SCENE 15 INT. BEDROOM - NIGHT A packed suitcase stands in the corner. In the closet hangs only a white dress. Shiva sits at her desk near the window. Her face tells us she’s having a hard time. Her shoulders are tense. She tears up a handwritten letter. The pieces end up onto the floor. Shiva stares outside the window. Clouds hide half of the new moon. Moment later, she opens up her laptop and starts tapping the keys. TEXT: Dear Michael, I’m sorry I stood you up. Really really sorry! Shiva sighs. This is way more difficult than she had thought. She continues. TEXT: It’s not you. I was scared I was about to make the biggest mistake in my life. Shiva thinks her text over. She decides that honesty works the best in this case. TEXT: I was afraid we were both making a huge mistake. We’ve only been dating for half a year. We are still very young and…(Shiva thinks) I want to go to college. Shiva stops. A tiny smile shifts her mood. College. She’s looking forward to go to college. TEXT: I love you but I’m too young to be cooped up in a marriage, so are you. I want to have fun, go to college and meet other people. I want to experience life. Shiva starts to loosen up. Her shoulders feel lighter. TEXT: I know you’re hurt right now but in a few years from now you’ll be glad that we didn’t go through with this crazy plan and laugh about it. We’re both young. And when you meet the right person one day, you’ll know it and she’ll know it. I love you but I know I’m not the one for you. Shiva stops. She feels good about her decision. TEXT: I’m sorry I let you down. Shiva. Shiva presses the send button and she stares out of the window. The new moon is in full sight.

SCENE 20 (PROMPT: Write a scene with a computer involved) In the distant future… INT. JOHN’S APARTMENT – NIGHT John (32), could be attractive if he tried, enters the living room and plops down at his computer. He’s tired, probably can’t sleep. He fires up GOOGLE and types: LONELY A million webpages pop up on the WALL in front of him. He selects one that reads: LOOKING FOR SOMEONE TO TALK TO? An ATTRACTIVE WOMAN appears on screen. John looks her over, clicks NEXT. The girl’s replaced with a NEW MODEL. He judges her, decides she’s good and hits ENTER. MODEL: Hello. What’s your name? John types in his name. MODEL: Hi, John. Are you lonely? I’m lonely and wish I had someone to talk to. Would you like to talk? John nods and hits a few keystrokes. MODEL: Great! You seem like such a great guy. What would you like to talk about? John contemplates, seems to be stuck. Not a question he’s often asked. MODEL: Would it be easier for me to decide? John nods and hits a few keys. MODEL: Great! Let’s see. How about we skip the talk and… In a flash the model appears on screen dressed in LEATHER, brandishing a HORSE WHIP. John’s eyes go wide. Heart races. This wasn’t what he wanted. He tries to exit. MODEL: How’s this baby? You like what you see? John hits ESCAPE but it won’t work. The model begins MOANING. MODEL: That’s right, John! Whip me! Whip me! John slams the laptop shut – THE MODEL DOESN’T DISAPPEAR! MODEL: Play with me, John! Play with me! NEW MODEL: No! Play with me! A NEW MODEL has appeared on screen. John’s eyes are wide as he tries to gather what’s happening. He opens the computer and tries quitting. -- IT’S NOT WORKING -- THE MODELS BEGIN TO MULTIPLY AND NOW THEY’RE ALL MOANING ‘JOHN! JOHN! JOHN!’ He slams the computer shut and heads for the door. Opens it – ALL HIS NEIGHBORS STAND BEFORE HIM. He can do nothing but give a nervous smile. MODELS: MORE, JOHN! MORE!

SCENE 20 INT. KITCHEN - NIGHT DEBBIE puts dishes in the dishwasher, stopping every so often to sip from a glass of wine. JULY sits at the kitchen table, lazily browsing on a laptop. She sighs, loudly. DEBBIE: What? JULY: Nothing. (beat) Just that everyone in my life is getting married or having a baby or has a cool new job, and I’m just... here. DEBBIE: It’s not everyone - it just feels that way. You’re time will come, July. JULY: If you say so. DEBBIE: I know so. Debbie goes back to cleaning up the kitchen; July goes back to the computer. July suddenly sits up straight, like someone’s shoved a rod up her back. JULY: Oh, my God. DEBBIE: What is it? JULY: Mom, look. Debbie comes over, and peers over July’s shoulder at the computer screen. Smack in the center of the screen is a big picture of a young guy grinning, holding a beer bottle. He bears a strong resemblance to July. DEBBIE: Is that - ? JULY (laughing): Yeah. Debbie rushes out of the room. DEBBIE (O.S.): Frank! July cracks up. FRANK and Debbie both come into the room, and look at the image on the screen. FRANK: Isn’t he at that summer program thing? DEBBIE: Uh-huh. We spent an arm and a leg on this thing, and all he’s doing is getting DRUNK! Frank looks back at the picture. He cracks a smile. DEBBIE: Frank! July covers her mouth with her hand, stifling a laugh. DEBBIE: This isn’t funny! And he’s starting to apply to colleges, too. She rushes out of the room. July and Frank snicker at each other, and then Frank follows his wife. July picks up her phone, dials. JULY (into phone): Hey. Just a heads up, Mom saw the picture you posted, and she’s pissed... I don’t know what to tell you, Derek... There’s nothing wrong with having a good time. Just don’t post it online.

Scene 20 Today’s prompt: A scene in which a character uses a computer. EXT. CAFFE MELA Speedo sits at a cub side table, lost in thought, types on his computer. A UTILITY truck parks. One guy sets cones to divert traffic. Another hauls a jackhammer, positions it next to Speedo, the hammer FIGHTS the concrete, DUST fill the air. Speedo ANNOYED, packs up his MacBook. SPEEDO: Of course you have to start NOW. Hammer guy looks up, smiles GUY: I can’t hear you. INT. CAFFE MELA Most of the noise remains outside, Speedo finds a table, opens his MacBook, types in his password. BARISTA: Speedo. He collects his latte, returns, SUSAN sits at his table, solum. SUSAN: I’m a mess. Speedo sits, opens his document, looks to Susan. SPEEDO: I really need to-- Tears flow down Susan’s cheek. SUSAN: It’s Fred. SPEEDO: Fred? Where’s Fred? SUSAN: He died last night. I’m on my way home from the vet. I don’t know what to do. Speedo closes his MacBook. Slide his chair next to Susan. SPEEDO: I’m so sorry. Speedo glances around the cafe, spot Larry. SPEEDO: Come with me. They move over the LARRY. SPEEDO: Hi Larry. Susan’s lab died last night. Can you help her? LARRY: This is a difficult time Susan. I perform pet funerals. Please sit down. Would you something? Susan hugs Speedo, sits. SUSAN: Thank you. Speedo moves back to his table, opens his MacBook, types his password. Three teenagers with skateboards and Red Bull sit next to Speedo, amped, laugh. KID1: Okay let’s do this. Kid2 blocks the door. Kid3 pulls a gun, runs to the cashier. KID2: Don’t anybody move. KID3: I want all the money… put it in a coffee bag. Speedo continues to type on his document, KID2: Your laptops. Kid1 holds up a large coffee bean sack. KID2: Put them in the bean sack. Kid1 walks to each table, collects the laptops Speedo continues to type on his MacBook. Kid1 stops at Speedo’s table. KID1: Put it in the sack. Speedo types away. SPEEDO: No. He continues to type. KID1: What? Kid3 marches over to Speedo. KID3: Put it in the sack. He reaches for the MacBook, Speedo slaps his hand. SPEEDO: NO. Kid3 waves the gun in front of Speedo. KID3: You want to die. Look asshole-- Speedo grabs the gun out of Kid3’s hand, stands, pointing the gun at the kids. SPEEDO: Hey. I got a deadline. You don’t know who you’re fucking with. Silence. Speedo waves the gun at the kids. SPEEDO: I’m a screenwriter. I have to finish this scene. Someone call the cops. You three over here. NOW. The kids move to Speedo’s table. SPEEDO: Sit on your hands. Don’t move. I have to finish this for Scott. It’s my last scene. If you twitch I will blow your fuckin’ head off. Everyone in the cafe is watching Speedo. SPEEDO: THAT’S BETTER. Speedo sits down, sets the gun in his lap, types on his MacBook. INSERT MACBOOK “Scene 20”

SCENE 20 - INT. CITY LOFT - NIGHT ROBERT, an author-type in his early 30's, enters his loft. Robert is dressed in a tuxedo with the collar undone, tired after a long evening of celebrating. Robert passes by several framed reviews on his walls, from Time Magazine to Variety, all in praise of his greatest novels. He approaches his enormous windows that overlook the city. He looks outside, seeing several kids playing in the street. As a means of getting privacy, Robert flicks a button on a remote control, and from nowhere descends an automated curtain system to cover the windows. Robert takes a seat at the computer desk, then fires up his laptop. He clicks on a folder labeled "UNIMPORTANT DOCUMENTS", then scrolls down to find another folder titled "DECEMBER". Despite the fact that he's completely alone, he still looks around, as if he is still a teenager, fearful of being walked in on by his mother. He clicks the folder open, inside of which is contained thousands upon thousands of different files. He scrolls down the list, practically foaming from the mouth as he looks for the perfect one. He sees one he likes, then double clicks it, opening it in a new window which he minimizes. He does this to several more files, until the bottom of his computer screen is littered with minimized pages. Ready to begin, Richard unzips his pants, then spits into his hand. With his free hand, he opens one of the files. At this point, we do not see what he is seeing, only his facial expression. He looks like a horny child, as if he saw a naked woman for the first time. He begins stroking himself, and immediately feels relaxed. He scrolls down the page, and he enjoys it even more. Sweat begins trickling down. He's loving it. He can't get enough. And we see from his POV... He is reading positive reviews of his books. "SPITTING LIES IS THE MODERN EQUIVALENT OF GRAPES OF WRATH" He is flushed, rolling back his eyes. "ROBERT MCMAHON IS THE NEW STEINBECK" He is panting, reaching closer to the point of climax. "ROBERT IS THE VOICE OF HIS GENERATION" He is overcome with euphoria. ROBERT Yes, yes, yes!

SCENE 16 (APOLOGY) INT. CLASS ROOM – DAY David, 9 years old, sits at his desk. All the children have already left. He’s there with the teacher who is wiping the board clean. David looks at the teacher and back at his paper. DAVID: I don’t know how to do it? The teacher turns and looks at him. TEACHER: you’ve got time till 6 pm to figure that out. DAVID: I have music practice for our school play TEACHER: you’d better hurry or they'll ditch you. David picks up his phone and dials a number. On the other end, a girl’s voice picks up. GIRL: hello (o.s.) David cringes. GIRL: who’s this, you dirty creep. (o.s.) David stumbles. DAVID: David (mumbles) Silence. The girl doesn’t talk, then her voice changes. She sounds angry. GIRL: what do you want? DAVID: I ….I …want to ask how you’re doing? GIRL: what'd you think? DAVID: I…. David feels reluctant. He looks at his teacher who makes encouraging signs with his hand. He must go on. He can’t quit. His mates are waiting for him. DAVID: I…I’m sorry (fast) GIRL: what did you say? DAVID: you heard me (irritated) GIRL: didn’t DAVID: sorry (soft) GIRL: what? DAVID: SORRY –I’M SORRY (screams) little obnoxious bitch! He slams the phone shut. The teacher gapes at him. DAVID: you made me say it. I’m not sorry. She’s a real bitch. She has been bugging me for weeks. She should be the one who gets punished. TEACHER: you threw paint over her. Call her and say you’re sorry. Act like you mean it. It's good practice for your play. DAVID: I don't act. I make music. You only make me do this because she's a little spoiled rich girl who's parents fund this school. David folds his hands. No way he’s going to call her again.

¡SCENE 20! INT. COFFEE SHOP - DAY JEN (28), PETER (30), and NANCY (26) sit around a table that is far too small for their three computers and coffees. JEN: What do you mean? PETER: I mean we do not have it anymore. JEN: Didn't we sign a contract? PETER: They told Mike when he brought the contract over. JEN: Awesome. Awesome. PETER: Plus, you know- JEN: Nancy? Can you get a hold of your friends with the backup? NANCY: I am all up on it. JEN: Now? NANCY: Yeah, I'm writing an email. Nancy scrolls through Facebook, opens a new tab in her browser for Gmail, and goes back to Facebook. JEN: Peter, text Mike. Let him know we're putting him in touch with Nancy's friends. PETER: Done. Nancy freezes. She clicks on something, and then stares at her computer screen. JEN: Send the email already? NANCY: Mmmhmm. JEN: You rat, are you on Facebook? NANCY: I've got to- Where is my phone? Nancy finds it and rushes outside. JEN: Okay, it's not like we shoot next week or anything. PETER: Fuck. JEN: Fuck is right. Peter leans in closer to his computer. JEN: (beat) Are you on Facebook too? PETER: Jeremy died. Nancy comes back in. Her eyes are bloodshot. She packs up her computer, picks up her coffee, and leaves. Peter and Jen watch her in silence.

SCENE TWENTY INT. KITCHEN – AFTERNOON BROOKE, 16, sits at the table, a laptop in front of her, open to a Facebook 20 year high school reunion event page. ADA, 38, sits next to her, staring at the screen intently. MAGGIE, 12, sits on the counter, and JILL, 44, stands next to her, both eating chips and salsa. JILL: Oh, what about Bobby Mulligan? Man, did that kid have a nice ass. Maggie giggles while Brooke scrolls through the page smiling. BROOKE: Weren’t you already in college by the time he was in high school, Aunt Jill? Jill shrugs, shoving a chip full of salsa in her mouth as she responds. JILL: Time for a life lesson, Brooke. The younger men will always be more… generous. Ada: Jill! Brooke laughs, her face turning red. She pauses and turns the screen toward the other three. BROOKE: Bobby Mulligan is a ‘yes.’ Maggie hops down off the counter to get closer to the computer. She points to the picture of a woman on the RSVP list. MAGGIE: Wow, look how pretty she is. Jill leans in closer to read the name. JILL: Ugh, don’t be fooled by that one. Everyone knew that Mr. Alberts bought new noses for all three of those girls. And by now, I bet rich husbands have bought new boobs, too. Ada drops her head into her hands, groaning. ADA: That’s it, I’m not going back there. I wasn’t even friends with any of these people when I was in high school. Why do I feel the need to go to a reunion anyways? JILL: Because you’re hot and you have a six-figure job, so you can rub your success in the face of every vapid bitch you had to deal with for four years. BROOKE: Amen to that. Mom you gotta flaunt it at least a little bit. Jill reaches over and scrolls through the names on the RSVP ‘yes’ list. She stops when she gets to the name “Kirk Rosen.” A huge smile spreads across her face and she turns the computer screen to Ada. JILL: Forget showing off to the girls. There’s your reason to go. MAGGIE: Who’s Kirk Rosen? JILL: He was your Mom’s prom date. And the best looking guy in her class. And probably could’ve been your dad if he’d been less prepared. ADA: Jill! Maggie and Brooke lean in and start scrolling through his pictures. BROOKE: He’s cute, Mom! MAGGIE: And single! JILL: Now we gotta pick what you’re wearing! Brooke, Maggie, and Jill all stand and start to exit excitedly. ADA: Hold it, you three. I still haven’t decided if I’m going. Maggie and Brooke look at each other. BROOKE: You told us this house was going to run on a democracy, so I guess it’s majority rule. All in favor of Mom going, looking super hot, and picking up Kirk Rosen say “Aye.” BROOKE, MAGGIE, JILL: Aye. JILL: Kirk Rosen, here we come! Let’s go pick some clothes girls! They all run out of the kitchen, leaving Ada sitting at the kitchen table. She takes a deep breath and lets it out slowly. After a long pause, she turns and peeks at the computer screen out of the corner of her eye. She looks up at the kitchen doorway, then slowly pulls the computer toward her and begins clicking through Kirk’s photos. After a moment, a small smile spreads across her lips.

Scene 20 (14th entry) INT. TEENAGE GIRL’S BEDROOM - NIGHT The only light comes from a dim computer monitor. HEAVY BREATHING. Someone moves through the darkness. Blood drips on the partially lit keyboard. A bloody finger presses the ESC key. The computer wakes up and the monitor goes to full brightness revealing LAURA (17) reeling from some sort of physical attack. Her adrenaline is rushing as she ties a scarf around a knife wound on her arm. On Screen: Skype loads and Laura clicks on a friend’s profile. It dials... SOMETHING FALLS downstairs. Someone else is in the house. The call goes to voicemail. She clicks on another. BRAD (17), dressed for bed, answers. They talk through their webcams. BRAD What’s up L? LAURA You got to help me. They’re in the house. You got to call my parents. Don't call the police. BRAD What’s going on? LAURA There’s no time. HEAVY BOOT STEPS grow closer... A spine-tingling SCRAPING sound follows... Laura hits the power button on the monitor. The room goes black. We hear her hide but can’t tell where. A light turns on in the hallway outside. It floods through the bottom of the door. The BOOTS stamp it out. The door kicks open. Half the room fills with light. SHADOWS moves past the furniture, clothes, and typical teenage girl accoutrement. We catch glimpses of fangs or spikes, or tentacles, perhaps, but the the darkness plays tricks on our eyes. INT. BRAD’S ROOM - CONTINUOUS Brad leans into his monitor. Laura’s webcam is still on. He can see everything. He mutes his webcam. Picks up his cell phone and dials 911. It connects. BRAD Hello? Something’s wrong at my friends house. I think she’s being robbed or something. 911 OPERATOR Okay, sir. What’s your friend’s name and address? INT. LAURA’S ROOM - CONTINUOUS BOOTS plod over to the bed. There is plenty of space underneath to hid. Before we know it, the bed is lifted in the air - silently - like a feather. No one under there. The bed stays in the air, weightless. INTERCUT BRAD Reacting to the bed. BRAD Holy shit. 911 OPERATOR Excuse me sir? BRAD You guys have to get over there now! 911 OPERATOR We have a unit on the way, don’t worry. Just stay on the line with me okay. INTERCUT LAURA Inside her closet. Backing quietly into a forest of clothes. Outside in her room, Things fly around the room by unseen forces as the Shadows search for Laura. Brad is on the edge of his bed, adrenaline rushing. He’s never seen anything like this. The Shadows head to the closet. Brad senses danger. He unmutes his webcam. BRAD Laura get out of there. They’re coming! The Shadows hear Brad from the computer. They investigate. With their attention drawn, Laura slides out from the closet and tip toes out into the hallway to safety. Brad breathes a sigh of relief. Until his screen fills with SHADOWS...

SCENE 20 A Mysterious music plays… INT.NIGHT A dark old wooden room A lamp stands beside a small laptop with a white screen. A clock strokes nine. The laptop starts waggling and a white void fades in. Music stops INT.MAIN ROOM.DAY A view of beautiful snow topped hills covers the window where the morning rays fall on the wooden floor. The very sight of this home brings comfort. Beside the window on a wooden table, a white light enters and the laptop appears wiggling. CAMERA PANS… In obscured view we see a corridor. A door opens and men come out. Wait a minute… Don't those look like robbers! They move together a heavy Tv set through the passage. Closing on to the CAMERA, a robber comes into crystal clear focus looking off screen at the laptop wide eyed and exhausted. ROBBER 1 (To others, whispering) Where did that come from? (Beat,Takes a look again) Lets get rid of this first. The CAMERA PANS with them as they move the LCD to the opposite corner of the room from where the laptop is, revealing a bag of expensive goods. They put the LCD down releasing a moan of relief. ROBBER 1 arches his back with hands on his butt to stretch, he then walks in front of the laptop. ROBBER 2(O.S) OH come on…we don't have time! Think of Gabriel! ROBBER 1 (pointing) This wasn't here when we got here! The laptop starts waggling, ROBBER 1 jumps back, everyone frightens. ROBBER 1 ROBBER 2 ROBBER 3 WHOA! WHAT THE…! MOMMY! It stops waggling. ROBBER 1 shuffles towards it and slowly sits down in front of it. ROBBER 3 What are you doing? There may be a ghost in this house! ROBBER 2 Gabriel always wanted a laptop… He wiggles the screen and the desktop appears with a word document opened up already. The letters type supernaturally, What is your name? ROBBER 1 Whoa! Whoa! How'd that… He types curiously on the laptop, 'Sam Waders' LAPTOP- Is Gabriel your son's name? ROBBER 2 (whispers in ROBBER 3's ear,) Lets get outta here… They carry a heavy bag full of goods off screen, while, SAM Yes! LAPTOP- I too have(backspace) Had a son, when I was alive. Sam looks at it in horror. LAPTOP- Don't kill yourself, Sam. (Beat, this time a voice speaks over in Sam's head) You'll suffer. Gabriel. Will. Suffer The laptop starts waggling again. He runs out of the house in panic. As the two robbers drive away in their car. As he breaths heavily, we hear a car parking off screen. THE VOICE(V.O) HURRY! (Echoes) Sam runs off to the street holding his head in his hands, as a mysterious music plays. White light blinds the screen. ________________________________ Thank you for reading. Please comment and let me know how it could've been better. Thanks again =)

SCENE 17 (cliffhanger) EXT. STREET – DAY In the middle of a busy street, Raveena and Raj stand across each other. Raveena has her bag with her. She tries to pass Raj but he blocks her. RAJ: I don’t want you to leave. He looks begging at her. RAVEENA: it won’t work this time. RAJ: please. You can’t give up everything like that. RAVEENA: get out of my way. Raveena loops around Raj. He grabs her hand. RAJ: give me one more chance. I’ll make it up to you. I promise. RAVEENA: No! I’ve given you lots of chances and you blew it every single time. Every single time. RAJ: It’s not like I was hitting on other girls. I was working – for you and me so that we can have a decent live. It takes time to build a business RAVEENA: it takes time to maintain a relationship. Your partners are able to spend time with their wives and family. Why can’t you? –I tell you why. You don’t want to be with me. You think I’m a temporary station. Raveena walks further. She’s calls on a taxi. The cab passes her. RAVEENA: thank you, asshole (calling after cab) Raveena holds her hands up for another cab. RAVEENA: Shove your business in your ass. A taxi stops. Raveena is about to get in. Raj jumps in front of the door. RAJ: don’t go RAVEENA: I’m nor your servant nor your dog. Raveena hurries to the other door. She’s ready to get in when Raj yells at her. RAJ: stay and I’ll marry you. Marriage. The magic word she has been craving to hear in her relationship with Raj for ages. Her relationship flashes by in a few seconds. She looks at her bag and then at Raj.

Scene 10 INT. OFFICE – NIGHT Bren stalks back and forth in Chan’s office. The door opens. Chan enters, her dress crinkled and slightly torn at the end of the right shoulder strap. Her hair isn't perfect. Chan stares at him and then glances down at his cowboy boots. BREN: That’s it then? CHAN: I didn't promise… BREN: No. Not you. You slither. Chan walks around her desk and freezes when she sees her screen. CHAN: How did you? BREN: You’re security is a piece of shit. I told you. The screen shows a freeze frame of Chan having sex with Quenton in a dark room with rows of file cabinets. Chan roots around in her desk drawers, finding an empty box with bullets. CHAN: What do you want? BREN: I already burned it down. You’re finished. CHAN: What did you do? BREN: I fixed your security. Bren walks around her desk to face her. Chan reaches toward her desk. Bren watches her hands. Chan sees his reflection in the monitor. His eyes flick to her ass. Chan grabs her monitor and shatters it against Bren’s face. Bren collapses in a heap, blood seeping from a gash on his head. Chan drops the monitor and steps over Bren to the cabinet and pours herself a drink. Three security guards rush in, evaluating the scene. Chan turns slowly. CHAN: How is my security? The guards glance nervously at each other. GUARD: Loyal. Chan smiles. CHAN: Then clean up this mess.

SCENE 20 INT. LIVING ROOM -NIGHT Two twenty something twin sisters and roommates, one outgoing, the other introverted are doing their usual Saturday night routine: one getting ready for a night on the town, the other settled in for a night of surfing dating sites. KELLY Oh, come on! KATE What’s the matter? KELLY My computer is acting all screwy again, and I was in the middle of emailing this hot new prospect on Match.com. KATE You do realize it only acts that way when you’re on those stupid dating sites? KELLY And? KATE And it’s God’s way of telling you to stay off them! You need to go out and interact with men like a normal 25 year old woman. KELLY I’m not you. Club hopping isn't for me! KATE I don’t just hang out at clubs. The last guy I dated I met at a poetry reading. KELLY Dealing with guys face to face has never been an easy thing for me to do. KATE It’s not easy for me either, but it beats this! (points to computer) KELLY You sure make it look easy. KATE It just takes practice. Come out with me tonight, have a few drinks, and flirt with guys. The more you do it, the more comfortable you will become. KELLY I need to change. KATE Yes you do. So does this mean you’re coming? KELLY Why not? MY computer is on the blink so what else is a girl to do on a Saturday night? KATE Kelly, tonight is going to be so much fun. I promise! KELLY I’m gonna hold you to that sis!

#20-7/30 "And that's that" INT. STUDY - NIGHT RYDER sits at his computer. To his right, on a small circular table, a candle is lit, illuminating a giant tie dyed sheet hanging on the wall he has his back to. To his left is something that is covered by a beat up quilt. He EXHALES smoke, leans back, and thinks. CU-LAPTOP-A file is open, reveals, SAVE, DELETE, CANCEL. He scrolls down, PAUSES. He reaches over to his left, yanks the quilt off, reveals a rocking chair. He closes his eyes. ALLISON (O.S.)-So, am I gonna end up still married to this asshole with fucking cold sores all over me? Ryder looks to the chair, there sits Allison, still holding the map from the car ride. She’s annoyed. The tie dyed sheet behind them is rotating, changing color in a very psychedelic way as the candle’s flame rises. Ryder looks to her, shakes his head. CU-LAPTOP-DELETE is clicked. Allison is gone. The tie dyed sheet glows from behind itself, a cool blue emerges. Cave vaporizes into the rocking chair, holding a glass of Whiskey. CAVE-When you thought, “Nick Cave and the Bad Seeds take on the Sopranos to save the guy from Pulp,” well, I considered it rubbish to be honest. But as it went on, I was surprised how amusing it was. Ryder does not look, simply nods. CU-LAPTOP- SAVE is clicked. The sheet/portal changes colors and shape again. Cave is gone. Mario appears in the chair, shirtless. The tattoos over his body GLOW, revealing a lifetime of crime, pain, and regret. MARIO-No mas. Por favor, no mas. Ryder looks over, sees the old man and his glowing tattoos with many stories to tell. Ryder smiles. CU-LAPTOP-SAVE Mario is gone, the portal, changes to a darkened red, almost hellish. Kat and Jay appear, but they do not sit, they stand as far away from each other as possible. Nothing is said, but they are livid with Ryder. He turns, sees them and their anger, raises his left hand, “Not dealing with this right now,” and clicks CU-LAPTOP-CANCEL The tie dyed sheet/portal goes from dark hellish burgundy to bright passionate red. The flame from the candle rises, almost hitting the ceiling. CU-LAPTOP- The folder is titled “Woolskie”. Ryder closes his eyes and SIGHS. WOOLSKIE (O.S.)-So, you and I both know, that you know, how this ends. Yet, instead of moving forward, and completing what you set out to do, you choose to hit the brakes. He looks to her, she leans in, hoodie down, fingers touching(almost prayer form) eyes brightly hypnotic. Upon hearing the truth, he is clearly sad. WOOLSKIE-Our time here is limited. You know what you have to do. Let. Me. Go. RYDER-But, I, I don’t want to. WOOLSKIE-I know, but this is your chance to get to say “Goodbye” because you clearly didn’t get to. Ryder gets teary eyed. RYDER-I know that. But, it’s, it’s not easy. It fuckin’ hurts sometimes. WOOLSKIE-Believe me, I know. Do you have any idea how fucking hard it was for me to do, what you are planning on having me do to him? RYDER-I’m sorry. WOOLSKIE-Don’t be sorry for that. It needed to be done. Be sorry for putting me and yourself, through fucking purgatory. Now man the fuck up, and finish what you fuckin’ started. She EVAPORATES. The candle goes out, the tie dyed blanket goes back to normal. CU-LAPTOP-RIGHT CLICK OPEN DOCUMENT

Scene 20 INT. FORTREXX HEADQUARTERS - BASEMENT ANDY PELTZER (32) walks determinedly down a sterile corridor in the catacombs of a corporate mega-scraper, laptop case slung over his shoulder. He reaches a security door, unclips his ID badge, it slips and falls to the ground. He picks it up, nervously swipes it through the reader, then presses his thumb on the fingerprint scanner. The door BEEPS and emits a prolonged BUZZ. He opens it. INT. SERVER ROOM Andy walks in, is greeted by CHARLIE (55), a portly man in a uniform. CHARLIE: Hey Andy. More open tickets? Charlie leads Andy past row after row of HUMMING server towers, stacked 8-feet high, floor-to-ceiling. ANDY: Yeah. Guys upstairs complaining about slow access. They reach a small desk in front of an input station. CHARLIE: Seems Whining is the main part of their job up there. ANDY: I think it's the data allocation. Probably just need to diversify the file structure. Charlie blinks through a blank stare. CHARLIE: Yeah, probably. Have at it. Charlie walks over to a chair and slumps into it with a moan. Andy sits at the desk, setting up his computer. He gives a side-glance to Charlie as he pulls out his phone, types a text: "I'm in." Andy plugs a cable from his laptop into the access station, clears his throat as his laptop starts up. ANDY: Good weekend? Charlie gives an exaggerated yawn. CHARLIE: Long one. Road trip. Took my daughter to visit college campuses. Andy looks at his phone, a new text from "unknown": "Open the link. We need to prepare the virus." Andy clicks an icon, his screen flurries into activity - several windows pop up with code being rewritten. Andy swallows hard. ANDY: I thought she was already in school? CHARLIE: That's the oldest one. Yeah, she'll be a senior this year. Andy looks at his phone, another message: "Ready to execute. Get out once it's done. You won't have much time." CHARLIE: Damn. Two girls in college? Can't believe it. Thank God for overtime, eh? ANDY: Yeah. Andy sits there, thinking. Looks at the phone again: "You're doing a good thing." Andy stares at the screen. His finger hovers above the "enter" key.

SCENE 18 (prompt: a gesture) INT. BALL ROOM - NIGHT A diplomatic party is in full swing. Guests are dressed impeccably. Mitun and Rakhi enter the scene late. Rakhi looks gorgeous in her black night gown with an open back. Mitun admires her natural beauty as she walks towards an acquaintance. A man taps Mitun on his shoulder. He turns to see Bill, a competitive investor. BILL: I didn’t know you were on the guest list. MITUN: We are. You look disappointed. BILL: not at all. Enjoy as long as you can. Mitun laughs it off. BILL: Our technology and work force are the best. No doubt they will choose us. We’re the best. You know it, I know it and they know it. Rakhi joins the men. She has overhead his last line. RAKHI: I think your middle name is cocky. Bill grins. A waiter comes along with wine and champagne. Bill wants to take a drink but Rakhi stops him. RAKHI: Allow me. Rakhi hands Mitun a glass of champagne. Bill is next. She puts on her seductive smile. Bill is amused. Next moment, she throws the wine in Bill’s face. His cocky attitude fades away.

SCENE 19 (prompt: flashback) INT. BED ROOM – DAY Lilly and Asha, pregnant, clean up the small room that is soon to become a baby room. Asha hands Lily a stack of photo albums. ASHA: can you put them in the box behind you. Lily places the box in front of her. Curious as she is she flips through one of the photo albums. LILY: OMG – these are cute. I haven’t seen them before. Why don’t you put some up on the wall in the hallway. Asha doesn’t react immediately. She holds her huge belly that looks like she’s about to explode. ASHA: I don’t know. I haven’t seen them in a while. Lily points at a photo of Asha when she was about five. She’s in the play garden on a swing. A man is near her, making sure she doesn’t fall off. Lily: who is this man? Asha looks at the picture. Her face shows sadness. ASHA: my biological dad LILY: he’s handsome. You never talk about him. Does he still live? Asha stares at the photo. FLASHBACK INT. STAIRS – NIGHT Asha, 9 years old, sits on the stairs. She hears her parents arguing. She's afraid. MOTHER: you’ve got your responsibilities. You can’t drop us like we’re some old stuff. What must I say to our daughter? Tell me. FATHER: I can’t stay. MOTHER: We can work this through. Love comes and goes. I’m sure you’ll get over it in time. She’s young and she’s impressed by a handsome architect. I get it. It's not true love. You have a family. Doesn't that mean anything to you? FATHER: I’m in love with her. MOTHER: won’t you even try for our daughter. She loves you. What am I going to say to her? Her father left in the middle of the night because he was horny to fuck that 20 year old whore. FATHER: don’t call her a whore -- She’s having my baby. Mother is crushed. She cries. BACK TO PRESENT Asha slams the photo album shut. She dumps it into the box ‘ throw away’. ASHA: He’s dead. My mother and stepfather raised, loved and nurtured me. Asha holds her belly with love.

SCENE 20 INT. BAR – NIGHT Sushima, attractive and long silk hair, sits at the bar. She looks at her friends who shake their ass off in the dancing crowd. They laugh and have fun. Aurie signs to come over. Sushima points at her feet. Killing high heels. At the other end of the bar, a few male friends check out the girls on the dance floor save for Fabio, fat and plain looking. His eyes are peeled on Sushima, not aware of him. Sushima gestures to her friends if they want something to drink. They nod yes. Sushima holds four fingers up to the bartender and points at her drink. He gets it. The bartender walks up to Fabio who signs him to come over. Sushima gets her drink. The bartender refuses to take her money, much to her surprise. The bartender points at Fabio. He smiles and waves when his eyes meet Sushima’s. Sushima puts the money on the bar and hurries to meet her friends with the drinks. The bartender laughs.

Scene 18 A character using a computer INT. BATTLE ROOM A low wire cage is surrounded by dozens of computer geeks. This is the fight arena. Four teams huddle together in their respective corners. In the center of the arena are two BATTLE BOTS. One is BLUE. One is GREEN. WADE, 17, glasses, curly hair, sly smile, flexes his fingers. He goes through an elaborate hand stretching routine. He stands before an laptop elevated on a waist high stand. BENJI, 17, Indian, spiked hair, hyper, rubs Wade's shoulders. He's got his game face on. BENJI: You got this, buddy. Come on. Whoo! Wade stretches his neck. The whole time he stares across the arena at OLIVER, 16, hair slicked forward, tank top, that rough kid who can build anything. This is his nemesis. ANNOUNCER: Coders to your marks. Wade steps up to his laptop. Oliver hangs his around his neck like an RC remote control. Wade rounds his eyes. Show off. ANNOUNCER: Ready. Wades fingers hover over the keys. Benji stands in the background blowing into his hands and bouncing lightly. He can barely contain his excitement. ANNOUNCER: Set. (beat) BATTLE!! Instantly, a BUZZER goes off. Wade's finger blasts over the keys at lightning speed. His code flies up the screen. His battle bot (Blue) surges to life. It rushes the green bot and throws a punch. Contact. The green bit counters with a hook. Blue bot dodges it. Wade is real-time coding his bots moves. His fingers light up the keys. Benji excitedly jumps around behind him. The bots duke it out. Punching and kicking. Pushing and pulling. BENJI: Yeah, Wade. Crush that fatigue wearing jock. ANNOUNCER: Two minutes left. Wade feverishly types away. His battle bot is trapped up against the ropes. The green bot pummels Wade's bot. Sweat trickles down Wade's face. He wipes it away with his forearm. Eyes still focused on the code. BENJI: Come on, man. Get out of the corner. WADE: I got it. Back up, man. ANNOUNCER: One minute!! Suddenly..... WADE: AAAGGHH! Wade bends over his keyboard in pain. BENJI: Dude, what's wrong? WADE: My hand. My hand is cramping. He pulls back to show the finger on his right hand are folding together and locking up. BENJI: Damn it man, didn't you stretch. Benji grabs Wades hand and Wade yelps. Wade holds his wrist, his hand tightening into a lobster claw. Across the arena, Oliver bangs out massive code. His bot is destroying Wade's bot. WADE: Benji, you gotta take over or we're finished. BENJI: I can't. There's no time. (points to the clock) CLOCK : COUNTS DOWN FROM 10 SECONDS. Wade turns back to the arena and watches helpless as Oliver's bot smashes his to pieces. ANNOUNCER: Oh, tough break for the blue team as the Green team takes the win. Wade glares at Oliver as he gets high fives from his teammates. Next time.

[Scene 10, Prompt 20] EXT. BOAT ON OCEAN — MIDNIGHT, DARK OF MOON Lit only by scant cabin light, 30-something MABEL stands akimbo over a canvas-wrapped, body-shaped bundle bound with steel cable and chains. 30-something NAOMI cuts the boat's engine and steps down from captain's seat on the upper deck to stand beside MABEL. NAOMI: All right, we're here, just outside federal water's limits. Now what? MABEL: Now what? Whaddya' think? I'm not mixing cocktails here. NAOMI: What happened anyhow? I'm sticking my neck out, I'd at least like an explanation as to the reason I'm helping you out of a bad spot on really short notice. MABEL: He fucked with me. NAOMI: Look, lots of guys have screwed me over, too. But badly enough to get dumped in the ocean? Nah. Spill it. This is more than bad non-consensual sex or heartache. MABEL: He bankrupted me. Or nearly so. I had to do some ugly things to fix what he did to me. NAOMI: Yeah, I can see how ugly. But bankrupted? I can't imagine you ever letting a guy near your wallet. MABEL: He hacked me. NAOMI: Hacked you. Like broke into your checking account online? MABEL: Worse. He hacked into my investment accounts and Bitcoins attached to my work identity, stole everything, used some of my Bitcoins to buy some muscle to rough me up to keep me from ratting him out. NAOMI: Well, that explains the black eye and fat lip last month. MABEL: Yup. I could handle that damage, but not the Bitcoins and the other crap he did online. That was my life’s work. He also poisoned my reputation across social media. NAOMI: Jesus. Did you piss him off or something? MABEL: Nah. He's done this before to a few other working girls, had a bad attitude toward women in general. A couple girls are dead because they tried to fight back. NAOMI: Wha—? MABEL: The girls didn't know what they were up against. They didn't have enough coding chops and didn't network to find help before they went after him. He used their own Bitcoins and had them drugged and beaten to death. NAOMI: (whistles softly) Wow, I'm glad you're still here, hon. MABEL: Me, too. Glad I learned how to code before I even bled. Glad I learned a little tradecraft, too. I use pseudonyms and firewall my accounts. He didn't get all my identities, nor all my cash. I had enough resources to hunt him down and turn the tables on him. NAOMI: Turn the tables? MABEL: Redirected all his Bitcoin to accounts spread out all over, used some to hire the same guys who worked me over. You see the results. NAOMI: Phew, yeah. MABEL: And I fixed it so he couldn't do it again. Oh, he tried, really hard, but then I bought a permanent fix. (beat) Now help me throw this asshole overboard and we'll be done here. NAOMI and MABEL tug the body to the back of the boat, lifting it up onto the bench along the aft. NAOMI: How are you going to keep his carcass from floating ashore? MABEL: (points to deck beside bench) See that computer? That's the one he used to fuck me. Gave the hard drive a military wipe and exposed it to a commercial magnet. Filled the case with lead-embedded marine concrete. MABEL connects the steel cable and chain harness to the computer. NAOMI and MABEL heave it with effort up onto the bench next to the body, then toss the body overboard. MABEL smirks as the body floats next to the boat, before NAOMI helps MABEL hoist the heavier computer up and off the boat and into the water. MABEL: Hack that, dickhead. NAOMI gives MABEL a high five before assuming the helm and starting the engine as the corpse sinks out of sight into the inky water, chasing the computer to the ocean floor. >FADE TO BLACK.

SCENE 8 INT. AUNT DEE’S HOUSE - UPSTAIRS BEDROOM - NIGHT JASON fidgets at a desktop computer like he’s weighing options. A beat before he turns it on. INT. COMPUTER SCREEN Jason types "Sasha Anderson Michael Selby" into a search engine field. A VIDEO LINK pops up on the next screen. Jason lingers, then turns the monitor’s volume down and clicks the link to open it. The clear images of his girlfriend and enemy are undeniable, the sounds of lovemaking only masked by the mute button. After a few moments of viewing, mouth agape and hurt, he can’t look away. The floor creaks behind him. RETURN TO SCENE A devastated SASHA stands in the doorway. Jason closes the screen, turns to her. JASON: I’m sorry- SASHA: Shut up. You promised me. W-why would you watch that? JASON: Because I don’t understand how you defend this guy. After all he did? SASHA: I kissed him and made it look real to save you tonight. It’s called faking, something you obviously did when you said you’d never watch this tape. Jason can't reply. Sasha searches his face for an answer. When nothing comes, she storms away. Jason stops her. She faces him with a new anger. He pulls her close. JASON: Look, I am sorry. It’s hard for me to trust people. SASHA: But we’re all trusting you. JASON: I get that, but - can't I just be me for a minute? Everything's all crazy, and I know you're mad, but, please. This is - it's all over the place. We've got to slow down. SASHA: No, we’ve got to live right now, Jason, and that’s bigger than anything. I will explain everything you wanna know when this is over. Everything. But we've got powers. Nothing's normal, and, no, I don't know what to do, either. But I’ve got enough drama, so don’t be what I’ve had. Be what I need or get out of the way. Sasha's determination is clear. Jason stomachs the blunt criticism, nods slowly.

SCENE 10 INT. ROOM - NIGHT ADAM, mid 30’s, wakes up to find himself alone in a room. He sits strapped down to a chair. The only part of his body that he is able to move are his hands. A loud screech is heard and a speaker goes off. THE SPEAKER Hi, Adam. I know you’re wondering where you are and why so let me get straight to the point. I’m tired of all the people with no respect for computer programers even though we are needed every day. Where’s our fame? I want you to see how difficult this job is. But I’m giving you the most simplest task. Simply write down the word “code” and you will be released from your prison and set free. Adam laughs. ADAM That’s it? That’s easy! Adam tries to bend his head down to look at the keyboard but he is stopped by the straps around his neck. ADAM (CONT’D) Hey! I can’t see the keyboard! This isn’t fair! THE SPEAKER Well, I can’t make things too easy for you can I? Oh. And for every incorrect keystroke, you’ll lose a finger. Good luck! The speaker tunes out. ADAM What does that mean? He looks at the computer screen, confused. Adam hovers his index finger over the keyboard. He’s lost on an island. He presses down on the ‘H’ key. BZZZZZZZZZZ. Electricity disintegrates his right index finger. Adam screams in pain. He uses his left index finger this time. Same result. Finally, Adam is able to hit the ‘C’ key. The letter ‘C’ appears on the computer screen. Adam is out of breathe. ADAM (CONT’D) How many more letters? He hits the ‘U’ and ‘I’ keys before landing on the ‘O’ key. The letter ‘O’ appears on screen. He has six fingers for two more letters. Before hitting the ‘D’ key, Adam hits ‘A’,’S’ and ‘C’. Four fingers, one letter. Adam continues to pant. His middle finger hits the ‘R’ key. His left thumb hits ‘W’. That’s it for his left hand. Adam stretches his right hand over to the left side of the keyboard. His pinky touches the number ‘4’. ADAM (CONT’D) Son of a bitch! He’s down to his last finger. Adam, afarid, slowly glides his hand towards the right side of the keyboard. He eyes are shut tightly. He presses a key. No electricity. The straps unlock and he is set free. His hands are a bloody mess. He tries to open the door but finds it impossible to use his hands. He bends down a little and turns the knob with his mouth. Before stepping outside, Adam turns his head to the computer screen. ADAM (CONT’D) I’m coming back for you. He walks out of the room.

@heathenistic - scene 20!!!!! INT. OFFICE TOWER BUILDING - DAY EMILY, mid-20s, pretty but professional, sits at her desk, she's coding something pretty complex. JOE, the mail-guy walks by pushing his cart full of packages, tosses one on her desk. JOE: Morning Emily. (smiles bashful) Emily looks up quickly, doesn't bother with the package, lets it sit as she continues to type. EMILY: Hey Joe, thanks. JOE: My pleasure, you have a great day. EMILY: You too. As Emily gets back to typing, the package starts to RING. Peculiar. Emily tears it open, there's a ringing CELLPHONE inside. "Unknown caller". She answers, puts it to her ear. VOICE: Emily, look down and don't move. She lowers her head to see a red laser-dot on her chest. Freezes. VOICE: any sudden movements and a 50-caliber M82A1 semi-automatic sniper rifle will fire a single shot putting a hole in your chest. You won't die instantly, but you will die. Do you unerstand? EMILY: Yes. VOICE: Good. Inside the envelope is a bluetooth headset. Put it on, and put the phone in your pocket. Disconnect the call and the sniper fires. Sudden movement, or try to alert anyone to this call, same result. Emily nervously does as she's told. EMILY: I'm here. VOICE: Fine. Look at your screen. A new window opens on her screen, with strange code in it. EMILY: how did you-- VOICE: Speak only to answer a question or confirm compliance. I want you to copy this code, and insert it into the project you're working on. Emily looks closer at the strange window and text. EMILY: This is a backdoor. VOICE: Emily. One more transgression will be your last. With trembling fingers she copies the code, puts it into the other window, hits 'save'. VOICE: Well done. Oh look, incoming video-call... An icon blinks in the bottom corner of her screen. Emily doesn't move. VOICE: Aren't you going to answer? Emily hits a key. A video window opens, with a stream of a terrified little boy, mouth taped shut, and a masked man behind him, gun to his head. It's Emily's son LUKE. Her eyes widen, tears well. EMILY: I did what you wanted. Don't hurt him. VOICE: You did what I wanted so I wouldn't hurt YOU. The question is, what are you prepared to do now, FOR HIM? Emily looks around to see if anyone might be able to help her. But it's business as usual, and no one notices her.

INT. AIRPLANE, OVER ATLANTIC OCEAN - DAY In the window seat, SYMONNE, 25, scrunches up, shifts uncomfortably. JULIUS, 25, beside her taps on a computer screen, engrossed. SYMONNE: You're never off that damn thing. Can you not take a break, we're on vacation? JULIUS: Yes, just finishing this-- SYMONNE: It's a game. It will be there when we get back-- A loud ripping noise cuts across her. Symonne peeks up from her seat. Air hostesses and stewards run through the cabin, take their seats, and buckle up. SYMONNE: What did they say in the event of the loss of cabin pressure? Julius continues to tap on the screen. JULIUS: Attend to your own mask first. Symonne gawks out the window, at the ocean that stretches for miles down below. She feels under her seat for the lifejacket, grapples it on over her head. Her hand hovers over the inflate toggle. SYMONNE: Why do they say we're not supposed to inflate the lifejackets before exit? JULIUS: Because to do so would impede our exit. What they don't say is, if the plane lands in water, with an inflated lifejacket, we've zero chance of escape. Symonne's fingers move away from the toggle. She grips her seat rests, puts her head back against her seat, eyes clenched shut. Malfunction lights flash. Light strips illuminate the along the floor, point to the emergency exits. JULIUS: Oops, look at that, I forgot to switch to airplane mode. Jeesh, something nasty could have-- The oxygen masks drop from overhead. Julius notices.

INT. BASEMENT LABORATORY – EVENING MATT, 21, is hunched over a computer. CHRIS, 20, is standing next to him, looking skeptical and annoyed. The computer is connected to a rather large 3-D printer, which is humming. CHRIS: You do realize you haven’t said a single word in the last thirty minutes, don’t you? MATT: No. CHRIS: You know, you’ve been doing this more and more. You zone out. And I realize that what is happening to you, what with the intelligence expanding and all, that you can get caught up in your own head, but man, you’ve got to keep an eye on that or you’re going to turn into some scary sociopath or something. MATT: Okay. Finished. He taps a button, and the machine whirs to life, the top panel beginning to rise. CHRIS: Can you please tell me what this is now? MATT: It’s a 3-D printer. CHRIS: With you on that one. I mean, why did you say you have something for me? MATT: This is the something. CHRIS: Okay. What would I need a 3-D printer for? Besides carving a giant plastic representation of my phallus, of course. MATT: When I had you all wired up the other day, I did an MRI and a bunch of other complicated measurements on your skull. Basically, when you use your power, an unknown radiation is coursing from your brain steam in a cross-shaped pattern. It courses over the back of your head and across the temples, concentrates, and then ejects around in between your eyes. It explains why you can’t move things you’re not looking at. CHRIS: Okay. MATT: At least, not yet. The 3-D printer is almost half-way finished. Instead of plastic, it is using a liquid, molten metal to construct a cross-shaped mask from the bottom up. MATT: I rigged the printer to use a molten form of the metal from the site. This stuff acted as a conductor and shield for the radiation being studied there. A similar form wavelength of radiation found in all of our tests. It’s making you… a conductor mask! Matt is smiling broadly. Chris is confused. CHRIS: Like, a hat? MATT: No, Jesus. It’s basically a mask that goes over your head that’s going to allow you to lift heavier shit. And possibly even do some lifting behind your back. We’ll see about that. CHRIS: Why does it look exactly like Bane’s mouthpiece on the bottom there? MATT: All art is derivative. Shut up.

SCENE TEN INT. BOSS'S OFFICE TENSE TIM is at a computer for his job interview, with the owner of the company, SERIOUS SHEILA, standing by his side, who brings a bossy way about her, TENSE TIM: Sixty words per minute. i can't do it. SERIOUS SHEILA: Well if you can't...there's no point in you being here. I need someone with good hands. TENSE TIM: I'm not that quick. SERIOUS SHEILA: Have a go. See what you can come up with. TENSE TIME: OK, I'll show you how fast I can type. He begins typing at a reasonable pace. He stops after the following sentence appears on the monitor: 'I'm not a fast typist...but I'm good at the job I do.' SERIOUS SHEILA: You wouldn't even hit fifty words with that kind of pace. TENSE TIME: I did say. SERIOUS SHEILA: The thing is, I need someone who's not afraid to do what I ask. TENSE TIM: I'd be committed to the job. SERIOUS SHEILA: Commitment is important...so... (types the words 'prove it,' whilst standing over him) TENSE TIM: How exactly? SERIOUS SHEILA: I don't have a pen to draw you a picture...but I can type it. She again types some words on the screen, but this sentence we do not see...and TENSE TIM lifts up his eyebrows in astonishment as he reads what she has typed. FADE OUT.

Scene Twenty. Yay!

Scene twenty continues from yesterday's nineteen: INT. BUTCH'S HOUSE - DAY Majo tied and gagged in a chair. The Butcher takes some pictures. THE BUTCHER Smile! And don't move too much, we don't want blurry pictures. He takes more pictures. ADAM (22) a nerdy looking guy with a laptop watches. The Butcher takes out the memory card from the camera, gives it to Adam, he plugs it into the laptop. On the screen, a message "Transfering files". Majo's pictures are displayed on the screen. ADAM Ready, sir. I'm going to strip the GPS data so they won't locate you. THE BUTCHER No tech talk to me, just send the photos. A message on the screen "GPS data deleted". Adam clicks on an icon. ADAM I'm sending it through several email loops so they won't be able to track us. What do you want the message to say? THE BUTCHER Feds involved and your wife dies. To be continued...

SCENE 20: INT.INTERNET CAFE – DAY: JOY sits at a workstation. Steve has a seat across from her. Jeremy pulls up a chair and jumps on his laptop. STEVE: Dude. It’s lunch, take a break. JEREMY: Nah man. I have to get this done. STEVE: Then why did you come down here? JEREMY: I like to have lunch. They are bewildered. Joy gets on her laptop and switches the subject. JOY: Can’t wait for football to start. Jeremy is typing a mile a minute. He’s distracted but tries to stay in the conversation. JEREMY: Oh yeah. I’m pumped. Too bad about.... Jeremy gets lost in his work. STEVE: Wow, that must be intense work. You can’t even talk about sports at the same time. JOY: What’s that supposed to mean? STEVE: Oh just that sports is completely mindless, useless, a waste of time. JOY: Oh really? You don’t like sports? Steve shrugs. STEVE: Ever think about all the time and energy, and passion people put into sports? Ever wonder what they could do with all that? JOY: Yeah, I have a thought about what people could do with all that. She stares at Steve intensely. Jeremy tries to type and also defuse the situation. JEREMY: What do you do with your time? STEVE: I write, kind of. She is fuming, but remains silent. Joy bangs on her keyboard, typing in passionate anger. Jeremy stops and tries to calm her. JEREMY: So who was it, Joe Friendly? Man what a break huh? JOY: Yeah, he has to sit out the season. He might even sit out next season. STEVE: What a loss, huh? She wants to kill him. Jeremy types up ten more lines at breakneck speed hoping to distract them. They ignore him. STEVE: Yeah, well, that’s why they retire young. He’ll be a vegetable or dead before he’s sixty. JOY: That’s horrible! STEVE: Well you’re the one who put him there. Jeremy stops typing. The silence is deafening. They both look at him along with a handful of others nearby. JEREMY: You know what? You’re right. If we didn’t spend half our lives watching sports for hours on end, the poor guy might have a life. Jeremy jumps back to typing, satisfied with his thoughts. JOY: He has a great life! He plays pro-ball! Jeremy comments while he types, more interested in his own work. JEREMY: He had a great life. STEVE: He played pro-ball. JOY: You guys are sick. STEVE: Want to go out with me tonight? She throws water in his face.

DAY TWENTY: A scene in which a character uses a computer. INT. LIBRARY - AFTERNOON "25.5 hours prior to the incident..." flashes across the bottom of the screen. Alexis is sitting at a long table, hunched over a computer and writing furiously in a notebook. She is sitting next to a young woman, JACKIE OSBOURNE, who is also trying to focus on a book, alternating between reading and looking at her laptop. ALEXIS: Ugh! Sorry, I mean...ugh. JACKIE: What now? ALEXIS: Applications. For jobs. For apartments. For grad school. JACKIE: Remember the Common App in high school? That was, like, the Holy Grail or something. ALEXIS: But with less misery. JACKIE: Aha! Religion joke! I just stopped doing it. It's amazing what you can get accomplished when you don't care. ALEXIS: I can't do that. What's your address? I'm putting you as my secondary family member. JACKIE: Don't you have a partner and a mom? ALEXIS: Yes. What's your address? JACKIE: I'll write it down. People could hear and then they could find me and then they could do things to me. Jackie scribbles something quickly on a piece of scratch paper, then hands it over to Alexis. Alexis scrutinizes the paper for a few seconds. ALEXIS: I literally have no idea what this says and I've been to your house. These words don't even look like they could be an Oakland address. JACKIE: Rude. Jackie snatches the application that Alexis is working on away from her, then tries to carefully write her address. Again, Alexis stares at it, winces, then just shrugs and continues her work. ALEXIS: Want to get trashed later? JACKIE: Do babies like titties? ALEXIS: I'll meet you at The Cosmic Vibration later. Maybe Dylan will show up. JACKIE: That would be pretty cool. ALEXIS: Yes.

I like the concept. It would be more dynamic (and futuristic) if John spoke to the computer instead of typed. That's an increasingly common current technology, so in the future it would likely be the norm. Plus it would help give John character via his dialogue.

Simple, smart concept. However, it doesn't seem realistic that Nancy would not mention seeing a post that Jeremy is dead to people who are obviously her friends/co-workers. And how is the news of his death on Facebook before Nancy is notified by authorities? Also, you didn't set up who Jeremy is so there's not much impact from the reveal. Since they talk about Mike, why not mention that Mike is Nancy's husband/boyfriend and have him be the one that dies? Her friends are also unrealistic in their responses to the death and Nancy's feelings. They let her leave without saying a thing? Imagine if Nancy came back in, wiping away tears, and says "Let's get back to work." Now that would show character! And then if Peter and Jen are stunned in silence, it would make sense.

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