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Old 06-08-2015, 06:15 AM   #1
dpaterso
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Default Entries - Old World/New World short screenplay contest

So, here we go! We have 7 entries, which is more than I expected, well done all for writing to theme and deadline.

Outside the Wall
Automate
MITCHELL INC
Chilled to the Bone
Palatine
Untitled
The Survivor

I laundered them through a program that strips text out of the PDFs and keep the formatting, and then patted things into shape a little because this ain't an exact science. Assume any problems are down to me, not the author. If you see any errors then let me know and I'll correct ASAP.

Read the entries and pick your 1st, 2nd and 3rd choices. PM or email these to me, preferably in the format,

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

Please don't vote for your own entry!

Deadline for voting is midnight this coming Sunday 14.

Once the results are posted, feel free to post any comments you made while you were reading, what worked or what didn't work for you, etc. Yay for feedback! All input is welcome, even if you didn't submit an entry.

Have fun, don't take it too seriously!

If you don't like the code boxes that preserve formatting, select Thread Tools and Show Printable Version.

Added: for posterity, 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 : 06-15-2015 at 02:26 PM.
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Old 06-08-2015, 06:16 AM   #2
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Default Re: Entries - Old World/New World short screenplay contest

Code:
Outside the Wall FADE IN: (FAR INTO THE FUTURE) EXT. CITY STREET - LATE AFTERNOON A bus silently floats past cookie-cutter houses with postage- stamp yards, small porches. Without street numbers you couldn't tell them apart. The bus stops to allow ALFRED to disembark. Mid-thirties, briefcase, blue suit with red tie. Alfred trots up the short sidewalk. The front door slides open. INT. ALFRED'S HOUSE - LATE AFTERNOON Alfred plops his briefcase in a chair. Child JOHNNY runs to him, grabs his leg. JOHNNY Daddy. Daddy, pick me up. Alfred swoops Johnny into his arms, hugs him. ALFRED How's my little man? MELISSA, an attractive brunette, pokes her head out of the kitchen. MELISSA I was starting to wonder. Bus late again? ALFRED Saw a squirrel-- MELISSA --You're kidding me. ALFRED Really. Sitting there flicking his tail. We stopped to watch. MELISSA Neat. JOHNNY I talked to GRANDMA today. MELISSA What flavoring you want tonight? ALFRED Let's try Italian. MELISSA Five minutes. Alfred steps to the couch, sits with Johnny in his lap. ALFRED So, what did Grandma have to say? JOHNNY I know something you don't know. Melissa steps out of the kitchen to listen. ALFRED Are you going to tell me or not? JOHNNY When you call mama "honey" that is something people used to eat. Melissa gives Alfred a look. MELISSA You said it wasn't going to happen again. JOHNNY Are you going to keep mama in a jar? ALFRED Listen, son. People don't eat honey anymore. That's bee food. We were using them as slave labor. JOHNNY What's a slave? INT. ALFRED'S HOUSE - DINING ROOM Alfred and Johnny sit at the table as Melissa serves green squares of processed food. ALFRED Smells good. MELISSA I tried a variation this time. Different button sequence. ALFRED Mama fixed something special for you, Johnny. And how was mama's day? Melissa frowns. MELISSA That stupid woman called me a breeder again. One day I'm going to-- ALFRED --Envy, that's all. Probably wants one but can't get certified. Melissa rests her fork on her plate. MELISSA And I got a call from the school. ALFRED Something I should be concerned about? MELISSA On last week's test, our little Johnny got every answer right. Alfred sighs. ALFRED Is that right, Johnny? JOHNNY Yep. Yep yep yep. ALFRED We've talked about this. When you get them all right you make the other students feel bad. JOHNNY That's dumb. ALFRED Listen. You miss two out of ten, you understand? JOHNNY Yes, sir. Johnny finishes his food square, drops his fork. JOHNNY (CONT'D) Daddy? ALFRED What is it, Johnny? JOHNNY Can we go walking tonight? ALFRED No, we can't go walking. JOHNNY Why not? ALFRED Because I said so. What we'll do is sit on the porch and rock. JOHNNY I'm tired of rocking. ALFRED And the PROCTOR will see us when he makes the rounds. EXT. ALFRED'S HOUSE - FRONT PORCH - EVENING Alfred and Johnny sit in rocking chairs. Neighbors up and down the street are already rocking. ALFRED Okay. We're ready to start. Remember, not too fast. We're not racing anybody. Alfred turns toward the house interior. ALFRED (CONT'D) Honey, you need to get out here. Melissa steps onto the porch, takes a rocker. MELISSA Sorry. I was cleaning up the kitchen. Okay, I'm ready. Melissa begins to rook, synchronizing with her husband and son. MELISSA (CONT'D) I think we're good now. ALFRED Now we can relax. Johnny sticks his legs straight out. Alfred notices. ALFRED (CONT'D) Son, put your legs down. Here he comes. All eyes are fixed on the Proctor, an obese man perched on a Segway. He inches down the street, observing the rockers, punching a tablet with fat fingers. His gaze locks on Alfred and Melissa. MELISSA Why is he staring at us? ALFRED Maybe it's our turn. The Proctor slowly makes his way toward Alfred and Melissa, rolls up the sidewalk, stops at the edge of the porch. THE PROCTOR Evening, folks. Three residents, three on the porch. Got it right? ALFRED Yes, sir. That's right. JOHNNY Mister, why can't people go walking? MELISSA Hush, Johnny. The Proctor smiles, waves his hand. THE PROCTOR Don't mind it. You see, sonny, way back people walked a lot. But some jokers walked too fast, and some even started running. Made it hard for the normal folks. JOHNNY So what happened? THE PROCTOR Most did better once we had a talk, but we sent some to education centers. The ones that we couldn't convince, well, they went to the other side of the wall. JOHNNY Where's that? THE PROCTOR It's where we send the people who try to be smarter, stronger or better than everybody else. Can't put up with that. JOHNNY Oh. Do-- ALFRED --I heard they've been causing some trouble. THE PROCTOR Don't worry about them. We're two steps ahead. Better get going. The Proctor salutes Johnny, heads down the street. MELISSA We can go inside now. ALFRED Give it a minute. I've seen him backtrack. INT. ALFRED'S HOUSE - BEDROOM - NIGHT Alfred and Melissa lie in bed asleep. We SEE light flash through their window and HEAR rumbles in the distance. Johnny shuffles through the door dragging a stuffed rabbit. He goes to the bed and nudges Alfred. JOHNNY Daddy, I'm scared. Alfred raises a groggy head and puts his arm around Johnny. ALFRED Just a storm, Johnny. Another BOOM. Alfred sits up. ALFRED (CONT'D) That's not a storm. Melissa rolls over. MELISSA What's going on? Alfred jumps up, grabs a robe, looks out the window. ALFRED Don't know. I'm going outside. EXT. ALFRED'S HOUSE - PORCH - NIGHT Alfred steps onto the porch with Melissa and Johnny clinging to him. Flashes of light paint the horizon, booms rattle the windows. Alfred yells to NEIGHBOR at the house next door. ALFRED What's going on? Neighbor shakes his head, waves his hands in frustration. NEIGHBOR How the hell should I know? JOHNNY He said a bad word. Alfred pulls Johnny and Melissa close. Alfred peers down the road. He sees something. ALFRED Somebody's coming. NEIGHBOR That guy's running. Call the Proctor. RUNNER appears in sight. RUNNER They're coming. Run. NEIGHBOR Who's coming? RUNNER From outside the wall. Run. Runner passes, disappears from view. JOHNNY What's going to happen? MELISSA We've got to do something. ALFRED They didn't teach us what to do for this. Alfred shakes his head. Melissa gets in his face. MELISSA We've got to do something. Maybe we should run. Alfred grabs Melissa's arms. ALFRED Then we're just as bad as them. Don't you understand? MELISSA Please tell us what to do. ALFRED Okay. Johnny, sit in the rocker. We're all going to sit in the rockers. All take a rocker, fear flooding their faces. ALFRED (CONT'D) Good. Now rock. Let's rock together. JOHNNY Daddy, what's that noise? We HEAR the sound of heavy vehicles approaching. ALFRED Faster. Rock faster. FADE OUT
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Old 06-08-2015, 06:18 AM   #3
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Default Re: Entries - Old World/New World short screenplay contest

Code:
Automate OVER BLACK PAUL (V.O.) Three point four. (beat) Three point two. FADE IN: On a man's face. Nerdy, anxious. He stares intently. PAUL Three point oh. I can't go any lower. NEW ANGLE--He stands in front of a huge holographic chatbox projected in midair. His words appear on the display a moment after he speaks them: "PAUL: 3.0. I can't go any lower." Another line appears at the bottom of the hologram, bumping up the conversation a notch: "MARCY: 2.8." PULL BACK to reveal our hero, PAUL, standing in a cramped-- INT. ROOM Nothing here except him and a hologram. Smooth walls and few furnishings--a room devoid of character. PAUL Two point nine. The answer appears on the hologram: "MARCY: 2.85." Paul rolls his eyes in exasperation. PAUL (CONT'D) Fine. Deal. ON HOLOGRAM: A tiny animated gif shows a handshake. Success. PAUL (CONT'D) All right. Hey, Marcy, I was thinking-- ON HOLOGRAM: "PAUL: Hey, Marcy, I was thinking-- ***MARCY HAS DISCONNECTED***" PAUL (CONT'D) Dammit. A faint intermittent BUZZING noise from the next room. BZZZZ ... BZZZZZ ... BZZZZ ... INT. LIVING ROOM -- MOMENTS LATER The BUZZING continues as Paul walks across his sparsely furnished living room. A few extremely large but thin monitors rest here and there. PAUL Sun. Paul utters the word as a command. Instantly, the ceiling dissolves into a lovely sunny sky. Virtual birds and clouds pass by a gentle virtual skyscape. Paul approaches the door: a large flat panel nearly flush with the surrounding wall. Beside it, a red light flashes in unison with the faint intermittent buzz. PAUL (CONT'D) Open. The door panel begins retracting into the wall, STAR TREK- style. Only it moves in jerks and stops, finally stopping altogether in the halfway-open position. The door vibrates with the strain. As if it hasn't been opened in a while. Paul SIGHS. He pushes the door into the wall with his bare hand. Revealing a large, tall rectangular BOX sitting on the other side. His face breaks into a smile. MOMENTS LATER Paul stands next to the box, propped up in the middle of the room. It's almost as tall as he is. He fumbles with the side of the box. Finds a handle of sorts around the side. He pulls--and the box opens like a closet. Revealing a WOMAN inside. Large breasts, long blonde hair, red bee-stung lips, big doe-like eyes. Exaggeratedly feminine characteristics from head to toe. Tank top and leather miniskirt. It's almost as convincing as the real thing. PAUL (CONT'D) (amazed) Oh, yes. He reaches for her breasts, adolescent curiosity taking over. VANESSA Hi, there. Paul STARTS with surprise at the voice. VANESSA (CONT'D) (excessively sultry voice) I'm Vanessa, your new sex android. I have been designed to fulfill all your deepest fantasies, thanks to the wonders of artificial intelligence. Satisfaction guaranteed or your bitcoins back. Paul's face beams with anticipation. She looks, sounds, and moves with near-total mimetic exactitude. PAUL Oh, yeahhhhh. CUT TO: An old-fashioned fireplace holding a jittery, crackling bundle of flames. PULL BACK a bit to reveal it's a video display on a sliding opaque door. The door slides into the wall. Revealing Paul's naked head and torso. He's ready to rumble. He stands at the doorway of-- INT. PAUL'S BEDROOM -- CONTINUOUS As sparsely furnished as the rest of the place. A mattress somehow levitates in the middle of the room. Vanessa lies across it, in come-hither mode, dressed in purple-and-black lingerie. VANESSA I want it now, big boy. I want your medium-sized love rod that has grown mighty from years of forbearance. PAUL I'll see what I can do. Paul jumps into bed-- TIME CUT: A tangle of arms and legs. Vanessa MOANS orgasmically in exaggerated fashion. Paul breathes and pants laboriously. VANESSA Don't stop. Don't stopppp. TIME CUT: Paul and Vanessa lie side by side in post-coital reflection. He stares at the ceiling as Vanessa prattles on. VANESSA (CONT'D) Men with large organs are so overrated. But you're perfect for me... Paul hardly seems to listen. He just looks at the ceiling, an oddly glum look on his face. FADE TO: INT. ROOM Paul stands before the chatbox hologram. His words appear automatically as he says them aloud. PAUL Six point five. That's it. ON HOLOGRAM: "MARCY: Deal!" Paul visibly relaxes. Then a wave of anxiety passes over his face. Something on his mind. PAUL (CONT'D) You know, Marcy ... we've been doing this for a few weeks now. That's a long time to talk to anyone. Paul's words spread across the hologram as he talks "...time to talk to anyone." PAUL (CONT'D) You're a good businessperson and a tough negotiator. But I thought you might be more than that. Not that it's bad to be just a businessperson, I mean. Paul glances nervously at his halting monologue displayed before him. He looks away as he struggles for words. PAUL (CONT'D) It's just ... I've been looking at your avatar for weeks now. And, you know, there's this really nice chat room I know about ... Paul doesn't see the message that appears on the chatbox: "***MARCY HAS DISCONNECTED***" PAUL (CONT'D) I thought maybe we could just talk a little. That's it. Just talk. Not do anything else. At least not right away. And see what happens from there ... Paul glances up at the chatbox. Sees that Marcy has left. He SIGHS heavily as his face darkens. ON HOLOGRAM: "PAUL: (SIGHS HEAVILY)" INT. PAUL'S BEDROOM The door slides open. Revealing Paul--now wearing some kind of S&M headqear with elaborate zig-zag straps and metal studs. It frames a stern face. PAUL Have you been a bad girl? Vanessa lies across the bed. Her hands and feet separately bound in ropes. VANESSA All girls are bad. So I am too. Q.E.D. Paul holds up a whip. PAUL Let's make you better. TIME CUT: Paul beats the hell out of the bound Vanessa. The whip strikes artificial flesh. Again and again and again. Vanessa's voice leaps two octaves with each blow. VANESSA Yes! Your mighty whip is beating the badness OUT of me! Paul's windmilling arm snaps the whip across Vanessa's body. An uncontrolled rage pouring out of him. Paul suddenly stops. Delivers a final, half-hearted blow. His face falls into a saggy mask of self-contempt. INT. LIVING ROOM -- MOMENTS LATER Paul wearily shuffles out of the bedroom. Collapses into a floating chair. He rips off his headgear, throws it against a wall. He stares with fatigued indifference at a movie playing on the opposite wall. Hardly hears the soft FOOTSTEPS approaching. VANESSA (O.S.) What's wrong? Paul notices Vanessa suddenly standing beside him. Artificial compassion radiating from those not-quite-human eyes. PAUL It was way different in my daydreams. And night-dreams. But it's not you. You did what I wanted. VANESSA Not true, Paul. That gets Paul's attention. VANESSA (CONT'D) I did what you told me to do. Not what you wanted. Most people don't know what they want. Or whether it's worth wanting. PAUL What are you, the Gautama Buddha sex doll? Vanessa GIGGLES. VANESSA You're funny. She affectionately pokes him in the cheek with her finger. Vanessa notices the movie playing on the wall. VANESSA (CONT'D) O-M-G. Taxi Driver. Paul's face lights up in amazement. PAUL How'd you know that? VANESSA "You talkin' to me?" Paul completes the quote: PAUL "Well, I'm the only one here." Their eyes lock. TIME CUT: Paul and Vanessa sit in the seat as the movie plays before them. She feeds him a popped kernel of popcorn. Paul laughs. TIME CUT: The movie now over, Paul and Vanessa cuddle in the seat, arms wrapped around each other, whispering sweet whatevers. FADE TO: INT. PAUL'S BEDROOM Back at the bedroom door. It retracts into the wall, revealing PAUL. His face now beaming happily. PAUL Honey, I got you something. Paul holds up a box with both hands. Vanessa sits up in bed. She wears a tasteful nightgown. VANESSA I love presents. Paul approaches the bed. Hands her the box. Vanessa carefully opens the box with her fingers. Her artificial eyes stare with delight. VANESSA (CONT'D) (impressed) Ohhhhhhh... Paul climbs in bed beside Vanessa as she ohhhs over the contents of the box, unseen by us. PAUL It's really high quality, too. VANESSA I love you, Paul. PAUL (confused) I know. You told me last week. Vanessa reaches inside the box. Pulls out a cute little ANDROID BABY in a singlet. ANDROID BABY Mom-mee! Dad-dee! VANESSA I think I can get used to hearing that. PAUL If you can't, we'll turn off the voice card. CUT TO BLACK END
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And maybe start thinking about a Yuletide contest also!


Last edited by dpaterso : 06-08-2015 at 11:31 PM.
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Old 06-08-2015, 06:19 AM   #4
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Default Re: Entries - Old World/New World short screenplay contest

Code:
MITCHELL INC INT. BARRACKS - DAY Austere barracks, prison or military. Four people huddle. Three guys and a woman, all wear military clothing. But it's not uniform. The huddle around a device, home made, crude. DERMOT Four hundred and eighty meters. It's as close as he ever gets. DERMOT is a hulking man, a soldier stereotype. Muscles, short hair, dogtags. EXT. SPORTS FIELD - CONTINUOUS A double line of crude barracks, a dusty field. Two teams play a bastardized game of football in the dust, skins vs shirts. Super fast, hyper rough. Dust pools like fog. Skins punt the ball, we track... Slomo, lose focus, pull focus on the background. EXT. GUARD TOWER - CONTINUOUS Guard tower, extruded metal, microwave antenna, two soldiers in battle armour, heavy weapons ALL FACING INWARDS The ball comes back into focus, full speed again. EXT. SPORTS FIELD - CONTINUOUS The balls caught by a monster of a man, seven feet tall and a mass of gleaming muscle. He hurls the ball across the field like a rifle bullet... ... to a ferret-like individual. Who leaps three meters into the air to accept the pass... ...and fires it straight down to a harsh looking woman. A mass of lean muscle and scars, and a US marines tattoo. SHE RUNS. Make ten meters before another woman tackles her, hard. Shirts retrieves the ball, kicks, low, into a razor wire fence. We track... Slomo, lose focus, pull focus on the background. EXT. C/U ON FENCE - CONTINUOUS Rusty razor wire sparks as the ball strikes. The strands are suspended by insulators. Faded signs proclaim them as 11 kilovolts. The ball smoulders and sizzles. The smoke rolls past a larger sign on the outside the wire. FoNaP Detainment centre 54 (Military hybrids) INT. BARRACKS - CONTINUOUS DERMOT This is it. Give the word. Last chance. One of the other opens a locker and pulls out a new ball. He tosses it through an open window, straight into play. EXT. SPORTS FIELD - CONTINUOUS A man catches it in a huge mechanical hand. Crude stainless. A good hand traces the vivid red stitching. His gaze turns to the window. He smiles. MECH HAND DAVE, Go long Dave, go LONNNGGGGG! Dave is a small man, one of the skins. But lithe and lean. He starts running, faster and faster. SHIRTS fall back. Mech hand lobs the ball, Dave takes the ball smoothly and runs straight at the densest concentration of SHIRTS. INT. GUARD TOWER - SIMULTAINIOUS GUARD ONE They'll slaughter him. GUARD TWO Good. One less. His attention slips. EXT. SPORTS FIELD - CONTINUOUS About three meters from three of the biggest guys on the field he jumps. They catch him, throw him... ...Is lifted... is flung... into the air Slomo, lose focus, pull focus on the background. North of the internment camp is a huge old industrial area. Most looks abandoned, but there are newer buildings of sleek futuristic deign. HARD PIVOT South west is a residential area. EXT. OUTSIDE THE WIRE - CONTINUOUS Dave lands like a cat, smooth athletic grace. Running instantly. INT. GUARD TOWER - CONTINUOUS GUARD ONE BREAK OUT! He slams a fist onto a big red button. SIRENS shriek. GUARD TWO Shoot! Shoot to kill! Guard one tries, blasting away a whole magazine but the angle is against him. EXT. ROAD - CONTINUOUS Dave runs, zigzagging like a gazelle. Bullets fragment around him. And stop. He straightens, speed over evasion now. He is built for speed, literally, genetically modified. His legs uncoil. INT. GUARD TOWER - CONTINUOUS GUARD TWO The rest! Blast them! Autoguns pop up... tracking - nothing! All of the sports people internees are laying facedown in the dust, hands over their heads. Without targets the autoguns cycle harmlessly. RADIO VOX Station 3, update. GUARD ONE Runner! Solo male. Out of range. RADIO VOX The others? GUARD ONE Face down! RADIO VOX Launch your drone. Leave all weapons on self determination. If they move obliterate them! GUARD ONE What mode? RADIO VOX Chip destruction. I'll alert the local authorities. Atop the tower plastic covers spin away revealing a drone. Compressed air blows it into the air, it orientates and is away. EXT. SPORTS FIELD - CONTINUOUS One prone man sees the drone leave. He squeezes a small electronic device, the drops it. EXT. ROAD - CONTINUOUS Dave is still sprinting. PPEEEEEEPPPPPPP An alarm in his ear sounds. He sledges to a stop and starts tearing at the ball with his teeth. The bindings come away revealing a metal mesh. He rips it aside and pulls out a pistol. Checks the handle, a red strip two shots remaining. He waits. Not long. His breathing stabilizes. The drone rushes around the corner and down the road. Dave waits, aiming. ZAP! The gun sparks flame. Miss! The drone fires. Dave leaps aside with inhuman speed. Fleshettes rake the brush. He aims but leaps aside again. The drone keeps firing, burst after burst. Fleshettes rake Dave. Nothing fatal but he's losing blood. Several times he draws bead. But doesn't take it. Finally he lands, ducks and rolls aside. Comes to his feet aiming and fires. The drone is winged. A ducted fan shredded. Falls to the road. Still it fights. Spinning on the pavement it tries to aim. Tiny arrow-like fleshettes splatter up the road. Pursued by the barrage Dave rolls into the ditch. He fast crawls away from the stricken machine. Emerges from the ditch. Checks a hand drawn map. The drone fires pointlessly. Dave throws the spent pistol aside and continues running. VOICE OVER The 2030s saw the first Global war. Brushfire wars over resources escalated, factions and alliances grew and fell for ten terrible years. Dave nears the town, still running. VOICE OVER (CONT'D) Less than two billion survived. A police car blocks the road. Body armored cops spill out. Dave leaps off the road, taking to gardens and weaving between houses where the cops dare not shoot. VOICE OVER (CONT'D) Humanity united under the Federation of Nations and Peoples. (bitter laugh) Sure they did. Factions were deeper than ever, but their was a new class of nigger, the geneadapted. INT. LAWYER'S OFFICES - DAY ADAM MITCHELL is seated in front of his father's lawyer browsing a will. He's a young man in his late teens, tall strong and keen eyed. ADAM This makes no sense at all. It's five years old... LAWYER Your father wasn't one for some of the... er... legal niceties Adam. It is of course made more difficult... ADAM That he's not dead... LAWYER That the manner, timing and certainty of his death is unclear. ADAM He's alive... LAWYER Then this will, albeit five years out of date is useless. Suddenly there's a commotion in the foyer. The lawyer half stands, then reaches into his desk and pulls out a pistol. ADAM What the... LAWYER Come around here Adam. ADAM Whats... The door crashes open. The lawyer fires, Dave dodges. Dave leaps, striking the ceiling, then propelling himself down. The Lawyer might have had a pistol but Dave is a Geneaug soldier with his blood up. It's not a fight, its a bitch slapping. Adam raises his hands, fists clenched, ready. Dave rises with the lawyers weapon. DAVE Adam Mitchell? Adam nods cautiously. DAVE (CONT'D) Respectfully sir. I am your property. ADAM Say again. DAVE Hurry to understand please sir. I am your property sir. I have proof of your father's death and his final will and testament... ADAM My father's dead? Adam shakes his head almost imperceptibly, gaze fixed on the boy - until he understands. DAVE Your father is dead sir. By life deed 152884,B 23 my colleagues and I are property of Mitchell Securi- bonds. With your father... being dead... you are the company owner. LAWYER This is crazy! Dave flips a tiny drive to Adam. DAVE Certified last will and testament. Certified death certificate with supporting witness statements. Good in any Federation court in the solar system. If you upload the files they will automatically update any and all registries. Then its done. Sirens arrive outside. DAVE (CONT'D) If you're going to sir, you'd best hurry. LAWYER Don't do it son. Adam does it. The lawyer deflates. Dave smiles. POLICE OFFICER (O.S.) Augment. Come out with your hands up or we will execute with extreme prejudice. Adam looks scared. DAVE Access file urgent prompt file in your neural server. Adams eyes flicker as he accesses his cyberware. The file urgent prompt is simple. Just a text file, that opens in his inner sightTM. He scans it and reads out loud. ADAM You hear me out there? POLICE OFFICER (O.S.) Who is that? ADAM Adam Mitchell. I own Mitchell Securi-bonds. This augment is my property. The police officer edges through the door. Battle armor and weapons. POLICE OFFICER Not according... ADAM WELL YOU'RE ****ING OUT OF DATE SUNSHINE! THIS IS 2046 AND THINGS MOVE AWFUL FAST. Keep up. This a teen, wearing the equivalent of 2046's jeans and a t- shirt, fronting up to a combat dressed, armed cop. Somehow he pulls it off. DAVE The others sir... ADAM That's right. I hear you've illegally detained the rest of my bonded indentures. I want them released to my administration in fifteen minutes or there will be ****ing **** to pay! Won't there? He addresses this to the lawyer. LAWYER Oh yeah, undoubtedly... after this I expect all Hell to break loose. Unsaid but written on the text file is a final sentence. GOOD LUCK ADAM, LOVE DAD. EXT. TOWN STREET - MOMENTS LATER Adam and Dave leave. ADAM Who can I trust? Dave pauses. DAVE Only those of us you have the ownership papers to. [End]
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Old 06-08-2015, 06:20 AM   #5
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Default Re: Entries - Old World/New World short screenplay contest

Code:
Chilled to the Bone OVER BLACK: BONE-SHAKING, GOD-AWFUL RUMBLING. EXT. AN AVALANCHE - DAY A deluge of snow, pouring down like a neverending waterfall. HOARSE SCREAMING. In among the cascading snow, there are snow sleds... and dogs... and MEN. Twisted, cartwheeling, being carried to their deaths. INT. CAVE ENTRANCE - NIGHT In this and all following scenes a background noise of howling, whistling, angry wind prevails. Blowing this way and that way and rising and falling, never still. The yellow light of an oil lamp reveals six bodies laid out in a neat row. Men, dressed in Arctic explorer furs and gear. Watching them is JURGENS, sat with his back against the cave wall. As tough as leather, steely eyes, matted beard. Cold. His gaze lingers on the dead... then he looks around, studying the cave. Carvings, on the walls. Runes (characters etched in straight lines with a hammer and chisel) are everywhere. Like an alien language. They go on, and on... and up to the ceiling. Jurgens has a WTF moment. More men -- BAYER, CASEY, SMITH -- all dressed in explorer furs, goggles, mittens -- enter the cave. Each man carries a heavy, canvas-wrapped package. They stack these beside the bodies. Exhausted, the men slump down beside Jurgens. Jurgens stares at the 3 packages. JURGENS That's all? BAYER We're lucky we got any! The rest are buried under a million tons of snow. JURGENS A fine idea, storing all our food on just two of the sleds. BAYER Don't go blaming this on me! Anders is at the bottom of the gorge. Go complain to him! Moody silence. Everyone stares at the bodies. BAYER We're lucky to be alive. CASEY They'll know something's wrong when we don't check in, right? They'll send a rescue team? No one answers. Jurgens allows his gaze to roam further. In a darkened corner of the cave, a deeper shadow. He gets up, takes an oil lamp, checks it out. Lamp light reveals a narrow, low-roofed tunnel. Jurgens examines the carved runes on the tunnel wall. The tunnel goes on and on until he can't see any further. He looks over his shoulder at the others. INT. NARROW TUNNEL - NIGHT Jurgens leads the way, the others follow, each man carrying an oil lamp. The tunnel is so narrow and low that it's claustrophobic. Bayer pauses to consider the runes, carved everywhere. Casey does the same. They look at each other, then follow Jurgens, who's way further ahead, a shadow backlit by his own lamp light. INT. JUNCTION OF TUNNELS - NIGHT Jurgens is presented with three choices, go back, or go left, or go right. Every tunnel wall is covered in those runes. Hard to tell them apart. Jurgens unhooks an ice-axe from his belt and uses it to chip a mark on the wall of the tunnel they just came from. BAYER What are you doing? JURGENS If we have to find our way back, we'll know it's this one. He hooks his axe back onto his belt, and chooses the right- hand tunnel. One by one the others follow him. They're all wary, and maybe a little frightened. INT. JUNCTION OF TUNNELS - NIGHT Jurgens emerges into another junction. More choices. He does the ice axe thing again, marking the tunnel he just came out of. This time he chooses the left-hand tunnel. Bayer and Casey pause for a moment. BAYER Who made these tunnels? CASEY WHEN did they make them? They look at each other, spooked. Then they hurry after Jurgens. INT. BIG CAVERN - NIGHT They all emerge from the narrow tunnel. The cavern is so vast their lamp light can't touch the furthest areas, which remain in darkness. And always, the howling, whistling wind. Bayer's lamp reveals more runes, right along the wall. He lifts his lamp higher. The runes go up, and up, and up, to the limit of the lamp light. Jurgens edges further out into the darkness until he's alone in a pool of light from his own lamp. Something keeps drawing him forward. Bayer and Casey look at each other, where is he going? Jurgens is perhaps fifty paces away when he stops. He turns and looks back at them. They all move to join him. Jurgens stands at the edge of a canyon that splits the cavern floor. It must be twenty feet wide, at least. They hold up their lamps to reveal the far side. The bottom of the canyon can't be seen. Jurgens moves along the canyon edge. He's sensed something. He stops twenty paces on. Beckons to the others. It's a stone bridge -- or one end of a bridge. The middle has collapsed, it's gone. Lamp light reveals a matching end, on the other side of the canyon. BAYER What in the hell is this place, Jurgens? JURGENS I don't know. Someone obviously lived here. BAYER What if they're still here? Everyone ponders this. They look around, casting lamp light into the darkness, but don't see anything. JURGENS The bridge is old. I think whoever built it moved on, long ago. Bayer half-turns, holds his lamp up to see better. BAYER Casey, what the hell are you doing? Casey is standing on the broken bridge, with oblivion only a half-step away. He stares across at the other side. BAYER Come back here, you idiot! You don't know if it's safe. Casey, unconcerned, looks back at them. CASEY Why aren't we going across? Jurgens and Bayer look at each other. LATER Casey sits with his back against the cavern wall. He has been trussed up with rope, like a straitjacket, pinning his arms. His ankles are tied also. Because Casey is a crazy ranting madman. CASEY (SHOUTING) We have to cross the bridge! It's the only way out of here! Let me loose! We've got to cross it! We'll die if we don't cross the bridge! We can't stay here! We have to cross the bridge. He continues to shout the same things, over and over, never shutting up. Jurgen, Bayer and Smith stare at him, horrified. Smith touches the ice axe hanging from his belt. SMITH Can't we shut him up? Jurgens notices Smith's movement. JURGENS He can't do us any harm. We need to bring the supplies in here. BAYER I'd rather return to the cave entrance. I don't like this place. JURGENS You'll freeze to death. BAYER You think it's any warmer in here? JURGENS It's not so exposed. We stand a better chance. INT. TUNNEL - NIGHT Bayer and Smith squeeze through the narrow tunnel. INT. CAVE ENTRANCE - NIGHT They emerge from the tunnel. Bayer holds his lamp up and squints, trying to see better. The packages are gone. The six bodies of their comrades are gone. Bayer and Smith exchange bewildered looks. INT. BIG CAVERN - NIGHT One of the oil lamps has burned out. It sits beside Casey who is still tied up and shouting. CASEY (SHOUTING) We've got to cross it! We'll die if we don't cross the bridge! We can't stay here! We have to cross the bridge! It's the only way out of here! Let me loose! Bayer has reported his findings to Jurgens. JURGENS You think it could have been a polar bear? BAYER There was no blood, no prints, nothing. Smith approaches. He looks grim, sick, horrified. JURGENS What's happened? SMITH You have to see this with your own eyes. INT. JUNCTION OF TUNNELS - NIGHT Smith leads Jurgens and Bayer, they all carry lamps. Smith pauses to decide which way to go, and decides it's the left tunnel. They follow him. INT. STALAGMITE CAVE - NIGHT Smith squeezes out of a tunnel and stands to one side, holding up his lamp. Jurgens and Bayer follow him out. They take in their surroundings. More of these damn runes, carved into every wall. They see Smith is looking up at something. They follow his gaze. Dozens of stalagmite formations grow upward from the cave floor, long and thin. Impaled upon six stalagmites, fifty feet above the floor, are the six bodies that were taken from the cavern entrance. Jurgens and Bayer stare in horror. JURGENS How did you find them? SMITH I heard someone laughing. They stare at him. Smith feels awkward, he won't meet their gaze. SMITH I didn't know if I was going crazy like Casey. But I had to know. I followed the sound. It led me here. It stopped when I came in. Smith's lamp sputters and goes out. It's dead. They stare at it, perhaps realizing how time-limited their supplies are. Smith puts the dead lamp down on the cave floor. Jurgens moves forward, he holds up his lamp, plays it around the cave, but he can't see anything among the forest of stalagmites. He turns back to the tunnel mouth. JURGENS Come on, let's go. BAYER Are we just going to leave them here? JURGENS I don't even know how the hell they got up there. Unless you have a fifty-foot-long ladder in your pocket, then yes. Jurgens ducks into the tunnel. Smith hesitates, then follows him. Bayer contemplates the six impaled men. Then he follows Jurgens and Smith out. INT. BIG CAVERN - NIGHT Crazy Casey is still shouting at the top of his voice, the poor bastard. CASEY (SHOUTING) Let me loose! We've got to cross it! We'll die if we don't cross the bridge! We can't stay here! We have to cross the bridge. We have to cross the bridge! It's our only way out of here! JURGENS We must take it in turns to stand watch. BAYER What happens when our lamps run out of oil? JURGENS We use only one lamp at a time. We make them last as long as we can. Smith looks at Casey -- still shouting. SMITH I've been thinking about what he's saying. JURGENS Ignore him, he's crazy, it's the cold, or the shock, or maybe both. SMITH No, listen to him. CASEY (SHOUTING) Let me loose! We've got to cross it! We'll die if we don't cross the bridge! We can't stay here! We have to cross the bridge. We have to cross the bridge! It's our only way out of here! JURGENS Don't let him get to you. SMITH What if the bridge was intentionally smashed? BAYER What are you saying? SMITH What if someone... what if they retreated... across the bridge... and to stop something else from following them... what if they smashed the bridge? So they would be safe. JURGENS That's a bit far-fetched, isn't it? SMITH And what we've seen hasn't been far-fetched? Smith gestures at their surroundings. SMITH These writings, I don't know what they mean, but what if, what if they are a warning, telling us of what happened? Of who the people who built the bridge were, and why they had to smash it, so nothing on this side could get across. BAYER And what if this thing you speak of, is on the other side, and this is the safe side? JURGENS What if there are no safe sides. CASEY (SHOUTING) Turn me loose! We have to cross the bridge! It's the only way out of here! We'll die if we don't cross the bridge! We can't stay here! We have to cross the bridge. Everyone has a moment of nervous smiles and chuckling, it's as if Casey is joining in the conversation. JURGENS How can we cross? The bridge is broken. SMITH I'm willing to try. JURGENS Maybe we should tie you up, too. SMITH That's a good idea. You tie rope around my waist. I run, I jump, you hold onto the end, if I don't make it, you pull me back up. They think about this, it's do-able, they have rope... BAYER If you're willing to try. I'm just not sure what it gets us. SMITH Maybe there's something across there I can tie the rope to. If not, I'll hold onto it no matter what, so you can come over also. Jurgens shakes his head. But then he shrugs, why not? [continued in next post]
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Old 06-08-2015, 06:21 AM   #6
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[Continued from previous post] AT THE BRIDGE Jurgens and Bayer look over the edge, down into the bottomless canyon. They look at each other. Jesus. Smith tugs on the rope around his waist. He nods. He's ready. He lines up on the bridge, he's going to run, and jump! There's plenty of play on the rope, Jurgens and Bayer hold of the end. JURGENS You sure about this? SMITH Just don't let go! BAYER We won't! Smith steels himself, and runs onto the bridge! He leaps like an Olympic long jump athlete, legs and arms rotating, he's halfway, he's almost there-- As he drops, his questing hands just touch the other side, but he can't get a grip, he falls down into the canyon. The rope tightens! Jurgens and Bayer take the strain! They suddenly fall down on their backsides, as if they just lost a tug-o-war contest. Jurgens pulls and pulls and the end of the rope snakes up over the edge of the bridge. They stare, appalled. Smith is gone. AT THE TUNNEL The last oil lamp is burning, the others have died out. Jurgens and Bayer sit huddled beside Casey, downheartened by events. They shiver, chilled to the bone. Casey's head hangs, he's asleep or maybe dead, but at least he's finally shut up. Jurgen has a small notebook and writes in it using a pencil. Bayer notices, and chuckles. BAYER Your memoirs? JURGENS In case someone comes after us. We must tell them what happened. BAYER I hope no one comes after us. I don't know what this place is. I don't know what is in here. But it should remain hidden and buried forever. The last oil lamp flickers. They stare at the dimming flame. Jurgens closes his notebook and slips it inside his coat. BAYER Did you say anything nice about me? JURGENS Perhaps in the sequel, when it comes out next year. They chuckle, warmed by a last moment of comradeship. The lamp goes out. The cavern is plunged into DARKNESS. An uncanny, screeching, inhuman LAUGHTER rings out. END
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Old 06-08-2015, 06:22 AM   #7
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Palatine FADE IN: There are two men in front of an old barn. It's around Mid- day and the heat is blistering down already. Farm buildings in various states of dilapidation form up around the enclosure, protective, but all eyes are on the barn's massive door. For a moment, we glimpse the land beyond the enclosure. It is yellow and scorched under an unremitting sun. Super: Somewhere in South of England, 50 years from now... Fades as we hear a scrape, metallic upon metallic. The shorter of the two men has flipped a heavy bolt, releasing a heavy metal girdle that falls to the ground. The other man wipes his face, hesitant, he has an old shotgun held limply in one arm. A case at his feet. The shorter man swings the door back. He was once a chemist, or something like. But that was before the plague. BYRON I reckon we're lucky to have her. Looming out of the shadows of the barn a heavy diesel truck, army green. PALATINE What happened to the car? Byron stumbles forward, wipes his brow, wheezing as he runs his hands over the massive wheel arch. BYRON Requisitioned for other duties, they don't tell me. You know how everything has to be rubber stamped now. Palatine strides over to the edge of the cab. Opens the door and places the shotgun on the seat. Then reaches down and picks up a strong alloy case and carefully slides it under the seat. PALATINE We'd better get going... we need to make the coast before dark. INT. TRUCK - COUNTRY ROAD - AFTERNOON Both men wear strong sun shades. The heat haze still fierce despite the arrival of a few clouds. They stare out at the landscape. Rolling soft hills and clear for miles and miles. BYRON We're on a new route today. It'll be quicker. Palatine shifts in his seat. PALATINE They never told me that we'd been authorized to deviate. BYRON We'll probably pass London. He turns to look at Palatine. PALATINE London is off limits... but if we were close, we could see- BYRON We're going to be pretty close Palatine. PALATINE Let's just get out on the road. INT. JUNCTION - MOTORWAY The truck is idling. Looking down over from the top of the ramp, the old motorway is a frightening prospect. Blistered and cracks as it leads in a curve into the distance. PALATINE How far before it becomes to hard to drive on. It's a risk. BYRON I don't know... there's a junction one mile down, make that and the roads on the other side are good. Palatine sighs. PALATINE Let's try it. Everything is a risk out here. On the truck's exhaust. A throaty roar. Byron shifts down a gear decends to the motorway. EXT. MOTORWAY - HIGH ANGLE As it bumps down onto the fractured tarmac, it becomes stable. INT. TRUCK - SAME Both men holding on. PALATINE Any more of this and I'll spew up my breakfast. BYRON It's incredible, look at that stream running over the road ahead, that's not run off, it hasn't rained for days, that's nature reclaiming the land. PALATINE The motorway will be swallowed up a few years from now. BYRON Look, there's the ramp, about a thousand yards ahead, we get off there. EXT. TRUCK - FROM HIGH ANGLE Takes the ramp and bursts through on to a a narrow A-road. INT. TRUCK - SHAKING The men... gleams of relief. High fives. BYRON If this route isn't blocked, we'll see London soon. PALATINE Nobody is ever aloud into London. They must think that there is plague there. BYRON Most of us stay in our zone. PALATINE When did you begin to live at the farm. BYRON The government gave it to me. PALATINE Any rebuilding or was it okay. BYRON We used materials from some of the other buildings. Truck shifts a gear. Low hanging branches wave in over the face of wind shield. PALATINE You don't seem much like the farming type. BYRON Lab rat! That's why they have me me around when you take those drugs to wherever we're told to go. PALATINE Antibiotics. BYRON The last man, before you, got caught running heroin. They shot him. PALATINE These are antibiotics, despite the restrictions on using them, in emergencies, they're still allowed. (heavy pause)) They've got a ship coming in. Byron SLAMS on the brakes. BYRON You're kidding me? PALATINE I never kid about something like that. I figure that Quarantine have been out to it already. Gave the all-clear to come back in. BYRON How long have they been out there? PALATINE Must be at least five. BYRON That's a feat of endurance. No riots. No change of command? PALATINE I don't know about riots but most of the ships that made it out were lost in storms... or to mutiny. Palatine leans down. Picks up the shotgun and stands it back upright. BYRON That was my fault. Loaded? Palatine breaks open the shotgun. Where the cartridges belong ... is empty space. BYRON (CONT'D) They don't give you shells. I knew stocks were low- PALATINE We've got 2 million people left in a country that once had well over 60 million people. The government probably figures that shooting a single person is unacceptable, I guess. BYRON Sure, but a few would kill just to get hold of antibiotics. Palatine shrugs. PALATINE I don't think so, After what we've all just been through, life has become even more precious than before. Byron raises his sun glasses, in the bower of the trees its becoming dark. BYRON I think we're nearly there. The truck misses a gear and then lurches forward. PALATINE Easy Byron, I'd really like to see London, so don't you go dumping me out on that road. They approach a log in the road, splintered, rotten, the truck plows straight through spraying bark everywhere. PALATINE (CONT'D) That was an unnecessary risk. BYRON I can tell when they're rotten. We have them all over the farm. The new diseases bring them down. PALATINE Maybe ease up and check next time, we don't have a spare axle. BYRON That's it!!! They are looking out over a large plain. PALATINE I told you we were going to be getting close. London. A jagged array of buildings and tall burnt-out towers. You can still see the scorch lines running up the buildings. Birds gather in hungry squadrons on the tops of the tallest buildings. The Shard, now like a discarded dagger, glints in the light, the windows shaded by greens giving it the impression of being infested by jungle creepers. Both men watch in silence. BYRON I'd heard the fires were very bad, really fierce but I never expected to see it look so solemn. PALATINE They burnt the heart out of the city... that's for sure. A haze of smoke, an optical illusion, appears to drift up from deep with the city. We may be imagining it. BYRON We'd better get going. It's only a few hours until its dark. EXT. COAST ROAD - LATER The atmosphere is quiet, pensive, in the cab, compared to the febrile atmosphere of early afternoon. The cab light is on, Palatine is looking over an old map. BYRON Can you find us? PALATINE I think so, but some of these roads have probably disappeared. Byron glances over the map, averting his eyes from the road for a second. BYRON That's where I reckon we are! (he stabs) Above the solemn rattling of the truck an eerie humming on the air. PALATINE Sounds close? BYRON (excited) Wait... I know that sound. Thousands of acres of them... the propellers of what must have been the old wind turbines have been replaced by thousands of golden glinting panels. PALATINE It's an amazing prospect. Byron, do you think we'll ever get straight, back to how it was. BYRON I've no idea... we still have a lot of problems to solve. Most of the harvests failed last year. Palatine looks at his watch. The dial at 8.15pm. PALATINE My God! BYRON You see her? PALATINE Over in the bay. BYRON That's her!!! PALATINE Out of the wind shield, we lurch forward, the camera taking us up high, ahead is a cruise ship, one of the old style, five decks. Popular in the early 21st century. She's over fifty years old now however, in the year OF OUR LORD... 2073. FINIS
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Old 06-08-2015, 06:23 AM   #8
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Untitled 1.66 B&W - VERY ORSON WELLES EXT. - SNOWY FOREST CLEARING - DAY We see a tall, slender, grizzled man chop a tree with an ax. Head to toe, all of his clothes and effects appear AGED and HOMEMADE. His axe makes a distinctive mid-rangey sound, with each precisely timed swing: chop -- chop -- chop. The pace is brisk and consistant. The camera moves to reveal a SLED, a previously fallen TREE, and a wandering DOG, and SNOW. A close-up shows the man's VISIBLE BREATH. His work continues: chop -- chop -- chop. CUT TO: The man aproaches one of his fallen trees, bends down, and grabs a VERY STRAIGHT BRANCH, a good four inches thick. He cuts it off CLEANLY with two swings of the axe. CUT TO: Bracing a branch against a trunk, the man WHITTLES with his axe, shaping it into WEDGE. These swings are small and slow: chop______ chop______ chop______. A finished wedge and a third branch are beside. The dog sunbathes on the sled. The man looks a little worse for wear. CUT TO: The man clears the trunks of branches: grab - chop - chop -- grab - chop - chop --. A branch is at an odd angle: grab - turn - chop - chop --. The dog chews its nails. CUT TO: The man turns a trunk so that the grain is pointing upward. He places a wedge in a crevice formed by where the trunk broke and starts tapping it in: HIT -- HIT -- HIT --. Once the wedge is in place, his turns a stradles the trunk and starts working the wedge: HIT - hit - HIT - hit -. Until he settles into a rhythm, the man moves less gracefully, than before. Eventually, the wedge is in as far as it can go. The man adds a second: HIT - hit - HIT - hit -. Eventually, a sheet of wood breaks away. The process repeats. The dog looks for a place to pee. The process repeats. The man brings his sled closer and starts placing the wood sheets on it. The process repeats. CUT TO: With some visible fatigue, the man places the final sheet of wood on the sled and checks each stack to make sure its stable. The dog watches out of the corner of its eye, knowing it means they'll leave soon. Satisfied that the wood stacks are stable, the man grabs the sled's rope and claps his hands to tell the dog, "Time to leave." They leave. [end]
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Old 06-08-2015, 06:24 AM   #9
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The Survivor EXT. SOMEWHERE IN THE SOUTHWEST - DAY Dirt. Hard, dusty, dry land. A lone, slender blade of grass pokes through one of a hundred baked-in cracks. The sky above is blue and cloudless. Close on the grass, closer, closer, until the parallel lines of its vascular tissue are visible. It's so green. How does something green even exist in this place? It's so still. It's so quiet. Then. The blade of grass wavers. Just the tiniest motion. Dust kicks up around it. PLOP. A single, fat drop of rain lands on the blade. It slides down the blade, bending it until it nearly touches the ground. The drop slips off the tip of the grass and falls, silently, into the earth, where it disappears. PLOP. Another drop. Follows the same path. PLOP. PLOP. The sky goes gray. Plop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop- lop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop- loplop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop-lop. The ground turns dark - blotchy spots that knit together into patches. The patches connect until the entire ground is dark brown. Thunder R-R-R-RUMBLES. A white FLASH of lightning illuminates the blade of grass just before... KABOOM! Sheets of rain hammer the ground. Dirt becomes mud, Becomes puddles, Becomes one united swath She HEAVES her torso up, out of the water and onto the shutter. She wears a long sleeve shirt, plastered to her skin, showing the outline of her bra. Her mouth opens in a GASP. She inhales deeply, mouth still wide. Breathe in. Breathe out. In. Out. Until it becomes habit again. She blinks, adjusting her eyes to the sun. Exhausted, she lets the water carry her. FADE OUT FADE IN EXT. SOMEWHERE IN THE SOUTHWEST - LATER The Girl's HAND scooping through the water, paddling with smooth strokes. She sits astride the shutter, in a pair of shorts and her bra. The shirt is wadded up in front of her. She straightens up, places on hand on her lower back. Shades her eyes with the other. Looks ahead - water. To the left - water. To the right - water. Behind her - water. A shadow passes overhead. The girl tilts her head back, looks for the shadow's source. It's a HAWK, brown and white. The Girl watches it circle overhead, Beat its wings, Gather speed, And soar away. The girl hunches over, resumes paddling. Heads in the direction of the hawk. EXT. SOMEWHERE ELSE IN THE SOUTHWEST - LATER The hawk coasts along, buffeted by the wind. It passes a GIRL I didn't think it would really happen. The Woman shrugs. The Girls turns to the sky again, scanning for clouds. GIRL (CONT'D) What if it rains again? WOMAN It won't. He's made His point. The Girls at the Woman with curiosity, but the Woman focuses on her rake. The Girl keeps staring, at the Woman's hands, her chin, her eyes. Some kind of realization dawns. GIRL You're her. You're the Survivor. The Woman turns her back to the Girl. She pulls in her rake, takes another jar out of the water. She holds the jar in her lap, closes her eyes for a beat before turning around again. WOMAN Apricots. You like them better? GIRL I didn't even think you were real. I thought it was a story they told, to make us behave. WOMAN Didn't work, did it? Their eyes meet for a moment. The Girl turns away, looks out over the water. Nothing but dirty water for miles in any direction. She shivers. GIRL This is awful. The Woman follows the Girl's gaze, sees the same endless expanse of water. WOMAN No, it's better this time. The Girl gives her a mystified look - what could be worse? WOMAN There are two of us. [End]
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Old 06-08-2015, 11:37 PM   #10
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Default Re: Entries - Old World/New World short screenplay contest

I was reading the entries for real last night on my tablet in bed while listening to Alice Cooper on Planet Rock, and I gotta say, not bad! Drifted off the sleep feeling quite impressed.
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