British Comedy Guide

** BONUS ** Comedy Competition

To celebrate the relaunch of the British Sitcom Guide to The British Comedy Guide in August. I'm running an extra special competition with 50 points available for the winner!

Competition: Post an original, roughly 3 minute maximum(about 3 pages) script of your favourite sitcom.

Post your entry *HERE* in this thread!

It can be a stand alone sketch using sitcom characters or just a scene from the show (making us want to read more).

It can be any sitcom from the UK or US or any other country.

Rules:

  • Anyone can enter.
  • Only one entry per person.
  • Must be a sketch or scene.
  • PM ME with any questions, DO NOT post them on here!
  • You can edit your entry as much as you want, up until the closing time.

Competition Closes: Tuesday 31st July

Entires will be put to public vote.

Good luck!

Spot any mistakes? PM ME.

:)

THE YOUNG ONES

'DISASTER'

THE YOUNG ONES' kitchen.
RIK, VYV and MIKE are sitting round the table. Rik is squeezing a zit at his mirror, Vyv's pouring vodka onto his cornflakes, Mike's flicking through 'Playboy'.

MIKE There's no avoiding this - and I'm not talking about my tackle - I got a letter from Mr Balowski.

DRAMATIC MUSIC!

VYV Turn that music off you bastard.

VOICE (O.C.) Sorry.

RIK Dear oh dear...

MIKE (reads) Hello boys, you are all wonkers.

RIK I think he means bonkers. That's just the sort of crazy...

SPG leaps onto the table.

SPG No pally he means wa...

Vyv crushes SPG with the cornflakes bowl.

RIK (thumbs up) Right on Vyv.

Vyv smashes the bowl over Rik's head.

MIKE (reads) You haven't paid me since 1964 and that was for a copy of 'Cosmopolitan'.

Rik looks embarrassed.

MIKE If you don't pay me back rent of sixty-nine thousand...

Rik splutters.

MIKE Shut up Rik.

RIK Sorry Michael.

MIKE ...You are all evicted.

RIK (leaps up) Oh Cliff - we are disgraced - our bottoms shall be forever cast onto the streets - peniless, paupers, prostitutes...

VYV Great!

RIK (to camera) I hope you're satisfied Thatcher.

MIKE Calm down guys. As always Mike the cool person has the answer. (shows a big envelope)

DRAMATIC MUSIC!

VYV I SAID...

VOICE (O.C.) Sorry.

VYV What's in the envelope Michael? Sixty-nine thous...?

Rik giggles. Vyv takes the mirror and smashes it over his head.

MIKE No it's Rik's 'Devil Woman' seven-inch.

RIK Mike you bastard. Dr Morrison gave me that when I passed my eleven-plus.

MIKE All we need now is some stupid gullible hippy to buy it for sixty-nine thousand quid and we'll be happier than Rover when vet lost his scissors.

RIK Oh come off it Michael. (to camera) Who could possibly be so stupid?

They swivel round to stare at the door. Pause.

RIK I SAID, WHO COULD POSSIBLY BE SO STUPID?

Pause.

NEIL (gets up from under the table) Hello.

RIK You utter spazzy Neil. That's the most obvious comic opening since Orville's bottom and...

NEIL Don't bring me down and hassle me guys. My father's just been stabbed - okay not too badly stabbed...

VYV Well I only had a penknife Neil.

NEIL But in his will he's leaving me three hundred lentils, two DVDs of 'That's my Dog' and sixty-nine thousand pounds. (starts crying) Sorry guys I - I was just thinking of when John Noakes' dog died and...

VYV Shut up hippy. Just look what you can buy with all that cash: (opens envelope) Da-daa!

NEIL Oh wow!

VYV Brilliant! (to camera) What can possibly go wrong now?

NEIL (sniffs)

RIK No Neil...

NEIL (about to sneeze)

RIK, VYV, MIKE NO NEIL...

They dive for cover as Neil sneezes multi-coloured snot all over the record.
Rik and Vyv dive back covered in snot, make to beat Neil up -

MIKE No guys. Once more Mike has the cure.

RIK (looks round) He's blooming right you know.

THE CURE are the week's house band.

Black Books.

"Manners"


SCENE 1. INT. THE BOOK SHOP - MORNING
A MAN ENTERS A BOOKSHOP AND APPROACHES THE DESK. BERNARD IS AT THE DESK, READING A MAGAZINE. tHE FRONT COVER OF THE MAGAZINE HAS A NOTE STUCK TO IT. THE NOTE READS, "GO AWAY, I'M READING".

MAN:

Excuse me

NO REACTION FROM BERNARD.

MAN:
Excuse me

STILL NO REACTION

MAN:
(LOOSING PATIENCE) Sir?

AGAIN, NO REACTION.

MAN:
(ANGRY) Right

THE MAN GRABS THE MAGAZINE FROM BERNARD. BERNARD IGNORES THIS AND “CARRIES ON READING”.

MAN:
Oh God

BERNARD FINALLY LOOKS UP AT THE MAN.

BERNARD:

What do you want?

MAN:

I would like to buy a book

BERNARD:

No shit Sherlock. What’s the book?

MAN:

Harry Potter and the Deathly Hallows

BERNARD:

Yes I have that book. It’s over there somewhere
(Waves his hand, pointing in all sorts of directions)

MAN:

You pretty much pointed at the whole shop.

BERNARD:

Well, it’s there somewhere.

MAN:

I don’t have time to search the whole shop. I’ll come back later.

BERNARD:

What makes you think I let you back later?

MAN:

What?

BERNARD:

You can either buy the book now or you can piss off and never come back.

MAN:

I can’t buy it now. I don’t know where it is.

BERNARD:

Well piss off then.

MAN:

Fine. I’ll get it somewhere else. And I’m keeping this (hold up the magazine)

BERNARD:

You leave with that, I’ll sue you. Actually, I don’t care. Just get
out.

THE MAN LEAVES. BERNARD REACHES INTO HIS DRAWER AND TAKES OUT ANOTHER COPY OF THE SAME MAGAZINE AND STARTS READING IT. THIS MAGAZINE ALSO HAS A NOTE THAT READS, "GO AWAY, I'M READING". HE THEN LOOKS TO THE RIGHT SIDE OF HIS DESK.
BERNARD:
Hey, look there’s a copy of the book, right here.

HE TAKES A LIGHTER FROM HIS POCKET AND USES IT TO SET THE BOOK ALIGHT.
MANNY ENTERS VIA THE KITCHEN. HE IS WEARING AN APRON.

MANNY:

Bernard, I can’t find get a flame on the hob and we’re out of matches.

BERNARD HANDS MANNY THE BURNING BOOK WITHOUT TURNING AROUND. MANNY GOES BACK INTO THE KITCHEN. FRAN ENTERS. SHE LOOKS ANGRY WITH BERNARD.

FRAN:

(ANGRY) Bernard

BERNARD:

(CHUCKLES) Fran

FRAN:

I’ve just been talking to a bloke who said that you told him to piss off

BERNARD:

He was annoying

FRAN:

What did he do to annoy you?

BERNARD:

He asked me a question, which could have resulted in me getting out of this chair and (as if it were life threatening) look for something

FRAN:

Come on, Bernard. You’ve got to learn how to respect people and stop looking down on everyone as if you were their superior.

BERNARD:

But (BEAT) Shut up. (Making ‘go away gestures) Go and do some shopping, visit your parents, fight crime or something.

FRAN:

I can’t. I’ve got something more important than that to do.

BERNARD:

You’re going to make me lunch?

FRAN:

No. I’m going to teach you some manners.

BERNARD:

(LOUD) Oh, Jesus

MANNY ENTERS.

MANNY:

Yes, Bernard?

BERNARD:

No, I didn’t mean you

BOTTOM

S,UP

Scene 4. The Tent.

[Night-time. The moon is full. Eddie and Richie are squeezed next to each
other in the tent. The sign that says "DOGS TOILET" is inside the tent.]

Richie: Right. Well. Here we are Edward. You sure you didn't sneak a quick
peek at my underpants when I was getting into my sleeping bag?
Eddie: Absolutely Richie. I give you my word of honour. [formally] I
didn't get even the slightest glimpse of your gaudily stained
love-blob containers.
Richie: All right. Good. Well, nighty-night, then... [lies back; looks
around; somewhat at a loss] What do you normally do when you got
to bed, Eddie?
Eddie: I normally have a bit of a kip.
Richie: You're so concise. I mean, what's your going-to-bed routine?
Eddie: Ah, routine. Well, I normally... get into bed... and then I have a
bit of a kip.
Richie: Wonder what's on telly right now. Probably missing Emmerdale Farm.
Matt'll have his arm up some cow's backside by now. Lucky bugger.
Eddie: We'll miss The Late Show of course. Cor, [clicks teeth] that
bird in the red specs... [puffs appreciatively]
Richie: Eddie, are you carrying a torch for her?
Eddie: [looks down] No, it's just the way my trousers ruck up.
Richie: Oh. [looks around idly; notices Eddie has started reading] What
are you reading, Eddie?
Eddie: I don't know, I'm too drunk to focus.
Richie: [sigh] Bored now... [sigh] You ever been hang-gliding Eddie?
Eddie: Nope.
Richie: No, nor me. Well that's exhausted that one, then. Hooh. I can't
think of anything else to talk about you know--
Eddie: [forcefully] Well night-night then!
Richie: Yes, I suppose so.
Night-night. Sleep tight.
Hope-the-bed-bugs-do-not-bite.
If they do, do a poo, put it in a Cornish stew.
Into the ambulance, dring dring dring,
Fish trousers elephant in Peking.
Saw a busy bee, tiddle-diddle-dee,
Daddy's an accountant just like me.
Night-night, God bless. [closes eyes]
[pause; opens eyes] I'm still not asleep you know... You know, I
think it's this sleeping bag. [wriggles uncomfortably] It's
letting in a draft.
Eddie: Oh, my heart bleeds. [indicating his lack of bag]
Richie: Come on Eddie. I'm more sensitive than you are. Do us a favour, me
old pal. Grab a hold of my drawstring and give it a bloody good
yank.
Eddie: [slightly shocked] I beg your pardon?
Richie: Here, here.
Eddie: Oh.

[Eddie pulls the string tight around Richie's neck.]

Richie: [strangulated] Okay, fine, fine! Good. Right. Night-night, then.
Mmm... [leans over to kiss Eddie, suddenly realises it's
inappropriate] Oh, no, no, no! [sighs] Put the light out Eddie,
would you?

[Eddie starts to snore, his book over his face. Richie looks at him
resignedly.]

Richie: Oh... [tries to escape from his bag] Oh my God, I can't get out.
I'll have to do it meself.

[Richie wriggles over to the lamp and tries to blow it out, inching closer
to it. He falls forward, burning his face on the lamp.]

Richie: Aaarh, aaarh! [tries to blow upwards onto his face] Huh--oh,
God, who'd be me? Haahh. Night-night then world.

[He closes his eyes... A storm starts with a clap of thunder and flashes of
lightning. He sits up, startled, panting slightly. Rain pours down. A
rather unconvincing owl hoots.]

Richie: Eddie, Eddie! There's someone outside, doing owl impressions.
[owl hoots again] Not very good ones, either. Eddie!

[Another thunderclap. Eddie starts thrashing around in his sleep.]

Eddie: Daah, daah, daaaaah!

[Richie hits him repeatedly with the cooking pot, holding it in his mouth.]

Eddie: What are you doing that for? I was having a dream.
Richie: I know. It sounded harrowing.
Eddie: No! I was in bed with Kim Basinger. It was fantastic. Let's get
back to sleep very quickly. [they shut their eyes; Eddie suddenly
wakes up, yelling] Where the bloody hell am I?!
Richie: No Eddie, calm down, you're in a tent... you're in a tent.
[worried] Listen, Eddie, I think there's something outside.
Eddie: Yeah, well there's bound to be something outside, Richie. You
can't expect the universe and its entire contents to be contained
within the confines of a small canvas tent.
Richie: You're very philosophical for this time of night, Eddie.
Eddie: Yeah, well I've had half a bottle of Scotch, what do you expect?
Richie: No, listen! [owl hoots again] No, Eddie, I'm serious. I'm
getting a sense of something magnificently evil, black, and foul
hanging in the air waiting to destroy us.
Eddie: Yeah, that'll be the fish repeating on you. [owl hoots]
Richie: There it is again... what do you think it is? A wolf? A bear?
Eddie: Oooh -- Wombles!
Richie: [alarmed] Wombles! Oh, oh-oh-oh, oo-ooh, oh, look, Eddie, Eddie,
why don't we bring the fire inside the tent to ward them off?
Eddie: Well that'd be a bit dangerous, wouldn't it?
Richie: No, it's gone out.
Eddie: Well what's the point then?
Richie: Eh--oh... oh yes, silly me!
Eddie: Hey, yayayayaya -- why don't we light a small fire inside the
tent?
Richie: All right, just a small one.
Eddie: Oh, you know me. A tiny itsy bitsy teeny one.
Richie: Good old Eddie.
Eddie: Now, where's the paraffin? Ahhh... here we go. Ahhh... [starts to
drink it]
Richie: No! No, Eddie, don't drink it, we need that!
Eddie: [shakes the paraffin onto the ground] Now, stand well back.
Richie: What do you mean, "stand well back"? I can't get out of this
bloody sleeping bag, can I?
Eddie: [lighter in hand] Here we go.
Richie: No--Eddie, change of plan!

[Exterior shot. Fire bursts out both ends of the tent.]

Richie: [sarcastically] Nice one, Eddie. That should ward 'em off.

[Richie and Eddie's faces are burned and red. There is a rumble of thunder;
a menacing shadow moves across the tent wall.]

Richie: Oh! Eddie! Look! Help me get out of this sleeping bag!
Eddie: There's no time!

[Eddie zips down the tent entrance. The zipper is raised slowly from the
other side. Eddie and Richie cower in abject terror. Our friend, the crazy
flasher, now totally nude, thrusts his love spuds into the tent, laughing
hysterically. Eddie and Richie scream. A lot. Eddie zips down the tent
forcefully. The flasher runs off screaming, dragging the tent with him.
Richie and Eddie are left in the rain.]

Eddie: [understated] Right, well, that's about it for me. I'm off.

[Richie tries to inch after him like a worm in his sleeping bag.]

Eddie: What, are you not coming?
Richie: Well I can't, I can't move, can I?
Eddie: Now that's a point. [picks up the mallet ]
Richie: Eddie, no!

[Eddie whacks him; he falls over. Roll credits.]

Fawlty Priests.

Sybil is behind the desk at reception.

Sybil
Basil. (Squeals) Basil.

Basil appears.

Basil
(Grovelling) Yes my little flesh eating bug.

Sybil
Remember we have 3 priests arriving today.

Basil
Yes Dear. Irish ones. I wont mention the IRA or Jesus’s crucifixion.

Manuel enters reception.

Manuel
(Sniffing, holding a tissue to his nose) Mr Fawlty I have the poomoonia.

Basil
(Exasperated) What?

Manuel
I not well Mr Fawlty.

Polly enters.
(Puts her arms around Manuel) Poor manuel. Go to bed & rest.

Basil
No he is okay. We have priests coming. They will give him an exorcism. Infact let me try. (Places his hands on Manuel’s shoulders and shakes the hell out of him. Then slaps him across the forehead). There you go.

Cut to.
3 priests arrive. They check in with Sybil.

Father Ted.
Hello there. Nice place you have here.

Dougal
Are we in Spain Ted.

Father Ted.
No Dougal we are in Devon

Dougal
That’s in America eh Ted. Named after that there country singer. John Devon.

Father Jack
Drink!

Cut to
The 3 priests are in the restaurant. Father jack is sleeping. Dougal is holding the pen from reception)
Manuel has died in the kitchen. Polly & Sybil are waiting for the ambulance. Basil kicks Manuel as he walks past.

Basil
(To Sybil) Did we get a warranty with that. (Points to Manuel’s body).

Basil approaches the priest’s table.

Basil
Hello & welcome to Torquay. What would you like to order.

Dougal
(Looks at Ted) I thought we were in America Ted. That funny man said Turkey.

Father Ted
(Ignores Dougal) We will have 3 soup starters followed by the beef wellington.

Dougal
(Startes to scribble on the white table cloth) Do cows wear boots in Turkey Ted.

Basil
Don’t scribble on the table cloth please.

Dougal
Right you are then. (Pokes out his tongue & continues scribbling )

Father Ted
Stop it Dougal. (Snatches the pen off him).

Father Dougal
We are going to London soon aren’t we Ted. We are going to go on a bus & a train. We are going to have a blast.

Basil
Oh My God. (Runs out of the room & bursts into the kitchen). Sybil. The priests are going to bomb London.

Not too sure whats going on here Leevil. You mean you want us to send you a piece of script from our favourite sitcom, i.e Father Ted.[ i.e. We don't have to have written it ]

Am I missing something. I have just come of a night shift though so go easy on me if I'm not getting this.

Oh I get it , It's a mix and match job is it, a bit of " Allo Allo " here and a bit of " Dad's Army " there ???

Hi Kent Pete.

I think Leevil means write your own little scene for your fav sitcom. I just mixed 2 on mine.

Well atleast thats what I think he meant.

I made up that sketch. Its mine....

Quote: Leevil @ July 14, 2007, 4:16 PM

Rules:

  • Anyone can enter.
  • Only one entry per person.
  • Must be a sketch or scene.
  • PM ME with any questions, DO NOT post them on here!
  • You can edit your entry as much as you want, up until the closing time.

Yes, thank you Charley, that is what I meant.

Use the characters from your favourite sitcom and create an original scene or sketch for them.

Leevil.

The Alternative Class Sketch

[Based on Classic 1960’s sketch by John Cleese, and the Two Ronnies].

Three men stand next to each other [all facing the audience].

They come from 3 distinct social classes.

A] The smallest is dressed like a true British Aristocrat.
B] The middle man is dressed in a dark blue suit and tie.
C] The tallest is dressed as a labourer.

A turning to B : " I look up to him because he has certain freedoms that I don't have. He is self sufficient and doesn't rely totally on inheritances to pay for his holidays in Provence.

B turning to A : " I look down on him because he is totally out of touch with everyday life. He couldn't begin to tell you how much a pint of milk costs, and he sends his children away at the age of 5 to be systematically abused, like he was, for the next 13 years."

B turning to C : " I look up to him because he hasn't totally sold out to Capitalism. He can act on impulse. You wouldn't catch him sucking up to the boss at the Christmas party by telling him his wife looks like Joanna Lumley when infact she looks like Steve Davis."

C : " I'm fecking great me "

A turning to B : " I look up to him because he can chose who he marries. He isn't told by his Mummy and Daddy who has the right blood and who hasn't "

B turning to A : " I look down on him because he's got no balls, he's spineless. He can't fall out with his parents in case they cut him off from the family and take away his regular income. He's wet and charmless "

B turning to C : " I look up to him because he is a free spirit. If he wanted Sophie from accounts he just take her into the store room and have her there and then. He's not a prisoner to social etiquette. "

C : " I'm a right good shag me "

A turning to B : "I look up to him because he is able to have some kind of real relationship with his wife and children. He sees them all growing up and is able to express his emotions naturally without this dreadful feeling of stiffness and attention to duty "

B turning to A : " I look down on him because his whole life is based upon outdated modes of behaviour. He is too stupid and gutless to get out of his own personal hell "

B turning to C : " I look up to him because he grabs life by the horns. He’s a gypsy and wherever he lays his hat, that's his home. He’s honest with his feelings. He tells it as it is. He's no hypocrite."

C : " I'm 3 times divorced me and spend most of my time down the pub having a laugh with me mates. I have no real responsibilities and pretty much live for the day"

C : Raises a can of lager to his mouth/ looks into the camera :
"Cheers"

"The Alan Busters"

INT. TRAVEL TAVERN - DAY

ALAN, WEARING A SPORTS JACKET, LEANS CASUALLY ON THE RECEPTION’S DESK.
SUSAN STANDS ON THE OTHER SIDE, BUSY WITH PAPERWORK.

ALAN
So Susan, what have you got planned for today?

SUSAN
I’m working Alan.

ALAN
Of course you are, of course.

SUSAN
If you don’t mind, I’m a little busy.

ALAN
Yes, busy like a little beaver. Chipping away at some wood with your big teeth.

SUSAN LOOKS UP, SLIGHTLY OFFENDED.

ALAN (CONT’D)
I’m not saying you’ve got big teeth, God no, not at all, you have beautiful teeth.

SUSAN SMILES. SOPHIE WALKS IN.

ALAN (CONT’D)
You can gnaw at my wood anytime, probably suck the bark off clean with those big lovely lips as well.

SOPHIE STARTS TO GIGGLE AND THEN TURNS AROUND TO HIDE IT.

ALAN (CONT’D)
Is she alright?

SUSAN
Yes Alan, she’s just a little busy, like me.

ALAN
Two busy little beavers, with big lovely lips.

MICHAEL APPEARS BEHIND ALAN.

MICHAEL
Sounds dam good to me Mr. Partridge.

ALAN
Sorry Michael?

MICHAEL
I said, it sounds dam good to me, you know like a beaver dam.

ALAN
Oh yes, very good Michael. (Laughs) What other animal swear words are there?

MICHAEL
Well Mr. Partridge. (Thinks) There’s pu-

SUSAN
(Interrupting)
Michael! Get back to work.

ALAN AND MICHAEL LOOKED DOWN AS IF THEY’VE BEEN TOLD OFF, LIKE NAUGHTY CHILDREN.

SOPHIE
Mr. Partridge, Lynne is here.

LYNNE WALKS THROUGH THE ENTRANCE. ALAN PLAYFULLY IMITATES A BEAVER TO SOPHIE.

SHE STARTS TO GIGGLE AGAIN AND TRIES TO HIDE IT.

LYNNE
Are you okay Alan?

ALAN
Yes I'm fine, I was, I was just imitating a North American Beaver.

LYNNE IMITATES A BEAVER TO ALAN.

ALAN (CONT’D)
(Disgusted)
Lynne, what you doing?

LYNNE
I was doing a little beaver.

ALAN
Never do that again, you look more like an old mouse and a blind one at that, next thing I know you’ll be running up my clock.

LYNNE
Sorry?

ALAN
I said clock. Speaking of clocks, you’re a little late aren't you?

LYNNE
Yes I know. Ever since you petitioned to have the bus route diverted away from here, I have to walk the rest of the way now.

ALAN
Well they’ve got to learn Lynne. Offensive hand gestures are for the man on the street.

LYNNE
You did call him sub-human scum.

ALAN
Well he should’ve took the abuse, like one of those Foot Guards.

LYNNE
Aren’t their hats made out of Beaver?

ALAN
No, they’re made from the fur of a Canadian black bear. (Patronizing) Oh Lynne, how did you manage to walk here on your own, I’ll never know? (Laughs)

MICHAEL QUICKLY SHUFFLES PAST ALAN AND LYNNE.

MICHAEL
Cock.

ALAN LAUGHS AND THEN EXCHANGES AWKWARD GLANCES WITH LYNNE.

END.

FATHER TED
"A bird in the hand"

SCENE 1 (EXT). (DAY 1): COUNTRY ROAD
A MISERABLE LOOKING TED AND DOUGAL WALK SLOWLY BACK HOME, IN THE RAIN.

TED
What a waste of time that was. The worst turn out, ever.

DOUGAL
What was?

TED
Mass!

DOUGAL
Are we off to mass again? God, they come around quickly don't they?

DOUGAL TURNS AROUND AND STARTS TO WALK BACK DOWN THE ROAD.
TED

No Dougal. I mean our congregation is getting smaller and if it doesn't get any better, Bishop Brennan will be on my back again.

DOUGAL
You're OK at the moment, Ted. He's not there yet.

DOUGAL TURNS BACK AROUND AND SEEMS ANXIOUS AS THEY WALK ALONG.

TED
Are you in some kind of hurry at all, Dougal?

DOUGAL
Can we not pick up the pace a bit there? Spring Gaze is back on the TV and you know how much I love the wildlife!

TED
God almighty, not another bloody wildlife programme! Surely they can put something else out for a change?

DOUGAL
C'mon now Ted. You're just upset because Time Team has finished. I reckon that beardy fella in 'Spring Gaze' could take on your man, Tony Robinson, any day of the week.

TED
Bill Oddie?

DOUGAL
No, the other one. Kate Humble.

TED
Dougal, Kate Humble is a woman. She does not have a beard. It's just a lot of hair.

DOUGAL
That's news to me, Ted.

BEAT. THEY SUDDENLY STOP AND DOUGAL HAS A MOMENT OF INSPIRATION.

I know Ted, perhaps you should put in a bit about the wildlife in your Mass? Have a webcam with some birds on it or something? That will surely bring the punters back in.

TED
I don't think mentioning anything about 'Tits' and 'Shags' or the like would be appropriate for Mass at all, Dougal. And you must stop referring to the congregation as punters. Especially in front of the Bishop. I don't think he would want to hear you calling God's followers as punters. He takes religion quite seriously you know!

DOUGAL
Sorry, Ted. I didn't know you could take religion seriously.

RAIN STARTS TO GET HEAVIER

TED
Right, Dougal, come on. We'd better get going, or we're likely to catch pneumonia or something.

DOUGAL
Suits me. Last one home's a big eejit.

SCENE 2 (EXT). (DAY 1): COUNTRY ROAD, MOMENTS LATER
DOUGAL HURRIEDLY LEADS THE WAY UP THE HILL AND PASSES TOM, THE T-SHIRT MAN, WHO IS SITTING ON A WALL WITH A SHOTGUN BY HIS SIDE. TOM IS SEEMINGLY UNPHASED BY THE RAIN. TED APPROACHES, SLIGHTLY OUT OF BREATH AND SOAKED.

TOM
Morning Father.

TED
Good morning Tom. Why are you out here in the rain?

TED WAITS FOR AN ANSWER BUT IT IS NOT FORTHCOMING.

You do know it's raining don't you Tom?

TOM
I've killed a man, Father.

TED
TED IS A LITTLE CAUGHT OUT BY THIS AND UNSURE OF HOW TO TAKE TOM'S RATHER OUTLANDISH STATEMENT.

That's a matter for the Police, rather than for me now Tom. Have you told Sgt Flannigan?

TOM
It was Sgt Flannigan I shot.

TED
I see. I'm actually in a bit of a hurry at the moment Tom, what with the rain and all. Perhaps, come and see me later this evening after evening mass and we'll have a little chat?

TOM
Right you are, Father.

TED
Bye then, Tom.

TED WALKS ON UP THE HILL, LEAVING TOM ON THE WALL, STILL UNPHASED BY THE RAIN.

I'll be back later to close-a-diddly this. Anyone want to squeeze in an entry before it's too late?

*** CLOSED *** *** CLOSED *** *** CLOSED *** *** CLOSED ***

Right, time to start voting for your favourite entry.

Anyone can vote, just post the user name of your favourite entry *here* in this thread.

50 points up for grabs!

Voting closes: Friday 3rd August

Good luck!

Enjoyed doing this, but the hardest part is who to vote for with such high stakes and all being very well thought out.

Mmmmm. I choose becuase of its high 'laugh' count, charachters written true to form and for the ability to take me back to my youth:

THE YOUNG ONES, By Michael Monkhouse. Well done, well written!

Charley with Fawlty Priests.

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