Done Deal Pro Forums

Done Deal Pro Forums (http://messageboard.donedealpro.com/boards/index.php)
-   Writing Exercises (http://messageboard.donedealpro.com/boards/forumdisplay.php?f=22)
-   -   Entries - Dog Days of Summer (http://messageboard.donedealpro.com/boards/showthread.php?t=83109)

Mark Somers 09-09-2017 12:35 AM

Entries - Dog Days of Summer
 
Submitted:


Ghosts and Demons

Let Slip the Dogs of War

Summer Daze

Killer Tower

Dogtown

Jacob's Point

A Deep Sleep

Dog Day of Summer



Vote deadline September 14

PM the votes to me.

You can vote if you didn't enter.

Vote for 1st 2nd and 3rd places.

Don't vote for your own work


For posterity, here's the discussion thread, and here's the results thread.

Mark Somers 09-09-2017 12:39 AM

Re: Entries - Dog Days of Summer
 
Code:

Ghosts and Demons


              EXT. DERELICT HOUSE -- DAY

              Squatting on a hill, the once grand house broods over the
              small town.  Surrounded by overgrowth, brush and brambles,
              it's shadowy dark, like a piece of eternal night, even on
              this sunny day.

              INT. HALLWAY -- DAY

              A domain of demons.  Clunks and creaks, dusty floors and
              doors that swing open or close on their own. Translucent
              shapes that form and vanish.

              Only evil, demented, foolish or desperate people would stay
              here.

              INT. BEDROOM -- DAY

              A fifteen-year-old girl sleeps fitfully on a large bed. 
              Dressed for school, in jeans, tennis shoes and a sweater.
              She hugs her book bag, for protection, while she sleeps.

              JILL MACLEAN isn't evil, demented or a fool.

              EDDIE HERZOG isn't either, but he is dead. He's a huge,
              shirtless ghost with gaping wounds in his chest, who might
              be forty if he was flesh and bone, but since he's a dim,
              blue glow, it's anyone's guess.

              Arms crossed, he stands near the foot of the bed and watches
              over the sleeping girl.

              Slithering, hissing, scraping sounds are heard from outside
              the room -- the ghost is instantly alert, leaving the bedroom,
              by walking through a wall.

              As the girl sleeps -- a large snake slithers toward the bed
              and twists around the bedpost, climbing up on the bed.

              It pauses, for a moment, than transforms, quickly, into a
              vile, small crippled DEMON, with short, squat, legs and huge
              bulging eyes.

              It tests the air with it's snake tongue, keeping it's eyes
              on the girl. A crooked-bladed dagger forms in it's hand, it
              pulls it's arm back --

              -- the girl jerks awake, and screams. Backs away, but the
              creature is greased-lightning quick. It stabs with the dagger
              but hits the book bag. It lunges again -- this time stopped
              in mid air --

              a huge fist completely surrounds it's neck. It flails and
              gurgles, hisses, screams and shrieks -- rapidly transforming,
              into different creatures, an eagle, wildcat, gargoyle, snake
              and every nightmares in between.

              Finally spent, it's the demon again, gurgling and trying
              desperately to free itself from the huge mans throttling
              hold -- clawing the hand on its neck.

              The girl, still on the bed, watches in wide-eyed shock as
              the demon glows a bright red and the ghost a bright blue.

              Backing away from the bed, the ghost comes to an empty part
              of the room and opens a large, iron door, that's not in the
              floor.

              Heat, sulfur, flickering firelight, loud moans and tormented
              screams fill the bedroom.  The demon doubles its effort to
              free itself, wailing and screaming in pain --

              -- the ghost flings him through the door, like he's no more
              than a rag doll -- slamming the door shut.

              And the door that's not there is not there again. Just old
              oak floorboards of an old bedroom.

              The girl slides back to the bed's headboard, sits up against
              it, hugs her knees to her chest and tries not to believe
              what she just saw with own two eyes.

              The ghost watches her and dims -- as fierce and powerful as
              he was a minute ago, he now seems confused -- unsure of
              himself -- uncomfortable.

              A moment later, the girl starts to cry quietly.

              He slowly moves by her, tries unsuccessfully to look
              nonmenacing and slowly reaches out to her hand --

              -- but his ghost hand has no more substance than air and
              that makes him sad.

              After awhile she daubs her tears with the sleeves of her
              sweater and takes a long look at the ghost.

                                    JILL
                        Who are you?

              The ghost can't talk -- he points to his mouth and shrugs --
              then gets an idea and points to the top of a dresser.

              The girls gets up and checks.  A framed picture, covered in
              dust -

              -- she blows the dust off. Sees the house, when it was
              livable, the huge man standing in front, smiling, his arm
              around a beautiful woman. In front, a seven-year-old girl.

                                    JILL
                        Your family.

              But when she looks up, the ghost has faded away.

              INT. KITCHEN -- NEXT DAY

              Jill has found a gas lantern and searches for food. The
              cupboards are bare and she is hungry.  The kitchen is large
              with dusty floors --

              -- except near the basement door -- from that door to the
              door that leads outside, the dust is disturbed -- a path.

              The hair raises on the nape of her neck -- ghost don't make
              paths.  She's fifteen and hungry so she opens the basement
              door and goes down the steps.

              INT. BASEMENT -- DAY

              Mostly dust and mildew and old, forgotten things, that look
              creepy in the shadows from the lantern. A washer and dryer,
              a freezer, some shelves with tools -- no canned or jarred
              food.

              On the other side of the room is another door. She seems
              uncomfortable and heads back to the steps, then turns --

              -- what's behind that door? 

              She goes to it. When she opens it, she's nearly blinded by
              the light -- there's uncovered windows high up on the walls.

              The room isn't large and it isn't clean, but it's mostly
              dust free and someone lives in it.

              She jumps back away from the door, into the darkness and
              listens.

              Nothing.

              She enters. In one corner an army cot, in another, makeshift
              shelves with canned food and crackers. Stacked against a
              wall, a flashlight, some batteries and a small radio.

              She grabs a box of crackers and a can of beans --

              -- then notices the small table, stacked with souvenirs.

              Not the nice kind. These are the souvenirs of a sick and
              depraved human being.

              Bits of jewelry, parts of clothing, crime scene photographs
              of gashing wounds and dismembered people -- and newspaper
              articles.  Dozens of them.

              Now forgotten, Jill drops the crackers and the beans and
              leafs through the articles and looks at pictures of ruined
              lives --

              -- one article shows the ghost and his family, the same
              picture from the dresser.  The headline -- "Family Murdered!" 
              A picture of the suspect, an escaped murderer and rapist, a
              repulsive, vile man, in his fifties, named BART LURCH.

              She hears a door open and close, upstairs --

              -- runs from the deviates room, searches the tool shelf --
              finds a large pipe wrench and runs to the stairs.

              Too late. Bart is on his way down.

              For a moment they stop and stare at each other. Then the
              pervert leers at her.

                                    BART
                        Well hello, sweet thing --

              She hits with the pipe wrench, as hard as she can, knocking
              him off the stairs --

              Fast as lightning she's out of the room.

              INT. BEDROOM -- DAY

              Jill is back on the bed, hugging her knees again, when the
              ghost reappears. 

              This time he's agitated, flailing his arms, trying to get
              her to run away. She closes her eyes and hides behind her
              book bag.

              INT. BASEMENT -- DAY

              Bart groans, feels his jaw, wipes away blood and rousts
              himself up from the floor.  He leers -- obviously enjoying
              the hunt.

                                    BART
                        I'm counting to a hundred.

              INT. BEDROOM -- DAY

              Jill can hear Bart getting nearer --

              -- he's in the kitchen, the living room, he's climbing the
              steps --

                                    BART (O.S.)
                        Ready or not, here I come.

              The ghost gets brighter --doing anything to alert Jill.
              Finally something works, she opens her eyes -- jumps up --

              -- grabs the pipe wrench and stands by the door.

              The ghost smiles and shakes his head -- "NO".

              She's confused when he points to the floor between the bed
              and the dresser.

              But he points "harder", and she runs over to him.

              Bart has reached the top of the stairs and walks down the
              long hallway.  Her tracks are obvious to him in the dust.

                                    BART (O.S.)
                        Ready?  -- Sweet thing? 

              A loose floorboard, something underneath wrapped in cloth --
              a six-shooter, pistol.

              She grabs it and tries to **** the hammer -- it won't budge.

              Bart is at the door, but in no hurry.  He sees a girl, scared
              and trying to hide on the floor -- and enjoys himself.

              The ghost puts his finger on the safety and makes the motion
              for unlocking it.  Jill unlocks the safety and cocks the
              hammer.

              Bart notices the pistol and rushes her --

              -- she FIRES the gun. Hits him in the shoulder. For a moment
              he's stunned.

                                    BART
                        You bitch!  You shot me! 

              With a grimace on his ugly face he comes at her -- no games
              this time.

              She FIRES again -- this time she hits his heart.

              In shock he still tries to lunge at her --

              -- she FIRES the last four bullets -- three more in the chest
              and one in the head.

              Finally, Bart drops to the floor.

              She keeps pulling the trigger, until the ghost puts his hand
              in front of the pistol.

              Once again she has tears in her eyes and once again he can't
              comfort her.

              Then --

              Bart starts to glow red -- his dead body shimmering --

              There's a huge smile on the ghosts face, but not a nice one.

              The Demon/Bart is even uglier than the Human/Bart and as it
              rises, it melts away the flesh to white ash.

              It leers at Jill, unaware of the ghost.

                                    BART
                        (CONT’D)

              Thought you were done with --

              A huge, blue, glowing fist throttles the demon and holds it
              like a vise while it thrashes and screams.

              Backing away from the bed, the ghost comes to an empty part
              of the room and opens a large, iron door, that's not there...

                                                                FADE OUT.

              THE END


Mark Somers 09-09-2017 12:46 AM

Re: Entries - Dog Days of Summer
 
Removed by request of the author.

Mark Somers 09-09-2017 12:50 AM

Re: Entries - Dog Days of Summer
 
Removed by request of the author.

Mark Somers 09-09-2017 12:55 AM

Re: Entries - Dog Days of Summer
 
Code:


Summer Daze  ( 1 of 2 )

               

              EXT.  HOUSE—NIGHT

              As we slowly FADE IN, muffled sounds of a life or death
              struggle from some kind of animal, along with sounds of
              chains, and wood being ripped apart, accompany the now full
              visual of-

              A dog fighting to tear his chain out from a rotten doghouse,
              in the backyard of a rotting clapboard house.  Yellow bulb
              hangs over back door.  Fenced backyard.  House is crammed
              between other small clapboard houses.  Broken down cars and
              trucks sit like southern lawn sculptures in grown-over yards.

              Dogs bark like they're singing in harmony to Springsteen's
              “Johnny 99.”  “Well dog warden I do believe I'd be better
              off dead.  And if you could take a dog's life for the thoughts
              that's in his head...”

              A young man with the name BOBBY DAZE on his work shirt, looks
              like he is drunk--and when drunk is probably a jackass, you
              can just tell--opens his backdoor and yells at his dog. 
              Then he throws something at the dog, or did he?  The dog
              quits biting the doghouse and scurries inside it.

                                    BOBBY
                        Shut up DOG or you're gonna go back
                        on the short chain!

              DOG stares at him from the darkness.  His tail has no wag
              left in it for his owner.

              BOBBY takes a long drink from his bottle of beer.  Belches.
              Spits. Wipes his mouth.  Throws the empty at the dog house. 
              Staggers back inside.

              DOG sticks his head out into the night, cautiously checks
              his empty food dish, then runs full-blast to one side of the
              fence.  The chain tears away from his doghouse.  A neighbor
              dog, a HUGE STRANGELOOKING DOG, comes over.  They begin
              growling nicely to each other.  Tails wag.  They're buddies.

              CUT to the film, THE GREAT ESCAPE

              STEVE MCQUEEN is telling his superiors the escape he is
              planning to make.

              CUT to the BACKYARD.

              The HUGE STRANGE-LOOKING DOG nods and smiles.  A terrible
              argument between a man and a woman comes from inside the
              house.  Through the window, DOG sees BOBBY DAZE yelling at
              his girlfriend.  She is backing up from him, afraid.

              DOG runs to the other side of the fenced yard and begins
              growling and conferring with a TERRIER.

              CUT to THE GREAT ESCAPE, and the scene where Charles Bronson
              is starting to dig the escape hole.

              CUT to the BACKYARD.

              TERRIER stares at DOG.  DOG nods.  DOG jumps over a broken
              part of the fence into the TERRIER's yard.  TERRIER jumps
              onto one end of a seesaw.  DOG leaps onto the other end,
              sending TERRIER over the fence.  TERRIER is now in DOG's
              backyard.  DOG leaps back over the fence.

              DOG and TERRIER now begin digging on other side of the fence,
              as HUGE STRANGE-LOOKING DOG digs on the other side.

              HUGE STRANGE-LOOKING DOG finally is able to just barely make
              it from under the fence.

              CUT TO THE GREAT ESCAPE SCENE where McQueen emerges from the
              hole, short of the forest.

              CUT TO THE BACKYARD.

              The three dogs stare inside at the house, where the BOBBY
              DAZE is still yelling.  HUGE STRANGELOOKING DOG suddenly
              takes off in a sprint and jumps through the screen door. 
              DOG and TERRRIER are right behind him.

              INSIDE.  HOUSE--NIGHT

              The three dogs have BOBBY DAZE pinned in a corner of his
              kitchen.  He is yelling at the dogs, but the louder he yells,
              the more they growl and bark.  His girlfriend makes a break
              for the front door and is gone into the night.  The dogs
              follow, but not before briefly TERRIER attacks BOBBY DAZE's
              ankle.

              INSIDE.  DOG POUND--DAYBREAK The three dogs are in the
              slammer, each in a separate small cage.

              AT THE FRONT DESK

              BOBBY DAZE stands at a counter.  He's pale.  His hands shake.

                                    WOMAN WORKING THE FRONT DESK
                        What's the dog's name again?

                                    BOBBY DAZE
                        Dog Daze.

                                    WOMAN
                        And you live in Summer?

                                    BOBBY DAZE
                        Already told you.  Dog Daze of Summer
                        is in here.  You all called me from
                        the number on his collar.

                                    WOMAN
                        What does he look like?

                                    BOBBY DAZE
                        His fur is brown and black and white. 
                        Has a big head and a skinny body. 
                        His collar says DOG DAZE.

              The WOMAN scans a log-in book and shakes her head.

                                    WOMAN
                        Don't see anything like that.  We'll
                        take a look.  Is it a him or a her?

                                    BOBBY DAZE
                        A him.

                                    WOMAN
                        So he ran away last night?

                                    BOBBY DAZE
                        Yeah.

                                    WOMAN
                        He run away much?

                                    BOBBY DAZE
                        Yeah.

                                    WOMAN
                        Why does he do that...you think?

                                    BOBBY DAZE
                        How the hell should I know.

              The WOMAN studies him.

                                    BOBBY DAZE
                        How much is it gonna be to bail him
                        out of here.

                                    WOMAN
                        Twenty-five dollars.

                                    BOBBY DAZE
                        It was twenty last year.  Jesus, I
                        ain't got twenty-five dollars right
                        now.

                                    WOMAN
                        We'll send you a bill.  If you don't
                        pay it within 60 days the town will
                        turn your water off until it is paid.

                                    BOBBY DAZE
                        Be nice to live somewhere someday
                        where the damn government ain't out
                        to screw you every time you turn
                        around.  Turn my water off over my
                        dog running away.  What the ****.

                                    WOMAN
                        Please watch your language.

                                    BOBBY DAZE
                        You gonna turn my water off for that,
                        too, if I don't?

              The woman blows out a deep breath and looks up at a clock on
              the wall.  It is only 7:05 am and by her look, this day is
              already starting off shitty.  Mighty shitty.

                                    WOMAN
                        Follow me.

              BOBBY DAZE follows the woman into a cavernous room which
              houses all kids of dogs and cats and a few varmints of
              different varieties.  There are no windows and only two low-
              wattage bulbs provide light.  He looks around, unsure of
              what is all around him.

                                    BOBBY DAZE
                        Stinks like hell in here.

                                    WOMAN
                        At least it doesn't smell like stale
                        beer, vomit and cigarettes.

                                    BOBBY DAZE
                        I don't like your attitude, lady.  I
                        pay your goddamn salary.  I believe
                        I'm gonna head to the town office
                        when they open and make a formal
                        complaint.

                                    WOMAN
                        Do as you please.  Sir, I hope you
                        are not going to do it smelling like
                        you do.

                                    BOBBY DAZE
                        Looks like he is about to explode. 
                        The WOMAN points at a dog in a cage.

              BOBBY DAZE smiles a smile of relief.  He squats but the dog
              backs up from him as far as it can.

                                    BOBBY DAZE
                        That's him.

                                    WOMAN
                        And his name is what again?

                                    BOBBY DAZE
                        DOG DAZE.  He was my ex-wife's dog. 
                        When she left me, I wouldn't let her
                        take him.  She done took everything
                        else.  It's been me and him against
                        the world since.

                                    WOMAN
                        And the world is winning, I can see. 
                        Can also see that he doesn't like
                        you.

                                    BOBBY DAZE
                        Bullshit.  You know what, I don't
                        like you.  He just knows he's in
                        trouble.  This ain't the first time
                        I've been in this damn place to get
                        him.

              He points his finger at the dog.  DOG growls at him.

                                    BOBBY DAZE
                        Back on the short chain when we get
                        home, *******.  Twenty-five bucks...

                                    WOMAN
                        Are his shots up to date?

              BOBBY reaches to unlatch the cage door.  He begins to open
              it.  The woman closes it.

                                    BOBBY DAZE
                        You can't keep my dog here.

                                    WOMAN
                        Yes I can, if I believe the animal
                        is being abused.

                                    BOBBY DAZE
                        Abused?  I've had dogs my whole life. 
                        I know how to treat dogs.

                                    WOMAN
                        He's malnourished.  How old is he?

                                    BOBBY DAZE
                        When I'm eating good, he eats good. 
                        Things ain't been real good lately
                        but are turning around.

                                    WOMAN
                        Do you know how old he is?

              BOBBY DAZE stands, steps directly in front of the woman.

                                    BOBBY DAZE
                        I'm opening the cage, and getting my
                        dog.  Right now.  We're getting the
                        **** out of this place.

                                    WOMAN
                        Is your name and number in the phone
                        book?

                                    BOBBY DAZE
                        What?

                                    WOMAN
                        Your phone number.  Is it listed in
                        the phone book under your name.  The
                        number we called.

                                    BOBBY DAZE
                        It ain't listed.  Why?

                                    WOMAN
                        So you live in Summer?

                                    BOBBY DAZE
                        Yeah.  Lived here most all of my
                        damn life.  How long have you lived
                        here?

                                    WOMAN
                        To confirm that dog belongs to you,
                        and you are its rightful owner, I'm
                        going to give you a color...pink.
                        How long will it take you to get
                        home.

                                    BOBBY DAZE
                        I'm about to call the cops. I used
                        to have a brother in-law who was a
                        deputy--

                                    WOMAN
                        Fine.  I can tell you've been
                        drinking.  I'm gonna give you a half-
                        hour to get back home, and I will
                        call the number on the dog's collar,
                        and I'll ask you the color from our
                        talk.  You need to say 'pink' and
                        then come back and your dog will be
                        ready, and I will know you are the
                        rightful owner.

                                    BOBBY DAZE
                        You're ****ing crazy.  I'm getting
                        my dog, and we're leaving.


Mark Somers 09-09-2017 12:58 AM

Re: Entries - Dog Days of Summer
 
Code:


Summer Daze  ( 2 of 2 )

   

             
                                 

              The WOMAN yells out “LITTLE CUTIE.”  A huge rottweiler plods
              into the room.

                                    WOMAN
                        LITTLE CUTIE doesn't like bullies,
                        do you LITTLE CUTIE...

              LITTLE CUTIE growls.  His head is the size of...the man begins
              backing up toward the door.

                                    WOMAN
                        I'll call you in a half-hour.

                                    BOBBY DAZE
                        **** you.

                                    WOMAN
                        LITTLE CUTIE hates bad language.

              BOBBY DAZE, now at the door, pulls a lock-blade knife from
              his back pocket and opens it.

                                    BOBBY DAZE
                        That dog tries to bite me and I'll
                        gut it.

              The dog growls louder and approaches him.

                                    BOBBY DAZE
                        I mean it!

                                    WOMAN
                        The door locked automatically when
                        we came in here.  You need a key
                        (she holds up the key) to open it. 
                        So you said you chain your dog, and
                        you don't feed him much most of the
                        time...he is skinny, and you would
                        not believe how much food he ate
                        once he was brought in here.  He has
                        fleas.  Sores. I'd bet my wide bottom
                        dollar he has worms. I've invented a
                        system to turn bad pet owners into
                        good ones.

              The WOMAN points at an empty cage, about four feet by four
              feet.

                                    WOMAN
                        Get in.

                                    BOBBY DAZE
                        You're crazy, lady!  You're crazy!

              BOBBY DAZE keeps both eyes on the rottweiler and pulls and
              pushes on the door right behind him.  It is a steel door. 
              It will not open.

                                    WOMAN
                        Get in.  Just for a bit.  Nothing
                        like what you've put your dog through,
                        of course.  Just a taste of the life
                        you make him live every single day. 
                        Call it...a crash course in pet owner
                        training.

                                    BOBBY DAZE
                        I'm not ****ing getting in that cage,
                        you crazy bitch!

                                    WOMAN
                        Drop the knife.

              BOBBY DAZE shakes his head.  He is crying now.

              LITTLE CUTIE begins barking and lunges at him.  He drops the
              knife.

                                    WOMAN
                              (calmly))
                        Cage, LITTLE CUTIE.  Cage.

              LITTLE CUTIE jumps up to grab BOBBY DAZE by the shoulder but
              he leaps into the safety of the cage and shuts the door. 
              She removes a padlock and places it on the door.  She goes
              to a knee.

                                    WOMAN
                        You see the chain behind you...place
                        the collar around your neck and close
                        the small padlock.

                                    BOBBY DAZE
                        You should be in an insane asylum!

              The woman pulls a can of pepper spray from its small holster
              on her belt.

                                    WOMAN
                        Do you know what this is?

                                    BOBBY DAZE
                        Wipes his eyes and nose on his sleeve. 
                        He draws back from what is in her
                        hand.

                                    WOMAN
                        Yes.  Pepper spray.  And I will spray
                        you if you don't place the collar
                        around your neck and lock it.

              The WOMAN goes to a sink and fills a dirty bowl with water. 
              Then she empties a can of dogfood into another dirty bowl. 
              She opens a very small gate where the bowls barely fit through
              into the cage.

                                    WOMAN
                        This is your food and water for the
                        next three days.

                                    BOBBY DAZE
                        You're dead, lady!  You're dead!

                                    WOMAN
                        Oh bark all you want to.  Nobody can
                        hear you, anyway.

              The woman turns on light switches.  BOBBY DAZE squints with
              all of the bright lights on.  He sees movements in large
              cages all around him.  Naked people with collars and chains
              around their necks are in the cages.  They look like they
              would eat him, if given the chance.  One man with white hair
              and no teeth asks if he will throw some of his food through
              his cage into his cage.  BOBBY DAZE turns back to the woman. 
              She smiles at him.  The WOMAN walks toward DOG DAZE's cage. 
              Unlocks it.

                                    WOMAN
                        Come here, sugar.

              The dog walks out of the cage on wobbly legs.

                                    WOMAN
                        That mean man won't hurt you anymore. 
                        I won't let him.

              Then she unlocks the cages of his friends.  The BIG STRANGE-
              LOOKING DOG pees on BOBBY DAZE's cage, soaking him.  Then
              TERRIER lifts his leg and tries to do the same.

              WOMAN unlocks the steel door, steps into the hall, and before
              the door closes and BOBBY DAZE hears it lock, she turns off
              all the lights.  It is pitch black.

              BOBBY DAZE screams.  The others scream with him.  They sound
              like dogs in a kennel.  DOG pants.

              After a few moments, the door opens and the lights come back
              on.  BOBBY DAZE stops screaming and squints.  DOG is at his
              cage, pawing at the door of it.

                                    WOMAN
                        I speak dog, you know, as well as
                        cat, and I am learning horse.  Your
                        dog feels sorry for you and wants me
                        to release you into his care.  You
                        will take good care of him now, won't
                        you?

              BOBBY DAZE nods.  He looks around.  The human cages are now
              empty.


Mark Somers 09-09-2017 01:01 AM

Re: Entries - Dog Days of Summer
 
Code:


Killer Tower

             


    EXT. DESERT - DAY

                                                        FADE IN

    Blue and yellow. That’s all we see. A hilly landscape of sand
    dunes. Above, the sun shines with a blinding light over a
    perfect blue sky. No cloud. No wind. Nothing.

    Except for the lonely and huge high voltage tower, standing
    proud in the middle of the burning desert. A gigantic tower
    made of steel whose thick cables connect to a twin tower,
    then to another, and another, making a path to infinity.

    They all look like giant metal men buried in the sand.

    The only sound is the slight hum of electricity traveling
    through the cables.

    A black-throated sparrow flies towards the tower and flaps
    its wings before landing on the thick cable. It hops a couple
    of times, flutters its wings. It’s a good place to rest.

    The electric hum on the cable increases noticeably. The
    sparrow looks around, alarmed. Until--

    ZAPP!

    The bird is electrocuted instantly. It’s gray feathers turned
    to smokey black. The bird falls to --


    EXT. DESERT / ROAD - DAY

    -- the side of a dusty road made of asphalt, barely visible
    because of the sand accumulated on it.

    Unaware of this, an expensive, black sedan roars through the
    desert on the middle of the road at full speed, followd by a
    dense cloud of sand dust.

    The wipers have been used recently to remove the sand from
    the windshield.

                          JERRY (O.S.)
              Don’t **** with me, Tom! I told you
              this would happen.

    Through the windshield we can see JERRY (40s), grabbing the
    wheel with a hand while holding his phone with the other.


    INT. JERRY’S CAR - DAY

    Jerry’s eyebrows are deeply frown. His knee bounces up and
    down while his other foot steps on the gas. He dresses an
    expensive business suit, matching the car.

    He barks angrily into his high end phone.

                          JERRY
              I cannot save your ass all the time
              you-- No, no, no. Don’t bring the
              family bullshit on me.

    Jerry, distracted, realizes something in the middle of the
    road. He jerks the wheel to avoid impact.

                          JERRY (CONT’D)
              ****!


    EXT. DESERT / ROAD - DAY

    The car narrowly misses a bulky object left in the middle of
    the road. It looks like some abandoned metal wreckage.


    INT. JERRY’S CAR - DAY

    Jerry looks to the road behind him through the rear mirror
    trying to figure out what was that but the dust from his own
    car hides everything.

    He realizes Tom speaking on the phone.

                          JERRY
              What?-- What the **** are you
              doing? Are you begging now?

    Jerry turns red with rage.

                          JERRY (CONT’D)
              No, you don’t get it. Are you
              ****ing begging me? Do not ****ing
              beg me, Tom.
                    (pause)
              Don’t--!

    Jerry turns off the phone and throws it on the passenger’s
    seat. He slaps the wheel furiously.

                          JERRY (CONT’D)
              I ****ing hate beggars, Tom!

    Jerry tries to digest his fury. He then notices his own knee
    bouncing wildly. His hand darts to his crotch, squeezing
    impatiently. He’s sweating, moans lightly.

    Jerry looks in the distance and sees a road sign approaching,
    his face lights with hope.

    THE ROAD SIGN

    As it passes Jerry’s car at full speed, it reads: "NEXT REST
    AREA: 50 MILES"

    BACK TO THE CAR

    He puffs, holds to the wheel as if that could prevent the
    inevitable. He looks out through the windshield, trying to
    find... anything.

    His eyes lock on the high power towers. An idea.


    EXT. DESERT / TOWER - DAY

    From the high tension tower, we see Jerry’s car parked to one
    side of the road. The electricity hum is barely audible.

    A path of footprints lead to the tower until we see Jerry,
    panting and puffing, and holding his crotch.

    Jerry arrives to the tower base. He looks up to the top.

    It’s a magnificent piece of metallic work. He goes to the
    opposite side of the tower and looks around, makes sure
    nobody can see him from there. He then realizes there’s
    nobody on the road, but hell, too late for that.

    He unzips down his trousers and finally all the tension on
    his face releases. He sighs.


    ON THE GROUND

    Jerry’s leak grows towards the feet of the tower. The
    electricity hum increases.

    ON JERRY

    Most relaxed man ever. He tilts his head up, closes his eyes.
    Nice.

    ON THE GROUND

    The leak reaches the tower’s foot, soaks it. Over the
    electricity hum, we hear TWISTING METAL screeching.

    ON JERRY

    That was weird. Jerry opens his eyes.


    JERRY’S POV

    Jerry looks up to the top of the tower. Somehow, the tip has
    twisted towards him. The two red operation lights at the top
    look strangely like eyes. Eyes that are staring at him!

    Jerry cannot believe his eyes. He’s about to say something
    when--

    -- The tower ROARS in anger.

    Jerry quickly zips up and backpedals, confused, but stumbles
    with a rock, falls butt on sand.

    Jerry looks up to the tower and finds himself staring at the
    tower eyes, the two red lights. For a moment, both stare at
    each other. Jerry cannot believe his eyes.

    Jerry tries to stand up and then the tower ROARS again,
    scaring the **** out of Jerry, who looks in terror,
    paralyzed, as the tower shakes to one side, then to the
    other, with a horrible METAL SCREECH-- until one of the FOOT
    breaks free from the concrete base.

    Jerry’s eyes open wide, speechless. The tower rises its huge
    metal foot over him. Jerry SCREAMS. He jumps to one side
    right before the giant foot smashes the ground, missing Jerry
    by a few inches.

    Jerry stands up and without thinking twice, turns around and
    shoots down the dunes towards his car as fast as he can. He
    loses a shoe, no time to pick it back. He doesn’t want to
    look back as the tower bellows horribly behind him.

    When he’s half the distance to his car, he turns around,
    exhausted. The tower is still roaring but it cannot release
    the other feet. Jerry smiles, relieved.

    The tower starts to PULL from its arms. One, then the other,
    and again, until a loud SNAP breaks the cables connecting to
    the next towers by the middle. Jerry only understands what
    the tower tries to do when--

    -- the tower thrusts the cables towards Jerry in a shower of
    electrical sparkles. The cables hit the ground on both sides
    of Jerry, leaving two deep black grooves. He looks at them,
    astonished. Then to the tower, who waves the cables in the
    air as whips from hell.

    Jerry screams, turns around and dashes towards his car. The
    tower waves the cables, preparing another attack.

    Jerry gets to his car, grabs his keys and tries to open the
    door but the keys fall to the ground.

                          JERRY
              ****!

    Jerry bends down to pick them up. He raises and puts the key
    in the lock when--

    -- the tower thrusts the cables and wraps the car with them.

    With an effortless move, the tower launches the car into the
    sky as if it were a rocket.

    Jerry, hopeless, looks up at his flying car, becoming a small
    dot in the sky. Disheartened, he turns around and sees how
    the tower has freed its other feet and is approaching him
    with slow and deep steps that make the ground tremble.


    ON ANOTHER PART OF THE DESERT

    Jerry’s car, destroyed, falls on top of another tower,
    bending its arm before it tumbles to the ground in a cloud of
    dust.


    BACK TO SCENE

    The tower looks at Jerry, who knows this is the end. Jerry
    falls on his knees, holds his hands together, cries.

                          JERRY
                    (sobbing)
              I am so sorry. I am so sorry.
              Please let me live. I beg you.
              Don’t kill me!

    The tower waves its cables, sparkles everywhere. It pauses
    for a moment, looks at Jerry. Seems to understand what Jerry
    is saying. Jerry looks up, a bit of hope.

                          JERRY (CONT’D)
              Please!

    The Tower’s voice seems to come from a mechanical hell.

                          TOWER
              I... HATE... BEGGARS.

    The Tower prepares the final attack. Jerry, still kneeling,
    closes his eyes, bows his head down, ready for the end.

    The tower thrusts its cables towards Jerry. A terrible sound
    of METAL SCREECHING AND ELECTRIC SPARKS fill the air. Then
    the silence.

    Jerry opens his eyes. He’s alive. Or is he? He has no idea
    what happened. He looks up and sees the tower’s cables
    ENTANGLED with the cables of a tower with a bent arm, the one
    who received the impact from the car.

    Both towers roar, wrestle, thrust cables at each other,
    punching, kicking, pieces of metal fly, sparks everywhere,
    the ground shakes as these two giants fight.

    Jerry just turns around and starts walking down the road,
    alone, his lifeless gaze not looking back, while both towers
    ROAR in the distance. It could sound like a strange storm.

                          JERRY (O.S.)
                    (on the phone)
              Hey, Tom, buddy, about that money
              you need...


Mark Somers 09-09-2017 01:06 AM

Re: Entries - Dog Days of Summer
 
Code:


Dogtown  ( 1 of 2 )


              FADE IN:

              EXT. CITY STREET - RESTAURANT - NIGHT

              A taxi cab pulls away from the sidewalk.  Exhaust fumes clear,
              revealing CHERYL standing there.  20s, beautiful but
              vulnerable.  She wears a little black dress... and a dog
              collar around her neck, with a dangling name tag.

              She looks across the street at the restaurant.  People are
              inside, seated at tables.  She hesitates, uncertain.  As if
              she doesn't want to be here.

              She suddenly remembers something!  She delves into her purse
              and takes out... furry dog ears.  She settles them on her
              head, makes sure they're sitting right.

              She takes a deep breath, then crosses the street.

              INT. RESTAURANT FOYER - NIGHT

              The MAITRE'D also wears a collar with a dog tag.  He looks
              down his nose at Cheryl, as if she's something he's just
              scraped off his expensive shoe.

                                    MAITRE'D
                        Yes?

                                    CHERYL
                        Mr. Goodboy's expecting me.

              Cheryl can't stand his stare, she looks away, ashamed.

              The Maitre'D snaps his fingers.  A WAITER hurries over. The
              Waiter also wears a collar with dog tag.  In this world every
              human does.

                                    MAITRE'D
                        Mr. Goodboy's "guest" has arrived.
                        Show her to his table.

                                    WAITER
                        If you'll follow me-

                                    CHERYL
                        No.  You take me to him.

              She's talking to the Maitre'D.

                                    MAITRE'D
                        I'm afraid I don't-

              Cheryl raises her voice.

                                    CHERYL
                        Take me to him now, or I'll tell him
                        you treated me like sh!t.

              He leans forward, in a panic.

                                    MAITRE'D
                        Will you keep your voice down?

                                    CHERYL
                        Five seconds.  Four.  THREE.

                                    MAITRE'D
                        All right, all right.

              He leads the way into the restaurant.  Cheryl follows him
              in.  The Waiter stands gaping in astonishment.

              INT. RESTAURANT DINING AREA - NIGHT

              MR. GOODBOY sits at a table, nibbling a dog biscuit from a
              bowl.  There's also a bowl of water on the table.

              Mr. Goodboy is a human/dog hybrid, with the head of a dog
              spliced onto the neck of a man.  His tail sticks out the
              butt of his suit.  He wears a gold collar with a gold tag.

              Other diners also have dog heads, some of the ladies are
              human ladies like Cheryl but many are bitches.

              Mr. Goodboy's tail wags when he sees Cheryl.

              The Maitre'D pulls Cheryl's chair out and seats her.

                                    CHERYL
                        Thank you, you may go now.

              The Maitre'D leaves, silently fuming.

              Mr. Goodboy pushes the biscuit bowl closer to Cheryl.

                                    MR. GOODBOY
                        Biscuit?

              Cheryl smiles and shakes her head, no thank you.

              He indicates her ears.

                                    MR. GOODBOY
                        I see you got my gift.

                                    CHERYL
                        I did.  They're lovely, thank you.

                                    MR. GOODBOY
                        I actually wondered if you would
                        come.  I wasn't sure if my charms
                        were enough to persuade you.

                                    CHERYL
                        Why wouldn't I?  It's not every day
                        a girl like me gets invited to a
                        fancy restaurant by such a handsome
                        boy.

              Mr. Goodboy's tail wags excitedly.

                                    MR. GOODBOY
                        Would you like to look at the menu?

                                    CHERYL
                        That would be lovely.

              The Waiter steps up and gives them menus.

                                    WAITER
                        The house special tonight is steak,
                        diced into cubes and covered with a
                        tasty gravy, the chef's own recipe.

                                    MR. GOODBOY
                        Well, no guesses what I'll be
                        ordering.

                                    WAITER
                        While you're considering your choices,
                        may I fetch the lady a drink?

                                    CHERYL
                        Just a glass of water for me, please. 
                        In a glass.

                                    WAITER
                        Of course.

              The Waiter goes away.

              Cheryl studies the menu.  Mr. Goodboy leans his elbows on
              the table and rests his jowls on his hands, studying her.

                                    MR. GOODBOY
                        You know, I think you might be the
                        prettiest girl here tonight.

              Cheryl looks around, idly curious.

              At another table, a ROTTWEILER-HEAD WOMAN with a mop of purple
              hair winks at her.

                                    CHERYL
                        Oh, I don't know about that.  So
                        what is it you do... Mr. Goodboy?

                                    MR. GOODBOY
                        Good heavens, do you mean you haven't
                        heard of the Goodboy food brand?

                                    CHERYL
                        Of course I have, but... you mean
                        that's you?

                                    MR. GOODBOY
                        My sire, actually.  But he's getting
                        older now.  He's practically given
                        me control of the company.

                                    CHERYL
                        That must be a huge responsibility
                        for you.

                                    MR. GOODBOY
                        You have no idea.  It's quite the
                        weight, I can tell you.

              Activity outside in the street attracts their attention. A
              disheveled, exhausted MAN staggers by.  He isn't wearing a
              collar.  He's pursued by FOUR DOG-HEAD POLICEMEN who bark
              and snarl as they chase him.

              They all run out of sight.  Cheryl stares for a few more
              seconds before she turns her attention back to the menu.

                                    MR. GOODBOY
                        How unfortunate that you had to
                        witness that.  That's why the collars
                        are so important.  I'm afraid there
                        are those who simply refuse to be,
                        well, good boys.

                                    CHERYL
                        They've made their choice.  I've
                        made mine.  I think I'll have the
                        shrimp starter, and lamb for the
                        main course.

              The Waiter returns with a glass and pitcher of water.  He
              pours Cheryl a glass.  Leaves the pitcher on the table.

                                    CHERYL
                        Thank you.

                                    WAITER
                        Are you ready to order?

                                    MR. GOODBOY
                        I'll have a marrowbone for my starter,
                        and the steak special. The young
                        lady will have shrimp, and the lamb.

                                    WAITER
                        Very good, sir.

              The Waiter takes the menus from them and goes.

                                    MR. GOODBOY
                        I was asking about you.  Your boss
                        seems to think highly of you.

                                    CHERYL
                        I'm glad to hear it.

                                    MR. GOODBOY
                        He thinks you may be wasted in
                        distribution.  I mean, they're good
                        people, they do a vital job, I'm not
                        saying they don't.  But we're always
                        looking for talent in production
                        control.  Quality issues are an
                        ongoing concern.

                                    CHERYL
                        Is that why you asked me to dinner?
                        To offer me a job?

                                    MR. GOODBOY
                        No, I asked you to dinner because I
                        find you very attractive.  And, haha,
                        to offer you a job, that's if you're
                        interested in bettering yourself.  I
                        don't expect an answer right away,
                        but the offer's on the table.  You
                        can think it over and call my office
                        when you've decided.

              Mr. Goodboy leans over his water bowl and laps up some water.

              Cheryl takes a sip from her glass.  As she drinks, she looks
              out the window.

              Outside in the street, the four dog-headed policemen drag
              the man to a waiting police van, he's been beaten and bitten,
              he's hardly able to walk on his own.

              As if he senses her gaze, he turns his bloodied face to look
              at the restaurant.  He stares accusingly at Cheryl.

                                    MR. GOODBOY
                        Ah, I see they caught him.  Good. We
                        can't have strays running around.
                        Next thing you know there are wild
                        packs roaming the streets, getting
                        up to all kinds of mischief.

              Cheryl tears her gaze away from the man.

                                    CHERYL
                        I very much appreciate your generous
                        offer, Mr. Goodboy.  I don't need
                        time to decide.

                                    MR. GOODBOY
                        Excellent.  That's that settled.
                        Then let's enjoy dinner.

                                    CHERYL
                        If you don't mind, I'm going to visit
                        the little girls' room. Please start
                        without me if your marrowbone comes
                        while I'm away.

                                    MR. GOODBOY
                        Thank you, I will.  Don't be too
                        long.

              Cheryl gets up and walks to the exit.

              INT. RESTAURANT FOYER - NIGHT

              The Maitre'D glares at Cheryl.  She ignores him.

              She sees the toilet arrow sign and heads that way.

              INT. HALLWAY OUTSIDE RESTROOMS - NIGHT

              Two doors, each with a sign showing a dog raising its leg to
              pee, one dog is bigger and heavier, obviously male.

              Cheryl pushes open the female dog door.

              INT. LADIES REST ROOM - NIGHT

              Cheryl checks the stalls, they're all empty.  She enters the
              last stall.  She reaches down behind the toilet bowl and
              searches for something... wrestles it loose.

              It's an automatic, in a plastic bag.  She opens the bag,
              takes the gun out, drops the bag into the bowl.  She pulls
              back the slide.  Thumbs off the safety.

              The rest room door opens.

              The Rottweiler-head woman enters.  She stops to look in the
              mirror.

              In the stall, Cheryl doesn't move, doesn't breathe.

              Rottweiler woman takes lipstick from her purse and applies
              it to her dog mouth, giving herself big red lips.  She fluffs
              up her purple hair, styling it until she's satisfied.

              Cheryl presses the gun against her head.

                                    CHERYL
                        Howl and you're dead.

                                    ROTTWEILER WOMAN
                        I have money, please take it all.

              Cheryl drags her into the stall and uses the gun as a club,
              delivering vicious blows.  We don't need to see this.  The
              woman whimpers in pain, then falls silent.

              Cheryl steps back out, panting heavily.  She moves to the
              door -- but stops.  She looks at herself in the mirror. She
              pulls off the ears, throws them in the sink.  She reaches
              behind her neck and unfastens the collar.  Lets it drop to
              the floor.

              She studies herself without the collar.  A free person.


Mark Somers 09-09-2017 01:08 AM

Re: Entries - Dog Days of Summer
 
Code:


Dogtown ( 2 of 2 )


           
              INT. RESTAURANT DINING AREA - NIGHT

              Mr. Goodboy looks up as Cheryl enters.

              She stops at a table -- aims the automatic at a dog-head
              diner, who gapes in surprise.  BLAM.

              The diner's human companion SCREAMS.  Cheryl aims the woman,
              she ducks under the table, terrified.

              Cheryl moves to another table, BLAM BLAM, a dog-head diner
              and his dog-head bitch go down.

              Dog-heads flee for their lives.  BLAM BLAM Cheryl shoots
              them down without mercy.

              She advances on Mr. Goodboy, who's frozen with fear.

                                    MR. GOODBOY
                        Wait.  I can pull strings.  You won't
                        even have to go to prison.

                                    CHERYL
                        Your factory recycles humans into
                        dog food.  I don't think we have
                        anything to discuss.

                                    MR. GOODBOY
                        Please, think of the repercussions
                        of your actions.  We've taken over
                        your government.  We own the police
                        and the military.  This will trigger
                        a slaughter such as your race has
                        never seen.

                                    CHERYL
                        What you see here is happening all
                        over the country.  The uprising begins
                        tonight.

              Cheryl takes aim at his big dog head.

                                    MR. GOODBOY
                        I suppose this means we're not going
                        to do it doggie style?

                                    CHERYL
                        Bad dog!

              BLAM BLAM BLAM BLAM

              INT. THE OVAL KENNEL OFFICE - NIGHT

              The BULLDOG PRESIDENT looks into camera.  He wears a solid
              gold collar with a gold TOP DOG name tag.

                                    BULLDOG PRESIDENT
                        My fellow Dogmericans.  I have
                        declared a state of emergency. The
                        country is under martial law. The
                        rebels are being very bad boys. Their
                        illegal uprising will be crushed and
                        they will be punished.

              DISTANT SHOTS and FRANTIC BARKING.

              The Bulldog President looks around, alarmed.

                                    BULLDOG PRESIDENT
                        Get me out of here, Judith.

              TITLE CARD:  NORMAL SERVICE WILL BE RESUMED AS SOON AS
              POSSIBLE

              CUT TO BLACK

              An electronic SQUEAL as the signal is cut off, and then:

                                    CHERYL (V.O.)
                        Rise up and take off your collars!
                        We will no longer be their pets!

              THE END


Mark Somers 09-09-2017 01:15 AM

Re: Entries - Dog Days of Summer
 
Code:


Jacob's Point  ( 1 of 2 )


              A young city boy befriends an old woman who helps him with a
              problem.

               

              EXT. URBAN BACKYARD - DAY

              JACOB YOUNG (10), a smallish African American boy, kneels on
              all fours, peers into a patch of overgrown weeds, then slowly
              draws back his right hand, takes aim.

              A shiny red and green GRASSHOPPER munching on a daisy flower.

              Jacob thrusts his hand deep into the tall greenery.

              EXT. BUNGALOW HOUSE - DAY

              Jacob's mom, TINA (mid 30s), climbs out of a rusted sedan,
              grocery bags slung over her thin arms, calls out.

                                    TINA
                        Jacob, come help with these groceries.

              EXT. URBAN BACKYARD - DAY

              Jacob retracts his clenched fist from the weeds, shouts.

                                    JACOB
                        Okay, just a minute.

                                    TINA (O.S.)
                        Un, uh.  Right now!

              INT. KITCHEN - EVENING

              Tina sets a pizza on a rickety folding table, takes a seat
              across from Jacob and his sister, SASHA (16).

              Sasha takes a bite of pizza, then suddenly stops chewing.
              She points at Jacob's chest, terror in her eyes.

                                    JACOB
                        What?

                                    SASHA
                        Your pocket... something's...

              Jacob looks down, reaches inside his t-shirt pocket, then
              pulls out the WRIGGLING GRASSHOPPER.

              Sasha screams, jumps from the table, runs from the room.

                                    SASHA
                        You're so weird!

              Tina gasps, recoils.

                                    TINA
                        Good Lord, Jacob!  Get that nasty
                        thing outta my house!

              MOMENTS LATER

              Jacob sits alone at the table, finishes off a slice of cold
              pizza.

              Tina pokes her head into the kitchen.

                                    TINA
                        Close your eyes.  No peeking.

              The lights go out.

                                    TINA (O.S.)
                              (singing))
                        Happy Birthday to you... Happy
                        Birthday to you...

              Tina sets a cake with ten burning candles in front of Jacob.

              As Jacob downs a big hunk of cake, Tina places a brightly
              wrapped GIFT in front of him.

                                    TINA
                        Sorry it's a little late.

              She pecks Jacob on the cheek.

                                    TINA
                        Happy Birthday, sweetheart.

              Jacob's eyes light up.

              VRREEEEM...VRREEEEM.

              EXT. FRONT YARD - AFTERNOON

              Jacob beams as he races his new REMOTE CONTROL MONSTER TRUCK
              along the sidewalk.

              Tina backs the sedan out of the driveway, rolls down the
              passenger window, calls out to Jacob.

                                    TINA
                        I want you two inside while I'm at
                        work.

              Jacob huffs.

                                    JACOB
                        Okay.

              He scoops up the truck and shuffles toward the house.

              INT. BEDROOM - MINUTES LATER

              Jacob pokes his head through the doorway, scans the hallway.

              EXT. BUNGALOW HOUSE - DAY

              Sasha removes her earbuds, yells from the porch.

                                    SASHA
                        Momma said to stay inside.

              Jacob circles his toy truck around a tree, ignoring his
              sister.

              Sasha stomps back into the house, slams the front door closed.

              MOMENTS LATER

              The monster truck zips across the sidewalk, then skids to a
              sudden stop.

              Jacob tenses, jaw clenched.

              A SHIRTLESS TEEN BOY (14), gold rope chain hanging from his
              neck, blocks the toy truck's path with his bicycle.

                                    SHIRTLESS TEEN BOY
                        Your fine sister home?

              A PUDGY TEEN BOY rolls up behind Shirtless Teen Boy.

                                    JACOB
                        I dunno.

              Shirtless Teen Boy picks up the truck.

                                    SHIRTLESS TEEN BOY
                        Pretty dope.  Can I try?

              Jacob shakes his head.

                                    SHIRTLESS TEEN BOY
                        C'mon, boy.

              Pudgy Teen Boy rolls up to Jacob, snatches the remote out of
              his hands.

                                    SHIRTLESS TEEN BOY
                        I be straight up witcha.

              Shirtless Teen Boy races the truck wildly across the yard.

              VRROOOM.

              An SUV speeds down the street toward us.

              With a devious glint in his eye, Shirtless Teen Boy cranks
              the remote control stick sharply.

              The toy truck cuts hard left, then careens down the driveway,
              on a collision course with the SUV.

              Jacob takes off, screams.

                                    JACOB
                        No!

              CRACK, CRUNCH.

              Jagged pieces of plastic and metal shoot across the pavement.

              The SUV screeches to a stop, then speeds away.

              Shirtless Teen Boy hops onto his bicycle, tosses the remote
              control at Jacob's feet, smirks.

                                    SHIRTLESS TEEN BOY
                        ****, man.  I ****ed up.  Sorry.

              With tears running down his cheeks, Jacob collects his
              flattened truck from the pavement.

              In the distance, the two teen hoodlums speed away, laughing.

              EXT. ALLEY - DAY

              Jacob dumps his demolished truck and the remote into a trash
              can, trudges back to the house.

                                    OLD WOMAN (O.S.)
                        Shameful.

              Jacob whips around, mouth agape.

              A frail ELDERLY WOMAN appears next to a garden gate leading
              to the neighboring yard.  Her white wiry hair cascades from
              under a wide-brimmed sun bonnet, brown skin deeply wrinkled.

                                    OLD WOMAN
                        You look like you seen a ghost, boy.

                                    JACOB
                        Uh, no... just that... they said you
                        never come out... that you-

                                    OLD WOMAN
                        You believe everything people says?

                                    JACOB
                        No.

                                    OLD WOMAN
                        Good, cuz you fill your head with
                        gossip, you won't have no room for
                        what matters.

              Old Woman heads back through the gate.

                                    OLD WOMAN
                        Whew, gotta get outta this hot sun.

              EXT. BACKYARD - DAY

              Jacob cautiously steps through the gate, peers into the old
              woman's yard.

              An OASIS of neatly tended flower beds.

                                    OLD WOMAN (O.S.)
                        Over here.

              Jacob joins Old Woman under the shade of a tree.

                                    OLD WOMAN
                        You know, in my day, a proper young
                        man introduced hisself to a lady.

                                    JACOB
                        Uh... I'm Jacob... Jacob Young.

                                    OLD WOMAN
                        Hello, Jacob Young.  I'm Mrs. Iris
                        Walters.

              IRIS gestures to a pitcher of lemonade on a patio table.

                                    IRIS
                        Help yourself.

              Jacob hesitates, stares at the lemonade pitcher.

                                    IRIS
                        I didn't poison him, Jacob.
                        Parkinson's came along and took him.

              She takes a deep breath, smiles, then points to the twisted
              tree branches above.

                                    IRIS
                        We planted this ole pear on our
                        wedding day... be fifty-two years
                        this September.

              Jacob holds a burlap sack, trails Iris as she inspects a
              stand of roses.

                                    IRIS
                        Them Sixth Street boys been bringin'
                        trouble around here all summer.

                                    JACOB
                        Yeah.

                                    IRIS
                        Most folks have good hearts, even if
                        they do somethin' bad.  But some,
                        like Terra Mae Brown...

              Iris plucks a wilted rose, tosses it into the sack.

                                    IRIS
                        ... they just rotten to the core.

              FLASHBACK

              EXT. FARMHOUSE - DAY

              TERRA MAE BROWN (18), blonde beauty, toting a steel bucket,
              sneaks onto the porch, nervously scans the surroundings,
              then opens the front door, steps inside.

                                    IRIS (V.O.)
                        When Terra Mae learned Aldon Jones
                        was fixing to ask me to the prom,
                        she done go crazy, vowed to get me.

              BEDROOM

              Terra Mae yanks a long frilly yellow dress from the closet,
              tosses it on the floor.

                                    IRIS (V.O.)
                        Mamma worked double shifts for a
                        whole year to get me that prom dress.

              Terra Mae tilts the bucket and pours slimy brown manure over
              the dress.

              BACK TO SCENE

              Jacob chugs a glass of lemonade.

                                    JACOB
                        What'd ya do?

              Iris points.

              A BUMBLEBEE lands on a tube-shaped HOLLYHOCK flower, then
              crawls inside.

                                    IRIS
                        Bees are humble souls.  Go about
                        their bizness, botherin' no one...
                        less'n you give 'em a reason, of
                        course.

              Iris pinches the flower closed, trapping the bee inside.

                                    JACOB
                        You're gonna get stung!

                                    IRIS
                        Only when she finds there ain't no
                        way out.

              The young boy and old woman lock eyes.

              SUPER:  ONE WEEK LATER

              EXT. URBAN STREET - DAY

              Backpack slung over his shoulders, Jacob pedals his bike to
              the street corner, gazes up at the sign: SIXTH STREET.

              In the distance, Shirtless Teen Boy and Pudgy Teen Boy loiter
              on the porch of an abandoned house, smoking pot.

              EXT. ABANDONED HOUSE - DAY

              Shirtless Teen Boy elbows Pudgy Teen Boy, points to the
              street.

                                    SHIRTLESS TEEN BOY
                        Ain't that truck boy?

              Jacob comes to a stop in front of the two punks.

                                    PUDGY TEEN BOY
                        Watcha doin' around here, boy?

                                    JACOB
                        Gotta question for ya.

                                    SHIRTLESS TEEN BOY
                        What's that?

                                    JACOB
                        What stinks worse than dog ****?

                                    SHIRTLESS TEEN BOY
                        What?  Man, I dunno?

                                    JACOB
                        Nothin', but you two losers come
                        real close.

              Shirtless Teen Boy and Pudgy Teen Boy leap from the porch.

                                    SHIRTLESS TEEN BOY
                        Get 'em!

              Jacob speeds away on his bike.

              Shirtless and Pudgy hop on their bikes, race after Jacob.



All times are GMT -6. The time now is 01:54 PM.

Powered by vBulletin Version 3.6.2
Copyright ©2000 - 2017, Jelsoft Enterprises Ltd.
Done Deal Pro