Post Your Lesson 22 Assignment Here

[Dale Griffiths Stamos]

Dale’s Act 4 Climax

What I learned doing this assignment is that the climax scene must happen between the protagonist and antagonist. And in the case of a romance between them, that they both need to have undergone a change (a letting go of old ways.)

OUTLINE OF KEY SCENE THREE: CLIMAX

INT. STANTON UNIVERSITY – RICHARD’S OFFICE – DAY

Beginning: Richard is packing a box with books when Elizabeth arrives declaring her love and that she’s giving up the fight.

Middle: Richard reveals he has taken it on himself to leave the university. She protests he doesn’t have to, but he tells her all the reasons he does.

End: She finally acquiesces.

INT. STANTON UNIVERSITY – RICHARD’S OFFICE – DAY

Richard is filling up a box with books. His back is to the open office door. Elizabeth appears there. He doesn’t notice her.

ELIZABETH

Hi.

Surprised, he turns around.

RICHARD

Elizabeth. I didn’t expect to see you.

ELIZABETH

You stopped calling.

RICHARD

Yes, that’s because–

ELIZABETH

I made it impossible, I know. But I’ve come to tell you something.

RICHARD

What?

ELIZABETH

… You win. I can’t fight anymore. I thought I could, but I can’t.

RICHARD

Elizabeth…

ELIZABETH

It’s all right. It’s a relief, in a way, to just give in. My whole life has been about calculation, and now, suddenly it’s not.

She comes closer.

ELIZABETH

All the reasons I shouldn’t be here, they’re still true. But when you stopped calling, this… silence set in. The silence of what my life would be without you. And I realized: I’m in love with you, Richard.

She touches his face, tenderly. But over his shoulder she notices the box he’s been packing up…

She pulls back.

ELIZABETH

What are you… What’s going on?

RICHARD

I was planning to tell you. I’m leaving.

ELIZABETH

What?

RICHARD

I spoke to the chairman two days ago. He’s found someone to cover my groups.

ELIZABETH

Well, you can speak to him again. Tell him you’ve changed your mind. You don’t have to do this now.

RICHARD

I have to more than ever.

ELIZABETH

Why?

RICHARD

Because I can’t let you do this!

ELIZABETH

But I thought… this is what you wanted.

RICHARD

I did! …I’m just not so sure now.

Elizabeth, turns away, clearly stricken.

RICHARD

No, it’s not what I meant.

He goes and takes her hand.

RICHARD

I’ve been thinking about this. A lot. And I realized, even if I wore you down, the price you’d have to pay for loving me would be too high. And I can’t stay and not love you.

ELIZABETH

Then stay and love me.

RICHARD

I don’t think you’re in any state right now to make that decision.

ELIZABETH

Why? Because I’m not breaking everything down into syllogisms? Because I’m advocating passion?!

RICHARD

No. Because I think you may be drunk on this and I’m afraid you’re going to wake up with a terrible hangover.

Elizabeth throws her arms around him…

ELIZABETH

I want to be drunk!

Richard stays in her embrace a moment, drinking it in. But then, he pulls away.

RICHARD

Elizabeth. Let’s say you and I do this thing. And we manage not to get caught. That means for two more years, we’ll be keeping it hidden, acting like it’s something wrong, which I’m sure you still believe it is. Every time you review my work you’ll know your opinion is compromised. You don’t think you’re going to look at me one day and hate me for that? Not to speak of how you’ll feel about yourself?

ELIZABETH

So your solution is to just walk away from your studies? To leave? I don’t even know where you’re going!

RICHARD

I’m going to… Mexico. On a 2:00 flight tomorrow.

ELIZABETH

Mexico?

RICHARD

It’s where I always go to gather myself. My grandparents are still there. I made up a story about my grandpa being ill, that’s why the chairman’s letting me leave so abruptly. And then I’ll use that as an excuse for applying to universities in the Southwest. None of it will seem frivolous. Medical necessity, you see.

ELIZABETH

(hurt)

Yes. I see you have it all figured out.

RICHARD

No, not all.

ELIZABETH

What’s left?

RICHARD

You!

(beat)

Elizabeth. You think I want to go? I don’t! But I think you need some time, some space to… get clear on this.

ELIZABETH

But I love you.

RICHARD

Well, then… I left you the name of the hotel where I’ll be. Come join me, winter break, …if you still feel the same.

ELIZABETH

Richard. You don’t have to do this.

RICHARD

I think there’s enough of the old Elizabeth Drewer here to know it’s the only rational choice.

They look at each other. He smiles, and gently takes her in his arms. They remain like this a long moment, and then they reluctantly pull apart.

[aleta rafton]

Assignment 22

Aleta Rafton’s Act 4 Climax

What I learned is that I must elevate all the action and conflict to the highest level so it can be resolved

Outline Act 4 Climax

Hank now has tracker and is on side streets

Hits lots of traffic and comes to complete stop

Hank abandons sidecar starts running down street

Jack and Shadow jump out and follow leaving Grandpa in sidecar

Follow signal down crowded street to One Times Square

See owl on top of new Year’s Ball

Get to top of building

See ornament hanging from owl

Hank has to jump on scaffold to get close to owl

Hanging from whip he swings over to owl on ball and grabs ornament from owl’s beak.

Back on scaffold gets big hug from stepson

Act 4 Climax

(Hank is driving the sidecar wildly down the side streets following the tracker. Grandpa, jack and Shadow are nearly falling out)

Grandpa

Hank slow down! We ‘re barely holding on back here!

Hank

This is our last chance. I’m not giving up!!!

(Hank comes to an busy intersection, turns left and gets stopped in traffic)

Hank honks horn yells at cars

Move! Move!

Jack

They can’t go anywhere Hank. No reason to honk and yell

(Hank jumps out of the car and runs on foot following the tracker signal. Jack and shadow jump out and follow Hank leaving Grandpa in the sidecar)

Jack

Hank. Slow down! I can’t catch up

(Hank slows a little waiting for Jack and Shadow to catch up)

Hank

Ok. Let’s go

(They run through crowds of people waiting for New Year’s Eve Ball drop. They enter One times Square sneak past security and get in elevator to top of building. Once on top they find the ball and see the owl with the ornament hanging from it’s beak)

Jack

What now!! We can’t get it!

Hank

I’m not giving up

Shadow sees owl

Barks!

Jack

What are you going to do?

Hank

Just watch. Tell your mom I love her.

Jack

What do you mean? Why???

(Hank jumps onto the scaffold barely making it. Ties one end of this whip to it, gets up on the railing of the scaffold)

Jack

Hank! Stop! What are you doing? It’s not worth it! Don’t!!!

(Hank swings out high over the crowd below to the ball and grabs the ornament out of the owl’s mouth)

Jack

Oh my god!

(Hank swings back crashing onto the scaffold with the ornament in one hand. Climbs back onto the building roof)

Jack

I can’t believe you did that!

Hank

Neither can I!

Jack

I was so scared for you!

(Jack runs and hugs Hank)

[mark Morris]

What I learned from this lesson is that once the pillars are written, the key scenes that is – then the other scenes in the act can relate to those pillars and fill in the blanks between them.

Mark’s ACT 4 CLIMAX

Key Scene 3 – Climax

BEGINNING

EXT. RUNWAY – DAY

Nick and Tony’s planes touch down and they try to fit the last people in. They wrap up men in canvas and furs and lash them to the wings.

MIDDLE

Only Jensen is left. Tony says he will come back for him…if he can. Jensen wanders the camp, resigned to his fate.

END

He walks the runway to see that it is breaking up. the ocean is nearing.

EXT. ICE FIELD CAMP – DAY

BEGINNING

Jensen hears the sound of a plane. its Tony’s plane made it back.

MIDDLE

Drake hears it too, hiding in his cave. He makes Victoria watch as the last plane leaves. Now his kingdom will be complete with her. She realizes its Tony and fights furiously to escape.

END

She pushes him down an icy embankment and runs for the plane as it taxis and takes off, leaving her lying in the blowing snow.

EXT. RUNWAY – DAY

BEGINNING

Drake catches her and drags her back to his lair. She fights to no avail.

MIDDLE

As the plane soars away, Jensen looks back at his camp and sees the two struggling figures. Tony divebombs back and lands. Jensen hops out as Tony taxis the plane around cracks in the runway.

END

Jensen attacks Drake. Victoria is released and runs for the plane. Tony scoops her up in a monumental kiss and puts her in the plane, while Jensen fights Drake.

The plane lurches as a crack grows between the wheels. Tony jumps in and guns, moving off the crack. he yells to Jensen to get in, revs up and starts to taxi.

Jensen knocks Drake to the ice and runs to the plane as the end of the ice runway tilts into the sea. Drake runs across the break, falls, and rides it down into the sea. the plane barely rises in time.

KEY SCENE 3 – CLIMAX

EXT. RUNWAY – DAY

Nick and Tony’s planes touch down. Jensen and six people run to the planes. Two squeeze into each plane. Jensen tries to squeeze into Nick’s plane, but its hopeless, almost funny.

TONY

Take off, buddy. Head for the ______ village.

NICK

You can’t take four.

TONY

Maybe. Go!

Nick climbs in, gives him a nod, and roars off.

EXT. TONY’S PLANE ON RUNWAY -DAY

Jensen and Tony wrap the last two men in canvas sheets and jensen hoists them on to the wings. Together they tie them on.

Tony shakes Jensen’s hand. Jensen is calm.

TONY

I’ll try and get back in time. Don’t go anywhere.

He powers off, barely lifting into the air.

Jensen walks down the runway, resigned to his fate.

EXT.ICE CAVE AREA – DAY

Jensen walks oh-so-close to the jumble of ice blocks that make up Drake’s cave. He climbs up to a higher point.

He sees that the ice is melting and cracking.

EXT.ICE FIELD CAMP (HOURS LATER)- DAY

Jensen eats jerky. Hearing more ICE GRINDING NOISES, he gets up to see the ocean water appearing at one side of the runway.

He hears a faint plane noise. He turns and sees Tony’s plane.

EXT. ICE CAVE – DAY

Drake hears the plane. Peering through an opening in the ice wall, he sees Tony Land. He grips Victoria tightly and forces her to look.

DRAKE

See, my beauty. The last one to leave is always the captain. I’m captain now – on my own ship. You’ll be my first mate.

She recognizes Tony’s Plane and her eyes come back to life. She moans as she realizes Tony is alive. She struggles frantically in Drake’s grasp. He throws her back into the cave.

Jensen climbs into the plane and it starts to taxi.

Victoria, with an animal cry, plunges head first into Drake’s belly, knocking him flat, and rushes past. His talon fingers grab her ankle and prevent her next step. A tug of war lasts several seconds, then she breaks free.

EXT. RUNWAY – DAY

Victoria runs screaming after the plane, now taxiing faster and faster, The prop wash blows her back in a cloud of snow.

VICTORIA

(screams))

Tony…wait…come back!

She is not going to make it.

EXT. TONY’S PLANE COCKPIT -DAY

He thinks he hears something; looks around, right and left. He guns it full bore and lifts off.

EXT.RUNWAY – DAY

Victoria falls and slides on the ice, watching him go, through tears.

VICTORIA

(moans)

Nooooo.

Drake looms over her again, now with a crazed look. He hoists her up and tries to drag her back to the cave.

A primal rage rises in her. She beats and pounds on him mercilessly.

EXT. TONY’S PLANE COCKPIT -DAY

Jensen takes one last look at his camp and sees the two struggling figures below. He slaps Tony’s shoulder and points.

Tony sees and immediately torques the plane over into a steep dive and lands.

Jensen jumps out as Tony taxis the plane around cracks in the runway.

EXT. END OF THE RUNWAY -DAY

Jensen attacks Drake, freeing Victoria, who runs toward the plane.

EXT. NEAR TONY’S PLANE – DAY

Tony leaps from the idling plane and runs for Victoria. Its a moment that seems to take forever. When they meet in a crushing hug, Tony scoops her up in a monumental kiss while he carries her to the plane.

EXT. END OF THE RUNWAY – DAY

Jensen flings Drake down the runway like a doormat. He slides and rolls a good distance, then is up and charging back in a fury.

Jensen’s strong hands grab Drake’s right arm and whirls Drake like a sack of potatoes over the ice even farther than before.

Drake lands at the edge of the runway, next to a large crack in the ice.

EXT.TONY’S PLANE -DAY

The plane lurches as a crack grows between the wheels. Tony jumps in and guns it, moving off the crack.

TONY

(yells)

Get in, now.

Tony revs up and starts to taxi.

EXT. END OF THE RUNWAY -DAY

Jensen runs toward the plane.

Drake is in dangerous shifting ice. He scrambles to get away from the widening crack. He jumps across as the end of the ice runway tilts into the sea. He falls…

DRAKE

(screams)

NO. Not Alone!

…and rides the ice floe down into the sea.

EXT.RUNWAY -DAY

With Jensen squeezed in the plane with Victoria, the plane roars down the ice as it is cracking, and lifts into the air.

The deserted camp, home to 101 people for months is swallowed up by the sea. In the distance, the plane disappears into the clouds.

[Sandra Nelles]

Sandra’s Act 4 Climax

What I learned doing this assignment is that there are four parts to the Climax. I have three out of four, so need to add the missing part.

CLIMAX: Lucy is not sure she will survive. She knows she probably won’t be able to get back in time to present her dissertation, and may not be able to see her mother. She calls her husband and leaves a voicemail message with her location and situation, she loves him, and to please sent a tow truck. Next, she calls her brother and asks to speak to her mother. They have a short conversation and Lucy tells her mother how much she loves her. Lucy has embraced the new ways by being empowered, courageous, examining the situation, and thinking of various solutions. The test for Lucy is putting family before her career. Up until now, Lucy has put her career and education before her family. Putting her family before her dissertation shows she has changed.

[Melanie Forchetti]

Melanie’s Act 4 Climax

What I learned: there are four parts to the Climax and I’ll need to re-think how to address how the scene will test the Protagonist to the core.

Key Scene 3: Climax – The Ultimate Expression of the Conflict

BEGINNING: Sybil is weary, hurt and beat-up but she rides to the last and final town. The sun is about to rise. And before she gets to town, Samuel sits on his horse in front of it. In order to get to the town, she must get through him. She rides up to him, now confident and ready to face him.

MIDDLE: He lifts his gun to shoot her, but suddenly Star takes off towards them going faster than we’ve ever seen her. His horse rears, and Samuel fires into the sky as he falls out of the saddle and onto the ground. Sybil slides down and stands before him, ready to be the warrior she always wanted to be. Samuel holds up the gun, aiming at her face, knowing he will be done with her in a moment. Instead of running, she walks up to him until they are face to face. The gun is loaded, he puts his finger on the trigger. But she grabs the muzzle, pulls it to the left and with her right hand takes it out of his grip. She throws it to the ground. HE lunges at her and they wrestle to the ground, rolling. He is stronger than she is and we know he has the upper hand. He makes a few solid punches, knocking her for all she’s worth. But we see her finger the knife her Iroquois friend gave her at the beginning behind her back. Now, pulling from her Native American training, she becomes one with the knife and like the fight she had with her Iroquois friend in the beginning, she puts him to the test with an Apache knife dance. She is powerful, graceful, and in total control. Finally she grounds him with the knife to the throat.

END: We think she is going to end it here. But instead she gets up and tells him to take a message back to Lord Tryon from her. That the Confederates are coming for them. And that they will take back what is theirs.

_________________

EXT. ROAD – NIGHT

The dawn threatens over the horizon. Hugging one arm to her chest, she manages to stay upright in the saddle as they proceed towards the last and final town of Stormville. Her lips are parched, her face muddied, and her dress torn. But she is steadfast, and so is Star.

They ride, now one with each other. Both on the same mission.

A sign for Stormville scrawled on a wood leans on its post as they whiz by. The dust swirling in the air behind them.

As they get closer to town, the farmsteads slowly coming into view, Sybil strains to see something ahead of them. The gallop closer, a dark figure stands in the middle of the road on top of a horse.

Star seems to recognize him first and she speeds towards him. But he holds a musket in one hand and aims with the other. They are in his sights and he is not moving.

CATACLOP CATACLOP CATACLOP!

Star is not slowing down. Samuel winces, seeing the oncoming fury.

SYBIL

Ya, Star! Ya!

She spurs her on.

Samuel’s eyes widen. HOUYHNHNM! His horse whinnies, uncomfortable, and the whites of his eyes show.

He REARS backwards in fear as Star is finally upon them and he throws Samuel to the ground.

Sybil stops Star, looking down on the British soldier. She slides down off her back and stands in front of him.

Quickly he grabs his musket.

SAMUEL

You! You are the source of all my worry? You are just a…

SYBIL

Girl. Yes. I know.

He stands up, shaking off the dirt.

SAMUEL

I’ve been sent to kill you.

SYBIL

So far you’ve not shed any light on why you haven’t been able to yet.

Anger flashes over his face as he brandishes his musket, readying to fire.

SAMUEL

I’m giving you a chance to leave. I don’t want to kill a girl but I will if I have to.

She steps towards him.

SAMUEL

You don’t believe I won’t?

SYBIL

The more men have to lose, the less willing are they to venture.

SAMUEL

What are you saying?

SYBIL

Thomas Payne. Common Sense. You should read it. I, myself, have nothing to lose. But you, on the other hand, servant to the Crown, have quite a lot.

SAMUEL

I don’t understand.

SYBIL

America is but an infant – we don’t know what it’s like to have fortunes and estates like you do. I don’t see your King beside you waging war, soldier. You are all alone fighting for a country oceans away.

SAMUEL

I’m not alone.

SYBIL

Right now you are.

Samuel steps back.

SAMUEL

This is your final warning. Turn around, go back home to your farm. And I won’t pull the trigger.

Sybil listens to him, the words soaking in.

SYBIL

I can’t do that.

SAMUEL

My orders were to stop you.

SYBIL

So stop me.

But before he can fire, she grabs the rifle with one hand, pushing it aside and grabbing the top of the rifle with her other hand. She disarms him in a half beat. And throws his musket towards Star.

He grabs her, throwing her to the ground. His muscular physique ominous compared to her small countenance. She gets up, ready to fight again. He punches her in the gut and she doubles back.

He fires another fist into her cheek and she reels back.

Star stamps her feet as if to cheer her friend on.

Sybil, holds her cheek, now bruised and bleeding. She stands before him again. He smirks, knowing only one more good punch and she’ll be done.

He winds back, ready to knock her out. But we see one of her hands fingers a knife – the one her Iroquois friend had given her.

She stands, balancing her weight between the two feet, and slowly brings the knife out. It glints in the oncoming daylight.

Samuel watches her closely.

With one arm up she twirls towards him, as if doing a cartwheel in the air and adeptly flourishes the knife, slicing his pants leg.

He steps back, trying to stop her arm. But she is one with her knife dance. And again attacks, a beautiful, jump in the air and slices his arm this time.

He, again, steps back. In a whirling move around him, she trips him backwards and….

SAMUEL

UMMPH!

He lands on his back with Sybil pinning him down to the ground. The cold metal of the knife at his throat.

SAMUEL

Go ahead.

Sybil relishes the moment, but knows her mission still waits.

SAMUEL

Do it.

SYBIL

I won’t give you that satisfaction. It’s not an honor to die on the battlefield.

A beat passes as she gathers herself.

SYBIL

You take this message to your General Tryon. Tell him America is coming for him and all of his spineless soldiers. And we will take back what is rightly ours.

She stands up, grabbing his musket, pointing it at his head.

He quickly jumps on his horse. And he rides like Hell down the road, away from her.

She sighs, a gleam in her eye of something she’s never felt before. Confidence.

She swings into her saddle and spurs Star into the city.

[Ricardo Williams]

“What I learned doing this assignment is how to strategically cut the fat out of my screenplay and narrow the focus of the climax and resolution. Now I have to make some adjustments to my script.

Subject line: Ricardo Williams Act 4 Climax

Outline Key Scene 3.

JOLYN realizes TROY has been sabotaging her company causing her loans to be denied. She is ready to confront him. After the matter is resolved, she starts getting the recognition she deserves even being featured on the covers of prominent magazines finally walking away with the prestigious Presidential Entrepreneur of the Year Award.

Key Scene 3: Climax – The Ultimate Expression of The Conflict.

INT. ZENOBIA’S HOME – NIGHT

JOLYN pays ZENOBIA an unexpected visit. ZENOBIA half opens the door and tries to close it on JOLYN. JOLYN pushes the door open.

ZENOBIA

What are you doing? I wasn’t expecting you.

JOLYN

I wasn’t planning on visiting you.

ZENOBIA

Then why are you here?

JOLYN

Mother, I’ve just found out that PAUL has written letters informing the banks and all my business associates that I am incompetent and not fit for business. Do you know anything about this?

ZENOBIA

How will I know?

JOLYN

We are supposed to be a close knit family. I thought he may have said something.

ZENOBIA

I knows nothing about that. But what I know is that you should have let him manage the company. You have caused him a lot of damage.

JOLYN

MOTHER, the company has grown since I took over. We probably would be doing even better if Troy hadn’t sabotaged us. He is going to have to pay for what he’s done.

JOLYN hears some movement in the house.

JOLYN (CONT’D)

Do you have company? I thought I heard movements.

ZENOBIA

No. (ZENOBIA looks nervous and suspicious).

JOLYN gets up and follows the direction where the sound came from. She pushes the door open to the bathroom. She sees TROY THOMAS crunched on the toilet. She walks in on him and grab him by his left ear and yanks out of the seat. He grabs at his pants barely getting them up. She pulls him out of the bathroom. He is on tip toes as the pain in his ear becomes unbearable.

JOLYN

You have some explaining to do.

TROY THOMAS

Ouch, you are hurting me.

JOLYN

Tell me the truth. Are you trying to sabotage my company?

TROY pulls away from her and run around the living room trying to pull his pants together. JOLYN catches up with him. She pushes him down and gets her knees on his chest.

ZENOBIA

Stop it. What on earth is going on? (She is screaming).

JOLYN

Tell her Troy. Are you trying to sabotage my company?

She pulls him up by the ear in front of ZENOBIA.

ZENOBIA

Let him go.

JOLYN

So that’s it? (Shouting).

I am spending money to allow you to live a comfortable life, and here you are housing the very person who is trying to take down me and my company.

ZENOBIA

He had no way else to go.

TROY THOMAS

It is not her fault. She knows nothing about it. I did it, and I am sorry. I just didn’t think you were capable of running the company. I was wrong.

JOLYN

I thought family was the most important thing to you? I guess I don’t qualify as family?

TROY THOMAS

I said, I am sorry. You are an important part of our family.

[Pamela Rice]

Pam’s Act 4 Climax

What I learned: There are many parts to my story’s Climax. I learned that when I get overwhelmed, to just take it one step at a time, using the Beginning/Middle/End outline process.

INT./EXT. GREENFIELD PARK – EVENT TENT – DAY

BEGINNING: A crowd of folks mill in and out of the event tent. A large “SUNDAY IN THE PARK WITH DOGS” banner is hung outside the tent. Upbeat music plays over the loud speakers.

Families walk on the lawn with their dogs. A black and white shaggy dog mascot sashays around the grounds. His tail wags.

Cam sets out shampoo and supplies at the Sitting Pretty Salon’s booth. (Add info about Dog Adoption Booth and other Doggie Vendors.)

MIDDLE: Henri arrives in his full-body Golden Retriever suit and heads towards Acadia. He puts his furry arm and paw around her waist.

HENRI
(nervously)
Can we talk? I need to tell you something very important.

ACADIA
(looks up and smiles when she realizes it’s him)
That outfit really suits you, Henry. Everything okay?

She scratches under his doggy chin. He’s nervous and wants to make Acadia laugh. He taps his foot several times, mimics a dog’s reaction. She giggles.

They get sidetracked. Henri sees Stone, his partner… and Jared! Greetings. Gets them up-to-speed. Inaudible convo in a huddle.

While she stands next to Cameron, Acadia notices the other mascot: a large shaggy dog.

ACADIA
(to Henri, but he doesn’t hear)
Couldn’t stop at just one mascot, could ya?

She walks briskly towards the other dog mascot.

END: After his chat with Jared and Stone, Henri looks for Acadia. Cam tells him that she went over to the other mascot.

HENRI
(scratches his head)
Other mascot?
(brings gloved hangs up to face)
Omigod. No!

[Fred Seo]

Fred’s Act 4 Climax

What I learned doing this assignment is that my climax doesn’t quite feel like the ultimate expression of the conflict. It will require some more thinking in later drafts to deliver the strong final punch.

EXT. GRANDPARENT’S HOUSE – DAY

The house gate clicks open and a slow set of steps echo out from the stairwell below. The house dog wags its tail and awaits the visitor at the top of the stairs.

A hand pats the top of its head.

Grandma rushes out of the door and takes up Jin’s hand.

GRANDMA

We were all so worried because you hadn’t been back.

INT. GRANDPARENT’S HOUSE – CONTINUOUS

From inside, Han and Grandpa stand and wait for Jin to enter.

HAN

He must have come by himself.

GRANDPA

Mhm.

The door opens and Jin looks up at the two looming men.

JIN

Hello.

GRANDPA

It’s good to have you back.

HAN

Come in.

Grandpa and Han wait for a hug or a handshake, but Jin moves past them towards the lounge and sits down in one of the oak chairs facing the window.

The adults follow suit. No one speaks up first.

Grandma brings a tray with cups of tea and sets them down on the glass table.

JIN

Thank you, grandma.

GRANDMA

Anything, Jin. Do you want some orange juice? There’s also yogurt, or coffee?

JIN

I’m fine Grandma. Besides I can’t stand coffee. Can’t even be in the same room if I smell it.

Grandma sits down on the floor against the chair.

GRANDPA

Why are you sitting down there like that. Sit up on the seat.

GRANDMA

No, no. This is more comfortable for me. It’s the only way I’ve known how since forever.

GRANDPA

Alright. Have it your way.

HAN

What have you been up to lately?

JIN

Been visiting some relatives.

HAN

Relatives?

JIN

Yes.

HAN

Where do you have relatives.

JIN

They were easier to find than I thought.

HAN

Are you talking about your mom’s?

JIN

I thought my whole life I only belonged to one family. Turns out there are those you never even asked for.

GRANDPA

Jin, there are only families you are born into.

JIN

That’s what I thought too, grandpa.

(re: Han)

But I recently found I had a brother.

GRANDPA

Brother? You don’t have siblings.

JIN

What’s the word… What do you call it when you have the same dad but different mothers.

GRANDMA

Are you talking about a half brother?

JIN

Yes, that’s it. That’s exactly it.

GRANDPA

Now, why would you have a half brother, Jin.

JIN

Because dad had a child with the woman he was having an affair with.

Beat.

GRANDPA

(re: Han)

What does he mean by that.

Jin and Han lock stares.

GRANDMA

Han, is that true?

HAN

Where did you hear that from.

JIN

Does it matter?

HAN

His mother must have been up to no good.

JIN

Are you serious? How are you that irresponsible?

HAN

What did you just say?

GRANDMA

Jin! That’s your father!

JIN

If I were him. You wouldn’t even acknowledge me. Just ignore the fact I ever existed. You call lying a means to take care of your family?

HAN

Let’s speak outside.

JIN

(standing up)

No, you stay right there.

GRANDMA

Hon, where are you going?

EXT. GRANDPARENT’S HOUSE – CONTINUOUS

Jin dashes out of the house and patters down the steps. The gate clicks open and he comes running back up. He stops at the top and beckons down below for someone to follow.

The dog barks at the figure below.

Jin goes back down and grabs the Toddler’s hand and leads him and Mistress up the steps. Jin guides the Toddler’s hand to the dog so that it stops barking and starts licking instead.

INT. GRANDPARENT’S HOUSE – CONTINUOUS

Grandpa, Grandma, and Han are standing at the windowsill watching.

GRANDMA

Who is that?

Han launches out of the house to stop the advancing party.

EXT. GRANDPARENT’S HOUSE – DAY

HAN

You have no business being here. Leave, now.

MISTRESS

Your parents ought to know what kind of son they’ve raised.

HAN

Did you not hear me?

MISTRESS

What makes you think I’m gonna stay silent about this?

HAN

I’m warning you, I swear-

GRANDMA

Hey!

They all turn around.

GRANDMA

(toddler)

Have you eaten, young one?

Toddler shakes his head.

INT. GRANDPARENT’S HOUSE – CONTINUOUS

Grandpa half collapses in his chair, out of breath. He exhales deeply trying to control his blood pressure.

– kid eating bread/food with Grandma

– Jin and Mistress talking to grandpa

– Han waiting outside

– grandpa stands and says nothing, tells Han to hit the road

[MICHAEL O'KEEFE]

Clendon – Act 4 Climax

[1] What I learned doing this assignment? The importance of sustaining the dilemma and heightened conflict aspects associated with the climax.

———————————————–

[2] Outline Key Scene 3.

INT. JR’S BEDROOM – DAY

BEGINNING: Clendon goes into the room, he finds his hands at JR’s throat.He asks JR why.

MIDDLE: Clendon tells JR, “You know what, it doesn’t matter. It just fucking doesn’t! I won’t, not that you don’t deserve it, but for Natalie’s sake. And my own. I won’t become you or my father.”

END: Clendon makes the Sign of the Cross on JR’s forehead, “May God bless you and keep you safe.” Smiling up at the ceiling as he walks off, Clendon mouths: “Thank you, mom.”

————————————–

[3] Write Key Scene 3: Climax – The Ultimate Expression of The Conflict.

INT. JR’S BEDROOM – DAY

Clendon steps into the room, looks at JR’s unchanging child-like expression; it hurts him in a way he can’t explain.

CLENDON (hands at JR’s neck) “I don’t know why you did it.”

Clendon, leans down, their noses almost touching.

CLENDON “Did father put you up to it? Nod if he did. Did he?”

It is impossible to tell if his words have any effect.

CLENDON “You know what, it doesn’t matter. (pulls hands away) It just fucking doesn’t! I won’t, not that you don’t deserve it, but for Natalie’s sake. And my own. I won’t become you.”

Clendon makes the Sign of the Cross on JR’s forehead,

CLENDON “May God bless you and keep you safe.”

He steps back, away from the bed, turns and as he starts out of the room, Clendon looks up at the ceiling and mouths: Thank you

[David Holloway]

Dave Holloway’s Act 4 Climax

What I learned doing this assignment is that doing this quick version of a scene helped me see how little dialogue is needed in some scenes, and how too much of it can rob the scene of intensity.

BEGINNING: Nigel and Roger drive the stolen car on the block where their hotel is located.

MIDDLE: Nigel’s bad driving causes a police car to pull them over.

END: Before pulling over, Nigel drives into the hotel’s underground parking garage, with the police car following them. In the garage, the police order them out of the car and have them stand against it, with their hands touching the hood. Roger wheels around and punches one cop in the jaw, knocking him out. Nigel lets the knife inside his sleeve fall into his hand, turns and places it against the neck of the other cop. Roger handcuffs the officer. They remove the officer’s uniforms, put them on, place the two policemen in the trunk of their stolen car, and drive off in the police car.

Key Scene 3: Climax – The Ultimate Expression of The Conflict

EXT. VICKSBURG STREET – DAY

Nigel stops the car at the intersection with the street of their hotel and waits. Finally, he sees a white police car coming down the street. As it obeys the stop sign, he pulls into the street in front of it and starts swerving in his lane. They hear the police siren behind them.

Nigel slowly drives a short distance, as the amplified voice of one of the cops commands: “Stop your vehicle immediately.” Nigel drives down into the hotel’s underground garage, then stops close to their stolen car. The police car stops behind them. Roger’s voice is nervous.

ROGER: Ready, mate?

NIGEL: Our one chance, Rog.

The FIRST POLICEMAN approaches Nigel and speaks harshly.

FIRST POLICEMAN: Why didn’t you stop when I turned the siren on?

Nigel speaks with his English accent.

NIGEL: Thought I’d get off the road, first.

Roger speaks with his English accent, his tone sarcastic.

ROGER: He was making it safer for you, you dumb cop.

NIGEL: Didn’t you learn anything in police school.

The cop is angered.

FIRST POLICEMAN: Both of you – get out of the car!

The SECOND POLICEMAN exits the car and walks quickly up to his partner’s side. Nigel and Roger climb out of the car. The first policeman grabs Nigel by the upper arm, pulls him over to Roger’s side of the car and pushes him up against it. The second policeman pushes Roger against the car alongside Nigel.

As they stand with their stomachs pressed against the car, their hands on its hood, Roger and Nigel exchange a quick glance.

ROGER: Could I have a word?

Roger whirls around and punches the second policeman in the jaw, knocking him to the ground, where he lies, unconscious. Nigel lets the knife fall from his sleeve into his hand. As the second policeman starts toward Roger, Nigel turns and presses the blade against his neck.

NIGEL: Don’t move, mate. I’m a half-inch from your jugular.

The second cop stands still. Roger takes the handcuffs from his belt and handcuffs him. They remove the two cops’ uniforms and put them on, then place the cops in the trunk of their stolen car and lock it. They get into the police car and drive off.

EXT. VICKSBURG STREET

Nigel parks the police car alongside the prison. They get out and walk up the prison’s steps.

NIGEL: Remember, we’re Americans now.

They approach a desk where an OFFICER sits. Nigel speaks with an American accent.

NIGEL: We’ve been ordered to bring one of your prisoners, a Livia Williamson, to headquarters for interrogation about contacts she had with the Rebellion before her arrest. I believe she’s going to be executed tomorrow.

The officer types something on his computer, and gazes at it for a moment.

OFFICER: That’s right. Go ahead.

NIGEL: Is she in her cell right now?

The officer checks his computer again.

OFFICER: She’s at recreation. Just follow the stairs up to the roof.

NIGEL: Thank you, sir. One more thing. I was told to check in with the warden before we transport her. Where is his office?

The officer looks at him for a moment.

OFFICER: Room 237.

NIGEL: Thank you.

They walk away.

INT. PRISON – DAY

They begin climbing a flight of stairs.

ROGER: What do you want with the warden’s office?

NIGEL: Need a moment with him. Go ahead and get Livia and take her out to the car. I’ll be along quickly.

Roger nods. They reach the second floor. Nigel starts down a hallway while Roger begins walking up the next flight.

EXT. PRISON ROOF – DAY

Roger walks through a door onto the prison roof. In the recreation yard, about 50 prisoners play basketball, exercise, or stand in small groups and talk. He approaches a GUARD.

ROGER: Sir, I’ve been ordered to interrogate one of your prisoners, Livia Williamson, about contacts she may have had with members of the Rebellion before her arrest.

The guard looks at him, then seems satisfied that he’s legitimate.

GUARD: Go ahead.

ROGER: Which prisoner is she, sir?

The guard points to where Livia stands alone, not far from a group of prisoners talking.

ROGER: Thank you, sir.

Roger walks over to Livia. When she sees him, she is about to give an exclamation of happiness. Roger gives a slight, definite shake of his head, his expression grim. His voice is harsh.

ROGER: Are you Livia Williamson?

LIVIA: Yes.

ROGER: I’ve been ordered to interrogate you about your contacts with the Rebellion. Come with me.

He grips her elbow tightly and leads her toward the exit door. She is silent.

INT. PRISON – DAY

They start down the stairs together. Roger’s voice is hushed.

ROGER: We’re going to get you out. Don’t say a word. You’re our prisoner.

They go downstairs. When they pass the officer near the front door, Roger looks at him.

ROGER: Thank you, sir.

They walk through the door and to the police car, where Roger opens the door to the back seat for her and she gets in.

INT. PRISON – DAY

Nigel knocks on the door of room 237. The warden’s irritated voice answers.

WARDEN: Come in.

Nigel enters: Are you Warden Jackson?

The warden, sitting at his desk, looks at his suspiciously.

WARDEN: Yeah.

NIGEL: We have received reports that you raped a female prisoner, a Livia Williamson. Is that correct?

The warden is quiet for a moment. Then he relaxes a bit and gives a smile.

WARDEN: Hell, it’s one of the perks of the job.

Nigel advances toward him, stopping five feet from his desk.

NIGEL: You’re under arrest.

The warden stands.

WARDEN: Like hell I am.

Nigel steps toward him, letting the knife slip down into his hand. He speaks with visceral hatred.

NIGEL: You son of a bitch.

He tries to stab the warden in the chest, but the man moves aside, and the knife makes a surface cut on his arm. The warden draws the gun from his belt and points it at Nigel. Nigel grabs hold of the gun and forces it down, but it goes off, and shoots him in the lower leg. As they struggle for the gun, Nigel slashes the warden’s hand with the knife and pulls the gun free. Nigel points it at him.

NIGEL: Think I’ve got the nerve?

The warden growls and lunges at him, his left arm gripping Nigel’s right arm. Nigel fires, and the warden is shot in the chest. He goes down to the floor and groans. He mutters.

WARDEN: I’ll have you executed, you –

Nigel stands over him, and aims the gun at him. Then he fires, and the warden is silent. Nigel limps toward the door as quickly as he can, then opens it and walks through.

INT. PRISON – DAY

Nigel passes the desk of the cop he’d spoken to on entering.

NIGEL: Thank you, sir.

He quickly opens the door, hurries down the steps, and walks quickly to the car.

• This reply was modified 4 years, 1 month ago by  David Holloway.

[Janeen Johnson]

Janeen’s Act 4 Climax

What I learned doing this assignment is that I need to amp up the buildup to get to this fever pitch of anger for both Jym and Ashley or their anger is coming out of the blue.

INT. MENTOR’S OFFICE – DAY

BEN taps on UNCLE JEROME’s office doorjamb. He looks up from his desk and waves Ben in.

BEN
Have you got a minute?

UNCLE JEROME
Of course. Have a seat. What’s on

your mind?

BEN
I’ve been researching all of the

drugs we test here and looking at what’s in the pipeline. Everything treats symptoms. No one seems to be working on curing or reversing the underlying disease.

UNCLE JEROME What are you getting at?

BEN
I think its counterproductive to

keep developing and testing more of these drugs. It just seems wrong.

80.

UNCLE JEROME
There’s nothing wrong with what we

do. These drugs will hit the market whether it’s us running the trials or someone else. We know we do an honest job on the trials. That’s something worth doing. These medicines help people.

BEN
Help, yes, but it doesn’t get them

better. It just helps them get worse more slowly.

UNCLE JEROME
Be blunt. What are you saying?

BEN
I think it’s wrong. Maybe not morally

wrong, but ethically. Yes, I think it’s ethically wrong to work on drugs to slow the rate of this disease instead of working on cures for diabetes.

UNCLE JEROME
How can ensuring that new drugs are

safe for people be wrong? Morally or ethically?

BEN
It’s wrong because it leads us away

from prevention and reversal, not toward it. Can’t you see? We;re not helping people live. We’re helping them die more slowly.

UNCLE JEROME
Get out. Just get out. I’ll give

you one week at home with your sick wife to think about whether you want to take over this business or not.
I can find plenty of people who would give their eye teeth for the opportunity I’ve offered you. And I will give it to one of them if you can’t get your head on straight.

Now go!
INT. DOC’S HOUSE – NIGHT

BEN and ASHLEY are in bed and relaxing after a bout of lovemaking.

81.

BEN
I think I may have to quit Uncle

Jerome’s business.

ASHLEY
Can’t stand to be away from me so

long?

BEN
Of course, that. But I’ve been doing

a lot of research and all we do at the clinic is test new drugs that treat diabetes symptoms. None that reverse diabetes.

ASHLEY
You can’t just quit. Uncle Jerome

helped us get you through med school so you could take over his business.

BEN
I’ve been researching diabetes

treatments, prevention and reversal. I think I’ve found a diet and I’ve come up with a treatment plan that could help you and, well, nearly everyone with Type II.

Ashley tries to cut him off, but he’s on a roll.

BEN (CONT’D)
Did you know that with the proper

diet and exercise regime that nearly all Type II can be reversed. Maybe not completely, but so reversed that the majority of side effects and long term effects are slowed or halted. It can’t reverse permanent damage to organs, of course, but with exercise and diet, circulatory problems can be reversed over time. It takes years and years for nerves to regenerate, but I bet even some parts of neuropathy could be reversed if a person worked hard enough at it.

Ashley tries to interrupt again, but gives up, staring at the ceiling or his neck or anything but his eyes in her attempt to get him to stop without actually interrupting him.

82.

BEN (CONT’D)
That’s an area that can use more research and more practitioners.

It’s an area where I could really make a difference. Our country can’t afford all of the medical bills that people with Type II are going to have in the future. It’s an epidemic we have to stop now. Stop and then reverse. Don’t you see, babe? I could make a real difference there.

Ashley doesn’t respond.

BEN (CONT’D) Babe, were you listening?

ASHLEY I’ve been listening.

She kisses him, but it is to silence him, not a sign of affection.

He nods.

ASHLEY (CONT’D) Now will you listen to me?

ASHLEY (CONT’D) Alright. Listen and listen good.

I’ve already found a diet that helps me. I’ve been following it for months. I’ve found an exercise program that works for me. I’ve
been following that for months too. I’ve also had improving fitness, energy and numbers for months. I don’t need you to come in and dictate a new diet and exercise program for me. I’m keeping the one I have that’s gotten me healthy and fit and full

of energy.

BEN But Babe —

She cuts him off with a swat to the shoulder.

ASHLEY
No. No more “But Babe’s”. I’m done

taking medical advice from you. I’m done with your diets, I’m done with your pills and pumps and all of it.

83.

He is dumbstruck.

ASHLEY (CONT’D)
I’m not the lovestruck little girl I

was when I fell in love with you in grade school and couldn’t wait to marry you. I don’t need a savior.
I can save myself and I’ve been doing it for months. You need to understand that our relationship has changed. We’re equal partners now. I’ve done more research than you have on all

of this and I know what works for me and for many of the other women at the gym. I know. I don’t need you to sweep in here and treat me like a simple little kid. I’m not exhausted any more like I was for years. I’m not fuzzy brained any more. I’m clear and focussed and in control of my own health and my own well-being. Do you understand?

Ben moves from confused to deflated to lost. He gets out of bed and starts getting dressed.

Ashley takes a deep breath and watches him with lust building in her gaze.

ASHLEY (CONT’D) Babe, you are so sexy when you’re

all humble and unsure. You’d better take off those clothes again because I have a lot more energy than you and I’m ready.

He looks at her, his gaze heats up as he takes in hers and his eyes travel to her body. A slow smile creeps over his face and he reverses course on the clothes.

INT. JYM’S GYM – DAY BEN stalks into the gym.

JYM
Oh, here we go again.

She heads to her office.
Ben hustles in behind her and shuts the door.

BEN
So Ashley and I had a chat last night

about her diet.

84.

JYM
Good. I hope she told you how well

she’s doing and explained why she didn’t tell you that she didn’t take your diet advice for once and actually lost weight and felt better.

BEN That’s enough!

JYM
No, that’s enough from you. Sit

down. I’ve had enough of your derision and looking down your nose at me. I’ve had enough of your “how can you be overweight and run a gym?” And other snide comments. I quit using your stupid diets and found what worked for me. I found a diet with foods I like that will also let me lose weight without all of the cravings and stupid salads you were always forcing on me. Once side does not fit all and Ashley has found something that fits her. She’s also gone on to find diets that fit the tastes, needs and budgets of numerous people at this gym and they are grateful to her, as am I, for her hard work and constant uplifting messaging about diets and exercise.

Ben tries to break in, but Jym shuts him down with the “stop” hand gesture.

JYM (CONT’D)
We found cost-effective low glycemic

index foods for families with overweight teens that keep them full and don’t leave them with cravings. Snack foods and easy to prepare foods for busy moms. Exercise programs that don’t deplete blood sugar, but do promote muscle growth and bone retention. We put together menus
and shopping lists for people on WIC and SNAP that need help preparing nutritious non-fattening or diet meals for themselves and their families on a very small budget.
And all along, you harped about us getting fat and being a disappointment and needing to lose weight and get healthy.

(MORE)

85.

JYM (CONT’D)
Nothing but negative feedback from

you while Ashley, Cam and I have given our clients uplifting messages of encouragement and appreciation, knowledge and excitement, not downer ego deflating criticism. I’m done listening to you and I hope Ashley is too. Your “I know everything and you know nothing” high and mighty attitude hasn’t helped us at all. We’ve helped ourselves.

Jym pauses and Ben jumps in. Ben stands, hands on hips.

BEN
You’re practicing medicine without a

license counseling people about diet.

JYM
I’m not. I’m practicing nutrition,

something most doctors know a lot less about than I do because I’ve done the research. I’ve walked the walk and I do consult with a doctor and make my clients consult a doctor too before they embark on any diet. You’ve always been the smart one in the family and I’ve always looked up to you, but you might want to take another look at me. I learned from you. I learned to study hard, learn as much as I can, look for the facts and reject the garbage. I’m not your baby sister any more. I don’t need to be rescued by my big strong brother. I’m strong enough on my own. Leave my office.

He stares at her in near disbelief.

[Gayle Jackson]

Gayle’s Act 4 Climax

What I learned doing this assignment is cleaner is clearer and more efficient – the first draft is a sort of 20% pre-draft mixing treatment, outline and draft and it helps to write it to get a true idea of who the characters are and what their arcs will be. This quickie helped me see what isn’t working and not making sense, too.

Outline Key Scene 3 – Climax

BEGINNING – Rick and Samantha perform the same rite as in the opening scene

MIDDLE – The Djinn leaves Josie but instead of being trapped in a vessel – Rick does one spell as Sam does another and the portal opens at the right time striking the Djinn’s essence and shattering it into particles

END – the Cowboy’s essence has an ethereal vessel which captures the particles and takes it into the light.

Write Key Scene 3

RICK: We need a vessel.

SAMANTHA: Where’s the phone?

RICK: I don’t know. Let’s use this?

CAROLINE: What if it shatters. That thing’s too strong.

SAMANTHA: I have an idea. Rick, do you still have the original {LATIN FOR OPENING PORTAL}?

RICK: Here.

SAMANTHA: Say it.

RICK: (SAME RITE AS OPENED PORTAL)

SAMANTHA: (RITE THAT RELEASED DJINN)

The Djinn leaves Josie.

CAROLINE: It’s working.

NURSE: Keep going, I can see it.

When Josie is free the Nurse goes to see if she’s okay.

Rick and Samantha working together to move the Djinn into the shaft and lightning that shattered the Cowboy until it does.

As Rick and Samantha collapse – spent.

SAMANTHA: Wait. Look.

The Cowboy’s essence comes down to collect the evil black particles and takes them into the shaft of light.

[Aline A]

Aline’s Act 4 Climax

When I started this story, I didn’t think she would go home- but when she does, the obvious biggest fear and knot in her trauma is facing her father. Everything that seemed to be the problem melts away- the ambiguity of his love and abuse towards her is what she needs and fights against. Facing him and that pain undoes the knot.