ONE WORD - WEEK 2 - POUR

So I haven't posted as much as I'd usually like to this week, but I did manage to finish my second "One Word" script. The word for this week was "pour". No, no... not "pore" or "poor", but "pour". Don't you just love the English language?

So yeah, I was definitely intimidated a bit by this installment, much like I was with "bamboo" back in week one, because I had absolutely no idea what I was going to write about. And "pour" isn't exactly a word you can research as readily as "bamboo", so technically it was worse. The only thing I could think of, at first, was rainfall. So this script takes place in a diner during a rainstorm. A downpour, if you will. But as I was thinking about the script, I started remembering something I'd heard about how cramming too much information into one brain can cause you to lose memories or other information you've had rattling around in there for years. I don't know if there's any truth to it or not, but it sounded pretty cool at the time, and I equated it to pouring (there's that word!) a thick liquid into a glass with a much thinner liquid inside. All that namby pamby liquid would flow right out, wouldn't it? Anyway, that was my mindset, at least, and once I had that imagery in my head the rest came pretty easily. So here's my second One Word script - The Pouring Effect.

PAGE ONE

Panel 1. A young woman named Jessie is sitting in a booth next to the window in a diner. It is nighttime in the city, it’s raining, and so there aren’t many patrons in the diner. There is some basic walking traffic outside on the sidewalk, but not much. The table has the usual accessories on it, like a napkin dispenser, ketchup, mustard and sugar packets in some sort of container, etc. Jessie has a cup of steaming coffee sitting on the table in front of her. Her hands are wrapped around it in an effort to keep warm. Her hair and her coat are both damp from the rain. She’s hunched over slightly, as if trying to draw heat from the cup into her body. Her facial expression is anxious, and she’s looking up from the table. She’s waiting for somebody.

Panel 2. A waitress has arrived at the table and is speaking to Jessie without really looking at her. Jessie is looking up, slightly startled.

WAITRESS:
Can I get you anything else?

JESSIE:
Oh--oh, no. No thank you. The coffee is fine for now.

Panel 3. The waitress is gone, and Jessie is looking up at the door of the diner as it opens and a young man named Curtis enters. There is a bell over the door, and it is tinkling as Curtis enters. Curtis is absolutely drenched. His hair is matted to his head, and he’s not wearing a coat of any kind. He is very thin, and looks rather pathetic coming into the diner.

Panel 4. The cook is gesturing at Curtis with a large spatula and shouting at him animatedly. Curtis is looking dazedly at the cook as water drips from him onto the floor.

COOK:
Hey--what’re you crazy!? You’re dripping water all over the place! Get the hell out of here!

Panel 5. Jessie has arrived and has put her hands on Curtis’ arms in a protective fashion. She’s is looking apologetically at the cook. Curtis is looking at Jessie now with the same dazed expression.

JESSIE:
It’s ok, sir. He’s with me.

Panel 6. The cook is eyeing Jessie and Curtis with displeasure as Jessie hustles Curtis to her table. She is calling over her shoulder to the cook, and is pushing Curtis along in front of her with her hands on his arms. Curtis is shuffling on agreeably enough, but isn’t making any real effort of his own.

JESSIE:
Sorry for the mess!

COOK:
Yeah, yeah.

COOK:
Hey, Maurice! Get your butt out here and mop this water up before somebody slips and falls, huh?

PAGE TWO

Panel 1. Jessie pushes Curtis into the seat across the booth from where she was sitting. Curtis plops down lifelessly. Jessie is looking rather annoyed with Curtis now.

JESSIE:
Jesus, Curtis--you’re soaked! You trying to catch pneumonia or something?

Panel 2. Jessie is sitting across from Curtis now, and is trying to get his attention by waving a hand in front of his face. Curtis is still looking dazed, and although he’s looking in Jessie’s direction, it’s as though he’s looking through her.

JESSIE:
Hello? Earth to Curtis. Are you hearing me?

Panel 3. Jessie is leaning forward, and clapping her hands forcibly in front of Curtis’ face. Curtis is jerking back slightly, and his eyes have cleared somewhat.

JESSIE:
Curtis!

CURTIS:
Wha--?

Panel 4. Curtis is rubbing the back of his head, with his head partially bowed down towards the table. He’s squinting his eyes as though he has a major headache. Jessie is holding her coffee cup now, and still seems pretty annoyed with Curtis.

CURTIS:
Aw, man. Ugh--dude, my head is killing me.

JESSIE:
Curtis, what is your deal? You call me on the phone all frantic and talking about how you need to see me--even though it’s the middle of the freaking night and raining by the way--thanks for that. And when you get here you act like this? Not cool.

Panel 5. Curtis is looking up at Jessie apologetically as she sips her coffee. He is still holding the back of his head, and has a slightly pained expression on his face.

CURTIS:
Jessie--yeah, hey. I’m so sorry. I just really, really needed to talk to you about something, and--um, do you think I could get a cup of coffee or something? That looks so good and I could really use it about now, but I guess I forgot my wallet at home.

PAGE THREE

Panel 1. Jessie has turned around in her seat and has her arm raised, waving her hand in the air to draw the attention of the waitress patrolling the diner. Jessie looks slightly incredulous at the nerve of Curtis.

JESSIE:
Sure, hey--why not, right? I’ll buy you some coffee and you can tell me why we’re meeting here at two in the morning on a weeknight.

Panel 2. Jessie has turned back around to face Curtis in the booth. Curtis is looking down at the table again, his eyes squeezed shut, as if he’s willing the pain to recede.

JESSIE:
Because you’ve been seriously whacked lately, Curtis. I mean--I love you, and I think you know that, but I haven’t seen you for nearly two weeks. You don’t answer your cell, and your roommate said you haven’t been at your apartment either.

CURTIS:
I know, Jessie, I know. I just can’t focus right now. I can’t…

Panel 3. The waitress has arrived at the booth, and she has her pen and pad ready. The waitress is looking out the window at the rain. Jessie is looking up at her, and Curtis is looking up from the table at Jessie with realization dawning on his face.

WAITRESS:
Really coming down out there, huh?

JESSIE:
Um, yeah--it’s really pouring. Could we get another cup of coffee, please? Black?

CURTIS:
It’s pouring?

Panel 4. The waitress is walking away, but Curtis is frantically yelling after her from his seat in the booth.

WAITRESS:
Be right back.

CURTIS:
No, wait!

Panel 5. The waitress has turned to face Curtis, but she isn’t making any move to approach him. She seems somewhat taken aback by his frenzied outburst and the disheveled look of him.

CURTIS:
Could we get a, uh--a small glass of water! And a tall glass of milk!

WAITRESS:
Sure. Sure, I’ll bring it right out.

PAGE FOUR

Panel 1. Jessie is looking at Curtis with a partially annoyed and baffled expression. Curtis is alert and frenetic now, with no hint of the dazed expression lingering on his face. He’s pulling a napkin from the dispenser on the table.

JESSIE:
Are you out of your mind? You’re going to get us kicked out of here. They’re already ticked about the mess you made when you came in.

CURTIS:
It doesn’t matter. Jessie, look--you have to listen to me. Something bad is gonna happen. Something really bad.

Panel 2. The waitress is back with the coffee, small water and large milk. Jessie isn’t looking at the waitress now, she’s looking only at Curtis, and she has a concerned expression on her face. The waitress is eyeing Curtis suspiciously as well. Curtis is ripping small pieces off of the napkin and dropping them on the table.

WAITRESS:
Um, here’s your drinks. And I brought the check too--so whenever you’re ready.

Panel 3. The waitress is leaving, and Jessie is whispering furiously at Curtis again. Curtis has placed his coffee cup between the small pieces of napkin he’s ripped apart.

JESSIE:
Curtis, you’re starting to scare me. What are you talking about?

CURTIS:
Okay, look--I know this is gonna sound crazy, but just imagine that the coffee cup is Earth, right? And all these little bits of napkin right here are spaceships.

Panel 4. Jessie has leaned back in her seat, and is eyeing Curtis as though he’s crazy. Curtis is looking at Jessie with an expression that could certainly be read as crazed, and is grabbing the glass of water and the glass of milk now.

JESSIE:
Oh, god--you’re kidding. Please tell me you’re kidding.

CURTIS:
This is serious, Jessie. Just listen to me, all right? They’re around us. They’re all around us, and they’re trying to take over. If you’re not careful, they’re going to get you too.

Panel 5. Jessie is leaning forward a little more now, and is offering one of her hands to Curtis, concern once more stamped on her features. Curtis is holding the two glasses of liquid up for Jessie to see.

JESSIE:
Curtis, I’m listening to you. I hear you, okay--but you need to listen to me now. No one is coming to get you. They’re really not. You’re just confused, baby.

CURTIS:
No, no--they’re not coming for me. They’ve already got their hooks in me. It’s everybody else that has to worry now. It’s like these glasses, you know? One is us, and one is them.

PAGE FIVE

Panel 1. Curtis is pouring the glass of milk into the glass of water. The water glass is overflowing, and clear liquid is spilling out onto Curtis’ hand as he pours the milk. As the milk is poured in, it flows down and blooms on the bottom of the glass. Curtis is watching it happen with a mesmerized expression.

CURTIS:
They got me all hooked up, and they’re pouring the information in. I keep trying to stop it, but I can only keep them out for so long. And every time they do it it’s like more of me washes away. It gets harder and harder to remember.

Panel 2. The cook has come out from behind the counter, and is approaching the table where Curtis and Jessie are sitting. He’s upset at the mess Curtis is making. Jessie is watching Curtis with a frightened expression.

COOK:
All right, that’s it! I want both of you out of here!

Panel 3. Curtis has gotten out of his seat and is facing the cook. He’s holding the small glass with the milky water out for the cook to see. More of it slops onto the ground as Curtis gestures. The cook has stopped in his tracks and is looking at Curtis with caution.

CURTIS:
Can’t you see!? They’re replacing what I am with what they are!

COOK:
Okay, I ain’t dealing with this crap. I’m calling the cops!

Panel 4. Jessie is up from her seat and has her hand on Curtis’ shoulder. She’s looking at Curtis, but Curtis is looking down at something.

JESSIE:
Let’s just get out of here, okay? We can talk more--but someplace else.

CURTIS:
You don’t get it. There’s nowhere we can go. There’s no place where we can be safe.

Panel 5. Curtis has turned around to face Jessie, and he is holding a small caliber pistol in the hand that is not holding the small glass of milky water. His shirt is raised up slightly, as the gun was tucked into the waistband of his pants. He is looking at Jessie with true sorrow. Jessie is incredulous.

CURTIS:
I’m so sorry, Jessie.

JESSIE:
Curtis?

PAGE SIX

Panel 1. Curtis is aiming the gun at Jessie. His eyes are completely mad now. Jessie is horrified, and her hands are up in a defensive posture, but she has no chance to get out of the way. The cook is on the phone in the background, and his jaw has dropped in shock. The waitress has dropped her tray, and the items on it are tumbling to the floor.

CURTIS:
But this is the only way.