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Old 02-15-2014, 04:05 AM   #1
dpaterso
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Default Entries - Valentine's Day contest 2014

We have 10 entries, thanks to everyone who joined in, sorry some of ya couldn't make it.

Froggie
The Date
Paint It Black
Theme Wedding
Summer Loving
Dinner With Ralphie
The Boy In The Woods
Love The One You're With
Love Hurts
A Box of Valentines

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.

Once you pick your 1st, 2nd and 3rd top choices, PM or email these to me at dpaterson57 at gmail.com. I'd 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.

How about aiming for having voting completed by Friday 21st.

Once votes are counted and winners announced, the results thread will be open for comments and discussion. Posting comments before the results are counted might influence voting, so I'd appreciate if you could hold off till then.

You don't have to be a DDPro member to vote, feel free to join in, you can choose to be named or remain anonymous, no worries. In order to post comments after results are announced, you'll have to sign up, though.

HAVE FUN.

Added: for posterity, the discussion thread is here, and the results thread is here.
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Halloween contest results posted!
And maybe start thinking about a Yuletide contest also!


Last edited by dpaterso : 02-22-2014 at 03:49 AM.
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Old 02-15-2014, 04:06 AM   #2
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Default Re: Entries - Valentine's Day contest

"FROGGIE"

Code:
FADE IN: EXT. POND - DAY Sound of frogs ribbiting. A lone frog, FROGGIE, squats on a rock by the water. A tiny gold crown is perched jauntily on his head. A YOUNG WOMAN approaches. She glances around, seeing no one. YOUNG WOMAN Hey, froggie froggie. She gazes at him, thinking. Then she kneels down and picks him up. The ribbiting transforms into... INT. APARTMENT - KITCHEN/DINING AREA - NIGHT ...the sizzling of steaks in a fry pan, tended by the Young Woman. She looks behind her. YOUNG WOMAN You probably like yours rare. Froggie sits placidly on a stool beside a candlelit table for two, with elegant place settings and heart-shaped placemats. The Young Woman carries the pan over and slides the steaks onto the plates. She sets the pan down and eyes Froggie. She lifts him and raises him to face level. YOUNG WOMAN One rule. No tongue. She squeezes her eyes shut as she quickly kisses his mouth. She shudders, lowering him back on the stool. She stares at him. He's still a frog. LATER Her meal is eaten. She throws Froggie's steak into the garbage, then glances back at him. Still a frog. She sighs. INT. APARTMENT - BEDROOM - NIGHT Sleep eludes the Young Woman in bed. A floor board creaks. A handsome PRINCE steps before her, naked save for his now man-sized crown. She gasps. He removes the crown, slips under the sheets and draws her into his arms. Her face lights up. INT. APARTMENT - BEDROOM - DAY The Young Woman, alone in bed, wakens and looks around. YOUNG WOMAN Prince...? Froggie...? She discovers a single lily on the pillow beside her. INT. APARTMENT - BATHROOM - DAY The Young Woman stares at the mirror. IN HER THOUGHTS -- The Prince kisses her with lots of tongue. -- Froggie flicks his tongue and catches a fly. BACK TO SCENE She makes a face and chugs mouthwash, swishing and spitting. But her expression brightens as her gaze shifts to the lily, resting on the counter. She raises it to her nose. EXT. POND - DAY Froggie, resplendent in his crown, sunbathes on the rock. PRINCE (V.O.) I tried Beauty and the Beast first. Didn't work so well. Froggie's a chick magnet. Just look at him. The Prince hides behind a tree, holding his crown, a lily, and a small empty cage. PRINCE (V.O.) Don't judge me. I do it once a year. When every act of lunacy is justified in the name of romance. He smiles as YOUNG WOMAN #2 approaches Froggie. YOUNG WOMAN #2 Hey little froggie froggie. FADE OUT.
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Old 02-15-2014, 04:08 AM   #3
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Default Re: Entries - Valentine's Day contest

"The Date"

Code:
EXT. PARKING LOT - DAY TREVOR, a boyish looking man with Down's syndrome, steps out of the passenger side of a sedan. His father, GARY, hops out of the driver's side. BEEP BEEP, the car locks as Trevor trods along with heavy feet, his father slowly walks besides him. Trevor's breath lingers in the air as he struggles to speak. TREVOR Thanks for the lift, father. He turns his head slightly and eyes his dad. TREVOR (CONT'D) I know exactly what I want to get her. INT. STORE - LATER They enter the store and Gary stops, almost routinely, right by the nearest check-out line. TREVOR Wait here, father. I'll be right back. Gary smiles and nods for Trevor to go on. Trevor slowly and carefully walks over to his left, where there is a wide variety of Valentine's Day gifts. He pauses in front of the chocolates. TREVOR (CONT'D) (to self) No... she can't eat chocolate. He turns and looks back at his dad, fearful for a second that his dad might disappear. TREVOR (CONT'D) (to self) Don't leave, father. I'll be right back. Trevor slowly walks over to the assortment of flower bouquets. A particular bouquet catches his eye. The bouquet is huge, with purple being the dominant color. Trevor picks it up and gazes as it for a few moments. He turns to the elderly FLOWER LADY behind the counter. TREVOR (CONT'D) Excuse me, miss? She looks up, and smiles. FLOWER LADY Yes, my dear? TREVOR How much for these beautiful flowers? FLOWER LADY There should be a tag right on the side, honey. Trevor looks for a tag. After a bit of a struggle, he gives up, and carries them to the front. TREVOR My eyes aren't what they used to be! She CHUCKLES. FLOWER LADY You're telling me! He hands her the flowers and she instantly spots the price tag. FLOWER LADY (CONT'D) Twenty-three dollars, sweetie. Trevor looks back in the direction of his father. His father nods, letting Trevor know that he's still there. Trevor carefully takes out his wallet. He places it on the counter and takes out all of his cash. One by one he counts his bills. TREVOR One... Two... Three... INT. STORE - MOMENTS LATER TREVOR Fourteen... Fifteen... (beat) Fifteen dollars. He ponders for a second. TREVOR (CONT'D) How much was it again? INT. CAR - DAY Gary is driving back home. Trevor sits in the passenger seat, grinning from ear to ear. TREVOR These are beautiful, father. GARY Yes they are, Trevor. That was very nice of the flower lady to give them to you for free. Trevor nods. GARY (CONT'D) She must know they're for someone special. Trevor smiles. TREVOR Father? GARY Yes? TREVOR How'd she know my name? Gary just smiles. EXT. HOUSE - DAY As Gary unlocks the front door, Trevor is walking up the stairs, very cautiously. He grips the railing tightly as he goes. Finally, he reaches the porch and turns to his dad. TREVOR I'll be right in, father. I'm going to pick out the best flowers. Gary smiles and enters the house, leaving Trevor alone. Trevor holds the bouquet up towards the sky, eyeing it carefully. One by one he picks out seven flowers. He drops the rest of the bouquet on the ground. TREVOR (CONT'D) These are perfect. INT. HOUSE - KITCHEN - MOMENTS LATER Trevor enters the scene, his father stands by the sink. TREVOR Father, I need a vase to put these in. GARY How about the one you used last year? TREVOR Excellent idea, father. Trevor stands there, waiting. GARY You know where it is. Trevor nods and walks over towards a cabinet. He opens the cabinet door and grabs a glass vase. GARY (CONT'D) There you go. Trevor walks over to the sink and fills the vase half-way with water. TREVOR Half-way full, just like you taught me, father. Trevor carefully places the vase in the center of the kitchen table. He adjusts it a few times, until it's perfect. TREVOR (CONT'D) May I have some time to set-up before my date arrives? Gary looks at the clock. GARY Alright, but be quick; your date should be here any minute. Trevor smiles. GARY (CONT'D) I'll be in the living room if you need anything. INT. HOUSE - KITCHEN - LATER At opposite ends of the table sit two perfectly set place- mats, complete with plates, napkins, and silverware. The vase sits in the middle of the table. Trevor walks over to the table, holding a candle. TREVOR Vanilla. Her favorite. He puts it down next to the flowers. TREVOR (CONT'D) Father? From the living room... GARY (O.S.) Yes? TREVOR I need you to light my candle. My date is arriving shortly. INT. HOUSE - KITCHEN - LATER The lights are dim, the candle is glowing, and there is a hearty-looking meal on both of the plates. Trevor sits at one end of the table. KATHY, a hazy-looking figure of a woman in her 50's, appears in the doorway. Trevor smiles and then turns towards the clock to check the time. TREVOR Six o'clock. You're right on time, as usual. Kathy walks over and takes a seat across from Trevor. TREVOR (CONT'D) You look gorgeous tonight. Kathy smiles. KATHY You were always such a gentleman, Trevor. You take after your father. He smiles. She leans towards the flowers and smells them. KATHY (CONT'D) These smell fantastic, Trevor! Did you pick them out all by yourself? TREVOR I always do. And there's seven this year. KATHY I noticed. I can't believe it's already been that long. He looks a bit sad. TREVOR Do you still think of me, mother? KATHY All the time, Trevor. Gary appears in the door-way behind Trevor. He watches, and listens, as Trevor eats alone. Trevor does not notice. TREVOR Do you still think of father? KATHY Every day. A tear streams down Gary's cheek as he listens to his son's questions go unanswered. TREVOR When are you going to come home? KATHY One day we'll be together again, honey. He notices her plate has been untouched. TREVOR Do you not like your dinner, mother? You barely touched it. KATHY I have no appetite. Trevor leans in, whispering. TREVOR Who can blame you... father's cooking is awful. Gary smirks from the doorway. TREVOR (CONT'D) At least he's trying. Kathy starts to fade. TREVOR (CONT'D) Don't go... KATHY I have to go, She's even more faint. TREVOR I'm not done talking with you. KATHY Say hi to your father for me? Please? He nods. Just as she's almost completely faded, Trevor says more thing. TREVOR Unlike these flowers, mother... She flickers. TREVOR (CONT'D) My love for you will never die... She's gone. He places his hand on his chest. TREVOR (CONT'D) Not even when my heart stops beating... Trevor BANGS his head against the table, and lays there, motionless. Gary rushes over. GARY Trevor! Nothing. GARY (CONT'D) Trevor! He grabs Trevor by the arm. GARY (CONT'D) Are you o-- Trevor shoots up and looks around... disappointed. TREVOR Am I still here? His dad lets Trevor's arm go. GARY You scared me, Trevor! Trevor gets up and slowly trods away. TREVOR Mother says hi. He exits the kitchen. TREVOR (O.S.) (CONT'D) And she thinks your cooking sucks!
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Old 02-15-2014, 04:10 AM   #4
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Default Re: Entries - Valentine's Day contest

"Paint It Black"

Code:
FADE IN: INT. RESTAURANT BOOTH - NIGHT TRENT, 22, dressed casual but smart, sits at the table alone. He's alert with anticipation, looks at his watch. A bell DINGS. WOMAN'S VOICE (O.S.) Two minutes, go! A GOTH GIRL sits down opposite Trent, who's kinda surprised. She's wearing more make-up than Marilyn Manson. His eyes roam her piercings, her tattoos, her black-clad body. He offers his hand, she ignores it. TRENT Hiiii I'm Trent. GOTH GIRL What do you do, Trent? TRENT I'm a web designer. GOTH GIRL Well, that kills it for me. Let's not waste any more of each other's time. She picks up a bread stick and quarter-turns away, nibbling the stick while glancing at neighboring table booths, where couples are talking animatedly to each other, dudes on the inside, ladies on the outside. TRENT You asked me what I did, what am I supposed to say, I'm an astronaut, I'm a whale rider, I dance for the Russian ballet? GOTH GIRL Do you have a tutu? TRENT Yeah but it's pink, we would clash. GOTH GIRL When you say you ride whales...? TRENT I break them in, for Seaworld. For God's sake, you can't just put wild whales into pools, they'll smash the place up. Give me three days, I'll have them eating fish out of my hand, guaranteed. GOTH GIRL Have you been into space? TRENT Not since college, that was one freaky night, I still have no idea how I ended up handcuffed to the Principal's bed, but my grades that year were straight A's. Okay, she decides that he amuses her, but only slightly. GOTH GIRL What kind of web sites do you design? TRENT I do subliminal advertising. Goth Girl raises a pierced eyebrow, whut? TRENT (CONT'D) There's this government department, I'm not really supposed to talk about it... He leans forward, lowers his voice. TRENT (CONT'D) They tell me who they want you to vote for, and I arrange for it to happen. You're looking at kitten gifs, and bam, Smiling Friendly Politician is in your head, you see him every time you blink. The other guy they don't want to win, God what is he doing with that donkey, he disgusts me. GOTH GIRL Do you like manipulating people to do your bidding? Trent sits back, losing his sense of fun. TRENT The last website I designed sold Italian shoes. They don't use child labor, I checked up on them. GOTH GIRL What's the most outrageous thing you've ever done in your life? TRENT I wore my sister's underwear when I was twelve. Actually I was sixteen. Okay I was twenty. I just wanted to know how it felt against my skin. Pretty nice, actually. GOTH GIRL Did you ever tell her? TRENT God no, she would have smacked me up and down the hallway. GOTH GIRL You like getting beaten up by girls? TRENT No. Yes. I'm not sure. GOTH GIRL And you're looking for that special someone who shares your fantasies? TRENT I think we're all looking for that special someone. Look around, that's why everyone you see came here tonight. Desperation has driven us all to endure the pitiful shame of speed dating. GOTH GIRL You ever dated someone you met on the internet? TRENT So many questions, so little time, when do I get to ask about you? GOTH GIRL So tell me. TRENT All right, I tried it, a couple of times, or more, it didn't work out. GOTH GIRL What happened, weren't they perfect enough for you? TRENT Nah, nobody's perfect. You have a third nipple or extra toes, I'm not going to judge. They just didn't find me funny, I guess. GOTH GIRL Sense of humor. That's what everyone rates number one, above appearance, career, financial wealth. TRENT Whoa, speak for yourself. If you have a Maserati Gran Turismo waiting outside, I am totally into you. The bell DINGS. WOMAN'S VOICE (O.S.) Time's up. Say your goodbyes! Ladies, move to the next table to your right, please. At the other tables, everyone says goodbye, great talking to ya, and shake hands. Smiles and chuckles. The ladies rise up and move to their right... PRETTY BLONDE GIRL in a stunning dress looks down curiously at Goth Girl, who hasn't moved. GOTH GIRL Skip this one and take the next table, will you? PRETTY BLONDE GIRL I don't think that's how it's supposed to work? GOTH GIRL I like the bread sticks here. Pretty Blonde Girl shrugs and passes by and sits at the next table, shakes hands with the dude who's waiting there. They glance over at Trent and Goth Girl and smile, hey it gives them a conversation icebreaker, it's all good. The bell DINGS again. WOMAN'S VOICE (O.S.) Two minutes, go! TRENT Should I be flattered? Goth Girl eats another bread stick. GOTH GIRL You really don't remember me, do you? TRENT Remember you from...? GOTH GIRL I was a year behind you at school. Trent pretend-buries his head in his hands. TRENT Oh God. What did I do? GOTH GIRL Nothing too heinous. TRENT Sorry, you're not dinging any bells. No pun intended. GOTH GIRL I was shorter and my boobs were smaller. You didn't notice me. TRENT For what it's worth, I'm apologize. I was a very studious boy. I always had my nose in books. GOTH GIRL You studied Abby Waters for years. Lusted after her, in point of fact. TRENT Man. There's a blast from the past. GOTH GIRL Did you ever get it on with her? TRENT As if. Abby went out with older guys. I tried to ask her out once. I remember standing in front of her, in the hallway, trying to get the words out. They just wouldn't come. Stage fright. I think I peed myself. GOTH GIRL What did she say? TRENT Get out my f***ing way. They both laugh. GOTH GIRL That sounds like Abby. TRENT You knew her? GOTH GIRL I still do, she's my big sister. TRENT You have got to be kidding me. Trent has to think hard. TRENT (CONT'D) Melanie Waters? GOTH GIRL One and the same. Goth Girl offers her hand, Trent shakes it. TRENT It's nice to see you again, Melanie. I'm sorry for not recognizing you. GOTH GIRL I clocked you as soon as I walked in. You've not really changed much. More worn around the edges, maybe. Tired looking. Bags under the eyes. TRENT Thank you very much. GOTH GIRL Any time. I don't even know what made me come here. It was a stupid idea. I suppose I just wanted to see how guys would react. TRENT I would think they'd react, like, wow, thank you God for this... I mean, you look... you look really-- Trent buries his head in his hands again, for reals. TRENT (CONT'D) Oh God, shut up. Goth Girl nibbles on a bread stick, amused, as Trent struggles with his embarrassment. TRENT (CONT'D) I'm sorry, I am a total a$$. GOTH GIRL It's okay. A lot of guys get off on the Goth look. TRENT Sure, but I've got an advantage. Goth Girl tilts her head, hmm? TRENT (CONT'D) I know what you look like without the make-up. GOTH GIRL Maybe you're thinking about Abby. TRENT I'm pretty sure I'm not. GOTH GIRL Are you trying to tell me you noticed me at school? I think we both know that might be a little white lie. TRENT I remember you and your pals dragged Marty Spalding into the girls' toilets and pulled off his pants. He got suspended for a week for that, like it was his fault. GOTH GIRL For the record, he touched my butt without my permission. TRENT And you superglued the staff room door shut, they were trapped in there for hours. We got grilled by the cops, but nobody ratted you out. Everyone in school thought you were the coolest. GOTH GIRL So you were paying attention. TRENT Yeah, no, I'm not saying anything till my lawyer gets here. The bell DINGS. Trent looks at his watch. TRENT (CONT'D) Gotta be kidding-- WOMAN'S VOICE (O.S.) Time's up. Say your goodbyes! Ladies, move to the next table to your right, please. Goth Girl gets up. GOTH GIRL Nice seeing you again. She moves to the table to the right. A PRETTY REDHEAD sits down opposite Trent. The bell DINGS again. WOMAN'S VOICE (O.S.) Two minutes, go! PRETTY REDHEAD Hiiii, I'm Shevaun. Trent is a little dazed, still focused on Goth Girl, who ignores him and talks to the dude at her new table. TRENT Hi, I'm Trent. How are you? They shake hands. EXT. RESTAURANT - NIGHT Giggling couples exit together and head off into the night, successful matches, hey it happens sometimes. Trent exits alone. He shrugs on his jacket. Sighs. The people and traffic clear, and he looks across the street. Goth Girl leans against her gleaming black car, it's not a Maserati but it's got style, like its owner. GOTH GIRL What happened? I thought Shevaun looked your type. TRENT Something knocked me off my game. I'll do better next time. GOTH GIRL Yep. Give you a ride home? TRENT It's not far, I can walk from here-- No, wait. He thinks for a moment. What is he saying? TRENT (CONT'D) That would be great. They climb in. INT. GOTH GIRL'S CAR - NIGHT GOTH GIRL You look nervous. You're not scared? TRENT I just don't want to be dragged into the toilets and, superglued. GOTH GIRL Don't worry about that. She starts the engine, and smiles. GOTH GIRL (CONT'D) You have my permission. EXT. RESTAURANT - NIGHT They drive off into the night. FADE OUT
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Old 02-15-2014, 04:14 AM   #5
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Default Re: Entries - Valentine's Day contest

"Theme Wedding"

Code:
FADE IN: EXT. LAS VEGAS STRIP - DAY A young couple, GENE and MIRA, walk down the strip. They are dressed in STAR TREK STARFLEET UNIFORMS. They do not stand out as most of the people in town are also wearing Starfleet Uniforms. GENE Unbelievable. (beat) Look at all of them. MIRA Well, this is what we were planning, sweetie. Gene waves his hand, indicating the Trekkies that have flooded into Vegas. GENE But they're everywhere. MIRA You have to admit you're glad we made it down here. Gene slumps his shoulders. Of course, she's right. Mira produces a GPS device from her hand-bag. After consulting the device, she points towards the Excalibur Hotel. MIRA There it is. Let's see what they have. INT. EXCALIBUR - DAY Mira exits a dressing room wearing a flowing queen's gown. She is radiant. Gene exits wearing a Court Jester's outfit. GENE I think I got the wrong one. Mira gently laughs. MIRA Well, you said you'd always make me laugh. Gene gives a half-hearted smirk then goes back into the dressing room. Mira looks at herself in the mirror and twirls. With a smile and a sigh, she goes back into the dressing room. CUT TO: Mira exits the dressing room. She wears a simple maiden's outfit but she still radiates beauty. Gene steps out wearing a friar's outfit. GENE I should have been more specific. (beat) Let's try a different place. Gene turns and goes back into the dressing room. INT. CAESAR'S PALACE - DAY. Mira steps out of the dressing room dressed as Cleopatra. Gene exits the Men's dressing room wearing a Roman slave smock. Mira gives the outfit a questioning look. GENE They said all the Caesar costumes were out for cleaning. Mira smiles as she goes back into the dressing room. INT. THE PARISIAN - DAY Mira steps out in a French Victorian era gown. Gene exits his dressing room dressed as a mime. Mira giggles. Gene mimes holding his hands up, "wait". He mimes pulling down on a rope, struggling with the weight. Finally, he mimes a giant weight SMASHING him into the ground. Mira laughs at his performance and gives him a kiss. Gene slumps his shoulders and goes back to his room. INT. TREASURE ISLAND CASINO - DAY Mira is resplendent in a Pirate queen outfit. She is holding her hand over her mouth stifling a laugh as she anticipates Gene's costume. She is not disappointed. Gene exits wearing the outfit of a lowly cabin boy. GENE (doing his best pirate) Arrrrggggghhh. Mira takes his hand. MIRA You'll always be my first mate. GENE Oh har de Arrrrrrhhhh har. Mira affectionately slaps Gene's butt as he goes back to the dressing room. SERIES OF SHOTS - Mira exits a dressing room dressed as an elegant circus performer. Gene exits as a clown. - Mira exits as a fancy Western dance hall girl. Gene exits as a stable boy. - Mira exits as a 20's flapper. Gene exits as a newsboy. END OF SERIES INT. CASINO - DAY Mira and Gene exit opposite dressing rooms simultaneously. They are wearing their original Starfleet uniforms again. MIRA I don't mean to rush you, Honey, but we're running out of time. GENE I know. I'm sorry. I guess these outfits will have to work. Suddenly, Gene picks his head up. GENE (CONT'D) I've got it. Gene grabs Mira's hand and they run out of the casino. EXT. NEW YORK, NEW YORK CASINO - DAY Gene gestures to the New York fašade. GENE Ta Da! Mira leans over and kisses Gene. MIRA You're a genius. Gene gestures to his uniform. GENE Well, I am an engineering officer. Mira gives him a look indicating it shouldn't go to his head. They take each other's hand and enter the casino. INT. NEW YORK, NEW YORK CASINO - DAY Mira exits the dressing room in a fancy but modest, white wedding dress. Gene steps out wearing a subdued tuxedo. He stares at his partner. GENE You look so beautiful. MIRA You clean up nicely yourself. GENE This is perfect. Think we can find an official? Mira smiles. MIRA It is Vegas. INT. CHAPEL - DAY A "PRIEST" sits behind a desk. Behind him is the gaudiest collection of wedding memorabilia you can imagine. Velvet portraits, photo coffee cups, the works. PRIEST Now, you two understand that this is all legally binding? Gene and Mira nod. The priest gestures to the pile of crap behind him. PRIEST (CONT'D) And you're sure I can't interest you in some fine merchandise to commemorate the occasion? Gene and Mira shake their heads. PRIEST (CONT'D) Very well. Do you have your fifty dollars? GENE Yes, sir. Gene hands the priest a few bills from a small stack. The priest looks at the money. PRIEST I do believe that this is German currency, son. Gene takes the bills back. He fans out the stack of bills and holds them towards Mira. After some debate, the couple selects more bills and hands them to the priest. GENE Is this correct? The priest pockets the bills. PRIEST That's fine. (beat) Now, do you have your witnesses? Gene and Mira looks at each other then back to the priest. MIRA Witnesses? PRIEST You have to have two witnesses to sign your license. Can you call someone? GENE No. No one else could make it down. PRIEST It doesn't have to be someone you know. Perhaps you could step out and find someone willing to stand in for you. The priest points outside. PRIEST (CONT'D) Convention hall is just across the street. Always lots of people over there. INT. CONVENTION HALL - DAY Gene and Mira enter the hall, still in wedding dress and tuxedo. Everywhere they look, they see Starfleet uniforms. GENE Are you kidding me? MIRA I've got an idea. Mira flags down a couple wearing uniforms and speaks to them. INT. CHAPEL - DAY The wedding ceremony comes to an end. Behind Gene, a MAN IN UNIFORM stands in. A WOMAN IN UNIFORM stands behind Mira, holding a bouquet. PRIEST You may kiss the bride. GENE Finally. Gene takes Mira in his arms and kisses her passionately. A photographer steps up behind the wedding party and gets their attention. The two couples turn and a picture is taken. GENE (to Couple in Uniform) We can't thank you enough. Mira nods and smiles. Gene reaches out and touches the "communicator badge" on the man's uniform. The badge BEEPS. GENE Two to beam up. Offset by one meter. Gene and Mira shimmer and fade out, disappearing completely. The couple in uniform and the priest stare at the blank space a moment. Finally, the woman in uniform reaches up and touches her new badge. It BEEPS. WOMAN IN UNIFORM You know, no one is going to believe this. The man touches his badge and it BEEPS. MAN IN UNIFORM Whatever. We gotta go if we're going to make it to the Shatner panel. They exit the chapel. FADE OUT. THE END
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Old 02-15-2014, 04:16 AM   #6
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Default Re: Entries - Valentine's Day contest

"Summer Loving"

Code:
INT. OPEN BOARDWALK STAND - DAY LJ (19) is young and sorta shy, hair grown long to meet the rock aesthetic expectations of 1985. Seaside Park stand is open to the air on three sides, beach behind. LJ (V.O.) In 1985 I worked on the boardwalk all summer printing these kitchy t-shirts, and living alone at my parents' summer house across the bay. LJ photographs TWO KIDS with an old video cam. Dot matrix printer kicks out an image, and he presses it onto a t-shirt for GRANNY. LJ eats a slice of pizza alone, sipping soda. Two BEAUTIES strut by in bikinis with a handsome JOCK and never look over. LJ watches them go. It's quiet, daytime stretch, quite boring. A sweet 18 year old girl named APRIL meanders nearby, her Pink Floyd t-shirt tied up and showing midriff. She wears a delicate white sunhat and sunglasses, and she scopes around the other stands inquisitively. New to the scene. LJ (V.O.) I hadn't talked to many girls, as I had an issue with it, reaching out first. April takes a detailed look at the t-shirts and calendars on display. LJ watches silently, as she seems to be taking her time, which is odd for a young maiden by herself. LJ Hi there. APRIL Hello. LJ You down for the week? APRIL Yeah. With my parents and my brother. LJ Ah. How's it going so far? APRIL It's okay. LJ You don't really want your picture on something? APRIL Oh, my gramms loves this kind of stuff. Me and Justin. LJ Justin? APRIL My little brother. NIGHT April in the bright lights, seated beside JUSTIN, as LJ zooms in and gets the shot framed on a tv monitor. April's PARENTS watch at the counter. Father has a mustache, stocky. LJ That's good, right there. Turn a little bit toward each other. He presses capture repeatedly as they move, determined to get this one just right. LJ Relax. Just a little smile. Got it. LJ kills the bright lights. Matrix printer spits out a page. LJ looks back over his shoulder, and April chats with her parents. MOM The calendar, we think. LJ This one? He holds up a 1986 felt calendar... JUMP Parents walk away with a plastic bag, but April hangs back. LJ's moment to make it or break it. LJ Hey? April right? APRIL Yeah. LJ Are you doing anything later tonight? APRIL No. Just walking around. LJ I get out of here at 10. Do you want to hang out? APRIL Sure. LJ (V.O.) I couldn't believe my luck. This hadn't happened before. April smiles demurely as she strolls off to catch up with her family. LJ stands alone in the stand, in another world. EXT. ROOFTOP MINI GOLF - NIGHT April hits a golf ball which jumps the track and sails off across the course to a fence. She laughs. APRIL No! LJ I'll get it, I'll get it. LJ hunts for the wayward ball, returns. The two look out over the ocean atop the roof. April wears jeans and denim jacket. LJ You have a bandana as a belt. APRIL Yeah, that's how I know my stomach's okay, so I don't put on any weight. LJ Ohh. Wow, I didn't know it would fit. APRIL So like do you want to go swimming in the ocean tomorrow? That's what we're doing. LJ Yeah. Everyone? Sure. EXT. OCEAN - DAY Out in the surf. April and LJ bobbing, waiting for waves to body surf, moving closer to one another. APRIL Hey? LJ Yeah? She wraps her arms around him, face to face. She kisses him. Very salty kisses in the surf. LJ nervous. LJ Can they see us here? April shakes her head. Beneath the water, she wraps her legs around his waist and hangs on. LJ So your dad's a cop? APRIL Yep. She kisses him again. LJ (V.O.) I was so blown away by April, and she was the most open, intimate person I'd ever known. BEACH LJ and April stroll past her Parents sitting on towels. APRIL Hey we're gonna get some lunch. FATHER Okay. We'll be here. Father seems casual, and the two march to the boardwalk. APRIL Oh yeah, he's totally cool. LJ I just don't want to do anything to-- APRIL Don't worry about it. BOARDWALK Ascend the ramp and turn. Then April's fingers meet LJ's. Hand in hand... INT. LJ'S HOUSE - BEDROOM - NIGHT LJ and April tear into each other like feral rabbits. Flopping down to the bed, they undress in a hail of kisses. LJ (V.O.) Friday night. April was leaving the next morning to return to her small city in central Pennsylvania. I didn't even have a condom. LJ penetrates April, and her legs wrap around tightly. Pumping wildly, in real time... LJ (V.O.) I couldn't believe it, and I couldn't help myself. In under two minutes I had ejaculated inside of April. LJ's face, pretending to pump away without a hitch. April notices nothing, writhing, her eyes closed. LJ (V.O.) The most crucial moment of my sexual life, I wasn't about to be that guy. They flip, April on top. Savage kisses. They go and go. LJ (V.O.) At first I could hardly feel myself, a numbness not entirely unpleasant. I had no idea it was possible to keep going... Sweaty, exhausted, April finally slows and stops. They flop side by side on the bed. APRIL Well, we tried. LJ Uhm. I came already, a while ago, but I didn't want to disappoint you. She huffs amusedly. They gaze at one another. EXT. LJ'S HOUSE - NIGHT Misty eyed, April opens her arms, and she hugs LJ for a long interlude, swaying back and forth. A final kiss. LJ Bye. APRIL Bye. April returns to her family car and starts the engine. LJ (V.O.) I never saw April again, as she lived in a different state and a different life. But I could never forget our week together, when it seemed like there was magic in the world. LJ watches as April backs out and slowly drives off. The night quiets. Fade out. END.
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Old 02-15-2014, 04:17 AM   #7
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"Dinner With Ralphie"

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FADE IN: (PRESENT DAY) INT. BASEMENT - EVENING RALPHIE, late twenties, sprawls across a garage-sale couch, flicking the remote towards an ancient television. His other hand presses a beer can to his eye. Ralphie could use a haircut and clean shirt. A collection of pizza boxes leans in a wobbly stack against an overflowing garbage can. A tired washer and dryer, boxes of crap and an old bicycle join to crowd the grimy space. Stairs lead to an upper floor. BRUCE (O.S.) How's the eye? RALPHIE I'll live. Ralphie pulls the can away from his eye, pops the top and takes a long swig. We SEE the beginnings of a shiner. BRUCE (O.S.) So what's the next get rich quick scheme? RALPHIE I didn't know her new boyfriend would be there. BRUCE (O.S.) You are such a loser. RALPHIE I don't see you making any effort. Ralphie guzzles his beer, scrunches the can and chunks it onto the floor. BELCH. BRUCE (O.S.) We're gonna live in this basement forever. RALPHIE I've been thinking. BRUCE (O.S.) I hope it's better than delivering dead roses for pissed-off people. RALPHIE Gonna make us a lot of money. BRUCE (O.S.) You're a legend in your own mind. We HEAR a voice from the top of the stairs. MOM (O.S.) Ralphie! Dinner's almost ready. RALPHIE Not hungry. MOM (O.S.) I fixed your favorite. Special dinner for a special night. RALPHIE Okay. Be up in a minute. BRUCE (O.S.) Isn't that nice. Mommie fixed her little boy something special. RALPHIE You're not helping. You're supposed to help. BRUCE (O.S.) Tell you what. Just for you, I'll make her stop talking about him tonight. RALPHIE You're full of it. Don't you remember what tonight is? Dumbass. INT. DINING ROOM - EVENING Ralphie fidgets as he sits alone at the dining room table. Set for three, the centerpiece holds a single faded rose. Cheap table and chairs but an effort was made. MOM (O.S.) Ready in a minute. Ralphie, I thought I heard you talking to yourself. Were you talking to yourself? RALPHIE What difference does it make to you? MOM (O.S.) What? RALPHIE Sorry. Messed up. Mom, why the three plates? MOM (O.S.) Ralphie, every Valentine's Day your father brought me roses. Every year. Your father was-- RALPHIE --I don't want to hear it. MOM (O.S.) He was the sweetest man. Ralphie stands, yells. RALPHIE Mom, you said you were going to stop doing this! I've heard that stupid story a million times. MOM (O.S.) I'll never forget. Ralphie sits, puts his hands over his ears. RALPHIE I am going to lose my mind. Ralphie leans back, sighs. He wipes his nose with his hand. RALPHIE (CONT'D) Go ahead, mom. MOM (O.S.) Oh well. I know how I carry on sometimes. RALPHIE You're fine. MOM (O.S.) I thought how nice it would be to have us all together again. Like it used to be. RALPHIE Mom, it's just you and me. We don't need three plates. MOM (O.S) Your dad was such a man. He taught you-- RALPHIE --No, he didn't teach me. He never picked me up at school. He never gave me advice. We never talked about girls. He never taught me how to throw a football. MOM (O.S) I knew when he put his arms around me that nothing in this world could hurt me. RALPHIE Mom, will you stop? I'm tired of hearing about him. He wasn't there for me. He wasn't there when I needed him. MOM (O.S.) I'll never stop talking about him. Not until he walks back through that door. Ralphie stands in anger, picks up a plate. He's ready to do damage. RALPHIE Shut up! He's not coming back. Maybe if he had told me to stay in school, maybe if he made me get a job. Didn't happen. MOM (O.S) Those were the days. I was so happy. Ralphie is enraged. RALPHIE Stop talking! He stepped in front of a bus. I was in the third grade. Stupid dad. Why was he so stupid? MOM (O.S.) Living with him was like being in paradise. Ralphie lifts the plate over his head but is interrupted by a KNOCK on the front door. Ralphie hesitates, gently returns the plate to the table. He shuffles to the door and looks through the peephole. He pulls the door open. OFFICER O'MALLEY and OFFICER SCHWARTZ stand outside. All business, tired of the same garbage every night. OFFICER O'MALLEY Got a complaint about yelling. You alone? Ralphie nods. OFFICER O'MALLEY (CONT'D) You know the drill. (to Officer Schwartz) Back in a minute. Officer O'Malley walks past Ralphie. OFFICER SCHWARTZ You keeping it together, kid? RALPHIE Yeah. Officer Schwartz pats Ralphie's back. Officer O'Malley returns. OFFICER O'MALLEY Nothing. You know, most of the yelling we deal with ain't fricking people yelling at themselves. OFFICER SCHWARTZ Give the kid a break. Ralphie stares at his feet. INT. DINING ROOM - EVENING Ralphie plays with a fork at the dining room table. MOM (O.S.) Who was that? RALPHIE Nobody. MOM (O.S.) I thought I heard somebody. RALPHIE You're hearing things that aren't there, mom. MOM (O.S.) Come help me carry. KNOCK on the front door. RALPHIE Must be retard at the door day. MOM (O.S.) Was that a knock? RALPHIE I'll get it. Ralphie forces himself up, slogs to the door. He looks through the peephole, steps back. RALPHIE (CONT'D) Mom? MOM (O.S.) Yes, honey? RALPHIE It's for you. FADE OUT
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Old 02-15-2014, 04:19 AM   #8
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"The Boy In The Woods"

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FADE IN: EXT. FOREST - TRAIL - DAY SUPERIMPOSE: Ukraine, The Eastern Front, 1941 - The Other Holocaust Birch trees soar into the bleak sky. A cold rain trickles down. Autumn leaves carpet a muddy woodland path. A line of sobbing, meagerly-dressed JEWS, clutching young children are being lead into the woods by German PARAMILITARY (Einsatzgruppen SS). The distinct POPS from a firing squad echo in the distance. The Jews collectively WEEP at the ominous sound. A Jewish man, 40s, can't mentally bring himself to step any further. He stops, trembling. He's SMACKED in the back by a GERMAN SOLDIER with the butt of his MP 40, ordering him to move it: GERMAN SOLDIER Gehl! Bewegen! A blonde WOMAN, 30s, stops and kneels down to her three little girls, ages 10, 8 and 7. The 7-year-old is ANNA, brown pigtails, clutching a cheap, patched-up rag doll. WOMAN Listen to me. Run as fast as you can. Do not look back. The girls do not wish to go. They cling to their mother's dress, hugging her, CRYING hysterically. She commands them: WOMAN (CONT'D) Go! The girls scurry off into the woods. An SS spots the getaway: GERMAN SOLDIER 2 Hult! He hurries over and aims his machine gun at the fleeing children. The mom leaps at him, SCREAMING, pushing away the MP 40. He SMACKS her in the face with the barrel. He re-aims. EXT. FOREST - DAY Anna, WAILING, face awash in tears, runs for her life, 'lil feet barely able to keep above the dense leaves and roots. Suddenly -- A branch EXPLODES just left of her head. More rounds SMACK into fallen trunks. Some SKIP off the wet dirt. She continues her terrified trot, rag doll flopping at each stride. Sticks and branches lash at her arms and legs. The sound of HOLLERING German troops and BARKING hounds draws closer. Exhausted, her cries give way to panting. She plummets to the wet leaves, unable to breath. Suddenly -- A SMALL HAND reaches out from under a mossy log. It DRAGS her beneath the fallen tree. UNDER LOG Anna's mouth is clasped from behind by the tiny hand. Her brown eyes widen in terror. An unseen BOY's voice speaks: BOY Be absolutely quiet. A nervous beat. The barks grow louder. Now RIGHT ON TOP OF THEM. Through a crack, the soldiers and hounds RACE by in a blur of boots and paws. The commotion dies down. UNDER LOG - LATER It's darker. The tiny hand still covers Anna's mouth. Her eyes grow weary. She gently pries off the hand, crawls out. EXT. FOREST - SUNSET Anna rises, brushing off the dirt from her drab dress. She watches in anticipation as a blond boy, YURI, 9, ragged clothes, emerges from under the log. Before she can speak-- YURI Quick! We have to get to the creek before nightfall. The patrols will be out. He snags her hand and the two dash off into the woods. EXT. CREEK - NIGHT Twigs SNAP beneath the two children's feet. The sound of TRICKLING WATER draws nearer. A creek is revealed. Yuri kneels down, scooping up the water in his cupped hands. He drinks up. He makes another cup, scoops more. YURI Here. Drink. Anna sips from his hands. She begins to shiver. Yuri takes off one of his rags and wraps it around her. He expertly begins to craft a bed out of dry leaves. Anna looks baffled. ANNA Who are you? YURI Yuri. And you? ANNA Anna. Anna looks spooked by the dark woods. ANNA (CONT'D) I should go. I need to find my mommy and sisters. They might need me-- Yuri firmly grabs her by the shoulders, speaking with a candor beyond his years: YURI Your mother and sisters are dead! A faucet is turned on. Tears stream from Anna's lil' brown eyes. She clutches her rag doll, using it to wipe away the tears. Yuri looks guilty. A beat. He gets back to work. A hopelessness comes over Anna. She stands paralyzed. Each puff of breath now visible in the frigid air. YURI (CONT'D) You're freezing. Come on. He grabs her hand and gently pulls her into the leafy bed. He slips a wooden framework of leaves over, covering them. INT. LEAF SHELTER - NIGHT A beam of moonlight shines through, revealing Anna's face. She looks dejected, lost in space. Yuri's still awake. ANNA Where are you from? YURI Obariv. My father and I escaped before the death squads arrived. I've been out here six days. ANNA Where is your father? YURI He had a fever. I couldn't... He didn't make it. ANNA I'm sorry. YURI ... Sleep. The hike to Kiev is far. We'll be safe there. There's a tortured look in Yuri's eyes. The snuggled up duo gently close their lids. EXT. FOREST - DAY The two pick berries from a tree. Majority red, some black. Anna tastes a red one -- bitter. She still stuffs a handful in her mouth. Yuri browses the berries like a seasoned pro. ANNA How do you know so much about the forest? YURI My father was the best woodsman Obariv ever had. He taught me to do every--... He taught me a lot. Anna plucks a black berry. Right before it enters her mouth: YURI (CONT'D) No! Don't! ANNA Poisonous? YURI No. They taste awful. Anna giggles. Yuri smiles. He proceeds to pluck a beetle off the ground, popping it in his mouth. Anna's face: Ewww. EXT. FOREST - HILLSIDE - DAY Anna and Yuri make their way down a steep hill. Yuri slips. Anna catches him. Yuri's eyes say thank you. Anna smiles. They walk down a small trail. A folded up piece of paper slips out from Yuri's jacket. Anna picks it up. ANNA What's this? She unfolds the crinkly book page: a stunning golden wheat field is revealed, like something out of a van Gogh painting. YURI It's Oklahoma. In America. The wheat fields go on forever. It's like heaven. ANNA It's beautiful. YURI I've dreamed about it for years. There's no war. Nice neighbors. I'll live there one day. ANNA Can I come? YURI Nope. Only me. Anna frowns. Yuri laughs. YURI (CONT'D) Of course you can come! Anna smiles. She stops him in his tracks and gives him a peck on the lips. Yuri is stunned, wide-eyed. A beat. He kisses her back. They both giggle. INT. LEAF SHELTER - NIGHT The two snuggle up, warm smiles etched on their faces. EXT. FOREST - TRAIL #2 - DAY The two children, hand in hand, proceed down a dirt path. Yuri holds a hiking stick. Suddenly, a SNEEZE from Anna. Yuri spins around. His face: sheer dread. Anna wipes her nose with her dress. YURI Are you sick? Do you have a fever? He puts a hand on her forehead, panicked. ANNA No, I'm fine. It must've been the willows. I have allergies... What's wrong? Yuri loses it. He buries his face in his hands and plummets to the ground, erupting into tears. YURI His fever was so high. He was freezing. But I couldn't make a fire. He taught me how, but I couldn't do it! Anna parks down next to him, consoling him with a tender arm. ANNA A fire wouldn't have saved him. He needed medicine. A warm bed. It wasn't your fault. Yuri looks unconvinced. Anna firmly grabs him by the shoulders, looking deep inside him. ANNA (CONT'D) You have me now. The tears subside. Yuri calms. He gently clears away the hair from her warm brown eyes. YURI You're so beautiful. Like a princess... Cuter than Cinderella. Anna smiles. She pops up, grabbing his hand, perky. ANNA And you're my prince. Come on. Tell me more about the house we'll live in in Oklahoma. EXT. FOREST - HILLSIDE #2 - DAY Anna and Yuri hold hands, all smiles. They climb up a hill. YURI The farms are huge! So many horses-- The two freeze in horror at the sight of BODIES, three, spaced 30 feet apart, sprawled in the valley below -- single bullet wounds to the back. Yuri grabs Anna and the two quickly duck behind the hill. Yuri's face: grave worry. GERMAN SNIPER In an oak tree, high up. A 98K rifle is aimed ahead. An unlit cigarette dangles from the mouth of an eye-patched German. CHILDREN YURI (CONT'D) ... It's a sniper. ANNA Can we go around? YURI No. He could be anywhere... We'll split up. Run in a zigzag. OK? Panic overwhelms Anna. A beat. She calms down, nods. Yuri silently counts: 3... 2... 1... They BOLT over the hill. THROUGH SNIPER SCOPE Cross-hairs zero in on Yuri as he snakes through the trees. POP. A round BLOWS a hole though a birch. The bolt COCKS. Another POP. Near miss. The scope steadies and... POP. A round TEARS through Yuri's ankle just as he disappears over the hill. Cross-hairs now on Anna. She zigs. POP. The round WHIZZES by her. She Zags. Another POP. It SKIPS off the dirt at her feet. The scope steadies on Anna's chest and... POP. It STRIKES an oak tree just as she vanishes over the hill. GERMAN SNIPER The sniper pulls his one good eye away from the scope. He calmly grinds the cigarette with his teeth. CHILDREN Anna catches up to Yuri -- hobbling, grimacing. He sits down on a stone. Anna wraps a rag tight around the bloody wound. She lifts him up and leads him away, acting like a crutch. EXT. FOREST - NIGHT Yuri sits by a log, shivering from the cold, feverish. Anna futilely tries to cover him up with leaves. She unties the rag and looks at the wound -- gangrene. She tears up. ANNA Oh my God. We need to get to a doctor. YURI (gravely ill) It's too late. Here. Take this. He passes her the folded up photo. YURI (CONT'D) On the back. An address. My uncle in Kiev. He'll take care of you. ANNA (bawling) I can't do this without you. YURI Yes you can. The bridge to Kiev is around the bend. Please... Promise me you'll live. Have a family. Children of your own... Promise. Anna nods, pouty, face awash in tears. Suddenly, Yuri slips away. Anna plants one last kiss on his lips and pulls back. She opens up the crinkly photo. The wheat fields appear even more stunning this time. Her lil' brown eyes swell with defiance. A new resolve comes over her. EXT. RIVER - BRIDGE - DAY KAAA-BOOM! A mortar explodes by the roadside. Seared concrete grains sprinkle down. The bridge is fortified by Russian troops with sandbags. Machine gun fire ZIPS left and right. Anna slowly approaches the war zone. Now just 30 m from the bridge. She clutches Yuri's photo. She musters up the courage... dashes off. She runs onto the bridge, bullets WHIZZING by. She zigzags, just like Yuri taught her. One of the Russian soldiers bravely runs out onto the bridge, scooping her up, but POW! -- is struck down by a single rifle shot. Anna tumbles to the ground. She gets up, keeps zagging. THROUGH SNIPER SCOPE More rounds kick up concrete at Anna's feet. She's just about to disappear behind an MG nest. The cross-hairs concentrate one last time and... POP. It's absorbed by a sandbag just as Anna exits range. GERMAN SNIPER High up another oak. The disgruntled German pulls his one eye away from the scope. The cig in his mouth SNAPS in two. EXT. OKLAHOMA - FARM - SUNSET A quaint farmhouse. Movers haul furniture from a box truck. A black '58 Chevy Impala pulls into the driveway. The driver side door FLIES open. A boy & girl, hardly 7, race out in excitement. The male driver, 30s, exits. The passenger side door opens. Out steps a ravishing brown-eyed BRUNETTE, 30. The couple marvel at the two story house, arm and arm. They kiss. Her eyes are slowly drawn to the yard. EXT. WHEAT FIELDS - SUNSET The woman strolls amidst the waist-high stocks, gently stroking the kernels with her fingers. She stops, staring out unto the golden fields, reflecting. She looks down to a crinkly piece of paper and unfolds it -- Yuri's photo. A GUST. She tosses it up into the air. It's captured by the wind, ferrying it deep into the fields. She warmly smiles, looking on as the setting sun slips beneath the divine landscape. ANNA We're finally here, Yuri. FADE OUT
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Old 02-15-2014, 04:23 AM   #9
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"Love The One You're With"

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INT. DINER, ARLINGTON, VIRGINIA It's seen better days, but it's clean and tidy. Aging, but still proud. A couple CUSTOMERS sit at booths, listening to -- JACK BUNHILL (60s), British expatriate, a bit worn around the edges, but still comfortable in his own skin, like the place here he owns. He's currently playing an acoustic guitar -- Accompanied by MAGGIE WITHERS on an upright bass. She's 50s, all-American, sensible clothes and a warm, friendly face with no makeup (not that she needs it). They finish "GREENSLEEVES" to a smattering of applause. They smile at their regular customers and put away their instruments. Jack straps on an apron and takes a position behind the counter as Maggie comes over to grab her waitress order pad. She leans over the counter towards him. MAGGIE That was lovely. Kiss me. Jack spares a look around the room. JACK (a trace of Cockney) They're watching. MAGGIE So what!?!? He concentrates on breaking an egg, ignoring her look. JACK Later, I promise. The front door opens to REGINALD DWIGHT - black business suit, uptight gait, carrying a packet. He makes for Jack. A black limo can be seen through the front window. REGINALD (very proper British) Jack Bunhill? At Jack's nod, Reginald hands him the packet. REGINALD (CONT'D) Her Majesty requests your presence. With that, he turns and leaves. Jack, perplexed, opens the packet. Reading, it looks like he's getting bad news. JACK I put it behind me forty years ago. Never missed it. With good reason. He's joined by Maggie, who is looking across the counter, reading upside down. MAGGIE They want a "Jack-O-Lanterns" reunion for a Valentine Benefit??? JACK Apparently, she was a fan. (grimacing) The question is, is she worth it? EXT. HEATHROW AIRPORT, ENGLAND - DAYS LATER Jack's plane hits the runway. Bumpy landing. Not a good omen. INT. SOUND MACHINE STUDIOS Jack and Maggie enter. The room is big and it's crowded with music/entertainment types milling around for the pre-concert party. No business suits here. Just whatever is hip or edgy. Lots of NOISE and MUSIC. MICK JAGGER walks by. Does a double take as he moves past -- MICK Jack! Long time, mate! Across the room. LAURA VANDERBILT (60s - but you wouldn't know it) turns. She's slim, trim, and made up To-Die-For... That is, if you're into the industrial gothic rock opera queen scene. Which, apparently, she is right now. Her hair is dyed jet black, her fingernails are black, and her lipstick is some sort of shade of red/black. She's got a killer figure - as displayed by her, natch, black leather outfit. The face is flawless. Literally, it's flawless. Some cosmetic surgeon is probably buying a palatial estate on the Riviera with the work he's done here. As if on cue, the speakers begin playing Roxette's "She's Got the Look." Not to mention attitude. She's a bunch of street signs rolled up into one, especially DANGEROUS CURVES AHEAD or SLIPPERY WHEN WET. Oh, and ROCKSLIDE AREA - PROCEED AT YOUR OWN RISK. Laura quickly comes over. Taking in the whole picture, Jack is obviously not surprised by what he sees. JACK Morticia. How wonderful to see you. And how are Gomez and Uncle Fester? She takes the verbal jab in stride, deflecting it like the greeting of a long lost lover. She throws her arms around him. Running her fingers up through his hair, she grabs a handful on each side and shakes his head back and forth. It's not really rough, but it still looks painful. LAURA Jack. Always the kidder. I have so missed your sense of humor. She kisses him, right on the mouth. Before he can react, she pirouettes neatly, wrapping an arm around Jack's waist. LAURA (CONT'D) Introduce me! Red in the face, Jack reaches over and grabs Maggie by the arm, pulling her over. JACK This is my, uh, friend, Maggie. Laura gives Maggie a totally insincere minx cat smile. LAURA So nice to meet a friend of Jack's. She squeezes Jack and wriggles a little closer. He manages to disentangle himself when Laura spots STING nearby. LAURA (CONT'D) I have a very tight schedule today. My car will take you to my home. EXT - LAURA'S ESTATE - LATER A car pulls in past the extensive gardens. The house is huge. It should be in Castle and Garden magazine. INT. LAURA'S LIVING ROOM - LATER The expansive room is filled with expensive antiques and furniture. Jack and Maggie sit alone, holding hands, conversing in low tones.A BUTLER walks in and approaches Jack, who quickly unclasps hands. BUTLER If you will follow me, sir. JACK But what about my, uh - Maggie? BUTLER (to Maggie) Make yourself comfortable, Miss. Without waiting for Jack, the butler turns and leaves. Jack has no choice but to follow. INT. SITTING ROOM Jack is ushered in. Laura's here, waiting for him, blond haired now, the goth makeup completely gone. She's all cleaned and washed up - AND in a very expensive, filmy robe. She's seated on a settee - the only seat in the room . A tea set is on a coffee table, hot tea steaming in the cups. JACK What happened to the real you? This earns him a sarcastic smile in return from Laura. LAURA That was business. My cosmetics company is launching a new line for teens. Goth is an untapped market. She pats the cushion next to her on the settee. Since there are no other chairs, he doesn't have any choice. He sits down, but as far to the other side as possible. LAURA (CONT'D) I'm sorry about at the studio. I was just afraid and acting out. I thought you might still be mad at me - after the things I said to you back when you broke up the group. JACK What? Oh, well. Ancient history, you know. She brushes a lock of hair back from her face. LAURA Well, not ancient. And it's not like I've not done well for myself. She scootches over next to him. Hip touching hip. She looks at him earnestly. Practically batting her eyes. LAURA (CONT'D) But I really did miss you. Did you miss me? All these years? JACK Well, uh. You know... She leans really near. LAURA I know. I'm sure there were lots other women over the years. JACK Well, you know. Just, uh... She leans closer. Lips soooo close. He's hypnotized - the mouse and the snake. She KISSES him. REALLY kisses him. For a moment, he fights it. Another moment, he leans into it. Then he stiffens, breaks. Gasping for air, sanity, anything. He makes a fast grab for his tea cup. As he pulls it in, she leans in quickly towards him again. Her arm and his tea cup collide. Hot tea goes flying. She screams. He yelps. She's pulling the front of her flimsy robe away from her chest, trying to keep the hot tea off her skin. Jack is momentarily distracted by this, but the hot tea burning his own skin quickly gets his attention back. JACK (CONT'D) Hot! Hot! Hot! I need to go change. LAURA You can use my room. But he's already bolted out the door. INT. LIVING ROOM Jack returns (in a new shirt). He joins Maggie on the couch. She eyes the shirt, but doesn't say anything. MAGGIE What was that about? JACK (evasive) A lot of years have passed since the band was together. Laura, uh, wanted to talk about old times. Emphasis on old. MAGGIE You're really not old, you know. JACK Oh? Don't you think so? MAGGIE Victor Hugo said, "The wise man does not grow old, but ripens". JACK That would make me an over-ripe pumpkin, it would seem. (checking his watch) Speaking of time. Gotta go. INT. GUEST BEDROOM - LATER Maggie's sitting on the bed. Looking miserable as there's a KNOCK. The butler sticks his head in the door. BUTLER The car has already taken the others to the concert site. He takes in the look on her face - enters the room. BUTLER (CONT'D) Begging your pardon, Miss. But I only work here. I don't have to agree with Laura. Will you allow me to assist you in getting ready? EXT. CONCERT SITE - EVENING A giant field, full of people facing an enormous stage with a banner "ROYAL VALENTINE CELEBRATION". INT. DRESSING ROOM Jack is putting on his Jack-O-Lantern costume - black with shiny vines climbing up the sides. Maggie makes an entrance - No joke. An entrance. All you can say is WOW. Apparently, the butler knows folks. The makeup is so artfully applied that you don't even realize she's wearing it, but she glows. The dress is Saint-Hill & Von Basedow. Her hair is a sculpted masterpiece. She's stunning. Pure and simple. The butler's behind Maggie, checking out the reaction. Jack's jaw drops. He finally finds his voice. JACK "She was a phantom of delight." Maggie dimples. MAGGIE Wordsworth? For me? How thoughtful. JACK I cannot, for the life of me, remember the next line. MAGGIE Make it up to me when we get home. Maybe I can borrow the dress. That causes him to smile. He rlaxes. Finally. For the first time since they got here. And with a look between them, it shows that he realizes he's really in love with this woman. Jack spots a ROADIE passing by the door. He grabs him, then grabs a piece of paper and a pencil off a table. He's talking (mostly to himself) while scribbling. JACK (CONT'D) There used to be a little novelty shop on Haymarket down at West End. He hands the roadie the slip of paper. Taps the list. JACK (CONT'D) Find the phone number and get me a delivery service. FAST. EXT. STAGE - NIGHT The crowd mills about as ROADIES finish changing out gear on the stage following the latest set. The EMCEE comes out. EMCEE Tonight, a reunion of one of the most artistically influential bands to come out of England during the sixties. The Jack-O-Lanterns! The lights go out. SCREAMS AND WHISTLES rise in volume. Most of the crowd has no idea who they are, but hey, it's a monster of a concert, so whoever it is has gotta be good. The stage and spotlights go on. The Jack-O-Lanterns! In full Jack-O-Lantern regalia! Jack at the mike, Fender Strat in hand, face painted like (of course) a Jack-O-Lantern. The rest of the group also in makeup and at their posts. Laura at keyboards, BASSIST, DRUMMER... A DRUM BACKBEAT. The KEYBOARD BUILDS. A thumping BASSLINE... The Jack-O-Lanterns fly into their song - "LIGHT ME UP". It's a great number. The crowd's in it. The TECHS/MUSICIANS on the sidelines are digging it. Everyone is having a fest. Jack glances over to Laura. She's practically panting. Soaking it in. Pure hedonism. Three. Two. One. And a crescendo for the end. People in the crowd are jumping and waving amidst all the screaming! Laura leaves her spot and practically skips to the front of the stage. Waving and blowing kisses to the crowd. She takes a look at Jack. Gives him a silent "Ha!", followed by a look of contempt: "Why would you ever want to give this up?" She takes a deep bow, drawing it out. As she does so, Jack turns his back to the crowd. He puts down his Strat. Stops, looks up for a moment. Thinking, reminiscing, deciding? And then... He drops his pants. There, for all of world-wide television to see, is an enormous pair of white boxer shorts, covered with large pink hearts. He fiddles with something at the waistband. The emcee is furiously waving at the techs to cut the lights. They find the switches, and as they do... The hearts on Jack's shorts light up in flashing red, made more brilliant in the dark. The crowd goes even wilder. Jack sidles over to the drumkit and reaches behind it - pulling out a larger poster just as someone hits a spotlight. CLOSE ON POSTER "JACK LOVES MAGGIE" - The "O" is done in the shape of a pumpkin...
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Old 02-15-2014, 04:24 AM   #10
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Default Re: Entries - Valentine's Day contest

"Love Hurts"

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INT. BEDROOM - NIGHT A sliver of light shines from the open door of the adjacent bathroom, providing just enough illumination for us to see the dresser and on it, a vase of roses, an open box of chocolates (heart-shaped, of course), a fancy gilded card. A few feet from the dresser is the bed - padded headboard, thick comforter. Under the comforter are two bodies, breathing heavily but not moving. BOB (40s) is top, his wife BETTY (also 40s) is bottom. Just what they are doing under the covers isn't clear, but whatever it is, it's not going well. BOB Are you sure we're doing this right? Is it supposed to hurt? BETTY I told you to stretch before we started, Bob. BOB Maybe it's you. BETTY I beg your pardon? BOB You switched from the first part to the second part too fast. BETTY Kindly remove your hand from my ass when you are criticizing my sexual performance. BOB I'm not criticizing. I'm - making a note for future reference. BETTY If you say another word about me, there won't be anything to reference in your future. Silence for a beat. More heavy breathing. The impatient kind. BOB It's been ten minutes. I think it's time to put this one in the fail column. Betty snakes an arm out from under the covers. BETTY I can reach my phone. Maybe if I call Andrea, she and Paul can talk us through it. BOB NO. BETTY I really ought to have asked for schematics or proof of concept materials. She could have made this whole thing up. BOB If you'd told me this was their thing I never would have tried it in the first place. BETTY He's a doctor. BOB He's a dillweed. And he's only a podiatrist. The RUSTLE of covers, the box spring CREAKS. BOB Ah- ah-ha! Cramp! Cramp! Left thigh! It hurts, oh god it hurts! Don't move! BETTY How can I help you if I don't move? BOB The moving isn't helping. The moving is making it worse. BETTY Should I call nine one one? BOB Only if you can reach my gun so I can shoot myself before they get here. BETTY I think you're being overdramatic. BOB The guys at the office would never let me live this down. BETTY You're with your wife, not livestock. BOB You never did understand law enforcement. Ahh- aha. Oh this hurts. Betty points to the mirror atop the dresser. Flips the covers up so that the reflection of their bodies are visible to them. (But not to us, because this is PG-13). BETTY Look! Bob cranes his neck as best he can. BOB Hang on... great, now I have a shoulder cramp, too. Oh hey. Look at us. We are HOT. BETTY Not THAT. See where my leg is? BOB Oh yeah... if I move it over here... The covers rise and fall as Betty's leg swings around. There's a pause, then a creak, more covers shifting, then a rhythmic THUMPING begins. The bed posts shake, the comforter slips off the mattress, puddles on the floor. BETTY (O.S.) Oh that's better. That is... that is much, much better. BOB (O.S.) Better than anything a podiatrist could have thought up that's for damn sure. The thumping grows faster, louder, accompanied by grunting and moaning from Betty and Bob. The bed posts shake. A mighty CRACK! The bed collapses, Betty YELPS in shock, Bob cries out too, but for an entirely different reason. Silence. More silence. Really agonizing silence. No noise, no movement, are they dead? BETTY (O.S) I can't believe you finished anyway. BOB (O.S.) How was I supposed to stop? BETTY I could have died. You would have been ejaculating into a corpse. BOB You'd have still been warm, it wouldn't count. Sheets rustle. Something scrapes against the nightstand, we hear the familar beep, bop, boop of a cell phone dialing. BETTY (O.S.) Who are you calling? BOB (O.S.) Nine one one. I need to document this. I broke the bed - hell, I nearly broke you. SMACK! Bob calls out in pain, the cell phone flies across the room. FADE OUT.
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