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ThePunkAlien Offline
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Arrow HOWLING AT THE MOON - December 3rd 2009, 12:58 AM

This thread has been labeled as containing spoilers. The contents of this thread might therefore describe important elements of a storyline that could ruin it for you. Please take this into consideration before continuing to read.

The following is a scene from a film I'm writing that will most likely be produced within a couple of years. I'm a Warner Brothers intern and I'm partnered up on the project with the son of an academy award winner in practical effects (recent credits include 'Wolverine' and 'Vampires Assistant'). I'm hoping for Warner Brothers: Dark Castle (the horror branch of the sub-company I interned with) to be the company to pick it up.

EXT. CITY STREETS - EVENING

The city, bustling with activity. JOHN (21) and JENNIFER (19) stroll through mid-conversation.

JENNIFER
You’re sure everything’s fine?

John remains silent, avoids eye contact.

JENNIFER (CONT’D)
I’m just curious, that’s all, I mean I’ve told you all about my family and yet from you it’s nothing--

JOHN
Why so interested?!

JENNIFER
Why so defensive?

JOHN
Because my family’s kinda screwed up...

JENNIFER
So is everyone else’s.

John quiets down.

JOHN
I know it’s just, agh, it’s so difficult to explain. My father, he, he really fucked me up alright?!

JENNIFER
He was abusive?

John sighs, he stops and looks out over the traffic.

JOHN
No, I never even knew him. But, he wasn’t a good guy, Jennifer. And not even knowing the man, somehow I innately fear the guy, you know?
(Empty remembrance)
That’s the only thing he ever gave me - fear.

JENNIFER
Fear of what?

John closes his eyes, it almost pains him to admit this.

JOHN
Myself.

John looks back at Jennifer, defenseless, guard down.

JOHN (CONT’D)
That somehow I’ll become him.

JENNIFER
You’re a good guy John, you came to help me when no one else would.

John looks into her eyes.

JOHN
I just, I don’t know anymore...

John continues on his way, Jennifer follows. Jennifer takes John’s hand, John grips onto it for support.

Jennifer spots a sign up ahead reading: MISS ALDEN: COME AND HAVE YOUR DESTINY READ. Jennifer playfully tugs John towards it.

JENNIFER
Come on.

John reluctantly obliges. They enter the building.

INT. MISS ALDEN’S - EVENING

The lights dim, candle light flickers through the room. John and Jennifer make their way through, passing an array of black magic tokens hanging from the walls.

Jennifer spots MISS ALDEN, in her late fifties, sitting at a table with a turban wrapped around her head. Etched into the floor, surrounding the table, is a devil’s trap.

Miss Alden turns to face John.

MISS ALDEN
Welcome, my name is Miss Alden.

John warily eyes her.

MISS ALDEN (CONT’D)
Don’t be discouraged, come and have a seat.

Jennifer playfully pushes John forward. John takes a seat. Miss Alden grabs his hand and traces her fingers along his palm.

MISS ALDEN (CONT’D)
You are filled with energy, my boy. Such negative energy, I’m afraid.

Suddenly Miss Alden jolts. The Candle light flickers. Miss Alden’s eyes roll back.

EXT. FOREST - NIGHT - SURREAL

A wolf runs through the forest.

EXT. STREETS - NIGHT - SURREAL

The jaws of a wolf, salivating, attacking.

INT. MISS ALDEN’S - EVENING

John watches on in horror as Miss Alden squirms around and mumbles incoherently.

EXT. SKY - NIGHT - SURREAL

The clouds part to reveal a full moon.

INT. JOHN'S APARTMENT COMPLEX - ELEVATOR - NIGHT- SURREAL

John screams in agony as he rips away his flesh. His eyes blanket over yellow.

INT. MISS ALDEN’S - EVENING

Miss Alden’s eyes flash open, she turns to face John.

MISS ALDEN
You’ve been marked.

Miss Alden grips tightly onto John’s hand. John pulls away and stumbles back.

JOHN
No.

Jennifer watches on, eyes darting between them. Miss Alden eyes John with sympathy.

JOHN (CONT’D)
No.

John runs. Jennifer follows him out.

EXT. CITY STREETS - EVENING

John rushes through the streets, thoughts racing. Jennifer quickly approaches. She reaches out and grabs him. John jolts and instantly spins around.

JENNIFER
What is it? What’s wrong?

John remains quiet, eyes dart around.

JOHN
It’s not safe to be around me anymore.

JENNIFER
What do you mean, not safe?

JOHN
You wouldn’t understand.

John continues to walk away. Jennifer follows.

JENNIFER
Tell me what’s bothering you. Maybe I can help.

JOHN
No. You can’t. If what she said was true, no one can help me.

JENNIFER
She was probably just trying to scare you, does it to a lot of the customers.

JOHN
No, it’s more than that... it’s...

JENNIFER
What? Just tell me what it is.

John stops. He inhales taking in the city around him. Jennifer places her hand on John’s cheek, he leans in to it then pulls back.

JOHN
I can’t. Not until I figure some things out for myself, I’m sorry Jennifer... I just, I can’t.

JENNIFER
Don’t push me away.

John stares up at the sky. Sweat pours down his forehead.

JOHN
I have to go.

John runs off, leaving Jennifer behind.

The film is a metaphor for my life. My greatest fear has always been becoming my absent father. The anger I feel burning inside of me, sometimes to the point of pure primal carnal rage comes from him. From what I could decipher he was a criminal. And if I'm the son of a criminal, what does that say about me? Especially when, at times, I've responded the same way I know he's responded to things because of the few details I do know... and then, how much do two things have to be alike before they become the same? It's a curse that makes you howl at the moon. Thus, in a weird and twisted way it's a father/son film.
   
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MadPoet Offline
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Re: HOWLING AT THE MOON - December 3rd 2009, 01:23 AM

Wow, this is really good! I don't know much about script writing, but I found this extremely interesting. If this becomes a movie I would definitely want to see it.
Make sure to let us know its outcome





A lonely soul in a land of broken hearts


   
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