Proposing Miracles, Script, Scenes Three & Four

Updated on October 17, 2019
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Mike is a long-time supporter of procrastination and enjoys doing as often as he can.

Character list coming soon

Scene Three

Fade In:

Scene Three

The elevator opens onto a large dark control room with what looks like flat-screen monitors on the walls. People are sitting at consoles with keyboards and mice. Across the screens on the wall are views of the earth from outer space to close-ups of weather as it moves across the landscape.

(Jane and Carlos step out of the elevator)

JANE

(puts her hand up to her mouth in a shushing gesture)

Keep your voice low and try not to interrupt them.

CARLOS

(Puts his hand up at the bank of monitors)

No electronics? (pause) what’s all this?

GEORGE

(from behind Carlos and Jane)

It looks like your tech, but it’s not.

(Carlos and Jane turn to see Gorge)

JANE

(Wide-eyed and excited to see George)

Carl, this is one of the managers, George.

CARLOS

(Looks to George then Jane)

Carlos

GEORGE

(puts his hand out. Jane lightly gasps)

Nice to me you (double guns with hands) Carlos. I read your resume and entrance papers, and I see good things in you, and with one of our best here as your mentor, you’ll go far.

(Jane takes in a breath)

CARLOS

(takes hold of George’s hand and shakes, let’s go of hand)

I thought they didn’t like electronics here.

(Jane gives a disapproving look)

GEORGE

(smiles without showing any teeth)

Walk up to one of those monitors, you’ll see.

(Carlos walks closer to the wall of monitors)

ALBERT

(stops working and watches Carlos)

Don’t touch the monitors; you don’t want to kill people on your first day.

(Carlos walks over to what looks like a flat-screen television. The panel hangs about three inches away from the wall with no apparent connections to the wall or any wires, including power. The image seems to hoover in layers with the clouds on top and the ground and water on the bottom, but there appears to be deeper layers)

(Carlos puts his hand up to the image)

ALBERT

(quick and a little frantic) Stop. Don’t touch the weather.

(Carlos steps back)

(Albert gets up from his workstation and walks over to a wall with a blank panel. He touches the panel, and it comes into focus on an island surrounded by clouds.)

(Carlos puts his and up to the image)

ALBERT

Go ahead; this is just a training simulation. We use this to show how basic changes can have drastic consequences.

CARLOS

Like that Aston Kutcher movie about butterflies changing time.

ALBERT

(slightly confused) Yeah, like that butterfly movie. (pause)

Go ahead; trust me, it’s worth it.

(Carlos puts his hand up to the image. He touches the cloud, and it moves. Pulling his hand back, he sees water and feels the cold. A hole was left where his finger was. The hole grows bigger, and the clods shift, causing it to rain on the island.

ALBERT

Go deeper

(Carlos puts his hand into the image. The deeper his hand goes, the more pressure he feels. He can see the wind change in the image. Carlos puts his finger in the water near the island. The finger shifts the water changing the tides)

CARLOS

(pulls his hand back and sniffs the water dipping off)

This smells like seawater.

ALBERT

That’s because it is seawater. Now look at the image

(Carlos looks at the image. The island was experiencing a strong damaging storm)

Any direct action can have devastating consequences. We work to make sure the weather does what it’s supposed to do, even when that’s something destructive like a hurricane. Most of the time, we watch and let it do its thing most of the time.

(Albert directs Carlos to a workstation)

The workstations act like a buffer allowing us to do micro changes to a macro problem

(Albert looks to George and walks back to his workstation without a word)

GEORGE

It’s a sacred duty to work the weather, and for many, it’s also a burden. It’s why we only choose the best of the best (pause). I hope you make the cut. You’ll learn more about this in orientation

(Carlos turned to George)

JANE

(gets between Carlos and George)

I think we need to keep going, so much to do, so much to see.

CARLOS

(looks to the elevator)

Yeah, let’s go see what’s next.

Fade Out:

end scene

Scene Four

Fade In:

Scene FOUR

Jane and Carlos step into a different elevator than the one they were on before. The elevator doors close. The buttons are labeled from b1 to 55.

CARLOS

(looking at the panel)

I thought this building only had four floors.

(Carlos looks at Jane who is smiling)

JANE

That was incredible. George never talks to recruits. (Jane pushed the three button)

There will be a lot you won’t understand even after orientation. The simplest way to say it is the weather control room is a central hub to all the buildings. Each elevator is connected to one of the other buildings, and those buildings are all over the world. This elevator is New York.

CARLOS

Are we in New York?

(Jane pushes the Lobby button. The doors open, and they could see a different lobby. Carlos and Jane leave the elevator out and walk to the lobby doors)

ALEJANDRA

(Stands up and puts her hand out)

Stop, no one can go out from another building without signing out.

(Alejandra Holds out a clipboard)

JANE

(Jane looks at clipboard)

We’re not leaving, I’m here giving a tour, and he wanted to see we were really in New York.

ALEJANDRA

(tapping clipboard)

You’re here now, so sign, or you don’t leave the lobby.

CARLOS

(walks over to the desk with a devilish smile. He leans on the Desk)

Hello, Alejandra, I’m Carlos. Is this really New York. (pause) maybe we could go and see the sights (pause) coffee?

(Jane gives Carlos an exasperated look)

ALEJANDRA

(pushes the clipboard over to Carlos)

Sign in or meet security

(Pause) (in a mocking tone)

Carlos

JANE

(takes clipboard and signs. She hands it to Carlos)

Just sign and let’s go

(Carlos smiles his most friendly sleep with me smile as he signs his name making sure to leave his number)

(Jane and Carlos turn to the elevators)

ALEJANDRA

(leans out)

Say hello to Jill for me, tell her Jana is always thing about her and that night.

Fade Out:

end scene

© 2019 Michael Collins aka Lakemoron

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