[…] July is Scene-Writing Month here at Go Into The Story. Every Monday-Friday at noon Eastern / 9AM Pacific, I will upload a post with a prompt for writing a script scene. Each day, write a scene per those guidelines. If you really …read more […]

SCENE 1 ---------- EXT. WOODS -- DUSK Orange and pink hues of the setting sun brighten leaves WHISPERING in the gentle breeze. MIKE, 11, short with a paper-thin layer of muscle, and FOOTS, we’ll say 20s, about 8 feet tall and covered in hair (because he’s Bigfoot), trek through the trees. MIKE: I’ve never been in here after dark. Foots only nods. MIKE: Should’ve brought a flashlight... Foots points off to their left. In the distance, the small light of a cabin is visible. MIKE: Oh, wow. Thanks, Foots. Foots nods. Twigs SNAP under the pair’s feet. Foots leaves large prints that get swallowed up back into the earth, hiding the evidence of his existence. MIKE: How come we’re coming this way? I found you on the other side of the hills. No response. MIKE: Is this where you live? Were you just, like, on vacation before? Again, nothing. Foots stops walking. He crouches down to Mike’s eye level. Lays a large hand on the boy’s shoulder. MIKE: When will I see you again? Foots shrugs. MIKE: I should’ve brought a map. Then you could’ve shown me where you’d be and I could meet you there. Foots shakes his giant head. MIKE: Why not? Don’t you like me? Foots nods. MIKE: Then why not? Foots peers deep into Mike’s watery eyes. With a large finger, Foots makes a straight line into the dirt. Then he draws three circles above the line, shading one in. MIKE: I don’t know what-- Foots points at the line and touches the ground. Points at the three circles and then at the moon. MIKE: The moon? (studies the circles) Light, dark, light... Full moon, no moon, full moon! That’s a month! Foots nods. Mike beams, wraps his arms around the hairy giant. Foots reciprocates. Gently releases Mike and stands. MIKE: I’ll see you then, right? Foots hesitates. Nods. He points at the cabin’s light. MIKE: I’ll be right here waiting, okay? Foots nods. Mike trots through the trees toward the cabin. MIKE: Bye, Foots! See you next month! Foots watches the darkness envelop Mike. He glances at his line and circles. Wipes a tear and rubs out the drawing. He marches deeper into the woods, becoming one with the trees and bushes. On the rubbed out drawing, the soil under it absorbs the loose dirt, replacing it with smooth, flat earth.

SCENE 1 EXT. HOUSE – RURAL KANSAS - DAY JOHN (35) heads to the red pickup truck as MICHELLE (29) watches from the porch of their dilapidated home. JOHN: Anythin’ else on the list? MICHELLE: Eggs. JOHN: Milk and eggs. That all? MICHELLE: I don’t know, John. Why’s it matter so much? Just get whatever ya think. John looks at her from the pickup. Looks to the house, to what their lives have become. JOHN: Michelle, I… Listen, I just wanna make sure I getcha... well I just wanna make sure you have whatever it is you want... You know, I... Well, I don’t say it often… not nearly… MICHELLE: Hurry up already. What? JOHN: I love you… I… MICHELLE: John, I’m hungry, all right? You know I love you… Just get the damn eggs. He gets into the truck and starts the engine. Flips the visor down and a POSTCARD falls from it. THE POSTCARD displays a beautiful beach with water as clear as could be. The words HAWAII written on the bottom. He flips the card over: Crisp handwriting. The name NANCY at the bottom with a pair of red lipstick lips stuck to it. MICHELLE: John?! He looks up to see her still standing on the porch. His eyes pained. His face tight. JOHN: Hm? MICHELLE: Get some butter. JOHN: We don’t need no butter, Michelle. MICHELLE: Just get the damn butter. JOHN: We’ve had butter every freakin’ day that we eat. It don’t help the taste of the food. We don’t need no more butter. Maybe not havin’ any’ll help. He places the postcard delicately on the seat next to him. We notice a DUFFLEBAG packed on the floor. The pickup backs up out of the driveway. From the porch, a CELL PHONE rings. Michelle grabs it and looks to the caller ID. Doesn’t recognize it and yells to John: MICHELLE: You forgot your… But he’s left her in a trail of dust. MICHELLE: … Phone. She looks back to the cell. ONE NEW VOICEMAIL. She hits play as John heads off down the barren road.

INT. Child’s Bedroom — Night. A father, JEFF (30) sits beside his daughter, CECI (7), as she lays in bed. He finishes the book that he was reading to her, and shuts it. JEFF: …The End. You’re not too old for me to read to you, C? CECI: I like the way you read! Not mommy though. (whispering) But- don't tell her. Okay? JEFF: Your secret’s safe with me. Jeff sands up, puts the story book back on the shelf, and sits next to his daughter. He strokes her hair. JEFF: You’ve grown up so much. You know that? CECI: Mrs. Ingle says I’m almost as tall as she is! (beat) Dad, why aren’t you wearing your wedding ring? JEFF: Oh… mommy had to… clean it, so it’s nice and shiny. CECI: Oh. (beat) Fishing tomorrow, right? JEFF: I don’t think I’ll be able to tomorrow, sweetie. CECI: Why not? It’s Sunday! We always go on Sunday! JEFF: Don’t you think the fish need some time off, too? CECI: Fish don’t work, dad! I know that! (giggling) JEFF: You laugh just like mommy. Ceci furrows her brow. CECI: Dad? Why can't we go fishing? JEFF: Don’t you worry about me, alright? I can’t have you worrying about me. (smiles) And I know you're very good at helping your mom, aren’t you? CECI: I love helping mommy. You know she let me help her make the tiny little flowers for the top of that tall tall cake? Because I got an “A” in reading! JEFF: I’m so proud of you Ceci. Remember that, okay? Will you remember that always? CECI: Yes. Jeff hugs Ceci tightly, tucks her in, and kisses her on the forehead. JEFF: I love you, too. Always remember that, okay? CECI: Yes dad. See you tomorrow! JEFF: Goodnight, Ceci. Jeff closes the door to the girl’s room. He walks down the hallway to the kitchen, where his WIFE is waiting next to two large suitcases. She hands him his jacket. He lifts the suitcases and walks to the door. JEFF: I left the ring on the nightstand. Jeff exits.

INT. TOPHER’S DINING ROOM – DAY Chett (21) sits at the table, polishing off the last bits of his bacon and eggs. He dabs at the remaining egg yolk with a burnt piece of toast. As he takes the final bite, Topher (21) enters, slipping a faded football jersey over his head. Chett watches Topher’s abs and chest muscles shift and then resettle as the jersey drops down. Chett returns his attention to his plate. TOPHER: It feels like firecrackers are goin’ off in my head. CHETT: That’s probably because your blood is ninety-nine percent Jägermeister. Topher laughs. He slaps Chett on the shoulder as he proceeds to the kitchen. TOPHER (O.S.): You got around early. CHETT: It’s almost one. TOPHER (O.S.): We didn’t go to bed till damn near four. Overachiever. CHETT: I guess I didn’t sleep too well. TOPHER (O.S.): Can’t stomach the stuff like you used to, huh? CHETT: No, it’s not that. I just got cold and then… I don’t know. Your blankets are all about four inches too short. TOPHER (O.S.): Everything of mine is four inches too short. Topher shuffles back into the room, carrying two bottles of beer. He offers one to Chett. TOPHER: Hair of the dog? Chett shakes his head “no.” TOPHER: You sure? This is some good Portland stuff. Hoppy. I didn’t used to like hops. Always drank that Mexican piss, remember? Now I can’t drink anything else. CHETT: I still drink the Mexican piss. TOPHER: Well a kinky ex once told me somethin’ that’s stuck with me. As she was tyin’ me up, the freak said, “you never truly know what you like until you’ve experienced enough things that you hate.” They both laugh. Topher uses the edge of the table to pry off the bottle top. He wipes the sweat from the bottle and uses it to style his hair. Chett watches for a beat then looks away. TOPHER: She also taught me that I genuinely like missionary instead of whatever reverse pretzel, upside-down swan shit she enjoyed. After her, I just want ‘em to lay there. CHETT: You’ve always excelled at picking the crème de la crème. TOPHER: You go off to school and now you’re French? CHETT: The cream of the crop. That better? Chett rises, taking his plate to the kitchen. TOPHER: I know some girls throwin’ this white trash party tonight down by Cedarville. I think all their parties are white trashes parties, but whatever. You in? CHETT (O.S.): Umm, I might meet up with you. There are a few other people I promised I’d see while in town. TOPHER: Bullshit. Chett re-enters. CHETT: What? Topher takes a sip of his beer. Just stares at Chett, a knowing grin spread across his face. CHETT: I saw Laura and Megan at the bar last night. I told them we’d go to dinner. Topher takes another sip. TOPHER: I must’ve missed ‘em. CHETT: Yeah. Chett reaches across the table, grabbing Topher’s beer. He takes a long drink. Admires the label for a beat. CHETT: I could probably grow to like that. He sits the beer back down, then grabs his set of car keys from the table. He exits. CHETT (O.S.): I’ll call. TOPHER: Sure. A door slams. Topher finishes the beer.

Lisa and Manuel are college students with a high school romance history. They grew up in the same town, but on different sides of the tracks. Manuel’s family is conservative and well to do, while Lisa comes from a blue collar world. Their romance was thwarted from the start by the differences in their backgrounds. Lisa is more of a free spirit while Manuel adheres to his conservative upbringing standards. In this pivotal scene things come to a head: Artie(20) sits on the steps of the Parthenon. He passes a cigarette to Lisa, nearby. In the background are numerous other students just hanging out. ARTIE What do you mean, you never had real sex? What kind of sex did you have, fake sex? LISA I don’t want to talk about it, OK? It’s just the whole family thing with him. They believe in saving it for the marriage and all that religious shit. ARTIE Yo man. This is the seventies. The sexual revolution already happened. Down on the street at the foot of the steps Manuel appears in a three piece suit. LISA Shit there he is. He does look kind of hot though, don’t you think? ARTIE I don’t know man. Looks pretty corporate to me. Manuel motions for Lisa to come to him. She does so. And he begins walking away with her. The street is somewhat busy with the rush hour traffic and people hurrying home on the sidewalk or waiting for a bus. MANUEL Was he smoking pot? LISA What? MANUEL That guy you were with? Did you smoke pot with him? She can’t take any more of this. LISA Listen, we have to talk. MANUEL You’re coming to Thanksgiving right? LISA I don’t think so. MANUEL Hey, it’s a big deal for my family, you know. LISA I can’t do this anymore. I mean, this isn’t working. MANUEL What are you talking about? Are you high or something? LISA I just need some space. I value my freedom. The whole family thing doesn’t work for me. MANUEL Are you breaking up with me? She remains silent. MANUEL OK, look. We can have sex, OK. Let’s go to your place. A business man passing by smiles at Lisa. LISA What? A woman gives Manuel a dirty look. MANUEL Isn’t that what you want? LISA No, I mean yes. But not like this. Look, I have to go. We’ll talk, ok? She turns and walks away. The crowd on the sidewalk is thicker and moving faster. He watches her get lost in the crowd and he begins to walk away. She turns to look back at him, but she can barely see his back in the crowd. She begins to call for him, but then stops. She turns and walks on. He turns back to look for her again. He stands there with tears in his eyes. She is gone.

Scene 1 Today’s prompt: A character has to say goodbye to a good friend without actually saying s/he is leaving and won’t be back [suggested by Jeff Guenther]. AA MEETING - NIGHT JOHN sees CHOLE sitting alone near the door. John grabs two cups of coffee, sits down next to her, she keeps her dark stare, not acknowledging him. JOHN You look like you might need this. CHLOE Oh. Sorry. Thanks. JOHN I haven’t seen you at any meetings this week. CHLOE Yeah. I’ve been working on my 4th step. JOHN Good for you… How’s it going? CHLOE You know digging up a lot of shit. She takes a deep breath, then a sip of coffee. CHLOE But I’ll get through it. Did you-- JOHN Yeah. It took time. My sponsor told me to knock off the mountain tops first. You know, the big stuff. CHLOE Oh yeah. Did you do that? JOHN It kind of made sense to me. Follow the example in the book. It’s really not that big a deal. CHLOE If I tell you something will you keep it between us? JOHN Of course. CHLOE I turned myself in on a 5150… 72 hour self evaluation. JOHN When did you get out? CHLOE This afternoon. I didn’t know where to go. So I came here. JOHN I’m real glad you did. What did they say? CHLOE They told me I was fine. Normal. JOHN I could’ve told you that. CHLOE Yeah. SPEAKER Let’s get this meeting started. My name is Fred and I’m an Alcoholic. GROUP Hi Fred. Chloe gets up, leaves. John watches, turns back to the meeting. JOHN’S FRONT DOOR - MORNING John retrieves the paper… Unfolds it to HEADLINE Chloe Armstrong found dead……

-SCENE 1- INT. BEDROOM - MORNING ANGIE, 70, lies propped upright with pillows in her bed reading TIME. REBECCA, 28, enters carrying a tray overflowing with food. ANGIE: Good morning. REBECCA: A very good morning, indeed. ANGIE: I said I was a LITTLE hungry. REBECCA: I'm taking advantage. ANGIE: I don't know that- REBECCA: They're lemon ricotta. ANGIE: Gourmet. REBECCA: You don't have to finish everything. ANGIE: Lord knows I want to, but... (She takes a bite) Rebecca. These are. Wow. REBECCA: Letty helped. ANGIE: Of course. More than helped? REBECCA: I started... She.. intervened. ANGIE: You know, they're starting a Match.com for nerds? REBECCA: A what? ANGIE: Mensa and Match.com are forming a partnership. Time to finally get that IQ tested? REBECCA: Even if I was... I don't know if that would be my ideal- ANGIE: You're guaranteed a genius- REBECCA: Hey, how are you liking Letty? ANGIE: She's fine. Not a genius- REBECCA: We all can't join Mensa. ANGIE: I'm just saying... You look very nice in this getup. REBECCA: Thanks... I love you, mom. ANGIE: I love you too... Well, if Letty cooks like this, she can stay. REBECCA: A nurse, a driver, lemon ricotta pancakes? You're a made woman. ANGIE: Sure am. Have a good day, Bec. REBECCA: You too. ANGIE: I will. See you tonight? REBECCA: Yeah, see you. Rebecca kisses Angie goodbye and walks out.

SCENE 1 ________ INT. HOSPITAL ROOM – DAY A cold and sterile closet of a room that hasn’t seen many happy days. Ruben (8), lays in bed in hospice attire, attached to tubes. Skinny and pale, but he demeanor does not reflect his physical outlook. Ruben’s mom Macy (40), with puffy eyes and dark circles, releases a leash to a golden retriever puppy, and gently places him onto Ruben’s bed. The dog wags her tail innocently and hops towards Ruben. Ruben: Hey Penny! Penny slobbers all over Ruben’s face to his delight. He manages a smile and a few breaths of chuckles. Ruben: I’m happy to see you too! Ruben eye-signals Macy for an item on a side table. She complies and retrieves a doggy bone. Ruben stretches for it, but has no strength. A compassionate Macy places the bone in her son’s hands and lifts his arms toward Penny as an offering. Penny jumps at it. Ruben: For you. It’s an early birthday present. Penny gnaws on it like it’s her last meal. Ruben smiles and watches her. Ruben: How’s training going, Penny? I wish I could have finished the classes with you. Ruben pets Penny’s head as she still goes at the bone, unphased. Ruben: Looks like I won’t be able to keep that promise I made you. But don’t worry, mom will take you on walks- right, mom? Ruben looks to Macy, who nods with an unconvincing smile. Ruben leans in to Penny as much as he can, and whispers. Ruben: Make sure you take care of mom okay? She loves to cuddle in front of the fireplace and take naps. Penny looks at Ruben, as if she understands. She slobbers all over Ruben again. Penny is so excited she’s about to leap onto Ruben’s chest, but Macy will not allow it. Macy picks up Penny and releases her on the floor. Ruben’s gaze follows her. Ruben: Thanks for coming to see me Penny. I’ll see you later. Ruben smiles as Macy leads Penny outside.

SCENE 1 ——— INT. HOSPITAL ROOM — EVENING A gaunt bald man (HENRY) lays prone in a hospital bed, gazing out the window at a passing airplane as a Heart Monitor chirps. A man with slick black hair and a flashy pinstriped suit (BILLY) enters and fidgets awkwardly at his side. BILLY: (choked up) So, wanna catch the Indians game this weekend or you gonna puss out? HENRY: Cut the shit Billy. You know I can't do that. BILLY: Whadya want me to say. I don't know what to say. I'll say whateva ya want me to say... HENRY: You honestly don't have to say anything. I'm just happy you finally came to see me. BILLY: (shuffling nervously) Yeah whateva. HENRY: Look Billy. I don't have much time... BILLY: Lemme stop ya right there. I don't want to hear it. You've got time. There's always time. HENRY: Statistics were never your strong suit. Can you face reality for the first time in your life? I know what I'm facing. Listen to me. I need to tell you something... BILLY: Fuck you Hank. I'm not talking about it. HENRY: Look, me and Charlotte have been thinking... BILLY: (eyes welling) Always thinking, you two. I'm not much for thinking. I'll leave that to you to. Leave me out of it, ya hear me? Long, awkward silence. The Heart Monitor chirps. BILLY: Look. I got some things to do back at the store. Say hello to your little girl for me. I'll see you at the game this weekend, alright? Billy crouches down, hugging Henry briefly, wiping tears as he stands back up and exits promptly. Henry sighs heavily and coughs. A young woman in a flower print sundress (CHARLOTTE) enters the room, glancing at Billy exiting down the corridor with his head down. CHARLOTTE: Did you tell him? HENRY: Yeah. I get the feeling he didn't fully comprehend the term experimental surgery, but he said big words make him feel good inside. (smiles weakly) CHARLOTTE: We're in this together, you know that? HENRY: Until the end. Charlotte hands Henry a small toy airplane. He clasps it tightly to his chest and shuts his eyes. Charlotte curls up next to him in bed as the Heart Monitor continues chirping.

[A/N: If formatting looks odd, it's because I'm teaching myself Fountain.io markup language syntax. Thanks!] EXT PARK BENCH - AFTERNOON Mid-forties woman LEDA, sits with an arm stretched out along the back of a park bench as she relaxes in the late afternoon sun. LEDA TYNE, I’m sorry things haven’t always happy for us. (pause) LEDA I guess this is pretty normal, though. People get busy with their careers, their kids, they don't talk as much as they should. Stuff gets in the way. (pause) LEDA shuts her eyes, as if holding back tears. LEDA I saw the messages she sent you, and it just doesn't matter. I don’t know what you did, if you failed me more than merely not being there for me, but I forgive you. (pause) LEDA sniffles, reaches for a tissue in her jacket pocket, blots her eyes and nose. LEDA I’ve forgiven myself for failing you, too. I know I tried, maybe too hard at times when I should simply have asked you to be the man I needed. (pause) LEDA looks away toward the other end of the park, where children's laughter can be heard faintly in the distance. LEDA I've been working on gratitude with my therapist. I want you to know I’m thankful for the children we made together out of love, and the home we created as a family. LEDA shuts her eyes again, tears slipping down her cheeks as she composes herself, blotting her eyes and nose once more. LEDA You've been a decent man and a good father, TYNE. I’ve loved you so very much. (pause) LEDA rises from the park bench, turns and gently rubs her fingers across the now-visible bright brass placard once hidden by her arm, before walking away. > FADE TO BLACK.

EXT. UPSCALE NUDIST COLONY - DAY Two wildly corpulent MEN recline on padded lounge chairs in the middle of a circular, inches-deep body of water, surrounded by a ring of palm trees. The water is crystal-clear, and nearly fifty feet across. PHIL (50s) wears a jet-black toupee and is so big, you have to wonder how he made it out there. MELVIN (40s) is gray-haired, with a salt-and-pepper mustache and a slightly-narrower girth than his friend. Both hold exotic drinks and are, of course, butt-naked. On shore behind them, an ATTENDANT in a tuxedo stands vigilantly at a drinks cart, barefoot and with pants rolled up to mid-calf. PHIL It doesn’t get any better than this. MELVIN What? PHIL I said it-- MELVIN No, I heard you. PHIL Oh. He slaps lazily at a mosquito. PHIL It’s steak tonight, right? MELVIN It’s Wednesday, isn’t it? PHIL Yeah. MELVIN So, it’s ALWAYS steak on Wednesdays. Phil catches Melvin's tone, and looks sharply his way. PHIL You picked a doozy to miss. MELVIN Yeah, well... PHIL You know what's my favorite part of steak night? MELVIN No. What? PHIL The quiche. I mean, I know it’s supposed to be all about the steak, but that bacon quiche they do is just-- MELVIN Listen, I, uh... I better... Melvin slowly struggles up from his seat, to stand over his friend. PHIL Oh, right. Your ride. Well, there’s always next week, right? Melvin just stares at Phil. PHIL It WAS just tonight, right? Melvin waddles closer, and sticks out his hand. PHIL What kind of business? MELVIN Goodbye, Phil. Phil awkwardly takes Melvin’s hand. PHIL Oh, um. Yeah. I'll, uh... Melvin walks away toward the Attendant. Phil attempts to sit up and turn to watch Melvin waddle away, but it’s too much effort. He collapses back into his chair. He sips his drink. END SCENE

The sky is dark with clouds, pregnant with rain. Thunder rolls in the distance mixed with the sound of blowing sand. High up on a dune two figures lay motionless staring down below. Two warrior packs at their feet. KALI (30s) lies on the berm, body tight to the earth. Her stare is fixed down the hill. A scar runs diagonally across her face. Early on-set crow's-feet, dirt in the creases. Hair short, filthy. She nudges JAX (30s) who lies next to her, binoculars pressed to his eyes. His skin is dark as night, facial cybernetic augments interspersed between his tribal scarring. He hands her the binoculars, revealing red cat-like eyes. He lets out an exhausted exhale as she looks through the glasses. JAX - I only see four of them. Where's the female? BINOCULAR POV - There are four alien creatures drinking from a small desert watering hole. Their black carapaces glisten, claws dug into the earth, prehensile tails undulate laconically. Their strange clicks and chirps filter up the hill. ON THE BERM JAX - God that shit puts my teeth on edge. Kali nudges Jax. Points to the horizon. A black speck. Growing large, fast. JAX - Fuck! He yanks a small device out his battle harness. Mashes the button. A humming dome of light blossoms over the two of them. The dome turns the color of the sand, camouflaging them. IN THE AIR - The speck has grown into the fifth creature. The female. Wings large and loud as they beat against the air. She soars over their position. Circling. Chirping, clicking. The males looks up towards her. ON THE BERM - Jax and Kali hold their breath. The device power readout reads, "2%" in large blinking figures. It ticks down to "1%". UP IN THE AIR - The creature swoops around once more then loses interest. She flies towards the other creatures. Lands next to watering hole. Pushes the males out of the way. They stand obediently to the side. ON THE BERM - The camouflage flickers then goes out revealing Kali and Jax. JAX - That's my last one. Lightning flashes. The thunder close behind. The first few drops of rain hit the sand. JAX - Fucking perfect... How you want to do this? Kali pulls out her flechette gun. Then sticks out her empty hand. Jax sighs. Pulls out his flechette gun and hands it to her. JAX - If you're gonna take my needle gimme the Lancer. Kali looks at him blankly. JAX - No. Fuck you. We talked about this. She tilts her head sideways revealing her neck. Evil, viral crimson lines in her skin taper off at her neck then grow darker as they disappear under the fabric of her nanosuit. JAX - Bullshit. We're gonna take down this bitch then we're gonna get you taken care of. She stares at him. Puts one of the guns down. Reaches into the battle harness. Pulls out a knife. Clearly one of a kind. Acid scarring on the hilt. Blood stains on the blade. An ornate symbol at the base. She feels the heft of it. Her arm snakes out in a blur leaving a small bloody trail on Jax's cheek. His hand instantly goes to the wound. Hand comes away bloody. JAX - OW! Motherfucker! She cuts her own cheek in the same place. Puts the knife away. Her hand comes back with another device. Hands it to him. He looks at it then back at her. His face softens, as much as it can. JAX - Yeah. Good idea. I'll meet you there. I'll... I'll have a drink ready for you. Kali puts her hand on his shoulder, staring him in the eye. Then... She stands up. Walks down the hill. FADE TO BLACK

Exterior, a still race track, so dark it might as well be night. Rain buckets down, lightning sheeting the sky. We hear rain pounding against asphalt. A few hardy souls sit under plastic tarps, waiting out what's supposed to be a passing Florida storm. ERICA and STEVEN are among them, a few rows up from the fence that separates the spectators from the track. ERICA, is blonde and blue, the wrong side of thirty but even soaking wet she laughs like a little girl as the thunder CRACKS and STEVEN flinches. We get the idea, looking at his bedraggled moustache and the premature wrinkles around his eyes, that he flinches a lot. Erica: I could stay here forever. Steven: We might as well leave. Erica: This is just God testing us. She takes a drink from a brown bottle, covers the bottle's mouth with one hand as she turns her face up to the rain. Steven: There's no way they're finishing this race today. Sue can use my ticket tomorrow if you want to come back. Erica, laughing again: C'mon, Stevie. Have a little faith. Steven looks at her. This act was cute when she was twenty. Steven: It's a lost cause. Erica: Never. Steven stands up, taking the tarp with him. WATER dumps all over Erica, who sputters. The little girl thing goes away like a knife coming out. Erica: Hey! Steven: My flight's early. Erica explodes to her feet, watery beer sloshing everywhere. Erica: What the hell was that? Steven: I told you. We gotta go. Erica: I was having fun. Steven: I know. A moment. They stand there in the rain. All the anger runs out of Erica. Erica: Why do you have to go all the way to California? Steven: You have a job here I can interview for? Erica: This isn't gonna change anything, right? Steven: I love you. Erica: That isn't what I asked. Steven: I know. He bunches the tarp up, looks for a trash can and finds none, shrugs and tucks the wet ball of plastic under his arm as he starts to pick his way down to the aisle. Steven (continued): Let's get going, okay? Erica looks after him for a moment. Thunder detonates, and behind her lighting blazes across the sky. She bites her lip, swipes the wet hair from her eyes, and follows. -- SCENE 1

SCENE ONE Apartment building. 6 AM. Door bell rings. Damian, in underwear, opens up the front door. He reacts surprised. Damian: Kelly, what on earth are you doing here at this time. Kelly giggles. Damian: are you drunk? – Come in. From out of the bedroom, women’s voice: who’s that Damian? Damian: get back to sleep, I’ll be soon back. Kelly: who’s that? Damian shrugs Damian: one time thing, or maybe two, I don’t know, I lost the count Kelly: lost the count huh Damian: you never drink. What’s going on? Kelly: I had to muster up courage to te.. Woman enters in underwear. Her breasts fully visible. Daring look. Woman: who are you? Damian, are you coming Damian: not know. Give me some time. She’s a friend. Kelly: last time we spook we didn’t say goodbye…I wanted to say goodbye Damian: that was yesterday. I was in a hurry to catch a train. You could have emailed me or called me. We're seeing each other tomorrow. Kelly holds on to the wall. She waves and tries to kiss Damian on his cheeks Kelly: goodbye…I needed to say goodbye Damian: Come and sleep it off on my couch. Kelly: no I have to go…cab is waiting for me.. I wanted to say goodbye, like we always do. Kelly leaves. Damian calls after her. Damian: call me if you get home. Goodbye Kelly gets in the cab. She murmurs to herself: Goodbye Damian, take good care of yourself.

Wow, I can't believe how many people already did this! I got my work cut out for me. I'm not nuts about this first one, I tried to play it as subtext but I don't know how well it came through. Saying goodbye for good in the guise of saying goodbye for the night, trying to wrap up unfinished business, etc... INT. TRAILER - NIGHT Clock reads well past 2am. A flatscreen mindlessly drones Nick-at-Nite programming. A young man, HUTCH, lies on the floor, head propped up by a small mountain of pillows. JEN lies with her head on his belly. They're there for a small silent eternity before Jen groggily pulls herself onto her feet. Jen: Okay, this is too much fun, I gotta get going. Hutch: Aww, come on, we're comfortable. Jen: yeah, I know, but I got shit to do. Hutch: Now? Jen: Lots of shit. Jen lazily throws open the minifridge and raids it. Jen (cont'd): Hey, I'm taking the last of your fruit bowl snack things, okay? Hutch: You're buyin' me another pack. She kicks the door shut with her bare foot. Jen: Yeah, I'm not gonna do that. You know, I still have your copies of Bone. Hutch stands up and tries to get all the kinks out of his body. Hutch: Keep 'em as long as you want. Jen: Seriously? Hutch: Yeah, whatever. Jen nods, sits on one of the few chairs, and starts tying her shoes. Hutch: ...what? Jen: I... god, there was something I wanted to say but now I can't think of it. Hutch: What's the big deal? Just tell me tomorrow. Jen: I'll text you. Hutch: No kidding. She double checks to make sure she has everything: shoes, jacket, fruit snack. Yep. Ready to go. Damn. Hutch: Are you goin' or what? Jen: Why, you got a hot date? Hutch: No. I gotta piss real bad though. Jen (chuckles): All right, all right, I'm going. God forbid I come between you and your pickle. Hutch: See you around. Jen: Bye. The door shuts behind her.

SCENE 1 EXT. CEMETERY – DAY A woman in a black dress with a large rose pinned to her lapel knees before a grassy grave, tears welling in her bloodshot eyes. Eleven roses lean against the tombstone in a line. Insert: Francine McKenna, 1976 – 2013, Best Friend. WOMAN (O.S.): There’ll be no reason. A tear rolls down the woman’s cheek. She wipes the tear away, and covers her mouth to hide her anguish. From across the empty cemetery, from behind a tree, we see the woman facing the tombstone. WOMAN (O.S.): I can’t wait for you. I can’t make it happen. The woman regains control of her self. Her lips fail her, quiver, but then she’s stone. WOMAN (O.S.): I've tried. As we lose focus of the women, we notice someone is standing behind her, slowly coming into focus, but ‘the someone’ remains out of focus and disappears as the cemetery behind the woman become clear. WOMAN (O.S.): I almost had you…but for the pills. From across the cemetery, the woman stands. She’s alone. WOMAN (O.S.): The wrong pills. The woman stands and brushes off her dress. She unpins the rose and tosses it onto the grave. She turns, but hesitates. WOMAN (O.S.): So that’s it? The woman turns back to the grave. WOMAN IN BLACK: Go to hell. The woman turns and tromps toward the lone car. WOMAN (O.S.): Fine. Live. The woman in black drives away…doesn't look back. The wind blows against the lone rose in the grass above the grave, and is smashed flat by an invisible foot.

Scene One INT. / EXT. SALOON CAR - DAY SHAGGY, 5, a mutt, bounces around the rear-window as MOONSHINE, 15, a pedigree poodle, lays out on the backseat. Shaggy nods his head at KIDS in the car behind. SHAGGY: Hey, I'm doing the nodding thing, they're loving it! MOONSHINE: You're killing it. SHAGGY: It never gets old. MOONSHINE: (laughs) So, what you gonna have for dinner? SHAGGY: Biscuits! And I think there's going to be steak! MOONSHINE: Leftover steak, sweet. SHAGGY: I won't eat all of it, I'll leave some for you. MOONSHINE: Eat it all, every last bite. So, what about ham, can you eat ham? SHAGGY: Of course! Shaggy sits down beside Moonshine for a well rehearsed game. SHAGGY: Can I eat bananas? MOONSHINE: I wouldn't if I were you. SHAGGY: Can I eat chocolate? MOONSHINE: SHAGGY! Moonshine barks loudly, annoyed. MARK, 60, in the driving seat, looks around at Moonshine, concerned. SHAGGY: I know, I know, I can't eat chocolate, or I'll die. Moonshine settles back down. The car pulls up outside a building. Shaggy spots a sign "VETERINARY SURGEON". Apprehensive, he turns to Moonshine, who looks crumpled. MOONSHINE: Promise me, no chocolate. SHAGGY: I promise, Moonshine. I'll always remember. No chocolate.

SCENE #1 EXT. WOODS/ROADWAY - DAY LAURA (32) slowly parks the car in the roadway. She leaves the car and as she closes the door she analyzes around. The color of the trees are mostly yellow, dead. She sighs and opens the passenger door. A frenetic PANZER (9) goes out, sniffing everything, moving his fat body towards the dirt and the wooden fence. It’s a boxer. Laura lets him have fun, watching him with a grim, but her eyes are watery. Panzer looks at her, shaking his tiny tail, waiting for an order. LAURA Go! The dog runs to her. Licking her hands, trembling his aged body. She crouches, petting him. LAURA You’re a good boy. Whos’s my big boy? She allows him to lick her ear, kissing his nose back. LAURA Yeah, that’s right. Laura stands and grabs a twig. LAURA Panzer! Look! She throws the twig way beyond the fence, which falls with a MUFFLED NOISE on the dried ground. Panzer runs as fast as he can. Laura quickly enters her car, starting the ENGINE. She leaves, now with tears, never looking back. The boxer comes back, twig in mouth, confused.

And two months later, after getting over her, she hops in his bike taxi. EXT. PARK - DAY Jansen and Woolskie sit in a park, Picasso, the puppy, rests in her lap. Woolskie is quite smitten with her new best friend, a motherly vibe Jansen has not seen. Behind them is the muralesque bike taxi. The side with the profile of Woolskie in the moonlight shows. The shade of the high rises creep into their sun filled space in the grass. Both parties are barefoot. JANSEN-I think Picasso’s a good name for him. You’ve always admired the dudes work. WOOLSKIE-Right? But that’s what’s weird. I actually don’t know if Picasso is a worthy enough name for this cute little guy. Jansen reaches over and pets the puppy. JANSEN-He is cute, (dog voice) yes he is, isn’t he? WOOLSKIE-Awe, he likes you. He doesn’t like most men. JANSEN-Wonder where he gets that from. She smiles. WOOLSKIE-So, uh, how’s the bike taxi gig? JANSEN-Well, let’s see. All the other bike taxi people hate me, because everyone is drawn to my cab, due to the amazing art of course. WOOLSKIE-Well, of course. JANSEN-And, there have been two dudes, who have stopped me, mid ride, screaming, ‘Is that a Woolskie?’ WOOLSKIE-Ha! What’d you say? JANSEN-What do you think I said? I was all, “What’s a Woolskie?” She nods, somewhat sad. WOOLSKIE-Well, it was always one of my favorites. JANSEN-Question. What were you thinking when you painted it? WOOLSKIE-It was emotional. Cathartic? It hurt. A lot. JANSEN-So, did you paint it that way,...so... Her lip quivers and her voice cracks. WOOLSKIE-...So that I’d be able to find you? Appears so. She looks away, down to Picasso, hiding vulnerability. JANSEN-So...? You found me. And I assume you need something? WOOLSKIE-The last time I saw you, we were screaming at each other, on your roof, about who used who. And now, here I am, and you’re gonna think I’m using you, but I think I’m giving you the ultimate compliment. He looks to her, wanting to be annoyed yet he is intrigued. She pulls out a business card and hands it to him. WOOLSKIE-I’m gonna do my masterpiece soon, you’ll hear about it as it happens. It’s gonna be big. I need you to go to doggie day care that night, and take care of Picasso here. This could be the one where I go down, and I just don’t want anyone, anyone else in the this whole fucking world, to take care of him, but you. Jansen looks to her, it feels like the ultimate compliment. The eye contact holds. JANSEN-Well, you better mail me some cash from prison, because the bike taxi money isn’t really all it’s cracked up to be. The high rise shadows have now moved in, covering them in shade.

INT. LIVING ROOM - NIGHT An apartment living room cheaply furnished. A girl, JOSIE (20s) sits on the couch with a laptop with wine. The front door opens. An identical looking girl, LAUREN walks in. She takes off her coat and puts down her bag. LAUREN -I didn’t get it. Josie doesn’t look up. JOSIE- Sorry. Josie looks up. JOSIE (CONT’D)-What the fuck did you do to your hair? Lauren’s hair is identical to Josie’s. LAUREN -I showed them a picture of yours. Next time you talk to mom and dad don’t tell them. JOSIE-You can’t get a hostess job, but you can somehow afford a haircut? Lauren walks past her into another room. JOSIE (CONT’D)- All we need is more people who can’t tell us apart. Now I’ll have to change my hair. LAUREN (O.S.)- Don’t change anything. Everyone like twins. Besides, it’s kind of fun that people won’t be able to tell us apart. Lauren re-enters in different clothes. JOSIE- That’s my dress. LAUREN- Can I wear it out tonight? JOSIE- No! Why do you want to look like me? LAUREN- Because you have good credit. And friends. And can afford a laptop. I mean, we have the same DNA. Maybe I just need to change a little. A haircut, a dress or maybe I need to go somewhere new, or something. Lauren puts her coat back on. JOSIE- Somewhere new? LAUREN- Can I borrow your metro card? JOSIE - No. Lauren digs through a purse near the door. LAUREN- I am anyway. She blocks Josie from her view and opens up a wallet. She takes out a metro card, cash and Josie’s ID. She pockets them all. LAUREN (CONT’D)- How do I look? JOSIE- Exactly like me. LAUREN- Perfect. Lauren turns and walks out the door.

SCENE ONE INT. KITCHEN – NIGHT All the lights are out, but the light from the street lamps pours in through the curtain-less windows in the messy kitchen. KATIE, 24, enters silently, carrying a duffel bag over her shoulder. She fumbles around the room for her car keys, trying not to make noise. She accidentally knocks a cup over, and soda spills over the counter. KATIE: Shit. She grabs a handful of paper towels and starts to wipe up the mess, but she notices her keys. She grabs them and leaves the mess. From behind her, a small voice: MASYN: Katie, where are you going? Katie jumps and spins around. MASYN, 7, stands in the doorway, dressed in mismatched pajamas that are too small for her. She rubs her eyes and stares at Katie through rumpled curls. KATIE: Masyn, why aren’t you in bed? Go back to sleep. Masyn stares intently at her, unmoving. After a long pause, Katie smiles, and speaks in a forced casual tone. KATIE: I couldn’t sleep, so I figured I’d just go get the milk, and get Mama to shut up about it. Masyn looks skeptical, but gives a small smile. Katie looks at her sadly. KATIE: I’m sorry you had to hear us fighting earlier. I shouldn’t have said all those things. I was just angry. MASYN: Do you think I’m gonna be angry, too, when I’m a grown-up? KATIE: What? MASYN: I heard Mrs. O’Leery say that you’re so angry all the time ‘cause that’s how Mama always is, so you never knew how to not be angry Katie sets her bag down and crouches down to Masyn’s height. She puts her hands on Masyn’s shoulders and looks her in the eye. KATIE: Sometimes Mama and I just don’t see things the same way. It’s hard for us to understand each other. But it’ll be better now, I promise. Masyn looks at the ground, avoiding Katie’s eyes. KATIE: And don’t you worry, you’re gonna be a damn good adult. Masyn smiles sheepishly at the curse word, still staring at her feet. Katie rubs her arms affectionately and pushes her curls out of her face to kiss her forehead. Her eyes well up a little, but she forces a smile. KATIE: You go back to sleep, okay? Masyn nods. Katie stands and picks up her bag again. She turns to go. MASYN: I love you, Katie. And so does Mama, even if she doesn’t say it so much. Katie turns back to look at her. The sisters stare sadly at each other for a long beat. KATIE: Love you too, Mas. Katie turns and exits, as Masyn watches from the doorway.

INT: UBER-COOL SPEAKEASY, NIGHT Two 20-somethings, young, hip, sitting at the bar. Cellphone rings (Screamin’ Jay Hawkins, I put a spell on you). Male pulls it from his 60's leather jacket, looks at it, hits the reject button. Toby: It’s Zjelko, that malaka, I told him 4. It’s too early, I'm not ready. Adelaide: What’s this all about? Toby: More of the same. Got a pickup in Glenelg. Adelaide: I told you not to get involved with any more of his deals. They’re bad, they’re all bad, you know that. Glenelg, at this time of night? You’ve got to be kidding. Toby: He’ll get into trouble if I’m not there, I need to look out for him. What’s a Croatian restaurateur know about bikie gangs? Adelaide: What’s a bloody Asian Australian celebrity chef know about bikie gangs? Please don’t answer that. Toby: He’ll get his head kicked if I’m not there. Adelaide: This did not end well last time, remember? You totally freaked out and you promised me you’d stay away. If he’s lucky he’ll get himself arrested before he gets killed, and either way it’s no good. Oi lei, Toby, I really don’t like this. Stay, help me finish this piece. As she says this, Toby looks at his phone, then at the door. He jiggles in his seat. Toby: I didn’t freak out, Adelaide, I was worried about Zjelko, that’s all it was, and too much dope, I was all over the shop. Their weed sucked, their speed was shit, Zjelko will come back with baby powder if I leave him to it. Adelaide: So what? Let him waste his money. They have guns, they take amphetamines, these are not people you mess with. Toby inhales deeply. His eyes flick to the door. Toby: Gotta go, Adelaide. Gotta go be a gangsta. Adelaide: You call me in the morning. Promise. Or I’ll come over and play techno at high volume, you’ll love that. Toby: Gotta go, Adelaide. Toby leans over and kisses her on the cheek. Toby: Love you like a sister. Adelaide looks at him, mostly quizzically, but a hint of fear flashes in her eyes. Adelaide: Love you like a brother. You be safe.

EXT. CENTRAL PARK – EVENING Two women joggin in a park. They move effortlessly together. One is KRISTEN (27, athletic, confident on the outside, still finding herself on the inside) and she sets the pace for the two. The other is JACKIE (25, easy going, playful and sexy in a cutesy way) who’s mainly along for the ride with her friend. They seem to always be at ease with each other, but there is an untold TENSION in the air. JACKIE And then Joe said he wouldn’t mind coming over for Thanksgiving! I said as long as you bring the Turkey! KRISTEN Can you believe Joe’s kid is two years old! Seems like Mindy only had him yesterday! JACKIE (smiling) Pretty soon the kid’ll be in college. KRISTEN (nods almost nostalgically) Mmmm, time flies doesn’t it? They continue jogging some more each lost in thought. KRISTEN By the way, how’s the job hunting? JACKIE Actually, that’s part of the reason I asked you to join me, meant to talk about that. Kristen can’t tell by the tone of Jackie’s voice if she should be excited or not. KRISTEN Good news? JACKIE (half a smile) Almost too good! I guess that’s why there has to be a catch to it. KRISTEN (excited) WAIT! Don’t tell me you got THE Job! JACKIE Yea! But- Kristen’s smile fades too. KRISTEN (in a small voice so unlike her) I’m really happy for you. Their jogging slows and finally comes to a stop. Jackie is so frustrated she turns away and leans on a tree. JACKIE I only wish it wasn’t in Cali. KRISTEN Nothing keeps best friends apart, not even the many miles of a country. Kristen walks up from behind Jackie and hug. They stand for a moment longer. KRISTEN I really am happy for you. Jackie turns and she does see in Kristen’s eyes the happiness of sharing a friend’s success-as well as the sadness of friends torn apart.

Scene 1 EXT. DETROIT - CITY CORNER - DAY Among a group of loitering teenage boys stands REGGIE WATKINS (40s), out of place with his greying whiskers and gravel voice. Hands stuffed in the pockets of his tattered coat, he preaches years of street wisdom to the uninterested youth. A black BMW with tinted windows pulls up. The window rolls down, revealing DARNELL (25) behind the wheel. His large diamond earrings glint as he cranes his neck to call out. DARNELL: Yo Reggie! Reggie turns, forces a smile, and drags his bad leg to the car. REGGIE: Darnell. (to teens) Y'all keep a good watch now, hear? DARNELL: Get in, we goin' for a ride. REGGIE: I thought I was s'posed to be working the corners today. DARNELL: Change of plans, man. Get in. Reggie hesitantly shakes is head and makes his way to the back door. Turning with feigned confidence to the teenagers. REGGIE: I told y'all I wouldn't be out here long. Yes sir, moving on up in style. He reaches for the handle- DARNELL: Nah, up here, in front. Reggie glances up to see TUCKY (30) get out of the passenger side. Tucky gives Reggie an icy stare and turns to get in the back, a large scar climbing the side of his bald head. Reggie limps around to the front seat. INT. BMW Reggie admires the interior of the car as he gets in. He notices Darnell's gold chains, flashy clothes, and the gold Rolex loosely dangling on his wrist as the young man turns the wheel to pull away. REGGIE: Look at you. You come a long way, boy. We all proud of you. Your uncle too. DARNELL: That right? REGGIE: Hell yeah. I known your uncle a long time, boy. We come up on these streets together. That's why. I mean. This bullshit the other day-- DARNELL: You don't gotta worry about that. REGGIE: No? DARNELL: Nah, it's aight, man. TUCKY: You don't gotta worry about nothing no more, Reg. Darnell shoots Tucky a frown. Tucky just shrugs as he lights a blunt. Reggie's face drops. He looks to his feet as smoke billows over him from behind. Tucky reaches forward with the blunt. Reggie waives him off. Darnell takes it. REGGIE: Yes sir. Come a long way. I remember when you was a boy. Knew you would be something. Yes sir, natural leader. (chuckles) You always goin round with that three-legged dog, remember? Darnell laughs out a puff of smoke. DARNELL: Rufus. REGGIE: Yeah, Rufus. No one else even bothered to give him a damn name. Mangy street dog. But you took him in, took care of him. He followed you everywhere. Loyal, yes sir. DARNELL: Dogs be that way. REGGIE: Yeah, I suppose. Whatever happened to old Rufus? DARNELL: Got old. Darnell hands the blunt back to Tucky. Reggie snatches it away and pulls a long drag until he erupts with violent coughing. Tucky slaps him on the back. TUCKY: There you go, old-timer. Good for you. (gesturing out the window) Come on, we here. This'll only take a minute. Darnell watches Reggie get out, still coughing as Tucky leads him away. DARNELL: See you around, Reg. Reggie only manages a couple strained nods as his blood-shot eyes look at Darnell for the last time.

Hey, great start, folks! I'll try my best to read all of your scenes, but also encourage you to do the same. Good learning process both in writing and commenting on pages. Also a reminder: Please keep a running tab of your scenes if you are interested in netting one or two Core courses for free. Back tomorrow at Noon EDT with another prompt!

Scene 1 HONDA CIVIC, DAY: LAUNA, leans her head out the passenger window. She spits a gummy bear into the wind, smack, it sticks to the back window. She sits back in her seat, hand-me-down t-shirt too baggy for her 11 year old frame. She puts on her soccer cleats, feet up on the dashboard. SAWYER, 23, stern, keeps his eyes on the road. A folded slip of PAPER falls out of the glove compartment. Launa picks it up and starts to unfold it. Sawyer glances over. SAWYER Whoa hey, gimme that! LAUNA ooooh that from Sara? SAWYER No. It’s… you been following me again? LAUNA No. SAWYER Liar. Launa sticks out her tongue, it’s red from eating gummy bears. SAWYER Where else you been following me. Launa looks out the window. LAUNA Panino’s, Tommy’s house, the bridge back by Nelson’s- SAWYER Launa you can’t go following people around like that, you’re gonna get into trouble in those places, what if Nelson caught you huh? LAUNA Well you- SAWYER Just cause I go don’t make it right. And if he Did catch you, older brothers ain’t around forever you know. I can’t always be saving your neck. They pull up to a brown field. Two kids pass a soccer ball, another sits in the grass tying their shoe. Launa reaches for her gym bag. SAWYER You got your cell? LAWNA yep! SAWYER Now you call Dad to pick you up this time. She opens the door to get out, Sawyer stops her. SAWYER Launa, look at me. Promise me you won’t go near Nelson’s again. k? she turns SAWYER okay? LAUNA okay sheesh you’re starting to sound like Aunt Maggie. She steps out. He stops her again. SAWYER Launa. I’m sorry. he holds out the bag of gummy bears. LAUNA Naw s’okay you have the rest. see you at 7. Sawyer watches her run off to join the other kids. He picks up the slip of paper, now half open. It reads: Bridge, 7 o’clock. he opens the glove compartment, places the paper neatly over a hand gun, pops a few gummy bears in his mouth like they’re aspirin, and drives off.

Scene 1: INT. CHILD’S ROOM TOM, about 5, sits on the floor of his room in a pile of lego blocks, when STEVEN, in his late 30s and wearing a shirt and tie enters. We catch a glimpse of an establishment man dressed in a suit and with a bluetooth earpiece trailing from his ear. TOM Papa, I can’t find the grey piece. STEVEN Look Papa can’t help you know kid, Papa doesn’t have much time. TOM No, I need some grey pieces to complete the castle. That’s the kitchen and my room’s there but I can’t complete your and mama’s room without some grey pieces. STEVEN Ok then little man, we’re gonna find your pieces. They both crouch down and begin to sift through a pile of lego pieces The door opens and the ESTABLISHMENT MAN enters ESTABLISHEMNT MAN 2 minutes, Mr Mullery TOM Who’s that Papa? STEVEN It doesn’t matter kid, you’re never going to see him again (beat) Look, I’m running out of time Tom truimphantly holds up a grey piece and sticks it to the ‘castle’. TOM I found one! STEVEN Just remember that what I did, that was all for you. I never wanted this to happen to me, to us. Tom, oblivious to his words continues to intently scan the pile of lego. STEVEN (CONT’D) Just remember the good times we had, like, like do you remember that time at the zoo. TOM Yeah, you gave me too many ice creams and I sicked in Mama’s handbag and had to go home. This seems to hit Steven hard, as the ESTABLISHMENT MAN enters. ESTABLISHEMNT MAN We have to go right now Mr Mullery, follow me please TOM (alarmed) What is he doing here Papa, he’s scaring me. Steven slowly and reluctantly stands up. STEVEN I have to go now. TOM But you’ll be back soon right. Promise? Steven swallows, close to tears STEVEN Promise, I’ll see you again, sometime. ESTABLISHEMNT MAN Mr Mullery, we have to leave right now. STEVEN (walking towards the door) Some people might say mean things about Papa, they’re not true ok. Remember the beach, remember that time we all went to the zoo. I love you kid.

EXT. TREE CANOPY – DAY Dusk. Large prehistoric vines and extended branches surround a small clearing near the trunk of a gigantic tree. The last rays of sunshine peak through the vines. PUCK, a male T. Rex with dark green skin and black shading, carries a dead hadrosaur in his jaws. Blood and skin drips from its lip. Puck plops the hadrosaur at the feet of MINNIE, a female T. Rex with light green skin and purple shading. She is slightly smaller than Puck, but looks just as ferocious. The two dinosaurs tear into the hadrosaur. They enjoy their meal with grunts, slurps, and growls. A loud POP in the distance causes Puck to look carefully over his shoulders. A large chunk of meat remains on the hadrosaur's ribs. Puck leans his head down and nudges the piece of meat towards Minnie. Minnie happily devours the last piece of meat. EXT. TREE CANOPY – NIGHT One hour later. Another loud POP in the distance. Puck stands guard, eyes focused. Minnie, full and relaxed, curls up on the ground next to the massive tree trunk. Puck cranes his neck around, stares down at Minnie. His predatory eyes open a little wider, show glimpses of compassion. Puck reaches his jaw up and snaps off a large palm tree branch off the tree. He gently lays it over Minnie's body like a blanket. She's already fast asleep. Puck takes one last look at Minnie. He walks through the vines and out of the tree canopy. EXT. FIELD – MOMENTS LATER Puck runs full speed, teeth blaring. The POP gets closer. Puck stops full force and digs his claws into the dry dirt. A cloud of dust covers him before it settles. Out of nowhere, a chrome TIME PORTAL appears in the field. Smoke, lights, and a purple force field appears in the center. Puck stands his ground. A Humvee filled with SOLDIERS bursts through the time portal. Guns and military weapons point at Puck. He lets out a massive ROAR and charges full speed towards the soldiers. FADE OUT.

Interesting twist and take on the prompt. I enjoyed it.

SCENE 1_____________________________________ EXT.STREET.DAY We focus on 2 empty seats by the wall beside a door. The other seats are all filled with teenagers. An OLD MAN and a girl, 18, VALERIE sit down on the seats. Other teens giggle as they see her with the OLD MAN VALERIE(too jolly, nervous) This IS a nice place isn't it? A slow jazz is being played in the background OLD MAN(deadpan) I dont see in what way? Valerie looks over to the CAMERA, recalling something, tensed. Images fly around the screen of her with the same expression in classrooms, labs, parties. The old man however is staring intensely at his wrist watch. PEOPLE(V.O) why are you always so serious.… God! She's so shy!… miss pin drop of silence…(Laughs) She snaps out of it. VALERIE (Looking at the old man) Why……… Why do you ALWAYS have to be like this. OLD MAN(looks over to her, sorry) I…… you know… HOW I am… I take you as my… Eyes, wet VALERIE(concerned) Hey… are you…? OLD MAN I wanted to tell you, listen…umm…(changes his mind) I'll be at the … hospital today… VALERIE Aren't you always are… pussy cat…(smiles) She is interrupted by a voice of an officer Voice(O.S) Maam, if you would please move your car a bit off road? VALERIE is embarrassed… The old man gets up taking off the keys and slowly(too old) walks out. We hear giggles off screen. She is even more embarrassed. A bell rings, VALERIE jumps off her seat in hurry. The old man looks over to her. OLD MAN Valerie! He keeps calling for her… but his voice cannot come out loud enough. He struggles towards her. All students are now crowded and walking in. OLD MAN Valerie... I love.. He falls. He is hurt. He, with great effort stands. OLD MAN Valerie... goodb.. He gives up as the last one walks in and the door shuts. He walks to the door and as he is about to hold the knob…he drifts off to his thoughts OLD MAN(V.O.) Valerie... I want you to come back PEOPLE(V.O) [Laughs and cheap comments] VALERIE(V.O.) how could you?(sobbing) He moves his hand away from the knob, Beep…beep..beep He looks over his watch. He turns, his back towards the CAMERA, a black silhouette in front of him. OLD MAN Now, we're even… YOU… FADE TO BLACK as we hear a shot fired.

Definitely seems to be a prompt that would lead to emotional scenes like this. The fact that the prompt asks for a goodbye for someone who "won't be back" really makes me want more info about where Jeff is going and why. Very nice.

Oh man, heartbreaking. Had to read yours and comment because of the strange coincidence of you and I posting back-to-back HOSPITAL ROOM scenes. I definitely feel yours is more powerful.

So cruel of John to pretend he is concerned that he might not get everything on the list. Found it a little odd then that he pushes back on the butter request after specifically saying he wants to get her whatever she wants. I do like imagining the voicemail message though.

SCENE 1_____________________________________ EXT.STREET.DAY We focus on 2 empty seats by a wall beside a door. The other seats, filled with teenagers. An OLD MAN and a girl, 18, VALERIE sit down on the seats. Other teens giggle as they see her with the OLD MAN VALERIE(too jolly, nervous) This IS a nice place isn't it? A slow jazz is being played in the background OLD MAN(deadpan) I dont see in what way? Valerie looks over to the CAMERA, recalling,panic. Images fly around the screen of her with the same expression in classrooms, labs, parties. The old man is staring intensely at his wrist watch. PEOPLE(V.O) so serious!… God! She's so shy!… miss pin drop of silence…(Laughs) She snaps out of it. VALERIE (Looking at the old man) Why…Why do you ALWAYS have to be like this? OLD MAN(looks over to her, sorry) I…… you know… HOW I am… I take you as my… Eyes, wet VALERIE(concerned) Hey… are you…? OLD MAN I wanted to tell you, listen…umm…(change of mind) I'll be at the … hospital today… VALERIE Aren't you always(teasing)… pussy cat…(smiles) She is interrupted by a voice of an officer Voice(O.S) Maam, if you would please move your car a bit off road? VALERIE is embarrassed… The old man gets up taking off the keys and slowly(too old) walks out. We hear giggles off screen. She is even more embarrassed. A bell rings, VALERIE jumps off her seat in hurry. The old man looks over to her. OLD MAN Valerie! He is calling for her… but his voice can't come out loud enough. He struggles towards her. All students are now crowded and walking in. OLD MAN Valerie... I love.. He falls. He is hurt. He, with great effort stands. OLD MAN Valerie... goodb.. He gives up as the last one walks in and the door shuts. He walks to the door and as he is about to hold the knob…he drifts off OLD MAN(V.O.) Valerie... I want you to come back PEOPLE(V.O) [Laughs and cheap comments] VALERIE(V.O.) how could you?(sobbing) He moves his hand away from the knob, Beep…beep..beep He looks over his watch. He turns, back towards the CAMERA, a black silhouette in front of him. OLD MAN Now, we're even… YOU… FADE TO BLACK as we hear a shot fired.

Scene 1. INT. TOP FLOOR DORM ROOM - LATE NIGHT STEVEN (20, very athletic and good looking) is just about to go to bed when there's knock on the door. It's EDUARDO (19, a misfit, tiny stature and dressed in old, worn clothes.) looking very happy. STEVEN Hey man, why you up this late? EDUARDO I want to talk. STEVEN Now? EDUARDO Well, if you're busy... STEVEN No, it's cool. Come in. They sit down next to each other on the bed. EDUARDO It's been a great day, week actually. I may not have much in life, money, friends, or... well, anything really. But knowing that you're there, it means a lot. You know how thankful I am for that? STEVEN I'm happy for you. So, it's all good? No bad thoughts? EDUARDO Nope, I just feel good, you know? STEVEN That's awesome, really. Maybe you can come watch my game tomorrow then, it'll be great for you to be around people. EDUARDO Sounds really fun. Can't wait. Eduardo stands up. EDUARDO I love you, you know that. No one has ever been this nice to me. STEVEN It's... cool, man. Don't over think it. You'd do the same. Eduardo turns around and walks over to the door, opens it up to leave. His happy face quickly turns sad. STEVEN See you tomorrow! Before closing the door, Eduardo turns around and forces a smile. INT. HALLWAY/STAIRWELL - CONTINUOUS Eduardo walks towards the stairwell but instead of going down he turns the other way, and takes the stairs going up. FADE TO BLACK.

I would read on. I'm very curious as to what she plans to do. It's probably not something Josie would approve of...

EXT. PARK - DAY Danielle and Evan sit on a park bench. The leaves shift in the breeze, splattering them with sunshine. Evan leans back, closes his eyes, lets the sun warm his face. DANIELLE: Evan? Evan doesn’t move. EVAN: Hmm? DANIELLE: Evan, look at me. This is important. He sits up, opens his eyes. EVAN: What? DANIELLE: Well, um... that fellowship? The one out in California? EVAN: Yeah. Did you send in your application yet? DANIELLE: Yeah. Didn’t you? EVAN: No, I’m still working on the essays. And I haven’t gotten the rec letter from David yet. DANIELLE: But, Evan you mi - EVAN: I’m trying not to get to excited about it, you know? It would be so amazing to go out there, work in those labs... DANIELLE: Yeah, it would. EVAN: When’s the deadline again? Danielle shifts on the bench. DANIELLE: I’m not sure. EVAN: So, what was so important? DANIELLE: Oh, well, would you read my essay? Before I send it off? EVAN: Sure. DANIELLE: Thanks. Evan leans back on the bench again. Danielle rummages through her bag. Inside the bag is a large, thick envelope; under Danielle’s address, it reads Congratulations! She finally finds her phone, pulls it out. She glances at Evan, who’s not looking. She closes her bag quickly, hiding the envelope from view.

Int. Trailer - Day WADE, a blue-collar, 80-something man, sits hunched over on the fold-out couch/bed. The place is littered with empty beer cans and cigarette buds. The window blinds shut so that only very little sunlight seeps through. Smoking a cigarette, Wade stares at the table across from him, on which rests an imposing, motor-powered generator. The sight of the generator strikes visibile fear in Wade's eyes. He smokes anxiously, taking frequent drags, hands trembling. He smokes the cigarette down to the butt until there is nothing left. Wade stomps the ember out on the floor. He shifts his attention from the generator to the built-in phone unit. Wade holds the phone in his hand, the dial tone ringing as he hesitates. He dials. After a few rings, the other line answers. Harry: Hello? No response from Wade, unsure as what to say. Harry: Hello? Wade: Harry. Harry: Wade? Wade: Yup. A long, awkward pause as Harry waits for Wade to say something. Harry: You okay? Wade: Yeah. Harry: Do ya need something? Wade: I was uh...I was wonderin'...you got plans this weekend? Harry: Do I have plans? Yeah, Wade, my schedule is just completely jam-packed. A long pause. Harry: That was a joke, Wade. Why, what were ya thinkin'? Wade: Well, I figured, being trout season is almost over, and summer's near and before ya know it, lake'll be packed... Harry: Ya wanna go fish? Tears begin streaming down Wade's face, but he keeps his voice composed. Wade: Ya Harry, I wanna go fishin'. Harry: What day? Wade: Whatever day you'd like. Harry: Let's do Sunday. Less of a hassle while the crowd's all at church. I'll pick you up around 6. Wade: That would be perfect, Harry. Harry: Alright. Another long pause. Harry: Well, I guess I'll see you then. Wade: I'll see you then, Harry. Wade hangs up the phone. He lets go of his tears, then buries his face in his palm. After taking a moment, he gets up and approaches the generator. Wade pulls the rip-cord, and after a couple of tries the generator is up and running. Wade lies back onto the bed and closes his eyes.

EXT. PARK – MORNING MAUDE (28) is pushing her friend JASON (27) in his wheelchair towards a park bench. Maude sits and places Jason’s wheelchair adjacent to the bench and pauses to look around at the view. Quite suddenly, she commences to pat all of her pockets down, appearing to be in the process of looking for something. MAUDE: Did you see my glove? I could’ve sworn that I had it in… JASON: It’s here Maude. The assistant at the bakery was generous enough to give it to me after you conveniently left it by the table and then stared at it when you got up to leave just to check it was still here. If you're not ready for this... MAUDE: I can’t be sure that this is what you want. What I want. What your sister would want. JASON: You have the letter for her though don’t you? There is nothing there that mentions you had any part in this. All I need is a promise that you’ll deliver it. You really want to keep that wig on now we're out of town? Maude places her hand flat on her head and drags the wig down the front of her face as if removing it. However, it stops when it covers her face. Sobbing emanates from behind the wig. JASON: Maude. They won’t know it was you. The nurse always goes to get the cakes for me. They won’t know who I am or who you were. I'll even put the stuff in it myself if you want me to. Apparently it should only take a half an hour before it fully takes effect and then (BEAT) out like a light forever. The wig is pulled off completely. Maude takes a deep breath but the juddering of her exhaled breath shows she is still very emotional. The marks left by the wig shows she was holding it particularly tight to her face. MAUDE: Do you remember when I wore this to your 21st birthday? It was right before your accident. Right before all of this? Maude signals towards Jason’s midriff and legs by waving the wig in the direction of his body to show what she means by ‘all of this’ MAUDE (CONT’D) – Seems like such an age away I know. Remember at the party when we dropped the used pregnancy test into Leah’s bag? The look on her dad’s face as she stumbled through the door and fell flat out, the content of her bag spread out, including the test. We had to – JASON: Leah didn’t talk to me for months. She still seemed to talk to you though. Must have really thought it was my idea. I didn’t think she would take it that badly. She’s long gone now. Had a few positive pregnancy tests of her own and raising the results back in Crayfield. (BEAT) Look Maude. I know what you are trying to do. Give me the cake. No more wasting time. You know how I feel about all of 'this', as you put it. I can't keep going on like this. You have to let me finish this. Maude reluctantly passes the bakery bag to Jason, who peeks in and takes the one remaining doughnut from the bag. JASON: Now, you just start walking like you have a purpose and get out of the park and go home before I even take a first bite. This is what I want. It has nothing to do with you. Wait, weren't there two doughnuts in here? Where's mine? MAUDE: Jason. Don’t you see? It has everything to do with me. This isn’t a final trip down memory lane I’m trying to give you here. JASON: What you talking about? MAUDE: That night. With the pregnancy test. I took Leah home after. Her dad was going to beat her senseless once that test fell out of the bag. He just started kicking her over and over. She wouldn’t have survived the beating if the look on his face was anything to go by. So I grabbed her keys that fell out the bag and we ran. JASON: What the hell? And you didn’t call the police? MAUDE: You didn’t see him J. He would’ve killed her. So I drove. Not the best idea in the state I was in, but I kept going. My brain was moving faster than my eyes, or my feet. Until I heard that thud. On Clarkson Street, by the - JASON: Overhill Cemetery. That was you? No…you wouldn’t have kept it from - MAUDE: All this time, I wanted to say something and I couldn’t bring myself to do it. No apology is going to fix what I did and the horror I’ve had to see you go through every day. The only thing I can do to prove I’m sorry is to say this… (BEAT) Enjoy my doughnut.

Scene 1 INT. APARTMENT-LATE AFTERNOON JASON enters the apartment, takes off his shoes and hangs his coat on the one empty hook. GOLDEN SUNLIGHT blasts through the place, painting the oddly colored walls with weird hues. Jason squints, putting his hand to his face. He pauses to think for a moment and then enters the living room, where the light is coming from. The WALL-TO-WALL WINDOWS are open, the opaque DRAPES completely pulled back. MARK sits in his usual chair, but this time he is facing the windows, his back to Jason. JASON: You opened the windows. Mark does not budge except to rub the fingers of his right hand together, as if pinching pepper. JASON: You didn’t answer the phone. Today or yesterday. Still no response from Mark. JASON: (voice trembling) What’s wrong? MARK: (without turning) Such a beautiful afternoon, isn’t it? JASON: Whatever. Are you going to tell me what’s going on? MARK: Nothing’s ‘going on’. I just felt like seeing the sun again. Jason takes a couple steps closer. JASON: You can’t fool me that easily. You were the one who taught me to read people. Remember? MARK: And you think you can read people who can read people? JASON: (agitated) Why are you talking like this?? Why can’t you just tell me? Unseen by Jason, a LUMP catches in Mark’s throat. MARK: You’re just a boy. It wouldn’t be right to involve you in my…affairs. You see the world through an open window. No need to close the drapes just yet. Jason makes a move to face Mark, who swivels in his chair and catches his gaze. Mark looks at Jason with a mix of sadness and fierce pride. MARK: Just look at you. You stand taller now. You don’t hunch. Your every limb is coiled, ready to spring into action- JASON: (fearful) You’re making this sound like goodbye. For just a fraction of a second a shadow of doubt crosses Mark’s face. He wants to say something so badly…but quick as that he shuts down and manages to project a carefree smile. MARK: Oh, no. I’m just sentimental, is all. Come a time about sixty years from now you’ll have these moments too. You’ll get all misty-eyed over nothing and your wife and kids and grandkids will get the same worried look you have now…and you’ll have to explain the concept of sentimentality…just like I’m doing now. Jason looks doubtful for a moment, but the smile weaves its spell. He settles down, looks down at Mark with affection. JASON: So I’ll see you tomorrow? Another lightning quick shadow across Mark’s face, just as quickly conquered. MARK: (quickly and forcefully) Of course. Come by after school. We’ll practice your evasive wristlocks. JASON: (smiling) Sounds like a plan. Jason hesitates a moment longer, then turns and slowly walks toward the door. Mark waits until he is sure Jason has gone down the stairs towards the front door. Then, hands trembling slightly, he picks up the phone and redials the last number. MARK: (not hiding his fear now) I left the windows open. You’ll make it quick? I won’t see a damn red spot on my chest? …Have someone take me away before school’s out tomorrow…(agitated) Do I have to explain my last dying request? …You just leave him out of this, you hear? (whispering) Please, just leave him alone…

INT: A bar and grill in the big city. Julie a 30 something lawyer is waiting for her best friend Nikki , a housewife with three kids to meet her for drinks. Julie seems anxious and very sad. Her face lights up when her friend enters and she quickly puts on a happy face so her friend won't suspect something is wrong. Julie: Thanks for meeting me for drinks Nikki. Nikki: (signals to bartender): Sorry I’m late. I had to drive slowly due to the rain. Julie: I haven’t been here long. Thanks again for coming out on a weeknight. Nikki: Thank Joe. I can’t believe he was willing to watch the kids while I met with you. Julie: You have a great husband. Nikki: I know. I got lucky. Julie: When we were in high school I always knew you two would wind up together. Nikki: I didn’t. Joe was so not my type. (takes a sip of the drink the bartender sets on the bar) So why did you call me here on a weeknight? Julie: (pauses) I called you here tonight because I wanted to talk. Nikki: About what? Julie: I’m leaving in the morning and I need for you to watch Rico for me. Nikki: How long will you be gone? Julie: I got some business to take care of so I don’t know how long I’ll be gone. Nikki: Well you know how much the girls love him... Julie: Thanks Nik. Nikki: You knew I’d say yes. Julie: By the way are you and Joe still thinking about selling the house? Nikki: Yeah we are, but everything we’ve seen is not to our liking. If only we could find a home like yours in a cheaper neighborhood. Julie: I have a feeling you all will find something soon and not in a cheaper neighborhood either. Nikki: Why do you say that? Julie: Because good things always happen to good people and the search will end soon. I just know it. Nikki: From your lips to God’s ears. Julie: God and I have been talking a lot lately. Nikki: Finding religion in your old age? Julie: Just gaining some perspective is all. Don’t you think it’s about time? Nikki: Oh shit, I just got a text. One of the girls is throwing up, and Joe is at his wit’s end. Julie: Go home to your family. I ‘ll bring Rico over in the morning. Nikki: What time? Julie: No later than 9. Nikki: Ok. Well I’ll leave the key under the mat so just let yourself in. Julie: I love you girl. Nikki: See you in the morning. Julie: Good-bye.

Some great pages! Here's my feeble effort. No goodbyes: Scenario: George, an English explosives expert, is leaving NYC to join an MI-6 mission to assassinate Hitler. He's been warned his chance of coming back is negligible. EXT. - NEW YORK CITY - DAY July, 1941. GEORGE and NINA amble close together. As they pass a Roman Catholic church, he stops, looks up at the steeple, then down at the entrance. GEORGE: We should go in there. NINA: I thought you were Anglican. GEORGE: The Anglican church is farther up. I don't have that much time. NINA: (puzzled) Well...all right. INT. - CHURCH - CONTINUOUS Nina dunks her fingertips in the holy water and crosses herself, then splashes George with her wet fingers. He smiles, but grabs her arm. They sit in a pew near the back. NINA: Why are we here? GEORGE: I wanted a memorable place to tell you something important. NINA: What? GEORGE: This morning I got a job offer-- NINA: George! That's wonderful! GEORGE: --Working for a big English concern with connections here in New York. Here. He takes out a small box and opens it, revealing a ring: gold, with two rows of rubies flanking a row of diamonds. She gasps. NINA: What's this? GEORGE: I'd like you to have it. NINA: It's...beautiful. But why a ring? GEORGE: To celebrate the new job. NINA: Oh. She puts the ring on and keeps looking at it, smiling. NINA: Thank you so much! I love it! GEORGE: It was my mother's. I have no sisters, so I ended up with it. I thought you should have it. NINA: You shouldn't have...but I'm so happy you did! She kisses him. GEORGE: When the job is over, maybe we can go someplace safe, spend some time... NINA: Where? He stares up towards the stained glass windows over the altar. GEORGE: Maybe Switzerland. NINA: I've never been to Switzerland! GEORGE: (checking his watch) I start tomorrow, so I'd better get moving. NINA: So soon? GEORGE: I'll call you when I get settled in. I...I love you. They stand. He embraces her, then starts to walk away, holding her hand until the last second. At the door, he looks back. NINA: I love you. GEORGE: One last time, before I go. He goes back, embraces her gently, then turns and strides out the door.

SCENE ONE INT. HOSPITAL PRE-OP CUBICLE - DAY WARREN FELD (70s, sturdy) lies on a portable hospital bed. He wears a hospital gown and his hair is tucked into a surgical cap. WARREN --and I thought that taxi would never come. SHARON FELD (70s, bird-like) perches on an uncomfortable chair beside the bed. She leans forward and takes Warren's hand. SHARON But it did. And I got out. WARREN I was never so scared in all my life! An ORDERLY in hospital scrubs pushes past the curtain into the cubicle. ORDERLY No need to worry, Mr. Feld. The anethesiologist will be along any minute now. Next thing you know, you'll be flirting with the nurses in post-op! The Orderly turns her back to Warren, gives Sharon a meaningful look, and bustles away. Warren and Sharon fumble for what to say... WARREN You've been the most wonderful wife-- SHARON No. Don't start. She bites back tears. WARREN You're right. You're a terrible wife. They both laugh. WARREN The most terrible wife a guy could ever hope for. SHARON Be good in there. Fight hard. Show them what you're made of. Warren thumps his chest. WARREN You heard Dr. Pickett. I've got a good, strong ticker in here. It'll take more than this to slow me down. SHARON Warren-- The ANETHESIOLOGIST strides in. ANETHESIOLOGIST I hate to break this up, kids, but it's show time. Mr. Feld, I'm going to add something to your IV to help you relax. It should kick in as we wheel you to the OR. When we get there, we'll start the general. As she talks, the Anesthesiologist fiddles with the IV. WARREN (slurring his words) I'm hard to put out, you know... ANESTHESIOLOGIST Don't fight it, Mr. Feld. It's for your own good. The Orderly comes back and adjusts the bed. ORDERLY (to Sharon) If you have anything to say... Sharon bends down and kisses Warren on the forehead. SHARON (whispering) You're the most terrible husband in the whole world. The Orderly pushes the bed out of the cubicle with the Anesthesiologist following alongside. From inside the empty cubicle, Sharon watches them wheel down the hallway until they disappear around the corner.

My last scene didn't really fulfill the assignment so here's another go: SCENE ONE, TAKE TWO INT. CABARET - BERLIN 1941 - NIGHT The party is in full swing. A CHANTEUSE in drag croons from the stage. OFFICERS in Nazi uniforms smoke and drink at the small tables and shout to each other over the music. Their DATES laugh as if their lives depended on it. ANJA (30s, glamorous) pushes her way through the raucous crowd to far end of the bar-- where LILI (20s, emaciated) frantically washes glasses. Without speaking, Anja picks up a cloth and starts drying. Lili looks up and grins without slowing down. (They both speak in German with English subtitles.) ANJA Any messages? Lili pulls a fresh dishtowel from the bottom of the stack on the shelf. Anja unfolds it carefully and fulls out a slip of paper concealed inside. She scans it then pops it her mouth and eats it. Lili looks at her inquisitively. ANJA The usual. Lili, reassured, returns her focus to her dishes, without seeing shock wash over Anja's face. LILI What would I do without you Anja? ANJA What you have always done. You'd carry on. LILI It can't be like this forever. One day-- ANJA Shh! They both look around to see if anyone has overheard, but the BARTENDER is scrambling to keep up with drink orders and the crowd's eyes are on the stage. ANJA You must think before you speak, Lili. Or better yet, don't speak at all. Lili nods, deliberate mute. And giggles. Anja's face softens. LILI Maybe after the rally we could-- ANJA Listen to me, Lili. You must learn be quiet. Trust no one. Keep your head down. Lili's back stiffens. Hasn't she hardly said a word all night? Anja wipes a strand of hair out of Lili's eyes. ANJA Clean yourself up. Maybe make friends with one of these officers. She waves her hand at the various porcine specimens arond the cabaret. Small temptation. LILI Is it a mission? Is it dangerous? Is that what-- Anja drops a glass. It shatters. No one in the noisy cabaret notices. They bend down to pick up the glass. ANJA There will always be missions. There will always be danger. She kisses Lili on the forehead. ANJA And you will always be a silly goose. LILI And you will always worry. ANJA Just so. LILI Just so. ANJA steals a glance at her wristwatch. ANJA I must go, Liebling. Remember: the most dangerous thing you can do is survive. As Lili takes the shards of glass to the trash, Anja pulls all of the paper money out of her pocket and stuffs it in under the pile of dishcloths. When Lili returns, Anja is gone. EXT - CABARET - NIGHT Anja steps into a black sedan idling at the curb. It takes off at high speed. (Everyone speaks British English without a trace of accent, including Anja.) DRIVER What kept you, Anna? ANJA / ANNA Nothing. Some lose ends. It's done. FRONT SEAT PASSENGER Those orders couldn't have come soon enough. I'll be glad to see the back of this godforsaken country. ANNA Me, too... She watches the cabaret recede in the distance until it is swallowed up by darkness.

Thank you! I was hoping to subtlety hint that he was being kicked out by his wife, but then, why would that mean he could never see his daughter again? But perhaps he has done something that unforgivable. I would have to iron out specifics if I were to extend this, for sure.

A FATHER and his SON are in a Doctor's office, waiting for the results of tests about the father's recent serious health difficulties. FATHER I hate how they make you fill out all these forms before they will see you. You spend twenty minutes filling out a form so the Doctor can see you for two minutes. SON It is all about the insurance. They practically have to spend all their fee on hiring people to process all the paperwork. FATHER It didn't use to be like this. When you went to the Doctor, they would see you first, before you had to fill out any forms. SON Remember how I was so afraid of getting a shot? I would watch the needle the whole time and when they were about to put it in I would almost be screaming. FATHER The Doctor would ask me to hold your arm so you wouldn't move, so you couldn't pull it away. SON You always told me not to look at it... FATHER The anticipation was the worst part. If you didn't look at it, and it was a surprise, it wouldn't hurt so much... SON I hated the whole thing. The smell of the alcohol they would put on the cotton swab, the way they would wipe your skin before... FATHER You would be as white as a ghost... SON And I hated you, you were in cahoots with them...they hurt me and you didn't care... FATHER It made me feel so terrible... SON You felt terrible? I never thought about that. FATHER I hated to see you so scared... SON When Jesse was born, and I held him for the first time, I knew... I would have to take care of him, to protect him. FATHER He is such a beautiful boy. When visits us he always gives us such a sweet hug and a kiss. He really knocks you off your feet. You cannot help but love him. SON And he really loves his grandparents. I had no idea being it was such a full time job. It makes you think, even being a bad parent is a tremendous amount of work. FATHER You make a lot of mistakes. There are so many things you want to go back and do differently. Nobody hits their kids anymore. We didn't know better then. SON Grandfather beat you too, right? FATHER Did he ever? We had to go pick our own switch out in the woods. And if it wasn't good enough he would give you twice as many licks. SON That was how you learned. Spare the rod... FATHER And when he was drunk he beat Mama too. I could never forgive him for that. He was really such a weak man. SON What about his relationship with his own father? FATHER Oh, he would never talk about that. In fact he never even mentioned Grandfather until the very end, when he got sick himself. The first time I ever heard him say the words "my papa" was two days before he died. To see him just lying there, unable to move, I realized he was just another human being, someone who needed love, just like everyone else. That really woke me up. There was I, almost fifty years old myself, and it was like I had just woke up for the first time. I never left his side, I just held his hand until the end. He was so scared of dying all alone. I guess we all are. SON Did you forgive him then? For what he did to your mother? FATHER No, not then. But I do forgive him now. I certainly understand him better. SON I wouldn't want to wait until then myself. I think each generation gets the chance to do it differently. We learn from those who have come before us. Isn't there a line in a poem that goes "the child is father of the man"? (The FATHER looks hopefully at his son. The SON tentatively put his hand on his father's shoulder and gently caresses him). BLACKOUT

SCENE 2 INT. LIVING ROOM A small and stuffed apartment. The doors to the balcony are open. Dave (9) is playing with a small remote controlled car. It races over the carpet, and some special mountains and obstacles he’s made from stuff lying around. He is very focussed on it DAVE: Vrooam vrooam vrooam ratatatattatata jeeeennnnngg Just as the car is taking a spectacular jump, spinning in the air, We hear a car HONK . Dave drops the remote and runs onto the balcony. EXT. BALCONY Looking onto the street, one story lower is a car, jammed with luggage, suitcases bundled on top. In the backseat is MERVE, a 9 year old Turkish girl. She is hanging over to the drivers seat, honking the horn, giggling. Dave waves at Merve She pretends to pull the pin from a grenade, kisses it and throws it toward Dave. He ducks very dramatically on to the floor. Lays still. Merve’s smile disappears. He’s not moving. Then he suddenly jumps up, holding his hands in the air, thumbs up, laughing. Merve is thrilled. Clapping her hands laughing. DAVE: You wanna go swimming tomorrow?? Merve is trying to open the window, she can’t. *I can’t hear you* she gestures. DAVE: Swimming! He starts to make swimming movements. Merve nods enthusiastically. DAVE: cool.. Out of the building come Merve’s parents and older sister. Her mom with a lot of sandwiches, the sister with a PSP. The parents are quarreling in Turkish. Mom hands the sister the sandwiches, Dad and sister get in, slamming the doors closed. SLAM! SLAM! two times. Dad rolls down the window, mom walks towards it, still arguing. Dad doesn’t listen. Merve is looking up at Dave, she’s making funny faces, pretending to faint. He is laughing his ass of. INT. CAR Dad turns on Turkish music, Loud, they drive off. Merve is still looking at Dave. She waves.The balcony and mum are getting smaller really fast now. SISTER: Dad says we’re going to have holiday forever now.

1. A proficient execution of the prompt. Well done! 2. Dad and sister get in, SLAMMING the doors. closed. SLAM! SLAM! two times... 'Slamming' implies 'closed.' 'Doors' implies two slams.

Thank you Jeff! I'm not a native speaker so I really appreciate comments like this.

Keep up the good work, Jan!

Scene 1 (but Scene 4 for me because I'm going back to do this one because I missed it the first time around) ANSLEY packs her purse to the BRIM. Scans the room for things that she might be forgetting. CARLY walks in yawning. ANSLEY jumps. ANSLEY: You're up. CARLY: Mr. Perelmutter changed his session to 5am, which sucks because half the time he doesn't even show up. ANSLEY (Distracted): Then you should cancel on him one time and let him see how it feels. CARLY: Yeah, I should. But you know… (then) What time are you picking Ricky up? ANSLEY: What? CARLY: Ricky? That guy from work you said you're taking to the airport? ANSLEY: Oh yeah…his flights at - six. He's got this carpet conference in Des Moines. It's a big thing. CARLY: For a website consultant? Your job is so weird. ANSLEY: Yeah, umm. The carpet people are big into web presence so - CARLY: Sure. I mean. Whatever pays the bills right? We certainly know I don't. Carly takes a sip of coffee and leans in to Ansley for an affectionate kiss. Ansley is clearly uncomfortable. ANSLEY: I'd better. Ansley grabs her bag. She gives Carly one last fleeting look. CARLY: See you tonight. ANSLEY: Yeah. Ansley walks out the door. EXT. APARTMENT Ansley is being waited on by a guy CARL. CARL: Oh my God. I thought you weren't coming. He kisses her, she quickly kisses him back. ANSLEY: Carly was up. CARL: Shit. So you told her? Should I go in there? How'd my sister take it?

EXT. HOTEL DUJOUR - NIGHT Rain beats at the old 1940s building. INT. HOTEL - HALLWAY A pair of wet black loafers plod to Room 213. INT. HOTEL ROOM Other side of door. A HEAVY KNOCK Behind, we hear a GUN COCK and a FIGURE ambles nervously to the door. A EYE peers in the peephole and his breath is held. HALLWAY A pair of black gloves match the loafers, a shopping bag in one and a dripping black umbrella in the other. He speaks: MICKEY: Sal, it’s Mickey. INSIDE An exhale. The door is unlocked and slowly opened. We see Mickey for the first time, wearing a dark suit and trench coat, shrugging his shoulders. MICKEY: What you don’t trust your old pal, Mickey? SAL: I... I ain’t got many friends left. And can’t trust half of those. Sal leads Mickey in to the MAIN ROOM Mickey sets the bag and umbrella on the dresser. Sal surprises him from behind and pats him down for weapons. SAL: Anybody follow you here? MICKEY: Who would follow me here? (annoyed) I left my piece in the car. Satisfied, Sal heads to the bar and makes a drink with one hand while holding a gun in the other. SAL: I’d say I’m sorry, Mickey, but Gino and Fab came at me two days ago. I gotta get out of town. MICKEY: That’s why I’m here, Sal. I got you just what you need. SAL: The only thing I need is green to hit the road. Mickey slides the bag over to Sal. MICKEY: Check it out. Sal looks in suspiciously. SAL: Is that Gloria’s? Sal pulls out a sandwich. MICKEY: The one and only. Extra peppers. Sal sinks his teeth in desperately. SAL: My god. MICKEY: I know, you probably haven’t eaten in days. I hate to see you like this. You’re like my brother. A GUN COCKS and Mickey is holding it at Sal who’s got both hands around the sandwich, mouth full. MICKEY: He’s a fuck up, too. ----------------------------- NOTE: I tried to do a little twist on the prompt, having the character saying goodbye different from the one that's going away and not coming back.

SCENE 1 EXT. TRAIN STATION PLATFORM - DAY Dusk settles over the city. The station is active, bustling - all except CARTER, sitting on a bench. His nerves speak through his tapping foot, shaking hand holding a bouquet of daisies. BETHANY dashes onto the platform, whips her head around in search of the train. As though he's seen an angel, Carter smiles at Bethany's skittish behavior. She's the yin to his yang. Carter approaches, even-keeled, though he's smitten. Bethany beams, meets him halfway. She inhales the flower's fragrance before taking them. BETHANY: You beat me here. That's a first. CARTER: And miss you? Never. Wouldn't be right. Where's your folks? A beat. Bethany looks to a tearful family embracing. Carter follows, catching her drift. She tucks the flowers into her overnight bag, an excuse to keep her composure. BETHANY: Well, you know. Mom cried, Dad just gave me extra money. Thought it best to keep things brief since they think I'm crazy for doing this. Dad won't let me take the bus with every- CARTER: I wish I was as brave as you. Freedom Ride, that's what this is called, right? Nothing stops you. Bethany smiles at Carter's sweetness. BETHANY: Please. You're gonna be Dr. Carter Hayworth. Whole town's gonna come blazing through your doors sick just so you can cure them. Who needs bravery? CARTER: Well, I need it now. They stand in awkward silence. Bethany just smiles, unsure of what's happening. Carter, now almost trembling, gets on one knee. He reaches into his coat-pocket. People on the platform stop and stare, waiting on the inevitable proposal. Bethany drops her bags, shocked. She kneels in front of Carter, kisses him with passion. Onlookers cheer, a few slapping Carter's back in approval. He's too stunned to do anything but return the kiss. When they finally pull back, Bethany whispers close to his face. He still hasn't pulled out the ring. BETHANY: Listen to me. Save that. CARTER: Beth- BETHANY: Uh uh. Save it. There's a wife in your future. The gorgeous blonde type you like. She'll bake cookies and make babies that look just like you. I'm not built for that life. A TRAIN'S WHISTLE blows in the near distance. More people gather on the platform. CARTER: I never said I wanted that. BETHANY: You don't have to. It's all you know. I'll never fit into it. And I'm going down South today. It's - different, and ... there's riots, you know? But people don't have rights for stupid reasons. That's gotta change. CARTER: But it's so dangerous. You're headed right into hell with a smile, and that's why I want you. We can move there. Would that make it better? Red-faced and shaking, Bethany blinks tears back. His approval is all she wants. Carter's tears fall, unashamed. Bethany helps them both to standing. They hold each other close. Carter, in a breaking but beautiful tenor, sings along with Frank Sinatra's The Way You Look Tonight over the PA system. THE TRAIN'S WHISTLE gives short, quick blasts as it approaches the station before stopping. A conductor steps off of the train. CONDUCTOR: All aboard! Tickets, please. Those nearby give final farewells to loved ones and go to the conductor, luggage in tow. Carter and Bethany hold on, lost in the moment and the music. CONDUCTOR: All aboard, please! Carter and Bethany finally separate. He gathers her luggage, follows her to the train. CARTER: You come home to me. You understand? We'll pick up right where we left off. A beat as a sob catches in Bethany's throat. She knows her safe return isn't likely. She nods in return, a faint smile on her lips. She kisses her fingertips, touches Carter's lips with them. He holds her hand in place, returns the kiss. She takes her bags from him, hands her ticket to the conductor, and boards the train. Unhindered at last, her tears flow. ---------------------

SCENE 4 DAY 1 CHALLENGE Goodbye scene EXT. LONDON HOSPITAL - DAY REBECCA: I understood the first time round. EXT. LONDON CAVE WINE BAR - EVENING A tired looking Rebecca slouches on an oversized table. Tall flouncy Kay-Elizabeth waltzes in and bangs her head on the ceiling of the cave. Rebecca sniggers. KAY-ELIZABETH: I’m getting taller. REBECCA: You’re just plain inadequate here. KAY-ELIZABETH: How’s life shorty? REBECCA: Do you really want to know? KAY-ELIZABETH: No but you do look a little grey. REBECCA: Just as well, I’ve ordered champagne. KAY-ELIZABETH: Celebrating or commiserating? REBECCA: Ask me afterwards. KAY-ELIZABETH: Uno or dos. REBECCA: Do you have to ask? KAY-ELIZABETH: Dos it is. REBECCA: I meant bottle. ... KAY-ELIZABETH: I know we argued but... REBECCA: Argued. You told me my life was meaningless. I’d never been anything but a disappointment to dad. All, after you drank me out of house and home at my birthday party. KAY-ELIZABETH: Still angry, you did call me a cow amongst other things. REBECCA: A compliment in some far flung places... 2nd bottle pops. REBECCA:Calling you a cow was the least I could do. KAY-ELIZABETH: Let’s make alcohol talk to take a hike. REBECCA: So how are things? KAY-ELIZABETH: Getting older and older, still younger than you but ... you get the picture. Everything’s great. Can’t complain. Won’t complain. REBECCA: Mum’s motto. Race you. Rebecca and KAY-ELIZABETH stop sipping their champagne and wolf down several glasses. Suddenly KAY-ELIZABETH stops and hands her bag to Rebecca. KAY-ELIZABETH: I get it from Dad. Back in a sec. REBECCA: 1985 Krug. How much? WAITER: Madam, if you have to ask... REBECCA: Yes yes, I get it. Put this behind the bar, we’ll deal with it later. Rebecca hands KAY-ELIZABETH’s credit card. KAY-ELIZABETH returns. WAITER: Madame Your 1985 Krug Champagne. KAY-ELIZABETH: My God Becks, can you afford this? REBECCA: Not really. Can you? KAY-ELIZABETH: No, maybe we can send it back? REBECCA: Last toast. KAY-ELIZABETH: We should've started with this bottle not end with it. REBECCA: A toast to my tall beautiful sister KAY-ELIZABETH WEBSTER. KAY-ELIZABETH: To you Becks, my sissy short sis. REBECCA: I’m so happy I could die. KAY-ELIZABETH: I've missed you sis. REBECCA: I've always loved you even when you said those terrible things and it seemed I didn't care. KAY-ELIZABETH: Ditto. You've got to admit you've done some pretty terrible things Becks… Becks KAY-ELIZABETH looks up. Rebecca has gone.

we don't have to do these on the day they're posted do we? @IHEATHEN SCENE 1 - July 9. INT FAMILY KITCHEN - EVENING JOANNA, late-thirties working-mom, is hunched at the kitchen island, working on her laptop, snacking on grapes. TYLER, her 14-year-old wannabe-hip-hopper of a son rounds the hallway and awkwardly comes in the room, hoodie, jeans, shoes on and jacket zipped. Backpack slung over one shoulder. Joanna spots the shoes out of the corner of her eye. JOANNA: Tyler... shoes... TYLER: I'm uh... gotta go out. JOANNA: Now? Where? Tyler shuffles his foot nervously. Hefts his backpack over his shoulder. TYLER: Jay and I gotta do homework. JOANNA: So don't you do that at home? TYLER: We uh, got a project. I'm supposed to go over by his place, then we gotta go to the library. JOANNA: It's a little late don't you think? Is the library even open? Joanna's not noticing Tyler's nervousness. TYLER: Well, maybe. But we gotta try and get there before it closes. Jay just texted, said to hurry. JOANNA: Okay baby, but don't stay there all night. TYLER: Ok. I won't. I promise. He's about to head for the door when-- JOANNA: Hey... Need a ride? TYLER: Oh... uh, nah, it's okay. I'll take my bike. JOANNA: You sure? Tyler hesitates. TYLER: Yeah I'm sure. Thanks. Mom... I love you. JOANNA: Love you too hun. See you in a bit! TYLER: Yeah. see you. Tyler opens the front-door, looks back once, steps out the door and shuts it behind him. EXT - FAMILY HOUSE - CONTINUOUS Tyler leans against the front door, unzips the top of his backpack. Grabs an 9MM GLOCK from inside, deftly cocks the hammer, releases the safety, puts it back in the bag. He zips up the bag, throws it over his shoulder again, hops on his bike and after one last look at the house, rides off down the street into the dark.

Ok, so I realized my scene might actually work better if I reveal the gun first... here's an alt-version. INT TYLER'S BEDROOM - EVENING TYLER, a 14-year old wannabe hip-hopper sits on the edge of his bed - shoes on, jeans, hoodie and jacket zipped. He stares at a 9MM GLOCK cradled in his hands. Hestating for a moment, then he cocks the chamber, puts the gun into the backpack next to him, zips it shut. INT FAMILY KITCHEN – CONTINUOUS JOANNA, late-thirties working-mom, is hunched at the kitchen island, working on her laptop, snacking on grapes. Tyler awkwardly comes in the room, the backpack slung over one shoulder. Joanna spots the shoes out of the corner of her eye. JOANNA: Tyler… shoes… TYLER: I’m uh… gotta go out. JOANNA: Now? Where? Tyler shuffles his foot nervously. Hefts his backpack over his shoulder. TYLER: Jay and I gotta do homework. JOANNA: So don’t you do that at home? TYLER: We uh, got a project. I’m supposed to go over by his place, then we gotta go to the library. JOANNA: It’s a little late don’t you think? Is the library even open? Joanna’s not noticing Tyler’s nervousness. TYLER: Well, maybe. But we gotta try and get there before it closes. Jay just texted, said to hurry. JOANNA: Okay baby, but don’t stay there all night. TYLER: Ok. I won’t. I promise. He’s about to head for the door when– JOANNA: Hey… Need a ride? TYLER: Oh… uh, nah, it’s okay. I’ll take my bike. JOANNA: You sure? Tyler hesitates. TYLER: Yeah I’m sure. Thanks... Mom -- I love you. JOANNA: Love you too hun. See you in a bit! TYLER: Yeah. see you. Tyler opens the front-door, looks back once, steps out the door and shuts it behind him.

Scene One EXT. FARMER’S MARKET – DAY A large green banner reading CERTIFIED hangs along the rear of a small produce booth. ISABEL (late 20s, workout clothes) stares at the sign, absentmindedly spinning an avocado in her hand. ISABEL: Certified… what? Taking the avocado out of Isabel’s hands, checking it’s firmness, then returning it to the bin, MARIA (mid 30s, workout gear) gently nudges Isabel out of the way, quickly finding a couple of ripe avocados and dropping them into a plastic bag. MARIA: Certified organic. Maria squints over her sunglasses at Isabel. MARIA: You okay? ISABEL: I just don’t get why it doesn’t say “certified organic”. MARIA: (under her breath) ‘Cause it’s probably not organic, but it’s cheaper than the booth next door. Isabel wanders along the U-shaped booth, looking but not looking at the colorful fruits and vegetables. Maria places her near-full bag of vegetables on a scale and hands the attendant money. Isabel’s empty canvas bag dangles at her side as Maria catches up with her, her large reusable grocery bag noticeably full. They stroll toward food trucks at the end of the parking lot. MARIA: Not feeling it today? ISABEL: Huh? Maria eyes Isabel’s empty bag. ISABEL: Oh… right. Sorry. Just thinking about Monday. They wander pass a booth where a man is making a balloon animal for a small blonde boy, elaborate Spider-Mans and Hulks hang in display next to giraffes and horses. MARIA: You’re gonna do fine. ISABEL: I guess. MARIA: No guessing. You've testified against bigger scumbags than this. Perez is small-time. Can’t let him get to you. ISABEL: You’re right. MARIA: And you’re the one who always drags me to these farmer’s markets, so I better see you buy shit. Isabel tries to summon a laugh, failing miserably. They stop in front of a food truck with the Eiffel Tower painted along the side. MARIA: A crepe will mellow you out. Isabel nods “sure”. Maria goes up to the food truck and starts talking to the cashier. A little BLONDE BOY walks up to Isabel holding a grey and pink balloon animal. Isabel looks down at him with a smile. BLONDE BOY: The balloon guy said to give you this. He hands her the balloon animal and runs off. She looks at the twisted grey and pink balloons. It’s a cartoony looking RAT. Written across the belly in sharpie is the name RICKY. The color drains from Isabel’s face as she turns and looks frantically back at the balloon booth. No one’s there. She SCREAMS as Maria touches her shoulder. MARIA: Girl! What’s wrong? Isabel discreetly shoves the balloon rat into her canvas bag. ISABEL: Nothing. You just scared me. MARIA: Are you sure? You don’t look well… ISABEL: Y-yeah. I’m fine. Maria searches Isabel’s face for answers, finding none. MARIA: Crepes’ll be a minute. Maria remembers something, rummaging through her purse, pulling out a pamphlet. MARIA: Check this out. Free kids concert downtown on Tuesday. Thought it’d be a perfect play date for my Alex and your Ricky. Isabel stares at the pamphlet, her eyes losing focus, the world around her dimming and blurring.

EXT. PARK – DAY A medium-sized crowd animates the park. The playground is particularly packed and kids are yelling and having an amazing time. Their parents watch from picnic benches. Public grills are fired up and barbecues are happening. A radio plays light salsa music. There are chess and checkers tables nearby the park, and we see MAX sitting at one, reading a ragged copy of Raymond Chandler’s The Big Sleep. Max is early seventies. He wears a straw fedora and a white, short sleeve button down shirt. His cane is propped on the table next to him, and a leather bag is next to the seat. LOGAN runs over. LOGAN is 12, and exceptionally bright for his age. He is skinny but not un-athletic with dark brown hair. MAX: Oh, not you again. LOGAN: Why aren’t you playing? MAX: Because I haven’t yet learned to read and play checkers against an invisible person at the same time. LOGAN: Well, don’t you think you’re being kinda a table hog? MAX looks around. Nobody else is seated at the other two tables. MAX: Tell you what: I’ll move when the spics drop their cigarettes, decide to suddenly engage in a rousing Chess tournament, and the demand on these fine facilities becomes too great to support an old man’s reading habit. LOGAN: You do know I’m Spanish right? MAX: Are you? LOGAN: My mum’s last name is Vidal. MAX: Hm. Max is still reading. A beat. LOGAN: Well, are we gunna play? Max holds up a finger. Logan looks at him expectedly. He huffs in impatience. MAX: Okay. He puts the book down. MAX: Wanted to finish the chapter. It’s starting to get a bit interesting. Logan sits down as Max gets out his set of Checkers from his bag. LOGAN: Shotgun black. MAX: What is this shotgun? You say that every time. LOGAN: I dunno, my friends and I always say it. MAX: You might try a good please. They begin setting up the checkers. MAX: Be careful with those, my father gave those to me. LOGAN: I know, I know. You say that every time. JOEY, 10, runs over. He is out of breath and has clearly been engaging in some serious playground antics. JOEY: Is that him? MAX: Who is this? LOGAN: Joey, go away. MAX: Who is this? JOEY: I’m his brudda. MAX: I don’t get it. Why isn’t he José? LOGAN: Fine, stay. But be quiet. Max and Logan begin to play checkers with each other while Joey watches quietly, head barely peaking over the table. Logan is losing pretty heavily but both of them are smiling. Possible heckling from both sides as the montage rolls on. Max has his last king cornered and is about to jump it when his phone rings in his bag. Max pulls it out, staring at the caller ID with a disturbed look. MAX (answering): Yeah?... Where I said I’d be. …Yes. Alright. LOGAN: Who was that? Max is about to jump the king. He hesitates. Instead he puts his phone away and leans heavily on his cane as he gets up, wincing. An old-model Toyota Camry has turned the corner to the entrance of the park and swings around to nearby the tables, gives a honk. MAX: My daughter. I have to go do something for her. LOGAN: Aren’t you gunna jump me? MAX: I think I’ve done enough winning for the last few months. It’s getting boring. LOGAN: Whatever. I almost had you in the middle there! MAX: Yes, you did. And what’s really important is you know exactly where it is that you screwed up, don’t you? LOGAN: Yes. MAX: Good. Explain it to him. He indicates Joey as he begins to walk away toward the car. His walk is clearly pained. LOGAN: You’re just gunna leave these with me? Max turns around. MAX: You’re not going to lose them, are you? LOGAN: No way. Joey climbs up onto Max’s seat. Max smiles, his first actual smile. Logan has already started showing his brother how to set up a board. He walks away and gets in the car.

INT. VETERINARY EMERGENCY ROOM - DAY The walls of the small room are lined with cabinets filled with medicine. A long, metal table sits in the center of the room. Various operating instruments lay cluttered on small tables. JIM, 22, enters, hugging a large cardboard box. Inside lies PAGGI, a black, female cocker spaniel wearing a grey sweater. Jim sets the box onto the metal table. He EXHALES and looks at Paggi. She looks back at him and WHIMPERS. JIM: Alright, relax, the vet will be in any minute now. Paggi opens her mouth, PANTING slowly. Jim reaches into the box and strokes her head. JIM: He’s just gonna give you a quick shot. He moves his hand to pet her back through the sweater. JIM: What’s all this fur for if it can’t keep you warm? Paggi’s eyes study Jim. JIM: You’ve been a good friend. You’ve always been there for me. Paggi takes a deep inhale and SIGHS. JIM: I watched you grow up... Jim swallows, fighting back tears. Paggi starts simultaneously WHIMPERING and GASPING for air. JIM: Hey, hey, hey. Shh, shh, shh. It’s okay, it’s okay. Jim rubs his hand on Paggi’s convulsing body, tears dripping from his eyes. Her breathing slowly returns to normal. JIM: You’re okay. You’re okay. It’s okay. He slowly pets her head and body, SNIFFLING. The VET, 55, enters. Jim looks at him. JIM: Will she suffer? VET: No. Jim looks at Paggi, who looks back, her eyes moist. The Vet sticks a syringe into a bottle and pulls the plunger. JIM: I’m just going to be outside. He’s going to make the pain go away. Jim walks toward the door. He stops and turns to the Vet. JIM: Thank you. VET: Mmhmm. The Vet walks over to Paggi as Jim leaves.

(this one turned out a bit long in the box) EXT. IRAQ - NIGHT IAN, 50s, a well-worn UK foreign correspondent, and GERMAN, 35, a US war reporter, have just been reunited after Ian's daring rescue from a group of militants. They're locked in an emotional man hug. IAN: German! My God am I happy to see you. I never thought I'd make it out alive. Never thought I'd see this cheeky face again. Don't you ever go in search of satellite link again, you bugger! (laughs) GERMAN: No, of course not. No more misadventures for you. (beat) Honestly I can't believe this worked. We weren't sure where you were and followed a hunch. Took it on a young shepherd's word that they might have you out here. IAN: Where is he? I want to kiss his hands, his feet. Let me buy his flock and feed his family for a lifetime. He thinks for a second and his mood suddenly goes blue. IAN: There are others, you know. I dare not think what will happen to them at my escape. (in prayer) God, make it painless whatever their fate may be. GERMAN: How many others? Were they in the same area as you? Did you see them? IAN: Some were. Others were kept in different rooms. From what I could tell there were at least four others... It sounded like they made four different ransom videos apart from mine and the two guys with me. (winces) I can't bear to think- GERMAN: Ian... you're out. That's what matters. They know there are others there and they'll do their best to find them and get them. Now listen, you've got to get checked out and check in with home, they're awaiting your call. IAN: What about you? Don't tell me you're off to rig another uplink... (laughs) German feigns a smile. GERMAN: No, not this time, friend. The satellite's been linked, but only for a short while so you'll have to hurry. I've... uh... got to meet a resupply caravan coming through with gas and water. (beat) Listen, if I don't get back before the uplink goes away will you do me a favor and call Stella? There's only a short window and who knows where these cowboys are... He reaches in his pocket and pulls out a worn envelope and hands it to Ian. Ian looks confused. GERMAN (cont): Just in case I don't make it back in time can you read that to her? I haven't talked to her in a while and it's just some thoughts I wrote down and didn't want to forget. I don't want her thinking I've forgotten about her... He slaps Ian on the shoulder as reassurance that it's all good. HONK! German turns to the sound. GERMAN: That's my ride. I'm really glad we got you, brother. You had us good and scared. I wanna hear all about it when I get back. Ian doesn't know what to say. German takes off in the direction of the horn and yells back to Ian. GERMAN: Don't worry, Ian. I'll see you soon. You're safe now. The car takes off into the dark. IAN: Yes... but are you...? INT. JEEP/IRAQ - NIGHT German grabs a walkie talkie. GERMAN: Housefly 1 to Compost Heap... Confirmation of at least four other individuals. Situation vital. I repeat: Confirmation of at least four friendlies. Proceed with caution. 30 minutes out. Over. Looks to the driver in full combat camouflage and nods. Driver hands him three more clips for his sidearm pistol. German then turns behind him and nods to the two other combat ready soldiers in back. GERMAN: You ready, boys? BLACK OUT

SCENE 2 INT. BEDROOM - LATE AFTERNOON Tuxedo on the floor. Bottles on the dresser dripping beer onto the carpet. Somewhere in the room, a cellphone vibrates. In the mirror... An overweight man sprawled underneath expensive looking bed-linen. Big bushy beard encrusted with rice and beans. Snoring loud enough to lift the roof. A little brown spotty mongrel dog, his name collar reading AL, climbs onto the bed. He licks the gunk off his master’s face. His master does not stir. He sits on his haunches, watching him as he sleeps. Alert. Sad. He glances around the room. Crisp packets. The cellphone vibrating on top of the mini-fridge. About to fall off... ...till Al jumps off and catches it. On his hindlegs, he places it on the bedside table. SERIES OF SHOTS: - He nudges close the mini-fridge. - He gathers various trash - crisp packets, condom covers, beer bottles and puts them in the trash can. - He climbs onto the dresser and arranges it, setting bottles upright and setting combs and brushes straight. - He gently paws the tuxedo, pushing it towards the closet. Though he can’t open it himself. He looks up at it forlornly. He gets back onto the bed. Sits on his haunches. Watching. His master stirs, smacks his lips together a few times. Continues snoring. You can almost hear Al sigh. Al jumps off the bed. He approaches a cat flap in the door. He looks back at his master one last time. He turns around. He jumps onto a chair. Onto a dresser. Presses a button on the wall. The curtains slowly begin to open. He leaves then through the cat flap. No looking back. The blinding afternoon light hits DEREK - the man in the bed - in the face. He starts upwards. The duvet falls off him. Inexplicably, a saucepan too falls with a clang to the ground.

I'd sure like to meet your pooch wrangler for this scene. It's okay to tell us that the man in the bed is DEREK right away.

Scene 1 INT. MASTER BEDROOM - DAY Jeannette packs a suitcase. She hears the front door unlock and open. She shoves the suitcase under the bed, but doesn't realize one corner is sticking out. Rosie hurries in. JEANNETTE: So early, Rosie? ROSIE: I hope you don't mind, Miss J. I need to leave early tonight, so I came in early. I didn't expect you home. Jeannette is at a loss. Rosie notices the suitcase corner. JEANNETTE: Have I ever told you how much I appreciate how you take care of us -- take care of Mike and the kids. ROSIE: Thank you, Miss J. JEANNETTE: I like to think of you as more than a housekeeper. I like to think of you as a friend. ROSIE: Miss J. JEANNETTE: Maybe you should start calling me Jeannette. There are things I want you to know. She strides to the master bathroom, Rosie following. INT. MASTER BATHROOM Jeannette opens the medicine cabinet. JEANNETTE: Mike can be forgetful about his medicine if he's not reminded. Rosie notices that the small table by the toilet now has a Spanish-English dictionary on top of the usual magazines. JEANNETTE: Everything is clearly marked. ROSIE: Miss J, you're learning Spanish? JEANNETTE: Whatever do you-- (noticing dictionary) It was going to be a surprise. The better to talk with you. ROSIE: My English is fine. JEANNETTE: Yes. That's good. Mike has no talent for languages. (long beat) Rosie, a mother will do anything for her children. She'll sacrifice anything to protect them. I've made mistakes. They shouldn't suffer. ROSIE: It will all work out. JEANNETTE: No. I need to count on you to make it all work out for them. ROSIE: But Miss J. JEANNETTE: Can I count on you? ROSIE: Of course, Miss J, of course.

DAY ONE: A character has to say goodbye to a good friend without actually saying s/he is leaving and won’t be back A young couple, CATHERINE and TYLER, walk out of a movie theatre. They are dressed casually, squinting against the brightness of the sun. They start walking down the street. CATHERINE: That movie was nuts. I don’t even know why you made me watch that. What do you have against me? TYLER: I thought it would be significantly better. I just found it hilarious how bad it was after a while. Like, you start rewriting it in your head, you know? The more I do that, the more I laugh. CATHERINE: I guess. I just don’t think that I should have to do that. If I pay my money to see a movie that I didn’t make, I think it should be done. Movies aren’t interactive where I should have to mentally edit it. TYLER: Says the woman who I almost can never watch a movie with because she talks back to it nonstop. CATHERINE: I take direct offense to that. TYLER: Of course you do, honey. Tyler puts his arm around Catherine’s shoulder and kisses her on the top of her head while they walk. She smiles, but her eyes shift downward and away from him. CATHERINE: Did you have a chance to think about what I told you about before? TYLER: About the grad program thing? CATHERINE: Yeah. TYLER: Yeah. I think you should stay here. CATHERINE: But you know I’ve wanted to do this for a while. We prepared for this all our lives. TYLER: So? CATHERINE: Well, you remember when we were kids and would play pretend. I was always be the doctor. TYLER: I know. I was just hoping that you would want to stay and do a program near here. CATHERINE: Even though you’ve known since high school that I’ve been looking forward to a particular program. The one I got an offer for. TYLER: Yeah, but that was before we got together and we built this great life. Why would you want to leave? CATHERINE: Why don’t you care about my dreams? It’s always what you want. TYLER: Don’t need to exaggerate it. I do care. That’s why I want you to stay. There are good programs here. CATHERINE: No, you don’t. It’s fine though. If I do stay, I’ll hate you forever. TYLER: Don’t act like a little kid. That’s childish, isn’t it? CATHERINE: I don’t care. This is a big dream. I followed you here for your stuff, but you can’t help me because you’re comfortable? I hate you right now. I don’t want to talk to you. They walk along the sidewalk, slightly further apart than they were previously. There are shots of the beautiful day that they are enjoying: The sun glowing down on them, leaves in a tree nearby dancing in the breeze, a kid skipping down the street while holding his mom’s hand, a dog and its owner playing in a park, other happy couples. Catherine looks up at Tyler and admires him, but she still looks conflicted and a little resigned. CATHERINE: It’s a nice day. TYLER: Yeah. CATHERINE: Cheerful even. TYLER: You talking to me again? CATHERINE: Sure. They move closer to each other. While they do that, they pass by a restaurant where a middle-aged couple are having a hushed argument. The dialogue is muted, but a few words are audible: regret, my life, children, I’m done. Tyler once again puts his arm around Catherine, not noticing the argument, but you can clearly see on Catherine’s face that she saw this argument as a premonition. She looks up at Tyler and then gets a little closer, as though for the last time. TYLER: I love you too. CATHERINE: Yeah. You’re my best friend.

Yes, a little different take on the prompt. Good concept--they're clearly on different wave lengths. Maybe expand a bit on how "as though for the last time" looks. Nice job.

Scene 8 – A character says goodbye without saying he won’t be back. INT. KIARA’S LIVING ROOM – DAY Gym bag on the recliner. KIARA, 23, woman barely keeping it together, stares at framed picture of a family – she’s one of the daughters. JOE, 38, suit and sunglasses, watches her. He stands at parade rest. The screen door in the kitchen bangs, a woman’s voice- WOMAN: Hello? Kiara looks at Joe. He points to his watch, puts his finger to his lips – shhh – and moves to foyer. JULES, 27, at home bounces into the room. It was her voice. JULES: There you are. KIARA: Here I am. Jules notices the bag. JULES: Heading to the gym? If you give me a sec to change I’ll join you. KIARA: Don’t forget to feel Geeves. JULES: Sure. You okay? KIARA: Fine, why? Kiara picks up the strap of the bag, looks at the shadow of Joe behind Jules. JULES: No reason. Did you get milk? Jules looks behind her, the shadow is gone. KIARA: Forgot. I’m heading out, I’ll get it. They look at each other. JULES: is there a surprise party or something? KIARA: No. Why would there be a surprise party? Don’t forget about Geeves. JULES: I won’t. What’s with you? KIARA: Okay. Milk. Kiara slings the bag over her shoulder and walks to the foyer. Jules grabs her arm. JULES: Hey. Kiara hugs her then walks away. The front door opens. Jules follows her into the foyer. Catches sight of Joe. JULES: Hey! Kiara and Joe ignore her. Jules watches Kiara climb into a black van with tinted windows. JULES: HEY!! The van pulls away. It melts into traffic. Is gone. A gray cat slips between Jules’s legs. JULES: Get back here, Geeves. Geeves!

Scene 16 Saying goodbye without saying goodbye INT. LIVING ROOM-DAY Brian, 25, fit, attractive with swagger, hustles to the door. He adjusted his shirt collar as he walks. Ocean's Eleven-type suit. Gary, 25, bed-head, sweatpants, lays on the couch. He's flipping through channels on the TV. GARY: (not looking) Yo, I got dominos coming in a few. And I picked up some Coronas. We going deeeeeppp too-niiiiggght. Brian scratches his head and looks around nervously. BRIAN: Ummm....yeah. I'm meeting Tracey. Gary finally looks up and sees Brian is dressed to impress. GARY: What?! You can't. We've been planning this game day all week. It's the Heat and the Knicks. BRIAN: Yeah I know, but Tracey called and asked me over for dinner. So....(points to the door). Gary is crushed and shocked. GARY: Bros before hoes, man. BRIAN: See that right there is why you are sitting here all alone. I mean, it's Tracey. TRACEY. Dude, she got (makes the gesture for breasts) and sweet, sweet....and lips like.... I'm not turning that down. Plus she can cook. Gary throws his hands up in the air. Brian shrugs. BRIAN: You know what. On second though.... Gary looks hopeful but Brian opens a drawer in the side table and pulls out some condoms. BRIAN: I'll see you Monday.

SCENE 1 INT. LIVING ROOM CLUELESS CHUBS: You've been rather quiet today? LINDA LEAVER: Sorry, I just haven't been feeling well. CLUELESS CHUBS: Another headache? LINDA LEAVER: Yes. CLUELESS CHUBS: Well they say silence is the best cure for that. LINDA LEAVER: I'm feeling a little better...I think some fresh air will help... Do you need anything from the shops? CLUELESS CHUBS: I'm not sure what I fancy. LINDA LEAVER: No matter...I know what I can get us for dinner. (exits room) INT. CAR LINDA LEAVER get inside. She looks at the dashboard. A beat. She picks up a paper wallet and looks inside to see a place ticket, with Honlulu as the destination. A beat. She takes out her cell phone and dials a number. LINDA LEAVER: Hello, I'd like to order a pizza. Delivery please... Yes, I'd like a large Hawaiian pizza... No, nothing else thankyou... Yes, I'll give you the address. Just to add, I won't be there, but my husband will... If he doesn't answer, just keep ringing... He'll get up eventually. FADE OUT.

Feedback 2 You don't see that too often, working with the natural elements, the light of the sun reflecting their relation, or as a comment on things to come. I like it, and I like that in just one scene I get a feeling for both characters and their earlier relationship. His hommage to her art is a nice way of being emotinal and sentimental, but without loosing the prescense, not actually becoming sentimental. And the dog, and as a way to meet again, and his response to her last words, as if he understands how hard it is for her and follows up with a joke to take the edge off, to make it a bit easier and not uncomfortable for her. Creates sympathy for him as well as her. A very well written scene in my opinion. I get the feeling it's part of something longer? I'd very much like to read more.