Passing For Hot
Passing For Hot
Kalika
Copyright 2011 Kalika
Smashwords Edition
Smashwords Edition, License Notes
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Preface
Hello, valued readers. Did you know that by reading my Pilot Sitcom you're taking part in entertainment history? By reading and enjoying "Passing For Hot," you will be helping to pave the road to production of this sitcom so that you will soon be able to watch it on TV. And, all subsequent written episodes of "Passing For Hot" will be free for your enjoyment.
Because this teleplay is meant for e-publication and not as a "shooting script, "out of necessity, the formatting had to be changed, and I've been careful to make it suitable for reading by the lay person by also eliminating camera shots, although I had to put certain things in, and I'll explain them now, so that when you run across them you won't be scratching your head wondering what's going on. For instance:
"PILOT": Original script for a new television show
"SITCOM": short for "situation comedy"
"FADE IN" signifies the beginning of the screenplay.
"EXT." indicates a scene taking place outside the location.
"INT.": indicates a scene taking place inside of a location.
"DISSOLVE TO:" simply means the ending of a scene with time passing.
"PARENTHETICALS" indicate what an actor is feeling or thinking and how and when he says his dialogue and/or who he is talking to.
"BEAT" simply shows the director or actor, and in this case, you, the reader, that there is some emphasis, some emotion which follows the dialogue.
"MONTAGE" means a short series of events taking place in quick succession, spanning either a short period of time or maybe even years. Sometimes these scenes are without sound and sometimes they are with sound.
(O.S.) means the sound or voice comes from off screen, but nearby.
(V.O.) means the sound comes from a place other than the location.
"SFX" means sound effects
"MOS" it means "mit out sound," coined by Erich von Stroheim" around the time of the first "Talkies.."
Now, the good part about this is, you won't have to spend your life trying to get through hundreds and hundreds of pages. But, whether you have any ideas or not about casting, I'd love to know how you felt after reading the last page. You may contact me at kalika@limitlessskyfilms.com or visit my website to read more of my screenplays at www.limitlessskyfilms.com.
Thanks so much for taking the leap into teleplay reading, and I look forward to hearing from you.
PASSING FOR HOT
An Original Pilot Sitcom
Written by
K A L I K A
FADE IN:
INT. RUBY’S PLACE - DAY
It's a soulfood restaurant on Crenshaw Boulevard in Los Angeles, California. A neon sign out front announces to the world that RUBY’S PLACE has food that is "LIP SMACKIN' GOOD!"
INT. RUBY’S PLACE - DAY
MUSIC can be heard coming from an old jukebox stationed right off the kitchen. Suddenly, the TWO SWINGING DOORS fly open as KENNY, A GOOD-LOOKING GUY IN HIS LATE TWENTIES ENTERS from the kitchen, carrying a large tray of food. KENNY does a few steps to the music as he delivers the tray to a GROUP OF PATRONS anxiously waiting at a table.
OLLIE, DANIEL and LAVERN dig in as soon as the plates hit the table.
DARLA, WEARING A WAITRESS UNIFORM and standing near a counter, is lost in thought.
ANGIE, another WAITRESS comes whizzing by, expertly balancing a large tray of food in one hand. ANGIE takes a moment to stop and whisper into DARLA’S ear.
ANGIE
(jokingly)
Take a picture. It’ll last longer.
DARLA immediately comes to attention and feels embarrassed.
DARLA
(smiling; lying)
I have no idea what you're talking about.
KENNY is helping WINSTON, his SLIGHTLY OBESE BEST FRIEND, move a piano from one end of the stage to a better spot. The stage is a slightly raised platform with enough space for a live band and performers.
KENNY doesn't notice the girls checking out his bulging biceps, trim torso and tight buns.
DARLA AND ANGIE continue to lust over KENNY from a safe distance.
ANGIE
(to Darla)
Honey, as fine as I am, I couldn’t get him, so what makes you think you will?
DARLA
(gushing)
I just feel a connection, girl, I just feel it.
ANGIE
(raises a doubtful eyebrow)
A word to the wise, honey. Until he gets over “Miss Whoever Broke His Heart,” none of us stands a chance.
(swishes off)
EXT. PARKING LOT - DAY
A VINTAGE CONVERTIBLE MERCEDES pulls into the back parking lot of RUBY'S PLACE on this sunny spring day. RUBY has the top down.
RUBY, A SEXY WOMAN, WEARING A RUFFLED SKIRT THAT STOPS JUST ABOVE HER KNEES, EXPOSING LONG, SLENDER LEGS, EXITS THE CAR.
RUBY closes the door, and the fresh linen jacket she's wearing gets caught in the door and jerks her backwards. Not missing a beat, Ruby quickly opens the door, removes the jacket and throws it back into the car, revealing toned arms and small waistline as she heads toward the restaurant with long, quick strides.
INT. RUBY’S PLACE - DAY
RUBY ENTERS THROUGH THE REAR OF THE BUILDING and walks down the narrow hallway to her office.
There’s a large sign on the door which reads “GO AWAY.” RUBY walks in and closes the door behind her. Her phone starts to ring and she pulls it out of her purse.
RUBY
(into phone)
Hey, Dorothy...yeah, I just walked in...No, I haven’t changed my mind at all. I’m serious about this...No, I haven’t told him, I just walked in...Listen I’ll give you an update tonight. And what did Effie want to talk to me about? I sure hope you’re still not trying to talk me out...okay, okay...If you say so. See you tonight.
RUBY puts the phone down on her desk, takes a deep, thoughtful breath and walks out of the office.
RUBY is full of high energy as she walks into the DINING ROOM and spreads it around. As soon as CUSTOMERS see RUBY, they all greet her with a wave, a smile, a nod of the head.