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Old 11-01-2017, 03:00 AM   #1
dpaterso
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Default Entries - Halloween 2017 contest

There are 10 entries and here are the titles:

The Raven Mocker
Lucy
Waterman
Brilliant Disguise
Arcade
We still need to give it a title
Montgomery
No Teefs
Dog
Extra Time

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.

As soon as the votes are in, I'll post the results, how about midnight this coming Sunday 5th as a voting deadline?

After results are posted, you can post your comments in the results thread, and tell everyone why your entry clearly deserved to win!

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!

The discussion thread for this contest is here.
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Halloween contest results posted!
And maybe start thinking about a Yuletide contest also!


Last edited by dpaterso : 11-02-2017 at 03:39 AM.
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Old 11-01-2017, 03:02 AM   #2
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The Raven Mocker FADE IN INT. NATIVE HUT SUPER: "Western Carolina, 1705, the American Frontier." WAYA, 20's, a well built Native-American warrior, stands over ADSILA, 20's, a female Native-American lying on a bed of animal furs and trade blankets. Adsila sobs. Waya kneels beside her. Strokes her hair. WAYA I don't know the words to heal your heart. Adsila doesn't look at him. Closes her eyes. Buries her face in a blanket. DUSTU (O.S.) The Catawba have stolen my sisters! The Catawba have killed my father! Voices increase outside. Waya looks up. Stands. Looks back at Adsila. She doesn't move. Waya walks away. EXT. DAY - CHEROKEE VILLAGE Waya exits his hut. The bright sun blinds him at first. Ten young warriors surround a distraught Dustu, 20's, thin but muscular. With tear streaked cheeks Dustu pleads for help. DUSTU We must save my sisters. Avenge my father. The warriors nod in agreement. A few war cries sound out. MOHE, 20's, walks through the crowd to Dustu. Mohe wears the scars of previous battles on his bare chest. MOHE I will go. The warriors celebrate. Mohe walks away from the crowd to Waya. MOHE Will you go, my brother? Waya looks back at his hut. MOHE Maybe she needs time alone? Waya looks at his brother. Nods. Dustu approaches them. DUSTU We leave before dawn. Will you help, Waya? Waya puts a hand on Dustu's shoulder. WAYA Your father was a great man. I will avenge his murder. Dustu grabs Waya's arm. Nods. Runs off. Waya turns, heads back to his hut. MOHE Women are stronger than we think. Give her time. Waya enters the hut. EXT. NIGHT - CHEROKEE VILLAGE Torches illuminate the bark and thatched huts of the village. The men are gathered outside. Each adorned with traditional Cherokee war paint. The men carry assorted weapons of bows, arrows, and stone war clubs. Waya puts a flintlock pistol in his belt. Mohe walks up to him. MOHE The white man's weapon? WAYA It has served me well. MOHE It has cursed us. It has cursed your home. Waya gives Mohe a death stare. WAYA Stop talking. Mohe sees he has crossed a line. MOHE Forgive me brother. The two warriors join the group as they all leave the village. EXT. DAY - RIVER BANK The sun peeks over the trees. The warriors pull their canoes up to the bank of a river. A path winds from the river into the thick woods. DUSTU We follow the path. It's less traveled and should lead us to the Catawba village. The men fall in line behind each other. March into the woods. Quiet. The woods thin out. The men stop. Birds whistle. Birds chirp. Mohe whispers to Waya, who stands in front of him. MOHE Something isn't right. War Cries. The men look around. The cries encircle them. Out of nowhere, dozens of arrows come through the woods. Many stick in the trees. Others find their marks. Three Cherokee drop dead. WAYA Ambush! Catawba warriors run out of the woods toward them. Red and black face paint, flattened foreheads. Terrifying. The two groups charge each other. Waya slams the head of a Catawba with his stone war club. Mohe runs a shortened spear through the chest of another. An arrow pierces the heart of one of the Cherokee. A Catawba attacks and kills another. MOHE Look out. A Catwaba runs out from a tree and attacks Dustu. A pistol shot. The Catawba falls dead at Dustu's feet. Waya returns the pistol to his belt. Mohe kills the last Catawba. War cries in the distance. WAYA More are coming. We can't hold them off. Mohe points to the forest. MOHE It's our only hope. Only Waya, Mohe, Dustu and one brave remain. Dustu and the other warrior bleed from head wounds. DUSTU I won't run in disgrace. WAYA We will live to fight another day. We will come back with more men and burn their village to the ground. Waya, Mohe, Dustu, and the other Cherokee rush into the thick woods. EXT. DAY - WOODS The sun dims as the men approach a clearing. A large wood blockhouse stands ominous before them. A gust of wind. A raven screeches. WAYA The doors are open. Are they gone? DUSTU White's would never leave a place like this unguarded. MOHE I don't like this. Let us move on. Dustu and the other Cherokee warrior run to the house. Waya looks at Mohe. Shrugs. They both follow. INT. BLOCKHOUSE - DAY The men look around. The body of an elderly white man lies unnatural on the floor. Dustu enters the room. DUSTU There are three dead children above. Disease? Waya looks across the room. A GIRL, 4, huddles in a corner. Waya approaches. She shows no emotion. MOHE (O.S.) Leave her! WAYA I can't leave her here to die. MOHE This place is cursed. I'm leaving before it's dark. Waya looks at the girl. Blonde, straggly hair with one green eye. The other blue. Waya scoops her up. Follows the others out the door. EXT. CAMP - NIGHT Waya tosses and turns in his sleep. Loudness all around. A raven screeches. Waya sits up, awake. Looks around. Dustu and Mohe stand over the body of the Cherokee warrior. WAYA What is it. MOHE He's dead. DUSTU He screamed out. Now he is dead. Mohe points at the girl. MOHE Her. WAYA He died from his wounds. Waya takes Mohe by the arm. They walk into the woods. WAYA Why do you act so strange? MOHE She is evil. WAYA She's just a little girl. MOHE You want her to replace your daughter. She can't come back with us. Mohe pulls a knife from his belt. MOHE I must end this. WAYA End what? The screams of Dustu. Waya and Mohe run back to camp. Dustu stares up at the night sky. Terrified look on his face. Body grossly twisted. MOHE She is evil! The Girl stares into the fire. Mohe grabs her. She struggles. Tries to escape. Mohe holds her in a bear hug. WAYA Stop! Release her! Mohe runs into the woods. Waya chases after him. Mohe stops at the edge of a cliff. The sounds of the river below. WAYA Give her to me. Come away brother. MOHE She is evil. She must not make it to our village. WAYA She's done nothing wrong. Look at her. MOHE No! She is not what she appears to be. It steals life from the sick and wounded. The Girl struggles. MOHE It is the Kalona Ayeliski, The Raven mocker. WAYA No! Your hatred for the Whites has distorted your vision! Mohe walks backward. Off the cliff. Waya shocked. Walks to the cliff. Looks down. Darkness. EXT. DAY - CHEROKEE VILLAGE Waya walks into the village. Adsila stands at the entrance to their hut. She wears a beautiful deerskin dress adorned with shells and beads. A flower in her hair. Adsila smiles. Waya rushes to her. WAYA You're beautiful. ADSILA Come, I've something to show you. INT. NATIVE HUT Adsila pulls Waya by the hand. The hut is transformed. Pleasant. ADSILA I found something by the river. Adsila steps aside. The Girl sits in the corner of the hut. One blue eye stares down. The green eye looks at Waya. Waya drops to his knees. Closes his eyes. A raven screeches. END
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Old 11-01-2017, 03:06 AM   #3
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LUCY EXT. DESOLATE WASTE GROUND - DAY The place looks like a post-apocalyptic world. A desolated wasted place, where mountains of debris, rubble and rubbish pile up to the sky. Far away, two human silhouettes scavenge the place looking for anything that resembles value. Meet Lucy, a 14 years old girl, dressed in a white blouse and a red and navy blue pleated skirt. A ribbon holds her hair. Her face is dirty with dust, her skin sweaty from the heat. She picks up a rock, weights it in her hands. Not good. Picks up another. Nope. She looks around until her eyes lock on something. Her face brightens: that's it. CUT TO: Lucy drags a big stone, nearly half her size. She has to use all her strength to advance inch by inch. The effort is huge but she smiles satisfied. Lucy pushes the stone into her Avengers backpack. It barely fits. Lucy hops in joy away from the waste ground, whistling a song, pulling a trolley with her backpack and the stone inside. EXT. UPPER CLASS NEIGHBORHOOD / SEVERAL STREETS - DAY All is quiet in this residential upper class neighborhood. We see several streets with beautiful houses, each with a perfect lawn in front. It's very early, there's nobody on the streets. The only sound is the terrified, ear-piercing scream of a teenager. It's Lucy. LUCY (O.S.) Tommy! Tommyyyyy! Someone help, please! My brother! EXT. UPPER CLASS NEIGHBOURHOOD / SEWER - DAY From the depths of a circular, bricked sewer, we see Lucy's face silhouetted against the bright, blue sky, looking down. A thin rungs ladder is attached to the wall. Her face is distorted with tears and agony. LUCY Tommy, hold on, please. Be strong! I'm looking for help. From above, we see Lucy kneeling on the asphalt, leaning over an open sewer manhole, her head silhouetted against darkness. The thin rungs fade into the depths of the sewer. She looks around for help, desperate. LUCY (CONT'D) Help!! Please! In the empty streets nobody seems to hear her. Lucy wears the same clothes as before. Her backpack is on the ground, next to her. A car passes by. Lucy extends her arms towards it. INT. CAR - DAY JAMES (35) sees Lucy through his car windshield. Lucy sees the car and waves at James. We don't hear what she says but it's clearly urgent. James stares at Lucy for a moment. He takes his phone, hesitates. He finally slows down and stops a few yards down the road. EXT. UPPER CLASS NEIGHBOURHOOD / SEWER - DAY James gets off the car. JAMES Hey! Are you all right? When Lucy sees James, she stands up and points urgently at the sewer. LUCY My brother! He fell. Please, help him! JAMES What do you mean, he fell--? James sees the open manhole and a chill runs down his spine. JAMES (CONT'D) Oh, f*** me! James runs to the manhole, where Lucy seems about to collapse. She takes his arm. LUCY (sobbing) I-I had to take care of him. I don't know what happened. Lucy's tears pour out. James kneels down and peeks into the darkness. He makes a face. JAMES S***, what's that stench? LUCY Please, save my little brother! James looks down. He cannot really see anything. He takes his phone and uses the torch to get some light. He looks again. Nothing. JAMES Are you sure he fell here? Maybe, he-- Lucy loses it. LUCY He is down there! (to the sewer) Tommy, he's going to bring you out! Hold on tight! James hears something. A distant moan from the depths. Barely audible but it's clearly a child. James listens again. The moan again. There's a child down there! JAMES Oh, my God. Lucy goes hysterical. LUCY Tommyyyy! She grabs James' hand. LUCY (CONT'D) Please! He's going to fall to the bottom! James understands how serious this is. JAMES Hey, hey, listen to me. Everything will be all right. What's your name? Lucy looks into James' eyes. LUCY I'm Lucy. He's Tommy. JAMES Okay, now listen to me, Lucy. You are a very brave girl. I'm going to call the police and -- LUCY No, no, no, please! He will fall! You have to save him now! James holds Lucy's face in his hands, trying to calm her down. JAMES Lucy, Lucy-- listen. I'm calling the police. I want you to take my phone and tell them where we are. Lucy looks at James with hope. JAMES (CONT'D) And I'll go down and get your little brother, all right? Lucy's eyes widen. She hugs James. LUCY Thank you! Thank you! Thank you! (to the sewer) Tommy! He is going down! You'll be soon with mommy and daddy! JAMES (to sewer) Tommy, I'm going to get you. Don't be scared! I'll be there in a minute. James passes his phone to Lucy. JAMES (CONT'D) Do you know how to call 911? Lucy takes the phone. Nods. Dries her tears. JAMES (CONT'D) Call them now. Tell them what happened. Where we are. Tell them your brother's age. Ask them to send someone quick. Can you do that? Lucy nods again. James shuffles Lucy's hair. Good girl. James leans over the manhole, ready to go down. Again the horrible stench. He pulls up his shirt to cover his nose. JAMES (CONT'D) What the hell is that? He turns around and goes feet first into the manhole. Lucy looks at him, pressing the phone with both hands to her chest. James winks at her. JAMES (CONT'D) Call them. I'll be back in a minute. Lucy nods, smiles. INT. SEWER WELL - DAY James grabs the rusted rungs and starts climbing down slowly. JAMES Tommy, do not move, stay where you are. I'm coming. (re: the stench) Holy Jesus. James hears the moan again, a bit louder. As James keeps climbing down, the light dims. JAMES (CONT'D) You are going to be with your family very soon, and you will tell your friends at school the great adventure you just had. James looks up, the circle of light growing smaller. Lucy is not there. He goes down, step by step. He can barely see anything now. But the moans are clearly louder. He must be very close. JAMES (CONT'D) You are a very brave boy. I'm going to tell you parents how you-- Oh, Tommy? James touches something with his foot. The moan turns into a whimper. It's Tommy. JAMES (CONT'D) Tommy! It's all right! I'm here! James feels the dimness with his hands until he touches the face of a crying young boy. He can barely see the shape of the little boy's body. He screams in victory. JAMES (CONT'D) (to Lucy, up there) Lucy! I got your brother! I got Tommy! He looks up, but Lucy is not there. TOMMY (crying) I'm not Tommy. In the dimness, James looks into Tommy's eyes. JAMES What? TOMMY My name is Nicholas. JAMES What do you-- ? A sound catches James' attention. A distant moan. And another. Way below them. James is not sure, but it sounds like there are at least two more kids down there. And the horrible stench. A thought crosses James' mind. He stares at Nicholas. JAMES (CONT'D) Nicholas. How did you fall down in here? Silence, apart from the distant moans. James feels Nicholas' little hand grabbing his finger and pulling it up to point to the manhole. NICHOLAS She pushed me. James is horrified. He looks down into the darkness. The moans are faint but clearly from kids. NICHOLAS (CONT'D) She said she wanted to play a game. James begins to understand. NICHOLAS (CONT'D) And now she got you, too. James eyes open wide, scared. He looks up to the circle of light. Lucy is there. With his phone in her hands pointing down at them. LUCY Smile! FLASH! She takes a photo with the phone. In the dimness, the flash light shows more detail than we would like to see: the bricked well; James and Nicholas; the twisted bodies of the kids below them. Hell in just a fraction of a second. Lucy disappears from the exit. James reacts. He grabs Nicholas in one arm and starts climbing up the rungs with the other. Up there, Lucy lets out a grunt as she pushes something heavy. James climbs fast. The circle of light gets closer. An object appears on the edge of the manhole. James looks up. He sees a glimpse of Lucy's Avengers backpack. The backpack falls, heavy, blocking the light and dumping James and Nicholas into darkness. James and Nicholas scream. FADE TO BLACK ON BLACK All is silent, except for the terrified, ear-piercing scream of a teenager. It's Lucy. LUCY (CONT'D) My daddy! My daddyyyy!! Someone help me, please! My daddy!
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Old 11-01-2017, 03:07 AM   #4
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Default Re: Entries - Halloween 2017 contest

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Waterman FADE IN EXT. MOON FAR SIDE WATERMAN CRATER SUPER: WATERMAN CRATER AGRICULTURAL RESEARCH FACILITY A figure in a bulky moon suit, bathed in the light from the setting sun, looks at that sun, through a gold visor. The figure turns and makes its way down a hill and through a hatch into an air lock connected to a tunnel. Dim sunlight pours down into the air lock and tunnels through large overhead ports. The figure, DOCTOR ANN NEWMAN, 30s, unlatches and pulls off her helmet and steps out of the back of the bulky outer suit wearing a light weight jump suit. We follow as she enters a huge DOME the size of a few football fields. A tropical jungle on the far side of the moon. She takes a deep breath as she takes in the exotic green scenery. She walks to an inclosed cubicle in a stand of trees. INT. DOME CONTROL CONSOLE Behind her, leaning back in a chair, at a desk, with his boots up on the desk is Astronaut Biologist, KEN DETRICKS, 30s. He's thoroughly engrossed in rolling a large conical joint. It's a beauty to behold. ANN Ken. Ken, startled, falls backwards out of his chair. He climbs back into his seat carefully salvaging his rolling project. KEN You've got to stop sneaking up on people like that. ANN You're supposed to be studying the botany not smoking it. KEN This is studying. I'm doing some precision analysis. Ken closely examines the joint. KEN (CONT'D) There's only so much one can do with lab equipment and then you've gotta let the rubber hit the road. ANN What? Ken lights it and takes a drag. As he exhales... KEN You've gotta let the chips fall where they are. ANN If you say so. Over the room speakers. ERNEST (O.S.) Ann, look at your monitor. ANN I'm there. THE BOX SEAT High up in the dome like a box seat at a sports stadium ERNEST CADMAN, 40s, Astronaut Biosystems Engineer, stands at a workstation surrounded by monitors that overlooks the entire dome farm. He studies a monitor and as he types at a keyboard... ERNEST We've got a meteor shower coming our way. DOME CONTROL CONSOLE ANN (studies screen) I see it. Start closing the outer shutters. ERNEST (O.S.) Already started but, we're still going to take some damage, I'm afraid. ANN We'll button up as best we can. THE BOX SEAT Ernest closes up the BOX SEAT enclosure. EXT. MOON OUTSIDE THE DOME On the surface we see a splatter of moon dust that looks like paint splattering. Then another. Then a boulder the size of a basketball explodes. The tiny but incredibly energetic meteors strafe the Moons surface in a line headed for the dome. They stop. Then INT. DOME KABOOM A loud explosion as a meteor the size of a football smashes through a closing shutter ripping the metal like paper, and puncturing the domes crystalline shell. KABOOM Another explosion as the same METEOR seconds later finds the ground. DOME CONTROL CONSOLE Ann and Ken look up. KEN Holy ****. DOME METEOR IMPACT The METEOR is embedded in the nutrient rich soil of the dome. It smolders. Glowing green it BURSTS driving TENTACLES covered with tiny GREEN CRYSTALS into the ground around it. As the TENTACLES come in contact with different plants they take on the characteristics of the individual plants. DOME CONTROL CONSOLE Ann studies her monitor for a moment. ANN Ken, I'm going to investigate. Ken at his workstation. KEN Put on a pressure suit the dome's losing air. As Ann types on her keyboard... ANN I'm sending a couple of bettys to find and repair the hole. UP ON THE SHELL OF THE DOME Cabinets open up and out come two BETTYS. They're car sized robots that cling to the shell of the dome. They start toward the hole created by the meteor. ANN (into headset) Ernest, I'm going to check for damage where the meteor impacted the ground. ERNEST Take lights, it's getting dark. INT. DOME Ann in a truck and wearing a pressure suit rolls slowly along a path in the direction of where the meteor landed. The lights of the truck light up a heavy tree root laying across the trucks path. She stops the truck. ANN Ernest, Ken, the road is blocked. Ann puts on her helmet gets out and checks out the root. ERNEST (O.S.) Debris from the meteor? ANN No it's a tree root. It's huge. Ann sees green glowing crystals spread along its root's length. ANN (CONT'D) There's strange green crystals all over it. I'm going to get a sample. KEN (O.S.) Good. I'll set up the lab to examine them. She takes a sample container and scoops up some of the green crystals. OVERHEAD the bettys have located the hole in the dome and are surrounding it with a gel. Some of the gel is pulled by the air escaping into space. The gel mixes with the dome's material and slowly closes the hole. BLOCKED ROAD ANN I'm going to look for the meteor, or what's left of it in sector twenty one. Ann walks back to the truck. The green crystals are on the ground and some of it is on the bottom of her boots. She gets back into the truck and pressurizes the truck. She pulls off her helmet and starts coughing. She looks down at the floor of the truck and notices the green crystals. She struggles to get her helmet on but passes out before she can. DOME CONTROL CONSOLE KEN Ann, just bring the sample back we can investigate the meteor's point of impact when there's more light. No response. KEN (CONT'D) Ann, do you read? No response. KEN (CONT'D) Ernest, can you see anything of Ann from the box? ERNEST Not from here. KEN I'm going for her. ERNEST Gotcha. BLOCKED ROAD Ken pulls up in another truck. He gets out wearing a pressure suit. He looks inside Ann's truck. She out cold. He tries to open it but there's a warning. "DANGER CRITICAL PRESSURE DIFFERENCE" on a small screen on the door. KEN Ernest, she's in the truck but I can't get in. I'm getting a pressure warning. ERNEST The pressure is back up to what would be high elevation on Earth. Bypass the lock, get in the truck, then immediately repressurize the truck. Use her truck to take her to the med bay. I'll meet you there. KEN Yep. Thanks. MED BAY Ken carries Ann to an exam table. He pulls off his helmet. There are green crystals all over Ann. He starts to cough. He grabs his helmet, but too late he passes out. Ken wakes up to see Ann sitting leisurely on an exam table eating an arm. He checks his arms then still groggy jumps off the table. Ann is covered with green crystals. They frantically crawl on her as she chews. Ken freaks out. He notices the green crystals on his own body and sees Ernest's lifeless and armless body on the floor. Ann looks up from eating. She takes a drink. ANN Well good morning, Sunshine. I thought you were going to sleep all day. She lets out a big long satisfying burp. KEN What are you doing? ANN Lunch. There's still plenty. Dig in. Ken notices the green crystals swarming around his arm. KEN Well... I.. I am famished. Not much we can do for Ernest at this point, anyways. Ann hands Ken the rest of the arm she was eating, grabs a saw, and starts cutting on Ernest's leg. ANN It tastes like chicken. Ken takes a bite. KEN (chews) You're right it does. We have any ketchup? EXT. MOON FAR SIDE WATERMAN CRATER SUPER: DAYS LATER Ann in a bulky moon suit, bathed in the light from the setting sun, views a gleaming MOON SHUTTLE through a gold visor. She promptly turns and makes her way down a hill and through a hatch into an air lock connected to a tunnel. Dim sunlight streams down into the air lock and tunnels through large overhead ports. Ann unlatches and pulls off her helmet then steps out of the back of the bulky outer suit wearing a light weight jump suit covered in green crystals. She walks to her inclosed cubicle surrounded by huge trees. DOME CONTROL CONSOLE Behind her, Ken, leans precariously back in a chair at his desk. He's thoroughly engrossed in rolling a large conical joint. It's a little ragged, but it'll do. ANN Ken. Ken, startled, falls backwards out of his chair. As he climbs back into his seat... KEN You've really got to stop sneaking up on people like that. Ken lights up the joint, and takes a big drag. Exhales... Ann sprays the room with a can of air freshener. ANN We have guests coming. MOON SHUTTLE A shuttle flies towards the dome. PILOT (O.S.) Waterman, we're on final approach and will be touching down on pad one. ANN (in headset) Good. Just in time for dinner. FADE OUT
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Old 11-01-2017, 03:08 AM   #5
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Default Re: Entries - Halloween 2017 contest

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Brilliant Disguise FADE IN: EXT. SUBURBAN HOUSE - GARDEN - NIGHT Decorated for Halloween, carved pumpkins, grinning plastic skeletons, fake spider webs, spooky orange lighting. Two rustic scarecrows with pumpkin heads sit together on a bench, a larger man with his arm around a smaller woman, their heads touching. Kinda romantic. CLOSE UP OF THE HOLLOW PUMPKIN HEADS reveals very unhappy human faces inside. Eyeballs rolled up, lips turned down. The people wearing the pumpkin heads are dead. CAMERA FLASHES light up the dead couple. DETECTIVE JERRY DONNER has seen it all before, nothing upsets him any more. He puts a cancer stick between his lips and flicks his lighter. MEDICAL EXAMINER BO NILES gives Donner a sour look. Niles wears a crime scenes snowsuit (white plastic coverall) and has the camera. NILES Jesus Christ Donner I told you a thousand times, no smoking around crime scenes. DONNER I'll put it out if they object. You figure out what killed them yet? Donner looks around, his eyes taking in every detail of the garden, the house. NILES I only just got here, but if I had to guess? Cardiac failure caused by ingestion of poison. Donner raises a surprised eyebrow, color him impressed. DONNER How'd you figure? NILES No visible knife or bullet wounds. Which makes me think it could be poison or barbiturates. I'll have to run-- Niles breaks off, stares at a little girl (ALICE) who has appeared nearby, dressed as a witch. She carries a goodies bag and trails a broom behind her. Alice looks from Donner to Niles, then stares at the couple on the bench. Her forehead crinkles into a frown as thoughts form in her head. Donner notices her. DONNER Hey, how'd she get past the tape? (to girl) What the hell are you doing here? Alice jerks her head back over her shoulder. ALICE I live next door. Are they dead? NILES You shouldn't be here, honey. Don't come any closer. DONNER You know them? ALICE Sure. Mr. and Mrs. Warwick. Her name's Melissa and he's Andy, though she calls him Spud. NILES Go home and tell your mom the police are here and we're taking care of Melissa and Andy. DONNER When was the last time you saw the victims alive? NILES Jesus, Donner. ALICE This morning. Melissa said I should come over tonight. She said she had candy for me. DONNER Okay, you can go. But don't leave town, I might want to ask you some more questions later. Alice stares at the dead couple for a moment longer, feeling something. She turns around and trudges away, head bowed. She disappears behind a hedge. NILES I'm going to complete my examination of the scene, then get these nice people back to the lab so I can see if my guess is right. Maybe there are some more kids you can terrify while I'm doing that? DONNER Little bitch wasn't terrified, she was bummed she didn't get her candy. NILES Hey, you think maybe she was here already but they didn't give her enough, that's why she killed them? DONNER Right now that's the best theory I've got. If it's poison, I want to know what type and where I'd buy some. NILES All part of the service, Detective Donner. DONNER You check inside? NILES C.S.I. Hammond is doing that now. Donner gives the bench a wide berth as he heads for the house. NILES (CONT'D) Don't scare her. INT. HOUSE - HALLWAY - NIGHT Donner enters, looks around, heads into-- INT. HOUSE - LIVING ROOM - NIGHT Couch and chairs have been pushed to the edge of the room, clearing the varnished wood floor. A big five-pointed star has been painted, in red, on said floor. CSI MILLY HAMMOND, wearing a snowsuit, is examining the star with a UV flashlight. Milly's backstory is unimportant right now but she is an attractive woman and Donner knows this. DONNER Blood? MILLY Red paint, interior gloss. I can tell you the manufacturer and where and when it was purchased. DONNER That's damn clever C.S.I. work. MILLY The paint tin's in the next room and there's a receipt from a local hardware store on the kitchen table. Are you smoking at a crime scene? Donner holds up his cigarette. DONNER I can tell you the manufacturer and where and when it was purchased. So you can distinguish my ash from all the other ashes you find. So what's with the star? MILLY It's a pentagram. Often linked to occult rituals. The five points represent the four elements, water, fire, earth and air, and the fifth which is the spirit, or life. DONNER Like that Bruce Willis movie. MILLY Die Hard? DONNER Leeloo Dallas multipass. MILLY Leeloo what? DONNER Why would anyone paint a pentagram on their living room floor? It's a nice floor. MILLY Damned if I know. That's taking this Halloween thing a little too far, you ask me. DONNER You checked out the rest of the house? MILLY Not in detail. Uniform did a room to room. I'll work through them all, see what turns up. DONNER What's your theory? MILLY I dunno. Could be a killer with a really weird sense of humor. Or it could be a suicide pact. What about you? Any thoughts forming? DONNER Might be a sex game gone wrong. MILLY They had air holes, they'd still be able to breathe. DONNER What if you stretched food wrap around the pumpkins, then took it off again once they were dead? Asphyxiation, no obvious cause. MILLY If I find food wrap in the kitchen, I'll let you know. DONNER Andy and Melissa Warwick. She called him Spud. MILLY That's damn clever detective work. DONNER We do our best. Donner turns and exits back outside. EXT. SUBURBAN HOUSE - FRONT DOOR STEPS - NIGHT Donner throws his cigarette into some flower bushes. He becomes aware that Alice stands nearby, watching him. DONNER You're not supposed to be here. ALICE Clarence didn't want Melissa to give me candy, he said it was all for him. DONNER Who's Clarence? Alice circles a finger beside her head. Donner's eyes widen in realization-- INT. HOUSE - LIVING ROOM - NIGHT Milly enters, picks up a receipt from the kitchen table, reads it. ACME HARDWARE STORE - YOUR RECEIPT - some numbers - THANK YOU CLARENCE MILLY Andy and Melissa... The FRIDGE, which is not really a fridge, it's a MAN (CLARENCE) wearing painted boxes so he LOOKS like a fridge, comes alive behind Milly. Milly's face is suddenly covered in food wrap! Clarence tugs hard, cutting off her air. CLARENCE You're not taking my candy, you bitch! Milly chokes and struggles but it's no good... can't... breathe! Clarence's eyes flick left. Then widen in surprise. Donner's in the kitchen doorway, looking over the barrel of his gun. DONNER Freeze! Clarence spins Milly around and pushes her at Donner and makes a desperate box-legged run for the back door. BLAM! Donner hits him in the leg box, Clarence the Fridge- Man falls, wailing. Donner steadies Milly and unwraps the food wrap. DONNER (CONT'D) You okay? MILLY I am now. Jesus, is that...? DONNER Yep. It's a man disguised as a fridge. Pretty clever disguise, you ask me. MILLY You saved my life. DONNER We do our best. Dinner later? MILLY Not in a million years, Donner. But thanks for asking. Footsteps -- NILES and a uniformed COP come running in. They skid to a stop, seeing Clarence on the floor. Clarence whimpers. NILES You got this? Donner lights a smoke. DONNER I got it. MILLY Why did he paint a pentagram on the living room floor? Donner circles a finger beside his head. DONNER Maybe the voices in his head made him do it. INT. HOUSE - LIVING ROOM - NIGHT Looking down at the red pentagram. The five-pointed star GLOWS. The glow fades. It's just a painted pentagram again. FADE OUT
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Old 11-01-2017, 03:09 AM   #6
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Arcade FADE IN: A comfortable family living room. Ernie sits at the table, writing out a cheque for the gas bill. Mildred, his wife of 40 years can be heard making tidying-up noises in the kitchen. CRASH! ERNIE What on god's earth was that Mildred? Mildred pops her head through the serving hatch. An insane grin. MILDRED Nothing dear... INT. FRONT DOOR - LATER THAT MORNING. Ernie puts on his shoes in the doorway as his wife watches from over his shoulder. MILDRED Don't be long if you're going into town afterwards. EXT. TOWN CENTRE - LUNCHTIME Ernie has just dropped the letter into the town's single red letter box. He begins to walk away, the letter pops out again, onto the pavement. Ernie trots back and picks it up... shoves it back into the box... ... and it's ejected again. Ernie, sighs. Picks up the letter and pops it into the box, and waits, hand ready to intercept. Nothing happens. He yawns and walks away... We watch the box for a what seems like forever, but is just a few seconds, nothing happens. And then... from deep within the box, a malevolent chuckle. EXT. TOWN CENTRE LEADING TO BEACHES/ARCADES Ernie plods down a steep bank, and takes a turn into a parking lot, he walks awkwardly between a couple of parked cars, and he's quickly alongside the beachfront. He sees the lights glimmering over the entrances to several old style arcades, as the lights glimmer and blink on and off, his face registers excitement. You can see the child in him through those eyes. Above the first arcade Ernie is standing outside of... on the painted boards above the entrance, are the weird faces of a host of grotesque characters: ghouls, demons, maniac clowns. As Ernie stares up the eyes of these various characters seem to meet his, he watches the clown face intensely, that face has frozen-menace in the smile. Ernie rubs his hands together, he passes the bored man in a change kiosk and heads for the pinball machines, his hands flexing and releasing the change in his pockets. As he approaches the first machine, he slips a coin in and the lights begin to flash, he leans in and begins to make that ball fly around, bouncing off the sides, hitting the little levers that throw it onward when... Ernie is suddenly aware of the silence and narrowing of his vision, all around him darkness floods his vision, he sees a very limited viewpoint, as through he's looking out through a small rectangle, or letterbox, it appears to be a familiar street.... a few local shops in front of him and traffic noises. He sees the midriff of people walking up and down in front of him... ... is he actually inside a post box? A hand appears in front of him holding a letter, the letter is forced through the rectangle and Ernie jumps backwards... he looks down and sees at his feet a pile of other letters, he retrieves the one that has landed at his feet and ejects it through the rectangular slat... he continues to do this three more times... enjoying it when at last he leaves the letter and lets out a manical laugh...what has come over him? EXT. BEACH PIER Suddenly Ernie comes around, he is leaning, a little giddy now against the sea wall, just above the beach, watching a young couple playing with their dog. He shakes his head and clears his eyes, looking over his shoulder, he sees the arcade, he was just in there. Ernie watches the arcade and looks again at the clown face, the same expression, mock-grin, the clown appears to looking directly at him but Ernie decides that it would appear that way to anybody? Feeling down into his pocket, he checks his change, plenty of coins, spare change to use up in the arcade, he is about to walk back over when he sees an icecream vendor, in his van, and appraches his van. EXT. ICE CREAM VENDOR Ernie reaches up to grab his ice cream and catches the man's eye, who seems to be looking over him with a mocking expression... the grin is wide and a little bit unnerving... ERNIE How are you today... With a burst of light Ernie finds himself back inside the arcade, he's playing once again on his favourite pinball game, the ball is flying about, the little levers twitching, just what he enjoysso much... the game is under his control, he is under its spell. So much so that he begins to look around the arcade at the other patrons, who are engrossed in play at various games and machines, pinball, old-skool Space Invaders when he spies two kids with their backs to him on a loud game in the corner. Both kids are unusually dressed, they seem to sense Ernie is watching, both turn around and they are both dressed as clowns, one winks at him, the other smiles, they turn away. Ernie scraches his head, turns back to his game... When the lights in the arcade suddenly flutter... and then it becomes dark... without the overhead lights the pinball machines and other games cast the only and decidedly eerie light upon the room. Flashing lights, not unlike being in a discotech when just as suddenly, the ceiling lighting is back on. Ernie becomes interested in a tall man in a long old coat on the game next to him... ERNIE Was that a power cut of some sort? As the man turns around, his face is made up in the guise of a clown... ERNIE Who the- And with a flash, Ernie is wiping his eyes again, as his vision returns he can hear the high-pitched wail of a lone seagull, and he suddenly realises that he is back by the sea wall, watching the same couple playing ball with their dog. Ernie looks over to the arcades, this time he avoids eye- contact with the clown face and decides to walk into the arcade next door to the one where he begun to accrue so many strange experiences... EXT. BEACH PIER As the couple we saw earlier climb the steps up to where Ernie had been standing, they notice something, lumbering away from them with his back to them is a man dressed as a clown, he has the huge circus clown pants... as he turns to look at them, we see Ernie's face, he smiles, but the smile is unnerving and the couple just watched, entranced, the clown-man continues into the arcade... EXT. FRONT DOOR - AFTERNOON The same couple approach the door, with their dog, who is waging his tail excitedly. The man presses the doorbell and waits... the door opens. Mildred appears and smiles, and beckons them in. INT. LIVING ROOM Mildred brings a tea tray into the living room and sets it down. She then sits down and begins to pour the tea. MILDRED How was the beach? MAN Oh... MILDRED I bet it was warm down there today, or was there a bit of wind. WOMAN Well... MILDRED Yes, I thought so, there's always a bit of an offshore breeze at this time of the year. MAN You should have come with us mum? MILDRED I don't often feel like going these days, not since Ernie... I mean dad... had that accident, Wayne... WOMAN Where is he, by the way? MILDRED Oh... he's upstairs, somewhere, he'll be down in a moment. ERNIE Hello all. Ernie appears from around the door, is standing with his arm in a sling. MILDRED Come on in Ernie, have a cup of tea with us, there are a few Rich Tea biscuits there too, tuck in... WOMAN Tell me Ernie, I mean 'dad', how did you hurt your arm again. ERNIE I- MILDRED That cursed arcade, he was playing on one of the pinball machines and he got an electric shock, and it made him leap back and fall over and fracture his arm. WAYNE But I thought he got it stuck in the post box, trying to recover a card- MILDRED That's what he tried to tell me but I knew he'd been down the arcade again... ERNIE It was quite a shock, ever since, I've felt like, well, this will sound really strange, but that somehow... there's two me... Chuckles all around. ERNIE No... I mean it... I keep seeing weird things, the other day I was in the garden all morning, but according to Mildred, I'd been out to post a letter... DING-DONG. MILDRED I'll get it... INT. FRONT DOOR Mildred approaches the front door, she can see somebody staring through the glass... MILDRED Oh my... WAYNE What is it mum? MILDRED There's a man staring at me through the glass... and... ERNIE Who is it... MILDRED Well, it's a man who appears to be dressed as a clown. But... he looks... oh my... he looks a bit like you Ernie. FADE OUT.
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Old 11-01-2017, 03:10 AM   #7
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"We still need to give it a title" Over a BLACK SCREEN we read in white letters... Streaming fire and smoke from insane eyes and the razor- cut crazy mouth and evil eye/ trailing evil black smoke from eyes that pierce your soul/ exploding flesh, pumpkins a bubblin' and broiling/ kids brawling and fightin' and rolling/ splat splat down walls/ splat splat down car door/ pumpkin meat on windshield/the white washing left out over night/ kids screaming fighting nursin' wounds/ kids brawling on the crazy tiles of my road... - the Narrator. INT. BEDROOM - HALLOWEEN NIGHT Elves, trolls, ghosts, ghouls, vampires, Frankenstein, Dracula over Billy's face, as the bedside lamp revolves. The rest of the bedroom is dark, light floods out from the the lamp and the procession of ghouls and horror figures leave the edges of the bedroom in complete darkness. Billy climbs off his bed. At the window he stares down at the street and... EXT. STREETSIDE - NIGHT ... sees SPIDER and his gang of FIVE IDIOTS with Pumpkins lit by internal candles, walking down his street in line, ready for anything that comes their way. NARRATOR My name is Billy. I stay in my room on Halloween ever since Spider and his gang came into my street. Spider looks back up to Billy's window. Billy ducks down. NARRATOR .. and that was the end for the rest of us, Spider was after the sweets and spare change, he'd turned Halloween to his own personal profit. Billy sits down and grabs a pencil. BILLY/NARRATOR I sometimes try to express myself in poetry, I use words, single simple chains of words to show what I see. It's not very good but it's what I do okay? Over BLACK SCREEN in white lettering. Out on street, the fight was might and we won, Spider squashed, Spider beat, he'll never come back to our street...................... BILLY/NARRATOR It's true, this is what happened. About an hour from now. Let's fast forward, to that... FLASH FORWARD EXT. STREETSIDE - NIGHT Billy pulls his door shut and creeping away... he looks behind him and sees four other boys huddled in the dark, around his age, that's ten. MIKE, SPITE, RASH and BIG-M. BILLY/NARRATOR I'd better tell you more about my friends. Mike is just called Regular Mike, because, well, he's a regular guy... Spite isn't really spiteful, but he got the name somehow and it stuck... Rash... he's the one to watch, does everything as soon as it enters his head. He waanted to scrap with Spider at school. Big-M stopped all that. Big-M is really big, I mean HUUUUGE, trouble is, he can't keep up. Oh... he got his name because any time you want to find Big-M, you can find him, well............... you know where, eating his favourite burger. Long awkward pause. BILLY/NARRATOR Oh yeah, where were we? That's it... on the street, we'd lined up and were waiting for Spider and the Idiots to come back up the street and low and behold there they were... working the doors on my side of the street. Big-M chewing on a bread bap, he pulls it out of his mouth like he's biting somebody's head off. BIG-M Did Spider call at your house last year Billy? BILLY/NARRATOR Sure did. BIG-M And... BILLY/NARRATOR Mum and dad gave him some candy. BIG-M That's too much, he's getting more done over than he would have been for that one alone... Spider and his gang are huddled outside a doorway, down at the bottom of the cobbled street, we can see him under the porch light, thick-necked, spotty necked, green bomber jacket...you get the idea. BILLY/NARRATOR You're getting bored, or confused, I can tell. Well this is what happened about five minutes from now... WIDEN SCREEN suddenly and with BLACK BARS AT TOP AND BOTTOM of the screen FOR THAT DRAMATIC WIDE SCREEN EFFECT. Action ensues... Spike and the Idiots begin to storm up the hill, it's not quite so much a storm as more a sorry scene of much PANTING and SWEATING and WHEEZING... BILLY/NARRATOR That would be all those evenings of swigging pop and smoking outside the local Off Licence. ...however, before they arrive, and in slow motion, each straining face, seeming like the faces you sometimes see as they go over-the-top in war films... HOLD ON THAT IMAGE! ... a FROZEN IMAGE of Spider and friends. BILLY/NARRATOR Yeah, slow motion, war film style, going-over-the-top... except in war films you haven't got this bunch of losers... We move to a new image and frame, the 'preparation scene' where we get to see Billy and his gang turning pumpkins into bombs, we see them inserting fireworks into the pumpkins... and placing them on the ground, in a line... RASH I haven't spoken yet, I thought that myself, Mike and Spite, were just here to do the action scenes, or worse yet, be killed off. SPITE Yeah, Billy never said anything about this being a self-reflexive script and so we never thought we'd get a speaking part. I thought I was just here to get covered in pumpkin and do some fight scenes. MIKE I'd just like to speak, because everybody else has, I don't think Billy's poetry is relevant here. It doesn't work, despite the stream of images against a BLACK SCREEN, we'd be better just SHOWING what happened! We go back to the FROZEN IMAGE of Spike and the Idiots just to remind you he's still there and waiting... for a split second. BILLY/NARRATOR The timing is out now guys, we need to get to the action and like now! ACTION SCENE Unfreeze Spider and his Idiots running up the hill, hacking coughs and awkward movements... Pumpkins rolling down the hill, bobbing over the cobbles with sparklers and fire spilling out of their eyes, a BANGER Suddenly EXPLODES... Billy and his friends have donned ghost outfits and are running and SCREAMING like banshees towards them, wafting sparklers over their heads and jumping around like maniacs... Suddenly a pumpkin explodes, pumpkin meat spraying everywhere, onto walls, car doors... EVERYBODY STOPS... BOTH GANGS EYE ONE ANOTHER... LIGHTS BEGIN TO COME IN WINDOWS, PORCH LIGHTS FLICK ON... BILLY/NARRATOR And everybody ran... I mean everybody, Spider ran down the hill... easier that way... We see Spider struggling to run down the hill... RASH Yeah, and we went the other way... you may have noticed that Mike was in and out of shot, that's because he was in charge of the camera. MIKE Yeah... We see the camera put down on the cobbles for a moment and then Mike's face appears, he stares into it and takes out a hankerchief and wipes over the lens. Suddenly, we leap jaggedly into a BLACK SCREEN. SPITE ...about then, we ran out of film, we couldn't afford any more so I just added this bit over the BLACK SCREEN in audio only. nb. A note from the scribe. This script was sribbled out based upon the film, which was largely improvised, with some parts written on messy paper by Billy, paper what was covered in different colours, inks such as reds, greeens, but Billy said to just record what we did here. Oh.. that's it really.
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Old 11-01-2017, 03:11 AM   #8
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Montgomery BLACK SCREEN, and then: A cottage, both remote and shrouded in darkness. ... the night around and behind the cottage is not quite what you might call inky-black, but it's very close indeed on this night... of all nights. SUPER: HALLOWEEN, 2017 ...before us is the little gate, and then the little pathway, and then the little porch with the black iron porch light. TARQUIN ... and if you can get as far as the porch? We pull back to reveal three boys, Tarquin is slighly taller than the others. Cecil and Montgomery are the same height. CECIL Bullshit. Each wears their own version of "goth", not quite goth perhaps, but the long black trench coats are ostentatious, expensively lined. Kids from rich backgrounds who care about the tailoring... and lined coats are this years must have. MONTGOMERY I'll walk right up and ring that bell. Then there's the make-up. Reds, blacks, and white streaks. TARQUIN Then you'll die. Montgomery steps back, so as to get a better look at Tarquin. MONTGOMERY Hmm, as an Oxford science graduate, I'm naturally bound to doubt you. Cecil, remains rooted to the spot, hasn't made up his mind who to back. CECIL I'm not so sure Monty, I've heard things, people talk about 'the cottage'. Tarquin leans his head back, exhales deeply, the air fills with the smoke of his breath. Monty watches him nervously. MONTGOMERY And what do they say? CECIL That it's even more haunted than Borley Rectory. Montgomery laughs, he then coughs, choking on the cold. MONTGOMERY ...my dear boy, there is no comparison, nowhere was EVER more haunted than the Rectory. CECIL I do exclaim Monty... for a physics student you always seemed very taken with the supernatural? TARQUIN I'm a theology student.... and Montgomery has always been far more involved in that side of things, he even joined that society? MONTGOMERY The "Fire and Damnation" Club. CECIL Known as Fire and damn. An owl hoots and it solemn cry carries on the cold air. TARQUIN I thought the College Authorities u shut you down? MONTGOMERY They did... but we went underground... our natural home dear boy. Montgomery lets out a maniacal laugh. Cecil looks nervously at Tarquin. TARQUIN To approach a little door and ring should be a cake walk for a former member of Fire and Damn huh? Montgomery's eyes seize on Tarquin and his well aimed sarcasm, his smile disappears. MONTGOMERY Don't bait. Okay.. okay... let's see now? Montgomery adjusts his collar. We see the cottage framed in FULL SCREEN, there is something ominous about this little house, the windows are dark and the rooms are behind HEAVY blinds which remain closed in the day. CECIL I spoke to somebody who knows somebody who works at the letting company who are responsible for trying to rent this place out to students.. or as a holiday let. TARQUIN And what did they say? CECIL That... that... it's always very cold inside and they never manage to let it for long. MONTGOMERY What else? CECIL That they only clean it once a year and the two cleaners always go in together whilst a gardener, who has the keys, remains outside. Montgomery watches Cecil intently. CECIL They also said that the house has got the better of many these cleaners, the same ones rarely return more than twice! Each of the boys turns to look at the house. Tarquin shudders. TARQUIN It's okay Monty, you don't need to go up to the door. We'll let it slide, nobody has to know that you- MONTGOMERY NONSENSE! Montgomery screams. CECIL But Monty? Montgomery raises his right arm in protest. Begins to walk down the pathway towards the porch. TARQUIN Careful Monty. CECIL Monty, maybe we should join you. Maybe we should join him, Tarquin? Tarquin is watching intently. TARQUIN Hmm...I don't think so. As Montgomery approaches the porch, he looks down, as though measuring every step. The tension builds. Suddenly, just as Montgomery moves his right shoe towards the little mat in front of the door the porch light WINKS on. Cecil and Tarquin jump backwards. Tarquin recovers and smiles, Cecil throws him an extremely concerned look. CECIL I never knew the cottate had power? TARQUIN It's not quite... The ghostly light from the porch lamp seems to be building, becoming ever brighter and brighter when suddenly the front door to the cottage flies open... ...the whole house seems to EXHALE, a great screaming outbreath of wind and eerieness. Montgomery is frozen, his arms are outstretched, his hair stands up on end and then.................. ... he is SUCKED OFF HIS FEET INTO THE COTTAGE AS THE FRONT DOOR SLAMS SHUT. A deep silence follows. Tarquin and Cecil stand side by side with eyes fixed on the house. CECIL So is that it? TARQUIN ... Yes. CECIL And so we'll never see him again? TARQUIN Never. CECIL Where do you think he is now? TARQUIN Who knows... hell... maybe? CECIL I never liked him. TARQUIN Me neither. CECIL He was a bully. Tarquin removes a cigarette from his coat pocket. As he offers Cecil a cigarette he notices that Cecil is unable to prevent his hands from shaking, they share a look. TARQUIN He drowned a friend of mine you know. CECIL Drowned him, but how? TARQUIN He fell in after a midnight row in a punt. Montgomery just laughed whilst he thrashed around in the water until he went under. CECIL He used to threaten two of the students I board with... and get them to do write his essays. TARQUIN And much else I'm sure. CECIL Shall we go? TARQUIN Lets... As the boys withdraw... the cottage is once more shrouded in darkness. As we watch the porch lamp WINKS on. Slowly the brigtness of its unearthly white light returns... the light builds in intensity... BLACK SCREEN.
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Old 11-01-2017, 03:11 AM   #9
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No Teefs FADE IN: EXT. CITY ALLEY - NIGHT A lone surviving street light brightens and dims, brightens and dims, on the verge of dying. The alley below is sprayed with graffiti and littered with filth. Rats scurry in and out of trash cans and beside sleeping drunks. Two men, one blind, small and spidery, the other, an over seven foot high, mountain of muscle, not much older than a boy, walk together. The small one, known as the PROFESSOR wears dark sunglasses and shuffles gingerly, feeling along with his cane and staying to the center of the alley. The other, GRUNT, ranges back and forth, side to side, full of energy. The Professor steps into a deep hole filled with stagnant filth and falls forward on his face. He scrambles out, groping for his cane and sunglasses. GRUNT Watch out! Big hole. PROFESSOR Thank you, my friend. The warning was well intentioned if not a little late. The Professor starts walking again, feeling his way forward, only to step into another hole, again falling face down. GRUNT Grunt mean, watch out, that hole. PROFESSOR Of course, thank you again, Grunt. GRUNT Look, Fessor, look! PROFESSOR What is it, my good fellow? GRUNT Hurted man--bad hurt. Against a wall, a man lies stiff, dried blood from a head wound on the ground around him. PROFESSOR Dear me, perhaps he needs our assistance. Is he breathing? Grunt grabs the dead man's neck in one huge hand. GRUNT Stiff--cold. PROFESSOR Foul play, most likely--poor man. Has his wallet been lightened? Grunt picks up a wallet from the ground and looks through it. GRUNT Wallet, no money. PROFESSOR Another robbery--what is this city coming to? What about his watch? GRUNT No watch. PROFESSOR His shirt? GRUNT Icky, bloody. PROFESSOR Trousers? GRUNT Gone, Fessor. PROFESSOR Beasts! This city is full of uncivilized ruffians. I suppose his shoes are gone as well? GRUNT Shoes gone. PROFESSOR As I thought, and what about his socks? GRUNT Good socks, no hole. PROFESSOR Well, my large friend, he won't be needing those, now will he? Grunt pulls the socks off the corpse. GRUNT Undies too? PROFESSOR No... no, let's leave the man some dignity. We're not animals for God sake. EXT. MACY'S RESTAURANT - NIGHT A worker, from Macy's comes outside with a couple of trash bags and puts them in garbage cans. The Professor waits until he hears the door close and goes to the garbage. PROFESSOR Hungry, my immense friend? GRUNT McDonald, ketchup? PROFESSOR Alas, no, McDonald's is not financially within our means tonight. We'll dine here instead. GRUNT Poo! Want McDonald ketchup. The Professor eagerly approaches the garbage. Grunt stays away. PROFESSOR Ah, an extraordinary smorgasbord of culinary delights awaits. Why the aroma alone causes my mouth to water. GRUNT Icky--garbage. PROFESSOR I prefer to describe it as pre-owned and under appreciated leavings. Oh, but I do have a Ding-Dong for you. Grunt rushes over, while the Professor digs the Ding-Dong out of his pocket. Grunt grabs it and leaves. As the Professor starts digging through one of the cans a huge rat jumps out and runs down the alley. GRUNT Fat rat! Big. PROFESSOR And healthy I assume. I tell you, this establishment serves excellent cuisine. GRUNT Look, Fessor. PROFESSOR (to himself) This feels good. I wonder what it is. GRUNT Fessor, look! PROFESSOR (mouth full) What is it, Grunt? GRUNT Girl--look. Underneath a street light, a young street walker, LULU, advertises for business. Grunt rushes over to her, the Professor reluctantly leaves his meal and feels his way along, following Grunt. LULU Looking for some action? Grunt stares. GRUNT Nice... nice... nice... The Professor arrives. PROFESSOR I believe what my tongue tied friend is trying to say, is that you have a nice-- LULU Yeah, sure, I think I get the-- GRUNT Nice neck--nice. LULU Oh... thank you. Grunt smiles, rocks side to side. GRUNT Girl--one person. Fessor--one person. Grunt--one person. Is fifdy person. PROFESSOR No, Grunt that's not-- GRUNT Five person? PROFESSOR No, sorry. Use the calculator. Grunt pulls a calculator out of his pocket and occupies himself by pushing buttons. LULU What's his deal? PROFESSOR Grunt is autistic. You've heard of idiot/savants, right? LULU Yeah, sure. PROFESSOR He's got the first half of that down. Grunt returns, holding the calculator, beaming. GRUNT Three, Fessor? PROFESSOR Good job, Grunt. (to Lulu) I'm known as the Professor, my rather large colleague is Grunt. LULU Lulu. She sticks her hand out for the Professor to shake. He can't see it. GRUNT (to Lulu) You do? LULU What? PROFESSOR He's curious about your occupation. (to Grunt) She's a lady of the evening--a faded flower, a-- GRUNT Whore? LULU I liked the way he said it better. Grunt lunges at Lulu, picks her off the ground and goes for her neck. PROFESSOR Grunt, down! Down! Grunt lets her drop and backs away. LULU What the hell was he doing? PROFESSOR I presume he was gumming your neck. LULU Yeah, sure. PROFESSOR Grunt's a vampire. Sadly he would never floss or brush properly--now he suffers the consequences of poor dental hygiene. GRUNT No teefs. LULU Poor thing. It must have been hard on him, as a child. PROFESSOR He grew up in Arkansas--no one noticed. We get by. I feed him ketchup packets, and the odd Ding-Dong. GRUNT McDonald ketchup. LULU He lives on that? PROFESSOR Doesn't he look healthy to you? She stares at Grunt, likes what she sees. LULU Yeah, sure. So what do you two do? PROFESSOR We're grifters--a little down on our luck, right now. But that'll change. GRUNT Grunt hurt people sometime. LULU Grifters? PROFESSOR We work the con, an honorable profession. Grunt works the inside and I'm the lookout. LULU Oh, I see. PROFESSOR Yes, well, unfortunately, I don't. I'd like to extend a proposition to you. LULU Yeah, sure, but I don't do group rates. PROFESSOR No, no, dear lady, join us. I need your eyes, Grunt needs your brains--your neck, maybe. The sky's the limit. LULU Well, I'd have to-- PROFESSOR Look at us--pity us. Grunt doesn't have enough sense to come in out of the sun, and I can't help him with that. What have you got to lose? LULU Yeah, sure, I guess. Grunt grabs her and gums her neck. LULU (CONT'D) Professor, he's doing it again. Not that I mind so much, but-- PROFESSOR Grunt, down--down, Grunt. Grunt drops her. GRUNT Grunt sorry. PROFESSOR He likes you, I think--here feed him a ketchup packet. LULU This is Tabasco sauce. PROFESSOR Oh, dear, that would explain a lot of strange behavior, lately. GRUNT Hurts to poo. PROFESSOR Yes, I suppose it would, poor fellow. FADE OUT: THE END
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Old 11-01-2017, 03:12 AM   #10
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Dog FADE IN: EXT. CITY STREET -- NIGHT A BLIND MAN, in shabby clothes, leans against a wall and listens. A giant, THOMAS, clean cut, well muscled and out of place, approaches, a large, ugly DOG walks beside him. BLIND MAN Can you spare a quarter? THOMAS No, but he can. Thomas turns, looking down the empty street. A loud, red Ferrari, rounds the corner and accelerates toward them. THOMAS (CONT'D) Dog! The dog runs into the street. The car swerves, but still hits the dog, square, and stops. The DRIVER jumps out. DRIVER ****! That stupid-- THOMAS --That dog meant a lot to me. DRIVER Look, pal, it ran right out-- THOMAS --You were going too fast. DRIVER Hey, hey--you're not shaking me down, pal, my dad runs this-- THOMAS --A price will be paid--a price you can well afford. The driver starts to protest, but stops, abruptly, when Thomas grows in size and his eye sockets burn with flames, as he stares at the driver. DRIVER What?... What price? Thomas points to the blind man. THOMAS Give him twenty-five thousand dollars. DRIVER Twenty-five thousand-- THOMAS --A small price. DRIVER Yeah... yeah, sure, I can write a check. The driver writes the check--hands it to the blind man. THOMAS You can go. The driver gets in his car, backs away from the dog and speeds off. BLIND MAN Mister, is it really a check for twenty-five thousand? THOMAS Look for yourself. The blind man's eyes widen as he looks at the check, then around him. BLIND MAN Thank you, mister, thank you! THOMAS (smiling) Better cash it, before our good Samaritan changes his mind. BLIND MAN Thank you--bless you. The blind man leaves, leaving Thomas alone with the dog, who still lies in the street. THOMAS Dog! The dog jumps up and trots up to Thomas. DOG The indignities I suffer. The indignities. You're not satisfied to make me walk around on all fours, like an animal--no, you must-- THOMAS Shut up, Beelzebub, before I make you crawl on your belly, again. FADE OUT: THE END
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