, sending him down a level onto a lower platform.
A metal hand reaches out around the tower and catches the detonator. Joker stagers up, dazed and confused.
JOKER
Ho ho ho, ha ha ha… didn’t see that one coming! Neat trick. No matter. What’s one detonator between frenemies, eh?
Batman appears out of the darkness. Lean and strong.
JOKER
Oh ho. What’s this? Lost a few pounds in the last few hours? New regimen? Do tell!
BATMAN
You’re the one who’s going to do the telling, Joker. To the world. Fess up. You’ve been lying this whole time. There’s no nuclear bomb.
JOKER
Hahahaha. How can you be so sure? There’s something funny going on here. You don’t sound quite the same, and you sure don’t look like the last time we met. What gives? Have you given over the mantle to that tin can?
Robin flips up from below to stand in front of Joker.
ROBIN
Not I, said the AI.
Joker dashes to a nearby lever and pulls it. A net flies up and engulfs Robin, snaring and entangling him in a wire mesh.
JOKER
I’ll be doing the fast talking around here, boy un-wonderful!
He flips a switch and a spear tied to a powerline hurls forth piercing Robin’s chest.
JOKER
What a shocking development! I made a few modifications since our last encounter, flash.
Robin lays inert.
JOKER
Now, is it just you and me, Batty? Or have you brought some other friends to the party as well? You seem to be a cheater at last! Ready to break your one rule for me? Hee hee hee!
Joker reaches behind his back and yanks downward. A jetpack sends him above Batman and he pulls a bazooka from behind his back and fires a direct hit where Batman stood.
JOKER
Take that … bat!
Joker grabs a repeater on the side of the spire, and peers down at the blast area. Only the platform is there amidst the dark circle of destruction.
BATMAN
Too slow!
Batman turns the Jetpack around sending Joker smashing into the platform and ripping the jetpack apart on impact.
BATMAN
Oops. Guess the tables have turned once again.
Joker pulls himself up, beaten and bloody, and looks up at Batman.
JOKER
Oh, just one little thing.
He holds the detonator up again, his thumb a millimeter from the button.
JOKER
Your metal buddy down there lost his grip when a thousand volts decided to course through the interior of his exterior. So now you have ONE choice. End me, or face the end.
BATMAN
There isn’t a uranium signature anywhere near the city.
JOKER
Oh, you got me. My bad, I lied.
Batman flies down to the platform to face Joker.
JOKER
Ah, ah, ah! Not so fast, First I should tell you what it does do!
BATMAN
I’m all ears.
JOKER
Pointy ones too!
Batman takes a step forward, Joker one step back, now against the wire railing.
JOKER
Okay, okay, okay. I’ve been bored, bored, board over the past decade or so, so I’ve been breeding plants, exotic and oh so poisonous!
BATMAN
What have you done?
JOKER
Well, these new beauties leach their toxic fluids when the come in contact with water you see… Once in the atmosphere, it will float amongst the clouds, and fall as a deadly rain over Gotham, get sucked back into the atmosphere and float over the globe with glee, killing ocean, river, stream, and all who consume water… meaning everything!
BATMAN
No…
JOKER
Yes! Isn’t it wonderful? Annihilation of the planet. Here in my palm, oh yes, and over your head!
Batman looks up and sees among the clouds a large transparent balloon full of plants, dangling from the top of the spire.
BATMAN
That’s not a detonator, is it?
JOKER
Ding, ding, ding! It’s a dart launcher. One little prick and pop! It’s raining apocalypse!
BATMAN
Is there an antidote?
JOKER
Like I’d tell you if there was! But wait, there’s more! You, you, you can stop, stop, stop it. And you know how. Easy Peasy. Just look to your left.
Attached to a support is taped a golden revolver, like the one in Joker’s lair. Batman Takes it and slowly wraps his hand around the grip.
JOKER
That’s it Batman. It’s a special bullet in there, meant just for you and I. Use it, and for the rest of your life, you’ll be able to see the image of the life draining out of me. Go ahead. I’m ready!
Batman starts to squeeze the trigger and Joker puts his hands out like Jesus on the cross and closes his eyes. The shot rings out.
JOKER
Noooo!
Batman has pointed the gun in the air. As the bullet sails into the sky parting the clouds, an explosion destroys the pillar behind the gun which would have been pointing at Batman’s face.
Batman grabs a batarang from his utility belt and tosses it, catching Joker’s ankle as he goes backwards over the wires. He swings under the ledge, Batman rushing to the edge to look over. Joker swings back out.
JOKER
Damn you and the entire world with you!
Joker shoots the dart as he swings wide. Batman lets go of the batarang cable and dives for the dart. He misses and the dart zips through the air toward the balloon as Joker plummets through the clouds.
JOKER
Aaaahahahaha
BATMAN
Nooooooooo.
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Rita’s Act 4 Climax
What I learned:
- I can let the biggest scene be garbage now and fix it later.
- There’s a call back to something thrown into a very early scene which I didn’t know was foreshadowing at the time but I think it works now.
- I finally learned the theme — Don’t underestimate yourself — which will have to be more consciously sprinkled throughout the script.
INT. HOSPITAL ROOM – DAY
Zak sits up enjoying a juicy burger and a malt. Clearly not hospital food.
Sage sits next to the bed, smiling. Now more seductive than studious.
Zak smiles back while he chews. Offers her a fry.
INT. HOSPITAL HALLWAY- DAY
Dawn and Abernathy arrive at the elevator simultaneously. A whole Laurel and Hardy routine ensues.
Doors threaten to shut so they both jump in.
INT. ELEVATOR – CONTINUOUS
Side eyes, elevator discomfort. Tom breaks the ice.
TOM
You know, it’s Saturday.
DAWN
Yes. Tomorrow is Sunday.
TOM
Do you maybe want to keep that dinner date? I’d like to talk to you about something.
Dawn turns to face him. Total confusion.
DAWN
Really? Why?
Tom lets out an exasperated exhale and drops his head.
TOM
Can we just talk about it at dinner?
Doors open. He exits, no thought of chivalry now. Dawn rushes to get to Zak’s room ahead of him.
She bolts through the door first.
INT. HOSPITAL ROOM – DAY
Dawn’s students, out of context. This context to sinks in. She winks at Sage and takes the only other chair.
Tom has to stand, now commanding the room.
TOM
(indicates Sage)
Looks like you’re doing alright there, buddy.
SAGE
Is this the one?
Dawn elbows her.
Zak slurps his malt. His regular beam is back.
TOM
Any word on when you can get out of here and back to work?
Dawn’s jaw drops.
DAWN
Are you kidding me?
(pats Zaks covers)
You take all the time you need, Zakky.
TOM
No man likes to be laid up, am I right?
Zak’s smile fades.
DAWN
Might I remind you, Zak doesn’t answer to you.
TOM
That’s what I wanted to talk to you about. But I thought we’d save it for dinner.
Dawn stands and leans over Zak.
DAWN
So, it’s not a date? You’re trying to steal him away from me?
TOM
Let’s face it, your thing is a temporary gig. Kind of a lark, to put it nicely. I wanted to offer something with a little more security. Maybe I was could offer some stability too.
Dawn tidies Zak’s table to disengage from this conflict. She waves Zak’s pee canister at Tom.
DAWN
I am plenty stable, thank you. Maybe he’d rather stay with me.
Tom leans over Zak.
Dawn leans too, ready to take him on now.
Back to being studious, Sage watches every bit of the exchange. She pulls some paper from her bag and scribble notes.
TOM
That’s not for you to decide.
SAGE
STOP!
The two so-called adults back off. Hostile, but quiet.
ZAK
Yeah, I’m right here and neither of you know what I want.
DAWN
I’m sorry. You’re right. I–
ZAK
Mr Stevens! Come on in.
STEVENS (30s) buff in his gym clothes, tousles Zak’s hair. Handsome just doubled in the room. If he brought flowers, no one would notice them.
Sage elbows Dawn, raises her eyebrows.
STEVENS
I told you before, you can call me Darrin now.
DAWN
Seriously?
STEVENS
I know. Or just Stevens.
SAGE
Is your wife’s name Samantha?
Dawn pokes her. Then pats her hand. Sneaky, well played.
STEVENS
Not married.
(pokes Zak)
Introductions, perhaps.
He tilts his head toward Dawn.
Dawn smiles, suddenly shy. Energy in the room has changed.
Tom does not like it.
TOM
We were just discussing–
ZAK
Hey, I’ve got a great idea. Perfect timing Mr… Darrin.
Holds out his fist for a bump.
Stevens and Tom both bump him back.
ZAK
How about if you two team up.
Stevens and Tom look at each other, “I don’t even know you” but they shake hands.
TOM
Tom. Abernathy Builders.
STEVENS
Zak’s gym teacher. Former.
DAWN
Oh, the painter! Are you looking for work this summer?
Tom’s eyes go wide. What is happening?
STEVENS
Yes, I am. It’s unusually sparse this year.
ZAK
Sorry, that’s my fault.
TOM
Hold on, is this a rerun?
They all look at him, confused.
Sage’s lightbulb clicks on.
SAGE
Tom, what’s going on with these feelings of insecurity and competition?
TOM
What?
Dawn motions to her to cutoff this line of questioning.
SAGE
Clearly, you’re threatened, not only by a woman who–
DAWN
Let’s all just focus on Zak, shall we? How are you feeling?
TOM
No, I think Stevens should know the truth.
SAGE
What, that you’ve been trying to get in Dawn’s pants all summer?
DAWN
Sage!
TOM
(to Dawn)
Is that what you told her?
STEVENS
(to Zak)
These aren’t your parents are they?
ZAK
Might as well be. They fight as much.
Another energy shift. The room goes quiet.
STEVENS
(motions to the door)
Should I… ?
TOM
Yes!
DAWN
No!
SAGE
No!
Stevens stands frozen, totally confused.
SILENCE.
NURSE enters until the intensity hits her. She backs out.
Dawn can’t take it.
DAWN
Alright! All right.
She paces at the foot of Zak’s bed.
Tom crosses his arms.
Sage prepares to take notes.
Stevens takes a step toward the door.
Dawn kicks up the stopper and shuts it.
Zak holds up his finger and hits the button on his bed
It drops. Wrong way. He pushes the other button. It raises. Slowly.
Dawn waits for the bed to stop whirring.
Zak gives her a thumbs up.
Dawn jams her chair into the back of Stevens’ her knees. He can’t help but sit.
DAWN
Here it is. Tom’s a handsome man, can we agree on that?
Sage nods, definite yes.
Toms blushes. Throws up his hands and turns around.
Zak, thumbs up and a wink.
Stevens shrugs. Nods at Dawn’s insistence, “Okay, sure.”
DAWN
Great. I admit, it was impetuous. Uncharacteristically spontaneous, completely not premeditated.
SAGE
Impulsive. An act of passion.
TOM
Or stupidity.
DAWN
Fine. All of the above. I said I had a paint company but I didn’t.
STEVENS
So, you don’t have work for me?
DAWN
No I do!
Stevens tries to wrap his head around this but fails. More confused than ever.
TOM
And look where it got Zak.
ZAK
Yeah, just look.
He holds reaches for Sage’s hand.
DAWN
Aw, that’s sweet.
ZAK
I thought she was way out of my league.
SAGE
But I heard about how hard he was working for Ms Dawn and, well… I’ve been coming to visit every day.
STEVENS
Soooo, you do have work? I’m lost.
TOM
Let me spell it out for you sport. She flirted with me. She lied. I fell for it. Now she’s doing the same thing to you. Get it?
Mom knocks on the door, pokes her head in.
MOM
Is there room for me?
TOM
Oh, just perfect.
DAWN
(to Tom)
What is wrong with you?
TOM
Me? You’re the liar.
(points at Mom)
You’re the liar…
He searches around the room for who else he can point at.
TOM
You’re probably all liars!
He spins toward the door but Mom blocks the way. His face reddens further.
Mom approaches him slowly. She wraps her arms around him, squeezes tight.
He squirms to get free. He could break her grip if he really wanted to but he softens. Goes limp.
MOM
It’s okay, Tommy.
Sage grips Zak’s had tighter. He kisses it.
Mom and son stay in a much needed hug. Tension melts.
Tom runs a hand under his nose. Clears his throat.
Dawn’s eyes go wide, “Was he crying?!
TOM
I’m sorry, everybody. I’m sorry Dawn. I guess I still have a few rough edges in need of sanding.
MOM
We all do, honey.
Dawn goes in for a hug. She stops, arms out, waits for consent.
DAWN
(still hugging)
It’s okay. What you said is true.
She lets go of Tom to address Stevens.
DAWN
So, Darrin or Stevens or whatever nickname the crew ends up giving
DAWN
you, it’s true. I did lie, initially. But I made good on all of it and learned a lot in the process. So much. Zak taught me more than I ever taught him, that’s for sure.
(to Tom)
And you’re not the only one with problematic parents.
Nods all around. Total agreement there.
DAWN
And you took a chance on me, Tom. That’s all. So maybe I went about it all wrong but I hope you don’t write me off completely. I just had a good feeling about you and I went with it. And then all these other people showed up who just need somebody who sees them for who they are and doesn’t judge. And suddenly, there are…
(counts on her fingers)
Five other people who are also doing things differently.
SAGE
Make that six!
She’s sitting on the bed now.
ZAK
Or maybe seven if you count that hug a minute ago.
TOM
Plus the poor bastard who got kicked out of his house.
DAWN
There’s another liar for your list.
More nods all around except for Stevens.
STEVENS
I think I came in late on this drama.
TOM
Don’t worry, there’ll plenty more if you’re taking over for Zak.
STEVENS
Am I?
DAWN
No way, I learned my lesson. I’ll just ask you straight out. Would you rather work for me or have dinner tomorrow?
All eyes on Stevens. He seeks advice around the room.
Mostly thumbs up but Tom gives him the don’t do it signal.
Dawn punches Tom.
STEVENS
Yes?
They all laugh and say their goodbyes to Zak.
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Margaret’s Act 4 Climax What I learned completing this assignment is that I’ve never utilized an ultimate expression of the conflict in my scripts before and I’m so excited to add to my writing. In this scene Blake is attacking Lake and she doesn’t respond – she continues to move forward towards her future. To make this work effectively I’ll have to go back and show Lake responding to Blake (and her mom) in a defensive way in a reactive way and now she responds proactively without considering Blake or his drama at all. Now she is truly on her way to healing. INT. parked car – day
Lake sits in the parking lot of the police station. She looks down at the card.
She puts the card into her handbag and pulls out her iPhone.
Lake dials her insurance company.
Insurance agent
Lake
INSURANCE AGENT
I’m authorized to write you a check for $20,000 today for replacement cost of clothing, personal items and furnishings.
Lake picks up a check for replacement of clothes, furnishings, rent, etc.
Delivers food
Makes a call about a place.
Lake looks at a streamline trailer on land outside of Healdsburg.
Blake shows up.
Blake
It’s nothing like our house.
Lake
That’s why I like it.
Blake
We lived in Fountaingrove you fucking loser.
Lake
And yet it was never a home.
Blake
What’s wrong with you?
Lake
I’m not going to fight.
BLAKE
But you always do.
Lake
Not anymore.
Blake
You fucking loser. You need me.
Lake
Let me be clear. I’m never going down that rabbit hole with you again.
Blake
You never loved me!
Lake
It’s nice here. I think I can be happy here looking for my forever home.
Landlord
What do you think?
Lake
How soon can I move in?
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Tita’s Act IV Climax (22)
What I learned doing this assignment:
My original description of this main beat and outline of this scene was too focused on talking about stuff vs characters making something physical or emotional happen
There are many events/interpersonal conflicts that I could choose for the climax, but as I read over SU/Hal template/guidelines, everything seemed flat and boring and I hated the whole story.
· Deep breath time. When I re-read the SU description of what needs to be in the Act IV key screens, I realized that I should not focus on the many optional climax events that fit into the What happens next/and then what storyline…
· …instead I held the SU/Hal descriptions of the elements that need to be in the climax scene to make it powerful… ultimate expression of conflict/theme, Protag-Antag, test Protag to the core; Protag finds new way to succeed – even if succeed means to get what you need not what you wanted…
· …then think about/feel ways to mix those elements with the theme and what matters to me personally, why the f am I writing this thing… not just choose an interesting moment or challenge from the storyline’s options.
· So the job was to look inside me to find out what would really strip open my Protag – and that I personally care about and want to communicate.
SU Dramaturgy Notes about Climax Scene
(repeated here so I keep them in mind a I outline/write)
Climax Scene: Ultimate expression of the conflict; The Test. This is the ultimate expression of the conflict. Face to face with the Antagonist for the ultimate fight! This is an impossible situation that the Hero can only win with the change they have made in their lives. It is the ultimate expression of the New Ways.
Throughout this story, you’ve been forcing the Protagonist to step outside their comfort zone and go on a transformational journey. By this point, they’ve made the change that was needed. The Climax puts that change to an extreme test!
Act IV Key Scenes
Key Scene 1: Reaction to 3rd Act Turning Point.
Key Scene 2: Protagonist faces their Dilemma.
Key Scene 3: Climax – The Ultimate Expression of The Conflict.
This scene or series of scenes will be the ultimate expression of the main conflict of this story. If the Hero was required to face this test at the beginning of the story, they would have had zero chance of success or survival. But with their transformation, they have become a worthy opponent. Your job as a writer is to make this the most difficult challenge you can imagine. Do not let your lead character off lightly
This is one of the strongest moments in your story. The most important job is to just make sure you fulfill the criteria listed above. Don’t worry about being perfect. You can always fix this in future drafts. As long as you get the main points in place, you’ll do well. And have fun doing it!
There are four parts to the Climax.
A. It is the ultimate expression of the conflict.
B. The Protagonist and Antagonist come face-to-face.
C. This scene tests the Protagonist to the core.
D. They must use the New Ways to succeed.
Specifically:
A. This is the ultimate expression of the conflict.
· Start with the main conflict of your story. Ask, “What could be the ultimate expression of that conflict?”
· If the story is about two neighbors who have friction, the Climax might be them blowing each other’s houses up. If two potential lovers lock eyes in the opening scenes, the ultimate expression of that “conflict” might be a wedding.
· Whatever that conflict is, take it to an extreme in the Climax.
B. The Protagonist and Antagonist come face-to-face.
· We’ve been watching the Antagonist heap emotional abuse upon the Protagonist for most of the movie. If those two don’t fight it out at the end, the audience will feel slighted. Your job is to craft this story so that these two are put in a cage and have to fight it out!
C. This scene tests the Protagonist to the core.
· The Climax is a trial-by-fire to see if the Protagonist has made the transformation. If they learned their lesson, they’ll survive. But it will be one of the most difficult ordeals they’ve ever experienced. You’ll make sure of that!
D. They must use the New Ways to succeed.
This is going to present an impossible situation for the Protagonist. To solve it, they must demonstrate their competence in the New Ways. The Old Ways are gone. The New Ways have become their go-to behavior an
Key Scene 4: Resolution – Wrap it up and show us the new status quo
Notes based on early planning and changes based on the above:
Main conflict of the story: Find a way to balance society’s need for order and individuals’ desire for liberty, freedom and the right to have a say in what impacts their lives.
What change does protag need to make in order to win, but resists?
–Protag’s goal – Hutch wants to keep colonies united with Great Britain in order to keep the nation with the most liberty of any other nation in a world of tyrants
–Obstacles – people on both sides have their own goals and will not listen to each other’s needs (Parl wants money to repay war debt; Colonial merchants want to keep profits not lose some in tariffs; Colonial citizens want to keep their charter rights as British citizens to govern themselves by electing representatives who set laws and taxes… not let Parliament 1000+ miles away make decisions for them
–Old ways that are preventing Protag from keeping colonies united: telling, explaining existing laws, minimizing colonists’ concerns, not listening or collaborating to find solution that meet each other’s needs, enforcing the laws of the overall nation and to force colonists to understand that their charter gives them
–New ways the Protag needs to accept and use in order to win: listen, try to collaborate, and if that is not possible, value individuals’ needs for rights and freedoms as much as the need for obedience to law and order
–What does winning mean -Protag wins goal or loses goal but wins what Protag really needed to evolve as a full human being? Hutch realizes he will not achieve his goal of keeping the colonies united with the Mother Country but knows he has not overrided people’s right and tried his best to protect his fellow colonists and their need for equal rights, even if the Lords of Parliament refused to listen to Hutch
Outline of Act IV. Climax**
Beginning: Hutch spots Sam. Hancock runs. Hutch holds Sam at gunpoint. Otis rages. Sam teases Hutch – award for top of hangmen’s list. Hutch – Sam may get his independence but will lose the fine balance between … Sam, never wanted independence. Wanted our liberties as British citizens. Go ahead – make me a martur so others can replace me. Better ones. Otis has a psychotic breakdown fit calling for both order and freedom. Both Sam and Hutch dive to help him.
Middle: Otis manically wanting both, men, both national order and personal freedom. Hutch lets loose his bitterness about Sam, never listening, no patience, escalating, using people – Sam says he wanted our liberties as British citizens and shames Hutch for not joining him – Sam wanted nothing Hutch wanted position and money… Hutch retorts that Sam wanted something more – control over the people and history. Sam – if that means leading people to save their liberty fine, Hutch – he also wanted Brit liberties. But not thru bloodshed. If we negotiate, we can stay unified inability to get Parl to understand, care – and to get Sam to wait. Sam – can’t wait. Hutch could have been negotiated if you had waited. Sam if we did … Hutch – once the soldiers take over – you’ll fight yourselves.not take actions, our liberties would be gone.
End: Guards say troops have come. Hutch – we’ve both failed. If we had just listened to each other – talked over ways to resolve. Not blamed and demonized each other. Sam … Hutch: Go fast. Sam – so you can tell people guards shot me as I ran? Hutch – I’ll tell them Andrew misunderstood – told them the ravings of a madman. Go. Otis needs help – Otis runs gets a horse.
22. First Draft of Act IV Climax
[Note – change end of III so that Hutch does not let the Commissioner into his carriage – and Hutch refuses an armed guard]
EXT. HUTCHINSON’S CARRIAGE ON ROAD NEAR FIELD (Beginning)
[Hutchinson and Andrew are looking out window of carriage, parked by a field. Hutchison has a spyglass. Otis can be seen in corner with hands covering face]
ANDREW
Look over there – the men running. The tall one with the lace – Hancock! Got to be him!
[Hutchinson and Andrew fly out of the carriage. Hutchinson has a pistol. Hancock, in his velvets and lace, sees them, runs off in another direction, hides behind a tree where he can watch. But they catch up with the other man – it is Sam Adams. Otis, unsteady, comes to join them, unsure what is happening]
SAM ADAMS
Hmm, thought they had sent you off to London.
HUTCHINSON
You’re under arrest for treason to our country for-
SAM ADAMS
I didn’t shut down the people’s House of Representatives. You did, Governor. Deprived us of our right to govern ourselves.
OTIS
[Manic at Hutchinson]
Right! Denying us our charter rights… from the King… more than one hundred years ago. Take away one of our rights, we lose them all. Little by little. Lose our liberty!
HUTCHINSON
[Trying to talk over Otis]
Get yourself under control, Mr. Otis! I must arrest him… for holding an illegal assembly meeting. To send conspirators to Philadelphia. You, too, Otis.
OTIS
I will never want independence. Sam wants it!
SAM ADAMS
Nonsense! We only want to protect our rights as British citizens!
HUTCHINSON
Andrew – the driver has handcuffs. Please get them.
SAM ADAMS
Does that pistol signify you’ve been promoted to Private in the royal army?
HUTCHINSON
My duty as your Governor. And as a loyal British citizen. Enforce the laws. And arrest anyone who breaks the laws.
OTIS
[Manic, switching to Sam]
Tearing us apart from the Mother Country! Over pennies!
[Seems to be choking on his own words]
OTIS, Con’t
You and Hancock. Top of His Majesty’s hanging list! That’s why. Couldn’t you thank Parliament for taking off the tax. They tried to help us. But no, you destroy… Over a few pennies on imports of tea.
[Otis collapses to the ground, jerking. Both Sam and Hutchinson dive down to grab Otis, find themselves both holding him, very close to each other’s face… an awkward moment before they edge away from each other, but stay on ground trying to calm Otis who seems to come back to himself]
(Middle)
OTIS
[touching Sam’s face gently]
Why couldn’t we demand our rights and follow the law?
[pushing Hutchinson’s face away roughly]
OTIS, Con’t
Why couldn’t you listen to us. Tell Parliament why we want our rights as first class citizens?!
HUTCHINSON
I tried.
[Andrew arrives with the cuffs and starts putting them on Sam]
Thank you. Now then, come – into the carriage. Or should we tie you to the back of it?!
ANDREW
Sorry, Sir –
[Sam so he is now sitting on ground, cuffed. Andrew gives keys to Hutchinson. Otis tries to attack Hutchinson but Andrew grabs Otis.]
ANDREW, Con’t
Respect Governor Hutchinson.. Sir. He’s a fine man who loves the colony and nation. You needed to control your mobs.
OTIS
Not mine!!
[Pointing at Sam]
His!
[Andrew forces him gently back to carriage, leaves him with the driver and returns.]
HUTCHINSON
I wrote many letters. That’s why Parliament rescinded the tax.
SAM ADAMS
You wrote letters siccing the royal army on everyone in Boston.
HUTCHINSON
Your mobs destroyed my home, my writings.
SAM ADAMS
If you had listened to us – joined us. Used your power from the Crown to demand Parliament stop infringing on our rights as first class citizens.
HUTCHINSON
Your agents only stole the letters about the destruction of my home, threats to my family. Why didn’t you publish my others? I wrote days and nights for you – trying to explain. Trying to stand up for the colonies. With negotiation. Without bloodshed. But every time I insisted colonists were decent citizens just concerned about losing their liberties – bam, you and your mobs.
[As he gestures, he drops pistol. Despite cuffs, Sam has it. Andrew risks his life to take it but Sam gives it up easily.]
SAM ADAMS
We never wanted violence. We wrote letters, town meeting resolves – no one listens to us. Unless we stop talking. Do something to force you and your Lords in Parliament to understand.
HUTCHINSON
You and Otis have demonized me since my father won disputes against each of your fathers. Every time I tried find a way to resolve the rights of our Parliament and our colonial assemblies, you blamed me for –
SAM ADAMS
[Interrupting]
“Every time” we tried to stop the Lords of Parliament from taking away our rights, you accused us of breaking Parliament’s laws – what about protecting our rights?
HUTCHINSON
We have both failed. I will tell Andrew and the driver we believed the ravings of poor mad Otis.
[Hutchinson unlocks the cuffs, turns his back to Sam, walks back to the carriage. Sam gets up, looking at Hutchinson thoughtfully. Hancock runs in from where he has been hiding, exhuberantly embracing Sam]
HANCOCK
Thank heavens I’ve rescued you! Come fast. We can still reach the wagon for Philadelphia.
[Sam goes with him, solemnly]
My Template Check of Climax Scene(s):
c A. Main Conflict? What is the main conflict of the story? _______ How is this scene the ultimate expression of the conflict?
c B. Face to Face? How do the Protagonist and Antagonist come face-to-face to deal with the emotional abuse the Antag has been heaping on the Protag ____
c C. Tested? How is the Protagonist tested to the core? ______ How does this trial-by-fire show if Protag has made the transformation, learned the lesson they need to survive? _____ How do you make sure that this confrontation one of the most difficult ordeals they’ve ever experienced?
c D. Needs New Ways? How is this an impossible situation for the Protag? ___ How must Protag use New Ways to demonstrate their competence and succeed – or not? ____
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This reply was modified 2 years, 2 months ago by Tita Beal Anntares. Reason: Why is my posting booked as 10:17 pm when it is 5:17 pm ET and 2:17 pm PT? Just curious - I check the details because of the other problems I was having, sections missing when I copied/pasted from a Word doc. No problems like that anymore. Maybe because I was copying/pasting the assignment from the email then writing on it and there were left over glitches. No problems now because I start typing the assogmemt in a clear space on a Word doc, separate from the copied assigment
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This reply was modified 2 years, 2 months ago by
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Chris Dorsey Act 4 Climax
What I learned doing this assignment is put in additional, previous scenes to build yo the climax.
INT. CELLBLOCK – DAY
Wilbert enters the dorm holding a medical chart under his arm. He sees the Antagonist and his crew 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.
Wilbert and his Cellmate stand off to the side. Wilbert waffles between interceding and hanging back. He takes a step forward and his Cellmate grab him by the arm.
CELLMATE
Wilbert, don’t. You’re going to get out of here soon. You’ll pick up a new charge.
Wilbert brushes past his Cellmate and moves forward.
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.
The Antagonist lets go of Pinky. Pinky walks over to Wilbert and stands next to him.
ANTAGONIST
Lets do this thing. Mortal combat.
(yells out to the dorm)
Mortal Combat!
WILBERT
Let’s take it to the yard. Pinky, gather everyone. I’m going to get something from my cell. See you in a minute.
Pinky nods his head “yes” and runs off.
The Antagonist turns to speak to his SIDEKICK.
ANTAGONIST
Get outside and once everyone’s in, jam the locks so the guards can’t stop the fight.
SIDEKICK
Got you, boss.
EXT. PRISON YARD – CONTINUES
The Documentary Film Makers holds a microphone up to a SAD-LOOKING INMATE. A CAMERAMAN films the interview.
SAD-LOOKING INMATE
Insert something funny…
Sad-looking inmate stops mid-sentence. His jaw drops.
SAD-LOOKING INMATE
Holy shit!
Inmates pile out of four different dorms and enter the prison yard. Sidekick ushers them all in. He jams the lock on the gated fence with a [ ].
Wilbert and the Antagonist stand in the middle of the yard and stare each other down.
ANTAGONIST
What do you got there, McNutt?
WILBERT
This? This is your mental health records. That was some read. I think everyone be interested in hearing what it says about you.
ANTAGONIST
…
The Antagonist pulls out a switch blade.
ANTAGONIST
What, Wilbert, you gonna’ cry and say, “That’s not fair?”
WILBERT
Nope. All’s fair in love and war.
Wilbert pulls out an officer’s baton.
WILBERT
Figured I’de take this just in case.
CLIMAX: He realizes that somewhere in the middle, between overly positive voices and bad voices, is where he should be. He spares the Antagonist’s life. He exposes the corrupt prison system and makes the corruption public (through either his pro bone attorney and his camera crew).
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Lonnie’s Act 4 Climax
What I learned from this lesson: I am seeking the rights to some books, detailing the courtroom scenes where the parents of some of the killed students filed a lawsuit against the National Guard and the Governor of OHIO. This is the real climax of the scene, resolution to follow. But here’s some placeholders.
NEWS HITS THE TV (SUPER: HEADLINES)
EXT. KSU CAMPUS – DAY
Chuck and Karen stuck in traffic leaving campus.
All phone lines tied up.
EXT. DOWNTOWN KENT, OHIO – DAY
A black, four-door Sedan pulls up to a row of 2-story homes and apartments.
TWO MEN in coat and tie get out, walk to front door and KNOCk.
The suspicious man from the previous scenes arrives at door.
MAN IN TIE
It’s time. We need to get you of here.
SUSPICIOUS MAN
Let me grab my suitcase.
Two men on porch wait impatiently.
Suspicious man walks out, and gets rushed to the car, where the MALE DRIVER (40ish), “FBI” on his shirt, has stepped outside the car to have a smoke.
They all jump in car. It races away.
Placeholder: Students on many, many campuses across the country protest the war in “Nam.
Parents of murdered students file lawsuit against the National Guard and the Governor of Ohio, Rhodes.
SUPER: MAY 5TH 1975
INT. COURTROOM – CLEVELAND, OHIO – DAY
Plaintiffs, the parents vs defendants, NATIONAL GUARDS MEN WHO FIRED SHOTS, and Governor James Rhodes. They all confront each other in court, headed by Judge Young.
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Lesson 22
I learned by following step to step instruction. You can expand the script,
Act 4 climax
Police arrests jeff from the shop. Andrew stays home as jeff knows police is chasing him.
Julia beat Andrew for calling police. Andrew convinces her he is not the one.
Andrew sleeping in room and planning now Jeff is gone he can know if my parents alive or not.
Julia opens the Andrew room door in morning ask him to get ready for the shop. Andrew
Continuously following her up to the kitchen. Ask Julia if she wants a tea.
Julia
Sure, make it strong.
Andrew eyes are on phone. Suddenly Julia put the phone back to counter and goes to the bathroom. Andrew steels the phone till he heard the bathroom door closes. Andrew Goes to his room dial his father cell. Bell rings. Andrew put phone back as nobody picks up the phone. He calls his mother cell. She ignores it too Andrew is crying.
Andrew
This means jeff was right my both parents are dead.
He heard the flash sound.
He dials again the phone. shut down and dial again.
Robinson
Someone is desperate.
He picks up the phone.
Andrews overwhelms.
Andrew
Dad it’s me. Andrew
Dad disbelieves. Andrews is narrating story. ROBINSON emotional cannot speaks a word.
Julia looking for phone. Knocks Andrews door.
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Day 22 Act 4 Climax
James’ Act 4 Climax
What I learned doing this assignment is… my female lead is testing out her new ways of operating in life. She uses her podcast platform to communicate with fans and Rufus that their pasts can be used as guidance and a learning experience. Jessica goes on to talk directly to Rufus by trying to convince him a misunderstanding should not ruin the progress they made in their relationship. The emotions can be felt in her tone of voice, which impacts everyone especially Rufus who knows she is someone special and should not be dismissed.
INT. LOCAL MEDIA CENTER – DAY
Jessica is on the last call of her podcast. She hangs on every word being said.
JESSICA
That’s wonderful Gloria. Did he come back running into your arms?
GLORIA (O.C.)
Not only did he come back running, we got married again. This time in the Bahamas.
JESSICA
And did he pay?
GLORIA (O.C.)
For everything. The food. Hotel accommodations. Even our guests’ flights to and from the Bahamas.
Jessica feels the love of her caller.
CUT TO:
INT. RUFUS’ HOME – DAY
Rufus is tuned in to the podcast. His undivided attention given as he cannot sway for one moment.
JESSICA (O.C.)
That’s beautiful Gloria. You have definitely found your soulmate. There’s nothing on Earth that’ll separate you two.
GLORIA (O.C.)
Just know that a person like you makes us women feel valued and respected. And that is a blessing.
Rufus is touched by the caller’s praise.
BACK TO:
INT. LOCAL MEDIA CENTER – DAY
Jessica closes her eyes for a few seconds to let the choice words reach the entire audience…
JESSICA
There’s no better way to end this episode.
GLORIA (O.C.)
I wish you much more success. May you impact many more lives.
JESSICA
Take care Gloria.
The caller’s line is closed. Jessica gathers herself to finish the podcast with parting words…
JESSICA
As Gloria’s story told us, real love will face any challenge and come out on top. No matter the distance or circumstance, when a true human connection is made nothing is more powerful. This is the basis of our humanity. Why we live. Why we confront each waking moment. And why time is never lost searching for that person who will light our days. When you’ve found that soulmate, nurture and cherish it because what’s worthwhile may come around only once. And sometimes when you’re not with that special someone, you care for them even more. Thank you for your valuable time. Until we meet again, show and spread love in your lives…
Jessica gently releases the microphone as her own words affected her.
CUT TO:
INT. RUFUS’ HOME – DAY
Rufus finds himself glued to the computer not able to move as he too is affected by Jessica’s words and thoughts.
RUFUS
She is the one. I always knew.
Rufus slowly closes his laptop and ponders in complete silence alone in his living room.
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