At that site you can check out some of the scripts that are behind our movies, and if you like, submit your own script, and just maybe, we will make it into a movie
Sam, if you follow the link, it has nothing but work, im serious. Follow the link and you'll see a page of scripts. A lot of hard work has been put into making that page reality.
I could just as easily Googled what you showed me. Like Crysi said, you need to post your scripts here, not reference us off to some other site. I personally find it annoying that you either A) didn't write it yet reference it or B) are too lazy to post it on here. I don't think it takes much to highlight, copy, and then paste, but I could be mistaken. Anyway, don't waste bandwidth with menial posts referencing people to unknown sites.
"If I have not seen as far as others, it is because giants were standing on my shoulders." -Hal Abelson
Flashing back to original movie, Hannah is seen walking away from body of original Kelly. A blood curdling yell is heard from the trees as the screen fades to black.
Fading back in, the camera is focused on the spot where the last movie was cut off. Camera pans up and spots Kelly clone in tree, peering down at clone corpse. Camera zooms so ground is no longer visible. Expression of grief shifts to anger/rage. Kelly clone hops down off-screen.
Close-up of feet landing. "Mission Impossible" theme begins upon impact.
Wide view of yard. Kelly approaches body, scans it over. Upset, Kelly clone peers at sliding door, then stands.
Shot of door area. Red Hannah reappears out of the doorway. After brief pause, Hannah starts waving to opposite edges of view. Two more Hannah clones appear simultaneously. All three brandish their light sabers simultaneously.
Wide view of yard. Kelly clone takes light saber from corpse, activates it, then scampers off screen right.
Side yard length view. Kelly clone sprints towards camera and hurdles view.
Front of house view. Kelly clone quickly gets in car and pulls out towards school (peeling out, of course), and drives off.
View shifts to inside car.
Kelly: [on radio] Code red, code red! Fox, are you there, Fox?
View of radio with audio from Kelly. "Fox! ... Fox, do you read!?" James in distance runs for radio and picks up.
James: Yeah, I'm here. Cut it out with the code name stuff. What's up?
Inside car. "James, you won't believe it, dude. They're back!"
James [on radio]: What're you talking about, man? Who're they?
Kelly: THEM! I swear, there's three of 'em! ...Look, I don't have time to explain everything. Meet me at the Focus.
James: What?? Kelly, I told you to quit--... aargh.
Kelly: Just meet at the friggen swingsets! Out. [drops radio]
View cuts to end of street. Pathfinder seen making a left turn into school's street.
END OF SCENE 1
SCENE 2
Scene is set at school, in front of swings. James is seen pacing, hands in pockets. Peers at watch, looks about. Full body view. Suddenly, sharp tire squeeling and engine revving sounds. Zoom close to shoulder-head. James grimacing.
James: Oh geez. [moves off screen right]
View with swingset to right side. Kelly runs rapidly towards James, out of breath.
James: Dude, you're a mess! Why're you so excited? It's not that--
Kelly: We can't stand here and chat forever, bro! We've gotta move! It's only a matter of time before they're gonna find us. Let's go!! [tires squealing and engine revving again]
James and Kelly look towards parking lot.
James: No... way.... Kelly and James run off towards field. "Mission Impossible" starts again
View of parked car. Dorothy climbs out of car, shuts door, grins while looking abroad. Saunters off screen left. Hannahs begin coming out of car and running off screen right one at a time.
View of James and Kelly in open field. Both draw sabers simultaneously, set in stances.
View of three Hannah clones on screen. Two outside clones run towards camera in opposite directions.
View of James and Kelly in stances. Clones attack from opposite sides, backs to the camera. Sword fighting begins.
Cut to Kelly vs. Hannah. Trick moves, etc.
Cut to James vs. Hannah. Trick moves, etc.
Cut to Kelly vs. Hannah. Kelly appears to have upper hand, gets Hannah clone knocked to ground.
James vs. Hannah. Hannah clone has upper hand, gets James going backwards (into tree?)
Kelly vs. Hannah. Hannah still on ground, blocking shots. Eventually, Kelly breaks through and stabs Hannah.
James vs. Hannah. James is pinned to tree, saber nearing neck. James grunts, asking for help, sliding down tree trunk.
View of Kelly. Runs to James and attacks clone. Swings and slices at Hannah's kidney. Hannah screams, sinks to ground, writhes a bit, then dies.
James and Kelly high-five, of course. Scream is heard (Dorothy). James and Kelly turn their heads towards source of scream off-screen.
New hard rock instrumental begins.
Dort standing in distance, hands on hips. Zoom to full body on Dorothy, apparently upset. Dorothy snaps. Hannah with TWO sabers comes into view, grinning viciously. Charges towards camera off-screen.
Kelly and James, at same spot.
James: I've got this one. Hold this. [tosses saber to Kelly, draws gun. Fires several rounds at Hannah]
Full body of Hannah, slightly zoomed out. Hannah blocks every shot. Slow motion.
James and Kelly.
James: Gimmie that! [grabs saber back from Kelly. Walks off screen.]
Kelly: Don't!-- James... [sigh]
James enters screen with Hannah. Gets into pose. James shows maneuverability for short period, but doesn't last long. Blade is thrust straight through James' chest. Hannah withdraws saber. Echo saber sound. Music stops suddenly. James falls to knees, then hits ground [ooof sound?]. Hannah lifts both sabers above her head.
Kelly. Grips illuminated saber, changes color/illuminates brighter. Loud growl. Runs off screen towards Hannah. Camera pans at Hannah, set to fight again. Intense battle resumes, possibly going into playground area. Eventually, Hannah is slain. Once again, Dort screams.
At tanbark in playground – Dort at walkway firing towards big set
Dorothy. With hands still on hips, she looks incredibly angry. Drawing a gun, she points it towards camera off-screen and starts firing shots.
Kelly. Seen climbing various items in playground, avoiding rounds pursuing him about the set. Eventually ends up atop large slide. Rounds meet right at Kelly. Music stops. Kelly lets out grunts, collapses, slides head first down slide.
Dorothy. Cackling. Fade out.
END OF SCENE 2
SCENE 3
Kyle is hanging out in his chamber, apparently on lunch break. Phone rings. He picks it up.
Kyle: [mouth full] Hello?
Caitlin: Jaeger. Listen up.
Kyle: [mouth still full] Oh gosh, not right now. Can't you hear I'm tryin' to eat?
Caitlin: CMC is on the rampage. Word has it that Fox and Kelly have been vindicated.
Kyle. Seen dropping food remnants from mouth in shock.
Caitlin: Radar is locating her coordinates as we speak. Jaeger, we need you on site immediately before CMC commences her rage and builds up her army again.
Kyle: That's impossible. How did she-- ...unbelievable.
Caitlin: Radar doesn't know exactly how she acquired it, but it's in her possession. She must be stopped, Jaeger! Do you understand the urgency of this situation!?
Kyle: [sighs] Yeah. Tell Radar to relay coordinates to my blue screen, please.
Caitlin: Affirmative. Good luck, Jaeger. We're counting on you.
Kyle: Right on. Yeah...
Kyle shown holding phone to ear, somewhat with a look of grief. Fade to black.
SCENE 4
Heavy speed rock music begins before fade enters. Kyle is seen walking down street, swaggering, decked out. He adjusts his glasses, checks his watch (plays with it a bit), loosens his jacket, etc. Camera pans from profile to view of back side. Kyle is seen entering school, walks to quad area, and scopes out surroundings. Music fades.
Kyle: [checks watch again] Radar never fails.... Where is that beast?
Mission: Impossible theme starts up again. Camera does a 270 and spots Dort, hands on hips.
Kyle: [spots Dort] Alright, sis. Give it up. Show's over. [activates saber]
INTENSE FIGHT SEQUENCE. PROBABLY CLOSE TO TWO MINUTES.
Kyle/Jaeger prevails. However, the slain Dorothy disintegrates.
Kyle: It's too late... [hangs head]
Dorothy is, once again, seen in the distance with her hands on her hips. Fade out.
END SCENE 4
END
CREDITS -- “TO BE CONTINUED” spans view, with Huey Lewis’s “Power of Love” beginning. Credits roll.
To be continued
Starring:
Kelly: Kelly Fuhrer
Jaeger: Kyle Strand
Mystery Girl: Caitlin Howell
CMC: Dorothy Mickle
Red Clone: Hannah Muelder
Black Clone: Hannah Muelder
Green Clone: Hannah Muelder
Fox: James Mickle
Lightsaberization:
Kyle Strand
Nathan Trebes
Caitlin Howell
Steve Mcgrogan
Jesse Solorio
Natalie Trebes
Lightsaber Repair:
Andrew Dirks
Camera:
Nathan Trebes
Kelly Fuhrer
Jesse Solorio
Caitlin Howell
Edited by:
Nathan Trebes
Visual Effects by:
Nathan Trebes
Sound Effects:
Nathan Trebes
Stunt Doubles:
Caitlin Howell
Daniel Howell
Fights Created by:
Kelly Fuhrer
Kyle Strand
Kelly Stunt work
Supervised By:
Carol Trebes
Much to Moms surprise,
no actors were seriously
harmed in the making
of this film. No animals
were harmed in the making
of this film. No Car
crashes happend while
making this film. Kelly
was kicked in the
face though :-p
Filmed On location at:
Christianson Middle School
Greenvil Park
Livermoron Films World HQ
A Satellite Above Earth
Kids: Always wear your
Seat belt! Only you can
prevent forest Fires!
The End
them.livermoronfilms.com
Kyle “I think ill go ice fishing”
To be continued
Road Dream Script
Written by Kelly Fuhrer.
FADE IN FROM BLACK:
Opening credits begin on black screen. Techno music is heard. Video fades in. Close shot of fingers typing as credits continue. Close shot of mouse pointer closing a window on a mac computer monitor. Close shot of hand moving mouse around. Close shot of PATRICIA’S head, steady. Finally, close shot of computer screen with a web site, loaded with pictures of CAMERON JOHN. Cut to shot of profile of PATRICIA. We hear a voice from another room.
PATRICIA’S MOM
PATRICIA! Dinner!
PATRICIA
(sighs)
CUT TO:
monitor again, showing numerous windows being closed. Cut to shot behind PATRICIA; she gets up and heads out of the room. Camera pans across the walls of the room, revealing several pictures of CAMERON John posted. Fade out to black.
FADE IN:
PATRICIA is seen packing bags. Another girl enters door to room. She stops and puts her hands on her hips.
NATALIE
Wow, you really are going to do this.
PATRICIA
I thought I told you to leave me alone, NATALIE.
NATALIE
I’m trying to be a friend here. What you’re doing is crazy. I think all that time on the computer has driven you mental.
PATRICIA
(turning around)
Geez, would you stop it! Let me be, okay?
NATALIE
(sighs)
If your mom finds out, she’s going to trip. You can’t possibly get out of here and not face some form of brutal punishment.
PATRICIA
It doesn’t matter.
PATRICIA
(glances up at pictures on the walls)
I’d suffer any consequence just to see him face to face.
NATALIE
(roll eyes)
Weirdo! Reality check! A road trip by yourself is crazy. Do you realize how dangerous it is?
PATRICIA
(smirks, nods)
NATALIE
I figure that a friendship would carry enough weight to influence your decision-making skills, but I guess your brain’s too deluded by pictures of CAMERON that you can’t possibly think straight anymore.
PATRICIA
Okay, enough with the guilt trip, NATALIE. (sighs) If anything happens to me, I’ll give you a call, alright?
NATALIE
(smirking)
Operators are standing by.
PATRICIA
(rolls head and bites her lip
NATALIE
(snickering)
I won’t tell anyone how totally insane you are for going to this guy’s place. But I can’t stop you.
PATRICIA
(zipping up her bag)
The Phone rings. NATALIE answers her cell phone.
NATALIE
Hello…. Eh, I’m at crazy girl’s house…. Right now? But I just ate!… alright, fine. See ya. (hangs up)
CUT TO:
PATRICIA looking at NATALIE.
PATRICIA
Was that loverboy?
NATALIE
Uh, yeah. Gotta go appease his need to see me. Pray for me, alright? (heads towards door, then turns back again) And take care of yourself. You never know what lurks in the shadows! (sarcastic; fake creepy face)
PATRICIA
(gets up, and pushes NATALIE out playfully, then shuts the door. She turns around, finds a spot to shove her travel bag into hiding, then sits on the bed and checks her clock/watch.)
Camera zooms to clock on wall/alarm clock, showing 8:30.
FADE TO:
Clock showing 10:00.
CUT TO: PATRICIA lying on bed. Startled by time, she jolts up, grabs her bag, then carefully walks over to the door.
CUT TO: outside of bedroom. PATRICIA’s head pops out, peers down hallway to make sure no one is coming. She tiptoes out. Camera trails her down hallway, around corner and stops following. PATRICIA is seen tiptoeing out the front door, closing it behind her. Fade to black.
FADE TO:
Car. Camera faces back of PATRICIA’s head, allowing viewer to see road she travels on. Humming to herself, tapping on steering wheel. Slowly zoom to clock, which reads 10:05.
FADE TO:
Clock/watch reading 10:56, 11:45, 12:28, then 12:50.
CUT TO:
Profile view of sleepy PATRICIA. She ruffles her hair a bit, then rubs her eye.
PATRICIA
Ugh, can’t stay awake anymore.
CUT TO:
Rear view again. We see her turn on blinker and turn wheel to pull over.
CUT TO:
Alongside road. Car is seen pulling off the road in front of shot. Parking brake is heard, engine cuts out, lights turn off.
CUT TO:
Profile view. PATRICIA puts her arms atop the steering wheel, sighs as she gazes forward, then drops her head onto her arms.
CUT TO:
Front of car. Shot of PATRICIA’s head resting on steering wheel. Shot zooms out as camera fades out.
FADE TO:
Front of car. Steady shot facing PATRICIA. She has her head on the steering wheel with a grievous look on her face, eyes shut. In the rear window, an indistinguishable vehicle pulls up behind PATRICIA’s car. She doesn’t see the vehicle.
CLOSE ON:
Ground-level shot. The door to the new car opens, and a couple of feet hit the ground. The driver shuts the door and approaches PATRICIA’s car. As he walks over, the camera pans up and zooms out slightly until he’s in front of it, and we can see PATRICIA. She peers out the window, then turns her head and stares in awe, mouth gaping.
CAMERON
What’re you doin’ out here?
PATRICIA is absolutely speechless, attempting to form words.
CAMERON
Need a lift?
PATRICIA manages to squeak a “yes” and a nod.
CUT TO:
Close angle from passenger side. PATRICIA is breathing heavily as the unknown character opens the door. She steps out, not even looking at the guy. As she gets up, we get a shot of both of them standing somewhat close to each other, looking right at each other. We realize at this point that it is CAMERON John, the celebrity she is pursuing.
CAMERON
(grinning)
Hey there
PATRICIA
(smiles)
CUT TO:
PATRICIA’s back as they walk side-by-side to his car, still silent, walking stiffly. She peers at CAMERON a number of times with a smile. He comes into the shot as he gets to the car and opens the door, but the shot pans laterally to the hood of the car. The shot stops moving there as PATRICIA also gets into the car. Both are looking straight ahead. PATRICIA is grinning, while CAMERON has a somewhat suspicious smile on his face. The car starts, and then pulls to the right. The camera follows as the car passes and pulls away, down the street.
CUT TO:
Rear shot of moving car, on the freeway. We see heads of PATRICIA and CAMERON in Mustang.
CAMERON
Yeah, I was just on my way out from a commercial we’re doing. We shot it just a few miles from here. It’s pretty lucky that we crossed paths, huh?
PATRICIA
Yeah, I guess so. She’s still awestruck.
CUT TO:
Inside car; backseat shot.
CAMERON
So, (awkward pause), What brings you out here?
PATRICIA
(Stammering)
Um, I was just taking a little road trip
CAMERON
By yourself? That’s no fun.
PATRICIA
Yeah, I was just coming out to see someone. A good friend of mine, I guess you could say.
CAMERON
That’s cool. It seems like I don’t have time to do things like that anymore.
PATRICIA
I bet. I mean, you’re so busy with films and such. Aren’t you still filming ‘Lake Littlewood’ somewhere in California?
CAMERON
(smirking)
Yeah. We’re taking a break from it for now. Wow, you have your facts straight, don’t you?” He smirks.
PATRICIA
(blushes)
CAMERON
So I’m guessing you know some stuff about my work.
PATRICIA
Yeah… actually, I know quite a bit about you.” She tenses up a lot and shrugs in her seat, not making eye contact.
CAMERON
Really? Aw, you don’t have to be so bashful, it’s alright, baby—
PATRICIA
Hey, don’t call me that!
CAMERON
(looks in the rear view mirror and fixes his hair.)
Whoa, whoa, alright. Keep it level in here, alright?
Silence for a bit.
PATRICIA
So where are you taking us?
CAMERON
I know a little spot where we can get everything fixed up for you.
PATRICIA
Okay.
CUT TO:
Shot of car zooming down freeway.
CUT TO:
Shot of car approaching, slowing down past the camera, and pulling over, stopping in front of shot.
CUT TO:
Inside of car again.
CAMERON
So, where do you want to go next?
PATRICIA
What?
CAMERON
(smirks again)
I can take you anywhere. Just let me know.
PATRICIA
What are you talking about?
CAMERON
C’mon, you know exactly what I’m talking about.
PATRICIA
You’re starting to scare me. Who do you think you are?
CAMERON
I’m whoever you want me to be.
PATRICIA
I like the CAMERON that’s in the movies. I don’t want to be here right now. I’m not liking you at all.
CAMERON
It’s okay, baby—
PATRICIA
(pushing CAMERON away)
Don’t call me that!
CAMERON
(Looks shocked at first, then chuckles)
You’re a crazy chick. I can dig that
(He reaches for her)
PATRICIA Leans away, squealing and struggling to get the door open. She gets it unlocked and open and falls out of the car.
CUT TO:
Ground level, outside passenger door from rear. She falls out and scrambles away.
CUT TO:
Shot of PATRICIA and CAMERON running away from camera down the street for a few moments.
CUT TO:
Shot of car approaching from opposite direction.
CUT TO:
Shot of PATRICIA running in street towards camera.
Car and PATRICIA “collide”.
CUT TO:
Shot of PATRICIA opening her eyes wide from front angle as car horn blares by her. It’s nighttime. We realize she has been dreaming all along.
CUT TO:
Profile of her heaving, nearly in tears. She calms down, then hangs her head. A dark figure creeps into driver’s side window holding a flashlight. PATRICIA slowly glances to that side, then screams. She recovers from being startled, then rolls down her window.
CUT TO:
Close-up view of character. He switches off flashlight. We discover it’s a police officer.
OFFICER
Ma’am? Is everything alright?
PATRICIA
(still reeling from initial scare)
Uh… yes. I was just taking a nap.
OFFICER
I received a report of an unoccupied vehicle on this road. I guess the report was false, but I still need you to move along. Are you going to be okay driving?
PATRICIA
Yeah, I’ll be fine. I’m sorry.
OFFICER
Where are you headed?
PATRICIA
I’m heading back home.
OFFICER
Alright. Drive safely, please. (he nods, then leaves the window)
CUT TO:
Shot from front, so both PATRICIA in car and OFFICER returning to his car are seen. PATRICIA looks distraught.
CUT TO:
Profile shot. Dorothy picks up her cell phone and dials.
PATRICIA
Hello, NATALIE? …Yeah, I’m coming over… I’ll tell you about it when I get there, alright? …Thanks, bye.”
CUT TO:
Shot from rear of car. PATRICIA starts car, then does U-turn into the road. Camera follows car as it goes into the distance. Credits appear.
FADE TO BLACK
Character = physicist
Dialogue = hair dye
Shot of blinking eye
Shot of apple sliced
Items to chop in half
Various fruits/vegetables
A cat
The apple
Apple computer – is stopped
Empire PEZ dispenser
PCI card
Rubber duckie
Physicist – gentleman who is crazy over discovering cause for no one being able to reach the end of Vasco. He has several off-the-wall theories (one involving an illustration using an apple) and believes the end of Vasco can be achieved using some funky scientific procedure.
Main Character – Brittany, the blonde, wants to venture to the end of Vasco.
Jillian, Brittany’s obligatory best friend – obviously hangs around Brittany because Jillian has no other friends, but also feels that she has to look out for Brittany’s safety. Tags along and supports Brittany’s quest to get to the end of Vasco out of obligation.
Opening – Jillian driving to Brittany’s house – credits rolling
Scene 1 – Jillian arrives, asks Brittany why she had to come over – Brittany is overly obsessed with reaching end of Vasco because she heard from a long chain of friends that they’re building a mall at the end of Vasco, and she wants to be first at the new Claire’s store to purchase the new trendy hair dye.
Scene 2 - Brittany’s physicist father warns fanatically that no one has ever reached the end of Vasco – spits a series of scientific explanations, and then hooks up contraptions to “split the time-space continuum” in order to warp there. Jillian gets a clue and says to drive there.
Scene 3 – On the road. Drivers simply run into traffic – discover why no one has ever reached the end of Vasco.
SCENE 1
Afternoon, in house. Brittany is sitting at a table, drawing something with extreme effort and passion, tongue sticking out and all. She tosses her hair a few times, smirks, and continues. The door is visible as Jillian knocks, then walks in and approaches the table. She has a perturbed look on her face, as if worried.
JILLIAN
Sorry, I got here as fast as I could. I didn’t know if… (sees picture, expression changes to flabbergasted) Brittany… what in the world is that?
BRITTANY
(beaming) It’s my new look!
Cut to: Shot of picture – a poorly drawn stick figure girl designed with crayons, which are strewn all over the table. The hair is purple – the rest of the picture is up to interpretation.
BRITTANY (voice)
Do you like it?
Cut to: Table/door shot again
JILLIAN
(somewhat stern) Is THIS the emergency you were calling me about? (sighs; says next line with immense worry) I think you’ve lost it. I think you’ve fiiinally lost it. After all these years in our friendship—
BRITTANY
No, silly goose! Geez… I just need a ride to the mall!
JILLIAN
The mall? Brittany, there’s no mall anywhere NEAR here. We live tons of miles away from ANY mall.
BRITTANY
Nuh-uh! Listen…
Cut to: Close shot of Brittany’s face. As she says the following lines, she tilts her head rhythmically back and forth.
BRITTANY
Gina heard from Teresa who heard from her brother’s dad who heard from her dentist who heard from her dog who heard from Monique who heard from my sister that they’re building a mall in town, and we SOO have to be there, Jillian.
Cut to: Close shot of Jillian; hands on hips
JILLIAN
C’mon, you KNOW how I feel about malls. I hate them so much, Brittany.
Cut to: Close of Brittany
BRITTANY
(whiny voice) Jillian! We HAVE to go. I want to be first in line at the new Claire’s store – they have that new trendy hair dye from Maybelspleen that we’ve always wanted! (grabs at her hair lightly, pets it)
Cut to: Table shot
JILLIAN
Hair dye? (still stern; then suddenly changes her expression to amazement) Wait… are you talking about THAT hair stuff?
BRITTANY
Uh huh! (still preoccupied with petting her hair – as the next portion unfolds, Brittany continues babbling)
JILLIAN
Oh…
The audio is blurred by the dreamy ambient sound of the thought bubble.
Camera pans to the right to create an empty space to the right of her head; she appears in deep thought, looking up at thought bubble forming. The thought bubble displays her with a black wig, dressed and dancing grunge style. She promptly snaps out of it when the next line comes up
BRITTANY
…and SHE said they’re building it on Vasco, so I was like—
JILLIAN
(concerned) What? Where on Vasco?
Cut to: close shot of Brittany
BRITTANY
The end of Vasco!
(audio heard from within)
The END OF VASCO? Ohhhh, the END of VASCO…
Cut to: centered on table shot again. From around the corner of the hallway, a man appears staggering out, holding his head as if in a great deal of pain, moaning.
BRITTANY
Dad!? What are you doing? (lowered voice) You’re embarrassing me!
PHYSICIST
By all means, you CANNOT go to the end of Vasco!
Cut to: close of Jillian, visibly distraught.
JILLIAN
Oh no, PLEASE don’t ask. (drops her face to the tabletop)
Cut to: close of Brittany
BRITTANY
(audio in slo-mo) Why?
Cut to: close of Physicist
PHYSICIST
Why? There’s a perfectly reasonable explanation for this. (he is very animated with his explanation) As my intense research in physics has indicated, there is a serious disturbance in the space-time continuum in that region of the city, whereas an infinite warp field has displaced the actual location of the end of Vasco. You see, billions of years ago, a large cataclysmic explosion erupted upon our earth, creating a multitude of planetismals, which began to orbit the earth due to the intense heat and gravitational pull of the core. Gradually, these masses began to accrete…
Cut to: close of Jillian
JILLIAN
(reaching for Brittany – physicist still speaking) Hey, I think I saw this on KQED last night…. Let’s get out of here.
Cut to: table shot; physicist is still looking off, babbling. Jillian is grabbing the arm of Brittany, sneaking her towards the door carefully
PHYSICIST
…and form a sphere, and the sphere cooled and began rotating—hey (grabs Brittany’s arm), you can’t leave. There is no way to reach the end of Vasco safely… Ah! Unless…
Cut to: close of physicist, smiling maniacally and nodding, shot transitions into next scene. As it zooms out, it reveals all three characters holding hands outside. The physicist is holding an axe in his left hand, and they are seen surrounding a table with a PCI card and various wires being strung from it.
JILLIAN
So WHAT is this going to do again?
PHYSICIST
No no! Just close your eyes (they do so) and picture yourself there. You see… in order to penetrate the space-time continuum and get to the end of Vasco, we have to split it. Now imagine that this space-time continuum is right in front of you.
Cut to: close of Brittany and Jillian
BRITTANY
(whispering to Jillian)
What does a space-time continuum look like?
JILLIAN
(whispering back)
Shut up! The sooner we do this, the sooner we get out of here.
Cut to: previous outside shot of all three characters
PHYSICIST
Are you there? Good. This item – don’t look! This item represents the field… are you ready?
Jillian and Brittany confirm.
PHYSICIST
Cut to: close shot of PCI card
Ok! (raises axe and chops PCI card in half)
Shot sits there for a bit.
PHYSICIST (voice)
Girls? Are you still there?
Cut to: close of physicist, with his eyes closed. The shot zooms out, and it reveals that the two girls are still there, glaring at the physicist.
BRITTANY
Dad! We’re still here! Gosh!
PHYSICIST
(opens his eyes) Holy calculations! It didn’t work! We must try something else…
Next several shots are of close-up items being chopped in half. In order – a pencil, an apple, a veggie, Star Wars PEZ dispenser, rubber duckie, Apple laptop (cut shot of girls stopping the physicist, then quick shot of computer again, untouched)…
…A cat. Before the cat is shown, all three characters are looking down at the camera shot (which appears to be coming from the table). The physicist appears determined; the girls are horrified.
PHYSICIST
This HAS to work.
Cut to: Shot of cat, covered by shadows, laying down, being held in place. Cat is looking up at camera. GIVE IT 5-7 SECONDS.
PHYSICIST
In the name of science.
Cut to: (quickly) Physicist raises axe and chops just below camera position. Cat squeal; girls cower in agony at horrific scene.
Cut to: Physicist, shaking head in disgust. GIVE IT 5-7 SECONDS AGAIN – audience will still be laughing about last cut.
I thought I was worthy. (play up sad music) I’ve failed you girls. You don’t understand what this means to my career.
Cut to: Shot of all three again, seated outside
BRITTANY
Daddy, it’s okay. We can just drive there.
PHYSICIST
Drive there? … Yes! Precisely! Why didn’t I think of it before! The vehicle will disrupt—and then a bend in the field—and then… oh, genius!
The physicist hugs Brittany tightly. Brittany is beaming. Jillian hangs her head in disbelief. Fade out.
Fade in: Girls are seated in car, facing to the left (profile of each girl)
JILLIAN
Well that was interesting.
BRITTANY
Totally! Like, I was like, let’s just drive! And he was like—
JILLIAN
Whatever! (mimicking Brittany) C’mon, we’ve gotta get there.
BRITTANY
But like, why did he say we can’t go to the end of Vasco?
JILLIAN
Well, sister, we’re about to find out. (smirking)
They accelerate out. The camera follows them heading down the street. Clock transition.
Cut to: Profile of girls again, both distraught.
BRITTANY
Aw… bummer! We’re NEVER gonna get there.
JILLIAN
I think your dad was actually right for once, Brittany. It’s impossible to get to the end of Vasco. (sighs)
Cut to: Shot of windshield. The shot reveals a very long line of cars. Horns are heard honking and such. Credits and music begin.
A DARK AND STORMY NIGHT
by Jathan and Zach Schmidt
SCENE ONE:
1:30 pm
Phil is playing like a madman on a space computer game, and his younger brother, Bobby, is watching behind him while cramming junk food into his mouth. They are screaming at the game with excitement.
Their mom enters the room.
MOM
Bobby, Phil, we're going away for the weekend with the Hogenburgers. Eric is coming over here to stay with you guys. Don't get into any trouble while we're gone, alrighty?
The two boys never take their eyes off the screen.
BOBBY
Ya, mom.
PHIL
Sure, mom.
The mom smiles and leaves the room. The boys continue screaming.
SCENE TWO:
5:23 pm
Phil and Bobby are still glued to the computer, but now Bobby is playing.
PHIL
Come on! You almost got him!
BOBBY
I need a twinkie! Hand me one!
PHIL
The twinkie can wait! Beat this guy first!
Bobby glances between the screen and the twinkie on the desk. He grabs the twinkie and tries to tear it open with his teeth.
PHIL
You're losing your concentration!
BOBBY
But I'm hungry!
The computer suddenly goes black. Moments pass in silence as the two are stunned.
BOBBY
What... just happened?
PHIL
I think the power went out.
There is a knocking on the front door. Phil goes to answer it. He opens the door and a flashlight is shown in his face. He squints and sees Eric holding the flashlight.
ERIC
Hey, did your guys' power go out too?
PHIL
Yeah. We were this close to beating Megalon 5! If only we had thirty more seconds.
ERIC
Well I know of something we can do if the power doesn't come back on.
PHIL
What?
ERIC
Ever gone camping.? I was planning on going this weekend anyway. Wanna come?
PHIL
No.
ERIC
Oh, c'mon! The power's not coming on again! Look, if it makes you happy, I'll bring my dad's laptop. You can play Mega-whatever on that thingy.
Phil thinks about it for a second.
PHIL
Fine.
ERIC
Cool, where's Bobby?
PHIL
In the office.
Eric walks in a shines the light on Bobby and the blank computer. Bobby is still looking at the computer, trembling in shock.
SCENE THREE:
Bobby zips up his backback, which is full of every junk food imaginable, and the three are ready to go. They start walking towards some big hills.
****
Later, they are on the hills, hiking up towards the top. Eric is fine, but the brothers are panting heavily.
BOBBY
Is this all you do in camping? Walk on and on?
ERIC
No, the real fun doesn't begin until we get the tent set up.
****
Phil and Eric are busy setting up the tent while Bobby is pigging out on junk food.
ERIC
Bobby, get over here and help!
SCENE FOUR:
It's dark out, and the three are laying down in the tent.
PHIL
Hey, you said you'd let me play on your laptop.
ERIC
Yeah, alright.
Eric reaches into his back pack and searches for it.
ERIC
Oh yeah, I just remembered.
PHIL
What?
ERIC
I took it out so I could fit in some other stuff. Sorry.
PHIL
Great! Now what do we do?
BOBBY
We can eat!
ERIC
Um, no. I have an idea. We could tell scary stories.
BOBBY
Yeah!
ERIC
Phil, you got any stories?
PHIL
Well, just one. It's goes like this...
SCENE FIVE:
IN STORY...
Moisha is inside her house watching a scary movie while eating popcorn. A phone rings. Moisha walks into the kitchen (popcorn bowl in hand) and answers the phone.
Moisha:
Hello.
Reply
Moisha:
Wassup girl friend?
Reply
Moisha:
No, I'm not doing anything tonight.
We see outside the house through someone's vision. We see Moisha talking on the phone. We come closer to the porch window.
(Back inside)
Moisha:
No way, really? I can't believe it? You actually did that!
Reply
Outside again we bump into the porch door.
(Back inside)
Moisha hears a bump.
Moisha:
Okay bye bye.
She hangs up.
She walks over to the porch door. She looks out the window.
Moisha:
Must have been a cat or something.
We see outside again. This time we come along side of the house and to the front door.
DING DONG
Moisha walks to the front door. She opens the door slowly. No one is there. Moisha walks outside a little further.
The front door snaps shut behind her. She swiftly turns to see.
Moisha:
Must be the wind.
Moisha walks to the door and tries to open it. Its locked.
Moisha:
Whatever.
Moisha walks into the back yard noticing that the gate is opened.
Moisha:
As if!
She walks past and looks into the house through the porch. Everything is normal. She tries to open the porch door, but its locked too.
Moisha stands there with the phone. She dials a number.
Moisha:
Hello, this is Moisha is Shinaynay there?
Reply
Moisha:
Hey Shinaynay. I just locked myself out of the house, so I was wondering if I could spend the night at yours.
We see inside the house. We come closer to the porch door where Moisha is.
Moisha:
Ok. Then I'll see you in like five k?
Reply
Moisha:
K, ba bye.
Moisha leans against the porch door with one arm and lets out a sigh. The door handle goes down and she falls into her house stumbling onto the floor. Moisha looks confused.
She looks around; everything is normal.
Moisha gets up.
The TV in the living room turns on. Moisha goes to see whats going on.
(In a closet) We see Moisha walk into the living room.
She looks around. Everything is normal. Moisha walks up to the TV and turns it off.
Moisha:
It's hot in here.
Moisha walks up to a closet. She takes her sweatshirt off and throws it inside.
The phone rings. Moisha walks into the kitchen and answers it.
Moisha:
Hello?
Reply
Moisha:
Oh hi. You know what? It's the weirdest thing, I swear the door was locked, but then it was suddenly it wasn't! Could I spend the night anyway though?
Reply
Moisha:
What? Your car is broken down?
We walk past the kitchen where Moisha's back is turned to us. We walk inside Moisha's room.
(Back to Moisha)
Moisha:
Okay. I'll be ready in 30 minutes k?
Moisha walks to her room.
(Under a bed) We see Moisha walk in.
Moisha:
Huh, where is my cherry lipstick?
We see a killer under the bed right behind Moisha's feet. He reaches for her feet. The killer grabs her shoes. Moisha slips her shoes off and walks up to a mirrior in her room.
The killer looks at the shoes in confusion then smells them. He waves his hand in front of his nose.
Moisha is looking in her mirror. The killer pops up behind her. Moisha screams. The killer is about to stab her.
Moisha:
I can't believe it! I have a zit!
He looks at the camera and shrugs and keeps walking towards Moisha. The killer slashes at her but misses.
Moisha walks into the bathroom, oblivious to the killer behind her.
Moisha:
Where did I leave that lipstick?
She starts rummaging through a drawer. The killer walks behind her dodging the bathroom supplies Moisha is aimlessly throwing behind her. The killer makes it to safety and hides behind the shower curtain.
Moisha:
There it is.
Moisha pulls out lipstick and applies it. She starts putting other cosmetics on.
We show a clock fade from 9:30 to 9:40.
Moisha is now blow drying her hair.
The killer is yawning and falling asleep.
We show the clock fade from 9:40 to 9:50.
Moisha is combing her hair.
The killer is still inside the bathtub. He looks down at his watch. The killer acts frustrated and throws his hands on his knees (holding his knife). He looks down and sees the knife stuck in his knee. He hits his head against the wall.
Moisha turns and looks at the shower. She walks closer. Moisha pulls back the shower curtain and looks in. Nothing is there.
We see the killer on the opposite side of the shower. He crouches down trying to sit on something. He accidently sits on the toilet lever. He jumps back into the shower as Moisha turns around.
Moisha:
Whatever!
Moisha walks out of the bathroom and in to the kitchen.
(Through the killer's eyes) The killer walks into the kitchen while Moisha is looking for something.
The killer opens the fridge and climbs inside.
Moisha walks up to the fridge and cracks it open. She quickly closes it and opens up a cubard. She pulls some cookies out and starts eating them.
Moisha opens the fridge. The killer is inside shivering. Moisha screams.
Moisha:
No milk!?
The killer looks at the camera and shrugs again, then lunges at her.
Moisha:
Where'd you come from?
The killer looks confused and tries to stab her, but Moisha quickly picks up a near by pan and bops the killer on the head.
Moisha:
Bop!
Moisha runs down a hall and goes through a door. Then comes a classic Scooby Doo chase seen where they continue to open and shut doors all over the place.
Moisha runs down a hall with the killer right behind her. She opens the front door as the killer slips on a carpet and slides outside.
Moisha shuts the door and locks it. She stands there panting for an unnecessarily long time. The sound of glass breaking makes her jump.
The killer is standing in front of the porch door. He charges at Moisha. Moisha runs out of the door and closes it behind her. She runs to her car and looks down at her feet.
Moisha:
I forgot my shoes!
Moisha runs back to the house and flings the door open hitting the killer. She runs into her room and laces her shoes up.
Meanwhile the killer walks outside and looks around confused. He scratches his head and starts walking off.
Moisha ties her shoes completely and heads out the front door.. The killer turns to face her then looks at her car.
Moisha darts out towards the car as the killer does the same. Moisha gets to the car first. She flings open the door and climbs in. Moisha looks out the window, but doesn't see the killer. Then she looks over her shoulder and sees the killer in shotgun.
IN TENT...
ERIC
Dude, that's getting really boring. Don't you think, Bobby?
Bobby looks like he's about to pee his pants.
BOBBY
I actually... thought... it was pretty good.
ERIC
Ah, c'mon. All he does is chase her around. And am I mistaken or did you rip that right off of some horror movie?
PHIL
Well, sort of. But the movie was good.
ERIC
Lemme tell a story now. It'll knock your socks off and give you nightmares for weeks!
PHIL
Uh huh.
ERIC
Okay, it goes like this. On a dark and stormy night...
There is a sudden crack of thunder, and rain starts to poar down on the tent. The three look at eachother with wide eyes.
BOBBY
How'd you do that?
Eric shugs.
ERIC
Anyway, here it goes. There are these three guys sitting at home, watching T.V.
BOBBY
What're their names?
SCENE SIX:
IN STORY...
We see Bobby, Phil, and Eric sitting on a couch watching T.V.
ERIC (OS)
I dunno, Bobby, Phil and Eric I guess. Anyway --
BOBBY (OS)
What's on T.V.?
PHIL (OS)
Dude, just let him tell the story.
BOBBY
Man, these movies are so creepy.
Bobby shuvels food into his mouth.
The movie suddenly is interrupted with a special bulletin.
REPORTER
We interrupt this program to bring you a special bulletin. A really big hurricane is heading straight for the bay area. Powerouts, mudslides, floods, and tornadoes are expected. At the same time, a 9.4 earthquake is predicted to happen tonight, and may cause volcanic eruptions. It is also likely that there will be acid rain, the ebola plague, mass shark attacks, a meteor the size of Texas hitting the earth, and a giant lizard destroying Tokyo. What could possibly be worse?
IN TENT...
PHIL
Eric, is this gonna get scary at some point?
ERIC
Yes! Just listen! That very night, at the Pleasantville zoo, a security guard is eating a banana.
BOBBY
Oh! I forgot to pack a banana!
PHIL
Quiet, Bobby.
ERIC:
Okay, so there's this guy --
BOBBY
What does he look like?
ERIC
(sighing) Why do you want to know what he looks like?
BOBBY
It's easier to imagine it then.
ERIC
Fine, he looks like you.
IN STORY...
At the Pleasantville Zoo, it is raining very hard. Inside the control room, a guy that looks like Bobby is sitting at a computer, eating a banana. Suddenly, there is a beeping, and he sets the banana down. He looks at the screen in astonishment.
Dude.. everything here takes up a lot of space. WHY WORRY ABOUT IT?? This site is made for using up that space by submitting stuff like this!
Thanks Incandescence. I started wondering whether I had an actual point there or if I was just acting out against him.
By the way Trebes.. I'm Crysi on here. Better get used to calling me that, 'cuz there's someone registered on the site as Sam and everyone here knows me as Crysi.
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