Entries - "Turning someone's world upside down" contest

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  • Entries - "Turning someone's world upside down" contest

    Here are the 7 entries:

    Red Dress
    The Moon and the Finger
    Something I Said
    The Forsaken
    Minus Two
    Death & Taxes
    Devil Inside

    You know how it works, read 'em and pick your 1st, 2nd and 3rd choices, then PM or email the titles to me, preferably in the format:

    1st - title 1
    2nd - title 2
    3rd - title 3

    Scribbling notes while you read could help you choose your favorites, and also give you something to feed back to the authors once the results get posted!

    What say we aim for next Sunday 22nd to get the votes in. If all entrants vote before then, I'll post the results early.

    Have fun!

    If you don't like the code boxes, which preserve formatting, then select Thread Tools > Show Printable Version

    The discussion thread is here and the results thread is here.
    Last edited by dpaterso; 04-22-2018, 04:18 AM. Reason: thread links

  • #2
    Re: Entries - "Turning someone's world upside down" contest

    Code:
    Red Dress
    
    INT. RESTAURANT - MEN'S BATHROOM - NIGHT
    
    NICK, early 20's, elegantly dressed, knocks on the toilet
    door.
    
                          NICK
              You okay?
    
    Someone throws up inside, then water flushes, and the door
    opens.
    
    Appears TOM, same age, tie undone, shirt unbuttoned,
    breathing heavily.
    
                        NICK (CONT'D)
              Stay away from lobster. Told ya.
    
    Tom washes his face, checks in the mirror, then just
    collapses on the floor.
    
                        TOM
              I can't do it. I just can't.
    
                          NICK
              Do what?
    
                        TOM
              I... I don't love her. She's... so
              boring, so...
    
    Nick kneels down by his friend.
    
                        NICK
              She's a nice girl... She's a nice,
              RICH girl. Think of your career.
              You start at the top, right away.
                        TOM
              At the top? I'm a designed blame
              taker, Nick!
    
                        NICK
              You rather drive trucks for 14
              hours a day, like your father?
    
    Nick gets up.
    
                        NICK (CONT'D)
              What do you want?
    
    Tom gets up too, his eyes light up.
    
                        TOM
              I want more. Now. I want to build
              something from scratches. I... I
              want to spend my life with someone
              who out smarts me, out drinks me,
              out... everything. I want her to...
              to wear a red dress and high heels
              like she means it. I want...
    
                         NICK
                  (over)
              And where do you find the girl like
              that?
    
    On this, the door opens and enters a young WOMAN, wearing red
    dress and high heels. She's classy, gorgeous, divine.
    
    She grabs Nick's arm and pulls him to block the door.
    
    She gives her purse to Tom.
    
                        WOMAN
              I'm not waiting in line, I have to
              go now.
    
    She gets in the toilet. Guys look at each other.
    
                        TOM
                  (whispering)
              Is she real?
    
    Nick slaps him.
    
                        TOM (CONT'D)
                  (massing his cheek)
              She is!
    
    She flushes and gets out, takes her purse from Tom.
    
    She washes her hands, and check the guys in the mirror.
    
                        WOMAN
              What is it, guys? Let me guess.
    
    She turns around, takes a towel to dry her hands.
    
                        WOMAN (CONT'D)
              A pre-nup dinner with future in-
              laws, huh? And the groom is having
              second thoughts about the whole
              thing? And who's the groom?
    
    She gets closer to Tom, who just stares at her, mouth open.
    
                        WOMAN (CONT'D)
              You're so sweet. Follow your heart,
              and... close your...
    
    He shuts his mouth.
    
                          WOMAN (CONT'D)
              Fly!
    
    And she's out.
    
    Tom looks down, zips up his fly.
    
    He opens the door, but hesitates a second.
    
    Nick approaches and shots the door, then grabs Tom by his
    vest.
    
                        NICK
              Whatever I do, whatever I say, keep
              your mouth shut!
    
    Tom processes it for a moment.
    
                        TOM
              You scare me.
    
    Nick pushes him outside.
    
                        NICK
              Good! I'll be right there.
    
    
    INT. RESTAURANT - NIGHT
    
    Tom arrives at the table in a fancy restaurant.
    SUSAN, early 20's, is a pale, thin, boring girl, not even
    trying to be attractive. Her hair covers her face almost
    completely.
    
    LIZ, 50, her mom, is sipping her wine, already drunk. She's
    rich, and likes to show it.
    
    Tom sits down, and looks around. He spots the girl in red
    dress at the table a little further. She's with another girl,
    they both drink and laugh.
    
                        SUSAN
              Someone you know?
    
    Tom takes a moment to answer.
    
                           TOM
                 No, it's just. Nick wasn't well.
    
    On this, Nick arrives, falls hard on his chair, knocks out
    one of the bottles of wine, spills it all around.
    
    Nick's nose is covered with white powder. Liz focuses on it.
    
                           NICK
                 What?
    
    He wipes his nose, then puts his fingers in the mouth, rubs
    the powder in his gums.
    
                           NICK (CONT'D)
                 You should try it. It'll take the
                 broomstick out of your ass.
    
    She chokes on her wine.
    
                           NICK (CONT'D)
                 The boss is not here yet?
    
    A moment of silence, Liz wipes her mouth, Tom is just
    catatonic, eyes locked on his friend.
    
                           SUSAN
                     (whispering)
                 He called. He's in meeting... A
                 very important meeting.
    
                           NICK
                 A meeting? On Saturday evening? I
                 think we all know what kind of
                 meeting is that!
    
    He laughs.
    
    Liz freezes.
    
                           LIZ
                 What do you mean?
    
    Nick rolls his eyes.
    
                           NICK
                 I mean nothing.
    
    Liz freezes again.
    
                           NICK (CONT'D)
                 Well, he's either doing some shady
                 business with Italians, or banging
                 a hot chick - it's your guess.
    
    He bends to Tom.
    
                        NICK (CONT'D)
              Correct me if I'm wrong, he's not
              doing any business with Italians,
              did he?
    
    Tom just wants to disappear. Liz's stare is burning him.
    
                        NICK (CONT'D)
              I admire you: such a open minded
              couple. Maybe that's the secret.
              Watch and learn, Tom - watch and
              learn.
    
    She takes a long sip of wine, gets up, picks up her stuff.
    
                        NICK (CONT'D)
              Going for the ride? A long, long
              ride home with this young and
              muscular chauffeur of yours?
    
                        LIZ
              You little prick!
    
                        NICK
              Where's the insult there: in little
              or in prick?
    
                        SUSAN
              Mom, what is he talking about?
    
    Liz rolls her eyes.
    
                        LIZ
              You are such a baby! Come on, let's
              go!
    
    She bends over the table and spits it in Tom's face.
    
                        LIZ (CONT'D)
              I make sure you never trade a
              ****ing dollar in your life! Both
              of you!
    
    She grabs Susan and drags her with her.
    
    Boys look at each other, Nick amused, Tom horrified.
    
    Susan runs back, stands there for a beat, not sure what to
    do, then takes a glass of water and pours it on Tom's head.
    
                        SUSAN
              So, I'm boring? Is it boring?
    
    She takes another glass.
    
                        SUSAN (CONT'D)
              Am I still boring now?
    
    Another glass.
    
                        SUSAN (CONT'D)
              And this? Still boring?
    
    People around stopped eating and stare at them.
    
                        NICK
                  (grabbing her hand)
              Yeah, it is boring. You made your
              statement after the first glass.
    
    She starts weeping, no reaction from Tom, who keeps his head
    down.
    
    Nick gets up and looks straight in her eyes.
    
                        NICK (CONT'D)
              You're always drawing clothes:
              dresses, shoes... you're good at
              it. You gonna be a lousy lawyer,
              believe me. A very unhappy lawyer.
              And don't fall for the first guy
              that smile at you, maybe he's just
              being polite.
    
    She calms down, dries her eyes. She picks up her hair, pulls
    it up, revealing her face. She looks at Tom.
    
                        SUSAN
              You don't deserve a friend like
              him. You don't deserve me either.
    
    And she turns around and walks out slowly.
    
                        NICK
              She's kind of... hot now.
    
                        TOM
              What just happened? What have you
              done? Is it... this bloody cocaine
              you snorted?
    
                        NICK
                  (interrupting)
              It's sugar, you idiot!
    
    He gets up.
    
                          NICK (CONT'D)
                I need something strong to drink.
                Being an ******* is harder than I
                thought. You know where to find me.
    
    He bends to Tom.
    
                          NICK (CONT'D)
                And you're welcome, buddy! You can
                build now your empire from
                scratches. And go get the girl,
                she's smiling at you.
    
    Indeed, Tom catches the woman in red dress lifting her glass
    and smiling at him, then chatting with her friend.
    
    Waiter arrives, puts the check on the table.
    
    Tom pulls out his credit card, drops it on the table.
    
    He wipes his face, pours wine in two glasses and gets up.
    
    He freezes at the sight of the woman in red kissing
    passionately her companion.
    
    The waiter taps Tom's shoulder.
    
                          WAITER
                Sir, your card is refused.
    
    FADE OUT.

    Comment


    • #3
      Re: Entries - "Turning someone's world upside down" contest

      Code:
      The Moon and the Finger
      
      INT. RUDY'S FLAT - BEDROOM - DAY
      
      CU on the alarm clock, showing 6:59 am. We stay on it for a
      moment, anticipating the change, but before it happens a hand
      hits the snooze button.
      
      
      INT. RUDY'S FLAT - BEDROOM ROOM - DAY
      
      RUDY, mid 20's, short hair, clean and boring, folds carefully
      his pajamas. His phone rings.
      
      POV Rudy.
      
      PHONE'S SCREEN
      
      Message from: Mom
      
      Message: Remember, keep your eye on the Moon, not the finger
      pointing to it.
      
      End POV Rudy.
      
      
      INT. RUDY'S FLAT - HALLWAY - DAY
      
      He checks himself in the mirror, adjusts the col of his
      shirt. He remarks a spot on the upper left corner of the
      otherwise perfectly clean mirror - he hesitates a second,
      then...
      
                            RUDY
                      (looking directly at his
                       reflection in the mirror)
                  No, it is not important.
      
      He grabs the keys from the jar on the table and he's out.
      
      We hear him running down few steps, then stop, and running
      back.
      
      The door opens, he runs in and cleans frantically the spot
      until it's gone. Then he's out again.
      
      
      INT. COFFEE SHOP - DAY
      
      Rudy extends his arm to open the door, but it opens
      automatically and he literally dives inside, falling on his
      knees.
      
      He gets up quickly, looks around, but except for a BARISTA,
      there is nobody there.
      
      He approaches the counter.
      
                          BARISTA
                Khrat-vrout!
      
      A moment of consternation, Rudy looks around, notices the
      decor of the place, some science-fiction non-sense.
      
                          BARISTA (CONT'D)
                It's... how can I help you today,
                sir?
      
                          RUDY
                What happened?
      
                          BARISTA
                We redecorated. We change
                administration. We change owner.
      
                             RUDY
                Overnight?
      
      The guy lifts his arms: two pairs of fake arms are attached
      to his back, and they rise all together - he's like a statue
      of Hindu Goddess.
      
      He points the logo behind him.
      
                          BARISTA
                As it says: Nothing's impossible
                with six arms!
      
      And the logo shows indeed a six arms alien, serving six
      customers at the time.
      
                          BARISTA (CONT'D)
                So, what can I get you?
      
      Rudy checks the menu above the counter: it is complicated!
      
                          BARISTA (CONT'D)
                Let me help with that: we have the
                Krookan delice, the fountain of
                Zoorhan, the Ghebar of taste, scent
                of Floodel, Tcheegan supreme...
      
                          RUDY
                I just want a regular coffee and
                I'm good.
      
                          BARISTA
                Okay, Khrakkam mrubb it is.
      
      The guy operates a huge machine then puts the paper cup in
      front of Rudy, turns around to grab the napkin and knocks the
      cup with one of his 4 fake arms, spilling the content all
      over Rudy's shirt.
      
                          BARISTA (CONT'D)
                    (while cleaning the mess)
                So, so sorry! I'm still on
                training! I'm clumsy with my own
                two arms, imagine with that!
      
      He points his fake arms with his head.
      
                          BARISTA (CONT'D)
                Looks easier than it is.
      
      He quickly prepares another cup.
      
      Rudy takes it, then hands his card to the clerk.
      
      
      EXT. OUTSIDE THE COFFEE SHOP - STREET - DAY
      
      He tastes his beverage - it's disgusting.
      
      He looks for a garbage can, finds one and opens it.
      
                          RUDY
                This is the worst...
      
      He checks the cup.
      
                          RUDY (CONT'D)
                ... Khrakkan mrubb ever.
      
      And he throws it in the can.
      His eyes are captivated by the poster on bus shelter: the
      same Goddess as in the coffee shop, with the slogan below:
      
      We are coming!
      
      
      INT. OFFICE - DAY
      
      Rudy enters the office, and freezes instantly: all
      conversations around stop, all eyes are on him.
      
      He mumbles a general Good morning around, and heads for his
      desk, barely daring to keep his head high.
      
      A tap on his shoulder, he turns and receives a big, fat, loud
      slap on his cheek.
      
      A YOUNG WOMAN, weeping and out of breath, grabs his shirt and
      shakes him back and forth.
      
                          YOUNG WOMAN
                I'm three weeks late, you *******!
      
      And she runs away.
      
      Rudy masses his cheek, looks around.
      
      Another tap on his shoulder, he turns around and receives the
      most theatrical, dramatic, over the top slap on other cheek
      from a very GAY MAN.
      
                          GAY MAN
                You... you...
      
      But words are stuck in his throat. He too runs away.
      
      Rudy masses his other cheek now.
      
                          RUDY
                What is it? Some kind of a joke?
      
      Another tap on his shoulder. Rudy ducks, protecting his face
      with his arm.
      
                          BOSS
                My office. Now!
      
      
      INT. BOSS' OFFICE - DAY
      
      A huge pile of files hits the desk.
      
                          BOSS
                Your drinking problem made us lose
                all those customers! I can't no
                longer pull up with it - you're
                fired!!!
      
      And he pushes Rudy through the door.
      
                          RUDY
                I don't drink.
      
                          BOSS
                Yeah, and that's the problem!
      
      
      INT. BOSS' SECRETARY OFFICE - DAY
      
      He just stands there, immobile.
      
      The SECRETARY, chubby woman in her mid 40's, stares at him,
      then her eyes get wide.
      
                          SECRETARY
                Oh my God, you are bleeding!
      
      Rudy puts his hand over his nose.
      
      The secretary's eyes get even wider.
      
                          SECRETARY (CONT'D)
                Oh my Goooood! Why is it green?!
      
      Rudy looks at his hand.
      
      
      INT. OFFICE'S WASHROOM - DAY
      
      Rudy checks the mirror: green blood drops from his nose.
      
      
      INT. MOM'S HOUSE - LIVING ROOM - DAY
      
      Rudy enters, holding a tissue under his nose.
      
                          RUDY
                Mom?
      
                          MOM
                    (vo)
                I'll be right there!
      
      Rudy looks around. Something catches his eye, he slowly walks
      to the corner of the room, where a small desk sits.
      
      Above it, the painting of a six armed Hindu Goddess.
      On the computer screen, the sleep page is the poster for X-
      files: The truth is out there.
      
      
      INT. MOM'S HOUSE - BATHROOM - DAY
      
      A steamy shower glass door. Someone's in it, the water is
      running, then stops.
      
      The door slides open, a hand - not a human hand, but
      reptilian, grabs the towel.
      
      Rudy's MOM gets out of the shower. Her skin is covered with
      scales, she has cat's eyes. She dries herself and walks to
      the door. With every step, her appearance changes: she
      becomes a beautiful woman in her early 40's.
      
      
      INT. MOM'S HOUSE - LIVING ROOM - DAY
      
      When she appears to Rudy, she's fully human. She sits on the
      couch, Rudy joins her.
      
      He shows her the tissue, stained with his green blood.
      
                            RUDY
                  Mom, what is it? What's wrong with
                  me?
      
      She smiles.
      
      She spots his stained shirt, touches it, then smells her
      fingers.
      
                            MOM
                  Khrakkan mrubb! How did you like
                  it?
      
                            RUDY
                  How do you know what it is?
      
      She takes him in her arms.
      
                            MOM
                  It's been a rough day, isn't it?
      
      She closes her eyes, still holding her son tight. When she
      opens them, they're cat's eyes.
      
                            MOM (CONT'D)
                  There's something you need to learn
                  about us. You are ready now.
      
      FADE OUT.

      Comment


      • #4
        Re: Entries - "Turning someone's world upside down" contest

        Code:
        Something I Said
        
        FADE IN:                                           (PRESENT DAY)
        
        
        INT. BEDROOM - DAY
        
        A suitcase flops open on an unmade bed as SALLY (twenties)
        rummages through a dresser drawer.
        
        MARK (twenties), scruffy beard, dressed for a Walmart trip,
        stands in the doorway, fidgets.
        
                             MARK
                   I don't understand.
        
        Sally pulls a blouse out of the drawer, holds it up.
        
                             SALLY
                   This is cute. I forgot I had it.
        
                             MARK
                   Can we talk about this?
        
                             SALLY
                   Nope.
        
        Mark stares at the floor, unsure. Sally grabs panties from a
        drawer, frowns.
        
                             SALLY (CONT'D)
                   I should have thrown these out a
                   long time ago. You only wear one a
                   day.
        
        Sally turns to Mark.
        
                             SALLY (CONT'D)
                   Or for some people, one a week.
        
                             MARK
                   I don't understand what's going on.
        
                              SALLY
                   There's nothing to understand. I'm
                   moving on.
        
        Mark takes a spot on the edge of the bed.
        
                             MARK
                   We've been together three years.
                   You can't just leave.
        
        Sally pushes socks into the suitcase.
        
                              SALLY
                  Watch me.
        
                            MARK
                  If there's something I did...
        
        Sally lifts the lid of a jewelry box, picks out a ring,
        examines it, tosses it back.
        
                            MARK (CONT'D)
                  Mom gave that to you.
        
                            SALLY
                  It's all yours now.
        
                            MARK
                  You said you liked it.
        
                            SALLY
                  Playing the game. I never was into
                  that old lady purple thing.
        
        Mark stands, steps toward Sally, reaches out. Sally steps
        back.
        
                            SALLY (CONT'D)
                  Don't you touch me. Back off.
        
        Mark retreats to the edge of the bed.
        
                            SALLY (CONT'D)
                  I've been doing things for
                  everybody else too long. Now it's
                  going to be Sally time.
        
                            MARK
                  You found somebody else.
        
        Sally turns.
        
                            SALLY
                  If you want to think that, fine.
                  Whatever makes you happy.
        
                            MARK
                  What about kids, getting married?
        
                             SALLY
                  Changed my mind. I didn't
                  appreciate your niece barfing on me
                  last week.
        
                            MARK
                  Sally, she's three months old.
        
                            SALLY
                  Barf is barf.
        
        Sally hesitates, turns to her purse, pulls out keys.
        
                            SALLY (CONT'D)
                  Before I forget, here's my key.
        
                            MARK
                  Maybe you should keep that, just--
        
                            SALLY
                  --You don't get it, do you? I'm
                  not coming back, begging for
                  another chance. I'm tired of
                  taking an elevator to the fifth
                  floor when I get home, tired of
                  living in this apartment. I'm
                  tired of dealing with your friends.
        
        Sally tosses the key onto the bed.
        
                            MARK
                  What am I supposed to do?
        
                            SALLY
                  Whatever you want. Invite Bobby
                  over and play video games all
                  night.
        
                            MARK
                  I don't want to play video games.
        
                             SALLY
                  I know what you can do. Play those
                  phone pranks you and Bobby find so
                  hilarious.
        
                            MARK
                  We never hurt anybody.
        
                            SALLY
                  It just goes to show how stupid
                  people can be.
        
        Mark stands.
        
                            MARK
                  Can't we talk about this? It must
                  be something I said.
        
                            SALLY
                  It's nothing you said. Can't you
                  get it through your head? I'm
                  wasting my life here. You're
                  just a stick in the mud.
        
                            MARK
                  I thought we had a good thing.
                  Guess I was wrong.
        
        Sally closes her suitcase, rolls it toward the bedroom door.
        
                            MARK (CONT'D)
                  Can I help--
        
                            SALLY
                  --Out of my way.
        
                            MARK
                  I wish you would tell me what I
                  did.
        
                              SALLY
                  Back off.
        
        
        INT. HALLWAY OUTSIDE OF APARTMENT - DAY
        
        Mark stands in the apartment doorway as Sally rolls her
        suitcase toward the elevator. Sally stops, turns to Mark.
        
                            SALLY
                  I really hope things go well with
                  you. I really do. But someday
                  you're going to have to grow up.
        
        Sally turns to the elevator, pushes the button.
        
        Mark's voice changes.
        
                            MARK
                  This is Ward Stimson of Stimson
                  Law. Reaching out again to Sally
                  Shepherd.
        
        Sally pivots her head to Mark.
        
                              SALLY
                  Huh?
        
                            MARK
                  Ms. Shepherd, I regret to inform
                  you that your estranged uncle
                  actually has not died, and
                  furthermore he has not left you
                  three million dollars. Good day,
                  ma'am.
        
        The apartment door SLAMS, deadbolt CLICKS.
        
                                                     FADE OUT

        Comment


        • #5
          Re: Entries - "Turning someone's world upside down" contest

          Code:
          The Forsaken
          
          INT. BATHROOM -- MORNING
          
          A dim light bulb hangs from an exposed wire. Crumbling walls,
          water dripping from the ceiling, skittering roaches along the
          baseboard.
          
          APRIL, early 20s, pretty, in a threadbare brown uniform,
          stares at the reflection of her clear brown eyes in the
          broken mirror. She squares her shoulders, grimaces and speaks
          to her reflection.
          
                               APRIL
                         (mechanically)
                     Pride is my enemy. Pride is my
                     weakness. Pride is my curse.
          
          She pulls her hair into a severe bun. Forces herself to
          concentrate. Whispers.
          
                               APRIL
                     Though forsaken, I am humble. Though
                     forsaken, I obey. Though, forsaken,
                     I die well.
                         (momentary pause)
                     Happiness is an allusion. Destiny is
                     my deserved darkness. Misery is my
                     justified reward.
          
          She tenses, bites her lower lip. Intensely intones.
          
                               APRIL
                     HELP me believe. HELP me to be truly
                     humiliated. HELP me to accept
                     misery. HELP me not to hope.
                         (sighs)
                     Hope is useless.
          
          EXT. UNDERGROUND CITY STREET -- MORNING
          
          Dim, grimy streets. Mud. Dripping water. Flickering lights
          and flashing electrical wires. MEN and WOMEN staring at their
          feet as they slowly and silently make their way to work.
          
          They pass the moldy walls of a large, decrepit cafe. Its
          flickering neon sign, half burned out, flashes its name -- THE
          FORSAKEN.
          
          Along the walls, JOHN, 40s, long, greasy hair, in rags, sits
          and stares up at April as she hurries up the sidewalk.
          
          In his eyes, pleading.
          
          April stops, surreptitiously stares up and down the street.
          
                             APRIL
                   Just this once more.
          
                              JOHN
                       (whispering)
                   Thank you.
          
                             APRIL
                   Just wait --
          
                              JOHN
                   -- there's always hope.
          
          April looks anxiously around.
          
                             APRIL
                   You can't say that. Dangerous.
          
                             JOHN
                       (slight smile)
                   There is, you know.
          
                             APRIL
                       (guarded smile)
                   Maybe.
          
          INT. THE FORSAKEN -- DAY
          
          Stained walls. Dirty windows. Mud on the floor. Shuffling and
          murmuring CUSTOMERS sitting at the tables and booths.
          
          April is rushing, carrying several plates on her arms,
          gliding as she maneuvers gracefully between the tables.
          
          She riles the customers with her quick and "unseemly"
          movements. Several murmur to one another.
          
          A LARGE MAN stands. His voice booms.
          
                             LARGE MAN
                   Slow down, miss. Your efficiency
                   will make you proud and haughty.
          
          April slows, shuffles to his table.
          
                             APRIL
                       (sing song cadence)
                   Forgive me. Pride is my enemy. Pride
                   is my weakness. Pride is my curse.
          
                             LARGE MAN
                       (by rote)
                   Misery is our justified reward.
          
          He nods. Satisfied with the response.
          
          She bows her head to him, continues to the next table, now
          purposely slow and deliberate.
          
          INT. BREAK ROOM -- LATER
          
          April, barely visible in the gloom, is sitting alone at a
          rickety table, picking over a customer's plate of leftovers.
          
          She's whispering her affirmations.
          
                             APRIL
                   Pride is my enemy. Pride is ...
          
          She trails off as a large rat emerges from a hole. Its
          whiskers are twitching as it sniffs April's food.
          
          April smiles, beaming.
          
                             APRIL
                   Festus. Come. Eat. A feast. I
                   thought you had left us.
          
          Festus allows April to stroke his back as he chews on the
          leftovers.
          
          April laughs out loud at him, forgetting herself.
          
          Behind her, MABEL, the dour and elderly owner of the cafe has
          crept in. She silently watches April preening the rat. She
          smiles, but she's not beaming.
          
          The rat jumps, scurries back into his hole. April turns, sees
          Mabel, gasps ... then droops. She stares at the floor.
          
                             APRIL
                   I'm so sorry. So sorry. Misery is my
                   justified reward. I --
          
                              MABEL
                   -- Will receive your justified
                   reward. You will be reported to the
                   DOWNSIDERS.
          
                             APRIL
                   Please. Not again. Last time they
                   ... Please --
          
                              MABEL
                   -- Don't "please" me, Missy. I saw
                   that smile. I heard that laugh. Who
                   are you, of all people, to flaunt
                   the rules? A snot-nosed nothing!
                   That's who.
          
                             APRIL
                   I'm honestly trying to not to hope
                   ... I can't ... I --
          
                              MABEL
                   -- I DON'T care. Now have the decency
                   to shut up. You CAN do that, can't
                   you?
          
          EXT. POLICE STATION -- LATER
          
          A big CONCRETE BUILDING, brightly illuminated with
          non-flickering lights. POLICE OFFICERS in neat, clean
          uniforms, sternly glare, as they survey the riff-raff
          trudging along the city's grimy streets.
          
          April, her head down, is herded up the stairs and through the
          glass doors by a huge OFFICER.
          
          INT. POLICE STATION -- CONTINUOUS
          
          The Officer and April stand, waiting for an elevator.
          
                             APRIL
                   Down?
          
                             OFFICER
                       (scoffing)
                   Hopelessness is not too difficult to
                   muster now, is it?
          
          INT. HALL OF PUNISHMENT -- LATER
          
          Marble floor. Comfortable lighting. Green plants and water
          fountains burbling in the background.
          
          April and the Officer stand in front of the BENCH where
          CALVIN, 50s, obese, dressed in a huge, gold embroidered robe,
          ogles at April.
          
                             CALVIN
                   So, officer, she's here because she
                   laughed at a rat?
          
                             OFFICER
                   This is not her first offense.
          
                             CALVIN
                   For laughing at a rat you're asking
                   that she be OUTSIDED?
          
          April's face is turned to the floor, as she shifts nervously
          on her feet and wrings her hands.
          
                             OFFICER
                   There's more, but we don't wish to
                   compromise our informant.
          
                             CALVIN
                       (leering at April)
                   I'm sure there are "other" ...
                   options.
          
                             OFFICER
                   Will you force my hand?
          
          Calvin ignores the Officer. Stares at April.
          
                             CALVIN
                   As I was saying, there are, perhaps,
                   other "punishments" on the table.
                   Don't you think so, officer?
          
          The Officer turns, signals to someone outside the door.
          
          A TALL MAN with a scraggly beard, hair neatly combed,
          casually dressed, strides up to the bench.
          
                             OFFICER
                   This is our informant. It is his job
                   to root out dangerous criminals,
                   like this girl, and inform of us of
                   their crimes.
          
          Calvin scoffs.
          
                             CALVIN
                   So HE'S the one who saw her laughing
                   at the rat?
          
                             OFFICER
                   No, he's the one who heard this girl
                   encourage sedition.
                       (pause)
                   Several times.
          
                             CALVIN
                   Sedition? Please. Her?
          
          April is still staring at the floor, but she looks up, sees
          the MAN, recognizes him.
          
                             APRIL
                   John?
          
                             TALL MAN
                   That's not my name.
          
                             APRIL
                   Are you okay? Did I do something to
                   get you in trouble?
          
                             OFFICER
                   "John" as he's called Upside,
                   pretends to be a beggar, to find
                   those who would betray their
                   assigned positions to "help" him.
          
                             APRIL
                       (looking at "John")
                   You?
          
                             OFFICER
                   This criminal has, on several
                   occasions, approached "John" and
                   offered him food and words of
                   encouragement.
          
                             CALVIN
                   And these are offenses that will
                   lead to her being OUTSIDED?
          
                             OFFICER
                   Alone, they are serious offenses,
                   especially when repeated, but they
                   are not sedition.
          
          Calvin brightens, rubs his pudgy hands.
          
                             CALVIN
                   So, other "options" are still on the
                   table?
          
          The Officer clears his throat, deepens his voice for dramatic
          effect.
          
                             OFFICER
                   On several occasions, the criminal
                   has encouraged "John" with these
                   words, "there's always hope."
          
          Calvin blanches.
          
                             CALVIN
                   SURELY he misunderstood. Were these
                   words recorded? And if so, why have
                   waited so long to arrest this girl?
          
                             OFFICER
                   We were waiting to see if she had
                   accomplices ... Unfortunately the
                   recordings have been lost.
          
                             CALVIN
                   No proof, then?
          
                             OFFICER
                   She IS guilty!
          
          April clears her throat. Speaks quietly.
          
                             APRIL
                   I didn't disagree with him, sir. I
                   felt so sorry for him, cold --
          
                              CALVIN
                   -- You told him "there's always
                   hope?"
          
          April shifts nervously.
          
                             APRIL
                   I didn't disagree, I'm trying to
                   overcome my doubt, but --
          
                              CALVIN
                   -- SHUT UP! Take her away, Officer.
                   She's obviously guilty. And stupid.
          
          INT. UPWARDS TUNNEL -- DAY
          
          TWO EXECUTIONEERS in PROTECTIVE SUITS AND MASKS, lead April
          up towards the dim light at the top of the tunnel. They
          roughly push her when she slips on the mud.
          
                             EXECUTIONER ONE
                       (muffled through mask)
                   Move, crazy b**. Supper's waiting.
                   You're keeping me from it.
          
          April is shaking, cold and scared.
          
                             EXECUTIONER TWO
                   "Always hope," eh?
          
          They laugh.
          
                             EXECUTIONER TWO
                   I don't think so.
          
          EXT. OUTSIDE -- MINUTES LATER
          
          They've arrived. Dark clouds. A wasteland of dirt and rock,
          mounds of stones where buildings once stood. No plants, no
          trees, just a persistent whistling, cold wind.
          
          A STEEL STAKE, driven into the ground. The Executioners chain
          April to it. She's shivering uncontrollably.
          
                             EXECUTIONER ONE
                   Here's to "hope."
          
          April stares through his mask into his eyes, tears rolling
          down her cheeks.
          
          As they turn back to the tunnel.
          
                             APRIL
                   There IS hope.
          
          She laughs, almost giddy.
          
          Executioner One turns on his heels and slams his gloved fist
          into her mouth, knocking out teeth and causing the blood to
          flow.
          
                             EXECUTIONER ONE
                   Now you can "hope" you bleed to
                   death before you freeze to death.
          
          They laugh and leave.
          
          EXT. OUTSIDE -- NIGHT
          
          Pure darkness. April is barely hanging on. Suddenly A BEAM OF
          LIGHT illuminates her. The wind calms. A BUTTERFLY, one wing
          white, one wing blue flutters slowly down.
          
          April smiles when it lands on her nose.
          
          And then she is GONE. Two butterflies flutter upwards.
          
          EXT. OUTSIDE -- DAY
          
          The two Executioners stare at the empty chains. Two tulips
          are growing beside the stake, one blue, one white. They try
          to pull them up but they won't budge.
          
          EXT. OUTSIDE -- CENTURIES LATER
          
          Bright sun. Flowering prairie grass as far as the eye can
          see. Trees in the distance. Thousands and thousands of blue
          and white butterflies fluttering above the grass.
          
          Over the hill, the laughter of CHILDREN as they play. They
          appear from over the mound, find a red and white tulip, try
          to pull them out of the ground...

          Comment


          • #6
            Re: Entries - "Turning someone's world upside down" contest

            Code:
            Minus Two
            
            Fade In
            
            EXT. PARKING LOT - DAY
            
            A wannabe sports car pulls into a parking lot at breakneck
            speed and squeals into a handicap spot.
            
            The driver door opens and Lydia (22) slides out. She's
            attractive and dressed for the bar.
            
                                  LYDIA
                        It's like I told you. I saw a
                        commercial... and now it's my turn
                        to give back.
            
            The passenger door flies open and Cindy (28) charges out.
            Full figured and ready to rumble. She's affectionately known
            as Sin Sin.
            
                                  SIN SIN
                        You're breaking my heart. Mom is
                        going to freak the F out.
            
            Sin Sin stops to check her phone.
            
                                  LYDIA
                        I'm the only one that works and
                        pays the bills, I'll get another
                        one if I want.
            
            They walk towards a building with ANIMAL SHELTER written over
            the door.
            
            
            INT. ANIMAL SHELTER - RECEPTION - CONTINUOUS
            
            A small reception area. A bell sits alone on top of the
            counter. Sin Sin hits it hard and often until a small, thin
            MAN appears.
            
                                  MAN
                        Hi, I'm Mike, how can I help you?
            
            Mike can't take his eyes off Sin Sin. She ignores him and
            checks her phone.
            
                                  LYDIA
                        I saw your commercial on TV and I
                        am ready to adopt.
            
                                MIKE
                      Right on. Dog or cat?
            
                                SIN SIN
                      Who the hell wants a cat? Only
                      losers and singles, that's who.
            
                                MIKE
                      I have a cat.
            
                                 SIN SIN
                      Awkward.
            
                                LYDIA
                      Don't worry about her. She has no
                      friends and we only keep her around
                      because there might be a disaster
                      and we'll need food.
            
            Sin Sin goes back to her phone.
            
                                LYDIA (CONT'D)
                      I'm looking for a dog, I already
                      have a big, chubby, beautiful guy
                      and he needs a brother.
            
            Mike grabs a round key chain and walks to a huge metal door
            and starts to unlock... and unlock... and unlock.
            
                                SIN SIN
                      Ladies and gentlemen, welcome to
                      Jurassic Park.
            
                                LYDIA
                      I want a SMALL dog.
            
            Mike slowly pulls the door open... walks in and gestures for
            them to follow.
            
            
            INT. KENNEL - CONTINUOUS
            
            Dimly lit. Dog pens line the narrow walls. Nothing is moving.
            
                                 SIN SIN
                      Scared.
            
            A dog barks and Sin Sin jumps, she almost drops her phone.
            
                                MIKE
                      Haha, and I'm the loser.
            
            Mike turns on the lights. Most of the pens are empty.
            
                                MIKE (CONT'D)
                      That commercial has been gold for
                      us. We almost have no inventory.
            
            Mike and Sin Sin move towards a pen. Lydia continues on her
            own.
            
                                MIKE (CONT'D)
                      We only have this really scary guy
                      here. We call him Rollo.
            
            A fat DOG covered in rolls lies on the floor.
            
                                FAT DOG
                      Woooof.
            
                                MIKE
                      And...
            
                                LYDIA (O.S.)
                      Oh my god, I'll take him.
            
            Lydia stares into a pen at the end of the kennel. A light
            from above shines directly into it.
            
                                MIKE (O.S.)
                      And that little guy. We call him
                      Humpty Pumpty.
            
            Sin Sin walks to the pen.
            
                                SIN SIN
                      Eww, it's hideous. What the hell is
                      that?
            
                                MIKE
                      That's the most... interesting dog
                      in the world.
            
            The DOG sits in the pen. The light shines bright. A face only
            a blind person could love. Eyes go in different directions.
            It's a Chihuahua, and this Chihuahua speaks English with a
            high pitched voice.
            
                                DOG
                      Hola ladies. Looking for some
                      company?
            
            Sin Sin moves in closer for a better look.
            
                                SIN SIN
                      Where's he looking? Those eyes are
                      crazy. Are they ping pong balls?
            
                                LYDIA
                      This little guy needs some love.
            
            Lydia reaches into the pen, picks the dog up and gives him a
            cuddle.
            
                                LYDIA (CONT'D)
                      I'll call you Snoops. Let's go
                      home.
            
            
            INT. RECEPTION - MOMENTS LATER
            
            Lydia signs some papers, Snoops and Mike stare at Sin Sin.
            Sin Sin stares at her phone.
            
                                MIKE
                      All right, that just about does it.
                      He's had all his shots and the vet
                      checked him over. That's all we do.
            
            Mike reaches under the counter, pulls out a card and passes
            it to Lydia.
            
                                MIKE (CONT'D)
                      You might need this.
            
            
            EXT. PARKING LOT - MOMENTS LATER
            
            They walk towards their car. Lydia holds Snoops like an
            accessory.
            
                                SIN SIN
                      Put him in the glove compartment.
            
                                LYDIA
                      He'll sit on your lap or I'll put
                      you in the trunk.
            
            INT. CAR - CONTINUOUS
            
            Lydia passes Snoops to Sin Sin and he flips onto his back.
            
                                SIN SIN
                      What does he want?
            
                                LYDIA
                      He likes you, he just wants some
                      rubs.
            
            Sin Sin starts to rub his belly as the car pulls away.
            
                                SNOOPS (O.S.)
                      Lower... lower.
            
            
            INT. LYDIA'S APARTMENT - LIVING ROOM - LATER
            
            The door opens and Sin Sin and Lydia walk in. Snoops is
            tucked under Lydia's arm. The eat in kitchen and living room
            are all together.
            
                                SIN SIN
                      Out of my way. I need to wash my
                      hands.
            
                                SNOOPS
                      Thanks again. Buy me dinner later?
            
            Sin Sin rushes to the sink and starts to scrub.
            Lydia's MOTHER comes out of one of the backrooms.
            
                                MOTHER
                      Another one? We can barely afford
                      porky the pig over there.
            
            A portly BULLDOG sits in a dog bed in the corner staring and
            drooling.
            
            Sin Sin dries her hands, grabs her phone and sits down on the
            sofa.
            
                                LYDIA
                      Then you and Tinderella should help
                      more.
            
            Lydia takes Snoops over to the bulldog.
            
                                LYDIA (CONT'D)
                      Snoops I want you to meet Ace, your
                      new brother.
            
            Lydia puts Snoops down and goes into one of the rooms.
            
                                SNOOPS
                      Are you dead?
            
            Ace finally moves his head and looks down.
            
                                ACE
                      Where'd you come from?
            
                                SNOOPS
                      I just got out of the pen.
            
                                ACE
                      The pen? What'd you do?
            
                                SNOOPS
                      You'll find out. Got a teddy bear?
            
            Lydia returns with a doggy bed and a blanket.
            
                                LYDIA
                      It isn't much but I call it home.
                      Hope you are happy here little guy.
            
            SUPER: "TWO WEEKS LATER"
            
            INT. LYDIA'S APARTMENT - LIVING ROOM - DAY
            
            Lydia, Sin Sin and the mother sit at the kitchen table. They
            all look like they haven't slept in days. A clear garbage bag
            full of stuffed animals is on the floor.
            
                                SNOOPS (O.S.)
                      Yes...yes..yes.yesSA
            
                                SIN SIN
                      Again? That sound is in my
                      nightmares.
            
            A teddy bear rolls out of a bedroom. Snoops follows it out,
            picks it up with his teeth and tosses it into the garbage
            bag.
            
            Snoops heads to his water dish and takes a long, noisy drink.
            
                                SNOOPS
                      Hard to get that taste out eh Sin
                      Sin.
            
            Snoops makes the walk of conquest over to his bed, flips and
            lies down.
            
                                ACE
                      You're embarrassing.
            
                                SNOOPS
                      Don't sleep tonight, I can't find
                      any more teddy bears.
            
            The mother stands up.
            
                                MOTHER
                      That's it. I can't take it. That
                      dog has to go.
            
                                LYDIA
                      Okay okay. I'll make the call.
            
            Lydia reaches into her bag, pulls out the card from the
            animal shelter, dials and goes into the bedroom.
            
                                SNOOPS
                      What did I do?
            
                                ACE
                      You're times up mister.
            
            Lydia returns to the table.
            
                                MOTHER
                      Well?
            
                                SIN SIN
                      Please please tell me some good
                      news.
            
                                SNOOPS
                      Rub my belly Sin Sin.
            
            Ace puts his paws over his head.
            
                                LYDIA
                      Sorry buddy, the vet can take you
                      this afternoon.
            
                                SNOOPS
                      Had all my needles.
            
                                ACE
                      Haha. That's not what's happening.
                      It's a little more... invasive.
            
            Sin Sin and the mother high five and hug.
            
                                SIN SIN
                      This will take the sting out of you
                      big boy.
            
            Ace starts moving his paws like a pair of scissors.
            
                                ACE
                      Snip...snip...snip.
            
                                SNOOPS
                      Nooooooooooooooo.
            
                                SIN SIN
                      Do you think they'll let me watch?
            
                                SNOOPS
                      We're breaking up.
            
            Lydia moves in and grabs Snoops.
            
                                SNOOPS (CONT'D)
                      Please don't, not the twins.
            
            Snoops puts up a five pound fight. Lydia puts him over her
            shoulder and heads to the door. His beautiful EYES stare in
            horror.

            Comment


            • #7
              Re: Entries - "Turning someone's world upside down" contest

              Code:
              Death & Taxes
              
              FADE IN:
              
              EXT CITY STREET - DAY
              
              JOHNNY, late twenties, a big man dressed in a ridiculous
              grim reaper costume, trudges back and forth on the sidewalk.
              He holds a sign promoting "Saul's Tax Service -- Best Returns
              Guaranteed".
              
              The day is cold and Johnny stops for a moment to sip from a
              flask.
              
              Immediately Saul's business door opens and SAUL, fifties
              small, dressed in a cheap suit pops out.
              
                                     SAUL
                         I m not paying you to stand.  Move,
                         move, hustle.
              
              Johnny starts walking again.
              
                                     SAUL (CONT'D)
                         And smile -- I'm not paying you not
                         to smile.
              
              Johnny shows his teeth.
              
              INT. SAUL'S OFFICE - DAY
              
              TWO HOURS LATER
              
              Johnny walks into Saul's office.
              
              Saul jumps up at his desk.
              
                                    SAUL
                         Hey hey, hey -- what the hell?
              
                                    JOHNNY
                         I gotta pee.
              
                                     SAUL
                         I m not paying you to pee.
              
                                     JOHNNY
                         You haven't paid me anything yet.
              
                                     SAUL
                         And I won't if you don t get your
                         ass back out there and work.
              
              Johnny glares at him and then goes back out.
              
              EXT CITY STREET - DAY
              
              TWO HOURS LATER
              
              The sun is setting, it's colder and Johnny is walking like a
              zombie.
              
              Saul pops out of his door again.
              
                                    SAUL
                        Shake the sign. I'm not paying you
                        to hold the sign still. If you don't
                        shake the sign -- forget the bonus.
              
              Johnny grits his teeth and shakes the sign.
              
              INT. SAUL'S OFFICE - NIGHT
              
              Johnny impatiently waits while Saul talks on the phone.
              
                                      SAUL
                             (in phone)
                        Yeah? Well that's the breaks, kid.
                        Next time read the fine print.
              
              He shrugs his shoulders at Johnny.
              
                                    SAUL (CONT'D)
                        I m scared, kid, come see me shake.
              
              He hangs up the phone and looks at Johnny.
              
                                    SAUL (CONT'D)
                        What do you want?
              
                                    JOHNNY
                        My pay.
              
                                    SAUL
                        What pay?
              
              Johnny stares at Saul, involuntarily his hands clinch into
              fists.
              
                                    JOHNNY
                        Six weeks, seven days a week, a
                        hundred dollars a day, five hundred
                        dollar bonus if I worked through the
                        fifteenth. You promised, we shook
                        on it.
              
                                    SAUL
                        I promised, we shook on it? Oh I
                        thought you were going to show me a
                        signed contract. You do have one,
                        right?
              
              The fists clinch tighter.
              
                                    JOHNNY
                        No.
              
                                     SAUL
                        Too bad. How many many times did I say
                        in the last six weeks, I m not paying
                        you?
              
                                    JOHNNY
                        I m getting my pay.
              
                                     SAUL
                        You're getting arrested for
                        trespassing, if you don t leave right
                        now.
              
              The phone rings and Saul answers. He waves at Johnny, giving
              him the get lost sign.
              
              The door bursts open and a desperate young man, DAN MATTHEWS,
              rushes in, pointing a gun at Saul. His hand shakes.
              
                                     SAUL (CONT'D)
                            (to  phone)
                        That ******* Matthews is pointing a
                        gun at me. I got to deal with this
                        creep.
              
              After slamming the phone down, Saul turns his attention to
              Matthews.
              
                                    SAUL (CONT'D)
                        Put the gun away.  We both know you
                        don't have the balls to use it.
              
              Matthews pulls the trigger back.
              
                                    JOHNNY
                        He's not worth it.
              
                                   MATTHEWS
                        Stay away, this doesn t involve you.
              
                                    SAUL
                        Listen to the kid. He doesn't have
                        what it takes.
              
              Matthews' eyes narrow, his shaking stops, he's calm.
              
              Johnny knows he's about to shoot, tries to wrestle the gun
              out of his hand...
              
              BLAM!, it fires.
              
              The bullet goes right through his heart and Johnny drops.
              He's already dead.
              
              Matthews lets the gun go, it falls to the floor. He stares
              at the dead man, then runs out the door.
              
                                      SAUL (CONT'D)
                             (talking to himself)
                        Stupid son of a bitch! He was going
                        to me kill then this other *******
                        gets himself shot, after I screwed
                        him.
              
              He pats himself on the back, sits at his desk and pours a
              drink.
              
                                    SAUL (CONT'D)
                        It s a good day to be me.
              
              Johnny's spirit body looks at his dead body on the floor.
              
                                    JOHNNY
                        Well that was stupid.
              
                                    GRIM (O.S.)
                        Yeah, stupid.
              
              Johnny s spirit body turns -- it s a GRIM REAPER, younger
              and more dapper than normally depicted.  The Grim Reaper
              outfit is even stylish.
              
                                    GRIM (CONT'D)
                        What were you thinking?
              
                                    JOHNNY
                        I guess I wasn't.  Just reacting.
              
              Grim looks at Saul sipping his drink and shakes his head.
              
                                    GRIM
                        I d rather be taking his sorry ass.
                        But rules are rules.
              
                                      JOHNNY
                        It's my wife and baby I'm most worried
                        about.  He even screwed me out of my
                        pay.
              
                                    GRIM
                        And you save his life?
              
                                    JOHNNY
                        I know, stupid.
              
              There's an awkward pause.
              
                                      GRIM
                        Well, ready?
              
                                      JOHNNY
              
                        Not really.
              
              Grim shrugs.
              
                                    GRIM
                        Just that I got a busy night.  Take
                        a couple minutes if you want.
              
              Grim takes a closer look at the Johnny's body
              
                                   GRIM (CONT'D)
                        What the hell were were you wearing?
              
              Johnny is a little embarrassed.
              
                                    JOHNNY
                        It's a... a Grim Reaper outfit.
              
              Grim points at Saul.
              
                                    GRIM
                        Did he make you wear it?
              
                                       JOHNNY
                        Yeah.
              
              Grim kicks Saul's desk -- his foot goes right through it.
              
                                      GRIM
                        So that's what we all look like to
                        you, Saul?
                             (to Johnny)
                        I got to think.
              
              
              Grim disappears for a few moments and then reappears.
              
                                    GRIM (CONT'D)
                        **** the rules!
              
              He waves his scythe and the bullet flies through Saul's heart.
              
              Saul lies dead -- Johnny is alive again.
              
                                     GRIM (O.S.) (CONT'D)
                        Top left drawer, false bottom.  Saul
                        wants you to have all the money.
                        Says he gave you a big bonus.
              
                                    SAUL (O.S.)
                        No I didn't.
              
                                    GRIM (O.S.)
                        Shut up, Saul
              
              Johnny opens the top left drawer and finds the false bottom.
              There's plenty of cash. He scoops it up and puts everything
              back in order.
              
                                    JOHNNY
                        Thanks, Saul.
              
                                    GRIM (O.S.)
                        Saul says you're welcome.
              
                                    SAUL (O.S.)
                        No I didn't.
              
                                    GRIM (O.S.)
                        Shut up, Saul.
                             (to Johnny)
                        Now go, but before you leave take off
                        that damn costume off, or I'm coming
                        for you next.
              
                                                                  FADE OUT:
              
                                    THE END

              Comment


              • #8
                Re: Entries - "Turning someone's world upside down" contest

                Code:
                Devil Inside
                
                FADE IN
                
                EXT. COASTAL TOWN - DAY
                
                Establishing shot, a cold-looking place, maybe on the cusp
                of winter. Seagulls shriek.
                
                EXT. TOWN STREET - ROW HOUSES - DAY
                
                FLANNAGAN, middle-aged and weary, wearing a coat with the
                collar turned up, walks past house after house.
                
                He stops outside a house with a green door.
                
                EXT. HOUSE - FRONT DOOR - DAY
                
                He walks up the path, raps his knuckles on the flaking
                green paint.
                
                He waits... nothing.   He raps again.
                
                Loud clumping footsteps from inside. Angry footsteps.
                
                A bolt thumps as it's drawn open.
                
                The door opens and Flannagan looks up at JOSEPH, who could
                be mid teens, but is solidly made. Joseph glares down at
                Flannagan, openly hostile.
                
                A woman hurries along the hallway, drying her hands on her
                apron, KATE BUNNING, 40-ish, tired housewife.
                
                                      KATE
                          I'll deal with this, Joseph.
                
                                      JOSEPH
                          I'm not leaving him alone with
                          you. I know his kind. A load of
                          waffle and then he's conning you
                          out of five pounds for the church
                          roof repair fund.
                
                                      FLANNAGAN
                          If that big mouth of yours keeps
                          flapping open, something's going
                          to fly into it.
                
                Joseph reacts with surprise, then anger.   He bunches his
                fists.
                
                                      FLANNAGAN
                          Better men than you have tried,
                          sonny boy. Don't make the biggest
                          mistake of your life. Best let me
                          talk to your mammy, hey?
                
                Kate frowns.   She looks Flannagan up and down critically.
                
                                      KATE
                          You don't look much like a priest.
                          Or talk like one.
                
                                      FLANNAGAN
                          That's because I'm not. It's a
                          cold wind out here, Mrs. Bunning,
                          I'd appreciate being invited in. I
                          wouldn't say no to a cup of tea
                          either. Is that fresh bread I smell?
                
                Joseph opens his mouth to say something but Kate puts her
                hand on his arm and jerks her head, directing him into the
                living room.
                
                Joseph gives Flannagan another glare but does as he's told,
                he moves into the living room.
                
                                      KATE
                          Come in, then.
                
                She steps aside so Flannagan can enter.
                
                INT. HALLWAY - DAY
                
                Flannagan watches as Kate sticks her head outside and looks
                up and down the street. She closes the door and slides the
                bolt shut.
                
                                      FLANNAGAN
                          Always best to be cautious these
                          days.
                
                                      KATE
                          If I was being cautious, you
                          wouldn't be here.
                
                                      FLANNAGAN
                          How about that cup of tea, and you
                          can tell me all about your little
                          problem?
                
                A banging noise comes from upstairs. Someone cries out. A
                child? Flannagan looks upstairs but it's dark up there on
                the landing.
                
                                         KATE
                          This way.
                
                She walks the length of the hallway and enters the kitchen.
                
                Flannagan follows her.    He pauses at the living room door,
                looks in.
                
                INT. LIVING ROOM - DAY
                
                Joseph stands by the fireplace, scowling at Flannagan.
                
                Behind him, sitting on the fireplace, is a framed B/W
                photograph of a FISHERMAN standing on a harbor wall, with
                boats tied up alongside. He resembles Joseph. The fisherman
                looks anything but happy.
                
                INT. KITCHEN - DAY
                
                Flannagan enters the kitchen, there's a small table with
                two chairs. Kate gestures for him to sit down, he does.
                
                He watches as she reaches for a cup on a shelf -- but her
                hand hesitates, as if she doesn't want to touch it.
                
                She takes the cup down and wipes its lip clean with her
                apron. She fills the cup with tea from a pot. She puts
                it on a saucer and carries it to the table.
                
                                         FLANNAGAN
                          Thank you.
                
                He takes a sip, nods approval.
                
                                      FLANNAGAN
                          Now, Mrs. Bunning, does it bother
                          you most? By which I mean, is
                          there a particular hour of the
                          day, or night, when--
                
                                      KATE
                          She gets worse after sunset.
                
                She sits down in the other chair, facing him.
                
                                      KATE
                          Up until then it's a mad chuckling.
                          But once it's dark, the laughter
                          starts. And the cursing is not far
                          behind. Oh but I can't even tell
                          you the foul language that's used.
                          It would make a sailor blush. But
                          come the morning, she's quiet again.
                
                                         FLANNAGAN
                          Is that so?
                
                                      KATE
                          You sound as if you don't believe
                          me.
                
                Flannagan shakes his head.
                
                                      FLANNAGAN
                          On the contrary, Mrs. Bunning, I
                          do believe you. I've been doing
                          this for some time. I've learned
                          how to spot the fakes, the ones
                          who are just looking for a bit of
                          attention, for notoriety. Maybe
                          hoping their story reaches the
                          right ears and a reporter from the
                          big town pays them a visit and
                          writes it down, so they can use it
                          in a spooky article on a quiet
                          news day.
                
                Kate listens, expressionless.
                
                                      FLANNAGAN
                          If they feign fright and hold back
                          because the story's too awful to
                          tell, or if the telling would
                          involve admitting an older relative
                          has lost their marbles, then maybe
                          a financial incentive will be
                          offered, sixpence perhaps, or a
                          shilling if they're lucky. Enough
                          to feed the family for a week. And
                          what's wrong with that? Nothing,
                          if you ask me. Kids have to be
                          fed, don't they?
                
                He takes another sip.   She watches silently.
                
                                      FLANNAGAN
                          And when did it start?
                
                                      KATE
                          Seven nights ago.
                
                Flannagan reaches inside his coat and pulls out a dog-earned
                book. The cover says POCKET ALMANAC, 1952.
                
                He thumbs through the pages. The page he settles on tells
                him, with words and illustrations, that seven nights ago
                there was a Full Moon and it was also a high Spring Tide.
                
                INSERT CLOSE SHOT OF THE FRAMED PHOTOGRAPH
                
                The fisherman looks even less happy than before.
                
                STORMY WEATHER SFX. WIND HOWLS. ANGRY SEAS CRASH.
                
                BACK TO SCENE
                
                More banging comes from upstairs, loud, angry. Flannagan
                looks up at the ceiling.
                
                INT. HALLWAY - DAY
                
                Joseph stands in the living room doorway, also looking up
                at the ceiling. He turns his head at looks at Kate in the
                kitchen.
                
                
                INT. KITCHEN - DAY
                
                Kate shakes her head, telling him no.
                
                Flannagan puts his book back inside his coat. He stands.
                
                                      FLANNAGAN
                          Well, if you don't mind, I'll head
                          upstairs and see what's to be seen.
                
                                      KATE
                          Are you sure you want to?
                
                                      FLANNAGAN
                          Someone's got to. Might as well be
                          me. I've done this sort of thing
                          before.
                
                He steps into the hallway.
                
                                      KATE
                          You won't harm her, will you?
                
                                      FLANNAGAN
                          I'm an exorcist, Mrs. Bunning, not
                          an executioner. I expel evil spirits
                          from those unfortunate enough to
                          be possessed by them. I don't go
                          about harming people.
                
                She nods, reassured.
                
                                      FLANNAGAN
                          You know what would be nice? If
                          there was a slice of that fresh
                          loaf waiting for me when I come
                          back downstairs. These things
                          sometimes leave me feeling drained.
                
                INT. HALLWAY - DAY
                
                Flannagan moves to the foot of the stairs. The banging
                noise continues. He puts his foot on the bottom stair. The
                banging noise suddenly stops.
                
                He climbs the stairs, step by cautious step.
                
                INT. LANDING - DAY
                
                Flannagan steps up onto the landing.
                
                He pauses and listens. He hears a faint crying from behind
                a closed door. Child-like and yet not a child.
                
                He touches the door handle -- but snatches his hand away
                as if shocked.
                
                He cups his hands to his mouth and exhales hot breath,
                trying to warm his fingers. He rubs his hands. Cold!
                
                He pulls out a handkerchief and wraps this around his
                fingers. He touches the handle again, and turns it.
                
                He slowly pushes the door open, revealing a darkened
                bedroom, inch by inch. There's a wardrobe. And a dressing
                table. And the foot of a bed.
                
                Lengths of rope are tied to the bed's corner posts, they
                stretch further up the bed. As if someone's been tied down.
                
                Flannagan opens the door further.
                
                He stares at the bed, bewildered.
                
                INT. BEDROOM - DAY
                
                A brown and orange striped cat lies on its back on the
                bed, spread-eagled, exposing white belly fur.
                
                Ropes are knotted around each of its four legs and tied to
                the four bed posts so the cat is trapped, unable to free
                itself. Its tail lashes left and right, agitated.
                
                It tugs furiously against the ropes so the bed frame bangs
                against the wall, producing the noises we heard downstairs.
                It YOWLS in rage.
                
                The cat suddenly stops struggling and is silent.
                
                Flannagan holds his breath.
                
                The cat slowly raises its head and looks at Flannagan. Its
                gold-flecked eyes seem to glow.
                
                                      THE CAT
                          What's the matter? You never seen
                          a fvcking cat before?
                
                Flannagan lurches against the door frame as if his legs
                have lost strength.
                
                The Cat laughs, a creepy-weird not-human laughter.
                
                                      THE CAT
                          Untie me, mortal. Untie me now.
                
                Flannagan takes a jerky half-step toward the bed, as if
                someone's pulling his puppet strings.
                
                                      THE CAT
                          Yes, do my bidding. Hurry, fvcker.
                
                But Flannagan is resisting, he gasps between clenched teeth.
                His hand slips into his coat pocket. He pulls out a silver
                flask. Unscrews the cap.
                
                                      FLANNAGAN
                          Holy Father, vanquish this foul
                          beast back to the pits of Hell
                          from which it came.
                
                He flicks the flask.
                
                Water droplets fly through the air in slow motion.
                
                The water splashes over the cat, making a SIZZLING NOISE.
                The cat lets out a horrendous SCREECH.
                
                Flannagan quickly steps back out onto the landing and slams
                the door shut behind him.
                
                INT. LANDING - DAY
                
                Flannagan gasps for breath as he leans against the door.
                Hissing, yowling, growling, banging noises come from inside
                the bedroom.
                
                And suddenly, silence.
                
                Flannagan puts his ear against the wood and listens.
                Nothing.
                
                He hesitantly touches the handle again. He jerks his hand
                away... but then goes back to it. He's able to touch it.
                
                He opens the door an inch. Then another inch. He peeks
                into the bedroom.
                
                INT. BEDROOM - DAY
                
                Flannagan opens the door further.
                
                The ropes are still on the bed but they're untied. There's
                no sign of the cat.
                
                He warily looks around the room, checking the shadows.
                Can't see anything.
                
                He hurries to the window and yanks the curtains open. Light
                floods the room.
                
                There's the cat, sitting under a chair, cleaning itself.
                
                Flannagan takes a wooden crucifix from another pocket and
                advances on the cat, holding the cross before him.
                
                He bends down so the cross is inches from the cat's face.
                
                The cat looks up at him, then bends over and licks its own
                butt.
                
                INT. HALLWAY - DAY
                
                Flannagan comes downstairs.
                
                Kate and Joseph are waiting in the kitchen. They stare at
                him expectantly.
                
                INT. KITCHEN - DAY
                
                Flannagan sees there's a slice of bread, spread with yellow
                butter, on a plate, on the table. He picks the bread up
                and eats it. He closes his eyes. Nothing ever tasted so
                good.
                
                                      KATE
                          Will you not say anything?
                
                                      FLANNAGAN
                          I'm sorry, forgive my manners. I
                          thought it was your husband, Mrs.
                          Bunning, returned from the sea.
                          When there's a full moon and a
                          spring tide, sometimes flotsam
                          gets dragged up off the ocean floor
                          and cast upon the shore. But I was
                          wrong.
                
                He picks up his tea cup and drains it.
                
                                      FLANNAGAN
                          Bloody cats. Never did like them.
                
                He puts the cup down.
                
                                      FLANNAGAN
                          Thank you for your hospitality,
                          Mrs. Bunning, it's very much
                          appreciated. I'll see myself out.
                
                He walks along the hallway, to the front door.
                
                EXT. HOUSE - FRONT DOOR - DAY
                
                Flannagan steps outside and pulls the door closed behind
                him.
                
                Thumping footsteps from inside the house, as Kate and Joseph
                hurry upstairs.
                
                Flannagan smiles, shakes his head, and walks away.
                
                FADE OUT

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