Wave of Mutilation

Subject: Wave of Mutilation Fri Dec 07, 2007 7:25 pm

I've been messing around with this song's lyrics for a while now and I think it's time I do something with it... Look out for this screenplay, guys. It's my pride and joy.

Subject: Re: Wave of Mutilation Fri Dec 07, 2007 7:31 pm

Cool man can't wait to see it.

Subject: Re: Wave of Mutilation Fri Dec 07, 2007 8:01 pm

GO KEVIN!!!!! WOOOOOO!!!!

Subject: Re: Wave of Mutilation Fri Dec 07, 2007 8:17 pm

Thanks, guys. Just so you know: this is a little different story from me. It's nothing like anything I've ever written before. It's a screenplay revolving around an average guy's life. It may be to know this has nothing to do with super powers nor is there any action... Well, not much action. Think more like the movie Crash...

Subject: Re: Wave of Mutilation Fri Dec 07, 2007 8:20 pm

That's okay Kevin! Not every story written has to have powers in it and/or action. As long as it's well written, and with you at the helm believe me it will be, then that's how it matters. What makes a story great is how it's written not what it's about! I can't wait to read it!

Subject: Re: Wave of Mutilation Fri Dec 07, 2007 8:22 pm

Thanks. I thought I'd point that out before actually posting the chapters... Say, you want a preview?

Subject: Re: Wave of Mutilation Fri Dec 07, 2007 8:24 pm

Sure! You bet I do! Sounds like some good stuff!

Subject: Re: Wave of Mutilation Mon Dec 10, 2007 6:25 pm

Cease to resist, given my goodbye
Drive my car into the ocean
You'd think I'm dead, but I'd sail away
On the wave of mutilation
Wave of mutilation
Wave of mutilation
Wave...
Wave...

WAVE OF MUTILATION - PT. I

FADE IN:

INT. BEDROOM -- EARLY MORNING

We're introduced to a character's bedroom. Posters vary from bizarre pictures of a maelstrom of fire in hole next to a pile of dirt and a shovel to retro Elvis montages. This isn't something you'd expect from a guy stuck in a cubicle for a living.

The clock's alarm rings obnoxiously.

The red hues state it is 5:40 A.M. The blare goes on for three seconds until a hand pops out and presses the off button.

We see the bottom of the bed and a pair of feet in socks slowly touch the ground.

INT. BATHROOM -- NEXT

We see the sink.

A tootbrush and Colgate are picked up from the mirror door to the left of the sink.

Hot water rushes from the faucet as the toothbrush, already tipped appropriately with some paste, is placed underneath it.

We then see our guy's face's reflection: Roland Gone (20's) wearing a wife-beater. As he is about to close the mirror door, he stops to stare at the mirror. Shaved head... tan... some mild bags under his eyes... not too bad-looking... has a helluva five o'clock shadow.

He closes the mirror door.

While brushing his teeth, we go to his pair of onyx jeans. They're placed on a chair. On the back pocket, we can see his wallet with his driver's license sticking out. He looks oddly jolly in the Kodak-moment picture. He actually looks happy to be at the damn DMV. He has a smile a mother could only love.

We hear the faucet water cease. Roland walks to the jeans and puts 'em in his Nike duffel bag.

EXT. L.A. RESIDENTIAL STREET -- DAY

We see the exterior portion of the house-- pretty damn disappointing. Lawn's ugly like shit... the roof has some worn-out Christmas lights even though it's Summer time... the house looks like it at one point used to be white, but is now hard to figure out... the garage door opener's not working so the poor bastard has to park his ride out...

Roland pushes open the door, with the bag on his right shoulder now wearing a business suit: a shirt with a red tie, some good-looking shoes, and a pants with a regular belt. He shows us his back and pulls the door and gets his keys to lock it.

We get an upclose shot of his face as he turns around. He squints toward us. He sticks his right hand into his pocket to pull out his glasses. He puts them on and looks towards us one more time.

We're then treated to his point of view. (P.O.V.) Just a couple miles ahead of us, there's a faint reverbration.

We're taken out of the P.O.V. and the first thing we see is Roland shakes his head.

We then see a white flash bathe him while he looks down.

Another trip we go through his P.O.V. one more time as he looks up and sees a mushroom cloud.

INT. ROLAND'S BEDROOM -- MORNING

It turns out it was all a nightmare as Roland rises up from his bed in fear. It's too dark, so all we is see is his silhoutte.

ROLAND
Ho... Oh, my God...

Closer shot of the silhoutte. Roland palms his right side of his face. He starts breathing deeply, as if out of oxygen.

He tosses his blanket aside.

He plants his feet onto the ground and places both hands onto his face, pushing them up to his head then to the nape of his neck.

The clock's alarm rings. Roland glances towards it: déjà vu.

He turns it off and shudders his head. He then gets up to brush his teeth.

We look through a window where he soon passes. A couple seconds later, Roland steps backwards and halts to look at us.

Inside the house, through his P.O.V. we recognize the outside as the spot where the mushroom cloud formed.

INT. BATHROOM -- NEXT

Before pulling out his toothbrush and paste, Roland cups his hands and leans forward to thrust the water to his face. He picks up a towel to dry his face and then commences brushing.

EXT. L.A. RESIDENTIAL STREET -- DAY

Not unlike the earlier scene, he comes out the door and locks it with his uniform and duffel bag.

He walks towards his shiny sandy-colored Honda Accord. As he does, he clicks a button from his remote control, deactivating the car's lock.

He gets on and throws the bag onto the passenger seat.

He then fixes his rear-view mirror, looking again back at the cloud was.

He sticks his key and starts the engine along with the radio.

He turns his torso to look back to reverse and grabs onto the passenger seat.

We see him reverse and haul ass.

EXT. INTERSTATE 110 -- NEXT

Roland's on the freeway, moving at a snail's pace by the rush hour he's currently in.

He happens to be wearing shades because of the powerful sunlight giving him a glare. The radio is currently playing Rockit by Herbie Hancock.

We see another side of Roland as he nods his head to the beat while sticking his lips out like a fish while his eyes are hidden behind the ominous shades.

We watch him as if we're in the passenger's seat. Roland looks to his left at the car next him. He notices the driver with horn-rimmed glasses (40's) is by himself.

The driver then slowly and suspiciously raises his right index finger to pick his nose. The driver continues to look forward, oblivious to the fact he happens to be picking a winner.

Roland continues to stare, smirking with his eyebrows cocked. As a result, the driver looks towards Roland, still with his index finger stuck in his nostril. Roland looks away, back to the road, awkwardly.

EXT. DOWNTOWN L.A. -- NEXT

Roland has found his way to Downtown Los Angeles and he happens to be on his BlackBerry Pearlon his right hand, while driving with his left, talking to God-knows-who.

ROLAND (to the phone)
Look, if I had the time to... No, of course n-- no! Look... call me back after work. I'm late as it-- fine.

He hangs up abruptly, sour.

He takes a sharp turn towards a parking garage.

EXT. PARKING GARAGE ENTRANCE -- NEXT

Roland moves towards the level crossing, blocking him from entering the complex.

He lowers down his window to reach out to press the button to recieve his ticket.

The level crossing ascends, allowing Roland to move forward to meet a greetful Donald Roberts (50's) inside the tiny shack.

He hands the ticket to Donald.

ROLAND
What's happenin', Donny?
DONALD
Oh, same old, same old, Mr. Gone.

Donald stamps the ticket, giving him the day to have the car parked there, all the while shining a warm smile.

He hands it back to Roland.

ROLAND
You take care of my pride and joy now, Donny.

DONALD
Of course! See ya later, Mr. Gone...

Donald waves to Roland as he looks for a spot.

INT. PARKING GARAGE -- NEXT

Roland moves up the ramp and finds a corner to park his ride.

He parks near a black Mustang.

After turning off the engine, he takes off his shades and takes a look at his right wrist watch-- he's late.

INT. DOWNTOWN BUILDING -- LATER

We're shown a secretary filing her nails behind the central desk, in front of twin elevators. Her name's Melissa Reynolds (30's). She has strawberry-red hair and has a headset on hanging on her neck.

Roland suddenly busts in, coat and duffel bag in hand.

Melissa doesn't even bother looking towards him. Instead she concentrates on her nails, much to his chagrin.

MELISSA
You're late.

ROLAND
Yeah... I know.

Roland walks past the desk and presses the button for the incoming elevator.

It dings and the doors on the left elevator open.

He quickly enters.

MELISSA
Don't worry. I told them your cat died.

Roland stops the doors from closing with his hand while squinting.

ROLAND
What?

We see Melissa's back sitting on the chair behind the rear-end counter of the desk through Roland's P.O.V.

MELISSA
Just get your ass over there already, Ro'...

Roland cocks his left eyebrow in a confused manner.

He removes his grip from the doors. They close...

INT. SEVENTH FLOOR -- NEXT

...And open on the seventh floor.

He walks down the hall of cubicles. As he passes, some colleagues of his greet him.

GUY #1
Yo, Ro'.

GUY #2
'Sup, Roland?

Roland merely attempts mild smiles and eventually gets to his own cubicle.

He looks forward to his computer and notices a Post-It placed on its screen.

He removes it and examines it.

We have no idea what it says, but Roland suddenly turns around quickly.

Matt Youngg (20's) happens to be leaning on the wall, sipping from his mug. The guy has a similar outfit to Roland's. He has curly brown hair and a small beard. His glasses happen to be somewhat bigger than the norm, making his eyes kinda wierd lookin'.

MATT
How's life, Roland?

Roland sighs in relief and chuckles.

He then turns his chair back to his computer.

Matt walks towards him as he sips from his mug. He then leans his ass to Roland's desk placed on the right side of the cubicle.

ROLAND
What's with the note, asshole? You tryin' to scare the living shit of me?

MATT
Ah, just busting your balls... You noticed how crappy it is to be working here? I gotta entertain myself somehow, right?

Roland turns on his computer. A desktop of a monkey with a halo on its head appears with assorted programs.

MATT
Hey. You see the news today?

ROLAND
Uhhh... no. Why?

Matt tosses the OC Register to Roland.

MATT
Check out page eight.

A picture of a group of people covered in blankets, crying is promoted next to the article.

MATT
Apperantly, there was a nuke off in Peru.

Roland's eyes widen.

He skims through the article.

ROLAND
A nuke?

MATT
Yeah. It's weird... During this whole thing... I was having this effed up nightmare of this... huge explosion. Took out the entire city.

Roland loses grip of the newspaper.

He then glances at Matt through the reflection on the computer screen. Matt's looking down to the floor, absorbing what he just said.

ROLAND
An explosion?

MATT
Yeah...

Roland then looks back at the newspaper. He's starting to wonder just what the hell is going on. He doesn't mention the precog dream to Matt, though. He'd think Roland'd be full of shit, mocking him.

FADE OUT

Super Hero Posts : 279 Join date : 2007-11-07

HOLY FUCKING SHIT MAN!! THIS IS AMAZING!!! IT MAKES ME WANT TO FILM IT JUST TO SEE IT IN LIVE ACTION!!!

Subject: Re: Wave of Mutilation Mon Dec 10, 2007 6:41 pm

Damn, man... thanks! Very Happy

Super Hero Posts : 279 Join date : 2007-11-07

DUDE THAT WAS SEROULSY ONE OF THE BEST THINGS I HAVE EVER READ IN MY LIFE!!!! Very Happy

Subject: Re: Wave of Mutilation Mon Dec 10, 2007 7:31 pm

Thanks.

Super Hero Posts : 279 Join date : 2007-11-07

It makes it so awsome listening to the song while reading it man!

Subject: Re: Wave of Mutilation Tue Dec 11, 2007 4:29 pm

Yeah? I actually wanted to have a key scene where you'd want to listen to it at exact parts of the song.

Subject: Re: Wave of Mutilation Tue Dec 11, 2007 7:02 pm

WAVE OF MUTILATION - PT. II

FADE IN:

INT. OFFICE -- LATER

We're inside an unfamiliar office. We examine the room similar to Roland's earlier. Instead of posters, there're portraits of family pictures. The family consists of an American man (40's) with jet black hair and some ridges of grey on the sides; a mother (40's) with blonde hair; two twin sons both sporting black hair. Oddly enough one of the twins has blue eyes and the other has green. The entire family seems extremely pleasant, standing in front of a new house. Other pictures vary from single members of the family while others are mixed with friends.

We move backward to focus on the center desk. Suddenly, a hand pops up from behind the desk. It latches onto the desk, shaking.

As we see the whole arm appear, we get closer until the head is fully revealed. It's the husband from the pictures except he looks like hell. He's sweating and looking downward.

He picks up his knee to get up properly. He palms his left leg to raise his back up then, eventually, his whole body. He stands properly and looks around in awe. He's wearing a much finer business suit than Roland's. It's thin blue streaks over the black captures the eyes.

He reaches to the door and he leaves.

We then go back to his desk.

We reach the left side of the desk name plate made out of glass. We slowly move to the right to read our guy's name:

MILTON T. LENNON

INT. HALLWAY -- NEXT

Milton begins to walk quickly, almost tripping himself.

He reaches the elevator and presses it repeatedly.

A man (30's) with a suitcase walks behind him, waiting for the elevator patiently.

As soon as Milton notices someone's behind him, he calms down and stops pressing the button.

We hear a ding and the right elevator's doors slide open.

Both Milton and the patient dude walk in.

INT. ELEVATOR -- NEXT

Milton's on the left and our uninvited guy's on the right. Both men are typically a tad bit uncomfortable.

Milton reaches to press the button for the main floor.

The other man just follows Milton with his eyes.

Milton's posture returns to normal as the doors slide close.

A couple seconds pass and Milton's eyes wander off. He looks forward, upward, downward... the guy's just waiting for the damn elevator to open so he can get the hell out.

The other guy, on the other hand, calmly looks forward and doesn't fidget.

Finally, the door slide open again.

INT. MAIN FLOOR

Milton is the first to escape.

He hurries his way past Melissa's desk.

Melissa notices him pass.

MELISSA
Mr. Lennon?

Milton pauses. He then turns around to look at Melissa, unsure if she is referring to him.

MELISSA (off camera)
Are you alright?

Milton hesitates... He blinks, emotionless and turns around to leave.

Through Melissa's P.O.V., he reaches the doors and pushes them to leave.

Melissa then places her right index and middle fingers on her headset on her right ear.

MELISSA (to headset)
Lennon's left the coop. I repeat: Lennon's left the coop.

The man with the suitcase recieves a nod from Melissa as he passes to the exit.

EXT. DOWNTOWN L.A. STREETS -- DAY

Milton walks his way to the corner of the street as he passes through homeless, other business men and women, and some policemen.

We get a bird's eye shot of him as he crosses the streetlight.

We revert to over the shoulder of the man with the suitcase. He seems to be following him.

Milton reaches a phone booth.

He dials a number and places the phone a few inches away from his mouth and left ear.

The dial tone is heard and he sighs in relief as if he didn't think it'd ring.

WOMAN (on the phone)
Hello?

MILTON
H- hello?

WOMAN
Yes? Who is this?

Milton pauses in astoundment. He then reaches into his breast pocket and pulls a card.

MILTON
I'm...

He squints to read the card.

MILTON
Milton... Lennon. Milton Lennon.

There's silence at the end of the other line.

WOMAN (shocked)
Milton?

The woman's tone confuses Milton.

MILTON
Yes...

Another awkward silence. The woman then begins to softly weep, scaring Milton.

WOMAN (exhausted breathing)
Oh... Oh, my God...

Milton looks around in distress. He spots the man with the suitcase as the woman on the phone hangs up.

Milton then lets go of the phone and runs like hell away from the man.

The man attempts to run, but then walks up to the phone booth.

He picks up the phone and places it on the cradle. He then picks it up again and dials a seperate number.

MAN (to the phone)
He's gone.

FADE OUT

Subject: Re: Wave of Mutilation Wed Dec 12, 2007 2:19 pm

No idea what exactly is going on with this guy. Amnesia?

All I do know is this kicked ASS!!! Nice job man, you put some work into this!

Super Hero Posts : 279 Join date : 2007-11-07

333? Holy crap A1s half evil!!! affraid

Subject: Re: Wave of Mutilation Wed Dec 12, 2007 4:40 pm

This guy's true personality really will shock you guys... Scratch that: personalities.

Subject: Re: Wave of Mutilation Wed Dec 12, 2007 4:43 pm

Can't wait! You've created one helluva screenplay man!

Subject: Re: Wave of Mutilation Wed Dec 12, 2007 4:44 pm

cowboyfromhell wrote:: 333? Holy crap A1s half evil!!!

*turns on flashlight in dark room*

MWAHAHAHAHAHA!!!!!! Twisted Evil

666