Day 26 Assignment

[Judith Watson]

LOGLINE: Marcus learns to apology.

ESSENCE: Marcus realizes his ways hurt his loved one deeply and it is ruining their relationship.

Judith’s relationship scene #26

INT. KITCHEN – DAY

CARLEY, 26, scrubs the kitchen sink enthusiastically. Music blares in the background in the large, well decorated room. She doesn’t notice when MARCUS, 28, her husband, enters the room.

He sneaks up behind her and pecks her on the cheek. She turns quickly and stares at him.

CARLEY

You scared me.

He backs off. She looks at him, frowns, and gets back to the sink cleaning. He shrugs. Disappears.

A little while later her returns.

MARCUS

What’s for dinner?

CARLEY

We’re going to the Carlton’s, honey, don’t you remember?

Disappointed.

MARCUS

Do we have to?

CARLEY

Yes, he’s my boss. Not many employees get invited to his house. It is a big deal.

MARCUS

Why aren’t you dressed?

She stares at him. Taps her feet.

MARCUS

What?

CARLEY

Guess I better call and let them know I’m not coming. Might as well look for a new job.

MARCUS

I’ll get dressed. I’ll help you clean the kitchen tomorrow.

A confused expression on his face.

MARCUS

And we’ll do something really fun tomorrow, I promise. Come on, chop, chop, let’s go.

CARLEY

What am I suppose to wear?

Amused.

MARCUS

Whatever.

CARLEY

He requested the black dress with the filigree.

Marcus spins around. Taps himself on his leg.

MARCUS

Fuck, I was suppose to pick it up.

CARLEY

Yes, and yesterday and the day before.

MARCUS

It slipped my mind. I’m sorry.

CARLEY

I counted on you. You promised.

MARCUS

You’re blowing this out of proportion. Wear a different dress. He probably doesn’t even remember he asked you. I’m sorry, but things got crazy at work.

CARLEY

I know you have a lot on your mind, but I thought I was important in your life. I don’t feel that way. It hurts when you promise over and over and don’t come through.

He moves toward her. His arms outstretched. She backs off.

MARCUS

I love you. I’d capture the moon and give it to you on a silver platter. I’d race around the world and bring every delicacy that exists back to you.

CARLEY

Yes, but you won’t remember to bring home the dress you promised to pick up three times. That hurts. It cuts a wound in our relationship.

Marcus looks at Carey for a long time. They stare at one another. He sighs. His arms drop to his side. Remorse on his face.

MARCUS

I am so sorry that I forgot to pick up your dress. I know how important this job is to you and I realize how frustrating and hurtful it is when I say I will do something and I don’t. I want you to be able to rely on me. I’ll make sure to do better.

Carly studies Marcus’ face. A look of relief.

CARLEY

Thank you.

She moves over to him, and they kiss.

[Sandra Nelles]

Sandra’s QE Cycle #6

LOGLINE: A financial executive tries to set up a colleague to get his way.

ESSENCE: Collaboration works better than competition.

SCENE: INT. OFFICE BUILDING – DAY

Computer screen reads, “ABC Soda Company Profit and Loss Statement. Loss of $200,000 in red at the bottom of the page”.

MARCUS (38), handsome, intelligent, impeccably dressed sits behind the computer at his desk. He changes the loss to $500,000, saves it, prints three copies, and replaces the pages in three binders. He shreds the old pages. He grabs a laptop, a pad of paper, and the three binders and walks down the hall to a conference room.

BOB (50’s), the CEO with salt and pepper hair and dressed in an expensive suit, sits at the head of the conference table. Seated to his right, is CARLEY (35), thin, attractive, and her black dress and looks say no non-sense. Clock on the wall shows 9 am.

MARCUS

Sorry I’m late.

Marcus sits down on Bob’s left across from Carley. He hands out the reports.

BOB

One of our smaller companies is showing a loss.

MARCUS

The P & L is on page 3.

They each open the report to page 3.

BOB

I need you two to research this and give me a recommendation in 48 hours.

CARLEY

You want me to cover the operations?

BOB

Yes, and Marcus will cover the financial side. Let my assistant know if you have any questions.

Bob leaves the room.

MARCUS

I don’t see any way that they can make up the loss. I think it’s clear what needs to be done.

Marcus closes the report and gets ready to leave.

CARLEY

They’ve been in business for over sixty years, and have a loyal fan base.

MARCUS

They are a thing of the past, and the fans are older. Besides sugar is bad and people aren’t drinking as many sodas.

CARLEY

Have you even read the rest of the report?

MARCUS

I don’t need to. Numbers don’t lie.

CARLEY

Sometime they’re wrong, and sometimes the books have been cooked. You can’t just go by the numbers, you have to look at the whole picture.

MARCUS

Numbers are the most important part of a decision.

CARLEY

I respectfully disagree. It’s about the people and the product. We’re talking about people’s jobs… Their livelihood.

MARCUS

They’ll get severance pay and find other jobs.

CARLEY

It’s not that simple.

Carley and Marcus continue to argue as they go through the report. We see the clock at noon and they eat lunch at the conference table. The clock shows 3 pm. Carley’s cell phone rings.

CARLEY

Sorry, I have to take this.

She answers the phone and walks to the back of the room.

CARLEY

(whispers)

I’m in a meeting. Make it fast.

(beat)

The answer is No

(beat)

That’s not part of the deal.

(beat)

Nope, it’s not negotiable.

She disconnects.

MARCUS

What was that about?

CARLEY

Nothing, let’s get back to work.

Marcus walks over and stands very close to her.

MARCUS

Boggles my mind how you can be soft on this business deal and hard as a rock on something else.

CARLEY

You’re proposing to close a plant that will ruin people’s lives and the economy of a town.

MARCUS

Let’s pretend we don’t close the plant. Do we just down size? Do we turn it into producing something healthy like flavored water or kefir?

CARLEY

(excited)

Yes, those are wonderful ideas!

She hugs him and they kiss passionately.

FADE TO BLACK.

We hear a gun shot and a thud.

[Edward Lusk]

QE CYCLE ASSIGNMENT # 6 Draft One.

LOGLINE: Art museum director turns down needed funds setting up an unexpected confession to his development officer.

ESSENCE: heated arguments release honest emotion.

INT. MUSEUM – ARMOR COURT – NIGHT

An impressive, yet, rusting, collection of medieval armory, display cases of nights armor; helmets, mallets, swords. The walls lined with ancient, dusty, tapestries. Majestically standing at center court a full armored knight on horse back. His LANCE, extended high.

We see a rat gnawing on the the leather strap holding the lance in place. After a few bites, The lance, slips, slightly, precariously held in place by the narrowest of a strand. The rat scampers away.

INT. MUSEUM – ARMOR COURT – MORNING

The lights flicker on one by one. The armor gleams best it can under the morning skylight. In marches MARCUS BLAKE, 40’s, tortoise glasses and tweed jacket. He is the persnickety Director of this museum. He runs a white kerchief over the fixtures, dismayed at the dirt left behind. He stands tall, chin up, at the sight of the center court mounted knight.

MARCUS

(to knight)

What tales have thee to tell today, royal knight? Has the fair maiden who inhabits this castle come to you with news I’m desperate to hear? Sir Knight, as your captor I request you answer me! (a beat, Marcus frowns) Oh Sir Knight, take us away from the tedium of this grand space to a far away land of romance and joy.

Marcus waves the kerchief over the stuffed horse’s armored nose. Dust flies and Marcus expels a healthy sneeze.

INT. MUSEUM – DONOR DEVELOPMENT OFFICE – MORNING

A small desk piled high with folders and correspondences. Behind stacks stands CASEY O’DONNELL, 30’s. With hands firmly on hips above the pleated skirt. She surveys which stack to tackle next. A quick KNOCK. The door opens. A old MUSEUM GUARD shuffles in.

Casey reaches for a correspondence, any correspondence. She leafs through it.

GUARD

Ms. O’Donnell, a man left this envelope at the front desk. He ask that I give it to you personally.

CASEY

(reading a letter)

Please set it down. May I offer you some coffee?

GUARD

No mam, but the man said something else…

CASEY

…Spit it out, as you can see, the needs of this institution are greater than its resources.

Casey, sets down the papers, only to pick up a pen, which she twirls amongst her fingers.

GUARD

The man said…and I quote…Pay great heed to this offer, as opportunity knocks but just once. A battle of wills is never won until the love of the will is defeated.

CASEY

What the hell is that suppose to mean? Never mind. I’m sorry. I’ve wasted enough of your time. Thank you. We owe a great amount of gratitude to our volunteers. I doubt we stay open with out you.

With a tip of his cap, the guard exits. Casey picks up an ornate DAGGER and uses it to slice open the envelope. Out drops a dried rose bud and a CHECK. She looks at it twice.

EXT. DONOR’S OFFICE DOOR.

The guard stops dead in his tracks. From behind the closed door there’s a tremendous scream of jubilation. The door flings open. Casey runs past the guard. The check envelope in one hand and the dagger in the other.

INT. ARMOR COURT

On one of the observation benches below the mounted knight with the precarious lance, sits Casey, admiring the tapestry on the opposite wall, “AENEAS SAYS FAREWELL TO DIDO.” He ruminates a loud.

MARCUS

Yes, dear Dido, I must follow my destiny and must I leave for Carthage, post haste. For it is the path to follow, should I decide to go. I fear rejection most once I reach port…

Marcus daydreaming disturbed by the tough, yet hushed, voice of Casey.

CASEY

…Mr. Blake!…Mr. BLAKE!…Mr Blake!!

MARCUS

Oh, I do apologize, Ms. O’Donnell. You do know how the romances transport me away.

CASEY

Your ship has come in, Mr. Blake, take a look at this.

Casey hands over the envelope. Marcus takes it as well as noticing the dagger in her hand.

MARCUS

I trust, Ms. O’Donnell if you going to kill me, you do know the blood will be on your hands?

CASEY

Kill you?…Oh…this…it’s merely a letter opener.

MARCUS

(A twinkle in his eye)

Indeed, I’m not quite positive that’s what Macbeth said.

Casey laughs along, a hint of flirtation behind her hardened shell. Marcus takes out the check and the dried rose. He stands in astonishment.

MARCUS (Continued)

Ten million dollars?! The Graham Thomas Foundation is donating ten million dollars to our museum?

Marcus holds the check up dramatically above his head and is about to RIP IT in half.

CASEY

Stop! Stop it! Don’t do this. You’ll ruin everything.

MARCUS

Graham Thomas is an obnoxious, narcissistic, conniving, bore. I shall not, will not, and can not have his name associated with this institution!

A group of giggly school children enter the museum chaperoned by an ELDERLY MAN, strangely wearing a derby hat, holding cane. He herds the children along with the cane. A look of weary boredom droops over his face.

Casey’s hands reach up and take Marcus’s in them. Their faces meet. Together they lower the check, in tact. The two shamefully separate at the sensation of their touch.

CASEY

I don’t care what the man’s reputation is. This money is agnostic. Please understand, Marcus. This is the moment you’ve waited for. This gift will save us, and the museum. We can stay together. You won’t have to leave now. Think of the new collection you can curate.

The old man saunters past. He tips his derby hat and stops to admire the mounted knight.

MARCUS

Lower your voice. (contained rage) This is no gift. Graham Thomas will pull ever single string attached to his philanthropical bribe. He’ll replace the board with his own henchman. Next, I’ll be thrown out like the trash. Then he’ll sell off our greatest works, funneling the proceeds into secret bank accounts. As for you, you’ll be named the new puppet director of a tax haven masquerading like a museum.

CASEY

You’re only saying this because you’re jealous. I’ve just delivered the greatest development gift this museum’s ever seen and you want to pull the rug right out from under me!

MARCUS

If I given the impression of jealously, I am sorry. That is unbecoming. However, this circumstance brings to light, what exactly did you have to do the acquire such a large gift? I wasn’t aware you knew Graham Thomas so intimately.

CASEY

How dare you?

She slaps Marcus across the face. The giggle children become silent. The elderly man clears his throat – loudly.

Marcus shakes off the assault. He locks eyes on the fire behind Casey’s indignant stare.

MARCUS

I guess I had that coming. Still, we must think clearly. I want you to return the check with a very grateful thank you but not thank you letter.

CASEY

I doubt if I could phrase such a letter. Under the circumstances, I find your behavior incomprehensible. Perhaps it’s best we convene after lunch, when one of us can come to their senses.

MARCUS

I won’t change my mind…(Casey turns to leave)…Why the dried rose?

The elderly man with the derby hat intervenes.

Elderly Man

It’s my calling card, dear boy. The rose is Graham Thomas Rose, my name sake as well as a calling card. You see the Graham Thomas Rose is a world’s favorite, an award winner, no less. And yet you disparage me so. Tsk, Tsk.

Casey and Marcus are speechless. Mouths agape, eyes wide.

CASEY

I…I…I am sorry Mr. Thomas. We are appreciative of your generosity. Just look around, you can see our museum could use your help.

THOMAS

I don’t think Mr. Blake sees it that way. He’s blinded, you know. He has a strong will to survive, but only in his imagination. These works that surround us are not just art, they are his muse for escape. Is that right, Mr. Blake?

MARCUS

I’m afraid once I remove my foot from my mouth I’ve established we’ve got off on the wrong foot, Mr. Thomas. And you’re right. I do find I express my thoughts speaking to these relicts. Like this knight standing probably behind us. A gift from a nineteenth century industrialist.

THOMAS

I find art tedious. No wonder you talk to it. What’s more curious is why you bring Ms. O’Donnell, here, into your conversations.

MARCUS

I must keep my voice down.

CASEY

Shouldn’t we move on? I see the future to be a better topic than the past.

THOMAS

Fair enough. Let’s get down to it. My gift, is just that. No strings attached or nefarious plots to over throw the current regime. It’s buys this institution time and time provides many opportunities to those who are brave enough to see the truth.

CASEY

All this talking in circles is making me dizzy.

MARCUS

The truth is I love you Casey. I always have. I was afraid if I expressed my feelings I’d place the museum at risk.

CASEY

You must stop putting the museum ahead of what matters to you most, Marcus. My word, this morning is nothing like I ever imagined. I’m struggling to find the words the best express my…

Above them the LANCE on the Royal Knight creeks FREE, with a rusty creek it comes crashing down. Marcus pushes Casey out of the way. They land together in a heap on the floor.

Casey rolls off Marcus. The DAGGER is firmly impaled into Casey’s heart. A growing circle of blood spreads beneath the tweed.

CASEY

Marcus! Marcus, stay with me. Mr. Thomas, please get help!

Graham Thomas shuffles off in search of assistance.

MARCUS

If there’s a will, there’s a way to my heart. Maybe one not so directly, Ms. O’Donnell.

CASEY

Forgive me, Marcus, and, yes, I have the fondest of feelings for you.

MARCUS

I’ll take it, but first I must rest my eyes.

Casey kisses Marcus as his eyes slowly close.

[Paul McGregor]

Logline: CARLEY and Marcus are eye-witnesses to the 9/11 attacks on the Twin Towers, but they manage to retrieve love from the rubble.

Essence: Suffering the same pain brings two people together.

Scene:

INT. LOBBY OF THE NORTH TOWER, TWIN TOWERS. MORNING OF 11 SEP 2001.

CARLEY, swinging her bag nonchalantly, makes eye contact with MARCUS, one of the uniformed security guards manning the turnstiles.

CARLEY

I’m a free woman at last. He signed off on the divorce papers!

Marcus says nothing. CARLEY heads towards the exit. There is suddenly an enormous explosion and panic breaks out in the lobby. CARLEY comes running back. She tries to pass through the turnstile but it won’t open.

MARCUS

Miss! I’m sorry, you have to leave the building!

CARLEY

But please! My husband’s up there. I need to know he’s okay.

Marcus is busy trying to listen to the instructions he’s getting through his ear-piece.

CARLEY

What’s going on? I need to know!

MARCUS

You need to leave the building immediately!

CARLEY points over to some people on the other side of the turnstiles running up the elevators.

CARLEY

But look at them over there!

Marcus turns to look, and CARLEY takes advantage to jump over the turnstiles. By the time he turns around, she is several yards ahead of him heading for the escalator. He runs after her, grabs her arm and pulls her back towards the exit.

MARCUS

Look, we don’t know what has happened up there. You’ve got to leave! We’ve all got to leave.

CARLEY

Get your hands off me! You’ve got no right!

MARCUS

It’s for your own good. It could be a gas explosion. You’d be risking your life if you go up there.

The panic heightens around them. People start screaming: “It’s a plane! A plane hit the building!” Carley grabs one of the screaming men as he runs to the exit.

CARLEY

Which floor! Which floor!

He shrugs her off and resumes his run to the exit.

MARCUS

I know what. Why don’t we both go outside. We’ll be able to see what’s really happened.

Marcus takes Carley by the arm and helps her through the turn-stile. They get lost in the madding crowd heading for the doors.

INT. COFFEE SHOP 10 BLOCKS NORTH OF THE TWIN TOWERS. LATER SAME MORNING.

Carley and Marcus are in shock. They don’t touch the coffees on the table in front of them.

CARLEY

Are you sure she was in there?

MARCUS

I went up with her myself. For once we were working the same shift!

Silence descends again.

MARCUS

Look, I’m sorry about man-handling you like that, but if he was up on the 85^th floor, there’s no way you…

CARLEY

If you’d let me in, I wouldn’t be sitting right now. I’d have been a gonner too.

MARCUS

We both lost the person we loved.

CARLEY

Loved?

MARCUS

You were willing to risk your life to see him one more time.

CARLEY

It must be much tougher for you. You weren’t divorcing her!

More moments of silence. Carley finally takes a sip of coffee.

CARLEY

You saved my life…

MARCUS

It’s Marcus.

CARLEY

(Extending her hand for a handshake)

Carley.

The two shake hands and then exchange embarrassed glances.

MARCUS

I think it’s time we headed on home. This has been horrendous for both of us.

CARLEY

Of course. Let me get the bill.

She pays the bill and the two head outside.

EXT. STREET OUTSIDE COFFEE. SAME.

Carley grabs Marcus’s arm.

CARLEY

You mustn’t keep punishing yourself. You did the right thing.

MARCUS

I’m glad you see it that way. You know, in these situations, who knows what’s best.

CARLEY

We have to pull through this. Both of us.

She throws her arms around Marcus and gives him a long kiss.

END

[Edward Lusk]

Hi Paul, exchange notes?

[Paul McGregor]

Hello Edward, I think I owe you an apology. You replied to one of my earlier assignments, but I didn’t discover it till some time afterwards. My humble apologies. I would like to exchange notes with you, but perhaps you have moved on already. I have not kept up to date with the assignments on this course and am only do doing my re-write of the scene. I will look at yours now. Thanks again. Paul.

[Edward Lusk]

No problem Paul. We’ve all improved our writing skills but not the management of these confounded forums! LOL. I will provide feedback of your scene this week.

[Amechi Ngwe]

SITUATION: Person A and Person B are fighting until they realize they were meant to be together.
SCENE ARC: From two people fighting to them kissing.
LOGLINE: Two party clowns compete for the bonus from a rich child’s parents.
SCENE
A LONG PINK BALLOON inflates. Gloved hands containing nimble fingers, pull, twist, bend until—
The balloon is in the rough shape of a dog.
CARLEY, the CLOWN in full clown make up and clothing, 30s, a sad smile and a teardrop painted on her face, shoves the balloon animal at RYAN 5, snooty, with an ‘it’s MY birthday’ badge pinned to his shirt. Ryan reaches up for it.
RYAN
A DOG!
Carley pulls it back. Ryan grabs at air.
CARLEY
Hold on, little Ryan! This is a wolf! A special type of dog.
VOICE (O.S.)
That’s not a wolf…
They both turn to ANOTHER CLOWN who has his back to them, hunched over. The squeaking sounds of a balloon animal under construction in his hands.
This is MARCUS, 30s. His clown outfit is bright primary colors, his wig a flowing mane, an ear to ear red smile is painted on his face in the shape of a giant smile.
He suddenly turns offering Ryan A BETTER BALLOON WOLF.
MARCUS
That’s a wolf!
RYAN
Gimme!

Ryan Reaches for the balloon. But Carley grabs his wrist.

CARLEY
Are you sure you wouldn’t rather…?

She offers her balloon animal again. Ryan’s eyes dart back and forth. But it’s no contest.
Ryan snatches the balloon wolf from Marcus and runs off. Several other children trail after him.
Marcus turns to Carley who folds her arms.
CARLEY
Wolves aren’t happy…
MARCUS
They aren’t rubber and full of air either. Sorry to step on your toes there.
CARLEY
He got what he wanted.
MARCUS
And hopefully so do I.

CARLEY
And what do you want?

MARCUS

Same thing as you.

CARLEY
To know why they hire two clowns?

MARCUS
No, I know that. Competition is good. The mother invited me.

CARLEY
And the dad me.

MARCUS
Did they tell you about the bonus for the best entertainer?

CARLEY
I need it.

MARCUS
How about I let you have it.

RYAN’S MOTHER comes over.

RYAN’S MOTHER
You and you. What are you doing? Shakespeare? Get to work!

Marcus apologizes with a hand gesture and does a little dance. He moves towards the kids, playing with his balloon animal. Carley follows.

CARLEY
They bought us in to compete with each other.

MARCUS
Two clowns. One job. How about a team up?

CARLEY
Like our old act? They want a clean show.

MARCUS
Well, there’s a problem with that.

CARLEY
What?

MARCUS
We couldn’t keep our hands off of each other.

CARLEY
That was offstage.

MARCUS
A boat isn’t a stage.

They lock eyes.

RYAN (O.S.)
What are you doing?

Carley and Marcus look at him.

RYAN
Do something funny!

CARLEY
In a minute. Go play.

Ryan squeezes the balloon animal until… POP! It bursts.

RYAN
Don’t fuck with me! It’s my birthday.

MARCUS
Hey, watch your mouth kid.

RYAN
Do as I say… RIGHT NOW!

Ryan screams at the top of his lungs. The adults look over.

MARCUS
Easy buddy!

Ryan kicks Marcus hard in the shin.

MARCUS
Ow!

Ryan kicks him again. Marcus dances back and—A GLOB OF CAKE whacks Ryan in the face.

Stunned, he turns. Carley is next to his cake, a chunk missing from the side, and her hand covered in frosting.

The two clowns laugh as Ryan stands there stunned.

There’s an electricity between them. The clowns lean in for a kiss. The children can’t believe their eyes.

KIDS
EWWW!

The clowns stop and look at the kids.

CARLEY
What? This is what adults do.

Ryan moves to the front of the group of kids.

RYAN
You’re ruining my birthday!

Ryan yells again, drawing his mother’s attention. She storms over.

RYAN’S MOM
Buddy, what’s wrong!?

She sees the cake. The clowns making out beside it.

RYAN’S MOM
What did you do? You idiots!

Marcus and Carley grab a handful of cake each and hurl it into Ryan Mom’s face.

She wipes it out of her eyes and starts screaming. Her perfect face ruined. Ryan starts screaming again.

But the other kids are loving it. They’re laughing, cheering, fully engaged.

The other parents on the boat react with horror.

MARCUS
We’re available for birthday parties, special events, or just if you’re bored on a Saturday!

Dad and security guard coming over.

DAD
Get off my boat! Now!

CARLEY
Shall we?

MARCUS
In a second.

He plants a kiss on her.

END OF SCENE