With Monsters
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Transcript of With Monsters
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7/31/2019 With Monsters
1/21
WITH MONSTERS
by
Robert Herzog
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7/31/2019 With Monsters
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FADE IN:
ON A MAN IN A MONSTER MASK. No sense of time or place.
Hes uncomfortably close. His nightmarish face imposes, fills
all, offers no escape. Every grim contour and shade on display.
Lines creep across the surface. Layers twist. Features sink in.
Only loving craftsmanship could make a face so perfectly awful.
Authentic fangs jut. They threaten to rip and tear. They fill a
mouth thats stretched impossibly wide
and itching to bite.
The man observes quietly behind his mask, and then
He HUMS. BARELY AUDIBLE at first, but it grows steadily to a
pitch that is LOUD, URGENT, and ANXIOUS. Like an old Saturday
night horror flick soundtrack, just before the screaming starts.
Anticipation grows. Uneasiness prevails. Then silence.
MASKED MAN
We havent been introduced.
His humming resumes momentarily, then fades.
MASKED MANLet me warn you: this is my first
time doing this. Im especially
nervous. Am I properly fitted?
The mask quivers. A tiny shift of the heavy skin.
MASKED MAN
Im a software specialist. I
manage implementation and
outsourcing. I work downtown.
Im a homeowner. My name isDennis. You and I should meet.
Am I identifiable?
(Shrugs)
I want to resume an active dating
life, so please consider me for
companionship.
Dead silence
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INT. LIVING ROOM - NIGHT
A complete view emerges. The man sits and films himself. He
wears a black T-shirt with GREASER ablaze in orange across his
chest. He pulls off his mask with an air of drama.
Meet DENNIS GERBATCH, 38, an average looking fellow, slightly
goateed. Walls behind him are blanketed with monster masks and
horror posters. The MASKED MAN is henceforth known as DENNIS.
DENNIS
I never envisioned myself
as a webcast dater, but my
social life has been dormant.
He looks at the mask in his hand. Holds it up.
DENNIS
Sorry for removing this so soon,
but if I keep it on too long I
get internal condensation.
What else do you want to know? Im
domesticated. I cook. I recently
installed new appliances, including
an airspeed oven. My specialty is
berry cobbler with brown sugar. I
watch television. I draw. I eat.
I can hum. Thats the extent of it.
(He looks down at his mask)
And theres also my enthusiasm
for horror. You could say Ive got
a tiny problem with collecting and
storing. Ive improved, but horror
is definitely winning. I sometimes
wear costumes, so thats fair
warning for you. I have an inventory
of just over 2,000 masks, plus
soundtracks and memorabilia.
He abruptly reveals a cell phone cued up to play music.
He hits play and points the camera at his wall of horror
paraphernalia. Horror soundtrack MUSIC flows. Faces flash:
A demon, a clown, a vampire, something with many eyes, a
pirate, a woman with a hideous grin, a swamp creature, a
two-headed man, a shadowy figure.
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He sets the camera back. Music off.
DENNIS
Theres more: I live in a house
of supposed paranormal involvement.
I dislike the term haunted, but
theres some recorded evidence
and documentation. My home is a
graystone mansion constructed
in 1893 here in the city. Maybe
my supernatural visitor would like
to make its presence felt right
now on camera.
He quiets. Odd stillness prevails. Expectancy grows. Finally
DENNIS
Is there someone or something
here with us in this room?
More quiet. The masks flash again: a wolf man, a wizard, a hobo
with a large cigar drooping from his mouth, a cyclops.
DENNIS
OK. Nothing. Sorry. My visitor
seems to be on hiatus.
Am I too far adrift? Obviously, my
interests dont make me compatiblewith many women. The truth is, Im
38 years old, and I cant stop
buying monster masks. Please help me.
Im all alone, but Im attachable.
(Puts mask back on face)
Heres the bottom line: with me,
what you see is what you get.
He resumes the humming from earlier, but adds a point.
DENNISOh yeah, if you have kids, you
probably should consider somebody
else. Thanks.
He hums briefly. The picture fades. His dating video ends.
Dennis turns off his camera. Removes the mask. Sets it down.
Shrugs.
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DENNIS
(speaking to his mask)
Was I loud and clear?
(awaits response that never comes)
Should I cook something up?
INT. KITCHEN - NIGHT
MONTAGE DENNIS WORKS IN KITCHEN
--Dennis cooks eggs in a skillet. A modern and sleek kitchen.
Everything new and spotless. No hint of horror items.
--He places the eggs on a plate, carefully sprinkles seasonings,
arranges it so the eggs sit beautifully on the plate, eats.
--Puts the plate into a dishwasher. Wipes his hands. Cleans. All
is immaculate. Leaves the kitchen.
INT. DINING ROOM - NIGHT
Stark contrast with the kitchen. This room has worn wallpaper
and a few large holes, revealing slats. Masks hang everywhere on
the walls. Drawings of monsters are alongside.
Dennis sits at the table and picks up a tablet of drawing paper.
He flips and continues a previously started sketch. He draws
INSERT DRAWING
A figure with a deathly face, large open mouth with no lips and
ugly teeth, a dark top hat, and extremely long fingers.
Awkwardly posed. This subject is RONALD LONG LANG or LIPLESS
BACK TO SCENE
Dennis sketches carefully. Fully absorbed.
Drawings hanging on the wall flash into view. All show Long Lang
with the extra long fingers. Langs name is on each drawing.
INSERT DRAWINGS
--Lang standing in a hallway. Menacing.
--Hes seated for dinner. A bloody meal on his plate.
--Hes hiding under a bed.
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--Hes in a closet. His fingers jut out.
--Hes ripping some poor soul to shreds. Gushing blood.
--He sits on the toilet.
--He makes an obscene gesture.
BACK TO SCENE
INT. OFFICE - NIGHT
More posters, masks. Theres also a bulletin board filled with
research into the haunted house, including an obituary for
Ronald Lang and snapshots of dark rooms and shadowy figures.
Orbs of light are circled. Ancient newspaper. Murder stories.
Dennis sits at computer. Pays bills. Bored. He goes to monster
mask website. Scrolls around. Groans in disgust. Walks away.
EXT. PORCH - NIGHT
Dennis waters plants that hang from his front porch. Meticulous.
His house comes into view: An urban mansion. Partially
dilapidated. Ivy creeps up dark stone. Two imposing columns. An
archway. Overgrown vegetation. A pair of pondering chipped
gargoyles. An iron gate. CRICKETS CHIRP. A lonesome BIRD CRIES.
Dennis waters his last plant and heads inside.
INT. KITCHENNIGHT
Dennis puts cookie dough on a baking sheet. Applies cookie
cutter: windmill shaped. Everything into oven.
INT. WORKROOM - NIGHT
Dennis repairs an old reel-to-reel projector: the kind teachers
used in the 60s and 70s. Tightens screws. Flicks a switch. REELS
ROLL. A flood of light projects onto the wall. A movie starts.
Its a musical. A couple CHEERFULLY SINGS, but their faces
distort because they project on a rough wall and not a screen.
They appear sinister. Dennis turns away from these images to
tinker with the machine. Turns back. Watches. Closes his eyes.
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Now the projector is in new light. It plays the same old movie,
but this time, Long Lang appears. Lurches. Long fingers drag.
Lang takes over the screen. Close. Breathing. His face also
distorted against the old bricks. The cheerful MUSIC THROBS.
Dennis opens his eyes. Lang is gone. Just singers. Dennis
ponders. Turns off projector. Rolling canisters WHEEZE TO HALT.
INT. KITCHEN - NIGHT
He removes the cookies. Places them in a container. Frowns.
INT. BASEMENT STAIRWELL - NIGHT
Dennis flicks a light switch, which barely illuminates the
stairwell. Stairs creak underneath him as he moves down.
INT. BASEMENT - NIGHT
Filled with horror memorabilia, including:
--Several mannequins. No clothing. They wear masks.
--Various monster sculptures.
--A large, plastic coffin with a pumpkin-headed doll inside. A
headstone sits near the coffin.--A Christmas tree.
He bypasses these things and heads for the coal bin. The wooden
door is peeling industrial green paint. Halfway open. Menacing.
Dennis studies the door carefully. Checks the hinges. Places his
finger against the side. Peers into the darkness beyond door.
DENNIS
If youre in there, good night.
Dont let the bed bugs bite.
No response from the dark.
INT. BATHROOM - NIGHT
He brushes his teeth. Hangs brush on zombie holder.
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INT. BEDROOM - NIGHT
Dennis is in bed. Watches a late night talk show. The digital
clock reads 11:45. Shuts off the TV.
Denniss soft breathing is heard. A floorboard creeks. A pipe
knocks. Nothing out of the ordinary. Settling.
EXT. FRONT OF HOUSE - NIGHT
Another view of the front. The vines and bushes rustle slightly
in the breeze. Wind chimes on the front porch clink softly. The
chimes are shaped like tiny skeletons. Time passes.
INT. BEDROOM - NIGHT
Denniss clock reads 2:33 a.m. Hes wide awake.
A slight BANG sounds from somewhere in the house. Dennis gets
out of bed. Throws on sweat pants.
He heads down the creaky stairs in the dark. Shadows grow.
INT. LIVING ROOM - NIGHT
This rooms walls are covered with masks. He looks up at them.
DENNIS
OK, who made the noise?
Thats funny, right?
The masks face Dennis with frozen snarls and grimaces. The
slightest NOISE sounds. A SLURP? Barely perceptible.
DENNIS
Should I go downstairs?
INT. BASEMENT - NIGHT
Dennis stands before the coal bin door. Then pushes door open.
DENNIS
Dont worry. Its just me.
Just checking things out.
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INT. COAL BIN - NIGHT
Dimly lit. We see:
--exposed ancient brick. Gray. Cold.
--tree roots growing through cracks in the wall.
--spider webs, dirt, small debris, cracked floor pavement.
There is a CLICK. A pull chain. An overhead bulb sparks to life,
providing some light. But one corner is still shadowy
Theres a silhouetted figure in that corner. Long fingers,
Top hat. Its LONG LANG. Dennis approaches slowly.
He reaches Long Lang and rolls him out. It is a life-sized
statue that sits on rollers. Its a crude model built of old
mannequin parts and masks. The fingers extend unnaturally.
DENNIS
You look sloppy.
Lang stares at him with menace.
Dennis dusts off his suit coat and rearranges his fingers so
that they have greater extension.
DENNIS
This is really shoddy.
Am I neglecting?
Dennis maneuvers the Lang statue. Theres a small CREAK of the
door hinge. Might have moved slightly. Dennis springs to it.
DENNIS
OK. I heard that. Is it
nothing? Is this nothing
or something? Something?
He turns to Lang, who stares ahead grimly. Dennis finds a lawn
chair in corner and unfolds it. He sits. Watches. After amoment, he turns to the statue.
DENNIS
Do you mind if I observe for
a moment? In case its something.
Dennis sits quietly. Time passes. He stares at door. It doesnt
move. He turns to Lang.
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DENNIS
Im thinking about adding almonds
to my glaze. Am I enhancing?
No response.
DENNIS
I made windmill cookies. No nuts.
Ill bring them to work tomorrow.
Is it silly that Im down here?
Dennis reaches out to the statue and pulls a draw string near
its ribcage. Lang speaks.
LANG
(Tinny, mechanical voice)
Im coming for you.
Dennis pulls the string again.
LANG
You cannot escape me.
The device is similar to what one would find on a talking baby
doll. Dennis seems satisfied with hearing the voice.
They sit in the dingy coal bin and more time passes.
--Dennis paces.--He fusses with his statue.
--He pulls out a paddleball on a string from the corner of the
room. The ball initially BEATS rhythmically on the wood, but
Dennis misses and sideswipes as he grows more tired. He
drops it in frustration. Turns to his statue.
DENNIS
How did we get to this
point, Ronald Lang?
He paces.
DENNIS
Do something. Scare me.
(He waits. The room is quiet)
OK. Fine. Lets go with a joke
then: Guy buys a paranormal house.
Ghosts dont hurt him, but the
mortgage and upkeep do. Get it?
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Dennis moves out of view. Only Lipless Lang is seen. Denniss
BREATHING and FOOTSTEPS are heard, along with some RUMMAGING.
Then the sound of a PULLCHAIN. The light goes out. Only the
faint glow of a bulb elsewhere in the basement illuminates
Lipless Lang, but hes mostly shadow.
Dennis is still moving around somewhere in the dark. Then comes
the sound of the DRAW STRING and Langs TINNY VOICE.
LANG
Im coming for you.
More SHUFFLING. Then Dennis SCREAMS. Not just an ordinary
scream, but one that rattles the soul. It ricochets around the
empty coal bin. It goes on for an absurdly long period. Lang
glares in our vision the whole time.
AhhhhhhhhhhhhhhAhhhhhhh.
AhhhhhhhhhhhhhhAhhhhhhh.
AhhhhhhhhhhhhhhAhhhhhhh.
Absolute terror.
Silence. Is Dennis alive?
Theres a click. Light returns. Hes unharmed, but frustrated.
DENNISHow long have I been down
here? A long time, right?
And I just cant believe
(His tone lightens a degree)
I cant believe that this
has become so serious to me.
Being down here has become
a thousand times more serious
to me than Id have ever, ever
expected, and I dont know
why. And the cookies I bakedtonight, of course, were misshapen
and they just look really sad.
I heard noises tonight, right?
No response. No activity. Complete quiet. Resigned, Dennis
grunts and rolls Lang back into the corner. Folds up his chair.
Places it against the wall. Looks back at Lang. His anger fades.
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DENNIS
This is goofy, right? This is
skipping around the birdhouse
with the peach basket, isnt it?
He picks up his paddleball and gives a failed swipe at the ball.
He goes back to Langs corner and speaks intimately to his ear.
DENNIS
You saw my video right? My dating
video? It needs work, but so does
everything else. If theres no
activity in here, then Ill find
some out there. Is that cool?
Lang looks on. Dennis turns out the light. Pulls the door almost
closed. A thin light from elsewhere in the basement gives the
faintest illumination. The shadows from Langs long fingers
extend across the old bricks. And very gradually
The HINGES GROAN.
The door moves a quarter inch on its own.
Total darkness prevails.
Theres a soft chewing sound. Then silence.
SUPER: SEVERAL WEEKS LATER
INT. APARTMENT BEDROOM - NIGHT
A completely different part of town. Its dark, but a door
bursts open, letting in light. A silhouetted figure appears in
the doorway. It is distorted and scary at first, but then a
womans figure comes into focus.
The bedroom light snaps on revealing SANDRA HAGEN, 34, as the
figure in the doorway. Sandra is petite and pretty. She has
short hair, a satin blouse, and a leather jacket. She carries a
tall glass of wine: Tipsy.
CARRIE LEE, 35, sleeps. Shes a little chubby, long-haired, and
fatigued. A dozen Teddy bears share her bed. She and wears sweat
pants and a faded Lobsterfest T-shirt from a restaurant.
SANDRA
(whispering)
Wakey Wakey.
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Carrie is disoriented. Groans. Looks around. Moves her lips, but
nothing comes out.
SANDRA
Wakey Wakey. Ive found
something good online.
CARRIE
(Croaks)
I was asleep.
SANDRA
Sorry, OK. But this is too
perfect. It cant wait
until breakfast.
Carrie looks around. Croaks.
CARRIE
Were you out?
SANDRA
Well, I dont know if that qualified
as going out, but never mind about
that. I need you to get up. Ive
struck oil with this one.
Carrie stares blankly up at the ceiling. Sandra grabs her by the
hand and pulls. Sandra falls. Spills wine. Resumes pulling.
SANDRA
Get out of bed, ya hag.
Ive found you a man.
INT. LIVING ROOM - NIGHT
The two women stare at a laptop. Sandra beams. Carrie droops.
Dennis is on it, wearing his mask. Its his webcast video. They
watch it as it ends.
SANDRA
Doesnt that kill? I mean,
not literally, but maybe.
Its kind of sexy, I think.
She points the computer camera at herself and starts typing at
her laptop. She smoothes her hair, sips wine, laughs.
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CARRIE
No. Are you kidding me?
Its a joke.
Sandra makes a few preparations and then speaks into the camera.
SANDRA
Dennis. That was sensational! Bravo.
(Claps. Sips wine)
Bravo. Im Sandra. My friend is Carrie.
Were highly intrigued. Maybe youd
like to meet us when you arent
too busy slaughtering teenagers.
(She gulps remaining wine)
OK. Heres how it works: Carrie and
I operate as a team, meaning we
go on dates together. Im fun and
she knows karate, in case theres
any funny business. So that makes
us the perfect combo. Here let me
put Carrie on.
She tries to grab Carrie and drag her into picture. There is
the sound of struggle in the background.
SANDRA (O.S.)
Dammit youre strong
Finally, Carrie flashes into view.
CARRIE
Im so sorry about this.
Sandra shoves her aside. Takes her place in the picture.
SANDRA
(Shakes her head)
Stop. Strike that comment
from the record. Why would you
apologize? Dennis, just disregardher for the moment. We want to take
you out for drinks and run our
fingers through your hair. I
personally prefer wine over blood,
which I hope isnt a problem.
Think it over. Get back soon.
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She reaches to turn off the camera, but decides to make one
more comment into the camera. She whispers.
SANDRA
Please dont kill any teenagers
without us.
The camera cuts out. Sandra stands before the computer.
She pours another glass of wine and beams proudly.
CARRIE
I cant believe you said that.
Sandra only smiles. Carrie opens the refrigerator and pours a
glass of milk. She nods to her friend.
CARRIE
Bottoms up, nag.
(She downs the milk)
Do you have any other bad
ideas? If not Im going back
to sleep.
Sandra smirks. Tips her glass toward Carrie.
INT. BEDROOM NIGHT
Sitting at her beds edge, Carrie takes a deep breath and holdsit. Her cheeks bulge. Her face reddens. She holds her breath
for an impossibly long period of time before falling backward
onto her pillow. All goes black.
INT. BLACKENED ROOM - NIGHT
Lipless Lang stands before us. His fingers stretch to
impossible lengths. He lurches forward. Gets a bit too close.
Backs up. Takes off his stovepipe hat. Takes a bow. Stares into
the camera.
He backs up to reveal a film projector, the same one seen
before. He flips a switch. The REELS set in motion. We hear the
GEARS. A film shows. The quality is grainy. Just like those old
school movies. The following events are shown in this film:
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SUPER: Noises in My Room: Starring Dennis, Age 10.
INT. BOYS BEDROOM - NIGHT
YOUNG DENNIS, 10, holds a record. Hes in pajamas.
The film has a narrator. We never see this person, but his
voice is dark and weird. Perhaps it is the voice of Lipless
Lang himself, back when he had lips.
NARRATOR (V.O.)
Let me tell you a little about our
friend Dennis. Youve been watching
him for only a short time, but
weve watched him his whole life.
We are his monsters. The ones who
live in shadows, daydreams, and
nightmares. We sometimes find our
way into the physical world. We
are always close and getting
closer.
We want to show you Dennis at
age ten. His auntie gave him a
recording called Scary Sounds to
Listen to in the Dark. This is
how it starts.
Young Dennis places the needle on the record. It rotates.
Horrible sounds emit. GASPS. FOOTSTEPS. DRIPS. HEAVY BREATHING.
Young Denniss face shows both horror and fascination.
NARRATOR (V.O.)
The record frightened Dennis, but
he couldnt stop playing it. That
was the moment when Dennis started
loving us. And oh how we loved him
back. Ohhhhhhhhhh.
INT. BEDROOM - NIGHT
Young Dennis sleeps in his bed. Quiet. Dark. A shadow moves in
his room. A floorboard creaks.
Moments pass. The quiet room abruptly fills with sound: CLANKS,
desperate BREATHING, RATTLING CHAINS, HOWLING WINDS.
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Denniss small record player revolves and emits these terrible
noises. Its the sound effects record.
Young Dennis reluctantly gets out of bed. In the darkness, he
approaches the record player. Horrible sounds emit. He is both
desperate to turn it off and frightened to touch it.
Slowly he reaches his hand to the switch and kills the sound.
It groans to a stop.
He hurries back to bed and pulls the covers over his
head.
Moments later, the record starts up again. Young Dennis doesnt
want to face it again, but gets out of bed. Approaches
cautiously, and turns it off.
He looks to his closet. Was there a sound there?
He moves closer.
A SHADOWY FIGURE BURSTS FROM THE CLOSET, roaring and moving
directly to Dennis. It picks him up and drags him to the
closet. Young Dennis SCREAMS, but the dark man has him in his
clutches. He pulls him into the closet and SLAMS THE DOOR.
The ominous door stays in view. And then young Dennis bursts
out. A shadowy hand reaches in vain. Dennis runs to his bed and
covers his head. The film ends with a black screen.
NARRATOR (V.O.)
Now, wasnt that fun? But
Dennis woke up in his bed the next
morning. He thought it was a dream.
It wasnt. We let him get away.
We wanted to eat him later.
INT. BLACK ROOM - NIGHT
Lipless Lang turns off the projector. His head starts to swell.It fills like a balloon. Larger and larger. It fills
everything. And then it bursts.
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BACK TO PRESENT TIME.
INT. BEDROOM DAY
Denniss alarm goes off. He was asleep in his bed. His sketch
pad sits on his chest. He rubs his eyes and turns on the radio.
MONTAGE A NEW DAY FOR DENNIS
--Dennis gets out of bed.
--He pours himself a bowl of Count Chocula in his kitchen.
--He puts on a tie. Looks professional and clean. A new man.
--He brushes the hair of one of his monster masks.
--He combs his own hair using the same comb used on the mask.
--He wraps a bunt cake in nice packaging.
--He gets into his car, a black luxury car. He looks impressive
behind the wheel. Hes not some horror geek, but a true
professional.
--He drives to a small pond.
--He takes bits of bread and feeds the ducks. Quiet moment.
--He returns to his car and drives to work.
--He types at a computer in an office. His desk is immaculate.
Not a hint of horror movie items.
--He eats an elaborate salad at the workplace lunch table.
Women have an animated conversation at the table next to him.
INT. LUNCHROOM - DAY
DENNIS
(To the women)
I brought some cake.
(Offers it to them)
WOMAN 1
Sorry. Not today.
They couldnt be more disinterested, and go on talking as ifDennis was not in the room. Dennis takes the cake and places it
on a side table, next to a whole host of uneaten treats.
INT. OFFICE DESK - DAY
--Dennis goes over paperwork.
--He works on his computer.
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--He checks his webcast dating site. Sandra appears.
--He looks shocked. Goes to his office door and closes it.
Goes back to review the screen.
Just as he starts to hear her message, a knock sounds. Dennis
jumps and scrambles to turn off the computer. Denniss OFFICE
MANAGER enters. She is in her 50s, speaks carefully and
pleasantly, and wears a business suit.
OFFICE MANAGER
Dennis, may I see you in my
office for a moment?
DENNIS
(A bit flustered)
Sure.
INT. MANAGERS OFFICE DAY
She smiles at Dennis before delivering the news.
OFFICE MANAGER
Dennis, we love the great treats
you bring in every morning. You
do such a wonderful job, and we
appreciate your generosity.
DENNISThank you.
OFFICE MANAGER
But we need to you scale back.
DENNIS
(Confusion)
Oh.
Dennis clicks a ball point pen in his hand.
OFFICE MANAGER
What Im saying is, you bake
more than we can eat, and it
createswell, things pile up.
DENNIS
Oh.
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OFFICE MANAGER
Wed love you to continue to bring
in treats, but not daily. Lets
stick to special occasions.
DENNIS
I understand.
(He clicks the pen again)
OFFICE MANAGER
And one more thing. Im going to
recommend that you not place treats
on the desks of co-workers unless
they specifically request it. Please
dont take it the wrong way. We
love your treats.
DENNIS
What do you mean by taking it
the wrong way?
(Two pen clicks)
OFFICE MANAGER
Some people just arent comfortable
with treats being left on their
desk if they are unrequested. Im
sure you understand.
DENNISAm I making people uncomfortable?
(Two pen clicks)
OFFICE MANAGER
No. It just creates expectations.
A sense of obligation. Not everyone
wants sweets.
DENNIS
I can make a vegetable dip.
Is that preferable?
More pen clicks from Dennis.
OFFICE MANAGER
All treats should go in the break-,
room, not on the desks of individual
employees. Thats our policy.
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DENNIS
(Thinks. Two pen clicks)
Not a problem. Do you really have a
policy? I find that unusual.
OFFICE MANAGER
We do. And we love your treats.
DENNIS
I wont harass the office with
muffins anymore.
The manager opens her mouth to speak, but we dont hear it.
Dennis walks out.
INT. LUNCHROOM - DAY
Dennis tosses his cookies and treats into the garbage.
Two coffee drinking women look on awkwardly.
INT. MAIN OFFICE - DAY
Dennis grabs a cookie plate from a womans desk and tosses
it into the trash. Shes on the phone as he does it. Surprised
look. Dennis turns to say something, but thinks better.
INT. CAR - DAY
Dennis drives home. His pen is in hand and he clicks it with
abandon. He steps on the gas pedal. The car flies.
INT. DENNISS KITCHEN - DAY
Dennis stands in his kitchen, looking glum. He opens the
shelves and looks at his supply of baking goods.
The shelves are loaded with boxes of cake mix. Not just one ortwo, but hundreds. More cake mix than any one person could
possibly use. The boxes are neatly stacked, fitting in with the
overall neatness of the kitchen.
He pulls out one box, studies it, and throws it in the garbage.
He takes two more off the shelf and does the same. Then he
stops and closes the cabinets.