[…] 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 9 (PROMPT: Write a scene in which an animal plays a key role.) JACK (25) and SAMANTHA (22) argue about their dog as Jack gathers his belongings. The DOG sits just out of frame by their feet. SAMANTHA: You can’t take him! Jack continues gathering his things, ignoring her. SAMANTHA: Jack, he’s mine! You can’t have him! JACK: I’m taking him. That’s that. SAMANTHA: I paid for him – JACK: Well he’s got sentimental value to me. SAMANTHA: How? JACK: He just… does. Jack reaches down and grabs their POODLE. SAMANTHA: No! Stop it! Jack charges for the door. SAMANTHA: I’ll… I’ll tell people about what you did to him. Jack stops at the door. Turns back. SAMANTHA: That’s right. I’ll tell. And then they’ll know your little secret. How you still have him! How… how… JACK: You… you can’t. I fed him, Sam. I deserve him too. REVEAL: Jack holding the poodle, only, the poodle’s stuffed. No longer alive. Dead as a doorstop. SAMANTHA: Don’t make me. He was ours. We should… we should share him. JACK: We’re broken up, I’m not going to… to share him with you. SAMANTHA: Once a week. JACK: No. SAMANTHA: Jack, he was a part of both our lives. He deserves both of us. JACK: He’s dead! Samantha gasps in horror. Jack turns to go. SAMANTHA: I’ll tell your mother. JACK: You wouldn’t. Samantha, serious, emphasizing her words: SAMANTHA: Then put the dog down. Jack, hesitant, eventually does as told. SAMANTHA (resuming upbeat tone): Good. So, once per week? Off Jack’s horror struck face…

Scene 9 Today’s prompt: Write a scene in which an animal plays a key role. INT. PETCO STORE - NIGHT The store is dark except for the front display lighting. Cages line the walls stacked two high filled with all sorts of animals: dogs, cats, lizards, snakes, fish, birds and two spider monkeys in the large cage in the middle. It’s quiet. Just the percolating of the fish tanks. Then a BONG… BONG… SCRATCH SCRATCH… WHOOP WHOOP JACK and JILL the spider monkeys swing. WHOOP WHOOP JACK: Is everybody grovin’ feelin’ beat. DOGS CHORUS: Ready Jack. CATS CHORUS: Ready Jill BIRDS CHORUS: Well what are we waitin’ for? Jack lifts the lock on his cage. Swings out to the left, unlocks the cages. Jill follows to the right unlocks her cages. All the animals move to the front of the store dance to the beat. BONG… BONG… SCRATCH SCRATCH… WHOOP WHOOP The cats line up opposite the dogs in a country line dance. JACK: Okay you cats strut your stuff. The cats strut forward, then back to their line. JILL: Okay you dogs. The dogs mimic the cats. JILL: Ah. Come on you dogs. Put you tales in it. The dogs strut, waggin’ their tales. JACK: Hey you birds. Time to wing it. The birds fly to the center and back. JILL: Snakes and lizards time to slither… They all shimmy and shake. Dogs and cats mimic. JACK and JILL: It’s Petco Boogie Night tonight and every night. The animals are jumpin' grovin', shakin' shimmerin'. EXT. PETCO STORE A car parks in front. ALICE (8) jumps out runs to the window, eyes wide. ALICE: Daddy the animals are dancing. INT. PETCO All the animals have jumped into the nearest cage. Cat with Dogs. Birds with snakes. It's an animal stew. JACK: They’ll be gone in a second. EXT. PETCO DADDY (30) joins Alice at the window. ALICE: They were all dancing like you and Mommy. DADDY: Well Petco pets are always happy. They love Petco. INT. PETCO Jack and Jill wink at Alice.

Scene 1 An animal plays a key role. EXT. COLORADO HIGH COUNTRY - ANOTHER AREA - DAY A blizzard, snow drifts piling with the HOWLING wind. Bill stops, turns back, turns ahead, looking all around him. The snow blinding, cat tracks, his own footprints, obliterated. The cougar leaps, knocking Bill deep into the snow, claws raking, fangs snapping at his throat. Bill rolls, the cat hanging on, tearing at his buckskin shirt, Bill SCREAMING as the claws rip his chest, blood spilling. He gropes for his knife. They wrestle, tumbling, blood spraying the snow, the cat on him, SNARLING, reaching for his throat. The knife shoves deep in the cougar’s belly. Bill jerks it up, hard, the blood pours, the cat SCREAMS, thrashes, the muscles slacken. Bill GASPS for breath, pushing the limp cat off. He struggles to his knees, his legs shaking as he tries to stand. Exhausted, he flops back in the snow. He sits up, brushing the snow off his face, looking out at the endless white. He slumps back on his elbows, then onto the snow. His green eyes close, the snow falling thick. A long SIGH escapes his lungs. LATER Warm steam blows across Bill’s frozen cheek. A horse’s muzzle nudges his face, pushes against his neck, nuzzles his head. A low NICKER. A huge GASP, Bill sucks in air, a choking COUGH. He slowly opens his eyes. A red and white paint horse looks down at him, his white face blurring in the falling snow, his eyes an eerie blue. The horse nudges Bill again. Bill shifts, weak, nearly frozen, his eyes drifting closed. The horse shakes his head, shaggy mane and forelock flopping. He nudges again. Bill’s eyes ease open, the horse staring intently at him. With a huge effort, Bill stands, shaking, leaning against the horse, his rifle still slung over his shoulder. He grasps the horse’s mane, trying to climb on its back. The horse pushes him up with its head. Bill slumps forward across the horse’s neck. The horse carries him away, through the blizzard.

That's wonderful!

Scene 6 INT. STABLES – WEISSENBURG SCHLOSS - NIGHT (1944) Searchlights sweep the yard, their reflected glow leaking under the double doors. Thoroughbred HORSES stamp and whinny in their stalls, uneasy. The skylight opens, and a figure drops down into the hay. JIMMY McANDREW, mouthy Brooklyn kid. US airman’s uniform muddy and torn from hours on the run. He lands hard on his already bleeding leg. Bites back a yelp of agony. The horses look solemnly down at this interloper into their safe, closed world. Jimmy stares back. He’s never been within spitting distance of a real live horse, and right now he’s in so much pain he isn’t even sure they’re real. JIMMY: (low, dazed) ‘The hell’s this? SHOUTING – in GERMAN – outside the doors. A key in the lock. Jimmy looks suspiciously up at the nearest horse. MITZI, a black thoroughbred. She’s giving him the evil eye, or so he thinks – but even this brute is preferable to being found by Nazis. JIMMY: You’d better not need a piss, that’s for sure. He drags himself laboriously to the stall, under the chain keeping Mitzi in place, and tries to bury himself in the sparse straw. The stable door is already opening. TALL STORMTROOPER: (subtitled German) He won’t be in here. BLOND STORMTROOPER: (subtitled German) We’ll see. He turns on his flashlight, examines the stalls one by one. Switching deliberately to English now: BLOND STORMTROOPER: Come out, come out, wherever you are… Jimmy presses himself to the floor. There’s not enough straw here to cover him, and he knows it. Mitzi snorts – and lowers herself to her knees. Lying down right next to Jimmy, shielding him from view. He can’t believe it. Is this dumb animal really…? Deliberate or not, he’ll take it. He presses up against her flank, pulling the straw over the rest of himself. Better hidden now. Might just escape detection. Maybe. The Blond Stormtrooper is at their stall now. Moves the feeble flashlight beam over the straw, over Mitzi, but he can’t see past her. BLOND STORMTROOPER: (subtitled German) Get up! Stupid animal, up! He kicks out at Mitzi, who snorts and snaps at him, tearing the leg of his uniform. TALL STORMTROOPER: (subtitled German) Are you crazy? That’s the Commandant’s horse! You injure her, you’ll be doing guard duty in eight feet of snow. The Blond Stormtrooper glares at Mitzi. She glares back. TALL STORMTROOPER: (subtitled German) He’s probably been caught by now. Come on. A final glare, and the Blond Stormtrooper follows his companion out into the night, locking the door behind them. Jimmy exhales slowly. Pats Mitzi’s flank like she was a dog. JIMMY: Thanks, pal. For a Nazi horse, you’re a real good sport. Mitzi just licks his face, leaving him covered in horse slobber.

SCENE 1 EXT. SCHOOL YARD - TWILIGHT SHRIEKS from the PARTYGOERS as the WOLF leaps over the bar and snaps viciously at heels and ankles, BARKING like mad. It nearly gets ANDREA right before THEO pounces on the wolf, wrestling it to the ground. Quickly, a dozen FRAT BOYS sporting dark shades close in on them, each pulling out a WEAPON. They shield the struggle from the rest of the partygoers, many of whom SCREAM and flee. Fraternity leader CESAR waves the weapons away. Andrea, struggling against FRAT BOY #1’s hold on her, looks at him like he’s crazy. Theo fights for his life against the wolf on the ground. Can barely get the words out - THEO: Help! Get’im... off me!! Cesar circles him calmly, coldly. He speaks methodically, a master to his pupil. CESAR: Overcome it, Theo. Overcome your fear. He tosses a collar to the boy and wolf rolling on the ground. Both frantic and panting for air. The wolf slips free and latches onto Theo’ arm. The ensuing SCREAM is blood-curdling. Blood suddenly everywhere. Andrea covers her face against Frat boy #1’s shoulder with a SOB. Can’t look. But Theo won’t back down. He hits the wolf in the eyes, yanking free his bloody arm. Rolls the wolf onto its back and tries to strangle it. Grabbing the collar off the ground, he tries to stuff it into the wolf’s jaw. But the wolf snaps it in two, his teeth thisclose to Theo’ hand. Cesar throws Theo a leash. CESAR: Tame the wolf, Theo. Show who’s master! The wolf twists free and claws viciously through Theo’ abs. The boy staggers, looking down at bloodied hands. Andrea jumps. Desperately wants to yell, to go to him, but can’t. Struggles mightily against her captor, eyes wide. Desperately grabbing the leash, Theo uses it as a whip, keeping the wolf at bay as he stymies the blood flow. In pure agony. Andrea is in tears. Frat boy #1 needing all his strength to hold her back from running to Theo. Theo sheds his bloodied shirt. As the wolf leaps for him, he tries to mug it with his shirt, no longer caring to tame the wolf but to kill it, end it. But the wolf is fighting too. Fighting for its life. They wrestle and roll on the ground, GROWLS and GRUNTS, the shirt ripping through the wolf’s jaws. Theo snatches up the leash, trying to strangle the wolf. But the wolf keeps twisting and turning, its sharp fangs snapping thisclose at Theo’ jugular. One more inch, and - Andrea kicks against her captor, elbowing him, sprinting forward - ANDREA: NOOOOOOO!!! The wolf recognizes her voice, instantly turning its head. That’s all the time Theo needs to snap its neck. It’s done. The wolf is dead.

SCENE 9 INT. OLD HOUSE - DAY STEPHANIE, MOLLY and CHRIS enter the house, and Chris closes the door behind them. It’s day, but it’s so dark inside the house that you almost wouldn’t know it. Molly goes off and starts opening curtains, revealing an old Victorian-style house crammed with stuff. CHRIS: Wow. MOLLY (O.S.): So I think we should split up and take different rooms. VOICE: Different rooms. STEPHANIE: What was that? Chris shrugs. MOLLY: What was what? STEPHANIE: That voice. VOICE: That voice. That voice. MOLLY: What voice? CHRIS: You didn’t just hear that? MOLLY: No. I’m taking the living room, Chris, you take the study, Steph, maybe the kitchen? She heads into the living room. A soft, creepy laughter echoes through the house. Chris and Stephanie stand uneasy in the foyer. After a moment, Molly returns. MOLLY: Come on, you guys. I’m not doing this by myself. Do you want Mom doing this? Hmm? There’s nothing there. VOICE: There’s nothing there. There’s nothing there. They all hear it, and all, including Molly, look visibly shaken. Molly takes a deep breath, and composes herself. MOLLY: Do you guys really believe in ghosts? Do you? Stephanie and Chris don’t move. Stephanie glances at the door. MOLLY (sighing): Fine. Just stand there. I’ll do it myself. Chris picks up a lamp nearby, but, having nowhere to put it, he sets it back down. Molly rolls her eyes, and stalks back into the living room. After a moment - VOICE: Hello. MOLLY (O.S.): Oh my God! Chris and Stephanie rush to the doorway of the room, both looking terrified. MOLLY: I found the ghost, you guys! Stephanie and Chris both stare, mouths wide open. CHRIS: When did Grandma get a parrot?

EXT. NEBRASKA TERRITORY - WOODS - DAY BART SOMERSET (41), an even-tempered frontiersman, crouches next to a tree, aiming his rifle. In his sights is a 10-point buck. The deer's great horns swing as the animal looks around, then limps forward a bit, favoring a back leg. Bart looks up from his rifle, squints, then returns to his sight - POW! The cloud of smoke dissipates, revealing the staggering buck, shot through the heart. The deer collapses in a quick and silent death. JESSOP (35), Bart's lively companion jogs up to him as the hunter rises and begins walking to his dead prey. JESSOP: Hot damn! One helluva shot, Bart. It was on the move, too. BART: He was wounded. JESSOP: Look at that beast! We'll eat fer a week off that. Might last us to Oregon, we stretch it. BART: Gonna need you to go back to the wagons. Get a horse. We'll need help getting it back to camp. JESSOP: You got it, Bart! Can't wait to share the news. Folks is gonna be real-- what's that? The men stop in their tracks. From the other side of the buck emerges a bare-chested NATIVE (35), long braids draped over his shoulders, adorned with feathers. JESSOP: Injun. Sioux? BART: Lakota. Keep calm. The Native stares at the men as another YOUNG LAKOTA (20) emerges behind him, tall and muscular. The Young Lakota kneels down to the buck, rolls it over to reveal a couple arrows sticking out the hind-quarters. BART: Yep. Wounded. JESSOP: Hell no. That's our kill. They can't claim it with just a couple shots to the rump. Several more Lakota hunters emerge from the woods. The Native says something to his companions. The Young Lakota responds angrily, the Native cuts him off and repeats his order. BART: They can do whatever they want. They got the numbers. The Young Lakota grudgingly pulls out his hatchet and begins hacking at the carcass. Another Lakota walks around to the other side to join in the hacking. JESSOP: It ain't right. We got people starvin' back there. BART: They'll live. Least till we find something else. We cross the Lakota, we'll all be dead before sun down. C'mon. Let's go. Bart and Jessop turn and walk away. The Native shouts out to them. They stop, turn back with caution. JESSOP: What's he want? BART: Don't know. Stay still. Bart grips his rifle as he stares at the Native. The other Lakotas finish their hacking and stand to reveal they've cut the animal clean in half at the belly. The Young Lakota gives Bart a dirty look before he picks up the hind legs and slings the rear half around his shoulder to walk away. The Native points at the other end, then points at Bart, giving a nod. Bart and Jessop look at each other. The Native barks out an order and the other Lakotas retreat back from where they came. He points at the carcass again and gives Bart a firm nod before disappearing into the woods. JESSOP: Well I'll be damned. Bart strides for the carcass. BART: Forget the damn horse. Let's get the hell outta here.

SCENE NINE INT. BEDROOM – AFTERNOON The messy room has a Star Wars bedspread, a telescope, and a tall bookshelf, overflowing with novels and games. MARK and KRISTINE kneel in front of an animal tank, watching a small turtle slowly move around. MARK: I told you it would work. KRISTINE: Maybe. I feel like you can tell. MARK: You’re being paranoid. A turtle is a turtle, Kris. He’ll never know the difference. KRISTINE: I think this might be our lowest parenting moment, ever. It feels like a betrayal or something. MARK: Come on, it’s no worse than Santa Claus. It’ll be fine, trust me. Kristine sighs, and they stand up to leave. When they turn around, they see BEN (7) standing in the doorway, eyes wide and mouth agape, staring at them in horror. MARK (under his breath): Shit. Kristine hits Mark and glares at him. KRISTINE: Hey, sweetie! Did Mrs. Helling drop you off? I didn’t hear you come in! BEN: What happened to Lucas? What did you do?! MARK (soberly): Ben, if we tell you the truth, do you promise to stay calm? Ben stands silently, staring at his father. MARK: Ben? Ben nods slowly. Mark takes a deep breath, as if dreading what he is going to say. MARK: We took Lucas out to play earlier, and, I guess we didn’t realize how fast he actually was, so we left him alone for a minute and he got all the way across the kitchen table and must’ve toppled off. Ben is terrified, but Kristine is looking at Mark with confusion. MARK: And when we came back in to get him, he was lying on his shell, which he must’ve landed on, cause now there’s a little crack in his shell. He turns around and picks up the turtle, handing it to Ben, and pointing to a little corner of its shell. MARK: Mom and I were hoping you wouldn’t notice, but I guess you caught us. He’s completely fine, he just has a battle wound now. Mark watches Ben hesitantly, while Kristine looks on with amusement. Ben stares intently at the turtle for a long, silent moment. He lifts it up to eye level, and stares into its eyes before looking up at his dad. BEN: It makes him look tougher, right? Mark relaxes and smiles. MARK: Absolutely. Why don’t you put him back in his tank for now, and we’ll go have a snack? Ben nods and puts the turtle in the tank, as Kristine and Mark walk out of the room. BEN: Hey, Dad? Mark turns back to look at Ben. BEN: What did you mean about Santa Claus?

Awesome! Made me think of War Horse.

EXT. WRIGLEY FIELD - DAY It’s Hot. Jansen sweats while he sits on his bike taxi, waiting with the rest of the pedicab crew as the game ends. Thousands of people fill the streets. A HEAVY SET older couple wearing Brewer’s jerseys approach him. HEAVY SET MAN-How much? Jansen does his best to be professional. JANSEN-Whatever you think is fair? EXT. CLARK AND FULLERTON - LATER Jansen, now drenched in sweat, muscles shaking, almost at the dry heaves, pulls the bike over to the curb. The couple gets out. HEAVY SET MAN-Ten fair? Jansen, too beat to haggle or even complain, nods as sweat beads drip from his shaggy hair. He pockets the cash. Tries to catch his breath. He takes his shirt off. Grabs his water bottle, leans his head down over his bike handles and pours it where the spine meets the skull. He stays like this and rests. Ladies feet with purple and green toe nail polish walk onto the cab. The feet rotate, and the lady sits. WOOLSKIE (O.S.)-Will one hundred and fifty bucks get us to Oz park? Jansen’s head perks up, it’s not the voice, it’s the money. He’s never made that amount before. JANSEN-Well, “there’s no place like home.” He stands to pedal, he EXHALES AND ALMOST SIGHS. WOOLSKIE (O.S.)-Take your time, you like tired. JANSEN-Thanks. He takes them down Clark street. He never turns around. Has no idea who the passenger is, or that she holds a small Dog (a Dotson) in her lap. Nor does he notice that she is sketching in her notebook. As he pedals and begins to catch his breath, they approach a YUPPIE walking a dog. Jansen HEARS A LIGHT GROWL from behind him. Then A BARK. The Dotson lunges forward, onto Jansen’s shoulder. WOOLSKIE-(scared)Shit!! Jansen, perhaps because he has no more energy, is not phased. JANSEN-(dog voice) Oh, hey little guy. It’s okay. You don’t want to fight that mean dog. He’d kill you. You’re so tiny, yes you are. Jansen uses his right hand to pet the Dotson as it is perched on Jansen's left shoulder, almost like a parrot, yet he continues biking. He stops at a red light. Continues petting. JANSEN-It’s okay. Yes it is. And what’s you’re name? WOOLSKIE-(O.S.)I was thinking of naming him Picasso. The voice registers. (fuck) She lifts “Picasso” from his shoulder. He doesn’t look. JANSEN-Huh. I used to know a chick who was a big Picasso fan. Knew a lot about him, especially how to look at his work. WOOLSKIE -Yeah? And what’s your friend up to now? JANSEN-Oh, I have no idea. Honestly, I’ve been doing my best not to think about her. The light turns green. He stands to pedal, fast. JANSEN-We’re almost there Miss. Just another two blocks. They are going quick down Clark street. He blows two stop signs. HONKING FROM CARS WOOLSKIE-Whoa! Dude! I got a fuckin’ innocent dog here! She clutches “Picasso” to her chest. He veers onto a sidewalk (ILLEGAL) and pedals right into Oz Park (frowned upon). They coast under a shaded tree... ...and stop. He does not turn to look, stares straight, more or less shrugging. JANSEN-We’re here. The land of Oz. She does not get out of the cab. WOOLSKIE-Uh, yeah. It’d be pretty funny if this park was somehow in black and white. JANSEN- Hilarious. Nice meeting you Picasso. She rips the page from her sketchbook and places it on his shoulder. He looks at it. It’s a pencil sketch of his shirtless back, while riding. Muscles accentuated. Just a sketch, nothing serious. But it is signed, Woolskie. WOOLSKIE-Y’now, you could probably ebay this for like five grand. Doesn’t look at her. JANSEN-Don’t really have internet these days. And you know what they say, “Cash is king.” Pause. He sits on the bike with his arms crossed. She sits on the taxi, realizing he is turning his back on her. The sun begins to set. WOOLSKIE-J-rah? Will, will you look at me? Please. He sighs, a different sigh than with the heavy set Brewer fans. He shifts his head and... ...sees her. This hurts them both. WOOLSKIE-Can,...can we talk? Picasso barks, “Please.”

Made me smile! Fun.

Good stuff! Again please remember to note the number of scenes you have written thus far, so I can keep track per the challenge. Also I'm still looking scene-writing prompts, so if you have some, please post here.

Scene #9: EXT. – MAIN ST., HEAVEN – DAY Archie stands at the gates. They open. He enters, walks down the street. People pass by, apparently going somewhere important, though few walk in the same direction. Some wave. He waves back. ARCHIE: (musing) This isn't exactly what I was expecting. PASSERBY: What were you expecting? Maybe I can help. ARCHIE: I thought the people who loved me the most would be here to welcome me. PASSERBY: Don't worry. He's on his way. The man rushes off. Archie turns and watches him go. ARCHIE: He...? He who? I don't get it. Dad? My brother? Jesus?? A male tenor voice behind him: ODIE: Hey, Archie!! I am sooooo glad to see you! Archie turns. He doesn't see anyone. Someone whistles. ODIE: Hey, Arch! Down here. Archie looks down and sees a dog, wagging furiously. ARCHIE: Oh, my gosh! It's Odie! Hey, boy! He kneels down and Odie goes nuts, licks his face, dances around him. ARCHIE: (laughing) Hey! Hey! ODIE: Sorry. I get carried away. ARCHIE: Ya think? ODIE: Come on. I'll show you around. This'll be fun. ARCHIE: It's terrific. He pats Odie and they walk on. Archie looks at all the interesting sights. ODIE: Let me know if you have any questions. ARCHIE: (pointing) That big building a mile or so down there. What's that? ODIE: Angel Stadium. It's where the Big Guy hangs out. ARCHIE: Let's check it out. He turns and starts to jog towards the structure. Odie keeps up with him. ODIE: Slow up, Arch. The scale is deceptive. It's a hundred miles from here. We can catch a shuttle up ahead. They slow to a walk. A beat, then: ARCHIE: How come you can talk? ODIE: I always wanted to talk, Arch. All my life, more than anything in the world. And now I can. This is Heaven, remember? ARCHIE: It's great. ODIE: You have no idea. ARCHIE: One thing has me puzzled. They halt. ODIE: What's that? ARCHIE: Why didn't Mom and Dad would meet me at the gate. ODIE: They'll be at the reception tonight. No rush. ARCHIE: I guess I have a lot of time. ODIE: All the time in the world, Arch. And more. And more. ARCHIE: But why you? Why was it you who met me? ODIE: It's my privilege, my right. ARCHIE: Why not Charlotte or my brother Bob? ODIE: 'Cause I'm the person who loved you more than anyone else in the world. ARCHIE: You're a person, now? ODIE: I always was, Arch. I just couldn't talk. ARCHIE: Oh. Right. They walk on. Odie sidles up to Archie's legs, wagging. Archie looks down at him and smiles. Odie smiles back. ODIE: I love you, Archie!

- SCENE 9 - INT. - DOCTOR’S OFFICE - DAY RONDA (20) sits on the edge of the examining table, dressed in a paper gown. A PARROT sits on a perch across the room. Ronda stares at him. DR. UMA (60) opens the door. DR. UMA: Sorry for the wait, Ronda? RONDA: Yes. DR. UMA: You are here for a rash? RONDA: (Showing her arm) Yes. DR. UMA: And where else is the rash? RONDA: Just on my arms. DR. UMA: Why are you wearing a gown? RONDA: Oh… The nurse gave it to me, so- DR. UMA: (Grabbing Ronda's arm) Let's take a look. The parrot squawks. DR. UMA: (to the bird) Urbino! RONDA: Urbino? DR. UMA: He's named after the doctor in Love in the Time of Cholera. RONDA: Ah... Gabriel García Márquez fan? DR. UMA: This looks like eczema, but it could also be a sign of syphilis. RONDA: Syphilis? URBINO: Syphilis! RONDA: There's no… I can't have syphilis. URBINO: Syphilis! DR. UMA: All the same, I'm obligated to order a blood test. RONDA: Is this bird- Isn't there a health code- URBINO: Syphilis! RONDA: Or patient confidentiality clause- DR. UMA: Sorry. Urbino! No one can hear- RONDA: Didn't Urbino get killed by a parrot?! DR. UMA: Are you suggesting my parrot be killed? RONDA: No! No. I was saying... Sorry. I got flustered. Uh, there is no physical way I could have a STD. DR. UMA: Yes, well. Better safe than sorry. There is a lab two floors down. I'm writing you a prescription for Protopic for the meantime… Dr. Urbino killed himself. The parrot protected him or, you know, his house. Dr. Uma hands Ronda the Rx, and opens the door. RONDA: Ok… Can I change first? DR. UMA: Oh, yes. Of course. Dr. Uma eyes Ronda and Urbino before leaving the room. Ronda, flabbergasted, stares at the bird again. FADE TO BLACK.

SCENE 9_________________________________ a book lies on the table, titled: The frog and the princess two fair little hands enter and opens the book. The book is full of pictures hardly any words. The hands flip the pages, uninterested they flip to the last pages. PAGE: A princess holds a frog Flip… PAGE: she kisses it Flip… PAGE: it turns into a prince. EVE(O.S): Rubbish… With that the book is shut. The CAMERA PANS to the owner of the hands. EVE, 8, stands bored with her cute little pink cheeks in a fancy pet shop. The book lies in front of a glass box with a frog staring at her, deadpan. RIBBIT! EVE(to frog): Now , don't you ever turn into that ugly prince. RIBBIT! They stare at each other for a long while. She seems fascinated by the little ugly creature. RIBBIT! She giggles EVE: You're so beautiful… DAD(O.S): Hey Eve! How bout this little guy here. EVE turns DAD is standing there leaning to cage of the cutest puppy in the world. EVE points to the frog. EVE: I want him! RIBBIT! DAD looks unsatisfied, but can he say no to his little girl? DAD: Eve… you sure? You aren't expecting him to turn into a prince are you? EVE: Why would anyone want him to turn into a prince? He is so cute. I want him! DAD: Alright dear… She turns back to the frog looking like the happiest person in the world. ___________________________________________ Thank you for reading. Please comment and let me know how it could've been better. Thanks again=)

Hi Scott- some other ideas for writing prompts - Write a scene of a character watching a fan rotate. - Write a scene of someone standing on the edge of a tall building - Write a scene where everything suddenly falls silent - Write a scene looking down a large dark hole - Write a scene involving a parade - Write a scene that end in a question - Write a scene that begins with a character laughing & ends with them crying - Write a scene includes a monk and a motorcycle - Write a scene that takes place during the 1930's - Write a scene with a fictitious/fantastical creature - Write a scene involving chaos and confusion - Write a scene that takes place in an abandon building - Write a scene of mistaken identity - Write a scene underwater - Write a scene involving a theft - Write a scene where something gets burned or set on fire - Write a scene with a character watching someone sleep - Write a scene with someone sitting in a parked car Hope these help. Tara ----------------- Twitter.com/TaraLConklin

Sc. 6 EXT. COUNCIL ESTATE APARTMENT DAY R-A-P-P-P-P-P-P-P-P-P-P-P-P the call of the big olive and brown speckled toad vibrates through the punched out holes of an opaque plastic container. Staring into the container is the haggard junkie visage of TODD (24). His sunken eyes focusing intently on the toad, his jaws grinding. He sits back, flips the sunglasses from the top of his head down on his nose. TODD: … who told you this? Across the squalid coffee table sits LEN (22) skinny, jittery, his knee pumping like a jackhammer, jaw grinding, furiously inhaling a cigarette. LEN: … Todd, mate, I told you, Bozza. TODD: And what exactly, did Bozza tell you Len? Len lights another ciggie with the butt of the one he has just devoured. LEN: Mate, I told you, Bozza said, if you lick the toad, you get real high. Todd leans over, snips the cigarette from Len’s mouth. Smoking slowly he leans down and gapes at the toad. Len opens his ciggie pack but it’s empty. He crumples it, throws it on the floor and scans the overflowing ashtray for smokable butts -- nothing -- starts gnawing on his thumbnail. TODD: Do you lick it’s head … it’s feet … it’s fucking arse? Huh?? What will get you the highest Len? Len lights up. He knows this. LEN (leaning in): No mate, no. You lick the sacks, right there, on it’s shoulders … see, right there? TODD: Right, the sacks on it’s shoulders … and that will get you real high? LEN: That’s what Bozza says mate. And Bozza doesn’t lie. TODD: Is that so? LEN: Yup, that is fucking so mate. TODD: Ok, so what did the ever so truthful Bozza say about the speed -- the kind I stuff up my fuckin’ nose, that gets me real fuckin’ high. LEN: Bozza says the speed is comin’ mate … and, while we wait, the toad will get us real high. Todd puts his nose up to one of the holes in the container and takes a tentative whiff. TODD: Alright … what kind of high? LEN: Bozza says it’s unlike anything he’s ever done … and Bozza’s done them all mate. Todd blows a plume of smoke into the container, making the toad trash about. TODD: He’s not lying there is he? LEN (leaning in peering at the toad): No he’s not mate. Todd pushes his sunglasses back onto his head, crushes the cigarette butt into the coffee table, and opens the container. TODD: Ok, you go first. Len looks at the toad, at Todd, back at the toad ... it starts moving -- Len grabs it -- takes two good licks … passes it to Todd. TODD: Fuck it. He takes two good licks -- another two. Puts the toad back in the container, leans back and flips his sunglasses down. TODD: Now what? R-A-P-P-P-P-P-P-P-P-P-P-P-P. Len’s knee is pumping again. A fly BUZZES. LEN: Now we wait mate … now we wait.

Tense. I enjoyed it.

Scene 9. Sorry.

My Scene 05 EXT. PARK - DAY Under a sky of lead, a CAT sprints across the grass, a DOG gives chase, dragging a leash. They close in on a tree. The cat leaps, scrambles up the trunk, claws up to a branch. The dog hops, forepaws on the trunk, barks like hell. The cat glowers down from the branch, hisses, then sits on its haunches. Two men jog up to the tree, they're MATT (20s) and BARRY (20s). They reach the dog and Matt grabs the leash. MATT Stop it. Bad dog. BARRY Next time, try to hold on to the leash. MATT Got me by surprise, okay? (pulls on the leash) Come on, let's go. He drags the reluctant dog away from the tree. Barry gazes up. The cat gazes down. BARRY The cat is up the tree. MATT So? Got up, can come down. BARRY Don't think so... The two look uncertainly up at the cat, the dog looks hopefully up at the cat, the cat looks disdainfully down at them. Matt scans the ground, toes a pebble, picks it up. BARRY What are you doing? MATT Gonna scare the cat by throwing-- BARRY No, you're not gonna throw rocks at the cat. Matt purses his lips, then drops the pebble. The dog rushes to inspect it. BARRY Think, how can we save the cat? They ponder for a moment. The cat and the dog engage in a staring contest. MATT Maybe it doesn't want to be saved. BARRY Huh? MATT Maybe it's just waiting for us to go away to climb down. BARRY Oh, really? MATT Doesn't hurt to try. After a pause, Barry nods his agreement. Dragging the dog by the leash, they walk away, while the cat surveys them. When they are some distance from the tree, the cat jumps to a lower branch, then to the grass and scurries away. Barry, Matt and the dog watch it go. BARRY Anticlimactic, isn't it?

SCENE 9 INT. HOUSE – LIVING ROOM -- DAY A suitcase drops to the floor. An ADULT MALE stands by it. We only see his legs. He walks into the kitchen. A MINIATURE DACHSHUND trots up to the suitcase that's three times his size. He's pure black with spots of brown on his face and paws. The DACHSHUND nudges the suitcase with his head until it plops over. With a grunt, the dog pulls the suitcase inch by inch. The Adult Male walks in. He reaches his hand down and pulls the suitcase up. ADULT MALE: Ollie, it's only going to be a few days. The dog whimpers. The pandering pat on the head doesn't help much either. INT. HOUSE – LIVING ROOM – DAY The dachshund perches himself up in a large picture window. He sadly HOWLS as a small red sedan pulls out of the driveway and into the street. The car comes to a screeching halt. The dachshund sniffs the air – he knows it's time. The dachshund leaps off the window perch, but we stay. We see a HORDE OF ZOMBIES limping, marching, and scuttling down the street. The Adult Male tries to run back into the car – it's too late. EXT. HOUSE - DAY Two ZOMBIES grab him, tackle him down, and devour his brains like scrambled eggs. EXT. HOUSE – ROOFTOP – MOMENTS LATER We hear the grunt, gargles, and random screams from the zombie horde. The sun shines on the perch of the shingled roof. From the other side, the head of the dachshund starts to rise. We see his crown, the large floppy ears, and a long jaw. His face is all serious. As the dachshund rises up to the top of the roof, it's obvious he's now walking on two legs like a human. He stands atop the roof like a solider. He has a camo vest on, holds a machine gun in each hand, and has an Army-grade belt equipped with all types of ammo. His tail wags helplessly. The dachshund pulls a grenade to his teeth and pulls out the pin. He launches the grenade into the air. This means war. BOOM! The blast goes off. The dachshund doesn't even wince. Zombie body parts and blood splatters everywhere. A large splotch of blood appears on the Dachshund's face. It's gunna be a long night. The Dachshund HOWLS as he fires his machine gun.

SCENE NINE INT. REMOTE FARMHOUSE - DAY An older, unnamed grandfather takes a little girl, SASHA, in front of an enormous glass case, inside of which is an equally enormous SNAKE. The little girl is understandably terrified of the snake, and hides behind her father's leg. GRANDFATHER: Sasha, it is ok, there is nothing to be afraid of. She still hides behind his leg, but sticks her head out to examine the beast. GRANDFATHER: Frederick has been a part of this family for generations. He is older than me, did you know that? Sasha stares at the creature with morbid curiosity. GRANDFATHER: He is family Sasha, and if it weren't for him we wouldn't have his farm. SASHA: He's scary. GRANDFATHER: I know he is, at first. But let me ask you, Sasha, are you afraid of rats, as well? SASHA: Yes. GRANDFATHER: As you should be. They carry disease, they are filthy, and worst of all, they eat our crops, every summer. Ruin the crops, spread disease to the cows and the sheep, it is horrible. Isn't that horrible, Sasha? Sasha nods her head. GRANDFATHER: But thanks to Frederick, every summer he patrols the fields, fighting off the rats and keeping this farm safe. He provides a great service to us, Sasha. She stares at the enormous beast, looking into its eyes as it stares back at her. But she still feels as nervous as ever. SASHA: He looks sick. GRANDFATHER: He's not well, Sasha. You see, because it is winter, there are no mice or rats for him to eat, and Frederick begins to starve. SASHA: Where do all the rats go? GRANDFATHER: They hide, in tunnels down below. But Sasha, with your help, you can find a mouse for me and help out Frederick. Would you like to do that? Sasha nods her head yes, and approaches Frederick, who stares back with glum, lifeless eyes.

it was fun... been looking for that Petco Store for years... lol Thank Debbie... whoop whoop

SCENE 9 INT. KITCHEN - MORNING. A female college student, GRACIE (21) has just woken up after sleeping in on a Saturday morning. She drowsily steps into the kitchen to find her dog PEPPER (3 in people years) a sleek long haired and spotty dog, sitting at the table. GRACIE: Pepper, do you need to go outside? PEPPER: Yes, if I must continue to defecate outside, in the snow. GRACIE: You know you’re too big for the toilet! Now get out there. Gracie opens the door and Pepper sticks her nose in the air before stepping outside. Gracie shuts the door, but Pepper sits right outside motionless. Gracie opens the door again. GRACIE: Pepper. Go to the bathroom. PEPPER: No. GRACIE: Do you want a… treat? PEPPER: That hasn’t worked on me in two years, Gracie, it won’t work on me now. GRACIE: You’re a dog that’s what you do! PEPPER: That was very low of you, Gracie. GRACIE: You don’t have thumbs still. Get over it. PEPPER: I will not be spoken to this way! If we were with Mom, you know — GRACIE: What, do you think Mom would let you sit on the toilet! PEPPER: I just want privacy! Gracie rubs her face in her hands. GRACIE: Alright. We’ll walk to the park bushes. PEPPER: Thank you. Gracie shrugs a coat on, and grabs a doggie-poop bag. When she’s ready, Pepper is bounding with excitement. PEPPER: Walk walk walk walk walk! GRACIE: I’m glad you still want me around for something.

These are awesome tara!

SCENE 9: MICHAEL drags himself to the curb where what’s left of his life sits awaiting the vultures and eventual garbage truck. He looks at it all for a moment. There is a well-worn, stained couch, love seat, chairs, table, desk, an old computer box and bags of stuff. He slumps to a perch on the curb, next to it all. He hadn’t sensed a scruffy dog sniffing around the pile of stuff. He stares at the dog. MICHAEL: You too? It’s my first day. How long for you? The dog looks at him, then goes back to sniffing around. Michael sees the dog is quite scrawny and dirty. MICHAEL: That long huh? Is that what I have to look forward to? Here let me help. Michael digs into a desk drawer and finds a bag of wafers. He opens it and feeds the dog. The dog is cautious at first but then chomps it all down and waits for more. MICHAEL: OK. Let’s see. Michael digs into the couch and extracts a few unrecognizable scraps of food. The dog sniffs it out first and then goes for it. MICHAEL: Sorry that’s all I think there is. The dog finishes chewing and moves on. MICHAEL: Hey. Come back here. Hey, Dog? The dog comes back to him. Michael pets him then rubs his back and the back of his neck and ears. The dog enjoys it a bit. Michael hugs him. The dog licks his face. Michael smiles. The dog keeps licking his face. MICHAEL: Hey come on. You’re getting me all slobbery. Michael is rejuvenated and brushes up the dog’s head with his fingers and then gets up. MICHAEL: Come on dog. Fuck this place. Time to move on, right? And you need a bath. Michael starts walking down the street. The dog follows him.

[Scene 9 || AN: Fountain.io formatting tags may appear.] TITLE: TURF WAR, PART II INT. AMY'S HOUSE — MID-DAY .CLOSE ON twenty-something woman AMY, who is doing dishes as LUCKY, a largish spaniel-mutt mix, bounds into the kitchen. Thirty-something MIKE follows LUCKY closely, both looking very happy and eager. FELIX (V. O.) You'd think I had enough to deal with having one asshole crowding my turf. But no, I've got a second one. AMY Oh Lucky! It's your lucky day! I have a juicy bone for you, you sweet boy! AMY crosses the kitchen toward the refrigerator and takes out a large bone, unwrapping it for the even more excited LUCKY. MIKE appears just as excited. AMY (waving bone) Who's a good boy? C'mon, tell me, who's a good boy? LUCKY barks once, then twice, wagging his tail, then dancing and yipping. FELIX (V. O.) Good God, make it stop, please! AMY lures LUCKY out the door, tossing it into the backyard for the dog. MIKE watches from the kitchen window, smiling all the while, then hugs and macks on AMY again. MIKE I've been a good boy, too. Do you have a treat for me, too? AMY kisses MIKE passionately, then pries herself away. AMY I could grill a hamburger for you for lunch, sweetie. Would that work? MIKE Maybe after we work up an appetite—? Giggling, AMY nods her head and follows MIKE out of the kitchen. A large black cat, FELIX, jumps up onto the counter, now within sight. FELIX You see what I have to put up with? Sudden I'm invisible, now that these two assholes have moved in. Something's got to give, and soon, because I was here first. FELIX jumps down and heads out of sight in the same direction AMY and MIKE had taken out of the kitchen. There's some indistinct murmuring and thumping. MIKE (O.S. at a distance) Yeowch! Son of a bitch! That cat just clawed me in the ass again! What gives? > FADE TO BLACK.

SCENE SEVEN EXT. PARK - DAY An OLD MAN, 60’s, sits on the park bench feeding three pigeons some bread. He reaches into his bag and sees that he has one piece of bread left. OLD MAN Last one guys... The man tosses the bread a few feet from them. The three pigeons, PIGEON ONE, TWO and THREE, react quickly and dive for the bread. The birds butt heads. Two of them get up quickly and chase down the bread. But Pigeon three stays down, injured from the collision. It tries to walk but as soon as it puts pressure on its leg it falls back down. The other two pigeons continue to battle for the last piece of bread. They scramble for the bread, each knocking the bread further along ahead of them. Pigeon two grabs the bread with its beak. It is about to take a bite when Pigeon one knocks it out of its mouth, sending pigeon two flying away in the process. Pigeon one has the golden opportunity to taste the delicious piece of bread, but it doesn’t. It sees pigeon three struggling to move. Pigeon one grabs the bread and rushes to Pigeon three. Pigeon one looks down on its friend. Pigeon three looks up, surprised. Pigeon one tosses the bread on the floor and moves it close to the mouth of pigeon three. Pigeon one flies away. Pigeon three enjoys its last meal.

SCENE 9 THE COUPLE FROM SCENE 7 ARE DISCUSSING THE RECENT ADOPTION OF A CAT BY THE GIRLFRIEND ON A DINNER DATE. NEEDLESS TO SAY THE BOYFRIEND ISN’T THRILLED BY THIS NEW ADDITION TO HIS GIRLFRIEND’S LIFE. Justin: You adopted a cat? Meredith: Yes. (shows him pictures of the cat) Isn’t she adorbs? Justin: Uhh…I don’t know how to say this. Meredith: Say what? Justin: I’m allergic to cats. Meredith: Why are you just now telling me this? Justin: Well who know you were gonna go out and adopt a cat? We never discussed it. Meredith: You did know I loved cats, and I do recall mentioning to you how I wished I had one. Or were you just pretending to listen to me like you always do? Justin: Meredith just tell your co worker you changed your mind about the cat. It’s that simple. Meredith: Changed my mind? I’ve already named the cat and gotten attached. Justin: After one night? Meredith: Look we are gonna have to work something out because Thor isn’t going anywhere. Justin: Seriously? Meredith: Seriously. Isn’t there some kinda shot you can take for your allergy? Justin: I don’t do shots. Meredith: Well take a pill because I’m keeping my cat. THE END

SCENE 9 INT. ZIGGURAT - PASSAGEWAY - NIGHT A torch glides down a rough-hewn passageway, the bearer cloaked in shadow, a glint of light flashing off a sword held low in the stranger's hand. The passage ends on a solid stone wall, carvings of SNAKES rising from the floor to the ceiling. The torch follows the curve of the snakes, stopping at a drawing of a snake eating it’s own tail. The hand with the sword pokes the blade into the center of the drawing CLICKING an unseen switch. The wall RUMBLES up, REVEALING a INT. ZIGGURAT - STORAGE ROOM Stepping into the storage room, GAVIN THE RED, his barbarian physique peaking out of an ill-fitting priest’s robes, walks the length of the room lighting torches set into the wall. The room brightens to reveal countless GOLDEN TREASURE, piles of coins, cups, statues, and chests. Gavin laughs, tossing his torch to the side, reaching his hand into a pile of coins. HISSSSSSS. Gavin spins around, readying his sword in one fluid movement, keeping the edge of the blade pointed low, toward the treasure. HISSSSSSS. He spins around again, the hissing seeming to come from all around him and nowhere at the same time. GAVIN: Show yourself, foul serpent! A large KING COBRA emerges from the pile of coins, it’s head swaying back and forth in a mesmerizing pattern. Gavin laughs, swinging his sword, cutting the snakes head clean off, the body flapping back into the pile of coins. GAVIN: My clan is descended from the Great Hawk. Snakes are nothing but prey- HISSSSSSSS. Ten king cobras rise up from behind Gavin. He swings, cutting down half of them in one swoop. One snake is able to latch it’s jaws into Gavin’s thigh. He bashes it with the hilt of his sword, grinning and laughing all the while. GAVIN: You'd have more luck putting me down with a strong drink! He swings again, cutting down the remaining cobras. He creaks his neck, looking at the bite in his thigh that’s leaking blood. The sound of COINS SLIDING and STATUES FALLING OVER sounds behind Gavin. He slowly turns as an ENORMOUS SNAKE CREATURE, it’s head twice the size of a man, slithers up from beneath the pile of treasure. GAVIN: And so the great Apep appears. Gavin readies his sword, a smile growing on his face. The enormous creature SNEERS and HISSES, slithering up to over twenty feet in height. GAVIN: Your hide is worth a kingdom and I intend to collect. Gavin raises his sword and rushes as the stone doorway CRASHES SHUT with a BOOM.

Scene 3 Mom, late teen daughter Daughter: Mom I really do not know why you are talking to him? Is it all really worth it? Is he really going to share with you? I do not like how last time he creepily looked me over all up and down with his beady rat eyes. Why doesn’t he just give you what he owes and scurry along? Mom: I know it is going to be worth it, he will not be able to slither out of this one, and he really owes me big! Besides he is going to give me first pick of Maggie's litter. He cannot leave that kennel he calls a home until the puppies are ready. I wish I could have all the dogs.. but the courts… Especially after what the police did to his pit-bull Sweetie. Although he does not deserve dogs no one deserves what happened to Sweetie either. By the time the puppies are ready I will have my share of the settlement and my puppy. Then its hasta la vista to Mr Cocky!! You know… mom looks up reminiscing… he wasn't such a bad guy before the drugs.. Daughter: How much do you want to bet he is going to be boasting like a rooster about how he had to deliver the puppies, I guarantee it! Laughing….Shish, here he comes up the walk now. MOM, hey Rick, how is Maggie? Did the puppies come out okay? Mom and daughter exchange glances with a smirk Rick Yeah well kinda… I mean she is okay. I had to help her deliver the pups.. Mom and Daughter together.. Really, no way….facetious Rick, she was whining and suffering, I had to help her get them out. There was three but the last one… Mom, the last one what?? Rick, well it came out deformed and I had to put it down. Mom, okay Rick, well I am not into your manure games today so please leave and come back with my puppy and my share of the settlement money.

scene #8 INT MANSION-KITCHEN ROSE (24) in pyjamas, is making a smoothie, toasting bread and pouring coffee all at the same time. Somehow she even manages to sing while doing it. She’s opening drawers and cabinets until: ROSE: Aha! A jar of exclusive looking yelly. She walks to the next room, smoothy and plate with toast in hand. DINING ROOM Rose puts down the food, and goes back to the kitchen. On the huge table: an expensive flower arrangement, a chic tablecloth and a lot of magazines scattered on top. (a beat) Rose enters with the yelly, coffee and a knife. Sits herself at the table. ROSE: (sights) So… miss Rose what will it be today? (posh accent) Well, Rose I think I’m going for grand premier yelly today! She smiles. Then silence, her face going pale, suddenly alert. ROSE: No. (takes a deep breath) you’re just scaring yourself. She starts putting yelly on the toast. Stops. ROSE: No he is not there. You’re not there right!? See.. nothing to worry about. (a beat) Then she quickly turns around to see A cat staring at her. Not a blink. Rose squeaks ROSE: Stop it! Go away! You already ate! The cat, still staring ROSE: Come on, this isn’t normal! Shush, go! Go play! she waves her hand but doesn’t dare to get closer. The cat, with an intense stare. Rose gets up, not letting her eye of the cat, who doesn’t move but follows her with his eyes. she runs to the HALLWAY, picks up the phone. Looks back to see: The cat perfectly still in the corner of the hallway. Staring. PHONE: Hi, this is Edith, I’m not able to answer at the moment, please leave a message. *beep* ROSE: Aunt Edith, I don’t want to babysit mr. moustache anymore, can you please come back earlier?

SCENE 9 EXT. WOODS NEAR ALEXANDRA PALACE, LONDON - DAY North American white tailed deer STAG Harry and FAWN Micky eat twigs and look out to London. HARRY: Here we are in London, I can smell the pollution Jerry described. MICKY: Scotland’s the place we want to be Dad. HARRY: You got to think of property prices son? MICKY: We won’t need a house to protect us in Scotland. HARRY: Scotland’s got too many food banks son. MICKY: It gets better and better. HARRY: You got to start thinking with your stomach son. MICKY: I do Dad, all the time, apart from one time. HARRY: Food banks mean no one has food son. MICK: Red deer said we should go back to where we came from? HARRY: And what was that Red’s name again? MICKY: Tufton Victor Osborne. HARRY: And did you tell Tufton about dangers in the US? MICK: Red said it's worse here. Red dreams of going to Cayuga heights. HARRY: Tufton doesn’t want immigrants like us. MICK: They have immigrants like us in Scotland. HARRY: It won’t be any different there son. MICKY: DAD, I saw a video about the Deer (Scotland) Act 1996.    HARRY: I’ve warned you about watching TV. MICKY: No one can shoot us in Scotland Dad. HARRY: And this has got nothing with you trying out at the Edinburgh fringe? MICKY: Mum thinks you could develop a Scottish nose. HARRY: No Tufton's there I bet, talking smells. Harry raises his white tail and twitches. Harry runs and Micky follows and they are gone. A small child appears after peeing in the bushes.

Scene Nine INT. RESTAURANT - WOMEN'S BATHROOM - NIGHT SAMARA (20s, sunny) fixes her lipstick in the mirror. ROWAN (20s, earnest) inspects her own make-up, gives up, moves on. ROWAN: You look great. Let's get moving. SAMARA: Wait. Look. I don't know how to say this, but-- ROWAN: It's okay. I know. Gord is a pig. SAMARA: You could do so much better! ROWAN: Look, it's not like I'm going to marry him. We... have fun together. SAMARA: He's a pig! ROWAN: Right. I know, I know, he's a pig. But when you get past that-- SAMARA: How do you get past the fact that he's a pig? ROWAN: I really don't notice any more... Just give him a little time. He grows on you. SAMARA: I can't believe you're dating such a pig. But I'll try, okay? Rowan hugs Samara. ROWAN: You're the best. INT. RESTAURANT - NIGHT SAMARA'S DATE (30s, nerdy) waves anxiously from a four-cover table. Rowan and Samara sit down with him. GORD (middle-aged, four-legged, curly-tailed, pig) returns from the buffet with a plate piled high with food. Rowan gazes at him adoringly. GORD: I can't help myself at these places: I always eat like a pig! He laughs at his own joke until he belches.

My tenth scene, finally! Still playing catch-up. INT. MASTER BEDROOM – DAY It is early morning. GEORGE, 30, a young father and his wife LORI, 29, are deep asleep in bed. The sun is poking in through the bottoms of the shades and George is making a hacksaw-like snoring sound. MATTHEW (O.S.): Woah! MATTHEW, 4, in a Spider-Man onesie pajama set, runs into the bedroom. MATTHEW: Dad! George snorts roughly awake. He clearly was up late night and is not ready to be awake. GEORGE: Wha-? MATTHEW: Dad. You hafta see this. GEORGE: Buddy, it’s too early. MATTHEW (whispering now, as if that will help): Seriously though. It’s Shelly. Lori has awoken now too. LORI: Whatsamatter? MATTHEW: You hafta SEE. GEORGE: Okay, in a little while buddy. MATTHEW: Kay I’ll be downstairs. INT. LIVING ROOM – DAY It is some time later. Matthew is still in his pajamas. The T.V. is on and he is watching He-Man and the Masters of the Universe on TV. SKELETOR, unknown age, evil skeleton villain wearing blue tights, is cackling maniacally on-screen. George is shuffling down the stairs in a pair of Boston Bruins pajamas and a T-Shirt. His wife is behind him in a nighty fit for a much older woman. She is putting on her glasses. GEORGE: What’s up bud? MATTHEW: It’s Shelly. He points to the terrarium in the corner of the room on a table. He runs over to it. MATTHEW: He GREW. ZOOM IN: On the terrarium. Matthew has his face pressed up against the glass. The two parents are gathered around him. A rather large male turtle named SHELLY is sitting in the middle, blinking contentedly. ZOOM OUT: George looks a bit guilty but is struggling to maintain his composure. Lori is confused, and shoots George a look. He quickly gives her a gesture to say, “just go with it.” GEORGE: Wow…yeah. He did. MATTHEW: He’s HUGE! GEORGE: He really grew. Turtles can do that pretty fast, you know. MATTHEW: Really? Coool. GEORGE: Yeah. He’s kinda like a Teenage Mutant Ninja Turtle! MATTHEW: Yeah! I’m renaming him SUPER Shelly! Lori is stifling a laugh. MATTHEW: Mom, can I go get Brendan and show him? LORI: Yes, but go upstairs and change first. And brush your teeth. MATTHEW: Okay. Bye Shelly! Matthew runs upstairs. George waits until he is out of earshot. LORI: What did you do? GEORGE: The damned thing died last night. After three days! I went to the pet shop, got there right before it closed, yelled at the guy for an exchange, and all they had was this…much bigger one. So I got him. HAD to get him. LORI (giggling): You better hope he never finds out.

Scene nine continues from yesterday's eight: EXT. RANCH HOUSE - NIGHT A large spanish style ranch house overlooking farm crops. INT. RANCH HOUSE - NIGHT MATIAS (25) a thin latino looks terrified, sweats, trembles. MATIAS Butch, I swear I'm not a thief. Butch holds a tiger that roars ferociously. PANCHO (25) strong guy covered in tatoos records it with a camera. MATIAS Please, Butch. It wasn't me. The tiger takes a swipe at Matias arm. THE BUTCHER That was a very expensive collar. If you needed money you should have asked. ARMANDITO (16), son of Butch peeks from a door, holds his laughter with his hand. THE BUTCHER Where is it? You pawned it? MATIAS I... say Armandito playing near your bedroom, maybe he was playing with it. Armandito gives an angry glance. THE BUTCHER Keep my son out of this. The Butcher releases the tiger, Matias jumps behind a couch, the tiger jumps and attacks Matias. Armandito holds his laughter with his hand. To be continued...

@heathenistic scene 9. INT. FAMILY HOME - DAY LUKE, a 9-year-old rough-and-tumble cutie kicks open the front door, leaps in, his hands clasped, protecting something inside. He's dirt-covered and soaked from the waist down, dripping dirty water all over the floor. LUKE - MO-OMMMM!!!!! Nothing. Luke hollers again. LUKE: MOMMMMM! MOM! Luke's mom, NANCY comes rushing around the corner. She's clearly been busy baking, and it looks like the baked goods have been winning. She's covered in flour head to toe. MOM (rounding the corner): YES! What is it honey? She sees the mess he's making on the floor. MOM: Ohmygod! Get get get... back on the mat! Luke jumps back onto the mat, still cradling whatever clasped between his hands. LUKE: Can I keep it? MOM: Oh god, what have you got in there? Luke starts to giggle uncontrollably. MOM (nervously): Luuuke? Show mommy. Luke pauses, considers his options then... THRUSTS his hands toward his mom's face and - RIBBIT! - a FROG leaps out, right at Luke's MOM's face, and falls RIGHT DOWN HER TOP, into her cleavage. CHAOS ensues. Luke runs around laughing, MOM shrieking running around aimlessly, and frantically searching for the frog down her shirt. She hops, jumps, tugging on the bottom of the shirt trying to make it fall out, but Luke sees it as more of the frog game. Luke starts hopping up and down too pretending to be a frog, making his own RIBBIT RIBBIT noises and laughing his head off. MOM screaming. The frog falls out of the shirt onto the floor. MOM screams again! MOM: Get it! Luke dives at it, getting dirt allover the floor. The frog hops out of the way, around the corner. Luke gives chase. Mom screams. From around the corner comes a loud, china-shattering CRASH.

Scene 9 EXT. CAMP DEEP IN THE WOODS – NIGHT Jones sits nervously around a roaring campfire, attempting to roast a marshmallow. Across from him, a huge brown bear sits upright holding a roasting stick, roasting his own marshmallows. BEAR: Now this is the life, no? Jones looks around nervously. Are there cameras? Is he on a hidden camera show? JONES: I…I’m glad you could join me. BEAR: Yeah, most people run their food up a pole, but that never stopped me before. I just untie the ropes why they’re sleeping. JONES: You can untie… BEAR: That bothers you, but the fact that I can talk don’t? JONES: I’m still coming to terms. BEAR: Likely your crazy. Oh, dude, your mallow’s on fire. Jones pulls his flaming marshmallow out of the fire and blows it out. BEAR: Still, maybe your not. Right. Maybe I can talk and use a stick without an opposable thumb. JONES: I've lost it. BEAR: Nah, I’m just joking with ya. I’m as real as you are. The bear makes a s’more and takes a small bite. BEAR: That’s good. JONES: How? BEAR: How what? Oh. Magic. I came across this old crone in the woods and I was going to eat her. She tried to stop me with these gimmicks and fire shooting from her fingers, but I was hungrier than I was afraid. So, this old crone made me sentient, which was totally awesome. I still ate her though. I was still hunger. Feel bad about it though. JONES: Are you going to… BEAR: Eat you. Nah. You’re chocolate yes. But not you. Don’t do that anymore. JONES: How do you stay secret? BEAR: Magic again. See, when I ate the crone I absorbed a little, enough, of her magic. Some people I just erase their memory, but you… see I only kill people that try to shoot me. They thought a few bear stakes might give them a little magic. But it never works out well for them. Jones offers the bear another marshmallow. The bear loads it up on his stick and holds it over the fire. JONES: Magic huh? BEAR: Yup. JONES: Cool.

Scene 9 INT. BROADWAY THEATER - BACKSTAGE - NIGHT On-stage dialog continues over a loudspeaker. Tee and Becky emerge from a door between a wing and the stage door area. They go to the Stage Door Keeper. TEE: Thanks, Tulsa. STAGE DOOR KEEPER: Shucks, warn’t no problem. Becky looks surprised at the anachronistic Old West drawl. Tee takes Max out of his cat carrier. A MUSICAL NUMBER begins. Tee tries to get Max into position as Becky takes out a pill. Max squirms. Becky moves in with the pill, and... SLAM. A door from on stage STARTLES MAX and he TAKES OFF. Tee and Becky look around. Which way did he go? HE’S IN THE WINGS. Tee and Becky give chase. In the flies, Tee gets close to Max. Max jumps up onto one of the ropes and climbs. Tee heads toward the rope but a stagehand holds up a hand and shakes his head no. Max looks down and sees Tee blocking his escape route. He looks across, sees the top of the set, and JUMPS, just managing to catch the top of the set, almost falling off. Becky stays right below Max as he crawls across the top of the set. Tee goes past them, trying to cut Max off at the pass. Tee stops just short of a door where the Male Romantic Lead waits to make an entrance. Max makes it to just above the door, Becky passing Tee to stay under him. She bumps into the Male Romantic Lead and he pushes her back into Tee. The Male Romantic Lead flings the door open, rushes through and SLAMS it shut. The vibrations startle Max and he FALLS right into Becky’s arms behind the door. The door flies open, and now the Female Romantic Lead -- AND THE ENTIRE AUDIENCE -- see Becky holding Max. Max bolts out of Becky’s arms ONTO THE... STAGE Becky hesitates a moment, then FOLLOWS MAX ON STAGE. The Female Romantic Lead makes her exit and SLAMS THE DOOR. The Comic Leads and the Male Romantic Lead continue to sing and attempt to hit their marks as Becky chases Max across the stage. The audience HOWLS IN LAUGHTER, unaware this is not part of the show. BACKSTAGE Tee runs to the wing opposite the stage door to see what’s going on and figure out how to get out of this mess. STAGE Max runs TOWARD THE ORCHESTRA PIT and Becky, BLINDED BY THE STAGE LIGHTS, runs after him. Tee sees that Becky is headed for a fall and RUNS ON STAGE to rescue her. MAX LEAPS INTO THE ORCHESTRA PIT as Tee TACKLES Becky. Max lands on a tympani, which is immediately hit, and Max JUMPS BACK UP and LANDS IN TEE’S ARMS. They notice this is JUST LIKE WHAT MAX DID WHEN BECKY WAS TEACHING TEE TO DANCE. And the music is similar. And they go into the rest of that dance routine. ORCHESTRA Tee's mom and stepdad stare wide-eyed, their jaws in their laps. The audience is eating it up. Tee's mom is moved with pride. STAGE Becky and Tee reach the last step they practiced, realize that’s all they got, look quickly at each other, and run off stage to HUMONGOUS APPLAUSE. BACKSTAGE Max is dazed. Becky pushes his lower jaw down and it just hangs there. She puts the pill in and pushes his jaw shut. Becky and Tee stare at each other, in shock, then break down laughing uncontrollably.

SCENE 7: INT. GROOM’S DRESSING ROOM - MORNING Two men, age and race unimportant. One is tying a bow-tie on another. The groomsman sighs. GROOM Stop it. GROOMSMAN What? GROOM You’re doing that thing again. He’ll show up. I know it. GROOMSMAN Oh like he showed up to marry your sister? GROOM That was a long time ago. When he was really young and stupid. GROOMSMAN All of us were young once. Only a few of us were that stupid. GROOM Come on! He’ll be here, man. LATER.... INT. CHURCH - DAY The groom and the groomsman (one of many) are standing next to each other. GROOMSMAN What did I tell you? The groom is sweating bullets. GROOMSMAN (CONT’D) Okay. Give me the ring. The groom looks at him. About to cry. GROOMSMAN (CONT’D) No. The groom nods. ‘Here Comes The Bride’. The groom looks like he’s at his own funeral. The crowd stands. LATER... PRIEST You may now place the ring on Martha’s finger. Martha - pleasant enough, I suppose - looks at the groom expectantly. GROOM Martha...I’m so sorry. Martha rolls her eyes. GROOM (CONT’D) I’ll make it up to you, I promise. Just then, a dachshund comes bounding up the aisle, barking. Guests squeal. The couple turn in alarm. The priest’s eyebrows raise. It skids to an adorable stop right in front of the groom. It barks a little more. Jumping up and down. The groom bends. Around its neck - a little bag. The groom unhooks the bag. In the bag, the ring. GROOM (CONT’D) Sit. The dachshund sits. The groom looks at his bride, eyes shining. And places the ring on her finger. The crowd oohs and aahs. MARTHA You planned all of this, didn’t you? The groom shrugs.

Scene 20 INT. AIRPORT TERMINAL B-DAY Weary travelers crowd the concourse. Hundreds of carry on lay on the floor or on chairs. Several Airport Security agents question passengers while others clear onlookers. OFFICER JON MCKAY, 25, handsome, fit, nice guy, walks slowly through the terminal. He's looking for something. By his side is Cody, a mixed breed wolf with a beautiful white coat. Cody's nose is working overtime. He sniffs at luggage and people. Jon walks casually as if this is an everyday routine. His radio crackles to life. Jon stops and cocks his head as he listens to his ear piece. VOICE: McKay, we have new information. The suspect is carrying a light blue backpack in Terminal B. Repeat. The suspect is carrying a light blue backpack in Terminal B. Over. JON: (quietly) Copy that.Over. He bends down and pats Cody on his head. JON: OK, boy. This is it. You go find it. Ok. Go find it. Search. He unhooks Cody's lease and lets Cody roam free amongst the passengers. Suddenly Cody picks up a scent. He makes a hard left toward a group of teenagers sitting in the corner. He sniffs around them. It was here. He moves off in another direction. Jon follows Cody as he scans the crowd. Finally Cody stops in front of the ladies bathroom. He begins to scratch at the door. JON: (whispers) Good Boy. Jon leashes Cody again and radios Command. JON: (into radio) Possible suspect located in Terminal B Restroom. Tactical requested immediately. Just as he finishes his transmission, the bathroom door bangs open and knocks him to the ground. The suspect bolts carrying a small remote device. He charges up the concourse pushing people out of his path as he tries to escape. Cody takes off after him. JON: (yells into radio) Suspect heading west toward tarmac exit. Suspect has the device. Repeat. Suspect heading west. Suspect has the device. Jon picks himself up and chases after Cody and the suspect. Cody easily navigates his way through the throng of people, running down the suspect. Jon is jostled by the ocean of people as he fights his way through the crowd. Jon losses sight of them as they disappear around the corner. JON: (to crowd) Move! Move! Dammit. (into radio) I have lost visual. I repeat. I have lost visual. Jon rounds the corner as the runner makes his way and spots Cody right on the suspect’s heels. The runner is half way to a service door when Cody leaps and tackles him. The runner screams as he slams into the ground. The device bounces out of his hands and skids across the floor. Jon runs up, seconds later, with his weapon drawn. JON: FREEZE! The suspect attempts to move but Cody leaps on his chest, teeth ready to rip out a chunk of flesh. JON: Good boy, Cody.

DAY NINE: Write a scene in which an animal plays a key role. INT. GARAGE – MORNING A woman is sitting in her car, hands gripping the wheel. In the back seat of the car is a cocker spaniel. He is a young dog, panting slightly and barking softly in the stuffy car, but otherwise well-behaved. The woman looks at him through the rearview mirror. WOMAN: So, he wants to keep you? The dog’s head perks up a little in response. WOMAN: I won’t let him have you. You were a gift and I’ve grown fond of you. The dog tilts his head at her. After a moment’s silence, he yawns widely, then curls up into a ball. WOMAN: We will just have an adult conversation and hope he sees my side. Yes, we will. Because I don’t want to have to smuggle you to another state, but I totally will and I won’t feel bad about it. I’m willing to go on the lam and live off the grid. I probably need to get my priorities in order, but that’s okay. She puts her car in gear and starts to back out of her garage. The dog yawns again. EXT. APARTMENT – MORNING The woman is standing at the door of the apartment, knocking insistently. The door opens to reveal a man in his boxers and a white shirt, sleep hair in all positions on his head as he rubs his face tiredly. MAN: What do you want?! I told you to leave me alone. WOMAN: I’m keeping the dog. I took care of him. He’s mine. MAN: I bought him. WOMAN: And did nothing with him. I paid for all of the medical bills and food and walked him. MAN: He’s mine. Where is he? WOMAN: In my car. The man tries to push past the woman, but she body checks him before he can cross the threshold. MAN: Get out of the way. WOMAN: I must warn you – I’ve trained him to be wary of strangers. MAN: I’m not a stranger. WOMAN: Really? All right. Let’s go see then. Useless bastard. They walk to the car. The cocker spaniel starts to get excited, barking indistinctly, jumping up against the window. The woman unlocks the door and lets the dog out, who immediately starts running circles around her legs. MAN: Hey, boy! Did you miss me? He tries to pet the dog who shies away from him instantly. The man is patient, holding his hand out for the dog to smell. However, the dog still does not show any real recognition, but is not as cautious. He walks over to the man and sits down. The man pets him. MAN: I told you he would remember me. WOMAN: Really? That’s what remembering looks like to you? MAN: Yes. See, he’s fine. The dog has lain down at the man’s feet. WOMAN: Come on, Boomer. Fucking traitor. The dog goes back into the car. The woman gets into the driver’s seat without saying a word. She starts her car, once again gripping the wheel tightly. MAN: What are you doing? WOMAN: I told you. He’s mine. She speeds off. The dog is visible looking out of the back window at the man.

EXT. SANTA'S GROTTO AND RANCH, LAPLAND - DAY A huddle of REINDEER shuffle in the cold, fenced off from Santa's well-lit, garish, and yet homely grotto. RUDOLF's red beacon nose casts an eerie light on PRANCER. PRANCER: And what kind of straw do we get? Mutters and brays amongst the reindeer. PRANCER: Dried up, that's what? And you see him, fat as a fool. I'm 102, you think I can digest dried up carrot? You think these gums are able for that? Reindeer shake their bells, no. SANTA, age a mystery (but he's definitely had work done), springs into the yard, cheerily waves to the Reindeer, assembled behind the wooden fence. SANTA: Ready, everyone? Santa scans the disgruntled and miffed bunch of Reindeer. SANTA: What's up? Prancer steps a hoof forward, stands firm. INT. OVER THE TOP FESTIVELY DECORATED HOUSE - DAY A CHILD's furry slippers trundle down the stairs, skip past candy canes, snowflakes, and ornamental deer. BEDROOM FESTIVE MOTHER and FESTIVE FATHER, sporting Santa sleeping caps, smile. Ear's cocked, they wait for the response downstairs. Silence. They look at each other, confused. A shriek. The presents have been discovered, they giggle. Another shriek, and shriek and SHRIEK. These are not the screams of childlike wonder and delight, but horror. Extreme horror. STAIRS Festive Mother and Father hurry down the stairs, trip on the festive decor in their haste, kick snowmen aside. LIVING ROOM Child's wails are becoming sobs. Festive Mother and Father chase around the room, but it becomes obvious what Santa has delivered -- nothing. EXT. LABOUR COURT TRIBUNAL - DAY Santa emerges from a stretch limo. He evades reporters. MRS. CLAUDE, gets out, shields her face. REPORTERS snap at Santa, shove microphone's into his beard, entangling it. Santa flaps at the nuisance, it takes effort to remove it. The microphone is covered in wisps of white. SANTA: No comment! Prancer and the rest of the Reindeer arrive by magic. They nod to Santa and Mrs. Claus. PRANCER: (stern) Santa. Mrs. Claus.

Scene Nine.

Scene 9 (17th entry) INT. BOARDROOM - DAY FARNSWORTH addresses his Board of Directors. FARNSWORTH As CEO of this company, I have called you all here today because the future of our company is in great peril. ROGER Is it the supply line? WILLIAM Did the workers unionize? SUSAN Did we lose market share? FARNSWORTH No. It’s something much more serious. Farnsworth displays a small cage with a dead hamster. FARNSWORTH (CONT’D) My father passed away. SUSAN Is that a dead hamster? FARNSWORTH Yes, this is all that remains of Archibald Reginald Farnsworth, Sr. ROGER I’m confused. That’s a dead hamster. WILLIAM And your father died in ‘89. I remember the funeral. FARNSWORTH It was all for show. To escape death, father miraculously transferred his mind into in the body of this noble creature. And it has been guiding our company ever since. SUSAN The company has never been more successful. We all thought you were some kind of idiot savant. FARNSWORTH No, just a regular idiot. The genius was always father. This hamster. Which is now dead. WILLIAM That’s a doozy. ROGER I can’t believe I’m saying this, but surely you learned a thing for two from your father, the hamster? FARNSWORTH Alas, I did study his business techniques closely. However without a giant wheel that I could run in, it would be hopeless. ROGER We could vote for a new CEO. FARNSWORTH The bylaws clearly state the company must be dismantled and sold if ever a Farnsworth is not CEO. SUSAN I need a bucket of booze. WILLIAM Then what do we do? FARNSWORTH We pray for a miracle. That father, in his infinite wisdom, will guide us another way. A bird taps on a window. WILLIAM Is that a pigeon outside? ROGER Maybe that’s the old man, back from the dead, again. They all laugh. FARNSWORTH Someone capture that bird. Father has returned!