Acknowledgements

I'd like to take this opportunity to thank Laszlo Kugler for the creation of Whose Role Is It Anyway?'s fabulous book cover. 

 

And to family and friends who have believed in and inspired me from the onset.

Sharing Popcorn with God

FADE IN:

 

EXT. CLOUD. HEAVEN - DAY

 

GOD and a male ANGEL are relaxing and sharing a bowl of popcorn in Heaven, enjoying film images on a cloud floating before them. 

 

GOD

This is my favorite part.

 

INSERT IMAGE

Butch Cassidy and the Sundance Kid are on their horses jumping off the cliff into a river.

 

BACK TO SCENE

 

ANGEL

My favorite too.

(reads the Heavenly Television guide)

Looks like there's a marathon today.

 

GOD

What's next?

 

ANGEL

The Sting.

 

CRUNCHING popcorn and gun SHOTS break the silence.

 

ANGEL

They had a full-proof code which helped them get away with the heist.

 

GOD

Ah.

 

A sublime sunset engulfs them; they, too absorbed to notice it and the time.

 

ANGEL

You've seen it all, haven't you?

 

GOD

Not Hombre.

 

The Angel smiles.

 

GOD

The hypocricies and prejudices!

 

ANGEL

A fair assessment.

 

As they begin to reveal themselves, the Angel savors the stars' brilliance, then returns to the guide.

 

ANGEL

There's a few more in the marathon? Do you have the time?

 

GOD

I sure could use the day off.

(beams)

Elizabeth Taylor.

 

ANGEL

A Cat on the Hot Tin Roof.

(turns to God)

Are you sure you should be watching these?

 

GOD

Are you suggesting I watch only PG-13?

 

ANGEL

(embarrassed)

No, of course not.

(returns to images)

The Verdict!

 

GOD

I haven't seen it.

 

ANGEL

It's about a heavy drinking, down-on-his luck lawyer who makes a come back.

 

GOD

Good for him.

(glancing at the next image)

Hud?

 

ANGEL

The man with the barbed wire soul.

 

GOD

Hmmm.

(rises)

I see we're out of popcorn.  I'll make more.

 

Upon His return,

 

ANGEL

God, thanks for having given me a such a blessed life.

 

GOD

I'd say it was the other way around, Paul.

(sits)

What's next?

 

PAUL NEWMAN

Absence of Malice.

 

FADE TO BLACK

 

Fiddle-dee-dee

FADE IN:

 

INT. MANSION. POST-CIVIL WAR ATLANTA, GEORGIA - DAY

 

SCARLETT escorts her new SUITOR to the front door of her mansion.

 

SUITOR

Don't leave me on tender hooks, Scarlett.

 

SCARLETT

Fiddle-dee-dee! I'll give you my answer tomorrow.

 

As MAMMY appears,

 

SCARLETT

Good day, Mr. Finnegan.

 

Upon his departure,

 

MAMMY

Miss Marsden is waiting in the drawing room.

 

SCARLETT

Bring in tea and biscuits, Mammy.

 

INT. DRAWING ROOM - SAME

 

JULIE MARSDEN is admiring ASHLEY WILKES'S photo. When Scarlett appears, she sets it back in its rightful place.

 

SCARLETT

(extends her hand)

It's so very nice to meet you, Miss Marsden.

 

MISS MARSDEN

Please -- call me Julie.

 

SCARLETT

Are you planning on building a home here in Atlanta,

Julie?  I'm not ashamed to say I have the finest

Georgia pine.

 

Mammy enters and sets the tray of tea and biscuits down.

 

JULIE

Frankly, I've come for your advice.

 

SCARLETT

Advice?

 

JULIE

What's your secret?

 

SCARLETT

(perplexed)

Secret?

 

JULIE

You've been married three times. Seems I'll be an old

maid.

 

SCARLETT

Fiddle-dee-dee, Julie.

 

JULIE

Fiddle-dee-dee? That's the secret?

 

Before Scarlett replies, Ashley stumbles in.

 

ASHLEY

There you are, Scarlett. I rushed over to tell you...

 

He stops abruptly at the sight of Julie.

 

ASHLEY

Hello.

 

JULIE

(sensually)

Fiddle-dee-dee.

 

As she pours herself a cup of tea,

 

ASHLEY

Let me help you.

 

Scarlett watches on, aghast.

 

SCARLETT

(in rapid exchange)

Fiddle-dee-dee.

 

On cue, Ashley stops pouring to tend to Scarlett.

 

JULIE

(competitively)

Fiddle-dee-dee, Ashley.

 

RHETT BUTLER barges in past Mammy.

 

RHETT

Scarlett, it's just no good. I can't go on without you.

 

SCARLETT

Rhett!

 

As Ashley pats Julie's hand,

 

SCARLETT

Ashley!

 

RHETT

Once and for all, Scarlett, make up your mind!

 

SCARLETT

And spoil the fun?

 

RHETT

(frustrated, turns to Mammy)

Fiddle-dee-dee, Mammy!

 

MAMMY

(blushes)

Lordy, Mr. Rhett. You is bad!

 

FADE TO BLACK

 

The Good, The Bad, and The Phantom

FADE IN:

 

EXT. SAD HILL CEMETARY. LATE 1860's - NIGHT

 

BLONDIE, a subdued bounty hunter, and his partner, TUCO, have been riding for hours in search of gold purportedly buried at Sad Hill Cemetary. Visibility is blinding in the storm-ridden night, clouds weighing heavily under the stars and over their heads.

 

BLONDIE

Here's as good as any to set up camp.

 

They dismount and gather their sleeping gear from the rear of their horses. Tuco spreads their blankets while Blondie builds the fire. As it grows, it illuminates an encircled cemetary just a few hundred feet away. Tuco's eyes widen at the sight. He grows uncomfortable.

 

TUCO

Did you hear that?

 

BLONDIE

Hear what?

 

TUCO

Listen.

 

Blondie stops stirring the pan of beans. Nothing.

 

BLONDIE

(irritated)

Get the bread.

 

Tuco reaches for his pack, then hears a MOAN.

 

TUCO

You didn't hear that?

 

BLONDIE

You're gettin' on my nerves. Go on, eat.

 

Bolts of lightening flash across the sky causing Tuco more uneasiness as he reaches for his gun.

 

BLONDIE

If you don't cut it out, I'll slug you one.

 

Tuco glares at Blondie, then stands, squinting into the fog. He takes a few steps; disappears. Blondie quickly rises, drawing his gun.

 

BLONDIE

I said, cut it out.

(eerie silence)

I ain't kiddin'.

 

It begins to pour.

Impressum

Verlag: BookRix GmbH & Co. KG

Texte: Petra Michelle
Bildmaterialien: Laszlo Kugler
Lektorat: Petra Michelle
Tag der Veröffentlichung: 16.11.2013
ISBN: 978-3-7309-9297-5

Alle Rechte vorbehalten

Widmung:
To fledgling screenwriters