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William's Worst Day

Script By: Oliver Cairo
Literary fiction


This is a short play I wrote that I have to make into a film for school work, but I thought I would share it for everyone to read. It is the story of a man named William Clarke who wakes to a life spiraling into endless negativity, only to be shocked by the truth.


Submitted:Jul 30, 2012    Reads: 25    Comments: 0    Likes: 0   


Scene ONE

The scene begins with:

(ES of the house)

Then, the scene fades in with the camera pointing directly at the double bed. The scene consists of the bed and two bedside tables, one with an alarm clock placed onto it. AMANDA CLARKE is sat on the end of the bed.

(LS of the Full bed -continued unless otherwise stated)

(WILLIAM CLARKE enters from left of camera view, sits down on the end of the bed and begins to fiddle with the ALARM CLOCK, setting it.)

WILLIAM CLARKE

God, it's been such a long day. I just want to sleep!

AMANDA CLARKE

(Removing her EARRINGS as she speaks)

Tell me about it. Consider yourself lucky! You didn't have to cook a full dinner!

WILLIAM CLARKE

(Sniggering)

Why are you complaining? I'm the one who had to eat your horrible cooking!

(AMANDA CLARKE scoffs at him and prods him in the back. WILLIAM CLARKE copies her actions and does the same to her. The two end up in a fake fight which ends with them in bed, cuddling together.)

(CU from right-hand side of bed where actors are facing)

(WILLIAM CLARKE sits up slightly and rests on AMANDA CLARKE's shoulders. She tilts so that she is on her back and looks up at him. WILLIAM CLARKE pulls himself up onto one arm and rests, whilst using the other to stroke AMANDA CLARKE's face.)

(OTS from behind AMANDA CLARKE looking at WILLIAM CLARKE. Switches to an OTS from behind WILLIAM CLARKE looking down at AMANDA CLARKE)

AMANDA CLARKE

(Smiling)

Why are you looking at me like that?

(Switches back to OTS from behind AMANDA CLARKE)

WILLIAM CLARKE

(Returning the smile)

Like what?

(Switches back to OTS from behind WILLIAM CLARKE)

AMANDA CLARKE

Like this

(She intimidates WILLIAM CLARKE's expression. The two laugh together.)

(Switches back to OTS from behind AMANDA CLARKE)

WILLIAM CLARKE

(He smirks at her)

You're such a bully sometimes!

(He rolls out of view of camera and onto his opposite side)

(Cut to CU of WILLIAM CLARKE from opposite side of bed)

But I guess I love you anyway.

AMANDA CLARKE

I love you too, y'big wuss!

WILLIAM CLARKE

(Sniggers again)

Goodnight, Mandy

AMANDA CLARKE

Night, Will

(WILLIAM CLARKE closes his eyes.)

(Camera zooms out so the ALARM CLOCK is in view. DF onto Alarm Clock)

End of Scene - The last image fades into the next scene.

Scene TWO

The scene is relatively short and requires very little speech. It is located in the bedroom and everything is positioned as it was in the first scene.

(Scene begins with DF Shot on ALARM CLOCK.)

(ALARM CLOCK sounds. A few seconds pass. WILLIAM CLARKE's hand hits the ALARM CLOCK, switching it off. He pulls his hand back and the sound of rustling can be heard. WILLIAM CLARKE yawns)

(Camera switches to LS facing the bed.)

(WILLIAM CLARKE gets up and sits on the edge of the bed. He rubs his eyes before turning and looking at AMANDA CLARKE who is lying on her side, he face hidden from camera view but her body very obviously there in the bed. WILLIAM CLARKE prods her side and she stirs)

WILLIAM CLARKE

Mandy… sweetie, it's time to get up.

AMANDA CLARKE

(She stirs. Grunted, obviously tired)

Five more minutes! Leave me be!

WILLIAM CLARKE

(He laughs and gently pats her on the side. He then stands up, places on some SLIPPERS and a DRESSING GOWN and walks out of camera view.)

END OF SCENE

FADES BLACK AND INTO NEXT SCENE

Scene THREE

The scene is positioned in a kitchen. The camera faces at a medium shot from the right hand side of the door frame inside the kitchen so that it can be manoeuvred to follow the characters as they enter. The scene is currently empty and can be dressed however, but there must be a KETTLE and a RADIO. The RADIO should be positioned on the left or nearest the door and the KETTLE in any other location.

(LS of door frame from inside kitchen. The camera should follow WILLIAM CLARKE as he enters. Continue following WILLIAM CLARKE unless stated otherwise.)

(The scene fades in from black. Camera is facing the door. The sound of footsteps can be heard approaching. Enter WILLIAM CLARKE. The camera follows him. He makes his way over to the RADIO and switches it on, then goes toward the KETTLE and mimics turning it on.)

(Camera switches to MS from outside facing into the window where WILLIAM CLARKE can be seen in centre. Camera then switches back to a MS of WILLIAM CLARKE as the RADIO ANNOUNCEMENT begins.)

(WILLIAM CLARKE rotates 90 degrees anticlockwise so that the left side of his body can be seen in cameras view, as he looks at the RADIO. The RADIO ANNOUNCEMENT begins. The RADIO ANNOUNCER should be played by HOPE, which will come into clearer effect later on in the scenes)

RADIO ANNOUNCER

…And in other news, a recent survey of the British population shows that over the last 5 years, the divorce rates have increased by nearly 50%, with as many as 2 in 5 couples getting divorced within the first 2 years of marriage.

(As the radio broadcast continues, WILLIAM CLARKE, carrying a MUG, walks over to the RADIO to listen more clearly. He shows a concerned and puzzled look. The RADIO ANNOUNCEMENT continues)

Alongside the shocking rise in divorces, there has also been a 28% increase in the unemployment rates with as many as 100 people a week being fired from their jobs. This seems to affect the working class more than it does any other, don't you agree, Steve? Back to you.

(WILLIAM CLARKE switches the radio off and tuts.)

(LS in the same position as WILLIAM CLARKE's entrance. AMANDA CLARKE enters and the camera follows her until she reaches the bench. Switch to OTS from the back of WILLIAM CLARKE looking at AMANDA CLARKE)

(As he does, AMANDA CLARKE enters. She appears distant, tired and quite obviously unaffectionate. She begins to pour a cup of tea)

(Switch to OTS Shot from behind AMANDA CLARKE looking at WILLIAM CLARKE)

WILLIAM CLARKE

(Taking a sip from his mug)

Morning, Sweetheart. You look like you slept… well actually you look like you've never slept before. God, it's like watching Yoda make tea. (He snorts and takes another sip of his drink)

(Switch to OTS from behind WILLIAM CLARKE)

AMANDA CLARKE

(In a subtly angry tone)

Yes and of course having your supposedly caring husband tell you how "beautiful" you look on a morning really does a lot for your self-confidence, so thanks for that.

(Switch to OTS from behind AMANDA CLARKE)

WILLIAM CLARKE

Oh, stop being so silly! Christ, I was just having a laugh, you remember what one of those is, right?

(Switch to OTS from behind WILLIAM CLARKE)

AMANDA CLARKE

Yes, but I now think they call that a "marriage", don't you agree?

(Switch to LS from first camera position looking towards the two.)

(AMANDA CLARKE walks away from WILLIAM CLARKE. She turns to her right as she walks so that the camera can see her face. WILLIAM CLARKE grabs AMANDA CLARKE's right arm to stop her)

(Switch to OTS from behind AMANDA CLARKE)

WILLIAM CLARKE

(Apologetically)

Hey, I was just kidding, you know that, don't you? I love you more than anything and I do think you're beautiful.

(Switch to OTS from behind WILLIAM CLARKE)

AMANDA CLARKE

(Disinterested)

Yeah, sure you were

(She begins to walk away out of camera view)

(Switch to LS from first camera position until AMANDA CLARKE reaches the bench)

(MS from right side of AMANDA CLARKE)

(Increasingly tired)

It's getting on, don't you have work?

(Switch to LS from first camera position watching WILLIAM CLARKE)

WILLIAM CLARKE

(Walking towards the door way as he speaks, but stopping when he reaches the doorway)

You're right, I'd better get ready or I'm gonna' be late.

(He looks onto AMANDA CLARKE and then goes back over to her and hugs her from behind as she stands at the bench)

(Switch to MS from outside pointing into the window so you can see both characters' faces.)

(WILLIAM CLARKE goes to kiss AMANDA CLARKE on the cheek. She refuses and pulls away, moving WILLIAM CLARKE's hands from her.)

(Switches back to LS from first camera position)

WILLIAM CLARKE

(Walking back towards the doorway)

Well, if that's the way you want it, fine. I have to get dressed.

(He leaves camera view. From off Camera)

I have to work hard to provide for my lovely wife.

(Switches to MS/CU of AMANDA CLARKE from her right)

AMANDA CLARKE

(Muttering to herself)

Yeah, it's all about work, isn't it?

The scene fades to black.

END OF SCENE.

Scene FOUR

The scene is located in the MAIN BEDROOM - the same bedroom as Scenes 1 and 2. The camera should be positioned so that it looks onto the bed from its right side. At the far edge of the room is a MAKEUP table with a MIRROR. On the right of the camera lens, there is a LARGE WALL MIRROR that can be slightly visible. The BED should be made.

(LS directed at the far wall described in the previous paragraph)

(AMANDA CLARKE has her back facing the camera and is sat at the MAKEUP TABLE doing her makeup. This should be done as a form of improvisation. Her face should not be visible. WILLIAM CLARKE is at the LARGE WALL MIRROR attempting to put on a tie but struggling. The camera should be placed at an angle and you should be able to see WILLIAM CLARKE's face. )

WILLIAM CLARKE

(Grunting whilst struggling to put on his tie. This can be done in improvisation)

Ah, I can't get this stupid thing tied!

(He undoes the tie that he has so far gotten together so that it is loose around his neck.)

(Without turning around)

Mandy, would you be able to do my tie. You know what I'm like.

(Switch to CU of AMANDA CLARKE from her right side)

AMANDA CLARKE

(Putting down the lip gloss she was applying. She grunts whilst standing up) Fine, let me do it. Useless!

(Switch back to LS of room directed at far wall)

(AMANDA CLARKE walks towards WILLIAM CLARKE. WILLIAM CLARKE begins to turn around as she approaches so that his back is to the camera)

(When AMANDA CLARKE reaches WILLIAM CLARKE, switch to MS from WILLIAM CLARKE's right hand side looking at the two)

(AMANDA CLARKE begins to tie the tie, looking as though she is bored of the concept already)

WILLIAM CLARKE

You look beautiful today. Nothing like Yoda anymore, I can tell you that.

(WILLIAM CLARKE smiles at her. AMANDA CLARKE giggles unconvincingly, finishes tying the tie, pats his chest and walks out of camera view. She goes to sit down at the MAKEUP TABLE.)

(Switch to CU of AMANDA CLARKE at the MAKE UP TABLE directly facing her with WILLIAM CLARKE in the background)

(WILLIAM CLARKE remains where he was standing and looks at her. AMANDA CLARKE continues to apply her makeup in the mirror)

WILLIAM CLARKE

Is everything alright, Amanda?

AMANDA CLARKE

(Keeping her focus on her makeup with no change in emotion)

Yeah, everything's fine. Why wouldn't it be?

WILLIAM CLARKE

It's just that you seem very distant today… I don't know it's just a vibe I'm getting.

AMANDA CLARKE

Well, you're being silly. There's nothing wrong.

WILLIAM CLARKE

(Sounding slightly unconvinced)

If you say so… I'd better get going I don't want to be late.

(He walks toward AMANDA CLARKE and pecks her on the cheek, which she does not flinch about but at the same time, shows no change in emotion. WILLIAM CLARKE then turns around and walks out of the door)

Have a nice day, sweetie

AMANDA CLARKE

Bye William

(A door is heard shutting in the background. As the door shuts, AMANDA CLARKE puts down her makeup)

God, I thought he would never leave.

(She picks up a MOBILE PHONE and dials a number, then puts the phone to her ear. A few seconds pass)

(Sounding much happier than she was previously)

Hey… Hey, how are you? ... Good. He's just left, you can come over now. I can't wait to see you, baby.

(She puts the phone down and smiles to herself, then stands up and walks toward the door and then out, shutting it as she leaves)

The scene fades to black

END OF SCENE.

Scene FIVE

This scene is located in the Workplace, a classroom. The scene will be dressed with desks, a wipe board and importantly, in the left hand side of the room a DESK and a CHAIR. Apart from that, the scene is open to be dressed in any other way. Scene begins with:

(ES of building from outside)

(WILLIAM CLARKE walks to the building and enters it)

(LS directed at the wipe board with the DESK at the left of the camera)

(Enter WILLIAM CLARKE. He walks to the DESK and CHAIR and sits down. When he sits down, he begins to empty his PAPERS and FILES)

(MS of WILLIAM CLARKE at DESK from his left)

(Switch to LS of the DOOR with WILLIAM CLARKE still in lens)

(Enter MICHAEL GRINT)

WILLIAM CLARKE

(Standing to greet him) Mr Grint, sir. It's a pleasure to see you!

(Extending out hand for handshake)

MICHAEL GRINT

(Refusing handshake with a wave) Please, call me Michael. And don't stand on my account, take a seat, William.

(Sitting on the edge of desk)

(Switch to OTS of WILLIAM CLARKE from behind MICHAEL GRINT)

WILLIAM CLARKE

(Sitting down abruptly and on command) So, Mr Gri… Michael… What can I do for you today?

(Switch to OTS of MICHAEL GRINT from behind WILLIAM CLAKRE)

MICHAEL GRINT

Mr Clarke, I am here to discuss your current working standard and to share my opinion on your job. Now, I'm sure you know that the teachers and I at this establishment believe that our presentation and confidence is of top priority, yes?

(Switch back to OTS from behind MICHAEL GRINT)

WILLIAM CLARKE

Why, of course, Mr Grint, I do. But why, may I ask, do I need reminded of that?

(Switch back to OTS from behind WILLIAM CLARKE)

MICHAEL GRINT

Well, in my personal opinion, I don't believe you are reaching those standards at this moment in time or in fact, for the last year that you have worked with us.

(Switch back to OTS from behind MICHAEL GRINT)

WILLIAM CLARKE

Sir, are you suggesting that my work at the school is not at a high enough standard? I mean, I try my very best, are you not aware of that?

(Switch back to OTS from behind WILLIAM CLARKE)

MICHAEL GRINT

(Becoming increasingly more agitated) Excuse me, Mr Clarke, but I would prefer it if you didn't question my judgement, thank you very much

(Switch back to OTS from behind MICHAEL GRINT)

WILLIAM CLARKE

I think my questioning here is perfectly within my rights! Who are you to tell me that my work is not at standard? I've never witnessed you doing any kind of work around here you just sit in your office and play Solitaire on your computer! You're a disgrace!

(Switch back to OTS from behind WILLIAM CLARKE)

MICHAEL GRINT

(Angered and beginning to shout) I beg your pardon! How very DARE you talk to your boss like that! It is because of me that you have had a job for so long, you should be grateful!

(Switch back to OTS from behind MICHAEL GRINT)

WILLIAM CLARKE

(Joining in with an angry tone) Grateful!? GRATEFUL!? What have I to be grateful for? I've worked here nearly a whole year and this is the first time you've took the time out of your busy schedule to address me at all! And you call yourself a boss? Please! You're nothing more than the one who signs my paycheques!

(Switch back to LS pointed at the two)

MICHAEL GRINT

(Rising from his place and moving toward the door)(Continuing Anger) Well in that case, I will not be the one to sign your paycheques anymore! You're fired, Mr Clarke! Oh, and good luck getting a job ever again because I certainly will not be writing you of all people a recommendation for any of your future job interviews! Now get out of here immediately because I have work to do! (He holds open the door to suggest that he leaves)

WILLIAM CLARKE

(Continuing Anger and standing from his place) Oh, I'm sorry! Am I keeping your from your latest poker game?

(Switch back to LS from behind WILLIAM CLARKE pointing at MICHAEL GRINT)

MICHAEL GRINT

(Glaring, cooling anger) You have ten minutes to collect your things and get off of these school premises before I call security. I don't want to ever see your face around here again!

(Exit MICHAEL GRINT)

(Switch to MS pointed at WILLIAM CLARKE)

WILLIAM CLARKE

(Sitting back at his desk) That stupid little moron! Fire me? Please, I'm one of his best employees! Ugh! ... I guess I'd better leave

(Switch to LS pointed at WILLIAM CLARKE)

(WILLIAM CLARKE begins to pack his bags and walks toward the door. He reaches the door)

(Switch to LS pointed at WILLIAM CLARKE who is now at the door (from behind desk chair))

(WILLIAM CLARKE looks back one last time before closing the door in disappointment and walking away)

The scene fades to black

END OF SCENE

Scene SIX

The scene begins with

(ES pointed at House)

This is where a small section of the scene takes place, before entering the hallway and then making its way to the outside of the bedroom. After that the scene goes back down the stairs and then cuts.

(Enter WILLIAM CLARKE, who makes his way to the outside door and then opens it and walks in)

(Switch to LS from Kitchen door at front door as WILLIAM CLARKE enters)

WILLIAM CLARKE

(Looking and sounding quite glum as he opens, walks through and then shuts the door) Mandy, sweetie. Are you home? Mandy!

(He goes to walk into the kitchen when giggling can be heard from upstairs and sounds of movement)

(Switch to LS from front door looking up stairs and at the back of WILLIAM CLARKE)

WILLIAM CLARKE

(Walking up stairs) Mandy, is that you darling? Are you up here?

(Switch to MS pointed at bedroom door as WILLIAM CLARKE comes up stairs)

WILLIAM CLARKE

(Opening the bedroom door) Hey, Mandy? … (Gasping and sounding horrified) WHAT?! You're with another man! How could you!

(He runs out of the room and down the stairs. AMANDA CLARKE shortly follows running shouting "William" as she goes)

(Switch to LS from front door looking up stairs)

(WILLIAM CLARKE is walking into the kitchen as an urgent and panicky AMANDA CLARKE runs down the stairs)

AMANDA CLARKE

(Sounding out of breath) Will… Will, it's not what it looks like!

(AMANDA CLARKE runs into the kitchen)

The scene cuts immediately to the next scene in a continuous motion.

END OF SCENE

Scene SEVEN

The scene continues straight after the last scene and is set in the Kitchen again. It features the same setting as Scene 2 with the KETTLE and RADIO, although neither will be used as it is centred around the action mainly.

(LS from doorway looking into the kitchen as the actors enter from the right of the camera)

(WILLIAM CLARKE runs in upset and gasping for air, leaning against the bench in shock. AMANDA CLARKE can be heard shouting "William" as she enters. WILLIAM CLARKE shifts to right of kitchen as AMANDA CLARKE moves to the left)

(MS pointed at both actors facing window)

AMANDA CLARKE

(Sounding out of breath) Will… Will, it's not what it looks like!

WILLIAM CLARKE

(Shocked and horrified) I just cannot believe you! Why would you do that? Why would you hurt me?

(AMANDA CLARKE looks away toward the camera. WILLIAM CLARKE reaches for her face and pulls her so that she makes eye contact)

WILLIAM CLARKE

(Getting angry) Look at me! Why?

AMANDA CLARKE

(Pulling) Don't touch me… I'm sorry, I just… Will, I just…

(Footsteps are heard and the outside door opens to signify whoever AMANDA CLARKE was with has left)

(LS from doorway looking into the kitchen)

WILLIAM CLARKE

(Leaving the kitchen and from off camera) Yeah, and stay out, you absolute filth!

(Waiting at doorway when he comes back into Kitchen)

(OTS from behind AMANDA CLARKE pointed at WILLIAM CLARKE)

WILLIAM CLARKE

(Folding his arms) Just tell me why… Amanda, I'm your husband, do I not deserve to know what would make you want to cheat on me?

(OTS from behind WILLIAM CLARKE pointed at AMANDA CLARKE)

AMANDA CLARKE

(Eyes widening in horror) Husband? Oh so now you want to call yourself my husband? You haven't acted like a husband in a long time! You show no care whatsoever!

(LS from doorway looking into the kitchen)

WILLIAM CLARKE

(Walking towards her, becoming angry) WHAT?! I am ALWAYS caring! When do I not show you affection? I constantly try to show my feelings for you whenever I possibly can but you just show no sense of love to me!

AMANDA CLARKE

(Shouting) Maybe because I don't love you anymore!

(OTS from behind AMANDA CLARKE pointed at WILLIAM CLARKE)

WILLIAM CLARKE

(Upset/hurt/shocked) You don't love me… So, do you love that man you were with?

(OTS from behind WILLIAM CLARKE)

AMANDA CLARKE

(Settling down whilst folding her arms) Yeah, I do… I have for the last month or so…

(OTS from behind AMANDA CLARKE)

WILLIAM CLARKE

(Sarcastically) A month, huh? That must have cost a fortune because by the looks of him, he must have been charging by the hour

(OTS from behind WILLIAM CLARKE)

AMANDA CLARKE

(Sarcastically, but becoming angry) See? That's the immature, pathetic attitude I don't want to put up with anymore. That man has shown more love to me in one month than you did in the last 3 years of our marriage!

(LS from doorway looking into the kitchen)

WILLIAM CLARKE

(Shouting) If that's the case then leave me!

AMANDA CLARKE

Just what I was thinking! I want a divorce!

(She pulls off her WEDDING RING and throws it at the ground before walking out of the kitchen door. The outside door can be heard opening and then closing loudly)

WILLIAM CLARKE

I never thought that day would come… Losing my wife AND my job…

(CU of WILLIAM CLARKE. Shift camera to look at his hand)

(He takes off his wedding ring and holds it up)

(CU of the WEDDING RING in his hand looking down at WILLIAM CLARKE)

(He lowers his hand and turns so that he is next to the bench)

(MS of WILLIAM CLARKE)

(He drops the WEDDING RING onto the floor and turns and walks away)

(SLOW MOTION DF on WEDDING RING as WILLIAM CLARKE'S FOOTSTEPS CAN BE SEEN WALKING AWAY IN THE BACKGROUND)

The scene slowly fades to black.

END OF SCENE

Scene EIGHT

The scene is located outside in a public park. I would like the scene to be set on one single park bench in a secluded part of the park to avoid disruptions but that is subject to availability. The scene will not feature any of my own items that will benefit the setting, but will remain natural with only the actors and their props. I have also made sure to keep this scene simplified with only 2 actors: William Clarke and Hope. I will also have the scene end with a fade to white to show the light of the morning appearing. I will also edit it so the scene is slightly lighter

(Fade in to LS or MS of an empty park bench, looking at it straight on)

(Enter WILLIAM CLARKE who enters with an empty bottle of some form of liquid to show alcohol. He goes and sits on the BENCH. He takes a few sips of the bottle and grunts a lot, whilst rubbing his forehead and eyes to show how upset he is)

(Enter HOPE who joins WILLIAM CLARKE by sitting on the left of the camera lens and WILLIAM CLARKE on the right, on the BENCH)

(OTS from behind WILLIAM CLARKE pointing at HOPE)

HOPE

(Pointing at the empty space on the BENCH) Excuse me, young man… is this seat free?

(OTS from behind HOPE pointed at WILLIAM CLARKE)

WILLIAM CLARKE

(Moving his bottle) No, it's free, you can sit. (Muttering to himself as HOPE sits) Anything is better than having my cheat of a wife sitting next to me.

(MS of the two on the BENCH)

HOPE

(Caring tone) What was that?

WILLIAM CLARKE

Oh, nothing, sorry. Just talking to myself, that's all.

HOPE

(Smirking) Ah, I see… One of those days is it?

WILLIAM CLARKE

(Smirking) Yeah, I guess you could say that

(OTS from the left side of WILLIAM CLARKE looking at HOPE)

HOPE

(Placing her finger on her chin and tapping it) Let me guess… Either you've lost your job or your wife has left you… Which one is it?

(OTS from the left side of HOPE looking at WILLIAM CLARKE)

WILLIAM CLARKE

Yeah, I guess you could say that. Wow, you are very accurate! How'd you manage to guess that?

(OTS from the left side of WILLIAM CLARKE looking at HOPE)

HOPE

(Raising her hands in an "I don't know" fashion) Well, people say I have a gift, but I don't really know myself.

(OTS from the left side of HOPE looking at WILLIAM CLARKE)

WILLIAM CLARKE

Well, alright then. What's your name, by the way?

(OTS from the left side of WILLIAM CLARKE looking at HOPE)

HOPE

You can call me "Hope" (She stares at him)

(OTS from the left side of HOPE looking at WILLIAM CLARKE)

WILLIAM CLARKE

(Turning away from her glare) Nice name, I'm Wi…

(OTS from the left side of WILLIAM CLARKE looking at HOPE)

HOPE

(Interrupting him) So, why do you think you lost your job?

(OTS from the left side of HOPE looking at WILLIAM CLARKE)

WILLIAM CLARKE

(Recovering himself) I don't really know, I guess I just didn't make my boss' standards

(OTS from the left side of WILLIAM CLARKE looking at HOPE)

HOPE

(Continuing without acknowledging him) Why do you think your wife cheated on you, William?

(OTS from the left side of HOPE looking at WILLIAM CLARKE)

WILLIAM CLARKE

(Stuttering, but NOT looking at HOPE) Well, I… wait, I didn't tell you she cheated or that my name was Wil…

(LS or MS of an empty park bench, looking at it straight on)

(He turns to look at her, but she has vanished)

Hmm… Weird… God, this day has just been like a really bad dream! (Putting his face in his hands)

HOPE

(Off camera, echoed) That's because it is…

WILLIAM CLARKE

(Looking up in confusing) Hope? … Where are you?

HOPE

(Off camera, echoed) This is just a dream; it's just a bad dream… Wake up, William… Wake up!

(A distant beeping sound can be heard)

The scene slowly fades to WHITE into the next scene.

END OF SCENE

Scene NINE

The scene is physically identical to Scene 2, only that the improvisation is different. Have each character in the same outfit too!

(Fade in to DF on an ALARM CLOCK saying "7am")

(ECU on WILLIAM CLARKE's eyes)

(The beeping noise continues. WILLIAM CLARKE jumps up, gasping in fright and looking around in shock without believing his surroundings.)

(LS facing bed)

(He turns to the ALARM CLOCK and turns it off, then picks it up and reads the time. He looks around again and makes a sigh of relief. He turns to his wife)

(OTS from behind WILLIAM CLARKE looking at AMANDA CLARKE with DF on her hand)

(He notices the WEDDING RING on her finger and strokes it)

(CU/MS of AMANDA CLARKE with WILLIAM CLARKE in the background, visible)

(WILLIAM CLARKE smiles in relief)

(LS facing the bed)

WILLIAM CLARKE

(WILLIAM CLARKE smiles in relief) It was all a dream…

(WILLIAM CLARKE gets up and walks out of the room, similar to the second scene)

The scene slowly fades to black

END OF SCENE

Scene TEN

Scene 10 is set in the same KITCHEN as Scene 3. There still needs to be a KETTLE and a RADIO. Everything else MUST also be identical to Scene 3, but follow a similar "anything allowed" policy.

(LS of door frame from inside kitchen. The camera should follow WILLIAM CLARKE as he enters. Continue following WILLIAM CLARKE unless stated otherwise.)

(The scene fades in from black. Camera is facing the door. The sound of footsteps can be heard approaching. Enter WILLIAM CLARKE. The camera follows him. He makes his way over to the RADIO and switches it on, then goes toward the KETTLE and mimics turning it on.)

(Camera switches to MS from outside facing into the window where WILLIAM CLARKE can be seen in centre. Camera then switches back to a MS of WILLIAM CLARKE as the RADIO ANNOUNCEMENT begins.)

(WILLIAM CLARKE rotates 90 degrees anticlockwise so that the left side of his body can be seen in cameras view, as he looks at the RADIO. The RADIO ANNOUNCEMENT begins. The RADIO ANNOUNCER should be played by HOPE, which will come into clearer effect later on in the scenes)

RADIO ANNOUNCER

…And in other news, recent surveys have shown that over the last 10 years, pregnancy rates have increased dramatically with more and more couples currently having babies and alongside it, lucky for some, there is a noticeable increase in the number of promotions being dished out these days. Imagine being lucky enough for both…

(As the radio broadcast ends, WILLIAM CLARKE, carrying a MUG, walks over to the RADIO and turns it off. He smiles as if he can sense something is going to happen and then returns to the right side of the kitchen where he was stood)

(Back to LS from doorway watching other kitchen doorway and following AMANDA CLARKE as she enters)

(Enter AMANDA CLARKE gleaming with positivity as she walks over to WILLIAM CLARKE and wraps her arms around him with a big smile on her face.)

(Switch to MS facing the two actors and the window behind them)

WILLIAM CLARKE

(Twisting AMANDA CLARKE in his arms so that she is facing him and is leaning against the bench) Good morning, you beautiful woman!

AMANDA CLARKE

(Embracing WILLIAM CLARKE) Good morning to you too. My, you're full of positivity this morning. (Walking away to pour herself a drink)

(OTS from behind WILLIAM CLARKE pointed at AMANDA CLARKE)

(OTS from behind AMANDA CLARKE pointed at WILLIAM CLARKE)

WILLIAM CLARKE

(Smiling) Is there something wrong with a husband showing some care and affection to his lovely wife?

AMANDA CLARKE

No, of course there's not. Show your affections as much as you want!

WILLIAM CLARKE

(Smiling) Thanks, I will, Mrs Clarke!

(OTS from behind WILLIAM CLARKE pointed at AMANDA CLARKE)

AMANDA CLARKE

(Partially giggling) What has got into you?

(OTS from behind AMANDA CLARKE pointed at WILLIAM CLARKE)

WILLIAM CLARKE

(Thoughtfully) I had a bizarre dream last night, but it felt so real… I dreamt that I lost my job and that…

(OTS from behind WILLIAM CLARKE pointed at AMANDA CLARKE)

AMANDA CLARKE

(Sipping her drink) Go on, darling?

(OTS from behind AMANDA CLARKE pointed at WILLIAM CLARKE)

WILLIAM CLARKE

Well, in the dream you were cheating on me…

(OTS from behind WILLIAM CLARKE pointed at AMANDA CLARKE)

AMANDA CLARKE

(Placing her cup on the bench and walking towards him) Well, my beautiful husband that would never happen… (Placing her arms around him)

(Switch to MS facing the two actors and the window behind them)

… Because I love you more than anything.

WILLIAM CLARKE

I love you too

(OTS from behind WILLIAM CLARKE pointed at AMANDA CLARKE)

AMANDA CLARKE

(Smirking and biting her lip) I have some news for you as well… Really, really great news

(OTS from behind AMANDA CLARKE pointed at WILLIAM CLARKE)

WILLIAM CLARKE

(Excitedly) Oh, come on tell me!

(OTS from behind WILLIAM CLARKE pointed at AMANDA CLARKE)

AMANDA CLARKE

(Giggling) Sweetheart, we are going to have a baby!

(Switch to MS facing the two actors and the window behind them)

WILLIAM CLARKE

(Overjoyed) Really?! Oh wow, that's amazing! We're going to be parents!

AMANDA CLARKE

(Overjoyed) I know! Oh, I love you! You are going to make an excellent Dad!

WILLIAM CLARKE

(Overjoyed) I think you will make a better Mam than I will a Dad! I love you so much

(The two embrace for a moment)

Ah Damn, I'm going to be late. We will have to celebrate later, Mummy Clarke!

(WILLIAM CLARKE walks towards the door)

(Switch to LS facing doorway as WILLIAM CLARKE leaves and goes upstairs)

(Switch to MS of AMANDA CLARKE with secondary doorway behind her.)

(AMANDA CLARKE is smiling to herself whilst doing the dishes. The doorway behind her is empty, until HOPE enters and leans on the door frame)

HOPE

(Seriously) Congratulations. I'm sure you'll be an excellent parent

(Switch to OTS from behind HOPE looking at AMANDA CLARKE

AMANDA CLARKE

(Shocked) Who are you?! (She runs toward the door frame to shout up the stairs) William!

(Switch to OTS from behind AMANDA CLARKE looking at the doorframe as she re-enters)

(She looks at the doorway to realise HOPE is gone, having left earlier.)

(Switch to MS from doorway at AMANDA CLARKE)

WILLIAM CLARKE

(From off camera) Is everything alright, Mandy?

AMANDA CLARKE

(Regaining her composure, yet still shocked) Yes... Yeah, sweetie everything's fine… Just a spider, that's all.

The scene slowly fades to black

END OF SCENE

Scene ELEVEN

The scene is physically identical to Scene 5, with the same setting and everything.

(ES of building from outside)

(LS directed at the wipe board with the DESK at the left of the camera)

(Enter WILLIAM CLARKE)

WILLIAM CLARKE

(Sighing with happiness) Ah, it's good to be back

He walks to the DESK and CHAIR and sits down. When he sits down, he begins to empty his PAPERS and FILES)

(MS of WILLIAM CLARKE at DESK from his left)

(Switch to LS of the DOOR with WILLIAM CLARKE still in lens)

(Enter MICHAEL GRINT)

WILLIAM CLARKE

(Extending out hand for handshake) (Standing to greet him) Mr Grint, sir. It's a pleasure to see you! May I call you Michael, sir?

MICHAEL GRINT

(Shaking his hand) Why, of course you can! And don't stand on my account, take a seat, William, if you don't mind me calling you William

(Sitting on the edge of desk)

(Switch to OTS of WILLIAM CLARKE from behind MICHAEL GRINT)

WILLIAM CLARKE

(Sitting down) Not at all! What can I do for you today?

(Switch to OTS of MICHAEL GRINT from behind WILLIAM CLAKRE)

MICHAEL GRINT

Well, I have come to discuss your work, presentation and your overall performance of your job as a teacher here at the school. I just have to say, you are one of my very best teachers!

(Switch to OTS of WILLIAM CLARKE from behind MICHAEL GRINT)

WILLIAM CLARKE

(Shocked) Why, thank you! I'm so pleased that you think so!

(Switch to OTS of MICHAEL GRINT from behind WILLIAM CLARKE)

MICHAEL GRINT

It's no problem at all! I am very impressed with your work. (Counting on his fingers) You're hard working, confident, well dressed, very talented, good with the kids… I'm actually running out of fingers to describe you with!

(They both laugh together)

That is why I have to ask you to leave this classroom. (He stands and begins to walk away)

(Switch to OTS of WILLIAM CLARKE from behind MICHAEL GRINT)

MICHAEL GRINT

I want you out of here in 10 minutes, no more, no less!

WILLIAM CLARKE

(Standing up) Sir, you're firing me?! But you just said I was one of the best!

(LS directed at the wipe board with the DESK at the left of the camera)

MICHAEL GRINT

(Puzzled) Fire you? Why, of course not! Did I not mention? I am retiring tomorrow! And you, my dear friend, will be taking my place… Come along, head teacher! (WILLIAM CLARKE is obviously in shock, and MICHAEL GRINT realises this) I guess I will see you in a bit then…

(Exit MICHAEL GRINT)

WILLIAM CLARKE

(Sitting back down, still shocked) Head teacher?

(Switch to MS facing WILLIAM CLARKE from his left)

Who would have imagined?

(He quickly packs up his things and rushes off camera toward the door)

(LS directed at the wipe board with the DESK at the left of the camera)

(He stops at the door and looks back with a big smile on his face. He exits)

(MS of the door from a 45 degree angle facing it, the camera then turns to the window and a face appears)

(HOPE appears at the window. She enters through the door and looks directly at the camera. The camera follows her)

HOPE

It's funny, isn't it? When reality actually becomes better than your fantasies… I hope you learned a lesson… Sweet dreams.

(She bows her glasses, smiles and exits)

The scene slowly fades to black

END OF SCENE

ROLL CREDITS

END OF PRODUCTION!





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