Djinni Fanfiction.
Out of the Blue, Into the Pink.
Summary: It all started with a box on the beach, a Djinni costume, and a golden lamp and a magic carpet...
Cold Open: Scene 1. General Introduction: Captions appear on screen as if typed: "August, 5th, 2016.". Camera gives us a wide screen view of the surrounding scenery. It is later in the evening. Street lights and side walk lamps are starting to come on. POV shows us that we are in some kind of city, though we do not know exactly where, though we can see that we are in the main hub of the city. Just off screen, though coming into view, we can see that we are near the mountains, while off in the distance, we can hear the loud roar of the ocean's waves crashing onto the shore, followed by the screams of laughter and excitement, which tells us that we are close to the coast, or near the beach. It is warm and calm, there is a sea breeze that is coming from the ocean. People are shown to still be out enjoying their evening. Some are dressed in proper summer clothing while others seem to be dressed in casual clothing. Shops and stores are still going strong. We can also see that some of the shops and stores have their summer wares out in display, including: shorts, t-shirts, bathing suits, bikinis, swim suits, tanning oils and lotions, sun glasses, sun screen, surf boards, boogie boards, wake boards, hats, visors, aquatic/pool toys and gear, scuba gear, sandals, flip flops, snorkels, masks, fins, flippers, and various other kinds of summer wares. People are shown to still be shopping. Some of them are just browsing through the shops and stores while others seem to come from the shops and stores with packages and parcels in their arms. There is a pleasant aroma in the air. Resturants, bistros, and cafes, are still shown to still be serving customers. Some are being escorted to their tables, while some are waiting to be seated and some are just now making their reservations. The audience can assume that this is just part of an ever day evening or possibly some weekend evening. Just off screen, though coming into view, we can see that we are near some kind of boardwalk. Fade out.
Cold Open: Scene 2. Boardwalk: POV leads us from the main hub of the city onto what appears to be some kind of boardwalk, though we can see that we are still close by to the city. Vehicles are parked in the parking lot and we can see that some vehicles are lining the streets. Bright lights flood the boardwalk and we can see that there appears to be some kind of carnival or fair that is going on, though we also see that despite the lateness of the evening, the carnival or fair is still going strong. Music echoes from on the boardwalk and with the bright lights, we can see various kinds of attractions, rides, and games, including: a ferris wheel, a merry go round, bumper cars, shooting galleries, water slides, a tunnel of love, fishing pools, food vendors, refreshment vendors, bottle toss, basket ball throws, baseball throws, dunking booth, dart games, face painting, and various other kinds of attractions, rides, and games. The audience can see that people are still enjoying the carnival/fair. Camera gets a close up of a handsome young man with brownish blonde hair, captions reveal his name as Logan Harcourt. He appears to be in his early to mid forties and is dressed in a pair of dark purple shorts with a yellowish-gold t-shirt and a pair of sandals. The audience can see that he is talking to another man, though we only hear the end of the conversation.
Logan (to the man):...same page, I've already submitted the rough drafts of the blueprints and layouts to the committee and once they've been approved or whatever necessary changes that need to be made, have been made, then as soon as they let me know what's going on, then I'll have the final designs ready by no later than Monday, afternoon. (the man nods, marking something on his clipboard. Logan speaks again) Then I'll bring them with me that evening so I can go over them with the construction crews so we can go ahead and get the main booths and attractions started. (the man looks up, surprised)
Man (looking up, surprised): Wait a minute. (Logan eyes the man, puzzled) Are you seriously telling me that with all you have going on at your own home, that you're still going to be here working on the Winter Carnival? (Logan nods. The man is speechless. Logan speaks)
Logan (nodding): Sure I am. In fact, the entire family'll be here working...well either here or at Disney. (the man is taken aback)
Man (taken aback): I could've, and would've, bet money, that with everything you have going on at your house, that you'd all be miles away from here and not even thinking of looking back. (Logan laughs)
Logan (laughing): I'm sure that many would've thought that, but the truth is, we've been asked to do a job and we plan on doing it. Besides, my youngest son is taking part in the Christmas carolers and he's helping to build some of the props for the Christmas play, so we're all going to be around. (we can see that the man is completely speechless. Logan continues) Although, the week after next, we're all going to be going to Maine for two weeks to visit my parents, so we'll have THAT time off. (the man finally speaks)
Man: Well, at least you're doing something sensible. (both men laugh. Camera points towards the parking lot and we can see that several other vehicles seem to be pulling into the parking lot. The man speaks) Thankfully, we've been given permission to use the equipment and grounds of the boardwalk, so there won't be much to do for the Winter Carnival. (Logan speaks)
Logan (laughing): Actually, I've come up with some new ideas and I've also arranged for some other people to come on board with this. (the man eyes him, gesturing for him to continue. Logan points towards the beach, which is just off from the boardwalk) I've spoken to the harbor master and he's agreed to lend us two of his ocean going tugboats to do tours around the coast...(he points down the boardwalk towards a huge building, though we do not know exactly what it is)...I've also spoken to the research institute and they've gladly offered the use of two of their research vessels to take passengers out to where some of the more interesting shipwrecks are located...(off in the distance, we can hear the loud echo of a steam locomotive's whistle) Not to mention that I've spoken with the heads of the Southern and Union Pacific Heritage Railroad, and they've offered to pull excursions up into the mountains and to the mines, while also showing some of the branch lines. (the man is completely floored. Logan continues) Also, I've spoken with Disney and they've offered to lend us one of their historic narrow guage locomotives to pull passengers around the boardwalk and to the park...(he points to the park just off of the boardwalk, though we can see that it is spacious and wide. The man speaks)
Man (completely floored): How did you do all of this? We've never had anything like this at the Winter Carnival. (Logan speaks)
Logan: It's all a matter of bringing new ideas to the committee and seeing if we can people to help with them. Besides, I know the boardwalk has been thinking about adding a train ride from here to the park during the summer and during the winter and they asked me to help design it. (the man is impressed)
Man (impressed): You know, the Carnival always used to do pretty good with just what we had, but I honestly think that with all you've done for us, this could be the biggest money maker we've ever had. (Logan smiles)
Logan (smiling): I'm just doing what I was asked to do by the committee...come in and help redesign the Winter Carnival. (the man nods. We can hear, Logan's cellphone ring. The man gestures to him to answer it. Logan does) Hello. (pause) Oh hi honey. (pause) No, I'm at the boardwalk, why? (pause) Sure, what do you need? (pause) Okay. I'll stop by the store after I leave, Disney. (pause. The man is puzzled by Logan's words. Logan speaks) No, I have to run those plans for the railroad over by the engineers and then I'll be on my way home. (pause) Are the kids there yet? (pause) Okay...(we can see that it is getting later in the evening and people are starting to wind down from the carnival. Logan speaks)...well it looks like things are starting to wind down, so I'll go ahead and run those plans by the park, then stop by the store. (pause) Have you called to confirm the arrival time? (pause) Perfect, so that gives us two more hours before he even touches down at the airport. (pause) There shouldn't be that much left to finish up. (pause) Well, I'll go ahead and leave and then after I get done with these errands, I'll be on my way home and we'll go ahead and finish up the rest of the things. (pause) Did you call mom and dad? (pause) Good. Well, I'm on my way to the park, then to the store, then home. (pause)Okay, I love you too. Bye. (he hangs up his phone. Logan goes to speak, but the man speaks first)
Man: Go ahead and get out of here. I'm surprised you stayed this long when obviously you've got more important things to take care. (Logan laughs and waves goodbye. Fade out as he heads towards the parking lot)
Cold Open: Scene 3-4: Montage Scenery: Camera leads us into a montage scenery. POV follows Logan from the carnival and the boardwalk towards the parking lot. As he is leaving, the audience notices that others are starting to leave too and the carnival is slowly beginning to wind down. Fade out as, Logan reaches the parking lot.
Cold Open: Scene 5. Parking Lot: POV follows the montage scenery into the parking lot. A closer view shows us that Logan is still talking on his phone, though we only hear part of the conversation.
Logan (on his phone):...I'm almost ready to leave and I need to run a couple of more errands before I go home for the night and while I was out, I was hoping to be able to run the blueprints by the park so the engineer's can have them tomorrow. (pause) Good...(as we see him talking on his phone, the audience can see that he is making his way towards a beautiful metallic blue Dodge Ram truck)...I'm getting ready to leave now and I should be there in about five to ten minutes, so I'll see you then. (pause. Logan smiles) Thank you. Bye. (he hangs up his cellphone just as he meets his vehicle. Logan opens the door, and we get a quick shot as he climbs in. Next to him, is a cardboard container, though we do not know exactly what it contains. He closes and door, starts the vehicle, and drives off. Fade out)
Cold Open: Scene 6-10. Montage Scenery: Camera follows Logan deeper into the city leading us into another montage scenery. As we follow him, the audience can see the Hollywood Sign, off in the distance, which tells us that we are in, Los Angeles, California. POV shows us various sights of L.A as we continue into the city, including: the Hollywood Sign, Rodeo Drive, Knott's Berry Farm, the Knickerbocker Hotel, the Beverly Palm Hotel, the Beverly Hill Hotel, Grauman's Chinese Theatre, Desi-Lu Production studios, MGM studios, Disney studios, various kinds of television and movie sets, and various other kinds of sights. The audience can see that as we follow, Logan, deeper into the city, we do not see any celebrities. Just off screen, not that far from view, we can see the Disney sign. Fade out as we come to the Disney World parking lot.
Cold Open: Scene 11. Disney Parking Lot: The audience follows the metallic blue vehicle into the parking lot of Disney World. Camera gives us a close up of a beautiful young woman with reddish-brown hair, captions reveal her name as, Lucinda Williams. POV watches as Logan parks into a parking place close to the entrance to the park. Lucinda appears to be waiting on him. Logan steps from his vehicle and reaches for the cardboard tube. He walks towards, Lucinda, speaking to her as he does.
Logan (speaking to Lucinda): Thank you so much for meeting me here so late. (Lucinda smiles)
Lucinda (smiling): Knowing that it would be a rare occurence for you to be out during this particular weekend, I couldn't resist. Besides, your professionalism is without fail. (Logan speaks)
Logan: I still am glad you decided to meet with me. (he hands her the cardboard tube with the blueprints in it) Like you said, I just wanted to make sure everything was taken care of tonight so there wouldn't be any problems over the weekend, since, as you said, we do not plan on doing too much. (Lucinda speaks)
Lucinda: Don't worry, I'll make sure these get to the engineer's first thing in the morning. (Logan smiles. Lucinda eyes him) As for you my friend, I expect you to enjoy your weekend with your family and I do not want to see you having anything to do with the Winter Carnival or the Christmas Parade until Monday evening, if you plan on showing up. (Logan speaks)
Logan (smiling): Don't worry, this weekend is already planned out. (Lucinda smiles. Logan speaks) Okay, since I know you're ready to get rid of me, I'll see you later. (Lucinda nods. Logan walks off. He climbs back in his truck and Lucinda walks back into the park. Fade out as, Logan drives off back down the street)
Cold Open: Scene 12-14. Montage Scenery: POV leads us back into another montage scenery back into the city and deeper into the city. The audience can see, that as we follow him, we are shown more of the sights of the city, including: the beach, which while we do not completely focus on it, we can see that people are still playing in the ocean and relaxing on the sand. A quick glimpse shows us that couples are walking along the shoreline, holding hands/kissing in the moonlight. The boardwalk carnival is also winding down. We pass by the boardwalk and we can see that connected to the boardwalk is a beautiful spacious park, though we can see that signs of a minature railroad are starting to be set up, though construction hasn't really even completely started. As we pass by the park, camera aims towards what appears to be a beautiful marina, though we do not completely focus on it, the audience can see that various kinds of pleasure boats and pleasure crafts are docked in their proper places. Just next to the marina, we can see a tall building which is right next to the water. Several docks are shown and we can see various kinds of ships and boats resting in their proper dock. A sign can be seen which reads, "Oceanic Institute of Maritime Research". People are shown to be unloading or loading various kinds of research vessels. Fade out as we continue deeper into the city.
Time Sweep: Ten minutes have passed. Fade out.
Cold Open: Scene 15. Grocery Store. Parking Lot: Camera follows the montage scenery into the parking lot of a grocery store. Logan pulls into a parking space and steps out. Fade out as he walks into the grocery store.
Time Sweep: Five minutes have passed.
Cold Open: Scene 16. Grocery Store. Parking Lot: The audience watches as Logan walks from the grocery store. He carries several grocery bags in his hands. We see that he places them in the back of his vehicle and then gets into the driver's seat. Fade out as he drives off.
Cold Open: Scene 17. Montage Scenery: POV follows Logan back into the city and into the countryside though we can see that we are still close by to the city. Fade out.
Cold Open: Scene 18. Drive Way: Exterior: Camera follows Logan up to the exterior of a beautiful driveway. The audience can see the grounds of the driveway are spacious and lavishly landscaped, though a tall iron fence blocks the entrance. Fade out as we go inside the drive.
Cold Open: Scene 19. Driveway. Interior: POV follows Logan into the drive. We can see that it leads to a beautiful home, though we do not completely focus on it. As we follow Logan down the drive, we can see that it is more lavishly landscaped and decorated than we originally could see. The drive itself is a mixture of sandstone and gravel. Various kinds of plants and flowers have been planted around the grounds. There are various kinds of trees strewn around the grounds including: Ash, Oak, Redwood, Mahogany, Fir, Spruce, Lemon, Orange, and Palm trees. A closer view shows us that between two Oak trees, there is a hammock hanging with plenty of shade provided by the branches. As we follow the drive, the audience can see various kinds of children's play equipment, including: a child's playhouse, a swing set, an electric/battery powered child's toy car, though we can see that this one is a John Deer toy tractor, we can also see a merry go round, a slide, a sand box, and various other kinds of children's play equipment. On the left side, we can see a beautifully landscaped area with beautiful green luscious grass, which is kept perfectly watered thanks to several sprinkler systems. As we move deeper into the drive, the audience can see a beautiful two or three story home which we know is the Harcourt's home. Fade out as Logan pulls closer to the house.
Cold Open: Scene 20. Harcourt Home: Exterior:Camera follows Logan to a beautiful two or three story Early American log and brick home. The audience can see that the house has an Early American Southern appearance but still fits in with the other homes of, Los Angeles. There is a beautiful wrap around porch with various kinds of furniture, including tables and chairs, resting on it in various other locations. The house is quite beautiful and spacious. Close to the house, we can see that various kinds of flowers and plants have been planted while just beyond the house, to the right, beneath a beautiful Orange tree, we can see a beautiful table with lawn chairs around it, placed beneath the branches of the trees. On the left side of the house, we can see a beautiful separate garage. No vehicles are parked inside but we can see three other vehicles parked close by. Camera points towards the front door of the house, which is set at an angle compared to the drive. A stone path leads from the garage to the drive then from the drive to the house. Stone steps lead to the porch. The house as a very rustic view. POV gets a close up of a beautiful young woman with blonde hair, captions reveal her name as Chenise Harcourt. She appears to be in her early to mid forties and is dressed in a pair of royal blue shorts with a silver t-shirt and a pair of beige flip flops. A closer look shows us that she is excited. Chenise speaks to Logan, as he climbs from the truck.
Chenise (to Logan): It's about time that you came home. (Logan laughs. He walks towards the porch)
Logan (laughing/walking to the porch): Well, I had to run those plans to Disney then I had to stop by the store because someone forgot some things. (Chenise laughs)
Chenise (laughing): I know. (both share a smile. Chenise speaks) I spoke to the airport and they said that his plane would touch down about six o'clock and with everything he had to do, he'd be here by no later than six thirty. (Logan nods. Chenise takes some of the grocery bags) Tasha and Ryder just got here shortly before you did and she's working on the refreshments while, Ryder's getting the patio ready for the steaks. (Logan nods) Alison's working on the homemade ice cream and I asked Chase to help me with the rest of the laundry so we could get his bed all fixed up and we could go ahead and get the television and DVD player all set up and hooked up to the stereo system, while the steaks are on the grill. (Logan speaks)
Logan (nodding): No problem. Let me take a quick shower and I'll get the steaks on then come up to help with the rest of the stuff. (Chenise nods. Fade out as they go inside)
Cold Open: Scene 21. Harcourt Home. Interior. Main Entryway: POV follows Chenise and Logan into the main entryway of the house. The audience can see that the entryway is lavishly decorated in a combination of oceanic/maritime and Early American decor with Early American being predominant with hints of oceanic/maritime being seen. On the right side of the entryway, we can see a hardwood coat rack constructed from redwood, though we can see that nothing is on it. On the wall, the audience can see various kinds of oceanic paintings of beaches, islands, ships, light houses, and various other kinds of paintings. On the left side of the entryway, the audience can see a small coat closet. Logan places his jacket inside it though we do not see what else is inside. The floors are completely hardwood done in oak and mahogany. On the left side of the hallway, we can see models of ships and light houses on the wall, while beneath them, we can see a gun rack though no guns are inside of it. Directly in the middle of the entryway, we can see a beautiful marble table which is resting in a beautiful rug. There is a vase on it with flowers inside it but resting on the table as well, we can see that several purses and key sets are placed on it. Logan speaks.
Logan: I'll take a quick shower then once I get changed, I'll meet you in his room and we can go ahead and get the rest of everything installed and hooked up. (Chenise nods in agreement. Logan kisses her, then walks off. Fade out)
Cold Open: Scene 22-24. Montage Scenery: Camera leads us into a montage scenery as we follow both Chenise and Logan deeper into the house. The audience watches as Logan goes into the living room and Chenise continues into the hallway. Fade out as we follow him,
Cold Open: Scene 25. Living Room: POV leads us from the montage scenery into the living room. A wide screen view shows us that the living room is quite spacious and expertly decorated in primarily early American furniture with hints of maritime and oceanic decor. On the left side of the living room, as soon as we walk in, the audience can see a small island with chairs beneath it. We know this is used for relaxation and possibly just free time. Logan walks upstairs but we do not follow him. On the back of the island, we can see a small mini bar, though no alcohol is present. On the right side of the living room, we can see that a beautiful living room suit is displayed. For the most part, the furniture is early American with two beautiful sofas sitting at a right degree angle on both sides of the living room, with a small table with only a lamp and several books and magazines, resting on it. The sofas are leather with two foot rests on both sides of them. The same kind of sofa is on the right angle. Directly in front of the sofas are two beautiful hand carved oak coffee tables. We can see that several books and magazines have been placed on the tables, but we see that while these are decent books, they are mostly used for decor. A lazy Susan rests on both tables, though nothing is on them. Towards the back of the living room, we can see a beautiful nook which separates the main living room from the back of the living room which leads towards the stairs, *when we see the nook in the back of the living room, we are reminded of the nook from the television show, I Dream of Jeannie. from the episode "The Mad Homewrecker".* We can even see a beautiful Djinni bottle. The bottle resembles, Jeannie's second through fifth season bottle, except the bottle is painted primarily in a beautiful mother of pearl base with the designs done in royal blue and teal with pink and purple ascents. We can see that the bottle looks old as if it is an antique. Next to the bottle, nestled between the bottle itself and the side of the nook, is a beautiful royal blue and and silver stopper, which looks just as much of an antique as the bottle itself. Close to the sofas, on both sides of the living room, we can see that two comfortable reclining chairs are placed with a table placed next to each of them. Hanging on the wall, the audience can see a brand new 60 inch plasma screen SONY television. Beneath it, we can see a brand new DVD/CD player with both remotes close by within reaching distance of the left chair. There is a working fireplace beneath the television and DVD player. A mantlepiece is shown with various objects and items on it including pictures of the family, though we do not focus on them. Fade out as we return to the hallway.
Cold Open: Scene 26-27. Montage Scenery: Camera leads us back into a montage scenery. As we are lead through the house, the audience are shown various other rooms, including: a spacious and beautiful den, an architech's office, a decorator's office, a playroom, a sun room, and various other kinds of rooms. Fade out as we come into the kitchen.
Cold Open: Scene 28. Kitchen. Interior: POV follows the montage scenery into a beautiful and spacious kitchen. Camera gives us a wide screen view of the kitchen and the audience can see that the decor is predominantly early American but while the kitchen itself is very modern and up to date, it has a rustic appearance. We can see that the kitchen appears to have been done specifically for the appearance and possibly has been redecorated and refurbished. Brand new maple cabinets are shown to be recently put in. There are brand new marble countertops placed in. On the right side of the kitchen, the audience can see a brand new refridgerator that has been recently installed. Camera gets a close up of a beautiful young woman with brown hair, captions reveal her name as, Tasha Olivers. She appears to be in her early to mid twenties and is dressed in a pair of baby blue shorts with a baby pink t-shirt and a pair of tennis shoes. A closer view shows us that she is cooking on a brand new stove and is possibly making sweet tea and/or lemonade, as we can see various ingredients such as: sugar, lemons, raspberries, cherries, and we can hear the sounds of boiling water. An even closer view shows us that, Tasha, is sporting a barely visable baby bump yet we can see that she is not too far into her pregnancy. Set in the middle of the kitchen, we can see an island with a granite top. Camera gets a close up of a beautiful young woman with dark hair, captions reveal her name as Alison Harcourt. She appears to be in her late teens or early twenties and is dressed in a pair of purple shorts with a light orange t-shirt and a pair of beige flip flops. A closer view shows us a homemade ice cream machine which is running and next to it, we can see various kinds of ingredients including: condensed milk, chocolate sauce, vanilla extract, strawberries, crushed Oreo cookies, and various other kinds of ingredients. A closer view of Alison, shows us that she is sporting her own baby bump which is more developed than, Tasha's. She appears to be about seven or eight, possibly nine, months pregnant. Just off screen, we can hear a buzzer ring out. Chenise calls out.
Chenise (calling out): Did anyone take the sheets from the dryer? (camera points towards another entryway into the kitchen. We can see a handsome young man with blonde hair, captions reveal his name as, Chase Harcourt, walking into the kitchen. He appears to be in his late teens or early twenties, and is dressed in a pair of deep burgundy shorts with a white t-shirt and a pair of tennis shoes. He speaks)
Chase (walking into the kitchen): I just put them upstairs on the bed. (there is a pause. Chenise walks into the kitchen. She speaks)
Chenise (walking into the kitchen): Oh thank you. We'll put everything together when we hook up the tv and the stereo system. (Chase nods. Chenise eyes Tasha) How are you doing on the tea and lemonade? (Tasha looks at her mother)
Tasha (looking at Chenise): Almost done. I'm doing two pitchers of sweet tea and two pitchers of lemonade, plus I've got three bottles of Coca Cola already in the mini bar outside on the patio. (Chenise nods. She looks to Alison)
Chenise (nodding/looking at Alison): How are you doing with the homemade ice cream? (Alison looks up)
Alison (looking up): Pretty good. I've got several flavors that are almost done including: cookies n cream, vanilla, strawberry, cherry, chocolate, mint chocolate chip, snickers, and that's pretty much it. (Chenise speaks)
Chenise: What do you say we get all of this outside and then we'll go to the bedroom and finish up everything before your dad starts on the steaks. (they all nod. Camera points towards another entryway. We see another handsome young man with dark hair, captions reveal his name as, Ryder Olivers. He appears to be in his early to mid twenties and is dressed in a pair of blue jeans with a deep green t-shirt and a pair of tennis shoes. POV also shows us that he is carrying a little boy with blonde hair, captions reveal his name as, Dylan Olivers. He appears to be about two or three and is dressed in a pair of baby blue shorts with a silver t-shirt and a pair of tennis shoes. Ryder speaks)
Ryder (walking into the kitchen): I have the grill cleaned and the rest of the groceries are outside ready for the steaks which are marinating. (Chenise nods. She points to Dylan, who is asleep on Ryder's shoulder) We told him that if he took a later nap, then he could stay up a little bit later visiting with his uncle and while I was outside, I looked towards the sandbox and next thing I know, he's out like a light. (they all laugh. Chenise speaks)
Chenise (laughing): Go put him on the sofa in the living room, we'll be able to hear him with the intercom system from the bedroom. (Ryder nods and walks off. We see that, Tasha is finishing up the last of the tea and lemonade. Chenise eyes her, then Alison) Come on and let's take all of this stuff outside and then we'll head upstairs. (everyone nods in agreement. We see that Chenise and Tasha pick up the pitchers of tea and lemonade. Alison picks up the ingredients while, Chase, carries the ice cream maker. We can see that Ryder has returned and Chenise directs him to pick up something, which he picks up the snacks and the side dishes which include: baked potatoes and the trimmings that go with it. Fade out as they head to the back patio)
Cold Open: Scene 29. Harcourt Home. Exterior. Back Patio: Camera leads us from the kitchen onto the back patio which we can see is just as spacious and beautifully landscaped and decorated as the rest of the house and it's grounds. A wide screen view shows us that there is a beautiful tiki bar just off to the side, close by to an olympic size pool. We can see that behind the tiki bar, there is a grill which has just been cleaned and is prepared for the next cooking project. Close by, there is a mini bar though no alcohol is present although we can see that there are several bottles of water and several bottles of soda. Close to the pool, there is a wide sandbox which has been done to resemble a beach or possibly some kind of lagoon, with palm trees and several other kinds of trees planted, *when we see the beach/lagoon, we are reminded of the lagoon seen on the television show, Gilligan's Island*. POV aims towards the back screen door of the house. Chenise, Tasha, Ryder, Chase, and Alison, make their way to the tiki bar. Just off screen, though coming into view, the audience can see a beautiful glass table, which is used for relaxing or eating. Chairs are placed around it and we can see that it is spacious and big enough for multiple people. We see them place the food and the ice cream on the tiki bar while Chenise and Tasha place the tea and lemonade on the table itself. Chenise speaks.
Chenise (setting the tea and lemonade on the table): Okay, everything is out here so now let's go to the bedroom. (they all nod as they walk back into the house. Fade out)
Cold Open: Scene 30. Harcourt Home. Interior. Living Room: POV follows everyone into the living room and we can see they are heading towards the stairs. Upstairs, we can hear the sounds of a shower being turned off. Chenise speaks.
Chenise: Let's get to work and get this finished so we can relax until he gets here. (they all smile and nod. Fade out as they head upstairs)
Cold Open: Scene 31. Harcourt Home. Interior. Upstairs: Camera follows everyone up the stairs towards the second floor. Logan meets them in the middle of the hall, a tool box in his hand. The audience can see that he is now sporting a pair of nice blue jeans with a gold t-shirt and a pair of tennis shoes. Fade out as they make their way towards another room.
Cold Open: Scene 32. Harcourt Home. Interior. Upstairs. Hallway: POV leads us down the hallway towards a door on the right side of the hall. Several other doors are shown but we do not know what is inside them. Fade out Chenise opens the door.
Cold Open: Scene 33. Harcourt Home. Interior. Upstairs. Bedroom: The audience watches as Chenise opens the door into a beautiful and spacious bedroom. Camera shows us that the bedroom is mostly completed though several items remain on the floor including a brand new 60 inch plasma screen SONY television complete with remote control, and we can also see a brand new surround sound SONY stereo system lying on the unmade king sized hardwood bed. A closer view shows us that various sheets and a bedroom set also lies on the bed. Beside the bed, on both sides, we can see two hand carved willow nightstands. There is nothing but a lamp on the left nightstand. POV shows Logan, Chase, and Ryder, working on the television and stereo system while, Chenise, Tasha, and Alison, start working on making the bed. Fade out.
Time Sweep: Fifteen minutes have passed.
Cold Open: Scene 34. Harcourt Home. Interior. Upstairs. Bedroom: Camera returns to the bedroom and we can see that both the television and stereo system have been attached to the wall and both are hooked up to the other. Underneath the television and stereo, we can see that a beautiful redwood dresser where the remotes to both have been placed. Just outside of the bedroom, we can see that both Chase and Ryder are bringing in a beautiful oak bookcase though no books have been placed on it yet. The two men place it on the right side of the nightstand against the wall. Ryder hands the drill and two screws to Chase, who attaches the bookcase to the wall. The audience can see that just like the downstairs of the house and the rest of the house, the floor is hardwood with a large rug underneath the bed. Chenise walks in from the hallway carrying a dvd/cd stand though no DVDs or CDs have been placed on it. Tasha and Alison walk in with several bags in their hands. A closer view shows us that several kinds of DVDs are placed in the bags. Chenise speaks.
Chenise (walking in from the hallway): Let's go ahead and put the DVDs and CDs up and if he wants to change them, then he's free to. (fade out as everyone begins to finish up the work)
Time Sweep: Five minutes have passed.
Cold Open: Scene 35. Harcourt Home. Exterior. Back Patio: POV leads us back to the back patio. The audience can see that Alison and Chase are still working on the homemade ice cream while Logan and Ryder are working on the steaks. Chenise has walked outside with, Dylan, who has woken up from his nap. She places him on the ground and he goes to play in the sandbox. We also see that Chenise has brought out the telephone. Logan speaks.
Logan (working on the steaks): Ryder, hand me the lighter fluid please. (Ryder does as he is asked. Logan speaks) Thank you. (he begins to prepare the grill. Chenise speaks)
Chenise: Alright, now that we're all here in one place, just so we're on the same page, what are our plans for next week? (they all eye her. She laughs) For me, I'm doing half days from Monday to Wednsday and I'm off until we get back from Maine, though I'll be working at Disney in the evenings until we leave and get back. (Logan speaks)
Logan: I'm working tomorrow and then half days next week until we leave for Maine, and I have a meeting with the head of the construction crew so I can go over the layouts and the blueprints. (Chenise nods. Tasha speaks)
Tasha: Ryder and I have that big case that's supposed to go to court in three weeks so we'll be working on that for the most part except for when we're at Disney and the boardwalk. (Ryder eyes Tasha)
Ryder (eyeing Tasha): Actually sweetheart, I've been doing some thinking on that case. (Tasha eyes her husband, who speaks) Messrs is taking the case to court and really, all we have to do is go over the evidence and interview the witnesses and then prepare the briefing. (Tasha nods in agreement) Since Messrs is taking the case to court, then he can prepare the briefing and the three of us can work on the evidence together and we can split up the witnesses then take detailed notes then pass them onto Messrs for the briefing. (Tasha smiles) Then that gives us less time at the office and we can have more free time at home. (Tasha speaks)
Tasha (smiling): Perfect. (Chase speaks)
Chase: I'm working at the shop all week but I'll be at the boardwalk working on rehearsals for the Winter Carnival. (Chenise nods. Alison speaks)
Alison: Since I'm the stay at home wife, I'm watching, Dylan, all next week. (Chenise nods, and speaks)
Chenise (nodding): The reason I'm asking is that I've been doing something about next week. (they all eye her, curious. Chenise speaks) Instead of all of us going to our respective homes, why don't you all come here and we can have a family dinner then go to the park or to the boardwalk. That way, you don't know to worry about cooking anything, and we can carpool together. (they all nod in agreement. Logan speaks)
Logan (nodding in agreement): Sounds good to me. What about the rest of you? (they all nod. Adlib agreements. We hear the telephone ring. Chenise answers it)
Chenise (answering the telephone): Hello. (pause. Chenise perks up. Everyone listens intently) Hold on and I'll put you on speaker phone. (she presses a button on the telephone. She speaks) Okay, you're on. (we hear a man's voice coming from over the speaker phone)
Man's Voice (on speaker phone): Hey everyone. (at this moment, everyone smiles. Logan speaks)
Logan (smiling): Hey son. When did you land? (the man's voice speaks)
Man's Voice (on speaker phone): We just touched down. I'm just now walking through the main gate from the airplane into the terminal...(fade out)
Cold Open: Scene 36. Los Angeles, International Airport: Interior: Airplane Terminal: Camera leads us from the Harcourt's home into the interior of the airport which is still going strong and is extremely busy. A wide screen view shows us that people are coming and going from the main terminal to their airplanes or vice versa. POV shows us that some of the people are waiting on their planes are shopping in the gift shop. Another wide screen view shows us that there are various fast food resturants standing around including, McDonalds, Burger King, Subway, and various other kinds fast food places. Camera shows us that among the people coming from the plane terminals, we get a close up view of a handsome young man with short stubly/no hair, captions reveal his name as Adam Harcourt. He appears to be in his late twenties or early thirties and is dressed in a pair of dark blue windpants with a dark blue t-shirt and a pair of worn tennis shoes. The audience can see that he is talking on his phone though we only hear part of the conversation.
Adam (on his phone):...and I'm now heading towards the main terminal and once I get my dufflebag from the baggage claim, then all I have to do is find the taxi cab and then I'll be on my way home. (pause) Yes ma'am, I actually have them in my pocket. (pause) So I know that I told you that I didn't want anything major to go on tonight and knowing that you all chose to go all out tonight, what are we doing? (pause. Adam sighs) I know I know. It's my homecoming but still...(pause)...okay I won't say anything else. I'll let you have your way tonight. (pause. Adam laughs) Anyway, when I get home, there's some things we need to discuss. (pause) No, there's nothing bad or wrong, but some things I'd like to discuss with you all. (pause) So what's for dinner tonight? (pause. Adam smiles) Sounds good to me. (the audience can see that as Adam is talking on his phone, he is still walking towards the main terminal. Fade out)
Cold Open: Scene 37. Los Angeles, International Airport. Interior. Main Terminal: POV follows Adam from the airplane terminal into the main terminal. We can see that people are checking in and going in all directions. The audience watches as Adam looks around for something. Adam is still speaking on his phone. He speaks.
Adam (on his phone): Next time we come to the airport, please remind me to bring a map so I don't get lost. (Adam cracks a smile. He sees an attendant and speaks back to his phone) Hold on. (he walks towards an attendant and speaks) Excuse me. (the attendant looks up)
Attendant (looking up): Yes, can I help you? (Adam speaks)
Adam (to the attendant): Can you please tell me where I can find the baggage claim? (the attendant speaks)
Attendant (to Adam): Sure. (the attendant points towards another hallway) You go down that hallway and take a left. You'll be lead to another hallway and at the end of the hallway you'll find the baggage claim. (Adam smiles)
Adam (smiling): Thank you. (Adam walks towards the hallway he was told to, he's still on the phone. Fade out)
Time Sweep: Five minutes have passed.
Cold Open: Scene 38. Los Angeles, International Airport. Interior. Baggage Claim: Adam walks down the hallway and into the baggage claim. People are shown to be retrieving their luggage and their bags. Adam walks towards the turnstyle in the baggage claim and begins to look for his own dufflebag. He is still on his cellphone.
Adam (on his cellphone):...so I'm at the baggage claim and as soon as I...(Adam sees a dufflebag. He smiles and picks it up)...change in plans, I just found my dufflebag and now I'm heading back down the hallway...(he walks off back down to the hall. Fade out)
Cold Open: Scene 39-41. Montage Scenery: Camera leads us into a montage scenery. The audience follows, Adam, down the hallway and back into the main terminal. A closer view shows him heading towards the exterior. Fade out.
Cold Open: Scene 42. Los Angeles, International Airport. Exterior: POV follows the montage scenery outside and into the exterior of the airport. We can see that he is talking on his phone but is heading towards another attendant. Adam speaks to the attendant.
Adam (to the attendant): Excuse me. (the attendant looks up)
Attendant (looking up): Yes. (Adam reaches into his pocket and removes several papers)
Adam (reaching into his pockets and removing several papers): I was told that a taxi would be here to pick me up. My name is Adam Harcourt. (the attendant speaks)
Attendant (to Adam): We were told of your arrival. Do you have your verification papers? (Adam hands her the papers. The attendant reads them, then looks back to him) Wait just a moment and I'll go get the taxi. (Adam nods. He goes back to his phone)
Adam (going back to his phone): As soon as the taxi comes to get me, then I'll be on my way home. (pause. We see a taxi cab driving towards where Adam is standing. The audience watches as the attendant speaks to him)
Attendant (to Adam): Here is your taxi. (Adam smiles. The cab driver steps from the cab and speaks)
Cab Driver (stepping from the cab): Are you ready? (Adam nods. The cab driver takes his dufflebag and places it in the trunk of the cab) Let's go. (Adam starts to get into the cab. He speaks on his cellphone)
Adam (getting into the cab/on his cellphone): Well, I'm getting into the taxi as we speak so I'll be home asap. (pause. Adam smiles. Fade out as the taxi drives off)
Time Sweep: Fifteen minutes have passed.
Cold Open: Scene 43. Harcourt Home. Exterior. Front Porch: Camera returns to the Harcourt Home and the audience can see that everyone has moved from the back patio to the front porch. It is obvious that everyone is waiting on Adam to come home and we also notice that everyone seems to be keeping a close eye on the driveway and road though they do not notice anything. A closer view shows us that Dylan is wide awake and is also watching. A pair of headlights appear at the end of the drive. Tasha speaks.
Tasha: That has to be him. (POV shows us that a taxi cab is making its way towards the house. It comes to a stop just in front of the porch. Chenise speaks)
Chenise: This is it everyone. (we can see that everyone is becoming excited. Fade out as we move into the taxi cab)
Cold Open: Scene 44. Taxi Cab. Interior: Camera switches to the interior of the taxi cab. We can see everything from Adam's POV and we notice that he is amazed by the new home that he's coming into. A closer view shows us that he is a little nervous but he quickly hides it. Adam speaks.
Adam (nervous): Well, oh boy. This is it. (the cab driver nods as he steps out. Adam opens the door and slowly steps out. We can see that he is becoming more nervous but he tries to hide it. Fade out. A closer view shows us that everyone is waiting for Adam to come to them. The cab driver hands him his dufflebag. Chenise, Logan, Tasha, Ryder, Dylan, Chase, and Alison, make their way towards him. Everyone hugs him. Chenise speaks)
Chenise (hugging Adam): Welcome home son. (everyone speaks)
Everyone (hugging Adam/in unison): Welcome home son/brother/brother-in-law/unca. (we can see that everyone is starting to cry. Adam is fighting not to cry but we see that he is losing the fight. The audience watches as they release him. Logan goes to pay the cab driver, who smiles and wishes them well. He returns back to his cab and drives off. Chenise speaks)
Chenise (starting to cry): Come on son, dinner's almost ready. (Adam smiles. Dylan reaches for Adam)
Dylan (reaching for Adam): Unca A'am. You cawy me pwease? (Adam smiles)
Adam (smiling): Come on little one. (Adam picks Dylan up. He lays his head on Adam's shoulder and kisses him on the cheek)
Dylan (laying his head on Adam's shoulder/kissing him): We'ome home. You 'tay us now. (Adam nods)
Adam (nodding): Yes little one. I'll stay with you all now. (everyone smiles. Fade out as they walk into the house. Freeze frame as everyone walks into the house)
FREEZE FRAME ON EVERYONE WALKING INTO THE HOUSE!
IDOJ INTRO AND THEME!
Continuation of Previous Scene: Scene 45. Harcourt Home: Interior: Main Entryway: POV follows everyone into the house. Camera shows us that Adam is taking in the scenery and decor and his new home. A closer view shows us that he is amazed by what his parents' house looks like. Chenise speaks.
Chenise: Come on son. Dinner's almost ready and we're eating on the back patio. (Adam nods. Fade out as they head through the house)
Scene Change. Scene 46. Harcourt Home. Exterior. Back Patio: Camera follows them onto the back patio. The audience can see that as we see them emerge from the patio door, Adam is stunned, possibly by the decor of his new home. We can see that Adam is still taking in all of the sights of his new home, but we also see that he is glad that he is home. They all sit down. Chenise pours him some lemonade. She speaks.
Chenise (pouring Adam some lemonade): So son. What did you mean by there were some things you wanted to discuss with us. (Adam takes a sip of his lemonade)
Adam (taking a sip of his lemonade): It's nothing really that bad. (they all look at him, curious. We see that Logan is still cooking steaks but that he also notices that Adam is talking. Adam speaks) Well, just something I was thinking of during the plane ride. (this gets their attention. Adam smiles) Basically what I want to talk about is starting over completely. (this gets their attention but we also see that they are puzzled) All I mean is that, according to the lawyers, I couldn't bring anything from my old life with me. (they all nod. Adam grins wickedly, but mostly eyes his mother, sister, and sister in law) Basically what I want is to completely start all over. I came into a new life, a new world, and a new home. I left everything behind except the clothes I was allowed to bring. (Logan speaks)
Logan (nodding): What are you asking son? (Adam takes a deep breath)
Adam (taking a deep breath): It's a project that I have for mama, Tasha, and Alison. (the women eye him. Adam fixes them with a serious look) I want you three to give me a complete and total makeover from wardrobe to look. I'm going to let my hair grow out and when it does, I want to be dyed and fixed right. I want new clothes and a completely new look. (Chenise speaks)
Chenise (eyeing Adam): We'd planned on taking you shopping anyways but if this is what you want, then for me, I'm up to the test. (Tasha eyes Alison, who nods. Tasha speaks)
Tasha (eyeing Alison): I think all three of us will be up to the test. (Adam smiles. Ryder speaks)
Ryder: I have to say, you're very brave to give the women in this family complete and total reign over something like this. (Adam smiles)
Adam (smiling): Who better to do so? Besides, I trust them. (Chase speaks)
Chase: All I have to say is "good luck" with that. These women won't stop until they're satisfied with the finished results and knowing them, it could take weeks. (Adam laughs)
Adam (laughing): And to that, all I have to say is, "Bring It On". (Chenise, Tasha, and Alison, speak)
Chenise/Tasha/Alison (in unison): Challenge accepted. (everyone laughs. Logan speaks)
Logan (laughing): Okay, well you four can plan your little project later on. Steaks are ready. (Logan places the steaks on a platter and Ryder brings them to the table. Dylan speaks)
Dylan (laughing): Unca A'am? (Adam looks at his nephew) Af'er we eat, you swim wif me pwease? (Adam smiles)
Adam (smiling): If Granny, Mommy, and Aunt Alison, don't have anything for me to do, then yes I will. (Chenise playfully glares at the mention of the word "granny". She speaks)
Chenise (playfully glaring): I'll have you know son that my name is not "Granny" it's "MamaII". (Adam smiles)
Adam (smiling): Sorry mama. (Adam faces his nephew) Let me rephase that. "If MamaII, Mommy, and Aunt Alison, don't have anything for me to do, then yes, I'll go swimming with you. (they all laugh. Fade out as they begin to eat)
Time Sweep: About an hour or so has passed.
Scene Change. Scene 47. Harcourt Home. Back Patio: POV continues from the previous scene. The audience can see that everyone has finished their dinner of steak and baked potatoes while Chenise and Chase are passing out bowls of homemade ice cream. Several kinds of toppings are being passed around the table until everyone gets the ones they want. We can hear the conversation going on, but we only catch part of it. It is, Logan, who is speaking.
Logan:...two weeks, we'll be going to Maine, to visit my parents, your grandparents, for two weeks so that'll give you a week to settle in before you take you out again. (Adam laughs. Logan smiles) In all seriousness son, your grandparents have wanted to see you ever since they found out that we were in the midst of bringing you home, so we'll be going for about two weeks for a family reunion. (Adam speaks)
Adam (laughing): Gee, only two weeks before I have to return to that maze they call the Los Angeles, International Airport. (they all laugh) With my luck at navigating that place, I'll end up flying to Bermuda instead of Maine. (Chenise speaks)
Chenise (laughing): Don't worry son, we'll be close by to help you navigate. (Adam sighs in relief. Chenise whispers to Logan, who nods. Chenise speaks to everyone) How does everyone feel about taking a drive to the beach and go for a walk? (they all nod in agreement and adlib yes. Logan speaks)
Logan: That's it. Let's go. (fade out as they all head towards the front door)
Scene 48-49. Montage Scenery: Camera leads us into a montage scenery as we follow everyone through the house and towards the front porch. Fade out.
Scene Change. Scene 50. Harcourt Home. Exterior. Front Porch: POV shows everyone walking onto the porch. Chenise speaks.
Chenise (walking onto the porch): Okay, let's double up instead of taking all of our cars. (they all nod. Dylan looks at Adam)
Dylan (looking at Adam): Unca A'am. You ride wif us or I wide wif you? (Adam speaks)
Adam: It's up to your mommy or to mamaII. I don't mind. (Dylan eyes his Tasha and Chenise. Chenise speaks)
Chenise: If you want to ride with us sweetie, you're welcome to. (Dylan smiles. We can see that he is still in Adam's arms. Fade out as they go to their respective cars. Adam and Dylan ride with Chenise and Logan while Chase and Alison ride with Tasha and Ryder)
Scene 51-53. Montage Scenery: Camera leads us into a montage scenery as we follow both vehicles back into the city and towards the boardwalk. The audience can see that Adam is watching the scenery and taking everything in. A closer view shows us that he is starting to settle into his new life. Fade out as we come to the boardwalk parking lot.
Scene Change. Scene 54. Boardwalk. Parking Lot: POV follows the montage scenery into the parking lot of the boardwalk. We can see that both vehicles are parking beside one another. They step from their vehicles and the audience notices that Adam is watching the boardwalk. The carnival has been closed for the night. Logan speaks.
Logan: Tomorrow evening, we'll go to the carnival. It's something we planned on doing as a family anyways. (Adam nods. Fade out as they walk towards the beach)
Scene Change: Scene 55. Beach: Camera follows everyone onto the beach. A wide screen view shows us that for the most part, the beach is empty though some people can still be seen though many are just relaxing on the beach. Adam speaks.
Adam: Dylan, I'll race you onto the beach. (Dylan smiles. Everyone eyes him suspiciously. Dylan speaks)
Dylan (smiling): Go. (he takes off from Adam's arms and runs towards the sand. Adam mockingly runs slowly so that Dylan can beat him. Dylan reaches the beach first. He speaks) I won. I won. (Adam mockingly pants as if he's out of breath)
Adam (mockingly panting): Oh boy, I'm getting too old for this racing. (everyone smiles. Dylan giggles, reaching for Adam to pick him back up. Adam complies) Typical little boy. Beats an old man in a race then wants the old man to pick him up and carry him. (Dylan laughs)
Dylan (laughing): You not old unca A'am. (Adam speaks)
Adam: I know, I'm glad you won. (Dylan lays his head on Adam's shoulder, then reaches for the ground as if he wants to get down. Everyone continues along the beach. Adam notices something at the edge of the shoreline) Hey what's that? (they all look at him. Adam walks towards the shoreline and begins to pull what appears to be some kind of cardboard box from the sand. The box is still dry. Alison speaks)
Alison: What did you find? (Adam shrugs)
Adam (shrugging): I don't know. Some kind of cardboard box. (he shakes it a little. We can hear some kind of metallic clanging) Something's inside of it. (Tasha hands him her cellphone)
Tasha (giving Adam her cellphone): See if you can see if it belongs to someone. (Adam takes the cellphone and begins to scan the box, as if looking for who it belongs to. Adam finds nothing. He speaks)
Adam (finding nothing): I can't find anything. No name, no address, nothing. (they all eye the box, puzzled) I think I'm going to keep it until I find out what's inside of it. Might be something good. (they all nod. Chenise speaks)
Chenise (nodding): If you want it you can have it, especially since nothing's on it that says who it belongs to. (Adam smiles. From out on the ocean, we can hear a low deep horn echoing on the water followed by bright lights of red, green, and white, and the echo of lighter whistles followed by the roar of powerful engines. Adam looks towards the ocean)
Adam (looking towards the ocean): If I'm not mistaken, that horn belongs to either an ocean liner or some kind of cargo ship. (they all eye him. He points to the lights reflecting off the ocean) Those lights indicate the position of the ship. Red means starboard. Green means stern. White means straight. (this gets their attention. Adam heard the lighter whistles and powerful engines) Those lighter whistles and engines belong to tugboats, probably racing to meet the ship and bring her in. (Chase speaks)
Chase (curious): How in the world can you tell what those mean? (Adam laughs)
Adam (laughing): I've studied and read quite a bit about maritime and oceanic things though ships and maritime disasters are my specialty. (this gets their attention. Ryder speaks)
Ryder (curious): Do we have an upcoming oceanologist in the family? (Adam laughs. Chenise speaks)
Chenise: Son, promise me that you'll wait at least for a while before you start dreaming of a career. At least give us time to spend some time with you before you decide to find a career and move out. (Adam speaks)
Adam: I may look for a job but regardless if I do have a job, I promise you that I'm not going anywhere. (Chenise speaks)
Chenise: All we ask is that you give us some time to make up for the years lost before you go look for a job. Let's say one full year, then you're free to do what you want to do. (Adam speaks)
Adam: If that's what you want to do then so be it, but I don't want you to be supporting me. I had enough of that before I came home. (Logan speaks)
Logan: Adam, you do realize that you have a trust fund that'll be yours soon enough. It's more than enough for you to live on. (Adam shrugs. Chenise speaks)
Chenise: Just give us some time in order to try and make up for the years we lost with you. Within six months, you're more than welcome to go out and find yourself a career. (Adam speaks)
Adam: I promise. (he thinks for a moment, then playfully asks) What about dating? Am I allowed to go out and date? (Chenise and Logan nod. Logan speaks)
Logan (nodding): Sure you are. We're not going to stop you from dating anyone you want. Male or female. (Adam blushes at the mention of males and females. Tasha speaks)
Tasha: Adam, you do realize that it doesn't matter if you're gay or bisexual or straight. We'll love you just the same. (Adam groans) In fact, if you'd like, I'll help you find a boyfriend...(she eyes him, he makes no response to the "boyfriend")...or a girlfriend. (she eyes him again. He makes no response to the "girlfriend". She glares at him) Oh come on, how do you expect me to set you up on dates if you don't tell me what gender you prefer? (Adam speaks)
Adam: Right now, I'm not ready to date. I just came into a new home and a new life with an attitude that I'm starting all over from scratch. That doesn't mean that I want you digging through your little black book sending me out with every guy or girl in Los Angeles. (Tasha smiles wickedly. Adam glares) Whether or not you have a future brother-in-law...(they all eye him, as if he's admitted that he likes guys. Adam slyly speaks)...or whether or not you receive a phone call down the road saying that your niece or nephew is about to be born and I'm the delivery room with my wife...that is none of your concern at this particular momnet in time. (they all nod) When I am ready to date, then I will find me someone and based on whom I'm dating, then you'll know if I'm gay, bi, or straight. (they all nod in agreement. Chenise smiles)
Chenise (smiling): Adam, regardless if you bring home a boyfriend or a girlfriend, he or she will be welcome in our home no matter what. (Adam smiles)
Adam (smiling): Once I start dating, I'll tell him or her that. (they all laugh. Logan yawns)
Logan (yawning): I hate to say it but I'm getting sleepy and we've got to work in the morning. (they all nod. Fade out as they walk back towards the boardwalk)
Time Sweep: Twenty minutes have passed.
Scene Change. Scene 56. Harcourt Home. Exterior: POV returns to the exterior of the Harcourt Home. The audience can see that everyone has returned and are stepping out of the vehicles. Chenise speaks.
Chenise (stepping from the truck): Adam, I'm only working a half day tomorrow so I'll be home around lunch time and if you want, Alison stays home with Dylan, so you can call them and maybe they'll come over and stay with you. (Alison nods. She speaks)
Alison (nodding): I have a doctor's appoinment in the morning but call my cell and I'll come over after I'm done. (Adam nods)
Adam (nodding): Cool. I'll call you after I wake up and get something to eat. (he looks at Dylan) Since we went to the beach tonight, tomorrow you and I will go swimming. (Dylan smiles)
Dylan (smiling): 'tay. (Chase speaks)
Chase: We'll see you tomorrow big brother. (they all nod in agreement. Everyone hugs Adam. We watch as they walk towards their respective vehicles and drive off. Chenise and Logan lead him inside. The audience can see that Adam still has the box he found on the beach under his arms. Fade out)
Scene 57-59. Montage Scenery: Camera leads us into a montage scenery. The audience can see that Chenise and Logan are leading Adam through the main entryway, through the living room, and up the stairs. Fade out as we come to the top of the stairs.
Scene Change: Scene 60. Harcourt Home. Interior. Upstairs. Second Floor: POV follows the montage scenery up the stairs and Chenise and Logan point towards the hallway. Chenise speaks.
Chenise (pointing towards the hallway): Your room is the first door on the right. We hope you like the way we've fixed it up but if you don't, feel free to change it around. (Adam smiles)
Adam (smiling): I'm sure I'll love it. I mean, if it's anything like the decor of the house, then I'm already in love with it. (both Chenise and Logan smile. Fade out as they walk towards their respectful rooms)
Scene Change: Scene 61. Harcourt Home. Interior. Upstairs. Chenise's and Logan's Bedroom: Interior: Camera follows Chenise and Logan into their bedroom. The audience can see that just like Adam's room, their bedroom is just as spacious and lavishly decorated in early American furniture, though we do not completely focus on the decor. Chenise and Logan walk into their bedroom. Chenise speaks.
Chenise (walking into his bedroom): I really think that for the most part, Adam's settling in quite nicely. (Logan nods in agreement) I mean, he's coming into a new home with an attitude of acceptance and he's really giving us a chance. (Logan speaks)
Logan (nodding in agreement): I agree, especially given Tasha's earlier comment about his sexual preference. (Chenise bristles at the mention of her daughter's comment. Logan notices it but smiles) If you ask me, I think she was trying to broach the subject of our acceptance. I know she didn't mean anything by it. (Chenise speaks)
Chenise: I just hope he believes us. (Logan nods. Chenise walks into the closet as Logan walks into the bedroom. Fade out as they begin to get ready for bed)
Scene Change: 62. Harcourt Home. Interior. Upstairs. Adam's Bedroom: POV switches from Chenise's and Logan's bedroom into the interior of Adam's bedroom. A closer view shows us that he is amazed by what his room looks like. We can see that his bedspread is rustic early American with horses and covered wagons. Something we can see that Adam enjoys. Adam speaks.
Adam: Why in the world would they think I wouldn't love this room. It's beautiful. (he notices his dufflebag has been brought up, possibly by his mom or dad. He eyes the television, then the dvd stand) Not really sleepy, maybe watching some tv will help. (we see him flip through the dvd. A closer look shows us some of the DVDs, which, include: I Love Lucy, I Dream of Jeannie, Bewitched, The Munsters, The Dick Van Dyke Show, The Lucy-Desi Comedy Hour, The Lucy Show, The Andy Griffith Show, Laverne and Shirley, Petticoat Junction, Tabitha, Passions, The Flintstones, The Jetsons, Jeannie, The Smurfs, The Pebbles and Bamm Bamm Show, Scooby Doo, The Scooby Doo Show, The Arabian Knights, Shazzan, and various other kinds of dvds. Camera shows us that Adam picks, I Dream of Jeannie and we see that he looks for a specific episode. He finds what he's looking for and puts it into the DVD player and grabs both remotes and turns them on. Adam smiles) Some I Dream of Jeannie will be just the ticket. (he smiles as the I Dream of Jeannie intro and theme comes on. We see that he turns his attention to the box that he found on the beach) Now just to see what's inside this thing. (he begins to open the box and he tears off the tape then opens the actual box itself. Adam is surprised) What in the world is this? (we see him pull out what appears to be some kind of Arabian clothing of cobalt blue and gold complete with turban and belt, *when we see the Arabian clothing, we are reminded of the clothing that Tony Nelson wore in the episode "The Lady In the Bottle" when Jeannie tried to show Tony what life was like in Baghdad*. He lays the clothing on the bed and listens for the metallic sound. Adam hears it and he reaches inside and removes a beautiful yet old looking antique golden Arabian oil lamp. Adam realizes something) This must be some kind of djinni costume and it's for a male djinni. (he gets an idea) If Tony Nelson can pull off the djinni look, then so can I. (he begins to remove his own clothing and puts on the djinni costume, which he finds also came with a coat which resembles something a caliph would wear. There are gold silks which connect to the turban and around his neck. A teal mask appears in the bottom of the box, which goes across from the gold silks to his mouth. We watch as Adam fixes the Djinni costume and he puts it on. Adam smiles to himself) Now I look like a proper djinni. I just need the awesome unlimited powers and immortality that go with being a djinni. (he laughs. Adam notices that on the left side of his bedroom is a closet. He opens it and notices a full length mirror hanging on the door. Adam smiles at himself) Phenominal cosmic powers...(he eyes the lamp)...itty bitty living space. (he notices the television. Tony Nelson is talking to Roger Healey about Jeannie being turned into a Djinni)
Tony Nelson (on tv/to Roger): Jeannie wasn't born a djinni, she was turned into a djinni when she was a little girl...(Adam speaks)
Adam: I wish I could be a djinni. (he suddenly feels a cooling sensation spread through him followed by a warming feeling which resembles a summer's morning against his body. There is a momentary jolt but it is a gentle feeling. Adam gets an idea and playfully folds his arms and blinks in proper "Jeannie/Djinni" tradition. We hear a magical blink sound, *when we hear Adam's magical blink sound, we are reminded of sound of a belly dancer's zils when clapped together*. Adam turns himself into teal smoke which flows towards the lamp. Fade out as the smoke goes into the lamp)
Scene Change: Scene 63. Adam's Bedroom. Lamp. Interior: Camera shows us the interior of the golden lamp. We can see that it is hardly decorated except for some pillows close to the side. Teal smoke flows into the lamp and quickly dissipate with a resounding "foosh" sound. The smoke dissipates and we can see that Adam is no longer just human. He has turned into a centaur. Adam eyes his new form.
Adam (eyeing his new form): Wha...who...how...(he rubs his eyes as if trying to wake himself up. He still sees that he is inside of the lamp) This cannot be happening. I am not a djinni and I have not been turned into a centaur. Magic isn't real. I can't do things like a djinni. All is right with the world...(he gets an idea and decides to try it) If I am having a dream, might as well enjoy it. (he folds his arms and blinks, concentrating on being in his human form. A blink sound is heard and we see that Adam is changed back into his normal form. Adam smiles) Well this is turning out to be one wild dream. (we notice something lying against the pillows. A closer look shows us that it appears to be a book and several scrolls, some of which are together as if in a book form. Adam smiles to himself. He blinks and the book lands in his hands. Adam reads the title)Care and Feeding of Djinn. Hmm, what is this. (he opens the book and notices that not only is it a book about Djinn but it also gives detailed instructions on the usage of Djinni powers. Adam notices the scrolls. He picks them up and we can see that some of the scrolls gives detailed explanations and descriptions of the powers of Djinn. Adam smiles) I don't know what this means, but I guess I should try to get out of here. (he folds his arms and blinks. Adam turns into teal smoke which leaves the lamp. Fade out)
Scene Change: Scene 64. Adam's Bedroom. Interior: POV returns to Adam's bedroom. Teal smoke flows from the lamp into the bedroom. It quickly dissipates and we can see that Adam is still in his human form. We see that the book has come with him. Adam speaks.
Adam (smoking back into his bedroom): Okay, I seriously hope this is a dream because if it's not, then something freaky's going on. (the audience watches him notice the book in his hands) What is this book anyway? (he rereads the title) Care and Feeding of Djinn, I wonder what this is about? (we see him lay on his bed and begin to read the book. Fade out)
Time Sweep: About an hour has passed. Clock reads that it is now 11:00pm.
Scene Change: Scene 65. Adam's Bedroom. Interior: Camera returns to Adam's bedroom. The audience can see that he is studying the book and is now trying out his new Djinni powers by rearranging his room but he always blinks it back. A closer view of Adam shows us that he is starting to accept his newly discovered powers. Adam speaks.
Adam: "...elementals are said to be Djinn who are born to their powers while Jinniyah are said to be Djinn who were once human transformed into Djinn.
much like any Djinn, elemental or Jinniyah, they are somewhat equal in power although there are some feats of magic that only elementals are
capable of performing. These capabilities will become much more detailed in later chapters.". Sounds really interesting. I must be a Jinniyah since I know I was once human before putting on this djinni costume. (Adam gets an idea) Hmm, if magic is like how Jeannie said it was, just a thought and a blink, then I wonder if I could design my own spells instead of using the ones described in the book? (he folds his arms in proper Djinni fashion, then blinks. We see a sleeping double of Adam appear under the covers. He blinks again. This time we see his room return to its original decor) I'll have to read up on illusions and see if there is a way of preventing humans from seeing what I've really done. (he smiles to himself) Time to take these powers for a test drive and see just what I can really do. (he smiles to himself and blinks out. Fade out)
Scene Change: Scene 66. Beach: POV switches from Adam's room back onto the beach. We can see that no one is still there due to how late it is getting. A closer view shows us that Adam pops in, still dressed in his Djinni clothing. He gets an idea.
Adam (getting an idea): I may have to find as spell to bring me another djinni who can possibly tell me how I became a Jinniyah Djinni but for now, I think it's time for these powers to get a little exercise and see just what they're capable of. (he blinks. This time we can see that Adam is not a "Djinni-taur" but is now a winged horse. Adam takes off at a gallop and he spreads his wings and take off into the air)