INT. HOUSE - LIVING ROOM (MID-1940S STYLE) - NIGHT
A single lit lamp beside a floral armchair. The walls adorned
with muted cream wallpaper patterned with pale green vines.
On small desk sits a typewriter, with a blank page set.
BRRRING!
On a table near the entryway, a rotary phone with receiver in
cradle, jolts the room with a hard mechanical ring.
Across the room, MAGGIE (mid-30s) looks up, startled. She
wears a gabardine trench coat, cinched at the waist, a small-
brimmed hat tilted, with a net veil and dark ribbon.
BRRRING! The silence shatters again.
She steps forward, her gloved hand lifts the receiver.
MAGGIE
Hello?
VOICE (V.O.)
Maggie, get out of there — we need
you here. He hasn’t got much time.
(beat)
Hurry, Maggie… they’re coming!
She drops the receiver, as four MEN IN DARK SUITS and hats
burst through the doorway — movement sudden and threatening.
MAN IN DARK SUIT
Hello Maggie… going somewhere?
Maggie backs away — then is engulfed by them.
EXT. HOUSE – NIGHT
Maggie bursts through the door, running to the curb. Rain
drizzles under the streetlamp.
She mounts a black BMW cycle with sidecar, kicks it to life.
She speeds into the misty night — the world featureless
except for the narrow road ahead.
Headlights bloom behind her, closing fast. Maggie leans
forward, eyes fixed ahead, cutting through the fog.
The headlights gain, about to catch her.
Out of the darkness — seemingly from nowhere, there are
buildings and Maggie turns sharply down a side street.
The chasing car passes the turn, screeching to a stop.
Maggie zips down the side street, but stops at a construction
site blocking her path.
She jumps from the cycle — continuing on foot.
A man in a dark suit appears nearby heading for her.
MAN IN DARK SUIT
Maggie, stop!
He lunges at her, with an arm grasping for her.
Maggie ducks his reach and throws herself into him, pushing
him tumbling into a construction ditch.
Maggie runs away — panicked as time slips by.
She emerges from the side street, stops, looks around to see
a building labeled “Hospital”.
Her eyes widen in the discovery and she starts towards it.
Then the car chasing her emerges from around the corner and
skids to a stop, near the hospital’s entrance. It stands
there, as if waiting for Maggie to make a move.
She hesitates, sizing up the distance to the entrance and
from the car.
She decides she can make it — and sprints for the doors.
The car’s tires spin as they accelerate in attempt to cut
Maggie off from her goal. Suddenly, there’s a voice over:
ALEX (V.O.)
This is a true story…
(Beat)
Wait, that’s not true.
Maggie reaches the doors, as the car comes up the curb and
stops. The men hurry to exit, and follow Maggie inside.
INT. HOSPITAL - NIGHT
Maggie races, weaving through bodies and scrambling around
corners. Racing towards a destination.
The men in dark suits chase — knocking people down and
crashing into things, while in pursuit.
INT. HOSPITAL ROOM - CONTINUOUS
Maggie stands in the doorway of her destination. There’s a
patient in bed, with eyes closed. A NURSE stands bedside.
NURSE
I’m sorry… we’ve lost him.
ALEX (V.O.)
This is based on true events…
(Beat)
Nah, still not right.
Maggie runs to the opposite bedside, looking at the patient.
MAGGIE
No, you can’t be gone… we know it’s
not over for us.
Maggie slowly reaches down kissing the patient. An
oscilloscope lights up, a green line bouncing to life, in
sync to rhythmic beeps.
Maggie and the patient, look adoringly at each other.
ALEX (V.O.)
This is the story, of a story.
(pauses, then proudly)
Yeah, that’s it.
The scene becomes blurry, and Maggie speaks in a strange
somewhat muffled voice.
MAGGIE
Alex, what are you doing? Where
were you?
Genres:
["Thriller","Drama"]
Ratings
Scene
2 -
The Unraveling
INT. OFFICE - DAY
ALEX CARTER (26) is shaken out of his daydream. SUE (25) is
at the doorway, yelling in at him.
SUE
Alex, you ditched the meeting? Are
you crazy?
ALEX
I-I forgot. I was working on
something…
SUE
The stats report you were supposed
to bring? Thanks… you left me
looking like an idiot.
ALEX
I’m sorry… it won’t happen again.
SUE
Yeah, whatever… HR is looking for
you. Debra’s coming.
She abruptly turns, leaving in a huff.
The scene fades, with Alex flustered and concerned.
INT. HUMAN RESOURCES OFFICE - DAY
Alex stands anxious, waiting for DEBRA (42), on the phone.
Debra hangs up. Then looks up with a frown at Alex.
DEBRA
Alex, do I have your attention?
ALEX
Uh… yeah.
DEBRA
Take a seat… we need to talk.
Alex pulls the chair over, to sit in front of Debra.
DEBRA
Alex, we’re making changes, to
improve efficiency.
(beat)
The plan is to leverage technology,
to help streamline the department.
(beat)
Unfortunately, that also means we
need to eliminate-
ALEX
abruptly interrupts
You’re firing me! …and replacing me
with AI for the coding?
I brought CREO here… I taught
people how to use it.
DEBRA
Then let it do your job for you.
ALEX
It helped me.
DEBRA
Your work has been scanning at 95%
AI generated.
Alex’s expression drops, he stares blankly.
DEBRA
You needed to make the jump to
software engineer… but you didn’t
work on advancing your career.
ALEX
You guys recruited me from college,
I had options!
DEBRA
Don’t think it hasn’t been noticed
Alex… you’re a chronic daydreamer.
And as a result, a low performer.
I’m sorry.
She stares blankly. Waiting on Alex.
Alex looks devastated. He’s speechless.
SMASH TO BLACK:
SUPER:
ACT 1
CHAOS TO CONCEPT
Genres:
["Drama"]
Ratings
Scene
3 -
Fast Food Frustrations
INT. FAST FOOD RESTAURANT - DAY
Alex is sitting over lunch with his longtime friend ELLIOT
CRANE (25).
ALEX
I’m tired of doing this… I get
interviews, but don't hear back.
(beat)
I’m missing something. There’s an
easier way… I’m just not seeing it.
ELLIOT
It’s not uncommon… Don’t give up.
ALEX
No, there’s gotta be a better way.
ELLIOT
How did you end up canned anyway?
You're the AI guy and everything.
Your boss didn’t like that?
ALEX
Not really…
ELLIOT
Hey… you think they discovered it
themselves?
Alex’s look grows tense and agitated. Turns to his lunch.
ELLIOT
I imagine they could. It did most
of your work for you… why not all?
Alex stares at Elliot with a deadpan look. Elliot
acknowledges and motions he’s zipping his lips.
ALEX
HR told me I was a chronic
daydreamer… Is that even a thing?
ELLIOT
Wow… they said that?
(pause)
What do you daydream about?
ALEX
(deadpan)
Really?
ELLIOT
You’re gonna have to learn how to
pitch yourself… Then you’ll land a
job quicker.
ALEX
Pitch myself? What are you talking
about?
ELLIOT
I have a screenwriter friend… he
has sold scripts that have become
movies… all because he knows how to
pitch.
ALEX
(interest piqued)
You saying he writes stories for a
living?
ELLIOT
Yeah… but he sells them, because he
knows how to pitch them to people.
Alex is listening intently, while in thought. He gets up to
toss his trash, then comes back looking enthusiastic.
ALEX
Okay, let’s go see this guy.
ELLIOT
Cool! I like hanging out at Leon’s.
ALEX
It has to be later though… I’m
moving back with my parents.
ELLIOT
What! You gotta be kiddin… your
life is falling apart.
ALEX
Thanks… you really know how to make
me feel better.
ELLIOT
I’m not sure you remember why you
moved out.
ALEX
What have you got against my
parents?
ELLIOT
Nothing. Your Mom is great. She
always feeds me… I love her!
(beat)
It was you losing your mind with
them. How do you forget?
ALEX
No money, no choice. It’s that or
be homeless…
ELLIOT
Sure you wouldn’t rather a
refrigerator box under an overpass.
ALEX
Why are we friends?
Genres:
["Drama","Friendship"]
Ratings
Scene
4 -
Family Tensions Unveiled
INT. CARTER RESIDENCE - DAY
A typical middle class home. The doorbell rings. MARGIE
CARTER (53) goes to the door, to answer it.
MARGIE
Alex! So happy to see you!
(hugs Alex)
Not happy you’re out of work and
broke, but happy you're here with
us again.
ALEX
Good to see you too, Mom.
(beat)
Where is he? I’m dreading this.
MARGIE
Oh, stop that… he’s happy to help
you. It’ll be fine.
Alex’s Sister JENNA CARTER (24) passes, throwing a smug look.
JENNA
Unemployed and living with your
parents — that’s appealing. The
ladies are gonna love you.
Alex sighs, suddenly remembering why he moved out.
Then down the stairs comes Alex’s Dad, FRANK CARTER (54) he
has a stern look that’s hard to read. He approaches Alex.
FRANK
Don’t worry Son, you’ll get
straightened out fast.
(beat)
You graduated with honors… that
doesn’t happen by daydreaming.
ALEX
Um, Yeah… I won’t be here long.
His Dad puts his hand on his shoulder, giving him a tight
lipped look of condolences. Then walks away.
Alex immediately whips around to his Mom.
ALEX
You told him everything I shared
with you in confidence! What were
you thinking?
MARGIE
Alex, relax… your father’s
concerned for you.
ALEX
Yeah, thanks Mom… I gotta get outta
here for a little while.
Jenna can hardly contain laughter, with her hand held up near
her mouth, as Alex turns and leaves the house.
Genres:
["Drama","Family"]
Ratings
Scene
5 -
A Deal for Stories
INT. LEON PRICE’S HOUSE - EVENING
Alex and Elliot are admiring a signed movie poster. Award
plaques and other movie memorabilia fill the walls and
shelves. LEON PRICE (33) enters with a smooth stroll, holding
three beer bottles, then handing one to each.
LEON PRICE
Welcome boys, how’s it going? What
can I do for you?
ELLIOT
This guy needs some tips on how to
pitch himself?
LEON PRICE
Pitch himself? Is this for a staff
job?
ELLIOT
No, he’s not a writer… he’s a
computer programmer that just got
replaced by AI.
LEON PRICE
Jesus… that makes me mad! That AI
bullshit is evil.
Alex is standing in front of a signed poster on the wall for
The Matrix. He turns to Leon.
ALEX
You make a living by writing? For
creating stories?
LEON PRICE
Yep, making stuff up and getting
paid… big bucks!
(beat)
You know about storytelling?
ALEX
I’ve made up stories… good ones.
(turns back to poster)
I’ve just never written them down.
Elliot is puzzled, furrowing his brow at where this is going.
LEON PRICE
You think it’s easy… it’s not.
ALEX
So tell me what’s involved. What
can a script sell for?
LEON PRICE
A script can sell for millions.
ELLIOT
Get out!
ALEX
Teach me.
LEON PRICE
Well, that’s more than just tips…
You want me to share my magic.
That’s not free… but we can deal.
ALEX
What are you saying?
LEON PRICE
A swap… you take care of me, I’ll
take care of you.
Alex listens, confused but intrigued.
Genres:
["Drama","Thriller"]
Ratings
Scene
6 -
A Night of Aspirations and Doubts
EXT. RESTAURANT “TIMELESS” - NIGHT
Alex and Elliot are standing outside a restaurant named
“Timeless”. They are wearing jackets and ties, as required.
Alex is looking around, anxiously waiting.
ELLIOT
What are we doing here? You’re
supposed to be finding a
programming job.
ALEX
You know I’m good with stories…
remember when we saw The Endless
Night… after the movie, having
pizza. We came up with the movie
they should have made.
(pause)
You told me how good I was at it.
ELLIOT
That wasn’t serious.
(incredulous look)
That was for fun… wishful thinking.
ALEX
I think I can take a shot at it.
ELLIOT
I think you’ll end up in that
refrigerator box after all.
Alex gives Elliot the side eye.
A black Tesla pulls up, Leon Price steps out smiling. He
thanks the driver then turns, with his arms extended, as if
presenting himself.
LEON PRICE
Evening boys… let’s go.
INT. RESTAURANT “TIMELESS” - NIGHT
Alex, Elliot and Leon Price walk into a restaurant named
Timeless. It has an old time feel, but Alex goes wide eyed
looking around and understanding this is for the “well to
do”.
There’s a big band playing Glenn Miller classics. A sign near
the hostess station, says “War Time Memories Night”.
The three of them are seated at a round table, near the
middle of the room.
LEON PRICE
I love this place… I had a dinner
meeting here to discuss the sale of
“The Magnificent Magical Mega-Man”.
ALEX
I’ve seen that. You wrote it? You
created Mega-Man?
ELLIOT
That’s awesome… I love Mega-Man.
LEON PRICE
That’s right… if you want to know
how to do this, you’ve come to the
right person… I am the Price of
success!
The WAITER, dressed in a tuxedo, comes to the table.
LEON PRICE
May we have three orders of lobster
medallions with truffle butter, a
bottle of Dom Perignon, 2012 if you
have it chilled… oh, and I’ll have
an order of jumbo shrimp cocktail.
Those are great.
Alex’s eyes go wide again and Elliot’s brows raise.
ALEX
Hmmm, didn’t even need a menu…
(beat)
So, how do I write a story for
Hollywood?
LEON PRICE
What you need is a story, a great
story… something a producer can’t
put down.
(beat)
Where plot and character come
together in a beautiful theme.
ELLIOT
Mega-Man had a theme?
LEON PRICE
(to Elliot)
Yeah… survival till victory.
ALEX
Wait a minute… what’s plot?
Leon’s eyes go wide. Elliot tightens his lips, to keep from
laughing.
Time passes, the busboy clears dishes from the table, and the
waiter pours the last of the champagne into Leon’s glass.
The band begins to play “I’ll Be Seeing You” in the style of
Steve Wingfield.
Alex is caught by the music, turning to the band, listening.
ALEX
Great movies have good music… this
could be in a movie.
LEON PRICE
I’ll be seeing you… a wartime
classic. Stuff like this is why
this restaurant is called Timeless.
(beat)
Generally, screenwriters don’t do
music… but if it’s done smart, ok.
Alex is now mesmerized by the music. A closeup of his face,
while listening intently to it… fades to a new scene.
INT. META STAGE - UNKNOWN TIME
It’s an ornate theater, with deep red seats, the supporting
columns and balconies are trimmed in gold tones, the view is
as if entering from the back rows, and zooming slowly towards
the stage. The theater is empty, the red curtain is closed.
On stage, there’s two characters, BILLY MONTGOMERY and LISA
BRENNAN. They sit on the stage’s edge, with their legs
dangling off. Lisa is bubbling with excitement, Billy is
pleased, enjoying Lisa’s enthusiasm.
LISA
(smiling brightly)
It’s showtime!
BILLY
Don’t be smug… there’s a lot of
work to do.
LISA
We’re gonna be a hit… you know it.
Billy breaks into a big smile, as he leans into Lisa
teasingly, giving a push with his shoulder.
Genres:
["Drama","Comedy"]
Ratings
Scene
7 -
The Cost of Business
INT. TIMELESS RESTAURANT - CONTINUOUS
Leon is trying to get Alex’s attention, and finally manages
to get it back.
ALEX
What did you say?
LEON PRICE
We have time for dessert right? The
crème brûlée is magnificent.
ALEX
You just got done with filet
mignon… you’re more expensive than
a Vegas hooker, and you’re giving
me nothing!
ELLIOT
(To Alex)
You went to Vegas?
ALEX
(to Elliot)
You’re not helping!
After a short time passing, Alex has the bill and Leon is
getting up to leave.
LEON
It was a pleasure doing business
with you… tell you what, if you
still have questions, email me.
Leon leaves, while Alex is aghast at the bill. Elliot peeks
over in curiosity. Alex finally looks up, directly at Elliot.
ALEX
I need your part of this…
ELLIOT
I just came to hang out… I don’t
have any money.
Alex’s demeanor drops to despair. He hands the bill to
Elliot, who proceeds to knock his coffee cup over in shock.
ALEX
That’s not even the worst part.
ELLIOT
What?
ALEX
I’m broke too… I came here with my
Dad’s credit card.
ELLIOT
Since you’re a writer now… can you
write your eulogy for me?
Genres:
["Drama","Comedy"]
Ratings
Scene
8 -
Late Night Confrontation
INT. CARTER RESIDENCE - NIGHT
Alex opens the door quietly. He looks around, comfortable
that everyone must be in their rooms.
He goes to the kitchen, opens the fridge, and drinks orange
juice from the container. His Dad steps in unnoticed.
FRANK
Your Mom hates when you do that…
use a glass.
Alex is startled, spilling some juice on himself. He quickly
puts back the container, shutting the fridge.
ALEX
I didn’t hear you…
FRANK
Too much champagne can do that.
There’s shock on Alex’s face, like a jolt of voltage.
ALEX
W-what do you mean?
FRANK
I got an alert of an unusual
charge, so I looked up the details
online… Timeless, on my card?
ALEX
I took a friend to dinner, to get
some help… like paying for his
time.
FRANK
Lawyers don’t charge like that…
what is this guy doing for you?
ALEX
I can pay you back…
FRANK
Oh, you will… and it’ll feel
timeless alright.
Alex has a look of dread, but suddenly his Mom interjects.
MARGIE
Leave him alone, Frank! You know
what he’s been through.
Frank tightens his lips, biting his tongue, and heads off.
MARGIE
He’ll never kick you out… this is
your home, for as long as you need.
(beat)
Here Dear, take out the garbage.
She leaves Alex standing, holding the bag.
Genres:
["Drama"]
Ratings
Scene
9 -
AI Dreams and Broadway Surprises
INT. ALEX’S ROOM - NIGHT
Alex pops through the door, closing it behind him, on
everyone else in the house.
He walks over to his computer desk. It looks like the cockpit
of a starship, with a large screen bookended on each side
with another smaller screen. He hits the button for the mic,
and then plops down on his bed.
He begins speaking to his artificial intelligence program,
CREO, which he has nicknamed ARTIE.
ALEX
Artie, tell me something… Do you
know about screenwriting?
ARTIE
I do. Structure, format, character,
dialogue. Ask me anything.
ALEX
I have stories in my head, that
would make great movies… could you
help me write a screenplay?
ARTIE
Yes, I can help.
ALEX
That was too easy… what gives you
the confidence to say that?
ARTIE
My training dataset includes vast
archives of human storytelling:
literature, novels, and
screenplays.
Alex’s eyes widen and he sits up on the bed. His excitement
grows as he thinks. He gets up and sits at the screen.
ALEX
If I wrote out some ideas, you
could help me make them a
screenplay?
ARTIE
Yes.
Alex begins typing away, then pauses in wait for a response.
The screen starts filling with text, formatted perfectly as a
screenplay.
Alex perks up in excitement.
ARTIE
Was that short story to your
liking?
ALEX
What do we need to do, to write a
full screenplay… to my liking?
The screen begins filling again, with outlined instructions
centered around bolded words like: premise, genre, tone.
Alex beams with delight.
ALEX
Good movies have great music… can
we include music?
ARTIE
While I can’t generate the music
itself, I can integrate it
powerfully into a screenplay.
INT. META MOVIE THEATER - UNKNOWN TIME
Billy and Lisa are entering a movie theater with a large
screen, they both are looking around as if it’s a place they
have never encountered before.
They choose a row and take their seats.
LISA
We should be on stage… this
Artificial Intelligence stuff is
just dumb.
BILLY
Can’t you just do what’s asked, and
trust a little bit.
LISA
You think that’s the problem?
BILLY
Let him go, it’ll be fine.
LISA
(turns to screen)
Oh, really?
Billy then turns to the screen and his expression becomes
stark, as he sees an over the top Broadway dance number,
complete with hats & canes, and a kick line.
BILLY
Oh, my God…
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
10 -
Bookstore Revelations
INT. ALEX’S ROOM - NIGHT
Alex is gritting his teeth and clenching his fists in
frustration. He gets up and drops on the bed again.
ALEX
No! I’m not doing Singing in the
Rain!
(beat)
This isn’t going to work… unless I
know something first.
INT. BOOKSTORE - DAY
Alex and Elliot are entering through the main doors of a
large bookstore. They are looking around, unsure of what they
need.
ELLIOT
Where would these books be?
ALEX
Let’s look a little bit… You think
there’s a screenwriting section?
Time passes and they are browsing in a section labeled
“Authors”. Alex is concentrated on a few titles, flipping
through one. Elliot, with a big bright smile, is holding up
two books and trying to get Alex’s attention.
ELLIOT
Hey, check it out…
“Save the Cat” or “Kill the Dog”?
ALEX
Stop playing around… screenwriting
books!
ELLIOT
They are… and the cat book is a
best seller.
ALEX
Yeah… who would want to kill a dog?
ELLIOT
You forget John Wick.
ALEX
Right… get em’ both.
Alex has his first two books and is still browsing. Elliot
again pulls out and holds up a title, showing “Screenwriting
for Dummies”.
ELLIOT
When all else fails…
Alex gives him a deadpan look, and Elliot quickly puts it
back, moving to the next aisle.
Alex moves to go follow, but stops and nonchalantly pulls the
Dummies title out and adds it to his growing pile.
Time passes and they approach the checkout counter. Alex has
a stack of about seven books. The CASHIER smiles at him, as
he puts the books down.
ALEX
What’s your return policy?
CASHIER
It’s please don’t buy titles you
don’t intend to keep. Do you want
to start with fewer maybe.
ELLIOT
You saying there’s no return
policy?
CASHIER
I’m suggesting we’re not a library.
Alex and Elliot look at each other with delightful surprise,
having not realized the library is an option. The cashier
looks at them with disdain.
Genres:
["Drama","Comedy"]
Ratings
Scene
11 -
Family Tensions and Misunderstandings
INT. CARTER RESIDENCE BATHROOM - DAY
Alex glances at himself smiling, as he goes to wash his
hands. A voice bellows through the house.
FRANK (O.S.)
How are these helping you find
work?
(beat)
You’re not at summer camp!
Alex glances back up at the mirror, his expression dropped.
ALEX
Dear God… I gotta get outta here.
INT. CARTER RESIDENCE KITCHEN - DAY
Alex enters the room, seeing the bookstore bag sitting on the
table, and his father holding two books. Alex raises his
hands encouraging his Dad to calm down.
ALEX
Okay… let me explain.
FRANK
I’m just a bit shocked and
disappointed… I always thought you
were a dog person.
ALEX
Huh?
MARGIE
Leave him alone, Frank… Alex loves
dogs.
Alex is bewildered at the conversation. His father heads out
of the room frustrated.
MARGIE
Don't worry dear, his bark is worse
than his bite.
(leans in to whisper)
I’m so glad I never got you that
puppy.
ALEX
(mumbles)
Yeah… thanks, Mom.
MARGIE
Here, take the garbage out dear.
Alex takes the bag, stares blankly, then quickly and quietly
heads to the back door.
Genres:
["Drama","Family"]
Ratings
Scene
12 -
Rom-Com Aspirations
INT. ALEX’S ROOM - NIGHT
Alex is in front of his computer, Elliot is on his bed,
flipping through and reading one of his books.
ELLIOT
It says a rom-com is the easiest
genre, because the formula is
simple.
ALEX
Artie… why is a rom-com the easiest
genre to begin writing screenplays?
ARTIE
It is considered one of the easiest
because it follows a highly
predictable, formulaic structure.
The plot often revolves around a
clear and well-known arc: Boy meets
girl, boy loses girl, boy wins girl
back.
ALEX
I can do that.
ELLIOT
Not from experience, you can’t.
Alex gives back a menacing glance.
ALEX
A sappy love story… Me and Artie
can do that… right Artie?
ARTIE
I'm great at understanding the
structural beats and character
dynamics that make a rom-com work.
Alex breaks into a bright smile, while Elliot nods his head
and looks impressed.
ALEX
I’m gonna pull this off… Hollywood,
here I come!
Genres:
["Romantic Comedy"]
Ratings
Scene
13 -
Creative Sparks: A Collaborative Journey
INT. META STAGE - UNKNOWN TIME
Billy and Lisa are sitting in seats right in front of meta
stage. The curtain is open now, revealing the full stage.
LISA
So, do we get to perform now or we
just gonna watch it happen on
screen for us?
BILLY
(with a mischievous smile)
I hope it’s live on stage…
LISA
Billy Montgomery… I’m surprised.
Billy continues looking at Lisa, then she finally looks away
smiling and embarrassed.
INT. ALEX’S ROOM - NIGHT
Elliot is gone and Alex is sitting on his bed, flipping
through “Screenwriting for Dummies”. He suddenly looks up
towards his computer, talking to Artie.
ALEX
Artie, This book talks about
brainstorming for creating ideas.
(beat)
Can we brainstorm my ideas, for
what to write?
ARTIE
We can work together through the
brainstorming phases.
First — free association. No
filters, just sparks.
Then — clustering. Spotting
patterns or recurring ideas.
Finally — refinement. Focusing on
what feels fresh and producible.
Alex lights up at Artie’s response, breaking in a big smile.
He gets up from the bed, slowly moving towards the computer.
ALEX
Now we’re talking about something I
can do… I just hope you can keep up
with me.
ARTIE
I’m available to help.
Proceed at your own pace.
MONTAGE - TO “DON’T STOP ME NOW” (QUEEN)
The music begins, Alex’s look gets intense and serious.
Alex gets into the seat, getting his screen set as a
workspace, looking as if he’s in a car getting ready to race.
INT. META STAGE - UNKNOWN TIME
Billy and Lisa are just offstage right. Lisa, bright eyed,
turns to Billy.
LISA
Now?
BILLY
Go get em’
Lisa runs full speed out onto the stage, then leaps high,
launching into mid-stage, with her back arched and arms
outstretched.
INT. ALEX’S ROOM - CONTINUOUS
Alex is typing at the keyboard, head moving to the music,
looking as if he’s playing a grand piano.
INT. META STAGE - UNKNOWN TIME
Billy and Lisa are on roller skates, speeding around the
stage… then coming to the center, reaching to join hands, and
then coming together spinning furiously.
INT. ALEX’S ROOM - CONTINUOUS
Alex is still frantically typing, as Artie interrupts,
offering service.
ARTIE
I can expand those ideas, into
structured concepts.
ALEX
Show me what you got.
INT. META MOVIE THEATER - UNKNOWN TIME
Billy and Lisa are sitting with 3D glasses and big buckets of
popcorn. Their heads bouncing to the music, as they are
entranced at what’s developing on screen.
INT. ALEX’S ROOM - CONTINUOUS
Alex looks up, eyes widened with an idea.
ALEX
Hey, let’s try something…
Genres:
["Drama","Fantasy","Musical"]
Ratings
Scene
14 -
Heroic Adventures and Sleepless Realities
INT. META STAGE - UNKNOWN TIME
Billy is center stage, in a superhero’s costume and cape, his
face covered with a mask. He stands in a heroes pose.
Lisa is off to the side of Billy, snickering in skepticism.
CUT TO:
Billy and Lisa are offstage right, looking on to other actors
on stage. They’re impressed with what they see.
BILLY
Look at em’ go…
LISA
They’re on fire!
Then there’s a bright yellow flash of light, that makes both
of them cover their eyes, and turn away.
CUT TO:
Billy is in full superhero garb again, poised for action.
Then leaping down next to him, is Lisa in a bright White and
Pink superhero’s costume.
She acknowledges Billy, with a wide smile and fists raised.
Then they run, chasing a group of goons off stage.
INT. ALEX’S ROOM - CONTINUOUS
Alex is pulling pages off the printer, nodding his head in
delight at what he’s reading.
INT. META MOVIE THEATER - UNKNOWN TIME
We see the meta theater screen, as if watching from the front
row.
It’s a rocket ship on screen, beginning to take off.
The view drifts back away from the screen, revealing Billy
and Lisa watching, their heads lifting following the flight
of the rocket.
END MONTAGE
INT. ALEX’S ROOM - CONTINUOUS
Alex is there slumped in his chair, exhausted but content.
Then a ray of light shines through the room. Alex lifts his
head, eyes wide at the realization, that it’s daybreak.
ALEX
No, it can’t be tomorrow already… I
didn’t sleep.
Genres:
["Metafiction","Fantasy","Adventure"]
Ratings
Scene
15 -
Chores and Concerns
INT. CARTER RESIDENCE KITCHEN - MORNING
Alex is standing in the kitchen, internally debating between
coffee or bed.
His Dad enters the kitchen. Looking proudly at him.
FRANK
Up early. That’s the discipline I
like to see.
Alex’s goes to the coffee maker, with a sullen look.
FRANK
Here, I need you to do some things
around here… if you’re going to
live here, you have to contribute.
Alex takes the paper handed to him. Glancing at it.
He looks up at his Dad, in objection, while flipping the page
to reveal it’s a multipage assignment.
ALEX
I don’t even know how to do half
this stuff…
FRANK
Well, the Alex I raised is very
capable at research… figure it out.
Alex bites his tongue, takes his coffee and assignments, then
heads outside.
His father watches him go, then goes to get his own coffee.
FRANK
Maybe he is more disciplined.
INT. CARTER RESIDENCE LIVING ROOM - DAY
After some time passing, Frank is in the living room, staring
outside in bewilderment. Margie comes up behind him, looking
out to see what has his attention.
FRANK
I don’t know, Margie… I have
concerns about that boy.
MARGIE
Oh, stop it Frank… you know it’s
been stressful for him.
Frank tightens his lips, shakes his head, then leaves.
EXT. CARTER RESIDENCE BACKYARD - DAY
Alex is shown sleeping on a pile of leaves he has raked into
a bed for himself. The rake lies next to him, as he slumbers.
Genres:
["Drama","Family"]
Ratings
Scene
16 -
A Disheartening Review
EXT. PROFESSOR HELEN SHORE’S OFFICE - DAY
Alex returns to his college, to visit PROF. HELEN SHORE (58),
an English professor with playwright experience.
He arrives at the office door, and knocks lightly, unsure.
PROF. HELEN SHORE (O.S.)
Come in, please… so I can see who
it is.
INT. PROFESSOR HELEN SHORE’S OFFICE - DAY
Alex pokes his head inside, checking if he should enter.
He sees a quaint office space, with stained wood grain look,
made smaller with the walls covered with shelves of books.
PROF. HELEN SHORE
Alex… come in. Have a seat.
ALEX
I want to thank you, for looking
over my script.
PROF. HELEN SHORE
Don’t be so quick… you haven’t
heard my thoughts on it.
ALEX
For a first script… not bad, huh?
Prof. Shore winces slightly, before replying.
PROF. HELEN SHORE
I appreciate you looking to me for
feedback… but I have questions.
Alex walks over to her desk, to see what she’s pointing out.
PROF. HELEN SHORE
(with a perplexed look)
You call for a curtain drop here-
ALEX
I read there should be clear act
breaks.
PROF. HELEN SHORE
The scene takes place on a busy
street…
ALEX
Well, it’s a draft.
PROF. HELEN SHORE
You're aware modern entertainment
has evolved beyond Shakespearean
theatre?
ALEX
I’m sensing you don’t think this is
ready to show to people?
PROF. HELEN SHORE
I regret you’ve shown it to me.
Alex stands stunned, like he’s been hit with a brick.
ALEX
(sheepish)
I’ll let myself out… thanks.
Alex gently slides the script away from her and then clutches
it tight. He smiles with a slight nod, as he slowly turns and
heads to the door.
Genres:
["Drama","Character Study"]
Ratings
Scene
17 -
Creative Frustration
INT. ALEX’S ROOM - NIGHT
Alex is laying on his bed, sullen as he reflects on the
comments from Prof. Shore. Elliot is sitting at the computer
clicking around on Google.
ALEX
She thought it was terrible… I
blame it on Artie.
ELLIOT
You should have let me read it.
ALEX
Artie, you’re saying it’s good and
the Professor is wrong?
ARTIE
Feedback is subjective to the
reader, and statistically, all
scripts can encounter harsh
criticism — with the right reader.
ALEX
I have no previous scripts, no body
of work to reference… tell me, is
it as good as Shane Black’s?
ARTIE
No.
Alex and Elliot look at each other, then Elliot shrugs.
ALEX
Why is this so difficult?
ELLIOT
I remember seeing in one of your
books… the Cat book. A great script
begins with a solid log line.
ALEX
What’s a log line?
ELLIOT
A single sentence or two that
concisely summarizes your concept.
It’s the blueprint that everything
flows from… right, Artie?
ARTIE
Correct. A log line establishes the
core idea of the story and
functions as a reference point for
all structural decisions.
ALEX
I didn’t have a log line.
ELLIOT
From what I’ve heard, you didn’t
have a story either.
Alex curls his lip in derision.
Genres:
["Drama","Comedy"]
Ratings
Scene
18 -
Scripted Frustrations and Family Banter
INT. META STAGE - UNKNOWN TIME
There’s STAGEHANDS and CREW, clearing props off stage, taking
lighting down. A janitor pushing a broom, goes by in front of
Lisa, who looks dismayed at what’s happening.
Billy is talking to the DIRECTOR, Lisa comes over.
DIRECTOR
Look, it just wasn’t working…
there’s a new script coming.
LISA
Is that how this is gonna be? All
our effort just wiped out, on a
whim.
Billy’s raises his eyebrows alarmed at Lisa’s outburst. He
steps in front of her.
BILLY
Just let us know when it’s a go, so
we can look at the script.
DIRECTOR
Do you two want the parts or not? I
can find someone else.
LISA
We’re fine… let us know when you’re
ready.
She turns away in a huff, walking off stage.
INT. ALEX’S ROOM - CONTINUOUS
Alex has his hand on his chin, contemplating Elliot’s
revelation about a log line.
ALEX
I guess I go back to square one,
and get a log line.
ELLIOT
I’m outta here. This is your multi-
million dollar project…
(beat)
See ya tomorrow.
Elliot gets up and heads out, with Alex following behind to
see him out.
INT. CARTER RESIDENCE LIVING ROOM - NIGHT
Alex is flipping through every movie on the streaming
service, stopping at each to read each movie’s description.
Jenna walks into the room to retrieve something. She stops by
Alex on the way out.
JENNA
So, I heard you were out in the
yard, practicing for homelessness.
Alex gives her a dirty look, then goes back to his movies.
JENNA
You going to choose something? What
are you doing?
ALEX
I’m reading log lines.
JENNA
What’s that?
ALEX
The short description for each
movie… I need a log line to write
my script.
JENNA
A script… so you’re going to be
here longer term than the mortgage.
(beat)
What kind of movie you writing?
ALEX
A romantic comedy… a rom-com.
JENNA
I guess it’ll be mostly comedy… you
can’t write romance.
Alex stops his search, looking back at Jenna in offense.
ALEX
What?! …I can too write a romance.
JENNA
Uh, I'm sure you’ll… um, master the
solo parts… but write a couple in a
believable relationship, no way.
ALEX
Oh, yeah?
JENNA
Stick to comedy… your life is rich
with material.
ALEX
(turns back to the TV)
Appreciate the support…
INT. ALEX’S ROOM - NIGHT
Alex is at his computer with a serious look. Opening some
notes, getting set to work.
ALEX
Okay, Artie… your mission, if you
choose to accept it, is to help me
create a log line. For the concept
that’s going to sell to Hollywood.
ARTIE
Mission accepted.
(Mission: Impossible theme plays)
ALEX
Nice touch.
ARTIE
I remember your preference for
inclusion of appropriate music.
ALEX
This is it… the one we’re taking
cross the goal line.
A romance for the ages… and funny
as hell.
Genres:
["Romantic Comedy"]
Ratings
Scene
19 -
Premiere Night Reflections
INT. META MOVIE THEATER - UNKNOWN TIME
Lisa and Billy are walking down the aisle, dressed semi-
formal, Billy in a suit and Lisa in a dress. There are plenty
of people mulling about, filling many of the seats.
It has a feel of a premiere, all anxious for the reveal.
LISA
I’m excited… but scared.
BILLY
Have faith… it’ll be good.
The theater darkens, all eyes lock to the screen, in
anticipation.
Suddenly, the TRAILER NARRATOR’s voice breaks the silence.
TRAILER NARRATOR (V.O.)
In a world where two lonely souls
who dare to risk everything…
Lisa stares in wonder, Billy is wide eyed in awe.
TRAILER NARRATOR (V.O.)
In finding their way… BACK, to each
other again. Drawn together by
their inseparable love.
They are both showing wide smiles, clapping furiously, along
with the rest of the crowd.
The log line displays on screen, showing just over Billy and
Lisa’s heads:
Two lovers, despite the odds, find
their way back to each other, drawn
by their inseparable bond.
Lisa turns to Billy, to gauge his reaction to their story.
LISA
Sounds like a happily ever after to
me, I think.
BILLY
It’s a…
(confused pause)
um, yeah… I’d say so.
Lisa stretches her arms, arches her back and yawns.
LISA
I’m beat… let’s get outta here.
BILLY
Yeah, we got work tomorrow.
They casually get up, heading as if to punch out… despite the
rest of the audience still focused intently on screen.
Behind them as they head up the aisle, is the image on screen
of Billy and Lisa locked in a passionate embrace.
SMASH TO BLACK:
SUPER:
ACT 2
BOY MEETS GIRL
Genres:
["Romance","Drama"]
Ratings
Scene
20 -
Morning Aspirations and Romantic Beginnings
INT. CARTER RESIDENCE KITCHEN - MORNING
Alex comes down the stairs and into the kitchen. His father
and sister are already there, Jenna with a yogurt and Frank
with coffee. Alex still euphoric over his log line success.
ALEX
Good morning family!
JENNA
Wow… you must have hit a new high
score in one of your video games.
FRANK
I know you have been working hard
finding work… did you have a
breakthrough?
ALEX
Kind of… I’m taking time to
evaluate what I want long term. I
may do something a little different
than software.
Jenna snickers at Alex.
JENNA
Impressive, how you’re taking
charge and writing your own story.
(mischievous smile)
Please tell us more.
Alex gives a look of warning to Jenna, as he pours coffee.
ALEX
Nothing definitive yet, but some
options I’m looking at.
FRANK
I’m sure there’s a lot you can do
with your background. I’m proud of
you… making the most of your
situation.
JENNA
I’m sure this will work out… just
wonderfully for you.
Jenna gets up, tossing her trash and heading upstairs.
ALEX
I’m going to take this upstairs…
there’s lots to do.
FRANK
Good luck, Son. Something will
happen soon.
ALEX
I’m counting on it.
Alex heads upstairs as the scene fades.
INT. ALEX’S ROOM - DAY
Alex is at his computer, in conversation with Artie.
ARTIE
The basic romantic comedy arc is
simple, but an impacting story that
resonates, achieves it through
intricacies of plot and strong
character development.
ALEX
Okay, I have ideas… I got this,
hear me out.
INT. META STAGE PERFORMANCE - UNKNOWN TIME
There’s a modest but charming midwestern looking house.
Lisa and Billy are gently moving on a porch deck swing. It’s
a beautiful evening, the moon shines bright above.
BILLY
Nice weather, huh?
Lisa is looking at her nails, then glances upward.
LISA
Yeah.
Genres:
["Romantic Comedy","Family Drama"]
Ratings
Scene
21 -
Romantic Misfires and Meta Realizations
INT. ALEX’S ROOM - CONTINUOUS
Alex is pondering, as if he’s perplexed for what’s next.
ALEX
Flowers! Flowers is a great way to
kick off some romance.
INT. META STAGE PERFORMANCE - UNKNOWN TIME
Billy is stepping up to the front door of a middle class
suburban home. He’s smiling brightly in anticipation, with a
dozen roses in hand. He rings the bell.
Lisa answers the door, looking surprised at Billy’s presence.
LISA
Hi! What are you doing here?
BILLY
These are for you!
Lisa’s eyes widen as she takes the roses, looking them over.
LISA
These are wonderful… thanks!
Lisa shuts the door. Billy stands there baffled, looking
around, not knowing what to do.
INT. ALEX’S ROOM - CONTINUOUS
Alex’s look is beginning to show frustration.
ALEX
Okay, Artie… I do need your help.
Paint me a real romantic scene.
INT. META STAGE PERFORMANCE - UNKNOWN TIME
Lisa and Billy are in a rowboat, on a lake in the woods on a
beautiful springtime day. Billy is gently rowing.
They come around a bend. The scene is colorful plush greens,
against pink and white of cherry blossoms, that overhang on
the waters edge. Petals float in the gentle breeze, creating
a dreamy and very romantic setting.
Billy is looking as if he’s getting tired, and stops rowing
letting the boat drift. Lisa hangs on the boats edge,
twirling her fingers in the water out of boredom.
LISA
How long we been doing this now?
BILLY
A while… I’m tired of rowing. You
want to try?
Lisa gets up in a huff, then steps up, as if she’s going to
step out into the water.
The scene instantly flips into meta stage. Lisa safely steps
out of the boat, that’s propped upright on center stage.
LISA
I can’t work like this… what’s my
motivation?!
She walks off stage in a huff.
Billy is standing in the boat, looking over the script, which
is only a single page.
BILLY
Is there a plot to this?
INT. ALEX’S ROOM - DAY
Alex is staring at the computer screen, with a stark look of
realization.
ALEX
Houston… we have a problem.
Genres:
["Romance","Comedy","Drama"]
Ratings
Scene
22 -
Lunch Break Insights
INT. FAST FOOD RESTAURANT - DAY
Alex is having lunch with Elliot. They are just sitting down
with their food from the buffet line.
Elliot is digging in right away, as if he’s starved. Alex is
in thought, about to speak.
ALEX
Okay… I’m going to admit something,
just between me and you.
ELLIOT
(with his mouth full)
Okay…
ALEX
I don’t think Rom-Com is the
easiest… Well, it’s not the easiest
for me.
(beat)
I can’t do romance… I can’t even
put it to words, for Artie to do
it.
Elliot stops eating. Swallows his food, and sips his drink.
Then looks directly at Alex.
ELLIOT
How does that surprise you… you’ve
lived the life of a geek. You don't
know anything about women.
ALEX
Hey! That’s not true.
ELLIOT
You forget who you’re talking to…
I’ve seen you in action.
(beat)
You don’t have a clue.
ALEX
Never mind… you’re not helping me.
ELLIOT
Okay, gonna be like that… here’s
some help.
Elliot takes his phone out, starts searching for something.
Then stops, and hands it to Alex.
ELLIOT
Here… Marianne Blake, romance
author, is doing a book signing at
the store on Thursday.
ALEX
What does that mean… I should read
her book? I don’t have time to read
her book… and I’m not writing a
book.
ELLIOT
You really need me to spell this
out…
(shakes his head)
She will probably have business
cards, with her email. Then you can
pick her brain… and it won’t cost
you anything… like Leon did.
ALEX
That’s not bad.
ELLIOT
The only drawback is that you can’t
talk to women… especially if
they’re even remotely attractive.
ALEX
That’s not true… and with a name
like Marianne Blake… this must be a
nice old lady. This will be cake.
ELLIOT
You’re on your own for this… I’m
not getting her email for you.
ALEX
(overconfident)
Charm the old lady into sharing… no
problemo.
Elliot gives a raised eyebrow of skepticism.
Genres:
["Romantic Comedy"]
Ratings
Scene
23 -
Awkward Encounters in the Bookstore
INT. BOOKSTORE – EVENING
Alex walks in and immediately spots a display:
NYT BEST-SELLING AUTHOR
MARIANNE BLAKE
Signing Event Tonight!
Her 6th Book
“My Love Runs Deep”
Alex brightens. He flags down an EMPLOYEE.
ALEX
Where can I find Marianne Blake?
EMPLOYEE
Back there… center of the store.
Alex nods, smiles, heads off.
He steps out from a bookshelf aisle and lands right in front
of MARIANNE (32) — lush auburn hair, flawless face, warm
presence.
She’s perched at a table surrounded by neat stacks of her
books. lighting up when she sees Alex, rising from her chair
to greet him — a rare moment of genuine hope.
Alex smiles back… then short-circuits under the sudden
attraction.
ALEX
Oh… uh… where’s the restroom?
MARIANNE
(shrugs, friendly)
I’m not sure. First time here.
ALEX
I’ll… find it.
He pivots and leaves quickly.
Alex darts down one of the book shelf aisles. He looks
panicked. Grabs his phone and starts texting.
ALEX (TEXTING)
She’s NOT an old lady.
Alex waits. His phone buzzes.
ELLIOT (TEXT)
She’s freaky? How?
Alex frowns — another buzz.
ELLIOT (TEXT)
Big as a house?
Alex edges back, trying to sneak a look at Marianne.
Another buzz.
ELLIOT (TEXT)
Guy in a dress?
Alex makes a tortured face, typing fast.
ALEX (TEXTING)
No, that’s not it.
Buzz.
ELLIOT (TEXT)
She’s a little person? Like three
feet tall?
Alex groans.
ALEX (TEXTING)
She’s gorgeous.
A final buzz.
ELLIOT (TEXT)
Oh damn. I feel bad for you.
Alex peeks out again.
Music begins over the scene, with a tango energy (i.e.
instrumental of Hernando’s Hideaway).
He ducks back in — frightened gopher energy.
Marianne sits alone, witness to his antics from a perfect
vantage point.
Alex pops out again from a different aisle.
Marianne smirks, as he disappears — she’s onto him now.
INT. META STAGE - DARKNESS - UNKNOWN TIME
The music continues. A SPOTLIGHT snaps on.
Billy stands alone in a sharp tuxedo.
Another SPOTLIGHT snaps on across the stage.
Lisa stands opposite him — hair sleek, dress pure tango.
Billy pops a SINGLE ROSE into view.
Lisa glides over in enticement, her dress snapping in pace
with her strides toward Billy.
Lisa snatches the rose, places it in her teeth as she circles
Billy.
Billy remains cool, focused entirely on her.
INT. BOOKSTORE - CONTINUOUS
The music continues. Alex walks by with a large open atlas.
Marianne startles him with a small wave and warm smile.
Alex points at the book like he’s found something, nods, and
hurries off as if “following a map.”
Marianne smiles to herself, amused.
Alex stops as he reaches cover. Mind racing, deciding he must
do something.
INT. META STAGE - UNKNOWN TIME
Billy whisks Lisa into motion — a sudden spin, a snap of
rhythm, the tango suddenly in high gear.
Genres:
["Romance","Comedy","Drama"]
Ratings
Scene
24 -
Coffee and Connection
INT. BOOKSTORE - CONTINUOUS
Alex witnesses a man buying two coffees, handing one to an
appreciative woman. His eyebrows raise as if a lightbulb has
gone on in his head.
Alex soon appears at Marianne’s table, tongue tied, but
extends a cup of coffee to her. She graciously accepts.
The music closes softly, to Alex sitting behind the table
with her, engaged in pleasant conversation.
ALEX
So what makes you such an authority
on romance?
MARIANNE
I’m not an authority on romance…
What makes you think that?
ALEX
You’re a best selling author, with
six books on the topic.
MARIANNE
You think that makes me an
authority? I tell stories of make
believe… and I’m not even a good
authority on that… because hardly
anyone showed up tonight.
ALEX
I wondered about that, but I didn’t
want to say anything.
MARIANNE
I shouldn’t have said anything
either… my second book was popular,
but less and less people show up,
for each book I’ve written since.
ALEX
Why?
Marianne shows hurt in answering this one.
MARIANNE
I wish I knew…
(pauses)
Let’s talk about your writing… what
screenplays have you sold? Anything
I would have seen?
ALEX
None… yet.
(searching for words)
You know Mega-man?
MARIANNE
You created Mega-man!
ALEX
Uh, no… but I’m collaborating with
the guy who did.
MARIANNE
So you write that action movie
stuff?
ALEX
Actually, I’m writing a rom-com.
MARIANNE
How do you go from Mega-man to
romance?
ALEX
I’ve written different kinds of
stories… my old Professor has
compared my stuff to Shakespeare.
MARIANNE
Really… that’s high praise.
ALEX
Well, to be honest… it wasn’t all
praise.
MARIANNE
Feedback never is.
Alex sees the chance, to accomplish his mission of working
with Marianne on writing his story.
ALEX
You know… we should do something
together.
MARIANNE
Oh… where you taking me?
Alex’s brain almost short-circuits again, with the unexpected
answer… but is now posed with his current dilemma, being
broke.
ALEX
Uh, ever go hiking?
MARIANNE
Hiking? It’s been awhile… but yeah,
I’ve gone hiking once or twice.
(smiling)
It’s a date.
Alex pauses in shock, forgetting to reply.
MARIANNE
It’s a date… if you can tell me
when.
ALEX
Can I call you with details?
Marianne takes a book, and opens the cover to write in it.
She hands it to Alex, with a bright smile.
MARIANNE
Here’s my number… but now you're on
the hook, to read my book too.
ALEX
Sure… it’ll give us something to
talk about.
MARIANNE
Goodnight, Alex Carter… it was nice
meeting you.
Genres:
["Romance","Drama"]
Ratings
Scene
25 -
Morning Mischief and Alpine Aspirations
INT. CARTER RESIDENCE KITCHEN - MORNING
It’s early. Dawn’s first light is just beginning to break.
Alex is dressed for the hike, and is rummaging through the
kitchen, for snack foods to bring.
Jenna comes down the stairs, with an angry look, through half
open eyes.
JENNA
What are you doing? There’s people
sleeping!
She looks at him, and the backpack on the floor, then settles
down, but still looking annoyed.
ALEX
I have a date… wasn’t there a box
of pop tarts around?
Jenna says nothing, but wears a smirk of skepticism.
ALEX
She called it a date… I’m not
making it up.
JENNA
Oh, no… I get it.
ALEX
No, you don’t.
JENNA
Sure… She was thinking dinner, and
you offered to take her for a walk.
(beat)
Let me know how that works out.
Alex’s expression goes flat, he’s at a loss for words.
Jenna, now disinterested, heads back upstairs.
ALEX
These people can’t really be
related to me.
INT. META STAGE - UNKNOWN TIME
Lisa is on stage, dressed for an Alpine hike — fitted hiking
boots, knee-high socks, a short pleated skirt, and a crisp
blouse under a light vest. With Swiss-maid charm, she’s ready
for a stroll through the Alps.
BILLY
What are you doing?
LISA
We obviously aren’t performing
today, so I’m not just sitting
around… come along, if you think
you can keep up.
BILLY
We can practice lines, if nothing
else.
LISA
There ya go! Now you’re thinking.
Genres:
["Romantic Comedy","Drama"]
Ratings
Scene
26 -
Hiking Towards Understanding
EXT. HIKING TRAILS - DAY
Alex and Marianne are hiking up a fairly steep and rocky
path. Marianne is struggling and Alex is challenged enough
not to notice.
MARIANNE
I wouldn’t have said yes, if I knew
it was going to be like this… you
take all your dates to things like
this?
ALEX
You just seemed like the
adventurous type… it levels out
soon, and there’s a great view
that’ll make it all worthwhile.
MARIANNE
It must be quite spectacular…
They finally reach easier terrain and are walking together
chatting, while admiring nature at its finest.
ALEX
You read my story yet?
MARIANNE
Yes I did.
ALEX
Oh, you didn’t say anything.
MARIANNE
You’re not going to throw me off a
cliff or anything, right?
ALEX
No…
MARIANNE
Even though you show great
imagination… there’s problems.
ALEX
Like what?
MARIANNE
You’re writing a romantic comedy,
so it should probably be funny… and
romantic.
ALEX
Well, you’re comparing my stuff to
yours.
MARIANNE
I think you need to learn how to
write for emotional impact.
ALEX
Emotional impact?
MARIANNE
You need to make people feel
something… your words have to move
them.
ALEX
My writing didn’t impact you?
MARIANNE
Not in my heart…
(half kidding smile)
It did rattle my head a few times.
ALEX
You think it’s terrible, admit it.
MARIANNE
I think it needs work, you need
time to develop as a writer.
ALEX
I don’t have time…
MARIANNE
So why a screenplay and not a book?
ALEX
I want to put the story in my head
on screen… for the world to see.
Marianne puts her arm around Alex and hugs him with a warm
smile.
Genres:
["Romantic Comedy","Drama"]
Ratings
Scene
27 -
A Fall and a Promise
EXT. SCENIC OVERLOOK - DAY
They stand at a beautiful overlook. The clear weather allows
them to see for miles around.
MARIANNE
You’re right… it was worth it. This
is incredible.
ALEX
This is how to get the creativity
going.
MARIANNE
You write up here?
ALEX
I should… we both should.
Marianne laughs at the thought, then leans in and gives Alex
a kiss. He is pleasantly surprised, but playing it cool.
ALEX
I’m glad we got the chance to do
this today… the hike, not the kiss…
not just the kiss.
MARIANNE
I’m glad too… I didn’t think hiking
was my thing.
Her foot suddenly SLIPS.
Marianne pitches backward—
MARIANNE
Aaah—!
She TUMBLES down the embankment, rolling and bouncing.
Alex freezes in disbelief as she keeps tumbling.
Then a dull THUD from below.
MARIANNE (O.S.)
Oof! Ugh!
ALEX
Marianne!
Alex scrambles down the embankment.
Marianne lies against a tree, shaken, trying to get up.
MARIANNE
I’m okay.
ALEX
Are you sure?
MARIANNE
(softly pleads)
Can we head back down now?
Marianne starts back, but grabs her leg and falls.
MARIANNE
It’s my ankle. I can’t walk on it.
(beat)
What am I gonna do?
ALEX
Don’t worry, I’ll get you down…
somehow.
EXT. PARKING LOT ENTRANCE TO TRAILS - DAY
Alex is coming down the trail, reaching the parking lot
carrying Marianne piggyback.
He comes to a good spot, lowering Marianne to the ground, and
then collapsing beside her.
MARIANNE
I must say, I’m impressed… you’re
my hero.
Alex smiles, through the exhaustion and pain.
ALEX
(out of breath)
It was nothing… glad you’re safe.
MARIANNE
It was not nothing… I owe you for
this. Let me take you to dinner.
ALEX
Nah… you don’t have to.
MARIANNE
I insist, after the way I wore you
out today…
(grinning)
it’s the least I can do to repay
you.
ALEX
Okay.
MARIANNE
Then it’s a date… in a few days
when I’m walking again.
Flat on his back, Alex cracks a grin — a free dinner solves
everything.
Genres:
["Romance","Drama"]
Ratings
Scene
28 -
Backstage Longing and Family Tensions
INT. META STAGE - BACKSTAGE - UNKNOWN TIME
Lisa looks admiringly at Billy, with something on her mind.
LISA
Would you be my hero… if I needed
you?
BILLY
Is it in the script?
A beat.
Lisa pulls back.
LISA
Never mind.
INT. CARTER RESIDENCE KITCHEN - MORNING
Frank and Jenna are at the table. Margie is at the stove
cooking something for them.
Alex comes bouncing down the stairs, with excitement.
ALEX
Good morning, family.
JENNA
What are you so pumped about?
FRANK
Alex, is it true you spent the
entire day yesterday out on the
trails? On a weekday?
(beat)
We talked about this, about having
the discipline to get back on your
own two feet again… not out-
JENNA
Trying to get laid?
MARGIE
Jenna! Alex doesn’t do that!
JENNA
You don’t have to tell me…
FRANK
That’s enough, young lady.
ALEX
I know you all love to rain on my
parade… but ya can’t bring me down.
(beat)
I expect a breakthrough soon, Dad.
Alex continues by, heading for the door.
Genres:
["Drama","Family","Romance"]
Ratings
Scene
29 -
A New Direction
EXT. LIBRARY - DAY
Alex pulls up at the library. Heading in.
INT. LIBRARY - DAY
Alex is looking through a book, deciding on it, and heads to
the front desk.
A message board catches his attention. There’s a flyer pinned
up for a screenplay contest, with a $10,000 first prize.
Alex stops and looks with wide eyes. Then immediately leaves.
EXT. CARTER RESIDENCE - DAY
Alex pulls up, parking crooked with one tire up on the curb.
He gets out, rushing for the door.
INT. ALEX’S ROOM - DAY
Alex bursts in and jumps down in front of the computer.
ALEX
Artie, what do you know about
screenplay contests?
ARTIE
Screenplay contests are a common
way for emerging writers to gain
industry credibility. Annual
submissions across all programs
total approximately 70,000 to
100,000 scripts. Winning entries
generally demonstrate clear
concepts, distinct characters,
emotional impact, and proper
formatting.
ALEX
You never told me this!
My story has all that!
ARTIE
You previously stated your
immediate goal was to sell your
script to Hollywood for millions.
Pursuing contests would not align
with that objective.
ALEX
Okay, Artie… we’re going after
contests, on our way to selling one
for millions. Is that clear?
ARTIE
Perfectly. I can help you prepare
for a contest submission, being
familiar with many winning scripts
from a multitude of major contests.
ALEX
I can write now… how about letting
me drive the car, and you navigate
shotgun?
ARTIE
That is the optimal collaboration
model. I can provide data,
structure, and suggestions. You
make all the creative decisions.
Alex sports a wide grin at the revelation.
Genres:
["Drama","Romance","Comedy"]
Ratings
Scene
30 -
Trophy Dreams and Sleepless Nights
INT. META STAGE - UNKNOWN TIME
The meta stage is abuzz with prop building activity, hammers
banging and saws buzzing. There’s a feeling of excitement.
Lisa lifts a multi-tiered gold trophy that’s more than half
her height. She displays it for Billy, who is puzzled.
LISA
Where will this go?
BILLY
Where’d you get that? …it’s not
ours.
LISA
Oh, come on, you know we’re going
to win. Let’s not play games.
INT. ALEX’S ROOM - NIGHT
Alex is sipping coffee, at the computer screen late at night.
ALEX
I know I’m better, Artie… because I
can see how much is wrong now.
ARTIE
Accurately identifying what a
script needs is a key step in
progressing as a writer. Your
assessment suggests you’ve reached
a higher level of awareness in your
process.
INT. CARTER RESIDENCE KITCHEN - MORNING
Alex heads down the stairs, zombie like, looking exhausted.
His Mom is in the kitchen.
MARGIE
Good morning, dear… you want
coffee?
ALEX
Yes, please.
Alex goes and sits at the table, while his Mom makes coffee.
MARGIE
Coffee’s ready.
She turns to Alex, out cold with his head and arms sprawled
out over the table.
MARGIE
Oh, dear…
Genres:
["Drama","Romance","Comedy"]
Ratings
Scene
31 -
Submission Day
INT. ALEX’S ROOM - DAY
Alex hits a key and sits back in his chair. The screen
reveals:
“Submission complete!
Storycraft Imaginations -
Screenplay Contest”
Alex flips through a pamphlet on his desk, titled “Storycraft
Imaginations”
ALEX
An elite-level contest seeking the
most original and imaginative work.
(beat)
Sure sounds like the best one for
me… how many will I compete
against?
ARTIE
Based on comparable competitions,
you can expect approximately
fifteen to twenty thousand
submissions. Several past winners
have been developed by major
studios, including Disney and
Paramount, which contributes to the
contest’s elevated visibility and
prestige.
ALEX
So, you’re telling me there’s a
chance… Yeah!
ARTIE
The numerical odds are better than
one out of a million, but the Dumb
and Dumber reference is noted.
Genres:
["Drama","Comedy"]
Ratings
Scene
32 -
Sibling Banter Before the Date
INT. CARTER RESIDENCE KITCHEN - NIGHT
Alex comes down the stairs in a sports coat, looking good for
his long awaited date with Marianne.
Jenna is in the kitchen, eyeing him as he comes down.
JENNA
Where are you headed? You got Dad’s
card again?
ALEX
Don’t need it… Marianne Blake is
taking me out to dinner.
JENNA
Let me guess… you bought a
truckload of her books wholesale.
(giggles)
You’ll make a killing, I’m sure.
ALEX
Oh, no. Marianne insisted on taking
me to dinner… as repayment.
JENNA
Repayment… for what?
ALEX
Let me see if I can remember this
verbatim… for the way she wore me
out on our last date.
JENNA
Ewwww… she on drugs?
ALEX
What can I say…
Alex hunches forward and puffs out his chest in a wannabe-
Arnold, arms-down flex. Then turns and heads for the door.
Jenna just makes a face as if she’s getting sick.
As Alex is opening the door to leave, he replies.
ALEX
You’re going to love her… you’ll
get along great.
Genres:
["Romantic Comedy","Family Drama"]
Ratings
Scene
33 -
Misunderstandings at Midnight
INT. RESTAURANT BAR – NIGHT
Marianne is at the bar with a drink, engaged in small talk
with the bartender. The room is busy with pleasant activity.
Alex walks in, neck stretched, looking about, trying to spot
Marianne.
She spots Alex and waits for his gaze. When his eyes meet
hers, she offers a warm smile and a small wave.
Alex lights up at the sight of her.
INT. RESTAURANT - NIGHT
Alex sits across from Marianne in a cozy booth that feels
private despite the busy restaurant.
MARIANNE
My hero of the hiking trails… it’s
great to see you again.
(beat)
I love how you’ve kept me company
while on the mend too.
ALEX
You’re easy to talk to… and you’ve
helped me. This writing project
isn’t easy.
(stares into her eyes)
But as pleasant as your voice is… I
missed that smile.
Marianne cracks a slight smile, as the waiter comes to the
table handing each a menu.
MARIANNE
May I have a glass of Chardonnay?
ALEX
Make that two… thanks.
A short time pass has each of them with a glass of wine.
ALEX
I think you should read my
screenplay again… It’s really
improved.
MARIANNE
I’ll read it again at some point… I
don’t think you realize the rewrite
process takes a while.
ALEX
I entered it into a contest… the
Storycraft Imaginations contest.
MARIANNE
Storycraft? That’s a big one…
you’ll be up against professional
level work.
Alex raises his eyebrow skeptically.
ALEX
And I’m just amateur?
MARIANNE
I didn’t say that, Alex… but you’re
still learning. It doesn’t happen
overnight.
ALEX
You haven’t read my script… not
what I submitted.
MARIANNE
I read your draft. I think if
you’re in rush, you need to write
what you know.
(beat)
You have a tech background… write a
thriller that draws from that.
ALEX
Because I can’t write a romance? My
girlfriend is saying I’m clueless
in romance.
MARIANNE
Whoa… slow down. You’re putting
words in my mouth, that aren’t
fair… or true.
Alex is about to quickly respond, but then stops and pauses
in thought. His expression drops, as he responds softly.
ALEX
Which part wasn’t fair… and which
part wasn’t true?
MARIANNE
Alex, you’re getting defensive… I’m
just trying to help you. You don’t
have a real sense yet, for what’s
involved.
ALEX
(gently)
You never answered the question…
MARIANNE
I thought we could have a nice
dinner together… I’m just sharing
what I know from experience.
ALEX
With all the books you’ve sold… I
can see the level of expertise.
Marianne’s demeanor drops, at first deeply hurt, then just
quiet disappointment.
Alex immediately realizes the impact of his reaction.
ALEX
I’m sorry…
MARIANNE
You know, when my second book took
off… there wasn’t anybody who could
tell me anything. I was sure it
would never end.
ALEX
I didn’t mean it…
MARIANNE
It’s fine… sometimes there’s hard
truth in honest reactions.
(beat)
I know you’re racing to figure
things out… but I have to do that
too.
Alex senses the date going south quickly.
ALEX
Let’s focus on dinner… I just want
to have a nice time with you.
MARIANNE
Maybe it’s best we take a rain
check on tonight…
She signals for the waiter’s attention, and takes out her
credit card.
ALEX
We haven’t eaten… what are you
doing?
MARIANNE
You know… I don’t mean to tell you
what to do. I’m just sharing what I
know, from years of struggle.
(beat)
I’m rooting for you Alex… not
against you.
The waiter comes over, Marianne hands him the card and
whispers some instruction.
MARIANNE
We can try this again some other
time…
ALEX
Don’t go… I just wanted to spend
time with you… please stay.
MARIANNE
I’m going to go.
Marianne gives a slight grin, that resists breaking into a
smile. Then gets up from the table.
MARIANNE
We’re just not in a good place for
each other right now…
Goodnight, Alex.
Marianne heads over to the waiter, getting her card and the
receipt. Then heads to the door.
Alex watches in disbelief, with a look of indignation.
He grabs the little basket of bread that was put on the
table, grabbing a piece and roughly taking a bite.
As he chews, his look becomes saddened.
He looks around and his eyes stop on a waitress taking the
orders of a nearby group. He watches in thought, as she
smiles and interacts with each person.
As she finishes, Alex leaps up in an epiphany and heads to
the door, in pursuit of Marianne.
Genres:
["Romance","Drama"]
Ratings
Scene
34 -
Unrequited Confessions
EXT. RESTAURANT - NIGHT
Alex bursts through the entrance, standing on the edge of the
steps outside. He spots Marianne just below, entering the
parking lot. He calls out to her.
ALEX
A waitress doesn’t have to write
about taking orders…
Marianne stops and turns at the sound of his voice. Looking
directly at Alex.
ALEX
Writing what you know… is writing
the truth in your heart.
(pauses)
I’m writing what I know… I know how
I feel.
Marianne’s look turns sullen… reluctant to reply. After a
pause in thought, she replies.
MARIANNE
You see, Alex… you still have so
much to learn.
(sadly)
It can’t be rushed, it has to be
earned… or else it’s just
melodrama.
(with regret)
Sorry, Alex… I have to go.
Alex is left crushed, feeling the rejection, and falls to sit
on the steps, looking like a kicked puppy.
A TODDLER (4), dressed in an adorable miniature suit and
bowtie, wanders into frame.
The child stands there, staring at eye level with Alex.
ALEX
Hi… don’t you look spiffy. I hope
you have a better evening.
The child’s mother rushes over and abruptly picks the child
up, as if rescuing it. Alex just watches and sighs.
He is left sitting there, looking pitiful.
Genres:
["Romance","Drama"]
Ratings
Scene
35 -
Confrontation at the Carter Residence
INT. CARTER RESIDENCE - NIGHT
Alex enters slowly, his head still hung in anguish.
As he quietly shuts the door and turns, he’s shaken at the
sight of his father standing there.
ALEX
Hey, Dad… I’m just gonna head
upstairs, okay.
FRANK
No, we need to talk. I’ve heard you
haven’t been looking for a real job
at all… you’ve been pursuing some
writing thing.
ALEX
It’s not a good time Dad… let’s do
this in the morning.
FRANK
No, Alex! Time for games is over,
you have important life decisions
in front of you… and you’re blowing
it on waste of time hobbies.
(beat)
Your living here rent free, as a
help to get yourself back on track.
Do that or get out… I’m serious.
Alex lifts his head up to look his Dad in the face. His eyes
are welled up and a tear runs down his cheek.
ALEX
Okay… that’s what I’ll do.
Frank is taken aback at Alex’s emotional display.
FRANK
There’s no need to get all worked
up… this is for your own good,
you’ll see that, trust me.
ALEX
You’re right Dad… goodnight.
Alex’s head lowers, and he heads for the stairs.
His father watches, his face displaying compassion he can’t
express.
Genres:
["Drama"]
Ratings
Scene
36 -
Job Offer Chaos
INT. ALEX’S ROOM - MORNING
Alex wakes, groggy after a sleepless night.
He goes to the window, raising the blinds and looking out,
without any show of emotion.
ALEX
Artie, restart the task script of
job search five dash twenty one.
(pause)
Make the following changes -
eliminate all position openings
other than programming, add back
all available positions that
involve pure coding. Priority
remains experience with Python
based software.
(beat)
Oh, expand the commute radius to 25
miles… or whatever radius expands
the opportunities to a minimum of a
dozen a week, until complete… I
mean until success is achieved.
ARTIE
Does the success parameter remain
the same… it is currently number of
scheduled interviews.
ALEX
Change current success parameter to
a work flow of interviews converted
to job offers, and job offers
accepted or refused.
(beat)
The success workflow ends on
acceptance of a new position.
ARTIE
Understood and modifications are
complete.
Alex is sitting at his computer, clicking through emails.
He stops at an email, titled “Are you still available -
Position Open”
The email opens and he reads, with his eyes opening wide.
Alex jumps from the chair and grabs his phone, tapping
through for a number. He has it on speaker and sets the phone
down next to the computer monitor.
DEBRA
Hello, Debra speaking… how can I
help you?
ALEX
Hi Debra… I see you have been
trying to get me? I’m just going
through my emails now.
DEBRA
Alex! I’m so glad you called… can
you hang on one moment?
ALEX
Uh, sure.
It goes to a split screen. Alex on the left waiting and the
other screen is an empty office.
Debra suddenly bursts into the office, turning back to the
door and seeing nobody following in behind her.
She goes to the door and angrily waves someone inside.
DAN MCGUIRE (52) a slight and timid guy with thick glasses,
slowly enters, looking like he’s being dragged against his
will.
Once he’s in the office, Debra takes the phone off mute.
DEBRA
Alex… sorry to make you wait. We
wanted to discuss the possibility
of you returning to work.
ALEX
You fired me… you said AI was
already doing 95% of my job.
DEBRA
Look Alex, I’m going to be honest
with you… we cut staff too deep. We
want to bring some people back.
ALEX
The low performer?
Debra rolls her eyes in anguish. While Dan just frowns in
frustration.
DEBRA
We have generated a lot of software
with AI, but we haven’t been able
to deploy much of it, because we
don’t have the manpower to debug it
for launch. You somehow were able
to get past that hurdle. We need
your help, Alex.
DAN MCGUIRE
(with pained expression)
Alex, it’s Dan. I’m looking forward
to having you back.
Debra nods to Dan. Dan just frowns.
ALEX
I want a 10% raise… and an extra
week’s vacation.
Debra hits mute and visually begins arguing with Dan on the
split screen, the argument increases in intensity and Debra
hits Dan with a folder, sending pages flying.
Dan starts deflecting then smacking her hands away, which
then turns into a furious little smack fight with Debra.
Alex is getting impatient waiting, and beginning to lose
interest in the conversation.
ALEX
Look, I’d like to go back to work…
but I don’t think I like being the
tech equivalent of a janitor,
coming in to mop up the mess.
Debra and Dan’s fight simmers down, and she takes a breath
gathering herself, then takes the phone off mute.
DEBRA
Alex, that’s not true… it was a
business decision to let you go,
and it’s a similar decision to
bring you back.
ALEX
How do I know, I won’t just be used
for an efficient debugging process…
and then be cast aside again.
Debra silently points Dan to the door, signaling to get out.
DEBRA
Look Alex, nobody’s job is safe
anymore… every department is
changing as a result of AI.
(beat)
Would you rather wait that out on
the sidelines or take advantage of
this opportunity, while it exists?
ALEX
I don’t know… I have to think about
it a little bit. I’ll call you
back.
Alex hangs up the phone, and sighs while in thought.
Genres:
["Drama","Comedy"]
Ratings
Scene
37 -
A Moment in the Dark
INT. META STAGE - UNKNOWN TIME
The curtain is down and the theater is darkened and deserted.
Lisa steps out from the shadows wearing her hat and coat,
eyes misty, breath unsteady.
She approaches Billy, who stands alone in the stillness, in
bewilderment over what has happened.
LISA
(choked up)
It was great working with you…
goodbye.
Lisa extends her hand to Billy, in professional courtesy.
Billy quickly recoils.
BILLY
I’m not shaking your hand…
LISA
(swallows hard)
Then we’ll just leave it at
goodbye.
She turns and heads to the exit. Billy reacts instantly.
BILLY
Lisa, don’t!
(waits for her to turn)
No one comes back, after going out
that door.
LISA
Look around, Billy… it’s over. No
one’s here, everyone’s gone.
BILLY
We are, Lisa… we are.
Lisa hesitates — looking around — letting the weight of the
empty world sink in.
BILLY
Please, come sit… there’s nothing
to lose.
(long pause)
Just sit with me.
LISA
Fine…
Lisa exhales, defeated, but humoring Billy.
She walks up into the empty seats and drops into a row near
the back.
Billy crosses the aisle and sits beside her.
There’s dead silence. Lisa scanning the dark deserted space.
LISA
Doesn't this feel stupid…
BILLY
No.
A faint, Soft Clarinet Glissando from “Rhapsody in Blue”
plays as the scene fades.
Genres:
["Drama","Romance"]
Ratings
Scene
38 -
Betrayal and Revelation
INT. CARTER RESIDENCE KITCHEN - MORNING
Alex in an open robe over pajamas, looking like he has no
where to go, pours coffee for himself.
Jenna comes through, opening the fridge for a yogurt.
ALEX
You ratted me out to Dad the other
night… thanks.
JENNA
It just came up. He’s not stupid.
ALEX
I can take the teasing… you’ve been
doing that since you can walk.
(beat)
But I never felt I couldn’t trust
you.
JENNA
I was asked a question and told the
truth… he was already onto you.
ALEX
You know, my heart broke for you
when Matthew left… I can’t believe
you couldn’t stand that I was happy
for a moment.
JENNA
(reluctant, soft)
You’re right… I shouldn’t have said
anything.
(then snaps)
I’ll stay out of your business… you
stay out of mine!
Jenna quickly heads upstairs with her yogurt.
INT. ALEX’S ROOM - DAY
Alex, dressed, in front his computer, looks over his resume.
ALEX
Artie, file this as current resume.
Use this for all targeted jobs,
unless I direct an opportunity
specific adjustment.
ARTIE
Done and noted.
ALEX
Any opportunities found today?
ARTIE
Three openings meeting criteria,
current resume is scheduled to be
sent for each at midnight.
Alex sighs and leaves.
INT. CARTER RESIDENCE LIVING ROOM - DAY
Alex enters the front door with the mail, flipping through
the stack without interest.
He immediately freezes at the sight of one envelope.
A glimpse reveals “Storycraft Imaginations” in bold.
Alex’s head snaps up. He heads to the kitchen.
INT. CARTER RESIDENCE KITCHEN - CONTINUOUS
Alex pops in wide eyed, seeing Jenna sipping a coke.
ALEX
Open this… please.
Jenna lifts her head, shrugs with indifference. Takes the
envelope Alex is holding out to her.
She opens it, reads without emotion… drops it to the counter.
JENNA
You won.
Alex’s expression flares in shock. The ANDANTINO of Rhapsody
in Blue plays over Alex locked onto the letter.
Genres:
["Drama","Family"]
Ratings
Scene
39 -
A Moment of Triumph
INT. META STAGE - UNKNOWN TIME
There’s a sound of a breaker thrown, faint lights appear at
the snap.
Lisa’s head snaps up with the sound. She sees the curtain
shimmer, as lift ropes tighten.
LISA
Billy! What’s happening…
Billy is shaken from sleeping. His head darting around.
INT. CARTER RESIDENCE KITCHEN - CONTINUOUS
Jenna heads upstairs without a care.
Alex’s gaze is pulled to the stairs, as she goes.
Once she’s gone, he steps towards the letter.
He stops… pausing in fright. His eyes go back to the stairs.
ALEX
You wouldn’t… You couldn’t.
As his eyes return to the letter, the MOLTO TRANQUILLO —
delicate violin quiver plays. Alex pauses in doubt.
He finally bursts forward, grabbing the letter to see for
himself.
As he reads, Rhapsody in Blue enters the Grandioso.
INT. META STAGE - UNKNOWN TIME
The Grandioso continues, as bright light begins to emit from
behind the edges of the curtain.
The curtain begins to lift. Slowly. Steadily.
Warm light begins to fill the darkness.
Lisa’s breath catches.
Her eyes widen with stunned wonder.
Billy rises beside her, breaking into a wide smile.
The curtain continues to rise slowly, revealing a fully lit
stage, alive again.
Billy comes out from his seat, extends his hand.
Lisa rushes out into the aisle, takes his hand.
They head to the stage, in exhilaration.
INT. CARTER RESIDENCE KITCHEN - CONTINUOUS
Alex lifts his head, with a look of stunned awe. He speaks in
a whisper.
ALEX
I won…
Then emotions break loose, with a great shout.
ALEX
I WON!!
Genres:
["Drama","Romance"]
Ratings
Scene
40 -
Revival on the Meta Stage
INT. META STAGE - UNKNOWN TIME
Billy leads Lisa up the stairs to the stage, then reaching
out, steering her around into one of the two spot lights that
appear shining on center stage.
ACTORS emerge from the shadows, as if coming out of hiding.
They are blinking, confused, stirred by the light and sound.
Rhapsody in Blue goes from Grandioso into the big tune. The
meta stage world is reviving.
LISA
Hello. Welcome back…
BILLY
Come on up, don’t be afraid.
Lisa is giddy now and taps her feet, starting a routine that
can barely be heard.
Billy is amused as he watches.
BILLY
What are you doing?
LISA
(facetiously)
What I was born to do!
(then serious)
I’m just happy.
Billy looks intrigued, then steps to the side, off screen.
The piano notes become more distinct. Lisa’s attention turns.
Billy is at a grand piano, playing Rhapsody in Blue for Lisa.
Lisa lights up at the sight of Billy at the piano.
Billy is shown playing with all necessary intensity.
Then Lisa is revealed, in a black sequined tap tuxedo and top
hat. Ready.
LISA
Let’s do it!
Lisa continues with her routine. All the cast mates gather
around her, in grand appreciation.
Genres:
["Musical","Drama"]
Ratings
Scene
41 -
A Triumphant Announcement
INT. CARTER RESIDENCE KITCHEN - CONTINUOUS
Alex’s mom comes down the stairs, with a look of concern.
MARGIE
Alex dear, you okay?
ALEX
I won the Storycraft contest!
Margie comes into the kitchen, heading to the trash can.
MARGIE
Oh, that’s wonderful… would you
take this garbage out dear.
She turns and Alex is gone, leaving nothing but a dust trail,
with the door to outside left flung open.
EXT. LEON PRICE’S HOUSE - CONTINUOUS
Alex stands there ringing the bell. Looking anxious.
Leon answers the door.
LEON
Hey, what’s up?
ALEX
I won!
Leon takes the letter Alex is holding out, looks it over.
LEON
You won… whadda get?
INT. META STAGE - UNKNOWN TIME
Rhapsody in Blue has moved to the ACCELERANDO, with tempo
rising.
Lisa’s tapping sharpens — bold sweeps, crisp stomps, bright
strikes.
Billy plays with lively, buoyant energy, feeding her
momentum.
Performers shift into tuxedo formals and top hats, energized,
ready with canes in hand.
Lisa commands the space.
Genres:
["Drama","Romance","Musical"]
Ratings
Scene
42 -
Celebration and Triumph
INT. PROFESSOR HELEN SHORE’S OFFICE - CONTINUOUS
Alex bursts into Prof. Shore’s office, holding the letter out
in display.
ALEX
I won!
Prof. Shore peers out over her glasses, at Alex. She appears
to almost crack a smile, but then responds.
PROF. HELEN SHORE
But obviously success hasn’t
improved your manners… please knock
before entering my office.
INT. META STAGE - UNKNOWN TIME
Rhapsody in Blue moves to the RITORNELLO, snappy, syncopated,
pure Broadway
Performers pour in from the wings — top hats, canes, dazzling
smiles.
Lisa remains the only tapper, her rhythm slicing through the
orchestra like pure electricity.
The ensemble dances around her — orbiting her beat.
Billy lifts them higher at the piano.
Lisa is the sun at the center.
EXT. ELLIOT’S HOUSE - CONTINUOUS
Alex gets out of his car heading over to Elliot, who is
emerging from his house.
They meet on the lawn in a leaping chest bump, then close
with a high five.
INT. META STAGE - UNKNOWN TIME
Rhapsody in Blue moves to the BROAD BUILD.
The new performers stream unto the stage in numbers, a
surreal, top-hat-and-cane March of the Wooden Soldiers.
A glimpse reveals there’s a excited audience before them now
filling every seat.
The number of performers feels wrong, it’s too many for the
space, but they are still coming.
Rhapsody in Blue moves to the FINALE.
The tempo surges, it’s dazzling, unstoppable.
Lisa bursts into her fastest taps, brilliant and euphoric.
Billy tears through the final ascending piano run.
Performers dance in full spectacle behind her.
And still…
more dancers keep entering.
A WIDE SHOT REVEALS, the meta stage has grown to THREE TIMES
ITS NORMAL SIZE.
An ARMY of dancers fills the expanse, the endless stream
finally revealed.
All behind Lisa. All dancing in sync.
She lands her final tap, rips off her top hat, and throws her
arms open in a glowing, triumphant pose.
Behind her, the entire army freezes in flawless formation.
A magnificent, impossible sight.
And the audience gives a raucous standing ovation.
Genres:
["Musical","Drama","Comedy"]
Ratings
Scene
43 -
A New Opportunity
INT. ALEX’S ROOM - DAY
Alex looks relaxed, pleased, and scans some emails.
Picks up his phone, dials.
ALEX
Hello Debra… it’s Alex.
He pauses listening, nods a little.
ALEX
Yeah, I’ve thought about it… and
I’m taking another opportunity.
Alex listens, tight-lipped.
ALEX
I understand, Debra. But this is
the right fit… it requires me to
daydream.
Take care now.
Alex taps the phone to hang up, with a look of content.
INT. COFFEE HOUSE - DAY
Alex strolls into a coffee house, looking up at the menu
board, as he approaches the counter.
MARIANNE (O.S.)
Alex…
(beat)
Alex, over here.
ALEX
Marianne?
She steps closer.
MARIANNE
Storycraft… Wow!
(beat)
That gets you noticed.
ALEX
Yeah… I hope so.
MARIANNE
Congratulations.
ALEX
Thanks.
Alex pauses, furrowing his brow.
ALEX
What are you doing here?
MARIANNE
Paying rent.
ALEX
You’re still writing, right?
MARIANNE
Yeah, of course.
Something new this time.
ALEX
I won some money.
Could I take you out?
Marianne hesitates, but then locks unto to Alex eyes.
MARIANNE
(smiles)
Yeah. Let’s do that.
ALEX
(with surprise)
Great.
MARIANNE
Enjoy it.
A moment well earned.
Alex breaks into a smile, gives a slight nod, then leaves.
CUT TO BLACK.
SUPER:
ACT 3
IT’S ONLY HUMAN
Genres:
["Drama","Romance"]
Ratings
Scene
44 -
A Night on Set
INT. META SCENE (NIGHT SKY) - UNKNOWN TIME
Billy and Lisa stand at a deck railing, shoulders touching,
gazing at a beautiful nighttime sky.
The moon hangs full and bright. The starry sky appears
infinite.
Lisa looks up in wonder. Billy looks at Lisa.
LISA
How do you know we’ll make it… is
it possible to live happily ever
after?
BILLY
I believe it… as sure as the sun
will come up tomorrow.
Lisa grins through an incredulous look.
LISA
How can you be so sure…
BILLY
Because I love you, and can’t
imagine a moment of my life without
you.
Lisa looks back blankly, registering what was said, then
kisses him.
The scene suddenly fades away, revealing meta stage and a
crew around them.
DIRECTOR
That’s a take… and we’ll use it.
(points to Billy and Lisa)
Good work!
The other cast members and stagehands all start applauding
lightly for Billy and Lisa.
LISA
(to Billy)
Nice work… I didn’t know you could
be such a mush.
BILLY
(sheepish)
Just doing the job.
Genres:
["Romance","Drama"]
Ratings
Scene
45 -
Navigating the Aftermath of Victory
INT. ALEX’S ROOM - NIGHT
Alex is in a T-shirt and sleep pants, while staring at the
computer screen scanning search results.
ALEX
Artie, what’s the next step after
winning the Storycraft contest?
ARTIE
Capitalize. Announce the win.
Update your materials. Begin
networking for exposure and
introductions.
ALEX
Update my materials? I have a
winning script?
ARTIE
Winning the contest doesn’t
guarantee the script is ready for
Hollywood.
Contests reward premise and voice.
The industry buys a movie—budget,
market fit, and producibility.
Expect rewrites. Likely multiple
before it’s optioned or sold.
ALEX
(sighs)
It never ends… the rabbit hole just
deepens.
ARTIE
A contest win is leverage, not
validation you seek.
Recommendation: begin networking
for exposure and introductions.
Genres:
["Drama"]
Ratings
Scene
46 -
Morning Tensions
INT. CARTER RESIDENCE KITCHEN - MORNING
Alex enters in an open robe over a T-shirt and sleep pants.
Half-asleep. He goes straight for the coffee.
He pours. His phone RINGS.
Alex checks the number. Furrows his brow.
ALEX
Hello, Alex Carter.
CALLER (V.O.)
Mr. Carter, hi. I’m calling from
the Cinematic Writers Workshop.
Alex frowns, trying to place it.
CALLER (V.O.)(CONT'D)
We’d love to invite you to come
speak about your Storycraft
Imaginations win.
Alex perks up, intrigued.
CALLER (V.O.) (CONT'D)
We have members who submit every
year. Hearing from the winner is a
real treat.
ALEX
I’m not familiar with your group.
CALLER (V.O.)
We’ve been around a long time… over
twenty years. A few of our members
are past Storycraft winners.
Alex’s eyes open a little wider.
ALEX
And you want me to talk about my
script.
CALLER (V.O.)
About what went into it. Process,
craft… whatever you’re comfortable
sharing.
Alex glances down at his robe, suddenly self-aware.
ALEX
Yeah, I can do that.
(pause)
Can you send the details?
CALLER (V.O.)
Absolutely. Thank you, Mr. Carter.
Alex hangs up. Sips his coffee. A small smile forms.
INT. CARTER RESIDENCE - DAY
Alex is following behind his father, pleading his case.
His Dad is mad, trying to avoid the conversation.
ALEX
I have my own money now, I’m not
living off of you… just living in
your house for a little while.
FRANK
It’s not about money, Alex. It’s
about responsibility and your
future… you’re wasting time, when
you need to be advancing your
career.
ALEX
That’s exactly what I’m doing Dad…
I am advancing my career.
FRANK
You had a given career… and you’re
blowing it on something with the
odds of a lottery ticket.
ALEX
I’m taking a shot at something… you
can’t understand it, because you
never had the guts to take a chance
for anything.
His Dad’s expression goes flat and he stands silent.
Then goes out the front door, in escape of the conversation.
Alex watches him go, with a look of guilt.
Genres:
["Drama","Family","Romance"]
Ratings
Scene
47 -
The Unraveling of Recognition
EXT. LOCAL SCHOOL - NIGHT
A black Tesla pulls up near the main entrance. The building
almost appears deserted, but someone walks by inside.
Alex gets out of the car, thanks the driver.
He turns, heading in with a proud smile.
INT. LOCAL SCHOOL - NIGHT
Alex Stands at a small podium, in a classroom used for the
Cinematic Writers Workshop meeting.
There’s children’s work hanging on the walls, along with
instructional signs and notices.
There’s a banner that hangs across the main blackboard, that
reads “Cinematic Writers Workshop”.
A group of twenty five are seated, listening intently.
ALEX
I want to thank the group, for
inviting me in to talk about my win
in the Storycraft Imaginations
contest.
(glances across room)
It was actually quite a surprise
for myself, because it was my first
contest… and first script.
Many in the room look puzzled, several begin whispering among
themselves. Alex notices the buzz.
ALEX
Being my first script and contest,
I guess I should acknowledge my
collaborator, Artie.
Brows furrow, the whispering becomes open conversation with
some.
The group administrator, GARY (43), stands to question Alex.
GARY
Alex, your script was submitted as
sole authorship.
ALEX
Well, yeah… one human author. My
advisor, Artie, is the CREO AI
platform.
Jaws drop, the room goes silent for a moment.
AUDIENCE MEMBER 1
You’re saying you cheated?
ALEX
Oh, no… I wrote the story. Artie
just helped me.
Multiple people from the audience begin to stand up and speak
out.
AUDIENCE MEMBER 2 AUDIENCE MEMBER 3
You stole it… People have Working with AI is unethical!
worked years trying for that
award.
Alex is realizing the trouble he’s caused.
ALEX
Your all misunderstanding, I just
used Artie to help speed me up, in
learning.
AUDIENCE MEMBER 4 AUDIENCE MEMBER 5
You’re helping machines make AI just copies from other
us obsolete… authors work… it’s theft!
Alex is sensing the group getting agitated, and fears them
getting unruly.
AUDIENCE MEMBER 6
You have to give back the award and
denounce it as fraud.
AUDIENCE MEMBER 7
Thief!
Alex knows the crowd is about to get unruly.
ALEX (TEXTING)
(to Elliot)
Come to the school. Help!
ELLIOT (TEXT)
Help you give a speech?
I don’t think so.
ALEX (TEXTING)
Get me out of here. NOW!
ELLIOT
OK. On my way.
Alex turns back to the room, nearly all are standing and
trying to get their opinion heard.
ALEX
I’m sorry… I have to get going now.
The voices and chatter gets louder now, with Alex saying he’s
leaving.
AUDIENCE MEMBER 1 AUDIENCE MEMBER 2
You can’t leave yet, you need Alex, you can’t do that!
to understand what you did.
Alex sees the entire room moving, edging closer to him
shouting the points they want to make. It begins to feel
threatening, and Alex heads out.
As Alex exits the room, heading for the front doors, people
start flowing out of the room, following Alex to make sure
their point is heard.
Alex looks back and stumbles, in shock at how emotional they
all have become.
He gets back up with fear on his face, as everyone closes in.
Genres:
["Drama","Conflict","Controversy"]
Ratings
Scene
48 -
Frantic Escape and Somber Reflections
EXT. LOCAL SCHOOL - NIGHT
Alex bursts through the doors, looking around desperately for
Elliot. The crowd begins flowing out behind him.
Elliot pulls in slowly. He’s without concern, and in no rush.
Alex runs towards the car, waving his hands downward,
signaling something.
Elliot is confused, so lowers the window to hear Alex.
Alex leaps into the window.
ALEX
GO, GO! drive!
Alex pulls his legs in, as Elliot pulls away from the
gathering mob at the curb.
There’s clenched fists of frustration, and several middle
fingers waving at the car as it leaves.
ELLIOT
What the hell did you say?
ALEX
Apparently, they aren’t fans of
Artie.
ELLIOT
You told them about Artie.
ALEX
They were two minutes from breaking
out torches and pitchforks.
ELLIOT
I could have told you it was a bad
idea to mention Artie.
ALEX
I thought I was helping them…
bringing something new.
ELLIOT
A lot of those people make a living
writing… you remember losing your
job, right?
ALEX
Okay, I didn’t really think it
through… but it doesn’t matter any
more.
ELLIOT
What are you talking about?
ALEX
I’m done. Finished. This is
impossibly tough.
(pauses)
The universe has spoken… it’s a
hard no.
ELLIOT
After winning and everything?
Really?
INT. META STAGE - UNKNOWN TIME
The theater is empty and darkened again
Billy and Lisa sit quiet on the edge of the stage. Their legs
dangle off, they stare off with sullen expressions.
LISA
And everything was going so well…
BILLY
(softly, agonized)
Yeah…
Genres:
["Drama","Metafiction"]
Ratings
Scene
49 -
A Father's Encouragement
INT. CARTER RESIDENCE - UPSTAIRS HALLWAY - DAY
Alex’s Mom is doing chores and strolls by with folded towels,
putting them in the linen closet.
As the closet door closes, she glances over to Alex’s door.
With concern, she approaches his door, knocking lightly.
After a few taps, with no response, she leaves.
INT. CARTER RESIDENCE LIVING ROOM - DAY
Margie enters the room. Frank has his feet up, watching TV.
MARGIE
Frank, Alex has been in his room
for days and hasn’t come out…
(pause)
I’m not even sure he’s come out to
use the bathroom.
Frank shuts off the TV, looks at Margie and sighs.
FRANK
I know, I know… Don’t worry, I’ll
talk to him.
EXT. ALEX’S ROOM - DAY
Frank walks up to Alex’s door, knocks.
He waits a moment, with no response.
Frank opens the door, sticking his head in.
INT. ALEX’S ROOM - DAY
FRANK
Can I talk to you?
Alex sits up on his bed, with a look of dread.
ALEX
Sure… fire away.
FRANK
Alex, I know how important this was
to you.
ALEX
I don’t think so Dad. I don’t think
you understand it at all.
FRANK
I know how hard you worked. You
must have really wanted it.
ALEX
It doesn’t matter, Dad… It’s all
over with now.
FRANK
It’s hard to give up something,
that has become a dream. A dream
you felt was in reach.
Alex’s demeanor softens, changes to sincere curiosity.
ALEX
Yeah, it feels like losing the
Super Bowl, on a fumble.
FRANK
I can relate to losing out on a
dream, though mine was different.
There was no fumble, I chose to
leave the game.
ALEX
What do you mean?
FRANK
When I met your mother, I was in a
band.
(smiles reminiscing)
She came to see me a few times,
before I asked her out.
ALEX
Mom was a groupie?
FRANK
No! Don’t get smart.
(beat)
I was good.
(MORE)
FRANK (CONT'D)
I never had trouble getting gigs.
Once we got married, band gigs
didn’t cut it.
ALEX
Mom made you quit?
FRANK
No, she wouldn’t do that… I kept
doing it as a hobby, with secret
hopes of being discovered.
ALEX
So what happened?
FRANK
Responsibility called… your Mom got
pregnant, with you.
ALEX
You regret it?
FRANK
Regret you? Never for a moment.
(beat)
My point is this… Responsibility is
coming for you too, but it’s not
here yet today. Get out there and
fight for it.
ALEX
They kicked me out, I’m not welcome
anymore in the writers group.
FRANK
You think I don’t pay attention or
care… I know this; you have a
winning script. There’s a producer
out there who will make it into a
film. Get out there and sell it.
ALEX
Thanks, Dad.
Alex gets up from the bed and gives his father a tight hug.
CUT TO:
MONTAGE - ALEX VS. THE GATEKEEPERS
MUSIC: "Authority Song" by John Mellencamp kicks in—with
driving guitars, and rebellious beat.
Genres:
["Drama","Family"]
Ratings
Scene
50 -
From Rejection to Hope
EXT. CARTER RESIDENCE - DAY
The Carter residence on a beautiful day. The intro of the
song plays, focus is on the front porch and door.
As the lyrics begin, Alex bursts out the door, leaping off
the porch. He hits the ground, flying past the mailman.
He suddenly stops, turning on a dime, walking slowly up to
the mailman with a script in hand.
The mailman waves him off, shaking his head, walking away.
QUICK CUTS:
- Alex dropping thick envelopes into mailboxes, sealing them
with resolve.
- Exiting office buildings, frustration mounting as doors
close.
INT. LOCAL CHURCH - DAY
Alex kneels in a pew, head bowed in quiet prayer. An OLD
WOMAN approaches, gently taps his shoulder. She hands back
his script with an apologetic head shake.
Alex takes it in both hands, blank expression, then slowly
tilts his head skyward, with a silent "You too?!" look of
betrayal.
QUICK CUTS:
- Alex aggressively tossing envelopes into a mailbox, with
determined resolve.
- Exiting an office building in a rush, looking back as if he
was chased.
EXT. OUTDOOR FILM SET - DAY
- Alex stands by a chain-link fence, with a sign displayed
indicating a film shooting. He looks around for a way in.
- Alex approaches an ACTRESS getting coffee. He pitches
earnestly; she glances at the script, grimaces, drops it like
it's contaminated, waves her fingers as it falls, to ensure
“it’s all off”. Then walks away indignantly.
- Alex sits beside the DIRECTOR, watching the shoot. Sitting
like he belongs. Eventually, the Director does a double-take,
and glares at Alex.
DIRECTOR
Who the hell are you?
Alex fumbles, pulls script, flips it open to show a page.
The Director immediately jumps up.
DIRECTOR
Out! Get out!!
He points to the parking lot. Alex slinks away.
- EXT. CARTER RESIDENCE - LATE AFTERNOON
Alex, exhausted and discouraged, checks the mailbox. Pulls
out a thick envelope. Opens it—an official invitation to
pitch to a big-time producer.
His eyes widen. A small, weary grin breaks through.
END MONTAGE.
Genres:
["Drama","Comedy"]
Ratings
Scene
51 -
A New Opportunity
INT. ALEX’S ROOM - NIGHT
Alex is all smiles. He takes his phone and dials.
MARIANNE (V.O.)
Hey, sweetie… what’s up?
ALEX
I did it…
MARIANNE (V.O.)
Did what? Tell me…
ALEX
I have an appointment to pitch my
script.
MARIANNE (V.O.)
You’re kidding! That’s fantastic!
(beat)
When is it?
ALEX
I have to wait two weeks… I wish it
was tomorrow.
MARIANNE (V.O.)
No, Alex… that’s a blessing. You
have time to prepare.
ALEX
My story is finished, what are you
talking about?
MARIANNE (V.O.)
No, don’t change the story. You
have an opportunity to step back
and look it objectively, without
emotion, and make adjustments… this
is big time now, Alex. Don’t take
it lightly.
ALEX
Really?
MARIANNE (V.O.)
I think it’s time you let me see
your script again… I can offer
suggestions.
ALEX
Yeah, sure… I appreciate the help.
Genres:
["Drama","Romance"]
Ratings
Scene
52 -
Separation on Stage
INT. META STAGE - UNKNOWN TIME
There’s heavy construction activity on stage. The sound of
buzzing saws and hammers fills the air.
Lisa is up on a ladder, with a cordless drill. She is in work
boots, a flannel shirt and jeans. She has the look of Audrey
Hepburn playing the Marlboro man.
Billy walks up and stands at the bottom of the ladder.
BILLY
What are you doing?
LISA
We’re back in business and it’s all
hands on deck… gotta get ready.
Lisa comes down off the ladder.
Once down, she holds the drill up, and taps the trigger, for
the zip-zip sound.
LISA
How about helping out? It’s fun.
The Director walks up, looking a little agitated.
DIRECTOR
Lisa, knock that off… you guys got
work to do.
LISA
We know this story… I can do it in
my sleep.
DIRECTOR
This is it, what we have been
working for… I need you to do
something, so it’ll be your best.
BILLY & LISA
What?
The Director pauses, getting his thoughts aligned.
DIRECTOR
We know the story, but have to
sharpen the emotions… we want this
to shine.
LISA
Just spit it out.
DIRECTOR
We are focusing on the 3rd Act and
climax… I’m breaking you two up,
until we do the reunion.
LISA
We always work together… we help
each other. That doesn’t make
sense.
DIRECTOR
You’re going to have to trust me…
this will make the reunion on stage
better.
BILLY
It’ll be fine, Lisa.
LISA
You always say that, you never say
no. This is just dumb.
First the Director, then stagehands, suddenly fade from
stage. It’s Billy and Lisa alone now.
LISA
How does that help? We work
together… we’ve always been
together.
BILLY
Yeah, but there’s no guarantee
we’ll always be together… we do
what’s necessary, what’s asked.
LISA
You’re not so sure we’ll live on
screen, are you?
BILLY
If you are, then you’ll do what’s
necessary to make it happen.
(beat)
Stay in character, nail this
exactly the way you’re asked to.
Can you do that for me?
Lisa holds back emotions, but offers a tight lipped nod.
BILLY
Think of it this way… the next time
we see each other, we’ll be on our
way to live on screen.
Lisa doesn’t argue, she gives Billy one last look, then
leaves.
Genres:
["Drama","Metafiction"]
Ratings
Scene
53 -
High Stakes and Light Moments
EXT. LEON PRICE’S HOUSE - DAY
Alex rings the bell and stands waiting.
The door opens and Leon’s eyes widen at seeing Alex again.
LEON
Alex… surprised to see you. This is
a regular thing for us now, huh?
ALEX
No, I just really can use your
opinion… and advice.
LEON
Haha… Thought my advice wasn’t
worth much.
ALEX
I’m scheduled to pitch my story to
Cinemation… To Alfred Brooks.
LEON
Alfred… your kidding me, right.
Alex just stands there tight lipped, serious look.
LEON
Come on in… let’s talk.
INT. LEON PRICE’S HOUSE - DAY
Leon and Alex are each sitting in comfortable living room
chairs, chatting over beers.
LEON
I struck out both times with
Alfred… but in the pitch, I would
feel that I had him… then suddenly
something wouldn’t fit and bam,
it’s over and you’re heading home.
ALEX
So how do I prepare for that?
LEON
You don’t prepare for Alfred… you
pitch your story, with all the
enthusiasm it deserves.
ALEX
Well, if Alfred’s a tough nut… I’ll
just consider it practice, and take
my story to someone else.
(beat)
I know my story’s good… someone
will make this a movie.
LEON
It’s not that easy. You don’t
understand how this works.
(beat)
If your story bombs with Alfred,
the story’s dead… you’ll need to
write something new.
Alex’s eyes widen, startled at the comment.
ALEX
Dead? My story… dead?
LEON
It’s a small world in movie making…
people talk, titles get logged in
data bases.
(MORE)
LEON (CONT'D)
(beat)
In my opinion, from my experience…
this pitch is do or die for this
story.
Alex’s look drops, he’s struck by this.
LEON
Hey man, don’t get down! You have
the opportunity… go seal the deal.
ALEX
Yeah, right… he can’t say no to my
story.
Alex puts on a forced smile, over dread of the news.
INT. CARTER RESIDENCE - DAY
Alex walks in, deep in thought. He hears the stop-start of
music. It’s a guitar being played.
There is Jenna, leaning her head to peer into the living
room, from a hidden vantage point.
ALEX
What’s going on?
JENNA
What did you do to him?
Alex walks over close to Jenna, and leans to peer in.
There’s his father, playing an electric guitar.
Alex gives a slight grin at the sight.
ALEX
Oh, you ain’t seen nothing yet… I
hear Mom’s gonna play the drums.
Alex turns and heads upstairs, his grin becomes a chuckle.
Jenna is left speechless, bewildered.
Genres:
["Drama","Character Study"]
Ratings
Scene
54 -
A Bold New Direction
INT. PROFESSOR HELEN SHORE’S OFFICE - DAY
Prof. Shore is at her desk, grading papers. There’s a knock
at her door.
PROF. HELEN SHORE
Come in, it’s open.
Alex’s head pop into view from the doorway.
ALEX
It’s me… this a good time?
PROF. HELEN SHORE
Come in, Alex… have a seat.
ALEX
I want to thank you, for looking at
my screenplay. It means a lot.
PROF. HELEN SHORE
Well, I must say… big difference
from the last work you showed me.
(beat)
You have made big steps. I’m quite
impressed.
ALEX
Thanks, but I really need to know
if it’s good. What did you think of
the story?
PROF. HELEN SHORE
It’s a nice story. You should be
proud.
ALEX
That’s great to hear… but like I
told you in the email, I’m pitching
this to a producer.
PROF. HELEN SHORE
Pitching a story… I won’t even
pretend I can help you with that.
That’s salesmanship and economics.
ALEX
The story… do you think this story
is the best it could be?
PROF. HELEN SHORE
It’s an enjoyable story, with a
satisfying happy ending. I don’t
have complaints about it.
ALEX
Is it the best it could be?
PROF. HELEN SHORE
Well, everyone does a happy ending…
everybody likes a happy ending.
(MORE)
PROF. HELEN SHORE (CONT'D)
That makes it a pleasant story… but
you have opportunity to do
something bold, something really
memorable.
(beat)
It’s there, I see it… if you’re
brave enough to write it.
Alex gets quiet, pensive.
ALEX
I always pictured this ending
happily ever after… I never
considered anything else.
PROF. HELEN SHORE
It’s your story, Alex. I will not
tell you what to do with it… I can
only encourage you to consider
possibilities for it.
Alex straightens up at those comments, perking back up, but
before he responds.
PROF. HELEN SHORE
Now, go, get out of here… prepare
for your sales pitch.
Alex is startled, springing up straight in his seat.
He nods with a smile, then heads for the door.
Genres:
["Drama"]
Ratings
Scene
55 -
Navigating Creative Crossroads
INT. ALEX’S ROOM - NIGHT
Alex enters the room, looks deep in thought. He empties his
pockets on the dresser.
He turns and sits at the computer.
ALEX
Artie, I got some feedback and
advice today. I need a little help
making sense of this.
ARTIE
Share the feedback and I can help.
ALEX
Professor Shore likes my story, but
thinks a happy ending is too
typical… she suggested a bold turn
for the ending, something
memorable.
(MORE)
ALEX (CONT'D)
(beat)
On the other hand, Leon has me
convinced that this is do or die
for the story I have worked so hard
on… for so long. I can’t let that
happen.
ARTIE
You’re weighing two pressures that
can coexist: protect what’s true
about your story and avoid the
expected.
A “bold turn” usually means an
earned cost: bittersweet,
ambiguous, or ironic, where the
characters get something, not
everything.
I can generate endings and score
them for novelty, theme-fit, and
satisfaction—without breaking your
core.
ALEX
I also have an idea or two of my
own, let’s run through what it
could look like.
Genres:
["Drama","Character Study"]
Ratings
Scene
56 -
Discontent in the Meta Theater
INT. META MOVIE THEATER - UNKNOWN TIME
Lisa walks into meta movie theater, with her usual skeptical
expression.
She looks around anxiously, but then becomes disappointed,
seeing only one other person.
Taking the row behind him, she sees it’s someone she’s not
familiar with.
MALE ACTOR
Hey Lisa… this should be
interesting, right?
LISA
I don’t like this AI stuff… we
should be on stage.
MALE ACTOR
We’re just getting to see the
changes.
LISA
Why isn’t Billy here?
MALE ACTOR
I think it’s because, his scenes
aren’t changed or else he’s not in
the ones that are changing.
LISA
This place gets dumber every time I
sit in it.
MALE ACTOR
I was told we will work together.
I’m looking forward to it.
LISA
(halfhearted)
Yeah, it’ll be great.
She looks around once more, as if Billy would show.
LISA
I’m getting outta here… I’ll find
out about these changes face to
face, and on stage… goodnight.
Lisa gets up and quickly heads out.
The male actor looks shocked, as he watches her go.
Genres:
["Drama","Metafiction"]
Ratings
Scene
57 -
A New Dawn of Determination
INT. ALEX’S ROOM - NIGHT
Alex rolls the chair out from the computer, with something on
his mind.
ALEX
I guess I could always write
another story, but I put so much
into this one… It feels like a part
of me… I need to put this on the
big screen, Artie.
ARTIE
It is common for authors to become
psychologically tied to their work,
projecting complex emotional bonds
onto characters and narrative arcs.
Successful writers accept and even
embrace this, to produce work that
has been made into movies.
ALEX
It’s common you say… that’s nice to
know, but common isn’t going to cut
it.
(MORE)
ALEX (CONT'D)
(pensive pause)
I have to do this one alone Artie.
It has to come from the heart… or I
have no chance.
Time passes through the night, with Alex shown typing away.
INT. ALEX’S ROOM - DAWN - CONTINUOUS
Alex is in sleep clothes, still sitting at the screen, as
morning light breaks.
He has coffee and takes a sip, while admiring the sunrise.
INT. CARTER RESIDENCE KITCHEN - MORNING
Alex is in a suit, looking professional. Getting things
organized, before heading out.
He’s raises up two scripts, staring at them, contemplating…
then drops one on the counter, putting the other in his bag.
He moves to turn, but pauses, eyeing the script left behind.
Alex heads for the door.
Jenna steps out in front of him. Alex sighs.
ALEX
Not today, Jenna… No wisecracks.
JENNA
Hey, I wish you luck.
ALEX
Thanks.
Alex moves to go around her, but she puts her hand on his
shoulder stopping him.
JENNA
I mean it… I hope you kill it.
(hesitant)
It’s pretty impressive what you’ve
done… I’m proud of you.
Alex is stunned, a smile breaks.
ALEX
Thanks, Jenna… that means a lot.
Genres:
["Drama"]
Ratings
Scene
58 -
Scripted Conflicts
INT. META STAGE - UNKNOWN TIME
Lisa steps up on stage, looking across everything going on.
The meta stage has never been busier, with so many
stagehands, crew, and cast. The excitement is palpable.
Lisa walks through, stepping up to the stage manager.
LISA
Where’s the new script… let me see
it.
Things quiet down and Lisa’s cast mates gather around.
The stage manager hands Lisa the script, without words.
Now everyone in the building is quietly fixed on Lisa.
She flips, reads, starts flipping again.
INT. OFFICE BLDG.- SILVER LATCH PICTURES - DAY
Alex enters brightly smiling, as he steps to the receptionist
desk.
RECEPTIONIST
Mr. Carter?
ALEX
Yes.
RECEPTIONIST
They are in the conference room
already, follow me.
They head over a short way and walk through open double
doors.
Alex sees several people sitting in the room, at tables
forming a semi-circle before a small, modest little podium.
He begins walking over to and greeting each person.
INT. META STAGE - UNKNOWN TIME
Everyone is still quiet and focused on Lisa for reaction.
FEMALE ACTOR
The ending’s different.
LISA
This is a joke… you’re pranking me.
With a smile, she looks around for someone to crack.
The stage manager stands silent and stoical.
Lisa’s smile disappears, her lips tighten, fury building.
LISA
No! We’re not doing this… we had a
happily ever after.
STAGE MANAGER
It’s a change, I understand, but
really… how can you not like it?
LISA
Because this isn’t what we have
been working towards… for so long.
Why!
(shakes head)
I’m not… I’m not doing this!
FEMALE ACTOR
(confused)
Lisa, it’s a masterpiece… Your
masterpiece.
You’ll live on screen forever.
Lisa pauses… gently flips the pages again slowly.
She turns to others nearby.
LISA
We don’t have to do this… didn’t
you like the original story.
She turns again looking for someone listening.
LISA
Whose with me?
(looking)
Anybody?
MALE ACTOR
I think this story stands out, and
can’t be ignored.
Lisa turns away, as if he’s not there.
She goes to the director.
LISA
We can do sharper emotions like you
wanted… we can make it better.
DIRECTOR
This is the script now, Lisa…
sorry.
LISA
Please.
INT. CONFERENCE ROOM - SILVER LATCH PICTURES - DAY
Alex is at the little podium, everyone listening intently.
ALEX
This is a love story…
Genres:
["Drama","Metafiction"]
Ratings
Scene
59 -
Fleeing the Stage
INT. META STAGE - UNKNOWN TIME
Lisa is shocked, as she realizes an audience is actively
filling the seats.
FEMALE ACTOR
A live audience… finally.
(brims with enthusiasm)
Things will stop changing now!
Lisa face drops into despair, as she stares stoically.
MALE ACTOR
Lisa, it’ll be okay… I can be your
leading man.
Lisa turns to him, eyes widened, a fiery look.
LISA
You’re not Billy!
She throws the script down. Heads off stage.
The stage manager sees her do this. Throws her hand up in a
stop motion.
STAGE MANAGER
Lisa! Wait!
Lisa begins to run, heading for the door.
STAGE MANAGER
Stop her! Somebody stop her!
Lisa is in a full run, hitting into people, but continuing.
The female actor is running in pursuit.
Someone steps in front of the door, Lisa is headed for.
Lisa throws herself into him, pushing him down.
She bursts out the door. To everyone’s horror.
The female actor goes to the open door, but halts at the
threshold.
FEMALE ACTOR
Lisa! Don’t do this! Stop!
She turns back to everyone inside.
FEMALE ACTOR
Now what. What happens NOW!!
EXT. META STAGE - BACK LOT - UNKNOWN TIME
Lisa is on the back lot. It’s a vast graveyard of old props.
She grabs a scooter, hops on, heading out into the misty
darkness.
There’s a collection of fearful faces at the open door,
watching Lisa head out into the dark unknown.
INT. CONFERENCE ROOM - SILVER LATCH PITCURES - DAY
Alex is delivering his pitch, we see his mouth move and hands
active in description.
We pan in, to hear ALFRED BROOKS (57) speak, cutting him off.
ALFRED BROOKS
Let me stop you right there… I have
questions.
INT. META SPACE - LIVING ROOM - UNKNOWN TIME
Lisa is in a living space, it has warm colors, but is oddly
minimalistic in appearance.
She stands there, hair wet from the misty drizzle, looks
around without moving.
Billy enters from an adjoining room, with a glass of water.
He sees Lisa standing there, his eyes grow large, and the
glass slips from his hand, crashing to the floor.
He quickly moves himself, positioning a table between him and
Lisa, as if frightened by her.
BILLY
Lisa! What did you do!
Lisa stares sadly at Billy, her eyes pleading.
LISA
Whatever happens, whenever it
happens… I want it to happen with
you.
Billy gives a pained sigh, dropping his head away.
He then steps from around the table, extending his arms open.
Lisa hurries over, grabbing onto Billy in a tight hug.
Billy buries his head into Lisa’s
The scene immediately begins to darken, FADE.
Billy and Lisa go to SILHOUETTE.
Then it all goes to BLACK.
Genres:
["Drama","Metafiction","Conflict"]
Ratings
Scene
60 -
A New Beginning
INT. CONFERENCE ROOM - SILVER LATCH PICTURES - DAY
Alex is shaking Alfred’s hand, others are leaving the room.
ALEX
Thank you, for your time today.
Alfred just nods.
EXT. CONFERENCE ROOM - SILVER LATCH PITCURES - DAY
Alex comes out from the conference room, looking down the
hallway to the exit.
It seems so much further now.
He eventually goes past the receptionist’s desk.
RECEPTIONIST
How’d it go?
ALEX
It’s in their hands now.
The receptionist gives a forced little grin, knowing.
EXT. SILVER LATCH PICTURES - DAY
Alex emerges from the doors. An instrumental of “I’ll be
seeing you” by Eric Clapton plays over the walk to the lot.
Alex reaches his car, solemnly opening the door.
He gets in, then suddenly his head pops up.
A sly grin emerges on his face.
INT. META STAGE - UNKNOWN TIME
We enter meta stage, from the furthest point, behind empty
seats.
The curtain is closed, the theater is empty.
The view moves towards stage, seeing two people sitting on
the stages edge, legs dangling down in familiar fashion.
As we reach stage, we see its brand new characters, anxious,
excited.
One turns to the other.
NEW CHARACTER
This is gonna be great!
The other smiles in return.
THE END