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Old 10-24-2016, 02:44 AM   #1
dpaterso
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Default Entries - Halloween 2016 contest

We have 12 entries for this year's fun Halloween contest:

Someone To Care For
The Clown
Last Patrol
Michael
Demon Squad: Resurrection
Thirsty Birds
Follow You Down
Sticks and Stones
Dead Line
Basement
Aim Small, Miss Small
Waiting For Gobbo

If you detect any formatting problems in your entry (or indeed entries) then PM me and I'll correct ASAP. The text laundering process can sometimes play malicious little tricks, which is half the fun of course.

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 Monday 31st October (Halloween!). 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 this 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, then select Thread Tools and Show Printable Version instead.

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


Last edited by dpaterso : 10-31-2016 at 02:38 AM.
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Old 10-24-2016, 02:46 AM   #2
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Default Re: Entries - Halloween 2016 contest

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SOMEONE TO CARE FOR EXT. FOREST - NIGHT Heavy snow falls on a deep forest. The storm sends strong winds that makes the snow spiral horizontally. In the distance, WOLVES HOWL. CLOSE ON STEVE, 20 something, panting, exhausted, not wearing the right clothes. He freezes. STEVE Wolves! LYDIA Oh, God! Steve has LYDIA's arm over his shoulders. Same age as Steve. She limps, every step she takes is a world of pain. Frozen tears over her face. STEVE We have to keep moving. LYDIA There! A house! Steve looks in the direction of Lydia's finger and she's right. There, in the middle of nowhere there's a cabin, nearly hidden behind the trees and the snow. Steve grabs Lydia and hurries. Wolves howl closer. EXT. HOUSE - NIGHT Steve leaves Lydia sitting on a rock, her leg stretched. She hugs herself for heat. He pounds the door with both fists. STEVE Help! Anyone! Please! -- There's nobody in here. More wolves in the distance. LYDIA (sobs) We are going to die. Steve reacts to that. He looks around, looking for something. There it is: a rock the size of his palm. He grabs it and gets ready to shatter the window. The door opens. SOPHIA, 65, a small lady with a candle in her hand, looks surprised at the strangers, who are no less surprised than her. INT. HOUSE - NIGHT Steve sits on a couch under a heavy blanket. Lydia lays down on the couch, resting her head on his knees. She's wrapped in a blanket. Her faces are lit by the warm fireplace. SOPHIA (O.S.) I don't usually use the fireplace but I guess I can make an exception. Sophia's slippers shuffle on the wooden floor. She comes from the kitchen with two cups of a warm liquid. Gives one cup to each. They enjoy the extra warmth in their hands. STEVE You saved our lives tonight. LYDIA Thank you, Sophia. SOPHIA Nonsense! I can always use some company, right? It's very lonely up here in the mountains. LYDIA You have no family? SOPHIA No. I am alone. The answer leads to an awkward silence. Lydia drinks from the cup. LYDIA Wow, this could rise the dead from the grave. What is it? SOPHIA It's a personal recipe. You need to warm up. STEVE It really works. Steve lowers the blanket to his waist. So does Lydia. SOPHIA Let me see that. Sophia inspects Lydia's leg. She grazes the knee and Lydia grimaces in pain. SOPHIA Mmmmh, mmmh. STEVE Are you a Doctor, Sophia? A nurse? SOPHIA No, no, no. My father was a herbalist. He taught me everything. LYDIA It must be hard up here all by yourself. Sophia shrugs. SOPHIA It's my home. I don't need many things. (trying to explain) I just keep the things I need. I like simple. LYDIA But when you grow older, you'll need someone to take care of you. You should go down to the city. Sophia thinks for a long time. SOPHIA I think about that all the time, dear. I wish I had a son or a daughter to take care of me... Lydia feels for Sophia. SOPHIA (smiles) Perhaps you two can stay here with me. Steve and Lydia laugh. After a few seconds, Sophia chuckles too. Steve caresses Lydia's hair. She kisses his hand. SOPHIA Are you married? Lydia giggles. LYDIA No! Well, not yet. (re: Steve) Maybe the gentleman can explain better. Steve smiles at Lydia. STEVE We are getting married this Summer. Lydia glows. Looks up at him. LYDIA Really? Are you sure? Sophia observes the couple as they discuss details. She then stands up, finds a box in a cabinet. She opens the box and takes some herbs from inside. Puts them in the cups. SOPHIA You should rest now. This will help you sleep. I hope you don't mind sleeping in the couch. STEVE Of course not, Sophia. Thank you so much. LYDIA Thank you. Sophia leaves the room. Lydia kisses Steve on the lips. INT. HOUSE - LATER The fire is still on. The flames tint the room with an orange flicker. Wind howls outside. Steve and Lydia lay down together in the couch, under the blanket. STEVE (whispers) You awake? LYDIA Mm-mmh. STEVE We've been lucky we found Sophia. LYDIA Yes. I feel so bad that she lives here all alone. STEVE You want to take her with us? Lydia punches Steve on the arm. LYDIA No! -- But I'd like to do something. A moment of silence. STEVE You know you look beautiful? With the fire and all. LYDIA Don't be silly. He kisses her neck. She moans lightly. STEVE I don't know if it's the near death experience but I find you irresistible tonight. Lydia looks deep into his eyes. A teasing smile. LYDIA Me too. They kiss. Kisses lead to touch. Clothes start flying. Before they know it they are making love passionately. We move slowly down the corridor, to Sophia's half closed bedroom door. Sophia is there, standing under the frame, hidden by the shadows, listening. A wicked smile. INT. HOUSE - DAY The sunlight pierces through the curtains, it's a beautiful day outside. Some SOUNDS in the kitchen, dishes and cups, wake Steve and Lydia up, still embraced under the blanket. He looks at her with loving eyes. She squeezes him. SOPHIA (O.S.) Good morning! Sophia enters the room with two steaming cups. Puts one cup in front of Steve, the other in front of Lydia. Sophia wears the same clothes as yesterday. She is in a very good mood. SOPHIA I hope you rested well. It was so windy. Steve and Lydia drink from their cups. LYDIA Good morning, Sophia. I slept like a baby. STEVE It was a great night. Sophia taps Lydia's belly and chuckles. She looks excited. SOPHIA I know, I know. Steve and Lydia look at each other for a beat. Lydia flushes. LYDIA Em... Did you see something last night, Sophia? Sophia sits on her sofa, drinks from her tea. SOPHIA Oh, dear. I saw everything. I see the herbs I gave you last night worked wonders. Steve freezes. Lydia looks at her cup. Then up at Sophia. SOPHIA Oh, dear, don't look at me like that. It's a personal recipe, all natural ingredients. LYDIA But-- Why? Steve's cup drops to the floor. His hand frozen as if still holding it. Lydia looks at him, his eyes wide open in terror. He falls back to the couch, his body limp. STEVE I-- can't-- move. Lydia jumps at him. LYDIA Steve! SOPHIA (pointing at his cup) That must be the poison. LYDIA What? SOPHIA Don't worry, dear, all natural ingredients. It's just Hemlock, it paralyzes your body but not your mind. After a while your lungs also stop. Lydia looks at her bewildered. Her lips form the word "why". SOPHIA (proud) It's what the Greek gave Socrates when he was condemned to death. LYDIA STEVE! She shakes Steve but he's not responding. A low moan coming from his lips. Drool dripping from his mouth. LYDIA Do something! Why did you do that? SOPHIA Oh, well, after last night I don't need him anymore. LYDIA What? Lydia looks at Steve. He's turning blue. His eyes look at hers, then drift to the door, and repeat. He's trying to communicate: run! Sophia stands up and as in cue, Lydia runs to the door, but forgets her wounded leg and screams in pain. She limps to the door and tries to open. Locked. Sophia leaves her tea on the table and stands up slowly. Lydia pounds the door, screams. LYDIA Let me out! Lydia suddenly feels dizzy, her vision becomes blurry. Her knees shake. Her body drops next to the door like a ragged doll. She still tries to open the door. POV LYDIA - as a blurry shape of Sophia walks slowly to her. SOPHIA Don't worry, dear. The kava is taking effect. You will sleep and feel so much better. Lydia can barely keep her eyes open. LYDIA Wh-- Why are you doing this? Sophia kneels in front of her and looks in her eyes like a grandmother. She caresses her hair. Lydia can't help it. SOPHIA Well, dear. You said it. I need someone to take care of me when I grow older. Lydia doesn't understand. Sophia taps Lydia's belly. SOPHIA And now I will have him... or her! Lydia's eyes widen in terror. She rises her good knee to her chest with her last strength. LYDIA I-- I'm not having a baby-- for you. Not-- not even pregnant. POV of Lydia, looking at Sophia stare into her eyes. The lights are fading into darkness. SOPHIA Oh, I hope you are, dear. Otherwise I won't need you anymore. FADE TO BLACK
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Old 10-24-2016, 02:54 AM   #3
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THE CLOWN FADE IN: INT. ALEX'S BEDROOM - NIGHT The room is dimly lit. Human skulls and grotesque masks are everywhere. Pictures of clowns cover the walls. A young teenager, ALEX BRAND, sits before a mirror, applying white makeup to his face. ALEX Don't mess with me. Don't mess with me. You'll hang from a tree. Hee, hee, hee. A lifelike doll, her chest ripped open, her pulsating heart exposed, her face disfigured, hangs from a hook on the wall. ALEX I am a poet. Hee, hee, hee. Alex paints an odd, distorted expression over his white makeup. ALEX And an artist. He paints the final touches and dresses in an outrageous clown costume, then poses in the mirror. ALEX And a clown. He pulls the doll from the hook, grins, then tears out its heart and tosses both in a wastebasket. Alex exits the bedroom, and makes his way downstairs. EXT. ALEX'S LIVINGROOM - NIGHT The front door creaks as Alex opens it. ALEX'S MOTHER(O.S.) (loud, hoarse) Useless, idiot clown. Hurry back. Alex turns and faces the stairway. A hideous old witch looks down from the top landing. This is Alex's Mother. ALEX Yes, Mother dear. As soon as I find what you need. EXT. HESTER ST. - NIGHT Residential houses line the street. Jack-o'-laterns rest in windows, but the street is empty, except for A YOUNG GIRL, 8, holding a bag and clutching her mother's dress. They stand on the sidewalk in front of one of the old houses. YOUNG GIRL Wait here, Mommy. I'm not afraid. Alex appears from the dark and startles them. YOUNG GIRL You creepy, ugly clown. Go away. Alex's face contorts into a hideous expression. YOUNG GIRL Mommy! Mommy! Mommy! ALEX Lucky for you your mother is here. He snatches the little girl's bag of treats, and disappears into the darkness. The Young Girl and her mother run in the opposite direction. EXT. MIDDLETOWN ROAD -NIGHT No street lights, no traffic. A pale moon provides illumination. The homes are far apart. A large old house on a low hill set far back from the street is especially spooky. A large, sinister jack-o'-latern sits in an upper window of the otherwise dark house. A pathway winds through shrubbery from the sidewalk to the house. EXT. SIDEWALK, HOUSE ON HILL - NIGHT Alex stands on the sidewalk, looking at this house. ALEX Perfect. Alex creeps halfway up the path and stops. He disappears into the bushes. SHORT TIME LATER A young girl, CARLEY, 7, dressed as a princess, and her brother JOSH, 9, in a Superman costume, stand on the sidewalk with their father, BILL, all staring at the house. BILL You both asked for something spooky this year. Let's go. CARLEY Daddy. Daddy. Let us go alone. JOSH I'm the man of steel. The Princess is safe with me. Josh flexes his skinny arms. BILL I don't know guys. They all stare at the sinister jack-o'-lantern in the window, JOSH/CARLEY We're not afraid. Please. BILL Oh heck. Superman, take care of Princess. Bill waves to his children as they walk along the path and disappear, hidden by the shrubbery. BILL Shout if you need help. ON THE PATH Carley and Josh approach the halfway point. Alex leaps out from behind the bushes, and grabs Carley by her neck. ALEX Quiet, Superman, or I'll break her neck. Josh lunges at Alex, but Alex is quick, and with his free hand punches Josh on the jaw. Josh falls to the ground while Alex carries Carley into the bushes. Carley bites Alex's hand and breaks away. Alex runs after Carley, but the ground beneath him opens and he vanishes. The ground immediately closes. Carley reaches Josh who is back on his feet. They both dash along the path toward the sidewalk. INT. BOTTOM OF DEEP PIT - NIGHT Alex kneels on a cushion of foam at the bottom of a pit. Sheer walls rise high on all sides, impossible to climb. The space is illuminated by dim light from an open doorway. Alex crawls to the opening. He peers into a horizontal shaft. WHISPERING VOICE (V.O.) Alex. I will save you. Alex crawls in. A clattering noise becomes louder the farther he moves into the shaft. When he reaches the end, Alex steps out onto a platform positioned high above the floor of a large cave. A conveyor belt leads from the platform to a large, noisy machine. LOUD VOICE (V.O.) I will save you. Long mechanical arms snatch Alex and bind his arms and legs, then place him on the conveyor. ALEX Mother! Help me, Mother! The conveyor slowly carries Alex, feet first, toward an opening in the machine. He struggles in vain to free himself. As he approaches the opening, he sees large steel blades rotating within the opening. His face becomes hideously distorted into a silent, terrified scream. Alex is slowly fed into the machine. His howls are heard above the grinding. A glass window on the side of the grinder, reveals what is happening within the grinder. The howling ceases when his head reaches the opening, but the grinding continues until we see that Alex is ground completely. The grinder stops. After a moment, the machine exudes a moist stream of Alex's remains into a large glass container. A mechanical arm locks the container in a chamber. The chamber begins to hum. A monitor shows the material being reconstituted back into a human being. The monitor goes blank before the transformation is complete. A short time passes and the chamber door opens. A young teenage boy, wearing a superhero costume, exits. This is NEW ALEX. EXT. FRONT PORCH, HOUSE ON HILL - NIGHT New Alex stands at the entry door. The door opens and a JOLLY OLD MAN appears. NEW ALEX Trick or treat. The Jolly Old Man places a hand full of candy into New Alex's trick or treat bag. JOLLY OLD MAN Onward, young superhero. Rid the world of evil. EXT. SIDEWALK, HOUSE ON HILL - NIGHT Carley, Josh, and their father, Bill, are talking to a POLICE OFFICER. New Alex approaches them. POLICE OFFICER (to New Alex) Did you see a guy in a clown costume. NEW ALEX No sir, I didn't. EXT. FRONT DOOR, ALEX'S HOUSE - NIGHT New Alex opens the creaky door and enters. INT. ALEX'S LIVINGROOM - NIGHT Alex's Mother looks down from the upper landing. ALEX'S MOTHER Where did you get that costume, idiot? New Alex stiffens, barely concealing his rage. NEW ALEX Don't you like it, Mother? ALEX'S MOTHER It doesn't matter, you moron. Did you bring me a young heart? New Alex walks up the stairs, flexing his hands. He approaches his mother. NEW ALEX No, Mother. But I can fix your old one. Alex's Mother steps forward. ALEX'S MOTHER You stupid, dumb, incompetent, worthless-- New Alex grabs her and forces her to the floor. He pulls a rope from his pocket and binds her. EXT. PATH MIDWAY - NIGHT New Alex unties his mother and rolls her along the ground, probing for the entry to the pit. INT. DEN, HOUSE ON HILL - NIGHT - SIMULTANEOUS The Jolly Old Man sits on a couch, watching a video monitor. ON THE MONITOR A dungeon filled with creepy clowns, witches, and vile creatures undergoing torture by fire and other painful methods. This is where irredeemable souls spend eternity. INT. CAVE - NIGHT - SIMULTANEOUS Alex's Mother is on the conveyor belt, cursing and screaming. She is fed into the opening, and the machine grinds her to pulp and her remains flow into a glass container which is placed in the chamber. INT. DEN, HOUSE ON HILL - NIGHT - SIMULTANEOUS The Jolly Old Man changes the channel on his monitor. ON THE MONITOR Alex's Mother exits the chamber, still a witch. TWO MUSCULAR MEN enter the cave. They carry Alex's Mother through a door labeled: Irredeemable Souls. FADE OUT
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Old 10-24-2016, 03:04 AM   #4
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LAST PATROL EXT. WOODS - DAY Two Union cavalrymen ride side-by-side on a narrow road. Leaves and tree limbs cover the way. The forest is a mix of naked and evergreen trees. Visibility poor. The debris crunches under the weight of the horses. SUPER: "Eastern Kentucky. December, 1864." Private SWEENEY, young Irish immigrant, takes a drink from his canteen. He sports a cloth green 4-leaf clover on his Union blue cap. Private TAYLOR, older and grizzled from the War, rides alongside. Scans the treeline for trouble. SWEENEY I think we're a wee bit lost? Taylor doesn't acknowledge. SWEENEY It'll be dark in a few hours. Taylor glances up at the sky. A pale full moon looks back. TAYLOR In a few. They ride further. SWEENEY You're quite the conversationalist. Three words in five hours. Taylor doesn't acknowledge. Sweeney stares at the old soldier. Opens his mouth to speak. Stops his horse. The sound of rushing water grabs his attention. Sweeney shakes his canteen. Puts it to his ear. SWEENEY My canteen is thirsty. Taylor stops his horse. Looks at Sweeney. TAYLOR Go ahead. I'll hold the horses. Sweeney springs off his horse. Hands the reins to Taylor. Scurries off toward the trees. TAYLOR Forget something? Sweeney returns, dumbfounded. Taylor pulls a canteen off his shoulder. Tosses it down to Sweeney. Sweeney smiles. Runs off again. Taylor sits on his horse. Enjoys the peaceful setting. Birds chirp. The wind gently blows. Brown leaves float by. Taylor pulls a plug of tobacco out from a pocket. Just enough, he pops it in his mouth. Closes his eyes. Taylor slowly chews. Savors it. Complete Nirvana. EXT. WOODS - DAY Sweeney ambles along a deer path through the thick woods. Looks around. Admires the tall pines and virgin hardwood. The path ends at the water's edge. A small water fall to the left drowns out the sounds of the world. Sweeney takes it all in. EXT. WOODS - DAY A twig snaps. The birds go quiet. Taylor slowly opens his eyes. Sweeny's horse stands perfectly still. Ears raised. Stares into the trees. Taylor slowly turns his head. Looks into the woods. The birds shoot off into the sky. Branches break. The horses skittish. TAYLOR Whoa, girl. Taylor pulls his pistol from the holster. Cocks the hammer. Sweeney's horse pulls free. Runs off. A low growl. Taylor's horse rears back. Taylor drops to the ground. His pistol falls from his hand. He scrambles, on all fours, to the pistol. Another growl. Taylor's horse gallops past. Taylor dives away. Grabs the pistol. Springs to his feet. Wide-eyed, he raises his gun. Shoots. A ROAR. Taylor screams. An ARM, its hand clutching a pistol, flies through the air. EXT. WOODS - DAY Sweeney kneels by the noisy creek. The rapid flow of water deafening. He fills his canteen. Sees a few minnows dart around in the water. He picks up a twig. Plays with them. Laughs. In the water his shadow is overwhelmed by a much larger one. The minnows flee. Sweeney slowly turns his head to look up. He screams. The water slowly turns red. A blue cap floats by. END
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Old 10-24-2016, 03:13 AM   #5
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MICHAEL EXT. CEMETERY GATE - NIGHT The moon backlights an ornate twisted wrought iron sign: FOREST LAWN CEMETERY, HOLLYWOOD HILLS. Two marble pillars glow iridescent on either side of the locked entrance. INT. GUARDSHACK - NIGHT A wall of TV monitors switch between grainy black and white images of grassy hills dotted with gravestones, tombs and a mausoleum. A blue hue flickers off the face of the petite security guard, JULIE(23) as she stares in earnest at one screen in particular. JULIE What the hell? She zooms in on a large tomb etched with "King of Pop" on the front. A dark figure in a fedora creeps toward the marble crypt, ducks behind it and disappears. MICHAEL JACKSON (V.O.) (Italics indicate Michael singing to tune of Thriller) It's after midnight and something evil's lurking in the dark. Julie looks around the room briefly almost as if she heard the voice. That was weird. She picks up a handheld RADIO. JULIE Hey Mack you there? MACK (O.S.) Yup. JULIE I got someone sneaking around Jackson's tomb again. MACK (O.S.) Yo, on my way. Moments later ON JULIE'S GRAINY SCREEN, a small golf cart circles into view. MACK(30), squeezes himself out of the tiny cart and shines his flashlight around. He goes behind the large tomb and vanishes from view. Julie taps her fingers on the desk impatiently. Nothing. JULIE (into radio) Mack? A garbled STATIC comes through on the radio. JULIE (CONT'D) Mack! Hello? (beat) What's going on? MACK (breathless) I'm here. Need you to come down and help with this clown. JULIE Yeah, okay. What's going on? MACK I'll fill you in when you get here. She scurries out of the room. EXT. CEMETERY - NIGHT Julie's flashlight beam bounces as she weaves between the tombstones. She stops at the golf cart and shines her light around it and then behind her on the tomb. JULIE Mack!? MICHAEL JACKSON (V.O.) Under the moonlight she see's a sight that stops her heart. The slab of marble on the back of the tomb is slid aside to reveal a large black opening. JULIE Mack? MALE VOICE (MACK? Sounds different) Down here Jules. She shines her light inside and sees a set of stairs carved in stone leading under the tomb. INT. TOMB - NIGHT Down the stairs she creeps into a darkened room. JULIE Mack? I don't like this. Mack! She tries to scream, but something takes her sound before she makes it. She starts to freeze, as horror looks her right between the eyes. She's paralyzed. Her flashlight illuminates the limp and bloodied body of Mack swinging from a noose. MICHAEL JACKSON (V.O.) Cause this is thriller. Thriller night. No one's gonna save her from the beast about to strike. She's fighting for her life inside a killer. Thriller tonight. She hears the door SLAM and realizes there's nowhere left to run. Footsteps CLICK down the darkened stairs. Julie trembles and wonders if she'll ever see the sun. She quickly scans the room for a place to hide. The famed oxygen bed Michael loved is along one wall, lined with satin sheets and covered in a plastic lid. Empty. She climbs inside and flicks off her light. She closes her eyes and hopes this is just her imagination. But she hears the CLICK and TAP of the footsteps creepin' up behind. She's out of time. A small lamp is turned on. Julie cowers in a fetal position in the bed, eyes scrunched tight. A white sequined glove opens the lid. A hand gently strokes Julies hair. She is frozen with fear. JULIE Please, don't hurt me. Please let me go. That voice again. MICHAEL JACKSON (O.S.) They're out to get you, there's demons closing in on every side. They will possess you unless you change the number on your dial. JULIE My dial? She opens her eyes slowly. JULIE (CONT'D) Michael? MICHAEL JACKSON, in the flesh, wearing his red leather thriller jacket that nicely accents his red glowing eyes. Soft Jheri curls frame his perfect youthful face. MICHAEL JACKSON Now is the time for you and I to cuddle close together. All through the night I'll save you from the terrors on the screen. I'll make you see. That it's a thriller, thriller night. Cause I can thrill you more than any ghost would ever dare try. Girl this is thriller, thriller night. So let me hold you tight and share a killer, chiller, thriller here tonight. JULIE But you're dead. You died. MICHAEL JACKSON No Julie, I found a way to live forever. No tabloids. No TMZ. No cruel rumors. No bullies. I'm with my imaginary friends every night. Julie sits up now and flips her legs over the side of the bed. She BONKS her head on the plastic lid raised behind her. JULIE Ouch! (beat) God, what's that stench in the air? MICHAEL JACKSON The funk of forty thousand years of grisly ghouls from every tomb. Michael GYRATES his hips to the subtle sound of Thriller in the background. Julie looks at his hips in disgust. JULIE What are you doing? (beat) You faked your death? MICHAEL JACKSON Julie, creatures crawl in search of blood to terrorize your neighborhood. JULIE Enough with the singing! What about Mack? Did you kill him? You freak. What is wrong with you? Michael shakes his head and SPINS into his famed dance moves. He leans in and kisses Julie. She is suddenly dazed and in some weird trance. MICHAEL JACKSON And whoever shall be found without the soul for getting down, must stand and face the hounds of hell and rot inside a corpse's shell. Michael's sequined glove glitters as he reaches to assist Julie up. She stares vacantly into Michael's eyes. JULIE (flat) Mack never could dance. The music of Thriller comes up loudly now in the tomb. MICHAEL JACKSON Grisly ghouls from every tomb are closing in to seal your doom. JULIE No. I don't want to stay. She tries to pull away and her skin slides from her arm where Michael grabs her. Pus and blood ooze from the site. She looks up and her eyes BLAZE RED and lock with Michael's. MICHAEL JACKSON Though you fight to stay alive, your body starts to shiver. For no mortal can resist (beat) THE EVIL OF THE THRILLER!
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Old 10-24-2016, 03:35 AM   #6
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DEMON SQUAD: RESURRECTION FADE IN: INT. UNDERGROUND SEWER TUNNEL - NIGHT Old brick walls, stained with damp. Light comes from flickering ancient lamps set in the ceiling. A bandaged EGYPTIAN MUMMY shuffles past, and continues along the tunnel. A guy dressed in black tip-toes after the Mummy. His name's HORST. His grim expression says he means business. Horst grabs the Mummy from behind and twists its head off, a brutal SNAP. The Mummy collapses into a pile of bones and old bandages. Horst looks around, making sure no one saw or heard. He crouches down and starts pulling away the bandages. He finds the Mummy's hand and removes a silver ring from one of the fingers. He holds the ring up and examines it with interest. He sniffs a bandage strip. Eww, stinky. He starts to wrap the bandage around his own head, making himself into the Mummy. INT. ARCHED DOORWAY - NIGHT A huge, hairy CHEWBACCA lookalike and a KNIGHT in armor with lowered helmet visor guard the door. They perk up as the Mummy approaches. It looks as if they might stop the Mummy... But the Mummy holds up his hand, showing the silver ring. Chewbacca pushes the door open. The Mummy shuffles through. INT. ENTRANCE CHAMBER - NIGHT The Mummy enters through the arched doorway. Chewbacca and the Knight stay on guard, their backs to us. The door slowly swings shut, hiding them from view. Close on the Mummy. Horst's eyes flick left and right. INT. CONFERENCE CHAMBER - NIGHT A long table with chairs on either side, plus extra chairs at each end. The chairs are occupied by people wearing Halloween costumes. There's a Frankenstein Monster... a fanged Werewolf... a pointy-hatted Witch... a reptilian Creature from the Black Lagoon... a white-sheeted Ghost with black spots for eyes... a fanged Vampire in a stylish black and red cloak... a green-skinned Zombie with ripped, bloody clothing... a Ninja assassin in a black suit and ski mask... a Pumpkin-headed guy with weird long fingers... a grinning-faced Skeleton made of bones... and a huge Gorilla, who sits at the head of the table. They have one thing in common, they all wear a silver ring like the one Horst took from the dead Mummy. Members of the same club. The Gorilla turns his head as the Mummy enters. GORILLA You're late! Take your seat. The Mummy (Horst) shuffles to the table and sits down, he's at the other end of the table, facing the Gorilla. GORILLA Now that we are all present, I call this annual meeting of the Dark Brotherhood to order. WITCH Once again, I move for that outdated name to be changed. Given that there are three in this chamber who do not qualify as "brothers". The Gorilla face-palms. GORILLA Jesus H. Christ, Lizzie, do we gotta do this every goddamned year? WOLFMAN Three? The Creature and the Ghost raise their hands. CREATURE Raaarrrgggg! GHOST I'm trans but I identify as female. The Skeleton also raises a hand. SKELETON Asexual, here. No boner jokes please. The Gorilla bunches his huge fists, trying not to pop a vein. GORILLA Okay, okay. If we have time, we'll put the name change thing to a vote. We're wasting the one night of the year we can move freely among the humans. WOLFMAN Who never suspect the truth, until it is too late! Everyone at the table throws their heads back and laughs uproariously. Or, depending on what they are, they snarl or hiss. VAMPIRE I had a snack on the way here, as I am sure you all did. She became amorous, and asked me to take out my fangs. Take out my fangs! More laughter and hissing! Horst, disguised as the Mummy, is the only one who isn't amused. The laughter dies away. GORILLA First item on the agenda. Territorial disputes. Desmond, you have a complaint to put before the Dark Brotherhood? The Witch opens her mouth to say something but the Gorilla holds up a warning finger, she shuts her mouth. WOLFMAN Damn right I do. The goddamn zombies won't stick to their own turf. They've been raiding into ours, killing our livestock. Turning them into their own foul kind. ZOMBIE Oh, the lies. It is wolves who raid zombie territory. WOLFMAN You stink and you taste foul, we can't eat your dead flesh, why would we raid you? GORILLA Why indeed? This sounds like a no-brainer. (to Zombie) Do you deny encroaching upon the werewolf quarter? ZOMBIE Zombies do not raid wolf territory. GORILLA The punishment for territorial infringement is clear. The offending group must forfeit a portion of its territory, and the leader of the offending group must pay the harshest penalty. The Gorilla signals. An armored Knight steps out of the shadows, holding a huge broadsword. The Knight moves to stand behind the Zombie and raises his broadsword, ready to strike. The Werewolf grins savagely, this is just what he wanted. ZOMBIE Why zombies always face injustice? The Gorilla makes a chopping motion with his hand. The Knight brings his broadsword down onto the Werewolf instead, shattering his chair and bursting him wide open. Gore spatters. GORILLA The Dark Brotherhood sees everything. The Dark Brotherhood knows everything. Twenty percent of the werewolf quarter will be ceded to the zombie community, to do with as they will. VAMPIRE Such is our law. GORILLA Item 2 on the agenda. Giant squids from the Pacific Ocean depths have applied to join the Dark Brotherhood. Your thoughts? FRANKENSTEIN MONSTER Do we really want Cthulhu spawn sitting at this table? GORILLA They do worship the Old Ones but it's my understanding that they are not Cthulhu spawn, per se, but an Earth-evolved aquatic culture in their own right. PUMPKIN HEAD GUY Can they physically manifest themselves here? The chamber would have to be flooded. WITCH Magics can be worked to provide a contained ocean environment. CREATURE Raaargg uurrgh! WITCH You're am amphibian, you can function perfectly well on land as well as in your own lagoon. (to Gorilla) The squids do possess arcane knowledge that would be useful to us. GORILLA Then we shall take a vote. Those in favor of the giant squids of the Pacific Ocean joining the Dark Brotherhood, raise your hand. Or any appendage. INT. UNDERGROUND SEWER TUNNEL - NIGHT The remains of the Mummy that Horst killed. Chewbacca's huge hairy feet step into shot. The deception is discovered! INT. CONFERENCE CHAMBER - NIGHT GORILLA Next order of business-- A Knight leans down to whisper into the Gorilla's ear. The Gorilla listens, then dismisses the Knight. GORILLA It seems an infiltrator has been found. The Gorilla stares directly at Horst. Beneath the table, Horst's hand reaches into loose bandages and pulls out a Heckler & Koch MP5. WITCH An infiltrator? GORILLA She was caught while trying to sneak into our lair. Our guards are bringing her here now. Horst's eyes widen, they're not talking about him. The doors fly open and two armored Knights drag in CINDY, painfully pretty but with eyes as hard as steel. She struggles to get free but the Knights are too strong for her. The Vampire likes what he sees, he licks his lips in anticipation. VAMPIRE How strange that a human would wish to come to us, instead of fleeing for their life. GORILLA Strange indeed. (to Cindy) You have dared interrupt the proceedings of the Dark Brotherhood. You will explain yourself, or suffer the consequences. CINDY Screw you, Harambe. WITCH If it pleases the chair, I will work my magic on her. She will experience such pain that she will beg for death, and tell us everything. VAMPIRE There is no need for such barbarity. The Vampire stands and glides over to Cindy. He smiles. His eyes glow. Cindy tries to look away, but she's mesmerized by his power. VAMPIRE Tell me who you are, my dear, and vy you haf chosen to risk your soul by violating the sanctity of the Dark Brotherhood? HORST (Austrian accent) She's with me. Cindy's eyes flick to Horst. She recognizes that voice! Horst stands, his Mummy bandages tumble off him. He points his MP5 at the Gorilla. GORILLA Another infiltrator! Tell me, do you think your puny human weapons will actually work against any of us here in this chamber? The creatures all have a good chuckle. Horst pulls back the MP5's slide. HORST I always load up with silver bullets when I go hunting on Halloween. The Gorilla's eyes widen. Eek! DAKA DAKA DAKA! Horst sprays bullets everywhere. The Witch shrieks as she's shredded, the Pumpkin head explodes, the Skeleton comes apart, the Ghost spatters the walls with green mucus ectoplasm. Cindy butts the Vampire, he reels back and knocks heads with the Ninja, stunning him. Cindy elbows both Knights in their visors, snatches the Ninja's sword and decapitates him with a swishing stroke! The Vampire holds up both hands in surrender. VAMPIRE No, vait-- Swish! His head tumbles through the air, eyes wide in shock. The hissing Creature from the Black Lagoon lumbers at Cindy, claws reaching for her. HORST Watch out for the poison claws! Cindy side-steps and the Creature staggers into the two Knights, bowling them over. Cindy grasps the sword with both hands and stabs the Creature in the back, skewering it. It screams, sinks to its knees, pitches over. The Gorilla runs for the door, Horst tracks him and shoots, the Gorilla cartwheels into a stone pillar and sinks down, leaving bloody smears. The Frankenstein Monster flips the table over and charges at Horst -- who runs out of bullets! Click-click! Horst throws the empty MP5 at the Frankenstein Monster, who swats it aside like a fly and grabs Horst by the throat. Horst struggles with the huge hands but can't get free. He knows he's going to lose. The Frankenstein Monster grins horribly. He knows he's going to win. Something shocks the Monster, his eyes widen, his grin vanishes. The Creature's severed hands are stuck into his neck -- the poison claws buried in his reanimated flesh. The Frankenstein Monster's eyelids flutter. He lets go of Horst, who only just manages to step aside before the Monster collapses like a falling tree, making a hell of a noise. Cindy throws the sword -- the blade enters the visor of the Knight with the broadsword, who was about to attack them. The Knight collapses. Cindy helps Horst, who's weakened by his struggle with the Monster. CINDY Come on, let's get out of here. They run to the door and exit the chamber. INT. UNDERGROUND SEWER TUNNEL - NIGHT Cindy and Horst jog along. FREEZE FRAME. SUPER: DEMON SQUAD INT. CONFERENCE CHAMBER - NIGHT The Chewbacca lookalike stands in the doorway, staring at the devastation and corpses. He tilts his head back and roars at the heavens: CHEWBACCA RAAAARGH! (English subtitle) Vengeance! FADE OUT
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Old 10-24-2016, 04:35 AM   #7
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THIRSTY BIRDS EXT. DESERT OIL FIELD - SUNSET Orange and red clouds swirl in the sky to the distant horizon where they snuff out the last remnants of daylight. The fading light silhouettes hundreds of pumpjacks as they undulate up and down and devour the desert landscape. In the foreground, a golf cart sits next to a shiny black Mercedes, both parked in front of a lone portable office. INT. OFFICE TRAILER - NIGHT BEN (30), a doughy man with ruddy cheeks that match his flannel shirt, takes notes at a small fold up table. He looks up at JACK (55) a man who surely just stepped off the pages of Outside magazine with his bronzed skin, crisp shirt, bolo, and a belt buckle as big as Texas. JACK Food's in the fridge, water buffalo out back, bed over there. (beat) Replacement comes the first. A month is a long time. Don't let the isolation get to ya. Questions? BEN No, sir. I'm actually looking forward to the quiet out here. Ben is cheerful and chatty as he takes books out of his bag and stacks them on the desk. BEN (CONT'D) Got a ton of stuff to study. Gettin' my GED. Kind of a late bloomer and all with the whole prison thing... well, you know. (beat) Anyway, I appreciate you giving me this job. No one else would. Just want you to know I'm turnin-- JACK (glares) I HATE slackers. Ben stops and looks up. Awkward. Jack smooths each side of his mustache. Silence. BEN Yes sir. JACK I hired you to watch my `thirsty birds' and land. Nothin' more nor less. Ben is confused. BEN Birds? I thought-- JACK Pumpjacks, nodding donkeys, thirsty birds? OIL RIGS. I see they learned you a lot in that school. BEN I must have missed that. JACK Folks think they got this easy gig here. It's a twenty-four seven job. I don't have much patience and I've no problem thinnin' the herd. Pride myself on it actually. Nothing but the CREAK of stiff leather as Jack shifts his weight in his fancy boots. BEN (nervous) Lot of trespassers? Out here? JACK Boy, you would be surprised at the crooks hangin' round here. BEN Right, I just thought so far out and oil rigs. Huh. JACK Just keep an eye on my "birds" and we will get along fine. Any problems call me. Number's there. BEN Oh yeah, I need to char-- Ben pulls a charger from his bag and plugs it into wall. JACK No service. Land line. Jack nods to an old black rotary phone on the wall. He abruptly turns to exit. JACK (CONT'D) See you next month. The door slams and Ben watches out the window as the Mercedes drives away in a cloud of dust. The pumpjacks bob in the moonlight and look like large pecking Ravens. Ben rubs his eyes and looks again. Yes, THEY ARE LARGE PECKING RAVENS. He clamps the blinds shut. INT. OFFICE TRAILER - LATER Ben is in bed but wide awake. We hear the THUMP and GROAN of the pumpjacks outside. They sound vaguely like the pumping of many hearts. Thump thump. Thump thump. EXT. OIL FIELD - DAY From the trailer we see the faded golf cart leave a snake of dust as it moves between the large oil pumps in the distance. On Ben as he drives the cart. Sweat and dirt coat his face. His chest POUNDS into the steering wheel as he slams to a stop. The cart nearly tips over. BEN What the? He gets out and rubs his chest but stares intently at something up high. And then to his right and left. Swinging around we see the large beak end of a pumpjack moving up and down with a skeleton attached to the tip. Human? It sways gently with each oscillation of the beak. Scanning farther out we see another skeleton moving up and down. And another. And some that look more... solid? BEN (CONT'D) What kind of animal... He walks toward the pumpjacks that dangle the solid beings from their beaks. Flies swarm him and Ben bats them away. He gets close and we see they are human bodies in various states of decay. The buzzards peck and tear at the flesh. The pumpjacks continue to rotate oblivious to the carnage dangling from them. Ben spews vomit into the parched earth. He scans the desert. Nothing but hundreds of pumps driving their beaks toward the earth. No sign of the office. Ben wipes the sweat with his arm and fumbles for his cell. Still no coverage. He takes several photos as he runs back to his golf cart. Ben vomits again before he speeds off. From above and intercut with shots of Ben in the cart we gather he is going in circles and totally lost. The fear in his eyes is real and we see the pumps have become large Ravens again. BEN (CONT'D) Just dehydration. Dude, snap out of it. Hallucinations...not real. He swigs the last of the water from his bottle then slaps himself on his cheeks. The perpetual HEART BEAT sound of the pumpjacks gets louder. EXT. OIL FIELD - LATE AFTERNOON The sun dips in the sky and the pumps cast long shadows on the sand that appear to rip flesh from a shadow carcass. In the background a golf cart engine whines to turn over. And again. BEN Sh**! He gets out and kicks the dead cart. EXT. OIL FIELD - NIGHT The sound of a lighter and a small flame flickers giving life to a cigarette. Ben takes a long drag as he sits in the sand. The moon lights up the ebony pumps as they HEAVE in the night around him. The THUMPING sound now relentless and maddening. BEN Shut up! He grabs his ears and writhes in the dirt and quietly sobs. A large SCRAPE. Like a bulldozer blade across the desert floor. The earth RUMBLES. Ben stops. Another large SCRAPE from behind. Ben twirls around and the moon shines on several pumpjacks now much closer than before. Their beaks that normally dip just above the ground now POUND and SHAKE the earth. They become large Ravens again. JACK (O.S.) I told you to watch my birds. They get real thirsty out here. BEN (panicked) Thank God you're here! I got lost and we need to call the police! There's dead people hanging. A killer. JACK (O.S.) You learn about Karma yet? BEN What? Did you hear me? We need to call 911! JACK (O.S.) Following as effect from cause. BEN What are you-- More SCRAPE of metal on earth. Ben SCREAMS. BEN (CONT'D) What is that?! Something's grabbing me? Hey! Help! Ben is snared by the beak of a pumpjack, now a giant Raven. He undulates up and down with the loud THUMP of the machinery drowning out his screams. Thump thump. Thump thump. We move up and down in the air with Ben and see Jack step into view below. His white cowboy hat reflects the moonlight. Almost serene. JACK Destiny. Or fate. Karma. BEN You're crazy! Let me down! I haven't done anything to you. JACK No, not me. Karma's much bigger than me boy. Jack strolls off into the night.
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Old 10-24-2016, 04:43 AM   #8
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FOLLOW YOU DOWN FADE IN: INT. SALES OFFICE - DAY Salesperson JIMMY hunches over his desk, picks through a stack of forms. Photos of family crowd his workspace, maybe not real, pilfered from the web. Awards line the walls, some hang crooked, dust showing. RANDY fidgets across the desk from Jimmy. JIMMY So you went for the full package? Randy grins, ready to talk. RANDY You only go around once. I'm in for the whole thing. JIMMY Smart guy. Jimmy zeroes in on a page. JIMMY (CONT'D) Now this here. You can cancel in the next three days. You know, legal stuff. RANDY I'm ready to do this now. No reason to cancel. Jimmy displays the smile. JIMMY You're good, bro. Just need you to initial. Jimmy slides the paper to Randy, hands him a pen. Randy scribbles, pushes the page back. RANDY Now what about-- JIMMY --Your plan covers it. You paid for the deluxe. No need to worry. Jimmy makes a face. RANDY Something wrong? Jimmy shifts in his chair. JIMMY Not at all. Did they talk to you about the family plan? Randy leans back, waves his hand. RANDY The wife, she wasn't interested. You know-- JIMMY --Woman stuff. Yeah, tell me about it. Jimmy straightens the papers, stands, holds out his hand. Handshake. JIMMY (CONT'D) Looks like you're good to go, dude. RANDY So-- JIMMY --Have a seat in the waiting area. Won't be long. INT. WAITING AREA - DAY Sterile music wafts through the room. Mostly empty, two others wait in chairs, children's blocks and toys decorate a corner. RECEPTIONIST files her nails behind glass at the front. Aquarium fish gape in dull surprise at the people waiting. Randy pretends to read a flop-eared magazine. He scans the room, the receptionist catches his eye, slides open the glass. RECEPTIONIST Doing okay, sir? RANDY A little nervous. RECEPTIONIST I understand. Is there any way I can help? Randy hesitates. RANDY I was wondering, you know, if... Receptionist smiles. RECEPTIONIST I understand. My brother-- RANDY --Your brother? RECEPTIONIST That's why I work here. If you could see the difference-- RANDY --See the difference. That's what I've heard. But for me would it be the same? RECEPTIONIST Your experience may differ. RANDY Lawyer talk. Receptionist rolls her eyes. RECEPTIONIST Part of the manual. What they tell me to say. RANDY I understand. RECEPTIONIST Someone will be with you shortly. A door opens to the Waiting Area. SUZIE smiles at Randy. SUZIE Sir. Are you ready? RANDY Umm. SUZIE Please come with me. INT. HALLWAY - DAY Randy follows Suzie down white tiles to a steel door. SUZIE Now or never. Randy waves his hands. RANDY Now. How many times I gotta say it? Suzie smiles, slides open the door. INT. PIT ROOM - DAY A large, open room, racks with shoes pushed against a wall beside chairs. In the center the floor disappears, darkness fills the void. Suzie selects shoes from a rack. SUZIE Size eleven. You need to put these on. Randy takes a chair, changes his shoes. RANDY Just for information, how deep is that thing? Wondering, that's all. Suzie smiles. SUZIE Proprietary information. But I can say you should arrive in about six seconds. So if you can do the math... RANDY Can't do the math. SUZIE We don't get many Einsteins. Randy stands, hands his old shoes to Suzie, rubs his hands. RANDY So. They walk to the side of the floor opening. SUZIE Be careful. Don't want you falling in. Randy winks at Suzie. RANDY You know you're a bit of a smartass? SUZIE Not sure what you're talking about, sir. Whenever you're ready. RANDY Okay. Good to go? SUZIE You're good. Take a good jump so you don't bump the sides. RANDY No problem. SUZIE Okay. One, two-- Randy jumps forward, falls. Suzie lifts her head, listens. As seconds pass, a THUD is heard, then GURGLING. Suzie lights a cigarette, takes a drag, walks away. FADE OUT
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Old 10-24-2016, 04:50 AM   #9
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STICKS AND STONES EXT. BUNGALOW - DAY In the front yard of a small, neat bungalow, Lil Thompson (60) smiles. Tim Junior, or T.J. (6), a freckle-faced mess of scabs and stains, runs to her. LIL How's my favorite grandboy? TJ corrects her with a pout. TJ I'm your onliest grandboy, Grammy! LIL Still, you're my favorite!... Sugar, go wash up. Your mama called and ask if you could stay with me and Grampy tonight. I got up extra early to make you pie! Lil shuffles TJs hair. He scrunches his nose, runs off. Next door, Virginia HARRING (68), her hair an unnatural red, looks up from her tidy garden, shakes her head. VIRGINIA The things we won't do for our kids. You don't know how lucky you are to have a grandbaby. LIL (sympathetic head shake) Honey, this must be an awful time of year for you. VIRGINIA Yes and no. You find ways to find comfort after loss. PASTOR DAN (55) pushes a sleeping, elderly woman in a wheelchair on the sidewalk on the other side of the road. PASTOR DAN I missed y'all yesterday! I gave a special sermon in honor of our poor missing sheep. I spoke of how someone must sacrifice for our-- Lil and Virginia hurriedly interrupt him and rush off. LIL VIRGINIA My stew is going to burn! I think I hear my phone-- INT. THOMPSON HOUSE - NIGHT MARTY THOMPSON (63) sits at the table in police uniform and badge that says "Mt. Pleasant Police Department, Chief." He is faraway, his blue eyes troubled as he stares at his food. TJ Grampy? Did you hear me? Are you even listening? Lil puts a hand on Marty's arm. He comes back to the present. LIL (to Marty) Hon, mind your manners. We've got our grandbaby here! Now TJ, tell us about what you did today? TJ We digged at Mrs. Harring's house. MARTY You mean you dug at Mrs. Harring's. TJ We found a secret hole in the fence and we scooted through and did some dinosaur digging.. LIL (distracted) Marty, hear that? A hole in our fence? I hope she didn't mind you crawling around back there. (to Marty) Come on, hon. Listen to the boy. Marty clears his throat, looks at T.J. MARTY Mr. Harring was a real geologist you know. He used to dig dinosaur bones. Find anything good? T.J. nods eagerly. TJ Yeah, a few dinosaur bones and some sticks and stones. Wanna see? LIL Later, sugar. Let's clean up these dishes and get to the good stuff. Guess who made peach pie? INT. THOMPSON HOUSE - NIGHT In bed, Marty stares at the ceiling. Lil turns to him. LIL Honey, what's wrong? Why are you still up? MARTY Halloween's just around the corner. LIL Yes, it happened last year and the year before that-- MARTY I just can't believe it's been ten years since Reedy McGraw went missing on Halloween night. On my watch. Neither hide nor hair seen since. He scratches his face in thought. MARTY (CONT'D) Kid was what, all of 26? Lil rubs a hand gently on his arm consolingly. LIL I'm sorry baby, I know it's a burden on you. Those poor souls.. (sighs) Speaking of unfair, I saw Virginia today. She talked about Danny. Can you imagine-- suicide? That was on Halloween, too. MARTY I wonder-- LIL --Sug, you've toyed with every possibility. Sometimes you don't find the answers. MARTY I just hate retirin' without solving the worst thing that ever happened to this town. LIL As Pastor Dan says, it'll all come out in the wash. INT. POLICE STATION - DAY DEPUTY RICE greets Marty at his desk, hands him a wrapped gift box which Marty opens. He holds up to silver sticks. MARTY What the hell are these, Rice? DEP. RICE Their knitting needles. That's what my grandma did when she retired-- MARTY Thanks Rice. Maybe I'll knit you a a nice cap to hide that crappy hatchet job the barber did on ya. DEP. RICE Sticks and stones-- MARTY Yeah, yeah. .. Hey Rice. You know the Reedy McGraw case and the Forrester case are exactly ten years apart tomorrow? Rice scratches his head, looks worried. DEP. RICE- You don't think there's gonna be another one this year, do ya Chief? MARTY I sure as hell hope not. MONTAGE: MARTY AT STATION WORKING THE CASE --Marty works at his desk. --Marty looks at microfiche. --Marty looks through old files in the file cabinet. INT. VIRGINIA'S HOUSE - NIGHT Virginia opens her door, surprised to see Marty. VIRGINIA Well hey, Marty, come on in. Marty enters the spotless home: plastic covers the furniture and lampshades. Agatha Christy novels in a neat rows on a book shelf, on top is a shrine-like display of a dozen eight by ten school portraits of a boy aged five to fifteen. Virginia sits, observes as Marty glances at a photo. VIRGINIA (CONT'D) Not a day goes by that I don't miss him. (picks up knitting) But what can I do for you tonight? MARTY I've been doing some research on the missing persons, seeing as how I'm on my way out the door, you know, retiring next week. The Reedy McGraw case. And the Louise Forrester case. I actually came here to talk with you about the case. VIRGINIA What do you want from me? MARTY A few nights ago it occurred to me that the two missing persons, McReedy and Forrester... they were your students. Is that right? VIRGINIA (with small laugh) To answer your question, about half the adults in this town were my students at one time or the other. MARTY Weren't they also in class with your Danny? Virginia looks up from her knitting, frowns in thought. VIRGINIA You know, when you came I was just fixing to pour tea. Shall I pour you one too? MARTY Don't mind if I do. INT. THOMPSON HOUSE - NIGHT Lil tucks TJ in bed in a small bedroom. Faded baseball pennants and aged bureau show this room was used years ago. LIL It's fun sleeping in your Daddy's bed, huh? Don't let the bed bugs bite! TJ Don't forget to look at the dinosaur bones I dugged up! LIL (corrects him) I dug up. TJ No, I dugged them! Lil laughs, tsks, and picks up the small box T.J. points to as she turns out the lights and leaves. INT. VIRGINIA'S HOUSE - NIGHT We hear Virginia fix tea in the kitchen. She brings out glasses on a platter, hands one to Marty, takes the other. VIRGINIA Ah! Ain't that some fine tea, if I do say so myself! Where were we? Ah, yes, as a matter of fact they were classmates in fourth grade with Danny. As I recall your Timmy. He was in Danny's class, too. MARTY Do students keep in touch with you? VIRGINIA Oh sure, all the time. MARTY `Cause in the notes, I found an old interview by Mrs. Forrester, Louise's mother. She mentioned that Louise told her that she was going to get together with you. VIRGINIA Yes! You are right, she did! Louise did come by. INT. THOMPSON HOUSE - NIGHT Lil opens the shoe box and moves around the contents: several sticks, pebbles. She sees something silver, picks it up. It is a human tooth with a silver filling. She drops it. She's about to close the box when she sees a four inch bone. She drops the box in horror, spilling contents. Her hands fumble as she dials a number on the phone. LIL Marty? Pick up Marty! INT. VIRGINIA'S HOUSE - NIGHT Marty's phone rings. He ignores it. He appear sleepy, stands. MARTY I don't feel well. INT. VIRGINIA'S HOUSE - BEDROOM - NIGHT Virginia guides Marty to her bed. He collapses. VIRGINIA Come lay down a second sugar. MARTY I feel so... I can't feel my legs. Virginia disappears, comes back with rope and ties his wrists to her bedposts, and begins to undress him. MARTY (CONT'D) (confused) What are ... what's happening-- VIRGINIA Actually, Louise had that same tea. Don't worry, it just puts you to sleep. Very merciful. No evidence in an hour. She shakes her head. VIRGINIA (CONT'D) You know, Louise wasn't that same sweet gal they made her out to be at her funeral. No sirree. And Reedy McGraw, him too. He drank some tea with me too. Oh, but Lordy, was he heavy! I got to hand it to you Marty. You're pretty smart. But I think I'll get the last laugh. Marty's voice is weak, confused. MARTY Why, Virginia? Why did you do this? VIRGINIA My sweet Danny. He was teased mercilessly by those kids. Sticks and stones may break my bones but, oh words are the worst. Virginia glances at a bedside photo of Danny. VIRGINIA (CONT'D) The day that child died, a part of me died. Someone had to pay. Those three brats, they killed my Danny just as sure as if they'd taken a gun to his head themselves. But I knew those kids would never pay. Timmy, he was on my list for tea tomorrow, you know. But you'll do. Marty lays naked, barely conscious. Virginia removes her shirt, and slips out of her skirt. VIRGINIA (CONT'D) I hope you know what a favor I'm doing, sparing your Timmy. Like Pastor Dan is fond of sayin', somebody has to pay, right? You're the sacrificial lamb. I feel bad for Lil, but people need a good love triangle now and then. It's not the way I planned to go, but what the hell. Virginia shrugs and gets in bed with Marty. He closes his eyes. She purses her lips, tsks. VIRGINIA (CONT'D) Typical man! (removes a gun from bedside) The things we do for our kids, I tell you! FADE OUT WITH GUN SHOT
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Old 10-24-2016, 04:56 AM   #10
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DEAD LINE EXT. STREET NEAR MALL - DAY Two friends exit from the Mall main entrance carrying several shopping bags. They talk cheerfully. ALICE, 21, long blonde hair, pretty, good style. And BECCA, same age, dark hair, same style. They could be sisters. BECCA Are you sure you don't want me to drop you home? ALICE Becca, stop being nice to me, I'm going to be fine! Your house is the opposite way. BECCA I know, Alice, but-- Alice takes Becca's hands in hers. Looks into her eyes. ALICE I'll be fine. I'll take a taxi. Becca sighs. She tried at least. She kisses Alice on the cheek. Suddenly she remembers. BECCA We didn't take the photo! ALICE Sh**! Thank God you remembered! Alice takes her phone from her purse and points it at them. The girls pose like models. Then Alice takes a photo of Becca and Becca takes a photo of Alice. SNAP! SNAP! SNAP! The girls laugh. BECCA Call me if you need me, will you? ALICE Come on, go! Alice hits Becca's bum with her bags. They laugh. Becca leaves, looking back one more time. Signs "call me". Alice waves her good bye. Her smile quickly fades as Becca turns the corner. She takes her phone and reviews the photos. Her face goes WHITE IN TERROR. On the screen, the last image of Alice. Instead of her model pose, she sees her disfigured face turned into a bloody mess, her blonde hair torn from the skull, smashed against the road, the mouth unnaturally open, the white eyes looking at the camera. Dead. Alice screams and throws the phone away, she stumbles to the ground, all her shopping scattered on the sidewalk. CLOSE ON THE PHONE. The screen is cracked but the horrible image stays there. Some people look at her but nobody helps. Alice looks around, embarrassed. Picks up her phone and bags and runs. INT. ALICE'S BEDROOM - NIGHT Alice is on her bed, completely covered in blankets, shivering. Her eyes fixed on the phone, resting on the table. The phone buzzes. And buzzes. And buzzes. CLOSE ON THE PHONE and the horrible image of Alice. Under the cracked glass a notice of 7 messages and missed calls from Becca. Alice quick breath relaxes a little. She looks around. Slowly gets out of the bed, the blanket still around her. She walks slowly to the phone. Picks it up. Alice looks at the image and her strength fades. She starts sobbing, unable to control herself. ALICE Oh, God, what is this? Her trembling fingers try to dial a number. Suddenly a LOUD SERIES OF KNOCKS on the door. Alice jumps, startled. She walks to the door. Looks through the peephole. It's Becca. She opens the door. BECCA Alice! Sh**, I have called you a hundred times. I thought-- Becca realizes the terrible look of her friend. Alice cannot talk, just cry. BECCA Alice? What happens? I knew I shouldn't leave you alone! Alice seeks refuge in Becca's arms. ALICE (voice broken) No-- No-- I have to show you something. INT. CAFE - NIGHT Alice and Becca sit on a table in front of two steamy cups of coffee. Alice is exhausted. Becca looks at the image on the phone. BECCA I don't understand. This must be a bad joke. ALICE No... I don't know. I cannot delete it, the phone doesn't let me. Becca looks at the image, concerned. ALICE And look at this. Alice takes the phone with shaking hands. She shows the properties of the image. ALICE The image was taken at 2am, today. That is in half an hour! This hasn't happened yet! BECCA Sh**. What does that mean? Alice starts sobbing. ALICE I think I'm gonna die! BECCA Sssh, don't say that. Don't-- wait a minute. Becca inspects the photo closely. Alice tries to control herself. BECCA This is not you! ALICE What? BECCA This is not you, silly! Look! Becca shows the image to Alice. Points to one corner. BECCA See? You can see a bit of her jacket. It's green. ALICE It's green. BECCA You hate green! ALICE I hate green! Oh, my god. Alice looks at the image. It's true. The girl in the photo is wearing a green leather jacket. BECCA I mean. This is horrible and whoever this is-- but it's not you. Alice's color return to her face. She even smiles. A ton removed from her shoulders. And then the color fades as quick as it came. Her breathing stops. Her eyes widen, fixed on something. ALICE'S POV: a girl just payed at the counter and is leaving the cafe. She's RACHEL, long blonde hair, 20 something, pretty, good style. She looks a lot like Alice. And she wears a green leather jacket. Alice looks through the cafe window as Rachel exits the door and walks down the street. Alice pushes the table aside, picks up her phone and runs after her. BECCA Alice! Wait! EXT. STREET NEAR CAFE - NIGHT Rachel puts up the lapels of her green jacket up as she walks down the street. Alice runs desperate after her. She waves and calls. ALICE Hey! You! Please, wait! The one with the green jacket! Wait! Rachel looks sideways at Alice and doesn't like it. She walks faster. Alice runs faster. Becca exits the cafe and runs after them. ALICE Hey! I have to tell you something! Rachel is blocked by a red traffic light. She turns around and faces Alice. RACHEL What do you want? I don't have any money, okay? Just ****ing leave me alone or I'll start shouting. ALICE No, no, you don't understand. You are in great danger. RACHEL What? ALICE If you don't listen to me, you'll die tonight. Look! Alice raises her phone so that Rachel can see the horrible image on the screen. She gasps in horror. Rachel steps back, looking around, scared. RACHEL Please, somebody help me! This woman is threatening me! ALICE No! No! I'm trying to help! Rachel turns around and runs. She doesn't see the heavy truck coming right to her. The heavy thud and the sound of broken bones is chilling. Becca catches up with Alice and sees Rachel falling to the ground. She covers her mouth, in shock. Alice extends her arms. ALICE Nooooo! Rachel falls to the ground. Her disfigured face turned into a bloody mess, her blonde hair torn from the skull, smashed against the road, the mouth unnaturally open. She's dead. The empty eyes stare at Alice. Alice's knees tremble and give way. She cries. Alice looks at her phone. Her sobbing stops instantly. CLOSE ON THE PHONE: the image of Rachel is gone. Instead, there's an image of another woman. Her dark hair is damp. Her throat is cut open from ear to ear. Blood everywhere. Her empty eyes look at Alice. It's Becca. Alice's eyes dart to Becca, terrified. She looks back at Alice, scared, knowing that something is very wrong. The lights of an ambulance flicker in the distance. THE END
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