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Old 09-16-2016, 01:59 AM   #1
dpaterso
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Default Entries - "Hot Tubs and Time Machines Contest"

Here are the entries for the Hot Tub Time Machine challenge!

The Third Option
The Long Game
Unneeded
The Amazing Story of Davies and his Fabulous Penny Farthing Time Machine
Tim's Time Express
Kronos
Killing Hitler

You know how it goes, read the entries, pick your 1st, 2nd and 3rd favorite choices and PM them to me, preferably in the format:

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

Votes are sought by Friday 23rd end of day. If I receive everyone's votes before then, I'll post the results earlier.

Please don't vote for your own entry. If this was allowed then everyone would do it, so it would just cloud the voting.

You don't need to be in the contest to play, all DDP members are welcome to read and vote.

If you don't like the code boxes, which preserve formatting, try selecting Thread Tools > Show Printable Version instead.

For posterity, the discussion thread is here and the results thread is here.
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And maybe start thinking about a Yuletide contest also!


Last edited by dpaterso : 09-23-2016 at 10:45 PM. Reason: links
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Old 09-16-2016, 02:02 AM   #2
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Default Re: Entries - Hot Tub Time Machine contest

Code:
THE THIRD OPTION INT. CAFETERIA - DAY PETER ONE (30), deep blue eyes, shaven, suit, successful, sits at a table next to the window. He sips from his black coffee as he stares at the man in front of him. Across him, PETER TWO (50), same deep blue eyes, unshaven, wears a stained gray jumpsuit. He sips from his black coffee. The resemblance is remarkable. LOUISE, the waiter, taps PETER ONE's shoulder. LOUISE Peter, honey, the kitchen is closing in five minutes, you want something else? PETER ONE No, Louise, thank you. LOUISE And your dad? Peter One looks at Peter Two's eyes. So familiar. PETER ONE He's not my dad. He waves at Louise. She smiles and leaves. PETER ONE How did you know I lost my engagement ring this morning? I didn't tell anyone. PETER TWO I told you, I come from -- PETER ONE -- the future, yes, you told me. Peter Two waits for Peter One to say something but his mind is racing with a thousand thoughts. PETER TWO Do you believe me now? Peter One looks straight into his eyes, a hand over his mouth. He cannot stay still on the chair. PETER ONE Why are you here? PETER TWO I came here to warn you. PETER ONE To warn me? About what? Peter Two looks sideways, searching the other clients' faces. He leans towards Peter One. Lowers his voice. PETER TWO In ten years, when you invent the time machine-- PETER ONE I invent a time machine? Peter Two stares at Peter One. This is important. PETER TWO When you invent the time machine, a man will betray you. He will use the machine at his convenience and put the entire city at risk. People will die. Peter One exhales, overwhelmed, waves his hands in the air. PETER ONE What am I supposed to-- PETER TWO The man you are meeting today, here. Don't sign the contract. Stay away from him. Peter One was clearly meeting someone today. PETER ONE But-- but he's my investor. I can't launch my project without him. PETER TWO Then don't. Peter Two is serious, he means it. Peter One sighs, defeated. PETER ONE All right, I will not-- PETER THREE (O.S.) You have to sign that contract. PETER THREE (50), same deep blue eyes, a big burn on his face, sits down in front of Peter One and Peter Two, who make a double take. Louise laughs to herself. PETER ONE Another one? PETER TWO What the hell is this? PETER THREE (to Peter One) You probably won't believe this-- (looks at Peter Two) Or maybe you will. I come from the future. PETER TWO No, I come from the future. PETER THREE I come from another future. PETER ONE One future, another future. What the hell is going on? Peter Three ignores Peter Two and talks to Peter One. PETER THREE I came to warn you. PETER ONE Again? PETER TWO I was warning him already. PETER THREE You don't know who you are dealing with. Your investor. He's a dangerous man. PETER TWO I just told him that! PETER THREE After you decide not to sign the contract with your investor, he will plan to force you. Peter One raises an eyebrow. PETER ONE Force me? How? Peter Three points at his burned face. Peter One's eyes open wide. PETER THREE And this is not the worse. Your wife. Your kids. PETER ONE What happens to my kids? Do I have kids in the future? PETER THREE You have to sign the contract. PETER TWO You can't sign the contract! Peter Two and Peter Three start to argue, while Peter One sinks in his chair. PETER THREE He has to sign the contract or our family will be in danger! PETER TWO You have no idea what this maniac will do to the city. I'm talking about a massacre here! PETER THREE Our family is more important, we'll fix that later. PETER TWO More important? Everybody in the city is in danger, our family as well! Louise comes with her tray and her smile. LOUISE So is this a family gathering or--? ALL PETERS Get out! Louise's hair blows with their yell. She turns around. PETER ONE Ok, let me see if I get it. Peter Two and Peter Three calm down and listen to Peter One. PETER ONE So I sign this contract and then something very bad happens. PETER TWO Exactly. PETER ONE (points at Peter Two) Then you come ... from the future... to warn me. PETER TWO Yes! You can't sign-- PETER ONE (raises a hand) So I do as he says -- I say -- whatever... (points at Peter Three) ...but then something bad happens again. PETER THREE Exactly. You have to sign-- PETER ONE And then you come again to warn me. PETER THREE Technically not again, I am from a different future. Peter One thinks for a long time. Peter Two and Peter Three look at him, expectant. PETER ONE This is what we are gonna do. Peter Two and Peter Three lean closer. Peter One points at Peter Two. Peter Two smiles. PETER ONE I'm going to send you to hell. Peter Two frowns. Peter Three smiles. PETER ONE And then I'm going to send you to hell as well. Different futures, same hell. Peter Three frowns. Peter One stands up and takes his jacket off the chair. He prepares to leave. PETER ONE I don't care what nut house you two escaped from but I had enough. PETER TWO But... it's our future! PETER THREE Yes, it's our future, you cannot just go. PETER ONE You know what, gentlemen? I'll cross those bridges when I get there. Peter One walks to the door. He turns around. PETER ONE I write my own future! He listens to what he just said. He likes it. And leaves. Peter Two and Peter Three cannot believe their eyes. Louise gently puts the bill between them. EXT. CAFETERIA - DAY Peter One strides out of the Cafeteria, nearly crashing into a man on a wheelchair. He's paralyzed from the neck down and drives with a joystick attached to his mouth. PETER ONE Sorry, excuse me. Peter One walks to the road. He turns his head back, frowns as he stares at the deep blue eyes of the man on the wheelchair. This is, of course, PETER FOUR. PETER FOUR S***, I'm late. (yelling at Peter One) Hey! Stay where you are! Do not cross the road-- As we focus on the terror on Peter Four's eyes we hear a car SCREECHING, a woman SCREAMING and a loud THUD. MAN (V.O.) Somebody call an ambulance! Peter Four turns his head to the cafeteria window. Peter Two and Peter Three look towards the accident. They slowly turn their heads to Peter Four. They wave slightly. Peter Four rises his eyebrows and sighs. THE END
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Old 09-16-2016, 02:08 AM   #3
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Default Re: Entries - Hot Tub Time Machine contest

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THE LONG GAME EXT. ALLEY: EUROPEAN CITY - EVENING It's the early part of the 20th century. We can tell by the people, their dress and the vehicles travelling past on the street, past our narrow view into their world. Gas lights not electricity illuminates the street. A man waits in an alley. He checks his pocket watch. He moves back against the grimy brick wall breathing slowly and deeply. He is ready to fight. There is no one there to fight. He relaxes and moves through a series of kata moves. His clothing, though period, moves easily through the exercises. WEIßKOPF Intact... physically. Mentally? Who could tell? Freud? He laughs. ISAAC WEIßKOPF is only slightly taller than normal, fit and strong but his tailored suit normalizes his stature. His hair is light and he wears small steel rimmed glasses and a bowler hat. From his satchel he pulls a pistol. Its an old fashioned broom-handle C96 Mauser. He checks it and the bullets... ...and smiles. ...and slips it back into his satchel. EXT. EUROPEAN CITY - CONTINUOUS Weißkopf strides out into the street as though he has every right to be there. He uses confidence as a disguise. No one will stop him. He looks for a landmark and sees the Munich Marian column. Pointing at it he takes a quarter turn and spies the street sign he wants. Smiles widely and checks the time again. Walks on with a definite spring in his step. EXT. TRAIN STATION - MINUTES LATER Outside the station is a bustle of activity. Horse drawn carts compete for space with primitive gasoline vehicles. Steam and smoke rises over the trains. Weißkopf slips into a crowd, almost vanishes. He pulls his bowler hat down. Train whistle shrieks, steam engines chuff. Weißkopf spies two men, separate from the crowd, swarthy, foreign, dressed differently. The watch the travellers intently. He stays hidden from them, obscured by the crowd. INT. STABLES (IN FLASHBACK) - NIGHT Weißkopf talks to the two men. WEIßKOPF I want a man dead. SWARTHY 1 (heavily accented) Why? Who is he? WEIßKOPF He is wounded veteran, an inconsequential artist. He eeks out an existence daubing watercolours and makes enough to rent a room in a boarding house and dabble at politics. SWARTHY 2 (heavily accented) That is no reason to have a man killed. WEIßKOPF He slept with my sister. She is with baby. Even if my family forces the union... ah he cannot support her... Two two men nod wisely at one another. This sort of vengeance they know. WEIßKOPF (CONT'D) One hundred Reichmarks each; kill him, with a knife, slowly. Half now, half when the job is finished. Again they nod. He tosses them a small purse. The catch it easily and count the cash. SWARTHY 1 How do we find him? WEIßKOPF He will arrive on the 5:45 train from Bogenhausen tonight. He will walk to the Beer hall on the south side of Marianplatz. He is easily identifiable, he looks like... CRASH CUT TO: EXT. OUTSIDE THE TRAIN STATION - CONTINUOUS The two men spot their prey. Weißkopf looks but can't see him. He edges closer keeping as much of the crowd between him and the hunters as possible. But his attention is split, the hunters and searching for the elusive prey. Suddenly he sees a man moving through the crowd. INT. STABLES (IN FLASHBACK) - NIGHT WEIßKOPF He has his hair swept across his forehead, right to left. He has a strange little moustache. But it's his eyes, they're maniacal! The two swarthy men don't get it but they will. EXT. OUTSIDE THE TRAIN STATION - EVENING Thirty four year old Adolf Hitler strides out of a cluster of train travellers looking flustered. The swarthy men identify him at the same time. For the first time they see Weißkopf. He catches their eye and nods, confirming the target. With a nudge they begin closing in. In the gas lights a knife glints. Weißkopf sucks in a quick excited breath. The two assailants maintain a five meter separation from Hitler and two meters from one another. Slowly the pedestrians thin as they draw away from the station, further from the city centre. The pools of light from street lights are further apart, the opportunities greater. They make their move. In concert they drive Hitler into an Alley between two buildings. Hitler breaks free. Snaps an elbow into a soft gut. He moves fast. The alley is a dead end, he's trapped! EXT. ALLEY - CONTINUOUS HITLER What do you want? The men don't answer. Both have their knives out. Wicked blades silver in the sparse light. Hitler doesn't panic. He kicks a wooden crate breaking off a board. It's not much but it something. He holds the jagged fragment like a weapon. HITLER (CONT'D) Common then Arschlochs! He jabs aggressively. In the narrow alley there is no way for the attackers to properly outflank him. But its still two on one. Hitler's forearm is slashed and one of the attackers is struck by the board. None of them see Weißkopf enter the alley. The attackers move in again. This time Hitler is only just able to avoid being stabbed. Now his back is against the wall. The attackers mutter in their own language and separate as far as they can. Hitler's head swivels between them, something gives in him, he knows they've got him. Suddenly Weißkopf is there. His boot slams into the kidney of Hitler's closest assailant. As the man crashes into the brick wall Weißkopf delivers a grapple that snaps his neck. A split second he is at the other man knocking the knife aside and slamming his knuckles into the man's throat. Choking immediately the man drops his knife. Weißkopf isn't finished, he grabs the man by his coat and slams him into the wall with everything he has. WEIßKOPF That was just like being in the trenches! HITLER Thank you Herr...? WEIßKOPF Weißkopf. Isaac Weißkopf. I saw them following you... I knew they were up to no good. He holds out a hand. Hesitantly Hitler takes it. HITLER My name is Hitler, Adolf Hitler. (pause, he stiffens) You are Jewish herr Weißkopf? WEIßKOPF I am that. I am also German and was a German soldier. Sergeant in the Second Bayerisches Landwehr- Infanterie-Regiment Herr Hitler. And you? An infantryman too by the way you fought? Yah? He salutes. Again reluctantly Hitler responds. HITLER The List regiment. Corporal. WEIßKOPF I knew it. A veteran. The List regiment? Heroes! Not like these scum. He kicks at the nearest body. HITLER Who are they? WEIßKOPF Muslims. Ottoman's or Persians I'd guess. Killers, rapists and thieves. Untermensch! HITLER Untermensch? WEIßKOPF Not worthy of living in this great Reich, not worthy of living the Europe. Do you think either of these two fought for Germany five years ago? Did they battle the Tommy and the lice, survive shell fire? Do they know what it is to live under the earth in a trench? HITLER No. There are many who shouldn't be here. WEIßKOPF We Jews you mean? Like me? (laughs) Jew and Christian have stood against the incursions from the east for generations. The brave Austro-Hungarians stood against the barbarians invading Europe... HITLER I was born in Braunau am Inn. WEIßKOPF Austria? Yes! I knew it. As soon as I saw you. A defender of Europe against the Asiatic hordes. HITLER Yes. I tried in the war... WEIßKOPF As did I. And these, these "men" were our allies in the middle east. They scarcely fought and betrayed us. One day they will invade Europe again from the east. HITLER We have little to worry about... WEIßKOPF But we do. The great war tore the heart from many. All the Muslims do is breed... (A automobile putters past) And that, that will be our doom. Hitler looks at the solitary vehicle. HITLER Automobiles? WEIßKOPF Oil to power them. There will be more and more car, cars for the people. The Arabs and the Ottomans and the Persians will grow rich pumping it from the ground. Even now they are searching for oil in the Arabian peninsula. Then they will come again... A mighty Muslim crusade out of the deserts to lay waste to civilization. HITLER I... You may be right. They certainly are killers and thieves and you... saved my life. I have a lot to think on Herr Weißkopf. This time he shakes the Jew's hand without hesitation. HITLER (CONT'D) I thank you Herr Weißkopf. If not for you I would be dead... WEIßKOPF You cannot die. I think you are destined for great things Herr Hitler. You will be a leader of our people, a fuhrer. No go, leave this mess for the rats. Hitler does, with a final glance at the two bodies and the Jew who saved his life he leaves. Weißkopf stares after the man walking away. WEIßKOPF (CONT'D) In a hundred years you will still be reviled as a mass murderer but you won't kill my people in cattle cars and gas ovens. I count that as a victory... He looks at the dead Persians laying on the cobbles amidst the debris. He prods one with his boot. WEIßKOPF (CONT'D) ...and in a hundred years your evil creed won't destroy Jerusalem. Hafia and Tel Aviv and slaughter my family in the radioactive ashes. (a tear rolls down his face) I hope...
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Old 09-16-2016, 02:14 AM   #4
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Default Re: Entries - Hot Tub Time Machine contest

Code:
UNNEEDED EXT. FARM HOUSE -- TWILIGHT Sodden skies. A dented-up car belches its way up the driveway and then diesels to a stop in front of the house. ALLEN SIMONS, 50s, in a security guard uniform, emerges -- plastic bag and cane in hand. He slams the car door twice to get it to stay shut, then slowly makes his way up the porch stairs, favoring his damaged right hip. INT. FARM HOUSE -- CONTINUOUS Allen slams the front door twice to make it shut. There's no reaction from JOE (30s), who is lounging on the tattered couch, listeless while playing some video game. JOEY, 9, is drawing in his notebook. He brightens when he sees Allen. JOEY Grandpa! He runs over and hugs Allen. Allen allows a fleeting smile to momentarily replace his perpetual scowl. ELLEN, 40s, in apron, emerges from the kitchen. She smiles hopefully. Sees the bag in Allen's hand and droops. ELLEN The Andersons invited us over ... but I see the part came in. ALLEN Yeah. Busy night. ELLEN (turning to the kitchen) I'll call and let them know. ALLEN Okay. ELLEN (turning again) I almost forgot. Jake called. Says you could earn eight hours of overtime, plus bonus pay if you could take the midnight shift tonight. ALLEN I'll be busy. ELLEN But Joey's birthday is coming up and-- ALLEN --I'm busy. INT. BASEMENT -- NIGHT Allen is sitting in front of his workbench. Wires connect several clusters of soldered PC boards with blinking LEDs. A small LCD screen flickers to one side beside a keyboard. He retrieves the contents of the plastic bag ... another PC board. He sets the dip switches and then inserts it into one of the breadboards, then connects it with a cable into one of the bigger clusters. He anxiously watches the screen. Waits ... The screen turns blue ... then one word in the top-left corner ... Ready. ALLEN Finally! He flips lever which snaps into position. The lights momentarily dim as machinery in the basement hums to life. He pulls out a small, well-worn, spiral notebook from his shirt pocket. Flips through the pages until he comes to the page titled ... PICK ONLY ONE. There are three choices, each with location and time coordinates, the first reads "ELYSE." Allen types in the coordinates. The LCD screen flashes, then flickering video appears ... INT. COLLEGE DORM HALLWAY -- DAY ELYSE, early 20s, beautiful and a 22 year-old ALLEN are arguing loudly in front of the open door of his dorm room. ELYSE You can't just shut me out-- ALLEN --My work comes first. I told you that, right from the beginning. ELYSE You never told me you would lock yourself away for days on end, that I couldn't even call-- ALLEN --I told you my work comes first. You knew that going in. Pause. Tears well up in her eyes. ELYSE (quietly) I love you, Allen, but I can't live like this. ALLEN You have to make your own choices. I have to make mine. ELYSE Can we at least go out to dinner? ALLEN Not now. I'm right on the verge-- ELYSE (stiffling a sob) --I can't ... deal with this. Come with we now, or I'm leaving you. Pause. ALLEN Goodbye. ELYSE Seriously? ALLEN (steely eyed) You made your choice. Turns. ALLEN (over his shoulder) Goodbye. He slams the door as he enters his dorm room. Elyse, stunned, turns and walks woodenly down the hall and then picks up speed and starts running. INT. BASEMENT -- MOMENTS LATER Allen, stares down at his notebook. His second entry is titled "JOB." He types in the coordinates ... INT. CORPORATE OFFICE -- DAY ALLEN in his early 30s, scraggy, is staring over a huge, polished desk at JOHN HAMILTON, 50s, impeccable. Both are tense, on the edge. JOHN You're gifted, Allen, truly gifted. But you're going to have to meet me half way here. ALLEN I can NOT and WILL NOT babysit these losers. They're constantly interuppting me with their inane assinity! JOHN It's your department, Allen, it's part of your job ... And you've got to clean yourself up a little. ALLEN You don't get it, do you? I'm on the verge here ... this close! Allen holds up his hand, showing a tiny a gap between his fingertip and thumb. JOHN I'll let you work at home four days a week. But you will have to come in on Monday for meetings ... shaved. ALLEN No. That's just arbitrary BS. I can't be subject to these kinds of limitations. I'm ON THE VERGE. What part of this can't you get into your thick skull? Are you a coporate wonk, or what? JOHN Be careful, Allen. ALLEN NO! You be careful... Or I'll leave. I'll-- JOHN (suddenly calm) --Then leave. ALLEN You've got to be kidding ... are you really that stupid? You NEED me-- JOHN (dull monotone) --All notes, all inventions, all patents, all presentations ... all are property of the Corporation. You will turn them over immediately. Stunned silence. JOHN (motioning to the door) Goodbye, Allen. INT. BASEMENT -- MOMENTS LATER Allen looks at the last item on the list, "ACCIDENT." He types in the coordinates. EXT. CITY STREET -- DAY ALLEN, late 30s, unshaven, red eyes, dirty, in ill-fitting clothes, shambles along the on the sidewalk. He's yelling at himself. ALLEN On the verge, the VERGE, you stupid son-of-a-- Screeching tires, a car careens wildly, jumps the sidewalk and slams into Allen who flies into the building's wall and crumples. He groans as the car backs away and squeals rubber ... disappearing. An early 30s version of ELLEN, pretty and fashionable, rushes to help. She yells for someone to call the ambulance. She winces when she sees the bones sticking out at Allen's hip. ELLEN Help's on the way. Help's on the way. Allen passes out. Ellen cradles his head in her arms. ELLEN No. No. Don't die. I should have helped when you asked for money. I'm so sorry ... She kisses him on the forehead. Her son, JOE (about 10) appears. JOE Who's that, Mom? ELLEN Joe, back away, don't look. JOE (wide eyed) Who is he? Why did you kiss him? ELLEN Some man I should have helped ... now he's going to die because of me. INT. BASEMENT -- MOMENTS LATER Allen sits, staring at the screen. He then cranks a large nob clockwise. The humming increases in volume and intensity. He flips up a cover displaying a blinking red button. He stares vacantly at it. Joey enters the basement behind him, holding a baby cottontail rabbit. JOEY Grandpa. Allen doesn't hear him. JOEY (louder) Grandpa. He turns startled. Cranks down the humming and flips off the switch. ALLEN I told you not to come down here! Joey holds out the baby cottontail. JOEY He needs to eat and I don't know how to mix the forumula. ALLEN Get your dad to help. JOEY He's on the Fourth Level and can't quit until-- ALLEN -- your Grandma, then. JOEY She's in her room and won't answer the door. I think she's crying. ALLEN Crying? JOEY She does that a lot. Allen winces. ALLEN She does? JOEY Yeah. ALLEN Go on upstairs. I'll be up in a minute. A short pause, then ... He begins disassembling his contraption and packing it carefully away in boxes. INT. BEDROOM -- A WHILE LATER Startled, Ellen rises from the bed. Her eyes and nose are red. ELLEN I thought ... you'd be-- ALLEN --No, I'm finished. Finally. ELLEN Did it work? Pause. ALLEN Not the way I expected it to. ELLEN I'm sorry. ALLEN I'm not. (and then...) I promised Joey I would take him down to the truck stop for a milk shake. You want to come? ELLEN Tonight? Allen smiles. ALLEN Yeah, and we'll take Joe too, if we can pry him away from his video game. ELLEN Give me a minute to freshen up. ALLEN And don't worry about Joey's birthday. I've got a small fortune of parts down in the basement I'm going to sell. ELLEN All of them? ALLEN I finally figured out I didn't need them. The parts are worth more than the sum of their whole. Then he embraces her and kisses her gently on the forehead. ALLEN Thank you. She touches his forehead, mystified. ELLEN Are you feverish? ALLEN (chuckling) Not yet.
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Old 09-16-2016, 02:25 AM   #5
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Default Re: Entries - Hot Tub Time Machine contest

Code:
THE AMAZING STORY OF DAVIES AND HIS FABULOUS PENNY FARTHING TIME MACHINE THROUGH A BATTERED OLD WINDOW The afternoon light still surges strongly through the intricate panes of glass projecting CLASSROOM rainbows onto the classroom wall. Speake, 15, daydreaming, watches the dance of light. SCOLDER Speake... Battle of Waterloo? Mr Scolder slams his ruler against the blackboard. Boys either side of Speake exchange awkward glances. These would be Winstanley, Sherbert and Dodge. DODGE Speake! INT. CORRIDOR - LATER Boys walking down the corridor. SPEAKE I know what happened to Davies! Shock, then silence. Everybody turns to Speake. THE FLASHBACK BEGINS PHYSICS LAB Davies poised over his class project, a time-machine'. A penny farthing. Yes - that bicycle with a hard seat over a huge single wheel. The wheel is raised off the ground by a jig. Davies talking Mr Scolder around the machine. Tightens wire that leads down into an acquirarium tank. And inside that tank in the silvery water are suspended various batteries which are wired in turn to large crystalline objects. DAVIES And so it's really easy sir. Davies rests a ladder against the side of the bike. DAVIES You just have to pedal until you reach a speed of 15.7 miles-per-hour. Mr Scolder nods in fascination. DAVIES And then... well sir, you are ripped into whichever period of history you've selected. SCOLDER Ripped? DAVIES You just set the handlebar timeometer. SCOLDER And what did Mr Sparke, your Physics teacher, think Speake? DAVIES Oh, poor show there sir, He only said that it was interesting. SCOLDER Yes, yes, Davies... but does it really work? DAVIES Oh yes. Davies begins to pedal. As the wheels spin faster and faster Davies's face takes on a serious look of concentration. DAVIES Step back...keep watching. The wheel is really spinning now, nothing is happening yet, Mr Scolder is about to step forward when he sees a strange blue light building at the centre of the spokes. And then as the light intensifies, sparks begin to jump off. Whooooooooooooomp. FLASHBACK ENDS CORRIDOR - CONTIGUOUS WITH BEFORE SPEAKE And so that is how it went until, one day, Davies didn't come back. NOW CUT TO a lone desk in the middle of the classroom, each side of it, we see the boys. Mr Scolder glances at the empty desk. Speake notices. There eyes meet. NOW BACK TO THE PRESENT WINSTANLEY So you're saying that Davies wasn't abducted or lost his mind... as the school and Mr Scolder have suggested, what a bounder. DODGE Of course he is saying that, keep up Win. SHERBERT I'd like to say something? WINSTANLEY Go on then. SHERBERT Was Davies only going back in time? SPEAKE You cannot go forward, Davies says its forbidden...except to return to the present, where you came from. SHERBERT Then what was he going back for? SPEAKE Exactly! For that, we need to come back to school at midnight. The boys smile at each other. EXT. SCHOOL FIELD - OLD TENNIS COURTS - MIDNIGHT Speake is trying his shaking his torch, the beam keeps fading. WINSTANLEY Let's get on with it. DODGE What was that? SHERBERT Owl. BENEATH THE SAME CLASSROOM WINDOW WE BEGAN WITH Dodge slides the frame up. DODGE Why do the desks look so eerie in the moonlight? INT. CLASSROOM - MOMENTS LATER Speake, Dodge, Winstanley and Sherbert bunched up just beneath the window inside the classroom. The torch pans the room, and settles on a door. WINSTANLEY He always keeps it locked. DODGE So what do we do? SHERBERT I've got the key, it was where you said it would be Speake. WINSTANLEY You stole it? SHERBERT Easy Win... you're not on Prefect duty tonight! Owl hoot. DODGE Let's just get on with it. The boys tip-toe towards the locked door. SHERBERT What's in there? WINSTANLEY It's a stationery cupboard. Can't you tell, it's always in the same place. Winstanley smiles. On a key lit by the torch as it finds the lock. FROM THE INSIDE OF THE CLOSET As the door peels open, we see the faces of the boys, lit up by the torch beam. SPEAKE Where's all this come from. WINSTANLEY Look at all those gold coins? DODGE That looks like Napolean's jacket. SHERBERT What is all this, there are uniforms, gold, rifles, helmets? WINSTANLEY I think that Mr Scolder was sending Davies back to recover all these artefacts. DODGE What did happen to Davies? WINSTANLEY That's easy to work out. Everybody stares at Dodge. DODGE Davies was too clever by half... he was too confidant. WINSTANLEY Probably got his head blown off at the battle of Waterloo. A blidning blue light spreading out, from just in front of Davies's old school deak. SPEAKE Keep back, we're safe at this distance. Right in front of the boys, huddled in the frame of the closet, the penny farthing time-machine slowly takes form. Davies is sitting up high on top smiling. DAVIES Hello boys, Winstanley... goodo Dodge! WINSTANLEY Where the hell have you been? DAVIES Ming Dynasty China, today... by the way... what day is it? DODGE Wednesday. Now. Distantly, unmistakable quick footsteps on polished wooden floors. SHERBERT Mr Scolder! DODGE Quick boys, grab on to the frame of the bike. SPEAKE Do what old boy? DAVIES That's Scolder, the bounder, we're supposed to meet, come on... grab on. EXT. OLD FRENCH CHURCH - AFTERNOON Super: 1415, Agincourt Boys casually lying on a strip of grass, Dodge is unwrapping his sandwiches. The penny farthing sits just behind them under a tall church window. SPEAKE History was never quite this interesting when Scolder taught it. IN THE NEAR DISTANCE The surge of English Knights, in the middle of that melee, protected by his own bodyguard wielding heavy battle axes and swords, is Henry V, swinging his sword over his head. SPEAKE Davies... what are you going to do now? WINSTANLEY Yes, Davies, what are you going to do, are you going to finish Michaelmas term? DAVIES I don't know exactly boys, for now, I may just rip though history, just take it easy. A stray arrow whistles through the air and with a gentle WHUMP lands below Dodge's foot. He reaches over and pulls it free. DODGE Boys, you know, this arrow could mean something? END.
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Old 09-16-2016, 03:34 AM   #6
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TIM'S TIME EXPRESS FADE IN: EXT. SMALL TOWN STREET -- NIGHT It's dusk and an old streetlight on the tree-lined street blinks on, dim at first, but coming to life for the night. Below it, a battered, mostly-white, 80s, Toyota Corolla is parked on the curve. On the driver's door, misaligned stick- on letters let us know we're looking at: "TIM'S TIME EXPRESS". INT. TIM'S TIME EXPRESS -- NIGHT Many wires, different colors and sizes, most coming from under the dash, terminate into a small, black box. The box has a taped on AAA battery holder, an LED readout and three push buttons, labeled: "FORWARD", "BACKWARD" and "STOP". In the driver's seat, Tim, mid-twenties, wired, jacked and kind of wild-eyed, shouts at the cell phone on the dash. TIM I'm trying it out tonight, right now -- I'm taking a test run now. MAN'S VOICE ON PHONE Maybe you should get some sleep first? You've been up three days. Tim puts an AAA battery in the holder. The red LED readout blinks, cycles, then settles on "xx2017". He yawns. TIM I'll get some sleep when I get back. Just going back a hundred years. Only a couple hours. MAN'S VOICE ON PHONE Do you even know how it's supposed to work? TIM I could pretend like I could tell you and you could pretend like you care, but why bother? He pushes the "BACKWARD" button, the Corolla glows dimly. TIM Bye. After a few moments the display cycles down one year to: "xx2016". Outside the window, it's now raining. Tim's eyes bug even wider and now he has a huge smile on his face. TIM Oh hell! It works. Hunkering down and making himself more comfortable, he watches the display wind down. The trees grow smaller, the houses look newer. He yawns. Shakes himself awake. The street is now a dirt road, on a hill. There's a full moon. In the distance a farm house and outbuildings, a barn, some cows. The display shows: "xx1921". He slaps himself to stay awake, and stares out the window. He yawns again. EXT. HILLTOP -- NIGHT Tents neatly lined up. Camp fires uniformly glowing and placed at precise intervals. Quiet as mice, two sentries, sharply dressed in military uniform with red coats, carry flintlocks and patrol. They keep a wary eye on the wooded area, below them. The older, squattier Redcoat maintains an aloof gaze and a stiff stride that the younger, taller Redcoat attempts to emulate. TIM'S TIME EXPRESS materializes directly in front of them. YOUNGER REDCOAT Blimey! The OLDER REDCOAT gives the young one a withering stare. A moment later, muskets are readied and they approach the car. Seeing Tim sleeping inside, the Older Redcoat reaches out and touches the glass, just as the car vanishes. OLDER REDCOAT My word! The Younger Redcoat allows himself the tiniest bit of a momentary smile and an almost imperceptible eye roll. EXT. FOREST -- NIGHT Two white-tailed deer, a doe and her fawn blend in with the shadows of the forest on a moonlit night. Alert, they nibble on the small patches of grass they find between the trees. A twig SNAPS, they prepare for flight. Another one SNAPS and they're shadows disappearing in the night. Two hunter klutzes stumble through the woods, loud, talky, barely dressed in skins and as high as kites. SNUR is a little bigger and lot hairier than PERMUS. They carry massive spears, but the prey is safe from them tonight. While making fierce jabbing motions with their spears, Snur trips on a tree root and falls hard. They both think that's hilarious and break out into fits of loud laughter. The still-standing Permus goes from laughing to stone sober in a flash. He points up the hill at TIM'S TIME EXPRESS. Snur stands up and stares, then -- -- Yells his defiance. With his spear down, he rushes the car, but long before he gets near it the car disappears. For a few moments they are startled and quiet. But not for long. Soon they thump their chests with their fists. SNUR (unknown language) Whoda man?! PERMUS (unknown language) Youda man! Snur points at himself. SNUR (unknown language) Ida man! Then they both laugh so hard they fall down. EXT. GRASSY MEADOW -- NIGHT There is nothing man-made in the meadow except a mostly white 80s, Toyota Corolla with a TIM'S TIME EXPRESS sign on the driver's door. Something huge and toothy eyes the car, cranes its neck to look through the driver's window and decides to take an exploratory chomp. Opening its cavernous mouth... it bellows in rage as the car disappears. EXT. CONSTRUCTION SITE -- NIGHT Miles and miles of massive steel girders, spinning fountains of light and gigantic spaceships. Thousands of construction workers go about their business. All are about ten-feet high and wear yellow hard hats. Each have eight limbs and giant eyes and squid beaks, on their faces. One taps on the driver's window of TIM'S TIME EXPRESS with a flashlight. Tim's eyes flutter open. He stretches and yawns. Looks at the CONSTRUCTION WORKER. Looks at the display on the black box: "xxxxxx". Looks at the Construction Worker again. Really does freak out! The Construction Worker waits a bit for Tim to stop hyperventilating, taps the window again and motions with one of his tentacles for Tim to lower the window. CONSTRUCTION WORKER Hey Mack, this is a construction zone. Tim timidly lowers the window a few inches. CONSTRUCTION WORKER You can't be here. Go home. TIM Oh... OK. He grabs the black box, jabs the "FORWARD" button. There's garbage for a second on the display, then it dies. TIM Oh hell! The battery must be dead. CONSTRUCTION WORKER You didn't bring another one? TIM No. Tim looks hopefully at the Construction Worker. CONSTRUCTION WORKER I look like a five and dime store to you, Mack? Tim checks his pockets. No battery. TIM Where am I? CONSTRUCTION WORKER Mars... I think. But I can't keep track of all these little projects. The Construction Worker turns toward a 2ND CONSTRUCTION WORKER. CONSTRUCTION WORKER This Mars? 2ND CONSTRUCTION WORKER No... Earth. Mars is out there. The 2nd Construction Worker points out into space, with a couple of spare tentacles. CONSTRUCTION WORKER (to Tim) It's Earth. Look, Mack, in about ten minutes we're dumping five hundred trillion tons of dirt and rock, right here. TIM I don't know where to go. CONSTRUCTION WORKER Where you from? TIM September 15th, two thousand seventeen. The Construction Worker pulls a mechanical pencil and a small notebook out of a pocket. Fiddles with a slide rule, from a different pocket and writes down an equation. CONSTRUCTION WORKER (pointing) Pay attention. You need to go that way. Fourth time vortex on the right. You can't miss it. TIM That way, fourth vortex. Got it. Thank you. CONSTRUCTION WORKER No problem. Tim starts up the Corolla and drives away. Backs up again and takes a picture of the Construction Worker with his phone camera. Drives away again. The Construction Worker shakes his head as he watches the car leave. 2ND CONSTRUCTION WORKER What was that all about? CONSTRUCTION WORKER Another freakin' tourist. FADE OUT: THE END
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Old 09-16-2016, 03:40 AM   #7
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K R O N O S FADE IN: EXT. FARM - DAY Big country beneath a leaden sky. Dust devils whip across fallow fields and through broken fences. Bleached bones of a horse skeleton lie in dry dirt. Dilapidated out-buildings surround a neglected yard. An old farmhouse looms grimly. The only residence for miles. INT. BATHROOM - DAY A gaunt man, DANIEL, 43, in just his underpants, stands at the sink and mirror. Using a cut-throat razor, he shaves gray stubble from his pale face, exposing an old scar down his left cheek. He pauses, remembering. INT. SINGLE BEDROOM Almost unfurnished. On the bed's bare mattress lie jeans and a t-shirt next to a small backpack. Daniel rummages inside, pulls out a formal white shirt, and removes the shop tag. INT. MASTER BEDROOM White-shirted, Daniel enters warily and surveys the room. Minimal comforts. Like a time capsule of a bygone era. The double bed has been slept in one side. On that bedside's cabinet, a lamp, a wrist-watch, and spectacles on top a bible. On the other bedside cabinet, only a small glass ashtray, that holds a slender gold ring. On a chest of drawers, two framed black-and-white photos. One of a happily just-married couple. The other of a somber man and a melancholy young boy, both detached but for a single parental hand on the boy's shoulder. Daniel stares blankly at those two male faces. They both resemble his own. He turns the picture face down flat. Daniel opens a wardrobe. Women's clothes one side, men's the other. The sight and smell gives him pause. He takes out and holds up a hanger with a Sunday-best tweed jacket, waistcoat and trousers. EXT. CEMETERY - DAY Graveside, a fat PASTOR closes his Book of Common Prayer, and two FUNEREAL MEN lower the coffin. Daniel, in an ill- fitting tweed suit and well-worn sneakers, drops a fistful of dirt into the grave and walks away. EXT. HIGHWAY Daniel walks a lonely road back to the farm. INT. FARMHOUSE PANTRY - DAY Daniel scans the shelves of identical tinned foods. INT. KITCHEN On the stove, an opened can beside a steaming saucepan. At the kitchen table, Daniel eats from a bowl. At the sink, he washes up. At the back door, he vomits. EXT. FARMYARD - DAY Still tweed-suited, Daniel peers into the half-light of a disused cow shed. A fifty-foot high metal grain silo. Daniel looks inside. It's empty. DANIEL Hey! (echoes) Daniel coughs harshly, and spits. DANIEL Bastard! (echoes) Daniel un-padlocks a barn's double doors and swings them wide open. Stepping slowly inside, he looks around -- dusty farming equipment -- a broken loft ladder -- piles of junk -- and a tractor partly under tarpaulin. Daniel sits on the edge of a wooden trough, half full of old shoes and boots. He rolls a joint, and smokes deeply. Sunset breaks below the clouds and lights up the yard. Silhouetted in the barn doorway stands a timeless figure all in black -- trench-coat, leather boots and gloves, broad-brim hat, and briefcase -- a DARK AGENT. Daniel stands up startled and stumbles backward. The Dark Agent raises an open hand to calm his prospective client. Daniel squints, tries to focus on the long-shadowed figure, who points to Daniel's dropped joint that has set fire to some loose straw. Daniel stamps it out. EXT. FARMYARD - DUSK Bats flitter through the twilight. EXT. KITCHEN WINDOW - NIGHT Faintly backlit, Daniel and the Dark Agent sat either side of the kitchen table, upon which the agent's briefcase is open. The Dark Agent slides two parchments across to Daniel, who briefly reads them. The Dark Agent hands a guilded pen to Daniel, who signs both parchments. The Dark Agent takes the pen, countersigns both parchments, puts one in his briefcase, and carefully folds the other. A flame melts red wax -- drips onto the parchment -- sealed using a signet ring -- and the Dark Agent hands the document back to Daniel. EXT. HIGHWAY - NIGHT The Dark Agent walks a lonely road toward solitary hills, and disappears back to where he came. EXT. FARMYARD - NIGHT Daniel crosses the yard to the barn. INT. BARN - NIGHT Daniel closes the barn doors. He clears a central area of junk and loose straw, and sits cross-legged on the floor. He takes out the parchment and, breaking the seal, unfolds it. He reads every word of the dense paragraphs, lips moving, but inaudible. Using his Zippo, he lights one corner of the parchment, and lays it on the ground before him. Daniel stares into the steady flame that burns strangely slow and bright. As the flame reaches the wording and signatures, a dark haze of smoke fills the barn. Daniel's eyes water, bloodshot, pupils dilated. His eyelids flutter. Space-time dissolves into cosmic flux. EXT. COUNTRYSIDE - DAWN A small wood, isolated in endless acres of flat fields. Closer and closer, the dark trees stand against dawn's golden horizon. The raucous chatter of roosting birds becomes louder and louder. Closer and louder, the commotion reverberates into a monotone ringing. Closer and closer, louder and louder, the now deafening tinnitus suddenly stops dead as countless birds break from the trees and flock into the sky, their infinite wing beats soaring until silent. EXT. FARMYARD - DAY Peace. The farm appears different, much less rundown. A cockerel crows. The SOMBER MAN, from that photo in the master bedroom, exits the farmhouse and strides across the yard to a tractor in front of the barn doors. He climbs into the cab and starts the engine. INT. BARN - DAY Daniel, sprawled on the ground. The engine noise wakes him. Groggy, he stands and looks around. Far less junk and disrepair. And no tractor, but for the sound of it driving away. EXT. FARMYARD - DAY Daniel peers cautiously around the barn door. He steps out, quizzical. EXT. FARM FIELDS A majestic gray horse gallops at great speed around a large paddock. Sat on a gate, Daniel watches in wonder. Some way off, the engine noise of the tractor intrudes. Daniel turns to see it drive back into the farmyard. EXT. COW SHED The Somber Man, Daniel's father, MATTHEW, 43, drags one end of a thick flexible pipe from the shed and drops it over the edge of a slurry pit. Liquid muck pours out. He stands a few feet back, pulls out a hip-flask, and takes a swig or six while waiting. INT. COW SHED - DAY Cattle in pens either side of the central aisle, with large open doorways at both ends of the shed. Daniel stands just inside one doorway. He sees Matthew, with his back to him, standing out beyond the far doorway, at the slurry pit. As if wanting something in particular, Daniel scans the shed -- sacks of feed -- coils of rope -- a bolt gun -- and a butchering knife. Daniel heads toward the far doorway, the cattle clearly spooked by his presence. EXT. COW SHED - DAY Daniel stands right behind Matthew, mere inches, close enough to smell him. The liquid muck almost run dry, Matthew drains his flask, but is then suddenly aware of something. He spins around to see forty head of cattle stampeding from the shed, coming headlong toward him. He's got nowhere to run, and steps back as the panicked cows veer wildly left or right to avoid the pit. But there are too many, and he's forced back, further and further. Then one cow comes crashing down, slams sideways into him, knocking him over backwards. His head smashes on the concrete ground and, as the fallen cow scrambles to recover, he's trampled and kicked over the edge and down into the slurry pit. EXT. FARMYARD Calmly, the cattle mill around the yard. Some make their own way out into the fields. EXT. SLURRY PIT Daniel bends down and picks up the hip flask. He reads the engraving: "To Matthew ~ From Hannah ~ All My Love" Daniel looks up at a dark first-floor window at the back of the farmhouse. INT. FARMHOUSE - UPSTAIRS - DAY Outside the door of the single bedroom, Daniel reaches up and takes a key from the top of the frame. He unlocks the door and opens it. INT. SINGLE BEDROOM A miserable room. Little more than a dirty chamber pot beside a threadbare bed. The melancholy BOY, 6 or 7, from that photo in the master bedroom, is huddled on the floor in a far corner. Daniel gazes at his young self, but the Boy looks right past him at the doorway. Daniel turns and departs, leaving the door wide open. EXT. HIGHWAY - DAY Daniel walks a lonely road toward solitary hills, and disappears into a blinding sunset. EXT. COUNTRYSIDE - NIGHT & DAY The minute sounds of nature in motion, amplified for TIMELAPSES passing in mere seconds -- -- constellations traverse the night into radiant dawn. -- meadow flowers open and track the sun across the sky. -- a spider spins a web in which flies get caught. -- field mushrooms sprout and decay. -- maggots consume a dead bird. EXT. FARMYARD - DAY Golden sundown. The farm appears different again. More loved, less doomed. A couple of cute CHILDREN play in the yard, laughing loudly. INT. BARN - DAY Under the tractor, a fit and healthy DANIEL, 43, in dirty overalls, does vehicle maintenance. His face is clean shaven and, this time, he has no scar. Daniel sees a pair of black boots in the barn doorway. He slides out from beneath the tractor and stands to find the Dark Agent. On Daniel's face, a remote look of recollection. EXT. FARM AND BEYOND - DAY Motion blur resolves into scarless ADOLESCENT DANIEL riding a majestic gray horse, bareback and at terrific speed, through endless open countryside -- -- as a guitar-thrashing lullaby* builds to an alarming level and suddenly sound and vision -- CUT TO BLACK. THE END *Music such as: "Only Shallow" by My Bloody Valentine "Seagull" by Ride "Leave Them All Behind" by Ride "Dreams Burn Down" by Ride "Black Metallic" by Catherine Wheel (Check them out -- they're timeless.)
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Old 09-16-2016, 03:56 AM   #8
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KILLING HITLER OVER BLACK A huge crowd CHEERS, hundreds of thousands of throats shout a name, over and over... HITLER HITLER HITLER FADE IN: INT. ACCESS STAIRWAY - SPORTS STADIUM - DAY A NAZI BROWNSHIRT SOLDIER wearing Swastika armbands lies unconscious, his forehead bloody. Outside, the chant continues: HITLER HITLER HITLER EXT. STADIUM UPPER STANDS WALKWAY - DAY A lone figure skulks between pillars, keeping low. The chant continues: HITLER HITLER HITLER INT. STADIUM - PILLAR - DAY The figure -- let's call him SMITH -- crouches down with his back against a pillar. He opens a leather satchel. He takes out parts of a rifle. He snaps them together expertly. The chant continues: HITLER HITLER HITLER Smith stands up and peeks out from behind the pillar. STOCK FOOTAGE: NAZI RALLY Adolf fvcking Hitler smiles at an audience of diehard Nazis who hang on his every evil word. They thrust their right arms out and chant at their rock star Fuhrer: HITLER HITLER HITLER INT. STADIUM - PILLAR - DAY Smith squints through his rifle's telescope sight. Makes adjustments. He flicks a switch. A RED LASER LIGHT SHINES. EXT. PODIUM - DAY Hitler smiles and gives his trademark limp arm salute. The crowd chants: HITLER HITLER HITLER EXCITED WOMAN (V.O.) Ich liebe dich, Mein Fuhrer! (English subtitle:) I love you, my Fuhrer! HITLER Danke, danke, ich bin hier die ganze Woche. (English subtitle:) Thank you, thank you, I'm here all week. A red light spot touches Hitler's chest, right over his black heart. BLAM! Hitler clutches his chest and reels back from the microphone. Horrified SCREAMING from tens of thousands of throats. EXCITED WOMAN (V.O.) Nein! Mein Fuhrer! (English subtitle:) No! My Fuhrer! INT. STADIUM - PILLAR - DAY Smith crouches down and hastily disassembles his rifle, dropping the parts back into the leather satchel. HEAVY FOOTSTEPS give him cause for panic. Suddenly he's surrounded by NAZI GUARDS who cover him with their machine pistols. Smith slowly puts down the leather satchel and raises his hands. He smiles the smile of a man who knows he has already won. SMITH Too late, you Nazi swine, I got him. Do your worst. NAZI OFFICER Bringt ihn zu den Fuhrer! (English subtitle:) Bring him to the leader! Hands grab Smith and roughly drag him up. INT. OFFICE - DAY NAZI GUARDS force Smith to sit down in a chair. They secure his wrists to the chair's arm rests with steel clamps. They step back and snap to attention. Smith looks around. Maybe wondering why he's still alive. A NAZI wearing a brownshirt uniform stands looking out the window, his back to Smith. Smith frowns, this guy looks kinda familiar... ADOLF HITLER Your weapon is quite sophisticated. But I have seen its like before. And no doubt will see it again. In the background, the stadium crowd chants: HITLER HITLER HITLER Hearing this, Smith is confused. ADOLF HITLER You wonder why the crowd continues to cheer. You should know that the Fuhrer made a remarkable recovery and returned to the podium. Smith shakes his head, that's just crazy! ADOLF HITLER No one suspects he died, as a result of your bullet, and has been replaced. Smith frowns, trying to figure this out. Who IS this guy? The Nazi turns around to face him. Smith's eyes widen in astonishment! The Nazi looks like Hitler! Same evil face, same evil mustache. SMITH My God! You're a clone! Enraged, Hitler bounds forward and slaps Smith so hard that his chair falls over onto its side, he goes down with it, ow! ADOLF HITLER INSOLENT SCHWEINHUND! I AM NO CLONE. The Nazi guards lift Smith and the chair upright again. Smith's dazed and bleeding from the mouth. SMITH My mistake, I do apologize. Hitler's rage switches off, just like that. ADOLF HITLER But the cloning process is only one-half of the miracle. The second half would not even be possible, if not for you time travelers. Smith reacts with surprise! Then tries to hide it. Emoting required. SMITH I have no idea what you're-- ADOLF HITLER Come, now. I know what you are. You jumped here from our future, did you not? Your weapon confirms this. Do you think you are the first? There have been many before you. All of you leaped back through time with the idea that assassinating me will change history for the better. He leans in close and shouts in Smith's face: ADOLF HITLER IT NEVER DOES. HA! Hitler struts back to the window, laughing an evil laugh. ADOLF HITLER We have seen many sophisticated weapons and inventions from the future. Including a clever device capable of recording brain patterns. Smith is intensely interested in hearing about this! ADOLF HITLER Its owner died before he could explain his intentions. Perhaps he wished to make a copy of my mind for posterity, so that it might be examined by future philosophers? This is the only logical explanation. Smith begins to understand... SMITH You used this device... to write your brain patterns into the blank minds of your clones. Hitler puts a finger to his own nose and points at Smith with his other hand. You got it! The stadium crowd is still chanting: HITLER HITLER HITLER ADOLF HITLER So you see, your actions have proven futile. You shot a clone. A decoy. His death is meaningless. I can easily make others. SMITH Damn all you Nazis to Hell. A NAZI DOCTOR in a white coat enters, pushing a trolley laid out with gleaming surgical instruments. SMITH Two sugars with just a splash of milk, please. ADOLF HITLER You will tell us everything we wish to know of your future world. So we can better prepare for conquering it. The Nazi Doctor picks up a surgical saw and touches the blade with his thumb, producing a droplet of red blood. He grins at Smith. A sadist who loves his work. SMITH I would venture to guess that if you're here, the brain pattern recorder can't be far away. You would want to keep refreshing the image so it's always up to date. ADOLF HITLER The machine's location is of no importance to you. You should be concerned with your own situation. SMITH You really should have taken my wristwatch. ADOLF HITLER What nonsense do you speak? SMITH But of course, you've never watched any Bond movies, have you? A great pity. Maybe learning that the villain never gets away with his plans for world domination would have been educational for you. Hitler frowns, struggling to understand. He looks at Smith's wrist. SMITH'S WRISTWATCH The dial glows. HITLER Schneiden Sie seine Hand! Holen Sie sich das Uhr! Schnell! (English subtitle:) Cut off his hand! Get the timepiece! Quickly! The Nazi guards leap forward and grab Smith's arms. The Nazi Doctor brings his saw down on Smith's wrist. Smith smiles at Hitler. Too late, Nazi scum! Hitler's eyes widen in horrified realization. SCREEN WHITE OUT A DEAFENING EXPLOSION FADE TO BLACK A beat. Then... EXCITED WOMAN (V.O.) Ich liebe dich, Mein Fuhrer! (English subtitle:) I love you, my Fuhrer! An excited crowd chants: HITLER HITLER HITLER The End.
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