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[b]SCENE 4 (INT_ NIGHT_ SAFE OPERATIONS FACILITY_ DEPOSITION SQUARE)

XTERS: Robert, Patricia, LIB Team Members, and Tina.

BLURB: An active flow¬_ now the ladies, Barr. Robert Agaita and his team members are all in position, it was time for deposition. For those who are not familiar with the term; it is the process or session when a lawyer interviews a witness/victim. The dictionary defines it as: ‘’the process of taking sworn testimony…’’ The Tech lady set’s a SONY Camera on the large desk before the three characters that are sited before the table; Patricia objected softly.

PATRICIA
I may not feel comfortable speaking freely for two reasons.

ROBERT
Which are?

PATRICIA
I can’t sit directly to you narrating my story and you shouldn’t have this session recorded.
(She stated. Camera moved from her CU to a TCU of Tina, revealing the expression of dissatisfaction and betrayal that is written all over her face and bodily gestures. Robert’s voice returns Camera to his face as he speaks-on.)

ROBERT
I can get the sits rearranged, but it is inappropriate to have a deposition without recording. We need materials that will help your case Mrs. Godman. My team and I will have to view the video that we are about to record now; over and over till we picture the facts right. Building a case is a process.

PATRICIA
Right…? (She pauses for a moment and muttered) Okay.
Barr Robert signaled two team members of his (lawyers) that were standing beside him like body guards; waiting to help/provide their boss with whatever he may need. He stood for them to get his chair, and those of the ladies too for rearrangement.
M2 Shot diagram for the deposition session- Position, angles and loops all taken into consideration.
Transcriber

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[b][b][/b]SCENE 3 (EXT/INT_NIGHT_ROAD_SAFE OPERATION FACILITY)

[b][/b]XTERS: LIB Team Members, Tina, Patricia, and Robert.

[b][/b]BLURB: An active flow¬_ scarier intrinsic score with communication radio chatter boiling concretely in the background _ the black Jeep races on the lonely express road of the City of Port Harcourt; headed for a location unknown _ but the driver and other members of the Liberation team.

NOTE: The liberation team is a quorum of young professionals (all lawyers by profession- they all studied different types of law), effective force for liberating the helpless through legitimate avenues. From one end to another end, their Radio communication filled the score in the background. Moments later, in a medium reverse shot, the Jeep approached a mighty warehouse gate.

RADIO semantics: 1- LIB operations team leader_ ’’Calling in to report update,’’ 2- Tech female from the safe operation facility, ‘’state operation update for the record,’’ 1, ‘’Operation successful, main character and phosphorous with us now’’ 2, ‘’Great job Mango’’ 1, ‘’thank you SANGO’’ 2. ‘’You are welcome Mango,’’ 1, Papa status? 2, Arrival modasto, prepping apparatus, seeking specimens, 1, ‘’Copy that, arrival at a go, approaching presence in the history of today’’ 2, ‘’Osimogolo copico, advancing dunga to expose an entrance.’’

Before their Radio conversation halted the vehicle was already at short range to the entrance of the mighty gate, instantly it opened and swallowed-up the Jeep (simultaneous methodology), and the mighty gate close behind it. As the Car halted in the safe operation facility, cut to the interior of it, there Patricia and Tina are still seeking answers.

TINA
Speaking calmly now, but still frightened and scared. Tina’s voice filled the Car as she endlessly seek their where about.
Where are we? What did we do? Patricia, are you okay? We are lawyers, are you aware? The law will catch up with you, I can assure you. (Tina spoke in frustration, but the men won’t say a word. Patricia managed to mutter something under her breath.)

PATRICIA
Where are we? (Patricia asked. Obviously to the men, but Tina responded…)

TINA
P,’ do not panic, we will be fine. These cheap abductors can’t do us anything, we are members of this nation’s bar association, and your father is the high commissioner to the Netherlands. (She uttered anxiously.)

Beside one of the tinted glasses came a nice looking female with some electronic gadgets firmly strapped over are dark sleeveless shirt, she’s got a beautiful but pretty complicated headphone wrapped over her head.

She tapped on the tinted glass twice, it opened up; she starred in for a moment, and then signaled the team’s head, and immediately he removed their blindfolds for her to see.

Patricia and Tina looked around in horror; they scanned the environment for a second then their sight rested on the tech lady. She looked at them some more and smiled before walking away.

From the interior of the Car, right through the front louver glass appeared a set of shinny dark shoes, shot moves from the male shoes up to reveal a pair of finely ironed trousers, and up Camera pans to the suit top and unto the white glasses covered smiling face of Robert.

The two back doors of the Jeep opened at once, and from both ends, the men led out their female captives each. Robert stood right there waiting for them as they made their way to get to him. Robert welcomes them inaudibly under an indistinct background score; Patricia gave him a swift soft hug. In uttermost surprise, Tina looked at them, bewildered obviously.

This was no abduction after all; she frowns and rejected Robert’s smiling and outstretched hand for a shake. She walked away from them and sank herself into one of the office sits that are on set right behind Robert. Patricia ran after her; she has to appeal and explain to her friend she thought. And Robert motioned right behind her.

SCENE 2 (INT/EXT_ NIGHT_ THE GODMAN GOODHEAD EDIFICE/ROAD)

XTERS: Tina, Patricia, Lambert, Godman Goodhead, and the LIB Team.

BLURB: A dumb show/an active flow¬_ with INTRINSIC background score(s) _ a slow visually narrative insert of the empty space on Patricia’s BED hit our retinas, this time, Camera extends gradually to the other half portion of the bed; thereby revealing a male figure. For a moment he was still in his sleep, as Camera scans through to reveal parts of him, he made a few set of moves like a man in a mild nightmare, but no; it is his way of express sweet night rest.

Camera left the bed, and commenced scanning the interior of the sparsely dark bedroom. In a slow panoramic shot, we saw framed photographs of Patricia and someone that looks like the male figure we saw on the bed. The photographs obviously are revealing; it is Patricia and her husband Godman that are in them. A happy family is what the pictures interpret to viewers at first sight. With smiles in the faces of both man and wife; they displayed their rings in all displayed still pictures.

SHOT: Cut to their Kitchen, guestroom, and other parts of the house. And finally to the exterior of the house where shot now rests. In the well lit, but still sparsely dark compound we saw three packed Cars, at the security post corner, we saw Lambert sleeping outside obviously waiting to receive Patricia back into the house. Mix

In the dark came two full headlights heading towards Camera from a distance with disturbing amount of speed, and distorting decibel of screeching sound. The Car drove passed top of the shot revealing the bottom of the vehicle, so the screen was dark for a moment, and then returned with a reverse insert of the Car exiting; firing solo on the scanty expressway. Cut to the interior of the Car to reveal her occupants, it is Patricia and her friend Tina, they both appeared sober, but more sober is Tina who is firing the man made machine like she invented the piece herself.

SHOT: Still in the interior of the Car, the ladies are quiet; both submerge in their worlds of separate thoughts. From the interior we saw their vehicle approaching the traffic lights on a 4-ways junction, Tina’s foot went to her break(s) almost immediately, Camera exposes the foot pedal(s) region of the Car as Tina’s right foot reaches for one; applying the break to slow down the acceleration purpose machine before approaching the central point of this 4-ways road. As the Car got to the subject point in a bid to wait for the traffic light’s stay-still duration, a jeep appeared from nowhere exactly, and double crossed the Car that Tina and Patricia are occupants of. Tina, confused, but sharp. She reached quickly for the central lock knobs and shut all the entrance of the Car.

The jeep packed right in front of them, and out of it came two men in suits- both; big in size. With long and sides sharp metallic devices in both men’s hands as they approached the jeep without fear. On seeing this, Tina headed for reverse, but before she could initiate the command synergy to the gear and pedals; her Car jerked forward abruptly, indicating that something physical had had contact with it from behind. Camera swiftly pans behind to reveal only part of the Car that made the depriving collision.

The bumper of the intrusion vehicle is lapping right on Tin’s Car fender. In the interior of the ladies Car, we saw frightened to death Tina and Patricia screaming and demonstrating their fears with several physical actions and gestures. From both driver and passenger sides the men went straight to work, and in less than 5 seconds the Car doors were maneuvered and opened, the ladies were instantly blind folded and abducted. It was a clean and well planned operation.

THE EXIT: The men each got one lady and off they carried them from Tina’s small Car back to their Jeep. From the collision Car behind came out one male in smart dark outfits wearing mask and gloves. He entered into Tina’s Car, the one behind reversed back a bit; the tinted glass of the jeep opened and a gloved hand hung out to signal a move. At once the three Cars zoomed off into the dark in three different directions.

Diagram description of the physical positions of Cars, and their exit methods/directions:

Road 3

Collision Car
EXIT RD




--Tina’s Car EXITING Road 1 JEEP-- Road 2 JEEP EXITING--
-- Tina’s Car
!
Collider



Road 4

Tina’s Car
Approach point

SCENE 1 (INT/EXT_ NIGHT_ THE GODMAN GOODHEAD’S EDIFICE_ BEDROOM/OUTSIDE)
XTERS: Patricia, Godman Goodhead, and Lambert.
BLURB: A dumb show_ with INTRIGUING background score(s) _ insert of a bedside table clock hit our retinas with great appeal. Cut to a swift insert of Patricia’s widely open and wondering eyes, her eyeballs were running from one end to another in their respective sockets.

But she remained still on the bed as she is introduced. Back to the table clock, at this time the clock is about 15minutes gone passed the figures we saw on it earlier. From 1:15am, it is now 1:25am.

In a TCU her eyes are revealed again, but this time they are sparsely open and slower in their sockets. In utmost attentiveness Patricia pulled herself up from the bed in a single effort, and then upright she sat into shot.

There she sat on the bed for few seconds; then stood up and reached for the room door knob, and off she quietly ran through the passage and other required routes that led her to the security post.

On reaching there she knocked Lambert’s door quietly like she was there to have fun with him. In a moment, Lambert opened up, he walked her to the gate_ both of them tip toeing not to attract external reaction. Lambert opened the gate and bid her goodbye.

As Patricia steps out of the compound, a Car drove down and halted right in front of her. We couldn’t see the occupant of Car, Patricia reached for the already opened passenger’s side door and opted in. And off the TOYOTA Sedan brand of Car sped away into the dark.