[…] 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 7 Tracy Barnes (14) shuffled along in line behind the other men and boys, though his head doesn't hang low like the others. He steals glances at things we cannot yet see, things amazing, yet horrifying. Tracy glances up. Looming over the people is a huge alien space ship, like a tower, where the lines of people are being led, like slaves. Near the men line, the women’s line also snakes along, a mirror of the line Tracy is stuck in. Somehow, Tracy doesn't seem to mind. His clothes are tattered already, his hair unkempt, his shoes barely clinging onto life. It can’t be worse. Tracy’s eyes wander to the line of women, still clad in the attire that they were taken in. A few, though, had been pulled from bed, or from a shower, though the naked ones had the charity of the extra scraps of the others and managed to cover up the essentials. Tracy spots a girl, maybe 10, with short black hair wearing a poodle skirt. She glances around, her mouth hanging open. She sees Tracy. They stare at each other for a beat. The girl shrugs. Tracy shrugs. The girl’s line shifts, and Tracy looses sight of her. Ahead, the people disappear into the ship. Tracy takes one glance back to a beautiful earth before boarding.

SCENE FOURTEEN MARIE and DANIEL sit at a table in a nice restaurant that is set for three people. Marie taps her foot impatiently and checks her watch, while Daniel fidgets with the silverware in front of him. DANIEL: You’re going to be nice right? MARIE: Of course I’m going to be nice. Why wouldn’t I be? Other than the fact that she’s half an hour late and hasn’t called. DANIEL: Well in France they couldn’t possibly care less about being on time. I don’t think Jess has fully readjusted to the US yet. MARIE: Jesus, Daniel, she was only there for, what, six months? I highly doubt she can’t remember how to be a fucking American. Daniel keeps nervously straightening all of the already-straight tableware in front of him, unable to sit still. He looks up at Marie pleadingly. DANIEL: I just really want you two to like each other. Marie gives him a forced smile. MARIE: I promise to be nice. JESS, dressed in Parisian-inspired clothes, beret and all, with bright red lipstick, approaches, following the HOSTESS. JESS (with an exaggerated French accent): Daniel! Daniel stands to embrace her and they exchange air kisses. JESS: Mon dieu, and you must be Marie! Daniel has told me so many wonderful things about you! Marie stands and holds out her hand, but Jess leans in to give two air kisses to her, and they awkwardly collide. Marie turns to Daniel, eyebrows raised. Daniel silently mouths: “BE NICE” back at her. Marie rolls her eyes and sits back down.

SCENE 13 - INT. URBAN PROJECTS - NIGHT MATTHEW, a 12 year old black boy, plays with his Hot Wheels, riding them along the floor on an invisible track. GUNSHOTS GO OFF. Matthew hardly flinches, and out of routine, goes and shuts the blinds on his windows. He goes back to racing his cars against one another, with chaos unfolding outside. The sound of POLICE SIRENS goes off, catching Matthew's attention. Excited, he jumps to the window, sticking his face between the blinds. From his POV, he doesn't see much. He hears sirens going off, gunshots blaring, but it seems to be out of his field of vision. Just then, he hears a loud gunshot that sounds startlingly close to him. He ducks down, terrified for the first time. He hears the sound of someone running against the asphault. Though he is terrified beyond belief, Matthew's curiosity gets the better of him, and he pops his head up, looking through the window. Standing outside is a police officer, hiding behind the corner of a nearby building for cover. He is bent over, panting. Matt then sees, at the opposite end of the street from the officer, a thug sneakily making his way, unbeknownst to him, towards the officer. Matt watches it all unfold with morbid curiosity, incredibly entertained, much like one would watch a car-crash about to unfold. The thug begins getting closer to the cop, both of whom are unaware that the other is just around the corner. The cop, still using the corner of the building as cover, looks in Matt's direction and makes eye contact with the boy. Matt freezes up, the spectator now being pulled into the action. The cop motions to Matt, pointing toward the corner, indicating to Matt if "the coast is clear". Matt then looks back to the other end, where the thug is currently regrouping himself. He looks back to the cop. Matt has a decision to make. The cop eagerly waits on Matt's verdict. Matt gives him the thumbs up. The cop smiles, then waves a "thank you". The cop peels around the corner, immediately spotted by the thug, who shoots the cop in the head. Matt's eyes light up, and he pulls away from the blinds. He cannot believe what he has just done.

#14 7/18 INT. VAN - DAY Wes sits in a cargo van full of nothing but T.V. monitors that have hacked into all the cameras from the press conference. He looks over at Karma. She’s adjusting a monitor while chewing on a granola bar. WES-So,...uh,...how do we know if this is real or not? KARMA-We’ll know by his gesture. WES-His gesture? KARMA-Yeah, it’s all coded up. If he sends out a help sign, then we’ll know that he knows we know. Cliff Bar? WES-No, I’m good. But what kind of gesture are we talking about? She turns to him, slowly opens her mouth, then puts her left hand on her left cheek, looking like she’s taken aback or shocked. KARMA-It looks like this. Wes looks to her. WES-Really? That’s “the gesture”? She sees he still doesn’t believe, so she goes back to plugging in wires to another monitor. KARMA-Yup. It’s like a universal S.O.S. sign for these guys. WES-So, if this guy does give out the signal, then what? KARMA-Then the men in his brotherhood will see the signal, and they will help him. And they’ll probably make Mckenna look like an asshole in the press, or sweep it under the rug. WES-Really? KARMA-Oh yeah, and if the gesture is caught in a photo that gets published in a newspaper, then that means, “Red Alert”. Wes looks to the monitors, the press conference has begun. Economic journalists ask questions. The head of the Federal Reserve answers politely. WES-What? Red Alert how? KARMA-Well, Mckenna believes that if the photo is published, then this brotherhood or whatever, has already taken action with the media by publishing the photo. Then all other aspects of society, and the brotherhood begin to help each other out. Get me? Wes looks at her, wonders “what the fuck have I gotten myself into?” But stays polite. WES-Kinda. So, that’s what Mckenna believes. Is that what you believe? KARMA-No. But then again, as they say, “Karma’s a bitch.” Oh, here we go... She points to a MONITOR Mckenna stands in a roomful of reporters. Not only does he stand, but he clearly stands out, in his Denim jeans older than both Wes and Karma, and his white button down shirt from the seventies which remains open collar. MCKENNA-Hi, uh, yes. I have a question. He holds up one of the pieces of paper that Wes risked his life for. MCKENNA-I am currently holding onto a piece of paper with your signature on it, dating back to nineteen forty three, where it seems you and the Federal Reserve decided to control human vibration and or mankind’s frequency. I’m sure all of us here are curious about what you have to say about that. VAN The monitors all stay on Mckenna. KARMA-Dammnit. Karma searches for a reaction shot. One monitor, with a logo from the Middle East stays on the head of the Federal Reserve. His jaw drops, and he holds it there. His left hand slowly comes up, and The camera CUTS, shows Mckenna again, looking like a fool. KARMA-God, those assholes. EXT. STREET CORNER - MORNING A BROKER ON WALL STREET reads The Wall Street Journal. The front cover is the head of the Federal Reserve, posing just as Karma did, mouth open, left hand on left cheek. (S.O.S.) HEADLINE: “Fed says, ‘More of the Same for next Six Months’...”

SCENE 14 (PROMPT: A scene in which a gesture plays a key part.) INT. WAREHOUSE – DAY ANDREW and JOHN sneak through a warehouse, their footsteps echoing in the stillness. ANDREW: Okay, hold up. They stop. ANDREW: From here on out, we can’t speak. JOHN: What? Why? ANDREW: Because they’ll hear us. So from now on, this means go (holds up two fingers and points forward) This means stop (holds up a fist). Understood? JOHN: Whatever. Let’s just keep moving. They continue on. Soon VOICES come from up ahead. Andrew holds up a fist to stop – John doesn’t. ANDREW: PSST! John looks back to Andrew who is not so discreetly looking to his closed fist currently up in the air. JOHN: What? ANDREW: This! It means stop! JOHN: So? ANDREW: So it’s up, that means stop. JOHN: Then… (holds up fist) this. John continues on leaving Andrew without any words.

Scene 2 TERRY walking quickly trying to keep up with the fast paced crowd sleeking up the sidewalk. She keeps her gaze down... a toes distance from her partner Bobby. They approach the White House as people are lined up, her eyes grow big. As they come to a stop she dips her hands deep in her pockets and continues to gaze down. Bobby turns back to her about to speak and a large man with a bluetooth in his ear approaches and motions with his hands for them to step back. Bobby thrusting his hands out and open palmed "WHAT??" he shouts to bluetooth suit man "Haven't you pushed us around enough?" Suit waves Bobby down again while shaking his head in a yes fashion to his bluetooth. BOBBY, turns to Terry saying as he thrusts up his forearm into a fist "I came here for one reason.. to tell those pricks in congress where to shove it!" Terry blushes, then Bobby gives her a wink, turns his baseball hat around backwards and then aims back at bluetooth while sticking his peace finger into a v shape and placing it over his mouth and wiggling his tongue "Your Mama!" He shouts at bluetooth while jumping up and down, and wiggling his tongue. Terry has to laugh,she wants to run away but her legs will not move. Bobby then grabs his homemade sign with a rainbow painted on it and begins waving it especially towards blutooth and chanting "Equality!" "Equality!"

Scene 2 TERRY walking quickly trying to keep up with the fast paced crowd sleeking up the sidewalk. She keeps her gaze down... a toes distance from her partner Bobby. They approach the White House as people are lined up, her eyes grow big. As they come to a stop she dips her hands deep in her pockets and continues to gaze down. Bobby turns back to her about to speak and a large man with a bluetooth in his ear approaches and motions with his hands for them to step back. Bobby thrusting his hands out and open palmed "WHAT??" shouting to bluetooth suit man "Haven't you pushed us around enough?" Suit waves Bobby down again while shaking his head in a yes fashion to his bluetooth. BOBBY, turns to Terry saying thrusting up a forearm into a fist "I came here for one reason.. to tell those pricks in congress where to shove it!" Terry blushes Bobby with a baseball hat twisted backwards gives her a wink, aims back at bluetooth with peace fingers into a v shape over mouth jumping up and down while tongue wiggling. "Your Mama!" shouting at bluetooth while jumping up and down, and tongue wiggling all the while. Terry has to laugh,she wants to run away but her legs will not move. Bobby then grabs their homemade sign with a rainbow painted on it and begins waving it.... especially towards blutooth.... chanting "Equality!" "Equality!"

My scene 08 EXT. PARK - DAY Detectives JAVIER (40s) and RICK (40s) join their suspect, EMILY (30s), who's by a pond, watching the ducks. EMILY Why are you disturbing my lunch hour? JAVIER 'Cause you didn't tell the whole story last time we talked. Emily throws some crumbles to the ducks. RICK You weren't really Suzy's friend, were you? EMILY Yes I was. At first. I helped her. Then she pays me back by stealing my boyfriend. JAVIER I bet you didn't like it one bit. EMILY 'Course I didn't. I confronted her. But that was months ago. I didn't kill her. RICK Didn't you? EMILY No man would be worth it. If he wanted to be stolen, so be it. And why kill her now? JAVIER She broke up with Mark, but he was still hoping to get her back... EMILY Good luck. I certainly don't want him back. Look, I have an alibi, so quit bothering me. RICK Ah, yes, an alibi, Maybe you didn't do it. But won't you help? Emily HURLS a fistful of crumbs to the pond. The ducks scatter. EMILY She was a traitor and boyfriend stealer. She probably had it coming.

Scene 2 TERRY walking quickly trying to keep up with the fast paced crowd sleeking up the sidewalk. She keeps her gaze down... a toes distance from her partner Bobby. They approach the White House as people are lined up, her eyes grow big. As they come to a stop she dips her hands deep in her pockets and continues to gaze down. Bobby turns back to her about to speak and a large man with a bluetooth in his ear approaches and motions with his hands for them to step back. Bobby thrusting his hands out and open palmed "WHAT??" shouting to bluetooth suit man "Haven't you pushed us around enough?" Suit waves Bobby down again while shaking his head in a yes fashion to his bluetooth. BOBBY, turns to Terry saying thrusting up a forearm into a fist "I came here for one reason.. to tell those pricks in congress where to shove it!" Terry blushes Bobby with a baseball hat twisted backwards gives her a wink, aims back at bluetooth with peace fingers into a v shape over mouth jumping up and down while tongue wiggling. "Your Mama!" shouting at bluetooth while jumping up and down, and tongue wiggling all the while. Terry has to laugh,she wants to run away but her legs will not move. Bobby then grabs their homemade sign with a rainbow painted on it and begins waving it.... especially towards blutooth.... chanting "Equality!" "Equality!"

Sorry about my edit, I think I posted 3x ugh!!

SCENE 14__________________________________ A soft music plays through the entire scene A Japanese man romes around the street of India, busy, where every minute you hear a horn. But despite the chaos a spiritual energy blows in the wind. He romes around with nothing in hand, searching for someone who can understand him. He approaches a rickshawvala asking him something. The rickshawvala clearly cant understand him and the man trying everything to make him understand with bodily signs. Giving up, he moves on. INT. POLICE CHOWKI. DAY a policeman[50s] sits in front of him. JAPANESE MAN(slowly with handly gestures, in Japanese): MY ……… PURSE(he points to his pant pocket) GOT STOLEN(he says waving as to show his purse got snatched) As he is wandering, he sees an Indian flag waving, he makes a face at it. The man is clearly very disappointed of the country. The policeman looks dazed. An awkward expression of confusion on his face. The JAPANESE MAN sighs with hopelessness. The policeman calls for one of his colleagues and whispers something in his ear. As the man is about to get up, the policeman motions him to remain seated. The man follows. He policeman stares at the man, smiling. After a while, his colleague returns with A TRAY OF TWO TEA CUPS. He goes to the man COLLEAGUE: CHAI?(subtitled: tea?) the man takes a cup, clearly impressed by the affection. He smiles at both the person. The policeman's colleague goes back in and returns with a mobile. He puts it in front of the Japanese man. GOOGLE TRANSLATOR is opened. The Japanese man smiles. CUT TO: The Japanese man is leaving the chowki. He and the policeman shake hands as he says thank you to him. Both he and his colleague wave him goodbye as he goes. On going out he sees the Indian flag again and smiles at it.^_^ ___________________________________________ THANK you for reading. Please comment and let me know how it could've been better. Thanks again. :D

No problem, Karen. Sign of a true writer. Edit, edit, edit, edit...

Question for everyone doing the Challenge: How are you coming up with names for your characters? It's a LOT of names you're working with. Any special thought or just grabbing the first ones that come to mind?

For me its generally on instincts. When I visualise the characters I ask who is this person and the perfect name snaps in my mind.

Scene 14: EXT. COMPOUND - PALASTINE A finger traces a route on a map, pans up to show PATRICK HOWARD, NAVY SEAL, in night vision goggles. He performs a series of hand signals. Three SEALS peel off. He scales the wall and is met on the balcony by two SEALS. Scans for his third. An GRAPPLING HOOK misses the wall. Patrick quickly drops a cord down to SKIPPY, their youngest. Movement through the window. Skippy climbs, Patrick holds his head down concealing him. One handed, he assembles his silencer. A silhouette at the window. Patrick flips his gun into place with his LEFT HAND. Shoots. Target down. Motions for his TEAM to move in. Releases SKIPPY. INT. COMPOUND - NIGHT A SEAL checks the dead man. It's a GUARD. They clear the room, check the hallway. All clear. Patrick signals: two SEALS go downstairs, he and Skippy go upstairs. They ascend slowly, checking each turn. Patrick instinctively spins and sees the TARGET with his sight on Skippy; kicks Skippy's feet out from under him BOWLING him down the stairs. Patrick expertly kills the TERRORIST, missing Skippy as they tumble down together. Skippy screams as the Terrorist lands on top of him with WIDE DEAD EYES.

Usually, I start with placeholder generic names that change a few times before I settle on definitive names.

Scene Four Interior – Kitchen – Morning Marvin(23) wipes a sea of sweat off his forehead and exhales. Staring. Breathing. Staring. Analyzing and already critiquing what he’s put on the plate. He’s not satisfied yet. Dominic (55) peeks around the corner. Eyes bulging and his hand raises in the air to enquire if the dish is ready. Marvin gently raises his hand towards Dominic and whispers. Marvin: Hold on. Dominic speaks through his teeth. Dominic: He’s waiting. Hurry up. Marvin shuffles over to the refrigerator. He calmly scours the shelves. He opens a couple of drawers. He starts to breath a little quicker. Marvin: Come on. Where is it? Are you kidding me? I know it’s in here. The last drawer is opened. Marvin: There you are. A block of Parmesan cheese. Nothing elegant but it's exactly what he needed. Back to the plate for the last piece of the puzzle. Dominic sees what’s in Marvin’s hand and gasps taking only three steps to float across the massive kitchen. Dominic: What are you doing with that? You can’t put that on there. Marvin ignores him and begins the delicate process of shaving just the right amount of cheese on top of the risotto dish. Dominic: If you want this job you better scrape that off of there right now. I know Mr. Zundy. He’ll throw you out of here just by looking at the plate. He’s so picky. Marvin delicately places the last shaving on the steaming white bed. Marvin: Done. Let’s go. Dominic: No. I won’t serve that to him. I need this job. Take it yourself. Marvin: If you say so. Marvin grabs hold of the plate and proceeds to walk through the kitchen and out to a vast dining room occupied only by Mr. Zundy (7). Squatting and waiting, he’s dwarfed by the chair at the end of the table. A few Legos and Hot Wheels are scattered on the table along with a collection of empty juice boxes. Mr. Zundy: Where’s Dominic? He always brings me the food. Who are you? Marvin: I’m the new guy. Marvin. Dominic was too chicken to bring you out something amazing. So I had to do the dirty work. Nice wheels. Mr. Zundy: Thanks. Marvin puts the plate down in front of Mr. Zundy who sneers at the plate. Mr. Zundy: What’s this? Without hesitation. Marvin: Food. Eat it. You’ll like it. Mr. Zundy furrows his brow for a split second and releases. Mr. Zundy: Ok. Want to play with the cars? Marvin takes a seat next to Mr. Zundy who cautiously inspects the first spoonful but takes a bite. Marvin: Sure. How’s the food? Mr. Zundy gives an enthusiastic thumbs up to the ceiling. Marvin smiles at Mr. Zundy. He glares over his shoulder at Dominic who is again peeking around the corner. Marvin: So, what do you want tomorrow?

SCENE 14 EXT. HOUSE - DAY A car pulls into the driveway, stops, turns off. ELLIE gets out of the passenger side, carrying a plastic container of flowers. She tries to open the back door, almost dropping the container. She sets it on the trunk of the car, and opens the door, pulling a bag of potting mix out of the backseat. RICK sits in the driver’s seat. RICK: I’ll get the stuff in the trunk. ELLIE (slamming the door shut): Wait a minute, will you? RICK: What? Ellie holds up a finger, to give her a minute. Rick, looking in the rearview mirror, just sees a hand go up. He presses the button to open the trunk, gets out of the car. Ellie’s flowers fly into the air. Of course, they land upside-down, crushing the petals and spraying dirt everywhere. ELLIE: What the hell did you do? RICK: What did I do? He comes around the back of the car, sees Ellie’s flowers on the ground. ELLIE: I told you to wait a minute! RICK: You put your hand up, I thought you wanted me to open the trunk. ELLIE: I was telling you to wait a minute! RICK: I’m really sorry. He bends down, picks up the container. RICK: We can fix them, can’t we? Ellie stares at him. RICK: I’ll get the stuff out of the trunk. ELLIE: You do that. She grabs her mutilated flowers and heads toward the house.

Scene 14 Today’s prompt: A scene in which a gesture plays a key part. INT. ALI’S CLUB The place is jumping to a cover band blasting classic rock. Gates and Marci stop to take in the scene. Marci looks over her shoulder to the bar, nods to GUY1 and GUY2. They nod back. GATES: I forgot how loud this place was. MARCI: What? They share a laugh. MARCI: What do you want to drink? GATES: White wine. I see the girls over there. Gates waves to the girls (B.G.), heads toward the table. Marci joins GUY1 and GUY2 at the bar. GUY1: So that’s the bitch. Where’s our money? Marci hands the money over. MARCI: Maybe you can dance with her. GUY1: You still want to go through with this? MARCI: Push her around a bit. Rough her up. TABLE Gates joins Chloe and Brenda. CHLOE: Glad you found us. Where’s Marci? GATES: Getting our drinks. BRENDA: Let’s start this off a shot. Brenda hands Gates her shot. GATES: Tequila? I don’t know. Marci shows up with two more shots. MARCI: Here you go. BRENDA: Way ahead of you. MARCI: To lonesome suckers. They all shoot, laugh. Guy1 and Guy2 ask Gates and Chloe to dance. GATES: I don’t know. MARCI: Go on. Girls night. They find a place on the dance floor. Guy1 bumps Gates booty a couple of times. She bumps back. Song ends. On the way back to the table. GUY1: I like this song. One more. CHLOE: Sorry. One song. One guy. GUY1: I wasn’t talking to you. MARCI: Hey idiot. Back off. GATES: Sorry. Maybe another night. Thank you. The guys sulk away. Gates smiles at Marci. GATES: Your turn to shake you booty. MARCI: Maybe later. DANCING, DRINKING MONTAGE Dancing. Joking, Drinks served, Laughing. LATER GATES: Well it’s been fun, but I’ve got to run. MARCI: Little girls room. I’ll see you outside. Good-byes. Marci and Gates part. EXT. ALI’S PARKING LOT - NIGHT Gates walks to the Firebird, stops at the door. GUY1 (O.S.): Muscle cars. I got some muscle for you. GATES: What? Gates turns, Guy2 grabs from behind, she drops her purse, uses kick-boxing moves. GATES: Fire. Fire. Stomps on his foot, throws her head into his nose, blood. GUY2: She broke my nose. Guy1 grabs her, slaps her hard, she falls on the hood. GUY1: So you want to tussle. Wilson whacks him with his gun. Guy1 falls to the ground. WILSON: I like to tussle. Get out of here. GATES: I’ll call the cops. WILSON: No. Leave now. This never happened. Wilson walks the guys into the shadows at gun point. GUY1: I didn’t mean anything. She said-- WILSON: Walk. Gates pulls the Firebird to the front door. Marci climbs in.

Sixth entry. Doing it out of order. INT. LOCKER ROOM – EVENING The doors to the locker room swing open with unnatural force. Chris 20, dressed in a three-piece suit and long topcoat strides confidently in, holding his MASK in his left hand. It is a piece of metal shaped like a cross, form-fitted to his face, with two eyeholes and a mouth aperture for breathing. A security guard runs in behind him. GUARD: Hey! Without even turning around, Chris uses his power to violently toss the man against the wall. A loud THUD can be heard as the man’s skull hits the wall. He crumples to the ground. Chris hasn’t stopped walking. He passes row after row of lockers until he finally turns down the last aisle. He stops in front of SEANN’S locker, squaring up with it. He puts on his mask. Raising his hand toward the locker, he twists his wrist and all of the metal before him twists as well. He then makes a clawing motion in the air, as if he were peeling the door off of the locker. The door peels downward and is discarded to the side. There is a bunch of used lacrosse equipment, and a basketball. A PHONE sits on the top ledge of the locker. Chris takes it out. He begins to try to unlock it.

Scene 14 INT. FORD ASSEMBLY PLANT - BREAK ROOM - DAY TERRY JACOBS (53) walks into the room, wiping his greasy hands on his cover-alls. He sits at a table with BRUCE (60) and PAUL (34), who are getting started on a poker game. TERRY: Deal me in. Terry glances over at another table, eyeing JIM CRONIN (50), as he accepts handshakes and pats on the back from other workers. Terry scoffs. TERRY: Look at that. Mr. Popular. BRUCE: He just won an election. People are excited. TERRY: People are dumb-asses. He's an asshole. And an idiot. PAUL: If you don't like him, you should've run against him. Terry leans back with a mocking laugh. TERRY: Me? I ain't got time for union politics. Glad-handing, backscratching. Bullshit. I'm here to work. Get my job done and clock out. BRUCE: Someone's got to lead the union. TERRY: Jerk-offs. Always jerk-offs. I worked with him for two years over at Weld V. The guy's a headcase. All ego, no spine. He's a moron too. Can't keep a thought in his head for more than a second before he's distracted. Like a dog looking a squirrels, like a baby. This guy's going to lead us? He couldn't lead a fly to shit. Between receiving his congratulations, Jim catches Terry's eye, waives him over. Terry, stunned, looks around to make sure he is the intended target. PAUL: You're being summoned. Terry gets up nervously, puts his hands though his hair. Bruce chuckles. BRUCE: You look like you're getting asked to the prom. Bruce and Paul laugh. TERRY: Well hell, he's an asshole, but he's very important man around here. I'll be right back. Terry makes his way over to Jim, shakes his hand. Bruce and Paul shakes their heads as they play cards. A round of laughter emits from Jim's table. Terry comes storming back. PAUL: What was that about? TERRY: Still an asshole. Nothing changes. Deal me in.

- SCENE 14 - MIA (25) and DANIEL (25) sit in a food court eating lunch. They have shopping bags all around them. NAOMI (50) rushes over to their table. NAOMI: Mia?! MIA: Naomi! What are you doing here? NAOMI: Heading to Bloomingdale's. MIA: I mean, America. NAOMI: I'm here for a month. I was trying to get your number- MIA: Looks like you didn't need it... Sorry! Naomi, this is my boyfriend, Daniel. This is my aunt, Naomi. DANIEL: Oh, hi! Wow. Nice to meet you. NAOMI: Nice to meet you. Ronit said you were dating someone. He's cute. You're cute. I want details. Where did you two meet? DANIEL: School. NAOMI: You're a lawyer too? MIA: We met in undergrad. Let me grab you a chair. Mia gets out of Naomi's view, and signals to Daniel. She shakes her head, "No," and mimes singing into a microphone. NAOMI: Thanks. What did you study then, Daniel? DANIEL: Theatre. NAOMI: Theatre? DANIEL: Yeah, I'm an actor. (beat) NAOMI: Nice to be dating someone like Mia, then? MIA: Daniel is very good. NAOMI: I'm sure. Have you been in anything? Mia tries to gently shake her head so only Daniel will notice. DANIEL: Yeah, a few things... I also teach. NAOMI: You do? MIA: He does! At a temple. NAOMI: Eizeh Yofi. Ata melamed Ivrit? DANIEL: I uh.. still working on the Hebrew. I teach religious studies. Mia mouths, "Sorry," to Daniel. CUT TO BLACK

For a couple of mine I specifically wanted characters who's names could be either gender. Otherwise I base it on demographic location, common name, or race/age/culture of character. Of course there is so many other things to consider but that is my very basic way to determine a name . I usually identify the character and where they are coming from before the name. I also change the name if the character develops and the name does not fit anymore.

Scene 14 (7th entry so far) Disclaimer: This is 3 pages, I apologize for bending the 2 page rule! Forgive me :) EXT. SPACE STATION - THE FUTURE A futurist version of the International Space Station sits at the edge of our solar system. INT. SPACE STATION Humans in NASA type uniforms operate the space station. CAPTAIN KILLKIN nervously rushes to a shuttle bay door. He tucks in his shirt and smooths his hair down. PRIVATE JACOBS beats him there, in even more flop sweat. He wears on computer on his wrist. CAPTAIN KILLKIN Is everything ready, Jacobs? PRIVATE JACOBS The Trakoni and docking now, captain. But -- CAPTAIN KILLKIN This is the greatest moment in human history. Perhaps in the history of the universe. The meeting of one intelligent species and another. PRIVATE JACOBS But sir -- CAPTAIN KILLKIN This has to go perfectly. More than perfect, if that’s possible. PRIVATE JACOBS That’s the thing. CAPTAIN KILLKIN What’s the thing? PRIVATE JACOBS The language primer that the Trakoni sent to us, our computer hasn’t decoded it yet. CAPTAIN KILLKIN So we have no way to communicate to them? PRIVATE JACOBS Well they will be able to understand us, we just won’t be able to understand them until it’s complete. CAPTAIN KILLKIN How am I supposed to make first contact without the, you know, contact? PRIVATE JACOBS Well technically, sir, I made first contact when we picked up their signal -- CAPTAIN KILLKIN Shut your air vent private and get that translator working! PRIVATE JACOBS The computer is at 95%. Can you just vamp? CAPTAIN KILLKIN Vamp?! Soldier, I’m a grown ass man in an intergalactic military, I don’t vamp. THE SHUTTLE BAY DOOR OPENS THREE HUMANOIDS covered in metallic fabric tower above. Captain Killkin dons a huge smile and goes into full VAMP: CAPTAIN KILLKIN (CONT’D) Fellow inhabitants of the galaxy, the civilization of Humanity welcomes you. I mean, we’re neighbors really. Earth and Trakona, Trakonia? It’s like what, twenty light years away? Forget about it... The LEAD TRAKONI makes a GESTURE, placing his hand between his chest and neck. Captain Killkin slyly turns to Private Jacobs who fumbles with the computer. CAPTAIN KILLKIN (CONT’D) What does that gesture mean? PRIVATE JACOBS (whispers) I don’t know, sir. 98%. CAPTAIN KILLKIN Make it go faster. PRIVATE JACOBS (at a loss) I’m pressing buttons! Captain Killkin turns back to the Trakoni. CAPTAIN KILLKIN How was your flight? Are your arms tired? Okay, sorry that’s an ancient earth joke. Do you guys have comedy? If not you should check it out. I might recommend the Three Stooges for you fellas. Captain Killkin hates himself, swallows his pride, stalls. The Lead Trakoni makes the same Gesture. The Captain turns to Private Jacobs. Jacobs shrugs. CAPTAIN KILLKIN (CONT’D) So, we’re all terribly thrilled you’re here. It’s a big deal and all. And looking back, we’re all going to just be like, wow, this was a really big deal you guys. PRIVATE JACOBS 99%. CAPTAIN KILLKIN (clears throat) Uhh... The lead Trakoni makes the Gesture a third time. Captain Killkin decides to reciprocate and makes the same gesture. The Trakoni are visibly pleased by this. CAPTAIN KILLKIN (CONT’D) Oh ok, that meant something. PRIVATE JACOBS Sir, it’s complete. Let’s see... uh oh. CAPTAIN KILLKIN What? PRIVATE JACOBS It appears the gesture the Trakoni made was a proposition of peaceful surrender by our species to theirs... CAPTAIN KILLKIN And the good news is? PRIVATE JACOBS When you made the gesture you agreed to the subjugation of all humanity or face... extinction. They turn to the Trakoni who smile with RED EYES and FANGS. CAPTAIN KILLKIN (gulp) This is going to look especially bad since my name is kill kin.

(I went another route with this. I went with a romanic gesture.) SCENE 14 INT. OFFICE - DAY HELEN Who sent you flowers? CLAUDIA The card isn’t signed. HELEN The arrangement is gorgeous. Whoever sent them has exquisite taste! CLAUDIA I agree. HELEN So no idea of who could’ve sent them? CLAUDIA None. I’ll be racking my brain as to who would have been so thoughtful. HELEN You’ll find out in due time. SCOTT New boyfriend Miss Chen? CLAUDIA No Scott. I actually have no idea of who sent them. SCOTT Maybe you have a stalker amongst your co workers? HELEN What a shitty thing to say Scott. SCOTT It happens. CLAUDIA I refuse to think it’s a stalker. SCOTT Suit yourself. Just be careful Ms. Chen. HELEN He’s an ass! Don’t let him spook you. CLAUDIA I won’t, but my curiosity is even more peaked as to who sent these. DISSOLVE TO: HELEN’S OFFICE A FEW MINUTES LATER HELEN My friend loved the flowers Laney. You did an excellent job! LANEY Well once you told me what you wanted, I just went from there. HELEN Just so you know, I want another bouquet delivered Friday. This time to my friend’s home. LANEY Same arrangement? HELEN No let’s do something a little different this time. Here’s what I want... FADE OUT

Or steal them for people I know or facebook, lol

I try to come up with a name that I think fits what the character looks like, and the impression they give to the audience and other characters. Does he look like a Stan or an Archibald? You instantly picture two different people. I go on instinct and run with it, change it later if it starts not to fit. Very seldom do I think long and hard about the perfect name. Only when the character or story demands it.

Sc. 9 INT. LARGE OFFICE FLOOR - NIGHT CLINK CLINK. Cups on a tray ding together. Carrying the tray is MARION (24), her curvaceous body swaying as she floats through the bustling office. Past clerks and secretaries. They all look - and she loves it. At the end of office, through a glass wall she can see JAMES (37) talking sternly at a smiling HENRY (29). Outside the door, at her desk typing, sits JANET (24). Seeing Marion approaching, she covers her face from the two men inside and rolls her eyes. Smiling daringly at Janet, Marion uses the toe of her shiny black shoes to knock. Inside the argument continues. With a graceful turn Marion opens the office door with her well proportioned butt - winking at Janet she glides in backwards. The argument inside halts. As she arranges the tray on the office table, the argument starts up again. HENRY: I was only scratching my eye. JAMES: With your middle finger -- HENRY: I had an itch. JAMES: Goddamnit Henry, do you know who these people are? Do you know what this contract means? HENRY (angry): I had a goddamn itch. What’s the big deal. JAMES: What’s the -- He turns to Marion and scratches the inside of his eye with his middle finger. JAMES: Marion, what does this mean? MARION (at Henry): Fuck you! JAMES: Exactly … Marion could you please draft up an apology letter from Mr. Nesbitt here. Nothing to grovelling but sincere and etcetera … and pour me a drink will you, it’s gonna be a long night. He turns to the window and looks out at the gleaming city lights. Marion pours a stiff scotch into a heavy crystal tumbler. HENRY: He’s pompous clown anyway … what’s the big -- JAMES: Ah shut up Henry. Or I’ll give you a proper fuckin’ itch. Marion gives the tumbler to James, then turns and walks to the door. As she passes Henry sitting glumly on the couch, she gracefully scratches her eye with an extended middle finger. His face is boiling as she exits with a smile.

SCENE 14: INT. Corporate Offices - Day WARREN marches down the aisle of the corporate offices. He ducks into a cubicle. BOBBY is startled by him. WARREN: Meeting in the main conference room. Now! This is repeated for the next ten cubicles. INT. Main Conference Room – Day: The room is quite large with a long table. The bay windows reveal an expansive panorama of the city from the 45th floor. Warren strides in and sets up his laptop at the head of table. One by one the programmers saunter in and take seats around the big table. Warren, at the head, faces away from them, adjusting the projection from his laptop. They begin to stare at each other wondering what is going on. They communicate silently in gestures and hands signals. Bobby flips his head at MARLIN with a shrug, ‘What’s up?’ Marlin shrugs an “I don’t know.’ LISA takes a seat and looks at each of them shaking her head. They return shrugs prompting her for more. She shakes her head again as if to say, “I don’t even want to go there.” ELLEN slides into a seat. She notes Warren is engrossed with his laptop, facing the screen away from the others, adjusting the image. She disgustedly glances at the others with a nod, ‘I knew this was going to happen.’ The others return the now popular questioning shrug, ‘What the hell is going on?’ Ellen flips a look at Lisa. Lisa repeats her head shaking, ‘Not going there.’ GEORGE, TOM, MARTY, HASSAN, NADER, and DEEPAK all skip in, jovial at first, until they see the somber faces of the others. They carefully place themselves in seats, looking to the others with the typical questioning shrug. This time Bobby and Marlin both do the infamous shaking of the head, accompanied by a hand with a stop gesture, ‘Don’t ask.’ Everyone is quiet, somber, and scared. Warren turns around. WARREN: Oh, I didn’t realize you were all here. Welcome to the main conference room. I know all of you seldom get up here to see daylight. But today is special. Today, ladies and gentlemen of the I.T. application development department, LifeBlood, our critical operations program, crashed. And apparently it’s irreversible, isn’t that right, Marlin? Marlin hesitates and passes a look to Tom. Tom shrugs and passes to Hassan. Hassan shakes his head and peeks at Deepak with eyebrows raised. DEEPAK: Well, I wouldn’t say irreversible, exactly. Deepak turns to Ellen. ELLEN: Yes. Well, we could probably get the bugs out within 72 hours. She stares at the others for help. They look to Warren. WARREN: 72 hours? He stares intensely at each of them. They all nod anxiously in agreement. WARREN: Well guess what ladies and gentlemen. Each one of you will go back to your desk, retrieve your laptop, bring it back here, and here is where you will stay until this bug is found and corrected. A moment of total silence passes before they all get up and sloth off through the door.

I think of a scene and character raises their hand and says "I can do that." I ask their name and say "Let's see what you got."

Scene 15 INT/EXT. STAKEOUT CAR-NIGHT Dark city street. Traffic is quiet. It's raining lightly. A late model sedan is parked at the end of the street. A hole in the wall bar is stuffed between soulless brick buildings. GARY, 27, eager, nervous, slouches in the driver's seat. He stares out the window at the people inhabiting the street. A few hookers huddle under a small awning, smoking and trying their best to attract business. A scattering of bar patrons hang out for a quick smoke. HANK, 30, calm, experienced, smokes in the back seat. He watches Gary. HANK: It's easy, kid. All you have to do is make contact. Bum a smoke or something. GARY: How will I know it's him? FLASH CUT TO: EXT. ALLEY-NIGHT Pitch black. Then, the SOUND of FLINT SPARKING. Schheatchh. A flame illuminates the brim of a hat and lips pinching a hand rolled cigarette. HANK: He smokes these special hand rolled cigarettes. Shadows flickers as the flame dances. The end of the cigarette flicks up and pierces the flame. The end burns with the inhale. BACK TO STAKEOUT CAR GARY: So I'm looking for hand rolled cigarettes? HANK: Nope, it's the matches. He strikes the match on his shoe. Real old school. Like the old west. Thinks he's some sort of cowboy. GARY: We're in Texas. Everyone thinks they're a cowboy. Hank looks at his watch. 3:35am. He stubs out his cigarette butt in the armrest ashtray. HANK: I'm going to catch a nap. Keep your eyes open. Gary sits up a little straighter. His eyes dart from person to person. He squints trying to peer into the shadows. TIME LAPSE: 1 Hour Gary's eyes are dangerously close to closing. A MAN steps out of an alley across the street. Cowboy all the way down to the boots. Hat angled down over his eyes. GARY: Hey, hey. (swats at the sleeping Hank). Possible subject. Hank cranes his neck and looks out the window. HANK: Maybe. They both watch as the cowboy leans against the wall, unconcerned with the other street people. His mouth fidgets with a match. He pulls a hand rolled cigarette from behind his ear. Replaces the match with the cigarette. He reaches down and strikes the match on the side of his boot. Schheatchh. He cradles the flame up to his mouth and takes a long pull as the twisted paper catches fire. HANK: That's our guy, junior. Gary shifts in his seat. Checks himself in the rear view. HANK: Ok, kid. That's your cue. Gary checks his weapon and ducks out of the car. He slides his gun into the back of his jeans, covers it with his jacket, then closes the car door. Game time.

Scene 15 (Day 14) INT/EXT. STAKEOUT CAR-NIGHT Dark city street. Traffic is quiet. It's raining lightly. A late model sedan is parked at the end of the street. A hole in the wall bar is stuffed between soulless brick buildings. GARY, 27, eager, nervous, slouches in the driver's seat. He stares out the window at the people inhabiting the street. A few hookers huddle under a small awning, smoking and trying their best to attract business. A scattering of bar patrons hang out for a quick smoke. HANK, 30, calm, experienced, smokes in the back seat. He watches Gary. HANK: It's easy, kid. All you have to do is make contact. Bum a smoke or something. GARY: How will I know it's him? FLASH CUT TO: EXT. ALLEY-NIGHT Pitch black. Then, the SOUND of FLINT SPARKING. Schheatchh. A flame illuminates the brim of a hat and lips pinching a hand rolled cigarette. HANK: He smokes these special hand rolled cigarettes. Shadows flickers as the flame dances. The end of the cigarette flicks up and pierces the flame. The end burns with the inhale. BACK TO STAKEOUT CAR GARY: So I'm looking for hand rolled cigarettes? HANK: Nope, it's the matches. He strikes the match on his shoe. Real old school. Like the old west. Thinks he's some sort of cowboy. GARY: We're in Texas. Everyone thinks they're a cowboy. Hank looks at his watch. 3:35am. He stubs out his cigarette butt in the armrest ashtray. HANK: I'm going to catch a nap. Keep your eyes open. Gary sits up a little straighter. His eyes dart from person to person. He squints trying to peer into the shadows. TIME LAPSE: 1 Hour Gary's eyes are dangerously close to closing. A MAN steps out of an alley across the street. Cowboy all the way down to the boots. Hat angled down over his eyes. GARY: Hey, hey. (swats at the sleeping Hank). Possible subject. Hank cranes his neck and looks out the window. HANK: Maybe. They both watch as the cowboy leans against the wall, unconcerned with the other street people. His mouth fidgets with a match. He pulls a hand rolled cigarette from behind his ear. Replaces the match with the cigarette .He reaches down and strikes the match on the side of his boot. Schheatchh. He cradles the flame up to his mouth and takes a long pull as the twisted paper catches fire. HANK: That's our guy, junior. Gary shifts in his seat. Checks himself in the rear view. HANK: Ok, kid. That's your cue. Gary checks his weapon and ducks out of the car. He slides his gun into the back of his jeans, covers it with his jacket, then closes the car door. Game time.

SCENE #9 EXT. UPSTATE U GATES - DAY SECURITY GUARDS pour out of the gates just as the mob arrives, forming a stout line to push them back. SECURITY CAPTAIN Get back! Now! The Governor’s LIMO approaches. The gates start to close. Gail fights to get past the guards, waving her hand frantically. GAIL I’m a student here! Check my ID! The mob sees her and mimics her waving. STUDENT PROTESTERS I’m a student here! Check my ID! SECURITY CAPTAIN I said GET BACK! The limo is halfway through the gates now. Suddenly, it stops. A hush falls over the crowd. The back door opens. A cufflinked HAND beckons to Gail. The security captain taps his earpiece, then nods and lets Gail go. Everyone stares as she's allowed through. Suddenly a HAILSTORM of JUNK (beer bottles, sneakers, rocks) is launched at the limo, forcing Gail to race the final steps and leap inside, slamming the door shut. The limo takes off, the gates CLANKING shut behind it.

@heathenistic scene 14 EXT. ZACK'S HOUSE - NIGHT It's late. All quiet on the street. Deirdre shuffles along the sidewalk. She's wearing the necklace Zack gave her in his apology note. She stops outside his house - it's all dark inside. She stares up at his window for a moment, picks up a handful of small pebbles from the garden, tosses one at his window. Nothing. She tosses another one. And another. she tosses one after the other until finally the light turns on. Zack opens the window and pokes his head out. ZACK: Deirdre! Deirdre keeps throwing pebbles at the window. They're bouncing around the frame, glass, and off Zack's head. ZACK: Stop it! I'm here! Deirdre! She stops. Stares up at him, uncertain about what she will do next. ZACK: You know, this is pretty nineteen-fifties of you. She just stares up at him. Trying to find the words. ZACK: I'm glad you came back. Deirdre stares down at the pebbles in the palms of her hands. Slowly she lets them trickle out, and she watches them fall back to the ground. Zack looks on, lovingly. ZACK: Listen, I... Deirdre snaps her gave back up to Zack, gives him a 'don't you dare' face. ZACK: I want us to start again. Deirdre looks at him. She's got no words. She just stares, wobbles a bit, lets him keep talking. ZACK: I think you want that too... I mean, you're here, right?.... Should I come down?....I should come down.... hold on, I'll be right there. Deirdre feebly nods. Zack's heart lifts, his face lights up. ZACK: Wait right there! He ducks back in, light goes out. Deirdre waits. Her gaze lowers slowly, eyes move toward the front door. Waiting. The latch CLICKS, door opens. Zack bursts out onto the veranda, elated, hurries down the steps toward her. DEIRDRE (calling out): HEY! Zack stops in his tracks. Still smiling at her lovingly. Deirdre smiles back. Looks back down at the palms of her hands, still cupped as if the pebbles were still there. Slowly, her fingers curl in, hands balling into little fists. forearms raising upward. Two fists frame her smiling face. But the smile is no longer friendly. It's become a wicked grin. The two MIDDLE FINGERS slowly straighten, into two glorious iconic pillars of 'FUCK YOU.' Zack's smile falls off his face. Deirdre laughs, cackles. Pumps her fists and middle-fingers in the air at Zack. She rips the necklace off her neck, throws it to the ground. Turns on her heel, and struts away, job done.

INT./ EXT. SMALL AIRCRAFT, SKY, 10,000 FEET - DAY A light aircraft trails through a cloudy sky, its doorway open. The plane engines roar. In the doorway MAGDA, 28, skydive instructor, gives the thumbs up to some terrified looking passengers in jumpsuits. They release their grip, of whatever's they're clinging to, to give her the thumbs up back. She waves to the first up; JUMPER, 22 who slinks up to the ledge, incredibly nervous. MAGDA: So, when I give you the okay (signals okay), you jump, okay (signals okay)? Jumper acknowleges the signal, skydives from the lip of the plane, plummets, disappears in the distance through the clouds. Magda looks at the parachute still in her hands. The rest of the skydivers wedge themselves against the airplane interior. MAGDA: I need to rethink how I phrase that. INT. AIRCRAFT HANGAR - DAY A SUPERVISOR glares at Magda. MAGDA: Fired? But it was just one...I'll get my jumpsuit.

SCENE 9: INT. BAR - NIGHT A dive bar. Not a place for nice people. But obviously there is one very nice young woman here. MANJU, barely out of her teens, obsessively cleans glasses behind the counter. She looks nervously about as if terrified of a monster boss. A woman, too much sun, too much alcohol, too little love, sidles up to the bar. WOMAN A whisky and soda, honey. Manju shoots to attention and hurriedly, mechanically, but perfectly executes the order and sets it in front of the lady. WOMAN (CONT’D) You’re a good bar-tender. Manju allows herself a weak smile. MANJU Thank you, Ma’am. WOMAN Come over here, darlin’. Manju is suspicious, but complies. She leans forward. WOMAN (CONT’D) (whispering) When he enters, he’ll pull his left ear-lobe, like so... To Manju, the woman’s left is her right. Manju’s shivering. WOMAN (CONT’D) Take him into the back room. Make the drop. Take him out the back-door. The woman leans back, downs her drink in one gulp and high-tails it out of there. LATER... The bar is fuller. Much fuller. Mostly with men. Except for the waitresses. A clean-living executive type is at the bar with a much more hard-living friend. They’re downing drinks having a good time. EXECUTIVE TYPE Which ear should I pierce, this one or this one? HARD-LIVING FRIEND Your girlfriend will dump you. EXECUTIVE TYPE I’m counting on it. So which one? The left or the right? I had an infection in my left ear... Manju sees him fingering his ear-lobe. But not pulling it. She’s confused. She catches his eye. She smiles. He smiles. EXECUTIVE TYPE (CONT’D) The bar-tender likes me. His friend turns around and checks Manju out. HARD-LIVING FRIEND Your girlfriend will dump you. EXECUTIVE TYPE I’m counting on it. Manju maintains eye-contact but he does nothing. Their smiles begin to freeze. Eventually Manju reaches up and pulls her right ear-lobe. Insistently. Again and again. EXECUTIVE TYPE (CONT’D) What is that...a signal? The executive pulls his own ear as well. Unsurely. GANGSTER (O.S.) That’s the guy! Gun-fire rains out. Men and women scream. Manju ducks behind the bar, clutching her dish-cloth. A lot of firing later, there is a long low moan. And then silence. Manju gets up from behind the bar. Everyone in the bar is dead or dying. The door opens. A man walks in. Cow-boy hat. Plaid shirt. He looks around, amazed. He walks up to Manju, stepping over bodies gingerly. He pulls his left ear-lobe. Manju’s jaw drops.

SCENE EIGHT INT. BAR Two men sat at one table, start laughing at a man sat at a table by himself. Suddenly a stranger comes up behind them. HARRY WHO: I saw what you just did to him. TROUBLESOME TERRY: And what has that to do with you? HARRY WHO: Go up and say sorry to him. TROUBLESOME TERRY: Are you joking...? You can do it for me if you want. HARRY WHO: You like making trouble for yourself? TROUBLESOME TERRY: You're making me laugh too much. I'm going to spill over my beer in a minute. HARRY WHO: OK, I get the picture.. You think you're hard... If that's the case, then do it again... TROUBLESOME TERRY: (laughs) What is this, a test? HARRY WHO: Let's see if you're up for it... Stick two fingers at my brother again...and then we'll see what happens. FADE OUT.

DAY FOURTEEN: A scene in which a gesture plays a key part. EXT. BACKYARD – NIGHT A party of people sitting in chairs around a small fire pit. People are exchanging witty banter amongst themselves. Wine and beer is readily available at a moment’s notice. Food is also looking delicious, though distinctly of the finger food variety. Pop music plays from inside of the house. There is an overall mingling expectation. However, the camera begins to zoom in on people and a small piece of flavor text appears above their heads, momentarily pausing their dialogue for a moment. For example, a woman who is happily talking to two other people in her circle has text that reads, “Regularly drives drunk. Considers herself a ‘functional alcoholic.’” Another guy may have something over his head like, “Bankrupt. Remortgaged his house three times to afford his car payments.” INT. HOUSE - NIGHT The camera tours through people and starts going down a hallway where the groups start thinning out to a few stragglers who need to be alone for a few moments. We focus on a woman who is sitting on a bed in one of the back bedrooms with everyone’s coats strewn around the room. She is going through people’s pockets and reading anything that she finds before replacing the cards, condoms, phones, etc. She is taken out of her introvert reverie when she hears someone start to come into the room. MAN: Oh! I’m sorry. I didn’t know anyone was in here. WOMAN: No problem. MAN: Do you mind? I just need to get away from people for a sec. WOMAN: I get it. Do you. The man walks into the bedroom and closes the door behind him. He stands at the door for a while, appreciating the woman in front of him and taking in every detail of her that he can without being a complete creeper. MAN: If I have to have one more conversation about how someone has landscaped their garden or whatever, I might vomit. WOMAN: No kidding. I don’t care about manicures, but people keep wanting to show me their nails. MAN: Oh, the assumptions. They sit in silence for a while before the woman busies herself with her previous task. MAN: What are you doing? WOMAN: I’m bored. I learned a long time ago that, aside from going through someone’s trash, going through people’s wallets and pockets is the best way to get to know them. For instance, a startling amount of people here are on a real dry spell, but hoping to get some here I guess. MAN: How do you know this? WOMAN: Expired condoms and regularly skipped days in birth control. So, everyone’s horny or everyone has a horrible idea of how sex works. MAN: Interesting. He starts looking through pockets, almost testing the theory. He pulls out a condom. MAN: Well, I’ll be damned. This one expired a year ago. WOMAN: Nice. She keeps looking through the pockets, but starts focusing on studying the man. They would be a handsome couple. She finds yet another condom. She looks at the date: “09/2014.” She looks back at the man for a moment before seemingly shaking off her inhibition. She tosses the condom at his head. He picks it up and notices the date. He looks at her. She smiles slightly and raises her eyebrows invitingly. He smiles as well, locks the door, and begins to walk toward her.

Scene Fourteen.

Scene fourteen continues from yesterday's thirteen: INT. SIMON'S HOUSE - DAY A small house, messy and unclean. Simon watches TV, eats fried chicken from a bucket. THUG kicks open the door, he and a SECOND THUG enter the house, walk to Simon. Thug takes out a tablet, taps on it, the Butcher on the screen. THE BUTCHER You had to be a showoff. SIMON What? I just did what I was told. I drove them away from... THE BUTCHER Shut up! I got a good pair of ears in there, and they told me you said I had, and I quote, protection from guys well beyond your league. SIMON Well, you... do. THE BUTCHER And now they know! The Butcher makes a thumb down gesture. THE BUTCHER Do you know what this means? SIMON No, wait. I don't think he took it seriously. Butcher, please... No! EXT. SIMON'S HOUSE - DAY Gunshots are heard. To be continued...

INT. DAN'S APARTMENT - KITCHEN - NIGHT Lasagna, salad, and the plates of Dan, Charlotte, and Amanda leave almost no empty space on the small table. Charlotte sits opposite Amanda, Dan between them. AMANDA: The lasagna tastes funny. CHARLOTTE: I think your father's lasagna is delicious. AMANDA: Daddy. Do mommies keep lying to daddies after they're married or only before? DAN: Charlotte isn't lying. She's being polite. AMANDA: If you're not telling the truth, you're lying, right? DAN: Truth and lies are about facts, not opinions. Taste is an opinion. AMANDA: But if your true opinion is you don't like it and you say you like it, that's a lie, isn't it? DAN: No, that's being polite. CHARLOTTE: How old are you? AMANDA: You didn't tell her? DAN: I told her. She must have forgotten. She's eight. CHARLOTTE: You don't sound eight. AMANDA: How old are you? You look like you're thirty but you sound like you're eighteen. CHARLOTTE: I need to powder my nose. AMANDA: Number one or number two? CHARLOTTE: Excuse me, Dan. She rushes out of the kitchen. AMANDA: It's on the-- CHARLOTTE (O.S.): I know where it is. Amanda wrinkles her nose. DAN: (sotto) Give her a chance. Amanda slowly shakes her head.