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Post Day 20 Assignment Here
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Karin Hallen´s completed Act 3
What I learned doing today’s assignment is that I might need another scene in there that breaks from the core journey and adds something different, but I don’t have that figured out yet. I also learned from reading through the act that this way of working is a really good way to build momentum naturally.
Act 3, 1st Draft
EXT. CONVENTION CENTER – DAY
People outside the convention center, in line at the cafeteria, at lunch tables etc, talk and spread the word that George’s lectures are worth checking out. They frequently mention his “sidekick.
George and Geena exit the building. Geena carries the box of books that now has much less books in it than earlier. As soon as they come outside, George unleashes on Geena.
GEORGE
I can’t believe the level of lying and backstabbing you are capable of.
GEENA
And what exactly did I lie about?
GEORGE
You…
George is interrupted by the Impatient Man and the Short Man who come up to them to shake George’s hand.
IMPATIENT MAN
Really brilliantly structured seminar. I’ve never seen anything like it in this industry. Way more dynamic and engaging than the traditional approach.
George gathers himself.
GEORGE
Thank you.
SHORT MAN
Yeah, man, I understand what you mean with your theories way better now. The way she played it after you pretended to get sick. You make an awesome team. Hey, can I buy another book, I want to give one to my sister. Her birthday is coming up.
GEORGE
Sure, of course.
George gives the man a book from the box Geena is still holding.
SHORT MAN
Would you sign it, please? To Lizzy.
George beams as he signs the book with flair. The Short Man turns to Geena.
SHORT MAN
Would you sign it too, please?
George steps in front of Geena.
GEORGE
Oh, she’s got nothing to do with the book.
George nods goodbye and stands in front of Geena until the men leave. After they are gone he and Geena keep walking. George looks pensive.
INT. HOTEL ROOM 2 – NIGHT
George sits by the hotel desk and counts book sales and inventory. He enters the numbers into his laptop program. He looks pleased. He ponders, tapping his fingers on then desk. He looks over at Geena’s lamp which sits on a side table in the corner. You can see slight movement inside it.
INT. NEW SEMINAR ROOM – DAY
George and Geena display books on a table close to the wall. When they are done Geena takes a seat behind the table.
GEORGE
No. I want you to sit over here by me until the seminar is over. There, just to the side a little.
George points at the stage. Geena moves her chair while people enter the room.
George takes center stage.
GEORGE
Hello everyone. Welcome to this weekend’s WELLness seminar where all is WELL, just ask my assistant Geena here who is WELL on her way – get it… WELL…haha, – to learn how to speak in front of an audience from working with me. Or what do you say Geena, do your eyes WELL up with gratitude tears from this opportunity? (Insert a joke about Geena trying to mimic her style and make her counter with a comment.)
Geena meets George’s joke with a blank stare. The audience squirms in their seats. They look at each other uncomfortably the way an audience does when a stand up comedian is embarrassingly forced and unfunny.
George leans over whispers to Geena but forgets that his microphone is on so that everyone can hear him.
GEORGE
(whispers) Stand up and say something that starts with “well, well, well” now.
Geena shakes her head.
GEORGE
C’mon I spent all night writing that.
The audience laughs. George looks surprised. Then he realizes his microphone was on. His face turns red.
An AUDIENCE MEMBER raises her hand and addresses Geena.
AUDIENCE MEMBER
I’d like for Ms Geena to answer this question. (Insert question for Geena here.)
Geena stays in her chair.
GEORGE
Answer her.
George hands Geena the microphone. Geena stays in her chair and answers.
GEENA
(Insert intelligent, insightful and witty answer here)
The audience applauds and laughs in a good way. Another person in the audience says something to Geena and she counters with a perfect answer/comment.
AUDIENCE MEMBER 2
Placeholder: Insert dialogue here
GEENA
Placeholder: Insert answer here
George observes. He looks tense, his hands are clenched into fists, but he manages an unnatural smile when the audience cheers and applauds. He fights hard to keep up appearances and reminds himself with an INTERNAL MANTRA over and over of what’s most important.
GEORGE (V.O.)
Sales comes first, sales comes first, sales comes first.
George steps up to Geena and pulls her up from the chair and into center stage.
GEORGE
Geena everybody! Geena why don’t you stand here with me for the rest of today’s seminar. Seems we make a good team.
Geena shakes her head. The audience chants her name.
GEORGE
(Insert dialogue in which George takes credit for planning Geena into his “show”) (Something along the lines of:
Thank you, thank you. I have always been great at reading people and I’m glad my gambling with an unknown like my assistant Geena is… who is from hereon part of all my speaking engagements. Because why settle for just a seminar when we can have a show. Right Geena?
GEENA
I don’t know, you tell me, that’s what you do all day long, anyway.
The audience laughs.
The rest of the seminar goes great and when it’s over a line forms behind the table to buy books.
PLACEHOLDER:
MONTAGE
Two short scene(s) showing that George uses Geena more and more. She sets up the sales table, hands out fliers before the event starts, greets the audience by the door and interacts on stage more and more.
INT. SMALL HOTEL – DAY
George rubs the lamp. Geena appears. She clears her throat and yawns as she comes out of the lamp. She has dark circles under her eyes. Her voice is hoarse and uninspired.
GEENA
Your wish is my command.
GEORGE
Time to go to work. Book signing at StarWrite Bookstore.
GEENA
Please, I need a day.
GEORGE
Are you kidding, I’m just starting to gain momentum. People are talking about me. I’m selling books.
GEENA
And I am exhausted. I didn’t talk to anyone for 3 millenniums! And now I am supposed to talk for hours to roomfuls of strangers every day and answer their random questions about everything they think is wrong in the world and in their lives.
GEORGE
If you had read what my book is about you wouldn’t call them random questions.
GEENA
And if you’d given me five minutes off now and then maybe I would have had time to read your book.
GEORGE
Would you?
GEENA
No.
GEORGE
Didn’t think so.
GEENA
And I didn’t think I would ever say that I would rather stay in there than be out here.
Geena points at the lamp. George looks away. He looks a bit sad. Geena looks out the window. She looks sad, too. They both seem lost and lonely in their own bubbles. It is clearly getting to them to be arguing constantly.
INT. LARGE BOOKSTORE – DAY
George and Geena set up before a small speaking engagement and book signing. George pulls out a paper from his pocket. It’s a handwritten list.
GEORGE
So, I have written down a couple of things I want you to say today.
GEENA
I don’t lie.
GEORGE
I’ve taken that into account.
Geena takes the list and reads out loud from it.
GEENA
“I had hoped for years and years to get a gig, without success and I was incredibly excited when George Wallow found me and coaxed me out of my shell. He truly brought me back into the world after I’d been suffering in complete isolation and solitude unable to reach out.” What kind of nonsense is this? What does this have to do with anything?
GEORGE
It goes with my message. It’s the truth, isn’t it?
GEENA
Taken completely out of context.
GEORGE
It shows that I’m a visionary. And when they hear how I’ve helped you, a hopeless case, it will build trust that what I have to offer can help anyone. I’ll get coaching clients.
GEENA
It’s a lie. Again. You are doing everything NOT to help me! If you wanted to help me you would ask for your last wish right now. The only one you care to help at all is yourself, and you suck at that too. I don’t want to support that for so many reasons.
GEORGE
It’s what I wished for in my second wish. That you as my assistant do and help me with anything I ask anytime I say so.
GEENA
I can’t believe there is nothing in the fine print of the genie contract that prohibits wishes that don’t have a natural end to them. It’s so wrong! Just know that you’re not getting away with this forever.
The BOOKSTORE MANAGER approaches them.
BOOKSTORE MANAGER
People are starting to show up. Are you guys ready?
George makes an awkward gesture intended to look strong and cool.
GEORGE
Oh, yeah. Ready to rock’n roll.
People sit down on the chairs in the store and George greets the audience with a book in his hand.
GEORGE
I’m George Wallow. And as you know this is my book. It has been my mission for a long time to selflessly serve humanity and the world. To help all the lonely souls in today’s society. Which my assistant here, Geena can attest to.
George makes a gesture towards Geena and when she doesn’t move, pulls her in front of him, while whispering.
GEORGE
The paper. Say it.
Geena looks at the people in the seats in front of her. Their eyes are glued on her, waiting in anticipation. She sighs and reads from the paper.
GEENA
I had hoped for years and years to get a gig, without success and I was incredibly excited when George Wallow found me and coaxed me out of my shell. He truly brought me back into the world after I’d been suffering in complete isolation and solitude unable to reach out.
The audience applauds. George beams. Geena crumples the paper into a ball, drops it on the floor and keeps talking.
GEENA
And never would I have thought in a million years that being here, with him, would be a lonelier life and experience than being trapped in a bubble on my own for more years than you care to know. But it is. Because there is nothing lonelier than being around what’s artificial. If you eat artificial food your body feels abandoned. Lonely. Panicked. It doesn’t reach your organs. All you had to do was to stop processing the real food to make it look so glossy, so trendy, so perfect and it would have been right there in your stomach sending vitamins and fibers and all that good stuff right into your blood and liver and what not and your body would feel great and nourished. But who gets excited about what grows in your own backyard? And that’s what it’s all about, right? So, yeah, it’s not the amount of food, it’s the lack of nutrition.
George quickly steps in front of Geena with a burst of nervous laughter.
GEORGE
Alrighty, there Geena got to tell you a little about her passion for food.
The audience is hesitantly quiet for a moment. People look at each other, uncertain, gauging how to process what was just said from everyone else’s reaction. Then a woman starts clapping and everyone breaks into applause.
EXT. TENNIS COURT – DAY
Geena and George play tennis. When they take a breather a WOMAN who was at the book signing comes up to Geena and pulls her aside.
WOMAN
I was at the book signing last night. I really like what you said about nutrition. But did you actually mean to say what it sounded like you said about him?
The Woman nods at George who steps up to them ready to sign an autograph.
GEENA
Oh, you mean that all the advertising in the world can’t make what’s not equipped to fill that hole of empty inside magically will do it. Just like any amount of sales will never be enough for George. No matter how many dead bodies he walks over to get there.
George gasps.
WOMAN
Oh.
George throws a sweaty towel at Geena. The Woman looks extremely uncomfortable being in the middle of their fight. She quickly leaves.
GEORGE
What the F! You are supposed to help me! You are obliged to!
GEENA
I’m obliged to play tennis.
GEORGE
And to be around and help me anytime I command you to.
GEENA
To play tennis or to “be around” are straight orders. They can’t be interpreted. Now, to “help” is subjective. If you ask me I’m doing nothing more than help you right now. Because you are definitely not equipped to handle success. You can’t even appreciate what you already have. Like a goddamn full time tennis partner, assistant, prisoner running herself ragged. For what? For nothing, not even a life in freedom in sight! So what am I supposed to do if not everything I can to help myself? I’m going to make your life a living hell until you ask for your last wish. So hurry up.
George paces back and forth. He thinks. Evaluates his options.
GEORGE
Ok. I’m sorry if I’ve been pushing you to hard. And if I haven’t been thanking you for everything. I umm, appreciate it. Peace, huh?
George offers Geena his hand. She rolls her eyes. They finish the game. George lets Geena win. He applauds and cheers.
GEORGE
Well done! I’m proud of you.
GEENA
Don’t think for a second I fall for that.
They leave the tennis court.
EXT. RESTAURANT – DAY
They walk through the city carrying their tennis racket. They walk past a nice looking restaurant.
GEORGE
Let me buy you a nice lunch.
Geena eyes him suspiciously. The aroma of great food reaches her. She smells into the air.
GEORGE
They have nutritious food.
Geena can’t resist.
INT. RESTAURANT – DAY
George and Geena eat a lavish lunch. George makes sure to be very nice to Geena and tops of her water glass etc.
GEENA
You are not fooling me.
George sighs.
GEORGE
Ok, then. Well, to spell it out, when I command you to be around to assist and HELP me anytime that I command, HELP means that you can not say anything bad about me, ok. That’s not a new wish it’s a specification of the already existing one. So, there!
Geena makes an annoyed and very ugly face at him just as a young child looks at her. The young child lights up and immediately makes the same face at his parents. His parents scolds him. The child points at George and Geena’s table. The mother heads over and slaps George.
INT. LARGE CONFERENCE ROOM – DAY
George and Geena arrive.
GEORGE
Don’t forget the specification of the word help, today, ok.
Geena looks like she’s in a bad mood.
The room fills up.
George wishes everyone welcome.
PLACEHOLDER: Geena, in a terrible mood refrains from saying anything directly bad about George. But she does her best to sabotage by making a point of being overly blunt and even rude to the audience when she talks and answers their questions. It backfires hugely as she comes across as really funny and astute to the audience. They laugh and cheer. She’s more popular than ever. George very looks pleased. Geena looks exasperated. The harder she tries the more she fails. She stops mid-speech.
GEENA
I have to go pee!
GEORGE
Ok, let’s take five everyone. Books are for sale already now if you don’t want to wait in line after we’re done.
A bunch of people heads for the book table. George turns to Geena and whispers.
GEORGE
I don’t know how you do it, but you’re killing it. Keep it up! Cheers!
George rushes to the book table. Geena disappears out of the room.
INT. CORRIDOR – DAY
Geena leans against the wall, looking stressed. She strategizes with herself.
GEENA
What to do, what to do?
She looks up into the ceiling and then closes her eyes as if meditating.
INT. LARGE CONFERENCE ROOM – DAY
Geena comes back into the room. George gives her a pat on the back.
GEORGE
I think you should just take over for the day. I command you to.
Geena clenches her hands into fists. She starts talking.
Now, she talks very differently than she did before the break. She perfectly mimics George’s way of talking and behaving. She uses the words and phrases he does and uses the gestures he does etc.
The audience quickly loses interest. Somebody yawns. Some people leave. People look at the time. More people leave. George looks bewildered and upset.
DISSOLVE TO:
INT. LARGE CONFERENCE ROOM – DAY – LATER
George and Geena are the only two people left in the room.
GEORGE
You just chased everyone away! On purpose! I ordered you not to say anything bad!
GEENA
I didn’t.
GEORGE
Yes you did! You changed everything! You were awful! Deliberately.
GEENA
What do you mean? I just talked exactly like you. I said exactly what you say. The way you say it. You say you’re a teacher. I learned it from you.
GEORGE
That’s not true.
GEENA
Really? Let’s see. (Insert dialogue comparisons here that prove that Geena is correct.)
George looks completely shocked when he realizes the truth. He leaves the room. Geena hums a happy melody.
INT. PUBLIC RESTROOM – DAY
George looks into the mirror. He looks defeated.
GEORGE’S IMAGINATION:
An image of Geena appears behind him in the mirror, talking and sounding exactly like him. It’s extremely monotonous, boring and dull. Geena’s colors fade to gray as she speaks. She dissolves into nothing as her voice fades to his into a mumble without words.
END GEORGE’S IMAGINATION
George leans against the sink, resting his forehead against the mirror, looking completely forlorn.
INT. CONFERENCE BUILDING – BAR – DAY
Geena sits at a library style bar, sipping a drink, waiting for George. She still hums the happy melody and looks victorious. She picks up a travel magazine with a pamphlet inside it advertising a Golf Resort. She takes a closer look. She spits out her drink from the shock when she sees the cost of a stay at the resort. Her drink splatters all over the page. A cute COCKTAIL WAITRESS stops.
COCKTAIL WAITRESS
Are you ok? Is there something wrong with the drink?
Geena shakes her head, coughing and points to the golf resort ad in the pamphlet.
COCKTAIL WAITRESS
Oh, yeah. Seems like an awesome deal!
The Cocktail Waitress leaves a few extra napkins with Geena and leaves. Geena sits like paralyzed.
George enters the bar and approaches Geena.
GEORGE
Geena, you are right. You’ve been right all along. I should have listened. And I’ve decided that…
Geena sees him interrupts as she jumps to her feet.
GEENA
We need to get to work! We’re gonna need to make some real money!
GEORGE
What?
George’s eyes land on the golf resort pamphlet.
INT. DINER – DAY
George and Geena sit at a window table. Geena finishes scribbling numbers on a piece of paper and slides it over to George. The paper states Books 25%. Door 50%
GEENA
That’s my fair my commission of the book sales and my percentage of the door. Plus per diem, say 50 dollars.
GEORGE
No! That’s outrageous.
GEENA
Take it or you sink.
GEORGE
If I do, so do you. No golf.
GEENA
So be it.
George evaluates. Geena has a straight poker face. George nods.
GEORGE
Ok. Deal. You should be a loan shark.
GEENA
Worked for one once. Back in 1200BC. Made him a lot of camels with three wishes.
They shake hands formally.
GEENA
Let’s do this!
PLACEHOLDER:
MONTAGE:
Montage of scenes at different convention centers and book stores and hotels. Mostly Geena speaking. She’s on fire! She gives it her all now. She has her eyes set on success, which in her eyes means money. Huge applause and great book sales. The success is there. The money. The audience.
INT. LECTURE HALL – DAY
Geena and George are on stage. It’s the end of a seminar.
GEENA
Thank you so much everyone for coming out. I hope you heard something of value for you in today’s seminar. And don’t forget to pick up a book on the way out. If you already own it it’s never too early to start thinking about Christmas gifts! Thank you, thank you!
The audience applauds and cheers.
GEORGE
The amazing, the wonderful, the one the only Geena!
The audience stands up, applauding harder, cheering louder.
George and Geena look at each other and grin. They do a high five.
INT. HOTEL ROOM 4 – NIGHT
George and Geena enter the room. He is carrying his own luggage and as many books as she is now.
GEORGE
I can’t believe how aaawesome it’s going. We rooocked!
GEENA
Sales record! Wohoo!
Geena sits down on one of the two queen sized beds and counts money. George walks around in the room, pumped up!
GEORGE
I’m getting famous! Can you believe it?! I’m becoming famous for real! I’m gonna be on Ellen, and Oprah. The Today show! I’m gonna be a millionaire! Take that and shove it!
GEENA
Uh? Who?
George looks embarrassed for a second.
GEORGE
Oh, nothing. Nobody. Everybody.
Geena holds up the summary of the sales receipts.
GEENA
We’re doing gooood!
GEORGE
Do you just want to sleep in that bed tonight? Instead of all scrunched up in that thing?
He nods at the lamp. Geena thinks for just a second. Then she leans back and stretches out on the bed.
GEENA
Aaah. Comfy.
She grabs the remote and finds the golf channel.
George plops down on the other bed and they watch TV together.
GEORGE
Hey, thank you.
EXT. NEWSSTAND -DAY
George walks through a new city with light steps. He stops at a newsstand and picks up the local newspaper. There is an article in it about him and Geena coming to town to speak. George opens the paper and checks out the article as he walks.
In the newspaper picture, Geena is in the foreground and George is barely visible behind her. And Geena’s name is printed first in the article. George frowns as he reads. He closes the newspaper and keeps walking, looking a bit less chipper than he did moments ago.
He stops outside a coffee shop.
INT. COFFEE SHOP – DAY
George enters and gets in line to buy coffee. He has the newspaper under his arm. He overhears TWO WOMEN further up to the front of the line talking about his book.
WOMAN 1
I just finished that George Wallow book last night. I have to say I found some golden nuggets in it.
George perks up and makes a move to approach the women.
WOMAN 2
But I heard that his partner, the woman, ghostwrote the whole book and he just put his name on it. And got all the credit.
Another TEASIPPING WOMAN leans in from a nearby table and chimes in.
TEASIPPING WOMAN
I heard that too. Everyone knows it.
WOMAN 1
Oh, really? Yeah, I wouldn’t be surprised, from what I hear she’s the only one who has something to say at their seminars. She’s so much smarter. So, he’s just freeloading on her.
WOMAN 2
Typical men.
George is flabbergasted and just gapes.
The women grab their coffees and walk away. George reacts and takes a step towards the women, but the CUSTOMER in line behind him is in the way.
CUSTOMER
Whoa, dude! Take it easy.
BARISTA
Do you want to order something, or not?
The women disappear through the front door.
INT. CONFERENCE CENTER – DAY
A multi-speaker event is going on. There are posters on the walls advertising different events. A lot of people stand gathered in the entrance area and foyer.
George enters the building. He looks around and spots Geena a bit further away. She’s on the phone. George heads over to her. Geena spots him, waves excitedly and hangs up the phone.
GEENA
Guess what? Guess what?
GEORGE
What?
GEENA
Oprah just called me! She wants to interview me on her show!
GEORGE
You mean us? She wants to interview us.
GEENA
No, I’m sorry. Just me.
George pales. He loses it. He slams the newspaper in the floor hard and screams like an injured animal.
GEORGE
Aaarrrgghh!
People around them stop talking to each other and stare at George, startled. George is oblivious to them.
GEORGE
No! No! No! This is wrong! Who even gave you a phone? This is all mine! You hear me! All mine! Oprah is mine! You’re my assistant. Just my assistant! You…are…
George notices everyone staring at him, holding their breath. He quickly makes and effort to compose himself and recover.
GEORGE
…a very good assistant.
George attempts a forced smile at the many faces of disapproval around them, turns on a dime and runs away. Several reporters seize the moment and gather around Geena. She glows like the sun in the spotlight.
REPORTER 1
How about the full inside scope?
GEENA
For the right price.
REPORTER 2
The Daily Report wants it.
REPORTER 1
Excuse me, I was first.
Several other reporters join them. Geena is completely at ease being their center of attention.
EXT. CONVENTION CENTER – DAY – LATER
Geena exits the building. George exists several yards behind her. A TEENAGE BOY runs up to George.
TEENAGE BOY
Excuse me! Sir! Do you work for her?
GEORGE
What?
TEENAGE BOY
Geena. Are you her assistant? Can you help me get her autograph?
George throws a book at the teenager.
GEORGE
Piiiissss offfff!
EXT. PARK – DAY
George catches up with Geena as she reaches a small park with a few tables and benches and a small playground.
GEORGE
Stop!
GEENA
I need to eat.
GEORGE
No! Stop!
George grabs Geena’s arm.
GEORGE
This is not fair! You are becoming a power hungry, greedy, gloating horrible human… genie! All you care about is money!
GEENA
Oh, really! Without me you’d be nothing and you know it! What’s so horrible about me trying to make some money for my retirement while I’m helping you?
GEORGE
Helping? Ha! And let me remind you that it’s up to me when you can come out of that lamp and if you are ever going to retire. And right now I don’t think it looks like it.
A young couple sits at a picnic table close to them holding hands. They listen intently to George and Geena.
YOUNG MAN
Ouch.
Geena pales.
GEENA
It’s not my fault that people like me better than you. Maybe it’s because I actually care?
GEORGE
Care? You? Ha!
GEENA
You’re just so jealous it’s pathetic.
A YOUNG MOTHER and her two small children appear with a hotdogs and a soccer ball.
YOUNG MOTHER
Excuse me, can you take your fighting elsewhere. This is a place for children.
George and Geena storm off, arguing.
YOUNG MAN
See, that’s why I don’t want to get married.
The young woman pulls her hand back from his.
INT. HOTEL ROOM 4 – DAY
George and Geena enter the hotel room, still arguing.
GEORGE
I’m just never going to ask you to help me again. Ever.
GEENA
Yeah, yeah, keep talking. You can’t do it without me. You know that. But you know what, I don’t care. I have enough money to retire by now.
GEORGE
Retire! In your dreams! After next time I order you into the lamp, which is going to be very soon, I might just throw it in the dumpster and you end up in a landfill for the rest of eternity!
GEENA
You wouldn’t dare!
GEORGE
I Wouldn’t? Oh, I wouldn’t? You just try me.
GEENA
And then you’ll end up in the dumpster of life for the rest of your existence, like the failure you are, the failure you keep trying to prove to that invisible mother of yours that you are not. But you are!! She was right. You are a failure and nobody likes you! You stink like an old fridge and sweaty socks! You’re going to be alone for the rest of your life and everyone thinks you’re pathetic!
GEORGE
Shut up!
GEENA
They laugh at you!
GEORGE
I hate you!!! I wish I’d never have to see you again!
Geena immediately smiles. She makes a flamboyant gesture.
GEENA
Your wish is my command.
Geena swirls into a typhoon and disappears with a SWOOSHING SOUND. Geena’s lamp on the desk falls into the floor with an exploding sound, and shatters into millions of pieces.
George is alone. It’s eerily quiet. It starts to rain.
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THIRTY DAY SCREENPLAY # 20
James E. Clark: Completed Act 3
What I learned from this assignment: Filling in the holes between the Key scenes can be just as or even more challenging than the “big” Key scenes.
FINAL SCENE 3 OUTLINES
TE 9b
EXT. CAMP WORKSHOP – DAY
Carrie is teaching the volunteers how to use specific tools.
Carrie asks who want to learn how to operate the skip loader.
EXT. FIRE BREAK – DAY
Volunteers watch and listen to Carrie as she gives instructions. A twenty something gal jumps up as the first student. The skip loader jerks around as she tries to drive it.
TE 10b
INT. DINING HALL – NIGHT
Nelson and Carrie are enjoying some quiet time together. He slides a ring box across the table. She recognizes it. It’s the same engagement ring she wore twelve years earlier.
He asks her to marry him. She confesses she’s still in love with him.
She tells him her journey isn’t over yet and she has to do it on her own. She keeps the ring box but doesn’t opens it.
INT. NELSON’S OFFICE – DAY
He’s on the phone with his sister who’s a producer of documentaries.
EXT. BUS – DAY
Sarah, Nelson’s sister is interviewing Carrie about her journey.
At the end of the interview Sarah tells Carrie she glad Carrie is back in Nelson’s life and that he has not had a relationship since they ended their engagement twelve years earlier.
Carrie agrees to do a video blog on the rest of her journey.
TE 11
Sarah books Carrie for an interview on TBN.
INT. STAGE – DAY
Interview asks Carrie why the Navy. Carrie gives her story. Orphan. Was given a birth name by the orphanage. She changed it legally to Carrie Waters because she liked the serving concept of Chop Wood and Carry Water. The Navy was another opportunity to serve and have a great career.
INT. BATTALION COMMAND MASTER CHIEF’S OFFICE – DAY
The TV is on TBN. The interview finishes up. Battalion Commander is also watching.
COMMAND MASTER CHIEF
Thata girl.
Battalion Commander smiles and nods.
TE 14
INT. MOTEL ROOM – DAY
Carrie asks Nelson to mark off Florida and bring her the map. All fifty states have been marked off.
NELSON
Proud of you Babe.
Write The Outlined Scenes
Te9B
EXT. CAMP WORKSHOP – DAY
Carrie is holding up a pair of safety glasses.
CARRE
Again, how many pairs of eyes do you have?
VOLUNTEERS
ONE!
CARRIE
So the glasses…
VOLUNTEERS
SAVE EYES!
CARRIE
Who wants to learn how to drive the skip loader?
Every hand goes up.
EXT. FIRE BREAK – DAY
The volunteers are lined up next to the skip loader. Carrie has a young twenty something gal behind the controls.
CARRIE
Keep the clutch down unless your driving. This controls the bucket. Forward is down, back is up right tilts the bucket up, left tilts the bucket down. Got it?
Carrie jumps of and signals the girl to start. The engine starts, she lifts the bucket off the ground. She tries to put it in gear and the gears grind.
CARRIE
Push in the clutch. Then put it in gear.
The girl follows Carrie’s instruction. The skip loader lurches forward and dies. Crowd laughs. Girl does too.
EXT. CAP – DAY
Carrie and the volunteers are walking back for lunch.
CARRIE
You all did a great job.
VOLUNTEER
When do we get to try the road grader?
CARRIE
That’s a track vehicle. Operates very differently than a wheeled vehicle. Tell you what. Join the Army and sign up for Armor. You’ll get all the track driving you could ever want.
VOLUNTEER
Just might do that.
TE 10b
INT. DINING HALL – NIGHT
Carrie is sitting at a table. Nelson walks up with two cups in his hands
NELSON
Hot chocolate as requested.
Carrie smiles.
CARRIE
Thanks. Why here?
NELSON
It’s peaceful. And… anyway, I love the outdoors.
CARRIE
I understand.
NELSON
Why help out for free and cover the materials too?
CARRIE
Chop wood – carry water.
Nelson slides the ring box across the table to her. It’s the same one she had twelve years prior.
CARRIE (CON’T)
I love you. I do. But I’m not sure.
NELSON
Got it. Keep the ring. If you decide to wear it, so much the better.
NELSON
You mind if I share your story with Sarah?
CARRIE
I haven’t talked to her in years. She still with TBN?
NELSON
Yeah. This might make a great documentary.
CARRIE
I don’t know…
NELSON
What better way to chop wood and carry water than to share your story?
CARRIE
Who’s story?
NELSON
Yeah, got it. Jesus.
TE 11
EXT BUS – DAY
TBN is set up with directors chairs, lights and camera. Sarah and Carrie are miced.
SARAH
Carrie, why are you making this journey?
LATER
SARAH
Wrap. (TO CARRIE) I’m glad you and Nelson have reconnected.
CARRIE
That doesn’t mean th…
SARAH
Of course. No matter the outcome, your relationship is built on Christ. Did you know that he hasn’t gone out with or dated anyone since you guys broke up.
CARRIE
That’s like him. Me too.
SARAH
Not surprised.
INT. COMMAND MASTER CHIEF’S OFFICE – DAY
TV is on TBN.
CHIEF
Thata girl.
Battalion Commander is in the office. He smiles.
TE 14
INT. MOTEL ROOM – DAY
Carrie’s in bed.
CARRIE
Please, hand me my map and a marker.
Carrie marks Florida. She’s hit all fifty states.
NELSON
Proud of you Babe.
CARRIE
My purse please.
Nelson hands her the purse. She reaches in and pulls out the ring box. She hands it to Nelson. He opens the box and she holds out her left ring finger. He slide it on. It’s very loose on her hand.
CARRIE
One of the downsides of weight loss.
-
JAYE’S COMPLETED ACT 3
What I learned is I need to push through no matter what. Expect 20% quality in a first draft. I let a roadblock stop me and I should have pressed on because I had my outline and other scenes mapped out in my head.
Thankfully, I had a breakthrough and this allowed me continue. But I can’t let those slow me down!
INT. HERO’S PENTHOUSE / LIVING ROOM – SUNSET
Hero is pacing the floor, annoyed. Chugging a beer. A KNOCK.
Hero opens the door. It’s Villain. Looks distressed.
HERO
(pissed)
What happened to you?Villain holds the right side of his abdomen.
VILLAIN
Nothing.HERO
You look like shit.Hero walks away, leaves Villain standing in the doorway. Villain
lumbers in.HERO (CONT’D)
You with the Mayor this whole
time? What’d you talk about?VILLAIN
I was trying to fly.Hero laughs.
HERO
Without me?VILLAIN
It’s obvious we’re not changing
back.HERO
Take me to your house.Villain almost seems startled.
VILLAIN
No.Hero stops. Baffled.
HERO
No?Villain steps in. Closes the door.
VILLAIN
I need to lie down.Villain ambles gingerly to the couch. Lays back. Hero goes to the
kitchen, grabs a beer.Villain lifts his shirt. Reveals a three-inch wound on his right side.
It’s inflamed. Sutured. Looks fresh and painful. He touches it.
Winces.Hero comes back with two beers and Villain quickly pulls his shirt
down. Hero holds a beer out to him.HERO
Lemme see.Villain chugs.
VILLAIN
It’s nothing.Hero goes to the window.
VILLAIN
Why do you want to go to my
house?Hero stares out at the city.
HERO
It’s only fair. You’ve seen where
I live. I wanna know where you
live.Hero drinks. Villain is silent. Hero turns back around.
HERO
I’m changing. And I hate it.VILLAIN
You’ll get used to it. Might even
like it.Villain drinks.
HERO
That’s why I hate it.INT. MAYOR’S OFFICE – SAME
Mayor sits at his desk. Scientist on the other side. Both men
leaning forward eagerly, listening, as Hero and Villain’s voice come
through a speaker on an instrument panel. A green light flashes.HERO (V.O.)
I’m changing. And I hate it.VILLAIN (V.O.)
You’ll get used to it. Might even
like it.Villain drinks.
HERO (V.O.)
That’s why I hate it.Scientist slides an earpiece across the desk.
SCIENTIST
For on the go.He hands Mayor a thin three-inch stick. It’s sleek, simple.
SCIENTIST (CONT’D)
You hear anything you don’t like…
if you think he’s writing… anything
that makes you doubt him, push
the button.Mayor flicks open the device with his thumb. The top third pops
open, revealing a tiny red button.SCIENTIST (CONT’D)
Don’t play with it.Mayor sighs. Closes the lid with a SNAP.
INT. HERO’S PENTHOUSE / LIVING ROOM – NIGHTVillain lays on the couch. Asleep.
A soft noise come from Hero’s bathroom. Sounds like a child
playing in the tub.Villain stirs.
INT. BATHROOM – SAME
Hero sits in a full tub of water. He immerses his head forward. He
lifts his head. Coughs. Chokes.On repeat.
INT. MAYOR’S BEDROOM – SAME
Mayor sleeps on his back. Snores.
The speaker on Mayor’s nightstand sits quiet. A solid red light
holds. Mayor snores.
Then the red light goes out. A green light begins flashing slowly.
The speaker turns on.
The Mayor sleeps.
Soon, the sounds of water splashing and muffled coughs come
through the speaker.Mayor snorts and roll on his side.
INT. HERO’S PENTHOUSE / BEDROOM
Villain stands outside the Master bathroom doorway, listening to
Hero lifting his head from the water and coughing on the other
side of the door.Villain drops his eyes. Touches his abdomen.
INT. HERO’S PENTHOUSE / MORNING
Hero an Villain finish breakfast. Half-eaten toast on their plates.
VILLAIN
What if we switch suits?HERO
It’s not the suit.Villain gives a look. Should at least try.
HERO (CONT’D)
You can see through things,
can’t you?Villain nods. Takes his plate to the sink. Hero takes out a pack of
cigarettes, removes one.HERO (CONT’D)
Not the suit.Villain turns back around. Hero lights up.
VILLAIN
What the fuck is that?HERO
What’s it look like?Hero takes a drag as Villain comes back to the table.
VILLAIN
I don’t smoke.Hero blows out. Takes another.
VILLAIN (CONT’D)
Your body is a temple.HERO
My body. Is. Shit.Villain rips the cigarette from Hero’s mouth as he goes for another
drag.HERO
What the f–VILLAIN
We’re going to my house.
EXT. STREET – MORNINGHero and Villain step out side by side in the path of an oncoming
Metro bus.
INT. BUS – SAMEA CONFUSED DRIVER brakes and PASSENGERS MURMUR. He
opens the doors and Hero steps in, Villain in tow.HERO
I’m commandeering this bus.The Confused Driver contorts his head.
CONFUSED DRIVER
Why?A LONE PASSENGER (30s), male, in the farthest seat, points and
laughs.LONE PASSENGER
Because he can’t fly!
Hero turns his head to the rider.VILLAIN
(to the driver)
You’re gonna want to get off
the bus.He starts after Hero. Hero closes in on the passenger, who has
frozen in fear. The others scatter and flee the bus.Villain grabs the back of Hero’s collar and pulls him forcefully
backward.Laser eyes carve into the ceiling of the bus as Hero’s line of sight is
pulled away by Villain.The driver rushes out.
The passenger grabs his backpack and climbs over seats and rails
to get by.Hero turns around to Villain. Enraged.
VILLAIN (CONT’D)
Control yourself!Hero throws a punch, an uppercut to the jaw.
The passenger gives one last glance and a whimper as he bolts
from the bus.
EXT. BUS – SAMEThe passengers watch as Hero and Villain duke it out: Villain
dragging Hero down the aisle, Hero flipping Villain over his
shoulder. Glass shatters. The sides of the bus getting dented
outward. More lasers shear the bus in half as onlookers scream
and run for cover.
INT. BUS – SAMEHero and Villain on their asses. Hero holds Villain in a headlock in
the aisle.VILLAIN
Look at yourself!Hero relaxes and Villain pushes away. He stands and takes in all
the damage.VILLAIN (CONT’D)
Look what you did!Hero sits there, looking at his feet.
Villain rushes in and straddles Hero, throwing him on his back and
forcing his head up. Villain holds Hero’s neck so Hero’s face stares
upward. The ceiling of the bus completely parted, revealing bright
blue sky.Villain grabs Hero’s collar and jerks him in.
VILLAIN (CONT’D)
You’re not becoming the Villain,
you’re becoming an asshole!Hero pushes Villain away. Villain stands.
EXT. STREET – MORNINGVillain steps in the path of an oncoming Metro bus. Through the
windshield, the SCARED DRIVER brakes.As Villain approaches, driver and passengers flee, and gather.
Villain indicates the all clear, and steps on.
Hero steps out from a corner and passengers GASP relived sighs.
PASSENGER 1 PASSENGER 2
Thank God! We’re saved!Hero gets on the bus and the doors close.
The sign switches to OUT OF SERVICE and the bus drives off.
PASSENGER 1
What the hell?
INT. MAYOR’S OFFICE – DAYMayor and Scientist listen to the speaker.
VILLAIN (V.O.)
You’re falling apart. You’re
becoming everything this shit
town thinks you are.HERO
Just shut up and drive.Mayor turns down the volume. Smiles ear to ear.
SCIENTIST
Looks like your problem is
solving itself.Mayor’s smile fades.
MAYOR
If you had done it right, I
wouldn’t have a problem that
needed to solve itself.SCIENTIST
Well obviously, it didn’t kill him.
This is probably the better
outcome.Mayor opens a desk drawer. Pulls out two small brown burlap bags.
MAYOR
You still failed.He tosses a burlap bag to Scientist.
MAYOR (CONT’D)
Time for lunch.INT. DIMLY LIT ROOM – DAY
A windowless room, with handing lights.
Four occupants: a Black Woman, Blonde Man, Asian Woman,
Male Latino, Bearded Hipster. All the missing citizens.Bearded Hipster paces. Black woman and Asian Woman play cards
at a card table. Male Latino and Blonde Man roll dice against a wall.In one corner, a toilet and single shower, with a hospital curtain
and a drain build into the ground.A NOISE calls their attention. The muffled sound of a door opening.
Another door, closer, louder. And finally, their door.Scientist enters, am AR-15 leading the way, a burlap bag with
eyeholes over his head. No one moves.Mayor follows. A bag over his head, carrying five sack lunches. He
closes the door behind him and starts tossing paper bags at his
guests.A bag lands at Bearded Hipster’s feet. It tears, and the contents
spill out: A ham sandwich, an apple, bag of chips, bottled water.BEARDED HIPSTER
I told you I’m organic, vegan,
gluten-free and keto.MAYOR
I have no idea what any of that is.BEARDED HIPSTER
It means I can’t eat this.MAYOR
There’s water.BEARDED HIPSTER
Bottled water is bad for the
environment.The others groan at him as they open their lunches.
MAYOR
Your toilet water is straight
from the city.BLONDE MAN
Just eat it, hippy. You’re gonna
starve.The Black Woman stands. Scientist point the AR-15 at her.
BLACK WOMAN
People are looking for us.Mayor laughs.
MAYOR
No one will find you.ASIAN MAN
Hero will.Mayor laughs harder.
MAYOR
Your hero is dead.The prisoners GASP in terror.
Mayor opens the door. Leaves. Scientist backs out. The door shuts. Locks.
EXT. THE LAKE – DAY
Hero and Villain stand at the water’s edge. The Metro bus parked
behind them.HERO
Thought you were taking me
to your house.VILLAIN
Later.HERO
Teach me to walk.Villain shakes his head. Walks into the water, his back to Hero.
VILLAIN
First, you swim.Hero takes reluctant steps into the lake.
BEGIN MONTAGE
[PLACEHOLDER]
END MONTAGE.
INT. VILLAIN’S CAVE – DAY
Villain and Hero at the entrance.
The lake stretches out beyond the cave’s opening. Hero looks
around.The cave is modern, wide-open, luxurious. The walls are natural,
sparking randomly with diamonds.Hero examines a wall of paintings, stands in front of a case filled
with artifacts. Hero stares with a mixture of awe and angst.VILLAIN
Beautiful, isn’t it?Hero picks up a vase. Caresses it. Its value is obvious.
HERO
Why do you do it?Villain picks up a trinket with the same care.
VILLAIN
Why does the snake bite?Hero puts down the vase. Looks further on. He goes to a cave wall
and runs his hand down it, tracing his finger over a diamond.HERO
Because it does.VILLAIN
You gotta keep fighting it.Hero picks at the diamond.
VILLAIN (CONT’D)
It’s not who you are.Hero turns.
HERO
What’s your name?Villain pauses. The question hits him hard.
VILLAIN
No one’s ever asked me that.HERO
I am.VILLAIN
Greg.LATER – NIGHT
Villain and Hero sit in chairs, across from each other, in front of a
roaring fireplace, drinking wine, laughing like old friends.INT. MAYOR’S OFFICE – SAME
Mayor and Scientist listen to the speaker. Mayor stares at Scientist,
confused, as Scientist watches the speaker like it’s a TV. Light jazz
emits softly in the background.HERO (V.O.)
SAYS SOMETHING FUNNY.VILLAIN (V.O.)
SAYS SOMETHING FUNNYBoth men laugh.
VILLAIN (V.O.)
To super powers.HERO (V.O.)
To super powers.The sound of wine glasses CLINKING together.
MAYOR
What the hell are they doing?Scientist finally turns his gaze. Stares matter-of-factly at Mayor.
SCIENTIST
I think they’re becoming friends.INT. VILLAIN’S CAVE – SAME
HERO
You ever ask yourself “why me?”VILLAIN
No.HERO
Me neither. Except now.Hero looks off in the distance, at nothing in particular.
HERO (CONT’D)
I never questioned who I was,
or why I was, until I lost
everything.VILLAIN
You haven’t lost everything.HERO
No one cares about me unless
I’m Hero.Villain looks at the floor. Has no words.
VILLAIN
I’m proud of you.Hero furrows his brow.
VILLAIN (CONT’D)
You’re still fighting. You still
care about them.Villain raises a glass to Hero.
VILLAIN
And you learned how to swim
today.Hero doesn’t seem to care for the victory.
HERO
Almost.VILLAIN
More practice tomorrow.A beat.
VILLAIN (CONT’D)
What’s your name?
Hero chuckles.
HERO
You know, no one’s ever asked
me either.Villain scoffs.
VILLAIN
Come on. What about your
girlfriend?Hero shakes his head.
HERO
Mike.Villain nods. Another raise of the glass.
VILLAIN
Nice to meet you, Mike.Hero raises his glass.
HERO
Nice to meet you, Greg.Glasses CLINK and they drink. Hero sits up, alert.
HERO (CONT’D)
Hey, I got you something!Villain blinks, surprised. Hero leans in. Villain also leans in.
Hero reaches behind his back and lefts his right leg. He lets out a
loud FART as he presents and empty hand to Villain.Villain recoils; gags. Hero laughs.
HERO (CONT’D)
You think I got you a present?Villain shakes his head and waves an arm in front of his face.
VILLAIN
Ugh, I tasted it!Hero nods, proud of himself and sits back, satisfied as Villain chugs
wine.INT. VILLAIN’S CAVE – MORNING
Villain sleeps. A penis sketched on his forehead. He wakes to the
sound of splashing water and frustrated grunts come from outside.He turns to the cave’s entrance, past his couch with a pillow and
crumpled sheets. He sees Hero dunking going under water and
bobbing back up.EXT. CAVE – MORNING
Villain watches, holding a steaming cup of coffee.
VILLAIN
How long you been up?Hero turns around.
HERO
Not long.VILLAIN
I have an idea.EXT. A CLIFF – DAY
Hero and Villain stand atop a cliff. Boxer shorts, undershirts. Lake
below. They stand at the very edge. The penis is still on Villain’s
forehead.Hero’s arm is extended.
Villain scans the water. X-ray vision reveals a steel case about a mile
out, and 30 meters down. His face is void of expression.Hero nudges him.
HERO
Concentrate.Villain extends his arm; closes his eyes.
HERO (CONT’D)
You are part of the sky. And
the sky is part of you.Villain peeks.
VILLAIN
Is this what you do?HERO
No, I just fucking do it. But I
don’t know how to make you
do it. Concentrate.Villain closes his eyes.
VILLAIN
I am the sky.Hero looks forward. Closes his eyes.
HERO
(to himself)
I am the sky.VILLAIN
The sky is me.HERO
Three…VILLAIN
Do I jump?Hero snaps out of his chi.
HERO
No, just lean. Forcefully.VILLAIN
Lean.HERO
Forcefully.Hero brings his arm back up. Closes his eyes. Takes a deep breath.
Villain duplicates.VILLAIN
I am the sky.HERO
Three… two…Hero and Villain lean forward with force and they sail to the water
like boulders.SPLASH!
INT. LAKE – CONTINUOUS
Hero and Villain stare at each other underwater. Villain brings his
hands to his face, indicating a deep breath, while holding his own.Hero closes his eyes. Trying to “be the water.” He inhales, then
shakes his head and swims to the surface.EXT. LAKE – CONTINUOUS
Villain pops up. Hero is coughing. They tread.
HERO
If you fail, you still live. If I fail,
I drown.VILLAIN
I don’t know of another way.Hero dog-paddles to shore. Villain follows.
Hero sits on the ground, legs pulled to his chest as Villain emerges
from the water.HERO
What’s that?Villain follows Hero’s line of sight — to his abdomen! The right side
of Villain’s undershirt is raised. The wound is healed, but the staples
remain.Villain pulls the shirt down.
VILLAIN
I don’t want to talk about it.
(beat)
Come on, we need to try again.HERO
You got something–Hero points to his own brow. Villain rubs his forehead, smearing
the penis a little.VILLAIN
I get it?Hero half nods.
HERO
Eh.EXT. A CLIFF – DAY
Hero and Villain run off the top of the cliff. They WHOOT! and
jump off the edge, cannon-ball style. Creating massive splashes!INT. MAYOR’S OFFICE – SAME
Mayor stands. Angry.
WHOOTS and splashing come from the speaker.
MAYOR
I’ve had enough. Let’s go.Scientist nods. Stands. Reluctant.
INT. VILLAIN’S CAVE / BATHROOM – LATE AFTERNOON
Villain’s bent over a sink, scrubbing his forehead. He pops up and
checks the mirror. Loofa in hand.The penis is nearly gone, just the edge of some balls remain.
Villain brings the loofa up and scrubs some more.
But his eyes notice something by the mirror.
Several diamonds scattered in the wall. One has been dug out.
Villain traces his finger over the small crater. His eyes showing his
disappointment.HERO (O.S.)
More than two shakes and
you’re playing with it!Villain keeps scrubbing.
INT. VILLAIN’S CAVE / LIVING ROOM – LATE AFTERNOON
Villain comes out of the bathroom. Clean forehead, fresh change of
clothes. Hero has already washed and changed.Hero is at the stove, apron, frying chicken breasts.
Villain looks at Hero’s pants. X-ray vision reveals a diamond in Hero’s
pocket. Not a surprise.VILLAIN
What if this is our life now?
Two broken supers.HERO
I always thought you had a
choice.VILLAIN
You don’t think you have a
choice?HERO
I don’t know.
(beat)
Eventually the snake bites.Villain chews his lip.
HERO (CONT’D)
You ready to be the Hero?VILLAIN
I hate everything that’s
happened to me.
(beat)
Except I’ve never had a friend
before.Hero turns the chicken. He looks at Villain and smiles. A shared
connection. -
Christi’s Completed Act 3
I’ve learned that with some basic tweaks, Act 4 will start with breathless anticipation. Can the protagonist survive this? Now that I’ve fixed the Midpoint in Act 3 to a proper one, the tone is much better.
-
Mickey Gonzalez Completed Act 3
What I learned doing this assignment is writing the act1 act2 to act3 getting the story first there is some slaking happening. I’ll brag about it consider Mark Fox will hunt willing until he can get to the whereabouts what is going on. Additional actual characters can help. The character Mark has had a lot of those girls that pursue him.
Outline any scenes left for Act 3
INT. MARL’S APARTMENT – DAY
He continues to work effortlessly produce new material.
INT. PORCH – DAY
Two women show up knocking on his front door. Mark opens the door. He steps backward away from the door.
The Blonde one says Why you call the police we are going to that. The brunette stands next to her saying nothing. The blonde is a police officer’s young wife.
EXT. STREET – DAY
Seymour a strong man for a mobster. He is watching Mark.
EXT. RAQUEL’S APARTMENT – NIGHT
Raquel gets on a pay phone. Gives Mark a call. She is on her way to him.
EXT. MARK’S APARTMENT – NIGHT
Mark comes along after scouring Duck Island. Mark surprises a woman who is burglarizing the apartment.
EXT. BETWEEN TWO BUILDINGS – NIGHT
Five bad guys jump out. Mark gets the stuffing beat out of him.
EXT. MARK’S APARTMENT – NIGHT
Left bloodied on the sidewalk. the woman steps over his body.
EXT. STREET – NIGHT
She runs to a double park car with part of his vast collection of writings in her grasp.
From his POV, he realizes the driver resembles the commander from the police room. He resembles the auto parts clerk. He resembles one of Seymour men Mark beaten up earlier.
-
JUDITH ABINGDON completed ACT 3 /First Draft
what I learned/ still not sure the scenes are correct, but feeling better about it
ACT 3 Scene 1
INT. INEZ’S HOUSE DAY
Juliet has arrived with a modest amount of boxes, clothes, some books but most importantly her record collection and portable record player.
INEZ
So you can’t have your own room right away, MICHAEL should be leaving soon for college, so you can share my closet for now.
JULIET
I don’t care about that, just tell me I can keep the record player in the living room!
INEZ
Of course, my Darling, just watch the volume, you know what a pill Madelyn can be!
JULIET
We will just teach her all the latest tunes and have a sing along!
INEZ
I would like to see that! Now, I’m not going to lay a lot of rules on you, just promise me you will let me know what you are up to, I don’t want to be left wondering where you are. Deal?
JULIET
YES, for sure, yes! And thanks again for doing this Inez! I love you
INEZ
I love you too monkey, now let’s try and not screw this up. We want to prove to your Mother that we know what we are doing!
JULIET
High five!
After about a week of good behavior Juliet starts in on her new cultural education. She gives Connor her new number and they go to New York ( montage of movie marquees, concerts, music club marquees and clips of bands.)Art house movies ( A WOMEN UNDER THE INFLUENCE, PINK FLAMINGOS, LAST TANGO IN PARIS, PHANTOM of THE PARADISE and more, Visits to CBGB’S, to see Television, Patti SMITH, RAMONES, TALKING HEADS etc, mixed in with several trips to all the great Musuems, and free concerts in Central Park.
After many weeks of fun Conner has news .
INT. CONNOR’S ATTIC BEDROOM NIGHT
They sit on Conner’s bed
CONNER
We have been having a blast Babe, but I lost track of my direction, I really need to get back to my projects.
Juliet
I know I have been greedy with your time. I need to chill as well. We can deff slow things down.
CONNER
Well Babe it’s like this, I really need to fly. I gotta get down to Mexico and see some people and then well who knows what might happen
Juliet is frozen, a stricken look on her face.
JULIET ( trying to be cool)
Well yeah, sure you have stuff to do, I get it. We will take a break. It’s cool.
CONNER
Baby, I don’t want to leave ya hanging. I’m trying to say that this is the end of our trip. I dig ya like crazy but we can’t keep this going. OK Babe?!
Juliet lunges for his chest, holds tight and sobs.
CONNER
I know Babe, but we both got lots of things ahead of us. Let’s make the most of tonight and scoot out of here early before the house wakes up. He lifts her chin wipes her tears and kisses her.
Juliet nods, they snuggle, morning comes too soon and they sneak out of the house. Conner drops her back at Inez’s house while they listen to …….
PLACEHOLDER ( with Conner and Juliet in a funk, she is staying in at night, while watching TV Michael Madalyn’s son comes in and tries to get her to give him a handjob, she wants to scream, but knows Madalyn will not believe her , because she thinks he is perfect,and then want to throw her out)
INEZ’S house consists of three apartments on so many floors, Inez has the middle apt, the downstairs is rented to an Indian couple and the third upper apt. has become empty. Juliet floats the idea of having it for herself, but Inez draws the line and says. No way, it’s business, but she does agree to let Juliet have her birthday party there before it becomes rented again.
Juliet needs to get out of her funk since Conner has left she invites some friends and tells them to invite their friends. Juliet has filled the bathtub with ice and they sneak in beer and wine ( Boons Farm, Strawberry, and Mateus in the straw bottle.) Juliet has her record player cranking and the lights low. Some joints are passed around and they blow the smoke out the windows. Juliet drinks and smokes too much and instead of having fun becomes sadder and sadder.
INT. EMPTY APT> INEZ’S HOUSE NIGHT
Mel finds Juliet alone back in the small kitchen
MEL
Hey Birthday girl, why the sad face, there is a great party going on here.
JULIET
Oh, Mel, my life is over just and it was beginning. Conner has left for good and I just feel empty.
MEL
I know, I know your first big heartbreak. And you did it big, babygirl. Come on you had to know dating a MAN 8myears older than you was not going to last forever. Just remember the good time’s sweets, and there were lots, right?!
JULIET (trying not to sob)
Yeah
MEL
Well, that’s life babydoll! Up one minute down the next. It’s a tightrope act, like that guy we saw on Johnny Carson, right, the tightrope walker, what’s his name Petit? Yeah, Petite! You gotta get out there and try stuff, You might fail big, but the next time you will be a fuckin huge success And the successes get you through, right!
JULIET
How did you get so damn smart Mel. Sometimes I think you are from the future.
MEL
Sometimes when I smoke the really good weed, I think I AM from the future! And you know, the future is gonna be a fuckin blast. I’m gonna make sure of it! Now come on my little JEWEL we have a party to conquer!
She pulls Juliet up and they enter the party singing along to OH YOU PRETTY THINGS by BOWE . Mel hands her a joint
INT. LIVING ROOM INEZ’S HOUSE MORNING
Juliet sleeps on the pull out sofa , sideways in her clothes from the party.
MADALYN
Wake up Sneeking Beauty. You kept me up last nite now it’s my turn. We need to have a talk when Inez gets up.
JULIET ( opening one eye )
What time is it?
MADALYN
Time for you to help out around here. There’s cooking and cleaning to do
JULIET
It’s to early and it’s Saturday
MADALYN
Yes, Saturday and lots of chores to do! Party’s over as they say.
INEZ
Madalyn! What is the rush. Can we please have breakfast first
MADALYN
Well, look who it is, up at last, I don’t know which one of you is worse!
INEZ
Madalyn can I please enjoy some peace, it’s my weekend too!
MADALYN
and it will be over
INEZ
SHUSH! Coffee first!
Juliet takes a look at herself and rushes off to the bathroom to freshen up. She joins Inez at the breakfast table.
INEZ
Well, I knew this day was coming, I was just hoping it would not be this soon. Time to pay the piper I’m afraid.
A rousing argument ensues and Madalyn demands that Juliet return home. It’s back to square one.
end scene
ACT 3
scene 2 ?
INT. MEL’S ROOM EVENING
Johnny Carson is on in the background on Mel’stiny tv
JULIET
Oh, Mel, why cain’t I get my shit straight?
Mel
Because you’re a teenage girl! Stop being such a hard case! Remember what I said, tightrope act?! A few steps forward, a few steps back, perfectly normal my little Jewel.
JULIET
How can you always be so relaxed?
MEL
I only get the best weed. Seriously, take my advise! Have a joint. Hey, all this shit will seem so minor by next year. Just go with the flow.
JULIET
I wish I could. But see your parents support you, it makes a big diffrence.
MEL
It is cool to know that they have my back, but hey, I got your back Jules!
JULIET
I know you do, and I really do dig ya for it, but I need to figure out what the hell I’m gonna do with the rest of my life.
MEL
Just do what comes natural, which I think might be singing and dancing!
JULIET
Oh yeah, those jobs are just falling out of the sky.
MEL
Well if you focus on it, they just might.
JULIET
I’ll try and be open to that. For now, I guess I’m gonna hafta move back home, Inez’s sister is a real bummer. Not just to me, I hate the way she treats Inez. You know Inez bought that house and a cabin in the Poconos with her own savings and let her sister move in when she had nowhere to go, and all she does is give her shit. No wonder Inez drinks every night.
MEL
That does suck. Inez is a solid person, I guess her karma will kick in at some point.
JULIET
Her what
MEL
OH, nothin, that’s a topic for another day. Hey on the right side, you will be back in the hood and we can hang like old times!
JULIET
You always make me smile, see ya soon.
ACT 3 SCENE 3
INT. INEZ’S KITCHEN NIGHT
Inez sits at the kitchen table with the requisite bottle of beer and shot of whiskey beside it. She is just staring into space as Juliet comes in, goes over gives her a big hug
JULIET
How is my most favorite woman in the world?
INEZ
Just carrying the weight of the world as usual. How are you monkey?
JULIET
Oh Inez, I hope have not let you down. I can’t seem to do anything right these days.
INEZ
Don’t be silly my love, how should you know how to deal with things that have never happened to you before. I think you are doing just fine. It’s other people’s expectations that get out of hand. If you are talking about Madalyn, just remember nothing makes her happy, except her golden boy, Michael and that pedestal is so high he is sure to fall off one day soon.
JULIET
Oh INEZ, why couldn’t you have been my Mom! Life would be so much sweeter.
INEZ
But Monkey, if I was your MOm we would not have this great relationship. It’s just how things work. Anyway this way I get to spoil you. Now come over here and let me give you some love. YOU are going to be OK, I know it! Hey have you got a ride lined up for us , I really want to go to the cabin thisweekend?
JULIET
Oh, sure. I’ll work it out.
EXT. INEZ’S GARDEN DAY
Juliet sits in the shade in the garden, notebook in hand, on closer look we can see a page noted PROS /CONS with a line down the middle. On the con side we see curfews, house cleaning, babysitting, no privacy, rules, LARRY!!! On the pro side nothing.
JULIET
I don’t know why this is supposed to be a good idea, I don’t see anything good on either side! Hello universe, is anyone listening to me? I could use a little help here.
JULIA9 Juliet’s mom is coming round the back of the house.
Hello? Anyone here?
JULIET
Mom? What’s up, aren’t you ready to pop?
JULIA
Hello Juliet, yes, I believe I am. I thought I would come see how you are doing. Do you think you might be ready to come back home?
Juliet closes the notebook
JULIET
Gosh, Mom, I haven’t really given it a thought.
JULIA
Look, Honey, I just wanted to say I’m sorry I haven’t been focused on you lately. I know things are in a confusing state for you now with school over and trying to figuring out what you should do next… I know you will be 18 in a few months and well, well, I just want to let you know that I love you and I’m trying to do my best.
JULIET
yeah, sure Mom. Thanks. Do you want to come inside, Inez will be home soon, I’m sure she would love to see you.
they head indoors.
INT. INEZ’S HOUSE NIGHT
Juliet is reading a magazine in the living room, phone rings, she picks up
JULIET
Hello, Oh, hi Mel, Nah I think I’m gonna stay in. I know it sounds tempting but not tonight. I’ll see ya soon. K, later
Shuffling around, she makes tea, checks on Inez, who is sound asleep and can hear Madelyn snoring softly in the nearby room, with no doo, she puts the tv on. Intently watching a movie she hears the door to the apartment open, It’s Michael, looking a bit fuzzy around the edges, he must have been out drinking. He smiles broadly, very happy to see her, waves puts his fingers to his lips in a shush move, and creeps off to his room. She rolls her eyes and is happy to see him go.
She can hear him going in and out of the bathroom, then he is coming down the hall in his boxer shorts and no shirt. She moves closer to the door opening where Madalyn sleeps.
He slides in next to her, doesn’t say a word and starts stroking her leg.
Juliet
Whats up with youMichael?
MICHAEL
Shush, be quiet
JULIET
are you drunk?
MICHAEL
Maybe,I guess you would know!
JULIET
get away from me.
MICHAEL
AWWW, come on cuz! Be nice
JULIET
I’m not your cuz, and that would be even grosser!
she inches a bit more away from him, focused on the tv. He does nothing for the next few minutes. Then a commercial comes on and he makes his move again. He takes her hand and tries to put it on his dick which he has pulled out of his pants.
JULIET
EWWWW. Stop it you perve.
MICHAEL
Will you be quiet before you wake the whole house.
JULIET
OH, and that would be a shame, then your Mom would find out that her golden boy is a perve and a sex addict.
Michael
I’ll just tell her that you came on to me.
JULIET
Yeah, as you sit here in nothing but boxers, where did your clothes go? Don’t you have a girlfriend anyway?
MICHAEL
I don’t do things like this with her. She wants to wait till we are married.
JULIET
OH, right, well that sounds healthy! You are so messed up. Get the fuck out of my sight!
MICHAEL
You just better watch yourself, or I will make up a story even worse than this little episode and that will be the end of you.
JULIET
Oh nice one, retard. Why don’t you go back to your books, maybe learn something about a healthy relationship, your gonna need it.
He storms off, Juliet, goes and washes her hands
ACT 3 Scene 4
INT. DEPARTMENT STORE DAY
Juliet and Inez are out shopping
INEZ
Anything you want love. You finished school and are about to set off in the world.
Juliet is eyeing a display of grey lace up front hot pants and multi-colored Missoni-looking puffy crop top.
INEZ
Your mother will kill me but what else is new. I always say, if you’ve got it flaunt it, cos you won’t have it forever, as you can see!
JULIET
So far out! I just love them!
INEZ
No one can accuse you of not having style! Always be true to yourself my darling girl!
JULIET
Now let’s go pick something out for you.
INEZ
And where would I wear it?! They probably don’t have anything that fits me! Anyway, I’m ready to go, I hear a drink calling my name.
INT. INEZ’S CAR DAY (a Thunderbird, driving home )
JULIET
Inez I can’t help thinking I am doing everything wrong. I feel so restless and bottled up, like I could explode at any moment! Did you feel this way when you were my age?
INEZ
Well of course monkey, I guess I really didn’t have time to think about it. Our country was in an uproar, war was imminent. Things were just a struggle from day to day. And I have made my share of mistakes, no doubt, but you know what I’m still standing and I have everything I need now.
JULIET
But did you feel like you had made a colossal mess and things were never going to work out?
INEZ
Of course! It’s natural. I think we humans are fatalists at heart, or we just like a good drama. Look at Madalyn, she has nothing to worry about, but is she happy? I think finding problems makes her happy in a perverse way.
JULIET
I can’t really stomach Madalyn and her creepy son any longer. I don’t know how you do it. You are a saint.
INEZ
Oh hell no, far from it.
JULIET
What was my mother like at my age?
INEZ
I don’t think you will believe it, but she was very much like you. belle of the ball, loved to dance and go to concerts! Full of life.
JULIET
What happened, where did that person go?
Inez
A lot of things, my love. You know her dad died just a few years before war broke out, then her mother died just before we left, the politics were changing and things were a struggle. I think she used up her last bit of courage just getting here with you. So try to go easy on her.
JULIET
I suppose you are right. Actually it sounds a lot heavier than my problems.
Inez
And she has her husband to deal with.
JULIET
OH, jeez, that guy! I think he is living in another century.
INEZ
Well he will not be your problem for long. Listen things are changing in your life, it’s smart to question them, Just follow your heart and you will not go wrong, trust me.
JULIET
I think I need to go back and try and give her a hand
INEZ
Whatever you decide, I’m with you monkey. Does that change our plans for the cabin?
JULIET
NO way!
End ACT 3
-
BERN WILSON – LESSON 20 – FINISH ACT 3
What I learned in this lesson was that there’s many holes in it. Key scenes are good, but I have to add in more atmosphere. Also while I’m doing this, I’m thinking of more scenes that need to be added in ACt 2 to lead up to this moment. Many many holes but I have to keep rolling. More ideas coming down the pike!INT. CAL’S CAR – DAY
Brinda is really shocked by what she just saw.
Cal understands because he knows that Brinda almost met the same fate like her mother before her.
He pulls over.
CAL
YOu know you don’t have to do this anymore.
For the first time we see Brinda break down in tears and Cal holds her. She really breaks down.
PLACEHOLDER: Does she kiss him or not? Maybe not. Does she tell him that she’s a virgin?
EXT./INT. OUTSIDE BRINDA’S APARTMENT – NIGHT
Cal pulls up to Brinda’s apartment.
CAL
You want me to come up?
BRINDA
No, I’m fine. I’ll be alright.
CAL
You sure?
BRINDA
Yeah. Thank God I got out of there. Some of us were not so lucky.
She begins to get out of the car.
CAL
Hey. Call me if you need anything.
BRINDA
Sure thing.
Brinda gets out and goes up to her apartment.INT. BRINDA’S APARTMENT – NIGHT
Brinda is still wondering about the place where she was and how long she’s come.
She goes to her closet and takes out an old suitcase.
She starts looking through old memories and finds an early picture of her mother. And a wedding photo of her parents. How young they look. How innocent.
FLASHBACK: INT. OLD CHEVY CAR – DAY
Brinda as a little girl is driving in a huge old chevy with her mother.
Her mother looks beautiful but unsteady.
MIMI
It’s what we have to do baby. Don’t let any of them think their dirty thoughts on you baby.
END FLASHBACK
Brinda cannot fathom what she’s thinking and feeling. She has thoughts for Cal but she’s afraid of them.
THE PHONE RINGS
Brinda goes and answers.
BRINDA
Hello?
It’s the crying woman again.
MIMI
They’re gonna hurt me.
BRINDA
Who is going to hurt you?
MIMI
YOU KNOW BABY.
BRINDA
I don’t know. You have to tell me.
MIMI
Don’t let him touch you baby.
BRINDA
Is this Mary Lou?
There’s a dead silence on the phone. There’s hardly a breathe. Then the line goes dead.
Brinda hangs up the phone, gets her things and runs out.INT. HOSPITAL ROOM – DAY
Brinda comes into hospital room. Dr. Sonya is awake. Her eyes are still bandaged.
DR. SONYA
Who is it?
BRINDA
It’s me.
DR. SONYA
Thank God.
BRINDA
Sonya, I need to ask you about someone you might have remembered.
DR. SONYA
Yes?
BRINDA
She was a person you treated at Silver lake. A Mary Lou Baker
Dr. Sonya is drugged and doesn’t respond.
BRINDA
She was there around the same time that my Mom was there.
Sonya struggles a bit.
DR. SONYA
I don’t remember.
BRINDA
Her file said that you were her doctor. But there’s no indication that she was still there or gone.There Was no release record.
DR. SONYA
I would have to look at my files but I at the moment I don’t recall her.
BRINDA
Of course.
Brinda looks across at the closet and silently goes and opens it.
She looks for Dr. Sonya’s keys.
DR. SONYA
Is Doctor Owen still there?
BRINDA
Ah, no. We only were able to talk to Dr. Peele. Do you know her?
DR. SONYA
No, she must of come as a replacement after I left.
BRINDA
Yes it’s been a while.
Brinda finds certain keys and puts them in her pocket.
A night nurse comes in with some medication.
BRINDA
You must be tired. I will tell Cal.
DR. SONYA
Thank you.
Brinda leaves the hospital room as the nurse gives Dr. Sonya some drugs.INT. DR. SONYA’S OFFICE – NIGHT
Brinda starts going through the different file cabinets of Dr. Sonya’s.
She can’t find anything so far.
Then she look at an old key on the chain.
She starts opening different drawers.
At the bottom drawer she finds a wooden box.
Brinda takes out the box and sees a group of files.
THERE”S A SOUND OF SOMEONE IN THE HALLWAY.
Brinda takes the wooden box out and takes it with her.INT. BRINDA’S APARTMENT – NIGHT
Brinda starts searching through the files.
She comes across a Miriam Joan Cage, a brown-haired beauty who looks alot like Brinda.
She knows it’s the file of her mother. Reading this file is horrifying to her.
In this file she finds out who put her there. It was a different circumstance than the one she was told. She finds out that Dr. Sonya was the doctor attending her.
Brinda takes out another file.
It’s the Mary Lou Baker file. She realizes that there were files switched.
Brinda attempts to call Cal.
THE PHONE RINGS OFF THE HOOK.
She grabs her stuff and goes to leave. She thinks a minute and then she goes to the bedroom, opens the night table and takes out the gun and puts the bullets in.
She then exits.
INT. BRINDA’S APARTMENT STAIRWELL – NIGHT
As Brinda comes down the stairs because she lives five flights up, she notices MAYBELLE on the third level coming out.
MAYBELLE
What’s cooking honey?
BRINDA
I have to go.
MAYBELLE
Baby – where you skitdaddlin to?
Brinda hurries away.PLACEHOLDER: BOSS WITH CAL – NIGHT
Boss is pissed at Cal for going up to the insane asylum without his permission. That you went there without keeping him in the loop.
Cal is a bit surprised by this.
Boss tells Cal that he needs to wrap up the case. They’ve got someone already in custody.
Cal says that this person could not have possibly done it. And we think it might be a real woman.
Boss thinks that’s still a stupid notion, and not solving the problem. Now go and interrogate the person we have in custody.
PLACEHOLDER: CAL INTERVIEWS A POTENTIAL KILLER
Cal goes in and interviews a potential killer, but it turns out this trans person just steals from people, but doesn’t kill anyone.
PLACEHOLDER: CAL CONFRONTS BOSS
Cal goes in and says WTF. There’s no way this person is the killer. Why are you putting someone like this away? They were not even near the scene – both scenes and she does not know Jesse nor the ATTORNEY who was killed.
This is the person we’re going to go with. There are too many backups.
Cal can’t believe how ridiculous the whole thing is, espeically with BOSS. It seems that Boss is hiding something.
PLACEHOLDER – CAL OVERHEARS BOSS
Cal overhears Boss talking on the phone to Webber.
Cal realizes that Webber is caught up with Boss in a undercover plot to capture the killer themselves and silently put the person away or kill them.
Cal does not know who to turn to. He’s all alone on the team at the police station. He does not have much clout.
PLACEHOLDER:
Could Webber be pushing a major drug ring where Brinda’s mother got caught up in?
Was Webber working with Dr. Feelgood and supplying everyone with the very drugs that his son is killed with?
Where can we mix Boss and Webber in the thick of what Mimi is trying to confront.INT. NEW YORK BAR – NIGHT
This is a place that Cal comes frequently.
He notices a blonde looking woman at the bar. But not bombshell material. She doesn’t look like Marilyn. She looks like a respectable woman.
CAL
Can I buy you a drink?
MIMI
Why sure.
Only it is the REAL Mimi!
INT. THE POLICE DEPARTMENT – CAL’S DESK – NIGHT
Brinda comes in and finds that Cal is not at his desk.
A COP is at his desk.
BRINDA
Is Cal around.
COP
He left half an hour ago.
BRINDA
Do you know where? He’s not at home.
COP
Don’t know. Maybe a drink?
BRINDA
You know what bar he goes to?
COP
We all go to Smith’s on 44th
BRINDA
Thanks.
Brinda leaves.PLACEHOLDER: Another part of the script – I have to introduce Mimi as answering a question to someone at another bar – the same way – right before she drugs them. Gets them out of the bar or wherever she picks them up, and then kills them.
PLACEHOLDER: Somewhere here I have to put down that Jack Cage was working as a cop on the beat with the BOSS. Mimi, before Jack Cage came home from the war, was having an affair with Mr. Webber, Jesse’s father. She was even passed around to the BOSS at one point.
When Jack came home, Mimi kept up the front, but was losing it. Jack found out about it somehow. Even though Webber told Mimi to keep her mouth shut.
Mimi was well in the mental institution before Jack found out that the person he was working for, WEBBER, was the one doing his wife.
Unbeknownst to Jack, BOSS was working for Webber and in the heat of the night, Boss killed Jack. IT WAS NOT AN ACCIDENT! BOSS got promoted. Mimi still in institution.
PLACEHOLDER: In order to escape the mental institution of which Webber gives a shit load of money to, Mimi switched the files of who was going to be lobotmized. She went in, switched them and then escaped as Mary Lou Baker.
Dr. Sonya knew all about what Mimi did, but changed the files. She knew Brinda’s mother was still alive, but she played the game because Webber knew how to promote her as well.
Only Mimi turned on Dr. Sonya especially when it came to Brinda. Especially when mimi found out that she was grooming Brinda for the same fate.PLACEHOLDER:
Where is Mimi getting the money for expensive up keep? She’s dancing’/stripping for her supper as Mary Lou. She has a different disguise. Instead of brown hair she has blonde hair. Like Mary Lou. For 7 years.
How do we
Where is she getting the drugs to poison the men? Does she have a prescription from her doctor? – Dr. Feelgood?
Why can’t she get to the BOSS and Jesse’s Father – Mr. Webber? – She wants her daughter first.
Mimi wants revenge and she wants her daughter back.
How does she know that Jack was killed by BOSS?
Was she there and then got away? -
Rich and Mary Chamberlin’s Finish Act 3
What I learned doing this assignment is we like hpow this is progressing, again we’ll need to review again in round of rewrites but we’re adding hooks that will become part of the marketing campaign for the script once we are done.
1. Outline remaining scenes.
Scene 1 ——————————————————————————–
INT. JAX’S APARTMENT – DAY
MORTY TEASES JAX ABOUT “HIS GIRLFRIEND.” JAX BITES BACK AT MORTY. Then, there is a rethinking of everything – Morty finds out Jax’s secret, that he’s helping his old work-mate, Melanie and her young son, Kyle. That’s where his money goes, because even though Jax hates his Dad and his money, he has to take it to help out. Now writing the actual script, and it’s starting to be a collaboration between the two. In being helped (caring) and helping his partner, he helps the screenplay progress
Scene 2
INT. CAR- NIGHT
Morty gives Jax a ride to school. Morty beams after his date, which was fancy dress with Dollar Menu at Mickey D’s and a Redbox rental. He texts well, things good with this mystery woman. Morty asks Jax if Kyle is actually his son. Jax says no, they are all just good friends. Besides what does it really matter—his blood family
never did anything good for him anyways. The two argue over Morty’s car, Mabel, as well. They joke about the money winnings. Take off the muffler intensive care list.
2. Write remaining scenes
Scene 1
INT. JAX’S APARTMENT – DAY
Morty and Jax are sprawled out on the couch, bouncing ideas that still don’t gel, still disagreement, but they’re trying.
MORTY: Why don’t we ask Melanie to help us with the script? I’ll bet Kyle would have a penny or two to throw in.
JAX: A penny? Do they even have those anymore? I’d agree, but this is supposed to be just the two of us.
MORTY: We got the waitress input, that was OK. Damn, where were we? Oh yeah, Space, the Vinyl Frontier. Because we can’t afford leather.
JAX: Yuck yuck. We should Google what happens when a Quark and a Meson implode in the vacuum of space.
MORTY: Do you think a vacuum cleaner even works in space? Mine barely works on my old carpets, let alone messes.
JAX: OK, lets just add a Super Nova event horizon engulfing our space heroes and throwing them back in time to…
MORTY: World War Two! Brilliant. To Stratford-Upon-Avon, to see the Globe Theater.
JAX: This is nuts. maybe we should get Melanie to referee for us.
MORTY: Nah, she’s partial to you. I seen that sparkle in her eyes when you’re around.
JAX: Yeah, it’s not like that. You don’t know the story.
MORTY: But I can connect the dots. She and that kid think you’re a Super Nova yourself.
JAX: Ka-ching. We’re getting quite a haul in the penalty jar, even if the script is languishing. Melanie and Kyle are family to me, not that family ever did much for me before.
MORTY: You’d be surprised, wait’ll you get your own. Maybe these two are the ones. You’re lucky, you get to choose.
JAX: I’m still a Kid, I don’t need responsibilities yet.
MORTY: But, Ka-Ching, you already are responsible, aren’t ya? Kyle looks a lot like you kid.
JAX: Ka-Nope, it’s not like that. Ching.
MORTY: Could’ve fooled me. None of my business anyway. I wonder if those New Trinos from the Super Nova are better than the old ones from the past?
JAX: How’d you…Oh, who knows?
Scene 2 —————————————————————–
INT. CAR- NIGHT
Morty picks up Jax to give him a ride to school.
JAX: So? You sure have a space ship-eating grin after your big date. How is Bella?
MORTY: I tell you, it ain’t her. You should’ve seen – suave, de-boner. Suit and tie, her in a nice taffeta dress, then the Dollar Menu at Mickey D’s and a Redbox rental. We even did some text-teasing after the date. What a woman! I tell you, … Jax, I’m starting to like these Apps and tech.
JAX: Ok, I guess. Anyway, Mabel seems to be barking a bit today.
MORTY: Oh, she’s got some indigestion from the last filling.
JAX: Well, with your half of the contest winnings, you could get her a lung transplant.
MORTY: Maybe evem take her off the muffler intensive care list.
JAX: An old man can dream.
MORTY: Ka-ching!
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