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thanks for your pointers! I actually had an idea that I never got to finish because it felt like it was missing something and I didn't like the director character but here's an unfinished project that only started with a few introductions of the characters in script format. I'll show it you and take pointers for any future scripts. I'd like to be able to write both(and I've always been interested in film writing just unsure of how and what to do to make it a reality) This story is a choral drama about people in..or trying to get in to Hollywood. When I wrote this it was a while since I've written anything so I don't think it was very well written.

INT: APARTMENT-EARLY MORNING

A young man, JAMES ERNST, early-mid twenties, is sleeping. His body is covered in blankets
and sheets.

He has a small desk next to his bed with a clock,
phone and lamp. The time on his clock reads 9:17 AM.
He has movie posters covering the walls of his room.

The phone begins to ring continuously until James
reaches over to his desk without even paying close
attention. First he presses the snooze button on the
alarm clock, once his arm notices the ringing isn't
going to stop, it manages to pick up the telephone
receiver.

He speaks in a tired tone

JAMES:

Hello?

James quickly raises himself up with the phone to his
ear as we see his face for the first time. His mouth
open and his eyes wide. The voice on the other end is
a woman's but barely audible.

JAMES:

H..hi..mom

James looks at the clock and gets out of bed, making
it with little effort and slipping off his pajama
pants to put on black work pants. James' mother's
voice continues to talk, still inaudible.

JAMES(cont'd):

No, you didn't wake me, I have to go to work in about
an hour anyway.

James sits on the end of his bed, putting his black
socks and black work shoes on.

JAMES(cont'd):

It's uhm..it's a Ridley Scott action/comedy picture. I
play Denzel's bumbling idiot sidekick. I get a sex
scene though. But of course you only see the girl...

The only time James' mother's voice is audible while
James puts his shirt on

JAMES' MOTHER:

That's great news. I can't wait to see it in theaters.
After all that time your father and I told you to pick
another profession and there you are in Hollywood. IN
HOLLYWOOD making it.

James gives a slight laugh.

JAMES:

I gotta go mom. Like they always say, see you at the
movies!

James gives another slight laugh

JAMES(cont'd):

Love ya too.

James hangs up the phone and sits on the edge of the
bed. He takes in a deep breath, then lets it out with
a sigh. He stands up, faces himself in the mirror and
puts a hat on his head.

INT: SMALL CAR

A woman, KIM SWANSON, late thirties, long curly hair,
sungalsses covering her eyes is driving her daughter,
KIRA SWANSON, eleven, long curly haired brunette.

KIRA:

Can I stay at Dad's this weekend?

KIM:

You just saw him yesterday.

KIRA:

You came to pick me up too early.

KIM:

I was forty five minutes early. What's it matter?

Kira sits back in her seat and rolls her eyes, then
stares out the window.

She sees a a school with kids outside playing and
getting ready for the first class bell. But Kim's car
passes right by.

KIRA:

Those kids are so lucky.

KIM:

Why's that?

KIRA:

They get to go to a normal public school and have
social lives. I get home schooled on a movie set with
a private tutor. My only social life are people three
times my age.

KIM:

Yes but you see the difference between you and those
kids?

KIRA:

What?

KIM:

Nobody knows or cares who they are.

KIRA:
(under her breath)
Daddy would let me go to a regular school.

KIM:

Yes well Daddy's not raising you is he?

The car comes to a stop.

Kira unbuckles her seatbelt, opens the door and steps
out.

Kim leans over and lowers her sunglasses, revealing
her eyes and smiles a big toothy grin.

KIM(cont'd):

Have fun today, buy Mama that nice jacuzzi she's been
eyeing. Love you!

Kira turns to her mother, gives her a toothy smile as
fake as her own mother's

KIRA:

I love you too, Mom.

Kira closes the car door, turns around, removes her
smile and rolls her eyes.

The car drives away behind her as she walks towards
what appears to be a giant tent where film crews set
up when they do outside shoots.

KIRA(cont'd):

Which one, mom? The actress or the daughter?

EXT: BEACH SHORE-LATE MORNING

A blond young woman in a two piece bikini, ASHLEY
WARNER, early twenties, tanned skinny body with a face
to die for

Ashley appears to be doing an on location photoshoot
on the beach.

Ashley is striking model poses while the photographers
shout out orders and compliments to her.

PHOTOGRAPHER:
(feminine voice)
That's a wrap, thank you Ashley. My god if you looked
up sex in the dictionary one of these pictures would
certainly be next to it.

Ashley starts to walk away from the set. Her agent,
JACKSON, an average built man with long blond hair
catches up to her and puts a pink robe around her with
her initials on the front of it.

JACKSON:

Good job, Ash. This is what the magazines will be
talking about for weeks to come.

ASHLEY:

Did anyone call for me?

JACKSON:

Yeah, your friend Mandy..

Ashley pulls out the phone from her robe pocket and
pushes a few buttons.

JACKSON(cont'd):
Before you call her back though, I need to discuss
with you today's...

ASHLEY:

Mando! What's up sexy?

JACKSON:
A..

Ashley laughs, completely ignoring her agent

ASHLEY:

This stupid shoot is done.

JACKSON:

Gen..

ASHLEY:

Want to meet me for lunch?

JACKSON:

Da..

ASHLEY:

No, I don't have anything to do right now. Hang on a
second.

She looks at Jackson

ASHLEY(cont'd):

Do you need something?

Jackson shakes his head.

ASHLEY(cont'd):

Ok, well. Good bye Jackstone.

Jackson shoots her a look and walks away. She gets in
her limo.

INT: RESTAURANT

A man wearing a baseball cap and sunglasses, KEVIN
LOUER, early thirties sitting at a booth with his son,
JONATHON, and daughter, MEL. He is also sitting next
to an average looking woman in her early thirties as
well, this is his wife, JANET.

KEVIN:

You guys want to go to the zoo today?

KIDS:

Yeah!

JANET:

I don't see why you guys want to pay to see a bunch of
animals lying around. We can do that for free with our
dogs and cats.

KEVIN:

Yeah honey, but these are Kangaroos, gorillas and
rhinos laying around.

He glances over at the TV and sees his face on it.

NEWS ANCHOR:

And the winner of this year's Best Actor went to Kevin
Louer. A multi-time winner of both best actor and best
supporting actor in previous events. Kevin won the
award this year for his portrayal of..

Kevin looks rather uncomfortable and sinks his head
lower into his jacket, fixes his hat to cover his face
a little more.

His disguise doesn't keep the fans away. A young man
approaches him at the table.

FAN:

I'm sorry to bother you sir, but are you Kevin Louer?
THE Kevin Louer?

Kevin slowly looks over at his wife and kids, clears
his throat and slowly nods his head.

FAN(cont'd):

Oh man, I've been a fan of yours ever since you were a
kid!

KEVIN:
Sorry. I'm not doing autographs right now.

The fan gets a rejected look on his face.

FAN:

I see. Well. It was nice meeting you anyway.

The fan walks away.

Kevin looks back at his wife, she gives him a slight
smile. He stands up.

KEVIN:
Be right back.

Kevin follows the fan outside to his car parked on the
side of the street.

KEVIN(cont'd):
Hey!

The fan turns around and looks at Kevin, not sure what
he's going to do.

KEVIN(cont'd):
Look, I'm sorry about that. That wasn't me in there. I
just try to make it a point to keep my professional
life separate from my personal life. Would you like an
autograph?

The fan's smile grows and he laughs a little

FAN:
You bet!

INT: RESTAURANT

Kevin comes back inside

Ashley is sitting at a table with her best friend,
MANDY, early twenties, an unhealthy looking skinny
size and shoulder length red hair. Mandy gives Ashley
a cupcake.

In the background, James from earlier is working the
bar of the restaurant.

MANDY:

Happy 21st, Ash.

ASHLEY:

You shouldn't have given me this, I'll blow up like a
balloon.

Ashley eats the cupcake anyway.

MANDY:

It's a special occassion though. And tonight, we are
going out to celebrate. I'm going to get you so
fucking wasted you won't even remember your last
twenty one years.

ASHLEY:

I've been drinking since I was like fifteen. It's just
another birthday.

MANDY:

Yes, but this time you'll be able to drink it legally.

ASHLEY:

Who am I kidding? We're going to a club, getting
drunk, hooking up with some hot guys and I owe it all
to my hottest friend alive.

MANDY:

Hell ya.

ASHLEY:

Excuse me a moment.

Ashley takes her drink straw, stands up and walks
towards the women's bathroom

INT: BATHROOM FLOOR

Ashley is knealing next to a toilet seat, sticking the
straw down her throat, coughing and vomiting.

INT: MOVIE SET

An entire set composed of the set crew, camera men,
etc are filming a scene in a movie. The man in the
director's chair, WILLIAM LOUER is a heavy set grey
headed balding man in his late fifties.

He has a very focused look on his face as he's
watching the scene be filmed. And who else is in this
scene but Kira and her on-screen father.

KIRA:
(not putting much effort into her lines)
I'm taking Jack and we're leaving you dad. I don't
know where we're gonna go. But we can't stay here with
you in this house anymore.

WILLIAM:

CUT! You know what you did wrong Kira. I want to hear
more energy. Try it again. ACTION!

KIRA:
(with little effort again)
I'm taking Jack and..

WILLIAM:

CUT!

William looks like he's getting frustrated with Kira.
He takes a deep breath and exhales, places his hands
against each other and leans in close.

WILLIAM(cont'd)

Kira do you understand that we can't waste all of our
time doing this scene?

She nods her head.

WILLIAM(cont'd)
The more time we waste on this scene the more film we
waste. The more film we waste the more money it costs
us. The more money it costs us the angrier the
production company gets. Do it. With the energy. I've
been wanting you to do it with. Ok? Try again. ACTION!

KIRA:
(with a little more energy)
I'm taking Jack mom..I mean..dad...

WILLIAM:

CUT!

William turns to his assistant, MARY.

WILLIAM:

Tell them to take a break.

Mary nods.

MARY:

Alright everyone, take a five minute break, and you
know when William Louer says five minutes, he means
five minutes.

William looks at Kira and motions her to come to him,
he walks with her away from the group with his hand on
her shoulder.

WILLIAM:

Kira. What's happened to you today? You're usually
spot on.

KIRA:

I'm really sorry, Mr. Louer. It's just..my head isn't
here right now. I'm dealing with some issues at home.
My family, my....

William nods along with her, not really processing
what she's saying.

WILLIAM:

Well you know what I'm dealing with? snobby
pretentious little brats who think their problems are
worth anything compared to mine. I'm trying to shoot a
movie and the supposed best young actress on this
planet is churning out shit on MY SET.

William towers over her, waving his finger in her face
as others on the set who are overhearing his loud
voice look on in shock.

WILLIAM:

AND I'M NOT GOING TO LET SOME DAKOTA FANNING WANNABE
BITCH RUIN MY CHANCE OF WINNING MY FIRST AWARD. GET IT
RIGHT OR SO HELP ME GOD I WILL ENSURE YOU WILL NEVER
WORK ON A MOVIE SET EVER AGAIN! GET BACK ON THE SET
AND DO IT THE WAY I WANT!

William walks back to the others, Kira follows. As she
walks back, the crew stands all around, looking at her
sympathetically. She stands in her spot, ready for the
scene. Her onscreen dad speaks.

ONSCREEN DAD:
You ok, Kira?

She nods her head.

WILLIAM:
(acting as if he didn't just berade one of his
actresses in front of everyone, a child nonetheless)
Everyone ready? ACTION!

KIRA:
(with the exuberant energy William wanted)
I'm taking Jack, and we're leaving you, DAD. I don't
now where we're gonna go, but we can't stay in this
house with you anymore!

WILLIAM:

CUT!

William stares at her briefly before smiling slightly

WILLIAM(cont'd)
Good job, Kira.

He sits back in his chair, closes his eyes, breathes
in and exhales with a smile

WILLIAM(cont'd)
(under his breath)
And the Oscar for Best Director EVER goes to..

INT- RESTAURANT EARLY EVENING

James checks his watch. His boss, MR. PETERSON, an
intimidating hairy man with a biker look and a grey
goatee passes by.

JAMES:

Mr. Peterson...

He turns to look at James without saying anything.

JAMES(cont'd):

It's 5:38 and Joanie hasn't arrived yet.

MR. PETERSON

So?

JAMES:

Well..she was supposed to cover the shift after mine
at 5:30.

MR. PETERSON:

You know I don't give a fuck if she's 5 or 15 or 60
minutes late. Cover her shift til she gets here.

JAMES:

I can't tonight, I have an audition.

Mr. Peterson smiles and laughs in disbelief

MR. PETERSON:

An audition?!

JAMES:

Yes, an actor audition.

MR. PETERSON:

I know what an audition is. I don't see why you waste
your time with those things. You've been working here
what? a year and how many of these auditions have you
been to? And you didn't get parts for any of them?
Look kid. Everybody in this town wants to be an actor.
Everyone in this world wants to be an actor. It
doesn't mean they ARE one. And juding by all these
no's you've received..

JAMES:

You're so ignorant.

A woman walks up to the server side of the bar. This
woman would be JOANIE.

JOANIE:

Sorry I'm late, my car's been acting funny lately.

JAMES:

Good she's here can I go?

MR. PETERSON;

Yeah get the hell outta here.

Mr. Peterson turns to Joanie

MR. PETERSON:
(mocking James)
You made him late for an audition, Joanie. Gonna go
make a name for himself!

they share laughs. James just looks at them angrily
and turns to leave.

James rushes to his car and starts it up, flying out
of the parking lot. Unfortunately, James hits every
red light and is stuck in moderatley busy traffic.

JAMES:

Come on Grandma, it's called a gas pedal.

James decides to take another route, this route leads
him to a road where he has to be let in through a line
of traffic where a lane in the road is closed off.
James curses and waits impatiently or someone to let
him in, he decides to stop waiting and takes a big
chance, nearly smashing the car behind him.

Once he gets out of that traffic he jumps into the
next open lane and goes faster. A railroad crossing
starts lowering the gates, but he risks his life and
safely maks it across the train tracks before the
gates completely lower.

He finally makes it to where he needs to be, but can't
find a parking space as he looks frantically for one.
His searching leads him into a parking garage. He goes
further up until he finds a space. He jumps out of the
car, and races towards the open elevator door as
someone is stepping into the elevator.

JAMES:
(calling out to the person in the elevator):
HOLD IT OPEN!

But the person in the elevator does the opposite, they
frantically press the 'door close' button until the
door closes just before James makes it and the
elevator starts moving.

JAMES:
(punches the elevator door)
SHIT!

INT: SMALL ROOM

This small room is where the auditions are held. The
people are closing up, putting the camera and other
things away.

James runs into the room. Sweaty, dirty and out of
breath

JAMES:

Hi. I'm here to audition..

DIRECTOR:

Sorry, we're through with the auditions.

JAMES:

No, you don't understand. I..I risked my life to get
here. I know I'm late but it's not my fault at all...

The crew stares at him as he talks trying to explain
some things that happened on his way to the audition.

DIRECTOR:

Ok well..we'll give you a chance. We just won't be
able to film you.

The director hands him the script for a cold reading

JAMES:

Thank you!

DIRECTOR(cont'd):

Here's the script for the cold reading.

One of the women in the crew takes out a pen and
paper

WOMAN:

What's your name?

JAMES:

James. James Ernst.

She rights his name down.

DIRECTOR:

When you're ready, James.


JAMES:
(looking at the script, but acting it out poorly):
You took the money and the drugs, don't you deny it.
We have you on surveillance.

The director holds his hand up and signals James to
stop.

James looks at the director, who takes his eye glasses
off and wipes them.

DIRECTOR:

How do you think you did?

James looks disappointed and hands the script back to
the Director.

JAMES:

Nevermind. I've been to several of these. When they
ask that question it means I sucked.

DIRECTOR:

This isn't just a film audition. This is a job. You
came in here the way you did and expected me to
overlook all the other people who got here on time and
now you wasted mine by giving me that poor delivery.

JAMES:

I..I don't know what happened. I'm nervous and I got
here late and things are just..

DIRECTOR:

I know. But in this business you just get back on your
horse.

He pats James' shoulder as he leaves with his crew

DIRECTOR(cont'd):

Better luck next time.

INT: PARKING GARAGE EVENING

James slinks towards his car, opens the door and sits
in the seat.

James just sits there a minute staring out through the
windshield. Then he slams his forehead into the
steering wheel. Then he lays his arms on it, lays his
head in his arms and breaks down sobbing.

EXT: MOVIE SET-EVENING

William Louer is shown at it again, talking down to
another one of his actors.

WILLIAM:

Whose dick did you suck to get this part?

The actor shrugs and stares down.

WILLIAM(cont'd):

Do you want me to sit there and hold your hand while
you do all of your scenes? It'll look weird on camera
but if that's going to help you improve.

ACTOR:

You can't talk to us like this.

WILLIAM:

Whose movie is this? Yours or mine?

ACTOR:

Well, we ARE the ones who do most of the work.

After a brief pause, William raises his hand and slaps
the actor across the face, he slaps again and again,
harder until other people pull him away.

MARY:

William, you can't HIT them!

The actor looks at eveyone while holding his face.

ACTOR:

Good luck with your movie. It's been a pleasure
working with all of you. And if you had any sense left
you'd do the same thing.

He turns to leave while William shouts back at him.

WILLIAM:

That's just fine, you think walking out is going to
change anything?! I'll have an even better actor in
your place by tomorrow!

He turns to his onlooking cast and crew.

WILLIAM(cont'd):

Anyone else?

no response

WILLIAM:(cont'd):

Good. That shows your dedication to this project.
Let's call it a night, be back here tomorrow same
time, same place.

INT: NIGHT CLUB-NIGHT

The music is blasting, people are dancing and cheering
and having a blast.

Ashley and Mandy are seen having their good time and
drinking lots alcohol.

Mandy appears on the big stage and walks to the
microphone.

MANDY:

Give it up for my best friend forever and the woman of
the century, Ashley Warner!

The crowd cheers as Ashley gets up to the microphone.

ASHLEY:

Thank you all for coming to my 21st birthday bash. If
you're going to be at Chuckie's Night Club in downtown
tomorrow, I'm going to be throwing another birthday
bash. Because I CAN!

Ashley and Mandy are shown from the back, they lift
their shirts up to flash the audience, who cheer it
on.

Ashley turns to Mandy

ASHLEY:
(whispering loudly):

I want these assholes and sluts out of here when I
leave. There's no point in celebrating my birthday if
I'm not here.


INT- JAMES' APARTMENT LIVING ROOM-NIGHT

James is channel surfing on the television. He stops
on an entertainment news segment.

NEWS ANCHOR:

The notorious director, said to be the best director
to never win an Oscar. His film which he says to be
the won to get him that award this time is in trouble
after one of Louer's actors walked off the set after a
confrontation which led to William Louer punching the
actor. There's an open casting call tomorrow 8 AM at
217 Walt Avenue.

James smiles big and runs to his room, setting his
clock to 7:00 AM.

INT: MAN'S HOUSE-NIGHT

Kira's Dad, STEVE SWANSON, mid-late thirthies, brown
hair and a moustache.

He's sitting on his sofa watching one of his
daughter's old movies on DVD.

The phone rings, Steve answers.

STEVE:

Talk to me.

KIRA:

Hey daddy.

STEVE:

Kira, hey sweetheart. I was just thinking of you and
decided to pop in one of your old movies when you were
seven. Gosh you always had such a natural talent. How
are you doing?

KIRA:

I'm ok. Mom's her usual self and William Louer yelled
at me in front of everyone.

STEVE:

Are you ok? You're not the actor who got slapped in
the face and walked out are you? I heard about that on
the news before I put the movie on.

KIRA:

That wasn't me. He scared me though. I didn't give him
the satisfaction of crying though which I think just
surprised everyone. Ater he did that I worked better.

STEVE:

That's my girl.

KIRA:
(slowly tryin to fight back tears)
Daddy...if I wanted to quit this movie and take a
break from acting for a while...would you still love
me?

STEVE:

Why would you ask a question like that honey? Of
course I would.

KIRA:
(crying a bit)
It doesn't feel fun anymore. Mom wants me to keep
doing it so she can have nice things.

STEVE:

When you were five you said you wanted to act. And you
know what I said? If you want to do it, then we will.
Everyone always said you should do it. But you know
where I stand on that question. Anything you do will
always make me happy.

KIM:

Steven?

STEVE:

Kim? What happened to Kira?

KIM:

She's not allowed to take calls after this time. Don't
you EVER talk her out of qutting her dreams. She
doesn't realize the opportunity she's been given, you
think they give it to everyone?

STEVE:

It's not your decision, Kimerly.

KIM:

Well I beg to differ. She's eleven, still a child, all
her decisions are MY decisions. I carried her for nine
months, spent hours on the delivery table and I'm the
one raising her alone. All you had to do was plant
your little sperm and see her on weekends. Good night,
Steven.

STEVE:

Good night, skank.

Steve slams the phone down, frustrated.

Steve puts the movie on pause, stands up and walks
towards the TV, showing a close-up of young Kira.
Steve puts his hand on the screen.

INT: SOMEONE'S BEDROOM-NIGHT

The door flies open

Ashley is being carried in by some guy making out with
him. He lays her on the bed and works to gt his pants
off.

INT: KEVIN and JANET'S BEDROOM-MORNING

The clock switches from 6:59 to 7:00 AM. It goes off,
waking Kevin up. Kevin turns it off.

KEVIN:

I got to get on set, Janet.

Janet sighs in response, still sleeping.

KEVIN(cont'd):

Give me some sugar?

still no response. Kevin leans down and kisses Janet's
forehead.

Kevin gets out of bed.

INT: MOVIE STUDIO SET-MORNING

There is a breakfast display the caterers brought.
Doughnuts, cooked eggs, bacon, sausage, hash browns,
grits, coffee, juice, milk are among the food on the
table.

LIZABETH COLLEEN PARKER, late twenties, beautiful
movie star face, dark hair, pours herself a cup of
coffee.

Kevin walks up to her eating a doughnut in one hand,
cup of juice in the other.

KEVIN:

Know what we're doing today?

Lizath smiles.

LIZABETH:

Most of our scenes, including the big romantic kiss
near the end.

KEVIN:

Good, I'm glad I brushed my teeth today.

he laughs at his bad joke.

LIZABETH:

Yes well..Janet's not a crazy wife whose going to
threaten to kill me over this movie is she?

KEVIN:

Nah, she knows what I do here is completely
professional.

LIZABETH:

Good, last film I worked on I had a love scene that
caused the girlfriend of the actor to send me
threatening hate mail. She spent several months
convincing herself he was cheating with me until she
eventually dumped him. For what?

KEVIN:

We have a little more time before we're supposed to
start. Want to practice one of our romantic moments in
the movie?

LIZABETH:
(starts a line right away):
I'm just so confused right now. I still love Daniel.
But when I look into your eyes. I..see my soulmate.

KEVIN:
(going along with his lines):
What does your heart say, Tess?

LIZABETH:
(still as Tess)
It's just as confused as my mind is.

KEVIN:
(as his character):
Maybe this will make up your heart and your mind.

Kevin leans in and kisses Lizabeth. The "play" kiss
goes from being two characters to being themselves,
having a more deeper passionate kiss.

INT: 217 WALT AVENUE-EARLY MORNING

There is several Hollywood hopefuls sitting in a
waiting room setting. James is among one of those
hopefuls. Mary walks out to greet them.

MARY:

First I would like to thank you all for being here on
such short notice at such at such an early time. But
we have a tight schedule to finish this film and we
needed to get started right away. We will call you up
in order of first come. Just remember to be yourselves
and good luck. First on our list is James Ernst.

James jumps out of his seat and follows Mary into the
room. William Louer, Mary and a few other people are
sitting at at a desk.

WILLIAM LOUER:

Good morning, James. We saw on your resume you have
some theatrical experience and education in acting. So
I can only assume you love this art?

JAMES:

I've always felt it in my heart.

WILLIAM:

Good. Well..let's see if you can prove it.

James picks the script up and begins the cold reading.

JAMES:

I've been wanting to tell you this for a long time.
But I haven't had the guts to say it. But I'm going to
say it now, Look at me when I'm talking to you!

WILLIAM:

Thank you, James. We've seen all we can.

JAMES:

But..how do you think I did?

MARY:

You're good. However, the role requires an actor in
their early forties. I'm afraid you're too young for
the part. But we will keep you in mind if we ever have
a role for someone in your age range matching your
type. Have a good day.

James sulks out of the room past the others sitting in
the chair looking at him.

HOPEFUL AUDITIONER:
(to another hopeful)
Looks like they didn't like him.

HOPEFUL AUDITIONER #2:

Whatever, more chances for us right?

they laugh behind his back.

INT: CLASSROOM SETTING-MORNING

An older man, ROBERT HOWARD, is lecturing his
students.

ROBERT:

Any bozo with an imagination can act. But the question
is, why a New York broadway performer can't seem to
ever get a role in a major picture while actors who
have more business flipping burgers than acting get a
million roles in film?

James walks into the classroom and sits down in the
nearest seat. Robert notices James, but doesn't
acknowledge him right away.

ROBERT(cont'd)

I want you all to write an essay on that question. It
may seem hard at first, but it's your opinion I'm most
interested in. Ladies and gentlmen, I'd like to
introduce to you my former protege, James Ernst. An
amazing actor I've had the pleasure of teaching and he
still isn't getting roles in film.

The students turn around and see James stand up. James
nervously waves to them.

ROBERT(cont'd):

Come on up here, James. Tell them about yourself and
show them what a real actor is made of.

James walks up to the front, nervous as ever.

JAMES:

H..hi..I'm James. I learned a lot from Professor
Howard while taking this class. I..I guess he wants me
to do a monolog. So here's a classic I'm sure all of
you will get.

he clears his throat, opens his mouth but no sound
comes out. He stares at the students who are staring
back at him.

JAMES(cont'd0:
(nervous)
To..be or..not..to be...that is the question. Whether
'tis nobler in the mind to suffer..

STUDENT #1:

This is your amazing actor?

the students laugh. Robert Howard isn't smiling
though.

ROBERT:

Ok, that's enough. We all have gotten stage fright at
some point in our careers.

STUDENT #2:

Yeah, but you'd think by now he would have outgrown
it.

ROBERT:

Ok, class dismissed

The students pack up and start leaving

ROBERT(cont'd):

Don't forget to write those essays.

Once the class clears out, Robert looks at James.

JAMES:

Sorry, Robert.

ROBERT:

Oh don't be. You cut yourself too short, James. You
really do have talent. The nerves get to you
sometimes.

JAMES:

I went to an audition this morning and I was fine
though. They just told me I was too young.

ROBERT:

Eh, just the way you work. Don't be discouraged by my
students. Most of them are prima donna know it alls
who won't get any further than their own front door.

JAMES:

Seems to be my current situation.

INT: LIMOSINE

Ashley is laying on the seat, still looking burned out
from her huge party the night before.

Ashley digs into her purse and pulls out some aspirin
for her hang over, followed by birth control pills.

The limo stops and the driver lets her out. She walks
towards a building.

INT: THE BUILDING

INTERVIEWER:

We have an exclusive live interview with the big
birthday girl, Ashley Warner. Ashley celebrated her
twenty-first birthday last night.

Ashley is sitting in her chair nodding along

INTERVIWER:

Ashley what was that like?

ASHLEY:

I prefer it if you call me Mrs. Warner.

INTERVIEWER:

But..you're not married..

ASHLEY:

I don't care. You want me to do this interview?

INTERVIEWER:

Well..

ASHLEY:

Anyway, the party was good if I can remember it all

she laughs at her joke a little.

ASHLEY(cont'd):

I have my family and close friends to thank for making
it a huge success. I'm going to celebrate it again
tonight and tomorrow so that my fans can get a chance
to celebrate with me.

INTERVIEWER:

You certainly love to party a lot.

ASHLEY:

Are you kidding? It's my god given talent.

INTERVIEWER:

Hmm yes. Well I thought singing, acting, writing are
talents. Anyone can throw a party, even children...

ASHLEY:

I do those things too. I like to consider myself a
triple threat.

The interviewer is obviuosly faking being nice to
Ashley.

ASHLEY(cont'd):

It's hard to be beautiful. You have standards to set.
You have to be the role model for all the ugliest
people in the world.

INTERVIEWER:

We've received rumors that you suffer from anorexia.
Is this true? Do all your adoring fans have to vomit
their food just to live up to those standards?

Ashley stops. Stares at the interviewer, stands up,
throws her chair down.

ASHLEY:

This interview is over.

she walks off the set.

INT: MOVIE SET-EARLY AFTERNOON

William Louer is standing in front of Kira.

WILLIAM:

What do you mean you want to quit?!

KIRA:

I can't do this project with you anymore. You treat us
all like puppets.

WILLIAM:

Because actors ARE puppets.

KIRA:

Well, you're the worst director I've ever worked with.
I've seen bad directors before, but you're the worst.
Never have I seen one yell at me or any other children
or slap an actor in the face.

WILLIAM:

You just got ahead and leave then. I don't care. We
had several other children audition who did perfectly
fine before we chose star power over talent.

KIRA:

That's good, real mature.

Kira walks off the set.

WILLIAM:

Someone get one of those young actresses on the phone.
Whoever says yes first is hired.

Kira starts walking down the street and enters the
nearby restaurant
This restaurant happens to be where James works. She
struggles to get up on the bar stool, until she
manages to get herself on the stool. james is there
wiping the bar table.

JAMES:

Can I get something for you?

James noticed she is alone.

JAMES(cont'd):

Uhm..are your parents parking the car?

KIRA:

No, I'm here all by myself. I'm waiting for my mom to
pick me up from filming.

JAMES:

Oh, you're in the project they're doing just up the
road?

KIRA:

I was. I couldn't work with him anymore. I can't keep
doing THIS career anymore.

JAMES:

Whose him?

KIRA:

William Louer!

JAMES:

LOUER?!

KIRA:

You know him?

JAMES:

Well not personally. I actually went to audition for
the missing role this morning. I didn't get the part
though.

KIRA:

Be glad for that.

James finally recognizes her.

JAMES:

KIRA! Kira Swanson! Damn it's good to meet you, I've
seen a lot of your films and I'd always be speechless
about your roles.

KIRA:
(she's heard this all before)
Thank you.

JAMES:

Whatever you want is on me.

James thinks that's a little dirty and perverted to
say to a child and quickly corrects himself

JAMES:

Food that is..or a drink...

Time passes and it gets a little later. Kira never
once left her stool until she had to go to the
restroom.

Kim Swanson bursts into the door and walks right up to
James showing him a pic of Kira

KIM:

Have you seen my daughter?

JAMES:

Yeah. I've seen her.

KIM:

Thank god, where?

JAMES:

In movies?

Kim rolls her eyes and sighs

KIM:

No you ass. Have you seen her come in here today?

JAMES:

I might have. If the price is right.

He holds out his hand looking for money.

She pulls out some money and gives it to him.

KIM:

Here, you need it more than I do.

JAMES:

Yeah, she came in here and we spoke for a little
while.

KIM:

Is she still...?

Kira appears out of the restroom, Kim immediately
notices her.

KIM(cont'd):

There you are! You had me worried sick. They said you
quit and walked off!

She grabs Kira's arm and jerks so hard it looks as if
her arm would be ripped from the socket. She pulls
Kira out the door, Kira keeps looking back at James,
who stares back at her, only thought in his mind being
'Poor child'

INT: KIM'S CAR-LATE AFTERNOON

KIM:

After I specifically told you that it's not YOUR
decision. You went behind MY back and quit! First
thing in the morning tomorrow you're going to
apologize to Wiliam and get your job back.

KIRA:

Even if I did it'd be no use. As I was leaving he was
already looking for someone to replace me.

KIM:

First thing tomorrow you're going to find auditions
then. You're not going to give this up. I've invested
too money into you. And if I find you hanging out in
that restaurant again talking to that pedophile I WILL
report him.

KIRA:

You don't even know him.

KIM:

I know well enough to know that grown men aren't
supposed to get chatty and friendly with children.

KIRA:

He's a fan, not a pervert.

KIM:

Grown men aren't fans of child actors unless they
intend to do sick things to them.

INT: BATHROOM

Kira is standing in front of the mirror in her night
gown. She stares long and hard into her reflection.
She picks up a razor blade, holds her wrist up.

The vision of her cutting her wrist is not shown, but
a few drops of blood in the sink are implying enough.
A close up of her face is shown as she scrunches her
face, tears pour of her eyes responding to the pain.