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Old 02-13-2019, 02:57 PM   #1
dpaterso
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Default Entries - Valentine's Day '19 contest

Here are the 5 entries for the 2019 Valentine's Day contest:

Martin Is Nice
Midnight Caller
First Time
Fallin'
The Waiting Game

PM or email me your top 3 picks, preferably in the format:

1st - title1
2nd - title2
3rd - title3

If you happen to take notes as you read, these can be posted once results are announced.

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

For posterity's sake, the discussion thread is here and the results thread is here.
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Last edited by dpaterso : 02-16-2019 at 02:30 PM.
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Old 02-13-2019, 02:59 PM   #2
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Default Re: Entries - Valentine's Day '19 contest

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MARTIN IS NICE QUICK ESTABLSHING SHOTS - THE NORTH WEST SIDE OF CHICAGO Chicago in springtime is magic. Ask anyone that's lived there. BUILDINGS, BIRDS, and PEOPLE wake up from the winter. We're giving the CITY the hero treatment Woody Allen gave Manhattan back when he was known for making movies. Springtime in Paris can eat a dick. Chicago is the best. OLD POLISH MAN (O.S.) -- no car. No house. I'm not putting them on the form. ELIZA (O.S.) You drove here. In a car. You have an address. That's a house. Why aren't we listing them? OLD POLISH MAN (O.S.) I sign my car to my brother. I sign my house to my wife. This is no problem. We leave them off the bankruptcy form. INT. BRIGHT SIDE BANKRUPTCY - ELIZA'S OFFICE - DAY TEXT ON SCREEN: Bright Side Bankruptcy. Chicago ELIZA WILBANKS (45) listens to THE OLD POLISH MAN. She's behind a MODERN DESK. An active listener. A touch rigid. Eliza is ahead of everyone. All the time. Her EYES tell us she's thinking waaaaaaaaay too fast. OLD POLISH MAN This way I keep my car because it's my brother's. This way I keep my house because it's my wife's. ELIZA You think the court's gonna let you say you don't own anything right before filing bankruptcy? OLD POLISH MAN I won't own it. Do you not understand my plan? ELIZA (yikes. What a dick) I understand. But thank you for talking down to me. I needed that. OLD POLISH MAN I've got a great mind for strategy. ELIZA One little hiccup. What you just pitched is fraud. Not only that but it's really stupid fraud. Painfully stupid. The bankruptcy courts have been running for hundreds of years and people waaaay smarter than you have tried to scam the system in ways that are literally hundreds of times more sophisticated than you can fathom. If you have a great mind for strategy. Start using it! OLD POLISH MAN That was very long and unkind. So that's a "no?" ELIZA That's a "no" and if you try to do anything illegal again I'm dropping you and turning your "great mind" and your "stupid ass" in. Eliza grabs his bundle of PAPERS and -- SLAM -- throws them into the TRASH CAN. A fake SMILE. Eliza is cold as ice. ELIZA Shall we start again? OLD POLISH MAN You should shred those. I don't want anyone stealing my identity. ELIZA No one wants your identity, Mr. Kowalski. I mean -- you don't want your identity! INT. BRIGHT SIDE BANKRUPTCY - BREAK ROOM - DAY A BIRTHDAY CAKE -- Happy Birthday Eliza. OFFICE CREW Happy birthday to you. Happy birthday to you. Happy birthday dear Eliiiiiiiiii-za. OFFICE SINGING. From EVERYONE IN THE OFFICE. Eliza tries to SMILE but it looks like pain. It is pain. Not acute pain but the slow burn of corporate hell. INT. BRIGHT SIDE BANKRUPTCY - BREAK ROOM - LATER NANCY (30s) a conservative gal who is too sincere for her own good, pours CHAMPAGNE for Eliza. Into a RED PLASTIC CUP. Nancy is a bumpkin. And she can't hide it. It's a sad, little office party but hey -- it's booze. NANCY Is it weird being forty five? It seems so advanced -- ELIZA -- it's not weird and don't say "advanced." Take it easy, I'm not drinking too much. I have so much work to do after this -- NANCY -- come on! Don't work tonight. You should drink so much you do that hilarious "panic" thing! ELIZA It's not panic. I just -- sometimes accidentally take an honest look at my life when I drink too much. NANCY Yeah. Never do that. Why don't you call Martin? Martin is nice. ELIZA He's very nice -- just. He started microbrewing in his garage. NANCY Oh no. ELIZA I'm ready to date but I am not ready to pretend like I'm interested in microbrewing. NANCY You're not -- like -- having a really quiet meltdown where you act normal and then walk into traffic and everyone's like -- "She seemed so happy!" ELIZA I'm fine. I'm keeping it together. TITLE CARD: Eliza Not Keeping it Together - OFFICE: Eliza sits on the edge of her DESK. Alone. She pours another GLASS OF CHAMPAGNE for herself. She looks around. The coast is clear. She downs it and pours ANOTHER. A GRIMACE. S***. That one burned. - OFFICE STAIR WELL: Eliza sits on a STEP with her SHOES off. She has her PHONE out and texts MARTIN. Hammered. ELIZA: It's my bday. MARTIN: why didn't u tell me? MARTIN: dinner plans? ELIZA: tons of work. I shouldn't EXT. CHICAGO STREET - NIGHT But she did. Eliza walks arm-in-arm with -- MARTIN (40s) a normal, semi-schlubby dude who is aging into his looks -- so freaking unfair. The unspoken male privilege. Martin looks like he brews his own beer. They are eating ICE CREAM CONES. MARTIN -- I've never had frozen custard. It's great! ELIZA My parents used to take me there to get frozen custard when I was growing up. MARTIN That's sweet. ELIZA Sorry I drunk texted you. Thank you for humoring me. MARTIN I wasn't gonna let you spend your b- day alone, Eliza. ELIZA You should start a service. MARTIN Taking drunk women out on their lonely birthdays? ELIZA Lonely women are a growth market. MARTIN Ain't that the truth. He puts his ARM around her. Should he go for it? MARTIN So -- you know... you shouldn't spend your birthday alone. That's -- psychologists wrote papers on that. ELIZA Is that true? MARTIN If they didn't -- they should. Let's go to your place. Eliza FROWNS. ELIZA Nah. Let's get an Uber to your house. I'll pay. MARTIN My house is a wreck -- and it's far. Are you hiding me from your friends? Ashamed of me? ELIZA It's not that. MARTIN You're around here. It's so much easier and it'll convince me you're not living a double life as a sexy Russian spy. ELIZA Three things. You have to hear three things before we do this. MARTIN OK. Shoot. ELIZA One. I'm not technically divorced yet so this has to be casual. If I sleep with you do you promise you won't get clingy? MARTIN There's a seventy percent chance I won't get clingy. Give or take. ELIZA I'll take those odds. Two, if you stay the night and we spoon -- I get to be the big spoon. MARTIN Why? ELIZA Power dynamics. MARTIN Fine. ELIZA So I'm only sleeping with you because it's my birthday and you seem like you'd be grateful. MARTIN I'll take it. So... what's the third thing? Eliza rubs her TEMPLES. ELIZA I sort of -- I'm just gonna say it. I live in a co-living space. MARTIN What the hell's a co-living space? INT. THE LOFT - DAY Eliza brings Martin in to the Loft. It's like a tech-bros vision board came alive. So "optimized" it dips into cold. Bright "collaboration space." Bright LETTERING on the WALLS. Professionally cleaned. A little sad. MARTIN -- ohhhhhhhhh my goodness. ELIZA I know. It's temporary. It's close to my train stop. Martin goes over and grabs a BEAN BAG CHAIR. MARTIN This looks like Mark Zuckerberg dropped a bunch of acid and accidentally designed a home. INT. THE LOFT - ELIZA'S ROOM - MIDDLE OF THE NIGHT Eliza spoons Martin in her monk-like room. Very functional. Very zen. She rolls over. Martin rolls over and grabs her. HE'S THE BIG SPOON She rolls Martin back over. She's the big spoon. ELIZA No one respects the little spoon. MARTIN Wait. Does that mean you don't respect me? INT. THE LOFT - ELIZA'S ROOM - MORNING Martin comes into the room with his BOXERS on. Eliza's sitting on the side of the BED. Checking her PHONE. She's hung over. Wrecked. MARTIN I don't want to alarm you but there's lots of people in their 20s out there. Like -- an uncomfortable number of youths. ELIZA They're harmless. MARTIN Are they? I think they smelled my fear. So... why are you doing this? Living in a house full of children? ELIZA I don't -- it was something I did to keep one foot in front of the other when my husband left and it just -- it just kept going. INT. THE LOFT - COMMUNAL SPACE - DAY Eliza sits with her COFFEE. She looks at her PHONE at PICTURES OF MARTIN. He's brewing BEER in his GARAGE. She smiles -- maybe it's not that bad. FADE TO BLACK
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Old 02-13-2019, 03:00 PM   #3
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Default Re: Entries - Valentine's Day '19 contest

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MIDNIGHT CALLER FADE IN: EXT. SUBURBAN HOUSE - NIGHT In a quiet street. Upstairs, a darkened bedroom window lies open, the curtain moving gently. INT. IZZY'S BEDROOM - NIGHT IZZY, a teen beauty, lies in bed asleep. No wait she's not asleep, she fidgets, she rolls over, she lifts her head up and punches her pillows into better shape. She freezes as if she's heard something odd -- she looks over her shoulder -- her eyes WIDEN in shock. Sitting at the bottom of her bed, watching her, is WILLY, a teen boy. Willy smiles charmingly and gives her a little "hello" wave. WILLY Please don't be frightened, I'm not going to harm you. Izzy struggles to remember who this is. IZZY Willy? How did you get in here? Izzy glances at the window, air moves the curtains. IZZY You climbed in my goddamn window? WILLY You left it open. IZZY I left it open for fresh air, not so some creep could climb inside. WILLY I'm not a creep, a creep would have molested you while you slept. IZZY Jesus, what the hell do you want? WILLY I just wanted to talk to you, find out what you were like. I watched you in school today. I thought you were very beautiful. You smelled nice, too. IZZY Gee, thanks, that makes your creeping into my bedroom okay. Willy produces a cake from behind his back. WILLY I brought cake. IZZY What makes you think I want to eat cake at two in the morning? Are you nuts? Izzy considers the cake, though. It's a good-looking chocolate cake with shiny icing. Willy holds up a can of whipped cream. WILLY I brought cream, and plastic forks and paper plates, too. Izzy frowns as she thinks about this. CUT TO: Izzy sits up in bed, eating cake. IZZY This is good. She notices Willy isn't eating. WILLY Cake isn't my thing any more. IZZY That's because you're a goddamn vampire. WILLY H-how did you know? IZZY I thought vampires couldn't enter someone's house unless they were invited? WILLY Leaving a window or a door open, that's technically an invitation. IZZY It is goddamn not an invitation. WILLY Do you know, it's been centuries since those rules were imposed upon us, without consultation I might add. Their power has faded somewhat over the years. They're completely obsolete now. IZZY Who told you this? WILLY Someone who knows a lot. IZZY Huh. So why the cake, not that it isn't delish. WILLY Well I thought, you know, it would be a nice way to say hello. I didn't want to scare you. IZZY I thought vampires were all about scaring people. WILLY Maybe some are, I'm not one of them, not yet anyway. IZZY Is it like an older vampire thing? (old man voice) Get off my coffin, you damn kids! WILLY Ha ha, something like that, maybe, I don't know, I'm new to this. IZZY How did it happen? Were you like, walking through the park alone and someone jumped you from behind, raaawrr! Izzy makes "air claws" as she growls the animal noise. WILLY It wasn't like that at all. I was waiting for pizza delivery. I answered the doorbell and he was standing there. IZZY He? WILLY My master. He was tall and he was handsome and his eyes seemed to glow, and I was completely in his thrall. IZZY He brought the pizza? WILLY No, he wasn't the delivery guy. IZZY What kind did you order? WILLY Uh, Hawaiian. IZZY So you opened the door and it's your man with glowing eyes. What happened then? WILLY I invited him in and-- IZZY What happened to obsolete rules? WILLY I was just being polite, I said, "Hello, won't you come in?" as people often do. IZZY Sorry, go on. WILLY And he came inside and he told me to close my eyes and tilt my head to the side, which I did, and then there was this lovely sharp pain, and then bliss. Izzy takes another bite of cake and talks while chewing. IZZY How weird is that? WILLY I know, right? And yet it was the most natural thing to me. IZZY Cool. WILLY I think I went to sleep. When I woke up everything felt really different. I could see so clearly, move so fast. I felt so strong. And I could float, too. IZZY Float? You mean like, fly? WILLY I guess so, though don't ask me for a demonstration, I'm not very good at it yet, I keep bumping into things. It took me five minutes just to reach your window. THUMPING AND CRASHING NOISES FROM THROUGH THE WALL. Concerned, Izzy throws her blankets back to get out of bed but Willy makes calming gestures, stopping her. WILLY No, it's okay, it's fine. IZZY That's my mom's room, what's going on, Willy? WILLY You don't need to worry, she'll calm down in a moment, trust me. IZZY Trust you, you crept into my room while I slept, and you're a vampire, how can I trust you? WILLY Your mom just panicked, that's all. The noise has stopped, all is calm again. WILLY See, she's not struggling any more. My master has made her his thrall. IZZY Your master is biting my mom? WILLY Well that's possible, yes, he very probably is, but you have to understand what vampirism is. IZZY Educate me. WILLY You called me undead, but you know, it's not really like that. We're not just reanimated corpses. We don't just die, we ascend. IZZY Your soul goes to Heaven? WILLY It's more like, we're given flair. We become shinier than we were. Willy leans forward, lowers his voice. WILLY You could have flair too, if you want. IZZY Is there a trial version? WILLY What? IZZY You know, like Amazon Prime, if I decide I don't want to be a vampire, can I cancel my subscription after 30 days and go back to being human again? WILLY It doesn't work like that, no. IZZY Okay, then count me out. Thanks for the cake and all, but it's time for you to go. WILLY Well okay, I tried the nice approach, I guess I'm going to have to be more insistent. IZZY Have you even done this before? WILLY Look into my eyes. IZZY Are you a virgin vampire? Am I your first victim? Oh my God. WILLY Just, will you cooperate with me a little here, why can't you just go along with it? IZZY I don't know, maybe because you're the worst vampire ever? Willy bares his fangs and looks nasty for the first time. IZZY Hey, that's more like it, now we're talking. A KNOCK on the bedroom door. WILLY Come in! IZZY Hey this is my room, you know, I do the inviting. The door creaks open wide enough for a creepy face to push in, it's a man with a very pale face and long stringy hair. His eyes have rolled to reveal the whites. WILLY Master, I am here. I am about to make this girl one of us. I just need another couple of minutes! The head comes further into the room. Willy's happy smile becomes surprise and then horror. The head is not attached to a body. The severed neck drips blood. A hand is holding the head up by its hair. IZZY'S MOM pushes the door wide. An older version of her daughter wearing a nightdress, her hair in curlers. IZZY Hey Mom. MOM Everything okay, sweetie? IZZY Sure. Willy stands, stares at the dripping head. WILLY What have you done to my master? Mom holds up the head and looks at it, frowning. MOM What, this creep? She tosses it to Willy, who catches it and WAILS. Izzy reaches under her bed, brings out a baseball bat and hits Willy so hard he flips backward out of the window. Izzy and Mom go to the window and look down. INSERT Willy lying on the lawn, groaning. MOM He's still moving. IZZY I just gave him a love tap to calm him down. You okay? MOM I'm fine. Son of a bitch bit me. Izzy inspects Mom's neck. IZZY You're good, hardly a scratch. Mom taps the dead vampire's head with her slipper. MOM He really picked the wrong house, didn't he? Must have been an out of towner. Didn't know who he was dealing with. Mom indicates outside. MOM Want me to take care of him? I'm awake now. IZZY It's okay, you go back to bed, I'll handle it. Oh, you want some cake? MOM Dear God, he brought you cake? IZZY A new level of vampire cunning. Sweet dreams. Izzy climbs out the window and jumps. Mom picks up the head by its hair and leaves the bedroom. FADE OUT
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Old 02-13-2019, 03:01 PM   #4
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Default Re: Entries - Valentine's Day '19 contest

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FIRST TIME INT. DOCTOR'S OFFICE DAY JOHN YODEL, late 80s, half smile, sits down as a YOUNG DOCTOR, manila folder in hand, enters, walks slowly to his desk and sits. The DOCTOR doesn't quite make eye contact with John. Instead he sighs, opens the folder and stares down at its contents, pretending to read. JOHN (grimacing) How long do I have? The Doctor finally looks up from the folder. DOCTOR This is not easy. JOHN (smiling) It's okay, young man, just spit it out. DOCTOR Well ... the truth is, you shouldn't be alive now. John laughs. JOHN I haven't had time to die. Moving out of the old homestead, getting us settled in closer to Steph so when it happens Ella won't have to worry about all that DOCTOR You knew? JOHN Well sure, son, I'm not an idiot. Those kind of pains don't come out of nowhere. DOCTOR You might have told me. John's laugh is interrupted by a short fit of coughing. He smiles, but his eyes are watery and his voice is weak and raspy when he speaks. JOHN It's your job, young man. You've got to learn how to do this in your line of work. DOCTOR It's my first time. JOHN I know. I figured you needed the practice ... Do me a favor, Doc, don't tell anyone, especially not Ella. INT. SMALL LIVING ROOM DAY John and a gray haired and petite ELLA, sit close together on the couch. A PHOTO ALBUM in their laps. They hold hands. ELLA This is nice. We haven't done it since ... She pauses. JOHN ... Since Steph's youngest got married. ELLA Yes. How do you remember? JOHN It's a preoccupation of mine. I remember everything about you and the kids. Ella is not convinced. ELLA EVERY thing? John smiles and nods. JOHN Everything. ELLA The first time we met? JOHN Sure. Down by Stater's Creek. You were with that prissy Priscilla girl. I was 11, you were 10. I gave you that toad I had caught and, after you were holding it, I told you it would give you warts ELLA And I dropped it and you got mad. JOHN I wasn't really mad. Just teasing. I thought you were the cutest thing I had ever seen. I was already in love for the first and last time. ELLA You're just saying that. JOHN Oh no. See this picture? He points to a picture of him as a teenager holding a large fish. ELLA Your "record" trout? JOHN I couldn't care less about that fish. ELLA Then why did you paste it in our family album? JOHN Don't you recognize that spot? ELLA No. JOHN That's Stater Creek, where you dropped the toad. Ella squints at the picture. ELLA Are you sure? JOHN Like I said, I don't forget anything about you. ELLA Our first kiss? JOHN Down on Main and 10th, when we were in the crowd celebrating V-Day. That's why I kept this newspaper clipping, it's a picture of the crowd but we were already gone ... and the first time Steph kicked in your belly, that's why there's this Yellow Page ad for Dr. Sinclair ... and ... INT. HOSPITAL ROOM NIGHT John is in a hospital bed, hooked up to multiple tubes. His breaths are shallow. Ella hovers over him, watery eyes, grasping his hand. She's angry. ELLA Why didn't you tell me? JOHN I didn't want you to worry. I wanted us to be happy in the time we had left. ELLA How can I be happy? You betrayed me. You lied to me. The machine hooked to John's arm squawks. He winces. JOHN I have always loved you, Ella. ELLA I love you. But ... you lied to me. JOHN My first my only time. John is nearly gone. ELLA John. No response. ELLA JOHN! John's eyes flutter open. He whispers. JOHN Sorry, Ella ... I did ... what I thought was best ... He trails off. ELLA I know ... Thank you, but ... JOHN Still mad? ELLA No. JOHN (eyes closed, half smiling) Your ... first time ... too. The machine squawks and this time it doesn't stop.
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Old 02-13-2019, 03:04 PM   #5
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FALLIN' FADE IN: EXT. SNOW COVERED FIELD - DAY SUPER: "AUSTRALIA, 2025 AD - ALTERNATE TIME LINE" Six SOLDIERS, more or less lined up, shiver in the knee-high snow and hold muskets. It's a barren plain, not a tree in sight, not far off a fortress, cold and bleak. CIVILIANS stand beside the Soldiers, three MEN on the right, four WOMEN on the left. All are bundled in thick, dull coats, except for ... SILVIA HERNANDEZ, mid-twenties, her head uncovered - she wears a light sweater and seems immune to the chill. CAPTAIN HARWOOD, fifties, in a curled, cliched mustache stands in front of his firing squad, sternly addressing ... DANNY MURPHY, mid-twenties, large, strong, unconcerned, maybe even bored, who eventually chooses to notice the Captain. DANNY Sorry - you was sayin'? Captain Harwood actually snorts and turns beet red. CAPTAIN HARWOOD That you have been sentenced to death, sir. DANNY Well, why didn't you just say that then? SILVIA Because he's a pompous windbag. The other Women scatter, surprised by her presence. Silvia smiles at Danny. Captain Harwood gapes at her like he sees a snake, his eyes popping out, just a little. For his part, Danny is mesmerized by the woman. He can't help but stare at her smoldering, brown eyes and her beautiful smile, so out of place in this grim land. In the meantime the Captain, having recovered, is back to business. He has formed the Soldiers in a straighter line. CAPTAIN HARWOOD Ready. The firing squad tightens their grips on the muskets and stand a little stiffer. SILVIA Danny! CAPTAIN HARWOOD Aim. And they aim. SILVIA DANNY! He is not aware of anything but her. CAPTAIN HARWOOD Fire! SILVIA DANNY, DOWN! Just in time, time Danny comes to his senses. The Soldiers fire, Danny falls backwards, the balls of lead fly over him. When he hits the snow, he vanishes. The crowd is open-mouthed, gawping and tripping over each other. The Captain is the first to recover and turns his wrath toward Silvia. CAPTAIN HARWOOD Young lady - you will give me an explanation. She smirks at him and rolls her eyes. SILVIA No, I won't. Hands balled into fists, he rushes at her. She falls backwards, hits the snow and vanishes. FALLING: In his imagination he falls backward down a tunnel, with his eyes slammed shut. Yet somehow he focuses on his destination. Usually. Now all he sees is her face, those eyes and that smile. He forces himself to concentrate on the Rocky Mountains. Too late. Far too fast he falls through Montana's big sky. An elk jumps as he falls through the ground, beside it. Again, he sees her face - but finally forces himself to concentrate on a forest, no people, friendly animals, and ... Something touches his hand - he opens his eyes, then screams at the searing brightness that blinds him. Eyes shut again, he forces himself to concentrate on the forest, the fall slows and eventually he thumps hard, onto the ground. EXT. FOREST - NIGHT SUPER: "WESTERN CANADA, 1014 AD - ALTERNATE TIME LINE" He remains on his back and groans, unable to see the brilliant stars in the sky above him or the night animals checking him out. Eventually he falls asleep. MORNING: In his dream something slobbers on his forehead and licks his eyelids, over and over again, and then he hears a gentle voice, calling his name. SILVIA Danny. He tries to open his eyes and nearly panics when he realizes something damp is covering them. SILVIA Shhh ... you have a fever. Her soothing voice calms him. Then riles him up a moment later. SILVIA What kind of idiot opens his eyes, when he's flying? DANNY Who are you then? Somethin' done touched my hand. SILVIA Oh. I'm very sorry. She helps him rise and leads him to a tree. He sits against it and relaxes. SILVIA I'm Silvia. I should have realized. We hold hands when we fly together. DANNY I didn't have no idea there was any others. Flyin', don't you mean fallin'? SILVIA You say tomato, I say tomahto. DANNY What? SILVIA Different timeline, I guess. DANNY How many others? SILVIA A few hundred. We try to find Stringers, like you, and bring them back to our home She opens a small pack and they make a meal out of something square and tasteless looking. DANNY I think I saw you before, SILVIA You've probably seen me a dozen times before -* Danny, you're a hard man to catch. She grimaces, slaps her forehead, blushes a little. SILVIA I mean, you're unpredictable, hard to track down. A lot of Stringers are. They sit quietly for awhile. Birds start chirping, there's some bugs buzzing, red squirrels gather pine cones. Somewhere, not far away is the sound of running water. DANNY I've been comin' here since I was eight, when I lost mom and dad. If I get beat up, this is where I come to heal. It's my home. SILVIA I'm sorry about your parents. This is a beautiful place. That pleases him. DANNY So far there ain't been nothin' more feisty than a curious deer. They're quiet for awhile, but she can see he's troubled. DANNY Silvia, am I blind for good, do you think? She takes his hand in hers. SILVIA No, Danny, the vision normally comes back in a week or so. DANNY Well, good enough, now we can catch us some fish, or do you eat them awful crackers full time? SEVEN DAYS LATER: Silvia holds his hand and carefully guides him on a deer path, around rocks and fallen logs. He starts laughing and can't stop. DANNY You told me about that rock and that log there, every day, now. SILVIA I didn't want you to trip. DANNY I know, I ain't laughing at you. It's just ... I know these paths like the back of my own hand. I can run 'em at night, no problem. She pulls her hand from his. SILVIA Why didn't you tell me this? DANNY Because I like holdin' your hand and I like seein' you smile. SILVIA Seeing? DANNY I ain't been a gentleman. I'm a right fast healer ... I could see, again, four days ago. SILVIA Danny Murphy! She turns her back on him, but doesn't walk away. SILVIA Anything else you need to tell me? DANNY No I don't. But I already feel lower than a woodlouse on a rotten log. I sure am sorry. She faces him again and tries a stern look, with moderate success. SILVIA You could just ask to hold my hand. DANNY That's the thing I should have done. SILVIA So ... ask. DANNY I see ... you mean ... Silvia, could I- She kisses him. DANNY -*hold your-* She kisses him again. DANNY -hand? One more time. This time he kisses her back. SILVIA Yes, Danny, you may hold my hand. NIGHT: Embers from a small camp fire, glow in the sill, warm night. On one side Silvia sleeps, on the other Danny wakes and stands up. He moves twenty feet away and falls backwards. FALLING: He lands, softly, on dusty ground on a sunny morning. SUPER: "LIMA PERU 1935 AD" He dusts himself off and heads for the shops. EXT. FOREST - MORNING SUPER: "WESTERN CANADA, 1014 AD - ALTERNATE TIME LINE" Silvia watches Danny float down the last fifty feet and make a soft landing. He's holding a large, cloth sack on his chest. She looks down at him, then helps him up. SILVIA Been shopping, I see. DANNY I'm right tired of fish. EVENING: The remains of a meal, including actual dishes surrounds the camp fire. A small music player, with a tiny, tinny speaker, quietly plays a soft song. Silvia, in a new dress and Danny in fresh clothes dance slowly, holding each other close. She leans in and whispers in his ear. SILVIA I love you. He stiffens, stands up ram-rod straight, walks to the camp fire and rifles through the cloth sack. She watches, confused, but before she can react, he rushes back and drops on one knee. DANNY I love you too, Silvia Hernandez. I'd be right happy if you'd honor me and be my wife. SILVIA We just met a week ago. DANNY I met you over maybe a thousand years ago, then all over time, all around the world, just thinkin' I was dreamin' until-* SILVIA -Yes. Yes, I'll be your wife, Danny Murphy. She allows him put a ring on her finger. He stands up. They embrace and kiss. FADE OUT:
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Old 02-13-2019, 03:23 PM   #6
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Default Re: Entries - Valentine's Day '19 contest

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THE WAITING GAME INT. CAR - DAY (DRIVING) Windshield wipers clatter. Light snow hits the windshield and then gone. The radio plays in the background. VINCENT, (30's) drives. He's dressed in a puffy winter jacket, hat and gloves. It's cold. VINCENT Beauty day. ANDREA, (30's) looks at him with bloodshot eyes. She's also dressed in a puffy jacket, hat and gloves. Andrea stares out her window. EXT. SMALL CITY - CONTINUOUS They drive past a winter wonderland. Snow lines the road. People walk like robots as they try not to fall on the ice. INT. CAR - CONTINUOUS Andrea continues to stare out the window. Her frozen breath hits the roof. So does she. ANDREA This piece of s*** car, no heat. The only f'ing thing that works is the radio. Andrea cranks the radio. ANDREA (CONT'D) And I hate this f'ing song. Sucks s***. VINCENT Calm down. You're starting to foam. The doctor told you to relax. The snow falls faster on the windshield. ANNOUNCER (ON RADIO) Get bread. Get milk. Get eggs. Make sure you have enough beer. We have a blizzard coming. VINCENT We got milk and eggs. ANNOUNCER (ON RADIO) Don't forget the beer. They drive in silence. The snow and blowing snow gets intense. EXT. TOWNHOUSE - LATER The car pulls into the driveway of a row of townhouses. Vincent helps Andrea out, grabs a suitcase from the backseat and they waddle to the front door. INT. TOWNHOUSE/LIVING ROOM - CONTINUOUS Vincent and Andrea burst through the front door. Snow scatters. Vincent gets his jacket off first. VINCENT I'll make tea. You get comfortable. Andrea spins to get hers off. She breathes deeply. Finally it's off. She turns around, she must be nine and a half months pregnant. She's ready to pop. Vincent returns with two cups of tea, puts one on the coffee table near Andrea. ANDREA Thanks. You scared? VINCENT Nah, I love snow storms. INT. BEDROOM - NIGHT Vincent and Andrea lie in bed wide awake. The WIND is rocking and rolling. Sounds like the windows might blow in. INT. KITCHEN/DINING ROOM - DAY Vincent in a puffy bathrobe slowly walks into the kitchen and makes coffee. He moves to the patio door curtains and rips them open. VINCENT Jesus. The snow almost goes to the top of the glass. Vincent stands on his tippy-toes to try and see. He gives up and closes the curtains. INT. LIVING ROOM - CONTINUOUS Vincent goes to the front window and opens the curtains. Andrea comes down the stairs. ANDREA Why is the patio curtain closed? VINCENT I didn't get to it yet. ANDREA Liar. VINCENT I have to go out and shovel. How you feeling? Andrea just looks at him rubs her belly and slides into the lazy boy. ANDREA Oh yeah, feeling fine. EXT./INT TOWNHOUSE - CONTINUOUS Vincent is bundled up, he opens the front door. A wall of white comes in. Andrea chuckles. She watches him out the window as he disappears into the white abyss. ANDREA (To her belly) You just stay tight a little longer little buddy. Andrea looks out the window again. Vincent is now visible and it looks like he's shoveling above his head. Then he's gone. INT. DINING ROOM - NIGHT Vincent and Andrea are having dinner. The wind still howls, the patio doors shake. The lights flicker. Andrea gasps and holds her belly. VINCENT I better go back out and make sure we can get out... if we have to. Vincent gets up, touches Andrea on the shoulder and is gone. INT. BEDROOM - LATER Vincent snores on his side. Andrea shakes him. ANDREA It's time! Vincent is barely awake. VINCENT Ok. I'll go shovel. Andrea shakes him harder. He falls on the floor. ANDREA (Breathing heavy) Get me to the hospital. Now. VINCENT (Panicked) Ok. Ok. Ok. Go call delivery and give them a heads up. I'll get everything up here. Vincent takes off running. This is the moment he's practiced for. He throws clothes on the bed, he throws clothes on the floor, he throws clothes on his body. He finally grabs the suitcase and heads downstairs. INT. LIVING ROOM - CONTINUOUS Vincent throws on his jacket and hat. ANDREA (O.S.) They are coming very fast... I don't know, I don't know. INT. KITCHEN/DINING ROOM - CONTINUOUS Vincent grabs the phone out of Andrea's hand. ANDREA She won't stop asking me questions. VINCENT (Into phone) What's going on? WOMAN (V.O.) I'm just trying to make sure Vincent cuts her off. VINCENT We are coming now. Be ready. WOMAN (V.O.) Don't forget to register. Vincent slams the phone down. VINCENT Let's go. EXT. TOWNHOUSE - CONTINUOUS The front door bursts open. Vincent leads the way, Andrea follows closely. They walk a narrow path carved in the snow. The snow is at eye level. Vincent helps Andrea in, throws the suitcase in the back. The engine roars and they are off. The CLOCK says 12:17. INT./EXT. CAR - MOMENTS LATER The car fish tails up the road. The road is now one lane. Andrea stares out the window. She takes long deep breaths. ANDREA There's f'ing snow everywhere. We aren't gonna make it. I feel it coming. VINCENT Breathe, breathe. Slow it down. We're only ten minutes away. The car comes to a red light, Vincent looks both ways and continues on. Snow flies over the windshield. They pass some cars and a truck abandoned in the snow. All the smaller side roads are filled with snow, unplowed. The road gets narrower. Vincent blows through another red light. They are the only car crazy enough to be on the road. Vincent turns right and stops the car. VINCENT (CONT'D) The wind tunnel. Vincent revs the engine and takes off towards a rotary. The snow gets higher on both sides. Four feet, five feet. The car bangs off one side. Andrea breathes deeper and louder. They enter the rotary. It's six feet high. They get through to the other side. The snow is now eight feet high. The small car barely fits on the narrow road. Vincent looks at the top of the eight foot walls. Snow blows over the edges. Pieces break off and land all over the car. The car drives over chunks of ice. ANDREA Vincent... Vincent. Vincent is silent. Focused on the road. Knuckles on the steering wheel are white. The snow walls reduce, the road is wider. VINCENT Piece of cake. They go up a hill and turn right. This road is completely plowed. Four lanes wide. The moon is out and shines brightly on the road. It is sheer ice. Vincent drives on, slower. VINCENT (CONT'D) Only one minute. Better take this one slow. ANDREA Hurrrryyyyy. A JEEP on the outside and an SUV on the inside fly by. In an instance they both spin out of control and crash into a snow bank. Vincent checks his mirrors. VINCENT They're ok. Choo-choo. EXT. HOSPITAL - MOMENTS LATER Vincent and Andrea pull up in front of the main entrance. VINCENT We made it. I can't believe it. Vincent gets out. He has a spring in his step. VINCENT (CONT'D) How about that piece of s***? A security guard comes out and walks to them. SECURITY GUARD You can't park there. Vincent looks around. The visitors parking lot is almost empty. No cars coming or going. VINCENT Get a wheelchair, my wife's having a baby. The security guard does as told. Vincent helps Andrea out of the car and into the wheelchair. INT. HOSPITAL/ENTRANCE - CONTINUOUS They enter the hospital. The security guard chases them. SECURITY GUARD Don't forget to register. Vincent sprints down a long empty hall. INT. LABOR AND DELIVERY - CONTINUOUS The door is locked. Andrea pushes and pushes the buzzer until a nurse opens the door. NURSE Did you register? VINCENT Help my wife. It's like a ghost town. They walk into a check up room. The nurse helps Andrea stand. She touches her stomach. NURSE Breathe. Breathe. Tell me when you're having a contraction. ANDREA Now. Now. NURSE No you're not. I'm touching and it's soft. The nurse helps Andrea into a hospital gown and checks under it. Her eyes widen. NURSE (CONT'D) We have to move you to the delivery room. I mean now. They move fast. ANDREA Still think I'm not having contractions? INT. DELIVERY ROOM - CONTINUOUS It's frantic. Noise and screams. Vincent holds Andrea's hand and stares into her eyes. A final push and a baby cries. A nurse puts the baby on Andrea's shoulder. Vincent hugs them and wipes tears. DELIVERY NURSE It's a boy. Vincent looks at the clock on the wall. It's 1:17. EXT. HOSPITAL - DAY A tired looking Vincent exits the hospital. The parking lot is still almost empty as crews work to remove snow. INT. CAR - CONTINUOUS Vincent sits in the car. Smiles and goes to start the car. Nothing, it's dead. FADE OUT.
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