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View Poll Results: Continue with your torture and post more or give up and stop? | |||
POST MORE | 1 | 50.00% | |
GIVE UP | 1 | 50.00% | |
Voters: 2. You may not vote on this poll |
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#11
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The PALE HORSE QUOTE i believe is from me. It fits with my story and is resolved in the end, should I PUT, WE ARE ALMOST HOME or YOU ARE ALMOST HOME, for the last line of it? I had YOU at first, but changed it. BECKY don't last long sorry for the spoiler. But I believe I gave enough for the audience to care a little when she dies. No one can take DOWN MICHAEL. ;) LAURIE, SHERRIFF BRACKETT and a new character JAKE MYERS LOGAN are my main focus in this story and a CONFLICT BETWEEN ALL OF THEM, and in the end don't worry about you questioning or hating the new charachter or it making since to HALLOWEEN 4 or after, the end resolves that and will still get it back on track 4 all those still to work, and the flashbacks at the beginning will have meaning and revelance to this story and ending, and it may also help out the audience and possibly even make them want to watch H2, or maybe even make them like H2 more by the end of this one. :cool: THANKS FOR THE FEEDBACK, definetely want more I might post a little more. I know more then likely it probably won't go anywhere, but definetely interesting, the damn thing just kept popping in my head and I visually/literally seen it like a movie, kind of scary didn't put the pin down.
Last edited by H3orH3D_Script4U; 02-20-2013 at 05:56 PM. |
#12
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also a line there from MICHELLE, should make you like, what the hell THEY'RE BROTHERS? What was that all about?
Last edited by H3orH3D_Script4U; 02-20-2013 at 06:48 AM. |
#13
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Looking forward to Becky's demise and a few EMT's too.
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#14
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You think JAKE could take down MICHAEL? Or I guess I should ask. Are you scared MICHAEL?
Last edited by H3orH3D_Script4U; 02-20-2013 at 06:48 AM. |
#15
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a little more
FADE IN:
SCENE #6 A SHOCKING REVELATION: (INT.) HADDONFIELD - HOSPITAL ROOM - NIGHT - THUNDERSTORM - PATIENT MICHELLE: P.O.V. of MICHELLE OPENING her EYES as if waking from a nap, SHOWING an OUT OF FOCUS person leaning over her. CLOSE UP SHOT of a NAME TAG on a WHITE SHIRT, with the name BRACKETT engraved on it. It then reveals a clear VIEW of the FIGURE and MICHELLE lying in the HOSPITAL BED, It's a female NURSE named CHELSEY. MICHELLE What's your name? CHELSEY It's CHELSEY ma'am. You had yourself a close call there tonight. Didn’t you? MICHELLE So! You're related to the Sherriff? CHELSEY Seen the name tag. Did you? Yeah! He's a local celebrity. Don't worry though, I'm not as strict. MICHELLE No it's not that, I need to talk to him. I have something important he needs to know. Others might be in danger. CHELSEY Why would you say that? Ma'am! MICHELLE Well, I guess I can tell you, and you can get a hold him. Right? CHELSEY Sure can! MICHELLE I have a confession to make. You know Michael Myers? CHELSEY Who doesn’t! MICHELLE Well my son Jacob!.... He is, Michael’s brother! CHELSEY That's not possible! Ma'am! Michael only had a sister, and his Mother and Father died a long time ago. MICHELLE Yes it is! Before Michael's father died, we had an affair, and I had JAKE soon after..... I only hid it, because I was worried for JAKE. I didn’t want the attention or JAKE to get ridiculed.... or worse, so I kept it secret. JAKE always new, though.... It always affected him!... Now I'm worried, he's went off the deep end, with the news of Michael's death. CHELSEY Oh my GOD! MICHELLE He's the one that poisoned me, and I'm worried; he's not going to stop with me! He left me to die, dressed up like Michael. You need to stop him, PLEASE! CHELSEY begins seeing that MICHELLE is serious and stands from her seated position, next to MICHELLE on the HOSPITAL BED. CHELSEY Don't you worry! I'll take care of it. You just rest! As CHELSEY is now exiting the room just before the door, MICHELLE stops her. MICHELLE If you see my son...... RUN! CHELSEY exits the room looking worried. CUT TO: (EXT.) HADDONFIELD - HOSPITAL - FRONT ENTRANCE - NIGHT - THUNDERSTORM: P.O.V. through a MASK of the front of the HOSPITAL again hearing the breathing, with the rain pouring down, with lightning and thunder. Then with a bright flash of lightning, blinding the audience and a loud crackle of THUNDER almost at the exact same time. The screen QUICKLY FADES to BLACK out of the bright flash. FADE OUT: SCENE #7: MOTHER'S KEEPER FADE IN: (EXT) HADDONFIELD - HOSPITAL - FRONT ENTRANCE - NIGHT - THUNDERSTORM: It starts from the exact ANGLE and spot of the P.O.V. from the previous scene. As if some time has passed, with a V.O. playing from CHELSEY, as if she is leaving a message for SHERRIFF BRACKETT on his phone. While SHERRIFF BRACKETT on duty is pulling up in front of the hospital. *BEEP* CHELSEY (V.O) (urgent) Uncle! It's Chelsey. I have a situation at the hospital, When you get this, I need you to get here as soon as possible. Hurry, Please! Right as SHERRIFF BRACKETT reaches the hospital entrance the scene ends like the previous scene did, with the bright blinding flash, and loud thunder immediately following it at the same time. CUT TO: (INT.) HADDONFIELD - HOSPITAL - HALLWAY -NIGHT - THUNDERSTORM: Coming out of the BRIGHT FLASH of the previous scene, It turns into a light, on the ceiling of the hallway in the hospital. As the CAMERA is pointing UP right at it, and without moving the CAMERA's POSITION it ROLLS as if on a pivot slowly, towards some DOUBLE DOORS and stops PARALLEL. Right as the CAMERA STOPS the DOUBLE DOORS burst open. With SHERRIFF BRACKETT and CHELSEY walking and talking, with a since of urgency in SHERRIFF BRACKETT, but also unbelieving. This is caught by a KNEE HIGH ANGLE IN-BETWEEN the two, that's pointed slightly up and TRACKING BACKWARDS WITH THEIR URGENT PACE. (about ten steps of dialogue, maybe one line each, they then stop and finish scene abruptly.) SHERRIFF BRACKETT So, you're telling me that son of bitch, has a brother? Is that what you are trying to tell me? CHELSEY That's what she said. She was serious about it! SHERRIFF BRACKETT How do you know that old bag, isn’t making shit up, and just wanting attention? With all the bullshit that has happened, in the past few days. CHELSEY I don't! But wouldn’t you like to find out? Just to make sure. Incase the chance, she is telling the truth. SHERRIFF BRACKETT That's just what this town needs! What room is she in? CHELSEY This way! They walk past that CAMERA VIEW ABOVE and out of scene towards MICHELLE's room. CUT TO: :confused: Last edited by H3orH3D_Script4U; 02-21-2013 at 11:30 PM. |
#16
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(INT.) (X) HADDONFIELD - HOSPITAL ROOM - NIGHT -
THUNDERSTORM - PATIENT MICHELLE: SHERRIFF BRACKETT and CHELSEY are talking, (improvising) focused on each other and not where they are going as they enter MICHELLE's room. They both look up, and are frozen in horror, as they see MICHELLE has been BRUTALLY STABBED to death. CHELSEY SCREAMS, covers her mouth with her hand, traumatized! CHELSEY Oh my GOD! NO! NO! NO! CHELSEY (cont'd) You still think that she is making it up, for attention? SHERRIFF BRACKETT How long, has she been unattended? CHELSEY Probably 30 minutes or so. Just long enough for me to call you, and help out a few other patients Two other DOCTORS come running over to the scene. With SHERRIFF BRACKETT then handing CHELSEY over to them. SHERRIFF BRACKETT Get her out of here. I'll take care of this. You guys just get back to work. GOD damn it! Here we go again! As SHERRIFF BRACKETT says his last line frustrated and looking at MICHELLE's bloody body. He then grabs his RADIO to report the situation, he glances up at a security camera in the corner of the hallway pointed at MICHELLE's room. (show camera after he looks up) SHERRIFF BRACKETT (radio) I need everybody available to respond to the hospital, immediately! We have another homicide, that appears to be imitating Michael Myers. The suspect is believed to be the victim’s son. His name is Jacob Logan, It's happened within the last 30 minutes. So the suspect couldn’t have gotten far. I have been informed the suspect is reported to be Michael Myers brother, so he is considered extremely dangerous. I'm going to review the security feed, and will be able to give you a better description, when you arrive. I need you guys here. NOW! DEPUTY BOWERS (V.0) Roger That! As SHERRIFF BRACKETT receives the response the screen FADES to black. FADE OUT: SCENE #8: FAMILIAR FACE FADE IN: (INT.) HADDONFIELD - HOSPITAL - SURVIELLENCE ROOM - GREEN/GRAY DULL LIT: Begins with SHERRIFF BRACKETT, leaning with both hands on a desk loaded with monitors, standing to the immediate LEFT of a hospital SECURITY GAURD that's in control of the monitors, with 4 DEPUTIES standing behind them, also looking on. SHERRIFF BRACKETT Can you rewind that? until we, see the suspect. Please! SECURITY GAURD Yes sir! Not a problem. Dialogue then stops and the CAMERA then begins to PAN from LEFT to RIGHT showing the DEPUTY's faces behind the two, as they are all looking on, as the SECURITY GAURD is rewinding the video. Upon reaching DEPUTY4 the last one on the right, who is rubbing his chin, while looking on. He suddenly drops his hand and turns his back as if he saw something shocking. DEPUTY4 Jesus Christ! SHERRIFF BRACKETT points at the monitor. SHERRIFF BRACKETT Whoa! Whoa! Whoa! Right There, Right There! Stop! P.O.V set on the TV/SECURITY MONITOR as the screen begins to play. It shows the figure of what appears to be Michael Myers, slowly coming from a stairwell underneath the CAMERA and entering the first room. DEPUTY BOWERS (O.S.) I thought that bastard was dead! SHERRIFF BRACKETT (O.S.) You idiot! That's not Michael. It's his god damn Brother! The son of a bitch, is a COPYCAT! The video continues showing JACOB exiting the room, with his knife now covered with blood, as he slowly walks back the way he came and exits the screen. After the video concludes, SHERRIFF BRACKETT, begins shouting orders to the DEPUTY’S. First SHERRIFF BRACKETT points at DEPUTY SCHLAGEL and DEPUTY ANDREWS. SHERRIFF BRACKETT Now we know what we are dealing with. I want Schlagle and Andrew, to head out and patrol all the back roads and alleys around the hospital. If you see him, shoot the piece of shit! DEPUTY SCHLAGEL Sounds good Sherriff! You got it. DEPUTY SCHLAGEL and DEPUTY ANDREWS exit the room. SHERRIFF BRACKETT directs his attention to DEPUTY BOWERS SHERRIFF BRACKETT And Bowers! I need you to call the morgue, and if you can't reach anyone. I want you to go ahead, and get over there. To clarify that Michael's body is still there, and that the son of a bitch is DEAD! I don't want people spreading stories. DEPUTY BOWERS I'm on it! DEPUTY BOWERS turns and also exits the room. SHERRIFF BRACKETT then puts his attention towards the last two, DEPUTY4 and GUARD. SHERRIFF BRACKETT Me and you! We're going to head to JAKE's house, to see if that bastard, is dumb enough to come home. Now can you two give me a minute? I need a moment. PLEASE! As the last two then exit the room. SHERRIFF BRACKETT leans back on the desk and looks at the monitor. Which shows, a frozen image of JAKE, facing the screen. He rubs his forehead and slams his fist on the table in frustration. SHERRIFF BRACKETT Damn it! The scene FADES to BLACK as the SHERRIFF turns to exit. FADE OUT: :confused: Last edited by H3orH3D_Script4U; 02-21-2013 at 11:31 PM. |
#17
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SCENE #9: WAKING THE DEAD
FADE IN: (INT.) HADDONFIELD - MORGUE/AUTOPSY ROOM - DIMLY LIT - NIGHT: Begins showing BECKY jamming and slightly dancing with her EARBUDS in, with a quite muffled SOUND of the music playing. The phone begins to ring, but she doesn’t hear it, because of the music, as she just continues on dancing. CUT TO: (EXT.) HADDONFIELD - DEPUTY BOWERS VEHICLE - NIGHT - RAINING: P.O.V. from passenger seat as DEPUTY BOWERS is sitting with his car turned off, as he hangs up his phone in frustration. DEPUTY BOWERS Damn it! BECKY! Pick up the phone! DEPUTY BOWERS tosses the phone in the passenger seat. He starts the vehicle and pulls away. CUT TO: (INT.) HADDONFIELD - MORGUE/AUTOPSY ROOM - DIMLY LIT - NIGHT: Back at the morgue BECKY finally pushes MICHAEL's body under the examining light, still inside the BODY BAG, she pulls out her EARBUDS and drapes them over her shoulder and around her neck, with the muffled music getting louder. BECKY You're up, big guy! BECKY then begins unzipping the body bag slowly, and it gets stuck under his chin once again. As she then begins struggling with the zipper. BECKY Cheap ass city! When are they going to get some new bags? The zipper then releases, as she then opens the bag and spreads it all around MICHAEL's body on the GURNEY, as she then hesitates, but removes the KNIFE from his leg. She discards the KNIFE and picks up some SHEARS and snips them together a few times, with the SOUND of them grinding together, she sarcastically says in a sexual manner. BECKY Now! Let's get you out of them clothes, big boy! BECKY places the SHEARS in the bottom of MICHAEL's right pant leg and snips them once slowly, while glancing up at him. CLOSE UP of MICHAEL's torso, as you HEAR one more slow snip, You then see MICHAEL take an ominous deep breath. BECKY extremely startled jumps up, throwing the SHEARS down. Frightened, she runs over to the PHONE on the wall. BECKY (terrified) Oh my GOD! Oh my GOD! Oh my GOD! BECKY reaches the PHONE and begins dialing 911 frantically with her back turned to MICHAEL. CLOSE UP of MICHAEL's MASK, suddenly his EYES OPEN. Back to BECKY on the phone. In the background behind her, MICHAEL slowly sits up on the GURNEY and begins approaching BECKY. BECKY (cont'd) (impatient) Come on! Come on! Come on! Right as the DISPATCHER picks up the call, Michael grabs BECKY by her EARBUDS that were placed over her shoulder, around her neck, dangling down her back. He begins strangling her. Which rips her away from the PHONE yanking the CORD out with her, as she screams the call is dropped. CUT TO: (INT.) HADDONFIELD - 911 DISPATCH OFFICES: It then shows a quick shot of a FEMALE DISPATCHER hearing BECKY SCREAM (O.S.), and then losing the call. FEMALE DISPATCHER Hello! Ma'am! Ma'am! CUT TO: (INT.) (X) HADDONFIELD - MORGUE/AUTOPSY ROOM - DIMLY LIT - NIGHT: Back to the struggle between the two, as BECKY is being strangled, and man handled. CLOSE UP SHOT of the tension in MICHAEL's hands and then the CORD cutting into BECKY's NECK. With BECKY now being lifted off the ground, her legs begin to slow, from all the kicking and flailing she was doing. Showing that she is beginning to fade. Right when her legs stop kicking, MICHAEL slams her head down extremely hard onto a bone saw, that sticks into her head, he then tosses her aside, like nothing. CUT TO: (INT.) HADDONFIELD - 911 DISPATCH OFFICES: The FEMALE DISPATCHER grabs the police RADIO and reports the call. FEMALE DISPATCHER I just received a call, I traced to BECKY down at the morgue. It didn’t sound good! I need somebody to go check it out. PLEASE! CUT TO: (INT.) HADDONFIELD - DEPUTY BOWERS VEHICLE - DRIVING - NIGHT - RAINING: P.O.V. from the passenger seat DEPUTY BOWERS driving responds to the call. DEPUTY BOWERS (radio) I'm already on my way. I got it! FEMALE DISPATCHER (V.O.) Copy That! DEPUTY BOWERS Shit! DEPUTY BOWERS slaps the wheel and puts his RADIO back. He flips on the SIRENS, hits the gas and speeds off. CUT TO: SCENE #10: NO ONE'S HOME (EXT.) HADDONFIELD - LOGAN RESIDENCE - FRONT - NIGHT - THUNDERSTORM: SHERRIFF BRACKETT and DEPUTY4 pull up in front of JAKE'S house, as the TEENAGE GIRL is sitting on the neighboring porch. SHERRIFF BRACKETT and DEPUTY4 enter the front gate. TEENAGE GIRL How is Miss Logan doing? Sherriff! SHERRIFF begins walking through the yard approaching the house. SHERRIFF BRACKETT She died! I'm sorry! But right now! I need you to go inside and lock your doors. PLEASE! The TEENAGE GIRL who was twiddling with her phone complies, looking a little startled she heads inside. SHERRIFF BRACKETT begins knocking on the door, with DEPUTY4 by his side and begins shouting demands. SHERRIFF BRACKETT It's the police! Open up Jake! We need to put a stop to this, right now! Before anyone else gets hurt. SHERRIFF BRACKETT and DEPUTY4 draw their WEAPONS, as the TEENAGE GIRL is watching out a window. They knock one more time, with no answer they decide to head in. SHERRIFF BRACKETT All right Jake! We gave you a shot, we are coming in. SHERRIFF BRACKETT kicks in the door and scans the room. SHERRIFF BRACKETT I want you to check the upstairs. I got it down here. SHERRIFF BRACKETT searches with no luck. He comes across a locked basement door, and violently kicks it in. CUT TO: :confused: Last edited by H3orH3D_Script4U; 02-21-2013 at 11:31 PM. |
#18
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(INT.) HADDONFIELD - LOGAN RESIDENCE - BASEMENT -
NIGHT - THUNDERSTORM - VERY DARK: With SHERRIFF BRACKETT standing at the top of the stairs looking down, he then slowly starts his descent, as some lightning flashes out the small window, adding more light. He flips a light switch and the light briefly comes on and then goes out, with a loud pop as if the bulb busted. He then reaches the bottom of the stairs, as the lightning, lights the room again. SHERRIFF BRACKETT Oh my GOD! CLOSE UP of the HEADLESS RAT on the floor lit by a flash of lightning, as it then goes back to black with the darkness of the room. CLOSE UP of LAURIE's clipping that's circled in blood, also lit up by the lightning, followed by a loud clap of thunder. SHERRIFF BRACKETT removes the clipping from the wall, as it FADES to BLACK as the lightning fades. FADE OUT: SCENE #11: BACK TO THE MORGUE FADE IN: (INT.) HADDONFIELD - MORGUE - HALLWAY - DARK - FALL NIGHT - THUNDERSTORM: DEPUTY BOWERS enters the MORGUES main entrance, in the very dark hallway. He begins very slowly and hesitant, making his way, as he shouts. DEPUTY BOWERS BECKY! BECKY! Are you alive? DEPUTY BOWERS takes a few more steps as he is becoming worried with no response. He draws out his WEAPON, as he heads down the dark hall doing a poor job of scanning. CLOSE UP of a supply closet, that has its door cracked, showing the large figure of MICHAEL standing inside, as DEPUTY BOWERS passes right by, unaware of the danger. He reaches the autopsy room doors and heads in. CUT TO: (INT.) HADDONFIELD - MORGUE/AUTOPSY ROOM - DIMLY LIT - NIGHT: DEPUTY BOWERS enters the room and immediately sees BECKY's lifeless body with the BONE SAW stuck in her head, as he realizes MICHAEL's body is also missing. In a panic, he grabs his RADIO and begins reporting to SHERRIFF BRACKETT. Standing just inside the autopsy room doors, so the reply will surely echo down the hall. DEPUTY BOWERS (radio) Sherriff! It's DEPUTY BOWERS! I'm at the morgue and I got some bad news. BECKY's dead Sherriff! I don't see Michael's body anywhere. The son of a bitch is alive, Sherriff! CUT TO: (INT.) (X) HADDONFIELD - MORGUE - HALLWAY - DARK - FALL NIGHT - THUNDERSTORM: P.O.V. facing the DOUBLE DOORS entering the autopsy room with a small light shining from within the room, through the cracks of the doors. SHERRIFF BRACKETT replies, as it echoes down the hall, loud enough for Michael to hear in the supply closet. SHERRIFF BRACKETT (V.O.) (radio, response) Now don't be crazy! That's exactly, what Jake wants us to think! He probably stole the damn body. Not a bad way to cover up your mothers murder, if you ask me. Make it look like Michael did it. CLOSE UP of MICHAEL, as he turns his head towards the sound, curiously. Still standing in the closet. DEPUTY BOWERS (V.O.) You're probably right, Sherriff. There is no way Michael could have survived what he went through. Jake got BECKY pretty bad though, Sherriff! SHERRIFF BRACKETT (V.O.) Yeah that's terrible. I'm standing in the psychos basement, as we speak. I want you to get out of there. I'll send someone else to take care of the scene over there later. I think he might be going to go after Laurie. I want you to go ahead and go to the Psychiatric Hospital and keep an eye out there, in case he shows up. With the revelation to the whereabouts of Laurie, It shows Michael ominously just waiting in the closet. Then back to the previous shot in the hall. DEPUTY BOWERS (V.O) Roger That! Sherriff! After DEPUTY BOWERS reply, he exits through the doors into the hallway. As he casually begins his way down the dark hall approaching the cracked supply closet that contained MICHAEL. Suddenly a mop handle falls from within the closet and onto the hallway floor clanking loudly. Frightening DEPUTY BOWERS, he jumps and grabs his gun, and then cautiously approaches, unable to see inside. Once reaching the door he quickly flings it open, seeing nothing but an empty closet, as he takes a quick breath. MICHAEL violently grabs DEPUTY BOWERS by his throat, lifts him off the ground, and slams him to his back with his head just inside the closet door, he looks up. MICHAEL begins slamming the door into his head, until he ceases to move, except the twitching of his nerves, and with the last violent slam of the door, the scene CUTS. CUT TO: :confused: Last edited by H3orH3D_Script4U; 02-22-2013 at 01:55 PM. |
#19
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(INT.) HADDONFIELD - LOGAN RESIDENCE - BASEMENT -
FALL NIGHT - THUNDERSTORM - VERY DARK: SHERRIFF BRACKETT standing in the dark basement, as he holds the clipping of Laurie in his hand, with the light shining from upstairs. DEPUTY4 begins his way down the stairs, where he stops halfway, shocked at the sight of the room. DEPUTY4 I checked everywhere upstairs and there is no one, here. Wow! What a freak show. I think we found our guy sheriff! SHERRIFF BRACKETT Tell me about it! He's definitely our man. Let me make a radio call and we're getting out of this hell hole, there is nothing else here. SHERRIFF BRACKETT grabs his RADIO. SHERRIFF BRACKETT (radio) Deputy Andrews! Deputy Andrews! You there? DEPUTY ANDREWS (V.O.) Yes, Sherriff? SHERRIFF BRACKETT (radio) Are you and Schlagel still patrolling, near the hospital? DEPUTY ANDREWS (V.O.) That's affirmative, No sign of him. Sir! SHERRIFF BRACKETT Well I'm going to need you and Schlagel, to head to the psychiatric hospital, and get some extra bodies up there, to keep an eye on Laurie. I have reason to believe, that's where he's heading. DEPUTY ANDREWS (V.O) Alright Sherriff! We're on our way! SHERRIFF BRACKETT clips his radio back to its holster and tosses the clipping with LAURIE to the floor and heads up the stairs. The CAMERA follows the clipping of LAURIE to the floor. CUT TO: SCENE #12: GET YOUR FILL (EXT.) HADDONFIELD - GAS STATION - NIGHT - THUNDERSTORM: CLOSE UP of a California license plate, as it pulls up to the gas station pump, and begins to ZOOM OUT as two people exit a HUMMER showing that they are the only customers. A YOUNG MAN exits the driver side and a HOT BLONDE exits the passenger side. The YOUNG MAN approaches the pump and hands the HOT BLOND his WALLET. YOUNG MAN Here! Hurry up, we need to get back on the road, and get out of this GOD forsaken town. HOT BLONDE I just have to use the restroom! The HOT BLONDE begins slapping the WALLET against her left palm and walking towards the building. She stops outside the door and asks. HOT BLONDE You hungry? You want some hot dogs, or something? YOUNG MAN Yeah! Just grab me a bag of chips, that will hold me over. HOT BLONDE What number is the pump? YOUNG MAN The only one being used! The HOT BLONDE gives the YOUNG MAN a dirty look, sticking out her tongue, and then enters the building. CUT TO: (INT.) HADDONFIELD - GAS STATION - NIGHT - THUNDERSTORM: The HOT BLONDE enters the gas station, with the WALLET in hand and the YOUNG MAN outside at the pump. She looks around the store for a restroom inside, but it's nowhere to be found. She then approaches the CLERK who is a rather skinny teenager, who definitely appreciates her beauty. HOT BLONDE Where's your guys restroom located? The CLERK then pulls up a rest room key, jingling it. CLERK It's outside. The HOT BLONDE grabs the keys, and heads for the exit. HOT BLONDE (snooty) You guys definitely need to do some updating! CUT TO: (EXT.) HADDONFIELD - GAS STATION - NIGHT - THUNDERSTORM: The HOT BLONDE exits the gas station heading toward the side of the building. As she shakes the keys catching the YOUNG MAN's attention at the pump, she yells. HOT BLONDE If this restroom is a dump, I'm kicking your ASS! The YOUNG MAN pumping the gas glances up snickering. CUT TO: (EXT.) HADDONFIELD - GAS STATION - RESTROOM - NIGHT - THUNDERSTORM: With the rain pouring down the HOT BLONDE comes running into the scene, on the side of the building just outside the restroom, but she sees the door is already opened. Hesitating, she stops! HOT BLONDE So much for the keys! CUT TO: (INT.) (X) HADDONFIELD - GAS STATION - RESTROOM - NIGHT - THUNDERSTORM: The HOT BLONDE bravely enters anyway, and flips the light switch, but there is no lights. HOT BLONDE OK, I'm kicking his ASS! The HOT BLONDE leaves the door cracked lighting only the first stall, in a two stall restroom. The HOT BLONDE then enters the stall that’s lit up from the cracked door. The HOT BLONDE then wipes the seat and SHIVERS making a sound as if she is grossed out. She then takes a seat and you begin HEARING her use it, she wraps the toilet paper, so she can wipe. Then suddenly you HEAR the TOILET in the darkened stall flush. You see the HOT BLONDE is startled. HOT BLONDE I'm sorry! I didn’t know somebody was in here. The HOT BLONDE begins reaching for her pants still seated, she pauses as there is no response. She sees and hears heavy footstep come out of the stall next to her, casting shadows and they stop in front of her stall. :confused: Last edited by H3orH3D_Script4U; 02-21-2013 at 11:32 PM. |
#20
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That's enough I guess, so much more though!!!
Input please, awful YES or NO or AVERAGE, for a first attmept at anything like this. :p That's exactly the half way point. I made it long so things could be taken out if needed, instead of needing to be added. 10 deaths after this point, and most of the action comes after this. THE BLONDE don't make it !! SORRY if you liked her. I didn't! Last edited by H3orH3D_Script4U; 02-20-2013 at 07:42 AM. |
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