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Old 01-24-2006, 05:33 PM   #1
Kwvillen
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Default Valentine's Day Shorts/Voting Thread

VOTING STARTS TOMORROW! (FEBRUARY 15th).

POST YOUR VOTES HERE.

THE WINNERS WILL BE CHOSEN ON FEBRUARY 20th, 2006.

Please support your fellow Done Dealers' and read these Valentine's Day Shorts.

Top 3 entrants win, after the weekend, on February 20th:

1st Place - 3pts.
2nd Place - 2pts.
3rd Place - 1pt.

Thanks to all who participated! It doesn't matter who wins, it was the fun of the writing exercise.



KWV

P.S. - If you haven't submitted a short, you have until 12:00am tonight (February 14th, 2006).

Last edited by Kwvillen : 02-14-2006 at 10:52 AM. Reason: voting starts on feb. 15th
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Old 01-24-2006, 05:35 PM   #2
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Default Re: Valentine's Day Short- ENTRIES ONLY

Better late then never

Written by: vig


FADE IN:

INT. BANK - DAY

Freshly buffed loafers scrape across the floor. Past oak desks that get bigger in the advance toward the back of the bank.

ROBERT BROOKS, youthful, with bright blue eyes stops at a door, etched on the smoked glass, "BANK PRESIDENT" ARTHUR MONROE.

Robert fixes his tie, straightens his shoulders and KNOCKS.

INT. OFFICE

A crusty OLD MAN, ARTHUR MONROE.

MR. MONROE
You know how it works. Open it.

The door opens --

INT. SUBURBS - SIMULTANEOUS

A garage door opens, to a Mustang, freshly painted cherry red. MATT DEMI, with a mullet rubs the top of the hood.

MATT
Happy valentines day gorgeous.

He kisses the hood, as DOROTHY JAMES, a stripper, without the pole, jumps up and down, squeals.

DOROTHY
It's so hot baby. It's mine?

He engulfs her in his arms, puts her on the hood of the car, plants a wet one on her. Then pulls her up.

MATT
You ready to make it happen?

DOROTHY
Start my engines baby. Vroom, vroom.

MATT
Well let's roll.

They get in the car. It THUNDERS TO LIFE. Dorothy flips down the glove compartment, a .38 with a wooden handle.

Matt smiles deliciously, the red mustang rolls out of the garage.

INT. BED ROOM - DAY

A pregnant women, SAMATHA BROOKS, about six months, places a red dress over her stomach, the mirror shows the bulge in the dress. She sighs.

She checks from another direction. Sighs again. Rubs her stomach.

INT. BANK - DAY

Robert stops in front of Arthur, whose red bow tie is smeared with yesterdays soup. His nose permanently red from scotch.

ARTHUR
25 years, I never once left early for a Valentines.
Commitment son... that's what this institution stands for.

ROBERT
I know that Mr. Monroe, I believe in
that, really I do. I'm a team player.

MR. MONROE
Team. There is no I or boxes filled
with candy.

ROBERT
Team... I'm on board... but sir, my wife... she's,
well, she's feeling sad.

MR. MONROE
Sad is not my business.

ROBERT
I would just leave at 4:00, an hour early...
Marry said she'd cover for me.

MR. MONROE
Marry is a team player.

ROBERT
That she is sir.

MR. MONROE
No.

INT. BANK - AT HIS DESK

Robert picks up the phone, dials.

INT. HOUSE

Samatha is trying to do her toe nails, her belly making it difficult. She's done two toes. RING.

SAMATHA
Thank god.

She rolls on the bed and grabs the phone.

INTERCUT between conversation.

ROBERT
Hi honey.

SAMATHA
Happy Valentines day.

ROBERT
How is our linebacker.

SAMATHA
You mean doctor.

She rubs her stomach.

ROBERT
That's right, Doctor.

SAMATHA
He didn't let you out did he?

ROBERT
We can still go.

SAMATHA
Reservations are at seven.

ROBERT
I'm sorry --

SAMATHA
I'll guess I'll make something nice.

She looks at her toes, seven more to go --

SAMATHA
Let's stay home... I love you.

ROBERT
i'll make it up to you --

She hangs up the phone, sighs.

INT. BANK

Robert hangs up the phone dejected. He looks longingly at her picture on his desk, opens his draw takes out a small thin case, that says Tiffany's.

He opens it to a magnificent necklace.

EXT. BANK

The red mustang pulls into a parking spot across the street.

INT. MUSTANG

Dorothy hands the gun over to her partner in crime.

DOROTHY
Take it all baby - take it all.

He takes the gun, kisses her hard. Their lip lock smacks as they break it.

MATT
When you see me with all that
money you bolt out, I'll track
you down like a roped steer.

DOROTHY
I will.

Matt reaches into his pocket.

MATT
I got something else for ya, something pretty.

His outstretched hands reveals a diamond ring, with a tiny diamond. A silent beat.

MATT
Well?

DOROTHY
Of course I will marry you.
You're my knight shining armor.

Another vicious kiss.

MATT
We're gonna make babies and
teach them that robbing ain't right.

He takes a deep breathe, swings the door open --

INT. KITCHEN

A old 70s love song plays, as Samatha sings along with the words --

SAMATHA
Sky rockets in flight - afternoon delight --

She dips a strawberry into a pot of melted chocolate. A digital clock above her head reads 4:59.

INT. BANK

Robert takes keys out of his desk, walks out of his office onto the marble floor, his shoes scrapping the ground -- to the front door --

He looks at his watch, about to turn to 5:00. When a man in a mask pushes open the door, jams the gun in his gut.

MATT
Don't say a faucking word and finish
locking this place. Do it.

He pushes his hostage to the door. Robert locks up.

MATT
Know when we get to the back walk
like nothing's up.

They make their way into the bank as a COP waves to Robert.

COP
Locked up?

But the look in Robert's eyes says it all - the cop draws his gun - Matt pulls Robert in the cops path --

Our masked man fires two shots. The first one smacks into the cops shoulder, the other in his chest. The cop gets one off that strikes Robert in the chest. He slumps to the ground.

INT. KITCHEN

Samatha sings another 70s love song as she puts a roast into the oven.

INT. BANK

The cops down, bleeding. Matt runs toward the panicked teller, grabs her, shakes the gun in her face --

MATT
Give me the money now bitch.

She's scared to death, opens the draw. Matt jams his hand in the draw, snatches as much money as he can.

Just as another COP.

COP
Freeze.

Matt turns and fires, bullets are fired back. The cops hit in the leg, goes down, a bullet pounds into Matt's stomach - he doubles over, smears blood all over the money.

EXT. MUSTANG

Dorothy tries on her ring, admiring it. BANG. BANG. BANG. BANG. She's snapped out of her fairy tale.

DOROTHY
Baby.

INT. BANK

Matt's on his knees, bleeding badly, clutching the money. He pulls off his mask, crawls to Roberts side, who's bleeding just as bad.

Robert looks up at Matt -- Matt looks down at him.

MATT
I'm sorry man, nothing personal.

As Dorothy drives the Mustang through the door, gets out, twisted metal and steel impede her.

DOROTHY
Baby. Baby. What they do to you?

She runs to his side, her lover on his back, next to Robert, she cups his neck.

MATT
You like the ring right?

She shows him.

DOROTHY
Fits me perfect baby -

MATT
Yeah.

The wounded cop raises his gun and POPS off one shot, it strikes Dorothy in the head, she falls down onto Matt's stomach.

His eyes blow up like balloons.

MATT
Baby - baby.

He rubs her hair.

Robert pulls his body up so he's looking down upon the dead girl and her dying lover.

MATT
Help her man -- please - help her.

He gets to his feet. Just as Mr. Monroe steps out of his door -- he runs out to Robert.

MR. MONROE
Son... stay down.

ROBERT
I'm going home to see my wife.

MR. MONROE
Yes, you are --

Things start spinning -- then fade to black.

OUT FROM BLACK

A sandy beach where a mother and son cover something up. We here giggling --

SAMATHA
That's deep enough, we don't want to lose Daddy ---

BOY
Let's dig him up.

The boy digs away the sand, until we get to a scar, that runs across the chest, four inches, as Robert pushes his hands out from the sand and engulfs his son who laughs hysterically.

ROBERT
And the sand beast lives....

Samatha joins in, and the family tumbles in the sand.

THE END

Last edited by Kwvillen : 01-24-2006 at 06:19 PM.
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Old 01-24-2006, 05:38 PM   #3
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Default Re: ENTRIES ONLY - Valentine's Day Shorts

Valentine short.

Written by: Joffcourse


FADE IN:

INT. RESTAURANT--NIGHT

Alone at a window table, a YOUNG WOMAN sips at a glass of water.
She glances out the window.

A dreary rainy mess hasn't stopped COUPLES from strolling out
for the evening. Traffic stops at a nearby intersection in waves.

There, a YOUNG MAN in the traffic island grimaces as he hawks long stem roses
to drivers.

The young woman turns her concentration from the window and glances at
the empty chair in front of her.

Across the dining room full of couples, a WAITER glances at her.


The young woman checks her watch and looks about.

A waiter with a dessert cart passes and stops at a nearby table where a couple
fawn over each other as they choose from a sugary selection of red heart shaped
delights.

The young woman turns to the window again and watches expectedly each car
as it approaches.

The rose hawker wipes rain from his brow and continues rushing between cars.

The young woman turns and watches as a couple feed each other something
chocolate.

She watches as the dessert cart makes its way to another couple who laugh and hold
hands. They turn and glance at her with some sympathy?

The young woman reaches down and grabs her purse from the floor. She opens it
and takes a few packets of sugar from the table and places them in the purse and closes it.
She bends over to place the purse back on the floor and coming up, sees before
her...


the young rose hawker without his roses and soaking wet by her table.

He takes a linen napkin from the table and dries his face.

He empties his pockets of crunched up dollar bills and along with
quarters places it all on the table in a pile.

YOUNG MAN
I hope we're not too late.

The young woman smiles lovingly at him.

YOUNG WOMAN
There's still two of the raspberry
ones we wanted.

The young man sits down opposite her, reaches out and
gently takes her hand in his.


They both turn and smile as the dessert cart rattles in their direction.


THE END.

Last edited by Kwvillen : 01-24-2006 at 06:43 PM.
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Old 01-24-2006, 05:46 PM   #4
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Default Re: ENTRIES ONLY - Valentine's Day Shorts

Code:
Paper Heart Written by: wenona INT. LAZY OAKES NURSING HOME, ROOM 206 - DAY JACOB GOLDMAN sits in a wheelchair facing a window. Snow falls outside making the view dull and dizzying. He sleeps with his head cocked at an angle, a stream of spit dangles above his crotch. His bald head rises and falls with steady breathing. VANESSA a thirty-five year old thick black woman dressed in a rose-colored nurse uniform stops in the open doorway, knocks softly several times then strolls in talking to herself. VANESSA That woman is crazy if she thinks I'm covering her ass again ... Mr. Goldman? Hello sleepyhead. He stirs, coughs and strains to turn his head toward the door. GOLDMAN You know I don't nap, dammit. She smiles as she grabs the wheelchair handles and slowly spins him around. The room has one hospital-type bed covered by a thin worn crocheted blanket. A chair is shoved into a corner with a dying poinsettia plant on its seat. She pushes him slowly toward the door. VANESSA I knew you'd try to sleep through arts and crafts again and you know I can't let you -- His slippered feet hit the floor and turn slightly inward before she stops pushing. GOLDMAN I'm not going. VANESSA Mr. Goldman now c'mon. I can't let you sit at that window staring at the month of February. It's not healthy, you need to interact with the other residents. She pushes gently on the chair, he doesn't move. GOLDMAN You know I hate that crap. They don't even give you real scissors, do I look like I have the strength to stab somebody with a pair of scissors? He holds up a frail wrinkled hand, it shakes. VANESSA Just do this one, please. I know you feel like a child but I promised Mrs. Rubenstein you'd be there. He lowers his hand, his frown softens oh so slightly. GOLDMAN Margaret Ruby? What does that saggy old hen have to do with this? VANESSA You're not fooling me. Honey, have you looked in the mirror lately? GOLDMAN They don't let us have mirrors, remember? I'd probably try to stab myself with it. VANESSA I shoulda let you stare at snowflakes all day, you're awful crabby for an old white guy. Put your feet up, I promised her you'd go. He slowly lifts his feet back onto the wheelchair pedals. INT. HALLWAY - CONTINUOUS Several other residents move in a slow steady stream toward a main room. Some walk unassisted but most either use a walker, cane or wheelchair. A sweet sing song VOICE filters through the speakers lined along the ceiling. VOICE Time to make something special for your sweetie. It's the last hour of Valentines arts-n-crafts time in the game room. Mr. Goldman's feet again slam into the floor, this time with a little more strength. VANESSA Aw, c'mon! Vanessa walks around to face the old man. She bends her knees to get to his level. GOLDMAN I'm not making that woman some sappy crappy little piece of **** that a kindergartener would laugh at. I'm not doing it. VANESSA Yes you are. He refuses to look into her face. GOLDMAN Take me back to my room. VANESSA Look, Mr. Goldman I know it's not a Hallmark production line in there but some of the other girls and I kept a little from the Christmas budget and bought some extra fancy things. I think you could make something really nice and -- He crosses his arms over his thin chest. GOLDMAN And what? You want me to cut and paste like a good little boy so she can see my steady hands and sharp eye? You want me to maybe even sign my name, hell I can't even remember my name some days. VANESSA --and she already made you one while you sat in there drooling on your shirt. He looks down, uncrosses his arm and sees the large wet stain on his shirt. VANESSA (cont'd) I told her yours was coming. She went to wait in her room so it would be a surprise. He turns and glares but his face can't hold it too long. It softens as he sighs. GOLDMAN You realize that cupid is a little fat white baby, right? She stands, resumes pushing him down the hall. VANESSA I don't know what she sees in you but you're going to surprise that little old lady and you're going to do it before I go home today. GOLDMAN Yes ma'am.

Last edited by Kwvillen : 01-24-2006 at 06:46 PM.
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Old 01-24-2006, 05:49 PM   #5
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Default Re: ENTRIES ONLY - Valentine's Day Shorts

Code:
Paper Heart (cont...) Written by: wenona INT. GAME ROOM - DAY Groups of elderly residents gather in fours around card tables set in the middle of a large room. A fire crackles in a fireplace and boxes of puzzles and games line the shelves. A television in the corner is off. Vanessa parks Mr. Goldman at a table with another old man, also in a wheelchair. He has a pile of red construction paper and flimsy lace in front of him. A nurse helps him unplug a glue bottle. VANESSA Let me get you some materials to work with, don't move. GOLDMAN I'm not going anywhere. She returns with several red sheets of paper, ribbons, lace, markers and a tube of glitter. GOLDMAN (cont'd) I don't need all this junk, just give me the scissors. He holds out a hand, Vanessa looks around and pulls a large pair of orange handled scissors ... Sharp. She sets them in front of Mr. Goldman. VANESSA I took them from the station. GOLDMAN Perfect, thank you. She nods and walks away. Mr. Goldman pushes the pile of gaudy valentines supplies aside except for one sheet of red construction paper. He folds it in half, then in half twice more, smoothing each crease. He picks up the scissors and waits for his hand to stop shaking. The scissors start in on a fold, slow and precise. He turns the paper clockwise then quickly counter-clockwise. He cuts small shapes through the center, bits of red paper pile underneath him. The folded paper takes on the shape of hearts surrounded by doves and flowers. Mr. Goldman looks up, the man seated across from him is transfixed by Mr. Goldman's hands and flurry of paper. GOLDMAN (cont'd) What are you looking at? The man looks down at his mess of glitter and glue. Mr. Goldman stops to look at it. GOLDMAN (cont'd) It's nice, I'm sure she'll like it. The man smiles back at him, toothless. Mr. Goldman completes his last cut and sets the scissors down. His hands immediately start to shake again as he starts to peel apart the first fold. There is a ripple of activity at the nurse's station. Phones ring, voices whisper orders. Several nurses rush down a hallway into a room, a light blinks above the door. Mr. Goldman pauses to watch. Vanessa emerges, crying, shaking her head. She holds a red card down by her side as she passes more nurses going in. She walks directly toward Mr. Goldman as he finishes unfolding his Valentine. It dangles in the air like a paper doll chain of intricate design dancing with Mr. Goldman's tremors. Vanessa bends over the table, her eyes puffy and red. She places a glitter-filled heart shaped card, the edges rough and halted on the table. VANESSA Her heart ... It was her heart. She passed quietly. Vanessa slips an arm around Mr. Goldman and cries into his shoulder. He drops his valentine onto the table among the pile of scraps. To put his hand on Vanessa's back. GOLDMAN You can have your scissors back now, I'm done with them. FADE OUT.

Last edited by Kwvillen : 01-24-2006 at 06:48 PM.
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Old 01-24-2006, 06:01 PM   #6
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Default Re: ENTRIES ONLY - Valentine's Day Shorts

A BIG HEART


Written by: KWVillen



FADE IN:

EXT: DORA'S ART STUDIO - DAY

An obese woman, DORA, struggles up the steps of her front porch, breathes heavy. She fumbles with her keys. Drops them. She bends to β€” EGG SPATTERS AGAINST HER HEAD.

BOY O.S.
FAT PIG!

A group of boys pummel her with eggs. She stumbles. HER FOOT slips on gelatinous egg-goo. Like a hippo, on ice, her feet come out from beneath her. She plops on her ass.

The group of boys' laugh, like the frenzied cackles from a pack of hyenas.

A concerned boy, JUNIOR, hurries up the steps. A BOY'S HAND restrains him. The same hand that belongs to a mean kid, who goes by the name BULLY.

BULLY
What's the big idea?!

Junior's concern gives way to embarrassment. He forces a sheepish smile.

JUNIOR
Nothing.

BULLY
If I didn't know no better.
I'd say you were trying to
help that oinker.

Junior's eyes meet Doras. They share a moment of sorts; a victims' understanding. Junior turns to Bully.

JUNIOR
Nah. That fat pig?

Bully gives an evil grin. Acknowledges Junior with a friendly punch to the arm.

BULLY
Let's get out of here!
Come on! OINK!

Bully grabs Junior. The boys gather, run off.

ALL THE BOYS
OINK! OINK!

INT. DORA'S ART STUDIO - DAY

Renditions of Botero's 'Fat Ladies', cover the walls of the studio.

Dora towel dries her wet head, sits in front of a half-finished painting of another fat lady. Classical music lightly dances in the background. She sips a glass of red wine. Peace at last.

She paints a few strokes, her hand shakes. The brush scribbles a jagged line across the portrait. The painting blurs. The wineglass drops, shatters.

Dora's breath, panicked, quickens. She grabs a paper bag. Cups it around her mouth, inhales. The paper bag collapses β€” balloons β€” collapses...

AT THE SINK - DAY

A sink basin of running water, dirty paint brushes/pallets.

Dora stares, for a long beat: A rainbow of paint-colors, swirl... down the drain. She covers her mouth with her hand. The tears fall.

EXT. DORA'S - DAY

Dora opens the front door. A MOTHER holds her son, Bully, by the collar. His eyes black and blue.

DORA
Wha?

MOTHER
One of the boys slugged him
in the eye and told me what
happened. Isn't that right?

The mother releases Bully. He abruptly folds his arms, scowls up at his mother. She knocks that look off of his face, with a slap to the head.

BULLY
OW!

MOTHER
What do you have
to say for yourself?

He pouts, turns to Dora. His voice barely audible.

BULLY
I'm sorry.

MOTHER
What was that?

He cuts his eyes to his mother.

BULLY
SORRY I CALLED YOU A FAT ASS.

Another slap from his mother.

BULLY
OW! What was that for?!

MOTHER
A. For being a smart ass.
Two. Cause I ain't her.

Bully stamps his foot. In a huff, turns to Dora.

BULLY
Sorry for what I done.

MOTHER
What else?

Bully shakes his head at his mother like 'I'm not gonna'. His mother raises her hand like 'Oh, you're gonna'.

BULLY
OKAY. Jeez...

He looks to Dora from the tops of his angry eyes.

BULLY
Happy Valentines Day.

His mother hands him a box of chocolates. He gives them to Dora. The mother drags Bully down the steps.

DORA
Thank you...

Dora manages a half-hearted smile, a tiny wave, but their already gone.

INT. DORA'S ART STUDIO - DAY

Dora eats the chocolates, watches television. The doorbell rings.

EXT. DORA'S ART STUDIO - DAY

Dora opens the door. A dozen of roses are on her front stoop. She looks around, notices Junior slumped on the steps. Dora walks over, sits beside him, inhales the roses.

DORA
For me?

Junior, face buried in his hands, shakes his head yes. He sniffles.

DORA
Thank you, they're beautiful.

Dora fingers the flowers, stares off.

DORA
There is never a flower as sweet
or as beautiful as a rose. Its fragrance
is pure, as it wafts on a spring breeze
from places afar, though each is beautiful
beyond compare. Each is different from
flower to flower as it is from person to person.
Whether they be single hued or many colored
each has its meaning for a lifetime.

Dora blinks away the sentiment.

DORA
My father wrote that
in a Valentine's card
when I was about your
age. I never forgot it.

Dora looks to Junior, nudges him to lighten the mood. It doesn't work. She lays down the flowers, puts her arm around him.

DORA
I'm not mad that
you were one of
those boys...

Junior cries. Dora pulls him close, her eyes fill with tears.

DORA
It's okay...

They sit in silence for a beat. Dora leans in, changes her tone.

DORA
From the looks of
that other boy I'd
say you pack quite
a punch.

Junior shrugs his shoulders, doesn't look up. Dora looks at Junior poignantly.

DORA
Listen. I know
you're not like them.

Junior lifts his face from his hands.

JUNIOR
How do you know
mom?

DORA
Because, I didn't
raise you that way.

Dora leans her head on Junior. He wraps his arms around her, sobs. She gives him a kiss, rocks him gently.

JUNIOR
Happy Valentine's
Day.

DORA
You too sweetheart.

Dora pulls Junior close, as we pull away.

Last edited by Kwvillen : 01-24-2006 at 06:52 PM.
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Old 01-24-2006, 06:14 PM   #7
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Default Re: ENTRIES ONLY - Valentine's Day Shorts

My entry....

Written by: billythrilly7

INT. HOLDING CELL - DAY

An OLDER DISHEVELED MAN, in an Armani suit, sits on a wooden chair. The SHERIFF enters.

SHERRIF(O.S.)
Bender, your girlfriend is here.

OLDER DISHEVELED MAN/BENDER
Thank god.

SUSIE, a gorgeous girl, in her early twenties, steps towards the bars as Bender shakes his head in embaressment. The Sheriff opens the cell up and then stands there, motionless. Bender glares at him.

SHERIFF
I'll give you two a moment.

The Sheriff exits.

SUSIE
What happened?

BENDER
I...I tried to bribe a judge.

SUSIE
You what?

BENDER
Yep. Did you pay my bail?

SUSIE
Yes, we can go. I don't even know what to say.

BENDER
Say "yes."

SUSIE
To what?

BENDER gets down on one knee and pulls a ring box from his pocket. The hallway fills with smiling people, including other cops, and a few handcuffed, dregs of society.

SUSIE
Oh my god.

BENDER
Susie, will you marry me?

SUSIE
Yes. Yes!!

She jumps into his arms.

THE CROWD
(in unison)
Happy Valentines Day!!!


FADE TO BLACK



Thank you.

Last edited by Kwvillen : 01-24-2006 at 06:55 PM.
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Old 01-25-2006, 03:55 PM   #8
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Default Re: ENTRIES ONLY - Valentine's Day Shorts

The Obligatory Signature

Written by: ph0yce


Code:
INT. APARTMENT - LATE MORNING Steam rises from a cup of coffee, the scent easily filling this very bare two-bedroom apartment. An elderly man sits by a window on the edge of a wooden chair, his head hung down in shame. He turns and looks up, pitiful. WOMAN (O.S.) Oh my! Oh m-- The man grimaces. ELDERLY MAN Now you don't have to go on like that! WOMAN (O.S.) You stop that, Gerald! It's beautiful. I love it. It's-- GERALD fidgets. GERALD I know it ain't much but-- WOMAN (O.S.) Now you hush! Just the color I wanted too. You shouldn't have. The woman's voice fades into the next room. His face softens into a smile. The old man sighs and painfully looks at the table's centerpiece, a small glass jar of coins - mostly pennies. He takes a second look and something catches his eye... ...the word BANK on the building across the street. INT. BANK - AFTERNOON People mill about, muzak blares and everything is very... red. Even the bank went all out for Valentine's Day. The old man smirks at all the hoopla. A hand reaches out and taps him on the shoulder-- GUARD Mr. McKensie! Gerald JUMPS and clutches his chest with his free hand, the other remaining in his overcoat. He spins around to see the goofy face of a man in uniform. GUARD Whoa! Sorry! Didn't mean to scare ya. The guard eyes him curiously and chuckles. GUARD You're not hot in all that? It's supposed to be 85 today. Gerald shakes his head, his hat almost falling off. He motions towards the teller window. GUARD Oh yea, sure. He's back there. See ya later. Good, no line. The old man steps up to THE TELLER WINDOW A young woman in a white coat moves about quickly behind the counter. The old man dressed for winter catches her eye. TELLER Oh, hi Mr. McKensie! Gerald nods. TELLER Are you here to pickup or to see-- Gerald brandishes an old gun - a really, really old-looking gun. The teller freezes and draws a sharp breath in. Gerald begins to speak but-- TELLER #2 (O.S.) Hey Susan, where is-- --another teller appears and spots Gerald. TELLER #2 Oh, hey dad! What are you doing here-- Gerald looks confused. TELLER #2 Dad! What the hell are you doing?! A look of forced calm and composure comes over TELLER #2. TELLER #2 Dad, it's me, your son. Robert? Gerald shakes his head, dazed. Squinting his eyes and looking around, the teller window disappears. A sign hanging above him reads "RX Pickup/Drop-off." A glance towards the front door and "WALGREENS" is plastered everywhere. ROBERT Dad. Dad! Have you taken your medicine today? TELLER #1 starts to cry softly. ROBERT Oh Susie. No, it's-- it's okay... Gerald takes a closer look at the man in front of him. GERALD (in a frail voice) Bobby? A look of relief washes over ROBERT. He reaches into his pocket and retrieves a prescription bottle. INT. BASEMENT Two teens sit on a plaid couch. Their mouths are hanging open. WILLIAM SHATNER (O.S.) Hello, I'm William Shatner. What you've just seen is the harsh reality of just one of the many problems facing our aging population. TEEN #1 reaches for a yellow bong on the coffee table but his hand weakly is slapped away by TEEN #2. WILLIAM SHATNER (O.S.) PBS believes and so do I, that with your help we can fight dementia... TEEN #1 looks over at his friend. TEEN #1 Oh my God, are you crying? TEEN #2 (sniffling) Oh dude, that reminds me, my mom wants me to sign a card for my grandmother. TEEN #2 motions to a VALENTINE's DAY card on the table. TEEN #2 Hand me that. FADE OUT.

Last edited by Kwvillen : 01-25-2006 at 05:48 PM.
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Old 02-04-2006, 07:35 AM   #9
pit-pony
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Join Date: Nov 2005
Location: Nova Scotia, Canada
Posts: 47
Default Halifax 2050

Halifax 2050

FADE IN:

INT: OFFICE - MORNING

A dull but pleasant background hum is heard in the semi dark office. In the
center of the room, two very large red and inviting leather couches and one
massive black leather arm chair and a large glass coffee table. HECTOR is sitting
in the arm chair holding up his head with his hands, eyes closed.

A huge modern glass desk with sleek chairs are offsetting the white keyboards and
inlaid computer monitors. Fixed to the wall, a large LCD panel is displaying a
vendor corporate logo.

THE DOOR OPENS AS LINDA ENTERS, SHE WALKS BRISKLY TO THE DESK. The lighting
allows Hector, who lifts his head slowly, TO WATCH LINDA, WHO IS CLICKING LOUDLY
AS SHE WALKS ON LONG STILETTO HEELS SHOWING OFF HER LONG LEGS.

LINDA
How long have you been sitting here in the dark Hector?

LINDA SITS AT THE DESK. Her monitor turns on automatically playing a welcoming
soothing melody. She has her long black hair tied into a swirl of some sort and
her makeup is perfect. She briefly glimpses towards the mainframe rack, the
cooling and power equipment at the far end of the room.

HECTOR
I have confirmed my conclusion.

They both turn to face the door as EZRA steps into the room.

EZRA
Ah, there you both are. Good.

LINDA
I GOT some sleep but I don't think Hector was that lucky.

EZRA WALK OVER TO THE COUCH AND SINKS HEAVILY INTO IT AND PLACES A SMALL DEVICE
FROM HIS BELT ON THE GLASS TABLE. It projects an image onto the table top. LINDA
WAVES HER HAND OVER HER KEYBOARD and the same image is mirrored on the large
display.

HECTOR
I know what you are thinking. It's not that simple

LINDA
What has changed?

EZRA
Nothing has changed.

HECTOR
Look, it's just that the barrier won't hold up to the big
one.

Ezra is watching Hector's face but Hector is watching Linda move toward him.

LINDA
OK, Hector. Explain.

EZRA
His unsubstantiated prediction of a seismic event is
forecast in 96 hours.

HECTOR
That does not leave us much time to evacuate.

LINDA
We have the barrier. It worked flawlessly in the past.

Linda turns her head towards the large display

LINDA (CONT'D)
Show Global Monitors!

The display changes to a map of the earth shows dozens of points in the oceans
and on the coasts.

LINDA (CONT'D)
Weather!

The world synoptic weather analysis time stamped September 12, 2050 12:00 GMT is
overplayed on the map. A large hurricane, marked Tango on the coast of Florida
with a dotted path heading north to lay just off Cape Cod.

HECTOR
Add the tide data and the model Tsunami please.

The wall map changes to add hector's model and the pattern is put into motion
swinging back and forth in time over a 72 hour period each 10 seconds. Ezra
device, back on the table, projects a focus on Nova Scotia with the Halifax
Peninsula in the center.

EZRA
The Tsunami forecast is far from conclusive.

Hector is holding his head between both his hands again.

HECTOR
We get a perfect storm, Hurricane Tango intensifies to
category IV as per the ECMWF model and reaches Halifax at
18:40 on Friday as a Category III raising a storm surge
of 3 meters.

LINDA
Yes we agree on that ...

HECTOR
(stands and raises his voice)
.. it coincides precisely with the high tide for an
additional meter and a half.

EZRA
Hector, the barrier will hold. In 2019, Hurricane Patty
roared in as a III, it devastated the south end of the
city but ...

Ezra touches his device and the image changes to show an arial picture.

EZRA (CONT'D)
The barrier stretches for 28 kilometers and will rise
automatically at an angle calculated to best deflect the
hurricane surge diverting the water away from the city.

Hector continues to lecture.

HECTOR
My model shows that a Mega-Tsunami, originating at a
submerged volcano in the Mid Atlantic Ridge where it
meets the Northwest Atlantic Mid-Ocean Canyon, coinciding
with the Hurricane will generate a 22 meter wave
traveling at 2600 kilometers per hour. The wave grows in
height as it approaches land. The energy ...

EZRA
This same barrier design works wonders in Holland and ..

HECTOR
The wave height increases above the surface in
conjunction with the decrease in the depth of the ocean
floor below it. See for yourself.

Linda sits in her chair and crosses her legs. Hector's eyes are watching her
intently.

HECTOR
Show analysis seven!

The display switches to the magnified view of Halifax.

HECTOR (CONT'D)
Run!

The display animates a simulation of the Tsunami over Halifax. The wave pushes
over the 14 meter barrier at a height of sixty meters. The water washes over the
entire peninsula in seven seconds of elapsed real time to reach as far es the
International Airport to a height of 0.7 meters.

LINDA
Ezra. Can you confirm that this is at all possible?

EZRA
I will use Hectors numbers in my assumptions.

LINDA
We have observed the 2027 Mega-Tsunami caused by the
Volcano at La Palma in the Canarie Islands. That one
generated a 12 meter wave over land and took out most of
the ports on the east coast.

Ezra is now focused on his screen and. Linda spots Hector speaking on his phone.

LINDA
Hector. I need you here. Who are you calling?

HECTOR
I called it in. I sent my scenario to Ottawa. Let them
decide. I recommended we evacuate. Evacuate now.

EZRA IS NOW OUT OF HIS SEAT AND THE THREE ARE HUDDLED CLOSE TOGETHER. EZRA GRABS
HECTOR BY THE SHIRT COLLAR AND PULLS HIM FORWARD TOWARDS HIS OWN FACE.

EZRA
You son of a bitch! We are a team! Our recommendation was
to be a consensus. Not a contest. You broke our contract.

LINDA TRIES TO STICK HERSELF BETWEEN THEM AND PULLING HARD ON EZRA'S HANDS. THIS
MAKES EZRA GRAB ON EVEN HARDER AND HECTOR SLIDES TO HIS KNEES. EZRA BENDS DOWN TO
FOLLOW HECTOR DOWN AS HIS BODY STRETCHES FULL OUT ON THE FLOOR. NOT LETTING GO,
TIGHTENING HIS GRIP. An annoying insistent alarm is drowning out the normal
humming of the room.

EXT: GARDEN - AFTERNOON

Linda is sitting on a bench. The sun is out and it's a warm beautiful early fall
afternoon. Linda raises her head and points it towards the sun while closing her
eyes. Ezra is standing a few meters to the side, hands in his pockets, looking at
the coming and going of students on the campus grounds. Ezra turns and walks over
to sit next to Linda on the bench.

EZRA
He's wrong you know. His math doesn't work. This is not
what will happened in four days. With preparations now
well under way the city will survive another storm. It always has in
the past.

LINDA
I know. You were right. They ran Hector's program on the
National Research Council supercomputer and it didn't
stand up.

EZRA
I love you, you know that.

LINDA
Thanks you Ezra. It's the best wedding present I could have ever wished for.

FADE OUT.

Last edited by pit-pony : 02-04-2006 at 06:59 PM.
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Old 02-06-2006, 11:49 PM   #10
BetterThanNormal
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Posts: 292
Default Re: ENTRIES ONLY - Valentine's Day Shorts

ANOTHER GOOD BYE



INT. UPSCALE RESTAURANT -- NIGHT


MIKE, late 20's, well dressed sits at a table by
himself. He checks his watch, looks at the entrance,
checks his watch again.

A waiter approaches the table with a water jug.

WAITER
Freshen your water sir?


MIKE
No, I'm fine. Have you seen a blonde woman
in a red dress come in here in the last hour or so?


WAITER
I've seen a few. Does she have any distinguishing
features?


MIKE
Um, well she's very pretty.



WAITER
I've seen even fewer of those. I'll keep an eye
out for her though sir.


MIKE
Thanks.


The Waiter leaves.


RESTAURANT ENTRANCE


LANEY, an attractive woman the same age
as Mike enters soaked to the bone. She folds
up the remains of her malfunctioning umbrella
before approaching the CONCIERGE.


She exchanges a few words with the Concierge
who points to Mike's table. Laney moves her
dripping hair into place and with a big smile
approaches Mike's table.


MIKE'S TABLE

Laney approaches the table.


LANEY
Hi!


MIKE
Oh my God Laney look at you. You're soaked.


Mike rises and pulls out Laney's chair for her.


LANEY
Ah it's nothing. Just a little rain.


Mike returns to his seat. They exchange a quick kiss.


LANEY
Happy Valentines Day sweety.


MIKE
You too.


LANEY
So did you order yet?


MIKE
No. Do you want a drink?


LANEY
Maybe just water for now.


Mike motions for the Waiter. The Waiter brings
the water jug to the table and fills Laney's glass
then sets down a menu for her.


LANEY
(to the Waiter)
Thank you.


MIKE
Um Laney, there's something I want to talk
about.


LANEY
Can it wait 'till after dinner? I'm starving.


MIKE
Well, no it can't.


LANEY
Okay.


She places the menu down and gives Mike
her undivided attention.


LANEY
I'm all yours.


Mike takes a deep breath.


MIKE
I was thinking about us.


LANEY
Isn't that my line?


MIKE
And I'm, well...I wanna break up.


LANEY
What!?


MIKE
I just think it would be good for us to see
other people.


LANEY
You mean fvck other people right?


MIKE
No, no that's not it! It's just that--


LANEY
It's what? C'mon Mikey you're a big boy,
explain yourself.


MIKE
Well, I, I--


LANEY
Yes?


MIKE
I just want to see other people that's all.


LANEY
Am I not enough for you? Is that it?


Some of the other patrons turn and watch them.


MIKE
Well, sort of.


LANEY
Sort of? Sort of?! I blew you at the top of
the Sears tower just like you always fantasized
about! What other girl would do that for you?


MIKE
Well yeah that was okay.


LANEY
Okay?


She approaches a nearby table where an
elderly couple is enjoying dinner. She takes
their empty wine bottle.


LANEY
May I borrow this?


She returns to Mike's table with the bottle.


LANEY
Remember this?


She performs fellatio on the bottle.


LANEY
Ith thith ringing ack any mumorieth hor you?


MIKE
Laney stop it. You're embarrassing yourself.


She puts the bottle down.

LANEY
Well I'm sorry, but I thought you loved me.


She begins crying.


MIKE
I guess maybe I do, a little, but not as
much as I thought I did.


He hands her his napkin and she blows her nose into it.


LANEY
You're such an azzhole! Fvck you!


She storms out of the restaurant. Mike follows her.


MIKE
Laney, wait!


EXT. UPSCALE RESTAURANT -- PARKING LOT -- NIGHT


It is still raining. Laney is looking for her car.


LANEY
Damn it where's my fvcking car?


Mike rushes up to her.


MIKE
Laney wait.


LANEY
Get lost Mike.


MIKE
Are you gonna be okay?


LANEY
What do you care jerk?


MIKE
I still care.


LANEY
Like hell.


MIKE
I do. It's just that...


LANEY
What Mike? For crying out loud what the
hell is it that you don't like about me?


MIKE
Well, it's just that--


LANEY
Out with it already!


MIKE
You don't act sexy anymore.


LANEY
I don't what? Listen here, I am sexy buster.
The guys at the office beat their meat twice
a day over me. Maybe it's you. Maybe you're gay.


MIKE
They do?


LANEY
Yeah, I hear them when I pass the bathroom.
They're moaning my name and breathing hard.


MIKE
And what else?


LANEY
They stare at my ass and my legs all day long.
I tease the crap out of them too.


MIKE
You do? What do you do?


LANEY
Cross and uncross my legs, dangle my heel,
bite on my pen, stretch at my desk, walk
real slow when I go past them.


Mike steps closer to her.


MIKE
You like it when they do that?


LANEY
I love it.

Mike tackles her note a nearby car and kisses her hard.


INT. MIKE'S APARTMENT -- BEDROOM -- NIGHT


Laney and Mike are lying in bed exhausted but
satiated after a night of steamy sex.


LANEY
How was that?


MIKE
The part with the bottle was classic.


LANEY
What did you think about all the dirty office
stuff?


MIKE
Brilliant.


She snuggles into the crook of his arm.


LANEY
So a good Valentine's Day for you?


MIKE
The best yet. You?


LANEY
Perfect. But next time let's pick another
restaurant. I think they're getting sick of
our antics every year.


MIKE
Sure. Happy Valentine's Day.


LANEY
Happy Valentine's Day.



FADE OUT
__________________
“Only he is an emancipated thinker who is not afraid to write foolish things.”
-Chekhov

Last edited by BetterThanNormal : 02-08-2006 at 01:31 AM.
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