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Post Day 14 Assignment Here
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Charles Ferrell’s Act 2 Middle Scenes
What I learned from doing this assignment is that I needed to go back to Act 1 to generate more setup scenes, more pieces on the board to fall down.
INT.UNIVERSITY LIBRARY – DAY
Seated at a library computer Duncan is searching library archives and declassified information about locations of US Japanese internment camps, student library staff walks up.
DUNCAN SMALLS
Hi there.
LIBRARY STAFF
Oh, its you again, Great. Did you book this computer time? You can’t just take it.
DUNCAN SMALLS
Uh, no I don’t think so
LIBRARY STAFF
I know you didn’t, because someone is waiting. I need you to go over to the reading area or leave.
He moves to the overstuffed chair in the reading area with one book he has and falls asleep. He dreams of the camp again, he sees men in lab coats and it begins to rain metal paperclips. The paperclips quickly pile up and he cannot move, they are about to over take his face he begins to panic. He wakes from the dream with a scream, the book goes flying the whole library is now looking at him, Including the Chancellor who is leading an Alumni tour group. He locks eyes with the Chancellor.
INT.UNIVERSITY CONFERENCE ROOM – NEXT DAY
A board of professors including the Lead Panel Professor is meeting to accept PhD thesis themes for Science Doctorates, Duncan slips into the back of the room.
LEAD PANEL PROFESSOR
Calling Candidate William Trilio
Young man well dressed but in clothes that are not his size approaches the seated panel of professors.
PHD CANDIDATE 3
Thank you board members, the theme for my thesis is “Cell Mytosis in high altitude environments”
LEAD PANEL PROFESSOR
Very nice, (he looks at the other members nodding their heads) Approved…Next Candidate (looking at his list) Oh, that was the last one.
Duncan rushes forward and steps forward in front of the panel
LEAD PANEL PROFESSOR
Yes, may I help you…did we skip you?
DUNCAN SMALLS
No, sir…I’m not on the list but I would like to declare my theme
LEAD PANEL PROFESSOR
I appreciate your enthusiasm but that is not how this works, however you do look familiar
DUNCAN SMALLS
Yes, sir I’m Duncan Smalls, I was here presenting for the History Board last week.
LEAD PANEL PROFESSOR
(has a little chuckle) That is definitely not how this works, this is the Science Board. I do remember you now, are you still working on it?
DUNCAN SMALLS
I’m ready sir, I’m sorry to interrupt or break the rules, I promised you I would deliver.
LEAD PANEL PROFESSOR
No one is here from the History Department. But since we finished early and being that I am on the State Board of Regents, I’ll listen, go ahead.
DUNCAN SMALLS
Thank you sssir, My theme, my thesis theme that is….is Undocumented
(his voice shaking, he closes his eyes takes a deep breath and sees the paperclips raining again, then abruptly blurts out) Undocumented U.S. Japanese Internment Camps and their relationship to Operation Paperclip.
LEAD PANEL PROFESSOR
That sounds interesting, thank for doing what you promised, even as unorthodoxed as it maybe. I’ll take it upon myself to approve it and assign Professor Winfield to supervise it…Thank you
INT.DUNCAN APT – EARLY EVENING
He and Hitomi discuss him declaring in such an odd way and the reason why he added operation paperclip from a dream. She asks about him seeing the therapist again, he refuses.
INT.COFFEE SHOP – NEXT MORNING
Normal morning routine, she mentions the therapist again, he gets weird about it and spots the little girl in the coffee shop.
She presses about the therapist when he seems to be staring at nothing and he says ‘she doesn’t understand’, we see a slight trigger in Hitomi.
INT.PROFFESOR WINFIELDS OFFICE – SAME TIME
At his computer drinking coffee and catching up on administrative work when he reads about his assignment to Duncan’s thesis declaration.
PROFESSOR WINFIELD
What in the Holy Hell? What the fuck can he possibly he know?
He pulls his cell from his pockets and dials, looking rattled.
PROFESSOR WINFIELD
Put me through to the Colonel, no he’s not expecting me. Tell him its Winfield and its urgent, he will take my call.
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Don Thompson’s Act II Middle Scenes
What I learned: In reaction to the TP, the antagonist begins to see their grip slipping in relation to the protagonist. This sets in motion events that culminate in Act III.
Billy leaves, and Seymour stays behind.
The Captain returns to his desk and sits.
CAPTAIN
Have a seat.
Seymour sits in front of the Captain’s desk.
CAPTAIN
What do you think about Budd’sassessment of Claggart?
SEYMOUR
I agree with it.
CAPTAIN
We also knew Johnson wasn’t well. We could have stepped in.
SEYMOUR
But Claggart had the closest proximity to Johnson. And we were working to replace Johnson with Budd.
Beat.
CAPTAIN
I’m concerned about Claggart. About the men not taking orders properly.
SEYMOUR
He is a little harsh.
CAPTAIN
We need balance. If we tighten the grip too much we will lose the men. I won’t have a mutiny on this ship.
There is another KNOCK on his door.
CAPTAIN
Yes?
Claggart enters.
CLAGGART
With your permission, sir?
CAPTAIN
What is it?
CLAGGART
About Kinkaid.
CAPTAIN
Yes – what do you advise?
CLAGGART
I would say a hundred lashes, sir. As soon as possible while the event is fresh in the minds of the men.
CAPTAIN
A hundred?
CLAGGART
A hundred.
CAPTAIN
Do ten.
CLAGGART
Ten. That’s hardly enough for the infraction, sir, in my opinion.
CAPTAIN
Yes, in your opinion. (he turns to Seymour) Mr. Seymour, is ten lashes enough?
SEYMOUR
It should suffice.
CAPTAIN
You see, Mr. Claggart. Mr. Seymour agrees. It will be 10.
Beat.
CLAGGART
As you wish.
He turns to leave.
CAPTAIN
Mr. Claggart.
Claggart turns around.
CAPTAIN
I’ve decided to promote Budd to Captain of the Foretop. Not O’Daniel.
Claggart stares ahead silently.
CAPTAIN
I… advise you to be supportive of Mr. Budd. Give him a chance to succeed. I believe he will.
CLAGGART
You know my opinion of Budd, sir.
CAPTAIN
Hmm. That I do. Thank you, Mr. Claggart. You may go.
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Peter Birdsong’s Act 2 Middle Scenes
What I learned: This process of speed writing has been both helpful and challenging. Like when I started my Act 1, I’m coming up way light. However, when I finished ACT 1 it was just under page 25… so maybe ACT 2 will be similar. I’m also learning that I don’t always have to commit to writing in chronological order; which I’ve always known, but have never fully freed myself up to do.
INT. SALON – DAY
The creaking of mast rigging can be heard as the boat moves across the open water. The whole studio apartment sized salon rocks fore and aft under Laurel’s feet as she holds herself steady in the galley.
Her decorations are everywhere they shouldn’t. Objects are sliding and rolling on the floor back and forth. She watches the chaos helpless and unsure. She moves for the door…
I/E. YACHT
Laurel carefully maneuvers to the helm station. The WHEEL turns slightly back and forth as the autopilot does it’s job.
FLAPPING overhead. Above her she notices a corner of the sail fluttering in the wind. She just stares at it, uncertain.
Laurel attempts to pull on a line, loosen another, but nothing seems to work.
INT. CARLY’S CABIN – DAY
Carly lays on her back moaning with each downward movement her room makes.
She moves gingerly to her BAG and opens the zipper. Inside is a health food bar. She stares at it considering.
The room sinks on her again and her eyes roll back.
CARLY
My God, STOP!
She THROWS the bar across the cabin.
INT. SALON – DAY
Laurel sits the NAV STATION. The computer screen shows a live map with their location and direction.
She stares at the mess. Carefully she begins to clean up putting things back where she intended.
The boat doesn’t let up. No sooner does she set a SALT SHAKER in place does it slide off the table and BANG on the floor.
She grabs the SALT and PEPPER and chucks them into a cabinet and quickly SLAMS the door shut.
She sees Carly standing at the top of the stairs. They study each other for a moment.
Carly looks at the mess around the room.
CARLY
What happened here?
LAUREL
Why do you look like that?
CARLY
I’m sick. You don’t have anything, by chance?
LAUREL
Dramamine.
CARLY
Does it work?
Laurel heads to a storage compartment and opens it. She pulls a small bag out and opens it. Inside is a cough-drop like CANDY wrapped in paper.
LAUREL
I’ve been fine all morning. It will help. Coming up top may help too.
CARLY
Really?
LAUREL
I honestly don’t know. Fresh air. That’s all I’m saying.
Carly unwraps the candy and pops it into her mouth.
She heads for the door.
LAUREL
You need this outside.
Laurel hands her an EPIRB attached to a lanyard.
CARLY
What is this?
LAUREL
If you go overboard, that will save you. I’m honestly not sure I could get the boat back around to get you.
CARLY
What a comforting thought.
Carly takes it and steps out…
I/E. YACHT
Carly walks on the deck carefully taking her to the front of the boat. On the horizon she can still make out some mountain peaks.
The boat skirts over a wave and splashes forward. SEA SPRAY covers Carly’s face and hair. Her makeup runs.
The boat bucks agains and she falls for on the Catamaran’s trampoline face first. She grabs hold and she can just see the water rushing up to her face.
The salt-water baptizes her completely. Carly lays there, her hair destroyed, her dress soaked, her makeup a runny mess. Completely defeated.
INT. SALON – DAY
Carly steps in — water dripping off of her once perfect hair.
Laurel watches her daughter come in, hiding her amusement as best she can.
CARLY
Not a word.
LAUREL
No. Did you happen to see–
CARLY
Not!… A word.
LAUREL
I have some clothes you could borrow.
Carly stops at the steps. Thinking.
CARLY
Like what.
LAUREL
Just a minute.
Laurel heads down to her own cabin.
Carly takes the time to look around a minute. Her mother’s decorations are strewn all over the floor — sliding back and forth with the boat.
LAUREL
Here you go.
Carly takes the clothes. Certainly more practical than what she’s currently wearing.
CARLY
Is that it?
LAUREL
Is that okay?
Carly looks around.
LAUREL
Yeah… I guess I’m not much of a sailer. Neither of us.
CARLY
Definitely not. Anyway…
(holds up clothes)
Thanks.
LAUREL
Sure.
Carly disappears down the stairs.
INT. SALON – NIGHT
Laurel opens a tin CAN of beans. She dumps the entire thing into a POT.
INT. SALON – MOMENTS LATER
Laurel sits at the nav station eating black beans from a bowl. The floor still littered by her failed decor.
Carly appears slowly. She looks around trying to ignore her mother.
LAUREL
There’s dinner.
Carly moves to the stove and lifts the lid on the pot.
CARLY
Dinner?
LAUREL
Feeling better?
CARLY
Some.
Carly grabs a BOWL and SPOON and empties the pot into her bowl.
Grabbing hand holds with her free hand she heads back downstairs and shuts the door.
INT. SALON – MORNING
Laurel works her can-opener on a tin of PEACHES. It pops open and she sticks a fork in.
The floor is still a mess, and Laurel takes to kicking things out of the way as she moves around.
Carly emerges. She’s clearly showered again, but she hasn’t dolled herself up like before. She’s wearing mom’s practical outfit — dressed for a day on the coast.
LAUREL
Morning. Did you sleep?
Carly looks around. Laurel holds up a can of peaches.
LAUREL
Hungry?
Carly grabs a bowl and offers it to her mother. Laurel pours half of her can into the bowl.
Carly take a fork and makes her way back down the steps to her cabin.
The door shuts.
I/E. YACHT – DAY
Laurel sits at the helm staring at the horizon. In the distance there are still signs of land. A stray mountain peak here and there.
Movement in the Salon’s windows catches her eye. It’s Carly searching the cabinets.
Laurel watches her find food and then head back downstairs. She sighs to herself.
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Robert Wood’s Act 2 Middle Scenes
What I learned is that I’m definitely not following the format structure we originally outlined, but I have to believe in my revised story and see it through. I think it’s stronger than what I had in the initial outline anyway, even if it doesn’t follow the recommendations exactly.
INT. FAMILY HOUSE – DAY
Young Matt brings Harris inside.
YOUNG MATT
He’s probably in his office — that’s where he usually is.
(calls out)
Dad!
YOUNG BERT (O.S.)
Yeah? What is it?
YOUNG MATT
Company!
YOUNG BERT (O.S.)
Oh? Who is it?
YOUNG MATT
Harris!
Young Bert emerges.
YOUNG BERT
Oh, hello. You’re the fellow from the newspaper ad.
HARRIS
Harris MacKay — good to meet you.
YOUNG BERT
And you. It’s so rare to find someone who shares this particular interest.
HARRIS
Indeed it is.
YOUNG MATT
What interest?
YOUNG BERT
Harris here has come all the way over from Scotland, isn’t that so?
HARRIS
That’s right. All the way from Loch Ness, actually.
(to Young Matt)
Have you heard of Loch Ness, laddy?
YOUNG MATT
Of course! The Loch Ness Monster!
HARRIS
That’s right.
YOUNG BERT
So you can probably figure out what brings Harris here to the Okanagan.
YOUNG MATT
Ogopogo!
HARRIS
That’s it, exactly. I think we’ve got rather a lot to discuss.
YOUNG BERT
We’ve got work to do, Matty, maybe you should go outside–
YOUNG MATT
No, I can help! I know a lot about sea monster dinosaurs — there’s the Plesiosaur, and Megalodon, and–
Harris and Young Bert look at each other with a smile and nod.
HARRIS
Okay, the kid’s got what it takes!
YOUNG BERT
We’ll work in my office. Can I get you a drink first?
HARRIS
Sure.
They walk through the kitchen, where Bert and Matt are finishing breakfast.
BERT
What the hell are we doing here, anyway?
MATT
We just finished breakfast.
YOUNG BERT
Coffee okay for you?
HARRIS
Fine, thanks.
Young Bert pours two coffees.
BERT
I haven’t completely lost my mind, you know.
MATT
I know.
Young Matt grabs a pop can from the fridge.
BERT
Aren’t we getting this place in shape?
Matt’s surprised at Bert’s sudden eagerness.
MATT
Okay, old man — I’m ready if you are.
INT. FAMILY HOUSE – BERT’S BEDROOM – DAY
As Matt and Bert begin to pack up boxes.
MATT
You think you’ve got things in here under control?
BERT
Of course. Go — do whatever you need to do.
MATT
I’m just down the hall if you need anything.
BERT
Fine.
Bert sits on the edge of his bed and starts pulling small items from a bedside table drawer: a small box… a watch… a woman’s hairbrush…
Matt exits.
INT. FAMILY HOUSE – HALLWAY / MATT’S BEDROOM – DAY
Matt passes the open door to his room and glimpses the box inside out of the corner of his eye. A moment’s resistance, and then he goes to the box.
He picks up a few papers from inside. One is a photo of himself and Harris on a boat…
EXT. BOAT ON LAKE – DAY
Young Matt, Young Bert, and Harris are out searching. Young Bert steers the boat on a slow course through the water while the others peer through binoculars.
YOUNG BERT
Seeing anything?
HARRIS
Nothing. Just waves and more waves.
YOUNG MATT
Me too. This is getting boring.
Young Matt puts down his binoculars dejectedly.
HARRIS
Don’t give up, mate. It’s early days yet.
YOUNG MATT
And I don’t think I feel too good…
Young Bert looks back at his son.
YOUNG BERT
You are looking a little green around the gills.
Young Matt makes a break for the edge of the boat; Harris steadies him as he leans over the edge.
HARRIS
Whoa. Take it easy.
Young Bert shuts the engine off and goes to Young Matt’s side as he vomits over the edge. He rubs his son’s back.
YOUNG BERT
It’s okay — don’t worry about it. Just let it out.
HARRIS
Happens to the best of us.
As they both comfort Young Matt, still bent over the side of the boat, their arms brush against each other with electric effect. They exchange looks, and Harris brings a hand up to Bert’s back.
Matt leans back from the edge of the boat.
HARRIS
A little paler, but none the worse for wear, huh?
YOUNG MATT
I’ll be okay.
YOUNG BERT
Sure you will. Hey, it’s time to head back anyway.
HARRIS
Right — we’re not finding anything today, anyway.
YOUNG BERT
I’ll see if I can get that sonar device for next time — then we’ll really be searching!
HARRIS
Yeah, we’ll be sure to find Ogopogo then. There’ll be no hiding from us in this lake.
YOUNG MATT
Okay…
INT. FAMILY HOUSE – ENTRYWAY – DAY
The trio — Young Bert, Young Matt, and Harris — arrive back inside. Matt is there, holding a piece of paper, watching… remembering…
Before Young Matt takes off his shoes:
YOUNG BERT
Hey, weren’t your dinosaurs out there?
YOUNG MATT
Maybe.
YOUNG BERT
You better clean them up. Toys don’t get left in the front yard.
YOUNG MATT
Now?
YOUNG BERT
Yes, now.
Young Matt mopes back out, closing the front door behind him.
YOUNG BERT
He’ll get caught up playing with them and be out there for another hour.
HARRIS
You think so?
YOUNG BERT
Oh yeah.
Matt looks at the paper he’s been carrying around.
ON THE LETTER
“Thanks for yesterday. The boat trip was great but apres was better! Let’s do it again soon – xx H.”
Matt watches Young Bert lead Harris into the office.
They kiss, then passionately start pulling each others shirts off and undoing their pants…
Matt leaves them alone in the room.
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Subject line: Daisy Ridgway Khalifa’s Act 2 Middle Scenes [Lesson 14]
What I learned doing this assignment: I am learning, at this point, about brevity and about how to determine the essential content within scenes. Again, outlining is so valuable, as is employing the fast writing rules. I am feeling a little behind with a few outlines and scenes here in Act 2, and need to just write them fast.
Act 2/ Key Scene 1 + Placeholder Scenes/Reaction to Turning Point/Outlines:
INT. MIA’S LOS ANGELES HOTEL – NIGHT
Key Scene 1/Reaction to Turning Point: Mia frantically calls Ian, feeling sheepish and selfish, given his tragedy. But, she has seen Charles and must convey this. He could care less-he is mourning and, what is worse, he is jealous and hurt.
BEGINNING: Mia goes back to her hotel in a panic, frightened-a very “adult” reaction.
MIDDLE: She calls Ian. She is so sorry about his father. She is sorry about her circumstances (with Paul); but, she saw him, she saw Charles etc..
END: He is sad and therefore cynical. It’s not that he could care less, but he is ambivalent. Still, their convo cheers him up. She says she is going ask for Elvis tickets. He says instead, to paraphrase “… if you see him, why don’t you try to make it so that my old man doesn’t get hit by a drunk driver on May 25, 1999, at four in the afternoon.”
EXT/INT. LOS ANGELES LOCATIONS – DAY – 1999
PLACEHOLDER: Mia sees old friends in LA; she goes to library to research Charles; she does some investigating; she encounters an older Carlos Tobalina, the former neighbor. “Tell your parents I am making general release pictures now.”
EXT. PINECLIFF GARDEN – DAY 1999 + 1948
PLACEHOLDER/Antagonist Journey: Mia meets Charles again and explains why she fled. The RECKLESS conversation. She starts to prove to him that she is the young Mia, though she is perplexed about the fact that she is older and he is in the same “place” in time — around 1948. She uses the subject of Charlie Chaplin to make her case, and the how’s him his old pencil. But why? He then asks her about earthquakes and mudslides, first the early history and, Mia clarifies the facts. AND the years as well as the history of fault lines and earthquakes in CA in the 20th century. She gets into the Silmar quake. What year again? He asks. 1971, she replies. She ends with Michael Gardner and he talks about acting.
BEGINNING: Mia returns to Pinecliff the next day and upon seeing Charles, claims she is the person who fled.
MIDDLE: Mia sees Charles in the garden in the same spot —their spot—in the garden. They have a discuss about earthquakes, Charlie Chaplin, Mrs. Buttle, Tina, and things that help prove to Charles that she is Mia, but an adult now. She puzzles about how he looks the same —for he is the same, as it is still around 1948 — while she is now from the year 1999. When she tells him she is the little girl, Charles finds it absurd and impossible (and he feels crazy and neurotic enough as it is). Still, he asks about earthquakes and mudslides.
END: Mia may or may not be convincing Charles she is from the future. She asks for Elvis’ autograph, “because you are going to guest-host a show for Ed Sullivan”. ‘Elvis Who?” he asks. Still, Charles is unconvinced and they agree to meet again. When they part, she asks him about the Lord Byron scholar Michael Gardner and said if he helps you with Don Juan in Hell, make sure you give him a job. Mia is unaware that even by saying that, she is already meddling with fate.
INT. PINECLIFF – DAY – 1947
PLACEHOLDER/Antagonist Journey: Meanwhile, Charles meets with seismology expert, MERLE PRICE, at Pinecliff. Price is saying that they must move because of the threat of earthquakes, as well as mudslides, like the one they just went through. With new data, Charles challenges Price. No insurance company will insure their valuable paintings, art collection, antiques, nothing. David is there and we also learn more about what Charles wants to do with his life-his fears etc…
BEGINNING: Charles is at home with David, his friend and protege. He is teaching him acting. He is expecting company. Dr. Merle Price, a zoning official for Los Angeles and an authority on seismology for the state of California, arrives at Pinecliff.
MIDDLE: Charles and Dr. Price have a friendly—not contentious- discussion about the “next one”, and about the inherent stability of the house itself. They discuss the mudslide. Charles and Elsa were reimbursed for the lost sculptures. Charles says to Price: “What if I told you I don’t think a quake is going to come for another 25 years?” Charles has also done his own research.
END: Charles gives an animated tour of his art collection. Price says that even if he might well agree with Charles about the next major earthquake—and he is impressed with how astute Charles is — he won’t be able to help Laughton get an override in order to secure an insurance policy for his personal property.
Act 2/Key Scene 2/ Protag Makes a Plan & Executes it/Outline:
INT. KATRINA PAULEY’S HOUSE – PASADENA – DAY – 1999
PLACEHOLDER/“Pre” Key Scene 2/Protag’s New Plan: Mia talks to her mother. Katrina tells Mia that she met Elsa, and Elsa asked about the garden and her “bowling green”.
EXT. PINECLIFF GARDEN – DAY
Key Scene 2/ Protag. Makes a New Plan & Executes: The DECIDING conversation. Charles and Mia meet again days later and their encounter changes fate, while Mia just wants to maybe get an autograph and hope to make Ian feel better with the Michael Gardner request.
OUTLINE TK
Act 2/Key Scene 3/ Not Only Does the Plan Fail, But…/Outline:
EXT. PINECLIFF – NIGHT – 1947
Key Scene 3/TE/Not Only does Plan Fail, But…/Antagonist Journey: Charles is convinced and he decides not to move from Pinecliff, based on Mia’s information about earthquakes. Charles has been so happy at Pinecliff, teaching, enjoying nature, “the garden and the cold night air”, embarking on a reading tour, that he longs to stay. Whether Charles accepts that she is actually from the future, he tells himself that at the very least, that this woman, like the little girl, is his muse and the message is: do NOT move from Pinecliff, and to, perhaps, upend other things like getting rid of Paul Gregory. Charles changes Mia’s and his life by deciding once and for all to stay at Pinecliff. He also brings Michael Gardner to Hollywood, which has profound results. Elsa leaves Charles (maybe).
OUTLINE TK
Act 2/Key Scenes 2 & 3 + Placeholder Scenes:
TK
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Patrick Downey – Act 2 Middle Scenes
What I learned doing this assignment was that what I call a screenplay may be a better fit for a book or both? I have a lot of explaining to do in my story without dialogue. This is where I have to sell my vision to the producer and have answers for how to fit and shoot all the scenes to get the audience to understand and follow. It’s all in my head, I promise!
Key Scene 2
INT. INSIDE CHURCH – DAY
A week later was the viewing and funeral service but to a closed casket due to the disfigurement sustained by the truck crushing Ray. The Old Saint Patrick’s Church was filled to capacity for a man whom the city had grown to love as did Cayman despite his devious dealings. Sitting one row behind his family were the four men and their families responsible for his grandfather’s death.
Audie was there with his wife and showed true heartache so much so that he knew he could not have been any part of this plan. Audie even got up to speak on his grandfather’s behalf.
INT. CAYMAN’S ROOM – NIGHT
Cayman’s email:
Hi Audie I was hoping we could get together soon to discuss some important issues concerning my grandfather.
Audie’s email response:
Absolutely Cayman just tell me when and where.
Audie sent up his private jet to scoop up Cayman and by 2p.m. the next day they were sitting on the rooftop of Audie’s sports agency 12 story building in downtown Miami overlooking the America Airlines Arena and the many cruise ships docked for their next adventure. Cayman was intoxicated by the view, the weather, and the lifestyle of South Florida but quickly remembered why he was there and turned his attention to the matter at hand.
EXT. ROOFTOP OF AUDIE’S BLDG – DAY
Cayman was careful to tell in great detail what he knew, when he learned of it, and who was responsible for his grandfather’s death. Audie was speechless and caught off guard, his first reaction was to try and explain why they did what they did but he knew Cayman was extremely bright and there wasn’t much he could say except that he was sorry. Cayman had known about their business dealings for some time and while he wasn’t happy about it that was not his reasons for meeting with Audie. He shared with Audie how he was going to revenge his grandfather’s death and offered Audie the opportunity to get him and Carmella out without being caught up in the destruction of both the men guilty for murder and the collapse of the company. Audie really had no choice and he saw the determination on Cayman’s face so, he agreed to help in any way he could. They agreed to meet again in one week at the Chicago office.
Key Scene 3
INT. H.A.V.O.C. OFFICES – NIGHT
One week later, Cayman arrived at the office where he was met by Audie, Carmella, and Crutch. Audie had done some work of his own prior to the meeting by enlisting the help of Carmella and having Crutch as an inside man. Cayman showed up with a crew of his own, Leopold his hearing impaired, multi-faceted friend that took the pictures of the meeting with Dardanos. Jam-Sabo, a DJ by night and an ex-military communications genius by day and once reportedly sought out by Julian Assange of WikiLeaks for possible employment, and finally Cornelius, a childhood friend from Scottsdale, AZ who dropped out of MIT because he was bored. He was noted as a savant with numbers, the son of a Las Vegas bookie father and Stanford mathematics professor mother.
After introductions the group quickly sat down to work out the plan with little more than a couple of weeks before everyone came back to work. The focus would be on football because baseball was winding down, basketball and hockey had yet to start and their seasons were much longer. Audie explained to the group how the process worked each year with the committee, starting with the initial meeting and how the eventual Superbowl winner was going to be decided. He gave examples of past years and certain calls that were made, players under performing in certain games, referees’ missed or bad calls, referee strikes, trades, draft deals you name it they were involved in ever stitch of the games fabric. Carmella filled them in on all the contacts under contract with them, and the group was astonished at the names of officials, refs, coaches, players, and agents. The list was endless with who’s who of the NFL past and present. Crutch told them about the payoffs and deliveries to individuals which was all paid out in cash so it was untraceable. In some cases depending on what was asked to be done, the payout was in the millions especially for title games. The company operations had been laid out and now it was time to hear from Cayman.
He didn’t feel the need to bring up his personal vendetta amongst the group but instead jumped right into his plan to bring them down. As he went through each detailed action needed from each person, Audie and Carmella were stunned by the amount of knowledge Cayman had about the operations, business handlings, communications, monetary figures, people involved, and about each of the partners. He had some insight that even Audie and Carmella had no knowledge of ever hearing before. His laptop flashed a diagram on the wall with a detailed timeline of who was to do what and at what point of the season they were to perform their duties. It was clear to some that this was not something that was thrown together within a couple of weeks since his grandfather’s passing. Cayman had this plan in place for quite some time but didn’t know exactly how to execute it.
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Vic Valleau Lesson 14 ACT TWO BEGINS, MIDDLE SCENES? PLANS AND STICKS TO IT.
What I learned: Keeping jeopardy high is easy with disagreeable, intrusive “friends”.
INT. NANCY’S BEDROOM – DAY
Nancy is beyond loaded, almost unconscious but giddy. Volcano vaporizer smokes
On its own.
INT. BACKSTAGE GIRLS CLUB – DAY
Chagrined, Elie is backstage shakes with nerves.
ELIE; I can’t lie to these girls!
GIRL#1 I learned respect thyself, so men will respect us!
Elie: That’s ok when you’re thirteen. I’m three times that.
GIRL#1 Forty? You’re desperate!
INT. GIRLS CLUB AUDITORIUM – NIGHT
Program reads: Respecting women, managing men!
Begin: Elie: Honesty stops me Young ladies, my talk, I can’t give it.
Pandemonium breaks out.
It would be a lie! not very honest.
GIRL#1 I MANAGE MEN BY SAYING NO. DID YOU TRY THAT?
ELIE: WE TRIED EVERYTHING TO TEACH RESPECT.
GIRL #2. We heard, lying, reckless driving and stealing!
Girl #3 There’s gotta be a better way.
ELIE: LETS HAVE A ROUND ROBIN OF BETTER IDEAS, YOU START.
Girl #1No, you start. Why did you steal? Lie? Crash his car?
Girl #2 Did you lie to get away with stealing?
Girl #3 Did you steal to teach them a lesson?
GIRLS; SO THAT’S YOUR ADVICE? FIGHT FIRE WITH FIRE?
We’re having a board meeting over your failures.
ELIE: WAIT
GIRL #1. NO, COME BACK NEXT WEEK WITH YOUR ANSWER. I CAN’T WAIT!
GIRLS: Neither can we!
INT. GIRLS CLUB BOARD MEETING – DAY
Girl #1What’ll we do girls? A plan besides saying no!
Girl #2Lets tell them 10 days to prove yourselves
Ggirl#3 And redeem the world for all womankind!.
INT. GIRL#1 BEDROOM
Five girls meet.
#1 My dad is in charge of the courts and arrests and criminals like those two.
#2 They’re not criminals, just blunderers!
#3 We told them to go, come back with tested plan.
#4 A plan, we innocent young women can use to build intimacy, trust, communication
#5 Get a dog, that’s my plan!.
INT. GIRLS BEDROOM- LATER NIGHT.
Empty bottles of alcohol litter surfaces.
Girl #1So there is no downside to seduction as a woman’s best weapon. Men are weak and women
Use this for centuries to get their way, right.
Girl #3 You can’t say that in todays world. Men are bad.
Girl #2 Cynical men call it, touch a woman, go to jail!
Girel #3 What a sexist attitude!
Girl #1 We want a Goldilocks man, your porridge is not too hot, not too cold, just right!
And its French. Viva la difference! Thank god, they’re ruled by their pants and we are the smart ones.
Girl #2 Their testosterone is our biggest ally. The more the merrier.
NEW/ OLD RULES: SEDUCTION IS FAIR IN LOVE AND WAR.
Seduction is fair just get them to confess they abuse women.
A published signed confession.
The girls post unsigned confession form all over town. Scares all the young men so no dates for them.
JT and Elton tear them down, laugh with their men friends.
Elie and Nancy are outfitting in sexy red dresses, expecting expensive dinners
And evenings of love.
Dressmakers says no guarantees and no returns!
Women want the impossible happy, healthy, hunky, tall and wealthy 1 in 1-00 men qualify
And every woman is after him.
Women’s biggest problem is not men, they’re patsies,
but other women, stiff competition.
They break ranks all the time.
Ok so what did the girls say our plan is?
Not much but very strong opinions. Range is:
Castrate ‘em to give ‘em a party. Not very organized or focused.
That was the
Result of their focus group. Men fear control by women especially intimate women.
Pussy-whipped is the worst thing one man can say about another.
So lets fry their circuits, pussy whip em om every angle. Its how we started.
Because that’s what works. Withholding sex is best.
PLAN
NANCY: Plan is to become their soulmates:
Detective work, research, Japanese massage happy endings,
Elton likes baby stuffed animals to roll around in.
I FOUND OUT KINKY SSTUFF ABOUT JT TALKING TO OLD GIRLFLRIENDS.
investigate these men’s interview old girlfriends, look up internet facebook,
DOMINATION TO man aways in control, powerful is an aphrodisiac.
Talk to mothers, brothers, be perfectly adapted to their SOUL MATES SO THEY FALL HOPELESSLY IN LOVE
THEN WE WIN. RIGHT NOW THEY HATE US!
ELIE: WHAT’S THE BET?
NANCY; FIRST ONE TO GET MARRIED IS THE WINNER.
ELIE: Im 40 and never married. You win!
NANCY: I’M DIVORCED 3 TIMES, 3 STRIKES IS HARDER THAN NEVER MARRIED!
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Janeen’s Act 2 Middle Scenes
What I learned doing this assignment is that having written certain scenes for the Action class really speeds up the writing here, although I’ve had to modify them to include the “Old ways don’t work” illustrations. I still need to choreograph the fight scene at the convenience store.
OUTLINE
INT. TERRORIST’S HQ – AFTERNOON
INT. DASHER’S CAR – AFTERNOON
On the phone, Dasher lies and says he has the parents. Intercut with Terrorist’s HQ, he tells his carload of mercenaries that they’ll have them soon since they know where they are holed up – Nick’s apartment.
INT. IVY’S CAR – AFTERNOON
Ivy calls Joy at the SS office, has her track down Nick. She watches him buy the new car, but loses him in traffic. She doesn’t know if she can trust Nick.
INT. TERRORIST’S HQ – AFTERNOON
INT. WHITE HOUSE – AFTERNOON
Intercut a phone call as needed. Interrupting international negotiations, the terrorists call the president, make their demands. President demands proof of life.
INT. WHITE HOUSE – CONTINUOUS
An aide who wants the negotiations to continue, tells the president that his parents are safe and the terrorists have his parents’ doubles. The FBI are all over it.
Midpoint Turning Point:
Somehow, tracking the FBI radio Nick has, the bad guys find and follow Nick and the parents.
INT. DASHER’S CAR – EVENING
Dasher, tracking the FBI radio that Nick has, follow him cross country, knowing the president’s parents must be alive and well.
INT. NICK’S 2ND CAR – NIGHT
The parents need a bio break and food so they stop at a gas station to fuel up and use the bathroom in the convenience store. Nick is careful and trusts no one.
EXT. GAS STATION – NIGHT
Dasher’s car pulls into the lot. He and the mercenaries enter the convenience store.
SCENES
INT. TERRORIST’S HQ – AFTERNOON
The HEAD TERRORIST is cocky, full of himself, sitting erect behind his desk, phone in hand.
HEAD TERRORIST
I will only say this once more. Ineed to speak to the President immediately regarding his parents or they die.
INT. WHITE HOUSE – AFTERNOON
Intercut a phone call as needed.
The President’s AIDE, young, scared, timid, responds.AIDE
The President is in very sensitiveinternational negotiations. I’m afraid that’s impossible.
HEAD TERRORIST
Then tell him his parents just diedand it’s your fault.
The Aide looks around the room in a panic, but he’s alone.AIDE Just a minute.
He taps on a conference room door.
PRESIDENT (O.S.) I’ll see to this. Excuse me for
just a moment.
The conference room door opens a crack.AIDE
Mr. President, there’s a man on thephone who wants to talk to you. He says if you don’t come to the phone right now, he’ll kill your parents.
PRESIDENT
I’m in the middle of in internationalarms pact negotiations right now. Take a message.
AIDE
He says that is the message. He hasyour parents and they’ll die if you don’t talk to him right now.
23.
The President slips out the door, takes the phone.
He puts the phone on speaker. Indicates the Aide should take notes. He whips out a notebook and pen, ready.
The President speaks into the phone.
I’m here.
PRESIDENT
HEAD TERRORIST
We have your parents. If you want to see them alive, you’ll free the seven Vildicant Treasury prisonersbeing held by your CIA and put fifty million dollars in our account. I’ll text you the number.
PRESIDENT
I’m not going to do anything until Iknow you have my parents and that they’re safe. Let me talk to them.
HEAD TERRORIST
How about I do like the movies andsend you a picture of them holding a newspaper or watching TV news.
PRESIDENT Proof of life.
He hangs up on the terrorist. INT. WHITE HOUSE – CONTINUOUS
PRESIDENT
What does the Secret Service say? My parents were in Chicago when Ispoke to them last night.
AIDE I’ll find out.
INT. WHITE HOUSE – MOMENTS LATER
The President slips out of the conference room again.AIDE
I’m pretty sure your parents camehere this morning. I think their doubles are still in Chicago.
The President cocks his head, unsure.
24.
AIDE (CONT’D)
I checked with the FBI and they’reall over it. They should have the doubles back any minute.
PRESIDENT
You’re sure my parents are alreadyhere in town?
AIDE
I’m sure. You need to get back tothe negotiations, please. They’re very important.
PRESIDENT
Are you telling me what to do? Youcan’t do that.
The Aide looks stricken. The President grins widely, pats the Aide on the shoulder and goes back in the conference room.
EXT. OPEN HIGHWAY – EVENING
Nick’s clunker flies down the road. He has donned the Santa hat and beard again.
Dasher’s SUV is close behind. INT. DASHER’S CAR – EVENING
DASHER talks to DONNER while the three in the back are lolling against and overtop of one another in the cramped space.
Two of the three are asleep.
The third is grimacing, trying in vain to put some distance between his groin and one of the sleeping guys’ hands.
DASHER
Where the hell is he going? We’vebeen driving for hours. Donner shrugs.
INT. NICK’S CLUNKER – NIGHT
Nick’s clunker is still rolling down the highway, but now it is night. RUDY and HOLLY are in the back seat, covered with the Santa suit. Holly is leaning on Rudy, trying to sleep.
RUDY
I need to pee again.NICK looks in the mirror, shakes his head.
25.
NICK
You must have a pee sized bladder.You should get your prostate checked, just in case.
Rudy rolls his eyes. Holly is awake.
HOLLY
That’s what I keep telling him, buthe doesn’t listen to me. Maybe he’ll listen to you.
NICK
There’s a gas station up ahead.Keep your pants dry ’til we get there.
RUDY
I’ll try. Step on it.EXT. REST STOP – NIGHT
Nick’s clunker rolls to a stop at the rest stop.
NICK emerges in jeans and a plain gray hooded sweatshirt. He puts GRIZZLY in a large fanny pack, fastening it at his waist and pushing the pack to one side. Grizzly complies. She’s used to this.
He surveys the parking lot, thorough, swift, then opens the back car door for RUDY and HOLLY.
NICK
Okay, we’re in and out of here quick,got it?
HOLLY Got it, boss.
They walk slowly to the door of the rest stop, Nick giving quiet instructions as they go.
NICK
And keep your hats on. Look down atyour feet the whole time so the cameras can’t get a good look at you. Anonymity is important in these situations.
RUDY
These situations? You’ve rescuedpeople before?
NICK
Army Ranger. Twenty years.(MORE)
26.
NICK (CONT’D)
I know what I’m doing. Just followdirections. INT. REST STOP – NIGHT
NICK points to the restroom area in the back and RUDY and HOLLY toddle back. Rudy heads for the Men’s room door, but Nick stops him. Points to the Family Bathroom.
NICK
Both of you, in there. And hurry itup.
HOLLY
We don’t go to the bathroom together.NICK
You do now. I said get in there.Plug your ears and close your eyes so the person on the pot has some privacy. I can only protect one bathroom at a time.
Rudy and Holly exchange a glance, shake there heads. Nick glares. They obey.
Nick stays close to the door, pretending to shop at the baby supplies section. He picks up packages of diapers, comparing, always watching the doors and windows.
Customers stare at him, nod to each other at Grizzly’s fanny pack, shrug, move on.
EXT. REST STOP – NIGHT
DASHER’S crowded SUV pulls into the lot.DASHER and the mercenaries, DONNER, BLITZKRIEG, DANSER, PRANZER, exit the vehicle.
DASHER nods at Nick’s clunker, motions to the door. Signals for DANSER and PRANZER to go around back.
Ivy’s car rolls into the parking lot, sees Dasher and his gang heading to rest stop.
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Lesson 14: Act 2 Middle Scenes
ASSIGNMENT
BG’s Act 2 Middle Scenes
What I learned doing this assignment: I’m very comfortable with the 20% quality standard;)) Hope it also means the first draft can be SHORT! Maybe at the end, there will be an opportunity to submit questions like that.
Outline Key Scenes 2 & 3.
Write Key Scene 2: Protagonist takes on a plan and executes it.
INT. LOBBY – THE CLUB – DAY
Three-story high lobby. The Carrara-marble floor shines like glass. Hostess spots Reporter standing hesitantly at the entrance. She glides toward him like an ocean-liner.
HOSTESS (whispering): Mr. Billionaire is on the floor! This way.
She takes firm charge of his arm and leads. Billionaire spots them approaching.
BILLIONAIRE: Welcome to the team.
REPORTER: Thank you, sir.
BILLIONAIRE: Ms. Hostess here tells me you worked at Chez Jean.
REPORTER: Yes, sir.
BILLIONAIRE: I was thinking of having flounder au gratin for dinner. What wine, do you think?
REPORTER: Perhaps a Sauvignon Merceau ’86, sir?
Billionaire’s eyebrows shoot up.
BILLIONAIRE: You know your wines!
REPORTER: I know my labels, sir.
BILLIONAIRE: You can serve me dinner at 8.
He marches off. Hostess smiles — pleased with herself.
HOSTESS: Haaa! He was expecting you to say, White wine! You don’t really know all the wines in the world, do you?
REPORTER: Just the top two hundred, Ma’am.
Hostess pats him hard on the back. He gets pushed forward a foot.
HOSTESS: I knew you were smart and you would pick up on that ‘if you can read foreign wine labels’ talk!
INT. CHEAP HOTEL – LONDON – NIGHT
Reporter sits in front of his laptop at the desk.
ON THE SCREEN: Reporter and Hacker are in their separate little windows.
REPORTER: Well, your plan to ingratiate myself worked. He wants me to serve his dinners.
HACKER: I don’t know, they’re probably desperate. Nobody wants to serve anymore!
REPORTER: I had to lie to him, I had to lie to that hostess woman, I had to lie to my fellow kitchen staff… Why can’t I just tell him I’m a reporter and would like to interview him —
HACKER: If we’re right about what we think is going on over there, then, you better tell me now what kind of flowers you’d like me to send to your wake.
(beat)
HACKER: That is, assuming they find your body.
REPORTER (thoughtful): As a reporter, I’m kind of protected, but you’re not.Write Key Scene 3: Not only does their plan fail, but…
INT. CORRIDOR OUTSIDE BILLIONAIRE’S OFFICE – THE CLUB – NIGHT
Reporter approaches, pushing the serving cart. Knocks on the door.
REPORTER: Your dinner, sir.
BILLIONAIRE (calling from inside): Please leave the cart outside the door.
REPORTER: Very good, sir.
INT. CORRIDOR OUTSIDE BILLIONAIRE’S OFFICE – THE CLUB – NIGHT
The door opens. Billionaire pushes the serving cart out. Stops short, staring. In the distance, the Reporter is visible from behind, turning the corner.
INT. LOBBY – THE CLUB – DAY
Hostess waits near the entrance. She grabs Reporter as he enters. Reporter cringes slightly — it hurts!
HOSTESS: Number 1. You enter by the service entrance! Number 2. He saw you last night! He’s angry! Says you were loitering near the St. Michael conference room! He never lets anyone near there. He has his most important meetings there. Told me to keep you away from the whole floor!
She looks at him strangely.
HOSTESS: I’ll give you a floor-plan so you don’t get lost like that again.-
This reply was modified 3 years, 3 months ago by BG ERENGIL.
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This reply was modified 3 years, 3 months ago by BG ERENGIL.
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This reply was modified 3 years, 3 months ago by
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VIC VALLEAU LESSON 14: ACT 2 Middle scenes 2 & 3
What I learned doing this assignment is: cutting off going back to old ways and
the importance of attempting to use old ways and fail. Thoroughly bankrupt the protagonist’s original plans.
There is no way back or fall back position for pro. No easy way out!.
SCENE # 2
EXT. CHURCH WEDDING – DAY
Crashing the WEDDING party, Nancy and Elie talk in a wedding crowd, walking into the reception.
ELIE: WHAT’S THE BET?
NANCY; LOOK AROUND! FIRST ONE TO GET MARRIED IS THE WINNER. Your prize is a loving man.
ELIE: I’m 40 and never married. Men call me a society matron, ugh!
I can’t keep JT’s or any man’s interest through one dinner date, by desert he’s looking at you! You win!
NANCY: When men find out I’M DIVORCED 3 TIMES, they call me a crazy flaky hippie! I’m good to look at, that’s it!
They avoid talking to me at parties or on the street.
They don’t ask me out so 3 STRIKES IS HARDER THAN NEVER MARRIED!
Maybe we are just quick one-night stands?
ELIE: Men are such animals! Then we give them what they want.
NANCY: Been there, done that for years, 3 divorces, doesn’t work to keep a man. Even pregnancy doesn’t work these days.
ELIE: In the 1950’s romantic movies CALLED SEX THE TENDER TRAP.
NANCY: Sex doesn’t trap anymore it is just too easy. We need to go deeper.
They get uninvited to the reception.
ACT 2 Scene #3 Sets up the midpoint NOT ONLY DOES THEIR PLAN FAIL BUT
BRINGS PROTAG TO HER KNEES.
INT. ELIE’S APT. – ELEGANT COCKTAIL PARTY – NIGHT
Elie and Nancy’s guests include no other women but several men and JY and Elton. .
Elie corners Elton.
Elie: (to Elton) You enjoying our little friends party?
Elton: Just you and Nancy?. Where are the women?
Elie: How many do you need?
Elton: Your little friend owes me bigtime.
I expect you pay up for her.
My Tesla wasn’t insured. JT dared me to buy it. I just drove it off showroom floor.
ELIE: Can’t we talk about something else tonight, like happy to see me?
ELTON: That would be an exaggeration.
ELEANOR: Please lie to me, make me happy. Nancy said You’re an agreeable guy.
Please be agreeable to an old maid like me. I need it more than you will ever know!
ELTON: I was more than agreeable with beautiful NANCY.
ELIE: Please, spare me the details. Lets enjoy the moment.
Elton walks away.
Nancy corners JT
JT: Where’s my watch, I need it to complete my ensemble. Why am I here? What do you want?
NANCY: Id like for you to have a good time.
JT: Elton told me you had a good time with him. But You don’t remember. You were passed out drunk
In his bed.
Didn’t your friend steal it from my bedroom dresser?
NANCY: She was in your bedroom?
Jt: that’s where I leave it.
NANCY: I DIDN’T MEAN TO OFFEND YOU WITH MY QUESTION.
Im leaving. Where is that stupid Elton, he drove, rental car, not Tesla Why am I
Explaining to you, you made that possible.
NANCY: So sue me Asshole!
JT: love to sue you. I can’t. You’re my client, lucky you, got you out of jail.
NANCY: My angels are protecting me!
JT: Its more like the lawyer’s canon of ethics is protecting you. Just forget the
Mumbo jumbo.
NANCY: Well, I have my mumbo jumbo and you have yours. Have a good night!
SOTTO VOCE (under her breath) Good night Asshole.
JT What? Mumbo Jumbo? Are you putting a spell on me?
Nancy ushers him out the door, mumbling “Mumbo Jumbo”
Nancy and Elie talk
Nancy: That went well, not!
Elie: Don’t need to worry about those two any more.
NANCY: Right, except for paying back the Tesla and Rolex, were in good shape!
Elie: Mumbo Jumbo?
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TIM’S ACT 2 MIDDLE SCENES – DAY 14
What I learned doing this assignment is the importance of plugging away. Just get it done.
KEY SCENE 2: Protagonist takes on a plan and executes it
Duke’s plan is to wreak havoc on humans and take over as leader of the Bad Boys Crew.
The Crew knocks over trash cans, just for fun, not even for food.
They run through town, scaring people on the street.
They run in street and cause minor fender benders.
When they eat from a fast food dumpster, Duke keeps the best find for himself rather than give it up to Rex. To make matters worse, he shares some with Mort and Daz in an effort to curry their favor.
KEY SCENE 3: Not only does that plan fail, but…
Duke is feeling cocky; he defends Sunny when Rex threatens her.
Rex mocks Duke and calls him a squirrel-lover.
Mort and Daz join in, joking that Sunny is his squirrel-friend.
Faced with a 3 against 1 situation, Duke backs down and is humiliated.
He overplayed his hand and is back to being low man on the totem pole.
I’LL POST THE ACTUAL SCENE LATER; JUST WANTED TO GET THIS POSTED FIRST.
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Benito Selim’s Act 2 Middle Scenes
What I learned in this assignment is to expand on your protagonist’s journey to fully flush out the rest of the story.
INT. ELLEN’S HOUSE- DAY
Darryl contacts Ellen who invites him over. Darryl believes she is bluffing with him until she reveals details of his past. Ellen informs him that she can’t tell him who the girl (Karen) is since she is not attached to her but can only sense her presence.
Ellen tells Darryl that as a kid he helped solve a major crime. Ellen brings up Emily, Darryl is thrown into a trance-like state as Ellen speaks.
BEGIN FLASHBACK
EXT. CASE HOUSE- NIGHT
Police knock on the Case house door, Darryl opens it, officers ask for Mrs. Case. The officers inform her that the body of her husband has been found. Mrs. Case faints as Darryl stares on in confusion.
END FLASHBACK
INT. ELLEN’S HOUSE- LATER
Ellen nurses Darryl back and tell him about her past. Darryl learns Ellen survived a killing spree by one Johnny Vernon, a man who claimed he was being experimented on and that Starkoaks had a secret medical asylum under its grounds.
Ellen informs Darryl his father was one of his victims as well.
INT. MRS. CASE’S APARTMENT- LATER
Darryl pays his mother Natalie a visit to learn the truth about his father’s death. Natalie tells the truth.
BEGIN FLASHBACK
EXT. PARK- DAY
Darryl age 8 Plays in the playground while his mother looks on. Emily joins him and the two talk and laugh. Emily tells Darryl she met his father. Darryl rejoins his mother and tells her about Emily, Natalie becomes angry and tells Darryl to stop making up stories.
Silvia, Emily’s mother posts a flyer on a tree and Darryl tells him mom that’s Emily. Silvia then asks Darryl how he knows her, but Natalie becomes defensive and pulls Darryl away. Darryl looks back to a distraught Silvia not understanding why she is upset.
END FLASHBACK
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Rebecca Jordan’s Act 2 Middle Scenes.
What I learned from doing this assignment is that though I am writing a very complicated screenplay that moves back and forth in time, it’s making sense and beginning to gel. Thank goodness for this formula as it keeps things moving and instead of wanting to throw my hands in the air, I see the light at the end of the tunnel. Also, this being a huge rewrite from a totally different perspective, it being about 25 years later, I am really enjoying myself and looking forward to its outcome.
Key Scene 2: The protagonist’s plan and execution:
Beginning: Frustrated, Rachel sets out to find her mom. She drives to the little town where she thinks she’ll find her mom.
Middle: When she arrives at the house, a stranger answers the door. A nice couple is renting the house. Seeing how distraught and messed up Rachel is, they invite her in.
End: But embarrassed and humiliated, she leaves.
INT. SMALL BARN – DAY
Rachel, just out of the shower, dresses and packs up a bag, her guitar and her computer, etc.
EXT. SMALL BARN – CONTINUOUS
Loads up the truck and heads into the big barn.
INT. PICK UP TRUCK – EVENING
Rachel drives. Tired of her thoughts, turns on music loud. Sings.
EXT. MOM’S HOUSE – NIGHT
Rachel, 50’s, pulls up in front of the house, parks. The lights are on. Finally, she gets out and of the car and walks to the front door, rings the bell. A MAN, 60’s, answers the door.
RACHEL
I’m so sorry it’s late.
Turns to leave.
WOMAN
Who is it Glen.
WOMAN, 60’S, joins him.
MAN
It’s okay. How can we help you?
RACHEL
Well, this is gonna sound strange, but I thought this was my Mom’s house. I’m so sorry.
She turns to leave again.
WOMAN
Who’s your Mom? We are renting–
RACHEL
Her name is B–
MAN
Yes. We’ve met her. She owns the house but moved. South I believe.
RACHEL
Oh. I’m sorry to bother you so late.
Tries again to leave.
WOMAN
You’re welcome to come inside. You look tired. You must’ve driven a long way.
Rachel already on her way to car..,
RACHEL
That’s okay. I need to get back home.
MAN
Maybe we can make some calls–
Rachel at her truck..,
RACHEL
Sorry to bother you so late.
Already in and driving away. The couple waves.
______________________________________
Key Scene 3: Not only does Rachel’s plan fail, but…
Beginning: Rachel drives around criticizing the town’s podunk nowhere nothingness. She gets gas. Sees a pub. After beers, shots, bumps and getting hit on, she leaves.
Middle: Rachel heading home, gets a call from her band mate asking where she is. She’s missed rehearsal. Rachel apologizes and says she’s on her way back now. She’s fucked up and emotional, filled with self loathing.
End: Rachel distracted, looking for a lighter, looses control of the car and crashes. She waits for the tow truck guy who criticizes her for being trashed and threatens to call the cops.
INT. PICK UP TRUCK – CONTINUOUS
RACHEL
Fuck! Fuck fuck fuck fuck fuck!!!
Rachel sees a gas station and pulls in. There is a pub next door.
RACHEL
What the fuck is this place? Really Mom? This is where you lived? You gotta be fucking kidding me. This piece of shit podunk nowhere nothing town. “Where everyone knows your name.” Everyone is so nice. Polite. Uck.
EXT. GAS PUMP – CONTINUOUS
Rachel pumping gas. Sees the pub.
EXT. PUB – CONTINUOUS
Rachel pulls up and parks in front of the pub. Just a hand full of cars and trucks.
INT. PUB – LATER
Rachel, 50’s, drunk, parties with a GUY, 50’s, at the bar. He gives her a couple of bumps of coke from a key. After throwing back beers and shots, she waves off the man’s advances. Puts her jacket on. He’s belligerent. She flips him off.
RACHEL
Fuck you, asshole!
GUY
Fuck you, you uppity bitch!
She smiles back. Exits.
INT. PICK UP TRUCK – CONTINUOUS
Rachel sits in car smoking a joint. Then drives off.
INT. PICK UP TRUCK – MOMENTS LATER
Rachel’s phone rings. She’s sees its her band mate, Paul.
RACHEL
Shit!
Answers. Puts on speaker..,
RACHEL
Hi. I’m so sorry. Fuck. I completely–
PAUL
Missed rehearsal, love. We’re all here waiting.
RACHEL
I had–
PAUL
Well, not anymore. And you promised me a dinner date.
RACHEL
I know. Things are messed up right now. I had an emergency.
PAUL
Everything okay?
RACHEL
Yea. No. Well…
PAUL
It’s alright. We can reschedule. We have gigs coming up, so – –
RACHEL
I know. I’m heading back home now. I’ll call you tomorrow.
PAUL
Okay, beautiful…
Rachel uncomfortable..,
PAUL
You sound a little fucked up. Maybe shouldn’t be driving? Need a ride?
RACHEL
No. I’m okay. I’ll pull over for a bit. I’m a good three hours out.
PAUL
Ouch! Well get some shut eye. We’ll talk tomorrow.
RACHEL
Yea. Bye.
PAUL
Later.
(INSERT SCENE, 1977)
INT. PICK UP TRUCK – MOMENTS LATER
Rachel 50’s, distracted looks for lighter, crashes the car into light post.
EXT. ROADSIDE – CONTINUOUS
Rachel has pulled off to side of the road. Tow guy hooks her truck up to his rig while criticizing her for driving all fucked up. Claims he should call the cops to pick her up. She’s snarky at first.
INT. TOW TRUCK – NIGHT
Silence. Tow truck driver drives with Rachel in the passenger seat. He pulls up to the nice couple’s/Mom’s house. And waits for her to get out.
RACHEL
Thanks.
Exits truck. Slams door.
EXT. FRONT DOOR – NIGHT
Rachel walks toward the house, looks back and flips him the bird. Same to you and drives off. She rings the bell.
-
Andrea Cabañas, ACT 2 Middle Scenes
What I learned with this is that I also had to go back a few scenes/ACT 1 to fix some gaps missing so, therefore, made more sense to work on this assignment. I couldn’t write the Key scene 3 on time but had it ‘outlined’. I’m sure I’ll be back soon to write/rewrite it while doing the following assignments.
KEY SCENE 2
After knowing the truth about Juan, Zoe’s tempted to step back but her willingness to have her independence is bigger. She decides to go ahead, pretend she doesn’t know anything and keep with it. She goes to Juan’s place, makes the project successfully, even going against Paula’s warnings.
Suddenly, she feels attracted to this world and Juan seduces her.
KEY SCENE 3
Zoe goes too far and Juan becomes suspicious. One day she makes a joke like she knows he’s a drug dealer or something. When they’re at his place, he becomes a bit vicious and snaps her. He apologises and sends her a bunch of flowers at her place (?). One night at his house, he snorts cocaine and offers it to her. She has some and goes home when the police catch her driving high. He goes to court and loses her driver’s license.
MONTAGE
Zoe works day and night in her bedroom on Juan’s project.
She talks over the phone while scribbles over drawings scattered on the table.
She visits Juan’s office, talks to workers doing their jobs.
Katrina argues with Zoe back home while Zoe tries to concentrate on her work.
Zoe makes love with Paula.
Sleepy, Zoe works on her computer later at night.
Zoe shows Juan the project on her computer screen. Paula’s security man watches them from a distance.
The first payment comes into her account. She dances on her own celebrating.
Zoe makes love with Paula.
INT./EXT. JUAN’S HOUSE – DAY
ADRIANO (’40), Juan’s security guard leads Zoe to a spacious room where a grand piano stands. There’s a nice view of Sydney’s Tamarama Beach.
Zoe walks through the beautiful, spacious lounge. There are paintings of Frida Kahlo and Andy Warhol on the walls. She stares at Frida Kahlo’s.
Juan arrives wearing bright linen trousers and a white T-shirt. He’s hot.
JUAN
Sorry to keep you waiting.
ZOE
That’s okay. It didn’t take too long.
He looks at the painting Zoe is looking at.
JUAN
Do you know her work?
ZOE
She’s one of my favourite artists.
JUAN
Really? I’ll take note of that. Fancy some wine?
ZOE
No, I’m okay, thanks. I’m driving.
JUAN
Any water or juice? Maria makes a delicious errr, how do you call sandia…?
Zoe squints, tighten her lips.
JUAN
A big fruit, green outside and red–
ZOE
Watermelon?
JUAN
That’s the one. Maria makes delicious watermelon juice. Do you want to try?
ZOE
Sure.
Juan motions to Adriano, who comes quickly to his command.
JUAN
Please, ask Maria to prepare her special jugo de sandia for my guest. We’ll be outside.
Adriano nods and disappears.
Juan motions Zoe to the garden.
JUAN
Shall we?
Juan leads Zoe outside.
EXT. GARDEN – DAY
Juan and Zoe seat at a table near the swimming pool under a big umbrella. The sun is shining and the ocean views is astonishing.
Zoe drinks her WATERMELON JUICE while Juan has a whiskey. She notices TWO MEN, both in their forties, dressed in black, each one carrying small devices similar to radio transmitters.
ZOE
Are you afraid of being assaulted or something?
Juan eyes his employees.
JUAN
I like the feeling of being protected. Don’t you?
ZOE
We’re in Australia, you don’t need to worry much about it.
JUAN
It takes only one tentative to make you feel uncomfortable even living in a safe country like this, cariño.
ZOE
What did you call me?
JUAN
Sorry, I didn’t mean to insult you. I said cariño. It’s hard to translate some words to English because they lose the real meaning. It’s something like saying my dear, or sweetie. But see? Calling you sweetie doesn’t have the same power as cariño.
ZOE
I heard someone saying that if you translate Gabriel Garcia Marques into English, the novel had two hundred pages less.
They laugh.
JUAN
Exactly.
Zoe takes a deep breath and picks up her computer. She opens it and starts making notes.
JUAN
You’re an amazing professional. You brought life to my office.
ZOE
I haven’t finished yet.
JUAN
My bad, sorry. Bad English. I meant you bring life.
ZOE
Thank you. And your English is great.
JUAN
I’m glad that I found you.
She smiles but doesn’t answer. She starts taping some notes nervously.
ZOE
Well, me too. I mean, I’m really glad to work for you on this project. It really means a lot to me.
JUAN
Good to know.
A moment of silence.
ZOE
I’m just writing down some notes we discussed if you don’t mind.
JUAN
No, of course.
He gives a sip on his drink, lays back and crosses his legs comfortably. He squints and locks his eyes on her.
JUAN
May I ask you something?
ZOE
Sure.
JUAN
Is there any mister Muller in your life?
Zoe blushes. It’s impossible not to resist his flirt but she keeps taking notes.
ZOE
Err… No, no mister Muller in my life.
JUAN
Any misses?
She stops writing for a second, clears her throat, takes another sip of her juice.
ZOE
No. No misses, no one in my life.
JUAN
Que desperdicio una mujer tan linda como vos.
Zoe scoffs softly.
ZOE
What did you say again?
JUAN
Nothing. I was just thinking out loud here. Let’s get back to work, shall we? Another juice?
Zoe nods nervously and takes a deep breath, while Juan motions to one of his men to grab another juice.
XXXXXXXX
-
Jess’s Act 2 Middle Scenes:
This lesson forced me to learn which of my scenes were intermediate turning points. Since virtually every scene I have for this act is about
Olivia being drawn further into danger, I had to decide which scenes were the most important. In Act 3, she will find a new, more perilous way of falling down the rabbit hole she entered at the end of Act 1.
Key Scene 2
BEGINNING: Olivia hypnotizes Munson.
MIDDLE: Munson tells her the story of the evening. He suspected that Aubrey was having an affair. He hung out with the ol’ boys club, got drunk and drugged. When he got to the bedroom, she was tied to the bedposts. The next thing he knew, he had the knife in his hand.
END: Munson begins kissing Olivia and calling her Aubrey. When she de-hypnotizes him, he collapses.
Key Scene 3
BEGINNING: Olivia goes to dinner with Munson. It turns out to be just the two of them. She tries to get Munson to realize that they have to stay emotionally uninvolved for the therapy to work.
MIDDLE: When Olivia returns to her quarters, her clothes have been replaced by Aubrey’s.
END: Olivia, upset by finding her clothes gone, attempts to leave the White House. She is stopped by Secret Service. Bowen explains to her the dangers she may face if she is not guarded.
Key Scene 2
INT. MUNSON’S SUITE — NIGHT
Olivia sits in a chair close by the President’s bed. Munson lies back on the bed, his body partly bolstered by pillows, similar to the patients’ couch in Olivia’s office. The only lights come from the adjoining hallway.
OLIVIA
You are in the Trump Hotel, after
giving your speech. What are you doing?
Munson’s voice is soft, but clear.
MUNSON
Will Davies grabs my arm, pulls me into
the bar. Several of the party chiefs are
there. They congratulate me on the speech,
ply me with liquor, lines of cocaine are
set on a plate. We take turns.
OLIVIA
What are you thinking about?
Munson becomes mildly agitated.
MUNSON
I talk to them, but I keep thinking that
Aubrey is having an affair.
Olivia perks up.
OLIVIA
What makes you think that?
MUNSON
I’ve noticed little things. The way
she kisses is different; barely, but
noticeably to me. Ways that she
touches. Things she says, about
times past, but she has them mixed
up with memories of something
else.
OLIVIA
Is this a recent development?
MUNSON
Yes, it’s only been a few months,
maybe six, that I’ve begun to notice.
It’s happening more frequently.
OLIVA
Is it possible that you think you’re
seeing these things more often be-
cause of your suspicions?
Munson relaxes.
MUNSON
I don’t know.
OLIVIA
You’re partying with the boys.
What happens next?
MUNSON
I begin to wonder about Aubrey. Is
she safe? What is she doing? Is her
lover with her? I break away from
the others, find Bowen, go to my room.
OLIVIA
What do you do there?
MUNSON
There’s a door between Aubrey’s suite
and mine. I listen at it, wondering if
I will hear them making love.
OLIVIA
What do you hear?
MUNSON
Nothing. It’s quiet. There’s no light
coming under the door.
OLIVIA
And then you?
MUNSON
I poke my head out of the door into
the hall. Hanks’s men are there, along
with Bowen. There’s one posted at each
end of the hall, one outside each suite.
Bowen is talking to one of them. They
stop when I open the door; look at me.
I tell them everything is fine and go
back in.
Olivia scribbles some notes for a moment, then asks.
OLIVIA
Did they give you any indication that
anything was wrong?
Munson shivers.
MUNSON
No. I return to the room, look for the
key to the communicating door. I can’t
find it. I go to the door, and it opens.
OLIVIA
What can you see? Do you hear anything?
Munson cuts her off.
MUNSON
There’s a strange smell. I can’t remember
what it is, but it’s familiar somehow. I
think of Afghanistan for some reason.
I open the second door, the one to Aubrey’s
suite.
OLIVIA
It’s also unlocked?
MUNSON
Yes, it’s as if Aubrey’s waiting for me.
She may have fallen asleep while I was
with the others in the bar.
OLIVIA
Can you see her?
Munson becomes more agitated. He speaks quickly, breathes shallowly.
MUNSON
No, the lights are off. The blinds and the
drapes are closed, so there isn’t enough
light to see much. Aubrey’s on the bed. I
wonder if she’s still in the mood for me,
if she unlocked the doors for me.
OLIVIA
Remain unaffected by what you see.
Report to me everything you saw, heard,
felt, smelled, but remain unattached to
the event. What do you do next?
Disregarding her, Munson goes into full PTSD mode.
MUNSON
I go over to Aubrey. The smell is there,
stronger. I don’t know what it is. Maybe
sweat. I whisper her name. She doesn’t
respond. I find her shoulder, shake it.
Olivia scrambles to write his revelations.
OLIVIA
Do you turn on the light?
MUNSON
I lean over to kiss her.
Munson is standing in front of Olivia. He drops to his knees and a tortured scream erupts.
MUNSON
Aubrey! Aubrey! Damn you, no!
I love you!
Munson grabs Olivia, pulls her close, cries, kisses, sobs, kisses, wails. Shocked, Olivia pulls away, but Marine Corps muscles are too strong.
OLIVIA
Mr. President! Stop! You must
come back to the present!
No effect.
Munson pulls her tighter to him.
She closes her eyes, calms her voice.
Almost a whisper.
OLIVIA
Mr. President, you are back in the
elevator. It is going upwards. You
reach the tenth floor. The doors open
and you are back in your bedroom in
the White House.
Munson stares at her. A man coming out of a nightmare.
He faints.
Key Scene 3
INT. EAST WING — EVENING
Olivia and Agent Barnes walk the halls of the White House. She sports an evening dress, well within her income range.
BARNES
So, what do you think of the
Cottage so far?
OLIVIA
What, you mean this palace? It’s been
— educational, inspirational, and
downright intimidating, to be honest.
BARNES
You’ll get used to it.
OLIVIA
I hope not. I mean, that would take out
all the fun and adventure, wouldn’t it?
BARNES
We’re still always on duty. It’s never
business as usual at the White House.
OLIVIA
Besides, I really don’t want to be here
that long. I want to do what I was hired
to do and get out.
BARNES
Here we are.
Barnes opens a door for her. Munson is standing on the other side.
MUNSON
Thanks, Jerry. You can catch some
shuteye if you like.
BARNES
I’ll be right here, Mr. President, in
case I’m needed.
Munson nods.
OLIVIA
I don’t think I could find my way
back on my own.
Barnes sits in a chair by the door. Munson guides Olivia closes the door behind them.
A large dining room, loaded with chandeliers, oak walls, and a long oak table.
Olivia looks around. Nobody else. Just Munson and she are there.
OLIVIA
I thought we were having dinner.
MUNSON
We are. here, have a seat.
He pulls out a corner chair for her. There are only two place settings, two sets of wine glasses, two finger bowls, two napkins.
OLIVIA
I, uh, didn’t know it was just the
two of us.
Munson pushes the chair in for her and sits at the head of the table.
MUNSON
Who else?
OLIVIA
I’m not sure. Some White House staff,
a Senator or two, foreign dignitaries?
Munson laughs.
MUNSON
They’re a dreary lot. I thought we
should have a nice conversation,
unencumbered by the realities of
my office. Just like a first date.
I hope you’re hungry.
Waiters interrupt and serve shrimp appetizers. A sommelier brings wine, offers Munson a taste. Munson nods, and the wine is poured.
MUNSON
Dinner at the White House is always
multiple courses.
The waiters depart.
OLIVIA
That’s not a big concern. I’m a little
surprised is all. I don’t usually meet
clients alone outside of the office.
MUNSON
Well, it’s never business as usual at
the White House.
OLIVIA
I keep hearing that.
MUNSON
It keeps being true. Try this wine, it’s
really the perfect complement to the
shrimp.
OLIVIA
I kind of want to keep my head clear.
Munson holds out his glass, inviting her to tap it with hers.
MUNSON
We’re not here for a session.
The word of the evening is
relaxation and recuperation.
Olivia hesitantly lifts her glass. They click together and sip the wine.
OLIVIA
This place — I mean the White House
—is more intimidating than it is relaxing.
MUNSON
I felt the same way my first few months here.
It’s a huge step up, even from the Senate.
OLIVIA
That’s surprising to hear. I didn’t think
anything could intimidate the most powerful
man —
Munson jumps in.
MUNSON
Most powerful man in the world?
I haven’t felt that powerful recently.
OLIVIA
I’m sorry. You said we’re here to relax,
and I’m reminding you of things that
upset you.
A second course appears, the leftover shrimp are removed. A new wine fills a new glass.
OLIVIA
They pour a lot of wine here.
MUNSON
We go through an entire vineyard at
state dinners.
OLIVIA
And still manage to get things done?
MUNSON
You get used to it.
OLIVIA
I’m already beginning to get a
little dizzy.
MUNSON
Another lightweight.
OLIVIA
Beg pardon?
MUNSON
Like Aubrey. She can’t hold her liquor.
Silence.
MUNSON
I mean, she couldn’t hold her liquor.
OLIVIA
Maybe we need to change the subject.
She takes a large swig from her wine.
MUNSON
No, it’s alright. As I told you, you
remind me of her. Same size, figure,
If you trimmed your hair I’d think
you were her from behind.
OLIVIA
I thought we weren’t going to talk
about that.
MUNSON
Well, except that she had a refined
sense of fashion. Quite a clothes
horse, really. But, really, you could
fit right into her dresses or suits.
A third course interrupts them. When the waiters leave, Olivia puts on her “professional face”. They talk over one another.
OLIVIA
Mr. President —
MUNSON
Dan, we’re not in the office. Daniel,
if you insist on formality.
OLIVIA
Mr. President, I doubt that you’ve ever
been in a spot before where you required
the services of a professional psychiatric
therapist.
MUNSON
No, that’s true enough.
OLIVIA
I was hired to do a job, which is to
help you recover from a traumatic shock.
MUNSON
You’re talking shop again.
OLIVIA
Just like a soldier who contracts Post
Traumatic Stress from combat,
especially if a close friend is killed.
Munson looks away.
OLIVIA
This country needs someone who is at
the top of his game, twenty-four seven,
for the next three years. You’re the only
President we have, so we’ve got to keep
this on a professional basis.
MUNSON
I thought you’d like a good meal.
OLIVIA
I do, but we need to keep ourselves
emotionally detached if the purpose
I was hired for is going to work.
MUNSON
What was it, the wine? I told them to
serve a chardonnay with the sea bass.
Olivia pushes her chair back.
OLIVIA
I really need to get some sleep. As
you should; I sure you’ve a very
difficult and stressful day tomorrow.
MUNSON
There’s a fantastic dessert planned.
OLIVIA
Please, when you get to bed, turn on the recording. Get into the Theta rhythms.
It will help you sleep. Get a good night’s
rest, and we’ll meet tomorrow if your
schedule permits.
Olivia stands. Munson rises stiffly, bows to her.
OLIVIA
Good night, Mr. President.
MUNSON
Good night, Doctor.
Olivia hastens over to the hall door and opens it. Barnes is outside. He pops out of the chair.
Olivia looks back at Munson. He’s gone.
INT. FIRST LADY’S SUITE — MOMENTS LATER
Barnes opens the door to Olivia’s rooms for her.
OLIVIA
Thanks, Jerry.
BARNES
My pleasure, Doctor.
He departs. Olivia steps in front of the mirror and unzips her dress. She removes it, lets her hair down, takes the dress to the wardrobe. Inside are someone else’s clothes. She looks at them, sorts through them, studying them.
Olivia stops at an ornate dress. She walks over to the dresser, reaches into the upper drawer, and pulls out the picture of the First Lady at the inauguration with Munson.
There’s no doubt.
It’s the same dress.
INT. WHITE HOUSE FOYER— NIGHT
Olivia, wrapped in the First lady’s trench coat, wearing the First Lady’s pumps, gripping her White House I.D, approaches the front door.
Three Secret Service agents leap to their feet. Behind Olivia, Barnes emerges from a side door.
BARNES
Doctor Thurmond? Please stop.
Olivia beelines for the front door. The other agents coalesce to block her path.
Olivia turns to Barnes.
OLIVIA
I need to get something from home.
BARNES
It’s the middle of the night. If you
like, I can send someone to get it
for you.
OLIVIA
It’s something personal.
BARNES
I’m sorry, Doctor, but right now I
can’t let you out that door any more
than I could let you in.
OLIVIA
I called a cab. It’ll be waiting outside
the gate.
BARNES
It’s too dangerous, Doctor.
OLIVIA
What the hell are you talking about?
Barnes firmly takes her hand. She pulls back, but he’s in great shape.
BARNES
Please, Doctor, let me take you back
to your suite.
OLIVIA
I told you. I don’t want to go back. I
need to get something.
Barnes releases her hand.
BARNES
If you’ll come with me, I will make
things clear for you.
Olivia looks at the door. Her path to freedom is blocked by the agents. Another has joined them by now.
She relents. Slowly they walk back into the residence.
OLIVIA
Okay, what’s so dangerous about
leaving the White House that I can’t
go home for a night? The President
is asleep by now, so I’m not needed
herre.
BARNES
I wasn’t referring to the President’s
situation. It’s your safety that I am
responsible for.
OLIVIA
I thought Bowen was in charge of me.
BARNES
He’s the President’s security chief.
I am the First Lady’s, since Mister
Hanks committed suicide.
Olivia stops dead in her tracks.
OLIVIA
Who committed suicide?
BARNES
Agent Hanks. He was in charge of
Mrs. Munson’s security.
OLIVIA
Whoever he was, I’m not the
First Lady.
Barnes looks at her coat and shoes. Olivia looks at her clothing, embarrassed, bewildered.
Barnes offers her a hand and leads her through the long, silent corridors.
BARNES
I’m currently assigned to you as
there is no First Lady to care for.
The danger is real, Doctor Thurmond,
not because you are the President’s
wife, but because you are his analyst.
OLIVIA
I’m here to help him through this,
not to cause problems. I’m not exactly
looking for foreign agents to blab secrets
to.
Barnes interrupts.
BARNES
Can you think of any reason why
foreign agents would like to capture you?
OLIVIA
Sure, I know the President’s condition.
BARNES
That makes you a security risk, Doctor.
The badge you’re carrying doesn’t just
give you permission to go into the
Presidential suite, it also restricts you
from leaving without a security team
or someone in administration tagging
along. Think about this — if a foreign
intelligence agency were to kidnap you,
the risk is not only to national security.
OLIVIA
I wouldn’t tell them anything. I know how
to handle myself under drugs or hypnosis.
BARNES
What about torture, Doctor? Try to see
yourself being waterboarded. Or having
your lovely hand smashed by a hammer.
The pain of either is quite intense, I’ve
been told. By people who have suffered
them.
Olivia’s eyes go wide.
OLIVIA
Mister Barnes, if you’re trying to
frighten me — you’re succeeding.
Barnes stops. Olivia realizes they are back at the First Lady’s suite.
BARNES
Please, Doctor, think about it. I am
here to protect you. I can’t do that if
you slip out into the night.
OLIVIA
What happens when this is over? I
mean, nobody in the press knows who
I am, do they?
BARNES
You may be the best-kept secret in the
White House. But we prefer not to take
too many chances.
OLIVIA
But, I’ll be back in practice, someday?
BARNES
That hasn’t been decided yet. You may
be placed in a new identity, as in witness
protection programs. In that case, you’d
be relocated somewhere that we could
keep you from harm, probably for some
time.
Olivia opens the door.
OLIVIA
You mean, for the rest of my life.
Don’t you?
BARNES
It may come to that, Doctor.
Olivia nods.
OLIVIA
Thank you, Agent Barnes, for
explaining my situation clearly.
BARNES
I’m sorry, Doctor Thurmond.
Once you took on this position,
you became a target for all enemies,
foreign or domestic. We’ll do
everything we can to protect you.
Olivia nods, goes into the suite. The lock clicks behind her like a prison cell door.
-
Dana’s Act 2 Middle Scenes
What have I learned from this assignment?
Never take two classes at the same time. I’m behind. But I will finish!
Outlining the beginning/middle/end of Scenes 2 and 3 not only helped me imagine the coming dialogue of the scenes but made me think of the direction for the coming scenes beyond the midpoint. It gave me a better direction than had I been flow writing and using the first draft as a blueprint.
ACT 2 BEAT SHEET – MIDDLE SCENES
SCENE 2:
INT. LOCATION – NIGHT
BEGINNING: Simon gets a phone call from client.
MIDDLE: They discuss what has happened. He should have been contacted first.
END: He’s hired to clean up the mess.
INT. MOTEL ROOM – NIGHT
BEGINNING: Frank is peering through windows, paranoid they were followed. Jack is researching the files from Calvin Brown.
MIDDLE: Jack and Frank argue over what they should do. Jack wants to investigate. Frank wants to run.
END: Jack discovers reports in the file. Someone used a security card to enter the station after hours that belonged to a guard who was supposed to be off duty. He convinces Frank to stay.
EXT. HOTEL KITCHEN – DAY
BEGINNING: Calvin Brown alone in the kitchen. Margery Newbaum and Douglas Hill join him
MIDDLE: Brown threatens to help Valentino and Donovan if he doesn’t get an appointment to her husband’s VP staff.
END: Margery suggests they come to an agreement. They do.
INT. HOME – DAY
BEGINNING: Jack and Frank ambush the guard whose security key was used to get someone into the police station the night of the killing.
MIDDLE: The guard gives up Douglas Hill. Explains his role in the killing. They have a witness.
END: A bomb explodes in the bathroom, killing their witness. Donovan and Valentino barely escape as sirens are heard coming close.
SCENE 3
EXT. CEMETARY – NIGHT
BEGINNING: Simon arrives and meets Hill who’s been waiting.
MIDDLE: Simon complains how Hill screwed things up. They’ve not friends. They plot their direction forward to protect the governor and Simon’s client.
END: They drive off in separate directions.
INT. HOME – NIGHT
BEGINNING: Jack and Frank arrive without to the home of the retired ME who worked with them.
MIDDLE: Jack gives her the FBI lab reports to review. She tells them that Jones suffered from a blood disease. He was a hemophiliac and couldn’t have died the way the pathologist reported. He bled out faster than believed. they couldn’t have done killed him.
END: They decide to go after Douglas Hill. But the ME warns that Hill works for the governor. They must find another way. They decide to find the technician who they now believe manipulated the surveillance footage to incriminate them.
INT./EXT. TECHNICIAN HOME – DAY
BEGINNING: Jack and Frank break in to find the technician and his wife both dead. Tortured to death. Whoever tortured them got what they wanted. The original surveillance hard drive?
MIDDLE: Cops suddenly show up, trapping them in the home with two dead bodies. They were set up.
END: Jack and Frank are involved in a chase with police through the city. They barely escape, and without shooting anybody.
EXT. PATIO – EVENING
CLOSE SHOT – SIMON
He’s early 40’s, dark, lean, fit, reading glasses. He sits reading with the morning sun warming him. His cell phone RINGS.
SIMONThis is Simon.
(pleasantly surprised)
Hello — Yes. It has been a long time — Not at all. It’s evening where I am — No, I don’t get your news. What…? — I see — How did this happen? — And what did he do?
(disgusted)
Amateurs. You should have called me first — Thank you. I appreciate that — I can be there in twenty-four hours — That’s very generous. I’ll text you the account number — Yes. I was nice hearing from you, too. Goodbye.
Simon hangs up, considers the conversation for moment, and then he goes back to his reading.
INT. MOTEL ROOM – NIGHTFrank is at the curtain, peering out the window, looking for anyone suspicious, magnum in hand.
JACK (O.S.)
What are looking for? Nobody followed us.
FRANK
That kind of thinking gets you a shiv in the back.
Jack is sitting at a table. Two file boxes sit on the floor. He’s reading files, comparing one report to another.
JACK
You’re not in prison anymore.
FRANK
We’re always in prison.
Frank leaves the window. He looks over the papers on the table.
FRANK (CONT’D)
What’s all this?
JACK
This is our case file.
FRANK
Jesus. How many times have you read that shit? What didn’t you see then that you see now?
JACK
(reading the reports)
I didn’t see the FBI labs, for one.
FRANK
The what?
JACK
The bloodwork on Jones came back after our lawyer filed discovery. And the AG never turned this over.
(frustrated)
Not that I can made any sense of it. But why would the pathology lab send Jones’ blood to the feds?
FRANK
Where’s you get this?
JACK
(reluctantly)
Calvin Brown. It’s from the civil trail.
FRANK
Are you shitting me? You went to see that scum bag?
JACK
He said it might be worth looking over the files.
FRANK
And you trust that fucker? Brown used the race card to send us to jail for his own payoff.
JACK
It’s wall we’ve got.
FRANK
You mean ‘You’ve got.’
(beat)
I haven’t got time for this! And neither do you. First light, I’m outta here first light. And if you’re smart, you be right behind me.
Jack’s out of his chair.
JACK
You don’t get it, do you, Frank? There’s no getting out. Why do you think we both got early parole? Because we were model prisoners? Whoever put us in wanted us out. They want us dead.
(beat)
There’s no out. There’s no running. No matter where we go.
Frank blows Jack off and makes for one of the twin beds.
FRANK
You can play detective, all you want. I’m out. I got no problem running.
Frank flops onto the bed and turns off the side lamp.
FRANK (CONT’D)
Tomorrow, I’m gone.
Frank rolls away from Jack and goes to sleep.
Jack looks at his friend, disappointed. Then returns to the table and the files.
INT. MOTEL ROOM – LATER
The room is dark but for the light over Jack at the table. Frank is fast asleep. Jack is pouring over the files. He looks at one paper then the next.
He sets papers aside and, exhausted, rubs his hands over his eyes and face. For the moment it seems he’s going to give up, but the keeps going.
He pulls another file from a box. Immediately, it intrigues his as if he’d never seen it before. He opens the file and begins to read. He flips through a few pages, reenergized.
He scours through the papers on the table, then rifles through the other box on the ground and finds another file. He compares both files, back and forth, and slowly stands.
THE BED LAMP BLINKS ON
The lights beam over Frank. Jack nudged him awake. Frank rolls awake, groggy.
JACK
Wake up — Wake Up! I think I found something.
FRANK
(groggy)
What? What time it is?
JACK
Three o’clock. Who cares? Look.
Jack puts the files in Frank’s face.
FRANK
What? What’s this?
JACK
It’s the master roster from headquarters.
Jack hands him another report.
JACK (CONT’D)
That’s the entry log for the building that night. Notice anything?
Frank looks back and forth at the two reports. He recognizes what Jack is point out.
FRANK
Son of a bitch.
(beat)
How did Brown know to ask for this?
JACK
He’s a smart lawyer.
FRANK
We should have hired him
JACK
You still want to run?
Frank looks up at Frank, pissed off.
CUT TO:
INT. HOTEL KITCHEN – DAY
The kitchen is empty. We HEAR CROWD APPLAUSE from a distant room. Calvin Brown is alone in the kitchen, listening, pacing, waiting for someone. He turns when…
Margery Newbaum enters through another door followed by Douglas Hill who stands guard. Margery and Calvin face off with one another pleasantly.
MARGERY
Hello, Calvin. It’s been a long time.
CALVIN
Margery. How are you?
MARGERY
Very well, thank you.
CALVIN
And the governor?
MARGERY
He’s doing well, too, thank you.
(beat)
This is your meeting, Calvin.
CALVIN
I want to congratulate you and the governor. I understand he’s being considered as VP for the ticket.
MARGERY
He’s on a short list.
CALVIN
I’ve been told he’s on the top of the list. And it seems the closer he moves toward Washington, the father away he gets from his old friends.
MARGERY
I assure you, Calvin. The governor hasn’t forgotten his friends.
CALVIN
Then why do I have to sneak through a back door at a campaign rally to meet with him? And still, he sends you.
(beat)
I appreciate that you’ve always been the power behind his thrown, Margery. But the niceties still need to be observed. He doesn’t return phone calls any more.
MARGERY
He’s busy with his agenda, Calvin. He does have a state to run. You, of all people, can appreciate that.
CALVIN
Of course. But there are those who don’t have our appreciation for the job. They feel he’s trying to slip away.
MARGERY
I’m sorry they feel that way. But I can assure you – and them – William remembers his obligations.
CALVIN
I’m sure he does. But to assuage concerns, his friends decided to send a small reminder of his debt.
Margery studies Brown for a moment, realizing his meaning.
MARGERY
You got Donovan and Valentino released.
CALVIN
Your husband isn’t the only one with influence over the parole board.
Margery looks to Hill. They share a moment of betrayal.
CALVIN (CONT’D)
Jack Donovan actually came to see me. The man’s got balls.
MARGERY
What did he want?
CALVIN
Marcus Jones’ killer.
MARGERY
What did you tell him?
CALVIN
Enough to whet his appetite, but not enough to satiate his hunger. Of course, if he comes to me again, who knows what I might provide.
MARGERY
What do you want, Calvin?
CALVIN
Assurances. His friends don’t want to be forgotten.
MARGERY
They won’t be. But you’re not here for them. What to you want?
CALVIN
Your campaign will need a legal advisor. And Washington would be a nice change of pace.
MARGERY
Malcomb Briggs already represents the governor.
CALVIN
His firm doesn’t know you the way I do. And what better way to convince our friends of the governor’s fealty.
MARGERY
I’ll discuss it with the governor.
CALVIN
That’s all I ask. And when he makes his announcement, I’d like to be on stage with him.
Margery turns and leaves with Hill.
CALVIN (CONT’D)
Say hello to the governor for me.
Hold on Brown for the moment.
CUT TO:
EXT. STREET – DAY
A security guard is walking home carrying a lunch pale. This is CHUCK LUNGER, 40’s, overweight, exhausted, the weight of life pushing him down. He walks slowly through his low income neighborhood. Kids on bikes. Traffic on the street.
EXT. LUNGER’S HOUSE – CONTINUOUS
It’s a small, single story house. Lunger walks up the short walk to the door searching for his keys.
INT. LIVING ROOM – LUNGER HOUSE – CONTINUOUS
The key TURNS THE LOCK and Lunger steps inside and closes the door. Instantly, he stops, frozen, his eyes wide and staring.
Jack stands in the living room. All in black, ski mask and gloves, .45 automatic.
Before Lunger can move, a magnum is put to the back of his head. Lunger freezes. He looks defeated, as if he expected this.
Frank, black ski mask and gloves, puts a hand on Lunger’s shoulder and ushers him into the living room.
JACK
Welcome home, Officer Lunger.
LUNGER
Are you going to kill me?
JACK
Take a seat, Officer.
Frank puts Lunger in the middle of the couch. Then he and Jack stand over the man.
LUNGER
I’m not a police officer any more.
FRANK
No kidding.
JACK
We have some questions for you?
LUNGER
I never said anything. You don’t have to worry. I never will. You think I want to go to prison like those other cops?
JACK
Why would you go to prison, Chuck?
LUNGER
C’mon. Let’s not bullshit each other. I know why you’re here. But you don’t have to do this. I won’t tell anyone.
Frank and Jack look at each other, then they pull off their ski masks and reveal themselves to Lunger.
Lunger is really panicked now, breathing hard.
LUNGER (CONT’D)
Oh, shit. Oh, shit.
JACK
You won’t tell anyone what, Chuck?
(beat)
That you clocked out before Marcus Jones was brought to the station? That your security card swiped you into the building five hours later?
FRANK
You must’ve been one dedicated cop. Coming in on your off hours.
JACK
Who used your card, Chuck?
LUNGER
I don’t know.
(beat)
I don’t know! I swear! I was told to leave it in my mailbox when I got home. And it was there the next morning when I went to work. That’s all I know.
FRANK
Who told you to leave it in your mailbox?
Lunger hesitates, looking away from them, not wanting to answer. Frank thrusts his magnum at Lunger.
FRANK (CONT’D)
WHO?
LUNGER
(reluctantly)
Douglas Hill.
Frank and Jack look at each other, stunned.
FRANK
The AG’s guy?
JACK
How did you know him?
LUNGER
Our mother’s are cousins. Douglas put in a word and got me a job at the detention center.
(beat)
We all can’t graduate top of our classes, you know.
JACK
Why did Hill want Jones dead?
LUNGER
How the hell should I know? I was shocked as hell when I found that kid dead. There were seven other assholes in holding when I left that night.
JACK
What happened to them?
LUNGER
(shrugging)
They got bailed out, transferred.
FRANK
(to Jack)
They cleaned house. Jones was alone. No Witnesses.
JACK
How’d Hill get into Jones’ cell?
LUNGER
Are you kidding? Graveyard shift in holding? It’s boring as shit there. The two guards on duty were fired for sleeping in the solitary cells. They always leave the keys lying around on a desk.
JACK
Why didn’t Hill show up on the surveillance video?
LUNGER
That’s above my pay grade.
FRANK
You didn’t shit the bed over family loyalty. What else did your cousin promise you?
LUNGER
He got me transferred to the two-seven.
FRANK
Out of sight, out of mind.
JACK
The two-seven had a pad. Did your cousin put you on the pad to keep you quiet? How many other favors did you do for him?
LUNGER
None. This was a one time thing. I just kept my dead down, put in my twenty and got out.
FRANK
Schmuck.
Lunger looks back and forth at them, worried.
LUNGER
So what now? What are you going to do? Kill me?
FRANK
It’s an idea.
JACK
We’re not killing anybody.
(beat)
But you’re going before a judge and give a deposition.
LUNGER
(panicked)
Oh, no way, man. Douglas will kill me.
JACK
You thought your cousin sent us to kill you. What do you think he’ll do when he finds out you talked to us? You’re dead unless you go on the record.
FRANK
Why didn’t you just split?
LUNGER
Where else am I going to go? I’m living on half a pension since my wife ran out. And my only friends are retired cops. This is the only life I have left.
FRANK
Boo fuckin’ hoo.
LUNGER
I need to take a shit. Is that allowed?
JACK
Go ahead.
Lunger stands off the couch. Frank stops him and gives him a quick one-handed frisk.
LUNGER
I’m not strapped.
FRANK
You come out of the bathroom with anything but your dick in your hand, and I’ll blow your head off.
Lunger heads to the bathroom off the living room. He turns on the bathroom light and closes the door.
Frank and Jack sling their weapons.
FRANK (CONT’D)
We have to baby sit this asshole?
JACK
He’s a link in a chain. He gets us to Hill.
FRANK
That son-of-a-bitch had his prints over that case from the start. What was his angle?
JACK
I don’t know, but from there —
BOOM! The bathroom EXPLODES. Frank and Jack disappear in the flying debris.
EXT. LUNGER HOUSE – CONTINUOUS
The bomb BLOWS OUT the front of the house.
INT. LIVING ROOM – LUNGER HOUSE – CONTINUOUS
Jack lying on the floor, battered and bruised, smothered in bomb debris. He’s barely moving, bleeding from his head. He starts to crawl to his feet.
JACK
Frank? — Frank?
Frank, rolling on his back, regaining his bearings. He rolls to one side and begins to stand.
Both men slowly climb to their feet.
JACK (CONT’D)
You hurt? Frank! Are you hurt?
FRANK
I’m good.
Jack steps toward the bathroom.
Lunger’s body is torn to shreds.
Frank comes up from behind and looks over Jack’s shoulder at the body.
FRANK (CONT’D)
You still think we’re going to find justice?
Jack looks to Frank, realizing their plight.
FRANK (CONT’D)
C’mon. We have to get out of here.
Frank pulls Jack across the living room. They stumble and bang into overturned chairs and tables, making for the back of the house.
EXT. LUNGER HOUSE – PATIO – CONTINUOUS
The back door opens. Frank steps out, looks around the yard. Safe. Jack joins him, and they head across the yard to the gate.
Jack grabs a beach towel off a lounge chair and wipes blood. SIRENS now in the distance.
INT. ALLEY – CONTINUOUS
The back gate cracks open. Frank pops his head out. Safe. He leads Jack into the alley.
FRANK
We’ll circle back for the car later.
They skulk away down the alley.
EXT. HOMELESS CAMP – CONTINUOUS
Tents line the sidewalk. The homeless stand watching as a cop car, LIGHT AND SIRENS, zooms by.
Jack and Frank sit hidden among the tents, bloodied and dusty trying to get clean. A homeless man hands them a dirty towel. Jack thanks him.
CUT TO:
EXT. CEMETERY – NIGHT
HEADLIGHTS turn off the street into the cemetery.
A dark Mercedes S-Class winds through the empty cemetery.
A Ford sedan is parked with its lights off. The headlights from the Mercedes flood over it as the Mercedes approaches.
The Mercedes parks twenty-feet away facing the Ford. The lights turn off. The engine die.
Simon climbs from the Mercedes. He’s impeccably dresses, suit and overcoat, leather gloves.
Douglas Hill climbs from the Ford.
The two men meet in the middle, ten feet apart.
HILL
I thought we were never supposed to meet?
SIMON
Circumstances have changed. You’ve been sloppy.
HILL
(incredulous)
The governor asked me to handle it, so I handled it. Where in the hell have you been?
SIMON
Unlike you, Mr. Hill, I have more clients than just one governor to protect. And my client wants this done quietly. A bomb isn’t quiet.
HILL
It’ll look like what it’s supposed to look like — a gas explosion.
SIMON
Providing no-one finds the mercury switch attached to the gas line of the water heater.
HILL
Don’t worry. I’ve got it covered.
SIMON
Why didn’t you dispose of this man years ago if you were so concerned?
HILL
He’s family.
SIMON
Family? How Biblical.
HILL
Hey, look! I don’t need your Monday morning quarterback bullshit, Mr. Simon. Or whatever your real name is. And if those two cops died in that blast, your client’s problems would have been solved.
Simon half-laughs at Hill’s incompetence.
SIMON
The two policemen released from prison die from an explosion in the house of the guard who testified against them. And you don’t think that would have provoked curiosity and suspicion?
Hill puts his hands on his hips, frustrated, pissed.
SIMON (CONT’D)Tell me about your Mr. Jorgensen. What does he know?
HILL
Nothing. A voice on the phone. That’s it. He’s not a threat.
SIMON
There’s no such person.
HILL
He’s Valentino’s parole officer. Or don’t you think killing him will provoke suspicion?
SIMON
He’s a cocaine addict with a swimming pool. That’s a very dangerous combination.
(beat)
We must also assume your family member surrendered everything he knew, which puts you in their crosshairs, too.
HILL
Don’t get piggy, Simon. I don’t have a swimming pool.
Simon smiles.
SIMON
They’re in action now. We won’t find them. But we can anticipate them.
(thinking)
Family?
HILL
Valentino has a brother in Arizona. Donovan has an ex-wife. She got remarried. Has a kid.
SIMON
How old?
HILL
I don’t know. Eleven. Twelve.
Simon remains quiet, putting things together.
SIMON
They’re investigating the trial. They need a witness. Where will they go?
HILL
The technician. But that may be a problem.
SIMON
In what way?
HILL
The money wasn’t enough. He kept a copy to protect himself.
SIMON
That’s a pity…
CLOSE SHOT – SIMON
SIMON (CONT’D)
Not a problem.
EXT. CEMETERY – MOMENTS LATER
The two cars, lights on, pull away from each other and head in opposite directions.
CUT TO:
EXT. SURBURBAN HOME – NIGHT
It’s a two story home in a good neighborhood. The lights are off. Two figures creep through the shadows and head around to the back.
INT. BEDROOM – CONTINUOUS
SALLY BROTHERS and her husband HERB, both in their sixties, are fast asleep. Herb is SNORING softly. Through the open window, we hear the SPRINKLERS turn on.
Sally wakes up, annoyed. She nudges her husband.
SALLY
Herb. Herb! Someone’s in the back yard.
Herb grumbles and continues sleeping.
Sally tosses off the blanket and peers out the open window.
EXT. BACK YARD – CONTINUOUS
The sprinklers are running.
The kitchen light inside turns on. Then the light above the back door. Sally swings the door open. Bathrobe, pink fuzzy slippers and a shotgun in hand. She steps outside and SLAPS the action.
SALLY
Who the fuck is in my yard?
JACK (O.S.)
Don’t shoot, Sally. It’s just us.
She swings the shotgun at Jack and Frank sitting at her patio table. Sally is pissed, then shocked, then she mellows and lowers the gun.
SALLY
Son of a bitch!
She leans the shotgun against the house and opens her arms.
SALLY (CONT’D)
Come here, you assholes.
She gives Jack and huge hug first. He carries a black valise.
SALLY (CONT’D)
You never heard of a phone, you jackass?
JACK
It was prison, Sally.
SALLY
You couldn’t shove one up your ass and smuggle it in?
She pushes Jack inside. Then she hugs Frank.
FRANK
You know Jack’s ass is too tight to shove anything up there.
She grabs his shoulders to look straight at him.
SALLY
Hello, Frankie.
(beat)
Now get your ass inside before the neighbors see you and my property value drops.
Sally grabs her shotgun and follows them inside.
INT. SALLY’S KITCHEN – LATER
Jack and Frank sit at the table with coffee. Jack’s valise is in a chair. Sally pours herself a cup at the counter.
SALLY
You’ve both been out for a week, and neither one of you think to call me?
FRANK
We’re settling in to our news lives as parolees.
Sally sits down at the table.
SALLY
And how’s that working for you?
Their man answers.
SALLY (CONT’D)
Yeah. That’s what I thought.
(beat)
I was heartbroken when you boys went inside. I wish there was something I could have done.
JACK
Maybe there still is.
Jack pulls a folder from his valise and hands it to Sally.
JACK (CONT’D)
We came across something that we don’t understand. We’re hoping you can make sense of it for us.
Sally looks over the papers in the file.
SALLY
This is the FBI’s bloodwork from the Jones case. What about it?
JACK
Why would the state pathology lab send bloodwork to the FBI?
SALLY
Routine. The body went to the state pathologist the minute the AG took over the case. Someone there must have sent the blood for analysis. Why? What are you to up to?
Jack and Frank exchanged glances, knowing they’re about to involve Sally in their investigation.
JACK
We think someone buried the report at trial.
SALLY
What? Why?
FRANK
We’re hoping you could tell us.
SALLY
Where’d you find it?
Frank smirks at Jack, almost daring him to explain.
JACK
Calvin Brown discovered it during the civil trial.
SALLY
Calvin Brown? That race hustler?
FRANK
Jack’s making new friends.
JACK
We just what to know what the report means.
Sally takes the file in hand and begins to flip pages. Her expression changes from casual reading to curiosity as she reads deeper into the report.
SALLY
Do you have the autopsy report?
Jack produces the report. Sally begins to read, comparing the two reports. Slowly, she stands and leaves the table.
Jack and Frank look at each other confused.
Sally stands with her back to them, deep in her own world. When she finally turns, her expression is one of confusion and concern.
SALLY (CONT’D)
Walk me through that night again.
JACK
Why? What is it?
SALLY
Humor me. How did events transpire?
JACK
We were assigned uniform duty for crowd control at a student protest due to a manpower shortage.
FRANK
Right. And while we were sitting in the car, Jones came out of nowhere and threw a fucking brick through our windshield — the little prick.
JACK
We figured he was making his bones as an activist, trying to impress the other students.
SALLY
Then what?
JACK
We arrested him and brought him to the station. Booked and processed him and then locked him in holding.
SALLY
What was the timeline?
JACK
We arrested him at eight thirty and put him in holding an hour later. Why? What is it?
Sally looks sick.
SALLY
I always waited for the labs before I filed a final report. That’s SOP. The state’s pathologist screwed the pooch. He filed his final report before the labs came back.
FRANK
The state was in a hurry for their pound of flesh.
JACK
What is it, Sally?
SALLY
There’s no way you could have killed that kid.
(beat)
Marcus Jones had level three von Willebrand disease.
Jack and Frank are alert but confused.
SALLY (CONT’D)
Von Willebrand disease is a blood disorder. Jones lacked the proteins to clot his blood. He was a hemophiliac.
Jack and Frank still look confused.
SALLY (CONT’D)
The pathologist calculated the time of the beating based on the amount of blood found in the body cavity, assuming Jones bled out slowly. But with von Willebrand disease, Jones would have bled faster because his blood didn’t clot. If you’d beaten him before you brought him to the station, he would have been doubled over in pain during processing.
(beat)
He was beaten after you put him in holding. And by someone who wanted to kill him.
FRANK
How do you know that?
SALLY
The bruising on the body was very specific. Kidneys, spleen, liver. Soft tissue areas. Whoever killed Jones knew how and where to hit him to cause internal bleeding. He had to know Jones was a hemophiliac.
(beat)
This report proves you didn’t kill him.
Frank and Jack look at one another again. Jack slumps in his chair. Frank SLAMS the table and jumps from his chair, angry.
FRANK
Twelve fucking years… Twelve fucking years…
SALLY
You can file an appeal. I can even testify.
JACK
It’s not that simple.
SALLY
Why the hell not?
JACK
You’re a friend. And the evidence is still subjective. The state will argue that you see what you want to see. It’d be your opinion against theirs.
FRANK
Even our own lawyers argued Jones was beaten before we arrested him.
And the surveillance footage proved no-one went into his cell.
SALLY
But now you know that isn’t true.
The two men exchange knowing glances.
JACK
Right.
FRANK
Right.
SALLY
You came here to ask for my opinion. If you’re not looking to prove yourselves innocent, then what? What do you intend to do?
Sally catches the intent in their eyes.
SALLY (CONT’D)
Oh, god, no. You can’t. You just got out of prison. Do you want to go back?
JACK
We’re not going to find justice, Sally. What happened to us wasn’t a mistake. Whoever did this has fuck you power. And they want us dead. They’ve already killed one witness. And they tried to kill Frank last night.
SALLY
What witness?
JACK
The guard who found Jones’ body.
FRANK
This is hit and run, Sally. We’re not coming back.
SALLY
And what about your daughter?
Jack sits back, stunned that she knows.
SALLY (CONT’D)
You didn’t think I knew about her? She was born eight months after you went inside. And now you’re just going to leave her behind?
JACK
She doesn’t know I’m alive.
SALLY
If you go down this road, she never will.
FRANK
We’re getting ahead of ourselves. We need a witness. Our last one went to pieces of us.
JACK
The technician. He authenticated the surveillance footage at trial.
FRANK
He’s not the mastermind.
JACK
No. But he gets us to Douglas Hill. And his signature’s on the chain of custody reports.
SALLY
The AG’s investigator? That Douglas hill? Why him?
JACK
The guard that testified against us was Hill’s cousin. He told us Hill was involved.
FRANK
Just before they blew him up.
SALLY
Jesus.
(concerned)
Boys, do you know where Douglas Hill works now?
(beat)
He coat-tailed to the governor’s office with Newbaum. He’s head of the governor’s security team.
JACK
Son of a bitch.
SALLY
You don’t think the governor’s involved, do you?
FRANK
Why not? He railroaded us right into the governorship.
JACK
And that’s motive. The two cops he prosecuted are released under his parole program? We’re the albatross around his neck. He needs us gone.
SALLY
Even it that’s true, you can’t kill the governor. Or his bodyguard. Are you insane? Especially now. Newbaum is rumored to be on the short list for VP.
FRANK
I don’t give a damn. I want my pound of flesh.
Jack and Sally glance at each other, concerned.
Slippers SLIDE across the kitchen floor and Herb walks in wearing his bathrobe. He doesn’t acknowledge anyone, even Sally. He open the refrigerator and grabs a bottled water.
HERB
The boys staying the night?
Sally looks to them for an answer. They shrugs.
SALLY
Yeah. I’ll put them up in Roger’s old room.
Herb heads back upstairs.
HERB
I have to pee again.
And he’s gone.
CLOSE SHOT – SALLY
SALLY
My life’s an episode of the Bachelor.
CUT TO:
EXT. STREET – DAY
A BANK OF PAY PHONES
Frank is on the phone. Jack standing nearby listening.
JACK
Yes, hello. I’m trying to contact Mr. Michael Wagner. I believe he’s in your forensic science and tech division…
(beat)
He retired? Do you know if he’s still living in the area? – I see. Well, this is Don Armstrong at the Journal. And I’m doing a follow-up story on Frank Valentino and Jack Donovan, and I was really hoping to speak with Mr. Wagner to get some background for the piece. Would it be possible for you to give me his home number?
(beat)
I understand, but I’m up against a deadline, and if I don’t get this in by this afternoon, my editor will have my balls in a jar…
(beat)
It’s just a few questions. And I promise I won’t tell him where I got his number…
Frank braces the phone against his shoulder and signals Jack for a pen. Frank writes the number in the palm of his hand.
JACK (CONT’D)
Great. Thank you.
(he hangs up)
Everybody wants to help.
They head toward the car in the street.
EXT. HOME – DAY
BINOCULAR POV
A home in the hills. A wooded lot. Pines trees. A detached garage in the back with barn doors. A sedan in the driveway. It’s quiet.
JACK (O.S.)
What do you think?
FRANK (O.S.)
I don’t know. Looks quiet.
EXT. CAR – CONTINUOUS
Frank in the driver’s seat peering though his binoculars. Jack in the passengers seat.
FRANK
Maybe too quiet.
Frank hands the glasses to Jack.
JACK
Woman’s car in the driveway. Maybe they’re gone.
FRANK
You want to wait?
JACK
No. Let’s go.
They climbs out.
EXT. HOUSE – MOMENTS LATER
Jack and Frank use the woods as cover, rounding to the back of the house, guns drawn. They cross the driveway.
EXT. BACK YARD – CONTINUOUS
It’s an open yard. No fences. They creep under the windows to the patio. Curtains inside are all drawn.
They separate at the sliding glass door, one on each side. Frank peers inside. Sees nothing. Shakes his head at Jack. When he tests the door, it slides open a crack.
FRANK
It’s not locked.
They ready themselves, and Frank pushes the door open as quietly as possible. They enter – Frank first.
INT. DINING ROOM – CONTINUOUS
MICHAEL WAGNER, 60’s, bald, nerdy, shot in the head. He’s duck-taped to a dining room chair at the head of the table. He’s been dead for hours.
FRANK (O.S.)
(whispered)
Son of a bitch.
Jack and Frank stand near the table, looking over the scene.
FRANK (CONT’D)
This must be Mrs. Wagner.
MARSHA WAGNER, 60’s, blonde, shot in the head. Duck-taped to a chair at the opposite end of the table.
Jacks takes a closer look at Michael Wagner. He lifts the man’s hand. The fingernails have been pulled out. There are other torture marks on the body.
JACK
Who ever it was, they were after something.
Frank looks over the misses. The same torture marks.
FRANK
Here, too.
JACK
They wouldn’t have killed them unti they got what they wanted.
FRANK
Unless he didn’t have it.
WHEELS SCREECHING OUTSIDE
Jack moves to the living room window
EXT. HOUSE – CONTINUOUS
Three Sheriff Patrol cars SCREAM up in the street. Lights flashing. Cops jump and run with shotguns.
INT. LIVING ROOM – CONTINUOUS
JACK
It’s a set up!
Jack and Frank bolt for the back door.
EXT. DRIVEWAY – CONTINUOUS
Cops move toward the front door. Other cops crouch run toward the back, guns ready. Closer to the garage —
BLAM!
The barn doors CRASH open. A Jeep Cherokee BURSTS through the doors. Frank driving. Jack in passenger.
The Jeep ROARS down the driveway and barrels into the street, racing around the patrol cars.
THE COPS jump back in their cars and swing around to give pursuit.
EXT. JEEP – MOVING – CONTINUOUS
JACK
What’s the plan?
FRANK
Does it look like I have a plan?
INTERSECTION
The Jeep drifts around the corner, WHEELS SCREAMING.
The patrol cars, LIGHTS AND SIRENS, in hot pursuit.
INT. JEEP – MOVING
JACK
Figure something out, Frank!
FRANK
I’m working on it! I’m working on it!
Frank reacts to something ahead. Jack reacts to Frank.
JEEP – POV
Two patrol cars up ahead swing to block the road.
FRANK (CONT’D)
Hold on!
EXT. BLOCKADE – CONTINUOUS
The Jeep SLAMS through the two patrol cars and barrels on. The pursuing cars charge passed – one – two – three.
INT. JEEP – MOVING
JACK
We’re not losing them?
FRANK
You think I don’t know that!
EXT. PATROL CARS – MOVING
Like an Indy race, they weave back and forth trying to out maneuver each other for the lead.
INT. JEEP – MOVNG
Frank realizes something ahead. It’s not good.
FRANK
Shit!
EXT. ROAD – CONTINUOUS
The road dead ends into a cul-de-sac. The Jeep swings around in the middle of the road and stops.
The patrol cars ROAR in and block the road. The cops jump out and take positions, guns aimed.
INT. JEEP – CONTINUOUS
Jack and Frank panicked, looking for an escape.
JACK
Do something, Frank.
FRANK
I’m thinking. I’m thinking!
EXT. BLOCKADE – CONTINUOUS
A SERGEANT Behind his patrol car, aiming his weapon, stands slightly to be seen.
SERGEANT
You! In the car! Show us your hands and exit the vehicle!
INT. JEEP – CONTINUOUS
JACK
Frank…?
Frank has an idea, staring straight ahead.
FRANK
Buckle up and bite down.
Jack realizes his plan.
JACK
You’ve got to be shitting me?
Frank floors the gas.
EXT. JEEP – MOVING – CONTINUOUS
The Jeep ROARS for an open space between two homes. It bounds over the curb and charges over the hill behind the homes.
THE WOODED HILL
The Jeep pounding down the hill, avoiding the pines, churning up the earth, obscuring the view.
INT. JEEP – MOVING
The two men are being tosses around. Frank desperately trying to steer, barely missing the trees.
JEEP POV – MOVING
A pine tree dead ahead.
Frank turns the wheel hard.
EXT. JEEP – MOVING
The Jeep turns hard, the back side BANGS into the tree. Bark flies. The Jeep nearly rolls. Continues down the hill.
INT. JEEP – MOVING
Jack sees something ahead. An “Oh, Shit” moment. Frank is excited.
FRANK
Geronimo, baby!
EXT. THE HILL – CONTINUOUS
The Jeep sails over the edge of the hill, airborne.
JACK
HOLY, SHIT!
EXT. JEEP – CONTINUOUS
Falling… falling… falling… Flipping over.
EXT. LAKE – CONTINUOUS
The Jeep SPLASHES into the lake. It bobs for a moment, and then goes under the water with a froth of foam.
DISSOLVE TO:
EXT. LAKE – LATER
Sheriff patrol boats with lights are searching the water where the Jeep submerged.
EXT. SHORELINE – CONTINUOUS
Frank and Jack wade out of the water into the woods. In the background, the Sheriff’s boats searching. They pauses long enough to make sure no one has seen them, then head into the wood.
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This reply was modified 3 years, 2 months ago by Dana Abbott.
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This reply was modified 3 years, 2 months ago by
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Lori’s Act 2 Middle Scenes
What I learned from this assignment is to keep the momentum going to be creative, not allowing myself to analyze at this point.
Scene 2 Outline:
INT./EXT. DEPARTMENT STORE –
Beginning – Thomas is about to check out with just a few items, and then he sees a little girl eyeing a dollhouse.
Middle – Thomas goes on a shopping spree and buys a cart full of presents, including the dollhouse.
End – Thomas finds a hair comb in the car that belonged to his late wife.
Scene 3 Outline:
Beginning – Thomas drives up to the farmhouse and unloads the presents, hoping not to get caught.
Middle – The whole family confronts Thomas and questions what he’s doing.
End – Thomas has crossed boundaries and upset the family that he wanted to help.
INT. DEPARTMENT STORE – DAY
Thomas is standing in the checkout line with evidence of his bachelor days in the cart, cans of soup, and frozen dinners. Something or someone catches his eyes.
A LITTLE GIRL has her face planted against the front window of the store mesmerized by a dollhouse on display with other toys and boxes and paper strewn like it’s Christmas morning. THE LITTLE GIRL’S FATHER walks up behind her and sees the dollhouse.
Disappointment spreads across the Father’s face as he ushers the little girl away.
It’s Thomas’ turn in line when the CASHIER follows his gaze.
CASHIER
The Andersons are such a good family. They sure have had some hard times.
The Cashier just realizes that the person she’s talking to is Thomas.
CASHIER
Pastor Thomas.
Thomas nods.
THOMAS
I need to get a few more things.
Thomas turns his cart away and leaves the line.
Thomas goes up and down the aisles quickly filling his cart with the makings of a big Christmas dinner, along with toys and a few rolls of wrapping paper.
When he returns to the line, he is somewhat out of breath.
CASHIER
A few things?
THOMAS
Yes, uh, where are those dollhouses located in the store?
Thomas points to the dollhouse in the window.
CASHIER
That’s the last one. You can have it for ten percent off, and it’s already assembled.
Thomas nods.
THOMAS
I’ll take it.
EXT. PARKING LOT – A LITTLE LATER
Thomas is trying to fit everything he bought into his car. The trunk is fairly full, and the dollhouse still has to fit. He opens the back door and slides the passenger seat forward. He spots something under the seat.
A fancy hair comb, which the sight of seems to suck the life right out of Thomas. He’s almost brought to his knees, when…
JOHN
Thomas, is everything okay?
Thomas is startled back to reality.
THOMAS
Yes,
(beat)
Yes, fine. I’m just having trouble getting this into the car.
Thomas quickly grabs the hair comb and puts it in the front seat.
John helps Thomas get the dollhouse into the back seat.
JOHN
Are your grandkids coming after all?
THOMAS
No, no, I’m picking this up for someone else.
JOHN
Who’s the lucky little girl?
THOMAS
Tabitha Penn.
JOHN
Oh, are you sure that’s a good idea?
Thomas closes the door and briefly glances at the front seat.
THOMAS
I just thought someone deserved to have a good Christmas.
JOHN
Okay, do you want me to help with anything?
THOMAS
No, you’ve got plenty to take care of already.
Thomas goes around to the driver’s side.
THOMAS
Thanks, John.
Thomas gets into his car and drives away.
John watches him with concern
INT. CAR – DAY
Thomas is driving. The dollhouse now has a big bow on it, and other wrapped presents take up much of the car.
Thomas stops briefly at the end of a long dirt driveway in front of an old farmhouse.
EXT. FARMHOUSE – A LITTLE LATER
Thomas places the dollhouse on the front porch first, then the other presents, and a box of food. He moves as quickly as he can like he’s trying not to get caught.
Suddenly, a little dog appears at the window and BARKS.
THOMAS
Shh, boy, it’s okay.
The dog is joined by the little girl from the department store, Tabitha.
Tabitha sees the dollhouse and SHRIEKS in delight. She runs out onto the front porch in her sock feet.
The Father and MOTHER, and BABY BROTHER are all out the front door to find out what the commotion is all about.
FATHER
Reverend?
THOMAS
Greg, you can call me Thomas.
Thomas holds out his hand toward Greg, who reluctantly shakes it.
FATHER
Reverend Thomas. What’s exactly is going on here?
THOMAS
I’m just the delivery guy.
(to Tabitha)
Someone wanted to make sure your Christmas was extra special.
TABITHA
Santa?
Thomas LAUGHS.
Greg looks at all the stuff, and then toward his wife.
GREG
Lauren, you take the kids inside.
Thomas and Greg stand silently until the others are inside.
Tabitha briefly appears at the window again to smile and wave at Thomas. The mother leads her away.
GREG
I’m still not sure what this is all about, but I don’t like taking charity.
He looks at the box of food.
GREG
We already received the Food for Families meal, and this is just too much. It’s like Santa came and dumped his whole sleigh on our front porch.
THOMAS
Maybe it’s a bit much, but it’s given with the best intentions.
GREG
Maybe so, but you should have asked first. You should take it back, or give it to someone else. We don’t even go to your church.
Thomas appears distraught.
THOMAS
Please, I can’t take it back. I just wanted your family to have a nice Christmas.
GREG
So did I, but I can’t afford all this right now. Don’t you think I wanted to get my daughter that dollhouse?
Thomas is on the verge of tears.
THOMAS
Of course, I meant no harm. Please accept my apology. You can do what you want with the stuff.
Thomas hurries back to his car and drives away. His eyes fill with tears, and then he spots the hair comb still in the seat beside him, and he loses it.
THOMAS
Joan.
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