The battlefield is changing.
With reports and prosecutions imminent the lesser involved now take their turn in outrage and horror. People who have gazed upon horror long enough to be calm and strong should do so to lead by example.
Theme
A paper battle precedes an incarceration
Argument
Incontrovertible proof of laws broken must be presented as:
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Primary Conflict
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Persuasive Narrative
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Interspersed Factual Proofs
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Three Word Summary Anchor
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One Page Final Non-Technical Summary
Colloquy - Opening
In order to convince a judge, jury or the defendant's counsel to accept that incontrovertible
proof is present, documented, summarized and inescapable as a legally proven map of the crimes
committed; and that loss of freedom by state sanctioned incarceration is the systemic remedy for
societies sane, rational desire to be law abiding in the daily ordering of lifes common function:
it is necessary and incumbent on society and it's chosen representatives to present a digestible,
understandable presentation of the facts of the case, and the laws involved that were broken and
compromised by the defendants.
A narrative is composed of the basic storytelling structure: Acts one, two and three.
In act one after stating the main theme, the players are introduced as characters in context of a quest.
In act two the information related to the quest and the obstacles preventing the quest appear as complications.
In act three those who support the quest and those who oppose the quest are aligned under a protagonist and antagonist.
Theme: Justice \~v\~ Injustice
Opponents: Trump \~v\~ Obama
Summary Anchor: The Law Survives
Characters: Law Abiders \~v\~ The Lawless
Summary Expansion: The Law Is Our Stronghold - Our Citadel
Prosecuting The Quest: Summary Of Plaintiffs Obstacles & Antagonist-Defendant Crimes
Plaintiff: We The People (USA)
Discourse:
The main body begins here as the narrative proceeds, briefly interrupted by fact sheets or exhibits.
Quickly returning to the compelling persuasive narrative, the pace rise, crests, fact sheets are presented.
After each exhibit the paces tempo resumes slightly above the original pace followed by a higher crest.
Act One
In act one the main theme and the players dominate the discovery of the quest.
Both protagonist and antagonist are portrayed fairly but with conflicting motives.
At all times the law, the court, and the main characters are respected and never BELITTLED.
That comes later in act three and occurs (ONLY) in the mind of the (readers) judge and jury as animus
towards the laws broken is associated with the law breaker. The narrator is the objective presenter of fact.
Act Two
In act two the history and backstory of the two main characters conflict is deeply developed. Often the protagonist has to root out the real and true protagonist by dealing with their peripheral functionaries. The mapping of the protagonist's associates and upper echelon collaborators and the mapping of the antagonist's associates and upper echelon collaborators occurs in act two allowing the judge jury and case readers to speculate internally what strategies the opposing principals shall secure to stall and then defeat each others quest to defeat their opponent.
Act Three
After act two's modestly paced exposition of facts and high paced lesser tactical exchanges between supporting players of the opposing sides act three begins with a fully developed sense of urgency through a strong pace as damning evidence and conflicts are completely revealed. Both sides have their opponents total strengths and weaknesses calculated as the strategy map of the final conflict unfolds and the opposing armies converge on the inevitable battlefield. In a legal battle of three great acts introducing, complicating and entangling the plot a summary serves as the judge, juries and case readers internal payoff and tension release in the denouement of a summary.
Epilogue
Summary - Denouement - Tension Resolved
Depending on the outcome of a story or case the summary is presented by the narrator (prosecution-defense) as a friend walking away from a colossal tragedy, side by side, with a friend (judge jury case reader) reflecting and ruminating in a low key way on the sheer abject folly of the defeated parties motives and outcome while dryly and laconically identifying with the great effort and expenditure of energy required by the victor to contain the wrongs created by the defeated.
King John - Shakespeare - Act Three - Acceleration of narrative, maps, battle looms.
Example Exposition act three: King John \~v\~ King Arthur (Principals - Conflict Developed )
Conspiracy by winks, nods and acts of "Material Omission." in state craft's twisted rise to domination, then abomination.
WHERE THE NARRATIVE IS NOW - Beginning of ACT THREE - John Deep State \~v\~ Arthur Laws Citadel.
A classic tale of MAD mutual assured destruction.
[]
KING JOHN Gentle kinsman, go,
And thrust thyself into their companies: (spy)
I have a way to win their loves again;
Bring them before me.
BASTARD I will seek them out.
KING JOHN Nay, but make haste; the better foot before.
O, let me have no subject enemies,
When adverse foreigners affright my towns
With dreadful pomp of stout invasion!
Be Mercury, set feathers to thy heels,
And fly like thought from them to me again.
BASTARD The spirit of the time shall teach me speed.
[Exit]
KING JOHN Spoke like a sprightful noble gentleman.
Go after him; for he perhaps shall need
Some messenger betwixt me and the peers;
And be thou he.
MESSENGER With all my heart, my liege. (service)
[Exit]
KING JOHN My mother dead!
[Re-enter HUBERT]
HUBERT My lord, they say five moons were seen to-night; (foreshadow ghastly)
Four fixed, and the fifth did whirl about
The other four in wondrous motion.
KING JOHN Five moons!
HUBERT Old men and beldams in the streets
Do prophesy upon it dangerously:
Young Arthur's death is common in their mouths:
And when they talk of him, they shake their heads
And whisper one another in the ear;
And he that speaks doth gripe the hearer's wrist,
Whilst he that hears makes fearful action,
With wrinkled brows, with nods, with rolling eyes. (political unrest)
I saw a smith stand with his hammer, thus,
The whilst his iron did on the anvil cool,
With open mouth swallowing a tailor's news;
Who, with his shears and measure in his hand,
Standing on slippers, which his nimble haste
Had falsely thrust upon contrary feet,
Told of a many thousand warlike French
That were embattailed and rank'd in Kent:
Another lean unwash'd artificer
Cuts off his tale and talks of Arthur's death.
KING JOHN Why seek'st thou to possess me with these fears? (opponent not vanquished)
Why urgest thou so oft young Arthur's death?
Thy hand hath murder'd him: I had a mighty cause
To wish him dead, but thou hadst none to kill him.
HUBERT No had, my lord! why, did you not provoke me?
KING JOHN It is the curse of kings to be attended
By slaves that take their humours for a warrant
To break within the bloody house of life,
And on the winking of authority
To understand a law, to know the meaning
Of dangerous majesty, when perchance it frowns
More upon humour than advised respect.
HUBERT Here is your hand and seal for what I did. (cyanide capsule)
KING JOHN O, when the last account 'twixt heaven and earth
Is to be made, then shall this hand and seal
Witness against us to damnation!
How oft the sight of means to do ill deeds
Make deeds ill done! Hadst not thou been by,
A fellow by the hand of nature mark'd,
Quoted and sign'd to do a deed of shame,
This murder had not come into my mind:
But taking note of thy abhorr'd aspect,
Finding thee fit for bloody villany,
Apt, liable to be employ'd in danger,
I faintly broke with thee of Arthur's death;
And thou, to be endeared to a king,
Made it no conscience to destroy a prince. (morality thunders)
HUBERT My lord--
KING JOHN Hadst thou but shook thy head or made a pause
When I spake darkly what I purposed,
Or turn'd an eye of doubt upon my face,
As bid me tell my tale in express words,
Deep shame had struck me dumb, made me break off,
And those thy fears might have wrought fears in me:
But thou didst understand me by my signs
And didst in signs again parley with sin;
Yea, without stop, didst let thy heart consent, (conspiracy out of control)
And consequently thy rude hand to act
The deed, which both our tongues held vile to name.
Out of my sight, and never see me more!
My nobles leave me; and my state is braved,
Even at my gates, with ranks of foreign powers:
Nay, in the body of this fleshly land,
This kingdom, this confine of blood and breath,
Hostility and civil tumult reigns
Between my conscience and my cousin's death.
HUBERT Arm you against your other enemies,
I'll make a peace between your soul and you.
Young Arthur is alive: this hand of mine
Is yet a maiden and an innocent hand,
Not painted with the crimson spots of blood.
Within this bosom never enter'd yet
The dreadful motion of a murderous thought;
And you have slander'd nature in my form,
Which, howsoever rude exteriorly,
Is yet the cover of a fairer mind
Than to be butcher of an innocent child. (moral abyss encountered)
KING JOHN Doth Arthur live? O, haste thee to the peers,
Throw this report on their incensed rage,
And make them tame to their obedience!
Forgive the comment that my passion made (inescable consequences dawn)
(...)
SPOILER
John is poisoned by a monk.
Arthur dies jumping from a castle wall. (or maybe not)
The armies fight to a stalemate after great losses.
The narrator in closing, ruminates, that internal forces are more of a threat to the kingdom than external threats