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Old 11-01-2011, 04:31 AM   #1
dpaterso
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Default 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
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Last edited by dpaterso : 11-07-2011 at 10:19 AM.
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Old 11-01-2011, 04:33 AM   #2
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Default 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.
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Old 11-01-2011, 04:35 AM   #3
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Default 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:
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Last edited by dpaterso : 11-06-2011 at 12:58 PM.
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Old 11-01-2011, 04:36 AM   #4
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Default 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
__________________
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Old 11-01-2011, 04:37 AM   #5
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Default 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]
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Last edited by dpaterso : 11-06-2011 at 01:07 PM.
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Old 11-01-2011, 04:38 AM   #6
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Default 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.
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Last edited by dpaterso : 11-01-2011 at 11:43 AM. Reason: my bad!
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