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Old 04-16-2018, 06:00 AM   #1
dpaterso
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Default Entries - "Turning someone's world upside down" contest

Here are the 7 entries:

Red Dress
The Moon and the Finger
Something I Said
The Forsaken
Minus Two
Death & Taxes
Devil Inside

You know how it works, read 'em and pick your 1st, 2nd and 3rd choices, then PM or email the titles to me, preferably in the format:

1st - title 1
2nd - title 2
3rd - title 3

Scribbling notes while you read could help you choose your favorites, and also give you something to feed back to the authors once the results get posted!

What say we aim for next Sunday 22nd to get the votes in. If all entrants vote before then, I'll post the results early.

Have fun!

If you don't like the code boxes, which preserve formatting, then select Thread Tools > Show Printable Version

The discussion thread is here and the results thread is here.
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Witches vs. Wizards - A Fantasy Anthology - link to my website

Last edited by dpaterso : 04-22-2018 at 07:18 AM. Reason: thread links
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Old 04-16-2018, 06:01 AM   #2
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Default Re: Entries - "Turning someone's world upside down" contest

Code:
Red Dress INT. RESTAURANT - MEN'S BATHROOM - NIGHT NICK, early 20's, elegantly dressed, knocks on the toilet door. NICK You okay? Someone throws up inside, then water flushes, and the door opens. Appears TOM, same age, tie undone, shirt unbuttoned, breathing heavily. NICK (CONT'D) Stay away from lobster. Told ya. Tom washes his face, checks in the mirror, then just collapses on the floor. TOM I can't do it. I just can't. NICK Do what? TOM I... I don't love her. She's... so boring, so... Nick kneels down by his friend. NICK She's a nice girl... She's a nice, RICH girl. Think of your career. You start at the top, right away. TOM At the top? I'm a designed blame taker, Nick! NICK You rather drive trucks for 14 hours a day, like your father? Nick gets up. NICK (CONT'D) What do you want? Tom gets up too, his eyes light up. TOM I want more. Now. I want to build something from scratches. I... I want to spend my life with someone who out smarts me, out drinks me, out... everything. I want her to... to wear a red dress and high heels like she means it. I want... NICK (over) And where do you find the girl like that? On this, the door opens and enters a young WOMAN, wearing red dress and high heels. She's classy, gorgeous, divine. She grabs Nick's arm and pulls him to block the door. She gives her purse to Tom. WOMAN I'm not waiting in line, I have to go now. She gets in the toilet. Guys look at each other. TOM (whispering) Is she real? Nick slaps him. TOM (CONT'D) (massing his cheek) She is! She flushes and gets out, takes her purse from Tom. She washes her hands, and check the guys in the mirror. WOMAN What is it, guys? Let me guess. She turns around, takes a towel to dry her hands. WOMAN (CONT'D) A pre-nup dinner with future in- laws, huh? And the groom is having second thoughts about the whole thing? And who's the groom? She gets closer to Tom, who just stares at her, mouth open. WOMAN (CONT'D) You're so sweet. Follow your heart, and... close your... He shuts his mouth. WOMAN (CONT'D) Fly! And she's out. Tom looks down, zips up his fly. He opens the door, but hesitates a second. Nick approaches and shots the door, then grabs Tom by his vest. NICK Whatever I do, whatever I say, keep your mouth shut! Tom processes it for a moment. TOM You scare me. Nick pushes him outside. NICK Good! I'll be right there. INT. RESTAURANT - NIGHT Tom arrives at the table in a fancy restaurant. SUSAN, early 20's, is a pale, thin, boring girl, not even trying to be attractive. Her hair covers her face almost completely. LIZ, 50, her mom, is sipping her wine, already drunk. She's rich, and likes to show it. Tom sits down, and looks around. He spots the girl in red dress at the table a little further. She's with another girl, they both drink and laugh. SUSAN Someone you know? Tom takes a moment to answer. TOM No, it's just. Nick wasn't well. On this, Nick arrives, falls hard on his chair, knocks out one of the bottles of wine, spills it all around. Nick's nose is covered with white powder. Liz focuses on it. NICK What? He wipes his nose, then puts his fingers in the mouth, rubs the powder in his gums. NICK (CONT'D) You should try it. It'll take the broomstick out of your ass. She chokes on her wine. NICK (CONT'D) The boss is not here yet? A moment of silence, Liz wipes her mouth, Tom is just catatonic, eyes locked on his friend. SUSAN (whispering) He called. He's in meeting... A very important meeting. NICK A meeting? On Saturday evening? I think we all know what kind of meeting is that! He laughs. Liz freezes. LIZ What do you mean? Nick rolls his eyes. NICK I mean nothing. Liz freezes again. NICK (CONT'D) Well, he's either doing some shady business with Italians, or banging a hot chick - it's your guess. He bends to Tom. NICK (CONT'D) Correct me if I'm wrong, he's not doing any business with Italians, did he? Tom just wants to disappear. Liz's stare is burning him. NICK (CONT'D) I admire you: such a open minded couple. Maybe that's the secret. Watch and learn, Tom - watch and learn. She takes a long sip of wine, gets up, picks up her stuff. NICK (CONT'D) Going for the ride? A long, long ride home with this young and muscular chauffeur of yours? LIZ You little prick! NICK Where's the insult there: in little or in prick? SUSAN Mom, what is he talking about? Liz rolls her eyes. LIZ You are such a baby! Come on, let's go! She bends over the table and spits it in Tom's face. LIZ (CONT'D) I make sure you never trade a ****ing dollar in your life! Both of you! She grabs Susan and drags her with her. Boys look at each other, Nick amused, Tom horrified. Susan runs back, stands there for a beat, not sure what to do, then takes a glass of water and pours it on Tom's head. SUSAN So, I'm boring? Is it boring? She takes another glass. SUSAN (CONT'D) Am I still boring now? Another glass. SUSAN (CONT'D) And this? Still boring? People around stopped eating and stare at them. NICK (grabbing her hand) Yeah, it is boring. You made your statement after the first glass. She starts weeping, no reaction from Tom, who keeps his head down. Nick gets up and looks straight in her eyes. NICK (CONT'D) You're always drawing clothes: dresses, shoes... you're good at it. You gonna be a lousy lawyer, believe me. A very unhappy lawyer. And don't fall for the first guy that smile at you, maybe he's just being polite. She calms down, dries her eyes. She picks up her hair, pulls it up, revealing her face. She looks at Tom. SUSAN You don't deserve a friend like him. You don't deserve me either. And she turns around and walks out slowly. NICK She's kind of... hot now. TOM What just happened? What have you done? Is it... this bloody cocaine you snorted? NICK (interrupting) It's sugar, you idiot! He gets up. NICK (CONT'D) I need something strong to drink. Being an ******* is harder than I thought. You know where to find me. He bends to Tom. NICK (CONT'D) And you're welcome, buddy! You can build now your empire from scratches. And go get the girl, she's smiling at you. Indeed, Tom catches the woman in red dress lifting her glass and smiling at him, then chatting with her friend. Waiter arrives, puts the check on the table. Tom pulls out his credit card, drops it on the table. He wipes his face, pours wine in two glasses and gets up. He freezes at the sight of the woman in red kissing passionately her companion. The waiter taps Tom's shoulder. WAITER Sir, your card is refused. FADE OUT.
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Old 04-16-2018, 06:01 AM   #3
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Default Re: Entries - "Turning someone's world upside down" contest

Code:
The Moon and the Finger INT. RUDY'S FLAT - BEDROOM - DAY CU on the alarm clock, showing 6:59 am. We stay on it for a moment, anticipating the change, but before it happens a hand hits the snooze button. INT. RUDY'S FLAT - BEDROOM ROOM - DAY RUDY, mid 20's, short hair, clean and boring, folds carefully his pajamas. His phone rings. POV Rudy. PHONE'S SCREEN Message from: Mom Message: Remember, keep your eye on the Moon, not the finger pointing to it. End POV Rudy. INT. RUDY'S FLAT - HALLWAY - DAY He checks himself in the mirror, adjusts the col of his shirt. He remarks a spot on the upper left corner of the otherwise perfectly clean mirror - he hesitates a second, then... RUDY (looking directly at his reflection in the mirror) No, it is not important. He grabs the keys from the jar on the table and he's out. We hear him running down few steps, then stop, and running back. The door opens, he runs in and cleans frantically the spot until it's gone. Then he's out again. INT. COFFEE SHOP - DAY Rudy extends his arm to open the door, but it opens automatically and he literally dives inside, falling on his knees. He gets up quickly, looks around, but except for a BARISTA, there is nobody there. He approaches the counter. BARISTA Khrat-vrout! A moment of consternation, Rudy looks around, notices the decor of the place, some science-fiction non-sense. BARISTA (CONT'D) It's... how can I help you today, sir? RUDY What happened? BARISTA We redecorated. We change administration. We change owner. RUDY Overnight? The guy lifts his arms: two pairs of fake arms are attached to his back, and they rise all together - he's like a statue of Hindu Goddess. He points the logo behind him. BARISTA As it says: Nothing's impossible with six arms! And the logo shows indeed a six arms alien, serving six customers at the time. BARISTA (CONT'D) So, what can I get you? Rudy checks the menu above the counter: it is complicated! BARISTA (CONT'D) Let me help with that: we have the Krookan delice, the fountain of Zoorhan, the Ghebar of taste, scent of Floodel, Tcheegan supreme... RUDY I just want a regular coffee and I'm good. BARISTA Okay, Khrakkam mrubb it is. The guy operates a huge machine then puts the paper cup in front of Rudy, turns around to grab the napkin and knocks the cup with one of his 4 fake arms, spilling the content all over Rudy's shirt. BARISTA (CONT'D) (while cleaning the mess) So, so sorry! I'm still on training! I'm clumsy with my own two arms, imagine with that! He points his fake arms with his head. BARISTA (CONT'D) Looks easier than it is. He quickly prepares another cup. Rudy takes it, then hands his card to the clerk. EXT. OUTSIDE THE COFFEE SHOP - STREET - DAY He tastes his beverage - it's disgusting. He looks for a garbage can, finds one and opens it. RUDY This is the worst... He checks the cup. RUDY (CONT'D) ... Khrakkan mrubb ever. And he throws it in the can. His eyes are captivated by the poster on bus shelter: the same Goddess as in the coffee shop, with the slogan below: We are coming! INT. OFFICE - DAY Rudy enters the office, and freezes instantly: all conversations around stop, all eyes are on him. He mumbles a general Good morning around, and heads for his desk, barely daring to keep his head high. A tap on his shoulder, he turns and receives a big, fat, loud slap on his cheek. A YOUNG WOMAN, weeping and out of breath, grabs his shirt and shakes him back and forth. YOUNG WOMAN I'm three weeks late, you *******! And she runs away. Rudy masses his cheek, looks around. Another tap on his shoulder, he turns around and receives the most theatrical, dramatic, over the top slap on other cheek from a very GAY MAN. GAY MAN You... you... But words are stuck in his throat. He too runs away. Rudy masses his other cheek now. RUDY What is it? Some kind of a joke? Another tap on his shoulder. Rudy ducks, protecting his face with his arm. BOSS My office. Now! INT. BOSS' OFFICE - DAY A huge pile of files hits the desk. BOSS Your drinking problem made us lose all those customers! I can't no longer pull up with it - you're fired!!! And he pushes Rudy through the door. RUDY I don't drink. BOSS Yeah, and that's the problem! INT. BOSS' SECRETARY OFFICE - DAY He just stands there, immobile. The SECRETARY, chubby woman in her mid 40's, stares at him, then her eyes get wide. SECRETARY Oh my God, you are bleeding! Rudy puts his hand over his nose. The secretary's eyes get even wider. SECRETARY (CONT'D) Oh my Goooood! Why is it green?! Rudy looks at his hand. INT. OFFICE'S WASHROOM - DAY Rudy checks the mirror: green blood drops from his nose. INT. MOM'S HOUSE - LIVING ROOM - DAY Rudy enters, holding a tissue under his nose. RUDY Mom? MOM (vo) I'll be right there! Rudy looks around. Something catches his eye, he slowly walks to the corner of the room, where a small desk sits. Above it, the painting of a six armed Hindu Goddess. On the computer screen, the sleep page is the poster for X- files: The truth is out there. INT. MOM'S HOUSE - BATHROOM - DAY A steamy shower glass door. Someone's in it, the water is running, then stops. The door slides open, a hand - not a human hand, but reptilian, grabs the towel. Rudy's MOM gets out of the shower. Her skin is covered with scales, she has cat's eyes. She dries herself and walks to the door. With every step, her appearance changes: she becomes a beautiful woman in her early 40's. INT. MOM'S HOUSE - LIVING ROOM - DAY When she appears to Rudy, she's fully human. She sits on the couch, Rudy joins her. He shows her the tissue, stained with his green blood. RUDY Mom, what is it? What's wrong with me? She smiles. She spots his stained shirt, touches it, then smells her fingers. MOM Khrakkan mrubb! How did you like it? RUDY How do you know what it is? She takes him in her arms. MOM It's been a rough day, isn't it? She closes her eyes, still holding her son tight. When she opens them, they're cat's eyes. MOM (CONT'D) There's something you need to learn about us. You are ready now. FADE OUT.
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Old 04-16-2018, 06:02 AM   #4
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Default Re: Entries - "Turning someone's world upside down" contest

Code:
Something I Said FADE IN: (PRESENT DAY) INT. BEDROOM - DAY A suitcase flops open on an unmade bed as SALLY (twenties) rummages through a dresser drawer. MARK (twenties), scruffy beard, dressed for a Walmart trip, stands in the doorway, fidgets. MARK I don't understand. Sally pulls a blouse out of the drawer, holds it up. SALLY This is cute. I forgot I had it. MARK Can we talk about this? SALLY Nope. Mark stares at the floor, unsure. Sally grabs panties from a drawer, frowns. SALLY (CONT'D) I should have thrown these out a long time ago. You only wear one a day. Sally turns to Mark. SALLY (CONT'D) Or for some people, one a week. MARK I don't understand what's going on. SALLY There's nothing to understand. I'm moving on. Mark takes a spot on the edge of the bed. MARK We've been together three years. You can't just leave. Sally pushes socks into the suitcase. SALLY Watch me. MARK If there's something I did... Sally lifts the lid of a jewelry box, picks out a ring, examines it, tosses it back. MARK (CONT'D) Mom gave that to you. SALLY It's all yours now. MARK You said you liked it. SALLY Playing the game. I never was into that old lady purple thing. Mark stands, steps toward Sally, reaches out. Sally steps back. SALLY (CONT'D) Don't you touch me. Back off. Mark retreats to the edge of the bed. SALLY (CONT'D) I've been doing things for everybody else too long. Now it's going to be Sally time. MARK You found somebody else. Sally turns. SALLY If you want to think that, fine. Whatever makes you happy. MARK What about kids, getting married? SALLY Changed my mind. I didn't appreciate your niece barfing on me last week. MARK Sally, she's three months old. SALLY Barf is barf. Sally hesitates, turns to her purse, pulls out keys. SALLY (CONT'D) Before I forget, here's my key. MARK Maybe you should keep that, just-- SALLY --You don't get it, do you? I'm not coming back, begging for another chance. I'm tired of taking an elevator to the fifth floor when I get home, tired of living in this apartment. I'm tired of dealing with your friends. Sally tosses the key onto the bed. MARK What am I supposed to do? SALLY Whatever you want. Invite Bobby over and play video games all night. MARK I don't want to play video games. SALLY I know what you can do. Play those phone pranks you and Bobby find so hilarious. MARK We never hurt anybody. SALLY It just goes to show how stupid people can be. Mark stands. MARK Can't we talk about this? It must be something I said. SALLY It's nothing you said. Can't you get it through your head? I'm wasting my life here. You're just a stick in the mud. MARK I thought we had a good thing. Guess I was wrong. Sally closes her suitcase, rolls it toward the bedroom door. MARK (CONT'D) Can I help-- SALLY --Out of my way. MARK I wish you would tell me what I did. SALLY Back off. INT. HALLWAY OUTSIDE OF APARTMENT - DAY Mark stands in the apartment doorway as Sally rolls her suitcase toward the elevator. Sally stops, turns to Mark. SALLY I really hope things go well with you. I really do. But someday you're going to have to grow up. Sally turns to the elevator, pushes the button. Mark's voice changes. MARK This is Ward Stimson of Stimson Law. Reaching out again to Sally Shepherd. Sally pivots her head to Mark. SALLY Huh? MARK Ms. Shepherd, I regret to inform you that your estranged uncle actually has not died, and furthermore he has not left you three million dollars. Good day, ma'am. The apartment door SLAMS, deadbolt CLICKS. FADE OUT
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Old 04-16-2018, 06:03 AM   #5
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Code:
The Forsaken INT. BATHROOM -- MORNING A dim light bulb hangs from an exposed wire. Crumbling walls, water dripping from the ceiling, skittering roaches along the baseboard. APRIL, early 20s, pretty, in a threadbare brown uniform, stares at the reflection of her clear brown eyes in the broken mirror. She squares her shoulders, grimaces and speaks to her reflection. APRIL (mechanically) Pride is my enemy. Pride is my weakness. Pride is my curse. She pulls her hair into a severe bun. Forces herself to concentrate. Whispers. APRIL Though forsaken, I am humble. Though forsaken, I obey. Though, forsaken, I die well. (momentary pause) Happiness is an allusion. Destiny is my deserved darkness. Misery is my justified reward. She tenses, bites her lower lip. Intensely intones. APRIL HELP me believe. HELP me to be truly humiliated. HELP me to accept misery. HELP me not to hope. (sighs) Hope is useless. EXT. UNDERGROUND CITY STREET -- MORNING Dim, grimy streets. Mud. Dripping water. Flickering lights and flashing electrical wires. MEN and WOMEN staring at their feet as they slowly and silently make their way to work. They pass the moldy walls of a large, decrepit cafe. Its flickering neon sign, half burned out, flashes its name -- THE FORSAKEN. Along the walls, JOHN, 40s, long, greasy hair, in rags, sits and stares up at April as she hurries up the sidewalk. In his eyes, pleading. April stops, surreptitiously stares up and down the street. APRIL Just this once more. JOHN (whispering) Thank you. APRIL Just wait -- JOHN -- there's always hope. April looks anxiously around. APRIL You can't say that. Dangerous. JOHN (slight smile) There is, you know. APRIL (guarded smile) Maybe. INT. THE FORSAKEN -- DAY Stained walls. Dirty windows. Mud on the floor. Shuffling and murmuring CUSTOMERS sitting at the tables and booths. April is rushing, carrying several plates on her arms, gliding as she maneuvers gracefully between the tables. She riles the customers with her quick and "unseemly" movements. Several murmur to one another. A LARGE MAN stands. His voice booms. LARGE MAN Slow down, miss. Your efficiency will make you proud and haughty. April slows, shuffles to his table. APRIL (sing song cadence) Forgive me. Pride is my enemy. Pride is my weakness. Pride is my curse. LARGE MAN (by rote) Misery is our justified reward. He nods. Satisfied with the response. She bows her head to him, continues to the next table, now purposely slow and deliberate. INT. BREAK ROOM -- LATER April, barely visible in the gloom, is sitting alone at a rickety table, picking over a customer's plate of leftovers. She's whispering her affirmations. APRIL Pride is my enemy. Pride is ... She trails off as a large rat emerges from a hole. Its whiskers are twitching as it sniffs April's food. April smiles, beaming. APRIL Festus. Come. Eat. A feast. I thought you had left us. Festus allows April to stroke his back as he chews on the leftovers. April laughs out loud at him, forgetting herself. Behind her, MABEL, the dour and elderly owner of the cafe has crept in. She silently watches April preening the rat. She smiles, but she's not beaming. The rat jumps, scurries back into his hole. April turns, sees Mabel, gasps ... then droops. She stares at the floor. APRIL I'm so sorry. So sorry. Misery is my justified reward. I -- MABEL -- Will receive your justified reward. You will be reported to the DOWNSIDERS. APRIL Please. Not again. Last time they ... Please -- MABEL -- Don't "please" me, Missy. I saw that smile. I heard that laugh. Who are you, of all people, to flaunt the rules? A snot-nosed nothing! That's who. APRIL I'm honestly trying to not to hope ... I can't ... I -- MABEL -- I DON'T care. Now have the decency to shut up. You CAN do that, can't you? EXT. POLICE STATION -- LATER A big CONCRETE BUILDING, brightly illuminated with non-flickering lights. POLICE OFFICERS in neat, clean uniforms, sternly glare, as they survey the riff-raff trudging along the city's grimy streets. April, her head down, is herded up the stairs and through the glass doors by a huge OFFICER. INT. POLICE STATION -- CONTINUOUS The Officer and April stand, waiting for an elevator. APRIL Down? OFFICER (scoffing) Hopelessness is not too difficult to muster now, is it? INT. HALL OF PUNISHMENT -- LATER Marble floor. Comfortable lighting. Green plants and water fountains burbling in the background. April and the Officer stand in front of the BENCH where CALVIN, 50s, obese, dressed in a huge, gold embroidered robe, ogles at April. CALVIN So, officer, she's here because she laughed at a rat? OFFICER This is not her first offense. CALVIN For laughing at a rat you're asking that she be OUTSIDED? April's face is turned to the floor, as she shifts nervously on her feet and wrings her hands. OFFICER There's more, but we don't wish to compromise our informant. CALVIN (leering at April) I'm sure there are "other" ... options. OFFICER Will you force my hand? Calvin ignores the Officer. Stares at April. CALVIN As I was saying, there are, perhaps, other "punishments" on the table. Don't you think so, officer? The Officer turns, signals to someone outside the door. A TALL MAN with a scraggly beard, hair neatly combed, casually dressed, strides up to the bench. OFFICER This is our informant. It is his job to root out dangerous criminals, like this girl, and inform of us of their crimes. Calvin scoffs. CALVIN So HE'S the one who saw her laughing at the rat? OFFICER No, he's the one who heard this girl encourage sedition. (pause) Several times. CALVIN Sedition? Please. Her? April is still staring at the floor, but she looks up, sees the MAN, recognizes him. APRIL John? TALL MAN That's not my name. APRIL Are you okay? Did I do something to get you in trouble? OFFICER "John" as he's called Upside, pretends to be a beggar, to find those who would betray their assigned positions to "help" him. APRIL (looking at "John") You? OFFICER This criminal has, on several occasions, approached "John" and offered him food and words of encouragement. CALVIN And these are offenses that will lead to her being OUTSIDED? OFFICER Alone, they are serious offenses, especially when repeated, but they are not sedition. Calvin brightens, rubs his pudgy hands. CALVIN So, other "options" are still on the table? The Officer clears his throat, deepens his voice for dramatic effect. OFFICER On several occasions, the criminal has encouraged "John" with these words, "there's always hope." Calvin blanches. CALVIN SURELY he misunderstood. Were these words recorded? And if so, why have waited so long to arrest this girl? OFFICER We were waiting to see if she had accomplices ... Unfortunately the recordings have been lost. CALVIN No proof, then? OFFICER She IS guilty! April clears her throat. Speaks quietly. APRIL I didn't disagree with him, sir. I felt so sorry for him, cold -- CALVIN -- You told him "there's always hope?" April shifts nervously. APRIL I didn't disagree, I'm trying to overcome my doubt, but -- CALVIN -- SHUT UP! Take her away, Officer. She's obviously guilty. And stupid. INT. UPWARDS TUNNEL -- DAY TWO EXECUTIONEERS in PROTECTIVE SUITS AND MASKS, lead April up towards the dim light at the top of the tunnel. They roughly push her when she slips on the mud. EXECUTIONER ONE (muffled through mask) Move, crazy b**. Supper's waiting. You're keeping me from it. April is shaking, cold and scared. EXECUTIONER TWO "Always hope," eh? They laugh. EXECUTIONER TWO I don't think so. EXT. OUTSIDE -- MINUTES LATER They've arrived. Dark clouds. A wasteland of dirt and rock, mounds of stones where buildings once stood. No plants, no trees, just a persistent whistling, cold wind. A STEEL STAKE, driven into the ground. The Executioners chain April to it. She's shivering uncontrollably. EXECUTIONER ONE Here's to "hope." April stares through his mask into his eyes, tears rolling down her cheeks. As they turn back to the tunnel. APRIL There IS hope. She laughs, almost giddy. Executioner One turns on his heels and slams his gloved fist into her mouth, knocking out teeth and causing the blood to flow. EXECUTIONER ONE Now you can "hope" you bleed to death before you freeze to death. They laugh and leave. EXT. OUTSIDE -- NIGHT Pure darkness. April is barely hanging on. Suddenly A BEAM OF LIGHT illuminates her. The wind calms. A BUTTERFLY, one wing white, one wing blue flutters slowly down. April smiles when it lands on her nose. And then she is GONE. Two butterflies flutter upwards. EXT. OUTSIDE -- DAY The two Executioners stare at the empty chains. Two tulips are growing beside the stake, one blue, one white. They try to pull them up but they won't budge. EXT. OUTSIDE -- CENTURIES LATER Bright sun. Flowering prairie grass as far as the eye can see. Trees in the distance. Thousands and thousands of blue and white butterflies fluttering above the grass. Over the hill, the laughter of CHILDREN as they play. They appear from over the mound, find a red and white tulip, try to pull them out of the ground...
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Old 04-16-2018, 06:04 AM   #6
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Default Re: Entries - "Turning someone's world upside down" contest

Code:
Minus Two Fade In EXT. PARKING LOT - DAY A wannabe sports car pulls into a parking lot at breakneck speed and squeals into a handicap spot. The driver door opens and Lydia (22) slides out. She's attractive and dressed for the bar. LYDIA It's like I told you. I saw a commercial... and now it's my turn to give back. The passenger door flies open and Cindy (28) charges out. Full figured and ready to rumble. She's affectionately known as Sin Sin. SIN SIN You're breaking my heart. Mom is going to freak the F out. Sin Sin stops to check her phone. LYDIA I'm the only one that works and pays the bills, I'll get another one if I want. They walk towards a building with ANIMAL SHELTER written over the door. INT. ANIMAL SHELTER - RECEPTION - CONTINUOUS A small reception area. A bell sits alone on top of the counter. Sin Sin hits it hard and often until a small, thin MAN appears. MAN Hi, I'm Mike, how can I help you? Mike can't take his eyes off Sin Sin. She ignores him and checks her phone. LYDIA I saw your commercial on TV and I am ready to adopt. MIKE Right on. Dog or cat? SIN SIN Who the hell wants a cat? Only losers and singles, that's who. MIKE I have a cat. SIN SIN Awkward. LYDIA Don't worry about her. She has no friends and we only keep her around because there might be a disaster and we'll need food. Sin Sin goes back to her phone. LYDIA (CONT'D) I'm looking for a dog, I already have a big, chubby, beautiful guy and he needs a brother. Mike grabs a round key chain and walks to a huge metal door and starts to unlock... and unlock... and unlock. SIN SIN Ladies and gentlemen, welcome to Jurassic Park. LYDIA I want a SMALL dog. Mike slowly pulls the door open... walks in and gestures for them to follow. INT. KENNEL - CONTINUOUS Dimly lit. Dog pens line the narrow walls. Nothing is moving. SIN SIN Scared. A dog barks and Sin Sin jumps, she almost drops her phone. MIKE Haha, and I'm the loser. Mike turns on the lights. Most of the pens are empty. MIKE (CONT'D) That commercial has been gold for us. We almost have no inventory. Mike and Sin Sin move towards a pen. Lydia continues on her own. MIKE (CONT'D) We only have this really scary guy here. We call him Rollo. A fat DOG covered in rolls lies on the floor. FAT DOG Woooof. MIKE And... LYDIA (O.S.) Oh my god, I'll take him. Lydia stares into a pen at the end of the kennel. A light from above shines directly into it. MIKE (O.S.) And that little guy. We call him Humpty Pumpty. Sin Sin walks to the pen. SIN SIN Eww, it's hideous. What the hell is that? MIKE That's the most... interesting dog in the world. The DOG sits in the pen. The light shines bright. A face only a blind person could love. Eyes go in different directions. It's a Chihuahua, and this Chihuahua speaks English with a high pitched voice. DOG Hola ladies. Looking for some company? Sin Sin moves in closer for a better look. SIN SIN Where's he looking? Those eyes are crazy. Are they ping pong balls? LYDIA This little guy needs some love. Lydia reaches into the pen, picks the dog up and gives him a cuddle. LYDIA (CONT'D) I'll call you Snoops. Let's go home. INT. RECEPTION - MOMENTS LATER Lydia signs some papers, Snoops and Mike stare at Sin Sin. Sin Sin stares at her phone. MIKE All right, that just about does it. He's had all his shots and the vet checked him over. That's all we do. Mike reaches under the counter, pulls out a card and passes it to Lydia. MIKE (CONT'D) You might need this. EXT. PARKING LOT - MOMENTS LATER They walk towards their car. Lydia holds Snoops like an accessory. SIN SIN Put him in the glove compartment. LYDIA He'll sit on your lap or I'll put you in the trunk. INT. CAR - CONTINUOUS Lydia passes Snoops to Sin Sin and he flips onto his back. SIN SIN What does he want? LYDIA He likes you, he just wants some rubs. Sin Sin starts to rub his belly as the car pulls away. SNOOPS (O.S.) Lower... lower. INT. LYDIA'S APARTMENT - LIVING ROOM - LATER The door opens and Sin Sin and Lydia walk in. Snoops is tucked under Lydia's arm. The eat in kitchen and living room are all together. SIN SIN Out of my way. I need to wash my hands. SNOOPS Thanks again. Buy me dinner later? Sin Sin rushes to the sink and starts to scrub. Lydia's MOTHER comes out of one of the backrooms. MOTHER Another one? We can barely afford porky the pig over there. A portly BULLDOG sits in a dog bed in the corner staring and drooling. Sin Sin dries her hands, grabs her phone and sits down on the sofa. LYDIA Then you and Tinderella should help more. Lydia takes Snoops over to the bulldog. LYDIA (CONT'D) Snoops I want you to meet Ace, your new brother. Lydia puts Snoops down and goes into one of the rooms. SNOOPS Are you dead? Ace finally moves his head and looks down. ACE Where'd you come from? SNOOPS I just got out of the pen. ACE The pen? What'd you do? SNOOPS You'll find out. Got a teddy bear? Lydia returns with a doggy bed and a blanket. LYDIA It isn't much but I call it home. Hope you are happy here little guy. SUPER: "TWO WEEKS LATER" INT. LYDIA'S APARTMENT - LIVING ROOM - DAY Lydia, Sin Sin and the mother sit at the kitchen table. They all look like they haven't slept in days. A clear garbage bag full of stuffed animals is on the floor. SNOOPS (O.S.) Yes...yes..yes.yesSA SIN SIN Again? That sound is in my nightmares. A teddy bear rolls out of a bedroom. Snoops follows it out, picks it up with his teeth and tosses it into the garbage bag. Snoops heads to his water dish and takes a long, noisy drink. SNOOPS Hard to get that taste out eh Sin Sin. Snoops makes the walk of conquest over to his bed, flips and lies down. ACE You're embarrassing. SNOOPS Don't sleep tonight, I can't find any more teddy bears. The mother stands up. MOTHER That's it. I can't take it. That dog has to go. LYDIA Okay okay. I'll make the call. Lydia reaches into her bag, pulls out the card from the animal shelter, dials and goes into the bedroom. SNOOPS What did I do? ACE You're times up mister. Lydia returns to the table. MOTHER Well? SIN SIN Please please tell me some good news. SNOOPS Rub my belly Sin Sin. Ace puts his paws over his head. LYDIA Sorry buddy, the vet can take you this afternoon. SNOOPS Had all my needles. ACE Haha. That's not what's happening. It's a little more... invasive. Sin Sin and the mother high five and hug. SIN SIN This will take the sting out of you big boy. Ace starts moving his paws like a pair of scissors. ACE Snip...snip...snip. SNOOPS Nooooooooooooooo. SIN SIN Do you think they'll let me watch? SNOOPS We're breaking up. Lydia moves in and grabs Snoops. SNOOPS (CONT'D) Please don't, not the twins. Snoops puts up a five pound fight. Lydia puts him over her shoulder and heads to the door. His beautiful EYES stare in horror.
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Old 04-16-2018, 06:04 AM   #7
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Death & Taxes FADE IN: EXT CITY STREET - DAY JOHNNY, late twenties, a big man dressed in a ridiculous grim reaper costume, trudges back and forth on the sidewalk. He holds a sign promoting "Saul's Tax Service -- Best Returns Guaranteed". The day is cold and Johnny stops for a moment to sip from a flask. Immediately Saul's business door opens and SAUL, fifties small, dressed in a cheap suit pops out. SAUL I m not paying you to stand. Move, move, hustle. Johnny starts walking again. SAUL (CONT'D) And smile -- I'm not paying you not to smile. Johnny shows his teeth. INT. SAUL'S OFFICE - DAY TWO HOURS LATER Johnny walks into Saul's office. Saul jumps up at his desk. SAUL Hey hey, hey -- what the hell? JOHNNY I gotta pee. SAUL I m not paying you to pee. JOHNNY You haven't paid me anything yet. SAUL And I won't if you don t get your ass back out there and work. Johnny glares at him and then goes back out. EXT CITY STREET - DAY TWO HOURS LATER The sun is setting, it's colder and Johnny is walking like a zombie. Saul pops out of his door again. SAUL Shake the sign. I'm not paying you to hold the sign still. If you don't shake the sign -- forget the bonus. Johnny grits his teeth and shakes the sign. INT. SAUL'S OFFICE - NIGHT Johnny impatiently waits while Saul talks on the phone. SAUL (in phone) Yeah? Well that's the breaks, kid. Next time read the fine print. He shrugs his shoulders at Johnny. SAUL (CONT'D) I m scared, kid, come see me shake. He hangs up the phone and looks at Johnny. SAUL (CONT'D) What do you want? JOHNNY My pay. SAUL What pay? Johnny stares at Saul, involuntarily his hands clinch into fists. JOHNNY Six weeks, seven days a week, a hundred dollars a day, five hundred dollar bonus if I worked through the fifteenth. You promised, we shook on it. SAUL I promised, we shook on it? Oh I thought you were going to show me a signed contract. You do have one, right? The fists clinch tighter. JOHNNY No. SAUL Too bad. How many many times did I say in the last six weeks, I m not paying you? JOHNNY I m getting my pay. SAUL You're getting arrested for trespassing, if you don t leave right now. The phone rings and Saul answers. He waves at Johnny, giving him the get lost sign. The door bursts open and a desperate young man, DAN MATTHEWS, rushes in, pointing a gun at Saul. His hand shakes. SAUL (CONT'D) (to phone) That ******* Matthews is pointing a gun at me. I got to deal with this creep. After slamming the phone down, Saul turns his attention to Matthews. SAUL (CONT'D) Put the gun away. We both know you don't have the balls to use it. Matthews pulls the trigger back. JOHNNY He's not worth it. MATTHEWS Stay away, this doesn t involve you. SAUL Listen to the kid. He doesn't have what it takes. Matthews' eyes narrow, his shaking stops, he's calm. Johnny knows he's about to shoot, tries to wrestle the gun out of his hand... BLAM!, it fires. The bullet goes right through his heart and Johnny drops. He's already dead. Matthews lets the gun go, it falls to the floor. He stares at the dead man, then runs out the door. SAUL (CONT'D) (talking to himself) Stupid son of a bitch! He was going to me kill then this other ******* gets himself shot, after I screwed him. He pats himself on the back, sits at his desk and pours a drink. SAUL (CONT'D) It s a good day to be me. Johnny's spirit body looks at his dead body on the floor. JOHNNY Well that was stupid. GRIM (O.S.) Yeah, stupid. Johnny s spirit body turns -- it s a GRIM REAPER, younger and more dapper than normally depicted. The Grim Reaper outfit is even stylish. GRIM (CONT'D) What were you thinking? JOHNNY I guess I wasn't. Just reacting. Grim looks at Saul sipping his drink and shakes his head. GRIM I d rather be taking his sorry ass. But rules are rules. JOHNNY It's my wife and baby I'm most worried about. He even screwed me out of my pay. GRIM And you save his life? JOHNNY I know, stupid. There's an awkward pause. GRIM Well, ready? JOHNNY Not really. Grim shrugs. GRIM Just that I got a busy night. Take a couple minutes if you want. Grim takes a closer look at the Johnny's body GRIM (CONT'D) What the hell were were you wearing? Johnny is a little embarrassed. JOHNNY It's a... a Grim Reaper outfit. Grim points at Saul. GRIM Did he make you wear it? JOHNNY Yeah. Grim kicks Saul's desk -- his foot goes right through it. GRIM So that's what we all look like to you, Saul? (to Johnny) I got to think. Grim disappears for a few moments and then reappears. GRIM (CONT'D) **** the rules! He waves his scythe and the bullet flies through Saul's heart. Saul lies dead -- Johnny is alive again. GRIM (O.S.) (CONT'D) Top left drawer, false bottom. Saul wants you to have all the money. Says he gave you a big bonus. SAUL (O.S.) No I didn't. GRIM (O.S.) Shut up, Saul Johnny opens the top left drawer and finds the false bottom. There's plenty of cash. He scoops it up and puts everything back in order. JOHNNY Thanks, Saul. GRIM (O.S.) Saul says you're welcome. SAUL (O.S.) No I didn't. GRIM (O.S.) Shut up, Saul. (to Johnny) Now go, but before you leave take off that damn costume off, or I'm coming for you next. FADE OUT: THE END
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Old 04-16-2018, 06:08 AM   #8
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Devil Inside FADE IN EXT. COASTAL TOWN - DAY Establishing shot, a cold-looking place, maybe on the cusp of winter. Seagulls shriek. EXT. TOWN STREET - ROW HOUSES - DAY FLANNAGAN, middle-aged and weary, wearing a coat with the collar turned up, walks past house after house. He stops outside a house with a green door. EXT. HOUSE - FRONT DOOR - DAY He walks up the path, raps his knuckles on the flaking green paint. He waits... nothing. He raps again. Loud clumping footsteps from inside. Angry footsteps. A bolt thumps as it's drawn open. The door opens and Flannagan looks up at JOSEPH, who could be mid teens, but is solidly made. Joseph glares down at Flannagan, openly hostile. A woman hurries along the hallway, drying her hands on her apron, KATE BUNNING, 40-ish, tired housewife. KATE I'll deal with this, Joseph. JOSEPH I'm not leaving him alone with you. I know his kind. A load of waffle and then he's conning you out of five pounds for the church roof repair fund. FLANNAGAN If that big mouth of yours keeps flapping open, something's going to fly into it. Joseph reacts with surprise, then anger. He bunches his fists. FLANNAGAN Better men than you have tried, sonny boy. Don't make the biggest mistake of your life. Best let me talk to your mammy, hey? Kate frowns. She looks Flannagan up and down critically. KATE You don't look much like a priest. Or talk like one. FLANNAGAN That's because I'm not. It's a cold wind out here, Mrs. Bunning, I'd appreciate being invited in. I wouldn't say no to a cup of tea either. Is that fresh bread I smell? Joseph opens his mouth to say something but Kate puts her hand on his arm and jerks her head, directing him into the living room. Joseph gives Flannagan another glare but does as he's told, he moves into the living room. KATE Come in, then. She steps aside so Flannagan can enter. INT. HALLWAY - DAY Flannagan watches as Kate sticks her head outside and looks up and down the street. She closes the door and slides the bolt shut. FLANNAGAN Always best to be cautious these days. KATE If I was being cautious, you wouldn't be here. FLANNAGAN How about that cup of tea, and you can tell me all about your little problem? A banging noise comes from upstairs. Someone cries out. A child? Flannagan looks upstairs but it's dark up there on the landing. KATE This way. She walks the length of the hallway and enters the kitchen. Flannagan follows her. He pauses at the living room door, looks in. INT. LIVING ROOM - DAY Joseph stands by the fireplace, scowling at Flannagan. Behind him, sitting on the fireplace, is a framed B/W photograph of a FISHERMAN standing on a harbor wall, with boats tied up alongside. He resembles Joseph. The fisherman looks anything but happy. INT. KITCHEN - DAY Flannagan enters the kitchen, there's a small table with two chairs. Kate gestures for him to sit down, he does. He watches as she reaches for a cup on a shelf -- but her hand hesitates, as if she doesn't want to touch it. She takes the cup down and wipes its lip clean with her apron. She fills the cup with tea from a pot. She puts it on a saucer and carries it to the table. FLANNAGAN Thank you. He takes a sip, nods approval. FLANNAGAN Now, Mrs. Bunning, does it bother you most? By which I mean, is there a particular hour of the day, or night, when-- KATE She gets worse after sunset. She sits down in the other chair, facing him. KATE Up until then it's a mad chuckling. But once it's dark, the laughter starts. And the cursing is not far behind. Oh but I can't even tell you the foul language that's used. It would make a sailor blush. But come the morning, she's quiet again. FLANNAGAN Is that so? KATE You sound as if you don't believe me. Flannagan shakes his head. FLANNAGAN On the contrary, Mrs. Bunning, I do believe you. I've been doing this for some time. I've learned how to spot the fakes, the ones who are just looking for a bit of attention, for notoriety. Maybe hoping their story reaches the right ears and a reporter from the big town pays them a visit and writes it down, so they can use it in a spooky article on a quiet news day. Kate listens, expressionless. FLANNAGAN If they feign fright and hold back because the story's too awful to tell, or if the telling would involve admitting an older relative has lost their marbles, then maybe a financial incentive will be offered, sixpence perhaps, or a shilling if they're lucky. Enough to feed the family for a week. And what's wrong with that? Nothing, if you ask me. Kids have to be fed, don't they? He takes another sip. She watches silently. FLANNAGAN And when did it start? KATE Seven nights ago. Flannagan reaches inside his coat and pulls out a dog-earned book. The cover says POCKET ALMANAC, 1952. He thumbs through the pages. The page he settles on tells him, with words and illustrations, that seven nights ago there was a Full Moon and it was also a high Spring Tide. INSERT CLOSE SHOT OF THE FRAMED PHOTOGRAPH The fisherman looks even less happy than before. STORMY WEATHER SFX. WIND HOWLS. ANGRY SEAS CRASH. BACK TO SCENE More banging comes from upstairs, loud, angry. Flannagan looks up at the ceiling. INT. HALLWAY - DAY Joseph stands in the living room doorway, also looking up at the ceiling. He turns his head at looks at Kate in the kitchen. INT. KITCHEN - DAY Kate shakes her head, telling him no. Flannagan puts his book back inside his coat. He stands. FLANNAGAN Well, if you don't mind, I'll head upstairs and see what's to be seen. KATE Are you sure you want to? FLANNAGAN Someone's got to. Might as well be me. I've done this sort of thing before. He steps into the hallway. KATE You won't harm her, will you? FLANNAGAN I'm an exorcist, Mrs. Bunning, not an executioner. I expel evil spirits from those unfortunate enough to be possessed by them. I don't go about harming people. She nods, reassured. FLANNAGAN You know what would be nice? If there was a slice of that fresh loaf waiting for me when I come back downstairs. These things sometimes leave me feeling drained. INT. HALLWAY - DAY Flannagan moves to the foot of the stairs. The banging noise continues. He puts his foot on the bottom stair. The banging noise suddenly stops. He climbs the stairs, step by cautious step. INT. LANDING - DAY Flannagan steps up onto the landing. He pauses and listens. He hears a faint crying from behind a closed door. Child-like and yet not a child. He touches the door handle -- but snatches his hand away as if shocked. He cups his hands to his mouth and exhales hot breath, trying to warm his fingers. He rubs his hands. Cold! He pulls out a handkerchief and wraps this around his fingers. He touches the handle again, and turns it. He slowly pushes the door open, revealing a darkened bedroom, inch by inch. There's a wardrobe. And a dressing table. And the foot of a bed. Lengths of rope are tied to the bed's corner posts, they stretch further up the bed. As if someone's been tied down. Flannagan opens the door further. He stares at the bed, bewildered. INT. BEDROOM - DAY A brown and orange striped cat lies on its back on the bed, spread-eagled, exposing white belly fur. Ropes are knotted around each of its four legs and tied to the four bed posts so the cat is trapped, unable to free itself. Its tail lashes left and right, agitated. It tugs furiously against the ropes so the bed frame bangs against the wall, producing the noises we heard downstairs. It YOWLS in rage. The cat suddenly stops struggling and is silent. Flannagan holds his breath. The cat slowly raises its head and looks at Flannagan. Its gold-flecked eyes seem to glow. THE CAT What's the matter? You never seen a fvcking cat before? Flannagan lurches against the door frame as if his legs have lost strength. The Cat laughs, a creepy-weird not-human laughter. THE CAT Untie me, mortal. Untie me now. Flannagan takes a jerky half-step toward the bed, as if someone's pulling his puppet strings. THE CAT Yes, do my bidding. Hurry, fvcker. But Flannagan is resisting, he gasps between clenched teeth. His hand slips into his coat pocket. He pulls out a silver flask. Unscrews the cap. FLANNAGAN Holy Father, vanquish this foul beast back to the pits of Hell from which it came. He flicks the flask. Water droplets fly through the air in slow motion. The water splashes over the cat, making a SIZZLING NOISE. The cat lets out a horrendous SCREECH. Flannagan quickly steps back out onto the landing and slams the door shut behind him. INT. LANDING - DAY Flannagan gasps for breath as he leans against the door. Hissing, yowling, growling, banging noises come from inside the bedroom. And suddenly, silence. Flannagan puts his ear against the wood and listens. Nothing. He hesitantly touches the handle again. He jerks his hand away... but then goes back to it. He's able to touch it. He opens the door an inch. Then another inch. He peeks into the bedroom. INT. BEDROOM - DAY Flannagan opens the door further. The ropes are still on the bed but they're untied. There's no sign of the cat. He warily looks around the room, checking the shadows. Can't see anything. He hurries to the window and yanks the curtains open. Light floods the room. There's the cat, sitting under a chair, cleaning itself. Flannagan takes a wooden crucifix from another pocket and advances on the cat, holding the cross before him. He bends down so the cross is inches from the cat's face. The cat looks up at him, then bends over and licks its own butt. INT. HALLWAY - DAY Flannagan comes downstairs. Kate and Joseph are waiting in the kitchen. They stare at him expectantly. INT. KITCHEN - DAY Flannagan sees there's a slice of bread, spread with yellow butter, on a plate, on the table. He picks the bread up and eats it. He closes his eyes. Nothing ever tasted so good. KATE Will you not say anything? FLANNAGAN I'm sorry, forgive my manners. I thought it was your husband, Mrs. Bunning, returned from the sea. When there's a full moon and a spring tide, sometimes flotsam gets dragged up off the ocean floor and cast upon the shore. But I was wrong. He picks up his tea cup and drains it. FLANNAGAN Bloody cats. Never did like them. He puts the cup down. FLANNAGAN Thank you for your hospitality, Mrs. Bunning, it's very much appreciated. I'll see myself out. He walks along the hallway, to the front door. EXT. HOUSE - FRONT DOOR - DAY Flannagan steps outside and pulls the door closed behind him. Thumping footsteps from inside the house, as Kate and Joseph hurry upstairs. Flannagan smiles, shakes his head, and walks away. FADE OUT
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