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Re-read my advice: I'm happy to write your story for you if you want to pay me. Otherwise, you need to connect the dots.

It's not about the vigilantes (antagonist), it's about the cop (protagonist). What happens to him is what concerns the audience. Whether the vigilantes win, lose or die is not a crucial as what happens with your cop. The focus is Batman. Whether the Joker dies or lives to fight another day...

The audience follows the protagonist, which may be an individual or a group, throughout the story. The group can be brought together in the beginning and then work as a unit, a la Avengers. A hero's journey is typically a personal journey. There can be supporters but it is the protagonist who...

This doesn't follow industry formatting. Are you producing this yourself or do you hope to sell this on spec? If to sell, you need to take out all the camera directions. Your text is too dense. Improper use of colon and parentheticals. Overall, a reader would take one look and pass. As a...

I am speaking more generally about motivation. What would make a "good cop" want to seek revenge. A good writer needs to develop the skill to look beyond the details to see the layout and actions. Cars can look different in shape or just vary in color. However, it's what's under the hood and...

Again with any strong fraternal order (soldiers, police, firefighters, mob, etc.), what is done to one, is an offense to all. That is why when you talked about a cop dying, I mentioned ALL the cops would be hunting for the killer(s). It is possible for the anti-hero to have a partner but...

Revenge is not rational, it is a gut response. Revenge is about "the last straw". It has to be something that hits close too home and provokes a simmering rage. While you're thinking in the right direction, the question I would ask about these TWO characters is "What did the villain do to the...

Those are two essential issues. If he simply follows the law or does it badly, the police will figure it out. So right there you don't need an elaborate ruse. Second, he needs to know who is plotting against to come up with a plan for revenge. That is the critical flaw. If I don't know you...

Nah, the secretary is part of the ruse. She goes back in and files or whatever. The purpose is that the boy is forced to be outgoing and heroic in a way he's not been in his previous relationship. If it had been an actual emergency, she would have called for help much sooner before the kid...

That's correct. You are hiring him to essential write up your idea as you would hire a plumber to fix your sink. He has skills that you are paying him to apply. The plumber doesn't own your house or pipes. You own the copyright. In fact, you can include your own name in the credits as...

If you're on a payroll, even if you develop it on your own time, the patent and copyright belong to the company. That's made clear on every software company's hiring contract. The company owns your innovation. If you make that breakthrough as a grad student or faculty member, the university...

Oi! Filmmaking is a business. It's important to learn about the business side especially because money is involved. If you have an established production company with financial assets, you need to be very mindful of where the money goes and where it comes from. While there are always...

Inarius, keep it simple. That's way too complicated for a short. Take your idea and put it into a simple six act structure. Act 1 - Set Up (introduce the characters and situation) Young man breaks up with his girlfriend and feels depressed. He makes an appointment with the psychologist. Act...

No you don't. This isn't about the law. I still don't think you're clear what your actual story is. You have the ending in mind but keep trying to find a way to justify it. Though even that ending seems to be fairly fuzzy. Who are your main characters? - Lead Cop, Partner Cop, DA, Lead...

It doesn't matter. If the cop drags his friend there due to a suspicion though his friend doesn't know, does it matter? How would the audience know? A big problem is you worry about the audience. You need to worry about the story first. If you write a believable story, the audience will...

In the case of (A), testimony can be compelled of a hostile witness. Not testifying is not legally an option unless the cop wants to go to jail for resisting a sub poena or perjury. The DA has no reason to give in. That argument just wouldn't float. In the case of (B), the story was not...

I'm not a lawyer and this is only practical not legal advice. You should consult a lawyer with experience in intellectual property for specific legal advice about what and how you should proceed if you intend to produce the film. Generally, excerpting a quote or small parts of a poem with...

In my script A. the villains kill a cop and the main character cop is angry about it and wants justice. B. The district attorney does not want to prosecute, because there is not enough evidence against the villains First, MURDER of a cop WILL ALWAYS lead to a trial. Every cop on the force...

Let me say that I agree that sometimes adverbs are useful. However, often they are more of a crutch for lazy writers. Often a different word is more evocative. But as an example, here are some articles that give rationales for avoiding adverbs. These generally reflect advice given by other...

I recognize this is just a writing example and not a reflection of your writing. That's why I addressed ways of presenting your scene. A lot of new writers look at what is posted to learn writing techniques. I mentioned some writing points that can benefit others. In my note, I didn't...