'Shooting Nikki'

Draft page from a script I'm working on called "Shooting Nikki"

Alan 'Marcy' Green


SHOOTING NIKKI


EXT. STREET - DAY

NIKKI

Would you have lunch with me?

FRANK

(cheesy) No. (off her surprise) I can see this coming a

mile away. (beat) Just because I'm homeless--

NIKKI

(over) --Oh! Of all the--

FRANK

(over) --And black. (off her) You probably don't...I don't blame

you. White people need--

NIKKI

--You self-pitying asshole!

Nikki unlocks her car, opens the door.

NIKKI

I'm not white!

Frank is confused. Nikki gets in the car, locks eyes, and...

NIKKI

I'm Australian!

She slams the door. Frank knocks on the window, twirls his finger ... 'Roll the window down'.

She lowers the window one inch.

FRANK

Get out.

She glares, he returns.

NIKKI

No!

FRANK

I need you to--

NIKKI

--I'm not...Why?

FRANK

I'm jacking the car, kidnapping you, 

and...whatever else I can think of.

He points at the pavement (with his right hand). 'Out, now'.

FRANK

Please! (points with left hand) Let's have lunch.

She glares, he returns, pointing with both hands (in different directions).

INT. BAR - MOMENTS LATER

Frank and Nikki stand in the middle of the entryway.

NIKKI

I don't want lunch.

I can't eat.

FRANK

Neither can I.

NIKKI

You wanna drink?

FRANK
Yeah. Okay.

She leads the way.


INT. BAR - MOMENTS LATER

They sit at the bar. Awkward, both staring forward. Nikki smiles.

NIKKI

(looking forward)

How many cars have you jacked?

FRANK

Not many.

The bartender delivers two Budweisers.

Nikki moves to pay.

FRANK

I got these--

NIKKI

--Let's split this one.

She pays with a crisp twenty, he with a crumpled five. Frank watches her take the five and push the twenty toward the bartender. The bartender leaves. She gives him the five back.

FRANK

Why are you doing this?

NIKKI

How long have you been in LA?

FRANK

Three weeks.

NIKKI

And, I'm the only person you know?

FRANK
What makes you think that?

She knows. He knows she knows. She knows he knows she knows.

FRANK

This is charity, then?

NIKKI

Probably.

FRANK

What is that supposed to mean?

NIKKI

I've lived in LA for twenty years and I don't know anybody.

Her change arrives. She thanks the bartender.

NIKKI

I don't have a single friend. (beat) I know a lot of people,
but... Where are you from?

FRANK

Chicago.

NIKKI

How many people there would you call friends?

FRANK

Some. Not many.

NIKKI

The way I look, as rich as I am, I can't talk to anybody.

It's like a broken, fake record -- the people I know.

She picks up her beer.

NIKKI

Stop looking at me. I can't drink with you looking at me.

He turns away, takes his beer. They drink.

FRANK

That's normal, isn't it. Or, is it?

NIKKI

I don't know. (beat) My husband's

leaving me.

FRANK

I'm sorry to hear that.

Nikki watches Frank in the bar's mirror. She likes him.

NIKKI

Can you see me in the mirror?

FRANK

Vodka's in the way.

NIKKI

I can see you.

Frank realizes he is now in a personal relationship. Nikki hopes she hasn't gone too far. Frank places his hand on Nikki's.

.

Adventure Land Opening

This are the opening pages of a new script I'm putting together.

'ADVENTURE LAND'

Alan 'Marcy' Green

EXT. HIGHWAY - LATE AFTERNOON

A car drives. Its long shadow flits over roadside brush.

             
INT. CAR - CONTINUOUS

       
Four passengers. CORY: the pseudo jock, driving and DELILLA:
the pseudo princess, next to him. STUDDLE: the tormented
artist, and CLOSSY: the shy intellectual in the back.

                                   STUDDLE
                         We're in the middle of nowhere.

                                   CORY
                         Brilliant. You figured that out.
               
Delilla changes the radio from country to 80's pop. The
signal is weak. She goes back to polishing her toenails.

                                   CORY
                         You're the one with the map. Where
                         the fuck are we?
            
Studdle looks at a printout of a Google map. There is a
railroad track, a road, and a river, among other features.

                                   STUDDLE
                         We passed it.

                                   CORY
                         No we didn't. We didn't pass a
                         road.
 
They cross a bridge.

                                   STUDDLE
                         Okay this is the river, right?
              
Clossy takes the map.

                                   CLOSSY
                         He's right. Turn around.
          
Cory does his best pissed off look (not convincing) and
wheels the car around, goes back across the bridge.
               
MOMENTS LATER
               
They are stopped on the dirt shoulder. INSERT MAP. 

                                   CLOSSY
                         The bridge is behind us. We're
                         headed south.
                             (points to a train going
                              by in distance)
                         That's right here.
            
She points to railroad tracks on the map. (ON THE MAP) The
road is halfway between the bridge and railroad.

                                   CLOSSY
                         The road should be here.

                                   CORY
                         It ain't here. I don't see a
                         fucking road.

                                   DELILLA
                         I'm hot.

                                   CORY
                             (smarmy)
                         You are hot, baby. So hot! Ooooh
                         baby! Can I touch you? Ouch!

                                   DELILLA
                             (over)
                         Shut up. You're an idiot.
              
Clossy and Studdle exchange a look -- 'Cory's an ass'.

                                   CORY
                         How do you know we're headed south?

                                   CLOSSY
                         I just know. That way is south.
                         We're going that way. Therefore,
                         we're going south.

                                   CORY
                             (turns radio down)
                         Maybe we're pointed north. You're
                         looking at the map wrong. 

                                   CLOSSY
                         If we were going north, the road
                         would be on this side...
                             (points right)
                         Instead of that side.
                             (points left)
           
She and Studdle wait for the obvious to sink in.

                                   STUDDLE
                         Cory, there's no road.

                                   CORY
                         Studdle, I see that.

                                   CLOSSY
                         We're going south, and. There's.
                         No. Road.

                                   STUDDLE
                         Let's go back to that town.

                                   CORY
                         What town? That intersection?
               
Studdle shrugs.

                                   CORY
                         Okay, Clossy. You're the navigator.
                         Do we go back to town or keep
                         looking? 

                                   CLOSSY
                         I'm hungry. It's getting dark.

                                   DELILLA
                         Me too.
               
Cory sees he's outnumbered, sighs, turns around in his seat
and drops it in gear. Delilla turns the radio back up.

                                   STUDDLE
                             (whispers, to Clossy)
                         You're sooo hot!

                                   CLOSSY
                             (bad soap opera acting)
                         So are yooouu!
               
The red Acura MDX speeds off, pushed too hard on the dirt,
the tires squeal as it gains footing on the road.
               
EXT. ROADSIDE TAVERN - DUSK
     
The Acura pulls up in a cloud of dust. They get out.
         
It's standard middle-of-nowhere fare. Doubtful, they go in.
              
INT. ROADSIDE TAVERN - CONTINUOUS
              
They enter. Dark, typical.

                                   CORY
                             (sniffs air)
                         What brand of second-hand hick is
                         that?

               Studdle indicates Cory put a lid on it. 

                                   CORY
                         I'll get a pitcher.

               He heads for the bar, the others find a table.
             
TABLE
               
They sit. Clossy opens a laptop.

                                   DELILLA
                         Forget it.

                                   CLOSSY
                         Dead.
              
INSERT SCREEN: THE FIREFOX BROWSER. Warning: Server Not
Found...cannot connect to Internet...Internet not available.

                                   DELILLA
                         This place smells.

                                   CLOSSY
                         Is that pee or old beer?

                                   STUDDLE
                         You get used to it after a couple
                         decades.
               
Delilla sees someone at the bar.

                                   DELILLA
                         Oh my god! Clossy, look!
              
Clossy and Studdle look. 
              
At the bar is a WOMAN. She is maybe 50, trim, wearing a 

shabby brown dress that advertises her wrinkled breasts proudly.

 Her face is heavily made up. Severely. Her lips are
smeared with lipstick that goes well outside the lines. Her
eyelids are glopped with black liner. Cheeks rouged to the
point of special effect. All on a foundation of white powder.
She is a caricature of a whore.

The kids' jaws drop.

                                   DELILLA
                         That is so sad.

                                   CLOSSY
                         Tragic.

                                   STUDDLE
                         Green Acres gone bad. That's severe
                         collateral damage. 
          
The woman turns and looks at them. Delilla chokes back
laughter and looks away. Studdle covers his face, Clossy
covers her mouth and snickers. They all study the surface of
the table.

                                   STUDDLE
                         No!

                                   CLOSSY
                         Oh, that is embarrassing!
               
The woman's eyes are filled with pain -- old, worn down, but
deep. She stares squarely at the kids as if sizing them up.
She doesn't seem crazy or unaware of how she looks, and she
clings to a thread of dignity.
     
Cory arrives with a pitcher of beer, everyone grabs a glass.

                                   CORY
                         You get online?
  
Delilla grabs Cory's hand.

                                   DELILLA
                         Cory. Look!
            
Cory sits.

                                   CORY
                         What?
               
They point toward the bar. Cory looks.

                                   CORY
                         What?!
               
They look. The woman is gone.

                                   DELILLA
                         There was this freaky woman.

                                   STUDDLE
                         You missed it, dude.

                                   DELILLA
                         Yeah, she had all this makeup, and
                         was...so...

                                   CORY
                             (over)
                         Okay, okay! Whatever.
                             (Clossy)
                         You get online?

                                   CLOSSY
                         No wi-fi. But...
                             (tada!)
                         I copied the page for 'offline use'
                         before we left civilization.
              
Impressed, Cory looks at Studdle.

                                   STUDDLE
                         She's like that.
              
INSERT LAPTOP SCREEN: website for 'Adventure Land', a ranch
that hosts fishing and hunting trips. Also featured is
horseback riding, tennis, hiking, and camping. 

The site's design is rough -- fonts don't match, pictures are
missing, it's plain. There is a Google map on the website.

                                   STUDDLE
                         'Adventure Land'. There's a dumb
                         name.

                                   DELILLA
                         I like it. 'Adventure'. Who doesn't
                         want an adventure.

                                   CLOSSY
                         It is pretty dumb.

                                   CORY
                         It's the best we could afford. 
             
Clossy compares it to the printed map. 

                                   CLOSSY
                         The map's right. There's supposed
                         to be a road between the bridge and
                         the railroad tracks.
                             (turns it to Studdle)
                         See?
            
INSERT WEBSITE MAP: road between the bridge and railroad
tracks. Graphics for the road look a bit rough, like it might
have been drawn by hand.

                                   STUDDLE
                         Should be. But, it's not.

                                   CORY
                         What's the number?
             
Clossy turns the laptop so Cory can see the screen.
              
THE SCREEN: a phone number -- it's not toll-free.

                                   CORY
                             (with a flourish)
                         I'll take care of everything.
              
Everyone scoffs. Cory lifts the cell phone to his ear.

                                   CORY
                         Shit.

                                   DELILLA
                         No wi-fi, no cell. 

                                   STUDDLE
                         Welcome to the eighties.

                                   CLOSSY
                         They had cell phones in the
                         eighties.

                                   STUDDLE
                         Yeah. But were they like a foot
                         long with those antennas...

                                   DELILLA
                         Yeah, they weighed like, ten
                         pounds.
              
Cory presses a couple buttons, shakes the phone, no dice.
              
They see a pay phone.

                                   CORY
                         Anybody know how to use one of
                         those?
               
Clossy writes the number on a napkin and slides it to Cory.

                                   STUDDLE
                         They're voice activated. You yell
                         the number and it dials
                         automatically--

                                   CORY
                             (over)
                         --Yeah, yeah. Fuck you.

                                   DELILLA
                         There's a juke box.
              
Everyone digs into their pockets. CHANGE IS DUMPED ONTO THE
SCARRED WOOD TABLE.
             
MOMENTS LATER
 
Delilla feeds quarters into the jukebox then makes a
selection. Studdle jams quarters in the pool table. Cory
pumps a quarter in the phone and dials. 

Rock music starts.

Clossy racks the pool balls. Studdle breaks -- very poorly. 
          
MOMENTS LATER
             
Clossy and Studdle haven't sunk any balls. Delilla approaches
swaying to the music. She's sexy and graceful - a real prize.

In b.g. Cory talks on the pay phone.

                                   DELILLA
                             (takes cue from Clossy)
                         Give me that. I'll show you how
                         it's done.

                                   CLOSSY
                             (friendly)
                         Bitch.
            
PHONE

                                   CORY
                         Yeah, we're at this tavern. It's --

                                   VOICE ON PHONE
                             (over)
                         Sure. Sure. I know where that's at.

                                   CORY
                         Oh, yeah?! Great!
              
POOL TABLE
 
Delilla lines up a shot. 

                                   DELILLA
                         Six in the corner.
              
She shoots, the six ball goes in the corner. She gloats.
               
Clossy shoots a mean grin. Studdle loves it. Cory arrives.

                                   STUDDLE
                         Well?

                                   CORY
                             (grabbing a cue)
                         Someone's coming to get us.
                             (relief all around)
                         This happens a lot. Even the locals
                         can't find this place...'Adventure
                         Land'...it's too far out.

                                   DELILLA
                         Great!

                                   CLOSSY
                         So, it's adventure time.

                                   CORY
                         Don't resorts usually have a 1-800
                         number?

                                   DELILLA
                         Three in the side.

                                   STUDDLE
                         How long will it be?

                                   CORY
                         The guy said a few minutes.
              
'Awesome'. Delilla lines up and strokes the cue ball smartly.
The three ball bounces off a rail and goes into the side
pocket. She dances to the music smiling ear to ear.

The others roll their eyes. 'Lucky'. She plays air guitar.
            
EXT. ROADSIDE TAVERN - DUSK
             
There is a clear sky. On the horizon, backlighting the
mountains, is the last rosy hue of sunset.

EXT. ROADSIDE TAVERN - NIGHT

A pickup truck pulls off the road and parks. A man gets out
of the truck and goes into the tavern.

INT. ROADSIDE TAVERN - NIGHT
               
The gang is back at the table, waiting. 
               
A MAN enters. He is JOHN, in his 50's, in good shape for his
age, deeply tanned, a square-looking guy whose word you would
figure you could take at face value.
               
John spots the kids and his face lights up. He heads toward

the table. The kids see him and stand.

                                   JOHN
                         Hi there. Cory?

                                   CORY
                         That's me.

                                   JOHN
                         Sorry you all got lost. It's easy
                         to do out here.

                                   CORY
                         Yeah.

                                   JOHN
                         Hope you haven't been waiting too
                         long.

                                   STUDDLE
                         Just a few minutes.

                                   DELILLA
                         We played pool.

                                   JOHN
                         That's real good. Real good. My
                         name's John. I'm one of the hunting
                         guides out at Adventure Land. I'll
                         show you all how to get out there.

                                   CLOSSY
                         We think the map might be wrong. We
                         followed it, but...

                                   JOHN
                         Well, that's understandable.
                         There's been some land reclamation
                         around here. Preservationists.
                             (pests, you understand?)
                         Some of the roads have been
                         replanted with trees and they built
                         new roads where they supposedly
                         have less impact on wildlife. Not
                         that I understand any of that, mind
                         you. 
                             (polite smiles, chuckles)
                         Anyway. You all ready to roll?

                                   CORY
                         Yeah! Let's roll!

                                   JOHN
                         We'll get you settled in and good
                         and rested tonight. Get a early
                         start tomorrow. 
                             (everyone nods)
                         My truck's out here. You want to
                         follow me?
              
They leave.
              
EXT. ROADSIDE TAVERN - NIGHT
              
They walk to the cars.

                                   JOHN
                         Let me guess.
                             (points to Acura)
                         That one is yours.

                                   CORY
                         Yeah. How'd you know?

                                   JOHN
                         Folks around here don't drive
                         those.

                                   DELILLA
                         Yeah. Didn't you know that?

                                   STUDDLE
                         Fancy pants city boy.

                                   JOHN
                             (points to pickup)
                         This is mine. I'll pull up to the
                         road and wait for you all.
               
They agree and thank him. John gets in the truck, starts it.
 
The kids get in the Acura.

Cory starts it and wheels around behind John, who is waiting
at the road. John waves out his window, then pulls out. Cory
follows.

                                   DELILLA
                             (cheeky)
                         Well. Isn't this fun!
               
The others follow suit.

                                   CLOSSY, STUDDLE, CORY
                         Oh! Yes! I'm so excited!! I'm all a
                         quiver!
               
EXT. ROAD - NIGHT
The two cars drive. The kids' attitude has dried out.

                                   DELILLA
                         How far is this place?

                                   STUDDLE
                             (Cory)
                         We been following this guy for
                         miles. You said it was a few
                         minutes away. 

                                   CORY
                             (over)
                         I didn't-- I did not say that! I
                         said he said he was a few minutes
                         away. That, he would meet us in a
                         few minutes. I don't know how far
                         this place is.
               
Clossy looks out the window. There isn't a light anywhere.

                                   CLOSSY
                         Adventure Land must be in the
                         middle of nowhere.
              
A chill falls over the others.

                                   STUDDLE
                         Yeah...
               
The truck's turn indicator comes on.

                                   CORY
                         Okay, okay! Here we go. We're here!
                         This is it! Finally...
               
The truck slows and pulls off the road onto a wide trail
that's been used by cars.
              
The Acura stops on the road.

                                   STUDDLE
                         What the fuck.

                                   DELILLA
                         Where's he going?
               
Within a few seconds the truck's tail lights are obscured 
by brush.

                                   CLOSSY
                         That's a road?

                                   CORY
                         He said they were making new ones,
                         or something.

                                   CLOSSY
                         Okay. That's a road under
                         construction?

                                   STUDDLE
                         We're going to lose him, man!

                                   DELILLA
                         I don't like this. It's creepy.

                                   CLOSSY
                         This does qualify as creepy.
                         Definitely.
               
The truck stops, waiting. Its taillights mostly obscured by
brush. The kids are on edge.

                                   CORY
                         Well? You want to turn back.
               
The notion of actually turning back sobers the kids. They
muster a somewhat false courage.

                                   STUDDLE
                         Dude. Go! He's not going to wait
                         forever.

                                   DELILLA
                         Yeah. Go!

                                   CLOSSY
                         Chicken shit!

                                   CORY
                         You guys wanted an adventure.
               
Cory sighs and follows the truck. 

.

'Blow Job' Pages

Here's a couple pages from my screenplay 'Blow Job'.

BLOW JOB

Written by Marcy Green

INT. SNACK DELIVERY TRUCK - DAY

JOHN drives. He changes the radio station, gets some potato chips from a snack-size bag.

He waits at a light.

INT. OFFICE - DAY

SAMANTHA works at her desk. There is an antique lamp with a stained-glass shade, small bouquet of flowers in an etched crystal vase, leather desktop calendar holder.

She opens the top drawer, takes out a leather coin purse.

INT. BREAK ROOM - MOMENTS LATER

Samantha takes coins from the purse, inserts them into the coin slot of a vending machine.

ANGLE: She stares, vexed. She is looking at the empty slot in the vending machine. The only slot that has no snacks. The only one.

Angry, Samantha presses two buttons.

SAMANTHA

Fucking... Shit.

EXT. COMMERCIAL BUILDING - DAY

The snack truck, parked. John gets snacks from the back of the truck.

INT. COMMERCIAL BUILDING - MOMENTS LATER

John walks through the entrance, past the security desk.

EXT. BREAK ROOM - MOMENTS LATER

John wheels a handtruck loaded with snacks into the break room.

Samantha takes a bite of  a Mrs. Freshley's Buddy Bar, looks up, sees John, lights up, stands, walks primly toward the break room.

INT. BREAK ROOM - CONTINUOUS

John is loading the vending machine.

Samantha rushes, practically tumbles, in. She freezes in the doorway, eyes locked on John. She scans him up and down, barely suppressing a smile. She is good at suppressing smiles.

John glances over, nods to her, his expression dull. She smiles instantly, eyes full of admiration. He has already returned to his work.

SAMANTHA

Hi.

JOHN

Hi. I've got them.

SAMANTHA

I'm Samantha --

She chokes, hand quick to face, frozen and apologetic.

SAMANTHA

I've already-- How many times have 

I... (pause) introduced myself?

JOHN

Four. (regrets the curt response. 

tries to make amends). Like, four.

She almost melts when she realizes he remembers.

JOHN

I've got them. (holds up bbq potato chips). 

It'll just be a minute.

SAMANTHA

I was so stupid, earlier. (re: bbq chips). Thanks. (beat)
This morning. I put money in the machine before
checking to see if there were any chips.

JOHN

Yeah?

SAMANTHA

It was out. Of chips. So, I ended up going with a
Mrs. Freshley's Buddy Bar.

John is charmed.

JOHN

They're okay.

SAMANTHA

They have peanuts.

He almost laughs.

MOMENTS LATER

John closes the vending machine.

JOHN

There you go.

Samantha moves toward the vending machine before John has a chance to get out of the way. He doesn't notice, or doesn't care about, the press.

She never takes her eyes off him.

SAMANTHA

Thanks. You saved my life.

John leaves without acknowledging her charms.

JOHN

See you next week.

He is gone.

SAMANTHA

(to herself, whispers)

Maybe...next week.

.

Showbox Pages

Here's a couple pages from my script "Showbox".

SHOWBOX
Written by Marcy Green


EXT. STREET - DAY

LORI DENNIS gets out of her car, goes to the passenger side,
gets a paper grocery bag from the seat, closes the door, and
walks toward a modest house.

A few steps from the car a live band in the garage of the
house next to hers starts playing punk/thrash rock and roll.
Lori stops, her expression fades, she looks down at the
sidewalk. Inhaling, she turns for the garage, goes to the
side door, knocks.

The music is loud, there is no way her knocking can be heard
inside. She opens the door and goes inside.

INT. GARAGE - CONTINUOUS/DARK

Lori appears pathetic standing in the doorway silhouetted
against the daylight.

LORI
Excuse me.

Her voice is barely audible. The band - four young, typical
guys - continue to play, not noticing her.

She looks around, sees a corkboard with sticky notes, yellow
and magenta, arranged to form the words: FUCK YOL.

A smirk flashes on her face when she realizes the sticky notes are
hers.

INSERT: CLOSE UP STICKY NOTES. ONE SAYS: 'Please consider not
playing after 10 PM.' ANOTHER: '...I work and need...'
ANOTHER: '...your volume levels are quite...' ANOTHER:
'...and I can't sleep...'

She can't help but admire how, with 2 more notes to finish
the vertical part of the letter U, the words will spell: FUCK
YOU.

LORI
Would you mind keeping it down
tonight? I have to be at work at five
in the morning.

She can't be heard.

The lead singer, JOHNNY, is deep into the performance.

JOHNNY
(singing)
Anarchy! Revolt! Disdain! Feel my
PAIN!!!

Lori's eyes narrow.

INT. HOUSE - MOMENTS LATER

Lori enters the kitchen, puts the groceries on the table.
SOUND OF BAND PLAYING is clear.

INT. LIVING ROOM - CONTINUOUS

Lori puts a vinyl LP on a turntable and lowers the stylus --
50's jazz trio. She LEAVES FRAME. The jazz and rock from the
band clash. Lori RE-ENTERS FRAME, turns the jazz up loud. Too
loud, she knows.

INT. KITCHEN - EVENING

Lori eats a pasta listening to the loud jazz mix with the
driving beat from the band next door. The cacophony makes her
scowl.

INT. BATHROOM - LATER

Lori brushes her teeth. The musical clash continues.

INT. LIVING ROOM - NIGHT

Lori lifts the stylus from the LP, turns the stereo off. As
soon as she does the bass from next door seems to come to
life.

Lori stares. The cymbal crashes penetrate the walls. The lead
singer's screeching pound her life, but she mouths a couple
words. Bad guitar solo work follows -- she smirks.

DESK - MOMENTS LATER

Lori sits, gets sticky notes, writes. Then, gets a piece of
musical staff paper, starts writing.

EXT. GARAGE SIDE DOOR - NIGHT

Lori sticks a note on the door. Stares at the note, listens
to the roar of bad music, her enthusiasm fades.
Lori takes down the sticky note, and opens the door.

INT. GARAGE - CONTINUOUS

Johnny is working the mic and his guitar like a pro, but
sounds pretty bad. JOEY, on the drums, seems to have the
tightest technique. BILLY, on bass, can't really keep up, and
TOMMY plays the guitar much better than Johnny.

They're all young, skinny, a typical gig band.

Lori goes to the amps, starts pulling cords and flipping
power switches to 'off'. The music stops. The guys flash
at Lori, they grumble protests.

JOHNNY
Hey!

Joey motions for Johnny to stay cool. Lori goes to the
corkboard and puts 2 more sticky notes on the letter 'L',
making it into a letter 'U'.

Then, she takes the sheet music and pins it to the
coarkboard. She squares off at the guys in the band and flips
them off. For several seconds, making eye contact with each.

Lori marches out.

JOHNNY TAKES DOWN THE SHEET MUSIC. ON THE PAGE ARE: 3 TITLED
SONGS WITH MUSIC ON THE TREBLE CLEF, AND SOME LYRICS -- 2 OR
3 LINES PER SONG, AND HANDWRITTEN NOTES UNDER EACH TITLE.

The band has gathered around Johnny.

BILLY
Those are our songs.

JOHNNY
My songs.

BILLY
Those are the right lyrics.

Joey takes the sheet from Johnny, reads.

JOEY
Feel My Pain. (reading) "The pickup to
the downbeat is an eighth late. It's
okay if you're trying to sound like
The Ramones -- but I know you're not."

There are smirks all around.

JOHNNY
She doesn't know what she's talking
about.

JOEY
There's notes for all our big songs.

TOMMY
(re: Johnny) His big songs.

Tommy goes to the corkboard and reads the last 2 sticky
notes.

JOEY
These are good. This makes sense.

TOMMY
(reading sticky notes)
"If you want to keep sounding like
shit, please stop it by ten P.M. If
you want to gig or get radio play...I
can help."

This raises eyebrows all around.

JOEY
Go talk to her.

JOHNNY
You're kidding.

JOEY
These might work.

BILLY
They are your songs.
















.

First 6 Pages of 'Chase'

 Here's a script I'm cooking up -- Marcy


CHASE



INT. LIVING ROOM - NIGHT

KAREN sits on the couch watching a Matt Damon movie. She

freezes frame, stares, looking contemplative.

BATHROOM - CONTINUOUS

Karen brushes her teeth

BEDROOM - CONTINUOUS

A suitcase is at the foot of the bed. Karen turns bedside

lamp off, gets in bed.

INT. OFFICE, KAREN'S DESK - DAY

Karen at her desk typing. On the computer screen - TEXT: It's

almost 3. Leaving in (ONE LETTER AT A TIME) a couple.

MOUSE ARROW MOVES TO 'SEND' BUTTON.

OFFICE LUNCH ROOM - CONTINUOUS

Karen cleans food out of fridge, throws away.

KAREN'S DESK - CONTINUOUS

Karen pushes chair under desk, grabs mouse, looks at computer

screen, clicks an email.

ON SCREEN TEXT: See you in two weeks. Glad you're FINALLY

going to LA!!!!!

Karen looks uninvolved.

MOMENTS LATER

Karen picks up her suitcase, leaves.

INT. AIRPORT - DAY
Karen looks at arrival/departure board.

ON BOARD TEXT: American Airlines Flight AA659 -- Departure

Columbus 4:25 pm Arrives LAX 6:37 pm -- On Time

MOMENTS LATER

Karen sitting, waiting, in terminal.

MOMENTS LATER

Karen boards flight.

LATER

Karen, on airplane.

LATER

Karen looks out window, sees downtown Los Angeles.

INT. LAX - DAY

Karen walks through terminal.

EXT. LAX - DAY

Karen hails cab.

INT. CAB - DAY

MOVING. Karen looks at LA through the window.

MOMENTS LATER

As the cab approaches an intersection, Karen gives explicit

directions. The driver tells her it will take longer to go

that way, and cost more. Karen says, 'Okay'.

EXT. MONTAGE HOTEL - EVENING

The cab pulls up. Karen gets out.

INT. MONTAGE HOTEL - MOMENTS LATER

Karen checks in.

INT. HOTEL ROOM - LAST LIGHT OF DAY

DARK. Karen enters, sets her luggage down. Opens the

curtains, looks at downtown LA.

Purple sky, haze.

She looks pleased, content.

MOMENTS LATER

Karen has gotten in bed. Her suitcase is at the foot of the

bed. She turns the bedside lamp off.

She looks content.

INT/EXT. HOTEL ROOFTOP RESTAURANT - MORNING

Karen is at a table. She is having a beautiful omelette. She

takes a bite.

Opens a laptop. Types.

ON SCREEN: ...just arrived in town. Staying at the Montage...

She clicks 'send', closes the laptop.

INT. HOUSE - DAY

MATT DAMON reads, stares - at a laptop screen. ON SCREEN: I

just arrived in town. Staying at the Montage hotel.

This disturbs Matt.

MOMENTS LATER

Matt has his cellphone to his ear. Waits.

INT. HOUSE - CONTINUOUS

BEN AFFLECK is at a table having a scone and tea. His phone

rings. He check caller ID, recognizes the caller. Picks up

the phone.

                BEN
    Yeah.

                MATT
    You know that girl?

                BEN
    What girl?

                MATT
    The one with the emails.

Ben knows. Is on guard.

                BEN
    Yeah?

                MATT
    She's here.

                BEN
    In town?

                MATT
    Yeah.

                BEN
    In LA? (beat) When she get here?

                MATT
        (over)
    This morning. She arrived at LAX this morning.

                BEN
    Wow. What are you going to do?

                MATT
    You got breakfast?

                BEN
    Yeah.

Ben hangs up.

EXT. HOUSE - DAY

A car drives up, parks. Matt gets out, goes into house without knocking.

INT. HOUSE - CONTINUOUS

Matt enters dining room carrying a plate, a knife, spoon, and cup. Ben is sitting at the table, breakfast in front of him. He raises his arms.

                BEN
    You're kidding me, right? I can't even believe it.

                MATT
        (over)
    I know. I can't fucking believe this woman.

Matt sits across from Ben, placing the dishes on the table, gets a scone from a plate in the middle of the table. Ben pushes a butter dish toward Matt.

                BEN
    I can't believe it.

Matt pours tea from a pot, butters his scone.

                MATT
    She's staying two miles from here.

                BEN
    At a hotel? (Matt nods) Which one?

Matts takes a bite of scone, shrugs.

                BEN
    The Four Seasons?

Matt shakes his head, sips tea.

                BEN
    The Omni? Marriott? Westin? Double Tree? Montage? Embassy Suites?

Matt points repeatedly?

                BEN
    Embassy? (Matt makes circles in the air with his finger). Montage? (Matt nods, drinks tea). Really? That's a nice place.

Matt squints a sarcastic smile.

                BEN
    What do rooms there cost? There like four...
        (Matt, up thumbs)
    Five? Six?

                MATT
    She has a suite.
        (Off Ben's reaction)
    Yeah.

                BEN
    What's that...like...

                MATT
    Fifteen...

                BEN
    ...twelve?

                BEN
    How long is she staying?

                MATT
        (over, emotional, full mouth)
    I don't fucking know!

They stare at each other, Matt is the first to turn away. Ben assesses his mood.

                BEN
    She didn't say?
        (jabs, to ease the tension)
    In her emails?

Ben laughs, Matt cries.