COFFEE & SERIAL
Editor's Note: Certain dialogue contained in Coffee &
Serial may be offensive. Content of the work is the sole
responsibility of the author and is not representative of
the views of The Capital Times, the college administra
tion, faculty or student body. This play is being presented
for cultural and entertainment purposes only.
AFJ eiogr ikt6r
pisode Eight: In our last issue we found out
-,=
Glenn feels trapped in his relationship witit , christie.
, Hold on for the exciting conclusion of "Aupslipt."
E
Glenn gets up and approaches her.
GLENN: You're OK?
WOMAN: Excuse me? (nasty) Do I know you?
GLENN: You're all right. I mean, you're OK
WOMAN: Of course I'm OK. Why wouldn't I be'
guy who knocked me over. I told you that day I w'
GLENN: Well I
WOMAN: You thou
She gives him a dirty ,
side is a limousine. Thi
and grabs her ass. Sh(
CHAUFFEUR closes
standing there in ama;
EDDIE: Are you all
GLENN: I did . . . I
o g i
FADE TO BLACK: Ar
EXERIOR: WARE I S l / 4 ,1641* ,:,
ar q .
The guys are all *ng n
front of the wa
dit
BOO: Wedidril u , . .. sight
camera box in. so
ROCCO: That motherf#*ker
BOO: That shouldn't be too much trouble
800 opens the trunk and Christie is inside. She's hog-tied and gagged. She's scream
ing, but her screams are muffled.
ROCCO: Who the f#*k is this?
SHORTY: It's the photographer's girl
ROCCO: What the f#*k am I going to do with her?
JOHNNY: I can think of some things to do to her.
INTERIOR: LIVING ROOM-LATER
Glenn takes his lighter out of his pocket and sets the negatives on fire. As they burn,
BOO: We figured we'd take some pictures of her and trade her .. . you know .. . for his laughter gets even louden He lights a cigarette off the flames.
the other pictures
They all start laughing
ROCCO: I trained you guys good. I take back everything I said about yous
(pats 800 on the back) 800 smiles. They all start laughing again.
ROCCO: Johnny, go get the camera.
Johnny heads back into the warehouse
I want him found
C 0, FP66 SEI2:AL
,
umemr pePtfriA weirmkt 13 EPWA2.9 CAI CY27i
■
SHORTY: What do you want to do with her?
Christie is wriggling and crying in the trunk. Her eyes bulge with fear.
ROCCO: Leave her there:.
Rocco stares into the trunk then slams it closed.
ROCCO: Pull the car inside. (to Boo)
BOO: Gotcha!
800 gets into the car. Rocco and Shorty head toward the warehouse
the ROCCO: You know . . . I may let you live after all. (to Shorty)
SHORTY: That would be nice
SHORTY . You're not really a Mets fan are you?
SHORTY:
GLENN: Jesus Christ! (checking his watch - it's 2:05 p.m.)
tie, you here? (frantically)
He looks at the camera and heads to the dark room.
INTERIOR: DARK ROOM-LATER
Glenn rips open the camera and develops the film. As he checks the negatives, he
stares in disbelief A close-up reveals a photo of Christie tied and gagged, a look of
fear on her face.
GLENN: Holy sh*t!
He hears his voice reading the ransom letter.
GLENN'S VOICE: WE'LL TRADE HER FOR THE PICTURES
AT 3:01, SHE'S GONE.
He stares at the negatives, pauses, and looks at the clock. It's 2:20 p.m. Slowly, a
smile comes over his face. Then he begins to laugh, louder and louder until he's hys
terical. He walks out of the dark room holding the negatives in his.hand.
INTERIOR: WAREHOUSE- SAME
The guys are sitting around. Rocco checks his watch and nods to Shorty Shorty cocks
his gun and walks toward the door.
THE END
kidding?
mversation fades.
IDE GLENN'S BUILDING - 2 P.M .
ed his apartment. He notices an envelope taped to his
Ts a disposable camera inside. Upon examination, he
Glenn also discovers a note inside the envelope. He
er reveals its contents.
THE PICTURES. YOU HAVE TILL 3 P.M. TO GET
S GONE. DROP THE PICTURES IN THE
CORNER OF SPRING AND MULBERRY.
ITMENT-LATER
has been ransacked.