I immediately thought of Ocean's 13 where they're saying goodbye in the Vegas airport and they're taking shots at the real actors ;) Rusty (Pitt) tells Ocean (Clooney) to try to keep the weight off btwn jobs jabbing at his weight gain for movies or lack of movies... and Ocean tells Rusty that he should settle down and have some kids (he and Jolie have a menagerie of children). hehe

Funny, I thought of Casablanca. Must be because I'm an old geezer :)

Int. Bus Station - Waiting Room - Oklahoma - Day The dust from outside covers the inside. Betty, 21, nose ring, is at the counter. Ticket seller: One way is a-hunnerd twennie two. Betty: Is there a cheaper way? Ticket seller: You could walk. Betty sneers at him and counts her money. There’s not nearly enough. She leaves the counter and flops into a nearby folding chair. Defeated. Ticket seller: We take credit cards. Dad VO: You take Discover? Betty’s head whips around to see her Dad, a small man with a growing paunch and a receding hairline. Betty: Dad, how did you find me? Ignoring her, he moves past her to the counter. Betty: I don’t want your money or your help. Ticket seller: Priority boarding for another ten dollars, Sir? Dad: Not today. Ticket seller: (a bit bitter) One way to Phoenix. Coach. (looking at the card) Uh, you don’t look like a Rosanna. Dad: That’s my wife. Betty: Oh great. Now this. As he runs the card and pulls out a ticket. Ticket seller: First or second? Dad ignores him, snaps the ticket out of his hand, and gives Betty the ticket. Dad: It’s all I can do. Take it. Betty: I guess no one’s perfect, but Jesus Christ Dad. Dad: Five years ago, you were at your mother’s and I was there at home, just walking around that house with nothing to do and no one to do it with. I was fifty pounds overweight and unemployed. Ticket seller: I know that deal, man. Dad: Shut the hell up, sir. Betty: Next time adopt a stray. Dog that is. Betty gets up and throws the ticket back at the Ticket seller. Betty: I will walk. The Ticket Seller flips it over, and slides it back to her. Angle on the ticket: “Non-refundable. Non-transferable.” Ticket seller: You don’t need a ticket to leave. He grabs the PA microphone. ANGLE ON the waiting area. There’s no one else. Ticket Seller: First and last call - number seventeen to Phoenix. All aboard. Betty grabs her bag and walks out. From inside, we see her hand the bag to the DRIVER who stows it in the baggage hold. Betty looks back at her Dad and then takes off running. Ticket Seller: She’ll be back. There’s always a return trip.

INT. AIRPORT CONCOURSE - DAY Closing the door on the two now-unconscious, underwear-clad, Russian pilots, Jack straightens the ill-fitting pilot's uniform. Chris wears the other uniform. JACK: You even remember how to do this? CHRIS: if I can fly a F16, I can fly some Russian heap of shit. He looks round at the passengers waiting in line at the various gates. Mothers. Fathers. Children. Old folks innocently pressing food boxes into their grandchildren's hands. Lovers parting. All with no idea what's about to happen. JACK: pick a flight with plenty of kids. CHRIS: shit. They have no idea. JACK: anyone still on the surface of the earth in twenty minutes is dead. We're choosing them to live. CHRIS: Everything that goes into the Rift comes out in a completely separate reality. Including our planes. No way I'm seeing your ugly face again. Jack takes that in. They look at each other. What's to be said, now? CHRIS: I never slept with Lucy. She passed out in the spare bed. I wouldn't have anyway. JACK: Dammit! I had revenge sex with Chloe for nothing? For a split second, Chris believes him. Until he can't keep a straight face any longer. CHRIS: Asshole! JACK: and lock the connecting door on takeoff. When they realise they're half the survivors of the human race, they're going to flip. Chris has more to say. But Jack is already walking away.

EXT. MUANG TENG, LAOS - DAY Only a few hours ago, this was a fully operational Air America base. Now it's deserted. We hear the feint rumble of heavy artillery in the distance. Hercules on the runway is the only airplane left. The last vehicles: couple of trucks parked to the runway's side, one carries a tiger in a large reinforced steel cage. Couple of hundred feet away, Jack and Alison watch the last remaining airmen finish off their final tasks. ALISON: How long do we have? JACK: Enough... but I'd get on the road as soon as possible. The Red Army broke through the line a couple of hours ago and even though it might take them another hour or so to cross the river, I'd be surprised if they didn't make it here for cocktails. Jack looks around, fixates on the tiger. JACK: How about Sheba? Is she going to be okay? ALISON: It's touch and go, but we'll take care of her. Wakko appears on the Hercules ramp. WAKKO: Hey Jack! We're ready to go. Jack waves back, turns back to Alison, gazes in her eyes. JACK: Why don't you comes with us? We've got plenty of space, and we can get you and Sheba to the animal hospital in Vientiane... hour and a half, tops. Alison gently stares back, like she's really considering it. Then shakes her head. ALISON: Sorry, I can't risk it. Sheba's just about ready to deliver and we have to be very careful. Driving's much safer for her. (beat) Don't worry... I'll see you in two days... She tiptoes to kiss Jack on the cheek, strides away towards her truck and her big cat. ALISON: ...you can keep it in your pants for that long, surely. Jack pauses for a moment, then jogs towards the Hercules. JACK: Wakko! Did you put down all the charges? WAKKO: Yep, got 'em on a 15 minutes fuse, just waiting for your offical okydoky. By the time the reds get here, they won't be able to land even a goddamned paper plane. He turns to see the trucks and tiger depart. Smiles stoically. JACK: All right! Let's close up and get the hell out of here.

you know what's even funnier, Elder? i DL'ed Air America last night to re-watch it (after a million years) and research all about the op... and you just wrote about Air America. Bat 21 is next. Then maybe a little Goooooooooood Morning, Vietnam. hey! guess what i'm writing about...........................

INT. AIRPORT – PUBLIC FOOD CORNER – DAY A woman and a man sit down at a public food corner. Judging by his suit and appearance, he’s clearly a business man. George reads the newspaper while his wife is trying to make some conversation. JO: are you listening? George: huh? (his eyes fixed on the paper) Jo: don’t be such an asshole (grabs the newspaper) George: why did you do that? Jo: I’m trying to have some time with you before you leave George: I’ll be back in two months Jo sights. Jo: do you want me to go? George: honey(grabs her hand with the newspaper, she pulls it away) Jo puts the newspaper in the dust bin. George: don’t make such a drama. You know I love my newspaper. Jo: take my hand George looks at her, takes her hand. George: I’ll be fine in Zurich Jo: take me with you George: you know I can’t do that Jo: why not, I’ll pay my own ticket. Your company doesn’t need to know George: I can’t mix family with business. I need to focus on the project Jo’s disappointed. George points at the clock. He kisses his wife before he heads towards the passport control. Jo walks towards the exit passing window shops in the visitors area. The reflection of her face in the windows shows she’s pondering. Before the exit door, she turns around quickly and runs towards a ticket shop. JO: one ticket to Zurich on flight, one moment.. Jo digs up some paper out of her handbag with the flight number of her husband and gives it to the sales woman. SALES WOMEN: we only have business class left JO: that’s okay Jo runs with the ticket towards the passport control and further to the right gate. She bumps up to many people, excusing herself. She has never done something like this before. She’s going to Zurich and surprise her husband. He must be thrilled. SOUND SYSTEM: passengers for flight Zurich need to board now The airhostess is about to shut down the entrance to the flight. Jo comes running up to the gate. JO: No, I must get in. Wait INT. FLIGHT ZURICH – DAY Passengers are busy getting their luggage stored. ON SEAT 43. George is standing, pushing his small suitcase in the locker room. A beautiful woman, dressed sexy, looks at him struggling. WOMAN: (teasing) Do you need any help? GEORGE: in some other area George sits next to the woman, before he kisses her. GEORGE: Zurich is beautiful this time of the year. Totally in for some fun time. George kisses the woman again. INT. ENTRANCE FLIGHT ZURICH - DAY Jo, out of breath hands her ticket to the air hostess. AIR HOSTESS: have a good flight, Jo wants to visit her husband but the air hostess stops her. AIR HOSTESS: this way please (showing business class) JO: I want to see my husband AIR HOSTESS: You need to go to your seat, please. Once we’ve taken off, you can visit him. Jo goes to her seat. She’s eager to surprise her husband, dreaming of a romantic time in Zurich.

Suggestion for scenes: - dying of a (rich) family member - scene set on riding train or cruise ship on open sea - embarrassing scene during a board meeting. One of the board members does something inappropiate

Air America... not a "great" movie, whatever the fuck that means... but an insanely enjoyable one which saved Robert Downey Jr's career, Michael Dudikoff in a rare non-action role, lots of recognizable character actors and about five of my very favorite movie quotes ever.

Scott, Today, I read that your blog celebrated its second anniversary on September 6, 2013 as the official screenwriting blog of the blcklst. And, on September 16, 2013, the Black Board celebrated its first anniversay. Therefore my suggestion: write a scene about any kind of anniversary or celebration. I've already posted one on the forum. Happy Anniversary, Scott.

INT. AIRPORT, CAFE - MORNING A small, sterile airport. The kind used for smaller name flights that charge on the cheap. MARK (20s) and AMANDA (20s) stand near a counter in a pocket-sized cafe, a CASHIER (early-20s) nearby. Mark (to Cashier): One, please ... (to Amanda) You don't ... She shakes her head. No. Mark (to Cashier): Nah, of course not. Just the one, then. The Cashier turns and sets about making Mark's coffee. Mark sits at the counter. Amanda continues to stand. Mark: So, we've got twenty minutes before boarding which leaves just enough time for me to slug this down and then hit the ... Amanda: I thought it'd be easier. Mark: Sorry? Amanda: Nothing. After a moment, Mark: We'll be there in an hour. In an hour we'll have a chance to check out, relax, not worry about anything, you know? Just leave it, alright? Amanda doesn't respond. Mark: I'm doing my best here, babe. What else am I supposed to do, huh? The Cashier puts the coffee in front of Mark. Ignoring her, he thrusts a fistful of cash on the counter. She gathers it up. Mark: You gotta meet me half-way. I can't do this on my own. Everything'll be better once we get away and, I don't know, do something different. Amanda: My head hurts. Mark: Your head always fucking hurts. (to Cashier) This is crap. (beat) The doctor said you were fine. And I barely touched you. You know that. You're always so fucking dramatic. He takes another sip. Mark: This'll be good for us. I just ... I can't handle stress now, you know, babe? I just can't. So don't. Okay? Don't. (beat) Why in the fuck does everything have to be so goddamn difficult. Amanda: You said you wouldn't -- Mark. Did I say anything? Did I? She shakes her head. No. Mark: Then leave it. Another sip. Mark: God, that reeks. Jesus ... After a moment, Amanda: I'm walking now. Mark: I thought you pissed before we left the house. (beat) They'll be calling our flight any minute so go on, hurry up. If you're late, it's your own damn fault. Amanda takes a step back, her suitcase in hand. And then another step, her movements quiet and afraid. And then another. And another. Mark sits and sips his coffee, not watching her. She turns and leaves. Her pace picks up as she exits the cafe and cuts through the terminal. Mark sits, unaware she's left. He takes another sip of his coffee. She stops and looks back, watching him. And then she turns away, hurrying outside where a line of cabs wait. Back in the cafe, Mark: God, this is bad. (puts down his coffee) The worst.

INT. DOUGLAS INTERNATIONAL, CHARLOTTE - DAY Charter plane in LA Clippers livery stands just off the gate. Disembarking players make their way across the tarmac to a bus waiting behind a fence, 200 yards away. Center Kelvin Duncan, small forward LaMarr Johnson and rookie two guard Mike Hayes march towards the bus, rolling cases skidding behind them. KELVIN: LaMarr, you can't lose your temper like that. Go apologize to Coach, before this thing gets out of hand. LAMARR: He's a big boy, he'll get over it. HAYES: You know, the youtube clip has five hundred thousand hits... Everybody's talking about it on TV. LAMARR: This'll all blow over in a week. Trust me. HAYES: Can I ask you a question?... what does mongoloid fuck mean? LAMARR: (to Kelvin) See, this is what happens when you skip college and jump straight to the show. You never learn anything important. KELVIN: Rook, you need to pick up a book, everyone in a while. Even one with just pictures. The two elder players laugh, then 30ft before they reach the bus, LaMarr's phone rings... it's his agent. He stops to answer as the other two continue forward. LAMARR: Yo, I'll catch up in a minute. (beat) S'up Bernie? I was just about to get on the bus. BERNIE (V.O.): Change of plans, kid. The Clippers decided to punish you and send you somewhere worse. LAMARR: They're trading me? Where to? What place could be worse than the Clippers? Coach Shenley barges past LaMarr... knocks him sideways a little. COACH: -- Enjoy Minnesota, you gutless puke! Coach gets on the bus. COACH: (to the driver) He's not coming. LaMarr stands there, a little stunned. Phone hand to his side. The bus door closes. It drives off. LAMARR: Minnesota... fuck! BERNIE (V.O.): Kid, are you there? ...Kid... kid?... Minnesota's no so bad.

Ah, let me retract slightly. Years later, his co-start Mel Gibson helped resurrect RDJ's career.

EXT. SIDNEY INTERNATIONAL AIRPORT - DAY A modern Jeep stops in front of the airport's doors. A man, top class, custom made suit and Ray-bans on, gets off the car on one side. He is BRUCE (50s). On the other side, a bald, square body, tough looking man exits the car. He is ZACK (30s). Zack walks around the car and meets Bruce face to face. They stare at each other for a beat, an invisible duel where Bruce has the obvious upper hand. Bruce motions forward with his hands "So?". Without a word, Zack opens the back door, gets a wheely duffel bag out and throws it on the ground on both men's side. Bruce doesn't like it but stays calm. BRUCE: Please be respectful, that's a Forzieri. Zack struggles to contain his anger. ZACK: Don't... talk to me about respect. And don't you think you're off the hook. Bruce smiles, walks to his bag, picks it up and dusts it with care. He stands and turns around, nostalgia running all over his face. BRUCE: Take care of yourself Zack. ZACK: Good-bye asshole, i'll see you soon. Bruce laughs. BRUCE: One last question then. Why did you bring me to the airport agent Queen? Zack walks closer to his mortal enemy. ZACK: Because you're a thief, a crook and I want you to know that when I'm done with you, no lawyer will be able to keep you out of jail. Bruce sighs and smiles, a gentle smile, a father's smile. BRUCE: Zack, my boy, it's not my lawyer who's keeping me out of jail. He turns to look at the airport and spots a family behind the glass doors. They cry, a man, his wife and two kids. They cry and hug each other. He turns back to Zack, looks at him with fondness. BRUCE: I'll see you around kiddo. ZACK: You bet. Bruce walks away and into the airport. The glass doors close behind him. Zack stands there for a beat and breaks into tears. His face turns red and he cries hard man tears, long contained tears, conflicted feelings tears.

Dear all, Today and for the next three days, it is thanksgiving holidays here is South Korea. It is called Chuseok. The country stops and Seoul, the city that never sleeps, falls into a insanely quiet city. Scott, thank you for this blog and this scene-writing series. It's been more beneficial to me than you can imagine. Happy Chuseok everyone :)

Does anyone notice (or care) that there isn't much feedback or critique on the spec scenes posted? A lot of talent in these posts, but seems to be just fireworks, no conversation on bettering the craft, besides Scott of course. I posted a scene and gave several pieces of feedback a couple days ago, but doesn't seem like that is the case. Is it just me? Am I missing the point?

Hmmm, I guess I hadn't been thinking about it as a chance for feedback, as such. I'm enjoying the fun of coming up with a scene and characters on the spot, perhaps in a setting or genre that I wouldn't normally touch. I dunno. What does everyone else think about feedback...? (I guess if individuals said at the end of their piece "I'd really like any feedback anyone has", they might get some. I'd certainly try to leave some, time permitting...)

Thanks for the response Debbie. Yeah, I'm a work-a-holic, haha, I need to learn how to relax and just throw a scene up on a post just for fun :) It just seems like they are thrown up in a dark room, probably just me though. Congrats on all your Wolfblood success recently, btw!!

I'd LOVE feedback. I'm wet behind the ears so critiques are a good thing to help me learn & adjust according. I didn't expect any and I've certainly read some great scenes, but I didn't know if that was a thing... or didn't want to single anyone out. I rather like the exercise itself for coming up with characters and scenes on the fly - even if they are shoddy. haha.

re: feedback - don't forget there are threads on the Black Board for feedback on work, notably the Work In Progress section (to keep it reasonably private, you have to be logged in for it to show up)...

Debbie, Hi there. Feedback would be great, but not expected on this one scene. For me I was just doing the exercise. I wrote the scene in about 20 minutes. Wanted to write a good scene, but it was more about training than performance. regards, Dave B

imho, anyone who posts a scene is implicitly inviting feedback.

Hi guys. I'm new here, but this seems like a good exercise and I'm inspired by the scenes I've read. I don't have any insightful feedback, because I haven't read them all, but have been really impressed by what I have read. If anyone wants to comment on mine, I'm all for it. INT. ATLANTA HARTSFIELD AIRPORT - DAY One of America's busiest airports, today is no different as KENDRA (28) gets in the security checkpoint line with ANDREA (32). Passengers jostle around them. KENDRA: You can't come this far. ANDREA: This is just the line for the line. (indicates lady at desk ahead) She'll check your boarding pass then you'll be in the real line. KENDRA:And then you'll leave. ANDREA: Yes! Then I'll leave, geez. I just, I mean, what would you do with the body? Kendra stiffens. She realizes those next to her heard the question. KENDRA: I don't know what you're talking about. ANDREA: If something does happen over there -- like you said. Now we see soldiers in uniform ahead in line. KENDRA: Yes? ANDREA: And we use the medical school, like you've requested-- KENDRA: With any luck there won't be anything left. ANDREA: Jesus Christ Kendra! Kendra smiles reassuringly at those next to them. KENDRA: (casually) Just recycling sis, no need to freak out. ANDREA: Recycling. KENDRA: The ultimate in recycling is to recycle yourself. SECURITY PASS CHECKER: Boarding pass and id please. KENDRA: Don't worry, I'll be fine. SECURITY PASS CHECKER: M'am-- KENDRA: Yes, here. Shows id and pass turns to Andrea. KENDRA: Gotta go. Kendra steps past the desk into the line where Andrea cannot follow. Just before she's swallowed up in the crowd-- ANDREA: Don't make me recycle you -- promise me! Kendra pokes her head up, smiles. KENDRA: I promise!

[…] Myers’ “September is Scene-Writing Month: Day 11 (Sept. 17th) prompt: Saying good-bye at an airport [suggested by 14Shari]. These type of scenes can be […]