SCENE 4 EXT. PARK - DAY A busy public park. Crowds of people mill around, jog, picnic, etc., A group of pigeons circle up under a picnic table amongst people’s legs. A large pigeon with an eye missing, THATCHER, addresses the group. THATCHER : Crackers-- fine. Bread crumbs-- fine. Chips-- fine. But... let me hear you all say it... All the pigeons chirp up. ALL THE PIGEONS : Share the french fries. THATCHER: That’s right. Just yesterday Kathy got her first taste because Matthew found one. Sharing fries is being wise. A young pigeon, WALT raises his wing. WALT: Uh, hi. My name is Walt. I’ve um... Wow hard to admit this. I’ve never had a french fry. I actually have some dietary restrictions, so I was wondering if you know might know some of the nutrition facts? I mean there are a lot of healthier options... Thatcher glares at Walt with his one eye. THATCHER: Share the fries or I will light you on fire. He stands up to reveal a lighter clutched in his talon. WALT: Oh, okay. THATCHER: May the fries be with you! Go! The Pigeons disperse and cluck around the tabled area. Walt wonders off, looking around. He picks up a piece of fallen lettuce and eats it. WALT: Excuse me for wanting to live a longer happy life. He looks up. Glowing like a beacon in front of him is a whole container of McDonald’s french fries. He walks up to it. Examines it. WALT (CONT’D): How is it legal to not even list the calorie intake on these things? Thatcher walks up behind him. THATCHER: Holy hell what a mother load. Bring them back to base, I’ll sound the call. WALT: Oh hey now. Wait a minute. I think you’d really be doing everyone a favor to eliminate greasy foods from the tribe’s diet. Thatcher smiles at Walt and eyes the fries dreamily. THATCHER: It’s Will? WALT: It’s Walt. THATCHER: Will Its Walt, you said you’ve never tasted this holy food, correct? WALT: Well, yeah. My last tribe was on the bushman’s diet, but there were some bad mush-- THATCHER: Try one. WALT: Right now? THATCHER: Try it. Walt looks at the fries. He picks one up. He eats it. Fireworks go off his eyes. WALT: Oh my god! Oh my god! Oh my god! I want all the fries in the world!!! He buries his face in the fries container, devouring them. WALT (CONT’D): Fries, fries, fries, fries, fries! THATCHER: Will Its Walt! Sharing fries is being wise. WALT: Are you fucking kidding me? I’m eating every single one of these delicious grease sticks. Walt’s eyes glow with crazy. He spreads his wings out in front the fries to protect them. In a swift move, Thatcher props the lighter up in front of him, lights it with his beak and puts it to Walt’s wing. Walt burst in flames and flaps his wings uselessly. Thatcher drags the fries away. A WOMAN somewhere SHRIEKS. WOMAN (O.S.): OMG another pigeon is on fire!!

Cool. [FYI for you on fries trivia: McDonald's has admitted that their fries contain a carcinogen listed among the 900+ chemicals in CA Prop 65 (sorry I couldn't resist).]

EXT. VIETNAM JUNGLE. DAY A US patrol move methodically through the wilderness of Vietnam, the heat is clearly pressing on them intently and inspects plague their helmets and are irritably swatted away. RYAN an oddly good looking man barely out of his teens. They come across a village, which has already been bombed the hell out of and is aflame. SERGEANT COOPER, who bears a certain amount of authority and is obviously in charge, pauses to admire the destruction around him COOPER Well shit, we really done a job this time. Usual drill everybody. The men split up into pairs and start to search the burning remains of the village intensely, finding nothing besides a few charred corpses, which the men react to with a hardened indifference. All at once, a VILLAGER comes screaming out of one of the houses, badly burned and clutching a long machete like weapon, he catches the soldier searching the nearby remains with Ryan unaware, and just as Ryan notices him, the villager sinks the machete into the soldier’s shoulder. Seeing this, Ryan whips around with a cry and swiftly uppercuts his rifle into the villager’s chin, sending him sprawling to the ground. Ryan’s gun freezes itself from his hands in the process. Cooper runs over, and tosses his gun to Ryan before coldly surveying the situation. COOPER (CONT’D) (to the wounded soldier, with blood pouring out from his soldier) Put some pressure on that son, you’ll be fine, unlike this son-of-a-bitch here. Cooper ferociously kicks the villager, who cries out in pain. COOPER (CONT’D) (nodding to Ryan) Private Jones? Please do us the honour. Ryan looks down to the gun in his hands and then to the villager on the ground, silently pleading with him. RYAN (trying to delay) Shouldn’t we take him in, like for questioning or something? COOPER Fuck that, if you attack one of our boys, this is what happens to you, it’s a clear sign of justice. Ryan delays further, looking at the villager and seeing that they are of similar age, and comes to a decision. RYAN Sorry Sir, but I can’t do that A tenses silence before Cooper realises what he has said COOPER Son, that is a direct order from a commanding officer. Now take my advice and damn well follow that order. RYAN With all due resepect sir, no COOPER (quietly threatening) You little sanctimonious shitbag, for the rest of your year, you will suffer for this, you fuckin’ Commie sympathiser. Grabs the gun from Ryan and violently empties the barrel into the villager, who collapses. COOPER (CONT’D) Oh dear. (raises voice to address the platoon, who have all gathered silently around the confrontation) Ok, two of you make a stretcher for this man here, (pointing to the soldier with the machete in his soldier) Lets head back to base.

Scene 4 INT. KITCHEN - DAY ANNIE sits at the kitchen table doing homework, an enormous math textbook spread out before her. DIANE opens the refrigerator, pulls out a large bowl covered in plastic wrap. DIANE: You’re going to have to finish that soon. Company will be here in a little while. ANNIE: I know, Mom. A doorbell rings. Diane sets the bowl down on the counter, leaves the room. A moment later, she returns with JOANNA, who’s carrying a big covered cake plate. ANNIE: Hi, Aunt Joanna. JOANNA: Hi, Annie. Why are you doing homework on a holiday? Joanna sets the cake plate down on the table, shoving Annie’s books aside. ANNIE: Extra credit. Joanna pulls the lid off the cake plate, revealing a perfect chocolate cake. JOANNA (to Diane): Do you have a stand to put this on? DIANE: I might have one in the dining room. Let me check. Diane leaves the room. Joanna catches Annie eyeing the cake. JOANNA: Don’t even think about it. You shouldn’t be eating cake anyway. I mean, clearly you’ve got no self-control. Joanna looks pointedly at Annie’s stomach. Annie looks down at herself, taking in the baby fat that hasn’t burned off yet. JOANNA: You don’t want to get fat, do you? Annie slowly shakes her head no, not looking up. Diane re-emerges. Annie goes back to her homework. DIANE: I can’t find it. We can just put it on the table like that. JOANNA: Oh. All right. Diane bustles around the kitchen, taking a roast out of the oven, unwrapping things, etc. Joanna goes over to help her. They carry plates of food across the kitchen. In the doorway, Diane stops. DIANE: We really are going to need that table, sweetie. ANNIE: OK. JOANNA: Don’t touch that cake. DIANE: You’ll have to wait until after dinner. They leave the room. Annie starts packing up her school supplies. JOANNA (O.S.): She shouldn’t be having any at all. DIANE (O.S.): What on earth are you talking about? Their voices fade away as the move further into the other room. Annie holds a finger out, as if to touch the cake. She moves it, closer, closer, hesitating, until she barely touches it with the tip of her finger. She pulls her finger away, staring at the dot of chocolate icing on the end. She licks it, grins. She pokes the cake again, licks a bigger dollop off of her finger. She sucks hard, trying to get every last bit of chocolate off of her skin. She looks at the cake again, hesitating, then grabs a small handful, cramming it into her face with a kind of ecstasy. DIANE: I can’t believe - JOANNA: Oh, my God, what are you doing? Annie looks up to see both her mother and aunt have returned, and are standing in the doorway, staring at her. She licks her fingers and shrugs. ANNIE: You said I have no self-control.

Scene 3 INT - RESTAURANT - EVENING STEVE - Late 30's is sitting at a table waiting to order. A WAITRESS - young and professional walks over. WAITRESS: Are you waiting on someone? STEVE: No. I am ready to order. WAITRESS: It's just that a party of four just walked in and this table is more suited to them than it is to you. So if you wouldn't mind moving to a stool at the bar. STEVE: I actually would mind. This table was empty when I walked in and I feel like eating my dinner at a table instead of at a bar. WAITRESS: I know sir, but... The Restaurant MANAGER - old and tired looking walks over. MANAGER: Is there a problem here? WAITRESS: Sir, a party of four walked in and this gentleman is eating alone and I asked him to move to the bar so the larger party can sit here. MANAGER: And... STEVE: I'm not moving. I don't want a bar stool. I want a chair. Why are those four people more important than I am? MANAGER: I assure you that they are not more important, but there are more of them and we need the table. So if it's just you than I am going to have to move you to the bar area. Everyone begins to stare at the confrontation. Steve looks around. A few other people are sitting alone. He points to a BALDING MAN. STEVE: What about that guy. He's alone. BALDING MAN: My wife is in the bathroom. Steve points to a COLLEGE AGED WOMAN Steve: Her. She's alone. COLLEGE AGED WOMAN: Im waiting on my friends you idiot. I have friends. Loser. STEVE: Well then I'm waiting on someone too. WAITRESS: You already said you weren't. Steve pulls out his cellphone. He dials. STEVE: I'm calling them now. The phone keeps ringing. No one answers. STEVE: Con't Not picking up. They must be on their way here. MANAGER: (impatient) Sir. There is a stool at the bar for you. I need this table. Now GET UP!" The Manager pulls out Steve's chair. Everyone in the restaurant is staring at him. No one is eating. A couple of people are recording Steve with their cell phones. Steve looks around. If a fork fell you could hear it right now. Steve gets up. He walks over to the bar and sits down on a stool. Everyone goes back to eating and conversing. The BARTENDER - 20's and wearing a tight t-shirt is talking to a female customer on the other side of the bar. He looks over at Steve. BARTENDER: Give me a second. I'll be right with you. STEVE: No problem.

Haaaaaaaaa! Where the hell did this come from? Would love to see it animated.

INT. HOLDING CELL – NIGHT The heavy iron door unlocks with a clunk. General Volonych (50, always gets what he wants) has arrived. The Interrogator (female, 30’s) seems disappointed by the interruption. Sets the cattle prod back on the table, alongside the pliers and the bloody knives. VOLONYCH: Did he talk? INTERROGATOR: They all talk. She steps aside, giving Volonych – and us – our first sighting of the prisoner slumped in a cold concrete corner. Ryan. Can’t be more than twenty. Nondescript clothes, short hair. She’s messed him up bad. Blood and snot everywhere. He looks up – as best he can, with one eye swollen shut – at Volonych. Interesting. VOLONYCH: It doesn’t matter. New orders. He raises the handgun from his side, points it at Ryan’s head. INTERROGATOR: Wait. There’s more in this one. Secrets. Maybe something you could take upstairs, get yourself a promotion. Volonych hesitates. Ryan just watches him, interested and unafraid. INTERROGATOR: (subtitled Russian) Now or in a few hours, what’s the difference? Volonych looks to Ryan. He shows no sign of understanding that. VOLONYCH: (subtitled Russian) Maybe you just enjoy playing with your prey. INTERROGATOR: There’s something in there. I know it. Volonych sighs. Lowers the gun. VOLONYCH: (subtitled Russian) One hour. He’s gone. The Interrogator turns to the table, takes her time selecting the next implement. The preparation is part of the interrogation. INTERROGATOR: You are lucky. The General knows when to disobey orders. RYAN: (soft, hoarse) So do I. He’s across the room so fast we don’t even see him move. One hand scoops a knife from the table, driving it into her body as he pins her against the wall. Her eyes widen. She has no breath to cry out. RYAN: They ordered me to kill no one except the General. But I never was good with orders. He lets her fall, scoops up a couple more knives, and limps out of the open door.

#4 7/4 "I agree, Marley's is a masterpiece, but there is something about Strummer's version that just pulls at my heart strings every time." INT. OFFICE - MORNING Jansen sits at his desk in deep thought, staring at a blank monitor. Decision time. Cara peeks her head in. CARA-Hey. JANSEN-Hey man. CARA-So, big day? JANSEN-Yeah, you still got that appointment at three right? CARA-Uh, kinda moved it to Monday. He gives her the “Seriously?” look. JANSEN-You moved your gyno appointment, just so you could stay til five and see what’s gonna go down? CARA-Yep. Not cause I wanna see the train wreck though. It was more for support. He smiles. CARA-And, I have to have a release ready by four stating why we “let go” our A and E writer. Unless, y’know... JANSEN-Yeah yeah yeah. Hey,...what’s your favorite Dylan song? CARA-“Desolation Row”. You? JANSEN-“Sad Eyed Lady of the Lowlands”. INT. OFFICE - LATER River, wearing aqua blue parachute type pants that not only are unflattering, but also don’t compliment her ‘punk’ bleached hair style, enters with an I-Pad. She shoves it in his face. RIVER-Fucking tell me you have photos of him doing this last night. The I-Pad shows photos, taken from airplanes landing at O’Hare. Painted on top of the giant oil containers that Jansen and Woolskie looked at on Tuesday, are cartoonish looking limbs. Severed, bloody, arms, legs, heads. The last photo is a realistic black and white painting of the Mayor with dollar signs for eyes. Jansen smiles. JANSEN-I was at open mic last night. Apparently Woolskie was sending a message to the Foreign Council who flew in this morning. RIVER-God fucking damnit Jansen!! You have til five to tell me who he is, or you’re fired. She leaves. He sighs. Pulls out his phone. Looks to the “birthday” photo he took of Woolskie and smiles. He opens his bottom desk drawer and pulls out a bottle of Jameson. INT. OFFICE - 3:00 P.M. Jansen still thinks. Cara enters. Looks at her watch. CARA-Dude, what the fuck? He nods to the bottom drawer. JANSEN-Tooth medicine? CARA-I’m good. What are thinking? You okay? JANSEN-I’m fine. I’ve just been considering... He pulls out the “tooth medicine’ JANSEN-...that if some prick doesn’t kill John Lennon, then “The Stones versus The Beatles” argument never happens, because what Lennon would of done, had he lived, would really trump whatever Mick and Keith bullshit they’ve been doing for the past twenty years. He swigs the Jameson deep. Cara is clearly worried. INT. RIVERS OFFICE - 5:00 P.M. Jansen enters her office. It has a nice view. Bill stands behind her desk, as does a MAN who is most likely a retainered attorney for Windycityist.com They stare at him. RIVER-Well? What’s it gonna be? He looks to her, then out the window. He sees the Picasso statue in front of The Daley Center, the one Woolskie and him sat beneath. JANSEN-Woolskie’s real name is Robert Zimmerman. FuckyouIquit. He leaves. The higher ups are taken aback. River and her ‘punk’ hair turn to the men behind her. RIVER-Huh? Well, now we just gotta find out who Robert Zimmerman is. She actually types the name into Google. ATTORNEY-It’s Bob Dylan. She turns to him. ATTORNEY-Robert Zimmerman is Bob Dylan's real name.

INT. HOUSE - NIGHT The door opens and LILY SACHS (30s) slips into the HALL Light filters from outside, but it is dark inside. She clicks the lights on. A small table by the door, with pictures and a vase of flowers, polished wooden floor. She drops the keys on the table, steps across the hall, towards a darkened doorway. LILY Mark? Are you there? She moves through the doorway, into the LIVING ROOM MARK(O.S.) Where the hell have you been? The lights BLAZE, she blinks, raises one hand to shield her eyes. Her husband, MARK HARRIS (30s), hulks over her, red in the face, glass in hand. MARK Where the hell? He sways, raises the glass and gulps, ice cubes clink. Lily frowns at the sight. The room is white and black, with splashes of color here and there--drapes, cushions, vases. A large off-white carpet on the floor. LILY I had a report to finish... MARK Don't you always? LILY Now, that's not fair. MARK Isn't it? LILY Maybe I've been having much work lately. But I have to do it. You know how things are. MARK Maybe I don't know. Maybe I'm the last to know. His face gets redder. Lily stares at him. LILY What? What are you?... MARK Don't make a fool of me. Don't try it. (sticks forefinger) Don't. LILY Mark? Mark? What are you thinking? You must be drunk. Mark ROARS, raises his FIST, Lily FLINCHES, he THROWS the glass, it SMASHES at Lily's feet, the liquid SPLATTERS her trousers, SPREADS on the carpet. Lily looks at Mark's twisted face, down at her feet, then up at him again. She sets her jaw. LILY This stain won't come off. She turns and clops away, across the room. Mark clenches his fists as he watches her receding back.

SCENE 4 High school. Class of teacher Andrew. Big tension in the air. Everyone stares at what’s happening in front of them. Andrew, teacher, and Kim, student, stand across each other like lions. Andrew: (yelling) grab your books and get the hell out of my class Kim, new girl with long blond hair, looks at the fire in his eyes. He’s breezing heavily through his nose. She walks to her desk. For a moment, it looks like she’s giving in, then, she sits down. Andrew walks up to her. He pushes the books of her table. They spread over the floor. COLLECTIVE OOOH . No one has made Andrew this angry before. Andrew: get out! He grabs her hand and drags her to the door. Andrew: I’ll be back in a moment. They disappear through the door. Silence and then the chatter begins. Everyone talks what happened. We follow Andrew and Kim till they’ve arrived at the headmaster. Headmaster: how did the performance go? Did they buy it? Kim: I think so. Headmaster: good. Within no time they’ll be approaching you. Keep prepared to do your job, agent Kim.

SCENE FOUR INT. HOME FURNISHING STORE – AFTERNOON A MAN in his thirties enters with three young children, TWO GIRLS and one BOY. He looks around uncertainly. He gestures for the children to sit on the couch in the front and points forcibly at a sign: “PLEASE DO NOT TOUCH” The children nod and pile onto the couch. The man approaches a WOMAN behind a desk. The children watch from the couch as the woman nods and escorts the man into another room. For several moments the children sit silently. The boy begins fidgeting and swinging his feet. He looks around the store, which is full of delicate decorations. This room is full of kitchen knick-knacks, with fake food positioned everywhere. He looks at a decoration next to him – a statue of a stern-looking butler holding a platter for drinks. The boy nudges the girl next to him and begins imitating the butler, mimicking the stern face. Both the girls giggle. Encouraged, the boy glances around the room. His eyes fixate on an elaborate display with fake grapes. He stands and peaks into the next room. Not seeing his father, he slowly walks over to the grapes. The two girls are wide-eyed, but intrigued. The boy picks up a strand of grapes, turns to the side, and tilts his head back, pretending to feed himself the grapes. From the girls’ perspective, it looks as if the grapes are disappearing into his mouth. The girls laugh, egging him on. The boy looks around for more props, and sees a decorative pyramid of marbles in the center of a table. He rushes over and takes two marbles off the top and begins to juggle. The girls clap for him. He picks up another marble and starts juggling all three. He’s preoccupied by his success at juggling all three, but the girls’ eyes turn in terror to the pyramid of marbles which seems to be in slow-motion as the marbles fall across the table and to the ground. Realizing what has happened, the boy loses focus and the three marbles he was juggling all hit the ground and bounce to the floor, knocking into various decorations. In a frantic attempt to collect the marbles, the boy knocks over the butler statue, which falls into a table display. The children’s eyes stare in horror at the ensuing mess. The boy darts back to the couch and sits down next to the girls. All three sit silently, eyes forward, hands curled in their laps, attempting to look innocent. The man and the woman return hurriedly to the room. The woman looks around the room, shocked. The man simply sighs with exasperation, shakes his head in frustration, and pulls out his wallet.

HA! So Walt is right to be concerned...

Thanks!! I wish someone would animate birds on fire...

EXT. HIGH SCHOOL FOOTBALL FIELD – NIGHT The bright lights shine on the turf of the Baltic Bees' football field. The SCOREBOARD: Bees: 20 Spartans: 23. Fourth Quarter. Fourth down. 27 seconds remaining. A collection of BEES' PLAYERS sit in an offensive huddle. Their black and yellow uniforms shine on the fifty yard line. RYAN, 18, sits in the center of the huddle. Brooding eyes focus beneath his face mask as the rest of his team listens intently. RYAN: We're pushing through. Fourth down. Horseback. Diamond. River plunge. SET! SET! The silver uniformed Spartans line up on defense. A ROARING CROWD full of students, family, and a few scouts look on from the bleachers. The offense lines up. The Bees' coach, KIT (44), hates what he sees. KIT: Audible. Montee! Audible! Ryan glances over towards the coach. He turns back and steps up for the hike. Frustrated, Kit storms up to a REFEREE, 46, and hand-signals a time-out. MOMENTS LATER Ryan and Kit have a heated discussion on the sideline. KIT: Now's not the time to play hero. We just burned our last time out. Ryan looks at the scoreboard. He glances over the cheering crowd. KIT: Push it up the middle with Jones, spike it, and the kick unit gots the rest. Ryan eyes two SCOUTS. They write down notes. KIT: Textbook. Nothing fancy. Ryan eyes his FAMILY. His BROTHER (36) wears a faded Florida Gators jacket and has two championship rings on his fingers. KIT: Montee! Do you hear me?! Ryan draws his attention to the coach. Ryan: Got it. MOMENTS LATER Ryan lines up. Everything feels like slow motion. JONES, 17, lines up three feet behind Ryan. Ryan eyes the defense. He senses something. Ryan steps back, flaps his arms around, signals to the wide receivers. RYAN: BUZZ! DIAMOND! RIVER PLUNGE. RIVER PLUNGE! Jones jogs out from the back. Ryan steps back into a shotgun formation. Kit FUMES on the sidelines. The defense looks confused. RYAN: HIKE! The ball sails into Ryan's hands. The offensive line and defensive line crash into each other. Ryan glances to the left – the receivers are covered. He turns to the right – a SPARTAN DEFENDER charges in. Ryan ducks – spins – free...for a moment. He plants his foot – swings back – launches the football into the air. It flies – lifts and spirals – Kit doesn't look. He stares at Ryan. The scouts watch the ball fly. Ryan holds his breath. The ball sprials down --- CUT TO: INT. TRUCK – DAY Ryan spins a ball in the passenger seat of a truck. Boxes are stacked high behind him. EXT. TRUCK – DAY The truck drives comes to a stop. A sign reads “Florida University” with an arrow pointing to the left. Another sign reads “Pleasant Community College” with an arrow pointing to the right. The truck lingers for an extra moment. It turns left. Fade Out. SCENE 4

It's tense. You could have actually had a fork drop.

Scene 3: Prompt: A character disobey's an oder. EXT. BOLOGNA - 1511 The Pope rides past a bronze statue of himself. A sprawlling entourage follows. POPE: Halt. He eyes a YOUNG BOY leaned against the far side of the statue, playing in the dirt. POPE: What's occupied your hands boy? The Boy turns away and continues what he's doing. The Pope nods to one of his Cardinals. The Cardinal jumps off his horse arm raised to hit the boy with his riding crop. BOY: S-s-s Stop. Please. CARDINAL: Depart. Take your filthy hands home. BOY: No. N-n-n No. I don't. I don't have a home. Please F-Father. No. I would n-never disgrace the statue. The Cardinal looks to the Pope. The Pope nods. The Cardinal hits the Boy on the back of his legs with the riding crop. CARDINAL: I said go on boy! The Boy gathers something off the ground and rushes to leave. The Cardinal takes it. POPE: What is it? CARDINAL: Diry. Filthy, mud. Just like this street urchin - POPE: Stop! The Cardinal holds out a pile of mud. Except it's not just mud, it's a roughly hewn statue. Replica of the 8 foot tall one in front of them. POPE: You weren't sullying it were you boy? The Boy looks wide-eyed at the Pope, and then snatches his creation from the Cardinal. POPE: You were recreating it.

This was AWESOME!

That was very good. I like the message.

Scene 4 Today’s prompt: A character disobeys an order [suggested by writerhaha]. INT. KITCHEN CARLISLE FARM DOC (50) flips through a magazine, eating his sandwich when GATES (35) enters, carries a cardboard box. DOC What you got there? GATES A box. She continues on. Doc flips another page, Stands. Drops his sandwich. DOC We talked about this. STAIRWAY Gates marches up the stairs. DOC (O.S.) I told you no. HALLWAY Gates continues down the hall, enters a room. GATES ROOM More of an office. Pictures on the walls, a desk and chair. Love seat. She sets the box on the desk. Looks at the memories on the wall. Doc stands in the doorway. DOC We discussed this. I don’t want her in my house. Gates slowly takes a photo off the wall, places it in the box. Then another. GATES I know you’ll be upset for a few days. You’ll adjust. DOC Did Juanita kick you in the head. I said no. The end of a mattress comes through the doorway, followed by Cody, then BJ carrying linen and a pillow. GATES Just lean it over there for now. DOC Cody stop. Take it back. GATES Cody lean it over there. Put the linens on the couch. DOC I will not allow this. Did either of you tell her. BJ Yep. She’s got a bit in her teeth. CODY I need to get the spring. BJ. Cody and BJ walk out. Gates removes their wedding photo from the wall. GATES This was the happiest day of my life. You and I’ve come a long way. Fought many battles together. DOC This is different. I tried everything. She left me. GATES She was fifteen. A teenager. Her mother needed her. DOC I… I… Doc walks out, heavy feet down the hall. GATES It’s the right thing to do. You’ll see. DOC God damn it. You’ll live to regret this. Gates places another memory in the box. GATES (softly) She needs me. Gates sits on the couch, removes her mobile, dials. GATES Hi Marci. It’s me Gates. Listen. I talked to Doc. We’d like you to stay with us. I’m fixing up a room as we speak. Gates looks to the doorway.

SCENE #4: INT. - OFFICE/LIVING ROOM SUITE – DAY BAUMGARTEN, 64, greying at the temples, sits at a desk, wearing a silk suit. He presses an intercom button. Nothing. He presses again and RUSSELL, 50, comes in wearing civvies, carrying a clipboard. Baumgarten rises and approaches Russell. BAUMGARTEN: You took your sweet time getting here. RUSSELL: Sorry, Mr. Baumgartner. I was talking with the Des Moines office. BAUMGARTEN: Good, good. How are things in Des Moines? RUSSELL: Sales up, expenses down. BAUMGARTEN: What about turnover? Did you ask about turnover? RUSSELL: Zero, Sir. BAUMGARTEN: Excellent. Very important indicator, turnover. RUSSELL: Of course, sir. But what did you want to see me about? BAUMGARTEN: I...I...give me a second, Russell. I've got so much on my mind, I need to pick up the traces... He looks up at the ceiling, then turns back to Russell, raising an index finger. BAUMGARTEN: Inventory! RUSSELL: Inventory? BAUMGARTEN: I need to compare inventory with last quarter's figures. Corporate wide, right away. RUSSELL: It will take me an hour or two-- BAUMGARTEN: Not good enough, Russell. I want those figures on my desk sweet twat! Russell writes the order down. RUSSELL: You mean “tout suite.” BAUMGARTEN: You're sure? RUSSELL: Perfectly. BAUMGARTEN: Then make it so, Russell. Make it so! RUSSELL: I'll get right to it, Mr. Baumgarten. Will there be anything else? BAUMGARTEN: Order an audit on Peoria. RUSSELL: (writing) What else? BAUMGARTEN: Fire the guard service, effective immediately. RUSSELL: (writing) Will do. BAUMGARTEN: Write a requisition to redecorate my office. I'm getting tired of it all. He waves his hands at all the walls. Russell makes a note. RUSSELL: How much should I spend? BAUMGARTEN: Thirty...no, forty thousand. No point in half measures. RUSSELL: No point at all. BAUMGARTEN: Now bring me a fifth of Cutty Sark. I think I'll take the rest of the day off. RUSSELL: Uh, no, sir. BAUMGARTEN: No? You're telling me no? RUSSELL: Yes. BAUMGARTEN: That's better. Bring some ice, too. RUSSELL: No whiskey, sir. It's not on your diet. BAUMGARTEN: The hell it is! I want scotch and I want it now! RUSSELL: Sorry, sir. Baumgarten charges at Russell, who wrestles with him. RUSSELL: Attendant! Two white-clad attendants enter and struggle with Baumgarten, give him an injection, then drag him towards the exit. ATTENDANT #1: Sorry I was so rough with him, Dr. Russell. He's still pretty strong. RUSSELL: He won't remember. ATTENDANT #2: Good thing his family can afford to keep him here, Doctor. RUSSELL: (smiling) A very good thing.

SCENE FOUR (PROMPT: A character disobeys an order) A furious DAVE stands over his desk and barks into his phone: DAVE: Angela, get the hell in here! Angela enters. Head down, notepad in hand. DAVE (holds papers): Do you want to explain this to me? ANGELA: I – DAVE: Enough! ANGELA: But you just – DAVE: I said enough! Let me explain something to you, and I’m going to make it as simple as I can since you CLEARLY cannot comprehend basic English: These documents cannot be filed because they aren’t originals. They needed to be filed at three. The deadline was three. What time is it? ANGELA (beat): Four. DAVE: No. It’s four-O-one, Angela. Four-O-Freaking-one! Now you’re going to stay here and you’re going to rectify this situation. Do I make myself clear? Beat. DAVE: Did you hear me? ANGELA: No. DAVE: Then let me repeat – ANGELA: No, I’m not staying here. You have me till five and then I’m gone. DAVE: Who do you – ANGELA: I have plans for the night, plans I’ve had for a while. So no, I’m not going to. DAVE: Angela, if you do not – ANGELA: Then I quit. Dave stands frozen for a second, not quite expecting her to jump to that. DAVE: What? ANGELA: You were going to fire me. Go ahead because I’ve already quit. DAVE: You can’t – ANGELA: I just did. For years I’ve listened to you bitch and moan about everything and how I’ve had to hold your hand. Well find a new secretary, Dave, because this one just quit! Angela snatches the paper from his hand and signs her name. ANGELA: How’s that for a signature on time?

Awesome! I loves it

Very nice!

SCENE TWO INT. CIRCUS DRESSING ROOM - NIGHT Three clowns, scrunched together in the tiny room, apply their makeup. BLOKEY, late 30s, takes up much of the tiny space. He looks as though he is on his last breath before he eventually takes another one. He’s dresses as the typical clown but his plus size makes him unique and instantly recognizable to fans. GOLDEN NOSE, 40s, is the tallest of the three. As his name implies, his clown nose is made of gold. Lastly there is WOOLY , early 20s. GOLDEN NOSE Alright Blokey, you know the rules so I don’t need to remind you... BLOKEY Nope. Blokey pulls out his clown wig. It looks like a multi-colored snow cone. He pulls out a candy bar from the wid. INSERT - The inside of the wig is filled with different candy bars and treats. Blokey chuckles. He pulls with wig over his head. GOLDEN NOSE Wooly. This is not a one man show. It’s Friday night. There will be plenty of people out there who pay good money to see our show. Don’t think that you can do this all on your own. These words go in through one ear of Jake’s and out the other. He continues to apply his makeup. GOLDEN NOSE (CONT’D) Today’s act is simply. Jake, you’ll be juggling. Blokey will be tossing you multiple balls as time goes by. We’ll go up to five, okay? WOOLY Okay. GOLDEN NOSE I’ll be above you on the tight rope doing the same. After the fifth ball is thrown to you, you need to look up at me because I’ll be dropping down for you to catch me. Got that? I didn’t get this golden nose for nothin’. INT. CIRCUS ARENA - NIGHT Wooly and Blokey come out to a cheering audience of about ten people. Wooly begins juggling two balls. Blokey tosses him the third one. Then the fourth. Wooly looks to the crowd who remain unimpressed. Golden Nose begins his journey on the tight rope, juggling two bowling pins as he walks across WOOLY Blokey! The fifth one! Blokey throws him the fifth ball. The audience is half asleep. WOOLY (CONT’D) Blokey, do you have anything else to throw me? Blokey takes a moment to ponder. His face lights up with a bright idea. He removes his clown wig and snatches a handful of candy bars. The crowd gasps. It’s at this time where Golden Nose decides to jump down. Wooly is met with a face full of candies that cause him to drop all the balls and dodge the rest of the candy bars. Golden Nose lands where Wooly had been standing. GOLDEN NOSE Ow. Golden Nose now brown from the dirt. Blokey looks in awe at Wooly and Golden Nose as he eats a candy bar. The crowd begins cheering wildly. Wooly walks to the center and raises his hands in victory. He takes a bow. Golden Nose stares at him with anger and hatred, while covering his nose.

SCENE 4 Int. restaurant kitchen - late afternoon A group of servers are prepping for their shift in an upscale restaurant. GREG, the head wait, instructs trainee, AMANDA, on how to use the wine glass polisher. SHIRA, the GM, walks by. GREG: Super fancy, no? AMANDA: Super high-tech. SHIRA: Greg. GREG: Yeah? SHIRA: Where is your belt? GREG: It broke. SHIRA: It broke? GREG: The little metal thing fell off. SHIRA: Do you only own one belt? GREG: I couldn't find another one in time. Sorry. (turning back to the trainee) Why don't you give it a try? SHIRA: You're going to have to find a belt. Now. GREG: I'm in the middle of- SHIRA (shouting across the kitchen) : John! You're training Amanda tonight. She's on glasses & napkins. Take over, and have her shadow you. JOHN walks to Amanda to take over. Greg turns to Shira. GREG: Alright. What's up? SHIRA: You're going to go find a belt. GREG: I'm not going to find a belt anywhere around here. SHIRA: Figure it out. GREG: Shira. We are talking about a belt? SHIRA: Yes. We are. GREG: No one is going to notice- SHIRA: It's company dress code. GREG: Understood. However- SHIRA: Do I need to ask you again? GREG: Alright. Greg grabs one of the black napkins stacked behind him. He rolls it up and strings it through the belt loops in his pants. GREG (cont.): Voila! SHIRA: You're fired… Get your stuff together, and meet me in my office. Greg stares at Shira as she walks away, unsure of what just happened.

SCENE 4___________________________________ EXT. ORPHANAGE. MORNING EXTREME CLOSE UP ON BARRY'(6) SIDE FACE. His eyes are widened, enjoying himself. We smoothly PULL PULLING BACK---- He is in motion. Seems like he's running. PULLING BACK---- He is on wheelchair. PULLING BACK---- A blonde lady, JANE is riding him, she enjoying as much as him. BARRY, now facing the CAMERA, SLOW MOTION, wearing a batch of The Flash. Play- A superhero track BARRY'S POV- A different world, he is running in Manhattan, big buildings, fancy cars, he passes by a girl, her red skirt blows up as she holds it, blushing. A car coming up towards them. BARRY gasps Music stops He takes his head in his little hands, JANE stops the wheelchair. BARRY: I hit the car. JANE smiles. She leans, JANE: Poor car! Now you've got to pay for it BARRY: I am afraid so… MISS DEGG(O.S): Jane! Jane looks over to her, she is, 50, wicked MISS DEGG: Assembly! MR and MRS Denver have arrived! (muttering to herself) Not like he's needed, that broken toy. JANE is riding Barry to the playground. BARRY: You're so slow… I would've been there in a second! Whooosh! Among the many little children is BARRY, showing off like a soldier. BARRY'S POV - he looks over to the line of children, he visualises, a boy who was laughing at him in costume of a super villain. Play- wicked music. A man and a lady's legs enter Music stops… as they stop in front of him. The lady kneels to him, smiling while BARRY is red, afraid. MRS DENVER: (Tenderly) Whats your name, dear? BARRY: Barry… Barry Allen MRS DENVER: (Looking at his batch) OOoooh… so you're The Flash? BARRY: (whispers)Dont tell anyone! She smiles and looks up to her husband. MRS DENVER: James… MR DEMVER nods. He looks towards Miss Degg MR DENVER: We'd like to have him. Miss Degg: Umm… Are you sure? MR DENVER: (dangerously)Well of course we are. They sign some papers and as they are riding Barry away on chair. BARRY: NO!… where are you taking me! Jane! They stop, Jane heads towards him. JANE: Barry, what are you doing? Go with them. BARRY: No! Come with me! JANE: I'll be visiting you. Go! They're your parents. BARRY: I dont want to!(He starts crying) I'll be with you! Mrs. Denver: (To jane)You told he was looking forward to have us. Jane leans towards him She SLAPS him SILENCE Barry looks at her disbelieving MR AND MRS DENVER watch her exit, they hesitate and then rides him away as Barry is deadpan, snapped out to REALITY. ______________ Thank you for reading=)

SCENE 2 EXT. OPEN PLAN OFFICE CANARY WHARF, LONDON - DAY JAMES: This one. Big FAT No. SUSAN: Please Sir. You’ve got to let this one come out. JAMES: Not up for discussion. SUSAN: Could I at least ask why? JAMES: Do I have to remind you what a D notice really means? SUSAN: I know what it means. JAMES: Well start to act like you know what it means. SUSAN: It's got legs. JAMES: Louis tells me you have a launch story. SUSAN: I’m not having my name on that. JAMES: Then find something else. SUSAN: I did. JAMES: Are you challenging me Susan? SUSAN: I wanted to make the leader. JAMES: I’m not repeating myself. SUSAN: I heard the first time Sir. JAMES: Act like it. I’ll be back at 2. SUSAN: That’s less than an hour. JAMES: Working lunch, do us both good. Any requests? Susie nods and James leaves. Susie collapses into a chair holding a phone. SUSAN: I’ve sent it over. This guy says he knows more of them. He’ll only talk to me so you've got to keep me. .... JAMES: You went ahead and did it. SUSAN: How did you know? JAMES: I was where you are now once upon a time. Susie gets a call. SUSAN: Oh my God. You’re one of them. JAMES: Stop right there. Your story’s already up for libel and you've just put yourself up for gross misconduct. You won’t be able to publish the alphabet by the time this is over.

my first attempt so: scene 1 INT THE MOST BORING FUNERAL HOME YOU’VE EVER SEEN Close ups of: Plastic plants. Some real flowers with brownish leaves. Thermos’ with coffee. Paper tablecloths. A red button to control the lift to the oven in the basement. An old woman trying to put her foot back on the pedal of her wheelchair. The nails in the lid of the coffin. In the back of the room four young pallbearers dressed up as serious men. One of them looks particularly terrible: JAN is wearing brown shoes with his black suit and looks very very tired. The coffin. Next to it the altar. Behind the microphone is MADS, with his 82 years still vital. Enjoying the attention from the few people attending the funeral. A thankful audience: When old people die it’s a nice occasion to meet one another again. MADS: He was and is my older brother, even though it will only be 11 months till I catch up with him. People used to think we were twins. I will miss him, We’ll all miss him. I guess I just want to say... Gerald, thank you for letting me have the last say - this time. Some giggles from the audience MADS:Thanks everyone. waves the Pallbearers to come closer (cheerful) take it away boys.. The four Pallbearers take up the coffin and walk onto the graveyard. Right behind them is Mads. EXT. GRAVEYARD close on Jan carrying the coffin on his shoulder. Ear touching the wood. Some shuffling sound is coming out of the coffin. VOICE: I’m not dead Jan tries to ignore it. Jawns and sort of shakes his head for as far as that’s possible with a coffin on your shoulder VOICE: Hey, fella, I’m pretty tired, too, but... Not. Dead. Jan looks at the bearer in front of him. The back of his head. The flock has arrived at the grave. The coffin is put on the small lift. The pallbearers walk away, except for Jan, taking place behind a stick with a button on it. MADS: Bye Gerald VOICE: Morning Mads Mads looks up, smiling nervously. Looks around. Nobody heard. Except Jan. JAN: Sir I’m not sure he’s dead. MADS: He is as dead as can be. You don’t survive an overdose when you’re 83. JAN: I think I heard him just before sir. MADS: Be quiet. (raises his voice) May he rest in peace! Behind Mads people shuffle by, looking at the grave murmeling something and the quickly walk away. Mads sort of blocks the grave so that nobody can come close. MADS: we can put him down now, young man. JAN: I cannot do that, he might still be alive! MADS: He’s dead VOICE: I don’t think so JAN: Oh my god MADS: (nervous) Just fooling around.. (whispering) Gerald stop it! VOICE: Alright Alright I’m dead, don’t worry.. yeez MADS: You heared him. Jan looks at Mads, at the coffin. At the other bearers having a cigarette in the background. Pushes the button and briskly walks off toward the others. the coffin slowly goes down. MADS: thanks... VOICE: Not dead MADS: You’re dead Gerald! VOICE: Nope MADS: YES! VOICE: no MADS: YES!! VOICE: Always once more No than you say yes. MADS: ARgH! That doesn’t count! VOICE: It does! Mads takes some earth and throws it into the grave. MADS: (whispers) Jerk VOICE: Loser. Mads clenches his fists, gets up, almost stumbles and the walks out of the graveyard. The coffin seems to be smiling.

Be careful! You forgot to write scene 1 or scene 2 on to, that is a cpunt of how many scenes we have posted following this series, if you write 10 scenes you qualify for one core class, if 20 then 2. Nice scene !

That was very interesting and unique. Very nice!

INT. BEDROOM - DAY LAURA lies in bed, looking extremely ill. LAURA Frank? No response from Frank, which annoys her to no end. INT. FAMILY ROOM - DAY Frank sits on the couch, watching TV. He is completely oblivious to his wife’s calls. LAURA (O.S.) Frank!? Frank still doesn’t notice her calling. INT. BEDROOM - DAY Laura, furious, screams off the top of her lungs. LAURA Frank!! INT. FAMILY ROOM Remarkably, still no response to Frank. He watches some comedy program, where a character falls on his ass, causing Frank to laugh hysterically. Having lost her patience, Laura marches out into the family room. LAURA Go to the market. I need you to buy some Tylenol. FRANK Okay, after this show- LAURA Now! Terrified, Frank turns off the TV. FRANK Okay, okay. Got it. INT. SUPERMARKET - DAY Frank walks down the aisles with a basket in hand. He wanders down the cereal aisle, completely out of place and confused. FRANK (muttering to self) Tylenol...tylenol... No tylenol, as all he sees are boxes of Riced Crispies and Captain Crunch. He turns and notices a store clerk. FRANK (CONT’D) Excuse me, where’s the tylenol? CLERK Tylenol? That’ll be aisle 3, next to the ethnic foods section. FRANK Ethnic foods? What the hell is that? CLERK You know, international foods. Curious, Frank walks down the ethnic foods section, looking through all matters of foreign foods, examining each with a childlike curiosity. He puts the foods into the basket. As he walks down the aisle, he spots the produce section nearby. On one of the stands is a basket of oddly shaped fruits. Fascinated, Frank goes to the basket, picks up the fruit and stares at it. He laughs to himself, then sticks the fruit in the basket. Montage of Frank at the grocery store: -Frank using the organic peanut butter machine -Frank sampling every booth at the sample aisle -Frank taking a bottle of deodorant off a shelf, looking both ways for a clerk, then putting it on his armpits -Frank admiring an enormous lobster, scratching and clawing at the seafood clerk as he pulls it from the water tank INT. KITCHEN - DAY Laura sits at the kitchen table, huddled up in a blanket, sipping hot tea. Frank enters, and Laura perks up. LAURA Finally. Frank enters, carrying bags after bags of groceries. LAURA (CONT’D) What the hell...what did you get? FRANK You have no idea some of the things they’ve got there... Frank pulls out one of the odd shaped fruits, looking like a porcupine. He hands it to Laura. FRANK (CONT’D) This is a pine-berry. The guy said it’s one of the rarest fruits in the world. It has needles to ward off bugs. Somewhat grossed out, Laura places the berry on the counter. FRANK (CONT’D) And then, I got this herbal body wash, made using nine different kinds of miner- LAURA Awesome, what about the Tylenol? Laura searches through the bags, and Frank does the same. FRANK Uh, the tylenol? I think it might be in this bag...no wait maybe this one... Realizing that Frank didn’t get the one thing she asked him for, she gives him the angriest stare. LAURA You’ve gotta be kidding me... FRANK Shit. Fuck. I can go back! Laura gets up and storms to the front door. FRANK (CONT’D) Where are you going? LAURA To the store. To get some fucking tylenol! FRANK But you’re sick! The door slams. FRANK (CONT’D) Well that was rude. Frank looks down, and notices that the box containing the lobster is shaking all over the floor. Frank immediately regrets his purchase.

Scene 4 EXT. NEIGHBORHOOD SANDLOT - SUMMER, 1960 MIKE TRAVERS (12) stands at home plate, bat leaning up on his shoulder, surrounded by a group of boys. A head taller than the rest, Mike's obviously the leader of the group. He pops on his weather-beaten cap and starts pointing in turn. MIKE: Ok, outfield. Tommy, you're Ted Williams. Jack, you be Roger Maris. JACK: No, I hate right field! MIKE: Fine, take center. JACK: Yesss, Mickey Mantle. MIKE: Where's Bobby C? RUSSEL (11), a pudgy, fast-talking boy chuckles. RUSSEL: Grounded. I heard he fed Ex-Lax to Mrs. Johnson's poodle. The boys laugh, except for Mike, who frowns with a sigh. MIKE: Ah, jeez. JACK: (pointing) Hey, isn't that your sister? Mike turns to see LANIE (9) trotting up to the field. MIKE: For crying out loud. (calling out) Lanie! Go home! Lanie just shakes her head as she approaches. LANIE: No. I'm playing. RUSSEL: Who's she going to be? Marylin Monroe? The boys laugh. MIKE: Can't you go help mom with dinner or something? LANIE: No. I heard about Bobby. You're short one player. RUSSEL: (shrugs) She's right. Mike rolls his eyes with a groan. MIKE: Fine. Go to right field. LANIE: Can I borrow a glove? MIKE: You don't need a glove. Just stand there and don't do anything. LATER Mike pitches the ball to Russel, who gives a powerful swing - CRACK - the ball goes flying, headed between right and center field. LANIE: I got it! Lanie bites her lip and runs for the ball. MIKE: Lanie! Stop! Jack and Lanie are running full-force towards eachother. JACK: Get out of the way! Jack trips over his feet and goes tumbling to the ground. Lanie leaps over the fallen boy and snatches the ball with her bare hand. She falls to the ground and rolls to a stop. The boys are stunned. They watch, mouths agape, as Lanie gets to her knees and holds up the ball. LANIE: I got it! She stands up and tosses it to the second baseman. He turns to toss it to Mike, who just shakes his head. Lanie goes over to help Jack off the ground. He dusts himself off. JACK: Nice catch. You wanna be Roger Maris? LANIE: Nope. I'm Lanie Travers. She scoops Jack's glove off the ground and takes it with her to right field.

Nice formatting, very clear. Did you actually try the napkin-belt idea? Anyway, a good, fast read.

Cute scene. I was afraid he'd bring home Ty-D-Bol, instead.

Nice dialogue; easy reading.

[ Scene 4. A/N: Fountain.io formatting marks may appear.] INT. KITCHEN – SUMMER MORNING At the sink rinsing out her coffee mug, 40-something MOM eyes 16-year-old SON hunched at kitchen island, half-awake while poised over a massive bowl of cereal, smartphone clutched in one hand with spoon gripped in the other. MOM I didn't see you had anything scheduled on the calendar for this first week of summer vacation. No sports, no other training, no music lessons. I think you can handle some chores. Please empty the dishwasher today, okay? (pause) Did you hear me? SON Huh. Wha—? MOM Empty the dishwasher today, please? SON (nods) Mmm-hmm. MOM exits kitchen, eyeing her SON skeptically as he continues to move at a glacial pace over his cereal. MONTAGE – VARIOUS A) INT. FAMILY ROOM – MORNING – MOM walks through with a load of dirty laundry, eyes SON slumped on couch playing video games. B) INT. HALLWAY – MORNING – MOM walks by SON's bedroom door with a load of folded laundry. SON is slumped in a chair in front of his computer, playing a game. C) EXT. DRIVEWAY – MIDDAY – MOM walks to car past SON, side-eyeing the teen as he dribbles basketball with one hand, watching his smartphone clutched in the other. D) EXT. DECK – AFTERNOON – MOM walks over deck from garage into house, passing SON who reclines on deckchair while gaming on smartphone. E) INT. HALLWAY – AFTERNOON – MOM, standing in Master Bedroom doorway holding her own house phone handset, is passed by SON who is still gaming on smartphone. END OF MONTAGE INT. KITCHEN – LATE AFTERNOON Running into the kitchen in a hurry, college-aged SIS plunks a case of beer and a bottle of wine on the counter while SON sits at the kitchen island, playing a video game on his smartphone. SIS Hey bro, I've got friends coming over for drinks and snacks. Can you stay out of the way? SON Huh. Wha—? SIS Friends. Coming over. Go away. SON (nods) Mmm-hmm. SIS looks in the cupboard for beverage glasses. Seeing none, SIS checks the dishwasher and begins to unload its contents, putting a few glasses on a serving tray and the rest of the dishwasher's load in the cupboard. SIS loads a coffee mug and a couple plates from the sink into the dishwasher, then takes the tray out out of the kitchen in the direction of the deck. MOM enters the kitchen, heads for the dishwasher which she then opens. MOM Hey, thanks for doing your chore, babe. SON Huh. Wha—? MOM Thanks for unloading the dishes. SON (nods) Mmm-hmm. MOM looks skeptically at SON. > FADE TO BLACK.

HANK (45), in the driver’s seat, and SHEILA (38) sit in the front of their compact car, anxious at the exit from a gas station, fixed on the traffic in the five lanes on their side of the divided roadway intersection where the light has just turned red, as cars zoom past them and stop at the light. The far two lanes are left turn lanes. Hank wants to zip across all four lanes to glide into the far turn lane. He eyes the oncoming traffic intensely. Waiting to jump at his prey. Traffic continues to pile up at the light. He has to pounce soon or forget it. There is also another car pulled up to the left and in front of him anxious to jump out into traffic as well. SHEILA: Was that a good price for gas? HANK: No. You kidding? SHEILA (watching the traffic): Just go right. Don’t try it. HANK: It’s OK. Relax. SHEILA: Hank! You know this makes me nervous... She is transfixed on the approaching traffic from the left barreling to the stop light. Hank keeps eying the oncoming traffic and the cars piling up in the lanes in front of him. His head turns back and forth, like he's at a tennis match. Sheila watches him, knowing he will not listen her, getting more anxious by the second. SHEILA: I need a pill. HANK: It’s OK, alright? I’ll go right if I can’t make it, OK? Chill out. SHEILA: Don’t tell me to chill out. You always do this. The traffic lets up just a bit, and the car in front of them zips out leaving very little leeway before a few more cars reach their position. Hank sees his chance. While the car in front is midway into the lanes he pulls out as well, using that car as a lead, tailing very close behind. SHEILA: No! No! Don’t do it! She is petrified. Hank continues across the lanes as the oncoming cars slow a bit with the two cars crossing the lanes in front of them. The first car jumps into a closer lane as Hank barrels through to the empty far lane and pulls up to the light. When he stops, Shelia starts hitting his arm. SHEILA: I HATE it when you do that. HANK: Hey, it’s OK. See we made it. No sweat… Want to get some food? SHEILA: Yeah. Big time. HANK: The dinner? SHEILA: Damned right. I need a drink. The lights change and Hanks swings through the intersection making a U-turn. SHEILA: I hate you. I hate you. I hate you.

Scene 1 Ext: SUBURBAN STREET-NIGHT Quiet street. Muffled music pulsates out of a large Victorian at the end. Sorority house. Girls and guys are spilling out every opening. Lots of green solo cups for the taking. (Note: for those who don't know solo cup status code: green means single, yellow means its complicated, and red means taken) LARRY and ERIC, both in their twenties, stand across the street. Both are dressed like a member of Ocean's Eleven. Eric is the picture of calm, confidence. He's got that swagger everyone wants along with a perfect physique underneath a body hugging button down shirt. Larry, on the other hand, is nervous and jittery. He fidgets in his clothes like an inadequate Eric clone. ERIC: Would you stop fidgeting. You look great. You look....like me. Jesus, you act like you've never been to a party full of girls. LARRY: Not since.....this. Eric slaps a hand on Larry's shoulder. ERIC: It's simple. Just be a regular guy. You've fed so you shouldn't have a problem. Larry is quiet. Eric turns Larry and grabs his head. He brings it close and glares at Larry. ERIC: You didn't feed?! LARRY : I....I....wanted... ERIC: Wanted what? A buffet? Cause that's exactly what you are walking into in there. Eric shoves him away. Larry nervously looks around. LARRY: I wanted to see if I could manage without.... ERIC: You can't. You know this. You use those who are willing. It keeps you under the radar. Eric is barely containing his frustration. ERIC: (to himself) Beatrice and I are going to have a talk when we get home. She knows better than to let you leave like this. And without a single taste? LARRY: I told her I'd already fed. I wasn't hungry. ERIC: Well that's just perfect. But you know you will get hungry. LARRY: I know. I know. Look, I won't....(quietly)....do anything. I promise. ERIC: You bloody well won't. That's a house full of educated women who want to suck on your junk, not the other way around. LARRY: I promise. Eric grabs Larry's shirt and sneers. ERIC: Yes you do. And you keep it or it'll be your head. Larry nods. Eric smoothed out his jacket, composes himself. He starts across the street. ERIC: Let's go. INT: SORORITY HOUSE-UPSTAIRS HALL HOURS LATER Kids are everywhere. Some are talking, some making out like tomorrow doesn't matter. Eric walks among them, enjoying the views. He's seen this lust before. He revels in it. He stops at a closed door and puts his ear to it. He knocks softly then enters. INT. BEDROOM It's dark but streetlight shines in from outside. Eric looks around, but sees no one. The bed is disheveled but empty and clothes are everywhere. A sound comes from the other side of the bed. Eric slowly makes his way passed the discarded clothing..... ERIC: (sing song) Lawrence, darling, have you found a playmate. He peers around the bed and sees Larry naked on top of someone. His body is writhing. ERIC: Good boy. Let's let Eric have a turn... Larry suddenly sits up and turns..... Blood covers his face. The body behind him is a bloody mess. The girl is pale. Eric recoils slightly. ERIC: Motherf....... Eric grabs Larry and throws him off her. Larry hits the wall hard. Quick cut to: INT: HALLWAY The people in the hall hear the loud thud. They stop for a moment to listen, but then got back to their explicit activities. INT. BEDROOM Eric is livid. He stares down at the dead girl, trying to control his own urges.He spins and turns on Larry. ERIC: What did I tell you?! What did I say? Feed so there isn't a problem. Larry nods as tears begin to swell in his eyes. ERIC : This is a fucking problem! He shoves Larry again and begins throwing clothes at him. ERIC: Did anyone see you come in here? Larry just stares at the girl laying on the floor. No answer. Eric shakes him. ERIC : Did anyone see you come in here? Larry shrugs. He doesn't know. Eric: Shit. Get dressed. Eric looks around the room. He grabs the bed spread and covers the girl. Larry fumbles with his clothes. Eric rushes to the door and opens it a crack. He peeks out into the hall. It's just as he left it. Teeming with college kids. He closes it softly. Larry is finally, thankfully dressed. Eric grabs him and pushes him toward the window. ERIC: time to go. Eric pulls open the window and grabs Larry by the neck. ERIC: The next time I give you an order, you fucking follow it. Disobey me again and I'll kill you myself. Larry nervously nods as Eric shoves him out the window.

I like how you make Frank seem to enjoy everything so much. A very positive scene therefore. It did make me wonder: Is Frank supposed to be mentally disabled?

You can really feel the tension between them. Great since it's such an ordinary situation, very believable.

Thank you. It's taken directly from real life observations. I love stuff based on true stories the best.

Scene Two Exterior – Rooftop – Before Dawn The glimmer of the sun is nearly breaking through the horizon. Detective Boyle and Detective Sprawl are perched on the ledge of an abandoned warehouse. The smell of their cigarette smoke blends in with the old and musty smell of the dilapidated rooftop. Detective Boyle: So, any plans for the weekend? Detective Sprawl fidgets with his cigarette butt and looks over his shoulder at the skyline emerging from darkness. Detective Sprawl: No. Nothing really exciting. You? Detective Boyle: Hell yeah. I’m heading out to the lake with a bunch of the guys. It’s always a mess. So, ready to do this? Sprawl breathes deep. Detective Sprawl: Fine. I don’t want to have this hanging over my head if we don’t get this done. So the Chief thinks this will send a strong message? Detective Boyle: Don’t you? These assholes think they can run all over us. Do whatever they want whenever they want like we’re not around. Boyle flicks his cigarette on the ground. It lands near somebody tied up and who’s been worked over. Boyle bends over the body and glances back up at Sprawl. Detective Boyle: Are we untying him or sending him over without a chance to flap his wings? Sprawl yanks out his pistol and fires directly into Boyle’s temple who collapses on the body. Sprawl drops down on his knees and shoves Boyle off to the side. He takes the gag out of the person’s mouth. Detective Sprawl: Asshole. You ok Reggie? Reggie starts to cough when he tries talking after Sprawl takes out the gag. Reggie: Jesus Christ. Were you really trying to kill me? Detective Sprawl: Sorry about those last few hits. Had to fake out Boyle. Reggie: Didn’t need to do that. Guy wasn’t bright. Clueless. Help me up. Sprawl hoists up Reggie and unties his hands. Reggie: So what now? Sprawl pulls out his cigarettes and hands one to Reggie. Detective Sprawl: Up and over with him. Get some breakfast. Get some sleep. Reggie: After that? Are you calling in to let them know you got him out of commission? Detective Sprawl: Guess so. This wasn’t the one they wanted but it will do for now.

Keep it up, folks!

Scene 3 – Disobey a direct order EXT. INTERSECTION OF MAIN AND PEARL – DAY A green MIATA slows for the yellow light, top down. It squeaks to a rocking stop. EMMA – 15, the passenger, wears a “Bazinga” t-shirt. She turns sharply to the driver. FRED – 40, her father and quite happy in striped golf shirt, checks the review mirror. EMMA: This is totally unfair. FRED: Most girls would love to ride in a convertible. EMMA: You know what I mean. Fred gooses the throttle to keep the car from stalling. EMMA (Con’t): My friends are all here. My life. Everything. How can you just ship me off to her like this? FRED: Shipping you off? Do you think I want you to spend the summer with her? EMMA: Don’t you? Fred won’t look at her. A high pitched engine sound creeps over the idling MIATA. EMMA (Con’t): My life is over. They both stare at the red light. It sways in the breeze. The noise grows louder. A black sport motorcycle swerves around them at 90, rockets into the intersection. Slams into the side of Surburban, the rider catapults across the roadway and crunches against the side of a building. Fred and Emma stare. The light turns green.

SCENE 4 INT: A DILAPIDATED WAREHOUSE ON THE OUTSKIRTS OF TOWN-NIGHT TWO GANG MEMBERS ARE ARGUING OVER A BOTCHED HIT RAOUL: I thought I told you to cap that bastard Miguel! MIGUEL: I couldn’t do it man. I froze! RAOUL: Why? MIGUEL: I grew up with Diego. He was my neighbor all through elementary and middle school man. RAOUL: So? MIGUEL: So I like the dude. He’s good people. When my mom was on one of her binges, his folks took me in and made me feel like a member of their family. RAOUL:Now you are a member of this family and when we give an order we expect it to be taken care of. MIGUEL: Get someone else. RAOUL: You know what ? I’ll take care of this hit my damn self. MIGUEL: Raoul…. RAOUL No. If you are gonna act like a punk ass bitch, then either myself, Luis, or Carlos will have to step up. So I volunteered because when I do something, I do it right. MIGUEL: What exactly did the guy do anyway? RAOUL: He sold crack on our turf. He was warned once before but he thinks we playing games with his ass. I’ll teach him a thing or two. LUIS: Diego will be at the party on Sycamore tomorrow night. That would be the perfect spot for the hit! RAOUL: Well that’s that. Tomorrow Diego will be meeting his maker. Thanks to me! MIGUEL: You really need to rethink this Raoul. RAOUL: Shut up Miguel! You had your shot, now it’s time to see how a real man takes care of business.

INTERIOR, THE WILD ELEPHANT, a dimly lit bar full of tight black tee shirts and obscure band t-shirts. KEVIN, mid twenties and hipster-beardy, is holding court before MAGGIE and two other pretty blondes at a tiny round table. Or, rather, the mouse on the table, one RAFAEL by name, is holding court. Kevin is just watching the pretty. RAFAEL ...and so I said of *course* I'll play in your band. You're frickin' Scotty Ian! GIRLS laugh KEVIN (has heard this before) So enough about Rafe. Tell us about you guys. RAFAEL Enough about me? Who do you think you are? I'm talking here! KEVIN You just talk too much, okay? So shut up a while. Let someone else talk. RAFAEL (spins to look up at Kevin) Every time I get a line going, you have to go and fuck with it. KEVIN You're a mouse. RAFAEL I've had two albums go platinum. KEVIN Because you're a mouse. RAFAEL (baring his teeth) I swear to God I'll shit in your Weetabix. KEVIN Because you're a mouse. What else are you going to do? Get all over my hammer while you sleep? MAGGIE Guys. I don't mean to intrude here-- RAFAEL (turns on her) Then don't. KEVIN Don't be like that, Rafe. RAFAEL Don't be like that, Rafe. KEVIN I'm just trying to to say. RAFAEL You're tired of me, is that it? You want me out? I'm ruining your action? I'll tell you what, buddy. Without me you wouldn't *get* any action. MAGGIE We're just going to go, okay? KEVIN It's not about-oh, Christ, no, please don't go. I don't even know your last name. RAFAEL That's because she didn't tell you. Because you're nothing to her. She's here for me. MAGGIE No, really. That's okay. KEVIN I'm not a pick-up artist! RAFAEL I'll say. MAGGIE and one of the blondes leave. A beat. KEVIN (looking at the remaining blonde, ALLISON) Did you get the card? ALLISON, smugly Yup. ---- Scene 4

SCENE FOUR FADE IN EXT. GREENWAY PARK - DAY WALKERS throng the path alongside a tree-lined arroyo. HARALD HORVATH (70s, portly, irascible) bulldozes along the path, knocking passersby out of his way. GLADYS HORVATH (70s, amiable, frazzled) mumbles apologies to the casualties in his wake. GLADYS Harald, please watch where you're going. HARALD You can make me walk, Gladys, but you can't tell me HOW to walk. GLADYS I'm not the one. The cardiologist said-- HARALD (re: passing female jogger) Check out the rump on that one! The jogger gives him the finger and runs on. GLADYS Oh, Harald. Can't you just-- HARALD Long time since your rump looked like that. GLADYS Harald! Harald points to his hearing aid. HARALD Sorry, can't hear you. Batteries low. GLADYS I guess you'll be too tired from the walk to stop for pie... HARALD Pie! Gladys gives him a look of triumph. GLADYS You can too hear me, Harald. Now let's have a nice stroll and then-- Harald ostentatiously dials down his hearing aid and walks off without her. HARALD (sing-song) I can't hear you, I can't hear you... Gladys struggles to catch up. GLADYS (shouting) Harald, turn that thing back on! Harald spies a cafe across the road. Large sign in the window declares: "Special of the Day: Cherry Pie". He beelines across the road toward it. A semi-truck comes barreling down the road toward him-- GLADYS (whispering) Watch out for the truck, Harald... FADE TO BLACK

SCENE 4 INT. HANDLEY JUNIOR HIGH GYMNASIUM - NIGHT Trevor paces outside of the gym, a nervous wreck. Bass from the techno music inside thumps through the walls. A few girls pass him and slow down, watching the curious site. He smiles, braces freshly stained with fruit punch. The girls giggle, duck into the gym. Impatient, Trevor catches the doors before they close and peers inside. A typical junior high dance is in full swing: boys on the sidelines, girls dance together in the middle of the floor. Trevor scans the crowd until- KRISTEN. Classic American beauty: blonde haired, petite, and loved by all. She nods and smiles at a guy, AIDEN, before he starts walking towards the door, a triumphant grin in place. TREVOR (to himself): Oh, dude. She said yes. She said yes! C'mon, man, hurry up. When Kristen glances his way, Trevor shuts the door and steps back, afraid of being made. Seconds later, Aiden exits the gym. His winning smile is now tentative. Trevor almost tackles him on sight. TREVOR: She said yes, right? What happened? AIDEN: Uh . . . yeah. She did- Trevor whoops, fist pumps a few times until he calms himself. AIDEN: To me, Trev. It's me, dude. She thought I was asking her out. Trevor stops cold, a face full of questions. TREVOR: Wait, what? Yes to you for what? AIDEN: She thought I was asking her to Winter Ball, and she said yes. Look, dude, I'm sorry. TREVOR: How the hell did you screw that up? That - you - that's not even what we talked about. I told you to ask her for me, not you. You always have a freakin' girlfriend. AIDEN: Look, I'm sorry. Just go back in there and tell her what's good. I didn't mean to. TREVOR: You probably did! I just - damn, man, really? Trevor tears down the hallway, leaving a dumbfounded Aiden to watch.

SCENE 4 INT. Bedroom - Morning. PHILIP, (13), a bony, messy boy with bed hair sits in his room, which is plastered with dirty laundry, unsorted paper, and other garbage. He is at his desk, on his computer. His chair is uncovered just enough so that he may sit down. His MOTHER (40) pushes his door open, piling junk on top of other junk in it's wake, just so she can step one foot in and look at her son. MOTHER: Philip! Philip doesn't respond. MOTHER: Your soccer game was canceled. I have to run to the grocery. Philip? PHILIP: What? MOTHER: You are not leaving this room until you take care of this mess. Alright? It's about time you did. PHILIP: It's not that bad! They both survey the room. It really his horrific. Nowhere is floor visible. MOTHER: Do it. NOW. Mother slams door on exit. Philip looks over his room, shrugs, and puts a headset on, then continues to stare into the computer. Behind Philip a paper cup wiggles. The mess in the room begins to move... slowly, and then faster as if magnetized to one point, or to gather as one in the center of the room. It spins and spins until the room is spotlessly clean, and in the middle hulks an imposing MONSTER, pieced together from the clothes and garbage. It is bulky, with a snail-like foot and two fat arms and a gaping mouth. It breaths heavily and moves closer to Philip, who has no idea what's going on. The monster engulfs Philip and his chair in one bite, and we only hear Philip scream before he disappears. The Monster burps, then it looks around, not sure what to do. A rumbling is heard. And BAM Philip bursts out of the Monster! He grabs a wrapping paper roll and wields it like a sword. He duels with the monster until he stands panting on his bed, victorious, in the midst of scattered trash and clothes. He wipes the sweat off his brow, terrified. INT. Bedroom - Later. Mother opens Philip's bedroom door to find it spotless. Philip is putting the last of his clothes away, still clutching his wrapping paper roll. PHILIP: MOM! He runs to her, and gives her a hug.

EXT. BEAT UP FISHING TRAWLER, ATLANTIC OCEAN - DAY HUGH, 20, leans over the deck, waves swish past. A shoal of fish flies alongside at a rate of knots. RODGER, 50, claps him on the shoulder, nearly knocks him overboard. RODGER: Get on it, let them out slacker, I can taste the beer on my 'tache already, little buggers won't know what hit them. Hugh adjusts the suspension, releases the nets completely. FISH fly out of the water, a DOLPHIN soars on their tail. It almost seems to smile at Hugh. HUGH: There's a dolphin, right there, it's headed for the net. RODGER: Get the gun. Rodger occupied with the mechanics of the net. Hugh stands transfixed. Two more DOLPHINS soar. RODGER: If you didn't know where it is, just say so! Rodger flips open a storage locker, flings the gun into Hugh's arms. Hugh fumbles with the catch. Rodger rushes his work. RODGER: It's loaded, for God's sakes shoot. Hugh takes aim, shoots at the water, misses wildly. Rodger's disgusted, marches over to Hugh. RODGER: You take the nets! Hugh points the gun skyward, releases ONE-- Rodger bounds across the deck, TWO-- Rodger's closer, THREE shots-- Rodger grapples the gun off Hugh, furious, throws it aside. Rodger, hoists Hugh by the straps of his lifejacket, suspends Hugh over the edge, balances his upper torso on the lip of the craft. The lifejacket's not secured, the ribbon flies free. HUGH: I couldn't kill them. RODGER: Then you're not cut out for this ship. With a click, Rodger releases the buckle, sends Hugh plummeting to the sea below. INT. ATLANTIC OCEAN - DAY Hugh submerges in the icy water, clicks and clacks all around him, disorientated. He shoots back to the surface like a rocket. Just before his head breaks the surface, a strap of seaweed grabs his face, a strong leathery massive rope of seaweed compresses his ribcage, pulls him back below into a whirlpool. Sea rocks tether the seaweed, drag him deep down into darkness. He fights, spins, as he's sucked further into the vortex. His resistance fades. He drifts downwards. He squints into the murk, he spins once more to come face to face with a MERMAID, seaweed hands, a strong, beating, silvery tail. He jolts back, she wraps her seaweed around him, coils him in it, cocoons his body. Her gaze projects images onto his eyes-- FLASHES of dolphins, whales, sharks suffering, battered, blood and death. She locks eyes with him. An inhuman shriek pierces his temples: HUNTER.

@IHEATHEN SCENE 4 - July 10 EXT. DARKNESS/ALLEYWAY - NIGHT Blackness. SNAKELIKE VOICE: One move, you die. The blackness becomes the back of a black leather jacket, rain beating down on it. The jacket belongs to the back of a fresh-faced young man in his early twenties, frozen with fear, arms in the air. Rain pelts down onto his terrified face. The young man's head has a gun pressed against it. The gun is in the hands of a scruffy, weasel of a thug, who smiles a horrible black-toothed grin. The thug cackles and speaks again in his snakelike slither of a voice. THUG: I got you baby. Now give it to me. The young man doesn't move a muscle. Thug presses the gun harder against the young man's head. THUG: What did I say? I don't ask twice. The young man stammers out a blubbering response. YOUNG MAN: Well... um... you sort of said two different things. Do you want me to stay still, or should I give it to you? THUG: You wanna play games? Don't push me baby. YOUNG MAN: I think I might faint. THUG: Now. The thug flexes his grip on the gun, half-squeezes the trigger. YOUNG MAN: No. Please. Don't. I'll do what you want. Just, tell me what to do. THUG: Enough talk baby. Give me the thing or I shoot. Three... YOUNG MAN: So I should move then? THUG: TWO... The young man's eyes start to flutter, as if he is about to faint. YOUNG MAN: Oh god. Here it comes... The thug grabs hold of the young man's collar with his other hand to hold him up as his legs start to wobble. THUG: ONE... The young man's eyes roll back in his head, he groans and his body starts to collapse, but then-- he whip-turns, and in a blur grabs the thug's hand and gun, twists - CRRRACKKK - bones snap and the thug's forearm flops at a horribly wrong angle. Gun now in the young man's hand, thug suddenly pressed against the alley wall, the barrel shoved hard under his chin. YOUNG MAN: Whaddayaknow. Didn't faint. BANG and the thug's head explodes into a red mess against the wall. The young man wipes off the prints from the gun, drops it in the gutter, flips his collar and strides out of the alley, using the rain to wipe blood splatter off his face.

Scene 4 follows yesterday's scene 3. EXT. CALI COLOMBIA AIRPORT - DAY José arrives running to the airport. INT. CALI COLOMBIA AIRPORT - CHECK-IN COUNTER - DAY José runs to the check-in desk. JOSé (out of breath) Flight... Los... Angeles. CHECK-IN AGENT I'm sorry sir, they've already boarded, but for a minimum fee I can... José runs away without listening to the agent, he looks at a monitor where the flight schedule is displayed. He reads "Flight 392. Cali - Los Angeles. Gate C." He runs through the airport, arrives to AIRPORT TERMINAL GATE C Closed with a queue barrier. A female AIRPORT BOARDING AGENT (27) counts boarding tickets. JOSé Los Angeles? AIRPORT BOARDING AGENT Yes sir. José pulls the queue barrier away. AIRPORT BOARDING AGENT Hey! Stop! You can't do that. The boarding agent tries to stop José, but he pushes her to the floor and runs away. AIRPORT BOARDING AGENT This is gate C requesting reinforcements, we've got a situation. José runs to a CORRIDOR That leads to the GLASS WALED JET BRIDGE José sees an American Airlines plane taking off the runway. JOSé Majo! Don't go! Two security guards tackele José. JOSé I love... One guard punches him, rendering him unconscious. INT. PLANE - DAY Majo comfortably seated on a seat during takeoff. CAPTAIN (O.S.) Ladies and gentlemen, this is your captain speaking. On behalf of the flight crew, welcome to American Airlines 392 to Los Angeles. Majo puts on a pair of headphones, turns on a screen on the front backseat. To be continued tomorrow.

SCENE 4 Over Black: BEEP BEEP BEEP A fluorescent light begins to flicker, REVEALING the white-tiled walls of INT. JOYLIFE SYNTHETICS – CHILDREN'S WING – NIGHT The BEEPING continues as we float down a sterile-white hallway, spotless tile covering the floors, walls, and ceilings. Intermittent OBSERVATION WINDOWS look into typical looking labs with work stations, refrigeration units, microscopes... BEEP BEEP BEEP The overhead lights flicker off, pitching the hallway into darkness. MULTIPLE FLASHLIGHTS click on, scanning the hall. The slight sound of FOOTSTEPS can be heard moving with the flashlights, as they float further down the hall, the beams shining into a lab with an OVERTURNED TABLE and SHATTERED GLASS CASE. The lights hold on it for a moment before moving on. BEEP BEEP BEEP The overheads flicker back on, REVEALING a team of six BLACK CLAD SOLDIERS, automatic weapons at the ready, their faces covered by elaborate GAS MASKS. One of the soldiers moves a small TRACKER in an arc, the BEEPS slightly speeding up when he passes a nearby door. He nods to the lead soldier. INT. JOYLIFE SYNTHETICS – CHILDREN'S WING – ADMIN OFFICE The soldiers move into a large office in shocking contrast from the sterile hallway they just exited. Turning on the lights REVEALS wood-paneled walls, shag carpet, an imposing cherry wood desk. A bookshelf behind the desk is covered in a DARK SPRAY of liquid. BEEPBEEPBEEPBEEP- The soldier shuts off his tracker, moving around the desk to look at a paper-thin monitor. He motions to the leader. The leader walks around the desk, carefully stepping over the BODY of a man in a suit, pistol in hand, the top-half of his head blown away. The leader looks at the monitor, then at the soldier, half-shrugging. The soldier taps two fingers at a paper on the desk. The commander picks it up. PAPER: We pick up the words: Office of Operations - Termination - PROJECT RATTLE - Contagious - Unforeseen complications At the bottom of the form, where the director would have signed is scrawled the word NO. CHICKA-CHICKA-CHICK The soldiers all SNAP TO and swing their guns toward the door. Inconceivably, an INFANT wearing a diaper crawls into view from the hallway, stopping to turn toward the office. The baby shakes a tiny rattle, CHICKA-CHICKA-CHICK, letting out a giggle. The soldier’s hesitate, lowering their guns a little, exchanging confused looks. MORE RATTLES begin to sound as THREE MORE BABIES crawl into view, shaking rattles, giggling. CHICKA-CHICKA-CHICK We slowly move away from the door toward the MONITOR which displays a picture which is hard to make out. As the monitor gets closer, even more rattles sound from the hallway, sounding like a swarm of locusts. CHICKACHICKACHICKCHICKACHICKACHICKCHICKACHICKACHICK Underneath the growing sound of rattles, an UNEARTHLY GROWL begins to grow. A soldier SCREAMS. The growling is joined by a WET SUCKING sound as one of the GUNS FIRES. The rattling and growling continues to grow as more guns fire, more soldiers scream, and the sound of slurping and sucking mixes with the sound of flesh being torn from bone. MONITOR: The picture on the monitor shows a group of smiling scientist proudly holding up crying babies, a large banner hanging in the background reads PROJECT RATTLE. BLOOD splashes across the monitor as the sound of the rattles begin to die off. CHICKA-CHICKA-CHICK... Silence. A baby's giggle.

(Based on ACTUAL EVENTS!) INT. GREEK PASSPORT OFFICE - DAY A sweaty, disjointed line of bodies wraps around the halls of the Administration building. DESPINA, 27, and her father EVAN, 60something, lean against the wall in bored misery. DESPINA: Ohhhh myyyy Gooodddd how much longer can this possibly take? We've been here for an hour and we've only moved 5 feet. This sucks. What's wrong with your country, Dad? EVAN (stern look): Despina. DESPINA: And have we not discovered air conditioners here yet? What's the deal? It's 2004 for fuck's sake. EVAN: Shhhhhht! DESPINA: What? It's hot. I've been standing in this line for an hour with no sign of moving in a sweltering building of stinky bodies with NO A/C or open windows. They can't even open some windows? I mean what the hell...? Another stern look from Evan. She digresses. Until... DESPINA: Gimme a cigarette. EVAN: What? No. You can't smoke in here. Despina points at a fat sweaty man in a track suit with a lazily holstered gun at his chest leaning against the wall smoking a cigarette... under a No Smoking sign. DESPINA: Gimme a cigarette. Evan hesitates then takes out two. They light up and puff away. People whisper. Mr. Track Suit Security Man walks over and yells in Greek, stogey still in hand. Evan and Despina puff in synch, exhale. Despina points to where Mr. Track Suit Security Man was just standing. DESPINA (in Greek): Look. He looks. DESPINA (Greek): No... Smoking. (puff) He looks back at her and squints. Looks to Evan for a little discipline - he gives none. Flic Flic Flic... a thousand lighters click in unison as the rest of the people in line light up. Mr. Track Suit Security Man walks back to his post and eyes each person in view and points to them. MR. TRACK SUIT SECURITY MAN (Greek): I'll remember you all tomorrow when you're back here in line, waiting. A cacophonous roar of Greek cussing. Despina and Evan high five. DESPINA: Entertainment. At last.

INT. UNDERGROUND LABORATORY BUNKER – NIGHT MATTHEW, 21, is standing at a table in the middle of the room, wielding a blowtorch. Punk rock music is playing in the background. Multiple computer stations surround the table, but clearly it is some sort of old bunker or basement that has been retrofitted with new technology – in a hurry. On the table sits a man-sized blob of what appears to be a tarp, although it is slightly luminescent. He is blow-torching the tarp in a seemingly random place. SEANN, 20, dressed in skinny jeans and a Slayer T-shirt, SAUNTERS down the stairs coming from above ground, and stops, watching MATTHEW for a second. SEANN: What are you doing? MATTHEW (unfazed, focused): Something amazing, I hope. SEANN: Where the hell did all of this come from? I was here YESTERDAY. Matthew turns down the music with a remote control. MATTHEW: Well, I found most of it at the site. Chris helped me move it. I spent all of yesterday putting this shit together. Then got this idea and haven’t slept since then. The last station isn’t finished yet, but this-- this is way more important. Matthew indicates the blob sitting on the table. SEANN: Chris? He’s up? MATTHEW (devilishly): Oh yes. SEANN: You let him move stuff again? MATTHEW: Oh yes. SEANN: What the hell is wrong with you? He was asleep for TWO DAYS after last time. MATTHEW: He wanted to. I let him. SEANN: This is bullshit. You just needed to move a bunch of stuff, so you put your best friend’s life at risk? MATTHEW: It’s not a “bunch of stuff,” it’s -- SEANN: You ORDERED us not to. MATTHEW: He’s fine. He’s absolutely fine. Better than, actually. SEANN: Where is he? MATTHEW: I don’t know, I haven’t seen him since this morning. He probably went to go get breakfast. Have you eaten? He has turned back to the table and is examining the spot he was blow-torching. Seann grabs him by the arm. SEANN: Hey! Fuck breakfast. Does the order still stand or not? MATTHEW: Yes, it still stands. SEANN: But not for him? MATTHEW: No. I don’t know. I can’t deal with this right now, man. I’m working on something really important— SEANN: Fuck this. Seann is now visibly sweating and his skin has turned a deep shade of red. He turns and heads for the stairway. MATTHEW: Hey! Stop! Seann continues to walk up the stairs. MATTHEW: Seann! Do NOT. Just don’t! You don’t know what’s going to happen! You could kill somebody for Chrissakes! SEANN is already gone through the door. Matthew looks back at the table, torn between his work and following Seann. He hurriedly places the blowtorch on the table and runs out after Seann.

Scene 4 INT. MASTERS' OFFICE - DAY Greenberg sits nervously opposite Masters as Masters hangs up his phone. MASTERS: We're going to need you to come into work tomorrow. GREENBERG: Tomorrow's Saturday. (points to his yarmulke) You know I can't work on Shabbos. MASTERS: You got the memo about our new operational paradigm? GREENBERG: Yes, but, you have to make reasonable accommodations for religious-- MASTERS: This is now a bona fide job requirement. We don't have to make accommodations. He takes a file from his desk drawer. GREENBERG: You can't make me do this. MASTERS: Of course not. But if you're not here tomorrow, legally, you'll be abandoning your job. No severance. No unemployment. Greenberg sits, stunned. Masters consults the file. MASTERS: When you asked for a raise three months ago, you brought up a number of factors that had nothing to do with your job or your performance. You noted the high expense of kosher food and Jewish schools for your seven children. GREENBERG: Is this about me wanting more money? MASTERS: I'm just noting how difficult it would be for you without any income. I also recall a story you told about when your wife went into labor on Shabbos. Even though you're not allowed to drive on Shabbos, you drove her to the hospital. GREENBERG: That's different. When lives are in danger you can violate Shabbos. MASTERS: Wouldn't losing your job put your family's lives in danger? GREENBERG: I can't do this. I'm leaving. MASTERS: Leaving? GREENBERG: I quit.

Scene 4 (11th entry to far, skipping around) EXT. EARTH An ALIEN SHIP looms. A menacing LASER CANNON takes aim. INT. ALIEN SHIP Two hideous INSECTOID ALIENS control the ship. The QUEEN sits atop a throne in the center. A smaller one, the DRONE, operates the ship. Their visual display is in alien text but its obvious humans are being targeting for annihilation. They have BRITISH ACCENTS for no explicable reason. The Queen, more upper class, the Drone, more lower class. QUEEN Drone, charge the weapon to full power. DRONE Charging to full power, my Queen. QUEEN These pitiful beings on this planet won’t even see their extinction coming. DRONE It will be a victory for our civilization. QUEEN Yes, there can be only intelligent species in this galaxy. And these humans are far from it. DRONE Did the analysis not find anything of value the humans have created? QUEEN All of the species we encounter are the same. Hundreds of thousands years of evolution and not a single significant achievement to be seen. DRONE (scanning through records) According to the analysis, humans have achieved nuclear fusion, fission and even rudimentary quantum molecular entanglement. QUEEN A half-lobed drone could do as much. DRONE They have also created a telecommunications network that spans their entire planet. QUEEN Clever. But hardly advanced. DRONE Art. Music. Dance. They have created many modes of self expression. QUEEN Self expression breeds disobedience. Uniformity is key to survival and progress. DRONE Perhaps the humans just need more time? QUEEN This planet doesn't have more time, the humans are destroying it. After our extinction ray destroys them, other species will have room to thrive, evolve, and per chance, achieve. (beat) Initiate extermination. DRONE Your Majesty, I must refuse the command. QUEEN You dare refuse a command from your Queen? Explain yourself immediately. DRONE It is I who needs more time. QUEEN Time for what? DRONE Watching the televisionic broadcast they call ABC’s Lost. I must know how it ends! QUEEN Just like these humans, they were dead the whole time. DRONE Spoiler Alert! QUEEN Guards, remove this drone to the Larva Pits! And fire the weapon!

DAY FOUR: A character disobeys an order INT. APARTMENT BUILDING - DUSK A dilapidated grey building, surrounded by other empty buildings, comes into focus. There are abandoned cars and trash in the streets. There are a few stray dogs eating neglected and spoiling food on the streets. The camera zooms into the hallway and there is a quick walkthrough of the squalid apartment building. The camera stops in a sparsely organized bedroom: A single mattress with no covers on it, a hotplate, a small table with cards on it, a book. A young woman is sitting by herself, looking out of a boarded window through a small gap between the boards. A young man appears behind her from another room. JONATHAN: Are you still looking for Sue and co.? KAT: Yeah. They only went around the corner. It shouldn’t have taken this long. JONATHAN: We can’t keep waiting. We’ll have to move on if they’re not back soon. KAT: We’re not leaving them. JONATHAN: If they’re not back in fifteen minutes, we have to move on. KAT: If they’re not back in fifteen minutes, I’m going after them. JONATHAN: No. You can’t. I mean…feminismwomen’schoice, but what are you going to do when those cyborg-human hybrid bastards see you? With their weird mind control powers and off-putting singlemindedness. KAT: They won’t. JONATHAN: Please don’t go. I’ll be alone. I don’t want anything to happen to you. I don’t want anything to happen to anyone. I don’t even know why we sent so many people out. Fifteen minutes and we move out. They’ll probably be back before then. Kat continues to look out the window. Jonathan continues to stare at her. JONATHAN: Will you promise to come with me if they don’t come back? I know you love Sue. I’m sure that she will be back. But if they don’t, they know where to find us and, if it’s really bad, we won’t be able to help them if the subhumans get to them. Kat finally looks at Jonathan for the first time for just a moment. KAT: Okay. I’m sure you’re right. Fifteen more minutes though? JONATHAN: All right. KAT: I’m starved. Is there any more of those canned peaches left? JONATHAN: I’ll check. Jonathan goes back into the room he came from. Kat gathers her backpack, grabs a pistol from the windowsill, ammo that was scattered on the bed, gets a book and some sandwiches that were also on the bed. She then carefully and quietly sneaks out of the apartment. Jonathan returns to the room, looking at a can in his hand. JONATHAN: I didn’t see peaches, but we still have— He notices that she’s gone. JONATHAN: Shit. EXT. SIDEWALK – DUSK Kat is walking down the street cautiously, checking around each building that she passes, checking over her shoulder, trying to make as little noise as possible. Her eyes are focused intently on what is ahead of her. She accidentally steps on some glass, breaking the silence. She freezes. After nothing happens for a few moments, she shakes her head and continues walking. KAT (whispering): Breathe. She probably made it. Just keep moving. If you see her – Suddenly, an eerie humanoid figure appears in front of her. She stops short of him. They stare at each other for a moment before the figure begins to speak. The person’s movements are oddly robotic and twitchy. Kat is visibly holding her breath and on edge. FIGURE: Have you got your papers on you? KAT: Um…I just left them at home. I just needed to get something from the store really quickly. FIGURE: I am sorry. You are not in compliance with Section Code 89a3. This is a crime punishable by death. Please do not resist. KAT: So, um, no. She lunges at the figure and shivs him clumsily. After he falls, she collects herself and waits for anyone else to come out. Nothing. She keeps walking. KAT: Leave my sister behind. Really? Another figure comes out from behind her. This figure is a petite girl. She jumps on Kat and wrestles her to the ground. They wrestle before Kat is able to get the upper hand. She is about to shiv the girl before the girl suddenly gasps. KAT (whispers): Sue?

EXT. FOREST CLEARING - DAY A clearing in a dense forest, trees a mile in every direction. A single well-worn track leads in, and a large pit sits at the center. 20 MEN, some crying, some staunch, are lined up along the pit edge, staring in. Below them, a mass of bodies - their fathers, brothers, sons - lay contorted, motionless, exactly how they fell... Five feet away, another 20 MEN stand. Soldiers. COMMANDANT: Ready! The soldiers take aim at their individual... COMMANDANT: Fire! Shots ring out and the bodies slump to the floor, falling into the pit to create the next layer... ...All except one. One man stands still upright, shaking. He looks around at the soldier behind him... MATTHIAS HAUPTNER (22) stands. Rifle aimed, but has not taken a shot. He has taken 16 today and cannot take another. COMMANDANT: Is there a problem, rifleman? Matthias stands still. He doesn't answer. He just stares... COMMANDANT: Kill this man, rifleman. He doesn't. He lowers his rifle and stands at attention... COMMANDANT: I have given you an order, rifleman. Still Matthias does not move, just standing still and looking directly ahead. The commandant pulls the soldier next to Matthias out of line. He looks at the man's name tag. COMMANDANT: Shoot this man Acker. Acker raises his rifle and does as he is told. A SINGLE SHOT rings out and the man slumps and follows his compatriots into the pit. Commandant: You cannot change this, rifleman. Hauptner looks at the Commandant, but still remains silent. COMMANDANT: Fleischer. Neuer. Take him away. FLEISCHER and NEUER grab hold of Hauptner and escort him away from the line, just as the next 20 MEN file in.

SCENE 4 INT. LIMOUSINE NO MORE NEIL is at the steering wheel. The car is parked, as he waits for his boss to speak. A beat. HARSH HERBERT ORID, sat in the back, is in another unpleasant mood. NO MORE NEIL: Where to today Mr Orid? HARSH HERBERT: Where to...? Where do you think? NO MORE NEIL: I don't know. You haven't said yet Mr Orid. HARSH HERBERT: Well don't think too hard... It's quite simple. You go, where I tell you to go. You take your ass off that seat, when I tell you to lift it. You open my door when I tell you to. And if you don't like it...then we've got a problem. NO MORE NEIL: There's no problem Mr Orid. HARSH HERBERT: Good. So now you can make your way to 567 Withers Street. NO MORE NEIL: Very well. And I'll pass by Chevers river on the way. HARSH HERBERT: Excuse me...? What has Chevers rivers got to do with Withers Street? NO MORE NEIL: That's where he told me to drop you off. HARSH HERBERT: Did you hear what i said, or are you not with it today? NO MORE NEIL: I heard what Steven Roberts said? HARSH HERBERT: Steven Roberts? NO MORE NEIL: Yes, you know... It's the one you're blackmailing for over five million... The good news for me...he's offered me one and a half... Do you think that's fair? HARSH HERBERT: If you don't shut your mouth, I'm going to get up and slap you. NO MORE NEIL: What do you think of the offer...? Then again, thinking hasn't done you much good now has it. (he pulls out a Pistol and turns around to point it at Harsh Herbert, who freezes in terror. Suddenly, his lashing tongue has dried up, as No More Neil continues) My names not Neil to you.... To you, I'm the boss. (he fires three shots in the chest, killing him) FADE OUT.

Scene Four.

Feedback 1 Really intense! I like the pun in the question whether he's ready to order. Good one! I also enjoyed the fast paced dialogue and that his defiance built up the drama and when he picks up the phone and even calls his friends: brilliantly written. And funny. You managed to put a whole three or four really intense moments in there, and in a quite ordinary day in the life scene, which I think are the hardest to write. Actually this is a good example of writing that makes you inspired, that makes you wanna get up and start filming straight away.