Entries tagged with scripts

Crossposts: https://jeriendhal.livejournal.com/1324444.html

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FIC: Standard Issue

This work originally appeared on my Patreon page. Please consider supporting me on Patreon to this and other, original stories at least 30 days in advance of the public.

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Dramatis Persona:

Mack Blaster: The hero of Just Blast-Cause VII.

Mission Control: A voice with an Internet connection

Scene: Mack arrives on the beaches of Genericstan, armed only with a pistol.

Mission Control: Okay, we lost all of your equipment in the crash, so let's go through a com check to make sure what you got left is still working.

Mack: Oh, come on. Do we have to do this every single time?

Mission Control: Do what?

Mack: Do the stupid beginner tutorial like we do at the start of every game!

Mission Control: I don't know what you're talking about. Now move forward and….

Mack: Argh! I mean this! Left stick to move, Right stick to control the camera, X to jump or interact, R1 to lock onto a target, R2 to fire, L1 brings up the radial menu, L2 does something later in the game. the d-pad is my quick items, O is for my special abilities, and the touchpad brings up my map because no one ever figured out what else it's good for. It's basically the same set up for every first or third person perspective console game since the 2000's, unless you're playing on a Piin-tendo and they make you use, I don't know, an animatronic elephant nose strapped to your face or whatever! Why do we have constantly break immersion to do this when every kid born knows this shit by the time they're ten?!

Mission Control: "Piin-tendo?"

Mack: Legal couldn't secure the rights for the actual name.

Mission Control: Whatever, just play along.

Mack: Nope, not gonna. Just put a waypoint marker up so I can get a weapon better than this POS pistol.

Mission Control: Fine. Don't blame me if you fall off the edge of a cliff because you didn't know…

Mack: Square to grab the edge of a cliff.

Mission Control: What if you'd forgotten...

Mack: Is this one of those stupid games where you've got a fatigue meter when you're climbing?

Mission Control: ....no.

Mack: Then shut up and let's get on with this.

Mission Control: I hate you.

Crossposts: https://jeriendhal.livejournal.com/1307203.html

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Script: The Next Starfighter

A little 80's nostalgia, for Ryk Spoor

BLACK SCREEN

S/FX: The old tinny Starfighter video game opening music.

Centauri: (v/o) Greetings, Starfighter. You have been recruited by the Star League, to defend the Frontier against Xur, and the Kodan Armada. Get ready. Prepare for blastoff!

( Some things should remain in the past )

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Batman '42, Quinn's Analysis

A short little scene from my unwritten Batman '42 serial script that's been brewing in my head, riffing off the original really, really racist and awful WWII era Batman serial.

With apologies to

siderea for having a character do a psychological analysis without directly interviewing the subject...

* * *

SCENE: In the Joker’s lair after his latest defeat by Batman.

Joker: I can’t believe it! Who does Batman think he is, anyway?

Harley: Pewsonally I think he’s Bruce Wayne.

Joker: (blinks in surprise) How’dya figure that one?

Harley: Well think about it. Batman has that car and all those fancy gadgets, and the martial arts training. Bruce Wayne has the money t’ pay that sort of thing, and he disappeared into the Orient for several years, plus he likely suffers from deep-seated trauma and possibly a psychotic break due to his witnessing the murder of his parents at a young age. I’d also conjecture that he has deep-seated issues with his sexuality, what with never marrying and the string of girlfriends he never seems to get past second base with, and the fact that Batman runs around all night wearing a black rubber suit.

(BEAT, as everyone in the room stares at her like she’s grown a second head)

What? I am a certified psychologist, after all.

Joker: (looking uncomfortable) When you put it that way, that makes his relationship with the Boy Wonder a bit disturbing.

Harley: Not necessarily. Given Batman’s usual reaction to sexual abusers, I’d conjecture that their relationship is strictly platonic, with any feelings in that direction severely repressed.

(Joker looks at her cross-eyed for a LONG BEAT)

Joker: (exaggerated patience): Harley dear, why don’t you go feed the hyenas?

Harley: Okay! Tra-la-la-la-la!

(she skips cheerily out of the room.)

Joker: Harley thinks Bruce Wayne is Batman? Sheesh! Sometimes that girl makes me look normal!

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Batman '42: Lair of the Riddler

Just an excerpt from an Elseworlds story I've had bouncing in my for a couple of years, set during WWII, as an answer to a really terribly racist Batman serial that Columbia Pictures released in 1943.

( Cut for period appropriate racism )

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From the Movies in My Head Dept., 24 Hours Round

Establishing Shot: Helicopter shot of a narrow ring road surrounded by trees circling a hilly countryside.

Narrator (Michael Caine or similar Classic British Actor): Ladies and gentlemen, this is the Nürburgring. Proof positive that the Germans love cars, by showing the world how willing they are to destroy them.

FAST CUT: A mob of cars zooming past the starting line.

It’s longest, oldest auto racing track in the world. There’s almost thirteen miles of tarmac, with over a hundred and fifty bends. Jackie Stewart called it “The Green Hell.” Frankly, I think he was being a bit generous.

FAST CUT: Cars going rounds a chicane.

It features the Carousel, a horseshoe shaped turn specifically designed to destroy a car’s tyres and suspension.

FAST CUT: A BMW racing car sliding off the Carousel onto the grass.

It has a straightaway over a mile long, which lets you build up just enough speed to kill yourself when you come to the hairpin at the end.

FAST CUT: Helicopter shot of cars racing along it.

Since it opened in the 1920’s, well over two hundred people have died driving it.

FAST CUT: Another racing car, rolling over and over, shredding body panels as the engine explodes.

And for twenty-four hours, you will be racing around it in this.

CUT TO: A very ordinary and slightly dented Morris Mini, with four teenagers dressed in fireproof racing jumpers standing in front of it, their helmets under their arms, while Michael Caine glowers at them.

First Driver: We are so dead.

MONTAGE: The four teens stripping the Mini down and rebuilding it into a compact little racer, testing it on a track, while Narrator continues…

NARRATOR: We are not going to win this race, not in that thing. The other teams are better funded, better equipped, better trained. We haven’t a prayer on that score. But we are going to finish. Fifty percent of entries into this race never do, but we will. And you’re all going to drive like you’ve got the Devil behind you, because if you don’t you’ll have me

CUT TO BLACK. FADE IN TITLE CARD:

24 Hours Round

Summer 2014

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FYS: Scripted Opening

I know I need to get today's drabble out, but I got inspired by nifty animatic produced by a friend of Wazzy, based on a scene she'd sketched out with her characters. So here's a look back at the very first For Your Safety story, showing what happened just before the story's actual start.

SCENE ONE

Establishing Shot: A panoramic view of a small town in a heavily wooded valley in late winter, pine trees everywhere, melting snow, gray early morning skies. We TRACK IN to see the main street are empty, quiet. Visible are a low, three story office building, a strip mall, a small hospital with a helipaad, and a community center with a pool seperating downtown from some neighboring houses. The only sign of something wrong are a couple of cars sitting askew on the street or partly on the sidewalks. No people are visible. Everything is silent except for quiet birdsongs.

FOCUS ON a hospital rooftop, a rescue helicopter sitting quietly on its landing pad.

CLOSE UP to the front windscreen of the copter. Two identical FOXMORPH PILOTS sit in the cockpit, staring forward, unblinking, unmoving. Visible in the cabin behind them are an identical pair of FOXMORPH PARAMEDICS, also absolutely still.

CUT TO: The community center. An OTTERMORPH lifeguard sits on a raised chair overlooking a pool choked with algae.

CUT TO: The main street again. Several CONSTRUCTION VEHICLES followed by a large MOVING VAN rumble down the street. The construction vehicles stop in front an office building, across from a small strip mall. The moving van turns down a side street. From the lead construction vehicle a half dozen identical BEARMORPHS climb out, wearing hard hats and orange safety vests. As a couple of them turn away, we see blinking control panels on the backs of their heads, marking them as anthropomorphic robots.

The bearmorphs take out poles and yellow tape. CLOSE UP on two stakes, as the tape is secured between them with the words FOR YOUR SAFETY centered in the audience's POV.

( SCENE TWO )

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SCCtM: Teaser Trailer

Screw the poll, I’m doing this anyway.

* * *

FADE IN: The 21st Century Foxen logo. Gradually it turns from gold to green, as we hear a Theremin play “Jingle Bells”.

FADE TO: The front yard of GRANDMOTHER’s house, a pleasant looking suburban home in upstate New York, with the first snow of winter coming. Grandmother is upset and being questioned by two COPS.

FIRST COP (Mike Nelson): All right, ma’am. You said that your two grandchildren were kidnapped?

GRANDMOTHER (Pia Zadora): Yes! They took them right out of my backyard!

SECOND COP (Kevin Murphy): Who took them, ma’am?

GRANDMOTHER: The Martians!

FIRST COP: Martians, ma’am?

GRANDMOTHER: Yes! They took them right into their spaceship!

FIRST COP (patiently): How do you know they were Martians, ma’am?

GRANDMOTHER: They were green men in a green flying saucer and they took Billy and Betty up in a bright green beam of light!

(She sees they aren't believing a word of this.)

Oh, don’t look at me like that! You believe in Santa Claus, don’t you?

(The two cops trade a “We’ve got a real nut job here” look)

SECOND COP (exaggerated patience): Ma’am, Santa Claus is real.

CUT TO: Back screen, the Men in Black theme rising in volume as the NARRATOR speaks.

NARRATOR: Coming this holiday season, an out of this world adventure.

CUT TO: NEWSMAN at his desk, addressing the camera.

NEWSMAN (utterly serious): The White House has confirmed that there is no doubt in recent reports. Santa Claus has been kidnapped by Martians.

NARRATOR: As Santa’s workshop goes interplanetary!

CUT TO: KIMAR (Liam Neeson) is addressing SANTA CLAUS (John Goodman) in his throne room.

KIMAR: We need you to provide toys to the children of Mars.

NARRATOR: So get ready for action!

CUT TO: BILLY and BETTY being chased by a CGI polar bear across the North Pole.

NARRATOR: Adventure!

CUT TO: Martian saucer narrowly missing the ISS as it heads towards Earth.

NARRATOR: And magic!

CUT TO: A V-22 Osprey tilt-rotor aircraft cross through the Aurora Borealis, transforming into a life-sized wooden toy duplicate of itself.

CUT TO: Title card, repeated by the Narrator.

Narrator: Santa Claus Conquers the Martians!

CUT TO: Santa, standing in front of a mountain of toys, MARTIAN CHILDREN looking up at him adoringly.

SANTA: Ho! Ho! HO! Merry Christmas!

(Music comes to a crescendo, then stops abruptly as the screen CUTS to BLACK for a moment)

CUT TO: CLOSE UP of BULMAR (Tim Curry), looking grumpy.

BULMAR: All this trouble over a fat man in a red suit.

END