NARRATOR 1: Imagine if you will an advanced society. One with flying cars, utopian cities, and near limitless battery life. There’s little reason to be upset in a society like this. Unless of course, it’s all just a front. Where the government spies on people, eliminates individuals it deems as a threat and commits unspeakable atrocities. But that was not the case in this society.

NARRATOR 2: Why not?

NARRATOR 1: Because I said so. That’s not the point of this story. The big brother society has been done to death. We’re creating a unique and captivating story.

NARRATOR 2: But if people like it why not do it?

NARRATOR 1: I’ll tell the people what they want you just do whatever it is your supposed to do.

NARRATOR 1: Our character steps off the plane symbolically showing the audience that they are about to start a new journey. He checks his phone and it’s incredibly advanced looking. The words ‘I’m here’ Flash across the screen. Obviously letting the audience know it’s a utopian society and that they are expecting to meet someone. The words, ‘I’m almost there.’ Pop up. Our character’s friend is running late. How typical.

NARRATOR 2: Seeing that he has to wait. He finds the nearest available bench. He sees someone alone on it. A girl. He walks-

NARRATOR 1: No no-

NARRATOR 2: What’d I do wrong?

NARRATOR 1: Romance has also been done to death.

NARRATOR 2: How’d you know it was gonna go that way?

NARRATOR 1: Because I have a brain. Everyone can tell from your one line that it’s going to be a romance story. Romance stories are so generic. Boy meets girl. Boy likes girl. Girl likes boy. It doesn’t look like they’re going to be together. They both cry a bit. But then through magic or some crap, they get together. The only good romance was Romeo and Juliet because they died in the end.

NARRATOR 2: What about a romantic subplot?

NARRATOR 1: Same premise. It’s been done too much and it takes away from the main plot. Now if you’d please. Seeing no bench around (Glares right at the other narrator). He leans up against a nearby wall. He watches planes come and go until a security man approaches him. “Can I help you, sir?” He asks. The man looks him over before answering, “Doubt it,” The security guard stiffens up a bit. You see what we’ve done here is let the audience know that our main character is a bit rebellious. Quite good you see?

NARRATOR 2: I guess…

NARRATOR 1: No one asked for your opinion. The security guard then explains that all passengers are supposed to move to the main lobby to await their pick up or their next plane. Our main character sighs to himself before beginning to move. Then something happens something inexplicable.

NARRATOR 2: An explosion, up in the sky above them. Not even the sky in space. Everyone looks up seeing a massive cloud of smoke. Then another explosion on the horizon. ‘The satellites!’ Someone yelled as there was another explosion. Our character looks down to their phone. It dies right in front of them. The lights in the airport turn to a dim red. How am I doing so far?

NARRATOR 1: Not bad actually. This could work. Tell me what’s your long term plan with this.

NARRATOR 2: Well you see. With no internet what happens?

NARRATOR 1: Let’s see here… Worldwide communication is cut off. You could have people spreading misinformation. A rumor starts in one area, then pretty soon it becomes-

NARRATOR 2: Nah, you’re thinking too complicated. You see dem millennials can’t live without wifi. They suddenly kick into their primal instincts. They become brainless. Attacking everyone and everything they see. We’d have to make our character a bit older. I’m thinking in his mid-70s. He meets up with the other old people at the airport and they band together to survive the new dangerous world. Throughout their adventure, they get killed off one by one by the ravenous hordes of the Millenials.

NARRATOR 1: You’ve just recreated the zombie horror genre.

NARRATOR 2: Yah it’s a modern take on it.

NARRATOR 1: No it’s stupid. Firstly the reaction of ‘me’lenials as you call them is unrealistic. Secondly, if all the characters are old what do you expect them to do.

NARRATOR 2: You insulting old people?

NARRATOR 1: No but they wouldn’t be able to perform any action sequences. Or if they did they’d be crippled or die in the process.

NARRATOR 2: What if we made it a comedic satire?

NARRATOR 1: No I can’t believe you’re even entertaining this idea.

NARRATOR 2: No come on it’d work. You know, “Come on Earnest we gotta make it to the escalators.” “Go on without me Burt” “NOOO Earnest!”

NARRATOR 1 sighs

NARRATOR 2: You know it has potential.

NARRATOR 1: Let’s take a step back. The explosion and the satellites. Airport security attempt to herd everyone up. Our main character slips away. He sees his friend pull up in a flying car. Security guards spot our main character. Before they apprehend him he leaps into the flying car and they speed away. The main character asks what’s going on looking to the sky. It’s littered with the satellites exploding in space. The friend says that supposedly all the world’s satellites have been targetted and destroyed except one. China’s.

NARRATOR 2: Why China?

NARRATOR 1: Russia is too obvious.

NARRATOR 2: So, what’s your long term plan with this.

NARRATOR 1: Well it’s all about misinformation. You see the characters go to a city and it’s in a similar predicament to the airport. Later we’ll learn that different cities and areas are receiving different stories as to what is happening. But we won’t know that till much later. The city is then attacked by cyborgs or something threatening.

NARRATOR 2: Land sharks.

NARRATOR 1: Land sharks? Why?

NARRATOR 2: If you can make land sharks, why not?

NARRATOR 1: You know what it doesn’t matter right now. The friend turns out to be a government agent posing as a Chinese agent trying to weaken the country for a Chinese invasion. In reality, the government has blown up all the satellites and is attempting to cull the population before launching a rocket with the social elite on it to a life sustainable planet to escape global warming. You see by cutting down on the population and the worldwide means of communication people wouldn’t know about the rocket and even if they did they wouldn’t be able to tell what’s going on.

NARRATOR 2: What in tarnation? What are you even going on about?

NARRATOR 1: It’s a unique and captivating story. You might even get your land sharks if we do this.

NARRATOR 2: You lost me completely. How do you expect people to follow the plot of this? Besides if they’re trying to get rid of people they have nukes right?

NARRATOR 1: But that would… Oh yeah.

NARRATOR 2: Some way to solve global warming with nukes though.

NARRATOR 1: Back to the drawing board then.

NARRATOR 2: Let’s dumb it down a bit. I like your Chinese satellite idea. That also happened to be where you lost me. Let’s change it a bit though. How do you feel about aliens? They destroy the satellites and prepare for an invasion of earth.

NARRATOR 1: It still seems a bit generic though.

NARRATOR 2: I knew you’d say that. So, the main character is one of the aliens. They can shapeshift but he never knew about it so he remained as a human the whole time.

NARRATOR 1: That’s also been done but not that much. We are getting somewhere. Oh, I know. He was a reject of the alien society. So they wiped his memory leaving him turned into a human was sent as a sort of scout for the aliens. The friend could also be an alien spy possibly portraying multiple characters throughout the story. Obviously, they’re the main friend, and they could also shapeshift into a romantic interest for the main character.

NARRATOR 2: You’re going a little too fast again. Also, I thought romances were done too much.

NARRATOR 1: Not if you make it a tragic romance. The alien friend would betray him and at his lowest point, they would reveal his true identity.

NARRATOR 2: Would it end on a happy note? Or at least a decent one?

NARRATOR 1: No, of course not. What kind of writer are you? I thought I'd end it with the character going to fight the aliens on the mothership. He gets so close when he sees his friend/romantic interest. He tries desperately to convince them to join with him but he fails and it’s the friend who kills him in the end. Poetic isn’t it?

NARRATOR 2: No it sounds awful.

NARRATOR 1: Well I think I’ve just hit my big breakthrough. I’ll create my art and you can make whatever story you want.

NARRATOR 2: You sure? I mean after everything we’ve created together this far it seems like a waste to throw it away now.

NARRATOR 1: Well I quite like my idea. You haven’t suggested anything helpful this entire time.

NARRATOR 2: Now wait just a blasted second! I’m the one who came up with the aliens and the satellite explosions. You’ve just gotten a character in and out of an airport.

NARRATOR 1: No, I’ve conceptualized a literary epic.

NARRATOR 2: Literary? I thought this was gonna be a movie, maybe a play.

NARRATOR 1: Plays and movies are for children. I’m at least glad you didn’t suggest a musical.

NARRATOR 2: Yeah that’d be even worse. But the point is I think we need to iron out some more details. We can still work together-

NARRATOR 1: I don’t think so. You create your movie and have a few seconds of fame and I’ll create a literary epic that will last for millennium.

NARRATOR 2: Alright. Fine I will. Ladies and gentlemen I present to you ‘The wheelchair accessible not quite dead yet’ Featuring ‘Land sharks’