Security Guard Question Answer Pdf: Fill & Download for Free

No we don’t.This particular question is worded in a way, that makes the answer very complicated. So please bear with me on this.The wording of the question at the time of the answer:Do gun owners agree that police instead of armed citizens stop a higher percentage of mass shootings?On the surface, the answer to this question could be ‘yes’. But the question is predisposed to two errors in thought that need to be addressed. But first, I’d like to cover the raw data.Raw Data TL;DR: Police intervention accounts for 28.1% of final shooter interactions, armed non-police civilians account for 3.1%Final Response TL;DR: Non-police Civilians are nearly twice as likely to stop a mass shooting as police, and when civilians get involved there are fewer casualties than when police do.Raw data From the FBI [1]:The majority of the 160 incidents (90 [56.3%]) ended on the shooter’s initiative— sometimes when the shooter committed suicide or stopped shooting, and other times when the shooter fled the scene. There were at least 25 incidents where the shooter fled the scene before police arrived.In 4 additional incidents, at least 5 shooters fled the scene and were still at large at the time the study results were released. In other incidents, it was a combination of actions by citizens and/or law enforcement that ended the shootings.In at least 65 (40.6%) of the 160 incidents, citizen engagement or the shooter committing suicide ended the shooting at the scene before law enforcement arrived. Of those:■ In 37 incidents (23.1%), the shooter committed suicide at the scene before police arrived.■ In 21 incidents (13.1%), the situation ended after unarmed citizens safely and successfully restrained the shooter. In 2 of those incidents,24 3 off-duty law enforcement officers were present and assisted.■ Of note, 11 of the incidents involved unarmed principals, teachers, other school staff and students who confronted shooters to end the threat (9 of those shooters were students).■ In 5 incidents (3.1%), the shooting ended after armed individuals who were not law enforcement personnel exchanged gunfire with the shooters. In these incidents, 3 shooters were killed, 1 was wounded, and 1 committed suicide.■ The individuals involved in these shootings included a citizen with a valid firearms permit and armed security guards at a church, an airline counter, a federally managed museum, and a school board meeting.25■ In 2 incidents (1.3%), 2 armed, off-duty police officers engaged the shooters, resulting in the death of the shooters. In 1 of those incidents, the off-duty officer assisted a responding officer to end the threat.26Even when law enforcement arrived quickly, many times the shooter still chose to end his life. In 17 (10.6%) of the 160 incidents, the shooter committed suicide at the scene after law enforcement arrived but before officers could act.In 45 (28.1%) of the 160 incidents, law enforcement and the shooter exchanged gunfire. Of those 45 incidents, the shooter was killed at the scene in 21, killed at another location in 4, wounded in 9, committed suicide in 9, and surrendered in 2.So it appears on the surface, that this question is based on facts. And looking at the numbers as presented here one certainly can not argue with this claim.I mentioned there are two errors in thinking with this situation. These are location, and effectiveness.Let’s talk about effectiveness first.An independent study done of attempted mass shootings showed something that was rather interesting. When armed citizens engaged the shooter, on average the number of casualties was less than 3.[2] This means it fails to be an active shooter situation as defined by the FBI for the purpose of their report.So there are cases, not being counted by the FBI, in which a shooter was stopped before he could reach the number of casualties to be counted in this study. [1] So right off we start with an important point. Armed, and unarmed, citizens make a huge impact. While police reactions do not.According to the audit, police response has an average of over 14 casualties per incident. Compare to the number above and we see that even if the premise of the question is accurate, non-police civilians using their weapons reduces the number of impacted lives by a factor of 3.What about location?Let me start off with this, there is a huge debate on what defines both the terms ‘Mass shooting’ and ‘Gun Free Zone’. Everytown considers familicide a mass shooting and Washington Post thinks, for example, that the White House isn’t a ‘Gun-Free Zone’. But unless you’re with the Secret Service, or approved personnel, I’d warn against treating it like it isn’t. So, for the purpose of this response I am using Lott’s definition of ‘Gun-Free Zone’: Any place where a member of the general public can not carry a gun. This would include most military bases, as only MPs are allowed to carry on a daily basis. I think this is a reasonable definition if we are trying to determine the effectiveness of non-police civilians in stopping a mass shooting. For the same reason I am only considering mass shootings that happen in public locations. If you disagree with these definitions, you convince me that I am wrong in the comments with logical arguments.Now using that definition. What can we say about locations?Between 2009 and 2016 only 10% of mass shootings have happened in an area that is not a “Gun-Free Zone.”*Notice that 3.1% of shootings were stopped by armed civilians it is logical to assume that these all happened in the areas that people were allowed to carry their own private weapons in, in other words not in the “Gun Free Zones”That leaves 6.9% of shootings to absorb all the other categories. These are most likely evenly, or at least semi-evenly, distributed among the responses. So 3.88% were ended by the shooter themselves. 1.5% saw the shooter commit suicide before the arrival of police.That means that police were effective in approximately 1.6% of cases, which happened where both civilians and police are allowed to carry their weapons. As such civilians, allowed to carry, are almost twice as likely to stop the shooting than police, and when they do, there will be fewer casualties as a result.[1] Active Shooter Resources Link is to the website where you will find the data, direct link was to the PDF download.[2] Auditing Shooting Rampage Statistics*Everytown’s statistics are blatantly false, they pad the incidents with things that are not mass shootings, by redefining the term to include things that generally aren’t included in the data set. Everytown includes shootings during other crimes, familicide, and other forms of non-public shootings. For the determination of stopping ‘mass shootings’ one can not reasonably include these in the data set.

This question assumes some incorrect things about a completely stateless society. I will assume the questioner is sincere.Although I’m not advocating that society, I’ll do my best to answer the question.What good is “power” in such a stateless society? For that matter, what *is* “power” there?It appears you mean the ability to take or damage the property of others or to assault others or to obtain property or obedience by threats, without suffering negative consequences. (In other words, act like a government.)There would be institutions (in the broadest sense of the term) evolved to deal with that: insurance/protective services, neighborhood self-defense associations, a tradition of people not standing for it and responding in defense of the innocent, and so on.Exactly what institutions? People as a group in the actual situation will be more creative and effective than any one advocate of minimal government. So it is mpossible to say. As impossible as answering the question: How will we get cotton and tobacco and sugar if slavery is abolished?There have been — and already are — examples of such institutions. Arbitration between diamond merchants. Beth Din arbitration. Neighborhood watch associations. Private security guard firms. Bodyguards. People acting as their own security guards or bodyguards.For more examples, real and theoretical, see the _The Machinery of Freedom_ by David Friedman, which is now also available online at The Machinery of Freedom - The_Machinery_of_Freedom_.pdf . For explorations in fictional settings, see _Alongside Night_ by J. Neil Schulman and _The Probability Broach_ by L. Neil Smith, and of course, _The Moon Is A Harsh Mistress_ by Robert Heinlein.Some of the more improbable-seeming institutions in these books (organizations, businesses, traditions) turn out to have actual counterparts in the real world. Intuition and theory and reasoning from first principles are not always reliable guides to what is true.Please do come back and ask questions about some of those institutions, after you’ve familiarized yourself with them and considered the ramifications.

I may have posted this already, but it answers the question very well.What film and television industry jobs offer screenwriters the best opportunities?Writing great scripts worthy of consideration is only part of a screenwriter’s journey. As screenwriters hone their skills, they must also work to find a way into those hallowed walls of movie studios and production companies to even be part of the conversation as far as what scripts are purchased, developed, and produced.So how do screenwriters break through those walls? How do they get that foot in the door? And more specifically, what Hollywood jobs are available to otherwise unconnected and inexperienced novice screenwriters looking to attain the necessary edge they need to create opportunities for themselves?Each of these jobs creates different levels of opportunity for networking and experience. And with each of them comes great responsibility as far as being careful to choose opportunities wisely.If screenwriters are constantly asking people on the lot to read their script, they’ll be out of a day job pretty fast.First and foremost, it’s difficult to make the jump from novice to connected screenwriter, but it’s necessary. Without contacts and proper networking, no opportunities will present themselves and no opportunities will be made.Here we’ll explore the jobs that novice screenwriters need to make those things happen. We’ll start from the bottom of the hierarchy and work our way to the top, detailing what jobs are available, what they entail, and what they can gain for screenwriters in the long run.The Screenwriter’s Studio Job HierarchyStudio Security GuardIt can be a rather thankless job to most, however, if put into a certain perspective, this is one of the easiest studio jobs to get into and allows for some of the most access to studios as well.The Job:You will be a uniform security guard assigned to studio gates, lobby desks in corporate buildings, security for special events, roaming duties on foot or golf carts, the parking office handling day-to-day traffic in regards to guest pass database, etc.You can go to any movie studio’s job website* or simply call the studio and ask for the Security Department. Some studios have their own security force while others contract out.The Pain:Little to no respect is often the norm for this position, which is why it is placed at the bottom of this hierarchy. You could put this next to working in facilities, custodial, and food service (not included in this list), however, security is looked upon as more of a direct hassle to employees, contractors, and visitors.It is an essential job that benefits the studios and those within, but don’t be shocked when you have to deal with some irritated people. In turn, don’t be shocked to work alongside those that are there to just collect an easy paycheck. This isn’t to say that all security officers are lazy and don’t care, however, you’ll see that all too often.The Gain:Access. Plain and simple. Access into the studio allows you to get a sense of how those things work.As a security guard, you’re often given full access to the studio lot. Before and after shifts, you can wander the lot (to a certain extent) and get a feel for studio life. You can usually attend employee movie screenings — which is a nice perk — and all too often have the ability to meet and converse with many A-listers as far as actors, producers, executives, etc.The best way to take advantage of such a position is to request the security details that offer the best access to the powers that be.Working as a lobby desk security guard in production, development, and executive offices is an amazing opportunity to get on a first name basis with executives, as well as visiting producers, directors, talent, etc. These types of officers all too often receive holiday gifts from the powers that be, as well as daily food, treats, etc.That’s how close screenwriters can get to them in this position. After some time, it’s just a matter of finding the proper moment to possibly say, “I’m working on a great spec about a menacing great white shark that terrorizes a small island community.”Working as a gate officer at any VIP gate (often where valet parking is available) works just the same. You have less time with them compared to being a lobby guard (due to the traffic of incoming VIPs and guests), however, you’ll often get to know the powers that be just as well as you greet them day after day.Barista/Studio Store EmployeeWhile working as a barista may apply to food services, it has more of an opportunity for social interaction with the powers that be. The same goes for working as a studio store employee. Most studios have their own main street area that often house the main coffee shop and studio store.The studio store is where employees and visitors can buy studio apparel and other items. When employees and the powers that be bring family, friends, and acquaintances for a studio visit, they almost always make a stop there.The Job:Studio store employees are basically retail workers — stocking shelves, handling the cash register, doing inventory, etc.Baristas obviously serve coffee, drinks, and cafe snacks.You can attain these positions by visiting the studio website’s job listings, but all too often it’s easier to be creative and find the number of the studio store or coffee shop and inquire about possible openings.The Pain:Working either position can be often seen as thankless work to many. Baristas and studio store employees are doing jobs that could be done in any local shopping mall.The Gain:Access and networking.While access to the studio will be a common theme in all of the jobs listed here, it is so key because it allows the screenwriter to create opportunities.Both positions allow for interaction with the powers that be and while the screenwriter that takes either job may feel that it is thankless, the best thing that screenwriters can do in this position is to focus less on “the pain” of the job, and more on how it can be used to their advantage.Baristas and studio store employees see the powers that be almost every day. They get to know who they are and especially which ones are friendlier and more approachable than others. They also usually have a lot of access to the studio lot and can experience studio life.The best way to take advantage of such a position is to be extra friendly with amazing customer service.Executives and higher-ups may take notice if they see that day in and day out. It’s not uncommon that when they do see someone working in these positions with a standout positive attitude and excellent work ethic, they just may possibly consider them for assistant jobs, if there is a need and if a casual relationship has been made.If not, during a slow day when they’re getting their midday coffee after a studio stroll or are picking up a shirt for their kids at the store, engage them in small talk. Introduce yourself. Ask how their day is going.Even if you know what they do and who they are, consider asking them. These moments allow for possible bridges to be made and opportunities to casually mention that you’re hoping to get into development as a script reader (see below) or that you’re working on your writing.Mail Room ClerkIf you read various biographies of studio heads, major executives, and Hollywood agents, the common theme among them is often, “I started in the mailroom.”The mailroom isn’t as prevalent as it used to be with the advent of electronic technology (email, PDF, etc.), however, it’s still a necessary department where all branches of the film and television industry send various documents, contracts, packages, etc.The Job:The mail room clerk logs, stores, and transports incoming and outgoing mail and packages. Anything being sent to and from locations within the studio walls usually goes through the mail room, so the mail room department is charged with running it as a more casual and hip version of the post office.This is a job on this hierarchy that is a little more enjoyable than being a security guard, barista, or studio store employee.There’s a freedom to it compared to those jobs. Mailroom clerks often rotate positions. Sometimes they are in the mailroom department sorting while other times they are sent out to deliver the items to the necessary offices within the studio lot. If you’ve ever been to a movie studio and have seen people riding bikes to and fro, a majority of the time they are mailroom clerks.You can attain these positions by visiting the studio websites job listings, but all too often it’s easier to be creative and find the number of the studio mailroom and inquire about possible openings.The Pain:While the grass is always greener on the other side, mail room clerks have it pretty good. The monotony of sorting and delivering envelopes and packages can get old, however, because of the freedom they often have, it’s one of those studio jobs that everyone wants — at least compared to the alternatives mentioned above.The Gain:Access and networking.Mailroom clerks have a lot of access to the studio and often enjoy the freedom of being out and about throughout most of the day (unless they are in the department sorting), but the key benefit to this position is the enhanced interaction with the individuals that play such an important role in a screenwriter’s success — assistants.Assistants are the doorway to the powers that be. Everything goes through them, including query letters, scripts, etc. If you befriend an assistant to a major player (development executive or producer), as Johnny Depp said in Donnie Brasco, “Fuhgeddaboudit.”While you still need the right concept and script, this is a door that is open for so many in the mail room clerk positions. Relationships are made because they see these assistants each and every day on a regular basis. They are often — but not always — around the same age and the small talk between the two is often a welcome break from both of their normal day-to-day duties.Mailroom clerks have a history of moving up the ladder. They move into assistant positions and onward. It’s a historical stepping stone, thus the powers that be all too often are willing to honor that history.InternStudio offices and production companies based on the lot utilize interns on a regular basis throughout the year (mostly during the summer). While some may be tempted to put them lower in the hierarchy, they rise above the previous jobs because of the access, networking, and potential for promotion into full-time positions.A majority of the time, with a few exceptions, you need to be enrolled in college in order to take advantage of internships, which can be found in the studio websites job listings.The Job:A little bit of everything. Answering phones, making copies, delivering documents and packages to the mailroom and other studio offices, getting lunch, getting coffee, etc. However, interns also learn how to field incoming queries and write studio coverage for incoming scripts.The Pain:You’re a gofer. You “go for” things when asked. Depending upon the office, you may either be treated as nothing more than a gofer — not worthy of a second thought — or if you luck out you’ll work under those that remember having been there before, thus you’ll be treated better and may even be mentored in a positive light.The pay isn’t great, but at least you get paid. A few years ago most internships were unpaid, but due to eventual lawsuits by plaintiffs claiming that unpaid internships were basically illegal free labor, studios now offer a low, but legally acceptable wage.The Gain:Access, networking, mentoring, and consideration for possible promotions.Possibly the best benefit is that you’ll learn how to write studio coverage. You’ll usually be tasked with reading a few scripts a week.You are then asked to write studio coverage on them. A majority of the scripts you read will be easy passes. Since internships only last for a short amount of time, it’s very rare that you’ll find gems (And it’s likely that you’re getting the worst of the bunch as an intern), however, you’ll be learning a lot of the general guidelines and expectations of the film industry. This is key information that will help you with your own work down the road.Beyond that, if you collaborate well with the powers that be and showcase an excellent work ethic and attitude, chances are you may just nab yourself a full-time position as an assistant.AssistantThis is the coveted full-time position in any branch of studio or production company operations. Assistants work directly under the powers that be and it happens to be one of the most powerful positions in the film industry, at least in relation to screenwriters trying to get their script read.The Job:Consider this position similar to that of the intern but on steroids. Answering phones, making copies, delivering documents and packages to the mailroom and other studio offices, getting lunch, getting coffee, etc. Yes, you’ll likely do all of those things, unless you’re smart and hand them off to the interns when they’re in the office.However, as an assistant, you’ll be more involved with the goings on of the office and especially your bosses. In fact, you’ll be running the office to a certain extent. And you’ll be reading a lot of scripts and writing a lot of coverage. You’ll also be interacting directly with visiting talent, executives, agents, managers, etc.The Pain:Be prepared to work your ass off. Be prepared to work overtime. Be prepared to never fall into a comfortable day-to-day schedule as your responsibilities will change like the wind each and every hour, day, week, month, and beyond.Many would be screenwriters find little to no time to work on their own scripts. They instead either burn out or work hard and advance into junior development executives or producers, which to many isn’t such a bad thing mind you.The Gain:The networking is through the roof in this position. In fact, some producers and development executives insist that their assistants make networking meetings on a weekly basis for one-on-ones with agents, managers, etc.You’ll be mentored by power players in the industry. You’ll work directly with or around major Hollywood talent.Studio Script ReaderNow, studio script readers and assistants are not one and the same as most people believe. And yes, one could argue that assistants should be at the top of this hierarchy because of the benefits that come along with that job.However, we’re primarily taking the angle that these jobs help a screenwriter become a more connected and overall better screenwriter. Thus, the studio script reader takes the edge in that respect.Attaining a studio script reader position can prove to be very difficult. Another reason why this is listed at the top of the hierarchy.Networking comes into play here. It’s very rare that you’ll find a job listing in the trades or on a studio’s job site. All too often, you’ll have to have worked as either an intern or assistant to attain this position, given the need for an experienced background in writing studio coverage.The Job:Reading scripts, novels, and writing studio script coverage. That’s it.No answering phones, no fetching coffee, no making copies, etc. All studio script readers do is read scripts, novels, and write coverage. That is the extent of their job for the most part. The studio script reader often takes writing studio coverage to another level.The Pain:That is all you do for the most part. While it sounds like a dream job, it can and does take its toll, especially given the fact that roughly 95% of the scripts read are terrible or just not ready. Yet even in those cases, script readers are required to still write full coverage on the script, detailing what works, what doesn’t, and why.The worst part about this is that they are also required to write a synopsis for each of those terrible scripts. This eventual loathing is amplified because you’re all too often reading dozens of scripts per week. And thus, you’re writing coverage on each of those as well.The Gain:This will be the greatest education in screenwriting that you will ever attain. Forget film school. Forget seminars. This is the ultimate education anyone can receive in the art, craft, and business of screenwriting.You will learn what works, what doesn’t work, and why. You will learn all of the guidelines and expectations of the film industry. You will learn the tricks of the trade. You will learn all of the little things to avoid. And you will be a better screenwriter than most because of all of this.Read ScreenCraft’s Confessions of a Studio Script Reader!I’ve worked three of these studio jobs and have worked directly with many of the other four. My time as a script reader awarded me the best screenwriting and film industry education I’ve ever had.I’ve seen a former intern in a major production company advance into an assistant position and is now the head of their television department.Screenwriter Antwone Fisher was working as a security guard at Sony Studios when studio executives began hearing about his life story and offered to buy the rights. Fisher refused, insisting that he write the screenplay himself. He later sold it to Fox. Denzel Washington was brought on board to direct and star in 2002’s Antwone Fisher.Actor Derek Luke was working at the Sony Studios gift shop when he met Antwone Fisher who was working on the lot as a security guard. When Fisher’s screenplay was bought by Fox Searchlight, Luke asked Fisher for a copy of the script. He went to the casting director unannounced and asked to audition.After a second audition, Denzel Washington came to the gift shop to tell Luke that he got the lead part.Kathleen Kennedy was an assistant to John Milius and Steven Spielberg in the early 1980s. She’s now one of the most prolific producers in Hollywood and happens to run the now Disney-owned Lucasfilm.There are hundreds upon hundreds of examples of screenwriters, directors, actors, producers, and studio executives that started off in these jobs. Needless to say, the proof is in the pudding.These are the jobs that screenwriters should be looking for. Great concepts and scripts all too often aren’t enough. You have to make opportunities for yourself and the only way to do that is from within the studio walls, production company offices, agency offices (where many of these jobs can be applied as well), etc.This Answer was adapted from an article I wrote at ScreenCraft. CLICK HERE for more!