Elsewhere

SYNOPSIS

When a young hospice nurse befriends a strange man who claims to lived a strange, beautiful life, she believes she’s found an escape from her mundane life. But when the end comes for the man, his last words will haunt her for the rest of hers.


I’m not entirely sure what this is shaping up to be–movie, TV, short story. But there’s something here that I’ve been tinkering with for a long time and I like it, whatever it might turn out to be in the end. Definitely inspired–thematically, at least–by more classic works like Poe and Lovecraft.

‘Nuff said.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


ONE

SHERRI MCGUIRE, a young hospice nurse, is obsessed with the futility of her existence, with how her day-to-day existence is seemingly on repeat. The routine of her job–tending to the folks at Horizon Gardens, watching them slowly rot away, surrounded by lingering death–is too macabre.

And then she meets new arrival, a highly agitated man named FRANKLIN WINCHESTER.

TWO

Franklin’s string of outbursts quickly proves to be too much for the staff–the strange, negative reaction to simply being at Horizon Gardens. His rejection of everything around him. The terrible things he says to the staff like a dog barking at passing perceived threats.

But it’s these fits of madness–creative madness, but madness nonetheless. It’s this behavior that has Sherri taking it upon herself to tend to Franklin personally once the other staff refuses to deal with him at all.

As the days pass and bleed into each other, Sherri comes to find solace in her daily routine. Her time with Frank growing longer and longer. Listening to this crazed, creative vagrant who appears completely sane and coherent whenever he speaks about his fanciful life. Like a man whose mind was shattered after discovering some painful, frightening truth.

He tells her of a life filled with adventure, excitement, and love. He traveled the world, saw such beautiful sights. Loved many women. That he never allowed anyone to keep him from living his dreams, no matter how crazy they might have been. It was his life and it’s up to him what to do with it.

But when she shares this information with the rest of the staff, they laugh. She fell for the crazy man’s stories. They tell her why he’s really here–that he was brought to them by the state after being declared mentally incompetent and a danger to himself.

THREE

After she learns of Franklin’s delusions, of his lies, Sherri confronts him.

Franklin defends himself, claiming that the stories and documentation about him are all fictional creations. That he was actually a writer, a creator of worlds. Stories, movies, comicbooks. He wrote them all and he loved all of his creations. But he was always lonely, unable to find the joy and excitement and love in his stories.

He often found himself lost in imagination, escaping into what he thought was just another fictional world of his creation. Where he could be love and be loved. Where he could find adventures in strange new places. Here he was a god and all reality flowed from him when he slumbered. And he called this place of dreams and nightmares the Elsewhere.

But now the end has come for him, he’s old and sick and dying. And he’s afraid of the void. It’s why she’s here, why they’re all here. She’s a creation of his imagination–a beautiful amalgam of several loves in his life. Horizon Gardens isn’t real, and neither is its staff. He might be lying dead in an alley, in his bed at home. He’s not sure anymore. He might even be dead, as time in the Elsewhere moves slower than in the real world.

But worse, when Franklin dies, Sherri and everything here will simply cease to be.

Disturbed by what Franklin’s just told her, Sherri flees.

FOUR

Sherri suffers an anxiety attack and struggles with what Franklin has told her. She and several members of the staff discuss her concerns, attempting to ease her mind, to convince her that Franklin is simply a man near death who is not completely aware of what he’s saying. They don’t believe a word Franklin has said has any real meaning, but grow increasingly worried the more they think about it.

And then, the alarm sounds.

When the staff fails to revive Franklin, the world grows eerily still.

And then…

The world literally rips apart, ripping and tearing and being swallowed by an increasingly large void. As Sherri and the others struggle to cling to their remaining shreds of sanity and desperate hopes as the void takes them and everything else with it.

THE END

Monster

SYNOPSIS

After the death of her mother, a girl, NANCY, finds herself consumed with guilt and her family on the verge of self-destruction. Her father has become an alcoholic. Her younger sisters are growing increasingly violent. And after finding herself dead on a canyon floor, Nancy comes back different.


The title of this one is about as generic as it gets. It’s been some time now since I originally conceived this story, but damned if I’ve ever come up with a better name for it.

That said…

I think a while back I got it in my head to make my own version of my favorite comicbook characters, repurpose their general themes and concepts into something more modern and less comicbooky, as it were. And I think that, in this case, I’ve created this strange mashup of the Incredible Hulk and Spider-Man. This young girl burdened by guilt and all these negative emotions who only wants to be liked and accepted at school. But a freak accident unleashes all of her inner demons in a very physical manner.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


HAUNTED

It’s morning. A girl, NANCY, wakes to the sounds of a new day. Tired and drained from the same dream like almost every night–recalling the death of her mother in a horrible accident–she finds peace in the tranquil soft light and sounds of her room in the early morning before the chaos of an alarm, children, and a not entirely sober man knocking at her door ruins it all.

Nancy struggles to get ready in the morning as her family gets in the way. Her younger sisters (TINA and CLAIRE) occupy the only bathroom. She has to get them dressed, fed, and ready for school. And she is struggling to get her father’s head in the game so he can get to work and she herself can get to school.

The world is alive and bustling as Nancy and her friend, CARRIE, walk to school. They engage in generally light-hearted conversation, observing the world around them. The tediousness of high school life and the existential crisis of adulthood.

Nancy’s daily slog through school involves her forever watching a ticking clock that seems to slow with every minute. She’s a bright girl in need of a distracting challenge, or at least the cocky surety of a girl too smart for her own good. When she’s come to a test that she’s completely blanked on, she struggles to race against a now speedy clock.

Nancy and her friends–a slightly expanded group from before– have lunch together, watching the sea of students as they converse. They return to their earlier conversation of drifting through life, how things will change once they’re out of school, of how change is inevitable despite no matter how much some might fight against it. Boys catch their attention, for better or worse. Word of a party that weekend in Black Star Canyon spreads. And then a fight breaks out.

The girls rush to where the fight is and find that Nancy’s younger sister is coming to blows with a boy from her own class. Nancy attempts to get her to stop but she only lashes out at her. And then the teachers arrive to break it up and send both students off to the school office.

BLACK STAR

Nancy is left to spend the rest of the day stressing about what will happen to her sister and how their father will react to everything. When she arrives home long before her sisters. Nancy retreats to her room where she takes in the silence and attempts to drown out the world with her collection of various trinkets and games and toys and music that help bring a little peace in trying times. But her mind keeps slipping toward her sister and the fight at school. Eventually her sisters return home.

As Nancy prepares dinner, she and her sister dance around the issue of the fight at school for as long as they can. But when Nancy can’t tolerate her sister’s apathy toward life, school, and all the small things Nancy has to worry about, she snaps. They begin to argue and say things that can’t be taken back.

Later that night as Nancy attempts to do her schoolwork, their father returns home drunk and furious about what occurred at school earlier that day. He flies into verbal and physical rampage. He’s too sick, tired, and old to deal with his own life while also having to deal with this nonsense. As things are about to grow violent, Nancy can’t stand to listen to this anymore. She storms out of her room and tears her father apart with harsh, carefully selected words so as to wound him and send him slipping away to his own room.

Nancy can’t sleep. Her thoughts and her father’s drunken snoring keep her up. And then a soft knock at her door stirs her from such things. It’s her sister. They talk and apologies are made, bringing a bittersweet end to the day.

Saturday proves a long day of silence as Nancy, her sisters, and father hardly make a sound. Her father only slugging through the house to get to the fridge for another beer. Her sisters silent and distracted by their electronic devices and TV. It’s a sickening silence that chokes their house and sets Nancy on edge. And when a small accident has everyone at each other’s throats, Nancy can’t take it any longer and runs off.

Nancy finds comfort in her friend, Carrie, staying with her for the duration of the day. And when night comes, she’s convinced to head on up to Black Star Canyon for the big party.

The party is in full swing in the depths of Black Star Canyon. Fun is had by all. Cliques are on equal footing. Good vibes fill the chilled air. And Nancy is learning to relax and enjoy herself. That’s when a boy, MANNY, decides to make a move and she lets herself get carried away and the two wander off together.

Nancy and Manny both find themselves at the mercy of hormones and stupidity, with Nancy falling prey to an accident that leaves her dying on the canyon floor. A death she can’t help but welcome with open arms.

FREAK

Nancy wakes up late Sunday afternoon, having somehow not only survived her own death but also making it back to her room. Flashes of the night before. Visions of her own death. Of the awful things she saw in the abyss.

After cleaning herself off, she finds herself alone with her Father. He is sober, tired, and broken. After staying up waiting for her last night, mind seized on his greatest fear–that he might lose his little girl like he lost his wife–he now understands how low he’d fallen, how his behavior had driven Nancy away. He’s sorry, but knows that what’s been said and done can’t be taken back. He wants to fix things before it’s too late.

Nancy and her family head down to the shore for a brief day out. And as her sisters enjoy the beach, Nancy stays with her father. He tells Nancy how proud he is of her. That they’re only here because of how strong she is. And as ill as she’s feeling, she does her best to enjoy the rest of the day.

The next morning is a blur as Nancy kickstarts her routine as if nothing happened. Carrie is concerned about what came about of the other night and Nancy eases her mind. But her mind is on edge for other reasons, as if every nerve is alight. And in school, Manny won’t stop staring at her with a look of shame and fright.

Nancy attempts to speak with Manny about what happened that weekend, to tell him that she’s disgusted by his behavior, but that she’s okay and mistakes happen. But the boy is terrified of her and does all he can to avoid her.

As the week continues, Nancy finds her body and mind falling to pieces. She can’t focus on her life at home. She can’t focus in class. And the strange things happening to her body only put her on edge even more. It’s as if her body is falling apart and she’s going crazy.

It was between classes when Nancy suddenly finds herself at odds with Manny’s angry and nasty girlfriend, CELIA. They get into a heated argument there in the girl’s restroom. And in her agitated mental state, Nancy doesn’t hesitate to attack the girl.

After speaking with the principal about what had happened, her Father arrives to pick her up. They talk briefly on the way home, but she says little and returns to her room. This isn’t a cry for help.

Since she was only defending herself, Nancy isn’t suspended like her sister. But her classmates seem repulsed by her. Not just by her apparent physical deterioration, but by the rumors of what happened in the restroom. And it’s Carrie who has to fill in the blanks. And Nancy is terrified of what she hears, of the berserker rage she went on.

Nancy has to walk home alone that day and finds herself at the mercy of the girl–who has been suspended under threat of possible expulsion–and a group of friends. They attempt to teach the frightened girl a lesson, but something happens. Nancy goes berserk again. The friends flee as Nancy, in her rage, rips Celia in half like a phonebook. When Carrie happens to come across the scene, she finds Nancy standing over the girl’s bloodied body. Nancy covered in gore and blood and crying. But somehow feeling more like her old self.

PERSONAL DEMONS

The girls hideout until they’re sure that they weren’t followed. Nancy cleans herself up and is eerily calm, which only has her friend more concerned. Nancy explains how she’s felt so overwhelmed by her raging emotions lately. Somehow after what’s happened, it’s as if her head has cleared. She’s not sure what’s wrong with her. And together they head to Manny’s house for answers.

The girls learn that Manny killed her that night and, after deciding not to run, had his grandmother resurrect Nancy using an old ritual. His GRANDMOTHER tells of a story where this happened before. And how things went horribly wrong when a young man, her brother, failed to maintain control of himself by refusing to satiate the hunger.

And as Nancy gets her answers and the cops continue their hunt for her, Celia’s lackeys resurrect their fallen friend with a similar ritual. But due to several factors, Celia is instead revived as a twisted beast wholly consumed by rage. She immediately slaughters her lackeys. And then, she goes about both satiating her rage and luring out Nancy by attacking Nancy’s family.

Nancy is left with a decision to make. She can either continue living as the cursed being that she is, having to feast on living human flesh to maintain control of her own mind and body, or allow herself to be put down.

But when she learns of Celia’s resurrection and the attack on her family, the choice is made clear. It’s time to fight.

UNLEASHED

Nancy and company return to her home to find it a war zone. Cops and neighbors butchered or wounded. Homes destroyed. Cars wrecked and scattered. And it’s here where the two beast-girls slug it out in a final battle until only Nancy is left standing.

With nothing but death and destruction left in her wake, Nancy parts ways with her friends and what’s left of her family as police backup arrives.

COPING MECHANISM

Sometime later, Nancy finds herself on the run. She’s changed her appearance and name in an effort to maintain a low profile. She is no longer hiding her emotions. Instead, she is in full control of her inner demon. But she must still feed. And if she has to feed, it’s on those who deserve it.

THE END

Batman vs Superman

SYNOPSIS

After the destructive Battle of Metropolis, Superman has become a polarizing figure across the world. Some see him as a savior. Others see his interference in world affairs as a threat against the freedom and rights of the human race. And this includes the violent vigilante of Gotham City known as The Batman.


I hated Batman v Superman: Dawn of Justice. I don’t think I’ve ever hidden this or why I feel this way. Namely, what should have been a massive milestone in popular culture–this first-time ever meeting of two of our greatest pop-culture icons on the big screen–was stripped of any value by a studio, by lazy writing and directing, by this notion that the simple spectacle of these two characters sharing the screen would be “good enough.”

The result was a godawful mess that failed to tell a coherent story, failed to capture the essence of any of its characters, and focused entirely on creating brief moments of visual flair rather than a cohesive, engaging cinematic experience.

What’s worse is that it failed the audience, the fans and culture raised on these characters. Even if you aren’t a comicbook fan, you know these characters. You love, to some degree, these characters and what they represent. They’re a notable part of our modern (pop) culture. And Warn Bros., Zack Snyder, and everyone else involved failed them and us.

And it didn’t need to be that way. There were nuggest of a good story. They mined classic stories for cool moments but left what made those moments and stories compelling in the first place. All it takes is reinserting what was already there, making full use of existing material to bring everything to where it should be. And I think I’ve mostly got it down with my version.

I did my best to keep the central “themes” (if there is any such thing to really find in the original BvS), characters, and beats. I’ve minimized and repurposed what felt unnecessary or convoluted. And I expanded and filled in all the gaps I could think to fill. It comes across as a significant departure from what we got in theaters, but I think it still feels very familiar and true to the supposed spirit of everything. And I hope you’ll enjoy and agree.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


THE KNIGHTMARE

In the not-too distant future, the majority of the world finds itself under the authoritarian rule of SUPERMAN and his High Council, living in highly-advanced, seemingly utopic metropolises. However, Council-controlled territories are constantly threatened not only by the warring nations of Themyscira and Atlantis, but also the human resistance.

Led by BATMAN and powered by several metahumans, The Resistance seeks to overthrow Superman’s regime and prevent the three nations from going to war. But during a mission to recover an element believed to be Superman’s only weakness, everything goes to hell. Batman and his squad are betrayed and captured, and then tortured and executed by Superman personally.

However, this doesn’t go unnoticed. A young man, BARRY–a young metahuman–dressed in red, makeshift armor witnesses Batman’s execution from the shadows. And just before Superman puts his hand through Batman’s chest, Batman signals Barry to implement a last-ditch fail-safe protocol.

“Do it.”

With those final words, Barry flees, breaking the sound barrier several times over, going faster and faster, with Superman hot on his tail. And just before Superman can take hold of him, Barry disappears in a flash of red and white light.

Barry has traveled through time and space, arriving in the Batcave several years earlier than where we started. There he finds BRUCE WAYNE at his work station–a younger but still tired and haggard man–preparing for his nightly patrol. Barry warns Bruce of Superman’s reign of terror, that Lois is the key to it all. And with this, Barry’s words and appearance and breaking of the space-time continuum, Bruce finds his mind flooding with shattered images of this bleak future, of his death.

However, we soon see why this was a final protocol. Because with his message delivered, Barry finds himself erased from existence, his being stripped away, atom-by-atom, until only pure energy is left.

And as Barry’s essence dissipates around him, Bruce is left terrified and sure of what he has to do next: kill the Man of Steel.

Smash to black and raise title:

BATMAN vs SUPERMAN

A DELICATE BALANCE

LOIS LANE is flown in to the middle of a political hot zone to speak with a GENERAL from the island nation of Themyscira, a highly advanced, female-led democracy with a penchant for military action. And as Lois and the General get into a heated debate about the ethical and moral implications of pre-emptive military actions, they find themselves under attack.

Amidst the chaos, Superman arrives. He pulls Lois out of harm’s way and single-handedly puts a stop to the conflict, much to the chagrin of the General. And while Superman attempts to play the smiling boy scout, the General isn’t buying it. Instead, she warns about an alien interfering with the affairs of humanity.

Meanwhile in Metropolis (and across the world), Superman is revealed to be a polarizing public figure. Many see Superman as a savior, intervening in crimes and world conflicts to the benefit of everyone. Others, however, see him as a menace. An outsider upsetting the natural order of things. LEX LUTHOR–the hometown hero largely responsible for rebuilding Metropolis after Superman’s battle with Zod–leads the charge, uniting the people of Metropolis and the world against this dangerous alien threat.

At the Daily Planet, Clark Kent returns to find himself soaking in this political shit storm. And that’s when Perry White informs him of the latest local threat–the urban legend of Gotham City known as the Batman. The Batman has been said to serve up his own violent brand of justice, frequently brutalizing and occasionally killing criminals. Recently, he’s taken to branding his “victims” as a warning to others.

We witness the latest incident, which sees The Batman breaking up a human trafficking ring, one supposedly headed by businessman (and possible criminal kingpin) Oswald Cobblepot. (And among the girls rescued is the plucky CARRIE KELLEY).

Upon hearing this, Clark makes the decision to head to Gotham to investigate the rumored Batman further.

WHEN WORLDS COLLIDE

Clark ventures through Gotham, interviewing the criminals harmed by the Batman and the locals aided by him. The criminals fear him and the civilians adore him, believing his violent ways are the only way to deal with criminals that the (perceived) corrupt Gotham PD “allow” to slip through the cracks. A corruption that Clark briefly witnesses firsthand.

That night, as Batman hunts and chases the Scarecrow–currently brewing up a new batch of fear toxin–through the streets of Gotham, resulting in severe collateral damage (property and civilian). But before Batman can finish beating Scarecrow half-to-death in a mindless rage, Superman intervenes.

In a brief altercation, Superman threatens to put down the Batman if he continues down this violent path. But Batman, recalling that moment in the cave–the visions–stands his ground, pointing out that Superman has let the Scarecrow go free, that the alien has no idea the sort of repercussions his actions have. He’s a demon playing at God.

ESCALATION

At the apartment he shares with Lois, Clark worries about his place in the world. About his future among men, with Lois. A family. Where does he belong? But while she attempts to assuage his guilt, he has to depart for the public hearing against him at the UN. And that’s when she receives an anonymous tip about Luthor conducting illegal activities down at the docks that evening, meaning she has to stay in Metropolis and can’t make the trip to the UN with Clark.

Sometime later, Superman speaks publicly at the United Nations in an attempt to defend himself against accusations made by the Themysciran government. Lex Luthor only adds fuel to the fire with an impassioned speech about the losses suffered at the hands of Superman during the Battle of Metropolis. He presents a man, a soldier on the verge of death during his service and defense of the city. The man, JOHN CORBEN, has been restored thanks to the efforts of Lex Corp medical cybernetics.

But during the hearing, Superman appears to lose control, growing into a rage over the accusations made by Luthor and the Themysciran representative, Diana Prince.

That night at the Metropolis Docks, Lois and photographer JIMMY OLSON investigate an anonymous tip regarding Luthor receiving an illegal payoff.

But then, Batman arrives on the scene. He attacks Luthor and his paramilitary henchmen, searching for evidence and answers about Luthor’s ties to the recent activities in Gotham. But Batman is exhausted by weeks of minimal sleep, injured by his years of waging war on crime.

Outmanned and outgunned, Batman only escapes due to the intervention of Carrie Kelley, now donning a cheap costume and armed to the teeth. She gets Batman to the Batmobile in the nick of time and the two escape into the night.

But during the chaos, Jimmy is killed and Lois is abducted by none other than THE JOKER.

PREPARING FOR WAR

Back in the Batcave, as ALFRED tends to Bruce’s serious injuries, Carrie discovers and is enthralled by a damaged costume that once belonged to Batman’s “sidekick,” Robin. But this opens up old wounds and memories for Bruce. Flashbacks of the Joker brutally murdering a teen boy, JASON, dressed in that very same costume Carrie is looking at. All he can manage to tell her is that the “uniform” once belonged to a soldier, a dear comrade in arms that he failed to protect.

Meanwhile, Superman returns home to find that Lois is missing. That Jimmy has been killed in the line of duty. And that Batman is responsible for it all by bringing his war to Metropolis.

And elsewhere, Joker prepares for one last joke, mocking and torturing Lois as he prepares to prove that not even the big blue boy scout is safe from corruption and compromising his morals.

BATMAN VS SUPERMAN

Superman arrives in Gotham City and almost immediately discovers the location of the Batcave, and it’s beneath Wayne Manor.

Superman smashes into the Batcave, demanding that Batman show himself.

And then, he does.

Superman finds himself suddenly pinned to the ground, Batman standing atop him in almost certain victory from the very beginning. As the light shines across them, we see that Batman is decked out in a highly-advanced suit of (bat-themed) armor. He’s completely ready for war with the Superman.

The two engage in a massive battle that obliterates the Batcave, Wayne Manor, and a good chunk of Gotham. Superman is going to put a stop to the Batman and his war. Batman won’t yield for no man or god. This is his city, his war. His planet.

But the cost is great and Superman proves to be too powerful, more powerful than Batman ever thought possible. For the first time ever, the Batman is the one afraid. He’s too old, too tired, and too broken. And his body finally gives out, fighting until his literal final breath.

Carrie runs to his side, begging Superman to leave her and the now-dead Bruce alone.

This isn’t what Superman wanted. He’s not a killer. He only wanted to bring a violent vigilante/terrorist to justice. Physically unharmed but emotionally and morally destroyed, Superman leaves.

THE KILLING JOKE

Sometime later, as Superman struggles with the reality that he can’t find or hear any sign of Lois, a terrifying broadcast hits all of Metropolis. It’s the Joker.

Joker laughs about Superman killing the Batman. He never thought Big Blue would do that on his own, that he’d take out his most prized plaything. Guess the jokes on him, for once–and he hates it. And that’s why, for one last huck-yuck, he’s planning on taking away everything dear to Superman.

He reveals that he’s been broadcasting from the Daily Planet and that, in a short matter of time, Joker, the Planet, its staff, and all of Metropolis will be nothing but a smoking crater. A number of nuclear weapons are scattered across the city and in the foundation of the Planet. However, Lois is somewhere else. So, Superman will have to decide: his city or his lady. Man or God, make your choice.

Meanwhile, in the ruins of the Batcave, Carrie and Alfred discover that Bruce is still alive. He’s seriously injured, but still alive. And he comes to just in time to see Joker’s broadcast, to realize that this is the moment he was warned about. Carrie isn’t sure what they can do, or what they should do. But Bruce knows. He understands Superman at this point. He’ll go after the bomb, save the city, even if it means losing Lois. But Batman can’t allow that to happen, because it’ll mean the dark future he witnessed will come true. And that’s why they have to save Lois Lane.

Superman races across Metropolis, dealing with various traps and tricks as he snatches up each bomb, one by one. And Batman and Carrie–now donning an alternate Robin uniform–track down Lois and kick some ass.

Superman manages to nab all the bombs, taking them into space where they safely explode. However, he’s nearly killed by the experience.

When he returns to Earth–half-dead, almost entirely depowered, and enraged beyond belief by what the Joker has put him through–believing Joker has killed Lois (and Joker sure he has)–he moves in to kill the Joker, personally.

And that’s when Batman arrives, revealing that Lois is safe and that the Joker is his cross to carry, not Superman’s. That it only takes one bad day for a good man to be driven to dark future. But Superman isn’t a man, he’s something else. Something different. Something more. He has to be better than them. Be an example for others to live up to, not fear.

And with this, and the sight of Lois safe, Superman calms just long enough to leave the Joker in Batman’s care. And he leaves with Lois at his side.

A NEW FRONTIER

Weeks and months pass.

Luthor eagerly leads the public charge against Superman, Batman, and all metahumans and vigilantes acting of their own volition. Against the will of the people. The destruction of Metropolis, the recent near-destruction of it again would have never occurred if not for their presence and action. Lois, alone, investigates and reports on Luthor’s political efforts.

Superman has retired to isolation, in his fortress of solitude somewhere in the Arctic, healing from his injuries and reflecting on his role and impact as a God among humans.

The Joker, alive but brutally injured–teeth missing and jaw broken–is locked away in the depths of Arkham.

Elsewhere, at a private gala, Bruce Wayne tracks down the Diana Prince. The two flirt endlessly and discuss art, but are both aware that the other is hiding something.

Later, Diana returns to her hotel room only to find the Batman waiting for her. And, in a flash, quickly and almost easily disarms him. And he can only smile. He knew there was something different about her. And she knows that Bruce Wayne is hiding behind that mask, much to Bruce’s shock.

He presents her an old photograph. A picture of her somehow alive and armed for battle in a strange costume during the Second World War. He knows who and what she is. But he’s not here to out her, only to warn her than he’s watching her, just like all the others.

Brief flashes of his interaction with key methaumans. A Scarlet speedster–Barry from the beginning of the film, only without the armor–stopping a robbery. A supposed “aquaman” attacking a fishing vessel and oil rigs. A college student undergoing cybernetic augmentation provided by Lex Corp.

When he finishes, Diana looks up from the photo only to discover that the Batman is gone. Her confusion and surprise quickly turning into focused, serious look. Her own pulse-pounding theme rising as we…

Cut to black, raise the title, and roll credits.

THE END

When Stars Appear and Shadows Fall

SYNOPSIS

When a struggling musician reunites with his childhood friends, he discovers that they have all moved on to bigger, better things professionally after leaving behind their old lifestyle. Perceiving their matured attitude and behavior as a drastic shift from who they are, the musician believes his friends (now lawyers, businessmen, and the like) have been turned into some soulless, bloodsucking by a malicious force. Now he must hunt down their Master before he’s forced to kill all those he once loved.


Feeling better in some ways, feeling worse in others. But here’s another story, coming across a lot better than yesterday’s. More coherent. More fleshed out. And another concept that blends drama, comedy, and horror. Not sure how good that blend is, but I’m digging it. And I hope you do too.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


ONE

DENNIS SOUTHARD is a shell of a man, a failed musician playing pick-up gigs in assorted dives just to pay the bills. After a gig, a RAT picks him up and the two go to…

…a motel room where they do a bunch of blow.

As they crash, Dennis dreams of his former band. They lived the rocker lifestyle, played gigs in whatever dives and danks they could, getting lit up every night, lost in his own vices and loving every minute of it because he did it with his closest friends.

But then the accident happened. Sometime in their late-20s, when they thought they were all going to live forever, one proved them all wrong. Gutted and left for dead, their friend managed to hook up with the wrong woman and her boyfriend didn’t take kindly to that at all.

While it sobered almost everyone up, forcing them to reevaluate their lives and grow up some, Dennis wouldn’t have it. He wanted to live his life by his rules and in his way…and so they left him.

Dennis wakes in the motel from his fever dream to find the Rat dead in bed next to him, overdosed from their stash. Dennis runs as he hears the police arrive, someone having called the cops on them at some point.

But as he makes his escape, he collapses in an alley.

TWO

When he came to, it was an old friend who he found waiting for him. Now a medical professional responsible for Dennis, the friend attempts to help Dennis recover his shattered life.

When the friend discovers that Dennis has returned to his old ways after leaving the hospital, they gather the rest of the old band and corner Dennis for an intervention.

Initially surprised and happy to be surrounded by his old friends, Dennis quickly takes offense to the idea that he needs to change his life. He finds all his old friends to now be boring, soulless sellouts who forgot who they were. Afraid that they’ve come to turn him too, Dennis fights his way out and his friends can only watch as Dennis flees into the night.

THREE

Knowing that his friends must be searching for him, Dennis slips away to an old hideout where he gathers supplies and plans to prove that his friends have been changed against their wills.

He hunts them down, one by one, and finds how their lives have become clean and sterile. Each one living a beautiful suburban lives with good paying jobs and families.

But when one friend sees they are being watched, they corner Dennis, and attempt to ease his mind. And while Dennis is fooled at first, the friend slips up and shows just how soulless they’ve become. Dennis finds his fear and paranoia well founded and he is forced to kill his one-time friend in order to escape.

He hunts his other friends down and discovers them all gathered in a single place, and finds the woman responsible for it all. Wondering where their missing (and deceased) friend is, they are quick to let Dennis in and he goes on a drug-fueled rampage, killing anyone who stands in the way between him and the Master–the wife of their old drummer.

FOUR

As his friends lay dying once the connection is severed, and the police on their way, he learns that his friends never intended for this to happen. They didn’t see it coming. They thought they were doing the right thing.

But no one believed him. The cops found him there, everyone else dead and him holding the killing instrument. But he knows the truth, regardless of what others might want to believe.

The Lighthouse

SYNOPSIS

When a man’s mother passes away, his father slips into a deep depression. The two set off to a strange place along the coast where his Father believes there’s a way to reunite with his wife once again.


This is easily my laziest entry so far. I’ve been sick. A bit out of my head with a fever and constant hacking up of…stuff. But, hey, at least I’m sticking to this daunting schedule I made for myself, right?

I definitely enjoy this one, especially with the more light-hearted tone I want to approach the material with. This weird story a comedian or somebody is sharing about their family that starts off bittersweet and touching, but then goes completely off the rails by the end. Not sure if it’ll work, but tackling such serious and morbid material with a more (deft) comedic touch might make it work a lot better than just playing it straight.

Of course, I need to hammer out the details here because this is really just a cocktail napkin with notes on it at this point. But I’ll get around to working on it more once this cold passes.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


ONE

A man returns to his family home to find his mother dead.

(Perhaps the man opens by giving several stories about his relationship with his mother? The third being how he found her dead.)

TWO

(The man continues to do the same for his father, starting with the story about how he convinced himself to even tell his father—long divorced—about the death his mother. He then details their relationship, eventually resulting about how his father spiraled into a deep depression and attempted suicide. But his father’s revelation came later when he ended up in the hospital and nearly died of a ruptured appendix.)

Once a devout Catholic, the man’s father had a lapse in faith following the untimely death of his wife. Depression. Alcohol abuse. Losing his job. Their home. He blamed God for all the wrong in his life.

But after a brush with death leaves his father reconsidering his newfound hatred for God…

THREE

…the two adventure to Point Conception, the Western Gate, where the Chumash believed the souls of the dead began their journey into the afterlife.

His father misses his wife and he wants to see first hand where she may have gone and that his god was there, guiding her. And so Father and Son engage on a brief road trip up North.

FOUR

That day Father and Son make it up North and wander the shore and park and local town, mostly avoiding talk of about their Mother/Wife, their feelings on much of anything.

Once they reach the lighthouse there and find nothing, his Father is forced to accept that the stories are simply just that. That he’ll never reunite with his wife or know if she made it somewhere better.

FIVE

Back in town, over drinks and dinner, Father and Son discuss why Father and Mother ended their marriage. And a harsh truth comes out.

SIX

Father and Son have a furious altercation, both confessing to how much they hate the other.

SEVEN

That evening when his father vanishes, the Son follows him back to the lighthouse on point conception. Beautiful lights. Strange sounds.

His Father stands there among all this, embracing the beauty he is witnessing. But then he looks into the gate and his mind shatters. He cries about the horrors on the other side. The malicious gods that defy description.

His Father’s last act is to chase off his Son, and the Son can only hear wailing cries of pain and sorrow as he makes his escape back to the car and back to town.

EIGHT

The Son returns later with a rescue party, but they found nothing. His Father’s body is never found. No sign of any struggle with gods or anything else.

Now that the Son has become a father, is older, and lives in constant fear of the noises and sights that plague his sleep. Of the fate that awaits him for following his father into the golden land reserved only for the gods and the dead.

Love Now Departed

SYNOPSIS

A man returns from war only to learn that his lover has died while he was away. But when she suddenly reappaers, he doesn’t wish to question this gift for fear of what it might mean.


This one was my first real attempt at writing an audio play. And despite it only being presented here in a rough treatment-like state, there’s actually a full script somewhere. It definitely needs some heavy revision, but I think the general flow of everything is ready for another draft. As it stands, once I get the time to re-format it for here, I’ll post the script I already have.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


EXT. TOWN – DAY

SAM WILSON returns to his small hometown after fourteen months of service overseas.

INT. WATSON’S DRUGS – DAY

Sam reunites with his friends, FRANK and MR. WATSON. But as they catch-up, they inform Sam that his girlfriend, OLIVIA, hasn’t been seen or heard from in months.

EXT. SERLING HOUSE – DAY

Sam rushes to the Serling family house and speaks with Olivia’s MOTHER. She informs Sam that her daughter died and that Sam is to blame.

FADE TO:

INT. WATSON’S DRUGS – NIGHT

Frank and Mr. Watson attempt to console Sam, but are just as confused as Sam is about Olivia’s supposed death. They propose that her mother was simply lying to hurt him, but Sam doesn’t believe it.

EXT. TOWN – NIGHT

Sam leaves for home, walking through town, only for Olivia to appear there and then. Sam can’t believe what he’s seeing, Olivia apologizes for her mother, and the two happily embrace one another.

Confused and comforted by his friends, Sam returns home only to meet a very-much alive Olivia. And together, they return home.

FADE TO:

INT. WATSON’S DRUGS – DAY

Sometime later, Frank and Mr. Watson attempt to help Sam make sense of everything. Why Olivia’s family lied, why she only sees him late at night. Frank suggests that, perhaps, Olivia was forced to marry while Sam was away. That she’s sneaking out at night while her husband sleeps.

Sam doesn’t believe this, but accepts Frank’s offer to follow Olivia home after their meeting and see if this is true.

EXT. TOWN – NIGHT

As Sam and Olivia are out for their walk one evening, Frank and Mr. Watson are keeping a close eye on them from a safe distance. But when they attempt to follow Olivia home, she vanishes. The trail coming to a dead end at the local cemetery.

INT. PHOTOMAT – DAY

When Frank develops the film from Mr. Watson’s camera, they discover that Olivia is something else, something not quite human.

INT. SAM’S APARTMENT – DAY

Sam doesn’t believe what he sees when Frank shows him the photographs, insisting that they were doctored, that Frank is playing an awful joke on him

EXT. CHURCH – DAY

Unsure how to help Sam, Frank turns to a local PRIEST. The Priest reveals a local family paid the church to bury a newborn who died shortly after birth, a baby born out of wedlock. However, he also buried the mother, a young woman who died during childbirth.

EXT. CHURCH/CEMETERY – LATER

Frank takes Sam to the grave site, and Frank can no longer deny what’s going on.

FADE TO:

INT. SAM’S APARTMENT – DAY

The Priest blesses Sam’s apartment in the hope of keeping Olivia away. He doesn’t do this because he believes in ghosts or that Sam is being haunted, but because he’s compelled to help a young man through his time of suffering.

INT. SAM’S APARTMENT – NIGHT

When Olivia returns that night, Frank helps Sam resist her calls and cries for help. But, in the end, Sam can’t help but leave with her. When Frank attempts to follow after them, the two vanish into the night.

EXT. CHURCH/CEMETERY – NIGHT

Together, Frank and Mr. Watson go off in search of Sam. And the two eventually find him dead at the grave of Olivia and their child.

FADE OUT:

THE END

Good Friends, Better Enemies

SYNOPSIS

Two men competing over the same woman for years stumble across a strange lamp housing a wish-granting genie. But when the two men can’t agree on who found the lamp and summoned the genie, the genie offers a one-time alternative: both men will simply receive one wish. However, whatever they wish for, the other receives twice over.


I think the only reason I never finished this entirely, as close as I was to having a finished script, is because of how utterly corny the whole thing is. I can totally picture it as part of the original series of Twilight Zone episodes, but not exactly as one of its more fondly remembered ones. But I like it. And I think I’ll get around to finishing it sooner than later.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


ACT ONE

A man, DEAN, returns home to find that his wife, CAROLYN, is being pursued by a former friend and long-time rival, GEORGE. George believes that his personal success and massive wealth is enough to win Carolyn from Dean.

But when Dean finally confront George about this, it results in George offering Dean a wager: if he can convince Dean that he’s the better man, Dean must allow George the opportunity to court Carolyn. But if he fails, George and Carolyn will be the recipient of a massive cash prize. Broke, desperate, and sure that George will fail, Dean accepts the wager, which only infuriates Carolyn.

ACT TWO

Dean arrives at George’s beautiful and massive estate. George attempts to get Dean to give up then and there over drinks, but Dean declines, mentioning how Carolyn wouldn’t like it if he were to drink so early. George ignores this, downing both drinks, and then moves their conversation to his latest pet project.

At the site of a large real estate project, the two continue their conversation until they stumble upon a strange, old lamp. But when Dean attempts to take it as a gift for Carolyn, George insists that he’ll deliver it to her personally. And as they squabble, a genie named Marcus appears.

But when the two argue over who summoned him, Marcus makes a rare, one-time offer: because they can’t decide who gets the wishes, each man will receive only one wish. However, whatever they wish for, the other will receive twice over. Unwilling to make such a drastic decision without consulting his wife, Dean delays his wish for the time being. Meanwhile, George agrees only to use the time to figure a way to get his wish without Dean getting anything.

ACT THREE

At home, Dean reveals to Carolyn what happened that afternoon, with Marcus appearing out of thin air as proof. And that’s when Carolyn convinces Dean to wish for a grand fortune, uncaring that George will benefit from this.

As Dean and Carolyn live a happy life without fear of being in need of anything ever again, George is restless. He cannot determine a way to get his wish without Dean benefiting. No way for him to simply wish Carolyn away.

And that’s when it strikes him: whatever he wishes for, Dean will get twice over. With that in mind, he makes his wish–against Marcus’ suggestion–that his life, all of his remaining years, be cut in half. And, as a result, Dean’s life is ended, immediately.

ACT FOUR

Sometime later…

Victorious over his fallen rival, George makes his move on the still-grieving Carolyn. But as they prepare to go out for the evening, George finds himself dying. Marcus returns in George’s final moments, clarifying that this is exactly as George wished. He halved his own remaining years to guarantee Dean’s death, but he never considered that he himself didn’t have much time left.

A Selfish Kind of Love

SYNOPSIS

Haunted by the image of a beautiful woman he watched kill herself when he was a child, a photographer is unable to find anyone who can live up to his image of the perfect woman. But when he returns to his hometown he finds the one he wants to spend the rest of his life with. That is, until the woman from his childhood somehow reappears.


When I originally came up with this idea, I wasn’t entirely sure what it was going to be, or trying to be. Screenplay, short story, whatever. And I think, at this point, it’s aiming to be a movie. Feels like it anyhow. I can totally see this being on Netflix or some other VOD service. Maybe I’ll get a chance to produce it someday, somehow.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


ACT ONE

A young boy indulging in the summer of his youth. Sun. Sand. Beauties. And as he heads back home, he comes across the most beautiful WOMAN he will ever know. And that’s when she throws herself off a cliff, smiling at him as she does so.

The boy is now a man, and the man is now a PHOTOGRAPHER. He has dedicated his life to again finding that beauty he met all those years ago. Every relation with a woman follows the exact same pattern. He gets a job. He photographs her. He fucks her. He feels nothing. And then he kicks her aside.

As these women sleep in his bed, before he kicks them out, he takes his collection of photos from over the years, and attempts to recreate that image from his dream. What might be somewhat sad if it were not so unnerving, the way he pieces together a woman from fragments of others.

After a particularly nasty breakup, he decides to head back home to find the woman.

ACT TWO

The Photographer drives to his hometown, abandoning his current work in the hope of finding the woman he dreams of every night.

As he sees familiar sights and memories come flooding back to him, he does not stop until he reaches the place where he saw the woman all those years ago. He steps out, reminisces, and notes how so much has changed over the years, but this spot, and his memory, have not.

As he continues his tour of home, he meets an old FRIEND and the two set up a meeting for later in the evening to catch up.

At the bar, the Photographer and his Friend catch up on lost time, discussing their lives now. And as they talk, the photographer catches the eye of a strikingly pretty GIRL, one who more than passingly resembles the woman of his dreams. He leaves his old Friend to pursue the Girl, attempting to convince her to allow him to photograph her. After some hesitation, she agrees.

The Photographer waits for the Girl at the agreed upon place at the agreed upon time. But she does not show. He continues to wait, fearing she will not show. And just as he is about to give up hope, she appears, apologizing, explaining that she was having second, third thoughts about this meeting. He eases her mind and the two proceed to go about town, her modeling for him, and him photographing her until his memory cards and batteries are drained.

As they go about town, the two share moments together, and she is drawn to his professionalism and dedication to his work, a certain softness and loneliness in the way he carries himself. She wants to go back to his studio and see more of his work.

And it is at his studio where she sees all of the Photographer’s work, all the women, all his conquests, and begins to understand what he is searching for. And he confesses that he feels as if he may have found it.

ACT THREE

Time passes, and the the Photographer and the Girl are now married, living together in a new place, far removed from his studio and fractured images. They lovingly play as they prepare for his big night–the opening of his newest gallery.

At the gallery, the Photographer greets and speaks to all the guests in attendance. It is not a big gathering or a major gallery, but it is all his. He thanks them, he thanks his wife, and dedicates all his efforts to her.

But as the festivities continue, he finds himself pulled to the side by an all-too familiar face–the Woman of his dreams. She has found him and wants him to keep in touch. And his Wife is put off at the thought of her husband now knowing the Woman not only exists, but is approaching him after all these years.

It all happens in a flash. The night passes. The drive home long and silent. His mind fixed on the Woman. His Wife furious. Things grow heated. His attention pulls away from his thoughts and the road. And that is when the car strikes them, sending them spinning into traffic.

When he comes to, everything is only a blur of light and sound. Shouts and calls. Him insisting that he see his Wife, only to be held down.

His Wife is severely injured in the accident, multiple surgeries, and scarring on her face. She struggles physically with her disabilities and psychologically with her disfigurement. And he struggles to mask his waning affection and growing disgust.

As the stress of their situation worsens, they begin to self-medicate in drastically different ways. She self-medicates to numb her pain. He loses himself in his work, and then in the arms of the other Woman—the one from all those years ago—after a particularly nasty fight causes him to lose his temper.

While the Woman is surprised at first that he decided to meet with her, things grow into routine, with him running to her whenever things get hard with his Wife. And he begins to not notice that his Wife’s condition has worsened exponentially.

One night, he returns home to a particularly intoxicated and unstable Wife, smelling of sex and booze and filth. She confronts him about the cheating, catching him after a particular careless move on his part. He attempts to deny this, but quickly admits to his affair, almost happily so. That he deserves to be happy too. That he cannot live his life satisfied to be married to such a hideous creature. Broken in so many ways, she leaves.

And as the hours slip away and he loses himself, he receives a call late that same night. His wife has died in a horrible accident.

ACT FOUR

Time has passed and he is now openly carrying on a relationship with the woman from his dreams. And things seem to be going well until a relic of his former marriages causes him to reflect on what he’s done. With his new lover’s guidance, he disposes of this and other things and they continue on with their efforts.

As he engages with a photoshoot, he has a brief vision of his wife. It is a ghastly image, one of her the way she was found dead. He body twisted and broken. Her face hideously disfigured. Her voice hollow and wet and condemning. He snaps out of this and attempts to continue with his work.

That night, he attempts to confess to his lover what happened earlier that day, but she is quick to anger, insisting he move on. That he forget her. It is not his fault that she died. She was weak. But as she leaves him briefly, he is again visited by the ghoul, driving him mad with her presence and taunting. It grows closer and more horrifying and he is forced to defend himself. But as he does so, the vision breaks and he sees that he has fatally wounded his lover. As she dies, she is disturbed by not only his behavior but something horrifying that only she can see. Neighbors are quick to investigate, threatening to call the cops. He flees.

He arrives at his old Friend’s house that evening, still covered in blood, a frightening sight. As the friend attempts to comfort him, the ghoul reappears and he loses his mind once again. The friend attempts to restrain him, but he lashes out violently and gravely wounds the friend in the process. He takes off into the night.

The Photographer runs off into the dead of night. As he reaches the freeway overpass, he again comes face to face with the image of his dead wife. Overwhelmed by his guilt and the presence of his dead wife, he is driven to his breaking point, and ultimately throws himself off the side of the overpass to escape his visions.

But as he lays there dying, being looked at by a frightened driver, he is thankful for the end of the visions…until something even more horrific takes its place.

THE END

Queen Bee

SYNOPSIS

A girl has lost her dearest friends to the destructive nature of high school politics. But when she fatally disposes of the school’s alpha female in an act of self-defense, she finds herself blessed with great power. But will it also come with great responsibility?


Another of my older ideas, but one I’ve always thought was a lot more in line with light-hearted episodes of Tales from the Crypt. By this point, the whole “mean girls” thing has been done to death. But I think this is one that goes in a more literal sense when it comes to the pack mentality of high school cliques.

This one’s a bit of a rush job as I’ve been a bit busy (and sick) the last couple of days, but I’ll be cleaning it up more in the coming days.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


ACT ONE

A lovely if plan girl, SAMANTHA, has watched on as her childhood friends have grown and blossomed into beautiful young women, far beyond what few gifts genetics have afforded her.

Now in her teens and in high school, Samantha finds herself a social outcast with few friends and even fewer romantic prospects due to her unconventional looks and interests. And after she has an opportunity to flirt with a boy she likes, Samantha finds herself at the mercy of girls she once called friends, friends who now bow to the resident QUEEN BEE of the school.

ACT TWO

After her incident at school, Samantha finds herself approached by one of her former childhood friends. The FRIEND offers to help the girl break out of her shell and meet some nice boys at an upcoming party.

But there, Samantha finds herself the butt of a cruel joke by the Queen Bee. And in her anger, Samantha lashes out, assaulting the Queen Bee…and ultimately devouring her whole. And the crowd simply looks on, shocked, parting like the red sea to allow her to wander off into the night.

ACT THREE

The next day brings…nothing at all. No cops. No worried parents. In fact, Samantha feels better than ever. She feels lighter, taller. Skin clear and beautiful. In fact, she’s rather stunning.

She rushes to school to find that nobody is speaking of the night before. But now everyone is averting their eyes when she passes. And the girls treat her with some semblance of respect.

The girls talk to Samantha, follow her. They even begin to befriend her.

When another girl attempts to take Samantha back down a notch, she devours this rival too. And she continues to do this, consuming rivals, assuming more and more of their features and traits until she becomes the official idol of the school. Ultimately proving herself to be as selfish and wicked as the girls before her.

But her rise to the top of the social ladder has also made new victims, some who were once her only friends and now want to see Queen Samantha fall.

ACT FOUR

When Samantha catches wind of a GIRL coming for her new boyfriend and her crown, she orders the Girl brought to the same place she dethroned the previous Queen.

But just when she’s about to lay down her own brand of justice, Samantha finds herself betrayed by the friend she turned her back on. She dies, is consumed, and her Friend takes the crown.

Some time later, just when it seems this new Queen is going to run things different, it appears as if the cycle is only going to continue when she runs into a new rival.

A Better Man

SYNOPSIS

A recovering alcoholic, DAVE ZARAGOZA, attempts to reconcile with his most recent ex-girlfriend, CHERYL, after months of sobering up. But with their shared history, Cheryl refuses his attempts at closure. As he stumbles home that night, he’s attacked by a strange girl who he helps and eventually takes back to his apartment. But there’s more to her than meets the eye.


This one is definitely me digging deep into the vault. Real old story concept influenced heavily by Japanese urban legends. Simple and to the point, but I think there’s something to made of it. Not much more than a 30-minute ep or short, but something.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


FADE IN:

INT. CLUB 7th HEAVEN – NIGHT

Club 7th Heaven is a “hipster-chic“ version of an old-town college dive joint with a luxurious speakeasy vibe. Antique chandeliers and sconces for ambient lighting, flocked damask wallpaper, pin-up girl accents, velvet curtains. Full bar, long and curving.

THE DANCE FLOOR

Bodies stretch and writhe on the strobe-lit dance floor to the sort of pulsating beat so heavy it could jar fillings from teeth. A man navigates through the sea of bodies, head slightly bent, disinterested in the gyrating couples grinding against him from all sides. He is a tired man with creases on his neck and brow and face. Hair thinning and without life. This is DAVE ZARAGOZA, an old dog among pups. And he’s making a beeline for--

THE BAR

MILES WARREN slings drinks from behind the bar.

MILES

Didn’t think we’d be seeing much of you anymore.

Dave saddles up to the bar.

DAVE

What can I say? I’m a man who defies expectations.

Dave place his hand down on the counter.

MILES

You know I can’t be serving you.

DAVE

Just take it.

Dave removes his hand, revealing a small, red chip. Miles takes this.

MILES

The shit is this?

DAVE

Defying expectations.

Miles sets the coin back down with authority, and slides it back across the bar.

MILES

I’m happy for you, Dave--really, I am. But you’ve got to leave before Cheryl catches you in here.

Dave returns the coin to his pocket.

DAVE

Well, I hope she does. I want to talk to her.

MILES

No. No chance.

DAVE

Five minutes.

MILES

That right? Way I remember things, the last time you two were alone one of you walked away with a black eye and the other was dragged away in cuffs.

Dave flinches, hissing through his teeth, rubbing his wrists.

DAVE

Yeah, that’s the way I remember it too.

MILES

Do you? Good. Then get to stepping before someone has you escorted out.

Dave slams his hand back down on the counter.

DAVE

Rolling Rock.

MILES

Seriously?

DAVE

Are you deaf and stupid? Yes, I want a drink.

An uncomfortable silence.

And then...

MILES

Fuck off. I have real customers.

Miles goes back to tending the bar.

Dave pulls a slip of paper from his pocket and tosses it on the bar. Miles ignores this, pours several drinks, turns to Dave, eyes the slip of paper, and then reads it.

MILES

My name’s on here. The shit is this?

DAVE

That, my friend, is a list of everyone I have ever hurt with my drinking.

MILES

And?

DAVE

“Step 9: Make direct amends to such people wherever possible.”

MILES

Dave...

DAVE

Five minutes. It’s all I need, okay?

MILES

And if she don’t want to see you?

DAVE

Then I’ll fuck off--peacefully, quietly. You’ll never see me here again. But if she does? Then I can at least try to make right by her.

MILES

One drink. Five minutes.

DAVE

Deal.

MILES

She’s on break. I’ll let her know you’re waiting.

DAVE

You won’t regret it.

MILES

Yeah, it ain’t me I’m worried about.

Miles walks off, leaving Dave to eye the crowd and the assorted bottles behind the bar. He clutches the red coin white-knuckle tight.

EXT. CLUB 7th HEAVEN/PATIO – NIGHT

People gather and huddle close, drawn to the warmth of the deck torches. Cigarette in one hand, drink in the other. The flames dance and flicker on the stainless steel, washing the patio in a soft glow.

An ALPHA MALE, dressed in a polo two sizes too small, accentuating the veiny masses of his upper arms, approaches a young COED. She smiles and feels his arms, her eyes growing big, and her smile growing even bigger. He grins. She laughs in that way that young ladies are want to do when they’re trying to flatter young men.

DAVE sits in a corner, nursing a can of Red Bull. His attention split between the awkward flirting of the Alpha Male and Coed and the door.

A YELP cuts through the loud chatter and music.

Dave snaps his attention back to

THE ALPHA MALE AND COED

are at each other’s throats. He has her arm firmly in his hand, fingers wrapped around the willowy limb.

COED

Step-off, will ya? Jesus, just step the fuck off!

ALPHA MALE

Cut the bullshit. Flaunting your tits like that, feeling up my guns the way you are? There’s no need to be such a fucking tease.

VOICE (O.S.)

Look familiar?

Dave turns his attention to the stunning woman beside him. Her name tag reads, CHERYL. She gestures to the seat, he nods, and then she sits. Close, but only close enough. They watch the events across the way play out.

DAVE

Was I really that bad?

CHERYL

Not always.

DAVE

But often enough.

CHERYL

We all have our demons.

DAVE

Yeah? And what was yours?

CHERYL

What can I say? I liked the bad boys. Something about when a man just took what he wanted from me...

(a beat)

Stupid me, though. Took a few visits to the ER to learn when enough was enough.

DAVE

Cheryl--

CHERYL

That’s my name. So, what’s your game? Miles says you’ve found Jesus, or some shit. Want to make right with me and the Lord. That about it?

Dave nods.

CHERYL

You and me? That’s long over with. I had enough time to worry about all that while I was laid up in the hospital, getting staples in my head.

DAVE

I’m sorry.

CHERYL

Me too. You know, I remember telling my mom, “I love him. I still fucking love him.” And she’d just go right on yelling at me, calling me a stupid piece of pussy for sticking with you for so long. All while they were stapling my head shut, too.

Dave puts a hand on hers. She reflexively pulls it back.

An uncomfortable silence.

And then...

Dave speaks, his words strictly paced and selected as if he’s reciting something from a not-entirely perfect memory.

CHERYL

That’s beautiful. You stand in the mirror when you practice that?

DAVE

Cheryl...

CHERYL

Dave. We’re done. It’s over with. That shit may go over a bit better with the other people on that little list of yours, but for me? It don’t do much, honestly.

She shows the scar on her head, a pale zig-zag void of hair.

CHERYL (CONT’D)

You did that. Hair hasn’t grown back in five years. You want to come in here and give me a little speech to help you sleep better at night? That’s fine. I hope you can one of these days. But if you’re thinking you can make up for all this? That ship fucking sailed off into the sunset a very long time ago.

DAVE

I didn’t mean--

Dave reaches for and touches Cheryl’s hand once more.

CHERYL

(panicked)

Don’t fucking touch me!

The air goes silent. The sounds of passing cars can be heard in the distance. The beat of the music trickles out into the night air.

All eyes are on Dave and Cheryl. The Alpha Male and the Coed have stopped and stepped apart from each other. Their eyes looking on at the two older people across the way in awe.

CHERYL

I’m sorry. I didn’t mean to get blow up like that. How’s about I get back to work, and you crawl back to whatever urine-soaked hellhole you came out of, okay?

Dave stands.

DAVE

Yeah. Okay.

He hopes over the fence and walks off.

CHERYL

Just move on, okay?

FADE TO:

EXT. DOWNTOWN FULLERTON – NIGHT

Dave walks the colorful, empty streets of Downtown Fullerton. He pops up the collar on his coat as a cool breeze picks up.

He comes to a stop a corner, looking around, admiring the silence, and soaking in loneliness as he waits for the light to change.

And then...

A NOISE.

He turns left, then right, and then left again. Nothing.

A beat.

And then...

The noise again, but louder--a whisper.

Dave turns around and sees

A WOMAN

stands several yards behind Dave, her coat hanging low, scarf wrapped tight around her face. Dark hair, long and straight. She stumbles and shuffles awkwardly in the chill night air, swaying side to side.

DAVE

Miss?

The Woman doesn’t respond. She continues stumbling forward, pausing mid-step, catching herself, and continuing onward. Repeat.

DAVE (CONT’D)

Do you need help?

A CHIRP cuts through the silence.

Dave turns to see that the light has changed, a flashing signal warns him that he has 35 seconds to cross. He takes a step forward, stops, turns back around, and--

BAM! The woman pounces on him, her dark hair flying everywhere. Her body pressing heavy against him, pushing him, squeezing a frightened yelp from him as he steps back in some act of self-preservation, right into the street. Right into the way of an oncoming car. Shit.

The car swerves, narrowly missing Dave, horn blaring into the once silent streets of Downtown. The DRIVER shouting something about Dave’s mother, gesturing with a hand out the window.

Dave composes himself, now on the far side of the road, looking across the divide to

THE WOMAN

stands at the opposite corner. Her hand now holding on to the light post, her body going limp.

DAVE

Jesus-God, lady! Are you out of your goddamned mind? You almost got me killed!

He looks behind him, seeing his apartment in the distance, and then back to the Woman.

DAVE (CONT’D)

Shit. You live around here?

She mutters something, another soft whisper, but inaudible.

DAVE

What’s that?

He crosses the road, looking both ways before he does.

DAVE (CONT’D)

You gotta speak up, lady. I don’t hear too good anymore on account of my tinnitus. Too many late nights at the bars standing by the jukebox, ya know?

He helps steady the woman. She mutters again, this time he hears it.

WOMAN

Beautiful.

DAVE

Yeah, real swell night out. And I’d love to soak up the ambiance a little more, but I got to get myself back home. You got a place near by, Lady?

She only repeats herself.

WOMAN

Beautiful.

DAVE

Bet you sweet talk all the boys.

He sets her down on a bus stop bench. He sits beside her and holds her upright. He looks her up and down. She’s dressed in fashionable but stained clothes. Her skin covered in patches of thick scars.

DAVE

I was a sweet talker too. Once. Bet you can tell by just looking at me, huh?

The Woman responds with a strange guttural sound.

DAVE

Right. Well, it’s true. I could sweet talk the panties off a girl while her pants were still on. Could get them to do just about anything I wanted, really--pay my rent, even got me a car once. But uh, I wrecked that sonofabitch one night coming home from the bar.

(beat)

My girl at the time--Cheryl was her name. Cheryl saw that thing and lit up like a Christmas tree. Eyes buggin’ out and spitting and swearing. And most times she got like that, we’d have it out for a few minutes and then start screwin’ on the nearest piece of furniture.

(beat)

But this last time, I dunno. Maybe it was the booze, maybe I was just sick of the game. Whatever the reason, I popped her one right in the side of the head--POW!

Dave pantomimes hitting Cheryl.

DAVE (CONT’D)

Didn’t even think to aim. Busted my hand open good enough, but her head? Wow. You’d think I went and cracked a bottle over her, she was bleeding so bad.

The Woman lurches forward and vomits.

DAVE

Christ, lady. You sick or something?

The Woman looks up to him, piercing blue eyes looking right at him.

WOMAN

Am I beautiful?

Dave looks at her, a sick mess. Vomit running down through her scarf. Thick chunks caught in her hair.

DAVE

Yeah, sure.

A bus pulls up, its door opening with a loud WHOOSH. The BUS DRIVER, a hefty man in his late fifties, looks at the two hopeless wrecks sitting on the bench.

DRIVER

Getting on?

DAVE

Nah. Just catching our breath. Thanks, though.

The Bus Driver shrugs, closes the door, and pulls the bus out and down the road. Dave watches it turn the corner some quarter mile down the way, then turns back to the woman.

DAVE

You got yourself a name, beautiful?

The Woman wipes her mouth.

WOMAN

Tien.

DAVE

Can I buy you a drink, Tien?

INT. APARTMENT – NIGHT

Dave’s apartment is a dark, cluttered by the broken remains of a wasted life and a failed relationship. Here, Tien pries into his life and Dave reveals a bit more of his dark past. She is disturbed, but also intrigued by his attempts to change.

Their talking turns to touching and the touching turns to sex. Tien, shows how uncomfortable and insecure about her scarred appearance by constantly asking for Dave’s reassurance that he finds her beautiful. She just wants to hear it, but Dave struggles to tell her, to get past her disfigurement. He grows frustrated and angry as she insists that she hear the words, poking and prodding at him when he fails to do so.

He excuses himself to the bathroom after losing his temper.

INT. APARTMENT/BATHROOM – NIGHT

He looks at himself in the mirror, hating the man staring back at him. Sickened by what he sees. After he composes himself, he steps back outside to apologize.

INT. APARTMENT – NIGHT

When he returns, she is silent on the bed, her back to him. She asks him one last time if he finds her beautiful...and he tells her, “No.”

And then she turns around, revealing her hideous appearance, and attacks him.

EXT/INT. APARTMENT – DAY

Miles arrives at Dave’s apartment to return Dave’s car keys/wallet. He discovers the door unlocked.

He enters to find a horrible sight, gore and blood splattered across the apartment. He finds Dave locked in the bathroom, his face horribly disfigured. He also finds Tien, dead in the bedroom, her body mutilated.

INT. CLUB 7th HEAVEN – NIGHT

As Dave’s story makes it through the media and his trial progresses, life continues on. And as Miles and Cheryl move on with their lives, they see a woman who looks suspiciously like Tien enter the bar, flirting with lonesome, drunken men who are happy to tell her she’s beautiful.

FADE OUT:

THE END

This Lady Death

SYNOPSIS

After his family is gun-downed during a daylight robbery, a man finds himself unable to move on with his life. And when an accident results in his seeing the physical manifestation of Death in the form of a young woman, he is determined to get her attention and be reunited with his family once again.


I’ve been itching to get this one out for a long time now. It’s one of those ideas that I regularly return to but have been unable to work out for one reason or another. In recent months, I think I finally got a grasp on it. But with so many irons in so many different fires, I simply didn’t give it the attention it deserves. So here’s my final concept for it, warts and all. I hope to get to scripting this out in full sometime this year and put several years worth of obsession to rest.

Or not. Whatever.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


ACT ONE

A father, FRANKLIN, and his family are out for the day. When they pull into a local gas station, the family waits in the car while he goes to pay.

But as he waits in line, Franklin notices a young man acting suspicious and carrying a gun. Rather than act, he hides and watches on as the clerk and other customers are robbed at gunpoint.

When the robber flees, Franklin finally leaves the safety of his hiding place only to discover that the robber attempted to hijack his family’s car, killing everyone inside in the process.

ACT TWO

Franklin turns into a recluse, losing his job and cutting ties with his remaining family and friends. In his growing depression, he attempts suicide and fails.

Later, he speaks with a concerned loved one who assures him that he’ll be reunited with his loved ones some day but he must be patient. However, Franklin doesn’t believe in God or Heaven, not anymore. How can he believe in such things with the way his family was taken from him in such a cold, brutal fashion?

One day, Franklin witnesses a fatal accident in the street. There among the chaos, he notices a strange, alluring young woman speaking with the victim. This is Death herself.

ACT THREE

Franklin begins pursuing Death, becoming obsessed and documenting various spots where she is likely to show–crime scenes, accident-heavy intersections.

One day, he finally has his chance to speak with Death. But she refuses to speak with him. Upset about Death ignoring him, he chases her across town only for her to snap at him, demanding that he leave her be.

Infuriated, Franklin attempts suicide once again only to discover that nothing he does is effective. And when he refuses to stop, Death appears and informs him that he means nothing to her, same as his family and their killer. She has her purpose, she is part of this world’s natural order. And she can’t do anything to reunite him with his family. And she will not allow him, his cowardice to drive her to upset the natural order of things further.

Deciding to take things into his own hands, Franklin takes hostages and threatens to kill them if Death doesn’t appear and take him, to reunite him with his family. When Death fails to appear, he forces her to appear by shooting and killing one of his hostages.

Death releases the victim from their extended suffering but refuses to speak with Franklin. She simply stands there and waits as he grows more and more angry and his hostages grow more and more frightened.

And then…

The cops appear. As they draw their guns and threaten to fire, Franklin thanks Death for what’s about to happen. He aims the gun at the cops, forcing them to shoot him, and then…

Darkness.

ACT FOUR

Light and an unfamiliar ceiling. Franklin comes to in a hospital, being tended by a nurse, and unable to move or speak. He’s fully paralyzed. Vegetative as far as the world is concerned but fully aware of everything, including Death sitting beside him.

She speaks to him, informs him that his pursuit of an early death only angered her and forced her hand. She’s left him in a state between life and death, unable to obtain the one thing he wants, not for many, many years.

THE END

Knock ’em Dead

SYNOPSIS

A down on his luck party clown gets the gig of a lifetime when a lonely housewife offers a big payday to whoever can keep a group of children entertained for just one hour.


Another idea I’ve dusted off from 2013. I don’t think this one needed quite as much work as others and was simply not clicking with me from a structure perspective. The act breaks were a bit unclear to me at the time, but I think I’ve got it nailed. It’s short and simple, but, I hope, darkly comedic.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


EXT. APARTMENT – DAY – ESTABLISHING

A rundown, low-income apartment complex in a bad part of town.

EXT. APARTMENT/COURTYARD – DAY

Fourteen or fifteen screaming children between the ages of seven and ten crowd around a surly party clown, HECKLES.

Tables are set with party favors, ice cream and birthday cake, and the courtyard is littered in a layer of streamers and disposable dinner plates. A couple of weary parents sink into a bottle of beer as Heckles is eaten alive.

He delivers another tired gag and particularly AWFUL CHILD crudely remarks.

Things very quickly become heated and uncomfortable.

Silence.

And then...

The silence is broken by the intervention of something else that grabs their attention.

INT. APARTMENT – DAY

Heckles enters a small, cluttered apartment.

The MOTHER gives him an excuse as to why she can’t pay him. He pushes the issue and grows angry, refusing to listen to her sob story.

Silence.

And then...

CUT TO:

INT. APARTMENT – LATER

The BIRTHDAY BOY wanders into the apartment, looking for his mother. He knocks on the bathroom door, pressing his ear against it and hearing muffled voices and a cacophony of clattering on tile, a horn, a whistle, and buzzer. And then they suddenly stop.

The door opens and the Birthday Boy stands there, looking on at Heckles walks out of the bathroom. Heckles tussles the kid’s hair.

HECKLES

Happy Birthday, Kid.

The Mother shyly slips past, hair a mess, wiping grease paint from her mouth with the back of her hand.

EXT. APARTMENT – DAY

He walks back to his car, a Honda POS, and smokes a joint. As he attempts to relax, some local children harass him further.

Defeated, he drives off.

EXT. STREET – DAY

A crowded stretch of highway cutting through a dusty corner of Orange County. Black smog pours out the tailpipe of a rambling Honda POS. Heckles is behind the wheel, still in full clown regalia, singing along to the latest Katy Perry tune.

A loud, blaring WHOOP and the red and blue flash of police sodium lights.

Shit.

The POS pulls over to the side of the road. The black and white cruiser comes a stop behind it. A middle aged officer steps out from behind the wheel of the cruiser and approaches the window. He looks down and sees...

Heckles, surly, sour-faced.

COP

What’s that smell?

HECKLES

Your wife’s pu--

CUT TO:

INT. HECKLE’S APARTMENT – DAY

Heckles returns home, furious about his new, completely bullshit ticket. And that’s when he learns from his ROOMMATE that his (Heckle’s) latest girlfriend ran off and stole all of his belongings.

Defeated, Heckles leaves for his favorite bar still dressed up in his clown attire.

EXT. STRIPMALL – DAY

The POS pulls into a small stripmall off a main stretch of highway, home to

THE JUKEBOX

A pair of rowdy LOSERS loiter outside, puffing away on cloves and cheap cigars, cheerfully calling out to the clown stepping off the car.

Heckles does not respond. He’s too busy cursing up a storm, carrying on to himself and those who will listen about how everybody’s a fucking critic and can’t take a goddamn joke. He’s got a 0 ticket.

INT. THE JUKEBOX – DAY

The Jukebox is a dark rockabilly throwback with crazy shit all over the walls. The clientele is an eclectic band of coeds, middle-aged boozers, and chatty Vietnam vets enjoying the atmosphere, and with at least some hope of testing out whether or not their dicks still have a little life left in them.

Heckles makes a beeline for the bar, ignoring the stares and whispers invariably directed toward him. When you dress like a fucking clown, you’re bound to get a few raised eyebrows.

The bartender, CHERYL, is a sexy young thing. Hair done up like Bettie Paige. Lips blood red. Tits pouring out from a Guns ‘n Roses shirt she’s carved up into a flattering makeshift halter top.

She asks what Heckles needs and he says “work.”

She pours him a beer and asks him about his day. He rambles on about shithead children and their fuckable mothers. And the ticket. And being broke.

He turns the conversation to her and she happily tells him about the slow afternoon and a rowdy group in the corner.

As if on que, a ROWDY SHIT HEAD and his BIG TITTIED GIRL storm up to the bar, cutting off the conversation and demanding another pitcher.

Shit Head takes a look at Heckles.

SHIT HEADWhat are you supposed to be?

HECKLESA human being.

Shit Head laughs and asks him to tell him another. Heckles is off the clock.

Shit Head offers Heckles a buck.

SHIT HEAD

Come on, make my girl laugh.

Heckles looks to Cheryl, Cheryl shakes her head, “No, don’t you fucking do it.”

He does it anyway, standing up, putting on his gimmick voice, honking his nose and tooting his horn. And he leans over, whispers in Big Tittied Girl’s ear.

She giggles wildly.

Heckles cops a feel.

She gives him a peck.

Shit Head gets pissed, grabs Heckles by the collar and roughs him up, demanding to know what the fuck he just said. Heckles only asks for the dollar.

Shit Head pushes the issue while Big Tittied Girl insists that he was just being funny, so let it go.

This only pisses off Shit Head more.

Heckles tells Big Tittied Girl that he told her so, making a blatant reference to the joke he made in her ear.

And then...

Shit Head punches the clown, sending Heckles rocking and reeling and falling into a table where a couple were quietly watching on.

Cheryl ends it, sending the bouncers after shit head. Shit Head is quickly thrown out and Big Tittied Girl is quick to follow.

Heckles gathers himself and returns to the bar.

HECKLES

Some people have no sense of humor.

CHERYL

Was that necessary?

HECKLES

Oh, fuck him. Everybody’s so goddamn sensitive these days.

CHERYL

Why do you do this?

HECKLES

Obviously, I hate myself.

Cheryl offers a bit of advice and mentions an ad she saw in the classifieds, how some woman was willing to pay 00 to anyone who can keep some kids entertained for an hour. She shows him the paper and he asks to use the phone. She tells him its in the back like usual.

INT. THE JUKEBOX/OFFICE – DAY

In a back corner, Heckles uses the bar’s phone to make the call, confirms the job is legitimate--one hour, 00 cash--and then agrees to take the gig.

He hangs up and rushes out.

INT. THE JUKEBOX – DAY

He tells Cheryl he got the job and will be back tomorrow with a big thank you.

EXT. STRIPMALL – DAY

Heckles steps outside to find the pair of smokers are gathered around his POS. Its windows are smashed in.

HECKLES

Aw, fuck me.

EXT. SUBURB – DAY – ESTABLISHING

A beautiful, upscale suburb.

EXT. BEAUTIFUL HOUSE – DAY

The POS, windows mended with duct tape and Hefty bags, pulls up to a big, beautiful home. Heckles steps out and nervously approaches the door.

A sexy little number looking like an x-rated MRS. BRADY answers the door. She is very happy to see him and welcomes him in.

INT. BEAUTIFUL HOUSE – DAY

Mrs. Brady guides Heckles through an immaculate and elegantly furnished home as she details the job at hand, flirting with Heckles and mentioning how her husband is always away on business.

KITCHEN

Heckles peers through the curtain and sees a large gathering of children, every one well behaved and patiently waiting for him. A big stage has been set up in the center of a large, lush yard.

He psyches himself up and Mrs. Brady wishes him luck.

 

 

EXT. BEAUTIFUL HOUSE/PATIO – DAY

 

Heckles steps out onto the stage and is given a polite, if rather dead silence. Their eyes staring at him, silently judging him.

He attempts to break the ice, but his gags are met with silence.

After some more awkward silence, he digs into his routine and is still met with mostly silence. A few scattered chuckles drive him onward.

And then...

He grows clumsy in his desperation and manages to hurt himself fairly bad.

This elicits his first big pop of the night, so he runs with it--dishing out slapstick and self-harm for the sake of their laughter and applause.

INT. BEAUTIFUL HOUSE/KITCHEN – DAY

With his performance a success, he finds himself rewarded handsomely by the Mother.

But the cheers and cries for an encore pull Heckles away from his money and the apparently grateful and very lonely single Mother...

With his performance a success, he returns to the house to collect his substantial fee and is well-compensated by Mrs. Brady.

As she congratulates him on a job very well done, he is drawn by the children’s demands of an encore.

Mrs. Brady warns him to get going and enjoy his earnings, but he can’t resist, and promises that this bit will definitely be on the house.

She sighs and watches him trot back out to his adoring audience.

EXT. BEAUTIFUL HOUSE/PATIO – DAY

Mrs. Brady sadly watches on as Heckles--hurt, bleeding, and tired--steps back onto the stage, goes silent, and stops dead in his tracts.

He hears them, the children growling and snarling. Furry little nightmares. And his last thought as the first set of teeth bites into his ankles and drags him down is, Of course.

FADE TO BLACK:

THE END

A Steady Tick

SYNOPSIS

A school teacher struggles to start a family with her husband. When she hears of a coworker who has suddenly become pregnant after a one-night stand but isn’t sure she wants to keep the baby, the teacher considers adopting. But when the woman pushes towards abortion, the teacher takes matters into her own hands.


I’ve tinkered with this one only a bit over the past couple of years. Until now, I just wasn’t too sure if there was enough material to be mined from the premise. The ending I currently have might be a bit too campy and would probably need to be much less “EC comics” if it were to be retooled as a movie script.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


INT. APARTMENT/BATHROOM – DAY

A tired, anxious woman, MARGOT, sits on the toilet. She’s using a pregnancy test and waiting for the results. High stress.

Her husband, ROBBIE, is calling for her, he is in desperate need of the facilities himself.

Her mind flashes back to images of the night before, their routine lovemaking that lacks any sort of intimacy or passion. Just work and frustration.

Robbie’s voice snaps her back to reality. She’s running late for work, he insists.

It’s negative. Shit.

INT. APARTMENT/LIVING ROOM – MORNING

As they prepare to leave together, they make plans for the evening. But Margot remembers that she has a doctor’s appointment (another one) and she’ll be running a little late.

EXT. SCHOOL – DAY – ESTABLISHING

INT. SCHOOL/CLASSROOM – DAY

Margot is teaching a class of young gradeschoolers. She loves her job. She is a loving, caring woman who sees her students like her own children.

Even when things take a turn for the worse and become high-stress situations.

INT. SCHOOL – DAY

After things cool down from earlier, Margot finds herself sitting alone and trying to relax. That’s when a coworker and friend, HARLEEN, invites Margot to join her “in the usual place.”

EXT. SCHOOL – LATER

Margot and Harleen secretly drink in some forgotten corner of the school to calm their nerves and chat. They talk about the incident earlier, which soon turns to Margot’s current plight. That she’s still not pregnant, still trying and failing. And it’s putting a heavy stress on their marriage, like he’s disinterested in sex with her. Harleen jokes that maybe he’s just tired from fucking other women...but Margot takes the thought to heart

And then they spy another coworker, a young woman named QUINN, nervously pacing and clutching something tight in her hand. Margot invites her over and Quinn nervously comes around to joining them.

They offer her a drink to calm her nerves but she declines...not because she doesn’t want one, but...she’s pregnant. The test is still in her hand and she can’t believe it.

The women are happy for her but she’s scared and unsure of what to do. It’s an unwanted pregnancy from a one-night stand, a man who was so alluring but off-putting. Margot gets a bit defensive due to her current situation. But Quinn insists it was big mistake she didn’t think twice about at the time.

INT. SCHOOL – LATER

As the school day ends and she wraps things up for the day, Margot prepares to head to the doctor’s and spies parents picking their children up from school. She wallows in jealous at the sight of the parents and mothers-to-be.

INT. DOCTOR’S OFFICE – DAY

Margot sits in the waiting room, nervously awaiting her turn. She spies on all the pregnant women around her, envious of their situation. Listening in on and attempting to make awkward chit-chat with this woman and that.

And then her name is finally called.

INT. DOCTOR’S OFFICE/PATIENT ROOM – LATER

Margot sits with her DOCTOR. They discuss how Margot has made every effort to get pregnant, but nothing is working. Her Doctor is unwilling to get her hopes up, going so far as to bring up the subject of adoption. But this only hurts Margot, who insists she wants to experience what she perceives as “true motherhood.”

INT. RESTAURANT – NIGHT

Margot and Robbie are having dinner. It’s quiet and awkward. Margot is lost in her own thoughts, a daze which Robbie attempts to snap her out of by reassuring her that they’ll keep trying. But her thoughts quickly turn to concern when she spies Robbie eyeing other women, younger and sexier women. When she believes he’s flirting with the waitress.

And then...

MARGOT

I’m pregnant.

INT. APARTMENT/BEDROOM – NIGHT

Margot and Robbie stumble into their dark apartment, hands all over each other. Things quickly move to the bedroom where things only get more heated and steamy. This is a moment of passion, lust, and intimacy. No work or frustration. Loud, heated passion.

INT. APARTMENT/BEDROOM – DAY

Robbie wakes Margot, the two cuddle in bed, and exchange a sense of bliss and peace. Except Robbie is excited about the pregnancy, and can’t wait to tell everyone. He goes to shower. Margot, however, is left to panic.

INT. APARTMENT/BATHROOM – DAY

Margot goes after Robbie, trying to talk to him while he showers. She doesn’t think it’s a good idea to tell anyone just yet. What if something goes wrong? It’d be heartbreaking to tell everyone only to miscarry. Robbie initially insists she’s worried about nothing, but then concedes that she might be right.

Margot is relieved that she’s just bought herself some time.

INT. SCHOOL/CLASSROOM – DAY

As Margot is teaching, she has a panic attack, rushing to the restroom to vomit. Harleen catches eye of her and follows.

INT. SCHOOL/RESTROOM – DAY

Harleen checks on Margot, who is presently vomiting in one of the stalls. Harleen initially thinks Margot is suffering from morning sickness...and Margot comes clean about what she did. She’s in a panic. She’s been stuffing her face just to put on some weight and it’s not mixing well with her increased stress and anxiety. She’s throwing up just out of fear these days. Harleen attempts to console Margot, insisting she just tell Robbie the truth. But Margot refuses. When Harleen attempts to alleviate the situation by suggesting Margot just take Quinn’s...Margot thinks she’s just found her out.

INT. SCHOOL/TEACHERS LOUNGE – DAY

Margot attempts to sweet talk Quinn, the two talking about Quinn’s emotional status.

Quinn is still at a crossroads, she can feel it crawling in her. She knows it’s only been a few months and she’s hardly showing, but it’s like a heavy weight is in her. It keeps her up all night, worried sick. She’s not ready to be a mother.

When Quinn lets slip that she even went to an abortion clinic but ran off because she got scared...Margot snaps.

INT. QUINN’S HOUSE – NIGHT

Margot arrives at Quinn’s house (paid for by her parents) under the pretense of apologizing for earlier. Quinn invites her in and the two talk.

Margot offers to adopt the child, confessing to her awful, desperate ploy to fool her husband.

Quinn initially laughs this off as a joke only to realize Margot is serious. She’s interested at first but is insistent that she isn’t even sure she wants to allow the pregnancy to go full term. She can feel it in there, like it’s clawing at her. It frightens her to keep letting it grow.

This only infuriates Margot. And when a nervous Quinn insists that Margot needs to leave, Margot grows increasingly agitated, mean and cruel. And then, she attacks Quinn.

Margot screams about how Quinn doesn’t deserve this gift, that she’s an ungrateful child. Spoiled and in need of punishment. And that’s when she carves the woman open, pulling the child from her womb, killing Quinn in the process.

But with her dying breath, Quinn screams in terror. When Margot looks on at the child in her hand, she sees a twisted, unholy creature. And her own screams of fear fill the streets for all to hear.

FADE TO BLACK:

THE END

Family Portrait

SYNOPSIS

While cleaning out a closet, a wife (CHERYL) discovers a box that her husband (THOMAS) has long forgotten about. In it is a dark secret from his childhood that haunts him to this day. But will his wife believe his story?


A much newer idea than those written and posted in the past two weeks. But arguably one of the more “old school” as well. The cheese factor alone is reason enough to think this one wouldn’t fly in any context other than a blatant throwback to old EC horror comics or The Twilight Zone.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


INT. SUBURBS – DAY – ESTABLISHING

A quaint, middle-class suburb.

INT. HOUSE/OFFICE – DAY

CHERYL discovers a box in the back of a closet that belongs to her husband, THOMAS. He hasn’t seen it in years, having long forgotten about it, blocked it out of his memory. In the box are several albums, including photographs of a young girl, KELLY--his sister that no one, not even his parents, can remember.

INT. HOUSE/OFFICE – LATER

Thomas details the events that led up to Kelly’s disappearance to the completely unsold Cheryl.

FLASHBACK:

EXT. SANDLOT – DAY

He details how he, Kelly, and the local children had been playing baseball in a sandlot when Kelly broke a man’s window.

EXT. MAN’S HOUSE – DAY

After their FATHER forces them to apologize for breaking the MAN’s window, he informs them of their punishment. In order to repay the money for the window, Thomas and Kelly were both forced to help their great aunt EUNICE clean out her garage following the death of her husband, ALFRED.

INT. EUNICE’S HOUSE/GARAGE – DAY

As the children sort and clean out the garage--filled with boxes upon boxes of old clippings, trinkets, and assorted garbage collected by Alfred during his travels for work--they come across a strange mirror that seems to record and mimic their appearance.

INT. EUNICE’S HOUSE/GARAGE – LATER

The children play with the mirror, much to their amusement.

But when Eunice catches them playing instead of working, she is taken aback by what she sees in the mirror.

INT. EUNICE’S HOUSE – DAY

Eunice takes the mirror and the children chase after her, begging her to give it back. That it’s just some toy.

Eunice and Kelly argue and struggle over the mirror.

And then...

It crashes to the ground.

Aunt Eunice is upset about the children breaking her husband’s things and not doing their work.

And then...

Eunice notices that Kelly is freezing in place, turning to glass, and then shattering into a million pieces. Just like the mirror.

INT. EUNICE’S HOUSE – LATER

After panicking, Thomas and Kelly’s parents return. But they’re only there for Thomas. They make no mention of Kelly, much to the shock of Thomas and Eunice.

FLASHBACK ENDS:

INT. HOUSE /OFFICE – DAY

Cheryl is still not sold on the story, on Thomas having some sister who was magically erased from everyone’s memory. But Thomas is firm about this, insisting that he spent his youth trying to find a way to save his sister. Years wasted, left with only the knowledge that only he and his now-deceased aunt remembered Kelly.

He opens the box to prove this to Cheryl, revealing the shattered glass from the mirror. Each piece containing an image of an eternally young Kelly screaming, begging for help. Unable to hear or see Thomas or Cheryl.

FADE TO BLACK:

THE END

In the Red

SYNOPSIS

A cash-strapped couple resort to a questionable loan and must now resort to kidnapping and ransoming a young girl to pay it back. But what happens when they kidnap the wrong girl?


Another dusty ol’ chestnut whose time has finally come. Been hammering at this off and on for about as long as many of the others from the past two weeks, but it’s also probably one that’s been ready for completion for the longest too. Not sure why I never gave it the time it needed, but here I am, years after the fact, finally getting around to it. Enjoy!

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


INT. DOCTOR’S OFFICE – DAY

JIMMY and JUNE, a young married couple, suddenly find themselves facing a financial crisis when June receives a serious diagnosis that comes with a very pricey treatment.

INT. APARTMENT – DAY

June is willing to go naturally but...

EXT. BAR – NIGHT

Jimmy instead turns to a loan shark to cover his wife’s medical expenses.

INT. DOCTOR’S OFFICE – DAY

As June makes a full recovery...

INT. APARTMENT – NIGHT

...Jimmy finds himself at the mercy of a few hired goons, beaten severely for being late with a payment.

INT. APARTMENT – LATER

With few other options that could keep him safe, June suggests that they kidnap the child of a family from an affluent neighborhood and hold them for ransom.

EXT. SUBURBS – DAY

After some hesitation and mistakes, Jimmy and June find themselves in a beautiful neighborhood waiting for their chance to strike. And that’s when they pick a single, lonely GIRL making her way down the street.

EXT/INT. HOTEL – NIGHT

After frantically making their way through town, hiding from police, they arrive at their hideout--a dilapidated and abandoned hotel off the freeway.

INT. HOTEL ROOM – NIGHT

In the room, they struggle to get the information they need from the girl. But as June opens up to the girl and why they’re doing this, Jimmy only grows increasingly frustrated.

And then the girl provides a name and phone number.

EXT. STREET – NIGHT

Jimmy walks to a corner store and payphone to make the call...

INT. HOTEL ROOM – NIGHT

June stays with the girl, who begins to say strange and awful things about June, about what awaits her when she dies...

EXT. STREET – NIGHT

As Jimmy calls the number the girl provided, he learns from the angry voice on the other end that they have no daughter, that she died several years earlier.

INT. HOTEL ROOM – NIGHT

In the room, June finds herself giving into her anger and violently attacking the girl, killing her. But in the darkness of the room, June soon finds that she isn’t alone...

INT. HOTEL ROOM – LATER

Jimmy quickly rushes to his wife’s side only to discover what remains of her and the twisted thing that pretended to be a girl.

FADE TO BLACK:

THE END

The Silent Treatment

SYNOPSIS

The morning after a heated argument with his wife, a retiree finds himself receiving the cold shoulder. But worse, it seems as if a darkness threatens to swallow them both whole.


This one is coming in a lot sloppier than my previous ideas over the past two weeks, and it has the least amount of time and thought put into it. I’ll be editing this as I go in the coming days.

But a lack of sleep finally caught up with me and this was all I had time to do, unfortunately. It’s not the one I’m most proud of so far, but it’s certainly shaping up far better in this state than it has over the past few years.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


INT. HOUSE – NIGHT

A RETIREE and his WIFE invite their NEIGHBORS, a newly wed couple, to their home for dinner.

INT. HOUSE/KITCHEN – NIGHT

But the dinner conversation grows heated with the young couple ultimately fighting with each other and leaving early.

INT. HOUSE/BEDROOM – NIGHT

Upset that her husband started the fight, she and the Retiree have their own argument and end up going to bed angry.

INT. HOUSE – DAY

The next morning, the retiree discovers that his wife refuses to speak with him.

EXT. HOUSE/PORCH – DAY

She instead chooses to sit on the porch of their home. From here he can spy his neighbors still arguing with one another.

INT. HOUSE – DAY

As he attempts to make use of the sink, the TV, etc...he notices that nothing is working like it should. And he grows frustrated that his wife hadn’t warned him that there was work to be done around the house.

EXT. HOUSE – DAY

But as he grows tired and annoyed with his wife’s silent treatment, he notices darkness spreading across the world...

INT. HOUSE – DAY

The man returns from working around the house, upset that nothing he does seems to have any positive outcome. And that’s when he notices that the darkness is swallowing the world beyond their home and growing closer and closer to the front door.

EXT. HOUSE/PORCH – DAY

He panics and struggles to get his wife back inside. He can only watch on as their neighbors and the world grows cold and dark and silent.

He begs and pleads with his wife to listen to him, to speak with him. And that’s when he notices that she’s dead, dying.

As the world is swallowed by the void, it soon dawns on him that he’s little more than his wife’s memory of her husband. That he, in fact, passed away some time ago.

She doesn’t want to go, to forget him, wishing they’d never gone to bed mad at one another. He forgives her, begs her to forgive him. And they share a brief, bittersweet final moment together before she passes.

Alone, the man and everything is taken by the void.

EXT. HOUSE/PORCH – LATER

In the real world, our world, the old woman’s neighbors rush to her aide and attempt to get her help. But it’s too late. She says her final words and attempts to make peace.

FADE TO BLACK:

THE END

Grand Ghoulish

SYNOPSIS

Tonight’s morbid tale of lust and matrimony is about a photographer, a married woman, and an affair that soon becomes a murder conspiracy. I call it, “Grand Ghoulish.”


This one’s another early attempt at an audio drama that’s been struggling to come together for some reason. I think it was mostly convincing myself how tight the plot really needs to be and how I don’t need to pad out the second act. So here it is, nice and simple and inspired by the “Grand Guignol” style of theater (thus the name).

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


EXT. GALLERY – DAY

At a local art show, a lonely photographer, HAROLD, finds himself approached by a beautiful older woman, SOPHIA. The two flirt and discuss Harold’s work until Sophia’s husband, OLIVER (a surgeon), appears and ultimately hires Harold to take boudoir pictures of Sophia.

INT. HOUSE – DAY

Harold arrives at Sophia’s home, a large, beautiful home overlooking the coast. Sophia invites him in and offers him a drink. She attempts to relax and flirt with Harold before making their way up to the bedroom.

INT. HOUSE/BEDROOM – DAY

In the bedroom, Sophia attempts to seduce Harold without ambiguity as to what she wants. Harold is tempted but frightened of her husband returning home. As Sophia presses things further, Harold finally leaves.

INT. APARTMENT – NIGHT

As Harold edits the photographs at home, alone, he falls harder for the woman in the pictures. And that’s when he decides to call her.

EXT. SHORE – DAY

When he arrives at a predetermined location to deliver the photographs, Harold reaches out to her and nervously waits for her, ultimately finding himself wrapped up in a strange event until he can pull away and wait for Sophia, quietly, once again.

EXT. SHORE – LATER

When Sophia arrives, things quickly turn to flirting. And when they inevitably kiss, more than a spark passes between them.

INT. MOTEL – DAY

Harold and Sophia carry on a heated affair, meeting up regularly at a motel. As they engage in pillow talk, her husband calls. Harold is feeling uncomfortable about the affair. Sophia doesn’t hesitate to point out the obvious: Harold has yet to stop. She leaves him to think about this as she showers.

INT. GALLERY – DAY

Harold is engaging a potential client and buyer when he is interrupted by Sophia’s husband, Oliver. Oliver insists the two are carrying on an affair and demands Harold confess to such. Harold denies everything and the confrontation grows heated before the curator, a friend of Harold’s, steps in and asks that Oliver leave.

INT. APARTMENT – NIGHT

That night, Harold receives a disturbing phone call from a sobbing, frightened Sophia. She asks if he will meet with her. Harold is unsure where, the gallery perhaps? Sophia insists on his home as Oliver would look at the gallery first.

INT. APARTMENT – LATER

Sophia arrives at Harold’s home with a black eye. Harold is concerned, tending to her wounds, insisting they go to the police about Oliver’s violent assault on Sophia. But Sophia doesn’t want to involve the authorities. This might only anger Oliver and with his money he could buy his way out of trouble. In his anger, Harold insists that he’ll kill Oliver. They’ll kill him and run off together. Sophia agrees.

INT. HOUSE – NIGHT

Harold arrives at Sophia’s home as planned. They speak for a moment before Oliver arrives home early. Harold goes to hide and listens as Sophia confronts a furious Oliver. Oliver was called by a neighbor about a strange man lurking around the house. He insists that Sophia is hiding her lover here. She denies this, denies cheating on, but begins to prod the bear. She’s tired of his selfishness, his anger, the beatings and awful things he does. This only enrages Oliver more.

Harold hears Oliver striking Sophia, and then...silence. Oliver sobs, mortified by what he’s done. He’s killed her.

Harold rushes out, looking to kill Harold for what he’s done. He finds Sophia’s broken body and no sign of Harold. And then...

CRASH!

Darkness.

INT. WAREHOUSE – NIGHT

Harold comes to in an old warehouse, bound and tied to a chair.

Oliver is there waiting for him.

Harold is frightened but furious, demanding to know where Sophia is, how Harold could kill his own wife.

And that’s when Oliver confesses the truth: he didn’t kill anyone. Sophia is fine. She helped set all this up. She has an itch that Oliver can’t scratch, not since his time in the service, so he allows her the chance to play with others. She loves the thrill of infidelity. It’s a game for her. And when she’s done with her latest lover, when the game is complete and Oliver has filled his role...he gets to play his own game.

Oliver reveals what he’s been doing to Harold this entire time. As a surgeon, he needs a way to test new techniques and procedures. He’s been using Harold as a test dummy, carving pieces out of him with no sense of pain, removing organs, shifting parts around.

Harold’s scream carry on in the warehouse as the sick crunching, cracking, and splattering fill the air.

FADE TO BLACK:

THE END

Beneath a Dark Star

SYNOPSIS

When a group of low-level crooks accidentally murder a helpless clerk, they’ll seek refuge in a nearby canyon. But there in the light of a dark star, they’ll come face-to-face with their worst nightmares.


Another night, another old nugget I’ve dug up in the hopes of making it all work. And I think it’s there. Perhaps the issue I had was either length or a handle on the dialog. It’s a very minimalist story, only two key locations and a small, focused cast of characters. It was originally an idea for an audio drama, and it might stay that way. But for now, it is what it is…something.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


INT. SHOP – NIGHT

MR. WATSON is closing up for the night and about to send his WAITER home when a trio of gunman (LARRY, MOE, and CURLY) arrive. Attempting to rob the store, the Waiter is shot when he makes a sudden movement and startles Moe. Shocked by what they’ve done, the criminals flee the scene.

EXT. CANYON/ENTRANCE – NIGHT

The trio hide in a nearby canyon, cruising through the dark till they come to their chosen hiding place...

INT. CAVE – NIGHT

They leave their getaway car hidden in a cave at one end of the canyon and begin their hike into the darkness.

EXT. CANYON – NIGHT

As they hike their way to camp, the three are unsettled by the sounds and sights of the canyon and their own guilty conscience.

Curly in particular grows more paranoid and guilt-ridden as they walk, insisting that they turn themselves in.

Infuriated by this, Moe kills Curly with his bare hands.

EXT. CANYON – LATER

Moe and Larry sit in still silence, Curly’s body just beyond reach, half-covered in shadow. The howling of the canyon grows louder. Slowly taking on the sound of a strange, unsettling voice.

And then, the voice of Curly

Unclear at first, Moe thinks he’s going crazy.

And then it becomes very clear and distinct, Curly’s screams and pleas for help, for the others to run.

And then terrified screams of Curly--a very much still dead man--being killed yet again.

EXT. CANYON – LATER

Panicked, Larry threatens to run and he and Moe argue, with Moe threatening to kill him like he did Curly.

And that’s when something appears in the light of the dark star, a frightening CREATURE staring right at them.

Moe shoots Larry, leaving him as bait to keep the beast busy as Moe makes his own escape.

As Moe runs to the car, he hears Larry’s terrified dying screams.

INT. CAVE – NIGHT

When Moe reaches the car, it fails to start. And stranded with a dead car, the Creature quickly finds him...

EXT. CANYON – DAY

The POLICE have arrived at the scene and pull the wreckage of the car up from the bottom of a ravine. The trio drove the car over the cliff’s edge in the dead of night while driving with their lights off.

FADE TO BLACK:

THE END

Love Bites

SYNOPSIS:

A playboy meets his match when he falls hard for a strong, beautiful woman. But when he gives in to his old ways, he finds himself going from a relationship that would have lasted forever to being on the menu.


Seven story concepts–and two-thirds of a screenplay–in only ten days. Lots of writing, lots of work, and lots of fun. This one is a lot newer than the past six, being something I originally conceived and tinkered with back in August of last year.

I always loved Tales from the Crypt for being a campy but still dark and morbid take on horror in which the wicked and selfish get punished. Twilight Zone episodes were morality plays abut people learning the errors of their ways (if sometimes a bit too late), but it was rarely a malicious lesson. But Crypt was frequently cackling at how it tortured its characters. And sometimes we just need to see the bad guy or some jackass get theirs.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


INT. BAR – NIGHT

A man, CARLOS, picks up a beautiful YOUNG WOMAN at a bar.

INT. LUXURY APARTMENT – NIGHT

In the darkness of a big, luxurious apartment, Carlos and the Young Woman fuck like animals.

And then his GIRLFRIEND, a slightly older, professional woman, returns home to find Carlos and the Young Woman mid-coitus.

The Girlfriend attempts to kill Carlos.

Carlos narrowly escapes.

INT. FRIEND’S APARTMENT – NIGHT

Carlos arrives at his FRIEND’s home, half-naked and exhausted, looking for sanctuary and a couch to sleep on.

The Friend, married with children, attempts to give Carlos advice about women but Carlos won’t hear it. He lives a wild life and he can’t help but give into his primal urges.

INT. BAR – NIGHT

As Carlos works his new job as a bartender, he meets a strange, alluring if OLDER WOMAN.

The two speak briefly and a spark passes between them. She’s not Carlos’ type but she is aggressive and knows exactly what she wants, not at all caring for baggage, embracing Carlos’ selfish and shallow personality.

INT. FRIEND’S APARTMENT – DAY

As he speaks with his friend, Carlos brings up the woman from work. That he might be a bit smitten by her allure as much as he is her wealth.

INT. BAR – NIGHT

At work, the Carlos and the woman continue to talk. He eventually agrees to meet up with her for a little private time.

SERIES OF SHOTS

Carlos and the Older Woman engage in a whirlwind affair, starting with a seemingly innocent public meeting, dinner and a movie, and then sex. Crazy, wonderful sex unlike anything he’s experienced before.

INT. APARTMENT – DAY

Carlos brags openly about his affair with the Older Woman. The places they go, the things they do. The things they do together.

INT. PENTHOUSE – NIGHT

After another exhausting fling that lasts until the break of dawn, as he prepares to leave, Carlos confesses to the woman that he enjoys their time together. That she gets him. She’s happy to hear it, as she’s developed feelings for him as well. There’s so much she wants to tell him. And so they set up a date to talk about things further.

INT. LUXURY APARTMENT – DAY

That night as he works, Carlos has a moment of weakness and hooks up with an old flame.

INT APARTMENT – DAY

Carlos confesses his failure to his friend, insisting it was a moment of weakness and nothing more. He really has changed. Really cares about his new flame.

INT. PENTHOUSE – NIGHT

Carlos confronts the Older Woman, guilt-ridden and ready to confess to his infidelity. He finds her in the shower, bathing in the blood of Carlos’ now-dead (ex-)Girlfriend.

The Older Woman reveals that she’s a vampire, that she believed Carlos would be the one she’d spend eternity with. But he’s just like all the others, unfaithful, selfish.

Carlos begs her for forgiveness, that he wants to spend forever with her. But it’s too late and she rips his throat open.

FADE TO BLACK:

THE END

W4M

SYNOPSIS

After catching her boyfriend red-handed, a young woman struggles to find peace in relationships again, refusing to trust someone new. And when she meets and begins dating a dashing and seemingly perfect man, she quickly becomes suspicious. But when she goes snooping, she discovers something far worse than she could have ever imagined.


An idea I originally conceived back in early 2014, I’ve been working on this for nearly as long. But as seems to be the case since the new year started, I’m happy with how this latest iteration on an old idea has come along. It’s still fairly lean, but the direction and structure is right where I think it needs to be.

Be sure to join me each night over on Twitch to chat along as I type like a monkey at a keyboard. 


ACT ONE

After a frustrated young woman, KELLY suddenly finds herself fired from her dead end job after an explosive incident with a customer, she returns home to her apartment only to discover that her BOYFRIEND is right in the middle of cheating on her. After a brief argument, the Boyfriend reveals he’s kicking her out right there and then.

ACT TWO

Stranded on the street with no place to go and her few personal belongings, Kelly is approached by a strange but dashing man, LIAM. Sympathetic to her plight, Liam offers her a place to stay–in the guest house at his beautiful suburban home–in exchange for becoming his housekeeper.

As Kelly adjusts to her new job and home, she’s surprised by the sudden arrival of a rude and out of control young boy–Liam’s son, CLARENCE. When she confronts Liam about this, he offers her more money and other incentives if she agrees to be the boy’s nanny while he’s in town.

After speaking to a close friend, ALLISON, Kelly comes to accept the role of Clarence’s nanny.

During a day out with Liam and Clarence, Kelly comes to see how good a man Liam really is. But she finds herself growing concerned and paranoid when the seemingly perfect man asks her out.

When she confides in Allison once more, Allison points out that all of Kelly’s fears are simply in her own head. That Kelly needs to learn to trust someone again. Besides, Liam is kind, good looking, and well-off. What’s not to like?

And with that bit of advice in mind, Kelly accepts Liam’s advances and offering for a date.

ACT THREE

With Clarence gone, Kelly and Liam finally go on their date. And over dinner and drinks, she learns what happened to Clarence’s mother and why Liam and the woman aren’t on speaking terms.

The two return home for more drinks only for Liam to discover that he has no corkscrew for the wine bottle. And when he leaves Kelly alone in the house for a brief period to pick one up at a local shop, she uses the time to search for any evidence that Liam isn’t as perfect as he seems.

And that’s when she finally finds it in the form of Clarence, who she discovers is locked up in a secret room in the wine cellar beneath the house (instead of with his maternal grandparents as Liam told her).

When Liam returns, Kelly runs off, claiming she received an emergency call from Allison.

Running to the safety of Allison’s apartment, Kelly tells her everything she heard. But Allison is not convinced. Instead, she insists that this is all a figment of Kelly’s imagination and self-destructive behavior. That Kelly simply wants something to be wrong so she can run away from this perfect relationship.

ACT FOUR

Sometime later, Kelly sneaks into Liam’s home while he’s out. There she discovers a way into the secret room in the cellar and finds Clarence caged and chained like some wild animal. (As well as the remains of the previous nanny and the missing corkscrew…)

When she attempts to free Clarence, Liam returns. He begs Kelly to stop, attempts to explain to her what’s going on. But when she refuses, he attempts to forcefully stop her.

And that’s when she fatally wounds Liam in self-defense.

She frees Clarence only for the boy to reveal himself to be a hideous creature that proceeds to attack Kelly, finishes off Liam, and escapes into the night.