Halloween entries - 2011 challenge

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  • Halloween entries - 2011 challenge

    The 8 entries are:

    Marked
    Assisted Suicide
    Lost and Found
    Pandora's Box
    Hard Cider
    I, Zombie
    C I N E P L E X
    The Black Ones

    More titles may be added to the list as the day goes on!

    Don't vote too quickly (e.g. today!) in case you miss late entries.

    Please PM me your votes and comments, if any, by midnight next Sunday 6 Nov.

    Ideally the vote format will be:

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

    Please don't post your votes or comments in forum in case this influences voting before the results are in and counted, thanks.

    Edit note: you'll appreciate I had to extract plain text from the entries to post them here. If any formatting errors occur, assume they were mine and give the author the benefit of the doubt. Authors, if you see errors, PM me and I will edit/correct ASAP!

    Edit2: results have been posted, see post #65 in the discussion thread, click here

    -Derek
    Last edited by dpaterso; 11-07-2011, 09:19 AM.

  • #2
    Re: Halloween entries - 2011 challenge

    MARKED

    FADE IN:

    EXT. SMALL FARM AND HOUSE - NIGHT

    A scarecrow grimaces over a failing crop. Atop the barn, a
    windmill with half of its blades missing dances a lopsided
    jig with an offbeat, frantic, clanking TAP.

    The screen door of a crumbling turn-of-the-century farmhouse
    BANGS against peeling paint of the warped siding.

    A single porch LIGHT casts a halo at the entrance as work
    BOOTS, coated with pig muck, step into the doorway. The boots
    make a sucking sound and leave soiled evidence as they slop
    inside.

    The storm door closes and the porch light goes OUT.

    CUT TO:

    INT. SMALL FARMHOUSE - NIGHT

    IN THE LIVING ROOM

    Neglect and hardship tarnish every surface with dulled,
    unsavory hues.

    Wallpaper yellowed with nicotine sags from boarded walls.
    Dozens of outlines of once-present crosses broadcast their
    former resting places as white paper with pink flowers stands
    out against the yellow and gray.

    A Holy Bible ripped into a thousand pieces litters the worn,
    unwinding rug resting atop uneven hardwoods floors.

    O.S. CHARLOTTE POE (28), voice muted through walls, CHANTS
    rapidly without pause in an unknown tongue.

    The boots trod heavily across the rug, picking up pieces of
    Bible pages on their pigshit, and move up creaky stairs.

    IN THE UPSTAIRS BEDROOM

    Charlotte, a pretty woman made plain by hard living, wears a
    tattered housedress, kneels next to a small twin bed, rocks
    back and forth with her hands in prayer, and CHANTS.

    The tiny pink room appears as if a cyclone moved through:
    pictures of happy puppies and innocent ducks lie in sprays of
    glass and frame over fallen knick-knacks.

    On the bed, MAGGIE (6), long hair coated with grease and
    vomit, her meadow green eyes hidden under closed lids, MOANS
    as she struggles against leather straps that bind her to the
    bedposts.

    O.S. JESSUP POE (42), growls over Charlotte's shoulder.

    JESSUP
    Step outta the way, woman.

    Charlotte looks up from her chanting.

    Standing behind her, Jessup, a sturdy, homely man dressed in
    farm clothes, dirt, and insanity, holds a double-barrel
    shotgun pointed at the tiny girl on the bed.

    Slowly, Charlotte stands and faces Jessup.

    CHARLOTTE
    Jess, honey, what d'ya think
    ya'll're gonna do with that?

    Jessup closes one eye to line up the sights of the shotgun.

    JESSUP
    It's Halloween. Ya'll know what
    that means. I'm fixin' to do the
    Lord's work. Best get outta my way.

    Gently Charlotte puts her hand on Jessup's arm as he licks
    his lips and trains his gun towards the tiny girl, sweating
    and moaning atop her Strawberry Shortcake sheets.

    CHARLOTTE
    That's our baby, Jess. Don't talk
    crazy. We don't know it's gonna
    happen today. Now, put down that
    gun.

    Jessup's eyes well with tears as he swallows a baseball sized
    lump in his throat.

    JESSUP
    That ain't our baby no more,
    Charlotte. Not since Midnight. That
    there's the devil in disguise.

    CHARLOTTE
    Honey, she's sick. 'At's all. Doc's
    gonna come make her better.

    JESSUP
    Ain't sick, Char. That girl's got
    the devil livin' in her house. Only
    one way to take care of that.

    Jessup chambers a shotgun round with a harsh PUMP.

    Frantically, Charlotte tugs at Jessup's arm. Easily, he
    tosses her away.

    CHARLOTTE
    Jessup, don't!

    JESSUP
    Man's gotta do what a man's gotta
    do, Charlotte.

    Jessup pulls the trigger as Charlotte runs in the path of the
    bullet. The BLAST sends her flying onto the bed and on top of
    Maggie.

    Charlotte's eyes widen as she stares at her daughter. Maggie
    opens her eyes wide and stares at her mother, nearly nose-to
    nose.

    Charlotte pushes herself up from the bed as her hands clasp
    her intestines that roll out of the hole in her stomach and
    onto Maggie's torso.

    Maggie's mouth opens to scream, but no sound escapes.

    Jessup drops his shotgun to his side as he slowly steps
    towards the bed. He and Charlotte look at one another. His
    face twists in anguish as he shakes his head and mutters
    under his breath, over and over again, "NO."

    Charlotte reaches for him. As he puts his hand out to her,
    she collapses onto the floor like a ragdoll.

    Jessup looks at Maggie. Her eyes change from green to empty
    darkness as she smiles at him.

    Jessup backs against the wall as Maggie's smile grows and she
    GIGGLES.

    MAGGIE
    Happy Halloween, Daddy.

    Jessup tries to aim the gun at Maggie. She stops smiling and
    glares it him. She waggles her finger back and forth.

    MAGGIE (CONT'D)
    Uh, uh, uh.

    To his surprise, the end of the gun starts to more towards
    him. He appears to fight the movement as he puts the shotgun
    in his mouth, cocks the barrel, and FIRES.

    As he turns to the side, the back of his head is missing and
    now plastered on the hopeful pink wallpaper. He collapses
    onto Charlotte's body.

    Maggie's GIGGLE becomes a HUM and then a sweet voice as she
    dances slightly in her restraints and sings:

    MAGGIE (CONT'D)
    This little light of mine, I'm
    gonna let it shine. This little
    light of mine, I'm gonna let is
    shine.

    FADE OUT.

    Comment


    • #3
      Re: Halloween entries - 2011 challenge

      ASSISTED SUICIDE

      FADE IN:

      EXT. PARK BENCH - DAY

      It is late fall. Leaves are blown along the ground and past
      the feet of HENRY DUNCAN, early 40's conservatively dressed
      business type. He sits alone on the bench pondering his
      surroundings and life in general.

      NARRATOR (V.O.)
      This is Henry Duncan, forty one
      year old accountant. He has a wife-

      INSERT: photo of Henry and his devoted plain looking wife and
      his ordinary looking daughter. It's a vision of the
      hopelessly mundane.

      NARRATOR (V.O.)
      --a daughter and-

      EXT. HOUSE - DAY

      It is a modest and unassuming middle class home.

      NARRATOR (V.O.)
      --a home in the suburbs.

      EXT. PARK BENCH - CONTINUOUS

      Henry looks pensive.

      NARRATOR (V.O.)
      Everything a man of his years could
      expect. But all that is slipping
      away from him now. You see Henry
      has languished for far too long in
      the world of the unemployed and now
      with his finances dwindling he is
      left with only one option.

      MONICA NICHOLS, mid 30's immaculately dressed, hopelessly
      upbeat, approaches Henry.

      MONICA
      Excuse me are you Henry Duncan.

      Henry looks up at her.

      HENRY
      Yes?

      Monica offers him her hand and a big understanding smile.

      MONICA
      I'm Monica Nichols your suicide
      consultant. I understand you want
      to kill yourself today.

      HENRY
      Um, well...

      She sits down beside him.

      MONICA
      It's okay Henry there's no shame in
      wanting to die. Many people have
      the same thoughts as you do from
      time to time. But unlike them you
      made the smart choice of calling us
      and having an experienced suicide
      consultant provide you with options
      on killing yourself. Now have you
      given any thought on how you'd like
      to die?

      HENRY
      Um well some. I thought about
      perhaps using poison.

      MONICA
      Tsk, yeahhh, that's a messy one.
      First you have to find the right
      one, one that doesn't leave any
      evidence. Then you have to pick a
      place to die.

      HENRY
      Well I thought I could use our
      bedroom.

      MONICA
      Uh oh, red alert! If you use the
      matrimonial bedroom it will be
      forever tainted by your death. Bad
      memories for your wife, nightmares
      for your kids. It may even force
      your family to move. You don't
      want all that now do you?

      HENRY
      No definitely not.

      MONICA
      Of course you don't, silly boy.
      You want it to be painless, no fuss
      no muss. Right?

      HENRY
      Yes, I suppose.

      MONICA
      And the only way to achieve that is
      to make it look like an accident.

      HENRY
      I never thought of it that way but
      I suppose you're right.

      MONICA
      Of course I am. You don't want
      your friends and family saying 'oh
      what a loser. Had to kill himself.
      Selfish prick', do you?

      HENRY
      No.

      MONICA
      Than that's where I come in. You
      see making it look like an accident
      isn't something one person can do
      by themselves, for themselves or to
      themselves. It's a team effort.
      And we're a team right Henry?

      HENRY
      I guess.

      MONICA
      Good boy! Now lets go consider
      your options.

      She leaves the bench. Henry picks up his briefcase and
      follows after her.

      EXT. CLIFF - DAY

      Monica and Henry, with briefcase in hand, are looking over
      the edge of a cliff.

      MONICA
      Now this is something simple. You
      just trip over a tree limb or
      something, fall over the edge here
      and Bob's your uncle, you're dead.

      HENRY
      Are you sure I would die? It
      doesn't look very high.

      MONICA
      Well if you hit the right spot
      where those rocks are you'd
      probably sustain some pretty
      serious head injuries.

      HENRY
      But I wouldn't die right away?

      MONICA
      Maybe we should look into other
      options for you.

      EXT. PARK ELECTRICAL SUBSTATION - DAY

      Monica and Henry are stand before an electrical substation
      which is giving off a loud, intimidating hum.

      HENRY
      How would I get at the wires?

      MONICA
      You could hit it with your car.

      HENRY
      I don't drive.

      MONICA
      You could come here and stand next
      to it during a thunderstorm.

      HENRY
      How would I know when and if
      lightning will hit it?

      MONICA
      Good point.

      EXT. PARK BENCH - DAY

      Monica and Henry are seated beside each other.

      MONICA
      Dog attack?

      HENRY
      I like dogs.

      MONICA
      Drowning?

      HENRY
      I used to be a life guard.

      A silence. Monica lets out a long sigh then...

      MONICA
      So why do you want to kill yourself
      Henry?

      HENRY
      Well I've been out of work for a
      long time and I'm running out of
      money, so I thought I would kill
      myself and leave the insurance
      money to my family.

      MONICA
      (fighting back a tear)
      Oh Henry you're a saint. It's
      people like you that make my job so
      rewarding.

      HENRY
      Thank you, I think. Look it's
      getting late maybe we should try
      this again tomorrow. I have to
      catch a bus and-

      MONICA
      Wait I have it!

      She grabs Henry by the arm and drags him from the bench.

      EXT. STREET IN FRONT OF PARK - DAY

      Monica and Henry are standing near the curb watching as heavy
      traffic whizzes past them.

      MONICA
      It's perfect! All you have to do
      is walk out and step in front of
      the right vehicle and SPLAT, you're
      dead! Isn't it wonderful?!

      HENRY
      Which vehicle should I pick?

      MONICA
      Well, cars are okay but they have
      to be going fast enough and the
      right size. Buses move too slow
      and motorcycles will do little
      damage if any and frankly you'd be
      more of a threat to a Smart car
      than they are to you. But trucks!
      Trucks were made for a job like
      this! Big, slow, hard to maneuver,
      they take forever to stop and if
      they don't kill you when they hit
      you they can always squash you like
      a bug. It's perfect! What do you
      think?

      HENRY
      What about a train or a subway?

      MONICA
      Who accidentally walks out in front
      of them?

      HENRY
      Good point.

      MONICA
      So are you ready for your suicide
      Henry?

      Henry stares blankly into the traffic.

      MONICA
      What's the matter Henry? You're
      not having second thoughts are you?
      Because if you are, remember we
      don't give refunds.

      HENRY
      Well I was just thinking that maybe
      I could give the job hunt another
      shot.

      MONICA
      C'mon Henry you can do this, I know
      you can. Just say to yourself
      'death is great, it's not too
      late'. C'mon say it.

      HENRY
      Death is great, it's not too late.

      MONICA
      That a boy, I knew you could do it.
      Now let's get to dying.

      She takes an umbrella out of her purse.

      MONICA
      Now I'm going to be across the
      street with this umbrella. When I
      open it you start walking into
      traffic. Ready?

      HENRY
      Just let me get my briefcase.

      Henry turns back to get his briefcase while Monica monitors
      traffic.

      MONICA
      Oh Henry one more thing-

      She turns to Henry and ends up almost on top of him. Henry
      turns-

      HENRY
      Yes?

      --and strikes her with his briefcase sending her falling
      backwards into traffic. There is the horrible sound of an
      accident. Henry stands there in shock unable to move.

      TITLE CARD: One week later...

      EXT. PARK BENCH - DAY

      A lone woman is seated on the bench looking despondent.
      Henry approaches her.

      HENRY
      Excuse me are you Cynthia Cooper?

      WOMAN ON BENCH
      Yes.

      HENRY
      I'm Henry Duncan, your suicide
      consultant.

      TITLE CARD: For Dr. Jack 1928-2011 You Rock!

      FADE OUT:
      Last edited by dpaterso; 11-06-2011, 11:58 AM.

      Comment


      • #4
        Re: Halloween entries - 2011 challenge

        LOST AND FOUND

        FADE IN:

        INT. CHEAP CRAPPY APARTMENT - DAY

        On ALICE, 10 years old, dressed up as a cute little witch
        complete with pointed hat and broomstick. She wears a scowl
        that could curdle milk. She is receiving a lecture.

        CONSTANCE (O.S.)
        Anyone twigs what's going on, you
        whack 'em on the noggin with the
        broom and run for the door. Don't
        try to talk your way out of it. You
        ain't that smart.

        CONSTANCE is Alice's mother, a jittery crackhead who loves
        only one thing in life, and it isn't Alice.

        PETE is Constance's boyfriend, he has a police rap sheet as
        long as your leg and has been pronounced clinically stupid
        by psychiatric professionals. He hands Alice a bag.

        PETE
        This ain't for candy. You see
        anything worth snatching, you snatch
        it. Money, jewelry, anything shiny
        that's worth a buck, you take it.

        ALICE
        I know what to do.

        PETE
        Don't smart-mouth me, kid.

        ALICE
        Have we got any food? I'm hungry.

        CONSTANCE
        That's why we're doing this! To get
        money for food!

        Alice eyes up her mother as Constance twitches and scratches,
        eager for a hit. Yeah, right, money for food. Alice knows
        the score.

        PETE
        You can eat some candy, if they offer
        it.

        ALICE
        Thank you.

        PETE
        As long as it doesn't interfere with
        your job. You got that, pip-squeak?

        Constance and Pete turn away from Alice and talk to each
        other in whispers.

        Alice gives Pete the finger behind his back.

        Constance and Pete come to an agreement. Pete shrugs on his
        jacket and picks up his car keys.

        PETE
        All right. Let's go.

        Alice trudges after him, dragging her broom.

        CONSTANCE
        Make mommy proud!


        EXT. PROSPEROUS SUBURBAN STREET - NIGHT

        Aw, it's Halloween, and little trick-or-treaters are visiting
        houses, escorted by adults.

        Pete's car, a beat-up wreck, is parked at the curb. Inside,
        Pete and Alice watch the activity.


        INT. PETE'S CAR - NIGHT

        Pete points out a particular house. Light's on in the front
        porch. A pumpkin lantern invites little Munchkins to ring
        the bell.

        PETE
        On you go.

        Alice opens the passenger door.

        PETE
        You mess this up, pip-squeak, your
        own mother won't even recognize you.
        That I promise you.


        EXT. PETE'S CAR - NIGHT

        Alice climbs out. Pete shoos her away, go, go!


        EXT. PUMPKIN LANTERN HOUSE - NIGHT

        Alice walks up the path towards the porch.

        She looks back across the street at Pete's car.

        Pete's car is empty. Pete's nowhere to be seen.


        EXT. PUMPKIN LANTERN HOUSE - NIGHT

        Alice rings the doorbell.

        While she waits, she nervously looks up and down the street.

        The door opens, a kindly old couple, MATTY and LOUISE, smile
        at her.

        MATTY
        Hello, young lady.

        LOUISE
        Isn't she just the cutest witch you've
        ever seen?

        ALICE
        Trick or treat?

        LOUISE
        Oh, I think we're too old to have
        tricks played on us. Why don't you
        come in and have some candy?

        ALICE
        Thank you.

        Alice steps inside and Matty closes the door behind her.


        INT. NEATLY FURNISHED LIVING ROOM - NIGHT

        Alice finds herself staring at a little table laden with
        goodies, bowls of candy and cakes. Alice's stomach GROWLS.

        LOUISE
        Oh my, are you hungry?

        MATTY
        Anything you want, just take it.
        Fill your bag. Maybe have a little
        nibble now, if you like.

        ALICE
        Thanks.

        Alice nibbles a piece of candy, unaware that Matty and Louise
        are watching her, and looking at each other, and frowning.


        EXT. REAR OF PUMPKIN LANTERN HOUSE - NIGHT

        Pete expertly uses a jimmy to open the back door. He slips
        inside without a sound.


        INT. NEATLY FURNISHED LIVING ROOM - NIGHT

        As Alice puts candy into her bag, she furtively looks around
        the room, noting things to steal. A lady's purse. A leather
        wallet. Display cabinets and shelves containing silver frames
        and statuettes and rare coins. Thief's paradise.

        MATTY
        We're just going into the kitchen
        for a second.

        LOUISE
        We'll be right back. You just help
        yourself, dear.

        Smiling, Matty and Louise exit to the kitchen.


        INT. DARK ROOM - NIGHT

        Pete moves around cautiously. He can't hardly see a thing.
        He finds his way to a door. He slowly turns the handle,
        cracks the door open, and peers out.


        INT. KITCHEN - NIGHT

        Matty and Louise in urgent whispered conversation:

        MATTY
        It can't be her, it's just
        coincidence.

        LOUISE
        She's the spitting image!

        A door slowly opens behind Louise. Matty's eyes widen--


        INT. NEATLY FURNISHED LIVING ROOM

        Alice grabs every valuable she can see and stuffs it into
        her bag.

        Her hand pauses, inches from a silver framed photograph of a
        smiling pretty teen girl.

        Alice snatches the photo frame and stuffs it into her bag.

        No, wait. She goes back into the bag. Takes out the frame
        and looks at it. She puts it back where it was before.

        Alice hears VOICES. She runs for the front door, opens it.
        She's about to exit when Matty and Louise retreat into the
        living room. Pete follows them, holding a gun. Matty and
        Louise cling to each other, terrified.

        PETE
        Close the friggin door, stupid!

        Alice closes the front door. Matty and Louise glance from
        Pete to Alice, putting two and two together.

        Alice glances down at her bulging bag. Louise follows her
        gaze, and knows what's in there.

        Louise's fear turns to disappointment. It touches Alice,
        who looks away in shame.

        PETE
        Rich folks like you, I bet you got a
        safe.

        MATTY
        We're not rich and we don't have a
        safe. Take whatever you want. Just
        don't hurt my wife.

        Pete wiggles his gun at them, acting tough.

        PETE
        Show me the safe or I'll put one in
        your old lady, so help me God.

        WHACK! Alice bats the gun out of Pete's hand with her broom.

        PETE
        You little pip-squeak, I'm gonna--!

        Pete lunges for her but Alice skips back. Pete trips over a
        coffee table and sprawls on the floor.

        Alice holds her broom like a baseball bat and WHACKS Pete on
        the kisser. Pete goes down and stays down.

        Matty and Louise and Alice stare at each other. OMG did
        that just happen?

        Alice runs out the front door, leaving her bag and broom
        behind.


        EXT. STREET - NIGHT

        Alice walks along, head down, dragging her feet.

        She stops and looks round as STROBING RED/BLUE LIGHTS suggests
        a cop car has just pulled up beside her.


        EXT. POLICE STATION - NIGHT (STOCK FOOTAGE)


        INT. POLICE STATION - NIGHT

        Matty and Louise talk to the DESK SERGEANT who points out
        Alice sitting on a bench, looking alone and dejected. She
        hasn't noticed them yet.

        DESK SERGEANT
        Found her walking near your house.
        Pretty easy to spot, kid on her own,
        dressed as a witch.

        MATTY
        What about the man?

        DESK SERGEANT
        The boyfriend says the kid's mother
        made him do it. She says the
        robberies were all his idea. We'll
        let the judge figure it out in the
        morning. Armed robbery, he's going
        away for a long time.

        LOUISE
        (meaning Alice)
        What about her?

        DESK SERGEANT
        Social work's sending someone over.

        MATTY
        No need for that. She can come home
        with us.

        DESK SERGEANT
        I'm sorry, it's standard procedure.
        I can't just--

        LOUISE
        She's our grand-daughter.

        They look over at Alice, who maybe senses something because
        she looks up, scowling.

        Louise hesitantly offers Alice a warm smile.

        Very slowly, as she stares at her long-lost grand-parents
        and their kindly vibes reach out to embrace her, Alice loses
        her scowl and becomes a little girl again.

        FADE OUT

        Comment


        • #5
          Re: Halloween entries - 2011 challenge

          PANDORA'S BOX

          EXT. HOTEL ROOM - DAY

          The sun shines through the window, tickling Hope's nose.
          Hope, 22, beautiful, awakens and looks around the room
          confused about where she is. As she slowly rises, Hope
          realizes that she's naked.

          HOPE
          What the hell?

          Sliding off of the bed, Hope holds onto the bed sheet,
          stands, wraps herself in the sheet and moves toward the
          window. She looks down at the busy streets of Paris, widening
          her eyes when at the sight of the Eiffel Tower.

          HOPE (CONT'D)
          France?

          Swiftly turning around to search for something to wear, Hope
          opens the closet. The closet is empty. The bureau drawers are
          also empty. Hope peaks her head inside the bathroom which is
          also empty. When she returns to the bed she sits down, pics
          up the phone and holds it up to her ear.

          INTER CUT TELEPHONE CONVERSATION

          OPERATOR
          Bonjour! Je purais vous aide?

          HOPE
          I'm sorry, I don't speak French.

          OPERATOR
          (with a French accent)
          May I help you?

          HOPE
          Where am I?

          OPERATOR
          (with a French accent)
          Hotel de la Paix, madame.
          (whisper)
          Run.

          HOPE
          Excuse me?

          OPERATOR
          (stronger whisper)
          Run!

          DIAL TONE.

          Hope hangs up the phone. Her eyes land on a stripped piece of
          cloth peaking out from under the bed. She stands, slowly
          reaching down, grabs hold of the edge and yanks the cloth
          out. She examines the material. It is a very large man's
          shirt. Hope unbuttons the shirt, puts it on, letting the bed
          sheet drop down to her feet. While Hope buttons up, the sheet
          on the floor moves a little, as if someone were eating it.
          Hope is unaware of this, until she looks down and the
          movement stops. Hope is unsure if she saw it move at all.
          Suddenly, the sheet is pulled under the bed. Hope screams
          running out of the hotel room.

          CUT TO

          EXT. PARK - MOMENTS LATER

          The hotel room door opens to an Irish country side. Hope is
          running, too frightened to realize she is no longer inside a
          building. She is running barefoot on a muddy path. Her feet
          slide in the mud, making it more difficult to run, but she
          struggles to keep on running, until she passes a bar table.
          There are tree bar stools set in front of the bar, three shot
          glasses on top of the bar and some limes on a small plate.
          Hope is tired.

          HOPE
          This is one strange Halloween.

          Hope takes a seat at the bar and eats a lime.

          HOPE
          (to herself out loud)
          The only thing missing is a 'eat
          me' note.

          The taste of the lime makes her squint. While she squints the
          light turns dark. A small set of bar lights turn on above the
          bar, lighting up a busy pub. The BARTENDER, 45, Irish, comes
          to view, cloth drying a whiskey glass.

          BARTENDER
          What can I get you?

          HOPE
          Where am I?

          BARTENDER
          (Irish accent)
          Where are you? What do you want?

          HOPE
          I don't know.

          The bartender looks angry.

          HOPE (CONT'D)
          Water.

          The bartender hands her a glass of water. Hope looks around.
          The Irish bar is poorly lit, but Hope can make out three men,
          and two women. An unsightly FAT woman, 34, is stuffing her
          face with crispy chips, dipping them in some green sauce and
          crunching very loudly. The sauce drips off her lips and chin.
          A very THIN woman, 24, is covering up black and blue marks on
          her face with make up. The DOOR MAN, 25, is seated on a stool
          shuffling a deck of cards. TWO SLEAZY DRUNK BIKERS are
          guzzling down several beer cans and are both fixated on Hope.
          Hope turns back to the bar. Moments later she feels a hand on
          her shoulder.

          BIKER #1
          (sniffles)
          You want some company baby?

          Hope cringes, steps off the bar stool, pulling the shirt down
          lower, holding it in place as she steps closer to the door.

          BIKER #1 (CONT'D)
          (laughing and pointing his
          index finger at her)
          Don't leave.

          BIKER #2
          (laughing and pointing his
          index finger at her)
          Stay and have a drink!

          The two women begin to laugh and point their index finger at
          Hope. The bar tender joins in the laughter, pointing his
          index finger at Hope. Hope runs out the door, past a grinning
          door man, who also points his index finger at her. As she
          steps through the door she is blinded by a bright light.

          CUT TO

          EXT. WHITE LIGHT - MOMENTS LATER

          Voices are heard, but Hope can't make out any words.

          HOPE
          (crying)
          What is happening? Somebody please
          help me! Someone, please!

          Hope feels a touch on her arm.

          She moves it away with her other arm, but feels the touch
          again.

          GRANDMOTHER (V. O.)
          Hello baby girl.

          HOPE
          Grandma?

          Hope turns toward the voice. The white light dissolves. Hope
          finds herself at a bus station. Holding her arm is her
          GRANDMOTHER, 50, wearing a nursing uniform.

          HOPE (CONT'D)
          (happy and crying)
          Grandma! What's happening?
          Grandmother embraces Hope.

          GRANDMOTHER
          There, there, now. Grandma's here.

          Hope hugs and squeezes her grandmother tightly. Some blood
          drips down to the ground. Hope remembers herself.

          HOPE
          This isn't real.

          She pulls back, facing her grandmother.

          HOPE
          (stops crying, sniffling)
          Am I dead?

          The grandmother lifts her hand. In her palm is a small box.

          GRANDMOTHER
          Take this. Look for a key. Find a
          way out.

          Hope stands up.

          HOPE
          Lets go. I won't leave you here.

          GRANDMOTHER
          Hope, find the key and get out!

          The grandmother turns to smoke before Hope's teary eyes.

          HOPE
          Grandma! Grandma!!

          The light around Hope darkens. She paces in place for a
          moment. There are bloody lifeless bodies in the grass all
          around her. Frightened, Hope walks the small stone path
          before her. The stones cut into her feet.

          HOPE
          Where am I?!

          Hope hears the SOUND OF A STREAM.

          A small sparkling stream runs on the other side of the
          bushes. Hope hurries toward it. Reaching the stream Hope
          kneels down, splashing water on her face and taking a drink.
          Two hands push Hope into the water. She pushes back, with
          both hands on the ground, but the box rolls out of her hand
          into the stream. Hope swiftly turns around to see who it is,
          but only hears something in the bushes shooting away from
          her. The box is carried off by the stream. Hope stands and
          runs after it, struggling for a moment, but soon, the box is
          within her reach. Leaping after it, Hope falls into the
          stream. When she stands up, soaking wet, holding the box in
          her hand.

          Hope steps out of the stream onto an asphalt road with one
          foot only, testing it's firmness. Convinced the road is
          solid, Hope steps on the road with her other foot. She turns
          to look back, only to find the stream is now a parking lot.
          Hope turns forth again and finds herself in Central Park, NY

          HOPE
          Central Park?

          It is fall and Hope is wearing nothing but a wet shirt. She
          passes by a HOMELESS MAN, 55, warming his hands over a lit
          pumpkin. Hope runs across the park reaching the cab stand.
          She gets into the first cab at her reach, shivering.

          CUT TO

          INT. TAXI CAB - MOMENTS LATER

          Hope curls up on the seat, freezing, pulling her legs into
          her body. She feels safe inside the cab, but the cab stands
          still. Hope turns to the CAB DRIVER/TAREK, 32, Turkish, a
          soccer fan.

          HOPE
          Go!

          TAREK
          (excellent New York
          accent)
          I don't think so.

          HOPE
          What? Why?

          TAREK
          Do you have any money? Food? Water?

          HOPE
          What? I have to get home.

          Tarek looks into the mirror.

          TAREK
          Hope?

          Hope takes a better look at the cab driver.

          HOPE
          Tarek?

          TAREK
          What happened to you? What are you
          doing here?

          HOPE
          I don't know.
          (crying)
          I woke up, I didn't have any
          clothes on, I didn't know where I
          was... it's one strange thing after
          another! I don't know what is
          happening! I saw my dead
          grandmother. I talk to her like I'm
          talking to you. She kept saying:
          "find the key, find key, get out!"

          TAREK
          Everyone I've met is looking for
          the key.

          HOPE
          My grandmother wasn't looking for
          it. What key? Tarek, where are we!

          TAREK
          Hold on.

          The engine starts and Tarek pulls out.

          CUT TO

          EXT. NEW YORK CITY - SAME

          Bird's eye view of the cab taking off.

          CUT TO

          INT. CAB - DAY - MOMENTS LATER

          The cab approaches a bridge.

          TAREK
          Damn it.

          HOPE
          What is it?

          TAREK
          A bridge. It's the same as doors.

          HOPE
          Does this mean?

          [Break at 7 pages]
          Last edited by dpaterso; 11-06-2011, 12:07 PM.

          Comment


          • #6
            Re: Halloween entries - 2011 challenge

            HARD CIDER

            EXT. SUBURBAN STREET - NIGHT

            Pint-sized ghosts, zombies and superheroes sprint from house
            to house, dodging "For Sale" signs, as they hunt for their
            next sugar fix.

            Larry (37), model suburbanite sporting a Detroit Lions
            jersey, huddles in a misty rain on a street corner with his
            neighbor, STAN (40), a jittery, Brooklyn transplant.

            STAN
            It's tough right now, but things'll
            get better. Give it time.

            He raises a pint of schnapps.

            STAN (CONT'D)
            To a new beginning.

            Stan takes a swig, passes the bottle. Larry toasts.

            LARRY
            To bankruptcy.

            Stan glances at his watch.

            STAN
            Where the hell is he?

            LARRY
            He's always late, been that way
            since we were young.

            Stan's wife, FAYE (36), strolls up to the men, peeks from
            under an umbrella, points a flashlight.

            FAYE
            We're taking the kids 'round the
            block.

            Stan shields his eyes from the blinding light.

            STAN
            Okay, dear. Uh, we're just waiting
            for Tony. We'll catch up.

            Faye rolls her eyes.

            FAYE
            Bunch of kids. We got Uncle Abe's
            shiva in the morning, so don't be
            too late.

            She ducks under the umbrella, walks away.

            Stan nudges Larry.

            STAN
            Now there's some bad luck, poor
            sonofabitch died right on
            Halloween.

            TONY (32), crewcut, goatee, tall and handsome, jogs up to
            Larry and Stan.

            TONY
            Hey guys.

            STAN
            Where the hell ya been?

            TONY
            Sorry, I had to give a friend a
            ride home from work.

            STAN
            Don't you mean she rode you home
            from work? When you gonna get
            married, settle down?

            Tony smiles.

            TONY
            I see your daughter's home from
            college.

            Stan shoves Tony.

            STAN
            **** you, you pervert bastard.

            Tony snatches the liquor bottle from Larry, pats him on the
            back.

            TONY
            Hey man, how ya been.

            LARRY
            I'm good.

            TONY
            Damn, not gonna be the same without
            you. When you leavin'?

            LARRY
            Not sure, maybe tomorrow night if I
            can get a flight.

            Larry checks his watch.

            LARRY (CONT'D)
            Let's go, we got two minutes.

            The trio joins a group of men lurking outside a tricked out
            bungalow - skeletons, bloody zombies and ghosts dancing in
            the light of a flickering strobe.

            Tony whispers to his buddies.

            TONY
            Remember last year?

            LARRY
            Marilyn Monroe.

            TONY
            Yeah, best one yet. I still can't
            figure out how that dude got outta
            there.

            STAN
            Just remember to say "treat."

            LARRY
            Shhh, here she comes!

            Tony's eyes widen, his mouth agape.

            TONY
            Whoa, definitely tops last year.

            EXT. BUNGALOW - NIGHT

            SADIE HACKETT (32), slips through the doorway, a dead ringer
            for Goldie Hawn's Private Benjamin character. Her golden
            tresses flow from a military cap, onto breasts barely
            restrained by a skimpy camouflage halter top.

            Stan and Tony squeeze their way to the front of the crowd.

            She descends the porch stairs.

            SADIE
            Fall in line, soldiers.

            Her long legs scissor from under a leather miniskirt.

            The men scramble into position like a bunch of schoolboys.

            Stan whispers to Tony.

            STAN
            Reminds me of my ex.

            TONY
            No, that would be a blood-sucking
            vampire.

            Sadie unsheathes a leather horsewhip, seductively slides her
            hand along its length. She walks the line, inspecting her
            recruits.

            SNAP. Stan flinches when the horsewhip smacks against his
            shoulder.

            SADIE
            Trick or treat, soldier?

            STAN
            Uh, treat.

            She glares at Stan.

            SADIE
            You sure soldier?

            STAN
            Uh, yes sir, uh, I mean, yes ma'am.

            Sadie pulls a cigar from under her halter top, slips it into
            Stan's pants pocket.

            SADIE
            At ease.

            Stan exhales deeply. Sadie peers up at Tony.

            SADIE (CONT'D)
            What about you stretch?

            Tony smiles, turns to Stan, winks.

            TONY
            That'll be a trick, Ma'am.

            Sadie snaps the whip toward the ground.

            SADIE
            Very well, drop down and give me
            twenty, soldier.

            Tony drops to his knees and pounds out twenty pushups with
            ease, jumps to his feet and salutes.

            She flicks the whip toward the house.

            SADIE (CONT'D)
            Wait for me on the porch, Private.

            TONY
            Yes ma'am!

            Larry sprints toward the house.

            SADIE
            The rest of you, fall out.

            She flings open a cooler, tosses a beer can at Larry.

            SADIE (CONT'D)
            Happy Halloween, boys. Help
            yourselves.

            INT. BUNGALOW - NIGHT

            Sadie leads Tony into the foyer. She tosses the whip onto a
            table, removes her cap, gestures into the living room.

            SADIE
            Have a seat. Would you like some
            spiced cider?

            TONY
            Sure, thanks.


            LIVING ROOM

            Tony takes a seat on the only piece of furniture in the room -
            a Victorian sofa covered in clear plastic. Under the sofa, a
            blue plastic drop cloth. He scans the barren walls.

            TONY (CONT'D)
            Getting ready to redecorate?

            Sadie enters with two steaming cups. She hands one to Tony,
            then takes a seat next to him on the sofa. Tony gulps the
            cider.

            SADIE
            Actually, I keep it this way. Works
            best for my clients.

            She takes a sip from her cup. Tony leans over, slides his
            hand over Sadie's breast.

            TONY
            Works for me, too.

            Sadie places her hand on Tony's thigh.

            SADIE
            Just a minute.

            She rises, strolls to the window, pulls the blinds closed.

            SADIE (CONT'D)
            How's it going with Liz?

            Tony swallows hard.

            TONY
            Liz?

            Sadie returns to the sofa.

            SADIE
            I heard it's been quite a romance.

            TONY
            Nah, we're just friends. Damn shame
            between her and Larry.

            Flushed, beads of sweat forming on his brow, Tony unzips his
            jacket.

            TONY (CONT'D)
            Hot in here.

            Sadie strides to the middle of the room.

            SADIE
            That's normal.

            TONY
            What? What's normal?

            He blinks, tries to clear his head.

            SADIE
            It's a bit uncomfortable at first.

            Frothy saliva forms at the corners of Tony's mouth. The cup
            slips from his hand, crashes to the floor. A wave a nausea
            hits Tony.

            TONY
            (slurred)
            You ****in' bitch.

            He staggers from the sofa, lunges at Sadie, but his legs turn
            to jelly. He collapses on the plastic tarp, vomiting and
            convulsing.

            INT. GARAGE - NIGHT

            Larry loads a heavy rolled blue tarp into the back of rented
            moving van, then slides the door closed.

            SADIE (O.S.)
            Tony's just booked a midnight
            flight to Oregon.

            She flicks on a flashlight.

            SADIE (O.S.) (CONT'D)
            Let me see.

            Larry turns. Sadie holds the light to his face....

            Larry in makeup, transformed into TONY.

            Sadie dabs a cottonball to blend makeup across Larry's
            prosthetic nose.

            SADIE (CONT'D)
            Perfect.

            Larry opens the van's driver door, slides behind the wheel,
            then ducks his head out the window.

            LARRY
            Thanks for everything. Tell Liz
            goodbye for me.

            Sadie smiles.

            SADIE
            From Larry or Tony?

            LARRY
            Larry who?

            He slams the door. The van rumbles to life, rolls out of the
            garage.
            Last edited by dpaterso; 11-01-2011, 09:43 AM. Reason: my bad!

            Comment


            • #7
              Re: Halloween entries - 2011 challenge

              I, ZOMBIE

              FADE IN:

              EXT. CITY STREET - DAY

              Closed eyes, perfectly still.

              Eyelids fly open without warning, reveal gray, bloodshot
              eyes.

              SUSANNAH (32), fit and good-looking, sits up in the middle of
              the street. Nearby, cars sit askew, many with doors open.

              She stands unsteadily, hands on her knees. Clean GAUZE wraps
              her left forearm. She studies it, starts to lift the edge--

              BLAM! A shotgun, close by. She ducks, flees to the nearest
              car, crouches down behind it. Through the window she sees--

              MILES (38) and DEREK (44) dart across a neglected lawn,
              shotguns raised.

              DEREK
              ****, that was close. Bitch almost
              got me.

              Miles hops the fence and sweeps the street.

              MILES
              Keep your head on a swivel.

              Across the street from the men--

              A WOMAN (26) walks out of a house, frightened, holding up
              bloodied hands and forearms.

              WOMAN
              Don't shoot! I'm not armed!

              Miles and Derek train their guns on her.

              The woman shuffles down the walk to the sidewalk--

              MILES
              That's close enough.

              She stops, face contorted in a tearless cry.

              WOMAN
              Have you seen my sister? I have a
              picture here--

              She eyes the men warily.

              WOMAN (CONT'D)
              I'm going to reach into my pocket,
              okay?

              Miles gives a nod but tightens his grip just the same. The
              woman pulls a folded photo out of her jacket, holds it up.

              WOMAN (CONT'D)
              Her name's Beth. I woke up and she
              was gone. Have you seen her?

              Derek's eyes flick to Miles. Miles nods.

              MILES
              We seen her. You hurt?

              Relief floods the woman's face. Her hands come down, she
              steps into the street.

              WOMAN
              You have? Where?

              MILES
              I said don't move!

              She freezes.

              DEREK
              He asked if you're hurt.

              WOMAN
              No, I--oh!
              (holds out her hands)
              No, no, this isn't my blood. It--my
              husband--

              MILES
              Not your hands. Your ankle.

              Susannah risks raising her head enough to see a WHITE BANDAGE
              on the woman's right ankle.

              The woman looks at it, confused.

              WOMAN
              My ankle? Oh. Forgot about that,
              can't even feel it anym--

              BLAM! Miles fires and her head explodes in a puff of red. She
              drops like a sack of meat.

              DEREK
              Jesus-****ing-Christ! Give a guy some
              warning, I nearly pissed myself!

              Susannah drops to her stomach, horrified, hand clamped tight
              over her mouth.

              MILES
              Better they don't see it comin'. Come
              on, it'll be dusk soon.

              Under the car, a pair of brand new white Converse sneakers
              jogs into view heading in Susannah's direction.

              She silently slides under the car--

              The sneakers stop inches from her face. A pair of boots run
              past as Derek advances up the street.

              The sneakers leave, but stop. Turn towards her--

              A hand reaches down, picks up a half-burned cigarette.

              MILES
              Now that's more like it.

              Susannah watches the sneakers run off but doesn't leave her
              hiding spot.



              INT./EXT. CITY BUS - LATER

              Susannah stands in an intersection blocked by a bus. Other
              vehicles choke the streets, some askew, a couple on their
              sides. Somewhere a motor is running.

              She cautiously boards the bus--

              INSIDE

              She stands by the change box and stares.

              The body of a man sitting up, head propped against a
              shattered window, bullet hole in the temple.

              Two more bodies lie face-down in the aisle.

              Across from the rear exit, TOM (35) reads a NEWSPAPER.

              SUSANNAH
              Hello?

              The paper lowers just enough to see Tom's smile and his
              PRIEST COLLAR.

              TOM
              Didn't see you there. I'm Tom.

              Susannah doesn't move, so Tom nods towards the window.

              TOM
              How bad is it out there?

              SUSANNAH
              Not sure. Bad.

              Tom shakes his head, but the smile stays fixed on his face.

              TOM
              So this is it, huh? Armageddon. End
              of Days, and all that jazz.
              (beat)
              You look familiar.

              Tom folds the newspaper and drops it on the seat in front of
              him, revealing a one-inch STEEL PIPE with a wide flange
              lodged through his sternum.

              TOM
              (off her stare,
              embarrassed)
              Yeah, I'm stuck good. Teenagers, huh?
              Didn't even ask how I was feeling.

              Susannah sits, eyes locked on the pipe. Something like pain
              or sympathy crosses her face.

              TOM
              I feel fine, by the way. Don't ask me
              why.
              (snaps his fingers)
              You're that doc from TV. The
              "alarmist".

              She doesn't acknowledge. He takes hold of the bar on the seat
              back ahead of him.

              TOM
              Man, if I were you, doc, I'd be
              wearing a ****ing sign that says "I
              TOLD YOU SO!"

              SUSANNAH
              I thought priests don't swear.

              TOM
              Something tells me God won't mind.
              (beat)
              This what you expected?

              Susannah shakes her head. Her hand finds the bandage on her
              arm and covers it.

              Tom sees the motion. His eyes widen.

              TOM
              Oh, that's ****ing poetic!

              Susannah's hand flies away from the bandage. Tom laughs.

              TOM
              So, you going to help me get off this
              thing? You know I can't hurt you.

              She doesn't move. Tom grows agitated.

              TOM
              Come on! I'm ****ing bored out of my
              skull here! I've read that goddamn
              newspaper a hundred goddamn times and
              I just want off this ****ing bus!

              Tom thrashes violently, shaking both seats. Metal shrieks and
              groans but the pipe doesn't loosen.

              Susannah leaps up and Tom suddenly stops.

              TOM
              Sorry about that, doc. Won't happen
              again.
              (beat)
              Come on. This is no way to spend
              eternity.

              SUSANNAH
              You don't have eternity. In a week
              you won't even care.

              Tom waits but Susannah doesn't elaborate. She moves up the
              aisle--

              Picks up a MAGAZINE. Holds it out for him.

              Tom stares at it, dumbfounded. He chuckles, then explodes
              into hysterical, desperate laughter.

              She tosses the magazine in his lap and runs off the bus--

              OUTSIDE

              She dashes across the pavement, hops through two closely
              parked cars--

              --and catches her knee on the edge of a twisted BUMPER.

              She looks down without pain, sees a rip in her jeans. A deep,
              dry gash in the purple skin. And then--

              Black, thick liquid oozes to the surface. Slowly dribbles
              down her leg.

              SUSANNAH
              ****.

              OLD WOMAN (O.S.)
              Kinda like oil, ain't it?

              Susannah jumps, startled. An OLD WOMAN (64) approaches in a
              white hospital gown and shaved head beneath a tied scarf. Her
              hands twitch with palsy.

              SUSANNAH
              Are you...?

              The woman unties the scarf and LIFTS THE TOP OF HER SKULL
              like a cap. Susannah gets a good look at the dry, exposed
              brain and recoils in horror. The woman shakily covers it
              again.

              OLD WOMAN
              Croaked on the table. Brain tumor.
              Probably still in there but it don't
              bother me none.

              A cackle of laughter carries from the bus. The woman gives
              Susannah a questioning look.

              SUSANNAH
              I left him there. He's pretty far
              gone.

              OLD WOMAN
              Dearie, we're all pretty far gone.

              She motions to the bus. Three MEN come out of hiding and head
              that way.

              OLD WOMAN
              That's gonna keep oozin', muck up
              your clothes some. Makes a nice trail
              for the yee-haws to follow, too.

              She tosses something to Susannah--

              A tube of SUPERGLUE.

              SUSANNAH
              You're kidding.

              OLD WOMAN
              Works better 'n a band-aid.

              Susannah wipes the congealed blood and applies the glue,
              careful not to get any on her fingers.

              SUSANNAH
              Why don't you use it?

              OLD WOMAN
              Lord, no! Showin' off my brain's a
              hoot!

              Susannah tosses the glue back.

              SUSANNAH
              How many you got here?

              OLD WOMAN
              Twenty or so. More back at camp.

              SUSANNAH
              Have any problems yet?

              The old woman smiles. Half her teeth are gone.

              OLD WOMAN
              Someone wigs out, goes feral, we take
              care of it.

              SUSANNAH
              You're organized. How long ago did--

              OLD WOMAN
              Eighteen days.

              Susannah reels, leans heavily on the car behind her.

              SUSANNAH
              That's not possible. A week, maybe
              ten days--

              OLD WOMAN
              Says who?

              [Break at 7 pages]

              Comment


              • #8
                Re: Halloween entries - 2011 challenge

                C I N E P L E X

                EXT. MOVIE THEATER - NIGHT

                A MARQUEE GLOWS in the darkness reading:

                Halloween Horror Film Madness
                6 Classic Films Tonight Only

                Beneath this announcement, fighting the bitter cold in his
                brown suede jacket is MARK, a theater usher. He pulls out
                his cell phone to take a gander at the time...

                Break time is over. ****. He inhales one last puff from his
                cigarette, puts it out on the ground, saunters back inside.


                INT. MOVIE THEATER - LOBBY - SAME

                Mark takes off his pair of LEATHER GLOVES and rubs his hands
                together for warmth as the door closes behind him.

                Behind the concession counter stands Mark's boss, JERRY. He
                has been eyeing Mark for the past two minutes. ****ing late.

                JERRY
                (sardonic)
                Yeah, take your time sweetheart.
                What the hell took you so long?

                MARK
                (equally sardonic)
                Sweetheart? That's sexual harassment
                Jerry. I could have your job for
                that. Just imagine what I could do
                with all that power. Manager of the
                cineplex. Getting laid a hell of a
                lot more by Jessica, for sure.

                JERRY
                Take your jacket off. And get rid of
                your cell phone. You know the rules.

                MARK
                (ass)
                Sure thing boss.

                Mark complies and places his jacket behind the counter.

                JERRY
                Theater two is out and theater three
                is getting out now.

                Jerry hands mark a large black GARBAGE BAG.

                JERRY
                Have fun.

                MARK
                (still sardonic)
                It's Halloween, I can pretend I'm
                trick or treating!

                And with that Mark is off.


                INT. MAIN CORRIDOR - SAME

                MOVIE GOERS make their way out of theater three passing Mark.

                Only one MAN walks out of theater two. He's 40, wearing a
                red flannel shirt and he's alone. He stops and smiles at
                Mark.

                MAN
                Happy Halloween.

                MARK
                (obligated)
                Happy Halloween.

                Mark's fake grin fades away as the man continues down the
                hall. Mark enters theater two.


                INT. THEATER TWO - SAME

                The LIGHTS ARE ALREADY UP in the theater as Mark begins
                picking up trash. Down one aisle he finds an empty pint of
                CHEAP CANADIAN WHISKEY. He looks at the label.

                MARK
                Some one had the right idea.

                He tosses it in the bag. At that moment out of the corner of
                his eye, Mark spots a LARGE PUDDLE OF BLOOD on the floor.

                MARK
                What the hell?

                He pulls a WALKIE TALKIE from his belt. Clicks it on.

                MARK
                Jessica, Jerry, Greg? Copy?

                A moment of static then the walkie talkie roars to life with
                Jerry's voice.

                JERRY (V.O.)
                Nobody gets to leave early. The last
                shows _just_ got out.

                MARK
                Jerry there's a situation in theater
                two. There's blood all over the ground
                of one of the aisles.

                JERRY (V.O.)
                Very funny. I guess Michael Myers
                must have came down out of the screen
                and killed someone.

                MARK
                Jerry. Seriously.

                Just then GREG, a thirty year old projectionist, enters
                theater two.

                JERRY (V.O.)
                (changes tone)
                Okay. I'm on the way.

                GREG
                You serious?

                Mark points out the blood. Greg examines it a moment.

                MARK
                Where were you?

                GREG
                On break. What if it's fake? A
                Halloween prank? Taste it.

                MARK
                Taste it?! You taste it! Get a damn
                disease.
                (thinks a moment)
                There was a weird guy who was in
                here by himself.

                GREG
                (on walkie talkie)
                Jerry, there was a suspicious man
                wearing red flannel who just left
                theater two. Please stop him if you
                see him.

                JERRY (V.O.)
                All right, hold on.

                Mark looks at Greg a moment confused. Mark didn't say anything
                about a man in red flannel. Greg looks over at the movie
                screen and notices that the projector is still on.

                GREG
                Damn, I forgot to turn off the
                projector.

                MARK
                Isn't Jessica the projectionist
                tonight?

                GREG
                In theaters three and six.
                (beat)
                Why hasn't she reported in?

                ANGLE ON: Mark, concerned.


                INT. PROJECTION BOOTH THREE - MOMENTS LATER

                Mark and Greg open the door to find... no Jessica. No one.

                And the projector is still running -- no film, just light.

                MARK
                (on walkie talkie)
                Jessica? You there? Jessica? Jerry?

                Jerry have you heard from Jessica?

                Nothing.


                INT. MAIN CORRIDOR - MOMENTS LATER

                Mark and Greg frantically make their way towards the lobby.

                Greg eyes the rest room as they pass.

                GREG
                Get Jerry, I'll search the rest room.

                Mark nods as Greg ducks into "the john".


                INT. LOBBY - MOMENTS LATER

                Mark rushes into the lobby. No Jerry. No Jessica. No one.

                MARK
                Jerry? Jessica?

                He looks behind the counter for his phone, it's probably
                time to call the cops. His jacket and phone are missing. A
                few spots of blood drizzled on the floor, smudged bloody
                footprints.

                Mark gets on the walkie talkie.

                MARK
                Greg, there's blood out here too.
                (a beat)
                Greg? Greg?

                No response. ****. Mark runs for the rest room.


                INT. REST ROOM - MOMENTS LATER

                Mark bursts through the door. He recoils in horror at the
                sight in front of him -- GREG'S LIFELESS BLOODY BODY slumped
                on the floor -- THE MAN IN RED FLANNEL standing over Greg
                with a HUNTING KNIFE.

                Mark backs away towards the door. The man in red turns and
                watches with a sadistic smile on his face.

                SUDDENLY THE REST ROOM DOOR SWINGS OPEN. It's Jerry! He is *
                wearing Mark's jacket.

                JERRY
                Boo.

                The man in the red begins laughing as does Greg. What? He's
                not dead. It was all a Halloween prank. Mark is pissed.

                MARK
                (points at man in red)
                Who the hell is that?

                Jerry walks over to the man and puts his arm around him.

                JERRY
                This here is my buddy Jim. Wanted to
                help with this gag.

                JIM
                (to Mark, laughing)
                Sorry man.

                JERRY
                And I figured you might accidentally
                call the police, so I took this.
                (pulls out Mark's phone)
                Executed beautifully. Happy Halloween
                you bastard.

                Greg chuckles again, very pleased with himself.

                GREG
                When Jessica took her break and you
                thought she was gone it was almost
                too perfect. Wasn't even planned.

                MARK
                Jessica's not on break.

                JERRY
                Sure she is. After you.

                Mark pulls his LEATHER GLOVES out of his pocket and puts
                them on.

                MARK
                (calm)
                Not tonight.

                Mark approaches a BATHROOM STALL that is LOCKED and BREAKS
                THE DOOR IN using his shoulder. The stall door SWINGS OPEN
                revealing:

                JESSICA'S BODY lying atop of the toilet with an AXE sticking
                out of her chest, she's definitely dead.

                Mark pulls the axe out of her chest with some difficulty.
                The others look on in sheer horror.

                GREG
                Mark?! This isn't funny!

                MARK
                You ****ed my girlfriend Greg, so
                now you're ****ed.

                GREG
                Who? Jessica?

                MARK
                She told me Greg.

                GREG
                I didn't know she was with you!

                MARK
                Obviously not anymore, now.
                (to the other two)
                Sorry you guys had to see this. Was
                gonna deal with this privately but,
                I can't be letting you go now. You
                understand?

                Jim defensively SLASHES at Mark with his hunting knife, Mark
                dodges it, then HACKS INTO JIM'S CHEST WITH THE AXE!

                Jerry makes a run for it, but his run is literally cut short
                when Mark's AXE CUTS THROUGH HIS LEG AND TIBIA. Jerry howls
                in pain, incapacitated. The cell phone he was holding slides

                across the floor to the other side of the room.

                Mark now sets his sights on Greg, who still sits on the ground
                _paralyzed with fear._

                GREG
                (quietly sobbing)
                Mark I'm sorry, please don't. I didn't
                know.

                Mark raises the axe above his head.

                MARK
                Apology accepted.

                THE AXE COMES HURTLING DOWN.

                SMASH TO BLACK.

                THE END

                Comment


                • #9
                  Re: Halloween entries - 2011 challenge

                  THE BLACK ONES

                  INT. STEP UP SHOES - DUSK

                  In the window, ladies shoes trapped in fake cobwebs. Shocking
                  Sale signs everywhere.

                  An UNHAPPY CASHIER dressed as a witch, ridiculous pointy
                  black hat and mop for hair, works the register.

                  JASMINE and CLEO, twenty-something African-Americans, mill
                  about. Cleo keeps checking her watch. Jasmine struts back
                  and forth in a pair of snakeskin cowboy boots.

                  JASMINE
                  What about these?

                  CLEO
                  Great. Can we go now?

                  MERCEDES and ALMA, Latinas in their twenties, chat in Spanish
                  as they browse nearby.

                  JASMINE
                  What's your hurry?

                  CLEO
                  We're going to be late.

                  JASMINE
                  We've got plenty of time. I just
                  want to add the finishing touch to
                  my costume.

                  Distant laughter. Jasmine whips around. Faces the two women.

                  JASMINE
                  (to Mercedes)
                  Excuse me!?

                  Puzzled, Mercedes and Alma look up.

                  JASMINE
                  I heard what you said!

                  MERCEDES
                  Huh?

                  JASMINE
                  Look, I don't appreciate being talked
                  about!

                  Mercedes is bewildered. She holds up a pair of black
                  stilettoes.

                  MERCEDES
                  We were talking about--

                  JASMINE
                  Do you think I'm stupid?

                  CLEO
                  Jasmine....

                  JASMINE
                  I took four years of High School
                  Spanish. I know what I'm talking
                  about!

                  MANAGER, a chubby zombie, approaches.

                  MANAGER
                  Is there a problem?

                  MERCEDES
                  It's a misunderstanding--

                  JASMINE
                  I don't know where you come from but
                  this is America.

                  MANAGER
                  Why don't you both calm--

                  MERCEDES
                  I was born here! I'm not going to
                  let some ignorant hoodrat--

                  JASMINE
                  Hoodrat!?

                  That did it. Cleo groans...


                  EXT. JASMINE'S APARTMENT - HALLWAY - LATER

                  Jasmine, hair askew and torn clothes, turns the key in the
                  door and goes inside. Cleo, looking equally worse for wear,
                  stands outside with her arms folded defiantly. Jasmine sticks
                  her head out.

                  JASMINE
                  What!?

                  CLEO
                  I'm getting too old for this ****,
                  Jasmine.

                  JASMINE
                  Would you just come in already?

                  Cleo slinks inside.


                  INT. JASMINE'S APARTMENT - LIVING ROOM - NIGHT

                  Both women sit on the couch, defeated. Jasmine holds a pack
                  of frozen peas against her left cheek.

                  JASMINE
                  I was taking a stand!

                  CLEO
                  You overreacted!


                  EXT. STREET - NIGHT

                  Mercedes and Alma, unscathed, solemnly walk down the street.

                  Hanging at the corner, a GROUP OF ESES.

                  JASMINE (V.O.)
                  Trust me. They'll think twice before
                  they try something like that again.

                  They part like the Red Sea when the young women approach.

                  Scared shitless. One makes a sign of the cross after the
                  ladies are gone.


                  INT. ABANDONED BUILDING - BASEMENT - LATER

                  Surrounded by candles, a human skull rests on an altar. HALF
                  A DOZEN HOODED FIGURES dressed in red robes, approach the
                  altar.

                  One figure steps forward, pulls back the hood, Alma.


                  INT. JASMINE'S APARTMENT - LIVING ROOM

                  JASMINE
                  They're like cockroaches. If you see
                  one, there's fifty more where that
                  came from. Remember how the
                  neighborhood used to look?

                  CLEO
                  Like ****?

                  JASMINE
                  Yeah... But now it's shittier.
                  Gangs. Graffiti. Animal mutilations.

                  CLEO
                  Look, just because-- animal what?

                  JASMINE
                  Cops think it's some kind of black
                  magic thing. Cats. Dogs. A kid went
                  missing a few months ago.

                  CLEO
                  Enough with the urban legends.
                  We're going to be late for the party.

                  Cleo stands. Something tumbles out of her jacket. CLINK!
                  Falls to the floor.

                  CLEO
                  What's this?

                  She picks up a tiny bat figurine.


                  INT. ABANDONED BUILDING - BASEMENT - SAME

                  Alma holds an identical figurine. Closes her eyes.


                  INT. JASMINE'S APARTMENT - LIVING ROOM - SAME

                  Jasmine snaps a picture of the talisman with her iPhone.

                  JASMINE
                  Behold, the power of Google.

                  An image of the object followed by text appears on screen.

                  JASMINE
                  Pre-Colombian... used in rituals...

                  They look at each other in amazement.

                  CLEO
                  You don't think...

                  JASMINE
                  They're just trying to scare us.

                  CLEO
                  Well, it's working.

                  JASMINE
                  Come on. Do you really think--

                  Suddenly, Cleo drops the ground. Out cold.

                  JASMINE
                  Cleo, stop playing. Cleo?

                  Cleo starts convulsing. This is for real. Jasmine scrambles
                  towards her. Panicked, she picks up her phone. Dials...

                  JASMINE
                  Hello!? Hello!


                  INT. ABANDONED BUILDING - BASEMENT - SAME

                  Alma, Mercedes, and the rest of the group CHANT in a strange
                  tongue.


                  INT. JASMINE'S APARTMENT - LIVING ROOM - SAME

                  Chants pours through Jasmine's phone. Terrified, she flings
                  it on the couch. A trickle of blood runs out of Cleo's mouth
                  as her body continues to shake uncontrollably.

                  Jasmine spots the figurine on the floor. She picks up an
                  astray on the coffee table. Slams it down on the charm.


                  INT. ABANDONED BUILDING - BASEMENT - SAME

                  Alma SHRIEKS in agony. Crumples to the ground.


                  INT. JASMINE'S APARTMENT - LIVING ROOM - SAME

                  Jasmine performs C.P.R. Listens for a heartbeat. Sobs.


                  INT. ABANDONED BUILDING - BASEMENT

                  Mercedes helps Alma to her feet. Alma shakes her head.


                  INT. JASMINE'S APARTMENT - LIVING ROOM

                  Jasmine dials and listens.

                  OPERATOR (O.S.)
                  Please state the nature of your
                  emergency.

                  JASMINE
                  M-My friend, she's--

                  Cleo sits up. Groggy.

                  JASMINE
                  Oh. ****. Never mind.

                  Cleo stands. Jasmine hugs her.

                  JASMINE
                  You okay?

                  Cleo glances at the fragments of the charm.

                  CLEO
                  Yeah. Thanks.

                  JASMINE
                  Now do you believe me?

                  CLEO
                  For the last time, they weren't
                  talking about you.

                  JASMINE
                  Who then?

                  CLEO
                  Me.

                  Cleo bares a sharp set of vampire fangs. In a flash, she
                  bites into Jasmine's neck.

                  FADE OUT.
                  Last edited by dpaterso; 11-06-2011, 12:36 PM.

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