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Lesson 8
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8 Replies
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Laurie’s Lesson 8 scene
Logline: John will stop at nothing to be the first to get his hands on a new species of orchid
Essence: John, a botanist who can’t leave the country, needs to be the first to id a new plant species.
Expression: John needs Nick to bring in a sample of the plant and the details about where it was found.
EXT. BOTANICAL GARDENS, FT. LAUDERDALE – DAY
Lush tropical plants and palm trees line a walkway outside an old Southern mansion converted into offices for the staff.
JOHN, 54, botanist, paces impatiently, vaping. He checks his watch.
JOHN
Dammit, Nick, you said noon and it’s nearly one!
He takes a long drag on the e-cigarette, and notices out of the corner of his eye — there’s something moving in the bushes. He strides over and separates the branches.
NICK, 45, explorer and trader in rare flora and fauna, is crouching underneath.
JOHN
What in the hell! Get out of there.
NICK
Spotted an iguana, man. Thought you’d want to know. Little buggers will eat their weight in your precious mamey sapote —
JOHN
I don’t believe you.
NICK
It’s a fact, man.
JOHN
You now damn well that’s not what I meant! Admit it. You were skulking, about to sneak up on me, pull one of your stunts.
Nick reaches into the brush. Iguana scurries up a tree.
NICK
You don’t trust anyone or anything, man. I was simply trying to do you a favor.
JOHN
Cut the crap. All I want from you is the truth.
NICK
I already told you all I know. I just dropped by to say hi.
JOHN
I want the details of what really went on down there and I’m willing to pay.
NICK
With what? You suddenly come into some dough?
JOHN
That’s none of your business.
NICK
And you expect me to trust you.
JOHN
That’s rich, coming from you.
NICK
(laughing)
Okay, in the spirit of keeping our beautiful friendship alive… I found the paph on a rocky limestone slop, in a part of Peru that’s not exactly easy to get to.
(singing)
Take me to higher ground!
Nick grabs him by the shoulders, shakes him.
NICK
Let’s call it high ground then. I’m telling you, the paph was nearly 8 inches across, a deep purple —
JOHN
No more lies! Ever since Kovacchi was found, every one of those areas have been scoured clean.
NICK
What can I say? Mother Nature is a wily lady.
JOHN
Then hand over the plant and give me the coordinates.
NICK
Tell you what I’ll do. Grab your camera, and a backpack and I’ll take you there. See for yourself —
JOHN
You know goddamn well I’m not allowed to leave the country –the one and only time I trusted you cost me everything! You owe me!
NICK
Oh yeah, too bad you took the fall. Que sera, and all that. And lost Karen in the bargain. What a blow.
JOHN
I didn’t lose her. You stole her from me! Manipulated us both and now you’re going to tell me where you’ve got the plant or —
NICK
Or what? You’ll strangle me with a piece of that fig over there? Here’s what I’m offering. Don’t take too long– I’ve already got two high dollar offers in play.
JOHN
Cheeky bastard! Karen called me last night. Told me you struck out with those other buyers. I’m your last play.
NICK
Well, whatta you know.
JOHN
So get the plant and tell me where you really found it, and we’ll talk compensation.
NICK
Shit. Seems our girl is playing us both for chumps.
JOHN
No! She’s through with you. She wants to get back to me!
NICK
Since she’s holding the plant for me and has the coordinates on her phone, I’d say you’re hatching your chicks a bit soon, John —
John lunges for Nick.
Close on IGUANA, watching the men fight in the brush below.
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Logline: Priest John wants priest Nick to confess all the sexual abuses he committed.
Essence: John makes the biggest sacrifice to get to the truth.
Scene:
EXT. FORECOURT CHURCH – DAY
JOHN (76), in a priest gown, drops an envelope in a letterbox.
He crosses the forecourt of a church. He looks up at the large church clock.
When it hits half past five, John unlocks the wooden door to the church tower and disappears behind it.
INT. CHURCH TOWER, STAIRCASE – DAY
John gasps when he climbs the steep stairs. He lifts his gown so he does not stumble over it.
When he arrives at the level where the clocks hang, there is a little niche with a cross. John touches it.
JOHN
I place my soul in your hands.
EXT. CHURCH TOWER TOP – DAY
John arrives on top, very exhausted. He gazes over the city calmly when the clock hits a quarter to six o’clock.
Then he listens carefully when he hears somebody coming up the stairs with heavy steps.
NICK
John? Already up there – or do you need some help?
JOHN
Nick?
NICK (46) arrives on top of the church tower.
NICK
I was wondering if you were going to make it up here.
John stands in front of Nick and holds his arms apart.
JOHN
Do you want to search me?
NICK
Of course not… you’re a minister of God, his most loyal one… I don’t fear you.
JOHN
I could have a recording device.
Nick laughs.
NICK
You? You’re just an old, lonely bastard… if yes, let me know, and I’ll help you to put it on.
JOHN
You’re a minister of God, too… spread your arms.
NICK
Forget it… I will never…
JOHN
Spread your arms! Now!
John searches Nick but does not find anything.
JOHN
So, why do we have to meet up here? The confessional booth is down in the church…
NICK
I just want to talk to you… privately…
JOHN
It’s about time…
NICK
Did you already send the accusations along to the bishop?
JOHN
No… I wanted to talk to you first.
NICK
Well done… I see there is still some good spirit left, then.
JOHN
I’m just here to find out the truth… nothing but the truth.
NICK
Of course, we all want the truth and nothing else…
John turns around and loosens a stone in the wall. Takes out a gun from behind the rock and points it at Nick.
Nick tries to hide that he is losing his confidence.
NICK
You… and a gun? This is not in the name of the lord…
JOHN
In the name of the lord… I will play this game… with different rules than you might expect.
NICK
What do you want me to say?
JOHN
I want to hear if the allegations of these young women are true.
NICK
You threaten me… even if I confess whatever you want to hear… this will be a forced confession that you cannot use in court.
JOHN
Bright as usual… that’s why I have a different plan… I actually want to help you.
Nick relaxes a bit.
JOHN
You might not know… but I’m terminally ill… maybe a couple more months to live… and then that’s it.
Nick smiles.
NICK
I’m sorry to hear that.
JOHN
Therefore my plan… you confess to me… I give you the absolution, and you shut me with this gun with all my fingerprints, and it looks like… a suicide… the bishop knows I’m terminally ill…
Nick smiles even more.
NICK
That’s brilliant… you’re… I love the idea of absolution…
JOHN
Enough of getting off the track… what happened with…
Nick gets nervous.
NICK
First, there was this incident with Maya…
All the church bells start RINGING at six o’clock for a long time.
Nick shouts a John, but his words are drowned by the sound of the bells for the audience. John understands what Nick says and nods.
When the bells stop ringing. Nick sits down.
NICK
I feel better now… when it’s all out… thank you for doing this…
John still shakes his head in disbelief.
NICK
Where is the gun?
Nick smiles again.
JOHN
Oh… let’s not forget the absolution… can you give me my absolution before killing myself… before I absolve you?
Nick stops smiling.
NICK
Is this a trick?
(pause)
Why not? I love this absolution game…
Nicks goes toward John and puts his hand on John’s front.
NICK
Deinde ego te absolvo a peccatis tuis in nomine Patris et Filii et Spiritus sancti. Amen.
John smiles at Nick, and Nick smiles back.
JOHN
Let me take a final look at mother earth before I join our father in heaven…
He approaches the reeling of the church tower, leans over it, and throws himself over the reeling with a yank.
NICK
What about…
Nick watches John in disbelief.
NICK
What about… me?
INT. BISHOP’S RESIDENCY, DAY
The hand in white gloves with a bishop’s ring opens an envelope with a prestigious letter opener.
The BISHOP reads the letter and MUMBLES incomprehensibly.
BISHOP
(reading)
Reverend… by the time you read this, I’m already with the lord.
(pause)
If I ended my life by suicide by jumping off the church tower, all the allegations against the priest, Nicolas Salvatore, are true… The sacrifice of my life is proof of it.
The
bishop drops the letter, and it floats to the floor.-
This reply was modified 2 years, 2 months ago by Madeleind Gentinetta.
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This reply was modified 2 years, 2 months ago by
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Andrew’s QE cycle two, draft one [Lesson 8]:
LOGLINE: Nick and John argue and fight while rock climbing
ESSENCE: Nick’s in love with Jess; John is not.
EXT. ROCK FACE – DAY
A cliff face. High above the valley below.
A rock climber, NICK [mid 20s], rests on a ledge with his back to the rock as he waits for his companion to make the climb up to him.
Nick turns his head sideways to look at the pin in the rock next to him, which holds the rope on which his fellow climber depends.
His hand reaches over to the rope and the pin, his finger flicking it as if to pull it out and send his companion falling down the rock face.
Nick pulls away from his reverie as JOHN [mid 20s] appears over the ledge below him. He looks up at Nick.
JOHN
So, my best man wants to bang my fiance.
NICK
Do you want me to bang her? Cause that’s what it sounds like.
JOHN
I don’t want to marry someone who’s banging another guy.
NICK
John, mate, you’ve got serious trust issues.
Nick reaches down.
NICK (CONT’D)
Take my hand.
JOHN
I can do it.
John struggles over the ledge, refusing the take Nick’s hand.
John’s foot slips.
Nick pulls back and braces for the fall.
John’s hanging on by his fingers.
NICK
Lean back. Trust the rope. I’ve got it.
John looks up at Nick, not sure.
Nick reluctantly shows his grip on the rope.
John tries again to get a foothold, but slips. Falls.
Nick braces as the rope jerks with John’s body weight. John only falls a foot or so.
Nick hangs onto the rope as John swings in to get a foothold.
The rope frays against the ledge
NICK (CONT’D)
You actually think I’m banging her, is that it?
JOHN
Are you?
NICK
No! We’re friends. I introduced you two, remember? I dared you to ask her out.
JOHN
Well, that’s what you would say.
John gets a grip back on the cliff face.
NICK
Do you love her, or do you just want to bang her?
JOHN
What’s the difference?
NICK
There’s a difference… but you want to test her, right?
JOHN
Maybe.
NICK
Okay, set up a date, I’ll arrive instead, give her a few drinks, have a good time, see if she wants a last fling before tying the knot.
John hauls himself up over the ledge again. Nick offers his hand.
NICK (CONT’D)
I’m trying to help.
John takes the helping hand and Nick hauls him onto the ledge, where he sits, getting his breath back.
NICK (CONT’D)
I won’t actually go through with it.
JOHN
How do I know that?
Nick studies the rock for the next leg of the climb, getting a hand hold.
NICK
You’ll just have to trust me.
He pulls himself upwards.
JOHN
I don’t.
NICK
Yeah. You don’t trust Jess either. So why you marrying her?
JOHN
I said I would. I made a commitment.
NICK
That’s a shit reason. If you don’t trust her now, how you going to trust her when you’re married?
Nick hammers a pin into the rock further up.
NICK (CONT’D)
Love and trust go together like this rope and these pins, man. The one is useless without the other.
John starts to climb up after Nick.
JOHN
I’ll be a loyal husband.
NICK
Loyal like this rock – hard, unmovable, controlling…
John draws level with Nick, but this time he keeps climbing without looking at Nick.
NICK (CONT’D)
I don’t care what anyone says; you don’t trust her – you don’t really love her.
JOHN
And I suppose you do.
Nick doesn’t answer.
John stops climbing; stares at Nick. Realization.
JOHN (CONT’D)
Shit.
NICK
I won’t be best man to someone who doesn’t love her.
John’s free leg swings out, catching Nick under the jaw, sending him backwards off the cliff.
The rope tightens and Nick jerks to a halt.
The rope on the ledge frays more.
John braces, but he has no pin to hold him this time, and Nick’s weight pulls him from the cliff face also.
John jerks to a halt also.
Both men now hanging a few feet from each other, trading blows in midair… as the rope frays further.
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AUDREY
LESSON 8: QE CYCLE 2
LOGLINE: A rich Asian benefactor’s most precious artifact has been stolen from a museum gallery in his family’s name. The real culprit is the last person he’d suspect.
ESSENCE: How to create the tension between the accuser and the accused.
INT. MUSEUM ROTUNDA – DAY
JOHN ABARA, a Security Guard, late 40’s, white, is in lock step with MIRA YANG, beautiful, African-American woman in her 30’s, and she’s all business. They’re hastily approaching…
FROM JOHN AND MIRA’S POV
POLICE. CAMERA FLASHES. PLAIN CLOTHES DETECTIVE making notes, FORENSICS, in latex gloves and brief case kits. All milling around.
BACK TO MIRA
MIRA
Mr. Yang is very upset. But there’s nothing that ties you to any of this. Don’t let my husband rattle you… He’s good at that. Stick to your story.
JOHN
(South African accent)
My story? It’s not a story. It’s the truth!
They share a look.
MIRA
Good!
A hint of a smile creeps across Mira’s lips, as they march toward to commotion.
INT. MUSEUM YANG GALLERY – CONINUOUS
Asian and African Art displayed side by side. Pottery. Paintings. Gold vessels. Masks. Silk Screens. Vases.
NICK YANG, handsome Asian, 40’s, Brook Brothers styled, intensely, studies the empty Glass Case, dusted in white powder. TWO BODYGUARDS, flank Nick. As the commotion thins out… John and Mira enter. She stealthily stands to one side.
Nick, sees John, and jesters for the Two Bodyguards to leave. They exit.
NICK
John! Thanks for coming! Sorry, I don’t recall your last name.
JOHN
Abara!
NICK
Abara! Where are you from?
JOHN
Originally, I’m from South Africa!
Nick turns to the empty Glass Case dusted with forensic powder. Then, he peers up to the glass ceiling.
NICK
What’d you think of the skylights?
John doesn’t answer.
NICK
(to John)
Illumination allows you to see things in a different light. We are happy to announce, the opening of The Yang Gallery. I’m proud of our work here and the investments you’ve made.
Nick continues to studying the artifacts like he’s seeing it all for the first time.
MEANWHILE
NICK
Tell me about yourself, John.
JOHN
You know me! I’ve worked here for 10 years.
NICK
And?…
A BEAT as John register’s it’s not the answer Nick wants.
JOHN
I’m a security guard at this end of the museum, assigned to this wing.
NICK
Ah, there it is! You know this wing! Every artifact. Every exit. Alley way. Every curator.
JOHN
I told the detectives everything I know.
NICK
See, I don’t think you did!
John says nothing.
Nick turns to John and their eyes lock.
NICK
What I know is this… you once ran into a burning building and saved a man you didn’t even know. That takes courage… Someone who’s willing to take risk…
JOHN
I’m no hero. I could see my way in. And clearly see my way out!
As Nick digests the comment…
NICK
Smart! You won’t take a chance if you can’t see your way out.
A BEAT
JOHN
Mr. Yang. I lead a simple life. I come to work. Do my job. And go home to feed my cat.
Nick, clearly growing agitated, starts pacing…
NICK
The Bronze African Mask is an ancient artifact that belongs to my family… It dates back to the 6th Century.
NICK
(emphasis)
The mask is evidence that trade occurred between two continents… China and Africa! It’s a rare find in Asia. Which is important to history… to me…
Turns to Mira.
NICK
To us!
JOHN
What’d you want from me?
Nick gets in John’s face…
NICK
(yells)
I WANT IT BACK!
(growing angrier)
We all know if there’s a roach in this gallery that doesn’t belong, you’ll know it! Hard to believe a rat enters and you have no clue! My gut tells me that rat is you!
Mira rushes to Nick’s side… grabs his arm.
MIRA
Nick, that’s enough!
Nick pulls away.
The Two Bodyguards rush in.
John sees them, and he calmly and carefully moves to Nick.
JOHN
NICK! Here’s the difference between me and you… I don’t stay up at night worrying about big losses because I don’t have any.
John bends into Nick’s ear.
JOHN
(whispering)
And here’s what I know! The heist goes underground and the mask may never be discovered. But someone will be rich.
JOHN
(whispering)
Here’s the best part! Priceless stolen art have hefty insurance payouts. Either way… it’s a win, win!
Their eyes lock.
Nick balls his fist.
NICK
(furious)
I will squeeze you like a rotten grape —
John starts walking out…
JOHN
(overlapping, calls back)
— Mate, take one for the team! Think of it as charity!
John stops. Peers at Nick.
JOHN
For all the stolen art raped from another continent!
He looks at Mira. Then, he walks away.
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Shelley scene ready for feedback:
LOGLINE: After his client dies on the mountain, John, the ski instructor who’s implicated, must prove Nick is the one the investigator is looking for before it’s too late.
ESSENCE: The time of the lone wolf ends when truth has its way.
SCENE: INT. GONDOLA RESTAURANT AT THE TOP OF THE MOUNTAIN
NICK
Look man, the investigator is due any minute, and I’m trying to give you the benefit of the doubt. You need to get your story straight.
JOHN
Don’t worry yourself, dude, it’s not your business.
NICK
Stop trying to do it yourself, man, let me help. I’ll even put some money down for your bail. Let’s go get a table, and you can tell me your side of the story.
JOHN
You have to be kidding with your rebellious past?
NICK
Hey, I’m the only person who’s got your back. Those were the old days, I couldn’t have gotten on the ski patrol if I was still drinking.
JOHN
Right, you know full on one beer and you’re in the hole again.
NICK 5 years sober.
JOHN
Look, a million bucks say you had something to do with it—time to take off the Superman suit. I left my jacket up there, trying to lighten my load, so I could ski down and get the ambulance. Some coincidence that you arrived even before I called a code red.
LUCY
(Comes out of the kitchen dressed in a chef’s apron)
Hey boys, what’s up lover-(Kisses Nick). You guys still at it?
JOHN
Hey Luce. (turns back to Nick) I didn’t know the guy was sick. I wouldn’t have taken him up the mountain if I knew he’d have had a heart attack. Nick, you know more than you tell; you worked for the guy and recommended me.
NICK
God help you. You’ll need help with your storytelling if you want to get out of this one because you knew he couldn’t do a black diamond.
JOHN
Hey man (putting his arm on Nick’s), maybe it’s time, to tell the truth of your story.
LUCY
(gives a quick conspiratorial smile) I was with Nick on that beautiful day, remember? Sunny at the top of the mountain, and people were having fun. Stop spending so much time alone, John, I’ll see you later in the kitchen for tonight’s function.
NICK
Ok, you have my permission to take my lady into the kitchen.
JOHN
Look, I committed to helping Luce in the kitchen before all this happened. But we’re not done with this conversation. There’s something off here, and I will find out what it is.
Nick grabs Lucy around the waist and pulls her close, revealing her tattoos.
JOHN
Hey, wait a minute… that’s it! Luce, that last ink you got says it, the one Nick really didn’t like – what does it say?
NICK (interrupting)
What are you talking about? Leave her out of this!
JOHN
Luce, you know something, I can see it in your eyes.
Lucy looks away, and throws a casual glance at Nick.
NICK
Her name is Lucy. (turns to Lucy)
I don’t know how you put up with this guy. Doesn’t trust anybody, not even his friends. You gotta take it like a man, John, they will not put you in jail just…
JOHN
What do you know I don’t know? I’m taking a risk here, but it’s my only choice. The patrol does the trail checks and handles the mountain signage. The sign was missing and the old man didn’t know it was a black diamond until it was too late.
NICK
(quickly start leading Lucy away) Come on, Hun, let’s leave this loser. Once a loner, always a loner.
JOHN
Hey, I got some friends, here they come now.
A gang of instructors gathers, and the locals menacingly surround Nick-
LUCY
Hey Nick. I have proof of your involvement. I found this note in the snow after you took the old man in the gurney. Don’t you recognize it? This is the note you gave the old man, it must have fallen out of his pocket that day.
(NICK turns to Lucy) Sweetie, you must be mistaken. I’ve never seen this note, in fact…
JOHN
Why don’t you admit it Nick? You are a conniving asshole. You knew the old guy was sick. You set this up.
LUCY
Nick, I ain’t going anywhere with you unless you admit this whole thing was another one of your schemes. The note proves it.
NICK
(laughing) Oh yeah, well, I admit nothing.
The gang grabs Nick and hangs him on the ski rack by his coat. The crowd snickers as the investigator arrives. Lucy hands him the note.
JOHN
It’s about time…-thanks, Luce, I couldn’t have done it without you.
(John gives her a hot kiss on the lips and her tattoo that says THE TRUTH REVEALS ALL)
LUCY
Anything for you, sweetie. Like you, I’ve wanted to hang him on the rack for years.
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This reply was modified 2 years, 2 months ago by Shelley darling.
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This reply was modified 2 years, 2 months ago by
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Logline: Nick and John argue about the money
Essence: You can’t trust anybody over here
EXT. MIDDLE EAST VILLAGE, DARK STREET – NIGHT
Bullets fly. A brown sedan careens around the corner, screeches to a halt. John Mackley, the driver lowers the passenger window.
He leans over toward the open window and drapes his right arm over the seat back.
Nick Doughty steps out from a darkened doorway. He looks through the window and sees John behind the wheel.
JOHN
Get in!
NICK
Where the fuck’s Danny?
JOHN
The same place you’re gonna be if you don’t get in now! Let’s go!
Nick crouches and opens the door and slides in. John peels out just as two gunmen round the corner and spray the car. The back window shatters. A tire blows out.
But it’s still better than being on foot. John urges the car six blocks before he takes out a clicker and punches a button. A door rattles up. He turns hard into the garage.
INT. GARAGE – NIGHT
A Toyota pickup truck stands in the middle of the floor.
JOHN
That’s our ride! Let’s go!
They climb into the truck. John turns the key and the engine grinds. He tries again.
NICK
Does this thing run?
John twists the key hard, leans into it. It fires and then dies.
NICK
Jesus, they’re gonna be here any second.
John twists the key again. Finally the thing starts.
John pulls out and floors it down a deserted street. The door crawls back down.
INT. TRUCK – NIGHT
NICK
They got Danny?
JOHN
Yeah.
NICK
Fuck!
John looks over at him.
NICK
Let’s give him a moment of silence, alright? I owe him that. I’m gonna close my eyes. You just keep driving.
With Nick’s eyes closed, John drapes his arm across the seat back. He holds a pistol in his right hand. After the moment of silence…
NICK
Move your arm, it’s bothering me.
JOHN
It’s holding a gun to your head.
NICK
What the hell for?
JOHN
Insurance.
NICK
What insurance? You know I broke off from the Taliban.
JOHN
So you could take all the money for yourself.
NICK
And now you want it.
JOHN
It’s not for me. It’s for the refugees.
NICK
Yeah, right…. Are you working with them?
JOHN
I don’t exactly work with anyone.
NICK
What are you doing here, then?
JOHN
I’m here on a mission. Right now it’s saving your sorry ass.
NICK
Look, I made a deal with Remi. He gets me out and I tell him where the money is hidden.
JOHN
Remi has abandoned you.
NICK
Whaaat? No way! Why would he do that?
JOHN
He found out on his own. They don’t need you.
NICK
That’s bullshit! I know where it is. They can’t find it without me.
JOHN
They don’t need you, Nick. You’re toast to them. Did you wonder who was shooting at you back there?
NICK
Nah, I’m the only one that knows where the money is, I’m good.
JOHN
Nick, that’s who was shooting at you. Does that make you feel good?
Nick thinks this through. Maybe John is right.
NICK
That son of a bitch. Can’t trust anybody over here.
JOHN
Now might be a good time for you to tell me.
NICK
So you can kill me and take it for yourself? Fuck that.
JOHN
The refugees need it a lot more than I do.
NICK
Still, I tell you, you kill me and then who knoooows where the money goes?
JOHN
I can drop you off back where I picked you up and you can work it out with those guys if you don’t believe me…. But I’m telling you Nick, they don’t need you.
NICK
Maybe they don’t, but you do.
JOHN
That’s why I came to get you.
Where is it, Nick?
NICK
I want half. That was my deal with Remi.
JOHN
Remi was trying to kill you. So you got squat with him. But I’ll agree to that.
NICK
And you get me to the airport?
JOHN
If you don’t try something stupid.
NICK
It’s in a shot-up store at the edge of town.
JOHN
Let’s go.
They come on a war-scarred section of town. Burned out cars and mortar craters mark a scene of violence.
NICK
That’s it, there, on the corner. Pull over.
John pulls over to the curb. They look around. Nothing.
JOHN
Don’t forget I’ve got a gun on you.
EXT. BURNED-OUT STORE – NIGHT
Nick pushes on the metal door. It scrapes along the floor and squeals as it opens. They creep inside on high alert.
INT. BURNED-OUT STORE – NIGHT
Nick leads the way. John follows with the gun at Nick’s back.
The place is almost pitch black. Nick feels along the wall and stops at a doorway.
NICK
You got a lighter or something?
John reaches in his pocket and pulls out a Bic. As he does Nick drops to the floor and comes up hard and knocks the gun and lighter from John’s hand. Nick grabs the gun.
Before he can control it John kicks a little to the left of where he last saw Nick’s head. He misses. Nick shoots.
The bullet strikes John in the side. Off the muzzle flash he dives at Nick and takes him down.
They fight in the dirt on the floor. John gets the gun back and knocks Nick hard up side the head. And once more just because.
He locates the lighter with his foot, and picks it up.
With the gun firmly in one hand, John lights the Bic with the other.
Blood streams down Nick’s face.
JOHN
That was something stupid.
NICK
I had to try.
JOHN
Any more of that you lose your ride to the airport.
NICK
The money’s in the floor. Under this table.
JOHN
Get it. And if you come out of there with a gun in your hand you’re a dead man.
Nick opens the hatch, reaches in and pulls out a sack.
JOHN
Open it.
Nick opens the bag. And pulls out a pistol. Before he can complete his turn and shoot John, John blows him away. Nick falls to the floor. John collects the bag and the gun and heads back to the truck.
INT. TRUCK – NIGHT
As he pulls away from the curb Remi’s men drive up. John tears off in the Toyota. Remi’s men give chase. They fire away as John disappears around a corner.
END SCENE
-
<div>Logline: Two female canoeists shun Nick, and he thinks John knows why.</div>
Essence: John and Nick are friends, but there are things they don’t like about each other.
EXT. WILDERNESS ISLAND – DAY
Wind whips the small island and dark clouds portend severe rain. NICK (late 20s, tall, muscular) and JOHN (late 20s, wiry, average height) finish setting up their tent. While John puts their gear in the tent, Nick walks 50 yards, to a clearing in the forest, where CHRISTY (mid-20s, outdoorsy, wearing a Sierra Club t-shirt) and JAZZ (mid-20s, blonde hair, paler skin, novice outdoorsman) struggle to erect a tarp to protect their cooking area from wind and rain. Their tent is nearby.
NICK
Let me help with that.
CHRISTY
No thanks.
NICK
It’s no trouble.
CHRISTY
We don’t need your help.
NICK
I’m just offering assistance. I’m not asking for your hand in marriage.
JAZZ
Thank God.
CHRISTY
We really don’t want you anywhere near us.
Nick nods slowly, in thought, and goes back to his tent where John is finishing up.
NICK
We need to talk.
He gestures for John to follow him to the lake shore, out of earshot from the women.
NICK
What did you tell those two about me?
JOHN
Nothing. Why would I tell them anything about you?
NICK
I don’t know, but they act like I’m the village flasher or something.
JOHN
Maybe they just don’t like you.
NICK
They don’t know me. Why would they dislike me already?
John shrugs and starts back to the tent.
NICK
Wait a minute. You were talking to them while I hauled the packs up from the canoe. What did you say about me?
JOHN
Nothing. Not everything is about you, Nick.
NICK
Tell me. Tell me now.
JOHN
Or what? You’ll beat it out of me?
NICK
Or I tell your wife about the hooker at Bill’s bachelor party.
JOHN
I thought we were friends. I thought that meant something to you.
NICK
It does. That’s why I never mentioned it. And I won’t, as long as you tell me what’s going on here.
JOHN
Maybe they just don’t like men.
NICK
Don’t fuck with me, John. They talked with you easy enough. Come on.
JOHN
It’s that important to you?
NICK
Yeah.
JOHN
I told them you were at the January 6th insurrection.
NICK
Why would you do that?
JOHN
They’re Sierra Clubbers, Nick. They don’t want any part of people like you.
NICK
Like me? What does that mean?
JOHN
It means even though you’re my friend, you’re a fucked up Nazi.
Amazement and wonder sweep over Nick’s face. He flushes red. He glowers at John, and then he explodes with a vicious punch to John’s abdomen.
-
Bill Southwell writes Scene for Lesson 8
LOGLINE: Ext. Day. Backyard of John’s upscale home
ESSENCE: Two men trying to extract information from each other
SCENE:
John just sits down in his lounge chair by his backyard pool on Saturday afternoon and sets a cool drink on the table. The patio sliding door is open so he hears clearly the doorbell ring, but he hesitates to get up. Finally, after the third ring, he shouts, daring the visitor to enter.
JOHN
I’M IN THE BACKYARD. IF IT IS IMPORTANT COME IN.
The door opens and Nick comes to the backyard carrying a briefcase and a newspaper. The yard is orderly, and the pool water is clear. There is no evidence of a wife or children.
NICK
Hello, my name is Nick Foster.
How are you today?
Nick hands John the folded newspaper he found on the driveway.
JOHN
As you can see, I am relaxing and
Not wishing to be disturbed!
NICK
I understand. I will just take a moment of your time.
JOHN
By the way. I always throw this newspaper in the recycle bin.
It is full of crap. I never read it. They won’t stop sending it.
NICK
Sorry. ‘just wanted to give you something—to warm up our conversation.
JOHN
You are not here to give me anything.
You are here to get something from me.
Probably my money or my vote. Which is it?
Nick laughs, but accepts the challenge of John’s belligerence.
NICK
Neither. I have something that you will enjoy reading.
Nick opens his briefcase.
JOHN
Wait. Before you go any further, I am not interested.
NICK
You cannot say that. You have not seen what it is I bring you.
Nick hands John a brochure but John does not look at it.
NICK
I can see you are doing well for yourself. What is your household income?
JOHN
That is none of your business.
Nick
It helps me to know which program I present to you.
I would not offer something that would be a hardship for you.
John is determined not to reveal this information to someone he does not know.
JOHN
Why don’t you tell me how much you are planning to make from me on
whatever it is you are selling? Tell me. I would like to know.
NICK
What I have for you is going to save you tons of money
JOHN
Yeah. Sure. Tell me what your cut is.
NICK
This is the deal. I represent the Sunrise Solar Systems.
With this system installed on your house you will never pay an electricity bill again.
JOHN
You know. I really doubt that!
NICK
How much do you now pay for electricity?
JOHN
I am not going to tell you that!
NICK
But I have to know so I can show you how much you will save?
Imagine. What will you do with the money you now pay for electricity?
JOHN
I will set up an electric fence to keep salesmen off my property.
NICK
You don’t understand. I am here to help you. Right now, there
are government rebates that will soon be gone. You do not want to pass this up.
John is getting more and more irritated.
JOHN
LOOK! IF I WERE to buy solar panels, I would get them from my sister’s husband.
I certainly would not buy them from some door-to-door punk.
NICK
What company does he represent? The Sunrise system is much more efficient.
That will save you lots more in the long run.
JOHN
That does not matter. I would keep it in the family.
NICK
Just tell me what your annual electricity cost is and I will prepare a plan
that I am confident you will like when you see how much you save.
JOHN
NO! I will not tell you that until you tell me how much you make off this scam.
By now Nick is also irritated.
John gets up off his lounge and gives Nick a strong shove.
Nick responds by pushing back. John falls into the pool.
Fight ensures.
End of Scene.
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