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Old 04-03-2017, 04:05 AM   #1
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Default SCARE ME! entries

6 entries... no make that 7 now... if any more trickle in, I'll add them to the thread and insert UPDATED! into the thread title.

Untitled #1
Day 112
The Keys
Adreneline
Johannes Misert
Swampland
ANDROID-VALENTINE

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

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.

Shout if you find any formatting problems with your entry! They all looked pretty clean to me, I didn't have to do too much tidying. Note that cuss words are asterisked out by the board's potty mouth filter, I've tried to make what was said more clear.

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 : 09-05-2017 at 03:41 AM.
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Old 04-03-2017, 04:16 AM   #2
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Excerpt from a 86 page screen play with three paragraphs added to give reference EXT. ISOLATED BEACH - NIGHT A few beach houses dot the landscape just above the high tide mark and the woods. Not mansions but middle class family accomodation on a third rate beach. One, a small one of maybe three rooms sits apart from the others. The bach (as they're known locally) has been closed up for the winter. Plywood shutters stopping burglars or vandals. Right now though, the shutters, one on each wall are being held closed. By people, weary, frustrated and frightened looking people. We don't see what's inside. Yet! EXT. NORTH WINDOW - NIGHT Sam is dozing, his head rests against the plywood shutter, both arm rest above his head, like he's being crucified, legs far apart for balance. JIMMY (O.S.) Sam? You there Sam? Sam jerks awake and rams both hands against the shutter. SAM Yeah. JIMMY (O.S.) You're doing... good... work out there y'know man? SAM I know it. JIMMY (O.S.) You're not letting me out are you? SAM Nope. JIMMY (O.S.) Good. Good. This thing that's got me is dangerous Sam... f*cking dangerous. You've got no idea what it'll do if it gets loose. Sam looks surprised at the candor. SAM How dangerous? There is a pause. JIMMY (O.S.) Don't let it out Sam. It'll f*cking slaughter all of you. That'll just be an entree. It'll chew up your family, your friends, everything you know. It'll make the world a wasteland. There's weary fear in his voice. SAM What is it Jimmy... really? There is silence. SAM (CONT'D) What is it? Are you a...a...? JIMMY (low and slow and sly) A what Sam? Go on Sammy, say it? SAM Are you a demon? JIMMY (Laughs) A what? Common man... You've been watching too many bad movies Sam. (hypnotically) I'm just Jimmy, you should let me out. It's safe. Let me out, it'll be OK, it'll be good: I'll be good. SAM Liar! I can't trust anything you say. JIMMY Can't you trust anything I don't say? Yeah I'm a demon Sam, straight from the inner circle of Hell. You know I am. SAM Bullsh*t! No! Why would a demon bother with us? JIMMY You want the truth? Sam snorts. SAM Truth? JIMMY Truth. I was just passing and heard Emmy call with the Ouija. Pure dumb luck. SAM Just Passing? JIMMY Sh*t happens Sam. Pure dumb luck. Good for me, bad for you. Sometimes you pick the right numbers and win lotto, other times you're on the wrong plane screaming as it falls from the sky. No God, no devil, just plain dumb luck. Silence; Sam considers this. Several times he looks about to pose a question, each time he seems to come up with the answer himself. Finally he just shakes his head. JIMMY (O.S.) (CONT'D) What about the others Sam? SAM What about them? There is another pause and a scuttling sound, like dogs claws on wood. JIMMY (O.S.) Well you're big and strong ...you're a leader... Hell, you've got your sh*t together. I know I'm not getting past you any time soon. SAM Yeah! You're f*cking not! JIMMY (O.S.) What about them? Can you really trust them when things get tough? SAM Yeah I can... they're sh*tting bricks over you. They want you right where you are. JIMMY (O.S.) Scared? SAM Terrified. JIMMY I like that. It makes me feel all warm and tingly inside. INT. CABIN - NIGHT In the darkness all we can see is an eye and a sliver of face. It's not so much Jimmy anymore. There is silence then a really evil, very grubby chuckle. EXT. NORTH WINDOW - NIGHT Sam stares at the wall/chuckle. JIMMY (O.S.) In fact I think I'll go talk to them instead then. Sounds more productive that this conversation. There comes the noise of long nails on wood again. Suddenly Sam comes fully awake when he realizes what he's done. He bangs on the shutter with his fist. SAM No. Jimmy? No! Jimmy get back here. Jimmy?! Jimmy talk to me... Guys, look out, he's coming! Sam looks around frantically. He goes to leave his window but doesn't/can't. He gets to the point where just his finger tips are touching the wood. He is torn between staying and going to help his "weaker" companions. SAM (CONT'D) Who's he talking to? Guys? Who's Jimmy talking to? Don't listen to him. Amy? Colin? Clare? Jimmy? Sam becomes increasingly agitated. SAM (CONT'D) Who's he talking to? F*ck! There are muffled negative answers from around the corner. Briefly his fingers loose contact with the shutter. SAM (CONT'D) No... no, speak up... who's he not talking to? Amy? AMY (O.S.) No. SAM Colin? Is that bastard talking to you? COLIN (O.S.) No man. SAM Guys don't listen to him okay. Silence. Sam's fingers finally lose contact with the shutter as he stretches out to look around the corner. BANG!!! Beside Sam the shutter flexes as it's struck from within. His fingers bend back painfully. He jumps and stumbles and the shutter starts to swing open... Something dark and evil emerges from the shadows. Sam leaps up and drives the shutter closed with his shoulder, fighting against whatever's within. Then he rests against it, breathing heavily. He tests his injured fingers, they work but he winces at the pain. There is a gentle tapping from within that attracts his attention after a moment. JIMMY (O.S.) Almost gotcha didn't I lover boy? You really think you can keep this up til dawn? Silence. Sam just looks relieved that he was able to close the shutter. He is trembling. JIMMY (CONT'D) What scares you Samuel? SAM Nothing. JIMMY Nothing? SAM That's right! And sure not you. I guess that's where you're heading? JIMMY (O.S.) Me? Why should you be scared of me... hoppy, der Ubergymp? There's no reason for you to be scared of me is there? And yet... I think you are. I hear it in your voice. SAM Piss off Jimmy! JIMMY (O.S.) There's only one group of people who don't feel fear Sam, are you in this elite group? SAM Yeah! I'm not f*cking scared. JIMMY (O.S.) Only stupid people aren't scared Sam. They lack the imagination to conceive anything outside their limited experience that might tear them limb from limb. (beat) No reaction? Sam I'm impressed. SAM I'm not scared, you're starting to bore me. JIMMY (O.S.) Well okay dude, I'm off for real this time. Do you believe me? Honestly. I'm going. Now. Would I lie to you? You can relax now Sammy. Going... Going. Really. Sammy I'm going. Manic laughter... then claws scuttling away on wood. Sam listens, trying to tell if Jimmy has really left. EXT. FRONT DOOR - NIGHT Clare is sitting with her back against the door looking tired and frightened. She heard the commotion around the corner and doesn't know what's happening. She's hugging her knees. JIMMY (O.S.) Hey Clare babe. CLARE Get away from me. She shudders as though something has run down her spine. JIMMY (O.S.) Don't be like that. You didn't used to be like that, you were somebody I could count on. Silence for a while. JIMMY (O.S.) (CONT'D) So... how are things? CLARE "Things?" JIMMY (O.S.) You know, things... stuff. It's been a long night, you doing alright out there? CLARE "Alright?" Brief pause. JIMMY (O.S.) You're just repeating everything I say Babe. Bet your Daddy brought you up better than that. CLARE You leave my Father out of this. INT. CABIN - NIGHT A shaft of light falls across the room. Jimmy smiles, that's all we see; at first. A cockroach scuttles across the floor when a hand lashes out grabbing the insect. We hear CRUNCHING sounds and a soft belch. JIMMY (quietly) Run, run, flee for your lives. He leans against the door, exhausted. And twitches again. EXT. FRONT DOOR C/U - NIGHT In the moonlight dozens of insects flee the cabin, under the door, past Clare's arse and out into the grass. EXT. FRONT DOOR - DAY The sounds are at the limits of hearing outside, even so Clare catches something and moves her head to hear better. CLARE What are you doing in there? JIMMY (O.S.) Truth? I'm thinking about you Clare. Naked. A look of distaste crosses her face. She bites her lower lip. JIMMY (O.S.) (CONT'D) Cut off Jeans laying on the floor. A white T-shirt crumpled beside it. Panties caught around one ankle. Ohhh babe you are sweating. Your hair's plastered to your face... and you're biting your bottom lip. She stops biting her lip as though stung. Jimmy chuckles. JIMMY (O.S.) (CONT'D) There's little beads of sweat across your brow Clare, hot animal sweat. You're panting like crazy Clare, you can't control yourself. (deep breathing) You writhing around, your legs are wrapped around me, your fingers are clutching deep into the carpet. Ohhhh Baby don't fight it. You know you love it. You're making little piggy grunts babe (ugh-ugh- ugh(pig squeal)). I thought you were saying stop but you were saying harder, harder HARDER HAAARRRDDDDEEEERRRR JIMMY!!!!!!! DO ME...DO ME... DOOOO MEEEEEEEEEEEEEEEEEE!!!!!! CLARE Shut the f*ck up, you bastard! JIMMY (O.S.) Clare! Don't speak like that. (her father's voice) Clare looks shock, angry and indignant. CLARE Don't you... Shut up! JIMMY (O.S.) Common Clare. Don't start playing the prude. It called for the blood of a virgin to carry me here; it wasn't you they came for! Yeah, it was Emmy; which surprised the f*ck outta me. Now Clare; why is the f*ck wasn't it you? (end excerpt)
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Old 04-03-2017, 04:20 AM   #3
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DAY 112 FADE IN: EXT. CITY STREETS - DAY The sidewalks are empty. Cars have been abandoned. There's no sign of people. No sign of any kind of life. A newspaper is blown around by wind. We catch a glimpse of a headline, END OF THE WORLD? The newspaper moves on. No other movement. EXT. CROSSROADS - DAY A MAN in a biohazard suit, kinda like a spacesuit, stands in the middle of the street. Let's call him The Spaceman. It's as good a name as any. He waits there, motionless. For a long time. OVER THE STILLNESS: An electronic BEEPING, like a slow pulse. BEEP BEEP BEEP CLOSER ON THE SPACEMAN He holds an electronic gizmo in one hand. Like a chunky iPhone with a direction-finder hoop attached. BEEP He moves the gizmo slowly to his left. BEEP He moves the gizmo back to in front. BEEP He moves the gizmo slowly to his right. BEEP BEEP The Spaceman frowns. He moves the gizmo to the left again. BEEP He moves it to his right again. BEEP BEEP He quarter-turns to his right so he's facing that direction. BEEP BEEP His face, visible through his helmet visor, shows surprise. He checks the gizmo, fiddles with buttons. BEEP BEEP He looks in that direction again. BEEP BEEP His curiosity is piqued. He walks in that direction. EXT. DESERTED STREET - DAY They're all deserted. A faint BEEP BEEP The spaceman steps into view around the corner of a building. BEEP BEEP He looks around. Nothing to be seen. Just more abandoned cars. BEEP BEEP He consults his gizmo. BEEP BEEP As if it's trying to convince him something's here. He stares at a particular car. Its doors lie open. No one inside, it seems. BEEP BEEP But something is setting off the gizmo. He makes his way to the car. He pauses halfway. Looks around. Nothing. Dead streets. Dead city. He continues to the car. He stops at the car, bends down, peers inside. He jerks back, horrified. IN THE CAR A blonde-haired kid sits in the passenger seat. Or she used to be a kid. She's dead now, face shriveled, eye sockets empty. Her mouth is open in a silent scream. The Spaceman stares at the dead little girl. In her thin hand, a phone. In a cute bright Pikachu/Pokemon case. The Spaceman moves his gizmo closer to the phone. BEEP BEEP BEEP BEEP He pulls the gizmo away. He reaches in and takes hold of the phone. But the dead little girl won't let it go! He tugs, then tugs harder, then TUGS HARDER and pulls the little girl over onto her side. But he got the phone. He stares at it. BEEP BEEP He throws the phone down on the ground. And he stamps on it. He stamps and he stamps and he stamps. Until the phone lies shattered. BEEP The Spaceman stands there, his head bowed inside his helmet. BEEP His shoulders shake. BEEP After about 30 seconds of silent sobbing, he raises his head. Blinks tears from his eyes. Lets out a long sigh. BEEP He takes another gadget, a recorder, from his belt. He touches this to his helmet. THE SPACEMAN (CONT'D) Day one hundred and twelve. Mid afternoon. BEEP THE SPACEMAN (CONT'D) Another contact that turned out to be nothing. A dead child's phone. Battery almost exhausted. Sending out an intermittent signal. Picked it up on the scanner. He looks around, up and down the street. BEEP THE SPACEMAN (CONT'D) Will continue my sweep of this area. If I don't find anyone, I'll cross the bridge. See if I can find anyone alive over there. There has to be someone. They can't all be dead. BEEP THE SPACEMAN (CONT'D) I have enough food supplies for another four, five days. It's water that's the problem. The entire city's supply is toxic with contamination. BEEP THE SPACEMAN (CONT'D) I hope to God it rains soon. I hope it rains and washes all the filth away. I hope it rains so hard it cleanses the world of its sins. The Spaceman returns the recorder to his belt. He sets off down the street. The long, lonely, empty street. BEEP BEEP BEEP getting fainter and fainter. CUT TO BLACK: BEEP The End
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Old 04-03-2017, 04:25 AM   #4
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"The Keys" Whirlpool of leaves ahead as we beat our way down this old moneyed avenue... We don't know who "we" are yet... the dream is crystal clear, we can see a pavement with black puddles from the recent storm. Either side, the quiet and stately old town houses form up like tombstones. This neighborhood is eerie as hell... it's as though nobody lives here. Rooms behind yellowing net curtains, old windy garrets. INT. PSYCHIATRIST'S OFFICE - DAY The room is quiet and dark, behind the oak desk the PSYCHIATRIST, nestled in the shadows, is smoking a cigar, over his shoulder a net curtain furls on the breeze from the open sash. PSYCHIATRIST Rained all day yesterday, came down like daggers. PATIENT That's Boston for you. PSYCHIATRIST You said you'd lived in L.A. PATIENT I've lived in many places, but I prefer the old towns, they keep their secrets. PSYCHIATRIST That's what interests you... secrets? PATIENT Everybody has them. We're in the dream again... walking past the stone tigers up moss covered stone steps... a hand reaches before us, extending slowly towards the lock, a BRASS KEY gleams, finds the old lock and CLICK... FLASHFORWARD The hallway, otherside of the door, we pan in, moving between police officers, a detective stands over an oil spill of blood, something is in an adjacent room, but the blood has made it under the door, into the hallway. Red and blue lights bounce their lurid beams off the walls, fear and chaos haunt the scene. DETECTIVE We got another one... that makes it- PATIENT (V.O.) Five. INT. PSYCHIATRIST'S OFFICE The breeze stirs the curtains... the psychiatrist leans forward, a strong face, square, not what we'd expect, the eyes dark, lacking that weasel intelligence. PSYCHIATRIST You said something about receiving the keys in white envelopes, in the mail? PATIENT I never said that I received them in that way... I said that I kept them in white envelopes afterwards. PSYCHIATRIST What was the whole envelope thing about then- PATIENT So I could label them. I would write the address on the envelope. We're in the dream but we don't know 'when' this is, we could be in FLASHBACK... or FLASHFORWARD. We seem to be hovering in an uncertain time. Similar neighborhood, old houses, there's snow on the ground, whoever "we are", we pass over the pavements in silence, stalking.... like a cat. At the gateway to the old mansion, we stop, unblemished snow leads up to the house, we approach in silence, padding on the snow, as we reach the doorway, two very old ornamental gas lamps either side, an iron eagle, wild eyes above the lock, the hand slowly extends, we see the gleam of the BRASS KEY... PSYCHIATRIST You never get beyond the doors, huh, in your fantasy you just see the hand and the brass key enter the lock? PATIENT Who said they were fantasies? PSYCHIATRIST Dreams, your dreams perhaps, they end- PATIENT These are not dreams, I SEE AND FEEL EVERYTHING... I AM REAL. PSYCHIATRIST How do you know? ... erm, how can you tell? PATIENT You can always tell the difference between a dream and even a waking dream, and it was not either, what did you refer to last time we met? a "light daytime hallucination". PSYCHIATRIST I'm sorry, but we're digressing- PATIENT Anyway, I never said that I didn't go inside. I saw the entire scene. The psychiatrist exhales, a foam of smoke hangs in the air between him and the patient. PSYCHIATRIST You were there... before the police, before even the detectives? PATIENT That's a disgusting habit by the way. PSYCHIATRIST Let's keep to the subject. PATIENT Sure... I was there. PSYCHIATRIST You saw the victims... the reports said they were cut up and several were without a head. PATIENT I'll come back to that. I can see you particularly enjoy those details. The psychiatrist staggers to his feet, he appears to have a slight limp or something... easing out of his tall black chair he creeps back into the gloom of the room and rests against the windows ledge. The patient remains in the darkness, a blinding white lamp makes no impact on his face. Sullen beams enscribe a circle on the oak table. PATIENT You seem to be in some kind of pain. PSYCHIATRIST I'll be okay, I just have to stretch now and again. PATIENT You haven't asked me about the keys. PSYCHIATRIST Which particular detail, I know that they were brass, they all seemed to be the same... which is- PATIENT Odd. Don't you think. PSYCHIATRIST Many fantasies, waking dreams... repeat the same detail, it's often a kind of trope, or metaphor. PATIENT I said that I was there- PSYCHIATRIST The background changes, the people, the street, the color of cars, a new suit, pinstipe, not grey but the metaphor remains, a kind of marker- PATIENT I- said- that- I- was- there. The patient utters these words like they are poison, dripping off his lips. The psychiatrist is noticably perturbed. PSYCHIATRIST Of course.. of course... let's work from there... then, the premise, or reality even of your being in-situ, that it's not a dream or.... delusion. PATIENT That would be much more sensible. PSYCHIATRIST You wanted to discuss the keys? PATIENT I wanted to discuss how I "received them". PSYCHIATRIST Received. PATIENT Yes... received. The patient reaches into his breast suit pocket and removes something, we can only see the ghostly white of his hands in the gloom, the hand reaches forward and places a BRASS KEY on the table, the clink of the heavy key breaks into the heavy atmosphere... PSYCHIATRIST Where did you acquire that key? PATIENT The same way I acquired each of the five other keys. They just appeared. PSYCHIATRIST Appeared, you mean, like the dagger in Macbeth, perhaps? PATIENT You're not taking this seriously enough, you should be taking it seriously. PSYCHIATRIST Continue... PATIENT I found the keys... PSYCHIATRIST Found? PATIENT They appear in different places. PSYCHIATRIST Where...exactly? PATIENT Exactly, precisely, you like precision don't you, well... in an old drawer. This particular key appeared in my writing desk. PSYCHIATRIST An old key perhaps, you'd forgotten where- PATIENT Always the same sketicism, disbelief, it was not there the day before. Or any of the days before that. PSYCHIATRIST You seem to see that as particularly significant? PATIENT They knew I'd look there. PSYCHIATRIST They... who is 'they'? PATIENT Whatever the powers are behind all of this. PSYCHIATRIST We'll come back to that. You said you went into the houses. This is new. PATIENT It's not new... I just held it back in our first four or five sessions. Back in the dream... the house stands out, old gables, the middle of a wood, back from the road... PATIENT V.O. I always know how to find them. We are approaching the old house. Strikingly similar to the others, old, musty, centuries of families and secrets, keeping its secrets behind old yellowing curtains. PSYCHIATRIST V.O. The houses? PATIENT V.O. Yes... I just jump into my car and drive... and when I get close... I know... this is the house. Hand extending and the BRASS KEY smoothly slips into the lock. The door opens and years of musty air wheezes out, escaping into the sunlight. We walk into the house, along a creaking hallway, stuffed animals and old paintings on the oak walls, and then we see the DOOR. PSYCHIATRIST V.O. How did you know which room to go to? PATIENT V.O. I don't know, I can sense it, I am being directed. PSYCHIATRIST V.O. Directed? The psychiatrist's voice is nervous. The door begins to open... PSYCHIATRIST V.O. Where did they find them, just inside the door? PATIENT V.O. Every single one was in the same place. PSYCHIATRIST V.O. Did this one have hands, they said, in some of those reports, that they had no hands? PATIENT V.O. You shouldn't believe everything you read in newspapers. The door is open and on the floor we see- We're suddenly back in the gloom of the psychiatrist's office. The sash blows inwards and the patient is chuckling to himself. PSYCHIATRIST I never expected that. PATIENT You weren't listening properly during our first sessions. PSYCHIATRIST There was nothing at all, no body... not even any marks or scratches? PATIENT You sound so disappointed. Tell me, do you speak to any of your fellow practioners about this interest of yours for morbid- PSYCHIATRIST Let's not get too personal. PATIENT I bet... PSYCHIATRIST And so what did you conclude? PATIENT I picked up an newspaper in a hallway, close to where one of the bodies was found. PSYCHIATRIST And what is the significance of that detail. PATIENT To discredit your fantasy or what would you call it... dream theory. PSYCHIATRIST I don't follow. PATIENT The newspaper had the date on of course. It read Tuesday 5th, 1937. The breeze blows stronger, the sash rattles. Rain. PSYCHIATRIST What of it... PATIENT They didn't find the bodies until one month later, they'd been murdered, according to the autopsy at some point in the last 48 hours, they had not been moved... or deposited there. PSYCHIATRIST But you could have informed the police afterwards, you may have- PATIENT I had been telephoning the police for months, I was 'Anonymous' in those lurid press reports... I'd visited those houses many times before, you see. PSYCHIATRIST You went back? PATIENT Many times... I couldn't sleep, I was compelled to enter those houses. Compelled. I found nothing, I never understood. PSYCHIATRIST Until the press reports came out, it would have been hard to miss those, especially in this county, we don't get events like that happen up here very often. PATIENT The last time was in 1888 to be precise, I've researched all serial murders in this county. We sense the patient is smiling through the shadows. PATIENT And discovered that in 1887, an anonymous caller plagued the police for a whole year about the location of five bodies, he said that they would be found in the streams in the county, he listed the locations on a map he sent in with an X. PSYCHIATRIST That rings a bell with... PATIENT A dog walker found the bodies of five women, stripped naked and under the water, just 12 months later. Nobody ever heard from the caller again. (Continued in next post)
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Old 04-03-2017, 04:26 AM   #5
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(Continued from previous post.) Silence. PATIENT You're stunned because... PSYCHIATRIST I know... okay, I get it at last... you... you weren't even born. The curtain waves in the strong breeze, a heavy rain storm is breaking outside in the din. PATIENT I'm beginning to visit several deserted woodchip mills, high up in the county, perhaps you'd like to accompany me. A low and ominous roll of thunder, very distant. The curtain waves. FADE OUT. THE END.
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Old 04-03-2017, 04:29 AM   #6
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ADRENALINE INT. CAR - DAY ELLY, skinny little girl, she looks younger than her 12 years old. She has long straight hair and glasses that cover most of her face. She wears a sports tracksuit and trainers. She's absolutely focused on the science magazine she's reading. Her mom, MRS. WILDE (35) peeks at her through the rear mirror, intrigued by this passion for science. She has the same skinny features as her daughter. MRS. WILDE What are you reading, Elly? ELLY Mom, if there was an accident and I was trapped under a car, what would you do? Mrs. Wilde is surprised by the question, but she looks used to them. MRS. WILDE Well, I would lift the car with my own hands and rescue you. Elly seems very satisfied by the answer. ELLY Uhm, very interesting. MRS. WILDE Because you are my special girl. Elly grins at her mother through the mirror. ELLY Am I? MRS. WILDE (a worried smile) More than you think, sweety. Elly doesn't hear those words, because the back seat door opens and TOMMY (12), in his school uniform, sits next to Elly. He looks taller for his age and has a mop of hair that covers his eyes like a Shepherd dog. There's something off about him. Elly puts the magazine aside. TOMMY Hey Elly. Mrs. Wilde... MRS. WILDE Hi, Tommy. You don't attend the athletics competition? TOMMY I'm not allowed. MRS. WILDE Oh. The sharp answer shuts Mrs. Wilde up, so she focuses on the road. TOMMY Are you ready? ELLY Yes! I'm going to crush Patricia. TOMMY You mean Patricia is going to crush you. As always. ELLY Not this time. I have a secret weapon. TOMMY What secret weapon? ELLY You. TOMMY Me?? ELLY Remember what you told me the other day? TOMMY (low voice) Elly! That was a secret! ELLY (to Mrs. Wilde) Mom, Tommy has a secret so scary that he cannot tell anybody. Tommy goes white. MRS. WILDE Very good, sweety. ELLY (to Tommy) See? Nobody cares. The car arrives to the school. Elly leans over her mom and pecks her on the cheek. ELLY Bye, mom. MRS. WILDE Go get them, Tiger. Elly takes her magazine and leaves, followed by Tommy, who is still annoyed by Elly's loose tongue. EXT. SCHOOL / SPORTS STADIUM - DAY Elly and Tommy walk side by side. She shows him the magazine. ELLY You see? It's called adrenaline. (she reads) Adrenaline plays an important role in the fight-or-flight response by increasing blood flow to muscles, output of the heart, pupil dilation, and blood sugar. TOMMY I stopped listening after "plays". ELLY It means that when you are scared or in danger, you turn into a superhero or something. Elly bends down to double check her shoelaces. TOMMY You think that's why superheroes can fly and be so strong? (interesting) Anyway, I don't see how I'm your secret weapon. ELLY We'll, this is the plan-- PATRICIA (O.S.) Elly, I'm surprised you even showed up. Elly looks up to PATRICIA, a bull of a girl, much taller and stronger than any boy in her grade. She looks down at Elly, with scorn. ELLY We will see, Patricia. Maybe today you'll have to eat those words coming from your big mouth. Patricia is surprised by the answer, she's used to people fearing her. Tommy tries to be invisible. ELLY Anyway, may the best win. Elly stands up and shakes Patricia's hand. Patricia makes a face. She looks at her hand: it's full of mud from the ground. She grabs Elly by the shirt and rises her fist. COACH (O.S.) Patricia! You are next. Patricia stares at Elly. She puts her down on the ground. She doesn't need to say a world to feel the threat. She walks to a white line, grabs a heavy exercise ball and throws it to the other side of the field. She looks at Elly, defiant, punches the palm of her hand. COACH (O.S.) Impressive, Patricia. You may have broken your own record again. TOMMY Are you crazy? This is gonna be your end. And maybe mine. ELLY Not after I win this thing. TOMMY But how? COACH (O.S) Elly, you are next! Elly and Tommy walk to the white line. She whispers in Tommy's ear, a bit too close for his comfort. ELLY Your super scary secret. I want you to tell me. Scare me. For the adrenaline. I will throw the ball further than anyone. Tommy's face goes white. TOMMY You crazy? You don't know what you are asking. This is no game. ELLY I'll do anything you want. I'll do your homework for a week. TOMMY No, no, forget it, there's nothing you can do-- ELLY I'll show you my boobs. Tommy rises an eyebrow. What? TOMMY You don't have boobs. ELLY I'll go to the cinema with you! Any film you want. Like a date? Come on, scare me, please! Tommy thinks for a moment. That's actually something he would love to do. TOMMY Okay. I'll do it. ELLY (she glows) Really? TOMMY Step back. Give me a second. Tommy turns around. Elly looks at Patricia, who snaps a stick in two. She swallows hard. Grabs the sports ball with difficulties. She looks at Tommy's back. Something is happening to him. His body contorts and he seems to grow a few inches. His bones seem to snap and crack. Elly's eyes grow wide. Tommy turns around. His face is full of hair, his teeth have turned into huge fangs, his fingers are now ended in sharp claws. The roar from his throat is inhuman. Elly screams to the top of her lungs. But then something happens to her. Her eyes turn yellow, her skin turns blue, her arms and legs fill with huge muscles and scales, she suddenly grows up to 9 feet high, her elastic tracksuit stretching to its limits. She throws the ball outside the stadium, a tiny speck in the sky. Elly looks at her own huge hands. Tommy's jaw hits the ground. The students and the coach scream in panic and flee the place, Patricia at the helm, pushing students aside, terrified. ELLY Awesome! Tommy looks at Elly, who towers over him, impressed and happy to find someone like him. They both look at the empty sport fields. TOMMY I think they show Teen Wolf at the Paramount. ELLY Yeah, sure. I like fantasy movies. Both monster-kids look at the empty stadium. THE END
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Old 04-03-2017, 04:33 AM   #7
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JOHANNES MISERT EXT. BANK BUILDING -- DAY Blustery wind, swirling clouds. A hulking bank building, once the pride of the crumbling town, imposes its will on the empty street below it. At its base, ALLEN CRIMP, gaunt, 40s, overcoat flapping in the wind, glares at his wristwatch. He paces restlessly. He stares up at the stonework of the brick building. Gargoyles stare back at him. He squints as he re-reads the faded sign ... JOHANNES MISERT SECURITY BANK -- EST 1884 An old pickup truck rounds the corner and parks in front of the bank. It diesels to a stop as FRED GIBBERT, 60s, rotund, exits and limps up to Allen. FRED You must be Mr. Cripp -- ALLEN -- Crimp. FRED (nervous laugh) Couldn't read my own writing. I was supposed to meet you -- ALLEN -- an hour ago. FRED Yes. And, uh ... ALLEN Can you just open the door, Mr ... FRED Gibbert, Fred Gibbert. (moving to door) I used to handle the maintenance here and -- ALLEN -- Yes, I'm aware of that. Fred has a large ring of keys, and is trying them one by one on the padlock that connects the chain across the door handles. FRED I'm sure one of these fits ... A few more keys and then ... FRED Ah, there it is. INT. BANK BUILDING -- CONTINUOUS The sun filters in through he shades. Inside, an eerie silence. Furniture still intact, under a thick layer of dust. The date on the teller's displays read "June 7, 1979." FRED They just chained her shut and sent everyone -- ALLEN -- I'm behind schedule. Please direct me to Johannes Misert's office so I can get out of this ... uh ... so I can go. FRED His top floor office or his vault office? ALLEN Vault office? FRED Down in the basement. That's where he spent most of his time. He liked it quiet -- people made him nervous. (pause) Or so I'm told. Allen pulls out a yellowed sheet of paper, squints down at the scribbling on it. ALLEN My client gave me this safe combination and -- FRED -- The combination to the vault? No one has that. Fred gapes at the paper as if it's a snake. ALLEN My client is Mr. Misert's grand nephew and -- FRED -- Not sure I want to go down there ... (sighs) Best get a flashlight. INT. DOWNSTAIRS HALL -- MINUTES LATER Oppressive darkness. The flashlight beam reveals peeling paint, shag carpet. FRED They just closed down the basement after the Disabilities Act. No way to build an elevator to meet code. (pause) No one liked it down here anyhow. They come to a door at the end of the hall. FRED The outer office. Hold the flashlight while I try to find the key. The door creaks open. Turn of the 19th century desk and file cabinets. A big overhead circular fan. Slots built into a wall beside a steel vault door. FRED Mr. Misert used to have his secretary drop off papers in this slot, then he would drop it out of that slot. Fred moves the light to the two slots. FRED He would stay in there for days, then weeks then ... ALLEN Then? FRED Well, finally, he just never did come out. Or at least no one saw him come out. That was back in 1923. (pause) That's how I heard it, anyhow. Allen moves towards the vault door. Fred holds back. FRED Not sure I want to do this. ALLEN I need the light. Fred slowly moves toward the door. FRED Are you sure? Allen wipes the dust off the dial and whispers to himself as he reads the numbers. He yanks the handle and the mechanism clanks. FRED Sh*t. ALLEN Help me pull this open ... INT. VAULT OFFICE -- CONTINUOUS Piles of papers, neatly stacked. A desk in the back corner illuminated by a dim light bulb. A figure sitting behind the desk, in a loose-fitting, rotted suit. He's emaciated, with waxy skin pulled taught against the bones of his face. Skeletal fingers, with inches long, twisting fingernails. Fred gasps. FRED Johannes Misert. ALLEN (stepping back) Aw sh*t ... sh*t! Fred examines Johannes. FRED Like a mummy, he must have ... Johannes eyes pop open. He looks wildly around. Allen screams, Fred nearly faints. JOHANNES (raspy whisper) Who? FRED (squeaky) Fred. Fred Gibbert... Uh ... sir. Johannes tries to rise, his bones creaking, falls back in the chair. JOHANNES (rasps) Break it for me. For the love God, please ... break it. FRED Break it? JOHANNES (a bony finger pointing at the light bulb) That damned Shelby Incandescent Lamp. Kill it! Fred is confused. FRED (burbling) The light bulb? JOHANNES That infernal Shelby Incandescent Lamp. It NEVER dies! I vowed to outlive it. Johannes, agitated, tries to rise again. He stares into the horrified eyes of Allen. JOHANNES You, then! Do what this idiot can't! Allen screams, runs headlong into the wall, falls and then lies unconscious. JOHANNES (ranting) They told me it would outlive me. I told them it would burn out in a week. Candles are more reliable, I don't care if it is 1902! I BET them it wouldn't last. I NEVER lose a bet. (pause) Even if I HAVE to cheat. FRED (slowly getting there) You want me to break ... the bulb? JOHANNES Yes! For the love of God! Destroy the lamp! Fred raises his flashlight, looks momentarily back at Johannes. Johannes leans forward eagerly. JOHANNES Yes! Yes ... yes, please. Yes. Fred swings, tinkling glass, the lamp flickers, flashes out. Total darkness. JOHANNES (O.S.) Thank you. The flashlight flicks back on. The skeleton of Johannes Misert lies crumpled over the desk.
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Old 04-03-2017, 04:37 AM   #8
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"SWAMPLAND" BLACK SCREEN Suck, squelch, glug, hiss. Welcome to... SWAMPLAND Camera, shaking ever so slightly, being carried over the effusions of hissing steam and loud marsh life. Suddenly we're running towards our destination, somebody else keeps bobbing into view, a girl's back, her legs jumping side to side to avoid the stinking black mud, running with us... EXT. THE OLD EAST COMPANY CARGO SHIP - MOMENTS LATER Coming into view over a small ridge of swamp-land. An old rusted-out cargo hulk, thousand tons of iron, stranded in the middle of this delta. By the terracing of mud on the banks, we gather the river came this far up a long long time ago. The ship is stranded like an iron ghost, deeply embedded into the ooze and green slime. VOICE Ha ha ha... run..run... faster! That's what I mean, go girl. A quick pan down to our boots, green slime coats them. CAMERA GUY C'mon, head out in front of me, Beth. The girl appears again, momentarily. CAMERA GUY I want to shoot you from behind, build the excitement of being actually part of something... Beth appears and stares back, not amused, dressed in black boots, camo trousers, a bomber jacket. Blood red lipstick and beautiful coal black eyes stare with intense hostility. BETH You're kidding me right, F*cko? Out in front a series of wooden planks, neat, purposeful, linked up much like a daisy chain, a way through the swamp, leading like bread crumbs up to the very edge of the old iron ghost. CAMERA GUY The viewer needs to be kept on edge, what am I seeing, where is this going? BETH Come to think of it, why did you bring me out here? Beth in front, deftly hopping from toe to toe over the flotilla, as they get closer, the ship looms, MASSIVE now, and just ahead. A thin grey mist veils its upper reaches. CAMERA GUY Use your hands when you slip, to scramble out over the mud. BETH I dont know how you persuaded me to do this, you were such a dork in school. They reach the guard rail. CAMERA GUY You came after I offered you some cold hard cash Beth. Remember? BETH Yeah, and you better pay me all $150 dollars of it dorko... Camera guy chuckles. The camera follows Beth as she arrives at the edge of the green-slimed walls of the ship, she quickly begins to climb a rusty iron stairwell. EXT. CARGO SHIP - MAIN DECK A more settled image, Beth has caught her breath, and leans against the rusted guard rail, if she had a scarf it would be flowing out on the wind, like a 1920s aviator. CAMERA GUY Okay... this is the "interview" part. Beth sighs. BETH Hi, I'm Beth, I'm here to help my stupid friend film a stupid documentary about some old cargo hulk. CAMERA GUY Now tell them about the haunted aspect to the ship... and without the stupid part please. Beth stares into the camera. BETH This ship [she opens her arms palms facing up] was used to transport munitions during the Korean W- CLANK, sound from below deck. CAMERA GUY Whoa, yeah, what's that folks, we need to go down below deck and immediately investigate. BETH No way. Moments later... open bulkhead door, greasy red rust frames the door as camera follows Beth down some steps into the gloom. INT. BELOW DECKS - SOMEWHERE Camera light pans over the corridor, oily walls, water drips, we see into side rooms, dark, turned-over berths, a mirror reflects back an eerie warped-face version of Beth. CAMERA GUY Keep going Beth... great footage girl. Beth is moving quickly, we reach the end of this deck and descend a spiral staircase, rattle of shoe on metal and old wet carpets. INT. THREE SUB LEVELS BELOW MAIN DECK OPENS on an old mess hall, tables sprawled and turned over just about everywhere. The camara lens pans around, lighting up the tables, old candlesticks, dirty tableware... CAMERA GUY Must have been the officer's mess. BETH Yeah, but why is all the silverware left behind, somebody usually steals that... don't they? CAMERA GUY Told you Beth, it's haunted, nobody but us has ever been down here. The camera lights up paintings, previous voyages, naval life... steam ships, exotic lands, natives loading up exotic produce, animals being loaded into crates, in the Far East. BETH Let's get the heck out of here, it's creepy, which way did we come in? CAMERA GUY I don't know, but we're doing great, getting some great footage, this will look just crazy when I edit it. INT. CORRIDOR - SOMEWHERE IN THE BOWELS OF THE SHIP Beth leads, touches the slimy wet walls, she seems nervous, worried, beginning to feel penned in. BETH I want out now, okay, let's go back up on deck. CAMERA GUY We're in a swamp, it must leak through into the ship. BETH Yeah, well I don't like it, let's just head back up into the light. Noise of GLOOP as slime drips from the ceiling, catches Beth on her shirt. She screams and jumps backward. BETH Yuck. CAMERA GUY Ha ha, he slimed you huh? BETH Very funny... I'm really getting pissed off, let's just go. They turn left, at the end of the corridor is a huge puddle of green and brown slime, it appears to be pulsating, they stand in horror, watching, the camera light pans up and the walls are coated slime. CAMERA GUY I guess that way forward is out? Moving back along corridor, slime is forming up on the ceiling, running along in rivulets, each time it separates a gulping sound, or GLOOP noise, echoes around as it slobbers down onto the corridor floor like spit from a dog's salivating mouth. CAMERA GUY Keep going... there must be a way out down there. Try that door. BETH It's locked, it wasn't locked when we came in? Beth pulls her hand back, she regards the sticky slime as it rolls around over her fingertips, she attempts to flick it off. BETH This slime's not the same as the stuff out of the swamp. CAMERA GUY What like you think it's some crazy slime stuff that perhaps lives? BETH Yeah, it's so sticky and clinging, and it seems to have a life of its own! CAMERA GUY Beth... I think the darkness and noises down here are beginning to get to you Beth. BETH Can we just get out of here. They approach a doorway, Beth pushes it open and peers through, she wades ahead. CAMERA GUY Watch what you are doing there, wait for the camera light? Beth SCREAMS. Camera guys moves in, focuses the light down and we see Beth up to her waist in slime, as she attempts to rotate inside the embrace the sounds of sucking, squelching, burping... intensify. BETH GET- ME- THE- F*CK- OUT- OF- THIS - STUFF. CAMERA GUY I'm coming down now Beth, hold on. BETH Put that stupid camera down and help me! CAMERA GUY Just keep looking up at me, that's great, really cool, you know.... that's a great shot we have right there. BETH Why aren't you helping me, you dick, put the f*cking camera down? CAMERA GUY Fight it Beth, just keep moving like that... no... keep looking up at me. Beth is now covered in the slime, in her hair, dripping down her t-shirt, she's slipped her bomber jacket off, she looks around in distress and total horror. CAMERA GUY That's it, move to the left, try and wade forward. Beth's voice is raspy, she's fading. A whisper... BETH Why...are... you... still... filming? Beth stares up, her eyes seem to understand something, before she attempts to wade once more, her arms heavy now with slime... she suddenly slips and disappears under the green goo. CAMERA GUY Phew... just wow... that was intense. POV of camera as it sprints down a narrow dark corridor, the beams of the light flashing all over the ceiling, heavy breathing, the sounds all around crowd in, suck, squelch, drain and water flushing sounds, bubbles, pops and belches, intensifying. CAMERA GUY Got to go left, it was left last time wasn't it? wait, no... go right. Camera haults at an half-open door, tentatively, the camera moves forward, the door is pushed aside, the camera pokes into the darkness. Ahead is a pulsating pumping pit of slime, a green brown soup all of its own, as CAMERA GUY enters, it seems to intensify and acknowledge him, the sounds of gulping, burping, glugs, water rushing through plumbing... CAMERA GUY I came back... I said I would. The camera pans down, on the floor, is a bracelet, the camera moves in, it's a girls silver bracelet, close by is another girl's watch, and finally a gym pump. CAMERA GUY You don't like those parts huh, hard to digest? The bubbles and gurgles intensify, the camera guy pulls back and films, he looks down, slime is beginning to lap over his his black boots. CAMERA GUY I bought you another one, I said I would, isn't that enough? Bursts of slime erupt, like lava from a volcano pit, splattering over the lens and over the sides of the tank itself. CAMERA GUY Arrrrgggghhhhhh. We're off and running, turning corners, ducking into doorways, in the darkness, confusion, suddenly at the end of a corridor there is a shaft of light, where the deck has rusted through, must be close to the top deck now? CAMERA GUY Which was it... door or stairwell? The Camera moves towards the door and inching around we see a huge foaming carpet of slime, pulsating over the entire floorway. CAMERA GUY Arrrghhhhh.... clever, you're getting much smarter, I'm more clever though, go up, go up, go up. Camera ascends the steps, jarring shots, when... CRACK... the steps tumble away beneath, splintered iron, more confusion, and the camera spins coming to rest on the deck. Still running on... We see a teen, around seventeen, a hoody pulled up over a pale face full of acne and pain. He stares in horror at the camera, which continues to film him. Motioning towards us, trying to reach the camera... he only manages to knock the camera further away. The extra camera light switches on, a little red L.E.D. reflects off the floor in front of the camera, the rest is intensely lit deck, ceilings. The teen begins to disappear into the disgusting farting liquid...his glasses, suddenly tilt sideways on his face, one lens cracks, as he disappears into the slime they are left floating on the surface. A bony white fingers exits the effluence, slowly the fingers curl, giving us the finger, before disappearing with a belch-like-noise. ...SLOWLY... WE FADE OUT TOO.
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Old 04-03-2017, 12:16 PM   #9
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ANDROID-VALENTINE Super: THE YEAR 2026, ANDROID RELATIONS WITH HUMANS HAVE BEEN FORBIDDEN BY GOVERNMENT DECREE... Thousands... reds and violet, white petals too... they circle on the breeze. BROKEN-HEART GROVE Painted in blood red over whatever name sits beneath, looks down upon two figures, nothing more than teenagers in black, top to bottom with hoods pulled up, shades, the one pushes something retro..a bmx bike... TEENAGERS KRISTIAN, aged 18, lumbers with his large black rucksack, he shuffles to adjust the weight on his shoulders, DEAN, 17, broad-shouldered, urban teens to the t, part of the dump- generation, they spend a lot of time recycling. DEAN What about the mob-scroungers? KRISTIAN We're safe, keep walkin', we're nearly there. Kristian acknowledges his surroundings, familiar. The sky is dark, snowflakes begin to fall. BROKEN-HEARTS GROVE From the top of the hill, we see the teenagers appear. Trudging ever upwards. DEAN What's with all of the discarded roses? KRISTIAN They're filed here by the broken- hearted, weird and morbid tradition if you ask me. DEAN Nobody couples anymore, no need, women have all the best jobs, what jobs there are, you can have a baby by going to the local In-FERT unit. Kristian watches the petals circle, each time the wind blows they russle and sometimes blow up into a vortex. He slips off his rucksack. Dean stares at it, suspicion rests on his eyes. KRISTIAN And then there's the robots, we have a bot for everything, our Avenue has 38 of them, there's only 20 families. DEAN Hmmmm. KRISTIAN Did I tell you, Alice and I broke up. DEAN You're kidding, when did that happen? KRISTIAN Last week, she said I had no ambition, and was spending too much time building Old-Tech out of discarded CPUs and bits n pieces I found out at the cities Mega-Dumps. DEAN Every self-respecting teen hunts on the Mega-Dumps. KRISTIAN Well, she doesn't see us together, she's only 17 but planning for a career in Psyche-Control already, says it's the future. DEAN You know, she always did come over as a bit manipulative. What are you gonna do now? KRISTIAN I've started dating Mindy. DEAN Mindy who? You don't know any Mindy's unless you mean- KRISTIAN SEX-BOT- MINDY, dad ordered her online from Amazonia3 after his divorce, they sent a romantic-model over by mistake... kind of persuaded him to keep her around. DEAN You sure that was a mistake... my old man was always ordering SEX-BOTS by "mistake". Mum left soon afterwards. Parents. We survey the city from up high... twinkling lights, way below us, at around 278 feet, the standard, we see the delivery drones, hovering like flies Dean watches as a huge drone drops an ELECTRO-SOLAR car down gently onto a skid- way. KRISTIAN District 5 sure got a lot of drones delivering today. Hmm, the Elites, they shop-to-drop, look over to the ghetto in D2 and you don't see no drones there, they'd probably shoot 'em down. DEAN You know that SEX-BOTS become illegals if they transgress by entering a relationship with a human? Kristian turns around and spits. KRISTIAN Sure... the government then blames it on every bot in the neighbourhood... they all get recalled. DEAN You mean melted down, shredded, go on to meet the big metal man in the sky. KRISTIAN Something like that. DEAN Government's paranoid as hell at bots taking over. KRISTIAN They outnumber us 10-1. DEAN Jeeeez... so you found love. KRISTIAN Kind of... whoever knows for sure. DEAN Is that why we're here, are we meeting her or something? KRISTIAN Later, but we've got something else to take care of first? DEAN Take care of... KRISTIAN The other bots in the neighbourhood found out, they're coming here in protest to try and silence us. DEAN WHAT!!!! we're actually here for a pre-arranged BOT-FIGHT! Kristian swivels on his heel to survey the approach road. DEAN Goddamn it Kristian, how many ? KRISTIAN Erm... three were agreed, likely to be maybe... four or even five? DEAN Maybe five? that's three more than oir fragile two, you've set up a fight with five bots? KRISTIAN We'll be okay, I've prepared well. . An ominoius whirring, the bot equivalent of tank tracks and wheels on cracked black top. KRISTIAN That'll be them I guess. Kristian unfolds his bag and begins to remove what look like silver discs. Over the crest the bots appear and fan out... : FOAM-BOT [used primarily for washing cars, hosing down roadsurfaces, carries its own huge sud-tank on its back] FLOORSCRUB-2, [a model of domestic bot for cleaning and polishing floors] KITCHEN-BOT, [lethal, utensils, attachments, egg-whisk as optional] PORTER-BOT [genteel, slow-mover, useful for bumping operations, heavy] GARDEN-BOT [dangerous, attachments: forks, spade, spinning dibber... weedkiller spray nosel] Kristian practices with the discus-like objects, taking a run and swinging like an Olympian athlete back in Ancient Greece. KRISTIAN Keep these between us nad them. DEAN What do they do? KRISTIAN MAGNET-BOMBS... throw 'em at the bot, if they stick they rip out the magnetic field and internal S-Forces, eventually it destroys their CPU. DEAN Won't they try to get to them and neutralise if you leave them in a pile like that? KRISTIAN No way... they're scared stiff of them, if they get too close, the magnetism kicks in, Bot-Kryptonite. The bots are closing in, they are murmuring instructions to one another... KRISTIAN Let's smash these son's of bitches. Yeeeeeee-haaaaaaaaaaaaa!!! DEAN You're crazy today, enjoying this way too much Kristian! FOAM-BOT'S spray-arm whirs into action, pointing directly upwards, it begins to release the foam like a geyser. KRISTIAN Watch out for that pesky FOAM-BOT, he'll lather you to death at this range. Suddenly FOAM-BOT spins his arm down and fires... Dean is too slow, he's become a sud-monster, tip to toe. KRISTIAN What did I say.... stay frosty. Dean wearing a foam hat and looking like a snowman, wipes his eyes clear. DEAN Tastes like pineapples and lemonade. Kristian sighs. Suddenly the other bots are on the move, whirring, coming in at full speed. Kristian grabs a Magnet- Bomb hurls it underarm like a professional, it spins sideways, GARDEN-BOT whirls out the way and the magment bomb fastens onto FOAM-BOT, sparks fly off and FOAM-BOT careers out of control, circuits fried, he slams into PORTER-BOT, more sparks, huge flame, a great whooooosh of spray jets up into the air, it begins to rain foam. KRISTIAN That was a lucky strike, that won't happen again. Get ready, Dean, stop lickin' and get stuck in. Dean jumps into an action pose, like a Sparten spear-carrier he extends the cattle prod, GARDEN-BOT locks onto him, the Spade is being wielded back and forth at him, and in the other arm, a fork spins. GARDEN-BOT whizzes towards Dean and Dean pegs it immediately towards a ditch and jumps straight in, GARDEN-BOT follows and just at the edge of the pit, tips, disappears, we begin to see clumps of grass and mud fly up into the air from just out of view. FLOORSCRUB-2 and KITCHEN-BOT have Kristian buttressed in, over their metal-shoulders, he can see the pile of Magnet- Bombs, behind him is a steep incline which rolls hundreds of feet down into the old dump where other bots lie mangled and derelict. Wires sprout up, a metal hand extends out of the wreckage and mud-wreckage, clasping at the air, as though for something hidden... Dean seems done for, Kristian wonders what could be happening to him in the ditch, more mud, junk, bit of circuits, discarded bunches of roses fly up in the air. 7. KITCHEN-BOT advances, egg-whisk spinning and a rotating kitchen knife, Kristian inches back towards the edge, FLOORSCRUB-2, making groaning noises, as if in expectation, has his polisher spinning, but can do nothing but block Kristian in. Suddenly, there's a spray of sparks, Kristian looks beyond, the BOTS, to see: MINDY-BOT, a working-model sexbot, plastic-skin, she's spinning Magnet-Bombs towards KITCHEN-BOT and FLOORSCRUB- 2... Mindy is superior, she's more than metal endoskeleton, taking down their circuits with a crash and flash of sparks, FLOORSCRUB-2 is spinning out of control, he shudders violently to the extreme right of screen, away from Kristian and KITCHEN- BOT, then spins around and accelerating crashes violently into KITCHEN-BOT, unleashing smoke and flames. Both bots fall silent, the black acrid becomes a white wisp of smoldering smoke. KRISTIAN You made it? MINDY Of course I made it honey-bee. KRISTIAN Well that takes care of them. MINDY Yeah, we'd better roll them over the side in case their owners come lookin'. KRISTIAN Later... let's check out Dean's okay, quick. A few pieces of grass and mud, a piece of the iron leg of a bedboard, are still flying up out of the ditch. As Mindy and Kristian appear at the side, to look down. They see Dean, he's pulling things up and throwing them over the side himself. KRISTIAN I've seen a fake fight before but-. DEAN It's been a tough fight. I was venting frustration. KRISTIAN What really happened huh? Dean sighs, seems ashamed. DEAN Well, GARDEN-BOT, he just tipped over the side, his circuits blew-out as soon as he hit the bottom of the ditch, over there, he never even got near me I guess. We see GARDEN-BOT, a hunk of twisted metal. DEAN Wait, Kristian, watch out... behind you, is that the sexbot you once dumped. She's going to clobber you dude! KRISTIAN Oh, Mindy, meet Dean, he's got an overexcited imagination. Dean... Mindy, my girlfriend, she's not a sexbot anymore, mum and dad are giving her some tasks about the house. MINDY Hi Dean, would you like a hand out of that hole sweetpie. Dean appears perplexed. He stands up and dusts himself off and begins to climb up. WALKING DOWN THE HILL Mindy keeps jumping around, back and forth, teasing Kristian, Dean still seems perplexed. KRISTIAN Yeah, so when I started to date Mindy, the other bots in the road got jealous, she was getting special treatment. DEAN Those bots belonged to your neighbours. KRISTIAN Sure. FLOORSCRUB-2 was ours but we sold him to Mr Oakwood, at No 5, GARDEN-BOT belongs to Mrs Mayflower, she owns the cafe on the corner, sometimes he doubled up as our gardener. DEAN What about the others? KRISTIAN Oh I don't know... they probably worked nearby somewhere, but FOAMBOT was at the car wash on 6th. Ernie's, gonna be real pissed when he realises he's gone missing. DEAN Well, he's gone RMIA, now. KRISTIAN What's that mean again? DEAN Robot-Missing-in-Action. Kristian rolls his eyes. MINDY Dean... do you have a girl-bot? DEAN Not really... well, there was Tracey Stanwicke for a while. MINDY Was she real cute sweetpie... DEAN No, she was... what do you bots call it.... three packs short of a full CPU-spread. MINDY Twenty bits short of a full packet- switch. Tee-hee-hee. DEAN She's cute... but Kristian... are you sure man? KRISTIAN About what dude? DEAN Dating.... a real sexbot. (Continued in next post)
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Old 04-03-2017, 12:16 PM   #10
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(Continued from previous post) KRISTIAN Yeah, of course, anyhow, nothing lasts forever. MINDY I do. KRISTIAN Well, you know, but we live for the moment. a car approaches... as it levels with the guys the window slides down, a guy with a pencil moustache leans out, dressed in retro-1930s clothing, the car is a retro-solar Model T- too, all the fashion. DRIVER Hey guys... know where the Grove is ha ha. KRISTIAN Sure... it's just up this hill. Dean notices a girl in the passenger seat, she seems really cute, smiles seductively over at him. DEAN You know what... don't do it, life's too short. DRIVER What's that bud? DEAN Stick with that girl, she's too good to let go. Whatever it is, you can work it out, besides, it was Valentine's yesterday, keep the roses, don't go up that hill and throw them- DRIVER Oh no, you don't get it, my girl's, well, a bot, we're just looking for a few spare parts, CPU-plugs...the old city dump's a great place to find 'em. Take care. Kristian has carried on walking, Dean stands in the road by himself, watching the car go, he takes a look at the sky, dark and orange in places, industrial smog in the ditance, by the BOT-FACTORIES, the snow is falling again and it brings a calm and silence, he switches his gaze to Mindy and Kristian who are holding hands. DEAN Guys.. wait... I have an idea! FADE OUT:
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