MERRY CHRISTMAS EVERYONE!!
Have a great day. Whatever you are doing.
A pain relief blog detailing my despair at writing.
Level | Score |
---|---|
Purgatory (Repenting Believers) | High |
Level 1 - Limbo (Virtuous Non-Believers) | Very Low |
Level 2 (Lustful) | Moderate |
Level 3 (Gluttonous) | High |
Level 4 (Prodigal and Avaricious) | High |
Level 5 (Wrathful and Gloomy) | Extreme |
Level 6 - The City of Dis (Heretics) | Very Low |
Level 7 (Violent) | Very High |
Level 8- the Malebolge (Fraudulent, Malicious, Panderers) | Moderate |
Level 9 - Cocytus (Treacherous) | Moderate |
EXT. ATLANTIC OCEAN.There's some rhyme to it. But not enough to satisfy me. I will, like I said, go back at the end once it's all finished and add the rhyme. If I finish it at all. I kinda like what I've written so far. I added another two pages around 5pm today. Brining the total to six. I hope to write again tonight and maybe add another 2-5 pages.
A gigantic, crimson, cargo ship bobs through the delinquent Atlantic Ocean. Its fog horn sounds out into the weary, pitch-black, foggy sky. The plundering rain isn't shy about pummeling the surrounding area with seething droplets of clear water.
An airliner swoops over head. A human-shaped package drops down. An union-Jack parachute opens. The human shaped figure sinks down to the ship.
LESNAR (OFF)
You've been called into action.
JODIE SUMMERS (OFF)
What's the purpose?
LESNAR (OFF)
I can't give details here. It's highly classified. We will drop you over the Atlantic Ocean. The purpose of the mission will be revealed there.
JODIE SUMMERS (OFF)
Understood.
To Ian,
Thanks for sending your play through to us at Theatre503.
The piece has now been looked at by a number of people on our reading panel and it has been decided that this is not a project that we wish to pursue at the theatre.
We wish you all the best with the piece. It will be posted back to you in the next few days.
Yours Sincerely,
Steve Harper (Literary Co-Ordinator)
PAGE ONE: (2 PANELS)
PANEL ONE
Wide angle shot. Looking down an alleyway, that's about wide enough to fit a car through. On the right hand side, a two-story building of some kind. Some of the windows are boarded up. Others have been smashed. Some sharp, shards of shattered glass lay hopeless around on the cracked, oil-spilled, asphalt tarmac.
There's two sheet-metal garages below. Rusted. Corroded. They look worse for wear. Scrawled in paint across them are -- Keep Out and -- No Parking --.
A damaged metal fire escape lines up around the dilapidated building. The ladder has been lowered down. But it tilts to one side. Broken off it's hinges. Probably vandalized by local hooligans. Tipped over garbage cans spewing their trash to the left. Split black sacks with trash gouging out the side.
Coke cans, torn newspapers and other lightweight junk are being pelted around by the choppy, hurricane-force wind. Thick, impenetrable steam hisses out the sewer grates in the center of the shot. A rotten odor of feces circulates the surrounding area. This place makes hell look like Beverly Hills. You'd want to keep the paying tourists away, that's for sure.
The sky above the scene is blacker than coal. Dense, thunderous clouds surge across the sky like charging bulls, lost and aimless but packing a horrendous punch.
But in the hazy, cream-colored steam. We can make out a shadowy figure of a young girl running towards us.
CAPTION
20th March 2039 - Newcity, England.
PANEL TWO
The young girl comes into full view. It's JODIE SUMMERS. Jodie's a beautiful english rose. About seventeen years old. She's very cuddly, girl-next-door-type look. Jodie has an aroma of sweetness and innocence. Her shoulder-length pitch-black hair is in a loose ponytail. There's the odd few strands running down her young, ethereal face.
Her crystal-blue eyes sharply focused to her wrist. Jodie's staring shockingly at the time. She's clad from neck-to-toe in a cola-black, and rose-red lycra suit. The rose-red are over the limb-joints and breasts. And cola-black everywhere else. It's skin-tight. And molds to Jodie's subtle, fragile body. Which means, it leaves very little to the imagination.
Slugged over her left should is a Heckler & Koch PSG-1 sniper rifle. It swings in motion to Jodie's rapid movements.
The dire wind belts around newspapers, and coke cans. They rattle, and roll around Jodie's tired feet. The newspapers explode into the air, shot down the alleyway like a speeding bullet.
JODIE SUMMERS
Must hurry myself up. I don't have time on my side.
PAGE TWO: (3 PANELS)
PANEL ONE
Jodie crash lands on the puddle-infected deck. The force of the impact sends her almost to her knees. The Union Jack parachute flops down beside her. Tremendous frothy waves of salt-water smash over the side of the ship. They snake around the wooden deck, eating away at all the corroded steel.
The boat leaps up and down in the delinquent Atlantic. The hurricane force wind belts into Jodie's face. Causing her hair to dance around drunkenly on her head.
JODIE SUMMERS
Oomph!
PANEL TWO
The tornado wind pelts underneath the parachute. It surges it into the gloomy sky, dragging Jodie backwards. She has to fight it with every inch of strength in her slim-body. Jodie eases herself forward. Her face screwed up in pain. The chute flaps around violently from side to side.
More astronomical waves lash over the side of the boat. Striking the stone-cold metal like charging bulls. Thunderous rain plunges to the wooden deck. They hit everything in sight. The storm over the Atlantic grows ever more violent.
JODIE SUMMERS
Ugh!
PANEL THREE
A small panel up close with Jodie's parachute belt. Jodie's frozen hands tap onto the release mechanism. And the belt snaps loose.
SFX
PING!
PANEL TWO
Front of the ship. Jodie comes in for landing. She yanks on the strings, hard. There are hundreds of red and blue corroded metal containers dotted randomly across the ship. A few in shot for this panel. The heavens have opened up, and thousands of water-like missiles plummet down to the wooden deck.
They strike Jodie with savage vehemence. Her hair has become soaked to the bone. Water-droplets dribble down her exquisite face.
CAPTION
Just great. It would have to rain.
PAGE ONE:
PANEL ONE
A good shot of JODIE SUMMERS. Jodie's a beautiful english rose. Very cuddly, girl-next-door type look. She has an aroma of sweetness and innocence. Jodie has pitch-black hair, that's in a loose ponytail. With the odd few strands running down her young, ethereal face. Her crystal-blue eyes are focused downwards, towards something in the corner.
Jodie's parachuting through the brooding, grim midnight air. Impenetrable thunder clouds surge across the coal-black sky. They're like a herd of wild beasts running lost and aimless, charging with concrete force.
Jodie has an Union Jack parachute. She tugs on the chute strings trying her best, to guide herself through the hazy, black fog that dishevels itself across the boisterous Atlantic Ocean.
Mammoth sized Atlantic waves chandelle forward. Slicing, and dicing each other to pieces like razor sharps kitchen-knives. The whole ocean explodes with fierce intensity. The choppy gale-force wind howls violently to itself. It fuels the monsoon like gasoline in a oil-fire.
Just in shot, to the right: a gigantic crimson cargo ship bobs roughly up and down in the inclement seas.
CAPTION
Wednesday 31st December 2008.
CAPTION
Atlantic Ocean.
ACT I
SCENE 1
PRODIGY ENTERS. Curtain/lights are down.
Prodigy's a young, beautiful english rose. She's around twenty-two years old, and has shoulder length pitch-black hair. That has brilliant WHITE STREAKS glazed through it. On the LEFT HAND SIDE of her head, is a little PINK BOW.
PRODIGY
Welcome to the future. Twenty Forty-Four. To be precise. Capital City, England if you want more detail. The future isn't the best place for a young girl like me to grow up in. We have our fair share of crime, and disasters. I guess like anyone else. But what truly separates us from you is the rise of Mutants and Androids. I'm not a mutant myself but I live among them and they treat me as their own. I don't fit in with the Norms as we call them. Mutants emerged from the aftermath of the Nuclear War of Twenty-Twenty-Two. They have bodily deformities that have outcast them from traditional human society. And Androids? They appeared in Twenty-Thirty from Syntax. The leading technology company in the world.
(Pause)
My name is Amy Kathryn Anderson. In case you were wondering. But I prefer to call myself Prodigy. Most of the mutants do. How I got that name? That's beyond the time arc of this particular play. But you'll find out soon enough. When the time is right.
Prodigy EXITS.
AT RISE: WE'RE in Prodigy's quaint little office. There's a wooden desk, with a computer on, and a swivel chair behind it. Two ordinary chairs sit in front. Prodigy is at the window. The blind is half drawn, and she is looking out into the street. THUNDER, LIGHTNING and RAIN sweep across the street. It's not a nice night. Prodigy has a CIGARETTE in one hand, and with the other is peeping through the blind. The window reads - AMY ANDERSON, PRIVATE DETECTIVE.
PRODIGY
Ohhhh...!! Why isn't anyone coming? What am I doing wrong? I desperately need a new case to investigate. I'm running low on funds!
(turning away from window)
I guess I might as well call it a night. No-one's going to show up at this time. It's nearly 11pm.
(Inhales cigarette)
Hmmm.. That's better. Nothing like a good fag to calm me down. It seems to be my only friend these days.
(Crashes into swivel chair behind desk, and places head in hands)
Why did I take up this job?
(inhales more cigarette smoke)
It's all because I got that Sherlock Holmes novel, 'The Hound of Baskerville' for christmas when I was a kid. I knew it. I knew it right there and then that I wanted to be a private detective. But my dad he kept trying to talk me out of it. Maybe I should have listened to him now.
(Leans back, and inhales more smoke)
I need a fix-er-up-er.
(Opens top desk drawer and takes out a piece of wrapped up tin foil and a credit card)
This old thing has expired now. But I still have other uses for it.
(Unwraps foil and sprinkles a bit of the cocaine inside onto the desk, then uses the credit card to dice it into a thin line.)
This always does the trick when I'm feelin' blue.
(Digs into wallet, and pulls out five pound note. Rolls it up into a tube and sniffs the line of coke in one shot.)
Ahhh... That's better.
(Sniffs hard to ensure all the coke has gone up her nose, then rubs it.)
Oooooohh. I feel good all of a sudden. I could dance right now.
(Carries on smoking)
FOOTSTEPS approaching. Prodigy jerked forward in her seat, and waited for the inevitable knock.
KNOCK. KNOCK.
PRODIGY
(Douses out cigarette into tray, and folds her arms.)
Come in.
MRS. WARNER ENTERS looking rather distraught. She shakes off the rain from her UMBRELLA, and steps to Prodigy. Mrs. Warner is an elderly lady in her late fifties, with wrinkled skin, and thick sloshes of make up on her. She was wearing a pretty little red hat that was perched on top of her head. She looks posh, and fancy.
PRODIGY
(Smiling as cheerily as she could)
Can I help you?
MRS. WARNER
Yes. I've lost my baby. I don't often come to these parts, but my son wanted a toy from around here, and now....
(Sobs)
I've lost my baby!
(Sobs some more)
My husband will be so upset with me if I don't return home with him. I would go to the police, but it seems so trivial for them. I saw your office and wondered if you could help.
PRODIGY
I certainly can. Mrs...?
MRS. WARNER
Mrs. Warner.
PRODIGY
OK. Mrs. Warner. I just need to take down some details. Nothing to complicated. I'm sure this is a difficult time for you.
(Dumps tin foil into top draw, and pulls out a notepad and pen.)
So your name is Mrs. Warner.
(Writes it down.)
MRS. WARNER
(Sits down)
That is correct.
PRODIGY
And where were you last when he ran off?
MRS. WARNER
I was by the old haunted house. Just down the street. I turned my back for a brief second or two, and then he was gone.
(Wipes tears on napkin)
I hope you won't think of me as a lesser person because of it.
PRODIGY
(Writing down details)
No, No. Of Course not. It happens to all of us. Do you have any pictures of him that I could borrow for my search?
MRS. WARNER
All I have is this.
(Pulls of old, crinkled photo)
This is the most recent I have of him.
PRODIGY
(Takes photograph, and frowns.)
It's a DOG.
MRS. WARNER
Yes, Yes. He's my baby. You do pets don't you?
PRODIGY
Yeah. I guess.
MRS. WARNER
Thank you. Thank you. I can pay you quite handsomely if you find him.
PRODIGY
(Perks up in seat)
Really?
MRS. WARNER
Oh yes. We're a very wealthy family. My husband works for that Android company, Syntax.
PRODIGY
(Passes across notepad and pen)
If you could write down your details, that would be most helpful.
MRS. WARNER
(Writes down details)
There you go dear.
(Stands up.)
Call me the moment you find him.
PRODIGY
Will do.
Mrs. Warner takes her Umbrella, and EXITS. Prodigy leaned back in her chair, and lights up another cigarette.
PRODIGY
Damnit! Damnit!
(Thumps fists onto desk)
I thought I had a real case there.
(Breathes in smoke)
Never mind, I guess. A case is a case. Money is money. I hope I can make a lot for this. I don't particularly want to drag my sorry ass through these soggy streets looking for some over pampered Dog. But a Job is a Job. It all helps in the end.
(Stands up, and takes several puffs of cigarette before distinguishing it in the ash tray.)
Prodigy EXITS. END SCENE 1. (BLACKOUT)
PAGE THREE: (3 PANELS)
PANEL ONE
SIDE ON VIEW. Jodie sprints across the street. WE'RE about half-way across. Another alley-way just out of sight to the left. WE CAN SEE down the street. And mostly importantly the city-backdrop. There are hundreds of tall, glistening, depressing SKYSCRAPERS. With that odd DOME SHAPE at the top. And a nice needle rising high into the blackened air.
Jodie continues to PUFF, PANT and WHEEZE. Her PSG-1 slops from side to side in tune. The FULL MOON is dead center in the chilly-sky. A few clouds here and there, but the sky remains clear. Jodie's running over the sewer-grate. HAZY-STEAM swallows up her young-legs.
CAPTION
"This city stinks. Why did I ever move here? I was much happier in Great Yarmouth. Quiet, little seaside resort. Where everyone knows your name. Heaven."
PANEL TWO
BEHIND SHOT. Jodie dashed up the alleyway that's now in SHOT. WE'RE still at the beginning of it. To the LEFT-HAND SIDE is a broken, rotted wooden fence. Pieces of wood are missing from it. Some have half-collapsed. Graffiti has been spoiled onto it. Random slogans: FX, PRODIGY, 3:16.
Through the gaps in the fence WE CAN SEE overgrown grass that looks almost dead. It's a very dull GREEN-COLOR. There's a shopping trolley dump on it, as well as other heaps of household waste. To the RIGHT-HANDS SIDE is a building wall. It's covered by SOOT, DIRT and GRIME. There's chips in the brickwork.
A cracked set of concrete slabs that have spilled OIL on them lead up the alleyway. There's two METAL-TRASH CANS with the lids missing, and flies buzzing round the overflowing garbage. Also some BLACK-RUBBISH SACKS that have been dumped by them. Maybe there's a split in one where some trash creeps out of.
CAPTION
"Look at this city. How'd it get so bad? Do people round here just not care? Are people these days just too lazy to clean up?"
PANEL THREE
A SMALL PANEL skewed on the end. WE HOLD the same SHOT. But Jodie's disappeared up the alleyway. She's a mere shadowy figure now.
I've now read the play and I am afraid that, although I do see that you write well, it's just not to my taste. Obviously, my reaction is purely subjective.