Storyline - 2023-2024

Storyline.

Our Staff

Sariya Scribner Copy Editor

Sariya is a junior majoring in English with a minor in Film & Media studies. She serves as the Copy Editor of Storyline and is a member of the Communications Team at Student Media. In addition to those roles, she has also served as a mentor for first-generation college students in the Student Transition Empowerment Program (STEP). In her free time, Sariya enjoys reading books and comics of any genre, watching movies and comedy tv shows, and playing video games such as Sims 4, Mario Kart, and Persona 5 Royal.

Sydnee Jiggetts Layout and Design Director

Sydnee is a Senior this year majoring in Film and Video Studies with a concentration in Post-Production/ Editing and a minor in Graphic Design. Apart from being Storyline’s Layout and Design Director, she is also the Art and Photography Editor of Volition and is a part of the Communications Team at Student Media. She also serves at the Treasurer of Black Filmmakers Association and a Photography Director for GMU Fashion Society. She loves and has experience in film, art, and photography.

Student Media Professional Staff:

Kathryn Mangus, Director

David Carroll, Associate Director

Jason Hartsel, Assistant Director

Jonathan Baumstark, Office Assistant

Storyline is a co-curricular partnership with Film and Video Studies. Student Media provided funding and advising support, scholarships for the student editors, and honorariums for those students whose scripts were selected for publication.

Our Advisors

Thomas Britt Faculty Advisor

Thomas Britt is a Professor of Film and Video Studies at George Mason University. He is the head of the screenwriting concentration and creator of many courses, including Ethics of Film and Global Horror Film. He completed his PhD at the University of Brighton and his MFA in filmmaking at Ohio University. He is the recipient of George Mason University’s Teaching Excellence Award and writes about film, television, and music for a variety of publication outlets.

Jason Hartsel Faculty Advisor

Jason Hartsel is the Assistant Director of Student Media at George Mason University and serves as the faculty advisor for Volition, The Forge, So to Speak, Phoebe, and The George Mason Review, and co-advisor for Storyline, Hispanic Culture Review, and the Mason Votes editorial team. He is also an adjunct instructor for Mason’s Communication Department and was selected as the co-chair of the Society of Professional Journalists’ 2024 Region 2 Conference that was held on Mason’s Fairfax campus. Jason is a recipient of the University Life Positive Impact Award and graduated from Mason with a BFA in graphic design.

Melissa Houghton Content Judge

Melissa Houghton joined Women in Film & Video (WIFV) as Executive Director in August 2005. Since that time, membership has grown to more than 900 media professionals; program provision now averages 200 professional development and networking offerings per year including the ScriptDC Filmmakers Conference, Narrative Script Development Fellowship, numerous topic-focused roundtables, and filmmaker conversations. Houghton has served on the boards of the DC Architectural Foundation, DC Film Alliance, and Wide Angle Youth Media. She is currently a member of the WETA Community Council, and the FAVS Advisory Board at George Mason University. Learn more: wifv.org

Photo courtesy of Melissa Houghton/WIFV

Advisor’s Note

The first issue of Storyline (published last year) was the result of a collaboration between a graduate of Film and Video Studies (CJ Grooms, who proposed the journal), my role as an advisor connecting CJ with the Office of Student Media to pitch the journal and my supervision of the selected student writers, and the professional and student staff of Student Media, who brought the issue to life.

The fruit of the partnership, evident in how the first issue was received on campus and beyond, continues in the current issue, which we are proud to present. If the inaugural issue was relatively experimental or groundbreaking (screenwriting journals are rare), then the second issue enjoys the firmer footing of the successful launch.

The seven scripts collected here are distinguished by their individual quality and the variety of genres they represent, including Western, comedy, thriller, horror, drama, and science fiction. To showcase this diverse group of scripts from students majoring in film as well as those in other degree programs is a unique opportunity to highlight the creative possibilities of screenwriting at George Mason.

I thank the Office of Student Media and the student screenwriters for making the second year of Storyline a reality.

Thomas Britt Professor, Film and Video Studies

Rachel DePratti

Major: Film and Video Studies

Graduating in: 2024

Screenplay: Wild West

Logline: Two cowboys have a stand-off in the Wild West.

Why do you feel this publication is important?

“Storyline is important because it allows students to go through the publication process before graduation. It is also a great opportunity to get students’ written work out there and encourages other students to start writing.”

What are the inspirations/motivations behind your screenplay?

“I wanted to create a story with a lot of tension and suspense while still keeping the ending surprising. I have always loved stories that flip the script and do something that isn’t the norm, so I knew that I wanted to do the same thing in my work.”

Wild West

Written by Rachel DePratti

FADE IN:

EXT. COLT'S CROSSING- DAY

SUPERIMPOSE: Colt's Crossing, Wyoming 1871

Two cowboys, BILLY BOONE and FRANK BLAZE, stand across from each other in the middle of town square. Billy Boone wears a blue button-down vest with jeans and chaps. Wrapped around his neck is a blue bandana. Frank Blaze is older and dirtier, wearing a dusty red button-down with worn out jeans and chaps with a red bandana wrapped around his neck. They talk in thick western accents.

BILLY

Now, why don't you be nice and pay Bonnie what you owe her.

Billy nods to the saloon next to them. BONNIE is standing on the porch of the saloon, looking worried. She is a young woman with brown hair, wearing a green bodice and skirt. Frank takes a cigarette out of his pocket, lights it, and takes a long hit. He shrugs.

FRANK

What if I don't want to?

Billy scoffs.

BILLY

Do what I say, while I'm still being nice.

FRANK

I don't think so.

Bonnie interrupts.

BONNIE

It's ok, Billy. We don't want any trouble here.

FRANK

See? The lady says she doesn't want trouble. You should listen to her.

Frank takes another hit of his cigarette.

BILLY

See, us cowboys out here have a code of honor that we live by, and we expect every cowboy that comes through to honor them.

Billy steps closer to Frank.

BILLY (CONT'D)

And one of those rules is to always pay for your drinks.

Frank steps closer to Billy.

FRANK

I never liked following the rules.

Bonnie looks nervously between the two men.

BILLY

See, I know cowboys like you. They never seem to stay above snakes for too long.

FRANK

Is that a threat?

BILLY

Just a warning.

FRANK

Well, I don't take too kindly to threats or warnings.

Frank flicks the cigarette onto the ground and stomps on it to put it out. He takes another step closer to Billy.

FRANK (CONT'D)

And I sure as hell don't like paying for my drinks.

Frank moves his hand closer to the gun hanging on his hip. Bonnie gasps and rushes inside the saloon. Billy also moves his hand closer to his gun.

BILLY

Well then, I'm gonna have to ask you to leave.

FRANK

You talk about the code of the west, but you forget- don't make a threat without expecting dire consequences.

Frank grabs his gun and whips it out of the holster. Suddenly, the loud BANG of a gunshot cries out. Frank stands still as a red spot of blood appears on his shirt and grows as he bleeds out.

Frank looks shocked as he falls to the ground. Billy looks around confused. Bonnie stands on the porch of the saloon pointing a gun at Frank.

BILLY (towards Bonnie)

You shot him!

Bonnie shrugs.

BONNIE

You were taking too long.

Bonnie looks as if this whole situation was a giant inconvenience, with Billy standing jaw dropped and wide-eyed at what just happened.

Bonnie shakes her head and mutters to herself as she walks into the saloon.

BONNIE (CONT'D)

Cowboys and their damn standoffs.

FUN FACT #1

Logline noun log • line

A logline should SELL the story, not TELL the story. A logline should include a protagonist, an action, a goal, an antagonist, and a problem or conflict.

Shree Deepkumar

Major: Art and Visual Technology

Graduating in: 2025

Screenplay: Budget Séance

Logline: Three friends use dubious means to contact the spirit haunting their dorm room.

Why do you feel this publication is important?

“This publication encourages amateur screenwriters,even those who aren’t studying film, to create and share their creations with the wider world.”

What are the inspirations/motivations behind your screenplay?

“This script is inspired by the falling picture frames and flickering lights in the freshman dorms that convinced my friends and I that our rooms were haunted. I write what I know, and everyone I know is an idiot.”

Budget Séance

Written by Shree Deepkumar

INT. DORM ROOM - NIGHT

Darkness. We can hear the faint sounds of rain and wind. A flame is lit. Then another. Then a third, in a perfect triangle. The match rises until it reveals a pale face. Deep shadows lurk around the heavily made-up eyes of ALEXIS. She shakes the match to extinguish it.

ALEXIS

Are we ready to commence?

She looks towards her right. TAYLOR's face is solemn in the deep shadows of the candlelight. Taylor nods. Alexis looks to her opposite side at JANAKI.

ALEXIS

Are you- What. Is that.

JANAKI

What?

ALEXIS

That! What is that!

Alexis points at Janaki's Garfield Miku shirt.

ALEXIS (CONT'D)

I can't do this.

Alexis turns on the bright overhead light. Their dorm room is a cramped triple. There is a small space between the two sets of beds. The dull blue carpet in this space has been covered by a 5-dollar rug. Every available space on the wall is covered with posters of musicians, shows, anime, etc.

Taylor and Janaki are sitting on the floor between the beds. All the detritus of the ritual, the lit candles, a stick of incense and a bag with the offering sits between them.

ALEXIS

Don't you understand what's at stake?

JANAKI

I-

ALEXIS

If you understood, you would take this seriously.

JANAKI

I want to be serious, but-

But what?

ALEXIS

JANAKI

You're trying to summon the dead!

A large crash of cheesy horror movie thunder rings through the room. Everyone startles from the loud noise.

ALEXIS

Taylor, mute that please.

TAYLOR

Got it.

Taylor mutes the laptop where "Spooky and ominous séance music 3 hr loop" plays.

ALEXIS

This shit has gone on long enough. We need to know why they are here!

JANAKI (unamused)

How are you still on this.

ALEXIS

What else explains what's happening?

JANAKI

Nothing has been happening.

ALEXIS

Lights flicker, shit falls off the walls.

JANAKI

Easily explainable. Bad batteries. Old command strips.

ALEXIS

What about the shower?

JANAKI What the shower? about

ALEXIS It runs for hours? At 3 am? On Sunday?

Janaki shrugs.

ALEXIS (CONT'D)

It's a college campus on a weekend! The only people awake are birds and psychopaths!

JANAKI

Even if our dorm was haunted, why would all of this work?

ALEXIS

Why wouldn't it? Taylor stop eating the offering!

Taylor sits on the floor, bag in her lap. She slowly lowers a piece of bat shaped Halloween candy away from her open mouth. Janaki looks flabbergasted.

JANAKI

What about all of these candles? If we get caught with these we're done.

ALEXIS Caught by who?

JANAKI Kevin.

ALEXIS

The RA? Have you seen him since movein?

Janaki tries to say more, but Alexis cuts her off.

ALEXIS (CONT'D) I'm resetting the ritual. 5 minutes. And then we deal with the spirit. Once and for all.

Alexis turns on her heel and disappears into the bathroom.

JANAKI

And you? Do you have nothing to say about this?

TAYLOR (shrugs)

This took over Friday game night. The other option is being in my room with Mia and her boyfriend.

Taylor grimaces.

TAYLOR (CONT'D)

I prefer this.

INT. DORM ROOM - NIGHT

The ritual has been reset. The three sit cross-legged in a tight triangle around the candles. The candles throw flickering golden light onto all of their faces. Janaki wears a plain black shirt.

ALEXIS

Let us begin.

JANAKI

Is that- Have you been wearing your renfaire costume?

ALEXIS

Do not speak unless prompted. Have you read your parts?

Taylor and Janaki nod.

ALEXIS (CONT'D)

Good. Let the ritual-

She holds her hands to the sky, maintaining a dramatic pause. As the silence stretches a hair too long, Janaki raises her eyebrows as high as she can.

ALEXIS (CONT'D) -commence.

Alexis glances at her phone.

ALEXIS (CONT'D)

Give up protection and guidance. Guide us to those we seek and away from those who wish us harm. May the cards open our minds to their message.

Alexis opens a bag next to her and pulls out a stack of Uno cards. Janaki's eyes bulge out of her skull. Alexis shuffles the cards and hands them to Taylor. Taylor shuffles them again.

TAYLOR

May our minds be opened.

Taylor passes the cards to Janaki. Janaki shuffles the cards.

JANAKI

May our minds be opened.

She hands them back to Alexis. Alexis wordlessly cuts the deck three times. She checks her phone. She hands a cut to Taylor and Janaki each.

ALEXIS

Focus. When the question has been asked, flip over a card. They will guide us to an answer.

ALEXIS (CONT'D)

Is there a spirit in our presence?

Taylor, Alexis and Janaki draw cards and place them face down. Alexis waits a breath and flips hers over. The card is a green 7. Alexis scrolls through her notes. Her solemn face cracks with a sliver of glee.

TAYLOR

What does it mean?

ALEXIS (whispers)

The spirit must be here.

Alexis' eyes take on a new gleam.

ALEXIS (CONT'D)

Let us consult the next card. Does the spirit have good or bad intentions?

Alexis gestures at Taylor. Taylor flips over her card. It's a red draw 2. Alexis' face loses some of its glee.

JANAKI

What now?

ALEXIS

Nothing. Just that the cards might be suggesting that the spirit is maybe possibly kind of...angry?

JANAKI

You can't be serious.

ALEXIS

Don't worry! The last card should neutralize all of this. Two bad cards a bad result maketh not!

JANAKI (under her breath) Maketh?

Alexis motions to Janaki. Janaki reaches for her card. Taylor looks tense. Alexis leans in, nearly singeing her hair on a candle. Janaki sighs and turns over the card. It is a draw 4.

ALEXIS Fuck.

From the computer, the horror music picks up tempo. Alexis grabs the cards and shoves them back into their bag.

ALEXIS (CONT'D) We need to stop right now.

JANAKI

What does that card mean?

Alexis gets up and closes the laptop. She shoves it under her armpit.

ALEXIS

It means that the spirit is very, very dangerous and very, very hostile and we need to stop right now before it notices us.

TAYLOR

Isn't that what we want?

Alexis kneels on the ground, reaching for the candles. She looks directly at Taylor, face pinched and grim.

ALEXIS

The last thing we want from this spirit is attention.

As she reaches for the candles, a strong breeze extinguishes them. The room is plunged into darkness. The music increases sharply, filling the room with music at an intolerable volume.

TAYLOR Huh.

JANAKI

What the hell?

ALEXIS

Oh God what now?

The music cuts out. The candles reignite. Alexis sees Taylor and Janaki's faces suddenly look very scared.

JANAKI

Um.

ALEXIS What?

Alexis feels a tap on her shoulder. Taylor and Janaki look even more horrified. Alexis turns around. She sees a SPIRIT.

SPIRIT

Hey!

The spirit looks holographic, like at the right angle she would phase out and disappear. She looks 20ish, in clothes that stopped being fashionable in 2005, and weren't cool enough to come back in 2024. Alexis jumps away from the spirit, screaming. She drops her laptop and backs straight into the other two girls. Taylor is frozen in disbelief. Janaki chants a string of prayers under her breath.

SPIRIT

(slow down gesture) Chill out,damn. You're acting like you've seen a ghost.

The spirit giggles. Alexis hyperventilates.

SPIRIT

Hah. Ghost Humor.

Janaki is still chanting.

SPIRIT (CONT'D) What's happening here?

Alexis snatches up her phone and scrolls through her notes vigorously. Alexis collects herself, marginally. She clears her throat to get the spirit's attention.

ALEXIS

Respected spirit! Um. I thank you-

Alexis checks her notes. She bows.

ALEXIS (CONT'D) -for your presence. We are grateful that our séance succeeded!

SPIRIT

Well...

Hmm?

ALEXIS

SPIRIT

It did not...succeed. Per se.

ALEXIS What's that now?

SPIRIT

Your séance didn't work. I saw this whole setup and thought- what if I just showed up? Might be a laugh.

JANAKI

A laugh?

TAYLOR

You can do that? What else can you do?

SPIRIT

Touching things. Make lights flicker, drop paintings. Standard stuff.

ALEXIS

So I was right! About everything! Alexis stares at Janaki. Janaki ignores her.

SPIRIT

I only do it to have some fun. Not much of that since I died.

TAYLOR How did you die?

JANAKI

Oh my God Taylor, you can't just ask people how they died.

The candlelight flickers over the Spirit's now solemn face.

SPIRIT

It was a night like this, centuries

ago-

Don't lie.

JANAKI

SPIRIT (pouts) How'd you know?

JANAKI

This building was built in the 80s.

TAYLOR

And you're wearing Uggs.

They look down at the spirit's shoes. Sure enough, Boots with the fur.

SPIRIT

Fine! I died in 2008. I put a spoon in the microwave. It exploded.

There is a loaded, awkward silence.

ALEXIS

That...sucks. A lot.

SPIRIT

It does! It also sucks to be stuck in the room I died in for 16 years! I just want to have fun sometimes.

ALEXIS

It's not fun for us though. Dealing with an eternally bored ghost.

SPIRIT

But messing with you is so fun!

Alexis, Janaki and Taylor look at each other, dumbfounded. After a pause, Janaki pipes up.

JANAKI

What about a compromise?

SPIRIT A compromise?

JANAKI

We keep you entertained, and you...stop messing with our shit.

The spirit considers the offer silently for a moment.

SPIRIT

What do you have in mind?

INT. DORM ROOM - ONE MONTH LATER

Janaki and Taylor walk into the dorm holding boxes of pizza.

JANAKI

We're back and we bear gifts.

ALEXIS

Yes, pizza time!

TAYLOR (singsong)

Pizza time, pizza time, pizza time and game time!

Alexis takes the pizza boxes from them both.

JANAKI

Where is-

The spirit appears behind her.

SPIRIT

Heyo!

JANAKI

Damn it don't do that!

The spirit floats past her, unbothered.

SPIRIT

What are we playing tonight?

ALEXIS

We only ever play one thing. I don't know why you still ask.

Taylor and Janaki settle in next to Alexis on the ground. Alexis pulls out the Uno deck and shuffles. The spirit smiles.

SPIRIT

Deal me in.

THE END.

Jason Mabry

Major: Film and Video Studies

Concentration: Screenwriting

Graduating in: 2025

Screenplay: Crash

Logline: After having his car mysteriously wrecked, a man goes in search of the culprit.

Why do you feel this publication is important?

“I feel that this publication is once again a sign of my talents as a writer. It shows how despite how much I may doubt myself and my abilities, I can still write scripts that tell great stories, compete with other talented individuals, and are received positively by others. All in all, it’s a sign that what I’m doing is working and bringing me one step closer to fulfilling the dream.”

What are the inspirations/motivations behind your screenplay?

“The idea behind this screenplay came from something that happened to me a few months back. Someone had managed to tear off my car’s bumper in a parking lot and didn’t leave a note. And the police couldn’t do much since there were no cameras or witnesses around. So, I was left upset and thinking of ways to find the person responsible for hitting my car. It didn’t work, but I thought ‘Hey, I can at least make a good script of this.’ So, I wanted to write this script with the idea of someone going through a similar experience to me but taking it to the most extreme levels possible. And I thought writing it as a revenge story would be a fun and interesting way for me to go with it (along with letting out a few frustrations as well).”

Crash

Written by Jason Mabry

EXT. PARKING LOT - DAY

JOHN, 20-year-old college male, stares blankly in shock, looking on at the broken wreck that is now his car. An OFFICER is heard speaking to John, but he doesn't listen.

OFFICER (muffled)

Yeah, sir. Unfortunately, I couldn't find any cameras around that could catch anything. Sir? Sir?!

The officer waves their hand in front of John's face, bringing him back to reality.

JOHN Huh? Oh, sorry. I was just...processing this.

OFFICER

I understand, sir. This is definitely unfortunate. Especially given the number of spaces open.

We see them standing in the middle of an empty parking lot.

JOHN

Seriously, how do you hit a parked car with all this space? It's ridiculous. But you were saying something?

OFFICER

Yeah, like I said, there aren't any cameras in the area that could've caught anything. And we haven't received any witness reports, so there really isn't much I can do for you.

John rubs his face.

JOHN

Come on, man, isn't there anything you can do, like, at all?

OFFICER

Unfortunately not. Look, just sign this report for me and take my card. If you manage to find anything out, just call and let me know.

JOHN (sighs)

Okay.

John begrudgingly signs the paper and takes the card. The officer then leaves the scene.

John looks onward at the wreckage and car parts scattered around the ground. He picks up whatever parts are salvageable and throws them in his trunk. He eyes a broken matte silver paint chip that doesn't belong to his car. He picks it up and stares intensely at it.

JOHN (CONT'D) Hmm.

INT. DORM ROOM - NIGHT

CUT TO:

John sits at his desk, continuing to stare at the paint chip. On his laptop are images of different sports cars with silver matte paint finishes. Framed on his desk is a photo of him and his father standing in front of what was once John's pristine vehicle.

JOHN

Where did you come from, little guy?

Suddenly, KEVIN, 20-year-old college male, comes into the dorm room. John puts the paint chip down.

KEVIN (to himself)

Whew, crazy day. (to John)

Oh, hey man, wasn't expecting to see you here.

JOHN

I could say the same to you. Aren't you supposed to be on a date with that girl from bio?

KEVIN

Girl from history. The girl from bio was last week.

JOHN

Right, right. Hard to keep track of your "fast and loose" lifestyle.

KEVIN

Well, that's how the ladies like it. Fast and loose.

Kevin makes a thrusting motion. John snickers.

JOHN

Dude, please, I can't handle something that corny right now. Please just tell me how it went.

KEVIN

Well, besides almost dying from some cheese dip that got in my popcorn, it went. Went to the movies, to Bob's Bistro, and back to her place.

Kevin winks.

JOHN

Good. Now try to keep her for more than a week.

KEVIN

We'll see. Now. Why are you here? I thought you'd be out playing cards by now.

JOHN

Well, I would. If some jackass didn't wreck my car. And in an empty parking lot no less!

Kevin rubs his neck.

KEVIN

That's crazy, man.

JOHN

Yeah. I called the cops, but they were completely useless, especially with no cameras or witnesses.

KEVIN

Well that's... Yeah, that sucks. But if the cops can't find anything, then I guess there's nothing you can do.

JOHN

Except research what cars have silver matte finishes in the hopes of tracking down this asshat.

KEVIN What?

John shows Kevin the paint chip.

JOHN

This paint chip came off the perp's vehicle, which I think is a sports car. Now, I don't know what make or model, so I wrote down the numbers of some auto shops and...

Kevin gives a mild chuckle.

KEVIN

Dude, who are you trying to be? Batman? Just let it go before you develop an ulcer.

JOHN

But if I just call a few shops, I can...

KEVIN (fake British accent)

Go on an endless goose chase sir and find nothing. No, you're better off staying here and playing some games with me.

Kevin picks up a controller from his desk and shows John. John sighs.

JOHN Ok, fine, I'll...

INT. DORM ROOM - DAY

John waits on the phone, contacting different auto shops.

JOHN

Hi, I'm calling to see if any damaged silver sports cars came in recently.

MONTAGE OF JOHN'S PHONE CALLS

John paces throughout the room, calling shop after shop. Each call, bringing only a new phone number to cross out. And each failure only increasing his anger. Day turns to evening as no progress is made.

The penultimate number is called, and still nothing. John lets his frustrations out, punching the wall, throwing his chair, and tearing his posters off the wall.

INT. DORM ROOM - NIGHT

John lies on the floor, defeated. He calls the last number on his list.

JOHN

Hi, yeah. I'm calling to see if anyone recently brought in a damaged silver sports car. I understand if you don't... (pause) Wait, you did!

John quickly rises up from his resting place.

JOHN (CONT'D)

Can you tell me anything about the owner?

(pause)

Ok, I'll be over tomorrow.

INT. DORM ROOM - DAY

An alarm rings throughout the room. John quickly rises from his bed and throws on some black clothes. Opening a drawer, he stops, eyeing his pocket knife. He contemplates the decision before grabbing the knife and his car keys. Right at the door, he stops, suddenly having a realization.

JOHN

Oh. Right.

INT. PUBLIC BUS - DAY

John rides on the bus. He sits awkwardly between a SLEEPING MAN and a WOMAN, carrying on a loud conversation over the phone.

INT. AUTO SHOP OFFICE - DAY

The MECHANIC, a grizzled man in his 30s, leads John into his back office -- a room cluttered with papers and clipboards on every surface. The mechanic sits at a desk, counting an envelope of cash.

MECHANIC

We gave em an estimate, but he turned us down. We were able to pull his information though.

The mechanic rummages through the clutter of papers and pulls out a folder.

MECHANIC (CONT'D)

Here we go. Right where I thought.

John takes the folder from the mechanic, answers finally in his grasp. Before John exits, the mechanic throws out a question.

MECHANIC (CONT'D)

I'm curious. What will you do when you see this fella?

JOHN

Just talk. Up, close, and personal.

MECHANIC

I see. Well, just make sure it doesn't get back to me, got it?

John nods and exits the room.

INT. PUBLIC BUS - NIGHT

John enters the assailant's information into a public database. The results return the name and address of "Tyler Phillips". John cracks a slight smile.

EXT. HOUSE - NIGHT

In the dead of night, John stalks the outside of an uppermiddle-class home. In his all-black attire, he remains cloaked in the darkness.

John spies the house's side door and scopes out the street. The neighborhood is quiet, with no passing cars or civilians. John darts over to the house's side door and uses his knife to breach the door.

INT. GARAGE - NIGHT

John enters the garage, a room dimly lit by the light of a workbench highlighting a birdhouse under construction. With shelves, tools, and bikes lined up against each wall and two cars sitting in the center of the room.

One is a blue SUV, and the other is a damaged silver sports car. John stares intensely at the damaged vehicle. He quickly hides as TYLER comes into the room.

TYLER

Ok, back to work.

Tyler goes back to working on the makeshift birdhouse. John exits his hiding spot, taking out his knife and creeping up behind Tyler. He holds the knife to Tyler's throat.

JOHN

Don't scream, or else.

TYLER

What the!? Who are...

JOHN

So, you like building houses? That's nice. But I guess you like destroying cars more.

TYLER

Dude, what are you talking about? You want money, I can get you money. Just let me go.

JOHN

It's not about the money. It's about making you understand that actions have consequences.

John holds the knife closer to Tyler's neck.

TYLER

Wait, wait, wait. You're the owner of the car that got hit, right?

JOHN

Yeah, what good is that info going to do you now?

TYLER

I didn't hit you. It was my sister's boyfriend who did.

JOHN What?

John slightly pulls back the knife.

TYLER

My sister went on a date with some guy from her class and took my car. (MORE)

TYLER (CONT'D)

But then she let him drive, and he ran into you.

JOHN

Why not file a report or call the cops then?

TYLER

My sister was drinking at the time, and she's only 19. Last thing the family needs is her mugshot in the local news.

JOHN

And the last thing I needed was a damaged car. And yet here I am, the one being screwed over.

TYLER

Look, man, I got screwed too. A busted-up car and a knife at my neck, for some shit I didn't even do. But how about this? I tell you who actually hit your car, and you fuck off.

There's a pause as John weighs his options. He acquiesces and pulls the knife back.

JOHN

What's his name?

INT. DORM ROOM - NIGHT

A storm billows outside, as John sits in the darkness of his room. On his desk sits two bags of burgers and fries. In his left hand, he holds the framed photo of his father. And in his right hand, he holds a tube-shaped object obscured by darkness. Kevin enters the room, drenched from the storm outside. John pockets the object.

KEVIN

Damn, this is one bitch of a storm. Couldn't even head to the dining hall in this mess.

Kevin turns the lights on.

KEVIN (CONT'D)

Ever heard of turning on the lights, man?

JOHN

Sorry, I was just thinking about some things. But on the bright side, I managed to get us some burgers and fries.

Kevin puts his hands together, as if in prayer.

KEVIN

Thank you for this beautiful gift, oh mighty Lord. They're lactosefree, though, right?

John cracks a sly grin.

JOHN Of course.

INT. DORM ROOM - MOMENTS LATER

John and Kevin sit at their desks, facing away from each other, and chowing down on their food. John turns around to watch Kevin eat his burger.

JOHN How's the food?

KEVIN

Eh, it's alright. Four Fellas must've changed their recipe or something because this tastes off.

JOHN

That's unfortunate.

John stands up and faces Kevin.

JOHN (CONT'D)

On the bright side, I know who hit my car.

Kevin stops chewing his food, refusing to look at John.

KEVIN

Didn't you say you'd let that go?

JOHN I did.

KEVIN (raised voiced) Then why you'd keep looking?

Kevin lets out a cough and tries to catch his breath. John places the framed photo of his father on Kevin's desk.

JOHN

Because that car was my dad's pride and joy. And the last thing I got from the old man. So I couldn't just 'let it go'.

KEVIN (wheezing)

John, look, I...

Kevin tries to stand up from the desk, but he stumbles to the floor. John stands over Kevin, looking down on him.

JOHN

Unless the next words out of your mouth are "I'm sorry for wrecking your car and lying about it," I don't want to hear it.

KEVIN (coughing)

Look, I just got a little tipsy and made a mistake, alright? I'll pay you back for the car, and we can just put this behind us.

JOHN

Nah, we're way past that at this point. There's only one thing I want from you.

John pulls out the tube-shaped object, its identity finally revealed.

JOHN (CONT'D)

Your EpiPen.

John casts a wicked smile down on Kevin, who looks on in terror. Kevin whips his arms around, trying to grab at his only hope of salvation. Unable to muster the strength, his arms fall to the ground. Kevin gasps for any breath he can find, but there is none.

JOHN (CONT'D)

Yeah, I'm sorry. Forgot to ask them for the lactose-free cheese. I guess I made a mistake. But maybe we could put this behind us.

Kevin takes his last breath and falls silent. John looks on blankly before leaving the room.

Tyler Mandell

Major: Communication

Graduating in: 2025

Screenplay: Dentally Ill

Logline: A young boy must face his fears at a dentist’s office.

Why do you feel this publication is important?

“I think Storyline is important because it gives budding screenwriters a chance to show off their work as well as connect with other creatives on campus.”

What are the inspirations/motivations behind your screenplay?

“I went through a lot of my own dental drama at a young age, so the main character’s fears and anxieties are ones I also experienced. For the story’s tone, I love writing surreal humor and visual jokes that surprise people and I try to incorporate that into my writing whenever I can.”

Dentally Ill

Written by Tyler Mandell

FADE IN:

INT. WAITING ROOM - DAY

A dull looking office, with blank walls and beige-colored furniture. We see a terrified looking YOUNG BOY, age 7, sitting in a reception chair and tightly gripping his MOM's arm while leaning against her. She fills out a form on a clipboard, not noticing her son's anguish.

He looks up at her with puppy-dog eyes, and lays himself on her lap on top of the clipboard.

She briefly stops writing, rolls her eyes, and then slides the clipboard out from under him and places it on top of his head, and continues filling out the form.

He sighs with his head now under the clipboard, with his face looking as worried as ever. His HEARTBEATS get progressively louder and drown out the waiting room ambience.

The heartbeats suddenly stop once the boy realizes his mother is frantically tapping on his shoulder. He looks up and she points to a young HYGIENIST, with a bright smile on her face and waving at him.

HYGIENIST

Come on, you're up!

He gets up from his chair and very slowly walks over to her, almost trying to emphasize each step as much as possible. The hygienist keeps her smile wide, with zero notice to the boy's body language.

INT. OFFICE HALLWAY - DAY

The hygienist holds the boy's hand as they walk together.

HYGIENIST (overly cheery)

So, you're the one who's getting a tooth extracted!

The boy nods.

HYGIENIST (CONT'D)

I can't imagine getting surgery like this at your age... You're very brave, did you know that?

The boy uncomfortably forces a smile for her.

HYGIENIST (CONT'D)

I'll just be taking you to sit outside our main operating room and you can go inside once our head surgeon is finished.

The hygienist and the boy walk over to two doors, each with a hazy glass panel.

Just as they're about to enter, both doors swing open as a wheelbarrow carrying a casket is brought through by a MORTICIAN.

Both the boy and the hygienist step aside for him, with the boy looking at the casket with shock as the wheelbarrow exits off screen. The hygienist then pulls the boy through the double doors.

INT. HYGIENE BAY

The main hygiene bay still initially looks like the rest of the office by the doorway, until...

HYGIENIST

Okay, here we are!

The main hygiene bay is modeled entirely after a medieval torture chamber, with cobwebs and torches all over the gray brick walls. Several people are in agony while stretched on torture racks or chained to the walls and whipped. Many unseen people are heard screaming in terror.

The boy is visibly frightened, though the hygienist just moves him over to a bench outside of a door labelled "Operating Room".

HYGIENIST (CONT'D)

Now, just sit right here for a moment. Very soon, the surgeon will...

A MAN bursts into flames and screams. The light of the fire illuminates over the hygienist and the boy, with the screaming muffling out everything the hygienist is saying.

The fire and the screaming eventually stop.

HYGIENIST (CONT'D) ...is that clear?

The boy doesn't respond.

HYGIENIST (CONT'D)

Okay, good.

She walks into the office by the bench, and we see that the boy is seated next to a PRETEEN. He has his hair slicked back, a leather jacket, and smokes a cigarette. He looks over at the boy.

PRETEEN

First time?

The boy nods.

PRETEEN (CONT'D)

Listen, kid, I don't know if you've noticed, but neither of us are getting out of here in one piece.

He turns around to a window that reveals a long grassy field surrounded by a tall steel chain-link fence with barbed wire on the top of it like at a prison.

PRETEEN (CONT'D)

Okay, I'm gonna try and make a run for it while no one's looking. After that, you can follow my lead. Got it?

The preteen looks around, then opens the window and jumps down it. The boy quickly closes the window, and looks through it as he sees the boy running towards the fence. When suddenly --

BLAM!!!! A loud gunshot is heard, though we only see the boy's startled reaction to it. He looks back through the window, and sees the preteen flopped over on the ground. From off-screen, a pack of wolves run over and drag the preteen's body away.

The boy's covers his face in shock and looks away from the window. The office door opens behind him. He immediately sets himself back onto the bench in a casual seated position.

The door opens, with tons of dark smoke pouring out through it. The boy coughs and covers his mouth and nose.

The hygienist pushes through a wheelchair that contains only an URN. As she moves the wheelchair out, she looks back at the bench.

HYGIENIST

The surgeon will see you now.

The boy gulps and winces. He goes over to the door and creaks it open very slowly.

INT. OPERATING ROOM

The SURGEON sprays the dental recliner with a fire extinguisher. Inside the room, there's a bloody pentagram smeared on a wall, and a fish tank with a shark that has a severed hand floating at the surface. In the back corner of the room, there's several moldy skeleton bones.

The surgeon is an able-bodied man in his late thirties or early forties, completely dressed in light blue O.R. scrubs with his face behind a surgical mask.

SURGEON

You must be the one getting a tooth removed.

The boy looks at the recliner and sees that the ends of the armrests are torn up by fingernail scratches.

SURGEON (CONT'D)

Just sit here, I'll be preparing the anesthetic. You won't feel a thing.

The boy gets into the recliner, and tensely looks over at the dental tools laid beside him on a small cart. These include some scalpels, a switchblade, a sword, and a handgun.

The boy gulps and looks at the surgeon, who has his back turned to prepare the anesthetic. He then looks over his shoulder and sees that the only window in the room has red bricks plastered on the outside of it.

He sighs and lays his head back. The surgeon brings over the anesthetic tank and puts a plastic mask over the boy's nose.

SURGEON (CONT'D)

Alright, you'll be out in just a moment. Just remember to take deep breaths...

The boy starts to slightly tremble and shake. From his POV, his eyes flutter.

FADE OUT. FADE IN.

INT. NEW OPERATING ROOM - DAY

The boy wakes up quite drowsy in the chair. He has cotton sticking from his mouth, and realizes the operating room now looks completely different.

It is now a nice office with the sun gleaming through the window, and a warm and friendly atmosphere. A bulletin board with pictures of the surgeon and his family and small drawings in crayon are beside the boy.

The boy is puzzled and frantically looks around. Suddenly, the door creaks open and the surgeon quietly peers through.

SURGEON

You're awake! Do you feel alright?

The boy is visibly confused, but still nods.

SURGEON (CONT'D)

You did really great! I'll just be taking you back to the waiting room.

The surgeon holds his hand out for the boy, who is dizzy and uncoordinated. They walk through the door together, with the boy almost leaning on the surgeon's arm.

INT. NORMAL HYGIENE BAY

The hygiene bay is now bright and perfectly normal. Multiple other children are seated in recliners with other dentists operating or talking with them.

SURGEON

Trust me, none of these kids could handle anything close to what you did.

The boy smiles, beaming with confidence, and both of them walk through the doors with the hazy glass panels.

THE END.

Student Media offers a variety of student-run media groups you can join (newspaper, radio, TV, and literary journals). You can contribute to as many groups as you want to gain experience in multiple genres and work with and meet a variety of people.

Visit studentmedia.gmu.edu to learn more!

Bodhi E. Bryan-Roig Natalia Melnikova

Major: Film and Video Studies

Graduating in: 2025

Screenplay: Muse

Major: Film and Video Studies

Graduating in: 2026

Logline: A closed-off photographer, uncomfortable with his LGBTQ+ identity, develops feelings for an outgoing and free-spirited actor as they go on an adventure to snap the perfect portrait.

Why do you feel this publication is important?

“Storyline is a crucial publication for George Mason because of the way the film program segments the screenwriters away from the rest of the program, as they do not have to be involved in the completion of senior films the way editors and cinematographers do. This publication gives the very talented screenwriters at George Mason a platform for them to showcase their work in a way they might not be able to do at the film festival. This publication also allows for a more direct engagement with scripts as a literary art form rather than as an extension of the final film.”

What are the inspirations/motivations behind your screenplay?

“A big inspiration for both of us when writing the script was the films of Wong Kar-Wai. His blend of subjective, romantic storytelling and formal experimentation guided us as we wrote. More importantly, this is a very personal story about acceptance of one’s own queer identity and rejecting internalized homophobia in order to self-actualize.”

Muse

Written by Bodhi E.Bryan-Roig and Natalia Melnikova

INT. HOUSE - NIGHT

Black screen. The sounds of a party fade in. 1

A room full of PEOPLE PARTYING. Red light floods the room.

CONNOR enters the party hesitantly, taking in the environment.

He walks through the crowd, looking for someone.

The energy is overwhelming.

He comes to a stop as his eyes find who he was looking for.

INT. PHOTO STUDIO - DAY Pop!

A strobe light goes off. Connor stands behind a camera, finger still on the shutter. TOMMY sits in front of the camera, blinking from the harsh lights.

TOMMY

Well? Are they good?

Connor looks at his camera and then back at Tommy.

CONNOR

I mean they're headshots...

TOMMY

What are you looking for when you're taking someone's photo?

CONNOR

I don't know, I suppose I'm looking for something that... creates a feeling. It doesn't happen very often, but I'm always looking for the picture.

TOMMY

Well, if you were to take picture the of me, where would I be?

Connor looks at Tommy, as if for the first time seeing him. His hand, his hair, his jacket, his eyes.

EXT. FIELD (CONNOR'S IMAGINATION) - DAY

Tommy walks through a field, sun cascading across his face.

CONNOR (V.O.)

I imagine you in a field...

The wind rustles a breeze through his hair and clothes. He grazes his hand across the flora.

CONNOR (V.O.)(CONT'D)

Completely yourself... free as a bird.

He turns to the camera as if turning around to a friend.

INT. PHOTO STUDIO - DAY

Connor stops staring and looks down as if embarrassed.

TOMMY

I know just the place. Come on.

Connor looks back up. Tommy is now at the door of the studio, reaching out his hand waiting for Connor to take it.

Connor contemplates for a moment, takes his hand, and is pulled out of the studio.

EXT. FIELD - DAY

The pair walk into a field. Connor looks through the viewfinder off into the distance. He comes to a stop as he finds a composition he likes.

Tommy nestles himself on Connor's shoulder in an attempt to see the focus of his attention.

TOMMY

What ya looking at?

Connor is slightly startled by the sudden physical touch and gives glance towards Tommy.

Tommy stares through the viewfinder.

TOMMY

Do you ever think about being in front

5

TOMMY (CONT'D) of the camera?

CONNOR

Not really.

TOMMY

Why? It's not like you don't have the looks for it.

Connor fidgets with the camera.

CONNOR

I've never been good at being myself when other people are watching.

An awkward moment of silence follows.

CONNOR (CONT'D) How do you do it?

TOMMY

Do what?

CONNOR

I mean... Does it ever get scary? Performing like you do in front of the camera?

TOMMY

Being in the closet is performing.

The two continue walking. Connor looks up at Tommy who has walked ahead of him.

INT. HOUSE - NIGHT

Connor looks across the room.

Tommy stands among a group of people. He sips his drink and glances at a couple standing near him.

He looks away from the couple and meets Connor's gaze.

EXT. FIELD - DAY

Connor is sitting by a tree, flipping through his camera.

Tommy is mingling in the field a few yards away.

Connor looks up and brings his camera to his eye. He begins to see the vision he had come to fruition.

He quickly stands to snap the photo.

Tommy turns around to look at the camera as if turning to a friend.

Connor snaps the photo, looks down at the image, and smiles at the result.

CONNOR

This is the one.

Tommy walks towards Connor by the tree.

TOMMY

That makes me happy.

CONNOR

What does?

TOMMY

Seeing you like this.

The pair begin to smile at each other, but Connor shies away from the moment and looks back down at his camera, blushing slightly.

TOMMY (CONT'D)

Connor... what's happening here.

CONNOR

What?

TOMMY

I like you.

CONNOR

Well yeah, I think you're a really great friend-

TOMMY

No. I want to be with you.

Connor turns his back and walks a few feet from Tommy, stone faced.

Tommy starts to walk after Connor.

TOMMY

Can you at least say ?something

Connor abruptly turns around to face Tommy.

CONNOR

I have thought about this for so long... and now, now I don't know what to say.

TOMMY

Connor, I don't know what I'm doing either.

Tommy takes another step towards Connor, who backs away in turn.

TOMMY (CONT'D)

What's stopping you? I don't want to just be your muse.

CONNOR

Tommy, it's not as easy for me as it is for you. I'm like you. not

TOMMY

What the fuck do you mean by that?

Connor stands there silently.

TOMMY (CONT'D)

I'll be at the party tonight if you decide to get over yourself.

As he says this, he begins to walk past Connor and out of the field. Connor looks back at Tommy.

Connor puts his hands to his face and lets out a sigh of frustration. He lets his arms swing to his side and gently kicks the grass.

Connor calms down for a moment and walks about the field, absorbing its beauty. We are seeing it from his eyes, as if he were taking pictures of his surroundings.

The sun cascades across Connor's face.

He grazes his hand across the flora.

He turns to face the audience. We see a deep, simmering regret in his eyes.

INT. HOUSE - NIGHT

Connor looks at us.

He nervously walks towards Tommy.

TOMMY

Well?

I'm sorry-

CONNOR

TOMMY

It's fine. You can't see this through, it happens.

Tommy starts turning back to the group he was in.

CONNOR

No, that's not why I'm here.

Connor grabs Tommy's shoulder to stop him from turning away.

CONNOR (CONT'D)

I need you to know I feel the same way and I don't know exactly what that means right now. But I'm working on it and I want to work on it with you.

Connor looks into Tommy's eyes. They glisten. A strand of his hair floats above the rest. It's perfectly out of place. His jacket is just beginning to fall off his shoulder. His skin glows, reflecting the lights of the party. A smile begins to form on Tommy's face.

EXT. FIELD (CONNOR'S IMAGINATION) - DAY

Tommy and Connor stand in the middle of the field, the sun washing over them.

They smile at each other. But, in the very next moment, Tommy isn't there.

Connor stands alone in the field. A tear rolls down his face but a smile forms.

He breathes a sigh of relief and the field breathes with him.

Sophia Carpenter

Major: History

Graduating in: 2025

Screenplay: Venture

Logline: Two corporate astronauts scout a planet for an absence of life.

Why do you feel this publication is important?

“I think highlighting screenwriters in a publication like this is important for screenwriters to showcase their original work, especially at a time when exploitation and fears of AI replacement run high. It also places an emphasis on the art itself, and encourages GMU film students, or just those that enjoy screenwriting, to work towards honing those talents.”

What are the inspirations/motivations behind your screenplay?

“I’ve always had a fascination with space and humanity’s role within it, especially as it pertains to our penchant for centering ourselves in an infinite universe. What constitutes ‘protectable’ life, and who are we to say what that is? If we can commit the inherent violence of colonization on our own people, on our home planet, is there any doubt that alien life would be even less of a priority? As the richest of us plan to die in space after depleting the planet of its natural resources, it got me thinking about what would happen if those same faceless corporations ruled the stars.”

Venture

Written by Sophia Carpenter

FADE IN

EXT. ULA-901 - DAY

A viscous wave seeps into shards of glass. Sharp wind whistles in time with the gentle lapping of the sea. Mounds of the seaglass glint in the suns beneath a copper sky.

Footsteps crunch, followed by the rhythmic scrape of something heavy pulled across the beach.

Two FIGURES come into view, both clad in black and, other than a difference in height, indistinguishable from each other. Their SPACESUITS are sleek, with hexagonal silver trim. A VISOR of darkened glass obscures their faces.

The taller one lugs a TITANIUM TRUNK behind them, grunting with exertion. A few steps ahead, the shorter one watches a glowing TABLET held in both hands.

ON TABLET SCREEN:

[CHUNXIU HOBURG and MARYAM ABASSIMAN, in red and blue text respectively, and a grid with changing coordinates. Two dots move forward, one red and one blue. The blue dot pauses in time with the smaller figure.]

Chunxiu keeps moving forward past Maryam, then stops.

CHUNXIU Here?

A beat passes as the wind twists between them. Speakers on either side of his visor crackle as he breathes.

CHUNXIU

This place is different.

He speaks with an accent, vaguely this and that, too blended to place its constituent origins. Maryam’s tablet has multiple screens open, their head bowed down to focus on it.

MARYAM (with a Lebanese accent) Yes, it is.

Chunxiu gazes out over the wobbling ocean.

CHUNXIU

The last one was, eh...

He searches for a professional word, and gives up.

CHUNXIU (CONT’D)

Boring.

The wind buffets them as he waits for Maryam to speak.

CHUNXIU (CONT’D)

Should I set up?

Several seconds pass. Maryam hasn’t looked up.

MARYAM

Yes. Biometrics first, then liquid sampling. Then sonar.

CHUNXIU

Did they remember to pack the gun this time?

MARYAM

It is in there.

VOLCANOES dot the seabed. Every so often some will belch bubbles that burst open as they lazily rise to the surface.

CHUNXIU

So... it’s sand made of glass and a saline ocean. With volcanoes.

MARYAM

It appears that way.

The pair look out over the ocean. Two suns, staggered in their positions in the sky, are setting on the horizon. The smaller of the two suns is turquoise, the larger is scarlet.

CHUNXIU

(as if pulled from him) I’m getting tired of this.

Maryam makes an abrupt turn on their heel and taps their sternum, where a metal INLAY reads: RIMCO. There is a BLINKING RED LIGHT embedded next to it. Chunxiu moodily stalks back to the trunk to start unloading.

The scarlet sun sinks into the ocean on the horizon.

EXT. ULA-901 - NIGHT

Both suns have set and a massive ORANGE MOON rises across the glass dunes. The beach glows. Wind is gentler now, but strong enough to pick up smaller shards for a few moments before dropping them back down. They tinkle like chimes.

Chunxiu squares his shoulders back and points the SONAR GUN at the ocean. It is sleek, black, shaped like a miniature megaphone, with a screen and a dial on the side. Using his thumb, Chunxiu turns the dial. Click click click.

ON SCREEN:

[A live feed of the ocean with a grid superimposed over it. In the corner: a number that climbs higher with every scroll of Chunxiu’s finger, coming to a stop at 50 dB.]

With effort, he pulls his finger back and BOOM--shoots a soundwave into the liquid some yards ahead, the air warping.

The liquid implodes where the gun was pointed, then fills back in like sand falling into a sinkhole. Within seconds the hole is gone, but the ocean continues to quiver.

Sitting on the trunk, Maryam watches their tablet as numbers and graphs appear on the screen.

CHUNXIU

Did it register?

MARYAM Yes.

CHUNXIU

Have the liquid sample results come through yet?

MARYAM

Saline. Incredibly viscous, but nothing remarkable.

CHUNXIU

Gooey saltwater.

He buries his boot into the glass.

MARYAM

Optimal place to offload a control center. Cheaper than a satellite.

CHUNXIU

The last one was for a control center, and the one before that, and the one before that, too.

MARYAM

Did you mean Blina 15? That one was for a data processing facility.

CHUNXIU

Oh, my mistake.

He sets the sonar gun back in the trunk and picks up a box from within it. He holds it for a few seconds in silence.

CHUNXIU

Should we even test the beach? What’s the point?

MARYAM

There’s protocol.

Growing more animated, Chunxiu sets the box down.

CHUNXIU

We can follow protocol.

He stoops down and picks up a shard of glass between his gloved fingers, then holds it up. Chunxiu gets his mouth as close to the recorder on his breast as he can.

CHUNXIU (CONT’D) (speakers clipping)

It’s glass!

Winding his arm back, he flings it into the ocean, where it floats atop the gelatinous liquid. Both watch as the glass pierces the surface and disappears into the translucence.

MARYAM

Are you done?

A beat. Chunxiu raises his hand to the side of his visor and presses his finger into a divot there. The glass turns clear and his face is visible. He has mono-lidded green eyes and close-cropped brown hair, his mouth a thin line.

CHUNXIU

Maybe.

EXT. ULA-901 - NIGHT

Stars, twinkling green against the darkened sky. The ocean, the glass, the wind. METAL CLANKING, Chunxiu cursing.

He heaves two folded metal panels from the trunk flat onto the ground, then unfolds both and slots the hinges together. Maryam presses a button on their tablet and three edges of the panels expand up and in, forming a pyramid.

Two doors shutter from the inside. Each edge seals with a hiss of hidden hydraulics. Chunxiu sags, out of breath.

Maryam rustles trough the trunk and finds MREs wrapped in silver plastic. They turn the package over: EAT BY: UD 2160.

MARYAM

These are expired.

CHUNXIU

Great.

An MRE floats at a delayed pace towards him. Chunxiu leans forward, snatches it from the air and tucks it under his arm.

CHUNXIU (CONT’D)

Tests find anything?

MARYAM

What do you think?

Chunxiu silently lifts a rectangular black box from the trunk and drags it behind him, hits a switch on the tent, and disappears inside.

Maryam stares out into the ocean. They press the side of their visor. The moonlight reflects in their black eyes. A few seconds more, then they follow Chunxiu in.

INT. TENT - NIGHT

Maryam unfurls two bedrolls and wedges them into the corners of their “tent”. Chunxiu plops down on one of them.

CHUNXIU

Were you born on Earth?

MARYAM

Why do you want to know?

CHUNXIU

I... I didn’t mean anything by it.

An air filter whirrs, pushing out a steady stream of visible oxygen into the tent.

MARYAM

It’s fine. I was born in Lebanon.

Chunxiu doesn’t act like that means anything to him.

CHUNXIU

I figured, but I didn’t want to assume. You know, because...

They raise an eyebrow, waiting for him to finish.

CHUNXIU

Not in a... I just mean, it’s mostly space-born I see working for the companies. Most Earthlings hate stellar work, let alone corporate.

MARYAM

Well...

They look down at their suit.

MARYAM

We should recharge.

Chunxiu and Maryam stand up and Maryam flips through some screens on their tablet. The visors release and the suits unzip from the back, falling loose around their bodies.

They peel the spacesuits off and fold them up, then place them inside a box, visor facing up. They secure them in place with cables, and shut the lid.

Unmonitored, in their RIMCO-branded underclothes. Maryam sits down on their bedroll and examines their MRE.

MARYAM Beef stew. Yum.

Chunxiu tries to make eye contact with Maryam, but they are busy ripping open a package of vacuum-sealed nuts.

CHUNXIU

You know, I’ve been to thirty planets. Supergiants, dwarfs, extragalactics...

It’s not clear if Maryam is listening. Chunxiu frowns.

CHUNXIU (CONT’D)

I found several species of cyanobacteria on Ignis a few years ago. Then RIMCO rewrote protocol, and said only multicellular species constituted...

He waves his hand in the air and pulls a face.

CHUNXIU (CONT’D) ‘Substantial life’.

MARYAM Does it bother you, ever?

CHUNXIU

I found life that doesn’t count as life. Of course that bothers me.

He surveys their tent. Two bedrolls and the charging box are the only fixtures. A dull light thrums overhead.

CHUNXIU (CONT’D)

We travel the universe to build factories, data centers, processing facilities. What are we processing? What data? What is RIMCO?

Maryam tips the rest of the bag of nuts back into their mouth, careful not to get crumbs on their shirt.

MARYAM Station baby.

Chunxiu snorts, turning several degrees uglier.

CHUNXIU

So what do you Earthlings know that I don’t? And why doesn’t that stop you from working with us?

Maryam’s face doesn’t twist until the last word.

MARYAM

We have to import water from the factories on Ilona. Our food is synthetic. The air is poisoned, the seas are dry. They cast their advertisements on our moon.

RIMCO is stamped across the walls. Chunxiu grits his teeth.

MARYAM (CONT’D)

But, there is still life on Earth. So they expand as they wait for it to die, and sometimes, they might offer a few of us a scholarship.

Maryam shakes their head; they’ve said far too much.

MARYAM (CONT’D)

I told command that the planet is clear. We leave in the morning.

Chunxiu nods, absently.

EXT. ULA-901 - EARLY MORNING

Suited up, the two astronauts sit on the trunk. They turn into the wind, as if feeling it on their faces, which are now hidden behind their darkened visors. Behind them is a large shuttle with RIMCO painted white on the hull.

The volcanoes bubble, loud enough to hear. The sibling suns rise behind them. The blue one races ahead.

CHUNXIU

What do you think they’ll build here?

Several beats pass.

MARYAM

Maybe a refueling station.

Chunxiu leans back on his hands, watching the ocean undulate.

CHUNXIU

Should we do another oximeter test? Low readings aren’t always indicative--

MARYAM

I went to Academy. I know.

He sags, then looks over his shoulder.

CHUNXIU Does he?

Atop one of the dunes near the ship is a FIGURE in the same spacesuit as the other two, white with blue trim. He swaggers towards them and scans the beach with his own TABLET and a SONAR GUN on his hip.

Silence. The pilot’s tablet casts a beam of green light into the sand, refracting in every direction.

CHUNXIU

We said, there’s nothing!

PILOT

Peer review!

The pilot’s movements are dispassionate as he drags his boots through the sand. Chunxiu turns his head to watch him, one of his hands curling into a fist, the material of his glove creaking as his grip tightens.

MARYAM

Oh my God.

Chunxiu ignores them, but with shaking hands, Maryam presses the side of their visor. They’re watching the ocean, wideeyed, while scrambling for their tablet.

Chunxiu turns to the noise and clears his visor when he sees that Maryam has, but he still looks confused.

MARYAM

Oh my God. Oh my God. Oh my God.

Maryam presses a button on the tablet with shaking hands, then points.

MARYAM

Chunxiu, look, look!

CHUNXIU

What?

He turns.

Out in the ocean, emerging from one of the volcanoes, emerges a BLOB CREATURE. It would be one with the ocean if not for its bioluminescent internal organs and its singular “EYE”, a large black pit with a glowing orange pupil.

The two astronauts stare at it, almost hypnotized, as it swims up to the surface. Life recognizes itself.

The pilot saunters over to them, his finger on the trigger of the sonar gun.

PILOT

Dammit. That’s a lot of paperwork.

CHUNXIU

What are you doing?

PILOT

Have you read Section C of the Handbook? Oh, wait--I forget they don’t tell the techies anything.

CHUNXIU

Techies? I have a PhD!

PILOT

I should’ve done that. Playing around with random numbers on a toy tablet sounds like a lot of fun.

What?

CHUNXIU

PILOT

Watch your ears, doc.

The pilot pulls the trigger, the sonic boom warping the air around them, so powerful it knocks the astronauts to the ground. The creature disintegrates in an instant, its organs sinking to the sea floor.

Chunxiu gets to his hands and knees, then to his feet, and lunges at the pilot. The gravity puts him slightly offkilter, and Maryam grabs him by the leg down to the beach with both hands. He falls to his knee, trying to wrest himself from their grip.

MARYAM

Chunxiu, stop, stop it!

The pilot points the sonar gun at Chunxiu, shakily turning the dial until it stops clicking.

PILOT

Take that back to the ship. We can figure this out there.

With his other hand, he points to his chest. The red light winks at them, and theirs wink back.

Chunxiu looks down at Maryam, who’s still holding onto him. After several beats, he lets out a rattling sigh and reaches for the trunk handle.

PILOT

All right. Good.

He walks backwards with the gun pointed at Chunxiu for several steps, until he’s a safe distance away, and turns, headed towards the ship.

Chunxiu leans on the trunk. Maryam pulls themself up to sit beside him.

CHUNXIU

What handbook was he talking about?

They watch until the hole in the ocean fills itself in, then begin to lug the trunk back to the ship.

FADE OUT

Benjamin Donnelly

Major: Film and Video Studies

Graduating in: 2024

Screenplay(s): Spend Some Time in the Sunshine Logline: On a beautiful sunny day, an overachieving highschooler discovers there’s more to life than meeting deadlines.

Why do you feel this publication is important?

“I feel it is important because it can show other screenwriters at GMU that there are many opportunities to have their hard work acknowledged and commended. It is also nice to see screenplays in magazines because you don’t see that too often.”

What are the inspirations/motivations behind your screenplay?

“A lot of the stories I write come from snippets of song lyrics that I like. This one came from the Oasis song ‘Cigarettes and Alcohol’, where the line ‘spend your days in the sunshine’ is said. I think that is just a wonderful thing to say. I sometimes struggle to balance being really determined with enjoying life and I think the screenplay has a good message that you can do both and it doesn’t always have to be just one of those extremes.”

Spend Some Time in the Sunshine

Written by Benjamin Donnelly

INT.SCHOOLHALLWAY-DAY

Busyschoolhallway.HIGHSCHOOLERSwalkupanddownthe floorataspeedypace.Inthemiddleoftherowdycrowdis SALLY,16.Sheisdressedinanicecollaredshirttucked intoherblackpants.Herbackpackislargeandshecarries pilesofnotesinonehand,andbindersintheother.

Aspaperairplanesaretossedaroundandteenagersshout, Sallyarrivesatherlocker,dropshersuppliesandopens thelockertograbsomepapers.Aweeklyplannerisposted ontheinside.Theplannerispackedwithhandwritten deadlines."Monday:HonorsEssaydue","Tuesday:Recycling Presentationdue","Wednesday:SpanishC1Quiz,Chemistry Quiz","Thursday:SwimTeamTryouts","Friday:Calculus Exam"Shetakesadeepbreath,andshutsthelocker.

Sallybendsdownandgrabsabinder.Sheopensitandputs thepapersinside.Inthebinder,isanessaytitled Spend YourTimeHowIt’sAssignedBySallyC.Wait.

Withadeterminedlookonherface,Sallyturnstofacethe hall.AssheturnsshebumpsintoJONATHAN,17,holdinga stackofpapers.Asthetwocollide,Jonathandropshis papers,andSallydropsherbinder.Everythingspillsout andmixestogetheronthefloor.Shegasps,andfrantically getsdowntogatherthem.Jonathanleisurelygetsdowntodo thesame.

JONATHAN

Oh,sorrySally!

Sallydoesnotrespond.Shehurriestopickupthepapers andputtheminherbinder.Jonathanpicksuphispapersas well.HeslidesonetoSally.Shelooksdownatit.

JONATHAN

I’vebeenhandingtheseoutthis morning.It’salittleinvitation toan..afterschooleventatmy house.Bringbeerifyoucan. (beat)ory’know,coke.

Sallypayshimlittlemind,toofocusedonpickingupthe papers.

SALLY

Nothanks.I’mtoobusy.AndI don’tdrinkbeer.(beat)Orsoda.

Jonathanlooksathermassivebackpackandbinders. (CONTINUED)

JONATHAN

Everyonecoulduseabreaknowand then.

Sallyfinishescollectingherthings,stuffingthepapers intoherfolder.Shestandsup.

SALLY

Iusethebathroom.

Thebellrings.Sallyhurriesaway.

INT.CLASSROOM-DAY

Amongherclassmates,Sallysitsatadeskinthefrontrow. Sheiscoveredbytheshadeoftheschoolflaghangingover her.Herfolderisatopherdesk.Shefacesforward,witha blankexpression.TheTEACHERstandsatthefrontofthe class.Astudentwalksfromthefrontbacktohisseat.

TEACHER

Alright,Sally,You’reupnext.

Sallypicksupherfolder,andwalkstothefrontofthe class.Shesmilesattheteacher,andopensthefolder.

SALLY (reading)

Cometomyhousetonightfora littlecookout!Parentsgone,party on!Everyone’sinvited!Bringthe threeB’s!Beer!Burgers!andbad bit-

Sallystopsherself,looksoverwhatsheisreading:aparty invitation.Shegaspsinhorror.Thewholeclassissilently staringather.Long,awkwardsilence.

TEACHER (shocked)

Uh,Sally..Ithinkyoumightwant torevisethisandpresent tomorrow.(beat)andmaybereadthe promptsnexttime.

ANERDYSTUDENTinthefrontrowwritesinhisnotebook.He raiseshishand.

NERDYSTUDENT

..WhatwasthatthirdBagain?

Sallyholdsbacktears.Shetossestheinvitationtothe ground.Sherunsoutoftheclass.

EXT.DUMPSTER-DAY

Brightsunshineoutside.Sallydigsthroughthedumpsters, shadedbytheirshadows.Herbackpackandbinderssitbeside thedumpster.

Sallypullsouttrashbagsfromthedumpster,tearingthem andlookingthroughthecontents.Onebagafteranother.She sighs,andshakesherhead.Shelooksaroundthetrashthat surroundsher,it’sasifshefitsrightin.

Sallyeyesabigboxbehindthedumpster.Shestandsup,and walkstowardit.Itisafullcaseofbeer.Sallylooks around,thenbacktothecaseofbeer.

Shepicksupthecase,andwalksawaywithit.

EXT.PARK-DAY

Sallyrevelsinthesunshineassheleisurelywalksthrough thepark.Shecarriesthecaseofbeer,drinkingoutofone ofthebottles.Shelaughstoherself.Sheseesaswingset inthepark,dropsthecaseandsitsontheswing.Swinging herselfasshedrinksfromthebeer.Fromtheswing,she eyesatrashcanandrecyclebin.Oncethebeerisempty, shetossesthebottlefromhighintheair.Itlands perfectlyinthetrashcan.

CUTTO:

Sallyisbesidethetrashcan.Sheremovesthebottlefrom it,andplacesitintherecyclebin.Thenpicksupthebeer caseandwalksdowntheroadwithasmileonherface.

EXT.COUNTRYROAD-DAY

Sallywalksdowntheroad,smilingandswayingbackand forth.Thecaseofbeerisonearm,andanopenedbottlein theother,shecontinuestodrink.

SALLY

(toherself)

Aprotonandaneutronarewalking downthestreet.Theprotonsays, "Espera,semecayóunelectrón, ayúdameabuscarlo."Theneutron asks,"Estassegura?"andthe protonresponds,"Soypositiva!"

Shelaughstoherself,andcontinuestodrink.

EXT.LAKE-DAY

Sallywalksdownatrailbesideabeautifullake,drinking andwobblingaround.Herniceshirtisuntucked,withsome stainsonit.Thecaseofbeerinherhand.Afewemptybeer bottlesonthetrailbehindher.Shestaresoutatthelake. Thensetsthecasedownandbendsovertotakeoffher shoes.

Sallytossesthebeercaseintothelake,anddivesin.She gripsthebeercaseandswimsacrossthelakewithasmile.

EXT.SUBURBANROAD-DAY

Inthemiddleoftheroad,Sallystrollsalong,soakingwet andstillholdingthecaseofbeer.Onlyafewbottles remaininthecase.Shenoticesthedrivewayofaparticular house.Therearestickfigurechalkdrawingsonthe pavement,andsomechalkontheground.

Sallydropsthecaseofbeer,andwalksuptothedriveway. Shepicksupthechalkandbeginstodrawsomethingonthe driveway.

Intheyardofthehouse,isJACK,55,wearingasleeveless t-shirtandshorts.Hishairislongandunkempt.Heis usingapush-lawnmower.HeeyesSally,andwalksuptoher.

JACK Excuseme!Whatareyoudoing?

Sallylooksuptohim.

SALLY

Oh,sorry!IthinkIhada revelation,Ijustneedamoment.

Jackleansoverhershoulder,staringdownatwhatshe’s drawing.Hisfaceturnsfromannoyedtointerested.

Sallycontinuestoetchwiththechalk.Eventually,she standsupandshoutsinexcitement.

SALLY

Aha!

Shelooksdownatthedriveway.Inchalkonthegroundis: (x+1)y1=2y,y(1)=1y=(x+1)2/4

SALLY(CONT’D)

Don’tyousee?YequalsK,andK equalsEC!SothesolutionisY!

(CONTINUED)

JACK (noclue)

Oh,ofcourse.Thatmakessense.

Somesilence.SallyabruptlyhugsJack.Thenpullsaway.

SALLY

Sorryforvandalizing.(beat)It’s funny,theanswerjustcametome whenIwasn’treallythinkingabout it.

JACK Icanunderstandthat.

Jacklooksathisshirt.It’swet.Jacksniffshisshirt.He looksbackatSallywithasuspiciousface.

JACK(CONT’D)

Wait,Whydoyousmelllike..wet garbage?

SALLY (smiles) I’mhavingagreatday.

EXT.HOUSE-SUNSET

Theorangeyyellowsunsetsinthesky.Sallywalksupto thedoorofthehouse.Loudpartymusiccanbeheardfrom inside.Sallyholdthehalf-emptycaseofbeer.Sheknocks onthedoor.Jonathanopensitup.

SALLY

HeyJohnny!Imadeittotheparty. Sorry,I’mreallydrunk. ShehandsthecasetoJonathan.Helooksdownatit.

SALLY(CONT’D)

Ibroughtthese.(beat)What’sleft ofthem.

Jonathancontinuestolookatthecase.Thenhehandsit backtoSally.

SALLY They’reforyou!Yousaidtobring beer! (CONTINUED)

JONATHAN

Yeah..

Jonathanpicksupabottlefromthecase.

JONATHAN(CONT’D)

Butrealbeer.Thisis non-alcoholic!

Sallylooksatthelabelonthebeer."CONTAINSNOALCOHOL" iswritteninsmallprint.Shedropsthecase.The remainingbeersshatter.

JONATHAN(CONT’D)

MeandLiamgotabighaulduring lunchperiodwithourfakeIDs.We accidentallygotthatcaseand tossedit.Wheredidyoufindit?

SALLY

I’m..notdrunk?

JONATHAN Imean,Icouldchangethat.

Sallylooksinsidethehouse.Teenagerslaughing,dancing, drinking.Thenshelooksdownthestreet.Kidsonbicycles goby.ShelooksbacktoJonathan.

JONATHAN(CONT’D)

Oh!Bytheway!

Jonathanreachesintohisbackpocket.HeunfoldsSally’s writtenessay.

JONATHAN(CONT’D)

Thisgotmixedinwithmy invitationsthismorning.You shouldhaveitback.

HeextendstheessaytoSally.Thetitle, SpendYourTime HowIt’sAssigned staresherintheface.

SALLY

Hmm.Actually,IthinkI’mgoingto re-writeit.Ishouldgethome soon.

Sheturnstowalkaway.

JONATHAN

You’regoingtowalk?Don’tyou liveprettyfar?

(CONTINUED)

SallyturnsbacktoJonathan.Shesmiles. SALLY It’sanicewalk!

Shewalksaway,swayingherarmsandsmiling.

INT.CLASSROOM-DAY

Sunshineseepsintotheclassroom,Studentssitattheir desks.Sallysitsbythewindow,wearingawhitet-shirtand jeans.Someofthestudentslookexhausted,hungover.The NerdyStudentisnowdressedinbaggyclothesand sunglasses.TheTeacherstandsatthefrontoftheclass.

TEACHER

Okay,Sally.Ifyouhaveyour revisedessay,youcanpresentit now.Yourgradewillincludea smallpointreduction.

Sallystandsup.Sheheadstothefrontoftheclasswith heressay.Shelooksdownatherpaper.Shesmilesand preparestospeakCUTTOBLACK.

TITLECARD: SpendSomeTimeintheSunshine FADEOUT.

All Film at Mason majors study film and video production, film theory and criticism, emerging technologies in film, ethics, screenwriting, and business practices in the film industry. Students learn to take a project from conception through creation, production, and post-production in a variety of styles while acquiring technical skills.

Visit film.gmu.edu to learn more!