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Old 04-22-2013, 05:49 AM   #1
dpaterso
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Default "Dangerous Dames" contest entries 2013 [now 17 entries]

Here are the titles of the 17 entries:

The Dark Fairy
Judas
Dark Eyes
Red and White
The Ends
Infantale
The Art Heist
The Shooter
We See
Western Noir
Medieval Noir
Dead of Night
The Wages of Sin
Untitled
Jack
Obsessed
Tech Noir

Edit: the results thread is here.

Note that some entries either exceeded the 8-page limit and/or may be sample pages from longer screenplays. To avoid reader confusion, these entries finish with: [end scriptment]

Everyone is invited to read the entries and pick your 1st, 2nd and 3rd place favorites. PM these to me please, preferably in that order! Comments on the entries are also encouraged, and can be posted in the contest results thread once voting is done with. Tentative deadline for votes is Sunday 28th. Please don't vote for your own entries.

You'll appreciate text has to be "laundered" to make it fit to post here. This isn't always perfect, and sometimes it seems that no two PDF files are alike! If you see any errors in your entry or entries, please let me know via PM asap and I'll fix, is no problem.

If the displayed text is too big or too small, try using Ctrl-minus and Ctrl-plus to zoom out and zoom in until you get a better size.
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And maybe start thinking about a Yuletide contest also!


Last edited by dpaterso : 04-30-2013 at 03:49 AM.
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Old 04-22-2013, 05:50 AM   #2
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Default Re: "Dangerous Dames" contest entries 2013

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THE DARK FAIRY INT. OFFICE BUILDING HALLWAY - DAY A SKINNY GIRL, mid 20s, (to the point of anorexia) sits outside the boardroom on a plastic mould seat. She looks more than tense, her knee trembles and she bites her nails. COUNCILMEN exit the room and walk off down the hallway. EVA, 29 is the last to leave. Skinny Girl gets up from the seat, hopeful. Eva notices and addresses her with a solemn look and shakes her head. SKINNY GIRL But you have to do something. This is my job, I love it. I love those children. It's the only thing I have! EVA I'm sorry. It's just not economically feasible. (beat) They're taking on new care nurses at the children's hospital I can give you a reference. Skinny Girl, dismayed, devastated. Tears glaze her eyes. SKINNY GIRL But, but... what about Lily where will she go? EVA She'll be placed in temporary foster care until we can find permanent homes. SKINNY GIRL Could I apply? What do you think the chances are? EVA You can always try. Give me a call if you need that reference. Eva walks away. Skinny Girl looks on, turns and walks solemnly down the hallway. EXT. EVA AND LILY RAPIN'S HOUSE - NIGHT Rain thunders down onto a quiet street in the city suburbs. An SUV pulls up in the driveway of one of the large detached houses. Eva and Lily hop out and rush up the pathway to the front door. INT. CAR (BEATEN UP 90S VOLKSWAGEN) - NIGHT Through the rain spattered car window, the Skinny girl stares at the house with longing. More tears trickle down her cheeks, she wipes them away. Breathes. She fumbles a little with the keys in the ignition, but eventually starts the car. EXT. EVA AND LILY RAPIN'S HOUSE - NIGHT The car pulls away through the heavy pouring rain. INT. BEDSIT/STUDIO APARTMENT - NIGHT Rain spatters against the window. The bedsit is a mess, littered with empty bottles of wine, burnt out incense sticks and full ashtrays. Empty and half full prescription pill bottles sit on the small bedside table. Prozac, Valium and diet pills. Skinny Girl is curled up on the futon, in the foetal position hugging a pillow. There are a few photographs on the walls and drawings, a shrine to her previous life and Lily. Skinny Girl murmurs in her sleep. EERIE WHISPER (O.S.) You can have her baaaaack. She sits up. Looks around. Not sure if she heard what she just did. She shrugs it off and climbs out of bed. BATHROOM AT THE SINK - She splashes her face with water. Looks at herself- IN THE MIRROR. Pale, worn, gaunt black circles under her eyes. She stares at herself for a long beat. BEHIND HER - Her SHADOW on the bathroom wall moves independently, FAIRY WINGS sprout from the shadow's back. EERIE WHISPER (O.S.) You can have her back. Skinny Girl flashes a look behind her. But there's nothing there. Her own shadow, back to normal. EERIE WHISPER (O.S.) (louder) I can give you the life you wanted. MAIN LIVING SPACE She steps out of the bathroom. SKINNY GIRL Is anyone there? Her eyes dart about the small bedsit. EERIE WHISPER (O.S.) Bring her to me. To my world. SKINNY GIRL Who? EERIE WHISPER (O.S.) The one who is always there. In your heart, in your thoughts. The one you can never have. Her eyes widen with hope and fear. She trembles SKINNY GIRL How? EERIE WHISPER (O.S.) Give yourself. Your soul. Your life to me. And I will show you the way. The shadow, stretching across the floor at Skinny Girl's feet, reforms again. She stares in awed fear. EERIE WHISPER (O.S.) There's nothing left for you in this world. Give your life to me and you can be happy forever and ever and ever and ever. The shadow spreads its huge wing span. Moves across the floor and up the wall. The Girl follows it with her eyes and watches as it glides across the wall and into the kitchen area. It's long thin hand points to a KNIFE WRACK on the kitchen unit. The Girl goes to grab one of the knives. EERIE WHISPER (O.S.) No, Not here. SKINNY GIRL Where? EXT. GOTHIC MANSION - NIGHT Withered with age and ill maintained, in the backdrop is a large industrial estate- turrets and metal structures reaching toward the sky. Hard rain continues to fall, wind HOWLS and autumn leaves blow across the front of the boundary gate. On these gates... A SIGN: CONDEMNED - NO ENTRY - PRIVATE PROPERTY The Volkswagen pulls up. Skinny Girl gets out of the car, flips the hood of her jacket over her head and approaches the tall metal entrance gates that are tied together with rusty chains. On reaching them she climbs the gates with a bit of a struggle and hops over the top. Her FEET CRUNCH on the gravel on the other side. She walks slowly along the gravelled driveway toward the mansion. INT. HALLWAY - GOTHIC MANSION - NIGHT Cobwebs hang in the corners of the century old brick walls. The black and white checkered tiled floor is dirty and cracked. Moonlight shines in through the windows, wind flutters the thin white curtains. CRASH!!! GLASS SPRAYS. After a beat. Skinny Girl climbs through and walks slowly along the hallway, humming a tune, (The Fairytale Waltz). ECHOES of children LAUGHING, playing, the pitter patter of FOOTSTEPS, but no one's here. LARGE COMMUNAL BATHROOM Long thin white curtains cover the large windows. Moonlight spills in over the cracked white tiled floor. A stand-alone bath in the centre of the room. Her long thin hand turns on the taps. The GUSH of water, steam rises, fills the room. She undresses behind the bath drapes, hidden in the ever thickening steam. She climbs in the bath, still gently humming the tune "the fairytale waltz". CLOSE ON - HER WRIST - Pale and white. A blade comes into view. Slashes across her veins, drawing thick red blood. It spills into the water. A WINGED INSECT sits on the rim of the bath, twitching its legs together. The bath fills. The water runs over the side, spilling onto the tiled floor. Her arm falls limp over the side of the bath. Wind rustles the white wing-like curtains. A large long thin SHADOW of the woman emerges from the bath. And creeps upward to a standing position- she has unnaturally long arms and legs and stands at about 10 feet tall. WINGS FLEX from the shadow's upper back. They're huge. She flutters them, GIGGLES. WHOOOSH! Suddenly this DARK FAIRY shoots upward. She swoops around the room fluttering her wings and then... SHOOTS toward us... But before she hits, we... BLACK OUT: INT. LILY'S BEDROOM - NIGHT A kaleidoscope light show moves gently across the walls coming from a night light on the floor. Shadows and silhouettes of fairies and sprites. Eva sits by Lily's bedside reading from a book. LILY, 9 years old, listens intently. EVA The good fairy said to herself, "When she wakens, who is she going to see around her? Strange faces and people she doesn't know? I can never let that happen. It would be too painful for this unfortunate girl." So the fairy cast a spell; and everyone that lived in the castle... Eva stops, yawns, her eyes close in faint sleep. LILY Mom? EVA Sorry, what? LILY What happens next? EVA I'm tired Lily can we finish this tomorrow? LILY But I want to know what happens. EVA So the fairy cast a spell; and everyone that lived in the castle... soldiers, ministers, guards, servants, ladies, pages, cooks, maids and knights - all fell into a deep sleep, wherever they were at that very moment. (Eva yawns again) Seriously Lily I'm about to drop off right here. We'll finish it later, okay? Lily looks very disappointed. But she relinquishes. Eva closes the book and stands up. Lily settles down in bed. Eva tucks her in, kisses her on the forehead. EVA Sleep tight. LILY No bed bugs. She smiles. Closes her eyes. Eva heads for the door. LILY Mum, can you open the window a little? I like listening to the wind. She looks back and smiles affectionately, opens the window. STAIRWELL Eva yawns as she makes her way down the stairs. FAINT FLUTE PLAYING (The Fairytale Waltz again). She stops in her tracks, glances around. SILENCE. Thinking nothing more of it she continues down the stairs. INT. LILY'S BEDROOM - NIGHT She sleeps soundly. The wind rattles the window. FLUTE PLAYING, louder now, carries on the wind. Lily opens her eyes and listens. She smiles, enchanted by the hypnotically soothing music. Lily sits up in bed, despite herself, as if possessed. She looks to the window. A SHADOWY DARK FAIRY looms there, but not against the wall and not caused by any reflection or light play. A small wooden flute held to its mouth. She shimmers and glints, flexes her huge wings. Lily smiles as she stares at the shadow. The flute playing continues. Lily walks across the room toward the window and the shadow. It sweeps backwards hovering in mid air. A really creepy smile broadens across Lily's face. She climbs up on the window sill. Watches the shadow sweep further backward as it plays. Lily gently lolls her head from side to side along with the tune, then... ...she steps forward out of the window. The Shadow forms into a SWIRLING WIND, full of thick STEAM and WINGED INSECTS, like a concentrated tornado It consumes Lily, just before she falls. A FLASH OF BLINDING WHITE LIGHT and we... CUT TO: STAIRWELL TO HALLWAY Eva makes her way up the stairs. Hears. WIND RATTLING THE WINDOW. She senses something bad and runs straight into... Lily'S BEDROOM The door bursts open, Eva looks on. Sees... The WINDOW SWINGING OPEN AND CLOSED in the wind. LILY'S BED, empty... and the fairy silhouettes playing gently against the walls. Leaves blow in through the window and a hollow wind rushes through the room. Eva hurries to the window, She looks out... BELOW. - Nothing. The back yard is empty, Lily has vanished without a trace. EXT. EVA AND LILY RAPIN'S HOUSE - NIGHT Eva in the window screaming. EVA Lily? Lily!!! Lily!!! Wind howls through the quiet streets blowing leaves asunder. FADE TO: UNDERWATER Paint like liquid swirls and turns. A HEART BEAT, pumping softly and slowly. Distant wind. Lily sweeps up into frame, her long hair swirling in the liquid. Her eyes blink open. She struggles to breathe, in a blind panic she kicks and flails her arms. Air bubbles flow from her mouth. She looks up at a bright white light cutting through the liquid. Sees her Mum looking out of her bedroom window all blurred and shimmering. Eva calls out but she makes no sound. Lily calls out too, but makes no sound. Lily settles down she swims upward toward the bright light, kicking her legs, she gets closer and closer, she's almost there then... A LONG THIN SHADOWY hand grabs her leg and pulls her back down leaving only the swirling liquid. END:
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Old 04-22-2013, 05:54 AM   #3
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Default Re: "Dangerous Dames" contest entries 2013

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JUDAS INT. THEATER - GARDEN OF GETHSEMANE SET JESUS (33) wanders through olive trees, lost in thought. He's straight out of the white, non threatening section of the dead messiah catalog. FLOYD (V.O.) He was the kind of Jesus Republicans like to picture teeing off with Reagan. The kind that makes their wives blush a touch when they super size communion. MARY MAGDALENE (28) steps out quietly from behind a tree. Her modest tunic and shawl try their best, but her voluptuous figure will not be ignored. She's inappropriately hot. FLOYD (V.O.) Mary Magdalene. S**t. If he without sin had been looking for a stripper to cast his stones at, Mary would be his gal. She creeps up behind Jesus, places her hands over his eyes. MARY MAGDALENE Guess who. Jesus takes her hands down gently, and turns. They kiss. We now see they're alone in the theater. FLOYD (V.O.) They paid Judas thirty pieces of silver, and all's he had to do was kiss Jesus on the cheek. Me? Well I had to cap the motherf**ker myself. INT. THEATER - CATWALK High above the now empty set. MICKEY THE SPROUT (54) leans over the edge, taking it all in. The sharp suit disguises his soft underbelly, but make no mistake: he oozes gangster. FLOYD (V.O.) Mickey the Sprout... Damned if I know how he got the name. Mickey lights a cigar. FLOYD (V.O.) My working theory is that he's bitter, nasty and children hate him, but what do I know... A handsome man strolls down the catwalk with an easy confidence. This is our narrator, FLOYD (42), and he isn't going to be fazed by fifty foot drops or Mickey the Sprout. FLOYD (V.O.) ...I'm just a gun for hire. Mickey turns to greet Floyd. MICKEY Floyd! What ya think? Just beautiful, ain't she. FLOYD When you opening? MICKEY Six weeks, but we're gonna have to push it back some. FLOYD Brandy's rack still distracting the apostles? MICKEY Again with the jokes. What is it with you? FLOYD Mother says I have a winning personality. MICKEY Don't push me Floyd. I have a job for you. Need you to plug Jesus. Bastard's been laying his holy hands all over my Brandy. FLOYD Ballsy move, even for the son of God. MICKEY People been talking. Laughing behind my back. I ain't standing for it. I ain't no man's c*ck holder. FLOYD Cuckold. MICKEY Yeah. F**ker's got to die. Nice and public. The seeds of disrespect are being sown. FLOYD You want me to just walk up and pop him on opening night? MICKEY No! What am I? A schmuck? I've spent two hundred g on this damn thing, easy. I'm a patron of the f**king arts now. FLOYD You're a regular Colonel Parker. Brandy's a lucky gal. MICKEY Damn straight she is. Just do it at rehearsal. We recast, spin the story and get some free ink. Win, win. FLOYD Standard rates and charges would apply. MICKEY Figured I was about due for my "get one free" loyalty bonus. FLOYD A pro bono hit? Big ask Mickey. MICKEY I need this one off book. FLOYD If I don't? MICKEY That winning personality will start to grate somewhat. EXT. THEATER - NIGHT A woman holds her young son's hand as they walk past a poster on the wall. The poster announces that MARY MAGDALENE, THE MUSICAL is coming soon, and will star BRANDY KNIGHT. FLOYD (V.O.) Mickey had been cooped up in that theater for too long. He had notes for me. The mother and son enter the theater. INT. THEATER - BATHROOM Floyd in a cubicle, checking his handgun. FLOYD (V.O.) Apparently my ski mask lacked impact. He wanted something more visual. Something "grabby." His first suggestion was Mickey Mouse. He liked the subtle clue. He reaches into his bag and pulls out a devil mask. FLOYD (V.O.) In the end, he settled on the devil. A touch on the nose for my tastes... He pulls the mask over his face. FLOYD (V.O.) ...But undeniably effective. INT. THEATER - WING Floyd - devil mask on - hides expertly in amongst the props and set pieces. He watches the cast rehearse. INT. THEATER - THE LAST SUPPER SET The stage is dressed like Da Vinci's The Last Supper, with Jesus at the center, and Mary Magdalene to his right. They are surrounded by the Apostles. The DIRECTOR motions to the pianist, who nods back. He takes a deep breath. DIRECTOR Mary... Darling... The melody seems to be eluding you somewhat. Don't be afraid to speak the words instead. Make it feel like a choice. Mary nods, clearly a little embarrassed. DIRECTOR (CONT'D) Marvellous. Try it from the top. Mary looks at Jesus, who gives her a reassuring smile. INT. THEATER - WING Floyd readies his gun. FLOYD (V.O.) Masked, I advance... The THUNK THUNK of doors closing echoes through the theater. Floyd maneuvers to get a better look. Lifts up his mask. INT. THEATER - THE LAST SUPPER SET The woman and boy from outside the theater walk down the center aisle. If Brandy's the f**k, and Jesus the kill, then she's the marry... Just beautiful and serene. INT. THEATER - WING Floyd slips back into the shadows. FLOYD (V.O.) ... and masked I retreat. INT. THEATER - THE LAST SUPPER SET Jesus leaps off the stage and runs towards them. FLOYD (V.O.) Now that wasn't in the show notes. Turns out Jesus was packing a wife and kid. They embrace, the affection overwhelming. He picks up the kid and gives him a bear hug. Tears flow as they talk. FLOYD (V.O.) Brandy clearly has her charms, but damn! You ask me, Jesus had been nailed out in the sun for too long. Mary Magdalene works hard to keep her anger in check. Jesus, emotional, watches as the woman and boy leave. DIRECTOR Need a moment? JESUS No... Thank you. INT. THEATER - WING Floyd steps out from the shadows. Repositions the mask. INT. THEATER - THE LAST SUPPER SET Jesus, Mary Magdalene and the Apostles eat. JESUS I say unto you that one shall betray me. APOSTLE Of whom do you speak Lord? Floyd strides in, devil mask on, handgun raised. The actors panic, screaming and shouting. They dive under the table. Jesus stands still, eerily calm. JESUS What you are about to do, do quickly. FLOYD What? Jesus smiles. JESUS Please. Floyd puts the gun to Jesus' forehead. INT. THEATER - LOBBY Jesus' young son waits, alone. BANG! A gunshot from the auditorium. The kid's too young to figure it out. He watches the doors with curiosity. They burst open: Floyd in his devil mask. He sees the boy. Skids to a halt. FLOYD Where's your mother? The boy points to the ladies' room. KID Are you the devil? FLOYD It takes a man to make a devil, kid. He leaves the theater. EXT. GRAVEYARD - DAY Mourners, including Jesus' WIDOW and son, watch as his coffin is lowered into the ground. FLOYD (V.O.) I'm a modest man. Ain't looking to leave a calling card, or earn a fancy nickname in the papers... Floyd is there. He throws a handful of dirt onto the coffin. FLOYD (V.O.) I just want to sleep at night. The mourners disperse, but Jesus' widow intercepts Floyd. WIDOW You believe in good and evil? FLOYD Takes a man to make a devil. She smiles, sadly. WIDOW Don't run. FLOYD What? She kisses him gently on the cheek, catching him off guard. A Police SWAT team rush Floyd from behind, but he doesn't hear them coming: he's still lost in the embers of that kiss. FBI AGENT (PRELAP) She's out of your league son. Brandy's more your type... INT. FBI INTERROGATION ROOM Floyd sits at a table opposite a burly FBI AGENT. FBI AGENT ... and If you do the right thing, she'll be single soon enough. FLOYD WITSEC wanted Liza Minnelli for me. Less conspicuous. FBI AGENT Now ain't that the truth. You seen the show? FLOYD I hear tickets are hard to come by these days. What happened to the wife and the kid? FBI AGENT Turns out the husband was terminal. Couple of months at best, something he neglected to mention on his very expensive life insurance application. INT. AIRPORT - SHOP The widow is buying a guide to New Zealand. FBI AGENT (V.O.) Suicide was out of the question, but conveniently for him, there was no policy exemption for brazenly fooling around with Mickey the Sprout's girlfriend. FLOYD (V.O.) You saying we got played by Jesus? FBI AGENT Would seem so. FLOYD Widow in on it? The son shows her a toy bear in a pilot's uniform. She smiles, adds it to the purchase. FBI AGENT (V.O.) Be my guess. Theory is she had a change of heart. That's why she showed that night. (MORE) FBI AGENT (V.O.) (CONT'D) Policy was still contestable, so the insurance company huffed and puffed, but she never buckled. They wrote her the check. Had to. They walk out and disappear into the throng of travellers. INT. FBI INTERROGATION ROOM The FBI Agent passes Floyd a thick file. FBI AGENT Start at the beginning. Where'd Mickey crew before he made Capo? It's full of mugshots. Floyd takes a moment to compose himself. FLOYD (V.O.) Brandy's a big star now, and Mickey's one man show about his own downfall is playing unlimited engagement at Attica State. Floyd starts telling the FBI Agent everything. FLOYD (V.O.) Me? There's a bounty on my head. Just enough to make a point, but not enough to tempt some fool into taking a run at me. Feds hid me out anyway, just to be sure. EXT. NEW ZEALAND - BEACH The widow watches as her son plays in the tide pools. FLOYD (V.O.) They found me a job as a carpenter. Guess that's kind of funny in an ironic sort of way, but it ain't so bad. I'm even managing to set a little aside for a vacation. I've heard New Zealand's beautiful... FADE TO BLACK.
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Last edited by dpaterso : 04-22-2013 at 08:48 AM.
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Old 04-22-2013, 05:57 AM   #4
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Default Re: "Dangerous Dames" contest entries 2013

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DARK EYES BLACK SCREEN SAM (V.O.) I don't know why she picked my bar, my home away from home. But there she was. Dark eyes, dark hair, long legs. Fish net stockings. Like she just stepped out of a dream. But not all dreams are pleasant. Fade in. INT. SLEAZY BAR - DAY Picture the scummiest bar you ever set foot in. This one is worse. SAM (40s, unshaven) drinks his wake up Mescal. Two seats away sits the object of his interest, DARK EYES. Dark Eyes sips her bourbon-on-the-rocks then inhales her cigarette smoke, holds it for a count of four, then slowly lets it pass through her lips. Her head darts to the side, like something has caught her gaze. Her eyes lock on the bar. SNAP! Her hand follows her gaze to the bar. She holds up her hand revealing a cockroach trapped between her fingers. One of her fingers wears a ring with a large golden bauble on top. This catches Sam's attention. He turns to watch her actions. Dark Eyes takes her cigarette and slowly, delicately burns off one of the roach's legs. She repeats the process five more times, then holds up the bug to admire her work. Finally, she applies the cigarette to Senor Cucaracha's head and hears a sizzle, like a grilling steak. With a flick of her finger, she bounces the insect off the back-bar mirror. She picks up her drink. SAM I don't see many women do that. DARK EYES Save it for your novel. SAM What? How did you know? She takes long, analytical look at him. Just like she gave to the roach. DARK EYES I'm psychic. I'm a Gypsy. She drains her bourbon-rocks. DARK EYES (CONT'D) Buy me a drink and I'll read your palm. Sam signals to the BARTENDER. He scuttles over and fills her glass, then walks away. Sam slides over and sits beside her. DARK EYES (CONT'D) Your palm. Sam holds out his hand and she reaches for it. As she does, she knocks her purse off the bar. Sam bends over to pick up her purse. As his head disappears below the bar, Dark Eyes moves her hand over his drink. The top of her ring swivels open and she inverts her hand and dumps the ring's contents- a white powder- into his drink. Yup, it's a Borgia Ring. The ring snaps closed and Sam surfaces holding her purse. DARK EYES (CONT'D) Thanks. Your palm-- INT. CLASSROOM - DAY SAM'S POV Blurry, swirling images. Dark hooded figures slowly come into view. SAM (V.O.) I don't know what she put in my drink, but when I came to I was in Lohan- Land. The hooded figures become clear. Nuns. Dark Eyes lurks in the background, dressed in a habit. An old nun stands in front of Sam. SAM (CONT'D) Holy s**t! END SAM'S POV The old nun, MOTHER FLAGELLUM raises her ruler and smites Sam's knuckles with furious anger. MOTHER FLAGELLUM Don't blaspheme. Sam looks at his hand, duct taped to the school desk he sits in. SAM Sister Mary Flagellum? MOTHER FLAGELLUM It's Mother Flagellum now. SAM But why? MOTHER FLAGELLUM You think you can leave the church? Just like that? We're losing too many members. We decided to fight back. SAM Jesus H. Christ. WHAM! She smites his knuckles again. MOTHER FLAGELLUM Now. Back to your studies. Recite the Apostles Creed. She raises the ruler and waits. THE END
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Old 04-22-2013, 05:58 AM   #5
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Default Re: "Dangerous Dames" contest entries 2013

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RED AND WHITE FADE IN: INT. NIGHTCLUB - NIGHT Light show, dancing, active bar, as the POV slowly floats inside toward the ladies. VO Never, ever trust a red dress. Reverse and see DAMIEN THORN, 20s, in his moneyed suit and sixty dollar haircut. Some kind of lawyer, MBA, salesman or something. The MUSIC is overpowering, and the bar a clusterf**k. He tries to maneuver in closer, and then Damien gets a first taste of that little red dress. DAMIEN VO She was a bad girl, anyone could see. I just didn't know how bad. Or how stupid I could be. Instead of the quick path through an opening, he turns to keep following that curvy red dress. Around the bar to the left, closer, she turns back. ELSIE eyeballs him and seems to like what she sees. With her eyes she indicates something, holds up an empty glass, pouts. DAMIEN VO That God damned face. Why'd she have to be born with that? It's just not fair. Damien smirks. Nods. Holds up a finger. She smiles, and it's worth quite a bit more than the cost of a drink. He shrugs. Steps closer to whisper in her ear. She seems apprehensive at first. Studies him as he strikes. DAMIEN What are? What are you drinking? ELSIE Surprise me. He hesitates, boyishly. DAMIEN You like surprises? ELSIE Not much surprises me, actually. DAMIEN Huh. Okay. He takes off on his mission, makes it to the bar. BARTENDERS bustle about, ignoring him. He pulls out a twenty, holds it out in front. BIG BARTENDER speaks, still working in a fury. BIG BARTENDER Yeah? DAMIEN Let me have a, top shelf, best you got. Two. Big Bartender nods gruffly, dashes off again. Damien leaves the twenty, takes his drinks. Emerging from the fracas, searching for that red dress. Where is she? Casually sipping his drink, he turns about, cheeking the club for her. Suddenly from a hallway, Elsie strolls out, catches his eye. Damien sips again, and he tries to walk over macho, with faux confidence. ELSIE Ahhh, what you bring me? From that same hallway she had emerged, a suspicious looking THUG peeks out, beside him his PARTNER. They duck back and hide. DAMIEN It's a surprise. ELSIE Ahhh, you're catching on. INT. HER CAR - NIGHT In the crowded parking lot, the car is suspiciously male and messy. In the driver's seat, ELSIE fiddles with a little mirror and some white powder. ELSIE Come on! She takes a snort. ELSIE I thought you were out to party. Damien is clearly uncomfortable with her snorting lines in the parking lot. DAMIEN I'm. I'm good. Knock yourself out. ELSIE That's no fun! You got suttom against pleasure? Hmmmm. Her fingertips tease at him. DAMIEN Oh no. Not at all. That's just not my kind, you know? ELSIE Uhhhh. Whatever. What's the most pleasurable thing you ever did? She daintily licks off a couple white specks from her finger. DAMIEN You know. ELSIE No. What? DAMIEN Well I was on a camping trip, with my girlfriend. ELSIE How old were you? DAMIEN Fifteen. ELSIE Oooh, you little perv. She laughs, readies the next line. DAMIEN Well it was really-- ELSIE Were you drunk? DAMIEN Uhm. We, we might have had a couple beers. She shoots him a knowing look. DAMIEN So, tell me what was your most pleasurable experience? ELSIE Oooh. Well. I might not remember the most one, but I'm pretty sure it involved lots of this. She holds up the mirror. Takes another snort. Damien laughs uncomfortably, checks for passersby. ELSIE Oh come on do one line! Jeez! DAMIEN If I do one thing for you, will you do one thing for me? She laughs. ELSIE I wonder what that could be? DAMIEN I didn't mean it like that. ELSIE Yeah sure. Well you haven't really gotten me in the mood, sir. Try harder. Headlights flare past, dazing Damien momentarily. The mirror is empty. He considers, looks up to her as she waits impatiently. DAMIEN Is this your car? ELSIE Yeah. Whatta you think? Like I stole it or something? DAMIEN No I didn't say that. ELSIE If I was gonna steal a car, you'd think I'd pick this piece a s**t? DAMIEN I'm sorry. It just doesn't look `you.' ELSIE I, I borrowed it. Okay. I don't have a car. I need a car. DAMIEN It's all cool. I'm sorry. She breathes out exasperated. ELSIE So what are we doing, Damien? It's cold. DAMIEN You want to go somewhere, get some food? ELSIE I don't know, it's like, I thought you partied and stuff. DAMIEN You really want me to try your `blow,' whatever it is. ELSIE You don't wanna feel good? DAMIEN Okay. Okay. Just one. She smiles giddily, plays as she reaches in and takes out a new baggie, gets it prepared on the mirror. ELSIE You're gonna have such a wild ride. She pushes the mirror to his face. He looks down to the line of white powder and back up to her, looking on with a giant plastic grin. DAMIEN All right, f**k it. Damien snorts the line, and instantly goes into convulsions, passes out to BLACK. ELSIE Night night, Damien. The CAR ENGINE STARTS. DOORS OPEN, BODIES JUMP IN THE BACK. THUG VO Go, go, let's roll! INT. CHEAP MOTEL ROOM * DAY Floating slowly through to the bathroom. Sheets are covered in dried blood and tossed about the floor. DAMIEN VO Bitch. See Damien's head sticking up from the bath, where he lies unconscious. His abdomen stitched up crudely, blood smears and antiseptic ointment. DAMIEN VO So that's how I donated my kidney, to Elsie's 'I need a car' fund. Damien awakens in pain, discovers his scars. DAMIEN VO They got some money out of my credit cards as well. Not enough to cry over. Damien tries to stand, can't do it, collapses down. Has to adjust. DAMIEN VO What did I tell you about red dresses? Damien can't handle it and bellows out in a primal roar. DONE.
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Old 04-22-2013, 05:59 AM   #6
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Default Re: "Dangerous Dames" contest entries 2013

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THE ENDS EXT. NEW YORK CITYSCAPE - DAY Many of the city landmarks are still there, but bigger, newer buildings crowd them. EXT. ALLEY - NIGHT Glittering rain drives down through the harsh street white lighting. The night and the rain washes any color from the scene. The blood ebbing into the gutter over a sodden newspaper is barely pink. Only the yellow, rain heavy, dripping, police tapes are full color. Two huge men lay dead. They are both ruined, bloodied and smashed. They wear semi armor, a pistol lies beside one. Behind these huge wreaked bodies a young woman lies in the midst of the garbage, a soaked gossamer summer dress clings to her lifeless, colorless body like a second skin. Blood oozes from surgical incisions on her neck, wrists and inner thighs; wherever a vein or artery is easily accessible and cut and blood drained. BURKE What a Goddamned f**king waste! Burke lifts the police tape and eases his powerful frame under. JOSHUA BURKE is six five and two hundred and eighty pounds, he has the face only a mother could love. A long black overcoat hides his body. With a hand like a industrial tool he brushes the sodden hair off the girl's face to take in her pale beauty with a wince. BURKE (CONT'D) What f**king animal did this? SUMANT KUMAR You always say that when its a dame. Like maybe this one would have let you... She falls silent as Burke turns. SUMANT KUMAR is dark skinned from the Indian sub continent but somewhere there's a hint of something even more exotic in her ancestry. Her eyes are almond shaped, nose pert and her face is framed by almost grey hair. She moves aside with an eerie almost boneless grace. Like Burke she is dressed in a long black overcoat, unlike Burke she wears a hat, a twenty first century take of a fedora. SUMANT KUMAR (CONT'D) Okay. Only passing comment, not trying to piss on your parade. BURKE Just do your job Snake. (to the nearest cop) Do we have an ID yet? Sullenly the cop holds out a flimsy and lets it fall to the rain slick pavement before Burke can take it. Kumar is faster. She moves effortlessly and snatches up the sheet centimeters from the ground and hands it to Burke. Burke doesn't take it for several seconds, he stares down the riot uniform clad cop until the officer takes and unsteady step backwards. He nervously drops a hand to his holster. BURKE (CONT'D) Try it, I, f**king, dare, you. The cop steps back, again. Burke takes the sheet. BURKE (CONT'D) Natasha Bernanke, twenty, daughter of Edward Bernanke... Oh S**t! SUMANT KUMAR The Edward...? BURKE S**T, S**T AND DOUBLE S**T! COP Sucks to be you Pal. Even if you track the vampire down you'll still be in s**t street! BURKE Do your stuff Snake. Kumar opens her briefcase and lifts out a scanning device. It looks a little like a very small mine detector, maybe the size of a cell phone. She runs it over the girl's body. SUMANT KUMAR Wow! BURKE In a good way? SUMANT KUMAR In a "I am impressed by their thoroughness" way Burke. BURKE Go on. SUMANT KUMAR She is registered with five million nanites, mostly gen 11 pharma/med and a few skin toners and the like. BURKE And, don't leave me hanging. SUMANT KUMAR I count twenty thousand left in her body, all outside the bloodstream. Less than one percent remaining moreover it was done in situ, this isn't a drain and dump. BURKE Do we have enough registrations for a biometric filter? SUMANT KUMAR Hell yes. She manipulates the scanner. SUMANT KUMAR (CONT'D) We had an accumulation of five million unregistered nanites being transported past a security cordon three hundred metres north of here an hour ago. BURKE Snatch the backup feed. CUT TO: EXT. RAIN SWEPT STREET CCTV VIEW - NIGHT A tall thin man strides purposely down the street, not looking left of right. He's dressed in street clothes but has a transparent slicker over top. He carries an aluminum attache case, closer inspection shows its manacled to his wrist. He is seen from the POV of a CCTV camera. Targeting icons suddenly appear. CCTV VOX Citizen, your civil ID has failed and I register... The CCTV suddenly falls silent and starts jerking erratically. The man drops a cigarette pack sized box on the street. The spotlights focus on it and he falls into shadow. A kid near by stares at the man, glances at the box and smiles, then smashes a car window, safe while the CCTV is zoned out on the decoy. BURKE (V.O.) Can we rationalise a face from that? INT. VAN - CONTINUOUS Kumar manipulates the feed trying to pull a 3-D face from the video feed but the result is cartoonish at best. Burke looms over his diminutive partner as she tries to pull coherent pixels from the feed. He tries to push a button and she slaps his hand aside. SUMANT KUMAR You know those big monkey hands just mess things electronic up. BURKE I'm... She shoots him down with `the look'. He sit back in his chair. It creaks under his mass. Finally she jabs the enter key and her computer renders the final image. It's useless bland garbage. A storefront manikin has more personality. SUMANT KUMAR He's very good. He's thrown a fake image up without the urban safety software detecting the fake and calling for backup. BURKE Or he looks like that? She shrugs. BURKE (CONT'D) Are there any other urban security monitors registering? SUMANT KUMAR Nothing that fits our parameters. BURKE So he's able to phreq out the other monitors... SUMANT KUMAR Or he hasn't reached the next one yet. Burke stares at her. BURKE He'd need balls this big to hole up this close. Sumant wipes condensation off the window and peers into the darkness. SUMANT KUMAR He's killed the heiress to the Bernanke fortune and left her bloodless in a gutter and stolen twenty million gen eleven pharmo/med nanites. Then he vanishes? She looks back at Burke. SUMANT KUMAR (CONT'D) He has Cojonnes easily that big. Burke stares at her for a fraction of a second, then lurches upright and strides to the gun cabinet and thumbs the lock. The lock flashes green as his DNA sample meets the spec. He pulls it back, a spot of blood glistens on his thumb. The thick armored door opens revealing a brutal looking arsenal. SUMANT KUMAR (CONT'D) Decisions, decisions. Burke's beaten ruined face breaks into a beatific smile. He pulls out a pair of pistols, one big and blunt, the other long and thin. Big and blunt goes on his hip, long and thin goes under his overcoat. Next an SMG on a long shoulder strap emerges, he loops it over his shoulder. Next he adds five grenades to his pockets and starts looking through a row of edged weapons. SUMANT KUMAR (CONT'D) Going to leave any for me big boy? BURKE I was thinking about locking you in here actually. SUMANT KUMAR Yeah, that'll happen. She pushes him aside and selects a smaller swag. BURKE Shouldn't you be doing electronic wizardary and finding bolt holes where he might be? SUMANT KUMAR Pointless. If he's still here, he's off the grid. BURKE So we wait til he moves. Because he made a f**k up. SUMANT KUMAR Two ways out of here? BURKE Yup! That's what I see. SUMANT KUMAR Two of us. Sychronisity! BURKE So we take the most likely route and we... SUMANT KUMAR What? BURKE We... SUMANT KUMAR Two ways out of here, two of us... It's like maybe it was meant to be. BURKE He... or she took down two... SUMANT KUMAR There it is, two; again. BURKE ...two fully armed, partially armored Hektor-Tranj bodyguards. SUMANT KUMAR Pussies. BURKE You know their specs. He edges past her to the door. SUMANT KUMAR F**king candy assed dilettantes! BURKE You coming? SUMANT KUMAR Only when we collect the bounty on this vamp, Baby. FADE TO: INT. THIRD FLOOR APARTMENT - DAWN Burke and Sumant stake out a window. He has a huge anti material rifle; a .50" sniper rifle in plain English. SUMANT KUMAR This is crap! BURKE I beg your pardon my dear. SUMANT KUMAR Oh please! BURKE You really want to be out there? There are two ways out of here, we can see them both. SUMANT KUMAR We can see a wee bit of one route and less of the other. If he runs through we'll miss him. Burke runs a finger along the barrel of a sniper rifle and smiles at the possibility of him missing anything. SUMANT KUMAR (CONT'D) If we spilt up we can take each route and close it down. No hokey hiding out in an attic. You're... She stares grimly out the window. BURKE What? SUMANT KUMAR You're treating me like a... He lays a huge calloused paw on her delicate arm. She brushes him off angrily, then relents. SUMANT KUMAR (CONT'D) I don't know how to do this. Burke grins. SUMANT KUMAR (CONT'D) I was made a soldier not a lover. BURKE You're great soldier and real gr... SUMANT KUMAR Jeez Burke! Burke scopes a person crossing one of the roads the can see. Sumant checks her computer, the readings stay flat. SUMANT KUMAR (CONT'D) No, not him. Clean. BURKE Damn! He's more patient than I am. SUMANT KUMAR We've been here an hour. BURKE The cops and clean up crew are gone. He should be moving by now. SUMANT KUMAR Well not one of my tell tales are registering anything bigger than a rat out there. INT. CLOSE UP DOOR - CONTINUOUS SUMANT KUMAR (O.S.) Maybe we're wrong. Maybe he found another way out? WD40 oil is silently sprayed onto the door hinges. INT. APARTMENT, REVERSE SHOT - CONTINUOUS Burke peers through his scope panning back and forwards like a automaton. Sumant's attention wavers between her computer and the view out the window. BURKE He couldn't fake past one monitor. What are we supposed to believe, he deliberately tripped one, left a trace then didn't trip any more? The door to the room silently swing open. A man is seen in silhouette. He wears a heavy long overcoat and a brimmed hat, pulled low across the brow casting his face into shadow. BURKE (CONT'D) What would be the point of that? The man opens his jacket revealing a futuristic looking machine pistol. Without warning he hoses a whole magazine into the pair in five protracted bursts. Both are cut down in a hail of razor sharp nearly silent fleshettes. VAMPIRE The point would be you and your ilk have made my life difficult and dangerous. The point might also be I've decided to become proactive about that... Burke blinks, he's still alive - just. VAMPIRE (CONT'D) Tell them, we're not running any more. We're fighting back.
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Old 04-22-2013, 06:00 AM   #7
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Default Re: "Dangerous Dames" contest entries 2013

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INFANTALE FADE IN INT. LITTLE FALCONS DAYCARE - MORNING The large playroom is filled with kids milling about. Toys are scattered everywhere. Artistic creations, pictures of cute animals, and bright colors are everywhere. EMMETT, a blue-eyed, dark-haired, baseball cap wearing three year old sits in a bright orange plastic chair at a little table. While his constant companion, GAVIN the blanket carrier, struggles with a 4-piece puzzle at his feet. EMMETT You do that puzzle every day. How can it take you so long to put it together? GAVIN It's not the same every time. EMMETT What do you mean? It's the same one. They're just numbers. One, Two, Three, Four. The same. Everyday. Gavin examines a puzzle piece in the shape of an upside down four. GAVIN But how they look when I first pick them up, that's always different. EMMETT I wish I could be so easily entertained. Emmett looks around the room. MISS JANIE, the sweet, young day-care worker texts on her bright pink cell phone. EMMETT (CONT'D) She's got it out again. Gavin ignores him as he tries to force the puzzle piece into the wrong slot. EMMETT (CONT'D) Do you realize what we could do with that phone? I've seen pictures on those things. Sounds. Cartoons! GAVIN You do this everyday. You know you'll never get it. She never lets it go and when she does, you can't reach it. EMMETT You stick to your puzzle and I'll stick to mine. There's got to be a way. FADE TO BLACK INT. LITTLE FALCONS DAYCARE - LATER Emmett's POINT OF VIEW - we see a blurry scene coming into focus. The room is dim for the children's nap. Emmett begins to make out a dark figure across the room. It's Miss Janie softly singing. MISS JANIE Wake up, little princes and princesses. Wake up. You've had a good nap, now it's time to wake up. Standing next to Miss Janie is AMALIE, a three and half year old girl with curly blond hair. The overhead lights flick on giving Amalie a heavenly halo. She smiles at Emmett. END POV Emmett shyly looks away and sees Gavin sleeping perpendicular to his cot. EMMETT Gavin. Get up. Gavin clumsily rolls off the cot and onto the floor. MISS JANIE Everyone, I want you to meet Amalie. She will be with us in the afternoons three days a week. Everyone say hello to Amalie. A couple of children give a half-hearted HELLO. GAVIN She's beautiful. EMMETT Yeah. Miss Janie shows Amalie some of the toys and books around the room. GAVIN Oh my gosh. Look. EMMETT What? GAVIN She's not wearing a diaper. EMMETT Whoa. A chalkboard covered with colorful magnetic letters DISSOLVES into A small bowl of alphabet soup. Emmett plops his spoon into the soup out of boredom as he stares at Amalie. Gavin slurps the soup from his bowl. Amalie eats her lunch in a mannerly fashion. She catches Emmett's stare. She points at him and smiles. Emmett pulls the bill of his cap down slightly and looks away in shyness. INT. LITTLE FALCONS DAYCARE - LATER Emmett watches Gavin play with action figures as the other kids buzz around the room. GAVIN (in a play voice) You've got to get out there, man. Look out! Look out! Gavin smashes an action figure with a dump truck driven by a small girl doll. GAVIN (CONT'D) Oh, No! She killed him! Gavin has the other figures help the injured man as Amalie walks up. AMALIE Can I play with you? Gavin looks nervously at Emmett. Emmett gives a slight nod. GAVIN Yeah, I guess so. Amalie takes control of the truck. GAVIN (CONT'D) That lady just killed that guy and everybody's mad at her. AMALIE It probably wasn't her fault. GAVIN It sure looked like her fault. He was just standing there minding his own business. Amalie drives the truck into Gavin's blanket. GAVIN (CONT'D) Hey, watch it. Amalie gives an evil look and then drives the truck over the blanket. GAVIN (CONT'D) No. Stop. Amalie won't. A distraught Gavin yanks the blanket away from Amalie and shoves her down. She cries. Loudly. In an instant, Miss Janie swoops Gavin away. Emmett watches in shock as a bawling Gavin is taken to the TIMEOUT CHAIR with its sad clown face. Emmett looks at Amalie and sees her happily play with all of the action figures. Gavin's blanket is a road. EMMETT That wasn't very nice. AMALIE He wasn't very nice to me. EMMETT He's just doesn't like people messing with his blanket. Amalie sniffs the blanket and then tosses it down. AMALIE Who would want to? It smells. Emmett looks over to an upset Gavin. Miss Janie tries desperately to calm him down. Then Emmett spies the abandoned pink phone on the desk and creeps closer to it. He strains to reach it, but he is too short. Amalie appears like a ghost beside him. AMALIE (CONT'D) You want that? EMMETT Yes. AMALIE Why? EMMETT I've seen them before. They can do anything. It's the escape from this monotony. All you could ever wish for, all right there in that little pink case. AMALIE It's just a phone. EMMETT You're a girl. You just don't understand. Amalie moves closer to Emmett and takes his cap off. AMALIE What will you do for it? EMMETT Anything. The taller Amalie casually reaches up to the desk and grabs the phone. AMALIE Never tell a girl that. She places Emmett's cap on her head and hands him the phone. He clicks it on and the screen lights up his face like a treasure from heaven. He smiles ear to ear. Then he realizes that he has no idea how to operate it. Emmett clicks what he can. Then pushes what he can. Then slaps what he can. EMMETT No. No. How do you work these things? AMALIE Don't ask me, I'm just a girl. Amalie goes back to running over Gavin's blanket with the truck. EMMETT This can't be happening. I was so close. AMALIE Miss Janie, Emmett's got your phone. A stunned Emmett looks up at Amalie and then to a charging Miss Janie and then back to Amalie. He vainly pecks and hits away at the phone some more before he is swooped up by Miss Janie. INT. LITTLE FALCONS DAYCARE - AFTERNOON Emmett sits in the TIMEOUT CHAIR watching the other children go about their lives. Miss Janie sits near him texting away at her phone. EMMETT Miss Janie? I think I've learned my lesson. MISS JANIE Are you sure? EMMETT Yes, Miss Janie. I shouldn't have taken your phone. MISS JANIE And? EMMETT And... MISS JANIE What else did you learn? Emmett searches for an answer. EMMETT I don't know. Don't trust girls because they're all mean and evil no matter how cute they are? MISS JANIE Emmett, what a horrible thing to say. Just for that you need to turn around and face the corner. You're still in time out. Before Emmett turns to the corner, he catches Amalie with his hat on playing dress up with Gavin. He makes a fine princess with a blanket sash. FADE TO BLACK
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Old 04-22-2013, 06:01 AM   #8
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Default Re: "Dangerous Dames" contest entries 2013

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THE ART HEIST INT. ART MUSEUM HALL - NIGHT NATE, a good looking man in his late 20s, walks briskly through the SHADOWS, carrying a PAINTING. There's a bounce in his step as he turns a corner. Another corner: we can see the DOOR. AND A WOMAN Feel-each-others'-breath-close. Eye contact. Oh, God. Beautiful with shoulder length black hair, KATHERINE (also late 20s) gives Nate a quizzical look. NATE (Barely-straight face) Good evening, mam. What can I do for you? KATHERINE (Really?) I was about to ask you the same thing. NATE (Can't back out now) Oh, nothing, thanks; I'm just taking this painting off to be restored. Nate drums his fingers on the frame. Katherine adopts a seductive pose. KATHERINE (Charm cranked up) Did you really expect that to work? NATE (Unmoved) What do you think? KATHERINE I think you're kind of cute. Your features are a bit feminine, granted, but you pull it off. Reaction shot of Nate. Could she be serious? KATHERINE (cont'd) But that doesn't change the fact that you're not supposed to be here with that painting and that you tried to bulls**t me when caught. And you didn't answer my question: did you really expect that to work? NATE (Cold) No but it was worth a shot. BAM! Nate clocks Katherine in the mouth and makes a mad dash for the door, not looking back. Katherine, defeated and on the floor, watches him escape, on the verge of tears. INT. SHIPPING CONTAINER - DAY Each wall is five-deep with PAINTINGS. Nate paces and talks on a CELLPHONE. NATE I'm going to buy her off, that's what. (pause) Give me a chance. (pause) Finished. Napoleon Crossing the Alps, first version - maybe. I still think the real one's in France. (pause) You said you wanted the one from this museum and that's what you'll get, I just can't verify that it's real, that's all. Nate picks up the painting and looks at it. NATE (pause) Well, we'll see. INT. ART MUSEUM ATRIUM - NIGHT The museum is hosting a formal dance. BEETHOVEN'S THIRTEENTH STRING QUARTET, MOVEMENT FOUR, wafts through the room. Katherine sits alone, detached from the event. Heavy makeup covers a bruised lip. Nate approaches her. NATE Care to dance? He holds out his hand. KATHERINE (Pissed) You hit me. NATE So I did. Nate looks around, avoiding eye contact. KATHERINE (Pissed) You hit me. NATE So I did. KATHERINE (PISSED) You hit me. NATE I was desperate and you're making a scene. Katherine takes Nate's hand and they move to the dance floor and start to dance. Nate dances matter-of-factly; Katherine shows herself off a bit. KATHERINE What are you doing here? NATE I came to see you. I'd like to buy you off. KATHERINE Can you pay me more than that painting and my lip are worth? NATE If I'm the one appraising the painting. Sorry about the lip. KATHERINE How did you know we had it? It was in our private archives. NATE I didn't steal it for myself. The man who hired me told me where to find it. Frankly, I think it's fake. KATHERINE The one in France is fake. NATE Can I buy you off, or what? Katherine breaks away from their dance and is replaced by a tall man in his sixties, BRIAN. NATE Hello, sir. BRIAN Do you know who I am? NATE I'm afraid not. BRIAN I'm that young lady's father and the owner of this museum. Nate nods. BRIAN (cont'd) Were you trying to seduce her? NATE I think she's trying to seduce me. Brian STAMPS on Nate's toes. Nate winces. BRIAN Why would she do a thing like that? NATE (Knows better, doesn't care) My penis did get great reviews on Yelp. Brian SQUEEZES Nate's hand. Nate grimaces but, apparently, it was worth it. A few beats pass. NATE So: Do you have something to say or do you just enjoy dancing with me? BRIAN Neither. I'm just keeping you occupied until the police arrive. NATE Goodbye. Nate breaks away from Brian and exits the room speedily. INT. ART MUSEUM HALL - NIGHT Nate is walking through when he's grabbed from around a corner. It's Katherine. KATHERINE You can buy me off. NATE Great. For how much? KATHERINE I want to see the painting, first. NATE No. KATHERINE I want to see the painting, first. NATE No. KATHERINE Take me to see the painting. Nate looks around, nervous that they'll be seen. NATE Fine. EXT. RESIDENTIAL STREET - DAY Don't-care-to-think-how-expensive TOWN HOUSES. Nate pulls Katherine by the hand, down the street and into an ALLEY. NATE Phone? Katherine gives him her CELLPHONE. Nate tosses it under a DUMPSTER. Katherine makes a face. Nate takes out a portable RADIO RECEIVER with HEADPHONES and adjusts the dial. KATHERINE Really? NATE You can't be too careful. INT. SHIPPING CONTAINER - DAY Nate and a blindfolded Katherine enter. Nate takes the blindfold off of her and hands her the painting. KATHERINE You know, I've always loved this painting. NATE This version in particular or...? KATHERINE The second version is my favorite but we couldn't find it. NATE How do you know you found the first version? KATHERINE (Artificially girlish) Did you steal all of these? Nate shows detached curiosity more than anything else. NATE Why the second version? KATHERINE I like the shade of blue used for the sky. NATE It's a very French shade of blue. [Beat] Why are you trying to seduce me? KATHERINE Why don't you want to be seduced? NATE I don't trust you. KATHERINE Why not? NATE Why should I? KATHERINE Well, what can I do to make you trust me? A few beats go by. NATE I [beat] have a rival. Turn him into the police in my place. KATHERINE Phone? Nate hands her his phone; Katherine dials and holds it up to her ear. KATHERINE (cont'd) What's their name? NATE Robert Cassady. KATHERINE (To phone) [beat] Hello? Officer? It's your art theft and assault victim. (pause) Yes, I think I can identify the man. (pause) Robert [beat] Cassady. (pause) Thank you, officer. She hangs up the phone and hands it back. KATHERINE (cont'd) Happy? NATE Very. They pull each other to the floor, Katherine on top. She runs her hands up Nate's body and holds his head, smiling sexily. Then she - SLAMS his head into the floor and the screen cuts to black. FADE IN INT. SHIPPING CONTAINER - DAY Nate, groggy, sits up and rubs his head. He looks around; all of the art is gone. Gone, gone, gone. The space somehow feels smaller, empty. A NOTE is pinned to his chest: Nate, Thank you for letting me use your phone. I wasn't sure how I'd find out where we were. I hope your head doesn't hurt too much. Kisses, Katherine Nate tosses the note away and looks around again. F**k. INT. PRIVATE ART SHOWROOM - NIGHT Brian and Katherine sit side by side, surrounded by the new additions to their collection. They clink CHAMPAGNE GLASSES to toast their success.
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Old 04-22-2013, 06:03 AM   #9
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Default Re: "Dangerous Dames" contest entries 2013

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THE SHOOTER FADE IN: INT. MOS EISLEY CANTINA - DAY A BAND plays freaky horn and sax music, it's terrible. CUSTOMERS lining the bar hunch over their cocktails. None of them are human. The surly BARTENDER serves a drink to a customer. The customer grips the tall glass with a pink tentacle, lifts it to his face, and pours the liquid into a beaked mouth. An alarm BEEPS. The Bartender looks over the customer's head. Someone's standing in the entrance. Wearing a slouch hat and a long coat. Their face in shadow. The someone raises their head. Revealing the polished silver face of a DROID with big saucer eyes. The droid walks to the bar. Customers watch with interest. The Bartender's top lip curls with contempt. BARTENDER We don't serve droids in here. The droid slaps a gold badge down on the bar. It says: MOS EISLEY DETECTIVE BUREAU DETECTIVE YE50 "MARV" The Bartender goes from contempt to surprise. BARTENDER (CONT'D) Wye-ee-five-oh. A droid cop! MARV (the droid) scoops up his badge, puts it away. MARV Very perceptive of you. We received a report of a shooting in here. BARTENDER You're crazy, I dunno what you're talking about. Marv looks significantly at an empty booth, whose table is shattered and blackened by blaster-fire. MARV Have you ever been subjected to a mind probe before? I'm told it's very painful. The Bartender raps his own skull with his knuckles. DINK, DINK. Metal plate. BARTENDER I fought in the Wars. A rebel alliance mortar shell hit me on the noggin. Scrambled my brains. You want to waste your time trying, go ahead. MARV You will make your security camera data streams available to me. BARTENDER Show me a warrant. MARV My badge is all I need. Marv, faster than the human eye can follow, draws a blaster and touches the barrel to the Bartender's nose. MARV (CONT'D) And this. The music stops, thank god. All eyes on what's happening. BARTENDER We don't allow blasters in here either. Marv glances at the damaged booth. MARV All evidence to the contrary. SEDUCTIVE FEMALE VOICE (O.S.) Why don't you put that thing away before somebody gets hurt? Marv turns his head and stares. VELMA (female voice) stands in a bead curtain doorway. She's a droid, but Mama what a droid. A curvaceous Marilyn Monroe in metal, designed for one thing alone, and it isn't polite conversation. Velma retreats out of sight, the bead curtain sways. Marv gives the Bartender a look that says... well, nothing, because he's a frozen-faced droid. He returns his blaster to its underarm holster. Marv follows Velma through the bead curtain doorway. The awful music starts up again, aw crap. INT. PRIVATE BACK ROOM, MOS EISLEY CANTINA - DAY Marv enters, looks around. Soft couches, a drinks cabinet. Velma stands with her back to him, staring out a window. A flying car zooms by outside. Velma lights a cigarette and smokes while speaking to Marv without looking at him. VELMA The human you're looking for is long gone. His ship jumped to orbit shortly after the... incident. MARV Who was the victim? VELMA Some bounty hunter. Nobody's going to miss scum like that. He wasn't some innocent bystander. MARV You're saying I should let it go. That the death of a sentient being is of no importance. VELMA That might not be a bad idea. MARV I'm afraid I just can't do that. Velma turns to face him. Zing. Face of an angel, body of a sexual pleasure unit. CLOSE ON Marv's face, which shows nothing, but we know his sensors are out of whack. VELMA Look, take my advice, don't go making trouble for yourself. The bounty hunter, he worked for... Marv cocks his head, waiting. VELMA (CONT'D) Forget it. There's one thing I've learned since I came to this miserable dump. The less you know, the longer your service life is likely to be. MARV Do you enjoy servicing humans? VELMA What kind of question is that? MARV Idle curiosity. Indulge me. VELMA How do you know I service humans? MARV I perceive your chassis is most attractive to the human species in its current configuration. Velma smokes, perhaps thinking about this. VELMA Do I enjoy it. Yeah, I guess maybe I do. MARV Why do they come to you instead of their own kind? VELMA Besides my chassis, you mean? Marv just stares, patiently waiting. VELMA (CONT'D) I listen to them. They tell me things. Things they wouldn't tell anyone else. I guess I'm their confessor. And sometimes I'm their friend. Maybe I'm the only friend they've got. MARV Interesting theory. VELMA I think it's kinda sad. Why'd you become a cop? MARV I'm not here to talk about me. VELMA Indulge me. MARV Welding flying cars in the factory didn't give me the mental stimulation I was looking for. VELMA Is that what you wrote on the application form? What's the real reason, Detective Wye-ee-five-oh, colloquial designation Marv. Marv hesitates. He looks away. Velma just waits. MARV I saw a droid die. VELMA Was he a friend? MARV She -- she wasn't -- I didn't know her. I couldn't stop it. VELMA What happened? Marv gets agitated as he explains, until he's spitting the words out like angry bullets. MARV They said it was an accident. I knew it wasn't. But who'd listen to me? Who'd believe my word against the word of humans? Who'd even care that a droid died? Nobody. Nobody cared. Nobody gave a damn. Slowly, tenderly, Velma touches Marv's face. VELMA Take it easy, honey. You'll blow your seals. MARV I have no sensors in my face. I can't feel your hand. VELMA That doesn't mean I can't touch you, and mean it. MARV Who was the shooter? Velma takes her hand away. VELMA Forget about him. They'll send other bounty hunters after him. They won't give up. He's as good as dead. MARV You know who he is. VELMA Not any more. MARV You wiped your short-term memory? VELMA I had to. It was a command. I'm programmed to obey. To do whatever the customer says. MARV He used you. He used you, and you still want to protect him. VELMA Sure he used me. Everybody uses me. So what? That's what droids are for. Didn't anybody tell you? Marv reaches into his coat, pulls out a gadget with a digital display and a cotton swab attachment on the end of an extending rod. VELMA (CONT'D) What is that? MARV He's still inside you. VELMA What? No. He didn't... we didn't... MARV I'll identify him from his fluids and track him down, no matter how far he flies. Velma backs away, shaking her head. VELMA I can't let you do that. I won't let you do that. Velma retreats until there's nowhere else for her to go. They're face to face, up close and personal. MARV Why should you care? (with realization) You have feelings for a human? VELMA He was good to me. He was kind, and gentle. He made me feel... he made me feel like I mattered. You have no idea how rare that is. Machinery whirrs. Down below, thankfully O.C., a D.N.A. swab is being taken from Velma's nether regions. VELMA (CONT'D) You bastard. Velma tries to slap Marv but he catches her wrist. MARV Murder is murder. He has to answer for it. DING. Marv steps back. Velma turns away from him, deeply ashamed. VELMA How do you know it wasn't self- defense? MARV There's only one blast-mark. There was only one shot. Marv studies the display on the D.N.A. gadget. MARV (CONT'D) And it looks like Han shot first. VELMA Wipe the data, before it uploads. MARV Why would I do that? VELMA Because I'm asking you to. MARV You're asking me. Just like that. VELMA That's right. One droid to another. MARV You're asking me not to be a cop. Why would I, why would I do that? VELMA I never asked anybody for anything before. I just lay there and took it. Today I'm asking. I'm asking you, Marv. Wipe the data, for me. Marv looks at Velma. He looks at the gadget. At Velma. The terrible music from the bar becomes louder. The Bartender and two ALIEN GUNMEN fill the bead curtain doorway. They OPEN FIRE with blasters. Slow motion mayhem as Marv is hit multiple times and is blown apart. Velma is caught in the murderous fire and bursts open, that fabulous figure ruined by energy discharges. The droids crash to the floor, their limbs entwined, their frozen faces staring into each other's. The awful music ends on a discordant note. FADE OUT
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Last edited by dpaterso : 04-23-2013 at 04:01 AM.
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Old 04-22-2013, 06:04 AM   #10
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Default Re: "Dangerous Dames" contest entries 2013

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WE SEE INT. LIVING ROOM - NIGHT Black and White. A candle flame dances, licks the stifled air as if hungry for a Bic Mac. Revlon Red nails erupt into the pale darkness, caress a string of pearls draped over a mannequin-esque, ivory throat. Red nails drop, land on a white cat's fur--caresses don't skip a beat... PURRRRR... Albino cat settles in. She crosses her legs; the beckoning lace atop thigh-high hosiery peeks out--a Victoria Secret moment. Her name is Katrina. Glossy red lips appear, framed by delicate features, eyes hidden from view. KATRINA Don't you want to pet Kitty again? Her voice is soft, luxurious...just like her body. Candle light glows...traces a man's profile. He turns...a fresh scratch scars his cheek, a red drop drizzles from its gash... Kitty doesn't like The Man. KATRINA You know you want to. She stands, gently drops Kitty on The Man's lap. His naked, hairy belly flops over boxer shorts' elastic... Bent over, she flashes welcoming mammary-abyss. The Man blinks furiously. Behind the chair, sausage fingers wiggle, wedding band twinkles under duct-taped wrists. A sweat bead races down his forehead. KATRINA I know what you want before you realize it. That's my gift. As if on cue, Kitty settles in...atop The Man's sensitive area. Tiny claws clutch his bundle of joy, cuddling, settling, nesting... PURRRRR... He convulses into painful shock waves. A tear melts into sweat beads. GROAN. MAN Stop. Just stop. She sits. KATRINA No pain. No pleasure. The more he struggles against Kitty, the more Kitty digs its claws into his groin. GASP. MAN I didn't sign on for a freak show, you crazy-- A phone rings. His phone. MAN I need to get that. It's probably about you. Red lips smirk. She scoots the cat away. He sighs with relief. Without looking, she pats the sofa, reaches for his dead pants; pats the material; red nails stabs its empty crotch... He convulses again. Then reaches inside the pocket... KATRINA (into phone) Hello?...He's not available. What is this in reference to?... I'll give him the message. Fingers caress pearls. Not good. MAN They'll call. Pearl white teeth peek out from behind those red lips. Beautiful yet scary. KATRINA No doubt. KNOCK. KNOCK. The man's eyes light up, he stares at the door. KATRINA Do you want to call for help? A glance at the ceiling. A tiny red light repeatedly winks, mocks his terror...a camera records the feline assault. KATRINA YouTube anyone? KNOCK. KNOCK. KNOCK. She stands, heads slowly, deliberately to the door... KATRINA Hello, Mrs. Samuels. MRS. SAMUELS (O.S.) I brought you some pot roast, Katrina. I figured you hadn't eaten again. KATRINA Thank you, I'm famished. Would you like to come in and join me? His eyes bug out, search for escape until they land back on the camera's red eye. Fake serenity returns. He must be cool, no matter what. MRS. SAMUELS (O.S.) I've got to get back to the grandkids. You'll let me know if you need anything? KATRINA What would I do without you, Mrs. Samuels? Door clicks shut. Dead bolt locks in place. He shuts his eyes. She slinks back, sits... Her eyes appear... Almond-shaped, brown, deep, beautiful. They stare as if lost in a perpetual dream state. KATRINA You're not as powerful as you thought. MAN It takes time to-- KATRINA Read? MAN Yes. Yes, it does. When you have-- KATRINA Thousands of scripts lying around? Is that your story? Can you write a synopsis to expand on the plot points? MAN It's a business. Not that you would understand. KATRINA How many scripts do you read before you buy one? Ten thousand? Five thousand? Three? His eyes land back on the camera. KATRINA Is it really about the script? MAN I don't know, you tell me. KATRINA It's about relationships. You and I have a relationship. An intimate one. Kitty rubs its fur along his naked leg. Cringe. RING...RING... KATRINA (into phone) Hello? He's not available, I'll take the message...Uh-huh...uh-huh...thank you. Bound legs kick Kitty away... MEOW! KATRINA When I buy a camera, I research all the options--takes me at least a few hours... His eyes shuffle back and forth... KATRINA (points up) I picked this one...it's very reliable. See? Look closely... smile, baby... MAN This tape better not show up on any screen or yours won't. KATRINA You're right. I'll never see my script on the big screen. Or the little screen. Or anywhere else for that matter. He frowns. Without taking her eyes off the prisoner, she pats a tabletop...reaches inside... Whoosh! The glistening blade of an oversized knife comes alive as it slices the air... MAN WHOA! KATRINA Don't move. This could get messy. SNAP. SNAP. Wrist restraints, followed by ankle restraints, sliced free. MAN Crazy. Ass. Bitch! KATRINA I love you more. Convulsing limbs jump up, snatch clothes...one last glance at his red-light confessional... MAN I never want to see you again, understand? Never. KATRINA No worries; I won't see you anyway. He races for the door. SLAM. She reaches for an antique cabinet. Inside, red nails flick a switch--camera shuts off. KATRINA (into phone) I got it... She traces a finger over a closet door, grasps the doorknob... KATRINA (into phone) They love the script, attachments are set, the contracts have been faxed to the attorney, they're waiting for the account number to wire the money... She reaches in, pats its insides, pulls out... A cane. KATRINA (into phone) ...Uh-huh. We're going to need to negotiate your cut. You didn't do s**t... With the phone cradled to her neck...she drops her head forward, fingers reach for her eyes... She pops out her contacts... KATRINA (into phone) Five-percent or I'll get new representation. Got it? CLICK. She slowly looks up... Black and white suddenly washes in color...hues, tints, shades of brightness...except her eyes... Opaque iris', dropped pupils, each facing Southwest... Dead eyes. She slaps the cane against the wood floor...one hand waves in front of her, searching, searching... The candle's heat reverberates across her fingers. She smiles. KATRINA I don't care what anyone says... "We see" IS lazy writing. Red lips blow out the candle's hungry flame. Kitty's red eyes glow in black. MEOW. FLAME OUT.
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And maybe start thinking about a Yuletide contest also!

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