Friday, September 6, 2013
Saturday, August 17, 2013
What's the big idea
After a ridiculously long hiatus, I'm almost finished redoing the second episode of "What's the Big Idea". I'm still trying to find a way to make all of the elements work, but I'm a little more happy with it this time around. I wanted to finish up with it today, but it still needs a couple of more tweaks. So as a refresher, here's the first episode.
Friday, August 16, 2013
Play it again
Some people just don't know how to give up. While there's been a lot of talk about who is going to dawn the cawl in "Superman Vs. Batman", it's been rumored that Chaitin Bale has been offered up to 60 million dollars to reprise his role as the Caped Crusader. Up till now, Bale has remained pretty adamant that he will not be returning to play Batman, but at some point, if they keep throwing bigger amounts of money at him, he's going to cave.
It's undeniable that Christopher Nolan's interpretation of the "Dark Knight" has been one of the most successful comic-book adaptations ever. (Even if the final movie in his trilogy didn't hit the notes as well as its predecessor.) And I think much of that had to do with the fact that each of the movies were good-to-great films in their own right, not just because of the logo the main character wears on his chest. Christopher Nolan just knows how to make a good film.
One of the biggest complaints circulating the tubes about bringing Nolan's Batman into the JLA universe is Bale's Batman was in more of a "real world" setting than something as far out as Superman would exist in. But, I think the fanciful world Nolan created with Wanes far out tech, and the realism Zack Snyder injected into Daily City, makes the two an easier blend than most people think.
But, Batman Begins was released eight years ago. Isn't it time to let someone else step into the roll, and take the franchise into a new direction? For me, this is one of those nerd-questions that I can debate with myself on, and still come out perfectly torn. If I had to chose, I'd say Bale is the safer of the options: we've already established his back story, we accept Bale in the role, and it keeps an already established Bruce Wane story moving forward. And with the plan to do an older, more seasoned and possibly more jaded Dark Knight, not only do I think it won't "undo" the ending of The Dark Knight Rises, I think it could come across as a logical extension of the character.
On the other hand, TDK trilogy had a complete arc for the character. It also ended on a somewhat divisive finally, compared by some to Spiderman 3. And a fresh take might be nice, if not a little soon. It certainly will open up for this current generation of JLA characters to give Batman its own origin, which, considering the property, if they do decide to go with a reboot over a continuation, we will get a re-telling of the beginning years. And that brings up the discussion of putting the Bats most famous villain back on screen, the Joker. Be it too soon or not, if done right, it would be a pretty spectacular thing to see.
I could go on and on debating back an forth. If we have to see Batman rebooted, I'd like to have some space between them, but that's not the reality of the industry right now, and I'm kind of cool with that, too. It's fun to see what different artists envision for the character. But then again, Nolan is involved with this series, too, and it might feel like a retooling of the exact same picture, not just the broad strokes of the bare bones to the Batman mythos. And there I go again...
Cody Hobbs
It's undeniable that Christopher Nolan's interpretation of the "Dark Knight" has been one of the most successful comic-book adaptations ever. (Even if the final movie in his trilogy didn't hit the notes as well as its predecessor.) And I think much of that had to do with the fact that each of the movies were good-to-great films in their own right, not just because of the logo the main character wears on his chest. Christopher Nolan just knows how to make a good film.
One of the biggest complaints circulating the tubes about bringing Nolan's Batman into the JLA universe is Bale's Batman was in more of a "real world" setting than something as far out as Superman would exist in. But, I think the fanciful world Nolan created with Wanes far out tech, and the realism Zack Snyder injected into Daily City, makes the two an easier blend than most people think.
But, Batman Begins was released eight years ago. Isn't it time to let someone else step into the roll, and take the franchise into a new direction? For me, this is one of those nerd-questions that I can debate with myself on, and still come out perfectly torn. If I had to chose, I'd say Bale is the safer of the options: we've already established his back story, we accept Bale in the role, and it keeps an already established Bruce Wane story moving forward. And with the plan to do an older, more seasoned and possibly more jaded Dark Knight, not only do I think it won't "undo" the ending of The Dark Knight Rises, I think it could come across as a logical extension of the character.
On the other hand, TDK trilogy had a complete arc for the character. It also ended on a somewhat divisive finally, compared by some to Spiderman 3. And a fresh take might be nice, if not a little soon. It certainly will open up for this current generation of JLA characters to give Batman its own origin, which, considering the property, if they do decide to go with a reboot over a continuation, we will get a re-telling of the beginning years. And that brings up the discussion of putting the Bats most famous villain back on screen, the Joker. Be it too soon or not, if done right, it would be a pretty spectacular thing to see.
I could go on and on debating back an forth. If we have to see Batman rebooted, I'd like to have some space between them, but that's not the reality of the industry right now, and I'm kind of cool with that, too. It's fun to see what different artists envision for the character. But then again, Nolan is involved with this series, too, and it might feel like a retooling of the exact same picture, not just the broad strokes of the bare bones to the Batman mythos. And there I go again...
Cody Hobbs
Thursday, August 15, 2013
Music to write to
I was going to write about some of the recent scuttlebutt about the upcoming Superman vs. Batman movie, but I don't have long to write, so I just wanted to talk a bit about music and writing. Sometimes, like tonight, I prefer just taking in the ambient sounds around me, taking in the environment as it is. But when I'm sitting down for a serious writing session, I have a few playlists that I like to put on. There always the same set of few songs, which I find helps to keep me from getting too distracted by what I'm listing to, but still sets the tone for whatever my fingers happen to be laying down.
My writing mixes are usually a bit slower in pace; something melodic yet captivating for my imagination. So, dear internet, I'll leave you with this. One of my favorite songs to put on when I write. Hope you enjoy.
My writing mixes are usually a bit slower in pace; something melodic yet captivating for my imagination. So, dear internet, I'll leave you with this. One of my favorite songs to put on when I write. Hope you enjoy.
Wednesday, August 14, 2013
Would you?
One of the joys of having a service like Netflix is discovering movies I might have never heard of. I recently watched a film called "It's a Disaster"; a quirky comedy about a group of friends meeting for a couples brunch, and all the normal indie-comedic dysfunctional hijinks ensue... oh, and they've also just found out there's been a terrorist attack and the world is about to end. With comedies such as "This is the End", and "Seeking a Friend for the End of the World", I think this might be becoming a new trend in indie comedies. But I'll save that analysis for another day.
No. The question that "It's a Disaster" has me pondering now is if there were, say, a terrorist attack releasing a deadly nerve agent into the air, promising a slow and painful death, if you had the opportunity to end your life first, on your own terms, would you? Or would you hold out hope till the very, diarrhea filled end?
No. The question that "It's a Disaster" has me pondering now is if there were, say, a terrorist attack releasing a deadly nerve agent into the air, promising a slow and painful death, if you had the opportunity to end your life first, on your own terms, would you? Or would you hold out hope till the very, diarrhea filled end?
Tuesday, August 13, 2013
The Bondage of Liberty
This is the 4th episode of "Project Blueberry Man", and I think one of the best. I decided to skip posting the next two: they are in need of some serious re-working, and I think drag a bit. You have missed a few important developments; the remaining five captives still haven't gotten their memories back. In the episode preceding this one, they decided to give each-other new names, a step to restoring their lost sense of humanity. I think I'm going to let the rest of this episode speak for itself. I hope you enjoy. And if you do, I desperately hope that you can some day enjoy it in the format it was meant to be seen in...
Project Blueberry Man
“The Bondage of Liberty”
TEASER
INT. ROOM WITH CELLS - UNDETERMINED
All is quite as everyone examines the room.
DEXMAN runs his fingers over one of the gowns.
DEXMAN
Do you think these are for playing
make-believe?
WENDY
I don’t think this is going to be
very nice make-believe; not the
kind with pretty dresses and tea.
PAUL
The voice, I think she said we were
going to make-believe we are in
prison.
SAPPHIRE
We’re already prisoners.
DEXMAN
(shaking head)
There isn’t anything make-believe
about that.
ANTINOUS
I don’t see any diagrams telling us
how to play this game. Maybe we’re
supposed to make up our own rules?
WENDY
(anxiously looking around)
Suffocation. It might be the way
out... and to a better place.
There is a loud buzzing-sound, followed by:
WOMAN (V.O.)
We will now begin the simulation.
Would the one called “Sapphire” and
the one called “Dexman” and the one
called “Wendy” please each take a
white gown from the wall.
Each one does as instructed.
DEXMAN
I’m not very fond of the “gown”
look.
WENDY
There’s no color’s, no life.
SAPPHIRE
Just stay calm.
WOMAN (V.O.)
Would the one called “Antinous”
please take the key ring from the
wall.
ANTINOUS does as instructed.
WOMAN (V.O.) (CONT'D)
Would the one called “Sapphire” and
the one called “Dexman” and the one
called “Wendy” each step into a
sperate holding chamber.
SAPPHIRE points inside on of the small cells.
SAPPHIRE
I think she means in there.
DEXMAN
It looks very small in there.
SAPPHIRE
We have to. We have to play the
game if we want to get out of here.
WENDY
(shaking head)
Please no. There are bad things in
there with hands and fingers!
SAPPHIRE walks into a cell, then motions to DEXMAN.
SAPPHIRE
Come on.
DEXMAN steps into the cell next to SAPPHIRE.
WOMAN (V.O.)
Would the one called “Antinous”
please instruct anyone not in their
chambers to please do so, then,
using the key, lock each one
inside.
ANTINOUS approaches WENDY.
ANTINOUS
(leaning close to WENDY)
Listen, I’m going to keep us safe,
but in order for me to do that, I
need you to do what I say.
WENDY
(hurt)
Et tu Brute?
WENDY starts to softly cry.
ANTINOUS
I do not understand?
ANTINOUS tries to lay a comforting hand on WENDY’S shoulder,
but she shrugs him off, then walks to her cell.
WENDY
(defiantly, as she walks)
I’ll do as three out of four
dentists recommend and brush three
times a day, no one has to remind
me!
(closing the door)
I’m a big girl now, or don’t you
remember?
One by one, ANTINOUS locks each cell.
ANTINOUS
(at WENDY’S cell)
Please don’t be angry with me. I’m
going to keep you safe.
(as he moves to the other
cells)
All of you.
Now that that’s finished, another door opens:
WOMAN (V.O.)
Would the one called “Antinous” and
the one called “Paul” each take a
uniform labeled “guard” and proceed
through the open door for further
instruction and supplies.
ANTINOUS
Let’s go.
The two men walk through the door. It quickly closes behind
them.
We hold on a wide shot of the three cells.
There is a small barred window on each door. We can only see
SAPPHIRE and DAXMAN’S eyes. WENDY is too short, all we see
is her arms occasionally flail about.
WOMAN (V.O.)
Would each of you now change out of
your old cloths, and into your
gowns.
All we see as they change are eyes and arms.
DEXMAN
I very much do not like what’s
going on.
(long beat)
Can some one please explain to me
what is going on?
SAPPHIRE
Dex, I need you to listen.
DEXMAN
(gasp)
Is this it... the thing where my
name does the shrinking?
SAPPHIRE
You too, Wendy.
No answer.
SAPPHIRE (CONT'D)
Wendy, you with me?
We see WENDY’S feet as she does a handstand.
WENDY
(still doing handstand)
It’s not about strength, it’s about
inertia.
(lands)
How do you think man can move
mountains?
There is a buzzing, and the door re-opens, and a uniformed
PAUL and ANTINOUS emerge. The door closes behind them.
Before we get a good look at them, we:
ANGLE: LOOKING OUT FROM INSIDE WENDY’S CELL
WOMAN (V.O.)
Would the one called ANTINOUS
please open each cell so that we
may begin with our first exercise.
One by one, ANTINOUS opens each cell. WENDY’S is the last.
WENDY looks down in horror as she steps out of her cell.
WENDY
Where did you get those.
PAUL raises a gun.
PAUL
We have guns.
SMASH CUT:
END OF TEASER
ACT ONE
INT. ROOM WITH CELLS - UNDETERMINED
There is a buzz, then a door opens.
WOMAN (V.O.)
The guards will now move the
prisoners through the door.
ANTINOUS
(gently)
Okay everyone, move.
SAPPHIRE motions to the others to follow. WENDY slowly backs
away.
WENDY
No, you can’t make me. I won’t go
in there.
BUZZZ
WOMAN (V.O.)
The guards will subdue the
prisoner.
ANTINOUS
(walking to WENDY)
Wendy, please.
WENDY runs away from him.
WENDY
Please stay away from me with that
thing.
ANTINOUS stops.
ANTINOUS
(raising gun)
I can protect us with this.
WENDY
No, no, no, no.
(whispering to self)
There’ll be no more soft breeze
blowing through your hair
When the Bluberry Man comes,
and traps you in his snare...
(repeats)
SAPPHIRE starts toward WENDY.
SAPPHIRE
Let me talk to her.
ANTINOUS
(relived)
Please. Go ahead.
BUZZZZZ!!!
WOMAN (V.O.)
The prisoners will not speak unless
they are instructed to do so.
Would the guard please subdue the
prisoner.
PAUL rushes to SAPPHIRE.
PAUL
Come on. We gotta get through that
door.
SAPPHIRE
(not looking PAUL in the
eyes)
I’m going to wait here. For Wendy.
BUZZZ!!
WOMAN (V.O.)
This will be the prisoners final
warning about not speaking.
PAUL
We should go now.
PAUL gently guides SAPPHIRE by the arm, and she follows.
WENDY rushes toward SAPPHIRE and pulls her back.
WENDY
(frantic)
No, please listen to me! You can’t
go in there!
BUZZZZZZZZZZ!!!!!!!!!!
WOMAN (V.O.)
One of the guards will administer
the punishment from diagram A to
prisoner marked: 11323(wendy).
Gently, yet assertively, ANTINOUS grabs WENDY by the arm, and
takes her to the wall.
ANTINOUS
I’m going to need you to sit like
this for a while.
ANTINOUS crouches in a sitting position with his back to the
wall, in demonstration, then stands back upright.
WENDY protests.
ANTINOUS (CONT'D)
Wendy, please.
WENDY
(backing away, seething)
What do you tell a woman with two
black eyes?
(beat)
Nothing you haven’t already told
that bitch twice!
SAPPHIRE marches to WENDY.
SAPPHIRE
Wendy, you have to listen.
(points to loud-speaker)
They will kill us all.
BUZZZZZ!!!!!
WOMAN (V.O.)
The guard named Paul will
administer disciplinary actions
from diagram “B” to the prisoner
marked: 321143(sapphire)
PAUL walks and faces SAPPHIRE.
PAUL
The diagram says you have to remove
your gown, then get down on your
knees. Then I am supposed to lower
my pants.
There is a long beat. A tear rolls down SAPPHIRE’S cheek.
PAUL (CONT'D)
But that would be wrong for me to
do, so I don’t think I will.
PAUL throws his gun across the room.
PAUL (CONT'D)
I am finished playing this game
now.
BUZZZZZZ!!!!!!!
WOMAN (V.O.)
Antinous will correct Paul now, the
simulation is not over.
ANTINOUS turns to PAUL.
WENDY dives for PAUL’S gun.
ANTINOUS
I’m not sure what I should do now.
WENDY
(gun aimed at ANTINOUS)
Drop the gun now please.
BUZZZZ!!!!!!!!!!!!
WOMAN (V.O.)
Antinous will not drop his gun.
WENDY
(to ANTINOUS)
Have you every fired a gun before.
There is quick beat, followed by WENDY shooting past
ANTINOUS.
WENDY (CONT'D)
I have.
ANTINOUS drops his gun.
SAPPHIRE
Wendy...
WENDY
Everyone will listen to me now,
thank you! You have all been very
naughty and mommy has been very
nice giving you treats and kisses
when you know you don’t deserve
them!
ANTINOUS
(sincerely)
I’m sorry. I shouldn’t have made
you play if you didn’t want to.
SAPPHIRE slowly walks toward WENDY.
SAPPHIRE
You shouldn’t be mad at him. The
Blueberry Man made him do it.
WENDY
(aiming at SAPPHIRE)
Stay back!
SAPPHIRE
Antinous is your... friend. Isn’t
he? You got to pick his name, and
that seems like a very special
thing.
ANTINOUS
I would very much like to be your
friend.
WENDY
(trembling, still aiming
gun)
I think that we can be friends.
SAPPHIRE
I don’t think friends shoot each
other.
SAPPHIRE takes a step toward WENDY.
WENDY
(aims gun at WENDY)
No! He hurts you, the Blueberry
man does, and then you scream. You
scream so loudly the dogs start to
bark and the birds fly from the
trees. They scatter like dice.
(beat)
But he doesn’t like it when you
scream, so he takes away your
voice.
SAPPHIRE
(sweetly)
Wendy, lower the gun. We can go
after the Blueberry Man together.
WENDY lowers her aim.
WENDY
(looking off to her right,
in a whisper)
We can go together.
SAPPHIRE
That’s right. Just ease it on down
to the floor.
VERY SLOWLY WENDY bends down, but does not let the gun go.
WENDY
(whimsical)
Easy on the floor, just like
daddies whore.
An alarm loudly sounds, and the lights start flashing.
WOMAN (V.O.)
The prisoner marked: 11323 will
drop the gun, or termination will
commence in thirty seconds.
Startled, WENDY screams, and firs the gun randomly.
WENDY
No, the voices tell you to do nasty
things. Dirty and nasty things.
SAPPHIRE
We had things under control, thank
you!
ANTINOUS tries to approach WENDY. WENDY aims just past
ANTINOUS and fires.
WENDY
You have to asses the situation.
You have to ask yourself what she
wants. You have to be gentle, and
touch her the right way. Stroke
her skin back and forth, just like
this.
(makes stroking gesture
with free hand)
ANTINOUS starts at WENDY, but is restrained by SAPPHIRE.
SAPPHIRE
Don’t.
WOMAN (V.O.)
Prisoner marked: 11323 has ten
seconds to comply before
termination.
WENDY points the gun at her head, and closes her eyes.
WENDY
I can feel the breeze again.
(laughs)
The sunshine tickles my skin.
ANTINOUS jumps to WENDY, but is once again restrained by
SAPPHIRE.
ANTINOUS
Wendy, don’t!
Smoke starts to seep into the room.
WENDY shoots herself in the head. Blood splatters the wall.
The alarm stops, and the lights go back to normal.
ANTINOUS breaks away from SAPPHIRE and runs to WENDY. He
cradles her body in his arms.
ANTINOUS (CONT'D)
Wendy, I’m so sorry. You were my
friend and I let this happen to
you.
DEXMAN puts his hand on ANTINOUS’S shoulder.
DEXMAN
This wasn’t your fault.
(beat)
This wasn’t your fault.
After a short moment, SAPPHIRE starts to walk to WENDY’S
body. PAUL stops her.
PAUL
I don’t think you should go over
there. Looking at her body isn’t
pleasant.
SAPPHIRE
(placing hand on PAUL’S
shoulder)
Thank you for your concern. But I
need to.
SAPPHIRE walks past PAUL. She leans down to WENDY’S body,
and touches it.
After a moment, she puts her hand on ANTINOUS’S shoulder, and
directs him to stand.
SAPPHIRE (CONT'D)
(resolute)
We will make the Blueberry man
suffer. Just like he’s done to us.
SAPPHIRE walks away, as:
END OF THE BONDAGE OF LIBERTY
-Cody Hobbs
Project Blueberry Man
“The Bondage of Liberty”
TEASER
INT. ROOM WITH CELLS - UNDETERMINED
All is quite as everyone examines the room.
DEXMAN runs his fingers over one of the gowns.
DEXMAN
Do you think these are for playing
make-believe?
WENDY
I don’t think this is going to be
very nice make-believe; not the
kind with pretty dresses and tea.
PAUL
The voice, I think she said we were
going to make-believe we are in
prison.
SAPPHIRE
We’re already prisoners.
DEXMAN
(shaking head)
There isn’t anything make-believe
about that.
ANTINOUS
I don’t see any diagrams telling us
how to play this game. Maybe we’re
supposed to make up our own rules?
WENDY
(anxiously looking around)
Suffocation. It might be the way
out... and to a better place.
There is a loud buzzing-sound, followed by:
WOMAN (V.O.)
We will now begin the simulation.
Would the one called “Sapphire” and
the one called “Dexman” and the one
called “Wendy” please each take a
white gown from the wall.
Each one does as instructed.
DEXMAN
I’m not very fond of the “gown”
look.
WENDY
There’s no color’s, no life.
SAPPHIRE
Just stay calm.
WOMAN (V.O.)
Would the one called “Antinous”
please take the key ring from the
wall.
ANTINOUS does as instructed.
WOMAN (V.O.) (CONT'D)
Would the one called “Sapphire” and
the one called “Dexman” and the one
called “Wendy” each step into a
sperate holding chamber.
SAPPHIRE points inside on of the small cells.
SAPPHIRE
I think she means in there.
DEXMAN
It looks very small in there.
SAPPHIRE
We have to. We have to play the
game if we want to get out of here.
WENDY
(shaking head)
Please no. There are bad things in
there with hands and fingers!
SAPPHIRE walks into a cell, then motions to DEXMAN.
SAPPHIRE
Come on.
DEXMAN steps into the cell next to SAPPHIRE.
WOMAN (V.O.)
Would the one called “Antinous”
please instruct anyone not in their
chambers to please do so, then,
using the key, lock each one
inside.
ANTINOUS approaches WENDY.
ANTINOUS
(leaning close to WENDY)
Listen, I’m going to keep us safe,
but in order for me to do that, I
need you to do what I say.
WENDY
(hurt)
Et tu Brute?
WENDY starts to softly cry.
ANTINOUS
I do not understand?
ANTINOUS tries to lay a comforting hand on WENDY’S shoulder,
but she shrugs him off, then walks to her cell.
WENDY
(defiantly, as she walks)
I’ll do as three out of four
dentists recommend and brush three
times a day, no one has to remind
me!
(closing the door)
I’m a big girl now, or don’t you
remember?
One by one, ANTINOUS locks each cell.
ANTINOUS
(at WENDY’S cell)
Please don’t be angry with me. I’m
going to keep you safe.
(as he moves to the other
cells)
All of you.
Now that that’s finished, another door opens:
WOMAN (V.O.)
Would the one called “Antinous” and
the one called “Paul” each take a
uniform labeled “guard” and proceed
through the open door for further
instruction and supplies.
ANTINOUS
Let’s go.
The two men walk through the door. It quickly closes behind
them.
We hold on a wide shot of the three cells.
There is a small barred window on each door. We can only see
SAPPHIRE and DAXMAN’S eyes. WENDY is too short, all we see
is her arms occasionally flail about.
WOMAN (V.O.)
Would each of you now change out of
your old cloths, and into your
gowns.
All we see as they change are eyes and arms.
DEXMAN
I very much do not like what’s
going on.
(long beat)
Can some one please explain to me
what is going on?
SAPPHIRE
Dex, I need you to listen.
DEXMAN
(gasp)
Is this it... the thing where my
name does the shrinking?
SAPPHIRE
You too, Wendy.
No answer.
SAPPHIRE (CONT'D)
Wendy, you with me?
We see WENDY’S feet as she does a handstand.
WENDY
(still doing handstand)
It’s not about strength, it’s about
inertia.
(lands)
How do you think man can move
mountains?
There is a buzzing, and the door re-opens, and a uniformed
PAUL and ANTINOUS emerge. The door closes behind them.
Before we get a good look at them, we:
ANGLE: LOOKING OUT FROM INSIDE WENDY’S CELL
WOMAN (V.O.)
Would the one called ANTINOUS
please open each cell so that we
may begin with our first exercise.
One by one, ANTINOUS opens each cell. WENDY’S is the last.
WENDY looks down in horror as she steps out of her cell.
WENDY
Where did you get those.
PAUL raises a gun.
PAUL
We have guns.
SMASH CUT:
END OF TEASER
ACT ONE
INT. ROOM WITH CELLS - UNDETERMINED
There is a buzz, then a door opens.
WOMAN (V.O.)
The guards will now move the
prisoners through the door.
ANTINOUS
(gently)
Okay everyone, move.
SAPPHIRE motions to the others to follow. WENDY slowly backs
away.
WENDY
No, you can’t make me. I won’t go
in there.
BUZZZ
WOMAN (V.O.)
The guards will subdue the
prisoner.
ANTINOUS
(walking to WENDY)
Wendy, please.
WENDY runs away from him.
WENDY
Please stay away from me with that
thing.
ANTINOUS stops.
ANTINOUS
(raising gun)
I can protect us with this.
WENDY
No, no, no, no.
(whispering to self)
There’ll be no more soft breeze
blowing through your hair
When the Bluberry Man comes,
and traps you in his snare...
(repeats)
SAPPHIRE starts toward WENDY.
SAPPHIRE
Let me talk to her.
ANTINOUS
(relived)
Please. Go ahead.
BUZZZZZ!!!
WOMAN (V.O.)
The prisoners will not speak unless
they are instructed to do so.
Would the guard please subdue the
prisoner.
PAUL rushes to SAPPHIRE.
PAUL
Come on. We gotta get through that
door.
SAPPHIRE
(not looking PAUL in the
eyes)
I’m going to wait here. For Wendy.
BUZZZ!!
WOMAN (V.O.)
This will be the prisoners final
warning about not speaking.
PAUL
We should go now.
PAUL gently guides SAPPHIRE by the arm, and she follows.
WENDY rushes toward SAPPHIRE and pulls her back.
WENDY
(frantic)
No, please listen to me! You can’t
go in there!
BUZZZZZZZZZZ!!!!!!!!!!
WOMAN (V.O.)
One of the guards will administer
the punishment from diagram A to
prisoner marked: 11323(wendy).
Gently, yet assertively, ANTINOUS grabs WENDY by the arm, and
takes her to the wall.
ANTINOUS
I’m going to need you to sit like
this for a while.
ANTINOUS crouches in a sitting position with his back to the
wall, in demonstration, then stands back upright.
WENDY protests.
ANTINOUS (CONT'D)
Wendy, please.
WENDY
(backing away, seething)
What do you tell a woman with two
black eyes?
(beat)
Nothing you haven’t already told
that bitch twice!
SAPPHIRE marches to WENDY.
SAPPHIRE
Wendy, you have to listen.
(points to loud-speaker)
They will kill us all.
BUZZZZZ!!!!!
WOMAN (V.O.)
The guard named Paul will
administer disciplinary actions
from diagram “B” to the prisoner
marked: 321143(sapphire)
PAUL walks and faces SAPPHIRE.
PAUL
The diagram says you have to remove
your gown, then get down on your
knees. Then I am supposed to lower
my pants.
There is a long beat. A tear rolls down SAPPHIRE’S cheek.
PAUL (CONT'D)
But that would be wrong for me to
do, so I don’t think I will.
PAUL throws his gun across the room.
PAUL (CONT'D)
I am finished playing this game
now.
BUZZZZZZ!!!!!!!
WOMAN (V.O.)
Antinous will correct Paul now, the
simulation is not over.
ANTINOUS turns to PAUL.
WENDY dives for PAUL’S gun.
ANTINOUS
I’m not sure what I should do now.
WENDY
(gun aimed at ANTINOUS)
Drop the gun now please.
BUZZZZ!!!!!!!!!!!!
WOMAN (V.O.)
Antinous will not drop his gun.
WENDY
(to ANTINOUS)
Have you every fired a gun before.
There is quick beat, followed by WENDY shooting past
ANTINOUS.
WENDY (CONT'D)
I have.
ANTINOUS drops his gun.
SAPPHIRE
Wendy...
WENDY
Everyone will listen to me now,
thank you! You have all been very
naughty and mommy has been very
nice giving you treats and kisses
when you know you don’t deserve
them!
ANTINOUS
(sincerely)
I’m sorry. I shouldn’t have made
you play if you didn’t want to.
SAPPHIRE slowly walks toward WENDY.
SAPPHIRE
You shouldn’t be mad at him. The
Blueberry Man made him do it.
WENDY
(aiming at SAPPHIRE)
Stay back!
SAPPHIRE
Antinous is your... friend. Isn’t
he? You got to pick his name, and
that seems like a very special
thing.
ANTINOUS
I would very much like to be your
friend.
WENDY
(trembling, still aiming
gun)
I think that we can be friends.
SAPPHIRE
I don’t think friends shoot each
other.
SAPPHIRE takes a step toward WENDY.
WENDY
(aims gun at WENDY)
No! He hurts you, the Blueberry
man does, and then you scream. You
scream so loudly the dogs start to
bark and the birds fly from the
trees. They scatter like dice.
(beat)
But he doesn’t like it when you
scream, so he takes away your
voice.
SAPPHIRE
(sweetly)
Wendy, lower the gun. We can go
after the Blueberry Man together.
WENDY lowers her aim.
WENDY
(looking off to her right,
in a whisper)
We can go together.
SAPPHIRE
That’s right. Just ease it on down
to the floor.
VERY SLOWLY WENDY bends down, but does not let the gun go.
WENDY
(whimsical)
Easy on the floor, just like
daddies whore.
An alarm loudly sounds, and the lights start flashing.
WOMAN (V.O.)
The prisoner marked: 11323 will
drop the gun, or termination will
commence in thirty seconds.
Startled, WENDY screams, and firs the gun randomly.
WENDY
No, the voices tell you to do nasty
things. Dirty and nasty things.
SAPPHIRE
We had things under control, thank
you!
ANTINOUS tries to approach WENDY. WENDY aims just past
ANTINOUS and fires.
WENDY
You have to asses the situation.
You have to ask yourself what she
wants. You have to be gentle, and
touch her the right way. Stroke
her skin back and forth, just like
this.
(makes stroking gesture
with free hand)
ANTINOUS starts at WENDY, but is restrained by SAPPHIRE.
SAPPHIRE
Don’t.
WOMAN (V.O.)
Prisoner marked: 11323 has ten
seconds to comply before
termination.
WENDY points the gun at her head, and closes her eyes.
WENDY
I can feel the breeze again.
(laughs)
The sunshine tickles my skin.
ANTINOUS jumps to WENDY, but is once again restrained by
SAPPHIRE.
ANTINOUS
Wendy, don’t!
Smoke starts to seep into the room.
WENDY shoots herself in the head. Blood splatters the wall.
The alarm stops, and the lights go back to normal.
ANTINOUS breaks away from SAPPHIRE and runs to WENDY. He
cradles her body in his arms.
ANTINOUS (CONT'D)
Wendy, I’m so sorry. You were my
friend and I let this happen to
you.
DEXMAN puts his hand on ANTINOUS’S shoulder.
DEXMAN
This wasn’t your fault.
(beat)
This wasn’t your fault.
After a short moment, SAPPHIRE starts to walk to WENDY’S
body. PAUL stops her.
PAUL
I don’t think you should go over
there. Looking at her body isn’t
pleasant.
SAPPHIRE
(placing hand on PAUL’S
shoulder)
Thank you for your concern. But I
need to.
SAPPHIRE walks past PAUL. She leans down to WENDY’S body,
and touches it.
After a moment, she puts her hand on ANTINOUS’S shoulder, and
directs him to stand.
SAPPHIRE (CONT'D)
(resolute)
We will make the Blueberry man
suffer. Just like he’s done to us.
SAPPHIRE walks away, as:
END OF THE BONDAGE OF LIBERTY
-Cody Hobbs
Monday, August 12, 2013
Project Blueberry Man Pilot
This is the pilot for a web-series I wrote titled "Project Blueberry Man". The premiss is six people wake up in a room, and discover that not only do they not know how they got there, but they also don't remember who they were...
Project Blueberry Man
“Pilot”
INT. ROOM - UNDETERMINED
The camera slowly pulls back from a CU of a woman lying on
the floor. As we do this, she starts to come two. She rubs
her head as she sits.
WOMAN 1
Ugh, where am I?
The camera rack-zooms to a man that springs up behind her.
MAN 1
(huge gasp of air)
What’s going on?!... Where am
I?!...
The woman quickly gets to her feet to see that there are five
other people - four men and one other woman - in the room
with her. Breathless, she scans the room as the others start
to regain consciousness.
WOMAN 2
(frantic)
They’ve come for the sheep! Get
your minos on!
MAN 4
Where are we? Who are you people?
MAN 2
(stuttering)
J-j-just st-st-stay calm. We just
have to assess the situation and...
MAN 3 is cut-off by a female voice over a loud-speaker.
ANGLE ON: LOUD-SPEAKER
WOMAN (V.O.)
Please remain calm. You will
receive further instruction
momentarily.
MAN 3
That was a voice. There is a
voice.
MAN 4 starts walking around the perimeter.
MAN 4
We have to find a way out of here.
MAN 1
Uh, guys. I have a question.
MAN 4
(looking around)
Oh, that’s great. You’re all just
gonna’ to stand there.
There is a buzzing sound followed by a door swinging open.
WOMAN (V.O.)
The door is open. Do not go trough
the door.
MAN 3
So we don’t go through the door?
MAN 4
Fuck that. I’m getting out of
here. There’s an open door, I’m
walkin’ through it. Who’s with me.
WOMAN 1
I would like to go now.
(beat)
I don’t like this place.
WOMAN 2 lets out a blood-curdling scream.
WOMAN 2
Noooooo! That’s how he tricks you!
With candy and treats. He makes
you feel safe, then SNAP! The
hammer slams shut.
(repeats over and over in
a whisper:)
The hammer slams shut...
MAN 4
Good idea. You stay here, man the
fort.
(looks around)
You guys with me?
MAN 3
I believe we received very specific
instruction asking us to NOT go
through that door. Just an idea:
how about we listen?
MAN 4
Or, how ‘bout we not stay bunkered
up in the room of fun and death?
Who knows when it’ll close, or when
- or IF - it’ll open back up again.
Right now, I see an opportunity
that needs to be seized upon just
over that threshold. I’m not
waitin’.
MAN 4 walks brusquely toward the open door.
MAN 3
Please wait!
MAN 4 spins around, annoyed.
MAN 3 (CONT'D)
We don’t know what’s out there. It
could just be a room that leads
to... another room!
MAN 4
That’s great.
(to WOMAN 2)
Now you have a buddy to play house
with. Happy?
WOMAN 2
A buddy with whom to play house.
Shouldn’t end a sentence with a
preposition. Anybody knows that.
You can speak, so they didn’t take
that away from you.
MAN 4
I’ll keep that in mind.
(motions to door)
Clock’s spinin’.
MAN 2
Maybe we should wait.
MAN 4
Yes, because nothing takes you
places.
MAN 1
Excuse me. I have an interjection.
MAN 2
He’s right. We don’t know what’s
on the other side of that door. I
agree, we can’t stay here. But it
doesn’t do us any better going out
there without a plan.
MAN 4
How are we going to plan for what
we don’t know? I think this calls
for a little improvisation. The asyou-
go kind.
MAN 1
Really, I just have one simple
query.
MAN 4
I say we query ourselves on out of
here.
WOMAN 2
(laughing)
You speak like an ape. But you
haven’t a reason for it. All
reason’s gone. Unless, it’s who
you really are; naked on the
inside.
MAN 4
Oh, you guys are going to have a
blast. That leaves you, miss, and
you’ve already staid you don’t like
it in here.
WOMAN 1
(in a whisper)
I’m scared now.
MAN 4
I’ll go first, show you there ain’t
no reason to worry your pretty
little head.
MAN 4 takes a couple of steps through the door, then turns
back to the group.
MAN 4 (CONT'D)
olly olly oxen free!
WOMAN 2
(joyous laughter)
Words are like nonsense.
MAN 4
Safe as... safe as safe.
WOMAN 1
I think I’d like to go now.
MAN 4 turns to lead the way.
MAN 4
Anyone who wants out...
As MAN 4 speaks, a blast is heard, and MAN 4’s head explodes.
Blood and matter hit WOMAN 1’s face.
WOMAN 1
(screaming franticly)
Am I dead?! Am I dead?!
There is a lout buzzing sound as the door slams shut.
MAN 2 rushes to WOMAN 1’S aid. He tries to wipe the blood
from her face, but she squirms.
MAN 2
(in soothing tone)
Hold still, hold still.
WOMAN 1 starts to calm.
WOMAN 1
Am I dead?
MAN 2
(with WOMAN 1’s face in
hands)
No. Shh. You’re fine.
WOMAN 1
I am?
MAN 2
Say it for me.
WOMAN 1
I’m fine.
MAN 2
Good. See, everything’s going to
be okay.
WOMAN 1
(struggling)
I’m fine. Everything’s going to be
okay.
MAN 2
Now I need you to be brave. We’re
going to get through this, but I
need you to be strong for me. Can
you do that?
WOMAN 1 nods.
MAN 2 (CONT'D)
I need you to say it.
WOMAN 1
I’m with you.
MAN 2 clears more blood from WOMAN 1’s face, then puts an arm
around her.
MAN 2
Okay, first we need to...
MAN 2 is loudly interrupted by MAN 1:
MAN 1
Excuse me! May I ask one simple
little question? I have been
waiting patiently for my turn to
speak, and I would like to go now!
MAN 2
By all means.
MAN 1
Do any of you know your own names?
Do you know anything about
yourselves?
MAN 2
Well... I...
WOMAN 1 lowers her head.
MAN 3
I’m going to say that’s a big
collective “no”.
MAN 2
Lessons in how to make a really bad
situation infinitely worse...
WOMAN 1 buries her head into MAN 2’s shoulder.
WOMAN 1
What is this place?
WOMAN 2 is running her fingers over the walls as she speaks.
WOMAN 2
Can’t you tell? This is hell.
END OF EPISODE 1
____________________________________________________________________________
Project Blueberry Man
“Pilot”
INT. ROOM - UNDETERMINED
The camera slowly pulls back from a CU of a woman lying on
the floor. As we do this, she starts to come two. She rubs
her head as she sits.
WOMAN 1
Ugh, where am I?
The camera rack-zooms to a man that springs up behind her.
MAN 1
(huge gasp of air)
What’s going on?!... Where am
I?!...
The woman quickly gets to her feet to see that there are five
other people - four men and one other woman - in the room
with her. Breathless, she scans the room as the others start
to regain consciousness.
WOMAN 2
(frantic)
They’ve come for the sheep! Get
your minos on!
MAN 4
Where are we? Who are you people?
MAN 2
(stuttering)
J-j-just st-st-stay calm. We just
have to assess the situation and...
MAN 3 is cut-off by a female voice over a loud-speaker.
ANGLE ON: LOUD-SPEAKER
WOMAN (V.O.)
Please remain calm. You will
receive further instruction
momentarily.
MAN 3
That was a voice. There is a
voice.
MAN 4 starts walking around the perimeter.
MAN 4
We have to find a way out of here.
MAN 1
Uh, guys. I have a question.
MAN 4
(looking around)
Oh, that’s great. You’re all just
gonna’ to stand there.
There is a buzzing sound followed by a door swinging open.
WOMAN (V.O.)
The door is open. Do not go trough
the door.
MAN 3
So we don’t go through the door?
MAN 4
Fuck that. I’m getting out of
here. There’s an open door, I’m
walkin’ through it. Who’s with me.
WOMAN 1
I would like to go now.
(beat)
I don’t like this place.
WOMAN 2 lets out a blood-curdling scream.
WOMAN 2
Noooooo! That’s how he tricks you!
With candy and treats. He makes
you feel safe, then SNAP! The
hammer slams shut.
(repeats over and over in
a whisper:)
The hammer slams shut...
MAN 4
Good idea. You stay here, man the
fort.
(looks around)
You guys with me?
MAN 3
I believe we received very specific
instruction asking us to NOT go
through that door. Just an idea:
how about we listen?
MAN 4
Or, how ‘bout we not stay bunkered
up in the room of fun and death?
Who knows when it’ll close, or when
- or IF - it’ll open back up again.
Right now, I see an opportunity
that needs to be seized upon just
over that threshold. I’m not
waitin’.
MAN 4 walks brusquely toward the open door.
MAN 3
Please wait!
MAN 4 spins around, annoyed.
MAN 3 (CONT'D)
We don’t know what’s out there. It
could just be a room that leads
to... another room!
MAN 4
That’s great.
(to WOMAN 2)
Now you have a buddy to play house
with. Happy?
WOMAN 2
A buddy with whom to play house.
Shouldn’t end a sentence with a
preposition. Anybody knows that.
You can speak, so they didn’t take
that away from you.
MAN 4
I’ll keep that in mind.
(motions to door)
Clock’s spinin’.
MAN 2
Maybe we should wait.
MAN 4
Yes, because nothing takes you
places.
MAN 1
Excuse me. I have an interjection.
MAN 2
He’s right. We don’t know what’s
on the other side of that door. I
agree, we can’t stay here. But it
doesn’t do us any better going out
there without a plan.
MAN 4
How are we going to plan for what
we don’t know? I think this calls
for a little improvisation. The asyou-
go kind.
MAN 1
Really, I just have one simple
query.
MAN 4
I say we query ourselves on out of
here.
WOMAN 2
(laughing)
You speak like an ape. But you
haven’t a reason for it. All
reason’s gone. Unless, it’s who
you really are; naked on the
inside.
MAN 4
Oh, you guys are going to have a
blast. That leaves you, miss, and
you’ve already staid you don’t like
it in here.
WOMAN 1
(in a whisper)
I’m scared now.
MAN 4
I’ll go first, show you there ain’t
no reason to worry your pretty
little head.
MAN 4 takes a couple of steps through the door, then turns
back to the group.
MAN 4 (CONT'D)
olly olly oxen free!
WOMAN 2
(joyous laughter)
Words are like nonsense.
MAN 4
Safe as... safe as safe.
WOMAN 1
I think I’d like to go now.
MAN 4 turns to lead the way.
MAN 4
Anyone who wants out...
As MAN 4 speaks, a blast is heard, and MAN 4’s head explodes.
Blood and matter hit WOMAN 1’s face.
WOMAN 1
(screaming franticly)
Am I dead?! Am I dead?!
There is a lout buzzing sound as the door slams shut.
MAN 2 rushes to WOMAN 1’S aid. He tries to wipe the blood
from her face, but she squirms.
MAN 2
(in soothing tone)
Hold still, hold still.
WOMAN 1 starts to calm.
WOMAN 1
Am I dead?
MAN 2
(with WOMAN 1’s face in
hands)
No. Shh. You’re fine.
WOMAN 1
I am?
MAN 2
Say it for me.
WOMAN 1
I’m fine.
MAN 2
Good. See, everything’s going to
be okay.
WOMAN 1
(struggling)
I’m fine. Everything’s going to be
okay.
MAN 2
Now I need you to be brave. We’re
going to get through this, but I
need you to be strong for me. Can
you do that?
WOMAN 1 nods.
MAN 2 (CONT'D)
I need you to say it.
WOMAN 1
I’m with you.
MAN 2 clears more blood from WOMAN 1’s face, then puts an arm
around her.
MAN 2
Okay, first we need to...
MAN 2 is loudly interrupted by MAN 1:
MAN 1
Excuse me! May I ask one simple
little question? I have been
waiting patiently for my turn to
speak, and I would like to go now!
MAN 2
By all means.
MAN 1
Do any of you know your own names?
Do you know anything about
yourselves?
MAN 2
Well... I...
WOMAN 1 lowers her head.
MAN 3
I’m going to say that’s a big
collective “no”.
MAN 2
Lessons in how to make a really bad
situation infinitely worse...
WOMAN 1 buries her head into MAN 2’s shoulder.
WOMAN 1
What is this place?
WOMAN 2 is running her fingers over the walls as she speaks.
WOMAN 2
Can’t you tell? This is hell.
END OF EPISODE 1
____________________________________________________________________________
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