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Lesson 22
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Christi’s Interest Scene
What I learned doing this assignment is creativity is the easy part.
Logline – When Granpa comes to stay in his room, Rusty vows to destroy him!
This was so obviously the War with Grandpa, I’ve just copied it here. Also, there wasn’t a page count restriction on this one so it went to 7 pages.
I used everything but D- put it in a more interesting setting. SInce it’s about his room- I couldn’t really move it.
The War with Granpa
THE WAR WITH GRANDPA
FADE IN:
INT. RUSTY’S BEDROOM – MORNING
A young boys bedroom. GRANDPA flicks the lights on, walks into the room and wakes RUSTY.
GRANPA
Hey Roomie, remember me?
Rusty takes a few minutes as he wakes.
RUSTY
Grandfather?
GRANPA
Hey with that formal stuff- Granpa!
RUSTY
Where’s Mommy?
GRANPA
She had to do some stuff early but I’m here. Some male bonding!
He rips the covers off Rusty.
GRANPA
So, head office first?
Rusty stands uncertainly and then walks to the bathroom and closes the door. Granpa waits outside until it’s opened again.
GRANPA
Didn’t flush, sport.
RUSTY
I use the potty.
GRANPA
At your age? Son of a Beach!
INT KITCHEN – MOMENTS LATER
Granpa walks into the immaculately cleaned kitchen as Rusty follows.
GRANPA
Okay, no hair of the dog for you!
He looks through the cabinets as Rusty looks down each hallway that leads to the kitchen.
RUSTY
Where’s Mom?
GRANPA
Doing something I’m not allowed to be there for.
He grabs a cereal box, pours some in a bowl and drops it infront of Rusty.
RUSTY
Mom always makes oatmeal.
GRANPA
Yeah, well, you’re not the only one in the universe any more.
He pauses.
GRANPA
Our age, decisions get made for us.
He stops as he considers a confused Rusty, then makes a realization. He goes to the fridge for the milk.
GRANPA
Almond milk! Son of a Beach!
He closes the fridge and takes the bowl away from Rusty.
GRANPA
I’d go to the store but they took my driver’s license away when your grandmother died, God rest her soul.
He makes the sign of the cross.
GRANPA
Alright, little man, we’re having something else.
He pulls out a box at the back of the cupboard along with a jar of syrup and begins the preparation.
A few minutes later, Granpa places two plates on the table then douses them both in syrup. He gives Rusty a fork and starts eating but Rusty just sits there.
GRANPA
What’s a matter? Don’t like pancakes?
RUSTY
Mom always cuts my food.
GRANPA
How old are you again?
Granpa gets up and picks up Rusty’s fork, making cuts with it until the whole pancake is cut. He drops the fork back down. Rusty picks it up and puts one slice in his mouth. His eyes light up with the sugar rush.
RUSTY
Mom never lets me eat sugar for breakfast!
GRANPA
Good huh? Old Gramps could do something right!
Rusty doesn’t smile at him but still eats the pancakes.
Just then, the phone rings. Granpa drops his fork and picks up the phone on the wall.
GRANPA
Yup… No idea. Probably in a drawer somewhere…Good thing you got a real one here to call…Yeah, he’s right here. Little man!
Rusty approaches as Granpa holds it to his head. Rusty holds it with both hands.
MOM
(o/s)
Rusty, sweetheart, how are you?
RUSTY
Where are you, Mommy?
MOM
(O/S)
Baby, mommy’s had to go and make some arrangements like we told you, remember?
Rusty focuses for a minute.
RUSTY
No.
MOM
(O/S)
It’s okay, honey. It shouldn’t be too much longer. Hand the phone back to grandfather.
RUSTY
Is he sleeping in my room now?
MOM
(O/S)
Not long, I promise. I Love you, sweetheart.
Rusty hands the phone to Granpa.
GRANPA
Yeah… Pancakes and syrup…Well, then you should’na had the fixins darlin…yes, he’s fine. I’m fine too, incase you wondered.
Long pause as Rusty stares at Granpa on the phone.
GRANPA
Yeah, you do whatcha gotta do, kiddo. The men are fine here.
Another pause then he hangs up and looks to Rusty.
GRANPA
Don’t ever get old.
RUSTY
Why?
GRANPA
Come on, little man, Truce. Lets get you dressed for the day.
Granpa drops the dishes in the sink then they head to his room.
INT. RUSTY’S BEDROOM – DAY
Granpa and Rusty look through his closet. Granpa pulls out some clothes and lays them on his bed.
RUSTY
Mom wouldn’t pick those.
GRANPA
Look, you’re mom’s not here. Clothes are clothes. Think I wanted to be wearing this today?
Points to his outfit, complete with suspenders and then gestures to a suitcase in the corner of the room.
GRANPA
Who even knows what’s packed.
Granpa turns to leave but Rusty panicks.
RUSTY
You’re not staying to help?
GRANPA
Right.
Comedy ensues as they both try to figure out dressing. Next a montage of the next few hours. Rusty leaves his toys out but Granpa artfully dodges them, etc.
INT. BATHROOM – DAY
Rusty stands in the bathroom, confused.
RUSTY
Granpa, where’s the potty?
Granpa appears at the door.
GRANPA
No little man of mine does his business sitting down.
He opens the bathroom cabinet and pulls out a stool.
RUSTY
But I really halfta go!
GRANPA
Then go.
RUSTY
That belongs in the kitchen.
GRANPA
Now it’s in the bathroom.
Rusty lines the stool up with the toilet and stands precariously on it.
GRANPA
Good. Seems big now but you got this. Aim right there-
He points to a spot in the bowl.
GRANPA
Don’t worry, I won’t leave.
RUSTY
I can’t go.
Granpa turns on the faucet. It works!
RUSTY
Now what?
GRANPA
Now, you shake it and put the mouse back in the house.
Rusty does as instructed, then flushes. Granpa looks over the toilet.
GRANPA
Good job! You hit the target on the first try. You’re a natural! Now – Oh, yeah, your Mom will want you to wash your hands.
RUSTY
But I didn’t get anything on my hands?
GRANPA
As long as you live with women, common sense doesn’t apply.
Rusty shrugs and goes to wash. He looks at the stool, then drags it to the sink. He grabs the towel and dries.
Just then, the front door opens and Mom calls out. Rusty runs from the bathroom with Granpa following.
INT LIVING ROOM – MOMENTS LATER
Mom and Dad are back, carrying a large package. Rusty runs into Mom’s arms and covers him in kisses.
MOM
Were you good for Granpa?
RUSTY
I can pee now in the toilet!
MOM
Wow, that’s um great.
She looks to Granpa, who’s just caught up in the room. He smiles.
MOM
Rusty, I’d like you to meet your new sister Rachel!
Dad holds out a bassinet with a squirmy little infant. Rusty looks in at her.
RUSTY
Son of a Beach.
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Hi Christi,
Great! I would love to see your new logline and brainstorming. 😃 Did you find any helpful books at the library?
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Finally back in but for some reason I can’t edit.lol.
Logline- Grandpa calls a truce with Rusty, then tries to get him potty trained before his Mom gets home.
Structure:
A Suspense- grandpa staying is temporary or is it?
B Major twist- GP is staying in Rustys room. Rusty can’t play or even sleep as he normally does.
C Surprise – Rusty tries to do regular things like clean up his room and have his snack the right way but GP can’t do it right.
D- more intense setting- doesn’t really work but have planned alien things in a familiar environment.
E- Mislead/Reveal- Seems like GP needs medical care- but really Mom is pregnant.
F. Superior Position/ Dramatic Irony- The doctor calls, doctor talk- drivers licence.
G- Uncertainty- GP will go then won’t. Mom will be here then won’t.
H- Intrigue/Scheming – GP tries to twist Mom’s absence into male bonding.
Mom calls but GP left his phone off.
I – Mystery- Why is GP here with Rusty? Where did everyone go?
J- cliffhanger- Baby? Eww!
K- Dilemma- rusty could starve or not have GP food. Either bad
L- Something Unseen – We don’t see the childbirth that is happening
CHARACTER
A Character changes radically –
Gp- upset to be left alone but positive for Rusty.
Rusty- finally pees standing up
B Betrayal- Mom has betrayed Rusty by leaving him with GP
C- dilemma- rusty needs to get things done but can’t do them his way.
D- uncomfortable moment- where did the potty go?!?
E. Misinterpreted- GP is a babysitter, not being housed from a nursing home.
3. Dialogue
A. Hook- GP begins to arrange the home- preparing for the arrival of the new guest.
B- Predictions – you’re not the only one in the universe.
C- Creating a Future- bonding, despite Rustys pushback.
D. Anticipatory Dialogue-
When will gramps be going to the nursing home?
You’re not the only one in the universe.
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Hey Christi,
I see what you did here. It’s great!
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Great work on your scene. You really make it flow, show the vernacular and make it real. Very picturesque in the structure of your writing.
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Subject: Susan McClary’s Interest Scene
What I learned from this assignment…
Wow! So much. Using these ideas was enough for a short, or a new idea for a screenplay. Way to go!
Logline: Julie (early 30’s) honks hello to a friend in a grocery store parking lot. This disturbs Ethel (81 yo), who is walking to the store with her husband Marty Gribbel, who freaks out.
Brainstorm Interest Technique Ideas:
1 – STRUCTURAL
A. Suspense
Will Ethel have a heart attack when the honking happens? She grabs her chest and bends over.
Will Ethel completely destroy Julie’s Rover.
What will happen to Ethel
B. Major Twist
Ethel is not so disabled, she can do miraculous things!
Julie tries to calm Ethel, but she wrecks Julies Rover.
Ethel is a Judge and has many friends in law enforcement.
Ethel’s husband Marty tells Ethel everything will be OK, but he commiserates with Julie of the truth about what she did and tells her he will tell the police the truth.
The Swat Team is really there to get Marty. They’ve been looking for him for a while for murdering his last 4 wives. He keeps changing his name and marrying wealthy women. All his money is in offshore accounts.
C. Surprise
Ethel jumps on top of Julie’s Rover and bangs the roof with her metal cane.
Julie appears to calm her, but…
THEN Ethel lies down on her back holding on to the sides of the hood kicks hard and breaks the windshield with her feet,
THEN one of her shoe heels punches through the glass, the shoe splits and Ethel’s leg gets cut by the glass (she is oblivious to it)
D. More interesting setting
In front of an IKEA?
E. Mislead/Reveal
Ethel appears to need her husband Marty’s help and her cane to walk, but NO!
Julie follows Ethel into the store for what appears to be to calm her and make it up to her how she startled her with the horn, but she has actually called the police and is making sure Ethel doesn’t leave the area.
She tries to get her address to send her flowers.
F. Superior Position/Dramatic Irony
Someone films the incident on their camera sends it to the police and a swat team is on the way
G. Uncertainty/Hope
Julie apologizes and Ethel calms down for a moment, but then becomes even more enraged at how Julie thinks just an apology will remove her shock.
After Ethel and her husband Marty enter the store she calms down, Julie goes in after her to apologize and get her address to supposedly send her flowers, but then Ethel reaches another peak of insanity while Julie is questioning her, and picks up a series of nesting baskets screaming shut up, shut up, shut up and stuffing them from smallest to largest over Julie’s head.
Ethel’s husband Marty calms her down again and she curls up in a ball on a children’s bed display.
Suddenly she jumps up and starts jumping on the bed so hard it collapses
H. Intrigue
The husband Marty speaks to Ethel as if he has had to do something similar before because he has been doing something to affect her behavior.
I. Mystery
What is wrong with Ethel?
Is this drug related?
Is Ethel psychotic?
What is going to happen?
J. Cliffhanger
The scene ends as the Swat team surrounds the building and the leader pulls out a bullhorn. He speaks to Ethel’s husband Marty. It is the husband Marty that they are after. They’ve finally caught up with him, he’s murdered his past 4 wives with LSD overdoses.
L. Something Unseen
Ethel’s daughter has been suspicious of Ethel’s husband Marty and has reported him for elder abuse.
2 – CHARACTER
A. Character Changes Radically
Ethel goes from an older lady walking with help from her husband Marty and a cane to explosive violent episodes and tears.
Julie goes from apologetic to hysterical and then calm and apologetic.
B. Betrayal
Ethel’s husband Marty tells Julie that Ethel is the one in the wrong.
Ethel’s husband Marty is trying to murder her by overdosing her with LSD so she behaves in ways that will cause her own demise.
Unbeknownst to Marty Ethel left Marty out of her will, everything goes to her children.
C. Dilemma
Julie has a choice to physically remove Ethel from her car.
Ethel has a choice to forgive Julie or to snub her.
D. Uncomfortable Moment
Ethel destroying the car, Julie apologizing to a fruitcake, Ethel loading boxes on Julies head, Ethel curled up on the child’s bed crying, Ethel jumping up and down on the bed and breaking it.
E. Misinterpretation
The store manager believes Ethel has Alzheimer’s and calmly requests her husband Marty take her home, all the while her husband Marty has dosing Ethel out on LSD.
We originally think the Swat team is there for Ethel, but they are there for Marty.
3 – DIALOGUE
A. Hook
Ethel starts screaming at the top of her lungs
The Swat team, “Marty ?G? We know you’re in there. Come out with your hands up.”
B. Predictions
Julie says she is going to call the police… the police may come
The person who sends the video to the police… the police will come
C. Creating a Future
Marty will be arrested
Ethel will have a psych evaluation
Marty and Ethel will have to pay for Julie’s car
Julie will expect a massage or a chiropractor
The store will need to remove the child’s bed
EMS will need to attend to Ethel for her behavior and the injuries she sustained when she broke the bed and the window to Julie’s Rover
D. Anticipatory Dialogue
Julie asks for Ethel’s address
Julie says she will call the police
Marty says he will back Julie up
WRITE THE SCENE:
ETHEL’S DISMAY
EXT/INT CONTINUOUS
LATE AFTERNOON IKEA PARKING LOT
ETHEL (81 YO White woman) is walking with a CANE and leaning on her husband MARTY in the IKEA parking lot. They are slowly edging their way towards the store entrance.
JULIE is in her ROVER, loud AUTOTUNE music pouring out the open window. JULIE honks loudly at her friend BONNIE who is driving right by her. BONNIE waves and drives on.
JULIE closes her window not noticing that the older lady, ETHEL terribly startles, clutches her chest at the loud blare of the horn, and is bent forward crying.
Out of nowhere ETHEL, suddenly filled with vim and vigor, forcefully detaches herself from MARTY and stampedes to JULIE’S Rover. She is screaming at the top of her lungs.
A BYSTANDER films everything with their phone making sure to get MARTY in the frame.
ETHEL
(Waving her cane in the air)
Crazy! Crazy! Crazy! You almost gave me a heart attack you bitch!
ETHEL steams up to the driver side window. JULIE keeps it closed.
JULIE makes the prayer sign with her hands.
JULIE
(Yelling through the glass)
Soooo Sorry! Soooo Sorry!
ETHEL
(Raising her eyebrows)
Oh yeah, you will be!
ETHEL bangs the roof of the Rover with her metal CANE over where JULIE’S head is, then starts circling the vehicle banging as she goes.
ETHEL sings “Don’t Give Up The Fight” by Bob Marley, while Skanking (Jamaican dancing) around the Rover and using the beats to smash her cane on the top of the Rover.
ETHEL
(In a Jamaican accent)
Stand Up for your rights, Get Up, Stand Up, Stand Up for your rights. Get Up, Stand Up, Stand Up for your rights. Did you hear. Stand Up for your rights. One more time. Get Up, Stand Up, Stand Up for your rights. Did you Hear? DON’T GIVE UP YOUR RIGHTS!
JULIE
(Shrieking) You’ll pay for this! You’ll pay!)
ETHEL stops dancing, drops her cane, and raises herself on top of the hood of the Rover. She is on her back now holding on to the sides of the hood.
ETHEL lifts her head and gleefully smiles at JULIE. Then suddenly smashes at the windshield with her hard Steel Reinforced Orthopedic Medical Walker Boots.
JULIE covers her face with both arms and crunches down in the seat.
ETHEL keeps kicking away at the windshield until one of her hard Steel Reinforced Orthopedic Boots punctures the window. She is now stuck and can’t get out.
ETHEL
(Yelling)
Martin, get the hell over here and help me now!
Marty traipses to ETHEL, smirking. JULIE slowly gets out of her Rover.
MARTY
(Looking Ethel over)
How do you want to do this hun?
ETHEL
(Annoyed, sneers at Julie)
Just get me the hell out of here!
ETHEL clutches the sides of the Rover and MARTY carefully removes her boot from the window.
ETHEL is exhausted. Marty helps her down, picks up her cane for her, and they walk to IKEA.
JULIE
(In shock)
You’re just going to walk away? You have to pay for the damage!
JULIE pulls out her phone and calls 911.
JULIE (CONT’D)
A crazy woman just broke my windshield with her feet.
911 OPERATOR
What is your location please?
JULIE
The parking lot outside of IKEA, on IKEA way.
911 OPERATOR
Are you injured?
JULIE
No. Just shook up.
911 OPERATOR
Is the other party injured?
JULIE
How would I know, she just walked into the store with her husband.
911 OPERATOR
We’ll be there soon. Wait by your vehicle, please.
JULIE stands there a moment and runs into the store. She finds ETHEL and MARTY. She is making sure they don’t leave before the police arrive.
JULIE
(To Ethel, holding up her phone address book)
Look, I’m really sorry I honked. Let me make it up to you. I’d love to send you some flowers and chocolates.
ETHEL
Chocolates give me gas!
JULIE
Well, a beautiful bouquet of flowers then. Give me your address and I’ll get them to you in the morning.
ETHEL looks around and sees a shelf with a pile of stackable baskets right next to her. She proceeds to take each basket from small to large and pull them over JULIE’S head. Speaking with emphasis as she drives each basket down over JULIE’S head.
ETHEL
NO! NO! NO, Thank You! NO!
Julie collapses on the floor legs spread out wide for balance lurching forward, and wrenching the baskets off of her head. Marty bends down to help her.
ETHEL (CONT’D)
(With surprise)
You’re helping her? HER?
JULIE
(Muffled Screeching)
I can’t breathe. Help!
Marty gets the last basket off JULIE’S head. She is bright red, gasping.
JULIE (CONT’D)
(Bluffing)
I was trying to apologize.
ETHEL takes MARTY’S elbow.
ETHEL
(Pulling him away)
Let’s go do what we came for.
ETHEL and MARTY walk away toward the children’s section nearby.
The STORE MANAGER and a few other ASSOCIATES arrive and hoist JULIE up off of the floor by her armpits.
JULIE
Thank you.
Julie straightens her clothes, and walks towards ETHEL and MARTY.
STORE MANAGER
(Whispering confidentially)
Really Miss, that is a bad idea.
The STORE MANAGER calls 911 for EMTs.
STORE MANAGER (CONT’D)
Yes, we have two injured customers….
JULIE continues on. She finds ETHEL curled up in a ball crying, on a small wooden child’s bed. She knows she has the upper hand now.
JULIE
(Sorry for herself only)
YOU trashed my car! YOU accosted me! YOU are a mean, cruel old woman! YOU, you, you CREATURE!
ETHEL regaining her composure, gets up on the bed and starts jumping up and down pointing at JULIE.
ETHEL
I’ll get you my pretty, and your little dog too!
One too many jumps on the child’s bed and it breaks through. ETHEL is left in the middle of the broken bed surrounded by bedding like a bee in a flower.
EMTs rush over to ETHEL, remove her from the bed, and begin checking her out.
EMT #1
What is your name dear? How do you feel?
ETHEL does not answer. She is looking off into space, and keeps trying to catch something invisible with her hand.
EMT #2
Look at those pupils! It looks like she’s on LSD!
EMT #2 turning around.
EMT #2 (CONT’D)
Is there anyone here with this woman.
MARTY sheepishly raises his hand.
EMT #2 (CONT’D)
Has she taken any drugs?
MARTY
(Fabricating)
I have no idea. I was at work earlier today. She has been acting weird lately.
JULIE
Weird?!
SWAT COMMANDER
(Using Bullhorn)
Martin Gribbel, you are surrounded. Come out with your hands up!
BIRDSEYE VUE
We see the IKEA store parking lot surrounded with several SWAT Squads.
ETHEL burst out of her fog.
ETHEL
(Astonished)
Why Martin our last name is Sanders! Why on Earth would they call you Gribbel?
SWAT COMMANDER
(Using Bullhorn)
Martin Gribbel, I repeat… you are surrounded. Come out with your hands up!
FADE TO BLACK.
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What I learned doing this assignment was building the techniques in my scene.
Logline: A wounded woman feuding with her husband wants to make amends, but with a price.
A. Suspense.
We see an intriguing lady waiting alone in a fancy restaurant, and we wonder why she is there and why is she alone.
B. Major twist.
The lady says she wants to make amends, but then she’s presenting divorce papers.
C. Surprise.
The age difference of the characters, in the beginning of the scene one may think it’s her son but it’s her spouse.
D. Put in a More Interesting Setting
A sedan, a hotel room.
E. Mislead / Reveal.
Reveal the true personality of the woman, nice-nasty that has no limits.
F. Superior Position / Dramatic Irony
The girl the spouse cheated with is trying to get something from them both.
G. Uncertainty — hope / fear
The man has home that his wife will take him back, but at the same time she’s rejecting him in a nice yet threatening way.
H. Intrigue
The divorce papers and the waiter with the gun.
I. Mystery
Infidelity, manipulation and secrecy.
J. Cliffhanger
The male is left alone after everything has been taken away from him; his phone, his car and his wife.
K. Dilemma
The choice is for the character to sign the divorce papers or be killed.
L. Something unseen
The mistress.
- CHARACTER
A. Character changes radically.
Anna is elegant but then there’s qualities of a mob boss at the restuarant.
B. Betrayal.
Anna forgives Jason but at the same time is cutting him off.
C. Dilemma
Either Jason signs the divorce papers or Anna will have him killed.
D. Uncomfortable Moment
Jason unknowingly signed a prenuptial agreement while drunk when he and Anna married.
E. Misinterpretation
Anna calling a truce makes Jason think he has a second chance with her.
- DIALOGUE
A. Hook
Anna, a much older woman, is married to Jason, several years her junior.
B. Predictions
Jason ends up alone.
C. Creating a Future
There’s a possibility that Anna may hurt Jason further.
D. Anticipatory Dialogue
“Take care / See you around.”
Scene:
INT. UPSCALE CAFE – DAY
ANNA, an elegant yet sexy woman with cleavage, early 70s, sits at a private corner booth in a ritzy cafe. A WAITER brings an expensive bottle of champagne and fills Anna’s glass. The Waiter is about to walk off when…
ANNA
Fill the other glass too.
The Waiter fills the empty glass next to Anna’s and heads back to the kitchen. Anna waits. She taps her cell phone and sees the time reading 1:30pm.
JASON, mid 20s, sprints to the table. He’s in jeans, a t-shirt and baseball cap turned backwards. His arms are covered in tattoos. He plops next to Anna.
ANNA
I’ve been waiting since noon, Jason.
JASON
Traffic.
ANNA
You could’ve texted.
JASON
So what’s up, Anna, why did you invite me here?
ANNA
That was quite an argument we had the other night. I’d like to call a truce.
Jason’s phone CHIRPS. He pulls his phone out of his pocket and starts texting.
ANNA
Put that phone down and give me the respect that I’m entitled to.
Jason slowly puts the phone on the table and glares at Anna.
ANNA
As I was saying, I’d like to work this out.
JASON
So this means I can come back home now?
ANNA
I didn’t say that.
Jason grabs his phone and texts again.
ANNA
Jason, I said put that phone down now!
JASON
Don’t talk to me like I’m your son.
ANNA
Then stop acting like a son and be what you are… my husband.
JASON
Then let me come home. I’m your husband, right?
ANNA
Did you ask yourself that when you hooked up with that tramp at your friend’s ~frat party?
JASON
I’m out.
Jason gets up from the table.
ANNA
Sit down!
He remains standing.
ANNA
I said sit before I embarrass us both.
Jason sits.
JASON
I already apologized for that, Anna.
ANNA
And I accepted your apology.
Jason takes Anna’s hand.
JASON
Then what’s the problem?
Anna lets go of his hand.
ANNA
When I took our vows, I meant them.
JASON
So did I.
ANNA
Jason, you cheated.
JASON
I told you I was drunk.
ANNA
That doesn’t put icing on the cake.
JASON
But I –
ANNA
I didn’t come here to argue. I came to make amends.
Anna pulls out an envelope from her large handbag. She puts it on the table in front of Jason.
JASON
What’s this?
Anna takes a gulp of her champagne. Jason opens the envelope.
JASON
Divorce papers?
ANNA
And a copy of our prenuptial agreement.
Jason is confused.
JASON
I never signed a prenuptial agreement.
ANNA
Yes, you did.
JASON
No, I didn’t.
ANNA
Yes, you did. You just didn’t know it.
JASON
What?
ANNA
The night we got married in Vegas you signed some papers. You were drunk, but you signed them.
Jason sees his signature on the agreement. He’s pissed.
JASON
I thought you were calling a truce!
ANNA
I am. You’re forgiven. But I’m not stupid, Jason. I had to protect my assets.
JASON
This is bull –
ANNA
You can’t have your tramp and my money too. Doesn’t work that way, sweetheart. Hand over your phone.
JASON
I’m not giving you my phone.
ANNA
It’ll be cutting off in about four, three, two…
Jason’s phone shuts off.
JASON
What the –
ANNA
I cut off the service. It was in my name. And you may want to get a job to pay for your tuition.
JASON
I’m not signing these divorce papers!
The Waiter approaches the table and shows a gun tucked in the waist of his pants.
ANNA
You got two choices. You can sign or I’ll be a widow. What’ll it be?
Jason, startled, reluctantly signs the divorce papers. The Waiter goes back to the kitchen. A heavyset MAN sitting at the table a few feet away gets up and takes the envelope from Anna.
ANNA
All signed, Bob.
He nods and goes back to his table.
ANNA
Oh, I’m sorry. Where were my manners? That was Bob, my attorney. Key.
JASON
What?
ANNA
Key to my car. The car you’re driving that’s in my name.
Jason reaches in his pocket, pulls out a smart-key and gives it to Anna.
ANNA
No hard feelings, Jason. Hey, who are we fooling? We never really loved each other. You were seeking a mother figure with money. I was looking for a boy toy. We had our fun. Take care.
Anna leaves the cafe. The Waiter approaches. Jason grabs his champagne glass and is about to drink, but the Waiter takes his glass and goes back to the kitchen. Jason remains sitting with an expression of remorse and disbelief.
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