Entries - "Hot Tubs and Time Machines Contest"

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  • Entries - "Hot Tubs and Time Machines Contest"

    Here are the entries for the Hot Tub Time Machine challenge!

    The Third Option
    The Long Game
    Unneeded
    The Amazing Story of Davies and his Fabulous Penny Farthing Time Machine
    Tim's Time Express
    Kronos
    Killing Hitler

    You know how it goes, read the entries, pick your 1st, 2nd and 3rd favorite choices and PM them to me, preferably in the format:

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

    Votes are sought by Friday 23rd end of day. If I receive everyone's votes before then, I'll post the results earlier.

    Please don't vote for your own entry. If this was allowed then everyone would do it, so it would just cloud the voting.

    You don't need to be in the contest to play, all DDP members are welcome to read and vote.

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

    For posterity, the discussion thread is here and the results thread is here.
    Last edited by dpaterso; 09-23-2016, 07:45 PM. Reason: links

    Nobody knows nothing, and I'm nobody.

    Oh Those Hot Summer Nights script contest
    5 pages, deadline next Sunday

  • #2
    Re: Entries - Hot Tub Time Machine contest

    Code:
    THE THIRD OPTION
    
    INT. CAFETERIA - DAY
    
    PETER ONE (30), deep blue eyes, shaven, suit, successful,
    sits at a table next to the window. He sips from his black
    coffee as he stares at the man in front of him.
    
    Across him, PETER TWO (50), same deep blue eyes, unshaven,
    wears a stained gray jumpsuit. He sips from his black
    coffee. The resemblance is remarkable.
    
    LOUISE, the waiter, taps PETER ONE's shoulder.
    
                        LOUISE
              Peter, honey, the kitchen is
              closing in five minutes, you want
              something else?
    
                        PETER ONE
              No, Louise, thank you.
    
                        LOUISE
              And your dad?
    
    Peter One looks at Peter Two's eyes. So familiar.
    
                        PETER ONE
              He's not my dad.
    
    He waves at Louise. She smiles and leaves.
    
                        PETER ONE
              How did you know I lost my
              engagement ring this morning? I
              didn't tell anyone.
    
                        PETER TWO
              I told you, I come from --
    
                        PETER ONE
              -- the future, yes, you told me.
    
    Peter Two waits for Peter One to say something but his mind
    is racing with a thousand thoughts.
    
                        PETER TWO
              Do you believe me now?
    
    Peter One looks straight into his eyes, a hand over his
    mouth. He cannot stay still on the chair.
    
                        PETER ONE
              Why are you here?
    
                        PETER TWO
              I came here to warn you.
    
                        PETER ONE
              To warn me? About what?
    
    Peter Two looks sideways, searching the other clients'
    faces. He leans towards Peter One. Lowers his voice.
    
                        PETER TWO
              In ten years, when you invent the
              time machine--
    
                        PETER ONE
              I invent a time machine?
    
    Peter Two stares at Peter One. This is important.
    
                        PETER TWO
              When you invent the time machine, a
              man will betray you. He will use
              the machine at his convenience and
              put the entire city at risk. People
              will die.
    
    Peter One exhales, overwhelmed, waves his hands in the air.
    
                        PETER ONE
              What am I supposed to--
    
                        PETER TWO
              The man you are meeting today,
              here. Don't sign the contract. Stay
              away from him.
    
    Peter One was clearly meeting someone today.
    
                        PETER ONE
              But-- but he's my investor. I can't
              launch my project without him.
    
                        PETER TWO
              Then don't.
    
    Peter Two is serious, he means it. Peter One sighs,
    defeated.
    
                        PETER ONE
              All right, I will not--
    
                        PETER THREE (O.S.)
              You have to sign that contract.
    
    PETER THREE (50), same deep blue eyes, a big burn on his
    face, sits down in front of Peter One and Peter Two, who
    make a double take. Louise laughs to herself.
    
                        PETER ONE
              Another one?
    
                        PETER TWO
              What the hell is this?
    
                        PETER THREE
                   (to Peter One)
              You probably won't believe this--
                   (looks at Peter Two)
              Or maybe you will. I come from the
              future.
    
                        PETER TWO
              No, I come from the future.
    
                        PETER THREE
              I come from another future.
    
                        PETER ONE
              One future, another future. What
              the hell is going on?
    
    Peter Three ignores Peter Two and talks to Peter One.
    
                        PETER THREE
              I came to warn you.
    
                        PETER ONE
              Again?
    
                        PETER TWO
              I was warning him already.
    
                        PETER THREE
              You don't know who you are dealing
              with. Your investor. He's a
              dangerous man.
    
                        PETER TWO
              I just told him that!
    
                        PETER THREE
              After you decide not to sign the
              contract with your investor, he
              will plan to force you.
    
    Peter One raises an eyebrow.
    
                        PETER ONE
              Force me? How?
    
    Peter Three points at his burned face. Peter One's eyes open
    wide.
    
                        PETER THREE
              And this is not the worse. Your
              wife. Your kids.
    
                        PETER ONE
              What happens to my kids? Do I have
              kids in the future?
    
                        PETER THREE
              You have to sign the contract.
    
                        PETER TWO
              You can't sign the contract!
    
    Peter Two and Peter Three start to argue, while Peter One
    sinks in his chair.
    
                        PETER THREE
              He has to sign the contract or our
              family will be in danger!
    
                        PETER TWO
              You have no idea what this maniac
              will do to the city. I'm talking
              about a massacre here!
    
                        PETER THREE
              Our family is more important, we'll
              fix that later.
    
                        PETER TWO
              More important? Everybody in the
              city is in danger, our family as
              well!
    
    Louise comes with her tray and her smile.
    
                        LOUISE
              So is this a family gathering or--?
    
                         ALL PETERS
              Get out!
    
    Louise's hair blows with their yell. She turns around.
    
                        PETER ONE
              Ok, let me see if I get it.
    
    Peter Two and Peter Three calm down and listen to Peter One.
    
                        PETER ONE
              So I sign this contract and then
              something very bad happens.
    
                         PETER TWO
              Exactly.
    
                        PETER ONE
                   (points at Peter Two)
              Then you come ... from the
              future... to warn me.
    
                        PETER TWO
              Yes! You can't sign--
    
                        PETER ONE
                   (raises a hand)
              So I do as he says -- I say --
              whatever...
                   (points at Peter Three)
              ...but then something bad happens
              again.
    
                        PETER THREE
              Exactly. You have to sign--
    
                        PETER ONE
              And then you come again to warn me.
    
                        PETER THREE
              Technically not again, I am from a
              different future.
    
    Peter One thinks for a long time. Peter Two and Peter Three
    look at him, expectant.
    
                        PETER ONE
              This is what we are gonna do.
    
    Peter Two and Peter Three lean closer. Peter One points at
    Peter Two. Peter Two smiles.
    
                        PETER ONE
              I'm going to send you to hell.
    
    Peter Two frowns. Peter Three smiles.
    
                         PETER ONE
              And then I'm going to send you to
              hell as well. Different futures,
              same hell.
    
    Peter Three frowns. Peter One stands up and takes his jacket
    off the chair. He prepares to leave.
    
                        PETER ONE
              I don't care what nut house you two
              escaped from but I had enough.
    
                        PETER TWO
              But... it's our future!
    
                        PETER THREE
              Yes, it's our future, you cannot
              just go.
    
                        PETER ONE
              You know what, gentlemen? I'll
              cross those bridges when I get
              there.
    
    Peter One walks to the door. He turns around.
    
                        PETER ONE
              I write my own future!
    
    He listens to what he just said. He likes it. And leaves.
    Peter Two and Peter Three cannot believe their eyes. Louise
    gently puts the bill between them.
    
    
    EXT. CAFETERIA - DAY
    
    Peter One strides out of the Cafeteria, nearly crashing into
    a man on a wheelchair. He's paralyzed from the neck down and
    drives with a joystick attached to his mouth.
    
                        PETER ONE
              Sorry, excuse me.
    
    Peter One walks to the road. He turns his head back, frowns
    as he stares at the deep blue eyes of the man on the
    wheelchair. This is, of course, PETER FOUR.
    
                        PETER FOUR
              S***, I'm late.
                   (yelling at Peter One)
              Hey! Stay where you are! Do not
              cross the road--
    
    As we focus on the terror on Peter Four's eyes we hear a car
    SCREECHING, a woman SCREAMING and a loud THUD.
    
                        MAN (V.O.)
              Somebody call an ambulance!
    
    Peter Four turns his head to the cafeteria window.
    
    Peter Two and Peter Three look towards the accident. They
    slowly turn their heads to Peter Four. They wave slightly.
    
    Peter Four rises his eyebrows and sighs.
    
                        THE END

    Nobody knows nothing, and I'm nobody.

    Oh Those Hot Summer Nights script contest
    5 pages, deadline next Sunday

    Comment


    • #3
      Re: Entries - Hot Tub Time Machine contest

      Code:
      THE LONG GAME
      
      EXT. ALLEY: EUROPEAN CITY - EVENING
      
      It's the early part of the 20th century. We can tell by the
      people, their dress and the vehicles travelling past on the
      street, past our narrow view into their world. Gas lights
      not electricity illuminates the street.
      
      A man waits in an alley.  He checks his pocket watch.
      
      He moves back against the grimy brick wall breathing slowly
      and deeply. He is ready to fight. There is no one there to
      fight. He relaxes and moves through a series of kata moves.
      His clothing, though period, moves easily through the
      exercises.
      
                             WEIßKOPF
                   Intact... physically. Mentally?
                   Who could tell? Freud?
      
      He laughs.
      
      ISAAC WEIßKOPF is only slightly taller than normal, fit and
      strong but his tailored suit normalizes his stature. His
      hair is light and he wears small steel rimmed glasses and a
      bowler hat.
      
      From his satchel he pulls a pistol. Its an old fashioned
      broom-handle C96 Mauser. He checks it and the bullets...
      
      ...and smiles.
      
      ...and slips it back into his satchel.
      
      
      EXT. EUROPEAN CITY - CONTINUOUS
      
      Weißkopf strides out into the street as though he has every
      right to be there. He uses confidence as a disguise. No one
      will stop him.
      
      He looks for a landmark and sees the Munich Marian column.
      
      Pointing at it he takes a quarter turn and spies the street
      sign he wants. Smiles widely and checks the time again.
      Walks on with a definite spring in his step.
      
      
      EXT. TRAIN STATION - MINUTES LATER
      
      Outside the station is a bustle of activity. Horse drawn
      carts compete for space with primitive gasoline vehicles.
      Steam and smoke rises over the trains.
      
      Weißkopf slips into a crowd, almost vanishes.  He pulls his
      bowler hat down.
      
      Train whistle shrieks, steam engines chuff.
      
      Weißkopf spies two men, separate from the crowd, swarthy,
      foreign, dressed differently. The watch the travellers
      intently. He stays hidden from them, obscured by the crowd.
      
      
      INT. STABLES (IN FLASHBACK) - NIGHT
      
      Weißkopf talks to the two men.
      
                          WEIßKOPF
                I want a man dead.
      
                          SWARTHY 1
                    (heavily accented)
                Why? Who is he?
      
                          WEIßKOPF
                He is wounded veteran, an
                inconsequential artist. He eeks
                out an existence daubing
                watercolours and makes enough to
                rent a room in a boarding house and
                dabble at politics.
      
                          SWARTHY 2
                    (heavily accented)
                That is no reason to have a man
                killed.
      
                          WEIßKOPF
                He slept with my sister. She is
                with baby. Even if my family
                forces the union... ah he cannot
                support her...
      
      Two two men nod wisely at one another.  This sort of
      vengeance they know.
      
                          WEIßKOPF (CONT'D)
                One hundred Reichmarks each; kill
                him, with a knife, slowly. Half
                now, half when the job is finished.
      
      Again they nod. He tosses them a small purse.  The catch it
      easily and count the cash.
      
                          SWARTHY 1
                How do we find him?
                
                          WEIßKOPF
                He will arrive on the 5:45 train
                from Bogenhausen tonight. He will
                walk to the Beer hall on the south
                side of Marianplatz. He is easily
                identifiable, he looks like...
      
                                                     CRASH CUT TO:
      
      EXT. OUTSIDE THE TRAIN STATION - CONTINUOUS
      
      The two men spot their prey. Weißkopf looks but can't see
      him. He edges closer keeping as much of the crowd between
      him and the hunters as possible. But his attention is split,
      the hunters and searching for the elusive prey.
      
      Suddenly he sees a man moving through the crowd.
      
      
      INT. STABLES (IN FLASHBACK) - NIGHT
      
                          WEIßKOPF
                He has his hair swept across his
                forehead, right to left. He has a
                strange little moustache. But it's
                his eyes, they're maniacal!
      
      The two swarthy men don't get it but they will.
      
      
      EXT. OUTSIDE THE TRAIN STATION - EVENING
      
      Thirty four year old Adolf Hitler strides out of a cluster of
      train travellers looking flustered. The swarthy men identify
      him at the same time. For the first time they see Weißkopf.
      He catches their eye and nods, confirming the target.
      
      With a nudge they begin closing in.  In the gas lights a
      knife glints.
      
      Weißkopf sucks in a quick excited breath.
      
      The two assailants maintain a five meter separation from
      Hitler and two meters from one another.
      
      Slowly the pedestrians thin as they draw away from the
      station, further from the city centre. The pools of light
      from street lights are further apart, the opportunities
      greater.
      
      They make their move. In concert they drive Hitler into an
      Alley between two buildings.
      
      Hitler breaks free. Snaps an elbow into a soft gut.  He
      moves fast. The alley is a dead end, he's trapped!
      
      
      EXT. ALLEY - CONTINUOUS
      
                          HITLER
                What do you want?
      
      The men don't answer. Both have their knives out.   Wicked
      blades silver in the sparse light.
      
      Hitler doesn't panic. He kicks a wooden crate breaking off a
      board. It's not much but it something. He holds the jagged
      fragment like a weapon.
      
                          HITLER (CONT'D)
                Common then Arschlochs!
      
      He jabs aggressively. In the narrow alley there is no way
      for the attackers to properly outflank him. But its still
      two on one. Hitler's forearm is slashed and one of the
      attackers is struck by the board.
      
      None of them see Weißkopf enter the alley.
      
      The attackers move in again.  This time Hitler is only just
      able to avoid being stabbed.  Now his back is against the
      wall.
      
      The attackers mutter in their own language and separate as
      far as they can. Hitler's head swivels between them,
      something gives in him, he knows they've got him.
      
      Suddenly Weißkopf is there. His boot slams into the kidney
      of Hitler's closest assailant. As the man crashes into the
      brick wall Weißkopf delivers a grapple that snaps his neck.
      
      A split second he is at the other man knocking the knife
      aside and slamming his knuckles into the man's throat.
      Choking immediately the man drops his knife. Weißkopf isn't
      finished, he grabs the man by his coat and slams him into the
      wall with everything he has.
      
                          WEIßKOPF
                That was just like being in the
                trenches!
      
                          HITLER
                Thank you Herr...?
      
                          WEIßKOPF
                Weißkopf. Isaac Weißkopf. I saw
                them following you... I knew they
                were up to no good.
      
      He holds out a hand.  Hesitantly Hitler takes it.
      
                          HITLER
                My name is Hitler, Adolf Hitler.
                    (pause, he stiffens)
                You are Jewish herr Weißkopf?
      
                          WEIßKOPF
                I am that. I am also German and
                was a German soldier. Sergeant in
                the Second Bayerisches Landwehr-
                Infanterie-Regiment Herr Hitler.
                And you? An infantryman too by the
                way you fought? Yah?
      
      He salutes.  Again reluctantly Hitler responds.
      
                          HITLER
                The List regiment. Corporal.
      
                          WEIßKOPF
                I knew it. A veteran. The List
                regiment? Heroes! Not like these
                scum.
      
      He kicks at the nearest body.
      
                          HITLER
                Who are they?
      
                         WEIßKOPF
                Muslims. Ottoman's or Persians I'd
                guess. Killers, rapists and
                thieves. Untermensch!
      
                          HITLER
                Untermensch?
      
                          WEIßKOPF
                Not worthy of living in this great
                Reich, not worthy of living the
                Europe. Do you think either of
                these two fought for Germany five
                years ago? Did they battle the
                Tommy and the lice, survive shell
                fire? Do they know what it is to
                live under the earth in a trench?
      
                         HITLER
                No. There are many who shouldn't
                be here.
      
                          WEIßKOPF
                We Jews you mean? Like me?
                    (laughs)
                Jew and Christian have stood
                against the incursions from the
                east for generations. The brave
                Austro-Hungarians stood against the
                barbarians invading Europe...
      
                          HITLER
                I was born in Braunau am Inn.
      
                          WEIßKOPF
                Austria? Yes! I knew it. As soon
                as I saw you. A defender of Europe
                against the Asiatic hordes.
      
                           HITLER
                Yes. I tried in the war...
      
                          WEIßKOPF
                As did I. And these, these "men"
                were our allies in the middle east.
                They scarcely fought and betrayed
                us. One day they will invade
                Europe again from the east.
      
                          HITLER
                We have little to worry about...
      
                           WEIßKOPF
                But we do. The great war tore the
                heart from many. All the Muslims
                do is breed...
                    (A automobile putters
                     past)
                And that, that will be our doom.
      
      Hitler looks at the solitary vehicle.
      
                          HITLER
                Automobiles?
      
                          WEIßKOPF
                Oil to power them. There will be
                more and more car, cars for the
                people. The Arabs and the Ottomans
                and the Persians will grow rich
                pumping it from the ground. Even
                now they are searching for oil in
                the Arabian peninsula. Then they
                will come again... A mighty Muslim
                crusade out of the deserts to lay
                waste to civilization.
      
                          HITLER
                I... You may be right. They
                certainly are killers and thieves
                and you... saved my life. I have a
                lot to think on Herr Weißkopf.
      
      This time he shakes the Jew's hand without hesitation.
      
                          HITLER (CONT'D)
                I thank you Herr Weißkopf. If not
                for you I would be dead...
      
                          WEIßKOPF
                You cannot die. I think you are
                destined for great things Herr
                Hitler. You will be a leader of
                our people, a fuhrer. No go, leave
                this mess for the rats.
      
      Hitler does, with a final glance at the two bodies and the
      Jew who saved his life he leaves.
      
      Weißkopf stares after the man walking away.
      
                           WEIßKOPF (CONT'D)
                In a hundred years you will still
                be reviled as a mass murderer but
                you won't kill my people in cattle
                cars and gas ovens. I count that
                as a victory...
      
      He looks at the dead Persians laying on the cobbles amidst
      the debris. He prods one with his boot.
      
                              WEIßKOPF (CONT'D)
                ...and in a hundred years your evil
                creed won't destroy Jerusalem.
                Hafia and Tel Aviv and slaughter my
                family in the radioactive ashes.
                      (a tear rolls down his
                       face)
                I hope...

      Nobody knows nothing, and I'm nobody.

      Oh Those Hot Summer Nights script contest
      5 pages, deadline next Sunday

      Comment


      • #4
        Re: Entries - Hot Tub Time Machine contest

        Code:
        UNNEEDED
        
        EXT. FARM HOUSE -- TWILIGHT
        
        Sodden skies. A dented-up car belches its way up the driveway
        and then diesels to a stop in front of the house. ALLEN
        SIMONS, 50s, in a security guard uniform, emerges -- plastic
        bag and cane in hand. He slams the car door twice to get it
        to stay shut, then slowly makes his way up the porch stairs,
        favoring his damaged right hip.
        
        INT. FARM HOUSE -- CONTINUOUS
        
        Allen slams the front door twice to make it shut. There's no
        reaction from JOE (30s), who is lounging on the tattered
        couch, listeless while playing some video game. JOEY, 9, is
        drawing in his notebook. He brightens when he sees Allen.
        
                             JOEY
                  Grandpa!
        
        He runs over and hugs Allen. Allen allows a fleeting smile to
        momentarily replace his perpetual scowl.
        
        ELLEN, 40s, in apron, emerges from the kitchen. She smiles
        hopefully. Sees the bag in Allen's hand and droops.
        
                            ELLEN
                  The Andersons invited us over ...
                  but I see the part came in.
        
                            ALLEN
                  Yeah. Busy night.
        
                            ELLEN
                       (turning to the kitchen)
                  I'll call and let them know.
        
                             ALLEN
                  Okay.
        
                            ELLEN
                       (turning again)
                  I almost forgot. Jake called. Says
                  you could earn eight hours of
                  overtime, plus bonus pay if you
                  could take the midnight shift
                  tonight.
        
                            ALLEN
                  I'll be busy.
        
                            ELLEN
                  But Joey's birthday is coming up
                  and--
        
                            ALLEN
                  --I'm busy.
        
        INT. BASEMENT -- NIGHT
        
        Allen is sitting in front of his workbench. Wires connect
        several clusters of soldered PC boards with blinking LEDs. A
        small LCD screen flickers to one side beside a keyboard.
        
        He retrieves the contents of the plastic bag ... another PC
        board. He sets the dip switches and then inserts it into one
        of the breadboards, then connects it with a cable into one of
        the bigger clusters.
        
        He anxiously watches the screen. Waits ...
        
        The screen turns blue ... then one word in the top-left
        corner ...
        
        Ready.
        
                             ALLEN
                  Finally!
        
        He flips lever which snaps into position. The lights
        momentarily dim as machinery in the basement hums to life.
        
        He pulls out a small, well-worn, spiral notebook from his
        shirt pocket. Flips through the pages until he comes to the
        page titled ...
        
        PICK ONLY ONE.
        
        There are three choices, each with location and time
        coordinates, the first reads "ELYSE."
        
        Allen types in the coordinates. The LCD screen flashes, then
        flickering video appears ...
        
        INT. COLLEGE DORM HALLWAY -- DAY
        
        ELYSE, early 20s, beautiful and a 22 year-old ALLEN are
        arguing loudly in front of the open door of his dorm room.
        
                            ELYSE
                  You can't just shut me out--
        
                            ALLEN
                  --My work comes first. I told you
                  that, right from the beginning.
        
                            ELYSE
                  You never told me you would lock
                  yourself away for days on end, that
                  I couldn't even call--
        
                            ALLEN
                  --I told you my work comes first.
                  You knew that going in.
        
        Pause. Tears well up in her eyes.
        
                             ELYSE
                       (quietly)
                  I love you, Allen, but I can't live
                  like this.
        
                            ALLEN
                  You have to make your own choices. I
                  have to make mine.
        
                            ELYSE
                  Can we at least go out to dinner?
        
                            ALLEN
                  Not now. I'm right on the verge--
        
                            ELYSE
                       (stiffling a sob)
                  --I can't ... deal with this. Come
                  with we now, or I'm leaving you.
        
        Pause.
        
                               ALLEN
                  Goodbye.
        
                               ELYSE
                  Seriously?
        
                            ALLEN
                       (steely eyed)
                  You made your choice.
        
        Turns.
        
                            ALLEN
                       (over his shoulder)
                  Goodbye.
        
        He slams the door as he enters his dorm room.
        
        Elyse, stunned, turns and walks woodenly down the hall and
        then picks up speed and starts running.
        
        INT. BASEMENT -- MOMENTS LATER
        
        Allen, stares down at his notebook. His second entry is
        titled "JOB."
        
        He types in the coordinates ...
        
        INT. CORPORATE OFFICE -- DAY
        
        ALLEN in his early 30s, scraggy, is staring over a huge,
        polished desk at JOHN HAMILTON, 50s, impeccable. Both are
        tense, on the edge.
        
                            JOHN
                  You're gifted, Allen, truly gifted.
                  But you're going to have to meet me
                  half way here.
        
                            ALLEN
                  I can NOT and WILL NOT babysit these
                  losers. They're constantly
                  interuppting me with their inane
                  assinity!
        
                            JOHN
                  It's your department, Allen, it's
                  part of your job ... And you've got
                  to clean yourself up a little.
        
                            ALLEN
                  You don't get it, do you? I'm on the
                  verge here ... this close!
        
        Allen holds up his hand, showing a tiny a gap between his
        fingertip and thumb.
        
                            JOHN
                  I'll let you work at home four days
                  a week. But you will have to come in
                  on Monday for meetings ... shaved.
        
                            ALLEN
                  No. That's just arbitrary BS. I
                  can't be subject to these kinds of
                  limitations. I'm ON THE VERGE. What
                  part of this can't you get into your
                  thick skull? Are you a coporate
                  wonk, or what?
        
                            JOHN
                  Be careful, Allen.
        
                            ALLEN
                  NO! You be careful... Or I'll leave.
                  I'll--
        
                            JOHN
                       (suddenly calm)
                  --Then leave.
        
                            ALLEN
                  You've got to be kidding ... are you
                  really that stupid? You NEED me--
        
                            JOHN
                       (dull monotone)
                  --All notes, all inventions, all
                  patents, all presentations ... all
                  are property of the Corporation. You
                  will turn them over immediately.
        
        Stunned silence.
        
                            JOHN
                       (motioning to the door)
                  Goodbye, Allen.
        
        INT. BASEMENT -- MOMENTS LATER
        
        Allen looks at the last item on the list, "ACCIDENT." He
        types in the coordinates.
        
        EXT. CITY STREET -- DAY
        
        ALLEN, late 30s, unshaven, red eyes, dirty, in ill-fitting
        clothes, shambles along the on the sidewalk. He's yelling at
        himself.
        
                             ALLEN
                  On the verge, the VERGE, you stupid
                  son-of-a--
        
        Screeching tires, a car careens wildly, jumps the sidewalk
        and slams into Allen who flies into the building's wall and
        crumples.
        
        He groans as the car backs away and squeals rubber ...
        disappearing.
        
        An early 30s version of ELLEN, pretty and fashionable, rushes
        to help. She yells for someone to call the ambulance.
        
        She winces when she sees the bones sticking out at Allen's
        hip.
        
                            ELLEN
                  Help's on the way. Help's on the
                  way.
        
        Allen passes out.
        
        Ellen cradles his head in her arms.
        
                            ELLEN
                  No. No. Don't die. I should have
                  helped when you asked for money. I'm
                  so sorry ...
        
        She kisses him on the forehead. Her son, JOE (about 10)
        appears.
        
                            JOE
                  Who's that, Mom?
        
                            ELLEN
                  Joe, back away, don't look.
        
                            JOE
                       (wide eyed)
                  Who is he? Why did you kiss him?
        
                            ELLEN
                  Some man I should have helped ...
                  now he's going to die because of me.
        
        INT. BASEMENT -- MOMENTS LATER
        
        Allen sits, staring at the screen.
        
        He then cranks a large nob clockwise. The humming increases
        in volume and intensity. He flips up a cover displaying a
        blinking red button.
        
        He stares vacantly at it.
        
        Joey enters the basement behind him, holding a baby
        cottontail rabbit.
        
                             JOEY
                  Grandpa.
        
        Allen doesn't hear him.
        
                            JOEY
                       (louder)
                  Grandpa.
        
        He turns startled. Cranks down the humming and flips off the
        switch.
        
                            ALLEN
                  I told you not to come down here!
        
        Joey holds out the baby cottontail.
        
                            JOEY
                  He needs to eat and I don't know how
                  to mix the forumula.
        
                            ALLEN
                  Get your dad to help.
        
                            JOEY
                  He's on the Fourth Level and can't
                  quit until--
        
                            ALLEN
                  -- your Grandma, then.
        
                            JOEY
                  She's in her room and won't answer
                  the door. I think she's crying.
        
                              ALLEN
                  Crying?
        
                            JOEY
                  She does that a lot.
        
        Allen winces.
        
                              ALLEN
                  She does?
        
                              JOEY
                  Yeah.
        
                            ALLEN
                  Go on upstairs. I'll be up in a
                  minute.
        
        A short pause, then ...
        
        He begins disassembling his contraption and packing it
        carefully away in boxes.
        
        INT. BEDROOM -- A WHILE LATER
        
        Startled, Ellen rises from the bed. Her eyes and nose are
        red.
        
                            ELLEN
                  I thought ... you'd be--
        
                            ALLEN
                  --No, I'm finished. Finally.
        
                            ELLEN
                  Did it work?
        
        Pause.
        
                            ALLEN
                  Not the way I expected it to.
        
                               ELLEN
                  I'm sorry.
        
                            ALLEN
                  I'm not.
                       (and then...)
                  I promised Joey I would take him
                  down to the truck stop for a milk
                  shake. You want to come?
        
                               ELLEN
                  Tonight?
        
        Allen smiles.
        
                            ALLEN
                  Yeah, and we'll take Joe too, if we
                  can pry him away from his video
                  game.
        
                            ELLEN
                  Give me a minute to freshen up.
        
                            ALLEN
                  And don't worry about Joey's
                  birthday. I've got a small fortune
                  of parts down in the basement I'm
                  going to sell.
        
                            ELLEN
                  All of them?
        
                            ALLEN
                  I finally figured out I didn't need
                  them. The parts are worth more than
                  the sum of their whole.
        
        Then he embraces her and kisses her gently on the forehead.
        
                               ALLEN
                  Thank you.
        
        She touches his forehead, mystified.
        
                            ELLEN
                  Are you feverish?
        
                            ALLEN
                       (chuckling)
                  Not yet.

        Nobody knows nothing, and I'm nobody.

        Oh Those Hot Summer Nights script contest
        5 pages, deadline next Sunday

        Comment


        • #5
          Re: Entries - Hot Tub Time Machine contest

          Code:
          THE AMAZING STORY OF DAVIES AND HIS FABULOUS PENNY FARTHING TIME MACHINE
          
          THROUGH A BATTERED OLD WINDOW
          
          The afternoon light still surges strongly through the
          intricate panes of glass projecting
          
          CLASSROOM
          
          rainbows onto the classroom wall.
          
          Speake, 15, daydreaming, watches the dance of light.
          
                                  SCOLDER
                      Speake... Battle of Waterloo?
          
          Mr Scolder slams his ruler against the blackboard.
          
          Boys either side of Speake exchange awkward glances.
          
          These would be Winstanley, Sherbert and Dodge.
          
                                  DODGE
                      Speake!
          
          INT. CORRIDOR - LATER
          
          Boys walking down the corridor.
          
                                  SPEAKE
                      I know what happened to Davies!
          
          Shock, then silence.
          
          Everybody turns to Speake.
          
          THE FLASHBACK BEGINS
          
          PHYSICS LAB
          
          Davies poised over his class project, a time-machine'. A
          penny farthing. Yes - that bicycle with a hard seat over a
          huge single wheel.
          
          The wheel is raised off the ground by a jig. Davies talking
          Mr Scolder around the machine.
          
          Tightens wire that leads down into an acquirarium tank.
          
          And inside that tank in the silvery water are suspended
          various batteries which are wired in turn to large crystalline
          objects.
          
                                  DAVIES
                      And so it's really easy sir.
          
          Davies rests a ladder against the side of the bike.
          
                                   DAVIES
                       You just have to pedal until you
                       reach a speed of 15.7 miles-per-hour.
          
          Mr Scolder nods in fascination.
          
                                   DAVIES
                       And then... well sir, you are ripped
                       into whichever period of history
                       you've selected.
          
                                   SCOLDER
                       Ripped?
          
                                   DAVIES
                       You just set the handlebar timeometer.
          
                                   SCOLDER
                       And what did Mr Sparke, your Physics
                       teacher, think Speake?
          
                                   DAVIES
                       Oh, poor show there sir, He only
                       said that it was interesting.
          
                                   SCOLDER
                       Yes, yes, Davies... but does it really
                       work?
          
                                   DAVIES
                       Oh yes.
          
          Davies begins to pedal. As the wheels spin faster and faster
          Davies's face takes on a serious look of concentration.
          
                                   DAVIES
                       Step back...keep watching.
          
          The wheel is really spinning now, nothing is happening yet,
          Mr Scolder is about to step forward when he sees a strange
          blue light building at the centre of the spokes.
          
          And then as the light intensifies, sparks begin to jump off.
          Whooooooooooooomp.
          
          FLASHBACK ENDS
          
          CORRIDOR - CONTIGUOUS WITH BEFORE
          
                                   SPEAKE
                       And so that is how it went until,
                       one day, Davies didn't come back.
          
          NOW CUT TO
          
          a lone desk in the middle of the classroom, each side of it,
          we see the boys. Mr Scolder glances at the empty desk. Speake
          notices. There eyes meet.
          
          NOW BACK TO THE PRESENT
          
                                WINSTANLEY
                    So you're saying that Davies wasn't
                    abducted or lost his mind... as the
                    school and Mr Scolder have suggested,
                    what a bounder.
          
                                DODGE
                    Of course he is saying that, keep up
                    Win.
          
                                SHERBERT
                    I'd like to say something?
          
                                  WINSTANLEY
                    Go on then.
          
                                SHERBERT
                    Was Davies only going back in time?
          
                                SPEAKE
                    You cannot go forward, Davies says
                    its forbidden...except to return to
                    the present, where you came from.
          
                                SHERBERT
                    Then what was he going back for?
          
                                SPEAKE
                    Exactly! For that, we need to come
                    back to school at midnight.
          
          The boys smile at each other.
          
          EXT. SCHOOL FIELD - OLD TENNIS COURTS - MIDNIGHT
          
          Speake is trying his shaking his torch, the beam keeps fading.
          
                                WINSTANLEY
                    Let's get on with it.
          
                                DODGE
                    What was that?
          
                                  SHERBERT
                    Owl.
          
          BENEATH THE SAME CLASSROOM WINDOW WE BEGAN WITH
          
          Dodge slides the frame up.
          
                                  DODGE
                      Why do the desks look so eerie in
                      the moonlight?
          
          INT. CLASSROOM - MOMENTS LATER
          
          Speake, Dodge, Winstanley and Sherbert bunched up just beneath
          the window inside the classroom.
          
          The torch pans the room, and settles on a door.
          
                                  WINSTANLEY
                      He always keeps it locked.
          
                                  DODGE
                      So what do we do?
          
                                  SHERBERT
                      I've got the key, it was where you
                      said it would be Speake.
          
                                  WINSTANLEY
                      You stole it?
          
                                  SHERBERT
                      Easy Win... you're not on Prefect
                      duty tonight!
          
          Owl hoot.
          
                                  DODGE
                      Let's just get on with it.
          
          The boys tip-toe towards the locked door.
          
                                  SHERBERT
                      What's in there?
          
                                  WINSTANLEY
                      It's a stationery cupboard. Can't
                      you tell, it's always in the same
                      place.
          
          Winstanley smiles. On a key lit by the torch as it finds the
          lock.
          
          FROM THE INSIDE OF THE CLOSET
          
          As the door peels open, we see the faces of the boys, lit
          up by the torch beam.
          
                                  SPEAKE
                      Where's all this come from.
          
                                WINSTANLEY
                    Look at all those gold coins?
          
                                DODGE
                    That looks like Napolean's jacket.
          
                                SHERBERT
                    What is all this, there are uniforms,
                    gold, rifles, helmets?
          
                                WINSTANLEY
                    I think that Mr Scolder was sending
                    Davies back to recover all these
                    artefacts.
          
                                DODGE
                    What did happen to Davies?
          
                                WINSTANLEY
                    That's easy to work out.
          
          Everybody stares at Dodge.
          
                                DODGE
                    Davies was too clever by half... he
                    was too confidant.
          
                                WINSTANLEY
                    Probably got his head blown off at
                    the battle of Waterloo.
          
          A blidning blue light spreading out, from just in front of
          Davies's old school deak.
          
                                SPEAKE
                    Keep back, we're safe at this
                    distance.
          
          Right in front of the boys, huddled in the frame of the
          closet, the penny farthing time-machine slowly takes form.
          Davies is sitting up high on top smiling.
          
                                DAVIES
                    Hello boys, Winstanley... goodo Dodge!
          
                                WINSTANLEY
                    Where the hell have you been?
          
                                DAVIES
                    Ming Dynasty China, today... by the
                    way... what day is it?
          
                                DODGE
                    Wednesday. Now.
          
          Distantly, unmistakable quick footsteps on polished wooden
          floors.
          
                                   SHERBERT
                    Mr Scolder!
          
                                DODGE
                    Quick boys, grab on to the frame of
                    the bike.
          
                                SPEAKE
                    Do what old boy?
          
                                DAVIES
                    That's Scolder, the bounder, we're
                    supposed to meet, come on... grab
                    on.
          
          EXT. OLD FRENCH CHURCH - AFTERNOON
          
          Super:
                                 1415, Agincourt
          
          Boys casually lying on a strip of grass, Dodge is unwrapping
          his sandwiches. The penny farthing sits just behind them
          under a tall church window.
          
                                SPEAKE
                    History was never quite this
                    interesting when Scolder taught it.
          
          IN THE NEAR DISTANCE
          
          The surge of English Knights, in the middle of that melee,
          protected by his own bodyguard wielding heavy battle axes
          and swords, is Henry V, swinging his sword over his head.
          
                                SPEAKE
                    Davies... what are you going to do
                    now?
          
                                WINSTANLEY
                    Yes, Davies, what are you going to
                    do, are you going to finish Michaelmas
                    term?
          
                                DAVIES
                    I don't know exactly boys, for now,
                    I may just rip though history, just
                    take it easy.
          
          A stray arrow whistles through the air and with a gentle
          WHUMP lands below Dodge's foot. He reaches over and pulls it
          free.
          
                                DODGE
                     Boys, you know, this arrow could
                     mean something?
          
                       END.

          Nobody knows nothing, and I'm nobody.

          Oh Those Hot Summer Nights script contest
          5 pages, deadline next Sunday

          Comment


          • #6
            Re: Entries - Hot Tub Time Machine contest

            Code:
            TIM'S TIME EXPRESS
            
            FADE IN:
            
            EXT. SMALL TOWN STREET -- NIGHT
            
            It's dusk and an old streetlight on the tree-lined street
            blinks on, dim at first, but coming to life for the night.
            
            Below it, a battered, mostly-white, 80s, Toyota Corolla is
            parked on the curve. On the driver's door, misaligned stick-
            on letters let us know we're looking at: "TIM'S TIME EXPRESS".
            
            
            INT. TIM'S TIME EXPRESS -- NIGHT
            
            Many wires, different colors and sizes, most coming from 
            under the dash, terminate into a small, black box. The box
            has a taped on AAA battery holder, an LED readout and three
            push buttons, labeled: "FORWARD", "BACKWARD" and "STOP".
            
            In the driver's seat, Tim, mid-twenties, wired, jacked and
            kind of wild-eyed, shouts at the cell phone on the dash.
            
                                   TIM
                         I'm trying it out tonight, right now --
                         I'm taking a test run now.
            
                                   MAN'S VOICE ON PHONE
                         Maybe you should get some sleep first?
                         You've been up three days.
            
            Tim puts an AAA battery in the holder. The red LED readout
            blinks, cycles, then settles on "xx2017".
            
            He yawns.
            
                                   TIM
                         I'll get some sleep when I get back.
                         Just going back a hundred years.
                         Only a couple hours.
            
                                   MAN'S VOICE ON PHONE
                         Do you even know how it's supposed
                         to work? 
            
                                   TIM
                         I could pretend like I could tell
                         you and you could pretend like you
                         care, but why bother?
            
            He pushes the "BACKWARD" button, the Corolla glows dimly.
            
                                   TIM
                         Bye.
            
            After a few moments the display cycles down one year to:
            "xx2016".  Outside the window, it's now raining.
            
            Tim's eyes bug even wider and now he has a huge smile on his
            face.
            
                                   TIM
                         Oh hell! It works.
            
            Hunkering down and making himself more comfortable, he watches
            the display wind down. The trees grow smaller, the houses
            look newer.
            
            He yawns.
            
            Shakes himself awake.
            
            The street is now a dirt road, on a hill. There's a full
            moon.  In the distance a farm house and outbuildings, a barn,
            some cows.
            
            The display shows: "xx1921".  He slaps himself to stay awake,
            and stares out the window.
            
            He yawns again.
            
            
            EXT. HILLTOP -- NIGHT
            
            Tents neatly lined up. Camp fires uniformly glowing and
            placed at precise intervals.
            
            Quiet as mice, two sentries, sharply dressed in military
            uniform with red coats, carry flintlocks and patrol. They
            keep a wary eye on the wooded area, below them.
            
            The older, squattier Redcoat maintains an aloof gaze and a
            stiff stride that the younger, taller Redcoat attempts to
            emulate.
            
            TIM'S TIME EXPRESS materializes directly in front of them.
            
                                   YOUNGER REDCOAT
                         Blimey!
            
            The OLDER REDCOAT gives the young one a withering stare. A
            moment later, muskets are readied and they approach the car.
            
            Seeing Tim sleeping inside, the Older Redcoat reaches out
            and touches the glass, just as the car vanishes.
            
                                   OLDER REDCOAT
                         My word!
            
            The Younger Redcoat allows himself the tiniest bit of a
            momentary smile and an almost imperceptible eye roll.
            
            
            EXT. FOREST -- NIGHT
            
            Two white-tailed deer, a doe and her fawn blend in with the
            shadows of the forest on a moonlit night. Alert, they nibble
            on the small patches of grass they find between the trees.
            
            A twig SNAPS, they prepare for flight.  Another one SNAPS
            and they're shadows disappearing in the night.
            
            Two hunter klutzes stumble through the woods, loud, talky,
            barely dressed in skins and as high as kites. SNUR is a
            little bigger and lot hairier than PERMUS.
            
            They carry massive spears, but the prey is safe from them
            tonight. While making fierce jabbing motions with their
            spears, Snur trips on a tree root and falls hard.
            
            They both think that's hilarious and break out into fits of
            loud laughter.
            
            The still-standing Permus goes from laughing to stone sober
            in a flash. He points up the hill at TIM'S TIME EXPRESS.
            Snur stands up and stares, then --
            
            -- Yells his defiance.
            
            With his spear down, he rushes the car, but long before he
            gets near it the car disappears. For a few moments they are
            startled and quiet.
            
            But not for long. Soon they thump their chests with their
            fists.
            
                                   SNUR
                             (unknown language)
                         Whoda man?!
            
                                   PERMUS
                             (unknown language)
                         Youda man!
            
            Snur points at himself.
            
                                   SNUR
                             (unknown language)
                         Ida man!
            
            Then they both laugh so hard they fall down.
            
            
            EXT. GRASSY MEADOW -- NIGHT
            
            There is nothing man-made in the meadow except a mostly white
            80s, Toyota Corolla with a TIM'S TIME EXPRESS sign on the
            driver's door.
            
            Something huge and toothy eyes the car, cranes its neck to
            look through the driver's window and decides to take an
            exploratory chomp.
            
            Opening its cavernous mouth... it bellows in rage as the car
            disappears.
            
            
            EXT. CONSTRUCTION SITE -- NIGHT
            
            Miles and miles of massive steel girders, spinning fountains
            of light and gigantic spaceships.
            
            Thousands of construction workers go about their business.
            All are about ten-feet high and wear yellow hard hats. Each
            have eight limbs and giant eyes and squid beaks, on their
            faces.
            
            One taps on the driver's window of TIM'S TIME EXPRESS with a
            flashlight.
            
            Tim's eyes flutter open. He stretches and yawns. Looks at
            the CONSTRUCTION WORKER. Looks at the display on the black
            box: "xxxxxx".
            
            Looks at the Construction Worker again.
            
            Really does freak out!
            
            The Construction Worker waits a bit for Tim to stop
            hyperventilating, taps the window again and motions with one
            of his tentacles for Tim to lower the window.
            
                                   CONSTRUCTION WORKER
                         Hey Mack, this is a construction
                         zone.
            
            Tim timidly lowers the window a few inches.
            
                                   CONSTRUCTION WORKER
                         You can't be here. Go home.
            
                                   TIM
                         Oh... OK.
            
            He grabs the black box, jabs the "FORWARD" button. There's
            garbage for a second on the display, then it dies.
            
                                   TIM
                         Oh hell! The battery must be dead.
            
                                   CONSTRUCTION WORKER
                         You didn't bring another one?
            
                                   TIM
                         No.
            
            Tim looks hopefully at the Construction Worker.
            
                                   CONSTRUCTION WORKER
                         I look like a five and dime store
                         to you, Mack?
            
            Tim checks his pockets. No battery.
            
                                   TIM
                         Where am I?
            
                                   CONSTRUCTION WORKER
                         Mars... I think. But I can't keep
                         track of all these little projects.
            
            The Construction Worker turns toward a 2ND CONSTRUCTION
            WORKER.
            
                                   CONSTRUCTION WORKER
                         This Mars?
            
                                   2ND CONSTRUCTION WORKER
                         No... Earth. Mars is out there.
            
            The 2nd Construction Worker points out into space, with a
            couple of spare tentacles.
            
                                   CONSTRUCTION WORKER
                             (to Tim)
                         It's Earth. Look, Mack, in about ten
                         minutes we're dumping five hundred
                         trillion tons of dirt and rock, right
                         here.
            
                                   TIM
                         I don't know where to go.
            
                                   CONSTRUCTION WORKER
                         Where you from?
            
                                   TIM
                         September 15th, two thousand
                         seventeen.
            
            The Construction Worker pulls a mechanical pencil and a small
            notebook out of a pocket. Fiddles with a slide rule, from a
            different pocket and writes down an equation.
            
                                   CONSTRUCTION WORKER
                             (pointing)
                         Pay attention. You need to go that
                         way. Fourth time vortex on the right.
                         You can't miss it.
            
                                   TIM
                         That way, fourth vortex. Got it.
                         Thank you.
            
                                   CONSTRUCTION WORKER
                         No problem.
            
            Tim starts up the Corolla and drives away. Backs up again
            and takes a picture of the Construction Worker with his phone
            camera. Drives away again.
            
            The Construction Worker shakes his head as he watches the car
            leave.
            
                                   2ND CONSTRUCTION WORKER
                         What was that all about?
            
                                   CONSTRUCTION WORKER
                         Another freakin' tourist.
            
            FADE OUT:
            
            THE END

            Nobody knows nothing, and I'm nobody.

            Oh Those Hot Summer Nights script contest
            5 pages, deadline next Sunday

            Comment


            • #7
              Re: Entries - Hot Tub Time Machine contest

              Code:
              K R O N O S
              
              FADE IN:
              
              EXT. FARM - DAY
              
              Big country beneath a leaden sky. Dust devils whip across
              fallow fields and through broken fences.
              
              Bleached bones of a horse skeleton lie in dry dirt.
              
              Dilapidated out-buildings surround a neglected yard. An
              old farmhouse looms grimly. The only residence for miles.
              
              
              INT. BATHROOM - DAY
              
              A gaunt man, DANIEL, 43, in just his underpants, stands
              at the sink and mirror. Using a cut-throat razor, he
              shaves gray stubble from his pale face, exposing an old
              scar down his left cheek. He pauses, remembering.
              
              
              INT. SINGLE BEDROOM
              
              Almost unfurnished. On the bed's bare mattress lie jeans
              and a t-shirt next to a small backpack. Daniel rummages
              inside, pulls out a formal white shirt, and removes the
              shop tag.
              
              
              INT. MASTER BEDROOM
              
              White-shirted, Daniel enters warily and surveys the room.
              
              Minimal comforts. Like a time capsule of a bygone era.
              
              The double bed has been slept in one side. On that
              bedside's cabinet, a lamp, a wrist-watch, and spectacles
              on top a bible.
              
              On the other bedside cabinet, only a small glass ashtray,
              that holds a slender gold ring.
              
              On a chest of drawers, two framed black-and-white photos.
              One of a happily just-married couple. The other of a
              somber man and a melancholy young boy, both detached but
              for a single parental hand on the boy's shoulder.
              
              Daniel stares blankly at those two male faces. They both
              resemble his own. He turns the picture face down flat.
              
              Daniel opens a wardrobe. Women's clothes one side, men's
              the other. The sight and smell gives him pause. He takes
              out and holds up a hanger with a Sunday-best tweed
              jacket, waistcoat and trousers.
              
              
              EXT. CEMETERY - DAY
              
              Graveside, a fat PASTOR closes his Book of Common Prayer,
              and two FUNEREAL MEN lower the coffin. Daniel, in an ill-
              fitting tweed suit and well-worn sneakers, drops a
              fistful of dirt into the grave and walks away.
              
              
              EXT. HIGHWAY
              
              Daniel walks a lonely road back to the farm.
              
              
              INT. FARMHOUSE PANTRY - DAY
              
              Daniel scans the shelves of identical tinned foods.
              
              
              INT. KITCHEN
              
              On the stove, an opened can beside a steaming saucepan.
              
              At the kitchen table, Daniel eats from a bowl.
              
              At the sink, he washes up.
              
              At the back door, he vomits.
              
              
              EXT. FARMYARD - DAY
              
              Still tweed-suited, Daniel peers into the half-light of a
              disused cow shed.
              
              A fifty-foot high metal grain silo. Daniel looks inside.
              It's empty.
              
                                         DANIEL
                             Hey!
                                    (echoes)
              
              Daniel coughs harshly, and spits.
              
                                         DANIEL
                             Bastard!
                                   (echoes)
              
              Daniel un-padlocks a barn's double doors and swings them
              wide open. Stepping slowly inside, he looks around --
              dusty farming equipment -- a broken loft ladder -- piles
              of junk -- and a tractor partly under tarpaulin.
              
              Daniel sits on the edge of a wooden trough, half full of
              old shoes and boots. He rolls a joint, and smokes deeply.
              
              Sunset breaks below the clouds and lights up the yard.
              
              Silhouetted in the barn doorway stands a timeless figure
              all in black -- trench-coat, leather boots and gloves,
              broad-brim hat, and briefcase -- a DARK AGENT.
              
              Daniel stands up startled and stumbles backward. The Dark
              Agent raises an open hand to calm his prospective client.
              
              Daniel squints, tries to focus on the long-shadowed
              figure, who points to Daniel's dropped joint that has set
              fire to some loose straw. Daniel stamps it out.
              
              
              EXT. FARMYARD - DUSK
              
              Bats flitter through the twilight.
              
              
              EXT. KITCHEN WINDOW - NIGHT
              
              Faintly backlit, Daniel and the Dark Agent sat either
              side of the kitchen table, upon which the agent's
              briefcase is open. The Dark Agent slides two parchments
              across to Daniel, who briefly reads them.
              
              The Dark Agent hands a guilded pen to Daniel, who signs
              both parchments.
              
              The Dark Agent takes the pen, countersigns both
              parchments, puts one in his briefcase, and carefully
              folds the other.
              
              A flame melts red wax -- drips onto the parchment --
              sealed using a signet ring -- and the Dark Agent hands
              the document back to Daniel.
              
              
              EXT. HIGHWAY - NIGHT
              
              The Dark Agent walks a lonely road toward solitary hills,
              and disappears back to where he came.
              
              
              EXT. FARMYARD - NIGHT
              
              Daniel crosses the yard to the barn.
              
              
              INT. BARN - NIGHT
              
              Daniel closes the barn doors. He clears a central area of
              junk and loose straw, and sits cross-legged on the floor.
              
              He takes out the parchment and, breaking the seal,
              unfolds it. He reads every word of the dense paragraphs,
              lips moving, but inaudible.
              
              Using his Zippo, he lights one corner of the parchment,
              and lays it on the ground before him.
              Daniel stares into the steady flame that burns strangely
              slow and bright. As the flame reaches the wording and
              signatures, a dark haze of smoke fills the barn.
              
              Daniel's eyes water, bloodshot, pupils dilated. His
              eyelids flutter. Space-time dissolves into cosmic flux.
              
              
              EXT. COUNTRYSIDE - DAWN
              
              A small wood, isolated in endless acres of flat fields.
              Closer and closer, the dark trees stand against dawn's
              golden horizon.
              
              The raucous chatter of roosting birds becomes louder and
              louder. Closer and louder, the commotion reverberates
              into a monotone ringing.
              
              Closer and closer, louder and louder, the now deafening
              tinnitus suddenly stops dead as countless birds break
              from the trees and flock into the sky, their infinite
              wing beats soaring until silent.
              
              
              EXT. FARMYARD - DAY
              
              Peace. The farm appears different, much less rundown.
              
              A cockerel crows.
              
              The SOMBER MAN, from that photo in the master bedroom,
              exits the farmhouse and strides across the yard to a
              tractor in front of the barn doors. He climbs into the
              cab and starts the engine.
              
              
              INT. BARN - DAY
              
              Daniel, sprawled on the ground. The engine noise wakes
              him. Groggy, he stands and looks around. Far less junk
              and disrepair. And no tractor, but for the sound of it
              driving away.
              
              
              EXT. FARMYARD - DAY
              
              Daniel peers cautiously around the barn door. He steps
              out, quizzical.
              
              
              EXT. FARM FIELDS
              
              A majestic gray horse gallops at great speed around a
              large paddock. Sat on a gate, Daniel watches in wonder.
              
              Some way off, the engine noise of the tractor intrudes.
              Daniel turns to see it drive back into the farmyard.
              
              
              EXT. COW SHED
              
              The Somber Man, Daniel's father, MATTHEW, 43, drags one
              end of a thick flexible pipe from the shed and drops it
              over the edge of a slurry pit. Liquid muck pours out.
              
              He stands a few feet back, pulls out a hip-flask, and
              takes a swig or six while waiting.
              
              
              INT. COW SHED - DAY
              
              Cattle in pens either side of the central aisle, with
              large open doorways at both ends of the shed.
              
              Daniel stands just inside one doorway. He sees Matthew,
              with his back to him, standing out beyond the far
              doorway, at the slurry pit.
              
              As if wanting something in particular, Daniel scans the
              shed -- sacks of feed -- coils of rope -- a bolt gun --
              and a butchering knife.
              
              Daniel heads toward the far doorway, the cattle clearly
              spooked by his presence.
              
              
              EXT. COW SHED - DAY
              
              Daniel stands right behind Matthew, mere inches, close
              enough to smell him.
              
              The liquid muck almost run dry, Matthew drains his flask,
              but is then suddenly aware of something.
              
              He spins around to see forty head of cattle stampeding
              from the shed, coming headlong toward him.
              
              He's got nowhere to run, and steps back as the panicked
              cows veer wildly left or right to avoid the pit. But
              there are too many, and he's forced back, further and
              further.
              
              Then one cow comes crashing down, slams sideways into
              him, knocking him over backwards. His head smashes on the
              concrete ground and, as the fallen cow scrambles to
              recover, he's trampled and kicked over the edge and down
              into the slurry pit.
              
              
              EXT. FARMYARD
              
              Calmly, the cattle mill around the yard. Some make their
              own way out into the fields.
              
              
              EXT. SLURRY PIT
              
              Daniel bends down and picks up the hip flask. He reads
              the engraving: "To Matthew ~ From Hannah ~ All My Love"
              
              Daniel looks up at a dark first-floor window at the back
              of the farmhouse.
              
              
              INT. FARMHOUSE - UPSTAIRS - DAY
              
              Outside the door of the single bedroom, Daniel reaches up
              and takes a key from the top of the frame. He unlocks the
              door and opens it.
              
              
              INT. SINGLE BEDROOM
              
              A miserable room. Little more than a dirty chamber pot
              beside a threadbare bed.
              
              The melancholy BOY, 6 or 7, from that photo in the master
              bedroom, is huddled on the floor in a far corner.
              
              Daniel gazes at his young self, but the Boy looks right
              past him at the doorway.
              
              Daniel turns and departs, leaving the door wide open.
              
              
              EXT. HIGHWAY - DAY
              
              Daniel walks a lonely road toward solitary hills, and
              disappears into a blinding sunset.
              
              
              EXT. COUNTRYSIDE - NIGHT & DAY
              
              The minute sounds of nature in motion, amplified for
              TIMELAPSES passing in mere seconds --
              
              -- constellations traverse the night into radiant dawn.
              
              -- meadow flowers open and track the sun across the sky.
              
              -- a spider spins a web in which flies get caught.
              
              -- field mushrooms sprout and decay.
              
              -- maggots consume a dead bird.
              
              
              EXT. FARMYARD - DAY
              
              Golden sundown. The farm appears different again. More
              loved, less doomed.
              
              A couple of cute CHILDREN play in the yard, laughing
              loudly.
              
              
              INT. BARN - DAY
              
              Under the tractor, a fit and healthy DANIEL, 43, in dirty
              overalls, does vehicle maintenance. His face is clean
              shaven and, this time, he has no scar.
              
              Daniel sees a pair of black boots in the barn doorway. He
              slides out from beneath the tractor and stands to find
              the Dark Agent.
              
              On Daniel's face, a remote look of recollection.
              
              
              EXT. FARM AND BEYOND - DAY
              
              Motion blur resolves into scarless ADOLESCENT DANIEL
              riding a majestic gray horse, bareback and at terrific
              speed, through endless open countryside --
              
              -- as a guitar-thrashing lullaby* builds to an alarming
              level and suddenly sound and vision --
              
                                                      CUT TO BLACK.
              
                                       THE END
              
              
              *Music such as:
              
              "Only Shallow" by My Bloody Valentine
              
              "Seagull" by Ride
              
              "Leave Them All Behind" by Ride
              
              "Dreams Burn Down" by Ride
              
              "Black Metallic" by Catherine Wheel
              
              (Check them out -- they're timeless.)

              Nobody knows nothing, and I'm nobody.

              Oh Those Hot Summer Nights script contest
              5 pages, deadline next Sunday

              Comment


              • #8
                Re: Entries - Hot Tub Time Machine contest

                Code:
                KILLING HITLER
                
                OVER BLACK
                
                A huge crowd CHEERS, hundreds of thousands of throats shout
                a name, over and over...
                
                HITLER
                HITLER
                HITLER
                
                
                FADE IN:
                
                INT. ACCESS STAIRWAY - SPORTS STADIUM - DAY
                
                A NAZI BROWNSHIRT SOLDIER wearing Swastika armbands lies
                unconscious, his forehead bloody.
                
                Outside, the chant continues:
                
                HITLER
                HITLER
                HITLER
                
                
                EXT. STADIUM UPPER STANDS WALKWAY - DAY
                
                A lone figure skulks between pillars, keeping low.
                
                The chant continues:
                
                HITLER
                HITLER
                HITLER
                
                
                INT. STADIUM - PILLAR - DAY
                
                The figure -- let's call him SMITH -- crouches down with his
                back against a pillar.
                
                He opens a leather satchel.  He takes out parts of a rifle.
                He snaps them together expertly.
                
                The chant continues:
                
                HITLER
                HITLER
                HITLER
                
                Smith stands up and peeks out from behind the pillar.
                
                
                STOCK FOOTAGE:  NAZI RALLY
                
                Adolf fvcking Hitler smiles at an audience of diehard Nazis
                who hang on his every evil word.
                
                They thrust their right arms out and chant at their rock
                star Fuhrer:
                
                HITLER
                HITLER
                HITLER
                
                
                INT. STADIUM - PILLAR - DAY
                
                Smith squints through his rifle's telescope sight.  Makes
                adjustments.
                
                He flicks a switch.  A RED LASER LIGHT SHINES.
                
                
                EXT. PODIUM - DAY
                
                Hitler smiles and gives his trademark limp arm salute.
                
                The crowd chants:
                
                HITLER
                HITLER
                HITLER
                
                                         EXCITED WOMAN (V.O.)
                             Ich liebe dich, Mein Fuhrer!
                                  (English subtitle:)
                             I love you, my Fuhrer!
                
                                         HITLER
                             Danke, danke, ich bin hier die
                             ganze Woche.
                                  (English subtitle:)
                             Thank you, thank you, I'm here
                             all week.
                
                A red light spot touches Hitler's chest, right over his black
                heart.
                
                BLAM!  Hitler clutches his chest and reels back from the
                microphone.
                
                Horrified SCREAMING from tens of thousands of throats.
                
                                         EXCITED WOMAN (V.O.)
                             Nein!  Mein Fuhrer!
                                  (English subtitle:)
                             No!  My Fuhrer!
                
                
                INT. STADIUM - PILLAR - DAY
                
                Smith crouches down and hastily disassembles his rifle,
                dropping the parts back into the leather satchel.
                
                HEAVY FOOTSTEPS give him cause for panic.
                
                Suddenly he's surrounded by NAZI GUARDS who cover him with
                their machine pistols.
                
                Smith slowly puts down the leather satchel and raises his
                hands.  He smiles the smile of a man who knows he has already
                won.
                
                                         SMITH
                             Too late, you Nazi swine, I got
                             him.  Do your worst.
                
                                         NAZI OFFICER
                             Bringt ihn zu den Fuhrer!
                                  (English subtitle:)
                             Bring him to the leader!
                
                Hands grab Smith and roughly drag him up.
                
                
                INT. OFFICE - DAY
                
                NAZI GUARDS force Smith to sit down in a chair.  They secure
                his wrists to the chair's arm rests with steel clamps.  They
                step back and snap to attention.
                
                Smith looks around.  Maybe wondering why he's still alive.
                
                A NAZI wearing a brownshirt uniform stands looking out the
                window, his back to Smith.
                
                Smith frowns, this guy looks kinda familiar...
                
                                         ADOLF HITLER
                             Your weapon is quite sophisticated.
                             But I have seen its like before.
                             And no doubt will see it again.
                
                In the background, the stadium crowd chants:
                
                HITLER
                HITLER
                HITLER
                
                Hearing this, Smith is confused.
                
                                         ADOLF HITLER
                             You wonder why the crowd continues
                             to cheer.  You should know that
                             the Fuhrer made a remarkable
                             recovery and returned to the podium.
                
                Smith shakes his head, that's just crazy!
                
                                         ADOLF HITLER
                             No one suspects he died, as a
                             result of your bullet, and has
                             been replaced.
                
                Smith frowns, trying to figure this out.  Who IS this guy?
                
                The Nazi turns around to face him.
                
                Smith's eyes widen in astonishment!
                
                The Nazi looks like Hitler!  Same evil face, same evil
                mustache.
                
                                         SMITH
                             My God!  You're a clone!
                
                Enraged, Hitler bounds forward and slaps Smith so hard that
                his chair falls over onto its side, he goes down with it, ow!
                
                                         ADOLF HITLER
                             INSOLENT SCHWEINHUND!  I AM NO
                             CLONE.
                
                The Nazi guards lift Smith and the chair upright again.
                Smith's dazed and bleeding from the mouth.
                
                                         SMITH
                             My mistake, I do apologize.
                
                Hitler's rage switches off, just like that.
                
                                         ADOLF HITLER
                             But the cloning process is only
                             one-half of the miracle.  The
                             second half would not even be
                             possible, if not for you time
                             travelers.
                
                Smith reacts with surprise!  Then tries to hide it.  Emoting
                required.
                
                                         SMITH
                             I have no idea what you're--
                
                                         ADOLF HITLER
                             Come, now.  I know what you are.
                             You jumped here from our future,
                             did you not?  Your weapon confirms
                             this.  Do you think you are the
                             first?  There have been many
                             before you.  All of you leaped
                             back through time with the idea
                             that assassinating me will change
                             history for the better.
                
                He leans in close and shouts in Smith's face:
                
                                         ADOLF HITLER
                             IT NEVER DOES.  HA!
                
                Hitler struts back to the window, laughing an evil laugh.
                
                                         ADOLF HITLER
                             We have seen many sophisticated
                             weapons and inventions from the
                             future.  Including a clever device
                             capable of recording brain patterns.
                
                Smith is intensely interested in hearing about this!
                
                                         ADOLF HITLER
                             Its owner died before he could
                             explain his intentions.  Perhaps
                             he wished to make a copy of my
                             mind for posterity, so that it
                             might be examined by future
                             philosophers?  This is the only
                             logical explanation.
                
                Smith begins to understand...
                
                                         SMITH
                             You used this device... to write
                             your brain patterns into the blank
                             minds of your clones.
                
                Hitler puts a finger to his own nose and points at Smith
                with his other hand.  You got it!
                
                The stadium crowd is still chanting:
                
                HITLER
                HITLER
                HITLER
                
                                         ADOLF HITLER
                             So you see, your actions have
                             proven futile.  You shot a clone.
                             A decoy.  His death is meaningless.
                             I can easily make others.
                
                                         SMITH
                             Damn all you Nazis to Hell.
                
                A NAZI DOCTOR in a white coat enters, pushing a trolley laid
                out with gleaming surgical instruments.
                
                                         SMITH
                             Two sugars with just a splash of
                             milk, please.
                
                                         ADOLF HITLER
                             You will tell us everything we
                             wish to know of your future world.
                             So we can better prepare for
                             conquering it.
                
                The Nazi Doctor picks up a surgical saw and touches the blade
                with his thumb, producing a droplet of red blood.  He grins
                at Smith.  A sadist who loves his work.
                
                                         SMITH
                             I would venture to guess that if
                             you're here, the brain pattern
                             recorder can't be far away.  You
                             would want to keep refreshing the
                             image so it's always up to date.
                
                                         ADOLF HITLER
                             The machine's location is of no
                             importance to you.  You should be
                             concerned with your own situation.
                
                                         SMITH
                             You really should have taken my
                             wristwatch.
                
                                         ADOLF HITLER
                             What nonsense do you speak?
                
                                         SMITH
                             But of course, you've never
                             watched any Bond movies, have you?
                             A great pity.  Maybe learning
                             that the villain never gets away
                             with his plans for world
                             domination would have been
                             educational for you.
                
                Hitler frowns, struggling to understand.  He looks at Smith's
                wrist.
                
                SMITH'S WRISTWATCH
                
                The dial glows.
                
                                         HITLER
                             Schneiden Sie seine Hand!  Holen
                             Sie sich das Uhr!  Schnell!
                                  (English subtitle:)
                             Cut off his hand!  Get the
                             timepiece!  Quickly!
                
                The Nazi guards leap forward and grab Smith's arms.
                
                The Nazi Doctor brings his saw down on Smith's wrist.
                
                Smith smiles at Hitler.  Too late, Nazi scum!
                
                Hitler's eyes widen in horrified realization.
                
                SCREEN WHITE OUT
                
                A DEAFENING EXPLOSION
                
                FADE TO BLACK
                
                A beat.  Then...
                
                                         EXCITED WOMAN (V.O.)
                             Ich liebe dich, Mein Fuhrer!
                                  (English subtitle:)
                             I love you, my Fuhrer!
                
                An excited crowd chants:
                
                HITLER
                HITLER
                HITLER
                
                The End.
                Last edited by dpaterso; 09-16-2016, 11:02 PM.

                Nobody knows nothing, and I'm nobody.

                Oh Those Hot Summer Nights script contest
                5 pages, deadline next Sunday

                Comment

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