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Post Your Lesson 12 Assignment here
Post Your Lesson 12 Assignment here
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4 Replies
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Margaret’s Level 3 Action Emotions
What I learned doing this assignment: It is not enough to just have action. You need to write the situation intentionally to create emotion.
Scene: Marcus finds the captured Christians, argues with Mary Elizabeth, fights and overcomes the two soldiers guarding them, plans to take them to freedom before the Picts arrive.
EXT. NORTHERN IRELAND – COUNTRYSIDE – DAY
Marcus hides in tall grass. The bound women and youth are positioned near a large rock, close to the edge of a cliff.
Brocchus and Hadrian warm themselves around a small campfire.
BROCCHUS
The Picts should be here on the morrow so we have tonight to enjoy ourselves.
Brocchus looks over at the women.
BROCCHUS
Which suits you?
Hadrian looks at his feet. Brocchus scoffs.
BROCCHUS
Torn between two?
Marcus uses his slingshot to create a noise behind the two soldiers.
The soldiers come immediately to alert.
HADRIAN
Picts?
BROCCHUS
They can only come from that direction, but we will see them coming down the hillside before they arrive.
Hadrian reviews the barren hills and open meadow behind them.
HADRIAN
A meeting place well thought. Must be an animal.
BROCCHUS
Find us our supper then!
Hadrian picks up his sword and quiver with bow and arrow, nods to Brocchus, heads out to the meadow.
Brocchus turns his lustful eyes towards the women.
From his hiding place, Marcus places a lead ball into his sling shot and swings it towards Brocchus. That same instant, Brocchus chooses to lean forward and stoke the fire. The shot misses him by a hair.
Brocchus grabs his sword and rushes towards the place where Marcus is hiding. Marcus jumps up, sword and shield in hand.
Brocchus growls at the sight of Marcus, throws his sword aside, leaps onto him. The unexpected reaction catches Marcus off guard and he tumbles to the ground.
The two fight, rolling towards the women. As Marcus nears Mary Elizabeth, she kicks him with all of her might.
Her unexpected kick leaves Marcus open to Brocchus’ punch. Momentarily stunned, Marcus falls back.
Brocchus takes a knife from his sheath and goes in for the kill. Marcus catches his arm and pulls it the ground, the knife penetrating the ground.
Marcus maintains his grip on Brocchus’ arm with one hand, and with the other unsheathes his own knife.
With a strong twist of his body, Marcus gains the upper position and slits Brocchus’ throat.
The women scream.
MARY ELIZABETH
Bloody murderer! And killing your own! Ye are the devil!
Marcus leaps up, strides towards Mary Elizabeth with his bloody knife.
The women shriek, panicked.
Marcus powerfully grips Mary Elizabeth’s legs to still them. He stares into her eyes while he cuts her leg bindings.
MARCUS
Shut your she-howling. I am here to save you.
Sparks fly from Mary Elizabeth’s eyes.
MARY ELIZABETH
It was you who put the bindings on!
Hadrian runs into the camp, sword drawn. He views Marcus and Brocchus’ still body.
HADRIAN
How did —
Marcus works at the bindings on Mary Elizabeth’s hands.
MARCUS
Help me untie the women, Hadrian. We need to leave.
Hadrian points his sword at Marcus.
HADRIAN
Orders are to wait for the Picts.
Marcus attempts to reason with him.
MARCUS
Hadrian, these women are Christians. Sisters in the Lord. It is our duty to protect them.
HADRIAN
You would betray Rome? Our duty is to the church and to the state!
Marcus turns to Hadrian but makes no attempt to retrieve his own sword.
MARCUS
Did not the words of the Bishop set your heart aflame? Surely, God is greater than the law of man.
Hadrian’s voice matches the cold, hard steel of the sword he flashes.
HADRIAN
I have sworn my life, my allegiance to Rome.
MARCUS
Yet you helped save the boy’s life. Why not the women?
Hadrian is not willing to hear more. He screams his response.
HADRIAN
You die tonight, traitor!
Hadrian steps forward to plunge the sword into Marcus but Mary sticks out her leg and trips him up as Marcus rolls away, scoops up his shield.
Hadrian recovers and delivers forceful blows with his sword. Marcus defends himself with the shield.
As they near the large rock, Marcus leaps up, bounces off the rock, brings the shield down on Hadrian’s arm, dislodging his sword.
Marcus drops the shield, delivers powerful punches. Hadrian staggers with the blows.
MARCUS
It does not have to be this way!
Hadrian grabs a plumbata from the back of the fallen shield, hurls it towards Marcus.
Marcus catches the speeding dart in his hand just before it penetrates his chest and in a quick motion returns it.
The dart finds a home in Hadrian’s forehead and the soldier crumples over.
The women are speechless.
Marcus hands Mary Elizabeth a knife.
MARCUS
Help me free them.
Mary Elizabeth mumbles an apology.
MARY ELIZABETH
I did not know. How could I know?
Marcus lifts her chin and smiles into her tearful face. The moment is broken from Tatiana’s scream.
TATIANA
The Picts!
Marcus turns his gaze to the hills. Small black dots appear over the ridge, moving slowly down the hill.
MARCUS
They will be here in two hours time. We must go quickly!
MARY ELIZABETH
We cannot go towards them. They will surely find us.
Marcus nods towards the sheer cliff face.
MARCUS
We will go down the cliff.
Tatiana wails.
TATIANA
Surely we will be killed! Dashed on the rocks.
MARCUS
We try, or the Picts will have you.
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What I learned doing this assignment is…. Taking the audience with me.
Below are continuous scenes from the first attack on cop/hero. The ex-wife/ villain sent killer to murder him.
INT. POLICE VEHICLE – DAY
EXCITEMENT: Cop is in police vehicle. He chases killer in stolen car. They drive wildly down parking structure levels.
Cop catches up to killer and bumps back of car. They drive around and down to next level. Tires are screeching.
Cop punches on gas peddle and pushes killer’s car into parked vehicles. CRASH.
Cop begins to get out of car. He sees a black truck coming at him from the side.. A second killer.. He puts the vehicle in reverse and punches the gas peddle. Truck misses and hits another car. CRASH.
INT. POLICE VEHICLE – CONTINUOUS
DANGER: Cop drives in reverse back up the parking levels. He is bleeding from the forehead…. The black truck drives toward him quickly.
Cop concentrates on driving in reverse as he goes around and up to next level.
The black truck catches up to him and rams the front of police vehicle. They both go around and up to the next level. Tires screech loudly.
Cop loses control and rams into a vehicle. CRASH…. The truck then slams into police car. HIT…. Second killer backs up truck and gets ready ram again.
INT. POLICE VEHICLE – CONTINUOUS
ADRENALINE: Cop aims his gun, but he ran out of bullets earlier. He leans over and pulls open the cubby-hole. He yanks out another gun.
CRASH…. The truck hits the car and the cop falls over. The truck goes in reverse and stops. The cop quickly sits up and aims gun. Bullets fly at the front left tire of the truck – just as the killer pushes on the gas peddle.
BLAST. The tire explodes and the truck is forced to the left. HIT…. It bumps the front of police car and forces it into the parking lot wall.
The killer pushes on the gas peddle and rams the police car through that wall. They are on the top level of the parking structure.
Cop aims gun directly at the killer in his driver seat. Many bullets shoot. BUST…. The front window glass falls everywhere.
The truck tires burn and screech as they push against the car.
The cop quickly reloads his gun and begins shooting at the driver of that truck.
Everything stops.
Cop jumps out of his car as blood drips from his forehead. He aims his gun at the second killer who is dead. He glances at his car as the right tire falls over the edge.
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This is a long scene but it leads up to the first act turning point so there is a lot to unpack:
EXT. CHATEAU BEAUVAIS – DINING ROOM – NIGHT
Sun completing its descent. Hidden outside, someone watches through CROSSHAIRS. A dining table elaborately set for four. The focus moves, and follows Reina as she enters, relaxed, pours a glass of wine.
She approaches the window… soaks in the view. For a beat, we wonder if she sees the shooter.
INT. CHATEAU BEAUVAIS – DINING ROOM – NIGHT
The sound of multiple footfalls, an air of tense anticipation, Reina’s hand quivers around the glass. Nonno and Marie enter, she exhales.
MARIE
You look rested.
NONNO
Did you get out, tool around?
REINA
Yeah, wow, I forgot how much I love it here. No sign of Isa.
Nonno catches the heat in her cheeks.
NONNO
She’s so excited, she’ll barely recognize you…
(off Marie’s glare)
I mean, how much you’ve grown up.
Reina bristles.
EXT. CHATEAU BEAUVAIS – DINING ROOM – NIGHT
Our shooter fixes on the doorway as —
INT. CHATEAU BEAUVAIS – DINING ROOM – NIGHT
Isa appears, like an airless sprite. The world stands still, the sisters’ faces young and naive, they’re back to THAT NIGHT.
Isa steps forward, she takes Reina’s face in her hands, looks deep into her eyes. She knows she’s in there. Reina’s face crumbles, she’s eight again, she falls into Isa’s arms.
EXT. CHATEAU BEAUVAIS – DINING ROOM – NIGHT
The shooter watches as the sisters hold fast, Reina blocking the clean shot. Isa breaks free, squeezes Reina’s hands, words are exchanged.
As Reina walks away, Isa turns toward the window, faces out. Her pale face framed for the shot — then she yanks the curtains shut. Blackout.
INT. CHATEAU BEAUVAIS – DINING ROOM – NIGHT
They sit around the table, an air of relief, celebration. Nonno fills glasses. He gestures ‘cheers’ and they follow.
NONNO
It’s good to have you home, all of us together around the table.
The two sisters share an emotional look, happiness wrapped in pain of the past. Isa kicks out a labored smile.
ISA
You look good, healthy.
REINA
You mean fat.
MARIE
She means beautiful.
NONNO
(to Reina)
Do you have a boyfriend? I keep telling Isa she needs to get out from behind the desk and under a nice fellow.
Huge eyes around the table, Marie playfully slaps him.
MARIE
Isa doesn’t have time for dating and I suspect Reina doesn’t either.
NONNO
All I’m saying is work, work, work is no way to start a family. I’d like to be a great uncle.
Reina looks to one, and then the other, in disbelief.
REINA
Please, enough with the bullshit… stop playing house, like nothing is wrong. I look around here, looks like nothing’s changed… but everything’s changed. It’ll never be the same. So enough, please, I’m here and I can’t stay for very long, so tell me, what the fuck is going on?
NONNO
Reina, my baby, you just got here. Why can’t you stay?
REINA
Because I have a life Nonno, back in New York, and a job after graduation. You sent me away —
ISA
To a prestigious boarding school, you weren’t abandoned.
(a breath)
Maybe this was a mistake.
Marie looks at Isa.
MARIE
You owe her the truth.
Isa looks down, knows what to say, but doesn’t know how. Isa opens her mouth as a portly female COOK carries a covered dish and sets in on the table. Feels the tension, looks around, scurries away.
A moment of expectation, that doesn’t get fulfilled.
GLASS SHATTERS. The sound of a million dishes hitting the tile. Nonno rises from his chair, but Isa gestures ‘stop’. She listens, high alert, but plays it cool. She calls out.
ISA
Everything ok?
No answer. Reina begins to panic. Nonno and Marie frozen, but remarkably calm.
Without warning, a bullet burns a hole through the curtain, sails overhead, hits a china cabinet across the room. Glass SHATTERS everywhere. Reina screams as everyone scatters, except her, she’s paralyzed.
Marie, Nonno and Isa execute a well choreographed ballet of STOP, DROP and ROLLS to take cover, each drawing a weapon hidden in their clothing.
Reina drops to the floor, crawls under the table, hysterical.
REINA
Holy shit, holy shit… what’s happening? Oh my god, oh my god, we’re gonna die. Isa? Isa? What are you doing? Get away from the window. Where’s your phone, call the police. Jesus, what’s going… Marie? Nonno?
ISA
Stay calm, Reina!
Isa and Nonno crouch, flank the window, exchange gun fire as Marie goes to Reina, tries to soothe her. It seems to go on forever, Reina barely able to handle it a minute longer, when all goes quiet.
They wait. For a beat. And then another. The curtain in shreds, Nonno peeks out and sees Luc loading something, or someone, into the bed of his truck. Nonno nods at Isa.
They turn, assess the damage, destruction everywhere. Isa gasps. Nonno rushes to Marie and Reina, still hidden under the table. And out of nowhere, a mass of a man knocks Isa to the floor, sends her gun sliding.
It stops inches from a quaking Reina. Hate in his eyes, the thug sits on Isa’s torso, his gun resting between her eyes.
THUG
This was supposed to be a warning, you little bitch, and now look what’ve you’ve done. You know what you just did? You just shot my brother, he’s fucking dead. Oh, daddy’s not going to be happy.
He taunts her, nuzzle the cold barrel against her cheek.
THUG
No one moves, or its lights out. So I can make it real easy, and end your misery… or he’ll care of you, and it ain’t gonna be pretty.
Reina’s watches, helpless, her breath clipped. She inches from the gun, but afraid to move.
MARIE
(whispers)
Take the gun, Reina.
And when she doesn’t move.
MARIE
This isn’t a fucking joke Reina, get the fucking gun and shoot him.
REINA
What?! I can’t just… shoot him. What if I miss?
The thug whacks Isa across the face.
Reina throws a hand to her mouth, tears stream down her face, a trembling hand reaches for the gun. She feels the weight, aims, her finger quivers on the trigger.
But she can’t do it.
NONNO
You have to.
A painfully long beat. CLOSE ON Reina as she fires the gun several times… and for a moment we don’t see what she’s hit. Until we see, a broken vase, a riddled buffet and gutted sconce. The thug, unscathed, looks around, laughs.
Cocks his pistol.
THUG
Say goodbye.
Without warning, Reina hurls the gun, it hits him hard on the side of the head, he falls to the side.
MARIE
Good girl, that’ll work.
Isa flips her legs up, hooks her boots around his neck and yanks him back, and as he falls to the floor, Isa reaches for the pistol, but it’s too late. He’s out the window.
Reina remains under the table, frozen senseless. Isa lifts the table cloth, looks under, sighs.
ISA
Are you ok? Talk to me Reina, Are you hurt?
Reina, in shock, just shakes her head ‘no’.
ISA
Well, good, yeah, holy shit, yeah, me too.
(off Reina’s dead stare)
Well don’t just sit there, let’s clean up this fucking mess.
Reina processes.
REINA
You have guns in the house.
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Madeleine’s Level 3 Action Emotions
What I learned doing this assignment is danger, excitement, and adrenaline can be layered into the script, one scene at a time.
A scene that uses these action emotions: Danger, Excitement, and Adrenaline.
OUTLINE
I. INT. ST. PETER’S BASILICA – DAY
MERCENARY COMMAND POST
The lead mercenary brings down the drone. He adds a weapon to it and sends it out to find the FBI Agent and the Priest.
LEAD MERCENARY
This will put an end to them.II. SACRED CHALICE EXHIBIT
The FBI Agent and the Priest enter an alcove and discover three soldiers working to free the Sacred Chalice from its bullet-proof case.
PRIEST
This isn’t just a hostage situation. It’s a heist.FBI AGENT
What’s in the case?PRIEST
The Sacred Chalice on loan from Valencia Cathedral. It’s thought to be the Holy Grail.FBI AGENT
Worth millions, I’m guessing.PRIEST
Priceless.FBI Agent moves behind a pillar, takes out her mobile phone, and clicks on U. S. Embassy in her contact list. The phone RINGS.
FBI AGENT
Yes, it’s me. The terrorists are after the Holy Grail. It’s only a matter of time before they break through the case and extract it.FBI Agent ends her call.
PRIEST
The chalice will disappear at 7:00 p. m.FBI AGENT
Disappear?PRIEST
It automatically descends down a shaft into an underground cement vault.FBI Agent checks the time. It’s 6:30 p. m.
The drone searching for them approaches the Sacred Chalice Exhibit.
III. EXT. ST. PETER’S BASILICA – DAY (DUSK)
ITALIAN POLICEMAN
(Blow Horn)
Surrender now.
MERCENARY COMMAND POST
Lead mercenary negotiates with the Italian Police.
LEAD MERCENARY
We want safe passage out of Italy in exchange for the Basilica and hostages.IV. STAIRS TO THE CATACOMBS
Italian police move through the catacombs to reach the interior of the Basilica.
Mercenaries block Italian Police from entering with gun fire.
V. DRONE
The drone searches for FBI Agent and Priest.
VI. EXT. ST. PETER’S BASILICA – DAY (DUSK)
The press arrives and starts reporting on the hostage situation. This feed is available to both the mercenaries and the FBI Agent.VII. STAIRS TO THE CATACOMBS
FBI Agent and Priest watch the mercenaries turn back the Italian Police.
PRIEST
We’re on our own.
VIII. DRONE
The weaponized drone finds FBI Agent and Priest and fires on them. They’re sitting ducks.
A bullet from the drone’s fire strikes FBI Agent, wounding her in the left shoulder.
The Priest shoots down the drone and drags the FBI Agent behind a column.
SCENE
INT. ST. PETER’S BASILICA – DAY
MERCENARY COMMAND POST
The lead mercenary calls down the drone.
He adds a weapon to it and sends it out to find the FBI Agent and the Priest.
LEAD MERCENARY
This should put an end to any resistance.SACRED CHALICE EXHIBIT
The FBI Agent and the Priest enter an alcove and discover three soldiers working to free the Sacred Chalice from its bullet-proof case.
Quickly, they duck out of sight.
PRIEST
This isn’t just a hostage situation. It’s a heist.FBI AGENT
What’s in the case?PRIEST
A sacred chalice on loan from Valencia Cathedral. It’s thought to be the Holy Grail.FBI AGENT
You mean The HOLY GRAIL?PRIEST
No amount of money can buy it. It’s priceless.FBI Agent takes out her mobile phone and clicks on U. S. Embassy in her contact list. The phone RINGS.
FBI AGENT
FBI Agent—. The terrorists are after the Holy Grail. It’s only a matter of time before they break through the case and extract it.FBI Agent ends her call.
PRIEST
The chalice will disappear at 7:00 p. m. If we can just keep them occupied —FBI AGENT
What do you mean, disappear?PRIEST
The exhibit will automatically descend down a shaft into an underground cement vault.FBI Agent checks the time. It’s 6:30 p. m.
DRONE
The drone searching for them approaches the Sacred Chalice Exhibit.
EXT. ST. PETER’S BASILICA – DAY (DUSK)
ITALIAN POLICEMAN
(through a loudspeaker broadcasting inside the Basilica)
You’re surrounded by law enforcement. Surrender now. Let us know your terms via number one-one-three.MERCENARY COMMAND POST
Lead mercenary calls 113. The number RINGS.
DIALOGUE IN ITALICS IS IN ITALIAN
EMERGENCY DISPATCHER
What is your emergency?
LEAD MERCENARY
I need someone who speaks English.EMERGENCY DISPATCHER
I speak English. What is your emergency?LEAD MERCENARY
You have a line for the Emergency at St. Peter’s Basilica.EMERGENCY DISPATCHER
Yes, Sir. I’m transferring you.The line RINGS. DISPATCHER 2 answers.
DISPATCHER 2
Yes, sir.LEAD MERCENARY
Tell your negotiator, we want ten million U. S. dollars and safe passage out of Italy in exchange for the Basilica and the hostages.STAIRS TO THE CATACOMBS
Italian police move through the catacombs toward the stairway into the Basilica.
DRONE
The drone searches for FBI Agent and Priest.EXT. ST. PETER’S BASILICA – DAY (DUSK)
The press arrives and starts reporting on the hostage situation. This feed is available to both the mercenaries and the FBI Agent via their mobile phones.STAIRS TO THE CATACOMBS
FBI Agent and Priest watch the mercenaries turn back the Italian Police with gunfire.
PRIEST
Looks like we’re still on our own.DRONE
The weaponized drone finds FBI Agent and Priest and fires on them. They’re sitting ducks.
A bullet from the drone’s fire strikes FBI Agent, wounding her in the left shoulder. She falls.
The Priest picks up her gun and shoots down the drone.
MERCENARY COMMAND POST
The lead mercenary sees the drone feed go dead.
He points two soldiers.
LEAD MERCENARY
You and you, go after them. Kill them on sight.AREA NEAR STAIRS TO THE CATACOMB
A Mercenary guarding the stairs to the catacombs heads toward them on the run. The Priest guns him down.
Now, only one mercenary keeps the Italian Police at bay in the catacomb.
The Priest drags FBI Agent to her feet.
PRIEST
We can’t stay here.FBI Agent nods.
As they limp away toward cover —
FBI AGENT
Sorry you had to be the one to kill him.
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