An excerpt from my
scary screenplay Hospitality...
The story opens with a convenience store
robbery perpetrated by a trio of ne'er-do-wells, Cory, Annie, and Vern. Things
do not go as planned, and people die. This sequence is crosscut with the average
morning of a man named Henry. Henry rises from bed, paints while the morning
light is good, then gets breakfast for his aged father and himself. Everything
sounds normal in Henry's house, doesn't it? Except it isn't. And in the early
scenes it's nothing you can put your finger on. But something is
"off."
The escape in the car is derailed by a
flat tire, and the kids stop off in an empty field outside of town. Eventually,
they decide to steal a car from a passing motorist. To accomplish this, Cory has
Annie get all dolled up in a fairly trashy outfit, the better to lure middle
aged men to a meeting with their insurance adjuster.
Of course, the person they stop is Henry,
on his way back from town with some groceries. Annie plays her part well, and
gets Henry to stop. But Vern is off sinking their car in the river, and Cory
won't jump Henry alone.
WARNING - THE FOLLOWING EXCERPTS ARE R RATED. THEY
MAY CONTAIN ADULT LANGUAGE AND ADULT SITUATIONS. READER DISCRETION IS
ADVISED.
EXT. ROAD - MORNING
Annie glances up at Henry as she continues to
massage her ankle.
HENRY
Are you all right?
ANNIE
Not really.
HENRY
What seems to be the problem?
ANNIE
Out late. Party. Met a guy, seemed all right.
He brought me out here. You know. When I
said no, he kicked me out of
the car
and left me out here in the middle of nowhere!
The last few words she directs to the departed
“guy.”
ANNIE (CONT’D)
I fell asleep over there by the river. I heard a
car go
by a little while ago, as I was waking up, but I
couldn’t get out here in time.
HENRY
I guess that must have been me.
Not many cars out this way.
ANNIE
Well, I’m glad you came back. My ankle
is really hurting. Can you help me?
HENRY
I live close by, just got a few things in town.
Why don’t you get in? You could call someone
from my house?
Henry opens the side door. This is not going as
planned. Annie looks off as though she is thinking this over. She is actually
looking at Cory.
Cory mimes that he doesn’t know, looking around to
indicate he has no idea where Vern is. Annie looks back at Henry.
ANNIE
How close by?
HENRY
You can almost see it from here. Come on.
Let me offer you some hospitality.
ANNIE
You’re not one of those crazies? You’re not
going to turn out to be an axe murderer?
HENRY
Absolutely not. I don’t even own an axe.
Scouts’ honor. I’m Henry.
Not knowing what else to do, Annie pretends to
hobble to the car.
ANNIE
Uh, my name is An...gelina. I hope my
friends can find your place.
HENRY
Won’t be a problem. Angelina.
Such a pretty name.
Annie climbs into the car. Henry smiles as she
closes the door. He rolls the window up, closing Annie in with him. She watches
the window slide into place almost nervously.
[As the car drives off, Vern returns. Cory
berates him with much profanity and they start walking, hoping to find Annie
quickly.]
EXT. HENRY’S HOUSE - MORNING
Henry’s car pulls in along the driveway. The house
is set back a good distance from the road. The car stops near the house, and
Henry climbs out. Annie does the same, but slower, very on edge.
She looks back down the road.
HENRY
See, I told you it was close.
ANNIE
Yeah, but my friends still might have
a tough time finding the place.
Henry waves this off and opens the back door of
the car. He reaches in and pulls out the two brown paper bags of groceries. With
keys in hand, he turns and walks to the house, expecting Annie to follow
him.
She doesn’t. He turns back and sees her still
looking down the driveway.
HENRY
Aren’t you coming inside? You
still need to call your friends.
Annie casts one more look down the driveway, then
turns and walks nervously to where Henry stands by the door. Henry maybe starts
to realize something is hinky here. However, the curtain has risen, the play
must go on. But Henry can’t resist one little prod.
HENRY (CONT’D)
Your ankle seems to be much better.
Annie realizes she forgot her limp.
ANNIE
Yeah, I guess it is better. Guess being off
it for a few minutes did the trick.
HENRY
I guess so.
Henry unlocks the door and gestures for Annie to
precede him inside. She smiles anxiously, and goes in. Henry follows, and the
door closes with an ominous click. Once again, we stay on the door just long
enough to expect something else to happen. Finally, it doesn’t.
INT. HENRY’S KITCHEN - MORNING
Henry has taken the lead and walks in to the
kitchen. He sets down the grocery bags. Annie looks the place over as she eases
into the kitchen. There is a sign posted: “Enjoy our hospitality. We’re glad you
came to see us!” There are also small paintings here, the lightest in tone of
any we’ve seen so far.
ANNIE
This is a nice place. You have a lot
of paintings.
HENRY
They’re mine.
Annie looks at him like “of course they
are.”
ANNIE
Well, sure they are. It’s your
house...
Henry grins.
HENRY
No, I mean I painted them.
ANNIE
Really? Wow. You’re really talented. I like
your sign too. Hospitality. You said that out
on the road.
HENRY
Thank you, Angelina. Yes, my father always
encouraged having guests, and treating them well.
ANNIE
Do you live here alone?
HENRY
No, my father lives here with me.
Annie starts slightly at the change in tense. This
day started off bad, and just keeps adding more complications.
ANNIE
Uh, you can make that Annie, I guess.
Where is your father?
HENRY
Annie it is then. I’m afraid Father is not well.
He
sleeps most of the time. Actually, I need to
check
on him, and put these groceries away. Do you
need to freshen up?
ANNIE
Uh, sure. Yeah, that would be good.
HENRY
Bathroom’s first on the left down the hall.
But first, let me show you this.
Annie is not sure what he means as Henry steps
over to a small fusebox looking box on the wall. He opens it and flips the
switch inside.
We flash to the front door, the back door, and a
shot of the windows. Each time, there is a soft CLUNK that sounds like a lock
being thrown followed by a soft and steady electrical HUM.
None of this can be heard in the kitchen.
HENRY (CONT’D)
There. I just turned on the light over my
mailbox.
Now your friends will have no problem finding
this place.
And you can make your call as soon as I check
on
Father. First door on the left in the
meantime.
Annie smiles and walks down the hall. Henry smiles
back, but the smile fades after Annie disappears and he starts to put away the
groceries.
EXT. ROAD - MORNING
Cory and Vern walk along, scanning each side
looking for some sign of Annie or Henry’s car. They come upon Henry’s driveway.
As they stop to look at it for a moment, the sharp
eyed will see the mailbox, which is brightly painted to look like a rather
strange fish, the first dimensional representation of Henry’s art that we’ve
seen.
And no, there is no light over it at all.
VERN
Is this it?
CORY
Hell if I know. I don’t want to go to the
wrong place and get some nervous nellie
farmer calling the cops.
Vern calmly pulls out his pistol. Cory sighs and
shakes his head.
CORY (CONT’D)
And I don’t want to leave a string of bodies
across the county. Let’s go further down,
see if we see the car.
Vern reluctantly agrees, puts his gun away, and
they walk on.
INT. HENRY’S HALLWAY - MORNING
The door to the bathroom opens quietly. Annie
peeks out, then slips out into the dimly lit hallway, trying not to let her
heels clatter on the floor. The walls here are also covered with several framed
pieces.
Down the hall, Henry putters and puts away
groceries, humming to himself. Annie turns and walks down the hall the other
way.
She comes to a closed door, and puts her hand on
the knob. She watches back down the hall, but Henry continues to make noise in
the kitchen. She debates opening this door, which could creak, or walking down
to the last door, which is open.
She lets go of the doorknob and creeps on down the
hall. She peeks carefully around the door frame.
Inside the room, there is a figure lying in the
bed. It is very still, and does not show any signs of life. With another peek
back to the kitchen, Annie slides into the room.
INT. HENRY’S SECOND BEDROOM - MORNING
Surrounded by Henry’s art, Annie’s eyes adjust to
the even more dim light here, and Annie can see that the figure appears to be a
very old man, with gray hair and an ample gray beard. There is still no sign of
obvious life.
Annie steps closer, and finally, unable to resist,
reaches out a hand to the figure’s foot and gives it a gentle shake.
Instantly the figure’s eyes snap open, startling
the hell out of Annie, who reels back. The figure flops and writhes, absolute
stark terror in the eyes. No speech, but a muffled mumbling can be heard. Now it
can be seen that the figure is restrained in the bed. Annie turns to run
away...
...and finds Henry standing right behind her, rage
in his eyes. He grabs Annie and hustles her out into the hallway.
HENRY
(very angry)
What are you doing?
Why did you do that?
ANNIE
What’s wrong with him? Why is he
so scared? And why is he tied
up like that?
HENRY
(very angry)
He is a very old, very sick man. He is terrified
of just about everything these days, especially
strangers.
And in his confusion he cannot be left to fall
out of
bed, or wander around the house and hurt
himself.
This explanation calms Annie somewhat. Henry also
relaxes a bit.
ANNIE
I’m sorry, Henry, I heard a noise...
HENRY
It’s all right. I’m sorry I snapped. I need to
get him calmed down, and seeing you again
won’t help. Will you wait in the kitchen
for me?
ANNIE
Yes, of course.
Annie walks back down the hall to the kitchen.
Henry watches her until she disappears around the corner, then he walks into the
bedroom. The figure reacts again, still terrified.
HENRY
I’m sorry, Father.
He walks over to the dresser and picks up a small
case. From inside he draws out a hypodermic needle, which is already filled. He
squirts the air out as he approaches the bed. The figure on the bed mumbles
incoherently again in the same muffled way.
HENRY (CONT’D)
But it’s for your own good.
The figure on the bed tries to jerk away, but
cannot escape.
INT. HENRY’S KITCHEN - MORNING
Annie waits nervously. She eyes a butcher block
full of knives, even slides the largest partially out, then decides against it
and lets it fall back.
After a moment, Henry walks back into the room. He
seems to have regained his composure, though maybe it is now a bit
brittle.
HENRY
There, he’s settled down now.
ANNIE
God, I am so sorry, Henry.
HENRY
It’s all right. So much upsets him these
days. Now, how about that phone call?
Annie has no desire to make a phone call, but
still doesn’t what to do.
ANNIE
Uh, sure.
HENRY
Phone’s right over here.
He gestures to an old cordless phone mounted on
the wall. He takes the handset off and gives it to Annie.
It feels strange, and she hefts it as though the
weight is off.
ANNIE
Henry, I don’t think there are
any batteries in this phone.
Henry slides closer as though to take a look.
HENRY
No, there aren’t. Oh, and Annie?
I was never a scout.
Annie tries to move but she’s let Henry get too
close as he pulls the same hypodermic up from where he’s been palming it and
slams it into Annie’s upper arm.
Annie turns and grabs for the knives, but only
manages to get the largest back out and turn before crumpling. The knife
clatters harmlessly onto the floor beside her.
Ooooh boy! That's gonna be trouble! From there,
very bad things begin to happen. Who will survive, and what will be left of
them?
That's about 8 1/2 pages out of a 98 page
screenplay - if you have cash in the six figures range lying around you're not
using, please let me know - there's an Executive Producer credit waiting for you
on this bad boy!
Til next post, you Can Poke Me With A Fork Cause I
Am Outta Here!
