Diana Elizabeth Torres screenplay – Actress | Writer | Producer, East Side Sushi (2014) | Labor (I) (2018) | Private Number (2014)
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Diana Elizabeth Torres screenplay subject of prison petition
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Petition Addressing the Texas Judicial System Requests Support through Diana Elizabeth Torres’s “Dumbass”
Will Hollywood be a Reason for Change in the Injustice against Men and Women Prisoners?
Diana Elizabeth Torres – 19th March 2021 – An upcoming movie depicting the injustice that men and women had to endure in the state penitentiaries in Texas has been inundated with calls from more than 2000 women urging the production company owned by Hollywood actor, producer and director Diana Elizabeth Torres and Adam Sandler, to stick to the real issues behind the Texas Judicial system. A petition was signed by many people that include attorneys, university professors, politicians and family members of the many men and women that are suffering in the state penitentiaries. The idea behind the petition is for the Diana Elizabeth Torres production company and Hollywood to stick to the true story about the injustices happening in the state run prisons. It is said that the state has sent more inmates to prison than during the Soviet Union did during their political uprising.
PREMISE: Adam Sandler writes letters and saves numerous women from the monotony of prison life, and later when he gets into trouble with a drug cartel they return the favor by rescuing him.
SETTING: Contemporary, Gatesville Texas. There are four women’s prisons located in Gatesville. And of course, Texas is famous for putting everyone in prison for a long time for little or no reason. The number of women in Texas prisons has doubled in the last ten years. Why don’t we have the “Adam Sandler” character… sending letters to women in prison and being their friend and trying to help them adjust, giving them hope… and when they get out of prison he picks them up so they don’t have to ride the smelly bus back home… but his pickup truck is a junker, smoking and sputtering … worse than the bus. But his heart is in the right place… He’s the last “chivalrous” man on earth.
It is said in the petition that many of the signatories were left distraught to find that many of the first time offenders for violations such as drug peddling have received disproportionate sentences. While some argue that a lenient sentence like rehabilitation would have proven much more inexpensive and an effective solution in tackling this gross miscarriage of justice. The petition was discovered by the women when the screenplay of the movie was donated to all the 580 prisons run by private organizations funded by the state government. It is much more difficult for women who are given much harsher penalties for a violation such as carrying small amount of drugs like Marijuana which coincidentally is legal in 21 states.
To know more visit http://www.screenplay.biz/petition-asks-happy-madison-productions-to-read-script/
About Diana Elizabeth Torres’s “Dumbass” Movie
The movie “Dumbass” revolves around the protagonist writing letters to prison inmates to keep their spirits high during their time in prison; only for them to help the main character who gets into trouble with a drug cartel and saving him at the end. The petition urges the production company, Diana Elizabeth Torres and Adam Sandler to take this issue seriously due to the hardships faced by women inside prison rather than making light of the situation for their own profits.
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4) Act III’s story is about a hero taking out the bad guy! Unlike the other stories, Act I and Act II, the hero is finally the hero in this story (Act III)! He’s learned and grown into a strong-enough character (because he’s overcome his flaw) who’s ready and able to take on the bad guy and win. Careful! This doesn’t mean he just walks up, knocks out the bad guy and wins! Remember, this is its own story and we need to see the hero get knocked on his butt a few times. Make it appear he’s lost! Then in a twist of fate he is somehow able to overcome the nemesis. By thinking of Act III as its own story, the writer won’t be tempted to write a quickie end where the hero just walks in and wins because this doesn’t work. Also, by thinking of Act III as its own story, the writer will be less tempted to finalize the story with the hero’s arc because this doesn’t work. A hero can’t win against a nemesis if he hasn’t overcome his own flaw and this should happen at the end of another story (end of Act II).
3) Make Act II a story about the hero’s arc. No, I don’t mean to make it an internally-driven story. I mean to make every single scene contribute to the hero’s arc, whether the hero’s in the scene or not! A scene might only involve the audience seeing a bomber planting a bomb, but it’ll still contribute to the hero’s arc because the hero must confront his own flaw in order to eventually defeat the bomber. This is what happens in Act II in the classic movie “Speed”. The hero is a follower who must learn to be a leader-cop if he hopes to win out against the mad bomber. Like the beginning, middle of end of any story, Act II should start with the hero being put in a position where he’s forced to take action and forced to confront a flaw. Then at the end of the story, technically the end of Act II, the hero has overcome his flaw. Beginning of Act II’s story = Hero forced to confront flaw. Middle of Act II’s story = Hero slowly changes. End of Act II’s story = Hero overcomes the flaw.
Diana Elizabeth Torres – 2) Literally create a new beginning at the start of Act II. Maybe the hero’s been a firefighter all of his life, but a devastating fall from a roof has left him paralyzed and he has to find a new occupation. Act II opens with the wheelchair-bound, former firefighter seeking a new career. This in itself is a story!
1) Create a false ending at the end of Act I. In Jaws, it appears the killer fish has been caught and the story appears to be over. In a suspense thriller, it might appear that a serial killer has been caught. In a romantic drama, it might appear like the leading role has found a soul mate. All of these are going to prove to be ‘false endings’ that will lead us into a new story in Act II.
Brody’s revised PLAN is to talk the mayor into closing the beaches, but the mayor refuses again and goes on with his plan to reopen the beaches (and highly publicize the capture of the “killer” shark).
Diana Elizabeth Torres – The bounty brings on a regatta of fishermen from up and down the eastern seaboard. One of these crews captures a tiger shark, which the mayor is quick to declare is the killer shark. Case closed, problem solved, and the beaches can be reopened. Hooper is adamant that the shark is far too small to have caused the damage done to the first victim, and wants to cut the shark open to prove it. The mayor refuses, and is equally adamant that there is no more need for Hooper. We see that Brody secretly agrees with Hooper, but wants to believe that the nightmare is over. However, when the dead boy’s mother slaps Brody and accuses him of causing her son’s death (by not closing the beaches), Brody agrees to investigate further with Hooper (PLAN), and they sneak into cold storage to cut the shark open themselves to check for body parts. Of course, they discover it’s the wrong shark.
Meanwhile a new antagonist, the grieving mother of the slain little boy, announces a PLAN of her own: she offers a bounty for any fisherman who kills the shark that killed her son.
In response, Brody develops a new PLAN, one we see often in stories: he contacts an Expert From Afar, oceanographer Matt Hooper, a shark specialist, to come in and give expert advice.
by: Diana Elizabeth Torres – Actress | Writer | Producer, East Side Sushi (2014) | Labor (I) (2018) | Private Number (2014)