Entries - Halloween 2013 contest

Collapse

Announcement

Collapse
No announcement yet.
This topic is closed.
X
X
 
  • Filter
  • Time
  • Show
Clear All
new posts

  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    MATING CALL
    
    FADE IN
    
    EXT. PARTY HOUSE - NIGHT
    
    Loud music, raised voices, squeals of laughter, shadows
    moving around inside.
    
    
    INT. LIVING ROOM - NIGHT
    
    And it's Halloween, everyone's wearing costumes, Spiderman,
    Batman, Green Lantern, Wonder Woman, Princess Leia, etc.
    all licensed of course. Drink flows, people dance, butts
    get groped.
    
    DALE, wearing a grinning plastic pumpkin head, stops CHARLIE
    who wears a silver robot costume with a square box head
    and cardboard tube arms.
    
                          DALE
              Great party, man! Hey whassup,
              you on your own tonight? Where's
              what's-her-face?
    
                          CHARLIE
              Didn't work out.
    
                          DALE
              That sucks, I thought you two were
              into each other?
    
                          CHARLIE
              No worries man, I've moved on.
    
    Charlie has his eye on FOXY LADY, who is dressed as a vixen
    with a big bushy tail. Foxy Lady returns Charlie's
    interested look over her shoulder. Dale sees this.
    
                          DALE
              Give her one for me, will ya?
    
                          CHARLIE
              I'll give her one for both of us.
    
    Dale fist-bumps Charlie and moves on.
    
    At the booze table, VAMPIRE LADY searches for a bottle
    that isn't empty. No luck.
    
    
    INT. KITCHEN - NIGHT
    
    Vampire Lady searches the fridge. Dammit no booze.
    
    She asks a bandage-swathed MUMMY DUDE who shuffles by,
    
                          VAMPIRE LADY
              Where's a girl got to go to find a
              drink around here?
    
    Mummy Dude spreads his bandaged hands and MOANS, I dunno!
    
    A HEADLESS HORSEMAN with big shoulders pushes by going the
    other way.
    
                          HEADLESS HORSEMAN
              Try the cellar.
    
    Vampire Lady looks around, where's the cellar?
    
    
    INT. CELLAR STAIRS - NIGHT
    
    The door at the top creaks open.   Vampire Lady looks down
    into the darkness.
    
    She fumbles for the light-switch, finds it. A bare bulb
    reveals the cellar below. Wine bottle racks. Another
    fridge. A big chest freezer.
    
    She gingerly descends, it's awkward to navigate stairs in
    vampiress spike heels.
    
    
    INT. CELLAR - NIGHT
    
    Vampire Lady makes it down in one piece.
    
    She examines a couple of wine bottles, reads the labels,
    puts them back. Nah.
    
    She opens the fridge. Here be booze. Big smile.
    
                            VAMPIRE LADY
              Jackpot!
    
    The brick wall, just behind her, looks different from the
    rest of the cellar.
    
    The brickwork, the cement, is new. And not the work of a
    master builder. The pointing is poorly done, the concrete's
    uneven. The bricks seem to want to give way, as if there's
    some kind of pressure behind them.
    
    Vampire Lady selects bottles of vodka, whiskey and gin,
    trapping them between her arms and her chest. She manages
    to hang two six-packs from her fingers.
    
    She shoulders the fridge door shut and heads for the stairs,
    struggling to bear the weight.
    
    
    INT. LIVING ROOM - NIGHT
    
    Charlie talks with Foxy Lady, she's into him, swishing her
    tail around.
    
    
    INT. KITCHEN - NIGHT
    
    Vampire Lady pushes past the Mummy and Headless Horseman,
    carrying her precious cargo.
    
                          VAMPIRE LADY
              'Scuse me, coming through.
    
    
    INT. LIVING ROOM - NIGHT
    
    Vampire Lady makes it to the booze table and puts the
    bottles and six-packs down.
    
    Charlie's intimate conversation with Foxy Lady is ignored
    for a second as he sees Vampire Lady, and wonders...
    
    A cheer goes up, booze!
    
    Everyone crowds around her like crazy, filling up their
    glasses, Vampire Lady is pushed out.
    
                           VAMPIRE LADY
              Hey!
    
    When the crowd thins, Vampire Lady is left looking for a
    drink for herself, she shakes the bottles. Dammit, empty!
    
    A hugely tall dude dressed as FRANKENSTEIN'S MONSTER comes
    up to her. He has two glasses, he offers her one.
    
    Vampire Lady takes the glass and smiles up at him.
    
    
    INT. KITCHEN - NIGHT
    
    Mummy Dude makes out with a LADY MUMMY, the bandages are
    slowly coming off.
    
    Charlie ignores them and passes through the kitchen.
    
    
    INT. CELLAR STAIRS - NIGHT
    
    The door opens again -- this time it's Charlie looking
    down.
    
    The light bulb is still on.
    
    Charlie hurries downstairs.
    
    
    INT. CELLAR - NIGHT
    
    Charlie stands motionless, just his eyes move, scanning
    the cellar.
    
    He focuses on the new brickwork.
    
    The shoddy pointing.
    
    That pressure bulge.
    
    
    INT. HALLWAY - CELLAR DOOR - NIGHT
    
    Charlie closes the cellar door and locks it. He takes the
    key and slips it into his pocket.
    
    
    INT. PARTY HOUSE - NIGHT
    
    A montage of party goings-on, dancing, drinking, making
    out.
    
    Foxy Lady leads Charlie into a room and closes the door.
    
    A pile of bandages lies on the kitchen floor.
    
    Dale captures a PRINCESS LEIA who allows him to disarm her
    and interrogate her body.
    
    Vampire Lady's glass is empty. She pouts, then smiles up
    at the Frankenstein's Monster.
    
                          VAMPIRE LADY
              I know where we can get more.
    
    She gestures for the Monster to follow her, he lumbers
    after her with arms outstretched, like his namesake.
    
                            MONSTER
              Muuuuuuhhh.
    
    
    INT. HALLWAY - CELLAR DOOR - NIGHT
    
    Vampire Lady pulls the handle, discovers the door's locked.
    
                            VAMPIRE LADY
              Aw!
    
    The Monster gently moves her aside, takes hold of the
    handle, and tugs hard. CRACK! Splintered wood. He opens
    the door.
    
                          VAMPIRE LADY
              You are very useful!
    
    She finds the light-switch and descends into the cellar.
    The Monster follows.
    
    
    INT. CELLAR - NIGHT
    
    Vampire Lady raids the fridge, putting bottles into the
    Monster's waiting arms.
    
                          VAMPIRE LADY
              Oooh bourbon.
    
    Behind them, in the glow from the fridge light, mixed with
    their moving shadows, the new brickwork looks even more
    obvious.
    
    The Monster can't carry any more, he's fully laden.
    
    Vampire Lady grabs another two six-packs and closes the
    fridge door.
    
                          VAMPIRE LADY
              Let's go, big guy.
    
    They head for the stairs.
    
    Vampire Lady stops, listens, looks back.
    
                          VAMPIRE LADY
              Did you hear something?
    
                          MONSTER
              Muuuuuuuh-uh.
    
                          VAMPIRE LADY
              Ohmygod you think there are rats
              down here?
    
    She pushes him toward the stairs.
    
                          VAMPIRE LADY
              Let's get outta here.
    
    
    INT. HALLWAY - CELLAR DOOR - NIGHT
    
    They emerge from the cellar, Vampire Lady kicks the door
    shut a little too hard, it BANGS.
    
    
    INT. BEDROOM - NIGHT
    
    Charlie and a half-dressed Foxy Lady make out on the bed.
    
    Charlie abruptly sits up and becomes still, listening.
    
                          FOXY LADY
              Yip yip yip yip.
    
                             CHARLIE
              What?
    
                             FOXY LADY
              Mating call.
    
    Charlie is torn...
    
                          CHARLIE
              I gotta go check on something.
    
                             FOXY LADY
              Yip yip?
    
    
    INT. KITCHEN - NIGHT
    
    Charlie bumps into the Headless Horseman, pushes past him.
    
    The Headless Horseman turns around and around, hard to see
    from inside those big fake shoulders.
    
    
    INT. HALLWAY - CELLAR DOOR - NIGHT
    
    Charlie discovers the damaged cellar door.
    
    He opens it. The cellar light is still on.
    
    Paranoia settles on Charlie and makes him bug-eyed and
    shaky.
    
    
    INT. CELLAR STAIRS - NIGHT
    
    Charlie pulls the door shut behind him.
    
    He pauses for a moment. Then he descends the stairs.
    
    Gradually, as we descend with him, Charlie sees that the
    newly construction section of wall has collapsed, there's
    a heap of bricks, and a hole that leads to a dark hiding
    place.
    
    Charlie's knees turn to rubber, he has to hold onto the
    hand-rail to stop himself from falling downstairs.
    
    He forces himself to continue down.
    
    His breathing is ragged as he cautiously approaches the
    hole in the wall.
    
    He passes by the fridge, passes by the chest freezer.
    
    The lighting is so bad down here that whatever might be
    inside the hole in the wall can't be seen. It's a spot of
    inky blackness.
    
    Wait, Charlie knows there's a flashlight. He finds it on
    a shelf. He switches it on. The bulb glows, and flickers,
    and glows -- and goes out.
    
    Charlie shakes the flashlight, no, not now!
    
    The flashlight bulb glows again, and stays on. Charlie
    sighs with relief.
    
    He points the beam into the hole in the wall.
    
    It illuminates another wall, the far side of a recess.
    Bolted to this wall are chains, attached to dangling
    manacles.
    
    The manacles are dark with blood. More blood has dripped
    down the wall, creating thin dark streams.
    
    Charlie stares in horror and disbelief.
    
    He moves to one side to shine the beam into the darkness
    there, then moves to the other side to shine the beam into
    that spot of darkness. Nothing.
    
    Charlie figures it out. Whoever was entombed here slipped
    out of their manacles, using blood as lubricant, and pushed
    until the wall gave way. Yes this is telling instead of
    showing, but it adds atmosphere.
    
    Behind Charlie, unseen by him, the chest freezer lid slowly
    opens. Someone with long, dark hair slowly sits up.
    
    
    INT. LIVING ROOM - NIGHT
    
    The party's in super full swing, dancing's crazier, bodies
    are pressed more tightly together.
    
    Vampire Lady hug-dances with the Monster. Or at least
    with his chest, 'cause his head is so high it's out of
    shot.
    
    Foxy Lady taps Vampire Lady on the shoulder.
    
                          FOXY LADY
              You seen Charlie?
    
                          VAMPIRE LADY
              Maybe he went down to the cellar,
              that's where he keeps the booze.
    
    Foxy Lady nods thanks and moves on.
    
    
    INT. KITCHEN - NIGHT
    
    Foxy Lady has to shuffle around the Headless Horseman, who
    doesn't seem to know where he's going.
    
                             HEADLESS HORSEMAN
                 Hello, can you point me to the
                 toilet? Hello?
    
    But Foxy Lady is gone, he's alone.
    
    
    INT. HALLWAY - CELLAR DOOR - NIGHT
    
    Foxy Lady looks down the stairs.
    
                             FOXY LADY
                 Charlie?
    
    No answer.
    
    
    INT. CELLAR STAIRS - NIGHT
    
    Foxy Lady cautiously descends.
    
                             FOXY LADY
                 I'm not in the mood for games,
                 Charlie.
    
    No answer.
    
    
    INT. CELLAR - NIGHT
    
    Foxy Lady looks around. She sees the hole in the wall,
    doesn't think anything of it. No sign of Charlie.
    
                             FOXY LADY
                 Dammit.
    
    She turns and heads back upstairs.
    
    She didn't notice the dead flashlight lying on the floor.
    
    She didn't notice the streaks of blood on the side and lid
    of the chest freezer -- streaks that might have been made
    by someone frantically clawing to try to stop themselves
    from being pulled inside and trapped in the icy darkness.
    
    
    INT. KITCHEN - NIGHT
    
    Foxy Lady grabs the Headless Horseman and pushes him up
    against the wall.
    
                           FOXY LADY
               Yip yip yip yip.
    
    She makes out with his bloody severed neck.
    
    FADE OUT

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    DANSE MACABRE
    
    INT. VAUGHN CASTLE - MAIN HALL - NIGHT
    
    A large room filled with Halloween decorations: bubbling
    cauldrons, black light, fake bats, cobwebs, towering
    pillar candles, and Jack-o-lanterns. Heavy bookshelves
    line one wall, heavy drapes cover the other.
    
    A DJ STATION in front of a huge marble fireplace booms "I
    Put A Spell On You" from the massive speakers. Dozens of
    GUESTS dressed in expensive costumes and professional
    make-up dance in the center beneath a sparkling mirror
    ball.
    
    More guests mill about the perimeter, drinking and
    talking.
    
    Just inside the heavy double doors at the entrance, a
    little FRANKENSTEIN'S MONSTER surveys the party. The full-
    head mask is cheap and too big, the costume slapped
    together from used clothes.
    
    A ZOMBIE dressed in a butler suit shuffles past Monster.
    Exposed vertebrae and an empty eye socket reveal this is
    no make-up.
    
    The zombie rings a small bell. Two guests enter, a
    stunning Marilyn Monroe and a perfect copy of
    Beetlejuice. The zombie turns slowly and shuffles out,
    leaving Monster staring after it.
    
    A cheer from the crowd gets Monster's attention. In front
    of the DJ table, a MUMMY struggles against the chains
    binding it to the floor.
    
    Ghandi takes aim with a dart at the crudely drawn target
    on the Mummy's forehead. He throws and hits the outer
    ring. The crowd boos as the Mummy shakes its head,
    wagging the dart.
    
    A tall Caveman smugly steps up, aims, and lets fly his
    dart, striking near the bullseye. The Mummy shakes its
    head furiously, scattering the darts into the cheering
    crowd.
    
    Monster cocks its head and moves to the bar.
    
    A hulking VAMPIRE in a white tuxedo serves a cocktail to
    a Pocahontas. He turns to the little Monster.
    
                            VAMPIRE
              Would you care for a beverage?
    
    Monster cocks its head to look at the mirror behind the
    bar. The Vampire does not have a reflection.
    
    The Vampire recognizes the look.
    
                            VAMPIRE
              Yes, I'm a real vampire. Lord of
              the night, immortal undead. Fear
              me or die. Cranberry soda?
    
    Monster nods. The Vampire pours the drink and drops a red
    straw into it.
    
    Monster walks along a wall, sipping the drink through the
    mask. It stops at a lit portrait of a girl, about 14.
    
                            VAUGHN (O.S.)
              Excuse me.
    
    Monster turns to face VAUGHN (50s), a barrel-chested
    white-haired man in heavy black robes embroidered with
    silver upside-down pentagrams.
    
                            VAUGHN
              I didn't invite any children. Who
              are you?
    
    Monster leans and points at Beetlejuice tearing up the
    dance floor with Gangnam Style.
    
                            VAUGHN
              Pratt? So, they adopted after all.
              I would be the last to know, of
              course.
    
    Vaughn seems to remember himself and bows deeply to
    Monster.
    
                            VAUGHN
              Where are my manners? Forgive me.
              I am Lord Vaughn. Welcome.
    
    Monster mimics the bow awkwardly.
    
    The Zombie wheels a cart with a large covered tray into
    the room. One wheel squeaks loudly enough to be heard
    over the music.
    
    Vaughn and the Monster turn to watch.
    
    The cart stops. The music grows quiet. The Zombie lifts
    the cover to reveal a pile of human bones, dry and dirt-
    stained.
    
    At the DJ station, record albums hover into the air, a
    parade of shiny black discs rotating in a circle.
    
    The records twirl and spin, and one record drops out of
    place to land on one of the turntables.
    
    The "Monster Mash" suddenly blasts from the speakers. The
    crowd cheers and clears the dance floor.
    
    The bass disturbs the bones. They stir, rattle, shake.
    The skull rolls off the cart and bounces across the dance
    floor.
    
    At the bar, the Vampire lets out a huge sigh.
    
    The rest of the bones spill off the cart and clatter to
    the floor, but they keep moving, bouncing like Mexican
    jumping beans, all towards the skull.
    
    One after another the bones join together, connect to the
    skull and form a complete SKELETON.
    
    The Skeleton kick-jumps to its feet and comes face-to-
    face with the Vampire, right on cue with the song chorus.
    Together, they start dancing the Monster Mash.
    
    The Zombie, slow to arrive, joins them in the dance. At
    the DJ station, a sheet rises up with eye holes cut out
    of it. The Ghost glides into position with the others,
    two sheet corners twisting into arms to mash with.
    
                            VAUGHN
              I'm surprised your new parents
              brought you to my little party.
    
    Monster points at the Mummy.
    
                            VAUGHN
              My latest acquisition. I can't
              quite control her yet. The
              Egyptians really knew their magic.
    
    Vaughn eyes Monster, suspicious.
    
                            VAUGHN
              What is your name?
    
    Monster cocks its head, then points to the portrait.
    
    Vaughn's face softens. He touches the portrait, suddenly
    emotional.
    
                            VAUGHN
              My daughter, Emily. Lovely, wasn't
              she?
    
    Vaughn turns away to greet other guests. Monster stares
    after him, sipping the drink.
    
    The music abruptly changes to the Macarena. The Skeleton,
    Zombie, Ghost, and miserable Vampire switch to that dance
    in unison. Costumed guests jump to join in.
    
    The Mummy struggles harder to break free.
    
    The little Monster's glass drops, shatters on the floor.
    It moves with purpose past the bar to an alcove with a
    stone gargoyle sitting on a marble pedestal.
    
    Monster rotates the heavy gargoyle until it clicks. It
    removes a glove, revealing a small hand with weathered,
    leathery skin, fingernails yellow and cracked.
    
    It presses a hidden catch in the pedestal. A PANEL slides
    open.
    
    Inside is a thick, hand-crafted TOME with an upside-down
    pentagram pressed into the leather cover. Hanging over
    the book is an ornate silver AMULET with a blood-red
    crystal.
    
    The crystal glows, pulsing like a heartbeat.
    
    The Macarena is in full swing. Monster strides slowly
    towards the dance floor, light pulsing softly from its
    hand.
    
    Monster pushes through the throng of dancing guests, into
    the midst of the undead performers.
    
    It raises the amulet over its head.
    
    Vaughn, at the edge of the crowd, recognizes the pulsing
    glow. He blanches, fearful, holds out his hand.
    
                            VAUGHN
              Stop!
    
    Monster turns its head to look at him, then hurtles the
    amulet to the floor. The crystal shatters.
    
    The Vampire stops dancing. So does the Skeleton. The
    Ghost's sheet falls to the floor, limp. Only the Zombie
    continues, oblivious to the others.
    
    The music cuts out. The guests look at the little
    Monster, at each other, at Vaughn, wondering what's going
    on.
    
    The Vampire leans his towering frame over a WOMAN dressed
    as Hermoine.
    
                            VAMPIRE
              Pardon me. Would you mind if I
              have a drink?
    
    Hermoine holds up her glass of red wine uncertainly.
    
    The Vampire slaps the glass away, wrenches her head to
    the side and sinks his fangs into her neck.
    
    Techno Halloween music pipes from the speakers as the
    guests scream and scatter like rats in the light.
    
    Record albums whiz through the air, smashing against
    fleeing guests. Books fly off shelves, an avalanche that
    buries four hapless victims.
    
    The Skeleton leaps onto Beetlejuice's back, finger bones
    slashing and tearing flesh like claws. Beetlejuice
    screams, the screams suddenly cut off as the Skeleton
    tears out his throat, spurting blood everywhere.
    
    The Zombie grabs a woman's head and snaps her neck. He
    slams his arm into a man, sending him hurtling through
    the air.
    
    The little Monster dances playfully on the broken
    crystal, clothes and mask sprayed with blood. It spins en
    pointe, a competent ballet turn made awkward by the
    costume's bulk.
    
    Vaughn grabs Monster and spins it to face him.
    
                            VAUGHN
              You don't know what you've done!
    
    The Mummy's chains rattle. Vaughn sees guests pushed
    aside by the invisible Ghost heading for the Mummy.
    
    The locks holding the Mummy suddenly pop open. The chains
    fall away and the Mummy stumbles into a group of
    panicking guests. Each person it touches withers and rots
    to sludge.
    
    Vaughn tears Monster's mask off.
    
    It's EMILY (16), the girl from the portrait, but she
    doesn't look the same. Only part of her face is her own,
    the rest a patchwork of skin tones and features, a
    composite of other faces stitched together like a quilt.
    A true Frankenstein's Monster.
    
                            EMILY
              Hi, daddy.
    
    Vaughn stares in disbelief.
    
                            VAUGHN
              Em?
    
    He looks at Emily like a father who hasn't seen his child
    in ages.
    
                            VAUGHN
              Emily!
    
    He hugs her, relieved, overjoyed.
    
                            VAUGHN
              It worked! Why didn't she tell me
              it worked?
    
                            EMILY
              Yes, daddy. I'm back.
    
    The Ghost sheet flies over a running Walter White's head,
    twisting, tightening, wringing until it blooms red.
    
    The Vampire launches himself at Vaughn, his face and
    white tuxedo soaked with blood, but an unseen force
    prevents him.
    
    He hisses in frustration and goes after a small group of
    guests who nearly made it to the exit.
    
                            VAUGHN
              Time to end this.
    
    Vaughn picks up the amulet. He touches it to an amber
    ring on his finger and mutters.
    
    Emily dances around Vaughn. From behind, she yanks his
    robe hard, pulling him off his feet. She drives his head
    into the floor.
    
    Dazed, Vaughn can't stop her from removing the ring from
    his finger.
    
    The music stops. The remaining guests have fled, leaving
    behind the carnage of a bloody massacre.
    
                            VAUGHN
                   (commanding)
              Em, you give that back right now.
    
    Emily hangs her head and holds the ring out. Vaughn
    reaches for it.
    
    She drops the ring and crushes it beneath her boot.
    
    The Vampire rises up from his latest victim, cold hatred
    on his face, and advances slowly.
    
    The Zombie shuffles towards Vaughn, dragging an arm
    behind him.
    
    The Skeleton, now slick with blood, walks quickly towards
    the helpless Vaughn. It slips and clatters to the floor,
    begins to crawl instead.
    
    The Ghost sheet billows and settles into human form, its
    face a death mask of blood.
    
    The Mummy shuffles through the bodies aimlessly.
    
    Vaughn scrambles backwards on the floor.
    
    Emily frees herself of the bulky costume, wearing Goth
    punk clothes underneath. She's beautiful and grotesque, a
    hodgepodge of parts cobbled together but with a young
    girl's lines and grace.
    
    She kicks a dead man's hand out of her way as she
    catwalks towards Vaughn.
    
                            EMILY
              What do you think, daddy?
    
    She pirouettes for him.
    
                            EMILY
              I hope the doctor got it right.
    
                            VAUGHN
              Why are you doing this, Em?
    
                            EMILY
              Isn't this what you wanted?
    
    The Vampire moves to pass Emily but she stops him with a
    hand. The Vampire bows to her and backs away.
    
                            VAUGHN
              No, I don't want this, whatever
              this is.
    
    Emily clods her way over bodies to the Mummy.
    
                            EMILY
              Poor thing.
    
    She reaches for its hand.
    
                            VAUGHN
              Don't touch it!
    
    Emily's wraps her hand around the Mummy's and she leads
    it back to the dumbfounded Vaughn.
    
                            EMILY
              You see? It can't hurt me. None of
              them can. You did this to me.
    
                            VAUGHN
              I just wanted my little girl back.
    
    Emily smiles happily.
    
                            EMILY
              But I'm not your little girl any
              more. You made me one of your
              monsters, daddy.
    
    Emily opens her arms, beckoning.
    
    The Vampire, the Skeleton, the Zombie, the Ghost, and the
    Mummy stand alongside her, looking down at their former
    captor.
    
                            EMILY
              Us monsters need to stick
              together.
    
    She leans over and kisses Vaughn on the lips.
    
                            EMILY
              I have a new family now. Goodbye,
              daddy.
    
    As she backs away, the other monsters descend on the
    screaming Vaughn, tearing into him.
    
    Emily skips around the dance floor, splashing in pools of
    blood.
    
                                                    FADE OUT.

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    REQUIEM
    
    FADE IN:
    
    INT. RILEY HOUSE -- EVENING
    
    A DOOR in the dark, dimly illuminated by pale light filtering
    through the transom window above.
    
    The CHIME of a doorbell, followed by the CLICK of heels on
    hardwood floors.
    
    As the CLICKS grows louder, we push slowly in on the doorknob
    until it fills the frame.
    
    The CLICKS stop, and a feminine hand twists the knob open,
    revealing two young men on the porch, large black duffle bags
    on the ground next to them.
    
    ADAM is in a v-neck and designer jeans, standing tall and
    smiling, which contrasts with BLAKE (early 20s) who slouches
    in a faded Nintendo hoodie, hands in the kangaroo pockets.
    
    Adam smiles reassuringly.
    
                         ADAM
               Mrs. Riley?
    
    We get our first look at MRS. RILEY (late 30s) framed in the
    doorway of the dark entrance, undeniably MILF.
    
                         MRS. RILEY
               Yes, come in. Thank you for coming
               on such short notice.
    
                         ADAM
               No problem at all. We understand
               that most of our clients want to
               get things handled quickly. You
               should never feel unsafe in your
               own home.
    
    She leads them into the
    
    LIVING ROOM
    
    Which is modern in all its arrangements.
    
    Adam and Blake leave their duffle bags by a couch, their
    heads turning as they scan their surroundings.
    
    Blake registers a TEDDY BEAR, which contrasts with the other
    more stylish tchotchkes the mantle.
    
    He catches Adam's and gives a subtle head nod in the bear's
    direction.
    
    Adam follows the line and sees it himself, nodding in
    affirmation.
    
                        BLAKE
              Can we see the object?
    
                        MRS. RILEY
              Of course. Down to business.
    
    She leads them through an open archway into the
    
    DINING ROOM
    
    Which has wall-sized windows that reveal expansive, empty
    countryside sprawled out below the house and a grey sky
    above. Next to the large dining table is a GRAND PIANO.
    
                        MRS. RILEY (CONT'D)
                  (re: Piano)
              Here it is.
    
    Adam stands and speaks with her as Blake begins to pace
    around it with the intensity of a predator stalking his prey.
    
                        ADAM
              You said it's been occurring as
              long as you've lived here?
    
                        MRS. RILEY
              Not exactly. I only hear it when my
              husband is away on business trips.
    
                        ADAM
              And only when you're in this room?
    
                        MRS. RILEY
              The opposite. I'll be doing
              something in another room, when a
              mournful tune will begin out of
              nowhere. If I come in here, it
              stops.
    
    Blake briefly turns his attention to them.
    
                         BLAKE
              Whose piano is it? Yours or your
              husband's?
    
                        MRS. RILEY
              It was the previous owners. A
              classical musician of international
              note.
    
                        ADAM
              Do you play?
    
                        MRS. RILEY
              No, neither of us play.
    
    Adam puts a comforting hand on her shoulder.
    
                        ADAM
              You don't have to worry anymore.
              We're specialists, we'll have this
              sorted out in no time.
    
    Their eyes meet. Chemistry?
    
    CLANG!
    
    They both startle scrambling to find the source of the noise--
    Blake testing the keys on the piano by crushing out a
    discordant chord.
    
    The two stare daggers. Blake shows no signs of noticing as he
    plays a few bars of Fur Elise.
    
                        ADAM (CONT'D)
                  (insisting)
              Blake!
    
    Blake looks up.
    
                         BLAKE
              Usually, with these kind of object
              oriented phenomenon, the resident
              is just a passive spectator. I
              don't think your presence is
              necessary.
    
                         ADAM
              I'm sure a beautiful woman like
              yourself has some friends you can
              stay with.
    
                        MRS. RILEY
              Of course, I wouldn't want to be in
              the way.
    
                        ADAM
              Just as a warning, de-haunting is
              no easy task.  The energies expended
              may cause some issues with electronics,
              so don't be surprised if you notice
              some hiccups in the next few days.
    
                                                      CUT TO:
    
    
    INT. LIVING ROOM -- LATER
    
    Adam rips a battery out of the teddy bear-- it's a nanny cam.
    
                        BLAKE
              A place like this should have a
              real security system.
    
    Adam pulls contents from a duffel bag next to the TV. He's
    hooking up an Xbox.
    
                        ADAM
              You think her and her husband
              are... you know, on there?
    
                        BLAKE
              Really?
    
                        ADAM
                  (shrugging)
              You never know. We've got time to
              kill...
    
                        BLAKE
              I don't know, I feel like this
              could be the real thing. She said
              it only occurs on nights with a
              full moon right? This sort of thing
              is well-documented in the
              literature.
    
    Adam shakes his head in disbelief.
    
                        ADAM
              The real thing? She fits all the
              criteria: bored spouse, alone in a
              big house, husband on trips all the
              time. It's natural to go a little
              stir crazy.
    
                        BLAKE
              But looks at this place. It's well
              put together-- no creaky steps, no
              dark attic or basement.
    
                        ADAM
              We've been running this scam for
              two years. And not a single event.
    
                        BLAKE
              Absence of evidence is not evidence
              of absence. We've had our share of
              false alarms, I'll grant you that,
              but if it happened every time they
              wouldn't call them paranormal,
              would they?
    
    Blake clicks the Xbox and TV on and they both grab
    controllers and retreat to the couch.
    
                        BLAKE (CONT'D)
              And don't call it a scam. Placebos
              are great if they solve the
              problem.
    
                        ADAM
              I know, I know. I came up with that
              analogy. To convince you to start
              this in the first place.
    
                        BLAKE
              Which reminds me, I want to talk to
              you about taking bigger cut.
    
                        ADAM
              Not while we're on the clock.
    
    
    INT. LIVING ROOM -- LATER
    
    Illuminated only by the glow of the TV, the coffee table is a
    mess of mountain dew, chips, and candy.
    
    Adam is sprawled sideways across an armchair, while Blake
    sleeps sitting up on the couch, mouth agape.
    
    The TV clicks off, and Blake slowly wakes up, yawning.
    
    A dark, haunting tune echoes in the background.
    
    Adam picks up a half-full two liter and takes a sip-wait-
    he's chugging it, emptying it in a disgusting display.
    
    He blinks grogginess away, and then his eyes narrow as the
    tune in the background comes into focus.
    
                        BLAKE
              Adam... Adam!
    
    Adam doesn't respond. Blake gets up and starts shaking him,
    to no avail. The music is rising, becoming more complex.
    
    Blake plugs Adam's nostrils, but Adam just starts breathing
    through his mouth.
    
    Shrugging, Blake turns his attention in the direction of the
    sound. The music is booming now.
    
    He makes his way towards the entrance to the dining room. Is
    there a glow? His eyes widen expectation. Could this be it?
    
    The music continues to swell. As he comes around the corner,
    and gets in full sight of the piano--
    
    Silence.
    
    The room is still, the moon shining brightly down, reflecting
    on the angled top of the piano.
    
    A long beat. Wind whips the trees and tall grass across the
    countryside below.
    
    Blake makes his way towards the piano, seemingly in a trance.
    
    He sits on the bench. Presses a key. Ding.
    
    More keys, more Dings. Gradually, with some mistakes at first
    and then more clearly, it develops into the melody of the
    song.
    
    He moves his left hand onto the keys, figuring out the
    harmony.
    
    His face is narrowly focused. Reflecting in the glass, we see
    a FIGURE, an ethereal man, materialize, blurry.
    
    Blake is more confident now, he's finding the notes without
    trial and error. As he plays, the figure grows brighter, more
    substantial somehow.
    
    Blake gets paler and paler. He begins to sweat.
    
    The music swells, more complex as Blake gets into the finale,
    his frown burrowing in concentration.
    
    The figure, a man in full recital garb, is in full focus now,
    revealing his sharp handsome features. He looms over Blake,
    raising his hands and placing them on Blake's shoulders.
    
    Color starts to resolve his black and white visage, seemingly
    flowing from Blake as the song comes crashing to an end.
    
    Blake is a wisp. As he hits the final notes, he looks up and
    catches the figure's eye in the window's reflection.
    
    Realizing, he lets out a soundless scream, face contorted in
    horror before--
    
    Blake's gone. Disapparated. The figure is alone in the
    moonlight.
    
    ON THE FRONT DOOR AGAIN
    
    The CLICK of dress shoes on hardwood floors as moonlight
    drifts in through the transom window.
    
    As the CLICKS grows louder, we push slowly in on the doorknob
    until it fills the frame.
    
    The CLICKS stop, and an immaculate hand with varnished nails
    twists the knob, pulling the door open.
    
    Revealing the vast, wide world outside.
    
    [end]

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    VERSUS
    
    EXT. SHOLER LABORATORIES - NIGHT
    
    It's a shadowy mega-compound where R&D, bio-engineering, and
    testing are conducted. Secluded. Secure. Sleek.
    
    Security lights shine on bio-hazardous warning signs.
    
    The lights go out.   A campus warning SIREN woops.
    
    
    INT. TEST SUBJECT FACILITIES, SHOLER LABORATORIES - LATER
    
    Emergency lights go on and shine on an isolated row of
    titanium-walled REFRIGERATORS. Each fridge is ventilated and
    has a door.
    
    The doors to these refrigerators are open, and the light is
    on. These refrigerators are empty.
    
    The LED Display on each fridge reads: ATS 10731-A, 10731-B,
    etc. ATS-10731 test subjects A thru H have escaped.
    
    
    EXT. SHOLER VALLEY STRIP MALL - LATER
    
    Isolated. It has the standard issue Fed-Ex store, mattress
    store, and a Starbucks with a drive-thru. A small line of
    cars waits.
    
    Two fourteen year-old KIDS lock their bikes on a stand by the
    Starbucks. JOOJ, wears a beanie. CON, wears a flipped-up
    Captain America mask. The rest is flannel and skinny jeans.
    
    Each has a plastic pumpkin, filled with candy, hooked up on
    their handlebars. They grab their pumpkins and head inside.
    
                        JOOJ
              No worries, no cops. Those kids
              went straight to the parentals.
    
                        CON
              Don't mention this to Abby.
    
                        JOOJ
              Con, she's a junior and you're a
              freshman. How long can you keep
              the junior lie going? Besides,
              Captain A, we're helping keep kids
              from a life of fatness.
    
    
    INT. STARBUCKS
    
    Two PATRONS on laptops, plugged in, headphones on.
    
    At the drive-thru window, a frazzled ABBY, sixteen, fumbles
    with a stack of cups, which fall to the ground. Her hair,
    face and arms are covered with fake blood, i.e. Carrie.
    
                        ABBY
              I'm sorry, is that whipped cream on
              all frappucinos, or no whipped
              cream? Sorry. One more time,
              please. Four with and one without?
    
    KIMMIE, type-A bitch and supervisor removes Abby's headset.
    
                        ABBY (CONT'D)
              The headset cuts off.
    
                        KIMMIE
              The headset works, Abby. Do the
              trash and clean like we did in
              training. Can you do that?
    
    In the background, BARISTA CLAIRE closes a refrigerator door.
    She wears cat make-up, and cat's ears on her Starbucks cap.
    
                        CLAIRE
              There's no more soy.
    
                         KIMMIE
              Claire, register and orders.   I'll
              do drinks.
    
    Abby sulks off as Kimmie hands Abby's headset to Claire.
    
                           CON (O.S.)
              Hey, Abby.
    
    Abby cringes as she spots Con.
    
                        KIMMIE
                  (to Con)
              Can I help you?
    
    
    EXT. TRASH DUMPSTER AREA, STRIP MALL
    
    One dumpster shakes as whatever is inside RUMBLES around.
    
    
    INT. STARBUCKS
    
    Con and Jooj sip their beverages and inhale Snickers and M&Ms
    from their pumpkin stash, while Abby tends to the trash.
    
                        CON
                  (to Abby)
              Carrie, nice.
    
    Abby gives him a curt, closed-lip smile.
    
    A MALE PATRON zips up his laptop sleeve and exits the store.
    
                        JOOJ
              Call of Duty over WOW. WOW is nerd-
              tastic, but just not for me.
    
                        CON
              Either way, I'm over X-Box.
    
    Jooj smiles.   Con is "playing it cool" for Abby.
    
                        JOOJ
              So, Con, have you gotten your
              pubes, yet?
    
    Con flips off Jooj.    Jooj's attention wanders over to:
    
    Claire who listens with horror growing in her eyes as there's
    SCREAMING on the other end of the headset.
    
                         CLAIRE
              I don't know if we're being pranked
              right now.
    
    She hands the headset to Kimmie who listens in.
    
                        KIMMIE
              I'm sorry, if you're not ordering
              drinks, we can't help you. We can
              call the police, though.
    
    BACK TO CON AND JOOJ
    
    Con flips an M&M in his mouth and looks over at Abby who
    changes a second trash receptacle.
    
                        CON
                  (hushed)
              Could you just be chill with Abby?
    
                        JOOJ
              If you hooked me up with Claire,
              then I'd be all swagger.
    
    AT THE DRIVE-THRU REGISTER
    
    Claire is officially freaked.
    
                          CLAIRE
                That car isn't pulling around.
    
                          KIMMIE
                I'll check on it. Just take orders
                at the window.
    
    ABBY
    
    She hauls two bags of trash toward the front door.
    
    Con beats her to the door. He's about to open it for her
    when he looks outside. His eyes pop.
    
    INSIDE/OUTSIDE THE DOOR
    
    Something moves behind a car.
    
                          CON
                What the f***. Something's out
                there.
    
    Abby looks. Whatever Con saw is not there now. He freaks.
    
                           ABBY
                Where?   What is it?
    
                          CON
                Behind the car. I don't know what
                it is, but it looks evil.
    
                          ABBY
                Shut up. Connor... I need to take
                these out. Thanks for your
                concern, but don't mess with me.
    
    BACK ROOM
    
    Kimmie eyes the SECURITY MONITOR. A security camera view.
    There's an SUV parked by the menu board.
    
    A hand grips the open window on the driver's side.
    
    Kimmie heads to the back exit door and opens it.
    
    SECURITY MONITOR
    
    The SUV is parked at the menu board.
    
    FRONT DOOR AREA
    
    Con looks outside. He blocks the door and blocks Abby from
    going outside. Jooj looks out the door like a little kid
    waiting to see Santa Claus.
    
                        JOOJ
              Was it a shape-shifter, chupacabra?
              Tell me it was a chupa.
                  (chanting)
              Chupa-cabra, chupa-cabra.
    
                        ABBY
                  (to Con)
              I will go Carrie on you. I'm
              already in a Carrie state of mind.
    
                        CON
              Go Carrie, but no one's going out
              there until I know it's gone.
    
    SECURITY MONITOR
    
    Kimmie reaches the SUV driver's window. And a CREATURE
    lunges out of the SUV window.
    
    FRONT DOOR AREA
    
    Con keeps watch. Jooj is psyched, but Abby is pissed.
    
    A distant SCREAM!
    
                        CON (CONT'D)
              What was that? It came from...
    
    Con, Abby and Jooj look over toward the back room area.
    
                        ABBY
              It's Halloween, people have been
              fake screaming in the drive-thru
              speaker all night.
    
                        JOOJ
              Halloween is better than Christmas.
              Chupa-cabra. Chupa-cabra.
    
    There's a queer sound outside and, in unison, Con, Abby and
    Jooj look out the door and are stunned as they see:
    
    A CREATURE, an ATS 10731 stares them down.
    
    It's a RAT, or at least, it has rat DNA. It's as big as a
    coyote, and it's muscular as if pumped with steroids. It
    stands on its hind legs, and walks with a human-like gait.
    
    From its eyes, it's assessing the situation. Its claw waves,
    motioning "attack."
    
    Abby drops the trash.   LOCKS the door.
    
    Jooj screams like a little girl and runs to the rest room.
    
    DRIVE-THRU AREA
    
    Claire SCREAMS as:
    
    An ATS Creature leaps up into the opened drive-thru window.
    Claire tries to shut the window, but the creature is stuck.
    It's too wide for this opening, at the moment.
    
    BACK TO CON AND ABBY
    
    Abby has her wits about her and moves to the condiment
    counter on wheels.
    
                           ABBY
              Help me.
    
    Con joins her and they push the counter against the door.
    
    The Alpha 10731 RAMS the door again. It spider-cracks.
    
    Abby and Con retreat past a TABLE.
    
    BENEATH TABLE
    
    The last Customer hides. He dials 911 on his cell phone.
    
    ABBY AND CON
    
                        ABBY (CONT'D)
              I didn't mean to go Carrie on this
              place. What do we do?
    
                        CON
              If you went Carrie on this place,
              we would be burning alive.
                  (pause)
              Can you make fire?
    
                        ABBY
              Hah, f*** you.
    
                        CON
              Fire kills. Can we make fire?
    
                        ABBY
              We have a toaster oven.
    
    They move toward the back of the coffeehouse.
    
    CRASH! An ATS Creature has smashed through a front window,
    and it hunts down the last remaining Customer.
    
    Con looks at the fridge. It's six feet high.
    
                          ABBY (CONT'D)
                There's no oxygen in a fridge.
    
                          CON
                Do you want to be one of their fun-
                sized Halloween treats?
    
    Abby opens the fridge. She and Con empty it like mad.
    
    The intermittent crying of SIRENS grows.
    
    Claire runs past Abby and Con, and into the back room.
    
                          CON (CONT'D)
                Claire, those things are out there.
    
    BACK ROOM
    
    Claire opens the back door and faces a bloody ATS Creature.
    
    BACK TO CON AND ABBY
    
    They finish emptying the fridge. There's room for two.
    
    Claire's SCREAMS curdle and deafen.
    
    Con and Abby's eyes meet and they share a moment of abject
    horror. Abby gets in the fridge.
    
                          CON (CONT'D)
                Jooj, we'll be in the fridge!
    
                          JOOJ (O.C.)
                ...I'm not going anywhere!
    
    The Alpha 10731 advances toward Con and Abby.
    
    Con closes the door.
    
                            ABBY
                It locks.
    
    Con reaches down and grabs an empty CUP. He holds the cup by
    the latch to prevent it from locking.
    
    BAM!   Outside, the Alpha 10731 rams the refrigerator.
    
    INSIDE THE FRIDGE
    
    Pitch dark until Con swipes his phone screen. The light
    glows. He hands the phone to Abby, who breathes hard.
    
    BAM!   Again the fridge is rocked.
    
                         CON
               Just so you know, we shouldn't
               breathe so much.
                   (pause)
               And I'm actually a freshman.
    
    Abby hyperventilates.
    
                         ABBY
               Just so you know, I have a
               boyfriend, and I need oxygen.
    
    Con swings the door open. The Alpha 10731 pounces. BAM!
    
    Con holds the door closed. It's not locked.
    
    The fridge is knocked and rocked side to side.
    
                         ABBY (CONT'D)
               Can't breathe.
    
    Con waits and waits. Abby stares him down.
    
    The assault subsides.
    
    Con swings the door open. The Alpha lunges at them. Abby
    SCREAMS. Con closes the door. It LOCKS.
    
    The Alpha tries to open the fridge. But it's locked.
    
    There's a CLICKING. The door lock is being picked.
    
    The door opens.
    
    The Alpha cranes its neck, ready to attack. It lunges at Con
    and Abby.
    
    GUNFIRE. High-powered stuff. The Alpha 10731 collapses.
    
    
    EXT. SHOLER VALLEY STRIP MALL
    
    The siege is over. Police and military vehicles have the
    mall surrounded.
    
    Ambulances. PARAMEDICS examine Con and Abby.
    
                                                     FADE OUT.

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    BEST HALLOWEEN EVER
    
    FADE IN:
    
    EXT. SPACE - ANYTIME
    
    My God! It's full of STARS. And...
    
    FLASH -- FLASH -- TWO BALLS of LIGHT whip by.
    
    BEEPING.   And heading for EARTH.
    
    Beeping? In space? That ain't right. But THESE are. One
    sounds MALE. The other FEMALE. They're COMMUNICATING.
    
    Communication reaches FEVER PITCH. Then SILENCE. Then...
    
                            MALE
                Testing-one-two-three-four.
    
                            FEMALE
                Receiving-loud-and-clear.
    
                            MALE
                Excellent! Honey -- This is going
                to be the Best Halloween Ever.
    
                            FEMALE
                Hold that thought. Something's wrong.
                We're off course.
    
                             MALE
                Way off. What happened?
    
                            FEMALE
                No time to adjust. Searching for
                new targets. Contact NORAD.
    
    EXT. APPROACHING EARTH (FAST) - DAY
    
    To the coastline of South-East Queensland, Australia.
    
                            FEMALE
                Targets acquired.
    
    And BLOODY FAST toward a couple of KIDS playing in the SURF.
    
    EXT. BEACH - DAY
    
    In the surf, a larger-than-usual WAVE knocks both Kids over.
    LISA (7) and EDDIE (4).
    
    Sitting on towels, big beefy BAZZA (their dad) and once-was-
    pretty SHAZZA (his missus) LAUGH their arses off.
    
                            BAZZA
                Got 'em both.
    
                            SHAZZA
              F*** yeah!    Good one.
    
    Bazza turns to hi-five her. Shazza ignores it.
    
                           SHAZZA (CONT'D)
              Nope. I'm not doin' that sh**.
              Never again.
    
    The Kids rise, dripping wet, and give each other WEIRD LOOKS.
    Eddie's becomes a BIG SOOKY CRY. He runs out of the water.
    
    Lisa rubs the back of her neck. Like something stung her.
    She follows him. Rubbing.
    
    Eddie runs, HOWLING, to Shazza.
    
                          SHAZZA (CONT'D)
              Oh, you poor baby. F***in' little
              sook.
                  (to Bazza)
              And he IS your son.
    
    Bazza looks up at Lisa, rubbing her neck.
    
                          BAZZA
              You right, Honey?
    
                             LISA
              I dunno.
    
    She SHRUGS it off. Looks okay now.
    
                             BAZZA
              Ready to go?
    
                             LISA
              Yep.
    
                             BAZZA
              Aw-right!
    
    INT. PARENT'S BEDROOM - NIGHT (READING LIGHTS)
    
    Shazza, her face caked in some cream or sh**, studies the
    fine print on the cream-sh**'s packet.
    
    Bazza, legs angled out under the covers, slowly rubs his
    crotch.
    
                          BAZZA
              What are we doing for Halloween?
    
                          SHAZZA
              F*** Halloween. American crap.
              They can all go and- You know what
              Halloween is, don't ya?
    
                          BAZZA
              An ancient Celtic tradition-
    
                          SHAZZA
              It's f***in' extortion. That's what
              it is. Ya pay these little pricks
              to stop haunting you.
                  (silly voice)
              Trick or f***in' treat. We'll haunt
              you if you don't f***in' pay.
    
                             BAZZA
              Who was he?
    
                             SHAZZA
              Who?
                             BAZZA
              The Yank.
    
                             SHAZZA
              What Yank?
    
                          BAZZA
              The one that f***ed you over?
    
    She lowers the packet. Stares away. F***ed over.
    
                          SHAZZA
              F***in' extortion. F*** 'em! F***
              Halloween!
    
                          BAZZA
              Jeeezus. He really f***ed you over.
                  (rises; half a fat)
              Gotta piss.
    
    INT. KIDS BEDROOM - NIGHT (STREET-LIGHT)
    
    One bed is EMPTY but it has been SLEPT IN.
    
    Both Kids are in another bed. Lisa on her back. Eddie
    nestled in tight. Like lovers.
    
                          LISA
              This is nice. The way we fit
              together.
    
    Eddie, eyes closed, MOANS. Contented. Sleepy.
    
                          LISA (CONT'D)
              What a great way to spend our first
              night back on Earth.
    
                          EDDIE
                  (eyes still closed)
              You sent the signal?
    
                            LISA
              Yes.
    
    SILENCE for a bit.
    
    A look of WORRY comes over Lisa.
    
                            LISA (CONT'D)
              Oh, no.
    
                          EDDIE
                  (opens one eye)
              What?
    
                            LISA
              I...
    
    Eddie rises enough to look into Lisa's eyes.
    
                            EDDIE
              You what?
    
                          LISA
              I forgot the-
    
                            EDDIE
              The codes?
    
                            LISA
              Sorry.
    
    Eddie slumps his head down.
    
                          LISA (CONT'D)
              I'm sorry, Honey.
    
    She strokes his hair.
    
                          EDDIE
              Without the codes, it could take
              years. We'll be stuck here.
    
    Lisa finds a tiny puncture on the back of his neck.
    
                           LISA
              Hey.   I can see where you went in.
    
    INT. OUTSIDE KIDS ROOM - NIGHT (DUNNY LIGHT)
    
    Bazza listens at the door.
    
    He tip-toes away to his bedroom door. Changes his mind.
    Tip-toes back. Listens.
    
                          EDDIE (O.S.)
              If I have to go through puberty
              again... As a boy... I'm going to
              kill you.
    
                          LISA (O.S.)
              You'll love it. Morning-glories
              every morning. Diamond-cutters and
              blue-veiners all day.
    
    INT. KIDS BEDROOM - NIGHT
    
    Lisa is sitting up in bed. Eddie straddles her legs.
    
                          EDDIE
              Every morning?
    
                          LISA
              This one's pretty smart.
    
                            EDDIE
              Pretty too.
    
                          LISA
              Rubbish. I haven't been 'pretty'
              for a thousand years.
    
                          EDDIE
              Mine's all... Gray. It's like nothing
              of any value is switched on yet.
    
                          LISA
              Now you know how I feel when you ask
              me what I'm thinking.
                  (beat)
              What if it takes them decades to
              decipher the signal?
    
    Eddie ponders. Smiles. Moves seductively close to Lisa.
    
                          EDDIE
              How do you feel about incest, Husband?
    
                          LISA
              I'm feeling it right now, Wife.
    
    Lisa pulls Eddie closer. They peck. Soft. Sweet.
    
                          EDDIE
              You might still be right.
    
                            LISA
              About what?
    
                          EDDIE
              This might be...
                  (peck)
              The Best Halloween Ever.
    
    They gaze into each other's EYES. Then CLOSE them and MOVE
    IN for--
    
    INT. OUTSIDE KIDS ROOM - NIGHT
    
    Bazza SLOWLY turns the door handle.
    
    Opens it a crack.
    
                          BAZZA
                  (whisper)
              You kids asleep?
    
    SILENCE
    
                          BAZZA (CONT'D)
              What about you aliens?
    
                            LISA (O.S.)
              Aliens?
    
                           BAZZA
              Yeah. Aren't you aliens? I heard
              you talking.
    
                          EDDIE (O.S.)
              What if we are?
    
                          BAZZA
                  (beat)
              Can I come in?
    
    INT. KIDS BEDROOM - NIGHT
    
    Bazza sits on the empty bed.
    
                          BAZZA
              What have you done with my kids?
    
                          EDDIE
              They're asleep.
    
                          BAZZA
              They gonna wake up?
    
                          EDDIE
              If we let them.
    
                          BAZZA
              Well, listen. The missus has got
              some bee in her bonnet about Americans
              and-
    
                            LISA
              America. That's where we were going.
    
                          EDDIE
              We need to contact NORAD.
    
                            BAZZA
              NORAD? What about them?
    
                          EDDIE
              We neeeeeed to contact NORAD.
    
                          BAZZA
              Well, phone home, ET. But that call
              won't come cheap. You'll have to do
              something for me.
    
                            EDDIE
              What?
    
                          BAZZA
              How's your profanity?
    
    INT. KITCHEN - DAY (MORNING)
    
    Shazza's dressing-gowned rear protrudes from the open fridge.
    
    Eddie runs in. GROWLS. Grabs her arse with both hands.
    
    She bumps her head on the shelf. Food and crap goes
    everywhere.
    
    She spins around. Her face still caked in cream-****.
    
                            SHAZZA
              Arhhhh!    Look what you-
    
                          EDDIE
              Trick or f***in' treat, Bitch? Huh?
    
                            SHAZZA
              WHAT!?
    
    Lisa marches in. BEATING a toy drum. SINGING.
    
                          LISA
              OH, SAY CAN YOU SEE BY THE DAWN'S
              EARLY LIGHT...
                  (continue anthem)
    
    Shazza FREAKS OUT.
    
                          SHAZZA
              F***IN' AMERICAN ****!!!!!
    
    AROUND THE CORNER, out of sight, Bazza holds in a BELLY-LAUGH.
    
    With him are two heavy-set expressionless GOVERNMENT TYPES
    (G-MEN). Waiting for their cue.
    
    IN THE KITCHEN, Lisa continues the ANTHEM.
    
                             SHAZZA (CONT'D)
              STOP IT!!!!!
    
    The G-Men march in. Flash their ID.
    
                          SHAZZA (CONT'D)
              Who the f***?
    
                          G-MAN 1
              US government, Ma'am. We're f***ing
              you over.
    
                          G-MAN 2
              We'll take these. Happy Halloween.
    
    The G-Men seize Eddie and SINGING Lisa and carry them out.
    
                             SHAZZA
              What the-?
    
                          EDDIE
              Well, Bitch? Trick or f***in' treat?
              What's it gonna be?
    
                          SHAZZA
              FAAAARRRRRRRKKKKKKK!!!!!!
    
    AROUND THE CORNER, Bazza cracks up.      Waves good-bye.
    
    The SMILING G-Men and Kids wave back. Lisa's still SINGING.
    
                          BAZZA
              Best Halloween Ever.
    
                                                       FADE OUT:
    
                                 The End

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    SATAN'S MOON
    
    FADE IN
    
    EXT. FRENCH QUARTER, NEW ORLEANS - NIGHT
    
    The Saturday before Halloween. Thumping music fills the
    air. The pedestrian packed pavement throbs with the
    teeming crowds spilling from the bars lining the street.
    
    SAMANTHA, 24, a slutty zombie nurse, staggers on 4-inch
    heels, splattered fake blood drying across her cleavage.
    
                            SAMANTHA
              Chelsea ... Chelsea!!!
    
    She peers through the throngs of dancing, costumed
    figures. Her red plastic cup spilling as she turns.
    
                            SAMANTHA
              Chel--
    
                            CHELSEA
              What?
    
    CHELSEA, also 24, is pissed. She's shorter, stouter and
    dressed as a witch - black pointed hat, prop broomstick.
    
                            SAMANTHA
              Is this fan-f***ing-tastic or
              what?
    
                            CHELSEA
              Can we just get this over with?
    
                            SAMANTHA
              If we can't get you taken care of
              here - tonight - it just can't
              happen.
    
                            CHELSEA
              That's encouraging.
    
    A six pack of guys stumble past. THREE ZOMBIES, A GIANT
    CONDOM, a BIKER and FATMAN - 40lbs too much for his
    homemade Batsuit. They leer at Samantha. And howl.
    
                            SAMANTHA
              Who wants to party?!
    
    5 hands go up. Fatman drops his beer. More idiotic
    howling. Two of the Zombies bump and grind with Samantha,
    her red cup sloshes as she hoists it high.
    
                            CHELSEA
              Really? These guys?
    
                            SAMANTHA
              You don't think?
    
    Chelsea eyes the guy in the condom suit.
    
                               CHELSEA
              Too subtle.
    
    The street music is booming but the thunderclap rattles
    the crowd. Lightning splits the sky. Rain begins to spit.
    
                            SAMANTHA
              Sh**! My make-up - Pick somebody
              dammit!
    
    Chelsea grabs the nearest as the sky opens - it's the
    vinyl gloved hand of Fatman. The group runs to the
    nearest bar.
    
    
    INT. LOUD BAR - NIGHT
    
    It's jammed. They are crushed together. The whole room
    dances around them.
    
                               FATMAN
              I'm Todd.
    
    He has a speech impediment. A scruffy beard and a lazy
    eye behind the cowl. It's off putting.
    
                               CHELSEA
              Chelsea.
    
                               FATMAN
              You're cute.
    
                            CHELSEA
              Look, don't even try, okay?
    
    The air goes out of him.
    
                            FATMAN
              Oh. You and she are...
    
                            CHELSEA
              What? No. I mean hell no.
    
    Behind Fatman, Samantha and a Zombie are seriously lip
    locked. Chelsea nods and he looks.
    
                            FATMAN
              Oh! Wow. So you're like bi or
              something?
    
                            CHELSEA
              I'd so hoped you might at least
              have a brain. We're sisters.
    
                            FATMAN
              Oh. Yeah. `kay.
    
    There's an awkward, silent moment. He's used to those.
    
                            FATMAN
              Can I get you a drink? I
              dropped... er, chugged mine.
    
                            CHELSEA
              Amber Ale.
    
    He turns for the bar, nudging his way through the pack.
    Samantha has her arm around the taller Zombie. He's lost
    in her low cut dress.
    
                            SAMANTHA
              Got mine. Where's yours?
    
                            CHELSEA
              He'll be back.
    
    Chelsea gestures to the wavering, plastered Zombie
    Samantha is wearing.
    
                            CHELSEA
              You think?
    
                            SAMANTHA
              He'll do.
    
                            CHELSEA
              Something tells me he's not
              exactly "the one."
    
                            SAMANTHA
              He's good practice.
    
    Chelsea rolls her eyes. And Fatman is there with a pair
    of beers.
    
                            FATMAN
              They were changing the keg - it's
              Coors Light. Sorry.
    
    The nose wrinkles
    
                            CHELSEA
              It's that kind of night.
    
    She drains the beer, literally pouring it down her
    throat. Fatman can't believe it. Tries it himself.
    Chokes. Coughs, sputters. Chelsea nods.
    
                            CHELSEA
              I bet you're a virgin too, huh?
    
    The look and falter give him away.
    
                            FATMAN
              Ha! Of course not.
    
                            CHELSEA
              Perfect. Just perfect.
    
    Another thunderclap booms. Then an explosion as the
    lightning connects with the transformer. The room goes
    instantly dark. The amplifiers die in mid-blast.
    
    The crowd is stunned. The room is pitch black.
    
                            A VOICE
              Somebody scream!
    
    The crowd takes up the yell. Cell phones come out and the
    room begins to glow as the partiers begin to dance to
    their own din. Emergency lights kick on.
    
                            FATMAN
              This totally sucks.
    
                            CHELSEA
              You wanna get out of here?
    
                            FATMAN
              Seriously?
    
                            CHELSEA
              Never more.
    
    She takes his arm and nods to Samantha. They squeeze
    their way through the crowd to the door.
    
    
    EXT. LOUD BAR - NIGHT
    
    Wind whipped rain lashes the darkened street, the crowd
    huddles under the awnings.
    
                            FATMAN
              I'm parked over off Eleventh.
    
                            CHELSEA
              Let's take ours - we're right
              around the corner.
    
    She has to yell over the rolling thunder. She starts into
    the rain and he grabs her arm. Removes his Batcape and
    drapes it over her shoulders.
    
                            FATMAN
              I think it's waterproof.
    
    She smiles at his unexpected kindness and steps into the
    rain. Within two steps it's clear - it's not waterproof.
    
    
    INT. PARKING GARAGE - NIGHT
    
    They step to shelter. Chelsea removes the cape, wrings
    two gallons of water from it. Hands it back with disgust.
    
    Samantha struts to the rear of a dark sedan. Her white
    nurse's minidress is soaked, revealing that her underwear
    selection for the evening is mostly dental floss.
    
                             FATMAN AND THE ZOMBIE
              Whoa.
    
    The trunk opens and Samantha pulls out two bottles and
    red cups.
    
                            SAMANTHA
              Who needs a warm up?
    
                            CHELSEA
              Apparently, Todd.
    
    It's chilly in the wet, clingy Batsuit. There's
    shrinkage. He hides behind the cape. The Zombie takes the
    offered bottle and drinks from the neck. Pitches the
    empty clattering down the parking ramp.
    
                            ZOMBIE
              Arrrright! Let's get this party
              started!
    
                             SAMANTHA
              Hop in.
    
    
    EXT. FARMHOUSE - NIGHT
    
    The sedan is parked in front of an abandoned farmhouse.
    The rain has ended. Clouds scud across the full moon.
    
    The four walk towards a glow in the field beyond. The
    Zombie stumbles, doubles over.
    
                            ZOMBIE
              What the hell was in that, man?
              I'm ... gonna ... hurl ...
    
    He vomits into the dirt. Then falls to his knees,
    crumples to his back. His eyes rolling back. Fatman looks
    to his red cup.
    
                            FATMAN
              Hey -- you okay, man? What's going
              on?
    
                              CHELSEA
              It's a party.
    
    Four cloaked figures appear, they hoist the moaning
    zombie by his arms and legs and carry him towards a
    bonfire. Then to the darkness beyond.
    
                            FATMAN
              Where ae they taking him? Just
              what kind of party is this?
    
                            CHELSEA
              The legendary kind. How... how do
              you feel?
    
                            FATMAN
              I'm OK. You? I think he got some
              bad stuff.
    
                            CHELSEA
              You don't feel -- funny?
    
                            FATMAN
              Well, I know a couple of jokes,
              but --
    
                            CHELSEA
              Not that kind of funny, dipshit.
              Lightheaded? Maybe dizzy?
    
                            FATMAN
              Not really. You alright? I mean
              you're cute and all, but you're
              kinda bitchy when you've had a
              few.
    
    There's a high pitched scream from darkness. A man yells
    in pain. An evil smile crosses her lips.
    
                            CHELSEA
              Bitchy? You haven't seen anything
              yet.
    
    Six robed figures appear from the darkness, surrounding
    them. Chelsea is handed a cloak and dons it. She throws
    her witch's hat to the wind.
    
                            FATMAN
              Ok, this was all fun and games...
    
    There's a blood curdling scream from the area beyond the
    fire. Then another and another. Eyes grow narrow behind
    the Batmask.
    
                            CHELSEA
              Every year on the eve of Satan's
              Moon, my sisters and I gather
              here. One is chosen to select a
              virgin male...
    
    All heads turn as Samantha walks to the circle, pulling a
    cloak around her naked body. She licks her lips.
    
                            SAMANTHA
              A virgin male to be brought forth
              and sacrificed to Hades - God of
              the realm of the underworld.
    
    Arms are raised. The eight women speak as one.
    
                            ALL
              Hades, Oh exalted Hades, hear our
              prayer ...
    
    They step closer to the man in the ill fitting Batman
    costume.
    
                            ALL
              Hades, Lord of fire --
    
                            FATMAN
              ... Lord of flame, Prince of
              darkness...
    
    The women stop, look at each other, then Fatman, their
    trance broken.
    
                            FATMAN
              Yeah, yeah, yeah, I heard all this
              mumbo jumbo last year.
    
    The Batmask comes off, his head and scalp are hideously
    disfigured. He strips off a glove.
    
    A skeletal hand covered with stringy leathery remnants of
    skin pointing to the bonfire.
    
                            FATMAN (CONT'D)
              Last year - when you threw me in
              that f***ing fire and left me to
              die.
    
    His hand goes to his knee high Batboot and drawls a
    gleaming silver .45 automatic. The first bullet takes
    Samantha. Six more rounds echo in the night.
    
    He turns to Chelsea. She's too terrified to run.
    
                            FATMAN
              Now, about that virginity sh**...
    
    [end]
    Last edited by dpaterso; 11-06-2013, 05:07 AM.

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    PICKY
    
    INT. MEETING ROOM - COMMUNITY CENTER - NIGHT
    
    Along one wall, a table with coffee pot and paper cups. A
    few folding chairs are arranged in a circle in the middle of
    the room.
    
    Someone's made a half-hearted attempted at decorating- faded
    paper bats and spiders taped to the walls.
    
    JANINE (late 20s, wearing don't-f***-with-me boots) sets a
    placard beside the coffee pot.
    
    It reads - "WELCOME TO FOOD FREEDOM."
    
    The group members, GREG (19, scrawny), DALE (20s, beefy),
    STEPHEN (also 30s, nebbishy) trickle in.
    
    The exchange waves and greetings. All three men carry paper
    bags and noticeably bypass the coffee.
    
    Janine sits first. The others follow suit.
    
    A newcomer, CAROLYN (20s, delicate) hovers by the door.
    
                          CAROLYN
              Is this the um...for the picky
              eaters?
    
    Stephen turns around in his chair.
    
                          STEPHEN
              We prefer "discriminating". Come
              on in.
    
    She approaches the chairs cautiously.
    
                           CAROLYN
              I wasn't sure if you were taking
              new members.
    
    She takes a chair.
    
                          STEPHEN
              Oh sure. We always get a few this
              time of year, what with the
              holidays coming on.
    
                          GREG
              All the parties.
    
                          DALE
              People giving you gifts of food.
              Like I want a hunk of rubbery beef
              and some mangy old cheese.
    
                          STEPHEN
              Or those things where they just
              dump all the ingredients in a jar
              and slap a bow on it. That's not
              a gift, that's cleaning out your
              cupboard.
    
    Janine has been watching all this time, with narrow-eyed
    interest.
    
                          JANINE
              I had sauce last night.
    
    Janine smiles as the attention of all is directed to her
    (where it ought to be).
    
    Greg and Stephen murmur in admiration.
    
    Dale is suspicious. He gives Janine a questioning look.
    
                          DALE
              Marinara or alfredo? Thick or
              watery? Spicy or--
    
                          JANINE
              Oh fine, I didn't eat it. But I
              had it. In a bowl. On the table.
              Very close to me. My elbow was
              practically touching it.
    
                          DALE
              That doesn't count.
    
                          JANINE
              It does.
    
                          DALE
              Does not.
    
                          JANINE
              Well what have you done that's so
              impressive?
    
    Dale bends over, pulls something out of his tote bag. A jar
    of peanut butter.
    
                          STEPHEN
              So what? You already like peanut
              butter.
    
                          DALE
              Not crunchy. And this isn't even
              my brand.
    
                          JANINE
              Lame.
    
                          DALE
              Bitch.
    
                          STEPHEN
              This is why we're not supposed to
              date within the group. What do you
              suppose the new girl thinks of us?
    
    All eyes turn to Carolyn, who shrinks away.
    
                          CAROLYN
              I'm fine. I just - I probably
              don't even have a problem, really.
    
                          JANINE
              Oh, one of those.
    
                          DALE
              Denial, baby.
    
                          STEPHEN
              We've all been there. It's okay.
              You're safe here.
    
    Carolyn shrugs.
    
                          DALE
              Come on, what's your deal?
              Texture? Color?
    
    Stephen scoots his chair a little closer to Carolyn, leans
    in.
    
                          STEPHEN
              When I was five, my mother gave me
              a banana. I'd had them before, I
              liked them. But this one - when I
              bit into it, it was so...
                    (shudders)
              I wouldn't finish it. I threw it
              in the street. My mother was so
              angry at me. That's when I learned
              not to trust.
    
                             CAROLYN
              Your mother?
    
                          STEPHEN
              Things with peels. You never know
              what's under there.
    
                          GREG
              I can't eat anything unless I know
              how it's made.
    
    Carolyn turns her attention to Greg, who shakes while he
    talks.
    
                          GREG
              When I was - whew - this is tough.
              I've never told this story before.
              When I was in second grade? We had
              this big tank in our classroom?
              With tropical fish? And they just
              kept disappearing, you know.
              They'd be gone and there would be
              new ones.
    
    Greg picks up a bottle of water from beneath his chair,
    takes a long drink.
    
                          GREG
              So this boy in my class, Brad
              Freeman, he said - haven't you
              noticed that we always have jello
              at lunch the day after the fish go
              missing. That's how they make it
              in all those colors. Ground up
              tropical fish.
    
    The other group members look away, stifling laughter.
    
                             GREG
              What?
    
                          JANINE
              You believed him?
    
                          GREG
              I was a child.
    
                          JANINE
              But you're not anymore. And, you
              know - Google.
    
                           CAROLYN
               Gelatin is made from animal
               intestines, which is just as
               disgusting, if not more so, than
               tropical fish.
    
                           DALE
               Really?
    
    Greg smiles at Carolyn, silently thanks her.
    
                           DALE
               How do you know that?
    
                           JANINE
               I just said Google.
    
                           CAROLYN
               The fact is...the fact is, I'm
               engaged to a chef.
    
    Gasps all around.
    
                           CAROLYN
               He specializes in Asian fusion.
    
    More gasps.
    
                           CAROLYN
               I know, it's awful. I've tried
               everything. The "I had a big
               lunch", "I'm on a diet",
               allergies...last night he made me
               this lactose free, gluten
               free...THING. It was supposed to
               be some kind of soup, I just
               thought it looked like a bowl of
               warm snot.
    
                           STEPHEN
               What did you do?
    
                            CAROLYN
               Pretended to faint. It would have
               worked too if that stupid
               paramedic would have played along.
                     (beat)
               Tom says he can't marry me if I
               won't eat his food. What am I
               going to do?
    
    Silence.
    
                          JANINE
              Dump his ass.
    
                             CAROLYN
              What?
    
    Janine leaps to her feet.
    
                          JANINE
              Why are we always the ones who
              have to change? Why can't the, the
              OMNI EATERS change?
    
    The others stand, too.
    
                          DALE
              Yeah! I mean, what's so bad about
              plain?
    
                          STEPHEN
              Why drown everything in
              condiments. Why not simply
              contemplate the beauty of a naked
              potato?
    
                          JANINE
              I blame the media. Everything has
              to be ohhh shiny. And five hundred
              teevee channels. And CGI.
    
                          CAROLYN
              But I love him -
    
    Nobody cares. They're on a roll.
    
                          DALE
              I wanna open a restaurant and call
              it On The Side. Everything on the
              side.
    
                          STEPHEN
              No ketchup packets shoved in your
              face, just set out so you can take
              them - or leave them - with no
              judgement.
    
                          GREG
              And put the kitchen in the middle
              of the room so we can see
              everything.
    
                          CAROLYN
              But, but, aren't you afraid that,
              that, you're missing out on
              something? That maybe our fear of
              food is really a fear of change? A
              fear of the unknown? A fear of the
              unpredictable and perilous nature
              of life itself?
    
    They turn on her.
    
                           DALE
              Freak.
    
                          JANINE
              What are you, some kind of plant?
    
                          GREG
              Did my mother send you here?
    
    Carolyn backs away as the others advance, knocks over her
    chair.
    
    Greg taps his water bottle against his palm.
    
    Dale tosses his peanut butter jar from one hand to the
    other.
    
    Janine reaches for something in her pocket.
    
    Stephen hums something that sounds like "Warriors, come out
    to play..."
    
                          CAROLYN
              Look, I didn't mean - I just...
              I'll go, okay? See? I'm going.
    
                                             CUT TO BLACK
    
    
    INT. PARKED CAR - NIGHT
    
    Stephen sits in the driver's seat, Janine in the passenger
    seat. Greg is in the back, curled up in the fetal position.
    
    The back door opens. Dale climbs in.
    
                           DALE
              It's done.
    
                          STEPHEN
              I feel guilty.
    
                          JANINE
              We got carried away. It happens.
    
                          GREG
              I'll never survive in prison. I
              hear they serve beans and toast.
              Beans and toast!
    
                          DALE
              Relax. They're never gonna find
              that body. Pigs eat anything.
    
    
    EXT. ROAD - NIGHT
    
    The car speeds down a country road. In the background, the
    sound of pigs SQUEALING.
    
                          JANINE (O.S.)
              Disgusting creatures.
    
    
                              THE END

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    CINEMASSACRE
    
    EXT. MOVIE THEATER - NIGHT
    
    A MARQUEE GLOWS in the darkness reading:
    
                    Halloween Horror Film Madness
                     6 Classic Films Tonight Only
    
    Beneath this announcement, fighting the bitter cold in his
    brown suede jacket is MARK, (23) a theater usher. He pulls
    out his cell phone to take a gander at the time...
    
    Break time is over. Sh**. Inhales one last drag from his
    cigarette, puts it out on the ground, saunters back inside.
    
    
    INT. MOVIE THEATER - LOBBY - SAME
    
    Mark takes off his pair of LEATHER GLOVES and rubs his hands
    together for warmth as the door closes behind him.
    
    Behind the concession counter stands Mark's overweight boss,
    JERRY (39). He's been eyeing Mark for the past two minutes.
    F***ing late.
    
                        JERRY
                  (sardonic)
              Yeah, take your time sweetheart.
              What the hell took you so long?
    
                        MARK
                  (equally sardonic)
              Sweetheart? That's sexual
              harassment Jerry. I could have your
              job for that. Just imagine what I
              could do with all that power...
              Manager of the cineplex. Be getting
              laid a hell of a lot more, that's
              for damn sure.
    
                        JERRY
              Shut up. Take your jacket off. And
              get rid of your cell phone. You
              know the rules.
    
                        MARK
                  (ass)
              Sure thing boss.
    
    Mark complies and places his jacket behind the counter.
    
                        JERRY
              How you and Jessica getting along?
              She finally dump your ass?
    
                        MARK
              Going on five months. I think we're
              very good for each other.
    
                        JERRY
                  (giving him a hard time)
              We really should have instituted a
              no dating co-workers policy.
                  (back to business)
              Theater two is out and theater
              three is getting out now.
    
    Jerry hands Mark a large black GARBAGE BAG for his trash
    detail.
    
                          JERRY (CONT'D)
              Have fun.
    
                        MARK
                  (ass)
              It's Halloween, I can pretend I'm
              trick or treating!
    
    And with that Mark is off.
    
    
    INT. MAIN CORRIDOR - SAME
    
    MOVIE GOERS in various costumes make their way out of theater
    three passing Mark.
    
    Only ONE MAN walks out of theater two. He's 40, wearing a red
    and green Freddy Kruger type sweater and he's alone. He stops
    and smiles at Mark.
    
                        MAN
              Happy Halloween.
    
                        MARK
                  (obligated)
              Happy Halloween.
    
    Mark's fake grin fades away as the man continues down the
    hall. Mark enters theater two.
    
    
    INT. THEATER TWO - SAME
    
    The LIGHTS ARE ALREADY UP as Mark begins picking up trash.
    Down one aisle he finds an empty pint of CHEAP CANADIAN
    WHISKEY -- picks up the small plastic pint.
    
                        MARK
              Some one had the right idea.
    
    He tosses it in the bag.
    
    At that moment out of the corner of his eye, he spots a LARGE
    DARK PUDDLE on the floor. Moves in for a closer look...
    
    IT'S BLOOD! Paul trembles as he pulls a WALKIE TALKIE from
    his belt. Clicks it on.
    
                        MARK (CONT'D)
              Jessica, Jerry, Greg? Copy?!
    
    A moment of static, then the walkie talkie roars to life.
    
                        JERRY (FILTERED)
              Nobody gets to leave early. The
              last shows just got out.
    
                        MARK
              Jerry there's a situation in
              theater two. There's blood all over
              the ground of one of the aisles.
    
                        JERRY (FILTERED)
              Very funny. I guess Michael Myers
              must have came down out of the
              screen and killed someone.
    
                        MARK
              Jerry. Seriously.
    
    A beat.
    
                        JERRY (FILTERED)
                  (changes tone)
              Okay. I'm on the way.
    
    Just then GREG, a thirty year old projectionist, enters
    theater two.
    
                        GREG
              You serious?!
    
    Mark points out the blood. Greg examines it a moment.
    
                        MARK
              Where were you?
    
                        GREG
              Was just talking to Jessica. What
              if it's fake? A Halloween prank?
    
                        MARK
              There was a weird guy who was in
              here by himself.
    
                        GREG
                  (on walkie talkie)
              Jerry, there was a suspicious man
              wearing a Freddy Kruger sweater who
              just left theater two. Please stop
              him if you see him.
    
                        JERRY (V.O.)
              Copy.
    
    Mark looks at Greg a moment confused -- Mark didn't say
    anything about a man wearing a Freddy sweater.
    
    Greg looks over at the movie screen and notices that the
    projector is still on.
    
                         GREG
              Damn, I forgot to turn off the
              projector.
    
                        MARK
              Isn't Jessica the projectionist
              tonight?
    
                        GREG
              In theaters three and six.
    
                        MARK
              Why hasn't she reported in?
    
                        GREG
              Probably out back in the alley for
              a crafty smoke. Pretty cute the way
              she tries to take a mini break when
              no one is looking.
    
    ANGLE ON: Mark, concerned.
    
    
    EXT. CINEPLEX - BACK ALLEY - NIGHT
    
    Mark and Greg emerge from an exit. No sign of anyone. Greg
    keeps the door ajar so as not to lock themselves out.
    
                        GREG
                  (pointing)
              See any cigarette butts?
    
    Mark finds a solitary CIGARETTE BUTT near him.
    
                        MARK
              Here's one.
    
    Greg takes a closer look.
    
                         GREG
               Yeah, but this is a Camel. She
               smokes Marlboro's.
    
                         MARK
               How do you know all this sh** about
               my girl?
    
                         GREG
               Calm down boss, I just notice
               things like that.
    
    A stern look from Mark.
    
    
    INT. PROJECTION BOOTH THREE - MOMENTS LATER
    
    Mark and Greg open the door to find... no Jessica. No one.
    And the projector is still running -- no film, just light.
    
                         MARK
                   (on walkie talkie)
               Jessica? You there? Jessica?!
               Jerry? Jerry have you heard from
               Jessica?!
    
    Nothing.
    
    
    INT. MAIN CORRIDOR - MOMENTS LATER
    
    Mark and Greg frantically run towards the lobby. Greg eyes
    the rest room as they pass.
    
                         GREG
               Get Jerry, I'll search the rest
               room.
    
    Mark nods as Greg ducks into "the John".
    
    
    INT. LOBBY - MOMENTS LATER
    
    Mark rushes into the lobby. No Jerry. No Jessica. No one.
    
                         MARK
               Jessica? Jerry? Jerry you there?
    
    He looks behind the counter for his phone -- His jacket and
    phone are missing. A few spots of blood drizzled on the floor
    -- smudged bloody footprints.
    
    Mark gets on the walkie talkie.
    
                        MARK (CONT'D)
              Greg, there's blood out here too.
                  (a beat)
              Greg? Greg?
    
    No response. Mark runs for the rest room.
    
    
    INT. REST ROOM - MOMENTS LATER
    
    Mark bursts through the door.
    
    He recoils in horror at the sight in front of him...
    
    GREG'S LIFELESS BLOODY BODY slumped on the floor -- THE MAN
    IN THE FREDDY SWEATER standing over Greg with a HUNTING
    KNIFE!
    
    Mark slowly backs away towards the door. The man turns and
    watches with a sadistic smile on his face.
    
    SUDDENLY THE REST ROOM DOOR SWINGS OPEN. It's Jerry! He is
    wearing Mark's jacket -- what?
    
                        JERRY
              Boo.
    
    The man in the Freddy sweater begins laughing as does Greg.
    He's not dead. It was all a Halloween prank. Mark is pissed.
    
                        MARK
                  (points at man in sweater)
              Who the hell is that?
    
    Jerry walks over to the man in the sweater and puts his arm
    around him.
    
                         JERRY
              This here is my buddy Jim. Wanted
              to help with this gag.
                  (they laugh)
              And I figured you might
              accidentally call the police, so I
              took this.
                  (pulls out Mark's phone)
              Executed beautifully. Happy
              Halloween you bastard.
    
    Greg chuckles again, very pleased with himself.
    
                        GREG
              Jessica told me she was going to
              the bathroom and then she was gonna
              go on break.  You thought she was
              gone, it was almost too perfect.
              Wasn't even planned.
    
                        MARK
                  (sinister)
              Jessica's not on break.
    
                        JERRY
              Sure she is. After you.
    
    Mark pulls his LEATHER GLOVES out of his pocket and puts them
    on.
    
                         MARK
                  (calm)
              Not tonight.
    
    Mark approaches a BATHROOM STALL that is LOCKED and KICKS THE
    DOOR IN. The stall door SWINGS OPEN revealing:
    
    JESSICA'S BODY lying atop of the toilet with an AXE sticking
    out of her chest, she's definitely dead.
    
    Mark pulls the axe out of her chest cavity with some
    difficulty. The others look on in sheer horror.
    
                        GREG
              Mark?! This isn't funny!
    
                        MARK
              Musta taken quite an interest in my
              girl to notice those Marlboros.
    
                        GREG
              What?
    
                        MARK
              You f***ed my girlfriend Greg, so
              now you're f***ed.
    
                        GREG
              Mark... I--
    
                        MARK
              She told me Greg.
    
    
    INT. MAIN CORRIDOR - EARLIER THAT NIGHT - CONTINUOUS
    
    Out of sight, Mark watches Greg give Jessica a kiss.
    
    Jessica looks uncomfortable -- heads off into the bathroom.
    Greg heads out to the lobby.
    
    Mark slips on his gloves and heads for the rest room -- stops
    just before the door to unlock a red emergency box containing
    a FIRE EXTINGUISHER and an AXE. The axe is removed.
    
    Mark quietly opens the door to the rest room and saunters
    inside wielding the weapon. The door closes behind him.
    
    Several moments pass.
    
    A MUFFLED SCREAM. Several more moments.
    
    Mark exits as if nothing happened. He marches to the back
    alley exit and disappears outside for a casual smoke.
    
                                                    CUT BACK TO:
    
    
    INT. REST ROOM - PRESENT
    
    Mark, quite smug, turns his attention from Greg to Jerry and
    Jim.
    
                       MARK
              Sorry you guys had to see this. Was
              gonna deal with this privately but,
              I can't be letting you go now. You
              understand?
    
    Jim defensively SLASHES at Mark with his hunting knife --
    Mark dodges it, then HACKS INTO JIM'S CHEST WITH THE AXE!
    
    Jerry makes a run for it... but his run is literally cut
    short -- Mark's AXE CUTS INTO HIS LEG AND TIBIA!
    
    Jerry howls in pain, incapacitated. The cell phone he was
    holding SLIDES ACROSS THE FLOOR to the other side of the
    room.
    
    Mark sets his sights on Greg, who sits on the ground
    paralyzed with fear.
    
                        GREG
                  (quietly sobbing)
              Mark I'm sorry, please don't. I
              didn't know. Please...
    
    Mark raises the axe above his head.
    
                        MARK
              Apology accepted.
    
    The axe comes hurtling down. A TERRIBLE SCREAM!
    
                                                SMASH TO BLACK.

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    BUTTERFLIES
    
    EXT. GARDEN - DAY
    
    Picture perfect. Lush with color. The late Autumn sun paints
    everything in a golden hue.
    
    A woman prunes a rose bush. She's in her early sixties, with
    a natural grace and serenity undented by the dirt and sweat.
    
    Her name is ELLA.
    
    She throws the trimmings into a burning barrel. Wipes her
    brow with her shirt sleeve. It's a man's shirt. Too big, and
    worn with age. She wears it unbuttoned, like a jacket.
    
    She loses herself in thought for a moment, then draws the
    shirt up to her face. She closes her eyes and takes in the
    scent.
    
    When her eyes open, they're filled with tears. She wipes them
    dry with her sleeve.
    
                        ELLA
              Oh, Scott... Damn it.
    
    A large Monarch BUTTERFLY lands on her arm. Vibrant orange
    and black markings. Ella laughs.
    
                        ELLA
              Hello there young man. Come to
              cheer me up?
    
    The butterfly flaps its wings, revealing an unexpected flash
    of green on the underside.
    
                        ELLA
              Well, you're an unusual one now,
              aren't you?
    
    The butterfly floats up off her arm, and hovers near her
    face. A loud voice breaks the moment:
    
                        WOMAN (O.C.)
              Mom!
    
    -- The butterfly flies off. Ella sighs. The butterfly
    disappears into the foliage.
    
                        WOMAN (O.C.)
              Mom!
    
    Ella turns, wearily, to greet her daughter, OLIVIA, a thirty
    something go-getter.
    
                        OLIVIA
              Mom! I'm here!
    
                        ELLA
              So you are.
    
    Ella steals a final glance, looking for the butterfly.
    
                        OLIVIA
              Are you okay?
    
                        ELLA
              This again? Why wouldn't I be?
    
                        OLIVIA
              Well, you know... Dad--
    
                        ELLA
              I'm fine, really.
    
                        OLIVIA
              But--
    
                        ELLA
              Olivia! Please. I don't want to
              talk about it.
    
                        OLIVIA
              Verbalizing your feelings will make
              them more manageable.
    
                        ELLA
              All that money your father spent on
              medical school wasn't wasted, I
              see.
    
                        OLIVIA
              Well it certainly came in useful
              when you "accidentally" took all
              those pills.
    
    There's a tense standoff for a moment, then
    
                        ELLA
              Oh, Darling, what are we doing?
    
    She grabs Olivia, and holds her tight.
    
                        ELLA
              I'm so sorry. I know you're just
              looking out for your dear old mom.
    
                         OLIVIA
              You know I worry, especially after
              last year.
    
                        ELLA
              It was an accident, I promise.
    
    Olivia isn't so sure.
    
                        ELLA
              I miss your father desperately,
              Olivia... but time is a great
              healer. Life moves on.
    
                          OLIVIA
              You sure?
    
                        ELLA
              Yes sweetheart, I'm sure.
    
                        OLIVIA
              That's Dad's shirt, right?
    
                          ELLA
              ... Yes?
    
                        OLIVIA
              Throw it in the barrel.
    
                          ELLA
              What?
    
                        OLIVIA
              Burn it! It's been seven years...
              You're clinging to hope Mom, but
              he's dead. Has to be.
    
                          ELLA
              I can't.
    
                        OLIVIA
              Please. For me.
    
    Ella looks at her daughter. After a moment, she slowly takes
    the shirt off.
    
                        OLIVIA
              You need to move on.
    
    Ella holds the shirt over the burning barrel.
    
                        OLIVIA
              I miss him too Mom.
    
    Ella can't quite let go.
    
                        OLIVIA
              It's time... Mom. He's not coming
              back.
    
    Ella smiles sadly at Olivia, and let's go. The shirt
    disappears into the barrel.
    
    The fire crackles with renewed vigor. She starts to sob.
    Olivia holds her tight.
    
                        OLIVIA
              It's going to be okay. I love you.
    
    Ella goes to wipe her tears away, but realizes the shirt
    isn't there anymore. She laughs through the tears.
    
                        ELLA
              I love you too Olivia... Will you
              stay for dinner?
    
                        OLIVIA
              I... I can't. I was just stopping
              off on the way to the store.
              Brad... you know... I'm sorry Mom.
    
                        ELLA
              That's okay.
    
                        OLIVIA
              I feel bad now.
    
                        ELLA
              Don't. I'll be fine.
    
                        OLIVIA
              I'll try and come back next month,
              if... when work settles down.
    
                        ELLA
              That would be nice.
    
    An awkward pause.
    
                        ELLA
              Go! Go, go, go.
    
    Olivia laughs and leaves. Ella watches her go, fighting the
    tears.
    
    
    MONTAGE
    
    The fire fades. Autumn turns to Winter. Winter to Spring.
    Spring to Summer. With each season, the garden grows wilder.
    
    
    BACK TO SCENE
    
    Another golden Autumn afternoon. Ella sits at an ornate patio
    table, sipping a glass of wine.
    
    Her hair is longer. Unkempt. That natural grace and serenity
    has faded. She seems old.
    
    On the table, a tattered photo album. She turns the page,
    smiling at the new batch of memories.
    
    A large Monarch butterfly lands on the page. Vibrant orange
    and black markings.
    
                        ELLA
              Well hello there young man. Just
              some old family photos. You'll be
              bored, I'm sure.
    
    The butterfly flaps its wings. It has those same unusual,
    green markings on the underside. That catches Ella by
    surprise.
    
                        ELLA
              Can't be...
    
    Her phone RINGS, startling the butterfly, who flies off.
    
                        ELLA
              No!
    
    RING, RING... RING, RING! Ella fumbles for her phone. Cancels
    the call. The butterfly flits around above her.
    
                        ELLA
              There you go. All quiet again...
              Come back here so I can take a look
              at you.
    
    The butterfly lands back down on the photo album.
    
                        ELLA
              You're a handsome one, aren't you.
    
    The butterfly walks onto one of the faded photographs.
    
    
    INSERT - PHOTO
    
    A much younger Ella, hand in hand with a handsome man. Behind
    them, the majestic vistas of Yosemite, but they only have
    eyes for each other.
    
    The butterfly flutters over to the man.
    
                           ELLA
                 My husband. Scott--
    
    -- The butterfly SPRINGS off the page. Lands on Ella's hand.
    She lifts him to take a closer look. The butterfly doesn't
    move.
    
                           ELLA
                 He died. Disappeared really, but
                 it's been so long. I sometimes
                 allow myself a moment of hope,
                 but...
    
    Her eyes well up with tears.
    
                           ELLA
                 It's our anniversary today...
    
    She chuckles.
    
                           ELLA
                 You seem to know that though.
    
    A raindrop splashes onto her hand, but the butterfly doesn't
    move. She looks up. The skies have darkened.
    
    Another raindrop. Then another. The butterfly just sits
    there. A drop hits its wing, knocking it sideways.
    
    The rain gets heavier. Ella looks at the butterfly, but it
    doesn't move. Raindrops pummel its wings, but it just keeps
    looking at Ella--
    
    -- RING, RING!
    
    The noise startles the butterfly. It flies off, taking cover
    under the trees.
    
                           ELLA
                 No! Come back...!
    
    RING, RI--
    
    She answers it.
    
                        ELLA
                  (into phone)
              What?
    
    She looks through the foliage, trying to find the butterfly.
    No luck.
    
                        ELLA
                  (into phone)
              No, I'm fine Olivia...
    
    She spots the album, lying in the rain.
    
                        ELLA
                  (into phone)
              ... I was out just the other day...
    
    She heads back over to the table.
    
                        ELLA
                  (into phone)
              ... Marjorie. Yes, Marjorie. She
              picked me up...
    
    As she closes the album, something catches her eye--
    
                        ELLA
                  (into phone)
              -- I'll call you back.
    
    She hangs up. Takes a closer look at one of the photos.
    
    
    INSERT - PHOTO
    
    Her husband gardening this very same spot.
    
    Ella touches the photograph with her finger: His t-shirt has
    those same unusual, green markings. She puts her hand to her
    mouth in shock.
    
    
    MONTAGE
    
    Autumn turns to Winter. Winter to Spring. Spring to Summer.
    
    
    EXT. GARDEN - DAY
    
    Autumn again. The garden now wild and unkempt.
    
    Ella sits at the patio table, a shadow of her former self.
    She taps her fingers, anxiously. Her eyelid twitches.
    
    The tattered photo album rests on top of a shallow box. She
    grabs her phone. Turns it off. Starts tapping again.
    
    Takes a deep breath--
    
                         ELLA
              Scott...
    
    She breaks into a huge smile. A butterfly flits towards her.
    Black and orange.
    
    It lands on the album, right by a photograph of her late
    husband. It flaps its wing, revealing those same unusual,
    green markings.
    
                        ELLA
              It's really you.
    
    She laughs through tears of joy.
    
    She lifts the photo album gently off the box, revealing a
    handgun.
    
    The butterfly flies over to the gun. Ella chuckles.
    
                        ELLA
              After all my complaints and
              ultimatums, I never did get rid of
              it. Reminded me too much of you.
    
    The butterfly floats back over to a photo album, landing on a
    picture of young Ella caressing a newborn baby.
    
                        ELLA
              Olivia will be fine. I'm just a
              burden to her now... Her
              inheritance will ease the pain, I'm
              sure.
    
    The butterfly flies over to Ella's hand. She gently lifts him
    up to her face.
    
                        ELLA
              It is you, isn't it? This is real.
    
    The butterfly flutters up. Lands on her cheek. She closes her
    eyes, as tears stream down.
    
                         ELLA
              Scott...
    
    The butterfly takes off. Ella opens her eyes. It's hovering
    right in front of her.
    
                         ELLA
               I'm coming my love. We'll be
               together, again.
    
    She reaches for the gun. Places it in her mouth. Closes her
    eyes.
    
    The butterfly flits off into the foliage, flying over a large
    bush and up through the branches of an old tree. It glides
    over a fence, and into a meadow of tall grasses and flowers.
    
    It keeps flying and flying until it reaches a small stream
    meandering through the center.
    
    It lands on a blood red flower. Doesn't move. The whole
    meadow is still--
    
    -- BANG!
    
    A gunshot echoes across the meadow.
    
    The startled butterfly flaps up into the sky, along with
    thousands of other black and orange butterflies.
    
    As they swarm, frantically, each flap of their wings reveals
    more of those same unusual, green markings.
    
    The butterflies fly off, disappearing into the haze of the
    bright Autumn sun.
    
                                               FADE TO BLACK.

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    THE REUNION
    
    FADE IN:
    
    EXT. NEW YORK - EAST 85TH STREET - NIGHT
    
    Ritzy brown apartments and townhouses abound. Fallen leaves
    carpet the ground. The cold streets are barren, except for--
    
    THREE BOYS donning Halloween costumes moving down the
    sidewalk. On the left is RANDY (10), chubby. His Spiderman
    outfit can barely contain his belly.
    
    In the middle: MIKE (10), average build. He wears the EXACT
    SAME Spiderman outfit as Randy.
    
    Last is TOBY (8), puny. He dons a Bale-esque Batman costume;
    its pointy ears much too large for his head.
    
                         TOBY
               Randy, why are we so far uptown?
    
                         RANDY
               I'm telling you, the rich folks
               here give out wads of cash, Faberge
               eggs, all sorts of neat stuff.
    
    Toby looks a bit worried by the desolate surroundings.
    
                         MIKE
               We've knocked on six doors so far
               and nothing. I bet it's these
               stupid costumes. Dammit, Randy, I
               told you I was going as Spiderman.
    
                         RANDY
               I thought you were going as
               Aquaman.
                         MIKE
               Aquaman's gay.
    
                         TOBY
               I thought the Green Lantern was
               gay.
    
                         MIKE
               They're all gay!
    
                         RANDY
               I think it's kinda cool. I could be
               Spiderman, and you can be like
               bizarro Spiderman.
    
                         MIKE
               If anyone's bizarro Spiderman, it's
               you. You come from the alternate
               reality where Peter Parker ate Mary
               Jane.
    
                        RANDY
               Shut up, Mike.
    
    The streets grow eerily darker as the boys approach a row of
    busted lamp posts. Toby's face grows fearful. He acquires a
    gold necklace and locket, softly massaging it. Mike notices:
    
                        MIKE
              Dude, you're still carrying that.
    
                        TOBY
              ... Ya, so?
    
    Mike sighs. He abruptly halts. The other two brake as well.
    
                        MIKE
              Toby, I liked your mom. She was
              cool as hell, but you're never
              gonna get over it if you keep
              carrying that thing around all day.
              It's been two years already.
    
    Toby looks dismal.
    
                        MIKE (CONT'D)
              Look, you have to move on. Now
              promise me you'll leave that thing
              in your room and keep it there.
    
    Toby gets a little teary-eyed. He reluctantly nods in
    agreement. Mike and Randy move on.
    
    Toby flips open the locket, revealing a stunning 40-year-old
    blonde, beaming, holding a younger, laughing Toby.
    
    The boys pass by a shady, rundown candy store. The windows
    are boarded up. The decrepit lettering above reads "Tyrell's
    Treats." An additional two stories sit above. The trio halt.
    
                        TOBY
              What is this place?
    
    Randy peers inside, pressing his belly up against the glass.
    
                        MIKE
              Tyrell's Treats. Sounds familiar.
    
                        RANDY
              Mike, there's still candy in here!
              A bunch of M&M's boxes are just
              laying on the counter!
    
    Without hesitation, Randy opens the rusty security gate and
    steps inside the death trap.
    
                        MIKE
              Come on, Toby. We might get a score
              tonight after all.
    
                        TOBY
              No. This place looks creepy. Let's
              just go.
    
    Mike steps inside. Toby stands frightened. A beat. He
    reluctantly follows Mike, clutching his 'lil necklace.
    
    INT. TYRELL'S TREATS - NIGHT
    
    The trio carefully move about the dilapidated store, BUMPING
    into a few dusty boxes. The air is noticeably musty.
    
                        MIKE
              Toby, get your iphone light out.
    
    Toby acquires his blue iphone. He taps it, points the screen
    ahead. The trio gather around a filthy table. Randy looks
    puzzled. A few ancient M&M's cartons lay on the counter.
    
                        MIKE (CONT'D)
              Some score this is. Always thinkin'
              with your stomach.
    
    He SLAPS Randy upside the head. Randy winces in pain.
    
    Mike moves for the door. He TUGS on the gate -- jammed. He
    motions for assistance. The three boys GRIMACE as they pull
    with all their might. Suddenly, CRACK. The handle breaks
    free. The trio TUMBLE to the floor. They dust themselves off.
    
                        MIKE (CONT'D)
              There's gotta be a back door.
    
    Mike forces Randy to lead the way. Toby holds up his iphone.
    
    The boys brake at a dusty portrait on the wall. It's of a
    bearded man (50's) wearing a candy store apron. He's posing
    with some kids -- joyless expressions etched on their faces.
    
                        MIKE (CONT'D)
              I remember now. This was Old Man
              Tyrell's shop. Psycho used this
              place to lure kids. Strangled a
              bunch of 'em back in the 70's.
    
                        TOBY
              Stop it, Mike. You're scaring me.
    
                         MIKE
               Jesus, relax, he's dead. He got the
               chair back in eighty-two.
    
    INT. TYRELL'S TREATS - 1ST FLOOR HALLWAY
    
    The trio TUG on a few grimy wooden doors, but all are locked.
    A staircase leads upstairs. A steel wireframe gate stands
    between them.
    
                         MIKE
               We'll get out the fire escape.
    
    Just as Mike opens the gate, an icy BREEZE moves through the
    hallway. The three look at one another, a bit worried.
    
    INT. 2ND FLOOR HALLWAY
    
    More wireframe mesh lines the walls. The trio tiptoe along.
    They spot flickering lights escaping from underneath a door.
    
                         RANDY
               Is someone still living here?
    
                         MIKE
               Maybe Meth addicts. But I doubt it.
    
    Mike JIGGLES the knob, swings open the mysterious door.
    
    INT. LAB
    
    The boys step inside, astonished by the sight ahead of them.
    Pulsating white lights reflect off their faces.
    
    It's a dim, makeshift science lab. Monitoring stations,
    oscilloscopes and old IBM computer screens abound.
    A large, gold Victorian mirror stands in the center of the
    room. Thousands of multi-colored wires are hooked up to its
    frame; half lead to readouts, half to bulky generators.
    
                         TOBY
               What is this place?
    
    Unbeknownst to the boys, the door behind them silently swings
    closed, revealing a DARK FIGURE standing in the corner.
    
                         DARK FIGURE
               I'm glad you could make it, boys.
    
    The startled boys spin around, hugging one another in fright.
    
    Out from the shadows steps JOE TYRELL (40), scruff. He hasn't
    bathed in ages. He's a spitting image of his pops. He wears
    an old mechanics outfit.
    
                         MIKE
               Gee, I'm sorry, Mister. We didn't
               know anyone was livin' here. We'll
               just be on our way now--
    
                         JOE
               Why not stay for the big reunion.
               Dad's finally comin' home tonight.
    
                         RANDY
               Dad? From where?
    
                         JOE
               From hell of course.
    
    The boys turn to one another -- EEK. They promptly DASH for
    the door. Toby escapes, but Joe SNAGS Mike and Randy by the
    arms. The two boys try to wrestle away to no avail.
    
    INT. 2ND FLOOR HALLWAY
    
    Toby hunkers down in a corner, WEEPING from fright, clutching
    his beloved `lil necklace.
    
    INT. LAB
    
    Randy and Mike are bound with duct tape, wriggling on the
    floor. Joe hammers away on a filthy keyboard like a pro.
    
                         MIKE
               Let us go you psycho!
    
                         JOE
               Sorry, boys. I require human
               biological material of equal mass
               to complete the inter-dimensional
               exchange. Together, you boys should
               be about one-eigty. That'll do...
               All right. Here we go.
    
    He taps F10. A blur of obscure code scrolls down the screen.
    
    The generators rev up, BUZZING loudly. Oscilloscopes spike.
    Voltage readouts max out as--
    
    Electricity begins to ARC across the surface of the mirror.
    Suddenly, WOOSH. The silver surface turns solid black,
    causing a RUSH of air. Loose papers swirl. The noise is
    DEAFENING. Joe checks his instruments.
    
                         JOE (CONT'D)
               Pressure differential at the event
               horizon is a little bit more than I
               expected! But the semi-permeable
               membrane should keep it in check!
    
    Joe snags a macabre, leather-bound black tome and stands in
    front of the mirror/portal. He begins to CHANT in Latin:
    
                         JOE (CONT'D)
               Amor vincit omnia! Semper fidelis!
               Caveat emptor! Aere perennius!
    
    TWO HELLISH HANDS begin to push though the portal's event
    horizon like it was made of black latex.
    
    Mike and Randy are FREAKED OUT.
    
                         JOE (CONT'D)
               All right, boys. In ya go.
    
    Joe DRAGS them closer. Mike and Randy scream in terror:
    
                         MIKE, RANDY
               Toby! Help! Please!
    
    INT. 2ND FLOOR HALLWAY
    
    Toby remains hunkered, paralyzed by fear.
    
                         MIKE, RANDY (O.S.)
               Toby!
    
    Toby WEEPS, squeezing his precious necklace for dear life.
    
                         TOBY
               Mama. Please. I need you.
    
    He holds the locket close to his heart. A warm beat. He
    summons up the courage... LEAPS forward.
    
    INT. LAB
    
    Toby BURSTS in. Joe's just about to toss Mike through the
    portal.
    
                         TOBY
               Noo!
    
    Toby charges Joe. He tries to tackle him, but is violently
    THROWN to the floor. Toby pops back up. He approaches a
    computer terminal and begins mashing the keyboard.
    
                         JOE
               Get away from there!
    
    Joe DROPS Mike. Randy quickly wraps a bundle of power cords
    around Joe's leg. As Joe moves for Toby, he trips, CRASHING
    to the floor.
    
    Joe's bloodshot eyes widen in terror. He looks behind him--
    
    His foot has CROSSED THE EVENT HORIZON. He quickly tries to
    pull it out but is instead DRAGGED through the hellish portal
    with a BLOODCURDLING SCREAM.
    
    The cables attached to Joe's leg rapidly unspool and are TORN
    from their sockets. SPARKS RAIN DOWN. Instruments go berserk.
    Smoke billows from the chugging generators.
    
    Toby finds a box cutter and quickly cuts Mike and Randy free.
    
                        MIKE
              We have to get outta here! This
              thing's gonna blow!
    
    INT. 2ND FLOOR HALLWAY
    
    The three boys race towards a boarded up window. Mike finds a
    2x4 and hands it to Randy. He begins prying the board loose.
    
    Suddenly, a resounding THUD emerges from the lab -- SOMETHING
    HAS FALLEN OUT.
    
    The boys stare in fear down the strobing hallway as an old
    man, dressed in NYC prison unis steps into view -- It's OLD
    MAN TYRELL. He's dripping in pink goo, like he just came out
    of the womb. He stares at the boys. A terrifying beat. He
    STUMBLES towards them.
    
    The boys are boxed in. Tyrell closes in, now only a few steps
    away. Mike spots a severed power cable protruding from the
    wall. He pulls it out and jams it into Old Man Tyrell's gut,
    ELECTROCUTING him. He PLUMMETS to the ground, twitching.
    
    Randy finally pries off the plywood board. The boys climb
    onto the fire escape.
    
    EXT. TYRELL'S TREATS - ALLEY - NIGHT
    
    The trio hustle down the ladder. They finally reach ground.
    Toby frantically feels around his costume.
    
                        TOBY
              Oh no! My necklace! I have to go
              back for it!--
    
                        MIKE
              Toby!... Let it go, dude.
    
    Toby looks up to the pulsating 2nd floor window. A somber
    beat.
    
                          TOBY
              Bye mama.
    
    The three boys tear down the leaf-covered sidewalk.
    
    INT. LAB
    
    It's CHAOS. Generators are ablaze. Readouts flicker wildly.
    Dozens of hellish hands stretch the portal's black membrane.
    
    Toby's necklace lays in the foreground. The locket is open,
    revealing the warm image inside. Suddenly, the locket begins
    to GLOW WHITE HOT. The ivory aura spreads like a virus,
    ENGULFING the floor, walls, roof and equipment. Fade to
    white.
    
    INT. CAR - DAY
    
    Toby's DAD drives. He's 40ish, clean cut, all-American. A
    despondent Toby sits in the passenger seat.
    
                         DAD
               I can't believe you. Breaking into
               condemned buildings. Almost being
               killed by some Meth addict. I knew
               those friends of yours were
               trouble. You're never to see those
               boys again. Understand?
    
    Toby remains dismal. Out the window, a massive crowd has
    gathered, blocking out E 85th Street. The sedan pulls over.
    
    EXT. TYRELL'S TREATS - DAY
    
    Toby snakes to the front of the mob -- bewildered expressions
    etched on their faces. He stands astonished by the scene.
    
    "Tyrell's Treats" is no more. The entire building has been
    overhauled. The facade is glistening white. The windows
    sparkle. The sign now reads "Toby's Corner." It's a daycare.
    
    INT. TOBY'S CORNER - DAY
    
    A BELL signals Toby's entrance. He moves about in awe. Cribs,
    rocking horses and huge teddy bears abound. From the ceiling
    hang plush planets wearing warm smiles.
    
    Toby's dad enters, dumbfounded. A few other patrons join him.
    
    Toby moves over to the wall. The dusty portrait of Old Man
    Tyrell has been replaced with a photo-enlarged pic of the
    tender scene in Toby's locket. He plucks the portrait off the
    wall and hugs it tight, teary-eyed.
    
                         TOBY
               I'll always love you, mama.
    
    
                                                     FADE OUT

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    THE BELL
    
    FADE IN:
    
    A HOUSE bathed in MOONLIGHT...
    
    EXT. ANTHONY DEAKIN'S HOUSE - NIGHT
    
    WILLIE SANDHURST, aged 8 and a pal, MARTIN MEADOWS play jacks
    on the old boards of the Deakin house veranda.
    
    Scattered pieces lie everywhere as Willie breaks eye contact
    with Meadows to stare up at a great MOON.
    
    Meadows, a FAT KID entombed within a flabby body watches him
    as he takes a piece of chalk and etches another mark on the
    wooden wall, only a few days to go.
    
    Willie scoops up the jacks and flips his hand over.
    
                              MEADOWS
               Go again.
    
                           WILLIE
               It's your turn.
    
                             MEADOWS
               I'll pass.    Winner goes again.
    
                              WILLIE
               Since when?
    
    Willie flips pieces everywhere this time. Meadows pudgy
    hand sweeps in and gathers up the jacks in one smooth
    movement.
    
                              MEADOWS
               Gotta scram.
    
    Willie shrugs. They step down off the porch. Willie picks
    his schoolbag and throws it over his back, Meadows collects
    his and does the same, they trot off down the lane.
    
    EXT. ANTHONY DEAKIN'S HOUSE - FULL FRAME
    
    Nails in the windows, fastened tightly down. Too many nails,
    too many boards. An old red car lies rusting, flat tires,
    everything left in a great hurry, it seems...
    
    Super:
    
                           Norfolk, England, 1981
    
    Lightning strobes for just a moment, followed by a distant
    roll of thunder, unseasonable.
    
    INT. SANDHURST FAMILY BREAKFAST TABLE - FOLLOWING MORNING
    
    MRS SANDHURST, trim, docile, buttering toast. MR SANDHURST
    hidden behind his newspaper. Willie making goblin faces at
    his little sister, AMY. Willie's mum drops more toast on
    his plate...
    
                          MRS SANDHURST
              Keeps you strong.
    
                          WILLIE
                  (cocky, earnest)
              I'm already strong mum.
    
                          MRS SANDHURST
              Well, it'll just make you stronger,
              then.
    
    Willie sighs and turns to the wall of newspaper.
    
                          MR SANDHURST
                  (from behind paper)
              Just eat it all up Willie. It'll
              make you-
    
    INT. CLASSROOM - LOCAL JUNIOR SCHOOL - NEXT DAY
    
                             TEACHER
              Strong?
    
    A teacher, MISS TRIM, early 30s, thin designer-glasses and a
    figure that curves as nicely as an egg timer reads out class
    names.
    
                          MISS TRIM
              Philip Strong?
    
    Beat.
    
                          KID
              Philip's sick, Miss!
    
                             MISS TRIM
              Hmm.
    
                             MISS TRIM (CONT'D)
              Peter Minch?
    
    Vertical arm.
    
                             SAME KID
              Miss!
    
                          MISS TRIM
              Very good Peter.
    
    She glances over her glasses.
    
                          MISS TRIM (CONT'D)
              Willie, I thought I told you and
              Martin to sit apart this week?
    
                          WILLIE
              That was last week miss!
    
    She pauses, evidently confused. Willie bites on his wedge
    of toast.
    
                          MISS TRIM
              Well, you'll have to move now. Class,
              it's time to form a circle and
              continue with the class project.
    
    Confusion and a riot of LEGS and MOPS of greasy hair scurrying
    and fighting for a SPOT.
    
    Moments later...
    
                          MISS TRIM (CONT'D)
              ... as I said in last week's session.
              Halloween is an American name
              remember. But we once knew it as
              All Hallows, when the souls of the
              departed...
    
    Suddenly at the CLASSROOM DOOR.
    
    Framed like a portrait of a a nervous GHOUL, MR WITHERS,
    50s, the HEADMASTER stares in...
    
                          MISS TRIM (CONT'D)
              I'll be back in one moment children,
              chat amongst yourselves and no
              fighting.
    
    Miss Trim disappears but we can still see her head through
    the glass. Her head bobbing and gesticulating. Some of the
    children watch and smile.
    
    INT - SCHOOL CORRIDOR - SAME
    
    Mr Withers wipes his glasses over with a duster as he regards
    Miss Trim not unlike an unpacked item missing instructions.
    
                          WITHERS
              I believe Miss Trim that they are
              too young to discuss certain aspects
              of the local history.
    
                          MISS TRIM
              I believe that the children should
              know about their village's history.
              We can't wrap them up in cotton wool
              every time-
    
    Mr Withers wearily places his glasses back on, his eyes now
    magnified.
    
                          WITHERS
              Very well, but not all of the details.
    
    EXT. SHAW'S LANE, OPPOSITE THE SCHOOL, LATER
    
    Willie sits swinging his legs whilst watching Meadows try to
    buttress in a spider that keeps running from him.
    
                          WILLIE
              It's true, Miss said. So it's got
              to be true!
    
    Meadows corners the spider.
    
                          MEADOWS
              My dad says it's all made up. The
              family had to leave after they got
              into trouble. It was ff-financial-
    
                          WILLIE
              Financial trouble, that's just a
              cover up, stupid.
    
    Meadows stands up and throws his shoulders back.
    
                          MEADOWS
              I'm not st-st -stuupid, okay. Don't
              you ever call me stupid.
    
    Meadows adjusts his bent school tie, he's perspiring.
    
                          MEADOWS (CONT'D)
              That Brian Oldglass once called me
              st-st-stuupid and he got thrown in K-
              K-Kitchener's pond.
    
                          WILLIE
              Okay, so you're not stupid, Martin,
              but we need to go up to the old
              church, nobody is there, it's been
              abandoned, for years. Unless...
    
                          MEADOWS
              Huh, w-w-what?
    
                          WILLIE
              You're chicken.
    
    Meadows puts his foot over the spider and presses it down
    slowly.
    
                          MEADOWS
              I'm not scared of n-nuffin, okay.
    
    Willie begins to pace around, clucking and flapping his arms
    like wings.
    
                          MEADOWS (CONT'D)
              Cut it out Sandhurst, w-w-w-where do
              we meet?
    
                          WILLIE
              Tell you later!
    
    EXT. ANTHONY DEAKIN'S HOUSE - NIGHT
    
    Willie on the old houses veranda again, he seems to like it
    here, he's playing with the jacks again.
    
    Rolls the jacks and watches them scatter. He hears something
    in the field.
    
    A head POPS UP over the sty in the field opposite. It's
    Meadows, trying to be clandestine.
    
                          MEADOWS
              Mum and dad were up late watching h-
              h-h-horror films. I h-had a whole
              hour until they fell asleep.
    
                          WILLIE
              Got any scoff?
    
                          MEADOWS
              Yeah, one of mum's wedges, and some
              chocolate bars.
    
                          WILLIE
              Don't you eat them all this time.
    
    EXT. LANE ON ROAD UP TO THE OLD CHURCH - AN HOUR LATER -
    
    Walking briskly up the lane. Watching a distant hillside.
    Where a LONE CHURCH sits with a dark mottled spire silhouetted
    against the sky.
    
                          MEADOWS
              I was thinking that Anthony Deakin
              again this m-morning.
    
                          WILLIE
              My old man says he ran into the house
              screaming about what he'd seen up
              there.
    
                          MEADOWS
              I heard he took an ax out of the
              shed and tried to chop up his m-m-
              mum and dad and sisters.
    
                          WILLIE
              No way, he saw a ghost or a witch up
              at the churchyard, and it sent him
              insane.
    
                          MEADOWS
              My dad says it's so, the family had
              him i-i-institutionalized, after
              they took the ax off of him.
    
                          WILLIE
              He'd be put in a white suit in a
              padded cell, that's what they do you
              know. I reckon he saw a witch or
              ghoul and the family moved, this old
              house is haunted you know.
    
                          MEADOWS
              The church had a bell in the
              thirteenth century, Miss Trim said.
    
                          WILLIE
              They melted it down though, after
              the black death, and sold it to feed
              the starving in the village...
    
                          MEADOWS
              That must be where the curse comes
              from. My dad says the church was
              cursed and the devils lives there,
              because they dared to melt down the
              bell.
    
                          WILLIE
              Hmm.
    
    a STAND OF OLD ELM TREES obscures the view to the church...
    and then the CHURCH itself suddenly appears, opening up before
    them, huge and gothic on the hill, a moonlit sky and clouds
    hangs ominously over it.
    
                          MEADOWS
              That's creepy, hey, lets' go home?
    
                          WILLIE
              Come on, no playin' chicken, remember,
              let's climb over the wall and hide
              up inside those bushes.
    
    EXT. THICK BUSHES AT SIDE OF CHURCHYARD - DUSK
    
    Lying in wait and whispering...
    
                          WILLIE
              Creepy how those tombstone shadows
              keep getting longer.
    
                          MEADOWS
              Pack it in Willie, I know you just
              want to spook me.
    
                          WILLIE
              Ain't this fun?
    
                          MEADOWS
              Wonder what did spooked Anthony
              Deakin? Did you ever see him.
    
                          WILLIE
              My mum used to baby sit at the
              Deakin's house. She took me there a
              few times.
    
                          MEADOWS
              You went inside that house.
    
    EXT. CHURCHYARD - EVENING - HOURS LATER
    
    A STRONG WIND whistling and blowing up leaves. Willie is
    eating a doorstep sandwich whilst Meadows lies on his back
    watching the eerie sky and MOON.
    
                          WILLIE
              Only an ten minutes to midnight.
    
                          MEADOWS
              I don't like this, come on, let's
              go.
    
                          WILLIE
              Chicken, you go, I'm stayin'.
    
    Meadows watches Willie, sighs and rolls back over onto his
    back.
    
    EXT. CHURCH - TEN MINUTES BEFORE MIDNIGHT
    
    Willies eyes are WIDE OPEN as he watches the church
    speechless. Meadows covers his eyes.
    
                          MEADOWS
              Is it the devil?
    
                          WILLIE
              It was something evil and unnatural
              and-
    
                          MEADOWS
              Maybe we imagined it?
    
                          WILLIE
              Open you eyes!
    
    Meadows removes his hands. Up in the BELL TOWER, an ominous
    blue light is growing in intensity.
    
                          MEADOWS
              That ain't normal.
    
                          WILLIE
              It's like that light in Poltergeist
              when it comes out of another world.
    
                          MEADOWS
              Somebody must have a lamp up there?
    
                          WILLIE
              Look, it's coming out from the
              windows.
    
    Meadows stands up and BOLTS.
    
                          WILLIE (CONT'D)
              You have to stay, don't be so chicken.
    
    Meadows disappears into the darkness.
    
    EXT. CHURCH BELL TOWER - CONTINUOUS
    
    The light is FANNING OUT over the entire churchyard.
    
    Willie struggles up... as he wavers the light washes over
    him...
    
    EXT. CHURCHYARD WALL - SAME
    
    Meadows watches...
    
    EXT. CHURCHYARD - MOMENTS LATER
    
    An eerier BLUE BULB of light encases Willie, he wavers likea
    drunk...
    
    THE MOURNFUL SOUND OF A GREAT CHURCH BELL RINGS OUT...
    
    we are back in the thirteenth century, FIRES, begins to flare
    up around the edges of the churchyard. Meadows turns to see
    a procession of mourners as they follow a dead cart up towards
    the church...
    
                                                     FADE TO BLACK:
    
    EXT. POLICE STATION - MORNING AFTER HALLOWEEN
    
    A grizzled constable walks into the room and places a hot
    mug of tea down on the bland wooden desk.
    
    He watches the boy who sits motionless. We recognize Meadows,
    but he's filthy, his clothes sodden, ripped and he's still
    shivering.
    
                          CONSTABLE
              Drink up laddy.
    
    Meadows stares over the constable's shoulder at the adjacent
    wall. Another man enters the room. DCI BATES, 40s, weary,
    clearly in charge.
    
                          CONSTABLE (CONT'D)
              Any sign of the Sandhurst boy sir?
    
                          DCI BATES
              Nothing yet. They're widened the
              search to the Deakin house now, he's
              been seen playing in last few weeks.
    
    He looks at the Meadow's boy.
    
                          DCI BATES (CONT'D)
              Has he spoken yet?
    
                          CONSTABLE
              No sir, he just...
    
    Meadows mumbles something... the two men glance at one
    another.
    
                           CONSTABLE (CONT'D)
                  (gently)
              What's that lad?
    
    Meadows stares up into their faces, he locks eyes with the
    men.
    
                           MEADOWS
              I heard it...
    
                           CONSTABLE
              What lad. You heard what...
    
                          MEADOWS
                  (stammering)
              ... the great bell, they were there,
              the mourners, they were ringing the
              bell, for the last time, like. You
              know?
    
    The men look at one another, and then back at Meadows, who
    is staring back at the wall...
    
                          MEADOWS
                  (quietly, a whisper)
              The Bell...
    
                                                        FADE...

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    THE TAKER
    
    ... a GIRL'S slender hand
    
    ...as she presses a BUTTON on her new GOBLIN WATCH. Her
    face lights up in the green GLOW.
    
                             LAUREN
              Bums me out.
    
                             STANNER
              Lauren.
    
                             LAUREN
              Huh?
    
                          STANNER
              Stop doing that.
    
                             LAUREN
              Huh?
    
                          BILLY
              Edgeware Avenue.
    
    A dark housing estate rises up before us. Ominous, dozens
    of little houses. A pumpkin burns on a dilapidated porch.
    
                          BILLY (CONT'D)
              They'll take your watch.
    
                             STANNER
              And you.
    
                          BILLY
              This may be the frontier, but there's
              rich pickings here.
    
    Billy wipes his nose.
    
                             STANNER
              Here goes.
    
                          LAUREN
              Okay, guys, group hug.
    
    The gang press-up. Billy looks uncomfortable. Lauren
    notices.
    
    The gang tread out over the unholy turf of the Edgeware Avenue
    housing estate...
    
    Suddenly...
    
    OVER BLACK:
    
    Lauren's character capsule: age 13, moved into Bradford last
    year when her parents split up/Was at a good school/Now at
    a not-so-good school. Heart of gold, loves everybody and
    loves animals. Loves Queen, We Are the Champions.
    
    EXT. SOMEWHERE IN THE BARRIO OF EDGEWARE AVENUE - LATE
    
    And they stop.
    
                          BILLY
              Maybe he won't show this year.
    
                          STANNER
              You said he'd been arrested.
    
                          LAUREN
              Who?
    
                          STANNER
              Nobody.
    
    They walk on.
    
                          LAUREN
              Come on, keep up guys.
    
    Billy follows Stanner, Lauren is way out front. She's sizing
    up the houses.
    
    Some of which are in darkness.
    
    EXT. ELSEWHERE - WAY AHEAD - AN EDGEWARE AVENUE TERRACE,
    NUMBER 200 AND SOMETHING - MOMENTS LATER
    
    Low camera moves up a stone path. We see only the lower
    slats of a dark front door. It CLICKS ajar, a spear of light
    pours out. Black boots. The door CLICKS shut. The boots
    narrowly avoid us, WALKING down the stone path. Fainter and
    fainter as they turn onto the street.
    
    The camera moves up, we see a number, 237, embedded on gone-
    green copper plate.
    
    EXT. BACK ALONG THE STREET - SAME
    
    Stanner at end of a similar path. Watching. Lauren and Billy
    hunkered up under a dim red porch light.
    
                          INTERCOM
              Zzzz...zzz...
    
                            BILLY
               Huh.
    
    Nothing. Then..
    
                            INTERCOM
               Zzzzzzz...
    
                            BILLY
               Busted.
    
                            LAUREN
               Totally.
    
                           BILLY
               Thanks anyway...
    
                           LAUREN
               Happy Halloween...
    
                           INTERCOM
                   (delay...)
               ....Zzzzzzzzz.
    
    Lauren shrugs approaching Stanner. Billy is halfway down
    path when...
    
    CLICK...TINKLE...CLICK...TINKLE... and some more.
    
    The cat flap closes, the SWEETS form a little MOUNTAIN, a
    cola bottle rolls out and down the path resting at Billy's
    feet.
    
    He stares at the others in disbelief.
    
                           LAUREN
               That was so cool...
    
    OVER BLACK:
    
    Stanner's character capsule: age 14, good at soccer, played
    for local side until a knee injury shattered his chances of
    selection for an 'unders' team. Speaks to everybody at
    school, liked by everybody at school. Befriended Billy when
    he met him walking alone close to a soccer game and introduced
    him to Lauren who is the 'new girl'. Has a soft spot for
    Elvis, but that's a closely-kept secret.
    
    EXT. FURTHER ALONG THE STREET - MINUTES LATER
    
    Dancin' with linked-up arms... kicking legs out...
    
                            BILLY
               Good omen.
    
                           LAUREN
               Such a charmer, Billy!
    
    Billy seems to blush.
    
    EXT. CORNER JUNCTION - FORMS PART OF EDGEWARE AVENUE -
    
    Half an hour later. MOON. Rain. Stanner stooped and rifling
    through the now-stuffed supermarket bag.
    
                           STANNER
               We could quit now and be eating this
               booty 'til Christmas.
    
    Billy watches him and smiles awkwardly.
    
    ODDBALL HOUSE, if ever there were...
    
                           BILLY
               Okay...let's try this fine
               establishment.
    
    Long driveway. Front door is a mass of blue fairy lights. A
    grisly-looking evil face is bolted to the front door. Lauren
    seems nervous, scared even...
    
                           LAUREN
               Is this the House of Horrors.
    
                           STANNER
               Billy and I'll get this one, step
               aside.
    
    Stanner steers his hand like a shark fin.
    
    EXT. DOORWAY - MOMENTS IN
    
    Ding...
    
    Then...
    
    Ding...ding...dong...dong...ding...ding, dong... and on it
    goes, the fairy lights on the same circuit as the bell follow
    the jingle and then it...
    
    CLICK...
    
    The door opens...
    
    EXT. FURTHER UP THE STREET - SOMEWHERE
    
                           BILLY
               ...but Stanner does a good impression
               of a ghoul?
    
                          STANNER
              I wasn't doin' no wild dances.
    
    They're all still laughing.
    
                          LAUREN
              It wasn't so funny back there.
    
                          BILLY
              That guy was huge, and scary.
    
                          LAUREN
              I thought he was weird.
    
                          STANNER
              He liked you.
    
                           LAUREN
              Hey.
    
                           STANNER
              Huh.
    
                           LAUREN
              Don't.   He scared me.
    
                          STANNER
              Sorry Lauren.
    
    OVER BLACK:
    
    Billy's character capsule: age 14, like Stanner, but immature,
    and prone to fits of aggression, spent a lot of time alone
    at school, seems to make friends, and then lose them for
    some reason. Favourite band is The Smiths. But he changes
    his mind often.
    
    EXT. CLOSE TO END OF EDGEWARE AVENUE, A SIGN FOR ALAMO
    AVENUE ABUTS EDGEWARE...
    
    When...
    
                          BILLY
              Why do you come here.... and why do
              you hang around...
                  (singing,)
    
    Billy well ahead and staring back cheekily...
    
    Lauren and Stan share a nervous...
    
    Billy nearly walks into the...
    
    
    EXT. ON A STRIP OF PAVEMENT, 100 YARDS FROM THE END OF
    EDGEWARE AVENUE
    
    ...spitting image of MICHAEL MYERS causing him to jump back.
    Lauren and Stanner frozen as they survey Billy.
    
                          BILLY
                  (to others, regardless)
              That's ten houses, we've nearly filled
              the bag, and people are meant to be
              broke...
    
    Stanner shuffles the bag so that it dangles behind his back...
    
                          STAN
              Fruit, soda, cola, liquorice sticks,
              sweet cigarettes, cola bottles, we
              dumped them all back there...
    
    Mirroring the unreality of Billy's behaviour.
    
                          STANNER
                  (soft, quiet, nervous)
              Why'd we have to come all the way
              out here?
    
    Wilting under Myers' shadow.    Billy turns-
    
                          BILLY
              We haven't got any grub, mate.
    
    Michael Myers doesn't answer.    He just BREATHES.
    
    His mask shines under the lamps and rain continues to fall.
    Billy isn't moving, he doesn't seem bothered. Even.
    
    Myers points at the bag Stanner is attempting to dangle behind
    his back and keeps poking out.
    
                          STAN
              My mum's shopping!
    
    Myers motions again.
    
                          STANNER
              Oh, you want this?
    
                          LAUREN
              Just give it to him, Stanno.
    
    Lauren gains confidence.
    
                          MICHAEL MYERS
              Listen kid, hand it over or...
    
    Yeah, he talks.
    
                             LAUREN
               Or...
    
    Billy all this time is staring at the pavement, shuffling,
    kicking around. Edgy.
    
                           MICHAEL MYERS
               You don't get to leave.
    
    Stanner steps forward, Myers is at least 6 feet 4". He moves
    in front of Lauren. Whisper.
    
                             STANNER
               On my go...
    
    Stan suddenly SLINGS the bag at Myers...
    
    EXT. BEYOND EDGEWARE ROAD - MINUTES LATER
    
    Lauren is sitting on the pavement. Stanner is standing but
    holding his knees, but he keeps watching Lauren.
    
                           LAUREN
               What about Billy?
    
    Silence.   The rain falls.
    
                           STANNER
               He can take care of himself.
    
    Lauren watches him, confused. Stanner smiles gently at her.
    
                           STANNER (CONT'D)
               Let's get back into town. You hungry?
    
    WIDE SHOT of Edgeware Avenue. Black. Rainy. Sullen. In
    the darkness we can see the glimmer of lights. FLICKERING
    EYES of pumpkins? Crazy FAIRY LIGHTS...
    
    EXT. EDGEWARE AVENUE - MIDNIGHT... OUT OF THE DARKNESS
    
    ... walks Billy, hands in pockets. He stares ahead, and
    moments later, after a long pause, he turns about and walks
    back up Edgeware Avenue...
    
    EXT. EDGEWARE AVENUE - 1PM - TERRACE WITH
    
    ...a creepy pumpkin, plastic, lifeless, no light inside the
    eyes, discarded on the step...
    
    Billy stands staring up at the house. Windows peeling paint.
    Overgrown garden. He screws up his shoulders before he makes
    his way up the pathway to the front door.
    
    We see the number 237 embedded in the fading green copper,
    it almost reflects Billy's bommber jacket back...
    
    He fumbles around his pocket. Produces something... it's a
    key on a piece of card.
    
    INT. HOUSE - HALLWAY - MOMENTS LATER
    
    Billy on a ragged, dirty carpet. A pale yellow light casts
    its wan beams through the hallway.
    
    He looks over at a cream door to his left, an ominous light
    runs around its edge.
    
    Billy turns the handle slowly and enters...
    
    INT. HOUSE - LIVING ROOM - MOMENTS LATER
    
    A MAN watches TV in a high backed chair, his back to Billy.
    
    Billy moves in line with the man and then drops into the
    only other chair, one of a matching pair.
    
    TV: a scene from Friday 13th...
    
                              MICHAEL MYERS
               Candy stick?
    
    Silence.
    
                           MICHAEL MYERS (CONT'D)
               What's up son, that was a better
               haul than from those brats you led
               me to last year.
    
    The man peels back a wrapper on a chocolate bar. Raises his
    mask and swigs a from a beer.
    
                              BILLY
               Dad...
    
                              MICHAEL MYERS
               Yeah?
    
    Beat.
    
                              BILLY
               ...nothin'.
    
    TV:
    
    A subjective camera is following a girl in a ripped dress
    through a camp site barn, she seems very scared, we're
    intruding on her space. The room is silent.
    
    Almost dark outside of the TV flicker. We begin to FADE as
    we move up slowly to a weak bulb dangling from the ceiling
    mount...
    
    Super:
    
                     Bradford, England, 1991...
    
    Over a final glimmer:
    
                            Halloween Night...
    
                                                       FADE...
    Last edited by dpaterso; 11-06-2013, 02:46 AM.

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    COFFIN CREEK
    
    EXT. ALABAMA COUNTRY ROAD * DAY
    
    No houses anywhere in sight. The only sign that civilization
    ever came through here is the road itself. Dead leaves
    skitter with the wind across the cracked pavement. High weeds
    crowd in along the shoulders.
    
    A jet black BMW hurtles down the road. Dark tinted windows...
    and New York license plates.
    
    
    EXT. BRIDGE
    
    A bullet-pocked, faded yellow sign in front of this ancient
    relic warns that the road narrows to one lane. Someone's
    spray painted "BOO!" over part of it. A homemade ghost,
    fashioned from a sheet, spins off a rope hung from the sign.
    
    Twenty feet below the bridge, the water runs wide and deep.
    
    
    EXT. CREEK BANK
    
    Unseen from above, a rusted Ford pickup truck squats beneath
    the bridge; Doors open, tailgate down, cane poles and fishing
    tackle untouched in the bed of the truck. The back window
    displays a gun rack with a couple of deadly looking rifles
    and shotguns attached there.
    
    A few feet away from the truck, a small campfire burns.
    
    
    EXT. BRIDGE
    
    The BMW hits a pothole that's dug itself down deep into the
    asphalt, just before where the bridge concrete starts.
    
    BAM -- Both front and back tires on the passenger side blow
    out after running over the jagged edges. The driver of the
    car somehow manages to keep it from losing control and brings
    it to a stop at the far end of the bridge.
    
    The Beemer limps to the shoulder - where a dirt wheel path
    winds down and around to underneath the bridge.
    
    
    EXT. CREEK BANK
    
    Coming out of the weeds, ELMORE BASS tosses a couple of
    sticks in to feed the campfire. Forty, lean, dressed in
    denim overalls, he looks every inch the country bumpkin.
    
    Except for his face. Square chinned, clean-shaven, a fiery
    intelligence in his eyes.
    
    
    EXT. BRIDGE
    
    The ENGINE SHUTS OFF and the car just sits there for a while.
    Finally, the window rolls down. A feminine hand drums the
    open window frame.
    
    Then the car door opens and out steps KATELIN JONES (30s).
    Fashionably trendy pantsuit, raven hair tied in a pony-tail,
    she'd be a reasonably attractive woman --
    
    If it weren't for the scowl on her face.
    
    Scanning the blown-out tires, she reaches into her purse and
    whips out a cell phone. Hits a button.
    
    CLOSE ON PHONE.
    
    No bars.   She won't be calling anyone from here.
    
    Katelin throws it back in her purse.
    
                         ELMORE (O.S.)
               Be needing some assistance?
    
    He startles her. She hadn't seen him come up the track. She
    immediately reaches back into her purse and yanks out a
    pocket-sized mace canister, pointing it at him.
    
                         KATELIN
               No. I mean yes. But just stay right
               there. I'm armed.
    
    He takes another step closer and stops. He regards the small
    can pointed at him. And dismisses it.
    
                         ELMORE
               Yeah. I see that.
    
    He walks right on past her, taking a quick glance at the
    license plate before examining the tires.
    
                         ELMORE (CONT'D)
               I'd ask you if you had a spare, but
               with two tires popped, don't
               imagine there's much point.
    
    She shifts as he passes, keeping the mace pointed at him.
    
                         ELMORE (CONT'D)
               I'll radio a tow truck for you. No
               cell service out here.
    
    He heads back past her, down the track toward the creek.
    
                           ELMORE (CONT'D)
                 You can sit up here in your car and
                 wait. Or you're welcome to join us
                 down by the creek.
    
                           KATELIN
                 Us?
    
    He's already almost out of sight.
    
                           ELMORE
                 Leroy's down here somewhere.
    
    
    EXT. CREEK
    
    Elmore saunters over to the truck, leans in across the seat,
    looking for something on the floorboard.
    
    
    INT. CAR
    
    Katelin settles herself into the soft leather driver's seat
    and closes the door. Her hand is on the ignition. She stays
    there for a few seconds, debating.
    
                            KATELIN
                     (To herself)
                 You're a big girl. Not afraid of
                 city muggers. Besides, you're
                 armed. What's a redneck to be
                 scared of?
    
    She opens the door.
    
    
    EXT. BRIDGE
    
    She stomps down the path, mace canister in hand, purse slung
    over her shoulder.
    
    
    EXT. CREEK BANK
    
    Elmore's sitting in a folding chair next to the creek. He
    gestures to another chair on the opposite side of the
    campfire.
    
    Katelin huffs, then takes the seat, setting the mace in her
    lap. She sits there, silent. Ignoring him.
    
    He looks more amused than offended.
    
    
                        ELMORE
              'Round here, we gen'rally say
              howdy, introduce ourselves, talk
              about the weather, natter on about
              who we are and who we know.
    
    He rises, walks over.   Sticks out his hand.
    
                        ELMORE (CONT'D)
              Elmore Bass. Local resident and
              redneck.
    
                        KATELIN
                  (only mildly embarrassed)
              You heard that?
                        ELMORE
              Mighty quiet 'round here. Sound
              carries. Hear a lot of things. If
              you're used to listening.
    
    She reaches out and shakes his hand perfunctorily. Doesn't
    get up.
    
                        KATELIN
              Katelin Jones.
    
    With a nod of acknowledgement, he returns to his seat and
    picks up a stick to stir the fire a little more.
    
                        ELMORE
              And?
    
                        KATELIN
              And what? I don't think I'll be
              here long enough to be meeting the
              kinfolk and tell my life story.
    
                        ELMORE
              Never know what's gonna happen.
    
    A SPLASH as LEROY suddenly pops his head up out of the water
    behind Elmore. He exhales mightily.
    
    Leroy's somewhere in his thirties; Curly hair, little eyes,
    bushy black beard; Based on what's above the water, he looks
    like he'd be a fairly big boy. He sucks in air greedily, but
    his eyes never stop scanning the water around him.
    
    Elmore doesn't even turn his head.
    
                        ELMORE (CONT'D)
                  (To Leroy)
              You find him?
    
    Leroy shakes his head, even though Elmore can't see him.
    
                           LEROY
                Not yet.
    
    Elmore grunts.
    
                          ELMORE
                Keep lookin'.
    
    Leroy nods and submerges again.
    
    Katelin watches the ripples left behind, not real sure what
    to make of it.
    
    She shifts her attention back to Elmore.
    
                           KATELIN
                I thought you were going to call a
                tow truck.
    
    His eyes suddenly narrow. A frown. He reaches with one hand
    down to the high grass beside his chair.
    
                          ELMORE
                Already took care of that.
    
    The hand whips back around.    Now holding a pistol.
    
    He FIRES twice.
    
    Katelin flinches, looks down at her body.   Astonished.
    
    No holes.
    
    But on the ground next to her is the now headless body of a
    six foot snake.
    
    Finished checking herself for wounds, she spots it.
    
    Elmore leans forward in his chair. Nods. Satisfied.
    
                          ELMORE (CONT'D)
                Copperhead.
    
    He looks at the dead snake for another second.
    
                          ELMORE (CONT'D)
                Now, most poisonous snakes, rattler
                or water moccasin, you leave 'em
                alone and they'll leave you alone.
                But a copperhead's just plain mean.
                He'll sneak up and bite you just
                'cuz he feels like it.
    
    He puts the pistol back where he got it.
    
                        ELMORE (CONT'D)
              Most folks don't see the really bad
              ones until it's too late.
    
    Only now does she remember the mace canister in her lap. She
    automatically reaches for it, then draws her hand up to her
    hair, trying to hide the original reason for the motion.
    
                        ELMORE (CONT'D)
              So, what brings you down to this
              neck of the woods?
    
                        KATELIN
                  (hesitating before
                   deciding to answer)
              My sister's getting married next
              week. I wanted to spend some time
              with her before the wedding.
    
                        ELMORE
              My best wishes to the bride. She
              live in Alabama?
    
                        KATELIN
              No. Florida panhandle.
    
                        ELMORE
              Long way to drive. Even further
              this way. You decide to take the
              scenic route?
    
                        KATELIN
              I hate flying, so I drove. The
              interstate was at a dead stop.
              Accident somewhere up ahead of me.
              So I turned off. Then my GPS got
              itself lost.
    
                         ELMORE
              Never trusted one of those things.
                  (beat)
              So no one knows you're here?
    
    A hesitation.
    
                        KATELIN
              Well, I called my sister right
              before I got off the interstate and
              told her exactly where I was.
    
    Elmore gives her a long look. Not buying it.
    
    A SPLASH and a WHOOSH. Leroy again.
    
                        LEROY
              You got company?
    
                        ELMORE
              Where are my manners... Leroy, this
              here's Katelin Jones from New York.
    
    Apparently, that fact is enough to impress ol' Leroy.
    
                         LEROY
                  (To Katelin)
              New York? I love that ball drop
              each year!
    
    Elmore scowls at Leroy.
    
                        ELMORE
              You gonna fish or chew the fat?
    
    The gears turn inside Leroy's head as he thinks on this. He
    brightens.
    
                        LEROY
              Fish, I guess.
    
                        ELMORE
              So what are you waiting for?
    
    Leroy submerges again.
    
                        KATELIN
              What's he fishing for?
    
    Elmore shrugs again.  Noncommittal.
    
                        ELMORE
              Guess you'll find out when he does.
    
    Several long seconds pass before Leroy resurfaces. Excited.
    
                        LEROY
              I found him!
    
    In front of him, the top of a wooden coffin slowly rises to
    the surface. Leroy's straining... Then --
    
    He loses his grip and it sinks back under. Leroy immediately
    dives after it.
    
    Elmore rises from his chair and moves to the bank.
    
    Katelin seizes the moment to place her hand around the mace
    canister and starts to stand --
    
    The coffin breaks the surface like a fast-rising sub, sliding
    up over the limestone bank to rest at Elmore's feet. The top
    of Leroy appears, his beefy arms continuing to push the
    coffin from the bottom.
    
    Once the coffin is firmly on the ground, Leroy pulls himself
    up onto the bank. As water seeps out through the cracks and
    seams, Elmore kneels beside the coffin.
    
                        ELMORE
              He still in there?
    
                        LEROY
                  (sucking in air)
              Not sure. I slammed the lid closed.
    
    One side of the coffin lid is hinged. Elmore grabs the
    opposite edge. He looks to Katelin.
    
                        ELMORE
              Trick or treat?
    
    Elmore grasps the lid and flips it open.
    
    Katelin, in spite of herself, remains rooted to her spot. She
    cranes her neck -
    
                        ELMORE (CONT'D)
              Black cat just crossed your path.
    
    He gestures --
    
    Inside the coffin is one big-durned black catfish, swimming
    in the remaining water.
    
    The NOISE of a TRUCK slowing and stopping can be heard. Soon,
    it's followed by the SOUND of a WINCH being used.
    
    Elmore smiles at Katelin.
    
                        ELMORE (CONT'D)
              That'll be the wrecker. Can I
              interest you in a catfish dinner?
    
    Her turn to smile. She notices that she's still holding the
    mace canister. She drops it in her purse.
    
                         KATELIN
              I think I'd like that. Happy
              Halloween.
    
    [end]
    Last edited by dpaterso; 11-06-2013, 02:41 AM.

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    MOLLY
    
    INT. GROCERY STORE - DAY
    
    Items move across a conveyor belt. A fat hand reaches for
    each and rolls them past a scanner. BEEP. BEEP. BEEP.
    
    The items continue on their journey down the chute to MARK
    (19) the bagger's quick and expert hands.
    
    We move back to the stubby fingers of MOLLY, the teenage
    cashier, pounding the number keys to end the transaction.
    
                           MOLLY
                   (O.S.)
               Credit or debit?
    
    An elderly woman CUSTOMER stares up at the cashier from her
    scooter.
                           CUSTOMER
               Credit.
    
                           MOLLY
                   (O.S.)
               We need your signature on the pad.
    
    The old woman reaches up to sign the credit card reader.
    
                           CUSTOMER
               These things never look like my
               signature. What if someone doesn't
               believe it's really me?
    
                           MARK
               Nobody ever looks at those things,
               ma'am.
    
                           CUSTOMER
               They don't? Then why do they make
               us sign them?
    
                           MARK
               Mostly so old people won't freak out
               about not signing something when
               they pay.
    
    Molly hands the old lady her receipt.
    
                           MOLLY
                   (O.S.)
               Thank you for shopping at the Saver.
    
    The woman takes the receipt, but looks disgusted.
    
                           CUSTOMER
               Your face is bleeding.
    
    Molly (17) touches her acne-covered face and looks at the
    blood on her fingers.
    
    The old lady motors away.
    
                          MARK
              Pete, Molly's face is scaring the
              customers again.
    
    PETE, the twenty-something shift manager, walks over to the
    register.
    
    He cringes at Molly's face.
    
                          PETE
              Jesus, Molly.
    
    He hands her a rough brown paper towel from behind the
    register.
    
    Molly takes it like she's getting an engagement ring.
    
                          MOLLY
              Thanks, Pete.
    
                          PETE
              Uh, yeah. Why don't you take your
              break and try to stop bleeding.
    
    Molly flips her register light off, squeezes out of her work
    station, and waddles to the back of the store.
    
                          MARK
              I think she likes you.
    
                          PETE
              I know but, eee-yuck.
    
                          MARK
              Just think. She could use her face
              oil as a natural lubricant when she
              went down on you.
    
                          PETE
              Thanks for that mental picture.
    
                          MARK
              So, did you bring the stuff?
    
                          PETE
              Yeah, but you gotta promise to play
              it straight or you'll ruin the whole
              thing.
    
    
    INT. BREAK ROOM
    
    Molly sits alone at a long table, washing down a bag of
    Funyuns with a large bottle of Sunkist.
    
    Mark and Pete enter. Mark gets a Coke from a vending machine
    as Pete pulls a brown lunch bag from the fridge and sits at
    the other end of Molly's table.
    
    The twinkle in Molly's eyes for Pete quickly disappears as
    Mark sits down next to Pete.
    
                             PETE
              Molly?
    
                             MOLLY
                     (accidentally spewing
                      Funyun crumbs)
              Yef?
    
    Pete tries not to gag. Mark openly laughs at her.
    
                          PETE
              Well, it's obvious you've got
              facial...blemishes. And it's no big
              deal, it happens to people. But I
              was wondering if you've ever really
              tried to do anything about it.
    
                           MOLLY
              I clean my face all the time, but I
              can't afford the Activia or whatever
              it's called.
    
                          PETE
              Yeah, well, that's yogurt, but anyway,
              I was thinking about you the other
              night.
    
                             MOLLY
              You were?
    
    Mark snickers.
    
                          PETE
              Uh, yeah. And I got something here
              that my grandma swears worked for
              her.
    
    Pete pulls out a small, round plastic container from his bag
    and passes it across the table to Molly.
    
    Molly holds the container up to the light to examine the
    white goop through the clear plastic.
    
                          MARK
              It's homemade, right?
    
                          PETE
              Yeah. You wouldn't believe how much
              work went into coming up with just
              that small amount.
    
                          MARK
              Yeah, I even had to come over and
              help out. It was a lot of hard work
              to get it to come out right. You
              know. Make it precise.
    
    Molly carefully lifts the lid of the container off and looks
    at the milky cream inside. She sniffs it.
    
                          MOLLY
              What do I do with it?
    
                          PETE
              Grandma says just smear it on your
              face.
    
                          MARK
              I think her exact words were give
              yourself a facial.
    
    Pete stifles a smile by glaring at Mark.
    
                          PETE
              Yeah, you know. Just rub it out, I
              mean in. Rub it in.
    
    Molly puts the lid back on.
    
                          MOLLY
              You really think it will work?
    
                          MARK
              Your face can't get any worse, right?
    
                          PETE
              Just give it a shot and tell us how
              it went tomorrow. If it works, we
              can whip you up some more.
    
    Molly holds the container up to the light once more as we
    DISSOLVE to
    
    INT. BATHROOM - NIGHT
    
    Molly dips her hand into the opaque goo and rubs it between
    her thumb and finger. She wrinkles her nose before smearing
    it on her forehead.
    
    She grabs more and rubs it into her fat cheeks and bulbous
    nose.
    
    She places the empty jar on the counter and looks into the
    mirror.
    
    Her face glistens with the stuff.
    
                          MOLLY
              Now what?
    
    She gives closer scrutiny to a white-headed blemish sitting
    snugly in the wrinkle between her nose and cheek.
    
                          MOLLY (CONT'D)
              Secret formula. How stupid.
    
    She pushes the edge of the zit with her forefinger.
    
    It appears to grow bigger as she applies more pressure.
    
    She applies a second finger and a scowl and pushes even
    harder.
    
    White pus pops out of the pore.
    
    Only it doesn't stop. It oozes out in a long, thick string
    as she continues to squeeze. Inches of stuff soon becomes a
    foot of worm-like slithering pus.
    
    A terrified Molly SCREAMS as she pulls the last of it out of
    her face.
    
    She eyes the worm. It looks back at her. She barely dodges
    a SNAP at her nose from its razor sharp teeth.
    
    She tosses it in the jar and it slithers around.
    
    She looks back at her reflection in the mirror.
    
    Her multiple whiteheads pulsate and squirm just below her
    skin.
    
    INT. BREAK ROOM
    
    Pete and Mark sit at the long table in utter boredom.
    
    Molly enters with large, scabbed over wounds on her face and
    carrying a brown paper bag and the empty plastic container
    from the night before. The bag has "MOLLY'S DON'T TOUCH!!"
    scrawled on the side.
    
                          MOLLY
              I got you guys something. As a thank
              you.
    
    She pulls a lidded casserole dish out of the bag and places
    it in the fridge.
    
    Mark and Pete smirk as Molly sits down at the table.
    
                          MOLLY (CONT'D)
              And here's your container back.
    
                          PETE
                  (ignoring her)
              Ah, you shouldn't have.
    
                           MARK
              Holy crap. Your face is worse.
    
                          MOLLY
              Is it? I think once these scabs go
              away, everything'll be all cleared
              up. You've changed my life forever.
    
    Pete chokes back a gag reflex when he finally looks her
    direction.
    
                           MARK
              Cum again?
    
                           MOLLY
              I can't think you enough for what
              you've done.
    
                          PETE
              See, man, I told you she'd appreciate
              it.
    
                          MARK
              I su-pooge you're right.
    
                          MOLLY
              Anyway. Can I go back to working
              the register again?
    
                          PETE
              Ugh, don't you think you should get
              your face jackulate, I mean, checked
              out before it's too late by a doctor
              or something?
    
    Molly touches her sores gingerly.
    
                           MOLLY
              These? Do you really think so?
    
                           MARK
              I would. You know, jism case.
    
                          MOLLY
              Hmmm, well, if you say so. Anyway,
              enjoy the treats I made for you.
              I'll just stay in the back away from
              all the customers today.
    
    Molly gets up and politely pushes in her chair.
    
    Mark flips her off as she walks out of the room. Pete laughs.
    
                           PETE
              Holy crap. She really put that stuff
              on her face.
    
                          MARK
              What do you have, battery acid for
              sperm?
    
    Pete moves to the fridge and pulls out the casserole dish.
    
                          PETE
              Me? Your mom says my stuff's pure.
              Must have been your nasty goo.
    
    Pete places the dish between them on the table.
    
                          MARK
              You actually going to eat that?
    
                          PETE
              I don't even know what it is.
    
    Pete slowly lifts up the glass lid, takes a whiff and then
    slams it back down.
    
                            PETE (CONT'D)
              Phew.
    
                          MARK
              How much you give me to eat it and
              then puke it up on her back?
    
                          PETE
              You're sick, dude. Twenty bucks.
    
                            MARK
              Come on.    How bad can it be?
    
    Mark lifts the lid.
    
    It looks like a pasta dish.
    
    Right up until one of the worms darts out and scurries halfway
    down Mark's throat just as another lodges itself into his
    nose.
    
    He knocks the dish to the floor as he struggles to his feet
    trying to remove the parasites. His eyes bulge and he turns
    blue as he asphyxiates.
    
                           PETE
              Mark! Holy sh**!
    
    Pete tries to yank the worms out of his friend to no avail.
    
    Mark flops around on the floor clawing at the outside of his
    throat until he dies.
    
                           PETE (CONT'D)
              Mark! What the hell? Mark!
    
    Pete looks around the room in shock and disbelief.
    
    His gaze turns to the casserole dish on the floor just as
    two more worms fly out and into his face.
    
    BREAK ROOM - LATER
    
    Molly enters the room.
    
    Mark and Pete's lifeless bodies lie on the floor. The killer
    worms rest harmlessly on their faces.
    
    Molly carefully picks up each long white worm and places it
    back into the dish. They gently caress their mother's wrist.
    
    She puts the lid back on the dish and puts it back in the
    paper bag before placing everything in the fridge.
    
    She picks up the intercom phone on the back wall.
    
                          MOLLY
                  (into phone in a fake
                   frantic tone)
              I have a Code Five in the break room!
              A Code Five! I repeat a Code Five
              in the break room!
    
    Molly hangs up the phone.
    
    She calmly sits at the table and kills time by picking at
    the scabs on her face until they bleed.
    
    FADE TO BLACK

    Leave a comment:


  • dpaterso
    replied
    Re: Entries - Halloween 2013 contest

    Code:
    THE DEAD WATCHERS
    
    EXT. BOPPIN' BURGER - NIGHT
    
    An empty parking lot, brightened by neon green lights glowing
    from a Boppin' Burger fast food joint. Looks radioactive.
    
                        TEENAGE BOY #1
              Telling you, man... They're like
              zombies, but they talk and stuff.
    
                        TEENAGE BOY #2
              I call bullsh**.
    
    
    INT. BOPPIN' BURGER - SAME
    
    Empty tables, save for an obscure top hat wearing PATRON
    nestled in a corner, reading a newspaper. Three teenaged boys
    hover around a cash register. Meet the Boppin' Burger third
    shift (overnight):
    
    LUKE, the first voice we heard, aspires to work for TMZ. He
    has red hair to match his red, pimply face.
    
                        TEENAGE BOY #1/LUKE
              Hey you don't have to believe me,
              but if you wake up one morning with
              some half-dead dude munching on
              your schlong, don't say I didn't
              warn you.
    
    BRETT, a large, athletic meathead, could easily be captain of
    a high school football team. Here, he's simply in charge of
    the fryers.
    
                        BRETT
              Zeke's already got dudes munching
              on his schlong!
    
    ZEKE, wiry, introverted, forgettable, takes the diss in
    stride...
    
                        TEENAGE BOY #2/ZEKE
              Should be a comedian, Brett. I
              think I laughed in my mouth.
    
                        BRETT
              No, but seriously, Luke, that
              sh**'s only in the movies.
    
                        LUKE
              It was. Until now.
    
                        ZEKE
              Can we change the subject, please?
    
                        BRETT
              Awww, is somebody scared?
    
                        ZEKE
              Just not interested.
    
                        LUKE
              I didn't even tell you guys the
              whole story.
    
                        BRETT
              Wait, there's more?
    
                          LUKE
              Uh huh.
    
    Zeke SIGHS.
    
                        ZEKE
              There's always more.
    
                        LUKE
              Mary Ann said Gabby told her that
              she heard from Ben--
    
                          ZEKE
              Oh god.
    
                        LUKE
              That there's like this elite force
              out there, specifically trained to
              kill these guys.
    
                          BRETT
              No way.
                        LUKE
              Yep, called The Dead Watchers, or
              something like that. And you could
              be in the same room with one and
              never even know it.
    
                          ZEKE
              I'm sure.
    
                        LUKE
              Are you, Zeke? Are you sure? `Cause
              for all I know you could secretly
              be one.
    
                        BRETT
              I'd eat a whole case of fries if
              that was true. Frozen.
    
                        ZEKE
              I'd pay to see that.
    
                        LUKE
              You could be one too, Brett.
    
                        BRETT
              Dammit. My cover's blown.
    
    Luke whispers...
    
                        LUKE
              Or maybe that weirdo sitting over
              there in the corner?
    
    Heads turn; curious eyes fall onto the patron.
    
                        LUKE (CONT'D)
              Who reads newspapers at three in
              the morning anyway?
    
                        BRETT
              Old people. They wake up like super
              early.
    
                        LUKE
              You know what? I'm putting it out
              there... Twenty dollars says that
              squatter's a Dead Watcher.
    
    A moment of silence, as we slowly push in on the obscure
    figure, top hat rising above the newspaper.
    
                        BRETT (O.S.)
              MUHAHAHAHAHA!!!
    
    BACK AT THE COUNTER
    
                        ZEKE
              Geez, Brett!
    
                        MAN'S VOICE (O.S.)
              Guys, quit horsing around out
              there!
    
                         BRETT
                  (to Zeke)
              I got you.
    
                        ZEKE
              Yeah, you almost busted my eardrum.
    
                        BRETT
              You jumped, I saw it. Luke did too.
    
                          ZEKE
              See this?
    
    Zeke flips Brett the bird, middle finger reaching to the
    heavens.
    
                        BRETT
              Is that the one you use on your
              momma?
    
    Zeke scowls, starts to leave...
    
                        BRETT (CONT'D)
              You gonna tattletale on me now?
    
                          ZEKE
              Maybe.
    
                        BRETT
                  (mock fear)
              Please, no! I beg of you!
    
                        LUKE
              Zeke, my man, don't give Greg a
              reason to come out of his cage. We
              can handle this.
    
    Zeke disappears to the back of the restaurant. Luke shakes
    his head disapprovingly.
    
                        BRETT
              Wuss. Not my fault the kid's thin
              skinned. Gotta learn to take a
              joke.
                          LUKE
              I guess.
    
                        BRETT
              I mean, it's like your story. I
              knew all that was BS, but I still
              played along.
    
                        LUKE
              Your assumption is flawed, my
              friend.
    
                        BRETT
              What? You talking trash, Ronald
              McDonald?
    
                        LUKE
              No, I'm talking about the story...
              It wasn't BS.
    
                         BRETT
              Man, I gotta give credit where
              credit's due... You stick to your
              guns, kid.
                  (looks to the patron)
              Yo, I'm gonna go act like I'm
              cleaning the tables. I wanna see
              what's up with mystery meat over
              there.
    
                        LUKE
              The Dead Watcher.
    
                          BRETT
              Whatever.
    
    Brett grabs a rag and spray bottle, proceeds to the tables.
    He casually makes his way toward the patron.
    
    Luke stands alone at the register, watching Brett close the
    gap. Movement outside the restaurant catches his eye --
    
    A black CARGO VAN comes to a stop. Another figure in a top
    hat climbs out, goes around and opens the back doors.
    
                        LUKE
                  (sotto)
              What is this? V for Vendetta?
    
    The figure violently YANKS a man out of the van: we'll call
    this poor schlub the PALE MAN.
    
                        LUKE (CONT'D)
              Hey, Zeke, come check this out!
    
    No answer. Luke turns around, surveys the back of the
    restaurant; finds the door to the office closed.
    
    He shakes his head in disappointment, mutters to himself...
    
                        LUKE (CONT'D)
              Damn, Zeke.
    
    The door CHIMES. Pale Man limps to the register in tattered
    clothes. Looks as though he's minutes away from dying.
    Something about him doesn't sit well with Luke.
    
    Luke takes him in: gaunt eyes, sagging skin, labored breaths.
    Nonetheless, he has a job to do...
    
                        LUKE (CONT'D)
              Uh, welcome to Boppin' Burger, sir.
              Can I interest you in one of our
              combo meals?
    
    In a gravelly voice...
    
                          PALE MAN
              Meat.
    
                        LUKE
              Um, okay. Would you like a boppin'
              burger? Or perhaps a hoppin'
              chicken?
    
                          PALE MAN
              Bloody.
    
                        LUKE
              E-Excuse me?
    
    The pale man deteriorates before our eyes! Pupils dilate,
    lesions form on skin, lips recede.
    
    Luke backs away from the counter in horror, looks to Brett;
    he's a few feet away from the patron.
    
                        LUKE (CONT'D)
              Uh, Brett?! A little help here!
    
    Brett spins around, annoyed. Gives Luke a "not now" face.
    
                        PALE MAN
              Bloody meat.
    
                          LUKE
              H-H-HELP!
    
                        BRETT
              Dude, what the hell?!
    
    Luke points, the pale man turns to...
    
                          BRETT (CONT'D)
              Oh. Sh**.
    
    Transformation complete, he glares at Brett with yellowish
    eyes. Brett freezes in terror, Pale Man grins.
    
                        PALE MAN
              Bloody meat.
    
                        ZEKE (O.S.)
              Hey, dirt face!
    
    Zeke steals the show; he stands behind the counter clad in
    black, large BUTCHER KNIFE in hand. Luke looks spellbound...
    
                        LUKE
              Whoa.
    
                        ZEKE
                  (to Pale Man)
              Those the only two words you know?
    
    The pale man SNARLS at Zeke. What transpires next is quick,
    but undeniably sloppy:
    
    a) Zeke hurdles the counter; catches his foot on the edge and
    tumbles to the other side. Luckily the knife doesn't break
    his fall --
    
    b) The pale man rushes over, Zeke slashes at his ankles --
    
    c) The pale man pounces on top of Zeke, who manages to hold
    him at bay. Grimy teeth chomp mercilessly --
    
    d) Zeke rolls, pinning the man to the floor. He takes the
    knife and --
    
    e) THUMP! THUMP! THUMP! Repeatedly stabs the man in the
    chest. A gory mess ensues --
    
    f) He brings the blade to the side of the man's neck, a
    decapitation imminent --
    
                        WOMAN'S VOICE (O.S.)
              STOP!
    
    The patron in the top hat approaches: a woman in her early
    forties. She walks with an authoritarian's demeanor and
    speaks with a British accent...
    
                        PATRON
              Your objective was to exterminate
              the mortuus without the aid of
              decapitation.
    
                        ZEKE
              Sorry.
    
    The pale man lies on the floor, plenty dead. Again.
    
                         PATRON
              Though a bit crude, with unduly
              wasted energy, I find that you have
              indeed accomplished your task.
                  (beat)
              Congratulations, Z... You have
              advanced to Level Two.
    
    Zeke beams, does a celebratory jig.
    
                        BRETT (O.S.)
              Dude! What! Was that?!
    
                        LUKE
              Holy sh**, Zeke! You're a dead
              watcher?!
    
                        PATRON
              Which brings us to the next item on
              the agenda... If either one of you
              twits yaks about this matter while
              Z is in training...? I will
              personally obliterate you into
              little chunks and subsequently
              dispose of those pieces like
              yesterday's rubbish.
    
    Brett and Luke GULP.
    
                        PATRON (CONT'D)
              Do I make myself clear?
    
                  LUKE                             BRETT
    Yes, ma'am.                     Crystal.
    
                        PATRON (CONT'D)
              Cheers. Well then, Z, if all other
              affairs are in order...?
    
                        ZEKE
              Um, the shift leader, the cameras,
              and the tapes. Yep, we're good.
    
                        PATRON
              Then I expect you promptly at six
              to resume your training. Cheerio!
    
    She exits the restaurant. Zeke stands alone with Luke and
    Brett. They study him; a new found admiration in their eyes,
    coalesced with fear.
    
                        ZEKE
              Alright, guys, so this is the plan:
              after we clean up this mess, Luke,
              if you could get a case of fries
              from the freezer... There's just
              one other matter that we need to
              resolve.
    
    Brett grimaces. Zeke smiles triumphantly.
    
                                                SMASH TO BLACK.
    
                              THE END.

    Leave a comment:

Working...
X