FACE IN THE CROWD

created by OC,SH’s founder & Erika E, while in college, spring 1995
further written by OC,SH’s founder & now adapted for publication here

 

LAST TIME:
Month 2, Week 1, Day 3 fully-scripted episode continued, Part 2 of 3 (Acts 3-4-5)

 

NEXT TIME:
Synopsis continues, starting with Month 2, Week 1, Day 4

 

TALE CONTINUES
2nd of 4 fully-scripted episodes: Month 2, Week 1, Day 3 (a Wednesday), Acts 6-7

This is the last of 3 parts of the 2nd of 4 scripted episodes I wrote for my college honors thesis, spring term 1996. When Erika & I originally created this, we didn’t consider timelines or how long it would take for the action to transpire on TV. So, when I started working on this academically, I had to consider how the action might work on screen. With a “general breakdown” & timelines, I mapped out action from Month 1 – Week 1 – Day 1 to Month 3 – Week 4 – Day 5. This episode is the Month 2 – Week 1 – Day 3 (a Wednesday) airing, Acts 6-7 (of 7 total Acts).

 

Episode Structure
(minutes in bold are what are included in this post for the Month 2 – Week 1 – Day 3 episode)

MINUTE ON AIR
1 FC (Act 1)
2 FC
3 FC
4 INTRO-FC / COMMERCIAL
5 COMMERCIAL
6 COMMERCIAL
7 FC (Act 2)
8 FC
9 FC
10 FC
11 FC
12 FC
13 FC
14 COMMERCIAL
15 COMMERCIAL
16 COMMERCIAL / FC
17 FC (Act 3)
18 FC
19 FC
20 FC
21 FC
22 FC
23 FC / COMMERCIAL
24 COMMERCIAL
25 COMMERCIAL
26 FC (Act 4)
27 FC
28 FC
29 FC
30 FC
31 FC
32 FC
33 COMMERCIAL
34 COMMERCIAL
35 COMMERCIAL / FC
36 FC (Act 5)
37 FC
38 FC
39 FC
40 FC / COMMERCIAL
41 COMMERCIAL
42 COMMERCIAL
43 FC (Act 6)
44 FC
45 FC
46 FC
47 FC
48 FC
49 COMMERCIAL
50 COMMERCIAL
51 COMMERCIAL / FC
52 FC (Act 7)
53 FC
54 FC
55 FC
56 FC / COMMERCIAL
57 COMMERCIAL
58 COMMERCIAL / FC CREDITS
59 FC CREDITS
60 FC CREDITS

 

ACT 6
Scene 1

FADE IN:

INT. MANCHESTER UNIVERSITY HALLWAY — AFTERNOON

As the scene opens, pandemonium has taken control of the hallway outside the Auxiliary Office. Police officers (including Steve, Malinski & Crandal), news media (including reporters from KMAZ-TV, KMCE radio & the Manchester COURIER newspaper), & Manchester University staff & students are everywhere. Mixed in the crowd are Michelle & Christine. Steve is more or less yelling directions to his officers, while trying to keep order Michelle is doing her best to comfort Christine, who now is completely hysterical. A female REPORTER, age 31, dressed in a tasteful business suit, from the Manchester COURIER comes up to Christine & Michelle, thrusting a mini-tape recorder in their faces. At the same time, the television & radio reporters are focused on Steve.

REPORTER
Mrs. Rockingham, Mrs. Rockingham?! I’m from the Courier. This must be an absolutely awful experience for you…finding your daughter’s body like you did. Can you tell me what’s going through your mind at this point?

Michelle glares at the reporter, but Christine tries to answer the question.

CHRISTINE
I….my baby….my baby is gone. Oh, Jenna…..

As Christine falls back into another crying spell, Michelle puts her 2 cents worth in.

MICHELLE
Can’t you see this isn’t a very good time? The woman just found her daughter dead.

The reporter turns slightly to look at Michelle.

REPORTER
And who are you?

MICHELLE
(retortingly, yet matter-of-factly)
A concerned friend who’s about to cancel her subscription to your newspaper.

At this, the reporter turns quickly back to Steve & walks that direction. As she does, the focus in the pandemonium switches to Steve & the other media.

STEVE
(already in progress)
(I know the) …interest in this story is great. Believe me, I do. But, you must let us do our job first.

REPORTER
Captain, there’s been rumors that your department botched this case. Is that true?

Before Steve has a chance to answer the question, a stretcher is wheeled out of the Auxiliary Office. Jenna’s body is on it, covered up with a cloth. Christine sobs even more uncontrollably, while Michelle desperately tries to calm her down. Steve rushes over to the stretcher.

STEVE
(to officers moving the stretcher)
Good work. Now, we’ve got to get to the elevator.

By this time, the press has made its way over to the stretcher, crowding the scene. Michelle & Christine, though, have managed to stay 1 step ahead of the media.

STEVE
(to Christine)
I’m deeply sorry you have to go through this, Mrs. Rockingham. I realize how painful this must be for you. &, I’m sure the press doesn’t help much, does it?

Christine is only able to shake her head in response. Meanwhile, pictures are being taken by KMAZ-TV & the COURIER.

STEVE
Well, Mrs. Rockingham. I know you found the body & have said it is Jenna’s, but we have to do this for the record. Is this Jenna?

Steve slowly pulls the cover down off Jenna’s face, & as her face is revealed, more pictures are taken & Christine shrinks back towards Michelle.

CHRISTINE
(barely audible)
Yes, that’s Jenna. That’s my baby.

 

ACT 6
Scene 2

CUT TO:

INT. KMAZ-TV NEWSROOM STUDIO — LATE AFTERNOON

As the scene opens, Matthew, as seen before, is giving instructions to the television crew in the newsroom studio. AMY, age 25, dressed in a grayish-tan dress, is standing beside him. TAMMY, age 32, dressed in a blue business outfit, is seated at the newsroom desk, ready to go live on the air.

MATTHEW
(over newsbreak theme music)
We’re live in 5, 4, 3, 2 … 1!

TAMMY
(into studio camera)
Good afternoon. I’m Tammy Jefferson reporting for Manchester Action News. This afternoon, the body of 23-year-old Jenna Rockingham was found in the Manchester University Psychology Department Auxiliary Office. The gruesome discovery was made by the victim’s mother, Manchester author, Christine Rockingham.

At this point, KMAZ-TV switches to live shots from the scene. With that switch, the CAMERA switches to a full picture of a studio monitor.

TAMMY
(off camera)
This is the scene now. As you can see, the police are just now getting Jenna’s body out of the building & to the morgue, where, it is reported, a complete autopsy will be performed. Captain Steve Manson, who is heading the investigation, had this to say a few minutes ago.

STEVE
(on camera)
At this time, we can only speculate as to what happened to Jenna. I know the interest in this story is great. Believe me, I do….

TAMMY
(on camera)
That was Captain Steve Manson of the Manchester Police Department. Manchester Action News will have more details on this breaking story as they become available.

 

ACT 6
Scene 3

CUT TO:

INT. LIVING ROOM OF THE SIMPSON HOME — LATE AFTERNOON

As the scene opens, JAKE, age 23, dressed in a plan red T-shirt & jeans, is sitting in an old chair in front of a television set. LAURA, age 24, dressed in an old blouse & old slacks, is sitting at an old desk off to the side. The living room barely has any furniture in it, & what is in there is old.

JAKE
(turning off the TV)
Well, well, well. Did you see that?

LAURA
(without looking up)
Yes, I did. Jenna was found dead by her own mother.

JAKE
I just can’t believe sit, Rox.

Laura stops what she’s doing & looks up towards Jake.

LAURA
Somehow, I can believe it. I took you back, after all, didn’t I?

Jake gives Laura a teasingly dirty look.

JAKE
True.

Jake gets up & walks over towards Laura. He puts his arms around her, while she remains seated.

JAKE
& I love you so much for giving us a 2nd chance.

They kiss.

 

ACT 6
Scene 4

DISSOLVE TO:

INT. KITCHEN OF JACKIE’S RESTAURANT — LATE AFTERNOON

As the scene opens, JACKIE, age 45, & JULIA, age 22, are in the kitchen. Jackie is cleaning up while Julia is cooking for the dinner rush. Jackie is wearing a tasteful, contemporary orange-red dress with an apron over it. Julia sports clean jeans, a white blouse & an apron. The 2 have just heard the report of Jenna’s death on KMCE radio.

JACKIE
(stopping in mid-wash)
How am I going to tell Alicia?

JULIA
(continuing to cook)
I don’t know, but I can tell you 1 thing: the Rockinghams are going through a lot of pain & suffering right now.

ALICIA, age 16, wearing tight-fitting jeans & a dark green T-shirt, enters the kitchen just as Julia says her last line.

ALICIA
Pain & suffering? What do you mean?

Julia turns her back to Alicia, as Jackie jumps, somewhat startled by Alicia’s entrance.

JULIA
(to Jackie)
Well, I better go see Richie.

JACKIE
Are you sure you want to do that?

JULIA
I have to.

Julia prepares to leave.

ALICIA
What’s going on?

Alicia looks to Jackie & then to Julia a few times, finally locking eyes with Jackie.

ALICIA
Momma. Tell me…..Is it Jenna? …. OH, my God. They found her body, didn’t they?

FADE TO BLACK: END ACT 6. GO TO COMMERCIAL

 

ACT 7
Scene 1

FADE IN:

INT. ROCKINGHAM MANSION LIVING ROOM — EARLY EVENING

As the scene opens, Virginia, dressed as before, is seated in the high-backed chair, while Desmond, dressed as before, Carl, dressed as before, & Richie, dressed as before, are all seated on the couch. Carl has DONNIE, age 10, dressed in jeans & a T-shirt, on his lap. Cathy, dressed as before, is sitting in the chair across from Virginia. All have their heads bowed. The doorbell rings. All look up. Desmond finally gets up & answers the door.

DESMOND
Well…..

Donnie, having intently watched his grandfather open the door, spots his mother & rushes to her. Christine kneels down & scoops Donnie up in her arms. Both start to cry.

DONNIE
Oh, mommy. It’s going to be all right.

Christine half-laughs at her child’s “knowledge”.

CHRISTINE
I hope so, Donnie. I hope so.

Christine walks into the living room & Cathy stands up to greet her.

CATHY
I’m deeply sorry for your loss. I have already started the prayer chain at church.

CHRISTINE
(squeezing Cathy’s hand with her free hand)
Thank you. Thank you so much for being here.

Carl stands up & Christine walks over towards him. She gently puts Donnie down. Donnie is then scooped up onto the couch by Richie, while Carl & Christine embrace in a long hug. At the doorway, Desmond turns to Michelle.

DESMOND
Thank you so much for bringing Christine here.

MICHELLE
You’re very welcome. I’m just glad I was there for her. I’m very sorry for your loss.

Carl & Christine come out of the embrace. Christine walks to Michelle & gives her a hug & whispers a “thank you” to her. Virginia speaks from the chair.

VIRGINIA
Yes, Michelle. Thank you for being there for Christine today.

Michelle nods in acknowledgement & looks at Desmond.

MICHELLE
May I use your phone?

 

ACT 7
Scene 2

CUT TO:

INT. MATTHEW’S OFFICE AT KMAZ-TV — EARLY EVENING

As the scene opens, Matthew, dressed as before, & Amy, dressed as before, are sharing a comforting hug. It is obvious both have been crying. Amy speaks as the 2 come out of the hug.

AMY
Well, unless there’s something else I can do here, I’m going to head on home.

MATTHEW
That’s fine. Please do. I’m sure you are needed there.

Amy turns to the door as Matthew moves behind his desk & begins to sit down.

AMY
Yeah. Aren’t you coming?

MATTHEW
(settling into his chair)
Uh, yeah, in a while. I have some things I need to take care of before I can come. But, I’ll be there.

AMY
OK. Don’t work too late.

As Amy leaves, the phone rings.

MATTHEW
(into the phone)
Yeah?

The screen splits, with Matthew on the left & Michelle at the mansion on the right.

MICHELLE
(softly)
Hi.

MATTHEW
Hi. It’s good to hear your voice. Where are you?

MICHELLE
Your parents’. I brought Christine here. Look, I need to make this quick. Unfortunately, my meeting at Manchester University has not been postponed, so I gotta be there. I’m really sorry.

MATTHEW
That’s OK. Don’t worry about me. I need to spend some time with my family anyway. I’ll talk to you later tonight, OK?

MICHELLE
Sure. I love you.

MATTHEW
Yeah, me, too.

The screen goes full on Matthew as he hangs up the phone & sighs.

 

ACT 7
Scene 3

CUT TO:

INT. STUDIO AT KMAZ-TV — EARLY EVENING

As the scene opens, Tammy, dressed as before, is working on some last-minute paperwork. She seems to be finishing frantically to be able to do other things. Soon, Matthew, dressed as before, walks in.

MATTHEW
Tammy, look, why don’t you go on home. There’s nothing more to be done here. Go home & get some rest.

TAMMY
Are you sure?

MATTHEW
Yeah.

TAMMY
Well, I was trying to get some things done so you don’t have to do so much. You know, Matt, I realize how upset you must be right now, but you shouldn’t use work as an excuse to escape.

MATTHEW
I’m not, & I appreciate your concern.

TAMMY
OK, fine. At least get some rest. I’m really sorry about your niece’s death. I know it’s going to be rough for a while. You’ve just got to take it easy & grieve. That’s the only way to get through this.

MATTHEW
(teary-eyed)
I know.

TAMMY
Go on home to Michelle.

MATTHEW
I can’t. She has a meeting at the university tonight.

TAMMY
You mean they didn’t postpone the meeting?

MATTHEW
I guess not.

TAMMY
Sorry. Hey, listen, why don’t you & I go get a bite to eat? My treat.

MATTHEW
Ya know, that does sound like a good idea. I haven’t eaten much of anything all day long. Let’s go.

Tammy, sporting a huge Cheshire-cat smile that Matthew doesn’t see, turns to go out the door. Matthew follows her.

FADE TO BLACK: END ACT 7. GO TO COMMERCIAL, THEN PLAY FC CREDITS.

THE END.