[…] 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 13: INT. KITCHEN/LIVING AREA A three year-old girl, TERESA, sits on the floor building blocks. Her mother, CHELSEY, (20's) is on the phone. Chelsey: I know break-ups are hard. Yeah. Yeah. He's got issues. It has nothing to do with you. No. You should get back out there, you're looking for the one, not just the one for the time being. Teresa: Mommy? Chelsey: Just a minute sweetie. (into phone) Yep. No. I completely support you. Online dating is the thing right now. I have like five friends who've met somebody - no, you're right. How else are you supposed to meet anyone? Teresa leaves the room. Chelsey keeps an eye in her general direction. Chelsey; Yep. Mmm. My husband is the same way. Teresa comes back into the room carrying a blanket and holding onto a pacifier. She goes back to her blocks. Teresa: Mommy? Chelsey comes over and adds two blocks to Teresa's tower. Pats her head. Chelsey: You're doing a great job sweetheart. Mommy's really proud of you. Teresa goes back to building, though this time with less vigor. Chelsey: Yes, definitely. They all have commitment issues. Mommy issues. Emotional issues. You don't want to deal with that. God no. Not for the rest of your life. Teresa: Mommy? Teresa is now lying on the floor playing with her blocks. Pacifier in her mouth. Chelsey: Mommy's almost done. (into phone) Yep. Yep. Definitely. I think you should do it. I'm here if you need me. Nope. Call anytime. Good for you. Text me tonight and let me know how it goes. She hangs up the phone and sighs. Walks over to where Teresa is playing. Chelsey: Let's see this castle. She stops when she finds Teresa asleep on the floor. Her tiny hand limp next to the blocks. Tears form in Chelsey's eyes. She gently caresses Teresa's still head. Chelsey: I'm sorry.

SCENE 13 (PROMPT: An apology.) INT. CHURCH – DAY CAROL (25) sits in a church, her hands lackadaisical clasped in an attempt to pray. It’s clear she’s not a regular here. She looks around – very few people are in the church. The ones who are have their heads bowed - deep in prayer. Carol decides the hell with it and gives it a try herself. CAROL: Hey there… God. How’s it been goin’? Carol… Carol Sheltznick here once again… Yes, your demon child… (waits for a response) You gonna talk to me? Cause I kinda feel like this is a two way thing… No? Okay… guess I’ll just keep on going… Feel free to catch on up if you want… Let’s see… I smoked a little bit of pot the other day… And… whelp that’s about it. (beat) Sorry? Carol sits up ready to go – but looking around realizes the rest are still praying. She reluctantly goes back to prayer. CAROL: All right. Had to take a breather but I’m back… Let us see… my little brother pissed me off again… he found my… well you know what I’m talking about… maybe you don’t, I don’t know… Anyways, he found my vibrator… so I gave him a wedgy in front of his friends… Carol notices a MAN sitting next to her – his eyes transfixed on her as she talks. CAROL: You mind? I’m trying to pray. The MAN doesn’t move so Carol scoots further down the pew. CAROL: (back to it) You really got some weirdos in here, you know that? Anyways, I was thinking, maybe I shouldn’t have reacted the way I had… I mean, he’s only fifteen so it makes sense why he’d be curious… but… well, wait, fuck him—that punk was going through my underwear drawer. He deserved what he got… In fact… She pauses, as if a distant memory had just crept into her mind. CAROL: I guess he doesn’t have mom to tell him about… This is stupid… I’m sorry. This whole thing is stupid. I don’t even know why I came here… Lie! Yes I do, it was dad. Always saying how it’s good to get things out. Good to let God in. Well here I am God and where are you? Huh? (pause as if listening for a response) What was that? Oh that’s right, nowhere! You’re just a big old nothing! Carol stands and turns to leave. The entire church has stopped to look at her. She blushes and turns back to the alter. CAROL: Sorry about that… you’re still fake. Carol exits the church amid stares.

(Scene 8) (possibly mildly NSFW) MARTHA: (PRE-LAP) …to the weekly meeting of the Staying Straight For Jesus Club! INT. CHURCH MEETING ROOM – DAY Where eight or nine squeaky-clean HIGH SCHOOL GIRLS sit in a circle on the carpet, under a banner declaring the club name. They hold hands to chant the club motto – GIRLS: (in unison) No to drugs, no to thugs, no to beer and making out! Mildly rebellious Kelly (she wears jeans instead of a modest pleated skirt, which around here is as rebellious as anyone gets) regards the banner skeptically. KELLY: We have a stupid acronym. S-S-F-J-C? MARTHA: It’s not about the acronym. Club leader Martha (15), ridiculously perky. This club is her life, and no one disses it. KELLY: That’s not even what ‘straight’ means any– MARTHA: Kelly, I love you in the Lord, but the acronym is not the important thing here! Kelly hears the gritted-teeth threat in that. Subsides. MARTHA: Now, for our first order of business, Sandra has a apology to make. All eyes turn wonderingly to mousy Sandra (16). What could this shy little thing possibly have to confess? SANDRA: I want to apologize to all my fellow Straight-ers. Kelly mouths “Straight-ers?” to herself, but a glare from Martha stops that in its tracks. SANDRA: I’ve broken the rules. MARTHA: Forgiveness and understanding are part of our Lord’s message, Sandra. Admit to what you’ve done, and we’ll receive you back into His grace. SANDRA: (small voice) I went to a party with Jesse. BLOND GIRL: (whispers) Jesse Anderson! OMG! RED-HAIRED GIRL: He’s so… (hasty correction) in need of our Lord’s grace. SANDRA: (increasingly brave) I went to a party with Jessie and there was wine. Actual wine from California. And I drank some – and I liked it. And I went outside with Jesse in the dark and we were pretty drunk and I, and I – MARTHA: It’s all right, Sandra, there’s nothing here but love and compassion- SANDRA: And I kissed her and touched her and she touched me down there and I didn’t care! Utter consternation. Martha looks like she’s going to faint! MARTHA: Jessie Evans? Girl Jessie? KELLY: What d’you know? We are the ‘straight’ club after all.

Scene 13 Today’s prompt: An apology. INT. DOC’S ROOM HOSPITAL Doc sleeps, TV on. A nurse walks in, Cody behind her. GATES: Doc. Wake up. Doc opens his eyes. DOC: Gates? What the heck-- Gates holds up her finger. GATES: Shhh… CODY: It’s a jailbreak. Can you walk? Doc smiles, swings his legs over the bed. DOC: I’ll crawl if necessary. Get me my pants. INT. GATES’ CONDO Gates walks in followed by Doc and Cody. CODY: That was a clean break. DOC: The Hole in the Condo gang strikes again. GATES: Cody. Why don’t you bunk here. Keep a lookout. I fix Doc’s bunk in the back. Gates helps Doc to the guest room. GUEST ROOM The pictures from Gates’ office hang on the wall over a small desk. GATES: Sorry for the mess. I grab you some fresh linen. Doc sits on the bed. Looks to each photo on the wall. Gates returns with the linen. Tugs on the bedspread. GATES: You need to move-- DOC: I’m sorry Gates. Gates looks at him. GATES: Come on move so I can make the bed. Doc takes both of her hands, she tries to pull away. DOC: Stop. Gates relents. DOC: I trying to say I’m sorry. GATES: Not necessary. Water under the… I invited her into our home. I should have listened to you. DOC: We don’t have to go through this… that is-- GATES: Let’s get you well first. Then we’ll talk. Gates stands, pulls him up. Doc moves close. GATES: I got to make this bed and you need some rest. She pushes him back, tosses the sheet over the bed.

SCENE 11 Prompt: Write a scene where something gets stolen INT. EXCLUSIVE JEWELRY SHOP – DAY Customers in the expensive shop look around, try on rings and other jewelry. Nayaran walks in with a baby in a buggy. Her clothes question if she can buy the stuff that has been displayed her. The shop assistant walks up to her and smiles politely, a kind of smile that tells her she’s in the wrong shop. Nayaran smiles back. She doesn’t care she’s out of match in this shop. After a few beats she plops down and looks at the rings behind the counter. She leans in and presses her nose against the glass to see a ring more clear. SHOP ASSISTANT: ma’am, this is fragile glass, please don’t lean on it. Nayaran points at an expensive ring. SHOP ASSISTANT: that’s an expensive ring…very..very expensive Nayaran smiles, knowing she’s got an expensive taste. She looks at her baby in the buggy. NAYARAN: can I try it on? The shop assistant is reluctant. NAYARAN: don’t tell me I’m not good enough to try it on? (loudly) Customers look in the direction of Nayaran. The shop assistant feels ashamed. SHOP ASSISTANT: excuse me He walks to the shop owner who’s helping someone else. They whisper something to each other. Shop assistant returns to Nayaran. SHOP ASSISTANT: let me show you this one…it’s very beautiful. That ring has already been bought. Nayaran feels anger welling up inside her but manages to control it. NAYARAN: okay… The shop assistant puts the ring on Nayaran. Her eyes reveals she likes this one too. She turns to window side to let the sunshine shine on it. She lowers to show it to her baby and secretly she pinches her baby. The baby starts CRYING uncontrollable. NAYARAN: oh sweetheart…is it too hot in here. Nayaran tries to shush the baby in her arms. The shop assistant doesn’t know what to do. He wants the ring back but mummy is too busy rocking the baby till it’s still. In that moment, Nayaran peels off the ring and puts it in the screaming mouth of the baby who starts screaming louder. Nayaran pops up another ring, gives it to the baby who throws it into the corner under a closet. SHOP ASSISTANT: was that the ring ? (what the f*ck, baffled) NAYARAN: I’m afraid so…I don’t know what’s wrong with this child. It’s there under the counter. The shop assistant flies down onto the ground in search of the ring. In the meanwhile, Nayaran creeps closer to the door, shushing her crying baby. NAYARAN: I have to go, the baby is sick. And she leaves. Customers look relieved as the silence has returned. The shop assistant has finally found the ring. He crawls back onto his feet and looks at the ring. His face is horrified. SHOP ASSISTANT: Oh Noo! (very loud)

Scott, what's your e-mail address? I've already written 10 scenes. I would love to take the core class 'Style'.

Scene 6 INT. ZOO APE ENCOUNTER – NIGHT Jim sits in the dark room watching the gorilla through the glass in front of him. JIM: I can’t do it anymore. The gorilla hangs from his branches in his tree staring out at Jim. JIM: Things aren't quite… The gorilla drops through the tree to the ground and sits facing away. JIM: I know. I know. Jim stands and leans on the glass, staring down at the gorilla. The gorilla glances over his shoulder. JIM: Look. It wasn't my, well, maybe. Jim stares from the gorilla to his own reflection in the glass. JIM: Fine. It was all me. All my fault. I don’t even care anymore. Jim can’t stand to look at his reflection anymore. JIM: No. The gorilla turns back to Jim. He climbs up to the window and places his hand on the glass. Jim looks up. Places his hand opposite the gorilla’s hand. The gorilla sticks his tongue out. JIM: Right. Jim heads for the door. He stops. Turns back to the gorilla. JIM: Thanks. The gorilla waves. Jim exits. The gorilla shakes his head and climbs back to his place on the floor.

EXT. CHILDHOOD BACKYARD - NIGHT RODGER, a handsome man in his late 40's, sits in his father's leather recliner, smoking a cigarette. Surrounding Rodger and filling out the rest of the backyard are various other pieces of furniture, ready to be sold in the morning. HACK-HACK-HACK. Rodger sees, at the far end of this huge yard, his father's ghost chopping wood. He is working himself to the bone, much like Rodger remembers him doing when Rodger was a boy. Rodger's father stops chopping, then grabs a huge armful of wood. He carries the wood, briefly making eye contact with Rodger before depositing the wood into a separate pile. Rodger's father enters the wood shed and shuts the door. Rodger finishes his cigarette, then decides to follow after his father's ghost. Rodger walks up to the stump where the ghost was chopping wood. His father's axe is lodged into the stump, though instead of looking newly used, it is starting to rust and the wooden handle is beginning to rot, signs of it being untouched like this for the past several years. Rodger runs his fingers across the handle, almost able to feel his father's touch. Rodger goes to open the shed, yet the door is completely stuck to the frame and the handle barely moves. Using brute force, Rodger rams his shoulder into the door, finally breaking it open after several efforts. Nothing but dust, cobwebs and darkness resides within the shed. Rodger begins coughing heavily. FATHER'S GHOST There's nothing in there. Rodger flips around. He sees his father's ghost standing amongst the trees, slightly concealed. RODGER I remember, you used to go in there all the time. FATHER'S GHOST I kept some spare tools in there, but that's about it. When I started getting to old to work, your mom used it to keep Christmas decorations and whatnot. RODGER She misses you. She really does. FATHER'S GHOST I know. And I miss her too. Rodger breathes heavily, his nerves setting in. He has something on his mind but is struggling to find the strength to say it. RODGER I wish that I missed you more. FATHER'S GHOST I wish you did, too. Rodger's father walks towards him, and we see the ghost is of his father when he was in his late 60's, though not looking that much older than Rodger is currently. RODGER Am I a bad person for doing this? Do you hate me for it? FATHER'S GHOST You live your life trying to label everything good or bad, and you waste your life. Life isn't simple enough to be labelled, so don't bother. RODGER Can you just tell me that I'm not a complete piece of shit for selling this place? FATHER'S GHOST What's the big deal about this house? What's a house but some wood and land? I'd sell it too if I could. What's the point of letting it rot when you could make money off it. Or at the very least break even. RODGER I could raise a family here. FATHER'S GHOST You don't mean that. Why don't you say what you really wanna say? RODGER I'm sorry. I wish I was a better son. I wish I spent more time with you. FATHER'S GHOST I forgive you. You were a kid. It's not a kids job to take care of his sick dad. You're supposed to go chase girls or get drunk. Rodger doesn't look completely sold. RODGER But you're a figment of my imagination. What does it matter if you forgive me? You're dead. FATHER'S GHOST All that really matters is if YOU believe that I forgive you, if YOU don't have to carry this guilt around. You need do move on, Rodger. RODGER But what if you were still alive? Would he...you forgive me? FATHER'S GHOST (smiling) It doesn't matter, I'm dead.

Scene 13 EXT. WILSON HOUSE - FRONT DOOR - DAY A hand knocks at the door. RACHEL WILSON (34) opens it a crack, looks hesitantly at the stange man in front of her. TYRUS GREENE (58) stands holding his hat. TYRUS: Ms. Rachel Wilson? RACHEL: Yes. Can I help you? TYRUS: This won't take but a moment of your time. RACHEL: I'm sorry. Whatever you're selling I'm not-- TYRUS: I ain't selling nothing. Well, I suppose I am, in a way. What I'm soliciting is your forgiveness. RACHEL: (perplexed) Look, I don't know you. Whatever you think you did-- TYRUS: Not for me, miss. For your father. RACHEL: My father sent you? TYRUS: No. Well, yes, I suppose he did. RACHEL: Then you can tell him I don't want anything to do with him. Rachel begins to close the door. Tyrus raises his voice to get the last words through. TYRUS: He's dead. Rachel slowly opens the door, peeks out at Tyrus. RACHEL: Dead? TYRUS: Yes ma'am. Few months back. Heart attack or so they say. Right on the street. All alone. Mostly. RACHEL: You're a friend of his? TYRUS: No ma'am. I never met the man. But he died in my arms. Strange as it seems, I feel we was closer than friends. RACHEL: Why are you telling me this? TYRUS: Because his dying words, his last request, was to get your forgiveness. Said he was sorry for everything he done. He asked me to promise him. I did. RACHEL: It wasn't your place. You shouldn't have-- TYRUS: Hell, I know that. You think I wanted that responsibility? I didn't know this man or what he'd done. What he deserved or the pain he caused. All I could see was a life going out. Extinguished. Forever. I didn't have it in me to say no. RACHEL: But why come here? Why couldn't you go on with your life? You don't owe him anything. TYRUS: But I do. I didn't have no life. Living on the streets. Day to day. Never had no concern over nothing, of what happened to me or anyone else. Until that promise. That promise was something to live for. A reason to straighten out. Your father gave me a purpose. RACHEL: I'm happy for you but there's no way I will ever forgive that man. Rachel abruptly steps back and closes the door. Tyrus is taken aback, shouts. TYRUS: That's alright, Miss Rachel. Make me work for it. INT. WILSON HOUSE Rachel leans with her back against the door, eyes closed, pinching the bridge of her nose. TYRUS (O.S.): I'll find a way. You haven't seen the last of me, no ma'am. I made it this far, I ain't got no reason to turn back.

SCENE 13 INT. HOUSE - NIGHT The front door opens and LUCY walks in, dragging a rolling suitcase behind her. LUCY: Hello? JAMES comes thundering down the stairs. JAMES: Hey! How was your trip? LUCY: Great. It was really great. JAMES: Good. Glad to hear it. LUCY: How was everything here? JAMES: Fine. Everything was fine. Lucy slides her coat off, flops down on the couch. JAMES: Tired? LUCY: Yeah. JAMES: Want a beer? LUCY: Sure. He heads off. She leans back, looking around the room. Her eyes land on a small table next to the couch. LUCY: Hey, James? JAMES (O.S.): Yeah? LUCY: Where’s the lamp? He comes back into the room, carrying two beers; he hands her one. LUCY (CONT’D): James? He looks at the floor. LUCY: What happened to the lamp? JAMES: I was going to tell you. I... I knocked it over. It broke. I’m so sorry. LUCY: That was my grandmother’s lamp, James. JAMES: God, Lucy, I’m so sorry. I’ll pay you for it. I can’t apologize enough. LUCY: My mother gave it to me when she died... she insisted I keep it. JAMES: I don’t know what to say. LUCY: I’ve always hated it. JAMES: What? LUCY: I should have asked you to house-sit years ago. She swigs her beer. James stares at her, open-mouthed.

#13-7/13 INT. MARIA’S TAVERN - NIGHT Cave and Jarvis stand over the pool table shooting stick. Jarvis still wears his matching beige suit and beige tie. Paully and Geo approach them. Paully holds up a quarter at eye level. Stares them both down. PAULLY-My friend and I would like to play the next game. Got it? Cave looks to Jarvis, Jarvis looks to Cave, then both back to Paully. CAVE-Very well, but you do understand you have to beat us for the table? Now Paully looks to Geo, then they look back to the youths. PAULLY-Yeah, no shit. You think we don’t understand billiard etiquette? GEO-You have any idea how many games we’ve played on this table. Or how much fuckin’ blow we’ve done off this table. PAULLY-And sex, don’t forget about the sex Gee. Geo ignores him. GEO-We know this table. And we have no problem beating you, and your fashionably incompetent friend here. CAVE-Fashionably incompetent? Cave turns to look at Jarvis, gives his outfit the once over with his eyes going north and south. CAVE-Do you have any idea how much a suit like this costs? PAULLY-If it’s anything over two bucks your friend here got fuckin’ gypped. Jarvis raises his index finger, PAUSES. JARVIS-Pardon me, but I have certain members of my family who were gypsies, so I take offense to the term, “gypped’. GEO-You got gypsy blood in you? Really? No shit? PAULLY-Wow, can’t believe it that a guy like you would have fuckin’ gypsy blood in him. Cave raises both his hands, tries to ease the situation. CAVE-Gentlemen, I see no need to insult each others families. I’m sure your family has it’s own, what is the word here,...”colorful” history. But we are merely just some chaps at a pub about to shoot some pool. Correct? PAULLY-It’s a fuckin’ bar! Not a fuckin’ pub you lime... Geo elbows him. GEO-Whoa! You are correct. My friend and I as I believe you say, “challenge” you to a friendly game of pool or snooker, or whatever the fuck you fuckin’ dumb ass kids call it these days. Do you accept the challenge? Cave and Jarvis nod in unison. GEO-Great. Paully wrack ‘em up. Five a ball boys? CAVE-This country continues to astonish me. Agreed. Five dollars for each dead soldier on the table. MOMENTS LATER Cave leans over to break. He strikes the cue. CRACK The eight ball sinks in the corner pocket. Every other ball stays on the table. Geo and Paully just lost seventy dollars. CAVE-All apologies gentlemen. ‘Nother match?

SCENE THIRTEEN INT. HOSPITAL ROOM – AFTERNOON JEN sits in a chair pulled up next to the bed where CHRIS lies, hooked up to several machines, beeping methodically. She stares at him with tear-stained eyes. After a moment, she leans forward and brushes his hair off his forehead with her fingers. JEN: Your mother called seven times yesterday. Seven. And every time I promised her I’d call if- when, you woke up, and then half an hour later, she’d call again, to ask the same questions. She leans back in her chair, shutting her eyes, as if willing herself not to cry. JEN: And every time, I had to tell her the same fucking thing. Tears start to slowly fall down her face, and she stares at Chris’ face sadly. JEN: I shouldn’t have let you go out. I should’ve stopped you. I knew you were too far gone to drive, but I was just so sick of having the same argument over and over. But I should’ve been stronger. She leans forward and puts her head in her hands. JEN: I don’t know when we got so fucking scared of each other. She looks up at Chris. JEN: I can’t remember the last honest conversation we had. It’s like we tiptoe around each other now or something. When did we stop calling each other on our bullshit? She smiles sadly. JEN: Remember how easy we thought it would all be? We thought it’d be all non-stop hot sex and late night intimate talks and all this wonderful time together. And then all of a sudden it’s like we just stopped knowing each other. She wipes the tears from her face and leans toward the bed, stroking his face tentatively. JEN: I don’t know when it happened, and I don’t know why I didn’t fight harder for us. I’m sorry I let you drive. I’m sorry I wasn’t with you. I’m sorry I stopped loving you. And that I stopped being the kind of person you could love. I’m sorry, Chris. Just wake up and come back to me so we can start over, and do this all the way we promised we would. Okay? I promise it can be better. It will be better.

GITSblog at gmail dot com.

SCENE 13_______________________________ EXT.STREET.NIGHT Rain,Flashlights flare on the CAMERA, footsteps drop on wet surface, silhouettes of two people in rain coats with flashlights appear. They rush into a door. A man lies there kneeled over to what seems like a CORPSE They both enter, HARRY and PETER,(30s) PETER Oh John… CUT TO INT. INTERROGATION ROOM The culprit, John sits there in shock in front of Harry. John is in his forties, Dark circles below his eyes. JOHN I am sorry… I shouldn't have taken those pills… I am soo sorry but... HARRY (sighs) John, the man's dad… I know you killed him in your sleep, bit he's dead. And you have to go through with the trials. Dont worry, if you are innocent nobody can harm you. JOHN I am! I am being set up! I didn't kill him in my sleep! I didnt kill him! PETER stands there behind the black glass watching the scene. A lady,30s stands beside him doing the same. LADY I think he's telling the truth. PETER Are you? LADY what do you mean? PETER I saw ypu and Harry in that cafe last night. I thought you said a case had come up. PETER looks right through her eyes. LADY (stutters) I…I was there discussing the case with him. (Beat) How dare you suspect me? PETER oh please… JOHN I DID NOT DO IT! He jumls off his chair and out of nowhere draws a gun poining at HARRY. HARRY raises his hands. HARRY JOHN… PUT THE GUN DOWN PETER is rushing off to the interrogation room. JOHN(O.S) You are not a good man, I know your secret. BANG!(O.S) PETER UNLOCKS AND OPENS THE DOOR. BUT AS THE SUSPENSE IS ABOUT TO BE REVEALED… FADE TO BLACK. ________________________________________ Thank you for reading. Please comment and let me know how it could've been better Thank you again :D

Prompt idea: Write a scene where something is getting buried

_SCENE 13_ INT. LIVING ROOM – EARLY EVENING MINDY (28) walks into her apartment to find an old baby grand piano taking up half the living room. MINDY: Ben?! BEN (30) walks into the living room carrying two glasses of wine. MINDY: Ben. BEN: Surprise. MINDY: What is- BEN: I was an asshole last night- MINDY: Yes, but that's- BEN: If you're going to write again, you need- MINDY: This is why I didn't want to talk about it. BEN: You're talented. I want you to take advantage- MINDY: It takes up the entire living room. BEN: It's a focal point. MINDY: I don't know that I'm really writing again. It might not get any use. BEN: It's not getting any use in storage. MINDY: You have no middle ground, you know? We're either breaking up or- BEN: Have some. He hands her a glass. She drinks right away. MINDY: Mmm it's good. BEN: Cheers? MINDY: Ah.. Cheers! Salute.

#scene 7 INT OPEN PLAN OFFICE ZACH (28) sits at his desk, slightly leaning back in his chair, designing something on his computer when MATTIAS (30) walks up to him. MATTIAS: Do you have any full batteries left? ZACH uhm.. yeah, here you go Mattias doesn’t go immediately, he stares at Zach. Zach notices.. ZACH: look man.. I’m sorry. I was out of line. MATTIAS: You were. ZACH: But I’m sorry. It won’t happen again. MATTIAS: it’s oke. ZACH: I should’ve known that you’re easily upset MATTIAS: I’m not easily upset ZACH: No, no I mean, you have some issues, I should respect that. MATTIAS: What do you mean? I don’t have issues! you were insulting me! ZACH: Sensitivities then. MATTIAS: WHAT?! ZACH: Allright allright, you don’t wanna hear, that’s okay, I take you just the way you are. Mattias turns around, trying to control himself. He’s filled with anger. walks off ZACH: hey Matt, Mattias stops ZACH: You bought that hairdo at the petshop? Mattias slowly turns, face almost purple ZACH: (Laughs) we’re good, we’re good

SCENE 13 Two mothers are having an argument over one scolding the other’s child. EXT: PARK-MORNING SAM: I really don’t appreciate you taking it upon yourself to discipline my son. All you had to was come to me and let me know what was going on. PAT: I didn’t hit him. I just told him to stop bullying the other kids. SAM: My son is not a bully. He’s just… high strung. PAT: High strung is not pushing and taunting kids smaller than him. That’s bullying! SAM: Why are you being such a bitch? PAT: Why are you blind to the fact your kid’s a bully? SAM: I’m done talking to you. PAT: Good because we obviously aren't going to agree. Sam storms off to get her son who’s talking with Pat’s son. SAM: Let’s go son. Mommy’s getting a migraine. PAT: Me too. Eric let’s head home. ERIC: Mom, Billy and I are having fun. SAM: Let’s go Billy. BILLY: No. Eric’s my friend and I wanna play some more. ERIC: Please Mommy. PAT: I have some Motrin for your headache if you 2 can stay a little longer. SAM: I thought you said my son was a bully. PAT: Maybe I overreacted. Eric sure seems to like him. SAM: Well maybe we can stay 30 more minutes. PAT: Thanks. And I’m sorry for being “judgmental mom”. SAM: And I’m sorry for acting like my son isn’t somewhat of a bully. PAT: Truce. SAM: Truce. Now hand over that Motrin.

EXT. LINDY's FRONT PORCH - DAY LINDY, 58, a total knock-out Susan Surandon type is furiously throwing piles of clothes out onto the front lawn while PAUL, 55, is in his underwear scrambling to collect every last piece. PAUL: Sweety. Sweety, please. LINDY (cringes): Ugh. Don't call me 'sweety'. PAUL: Baby, let's talk about this. You're overreacting a little, don't you think? LINDY: Overreacting? No, Paul, an overreaction would be murder. And don't think I haven't thought of it. This, Paul, is Sayonara. Get lost. Scram. Beat it. So long. (beat) And don't call me 'baby' either. Back 'n forth she goes grabbing his things and tossing them from the porch. PAUL: Honey, these things happen. Sometimes you're up, sometimes you're down. That's how it goes. LINDY: YOU SOLD MY HOUSE, PAUL! MY house. PAUL: Momma, I just sold it to Bob. We talked about this. You were afraid of forecl- LINDY: Talking about it is not a decision, Paul. What am I supposed to do now? Huh? I have 30 days to vacate. PAUL: Listen, cupcake, we can get it back. I'll have Bob put a hold on the escr- LINDY: There's no 'we' in this situation, Paul. Paul walks up and, very endearingly, grabs her hands and caresses her face to try and calm her. Lindy's too flustered to fight it. PAUL: Sugarpie, I'll handle it. We'll ge-... You'll... get everything back. Just give me a few days and I'll fix it. She's disgusted. Pushes him away. LINDY: I'll fix it. You're leaving. PAUL: C'mon, Lindy baby... I'm sorry. He pauses and stands up straighter thinking he's just come up with the most clever thing ever: PAUL: Love means never having to say you're sorry... right? (winks) C'mon, honey. Repulsive. LINDY: Oh my God, I can't believe you just used that line on me. She goes inside and grabs as many of his liquor bottles and comes back out and starts throwing them into the street. CRASH! TINKLE! CLANK! PAUL: You bitch! Not my booze! LINDY: Sorry, Paul. You know how it goes... Sometimes you're up, sometimes you're down. SLAM! Door's shut, curtains drawn. OUT

Scene 10 An apology INT. STREET-NIGHT 2am. Club district. The streets are sparsely populated, club hoppers looking for the next cool beat. Music pumps out of open doors. Bouncers stand outside. Club Life. SARA, 20's, short skirt, legs for days, that girl you can only stare at, is pissed. Her stripper heels clack loudly as she stomps down the sidewalk. A silver Lexus pulls up beside her. The WINDOW slides down. MARCUS: Sara, please get in. MARCUS, 20's, athletic, manicured within an inch of his life, tries to keep one eye on the road and the other on Sara. He keeps pace with her. MARCUS: Baby, please. Get in the car. This is not safe. Sara huffs and continues to stomp her way down Hillson Ave. Marcus sighs in frustration. MARCUS: Look, baby...I didn't do anything. She came up to me. I was just sitting there. SARA: And sitting there and sitting there while she crawled all over you. I didn't see any attempt to move. MARCUS: I didn't want to lose the spot. Wrong answer. SARA: AGH! Really, Marcus, really?!? MARCUS: It was a good spot. What? Sara picks up her pace. She is determined to walk home, regardless. Marcus accelerates before looking, then slams on the brakes. A clutter of garbage cans sit by the curb. He quickly swerves around then, trying to catch up to Sara. MARCUS: Sara, baby, please. Let me take you home. You shouldn't be walking out here. Marcus stops the car and hops out. He jogs past Sara and blocks her way. She tries to walk around but he moves with her. He put his hands up in surrender. MARCUS: Look, baby, I'm sorry. I swear. I am. Sara stops walking. Arms crossed. She waits, emitting major attitude. MARCUS: You know I don't want nothing to do with that girl. She came up to me. I know...I should have walked away. I was just trying to be nice. I swear. Nothing happened. I love you, girl. I was there with you. I'm chasing after you. Sara appears to soften. She looks around considering his words. HONK HONK. A red BEEMER pulls up along side them. The window slides down revealing a MONICA, that girl always mistaken for a stripper. MONICA: Hey Big Daddy, thanks for the drink. I'll call you later. She winks at him and drives off. Sara is livid and nails Marcus in the family jewels with a fast and furious kick with her steel toed heels. He drops like a rock. A mess of tears, choking breaths, and muscle spasms. Sara steps over his crumpled body and slides behind the wheel of his Lexus. She looks in the rear view and smiles. SARA: You're right Marcus. It is dangerous out here.

SCENE 13: INT. JENNY’S – DAY: From outside Will peeks into the bay window. The room is empty. Will jimmies the door and sneaks into the room. He finds Jack’s fedora left behind, sports it on his head, and goes back outside. The doorbell rings. Jenny gets it. She recognizes Will as Jack. JENNY: Change your mind? Will whips around with a smirk. JENNY: Jack? He forces himself on her. WILL: Yo baby. Come on. He pins her against the wall. She struggles to stop him. JENNY: Jack? Jack? Not so rough baby. Jack! You’re not Jack. He smirks. She forces him off and kicks him in the balls. He goes down in pain. She shoves him out the door. She frantically dials Jack on the phone and gets a VM message. JENNY: Jack help me! Pacing frantically, she looks out the window. Doorbell rings. She goes to the door. It’s Will. WILL (O.S.): Hey come on babe. I have a job for you. It pays money. JENNY: I’ll bet you have a job. I don’t do that shit! WILL (O.S.): For real girl. It’s not like that. Come on. Jack can be in on it too. I know you can use some cash. The door remains shut. She peeks out at him. Will’s eye stares back at her. She shrieks. WILL: Hey come on. Jenny, right? We had a little fun didn’t we? You like it rough baby. Admit it… Okay, look I’m sorry I got rough. Some chicks like it like that you know? She surveys the room and finds a fireplace poker. She wields it around for practice, then approaches the door. WILL: Come on. I’m a good guy really. I have a job for you. You’re an actor right? You and Jack? Look I’m sorry I didn’t tell you we were brothers. I thought it would be fun. But really girl. It’s a paying job on a real film. She cracks the door open and peeks out at him holding the poker to his throat. WILL: Alright, alright. Calm down. I just want to talk. JENNY: I don’t do porn. WILL: No sweat baby. We’ll have porn doubles.

INT. USED BOOK STORE - DAY DEIRDRE, a cute, nerdy girl, mid-twenties works behind the counter. She's pricing books, and stacking them. Customers browse. the door chimes as it opens, it's ZACK. He stops in his tracks, stares at her - at a loss for words. She doesn't look up. ZACK: I'm sorry. Deirdre recognizes his voice, looks up at him, and immediately she's pissed. DEIRDRE: What? ZACK: I'm sorry. She picks up her stack of books, beetles out from behind the counter to get in his face. She doesn't want him any further inside the store. She whisper-yells, trying not to create a scene, but not being able to hold back her anger much. DEIRDRE: You think you can just walk in here and say that to me? ZACK: I'm sorry. DEIRDRE: Shhhht! Say it one more time and I swear... ZACK: Dee... DEIRDRE: No. Do not say my name. Don't ever say my name again. ZACK: Come on. DEIRDRE: HAH! Three little "I'm sorry's" and already it's "come on?" ZACK: What do you want me to say? DEIRDRE: I don't want you to say ANYTHING I want you to leave. ZACK: Not without you. Dee laughs loud. drawing some attention to them. DEIRDRE: HAH. That's rich. ZACK: Dee, I'm sorry. She's not whispering anymore. She can't take it. DEIRDRE: That's it. Out. she shoves him toward the door. ZACK: Dee, I love you. Deirdre SCREAMS and whips a paperback off the top of her stack at Zach, he dodges, and it misses his head, slamming against the door. ZACK: Christ Dee! DEIRDRE: Next one's a hardcover. ZACK: I love you. DEIRDRE: Yeah? Well you should have thought about that before you -- HAD SEX WITH MY MOTHER. Now the whole store is paying attention. A CO-WORKER sidles next to Zack. CO-WORKER: Nice! Her mom's kinda hot huh? DEIRDRE and ZACK: NOT HELPFUL! She hurls the hardcover at the two of them, but they dodge, and the co-worker scurries away. DEIRDRE: I Can't believe you made me say that. I don't want to even look at you. You know my father is in therapy now? ZACK: I just... it's that... I mean... DEIRDRE: Don't. ZACK: I'm sorry. Deirdre SCREAMS LOUDER AND LONGER, and just hurls book after book till she runs out of her stack. DEIRDRE: GET OUT. GET OUT GET OUT GET OUT GET OUT GET OUT GET OUT Then she starts grabbing books off the shelves and throwing those. Zack is being pelted by books, ducking to try and avoid them but not really managing very well. ZACK: I'M SORRY I'M SORRY I'M SORRY That's the last straw. with an UNINTELLIGBLE GUTTERAL SCREAM Deirdre SHOVES an entire revovling rack of books over toward Zack, who as he dodges it, slips on one of the other thrown books, falls on his back, and the revolving rack crashes down on top of him. He's out cold. All the customers stare. The co-worker pokes his head up from behind the cash, where he obviously was hiding. CO-WORKER: Probably not the best time for this, but I'm sorry too. He's not the only one who had sex with your mom. Deirdre can't take it. She surveys the scene, and runs out the front door.

SCENE #8 INT. UNDERGROUND BUNKER - NIGHT Theo sits on the bed as Gail holds SURGICAL FORCEPS over his shoulder wound, ready to pluck out the bullet. GAIL Hold still, this might hurt a little. She carefully removes the bullet, as Theo HISSES and JERKS with pain, squeezing her hand so tight she nearly cries out. GAIL (grimacing, shaken) Sorry, sorry! THEO I thought you've done this before! GAIL That doesn't mean I like doing it!

INT. BEDROOM – NIGHT David, 19, sits in pajamas. He is propped up against the headboard and is watching a documentary on his computer. An empty carton of Dreyers Mint Chocolate Chip sits next to him. He sighs and closes the documentary, opening Skype. It RINGS for a few. Katie, 19, picks up on the SCREEN. She is also clearly in pajamas, no makeup, hair tousled. She is silent and does not look pleased. Intercut between SCREEN and DAVID. DAVID: Hi. KATIE: What? DAVID: Come on. KATIE: It’s clear that we can’t agree. DAVID: Look, I’ve been thinking about it. It pisses me off that I can’t say what I feel and that something so stupid can set you off. KATIE: You embarrassed me, David. DAVID: It’s so dumb that you would even get offended by something like that. What am I going to do, jet off to Peru with Kate Upton? Leave you here, alone, while Kate and I abscond to the French Riviera? KATIE: I’m hanging up. DAVID: I’m kidding, Katherine. Please stop. KATIE: You don’t even think you’re wrong. Did you see the look on Evie and Mike’s faces when you said that? DAVID: Yes, because you looked like your dad had been shot in the face in front of you. That’s why they looked like that. KATIE: Evie and Michael even said that you were way out of line. DAVID: When?! KATIE: When you went to pee. DAVID: That’s because they’re both fucking pussies! They’re certifiably insane. And pussies. The screen goes blank. Katie has hung up. David furiously redials. She picks up. DAVID: Why do you do that? KATIE: Because I don’t even know what to say right now. DAVID: So you just bail and hang up? Act like an adult. KATIE: Wow. DAVID: Look, before you hung up, I was trying to say something. I am sorry that I embarrassed you. I am sorry that your feelings were hurt. I didn’t know that saying Kate Upton was hot was going to do that to you. I really, truly, didn’t. KATIE: You said she was the hottest woman in the world. DAVID: Look, I’m sorry that I hurt your feelings. I am. I obviously didn’t set out to do that. KATIE: Sometimes…it feels like you do. DAVID: Alright, Katherine, look. I have to get up tomorrow. I do not mean to hurt your feelings. And I’m sorry. I am. KATIE: Okay. DAVID: In the future, just… please try to not be so sensitive, okay? She hangs up. DAVID: FUCK! Fuck!

INT. JFK AIRPORT – AREA BEFORE SECURITY – EVENING It’s crowded. There is hustle and bustle in the air as people are headed to their destinations, or returning from them. Hugs and kisses are shared as people meet and greet one another. Among the high energy stand JACKIE and KIRSTEN (both in 20s), their atmosphere is quite different. They are good friends, but something is left unsaid. KIRSTEN It’s going to be a long flight. JACKIE I brought my tablet. You know me. It’s always work. KIRSTEN You’re going to have fun in England. JACKIE I hope so. Enjoy the holidays without me. A long silence passes between them. It is neither awkward nor peaceful. KIRSTEN Look- JACKIE It’s ok. KIRSTEN No, I want to apologize. Before you leave. Before the holidays. Before the anniversary of all that has been going on between us. JACKIE There’s nothing to say. It was all a misunderstanding. You and I both know that. KIRSTEN A misunderstanding between normal people doesn’t cost lives. JACKIE Well, that’s what happens when we’re superheroes. They exchange small smiles. The simple statement loaded with so much meaning. KIRSTEN Well, I apologize. For exposing you to the radiation. For putting such a burden on your shoulders. For bringing you into our world. JACKIE No need, Kirsten. No need. I wouldn’t have wanted it any other way.

Scene Six INT. APARTMENT KITCHEN/LIVING ROOM – NIGHT [Kira and Edward are witch hunters in another thing I'm working on. Edward found Kira when she was nine and unofficially adopted her] KIRA (f, 19) is in the kitchen cooking a meal and seems to be confused about everything she's doing. EDWARD (m, 35) lumbers in with a single crutch under his arm. He looks pained but curious about what Kira's doing. She doesn't hear him come in. EDWARD (gruff): What are you doing? Kira jumps in fear and relaxes when she sees him. KIRA: God my reflexes are horrible these days. EDWARD: Are you...cooking dinner? Kira glances at the catastrophe behind her and turns back to Edward with a sheepish smile. KIRA: Well you were alseep and I didn't want to wake you-- EDWARD: I wasn't asleep. Edward begins to move forward to a seat at the table. KIRA: Oh...well, I didn't want to disturb you. Do you need help? EDWARD (quickly): No. He sits with a grunt. Kira looks despondent as she loads their plates. They sit together with their food in front of them. KIRA: I, um, got some stuff from uptown and uh, kinda winged it. I hope it's good. Edward begins to eat as she talks. She keeps her head down as she eats. There's a tense silence as they eat. Eventually, Kira stops eating and takes a deep breath. KIRA: Ed, I'm sorry. Edward keeps eating. KIRA (CONT'D): I didn't think that guy would have a knife let alone stab you with it. (pause) I mean, you're a big guy! You were twice his size. What was he thinking? Kira laughs. Edward breaths deeply. KIRA (CONT'D): I also didn't know that lady was a witch. Otherwise, I would have brought the magic bullets with us but (shrugs) you know. (pause) And I didn't know that vampire was in the basement either. I mean, a vampire, a witch, and a wardrobe. Full of coke. (laughs) And here we are prepared for werewolves! EDWARD: Based on your investigation. KIRA: Yes and I take full responsibility. Kinda. Edward rolls his eyes. KIRA: Okay that fucking librarian was not helpful at all. I probably would have known what we were dealing with if she gave me the right books. If I had that book on the history of witches working with the CIA and cocaine distribution, I would have known what we were looking for! EDWARD (tired): It's fine. KIRA: And if I knew vampires could actually get high—wait, what? Really? EDWARD (weak smile): Yes. Kira smiles, jumps up and hugs him. KIRA: Oh thank you, Ed. EDWARD (pained): Oof! Watch the leg! The leg! KIRA: Oh! Sorry. Edward starts to stand up. KIRA: Hey, you haven't finished your dinner. EDWARD: I'm not very hungry. I should go back to bed. Feeling whoozy from the painkillers still. KIRA: Oh! Right, okay. I'll put your plate in the fridge then. EDWARD: Yeah, yeah. Thanks for the dinner. KIRA (smiles): No prob! Kira takes her plate in the living room in front of the TV. As she turns it on to see what's on, Edward lumbers back slowly to his room with a face of a man wondering if he made the right decision.

[Scene 13, Prompt 13] INT. KITCHEN — EARLY EVENING Thirty-something RACHEL appears unaware of TOM'S presence as she works at the kitchen island. Vegetables for a salad are spread out before her along with a large bowl and a knife block filled with kitchen knives. Her husband, thirty-something TOM, finally sneaks up on her from behind to slowly pressing a kiss upon her shoulder. RACHEL displays no sign of surprise. Her chef's knife continues rhythmically through the carrot on the chopping board before her. RACHEL: Didn’t anyone ever tell you not to surprise a woman wielding a knife? TOM: Hmph. What’s for dinner? The blade keeps moving through vegetables along the chopping board. RACHEL appears emotionless as she continues. RACHEL: Didn’t anyone ever tell you not to ask a woman that question upon arrival? TOM: Hmm. Fine. Must be that time of the month. As if the earth had suddenly shifted and risen up to meet his head, TOM finds himself flat on his back. Multiple knives pierce the floor on either side of his head, just missing his ears. RACHEL: Didn’t anyone ever tell you not to say that to a woman? His eyes now wide with surprise, sweat breaks out on TOM'S lip as RACHEL peers into the mirror-finish of the butcher’s knife, checking the arch of her brow as she waits for his reply. TOM: I’m sorry, dear. Let me start over, please? Did you have a nice day? And can I help you with dinner? Lowering the chef's knife, RACHEL calmly returns to her task at the chopping board. RACHEL: That’s better. Please set the table. Spaghetti and a salad will be ready in a few minutes. TOM: (muttering) They told me I shouldn’t have married a knife-thrower. >FADE TO BLACK.

INT. THE KINGS ARMS - EVENING ROB FISHWICK and WILL BIBBING, both 34, sit at a sticky table supping on their lagers. Football plays on the TV in the corner and their attention is mostly drawn to that, rather than each other... Rob looks at his friend watching the TV. Will's eyes and head move with the players and ball. ROB: Mate? WILL: What? Rob knows he has to say it... ROB: I know about you and Jane. Will keeps watching the game, but his eyes flicker slightly.. WILL: Whatcha mean? Rob smiles a bit, keeping his eyes on Will, who won't return the eye contact. ROB: I know you shagged her. At Dave's New Years Eve party. When I got pissed. The night comes back to Will... WILL: Haha. Yeah, you were rat-arsed. You slept on the lawn outside. They both laugh. ROB: It was that Ouzo he had from Thassos. Will looks at Rob and his smile fades. ROB: It's alright mate. Ancient history. Will looks away again. WILL: Sorry mate. Rob raises his pint glass to Will... ROB: Cheers. Will raises his and they clink together... WILL: Cheers. Both go back to watching the match. After a pause... ROB: She any good? Without a beat.. WILL: Nah, shit. They both laugh loudly again.

EXT. VALLEY - DAY A parted sea of red and blue. SCARLETT COATS and BLUE COATS flow towards one another, towards the base of a lush green valley. SOLDIERS travel on horseback, on foot, wheel canons, hoist rifles. We see the faces of young, frightened men, amongst more experienced, weather beaten, hard jawed Soldiers, on both the Scarlett Coats and Blue Coats sides. ED, 15, a Bluecoat, stumbles, steadies himself, marches forward, but his face is painted with fear. Both sides are armed with military might. A horseman rides out from each side, BLUECOAT and SCARLETT COAT. They meet in the middle. A nod of recognition between them. SCARLETT COAT: I am sorry. BLUECOAT: As I am for you. Scarlett Coat offers a hand. Bluecoat turns on his horse, gallops back to his army. Scarlett Coat steers his ride back to his own troops. At their helm he gives instructions. SCARLETT COAT: Hold! In the distance Bluecoat rallies his troops, paces up and down along the lines. Bluecoat turns back to look at Scarlett Coat, whose arm visibly orders his troops to halt. An OFFICER approaches Bluecoat. OFFICER: What will you have us do, Sir? Bluecoat scans along the front line of men, his gaze lands on Ed. Ed quakes. Bluecoat stops to think. BLUECOAT: At some point we're just killing kids -- CEASE FIRE!

DAY THIRTEEN: An apology. Distant, bird’s eye view of a pair of people are hiking up a snowy mountain. They have large backpacks and their features are obscured by the thickness of their coats. They are connected by a line between their backpacks. The wind keeps making them lose their footing slightly, but they don’t do more than stumble. They keep glancing at each other uncomfortably before focusing intently on their footing. Zooming in reveals that the two figures are women, ZOOEY and CRIS. ZOOEY: This storm is really starting to pick up, isn’t it? Stony silence. ZOOEY: We might have to find somewhere to make camp soon if we can find shelter. Silence. ZOOEY: We’re making good time, but we’re starting to run out of supplies. We’ll have to make it down to another town soon. The silence is heavy. ZOOEY: Oh my God. Are you not going to talk to me at all? Because if that’s the case, I have no problem leaving you behind. I’m not going to die because you’re on a silent treatment. CRIS: Then leave me behind. I don’t care. We’re literally tethered together. That is the only reason why I haven’t stopped walking. Zooey looks back at Cris. She notices that Cris is just barely keeping up with her. She looks forward again. ZOOEY: Okay. So…maybe that was harsh. I’m just saying that, if we are going to make it, we have to maintain communication enough to say that we need more food or something. Once we get to the bomb shelter or whatever is waiting for us, we can go our separate ways and you won’t have to hear from me ever again. CRIS: That won’t help. It won’t bring Josie back. Silence. Cris has her head hanging down, both against the wind and to keep from showing that she is crying. Zooey stops walking and Cris walks into her, almost on automatic pilot, before backing up. CRIS: What? Zooey hugs her. ZOOEY: I know that I can be brash and stuff. I don’t know how to comfort people. I’m sorry. I hope you understand that we had to leave her. CRIS: We didn’t have to. There was another way. ZOOEY: There wasn’t. She’d already been bitten. She was had a fever already. She told us to leave her behind. Did you want to keep walking with her and watch her turn? She wouldn’t have been the Josie you loved. CRIS: Maybe she would have. Cris falls to her knees. Zooey falls down next to her, if only because the tether between them isn’t very long and she gets pulled down. The wind begins to pick up. Zooey looks around to see the snow thickening, obscuring her vision. She raises her hand in front of her face and can barely see her glove. She looks at Cris. ZOOEY: Listen, Cris. I’m sorry. I’m really sorry, but we have to keep moving. I don’t want to lose two people. Please keep going with me. Please? Cris looks around as well. She sees the snow. She sees Zooey, who is starting to shiver. She looks down at her knees. She shakes her head slowly before getting back up. She starts walking silently. Zooey gets up and walks next to her, taking her hand.

Scene Thirteen.

Scene thirteen continues from yesterday's twelve: INT. GEORGE'S APARTMENT - DAY A knock at the door, Majo opens, is surprised to see José. JOSé Hi. Took me along time but I found you. MAJO Oh... hi... listen. JOSé You should have told me you were leaving, at least to tell you goodbye. MAJO Look, I'm sorry, really sorry but it had to be this way. JOSé I never got the courage to tell you... I love you. I have always loved you... Majo shows him the wedding ring in her hand. MAJO I'm married. JOSé But we... MAJO I'm really sorry we never talked about this. I was aware of the way you looked at me, but I never thought you were going to do something crazy like coming all the way up here. JOSé Now I'm here, come with me, I've got a job as a waiter and I can... MAJO Don't you get it? I love you but only as a friend. Please, leave me alone. JOSé I won't, you bitch. He tries to force his way in, but she closes the door. He bangs at the door. JOSé I'm sorry, I didn't mean that. MAJO Leave me alone or I'll call the police. He kicks the door. JOSé I dare you. I double dare you. She grabs the phone, dials 911. OPERATOR (V.O.) Nine one one, do you need police, fire or rescue? She opens the door. MAJO I need the police. José runs away. To be continued...

Scene 13 (19th entry) INT. CHURCH - DAY JOAN (40s) drags BOBBY (12) inside. MOTHER CONNELLY (50s) welcomes them. JOAN Bobby you tell Mother Connelly what you did right now. MOTHER CONNELLY What’s the matter? JOAN Robert Gene McCarthy you tell her what do you did or you’ll get your father’s belt. BOBBY I took five dollars from the collection plate. JOAN And? BOBBY I took ten dollars from the collection plate. JOAN And? BOBBY I took all the dollars from the collection plate. MRS. CONNELLY Oh my. JOAN You apologize right this instant. BOBBY I’m sorry. JOAN For? BOBBY Taking the money. JOAN And? BOBBY Giving it to Mr. Johnson. JOAN For? BOBBY His drug addiction. JOAN And? BOBBY His sex addiction. JOAN For? BOBBY Recording his drug fulled sex binge. JOAN And? BOBBY Posting it on the internet. JOAN For? BOBBY Attracting a lot of viewers. JOAN And? BOBBY Getting ad revenue. JOAN For? BOBBY Donating to the church. JOAN And what do you have to say for yourself? BOBBY God works in mysterious ways. Bobby hands Mother Connelly a check.

[I’ts NaSkeWriMo. Sorry.] INT. MCDOUGALL'S OFFICE - DAY Bob and Doug sit submissively in front of McDougall's desk. MCDOUGALL: I was told you guys are so good it was worth the hassle of bringing you down from Canada. Do you have any idea how hard it is to get a work visa for a Canadian? BOB: Sorry. DOUG: Sorry. MCDOUGALL: What do you boys have to say for yourselves. BOB: It's all our fault, Mr. McDougall. DOUG: That's right, eh. Sorry. MCDOUGALL: Do you know what you did wrong? BOB: Certainly. And we apologized to Mr. Jameson. DOUG: (snorts) Yeah, he was kinda bein' a hoser, but we apologized anyway. MCDOUGALL: How was he being a "hoser"? DOUG: Well, eh. He wasn' bein' very polite, was he? BOB: Yeah. He was bein' sorta rude. DOUG: He was yellin' that we needed to take the back bacon out. BOB: Yeah, really yellin'. And we said, "Sorry--" DOUG: Yeah, we said, "Sorry." BOB: We said, "Sorry, but we can't change the recipe, because, ya know, that's the taste people expect." DOUG: Yeah, and he said something, and we lost our temper. MCDOUGALL: You lost your temper. What did you say? BOB: We said we're sorry that Americans don't know what a good breakfast meat is. DOUG: And that's why we lost the account. (beat) Sorry. BOB: Yeah, sorry. MCDOUGALL: You guys are pretty sorry. DOUG: There's no reason not to be polite. MCDOUGALL: Well, I'm sorry I'm going to have to let you go. BOB: That's OK, Mr. McDougall. But when we get back to Canada we can make it up to you. MCDOUGALL: How? BOB: We can get you a great deal on back bacon. DOUG: That's a pretty sorry idea, Bob. BOB: Yeah, pretty sorry, Doug.