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Old 11-01-2013, 05:37 AM   #1
dpaterso
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Default Entries - Halloween 2013 contest

There are 24 entries! Well done all for writing to theme and deadline.

1. HELLOWEEN
2. Devil's Mountain
3. The Cutest Little Thing
4. Spider
5. Potter's Field
6. Motivation
7. The Beans
8. Doughboy
9. Steve
10. The Dead Watchers
11. Molly
12. Coffin Creek
13. The Taker
14. The Bell
15. The Reunion
16. Butterflies
17. Cinemassacre
18. Picky
19. Satan's Moon
20. Best Halloween Ever
21. Versus
22. Requiem
23. Danse Macabre
24. Mating Call

Even when using PDFs as a useful lowest common denominator, there's still quite a variance in formatting, which I've tried to catch and correct. If you read your own entry and spot any errors, PM me and I'll correct ASAP.

As suggested elsewhere, consider making notes as you read each entry, maybe award star ratings for character, dialogue, setting, etc. Treat every entry as the winner -- until you read something better that pushes it further down your pick-list.

It's not gonna be easy, but once you pick your 1st, 2nd and 3rd top choices, PM or email these to me (dpaterson57@gmail.com). I'd really appreciate receiving them in the format,

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

Please don't vote for your own entry. If this were allowed, everyone would do it, so what's the point? It just clouds the voting.

If you don't like reading inside the scrollbox windows, try selecting Thread Tools > Show Printable Version.

Tentative voting deadline: how about aiming for Thu 7th? A full week in acknowledgement of the high number of entries.

Edit: The results have been posted, see here. Feedback that gives us an idea of what makes a script work for readers or what might turn readers off is a big part of these contests for many, here's hoping we can find time to participate in this, too.
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Halloween contest results posted!
And maybe start thinking about a Yuletide contest also!


Last edited by dpaterso : 11-08-2013 at 04:10 AM.
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Old 11-01-2013, 05:45 AM   #2
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Default Re: Entries - Halloween 2013 contest

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HELLOWEEN THAT SINKING SOUND from the pits of your stomachs... acrid smoke, haze and descent, into hell below the earth... layer after layer, the sweating, scantily adorned multitudes in agony. Another layer down, and another ring, the circles of Hades pass swiftly as the bottom floor comes into focus... GROUND FLOOR IN HELL The layers of souls, like an ocean crushed beneath the topmost layers, and bobbing atop the effluvium, a crystal clear SPHERICAL BUBBLE (INTERCUTTING) Standing beside the tree of life is a Mayan SHAMAN, who has stood his ground for five centuries now. The larger demons take whacks at the bubble with hammers and picks. Shaman gazes back unflinchingly, softly chews a leaf. A ROAR parts the demons. BAEL Back away! BAEL towers on hairy spider legs, squishing unfortunates as he drags a massive scimitar. Sexy AGRAT slithers behind, her naked body draped only in a serpent, which wraps around her breasts and bikini area. Another hot demon babe, NAAMAH, with short fur that covers her up to her breasts and ram horns protrude out from her skull. Shaman calmly stares out, picks a leaf from the tree of life, and slowly chews. Attention turns to a tall jutting clock tower, where hell time reveals 11:59pm, October 30th. Seconds tick. BEELZEBUB flies in on a dragon with a gnarly arrow strung on his bow. BEELZEBUB Time is at hand, Shaman! Shaman meditates. He turns and picks a dozen leaves from the tree and stores them in his sack. DEMONS OF HELL Ten! Nine! ... ATOP THE CLOCK TOWER Dashingly deceptive BELIAL gazes down on the festivities. Agbat flicks out her tongue toward the Shaman, as does her serpent; 4, 3... BAEL It is finished. ROAR of midnight, the bells of hell. Bael raises his scimitar and crashes down upon the bubble. Red lightning. A hairline fracture. The demons swarm. Bael raises it again. Naamah points a clawed finger at the Shaman. Bites the air. Scimitar crashes down. A crack. Again the scimitar crashes down, and the bubble releases its air in a gust. Shaman readies himself. The scimitar splits the bubble in two. All hell breaks loose. Literally. Shaman flies up into the demon skies like a Saturn Five. The demons who can fly scramble after. Beelzebub lets his arrow fly, atop the dragon in hot pursuit. Shaman jackknifes his body as the arrow slides past his abdomen, missing. With a wave of his hand, Beelzebub calls forth a swarm high above. Sky fills with FLYING CHERUBS, ugly Cupids with leathery wings and jagged teeth. Shaman dashes to evade. Cherub seizes his leg, sinks teeth in. Shaman turns into one of the upper levels... UPPER LEVEL OF HELL Belial appears atop a pedestal like rock formation, watches. Shaman flies into the caverns of torture, skirting the worker demons and writhing souls toward a boiling vat of acid... Shaman dips his attached Cherub into the acid, where it melts off with a cackle. Hundreds follow. Shaman jets off across the fields of agony... MAIN HELL CAVERN The major demons fly up to catch him, Beelzebub, Agrat, Bael. Even Leviathan rises up from the floor of souls, takes flight to pursue. Shaman eats the leaves from his satchel, mumbles a prayer and rises fast toward the jagged rock roof. Closing his eyes, an energy field of Chi power emits from him, and he blasts straight up into the rock without slowing. EXT. DARK MOUNTAIN - NIGHT Exploding from the earth, a seemingly volcanic eruption launches rock and soil. Shaman blasts into the sky and hides in the cloud cover above. INT. SUBURBAN BEDROOM - NIGHT OLGA CRENSHAW (19) dresses for Halloween, a warrior princess much like Xena, leather and metal plates of armor. Behind her, at the window, her large-boned sidekick MELANIE watches the neighborhood, curtain pushed to the side. She's dressed as Heath Ledger's Joker. MELANIE What the hell was that? Sounded like a frickin' bomb. OLGA Fireworks. MELANIE No way. That was like huge, Olga, like a earthquake. In the tall mirror, Olga adjusts her black wig. Melanie steps over to paint red lipstick on as a permanent scar smile. MELANIE That wasn't a firework. I think I know the difference. Olga adjusts her breasts and armor. OLGA What ever. How do I look? MELANIE I think it needs something. You know? OLGA What? MELANIE I told you how I get these really uncomfortable feelings sometimes. OLGA Yeah. MELANIE Well. Last night, I had this really freaky dream, I mean-- OLGA Uh huh. You know what I need? A weapon! MELANIE Okay. Olga spins around to search her room. A tennis racket? EXT. MOUNTAINTOP AT HOLE - NIGHT From the hole in the earth, a twinkling like Tinkerbell. On the volcanic floor it solidifies, Belial, handsome, tailored, confident, pure evil. He looks about to see the shimmering streetlights of a small town down below in the valley. A RUMBLE grows, and Belial disintegrates, shoots off. The hole explodes up as Bael climbs out and roars into the night air. BAEL Raaaaaaaaa! He claws his way into our world, stands beside the hole. Agrat floats up next, a dancer, spinning gracefully above the ground. AGRAT Where is our Holy Man? BAEL He will be found. Bael bends down and calls into the hole below. BAEL We are unleashed! Bael and Agrat shoot off toward the unsuspecting neighborhoods below. Passed by the charging goat Namaah. Beelzebub flies behind them on a dragon. From out of the evil hole pour the demons. Spreading their plague in all directions, demons scamper and fly, search wildly. Demons shall rule the earth. INT. OLGA'S HOUSE - NIGHT Olga sneaks from the hallway into a dark bedroom. It's quiet, and she leaves the light off. She tiptoes in. Something rustles in the shadowy recesses. OLGA Timmy? Martial arts supplies, throwing stars, nunchukus. Olga spots a Samurai sword. Slides it from its sheath and holds it. Slides it back in. From the blackness a CAT jumps out. CAT Raar! Olga screams, backs away cowering. OLGA Lucky! You little bastard. Stupid. Melanie runs to the doorway. MELANIE Hey? You okay? You know I had an evil premonition last night? OLGA That's because we're going to Rave Evil. HALLWAY Olga emerges with the sword. MELANIE Is that like, for real? OLGA Oh yeah. It's razor sharp too. MELANIE Dude. OLGA Don't worry. I know how to handle it. MELANIE I think don't handle it was like my point, O. HONK from the street. They turn. EXT. OLGA'S HOUSE - NIGHT Muscle car jolts to a stop, DEATH METAL blares from crap speakers. FAST JIMMY gazes out, HONKS again, gels his hair. Olga and Melanie strut out of the house, ready for Halloween. KIDS TRICK OR TREAT!!!! From a hedge BRATS ambush them. Olga and Melanie jump back. Then laugh. The kids run up to the front door of the house. Fast Jimmy changes the music to pop 40. Olga bends at the open passenger window. FAST JIMMY Hey, you look hot. OLGA I thought I said I was taking my own car? FAST JIMMY What? My ride's not good enough for you? OLGA You're not gonna get wasted, and drive drunk again? FAST JIMMY Come on baby. Don't be like that. OLGA Like what, Jimmy? Responsible? Not a dumbass? FAST JIMMY I didn't mean it like that. Jeez. Have a good time for once in your life. OLGA Anyway, I told Mel I'd give her a ride home. FAST JIMMY Hey, I'm just being like gentlemanly and sh**. She laughs, and stands tall beside the car. FAST JIMMY Later. He slams it in gear and peels out. MELANIE What was that? Olga shakes her head, and they stroll toward a car. Olga's skin begins to glow. White light emits from every pore of her body. Melanie backs away, as the sidewalk glows around Olga. MELANIE Olga? What the hell? And to learn the rest of this story, one would need to speak to the writer... (CONTINUED)
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Halloween contest results posted!
And maybe start thinking about a Yuletide contest also!


Last edited by dpaterso : 11-05-2013 at 04:44 AM.
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Old 11-01-2013, 06:13 AM   #3
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Default Re: Entries - Halloween 2013 contest

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DEVIL'S MOUNTAIN FADE IN: EXT. SWAMP - EVENING A dozen alligators thrash about in the murky swamp as carnival-like music plays nearby. EXT. WONDERLAND THEME PARK - EVENING Sunlight fades into the horizon as darkness creeps over Wonderland. An army of Wonderland employees scramble to hang up Halloween decorations around the park before it opens. An enormous crowd of tourists gather outside the gates. INT. MANAGER'S OFFICE - CONTINUOUS SCOTT and TREVOR, 25, dressed in matching dark Polo shirts and khakis, wait impatiently in the manager's office. TREVOR Why do you think Lufnis called us in here? SCOTT I don't know. TREVOR (worried) Sh**, man. Maybe he found out about the food stuff. SCOTT Hmm? What are you talking about? TREVOR Where do think I've been getting the food I bring home every night? SCOTT (shocked) You've been stealing it from here? TREVOR No! It's not stealing, they were throwing it out! I'm just helping them get rid of it. Scott stares daggers at Trevor. SCOTT (disbelief) You're telling me we've been eating dumpster food for the last two months?! TREVOR First off, it never reaches the dumpster! Get your facts straight. SCOTT (appalled) That doesn't help one bit! Why would you--- The door opens and a hefty old man, MR. LUFNIS, 60, enters the room carrying a clipboard and surveying the two. They sit up straight. Lufnis eases himself into his chair and speaks with a calm southern accent. MR. LUFNIS Scott. Trevor. How are you today, gentlemen? SCOTT/TREVOR Good. MR. LUFNIS (taking a seat) Good! You both been here for a couple months now, right? Everything going good? Ya'll fittin' in? SCOTT/TREVOR Yes, sir. No problems at all. MR. LUFNIS That's what I like to hear! (checks his watch) Park's opening soon, so I'll keep this short. Now, do you know why I wanted to see you two? SCOTT (pleading) Look Mr. L, we're sorry for whatever we might have done, especially him-- TREVOR I didn't know I couldn't take food from the dumpster, okay?! I figured that's fair game! Lufnis gives them a bewildered look. SCOTT (to Trevor) So it was from the dumpster! TREVOR How else would I have gotten it, dude? Walk out the front gate with it?! MR. LUFNIS Goodness sakes, boys, settle down! I don't know what ya'll are arguing about, but it should probably stop. The guys straighten out and focus back on Lufnis. SCOTT Sorry. MR. LUFNIS I'm not here to punish either of you so don't worry `bout that. They breathe a sigh of relief. MR. LUFNIS (CONT'D) I actually want to give you two an opportunity! TREVOR Like what? More money? Scott elbows him to shut up. MR. LUFNIS Well you see, Halloween is my favorite time of the year. You know, with all the little ghosts and ghoulies running `round--it's a lot of fun. And for the past thirty years, I've been adding my own little flair to the Devil's Mountain ride on Halloween night. Trevor's eyes light up. TREVOR Yeah! You do the thing with the dummy! I remember that! Mr. Lufnis is beaming. Scott doesn't understand. MR. LUFNIS (to Trevor) That's right. It's a Wonderland Halloween tradition! SCOTT What is that, exactly? Mr. Lufnis gives the "go ahead" nod to Trevor. TREVOR (to Scott) Alright, so normally when you reach the peak of the mountain, you just kinda plummet down really fast before you reach the exit outside. SCOTT Yeah. TREVOR Except on Halloween, that's when they add a dummy filled with fake blood and guts to drop down in front of the shuttle when it reaches max speed. SCOTT So what happens? You hit it or something? TREVOR Yeah! It's awesome `cause you don't expect it at all. You hear a lot of screaming, everything's dark, and then BAM! Blood and guts everywhere! SCOTT (grimacing) That's great. (to Mr. Lufnis) Um, so what did you need us to do? MR. LUFNIS (looking them over) I need to know if you two are team players. The guys look at him confused. MR. LUFNIS (CONT'D) Just between us, this isn't what you'd call "corporate sanctioned", so there's no doohickeys up there to control everything. That's why I need you two up in the rafters to do the job. TREVOR You want us up there to drop the dummies? SCOTT I don't know, it sounds kinda dangerous. MR. LUFNIS I understand. Most of the interns like yourself finish up the program here and leave. (leans in) But let me tell ya'll sumthin' about team players. Prove to me that you are, and I guarantee you two will find more. . .permanent positions here. He gives them a wink. TREVOR Alright, yeah! We'll do it! SCOTT What? MR. LUFNIS (smacks desk) Ha! I knew I could count on you boys! I'll let Oscar know you're coming. Mr. Lufnis checks his watch again. MR. LUFNIS (CONT'D) Better get moving! Halloween night is just `round the corner, and we don't want to disappoint. INT. PEAK OF DEVIL'S MOUNTAIN - NIGHT Scott and Trevor navigate up a seemingly endless spiral staircase to the top of Devil's Mountain. They follow behind a pale, grim-looking man, OSCAR, 50. The surroundings gets darker as they move higher up. TREVOR (to Oscar, jokingly) Must be lonely working here by yourself, huh? Oscar remains silent. TREVOR (CONT'D) Jesus, it's dark as hell up here. SCOTT I can't believe we're doing this. TREVOR Why are you complaining? You didn't have to come. SCOTT Of course I did! You told him we would. TREVOR No, you're here because you want a job as bad as I do. SCOTT I'm definitely starting to regret it. They reach the catwalk above the rollercoaster. The ROARING WIND coursing through the hollow mountain make it difficult to hear. OSCAR This way. Oscar leads them to a pile of bungee ropes. He shines a dim flashlight on it. OSCAR (CONT'D) Your harnesses. They fumble for a minute to get their harnesses strapped in. TREVOR (loudly) Alright, what now? Oscar points to the other end of the pitch black catwalk. Without a word, he descends down the stairs. SCOTT Wait! Give us a flashlight at least! It's too late, Oscar is gone. SCOTT (CONT'D) (yelling) Are you kidding me? Hey! Come back! Trevor keeps moving forward. TREVOR (shouting back) Forget it! Stop being a pansy and just hold on to the side rails. I think there's supposed to be a room at the end of the plat-- The combination of acoustics and high winds cause a deafening GROWLING noise to echo throughout the mountain. SCOTT What!? I can't hear you! He waits for a response. None. SCOTT (CONT'D) Trevor! Come on, this ain't the time to mess around! Scott blindly moves forward, holding onto the side railings with a tight grip. SCOTT (CONT'D) Trevor! Hey, Trev-- As he takes his next step, the floor disappears beneath him, taking him by surprise. Scott lets out a SCREAM and plummets downward. The bungee rope catches Scott, preventing him from smashing into the metal rollercoaster rails, but leaves him dangling upside down above it. Scott recovers from the vertigo to notice Trevor hanging next to him unconscious. SCOTT (CONT'D) (nudging Trevor) Hey! Wake up! CLICK. The lights and animatronic characters around them suddenly switch on, singing a fun and scary tune: ANIMATRONIC (singing) WELCOME TO THE DEVIL'S MOUNTAIN HOME TO THIEVES AND FOLKS ASTRAY HERE WE ARE IN THE DEVIL'S MOUNTAIN WORKING NIGHT AND DAY. NO ESCAPE FROM THE DEVIL'S MOUNTAIN THIS IS THE PRICE WE PAY. Scott, wide-eyed, realizing the ride was starting up, frantically searches for a way out. SCOTT Trevor! Come on! Scott fumbles around with the harness straps, but nothing works. DELIGHTED SHRIEKS from guests get louder with each passing second. TICK TICK TICK TICK TICK. The shuttle slowly climbs up the last stretch of the ride, unaware Scott and Trevor are waiting at the bottom. SCOTT (CONT'D) (clamoring) STOP THE RIDE! PLEASE! WE'RE DOWN HERE! The shuttle reaches the peak, then accelerates down towards them. SCOTT (CONT'D) STOP THE RIDE!!! Scott sees the excitement on the guests' faces as they get closer and closer. His scream of terror gets lost in their screams of joy, and then--- CUT TO BLACK. THE END.
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Halloween contest results posted!
And maybe start thinking about a Yuletide contest also!


Last edited by dpaterso : 11-05-2013 at 04:51 AM.
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Old 11-01-2013, 06:23 AM   #4
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THE CUTEST LITTLE THING FADE IN INT. KITCHEN - NIGHT FLUFFY, a pure white Himalayan kitten, sits quietly. He looks more like a giant cotton ball than a real pet. Fluffy looks up at HEATHER, a twenty-something blonde bombshell. Heather opens the door to the oven. She pulls out a baking sheet. Fluffy watches every move. Heather speaks in her sweet Southern Belle accent. HEATHER Your favorite Halloween treats are done. She stands holding the baking sheet. She smiles. Fluffy bats his extra large blue eyes. He lets out a faint sound. FLUFFY Mew Heather practically melts. HEATHER Awww. Fluffy if you aren't the cutest little thing. Heather walks out of the kitchen and into the HALL. She sits the baking sheet on a table under the window. HEATHER We'll sit these here to cool. She looks back into the KITCHEN. He is gone. HEATHER Fluffy? Heather stares into the kitchen. FLUFFY (O.S.) Mew. Heather jumps. She looks down the hall. Fluffy stares back. HEATHER You startled me. She points at the kitchen then the hall. HEATHER How did you move so quick? They stare at each other. Fluffy bats his eyes. FLUFFY Mew. Heather, hands on hips, cocks her head to one side. HEATHER Awww. Heather turns around. She lifts the window a few inches. It sticks. She lifts harder. It doesn't move. She gives it a hard shove. It slides all the way up and catches. HEATHER Crap! Heather tries to pull it back down. It's stuck. Heather bends over and looks out the window. HEATHER Wow ten stories is a big step. Ouch. She rubs her thigh. HEATHER Fluffy this cookie sheet is still hot. FLUFFY (O.S.) Mew. Heather turns to Fluffy. HEATHER I better call the handyman. INT. ROOM - NIGHT A balding, round faced, middle-aged man sits at a desk. He is cleaning his eye glasses. The phone rings. He picks it up. Before he can say a word... HEATHER (O.S.) Mr. Grimms? This is Heather across the hall. Can you come fix my window? Mr. Grimms grins devilishly. MR. GRIMMS Oh yes Heather. I'll be there in five minutes. Mr. Grimms drops the phone. Sweat beads form on his bald spot. He stands and stares at the wall. The wall is covered with 13 photographs of beautiful young women. All have a red X on them except one. A photo of Heather is unmarked. Mr. Grimms slowly and gently rubs the photo. MR. GRIMMS It's going to be so good. He laughs an obnoxious and maniacal laugh. INT. LIVING ROOM - NIGHT Heather opens the door. HEATHER Wow that was super fast. Mr. Grimms enters. MR. GRIMMS I couldn't wait... I mean I didn't want to keep you waiting. Heather cocks her head to the side. HEATHER Aww. Your so sweet. Something clicks in Heather's head. She turns frantically. HEATHER Fluffy! Heather bolts out of the room. HEATHER (O.S.) This way Mr. Grimms. Mr. Grimms watches her leave. He licks his lips. INT. HALL Heather dashes in. Fluffy sits staring up at the baking sheet holding the treats. HEATHER Fluffy I was worried. Heather points to the open window. HEATHER This one Mr. Grimms. He enters the room. He looks at the window. MR. GRIMMS Oh yes. I see. He looks at Fluffy. MR. GRIMMS That little kitten might jump up here and this window could come down and pound him, or worse. Heather is aghast. HEATHER Oh no Mr. Grimms you have to fix it. She looks down at Fluffy. HEATHER I couldn't stand the thought of my little Fluffy getting pounded. Mr. Grimms clears his throat. He wipes the sweat from his head. MR. GRIMMS That's quite the image. Heather looks at him dumbfounded. She turns and leaves. HEATHER (O.S.) I'll be in the shower so see yourself out. Thank you! Mr. Grimms turns and lays the toolbox on the window sill. He opens the box and pulls out a hammer. It is caked with blood and hair. MR. GRIMMS Ouch! He looks down at the baking sheet. He puts the hammer back. Picks up the table and moves it to the side. He stares at the treats. FLUFFY (O.S.) Mew. Mr. Grimms turns to look at Fluffy. He turns back to the small treats. He picks one up. He inspects it. He sniffs it. He smiles. Fluffy watches Mr. Grimms flick the treat in the air. It slowly tumbles end over end. Fluffy's eyes grow wide as the treat plops into Mr. Grimms' mouth. Mr. Grimms savors it. A low growl. Mr. Grimms turns to look at Fluffy, but he is gone. In his place stands a hairless, scrawny, wrinkled creature. It's eyes radiate red. Saliva hangs from it's huge fangs. Mr. Grimms stands motionless. The creature springs onto Mr. Grimms chest. It rips open his throat. It reaches into his neck, grabbing the treat from his mouth. The creature jumps down. Mr. Grimms clutches his throat. He stumbles back against the window, knocking his toolbox out. Mr. Grimms quickly follows. HEATHER (O.S.) Mr. Grimms? Heather emerges, wet hair and a small towel barely covering her voluptuous body. HEATHER Mr. Grimms are you still here? Heather looks down and sees Fluffy eating a treat. HEATHER Did Mr. Grimms give you that? Fluffy looks up. He bats his gorgeous blue eyes. HEATHER Awww. You are just the cutest little thing. END
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Halloween contest results posted!
And maybe start thinking about a Yuletide contest also!

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Old 11-01-2013, 06:37 AM   #5
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Default Re: Entries - Halloween 2013 contest

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SPIDER FADE IN EXT. - DAY ALVIN, 60, hoes his meager garden. He stops. He looks up at the sky. No clouds, no sun, it's just vast grayness. He buttons the top button on a heavy coat. SUPER: "Ten Years After The Meteor Strike." Alvin continues to hoe. A hundred yards past Alvin in the TREELINE stands CRAIG, 30. He watches Alvin hoe. He slowly scans the scene. He studies the two-story farmhouse. The windows are boarded from the outside. No one moving but ALVIN bends down. He picks up a shriveled potato. Alvin smiles. He wipes the dirt off. Alvin turns and walks toward the house. He stops to see CRAIG walking toward him. Craig looks battle hardened. A machete strapped to the side of his leg. He has an AK-47 slung around his shoulder. Craig raises his hand. Alvin looks at the house then back to Craig. He looks down at the half rotten potato. ALVIN I won't make it. The potato doesn't answer. Alvin looks back up at a fast moving Craig. Alvin waves. Alvin smiles. Craig stops a few feet away. CRAIG Hello. Alvin stands, the potato in one hand and the hoe in the other. Alvin's knuckles turn white from his grip on the hoe. Craig notices. Craig slowly moves his hand to the machete. Alvin sees. He relaxes his grip. ALVIN Hello. Craig is tense. His eyes move from Alvin to the house and back. CRAIG Just passing through, hoping for a handout. Alvin looks down at the potato. ALVIN I don't have much. But your welcome to stay the night. Craig looks past Alvin at the creepy house. ALVIN Don't get much company. A human voice would be nice to hear. Alvin walks to the house. Craig watches. Alvin rests the hoe against the porch rail. Craig follows carefully. Alvin opens the front door. He waits for Craig. ALVIN After you. Craig stops. CRAIG Age before beauty. Craig smiles. Alvin, slow to get the joke, chuckles. ALVIN That's an oldie. Alvin goes through the door. Craig looks around and then enters the HOUSE. They both stand in a HALL. Alvin points to the left. ALVIN You can make yourself at home in the living room, if you like. CRAIG Where are you going? Alvin points down the hall. ALVIN To the kitchen. To fix us a bite. Craig looks down the hall. The house is dimly lit with candles. CRAIG I'll come along. In case you need help. Alvin nods. Alvin leads the way. They pass the large living room. Craig notices blankets cover the windows. ALVIN (O.S.) To keep the light from getting out. Craig turns to Alvin. ALVIN The blankets. Craig nods. They walk past a closed door. A key in the keyhole. Craig stops. CRAIG What's in here? Alvin stops. He slowly turns around. He looks uneasy. CRAIG Well? Alvin says nothing. Craig reaches for the door knob. ALVIN It goes to the basement. Craig quickly looks at Alvin, tense. Alvin, just as tense, tries to smile. ALVIN My wife's canned goods are down there. Craig looks at the door. CRAIG Nowadays that's better than gold. Alvin stammers his words. ALVIN Let's go eat. I'm hungry. Alvin turns and walks away. Craig stares at the door. He reaches for the knob. He stops. He turns and follows Alvin into the KITCHEN. Alvin lights a lantern and places it on the table. ALVIN Have a seat. Craig looks around. A couple of jars of corn and a couple of jars of beans sit on the counter. CRAIG No meat? Alvin quickly looks at him, shocked. Craig notices. CRAIG You have meat in the basement? Alvin says nothing. He looks back at the hall and then to Craig. Craig stares hard. Alvin answers timidly. ALVIN I have some salted meat in the basement. Craig nods. CRAIG I see. Craig notices a calender on the wall. The days marked out. CRAIG Keeping track of the days? Alvin looks at him and then to the calendar. ALVIN Yes. I've actually been able to keep up. Alvin marks the last day - October 31. CRAIG Halloween! Alvin chuckles. ALVIN Yes it is. CRAIG Well I guess I'm your first Trick-or-Treater. Alvin smiles. ALVIN I'd say the only. Craig smiles back. CRAIG Maybe. Alvin stops smiling. Craig motions to the door. CRAIG How about some of that meat? Alvin looks worried. He looks at the door. ALVIN I guess you can go get some if you like. Craig looks at him. CRAIG We. Alvin grabs the lantern. ALVIN Okay, we. Alvin walks out. Craig follows into the HALL. Craig takes the lantern. He turns the key. He looks at Alvin, who stands emotionless. CRAIG You open it. Alvin looks at him. Then slowly walks to the door. He opens it. The door makes a sinister creak. Craig pushes Alvin aside. He holds up the lantern. He steps onto the first step. He stops. CRAIG You first. Alvin slowly passes Craig and walks down the stairs to the BASEMENT. He looks up at Craig. He is slowly making his way down the steps. Craig stops halfway down. He raises the lantern. CRAIG What does this salted meat taste like? He surveys the basement. Severed heads line a shelf. Dried and shriveled body parts hang from the ceiling. Alvin quickly grabs the railing with both hands. He gives it a push. It slides. An axe swings down from above. It smashes into Craig's face. ALVIN Not as good as fresh meat. END
__________________
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Halloween contest results posted!
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Old 11-01-2013, 06:52 AM   #6
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POTTER'S FIELD EXT. BASEBALL FIELD - DAY A group of BOYS loiter on a weed-choked sandlot surrounded by abandoned homes and boarded businesses. A dying ghetto. BOY'S VOICE (O.S.) Got it! GATES BROWN, a lanky African American 12-year old, races toward us on an undersized bicycle, holding up a bright white BASEBALL. JOSE VASQUEZ (12) a pint-sized Latino with moustache fuzz on his upper lip, spits into his mitt, rubs it. JOSE Alright! Let's get this credo! Gates leaps off his bicycle, runs onto the field. CAYHILL GOBBITZ (14), a neckless, giant mound of pimply, flesh, steps into the left-hand batter's box. Gates tops the dusty pitcher's mound, glances over his left shoulder. RIGHT FIELD The skeletal ruins of a TORCHED CAR lay at the base of a towering barbed-wire FENCE covered with warning signs, "CONSTRUCTION SITE. DANGER. DO NOT ENTER." PITCHER'S MOUND Gates rolls the baseball between his fingers, shouts. GATES Right field's out. Cayhill's sausage fingers strangle a cracked baseball bat held together with tape and screws. CAYHILL Yeah, don't worry 'bout it, d***head. Jist throw the ball. Gates takes a deep breath, leans in for a sign... DARIOUS (8), Gates's little brother, squats behind the plate, shielding his pint-sized body with a dented trash can lid. He flashes one finger between his legs - FASTBALL. Jose lifts a CRUCIFIX chained around his neck, kisses it. Gates winds up, hurls the baseball. THWACK. The ball explodes off Cayhill's bat. Gates cranks his neck, tracking the ball as it arches high across the sky and disappears over the right field fence. Jose tosses his mitt into the air. JOSE You're out, credo. We win! Cayhill slams the bat on the ground, snapping it in two. CAYHILL Bullshit! That's a homerun! GATES No way! Right field's out. That's an autographed ball. You gotta go get it. DARIOUS (O.S.) Yeah, hitter's gitters. CAYHILL Shut up, twerp! Cayhill plows his ham-sized fist into Darious's trash can armor, sending the boy crashing to the ground. CAYHILL (CONT'D) What kind of dumbass uses a signed ball, anyhow? GATES One that just beat your ugly ass in the championship. JOSE Yeah, and you owe us five bucks. CAYHILL Game's tied, jackoffs. Cayhill and his posse mount their bikes, peddle away. Jose and Darious join Gates in right field. GATES Mama's gonna whip my ass if I don't find it. JOSE Uh, wish I could help, bro, but it's Halloween and Old Lady Lasky's passing out them giant Snickers bars. I gotta get there 'fore she runs out. DARIOUS I'll help. GATES Thanks, D, but you gotta get home. Tell mama I had to-- THUD. A BASEBALL careens off the rusted car ruins, rolls though the weeds, and comes to rest at Gates's feet. JOSE Whoa, that it? Gates picks up the ball, wipes it on his t-shirt, leaving a thick streak of black mud across his chest. GATES S***! JOSE What? Gates holds up the smudged ball. CLOSE UP ON BASEBALL Gouged in the leather, between the red stitching, "HeLp uS." JOSE (CONT'D) Aw man, it's just that fat bastard messin' with you. Jose grabs a ROCK from the ground, hurls it over the fence, bellows. JOSE (CONT'D) Nice try, fat ass. Gates rubs his finger over the mysterious message, then peers at the fence. Jose climbs on his bike. JOSE (CONT'D) C'mon, let's go! INT. BEDROOM - NIGHT Surrounded by piles of Halloween candy, Darious devours a box of gummy bears in one pour. Gates rips open a pack of baseball cards, flips through the deck. INT. LIVING ROOM - NIGHT JUANITA BROWN (late 30's) in a bathrobe, smoking a cigarette, calls upstairs to the boys. JUANITA Okay, you two, no more candy. Brush your teeth and say your prayers! INT. BEDROOM - NIGHT In his pajamas, Darious kneels bedside, hands held in prayer. DARIOUS We're doin' pretty good, daddy. Mama still cries a lot, but when I make that funny face, she laughs sometimes. Gates lies face up on his bed, staring at the ceiling, and clutching his prized baseball. EXT. BASEBALL FIELD - NIGHT A FLASHLIGHT BEAM cuts through DENSE FOG. GATES (O.S.) Over here! Jose shuffles next to Gates. JOSE I gotta be crazy for lettin' you drag my ass out here. Place's crawlin' with Hoods. Gates pulls the BASEBALL from his pocket. JOSE (CONT'D) Boy, you just achin' for an ass whoopin'. Gates takes a deep breath, then hurls the ball over the fence. Gates and Jose crouch behind the car ruins. JOSE (CONT'D) When you start believing in ghosts? GATES I don't. JOSE Then what the hell we doin' out here?! THUMP. Gates aims the flashlight at the fence. The BASEBALL rolls through the light beam. JOSE (O.S.) (CONT'D) Damn! Gates holds the ball to the light, slowly turning it, then stops. Another mysterious MESSAGE carved into the ball, "FoRE MiDNiGhT HurrY." EXT. BASEBALL FIELD - NIGHT Jose squeezes under the right field fence. JOSE (whispering) Dude, we die, and I ain't your best friend no more. EXT. CONSTRUCTION SITE - NIGHT Gates and Jose wander through a clearing littered with construction debris. Jose kisses his crucifix. GATES Why you do that? JOSE I dunno. Good luck, I guess. Gates trains the flashlight on A FLATBED TRUCK, driver's door open, windshield shattered. JOSE (O.S.) (CONT'D) Are those...? The light washes over a half-dozen CEMENT CRYPTS stacked on the truck's bed. GATES (O.S.) I think so. Jose takes off. Gates chases after him. GATES (CONT'D) Wait! Jose freezes, face paralyzed with terror. DEEP MALE VOICE (O.S.) Thank y'all for comin'. Standing before the boys, a GLOWING APPARITION of a large BLACK MAN (30's), haggard, dressed in rags. Jose pulls a knife from his pocket. Gates swallows hard. GATES Who... What are you? APPARITION Name's Aloysius Beadum the Third. He motions for the boys to follow him. ALOYSIUS BEADUM C'mon, we ain't got much time. JOSE What?! I ain't goin' in no woods at night with some crazy old black-- Gates elbows Jose. GATES Where we goin'? The spirit points to a distant clearing with rows of shallow RECTANGULAR DEPRESSIONS carved in the weedy ground. JOSE I knew it. Old creepy dude's gonna bury us alive! GATES Where's the gravestones? ALOYSIUS BEADUM Ain't none. This here's a potter's field. JOSE A what? ALOYSIUS BEADUM When poor folks die back then, they pack you in an ole crate. 'Fore long the worms eat you and the wood. And that dirt on top be like... He raises his hand, then slowly lowers it. ALOYSIUS BEADUM (CONT'D) ... Ma'ma used to say, spirit risin', as the bones be sinkin'. JOSE Can we go home now? Gates points. GATES What about those? Three freshly EXCAVATED GRAVES. ALOYSIUS BEADUM Me, my wife, Winny... and our sweet baby, Jezabelle. Dug us up and put the bones in them stone boxes. JOSE Why? ALOYSIUS BEADUM Don't rightly know. GATES They here with you? ALOYSIUS BEADUM Yeah, but they's afraid to come out. GATES Afraid of what? Aloysius walks to the edge of another excavated grave. ALOYSIUS BEADUM Dead-eye Deacon. Evil as they come. Killed my Jezabelle and three more young'ins, 'fore they strung 'em up. JOSE You tellin' me he's out here, too?! A somber nod from Aloysius. EXT. BLIGHTED URBAN STREET - NIGHT A GANGBANGER trails a HUNCHED MAN in a black leather trenchcoat and rumpled cowboy hat. GANGBANGER Whassup cowboy, you lose your horse? Hunched Man continues to limp down the sidewalk. The street thug grabs the Hunched Man's shoulder. GANGBANGER (CONT'D) I asks you a question, motherfu-- The Hunched Man spins, whips his arm in a wide arc. THWIP. Gangerbanger GURGLES, grabs his throat, BLOOD oozing between his fingers, fading eyes frozen on The gnarled, scowling face of DEAD-EYE DEACON. EXT. CONSTRUCTION SITE - NIGHT Aloysius gazes up at a FULL MOON. ALOYSIUS BEADUM Y'all gotta put them bones back 'fore midnight, or ole Deacon gonna be hauntin' these parts for all eternity. Gates checks his watch, then looks up. GATES That's less than three minutes. Ain't you gonna-- Aloysius vanishes. MOMENTS LATER Lumpy BURLAP SACKS piled on the ground. Gates and Jose teeter on the edge of the truck bed, struggling to pry open a crypt with a dead tree branch. Gates reaches into the open crypt. JOSE This is bullshit. How we s'posed to know which one is that Deacon dude? As Gates pulls out a sack of RATTLING BONES, a LIGHTNING FLASH and LOUD THUNDER CLAP knocks the boys off the truck. Still clutching the bone bag, Gates crawls to his friend's side. GATES You okay? Bleeding from a gash in his forehead, Jose nods. DARIOUS (O.S.) Gates, help! Gates scrambles to his feet, whips around to see DARIOUS struggling to break from the clutches of Dead-eye Deacon. The murderous spirit holds a STRAIGHT RAZOR to the young boy's throat. GATES (O.S.) Let him go! DEAD-EYE DEACON I ain't got no plans for goin' back to damnation, boy, so you best toss me them bones. Gates judges the distance to the open grave. DEAD-EYE DEACON (CONT'D) You move, and I bleed this youngin' like a sucklin' pig. GATES You promise to let him go if I do? DEAD-EYE DEACON On your daddy's grave. Gates winds up and slings the sack of bones. Deacon snatches the bag, then yanks Darious's head back. GATES Stop! You promised to let him go. A toothless grin from the lecherous spirit. DEAD-EYE DEACON Never trust a dead man, boy. Deacon presses the razor against Darious's neck, then suddenly SCREAMS, staggers backward, releasing the boy. Buried deep in Deacon's back, Jose's POCKETKNIFE with the CRUCIFIX CHAIN wrapped around the handle. Thick BLACK SMOKE spews from the wound. Jose steps from behind Deacon, his faced streaked with blood. JOSE Hasta la vista, you evil sonofabitch. Deacon whirls, his eyes GLOWING BLOOD RED. A VINE drops from the trees and coils around Jose's neck, strangling him. Gates snatches the sack of bones from the ground and hurls it into the air. The bones hit the ground and bounce into Deacon's empty grave. The ghoulish psychopath falls to his knees, gouging his nails into the soil as he's dragged away. DEAD-EYE DEACON Nooooo-- Jose drops to the ground, gasping for breath as the vine loosen from his neck. Deacon's disintegrating body slithers into his grave. INT. BEDROOM - NIGHT Gates pulls a blanket over his sleeping brother, then kneels beside his bed. GATES Hey, dad. It's me. I finally got my curve ball down. Tears streaming down his cheeks, he picks up the BASEBALL, now pristine, unblemished. GATES (CONT'D) I miss you. [end]
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Old 11-01-2013, 07:01 AM   #7
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MOTIVATION INT. PARKING BUILDING - DAWN SUPER: October 31, 2016 A multi-level carpark building; first floor. BIRDSONG, dust motes drift in golden dawn sunlight, dusty cars and big spiderwebs. Windblown refuse, uncleaned for months. Three figures scurry out of a pried open glass door from a supermarket into the parking building. Each carries a bag of looted supplies in one hand, a weapon in the other. They're edgy and nervous. They make their way through the splashes of sunlight and wells of darkness created by the open sided building structure and the thick support pillars. CLOSE UP ON BAG - SIMULTANEOUS A bulging haversack slowly opens along a seam. Rotten thread RIPPING. Cans CLATTER across the concrete. A glass bottle SHATTERS. In the near silence, the sudden noise seems catastrophic. BOBBY looks down at the mess between his feet, then towards the entrance; aghast. Bobby is a middle aged biker, dressed in fatigues, covered in tattoos, hairy, and overweight. DENNY OH CRAP! DENNY is British, think a shorter, squatter and infinitely tougher Jason Stratham and you wouldn't be far wrong. His bag of stores is secure beneath one arm, he carries a pistol in his other hand. EDGAR Ess alright... EDGAR CARRANZA is a forty something Latino in the leading man model. Tall, toothy, good looking, tanned, all of that and more. Carefully he puts his groceries down so he can hold his shotgun with both hands. BOBBY I think... A solitary GROAN echoes through the parking structure. Another answers it, and another. BOBBY (CONT'D) That ain't good. EDGAR Put down the food man. Quietly. BOBBY We need it. EDGAR No. We need to f***ing run. Now! DENNY Hold your horses, Mate. Wait... Denny carefully places his bag on the hood of a dusty Honda and points his Glock towards the groans. His empty hand motions his associates to keep down while he edges forward. He peers cautiously past a parked panel van... INT. POV. VEHICLE RAMP - CONTINUOUS The ramp down to the ground floor remains vacant. CLOSE UP - DENNY'S HAND It changes from keep still gesture and motions them forwards... carefully! INT. PARKING BUILDING WIDE - CONTINUOUS They creep towards the ramp. Super cautious now, ninja cautious. The GROANS and MOANS diminish. They seem further away. DENNY Down to the street, then back to the compound. Full speed. BOBBY Our supplies... DENNY F*** the food, Bobby. We'll try again in a day or so. Bobby nods curtly, but stuffs five of six cans into his jacket pockets anyway. They edge to the lip of the descending vehicle ramp, weapons ready. Clear... Denny nods and leads the way. -- they're nearly halfway down when three zombies lurch around the corner. -- Denny doesn't hesitate, he aims, CRACK! A zombie staggers and spins, not a head-shot; it keeps going. One SHRIEKS, then another, the SHRIEKS are answered elsewhere. -- Edgar fires his pump action: BOOM, then Denny shoots again, CRACK! DENNY (CONT'D) RUN! They do... -- the zombies follow, the shambling lurking gait swiftly morphs into an undead blitzkrieg of deadly speed. INT. PARKING BUILDING WIDE - CONTINUOUS The trio retreat, shooting wildly, splitting up almost immediately. Each has their own idea of safety. The last three months have proven each of them right. Behind them the three undead reach the floor, more spill into sight. Denny throws himself behind the Honda, grabs a can of food and tosses it past the undead. They all turn at the THUD of it hitting a car door and surge that way like pack animals. DENNY Oldest trick... INT. STAIRWELL - CONTINUOUS Denny enters the stairwell, closes the door, quietly. There's no way to lock it. He peeks back through the small vertical wire mesh embedded window at the parking floor. His friends have vanished. Zombies mill aimlessly about. With their prey gone they swiftly they revert to stumbling caricatures of humanity. Denny looks down the stairwell, to the basement, something moves down there. He bites his lip and looks upwards, decision made. He starts moving cautiously up the stairs. INT. STAIRWELL TOP FLOOR - MINUTES LATER The top floor door is locked. Denny pauses. He tries forcing it but it won't budge. He puts the muzzle of his pistol against the lock but a distant echoing MOAN stops him. Again he peers down the darkened stairs, nothing: yet! He silently mouths the word "F***!" He waits, nothing. He sits against the wall, stares at the graffiti opposite, and waits. His pistol aimed at the top step. EXT. CITY STREET - TIMELAPSE The sun rises, shadows cast by city buildings slide down those across the street. Zombies walk the streets, slow moving lurching figures when they're not in pursuit. It seems there's nothing left to pursue. The city is nearly silent: dead. INT. STAIRWELL TOP FLOOR - MIDDAY Denny jerks fully awake. His pistol lays on the concrete floor beside him, he grabs it. He cocks his head uncertainly straining to hear -- did something wake him? He starts to relax - then there's a noise, a quiet footfall? -- he checks his pistol... licks his lips. -- more faint sounds... peers over the balustrade. -- nothing! Glances at the locked door behind him. DENNY (mutters) S***! S***! S***! S***! S***! F***! -- another noise. ...and another! Another! The top of someone's head appears coming up the stairs... DENNY (CONT'D) Bobby? It is... it was! Bobby's dead blank face turns to him at the sound of his name. There's no recognition, just a predator hearing prey. Behind the bloodied, freshly reanimated Bobby are a dozen other shambling wreaks of different vintages. Denny reacts instinctively. Pistol muzzle to the door lock: he shoots ...CRACK! A boot to the door. It CRASHES open revealing the roof top in brilliant midday sunlight. EXT. ROOF TOP - CONTINUOUS Denny emerges at a sprint. Racing down one side of the building; there's no escape. Across the next; zilch, the third wall is bare too, no fire escapes, nothing but six floors straight down to concrete pavement. Twenty zombies pour out onto the roof in full pursuit mode, insanely fast and aggressive but they can't do corners. Straight line running they manage, but corning is achieved by crashing into something, reorientating themselves and running again. Denny charges desperately to the final outside wall. It's as bare and unforgiving as the others. He winces. CRACK! -- he shoots. A zombie staggers but it's not a kill shot. He shoots again, and again, then runs for the still open door. They're fast, vicious but none too smart and he's inadvertently lead them away from his exit. Denny lets out a REBEL YELL! INT. STAIRWELL TOP FLOOR - CONTINUOUS -- and runs straight into two late comers to the party! --CRACK! Denny gets a shot off. Useless. It sprays dead tissue and bone across the wall but its a gut-shot. -- the undead staggers but grips Denny's gun hand with it's own grey cold hand. -- cold dead blank eyes stare into Denny's. -- the other hand grasps at his jacket collar pulling him closer, broken blackened teeth snap inches from pale goose- fleshed skin. Denny cringes. -- other walking dead fill the door from the roof. -- Denny looks at his pistol, forces it around. CRACK! A zombie falls away its cranium shattered. -- zombies groan and moan. Force their way closer. CRACK! Denny fires again and the bullet passes within inches of a zombie head. He strains against the dead hands clutching his arm but can't get it around far enough. -- suddenly he pulls the pistol to his temple. DENNY F*** YOUUUUUU! CLICK! EMPTY! -- his expression of despair is absolute. He surrenders! -- the dead rip into his flesh. He SCREAMS! INT. ZOMBIE VISION - SECONDS LATER Zombie vision is posterized: detail gone and smudged, it is jerky and there are frames missing. Suddenly time decelerates. The scream changes as Denny reanimates, and drops to broken sobbing, whimpering. Like that of a man who see's everything he held dear lost. Zombies surround him, no longer ravenous killers, not for him anyway. Most lumber way. Bobby's zombie body stands over him rocking slightly. His dull eyes flicker, trying to focus - failing. BOBBY (stand up Denny, move) Arrgghhsj mmmubbbb dduhhhhhhhhh The zombies articulate simple groans, the dialog are ghostly whispers, not created by lips: a psychic connection. Denny tries to reply but can't form any words. Drunkenly he stands, smearing fresh blood on the wall. Fumbling fingers clutch his painless wounds seeking to close them. The last thing his living mind thought persisting. BOBBY (CONT'D) (come) Srraggggguuuu Bobby staggers away after the horde, Denny follows, like a lost soul; literally. INT. PARKING BUILDING - MINUTES LATER The horde staggers out of the stairwell. Denny and Bobby are in their midst, two of the fresher looking corpses. DENNY (don't understand) Weerrrarghhhhhh Bobby ignores him. He sniffs the air, part human, mostly not. Denny frowns and copies him. He cocks his head, confused. BOBBY (fresh.) Durggggg mmooooh DENNY (no! wrong!) Oerrrrr Bobby walks away with a gesture that might mean `follow me'. Denny follows. The others follow in a loose group, out into the stark midday sunlight... EXT. CITY STREET - CONTINUOUS As they emerge a zombie starts sniffing. Slowly he turns... BOOM! Dust and tissue explodes, a shotgun blast takes off its head. EXT. ZOMBIE VISION - CONTINUOUS Edgar hunkers down beside the dumpster, his right leg bent under him - broken, unusable. In slow motion he cranks the shotgun and fires again. BOOM! EXT. CITY STREET - CONTINUOUS Instinctively Denny charges, progressing from shambling gait to Olympic sprint in five or six paces. He crashes into Edgar with three or four other undead, slamming the living man into the dumpster - knocking the wind from him. Fingers become talons, blunt teeth tear, blood gushes, Edgar's SCREAMS peak then cease. DENNY Ahhhhhh ahhhhhhh ohhhhhhh - aaarrgggghhhhhhhhhhhhhh Could be a zombie groaning... but it ain't. This is pure one hundred percent ecstasy. It's a screaming, moaning, brain sucking, IQ squandering orgasm. Denny regains his feet; stands there, blinking, dazed. Bobby lurches in close, drapes a dead arm over Denny's shoulders. BOBBY (intense eh,?) Mauhhhhhhh dorggg aahhhhsrhhh Denny doesn't answer for moment. He just stands there with his mouth hanging open, gathering himself. His dull eyes absolutely lack focus. DENNY (so f***ing intense! Jesus wept!) Borrrhhh nmiimmmmm asssssrrr (like being fourteen again. damn still going! God I though my balls were going to...) (MORE) DENNY (CONT'D) huggghhhh spliiittttuhh (i understand now, God I want it again right now. right ****ing now!) dorpphhhh inktt gurrrrghttt Bobby's dead hands grip Denny's jaw and guides his gaze towards the dead body of their friend. Denny's lifeless face flinches at the sight of his friend ripped open and bloody. BOBBY (you understand half) Mnii argutt duhhhhhhh Edgar has been savaged. Tooth bitten, nail ripped, he's bloodied and broken - and very dead. For a moment. A bloody finger twitches. A leg trembles. Eyelid flutters. BOBBY (CONT'D) (wait) Slrrrrt Suddenly the body spasms, Edgar moans, blood and spittle dribbles from his mouth. BOBBY (CONT'D) (wait, wait, wait) Chrriiiic klg, muurgghhhh. Edgar spasms to full reanimation, spine arching, limbs beating the concrete. EDGAR (child wailing being born) Arrgghhhhhhhhhhhhhhh! Waaahhhrrrrh! Edgar lies there blinking, with each blink his eyes loose their life and become dull and lifeless. BOBBY (...and that's it) Argggg ohhhhhhhhh Edgar stares up at his friends in blank confusion. His fingers seek out the bloody torn wreckage of his throat. Denny turns slowly to Bobby. Comprehension comes slowly. BOBBY (CONT'D) (Not back from the dead; being born, brother.) Ngarhhhhhhhh moooorh Buuurgggghh FADE TO BLACK:
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Old 11-01-2013, 07:09 AM   #8
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BEANS FADE IN: EXT. WOODS - DAY Four boys walk along a woodland trail. STEVE, the oldest, is in the lead. Following closely are LARRY and RICKY. The next oldest, KENNY, trails by several yards, throwing random sticks into the woods. Steve turns to the other boys as they come to a ridge overlooking the town of Monroe, Washington. STEVE Don't get scared when we come to the cemetery up here. LARRY Why would we get scared? STEVE Never heard of "Old Man Bean"? Larry turns to Ricky, who shakes his head. KENNY Don't start, Steve. Old Man Bean's just an old fart. RICKY That's not scary. Steve affixes the younger boys with a serious stare. STEVE They say he speaks to the dead. Kenny makes a fart sound, "Pffffttt". KENNY My dad says he went crazy when his kid was killed in a car accident twenty years ago. Steve turns with a shrug. STEVE Guess we'll see when we pass his place. Steve points out a clearing about a hundred yards down the path. Headstones are visible from here. Steve continues to walk while Ricky and Larry stare down the path. Kenny catches up to the younger boys. KENNY It's nothing. You'll see. EXT. CEMETERY - DAY The cemetery has largely been overtaken by the surrounding woods. A small cabin sits adjacent and is the only sign that the cemetery has not been long forgotten. The overgrowth provides an unnatural darkness even during the day. The area is eerily quiet. The path takes the boys to within thirty yards of the cabin. The pace of the boys slows considerably STEVE See the garden? The only thing he grows is beans. Hundreds of `em. KENNY They are the magical fruit. Kenny lets loose another fart sound, "Pffttt." Steve continues to focus on the cabin. STEVE You think it's funny, maybe we should come back and watch him harvest his beans. Kenny's good mood is shaken. KENNY Shut up. STEVE He's not home now. Rusty ol' truck isn't there. Steve turns to face the other boys. STEVE (continuing) I say we meet here tomorrow night and see just how crazy he is. Kenny is taken aback. Ricky tries to make himself smaller to avoid answering. LARRY I'm in. I want to see. Kenny and Ricky have no choice. The gauntlet has been thrown down. RICKY Okay. Tomorrow night? Kenny nods. The boys all turn toward the cabin and contemplate the choice they've just made. EXT. CEMETARY - DUSK The last light is straining through the trees as Ricky makes his way down the path. He arrives to see the other three boys already hunkered down off the path. LARRY Thought you were going to chicken out. RICKY No. I had to tell my mom I was spending the night at your house. Steve and Kenny sit closer to the cabin than the other two. Both older boys are watching closely. In front of the cabin, a beat-up, old truck is parked. STEVE He's home. I saw him inside. The sound of an old door opening snaps them to attention. As they peer through the bushes on the path, they see OLD MAN BEAN exit the cabin. He is even more crazy-looking than they could have imagined. The old man steps up to a gate between his little shack and the cemetery. He opens the gate and looks around. After a moment, he tilts his head back and raises his hand, placing something in his mouth. LARRY What was that? KENNY A bean. The old man drops to his knees and his head hits his chest. He is completely motionless. Ricky starts to worry that they may need to call an ambulance when, suddenly, the old man rises to his feet and begins talking. The boys are too far away to hear what the old man is saying. In one moment, he is laughing then in another, crying. He makes flailing gestures into the cemetery and speaks to the air. None of the boys dare move for fear of getting his attention. After just a few minutes, the old man drops back to his knees and puts his head in his hands. A few more moments and he rises to his feet and shambles back into the cabin. LARRY Holy s***. STEVE Right? RICKY What happened to him? Kenny continues to stare at the cabin. KENNY Magic beans. Kenny turns to see the other boys staring at him. KENNY (continuing) What? It's not funny. Ricky turns to leave. RICKY I'm out of here. Steve calls him back. STEVE We have to try those beans. The other three stare at him. KENNY You're an idiot. STEVE Don't you want to know? RICKY I don't. LARRY I do. I'm in. Steve turns back to the cabin. STEVE Dude always leaves for two days at the end of the month. That's this Friday. Meet here. He turns to the other boys. STEVE (continuing) If not, we'll know you're scared. EXT. CEMETARY - NIGHT Steve, Kenny and Larry approach the cabin. The old truck is nowhere to be seen. After watching to make sure it's clear, the three move forward. As they enter, Ricky appears on the edge of the path, running late. He stops in the bushes to watch. INT. CABIN - NIGHT The one-room cabin is in pitiful shape. There is a ragged old bed and a small stove. It is hard to imagine a person living here. Opposite the front door is a fancy shelf. On the shelf, there are four beans. The beans are like none that the boys have ever seen. Each of the three palms one of the beans. STEVE Outside. EXT. CABIN - NIGHT Ricky watches the boys exit the far side of the cabin. He starts to move forward but fear keeps him in place. The boys look at each other. Steve grins then throws a bean in his mouth, staring at Larry and Kenny the whole time. The other boys have no choice but to follow suit. The three stare off into the cemetery, waiting. Suddenly, Larry becomes aware of a TRANSLUCENT MAN standing next to him. TRANSLUCENT MAN Have you seen my nanny? Larry turns quickly toward Kenny and sees two wisps rise between them. The wisps take the form of two little girls. One faces Larry and one faces Kenny. GHOST TWINS Do you want to play? Steven lets out a scream as a LARGE GHOST approaches. LARGE GHOST What are you doing here? Steven turns and finds himself face to face with the translucent man. TRANSLUCENT MAN Have you seen my nanny? Other ghosts are rising from the dirt and moving towards the frightened boys. Ricky watches, horrified as his friends cower in fear from nothing he can see. He sees the beat up truck coming down the dirt road and runs to meet it. RICKY Mister. Mister. My friends. Ricky points frantically at the boys cowering in the old man's back yard. Old Man Bean sees and immediately jumps out of the truck after turning it off. OLD MAN BEAN Damn fools. The old man runs, limping into his cabin, followed by Ricky. He goes to the shelf and grabs the last bean. Without stopping he runs out back to the three boys and swallows the bean. After a moment, he gestures to air around him. OLD MAN BEAN You all go on back. The frightened boys watch as the ghosts stop and listen to the old man. OLD MAN BEAN (continuing) These idiots can't help you. A few of the ghosts vanish. Others remain, fixed on the old man. OLD MAN BEAN (continuing) Go on back to rest. I'm working on finding a way for you all. Seemingly satisfied, the ghosts all begin to fade back into the ground. All but one. The ghost of a small boy approaches the old man. BOY GHOST Why are they here, daddy? The old man drops down to a knee to look his son in the eyes. OLD MAN BEAN They didn't know any better. The small ghost addresses the frightened boys. BOY GHOST It's okay now. They're back in their resting places. The old man points towards the cabin. OLD MAN BEAN It's safe in there. The spell will wear off in a few minutes. The three boys huddle together and go inside. The old man turns to his son. OLD MAN BEAN I haven't been able to find the beans again. I'm afraid I'm all out now. The small ghost comes forward in an attempt to hug his father. BOY GHOST It's okay, daddy. I'll be waiting for you here. FADE OUT. THE END
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Old 11-01-2013, 07:34 AM   #9
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DOUGHBOY EXT. BLEAK HILLSIDE - DAY A steep incline, built from torn edges. Dirty light from a brown sky. A train track cuts a line to the horizon. Clinging to the side is a house - small, battered, the colour of dirt. Lights flicker in the windows and smoke billows from a tottering chimney. A TRAIN ROARS past, shaking the house, the sound taking us - INT. KITCHEN - DAY - where the muffled rattle of train-tracks competes with shaking crockery and creaking floorboards. Steam hugs the ceiling, and much like the outside every part of the kitchen looks about ready to fall apart. At the stove, a plump woman stirs and potters. MOTHER. At the table sits BOY - about 10, plump and round - easily 20 stone. He watches the mother, excited and hungry. The fug of steam makes every surface glisten, giving the whole room a sticky organic quality. Mother looks over to the boy and smiles. She chops away - then stops. Glances down at the table - - where she sees the top inch of her finger sliced into discs, sat amongst the chopped vegetables. There's no blood - each slice of finger is neat, like chilled butter. She smiles - 'silly me' - then uses the knife to knock the slices - fingers and all - into a bubbling pot. Unseen by us, she fidgets with her hands - Boy watches, his mind still on the food, hands bouncing on the table in anticipation. Mother turns and reaches for the pot - her hand is sort-of back to normal, only the fingers look a little stretched and thin. MOTHER Hungry? BOY Hmmm! Always hungry! She reaches over and squeezes his shoulder - MOTHER That's because you're my growing boy! One last check of the pots, then she looks to the bowing ceiling - MOTHER DINNER! INT. GIRL'S ROOM - DAY Like the rest of the house, it's mangled and ill-formed, walls barely standing, every angle off by a few degrees. However some effort's been made to prettify it; dried flowers hang from the walls, drawings of open spaces and clear air - dreams. Sat on a bed is GIRL. Mid-teens, as lean as Boy is fat, she reads through a scrapbook, its pages filled with images of beaches, woods, people, cities - all torn from magazines, all completely at odds with this world. MOTHER (O.S.) Dinner! Now! Girl sighs. Carefully closes the book and slides it under her pillow. EXT. BLEAK HILLSIDE - NIGHT Rain drives against the hillside in great waves. The distant chug of a train like a heartbeat edging toward death. INT. KITCHEN - NIGHT The clatter of cutlery against porcelain, but overlaid with sticky gelatinous sounds, chewing, slicing, pulling. Boy and Mother sit close, whilst Girl keeps a little distance; her gentle prods at dinner in contrast with their enthusiastic gobbling. MOTHER I have to go to town tomorrow. GIRL Can I come? MOTHER No dear. You have to stay at home - (looks to Boy) Take care of things here. GIRL He's fine on his own. I want to see the town, I want - MOTHER I want doesn't get. And you will see the town, when you're ready. BOY Don't like her. She can't cook. The Girl sticks her tongue out. MOTHER That's not nice. And you behave. I'll leave some food for you, all she'll have to do is heat it up. GIRL She? I am here. And I can cook. Just not in bulk. Boy looks at her with a cold contempt beyond his years. GIRL I'll be in my room. MOTHER But you've hardly - She's gone. Mother and Boy exchange a look - then Mother smiles. MOTHER Go on. Boy takes Girl's plate and shovels the viscera-like meal onto his own. INT. LANDING - NIGHT Girl reaches the top of the stairs, heads to a door - then pauses. Looks to another door, one with a hand-painted sign - 'BOY' - in elaborate Victorian-circus font. She holds her breath, listens - The distant sound of eating from downstairs, still going strong - She carefully steps to the door, gently pushes - It opens. One last look around. Then she goes in. INT. BOY'S ROOM - NIGHT Girl looks around. The walls are covered in Victorian-era circus posters. Dim lights cast sickly-coloured shadows. On a gaudy dressing table, Girl sees several lumps in a circle around a lit tea-light. She looks closer - sees they are plasticine figures - awkward, misshapen, lumpy - freakishly ugly, yet vaguely human. All look in on the simple fire. Girl inhales, spooked. She looks away, to the posters - All advertise THE AMAZING RUBBER MAN. Pictures show a muscular man seemingly stretching his limbs, twisting his neck into freakish angles, tying his fingers together into tight knots. Girl gently shakes her head - she goes to leave - Stops. Frozen. On the dresser, the lumpen figures are all now staring at her. Their disfigured faces meeting hers. She stares back, trembling. Reaches out slowly - flinches - expecting a reaction. There is none. The figures don't move. She grabs one, squishes it violently in her fist. The plasticine oozes between her fingers. Takes another, pulls it apart. Hammers down on the others. Soon all that's left is a mass of mangled plasticine. She breathes hard. Exertion mixed with fear. She rushes out the door. EXT. BLEAK HILLSIDE - DAY A murky sun rises in the distance. Mother emerges from the battered door of the house, adjusting her scarves against the bitter gales. A train BLASTS past, the noise deafening. Mother doesn't react, instead looks back at the house, at an upstairs window. Smiles, with a hint of nerves. She sets off, her tiny hunched figure dwarved by the hill. INT. BOY'S ROOM - DAY Boy sits at the dresser. The plasticine figures are back - perhaps not exactly as yesterday, their bodies so ill-formed it's hard to tell. Boy chatters to them in some low tone - we cut between him and the figures - with each cut, the figures' expressions change, as if reacting to him, but we never actually see them move. Suddenly we cut to one frozen in panic. Boy sees this - spins to find - Girl. In the doorway. Looking at the freakish scene with disgust. BOY Leave us alone. She smiles. Malevolent. GIRL Oh. Okay. She pulls the door shut - the sound of a lock - BOY Wait! What are you - The sound of her rushing downstairs - BOY Come back! INT. KITCHEN - DAY Girl takes a few breaths, calms herself. Looks around. Smiles. She takes a large pan from the wall and sparks up the cooker. Takes some thick slices of bacon and slaps them on the pan. They slowly to start to sizzle - thick, fatty smoke rises - Up - Up - through the ramshackle ceiling - Into floorboards - into - INT. BOY'S ROOM - DAY Where Boy - already getting anxious - inhales deeply - INT. KITCHEN - DAY Girl lifts the cooked bacon and flicks it into a bin - adds fresh rashers and starts the torture again - INT. BOY'S ROOM - DAY Boy is clutching his stomach, manic - pacing around - BOY Hungry. Hungry. Hungry. (screams) HUNGRY! HUNGRY! INT. KITCHEN - DAY Girl looks up, hearing the muffled shouts. And smiles. INT. BOY'S ROOM - DAY Boy is scratching at the door, the floorboards, like a trapped animal - He looks up, as if called - ON THE DRESSER - Two of the lumpen figures stand, their arms open, as if offering something - Boy looks - At their feet, the other plasticine figures have transformed into thick slices of bacon. Streaked with different colours, crudely formed. Boy smiles. He takes one of the slices, peeling it from the surface, and starts the eat, his stomach growling as he chews through the chalky dough. EXT. BLEAK HILLSIDE - NIGHT A slow train, like a steam-powered slug, chugs past the house, its glowing windows casting jagged, menacing shadows across the hillside. INT. KITCHEN - NIGHT The family sit around the table. As before, a massive meal is spread before them - Boy piles some glistening gloop onto his plate. Mother smiles proudly, then turns to Girl. Girl sits still, staring down at the table. There's something odd, different about her. Her face isn't quite... right - MOTHER Eat up love. There's plenty. Girl doesn't move. Boy smiles. MOTHER This'll be all that bacon you had earlier, greedy Girl. Have a bit of soup. Her mouth opens slowly. Unnaturally. MOTHER Dear? Dear - She touches Girl's hand and recoils - A quick look to Boy, still smiling - Mother reaches to Girl's face, cupping it - Girl's face bends at her touch. The jaw begins to stretch, like plasticine, eventually breaking off and falling onto the table - MOTHER What have you - where is she? Boy just grins, food dribbling from the corners of his mouth. MOTHER WHERE IS SHE! BOY Having a lie down. She pushes past the monstrous life-size model of Girl and rushes to the stairs - INT. LANDING - NIGHT Mother hurries to Girl's door, the thunderous chugging of a distant train like a chorus of groans and screams - INT. GIRL'S ROOM - NIGHT Mother tosses the door open, switches on the light - The room is neat. Tidy. Nothing worrying - Mother looks to the bed - Where Girl lies, under the covers, her head on the pillow. She sees Mother. Her mouth slowly opens - GIRL My. My. My legs. Legs. Legs hurt. Mother goes to her, slows - nervous - Pulls back the covers - Recoils. Girl's body is spread across the bed. Pulled. Mashed. Ripped. Trampled. The same doughy substance that they're all made of, smeared over the mattress. A stretched, malformed finger moves, connected to what was once a hand. A balled lump creaks sideways, revealing a couple of misshapen toes. The whole scene is horribly reminiscent of the plasticine figures demolished by Girl. MOTHER What's he done to you? What's he done? What's he done! She starts pulling at the doughy body, trying to figure out what's what - but it's hopeless - MOTHER WHAT HAVE YOU DONE! WHAT HAVE YOU DONE! INT. KITCHEN - NIGHT Boy eats, face rippling with a monstrous laugh. INT. BOY'S ROOM - NIGHT The room, as before. Over on the dresser, the plasticine figures sit in a circle as seen originally. We see a series of close ups of their faces - Their disfigured features smiling. Grinning. Laughing. All the while the sound of Mother's screams, the train, the wind, the creaking shell of a house, Boy's laughter - all build, build, until we can't take any more - until - BLACK: THE END
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Old 11-01-2013, 07:43 AM   #10
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STEVE FADE IN: INT. KITCHEN - MORNING STEVE, a German Shephard, sits on his haunches, wags his tail as he waits for MAN to give him his treat. Man pulls out what looks to be some kind of beef jerky out of a Ziploc bag. MAN Wait for it... STEVE (V.O.) Oh, good Christ. What the hell do you think I'm doing? Man smiles. STEVE (V.O.) (CONT'D) C'mon. While we're young. Man throws the treat up in the air. Steve jumps up, expertly snatches it out in mid-air. MAN Good boy! STEVE (V.O.) Well, yeah. As Steve munches on his treat, Man nuzzles and pets Steve. MAN Alrighty...Gotta get to work. And we're almost out of treats so I'll stop and pick some up on the way home. I might be a little late tonight. Man heads towards the door at the end of the kitchen, leads to the garage. Steve watches him go. Man puts a hand on the door, turns to Steve, points a finger at him. MAN (CONT'D) And stay off the couch. I just had the damn thing cleaned. STEVE (V.O.) Dude. That was so not me. Man disappears into the garage. Steve heads towards the door, listens as the garage door OPENS. Sits down in front of the door. Car STARTS. ENGINE NOISE retreats. Garage door CLOSES. Steve stands, tail wagging, and heads out of the kitchen. STEVE (V.O.) (CONT'D) Okey dokey. Nothing but Steve time now. LIVING ROOM - NIGHT Steve sleeps on the couch. HUM of the garage door opening. Steve snaps awake instantly. Bounds off the couch, into KITCHEN Tail wags furiously; can barely hold his excitement as he stands in front of the door to the garage. STEVE (V.O.) About f***ing time! I'm starving! Garage door CLOSES. Car door opens and SHUTS. STEVE (V.O.) (CONT'D) C'mon, c'mon! Car trunk SLAMS SHUT. The door opens and Man walks in...with a WOMAN over his shoulder. Blood drips onto the floor. STEVE (V.O.) (CONT'D) Hey, company! MAN Watch out, Steve. Move, please. Man gently nudges Steve out of the way, heads towards another door on the other side of the kitchen. STEVE (V.O.) You've been out catting around again, haven't you? I'm starving and you're out having a good time. Man opens the door, switches on the light, and heads into the basement, Woman still over his shoulder. Steve follows. BASEMENT Man brings Woman to the far wall, chains her up to a bloodstained wall. Stands back and looks at her. She's got two bruised eyes from the broken nose, and her blouse is torn. Steve sniffs her. STEVE (V.O.) Ugh. She owns a cat. Do all the women you bring over own cats? Man goes to Woman, squats down, and brushes the hair away from her face. He's gentle, almost reverential. MAN She put up quite a fight. Steve gets right in front of Man. He pets Steve. STEVE (V.O.) You gonna feed me now, or what? I'm famished. MAN Yes, she did. She has moxie. He looks at Steve. Kisses him on the snout. MAN (CONT'D) She scratched me. See? Shows Steve the two scratches on his cheek. MAN (CONT'D) Strong, too. I thought she was out the first time I hit her, but... He looks at her again. Another smile. MAN (CONT'D) This one will be fun. STEVE (V.O.) I don't care 'cause I'm about to perish. Man stands, grabs duct tape from a workbench, and tapes Woman's mouth. She begins to stir. Woman's eyes fly open, as if she remembers what happened to her. Man backs away and smiles at her. Steve sniffs at her again. She struggles and kicks. Steve jumps away with a YELP. STEVE (V.O.) (CONT'D) Hey, that wasn't nice-- MUFFLED SCREAMS! More rage than terror. Steve BARKS at her. STEVE (V.O.) (CONT'D) Shut the f*** up! Man and Steve leave the still violently struggling Woman behind as they walk up the stairs. STEVE (V.O.) (CONT'D) F***ing cat people. They're all the same. The lights go out. KITCHEN Steve gorges himself on dog food. The bowl skids across the floor as he licks it clean. Steve plops down. Heavy, satisfied sigh. STEVE (V.O.) That hit the spot. I'm so full, I don't think I could-- Man opens a cabinet, pulls that baggy of what looks like beef jerky out again. MAN Wanna treat? STEVE (V.O.) Oh, f*** yeah! Steve does his happy dance and Man gives him the last treat. Man goes to the basement door, puts a hand on the knob. MAN Good boy. Ok, I'm going to make us some more treats, and when I'm done we'll go for a walk. How's that sound? STEVE (V.O.) I can barely move, but, hey, whatever floats your boat. Man smiles, gives Steve a hug and disappears into the basement. Steve hears the lock CLICK into place, sniffs the door once or twice, and heads out of the kitchen. LIVING ROOM - LATER Steve sleeps. His leg twitches, like he's chasing rabbits in his dreams. All of a sudden, he's fully alert: head up. Listening. We don't hear anything. Lowers his snout back onto his paws. Closes his eyes. MUFFLED YELL! from the basement. Steve snaps to attention. A SCREAM! STEVE (V.O.) What the f***? CRASH! Sounds of a fight in the basement. Steve jumps down from the couch, races into KITCHEN Stands in front of the basement door. Sniffs. WHAM! Something hits the door hard. STEVE (V.O.) Christ! Hey, what's going-- WHAM! Steve WHINES. WHAM! The WHINE turns to a GROWL. STEVE (V.O.) (CONT'D) You better not come-- WHAM! The door BURSTS open, the door jamb splintering, and with a SCREAM of rage and fear, Woman tumbles onto the kitchen floor. She gets to her knees, half-naked, bruised and bloody, eyes darting around... A PHONE! She stands... Steve's GROWLS grow in volume and menace. STEVE (V.O.) (CONT'D) Where is he? What'd you do to him? And she freezes. WOMAN Nice doggie. STEVE (V.O.) ANSWER ME! Steve takes a step forward. Woman holds her ground. Puts a hand out. WOMAN Shhh... Nice dog. You're a good dog, right? You're a good-- Man TACKLES her to the ground. STEVE (V.O.) YEAH! That's what I'm talking about! Man and Woman separate, as they both get shakily to their feet. Man holds a knife in one hand. Blood drips down from a wound in his head. He wipes the blood out of his eyes with broken fingers. He sways a little and shakes his head, as if to clear it. Blood spatters in all directions. STEVE (V.O.) (CONT'D) Don't blame this mess on me. Suddenly, she spins, plants a roundhouse kick right to his head. Man drops as if shot. STEVE (V.O.) (CONT'D) You f***ing bitch! With a SNARL, Steve leaps at Woman and they both go crashing to the floor. He CHOMPS down on her arm. She SCREAMS! And rolls on top of Steve. She PUNCHES him in the ribs with her free hand once twice three times...Steve won't let go. As they struggle, Man comes to. He sees what's happening, slowly gets to his feet, advances-- Steve's starting to lose his grip on the torn forearm of Woman. STEVE (V.O.) (CONT'D) A little help here! Man raises the knife to put in her back-- Barely turning around, she kicks out straight out with her left leg-- POP! Man's left knee shatters. He SCREAMS! STEVE (V.O.) (CONT'D) I'm not letting go, bitch! I'm not-- She picks up Steve by his legs, his belly facing the ceiling, and SLAMS him down onto her knee, like she's snapping a baseball bat. CRACK!!!!! Steve YOWLS! MAN STEVE!! Man crawls to Steve. Woman's completely ignored. He cradles Steve in his arms. Tears mix with the blood on his face. MAN (CONT'D) Steve... STEVE (V.O.) I can't feel my legs... MAN What did she do to you? STEVE (V.O.) We had a good run, didn't we? MAN Oh, Steve... He turns to Woman, hate in his eyes. MAN (CONT'D) I'm going to-- She SLAMS him in the head with a toaster oven. Steve barely notices Woman leaving the kitchen as he nudges Man, gently licks his face. Man's eyes are open and staring. Dead. STEVE (V.O.) It'll be alright...we'll still be together... Steve nestles his head under Man's chin. STEVE (V.O.) (CONT'D) ...and we'll go for our walk when we get there. And closes his eyes. FADE OUT
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