This is the opening scene for a sequel to a script I entered into the Blue Cat Screenwriting contest. I didn't want to post the whole 2 pages because I thought that might annoy folks. So this is just part of page one. Feel free to rip it apart. ---------------- FADE IN SUPER: CUBA EXT. HOSTILE COMPOUND - DENSE BRUSH - NIGHT RICHARD 'Dix' DONOVAN, mid-40s, and DWAYNE JOHNSON, early 30's, wearing camo fatigues over wet suits skulk toward a compound surrounded by heavily armed soldiers. JOHNSON: No way we’re gettin’ in there without help. DONOVAN: Easy. JOHNSON: What? Are those soldiers just a figment of my, admittedly, overactive imagination?! DONOVAN: Stay here. JOHNSON: Wait. I’m the distraction, aren’t I? Donovan slinks into the shadow of the trees. JOHNSON: Sonofa - Why am I always the last to know?

Scott, thank you for creating this series. I loved it and it surely helped training my writing muscles. It was a great starter before the writing leg of GOYOQ. I hope this series returns next year. Kudos to everyone who participated. I enjoyed reading your scenes.

Yes, thanks so much for this idea, Scott. I've really enjoyed it, and I've ended up experimenting with scenes and idea that I wouldn't have tried under any other circumstances. let's do it all again next year!

And to bring together two GITS-related threads, my opening scene is from my GOYO script! EXT. INTERSTATE - TEXAS - DAY A TRUCK HORN BLARES -- Jolting BETHANY RICHARDS (17) from her reverie. The eighteen-wheeler she almost wandered in front of blasts past without braking, its slipstream almost pulling her over. Bethany looks around as if waking from a dream. Desert both sides of the interstate. Miles from anywhere. The low sun, the golden light, says late afternoon. Bethany looks back the way she came. Should she…? No. There’s nothing back there for her. RIANNA, the five-year-old girl in her arms, stirs, clings tighter. BETHANY: It’s okay, Rianna. But she knows it isn’t. RIANNA: (sleepy) I’m hungry. Bethany has already seen the low wooden DINER up ahead.

I'm definitely curious, DebbieMoon.

Scott, just want to echo Shari and Debbie's words, and sincerely express many thanks for doing this. It's been an invaluable exercise and the deadlines really helped focus the mind. More importantly, for me it became a real-world demonstration of just how quickly one can pull together a first draft with enough idea up front of what to do.

Teaser for a TV pilot (excuse the pun) I'm working on. --- EXT. HIGHWAY 14, CALIFORNIA - EARLY MORNING Old, dented British Racing Green Miata speeds its way along the 14 as the sun rises ahead, past Devils Punch park to the right, through Lancaster and finally to the Edwards test range. EXT. GATE, EDWARDS AFB - EARLY MORNING Rugged looking like an unbleached big wave surfer or the Marlboro Man, BLAKE “Two Bags” WALDEN (36) approaches the famous entrance sign to Edwards AFB, stops at the gate. He shows his pass to the airman on guard, who salutes. The gate rises, Blake continues on his way. Even at this early hour, the base is a hive of activity: aircraft, sound of jet engines. Lot of shit going on. Blake pulls up to the USAF FLIGHT TEST CENTER. Makes his way up the steps. INT. TEST CENTER. Entering through swinging doors, Blake walks along corridors... many people recognize him, call him "Bags" or "Two Bags". He arrives at an open space where a secretary (mid 30s) sits at a desk. Wall clock says 6:58 - He’s early. BLAKE: Captain Walden for Colonel Dr. Walker. SECRETARY:You’re to wait in her office. She shows him in. INT. JOLENE WALKER'S OFFICE Office of a USAF bird colonel on a long term posting. By the book military office, with more than the minimum set of personal items. SECRETARY: Do you need any water or coffee? BLAKE: I’m fine, thanks. Blake looks around... wall is covered with diplomas: AF Academy, John Hopkins, Stanford Medical, etc... He nods to himself, not intimidated but impressed... she’s someone who’s earned the right to be respected. He glances at the framed photos, picks up the name plate on her desk, examines it. Puts it back as a noise approaches. He stands to attention as the door opens, and salutes sharply. Colonel Dr. Jolene Walker enter. We only see her body, no face, as she walks past him to her desk. But the way she moves, just know she could kick your ass six ways to Sunday. JOLENE (O.S.): Please sit. As he does, we hear the sound of Jolene reading his file. JOLENE (O.S.) (CONT’D): Interesting... (to Blake) Captain Walden, do you know why you’re here? BLAKE: You trying to figure out if I’m too crazy to fly, right? JOLENE (O.S.): (laughs) Close... After all the money we spent training you, I’m just here to figure out if we’d be crazy to let you keep flying. Blake snorts back a gentle laugh. JOLENE (O.S.) (CONT’D): It hasn't been long for you, are you sure you're going to be okay with my questions? Blake eyes harden, a determined and serious look. BLAKE: Go ahead... whatever you need to know. As far as I'm concerned, the sooner I get back up in the air, the better. JOLENE (O.S.): Good... all right then, why don’t we start with your wife’s suicide?

just wrote this as a possible opening for a story i've been toiling with for a while. i'm writing a bunch of random scenes as they come to me for a story that's non-linear and somewhat disjointed. there's a point and comprehensible flow in my head... just need to make it work on the pages ;) ((i had a Teaser to a Pilot i'm working on that i wanted to post, too, but it turned out to be 3 pgs. and not exactly pared down just yet.)) EXT. NEIGHBORHOOD PARK – NIGHT It’s the middle of the night and a highly distraught Sue cries as she hurries down the sidewalk. She’s clearly trying to get away from someone as she turns to check behind her. SUE (sobby yell) Get away from me! (beat) Go away! We can just barely make out a male figure stop behind her in the darkness. She stops and stares him down. This one’s for emphasis: SUE LEAVE ME ALONE! EXT. AMBULANCE – DAY A muted, dizzy mix of police lights, smoke, and paramedics buzzing around a bloodied woman strapped onto a backboard. No telling who she is. EXT. NEIGHBORHOOD PARK – NIGHT SUE Please. Just go away. Sue, still standing down her pursuer, lets out a frustrated scream before she turns and runs into the park and disappears behind a large tree. The male figure doesn’t move at first, but then tentatively takes a few steps forward. Back to Sue behind a tree catching her breath, trying to calm down. She peeks around and squints to see where he is. Seeing that he’s slowly moving in her direction from afar, she takes flight again and this time she doesn’t stop. We remain at the tree and watch as she runs down the street crying, in and out of streetlights, until she is completely out of sight. INT. AMBULANCE – DAY We hear the whine of the sirens as a lone paramedic hovers over the woman, hard at work saving her life, while balancing in the back of the speeding vehicle: PARAMEDIC She’s crashing. She’s crashing. The paramedic driving is on the radio. Rushing. Stressing. Will they make it? FADE OUT