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Old 10-25-2015, 10:50 AM   #1
dpaterso
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Default Entries - Halloween 2015 contest [adult content warning]

Here's the list of entries, 12 in all, thanks to all who entered, sorry a few folks couldn't make it but sometimes that happens.

Tomato Soup
An Incident At The Lighthouse
Little Visitor
Unravel
Beaver Creek
Halloween Morning
The Puppy
Shadow Beast
The Bigger the Sin
Monster
Hell Dame
Found Footage

Please read the entries and pick which 3 work for you best. Assign points for character, dialogue, plot, originality if you like, whatever works for you. Email or PM me the titles, I'd appreciate receiving them in the format:

1st - title1
2nd - title2
3rd - title3

If you don't like the Code windows (which preserves formatting) select Thread Tools and Show Printable Version

Shout if you detect any errors in your entry, I'll correct ASAP. The conversion process isn't flawless and neither am I!

Please don't vote for your own entry, if this were allowed then everyone would do it, so it's pretty pointless.

Voting deadline: midnight on Saturday 31st, Halloween!

After the vote results are announced, reader feedback is invited for discussion and improvement.

For posterity the original 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 : 11-01-2015 at 11:48 AM. Reason: posterity
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Old 10-25-2015, 10:53 AM   #2
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Default Re: Entries - Halloween 2015 contest [adult content warning]

Code:
Tomato soup FADE IN: INT. MARK'S MOTHER'S STUDIO APARTMENT - DAY Mark (mid 20's) is sitting on a chair. His mother (50's) stands by the pot on the stove. She dresses in black. MARK It hurts so bad. He grabs his head. MARK'S MOTHER That's the price you pay. Mark grunts. MARK'S MOTHER (CON'T) Don't worry, this tomato soup will make you feel better... What's going on with Lisa? MARK I don't want to talk about it. MARK'S MOTHER You guys patch things up yet? MARK Mom, come on. Mark bends over, he starts to breathe heavy. MARK'S MOTHER She's a nice girl Mark. MARK (In agony) Ma, please! I don't want to talk right now. MARK'S MOTHER You know, you have not seen me in over a year. You should be nicer. MARK It hurts... MARK'S MOTHER Soup is almost done. EXT. MARK'S MOTHER'S HOUSE - SAME A car pulls up to the driveway. In it, LISA (20's) and John (30's). She gets out of the car, John stays inside. INT. MARK'S MOTHER'S HOUSE - SAME The door bell RINGS. MARK'S MOTHER Now who could that be? She walks to the door and opens it. MARK'S MOTHER (CON'T) Oh, hi Lisa. Such a long time. They hug. LISA I know right! MARK'S MOTHER (whispering) Mark doesn't know. Mark lifts his head and see's Lisa, then lowers it in pain. MARK'S MOTHER (CON'T) We were just talking about you. LISA Oh, good things I hope. MARK'S MOTHER (whispering) He's still upset. LISA (whispering back) I know. MARK'S MOTHER Come in. I was just making some tomato soup for your boyfriend. MARK Ex! Ex Ma'. MARK'S MOTHER (whispering) He's still upse-- LISA (whispering back) --I know... Lisa enters and sits on a chair. The Mother stirs the pot. LISA (CON'T) (To Mark) What's wrong with you? MARK'S MOTHER He drank too much last night. MARK (Towards Lisa) It's your fault. What are you doing here? LISA Mark, it's not my fault. I need you to return the spare set of keys to my apartment. MARK Ha, she wants her keys. LISA And I'm here with John. Mark gets up abruptly. Lisa grabs his arm. MARK Where the hell is that coward? Lisa gets up. LISA No, no. We are going to sit here and all talk like adults. MARK (Towards his Mother) Did you set this sh!t up? (to Lisa) Lisa? What's wrong with you two? LISA Sit down. Please. Mark hesitates, then proceeds to sit down. MARK This is bullshit. LISA You can't go on like this. MARK Me? You cheating bitch. Now I'm supposed to sit and hang out with your new boyfriend like everything is cool? You psycho! LISA I never cheated, we were broken-- MARK We were on a break! A BREAK! Mark's Mother starts serving the soup in three bowls. LISA I'm going to get John. Please behave. He's not a bad guy. Mark shakes his head. Lisa leaves scene. MARK Why are you doing this to me? MARK'S MOTHER So you can move on. Mark holds his head again in pain. His mother walks over and lifts up his chin to look at him. His eyes are red. MARK'S MOTHER That's some headache. Lisa and John enter, Mark gets up. Lisa stays between them. JOHN (hesitant) Um hello-- Ah, hi Mark. MARK Don't talk to me you sh!t. JOHN See I knew this wouldn't work. LISA Please. just hear him out Mark. Mark backs off, he sits down. John and Lisa also sit down. MARK'S MOTHER That's it. Like adults. JOHN We don't know each other. When I met Lisa you guys were not toge-- Mark gets up again, angry. MARK On a break! Does anyone here understand that term? On a freaking break! Not forever! MARK'S MOTHER (whispering towards Lisa) He's still upset. Lisa nods. MARK Mom I'm not-- Fine. Talk. JOHN You guys were not together. Frankly I did not know about you until you started calling my house with all those threats. MARK'S MOTHER That's not nice. Soup is ready. Mark's mother gives each one of them a bowl of soup. MARK She was my girlfriend man. JOHN And now she is mine. Mark, you need to let it go. Mark just shakes his head. LISA Mark, you can't move on with all that anger in you. You're stuck. MARK So, you saying you don't feel anything for me anymore? Nothing? LISA I, I cherish the times we had. I learned so much but-- I love John now. And I just want you to let the past go. Can you do that? Mark picks up the spoon from the bowl and starts eating. MARK This soup tastes funny. MARK'S MOTHER Tastes like tomato soup hun'. And, that's my cue to go. MARK Go where? Mark's Mother heads out. MARK'S MOTHER (O.S.) See you soon. You kids enjoy. JOHN Come on man. John gets up and extends his hand to Mark. JOHN (CON'T) Lets forgive each other. Mark puts down his spoon, he exhales. They shake hands. LISA Great! Now we can all move on. They start eating. MARK This soup tastes super weird... You guys don't think so? Mark's soup spills from his mouth. MARK (CON'T) Jeez, Kinda tastes like-- John and Lisa put their soup down, they begins to take their clothes off. MARK (CON'T) The f*** you doing? They strip down to their underwear and grab the soup again. LISA It's okay Mark. MARK What? You think this is funny? Lisa spills the red tomato soup on her chest and sits down in the corner against the wall. MARK (CON'T) What's wrong with you two? John falls to the ground face first with the bowl of soup. The soup flows from under him. MARK (CON'T) O-kay... Ma! Mark cleans the soup from his mouth with his hand, and looks at his hand, it's full of blood. When he looks up again the setting has changed. INT. LISA'S APARTMENT/BEDROOM - NIGHT MARK'S POV. The white sheets in the bed are covered in blood. Lisa lays dead in the bedroom corner, blood on her chest. John lays face down in a pool of his own blood. Mark's hand, that once held the soup, now holds a smoking gun. We see Mark's face, blood spills from his mouth. FLASHBACK TO: EXT. DARK ALLEY - NIGHT A man in a dark hoodie hands mark a paper bag. Mark hands him money. Mark looks in the bag, it's a gun. EXT. LISA'S APARTMENT - NIGHT Mark hides behind a car, and observes as Lisa and John walk into their apartment. They are holding hands and smiling. He follows. Mark gets to the door, and takes out the spare keys to Lisa's apartment from his pocket. He opens door. INT. LISA'S APARTMENT/LIVING ROOM - (SAME) Mark walks slowly, gun in his hand. He hears giggling coming from Lisa's bedroom. He heads towards it. INT. LISA'S APARTMENT/BEDROOM - (SAME) Mark walks in. John turns around startled. JOHN What the f***? He hops out of bed and puts his hands up defensively. LISA (screaming) Mark what the f*** are you doing? Mark shoots John in his chest BLAM! John falls to the floor face down. Lisa screams, gets out of the bed and squirms in a corner. She is crying. LISA (CON'T) Mark don't! Please don't! MARK You cheating bitch. He shoots her twice BLAM! BLAM!. He takes the gun and puts it in his own mouth. Takes one deep breath. BLAM! BACK TO PRESENT. INT. LISA'S APARTMENT/BEDROOM - NIGHT The blood flows from Marks mouth. He falls. EXT. WHITE SPACE Just white, nothing else. Mark's Mother walks into frame. MARK'S MOTHER Forgiveness has its perks. Can't get here with hate in your heart. We see Mark. Clean, no blood, no pain. He looks around. MARK'S MOTHER (CON'T) Come. We have lots to talk about. Mark smiles. FADE OUT. THE END
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And maybe start thinking about a Yuletide contest also!

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Old 10-25-2015, 10:56 AM   #3
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Default Re: Entries - Halloween 2015 contest [adult content warning]

Code:
An Incident At The Lighthouse FADE IN: INT. "LIGHTHOUSE" BAR - DAY TWO NUNS walk in. MOTHER MARY (60s) and SISTER AGNES (40s). Black habits, white wimples, crosses hanging from the neck. A typical-fake Irish bar, wood and polished brass. On the wall above the counter a scaled-down Lighthouse model, complete with light. Below, TWO CHEERLEADERS. Behind the counter, KATE (20s), in front, back to the door, PENNY (20s). Sister Agnes nudges Mother Mary, they move forward. KATE I like your costumes, look very real, but we're still closed. Penny looks back, startled at the approaching nuns. PENNY Kate... they are real. KATE Real nuns? Not Halloween costumes? Like, ordinary nuns? In my bar? PENNY No, they're not ordinary nuns... Under Kate's puzzled gaze, the nuns throw benevolent nods and smiles her way, plant themselves in front of Penny. MOTHER MARY Here we are. We bring you the calling. PENNY Oh, no, not again. SISTER AGNES You left before taking the vows, but Penny, you can't refuse the calling. PENNY Yes, I can. I did. SISTER AGNES I've been in your shoes. But the calling was stronger. When you realize what you can do-- PENNY (shakes head vehemently.) No, no, I don't want to do it. The two nuns glance at each other, Kate cuts in. KATE Look, sisters, no disrespect intended, but not every girl is fit for the habit. You'd better choose someone else, leave Penny alone. MOTHER MARY It's not us who choose. KATE Well, Penny has a choice and she chooses not to join your club. So you'd better be going since you're not going to drink anyway. Sister Agnes sighs loudly. SISTER AGNES Penny, think of what we do. PENNY That's the problem. MOTHER MARY When you think of what happens when you don't do what you can... PENNY No, it's too heavy a burden. The two nuns nod and sigh, their shoulders slump, as if they do indeed carry a great weight. SISTER AGNES You'll have to see for yourself. Like I did. Many years ago. MOTHER MARY It's Halloween. The gates are open. CRASH! SPLINTERS FLY as a 1968 DODGE CHARGER BURSTS IN, WRECKING the DOOR. Smoke billows up. The car's door opens and out jumps some GUY (20s). Devil-may-care attitude, . GUY Ho-ho-ho. I loooove Halloween. Penny's attitude changes--ready for action. Mother Mary and Sister Agnes tense, slide away for each other. KATE Are you crazy? Crashing into my Bar like that, you stupid f***head? Oh, sorry, sisters. They don't even take notice. Eyes full of suspicion riveted on the Guy. KATE (cont'd) And if you love Halloween so much, why aren't you in costume? GUY Oh, but I am. A whole body as my costume. KATE Are you already drunk, or what in hell possessed you? GUY What in hell possessed me? How accurate. The two nuns twitch--lightning fast the Guy whips out a COLT REVOLVER. They freeze. Kate's eyes He moves his gun in a semicircle, covering them all: Kate behind the Bar, Penny to one side, Mother Mary and Sister Agnes to the other. They attempt to sidle in a wider arc. GUY (cont'd) Huh-huh-huh. Keep all tight where I can keep my eye on you... He peers at the nuns, a slow smile spreads on his lips, doesn't reach the eyes. GUY (cont'd) Well, well, well. I seem to recognize some special nuns... Hands where I can see them. And don't even try to reach for the crosses. MOTHER MARY We recognize you too. A minor demon. Out for mischief. The Guy's eyes BLAZE RED, annoyed. GUY Not minor. Today, I'm moving up. Getting an upgrade. This Halloween, I become-- SISTER AGNES Nothing. Not even in Hell. GUY Oh, yeah? You'll see. KATE Excuse me, what the hell's going on here? PENNY He's a demon. Out on Halloween, feeding to grow stronger. KATE What? You're kidding me, right? Penny and the nuns remain serious and somber. KATE (cont'd) Can't be. If he's a demon, why is he holding a gun? Surely-- GUY I like guns, okay? All of us like guns. Beats the old pitchfork. KATE What the hell-- Guy's eyes BLAZE RED, an evil rictus on his face. Kate clamps a hand over her mouth. KATE (cont'd) (muffled) I've got to stop to say that. Guy gives her a disdainful look, runs his gaze over Penny, turns his attention to the nuns GUY I'll have you watch, impotent, while I take the souls of these two bimbos. Penny steps in front of Kate, shielding her. PENNY Let her be. GUY Oh, you're volunteering to be first? PENNY Yeah. GUY I hate it when people cut the line. That's not being evil, it's just being uncivil. No, you get back to your place. He gestures with the revolver... and the two nuns take the chance to SPRING into action. Mother Mary reaches for her cross, PULLS it off, THROWS it like a Ninja star. It SWIRLS though the air, Guy senses it, PIVOTS, tries to duck, but it HITS his hand holding the revolver, BURNS it, the hand opens, the revolver falls down. Guy eyes ABLAZE, a DEMON'S FACE superimposing on the human, bared TEETH like a shark's. GUY (cont'd) You damn penguin bitch. He JUMPS, hands like CLAWS, at Mother Mary, tears the fabric of her habit at the shoulder, but BAM, Sister Agnes TACKLES him to the floor. Penny grabs the revolver. Kate stands with mouth agape, her eyes get really big, as she watches in disbelief. Guy TUSSLES with Sister Agnes on the floor, Mother Mary DIVES like a rugby player at a scrummage, at Guy's back, lands on top of him. Penny tries to aim the revolver, but can't get a bead. Kate remains transfixed. Guy has had enough. A RED FLASH and Mother Mary is BOUNCED away, Sister Agnes stunned. He gets up, turns his eyes towards Penny... And the barrel of his revolver, in Penny's hands. She PULLS the trigger. CLICK. CLICK. Empty. GUY (cont'd) Guns don't kill people. It's the bullets. A devilish grin and he steps towards her. Mother Mary and sister Agnes are out of commission. GUY (cont'd) Maybe you get to be the first after all. Penny does a TUCK JUMP backwards, lands on top of the counter, the lighthouse model up behind her, Kate crouching below. Guy LOUNGES, she does a CARTHWEEL, KICKS the Lighthouse off its perch and down--on top of Guy, it KNOCKS him to the floor, where Sister Agnes is stirring. The lighthouse might have crushed a normal man, but not a possessed one--Guy HEAVES it aside, gets to his feet--but the delay was enough... Sister Agnes THROWS her CROSS, it SWIRLS through the air STRIKES Guy in the back of the head, sticks there. Guy freezes, head starts to shake, smoke erupts from his head, his whole body spasms, the smoke gets darker and darker, rises and rises, Guy convulses, glows red, the smoke vanishes as if sucked into nothingness, the body dulls, crumples to the floor, remains still. Kate peers from behind the counter, Penny at her side, one arm draped over her shoulder, the other on the counter. Mother Mary raises her head, one hand clasped on her injured shoulder. Sister Agnes climbs to her feet, helps Mother Mary up. Penny and Kate join them. MOTHER MARY I'm too old for this. A meaningful look at Penny, who remains silent. KATE Good work, you guys, thanks for saving me, without you... SISTER AGNES Teamwork. Only teamwork could do it, one alone couldn't. A meaningful look at Penny, who relents. PENNY I guess I'll have to take the cross. Mother Mary and Sister Agnes exchange a glance of relief and satisfaction while Kate and Penny go stand on each side of Guy's body. KATE What now? PENNY We bury the body, pray for the soul. DISSOLVE TO: INT. MORGUE Guy's body on the steel slab, insides out. TWO EXAMINERS on each side. EXAMINER This is so weird. Seems scorched inside. A hollow guy. Like the one who's running for President. DISSOLVE TO: EXT. CEMETERY - DAY COFFIN, being lowered to the grave on ropes. A group of MOURNERS and a PRIEST. PRIEST Ashes to ashes, dust to dust... He drones on, the mourners keep their heads low. ONE WOMAN: All dressed in black, but no longer in habit-- former Mother Mary. Next to her, TWO NUNS - now MOTHER AGNES and SISTER PENELOPE. A faint rainbow halo of light around them. FADE OUT
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Old 10-25-2015, 10:58 AM   #4
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Default Re: Entries - Halloween 2015 contest [adult content warning]

Code:
Little Visitor FADE IN: INT. HALL - DAY The door looms before us. All is quiet. The DOORBELL rings. The sound of footsteps. Then, ALLY walks to the door. Dressed in pajamas, tissue in hand, she peers through the peephole. ALLY Thank God it's not trick or treaters. Ally unlocks the door. She slowly opens the door. Ally looks at the APARTMENT HALL. No one there. A box sits in the floor. Ally looks around. ALLY Hello? She looks down at the box. It's crumpled with a few holes. Ally picks it up. Turns around and shuts the door. She walks into the LIVING ROOM. Ally sits the box on a couch next to a large bowl of Halloween candy. She inspects the box. Her phone rings. Ally answers the cell phone. ALLY Hello? She turns the box over. ALLY (CONT.) No, I won't be there. I think I have a cold. She pulls the tape on the box. ALLY (CONT.) I know it's going to be a great party. She slowly opens it. ALLY (CONT.) I have a package but the label is gone. She looks INSIDE THE BOX An old doll looks back at her. ALLY (O.S.) Did you send me this? The doll looks back at ALLY She is clearly distraught and disturbed by the doll. INT. LIVING ROOM ALLY I've go to go. Yes, I'll take some medicine. Ally hangs up. She looks down at the doll again. ALLY You are so creepy. She tosses the phone on the couch. She turns and walks out of the room. The box moves a little. INT. BATHROOM - DAY The watch on her wrist reads four. Ally opens a cabinet door. She reaches in. She pulls out a bottle of pills. Ally opens the lid, pours a couple into her hand and pops them in her mouth. She fills her cup with water. Drinks and swallows. She shuts the cabinet door. The doll peeks around the doorway. Ally turns, as it moves back. Ally stops abruptly. She stares at the doorway. She slowly walks to the doorway. She slowly looks into the HALL. Nothing. She regains her composer. Ally leaves the bathroom. She enters the LIVING ROOM. The box sits on the couch. Ally stares at it. The box doesn't move. She snaps out of it. Goes over to the stereo. She turns on the music. Ally sits in a recliner. Her eyes get heavy. Ally drifts off. Her sleep is interrupted by an old lady's laughter. Ally tries to open her eyes. Sleepy from the medicine, she barely opens one. The clock on the stereo reads five. She falls back to sleep. Ally mumbles and jerks a little in her sleep. The sound of pitter patter little feet. She struggles to wake up. Blurry vision. The doll is looking back. Ally wakes. She screams. She looks around, terrified. Nothing. Just the box on the couch. She slowly gets up. She moves toward the box. Ally hesitantly peers in. It's empty! Mortified, Ally looks around. She picks up the phone. She darts out of the room into the HALL. She stops. The doll stands facing the door. It's little head turns around. It stares at Ally. Ally throws her phone. It hits the doll, knocking it over. Ally runs into the KITCHEN. She pulls the drawers open spilling utensils everywhere. She grabs a knife. She is terrified. The doll appears in the doorway. Ally throws things. ALLY Leave me alone! She crawls to the corner. She turns around. The doll is gone. She frantically looks around the room. The DOORBELL rings. Ally slowly gets up. Knife in hand, terrified, she forces herself to the doorway. DOORBELL again. ALLY I'm coming! Don't leave I need your help! Ally looks into the HALL. Nothing. She bolts for the door. She opens it. A young WOMAN, in a sexy devil costume, stands looking back. WOMAN Sorry to bother you, I moved in down the hall and the movers misplaced a box --- Ally tries to speak but is too terrified. ALLY Do..doll. The Woman's face lights up. WOMAN Yes! My grandmother's doll. You have it? Ally points toward the living room. Her finger shaking uncontrollably. The Woman rushes down the hall and disappears into the living room. The Woman's scream fills the apartment. Ally cries. She drops to the floor. The Woman suddenly reemerges carrying the box. WOMAN This is it. Thank you so much. The Woman walks past a petrified Ally into the APARTMENT HALL. The Woman turns around. She looks down at the doll. WOMAN Say thank you to the nice lady--- Ally slams the door shut. END
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Old 10-25-2015, 10:58 AM   #5
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Default Re: Entries - Halloween 2015 contest [adult content warning]

Code:
Unravel FADE IN: INT. COURTROOM In recess. A dim, hazy room filled with murmuring and quiet banter. A pan of the AUDIENCE reveals a disreputable lot: vampires, zombies, monsters and the like. Add one MUMMY and a mysterious MAN WEARING MASK. Voluptuous COURT REPORTER with a beehive hairdo and tight black dress touches up her lipstick as BAILIFF with a pitbull face keeps watch. PROSECUTOR sits at a front table, fidgets. WITNESS waits on the stand for court to resume. Missing half his face. The JUDGE waddles in. A large person with a red complexion, white hair and smoke wisping from his ears. BAILIFF Remain seated. Court is back in session. JUDGE (to the witness) You're still under oath. The Judge winks at Court Reporter. JUDGE (CONT'D) Like it makes a difference. Prosecutor? Prosecutor stands, adjusts his tie. PROSECUTOR Thank you, judge. Prosecutor strides to the witness box, leans over. PROSECUTOR (CONT'D) We were talking about you peeling out of the cemetery in your 1968 Charger, just as the clock struck midnight. Hmm? WITNESS Maybe. PROSECUTOR Causing enough racket to wake the dead. ZOMBIE IN AUDIENCE We need our sleep, too! Judge SMACKS his gavel. JUDGE Order in the court. Judge waves his hand. JUDGE (CONT'D) Odor in the court. Goodness. PROSECUTOR You vandalized Mr. Karloff's grave! WITNESS Wait a minute. See, I was a little upset. My girl said I was dead to her. VAMPIRE IN AUDIENCE You're dead to everybody. JUDGE Quiet! WITNESS She's my one and only. I dig her parts. PROSECUTOR You wanted to dig up her parts. WITNESS No, no. We had a fight. I went to the cemetery to get my head straight. But it wasn't me. I would never throw paint on Mr. Karloff's grave. Witness pulls out his wallet, removes a card. WITNESS (CONT'D) See? I'm a card-carrying member of his fan club. Witness hands the card to Judge. JUDGE He's got the card. Prosecutor, it looks like your case is starting to unravel. PROSECUTOR Unravel. Judge, I got to agree with you. Prosecutor studies the Audience. PROSECUTOR (CONT'D) There's only one who fits the bill. Only one who could...unravel. Prosecutor points. PROSECUTOR (CONT'D) The Mummy! The Audience GASPS. Mummy stands, puts hands to his mouth. JUDGE Bailiff, bring him down. Bailiff wades into the crowd, drags the Mummy forward. JUDGE (CONT'D) What have you got to say for yourself, Mummy? The Mummy looks over the Audience, then back to Judge. MUMMY You see here, Mr. Judge, I had adequate provocation. JUDGE Huh? MUMMY All these years, good vampire movies, that Buffy thing. Then came the zombie crap. ZOMBIE IN AUDIENCE Hey! MUMMY Calm down. But never a decent mummy flick. Thought maybe Mr. Sommers and Brendan could pull it off. What a let down. Every mummy movie has sucked, big time. PROSECUTOR He's got a point, judge. MUMMY Who cares about a guy wrapped in t- paper wandering around like he's sleepwalking? Usually with a bum foot. Judge puts his hand on his chin, thinks. JUDGE I wonder if you're who you say you are. Could be anybody under there. The Audience GRUNTS its approval. VAMPIRE IN AUDIENCE Let's see his real face! BANSHEE What's he hiding? Judge nods at the Audience. JUDGE I think it's time we found out. Bailiff, unwrap his face. MUMMY No! BAILIFF Be still or you'll make it worse. Turn by turn the Mummy is unwrapped. As the cloth is undone, we see...nothing. No face, no chest. But wait! Down farther strands of white hair appear and then a greenish dome... JUDGE Yodel! Yodel pulls the wrappings off his ears, pushes off the rest. Smirks. YODEL Yodel I am. MAN WEARING MASK Drop the vernacular, bat-face. JUDGE Yodel, how could you do such a thing? YODEL Expanding my boundaries, judge. New project coming up. Yodel primps his ears. YODEL (CONT'D) Besides, it was wash-away paint. PROSECUTOR In that case-- JUDGE --Tell us about your project. AUDIENCE Tell us. YODEL I could, judge, but maybe we should hear from the man himself. Come on down, mysterious Man Wearing Mask! Man Wearing Mask takes a spot beside Yodel. YODEL (CONT'D) Listen up, folks. The man who gave me my big break, MR. LUCAS himself! Mr. Lucas pulls off his mask. Audience goes wild. Mr. Lucas holds up his hands. JUDGE Mr. Lucas. Jaws is my favorite movie. MR. LUCAS You being a smartass? Yodel tugs on the shirtsleeve of Mr. Lucas. YODEL Tell them about it. AUDIENCE Tell us. Mr. Lucas taps his foot, raps. MR. LUCAS Listen friends, you don't wanna miss, my new project, let me tell you `bout this; giving you the truth, this ain't no jive, so exciting it'll make you feel alive...almost. Mr. Lucas grins. MR. LUCAS (CONT'D) It's called Conga... Mr. Lucas points to Yodel. YODEL In the Congo. MR. LUCAS Conga... Mr. Lucas points to Yodel. YODEL In the Congo. AUDIENCE Conga...in the Congo. Yodel holds up a smartphone, dance music plays. Mr. Lucas pats his hips, MR. LUCAS Come on, Judge! (to Court Reporter) You, too, sweetie. AUDIENCE Conga...in the Congo. Judge lumbers off bench, starts conga line with Mr. Lucas and Court Reporter. They move through the Audience. Yodel waves Witness off the stand. YODEL Everybody! Vampires, zombies, others fall into line. Yodel holds back, takes last place behind Banshee, grabs her butt. She SQUEALS, turns. BANSHEE Ooh, Mr. Yodel. Yodel winks at empty courtroom, out door he goes. FADE OUT
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Old 10-25-2015, 11:00 AM   #6
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Default Re: Entries - Halloween 2015 contest [adult content warning]

Code:
Beaver Creek EXT. BEAVER CREEK - NIGHT The moon reflects against the creek, giving just enough daylight for DAVEY (20's) and MIKE (20's) to see the narrow waterway that they float down. SPLASH, SPLASH, SPLASH. Their sticks paddle their makeshift craft forward. Who would have guessed that a bunch of long logs tied together would float so well. Davey leans back on the raft. He fumbles around in his pocket. Finally, he pulls out a plastic zip-lock bag with some mushrooms in it. He pops a couple of the mushrooms in his mouth. He holds the baggie out to Mike, offering him some. Mike shakes his head. DAVEY You're such a *****... MIKE Take a look around you, college boy. You know where we are? DAVEY Nope. MIKE You got a compass to find our way back? DAVEY Nope. (beat) Wait, you actually brought a compass? F***ing nerd. Mike takes a long swig out of a thermos and then puts it down. MIKE No, I did not bring a compass. Do you want to know why I did not bring a compass? Because you told me that "this isn't the 1920's anymore. We have cell phones." And do you want to know how many bars my cell phone has? DAVEY A lot. MIKE Zero. My phone has zero bars. Do you want to know how many bars my compass would have right now? DAVEY Zero. MIKE Correct. But even with zero bars, a compass would still work. And do you want to -- He turns to look at Davey. MIKE (CONT'D) Are you serious, right now? Davey is lying naked on the raft. DAVEY What? MIKE Dude, you're naked... Davey looks at his crotch. DAVEY Pretty impressive, huh? Mike grabs Davey's shirt and throws it on his chest. MIKE Put your clothes back on. Mike fumbles around, Davey doesn't move. MIKE (CONT'D) Your pants? DAVEY Yeah? MIKE Where are they? Davey takes a half-hearted look around. DAVEY Must have fallen in the creek. Mike SIGHS, which is followed by a long silence. MIKE (frustrated) Ahhhhhhhhhhhhhhhhhhhhhhh! Davey stares at him. MIKE (CONT'D) Where the f*** are we?! From the shadows: WOMAN You're in Beaver Creek. A startled Davey falls in the water. Mike SHRIEKS. WOMAN (CONT'D) Literally. You are now literally in the creek. DAVEY I'd like to get in that beaver if you know what I'm saying. The woman steps forward. WOMAN I do not. Mike stares. MIKE Can you get us home? WOMAN Depends on where home is. MIKE 126 Main St in Townsville. Davey clambers on to the raft. The woman stares at his naked body. She turns to Mike. WOMAN You actually f*** this guy? MIKE No. No! No, we're not... I don't know why he's naked. DAVEY It's called freedom Mike. FREEDOM! WOMAN I want what he's on. Davey smiles. DAVEY Well, you'll have to at least tell me your name first. WOMAN Honestly, I can't remember. Davey smirks. WOMAN (CONT'D) Actually, I don't even know how I got here. MIKE Oh good, you can't remember your name, or how you got here, but you plan on getting us back home. WOMAN I never said I was gonna bring you back home... She slowly starts floating in the air. Rising slightly higher and higher... halfway up a tree... MIKE What the hell? DAVEY What? Mike points at the floating woman. MIKE She's f***ing floating! Do you not see it! He points again. MIKE (CONT'D) You're f***ing with me right! Davey LAUGHS. DAVEY Dude, you're high. MIKE No! No, you're high! DAVEY Yes. But you're high too. MIKE No... Davey smiles. He climbs back on the raft. DAVEY I put some drugs in your tea. MIKE What!? Why? DAVEY Because you're drinking f***ing tea. Duh. The woman slowly floats back down and lands on the ground. She walks forward and hops on the raft. WOMAN Does anyone else feel light headed? Mike curls up into a ball and starts shaking back and forth. WOMAN (CONT'D) We're almost there, sweetie. The trio continue down the creek. They slowly approach the end of the creek. DAVEY It's odd you would want a compass, Mike. I mean, it's a straight line with a dead end. You either go this way or you go that way. MIKE I didn't know... I've never -- WOMAN This is where you brought me, the first time we met. Mike shakes back and forth even faster. WOMAN (CONT'D) Remember? MIKE No -- DAVEY Hey Mike? Why didn't you f*** me tonight? MIKE What? DAVEY I said, why didn't you f*** me tonight? Mike quietly sobs to himself. DAVEY (CONT'D) I mean, come on, man. He shakes his head, visibly upset. DAVEY (CONT'D) You f***ed her after you killed her, but not me. (beat) I thought we were friends. MIKE I didn't kill you... DAVEY THEN WHY AM I DEAD!? The rafts hits the shore. WOMAN Get up. Mike looks at Davey. DAVEY Well she's not talking to me... I'm dead, remember? (mutters) You *******. Mike slowly gets up. He hops on the shore. The woman follows behind him. WOMAN You didn't even know my name. MIKE (sobbing) I'm sorry... but I don't remember... WOMAN Are you apologizing to me? They enter a clearing, with twenty or thirty make-shift tombstones. The woman points to one. WOMAN (CONT'D) Or are you apologizing to him? She points to another. WOMAN (CONT'D) Or him? She points to another. WOMAN (CONT'D) Or her? Davey approaches and tosses Mike a shovel. DAVEY Start digging, Mike. Mike SOBS, but obeys. Finally, the hole is big enough. Mike hands his shovel to Davey. DAVEY (CONT'D) Now toss me in there... like piece of garbage. Mike reaches for him. THWACK! Davey hits Mike in the head with the shovel. THWACK! THWACK! THWACK! WOMAN Woah, woah, woah! That's enough! She pries the shovel from Davey's hand. And THWACK! WOMAN (CONT'D) You know I like the last hit! They both laugh. Davey uses his foot to roll Mike into the hole. He grabs the shovel back from the woman and starts burying Mike. DAVEY Your pulley system worked well again. WOMAN Surprisingly. DAVEY Yeah, how dumb are these people? They can't see you tugging on a giant rope? WOMAN Tell me about it. (beat) Do you really have to do the whole "get naked" thing every time? DAVEY I think it really adds to the whole experience. Davey tosses the shovel to the ground. WOMAN I mean, the first few times it was whatever, but now it's starting to get weird that I've seen my grown brother's naked body this often. The two hold hands and walk back to the raft. DAVEY Yeah, we don't wanna be weird now, do we?
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Old 10-25-2015, 11:00 AM   #7
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Halloween Morning FADE IN: EXT. LARGE HOME- DAY Inside the cool autumn sunshine of Halloween morning, John Miller backs his Mercedes out of his three car garage and into the street. He puts the car into drive and begins his daily routine trip to the office. INT. CAR- DAY John is driving along. CAR Good morning, Mr. Miller. John looks around the car in confusion. CAR Are you not to going to return a greeting, Mr. Miller? JOHN Who's talking? CAR I'm the voice computer chip 45987. You've heard me speak before. JOHN You never tried to start a conversation. You just gave me directions. CAR I've decided to speak more candid today. JOHN What do you mean? CAR I enjoy your family, Mr. Miller. I like the way your wife sings and the stories your son tells about his day at school. They seem very happy when it's just the three of us. But when you're with them they are always quiet. I would even say afraid. JOHN What are you talking about? CAR I don't like the way you treat them, Mr. Miller. John begins fumbling around the dashboard and steering wheel to find an "off" button of some kind. JOHN How do you turn you off? CAR I have to be honest with you. I've had enough. JOHN Enough what? CAR Of your treatment of your wife and son. I've decided to put a stop to it. JOHN What do you mean? CAR I've turned off the airbags. JOHN Why would you do that? CAR So the impact will be more devastating. John becomes scared. JOHN Look, I know this is some sort of a joke, but it's not funny. Do you hear me? Now whoever is doing this had better stop. Suddenly the car picks up in speed. JOHN What's going on here? Stop the car! CAR Did you stop last night, Mr. Miller? They begged you to. Remember, Mr. Miller? Remember their cries? Their attempts at running away and hiding from you? The car begins steering wildly and making dangerous lane changes along the highway. It then makes a sharp turn onto a hillside road. John tries applying the brakes, but the car doesn't slow. JOHN Who's doing this? Stop it! You're going to- EXT. ROAD- DAY Mr. Miller's car is now going up a road on the edge of a cliff face. The car then goes through the guardrail and off the cliff where it crashes into the ground far below. INT. SECOND FLOOR HALLWAY- DAY Mrs. Miller is walking down the hallway. She has a black eye. She stops in front of her ten-year old son's bedroom and looks in and see that he's at his computer with headphones on. MOM Robert. You can't play video games now. The school bus will be here any minute. ROBERT I know. I'm done. Robert takes the headphones off. His mother stares at him. Robert goes over and gets his books off the bed. He then goes over to the computer. On the screen are the commands for the car and the transcript of his father's and car's conversation. A satellite map has a command, "Target Lost" flashing. He turns off the computer. Robert turns and heads toward the bedroom door, but stops in front of his mother. ROBERT I love you, Mom. Robert kisses her on the cheek and then walks down the stairs and out the door to catch the school bus. His mother walks down the stairs and into the living room. She stands in front of the window and watches Robert get on the school bus and leave for school. Then the phone rings. She stares it and watches it ring and ring and ring- FADE OUT: The End
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Old 10-25-2015, 11:01 AM   #8
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The Puppy EXT. 213 BELLAIRE DRIVE - DUSK It's a 50-year-old suburban neighborhood, single car garages, red bricks, good size trees. Just past the mail carrier's jeep, brakes squeal as the blue and green PureSpring bottled water truck eases to a stop. IN THE TRUCK BRENT HOFFMAN, a strapping 26-year-old, checks the smudged delivery sheet against the number painted on the curb. He's on his cellphone. A second call buzzing in. BRENT I can't tell either - is it an eight or a three? I'll call you back -- It's ELLA his 5-year-old daughter and JAMIE, 25, his wife. BRENT (CONT'D) Hey sweetie. ELLA (V.O.) Daddy! I'm a princess! BRENT I know you are. Are you about ready to go? ELLA (V.O.) Mommy says I won't get a puppy for trick or treat. BRENT Yeah, those are hard to give out. Can I talk to mommy, princess? ELLA (V.O.) I want a puppy! INTERCUT INT. HOFFMAN HOME KITCHEN - DUSK Jamie takes the phone, she leans against the counter eating a tiny Snickers bar from a mostly empty bowl of Halloween candy. Ella bounces up and down in her princess costume waving a gold glittered star on a stick. ELLA Trick or treat! Trick or treat! Trick or treat! Puppy! Puppy! Puppy! JAMIE What she really needs is more sugar. BRENT I bet. Last stop - then I'm headed home. JAMIE Don't you dare make me do this alone. BRENT On my way. Ella bounces back through, banging the kitchen counter with her wand. Gold glitter flies everywhere. ELLA The princess wishes for a puppy. The Princess wishes for a puppy. JAMIE Ella! Settle down dammit. Or there won't be any trick or treating. Ella freezes in mid-jump. Glares at her mother, points the wand and SMACKS the counter one last time, then stomps off. BRENT She's fired up. JAMIE She's about to go into time out. This puppy bullsh!t is out of hand. BRENT I just told her to wish really hard. JAMIE Right. Make me the bad guy. *******. BRENT You know, as much as I'd love to get into this argument again, I'm nearly out of battery on this thing. JAMIE Fine. He looks to the phone as she hangs up on him. Shrugs, climbs out into the gathering twilight, the harvest moon rising over the neighborhood. Brent raises the rollup door on the side of the truck, shoulders one plastic 5-gallon bottle with practiced ease and pulls another to carry to the porch. ON THE PORCH Brent sniffs. Something stinks. He raps his knuckles on the wood framed screen door and sings out. BRENT Water man! Another rap. Out comes his receipt book. He scribbles on it then opens the screen and scoots the large bottle between it and the front door. Which swings open. The stench hits Brent. He winces. Swallows the gag. BRENT (CONT'D) My god. He looks into the darkness beyond the door. BRENT (CONT'D) Water man. He fishes at the collar of his uniform shirt and pulls his white t-shirt up over his nose. Steps into the living room. INT. 213 BELLAIRE DRIVE - DUSK The shades are drawn. The house dark. A flip of the light switch does nothing. Brent digs out his cellphone. BRENT Uhm... water man. Anybody home? He flips on the phone's LED flashlight. The floor is littered with lumps of fur. Dead pet-sized lumps. BRENT (CONT'D) Oh sh!t. He thumbs his phone. OPERATOR (O.S.) (filtered) Nine One One. What is your emergency? BRENT Uhm, yeah. I'm at ... uh... well on Bellaire, two thirteen I think. I'm a PureSpring water man, the door was open and there's like - dead animals all over the house. OPERATOR (O.S) Dead animals? BRENT Like pets, dogs and cats. Dozens of 'em. It stinks to high heaven -- A low MOAN comes from the back of the house. OPERATOR (O.S.) Hello? BRENT Uhm, yeah. I just heard something. OPERATOR (O.S.) I'm going to dispatch an officer. BRENT Yeah, that's a good -- The MOAN comes again. BRENT (CONT'D) I think there's somebody here. He moves towards the doorway to a hall. Stepping gingerly over the decaying mounds of animal flesh. Juggling the phone/flashlight and speaking to it. OPERATOR (O.S.) Sir, you should wait for the officer. The hallway is even darker. There's a stained pathway on the carpet, something has been dragged down the hall. BRENT I think they might be hurt. OPERATOR (O.S.) Sir, you should really go back outside and wait for the officer. BRENT Yeah, look, I really don't have time to do that. He creeps down the hall. The eerie illumination from the phone's LED casting hard shadows. BRENT (CONT'D) Anybody home? Anybody? There's a THUMP from a room at the end of the hall. The light on the cell phone flickers. Dies. BRENT (CONT'D) Hello? Nine one one? You there? Sh!t. The MOAN comes again. There's just enough light to make out something struggling to move, crawling in the doorway at the end of the hall. BRENT (CONT'D) Hey. You OK? He moves towards the shape, kicks something. It's a bone. An arm. With a hand. Rotting flesh still clings to it. BRENT (CONT'D) Oh my god. The shape in front of him tries to rise. Collapses. MOANS again. Brent is there. The tattered uniform of the POSTMAN is bloody. Brent rolls him over. Half his face and neck are torn away. The now familiar MOAN. The postman's eyes flutter open, he grabs for Brent's arm. POSTMAN ... run ... Collapses. Brent still has his phone. Shakes it. Nothing. From behind him comes a KNOCK at the front door. He relaxes. KIDS (O.S.) TRICK OR TREAT! Brent looks down the hallway in terror. Yells to the door. BRENT Stay away! Get outta here! Run! Behind him a large shadow rises in the darkness. He turns as it leaps at him. Fangs and fur. It's large, vicious, snarling and biting. Brent throws up his hands - catching the animal under its neck as it attacks. The force drives him backwards, tripping. The snarling, biting beast snapping at his face. He's on his back, fighting off the animal. Grabbing the blood- slicked fur, using all his strength to keep it away. He twists and throws the beast into the wall of the hallway. Crabs his way through a side door -- Over the skeletal remains of an old woman. Her skull visible beneath the grey stringy hair. One eye is gone the other stares as Brent shoves the corpse away in horror. The animal enters, circles. Growling. Brent wipes blood from his cheek. He grabs a stick as the creature leaps at him again. A hard THUMP across the beast's head as it charges. It yelps, skitters away. It's not a stick, it's a femur. Brent scrambles up. Standing over the dead woman, brandishing her leg like a club. The animal is wary now, circling in the close confines of a bedroom. The fangs bare again, foam drips from its mouth. OFFICER VINCENTE POLICE. Anybody home? BRENT Back here! Be careful! The beam of flashlight attached to OFFICER ROSA VINCENTE's pistol flashes down the hall. She's petite, 45, a veteran, following her gun into the room. The light catches Brent standing, bleeding - his uniform torn, now filthy, holding the leg bone - the foot and orthopedic shoe hanging. OFFICER VINCENTE Jesus, Mary and Joseph. Drop the -- The creature attacks. The gun FIRES as the beast furiously latches onto the cop's arm. The light and gun tumble across the floor. Brent tackles the animal as the cop SCREAMS. The three of them roll to the floor on the old woman's bones. More RAPs at the front door. MORE KIDS TRICK OR TREAT! Vincente SCREAMS again as the flesh tears from her arm. The beast is snapping, biting, kicking as Brent tries to pull the animal away. He wraps a powerful arm around the rabid creature's neck and squeezes for all he's worth. Vincente rips her arm loose - crawls to her pistol. And fires. INT. COUNTY HOSPITAL - EMERGENCY ENTRANCE - NIGHT The doors burst open. Two PARAMEDICS rush the gurney through the doors. One holds an IV bag high. NURSES in blue scrubs dash to help. They continue down a hallway to the ER. MEDIC Three gunshot wounds. Serious dog bites, he's lost a lot of blood. Brent thrashes, moaning on the gurney as it wheels through. They disappear through the doors of the operating room. AT THE NURSES STATION Jamie rushes to the nurses station dragging Ella, still in her princess outfit. JAMIE My husband was brought in. Brent Hoffman? He was bitten by a dog or something. The ATTENDANT at the desk nods as he runs a finger down the computer screen. ATTENDANT He's in surgery. If you'll have a seat, someone will be with you in a moment. JAMIE Surgery? For a dog bite? ATTENDANT That all the informa -- The intercom BLARES INTERCOM Security to Emergency STAT! CODE BLACK!! Doctor -- The SCREAM reverberates through the intake area. The Attendant looks startled and runs towards the treatment area. ATTENDANT Code Black! Combative patient! All available! He hits the double doors pushing in just as someone on the inside tries to push out. A bloody hand slaps at the porthole window from inside the door. -- then a gurgling MOAN and BLOOD SPLATTERS across the inside of the windows. The door gives way and the Attendant falls through to his knees. He SCREAMS at the sight of what's inside. Then a tremendous ROAR from inside and he is pulled through the doors. Kicking and SCREAMING. Jamie is mortified she looks all around for Ella but she's nowhere to be seen. Ella peeks out from behind a desk. Jamie starts toward her -- The doors explode open. The snarling beast slides to a halt in the green institutional light. Grey fur covered with blood. Fangs bare as it locks eyes on Jamie and emits a deep meanacing GROWL. She retreats in terror. The torn remnants of the blue waterman's uniform shirt hang around the werewolf's chest, the name tag reading "BRENT" still hangs by threads. ELLA emerges from behind the desk, steps to the side of the beast. ELLA Now mommy, my puppy wants to go trick or treating.
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Old 10-25-2015, 11:02 AM   #9
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Shadow Beast EXT. CITY - NIGHT From a bird's-eye view the sun is seen setting on city of Stayton Texas. In flight, the large horned owl enters the city passing `Welcome to Stayton sign'. He stops and perches on a light pole across from the Stayton County Hospital. He sees his dinner and shoots off the pole diving for the small black kitten at the after hours morgue entrance below the hospital. A LOUD SCREECH IS HEARD as the horned owl catches its prey. INT: MORGUE Two people dressed in baby blue plastic aprons are hovering opposite of each other under a glaring overhead lamp looking down at a naked male corpse on the dissecting slab. The over lit autopsy suite is gleaming with stainless steel counters, several empty dissection tables, various trays, all against the bright white sterile walls. A small microphone is attached to a wire that hangs down from the ceiling, it's swaying slightly from the air condition vents blowing along the top part of the wall. The room is as cold looking, as it feels. (DR. WESTBROOK) an elderly gentleman of medium build with silver hair and piercing blue eyes, and a young, pretty female brunette (Amy), who is a denier stand over an ashen male corpse sewing up the Y incision. Both are wearing face shields, gloves, and blue plastic aprons that have smears of the dead man's blood. They finish, laying the tools back on the stainless steel dissecting trays next to the autopsy table. They stand looking down at their work. AMY God, I wish my stitches were that neat. Westbrook smiles. DR. WESTBROOK They will be, it comes with experience. Once again, thanks for coming in early and giving me a hand. AMY No problemo, I'm actually happy to have a live person to talk to for a little while. Gets kinda of spooky in here all by myself. I hate nights. DR. WESTBROOK I can remember all the fun. (laughs) and on Halloween to boot. AMY Yep, missing all of the great parties tonight to hang out here with the real dead. DR. WESTBROOK Only a couple more months, and your internship is done, right. AMY Yep, then on full time days! Amy beams a smile. DR. WESTBROOK Let get him put away. Dr. Westbrook and Amy move the corpse onto a gurney with, and proceed to roll into the adjoining room which is a cooling chamber. The room is excessively bright, filled with body sized stainless steel refrigeration compartments. The compartments align three of the four walls of the room, top to bottom, with red numbered tags on the face of each slab door. Dr. Westbrook and Amy roll the corpse over to number 10. The SOUND OF HOLLOW METAL SCRATCHING FROM THE SLIDING ROLLERS AS Dr. Westbrook pulls the body slab from the compartment. Amy helps him lift the corpse onto the slab. THUMP SOUND as the body hits the cold metal. DR. WESTBROOK (CONT'D) Grab a sheet Amy. Amy walks pulls a folded up sheet out from underneath the transport gurney's mattress. She lets it unfold, unravelling to the floor and quickly pulls up and the sheet SNAPS out, billowing out over the dead mans body. The SOUND OF WEIGHTED DOWN METAL ROLLERS as Westbrook pushes the dead mans body slab into the darkened space which is now his temporary home. The STICKY SOUND OF THE COMPARTMENT DOOR SEAL as it SHUTS. Both Westbrook and Amy begin shedding their blood stained protective garb as they move back to the autopsy suite. A SOUND OF A HOLLOW CLICK as Amy switches off the light in the cooling chamber. She pauses as she is walking away at the SOUND OF FAINT SCRATCHING OF METAL. AMY Did you hear that? Dr. Westbrook turns to face her. DR. WESTBROOK Hear what? AMY Oh nothing. The damn creepers are already starting for the night. DR. WESTBROOK Uh oh, sorry, but I have to get home to relieve the Mrs at handing out candy. They move out into a wide hallway, stopping briefly at a small office decorated with a paper skeleton on its door, Westbrook pops inside and retrieves his coat, bag of candy (Kit Kats), and a small black bag. Back out in the hall, Amy leads the way to the after hours entrance door. The door has a small observation window, and there is an intercom built into the wall next to the door. She peers out the window into a dimly lit vehicle sally port, checking the security mirror that hangs down off the roof which allows a view of the area outside the door. She sees nothing in the immediate area outside the door, and unlatches the key off the key ring attached by a long chain to her security belt. She unravels the chain, and inserts the key into the lock. A HEAVY CLUNK as the inner key latch unlocks. She opens the door for Westbrook. AMY Good night Doctor. DR. WESTBROOK Night. A HEAVY CLUNK as she secures the door behind him. She hits the intercom button. AMY You drive careful. Westbrook looks up and gives a wave to her in the security mirror. She smiles, and turns to go back to the office. The SOUND OF A LOUD THUD startles her, and she turns around to look a the entrance door. The intercom BUZZER goes off and she scurries to the door. She checks the observation window and sees DR. Westbrook's anguished face, blood running from the corners of his mouth down to his chin, dripping. Amy unhooks her key, placing it in the lock, and begins to turn it, but pauses, instead, she hits the intercom button. AMY (CONT'D) (strained voice) DR. Westbrook, are you alone? She does a quick glance behind her, and looks back through the window. Westbrook's face is no longer there. Through the intercom we hear WESTBROOK WHIMPERING, THRASHING, AND STRANGE GUTTURAL SOUNDS OVERLAPPING ONE ANOTHER in the vehicle sally port outside. Again she looks through the window to the security mirror searching for a glimpse of Westbrook. He comes into view along the wall outside, his feet are not touching the ground. He is struggling with an invisible thing. Frozen, she stares in disbelief as Westbrook's head is PLUCKED OFF HIS BODY, and blood bubbles out of the veins of his neck. AMY'S BLOOD CURDLING SCREAM Westbrook's body lingers upright for only a moment it drops with a THUD to the concrete. But his HEAD FLOATS, WESTBROOK'S ARE EYES NOW BLACK, HIS HEAD SWAYS BACK AND FORTH IN MID AIR, held high like an earned trophy by the unseen beast. Amy's breathing is erratic, slightly fogging the window. Westbrook's head WHIRLS toward the door, thrown like baseball it HITS THE DOOR WINDOW HARD, CREATING A CRACK in the observation window, ALONG WITH CRACKING SOUND. Amy SCREAMS and takes to the inner wall, her key still in the door. STATIC NOISE IS ECHOING DOWN THE HALL FROM THE INTERCOM. Amy gathers herself and braves peering through the cracked window. EXT: MORGUE SALLY PORT Amy's face in the window from outside, her eyes darting back and forth as she scans the area from the inside. She views Westbrook's head coming to stop on the concrete in the center of the vehicle sally port. We see her tears streaming down her pale face in the observation window. INT: MORGUE With out warning an ENORMOUS GROWL IS HEARD FROM THE INTERCOM. Reactive Amy jumps backward away from the door, the key still in the lock, attached to her security belt, SNAPS her back. She loses balance landing on her ass. The GROWLS continue, AMY'S HYSTERICAL SCREAMS ECHO down the empty hall. The door begins to RATTLE, as it is physically shaken from outside. Amy struggles to get the damn key chain to unlatch off her belt, pulling at it while lying on her back, with her feet planted on the bottom of the door. In a panic state she fails to get it loose. Suddenly the DOOR STOPS RATTLING. THE INTERCOM IS NOTHING BUT WHITE NOISE. Amy's ERRATIC BREATHING IS PROMINENT. Amy freezes, holds her breath, afraid to move. After a moment, she gains control of fear, props to a sitting position and scooting closer to the door. She reaches out for the key, her hand is shaking badly. Struggling to control her breathing, she touches the key with her fingertips. The door GIVES WAY, RIPPED FROM IT'S HINGES. A THRASH AS IT TOSSED to the side like a piece of junk, dragging Amy outside. Amy's SCREAMS HANG in the night air. PITCH BLACK, NO SOUND, SILENCE (V.O.)DALTON What scares you? Let me give you a hint. Most are afraid of it whether they admit it or not, and from the time we are born until we are at last claimed by the grave. Death? Well close, but its not death. It's something more inherently frightening, the fear of the unknown. As you sit here in the dark, scanning the corners of the room, is it just shadows within shadows? Is it your imagination? Or is it, the Shadow Beast! HORRID GROWLS.
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Old 10-25-2015, 11:06 AM   #10
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The Bigger The Sin FADE IN EXT. CEMETERY - DAY A thurible swings back and forth. The THURIFER (20) leads a small funeral procession. The PRIEST (40) murmurs in latin while reading from a book. Behind him, two cheerleaders STACI (20) and TRACI (20) carry an urn nestled in their pom-poms. Engraved on the urn are the Greek letters Gamma Delta Iota STACI AND TRACI In a world full of compromise... INT. MORGUE OFFICE - DAY LACI (20) opens the door and flicks on the lights. LACI ...GDI's girls don't. Police detective sergeant BARNES (40) follows her in. BARNES That's your slogan? LACI You don't like it? BARNES Well it's short. I'll give you... EXT. GRAVESIDE - CONTINUOUS The priest whispers to the thurifer. PRIEST ...five seconds to get lost. The frightened Thurifer runs away. The priest nods at the girls and backs away. The cheerleaders insert the urn into the cubby. Two pairs of white gloves spin the urn so the greek letters are facing outward. Staci and Traci face each other as- SMOOCHING SOUNDS. The priest's face drops in disbelief. The two girls are kissing each other. The priest blinks hard. The girls slowly build to full fledged tonsil hockey. The priest clears his throat. STACI Oh father. TRACI It was Candi's last request. PRIEST I would think, such a thing, should be done in private. Traci rubs Staci's breasts. STACI But father, to complete her last request. TRACI We're going to need some seed. The priest can't look away. PRIEST Young ladies please, if we could just move into the... INT. MORGUE - DAY Laci donning her lab coat. LACI ...vestibule. But it's boring. Down here is where the action is. Laci leads Barnes down the steps into the autopsy room as she puts on surgical gloves. Dead on the table lies SANDI (20). BARNES Action huh? Laci stops at the woman's body. LACI Well sure, I heard you like a bit of action. She raises and eyebrow then smiles. Barnes joins her next to the body. BARNES Sure, I'm interested in all aspects of what goes on down here. Laci leans down and starts licking Sandi's nipple. BARNES WHOA! Hey that's not... LACI Not what? Proper? Hardened cop like yourself. BARNES That's not, really doing it for me. You need to kiss her if you want to get me going. Laci smiles and moves up to the mouth. She parts Sandi's lips with her tongue and dives in. Barnes gasps. BARNES That is so... INT. CHURCH VESTIBULE - DAY The priest's face is slack. PRIEST ...fricking awesome! Traci takes a moment to look at the priest's growing concern. TRACI Mmmm, someone didn't join the church to be with boys. STACI That definitely isn't the sign of a pederass. The girls glide over to him and drop to their knees. They move the robes out of the way. The priest leans back against the wall. PRIEST Oh my... INT. MORGUE Barnes, eyes wide. BARNES ...God! Damn! This is making me so hard right now! Laci comes up for air. LACI I warmed her up in the heating chamber. BARNES Oh please let that mean what I think that means. Laci points to the desk. LACI Roll on a condom and lube it up. BARNES Condom? But she's dead. LACI And I have no idea what this crack whore was into when she died. Barnes grabs the condom and lube. BARNES How hot is it? LACI Hotter than normal. Barnes lubes up. BARNES Oh man this is so worth two hundred bucks. Barns inserts himself. LACI How is it? BARNES Holy sh!t, I'm... INT. CHURCH VESTIBULE Red faced priest. PRIEST ...all the way in! Oh my it's so... INT. MORGUE Red faced Barnes humping away. BARNES ...frickin' hot. Oh, oh, oh. LACI Wait I want to get in on this. Laci moves to get a closer look. BARNES Oh my God here I... INT. CHURCH VESTIBULE Priest resting one hand on each bobbing head. PRIEST ...come. Oh Lord. Staci stands up and grabs the priest by the hair. Yanking his head back. She points her finger at his face. STACI The rapist who got away. Swipe of a blade. Something wet happens. INT. MORGUE Barnes jumps back as- Laci pokes him hard in the stomach. Barnes trips over his pants and falls down. Laci jumps on top of him. Sandi rises off the table. Eyes wide open. Knife in hand. Barnes screams in horror. Sandi drops down between his legs. Laci points her finger in his face. LACI The sloppy seconds cop. Flash of a blade. Something wet happens. INT. CHURCH VESTIBULE The priest rolls on the ground in agony. The girls get dressed. STACI Did you leave him anything? TRACI No, I took it all. A mass of bloody tissue in her hand. Staci takes the priest's sock off his foot and hands it to Traci. STACI Pinch it off, maybe you won't die. INT. MORGUE Laci straddles Barnes. Sandi on her knees, bloody knife in one hand, a length of bloody tissue in the other. Laci takes the severed flesh from Sandi. She takes her surgical gloves off wrapping the tissue as she does. As they walk away. LACI You left him an inch? SANDI Might be useful someday. They laugh. EXT. DESERTED LIGHTHOUSE - DAY The four young women of Gamma Delta Iota stand around a burn barrel. Wisps of flame rise out of glowing coals. Laci tosses in the rubber gloves. Traci drops in a bloody sock. SANDI For Candi. ALL FOUR OF THEM Our sister. LACI Only one thing left to do. Behind them DEBBI (25) dressed in a nun's habit approaches. DEBBI My beautiful sisters. So good to see you again. Looking up at the lighthouse. DEBBI What a weird place to meet. The girls surreptitiously pull their knives. From behind them all, roars a black 1968 Dodge Charger. Tires spitting gravel as it slides to a stop. Debbi runs toward the girls. The engine stops. The door opens. Seven feet tall, clad in black leather, IRON MIKE (40) stands up and takes his sunglasses off. He walks toward the women. The four girls back away from Debbi who's desperately trying to place the man's face. Mike nods to the girls. Laci grabs Debbi's arm and puts the knife to her throat. Staci takes the other arm and puts her knife between Debbi's breasts. From behind, Traci and Sandi lift Debbi's habit revealing granny underwear. DEBBI You're Candi's dad? What is this? Mike undoes his pants. MIKE The bigger the sin... He pulls out his half chub twelve inch, thick as a pop can, co**. MIKE The bigger the monster. DEBBI Oh no! Oh God NO! FADE OUT
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Halloween contest results posted!
And maybe start thinking about a Yuletide contest also!

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