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

SCENE SIX (PROMPT: Write a scene with this first line of dialogue: “That’s the guy, right there.”) INT. BAR - DAY JACK and BETH sit at a table. The bar’s crowded. Music turned up. Everyone’s enjoying the atmosphere. Everyone but Jack. BETH: That’s the guy, right there. Jack looks over to a MAN standing at the bar. 6’5”. Chiseled features. Looking like he belongs on a NFL team. JACK: Him? That’s him? … What does she see in… that? BETH: What doesn’t she? JACK: Thank you. BETH: I don’t want to lie to you. JACK: For being cousins, you really suck at building my confidence. BETH (putting on an act): Don’t worry, champ, you’re just as good as him. If not better. JACK: Really? BETH (breaking act): I told you I’m not good at lying. Jack sighs to himself. Gives the guy a once over again. JACK: He is good looking. BETH: Yep. JACK: How much you think he benches? BETH: Doesn’t matter to me. JACK: I mean, what’s so attractive about him? I mean—well look at his arms, they’re like the size of my head. BETH (dreamy): I know. JACK: And his chest—what are those, man boobs? BETH: Built of solid rock. JACK: He’s probably on steroids. Probably doesn’t even – BETH: He’s huge. JACK (beat): What? BETH: Nothing. JACK: What do you… are you saying Monica’s already slept with him? Beth looks around, trying to avoid Jack’s stare. BETH: Slept is… well… it’s not a very… accurate word. JACK: YOU’RE SUPPOSED TO LIE TO ME! BETH: I know. But I can’t. Besides, it’s better to just get it all out in the open. Now. After three days of being broken up. JACK: Three days and already she’s sleeping with an Abercrombie and Fitch model. Beth is silent. He picks up on this. JACK: This wasn’t their first time? BETH: Well… define first. JACK:…… Did they sleep together while we…? BETH: … Maybe… JACK: And you didn’t tell me… BETH: I just found out. JACK: How? BETH: She told me… we… well, we keep in touch… (off Jack) Hey, you brought her into the family. You can’t just… go and expect us to all cut ties after – Jack gets up and leaves. Beth looks sorrowful for a moment. Then looks back to the man at the bar. BETH: Lucky bitch.

Scene 6 Today’s prompt: Write a scene with this first line of dialogue: “That’s the guy, right there.” EXT. HORSE RING CALVIN (15) and HOUSTON (14) inner city kids, lean against the rail of the corral. CALVIN That’s the guy right there. WILSON (50) rides a paint around the barrels, one with his horse. HOUSTON I don’t believe you. He’s old. CALVIN But he’s mean. They say he works for the mob. Wilson calmly dismounts, leads his horse over to the guys, drops the reigns next to another horse tied to the railing. WILSON Who's first? HOUSTON Calvin you go. WILSON Calvin hop over. CALVIN I’m not afraid. Calvin climbs over the top rail, drops to the ground. He takes a few steps to the horse. The horse turns his head to watch. Calvin freezes. WILSON You need to be confident when you approach a horse. It allows him to understand what you want to do. Rub his neck. Calvin hesitates, pats the horses neck. WILSON Okay now. Up you go. Grab the saddle horn and pull yourself up onto the saddle. Calvin grabs the horn, place his left foot in the stirrup, his horse starts to back away. CALVIN Do you work for the mob? WILSON Easy boy. Where’d you hear that? CALVIN People. Around. WILSON Mount the horse boy. Calvin mounts the horse. Wilson unties Calvin’s horse, keeping the reigns, mounts his horse. WILSON I work with kids like you. You want to talk or ride. HOUSTON Ride ‘em outlaw. CALVIN I want you teach me to fight. Wilson leads Calvin away from the rail to the barrels. WILSON I want to teach you to ride. Here we go. You ready? Calvin nods. Wilson kicks his horse. He responds to a jog. Calvin bounces behind, hangs on for dear life. CALVIN Will you? Wilson nudges his horse, changes his gate to loping. WILSON Fighting's like riding a horse. You need confidence. Calvin hangs on tighter, a big smile on his face. Houston climbs to the top rail.

Scene 4 – “That’s the guy, right there.” EXT. PING’S WONDEROUS EMPORIUM OF WONDER – DAY A façade that looks remarkably like a Philippine jeepney bus hides under a faded gold awning. A heavily tinted and splintered door hangs half open. PING – 46, she’s almost 5 feet tall and more than making up for it, gestures wildly at— POLICEMAN – 24, sweating in his dark uniform and not even pretending to take notes. PING: That’s the guy, right there! POLICEMAN: Ma’am, I don’t see anyone. PING: That’s what invisible means! POLICEMAN: I know what invisible means. PING: So arrest him already and get back my vase. She’s forceful. He looks again. Still sees nothing. POLICEMAN: I’m sorry, I just don’t see— Ping charges toward the edge of her storefront where she had just been pointing. The Policeman watches as she wrestles with something and then falls back as if she were pushed. He helps her up. She shakes off his hand angrily. She glares at him. Then she points. POLICEMAN: So you’re a great mime. Look, I’m sorry about your vase, but I can’t arrest a ghost. PING: He’s not a ghost. He’s just invisible. She glares around the officer. PING (Con’t): And a JERK! The Policeman opens his mouth but don’t speak. He hears a chuckle. His eyebrow goes up. Ping shakes her shoulders and points again. POLICEMAN: I’ll take a report, but really I’m not sure what— The Policeman whirls about and charges the spot that Ping points to. He strikes something hard and wraps in a bear hug. He howls in pain and hops on one foot. The Policeman’s head snaps back and his nose bleeds. He lets go of the hug and throws some punches. They hit something. Then nothing. He draws his taser and fires along the side of the building. The electrodes stop in mid-air, the wires still coiled. He presses the trigger and the electrodes drop. They shake just above the ground. A man’s voice cries out. The Policeman rushes up, feels around, forces an invisible arm around to an invisible back and cuffs the invisible man. Ping rushes up and starts kicking. The policeman tries to stop her. POLICEMAN: Hey. Leave him alone, he’s in custody now. PING: Who is? I don’t see anyone. She keeps kicking.

INT. GREG & MARY JOHNSON's HOUSE - DAY SETH, 28, wearing only boxers and a bathrobe, paces the entire downstairs stopping only to swat the imaginary spiderweb, listen for intruders, and mumble incoherently. Sweaty, splotchy, and clearly agitated, he jolts at the sight of his father, GREG JOHNSON, 60, who's just come down and into view. Seth jumps back in fear and points a shaky finger towards his father. He can't quite form words. SETH: Th- that's the guy... right there. He's the one who m- m- made me do it. GREG: Seth? SETH: D- don't move! GREG: Seth... Who-? What's wrong? SETH: D- don't move. He's here. He's not nice. Greg, confused, slowly steps towards his son, but stops at Seth's scream. He puts his hands up to try and calm him. SETH: You have to leave! You have to go away! He's a bad, bad man. Seth grabs his own head and shakes it 'no'. GREG: Seth. It's ok. Calm down. Seth... He's been here before, but never this bad. Seth, drops his hands and begins to laugh hysterically. SETH: Seth? Hahahaaaahaaaa... Seth? His posture straightens, he's more composed -almost as if he's a different person. Calm, cool, collected with a hint of the devil himself. SETH: Seth. That chump is gone daddy-o. He went the way of the crow. Makes a missile whistle and motions downward into an explosion as he slowly walks towards Greg. SETH: That WIMP... just crashed and burned, my friend. He couldn't handle the heat. Couldn't handle the thrill of the kill. Couldn't keep his big mouth shut. Couldn't stop WHINING... (regains composure) Couldn't keep it together. So I'm afraid we had to let him go. Greg walks backwards matching Seth's pace and comes up against the foyer wall. Seth doesn't take his eyes off Greg, but it's like he's looking past him. SETH: You see, we don't have time to waste on the weak. We have important things to do. Places to burn, people to kill. Seth's head wasn't quite... in it. (laughs) Greg inches to the side and scurries up the stairs. Seth's focus is still straight ahead as if Greg were still there. He smiles and winks. SETH: Now this one... he's goin' places. He's ready for the war. He leans forward and kisses his own reflection in the mirror that had been behind Greg the whole time. Backs up and mugs for the camera before turning a maniacal eye up the stairs and towards his father. BLACK OUT

INT./EXT. MANHATTAN STREET - LINCOLN TOWN CAR - DAY BRIGGS (40) sits at the wheel of the parked car, top off a to-go cup, blowing on her coffee. MCCOY (35) is peering out the passenger window, scrutinizing the people pouring out an office building. He spots THE GUY, a middle-aged balding man, wire-rimmed glasses, wearing a salmon button-down and slacks. MCCOY: That's the guy, right there. BRIGGS: You're kidding. He looks like an accountant on Sunday. MCCOY: It's him. I'm gonna tail. Stay close. McCoy gets out. Briggs puts down her coffee and shifts the car in gear. EXT. SIDEWALK McCoy filters through the torrent of pedestrians. Keeping a good distance, he glances back to see the town car creeping alongside. The Guy slows down, pulls a phone from his pocket and stops, staring at his phone as he slides his thumb around. McCoy hesitates. Stuck in a crowd of people he reluctantly continues on, passes The Guy. He slips to the side and kneels down, pretending to tie his shoe. INT./EXT. TOWN CAR Briggs watches her partner from the car. BRIGGS: Shoelaces? Brilliant. She sees The Guy put his phone away and head back the way he came. BRIGGS: What the hell? She turns the wheel to change lanes. A horn BLARES angrily. Briggs twists around, holds up her badge, middle finger across the front. The horn stops. EXT. SIDEWALK McCoy stands to follow. He peers back to see the Town Car struggling to turn around, swings his head forward, sees The Guy quickly dart into an alley. McCoy: Shit. McCoy picks up pace, dodging and shoving angry New Yorkers out of his way. He reaches the alley. It's empty. He takes a few steps in then spins around, confused. THUD! he's slammed into the side of a building from behind, then spun around quickly. Face-to-face with The Guy. THE GUY: Why are you following me? MCCOY: Relax, Smiley. The Guy pulls back slightly, squints. THE GUY: Only my friends call me that. MCCOY: We're gonna be good friends. You just don't know it yet. The Guy closes in, holds McCoy firm against the wall. THE GUY: You wanna tell me what the hell this is about? BRIGGS (O.S.): Take it easy, Smiley. The Guy turns to see Briggs, holding open her jacket, displaying a detective badge and side-arm. THE GUY: Another friend? MCCOY: Let's go down to the station. Do a little bonding.

Very creepy. Nicely done.

This is Scene 6 for me.

INT. QUIK N GOOD LUNCHEONETTE - DAY A Waitress backs through kitchen doors with plates. ZERO is first on her circuit. A triple-decker club slides in front of him. The fries are fresh and hot. He draws the toothpick from a wedge of sandwich. The entrance bell TWINKLES...and keeps TWINKLING... ...As one by one, VINCENTS #1 through #19 file in and cluster by the menu stand. They wear identical black pit crew suits, black square shades (the kind that fit over glasses), and carry nightsticks. They SHUFFLE and make room for a MOTORIZED GURNEY. The gurney stops and HISSES as it tilts up to reveal VINCENT #20 strapped and held into shape by plaster, set within in a erector-set brace of pins and screws. One of the crowd removes Vincent #20's oxygen mask. VINCENT #20 (stuffy) That's the guy, right there. The men in black suits look at Zero. Zero SIGHS and shoves the toothpick back into his sandwich. He stands up. VINCENT #8 We think you owe Vincent an apology. VINCENT #13 That would be a nice start- He's interrupted by Zero CRACKING his knuckles, hands, elbows, neck, knees, and jaw. ZERO Shut up and send the ones here to fight. (beat) My fries are getting cold.

SCENE 6 EXT. GARDEN – TENT- NIGHT B.g. wedding band plays. The dance floor is crowded with happy bouncing guests, showing their best moves. At one table, sit Anuradha, James and Ji Ling. Anuradha lifts her body up and points at a man on the dance floor. ANURADHA: That’s the guy, right there. James: Who? Ji Ling: You mean the man in the grey suit and slick hair who's dance-fucking the girl? Anuradha: Yes Ji Ling: are you sure? Anuradha eyes him. She's pretty sure. James: hello..what are we talking about? Ji Ling whispers something into his ear. James: Oh my God, and you don’t do anything. Go slap him. James gets up. He’s about to walk up to the man but Anuradha stops him. Anuradha: no wait…he doesn’t know I remember him…very well…I guess he doesn’t even remember me Ji Ling: what are you going to do about it? James: squeeze his balls and throw him off the rocks Ji Ling: there are no rocks here James looks annoyed at her. James: smart ass Anuradha: I know something better…juicier. They stare at Anuradha. Curious. She mysteriously winks them to come closer. She whispers something into their ears. They grin viciously. James: behind that angel face hides a little devil They laugh. Anuradha: follow me when I sign you Anuradha swings over to the dance floor and shows off her seducing dance. Within a moment the man has his eyes fixed on her. He comes over and grabs her butt. She smiles at him. Rubs her body closer to his. Anuradha: Shall we dance outside…it’s more quiet...The man nods yes, his eyes all horny. Anuradha guides the man outside while one hand on her back makes a sign. Her friends follow her, grinning viciously. The smell of sweet revenge is in the air.

Scene 3... EXT. TRUCKING COMPANY YARD – DAY JIMMY (45), cleans down the outside of his rig with meticulous attention to detail. FINN (35), swaggering asshole in a leather jacket, conducts GEMMA (8) across the yard as if he was helping her on some important quest. FINN: That’s the guy, right there. He’s pointing at Jimmy. FINN: That’s Finn MacPherson. Gemma marches up to Jimmy, stands hands on hips as if she was copying a character from TV – GEMMA: If you’re Finn MacPherson, you’re my dad, and Mom says you’re six months behind with maintenance and you’re a son of a bitch. Jimmy looks to the real Finn – the man who’s siccing his own daughter on a workmate for fun, and smirking about it – and makes a decision. JIMMY: Yeah, I’m Finn. Finn hadn’t expected that. But it just amuses him even more. GEMMA: Okay. Well. Where’s the money? JIMMY: I spent it on whiskey, and betting, and stuff you’re too young to know about. He fixes Finn with a withering gaze. JIMMY: Because that’s the thing, kid. I’m a bad man. Not just dumb, or selfish, or trying to work my problems out... Nope, I’m plain bad. I’m the kind of guy who’d mess with a kid’s feelings and think it was funny. He thumbs a twenty from his wallet. JIMMY: Which is why I’m going to give you cab fare, and you’re going to go home and forget about me. Because if Finn MacPherson is your dad, well, you’re better off without. Gemma’s eyes fill with tears. She snatches the twenty and rushes off across the yard, breaking into a run. For a moment, Finn actually looks a little shaken. Then he shakes his head, like Jimmy spoiled his fun, and walks away.

SCENE 6 EXT. COFFEE SHOP - DAY LEE and MADISON sit at a table outside the coffee shop, sipping from to-go cups. Lee watches the traffic and pedestrians go by; Madison pounds away on a laptop. Lee watches as a black car pulls up to the curb. It stops, turns off, and a MAN IN A WHITE SUIT gets out. Lee leans over to Madison. LEE: That’s the guy, right there. Madison stops typing, looks up. MADISON: Are you sure? LEE (nodding): It’s him. The man disappears into the coffee shop. Madison stands up. LEE: Don’t. MADISON (pushing back from the table): I’m just going to - Lee puts a hand on her arm. LEE: It’s not a good idea. (beat) He’ll come back. Madison reluctantly sits back down. She starts to type again, then stops. MADISON: But what if he - LEE: Do you really think that following him is not the best idea? MADISON: But there’s all of those people in there. What if he does it while he’s in there? Lee shrugs. LEE: There’s not really much we can do about it, is there? Madison looks troubled for a moment, then sighs and goes back to her computer. After a few moments, Lee nudges her. LEE: He’s back. They both watch the man in the suit walk back to his car, carrying a cup. He opens the car door, and leans in. The car’s windows roll down, music starts playing from inside the car, an upbeat dance track. The man backs out of the car, closes the door. He steps up onto the sidewalk. Madison and Lee glance at each other, then look back at the man, who thrusts out an arm, then a hip in time with the music. As the music builds, the man’s body finds a rhythm. He moves with agility, his moves seeming to come from his very soul, his heartbeat replaced by the beat of the song. People stop and turn to watch him. Some clap or call out to him, but the man’s eyes are closed, and he pays no attention. Lee looks over to Madison. She’s completely entranced by the dancing man. The song ends, and the man’s eyes snap open. He shakes his head, takes a deep breath. Then he gets in his car and drives away. MADISON: Holy shit. LEE: Told you so.

Scene 4 --- EXT. VAST OPEN GRAVE – NIGHT Joe and Sarah peer over the edge with flash lights. Joe covers his mouth with the back of his hand, close to vomiting. Sarah searches for something in grave. Inside the grave, a pile of twisted human bodies fills the bottom of the large grave. SARAH: That’s the guy, right there.” JOE: What? That foot? SARAH: Yeah. That’s his foot for sure. Joe stares at her agast. SARAH: What? His foot is memorable. His toes are gross. Sarah crouches on the edge, shining the light at the foot. JOE: Where’s the rest of him. SARAH: It’s there, under the rest of them. Sarah swings a leg over the edge. JOE: You got to be kidding. SARAH: No. Sarah drops into the grave. A deathly HOWL echoes through the grounds. JOE: Great. Bretta’s back. Sarah slides her pant leg up, revealing a knife, and unsheathes it. The jagged blade reflects the moonlight. SARAH: She’s just a puppy. JOE: You’re taking his foot? SARAH: Nah. Just a couple of toes. Sarah reaches down and grabs the foot. A twig SNAPS, sending Joe spinning around. A 9-year-old GIRL looms in a long nightdress, a bone claw in her hand. JOE: Bretta. Go back to bed. Sarah climbs out of the hole, her bloody hand clutching something. SARAH: Quit trying to scare him, Bretta. BRETTA: Fine. But those toes will cost you. Sarah smiles, pulling out her wallet. SARAH: 20 bucks? Bretta’s eyes light up.

SCENE 6 INT:POLICE STATION-EVENING TWO WOMEN, ONE A COP ARE LOOKING AT A PHOTOS OF POSSIBLE SUSPECTS IN A FATAL SHOOTING AT A PARTY OFFICER DUNCAN: That’s the guy right there who said he thought the shooter was Raoul. (points to a teen at a desk speaking to another officer) Look closely Jackie. Tell me if you recognize any of these suspects as the shooter. JACKIE: Everything happened too quickly. OFFICER DUNCAN: Your fiancée Diego was shot right in front of you. You’ve got to help solve this case. JACKIE: Bitch we were in the front yard hanging out when there were 3 shots out of nowhere. I dove for cover and the next thing I knew my man was on top of me dead. OFFICER DUNCAN: Describe the car again. JACKIE: A red souped up sports car. Looked like a Pontiac. OFFICER DUNCAN: Did Diego have any enemies? JACKIE: Diego sold drugs. Of course he had enemies. OFFICER DUNCAN: Anyone in particular? JACKIE: Just Raoul Sanchez as far as I know. Raoul had threatened him a few months ago. He’s a dealer too. OFFICER DUNCAN: About what? JACKIE: Turf. Raoul felt that Diego was getting too close to his base of operations and told him to back off. OFFICER DUNCAN: Did Diego back off? JACKIE: Not sure. We didn’t discuss his drug business too much. He wanted me out of that. OFFICER DUNCAN: Hey Lawson, didn’t you pick up Raoul Sanchez a few months ago on terroristic threats? LAWSON: Sounds familiar. OFFICER DUNCAN: I’m gonna bring this Sanchez character in for questioning. More than likely he knows what happened, even if he isn’t the actual shooter. JACKIE: Oh if anyone shot my man it was Raoul. He’s just that crazy mami.

[Scene 6. || AN: Fountain.io formatting marks may appear.] EXT. SIDEWALK CAFE - MID-AFTERNOON Two teenage girls, ANN (14) and ABBIE (13), stand close to each other next to cafe door, their heads together as they whisper to each other. A tall, official-looking 30-something man, PARRIS, discreetly approaches the girls. PARRIS' attire is dark blue, but not a uniform; his appearance next to them accepted, as if they had been waiting for him. PARRIS nods to the girls. The three watch forty-something PROCTOR, who sits alone at a cafe table farther down the sidewalk, reading from a book and typing in a tablet sporadically. ANN (whispers, tossing her head toward PROCTOR) That’s the guy, right there. ABBIE (whispers) Yeah, that's him. PARRIS (whispers) You're absolutely certain? We've got your call recorded and your ID. If this is a prank— ANN (harsh whisper) No! I know what I saw. I'm certain. ABBIE (whispers) Me, too, I've never been more sure in my life. PARRIS (whispers) Last chance, you're both sure? ANN (whispers) Yes, I saw him. He did it with his hands, and then dead! ABBIE (whispers) You know we can't show you, that'd be doing it, too! ANN (whispers) The old lady just fell over on the pavement, they called an ambulance, but it was too late. ABBIE (whispers) There must be video, you know it. Just get him, though, before he does it again! ANN (whispers) I'm scared, what if he— PARRIS holds up his hand to stop ANN's next words. He steps behind the girls, presses a button on a small device attached to his shirt pocket and begins to speak while watching PROCTOR. PARRIS (low voice) 10-32 all units, I need a 10-33 on a 10-100, suspect present, believed dangerous. 10-27, repeat, proceed with caution. PARRIS holds an index finger to his ear, listening for reply on earpiece. All at once a half dozen POLICE OFFICERS in similar unmarked dark blue uniforms run in from all directions. Two POLICE grab PROCTOR’s arms, one officer on each side. PARRIS pushes ANN and ABBIE into the cafe door out of the way, while pulling a gun from behind his back out of his rear belt holster. PARRIS points the gun at PROCTOR. PARRIS (loudly) David Proctor, you’re under arrest for the illegal use of magical gestures leading to the death of Margaret Davis. You may not speak until we reach the courthouse, at which time you will be provided with an attorney and anti-magic holds placed on your person for public safety. PROCTOR is in shock, eyes wide, gibbering, as his hands are placed in bag-cuffs behind his back. A third POLICE OFFICER wearing gloves puts all PROCTOR’s personal effects in an opaque evidence bag as PROCTOR is led away to a nearby police car. ANN and ABBIE continue to watch from the cafe’s doorway as PARRIS finishes the arrest with the rest of the POLICE OFFICERS present. ANN I sure hope that witch didn’t see us. I don’t want to die yet. ABBIE nods. > FADE TO BLACK.

INT. GYM - DAY MELANIE and MELISSA jog on the treadmills next to one another. Melanie ogles the muscular body of a man lifting weights at the other end of the gym. Melissa easily notices, and teasingly waves her hand in front of Melanie's face. MELANIE That's the guy, right there! MELISSA What guy? And right where? MELANIE The guy that I had a moment with, over in the weights. Melissa spots him, and she too begins to ogle. MELISSA That's Mr. Moment? Good lord, Melanie. MELANIE Now do you understand my complete and utter lack of the ability to form so much as a word to start some sort of conversation with the man? I was speechless, Melissa. MELISSA No, I totally get it. Like what else could you possibly say to him other than "I want you to bend me over this treadmill and fuck my brains out!" An old man next to Melissa frowns at her, yet looks slightly aroused. MELANIE Melissa! MELISSA You thought the same thing. I know you. MELANIE Well, obviously. MELISSA Let me ask you this, would you fuck him on the first date? MELANIE I don't care if you're John Stamos, I don't fuck anyone on a first date. You would? MELISSA Uh, duh! You wouldn't even think about it? MELANIE Of course I'd think about it, God yes. But a guy like him, who's so handsome that it's impossible for even him to pretend like he doesn't know he could have any girl he wants? You NEVER give it up that easy. This is why you're single. MELISSA What the hell, dude, MELANIE Mel, I'm just say- The man lifts up his shirt to wipe his face, exposing his six-pack abs, leaving the girls swooning. MELISSA You've gotta go talk to him again. MELANIE I know, but how do I do it in a way that doesn't come across as completely desperate? Melissa smiles. MELISSA You're asking the wrong girl for that. But he clearly likes you, why ruin such a great chance? MELANIE You're right. MELISSA I want you to go over there- MELANIE Now? MELISSA Yep. MELANIE And do what? MELISSA Pretend you need to grab some weights, and accidentally bump into him. MELANIE Me? Weights? MELISSA You're not gonna train for the Olympics, just pretend you're gonna do something girly! Melanie looks nervous yet more willing to accept the plan. MELISSA You dumb blondes, I swear. MELANIE Okay, I'll go do it. MELISSA Okay, that a girl. Now remember- A gorgeous woman approaches the hunk and the two share a kiss. Melanie's heart drops. An awkward silence as Melissa thinks of a way to comfort her. MELISSA You're way hotter than that bitch.

Scene Three Interior – Store – Afternoon Grant, an elderly and spectacled gentleman confidently but slowly strolls right up to the customer service counter rudely bypassing the four other people who have been impatiently waiting to return their goods. He strains to turn halfway around and point across the store never facing Miriam behind the counter. Grant: That’s the guy, right there. His direct statement catches her off guard for a split second. Miriam: Excuse me? Grant rolls his eyes and finally makes eye contact with Miriam. Grant: Are you deaf? He’s the one that said I couldn’t return these movies. Said I needed my receipt. But I got it. I got it right here. Do you see? Miriam squints at the faded receipt pinched between grants cracked fingers. Grant is squinting just as hard across the store again. She lifts her eyes up to follow Grant’s gaze. Miriam: Well, if I am reading that receipt correctly it says--- Grant jumps back into the conversation without losing his sight line. Grant: It says I bought them here and I can return them. So if you don’t mind I’d like my money back. Miriam finally checks out what’s in his other hand. VHS tapes. Miriam: Mind if I take a closer look at that receipt? Grant turns and is beaming. He delicately hands over the fabric soft receipt like it was the Declaration of Independence. Grant: I like you. You run this place? Miriam is too busy trying to decipher the date on the receipt. Miriam: 1988? Grant has returned to glaring at his enemy across the store. He’s also clearly not embarrassed by his rudeness. He turns to Shelly, the original next person in line. Grant: You have trouble returning stuff here? Shelly is just as engrossed as Miriam with the receipt and VHS tapes. Her tight-lipped smile barely holds back a chuckle. Shelly: No. Never had a problem before. I brought back my copy of Back to the Future when it broke. Easy as pie. Grant: Must have been a different guy. Him, I don’t trust him. Shelly is trying to track the object of his gaze now. Shelly: Probably was a different person. Which person said you couldn’t return them? Grant wobbles his arm towards the cell phone section of the store. It quickly drops back down. Grant: That guy. He’s lazy on top of it. Just stands there. Never moves. Shelly’s smirk and curiosity in her expression is wiped out by sympathy. She catches Miriam’s eye and nods towards the cardboard cutout of an employee at the cell phones. Miriam: Tell you what sir. I’ll refund you for the movies. Why don’t you take a seat over at the end of the counter and I’ll bring your money in a few minutes. Grant mulls over what she just proposed. Scratches his head to finish his decision. Grant: Does it take a while? Miriam: Just a few minutes. I have to get my manager to get the cash. You know, procedures. Grant shuffles to his seat. Grant: I understand. I like you. You get stuff done. Make sure you tell your manager about that guy.

thanks! i'd intended for it to be funny but "other" Seth took control and went to the dark side. i was creeped out at myself. lol

Scene #6: INT. – POLICE LINE-UP – DAY WOOTON and OFFICER #1 sit looking at the line-up. Wooton, wearing glasses, points at NUMBER FIVE. WOOTON: That's the guy, right there. OFFICER #1: Number Five? You sure? WOOTON: Positive. I'd reckanize him anywhere. OFFICER #1: (to Wooton) Will you be able to testify in court that he's the man you saw attacking the victim? WOOTON: I sure will. Can I go home now? OFFICER #1: Rape is a serious charge, Mr. Wooton. We'll need a statement from you. INT. – INTERROGATION ROOM – AN HOUR LATER Wooton sits on one side of a small table. Officer #1, across from him, slides a pen and paper to him. OFFICER #1: This is a transcript of your statement. Check it over. If there's anything incorrect, tell me right away. If not, sign at the bottom. Wooton grabs the pen and scrawls his signature without even pretending to read the document. He shoves it back to Officer #1, who puts it in a folder. WOOTON: Done. Is there a reward? OFFICER #1: Just the fact you've done your duty as part of a civilized society. WOOTON: I can do that. I've done it before. OFFICER #1: Really? How many times? WOOTON: Three, four. I forget. Now can I go? OFFICER #1: Just a few more questions. WOOTON: Like what? OFFICER #1: We need to make sure you'll be a reliable witness if this matter goes to trial. WOOTON: IF? Whadda you mean, “if?” He's guilty. Why wouldn't it go to trial? I saw what he did. OFFICER #1: There are sometimes plea bargains-- WOOTON: Plea bargains? That is fucked up! That is so fucked up! Officer #1 pulls out a punchlist and a pen. He looks at Wooton's glasses. OFFICER #1: Are those the glasses you were wearing at the crime scene? WOOTON: Yeah. OFFICER #1: You farsighted? WOOTON: Right. Officer #1 points at a sign on the far wall. OFFICER #1: What does that sign say? Wooton squints at the wall. WOOTON: No smoking...? OFFICER: You can't read it, can you? WOOTON: Oh, wait. (laughs) These are my reading glasses. OFFICER: But you didn't read the transcript of your statement. WOOTON: (shrugs, smiles) I trust you guys to get it right. OFFICER #1: You shouldn't. What you signed was a copy of the Gettysburg address. WOOTON: What the fuck? OFFICER #1: That guy you ID'd? At the time of the rape, he was on the front desk here at the station. He's a cop. WOOTON: Oh. OFFICER: But don't worry. We still have a suspect. WOOTON: Who? OFFICER: You, actually.

Cute! But you wouldn't send out a script that has two characters with almost the same name, would you?

Dang! I didn't know people watch when I do that! Seriously, nothing much seems to happen, but I couldn't stop reading! Curious who that mysterious dancing man is. Nicely put together.

Good scene. Interesting turn. Well done.

----------------------------------------------- INT. SURVEILLANCE VAN - AFTERNOON Through the lens of a 35mm camera, we see MARQUEZ, a well-dressed Hispanic man sitting in a parked car across the street. A pair of federal agents-- the veteran GALLOWAY and the inexperienced WYNN, observe him. GALLOWAY: That's the guy, right there. Wynn SNAPS a photo. WYNN: Hard to believe a guy this big would even show his face out in the open like this. You'd think he'd at least have a driver. Somebody running his errands for him. GALLOWAY: Which means this isn't an errand. Wynn SNAPS another photo. GALLOWAY (con'td): It's clearly important to him. Which, thankfully, gives us something to work with. WYNN: (catches on) Something we can use against him. You're not actually suggesting we would... Galloway gives him a look that says it all-- "Yeah. We would." Wynn clearly disapproves. He turns his attention back to Marquez. WYNN: I'd like to think we're above that. GALLOWAY: We're not. Suddenly, we hear the sound of a BELL-- a SCHOOL BELL. On queue, Marquez exits his car. And we quickly realize... he's been sitting in front of a school. A young girl rushes over to him and JUMPS into his arms-- his DAUGHTER. GALLOWAY: If there's one thing you need to learn... Marquez LIFTS his daughter up into the air with a smile and KISSES her on the cheek as the two head back towards his car. GALLOWAY (cont'd): It's that there's no such thing as a weakness you can't exploit... END SCENE -----------------------------------------------

Smooth. Good dialogue. Well done.

Nice concept!

Scene 3 "That's the guy, right there" INT. OFFICE BUILDING-GROUND FLOOR CAFE Typical Office Café. Office-like interior colors. Floor to ceiling windows. Pedestrians speed walk pass outside. Corporate suits stand in line or crowd tables. They order coffee, hold very important conversations on their Bluetooth or type away on their tablets. It's lunch time, but business doesn't stop. MICHAEL FINLAY sits at a table, sips on an espresso and bullshits with his buddies. THREE FEMALE COPS walk in, totally unnoticed. One carries a small backpack. One looks at a photo, she points: Cop 1: That's the guy, right there. She walks up to Michael. Cop 1: (commanding) Michael Finlay?! Michael stops mid sentence and stares. His buddies stare, mouths open. People nearby turn, ready for something to gossip about. Michael: (unsure) Yes. Cop 1: (wagging her finger) You've been a bad, bad boy. The other two cops fan out. The one with the back pack sets up a small speaker system on a nearby table. She pushes play and a guitar riff cuts through the chatter. Several more suits stop. This is gonna be good! Suddenly the girls grab hold of their shirts and pull. Breasts spring forth in a glorious stripper cascade. Hips begin to gyrate in rhythm to the music. Everyone in the café stops and watches as three sexy cops tease and twerk for Michael seductively. Several phones capture the show. The head cop straddles Michael and grinds away as Carrie Underwood belts out "Before He Cheats". Wait....what? Backpack cop grinds against the third cop. They take turns spanking each other as they press themselves against Michael. As surprised as he is, Michael enjoys himself until he spots his BOSS standing in the doorway of the cafe. A white-hair “Charles Schwab” type with his arms crossed and a look of sever disapproval to match. He tries to straighten up but it's too late. The strip tease has already taken effect. The backpack cop peels herself off and digs into her pack as the other two continue their Pussycat Doll performance. The song comes to an end and the girls, hot, heaving flesh exposed, stand full frontal before Michael. Cop 1: Michael Finlay....your girlfriend, Lauren says: Fuck you!!! They flash middle fingers at him. Backpack cop gleefully tosses a stack of flyers in the air. The stunned crowd applauds as flyers float down like glitter. On the Flyer: A photo of Michael with an older woman, graceful like a “Charles Schwab” type of wife. His hand is suggestively placed on her ass. Several of his co-workers snicker as they pick up the flyer. Others glance nervously at the boss as he watches a flyer fall gently at his feet.

SCENE SIX EXT. CROWDED STREET – DAY ANNIE, 27, casually keeps pace with the crowd, as her eyes narrow in on faces around her. Suddenly, a voice in her ear: VOICE: That’s the guy, right there! ANNIE (whispering, barely moving her mouth): Where? INT. SURVEILLANCE VAN – CONTINUOUS The voice belongs to MARGOT, 26. She sits in the back of a surveillance van, surrounded by equipment and screens, watching the scene in front of Annie. She zooms in on an unassuming MAN wearing a green jacket, walking ahead of Annie, slightly to the left. MARGOT: In the green jacket. Ten o’clock. EXT. CROWDED STREET – CONTINUOUS Back to Annie following him. ANNIE: You’re sure? MARGOT (O.S.): Positive. Annie tries to blend into the crowd while watching him. The man begins to weave through the crowd, going in and out of her sight. ANNIE: You’ve got eyes on him right? I don’t want to spook him. MARGOT: You’re good to stay back a ways. I’ve got a lock on him up until Jackson through the street cameras, so give him some space. Annie slows her pace, looking into shop windows as she walks. INT. SURVEILLANCE VAN – CONTINUOUS Margot switches the view on her screen to the next camera, keeping the man in sight. Suddenly her screen goes blank. MARGOT: What the hell? EXT. CROWDED STREET – CONTINUOUS MARGOT (O.S.): Someone jammed the feed. Get out of there, he’s on to us. Annie walks quickly, looking through the crowd. ANNIE: We’re so close. Fuck, I’ve lost sight. MARGOT (O.S.): Annie, pull back. Annie looks frantically through all the people in front of her, not seeing the man. MARGOT (O.S.): Annie, I’m serious, back off. Annie reaches up to her ear and turns off her earpiece. ANNIE (to herself): Come on, where are you? As she walks, looking attentively in front of her, we see the man in the green jacket walking behind her, eyes focused directly on her.

day 6-7/8 EXT. STREET - NIGHT Geo and Paully walk down Fullerton. It’s quiet. Until, A GANGBANGER, 17, WITH TEAR DROP TATTOO, (signifying he has killed someone) pulls a gun. Geo and Pauley stop. Raise eyebrows at the kid. They look to each other. A “Is this fuckin’ kid for real?” eye contact. Geo nods to Paully. They’ve done this before. They pantomime being scared shitless, fake crying. Raising hands in the air. Paully even does a circular dance physically screaming, "oh my god, a gangbanger with a gun". Geo pretends to search his jacket with his mouth wide open in a total silent insult to who he sees as a punk kid. (this is all while Paully dances in circular formation, making sure to draw the attention of the young gangbanger) While patting his own chest, Geo reaches inside his jacket pocket. GANGBANGER 2 runs up behind his friend. He Squeezes the back of his neck, and WHISPERS Something in Gangbanger 1’s ear, who’s eyes then widen. When Gangbanger 2 finishes his sentence GANGBANGER 1’S MOUTH IS WIDE OPEN AND TEARS ARE NOW IN HIS EYES. He raises his hands, gun to the air, and steps back. He bows his head. Then, Rotates his gun and offers it to Geo. Geo waves his hand, nods his head. “Beat it.” The kid runs off, and Paully and Geo laugh hard. Hard enough that Pually has to bend down to catch his breath. Good times, old friends. Paully catches his breath, and looks across Fullerton. He stares hard, no longer laughing. PAULLY-That’s the guy, right there. Geo slowly stops laughing. GEO-Huh? PAULLY-That’s the guy who swindled me out of that fin I was telling you about. Fuckin’ cocksucker. Geo diverts his eyes across the street, catches a glance, then back to Paully. GEO-Paully, are you fuckin’ telling me, that is the guy who cheated you out of the five bucks at Marias? PAULLY-Gee, I am as fuckin’ sure it is him as sure as I am that I shit twice today, okay! It’s fuckin’ him!! Geo glances back across Fullerton. Cocks his head, perplexed. GEO-You’re telling me, this fuckin’ kid, in thick ass glasses, and a beige suit that is way too fuckin’ tight, and those shoes, Christ almighty what decade is this? That’s the guy who cheated you out of a fin, because of that bullshit Hitler story? PAULLY-It might notta been bullshit though. GEO-Oh, it was bullshit. What was it again? Hitler,...didn’t kill himself? But rather he,...he fuckin’ did what again? Geo is doing his best not to laugh in Paully’s face. PAULLY-Hitler didn’t kill himself. He fuckin’ took a sub to Hollow Earth. Geo laughs, can’t help it. PAULLY-I mean, he fuckin’ fucked me. Should we do something? GEO-No, we shouldn’t. Geo observes the quiet neighborhood that no longer resembles where he grew up. He then stares across Fullerton at the person of interest. GEO-But for fucks sake. A fin’s a fuckin’ fin, right? They cross Fullerton, and approach Jarvis.

- SCENE 6 - INT. KITCHEN/LIVING ROOM - DAY NANCY stands at the kitchen counter assembling hors d'oeuvres on a large tray. She is dressed in a catering uniform, and has her hair pulled tightly back. JEN is dressed identically, working next to her. A mixture of caterers and mourners fill the kitchen and living room. One of the mourners, JORDAN, walks into the living room. He sits down in an empty space on the couch. NANCY: That's the guy, right there. JEN: Oh, which one? NANCY: He just walked in. JEN: I didn't see. Which one is he? NANCY: I'm not going to point. JEN: You can describe him, no? NANCY: Dark hair. Kind of wavy. On the couch.. at the end. JEN: Oh... fuck. NANCY: Yep. JEN: So...he... NANCY: Yes. JEN: It was his wife? NANCY: Girlfriend. I think. JEN: Oh, well... NANCY: Still. JEN: Of course... How long ago were you two..? NANCY: God, five years ago… six. JEN: Have you talked to him? NANCY: Talked to him?! JEN: You know, said hi.. sorry..? NANCY: No. No. I'm hoping he doesn't notice me. JEN: He's probably going to- NANCY: Yeah. It's just not the best time... JEN: Well, of course. NANCY: Let's hope he doesn't notice. JEN: Yeah. NANCY picks up her tray and walks out into the next room.

SCENE FOUR (Write a scene with this first line of dialogue: “That’s the guy, right there.") INT. FAST FOOD RESTAURANT - DAY It’s a down in the dumps type of joint. The workers don’t show much passion for the burgers their flipping. It’s a small restaurant that fits about fifty people, however only five people are there at this time. JOHNNY, twelve years, old runs up to the worker behind the register with his mothers hand held tight. His face is one of anger mixed with sadness. The worker’s name is MAX, late 20’s. JOHNNY That’s the guy, right there. Johnny's mom, TERRI, late 30’s, guides Johnny behind her. She gives Max a stern look. MAX What’s the problem, ma’am? TERRI (aggressively) What’s the problem?! This is the problem! She shows him a box of ordinary looking curly fries. Max gives a confused look at her. MAX So...What’s the problem again? TERRI How can you not see it? There’s something in there that’s not supposed to be there. Max looks closer. MAX What is it? Is there a hair in the fries? I don’t see anything... TERRI There’s a regular fry in the order of these curly fries! MAX That’s all? Max sets off a trigger he didn’t know he shouldn’t have set off. TERRI I want some new fries. These are no good. Max looks behind Terri and sees a wry smile on the face of Johnny. MAX (Timidly) ...Why don’t you just take out the regular fry? Terri laughs in his face. TERRI You don’t get it do you? Max shakes his head ‘no’. Terri throws the fries to the ground. MAX I have to pick those up... TERRI Well maybe next time you’ll think about this before you decide to put a regular fry in our order of curly fries. Terri grabs Johhny’s hand and storms out the restaurant. Max doesn’t know what just occurred. MAX ...It just happens.

SCENE #5 INT. HARTMANN’S DEPARTMENT STORE Two shop assistants folding T-shirts. Hannah (16) and Carol (41) both wear the same ill fitting work clothes: For Hannah way to big, for Carol far too tight. Hannah spots a man of about 60 in a nice suit with silver grey hair. HANNAH: That’s the guy right there. CAROL: But.. Hannah Looks at her like: What? CAROL: He seems so decent HANNAH: SO? I saw him do it and this time I’m gonna prove it. Hannah sneaks through the alley’s. Keeping low. Like a professional detective, spying on The Guy. Hiding behind mannequins, clothes racks etc. Carol, not quite so smooth, follows her. CAROL (whispering) : Stop it Hannah, What are you doing? HANNAH(whispering): I’m gonna take a picture! - get down! The man looks in their direction. But they’re hidden behind a pillar. Swiftly they tiger into the next lane, the WOMEN’S UNDERWEAR SECTION. Hannah pushes some nightgowns aside and now has a perfect view of The Guy: Scanning the area. Store’s almost empty. On the counter: Delicate lingerie, some nighttime accessoires. He spots his target. A pair of silicone bra fillings. He gently puts both hands on them. Shivering. Closes his eyes, breaths deep. Taking it all in. HANNAH: I put it online. CAROL: Shouldn’t we talk to.. HANNAH: it’s done. MANAGER: Carol? What are you doing down there? Carol jumps up, Hannah gets out of the rack, dusting of her clothes. MANAGER: Hannah? shouldn’t you be at sportswear? A lot of shoelaces that need to be tied. HANNAH: We wanted to rep.. CAROL: You! not me HANNAH: We need to report someone for indecent behavior! MANAGER: Well that’s very.. (sees The Guy in the next shopping lane) Mr. Hartmann! What a great honour, as always! HARTMANN: Oh, hello. Just checking on things. Nobody’s come up to ask me what I was looking for yet. Don’t you instruct them on customer service? I want my store to be top of the tops in that area. MANAGER: On the contrary! We really care about the business. Hannah and Carol here actually were about to report some pervert to me. CAROL: (walks off) I'll do sportswear.

Scene 4 EXT. OLD NEIGHBORHOOD - DAY Broken down cars and houses line the street. People outside sitting on their porches watching kids play on a run down playground. LARRY - Late 30’s - timid is talking to QUINT early 20’s. QUINT: That’s the guy, right there. That be Stanky. Quint points to STANKY - 20’s - rough looking sitting on a park bench. LARRY: And he has what I need? QUINT: Oh Yeah. Larry sheepishly walks towards the park bench. He’s looking around. Scared but on a mission. LARRY: Excuse me. Mr. Stank. Stink. Mr. Stink. Stank. Mr Stank. STANKY: Stanky. What can I do you for? LARRY: I need some. I need to purchase some. Do you have any... STANKY: Spit it out LARRY: Pot. Some pot. Weed. STANKY: What you need that fo? What you say yo name was? LARRY: Larry STANKY: What you need that for Larry? LARRY: A Party. I’m having a party. STANKY: Moe and Curly going to be at yo party? Larry laughs nervously. STANKY: You a cop Larry? LARRY: Definitely not. No. I hate cops. STANKY: (Joking) Shit Larry. Cops just be patrolling. Protecting us from fools like you who be doing drugs. LARRY: I normally don’t do this. It’s for my party. The guests mainly. STANKY: Well what time should me and my boys show up at this party you can’t stop talking about. Shit sounds like it going to be epic. Larry is silent. He doesn’t know what to say. STANKY: Con’t Don’t worry Larry. I ain’t coming to yo bitch ass Barry Manilow party. How much you need? LARRY: The normal I guess. Enough for everyone. STANKY: Larry. I’m gonna be straight wit you. I’m concerned that you don’t know what you are doing and someone is going to take advantage of you. You are lucky you came to me. How much money you got? Larry hesitantly shows a wad of cash. Atleast $250. Stanky’s eyes lock in. STANKY: Con’t Larry it looks like you got enough for a dime bag. LARRY: And that will be enough for the whole party? STANKY: Depends Larry. I’m happy to sell you another dime just to be on the safe side. LARRY: This is all I have on me. STANKY: ATM around the corner. Stanky checks his stash STANKY: Con’t I only have one dime left. Yo Party. Yo call. Larry thinks for a moment. LARRY: I’ll be right back. STANKY: Smart move Larry. Yo party is going to be epic. I almost wish I could be there. Larry turns and walks towards the ATM with a smile on his face. Stanky watches him go with an even bigger smile across his face.

SCENE 6 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ INT.PLANE.DAY GEORGE(30) sits there ,depressed, looking up at the ceiling. Darkness in his eyes. Two men, twins(40) swift in the cabinet, MASON and JASON. MASON wears a black hat and overcoat while JASON wears white hat and overcoat. Moving, they ask something to the air hostess. She whispers something AIR HOSTESS: Thats the guy, right there. She points towards GEORGE. As they are walking towards GEORGE, JASON gives a flirtatious look to the air hostess , she blushes. MASON (pushing past George to the seat beside him) Excuse me… GEORGE, in the middle of the strange men. JASON offers his hand. JASON: Hi. I'm Jason. You are George. And… you are out of your mind. GEORGE stare at the two guys, dazed. JASON takes back his hand. JASON: And rude. (Sighs) Comin to the point… MASON: Mr. GEORGE, what makes you think you have the right to take your life and the others. GEORGE hesitates, then he tries to struggle out of the seat, failing. He pushes the 'HOSTESS' button, its disconnected. GEORGE(giving up): who are you? MASON: You see George… JASON: We help people get some… some… MASON: Sanity. When they decide to end their lives. GEORGE: Underestimate! … I've LOST everything. My wife cheated on me, my kids HATE me, I am a sinner. And this.. will be my last. Under George's seat is a suitcase with a red light beeping. He is trying to protect it with his feet. JASON: George… you'll suffer even in death with all these people's loved ones cursing you to hell. This is he moment...you choose. GEORGE: I won't stop it.. SHOT! A silent gun is fired, He's dead We see in MASON'S black overcoat, the gun shining. He slides it back in, They both sigh, MASON, in deep thought. JASON(shaking him): MASE.. lets go. MASON looks at him with love. JASON(Confused): What's the matter? MASON: nothing... JASON slides out the bag from underneath, and both walk to the Men's washroom. JASON gets in the washroom with the bag, the door swings, MASON, about to get in too, looks out the window, a red parachute pops open, MASON sighs. He pulls something out of his pocket. MASON'S POV: a bottle titled, RAT POISON. Looks back to where GEORGE lies dead. He drops it, intentionally and gets in. The CAMERA PANS to a window, we see MASON Falling, Falling, Falling, A yellow parachute pops open. ___________________________________________ Thank you for reading. Please comment and let me know how it could've been better Thabk you again:D

Ooh, scary!

EXT. SUBURBAN HOUSE, BACK YARD - NIGHT CHUCK swings in a hammock, springs creak as he sways, a glass with an umbrella dangles precariously in his hand. YOLANDA, heavily pregnant, illuminated in the kitchen window, shakes her head. ALFIE(O.S.): That's the guy right there. Light from the house casts a shadowy glow across a garden of burnt trees and scorched earth, razored to the ground. Reflection picks out the glint of small eyes peering from a sizzled hedge. Chuck stirs, sits upright. CHUCK: Yolanda, what was in that punch? I could have sworn a saw a gnome move. YOLANDA: You know, every so often I miss drinking, and then you open your stupid, brain deprived mouth. CHUCK: Hey, your kid would be lucky to inherit my brain deprived mouth...I know, it's silly. Chuck eyeballs his drained glass, lies back. He peeks with one eye at the hedges, just in case. CHUCK: (scoffs) I thought I t'saw a statue move. He dozes. A CRUNCH. He wipes drool from his mouth, cracks open his eyes to face a scorched lawn filled with GARDEN GNOMES, hundreds of them, all facing towards him. An army with pointed hats and jaunty grins stretches into the darkness. Chuck freezes, too scared to move. CHUCK: (rasps) I did, I did, I AAAAAHHH! FADE TO BLACK Hi Ho, Hi Ho...

SCENE SIX INT. BATHHOUSE - DAY MEN in nothing but towels. Naked, sweaty bodies. Steamy in every sense. DRAGOZ (50s, corpulent) walks along a bench, pointing to each young, muscled MAN in turn. YULI (50's, fastidious) shakes his head at each one. Dragoz reaches the end of the bench, and points at the final specimen: a young, fine-featured, almost androgynous TEEN. Yuli beams. YULI That's the guy, right there. DRAGOZ You're sure? YULI Oh, yes. I want that one. DRAGOZ hands a wad of bills to the ancient bathhouse PROPRIETOR. Yuli takes the Teen by the hand and leads him towards the back until they disappear into the steam.

SCENE 5 - DAY 6 EXT. HOXTON SQUARE - DAY Slick spiky haired Vanda stands slouches on the shoulder of geeky blonde Rick on the edge of a busy green square. They are eyeing up an older boy standing outside a bar across the road. VANDA: That’s the guy right there. RICK: You can’t go round picking random boys. VANDA: One guy not boy Rick. And he’s not random if I chose him. RICK: You know what I mean. VANDA: Dark, good looking and yes he is a little mean. It's what a girl likes that counts. RICK: Classic serial killer. VANDA: That’s the guy I tell you. RICK: How can he be the one? VANDA: I didn't say that. RICK: Question, Is he the dreamboat or not? VANDA: That guy is a good a bet as anyone. RICK: You don’t know a single thing about him. VANDA: No one knows anything about anyone until they get to know them. RICK: He’s too old. VANDA: Girls go mature before they go toy. He looks about 20. RICK: He’s definitely done it. VANDA: I may have done it. RICK: Why can't you find someone your own age? VANDA: Oh purrleaze, I don’t know anyone but you. Silence RICK: Shit, that's Mr Harris, he's coming towards us. VANDA: Go. They run in the opposite direction. EXT. ARNOLD SQUARE, HOXTON - DAY RICK: Let’s not skip school tomorrow. VANDA: I didn’t mean you’re not worth going out with you know. RICK: I don’t think Mr Harris saw us. VANDA: Rick, I just want you to know... RICK: I don’t want to talk about it Vanda.

My Scene 03 EXT. STREET – DAY Walking among the throng of passers-by are TIM and SAM, twenty-somethings with suspicious bulges in the waistbands of their jeans, covered by loose t-shirts. They crane their necks from side to side, peering. Tim elbows Sam. TIM That's the guy, right there. SAM Where? Where? He looks wildly around. Tim puts a hand on his head, stops it, guides it to the direction of BILL (30s), suit and tie and a lustrous large beard. TIM There, the one with the beard. SAM With the beard? But he didn't have a beard. TIM It's a fake beard, of course. He doesn't want to be found, does he? Sam gives Bill a once-over, shakes his head. SAM Doesn't look much like our guy. TIM He must be on another con, like he did to the Boss. Only, he conned the wrong man. Let's go. They follow in Bill's wake, Tim speeds up, Sam grabs his arm, slows him down. SAM Wait, wait, wait. We can't just jump him. We must make sure it's him, fake beard and all. TIM Huh, the Boss wouldn't mind if we broke some wrong kneecaps. SAM But he would mind if we didn't break the right ones. TIM That, he would... But, hey, I got an idea. Without breaking pace, he pulls out a cigarette and lights it, puffs until the tip is glowing red. TIM You hold back and watch. He speeds up, reaches Bill, takes his side, brings the cigarette to Bill's beard. Smoke, a hint of flame. Bill jumps, pats his face, pulls on the beard, which comes off half-way. Tim stands in his path, arms crossed, smirks. Bill freezes. TIM We need to talk, Bill. BILL Bill? Who's Bill? I'm not Bill. I don't want to talk with you. Sam comes to his back, presses a gun to it. SAM Messrs Smith and Wesson insist.

My Scene 03 EXT. STREET – DAY Walking among the throng of passers-by are TIM and SAM, twenty-somethings with suspicious bulges in the waistbands of their jeans, covered by loose t-shirts. They crane their necks from side to side, peering. Tim elbows Sam. TIM That's the guy, right there. SAM Where? Where? He looks wildly around. Tim puts a hand on his head, stops it, guides it to the direction of BILL (30s), suit and tie and a lustrous large beard. TIM There, the one with the beard. SAM With the beard? But he didn't have a beard. TIM It's a fake beard, of course. He doesn't want to be found, does he? Sam gives Bill a once-over, shakes his head. SAM Doesn't look much like our guy. TIM He must be on another con, like he did to the Boss. Only, he conned the wrong man. Let's go. They follow in Bill's wake, Tim speeds up, Sam grabs his arm, slows him down. SAM Wait, wait, wait. We can't just jump him. We must make sure it's him, fake beard and all. TIM Huh, the Boss wouldn't mind if we broke some wrong kneecaps. SAM But he would mind if we didn't break the right ones. TIM That, he would... But, hey, I got an idea. Without breaking pace, he pulls out a cigarette and lights it, puffs until the tip is glowing red. TIM You hold back and watch. He speeds up, reaches Bill, takes his side, brings the cigarette to Bill's beard. Smoke, a hint of flame. Bill jumps, pats his face, pulls on the beard, which comes off half-way. Tim stands in his path, arms crossed, smirks. Bill freezes. TIM We need to talk, Bill. BILL Bill? Who's Bill? I'm not Bill. I don't want to talk with you. Sam comes to his back, presses a gun to it. SAM Messrs Smith and Wesson insist.

Scene 6: INT. BAR A crowded bar. In the middle, standing out like bedazzled Barbie dolls is a bachelorette party. The Bride, MINDY, is mortified at this particular moment and surrounded by a gaggle of friends. ANGIE: That's the guy, right there. CASSIE: Ew! He's cute. He's definitely the guy. MINDY: No he's not. ANGIE: He's perfect. Go. MINDY: No. I can't. I'm getting married tomorrow. CASSIE: She's not telling you to sleep with him. Go! Mindy double checks her tiara bedazzled with the word BRIDE, and runs a finger under her eye cleaning up her makeup. MINDY: Fine. I do this and you won't drag drag me to some nasty strip club. ANGIE: No strip club. Mindy musters her courage and pushes through the throngs of people. She walks up to "The Guy". MINDY: Excuse me. The guy turns. Without hesitation she reaches down into the front of his pants and feels around. Feels around some more… and more. He clears his throat. She pulls her hand out and yells back to her friends: MINDY: Nope. They're not in there. (to Guy) Sorry. I was looking for my keys.

SCENE 6 (WRITE A SCENE WITH THIS FIRST LINE OF DIALOGUE: “THAT’S THE GUY, RIGHT THERE.”) INT. FREDDY’S – DAY: The place is packed wall to wall with people. SYLVAN gets his drink at the bar, pays the bartender, and squeezes through the crowd to allow others to step up. ALLISON walks up to him. He gestures to her to look across the room. SYLVAN: That’s the guy. Right there. Allison looks to see who he’s talking about. It’s just a tall guy talking to a bunch of people. ALLISON: Him? He doesn’t look like anybody. SYLVAN: What did you expect? The guy just writes code. It’s not like he’s a world-class wrestler or something... Look, I’m just here to help. ALLISON: I should go introduce myself. SYLVAN: That would be the general implication. ALLISON: I just want to thank him for inventing PrivyBlunt. It changed my life and made the world a better place. SYLVAN: Actually it put a lot of people out of work, including you right now, since now it takes less people to write code. ALLISON: You’re right. I’ll go call him an asshole. SYLVAN: Anyway, you look nice. It doesn’t matter what you say. ALLISON: I’m fat and ugly, another reason why I can’t go talk to him. SYLVAN: No you’re not. And nobody’s perfect. ALLISON: Gee thanks. SYLVAN: Go up to him. Tell him you love his work, and how you’ve always wanted to accomplish something like he did, maybe have his children or whatever. ALLISON: OK. You’ve convinced me. Screw this tech shit. I am going to be a writer. That’s it. I don’t need his stinking MacroHard PrivyBlunt. I get sick even thinking about it. But I do have a utopian fantasy about a sunburst that demagnetizes everything digital so no one ever uses computers ever again. Sylvan is worried SYLVAN: Could that really happen? ALLISON: Actually I’m social networked with this hacker who calls it the ultimate virus. We communicate with smoke signals sometimes. Just in case. SYLVAN: You mean…? ALLISON: Yeah, in fact, that’s the guy. She points out a bohemian looking man standing against a wall. SYLVAN: I don’t know about that guy. ALLISON: You should go meet him.

Sc. 3 INT. GROCERY STORE - DAY Goods being scanned BEEP. BEEP. Cash registers RINGING. A baby CRYING. JANE (16) is looking down at her boobs, calibrating her shop uniform to accentuate her cleavage. At the next till over AMBER (16) is focused fully on stretching and twirling her gum as far as it can go round her finger. Jane looks at the big shop clock as it ticks over to 11.35 A YOUNG MAN, handsome but wearing an odd assortment of hand-me downs and carrying a battered esky walks in from the sweltering heat outside. He walks straight ahead, his determination jostling people out of his path. JANE (whispered to Amber): That’s the guy, right there. Amber’s focused is shattered and her gum snaps. AMBER (gum on her face): The mango man? JANE (enraptured): Yup, the mango man. With an expert motion, she whacks the ‘LANE CLOSED’ sign on the conveyor belt, conjuring up her most innocent smile at the angry face lady loading groceries from her heaped trolley. JANE: Pee break. Sorry. Amber smacks her sign down just in time. AMBER (at angry lady): Me too. Pee break. As well. Sorry. She trips hurriedly to catch up to Jane. Together they slink towards the end of the aisle. Peeking out they see the YOUNG MAN. JANE: I told so. Every Tuesday. At 11.35. The mango man. The YOUNG MAN, eyes closed, is cradling a mango in both hands. Holding it like an egg, he inhales it’s odour, carefully rotating it, inhaling deeper. He puts the mango down, selects another, repeats the process. Puts it down, mindfully picks another mango -- inhaling the smell. This mango passes the test and is very gently nestled into the shredded paper that fills the esky. JANE: Now do you believe me? AMBER: Wow. That is so weird. The YOUNG MAN secures the lid on the esky with a piece of well-used gaffa tape. Securing the esky under his arm, he walks out, looking straight down. No one stops him, and soon he vanishes out the door and fades into the shimmering afternoon. JANE: … And he never pays. AMBER: That is sooo weird. JANE: It’s like he’s invisible. Amber starts twirling her gum again. AMBER: But not to you. JANE: No, not to me.

SCENE 6 EXT. CITY STREET – DAY MANNY (29) and LUKE (43) perch behind a small car. Manny holds a digital camera, while Luke holds a video camera. Luke points out as a MAN exits a building. LUKE: That's the guy, right there. MANNY: Looks smaller in person. The Man spins around. It's ALEX STRONG (27). Muscular, has a Hollywood look to him. LUKE: I always get the scoop. Now we get the shots. No. Matter. What. Luke moves towards Alex, confident and strong. Manny hesitantly follows, an obvious rookie. LUKE: Start snapping. They quickly gain speed on Alex. Alex turns his head slightly, annoyed at the sight of them. LUKE: (nods with a smile to Manny) Hey Alex, a divorce and a bomb all in one weekend. How's it feel? Luke records footage.. Manny gets into it, moves closer to Alex, snaps a few pictures. ALEX: Back off. LUKE: Come on, Strong. Give us one quote. ALEX: Hope your cheap equipment is insured, I'm about to smash it. Manny smiles, he loves the attention. LUKE: Actually it's HD. Can see every gray hair on your head. Alex spins around. He's furious. Manny's the closest within reach. He tugs at the camera, pulling the straps on Manny's neck. MANNY: Hey! Manny tumbles down due to the memento. Luke happily records with his camera. Alex yanks the camera off Manny's neck. He smashes it across his back. The lens snaps off and rolls into the street. Alex stomps on Manny's back. Luke still does nothing but record. Manny gives a look of desperation. Manny rolls over on his back. ALEX: Stupid son of a bitch paparazzi. Alex kneels down. Brutally delivers Punch. After. Punch. Blood spews from Manny's lips and nose. Manny tries to defend himself. Luke continues to record. MANNY: Help. Alex delivers a few more punches as Manny passes out. Luke ZOOMS IN. CUT TO: MONTAGE: Hundreds of people watch the footage using YouTube and other online video websites. INT. JAIL – NIGHT Alex sits in a jail cell, tired, upset, and regretful. Luke sits in the cell next to him – he can't help but keep a wide smile on his face.

Scene six continues from yesterday's scene five. INT - INTERROGATION ROOM - DAY George, Peter and PRISCILA (17) a young latino woman watch Simon and other simlar looking guys through a one-way mirror glass. She points at Simon. PRISCILA That's the guy, right there. PETER Are you sure? PRISCILA Of course I'm sure! GEORGE It's all right, Priscila. It's all right. You did the right thing. PRISCILA They... kill snitches. PETER The guy will get thirty years for human trafficking, maybe more because he attacked us. And at least another eighteen years for rape. And then there's racketeering and... PRISCILA What about the other gang members that escaped? They're still out there? GEORGE Don't worry, we'll give you protection until the trial and then we'll help you with a new identity. She hugs George, who acts uncomfortable. PRISCILA Thank you, sir. You don't know how many times I prayed for this. GEORGE We're just doing our job, ma'am. Peter mischievously smiles. GEORGE Hey, Pete can you help me with the paperwork? I've got to pick up my fiancé at the airport. PETER Sure. To be continued...

Exterior, a gray morning at Dornam Dam, an enormous concrete structure, built to last. Behind it, a river that is not entirely water surges and snaps and glows pearly green, visible crackles of electricity coruscating across its surface. Below the dam, two figures pick their way down through the husks of long-dead underbrush toward the dry riverbed. One drives a walking-stick into the ground with each step, punishing the earth for the sin of gravity against her body. She is ELLEN BASKIN (late eighties), more beef jerky than woman at this point in her life. Struggling to keep up is MAYA BASKIN (40s), her plump and long-suffering daughter. A pair of small buckets clatter against one another in her hand. ELLEN "That's the guy, right there." That's what I told him. Did he go talk to the guy? MAYA (breathing hard trying to keep up) I told you, Ma. Call me instead of the police. I'll come out. ELLEN The man has been *exposing* himself to me every third Tuesday since last November. What are you going to do, bake him a pie? MAYA (to herself) You'd think at your age you'd... ELLEN I'm right next to you. MAYA You were supposed to hear. ELLEN stops and faces uphill, waiting for her daughter, the wind whipping iron-grey hair back from her face. Your father would have-- MAYA (reaching her) Shot him in his head, I know. She puts a hand on her mother's shoulder. Let's just get what we're here for, okay? Caro has soccer. ELLEN (desperately) I'm not going crazy. MAYA I know, Ma. ELLEN I don't want to hear about that place again. I can take care of myself. The police like me. MAYA Let's just down there, okay? I don't know why they don't just build a road. ELLEN (cackling as she turns downhill again) To keep people like me away. MAYA shakes her head I can't believe I still let you do this to me. ELLEN You should let me teach you. MAYA (following) That worked so well last time. ----- SCENE 6

SCENE 6 INT. ICE CREAM SHOP - NIGHT. Two employees of the ice-cream shop, “DAIRY DREAMS,” sit on stools and lean on the counter in front of them, staring through their service-windows. A few groups of tourists filter by, but none stop. There is a small parking lot in front of the shop, where ten cars sit. The two employees are SHANNON (25) and RICKO (26). A couple swaggers by the ice-cream shop, wobbly-drunk. The GUY tips an imaginary hat to Shannon and Ricko. The couple then passes on. GUY (45) is a hefty man with a beer-belly, a white tank top and un-buttoned Hawaiian shirt, and a baseball hat on. SHANNON: That’s the guy, right there. RICKO: What? SHANNON: The guy that flipped off the “Tides” manager. RICKO: How do you know it’s him? SHANNON: (sarcastically) Why don’t you ask? RICKO: Too late. The drunk couple has entered the restaurant next door: “Tides.” SHANNON: Whatever. You busy today at the other place? RICKO: Nah. It picked up around two. Oh, I was meaning to ask — SHANNON: Holy shit, there he is again. Shannon points across the counter to where GUY and his girlfriend are scampering out of “Tides,” carrying a pony-sized mechanical horse between them. RICKO: Oh my god. The mechanical horse bobs it’s head up and down between the couple, as if it’s calling for help. The couple put the horse down next to a truck with a cover, open the back of the truck, and heave it inside. When they close the truck, the bobbing of the horse is still visible. The couple takes off. Shannon and Ricko laugh. Three “Tides” waiters rush out into the parking lot. They are clad in white and are searching for something. What could it be? One runs over to “Dairy Dreams,” and sticks his head in. TIDES GUY (20) is out of breath. TIDES GUY: Have you seen our horse? SHANNON: As a matter-o-fact, we have. Try that truck. Shannon points. They see the bobbing motion of the horse. TIDES GUY: Oh thank goodness. Who took it? RICKO: Some drunk couple. You know, just horsing around. Tides guy glares at Ricko and jogs over to the truck, gesturing for his waiter-friends to do the same.

SCENE 6 EXT. MANASSAS – BATTLEFIELD - DAY Bugles blare as hundreds of men in gray and blue uniforms crash into each other over a rolling green field, cannon fire leaving plumes of smoke floating over the chaos of war. A soldier in blue, JOSIAH, writhes in pain as he’s carried off the battlefield on a stretcher. EXT. MANASSAS – UNION FIELD HOSPITAL Josiah is laid on a cot near other soldiers while a nurse, MARY, moves about, applying bandages and giving wounded soldiers water. Mary gives Josiah a disapproving look as he whips out his iPhone, swiping through pictures. JOSIAH: That’s the guy, right there. He turns the phone to Mary, who squints at the screen, the overhead sun causing a glare. PHONE PICTURE: A Confederate general with a big ugly beard leading a charge on the battlefield. MARY: Hm. Don’t think I’ve seen him before. JOSIAH: Course you have. That’s John Bell Hood! Mary shakes her head, still not knowing. Josiah puts his finger over the beard on the picture. Mary starts to see it. JOSIAH/MARY: Steampunk Lincoln! JOSIAH: We saw him at the Dickens Faire. MARY: Kind of a jerk? JOSIAH: Major jerk! Mary keeps looking at the picture, moving her finger on and off the beard. MARY: Eh. I don’t know. JOSIAH: Totally him. Mary shrugs, giving back his phone. MARY: You’re supposed to be wounded! Put your phone away. JOSIAH: Yeah, yeah. Small world, though...

SCENE 6 MILTON (65) and HARRY (65) peek from behind the shrubbery at the families and obvious girlfriend reunions around the pool. Milton scans the crowd until he spies JAMES ALDON (64), lounging on a chaise right near the pool. A group of older women sit in the shade admiring James as he sunbathes – shirtless, almost proud. Harry starts breathing faster, irritated at the sight. HARRY: That's the guy, right there. Milton follows Harry's pointed finger until he sees James. The older women wave at James, seeming taken by his matinee idol looks. Milton furrows his brow. MILTON: Pretty boy pissant right there? Man, he didn't age after fifty. You would pick a Calvin Klein model to go up against, wouldn't ya? HARRY: I knew I shouldn't have brought you- MILTON: Oh, c'mon, Har, I'm just leveling with you. It's our reunion, right? And he's been flirting with Teresa since we got here? HARRY: Yeah, every day, the rat. As if high school wasn't bad enough, I gotta deal with him here. MILTON: Says who? You wanna fix this, we're going right now. Milton steps from behind the shrubs, half-stomps up to James, who is sipping a lemonade and perusing a People magazine. HARRY (loud whispers): Milt? Milton! Realizing Milton's determination, Harry hurries to catch up, slows his pace upon reaching his friend. HARRY (CONT.): What in the entire hell, man? What're you gonna do? MILTON: Scare him. Bite him. I dunno, whatever works. Strap on a pair and walk tall. Harry straightens his frame, imitates Milton's “shotcaller” strut. They stop feet away from James. He stops reading, glances up at them in surprise. JAMES: Wow, the Dynamic Duo. Been a while, Milton, how- MILTON: Save it, Playboy. I'm gonna do the talking here since Harry is the gentleman I refuse to be. Harry's pseudo-stern face wilts with worry. He gives an unsure nod to James, who's lost in confusion. JAMES: I don't understand. MILTON: Bull. Teresa Stanton, your potential bunkmate this week? Over. You know she and Harry were engaged like everyone else here does, and they're getting back together. JAMES: Well, no disrespect, Milt, but Teresa never said a word. She wouldn't let me near her if this was truly exclusive. MILTON (imitating James' broadcaster voice): “Truly exclusive, he says.” (back to regular voice) Holy Viagra, Batman, get a load of him- HARRY: Milt, it's okay. James? Harry, finding a pinch of swagger, steps in front of Milton, extends a hand to James. James, stands up and shakes it. All of the people at the pool are watching them like a movie, especially the gaggle of women. James and Harry shake hands. Harry tightens the grip. James fights not to show the pain in his face. He spots HOTEL SECURITY GUARDS enter the pool area, unbeknownst to Milton and Harry. HARRY: Milt's a bit strong, but, seriously – leave Teresa alone. I love her, I lost her once, and I won't lose her again. Enjoy this reunion, but, so help me, God, if you touch her- JAMES (yelling): Security! Security! I'm being harrassed and this is ridiculous. The guards approach, still a good distance away. MILTON: You whining crybaby. I oughta- Harry cuts Milton off by a SUCKER PUNCH – right to James' groin. He yelps, doubling over, and Milton SHOVES him right into the pool. The older women SCREAM while kids nearby burst into laughter. MILTON: Haha, you bastard! JAMES: Let's go! As security rushes over, James grabs a celebrating Milton, and they DASH towards the hotel lobby.

Scene 5 “That’s the guy right there!” Full room of about 50+ people begin to applaud and begin singing “For he’s a jolly good fellow!” Roman had no idea what he was walking into when he opened that door. April his secretary coaxed him to the Hilton for lunch and seduced him while spilling wine on his trousers. He thought he was opening the door to the laundry room but it was the banquet room instead. He glances around and sees his boss, he gives a quick wave.. His coworkers, city council, real estate commissioner and of course his beloved wife all staring right at him.. “Where the fuck is April” he wondered, hoping he did not say it aloud He stood hiding behind a long table full of fruit and champagne hoping they do not take notice that he is trouser less. Boss standing in front of room by podium.., “Roman come on over here and accept your award… It’s a lot of work being real estate developer of the year!” “Cheer, Cheer!” Roman standing frozen hiding from the waist down “Um, um, I need some champagne first.” Hoping he isn’t reeking of Aprils lipstick, pussy and perfume.. They still don’t notice the missing trousers, Damn low income properties, who gives a fuck about the poor unfortunate community? apparently I do.. he thought.. again hoping he did speak aloud. ROMAN, “Cheer cheer!” holding up his champagne glass He feels a tug from under the table its April with the trousers… “Thank God” Boss, “Yes Roman , so humble, thank God for the service you provided the poor!” What a guy, do you all agree?” Crowd, “YES!” they go into for he’s a jolly good fellow again as he coyly pulls on his trousers. April, “sorry boss” she whispers as she slips back under the table Roman glides up to the podium and nobody noticed the missing trousers… He looks down and sees he isn't wearing shoes.

INT. COFFEE SHOP – DAY MIKE, 26, dressed in shorts and a tee, is sitting at a small table in the coffee shop. His computer is open. A half-written essay for his psychology class is on the screen. LUCY, 27, dressed in jeans and a tank top, with dark hair and thick-rimmed glasses, sits next to him, sketching in a pad. They are the only people in the coffee shop besides the clerk, CATHY, 56, who is reading a copy of Cosmo. The entire front of the shop is a large window. Pedestrians pass by on the street. A homeless man, wearing shabby clothing but a brand new black top hat walks by. MIKE: That’s the guy, right there. Because the absolute silence has been broken, Lucy and Cathy both look up. LUCY: What? MIKE: Sorry… sorry, I was talking to Cathy. Do you see him? CATHY: Nope. Cathy is back to looking at her magazine. Lucy is now looking out the window. She starts laughing. The man is singing the BeeGees, “Staying Alive” at the top of his lungs. Other people are clearly looking at him. He is eerily on-key. He is bouncing to the rhythm while he walks. LUCY: He’s not bad. MIKE: Right? Last time I saw him it was about a month ago, and he was singing “I Wanna Know What Love Is.” Completely different tone of song, but he was still almost perfect. LUCY: Um. I sang that at karaoke on Tuesday. MIKE: Eerie. Not a Spice Girls kind of girl, then? LUCY: Oh no, totally am. That would sort of be like me asking you if you weren’t a sports kind of guy. MIKE: Oh. Well. I’m, uh, I’m not. LUCY: Oh. MIKE: Yes. LUCY: More of a… shopping kind of guy? Bravo-Channel watching kind of guy? MIKE: Nuhnuhnuhnuhno. Not…that. No. I just…didn’t grow up watching sports. I mean, I like them fine, I just don’t…follow them. LUCY: Relax, man. I was just giving you a hard time. She smiles. MIKE: Right. (A beat.) What’re you working on, there? LUCY: Wouldn’t you like to know?

INT. CAR - DAY PATRICK, 43, wearing a suit and gloves, sits in the driver’s seat and JEFFREY, 24, dressed in street clothes, fidgets in the passenger seat. EXT. PARKING LOT - DAY ROBERT leaves a car and walks inside a convenience store. INT. CAR - DAY JEFFREY: That’s the guy, right there. PATRICK: Finally. Patrick pulls a gun out of his jacket and inspects it. JEFFREY: What the hell are you doing?! PATRICK: My job. JEFFREY: Look man, there was no mention of guns or killing or whatever. PATRICK: Of course not. Your job was to point out who Robert was. Patrick attaches a silencer to the gun. JEFFREY: I can’t let you do this. PATRICK: Kid, I kill people on a very regular basis. How on God’s green earth do you think you’ll be able to stop me? JEFFREY: That’s my brother. Patrick stops and looks at Jeffrey. PATRICK: You’re kidding me. Jeffrey shakes his head no, wide-eyed and sweating. Patrick SIGHS. PATRICK: Kid, I like you. You’re mostly a dumbass, but I like you. Jeffrey CHUCKLES nervously. PATRICK: So here’s what we’re going to do. I will give you 30 seconds to go in there and do whatever it is you need to do. Once that time is up, I’m going in there, and I’m going to eliminate my target. If I see you as well, I’m going to shoot you in the fucking face. Jeffrey GULPS. JEFFREY: Do you really talk like that? PATRICK: 29...28... Jeffrey unfastens his seatbelt and opens the car door. PATRICK: 27...26... Jeffrey scrambles out of the car.

EXT – BEACH – SUNSET JACKIE (24, spunky) is with her best friend, MINDY (26, easy going). They are laughing and having a great time. Both lay on beach chairs, sunglasses and margaritas in hand, watching the sunset. JACKIE That’s the guy, right there. Jackie is pointing to a jock in the group next to them. Clearly a womanizer, but so handsome it hurts. Mindy looks, then - MINDY (warning) Jackie... JACKIE I’m serious! Mindy steals another glance. MINDY I’m done. Over it. JACKIE But- MINDY Clearly that guy is only good for one thing, and commitment is not one of them. JACKIE I’m not saying you should marry the next guy you see! Some relationships are all about fun! It’s been nearly a year... MINDY There’s no time limit on grief. JACKIE I know, I know, but Caleb would have wanted- MINDY How would I know what he would’ve wanted?! He’s not here anymore! And Mindy’s voice chokes. She’s trying to hold back tears, but is not succeeding. Jackie is feeling guilty for pushing the subject. JACKIE (slowly) Hey, Mindy...look I’m sorry. It’s tough after the accident, I miss him too. I can’t even imagine what you’re going through. Jackie sets down her margarita, moves over to Mindy. They share a hug. The sun is getting to be quite low now. MINDY Maybe he’s the guy. But not right now. All I need right now is you, this margarita, and – BEAT MINDY (continuous) (pushing through her emotions) - and Caleb’s memories. Mindy turns to Jackie and they share a knowing smile.

@heathenistic SCENE 6. EXT. THEME PARK MIDWAY - DAY KYLA, an 11-year old cutie, as precious as the day is long, holds the hand of a hardened woman POLICE OFFICER. They are both scanning the throngs of people... marks play shooting games, kids throw baseballs into baskets, carnival games abound. A DIRTY CARNIE spits chaw as he hands a kid a stuffed toy. Through the crowd, a nervous MAN, mid-thirties, dodges people, checking his shoulder as he goes. Kyla spots him. Points! KYLA: That's the guy, right there! The Cop charges. She shoves people aside to get closer to the man. COP: Police! Don't move! The man clocks the cop - breaks for it. It's a full on chase. Both man and cop throwing carnival-goers aside to get ahead. The crowd do their best to get out of the way, some do, some get a little help. It's CHAOS. People getting knocked over everywhere. The man grabs the top of a POPCORN cart, topples it - corn everywhere. Cop deftly jumps the debris, charges after the man. Man dives under a carnie truck, scrambles under and through to the other side. Cop draws her gun, goes around the back of the truck, fires a shot at the ground as the man tries to get to his feet. He's beat. He freezes, hands in the air. MAN: Don't shoot! Cop approaches, weapon trained on him. She has him. Wrenches his arm behind him, cuffs him. COP: You have the right to remain silent. MAN: I didn't DO anything lady! COP: Yeah? Then why'd you run? You like touching little girls do you? MAN: Hell no. She dropped her toy, I was just trying to give it back to her. Kyla finally catches up to them, reaches for the cop's hand again. MAN: Ask her! KYLA (almost in tears): He touched me in my bathing suit area officer. COP: Come on pedo. They'll love you at the station. As the cop starts to drag the man away, he looks over his shoulder at Kyla. Kyla's sad-face completely washes away, transforms to a devilish smirk, she winks at him and waves bye-bye.

i was wondering about the 'bathing suit area,'--sounded as if she's been coached--when suddenly the scene jumped the tracks in that directions. A surprise. Nicely done.

Scene 6 EXT. SCHOOL - DAY Kathy, a bit shaken, scans the faces of the crowd. Where's her hero? A POLICE OFFICER, notices her search. POLICE OFFICER: That’s the guy, right there. KATHY: Him? He's the guy who did this for me? Then... It must have been him all along. It must have always been him. POLICE OFFICER: You know him? KATHY: Know him? I think I love him. She runs toward Malcolm. He spots her ... and flees! Kathy takes off after him, pushing people aside. Malcolm stumbles as he runs, having difficulty dodging people and other obstacles. Kathy gets closer. Malcolm can't catch his breath. He walk-runs and Kathy catches up to him. KATHY: Malcolm, stop. I know it was you. Completely out of breath, Malcolm gives up. MALCOLM: What, me? Come on. KATHY: I know. Thank you. Thank you for everything. MALCOLM: It was nothing. I gotta go. KATHY: Please don't leave. I want to get to know you so much better. Stay. MALCOLM: No, I can't. I need to stay away. I want you to be happy. KATHY: You've already made me very happy. MALCOLM: By keeping away. If I was in your life... It wouldn't work. It never works. The only thing I want in life is to make you happy. As a "guardian angel" I could do that. As... as... something else, I'd just screw it up. KATHY: You've got some serious self-esteem issues. Malcolm looks at the ground. KATHY: You know, they've got something for that. MALCOLM: What? She kisses him. Hard. At first he's confused, resistant. But then he finally believes it and kisses her back with every unfulfilled romantic bone in his body.

Scene 6 (13th entry) EXT. HILL - DAY JAMES, MARTIN, and TREVOR (all 15) are in the middle of a “recon mission”. They spy through one set of binoculars at a MAN (40s) rocking on his porch at one of the houses below. JAMES That’s the guy, right there. MARTIN Are you sure? JAMES Yeah. That’s the perv that tried to touch my dick. TREVOR I don’t believe you. JAMES Why would I lie about that? MARTIN Because you lie about everything. TREVOR Yep. JAMES Well I’m not lying about this. I was on the bus and he sat next to me. He reached over when he thought I wasn’t looking and was going for my crotch. TREVOR Dude, you’re crazy. MARTIN Maybe he was just trying to open the window? JAMES Then why did he look guilty when I slapped his hand away? He jumped off the bus before it barely made the next stop. Ran into the door and everything. MARTIN Okay, whatever. What do you want to do about it? TREVOR Yeah. It’s hot and there’s ants all over here. JAMES I want to make him pay. He’s a predator. MARTIN Just call the police. JAMES Oh like they police do anything but eat donuts and beat up protesters. TREVOR I already went to juvie once so I can’t get caught doing anything. JAMES Okay then, Trevor you’re the lookout. TREVOR Look out for what? JAMES My payback plan. MARTIN Which is? JAMES We wait till it’s dark. Sneak into his house, and handcuff him to his bed. Then we take naked pictures of him and mail them to all the neighbors. MARTIN Oh that’s twisted. TREVOR Yeah man. That’s not quite an eye for an eye. JAMES He needs to learn a lesson. Don’t fuck with kids. We will be preventing this perv from attacking some other innocent youth. The Man gets up from his chair. He unfolds a WALKING CANE. MARTIN Dude’s blind, you moron! JAMES Oh... guess he wasn't trying to rape me. TREVOR I’m going to go get a slurpee. MARTIN Yeah let’s go. JAMES Wait up!

DAY SIX: Write a scene with this first line of dialogue: “That’s the guy, right there.” INT. BAR – NIGHT An attractive man and woman are sitting at a table. They are having a lively conversation, but the dialogue is drowned out by the overpowering pop music that is playing on the sound system. There are quick shots of the people around who are also having conversations at tables or dancing in corners around the place. Tight shot of the two people, flipping the focus back and forth between the two of them. WOMAN: That’s the guy, right there. She tries to subtly gesture with her head, but it ends up looking like a nervous tick. The man’s eyes quickly flick up to a man in a ratty leather jacket and jeans leaning against a particular table that he has managed to keep for himself. MAN: Are you okay? Like, do you need a neck massage? Is that a twitch or – WOMAN: No, asshole. I mean…that’s him. We need that information. Now go. MAN: Not yet. Let him get comfortable. We can’t bumrush him. WOMAN: I’m sorry. Which of us was it that command told to take point on this one? MAN: I know, but can you at least let me pretend I know how to talk to people better than you? I mean, it’s kind of true, empirically, so— WOMAN: Go. Catch him off guard. Do it. The man quickly finishes his drink and walks casually over to the table. The camera focuses on the interaction from the woman’s point of view as it seems like their target seems to be unsure of this charming stranger who starts talking to him. The conversation takes a more familiar turn as they both start to loosen up and become comfortable in a “still a stranger, but not a creeper” manner, leaning casually on the table and laughing amiably. The woman is looking closed-off, but satisfied. Another woman walks over to the table. RANDOM LADY: Hey! Do you want to dance? WOMAN: Walk away. RANDOM LADY: Bitch! The woman walks away angrily, dramatically stomping off. Our main woman continues to watch the two men talking to each other for a few more moments before her companion seems to bid his conversation partner adieu and walks back over to her. WOMAN: What did you find out? MAN: Oh, Dmitri? He’s a real sweetheart. He likes to golf, for Christ’s sake! His kids are absolutely adorable. Two of ‘em— WOMAN: About the money. MAN: He doesn’t have it. That’s his boss. That’s all I could get out of him. There’s only so much information you can get in five minutes. WOMAN: This is not my first intelligence mission. We’ll have to follow him out of here. A time lapse as they wait patiently for the man to leave. The people around them change five times over as minutes turn to hours. Finally, another man walks over to DMITRI with a small envelope, no bigger than a postcard. WOMAN: Who the fuck is this? MAN: Want me to talk to him? WOMAN: No. We wait. See what happens. It seems like Dmitri is not happy with what is inside of the envelope. He is getting slightly aggressive, but trying not to draw too much attention himself. The man he’s talking to is clearly not in the mood for being fucked with and deftly pulls out a gun that he points at Dmitri under the table. MAN: Are you sure? Because— WOMAN: Wait. Dmitri notices the pistol. Calms down. The man says something, drawing Dmitri menacingly closer to him…and the gun. Dmitri nods and puts the envelope inside his jacket. The man hides the gun and walks away from him and out of the bar. WOMAN: Stay here. Stay on him. MAN: Wha— The woman is up before he can finish. He watches her hightail it out of the bar. He looks at Dmitri, who is clearly in distress. He fidgets for a moment. MAN: Fuck it. He gets up from the table, leaving the booth area empty, no indication of whether he’s confronting Dmitri or following his partner out the door.

SCENE 8: INT. COFFEE SHOP - DAY Early morning hubbub. People buying their coffees and croissants standing in line. A couple enters - JIM, 30, two-day-stubble, nondescript clothing. And CLARISSA, 28, furtive-looking, petite, equally nondescript. Clarissa points out a young man, buttoned up a little too tightly, waiting for his order at the waiting end. CLARISSA That’s the guy right there. Jim strides over purposefully. The way he walks has people scurrying out of his way. Clarissa follows in his wake. He’s right behind the guy. JIM Hello. YOUNG MAN Hi! The young man turns back to the counter. JIM You helped my wife yesterday. The young man turns. He looks Jim in the eye. He’s not smiling. The young man is now scared. JIM (CONT’D) You held open the door for her. The young man looks at Clarissa. She’s not smiling either. JIM (CONT’D) Do you remember? The young man does, but fear is preventing from talking. JIM (CONT’D) I said...do you remember? YOUNG MAN Yes. Yes, I do. Jim leans forward, threateningly.... Then grins. JIM Thanks for that. Here’s our card. He hands him a very plain card that says, “Jim and Clarissa. Professional cleaners. We take out the garbage.” Jim leans forward as he gives it to him. JIM (CONT’D) If you need anything - or anyone - getting rid of, we’ll give you a 40 percent discount. The young man had almost gotten over his fear when it returns in waves. Jim grins. They both walk away. The young man calls after them... YOUNG MAN Do you do old people? CLARISSA Anyone over 12! She does a cute little wave. They exit. EXT. COFFEE SHOP - CONTINUOUS JIM I think this guerrilla marketing thing just might work. CLARISSA I know it will. Who else was nice to us? JIM There was an old lady in the park who shared her strawberries with me. CLARISSA She must have some enemies! They walk down the street, hand in hand.

SCENE 5 EXT. HIGH STREET WILLIAM WORDS: (points to a man sat by a fountain with his friend) That's the guy right there. CHARLIE CHASE: You saw him? WILLIAM WORDS: I saw everything he did. He took the phone from inside your bag when you you had your back turned. CHARLIE CHASE: OK, if you come with me, that would help. WILLIAM WORDS: I don't want to get involved. CHARLIE CHASE: It's OK, I'll say everything. I just need a witness. WILLIAM WORDS: Listen I told you who it was, what more do you need? CHARLIE CHASE: (disappointed) OK, thanks. (he makes his way to the man Charlie Chase identified. He gathers courage. Ready for possible violence, he comes up to Checkerson, who is with a friend) Excuse me, can i have my phone back please? CHECKERSON: Pardon me? CHARLIE CHASE: My phone. You took it. His friend laughs. CHECKERSON: Is that what you think? CHARLIE CHASE: That's what I know. I have a witness. CHECKERSON: And who may that be? CHARLIE CHASE: Do you want me to call the police? CHECKERSON: Sure, go ahead if you want to make a fool of yourself. CHARLIE CHASE: I'm nobody's fool. CHECKERSON: Really... What's your phone number? CHARLIE CHASE: Does it matter? CHECKERSON: Not to me. But to you it should... Let me show you how much of a fool you are. (he takes out his cell phone) What's you number? CHARLIE CHASE (though uncoperative, unwillingly tells him) 0123 456 789. CHECKERSON: Now look at the guy you just spoke to, who's walking away... CHECKERSON presses the dial button on his cell phone. A beat. Suddenly a phone rings inside WILLIAM WORDS pocket. He takes it out to have a look... He looks back at CHARLIE CHASE, rattled. Realisng he has been rumbled, he makes a run for it. As CHARLIE CHASE starts running to try and catch him, CHECKERSON: Good luck in getting your phone back.

Scene Six

Scene 10 Write a scene with this first line of dialogue: “That’s the guy, right there.” VOICE OVER A BLACK SCREEN MAN'S VOICE: That's the guy, right there. CUT TO: EXT. BAR – NIGHT ADAM, early 20s, walks out of the bar and stands right underneath the streetlight. He calls someone one his phone. ADAM: Hey, Kennedy? Yeah I just scanned the place. I don't see anyone relevant. (pause) Okay I'll meet you at the apartment. Adam puts his phone and pulls out a cigarette as he begins to walk down the street. We follow him from the perspective of a stalker. We watch him light his cigarette and look around briefly—like he can feel us watching him. He reaches a stoplight and that's when we move in. He sees someone or something coming towards him and he screams, jumping back and hitting the ground. He jumps up and is face to face with his sister, KENNEDY, late 20s. He breathes a sigh of his relief. ADAM: Ken you scared the shit out of me. KENNEDY: They found us. ADAM: What? KENNEDY: It's happening a lot faster then we thought it would. They're probably coming already. We need to get ready. She grabs his arm and begins to drag him the opposite direction he was going. ADAM: Wait, where are we going? KENNEDY: Can't go back to our place. I have a friend in the neighborhood.