October 2019 Contest + results

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  • October 2019 Contest + results

    Here we go folks. A nice 8 entries.

    I've had to reformat most of these and Yahoo mail had a hissy fit. I hope I have done you justice. Any errors let me know ands I'll try to fix.

    To anyone and everyone. Vote to shanecameron65 (at) yahoo dot co dot nz please before the 31st


    PLEASE NOTE I MISSED ONE SCRIPT - THE CHEMIST POSTED LAST. PLEASE READ BEFORE VOTING
    Last edited by Southern_land; 10-26-2019, 01:39 PM.
    I heard the starting gun


    sigpic

  • #2
    Re: October 2019 Contest

    Body in the woods

    Code:
     
    DARKNESS!
    
    A car engine, changes pitch, not volume.  We are in the car.
    
    It stops.  Car doors slam.
    
    Mumbled conversation.
    
    MOONLIGHT
    
    Reverse shot out of a car trunk.  It opens.  Two guys peer 
    in.  Silhouettes, two, one tall, the other squat.  
    
    Someone laughs. 
    
    SOMMERVILLE.  An immense man.  Shaved head.  
                             
                             SOMMERVILLE
                ****ing Bert and Ernie!  Kidnapped by 
                Bert and his little buddy.  Je-sus H. 
                ****ing cornholing Christ what a 
                shitty low point in my life I have 
                reached!
                             
                             BERT
                Shut up.
                             
                             ERNIE
                Get out.
    
    EXT. WOODS CARPARK - CONTINUOUS
    
    Both men are armed.  Bert with a shotgun.  Ernie with an 
    automatic 45.
    
    They step back.
    
    Oh and they definitely look like Bert and Ernie.  For real.
                             
                             ERNIE
                Get the **** out!
    
    He waves his pistol.
    
    With a heartfelt groan their prisoner starts moving.  And 
    moving.  And moving.  He's huge.
    
    He steps out of the trunk, the car rises on its springs.  
    They creak.  He's huge.  His hands are cuffed in front of 
    him.  He rolls his shoulders and neck.  His neck cracks.  He 
    sighs.
                             
                             SOMMERVILLE
                Now what?
                             
                             BERT
                We go for a little walk.
                             
                             SOMMERVILLE
                To a bar?  I've got the first round.
                             
                             BERT
                Funny.
                        (points)
                Into the woods.
    
    Sommerville nods curtly.  Strides off.  The other two have to 
    trot to catch him.
    
    They do.
                             
                             BERT (cont'd)
                What the ****?
                             
                             SOMMERVILLE
                Going for a walk.  You parked the car 
                beside this path.  I figured...
                             
                             ERNIE
                Well yeah.  Wait.  Okay?
                             
                             SOMMERVILLE
                Why?  Scared of the dark?
                             
                             ERNIE
                Me?  You're the one in shitstreet!
    
    Sommerville snorts.  Pauses.
                             
                             SOMMERVILLE
                Are we going or not?
                             
                             BERT
                This way.  There's a clearing or 
                something.
                             
                             SOMMERVILLE
                Right lets get this done.
    
    Ernie gets in his way.
                             
                             ERNIE
                I don't think you understand.
                             
                             SOMMERVILLE
                You sound like you're scared.  What's 
                up?  Can't face what's coming?
    
    Ernie thumps him with his shotgun muzzle.
                             
                             ERNIE
                Get moving!  
                             
                             SOMMERVILLE
                        (to Bert)
                I don't think your friend's ever 
                killed anyone before.  I reckon he's 
                up to it?
    
    Bert refuses to answer but he glances at his accomplice.
                             
                             ERNIE
                I can do it.
                             
                             SOMMERVILLE
                We'll see.
    
    EXT. WOODS CLEARING - MOMENTS LATER
    
    The moon has fully risen.  They emerge.  Bert and Ernie 
    lagging behind Sommerville.
                             
                             ERNIE
                Don't you run.  We'll gun you down.
                             
                             SOMMERVILLE
                Isn't that the plan?
                             
                             ERNIE
                When we're ready.
                             
                             BERT
                Louie the rat texted he'd leave a 
                shovel here.
                             
                             SOMMERVILLE
                Louie?  You haven't dug the hole yet?  
                ****ing amateurs!
                             
                             ERNIE
                Listen...
                             
                             BERT
                No.  Actually we are professionals.  
                we don't dig holes.  You do!
    
    He pokes Sommerville with his shotgun.
                             
                             SOMMERVILLE
                **** is that a cliche or what?  Dig 
                the hole.  we don't dig holes, we're 
                professionals.
                             
                             BERT
                Just do it.
                             
                             SOMMERVILLE
                Or what? 
                             
                             BERT
                I'll shoot you now.
                             
                             SOMMERVILLE
                **** it.  then you'll have to dig the 
                hole.
                        (pause)
                **** it!  A few more minutes on this 
                stinking planet I guess.
                             
                             ERNIE
                You don't seem very surprised.
                             
                             SOMMERVILLE
                You know Louie the Rat, I know Louie.  
                We are not buddies.  In fact after 
                last week... 
                             
                             BERT
                There!  The shovel.
    
    In the clearing is another clearing.  Bare dirt.  Only a few 
    spotted weeds.
    
    He kicks the shovel to Sommerville.  He catches it.
    
    Wordlessly he starts digging.
    
    The hole gets deeper.  The pile of earth grows.
    
    Time passes.
                             
                             BERT (cont'd)
                Okay, okay that's big enough.
                             
                             SOMMERVILLE
                Nah I'm a big lad.  Needs more foot 
                room for my big sleep.
                             
                             BERT
                Big sle... Really trying to eck out 
                that last few minutes?
    
    Sommerville keeps shoveling.
                             
                             ERNIE
                What the **** is that smell?
                             
                             SOMMERVILLE
                Nature.
                             
                             ERNIE
                Bullshit!
                             
                             SOMMERVILLE
                Could be.  But nah.  That is mother 
                nature at her finest.
                             
                             ERNIE
                Doing what?
                             
                             SOMMERVILLE
                Composting I'd say.
                             
                             BERT
                Like it's going to do to you?
    
    Sommerville keeps digging.
                             
                             ERNIE
                God that smell's getting really bad.
                             
                             SOMMERVILLE
                Have you buried anyone else here?
                             
                             ERNIE
                Don't be ****ing stupid.  Why would 
                you bury someone in the same place?
                             
                             SOMMERVILLE
                Convenience?
    
    He taps something with the shovel tip.
                             
                             SOMMERVILLE (cont'd)
                Dunno about you, but someone's buried 
                someone here.  This here, is a body.
                             
                             BERT
                What?  who?  Where?  Get out of there!
    
    Sommerville clambers out.  Holds the shovel ready to swing.  
    But they're ready.
    
    He drops it.
                             
                             SOMMERVILLE
                See, that's a jacket.
                             
                             ERNIE
                        (amazed)
                What are the ****ing chances?
                             
                             BERT
                Who is it?  You!  Back in the hole and 
                drag that carcass out of there.
    
    Sommerville jumps back in the hole and swears.
                             
                             ERNIE
                What?
                             
                             SOMMERVILLE
                Jumped on him.  he dead farted.
                             
                             ERNIE
                Jesus!
                             
                             SOMMERVILLE
                He didn't feel a thing.
                             
                             BERT
                Lift him the **** out of there you big 
                bastard!
    
    Sommerville squats over the muddy body.  Grabs the jacket 
    lapels.  Strains.  Grabs the jacket differently.  Strains 
    again.  Lifts.
                             
                             BERT (cont'd)
                Get it over here.
                             
                             SOMMERVILLE
                It's a him.
                             
                             BERT
                Get "him" the **** over here then.  
                Throw him.
    
    Sommerville does.  he is that big.  He is that strong.
    
    The body flops between the two henchmen.  A small man, 
    pinched rodent like features.  Smeared with fresh mud.  A 
    bullet hole in his forehead.
                             
                             ERNIE
                The Rat.  Louie the Rat...
                             
                             BERT
                What the...
    
    CLICK.
    
    The slide on an automatic pistol.
    
    They turn.
    
    Sommerville has a cell phone in his left hand.
                             
                             SOMMERVILLE
                The Rat texted you?
    
    Sommerville has a very muddy pistol pointed at them in his 
    right.
                             
                             SOMMERVILLE (cont'd)
                Dumb!
    
    They both try to react.
    
    Too late.
                             
                             SOMMERVILLE (cont'd)
                A twofer!
    
    Boom!  Boom!
    Last edited by Southern_land; 10-25-2019, 09:30 PM.
    I heard the starting gun


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    • #3
      Re: October 2019 Contest

      BURY ME DEEP

      Code:
      INT. FUNERAL HOME FOYER - DAY
      
      Front door opens, SADFACE CLOWN enters.  He wears a blue 
      curly wig, a purple stripe clown outfit and big red shoes.
      
      
      INT. FUNERAL HOME GATHERING ROOM - DAY
      
      Sadface Clown peeks into the room.
      
      At the front, a coffin on display, the top half open.  We 
      don't get to see who's inside yet.
      
      Sitting in the front row, all alone, a sobbing WIDOW in 
      black, her face hidden by a veil.  Good legs, though.
      
                            FUNERAL DIRECTOR (O.S.)
                What do you think you're doing?
      
      
      INT. FUNERAL HOME FOYER - DAY
      
      Sadface Clown turns, FUNERAL DIRECTOR doesn't look happy.  
      He gestures, indicating the clown make-up, the big shoes.
      
                            FUNERAL DIRECTOR
                This is highly disrepectful towards 
                the deceased.  I'm afraid I'm going 
                to have to ask you to leave.
      
      Sadface Clown pulls out a huge goddamn revolver.  Funeral 
      Director holds up his hands and steps back.
      
                            SADFACE CLOWN
                Gimme 5 minutes.  Then you can 
                call the cops.  5 minutes, hear?
      
      Funeral Director nods quickly.
      
      Sadface Clown opens the door, enters the gathering room.
      
      
      INT. FUNERAL HOME GATHERING ROOM - DAY
      
      Sadface Clown waddles his way down the aisle to the front.
      
      The Widow becomes aware she's not alone, she turns her 
      head to look at Sadface Clown.  Her sobbing dries up, she 
      takes a hankie from her purse, blows her nose.
      
                            WIDOW
                Who the hell are you?   
      
      Sadface Clown steps up to the coffin.
      
      The occupant is a man in his 40s, might have been handsome 
      once, looks kinda waxy now.
      
                            SADFACE CLOWN
                You might want to look away.
      
      The Widow stands up, shoves her veil up on top of her hat, 
      she ain't ugly, her face is streaked with teary mascara.
      
                            WIDOW
                The ****? 
      
      Sadface Clown blocks her view with his body, and just as 
      well, he's doing something to the body.
      
      CRASH-WHAM a chair explodes over his shoulders, he staggers 
      to one side, stunned.
      
      A microsecond's glimpse of the corpse's face, his now-open 
      mouth twisted in a rictus of grinning teeth.
      
      The Widow throws away the remains of the chair, picks up 
      another one, gets ready to hit him again.
      
                            SADFACE CLOWN
                Wait!
      
      He steadies himself against the coffin.
      
      The Widow hesitates, ready to let him have it.
      
                            SADFACE CLOWN
                I had to make sure.
      
                            WIDOW
                You're a sick piece of ****, get 
                your ass out of here.
      
                            SADFACE CLOWN
                This isn't him.
      
      The Widow swings the chair wildly, Sadface Clown retreats 
      just in time to avoid having his face rearranged.
      
                            SADFACE CLOWN
                It's not him!
      
                            WIDOW
                You don't even know him!  Get out!
      
                            SADFACE CLOWN
                Sylvester Krinkle, right?
      
                            WIDOW
                Anyone could have told you his 
                name!  His obituary's in the 
                newspaper!
      
                            SADFACE CLOWN
                I know, I saw it. 
      
      She shouts to whoever might be outside,
      
                            WIDOW
                Help!  This freak's trying to **** 
                my dead husband!
      
                            SADFACE CLOWN
                Jesus, lady, I'm not trying to 
                **** anyone, what is wrong with 
                you?  Anyway, it's not your husband.
      
                            WIDOW
                You are deranged.
                     (shouts)
                Need some help in here!
      
                            SADFACE CLOWN
                Sylvester's got a gold tooth, right 
                here.
      
      He lifts his top lip, points to his own upper gum.
      
                            WIDOW
                He's being cremated!  They take 
                gold teeth out.
      
      Sadface Clown gestures to the coffin.
      
                            SADFACE CLOWN
                That guy's got all his teeth.  He 
                could be in a toothpaste ad!  He 
                looks kinda like Sylvester, but it 
                ain't him.
      
      The Widow side-eyes the guy in the coffin.
      
                            WIDOW
                You're an idiot.  Of course it's 
                him.  You think I wouldn't recognize 
                my own husband?
      
                            SADFACE CLOWN
                It could be Bette Middler under 
                all that makeup.  Look again.  
                Check his teeth.
      
                            WIDOW
                Step the **** back.
      
      Sadface Clown holds up his hands and retreats a little.
      
      The Widow approaches the open coffin... looks at the dead 
      guy... leans in closer and inspects his teeth.
      
      She straightens, tries to figure this out.
      
                            SADFACE CLOWN
                I knew it.  I knew that rat bastard 
                would try to screw me.
      
      The Widow looks from clown to corpse to clown.
      
                            WIDOW
                Why are you made up like a clown?
      
                            SADFACE CLOWN
                I'm in disguise.
      
                            WIDOW
                You look like an idiot.  This is a 
                supposed to be a funeral service.
      
                            SADFACE CLOWN
                For Sylvester, who isn't the guy 
                in the coffin.
      
                            WIDOW
                How do you know my husband?
      
                            SADFACE CLOWN
                It's a long story.
      
                            WIDOW
                I got time.
      
                            SADFACE CLOWN
                I don't.  Cops are gonna be here 
                soon.
      
                            WIDOW
                You got wheels?
      
                            SADFACE CLOWN
                Yeah.
      
      She puts down the chair.
      
                            WIDOW
                Let's go.
      
      Sadface Clown jerks a thumb at the coffin.
      
                            SADFACE CLOWN
                What about him?
      
                            WIDOW
                What about him?
      
      
      INT./EXT. CLOWN CAR (MOVING) - DAY
      
      The smallest car imaginable.  Sadface Clown and the Widow 
      are squeezed shoulder to shoulder inside.
      
                            WIDOW
                We got married in June.
      
                            SADFACE CLOWN
                Congratulations.
      
      The Widow looks out her side window, ensaddened. 
      
                            WIDOW
                Everything he told me was a lie.
      
                            SADFACE CLOWN
                You believed him because you wanted 
                to.
      
                            WIDOW
                You don't know anything about me.
      
                            SADFACE CLOWN
                I've seen him in action, he could 
                charm the pants off Rosie O'Donnell.
      
                            WIDOW
                And what about you?
      
                            SADFACE CLOWN
                I never was much of a ladies' man.  
                Sylvester was always the Lone 
                Ranger.  I'm just the horse, no 
                one even noticed me.
      
                            WIDOW
                I think you're getting your 
                metaphors mixed up, you're the 
                Dumb and Dumber of thieves.
      
                            SADFACE CLOWN
                That's not very nice.
      
                            WIDOW
                You went and got yourself caught 
                while Sylvester took off with the 
                money.  He feathered himself a 
                tidy little nest while you rotted 
                in prison.
                     (puzzled)
                The hell did you get out?
      
                            SADFACE CLOWN
                The circus came to town.  The warden 
                thought it would be nice if they 
                put on a performance for us 
                prisoners.  He's one of those 
                progressive types.  So he invited 
                them inside.
      
      The Widow looks him up and down with disbelief.
      
                            WIDOW
                So you...? 
      
                            SADFACE CLOWN
                Punched out one of the guards and 
                put on his uniform.  I didn't hurt 
                him none.  I slapped make-up on 
                him and stuffed him into the clown 
                fire truck.  When the guards found 
                him they thought he was a prisoner 
                trying to escape.  While they were 
                running around blowing their 
                whistles, I walked out the gates.
      
                            WIDOW
                None of that makes sense.
      
                            SADFACE CLOWN
                I know, but it's what happened. 
      
                            WIDOW
                How'd you get this car?  And the 
                clown stuff?
      
                            SADFACE CLOWN
                Borrowed them from the circus, how 
                do ya think?
      
      The Widow points ahead.
      
                            WIDOW
                Over there.
      
      
      EXT. HOUSE - DAY
      
      The clown car pulls up.  The doors open and Sadface Clown 
      and the Widow squeeze themselves out.  They straighten and 
      tilt their heads this way and that and rotate their hips 
      to get the kinks out.
      
      The Widow indicates the car sitting in the driveway. 
      
                            WIDOW
                I don't recognize that car.
      
      They hurry up the driveway and enter the house.
      
      
      INT. HOUSE FOYER - DAY
      
      Sadface Clown and the Widow pause, looking around and 
      listening.
      
      Footsteps upstairs -- they hurry to conceal themselves.
      
      SYLVESTER comes downstairs, whistling happily and carrying 
      a suitcase.  He looks similar to the guy in the coffin, 
      but he's alive of course.
      
                            SADFACE CLOWN
                Hey buddy.
      
      Sylvester nearly jumps out of his skin.
      
      Sadface Clown and the Widow confront him.
      
                            SYLVESTER
                How in the what now?
      
                            SADFACE CLOWN
                It's good to see you alive and 
                breathing, partner.  Hell, I heard 
                you were dead.
      
                            WIDOW
                That's funny, I heard the same 
                thing. 
      
                            SYLVESTER
                Clearly there's been a 
                misunderstanding here.
      
                            WIDOW
                If I look in that case, am I going 
                to find my jewelry and the money 
                from my safe in there?
      
                            SYLVESTER
                Darling, you're loaded, you won't 
                even miss them.
      
                            WIDOW
                You bastard.
      
                            SYLVESTER
                Aw, is that any way to talk to 
                your husband?
      
      Sylvester pulls out a gun.
      
                            SYLVESTER
                Wish you hadn't showed up.  Now I 
                gotta do this.
      
      Sadface Clown pulls out his huge revolver.
      
                            SADFACE CLOWN
                Mine's bigger'n yours.
      
      Sylvester chuckles, it turns into a laugh.
      
                            SYLVESTER
                You think I'm stupid?  You think I 
                don't know that's a clown gun?  Go 
                on, pull the trigger.  I want to 
                see the BANG!  Right after, I'm 
                gonna shoot you, and then the little 
                lady.  Sorry darlin'.  Needs must.
      
      BANG!  The huge revolver bucks.  When the smoke clears 
      Sylvester's lying there with a big hole in him.
      
                            WIDOW
                Jesus Christ, you killed him.
      
                            SADFACE CLOWN
                I couldn't let him shoot you.
      
                            WIDOW
                What do we do with the body?
      
                            SADFACE CLOWN
                You're not going to call the cops?
      
                            WIDOW
                What did they ever do for me?  
                They never even caught the bastard 
                who murdered my husband.
      
      Sadface Clown thinks hard.
      
      
      EXT. CEMETERY - DAY
      
      A coffin is lowered into a hole in the earth.
      
      Only two mourners by the graveside, the Clown and the Widow.
      
                            WIDOW
                At least he'll have company.
      
      FADE OUT
      I heard the starting gun


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      • #4
        Re: October 2019 Contest

        Digging up bones PtI

        Code:
        Music from a car radio fades up over black.
                              
                              RANDY TRAVIS (V.O.)
                  I’m diggin’ up bones,
                  I’m diggin’ up bones,
                  Exhuming things that’s better left 
                  alone.
                  And I’m resurrecting mem’ries,
                  of a love that’s dead and gone.
                  Yeah, tonight I’m sittin’ alone, 
                  diggin’ up bones.
        
        FADE IN:
        
        EXT. CITY SLUM BACKSTREET - NIGHT
        
        A full moon lights the night. A dim street lamp crackles and 
        pops. Amid the dim glow of city light pollution, it imitates 
        lightning as it shines an intermittent bright light to the 
        dead street below. Wayward trash tumbles across the street.
        
        On the sidewalk, a bearded, shaggy old HOMELESS MAN, dressed 
        in a stained winter hat and heavy coat, shuffles along the 
        cracked and broken city sidewalk. He pushes a grocery cart of 
        black plastic trash bags, each one full. His breath condenses 
        in the air when he huffs and grunts to make the cart go 
        forward over the cracks and bumps of the sidewalk.
        
        EXT. PARKED SEDAN ON STREET - NIGHT
        
        The silhouette of a man in the driver’s seat blinks in and 
        out of view each time the streetlamp becomes brightly lit.
        
        INT. PARKED SEDAN ON STREET - NIGHT
        
        DAVID WAYNE SPENCE — his face illuminated by the light of the 
        car radio and the dim dashboard — swivels his head to search 
        the street for activity other than the Homeless Man.
        
        Nothing.
        
        The song “Diggin’ Up Bones” begins to end as David Wayne 
        Spence reaches over to power off the radio. The RADIO DISC 
        JOCKEY talks over the song’s end to introduce the next song. 
        David Wayne Spence hesitates and listens.
                              
                              RADIO DISC JOCKEY (V.O.)
                  That was Randy Travis with “Diggin’ Up 
                  Bones” here on K-O-R-N Country Radio’s 
                  Halloween weekend special.
        
        The next song transitions into play on the air.
                              
                              RADIO DISC JOCKEY (V.O.)
                  And now, with another song of the 
                  season, here’s Johnny Paycheck with 
                  “Pardon Me, I’ve Got Someone To Kill.”
                              
                              JOHNNY PAYCHECK (V.O.)
                  I know you’ll excuse me
                  if I say goodnight
                  I’ve got a promise to fulfill.
                  Thank you for listening
                  to my troubles
                  Pardon me,
                  I’ve got someone to kill.
        
        CLICK. David Wayne Spence turns off the radio. He grins a 
        malevolent grin, STARTS the engine, and shifts the car into 
        “Drive.”
        
        David Wayne Spence spins the steering wheel away from the 
        curb, GUNS the engine, and steers toward the Homeless Man and 
        his grocery cart.
        
        EXT. CITY SLUM BACKSTREET - NIGHT
        
        When he hears the sedan’s engine gunned to life and the car’s 
        approach, the doddering Homeless Man turns around.
        
        The car’s headlights bear down on him and grow brighter by 
        the second.
        
        Eyes opened wide and paralyzed with fear, the Homeless Man 
        freezes.
        
        EXT. ALLEYWAY - NIGHT
        
        In an alleyway across the street from the Homeless Man, 
        tucked around the corner of a building, a pile of trash sits 
        in a heap. AMOS MOSES — another homeless man —  sits buried 
        in the pile of trash. 
        
        From the top of the heap, the sullen eyes of Amos Moses peer 
        out from beneath the visor of a frayed and tattered baseball 
        cap.
        
        He watches the action unfold between the Homeless Man and 
        David Wayne Spence.
        
        EXT. CITY SLUM BACKSTREET - NIGHT
        
        SERIES OF SHOTS: David Wayne Spence Kills the Homeless Man
        
        Intercut with EXT. ALLEYWAY - NIGHT to show Amos Moses.
        
        -- The sedan arrives at the Homeless Man and stops short of 
        driving up on the sidewalk. The trunk pops open.
        
        -- The Homeless Man digs furiously among his possessions.
        
        -- David Wayne Spence hurriedly exits the car with a piece of 
        galvanized pipe in hand.
        
        -- The Homeless Man desperately yanks on a large bag. It 
        comes up, snags, and falls halfway over the side of the cart. 
        A small hole tears open at the snag.
        
        -- David Wayne Spence’s first blow strikes the Homeless Man.
                              
                              DAVID WAYNE SPENCE
                  Goddamn homeless piece of ****!
        
        -- The Homeless Man turns and raises his arms in self-
        defense, crossed to protect his head.
                              
                              HOMELESS MAN
                  Please! I’m a disabled veteran!
                              
                              DAVID WAYNE SPENCE
                  So what? Who cares? Get some of this!
        
        -- David Wayne Spence strikes a second blow to the Homeless 
        Man’s face. A third blow. A fourth blow. More.
        
        -- Amos Moses winces from beneath the visor of his cap as 
        each blow rains down on the Homeless Man.
        
        -- David Wayne Spence beats the Homeless Man into a heap of 
        rags on the sidewalk.
                              
                              DAVID WAYNE SPENCE
                  Useless son of a bitch!
        
        -- Amos Moses closes his eyes and slinks farther down into 
        the pile of garbage that surrounds him.
                              
                              AMOS MOSES
                  Lord help him!
        
        -- David Wayne Spence picks up the body of the Homeless Man 
        and places it in the trunk of the sedan. He gets in the sedan 
        and drives away. 
        
        -- The SOUND of the SEDAN ENGINE dies away.
        
        END SERIES OF SHOTS
        
        EXT. ALLEYWAY - NIGHT
        
        Standing now, Amos Moses peers out from the corner of the 
        building. He checks both ways, then quickly scurries across 
        the street to the abandoned grocery cart full of bags.
        
        EXT. CITY SLUM BACKSTREET - SIDEWALK -  NIGHT
        
        The weight of the part of the bag halfway over the side of 
        the cart causes the hole to tear open more. A few pieces of 
        crumpled, wadded “trash” tumble from the open hole.
        
        The hole stretches open a little more. More pieces of “trash” 
        dribble out.
        
        Amos Moses comes up to the cart. He sees some of the 
        crumpled, wadded “trash” hit the sidewalk. It begins to 
        tumbleweed down the sidewalk. Amos Moses’ eyes grow wide.
        
        He scoops up all the nearby “trash” and raises it to eye 
        level. Cash bills of various denominations fill his fists.
                              
                              AMOS MOSES
                  Whoa. Thank you, Jesus! Won’t He do it? 
                  Won’t He will! Amen! Whoa.
        
        Amos Moses stuffs what he holds into the hole in the bag of 
        cash, then grabs the hole in the bag to seal it. He lifts the 
        heavy bag back into the grocery cart.
        
        Amos casts furtive glances left and right as he trundles the 
        rattling, clattering grocery cart back to his alleyway.
                                           
                                           DISSOLVE TO:
        
        EXT. SUBURBAN NEIGHBORHOOD CUL-DE-SAC - NIGHT
        
        David Wayne Spence turns his sedan onto a cul-de-sac street.
        
        Signs for Real Estate firms with “Foreclosure” riders stand 
        planted out in front of all but the two corner-lot houses 
        that face one another.
        
        One vehicle sits parked in each of the driveways of the two 
        facing corner lot homes. On one mailbox the name says A. 
        STILLMAN IV, and on the other mailbox the name says F. B. 
        DEEMING V.
        
        David Wayne Spence drives past these two homes to a house 
        with boarded windows at the end of the cul-de-sac.
        
        EXT. ABANDONED FORECLOSED HOME - NIGHT
        
        David Wayne Spence pulls into the driveway of a home with 
        boarded windows at the end of the cul-de-sac.
        
        The car’s headlights glance past a Real Estate sign with a 
        “Foreclosed” rider on top.
        
        He parks behind the home, out of sight from the road.
        
        Under the trees that grow along the fence, the headlights 
        illuminate a broken split-rail fence in a corner at the end 
        of the overgrown yard. David Wayne Spence turns off the 
        sedan’s engine.
        
        EXT. SUBURBAN LOT - NIGHT
        
        David Wayne Spence emerges from the area of the broken split-
        rail fence out onto a large, undeveloped tract of land, a 
        vacant open lot. He wears a headlamp turned off.
        
        He carries a shovel in one hand and the body of the Homeless 
        Man over his shoulder. He walks a short distance along the 
        shadows created by the trees, then scouts the lot area.
                              
                              DAVID WAYNE SPENCE
                  Light’s just right. Perfect.
        
        David Wayne Spence allows the dead man’s body to slide from 
        his shoulder. The body hits the ground with a dull WHUMP. 
        David Wayne Spence takes up his shovel and begins to dig.
                                           
                                           DISSOLVE TO:
        
        EXT. SUBURBAN LOT - GRAVE SITE - NIGHT
        
        David Wayne Spence stands waist-deep in the fresh grave and 
        shovels dirt. He throws shovelfuls of dirt over his shoulder 
        with the rhythm of a character in a television cartoon.
        
        On the next thrust of the shovel into the dirt, it makes a 
        THUD sound. David Wayne Spence turns on his headlamp’s red 
        light. He peers down, then sweeps away some dirt with one 
        hand.
                              
                              DAVID WAYNE SPENCE
                  What the — is that a — what!? No way!
        
        By the red light of the headlamp, David Wayne Spence finesses 
        the shovel to dig around the object, then reaches down to get 
        it. He casts his shovel far from the grave, then turns off 
        his headlamp.
                              
                              DAVID WAYNE SPENCE
                  No way, man!
        
        He reaches down to lift a human skull. He brushes away dirt 
        clods to better examine the skull by the moonlight.
                              
                              DAVID WAYNE SPENCE
                  Whoa.
        
        Behind David Wayne Spence appears FREDERICK B. DEEMING, who 
        holds a length of galvanized pipe.
        
        Frederick B. Deeming raises the pipe to strike David Wayne 
        Spence. His clothing RUSTLES and gives him away.
        
        David Wayne Spence turns in time to catch the pipe’s blow to 
        his forehead. He reels and crumples into the freshly dug 
        grave, still conscious but in great pain.
                              
                              FREDERICK BAILEY DEEMING
                  Found my private cemetery, did you?
                              
                              DAVID WAYNE SPENCE
                  Ohhh. Ow. I — I didn’t mean to, man. 
                  C’mon. Don’t hurt me, bruh. I mean, it 
                  looks like we’re in the same line of 
                  work, y’know what I’m sayin’? Unh.
        
        Frederick B. Deeming kneels beside the freshly dug grave to 
        be closer to David Wayne Spence’s face.
                              
                              FREDERICK BAILEY DEEMING
                  So I see. Yes, it does appear to be 
                  that way, now, doesn’t it?
                              
                              DAVID WAYNE SPENCE
                  Ouch! Ohhh. My head. Ow. Man.
        
        Frederick B. Deeming tilts his head toward the crumpled heap 
        of a body near the grave.
                              
                              FREDERICK BAILEY DEEMING
                  And just who is it that you brought to 
                  MY killing field this evening, rookie?
                              
                              DAVID WAYNE SPENCE
                  Unh. Homeless. Homeless guy. I whack 
                  homeless pukes in the city for kicks. 
                  Worthless scumbags. Ow. Damn.
                              
                              FREDERICK BAILEY DEEMING
                  Hmph. Easy pickin’s. Doesn’t seem like 
                  much of a challenge, now, does it?
        
        David Wayne Spence inhales a breath through clenched teeth.
                              
                              DAVID WAYNE SPENCE
                  Some of ’em. Sometimes they’re high on 
                  meth, and they fight back pretty hard. 
                  What about you? Whoever you are. What’s 
                  your specialty?
        
        David Wayne Spence adjusts his headlamp to massage his 
        forehead.
                              
                              FREDERICK BAILEY DEEMING
                  The name’s Frederick Bailey Deeming the 
                  Fifth. Hollywood types are my game. I’m 
                  better known locally as the Hollywood 
                  Killer.
                              
                              DAVID WAYNE SPENCE
                  What? Did you say “Hollywood types”? 
                  What do you mean by that?
                              
                              FREDERICK BAILEY DEEMING
                  Producers, agents, screenwriters — the 
                  whole kit ’n’ caboodle of ’em. There’s 
                  far too many of ’em, and they’re more 
                  of a challenge. Crafty devils, those 
                  screenwriters, though. Harder to kill.
        
        Frederick B. Deeming turns to spit, then looks down on David 
        Wayne Spence.
                              
                              FREDERICK BAILEY DEEMING 
                  It’s like me huntin’ wild lions 
                  compared to you and those defenseless 
                  kittens that you knock off.
                              
                              DAVID WAYNE SPENCE
                  Damn. But... why? I mean, why them in 
                  particular, the “Hollywood types”?
                              
                              FREDERICK BAILEY DEEMING
                  Why not them? Probably for the same 
                  reasons as you have — the herd’s too 
                  big, so you have to thin ’em out; the 
                  less of ’em, the better; society and 
                  the world are better off without ’em.
        
        David Wayne Spence rubs his aching head.
                              
                              DAVID WAYNE SPENCE
                  Wow. Man. Yeah, I dig that. Cool. Hey. 
                  So, are WE cool, man? You and me?
                              
                              FREDERICK BAILEY DEEMING
                  I’ve introduced myself. Your turn.
        
        .
        I heard the starting gun


        sigpic

        Comment


        • #5
          Re: October 2019 Contest

          Digging up bones PtII

          Code:
          Frederick Bailey Deeming extends his hand. David Wayne Spence 
          extends his hand.
                                
                                DAVID WAYNE SPENCE
                    David. David Wayne Spence.
          
          Deeming grasps the hand as if to shake it. At the same time, 
          with his other hand, he strikes Spence's head with the 
          galvanized pipe. David Wayne Spence goes down.
          
          Deeming slides into the grave and straddles David Wayne 
          Spence to bludgeon him. The headlamp's white flashlight 
          accidentally turns on and illuminates Frederick B. Deeming's 
          face. With each stroke, blood spray spatters all over him.
          
          Frederick Bailey Deeming pauses to catch his breath.
          
          Behind Deeming stands DETECTIVE ARCHY STILLMAN, the cast off 
          shovel in hand. He raises the shovel and brings it down 
          repeatedly on Deeming's head until he kills him.
          
          Detective Archy Stillman takes out his cell phone and dials.
                                
                                DESK DUTY OFFICER (V.O.)
                    Police. What is your emergency?
                                
                                DETECTIVE ARCHY STILLMAN
                    Detective Stillman here. Caught the 
                    Hollywood Killer. Yes, I'm fine. No, no 
                    shots fired. In the field behind my cul-
                    de-sac. I'll wait here. Bring four body-
                    bags. Yes. That's right. More if you've 
                    got 'em. All right. Bye.
          
          Detective Archy Stillman looks down at his cell phone and 
          taps it. The phone plays a country song.
                                
                                CORB LUND (V.O.)
                    Dig, dig, Gravedigger.
                    Dig, Gravedigger, dig.
                    Work that shovel with vigor, 
                    Gravedigger.
                    Before rigor mortis sets in, dig.
                    Dig, dig, Gravedigger.
                    Dig, Gravedigger, dig.
                    That big old hole just keeps gettin' 
                    bigger,
                    So dig, Gravedigger, dig.
          
          Far below, from the foot of the hillside, the WAIL of 
          approaching SIRENS wafts through the air
          I heard the starting gun


          sigpic

          Comment


          • #6
            Re: October 2019 Contest

            PANDEMIC

            Code:
            EXT. HILLSIDE URBAN STREET - DAY
            
            Empty.  Leaves and litter blow by.  
            
            We hear a strange, almost sexual, grunting.
            
            Uh- uh- uh  uhhhhh!
            
            Finally...
            
            Simon Nixon staggers into sight.  The grunting isn't sexual.  
            He's straining, pushing a wheel barrow.  Draped over the 
            wheel barrow in an unconscious blond.
            
            We close on Nixon.  He's looks special.   Ahhhhhh **** the PC 
            world, the guy's clearly a drooling retardo.
            
            Otherwise though, average height, solid build, looking quite 
            raggedity around the edges.  Dirty looking, 3-4 days beard.  
            Hair unwashed.  
            
            He pauses.  Almost spills the girl.  lowers the barrow.  
            Eases the cramp from his hands.
            
            He eyes the girl.  There's a whole lot of cleavage and leg 
            showing.
            
            Licks his lips.
            
            Stretches out a hand, trembling.
                                     
                                     NIXON
                        No, no, no, nononononono!
            
            Hit's himself in the temple.  Hard.  Then again.
                                     
                                     NIXON (cont'd)
                        Keep moving.  Gotta keep moving.  
                        Move!  Move!
            
            Takes the handles again.  Hint of panic.  Grunts.  Moves.  
            Further up the street.  Step by step.  Zigzagging.
            
            EXT. WESTSIDE CLINIC - CONTINUOUS
            
            Nixon reaches the car park.  A single car is parked there.  
            Badly.  Sideways, across three spaces.  It's dented front and 
            back, scratched down the sides.  Late model Mercedes.
            
            Nixon reaches it.  Rests.  He caresses the car.  Scrabbles 
            through his pockets, like a kid.  Finds keys.
            
            Presses the remote.
            
            The clinic door unlocks.  An expression crosses his face.  
            Momentary there's a sense of clarity.  A brief surge of IQ.
                                     
                                     NIXON
                        Yeah, yeah yeah.  Clin-ic.  Yep-yep-
                        yep.  Delivery.  Good boy.  Good boy.
            
            He trots towards the door.  Hits his palm to his head.
                                     
                                     NIXON (cont'd)
                        DELIVERY!
            
            Returns to the wheel barrow.  Lifts it.  Up the handicapped 
            ramp.  Enters the clinic.
            
            INT. WESTSIDE CLINIC - CONTINUOUS
            
            Blood smears the wall.  A shoulder smudged along two meters.  
            Hand prints.  A bullet hole.
            
            Someone has sprayed arrows on the wall in fluorescent orange.  
            He follows them.  
            
            Other people though - zero.
            
            INT. LAB - CONTINUOUS
            
            Nixon wheel the barrow to the middle of the room.  
            
            There's a while enamel bath.  Splattered and stained.  
            Awkwardly he lifts the woman from the barrow.  Half drops her 
            into the bath.  Thud!
                                     
                                     NIXON
                        Sorry lady, opps sopps dopps.
            
            We see a pressure switch under the the bath.  It's triggered.
            
            A TV flicks on.  A man appears.  Nixon, maybe a fortnight 
            earlier.  Cleaner, shaven, tidy.  Recorded.
            
            He fixes his future self with a steely gaze.
                                     
                                     DR NIXON
                        Good you've found someone.  Hope it 
                        didn't take too long.  Jesus what a 
                        ****ing mess.
            
            The recorded figure takes a huge breath.
                                     
                                     DR NIXON (cont'd)
                        There's a block and tackle rigged to 
                        the ceiling...  
                                (there is indeed)
                        Loop their feet in the noose and 
                        elevate them.  
            
            The recording goes static for a moment then starts repeating.
            
            Nixon fumbles repeatedly.  Finally the woman's feet are 
            secured.  He hauls on the rope.  She's lifted over the bath.  
            Swinging slightly.  Starting to come around.
            
            We see a knot in the rope pass through another switch.  The 
            recording blips, the changes.
                                     
                                     DR NIXON (cont'd)
                        Good man, good.  You're doing very 
                        very well.  Good man!
            
            Nixon beams at the praise.
                                     
                                     DR NIXON (cont'd)
                        Now comes the hard part.  Cut her 
                        throat.  
                                (Nixon whimpers - 
                                wide eyed)
                        Common you can do it.  Common you have 
                        to do it.  Mister Nixon, take the 
                        scalpel and cut her throat.  Mister 
                        Nixon, now!  Do as I say!
            
            Nixon holds the scalpel like a three year old clutches a 
            crayon.  He strikes.  Blood jets out.  He strikes again.  The 
            woman wakes, gurgling, trying to scream, dying.
            
            The cascade of blood is caught by the tub.  Two-three liters 
            gush out.  It's pumped to a machine.
            
            Nixon huddles crying, watching, not fully understanding.
            
            The blood going into the drain triggers another switch.
            
            The video blips.  
                                     
                                     DR NIXON (cont'd)
                        You did what you had to.  You are our 
                        only hope.  You have to do as I say.  
                        Do you understand?  Do you?
                                     
                                     NIXON
                        Feel bad.
                                     
                                     DR NIXON
                        Good, good-good.  Now you must wait 
                        while.  Take a seat.
            
            The seat is right beside the bloody bath.
            
            Nixon shakes his head.
                                     
                                     DR NIXON (cont'd)
                        Take a seat.  Rest.  Common.  I'll 
                        find some sweeties.
            
            Nixon sits.  The seat traps him.  Straps around his chest.  
            More secure his arms and legs.  He wriggles but this trap was 
            thought out.
                                     
                                     DR NIXON (cont'd)
                        Don't Panic.  Just be calm.  
            
            Nixon is anything but.  A spray mists his face.  He calms 
            down.  Passes out.
            
            Beside him the woman's blood is purified.  Fresh glisten red 
            blood into a tube, creamy yellow sludge into a phial.  The 
            blood is centrifuged to plasma.
            
            Robotic arms secures his arms.  Needles extrude.  He has 
            crosses tattooed over veins.  Heavy bruising over the veins.  
            Like a junkie.  Automated needles find the veins.  Stab 
            through the crosses.  Thick dark blood comes out.  Filtered 
            and mixed with plasma.  Reintroduced.
            
            TIME PASSES.
            
            Another spray mists his face.
            
            He wakes.
            
            The needles slide out.
            
            The straps loosen.
            
            He stares at the inverted woman.  Dead and bled dry.
                                     
                                     NIXON
                        Oh ****.
            
            Rubs his arm.
            
            He staggers out of the chair.  Reaches to the woman.  Doesn't 
            touch her.
                                     
                                     NIXON (cont'd)
                        ****!  ****!  ****!
            
            A sensor clicks.
            
            The video resumes playing.  The new Dr Nixon is somewhere 
            between the first image and the man now viewing it.
                                     
                                     DR NIXON
                        You'll recall this in time but we have 
                        to move fast, get us up to speed.  
                        Plague, North Korean, we think.  It's 
                        clogs the blood.  Reduces cognitive 
                        function.  Drastically.  If untreated 
                        permanently.  Oxygen starvation.
            
            The video image seems to peer at the man.  Inspecting him.
                                     
                                     DR NIXON (cont'd)
                        God knows how many IQ points we've 
                        lost.  I don't know how long you... 
                        we've been infected.  This is simply a 
                        recording.  But if you seeing this 
                        video **** has gotten real.  Your body 
                        can't replenish what's being filtered 
                        away, if you're seeing this you've had 
                        to kill to make up the shortfall with 
                        compatible blood, more likely plasma.
            
            Nixon closes his eyes and lets the voice continue.
                                     
                                     DR NIXON (cont'd)
                        Even with the very best filtration you 
                        might have five or six days.  Cold 
                        symptoms will come first, weariness, 
                        fatigue followed by... we what can 
                        only be described as mental 
                        retardation.  It seems to stabilize at 
                        an IQ between 40 and 70.  Ideal 
                        cognitive function for a slave worker 
                        in a socialist state.
            
            Nixon catches his reflection in a dead computer monitor.  
            Wild haired, grubby.
                                     
                                     DR NIXON (cont'd)
                        My advice work fast.  Review the data, 
                        work towards new tests with all 
                        expediency.  Follow the filtration 
                        regime and in a few days you're going 
                        to need a fresh transfusion.  Maybe 
                        you'll luck upon the right blood type, 
                        otherwise plasma.  
            
            He pauses again, looking really old.
                                     
                                     DR NIXON (cont'd)
                        I'm sorry future me, I'd love to offer 
                        you more hope but you are hope.  I 
                        have the skills to find a cure, 
                        hopefully you do to.
            
            The video image points towards the viewer.
                                     
                                     DR NIXON (cont'd)
                        Work fast now.  Dispose of the body, 
                        for your own sake.  There's no such 
                        thing as a functioning state out there 
                        now.  Dispose of the body and start 
                        work.  Work hard, Work fast and be 
                        ruthless.  Whatever's left of mankind 
                        needs you.
            
            Nixon glances at the stack of folders next to him.  Idly 
            leafs through one.
                                     
                                     NIXON
                        I don't remember.  The fate of 
                        mankind...
            
            He glances at the dead woman.
                                     
                                     NIXON (cont'd)
                        You first.  I can't think with you 
                        there.
            
            He lowers the body.  She flops back into the wheel barrow.
                                     
                                     NIXON (cont'd)
                        I'm a killer.  But I can be the 
                        savior.  God, I just wish my brain 
                        would kick start.
            
            He takes the handles of the barrow.
                                     
                                     NIXON (cont'd)
                        Where do I hide a body?  Where the 
                        **** do I...  Ahhhh I guess at this 
                        stage...  Yeah.
            
            He wheels the body through the clinic.
            
            He stops at a water cooler.  Gulps a glass.
            
            Crumples his fists into his eyes.  Stretches. 
            
            He thumps his head, heal of his palm against his forehead.
                                     
                                     NIXON (cont'd)
                        Think Goddamnit!
            
            Looks blank.
                                     
                                     NIXON (cont'd)
                        You have to save the world you dumb 
                        S.O.B.
            
            His gaze falls on the dead woman again.  Dead blank eyes seem 
            to stare at him.
                                     
                                     NIXON (cont'd)
                        Please don't look at me.  I'm just 
                        trying to save everyone... else.  **** 
                        I have to get you out of here first!
            
            INT. CLINIC - CONTINUOUS
            
            He wheels her down the corridor and into a vacant lunchroom.  
            Its a mess.  Tables and chairs knocked over.
            
            Someone has sprayed paint on the wall.  DON'T!
            
            The far side of the room the doors are open to a deck.
            
            He doesn't stop.
            
            He trundles across the wooden deck.  Wheelbarrow wheel THUDS 
            across each plank.
            
            He brakes.  Suddenly.  The woman topples off the barrow, 
            flops onto the deck, rolls under the balcony, and over.
            
            SPLOT!
            
            Nixon frowns.
            
            He edges closer to the balcony.
            
            Peers over.
            
            Mouths the word ****.
            
            EXT. BELOW THE BALCONY - CONTINUOUS
            
            The dead woman lays akimbo.  Beneath her lies a slightly 
            older body.  And another.  
            
            And another.
            
            And another.
            
            Eighty or ninety bodies lay there.
            
            The woman is the freshest.  Progressively, they get older.  
            The oldest several months old.
            
            Nixon staggers back so he can't see.
            
            Slumps against the wall.  Slowly, rhythmically he starts 
            thumping his head against the wall.
                                     
                                     NIXON
                        I'd forgotten.  I swear it.
            I heard the starting gun


            sigpic

            Comment


            • #7
              Re: October 2019 Contest

              Code:
              THE CREDIT BUREAU
                                                      
                                                      FADE IN:
              
              INT. WAITING ROOM - DAY
              
              Outdated and barren. Chairs line the walls. The lights
              flicker overhead making a BUZZ noise. An office door in one
              end. The glass on the door says "The Credit Bureau".
              
              INT. OFFICE - CONTINUOUS
              
              A dark, not so modern office. An OVERFLOWING ashtray sits on
              a beautiful wooden desk. By far the nicest thing in the room.
              SHIRLEY(100's?) sits behind the desk. Smoke billows from most 
              parts of her body. She's old school, just like her 200 pound 
              monitor.
              
              JEFFERY LAUNCHER(40's) sits across the desk on the only chair 
              there. He's a man of opposites.  
              
              Big face but small eyes, eight slice toaster head but only a 
              few carefully placed strands of hair. Short legs and big 
              feet, the total package.
                                       
                                       LAUNCHER
                                  (using his own 
                                  personal)
                                  (sign language)
                          I'm re-tired. Do... you...
                          understand?
                                       
                                       SHIRLEY
                          Listen listen listen. I need you to
                          train someone. The last guy was a
                          disaster.
                                       
                                       LAUNCHER
                          Not my problem.
                                       
                                       SHIRLEY
                          You can get your hundredth credit.
              
              Launcher calms down and perks up, his feet get closer to
              touching the floor.
                                       
                                       LAUNCHER
                          The all time leader.
              
              Shirley starts hacking and coughing. She uses a shiny silver
              lighter to light another smoke. Her hands shake. The flame
              almost singes her eyebrows.
              
                          LAUNCHER (CONT’D)
                          When?
                                       
                                       SHIRLEY
                          Right now, the credit is time
                          sensitive.
              
              Shirley pushes a button on her desk. The door opens and
              SLY(29) bursts in. He's the opposite of Launcher. Tall,
              handsome and has normal sized body parts. He's dressed like a 
              wannabe mafia hit man.
                                       
                                       SHIRLEY (CONT’D)
                          Launcher, this is Sly, your
                          replacement.
              
              EXT. COUNTRYSIDE - DAY
              
              A van drives along a country road. The leaves have turned
              colors. The sun is getting low in the sky.
              The van slows and turns down a smaller country road and
              parks. This is the middle of nowhere.
              
              INT. VAN - CONTINUOUS
              
              Launcher sits hunched over the wheel. He can barely see over
              the dash.
              
              Launcher takes a look at Sly in the passenger seat. Looks him 
              up and down.
                                       
                                       LAUNCHER
                          And you think you can replace me?
              
              Launcher opens the door.
                                       
                                       LAUNCHER (CONT’D)
                          Come on young me, we gotta get rid
                          of the credit.
              
              EXT. COUNTRYSIDE - CONTINUOUS
              
              Sly gets out of the van and goes to the back doors. Launcher
              heads into the bush. He comes out pushing a wooden cart.
                                       
                                       LAUNCHER
                          Just where I left it. When we
                          finish, make sure you put it back
                          there.
              
              Sly gets out of the way. Launcher is all business, he puts
              the cart down and rips open the van doors.
              
              A big sack is on the van floor. It looks like a giant bag of
              potatoes.
              
              Launcher grabs it and starts to pull.
                                       
                                       LAUNCHER (CONT’D)
                          A little help.
              
              Sly takes a side and they pull the sack out and slide it into 
              the cart.
                                       
                                       LAUNCHER (CONT’D) (cont'd)
                          That was easy.
                                       
                                       SLY
                                  (Mumbles)
                          Piece of piss.
                                       
                                       LAUNCHER
                          You're a pretty chatty guy eh Sly.
                                       
                                       SLY
                          That's what your wife says.
              
              Launcher just looks at him. One more job. He picks up the
              cart and walks towards the bush ... in he goes.
              
              EXT. WALKING PATH - CONTINUOUS
              
              Launcher comes out of the bush and pushes the cart up a small 
              hill onto a long and winding path with trees on both sides.
              The fall colors are impressive.
              
              Sly stumbles out, looks around, proceeds up the hill.
                                       
                                       LAUNCHER
                          Here you push this. Do something.
              
              Launcher puts the cart down and checks his watch.
                                       
                                       LAUNCHER (CONT’D)
                          We got five minutes. Let's go.
              
              Sly bends over to pick up the cart. His jacket comes up a
              little. A gun is tucked into his belt.
              
              Sly starts pushing the cart. Fast. Launchers short legs are
              moving like an egg beater to keep up.
                                       
                                       LAUNCHER (CONT’D) (cont'd)
                          Slow down, I said we got five
                          minutes to get to the wall.
              
              The pace slows.
                                       
                                       SLY
                          What is this place?
                                       
                                       LAUNCHER
                          It used to be railroad tracks. They
                          took them out and turned it into a
                          walking path that nobody uses.
                          Shirley bought the land.
                                       
                                       SLY
                          Lucky for us.
                                       
                                       LAUNCHER
                                  (Looking at the sack)
                          Unlucky for some.
                                       
                                       LAUNCHER (CONT’D)
                          Listen up, I'm only going to say
                          this once.
              
              The path takes a turn. In the distance there are some fields.
                                       
                                       LAUNCHER (CONT’D) (cont'd)
                          You have to take the credit to the
                          wall at exactly six pm.
                                       
                                       SHIRLEY
                          Why six?
              
              Launcher ignores him.
                                       
                                       LAUNCHER
                          The wall is in that field up there.
                                       
                                       SLY
                          What happens if I'm late?
                                       
                                       LAUNCHER
                          I don't know. I've never been late.
                          Shirley doesn't mess around.
              
              They approach a field. It hasn't been worked in years. On a
              hill at the top of the field is an old farmhouse. It has seen 
              better days. It looks deserted.
                                       
                                       LAUNCHER (CONT’D)
                          There were three people before you
                          trying for this job.
                                       
                                       SLY
                          Where'd they go?
                                       
                                       LAUNCHER
                          Ask Shirley.
              
              At the bottom of the field, just off the path is an old
              concrete wall. There is a round hole in the bottom.
              It looks out of place. Almost tombstone shaped. Engraved in
              it is "1938".
                                       
                                       SLY
                          What the hell is that?
              
              Launcher checks his watch.
                                       
                                       LAUNCHER
                          Have the credit here on time.
              
              Launcher starts to lift the sack, Sly comes in and helps. If
              there was any doubt, this confirms it is a body.
              They carry it to the front of the wall and set it down.
                                       
                                       LAUNCHER (CONT’D)
                          And last, when we go through. Calm
                          the f#$& down.
              
              Launcher grabs the sack and pushes it through the hole in the 
              wall. It's gone.
                                       
                                       LAUNCHER (CONT’D) (cont'd)
                          Follow me.
              
              Launcher gets down and dives into the hole. He's gone.
              
              EXT. FIELD - CONTINUOUS
              
              Sly comes through the wall. Stands up... looks around.
              The wall is longer and newer looking. The field has corn in
              it. The path is gone, replaced with train tracks.
              
              The house on the hill looks alive, smoke shoots out the
              chimney into the fall sky.
                                       
                                       SLY
                          This isn't possible. How did you
                          find it?
                                       
                                       LAUNCHER
                          Shirley does it all. Come on let's
                          get this in the ground and then I
                          never have to see your ugly face
                          again.
              
              Launcher walks to the other side of the wall. A fresh grave
              sits waiting.
              
              Above it, connected to the wall is a jimmy rigged grave
              filler. Dirt is piled high on the wall. It's all held
              together by a rope.
              
              Sly drags the sack to the side of the wall. Launcher is
              inspecting the grave filler. He keeps an eye on Sly.
              Now's his chance, Sly reaches under his jacket and pulls out
              the gun.
                                       
                                       SLY
                          Sorry, but not really.
              
              Launcher just grins.
                                       
                                       LAUNCHER
                          Shirley's idea?
                                       
                                       SLY
                          Just cleaning up some loose ends.
                          Now, get over there so I don't have
                          to drag your fat ass.
              
              Launcher moves closer to the grave. His eyes move back and
              forth rapidly.
                                       
                                       LAUNCHER
                          Hope you enjoy 1938. I never told
                          you how to get back.
                                       
                                       SLY
                          Nice try.
              
              Launcher just stands there, poker faced. He's a survivor. 
              Sly gets a little fidgety.
                                       
                                       LAUNCHER
                          Go ahead, throw a rock through. It
                          won't go anywhere.
              
              Sly takes the bait. He picks up a rock, gets ready to throw
              it.
              
              In a flash, Launcher moves on Sly. Before Sly knows what's
              going on the gun is out of his hand. The little creature is
              fast.
              
              They wrestle, Sly trips and falls. Launcher pulls a knife out 
              and jumps on top.
                                       
                                       LAUNCHER (CONT’D)
                          You thought you could take me out?
              
              Sly struggles to hold the knife away from his throat. A final 
              burst of energy and the knife retreats. Launcher gets both 
              hands free, raises them over his head.
              
              Just as he's about to end it... BANG.
              
              Launcher flinches. Blood comes out of his mouth. A FOOT
              pushes him into the grave as a HAND takes the knife from him.
              Sly crawls on his back. His feet push him closer and closer
              to the grave. The GUN takes aim. BANG. Sly slides into the
              grave.
              
              A beautiful young WOMAN takes the knife and cuts the rope.
              The jimmy rig works perfectly. The grave is full in seconds.
              She drops the knife. Pulls a smoke out and lights it with the 
              shiny silver lighter. This time, her hand doesn't shake.
                                       
                                       WOMAN
                          It's good to be home.
              
              She walks towards the house.
                                                      
                                                      FADE OUT.:
              Last edited by Southern_land; 10-27-2019, 10:44 AM.
              I heard the starting gun


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              Comment


              • #8
                Re: October 2019 Contest

                THE WISH

                Code:
                FADE IN: (PRESENT DAY)
                
                EXT. - NIGHT
                
                A brisk breeze scurries clouds across the full moon. We SEE
                a broken-down farmhouse that has been through better times.
                Broken windows, a missing front door, and railings hanging
                off the front porch.
                
                A faint light shimmers through a side window.
                
                INT. - FARMHOUSE - NIGHT
                
                Four teenagers sit cross-legged around a chalk circle
                encasing a pentagram drawn on the floor. A lit candle rests
                in front of each young person, illuminating the symbols and
                letters embossing the pentagram.
                
                DANIEL, a nerdish fellow sporting glasses and an ill-fitting
                shirt, studies a notebook, holding it close to his candle.
                To Daniel’s left is NICOLE. A pretty face marred by nose and
                lip rings.
                
                Across from Daniel sits BRYAN, a chunky fellow up for
                anything involving girls or food.
                
                To Daniel’s right is PATTIE, dressed a little too proper for
                the excursion.
                                         
                                         NICOLE
                            Come on. Get this show on the
                            road.
                                         
                                         DANIEL
                            Almost there. Pentagram and
                            symbols, check. Candles lit,
                            check. Now for the secret sauce.
                
                Daniel pulls a cloth bag from his pocket. He sprinkles a flaky mixture
                into his hand and tosses it into the pentagram.
                
                            DANIEL (CONT’D)
                            The only thing left is to chant the
                            name.
                                         
                                         BRYAN
                            You don’t have to mutter Greek
                            stuff?
                                         
                                         PATTIE
                            Latin.
                                         
                                         BRYAN
                            Whatever.
                                         
                                         DANIEL
                            Here we go. GENE LEWIS, GENE
                            LEWIS, GENE LEWIS.
                
                Nothing.
                                         
                                         DANIEL (CONT’D)
                            GENE LEWIS, GENE LEWIS, GENE LEWIS.
                                         
                                         NICOLE
                            This is a bunch of crap.
                                         
                                         DANIEL
                            No, they say it always works.
                            Pattie, got any ideas?
                                         
                                         PATTIE
                            Gimme the notebook.
                
                Pattie grabs the notebook, looks it over.
                                         
                                         PATTIE (CONT’D)
                            You dumbass. It’s a French name.
                            You say it John Lou-ee, with a soft
                            j.
                                         
                                         BRYAN
                            A soft j.
                                         
                                         DANIEL
                            I didn’t know. Okay. JOHN LOU-EE,
                            JOHN LOU-EE, JOHN LOU-EE.
                
                Nothing at first, then with a CLAP of thunder a shadowy,
                robed figure appears at the center of the pentagram. The
                teens jump to their feet and step back.
                                         
                                         JOLLENE
                            Who summoned the mighty and
                            benevolent JOLLENE to grant their
                            wish?
                
                No one answers.
                                         
                                         JOLLENE (CONT’D)
                            Who summoned Jollene from the pits
                            of Hades?
                
                Daniel musters his courage.
                                         
                                         DANIEL
                            Actually, Ms. Jollene, we were
                            trying to summon a fellow named--
                                         
                                         BRYAN
                            --Shut up, Daniel. Didn’t you hear
                            the wish thing?
                
                Bryan turns to Jollene.
                                         
                                         BRYAN (CONT’D)
                            I have a wish.
                                         
                                         JOLLENE
                            Wish carefully
                                         
                                         BRYAN
                            I wish I was worth my weight in
                            gold.
                                         
                                         JOLLENE
                            Done.
                
                Jollene waves her hand. Bryan stiffens as his skin turns the
                color of 24 karat. He wobbles and falls onto the floor with
                a THUD that shakes the room.
                
                Jollene turns to Nicole.
                                         
                                         JOLLENE (CONT’D)
                            And yours?
                                         
                                         NICOLE
                            I want you to turn back the time to
                            before you arrived.
                
                Jollene shakes her head.
                                         
                                         JOLLENE
                            Too, too cliche.
                
                Jollene faces Daniel.
                                         
                                         JOLLENE (CONT’D)
                            And what for you?
                                         
                                         DANIEL
                            I want three more wishes.
                
                Jollene sighs.
                                         
                                         JOLLENE
                            I will choose for you. This will
                            be interesting.
                
                Pattie interrupts.
                                         
                                         PATTIE
                            Wait, magnificent Jollene. I’ve
                            got a wish.
                                         
                                         JOLLENE
                            Don’t waste my time.
                                         
                                         PATTIE
                            I wish for a page one rewrite.
                                         
                                         JOLLENE
                            Sweet.
                                         
                                         NICOLE
                            Hey, that’s the same as--
                                         
                                         JOLLENE
                            --Hush.
                                         
                                         NICOLE
                            Yes, benevolent Jollene.
                
                Jollene waves her hand.
                
                EXT. - NIGHT
                
                A brisk breeze scurries clouds across the full moon. We SEE
                a broken-down farmhouse that has been through better times.
                Broken windows, a missing front door, and railings hanging
                off the front porch.
                
                A faint light shimmers through a side window.
                
                INT. - FARMHOUSE - NIGHT
                
                Four teenagers sit cross-legged around a chalk circle
                encasing a pentagram drawn on the floor. A lit candle rests
                in front of each young person, illuminating the symbols and
                letters embossing the pentagram.
                
                DANIEL, a nerdish fellow sporting glasses and an ill-fitting
                shirt, studies a notebook, holding it close to his candle.
                To Daniel’s left is NICOLE. A pretty face marred by nose and
                lip rings.
                
                Across from Daniel sits BRYAN, a chunky fellow up for
                anything involving girls or food.
                
                To Daniel’s right is PATTIE, dressed a little too proper for
                the excursion.
                                         
                                         NICOLE
                            Come on. Get this show on the
                            road.
                                         
                                         DANIEL
                            Almost there. Pentagram and
                            symbols, check. Candles lit,
                            check. Now for the secret sauce.
                
                Daniel pulls a cloth bag from his pocket. He sprinkles a
                flaky mixture into his hand and tosses it into the pentagram.
                                         
                                         DANIEL (CONT’D)
                            The only thing left is to chant the
                            name.
                                         
                                         BRYAN
                            You don’t have to mutter Greek
                            stuff?
                                         
                                         PATTIE
                            Latin.
                                         
                                         BRYAN
                            Whatever.
                                         
                                         DANIEL
                            Here we go. GENE LEWIS, GENE
                            LEWIS, GENE LEWIS.
                
                Nothing.
                                         
                                         DANIEL (CONT’D)
                            GENE LEWIS, GENE LEWIS, GENE LEWIS.
                                         
                                         NICOLE
                            This is a bunch of crap.
                                         
                                         DANIEL
                            No, they say it always works.
                            Pattie, got any ideas?
                                         
                                         PATTIE
                            Gimme the notebook.
                
                Pattie grabs the notebook, holds it over her candle. As
                flames erupt, she tosses it into the pentagram.
                                         
                                         PATTIE (CONT’D)
                            My idea is beer and pizza.
                                         
                                         BRYAN
                            Sounds like a plan to me.
                                         
                                         NICOLE
                            No anchovies. But black olives
                            would be good.
                
                Pattie stands.
                                         
                                         DANIEL
                            But--
                
                Pattie grabs Daniel’s ear, pulls him up and toward the door.
                                         
                                         PATTIE
                            --Come on, dumbass.
                
                The four walk to the doorway.
                                         
                                         PATTIE (CONT’D)
                            By the way, Bryan, how much do you
                            weigh?
                                         
                                         BRYAN
                            One hundred eighty pounds of
                            bristling manliness. Why do you
                            ask?
                                         
                                         PATTIE
                            Just curious.
                
                FADE OUT
                Last edited by Southern_land; 10-27-2019, 11:05 AM.
                I heard the starting gun


                sigpic

                Comment


                • #9
                  Re: October 2019 Contest

                  Code:
                  The Wop
                  FADE IN:INT. MODERN APARTMENT - DAY
                  
                  It's kinda like the apartment in FRIENDS except different, 
                  there's a big couch and chairs, plus a little kitchen, all in 
                  the one room.  On the other side, a white door and a pink 
                  door.  The pink door has a sign, GIRLS ONLY.
                  
                  The hallway door opens, and RICH enters with TOMMY.  They are 
                  both good-looking early 20s white guys who belong on TV.  
                  Tommy drags a suitcase on wheels.                      
                                           
                                           RICH          
                              So here it is, wha'da ya think?
                  
                  AUDIENCE CHEERING TRACK plays, as if this is a favorite 
                  character returning.  Tommy is puzzled, he looks around, he 
                  looks up, where is it coming from, who's laughing?                      
                                           
                                           TOMMY          
                              What?                      
                                           
                                           RICH          
                              This is the living room, if you           
                              hadn't already figured it out.
                  
                  Rich points to the white door.                       
                                           
                                           RICH        
                              Our rooms are through there, yours           
                              is second on the right, it was           
                              Frankie's room.                      
                                           
                                           TOMMY          
                              What happened to Frankie?                      
                                           
                                           RICH          
                              We don't ask what happened to           
                              Frankie.
                  
                  Rich points to the pink door with the GIRLS ONLY sign.                      
                                           
                                           RICH        
                              You never go through that door,           
                              that's the girls' rooms, got it?                      
                                           
                                           TOMMY          
                              Yeah I got it.
                  
                  The pink door opens and DAISY steps out, 20s, a pretty blonde 
                  in a fluffy dressing gown with matching towel on her head.  
                  She sees Tommy and puts her hand to her heart.                      
                                           
                                           DAISY          
                              Oh, my!
                  
                  AUDIENCE LAUGHTER AND CHEERING TRACK.
                  
                  Tommy is wondering WTF is going on here?
                  Rich excitedly throws his hands at Tommy as if he's 
                  introducing a new stage act.                      
                                           
                                           RICH          
                              I told you about Tommy, this is           
                              him, this is the guy!                      
                                           
                                           DAISY          
                              You didn't say you were bringing           
                              him here this morning, why I could           
                              have been naked. 
                  
                  AUDIENCE LAUGHTER TRACK.   
                  
                  Tommy is dazed.                      
                                           
                                           RICH          
                              She's kidding, that's a rule, we           
                              put clothes on if we're coming out           
                              of our rooms, no walking around in           
                              your boxers, got it?                      
                                           
                                           TOMMY          
                              I'll try to remember.Daisy moves 
                              daintily to the kitchen and switches 
                              on the coffee machine, while looking 
                              over her shoulder at Tommy with what 
                              might be interest.                      
                                           
                                           RICH          
                              Where's Lana?                      
                                           
                                           DAISY          
                              She's having a lie-in.  She was           
                              out late last night, poor thing.                      
                                           
                                           RICH          
                              She's out late every night, tell           
                              me something I don't know.
                  
                  AUDIENCE LAUGHTER TRACK.                      
                                           
                                           TOMMY          
                              What is that, that noise?
                  Daisy beckons Rich over.                       
                                           
                                           DAISY          
                              Can I see you a moment? 
                  
                  Rich smiles at Tommy, excuse me, and moves to join Daisy, 
                  they confer quietly, their backs to the room.
                  Tommy just stands waiting, he looks around, nice place.
                  
                  The pink door opens and LOUIS, a big Italian guy with lots of 
                  black curly hair, wearing just his boxers, peeks out.
                  Louis sees Rich and Daisy talking with their backs to him and 
                  tip-toes to the white door like a pantomine figure.
                  He freezes halfway with one foot raised when he notices 
                  Tommy.  
                  
                  Louis frowns thinking, who the fuvk is this guy?
                  Louis raises a finger to his lips, shhh!  He opens the 
                                           
                                           DAISY           (cont'd)
                              Do you have any bad habits?                      
                                           
                                           TOMMY          
                              Well if I did, I'd do them somewhere           
                              else, not here.  I'm not going to           
                              poop in my own nest.                      
                                           
                                           LANA          
                              That's a quaint saying, very Ohio.                      
                                           
                                           RICH          
                              Hey, where's the wop?                      
                                           
                                           TOMMY          
                              Excuse me?                      
                                           
                                           DAISY          
                              Don't call him that, what if he           
                              hears you?                      
                                           
                                           LANA          
                              Louis's our other roommate.                      
                                           
                                           RICH          
                              Wait till you see this guy, he           
                              thinks he's really something.  The           
                              Italian fvcking stallion.  He's a           
                              fvcking wop, is what he is.                      
                                           
                                           TOMMY          
                              Dude, that's not cool.                      
                                           
                                           RICH          
                              You one of them social justice           
                              warriors, hey?
                  
                  AUDIENCE LAUGHTER TRACK.                      
                                           
                                           TOMMY          
                              Hey whoever's doing that, it's not           
                              funny.                      
                                           
                                           RICH          
                              Lighten up, man.               
                                      (to Daisy and Lana)          
                                      )
                              You wanna take that vote?  Who           
                              says our friend Tommy gets to stay?
                  
                  Daisy raises her hand.                      
                                           
                                           LANA          
                              Maybe Louis should be here if we're           
                              taking a vote.                      
                                           
                                           RICH          
                              Louis, Louis, I'm fed up hearing           
                              his goddamn name.  He shouldn't be           
                              here, he doesn't belong here.                      
                                           
                                           TOMMY          
                              Because he's a wop?                      
                                           
                                           DAISY
                              He's a bad person.                      
                                           
                                           LANA          
                              He hurt me.
                  
                  Lana bows her head and quietly cries.  Daisy moves to put her 
                  arms around her and comfort her.
                  
                  AUDIENCE LAUGHTER TRACK.                       
                                           
                                           TOMMY          
                              Jesus will you stop that, whoever's           
                              doing it?
                  
                  AUDIENCE LAUGHTER TRACK GROWS LOUDER.
                  
                  Tommy claps his hands over his ears.                      
                                           
                                           TOMMY           (cont'd)
                              Quit it!
                  
                  INT. THE TRUNK OF A SEDAN - NIGHT
                  
                  Dimly seen movement... a shifting body groans...
                  The trunk suddenly opens!  Louis shines a flashlight.
                  Tommy lies tied up and gagged.  Light reveals he's sharing 
                  the trunk with Lana, they're eye to eye, he's lying on top of 
                  her!  But Lana isn't protesting because she's been shot 
                  through the head.  Tommy has a moment of horror as he 
                  realizes this.
                  
                  Louis sticks the flashlight in his mouth and reaches in and 
                  rolls Tommy off her.  He drags Lana's corpse out of the 
                  trunk.Tommy lies there, helpless, listening.
                  
                  The unmistakable sound of a SHOVEL moving earth.
                  Between panting breaths, as he digs, Louis talks.                      
                                           
                                           LOUIS (O.S.)          
                              Fvcking stupid bitch...           
                              Couldn't keep your mouth shut...           
                              Couldn't keep your nose out my           
                              fvcking business...  Now I gotta...           
                              Kill 'em all... Fvck!
                  
                  Tommy half-rolls over in the trunk and suddenly he's staring 
                  at Rich, whose swollen face bears marks of extreme violence.  
                  
                  Rich is only wearing boxers. He's unconscious... or dead.
                  Tommy closes his eyes and whimpers at this nightmare.
                  THUMP.  The shoveling stops.                      
                                           
                                           LOUIS (O.S.) (CONT'D)          
                              Jesus Christ, what the fvck?
                  
                  Some more shoveling, and scraping. 
                  
                                       LOUIS (O.S.) (CONT'D)          
                              Frankie!  You son of a bitch!  I           
                              never thought I'd see you again!
                  
                  Louis laughs, hard and loud.                      
                                           
                                           LOUIS (O.S.) (CONT'D)           
                                           (cont'd)
                              I never realized I was right on           
                              top of ya, sorry man.  It's a sweet           
                              spot.  Plenty room for more, hey?            
                              You like some company?  This is           
                              Lana.  You'll like her, she's got           
                              a great ass.
                  
                  Tommy can't take it any more, he screams through his gag and 
                  kicks and kicks, making a hell of a racket.                       
                                           
                                           LOUIS (O.S.) (CONT'D)   
                              Hey hold up, we got a screamer           
                              here.  I mean Jesus, like my night           
                              isn't sh!t enough already.
                  
                  Louis's footsteps thump back to the car.  
                  He shines his flashlight in Tommy's face, causing Tommy to 
                  screw up his eyes.                      
                                           
                                           LOUIS          
                              I never got your name, pal, but           
                              you know what?  Doesn't matter.            
                              You were in the wrong place at the           
                              wrong time.  C'mere, a$$wipe.
                  
                  Louis grabs Tommy and lifts him out of the trunk.
                  
                  EXT. NEW JERSEY PARKLAND - NIGHT
                  
                  Louis has been busy, there's a big hole, about to become a 
                  mass grave.
                  
                  Dead Lana lies alongside the hole, ready to be rolled in.At 
                  the bottom of the hole is a man-size bundle wrapped in black 
                  plastic.
                  
                  Louis drags Tommy up and just chucks him into the hole.  AT 
                  THE BOTTOM OF THE HOLE CRUNCH!  Tommy falls onto the black 
                  plastic bundle.  He groans and squirms in pain.
                  Louis looks down at him from above.                      
                                           
                                           LOUIS           (cont'd)
                              Say hello to Frankie.  Me and him           
                              were like brothers.  Until he stole           
                              from me.  Tell him about it,           
                              Frankie.  Tell him how I waited           
                              till you was taking a wizz, and I           
                              put a bullet into the back of your
                              dumb head.
                  
                  THUMP!  
                  
                  Dead Lana lands beside Tommy, just missing him.
                  Louis moves out of sight, back to the car.
                  Tommy lies there helplessly.
                  
                  He frowns, his eyes swivel, he tries to look over his own 
                  shoulder, it's awkward, it's dark, but...
                  
                  A tear in the black plastic... a glimpse of a collar and 
                  shirt and tie, worn by a rotting corpse.
                  
                  Tommy's wrists are bound but he reaches inside, feels around.  
                  His expression conveys his deep disgust. Ewww.Louis comes 
                  into view again, dragging Rich to the hole.                      
                                           
                                           LOUIS           (cont'd)
                              Incoming!  Ha ha!
                  
                  He drops Rich down, Tommy rolls onto his side to avoid being 
                  struck, and--BLAM!
                  
                  Louis is puzzled, he looks down at his chest.  Sees a dark 
                  spot in his shirt, like spilled ink, spreading.
                  He pitches forward into the hole like a felled tree.CRUNCH!  
                  Louis just misses Tommy, lands on other bodies.
                  
                  He stares at Tommy with unseeing eyes.
                  
                  Tommy lies there, crying.  In his hand, a smoking pistol he 
                  must have taken from Frankie's corpse.  One shot, with his 
                  hands tied behind his back.
                  
                  Tommy rubs his face against his shoulder until the gag 
                  finally rolls away from his mouth and he can shout.
                  
                  EXT. NEW JERSEY PARKLAND - NIGHT
                  
                  The open grave, seen from the sedan.                      
                                           
                                           TOMMY (O.S.)          
                              Help?  Somebody?  Anybody?  Help?
                                                          
                                                          FADE TO:
                  
                  INT. POLICE STATION - NIGHT
                  
                  Daisy, hunched up in a blanket, big bruise on her face, she 
                  looks up as someone offers her a mug of coffee.  She accepts 
                  it with shaky hands, takes a sip.                      
                                           
                                           DAISY         
                              Thanks.                      
                                           
                                           POLICE DETECTIVE (O.S.)          
                              You said this guy's name is Louis?
                                           
                                           DAISY          
                              That's right.  He's a wop.                      
                                           
                                           POLICE DETECTIVE (O.S.)          
                              Excuse me?
                                                          
                                                          FADE OUT:
                  THE END
                  Last edited by Southern_land; 10-27-2019, 10:57 AM.
                  I heard the starting gun


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                  Comment


                  • #10
                    Re: October 2019 Contest

                    The Chemist
                    Code:
                      
                                                          FADE IN:
                    
                    EXT. MOUNTAIN HILLTOP CLEARING - DAY
                    
                    SUPER: EASTERN KENTUCKY MOUNTAINS, 1936
                    
                    Sunlight dapples the ground in a clearing. Destroying Angel 
                    mushrooms grow from leaf litter at the base of oak trees.
                    
                    Nearby in the clearing, a patch of freshly turned earth sits 
                    in stark contrast to the clearing's plants and leaf litter.
                    
                    ADA LOUELLA KETCH, mid 40's with frizzy gray hair, wears 
                    gardening gloves to pick the wild Destroying Angel mushrooms 
                    into a small wicker basket with a handle and lid.
                    
                    Ada startles when she realizes that she stands close to the 
                    freshly dug earth. She frowns, goes to it, stamps her foot on 
                    it with a GRUNT, then spits on the ground. She leaves and 
                    waddles down the hill back to her mountain shack home.
                    
                    EXT. THE KETCH FAMILY HOME - DAY
                    
                    JOHN "JACK- KETCH, a neatly-dressed young man in his middle 
                    20's, wrangles a steering wheel. He pilots a bouncing 1930 
                    Plymouth Roadster uphill on a rough dirt road. The car pulls 
                    up to the Ketch family home, a crude shack with a tin roof. 
                    He cuts the engine, exits the car, and hurries to the door.
                    
                    INT. THE KETCH FAMILY HOME - DAY
                    
                    At the kitchen counter, Ada wears an apron and makes 
                    biscuits. Flour dust covers her work area. She flattens dough 
                    with a rolling pin, then cuts biscuits with an empty tin can. 
                    The wicker basket sits to the back of the counter.
                    
                    An open cupboard door reveals three shelves: a lower shelf 
                    for salt, pepper, and everyday cooking spices; a middle shelf 
                    for Crisco shortening, Karo syrup, and items used less often; 
                    and an upper shelf for powders and chemicals.
                    
                    On the upper shelf near other powders sits a can of Berger's 
                    Paris Green rat poison, its label shouts "Poison- warnings.
                    
                    INT. THE KETCH FAMILY HOME - DAY
                    
                    Jack enters the main room of the house.
                                        
                                        JACK
                              I'm home, Mother!
                                        
                                        ADA
                              In the kitchen!
                    
                    Jack passes through the main room.
                    
                    A bed of a burlap sack stuffed with straw in a corner of the 
                    family room offers TUCKER, a young Bluetick Coonhound, some 
                    comfort as he MOANS and GROANS in pain.
                    
                    Jack goes over to him, then kneels to pet him.
                                        
                                        JACK
                              What's wrong with Tucker?
                    
                    Ada calls out from the kitchen.
                                        
                                        ADA (O.S.)
                              Don't rightly know. He et somethin' 
                              he oughtn't t' have, I reckon.
                    
                    Jack goes into the kitchen. Ada hurries to put the biscuits 
                    in the oven. A pot of gravy bubbles on top of the stove.
                                        
                                        JACK
                              Hope he's all right. Biscuits and 
                              gravy? My favorite! Where's Father?
                    
                    Ada brushes the flour dust from her apron. She smooths the 
                    apron against her body, gives Jack a look, and walks away.
                                        
                                        ADA
                              Come. Set down. There's sump'n I 
                              need t' tell ye. Ye need to know.
                    
                    Ada leads the way to the dining table. Jack follows her.
                                        
                                        JACK
                              Tell me? What? Is he ... dead?
                    
                    They take seats across from one another at the four-place 
                    dining table made from rough-hewn lumber.
                                        
                                        ADA
                              Ye know that we cain't read nor 
                              write. So, we had the church piano 
                              player t' come over on Sundays after 
                              church to read to us from the Bible 
                              and t' read yer letters. Well, your 
                              father, cuss him, done run oft with 
                              that lady.
                                        
                                        JACK
                              What?! That's -- it's -- difficult 
                              to swallow. I'm so sorry, Mother. 
                    
                    Ada SNIFFLES. Her voice QUAVERS. 
                                        
                                        ADA
                              They got to likin' each other so 
                              much, they done run oft together! 
                              That's all there is to it! They 
                              ain't no' more to it than that!
                    
                    Ada cries. Jack frowns. He shakes his head.
                                        
                                        JACK
                              Mother. Please don't cry. We'll get 
                              by. Now that I've graduated as a 
                              chemist, I'll drive over to 
                              Prestonsburg to see if there's any 
                              work for me there.
                    
                    Ada nods. Jack looks at Tucker. Ada eyes Jack through her 
                    tears. Jack looks to Ada. She lowers her eyes.
                                        
                                        ADA
                              Don't know why he done it. I was 
                              gittin' too old fer 'im, mebbe. 
                              Don't know why he done it. No, 
                              indeed. Don't know why. Don't know. 
                    
                    Jack pats his mother on her back. He gets up from the table 
                    and goes to the fireplace mantle. A Gilbert clock TICKS the 
                    time. Jack looks at a framed B&W photograph of his parents.
                    
                    INSERT - PARENTS PHOTOGRAPH
                    
                    The father and mother smile. The father's smile shows one of 
                    his front teeth broken off halfway.
                    
                    BACK TO SCENE
                                        
                                        JACK
                              Twenty-four years. Who would have 
                              ever guessed he would do this?
                    
                    INT. THE KETCH FAMILY HOME - THE NEXT DAY
                    
                    Jack watches a restless Tucker. The dog WHIMPERS, then 
                    stiffens into a sawhorse position, and exhales a death 
                    rattle. Jack pets him and sheds a tear.
                    
                    INT. BARN - DAY
                    
                    Jack hoists the burlap-shrouded dog's carcass to his 
                    shoulder, then picks up a shovel. LUKE, a 5-year-old dark bay 
                    draft horse, NICKERS to Jack. Jack leaves the barn.
                    
                    EXT. MOUNTAIN FARM - DAY
                    
                    On the way up the hillside toward the pond, Jack sees dog 
                    tracks on a new trail. The trail veers away from the pond to 
                    a stand of trees on the hilltop.
                    
                    EXT. MOUNTAIN HILLTOP CLEARING - DAY
                    
                    Jack tracks the dog's trail to the patch of freshly dug earth 
                    where Ada picked mushrooms. He lays the dog gently to the 
                    ground. Jack pokes his shovel into the fresh dirt. The shovel 
                    goes in deep without difficulty. Jack digs there.
                    
                    Jack Ketch uncovers his father's body. The ashen face and its 
                    open mouth full of dirt makes Jack stare.
                    
                    Jack finds a small stick. He lifts the corpse's lip to reveal 
                    its broken front tooth. Jack pulls the body by its feet from 
                    the shallow grave and drags it out of the way.
                    
                    Jack takes up his shovel to dig a deeper grave.
                    
                    EXT. MOUNTAIN HILLTOP CLEARING - DAY
                    
                    Jack drags his father's body over to the grave and rolls it 
                    in. It lands with a DULL THUD. He picks up the dead dog and 
                    drops it on top of the dead man. It lands with a DULL THUD.
                                        
                                        JACK
                              Now, Father, you and Tucker can go 
                              'coon huntin' again. Rest in peace.
                    
                    Jack takes up his shovel and casts dirt into the grave.
                    
                    EXT. MOUNTAIN FARM - DAY
                    
                    Jack passes near the farm pond. The sun's angle plays on the 
                    pond's surface. A glint from beneath the water's surface 
                    catches Jack's eye. He stops.
                                        
                                        JACK
                              What on earth is that?
                    
                    EXT. MOUNTAIN FARM POND - DAY
                    
                    Jack goes to the pond's edge. He maneuvers himself until the 
                    sunlight catches the glint again. Jack squints to see.
                    
                    The light strikes through the pond water. It reveals a car 
                    rooftop and glints from the glass of its rear window.
                    
                    INT. THE KETCH FAMILY HOME - DAY
                    
                    Ada prepares vegetable beef stew in a cast iron pot. The 
                    diced Destroying Angel mushrooms sit in a pile on the cutting 
                    board with other chopped vegetables. More of the toxic 
                    Destroying Angel mushrooms remain in the open basket.
                    
                    Ada closes the basket lid, picks up the cutting board, then 
                    uses a knife to sweep the cut vegetables into the stew pot.
                    
                    INT. BARN - DAY
                    
                    In the barn, Jack hitches a harness to Luke. He coils a rope, 
                    throws it over Luke's harness, and leads the horse from the 
                    barn. As he walks the horse up to the pond, Jack sweats. He 
                    clutches and presses his gut.
                    
                    EXT. MOUNTAIN FARM POND - DAY
                    
                    Luke stands still, the rope tied to his harness. Jack pays 
                    out the rope as he wades out to the car. Jack goes under the 
                    water to pass the rope around the bumper. He stands up, ties 
                    the rope in a bowline hitch knot, and tests it.
                    
                    Jack hauls himself out of the pond back to Luke. Dripping 
                    wet, Jack stands next to Luke and pats his shoulder twice.
                                        
                                        JACK
                              Good hoss, Luke. Now, Giddup!
                    
                    Luke pulls forward. The rope becomes taut. Luke strains to 
                    pull the car from the pond. The back of the car rises slowly 
                    from the water as it rolls into shallow water. Jack watches.
                    
                    An arm dangles from an open window. A snapping turtle clings 
                    to it as it rises from the water.
                    
                    The decayed, torn, turtle-eaten arm of the unseen corpse 
                    tears from its socket, splashes into the pond, and 
                    disappears, turtle and all. Jack clutches his gut.
                                        
                                        JACK
                              Whoa, Luke!
                    
                    Luke stands still. He strains into his harness to hold the 
                    weight of the car in its position. Jack bends at the waist 
                    and vomits. Jack stares at the car. He shakes his head.
                    
                    Jack takes out his pocket knife, steps carefully to the edge 
                    of the pond, and cuts the rope. Luke NICKERS to Jack.
                    
                    Jack watches the car roll back into the pond and disappear.
                    
                    INT. THE KETCH FAMILY HOME - DAY
                    
                    Ada smokes a corncob pipe and fidgets in her rocking chair. 
                    She dabs a damp dishtowel on her face and neck to keep cool.
                    
                    Jack returns. In silence, he washes up at the kitchen sink.
                                        
                                        ADA
                              Stew's ready, but I ain't. Not 
                              feelin' hongry. Help y'self.
                    
                    INT. THE KETCH FAMILY HOME - DAY
                    
                    At the table, Ada has no stew. She sips from her coffee mug. 
                    Ada feigns illness and holds her hand to her head.
                                        
                                        ADA
                              Don't feel none too good, fer some 
                              reason. Still not hongry. Goin' t' 
                              bed without any supper. Don't waste 
                              the stew. He'p yerself. 
                                        
                                        JACK
                              Sure, Mother. Thanks for makin' it.
                    
                    As she shuffles to her bedroom, Ada glances at Jack to see 
                    him eat. She smiles and trundles off to her bedroom.
                    
                    Jack searches the kitchen cupboard. He finds the one-pound 
                    can of Berger's Paris Green powdered rat poison. Two skull-
                    and-bones images flank its label name. The word "POISON- 
                    appears beneath each skull-and-bones image.
                                        
                                        JACK
                              Yes. This must be it.
                    
                    Jack takes the rat poison from the cupboard. He mixes the 
                    poison powder with some water and uses a spoon to coat the 
                    inside of his mother's coffee mug.
                    
                    Jack makes hot coffee, pours a mug, and takes it to his 
                    mother. Ada drinks it heartily before going to sleep.
                    
                    INT. THE KETCH FAMILY HOME - THE NEXT DAY
                    
                    Jack poisons Ada's first mug of coffee, then hands it to her 
                    at the dining table. He prepares breakfast for himself.
                    
                    Ada becomes more ill. She sweats. Jack notes her symptoms.
                                        
                                        JACK
                              Mother. Go lie down. I'll bring you 
                              another coffee in a little while.
                    
                    Coffee mug in hand, Ada shuffles back to her bedroom.
                    
                    INT. THE KETCH FAMILY HOME - DAY
                    
                    In the kitchen, Jack adds more rat poison to another mug of 
                    hot coffee to take to his mother.
                    
                    INT. ADA'S BEDROOM - DAY
                    
                    Ada sweats in her bed. As the dog did, Ada WHINES and GROANS. 
                    Jack hands his mother a fresh mug of hot coffee.
                    
                    More slowly than before, Ada sips the coffee. Jack takes a 
                    seat in a chair. He lights an oil lamp on a table and waits.
                    
                    Ada sweats and GROANS. Jack leaves. Ada labors to breathe.
                    
                    Jack returns with the one-pound can of rat poison. He hides 
                    it from Ada's view as he pulls up a chair to her bedside.
                                        
                                        JACK
                              Took Tucker up on top of the hill to 
                              bury him, right where he'd been 
                              layin' for days, leastaways 'til he 
                              got so sick. When I went to bury 
                              him, do you know what happened? I 
                              dug up Father! That's right. I found 
                              Father dead and gone in a hole right 
                              up there on the hilltop. I thought 
                              to myself, "How in the world did he 
                              get here, I wonder?-
                    
                    Jack thrusts the can and its label in his mother's face. Wild-
                    eyed, Ada tries to move. Jack drops the can. He grabs Ada's 
                    arm to stop her. Ada GROANS, her eyes fixed on Jack.
                                        
                                        JACK
                              After I buried Father and Tucker 
                              together, I walked past the pond. 
                              And don't you know that the Lord 
                              played His sunlight just right so 
                              that I could see a car under the 
                              water? A car, Mother! Well, I got 
                              Luke and pulled out that car. Until 
                              I saw that poor dead woman's arm 
                              fall off. Turtles had eaten her up, 
                              Mother! So, I cut the rope, and back 
                              into the water she went.
                    
                    Ada breathes hard and fast. Sweat streams down her temples.
                                        
                                        JACK
                              What is wrong with your mind!? Why 
                              did you kill them, Mother!? Why did 
                              you kill them!? Tell me!
                    
                    Weak and sick, Ada GRUNTS between phrases as she speaks.
                                        
                                        ADA
                              I ... I reckon I got jealous of 'em. 
                              Allus havin' fun with one another, 
                              readin' the Bible and yer letters 
                              an' writin' to ye. They fairly shut 
                              me out of all of it.
                                        
                                        JACK
                              So, did you poison Tucker, too?
                    
                    Ada nods. Tears roll down her cheeks.
                                        
                                        ADA
                              I was mad at your father!
                                        
                                        JACK
                              Damn you, woman! We LOVED that dog!
                                   (he fumes)
                              As ye sow, so shall ye reap. Isn't 
                              that right, Mother?
                    
                    Wild-eyed and breathless, Ada nods to appease Jack.
                    
                    Jack lunges forward face to face with Ada. With both hands, 
                    he clutches her by the throat and chokes the life from her. 
                    The light fades from Ada's open eyes until they become dull.
                    
                    EXT. MOUNTAIN HILLTOP CLEARING - DAY
                    
                    Sunlight dapples the ground in the clearing. Beside his 
                    father's grave, Jack digs a grave for his mother. Ada's body 
                    lies nearby in a burlap sack. Her white legs stick out. 
                    
                    INT. THE KETCH FAMILY HOME - DAY
                    
                    Jack eats some stew. Suddenly, he stands. His nose bleeds and 
                    drips on the table. He clutches his gut and vomits.
                    
                    Jack stumbles to the kitchen. Frantic, he overturns the 
                    basket of toxic mushrooms. Jack realizes his predicament.
                                        
                                        JACK
                              Oh, no! Mother! DAMN YOU, MOTHER!
                    I heard the starting gun


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                    Comment


                    • #11
                      Re: October 2019 Contest

                      okay folks, any more votes to be tabulated? 'Cos right now it's real easy, 8 entries and three voters!!!
                      I heard the starting gun


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                      • #12
                        Re: October 2019 Contest

                        I've read 'em and I'm pondering.

                        What does "before the 31st" mean? Is today, the 30th, the last day for voting?
                        Check out the entries in the Logline Throwdown thread in Writing Exercises forum
                        Your votes wanted!

                        Comment


                        • #13
                          Re: October 2019 Contest

                          we'll call it midnight on the 31st
                          I heard the starting gun


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                          • #14
                            Re: October 2019 Contest

                            Bless your kind heart. :) I'll try to get 'em in earlier though.
                            Check out the entries in the Logline Throwdown thread in Writing Exercises forum
                            Your votes wanted!

                            Comment


                            • #15
                              Re: October 2019 Contest - votes by Oct 31 pls

                              HAVE I WON YET?
                              Check out the entries in the Logline Throwdown thread in Writing Exercises forum
                              Your votes wanted!

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