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Old 08-16-2003, 08:17 PM   #1
William Haskins
 
Posts: n/a
Default exercise - no contest, no deadline

write a scene wherein:

-a man comes home to tell his wife that he's lost his job, and

-the wife has been awaiting his arrival so that she can tell him that she's pregnant with their first child.

i think it'd be interested in seeing the various approaches to this. are they well-off, or will this financially cripple them? do they even want a kid? does the husband drink? the wife? is it a blessing in disguise so he's finally motivated to start that worm farm?

anyway, play if you like...

-william
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Old 08-16-2003, 10:38 PM   #2
roscoegino
 
Posts: n/a
Default

EXT. INTERSTATE

It's afternoon rush hour. Hot, muggy. The kind of traffic where scores of vehicles get to inch up every five minutes.

Over in the background there is one car that doesn't seem to move at all. A blue Buick. Blarring horns and few curse words from beyond do nothing.

INT. BUICK

BEN TOLIVER is in the driver's seat. Three packed manilla folders, all busting at the seams sit beside him. He's an old forty, meaning his worn, heavily creased features beg otherwise. Tightly gripping the steering wheel, he fails to step on the gas, but then he doesn't even bother to blink either. His water filled eyes are focused dead center, dry lips cracked open. It's as if he's in the Twilight Zone or at least wants to be.

DRIVER (O.S.)
Move, jerk!

Ben breaks out of his trance, haphazardly swings the car left and with that, rams the tail light of the van in front of him. The folders bust open in his lap sending papers flying everywhere. Cursewords get louder. Ben acts as if nothing's happened.

Driver storms out the the van, races up to Ben's window. But Ben's saddened gaze flushes the anger out of guy's face.

DRIVER
Where are you, pal? Are you with us?

Ben merely resumes his stare. Guess the answer is no.

CUT TO:
TELEVISION SCREEN

A movie's on. Looks like a thriller. Some teenager is about to be strangled by a date twice her size. She screams.

We hear chuckling offscreen clearly not related to what's happening on the tube.

INT. LIVING ROOM

LESLIE TOLIVER is the woman whose chuckling has now turned into laughter. She punches the air triumphantly.

LESLIE
Yes!

Then looks at her watch.

LESLIE
Oh come on, honey. What's keepin' you?

EXT. STREET

Blue Buick pulls up into a driveway, crashes into the garbage cans. Instead of stopping, it continues to drag the cans along for the ride.

INT. LIVING ROOM

Leslie jumps out the sofa at the sound, runs like a child on Christmas to the

FRONT DOOR

Where Ben is aching his way up the steps. Leslie's too happy to realize his mood. Whatever she has to say is sure to turn him around. She readies herself. Then:

LESLIE
Honey?

BEN
(looks up, half alive)
Hmm?

LESLIE
Guess what?

Ben sighs, more concerned with getting in the house than mind reading. She blocks him.

BEN
Okay..you're pregnant.

Leslie seizes her husband with a giant hug. No return embrace from Ben. He's stunned. Just stands there like an old tree stump while she invades his face with kisses.

LESLIE
(estatic)
And there's a good chance it may be twins! Do hear that? Twins!

Ben grimaces.

BEN
Aw s**t.

INT. DINING ROOM-LATER

Leslie is still rattling non stop, going on about a brass crib, a stroller, baby shower and who's not worthy enough to be invited. Ben sits helplessly in front of his meal unable to get a word in.

LESLIE (CONT'D)
Marsha's a conniving whore. Minus.

BEN
Honey?

LESLIE
She never invited me to her baby shower. Why should I invite her to mine? And do you realize she had the nerve to..

BEN
Ah, honey?

LESLIE (CONT'D)
..tell everyone I'm out of work. I don't trust that woman. I never did. I mean at least Cathy's been on good terms. She always gives me good tips on how to--

BEN
(pounds the table)
--SHUT UP!!

Leslie jerks back, startled. Ben's red. She trembles a little.

BEN
Do I have your attention? Huh? Or do I have to call the damn doctor again?

Leslie's speechless, nervously fumbles her hands the way she always does when Ben suddenly delivers an outburst.

LESLIE
Wh-what is it?

A tense pause. Ben bows his head, searching for the right words. He mutters. Leslie catiously draws up her chair.

BEN
(gently)
I lost my job, Les. I...I got fired.

Leslie shuts her eyes.

BEN
That son of a bitch, Taylor. Claims me being late cost him the Highland Murray account.

LESLIE
Oh my God. Fired?

BEN
Yes.

LESLIE
But..this can't be.

Ben scans the surroundings, avoids looking at her.

LESLIE
How? Not now. We don't have anything. The lawyers fee, the doctor. All our savings. Gone.

She turns away, sobs. Each tear makes it as hard for Ben to say anything as her chatter earlier.

BEN
I--I don't know if we're ready to bring a child into this.

Leslie stops, sniffles.

LESLIE
Wh-what?

BEN
I don't know.

LESLIE
(wiping her face)
What are you saying?

BEN
I'm saying we're not ready.

LESLIE
You mean..abortion. You mean I should get an abortion?

Ben can't say yes. He doesn't want WWIII. But he can't say no either.

BEN
I'm saying...let's think about it.

At that, Leslie rises. Storms out the dining room.

Ben watches her go and slowly, sadly sinks into his chair.


-ros
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Old 08-17-2003, 04:55 AM   #3
pheaktional
 
Posts: n/a
Default

william, with all due respect, your premise fails 'cos downer scenes like this should be kept to minimum length and shouldn't stand alone but be given perspective by their resolution (worm farm is not a prospect imo)

on the other hand you give too much guidance that limits the possible outcomes
3 variables along which the story can unfold or take turns: his job, the situation around his wife, and what you ruled out and take as certitude - whether he gets home

but as ever a surprising execution may come along...
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Old 08-17-2003, 10:23 AM   #4
TwoBrad Bradley
 
Posts: n/a
Default

INT. KITCHEN - NIGHT

BILL, 28, enters to find MARY, 26, at the stove.

MARY
Sit down dear, I made your favorite ... prime rib.

BILL
We can't afford that.

MARY
You make good money. We owe it to ourselves to celebrate every now and then.

Bill looks around the kitchen.

BILL
And look at all this stuff. Do you always have to buy the newest gadget that comes out?

Mary turns away from Bill.

BILL
It's a good thing we don't have kids. We couldn't afford to feed them.

Mary drops her head, brings her hand to her stomach.

MARY
Bad day at the office?

Bill loosens his tie as he walks out.

MARY
You're not going to eat?

BILL
I'll be in the den ... don't wait up.
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Old 08-17-2003, 12:21 PM   #5
iembalm
 
Posts: n/a
Default

Code:
FADE IN: INT. MOELLER HOME - NIGHT FAITH MOELLER, early thirties and glowing with joy, is hustling around her kitchen fixing the evening meal. No apron, no bouffant hairstyle, but other than that she could be in a Stove Top commercial. She takes a bottle of wine from the pantry, considers it for a moment, and puts it back. A car's tires grind into the driveway outside and the kitchen is illuminated briefly by headlights. Faith walks into the dining room and quickly lights two table candles. A saccharine ballad is playing loudly on the stereo. EXT. MOELLER HOME - NIGHT The music can be heard from inside. The engine of the only car in the driveway shuts off and its lights go out. BILL MOELLER is sitting behind the wheel. Both hands are close together on the steering wheel, his chin resting on them. He exhales big. BILL (unconvincing resolve) It's okay....It's all right, Faith....Faith, it's okay. It's a blessing really....I'll only take a year this time, I promise, if I don't have an agent by then.... He closes his eyes and lowers his forehead to the wheel. INT. MOELLER HOME Faith closes her eyes and takes a breath. She's not the prettiest woman in the world, or even on her block, but when she smiles you don't think about the others. She's smiling now. Bill comes in the front door. Faith doesn't see until he turns around from locking up that he's carrying a large box. Her smile falters a bit as Bill stands there silently. The song playing reaches a particularly ironic bit, given the situation. FAITH Oh, Bill. He sets the box down and opens his arms. As they embrace, Faith's fear and uncertainty disappear. She pulls back and grabs his hands. FAITH I have news. Bill looks into the dining room. BILL You haven't listened to this music since high school. FAITH I guess I feel like I have my whole life in front of me again. She shakes his hands. FAITH Bill....we're pregnant! It worked, I'm going to have a baby. A baby! Bill, stunned, grabs her shoulders for balance. He can't meet her eyes. BILL Oh, of all the days for me to.... She tilts his chin up and hits him with that smile. FAITH It's okay, sweetie. You never clicked at that job anyway. She puts his hand on her belly. FAITH But you clicked at this one. INT. MOELLER HOME - LATER Bill is working at the computer in his den as Faith cleans up in the kitchen. The music is quieter and more...mature. FAITH (O/S) How about Cole? BILL Don't you have a cousin named Cole? FAITH (O/S) Cody? He single-clicks on an icon called "SCREENWRITING" and drags it next to the Recycle Bin. BILL With a 'C' or a 'K'? FAITH (O/S) What do you think? After a moment's hesitation, Bill deletes the program. He double-clicks on another and his resume fills the screen. BILL I think....we've got our whole lives ahead of us. FADE OUT.
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Old 08-17-2003, 08:51 PM   #6
Revisionist
 
Posts: n/a
Default

Okay, no length was specified. And when someone did a bunch of separate scenes I figured that was fair game too...

The following is 8 pages and I hope stands on it's own but y'all can be the judge of that.

Code:
FADE IN: EXT. SUBURBAN STREET -- NIGHT A couple dozen uniformed officers hover behind cars, weapons drawn, all sights aimed toward the front of a rancher lit up by floods and red and blue flashers. A SWAT van careens up, doors slam open and four team members scramble toward various positions. Captain LANCE DENNISON, a gray haired, no nonsense gorilla, eyeballs the situation, taking in the house and the layout of his officers. He pulls a radio off his hip and glances toward a SWAT member as he disappears behind the home. LANCE (into radio) SWAT takes the high ground. You get a shot, you make it count. RADIO Roger. Team one, south and west sides. Team two's got the leftovers. (beat) We're on it. Ten seconds to firing positions. An unmarked cruiser pulls up and LOCKLAND PHILLIPS, a scruffy 40, who looks more bum than cop, hops out and jerks his head around taking in the scene. He spies a cop out from cover casually leaning on his car. LANCE Myers. Get in position. I want this whole unit spread out in an inverted V formation. MYERS Yes, Sir. Myers jumps to it and cops move around changing their positioning. Lock heads straight for Lance. LOCK Are they in there? LANCE I can't let you in on this one. Lock gets his face up to Lance, his eyes blaze. ----------------------------------------------------------------------------------------------------- 2. LOCK Are they in there!? Lance grimaces and nods his head. Lock spins toward his cruiser and pops the trunk. He whips his jacket off. LANCE It's not what you think. Lock reaches into the trunk and pulls out a orange colored ball of clay. He lobs it at Lance who deftly catches it. Lock puts on a flak jacket. LOCK C-4. I got it off the same guy who sold three pounds of the sh!t to Rick Shaw this morning. Lance turns the ball in his hands; confused. Then he sees it. Black felt on the back of the ball reads, THE PARTY JUST CAME HOME, BUDDY. LANCE Jesus. Lock... They're... Two shoulder holsters join Lock's vest. LOCK As good as dead. You got a line open to the inside? LANCE Yeah, but... LOCK Dial it. Lock slams the trunk and they walk over to communications set up in a marked van. Lance nods to the operator who punches a button and hands the phone over. Lock grabs the cell before Lance can even reach. INT. THE HOUSE (KITCHEN) -- CONTINUOUS Darkness. A ringing phone. The silhouette of a woman and young girl, 10, huddled together on the floor. The girl cries. This is LORI and DENISE PHILLIPS. Lori cuddles her daughter and shushes softly as she kisses her head. Heavy feet cross the kitchen floor. The phone is picked up by ERIC SHAW, a tower of granite in dapper clothes. ----------------------------------------------------------------------------------------------------- 3. ERIC Y... you better have got my stuff. I swear to... EXT. SUBURBAN STREET -- CONTINUOUS Lock's eyes narrow. His teeth grind. LOCK Drop the act. I'm here. INTERCUT LOCK AND ERIC AS NEEDED: Eric laughs and goes to the girls. He touches the child's hair. Lori slaps his hand away. LORI Leave her alone. Eric slaps the woman, knocking her down. The girl cries harder and goes to her mother who sits slowly up. ERIC You got my message. I must admit I had to wallow around in your level of intelligence to make sure you'd understand the clues I left. I didn't like it, Lockland. Do you like being you? Except for this wife and child of your's I really can't see why. But enough of all that. Are your shooters in position? They are, aren't they? Lock pokes his head out and glances at a SWAT member in a tree. LOCK What shooters? Eric pulls out a small pager like device. He hits a button. Out on the street four explosions go off simultaniously blowing at or near the places SWAT took up. The member in the tree explodes out of it and the oak is left in toothpicks. Cops take cover lower behind the vehicles. Eric removes another pager. He fingers the button. ERIC Those shooters. Oh, let me guess... Inverted V formation? Am I right? Lock darts out from the van toward the cops he just ordered to move. ----------------------------------------------------------------------------------------------------- 4. LOCK Get the hell out of there! The officers look shocked as strategically placed explosives encased in rolls of pennies go off in several locations behind their position. The coins punch holes in flesh and cars. Screams are prevailent. Cops lay moaning and dying. LOCK (CONT'D) (into phone) You son of a bitch. Eric tosses the remotes on the counter. He wipes his hand on his shirt. ERIC When do I get a negotiator, Lockland? I so can't wait. Can you guess where the next bomb is? You can can't you? Eric punches speed dial on a cellular he pulls from his pocket. On the street Lock has only enough time to close his eyes with the knowledge of what's coming. END INTERCUT INT. POLICE CRUISER -- NIGHT An OFFICER, in a police jacket talks on the radio. OFFICER Keep him talking. Don't agree to any demands. I'll be there in two minutes. The cell on the seat next to him rings. He picks it up. EXT. POLICE CRUISER -- CONTINUOUS There's nothing left of the car but a ball of flames. INT. THE HOUSE (KITCHEN) -- CONTINUOUS Eric places the cell on the counter with the remotes. ERIC Who's that leave, Lockland? ----------------------------------------------------------------------------------------------------- 5. EXT. SUBURBAN STREET -- CONTINUOUS Ambulances pull up. Cops that aren't hurt race to help those that are. Lance stands in shock appraising the carnage. Lockland lowers his head. LOCK You and me. And them. INT. THE HOUSE (KITCHEN) -- CONTINUOUS Eric hunkers down and smiles at the two girls. ERIC Yes. And them. What should I do with them? Rape just isn't my style. Maybe make love? Hmm, Lockland. Should I do what you do to your wife? Should I do it while you read your little policeman's manual and figure out what to do next? INTERCUT LOCK AND ERIC AS NECESSARY: Lock stares into Lance's eyes, defeated. LOCK Put my wife on. I want to talk to her. Eric hands Lori the phone. ERIC It's for you. Do try to hurry. I've places to be. Lori takes the phone in a shaky hand. LORI Lock. Get us out of here. LOCK Is she okay? LORI She isn't hurt. Not yet. But the baby. He hit me... And... LOCK Baby? No. No... don't tell me... LORI I found out today. I don't know how it's doing. He hit me and... ----------------------------------------------------------------------------------------------------- 6. Lock grits his teeth. LOCK Shh... Honey. Listen. Stay down on the floor if you aren't already. Can you do that for me? LORI Yes. Just do something. Eric grabs the phone from her. ERIC I've always wanted to have a pregnant woman, Lockland. I do that while I wait for you to call the FBI in. Is that okay? I'll need a few minutes of privacy so please don't call back for at least half an hour. Eric hangs up the phone. END INTERCUT Lock stares at the handset. He hands it to Lance. LOCK I'm going in there. LANCE You know I can't let you do that. LOCK Then fire me. LANCE It's suicide. LOCK Fire me! The two men stare at each other. Lance nods. LANCE Give me your gun. Lock only stares at him. LANCE (CONT'D) Your badge then. Lock pulls it out of his side pocket and hands it over. He walks toward the house. He only says one more word... LOCK Smoke. ----------------------------------------------------------------------------------------------------- 7. Almost on cue several smoke grenades are launched over his head and hit the front lawn. More smash through windows and into the rooms of the house. Lock only walks into and through the smoke as it billows out from the cannisters. At the front door he fires at the lock mechanism, kicks the door in and enters. INT. THE HOUSE (KITCHEN) -- CONTINUOUS Lock doesn't even pause or try to find cover. He stops in the living room. A figure is moving in the kitchen. ERIC How very unconventional. I calculate two minutes as you work your way in here. Lock heads straight for the kitchen. He only pauses for a second at the door more in thought than out of any sense of fear. He takes a quick step into the kitchen while bringing his gun up behind the wall to the left. He places his gun against Eric's head while smacking another out of the Psycho's grip. ERIC (CONT'D) How'd you guess? LOCK If you know me so well then you'd know where to stand while I worked the room. This is my house. The clear vantage point for a shot is this doorway. Left side. Cover her eyes, Honey. Lori pulls Denise's face into her lap and covers her ears with her hands. Lori closes her eyes tightly. Lock fires and Eric's body drops. He tosses the gun on top of the corpse. He goes to his family. They all embrace as he touches them looking for injuries. LOCK (CONT'D) You okay? Are you hurt? Lori cries into his shoulder and Denise cuddles up. LORI We'll be okay. I need to get to the hospital and have the baby looked at. Denise should get checked out too. She was pretty scared. ----------------------------------------------------------------------------------------------------- 8. DENISE I knew Daddy would come. We got our own book that we go by, right, Daddy? Lock smiles as he pulls them to their feet. He wraps an arm around each one and heads for the door. LOCK You got it. And don't ever forget it. (to Lori) Honey. Um, this might be bad timing but... I think I just got fired. You mind working two jobs? Lori pushes him and they laugh a little as they exit the house.
Feel free to blow up at my non conformance to what wasn't really spelt out in rules/guidelines...
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Old 08-18-2003, 02:06 AM   #7
HConn
 
Posts: n/a
Default

I don't normally do exercises, but I've been working on outlines for so long that I need to do a little writing writing.

This is off the top of my head.




INT. LIVING ROOM - DAY

A tidy little room, as carefully organized as a museum exhibit.

DAISY HASKINS, a brittle, jittery woman in her middle thirties, opens the front door, revealing ARLENE FROST, a gray-iron matron with a gaze that’s blinded by self-assurance.

DAISY
Oh, Mother, I’m glad you’re here.

ARLENE
I can’t walk through you, dear.

Arlene marches into the room and heads for the stairs.

INT. MASTER BEDROOM - DAY

Arlene yanks open a drawer in the chest of drawers by the bed and yanks out a pack of condoms. She’s obviously done this before. She immediately begins poking a pin through each packet.

DAISY
Mother, you don’t have to do this.

ARLENE
Someone has to, dear. You can’t let a
man make these kinds of decisions.

DAISY
But Mother–

ARLENE
--Men don’t know what they really want.
That’s why they marry us.

DAISY
You don’t understand. I’m saying you don’t
have to do that any more.

Arlene freezes, mid-skewer. Daisy gently rubs her belly. She watches her mother’s expression, waiting to see if she’s allowed to be happy.

Arlene smiles with joyless triumph.

A door SLAMS downstairs.

INT. KITCHEN - DAY

WILLIAM HASKINS (late thirties, rumpled suit and a three-day beard) pours himself a tall whiskey. He hums a happy tune.

Daisy and Arlene enter. William sees Arlene and hides the whiskey behind his back.

WILLIAM/DAISY
Great news! You first.

WILLIAM
I quit my job!

Daisy’s eyes go wide with fear. Arlene’s eyes narrow, as though she’s just seen a pet make a mess on her carpet.

WILLIAM
I finally told old Thorton exactly what
I think of her. You should have seen
her face!

DAISY
Is this a prank, Willy? Please?

WILLIAM
I just couldn’t do it anymore, checking
those little boxes all damn day. I have
scripts in my blood; I have to do it!
(Glances at Arlene)
We can move to L.A. Dclary has a couch for us.

ARLENE
Dclary? Is that a name?

WILLIAM
The dee stands for Daniel, I think. Or
Dominique. Anyway, he or she is a really
close friend. You could get a job at
Starbucks, baby, while I write my scripts.
I’ll finally get to do what I really want.

Arlene holds up her pin. The strip of condoms dangles from the point.

CRASH! The whiskey bottle shatters against the floor.

William’s expression suggests that wasn’t the only thing that just shattered.

INT. DINGHY OFFICE - DAY

THORTON lounges behind her desk. She’s having the time of her life.

William, clean and shaved for once, grovels at his boss’s desk.

WILLIAM
I... I think it was a reaction to
the fish I had for lunch. It was,
um, undercooked and may have... may
have affected me somehow. Perhaps a
brainworm? Of some sort?

Thorton begins shuffling papers. She’s ready to end this.

WILLIAM
(growing desperate)
I mean, a person would have to be sick
to quit his job when his wife is
expecting.

That’s it. His trump card is pity, and he’s just played it.

Thorton gestures toward a chair. Relieved, William sits.

Silence.

Thorton steeples her fingers. She’s going to enjoy this.




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Old 08-18-2003, 12:23 PM   #8
StRogue
 
Posts: n/a
Default

INT. BEDROOM - NIGHT

John drops his suit jacket unto the floor. He unloosens his
tie and sits on the edge of the bed. Beth enters from the
bathroom.

BETH
Hey, how was-

JOHN
-don't.

John remains on the edge of the bed, motionless, the silence defening. As Beth nears, John rises.

BETH
Did they-

JOHN
-yes.

BETH
Just like that?

JOHN
After ten years, just like that. What 'bout you?

Beth holds up a pregnacy test apparatus and nods.

JOHN
Now what?

John leans against a wall, head bowed. Beth nears, leans
her back against him.

BETH
Win the lotto?

Their hands clasp together.

Charli
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Old 08-18-2003, 08:24 PM   #9
kosmikgurl
 
Posts: n/a
Default re:excercise - no contest, no deadline

INT. LIVING ROOM – DAY

KATHY, 32, lays on the couch staring expressionless at the TV. A bag of potato chips rests on her protruding stomach.

She slurps the remains of a Super Big Gulp, then tosses the empty cup on the floor as the phone rings.

She does not make a move to get up.

It rings a second time, then a third.

She finally stirs. As she gets up her shirt rides up fully exposing her belly. It is now obvious that she is pregnant.

She waddles across the room and picks up the phone after the sixth ring.

KATHY
Hello?

MAN (O.S.)
Hey honey, it’s me.

KATHY
Mark? Sweety, what’s going on?
I wasn’t expecting you to call
again till tomorrow.

MAN/MARK (O.S.)
Yeah, well, something’s come up
and I’m actually coming home.

KATHY
What? When?

MARK (O.S.)
In about twenty minutes.

KATHY
What do you mean? Where are you?

MARK (O.S.)
I’m at the airport. I just landed.
I’ll explain everything when I get there.

KATHY
But…I don’t understand…oh, oh no, honey listen,
there’s something important I’ve been meaning
to tell you, I just wasn’t really sure how, but
now that you’re on your way I really need to…

MARK (O.S.)
(Cutting her off)
Kathy, whatever it is I’m sure it can wait, alright?
I’ll be there soon.

He hangs up. She continues to hold the phone, listening to the dial tone.

Finally she snaps out of her trance and slowly hangs up the phone.

KATHY
@#%$.

INT. HALLWAY – DAY

Kathy paces nervously by the front door.

Startled, she jumps at the sound of a key in the lock. She runs over and quickly opens the door with the chain still latched.

MARK, 35, appears in the crack.

MARK
Honey? Can you undo the chain?

She shakes her head.

KATHY
No.

MARK
What do you mean? What’s going on?
Open the door.

KATHY
I have to tell you something first.

MARK
Quit playing games Kathy. I just spent
twelve hours on a plane after getting fired
from my job, I’m not really in the mood for
this.

KATHY
But sweety it’s really important I need to
tell you this before… Wait a minute, you lost
your job? What the hell Mark? When exactly were
you planning on telling me this?

MARK
Would you just calm down and let me in?

KATHY
No I will not calm down! What the hell happened?
How could you loose your job? What were you thinking?

She unconsciously shuts the door, unlocks the chain and opens it again.

KATHY (Con’t.)
What the hell did you do?

Mark takes two steps then pauses as he stares at her belly in shock.

MARK
Kathy, you’re pregnant!

KATHY
You’re kidding, I thought I just swallowed a beach ball.

MARK
How? When? But I haven’t been home in a year, how could you be…
Oh my God.

Kathy laughs nervously.

KATHY
Surprise?

FADE OUT.
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Old 08-20-2003, 03:53 PM   #10
OtisLovesUs
 
Posts: n/a
Default

INT. POD SYSTEM IV - NIGHT

JENICOR XYLOPONDREY strolls through the room in a stunning silver moo moo. She stops at the CHIME of the autopod door outside.

* * * * * * * * JENICOR
* * * * (to herself)
* * * * It’s about time Mr. big shot.

The main pod door opens, revealing DAVDO XYLOPONDREY, bloodshot eyes--all eight of them, both neckties loosened.

* * * * * * * * DAVDO
* * * * Hi. I uh...sorry I’m late.

* * * * * * * * JENICOR
* * * * Have you been drinking?

* * * * * * * * DAVDO
* * * * Yeah. One or two.
* * * * (beat)
* * * * You look, different.

* * * * * * * * JENICOR
* * * * Different good, or different bad?

* * * * * * * * DAVDO
* * * * I don’t know, different different.

* * * * * * * * JENICOR
* * * * Wrong answer buster.

DAVDO lumbers over to the couch, sits and rubs his foreheads.

* * * * * * * * JENICOR
* * * * I’m guessing you didn’t get the
* * * * promotion?

* * * * * * * * DAVDO
* * * * I don’t know what happened.

* * * * * * * * JENICOR
* * * * What did you say to him? Did you do
* * * * something to piss him off?

* * * * * * * * DAVDO
* * * * After lunch he announced that SIMMS
* * * * was the new Vice President of
* * * * Exploration. He gave me a wink and
* * * * said he had a four o’clock tee time.

* * * * * * * * JENICOR
* * * * And?

* * * * * * * * DAVDO
* * * * And I was told to pack my things up
and leave. I didn’t get the promotion.
I was fired. Now I'm home.

* * * * * * * * JENICOR
* * * * You little gibsidongle! My father
* * * * told me from the start you only
* * * * had one spine!

* * * * * * * * DAVDO
* * * * It wasn’t my fault! Simms must have
* * * * pulled a fast one.

* * * * * * * * JENICOR
* * * * A fast one? I’ve got your fast one
* * * * right here!
* * * * (beat)
* * * * Do you want to know why I look
* * * * different? Because when you woke up
* * * * this morning you were feeling frisky
* * * * over your "guaranteed" promotion. You
* * * * had to “have a piece of my Milky Way.”
* * * * Well guess what big boy? You knocked
* * * * me up!

* * * * * * * * DAVDO
* * * * You’re kidding?

* * * * * * * * JENICOR
* * * * Do I look like I’m kidding? I’m
* * * * going to be popping out an egg in
* * * * twelve hours, and by Wednesday we’re
* * * * going to have fourty-two screaming
* * * * brats slithering around here!* * * *

* * * * * * * * DAVDO
* * * * But I didn’t know. It wasn’t my fault!

At this, Jenicor opens the locket hanging from her left neck.

* * * * * * * * DAVDO
* * * * No! It wasn’t my fault!

She flips a switch inside the locket, which launches a violent assault of lights and furious BUZZING sounds inside the pod.

DAVDO cringes in horror, screams, then disintegrates.

* * * * * * * * JENICOR
* * * * Gibsidongle.
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