[…] 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 11 (PROMPT: A characters says “I love you”… without using the words “I love you”.) EXT. HILL – NIGHT MICHAEL (27) and SHANNON (28) sit atop the hood of Michael’s Ford Mustang overlooking Los Angeles. The lights twinkle. MICHAEL: I can never get over the view. SHANNON: Nothing beats New York. MICHAEL: There will always be other cities, but this is ours. Los Angeles. Anything can happen here. I mean, think about it—an artist wants to become a painter? They come here and paint. A man wants to direct films or television, he comes here and can do it. A businessman wants to start his own company, he can do that here too. SHANNON: It’s not exactly that simple. MICHAEL: Perhaps not but think about how unique it is. How there’s only one place in the world where all things are possible. Where everything great can be put together in one place. SHANNON: I guess. MICHAEL: Oh there’s no guessing here. Not anymore. This is what it is. This is the way in which it can be. It’s a beautiful life and I think it’ll only continue to blossom. I… I just need another thing. SHANNON: What’s that? MICHAEL: It’s hard to explain. It… it radiates with this bright intensity… and warms all around. SHANNON: Is it the sun? MICHAEL: And when it moves through life it’s like watching a butterfly on its journey somewhere. SHANNON: …Is it… a… butterfly? MICHAEL: The sheer beauty of it all is astounding. And when I see it, it takes my breath away. SHANNON: What is it? Pause. MICHAEL: I guess what I’m trying to say is… Michael gets down on one knee and opens a small black box revealing a DIAMOND RING. Shannon’s hand goes to her mouth, tears building in her eyes. MICHAEL: Well, what do you think? Will you be my city? My butterfly? She can do nothing more than nod. He grabs her in a tight embrace.

(Scene 7) (brought to you on location: I'm on vacation in Budapest at the moment, which is what inspired this...) INT. TURKISH BATHS – BUDAPEST (1920) Steam billows from the vents, hiding and revealing the mostly plump and aging men sprawled naked on the marble benches. SEBASTIAN ZALA (25) is the most attractive prospect in here: dark-eyed, wiry and athletic, with a quick smile. And a damp handkerchief, which he uses to dab at his fast-developing black eye. ZOYAH: You should put ice on that, you idiot. NAKED MEN yelp surprise and shrink back into the corners of the bath as the steam clears to reveal ZOYAH VALYINOVICH (23). She’s been called a thief, a spy, a witch and an adventuress, but that barely scratches the surface. If the word had been invented yet, she’d probably describe herself as a superhero. She’s fully dressed, in the finest fashions of the day. All Sebastian has to cover his embarrassment with is that damp handkerchief… INT. ENTRANCE HALL, TURKISH BATHS – BUDAPEST Zoyah shakes out her steam-dampened skirts as she strides for the exit – pursued by Sebastian, still struggling into his jacket and shoes… SEBASTIAN: You can’t just walk into- ZOYAH: Really, Sebi. Nothing there I haven’t seen before. And what were you doing, applying heat to a bruise? You’ll swell like a melon. SEBASTIAN: I wouldn’t have these bruises if you did more surveillance before a job. That watchman almost caught me. ZOYAH: ‘Almost’. SEBASTIAN: I could be in jail right now. And then what would you do? ZOYAH: Now honestly, Sebi, would I let you go to jail? I’d bribe the guard, I’d blackmail the judge - I’d blow a hole through the wall and whisk you away on a white horse. Her tone shifts, suddenly serious. The biggest emotional commitment she’s ever made to anyone. ZOYAH: I’d turn the whole of Europe upside down rather than lose your pretty puppy-dog face following me around. She smiles, as if it was a joke, but they both know. They’ve always known. ZOYAH: (to the doorman) Call a cab, will you? We have a train to catch. She turns back to Sebastian, a twinkle in her eye - ZOYAH: And remind me to pay you more. You clearly need money for larger handkerchiefs.

Scene 11 Today’s prompt: A characters says “I love you”… without using the words “I love you”. INT. POLICE STATION Pete watches Gates emerge from the lockup, clutches her manila folder. PETE: Funny finding you here. GATES: Oh Peter… I don’t-- PETE: I was in the neighborhood. Want a ride? Gates with teary eyed, nods. EXT. POLICE STATION Pete holds the door, Gates squints in the sunlight. He leads her to his car. PETE: Wherever you need. Hungry? Home? GATES: Why would she kill him? What did I do? I thought she loved us. Pete nods. Opens the car door. Gates turns a glance to the Police Station, slides in the car. INT. PETE’S CAR PETE: How about a cup of coffee? Gates breaks down. GATES: It was so dirty. I don’t belong there. I didn’t do anything. She was so… so… I tried to save him, but he was gone. Pete drives in silence. GATES: If I’d listened to Doc. He new her. He was right. People don’t change. It’s my fault. BJ and Cody warned me. But no… I pushed it. God damn it. She just stood there. Cold. Menacing. What kind of daughter plans to kill her father? Oh… I bet she killed Bernice too? Evil. I'm a fool. Pete turns into the Riverside Park, parks, walks around the car, opens Gates door. GATES: What can I do now? EXT. RIVERSIDE PARK Gates gets out, Pete leads her to the small beach. GATES: What are you doing? Pete bends down picks up some pebbles, hands them to Gates. PETE: Here. Gates looks at the pebbles. GATES: Rocks? PETE: Throw it. Gates tosses a pebble into the river. PETE: Harder. Gates throws another one… then another… and another. Pete hands her a handful. She throws it as hard as she can. Again. Again. He gives her another handful. Gates breaks down, sobs. Pete holds tight as her flood of emotion flows. Gates lets go of the rocks, hugs Pete.

Prompt idea: write a scene where on a character's first time in new surroundings

SCENE 1 INT. DINING ROOM - NIGHT Low hanging chandelier. Fancy dining table. The highest point of upper middle-class. GEOFF (48), a balding sweater-clad senior executive type, and MADELINE (46), a harried power-suit-wearing executive type, look busy on opposite sides of the dining room. On her side Madeline opens a drawer in a long chest of drawers. She takes out a salad fork. Inspects it. It glints in the light. She sets it down. Takes a deep breath. From her breast pocket, she removes a little envelope. On it is written “Doctor’s Orders”. She opens it. A gilded card inside reads, “Put every one of your feelings into words.” Her eyes bug out. She puts the envelope back into her pocket. Her mouth sets. Rapidly she moves down the chest of drawers, taking two forks or spoons from each drawer. Inspecting them. Placing them in precisely the right order on the dining table. It’s dizzying to watch. On his side of the room, Geoff looks at a soup tureen, perplexed. He opens a food warmer in front of him. Labelled SOUP. He hurriedly ladles soup into the tureen, splashing it all over the expensive table cloth. MADELINE: Everything alright, dear? He catches himself. Fake smile. GEOFF: Fine. Mushroom soup tonight. MADELINEL: (lying) How lovely. Too late she catches herself. She scolds herself internally. Geoff reaches into his pocket. Now visibly shaking, he pulls out a little envelope. On the back is written, “Doctor’s orders.” He opens it. On a fancy gilded card, it says, “Tell her you love her...without saying ‘I love you’” Geoff starts. He turns. Looks at his wife. The height of primness. He puts the note back in his hand. Cracks his knuckles nervously. Madeline looks up at the noise. Geoff stops. He knows she’s noticed. MADELINE (CONT’D): I’m ready, dear. If you are. GEOFF: I’ve always been ready. MADELINE: That’s an odd thing to say. GEOFF: I’m feeling odd tonight. He sets the soup tureen on the table. They sit across from each other, eyeing each other warily. MADELINE: I actually hate mushroom soup. GEOFF: I know. I’ll fire the cook. MADELINE: No, no! He’s the best cook we’ve ever had. GEOFF: You deserve to get everything you want. He’s gazing at her, all smiley and warm. MADELINE: (confused) Well...let’s eat. She looks at him, wanting to ask a question. But doesn’t. MADELINE (CONT’D): Maybe I’ll begin to like mushroom soup. GEOFF: Maybe you’ll begin to like me. Startled, Madeline looks up. Geoff smiles again. Suddenly, inexplicably in control. And liking it. GEOFF (CONT’D): Stranger things have happened.

SCENE 9 INT. HALL/BEDROOM – NIGHT Panicked Mart bounds up the stairs and rushes into the bed room. He’s scared he’s too late. A voice from the living room calls up from under the stairs WOMEN VOICE: She’s asleep. Don’t make so much noise Mart doesn’t hear a thing. She needs him. He only wants to be with her. At the door, Mart holds still, takes a few deep breaths before he opens up the door. MART: Aunt Margaret (whispers) Aunt Margaret doesn’t react. For a moment, Mar thinks she’s dead. He scurries to her bed, crouches down and touches her face. It’s warm. He holds his finger before her nose…He doesn’t feel a breath. Slightly panicked, he takes her pulse. After a few beats he can find it. It’s weak but pulsing. Mart bends his arms on the bed and buries his head in it. He breaks down. This goes on for a minute. A weak meager hand touches his head. Aunt Margaret eyes has opened up. She stares straight at the ceiling. AUNT MARGARET: is that you Patrick? ---Did you come to visit your dying mother? Mart looks up. He stops sobbing. He thinks and finally answers: MART: yes, it’s me, mum, Patrick. AUNT MARGARET: I knew that one day you would return. MART: I heard it yesterday from Mart and came immediately. Mart holds the arm of his aunt. She pinches in it with the strength of a baby. Mart comes closer and leans in. He kisses her head. AUNT MARGARET: I always wondered what happened to you. I can finally die in peace. Aunt Margaret closes her eyes. Mart stares at her. MART: I will never leave you again, mum. Aunt's lips move slightly. Mart can't hear anything. He holds her hands. He feels her breath weaking. Mart’s eyes brim with tears.

Late to the Party as ever, but this is another great GiTS series and a generous offer Scott! (Scene 1!) INT. BEDROOM - NIGHT A dark bedroom, dominated by a hospital style bed and the associated detritus of end of life care. MIRIAM (late 80s) sits on a chair beside the bed, her head rests on GEORGE'S (90s) chest. George sleeps, taking shallow breaths through the tubes emerging from his nose. He coughs and they are both awake. MIRIAM - George? Are you okay? George nods, reaching tenderly for Miriam's hand. He clasps it and she gazes down at him with a smile. MIRIAM - In sickness and in health, that's what we said. George's hand reaches up to Miriam's face, caressing. Miriam places her hand over his and closes her eyes. MIRIAM - You were in bed when we first met. St Bart's. Full circle eh Georgie? George nods slowly as he reaches his other hand up to remove the tubes in his nose. He looks up at Miriam as a single tear slides from the corner of his eye. MIRIAM - All this certainly wasn't part of our vows. He shakes his head, but smiles with affection in abundance, eyes twinkling even after all these years. Miriam carefully lifts George's head and removes the pillow from under it. Even more carefully she lowers his head back onto the bed. George clasps one of Miriam's hands as she holds the pillow. He nods, squeezing harder. MIRIAM - I wouldn't do this for just anyone. George pulls his hand back, blows a kiss and drops his hand flat. He closes his eyes. Miriam moves closer, lowering the pillow over George's face, tears welling in her eyes as she forces it down over his face and leans heavily upon it. George is too weak to fight and there is little struggle. Miriam waits. A few moments later she stands and pulls the pillow away. Tears stream down her face as she sits back down in her chair. She grabs George's hand in hers and kisses the back of it, hard, as she closes her eyes.

SCENE 11 INT. APARTMENT - NIGHT The apartment is pitch black. The door opens, letting in some light from the hallway. Two people are silhoutted against the square of light. GEORGIA: Are you sure you don’t just want to go to your place? ERIC: Come on, Georgia. We’re already here. I don’t care what your place looks like. GEORGIA: Well... ERIC: It can’t be messier than mine. The sound of a light switch flipping, and the whole room is filled with light. Eric stands gaping at the room. Georgia quickly shuts the door behind him. The entire apartment is filled floor to ceiling with stuff - papers, books, magazines, shopping bags, boxes, plastic bins, clothes, everything overflowing. There’s not really any room for either of them to walk farther in. ERIC: Is all this... yours? Georgia nods, looking at the floor. GEORGIA: Yes. Georgia looks Eric, who looks around in a daze. GEORGIA: So this is it. ERIC: What? GEORGIA: This is it. This is always when relationships end for me, when people see this. ERIC: Georgia, I... GEORGIA: It’s OK. I get it. ERIC: Have you tried to...? GEORGIA: What? Clean it? He nods. GEORGIA: Yeah. It’s just... really hard for me. Eric looks away. Georgia’s eyes well up. He goes over to a couch that’s buried under stuff, puts his hand on a shopping bag full of mail. ERIC: Is it OK if I move this? She nods. He carefully picks it up, sets it on the floor. He sits on the little clear spot he’s made for himself. Georgia stares at him, stunned. She brushes a tear from her face, smiles. GEORGIA: You want a beer? ERIC: Sure.

SCENE ELEVEN EXT. HIGH SCHOOL FOOTBALL FIELD, BLEACHERS – EVENING COLLIN, 18, sits high up in the bleachers, leaning back on his elbows, watching MELISSA, 18, as she walks along the row a few below him as if it were a balance beam. She pauses and stares off at the setting sun, looking content. COLLIN: Do you remember the first time we were here? Melissa turns to him and smiles. MELISSA: Would’ve been like seventh grade right? We used to feel so cool spending Friday nights at a high school football game. And then we got here and couldn’t be bothered. Collin laughs. COLLIN: Ironic, huh? That first game we came to was when you met my mom for the first time, I think. MELISSA: Oh yeah, it was! Gosh that seems like so long ago. COLLIN: She wouldn’t shut up about you for like a month after that. (imitating his mother’s voice) That Melissa is quite a girl. That Melissa is one of the most polite girls I’ve ever met! Collin, don’t you let that girl slip away before you’re smart enough to realize what’s right in front of you. Melissa stands and stares uncertainly at Collin for a moment before starting to walk back and forth again, with forced casualness. MELISSA: Well, I always knew she had impeccable taste. Collin watches her, holding his hand up over his eyes to block the sun. COLLIN: Yeah. I already knew though. Way before she started reminding me every damn day. MELISSA: You’re not so bad yourself, I guess. Collin looks down at his hands, willing himself to continue. COLLIN: I think the day it really hit me was when you got into that huge argument with Scott over some old singer. Melissa smiles and sits down next to Collin. MELISSA: Lou Reed. COLLIN: Right, Lou Reed. And you kept saying he was more influential than John Lennon, and I actually thought Scott might have a stroke. MELISSA: I can’t believe you even remember that. Collin looks at Melissa tentatively, then looks back at his hands. COLLIN: Pretty hard to forget. You were something to watch. Or listen to I guess, since you have yet to learn how to have a conversation at a reasonable volume. MELISSA: Hey, you can’t fault me for having passion. Collin smiles. COLLIN: Yeah, guess not. They sit in a full, but not uncomfortable, silence for a minute. COLLIN: I just hope you know that I… That you… Just, Melissa looks at him, waiting, but he can’t seem to meet her eyes. COLLIN: I’m really gonna miss you next year. Melissa smiles sadly, looking off at the sun. She reaches over and squeezes his hand briefly. MELISSA: Me too, Collin.

Scene Eleven INT. JORDAN'S CAR - DAY Jordan and Rebecca sit in the backseat eating frozen yogurt, Rebecca reclining into Jordan's lap. REBECCA: Lemme try some of yours. JORDAN: Say, Ahhh REBECCA: (mouth opened wide) Ahhhhhh! Jordan playfully whirls his spoon in front of Rebecca's face like an airplane. Rebecca plays along, mock biting at the spoon, trying to catch it. Jordan is about to feed Rebecca...then fakes her out and smears some Fro Yo on her nose. She gets up and pounces on Jordan, smearing her nose on his face, getting the two of the both covered in yogurt. The wrestling quickly leads to a long, passionate kiss, and the two begin making out. Cut to a short time later. Rebecca is passed out, lying on Jordan's chest as the two are sprawled out in the back seat. As Rebecca naps, some kids can be heard in the background playing basketball. Jordan watches, finding something amusing about their little game. Jordan looks down at Rebecca, who in her sleep looks angelic, despite her drooling and snoring. Jordan grins, unable to contain how great he feels right now in this moment. He loves this girl. Breaking up this serene moment is the sound of the basketball hitting the side of Jordan's car. Rebecca jolts awake. A kid runs up to the car to retrieve the ball and says "sorry" to Jordan through the window, then runs off. Rebecca checks her phone, clearly having lost track of time. REBECCA: Ugh, I should go soon, I have class in fifteen. JACOB: Despite how badly I want you to ditch, I'm not sure Id be able to bear the guilt of knowing I was the reason you failed. REBECCA : Well aren't you a sweetheart. Oh, I almost forgot... Rebecca reaches down into her purse. REBECCA: I saw this and I thought of you... Rebecca hands Jordan a Denver Broncos bottle opener. REBECCA: I know it's kind of stupid, but I remembered you said they're your favorite team... She looks up at Jordan, who looks at her with the biggest smile on his face. REBECCA: Oh shit, did I get the wrong team? JORDAN: I love the Broncos. But I told you that like once or twice, and that was probably back when I asked you out. REBECCA: Must've made quite the impression on me that night. Jordan fixes the opener onto his key chain. REBECCA: Do you like it? JORDAN: I love it. She leans in to kiss him, but Jordan's eyes are still open, as something is clearly on his mind. JORDAN: But, uh, the only thing I love more than this keychain, it's you. Jordan looks at Rebecca, expecting her to reciprocate. Instead, however, she just looks confused. An awkward silence comes upon them, and Jordan's smile turns to a frown. REBECCA: I gotta go to class. Pick me up later? She goes in and kisses him, then exits the car. As she is well out of view, Jordan punches the seat in frustration.

Scene 11 EXT. OKLAHOMA CITY AIRPORT - DAY RON HITCHENS (61) steps out of his beaten, rusted pickup and takes stock of his son, THOMAS (20), pulling his camo duffel out of the bed. Thomas dusts off his army uniform, straightens his hat and throws the strap over his shoulder. RON: Hold up, Son. I want to have a few words. Ron hikes up his dirty jeans as he makes his way to Thomas, stops and stares at his son. RON: I'm proud of you. You're a fine man. THOMAS: Thank you, sir. RON: Any problems we might've had. Any conflict. I was always lookin' out for your best interest. I was doing my best. THOMAS: I know that. RON: It was rough for me. Growing up. Never expected I'd have a child of my own. But it meant so much to your mother. Tears begin to well in Thomas' eyes. Ron has to look away. RON: Damn shame she didn't get to see you become a man. Ron looks straight into his son's watery eyes. RON: It has been the greatest privilege of my life. THOMAS: Thank you, sir. RON: No more of that, now. You're grown. Going off to serve your country. We're on equal terms. Call me Ron. THOMAS: Alright, Ron. Ron puts a hand on Thomas' shoulder, grimaces as he fights his emotions. RON: My boy. Ron abruptly pulls back and turns away, swipes his nose. RON: Go on, now. Don't miss your flight. THOMAS: Bye, Ron. Thomas turns to walk into the airport. RON: Tommy. Thomas stops, looks at his father. Ron hesitates. RON: Mind your leaders, now. Make your momma proud. THOMAS: I will, Ron. Thomas turns once again, and once again-- RON: Thomas. (beat) Call me Dad. Thomas just nods with a smile. Ron watches his son hold the door for a woman, then disappear into the airport. He hangs a bit, then gets back in his old truck.

#11-7/15 EXT. BUCKINGHAM FOUNTAIN - DAY Jansen, Parker, and other onlookers stare at the fountain as it oozes out colorful foam and soap bubbles. PARKER-J-Rah man, this is cool and all, but doesn’t this seem a little tame for Woolskie’s final piece? JANSEN-Yeah. This, this is novice. Parker snaps some photos. PARKER-And like what’s he gonna do? Just walk around and say, ‘Hey, I’m Woolskie.” The bubbles continue to fall out of the iconic fountain. PARKER-You got any gum, cause that green totally reminds me of Wrigley’s Spearmint. Something clicks in Jansen. He grabs his phone. JANSEN-(into phone)-Hey, you at work? Look out your window over at the Wrigley building. Is there anything...No shit?...Thanks. He turns to Parker, points to the fountain. JANSEN-This, this is a decoy. Let’s go. EXT. DOWNTOWN CHICAGO - DAY Noon. Streets are packed. Jansen pedals the bike taxi with Parker in back. He swerves in and out of traffic. PARKER-Yo J-Rah man, you still got my dugout that you stole? Jansen reaches into his pocket, hands it back behind him. Parker, with no hesitation at all, grabs it and begins to pack his one hitter. MUSIC IS HEARD, COMING FROM WHERE THEY ARE HEADED. Parker lights his weed. PARKER-Hey man, you hear that? Is that...? Jansen pedals faster, dodges in and out of cars. JANSEN-Sister Ray? Yep! More and more people are crossing the street, a crowd is forming in front of the WRIGLEY BUILDING. A Gothic high rise just past the Chicago River at Michigan Avenue. More people are crossing the bridge by foot, some young ones are even running. They arrive. The first floor of the building, with it’s giant glass windows are filled with fog and colorful lights blinking, rock concert style. Jansen hops off the bike taxi, rushes past the crowd that is now growing into the hundreds. He pounds on the fog filled glass. JANSEN-Woolskie!!! He walks to the right, where it’s less crowded, still POUNDING THE WINDOWS. He enters the walkway, closer to the river. No one is around. He stares into the fog filled window. A cloaked hooded figure, appears on the other side, barely visible. Woolskie pulls her hood back, just enough,... And through his own reflection, and she through hers, they share an eye contact, and though the music is loud, IT BECOMES QUIET FOR THEM She raises her right hand, presses it against the glass. He does the same. In her left hand, she pulls up a metal box with a button it. She tilts her head, looks at him for one last time, gives a sad half smile, and CLICKS THE BUTTON CRASH EXT. WRIGLEY BUILDING - CONTINUOUS In front of the hundreds of people, now blocking Michigan Avenue, looking into this weird fog filled visual, a TEN FOOT TALL, GOLD DOLLAR SIGN Crashes out one of the windows over the River, as if on a pendulum. And Woolskie’s final masterpiece begins.

INT. JOY's BAR - NIGHT Closing time at the bar and the only people left are JOY, 34, her latest girlfriend, ELAINE, 28, and her straight BFF, PENNY, 32, who's loudly slurping a watery whiskey and foraging through a bowl of nuts at the other end of the bar. Elaine and Joy argue while Joy restocks glasses. Penny, drunk and bored, diverts the tension by sending poorly aimed nut bombs in Elaine's general direction. Elaine doesn't notice. Joy suddenly yells and storms off. Penny snaps to. ELAINE: Oh whatever. Drama queen. I'm so over this. (looks to Penny) Can you believe her? She's nuts. Penny stares at her blankly and says nothing - Elaine's a bitch. When she gets no response, Elaine huffs and gathers her purse to leave. PENNY (slurs): She's going through some stuff, ya know. You should give her a break. ELAINE (eye roll): Ugh. She's always going through stuff. She has problems. PENNY: Do you even know? Do you even know what her problems are? ELAINE: Uh, I dunno... too much booze? A sad future with 18 cats? PENNY: You're such a bitch. ELAINE: Excuse me! Penny's got liquid courage and a lifetime of shitty boyfriends as ammo. PENNY: You heard me. You think she's the problem but it's really you, you judgey little robot. ELAINE: Robot? Mmm... no wonder you two are tight. You're both fucking nuts. Penny's indignant and grabs the bowl of nuts and flings handfuls at Elaine like rice at a wedding. PENNY: You want nuts? Here's your fucking nuts, you maggot-infested cunt-chartering whore! ELAINE (dodging nuts): What? Stop! What the fuck's wrong with you? PENNY: I think I hear gutter rats screeching... Yup. Time to go. Don't call her, she'll call you. Tell your pimp I said Hi... Penny goes down the bar and grabs from every last bowl launching a hellfire of nuts at Elaine. Elaine can't get out fast enough. Joy comes out of the bathroom to find a breathless Penny at the door still hurling drunken insults. JOY: What the...? Penny stumbles back in. PENNY: Elaine had to leave. Her gutter rats were screeching. JOY (slightly amused): You're drunk. PENNY: Totally pissed. Joy takes a step and crunches nuts on the floor. She looks around and sees nut debris everywhere. Penny sees this. PENNY: She called you nuts. She called US nuts. So I threw nuts at her. JOY: All of them? PENNY: I think so. JOY (sighs): Well... that'll save me from having to break up with her. Penny smiles and winks. PENNY (wobbly): I got your back, girl. Joy smiles back and pulls a wobbly arm over her shoulder as Penny lists hard right. JOY: And I got yours.

It can be platonic love, right!?

SCENE 11__________________________________ RACHEL(70s) and BUNNY(mid 70s) sit side by side on a wooden bench by the side of a road surrounded by trees.Between them is an old radio. Both are in black. There is plaster on BUNNY'S neck. Sound of the scene fades in the silence. Birds chirp, BUNNY clears his throat. Once again, louder. And as he is about to one more time… RACHEL its ok, bunny. (Giggles) Thnk God you won't talk today. BUNNY looks at her. RACHEL Do you remember, we used to came here play? I, you and Grey? 3 children of young age run after each other, enjoying themselves. Bunny, follows them with his eyes. They fade out and disappear. RACHEL You were always the shy one, poor thing She says pinching his cheek, teasing. He snaps her hand off his face. Both share an annoyed gaze. A moment, And they start laughing. And as they are laughing, RACHEL'S eyes gets wet. The laughing soon turns to her sobbing. BUNNY holds her close, shaking her, gesturing her to not cry. RACHEL Why did Grey had to die? The sobbing dominates her words as the voice hardly comes out. Her face turns red with sadness. RACHEL Why did MY husband have to die? She asks BUNNY, as if he had the answer, as if she were telling him it should have been him. BUNNY looks at her, heartbroken. She realises what she just suggested. And wiping her tears, positioning herself back to normal, RACHEL I'm glad you survived the accident. She smiles forcefully, looking up at the sky. A kind of overwhelming restlessness reflects from BUNNY. He punches the bench. RACHEL looks at him dazed. He switches on the radio, the cassette alredy fitted in. An old song, woth lyrics I LOVE YOU plays. SONG: I LOVE… at that moment he gives her a long kiss on her cheek. She had gotten it many times. But today was different. Today, she understood what he meant. He gets up and walks out of the screen leaving RACHEL with the radio as she tries to process what just happened. All other sounds fade out except her breathing as her heart beats fast. SLOW FADE PUT TO BLACK.

SCENE 10 PROMTP: Write a scene in which an animal plays a key role. INT. BEDROOM – DAY It’s a bright sunny day. Closed curtains keep the sunshine out. Pretima lies in bed, her head covered in her pillow. She sobs continuously. She has been for hours. Clothes lie scattered around the ground. BOB, 10 years old dog, and KRIPA, an old parrot, watch in the corner of the room to their boss. They feel sorry for her. BOB: oh boy, it’s that time again KRIPA: yes.. BOB sighs. BOB: how did we end up with this wrack. KRIPA: she was feeling sorry for us and took us from the shelter Bob looks at his boss who’s a mess. BOB: ironic Bob and Kripa look at their feed box. They know how this will end if they don’t take action. Kripa flies to Pretima and whips off the blanket. Bob jumps on the bed. He’s hungry and not in the mood to take it easy. He bites the toe of his boss who’s feeling very sorry for herself. PRETIMA: cut it out, Bob. I’m not in the mood. Bob hops off the bed and bites in his feed box. He whips it over to his boss. Pretima knows she must get up and feed their animals, but she can’t, too observed in her pain. Bob barks. Not letting his boss get away with her moods. Kripa lands on top of Bob’s head. She spreads her wings and flies onto Pretima’s face and bites her nose. PRETIMA: hey, stop it. She pushes the parrot away. Four eyes stare at her, hungry and not obedient. Pretima sighs. It’s not her day to feel sorry for herself. She stands up. PRETIMA: you’re life savors…come on..I’ll fix you some food. Bob wags his tail and Kripa shows her happy moves.

Just what I need now! ...I hope she buys it^^

-SCENE 11- EXT. PARK - DAY MARIANA (28) and RYAN (28) sit on a bench eating pizza. RYAN: Why didn't he tell me? MARIANA: He's going to. Today. Act surprised. RYAN: Why didn't you let him tell me? MARIANA: I wanted to tell you. RYAN: Punk. MARIANA: You're my friend too. RYAN: True, but this is his news. MARIANA: It's kind of my news. RYAN: Ehhh... Is it, though? MARIANA: It is... I'm moving with him. RYAN: You’re what? MARIANA: Yey. LA! RYAN: You two have only been together- MARIANA: Yeah, but we were friends for a while first... And he asked. RYAN: And you always do whatever he asks you- MARIANA: It's a good excuse for me to start taking life seriously. RYAN: A good excuse? MARIANA: Reason. It will be good for me. RYAN: Okay. Wow. MARIANA: Yep. Wow... I'm going to miss you. RYAN: What are you going to do for work? MARIANA: Build up a LA clients... and until then, Scott will be able to, you know… RYAN: Provide. MARIANA: I'm not going to be some housewife. RYAN: No, you're not... Can we- We should- Get up. We're celebrating. MARIANA: Okay. RYAN: I'm buying you a drink. Let's go somewhere fancy. MARIANA: Ooo fancy? RYAN: Yes, ma’am... Hey. He stops her and kisses her on the forehead. RYAN (cont): I'm going to miss you too. FADE TO BLACK.

Scene 1 EXT: Little Slice of Paradise Trailer Park – DAY ED WIST, mid 50s, gangly, overalls and baseball cap, approaches a double wide with chipped paint and bright pink trim. He carries a bouquet of grocery store roses, still wrapped in plastic. He puts his ear to the door and hears a woman chattering on a phone. The talking continues, furiously, and he waits patiently until the one-sided conversation finally ceases. Only then does he knock and enter. DARLENE VILMA, early 40s, sits elevated on a bed in a corner of the trailer, surrounded by stuffed animals. A grainy TV without sound blinks as some sales woman silently hawks tiny porcelain figurines. DARLENE is a large woman - rolls of fat on her rolls of fat, hair recently removed from curlers. ED notices a wilted bouquet of roses, still in plastic, on the counter next to an empty vase. DARLENE: Ed dear, so nice of you to rush over. The flowers are lovely, as usual. You spoil me. DARLENE’s voice is different than it was on the phone; now it’s the faded lilt of a Tennessee Williams heroine ordering a mint julep. DARLENE (cont.): I’ve been having a little issue with my ladies room and I was wondering if you might take a looksee. ED: Sure, sure. I was hoping we might talk … DARLENE (interrupting): Of course dear, of course. Later. Here, you’ll need this. She hands ED a plunger. He sets down the roses and takes the plunger. ED disappears into the tiny trailer bathroom, emerging after 20 minutes of vigorous plunging, face flush and dripping with sweat, hands and sleeves wet. DARLENE: You look parched dear, get yourself a cool glass of water. But please, wash your hands first … you’re not sanitary. ED scrubs his hands. DARLENE: I’ve got a surprise planned for you. But I was hoping you wouldn’t mind helping me out with a few things first. ED: Of course not Darlene. Whatever you need. MONTAGE: -ED stands over an open septic tank and pokes around with a large stick. -ED under the hood of a dilapidated truck. -ED at a grocery store buying sanitary napkins and a 100 pound bag of dog food. -ED picking up a pink box from Lester’s Bakery. EXT: Little Slice of Paradise Trailer Park – LATE AFTERNOON The sun is ebbing as ED pulls up in front of DARLENE’s trailer and parks. He gets out and slings the dog food onto his shoulder, tucks the sanitary napkins under his arm, and balances the pink bakery box precariously in his right hand. After a quick listen at the door, he somehow manages to get the trailer door open and enters. DARLENE says nothing, but motions for him to open the box. Inside are three cupcakes with little hearts, inside of which are the names ED and DARLENE. The third cupcake says ‘Forever.’ ED’s eyes well up with tears. DARLENE puts her hand out and ED gives her a cupcake, which she plunges into her mouth. DARLENE motions for another cupcake. ED hands over ‘Forever’ and it’s quickly devoured. DARLENE: You know how I feel about you ED. ED: I feel the same my darling. ED reaches up to kiss her. DARLENE turns her cheek to him and he plants a kiss. ED: Darlene. I love … Before he can get it out, DARLENE puts her fingers to his lips. The she eyes the pink box. DARLENE: Ed dear … you’re not planning to eat that last one, are you?

SCENE 11 FADE IN: INT - FOSTER HOME- NIGHT Six year old Michelle has been staying with the Gonzales family for several months. In that time she has grown quite attached to her foster mom. MICHELLE Thank you for reading me another story. MRS. GONZALES I love reading to you sweetie. (pauses) Did your mommy ever read to you? MICHELLE No. She was never at home to read to me. MRS. GONZALES Well I’ll read to you anytime you want. MICHELLE Maya was telling me how you used to read to her when she was my age. MRS. GONZALES Yeah. Maya loved my reading as well. MICHELLE I wish you were my mom. MRS. GONZALES Why? MICHELLE Because mommies do things like read bedtime stories and bake cookies. You do that with me. MRS. GONZALES Well I only do those things because I... MICHELLE What? MRS. GONZALES Never mind. It’s late. You need your sleep. THE END

My Scene 11: INT. HAUS FüR MOZART (PERFORMANCE HALL) Elise plays Mozart on stage. Dimitri sits in the front row. She finishes, the notes float away. She looks at him shyly. DIMITRI: (In awe) How do you- ? Elise puts the violin down and sits on the edge of the stage. She is deaf. Dimitri stands, to be near her. ELISE: I feel it. The vibration against my cheek, in my arm- Elise closes her eyes. ELISE: I can hear it. Not out loud. But here. Elise points to her heart and opens her eyes. ELISE : I know it sounds silly- Dimitri stops her. DIMITRI: For three months my sister wrote the names of books on my hand because I wanted to impress you. I should have - Elise leans in, her breath on his face. ELISE: I’m impressed. She kisses his cheek. ELISE (Into his ear): Did you read any of those books, Mr. Kohl? DIMITRI: Every one. She pulls back and looks at him. He leans into her lips. DIMITRI (CONT’D): Just in case you quizzed me. She smiles. Their eyes meet, they kiss. Dimitri holds her hand and sits on the stage beside her. He pulls her up and goes to the violin. DIMITRI: Teach me. ELISE: That’s a two hundred thousand schilling instrument. Dimitri plucks a string. Elise winces. DIMITRI: Teach me. His hand hovers over the strings. ELISE: I’m not a good instructor. He strums the strings. Elsie stops his hand. ELISE: You’ll hurt her. DIMITRI: It’s a her? ELISE: They all are. DIMITRI: Well then I’d better be more gentle.

Scene 1 Ryan grips the steering wheel tight, deep in thought RYAN- Are you sure you packed my long blond wig? You know I have been wanting to debut as a blond, this is California! TAYLOR- Yes baby I packed your blond one and your purple fish nets and matching boa, all your makeup too! RYAN This is Los Angeles you know... a far cry from Idaho, there is probabaly more people jammed up here on this freeway then there is in the entire state of Idaho. TAYLOR squealing with excitement,, Oh I just can not wait to get to Hollywood, we are so close, just a few more exits and look out here we come!! RYAN more serious.. I wish I could be more open with my father like you are with yours.. TAYLOR yes I am so grateful he supported me through the operation. Don't you worry honey. we are going to make the money and.... Ryan starts to cry TAYLOR Whats wrong honey? RYAN Nothing.. thats what wrong. Sitting here is the LA traffic is so surreal.. This is not Idaho and I can be who I want. This is my dream. TAYLOR You know it honey! RYAN I know when I look into this mirror this is one of the last times I will see Ryan as the "boy".

I'm rusty as far as screenwriting, but here goes. Hopefully I'll do more scenes and get back in the groove. -------------- SCENE 1 INT. MIA'S ROOM -- DAY MIA (15), making herself as small as possible, stands in front of her easel, sorting through her box of paints and paintbrushes. Sitting on top of her easel is a green frog stuffed animal. JUDY (41) knocks on the open door and enters, waits for Mia to pay attention. Mia stops, agitated. MIA : Zac stole my burnt sienna again. Judy holds up the tube of paint but says nothing. MIA : You're stealing my paint now? Mia tries to snatch the tube from her mom, but she pulls it away. JUDY: Are you taking your meds? MIA: Yes, mother. JUDY: But they're not working. Mia doesn't respond, but doesn't look away. It's her own damn business anyway. JUDY: I'll make an appointment with Doctor Heller. Judy starts for the door, but Mia blocks her. MIA: No. JUDY: Mia - MIA: No more doctors. Mia sits on her bed, grabs Bernard the frog off the easel. Hugs it. JUDY: I thought you liked Doctor Heller? MIA: I do. It's the drug roulette I don't like. Judy sits next to her. JUDY: I can't lose you. Mia puts Bernard down, gives her mom a hug. After a beat, pulls back. MIA: It's depression, not Ebola. JUDY: At least with Ebola, I'd see how bad you felt. MIA: You don't trust me? JUDY: I know you, if the world was invaded by aliens, you'd say you were fine. Mia looks at her askance. MIA: Aliens? Judy laughs, walks to the door. MIA: Ma? Judy stops, turns. MIA: If aliens attack, I'll tell you the truth. Judy smiles, steps out and closes the door.

SCENE 11: INT. ICU - MORNING: Elliot strides into the ICU with a bag and a thermos. He notices a room (room 6) with a number of nurses diligently attending to a young patient. He hurries into Marie’s room (room 7). Allison is waking up on a bunk by the window. Marie is sound asleep in the bed. Allison eyes the thermos and whispers, not to wake Marie. ALLISON: Oh thank God. I need coffee. He hands it to her. ELLIOT: Get any sleep. ALLISON: Not really. It’s uncomfortable, and I was worried. He stares at Marie, still asleep. ELLIOT: She seems a little better. ALLISON: Yes, she actually slept through the night. She hasn’t done that lately. ELLIOT: Maybe draining that fluid helped. Chris walks in. ALLISON: Come here baby. Allison hugs him. CHRIS: She’s sleeping? ELLIOT: Yeah, I think she’s a little better after they drained that fluid around her lung. ALLISON: I am so tired. Marie hears them. Allison goes to her. ALLISON: How’s my baby? Feeling any better? Marie sleepily props herself up. MARIE: Yeah, a little better. She begins to cry. Allison holds her. MARIE: Am I going to die mom? ALLISON: No baby. I don’t think so. You’re already getting better. Allison hugs her tight. Marie digs her head into her shoulder.

SCENE 10 INT. RESTAURANT - SUNSET Swarthy confident David and a glowing but nervous Clarissa are eating a candle-lit dinner at a restaurant. Sunset can be seen from the window. David: So how come you said yes? Clarissa: I had a lot less on this week. David: I’m curious as to why. Clarissa: Curiosity. David: And how’s that curiosity coming along? Clarissa: Coming along. David: Are you being evasive? Clarissa: An accusation or a question? David: Do you enjoy being with me? Clarissa: Let’s skip the interrogation. David: I’m enjoying the asparagus. Clarissa: Finely tipped long shoots always work well. David: And the artichoke? Clarissa: Great once you get to the heart of it. David: The heart is where it’s at. Clarissa: If it tastes great, it’s probably great. David: Same time next week. Clarissa: Dinner every week. David: That good? Clarissa: You only live once. David: Unless you believe in reincarnation. Clarissa: I’m in this life now. David: Looks good from where I am sitting. Clarissa: I want to blow out the candle and make a wish. David: Together. Clarissa: I’m ready. David: Next dating candidate please. A great eg of how to avoid the sticky four letter commitment. Feel free to come back anytime Melissa. Clarissa: I’ve got a funny feeling I won’t need any more courses on getting out of being with Ed. By the way, my name is Clarissa and I just committed.

Scene 9 Say I love you without saying I love you EXT/INT. SUV- NIGHT A black SUV races down a deserted street. SIRENS can be heard in the distance. DONNIE, 20's, smooth Latino, a bad boy version of Mario Lopez, white knuckles the steering wheel as he flies thru the streets. His face is serious as he concentrates on the road. LOLA, (LO) 20's, Latina, gangster Selena type, sits in the passenger seat. She holds a black duffle bag spilling over with jewelry. She has this scared excited look on her face. They are both dressed in black from head to toe. Lo digs into the pile of jewelry. LO: Baby we did it! Look at all this. We are set. Donnie grins but it doesn't reach his eyes. He’s still navigating the narrow streets. LO: (rubbing her stomach) And our baby is gonna have a good life. Like we talked about. Huh, Donnie. DONNIE: Yeah, baby. Just like we talked about. Lo looks around. LO: Babe, this isn’t the way outta town. DONNIE: Yeah, just gotta make a stop. LO: A stop? Where? Why we gotta stop? The plan was to get outta town tonight. DONNIE: Yo, chill. We will. We are. Just gotta make a stop. EXT. OLD GAS STATION-NIGHT Dark. Windows boarded up. Graffiti decorations everywhere. Pumps long been trashed. Donnie pulls in and swings around the back. A black van is waiting, engine running. A tall, black man leans against the van. This is ANGELO, all lean muscle, wife-beater and jeans. Lo looks around confused. Donnie pulls to a stop and shuts off the engine. DONNIE: New plan. Get out. Lo doesn’t move. DONNIE: I said get out.....and bring the bag. Lo obeys and slowly gets out of the SUV. She ain't liking this. Angelo walks toward Donnie and they embrace. DONNIE: Sup, man. Thanks for doing this. ANGELO: Nah, man. You know I got you. Donnie turns and takes the bag from Lola. He tosses it to Angelo. LO: Yo, baby. What the fuck? DONNIE: You're going with Angelo. He'll take you somewhere safe. LO: And what about you? DONNIE: Don't worry about me. Worry about you and our baby. LO: (tears threatening) Our baby! OUR baby! You can't leave me like this. We are in this together. DONNIE: Listen. We can't live this way. I'm trouble for you, Lo. Our baby needs stability. Lo grabs Donnie. LO: And we can have that. Together. Donnie pulls an envelope from his pocket and hands it to Angelo. DONNIE: (to Angelo) Take her. Look out for her. Angelo just nods and takes the envelope. He reaches for Lo, but she swats his hand away. LO: Don't touch me. DONNIE: (yelling) Don't be like that. You go with him. Lo refuses to let go. She kisses Donnie hard. He kisses her back. His hand slowly raises and he puts a gun to her head. She pulls back in horror. They both have tears in their eyes. Donnie points the gun at Lo as she steps back. Sirens grow in the distance. Donnie looks toward the sound. DONNIE: I said go. We are almost out of time. LO: (crying) Donnie, don't do this. DONNIE: One day you'll understand. This life isn't for you. I see that now. I'm making it better. Angelo grabs Lo as she stands there in shock. He drags her toward the van. She puts up a good fight, but Angelo can take it. He throws her in the back of the van and slams the door. He presses a button on his key flop and the locks engage. Lo bangs on the windows, screaming from the inside. Donnie embraces him one more time, then runs to his SUV without looking back. Donnie guns his engine and peels out in the direction of the sirens.

Sc. 7 INT. BUSY AIRPORT MORNING SARAH: Tim, you will come back to me right? The question is earnest, and so is Sarah's face. Her eyes are red but she's not crying now. Tim drags his hand across his newly shaved head. Looks around at his brothers-in-arms all making their goodbyes. TIM: Of course I will ... He looks at Sarah's pretty face. TIM: This isn't my first time you know. Sarah looks down - blushing. Then she looks up again - straight at Tim. SARAH: But it is my first time ... TIM: I know baby. Sarah straightens his collar and flattens out some unseen crinkles. Tim gently removes her hands, but doesn't let go. TIM: Don't. SARAH: Because if you don't come back ... I don't know what I'd do. A tear streaks down Sarah's cheek. TIM: Please don't. Sarah turns her face and wipes her tears away. SARAH: Promise me Tim. Promise me that you will come back. TIM: I promise. SARAH: Promise what? TIM: That I will come back ... I've got something for you. He rummages around in his pack, and pulls out a red wool scarf. He twirls it around Sarah's neck, SARAH: It has your smell. Tim ties a knot on the scarf and, for a moment, he binds her. TIM: I know -- I've gotta go. He grabs his pack and stands straight in front of her. He looks at her and gently caresses her cheek. She meets his look. He nods with a smile -- turns and walks through the departure doors. They shut silently behind him. When they glide open again to admit another young man in uniform, Sarah cranes her neck, looking for Tim, but he is gone. She turns, walks out, into the blazing snow.

INT. KIRK'S BEDROOM - MORNING KIRK, late-twenties, slacker, is crashed out on his bed, naked. The star-wars R2D2 blanket barely covers his privates, but reveals his tattoos - Pac Man, Donkey Kong, the Halo logo, and an autobot icon. The room looks like he should be fifteen years younger... pizza box and crust strewn about the floor, crumbs, beer-cans, everywhere. Posters of video-games, sci-fi films, and indie rock bands adorn the walls. The sounds of someone playing a video-game - Uncharted 1 - can be heard, as Kirk starts to stir. He rubs the cobwebs off his face, but can't shake that hangover. The ROOM begins to SPIN, and Kirk's eyes open WIDE. He's about to hurl. He makes a desperate move, bolting out of bed, out the door (off-camera). we hear a bathroom door SLAM, immediately followed by the NASTIEST most LIQUID CHUNKY VOMIT sounds ever. The video game is still being played by someone, as we stay on the bed, now empty. The sounds of Kirk mercilessly vomiting continue. Finally, a pause... a FLUSH.... another FLUSH. Kirk staggers back into the room, and is STARTLED when he sees a twenty-something cute nerdy girl sitting on the floor of his room, in the corner in her underwear, playing his playstation. This is APRIL. KIRK: JESUS. April, without looking away from the game. APRIL: Sounds like you had a second-coming just now, that's for sure. KIRK (flopping back onto the bed): Ugh... sorry. APRIL: All good. You were a puddle last night. KIRK: Got a bit out of hand. APRIL: Hope you don't mind I stuck around. KIRK: No, it's cool. You know, you look really hot right now. APRIL: Hah. You said the exact same thing last night. Re-runs already. April gets up off the floor, still mashing buttons on the controller, as she playfully hops onto the bed beside Kirk. The jostle upsets Kirk's fragile state, but he fights the vomit back with a hard swallow. APRIL: Gross. KIRK: yep. APRIL: You're welcome, by the way. KIRK: mmm. Sorry... Thanks for a great night. Kirk puts his arms across her legs, a cute embrace from a hungover dirtbag. April laughs. APRIL: That's not what I meant you idiot! You getting all sensitive on me now? Well you're welcome for that too, I guess. hah. (quick peck on his cheek) No, look. I got you past the zombies on Uncharted. KIRK (looking up at the game): What? Holy shit! How did you do that? APRIL: You just keep dodging and shooting until Elena finally lowers a stupid rope, then you climb up. KIRK: Sonofabitch. You know how long I've spent trying to kill those stupid things? APRIL: Like I said. You're welcome. Kirk looks at her, watches her play the game, but he's no longer thinking about the game. He's hungover as all hell, but a little smile can't help but creep across his face as he comes to a realization. KIRK: I'm totally screwed, aren't I? April puts down the controller, looks him right in the eye, smirks back. APRIL: Yep. But don't worry. I'm totally screwed too. He pulls her to him and they share an incredible kiss. Then after savoring the moment... she looks up at the TV. APRIL: Great, you got me killed. She flops off him onto her back next to him, they both stare at the ceiling smiling to themselves. She nestles into his neck, they both shut their eyes.

Scene 11 (15 entry) INT. DA VINCI’S STUDIO - DAY LEONARDO DA VINCI paces nervously. His latest masterpiece stands draped in the center of the room. ISABELLA, a beautiful young woman with a familiar face, enters. LEONARDO Bella donna, Isabella. So pleased of you to come and grace my humble studio with your divine presence. ISABELLA I would never refuse an invitation from a man so brilliant in art and mind. LEONARDO My flower, flattery will get you everywhere. Isabella giggles coyly. ISABELLA You steal the lyric that is oft mine. Leonardo bows and shows Isabella to a seat in front of the draped painting. LEONARDO I have toiled in the passions of my heart and the depths of my mind to find that which is most true. And to capture it whereupon its visage shall remain until the end of time. The blooming of a rose that never ends. Leonardo hands her a single red rose. She’s smitten. ISABELLA What an enlightened and most romantic endeavor. LEONARDO And to that end. I have found that which I expected never to discover. Leonardo grabs the drape, ready for the unveiling. LEONARDO (CONT’D) It is here, here upon this poplar panel, I have captured infinite beauty for all eternity. Leonardo unveils his magnum opus: The Mona Lisa Leonardo beams with pride. Awaits her undying praise. Isabella smiles politely. ISABELLA What wondrous artistry. Such the finest I have ever seen. LEONARDO Thank you my lady. Your kind reception means more than life itself, as I created it in your honored image. ISABELLA Oh, you didn’t? LEONARDO The transmutation of a living form to painting has never been so perfected, wouldn’t you agree? ISABELLA I don’t know. She’s kind of ugly. LEONARDO Pardon? ISABELLA She’s about a hog and a half in the face. And I’ve seen cows with rumps less plump. Leonardo is beyond offended. LEONARDO But this is my gift to you, the world, our lord God! Isabella gets up and walks away. Tosses the rose. ISABELLA (waves him off) Name it after my sister Lisa. She’s a fat nobody. Leonardo stands, dumbfounded.

EXT. BEACH – SUNSET JOEY (28, lean) has his hands in his pockets. There is tension in his shoulders. JACKIE (25, bright) walks alongside him near where the end of the waves reaches the sand. Their footprints are quickly washed away. JOEY So how did the trip in Seattle go? JACKIE Oh you know, business as usual. Meetings to prepare for the next meetings. Nothing important actually gets done. JOEY You were gone for a while. JACKIE Yea, apparently they decided this conference was going to be full of more BS than usual. So I think people mistook that as being more important. JOEY Meet anyone new? JACKIE Nobody worth mentioning. JOEY (smiles) Well I’ve missed you. Jackie becomes less playful, more serious. She slows her walking and stops, turns towards Joey. JACKIE (smiles back) I’ve missed you more. JOEY Not possible. (BEAT) How about no more unimportant business trips? JACKIE I couldn’t agree more! That’s a win-win for you and me both!

Scene 9 – Say “I love you” without using the words EXT. SARENGETTI PLAIN – DAY Tall grass bends to the wind. A herd of wildebeest graze. They shift about, living mosaic, mesmerizing. Slow. A long, light brown tail swooshes in the grass. It’s attached to ASTIR - lioness, floating low over the earth. To her right a smaller lioness mimics her moves – RUFKA, her daughter and protégée. A lone wildebeest catches sight of Rufka. It stops and considers her. She freezes. Astir keeps moving. Feline eyes hold the wildebeest in place. It releases its bowels but can’t move. A calf walks between the wildebeest and Rufka, breaks the spell. The wildebeest flees, lowing and plowing through the herd. Others embrace the panic. Stampede. Astir leaps among them. Snarls, slashes, pounces. Rufka charges. The herd turns. The lions give chase. Astir picks one. The wildebeest cries in terror, careens off other animals, stumbles. Astir wheels back and jumps on it. The wildebeest stumbles again and she overshoots. Another stampeding wildebeest bowls her over. Astir snarls and leaps back at her quarry. The wildebeest veers away from her. She slows, age and injury catching up to her. The wildebeest pulls away. Rufka materializes seemingly from thin air and bowls the wildebeest over. They tumble. The beast tries to stand but Rufka is locked onto it with all of her claws. She tears at the wildebeest’s neck. Astir limps up. The beast is dead. Rufka stands over her kill, blood on her paws and dripping from her jaw. Rufka steps off the beast. Moves away. Offers the carcass to her mother. Astir pads to her daughter. Licks the blood from Rufka’s fur. The wildebeest herd moves off the horizon. Quiet settles broken only by the low rumble of purring.

EXT. HOTEL – NIGHT JOHN, 24, dressed in a suit is being propped up by his friends MICHAEL, 20 and MOLLY, 20, also dressed fancily. John is clearly very drunk. An SUV is idling outside the very fancy hotel, and people are filing out after a party, catching cabs, smoking, chatting and being generally rowdy. MICHAEL: Well, those bathrooms were effing amazing. JOHN: I kind of wished I had peed now. MOLLY: Let’s just go, it’s a ten minute drive. They all climb into the back of the SUV. INT. SUV – NIGHT John has almost immediately passed out. Molly nudges Michael. MOLLY: Look at him. MICHAEL: That’s about right. MOLLY: He was definitely on a roll tonight. MICHAEL: When is he not? She is leaning on him, her hand on his leg. He looks at her. She looks at him. MICHAEL: Tonight was so fun. Thank you for inviting me. MOLLY: I need to leverage my dad’s connections more often. That was seriously insane. I can’t believe you saw Pete Wentz! MICHAEL: Yes, high school dreams coming true. But seriously, thank you. MOLLY: You’re welcome. MICHAEL: I never tell you this, but… He looks over to see if John is still passed out. MICHAEL: You are really amazing. I feel like I’ve never said that before to you, even after all of this time, and I feel like a dick. You are an amazing woman. MOLLY: Wow. MICHAEL: Stop, I’m being serious. MOLLY: Thank you. MICHAEL: You’re just…I don’t know. I wish you saw what I saw. You would be one cocky lady. MOLLY: I literally don’t even know what to say right now. MICHAEL: Ha. MOLLY: No really, you’ve never said anything like this before, ever. MICHAEL: I know. I’m sorry. MOLLY: It’s okay. You’re drunk. MICHAEL: Look at me. They look at each other for the first time in the entire conversation. They are finally open to each other, all usual traces of their usual sarcastic repartee gone. MICHAEL: I…I’m… MOLLY: What? Michael looks away again. He has realized what he is about to say and clamps down on it. MICHAEL: I’m glad I know you.

EXT. AIRPORT - DAY A taxi cab pulls up. Inside the cab, KIZZA, 11, beams. She leaps out, jumps onto the airport steps, dances in anticipation. PATRIK, 45, lugs bags from the boot of the car, faces the airport, smiles at Kizza, as she hops on the steps. He trudges into the airport. The doors swish open, startling Patrik. Kizza runs ahead. AIRPORT CHECK IN Kizza, in the queue, turkeys her neck to see what's happening at the desk, she can't get checked in quick enough. Patrik frowns. Kizza smiles at him, he takes in her excitement, feigns a smile back, grins a little too wide. AIRPORT BOARDING Over speakers: THIS IS A BOARDING CALL FOR ORLANDO, FLIGHT NO... Kizza's first in the queue, forgets her carry on. Patrik picks up her weighty napsack, carries it to her. He looks sick. INT. PLANE ON RUNWAY - DAY Kizza scrunches up in a ball, barely able to contain herself. Kizza: I can't wait, we'll be there in -- are you okay? Patrik: Fine. He holds a book to his face, but it's obvious he's sweating profusely. Kizza pulls the book down. Patrik's turned grey. Kizza: You don't look so good. Patrik: (gulps) I'm fine. Air Stewardess: Seatbelts fasten -- are you alright, Sir? Patrik nods. Kizza and the Air Stewardess look at Patrik, who has turned green, his head sinks between his knees. Kizza exchanges glances with the Air Stewardess. Air Stewardess: Seatbelt fastened? Kizza: He's not well. Are we still taking off? Air Stewardess: Hmmm, I think I know that look. (hushed) Sir, are you afraid of flying? Kizza: No, he's not. Patrik: Terrified! Air Stewardess nods. Air Stewardess: We've two very capable pilots, we expect a smooth flight, conditions are exceptionally good. I'll be down to check on you right after take-off, let me know if you need anything. Air Stewardess proceeds down the aisle, checks passengers on her way. Kizza: What? You said you love flying? Patrik: And you said you wanted to go to Disneyland.

DAY ELEVEN: A characters says “I love you”… without using the words “I love you”. EXT. PIER – AFTERNOON Two women wearing sundresses, NATALIE and JULIA, are walking down the pier, holding hands and eating sandwiches. They poke each other, laugh at indistinct jokes, and otherwise look like they are enjoying each other’s company. There are a few people who smile at them, enjoying that they’re enjoying themselves as people often do when they see a happy couple. However, there are a few disapproving glances and sneers as they walk by. NATALIE: So what do you want to do after this? JULIA: I don’t know. Maybe go somewhere and piss off homophobes. I’ve been having a lot of fun, so I need to figure out a way to kind of combat that or something. NATALIE: Have you considered just letting it happen? JULIA: Yes, but that’s too easy. I like a challenge. I want to feel like I earned my happiness. NATALIE: I know that feel. They reach the end of the pier. They each lean over the banister and look over the water. The sun sparkles against the murky bay, slightly nauseating but beautiful nonetheless. Nearby, an older man sits on a bench. He has a cane and a newspaper. He keeps glancing at them, shaking his head, then continues reading his newspaper. Natalie notices his disapproval. NATALIE: I do think we have a candidate for making someone uncomfortable. I normally don’t like to be an asshole about people’s beliefs, but… JULIA: I don’t mind it. Watch this. Julia starts to speak loudly, though there is still a casual tone to it. It’s not yelling, but definitely loud enough for people to hear it if they’re close enough. Say, about as close as the older man is. JULIA: I have to admit that, on one hand, I’m going to be really happy when being gay is okay and stuff. On the other, I’m going to miss making people uncomfortable. That’s how I charge up in the morning. I walk out with my gay shirt on and my rainbow glasses and it just does a body good when I know I’m going to make someone wince at my fabulousness. NATALIE: See, I prefer to go to the tallest building I have access to at the crack of dawn and yell about my sexuality as loudly as I can. The more people I can wake up, the better. It’s just the kind of asshole I am. During my gay conventions, I make sure to instill fear in every religious person I see, even if they don’t really do anything to me. JULIA: Maybe we can mash our ladyginas together or something. The more public, the better. The old man has finally had enough, gets up with his newspaper, and walks away from them, muttering angrily to himself about rude lesbians. Natalie and Julia laugh to themselves, then fall silent for a while, looking out over the water. NATALIE: I’m going to Hell. He might have been a nice man. JULIA: I’ll totally come with you though. You’re, like, a fave person of mine. NATALIE: You’re my favest. They look at each other for a while before blushing slightly or getting bashful somehow and looking back over the water. They hold hands and rest them on the banister.

INT. WINDSOR HOTEL RECEPTION ROOM - DAY Plenty of BUSTLE and CHATTER as the ASSEMBLED GUESTS finish their meals and continue their drinks. Cutting through the sounds come the PIERCING DINGS of a knife on crystal. JACK LEVITT (32) stands up at the top table. His bride, EMMA LEVITT (32), resplendent in white sits next to him, with their ASSORTED FAMILY, BEST MAN and MAID OF HONOUR filling the rest of the long table. JACK: Ladies and Gentleman. And Watty. He looks down at his best man and the room laughs... JACK: We'll get to Watty's funnies in a minute, full no doubt of superb stories of my wonderful and gallant past... Watty shakes his head... JACK: ...but first I wanted to take a few moments to say some words about my bride, wife, and the new Mrs. Levitt. Jack looks down at his bride... JACK: Emma, we first met five years ago and I have been smitten ever since. I can still remember what you were wearing that night. Admittedly it would be hard to forget any women dressed up as Winston Churchill for a fancy dress party, but you still carried it off with style and grace... The audience laugh... JACK: ...and you've given up the cigars, which is great. I have asked you to wear the costume since but you have not been so forthcoming. Emma smiles. JACK: I knew then, as I know, and I'll know until the day I die, that you are the one. You laugh at my terrible jokes, you ignore my smelly farts, and you happily let me sing my excellent rendition of 'Get It On' every day in the kitchen without complaint. What more could a man ask for? Emma starts to tear... JACK: Well, maybe he could now have a wife who could out-think him, out-joke him, out-look him and out-dance him. Today Emma, I am the luckiest man alive. Ladies and Gentleman, and you Watty, please be upstanding and raise you glasses to Emma, the new Mrs. Levitt. The audience rise and cheer together... Jack leans in and hugs and kisses Emma, whispering something in her ear that we do not hear...

[Scene 14, Prompt 11] INT. KITCHEN - EARLY EVENING .CLOSE ON thirty-something RACHEL, who is tending a pan of something on the stove. Appearing disgusted at whatever she is doing at the moment, RACHEL turns off the stove and quickly empties the contents of the pan onto a waiting plate beside the stove. .FOLLOW RACHEL as she picks up the plate while grimacing, depositing it in front of thirty-something TOM, who sits on a stool at the kitchen island. TOM is very happy with the piping-hot dish in front of him, his eyes focused intently upon it. TOM picks up a fork and knife, cuts into the meal and takes a big bite, chewing with relish and enjoying the dish with obvious pleasure. TOM: (moans) Ah, honey, you outdid yourself. So good. RACHEL refreshes TOM'S glass of wine and her own, before chugging hers with a grimace at his continued wolfing. TOM: (moans) Yours is so much better than my dad's version. My mom would leave the house after cooking this. That's why my dad had to learn how to cook it. Another big forkful disappears into TOM'S mouth as RACHEL continues to watch in horror. RACHEL: Only for you, dear. (beat) I mean that, only for you. TOM: I am so lucky. RACHEL: Not even my above-average cooking skills can make liver palatable, as far as I'm concerned. It's all for you. TOM smiles, raising his wine glass to toast RACHEL. RACHEL quickly pours another slug in her glass to return the toast, winces as she watches TOM delight in another bite before raising her glass to her husband. >FADE TO BLACK.

Scene Eleven.

Scene eleven continues from yesterday's ten: INT. GEORGE'S APARTMENT - BEDROOM - NIGHT A modest but good-looking apartment. Majo laid over her tummy over the bed. She carefully cuts red tissue paper with scissors. The phone rings, she answers. MAJO Helo? GEORGE (V.O.) (over phone, filtered) Hey. Sorry, did I wake you? MAJO No, don't worry. GEORGE (V.O.) I don't know how long I'm going to be here. I promise I'm going to make up for this. Tomorrow we'll have dinner in the nicest restaurant in L.A. MAJO Don't you worry about it. GEORGE (V.O.) I promise I'll make up for this. Sorry, gotta go. Bye. MAJO I'll be waiting for you, honey. Bye. She hangs up, grabs the scissors and cuts a piece of red paper, folds it, twists it, holds it together using a piece of adhesive tape, snaps it until it looks like a carnation. She puts it over the bed among other red paper carnation flowers arranged in a way that they form a heart with the letters "M" and "G". She looks at it with a sense of accomplishment. To be continued...

EXT. KIRBY HOUSE - DAY Elise strains to look as far down the street as possible. MRS. KIRBY: Can I get a little help? Mrs. Kirby is struggling to get a suitcase into the trunk. ELISE: Sorry, mom. Elise keeps looking over her shoulder as the two lift the suitcase to the trunk. In the distance, Elise can see a small figure running at top speed in her direction. She turns away from her mother. MRS. KIRBY: Unh, unh. You stay right here, Miss. It's time to leave. ELISE: Just one minute. The figure is now close enough to recognize that it's Danny. Mrs. Kirby follows her daughter's gaze and recognizes him. MRS. KIRBY: Oh, not that boy again. ELISE: You're not being fair. MRS. KIRBY: If you were sixteen, this wouldn't be fair. At fifteen, it's fair. Danny reaches them, out of breath. DANNY: I was afraid I'd miss you. MRS. KIRBY: We're leaving right now. ELISE: Can you leave us alone? MRS. KIRBY: No. Danny moves closer to Elise, reaches for her hands. At Mrs. Kirby's hostile look, he pulls back. DANNY: Elise, I... I... I... ELISE: Mom! Mrs. Kirby doesn't move. DANNY: You've... you don't know how much you've changed my life. Before you came here, I didn't think I'd ever have a... a... Mrs. Kirby's eyes bore holes in him. DANNY: ...friendship like-- Hell, I didn't think I'd even ever meet anyone like you. ELISE: You're so sweet. I'm not that-- DANNY: Yes, you are. I... I... Mrs. Kirby, you've raised an amazing girl. Mrs. Kirby allows herself a small smile. DANNY: She sees people the way they really are. Maybe, the way they can be. ELISE: Danny, it's not me. It's just that the others can't-- I mean, it's them that're stupid. You're... you're... Well, I never thought I'd ever meet anyone like you, either. DANNY: Before you go, you've gotta know how I... what you mean to me. MRS. KIRBY: OK. That's enough. Gotta go right now. Danny grabs Elise and gives her a passionate kiss.