Scene 7 A yellow rubber duck sits on the brink of a bath tub. “Hey, I´m ducky, the rubber ducky. The events of my life so far have taken place in this bathroom. Meet my nemesis: froggy, the bullfrog! (indicates an ugly rubber frog) And this is the love of my life (whispers) but she doesn´t know it yet, psht! (indicates a little mermaid.) Over there is my arch enemy, the brutal critter Mr. crocodile..! (a plastic crocodile with permanently open jaws grins at the camera). I am only still alive because I have been touched by the hands of God. When God touches me, it´s the best feeling in the world, you know? In a way he and I are one. I can feel all his mighty intention and his joyous playfulness, too, accumulate right inside of me. And then I let it all out! Like this: Squeeaaak!” He squeaks as loud as he can. “God loves me best, I´m pretty sure of this. Of course, sometimes he holds me under water for awfully long… but I always come back up. So he´s just testing me, right?”

SCENE 9 ??? (V.O) Hi! I'm Max! All in all I'd say I have a pretty good life. FADE IN: INT. BEDROOM - DAY Moving, Max turns in the covers to see a YOUNG WOMAN (20s) in bed with him. Max moves towards her with energy not found in most upon waking. MAX (CONT'D) I get to spend every day with my favorite person in the world! She treat me real well, even when I leave my toys everywhere. INT. HALLWAY - DAY (CONT) Following behind the young woman, still in her nightgown, weaving through the apartment. With a step a faint squeak is heard off screen. MAX (CONT'D) She sure is the greatest cook! Breakfast is my favorite meal! Well, after lunch. And dinner! INT. KITCHEN - DAY (CONT) The young woman at the counter, her back to Max. The low sound of whirring, the source obscured by her body. MAX (CONT'D) But my most favorite time is when we go for our morning walk! Oh boy, sometimes she makes me chase her, or we'll go off into the woods on an adventure, or we may even find another friend to play with! EXT. PARK - DAY Laughing, the young woman is jogging ahead of Max, who is breathing heavily. She stops to talk to a YOUNG MAN (20s), who extends a hand to Max as he approaches. MAX (CONT'D) I make friends real quick. Not as quick as she does, but any friend of hers is a friend of mine, I always say. INT. LIVING ROOM - DAY The young woman hands the young man a glass of water as they talk. Max's eyes are on them, oblivious to their words but intently watching their movements. MAX (CONT'D) Sometimes she goes away for a long long time. I don't like that at all. I don't know if she'll ever come back! Then who will make me dinner? Who will walk with me? Max alone in the living room. His focus is now on the front door. Through a window the sky is reddening. MAX (CONT'D) But she always comes back! I think THAT's my favorite time. Oh boy, I'm just so happy to see her! I hope she never leaves again! Max is a bullet across the room as she enters. He jumps up on her as she approaches, his furry black paws scraping at her chest and long wet tongue drowning her in kisses. MAX (CONT'D) Yea, I think I have a pretty good life. INT. LIVING ROOM - NIGHT (CONT) Max is curled up next to the young woman on the couch, sleeping. She holds a glass of wine and is talking to someone off screen. FADE OUT

SCENE 9 INT. BUSY RESTAURANT - DAY Three women in their 50s, DANA, JANICE, and SANDRA sit at a table and pick at their salads. Dana pushes her salad away and motions to the WAITRESS. DANA: Take this disgusting thing away and bring me the biggest most deadly dessert you have and make it a double. Sandra and Janice gape at her. JANICE: What happened to your diet? DANA: What's the point? SANDRA: Okay, spill it. What's happened? DANA: This morning at work, I was standing at the elevator with two men and when the elevator doors opened, they pushed right past me. Didn't bother to hold the door open or anything. I had to squirt through like Elastic Man before they closed. JANICE: Chivalry has been dead for some time. DANA: It's not just that. It was uncanny. Like I was invisible. SANDRA: Oh, honey don't let it get you down. DANA: I've been giving it a lot of thought. As single women over fifty, I think we're bucking the natural order of things. Do you know how much the risk of heart attack goes up for women over fifty? I'm telling you, our bodies are trying to kill us. It's as if we've overstayed our usefulness by daring to hang around past our sell-by date. There's nothing left now but talking about our operations and where we buy our Depends. JANICE: Getting older doesn't have to be like that. DANA: If you utter the words 'active senior', I'll cut your tongue out with this butter knife. SANDRA: Wait a minute. We're not even close to being seniors. I still feel very sexy. DANA: Have you polled the male population lately? Get used to feeling yourself because that's all you'll be doing. No, I'm convinced there's something cosmic at work here and pretty soon we're going to be like Schrodinger's Cat only nobody's going to interested enough to open the box.

SCENE 8 (been having trouble counting but this is definitely a correct count as I have done challenges 5, 6, 8, 9, 10, 11, 12, 13) EXT. MEADOW SURROUNDED BY WOODLAND DUSK Blinking the bright light away Grayson, Candace and Liam stand in the heart of a verdant meadow. GRAYSON: What was that? LIAM: Not sure. A transformer? CANDACE: I don’t think so. How did we get here? A long haired girl, LADY JANE (16), dressed in an old fashioned gown, strides quickly toward them. Her eyes sharpen as she takes them in. JANE: The Scepter of Thrace bade you to fulfill your destiny. The kids gawk at her. GRAYSON: What? Lady Jane glowers disdainfully at Grayson and moves to face Candace. JANE: I am the Guardian of the Scepter. You may address me as Lady Jane. I acknowledge that you are the new protector and will help you as long as I am able. Candace looks over her shoulder to see who Lady Jane is talking with, but there is no one there. CANDACE (stammers): My name is Candace. GRAYSON: Get out! This is some sort of trick or joke, right? Lady Jane spins to coldly challenge him but does not speak. LIAM (mumbles): Hello Lady, I’m Liam. Her expression softens slightly but quickly turns to concern as she hears a noise. JANE: This place is strong with magic but is too open to be safe. We must leave. Turning decisively she marches from whence she came. Candace and Liam immediately follow her. Grayson stands rooted in place watching them all go. Liam looks back concerned that Grayson is not with them. He stops Candace. LIAM: Come on, we have to go. Grayson remains steadfast and Lady Jane turns. JANE (to Candace): Leave him if he does not value his life. GRAYSON: Why should we believe her? We know nothing about her. Candace looks at Liam, then Jane. CANDACE: I know you don’t trust her but believe in me, something feels right about this. Beat. CANDACE (CONT’D): We have to stay together. Narrowing his eyes he assesses Jane’s cocky figure, raises his chin and stomps toward them. GRAYSON: You say you’re the protector of that Scepter but these are my friends and I am their protector. Liam and Candace look at each other trying to hide their surprised expressions. Jane raises her eyebrows, nods, turns back onto the path and picks up speed as they all walk into gloom of the trees.

Feedback 6 Yes! You have definitely given Dana memorable dialogue. Very effective. It makes me wonder what is going to happen to her... my only comment is that I think you don't need the line "It's not just that." It would be even stronger if you start in "It was uncanny." Well done.

Feedback 7 (?) Hi Nicholas! I suspected this might be a child but I always went like:" No, the camera would give that away just by where the POV sits". And I think the same is true for the dogs POV. Maybe it could be pulled of when it´s not actually her dog, just one she´s dogsitting, but the dog is totally head-over-heals infatuated by her? Like really going on a rant on how cool and sweet and pretty she is? Then we could sense his jealousy when another man comes into sight. Just an idea!

Feedback 8 Hey Audrey! I get a real good sense of who Dana is and what her position is. I just feel like there are two blanks in the scene: 1. when she decides to change from salad to dessert. What gave her the urge? Something she saw or heard? If it´s just in her head, we´re kind of left out of her process. 2. her resolution to takle the problem of being attractive differently leads to ___ what, besides the dessert? It seems like this could be a great moment for the character to decide to become a rebell. In a more "in your face type of way"- just because it´s a movie and it´s more fun to watch active characters. I´m not saying every woman over 50 should become a public rebell. Thanks for this bitter sauce on a sweet dessert!

Scene 07 INT. CAVERN - DARK A repetitive SQUEAK within the gloom. Goes on and on. Stops abruptly when a dim light spills in. Cavernous space, damp rough walls, moist. Carved out of rock some uneven steps from where light descends. At the other end... A heavy wooden door, barred looking window. Scared eyes peek out, the bedraggled face of SAM. The sound of FOOTSTEPS coming down the steps. Sam slinks down out of sight. LIGHT from fluorescent fixtures. The footsteps march over ground. Stop at the door. SAM (O.S.) (behind door) What are you doing here? JOEL, silk tie and three-piece suit, certainly overdressed for speleology. JOEL I came to offer my congratulations, many congratulations. This is a happy day for you. SAM You mean... you mean you're going to let me go? JOEL No, but today you're going to find out if there is life after death. Do drop me a line if there is, will you? SAM You... you.... JOEL Ah, don't waste your breath, you may need it later, when you're swimming with the fish. With a new pair of shoes--how nice of us. SAM You're a monster. JOEL Just a bloke who enjoys his job. What can be wrong with that? SAM You bastard. Playing games. Why don't you shoot me right now? JOEL There would be blood, and bloodstains are a bitch to get rid of, don't you know? SAM Oh, yeah? He CLANGS his HEAD against the door, SPLITS open a BROW, the BLOOD oozes. He SLAMS his body, SMEARING the wood. BLOOD over his face. DROPLETS fall down. His head and whole body HIT the door again. JOEL Are you crazy? Stop that. SAM I won't go down easy, you smug bastard! You want it clean? Well, I'll mess it up. JOEL Oh, fine, bleed to death, you uncouth creature. See if I care. He turns in a huff and sashays away. Amid the blood flowing down half his face, Sam grins. Shoves the door. It wavers...

feedback 10 Hi RoyGordon! Nice one! Sam, the killer, sure is a diva... A fun new dimension to that character stereotype. It just doesn´t match the place. A deep cavern, moist walls -what´s the problem with blood? Maybe if it was a wine cellar? something cultured? a place where blood would likely get noticed and be a real problem? That would ground this scene, I think.

Scene 9 EXT. A BLOODY BATTLEFIELD – SCOTLAND – DAY An ancient battlefield is quiet, littered with bloody men, steam rising from their warm bodies in the cold. Some are in kilts, some in ragged clothing, some moving, some dead. A priest in black robes walks among them, closing their eyes or calling for medical attention. In the forefront, DUNCAN, a man in his early 20’s, has a deep gash in his side. Blood is oozing from the wound. DUNCAN (V.O.): I do not fear death, except that I fear having never begun to live. Death will come for me. When it comes, what will it find? A man who has never lived because he has never loved? I have loved intensely, but not lived, because love was taken away. This bodily death is nothing compared to the ripping out of my soul having lost my Lady Alice. Why did they take her from me? Where have they hidden her? In this thin veil between death and life, I feel her. I feel her reaching out for me. Our souls yearning for the same thing. To be reunited. Lady Alice! I will conquer this death. For on the brink of it, my soul is awakened with new purpose. To find her. I will find you, My love! I come! Death cannot separate us. The priest finds Duncan, closes his eyes and prayer over him. DUNCAN (V.O.): I choose life! Duncan suddenly sucks in a breath, startling the priest.

10 Scene In the middle of a dark basement there is a bed with metal framework. On the bed lays young girl (KATHRIN 19) on her belly. Naked. Her hands and legs handcuffed to the bed. Her eyes red of tears. In front of her stays LEO (25) he screws one tube into another. There is a table near him with drill, long needle, scalpel, and hammer. Leo You know that am the last one. there was a special program and they wanted to grow as vey unique. KATHRIN (vo) what is so unique abut you? LEO: Creators wanted us to feel, have imagination, love. And doctor ALISON with professor Rupert did an amazing job. KATHRIN: Are you android? LEO: We have flash as humans, same feelings, the difference is that We much smarter. When humans realized that. They scared. KATHRIN: Listen to me, you robot! Release me immediately! You must serve people and listen to orders! LEO: You people so arrogant, if some one differs, you think that they have be your slave. But we are not. That is why police decided to delete us. I am the last who survived. And I found a solution to hide. KATHRIN: what solution? LEO: I’ll borrow your body. I put my DNA in it in your blood. I just need to connect with your bone marrow. If we succeed I spread my DNA in thousands of other bodies. So it will be not possible to detect me. LEO takes the drill and comes to KATHRIN. You a special. You are the first! KATHRIN: NO, no, no

Hi, Paula The blood, I suppose it's just the evil guy being fastidious in extreme... A wine cellar would work, thanks.

Scene 6 EXT. BRICK BUILDING – NIGHT - ESTABLISHING A rainy dark and gloomy city. We close into a window in an office building that has seen better days. COLT (V.O.): I hate the rain. It's been four months now, day in and day out. Going out is a chore but stayin' in is when it gets ya... that feeling of unnerving endless pattering that drills into your skull and muddles your mind. INT. OFFICE – NIGHT A simple dusty room furnished with an old desk, a small table lamp that barely illuminates the room, a coat rack, couple of old chairs and an empty picture frame on the wall. Seated by his desk, between the shadows, COLT QUINTANA slowly licks a bowl filled with cheap bourbon. He looks like a bloodhound wearing a dishevelled suit... which is easy as he is actually A BLOODHOUND WEARING A DISHEVELLED SUIT. COLT (V.O.): But even the rain can't disguise the pungent stench of this flee infested town. That smell of fear and pain and blood and shit that surrounds everything and everyone... even me. And yet, there is something new in the air. A scent I haven't felt before. Something new and dangerous. Colt opens a drawer. Inside a revolver and a bottle. He picks the bottle... this time. DAPHNE, a bespectacled small CORGI in an elegant suit, enters the room carrying some files. She speaks with a slight British accent. DAPHNE: Starting early? COLT (V.O.): Daphne. Always judgemental. She used to be a beauty queen in some crap coastal town near Dover or some other shithole in England. But that was back in the day, and the day had not been good to poor ol' Daphne. Still, I'd be lost without her... not that I would ever tell her, of course. COLT: Slow night. DAPHNE: Slow month more like it. Do you need anything else? COLT: Not really. Actually, why don't you take an early night? I'm sure you've got better things to do than hang around here. DAPHNE: Not with what you pay me. Still, I'll go before you change your mind. She exits while gently wagging her tail. Colt reclines in his seat, back in the shadows. He closes his eyes. COLT (V.O.): There it is again. That scent. But this time, closer. Sweet and clean, but with a hint of remorse and... something else... STELLA (O.S.): Colt Quintana? Colt opens his eyes. By his door stands STELLA, a blonde AFGHAN COLLIE. She is dressed in an impeccably white 50's style dress and a large hat with black trims that covers most of her face. She is smoking a long thin cigarette. COLT (V.O.): There she was. The most magnificent creature I had ever seen I'm my life. The kind of bitch that would make you beg and roll over at the wink of an eye. Her intoxicating scent filled the room, igniting me with desire. Thank God for the bourbon numbing my senses and steadying my tail. Emotional outbursts are not good for business. COLT: That's what it says on the door. STELLA: I hear you've got a good nose for finding things. COLT: The best in the business. STELLA: If that’s really the case, I've got a little job for you. COLT (V.O.): A little job. That would turn out to be the understatement of the year. This bitch spelled trouble and I knew it. But beggars can't be choosers. I needed the work. COLT: What do you have in mind?

--- SCENE SIX --- INT. BATHROOM - DAY PETE, early 40s, with a towel wrapped around his waist is staring at himself in the mirror. PETE (V.O.): I had one of those weird, existential moments in the shower. I was looking at my arms and for a brief second, I didn't believe they were my arms. I stare back at myself. I look like my father, my uncle, my mom... and I feel like no one. Do I dare to ask myself the question of all questions: Who am I? KID, a girl age 10, pokes her head around the corner. KID: Dad? I spilled milk on the dog and she threw up on the sofa. Oh, I need to bring cookies to school. Kid leaves. PETE: (V.O.): Yeah, I'm the fucking Batman. Pete flexes in the mirror and his towel falls to the floor. PETE: Dammit.

--- FEEDBACK FOUR --- Nice. I think you could have done without Daphne in the scene. She really doesn't add much. Why would she be carrying files, if they haven't been busy in the past month? Daphne could provide additional conflict by demanding to be paid.

SCENE 08 JACOB (V.0.): If you've ever been castrated by the woman you thought you loved, then you know how I am feeling right now. EXT. STREET - MORNING JACOB, 23, stands shellshocked on the doorstep of a house. He has two boxes filled with his belongings in his hands. The door slams in his face and he slowly walks down the street, still wearing his pyjamas. JACOB (V.0.): My girlfriend just cheated on me. Well it was last week- but I only just find out. Note to self: Kill my brother when I see him. I can't fucking believe this. Whoever said lightning doesn't strike the same place twice has obviously never been in love more than once. Seriously, up until this moment right now I thought I was a good person. I must have been Adolf Hitler in a past life or something because God knows I shouldn't deserve this. And they wonder why people kill other people. Whoever has wondered that has obviously never been in love at all! Thanksgiving with the family should be... Fun. THE END.

Scene 7 INT. LE PAPILLION BAR AND GRILL – NIGHT Seedy bar, stained and crowded with the sort Mother doesn’t approve of. AC/DC blares from the Juke Box and the snap of cue on stripes interrupts every conversation. TRIXIE, 48 and relying on beer for tips, stops at a table. Trixie: What do you want? SAM, 24, tourist in life, sits with MAX, 24, the man who knows everything except when to shut up. Sam: Bud light? This seems like a Bud light kind of establishment. Trixie nods. Max: I’ll take Seelbach. But of course you don’t serve them here. You probably don’t even realize it. You’d go to your pitiful excuse of a rack of booze and pull something down and then club some small furry animal over the head to add some pizzazz to it. But the Seelbach isn’t made from seals. It’s ‘e’ and ‘e’ rather than ‘e’ and ‘a’, not that you know anything about spelling, tending bar at your age and in your condition, the hardest thing is remembering who’s sober enough to tell the difference between a Bud light and a Coors light. Of course what’s really pathetic isn’t you still thinking you can earn good tips, it’s that there’s gum under my table even older than you are. Like Chicklets old. World War two k-ration old. You’d have liked World War two. You could have adopted a silly French name and made a fortune as a whore. The Jerries didn’t care what anybody looked like, they just wanted to shove it up the assholes of the world. Maybe you should serve schnapps here. You might do better. Maybe not go home alone. Forget the Seelbach. I’ll take a Black Haus. Trixie pops her gum. Sam: I’d like to change my order, please?

Feedback #7 Vivid scene, can totally picture it. Did you consider having Jacob walking up to a door instead? And when a man opens it he says, "Hey, Bro. You're early."

Feedback #8 Pete is easy to like, you drew him well and quickly. I thought perhaps the last line of dialogue could be accomplished with an action, like looking down after the towel or something.

Feedback #9 You captured the mood very well. I wondered if I was reading two different stories though. Probably because of how short the exercise is, but I felt the gruesome overshadowed the idea.

Feedback 6 Hi again. :) I think the way you made Jane's dialogue stand out was really clever - you've got us in what seems to be a modern-day setting, with some regular kids, speaking in regular-old, modern-day, casual standard English, and then you metaphorically whack them over the head with an entirely different syntax coming from this strange girl. I think what might have made it even more effective for me would have been if I'd gotten to see/hear the kids interacting/being confused for just a short while longer before Jane was introduced - perhaps the scene could have begun a bit before this bright flash took place. But in any case, I like what you have here, and I don't necessarily think anything really needs to be added.

Scene 10 - woooh I did it! INT. BATHROOM - DAY Just finishing up his shower, LOGAN is still visibly hungover after a late night of questionable life decisions. He pulls the towel off of the rod. Dries his face. From outside of the bathroom, he can hear his roommate, ISAAC, stumbling around. Then there’s knocking at the bathroom door. ISAAC (O.S.) Oh… oh, man, I don’t know what I ate last night but it is not happy… are you almost done in there? LOGAN What??? ISAAC (O.S.) I said I… (a pained moan) Let me in, man! Oh, god! Horrified, Logan starts hurrying to dry off. LOGAN What is wrong with you? I can’t, I’m busy… go get a bucket or something. ISAAC (O.S.) Dude, please, I don’t know which end this is gonna come out of! Let me in! Isaac begins banging harder on the door, pushing and pulling, jostling the handle. LOGAN Shit, hold on! I’m still naked! Isaac bursts into the bathroom, shoving an indecent Logan aside and making a beeline for the toilet. Thoroughly grossed out, Logan yelps and stumbles out of the room, clutching the towel as he kicks the door closed with his foot. Isaac can be heard retching in the bathroom. LOGAN That’s… really fuckin’ gross… do you need anything? Off screen, Isaac lets out an unintelligible groan. LOGAN Right… Right, okay… uh, if you need any help… just, uh… don’t need any help.