Catering

INT LIVING ROOM NIGHT

DAN WILSON, mid-30's and handsome, wanders aimlessly around
the nicely decorated living room, drink in hand.

The doorbell rings.

ESTELLE WILSON, early-30's and also very attractive, pokes
her head around a corner.

ESTELLE
Could you get that, sweetie?

DAN
Sure.

Dan walks to the front door and opens it. His perfect smile
broadens a bit. On the front step, AMY BRACKENS, early 30's,
stands, awkwardly holding a few serving trays. She has a
very cute face, but her hair is pulled back and her dress is
ultra-conservative. Between the cumbersome trays and Dan,
her hold on her composure is tenuous.

DAN
Hello.

AMY
Uh, hi. I'm Amy Brackens. I'm the
caterer. I'm late.

DAN
I'm Dan Wilson…

Estelle appears behind Dan, and puts a hand on his shoulder.

ESTELLE
Amy! I was beginning to worry.
Was traffic that bad?

AMY
Yes.

ESTELLE
Well, no worries. You're here
before the guests and that's what
counts.
(noticing the trays)
Geez, Dan, you could help her with
those.

Dan, still smiling at Amy, realizes his lack of chivalry.
With a start, he grabs for a couple of the trays.

AMY
Thank you.

ESTELLE
I'm still putting on my finishing
touches, so I'll let you get down
to business. It might be easier to
go through the back door.
(to Dan)
Sweetie, could you show Amy to the
kitchen.

Estelle glides back out of the room. Dan's smile returns.

DAN
Right this way.

Dan waits for Amy to enter, shuts the door and then leads the
way towards the back of the house. Amy follows stiffly.

AMY
Nice place.

DAN
Yeah, it's all right.



INT. KITCHEN – CONTINUOUS

Dan enters followed by Amy. He puts the trays on the
counter, and grabs the additional ones from Amy.

DAN
I don't really know where anything
is in here, but if you need some
help just let me know.

AMY
You could help carry some stuff
in…if you want.

DAN
Absolutely.

Dan flashes his million-dollar smile at Amy. She
uncomfortably gives him half a grin.



INT. KITCHEN – A FEW MINUTES LATER

Dan carries in a couple of boxes. Amy carrying some smaller
items looks anxious.

AMY
Please be careful.

DAN
Don't worry; I've got a good hold
on them.

Dan fakes a trip. Amy gasps.

DAN
Just kidding.

AMY
Please don't joke.

DAN
You're just a bit uptight aren't
you?

Dan sets the boxes gently on the floor. Amy puts her stuff
on the counter.

AMY
Sorry. This is my first time by
myself. I've always worked for
other people.

DAN
Started your own business, huh?

Amy nods, arranging materials on the counter.

DAN
Impressive. But you need to relax.

Dan moves behind her and begins massaging her shoulders. For
a moment, Amy melts into it, enjoying the touch. She catches
herself. She slides away from Dan to the other side of the
kitchen to a door.

AMY
Is this the pantry?

DAN
(shrugging)
I think so.

Amy opens the door.

AMY
Holy moly…this is huge.

DAN
Never gets old hearing that.

AMY
I just might need to borrow a few
things.

DAN
By all means.

ESTELLE
(OC)
Dan, honey, could you come give me
a hand.

DAN
I'll be right back.

AMY
Oh, no…that's ok, I've got a lot to
do…

DAN
Which is why you need my help.

Dan exits, leaving Amy flustered.



INT. KITCHEN – A SHORT TIME LATER

Amy is in full force. She bustles to and fro, checking a
sauce on the stove, double-checking something in the oven.
She's in her element now. Dan removes saran wrap from trays
of hors dourves.

DAN
How long did it take you to make
all of this stuff?

AMY
Just, like, most of this afternoon.
It's not that bad if you know what
you want to do.

DAN
You really need to get an
assistant.

AMY
Can't afford one…yet.

Dan studies her for a moment. She's lost in her work.

DAN
Man, you are really good at this.

Amy reddens a bit, and lets a small smile peak through.

DAN
And you are absolutely gorgeous
when you smile.

Amy, completely embarrassed, turns away and picks at a salad.
Dan starts to move towards her.

The doorbell rings. From the other rooms, muffled voices can
be heard. The anxiety reappears on Amy's face.

ESTELLE
(OC)
Dan, sweetie, the O'Briens are
here!

Dan looks from the door to Amy.

DAN
Don't go away.

AMY
I'm the caterer…where can I go?

Dan exits. Amy grabs a tray of hors d'ourves and hurries
into the other room.



INT. LIVING ROOM – A SHORT TIME LATER

Dan mingles with guests, but his eyes track Amy. Amy hurries
around refreshing drinks. A table in the other room is
visible, exquisitely laid out with food.

Everyone seems to be enjoying themselves. Amy allows herself
a glance at Dan. He's laughing with a couple of couples.
Estelle comes up to him and slides her arm around his waist.
Amy's attention snaps back to her work.



INT. KITCHEN – A WHILE LATER

Amy is stacking dishes by the sink. A few mostly empty trays
sit on the counter.

Dan enters.

DAN
How's it going in here?

AMY
Just fine. How's it going out
there?

DAN
Seems ok, I guess. It's down to
just the drinking and telling lies.

AMY
(anxious)
Be honest. Did people seem to like
the food?

DAN
Are you kidding? Those vultures
couldn't get enough. They loved
your food.

Amy's shoulders slump. She leans back against the counter.

AMY
Oh my God. I was so nervous. I
can't believe that it's almost
over.

DAN
I can't believe that it's almost
over either. I've been out there
talking to a bunch of people that I
don't really like all night, while
the person I'd really like to talk
to has been stuck taking care of
her marvelous food.

Dan moves towards her. Amy starts to back away, but she's
still against the counter.

DAN
You are one amazing woman.

Dan, right in front of her, puts his hands on the counter on
either side of her. Amy tries to look for an escape route.

AMY
Please. I don't think that this is
right. It's…it's…unprofessional.

DAN
You're duties are done, Amy. You
can take a break.

AMY
You're standing way too close.

As she says it, she seemingly struggles to keep her head off
of his chest.

DAN
I don't normally meet women like
you. I always meet women like the
ones in there.

Amy pushes past him and looks at him appalled.

AMY
This is just not right. What about
Estelle? She's beautiful she's
intelligent…what more do you want?
Oh God, and she just gave me a huge
break. What the hell am I
thinking?

DAN
What the hell are you talking
about?

AMY
Estelle? My boss for the evening?

Dan looks on expectantly.

AMY
Your wife?!

Dan bursts out laughing.

AMY
(confused)
What?

DAN
Amy, Estelle's my kid sister. What
the hell made you think we're
married?

AMY
Well, um, you've got the same last
name. And, she, um, seems to touch
you a lot and call you 'sweetie'
and 'honey'…

DAN
She's just very affectionate. She
calls everyone 'sweetie' and
'honey'. She calls our dad 'sugar
plum' for God's sake.

AMY
So, you're…

DAN
Not married, no. I'm also not
dating anyone and I'm not gay.
What I am is someone that would
like to get to know the caterer a
lot better.

AMY
Oh, um…

Dan flashes his smile once more. Amy tries to stifle a grin.

AMY
Oh.

DISOLVE TO:



INT. KITCHEN – A SHORT TIME LATER

Estelle pokes her head into the kitchen.

ESTELLE
Amy?

Estelle fully enters the kitchen, a bit tipsy, and has a look
around.

ESTELLE
(to herself)
Must be taking a break.

She walks over to some wine bottles on the counter and
studies them.

ESTELLE
No…no…no. Figures.

She walks over to the pantry.

ESTELLE
Oh well. Let's see what I've got
in here.

She flings opens the pantry door. Her jaw drops. Off camera
a woman squeals.

ESTELLE
Oh, my goodness!

DAN
(OC)
Oh, hi, Estelle. Amy was just
taking a break…

FADE OUT:

Or this one

Like the one proceeding it, this is a short script that was never made...in this case because it proved to be a little too expensive for the budget available:


BLACK SCREEN

TITLE CARD: LOS ANGELES, 1984

EXT. RESIDENTIAL STREET - EVENING

A station wagon rolls slowly along a tree-lined street in
Sherman Oaks. It pulls to a stop in front of a nice middle
class looking home.

INT. STATION WAGON

STAN MISER, a balding middle-aged man decked out in a Members
Only jacket and Polo shirt, smiles serenely at his passenger,
JAMIE. His blonde teenaged daughter in a matching Valley Girl
preppie outfit smiles back.

JAMIE
Thanks for the ride, Daddy.

STAN
No problem, Pumpkin. I'll get your
car out of the shop tomorrow.

Jamie leans over and gives her beaming pop a peck on the
cheek.

JAMIE
You're the best. Good night, Daddy.

STAN
Good Night. Have a good time.

Stan watches her bound out of the car and up to the walk. She
turns and waves, as her friend comes out of the house to meet
her.

Stan gives her a small wave back and pulls away.

CUT TO:

EXT. SUNSET BLVD. - EVENING

CHYRON: THE SUNSET STRIP

The boulevard is just starting to come alive as darkness
falls.

INT. DRESSING ROOM

The door to the small, dingy dressing room creaks open. RIKKI
ROMEO, early 20s, very thin, and wearing some ultra tight
spandex pants and a loose tank steps inside. Aside from the
spandex he's kind of plain looking. Behind him, however, is a
poster with makeup, big-haired faces and the words HELIX.

He takes a seat at the vanity and starts unloading cosmetics
and hair products.

INT. DRESSING ROOM - MOMENTS LATER

Rikki looks at his reflection, which now wears a few layers
of make-up. Heavy eyeliner, heavier lipstick and a wide green
stripe on one cheek. His hair still rests limply on his head.
He studies a few follicles and reaches for the mousse. He
shakes and sprays but gets only compressed air. He reaches
for some gel, twists the lid and looks inside. Empty.

In desperation, he grabs the hair spray and presses the
nozzle. The bottle hisses and a few drops dribble from the
end.

Off Rikki's horrified look.

CUT TO:

EXT. SUNSET BLVD. - NIGHT

Stan's station wagon sits at a stop light. Rockers and
yuppies alike stream in front of the car.

INT. STATION WAGON

Stan taps his fingers peacefully on the steering wheel.
Without warning, the passenger's side door is yanked open.

Stan gives a startled yelp as Rikki jumps in and closes the
door.

STAN
What the heck are you doing?! Get
out of my car!

RIKKI
Please, dude, please. I just need a
quick ride.
I don't have the time to walk and I
don't have time to get a cab.

STAN
You've got to be kidding me! A
ride? You want a ride? Are you on
drugs or something?

RIKKI
Not at the moment. Dude, come on.
I've got a show in an hour. I saw
your boss wagon, and I said to
myself, 'That dude is somebody's
old man and a dad is honor bound to
help a guy out.' Please.

Stan wrestles with the conflicting instincts. He looks at his
new passenger, who's doing his best to smile sweetly.

STAN
(Sighing)
Where you need to go?

RIKKI
(Smiling)
Man, I knew you'd be cool. I just
need to get some hair stuff.
There's got to be a place close
by... Just drive down a little
ways.

STAN
Hair stuff, huh? I guess that
shouldn't be too hard to find.

Stan pulls away from the intersection finally, and they
cruise down the street.

RIKKI
Seriously, this is a sweet ride. My
dad has one just like it back in
Chicago. Lost my Cherry in it.

Stan starts to respond, but struggles for words.

STAN
Um, what's your name, son?

RIKKI
Rikki Romeo. That's a stage name.
Real name's Rick Klywinski. The
chicks don't really go nuts for
Klywinski, but they love Romeo.
What's yours?

STAN
Stan Miser. Of the Sherman Oaks
Misers.

Stan chuckles. Rikki scans the street.

RIKKI
Well, Stan Miser, I think we might
have something.

Rikki points to a gas station with a mini mart.

STAN
Well, I guess that's what a
convenience store is for.

Stan pulls the station wagon into the gas station and parks.

INT. CONVENIENCE STORE

Rikki strolls into the store. Stan tags along. There are no
other customers. The girl behind the counter, a young
attractive blonde watched them.

Rikki scans the aisles. A look of disappointment comes over
his face.

RIKKI
One little can of Aqua Net. That's
not gonna do the trick, Stan the
man.

STAN
With all that hair, I suppose not.

The young girl comes out from behind the counter.

COUNTER GIRL
Can I help you?

STAN
Well, apparently my young cohort
needs more hair styling products
than you carry.

The young girl smiles at Rikki.

COUNTER GIRL
You;re Rikki Romeo, aren't you?

RIKKI
That's me.

COUNTER GIRL
Um, I think we might have some more
hair stuff in the back. If you want
to come with me we can take a look.

The girl eyes Rikki. Now, it's his turn to smile.

RIKKI
All right then. Hey, Stan, why
don't you grab a slushie or
something and I'll be right back.

Rikki follows the counter girl into a back room. Stan looks
around awkwardly. He pretends to read the newspaper
headlines.

Rikki reemerges from the back room, looking a little peaked.
The girl stops at the door, licking her lips. Stan looks
horrified.

RIKKI
Nope. They didn't have any more.

Noticing Stan's expression, Rikki gives him a wink.

RIKKI
Rock and roll, man. You gotta love
it.

Rikki walks out of the store. Stan slowly follows.

INT. STATION WAGON

Stan starts the car and pulls away. He glances at Rikki, at a
loss.

RIKKI
I know there's a drug store or
supermarket around here.

STAN
There's a market at King.

RIKKI
Well, There you go. Set the
coordinates, Mr. Sulu. Warp factor
8.

Stan perks up a bit.

STAN
Oh, so you like Star Trek?

RIKKI
Kirk's awesome, man.

STAN
Interesting. I wouldn't have taken
you for a Star Trek fan.

RIKKI
Why not? We all want to boldly go
where no man has gone before.

STAN
So, what else do you like? Any
other hidden interests? You said
you're from Chicago, right? You a
Bears Fan?

RIKKI
Sweetness, dude. He's about the
coolest there is. Just bitchin'

STAN
You know I played against him in
college. I was a safety. I know I
don't look like it, but I used to
be quite the athlete.

RIKKI
I can see that, Stanley. You look
like you used to knock the ladies
out in your prime.

Stan smiles and pulls into the parking lot of the
supermarket.

INT. SUPERMARKET

Stan once again follows Rikki in. Rikki scans the store.

RIKKI
(Pointing)
Shampoo! I'm guessing that some
mousse can't be far from that.

Stan trails Rikki to the aisle. As Rikki turns down, a cute
brunette stock girl looks up from her price gun.

STAN
I must be out of touch. I don't
really know what moose is.
(touching his head)
I don't need much in the way of
hair care.

RIKKI
It's cool, Stan, my old man's shiny
on top, too.

Rikki pursues the products. He grabs Stan's wrist and checks
his watch.

RIKKI
Oh, man, it's getting late. Might
have to lower my standards a bit.

The stock girl edges towards them.

STOCK GIRL
Can I help you?

RIKKI
Yeah, do you have any Dep, in the
green jar?

STOCK GIRL
I think we might have some in the
back.
(pause)
Aren't you Rikki Romeo?

Stan looks on, amazed.

RIKKI
Sure am...
(looks at her name tag)
Diana.

DIANA
Um, you can come help me look if
you want.

RIKKI
I think I can do that.

STAN
But, your show. Aren't you going to
be late?

RIKKI
It's all good, Stanley. I'll be
back in a few. Can you grab me a
can of Bold Hold and two cans of
Rave Ultra Hold while you wait?

Rikki disappears with the stock girl. Stan peruses the
shelves, mumbling the names to himself. He grabs the hair
spray first.

Finally, he finds the proper mousse. Curious, he reads the
instructions and sprays some in his palm. Still reading, he
puts the can of mousse on the shelf, and the mousse into the
sides of his hair. He runs his fingers through and pulls them
out, leaving his hair sticking out.

Rikki reappears. The stock girl follows, her hair mussed and
her apron on backwards.

RIKKI
Nice look, Stanley! Let's roll.

Stan looks at Rikki walking away and back at the girl. She
smiles. Bewildered, Stan hurries after Rikki.

INT. STATION WAGON

Stan pulls the car back onto the strip.

STAN
Um, you're pretty well known, huh?

RIKKI
I am right now. We just put out a
record and Rolling Stone did a
piece on us, so now everyone wants
to jump on the train and go along
for the ride. I don't know how long
it'll last, but that's cool. I'm
all about enjoying the moment.

STAN
You are one interesting fellow, Mr.
Klywinski.

Rikki smiles.

RIKKI
This is where I get off, Stan. I
owe you big.

Stan pulls to the curb.

STAN
No problem, Rikki. Good luck with
your show.

RIKKI
Hey, why don't you come in? The
least I can do is buy you a beer.

STAN
No, I couldn't.

RIKKI
Sure you could. Come on. It'll be
good. You can have a few brews and
check out the show. That way I
won't feel so bad about you carting
me around.

Rikki holds up his hands, pleading. Stan breaks into a goofy
grin.

STAN
Well, I suppose one beer wouldn't
hurt.

RIKKI
All right then. Let's rock and
roll.

Stan pulls the car around the corner.

INT. CLUB - NIGHT

People call out to Rikki as he comes through the back door,
trailed, yet again, by Stan.

RIKKI
(to Stan)
OK, dude, I gotta get ready. Bar's
right there.

RIKKI
(to BARTENDER)
Duke, this guy's drinking on me.
Anything he wants. Cool?

The bartender nods. Rikki gives a thumbs up and disappears
into the dressing room. The bartender stares at Stan.

STAN
Um, Budweiser, I guess.

A young blonde woman, in full rocker gear... Short denim
skirt, fishnets, jean jacket and Jersey hair... Sidles up to
Stan.

ROCKER CHICK
So, are you, like, Rikki's dad?

STAN
Nope. Chauffeur.

ROCKER CHICK
Cool. If you introduce me, I'll
take you on a little ride.

Stan stammers, the rocker chick comes closer. Stan tries to
edge away from her breath on his neck.

ROCKER CHICK
Would you like to ride me?

Just then, the door to the dressing room is pulled open.
Rikki pops out, his hair now bigger than life. He smiles at
Stan.

RIKKI
See what you helped create?

Yet another young blonde follows him out of his dressing
room, dressed not all that much different from the rocker
chick. She pulls on a jean jacket as she exits the room. She
looks up.

JAMIE
Daddy?!?

STAN
Jamie?!

RIKKI
See, man, I knew you were someone's
pop. Poppa Stan. Sweet!

On Stan's wordless gaping mouth

FADE OUT.

Steal This Script

Since I have obviously been extremely remiss in posting here, mostly because I've largely been occupied writing for a newspaper (The Elkhart Truth in Elkhart, IN), I've decided that instead of my thoughts -- which I don't think are that interesting at the moment -- that I would post a script.
At one time, I was very involved with the short film scene in Los Angeles, including working on 24 Hour and 48 Hour Film Festival pieces, and I would on occasion write short scripts. As it happens, a number of them ended up not being made for a variety of reasons. For the one that's posted, the issue was coming up with a little girl for one of the main parts. No one ever seemed to know anyone with a daughter that would be a fit.
Instead of languishing on my hard drive, I figure that posting it here at least gives it some semblance of life...no matter how small.
It's entitled, simply, "Bedtime."


INT. HENDERSON LIVING ROOM - EVENING

JOHN HENDERSON, a normal looking guy in his early 30's, is
sitting on his couch watching television in his slightly
cluttered, non-descript living room.

On the floor, his daughter, JANIE, 5, plays quietly. She
partially obstructs John's view of the television. He tries
to angle his head to see around her.

APRIL HENDERSON, John's wife and also in her early 30's,
enters from the kitchen and picks up some stray dishes.
She's dressed in comfortable clothes and has her hair up, but
the house-maker look suits her.

April walks behind the couch and leans down, her mouth close
to John's ear.

APRIL
I was thinking that maybe...after
Janie goes to bed...that we could
have a little...fun.

April lingers a moment, letting her warm breath have it's
full effect on John's ear. John's eyes widen. He looks back
at her. She smiles.

JOHN
Um, Janie, honey...isn't it your
bedtime?

JANIE
(still playing)
I want to finish watching this show.

JOHN
You're not even watching the
television...and this is a Lakers
game!

JANIE
I'm watching it.

APRIL
You can watch for fifteen more
minutes, but then it's bedtime.

JANIE
OK, Mommy.

April smiles at John. She licks her lips seductively, and
disappears back into the kitchen.

John looks at his watch and squirms. He watches Janie,
blissfully playing and ignoring the television.


2.


JOHN
All right, Janie, time's up! Let get
you ready for bed.

John hops up from the couch. Janie keeps playing.

JANIE
Time's not up.

JOHN
Yes, it is. Let's go.

JANIE
Mommy!

John glances at the open doorway to the kitchen. He drops on
the floor, coming face to face with his daughter.

JOHN
OK, listen, Janie...Daddy's very
tired, so I'll make you a deal. I'll
give you five dollars if you go to
bed right now.

JANIE
Twenty.

JOHN
Twenty? Where do you get this stuff?
Stupid preschool. What do you need
twenty dollars for? I already buy
you everything. Five is plenty.

Janie stares impassively at him. John reaches for his wallet.

JOHN
(continuing)
Fine. But, get going.

JANIE
OK.

Janie leaves her toys and bounces off. John's face slowly
breaks into a smile.

JOHN
(calling into the
kitchen)
Um, honey, Janie was feeling tired,
so she's up getting ready for bed.

April appears in the doorway. She snaps off a pair of rubber
cleaning gloves.

3.


APRIL
Well, I suppose I should go up and
start getting ready for bed, too.

JOHN
Oh, you betcha!

John runs off after his daughter.

INT. JANIE'S BEDROOM -- A FEW MINUTES LATER

Janie enters, quickly followed by John. She's freshly
scrubbed and in a nightgown. John pulls down the covers of
the bed for her to get in.

JANIE
Aren't you going to read me a story?

John glances at his watch. He takes a look at the bookshelf
full of slender picture books.

JOHN
OK, but just one. Pick which one you
want.

Janie goes to the bookshelf. Her hand follows along the row
of picture book and comes to rest on a book ten times as
thick. She pulls it off and holds it up to John.

JANIE
I want this one.

John looks in horror at the size of the book.

JOHN
No. Janie, come on. Pick a regular
book. How about Dr. Seuss?

JANIE
I want this one.

JOHN
No.

JANIE
Mom-

JOHN
Fine. Fine. Get in bed.

Janie hops in bed and climbs under the covers. John pulls up
a chair and opens the book. He takes a deep breath.

4.


JOHN
(continuing)
Call me Ishmael. Some years ago -
never mind how long precisely...

MONTAGE

a) John breathlessly reads aloud from Moby Dick.

b) In a separate bedroom, April lets her hair down and slips
into a white negligee.

c) Jamie stares, enthralled by the story. John reads faster.

d) April, in a skimpier black negligee, studies herself in
the mirror.

e) John continues to read. Janie continues to stare.

f) April strides to the mirror in a leather teddy, thigh high
boots and a cat o' nines. She nods her approval.

INT. JANIE'S ROOM - CONTINUOUS

JOHN
On the second day, a sail drew
nearer, and picked me up at last. It
was the devious-cruising Rachel, that
in her retracing search after her
missing children, only found another
orphan. The end.

John closes the book, winded.

JANIE
Read it again.

JOHN
What? You've got to be kidding...no way.
Go to sleep.

JANIE
Read it again!

JOHN
Go to sleep!

JANIE
Mom-

JOHN
OK, fine! But, I want your eyes
closed this time.

5.


Janie lays back and closes her eyes. John takes another deep
breath.

JOHN
(continuing; reading
double-time)
Call me Ishmael. Some years ago -
never mind how long precisely...

INT. JOHN AND APRIL'S BEDROOM - CONTINUOUS

April waits in the bedroom, casually playing with the whip.
Candles are lit. Some body oils and toys rest on the
nightstand.

INT. JANIE'S BEDROOM - CONTINUOUS

John reads softer, his eyes cheating off the page to see
Janie.

JOHN
Akin to the adventure of Perseus and
Andromeda - indeed, by some supposed
to be indirectly derived from it...

John stays quiet. Janie doesn't move. He starts to close
the book.

JANIE
I'm not asleep.

JOHN
(reading quickly
again)
Is that famous story of St. George
and the Dragon; which dragon I
maintain to have been a whale...

MONTAGE

a) April sits on the bed, reading a magazine.

b) John sweats. He's reading as fast as he can. Janie has
her eyes closed but is obviously not asleep.

c) April is lying on the bed, watching television. She looks
at the clock.

d) John is beet red. His lips are moving as quickly as
possible. Janie rests with her arms behind her head, eyes
closed but not asleep.

e) April picks up a vibrator from the nightstand. She
considers it, but finally puts in back in the drawer.
6.


f) John looks bad. Janie stays awake.

g) April brushes her teeth, out of the S&M outfit and in a T-
shirt.

INT. JANIE'S BEDROOM - CONTINUOUS

JOHN
(completely out of
breath)
Search...after...her...missing...
children...only...found...another...
orphan. The...end.

John shuts the book and slumps in the chair.

JANIE
Thank you, Daddy.

JOHN
You're...welcome. Goodnight...
sweetheart.

He gets up, wobbly, and gives her a kiss on the forehead.

JANIE
Daddy?

JOHN
Yes?

JANIE
Can I have some water?

JOHN
If I say no, are you going to call
your mother?

Janie nods. John sighs and runs out of the room.

INT. KITCHEN - A MINUTE LATER

John slides into the kitchen and grabs a child’s cup with a
lid. He throws open the refrigerator door and grabs a big
bottle of water. He struggles to get the lid of the cup,
but can't. Finally, he throws it away. He races out of the
kitchen with the full bottle of water.

INT. JOHN AND APRIL'S BEDROOM - ANOTHE MINUTE

April lies on the bed. She yawns and reaches for the lamp on
the nightstand.


7.


INT. JANIE'S BEDROOM - CONTINUOUS

John rushes into the room. He thrusts the water at Janie and
quickly kisses her one more time.

JOHN
Here you go, sweetie. Mommy and
Daddy love you very much. Sweet
dreams.

John makes a beeline back out of the bedroom. Janie stares
at the 1.5 liter bottle of water.

INT. JOHN AND APRIL'S BEDROOM - CONTINUOUS

April's hand continues its journey towards the lamp.

INT. HALLWAY - CONTINUOUS

John races down the hall, gasping and holding his side.

INT. JOHN AND APRIL'S BEDROOM - CONTINUOUS

April's fingers are on the light switch. The door bursts
open. John stands in the doorway, holding on. He tries to
catch his breath. April watches him, concerned.

APRIL
John?

JOHN
Get...ready...for...some...lovin'...

John gathers himself. He takes a step and collapses face
first on the floor.

APRIL
John!

FADE OUT: