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Old 09-09-2017, 12:35 AM   #1
Mark Somers
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Join Date: May 2005
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Default Entries - Dog Days of Summer

Submitted:


Ghosts and Demons

Let Slip the Dogs of War

Summer Daze

Killer Tower

Dogtown

Jacob's Point

A Deep Sleep

Dog Day of Summer



Vote deadline September 14

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You can vote if you didn't enter.

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For posterity, here's the discussion thread, and here's the results thread.
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Halloween short script contest

"Get thee to thy choppers" -- from Shakespeare's "Hamlet Harder" This time it's personal



Last edited by dpaterso : 09-19-2017 at 02:43 AM. Reason: links added
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Old 09-09-2017, 12:39 AM   #2
Mark Somers
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Default Re: Entries - Dog Days of Summer

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Ghosts and Demons EXT. DERELICT HOUSE -- DAY Squatting on a hill, the once grand house broods over the small town. Surrounded by overgrowth, brush and brambles, it's shadowy dark, like a piece of eternal night, even on this sunny day. INT. HALLWAY -- DAY A domain of demons. Clunks and creaks, dusty floors and doors that swing open or close on their own. Translucent shapes that form and vanish. Only evil, demented, foolish or desperate people would stay here. INT. BEDROOM -- DAY A fifteen-year-old girl sleeps fitfully on a large bed. Dressed for school, in jeans, tennis shoes and a sweater. She hugs her book bag, for protection, while she sleeps. JILL MACLEAN isn't evil, demented or a fool. EDDIE HERZOG isn't either, but he is dead. He's a huge, shirtless ghost with gaping wounds in his chest, who might be forty if he was flesh and bone, but since he's a dim, blue glow, it's anyone's guess. Arms crossed, he stands near the foot of the bed and watches over the sleeping girl. Slithering, hissing, scraping sounds are heard from outside the room -- the ghost is instantly alert, leaving the bedroom, by walking through a wall. As the girl sleeps -- a large snake slithers toward the bed and twists around the bedpost, climbing up on the bed. It pauses, for a moment, than transforms, quickly, into a vile, small crippled DEMON, with short, squat, legs and huge bulging eyes. It tests the air with it's snake tongue, keeping it's eyes on the girl. A crooked-bladed dagger forms in it's hand, it pulls it's arm back -- -- the girl jerks awake, and screams. Backs away, but the creature is greased-lightning quick. It stabs with the dagger but hits the book bag. It lunges again -- this time stopped in mid air -- a huge fist completely surrounds it's neck. It flails and gurgles, hisses, screams and shrieks -- rapidly transforming, into different creatures, an eagle, wildcat, gargoyle, snake and every nightmares in between. Finally spent, it's the demon again, gurgling and trying desperately to free itself from the huge mans throttling hold -- clawing the hand on its neck. The girl, still on the bed, watches in wide-eyed shock as the demon glows a bright red and the ghost a bright blue. Backing away from the bed, the ghost comes to an empty part of the room and opens a large, iron door, that's not in the floor. Heat, sulfur, flickering firelight, loud moans and tormented screams fill the bedroom. The demon doubles its effort to free itself, wailing and screaming in pain -- -- the ghost flings him through the door, like he's no more than a rag doll -- slamming the door shut. And the door that's not there is not there again. Just old oak floorboards of an old bedroom. The girl slides back to the bed's headboard, sits up against it, hugs her knees to her chest and tries not to believe what she just saw with own two eyes. The ghost watches her and dims -- as fierce and powerful as he was a minute ago, he now seems confused -- unsure of himself -- uncomfortable. A moment later, the girl starts to cry quietly. He slowly moves by her, tries unsuccessfully to look nonmenacing and slowly reaches out to her hand -- -- but his ghost hand has no more substance than air and that makes him sad. After awhile she daubs her tears with the sleeves of her sweater and takes a long look at the ghost. JILL Who are you? The ghost can't talk -- he points to his mouth and shrugs -- then gets an idea and points to the top of a dresser. The girls gets up and checks. A framed picture, covered in dust - -- she blows the dust off. Sees the house, when it was livable, the huge man standing in front, smiling, his arm around a beautiful woman. In front, a seven-year-old girl. JILL Your family. But when she looks up, the ghost has faded away. INT. KITCHEN -- NEXT DAY Jill has found a gas lantern and searches for food. The cupboards are bare and she is hungry. The kitchen is large with dusty floors -- -- except near the basement door -- from that door to the door that leads outside, the dust is disturbed -- a path. The hair raises on the nape of her neck -- ghost don't make paths. She's fifteen and hungry so she opens the basement door and goes down the steps. INT. BASEMENT -- DAY Mostly dust and mildew and old, forgotten things, that look creepy in the shadows from the lantern. A washer and dryer, a freezer, some shelves with tools -- no canned or jarred food. On the other side of the room is another door. She seems uncomfortable and heads back to the steps, then turns -- -- what's behind that door? She goes to it. When she opens it, she's nearly blinded by the light -- there's uncovered windows high up on the walls. The room isn't large and it isn't clean, but it's mostly dust free and someone lives in it. She jumps back away from the door, into the darkness and listens. Nothing. She enters. In one corner an army cot, in another, makeshift shelves with canned food and crackers. Stacked against a wall, a flashlight, some batteries and a small radio. She grabs a box of crackers and a can of beans -- -- then notices the small table, stacked with souvenirs. Not the nice kind. These are the souvenirs of a sick and depraved human being. Bits of jewelry, parts of clothing, crime scene photographs of gashing wounds and dismembered people -- and newspaper articles. Dozens of them. Now forgotten, Jill drops the crackers and the beans and leafs through the articles and looks at pictures of ruined lives -- -- one article shows the ghost and his family, the same picture from the dresser. The headline -- "Family Murdered!" A picture of the suspect, an escaped murderer and rapist, a repulsive, vile man, in his fifties, named BART LURCH. She hears a door open and close, upstairs -- -- runs from the deviates room, searches the tool shelf -- finds a large pipe wrench and runs to the stairs. Too late. Bart is on his way down. For a moment they stop and stare at each other. Then the pervert leers at her. BART Well hello, sweet thing -- She hits with the pipe wrench, as hard as she can, knocking him off the stairs -- Fast as lightning she's out of the room. INT. BEDROOM -- DAY Jill is back on the bed, hugging her knees again, when the ghost reappears. This time he's agitated, flailing his arms, trying to get her to run away. She closes her eyes and hides behind her book bag. INT. BASEMENT -- DAY Bart groans, feels his jaw, wipes away blood and rousts himself up from the floor. He leers -- obviously enjoying the hunt. BART I'm counting to a hundred. INT. BEDROOM -- DAY Jill can hear Bart getting nearer -- -- he's in the kitchen, the living room, he's climbing the steps -- BART (O.S.) Ready or not, here I come. The ghost gets brighter --doing anything to alert Jill. Finally something works, she opens her eyes -- jumps up -- -- grabs the pipe wrench and stands by the door. The ghost smiles and shakes his head -- "NO". She's confused when he points to the floor between the bed and the dresser. But he points "harder", and she runs over to him. Bart has reached the top of the stairs and walks down the long hallway. Her tracks are obvious to him in the dust. BART (O.S.) Ready? -- Sweet thing? A loose floorboard, something underneath wrapped in cloth -- a six-shooter, pistol. She grabs it and tries to **** the hammer -- it won't budge. Bart is at the door, but in no hurry. He sees a girl, scared and trying to hide on the floor -- and enjoys himself. The ghost puts his finger on the safety and makes the motion for unlocking it. Jill unlocks the safety and cocks the hammer. Bart notices the pistol and rushes her -- -- she FIRES the gun. Hits him in the shoulder. For a moment he's stunned. BART You bitch! You shot me! With a grimace on his ugly face he comes at her -- no games this time. She FIRES again -- this time she hits his heart. In shock he still tries to lunge at her -- -- she FIRES the last four bullets -- three more in the chest and one in the head. Finally, Bart drops to the floor. She keeps pulling the trigger, until the ghost puts his hand in front of the pistol. Once again she has tears in her eyes and once again he can't comfort her. Then -- Bart starts to glow red -- his dead body shimmering -- There's a huge smile on the ghosts face, but not a nice one. The Demon/Bart is even uglier than the Human/Bart and as it rises, it melts away the flesh to white ash. It leers at Jill, unaware of the ghost. BART (CONT’D) Thought you were done with -- A huge, blue, glowing fist throttles the demon and holds it like a vise while it thrashes and screams. Backing away from the bed, the ghost comes to an empty part of the room and opens a large, iron door, that's not there... FADE OUT. THE END
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Halloween short script contest

"Get thee to thy choppers" -- from Shakespeare's "Hamlet Harder" This time it's personal


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Old 09-09-2017, 12:46 AM   #3
Mark Somers
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Default Re: Entries - Dog Days of Summer

Removed by request of the author.
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Halloween short script contest

"Get thee to thy choppers" -- from Shakespeare's "Hamlet Harder" This time it's personal



Last edited by Mark Somers : 09-18-2017 at 11:46 PM.
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Old 09-09-2017, 12:50 AM   #4
Mark Somers
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Default Re: Entries - Dog Days of Summer

Removed by request of the author.
__________________


Halloween short script contest

"Get thee to thy choppers" -- from Shakespeare's "Hamlet Harder" This time it's personal



Last edited by Mark Somers : 09-18-2017 at 11:46 PM.
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Old 09-09-2017, 12:55 AM   #5
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Default Re: Entries - Dog Days of Summer

Code:
Summer Daze ( 1 of 2 ) EXT. HOUSE—NIGHT As we slowly FADE IN, muffled sounds of a life or death struggle from some kind of animal, along with sounds of chains, and wood being ripped apart, accompany the now full visual of- A dog fighting to tear his chain out from a rotten doghouse, in the backyard of a rotting clapboard house. Yellow bulb hangs over back door. Fenced backyard. House is crammed between other small clapboard houses. Broken down cars and trucks sit like southern lawn sculptures in grown-over yards. Dogs bark like they're singing in harmony to Springsteen's “Johnny 99.” “Well dog warden I do believe I'd be better off dead. And if you could take a dog's life for the thoughts that's in his head...” A young man with the name BOBBY DAZE on his work shirt, looks like he is drunk--and when drunk is probably a jackass, you can just tell--opens his backdoor and yells at his dog. Then he throws something at the dog, or did he? The dog quits biting the doghouse and scurries inside it. BOBBY Shut up DOG or you're gonna go back on the short chain! DOG stares at him from the darkness. His tail has no wag left in it for his owner. BOBBY takes a long drink from his bottle of beer. Belches. Spits. Wipes his mouth. Throws the empty at the dog house. Staggers back inside. DOG sticks his head out into the night, cautiously checks his empty food dish, then runs full-blast to one side of the fence. The chain tears away from his doghouse. A neighbor dog, a HUGE STRANGELOOKING DOG, comes over. They begin growling nicely to each other. Tails wag. They're buddies. CUT to the film, THE GREAT ESCAPE STEVE MCQUEEN is telling his superiors the escape he is planning to make. CUT to the BACKYARD. The HUGE STRANGE-LOOKING DOG nods and smiles. A terrible argument between a man and a woman comes from inside the house. Through the window, DOG sees BOBBY DAZE yelling at his girlfriend. She is backing up from him, afraid. DOG runs to the other side of the fenced yard and begins growling and conferring with a TERRIER. CUT to THE GREAT ESCAPE, and the scene where Charles Bronson is starting to dig the escape hole. CUT to the BACKYARD. TERRIER stares at DOG. DOG nods. DOG jumps over a broken part of the fence into the TERRIER's yard. TERRIER jumps onto one end of a seesaw. DOG leaps onto the other end, sending TERRIER over the fence. TERRIER is now in DOG's backyard. DOG leaps back over the fence. DOG and TERRIER now begin digging on other side of the fence, as HUGE STRANGE-LOOKING DOG digs on the other side. HUGE STRANGE-LOOKING DOG finally is able to just barely make it from under the fence. CUT TO THE GREAT ESCAPE SCENE where McQueen emerges from the hole, short of the forest. CUT TO THE BACKYARD. The three dogs stare inside at the house, where the BOBBY DAZE is still yelling. HUGE STRANGELOOKING DOG suddenly takes off in a sprint and jumps through the screen door. DOG and TERRRIER are right behind him. INSIDE. HOUSE--NIGHT The three dogs have BOBBY DAZE pinned in a corner of his kitchen. He is yelling at the dogs, but the louder he yells, the more they growl and bark. His girlfriend makes a break for the front door and is gone into the night. The dogs follow, but not before briefly TERRIER attacks BOBBY DAZE's ankle. INSIDE. DOG POUND--DAYBREAK The three dogs are in the slammer, each in a separate small cage. AT THE FRONT DESK BOBBY DAZE stands at a counter. He's pale. His hands shake. WOMAN WORKING THE FRONT DESK What's the dog's name again? BOBBY DAZE Dog Daze. WOMAN And you live in Summer? BOBBY DAZE Already told you. Dog Daze of Summer is in here. You all called me from the number on his collar. WOMAN What does he look like? BOBBY DAZE His fur is brown and black and white. Has a big head and a skinny body. His collar says DOG DAZE. The WOMAN scans a log-in book and shakes her head. WOMAN Don't see anything like that. We'll take a look. Is it a him or a her? BOBBY DAZE A him. WOMAN So he ran away last night? BOBBY DAZE Yeah. WOMAN He run away much? BOBBY DAZE Yeah. WOMAN Why does he do that...you think? BOBBY DAZE How the hell should I know. The WOMAN studies him. BOBBY DAZE How much is it gonna be to bail him out of here. WOMAN Twenty-five dollars. BOBBY DAZE It was twenty last year. Jesus, I ain't got twenty-five dollars right now. WOMAN We'll send you a bill. If you don't pay it within 60 days the town will turn your water off until it is paid. BOBBY DAZE Be nice to live somewhere someday where the damn government ain't out to screw you every time you turn around. Turn my water off over my dog running away. What the ****. WOMAN Please watch your language. BOBBY DAZE You gonna turn my water off for that, too, if I don't? The woman blows out a deep breath and looks up at a clock on the wall. It is only 7:05 am and by her look, this day is already starting off shitty. Mighty shitty. WOMAN Follow me. BOBBY DAZE follows the woman into a cavernous room which houses all kids of dogs and cats and a few varmints of different varieties. There are no windows and only two low- wattage bulbs provide light. He looks around, unsure of what is all around him. BOBBY DAZE Stinks like hell in here. WOMAN At least it doesn't smell like stale beer, vomit and cigarettes. BOBBY DAZE I don't like your attitude, lady. I pay your goddamn salary. I believe I'm gonna head to the town office when they open and make a formal complaint. WOMAN Do as you please. Sir, I hope you are not going to do it smelling like you do. BOBBY DAZE Looks like he is about to explode. The WOMAN points at a dog in a cage. BOBBY DAZE smiles a smile of relief. He squats but the dog backs up from him as far as it can. BOBBY DAZE That's him. WOMAN And his name is what again? BOBBY DAZE DOG DAZE. He was my ex-wife's dog. When she left me, I wouldn't let her take him. She done took everything else. It's been me and him against the world since. WOMAN And the world is winning, I can see. Can also see that he doesn't like you. BOBBY DAZE Bullshit. You know what, I don't like you. He just knows he's in trouble. This ain't the first time I've been in this damn place to get him. He points his finger at the dog. DOG growls at him. BOBBY DAZE Back on the short chain when we get home, *******. Twenty-five bucks... WOMAN Are his shots up to date? BOBBY reaches to unlatch the cage door. He begins to open it. The woman closes it. BOBBY DAZE You can't keep my dog here. WOMAN Yes I can, if I believe the animal is being abused. BOBBY DAZE Abused? I've had dogs my whole life. I know how to treat dogs. WOMAN He's malnourished. How old is he? BOBBY DAZE When I'm eating good, he eats good. Things ain't been real good lately but are turning around. WOMAN Do you know how old he is? BOBBY DAZE stands, steps directly in front of the woman. BOBBY DAZE I'm opening the cage, and getting my dog. Right now. We're getting the **** out of this place. WOMAN Is your name and number in the phone book? BOBBY DAZE What? WOMAN Your phone number. Is it listed in the phone book under your name. The number we called. BOBBY DAZE It ain't listed. Why? WOMAN So you live in Summer? BOBBY DAZE Yeah. Lived here most all of my damn life. How long have you lived here? WOMAN To confirm that dog belongs to you, and you are its rightful owner, I'm going to give you a color...pink. How long will it take you to get home. BOBBY DAZE I'm about to call the cops. I used to have a brother in-law who was a deputy-- WOMAN Fine. I can tell you've been drinking. I'm gonna give you a half- hour to get back home, and I will call the number on the dog's collar, and I'll ask you the color from our talk. You need to say 'pink' and then come back and your dog will be ready, and I will know you are the rightful owner. BOBBY DAZE You're ****ing crazy. I'm getting my dog, and we're leaving.
__________________


Halloween short script contest

"Get thee to thy choppers" -- from Shakespeare's "Hamlet Harder" This time it's personal


Mark Somers is offline   Reply With Quote
Old 09-09-2017, 12:58 AM   #6
Mark Somers
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Join Date: May 2005
Posts: 2,000
Default Re: Entries - Dog Days of Summer

Code:
Summer Daze ( 2 of 2 ) The WOMAN yells out “LITTLE CUTIE.” A huge rottweiler plods into the room. WOMAN LITTLE CUTIE doesn't like bullies, do you LITTLE CUTIE... LITTLE CUTIE growls. His head is the size of...the man begins backing up toward the door. WOMAN I'll call you in a half-hour. BOBBY DAZE **** you. WOMAN LITTLE CUTIE hates bad language. BOBBY DAZE, now at the door, pulls a lock-blade knife from his back pocket and opens it. BOBBY DAZE That dog tries to bite me and I'll gut it. The dog growls louder and approaches him. BOBBY DAZE I mean it! WOMAN The door locked automatically when we came in here. You need a key (she holds up the key) to open it. So you said you chain your dog, and you don't feed him much most of the time...he is skinny, and you would not believe how much food he ate once he was brought in here. He has fleas. Sores. I'd bet my wide bottom dollar he has worms. I've invented a system to turn bad pet owners into good ones. The WOMAN points at an empty cage, about four feet by four feet. WOMAN Get in. BOBBY DAZE You're crazy, lady! You're crazy! BOBBY DAZE keeps both eyes on the rottweiler and pulls and pushes on the door right behind him. It is a steel door. It will not open. WOMAN Get in. Just for a bit. Nothing like what you've put your dog through, of course. Just a taste of the life you make him live every single day. Call it...a crash course in pet owner training. BOBBY DAZE I'm not ****ing getting in that cage, you crazy bitch! WOMAN Drop the knife. BOBBY DAZE shakes his head. He is crying now. LITTLE CUTIE begins barking and lunges at him. He drops the knife. WOMAN (calmly)) Cage, LITTLE CUTIE. Cage. LITTLE CUTIE jumps up to grab BOBBY DAZE by the shoulder but he leaps into the safety of the cage and shuts the door. She removes a padlock and places it on the door. She goes to a knee. WOMAN You see the chain behind you...place the collar around your neck and close the small padlock. BOBBY DAZE You should be in an insane asylum! The woman pulls a can of pepper spray from its small holster on her belt. WOMAN Do you know what this is? BOBBY DAZE Wipes his eyes and nose on his sleeve. He draws back from what is in her hand. WOMAN Yes. Pepper spray. And I will spray you if you don't place the collar around your neck and lock it. The WOMAN goes to a sink and fills a dirty bowl with water. Then she empties a can of dogfood into another dirty bowl. She opens a very small gate where the bowls barely fit through into the cage. WOMAN This is your food and water for the next three days. BOBBY DAZE You're dead, lady! You're dead! WOMAN Oh bark all you want to. Nobody can hear you, anyway. The woman turns on light switches. BOBBY DAZE squints with all of the bright lights on. He sees movements in large cages all around him. Naked people with collars and chains around their necks are in the cages. They look like they would eat him, if given the chance. One man with white hair and no teeth asks if he will throw some of his food through his cage into his cage. BOBBY DAZE turns back to the woman. She smiles at him. The WOMAN walks toward DOG DAZE's cage. Unlocks it. WOMAN Come here, sugar. The dog walks out of the cage on wobbly legs. WOMAN That mean man won't hurt you anymore. I won't let him. Then she unlocks the cages of his friends. The BIG STRANGE- LOOKING DOG pees on BOBBY DAZE's cage, soaking him. Then TERRIER lifts his leg and tries to do the same. WOMAN unlocks the steel door, steps into the hall, and before the door closes and BOBBY DAZE hears it lock, she turns off all the lights. It is pitch black. BOBBY DAZE screams. The others scream with him. They sound like dogs in a kennel. DOG pants. After a few moments, the door opens and the lights come back on. BOBBY DAZE stops screaming and squints. DOG is at his cage, pawing at the door of it. WOMAN I speak dog, you know, as well as cat, and I am learning horse. Your dog feels sorry for you and wants me to release you into his care. You will take good care of him now, won't you? BOBBY DAZE nods. He looks around. The human cages are now empty.
__________________


Halloween short script contest

"Get thee to thy choppers" -- from Shakespeare's "Hamlet Harder" This time it's personal


Mark Somers is offline   Reply With Quote
Old 09-09-2017, 01:01 AM   #7
Mark Somers
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Default Re: Entries - Dog Days of Summer

Code:
Killer Tower EXT. DESERT - DAY FADE IN Blue and yellow. That’s all we see. A hilly landscape of sand dunes. Above, the sun shines with a blinding light over a perfect blue sky. No cloud. No wind. Nothing. Except for the lonely and huge high voltage tower, standing proud in the middle of the burning desert. A gigantic tower made of steel whose thick cables connect to a twin tower, then to another, and another, making a path to infinity. They all look like giant metal men buried in the sand. The only sound is the slight hum of electricity traveling through the cables. A black-throated sparrow flies towards the tower and flaps its wings before landing on the thick cable. It hops a couple of times, flutters its wings. It’s a good place to rest. The electric hum on the cable increases noticeably. The sparrow looks around, alarmed. Until-- ZAPP! The bird is electrocuted instantly. It’s gray feathers turned to smokey black. The bird falls to -- EXT. DESERT / ROAD - DAY -- the side of a dusty road made of asphalt, barely visible because of the sand accumulated on it. Unaware of this, an expensive, black sedan roars through the desert on the middle of the road at full speed, followd by a dense cloud of sand dust. The wipers have been used recently to remove the sand from the windshield. JERRY (O.S.) Don’t **** with me, Tom! I told you this would happen. Through the windshield we can see JERRY (40s), grabbing the wheel with a hand while holding his phone with the other. INT. JERRY’S CAR - DAY Jerry’s eyebrows are deeply frown. His knee bounces up and down while his other foot steps on the gas. He dresses an expensive business suit, matching the car. He barks angrily into his high end phone. JERRY I cannot save your ass all the time you-- No, no, no. Don’t bring the family bullshit on me. Jerry, distracted, realizes something in the middle of the road. He jerks the wheel to avoid impact. JERRY (CONT’D) ****! EXT. DESERT / ROAD - DAY The car narrowly misses a bulky object left in the middle of the road. It looks like some abandoned metal wreckage. INT. JERRY’S CAR - DAY Jerry looks to the road behind him through the rear mirror trying to figure out what was that but the dust from his own car hides everything. He realizes Tom speaking on the phone. JERRY What?-- What the **** are you doing? Are you begging now? Jerry turns red with rage. JERRY (CONT’D) No, you don’t get it. Are you ****ing begging me? Do not ****ing beg me, Tom. (pause) Don’t--! Jerry turns off the phone and throws it on the passenger’s seat. He slaps the wheel furiously. JERRY (CONT’D) I ****ing hate beggars, Tom! Jerry tries to digest his fury. He then notices his own knee bouncing wildly. His hand darts to his crotch, squeezing impatiently. He’s sweating, moans lightly. Jerry looks in the distance and sees a road sign approaching, his face lights with hope. THE ROAD SIGN As it passes Jerry’s car at full speed, it reads: "NEXT REST AREA: 50 MILES" BACK TO THE CAR He puffs, holds to the wheel as if that could prevent the inevitable. He looks out through the windshield, trying to find... anything. His eyes lock on the high power towers. An idea. EXT. DESERT / TOWER - DAY From the high tension tower, we see Jerry’s car parked to one side of the road. The electricity hum is barely audible. A path of footprints lead to the tower until we see Jerry, panting and puffing, and holding his crotch. Jerry arrives to the tower base. He looks up to the top. It’s a magnificent piece of metallic work. He goes to the opposite side of the tower and looks around, makes sure nobody can see him from there. He then realizes there’s nobody on the road, but hell, too late for that. He unzips down his trousers and finally all the tension on his face releases. He sighs. ON THE GROUND Jerry’s leak grows towards the feet of the tower. The electricity hum increases. ON JERRY Most relaxed man ever. He tilts his head up, closes his eyes. Nice. ON THE GROUND The leak reaches the tower’s foot, soaks it. Over the electricity hum, we hear TWISTING METAL screeching. ON JERRY That was weird. Jerry opens his eyes. JERRY’S POV Jerry looks up to the top of the tower. Somehow, the tip has twisted towards him. The two red operation lights at the top look strangely like eyes. Eyes that are staring at him! Jerry cannot believe his eyes. He’s about to say something when-- -- The tower ROARS in anger. Jerry quickly zips up and backpedals, confused, but stumbles with a rock, falls butt on sand. Jerry looks up to the tower and finds himself staring at the tower eyes, the two red lights. For a moment, both stare at each other. Jerry cannot believe his eyes. Jerry tries to stand up and then the tower ROARS again, scaring the **** out of Jerry, who looks in terror, paralyzed, as the tower shakes to one side, then to the other, with a horrible METAL SCREECH-- until one of the FOOT breaks free from the concrete base. Jerry’s eyes open wide, speechless. The tower rises its huge metal foot over him. Jerry SCREAMS. He jumps to one side right before the giant foot smashes the ground, missing Jerry by a few inches. Jerry stands up and without thinking twice, turns around and shoots down the dunes towards his car as fast as he can. He loses a shoe, no time to pick it back. He doesn’t want to look back as the tower bellows horribly behind him. When he’s half the distance to his car, he turns around, exhausted. The tower is still roaring but it cannot release the other feet. Jerry smiles, relieved. The tower starts to PULL from its arms. One, then the other, and again, until a loud SNAP breaks the cables connecting to the next towers by the middle. Jerry only understands what the tower tries to do when-- -- the tower thrusts the cables towards Jerry in a shower of electrical sparkles. The cables hit the ground on both sides of Jerry, leaving two deep black grooves. He looks at them, astonished. Then to the tower, who waves the cables in the air as whips from hell. Jerry screams, turns around and dashes towards his car. The tower waves the cables, preparing another attack. Jerry gets to his car, grabs his keys and tries to open the door but the keys fall to the ground. JERRY ****! Jerry bends down to pick them up. He raises and puts the key in the lock when-- -- the tower thrusts the cables and wraps the car with them. With an effortless move, the tower launches the car into the sky as if it were a rocket. Jerry, hopeless, looks up at his flying car, becoming a small dot in the sky. Disheartened, he turns around and sees how the tower has freed its other feet and is approaching him with slow and deep steps that make the ground tremble. ON ANOTHER PART OF THE DESERT Jerry’s car, destroyed, falls on top of another tower, bending its arm before it tumbles to the ground in a cloud of dust. BACK TO SCENE The tower looks at Jerry, who knows this is the end. Jerry falls on his knees, holds his hands together, cries. JERRY (sobbing) I am so sorry. I am so sorry. Please let me live. I beg you. Don’t kill me! The tower waves its cables, sparkles everywhere. It pauses for a moment, looks at Jerry. Seems to understand what Jerry is saying. Jerry looks up, a bit of hope. JERRY (CONT’D) Please! The Tower’s voice seems to come from a mechanical hell. TOWER I... HATE... BEGGARS. The Tower prepares the final attack. Jerry, still kneeling, closes his eyes, bows his head down, ready for the end. The tower thrusts its cables towards Jerry. A terrible sound of METAL SCREECHING AND ELECTRIC SPARKS fill the air. Then the silence. Jerry opens his eyes. He’s alive. Or is he? He has no idea what happened. He looks up and sees the tower’s cables ENTANGLED with the cables of a tower with a bent arm, the one who received the impact from the car. Both towers roar, wrestle, thrust cables at each other, punching, kicking, pieces of metal fly, sparks everywhere, the ground shakes as these two giants fight. Jerry just turns around and starts walking down the road, alone, his lifeless gaze not looking back, while both towers ROAR in the distance. It could sound like a strange storm. JERRY (O.S.) (on the phone) Hey, Tom, buddy, about that money you need...
__________________


Halloween short script contest

"Get thee to thy choppers" -- from Shakespeare's "Hamlet Harder" This time it's personal



Last edited by Mark Somers : 09-12-2017 at 12:08 AM.
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Old 09-09-2017, 01:06 AM   #8
Mark Somers
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Default Re: Entries - Dog Days of Summer

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Dogtown ( 1 of 2 ) FADE IN: EXT. CITY STREET - RESTAURANT - NIGHT A taxi cab pulls away from the sidewalk. Exhaust fumes clear, revealing CHERYL standing there. 20s, beautiful but vulnerable. She wears a little black dress... and a dog collar around her neck, with a dangling name tag. She looks across the street at the restaurant. People are inside, seated at tables. She hesitates, uncertain. As if she doesn't want to be here. She suddenly remembers something! She delves into her purse and takes out... furry dog ears. She settles them on her head, makes sure they're sitting right. She takes a deep breath, then crosses the street. INT. RESTAURANT FOYER - NIGHT The MAITRE'D also wears a collar with a dog tag. He looks down his nose at Cheryl, as if she's something he's just scraped off his expensive shoe. MAITRE'D Yes? CHERYL Mr. Goodboy's expecting me. Cheryl can't stand his stare, she looks away, ashamed. The Maitre'D snaps his fingers. A WAITER hurries over. The Waiter also wears a collar with dog tag. In this world every human does. MAITRE'D Mr. Goodboy's "guest" has arrived. Show her to his table. WAITER If you'll follow me- CHERYL No. You take me to him. She's talking to the Maitre'D. MAITRE'D I'm afraid I don't- Cheryl raises her voice. CHERYL Take me to him now, or I'll tell him you treated me like sh!t. He leans forward, in a panic. MAITRE'D Will you keep your voice down? CHERYL Five seconds. Four. THREE. MAITRE'D All right, all right. He leads the way into the restaurant. Cheryl follows him in. The Waiter stands gaping in astonishment. INT. RESTAURANT DINING AREA - NIGHT MR. GOODBOY sits at a table, nibbling a dog biscuit from a bowl. There's also a bowl of water on the table. Mr. Goodboy is a human/dog hybrid, with the head of a dog spliced onto the neck of a man. His tail sticks out the butt of his suit. He wears a gold collar with a gold tag. Other diners also have dog heads, some of the ladies are human ladies like Cheryl but many are bitches. Mr. Goodboy's tail wags when he sees Cheryl. The Maitre'D pulls Cheryl's chair out and seats her. CHERYL Thank you, you may go now. The Maitre'D leaves, silently fuming. Mr. Goodboy pushes the biscuit bowl closer to Cheryl. MR. GOODBOY Biscuit? Cheryl smiles and shakes her head, no thank you. He indicates her ears. MR. GOODBOY I see you got my gift. CHERYL I did. They're lovely, thank you. MR. GOODBOY I actually wondered if you would come. I wasn't sure if my charms were enough to persuade you. CHERYL Why wouldn't I? It's not every day a girl like me gets invited to a fancy restaurant by such a handsome boy. Mr. Goodboy's tail wags excitedly. MR. GOODBOY Would you like to look at the menu? CHERYL That would be lovely. The Waiter steps up and gives them menus. WAITER The house special tonight is steak, diced into cubes and covered with a tasty gravy, the chef's own recipe. MR. GOODBOY Well, no guesses what I'll be ordering. WAITER While you're considering your choices, may I fetch the lady a drink? CHERYL Just a glass of water for me, please. In a glass. WAITER Of course. The Waiter goes away. Cheryl studies the menu. Mr. Goodboy leans his elbows on the table and rests his jowls on his hands, studying her. MR. GOODBOY You know, I think you might be the prettiest girl here tonight. Cheryl looks around, idly curious. At another table, a ROTTWEILER-HEAD WOMAN with a mop of purple hair winks at her. CHERYL Oh, I don't know about that. So what is it you do... Mr. Goodboy? MR. GOODBOY Good heavens, do you mean you haven't heard of the Goodboy food brand? CHERYL Of course I have, but... you mean that's you? MR. GOODBOY My sire, actually. But he's getting older now. He's practically given me control of the company. CHERYL That must be a huge responsibility for you. MR. GOODBOY You have no idea. It's quite the weight, I can tell you. Activity outside in the street attracts their attention. A disheveled, exhausted MAN staggers by. He isn't wearing a collar. He's pursued by FOUR DOG-HEAD POLICEMEN who bark and snarl as they chase him. They all run out of sight. Cheryl stares for a few more seconds before she turns her attention back to the menu. MR. GOODBOY How unfortunate that you had to witness that. That's why the collars are so important. I'm afraid there are those who simply refuse to be, well, good boys. CHERYL They've made their choice. I've made mine. I think I'll have the shrimp starter, and lamb for the main course. The Waiter returns with a glass and pitcher of water. He pours Cheryl a glass. Leaves the pitcher on the table. CHERYL Thank you. WAITER Are you ready to order? MR. GOODBOY I'll have a marrowbone for my starter, and the steak special. The young lady will have shrimp, and the lamb. WAITER Very good, sir. The Waiter takes the menus from them and goes. MR. GOODBOY I was asking about you. Your boss seems to think highly of you. CHERYL I'm glad to hear it. MR. GOODBOY He thinks you may be wasted in distribution. I mean, they're good people, they do a vital job, I'm not saying they don't. But we're always looking for talent in production control. Quality issues are an ongoing concern. CHERYL Is that why you asked me to dinner? To offer me a job? MR. GOODBOY No, I asked you to dinner because I find you very attractive. And, haha, to offer you a job, that's if you're interested in bettering yourself. I don't expect an answer right away, but the offer's on the table. You can think it over and call my office when you've decided. Mr. Goodboy leans over his water bowl and laps up some water. Cheryl takes a sip from her glass. As she drinks, she looks out the window. Outside in the street, the four dog-headed policemen drag the man to a waiting police van, he's been beaten and bitten, he's hardly able to walk on his own. As if he senses her gaze, he turns his bloodied face to look at the restaurant. He stares accusingly at Cheryl. MR. GOODBOY Ah, I see they caught him. Good. We can't have strays running around. Next thing you know there are wild packs roaming the streets, getting up to all kinds of mischief. Cheryl tears her gaze away from the man. CHERYL I very much appreciate your generous offer, Mr. Goodboy. I don't need time to decide. MR. GOODBOY Excellent. That's that settled. Then let's enjoy dinner. CHERYL If you don't mind, I'm going to visit the little girls' room. Please start without me if your marrowbone comes while I'm away. MR. GOODBOY Thank you, I will. Don't be too long. Cheryl gets up and walks to the exit. INT. RESTAURANT FOYER - NIGHT The Maitre'D glares at Cheryl. She ignores him. She sees the toilet arrow sign and heads that way. INT. HALLWAY OUTSIDE RESTROOMS - NIGHT Two doors, each with a sign showing a dog raising its leg to pee, one dog is bigger and heavier, obviously male. Cheryl pushes open the female dog door. INT. LADIES REST ROOM - NIGHT Cheryl checks the stalls, they're all empty. She enters the last stall. She reaches down behind the toilet bowl and searches for something... wrestles it loose. It's an automatic, in a plastic bag. She opens the bag, takes the gun out, drops the bag into the bowl. She pulls back the slide. Thumbs off the safety. The rest room door opens. The Rottweiler-head woman enters. She stops to look in the mirror. In the stall, Cheryl doesn't move, doesn't breathe. Rottweiler woman takes lipstick from her purse and applies it to her dog mouth, giving herself big red lips. She fluffs up her purple hair, styling it until she's satisfied. Cheryl presses the gun against her head. CHERYL Howl and you're dead. ROTTWEILER WOMAN I have money, please take it all. Cheryl drags her into the stall and uses the gun as a club, delivering vicious blows. We don't need to see this. The woman whimpers in pain, then falls silent. Cheryl steps back out, panting heavily. She moves to the door -- but stops. She looks at herself in the mirror. She pulls off the ears, throws them in the sink. She reaches behind her neck and unfastens the collar. Lets it drop to the floor. She studies herself without the collar. A free person.
__________________


Halloween short script contest

"Get thee to thy choppers" -- from Shakespeare's "Hamlet Harder" This time it's personal


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Old 09-09-2017, 01:08 AM   #9
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Default Re: Entries - Dog Days of Summer

Code:
Dogtown ( 2 of 2 ) INT. RESTAURANT DINING AREA - NIGHT Mr. Goodboy looks up as Cheryl enters. She stops at a table -- aims the automatic at a dog-head diner, who gapes in surprise. BLAM. The diner's human companion SCREAMS. Cheryl aims the woman, she ducks under the table, terrified. Cheryl moves to another table, BLAM BLAM, a dog-head diner and his dog-head bitch go down. Dog-heads flee for their lives. BLAM BLAM Cheryl shoots them down without mercy. She advances on Mr. Goodboy, who's frozen with fear. MR. GOODBOY Wait. I can pull strings. You won't even have to go to prison. CHERYL Your factory recycles humans into dog food. I don't think we have anything to discuss. MR. GOODBOY Please, think of the repercussions of your actions. We've taken over your government. We own the police and the military. This will trigger a slaughter such as your race has never seen. CHERYL What you see here is happening all over the country. The uprising begins tonight. Cheryl takes aim at his big dog head. MR. GOODBOY I suppose this means we're not going to do it doggie style? CHERYL Bad dog! BLAM BLAM BLAM BLAM INT. THE OVAL KENNEL OFFICE - NIGHT The BULLDOG PRESIDENT looks into camera. He wears a solid gold collar with a gold TOP DOG name tag. BULLDOG PRESIDENT My fellow Dogmericans. I have declared a state of emergency. The country is under martial law. The rebels are being very bad boys. Their illegal uprising will be crushed and they will be punished. DISTANT SHOTS and FRANTIC BARKING. The Bulldog President looks around, alarmed. BULLDOG PRESIDENT Get me out of here, Judith. TITLE CARD: NORMAL SERVICE WILL BE RESUMED AS SOON AS POSSIBLE CUT TO BLACK An electronic SQUEAL as the signal is cut off, and then: CHERYL (V.O.) Rise up and take off your collars! We will no longer be their pets! THE END
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Halloween short script contest

"Get thee to thy choppers" -- from Shakespeare's "Hamlet Harder" This time it's personal


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Old 09-09-2017, 01:15 AM   #10
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Default Re: Entries - Dog Days of Summer

Code:
Jacob's Point ( 1 of 2 ) A young city boy befriends an old woman who helps him with a problem. EXT. URBAN BACKYARD - DAY JACOB YOUNG (10), a smallish African American boy, kneels on all fours, peers into a patch of overgrown weeds, then slowly draws back his right hand, takes aim. A shiny red and green GRASSHOPPER munching on a daisy flower. Jacob thrusts his hand deep into the tall greenery. EXT. BUNGALOW HOUSE - DAY Jacob's mom, TINA (mid 30s), climbs out of a rusted sedan, grocery bags slung over her thin arms, calls out. TINA Jacob, come help with these groceries. EXT. URBAN BACKYARD - DAY Jacob retracts his clenched fist from the weeds, shouts. JACOB Okay, just a minute. TINA (O.S.) Un, uh. Right now! INT. KITCHEN - EVENING Tina sets a pizza on a rickety folding table, takes a seat across from Jacob and his sister, SASHA (16). Sasha takes a bite of pizza, then suddenly stops chewing. She points at Jacob's chest, terror in her eyes. JACOB What? SASHA Your pocket... something's... Jacob looks down, reaches inside his t-shirt pocket, then pulls out the WRIGGLING GRASSHOPPER. Sasha screams, jumps from the table, runs from the room. SASHA You're so weird! Tina gasps, recoils. TINA Good Lord, Jacob! Get that nasty thing outta my house! MOMENTS LATER Jacob sits alone at the table, finishes off a slice of cold pizza. Tina pokes her head into the kitchen. TINA Close your eyes. No peeking. The lights go out. TINA (O.S.) (singing)) Happy Birthday to you... Happy Birthday to you... Tina sets a cake with ten burning candles in front of Jacob. As Jacob downs a big hunk of cake, Tina places a brightly wrapped GIFT in front of him. TINA Sorry it's a little late. She pecks Jacob on the cheek. TINA Happy Birthday, sweetheart. Jacob's eyes light up. VRREEEEM...VRREEEEM. EXT. FRONT YARD - AFTERNOON Jacob beams as he races his new REMOTE CONTROL MONSTER TRUCK along the sidewalk. Tina backs the sedan out of the driveway, rolls down the passenger window, calls out to Jacob. TINA I want you two inside while I'm at work. Jacob huffs. JACOB Okay. He scoops up the truck and shuffles toward the house. INT. BEDROOM - MINUTES LATER Jacob pokes his head through the doorway, scans the hallway. EXT. BUNGALOW HOUSE - DAY Sasha removes her earbuds, yells from the porch. SASHA Momma said to stay inside. Jacob circles his toy truck around a tree, ignoring his sister. Sasha stomps back into the house, slams the front door closed. MOMENTS LATER The monster truck zips across the sidewalk, then skids to a sudden stop. Jacob tenses, jaw clenched. A SHIRTLESS TEEN BOY (14), gold rope chain hanging from his neck, blocks the toy truck's path with his bicycle. SHIRTLESS TEEN BOY Your fine sister home? A PUDGY TEEN BOY rolls up behind Shirtless Teen Boy. JACOB I dunno. Shirtless Teen Boy picks up the truck. SHIRTLESS TEEN BOY Pretty dope. Can I try? Jacob shakes his head. SHIRTLESS TEEN BOY C'mon, boy. Pudgy Teen Boy rolls up to Jacob, snatches the remote out of his hands. SHIRTLESS TEEN BOY I be straight up witcha. Shirtless Teen Boy races the truck wildly across the yard. VRROOOM. An SUV speeds down the street toward us. With a devious glint in his eye, Shirtless Teen Boy cranks the remote control stick sharply. The toy truck cuts hard left, then careens down the driveway, on a collision course with the SUV. Jacob takes off, screams. JACOB No! CRACK, CRUNCH. Jagged pieces of plastic and metal shoot across the pavement. The SUV screeches to a stop, then speeds away. Shirtless Teen Boy hops onto his bicycle, tosses the remote control at Jacob's feet, smirks. SHIRTLESS TEEN BOY ****, man. I ****ed up. Sorry. With tears running down his cheeks, Jacob collects his flattened truck from the pavement. In the distance, the two teen hoodlums speed away, laughing. EXT. ALLEY - DAY Jacob dumps his demolished truck and the remote into a trash can, trudges back to the house. OLD WOMAN (O.S.) Shameful. Jacob whips around, mouth agape. A frail ELDERLY WOMAN appears next to a garden gate leading to the neighboring yard. Her white wiry hair cascades from under a wide-brimmed sun bonnet, brown skin deeply wrinkled. OLD WOMAN You look like you seen a ghost, boy. JACOB Uh, no... just that... they said you never come out... that you- OLD WOMAN You believe everything people says? JACOB No. OLD WOMAN Good, cuz you fill your head with gossip, you won't have no room for what matters. Old Woman heads back through the gate. OLD WOMAN Whew, gotta get outta this hot sun. EXT. BACKYARD - DAY Jacob cautiously steps through the gate, peers into the old woman's yard. An OASIS of neatly tended flower beds. OLD WOMAN (O.S.) Over here. Jacob joins Old Woman under the shade of a tree. OLD WOMAN You know, in my day, a proper young man introduced hisself to a lady. JACOB Uh... I'm Jacob... Jacob Young. OLD WOMAN Hello, Jacob Young. I'm Mrs. Iris Walters. IRIS gestures to a pitcher of lemonade on a patio table. IRIS Help yourself. Jacob hesitates, stares at the lemonade pitcher. IRIS I didn't poison him, Jacob. Parkinson's came along and took him. She takes a deep breath, smiles, then points to the twisted tree branches above. IRIS We planted this ole pear on our wedding day... be fifty-two years this September. Jacob holds a burlap sack, trails Iris as she inspects a stand of roses. IRIS Them Sixth Street boys been bringin' trouble around here all summer. JACOB Yeah. IRIS Most folks have good hearts, even if they do somethin' bad. But some, like Terra Mae Brown... Iris plucks a wilted rose, tosses it into the sack. IRIS ... they just rotten to the core. FLASHBACK EXT. FARMHOUSE - DAY TERRA MAE BROWN (18), blonde beauty, toting a steel bucket, sneaks onto the porch, nervously scans the surroundings, then opens the front door, steps inside. IRIS (V.O.) When Terra Mae learned Aldon Jones was fixing to ask me to the prom, she done go crazy, vowed to get me. BEDROOM Terra Mae yanks a long frilly yellow dress from the closet, tosses it on the floor. IRIS (V.O.) Mamma worked double shifts for a whole year to get me that prom dress. Terra Mae tilts the bucket and pours slimy brown manure over the dress. BACK TO SCENE Jacob chugs a glass of lemonade. JACOB What'd ya do? Iris points. A BUMBLEBEE lands on a tube-shaped HOLLYHOCK flower, then crawls inside. IRIS Bees are humble souls. Go about their bizness, botherin' no one... less'n you give 'em a reason, of course. Iris pinches the flower closed, trapping the bee inside. JACOB You're gonna get stung! IRIS Only when she finds there ain't no way out. The young boy and old woman lock eyes. SUPER: ONE WEEK LATER EXT. URBAN STREET - DAY Backpack slung over his shoulders, Jacob pedals his bike to the street corner, gazes up at the sign: SIXTH STREET. In the distance, Shirtless Teen Boy and Pudgy Teen Boy loiter on the porch of an abandoned house, smoking pot. EXT. ABANDONED HOUSE - DAY Shirtless Teen Boy elbows Pudgy Teen Boy, points to the street. SHIRTLESS TEEN BOY Ain't that truck boy? Jacob comes to a stop in front of the two punks. PUDGY TEEN BOY Watcha doin' around here, boy? JACOB Gotta question for ya. SHIRTLESS TEEN BOY What's that? JACOB What stinks worse than dog ****? SHIRTLESS TEEN BOY What? Man, I dunno? JACOB Nothin', but you two losers come real close. Shirtless Teen Boy and Pudgy Teen Boy leap from the porch. SHIRTLESS TEEN BOY Get 'em! Jacob speeds away on his bike. Shirtless and Pudgy hop on their bikes, race after Jacob.
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Halloween short script contest

"Get thee to thy choppers" -- from Shakespeare's "Hamlet Harder" This time it's personal



Last edited by Mark Somers : 09-09-2017 at 08:18 PM.
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