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Rated: 13+ · Script/Play · Comedy · #1504289
A couple scenes from my screenplay
INT. MEREDITH'S CAR - NIGHT

Meredith hurries to finish her cigarette so she can roll up the windows.  The cold is bitter in the desert, well into the 40's.

Once the window is up, the sounds of the highway are muffled.  Meredith can hear the rattle of the car engine and Eli humming to the radio.  Meredith sees a motel down a ways.

MEREDITH
I think we should call it a night.

ELI
Pull over to this motel up here?

MEREDITH
That's what I was thinking.

EXT. NEW STARLIGHT MOTEL - NIGHT

The car pulls into the parking lot of the motel.  Meredith and Eli get out of the car and stretch.  Eli looks around at his surroundings unaffectedly and scrapes sleep from his eyes with his fingernails.

The pair goes to the office of the New Starlight Motel, a diminished-looking building with salmon-painted stucco that has been spot-painted to cover up graffiti.  Meredith and Eli stand at the front desk.  No one is behind it.

ELI
Ahh...

MEREDITH
What?

Eli points to a PICTURE OF DON CORLEONE hanging on the wall behind the counter.

ELI
(doing his best Godfather impression)
I'm gonna make him an offer he can't refuse.

MEREDITH
(amused)
Nice.

Eli giggles as if he has just been tickled in his gut.  He hits the bell on the counter and calls for service.  While waiting, he leans on the counter.

ELI
I met him once--Brando.

MEREDITH
Did you?

ELI
No.

The MOTEL MANAGER takes his place behind the desk.  He tall, thin, balding man wearing avocado-colored dress shirt and navy blue suspenders that hold up brown tweed pants.  He has a five o'clock shadow and bushy eyebrows that bury his eyes behind thick-rimmed bifocals.

MOTEL MANAGER
May I help you?

MEREDITH
Do you have two rooms?

MOTEL MANAGER
All of our singles are full, but we do have doubles available.

MEREDITH
Can we get two doubles for the price of two singles since you're sold out?

MOTEL MANAGER
Sorry, can't do that, ma'am.

Eli
We can just take one double, Meredith.  Two beds, a bathroom--it's just for the night.

MEREDITH
Fine with me; I just didn't know if you'd want your own room.

ELI
You didn't ask.

MEREDITH
(to the motel manager)
One double then, please.

MOTEL MANAGER
Forty-six even.

EXT. NEW STARLIGHT MOTEL - NIGHT

Meredith and Eli walk to their room, bags in hand.  Once there, Meredith sets her bag down and unlocks it.  The door swings open.

INT. MOTEL ROOM - NIGHT

The inside of the room looks like it had been furnished in the 1950s, with dingy wallpaper and dirtied, flattened blue-green carpet.  A few 'modern' touches were added in the 1970s, such as bright peach-colored lamps and psychedelic drapes.

Dropping her things on the bed closest to the window, Meredith observed the destituteness of the place.  She has to get out.

MEREDITH
Hungry?

ELI
I could go for something to eat.

INT. WAFFLE HOUSE - NIGHT

Meredith and Eli sit in the booth of a waffle house that looks as if it is not much younger than the decrepit motel they are staying in next door.  The restaurant is empty.  A glass of water is in front of each; Meredith has ordered a Coke, and it sits next to her water.

RUTH takes their order.  She has a Texan accent.  She could be semi-attractive if it weren't for her mousy long blonde hair that is reminiscent of one of those women who keep too many cats in their home and a yellowed tooth right in the front of her mouth.  She wears a burnt orange uniform and carries a pen and pad to take their orders.

Meredith scoots over a bit so as not to catch the rip in the leather that pokes at the back of her leg.

RUTH
You folks know what you want yet, or you need some more time?

Eli looks over to Meredith.

MEREDITH
Yeah, I'm ready.

RUTH
Alright, ladies first.

MEREDITH
Pancakes--the short stack--and hash browns, please.

Ruth writes down the order.

RUTH
Alright, and you, sir?

ELI
Belgian waffle; eggs over easy; ham, singed on top; coffee--black coffee as strong as you can make it; extra butter on the side, in addition to the butter that's already on the waffle; and warm syrup.

RUTH
Okay, folks.  I'll be back soon with your order.

ELI
(curtly)
Warm syrup.

MEREDITH
(to RUTH, hoping she won't spit in the syrup)
Please?

ELI
Please.

RUTH
No problem.  Be right back.

Ruth leaves the table.

MEREDITH
You know I only have $450.

ELI
I got enough.  Don't worry about it.

He pulls out a cigarette and offers one to Meredith.

ELI
I owe you.

MEREDITH
You owe me more than a cigarette.

ELI
Take the damn cigarette.

Meredith takes the cigarette, takes a lighter from her pocket, and lights the end.

MEREDITH
So, you had your own all along, huh?

ELI
They were packed.  I just got them out of my suitcase.

MEREDITH
About three more days and you'll get to see your Ruby again.  How  you feel?

ELI
A little scared.  Excited...scared...excited.

Meredith nods and looks out the window.  It looks pretty desolate for miles out.

MEREDITH
Never been this far out the city.

ELI
I grew up in an area like this.  That's all Bayfort is, is land.  Till you get further in to Nashville.  I met Ruby in Nashville.

MEREDITH
Yeah?

ELI
Oh, yeah.  There was a motel nearby the club reminded me of this motel here.

MEREDITH
The piece of shit we're staying in?

Eli laughs.

ELI
I'm afraid to turn the lights off in that place.  Might wake up with no toes.

MEREDITH
What?

ELI
Rats might chew 'em off!

Meredith and Eli laugh.

Moments later, Ruth approaches the table with a large tray.

RUTH
Pancakes.

Meredith raises her hand, and Ruth sets the plate of pancakes in front of her.

RUTH
(to Eli)
Then you must be the Belgian waffle.

ELI
Right you are.

Ruth sets his plate in front of him.

RUTH
And here's your warm syrup.  If there's anything else, just call out for me.

ELI
You from around here, Ruth?

RUTH
Why?

ELI
(to Meredith)
She sounds like Arlene, don't she?
(to Ruth)
You sound like someone we know.

RUTH
I'm from Dallas.

ELI
I thought so.  You know you remind me of someone.

RUTH
Your friend?

ELI
No, no.  A movie star.

RUTH
No kidding.

ELI
Oh yeah, she was a big star back in the day, a real sex kitten.  She played in that film with....oh, I can't think of it now.  You know who she is...

RUTH
Marilyn Monroe?

ELI
No, not Marilyn...keep going.

RUTH
Elizabeth Taylor?

Eli
No, not Liz...

RUTH
Grace Kelly, Audrey Hepburn, Katherine Hepburn, Jayne Mansfield, Bette Davis...

ELI
Wait--that was it.

RUTH
Bette Davis?

ELI
No, just before that.

RUTH
Jayne Mansfield?

ELI
That's the one.  You're a dead ringer for Jayne Mansfield.

Ruth is flattered.  She smiles a shy, but wide smile revealing that yellowed tooth.

RUTH
You know someone else has said that?

ELI
No kidding.

RUTH
Oh, yeah!  Well, thank you very much, sir.  You folks enjoy your meal.

Ruth leaves the table; Meredith looks at Eli expressionless.

ELI
What?

MEREDITH
Jayne Mansfield?

ELI
What?  You don't even know who that is.

MEREDITH
The old movies come on late at night sometimes.

ELI
I watch a lot of late night movies, too.

MEREDITH
You just don't stop, do you?

ELI
I don't know what you're talking about.

INT. MOTEL ROOM - NIGHT

Eli is in the shower.  The television is on, but Meredith is too tired for television.  She falls asleep on the bed.  The shower turns off.  After a few moments, Eli comes out, dressed in his pajamas.  He sees Meredith sleeping on the bed, then goes to the bed and wraps the covers around her.  He sits on his own bed and pulls a Bible from the drawer.  He reads it to the light of the television.

INT. WAFFLE HOUSE - DAY

Eli and Meredith sit in the same booth as the night before.  The have empty plates in front of them.

ELI
I'm gonna miss this place.

WAITER approaches.

WAITER
Is there anything else I can get you guys?

Eli hands him the check.

ELI
I think that'll do it.

WAITER
Change back?

ELI
Nah, keep it.  But you know what you can do for me?

WAITER
No, sir.  What's that?

ELI
Next time you see Ruth...ask her for her autograph.

The waiter laughs uncertainly, then looks at Meredith for support or explanation.

WAITER
Okay...

ELI
Okay?  Thanks!
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Printed from https://www.Writing.Com/view/1504289