[…] 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 EXT. BEACH PROMENADE – DAY Soft windy day at the end of summer. People stroll around and children play. An old woman, bold, sits on bench. She stares at the sky, lost in memories. The wind whips her face. The voice of a young child rips her out of her thought. She turns and sees that a young child, beautiful long curly hair, and her mother have joined her on the bench. The child licks her ice-cream whilst she stares at the old lady. She points with her finger at her bold head. Her face looks surprised. CHILD: you don’t have any hair (shocked) The old lady smiles and nods. The mother feels ashamed. CHILD: what happened to your hair? OLD LADY: the wind blew it away The child looks like she has to digest this information. MOTHER: Some people don’t have hair and that's okay. (to child) The child turns to the old lady. Her curiousity has grown. CHILD: can’t you get it back from the wind? The old lady and the mother laugh. The old lady shakes her head ‘ no’. OLD LADY: it doesn’t work that way. Once the wind takes your hair, it’s gone forever. At that moment, the wind blows through the young child’s hair. Instinctively, she grabs with her free hand her hair to protect it from the wind. OLD LADY: Don’t worry, the wind won’t take your beautiful hair. You’re young and have a life ahead of you. It only happens when you’re very very old. As young as she may be, the young child seems to understand her. She lets go of her hair and immediately it billows. The child eyes the old lady. CHILD: I like you. The old lady smiles. This has made her day. She pinches in her small hand. OLD LADY: I like you, too.

SCENE 17 (PROMPT: A scene between a senior citizen and a child.) EXT. CROW’S LANDING – DAY A forest in the middle of winter. No snow. No leaves. Just naked trees and their branches. Some fallen to the ground. JACOB (12) wanders through, his imagination turning this desolate land into a kid’s dream. JACOB: You go left. Go-go-go! Jacob ducks to the right and heads off in a sprint through the forest – dodging branches and fallen logs. JACOB: They’re onto us. Hurry. Hurry. He’s talking to himself, but in this instance the forest is his friend. His only friend. And he uses it to his advantage. He comes to a halt behind a tree and grabs some air. JACOB: Up ahead, men. Three—errr, twelve o’clock. Jacob peaks around the tree and looks to a SHELTER fifty yards away. Although ‘shelter’ is a nice name for this. Two boulders separated by twelve feet. Broken branches and a blanket crisscross between the two rocks to make a roof. A makeshift clothes line has been set up with shirts drying. JACOB: Easy there, men. We don’t know what it can hold. Jacob approaches, cautious of the newly discovered fortress. His steps are slow, careful not to make to much noise and give his position away. The place looks empty. Logs sit atop waiting to be lit for a fire. Jacob enters the SHELTER. A blanket on the ground. A PAIR OF PANTS rolled up into a pillow. A NECKLACE with a PICTURE on the end -- A 15 year-old girl on the inside. It’s someone’s home. But it doesn’t look exciting. JACOB: Well, men, it looks like it’s clear. He turns and exits the shelter – stopping in his tracks. Standing in front of him is MARVIN (60s), eyes wide, hair just as frayed as the branches in his arms. They stare eye to eye. Neither moving. Both seemingly stunned by the other’s presence. Jacob takes an audible ‘gulp’, tries to speak, but can’t find the words. MARVIN: What’re you doin’ in my home? Jacob shakes his head, unsure. Marvin drops the wood on the pile for the fire and approaches. Jacob circles around to the other side in case he needs an escape. MARVIN: You take anythin’? Touch anythin’? Again, Jacob shakes his head. His heart beating. Play time is over. Marvin enters the home and comes out with the necklace in which he pockets, keeping it close. Away from anyone else. JACOB: Wh… who’s that? MARVIN: None of your business. Now go on. Get. Jacob doesn’t move. He should. He probably should go home. But he’s struck with insurmountable curiosity. MARVIN: What do ya want? JACOB: Is… is this your… MARVIN: Home? Yeah. And I don’t like intruders in my home. You hear? JACOB: I – MARVIN: How would you like if I came into your home unannounced? Huh? Now get. Go on. Get. Jacob doesn’t move. Marvin makes a lackadaisical attempt at Jacob causing him to flee back into the woods. Marvin mumbles to himself and removes a flask from inside his pant pocket, taking a swig, and watching Jacob run away.

SCENE 17 INT. LIVING - DAY JAKE, 13, sits on the couch, playing a video game. In the game, he’s a fighter pilot. His MOM and GRANDPA enter the room. MOM: Jake? Grandpa’s here. Jake gets up and goes to them, hugs and kisses Grandpa. JAKE: Hi, Grandpa. GRANDPA: Hi, kiddo. Jake and Grandpa wander to the couch, sit down. Jake picks up the game controller. GRANDPA: What the hell is this? JAKE: It’s a video game. GRANDPA: This is a not a game. A game requires you to move some part of your body. Jake doesn’t respond. GRANDPA (CONT’D): You kids, you’re all sucked in by screens. That’s all you know. You live your lives like you’re at a museum, watching everything from behind glass. Jake’s eyes are glued to the screen, his fingers hammering away at buttons. GRANDPA: Look at you, you’re like a damn vegetable. Jake blows up an enemy plane. JAKE: Got one! GRANDPA: Got one what? JAKE: A plane. GRANDPA: A plane? JAKE: Yeah, an enemy plane. It’s Air Wars 3. Grandpa starts watching the screen, trying to follow what’s going on. GRANDPA: I did this, you know. JAKE: Did what? GRANDPA: Flew fighter planes. JAKE (turning to Grandpa): Really? GRANDPA: Sure did. God, I can’t believe how real this looks. JAKE: When? GRANDPA: During the war. Let me try that thing. Jake hands over the controller. JAKE: What was it like, flying? GRANDPA: Later. He glares down at the controller. GRANDPA: How do you work this thing?

Scene 17 Today’s prompt: A scene between a senior citizen and a child. INT. DEN HOME GRANPS sleeps in the recliner. BOY rides his hot wheel into the room, bumps the recliner, wakes Gramps GRAMPS: What? BOY: Grandpa. Where do you go when you die? GRAMPS: Ah. I guess you go to heaven. BOY: That’s what mom said. Dogs too?. Gramps sits up. GRAMPS: Why the questions? BOY: Scooter hasn’t come home yet. I think he died. GRAMPS: He’ll come home when he gets hungry. BOY: I don’t know. I want him home. GRAMPS: You remember when I didn’t come home. The boy nods. BOY: Mom said you were really sick and I should pray for you to come home to us. GRAMPS: She said that? BOY: Yes. She said you wants to be with Grandma. You miss her. GRAMPS: Of course I miss her. But I have you. I will be here for a long time. Why don’t we go for a walk and see if we can find Scooter. Would you like that? BOY: Can I ride my hot wheels? GRAMPS: Sure. Can I ride my scooter? Boy nods, smiles. Gramps sits on his scooter GRAMPS: Ready?

#17-7/23 EXT. PATIO - MORNING Mario (76) sits and watches the sun over the Gulf Of Mexico on his beach front property. He sips a Bloody Mary. His shirt is unbuttoned revealing all of his TATTOOS His chest and arms are covered in them. Nicholas(4) runs out onto the patio, wide awake, ready to seize the day. MARIO-Nicholas, que pasa mi amigo? Nicholas stops, stunned at the ink painted on this old man. He’s seen tattoos, but never this many on one canvas, let alone on a canvas this aged. He moves in, inches from the old man, examining the art on flesh. Mario sits, this is not the first time this has happened to him. He leans over to Mario’s left arm. Something is triggered. He runs back inside. SARAH (O.S.)-Nickey? What are you doing? Sarah(28) enters the patio, absorbs the view and is speechless. MARIO-Morning. Sarah, so awestruck by the ocean being fifty feet away didn’t even see Mario. Nor was she expecting to see all of his tattoos. SARAH-Oh, morning. Wow, this place is amazing. MARIO-Coffee? Grigio? SARAH-No, I’m good right now thanks. Miguel’s still sleeping. MARIO-I was a night guy at his age too. Nicholas comes running back with a vinyl copy of “Abbey Road”. He holds it up to Mario’s left arm. The tattoo was clearly an “Abbey Road” reference, but the characters crossing it, are not The Beatles. NICHOLAS-Wow! Cool. Who is this? Mom, who are they? Who who who? MARIO-Nino, that is not The Who. SARAH-Nickey, that’s The Beatles. You can’t just go grab someone’s records. Nicholas points to the tattoo. NICHOLAS-No! Who are those people? MARIO-Those were Stevie, Quinn, Mousey, and Turner. We used to ride motorcycles together. A long time ago, we were all like brothers y’know. NICHOLAS-Whoa! Can they come over? MARIO-Fraid not. The young child looks to the tattoo again, then back to the old man. NICHOLAS-How come? MARIO-Well, those four men. They all shared something in common though. Her name was Abbey. However, when Abbey got sick they all figured it was best for her to go to a doctor. So they sent her. And she never came back. NICHOLAS-Did the doctor make her better? MARIO-Hmmm. No. Before you were born some doctors worked out of...different places, like alleyways. We never saw her again. Nicholas thinks, but doesn’t comprehend. Sarah gets the message though and is terrified. Miguels father’s reputation is not exaggerated. NICHOLAS-Oh, that’s sad. What did she look like? Mario smiles. He sticks out his arm and rotates it. His inner forearm reveals the street of the “Abbey Road” tattoo, morphing down into the hair of a beautiful young Hispanic woman. MARIO-She, she looked exactly like this. Nicholas is dumbfounded. Sarah SIGHS. SARAH-So, uh,...where’s the Grigio again?

SCENE SEVENTEEN INT. HOSPITAL WAITING ROOM NOAH, 6, kneels on the ground, leaning against the coffee table, draws with crayons on a pad of paper. VANESSA, 14, sits nearby, playing on her phone and loudly listening to music on her headphones. CAROLINE, 64, sits next to her, watching Noah sadly. As if feeling her stare, Noah looks up at Caroline. She quickly fixes her face into a smile. CAROLINE: What are you drawing, Noah? Noah smiles proudly and lifts the pad to show her a scribbled drawing vaguely resembling a tree. CAROLINE: Oh, how lovely. NOAH: It’s for Mommy. CAROLINE: She’s going to love it. NOAH: Can I see her now? CAROLINE: Not yet, sweetie. NOAH: She’s still sleeping? Caroline nods. Vanessa glances at her, turning her music down to listen to the conversation. NOAH: She must’ve been reaaally tired. CAROLINE: She was. So the doctors are helping her sleep for an extra long time. NOAH: And then she’ll be all better? Caroline hesitates, making eye contact with Vanessa, who still has headphones in, but with no music playing. CAROLINE: Well, honey, it might take some time for her to feel better. NOAH: But what about the zoo? CAROLINE (confused): What zoo? NOAH: Mommy is taking my class to the zoo. VANESSA: She’s not going on your stupid field trip, Noah. Dad already told you that. NOAH: But she promised! Caroline holds out her arms to Noah. He stands and crawls into her lap. CAROLINE: Oh, you’re getting so big. You know, when I was your age, I used to help my mom with lots of chores. I’d help wash dishes after dinner and take the big garbage bags outside. Do you ever do that for your mom? Noah shakes his head, giggling. CAROLINE: Well, maybe those are jobs for a seven year old. NOAH: I’m almost seven! CAROLINE: Oh that’s right! What a coincidence! Vanessa smirks. NOAH: So I can do those things! Caroline smiles and nods. NOAH: I’m bored. I want Mommy to wake up. Vanessa looks back down at her phone, shifting uncomfortably. Caroline strokes Noah’s hair and kisses his forehead. CAROLINE: Me too, sweetie.

Scene 17 (8th entry so far) INT. SOCIAL SECURITY OFFICE - DAY GENE (70s) and his granddaughter EMMA (10) stand in a line. EMMA What’s all these people doing here? GENE They’re here to pick up their checks, like grandpa. EMMA Why? GENE Because they need money. EMMA They give out free money here? GENE It’s not free, Emma. The money comes from those damned high taxes. EMMA Why do people get free money instead of working? GENE Because they are freeloaders, dear. INT. MEDICARE OFFICE - DAY Gene and Emma stand in a line. EMMA What are all these people doing here? GENE This is a medicare office. EMMA What’s that? GENE It’s how old people without insurance get to see a doctor. EMMA Free money to pay for a doctor? GENE Something like that. EMMA What do you if you can’t get medal care? GENE Well you die, sweety. EMMA Why don’t people pay for doctors themselves? GENE Because they are takers, dear. EMMA Are you a taker? GENE No, angel, I’m a tax payer. EMMA Where do the taxes go? GENE They go to Big Government socialists who use it to take care of all these freeloading takers. EMMA Grandpa, if you do everything freeloaders and takers do, doesn't that make you a freeloading taker? GENE You’re grounded young lady.

SCENE 17___________________________________ A door opens and the CAMERA pans a child(5) lies on a bed, covered in blanket, watching tv. As it gets closer, white startes fading in, it pans to his big blue eyes as they slowly shut, the whole screen turns white. Over the white MOM(V.O) What do you think heaven would be like? CHILD(V.O) Heaven..Heaven would be like a big place..and..and..there would be pretty faries welcome me with..with..rose petals..and ..and the streets are gold! And I would take teddy with me there and it will turn into a bear! (beat) And I won't ever ever get sick A calm piano plays... FADE ON WHITE as the child stands there, beside him, a bear. They walk towards the CAMERA. CHILD'S POV He looks up,Petals fall from above gliding like feathers. The white fades into a beach. He puts his arm on the bear, looking at the place in wonder. In front of him appears an old lady(90s), in pyjamas, spinning round, laughing with joy at the place around her. She notices the child. The music stops with a ting as their eyes meet. CHILD (tears fill in his eyes) Grandma? GRANDMA gets emotional, she moves to him and hugs him tightly, he hugs back. Sobbing on his shoulder. The music starts again GRANDMA My baby… CHILD Granny, dont cry.. The bear whines GRANDMA I am not crying my child, this is joy, THIS IS joy. She kisses him in the cheek. CHILD I am so sorry, I.. I didn't know you had..had gone to heaven until in the morning. GRANDMA Oh! I dont remember anything except the happiest moments of that life. (beat) Anyway, it was the best way to retire with you beside me. (beat) Now, I have to go. The child innocently looks at her, CHILD Where? GRANDMA Back to work. Grandma kisses him again on the forehead as she fades out. CHILD Grandma! Grandma! He looks around the beach in search of her. He, with the bear moves to the shore. He sits down where the waves slide through him as the bear cuddles in his lap. The music stops MOM(V.O) Won't you feel lonely? CHILD(V.O) No… God will be wih me! CHILD'S POV: A white silhouette appears walking towards him from the sea, it waves. EXTREME CLOSE UP ON the child face as he smiles with his cheeks fluffing up. The music starts back. _____________________________________________ Source of character: youtube-"4 year old boy describes heaven before tragically passing away" Thank you VideoInspirational for uploading it.=) Thank you for reading. Please comment and let me know how it could've been better. Thanks again :D

Scene 17 INT. MUSEUM OF TOLERANCE - DAY GRANDPA PEARLSTEIN, a scruffy senior dressed in a tweed coat, glasses and newspaper hat cradles his grandson, ADAM, as they enter the museum. Grandpa goes to buy a ticket at the front desk. GRANDPA: One senior ticket, and...how much for the little one? TICKET WOMAN: He'll be a regular priced ticket. GRANDPA: Regular priced? For this thing? Look at him... Grandpa holds the wide eyed child up to the desk. GRANDPA: He's practically even a person...he weighs less than my shoe. Don't you have a child's discount? TICKET WOMAN: Well, people usually don't bring their infant children here. Annoyed with the judgement in her tone, Grandpa fires back. GRANDPA: His mother wants him to learn about his people, is that a crime? She blankly stares back at him. TICKET WOMAN: That'll be $26.50, please. INT. HISTORY OF JEWISH OPPRESSION HALL-LATER Grandpa walks down a long hall featuring art work and pictures of Jewish persecution, telling a story in a linear way of the rough Jewish history. The pictures are brutal and slightly graphic in detail, some gorier than others. GRANDPA: You know about Moses, right? Freed the Hebrew Slaves from Egypt. That's how Passover came to be. The child is unresponsive. GRANDPA: One day, you'll learn more about Masada...the Sicarri were under siege from the Romans, and rather than surrender, they chose mass suicide. The Jews can be quite proud. As he walks down the hall, he gets dirty looks from other museum-goers. GRANDPA: Ah, look at this. "The Night of Broken Glass", the Kristallnacht. They stand below a massive painting featuring grotesque-looking Nazi soldiers hurling boulders at the screaming Jewish crowd beneath them. Adam begins to squirm, almost about to cry, the image clearly scaring him. GRANDPA: Okay, I get the point. INT. MUSEUM THEATER - DAY Grandpa and Adam stand in the back of the room. A grainy black and white film plays, showing the horrors of the Holocaust. As the video becomes more and more graphic, Adam begins to cry. GRANDPA: Shush, you need to be quiet. But Adam cries louder. People all around the theater are staring at Grandpa and Adam. GRANDPA: C'mon, you little rascal. They're gonna make us leave. As the movie goes on, Adam's cries become thunderous. People begin murmuring at Grandpa, who at this point is incredibly embarassed. EXT. PARK - DAY Grandpa and Adam sit on a bench. Grandpa looks at Adam's face, which is now peaceful and happy. We see a puppet show going on in front of them, surrounded by other little children. As Grandpa and Adam sit and watch, Grandpa eats an ice-cream cone. GRANDPA: You're right buddy, this is a lot more fun.

-SCENE 17- EXT. PARKING LOT - NIGHT BARNEY (70) and ELISE (9) lie on top of a parked sedan, staring at the sky. Barney is dressed in a tux. Elise is in a dress. BARNEY: You're told, for 76 years, that you're a planet, and then- ELISE: I don't think Pluto heard us calling it a planet. BARNEY: Even so, I don't see the problem with carrying on calling it a planet. ELISE: It's too small, and it's- BARNEY: It's the same as when they said the astrological signs changed. What sign are you? ELISE: Cancer. BARNEY: According to what they said a few years ago, you're a Gemini now. You don't call yourself a Gemini, though. You're a Cancer, and you're always going to be a Cancer. Pluto is the ninth planet, and- ELISE: Astronomy and astrology are two very different things, papa. BARNEY: Who made you so smart? ELISE: I dunno. BARNEY: It's that mom of yours. ELISE: Yeah, I guess. BARNEY: (beat) How do you feel about David? ELISE: Huh? BARNEY: David... How do you feel about him? ELISE: I dunno. How do you feel about him? BARNEY: I'm not going to live with him. ELISE: You don't like him. BARNEY: Elise! ELISE: You don't. I can tell. BARNEY: We all loved Christopher a lot. You know that? ELISE: Yeah, I loved him too. BARNEY: Of course, and it's hard to see someone take his place. ELISE: How come you never remarried? BARNEY: No one wants to marry an old man. ELISE: An old woman would. BARNEY: No one would compare to your grandma. ELISE: Does David compare to my dad?

SCENE 17 - INT. SPACESHIP - DAY RYAN, a handsome, rugged-looking soldier, lies on the ground, barely breathing. Blood trickles from his forehead, and he looks on the verge of death. Around Ryan, we see the aftermath of the battle: dead bodies lay everywhere, machinery is destroyed with wires sticking out, zapping electricity, parts of the ship are on fire, etc. Everyone is seemingly dead. Ryan closes his eyes, as if ready to accept his death. Just then, he hears a loud BEEPING NOISE. He looks up, seeing that the noise is coming from the control center of the PLANETARY DESTRUCTION MACHINE, which is aimed at Earth. Realizing he needs to finish his task, he gathers the will to live, then with all of his effort, he gets up onto his feet. Ryan limps over to the control center, which is a giant computer at the end of the room. He winces in pain, limping as blood trickles onto the floor. But he fights on, moving with urgency as the clock on the countdown-meter gets closer and closer to destruction. Ryan reaches the computer, the screen currently reading "64 SECONDS UNTIL DESTRUCTION". He types some keys into the keyboard, attempting to hack into the system. However, after each attempt, he hits an "ACCESS DENIED" screen. Ryan grows frustrated, the time now reading "34 SECONDS UNTIL DESTRUCTION". Ryan, typing quickly with a sense of urgency, enters a new code once again, only this time he is prompted with an "ACCESS ACCEPTED" message. He is overcome with relief, but the feeling is only temporary as the clock is now at 25 seconds. ZERG (O.C.) That'll be far enough. Ryan stops, as he feels the end of Zerg's gun pointed against his head. ZERG You almost thought you had stopped me, didn't you? RYAN Zerg, Planet Earth will be destroyed. You don't have to do this- ZERG But I do! Because human beings are but the most despicable of creatures, and it has been my lifelong journey to destroy them. And now, in a most fitting manner, you will have fallen just short of saving the planet which you love. Seargant Ryan Smith of the 14th Batallion of the People's Republic of Planet Earth, your time ends here- BLAST! Zerg is shot in the head and drops dead to the floor. Ryan turns around, seeing KATANA, his gorgous female love interest, with her gun pointed at Zerg's dead body. KATANA No, Zerg. YOUR time has ended here. RYAN Katana, you're still alive! KATANA Oh, don't get all sappy on me, Seargant. We still have a mission to complete. Ryan turns back to the screen, which miraculously only reads 20 SECONDS. On the screen is a large string of code written in alien language. RYAN This is written in some sort of ancient dialect, I have no idea what this means! KATANA All I can make out is that you need to choose between hitting the number one or two. It appears that one button is to deactivate the machine, while the other is to activate. Ryan stares at the keyboard, eyeing the 1 and 2 keys. RYAN So it all comes down to this... Katana, to Ryan's surprise, grabs Ryan's right hand. She nods at him, giving him the final choice. RYAN Katana, if we don't make this out alive, I want to let you know, I love you. KATANA I love you too, Ryan. Ryan reaches for the final buttons... The countdown timer reads 3.56 seconds... Ryan's finger gets closer, Katana and Ryan both looking terrified... The timer is now at 1.55 seconds... Ryan is about to press a button... END CREDITS. SCREEN GOES TO BLACK. NARRATOR (O.S.) On the next episode of Space Wars... Ryan presses the number 2. The planet Earth explodes, to Ryan and Katana's horror. RYAN Oh god, what do we do now? KATANA Ryan, I don't know. They hug one another, crying. RYAN Well I've lost a great amount of blood, so I should probably go to a hospital- Ryan drops to the ground, dead. KATANA Ryan! Katana looks at her stomach, which is also covered in blood. Her eyes roll back, and she dies as well. NARRATOR (O.S.) Tune in next week, to find out what happens!

Scene 10 HOORAY 9 year old boy and 80+ year old grandfather sitting together looking at an old photo album Grandfather pointing at old black and white photos Grandpa has a raspy voice and is wearing an oxygen tank GP, this here is your uncle Herbert and his friend just before they left for Vietnam Boy, that car they are standing by looks weird Grandpa, it’s so big and there the pictures look weird too, like it faded GP, That’s how cars were back then, oh yes how everything has changed, now people don’t even have photographs like these anymore Boy, who is that grandpa, is that you? GP yes it is son.. That’s me and my best friend Teddy when we got back from World War 2. We was top gunners. Nobody and I mean nobody thought we would make it back. GP Slide me that box over there I want to show you something Boy slides box and grandpa rasping and coughing through oxygen tank pulls out a large piece of beautiful pink and purple silk cloth. GP I sent this piece of silk to your grandmother when I was stationed over in Europe, I picked it up in Italy and sent it over to her before we left to Germany to fight. I would have liked to see her make a dress or at least a Kimono or something but she wouldn’t have it. She was too afraid to ruin it. Boy Its very pretty grandpa, I bet she loved it Gp she did! You see boy things was real hard to come by back then it was the Great Depression GP, Coughing and spitting GP Kids today have everything handed to them. They don’t know how to fight for anything, hell they cant even fight to keep their britches pulled up. Boy laughs GP All us dogface boys on the frontlines were a fightin, as long as we had our girls waitin back home and a good carton of cigarettes we could fight til the end. GP still coughing Boy Grandpa theres an old newspaper in the box, it says you and grandmas name on it. It says Oct 12, 1942. GP yep that the article out of the little Missoura town we lived in about that piece of silk, she was so proud and showin it off. They all figured that piece of silk would be the last she’d see of me though, but it wasn’t! Grandpa chuckles, spits and goes into an uncontrollable coughing fit and then nods off. Boy, Grandpa Grandpa please wake up! I want to know more stories! Can you please tell me about my dad? Why don’t you have any pictures of my dad? Grandpa please wake up!! Boy tries to shake grandpa awake Grandpa please tell me why my dad didn’t come back! Please grandpa! Was he in a different war? Did they forget to give him cigarettes and he couldn’t fight anymore? Please grandpa wake up, tell me! Boy continues to try to wake up grandpa with no success.

SCENE 17 INT: LIVING ROOM-DAY Twelve year old Ryan is visiting his grandparents for the summer and has been spending more time playing video games than spending time with them. His grandpa Maury has a plan to put a stop to it. MAURY What are you doing there kid? RYAN Playing a game? MAURY On that little thing? RYAN Yep! MAURY Whatever happened to playing games outside and socializing? RYAN There’s no one around here to socialize with. MAURY I guess you’re right. We do live in the country, but that’s no reason to stay in the house all day playing video games. RYAN What do you suggest I do? MAURY The church is having a picnic tomorrow. We’re going, and you’re coming with us. RYAN That sounds like fun. Getting bit by mosquitoes and eating strange food. I’ll pass. MAURY Young man tomorrow you’re coming with us and that’s that. I don’t see how your mother puts up with that attitude of yours! At that time, Maury's wife Mildred comes in the room. MILDRED Maury stop your hollering. Someone is knocking at the door! MAURY Oh for crap’s sake, who could it be? MILDRED Polly. She’s stopping by to borrow a serving dish for the picnic. MAURY Oh. MILDRED Hello Polly! Come on in. POLLY Hello there. Did we come at a bad time? MILDRED No. Why would you say that? POLLY Well me and Samantha heard Maury yelling... MILDRED This here is little Samantha? POLLY Well she’s not so little anymore. She’s got boobies now. SAMANTHA Grandma! MILDRED Ryan, come here. RYAN Yes Grandma. MILDRED This here is my friend Polly and her granddaughter Samantha. She’s the same age as you. They’ll be attending the picnic tomorrow. Ryan's sudden attitude change is apparent once he lays eyes on the pretty blond girl. RYAN Really? Me too. I’m looking forward to it. SAMANTHA Now I am too. Mildred, Maury, and Polly exchange knowing looks, happy their plan has worked.

INT: Chicago Mercy Hospital Maternity Ward Pressed against the glass of the newborn holding area is SPENCER DALE, 6. His eyes scan the room watching white clad nurses check readings and inspect the newborns. Man: Son, you mind keeping off the glass? Spencer pulls off the glass and sees Dr. RICHARD HANSEN, 63. Spencer looks sheepishly at the old doctor. Spencer: Sorry, I just wanted to see my sister. Richard chuckles. Richard: It’s alright. Where are your parents? Spencer: Dad went to go get coffee, mom is still in the room. Richard starts to walk away and then stops and turns back. Richard: Which one is she? Spencer: That one there. Spencer points to the back corner. Out of his line of sight. He’d have to strain to get a clear view. Richard waves to one of the nurses in the room and points in the direction. He mouths the words “back right” and motions for them to bring her up front. A NURSE nods and wheels the clear crib to the front and they both get a good look at the baby. Spencer: Thanks. Richard: No problem. What’s her name? Spencer: Katie, Kathryn. It was my grandma’s name, then she died. Richard: I’m sorry to hear that. Spencer: Yeah. They watch Katie move around. Richard: Are you ready to be a big brother? Spencer: Yeah. I mean I have to take care of the important stuff. Richard: Riding bikes, climbing trees, sports- Spencer: Video games, sleepovers and pizza. The two share a smile. Richard: It’ll be hard work and you’ll have to watch out for her. Spencer: Do you have a sister? Richard holds for a moment. Richard: Yes, I mean I did. Spencer: Oh. Richard: And we did all of that. It was great. She was the most fun person in the world. Got me into more trouble than I could even count. He laughs to himself. Richard: You’ve got to watch out for little sisters. They’ll love you one minute then hate you the next, then they’ll get in trouble and you’re the first one they call. Spencer doesn’t know how to answer. They just watch the baby. A nurse motions through the glass and Richard nods. They wheel Katie’s crib back in to the back row. Spencer: She had to go back? Richard: Yep, they didn’t want her to get lost. Your parents will need to be able to find her later. Richard turns and leaves. Richard: Good luck with her.

Scene 17 INT. PINEWOOD RETIREMENT COMMUNITY - GERALD'S APARTMENT - DAY GERALD (76) is seated on his couch, zealously playing a video game on his big-screen TV. TIM (10) is on his knees at the coffee table, drawing in his notebook. GERALD: Ah, Hell. TIM: What's wrong, Grandpa? GERALD: It's the lag. Internet's worthless in this place. I need my own DSL line. Gerald looks at his grandson curiously. GERALD: What are you doing over there? Why don't you come play video games with me? TIM: Thanks, but Mom doesn't let me. GERALD: Your hippy parents, I swear. How can they deny you this stuff? It's like stepping into a dream world. If I had this when I was a kid, I'd never leave the house. TIM: Mom says that's the problem. Kids today are always glued to their screens. They don't engage enough with the real world. Gerald tosses down his controller. GERALD: Screens are the future! You want real world? I was on the ground in Korea. That was real. Too real. The real world is overrated. I'll take a screen any day. (beat) So what do you do at home? TIM: I dunno. Draw, play piano. Dad and I are building a tree house next weekend. GERALD: A tree house? That's the kind of stuff I did as a kid! You got all this technology, the world at your fingertips. You need to learn to use it, not mess around with nails and hammers. That's the past. You even get to use a computer? TIM: We used to use them all the time at school. Then the parents had a big meeting. Now we only use computers for an hour a day. They say we should focus on more traditional methods. GERALD: Traditional? TIM: Like, in math, we're learning to use an abacus. Gerald slumps back in his seat, eyes rolling. GERALD: Oh God. What's wrong with this country? All the progress we've made and you kids are using stone-age tools. (leans forward) You know, I bought my first computer in 1975. Your grandmother about killed me, spending that kind of money. But I knew it was the future. Sat your mom on my lap as I taught myself BASIC programming. TIM: We learn Java. GERALD: Really? TIM: Yeah. During our computer time we do programming. GERALD: Well, that's something. Gerald shakes his head as he picks up his controller and starts another game.

Scene 3 INT. LIVING ROOM – DAY A little girl, Jo, (7) is lounging on the couch. She's trying to watch the TV but she can't hear it over her SISTER and MOTHER arguing in the kitchen. SISTER (O.S.): I don't understand why you care so much! Oh my god! MOTHER (O.S.): Because who the hell are these people? SISTER (O.S.): It's none of your business! What does it matter? MOTHER (O.S.): The hell it isn't my business! You are my business! Jo turns up the TV. SISTER (O.S.): I'm so fucking sick of you! MOTHER (O.S.): Who the hell are you talking to—Jo? Turn that damn TV down! JO turns it back down. We can hear the backdoor opening. MOTHER (O.S.): And where are you going? SISTER (O.S.): Let go of me! The door slams shut. MOTHER (O.S.): Who the fuck do you think you are? JO turns the TV off and goes upstairs. The voices begin to fade as we follow her up the stairs. SISTER (O.S.): (crying) Don't fucking touch me! MOTHER (O.S.): I am two seconds away from kicking your ass out of this house. You better show me some fucking respect! INT. HALLWAY – NIGHT Jo knocks on a door. GRANDMA (from the other side of the door): No! JO: Grandma! It's me! GRANDMA (O.S.): Oh Jo? Oh you can come in. INT. BEDROOM – NIGHT Grandma is sitting up in her bed watching a TV that's near the door. GRANDMA: Chile, I thought you were one of them coming up here to fuss. JO: Can I stay in here with you? GRANDMA (smiles): Come on up here, girl. You don't need to be around that foolishness downstairs. Jo had already began to run towards her grandmother's bed and jumped on the high bed. The fight downstairs is audible but very muffled and the TV makes it hard to hear it above a murmur in the background. JO: I couldn't hear the TV. GRANDMA: I bet you couldn't. Your mother and sister going through some things though. Best to give 'em space. JO: Will I fight with momma like that too? GRANDMA: Not if you don't want to. Your mother did with me though. Except our fights got a little carried away sometimes. Called the police on her. JO: You did? GRANDMA: Oh yes. Your momma don't know when to let things go. She never loses. JO: Oh. (pause) I don't want to fight like that. GRANDMA: Like I said, you don't have to. Listen to your momma, don't talk back—as simple as that. JO: But sometimes I'm good and she still yells at me. Like one time, she let me have a cupcake before dinner and then later whooped me because she said she didn't tell me I could. But she did! I wasn't lyin! GRANDMA: I believe you, darling. But let me tell you something: you gotta pick and choose your battles. You can fight everybody that wronged you or you can let some things go, and not have to fight all the time. Now hush up. My show's about to come back on.

EXT. CENTRAL PARK – DAY On a PARK BENCH, we have an older gentleman and a child. The gentleman is JOHN (80s, wisdom etched in his eyes) and he is taking a rest after having walked ten minutes, an improvement from yesterday. The child, BEN (9, curious) is staring at John. BEN You’ve got a funny hat. John was expecting something more malignant. After all, kids these days are exposed to so much. JOHN It was given to me during the war. BEN (in awe) You fought in a war! Did you kill anyone? John winces. Not from the boy’s bluntness, but from the memories. JOHN I did. (BEAT) It wasn’t like in the movies, kid. It’s all ugly and no glory. Ben remains quiet. Somehow understanding the gravity of the situation. A lady (early 40s, fit) jogs by with her adorable dog. BEN I wish I could have one. JOHN Me too. John knows they’re talking about different things. JOHN Always go after what you want in life kid. That’s what creates your purpose. Ben nods, not really understanding. JOHN War teaches you many lessons. Life’s too short not to go after the things you want: the love of your life, your dreams, your hopes. BEN Yea. You’re right. Ben hops off the bench. BEN Thanks for the permission, Sir! Ben chases after the lady and dog. John smiles-knowing his meaning has been completely misunderstood. JOHN Aw, heck. John slowly gets up off the bench and hobbles after the boy...and the lady.

Scene 10 – between a senior citizen and a child INT – DARLA’S KITCHEN – DAY Linoleum. White porcelain sink. Ancient icebox and gas stove. DARLA, 72, drinks tea at the small table excited to be with her grandson— Mike – 11, wild hair and cheerful. Mike eats fried eggs and potatoes. DARLA: So what did you have in mind today? MIKE: I was thinking maybe a trip to the baseball hall of fame. Darla looks over her shoulder at the wall clock. Bites her lip. DARLA: Well then you need to finish up and get dressed. Cooperstown is a bit of a drive. Mike stops mid-bite. For real? He looks at his grandmother. She’s serious. MIKE: AWESOME! Mike crams the food into his mouth. MIKE: Have you ever been? What’s it like? What’s the best part? Are there movies? Do you think any players will be there? Darla pushes a glass of juice over to him. MIKE: Should I bring my glove? Maybe Darryl Strawberry will be there. Or Rod Carew! Do you think they’d sign my glove? DARLA: Maybe. If you brush your teeth. Darla stands. DARLA: Now come on. Mike dashes from the table.

Scene 19 (Day 17) Senior citizen and child INT. DUSTY SHACK-DAY It's hot. Sweat on the wall hot. Several men stand inside a big empty tool shack. Light slips through the slits between the old dusty boards. CARLOS BLANCO, 65, stands before a kneeling man, tapping a Smith and Wesson against his leg. His face is weathered like leather, his eyes still clear and deadly. BLANCO's men stand in the background, a menacing group of Colombian killers. Among them is JAVIER, 10, baby face, nervous. He stands still as a stone. The kneeling man sways slightly as he breathes. His hands are tied behind his back. His head is hung low. His clothes and hair soaked with sweat Carlos motions toward Javier. CARLOS: Stand next to me, mijo. Javier stiffly steps up to Carlos' side. Carlos smiles down at him. CARLOS: Do you think I'm old, mijo? Javier giggles slightly at the question. Carlos lays a firm hand on Javier's neck and squeezes slightly. It's enough it bring Javier to attention. CARLOS: Do you want to live as long as me? Javier nods. He is a little frightened. CARLOS: Then you must be strong. You must make hard decisions. Never let someone steal from you. Never. This man thought he could steal from me. Javier nods again. He looks back at the kneeling man. CARLOS: Do you know this man? Javier shakes his head and stares at the man. CARLOS: (to the man) Mírame (look at me). Carlos kicks him with his boot. The man doesn't look up. Carlos signals one of his men. The thug rushes toward the kneeling man. He steps behind him, hoists him up by his arms and yanks his head back by his hair. The kneeling man's eyes are half closed. His face swollen and bruised. Javier is taken aback by the sight. JAVIER: Papi! Javier tries to go to him, but Carlos keeps a strong grip on his neck. CARLOS: No. He is not your, Papi. My grandson would never have a father who would steal from his father-in-law. He is a dog. You are better than that. The kneeling man tries to speak. KNEELING MAN: (begging) Carlos, I would never betray you. I would never.... Carlos put his finger to his lips for silence. CARLOS: Shhh...(to Javier) You see. A real man would never beg for his life. He would take it like a man. Own his deeds and his mistakes. Carlos steps toe to toe and leans in close. CARLOS: You steal from me. Now I steal from you. Carlos steps back and signals the thug. The thug pushes the man back down on his knees and backs away. Carlos lifts the man's chin with his gun. He taps it lightly. Look at me. The man finally looks up, pleading. KNEELING MAN: Please, Carlos. Please, not in front of my son. Carlos raises the gun and puts a bullet in his head. CARLOS: (to Javier) I am your Papi now. This man is not your father, anymore. Do you understand? Javier hesitates. Carlos pats his shoulder. CARLOS: Do you understand? JAVIER: Yes. Carlos wipes his face with a handkerchief. CARLOS: Good. Forget him. He is nothing.

[Scene 12, Prompt 17] INT. HOSPITAL — AFTERNOON White-haired GRANDFATHER cuddles six-year-old GRANDDAUGHTER on his lap as he sits on a settee in a hospital hallway. GRANDFATHER: ...The prince kissed the sleeping princess, who woke up and kissed him back. They declared their love for each other and lived happily ever after. Kissing his cheek and then hugging her GRANDFATHER, little GRANDDAUGHTER then squirms out of his arms and off his lap. GRANDDAUGHTER: Thank you for my story. But aren’t you too old for fairy tales, Grandpa? GRANDFATHER: We’re never too old for fairy tales, sweetheart. Now go with your mother. Skipping down the hallway and around the corner out of sight, GRANDDAUGHTER obeys her GRANDFATHER. GRANDFATHER eases himself out of the stiff, commercial settee and shuffles into the nearby room filled with muted regular beeping and white noise whirring. GRANDMOTHER lies on a hospital bed attached to wiring and tubes, her once-blonde, snow-white hair streaming across the pillow. The delicate nose and pouty lips he kissed for the first time as a strapping teen boy are still as lovely in repose six decades later. Beneath un-moving parchment-like lids are the bluest eyes, like the lake before sunset, now dreamlessly stilled. GRANDFATHER takes her cool hand in one palm as he strokes her hair with the other. Leaning forward, GRANDFATHER presses a kiss on her soft, familiar lips. GRANDFATHER: Hello, princess. I still love you. I'll be expecting a kiss right away when you see me on the other side. >FADE OUT.

SCENE 17: POPS: You go to school today? BILLY: Nope. POPS: Why not? Don’t you want to learn stuff? BILLY: That’s why. POPS: Oh yeah? You don’t learn anything in school. BILLY: It gets very stressful. I just like my friends. POPS: Well good then. You can go see your friends. BILLY: Nope. They stayed home too. We’re playing a game today on X-Box live. POPS: And does your mother know about this? BILLY: Nope. She’s at work. You have to take care of me. POPS: Well you’d better get to school or I’ll get in trouble. BILLY: Why? You don’t go to school. POPS: That’s why. Your mom will kick my ass. Billy laughs his head off. Then Pops joins him. POPS: Yeah, fuck it. I never learned anything at school either. Billy laughs. BILLY: Yeah, fuck it! Billy laughs more. POPS: OK, you stop saying that word or I’ll really be in trouble and your mom will quit her job to make sure you go to school. BILLY: OK, sorry.

@heathenistic scene 17 INT. FAMILY HOME - LIVING ROOM - NIGHT Still of night. All dark except for the ghostly blue glow of the TV - late-night KNIFE infomercials. GRAMPA looks dead in his easy-chair, head back, mouth agape - but snoring like a woodchipper tearing through bones. UPSTAIRS HALLWAY JESSIE'S bedroom door slowly creaks open. She opens the door only a little bit, eyes wide, slides through, quickly shutting it behind her. Old hardwood floors creak as she tip-toes towards the stairs. She scans the hall nervously. The sandpapery feet of her sleeper SHOOSH along the floor as she walks. Her tiny fingers stretch to reach the bannister at the top of the stairs... she cautiously makes her way down, looking behind her as she goes. She's halfway down when -- A CREAK FROM BEHIND HER and she whip-turns to look back up, feet almost slipping off the stair. She loses her balance for a moment, SQUEALS, grabs the bannister again, steadies herself. GRAMPA starts awake when he hears her. There's just an empty hall where the creak came from. She looks back down the rest of the stairs, and GRAMPA startles her by being at the bottom. She SQUEALS again, but then he scoops her up off the stairs into his arms. GRAMPA: What are you doing up little angel? JESSIE: Couldn't sleep. GRAMPA: Aw. Mommy will be home in the morning. Don't worry. JESSIE: I know. GRAMPA: Want grampa to take you back upstairs? JESSIE: No. Can I sleep down here with you? GRAMPA: Honey, I fell asleep watching TV, I should go up to sleep too. Grampa starts to carry her up the stairs but she stiffens, shakes her head again. JESSIE: No. Don't go upstairs. Henry says you're not allowed. GRAMPA: Henry? Who's Henry? JESSIE: The swinging boy. GRAMPA: Sweetheart, are you sleepwalking? Still dreaming maybe? JESSIE: I'm awake. Henry woke me up. Starting to get concerned. GRAMPA: And where is Henry now, dear? JESSIE: Swinging in my room. He says you aren't allowed in cause you're the one who made him swing. Something clicks in Grampa's mind, but he shakes it off - couldn't be... could it? GRAMPA: Let's see what's on TV then ok? Jessie nods. He carries her back to the easy chair, sits down - a far-off look in his eye though now. The KNIFE infomercial plays. INFOMERCIAL GUY ON TV: And so you can see, this knife never gets dull. Always sharp as the day you buy it. Jessie watches. INFOMERCIAL GUY ON TV: Look at these slices? Beautiful. You can slice through anything with these Jessie, even Grampa's throat. Jessie looks at Grampa - he's asleep again. she's alone, staring at the TV.

INT. SLEEPY SUPERMARKET - DAY ESME, 83, and Hollie, 8, scan the fruit aisle. Hollie eyes the strawberries, waves her hands underneath them, in praise. She nearly slips off her scooter, Esme shifts in her wheelchair to steady her. ESME: What else did your mother say we were to pick up? HOLLIE: Chocolate chip cookies. ESME: You sure? -- You remember the rules? HOLLIE: Uh huh. She said butter. ESME: Butter, right. That's down -- A cash desk's supervisor bell DRINGS. Customers, stuck in the queue, sink and sigh. Esme glances to Hollie, Hollie glances back to Esme, and takes off! On her scooter, she shoots down the aisle. Esme kicks her wheelchair into gear, hot on Hollie's wheels. The pair of them hurtle along, side by side, neck and neck. Lettuces, oranges, apples topple from shelves in their wake. They careen around the corner, Hollie breaks into the lead, races to the finish - a tin canned pyramid. A SHOP ATTENDANT grabs Hollie, to stop her imminent collision. Esme speeds across the finish line. SHOP ATTENDANT: Easy now. The Shop Attendant releases Hollie, who's very despondent. She catches up to Esme. HOLLIE: You win. ESME: Never mind, next time. Let's get the rest of the shopping. Now, where's that chocolate chip cookie aisle? Hollie perks right up.

INT. NURSING HOME ROOM – DAY BETH, 78, is sitting upright in bed in her pajamas. She seems rather spritely for somebody of her age, with very alive green eyes. She is watching Chinatown and grinning broadly as Jack Nicholson tells a dirty joke on screen. The room is not upscale, and it is rather small. It contains a bed, an older-model television with a built-in VCR, and a nightstand, with a small armchair to the right of the door. Despite its size, however, it is appointed in a loving way. The walls are hung with framed stills from old movies, there are a few potted plants and vases with flowers on the floor and nightstand. A knitted blanket hangs over the armchair. Likewise, the blankets on the bed are comfortable and plush, and clearly not the standard blankets provided by the nursing home. GERALDINE, 45, a nurse at the home, a bit overweight and with a wonderful and loving disposition, arrives at the door. Behind her are LAURA, 32, a mother and Beth’s daughter, dressed in a business suit and pencil skirt, and KYLE, 7 years old, Laura’s son. GERALDINE: Look who’s here! BETH: Oh, wonderful. Geraldine, will you pass me the remote? Geraldine passes her the remote. LAURA: Hi, mom. KYLE: Hi, Grandma. GERALDINE: I’ll be just down the hall if you need anything. BETH: Let me pause this. I’m not sure it’s entirely appropriate for him. LAURA: Is that Jack Nicholson? Jesus, he’s so young! BETH: You’ve never seen Chinatown? I’ve failed as a mother. LAURA: I have to go make a call really quick, I’ll be back in five. Promise. BETH: Yeah, yeah. Me and Kyle will catch up while you go do whatever it is you do. Laura ducks out of the room, dialing a number on her cell phone and clunking down the hallway in her heels. BETH: Hi you. Come give your grandmother a hug. Kyle walks over and gets on the bed, kneeling on the bed to hug her. KYLE: You smell nice. BETH: Why thank you, my good gentleman. How are things? How is school? KYLE: Good. We just started. I play football with my friends alot. BETH: Oh my. You know your Grandpa used to play, don’t you? KYLE: Mum told me. What movie is this? It looks old. BETH: Oh it is old. Very old. It’s called Chinatown. KYLE: Is it about Chinese people? BETH: Haha oh no. It’s about a detective. He tries to figure out what some bad guys are doing and tries to rescue a girl. KYLE: Oh. Can we watch? She’s going to take forever out there. BETH: No, darling, I don’t think it’s very appropriate. KYLE: Yes huh! Spider-Man does the same stuff and mum lets me watch that! Do you want to see? Kyle has removed the iPad he is holding and has booted up The Amazing Spider-Man 2. BETH: What on Earth? KYLE: It’s my iPad. BETH: It plays movies? KYLE: Yup! Kyle has cued up Spider-Man to the absurd fight with the Green Goblin. BETH: Sugar, I can’t even see what’s happening. There’s too many lights and explosions. KYLE: That Goblin guy is trying to kill Spider-Man. And then his girlfriend died. CUT TO: IPAD Andrew Garfield is holding Emma Stone’s body and weeping over it. CUT TO: BETH AND KYLE BETH: Oh, hunnie, turn it off. This is too much for me. Your mother lets you watch that? KYLE: It’s on my iPad isn’t it? Beth swats Kyle playfully. BETH: You are fresh. Well, I guess if you can see monsters fighting each other and 20 year old girls dying, you can certainly watch Jack Nicholson smoke a cigarette or two. KYLE: Good. I’ve seen Spider-Man 10 times. It’s boring. Beth presses play. Kyle snuggles into her and they begin watching.

SCENE NINE INT. KITCHEN YOUNGSTER and WISE WINSTON are sat at the table, enjoying a game of cards. YOUNGSTER: I thought with you being the much older gramps, you'd be taking me to the cleaners on this game. WISE WINSTON: It's just a game of chance, no more. YOUNGSTER: With age, comes wisdom, that's what you always say, isn't it? WISE WINSTON: Which has nothing to do with this? YOUNGSTER: (jokes) You just need a bit more talent. WISE WINSTON: Cards isn't about skill. It's a game of luck. YOUNGSTER: I disagree... What makes you say that? WISE WINSTON: Common sense. Card games are ninety nine per cent luck, one per cent skill. And that's as much as it will ever be. YOUNGSTER: And what about bluffing? WISE WINSTON: It's called lying. YOUNGSTER: (chuckles) And why do you call it that? WISE WINSTON: If someone is bluffing, they're not telling the truth, right? YOUNGSTER: I agree with that. WISE WINSTON: And if you're not telling the truth, you're a liar, yes? YOUNGSTER: I suppose. WISE WINSTON: Well...to get away with lying with cards, you need a lot of luck... Ace, Ace...King, King. It's all about caprice. If there is any skill involved, it's with fixing the stack... So the only question that counts when you have card's in your hands...is how's your luck? FADE OUT.

Scene Seventeen.

DAY SEVENTEEN: A scene between a senior citizen and a child. EXT. CENTRAL PARK – AFTERNOON An older man, FRED, is sitting in Central Park, feeding bread to birds. There are children playing with their families nearby. He smiles as he looks on, carefully scattering the bread crumbs as the birds begin to gather around him. A Frisbee comes flying by him and lands a few feet in front of him. A young boy, ANDY, runs by him to retrieve the Frisbee. He is about to run away when we see his mother, CINDY, looking at him expectedly. He turns back around. ANDY: I’m sorry about that, sir. FRED: It’s all right there. Andy runs back to his mother. He gives her the Frisbee back and then seems to ask her a question. She takes his hand and walks over to Fred with him. CINDY: Hi, I’m sorry, sir. Andy was wondering if he could sit and talk with you. FRED: Of course. Andy and Cindy sit down on the bench next to Fred. They are quiet and Fred keeps feeding the birds. ANDY: Why are you feeding the birds? FRED: Well, I have to get outside and do something. And they seem to like it. I just like watching them peck at the ground. ANDY: Do you ever get bored with doing just that all day? CINDY: Andy, don’t be rude. You don’t know his life. FRED: It’s all right. I don’t mind the conversation. I do get bored sometimes, but I’m old. I have a lot to think about. A lot to remember. Sometimes, it’s good to find myself doing nothing, just to remember those times when I did something. ANDY: Like what? Because when I need to do nothing, I get on mom’s iPhone and she lets me play Angry Bird! It’s a lot of fun. FRED: Hahaha…I’m sure it is, son. Well, I’m a vet, so I think about the Army tanks I rode in and the people I talked to and their stories. People always have important things they can tell you with their stories. ANDY: You rode in a tank?! FRED: I sure did. And it was loads of fun. And I also had three children and I think about their lives. ANDY: I didn’t know you could think about that much while feeding ducks. FRED: Well, like I said…I’m old! I have a lot to think about with my grandpa brain. Andy laughs a little. Fred smiles at him while Cindy is enjoying the parenting break for a moment. Fred continues feeding the ducks, then offers some bread to Andy. Andy tears parts off and watches the birds attack the grains. He grins up at his mom who smiles back. After a few moments, Cindy looks down at her phone. CINDY: All right, Andy. Say thank you to the man. We have to go. Cindy stands up and secures her purse more on her shoulder. Andy hands back the pieces of bread that he was not able to feed to the birds. ANDY: Thank you, sir. FRED: And thank you, Andy. Have fun. Listen to your mom, okay? ANDY: Yes, sir. Cindy waves to Fred, takes Andy’s hand, and they walk off. Fred looks after them for a while before turning back to feeding the ducks. He has a smile on his face.

Scene seventeen continues from yesterday's sixteen: INT. ROBERT'S HOUSE - NIGHT A house decorated in Mexican style, the furniture has seen better days. ROBERT (72) an affable Latino carries an old photo album, sits next to RYAN (8) hyperactive kid plays a videogame on a PSP. Robert opens the photo album. ROBERT Now look, this was your great-great grandfather. He fought along Pancho Villa against... hey, Ryan, pay attention. RYAN I'm paying attention, gramps. ROBERT No you're not. You're playing that... thing. You're not listening, you didn't even see the picture. RYAN I did. Robert closes the photo album. ROBERT Really? Tell me in which hand he had the rifle? Ryan doesn't take his eyes off the screen of his PSP. RYAN Left. Robert takes Ryan's PSP. RYAN Right? I thought it was left because in the photo is on the left but his hand should... ROBERT He didn't had a rifle. RYAN Trick question. Well played. ROBERT This is important, Ryan. RYAN Old pictures of dead people I never met? Peter walks into the room. PETER Hi pop, hi kid. RYAN Dad! Tell gramps to give my PSP back. I was at level eighteen. ROBERT I want him to know about our ancestors. He says there are just old pictures of dead people. PETER Come on, son. Pay attention. There are some really interesting stories your grampa used to tell me when I was a kid. ROBERT See? Family is important. Snap! Peter gets an idea. PETER Yes, family is important. To be continued...