Category Archives: 2014

Top 15 Monster Movies

 

The new blockbuster movie season is almost upon us, so I’m going to take this opportunity to name and talk about my favorite top 15 monster movies over the past 100 years at the movies. Now, in the cases of series, or numerous remakes of the same monster, I’ve taken the liberty of just listing it once on the list with my favorite movie in that series and that film in essence, represents the monster. Also, if I felt that it was more of a horror film instead of a monster movie, because most can be both, I didn’t mention it on this list, although it could be one of my all time favorite movies.  The Thing comes to mind, I love that movie, but I consider it to be a horror film way more than it is a monster movie, so I didn’t include it on the list. A good way of thinking of this is if they could fall under the Universal Studios monsters group of movies.  They concentrate on adventure over horror. The best monster movies aren’t that scary at all, but truly fun and thrilling, although most will have some scary moments or moments that make you jump out of your skin.

15  I, Frankenstein (2014)

This was a very under-rated movie and one that seemed to get no marketing when it was released but actually was a rather good movie. My favorite so far of all the different Frankenstein movies that are out there. A big reason is Aaron Eckert, who plays the Frankenstein monster in this one. He’s great. It’s interesting to note, that in the original screenplay, “I, Frankenstein” and its hypothetical sequels were to take place in the same universe as the “Underworld” series (placed #14 on my list) which is from the same producers and shares actors Bill Nighy and Kevin Grevioux. Kate Beckinsale was rumored to be making a cameo as Selene. Ultimately none of these ideas were used. Since the movie didn’t make much money, it’s unlikely that any sequels will be made, making the matter moot, but boy this could have been cool.

14  Underworld (2003)

Would have to go with the first one in the series as the best one. I don’t think that’s always the case. Kate Beckinsale is the reason this series is worth watching. It’s also fun to see Vampires and Werewolves going full on war. The movie was initially pitched as “Romeo and Juliet for vampires and werewolves”. It’s interesting to see the prequel and sequels of the series, also to see how things began and finish. They have gone back and changed the original, however, as for the 2017 4K High Definition remaster of Underworld, the scene where Michael sees flashbacks into Lucian’s past/Sonya’s death was actually replaced with the 2009 scenes in Rise of the Lycans instead of the 2003 flashbacks.

13  Dracula Untold (2014)

Another version that didn’t seem to do well, or wasn’t marketed properly, but that I found to be much superior than any of it’s previous movies based on Dracula. Luke Evans plays Dracula in this version, and he’s very intense.  Dracula Untold was in production before Universal decided to build a cinematic universe. The producers caught wind of it just in time to independently add a present-day epilogue that Universal could use if they wanted to, but it was ultimately decided that Dracula Untold would not be the first entry in the Universal Monsters Cinematic Universe. That first film of the Universal Monsters Cinematic Universe is the new The Mummy film coming out in 2017, which features Tom Cruise in the starring role and also Russell Crowe as Dr. Henry Jekyll to set up his stand alone film for the new Jekyll and Hyde remake.

12 Godzilla (2014)

It’s pretty obvious by now that 2014 was a pretty good year for monster movies, you just may not have known it. It’s mainly because now technology has made it a lot easier to do special effects than ever before. The technology has finally caught up with the creative in this area. This is the latest Godzilla movie to come around and I like it because after the film gets rolling, Godzilla becomes somewhat of a hero in the film rather than the creature out to destroy everything that he was presented as at times. It’s also the first in a new set of films set in the same “universe”, the 2nd being Kong: Skull Island that just came out, the 3rd being Godzilla: King of Monsters set to be released in 2019 and the last being King Kong vs. Godzilla in 2020. On this film, according to Bryan Cranston, Gareth Edwards was inspired by the shark film Jaws (1975). “The film does not immediately show the beast, but rather build up to its appearance while still delivering an eerie and terrifying off-screen presence.” In homage to Jaws, the main protagonists have the name of Brody, after that film’s protagonist.

11  Deep Blue Sea (1999)

The sharks in this film do have a tendency to grow and shrink in size depending on where they are in the film, but if you can turn your brain off of that fact, this is a pretty cool movie.  Renny Harlin directed it and he has said that it was the hardest film he’s ever made. Samuel L. Jackson happily signed on for the film, as he had enjoyed his experience working with Renny Harlin on The Long Kiss Goodnight (1996).  Renny Harlin admitted that the idea of abruptly killing off Samuel L. Jackson’s character at two-thirds of the movie was borrowed from the similar fate of Tom Skerritt in Alien (1979). Both men were the natural leaders of their respective groups, leaving the remaining survivors in utter despair, and both were the best-known actor in the cast at the time, thereby making their premature demise extra shocking and unexpected. The impact of Jackson’s sudden death scene was intensified by making his preceding speech somewhat long and corny. After watching the scene with an audience for the first time, and hearing them scream in horror and fear, Harlin said that this scene paid off for the entire movie. Just a side-note, the three sharks in this movie are killed in the same ways as the three sharks in Jaws (1975), Jaws 2 (1978), and Jaws 3-D (1983): blown up, electrocuted, and incinerated respectively.

10  Deep Rising (1998)

DEEP RISING, Treat Williams

Now this film is the best in a series of films that are about creatures from the ocean like Leviathan, Virus, Deep Star Six and The Rift. This is actually a really great film, but no-one seems to know about it. Probably because of the lower budget. Originally, Harrison Ford turned down the role of Finnegan. The production’s budget was then downsized. Stephen Sommers, the writer-director, would become known for his monster movies, and this is one of his best. He would go on to direct The Mummy, Van Helsing and The Mummy Returns. Stephen began writing this script, then called “Tentacle”, when he worked at Hollywood Pictures in the mid-90s. Go out a rent this movie, it’s a blast.

9  Lake Placid (1999)

Another film that nobody knows about.  Seemed to go straight to video, but it’s a great movie. This one has a very strange pedigree as it was written by David E. Kelly famous for Law Firm TV Shows like Ally McBeal, Boston Legal, LA Law, Picket Fences and The Practice! Then it was directed by Steve Miner, famous for giving us the real Friday the 13th killer Jason Voorhees in Friday the 13th Part 2 and Friday the 13th part 3, as the first movie’s killer was his mother, Mrs Voorhees! This movie is funny but has plenty of scares to go around. It’s about a giant crocodile living in Lake Placid. The size of the crocodile in the movie is actually much larger than anything ever recorded in real life. The current largest crocodile in captivity (Guinness book of records, 2015) is 5.48 metres (about 18 ft), and although there are (unverified) reports of sightings over 20 feet in length, nothing is as large as the 30ft quoted in the movie.

8  The Fly (1986)

Now, for some reason a running theme in monster movies is the use of science to explain how a monster has been created or come about. This one has the best use of science (except for movie #2) to help build the tension for any of the monster movies. In a 1987 interview on Sinister Image (1987) Vincent Price revealed that when this remake was released, star Jeff Goldblum wrote him a letter saying, “I hope you like it as much as I liked yours.” Price was touched by the letter, he composed a reply and went to see the film, which he described as “wonderful right up to a certain point… it went a little too far.” David Cronenberg met with some opposition when he announced that he wanted to cast Jeff Goldblum in the lead role. The executive at Fox who was supervising the project felt that Goldblum was not a bankable star, and Chris Walas (Make-up) felt that his face would be difficult to work with for the make-up effects. Both, however, deferred to Cronenberg’s judgment. Cronenberg himself later had reservations when Goldblum suggested Geena Davis, his girlfriend at the time, for the other lead role, as he did not want to have to work with a real-life couple. Cronenberg was convinced after Davis’s first reading that she was right for the role. Producer Stuart Cornfeld suggested that they audition more actresses saying that it’s the “script that is brilliant”. Cornfeld relented after “nobody else even came close”. The famous tagline, “Be afraid, be very afraid!”, originated in this film as dialogue spoken by Geena Davis.

7  Tremors (1990)

If you’ve ever watched Dune and thought the best thing about it was the sand worms then this movie is for you. Writer S.S. Wilson said that he got the idea for the film while he was working for the US Navy in the California desert. While resting on a rock, he imagined what it might be like if something underground kept him from getting off the rock. Tremors was the first film directed by Ron Underwood, who would go on to direct City Slickers, Speechless, Mighty Joe Young, Heart and Souls, and tons of TV Shows.

6  Gremlins (1984)

Written by the amazing Chris Columbus and directed by Joe Dante, this was my favorite film from 1984, at the time, although since then Terminator, Indiana Jones and the Temple of Doom, Dreamscape, The Last Starfighter, Romancing the Stone, The Philadelphia Experiment, Top Secret!, All of Me, Runaway, Ghostbusters, and Beverly Hills Cop have since topped that movie in that year, for me. But at 14 years old, Gremlins was my favorite. But now that I look back, that may have been one of the most incredible years for films…I mean, wow, what a list of films all released in the same year. The set for Kingston Falls, the location this movie is set in, is the same one used for Back to the Future (1985). Both movies were filmed in the Universal Studios backlot, and you could see the set for many years afterward if you went on the Universal Studios Tram Tour. Steven Spielberg had a great working relationship with Chris Columbus on this film, and he produced the next two films Columbus scripted–The Goonies (1985), based on an idea Spielberg had, and Young Sherlock Holmes (1985), which was Columbus’ idea. Altogether, three years was spent working on those three films.

5  King Kong (1933)

Now the new film, Kong: Skull Island is pretty fun stuff, but the original is just too iconic not be on the list. It is effectively the model for almost all of the monster movies that have followed since. The other King Kong movies are pretty great too, but the original is just one of those films, especially at the time, that people’s jaws just dropped and everyone went…wow. It’s amazing, back then and today. The project went through numerous title changes during production, including “The Beast” (original title of draft by Edgar Wallace in RKO files), “The Eighth Wonder”, “The Ape”, “King Ape” and “Kong”. Art drawn for the press book for the original release of the film was contributed by Keye Luke, who was a highly regarded illustrator before he became an actor and whose works have appeared in films themselves, such as The Shanghai Gesture (1941), and who acted in such classic films as the number 1 son of Charlie Chan in a slew of films and as the old Chinese shop owner in our #5 film, Gremlins.

4  The Mummy (1999)

Great remake, much better than the original, even though I love Boris Karloff. The remake is a great mix of monster movie and adventure movie…just brilliant. It was originally planned to open the film with the old black and white Universal logo that had been used at the beginning of The Mummy (1932) which would dissolve into the blazing desert sun. Would have given a really cool connection to the old style Universal monster movies. Brendan Fraser was cast due to the success of George of the Jungle (1997). Stephen Sommers also commented that he felt Fraser fit the Errol Flynn swashbuckling character he had envisioned perfectly. The actor understood that his character “doesn’t take himself too seriously, otherwise the audience can’t go on that journey with him”. Before Brendan Fraser, the role of Rick’ O’Connel was offered to Sylvester Stallone. That would have been a very different film. I’m glad that Stephen Sommers stuck to his vision of the film. Stephen Sommers described his vision of the film as “as a kind of Indiana Jones or Jason and the Argonauts (1963) with the mummy as the creature giving the hero a hard time”.

3  Aliens (1986)

This one almost didn’t make my list as it literally scared me half to death when I first saw it. It’s hard not to think of it as a horror film, but what James Cameron brought to this franchise is so good and so ground-breaking that it literally transcends many genres. Sigourney Weaver had initially been very hesitant to reprise her role as Ripley, especially because Cameron had cut the scene where Burke had brought Ripley the news of just missing the death of her character’s daughter (which Weaver felt would have completed the circle of the mother-daughter bond with Newt) she had rejected numerous offers from Fox Studios to do any sequels, fearing that her character would be poorly written, and a sub-par sequel could hurt the legacy of Alien (1979). However, she was so impressed by the high quality of James Cameron’s script – specifically, the strong focus on Ripley, the mother-daughter bond between her character and Newt, and the incredible precision with which Cameron wrote her character, that she finally agreed to do the film.

2  Jurassic Park (1993)

Harrison Ford was offered and turned down the role of Dr. Alan Grant, as he felt that the part just wasn’t right for him. After seeing the film, he says that he had made the right decision. James Cameron has stated that he wanted to make the film, but the rights were bought “a few hours” before he could interview with Crichton. Upon seeing Jurassic Park, Cameron realized that Spielberg was the better choice to direct it as his version would’ve been much more violent (“Aliens (1986) with dinosaurs”) which “wouldn’t have been fair” to children, who relate to dinosaurs. The special effects were directly influenced by Cameron’s Terminator 2: Judgment Day (1991). Originally, Michael Crichton’s agents circulated the book to six studios and directors. Warner Brothers wanted it for Tim Burton to direct, while Columbia Pictures was planning it for Richard Donner. 20th Century Fox was also interested, and was intending the project for Joe Dante, while Universal Pictures wanted Steven Spielberg to direct. Crichton was reluctant to submit to a bidding war. He instructed his agents to put a set price on the film rights and he could decide who was more likely to actually get the film made. After interviewing all the prospective directors, he agreed to sell the rights to Universal and Steven Spielberg, who was already his first choice.

1  Jaws (1975)

Kind of fitting to me to have a Universal Studios film as my number 1 monster movie of all time, but probably not the one people would instantly think of as a Universal monster movie…Jaws. It  is, although one of the few that was a highlight on the Universal Studios Tram Tour, but not the reason why it’s number one on my list. It’s just a fantastic movie. Is it iconic that Steven Spielberg directed both of the top two films? It’s also interesting that each of these films were based on books, bought before the books were released into stores. Peter Benchley’s novel was first discovered in galley form at early 1973 by then Cosmopolitan Magazine editor and producer David Brown’s wife Helen Gurley Brown who was to be excerpting part of the novel to be published in an upcoming issue. Brown saw it by accident, having read it then a few days brought it to the attention of his partner Richard D. Zanuck, subsequently obtaining the rights to the book at the end of the year. Director Steven Spielberg said that when he first read the novel, he found himself rooting for the shark because the human characters were so unlikeable. There was a lot of sub plots in the book that was cut from the screenplay and even Peter Benchley eventually liked how cutting the subplots from the novel allowed for the characters to be fleshed out properly. Steven wanted the movie to be different. Because the film the director envisioned was so dissimilar to Peter Benchley’s novel, Steven Spielberg asked Richard Dreyfuss not to read it. Steven Spielberg always considered Jurassic Park a sequel to Jaws, but on land. People saw differences though, where the latter focused on character development as much as on its creature, while the former only used the dinosaurs to sell the film, and not the characters. As far as monsters go, the shark in Jaws is pretty scary, as it has kept whole generations from going into the ocean for decades. The shark was ranked the eighteenth greatest villain on the AFI’s list of 100 Heroes and Villains.

Locker 13 the Lost Episodes Part 3

 

And the last lost episode for the Locker 13 movie…it’s appropriately tited, L.O.C.K.E.R. and it was written by Jason Marsden:

BLACK.

FADE IN:

INT. WAREHOUSE – DAY

ECU on a LOCKER.  Locker THIRTEEN, to be exact.  It stands alone, atop of a Roman pedestal, heroically in the center of a large, black room.  Locker 13, appears heavy, thick, weathered and ominous…but enough about that.

Across from Locker 13 is an audience of FARMERS. Several rows of chairs, inhabited by a group of old-ish, denim overall wearing, bearded, land owners of yore.  They sit patiently when:

A DOOR opens from the black background, illuminating BRIGHT

WHITE LIGHT that floods the inside of vast room.  From the door, at a quick pace, walks EDGAR JACKSASSY (30), smartly dressed and slick, followed by his minion, GUNTHAR RETCH (29) a lowly composite.  Edgar walks pointedly towards the farmers, pulls himself up a metal chair right in front of Locker 13 and after a beat says to the group:

EDGAR

Chickens.

Gunther, stands off to the side. Obediently watching Edgar.

The Farmers, listen…intrigued.

EDGAR (CONT’D)

The Earth’s full of ’em.  We all gotta have ’em. You’re familiar with how that goes I don’t have to tell you.  (beat) But where do you PUT ’em?

Angle on the Farmers as they react with the occasional “harfrumps, and hmmmphs”.

EDGAR (CONT’D)

Sure, a coop.  Right?  A coop for all their little chicken toes and chicken fingers to get caught, maybe broken?

Gunthar giggles to himself.

GUNTHAR

Chicken fingers.

Edgar shoots him a look.  It freezes the room.  Gunthar giggles again. Edgar composes himself and continues.

EDGAR

I know farmers. I like farmers. Heck, I’m like a farmer myself. Outstanding-in-my-field!

He impresses himself with his own joke and chuckles.  The farmers weren’t amused. Gunthar is still trying to figure it out.

Edgar breaks the silence by marching up to Locker 13 and slapping it on the side!  A dreadful, hollow, metallic sound reverberates from the slam!  It grabs everyone’s attention. Edgar continues.

EDGAR (CONT’D)

This is what you came here for!  This is what you need.  The EA JACKSASSY, military production unit…L.O.C.K.E.R.!

Big hero shot of Locker 13!  It’s ominous and spooky sitting in the middle of the room.  It’s as if the other lockers just don’t want to hang around him.

EDGAR (CONT’D)

Lithium OCtane Killius Earthanium Receptacle.  (beat) This is model thirteen.

Gunthar wheels in a tray of, we-don’t-know-what, underneath a velvet sheet. Edgar walks around Locker 13 as he explains.

EDGAR (CONT’D)

The war’s over.  But the battle has just begun!  Military doesn’t need these anymore because we’re suddenly “pro” life.  Goodness gracious. And at the same time, people want their chickens roaming the country side and free!  Free range!  Free range!  Give a chicken free range and next thing you know it’s gonna want to vote!

Gunthar thinks about chickens voting.

The Farmers seem in agreement.

EDGAR (CONT’D)

Do you know how many KFC’s there are in this country alone? Koo Koo Roos?  Popeyes? Roscoes? El Pollo Locos? Stir fry, country fry, chow main, baked, broiled, sandwich, salad, I don’t have to tell you!  Everyone needs chicken!  “What about the vegetarians”, you say? Sure, there are plenty of hippies, dippys, yuppies and buppies, in the world.  But our planet isn’t going vegetarian yet!  We’re carnivores by nature! So rest easy my friends, for you have job security.

The farmers are lost and they’re seeming less interested.

Gunthar, is just lost.  Edgar, ramps it up!

EDGAR (CONT’D)

Human kind is jonesing for fowl and you are the dealers! Demands will rise, as well as your stock!  Cages are ‘spensive!  And are you really gonna be the hillbilly bufoon on your block with thousands of chickens roaming the hillside like the Sound of fucking Music?! NO!(beat) That’s why you need this.

Edgar, returns his attention to Locker 13, touching the cool steel.

EDGAR (CONT’D)

Made from the alloy,  Killiusearthanium.  This shit was top secret.  Still is.  Adamantium is pudding next to this.  One, sixteenth of an inch thick.  That’s paper thin!

Just as he says this, from the table of goodies, Gunthar, produces a perfectly timed paper lined hoop for Edgar to punch through in punctuation!

EDGAR (CONT’D)

But with hulk-like density.

Also from the goody cart, Gunthar hands Edgar a .44, which he cocks and points at Locker 13.

EDGAR (CONT’D)

And one hundred and ten percent bullet-proof!

BLAM! BLAM! BLAM! BLAM! BLAM! Sparks dance around Locker 13.

It moves not an inch.

EDGAR (CONT’D)

So your chickens will remain intact! Gunthar!

Gunthar, hops to it, unlocks Locker 13 and swings open the door.  About a dozen CHICKENS pour out, excitedly!  Feathers fly everywhere.  Gunthar scrambles to collect the chickens.

EDGAR (CONT’D)

And it’s porous, which deters suffocation.

Edgar double takes as he notices a lone, dead, chicken resting at the bottom of the locker.  Without missing a beat:

EDGAR (CONT’D)

That one was already dead.

ECU through the BULLET HOLE on the side of the locker, right to Edgar, who looks to Gunthar, indicating for him to “take care of it”.

EDGAR (CONT’D)

Gunthar.

As Gunthar crosses, Edgar scoops the gum (Gunthar’s been chewing all this time) from Gunthar’s mouth and covers up the bullet hole on the sly.

EDGAR (CONT’D)

Tragic.  She was my favorite.  In fact, that was her name, Tragic.  She was the sick one.

As Gunthar collects the dead chicken, fresh BLOOD squirts out of the bullet wound, spraying Edgar and the Farmers. Gunthar, quickly runs out to dispose of the carcass.  Edgar breaks the tension, by SLAMMING the locker door shut!

EDGAR (CONT’D)

Anyway.  L.O.C.K.E.R. 13 is also predator proof!  Anything kept inside, stays inside.  Including odors.  Foxes, wolves, possums, any carnivore with a keen sense of smell, and with chicken on it’s menu, will never detect your valuable feathered friends if kept in this baby.  Gunthar!

Gunthar runs to attention as a rogue chicken innocently hobbles by.  Edgar maliciously snatches it up! Then cradles it in his arms, kindly strokes it’s neck as he continues:

EDGAR (CONT’D)

For example. Pretend Gunthar, is a predator! A squat, ugly, ravenous beast that hasn’t eaten in weeks.

Gunthar, gets into it, trying to emulate Edgar’s description, with hilarious, physically comedic results.

EDGAR (CONT’D)

(re: chicken in his arms) Gunthar, try to get this chicken.

Gunthar, licks his lips, bears his “claws” and pretends to stalk and attack the chicken in Edgar’s arms.  Just as he gets close enough, Edgar flings out his fist and WHAM! punches Gunthar in the face!  Gunthar, spins from the impact and sails to the ground.  Edgar continues to the farmers.

EDGAR (CONT’D)

Now you shouldn’t have to exert yourself like that. Save it for your wives and daughters, eh?  Your hands are your investment!  Instead of challenging the problem with your fists, eliminate the problem altogether!  (to Gunthar) Gunthar!

Gunthar struggles to his feet and opens the locker door.

Edgar carefully places the chicken inside. 

EDGAR (CONT’D)

Simply insert a chicken into our catch-proof locker doors, and…

SLAM! Gunthar shuts the door too fast and catches Edgar’s finger!  He reels in pain!

EDGAR (CONT’D)

Ahhhgh!

Edgar holds his finger and stares daggers at Gunthar.  Edgar takes a peek at the damage and a squirt of his own blood shoots in his face. ANGLE on the Farmers as they get sprayed…again.

Gunthar, meekly offers a hanky.  Edgar snatches it away, wraps his hand, and continues…most condescendingly…

EDGAR (CONT’D)

Now say the predator happens to miraculously sense the chicken inside our locker right here.  Which he won’t.  But let’s say he does.(pointedly to Gunthar)  Say, the worm infested, mange covered, diseased, gluttonous little bitch, approaches LOCKER 13 and tries to get inside.  Go ahead.  Try and get inside.

Gunthar looks to Edgar, sheepish.  He doesn’t wanna.  Edgar shoots him a look.

EDGAR (CONT’D)

Go on now.  That a boy.

Gunthar pretends to paw and claw at the locker door.

EDGAR (CONT’D)

That’s it, now try and bite it.

Gunthar reacts, confused.

EDGAR (CONT’D)

Try to take a bite out of it. Open your mouth, really wide, then place your teeth around the corner there.

Gunthar, with trepidation, opens his mouth wide and places it on the corner of the locker.  Just then ZZZZZZZAP!!!!

LOCKER 13, vibrates with colorful bolts of electricity like a

Tesla-Coil!  Smoke emanates from the door, as well as Gunthar’s eyes, mouth, and ears!  His hair stands on end.

His mouth, fused to the locker!

Edgar produces a STUN GUN, which he has jabbed onto the backside of the locker, unbeknownst to everyone.  He releases the charge and a smoking Gunthar, falls to the floor.

EDGAR (CONT’D)

As a special bonus, not included in the final sale, we can equip L.O.C.K.E.R. 13 with a stun device, that would react not unlike the way you just saw.  (beat)  But what the heck, cuz I like you guys.  I’ll just go ahead and throw it in for free!

L.O.C.K.E.R.’s door slowly swings open, revealing a very cooked chicken!

The Farmers react, skeptical.  Edgar brings it home.

EDGAR (CONT’D)

I don’t know if I mentioned this, but L.O.C.K.E.R. 13 is the last one of its kind.  The only one left in the entire state of Arizona!  The only one left on this planet!   Every land owner, barn-hand, and chicken farmer would sell me their youngest daughter for one of these (beat) What say we start opening bids!

Gunthar springs to his feet, albeit a bit wobbly, and holds up a sign reading “$1000.00”.

EDGAR (CONT’D)

One thousand dollars. For L.O.C.K.E.R. 13 and free predator deterrent.  (re: fried chicken) And chicken dinner for one.  Who’ll start the bidding at one thousand?  One thousand dollars.

The Farmers ain’t biting.

EDGAR (CONT’D)

Ah.  We’re all here for a bargain, aren’t we.  Well I beg your pardon. Nine-fifty!

Gunthar scrambles to find a sharpee in his pocket and crosses out “$1000” and writes “$950”.

EDGAR (CONT’D)

Let’s open the bids at nine-fifty!  (ala auctioneer)Nine-fifty,doIhearnine-fifty,ninefifty,rightherenine-fifty…

He trails off as the Farmers continue to stare, stoic.

EDGAR (CONT’D)

(to Gunthar) Let’s go to eight hundred.

Gunthar crosses off “$950” and scribbles “$800”.

The Farmers don’t budge.  Edgar grows restless.

EDGAR (CONT’D)

(to Gunthar)  No no no.  Make it seven.  Seven hundred.

Gunthar scribbles.  Edgar tries the Farmers for approval.

EDGAR (CONT’D)

Seven?  How about six?

Gunthar makes the change.

EDGAR (CONT’D)

This is a military device here, gentleman!  Billions of dollars in research went into…

Farmers don’t care.

Edgar’s finger is throbbing.

EDGAR (CONT’D)

Alright, but I’m gonna get in trouble with my bosses if I… (new thought)  Hey.  If you don’t tell ’em.  I won’t.  Five-fifty.

Gunthar is growing weary of the changes.  There is very little room left on the sign.  ANGLE on the FARMERS – one, raspberries in disapproval.

Edgar stares at them with disappointment. He sizes them up like spoiled children. Finally he offers.

EDGAR (CONT’D)

Seventy-five dollars?

A Farmer, FARMER #1, raises his hand.

Edgar jumps with excitement!

EDGAR (CONT’D)

Seventy-five dollars!  (auction mode)  Seventy-five, we got seventyfiveseventy-fivedollars. Do I hear two hundred?! Who wants to give me two hundred?  TwohundreddoIheartwohundred…

He continues vying for two hundred as Gunthar finds a new piece of paper and writes “$200” on it.  The Farmers aren’t budging.  The bidding Farmer sits back, proud.  Edgar is losing ’em.

EDGAR (CONT’D)

Two hundred? No two hundred WegotseventyfiveI’mlookin. ‘fortwohundred. Seventy-fivetotwohundred? Seventyfiveto…eighty.  Can I get eighty?

A different Farmer, FARMER #2, raises his hand.  Farmer #1 scowls in offense.

EDGAR (CONT’D)

EIGHTY! I have eighty!  Can I get eighty-five Whowantstogivemeeighty -five, eighty-five, wegoteightyIwanteighty -five, who’llgivemeeighty-five? Eightyfive? Anyone? Eighty-five?

Edgar notices a Farmer, FARMER #3, counting change in his hand.

EDGAR (CONT’D)

Eighty-two-fifty?

Farmer #3, excitedly raises his hand!

EDGAR (CONT’D)

Eighty-two-fifty! Igoteighty-twofifty, doIheareightytwo-seventyfive? Lookingforeighty-two-seventyfive, helpmeoutwitheightytwoseventyfive.

The Farmers all reach in their pockets for change.  Some pull out hankies, hay, a wrench, and the occasional change.  Farmer #1 raises his hand again!

EDGAR (CONT’D)

Eightytwoseventyfive! Wegoteightytwoseventyfive, who’llgimme eightytwo-eighty?!  Do I hear eightytwo-eighty?!

Farmer #2 throws up a hand.

EDGAR (CONT’D)

Eightytwo-eighty! Wegoteightytwo- eighty, who’llgivemeeightytwoyninety?! Gunthar is desperately trying to catch up!

EDGAR (CONT’D)

Eightytwoninetylookingforeightytwon inety, who’llgivemeeightytwoninety?

Farmer #1 again!

EDGAR (CONT’D)

Eighty-two, ninety! Now, eightytwoninety-five! Who’sbraveenoughtoforkouteightytwoninety-five?!

Farmer #3 takes the bait!

EDGAR (CONT’D)

EIGHTY-TWO-NINETY-FIVE! Let’s go for a clean hundred!

All the Farmers stop fishing for change and shoot a collective look at Edgar. Edgar, reacts. Then covers.

EDGAR (CONT’D)

Eighty…three, dollars.  Who’s gonna offer eighty three?!  Eightythree.  Looking for eighty three.

The Farmers resume counting change, but none are biting.

EDGAR (CONT’D)

Eighty-three, eighty-three, anyone, eighty-three.

The Farmers are still counting change.  Some are even making trades and discussing combining funds.

Edgar looks to Gunthar, who has scribbled on everything in sight, trying to keep up with the bidding.  Edgar sees no future in this.

EDGAR (CONT’D)

Eighty-two dollars, and ninety-five cents, going once.  One, authentic, military approved, L.O.C.K.E.R., going twice. This is model number 13. It will hold a capacity of 50 plus chickens, going, eighty-twoninety-five, still going twice…fuck it, SOLD! To that guy.

Edgar, half hearted, points towards the Farmers, then turns to Gunthar.

EDGAR (CONT’D)

Get the cash.  Count it.  And get them out of here.

Gunthar leaps to. The winning Farmer, celebrates.  The other Farmers offer congratulations, rise from their seats and pile out.

We stay with Edgar, who retreats to the background, removes a pack of gum from his pants pocket, unwraps it and sticks it in his mouth in disgust.

SOFT in the FG: We can make out the commotion of Gunthar removing L.O.C.K.E.R. 13 from it’s pedestal and wheeling it out with the winning Farmer as Edgar shakes his head and checks his wounded finger.

After the Farmers exit, we FOLLOW Edgar as he makes the long walks back towards the door from whence he came.  He throws open the door, bathing us in light and enters: INT. BACK WAREHOUSE – CONTINUOUS

A florescent lit kitchenette!  There’s a fridge, water dispenser, several cabinets, drawers, rows of various tea, a coffee machine, plate of bagels and a vegetable plate.  Edgar grabs a bottled water from the fridge, a bottle of vitamins from the cupboard, his favorite tea bag, and favorite mug, which he fills up with piping hot water.  He searches for a band-aid, for his wounded finger, shortly followed by a change of shirt. He then unscrews the water bottle and dilutes the tea with a bit of cold so’s he can drink it right away. Gunthar enters and crosses frame.

GUNTHAR

I’m sorry I…

EDGAR

Shut up.  No one asked your opinion.

GUNTHAR

You didn’t have to…

EDGAR

(mocking) You didn’t have to… (then) Just, shove them in there so we can get on with round two!

Gunthar Exits.

OFF SCREEN – We hear deep, guttural, BARKING sounds and Gunthar, opening a cage.  We hear him ad-libbing distress as he is attempts to wrangle some boisterous, unseen, animals. We hear the sound of a door opening.  A familiar, METALLIC DOOR. And Gunther, forcing the animals into it.  Finally, he manages to corral all the creatures before finally slamming the door.  A familiar METALLIC SLAM!

We PAN over to find Gunthar, pushing another L.O.C.K.E.R. on a dolly. The BARKING sounds are muffled, almost mute.  Edgar, slaps a sticker marked “13” on the side.

Behind them, ala Raiders of the Lost Ark, HUNDREDS of L.O.C.K.E.Rs waiting to be sold.

Gunthar pushes the dolly through frame, we HOLD on Edgar.

Who gulps his tea, straightens his jacket, places his hair, and walks out of the room.  We CONTINUE with him as he makes the long walk back to the pedestal, where Gunthar has placed the new L.O.C.K.E.R. 13.  We PAN around to find, an audience of ESKIMOS!  All decked out in their thick, winter coats, spears, etc.  We continue PANNING, resting on Edgar, sitting in a chair, just like in the beginning.  He looks at the Eskimos and after a BEAT, says:

EDGAR (CONT’D)

Baby seals!

CUT TO:

BLACK.

Locker 13 the Lost Episodes Part 2

 

Here is part 2 to the unfilmed segments of Locker 13. This next one is written by Adam Montierth and is called, Apache Tears:

FADE IN:

EXT. GOLDFIELD NEW MEXICO 1885 – DUSK

Five MEN on horseback ride slowly into town.   The TOWNSFOLK eye the men suspiciously.

The lead horse carries a large grizzled man in dark leather.  He is JACOB CALHOUN.   He grins ominously with a full set of dirty teeth and looks over at his younger brother, RUSS CALHOUN.  Russ smiles too, mimicking his Brother, but he is missing most of his teeth.

Russ is a thin reed with wild hair, resembling a weasel more than a man.  He turns to look at the three following close behind.

One of the men has a face full of scars, aptly nicknamed SCARFACE.  The man on the other side is horribly disfigured with a burn covering his bald head and half of his face, nicknamed ASH.

Russ frowns at the RIDER in the middle.  He is a stark difference to the others, as he is ruggedly good looking. 

He has strong hard features.  It looks as if God made him out of granite.

RUSS CALHOUN

Why’d ya hafta bring him?  He’s trouble I’m tellin’ ya.

JACOB CALHOUN

We need a safe guy, don’t worry he knows Sanchez.

RUSS CALHOUN

But I’ve seen his face before.

JACOB CALHOUN

Probably with Sanchez.

Russ looks back at Rider who gives him a steely gaze.

The men ride up to the bank in the center of town and hitch their horses on the post in front.

Scarface and Ash stay on their horses, the others dismount.

JACOB CALHOUN (CONT’D)

Now you two bone heads keep your eyes peeled this time.

SCARFACE

Boss, he’s as skittish as a mule.

ASH

Me?  You’re as skittish as a Jack Ass.

SCARFACE

A Jack Ass is a mule…

JACOB CALHOUN

Enough!  If’n you two…  Don’t try me.

Scarface and Ash both nod.  Then they turn to each other and glare daggers. Jacob turns to the others.

JACOB CALHOUN (CONT’D)

Alright, stick to the plan.  Let’s go.

Jacob, Russ, and Rider head for the bank’s front door. 

Before they have a chance to go in, a beautiful WOMAN in cowboy dress comes out of the bank.

It is HELENA STORM.  She appears to be half Native

American and half Caucasian.  She looks up at the three men and locks eyes with Rider in surprise. 

A moment of recognition arises, as both pause in awkward silence.  Riders eyes seem to plead with her.

HELENA STORM

Terence…

Russ snaps his fingers in remembrance and points at Rider.

RUSS CALHOUN

Terence Dean, I knew it.  Marshal…Terence Dean!

Jacobs’ eyes squint in anger. 

Russ goes for his gun, but MARSHAL TERENCE DEAN is too fast for him and immediately has his six shooter out and guns him down. Scarface’s horse jolts from the gun shot. 

ASH

Let’s get outta here.

Jacob draws his Colt 45 and immediately grabs Helena from behind.  He puts his gun to her head as Marshal trains his gun on him. Ash and Scarface ride off in a cloud of frantic dust.

Marshal Dean evaluates the situation as each man pauses in stalemate.  Jacob eyes his brothers motionless form on the ground beside him.  He quivers in rage as he spits his words out at Marshal Dean.

JACOB CALHOUN

You’ll pay dearly for that, Marshal.  Now throw your gun down or I open up another hole in this pretty little thing’s head.

Marshal puts his hands up in surrender.  He slowly and carefully places his pistol on the ground.

JACOB CALHOUN (CONT’D)

Now, see?  That wasn’t so hard.

Jacob swings his gun around to the Marshal, but before he’s able to shoot, Helena lays an elbow hard into his face.  In a flash she brings up a knife from her other hand and stabs Jacob in his shooting arm.  He drops his gun.

Helena steps back.  Jacob yells in pain and frustration as he looks up to stare at the barrel of Marshal Terence Dean. 

Jacob freezes.

Marshal looks over at Helena, still in shock at the sight of her.

TERENCE DEAN

Helena.  You’re alive!

Helena smiles at him, unsure of what to say.

Jacob smiles at her with an evil glint in his eyes. 

JACOB CALHOUN

(Whispers.) Helena.

Terence clubs Jacob in the face with the back of his revolver.

EXT. GOLDFIELD NEW MEXICO – MORNING

The sun rises over the desert landscape.  A stagecoach is drawn up to the jailhouse.

The door opens and Terence comes out with Jacob in handcuffs.  Jacob has a bad bruise on his face left from the events of the previous day.

The towns’ SHERIFF follows them out carrying a bag.  He throws it on the stagecoach.

SHERIFF

Do you really think it’s wise to leave so soon?

TERENCE DEAN

Jacob’s a popular man, the Judge in Tombstone’s anxious to see him.  He’s got a date with the reaper.

SHERIFF

Give me time to send for my two Deputies.  They can go with you.

Terence puts Jacob in the stagecoach and handcuffs him to the iron bars on the doors window. 

Helena Storm walks over to the Stagecoach from across the street. 

TERENCE DEAN

Thank you Sheriff, but we’ll be fine.

The Sheriff tips his hat and goes back inside.

Jacob smirks at the sight of Helena.  Terence slams the door in his face. Terence walks over to meet her.

TERENCE DEAN (CONT’D)

I thought maybe you were a mirage.  We didn’t get to talk last night before you disappeared.  But thank you for coming to see me off.

HELENA STORM

Terence, I didn’t come to see you off,    I’m the driver.  This is my coach.

Helena has a hard time looking Terence in the eyes.  She busies herself with getting the Stagecoach ready.

TERENCE DEAN

What?  Helena, what the hell is going on here?  I thought you were…I mean…the fire-

HELENA STORM

Yeah, the fire.  There was a bad storm, lightning hit.  I tried to stop the fire, but it was no use.

TERENCE DEAN

You were no where to be found, you made me think-

HELENA STORM

I made you…?  Look, you were better off.  I couldn’t wait for you forever.

TERENCE DEAN

I had work to do.  I told you I’d be back.

HELENA STORM

You were gone for 13 months.  I had to move on.

TERENCE DEAN

So the fire gave you a chance to start a new life?

HELENA STORM

Yeah, something like that.

FATHER WINTERS shows up.  He looks uncomfortable with interrupting the heated conversation. 

TERENCE DEAN

Father.

Father Winters nods politely and hands Helena his bag. 

She secures it to the top of the stagecoach.

The Father opens the stagecoach door and hesitates at the sight of the prisoner in handcuffs.  Jacob smiles wickedly.

JACOB CALHOUN

Father.  How the hell are ya?

Father Winters nods politely and enters the stagecoach, clutching his Bible tightly.

TERENCE DEAN

Helena say something?  You’re still my wife.

HELENA STORM

Another time and place maybe.  You weren’t made to settle down and I couldn’t wait for you.  You ran away long before I did.

Terence stands before Helena not knowing what to say. 

She climbs up to her perch on the front of the stagecoach and looks down at Terence expectantly.

He stares blankly.  She slaps the reins and the stagecoach takes off.  Terence catches the open door and enters. He closes the door and sits back dazed. 

They ride out of town.  Jacob gazes out of the window as the stagecoach passes a plain pine box where his brother lie still.  The undertaker shuts the lid and begins to nail it into place.

INT. DEAN’S RANCH – NIGHT – PAST

The cabin has been recently decorated with the comforts of a newly wed couple. 

A younger Terence and Helena are in their king sized bed looking lovingly into each others eyes.  A fire illuminates the room.

TERENCE DEAN

So how is Mrs. Dean enjoying her second day of marriage?

HELENA STORM

Better than the first.  Every day seems like a dream.

TERENCE DEAN

It should.

HELENA STORM

I’m afraid that I’ll wake up one morning and you’ll be gone.

TERENCE DEAN

I’m not going anywhere.

HELENA STORM

But you’re not a rancher.

TERENCE DEAN

I am now.  I don’t miss it.  Wasting my life chasing demons.

HELENA STORM

You were good at it.  Too good.

TERENCE DEAN

Yes I was, but I’ll be a better rancher.  This is my heaven.  My reward for being good.

HELENA STORM

I hope it’s enough.

INT. STAGECOACH – DAY

Terence shifts uncomfortably in his seat, lost in thought.  Jacob eyes him closely.  He looks at his gun and then to his handcuffs at the window. 

Terence catches him and smiles for the first time.  Jacob scowls.  The Priest quietly reads to himself.

JACOB CALHOUN

So how do you know Sanchez?

TERENCE DEAN

Hung him in Wells.  Robbed a stagecoach, killed the driver.

JACOB CALHOUN

Who hasn’t?

TERENCE DEAN

Had a nice chat before he swung.  Told me where to find ya.

The Stagecoach begins to slow.  Terence becomes alarmed.

He eyes Jacob suspiciously, who shrugs his shoulders. 

Terence looks over at the Priest and then pokes his head out the window to see what’s up.

EXT. STAGECOACH – DAY

The Stagecoach comes to a halt.  Terence exits, guns drawn.  Helena grabs her rifle and jumps down from her seat.  The Priest exits behind Terence. 

JACOB CALHOUN

What about me?

TERENCE DEAN

Stay put Father!

The Priest hangs back with Jacob. 

Terence and Helena see an old wooden foot locker on the road with a rusted iron padlock on the front.  They slowly approach the chest, looking around.

HELENA STORM

What is it?

TERENCE DEAN

Trouble.

They look at the chest puzzled.  Suddenly, they hear a knock from the inside.  They both jump back.  The knocking ceases.

Terence slowly walks forward and knocks back on the wood. 

The chest begins to rock back and forth as a frantic voice is heard muffled.

Terence looks up at Helena who looks nervous.  He aims and shoots the lock off the chest and opens the lid.  A little man, BENNY LANG, jumps out.  He is gagged and tied up.  Terence unties him.

TERENCE DEAN (CONT’D)

What the hell?

BENNY LANG

Thank you kindly.  I thought I’d never see the light of day again.

TERENCE DEAN

How’d you get in there?

BENNY LANG

That is quite the story, and see’n as I like to tell them, should make for a good time.  Got anything to drink first?

BENNY LANG(CONT’D)

I done poured out all my fluids in that thing, if’n you know what I mean.

Helena tosses him a water canteen.  Benny drinks greedily. He finishes and wipes his mouth on his sleeve.

BENNY LANG (CONT’D)

Thank you again so kindly.  There’s no end to your generosity.  Ah yes, my current unfortunate predicament.

TERENCE DEAN

Cut to the quick, we need to move on.

HELENA STORM

Terence let him catch his bearings.

BENNY LANG

No need Ma’am, I’m sorry to delay.  The situation is simple enough.  Names Benny Lang, and I’m a gambler by profession.  I happened on four fellers last night and they welcomed me into their camp.  As is my nature, a poker game began and they didn’t take so kindly to my winning.  They locked me in my trunk, evidently taking my wagon and all my worldly possessions with them, leaving me for dead.  You’ve taken all the passion from my tale, in your haste, but there it is.

Terence takes an uneasy look around.

TERENCE DEAN(To Helena)

We need to move on.

BENNY LANG

Please sir, I don’t mean any disrespect to your generosity, but could you drop me off at the next stop.

TERENCE DEAN

I don’t think that’s a good idea.

Benny’s eyes plead with Terence.  He looks to Helena for sympathy.

HELENA STORM

Terence we can’t leave him.

TERENCE DEAN

We’re only a half a day out, we’ll send someone back.

BENNY LANG

But sir, these men, were the unsavory types…

TERENCE DEAN

Evidently.

BENNY LANG

What if they come back?  Plus, I don’t have food or water.

HELENA STORM

He can sit on top with me.

TERENCE DEAN

This is not a leisure trip.  We are delivering a dangerous man.

HELENA STORM

Well then we better go now, but I won’t leave him.

Terence sighs in frustration, having dealt with her stubbornness before.

BENNY LANG

Thank you, thank you, I will be no trouble, I assure you.  Heaven has sent two angels my way.

TERENCE DEAN

Let’s go.

Terence turns to go back to the stagecoach.

BENNY LANG

Please sir, could you help with my chest?

Terence turns back getting annoyed.  Benny motions to the  foot locker and smiles.

TERENCE DEAN

Leave it.

BENNY LANG

It’s my only possession now.

Terence looks at Helena and then back to Benny.  He sighs again.

He walks over and closes the lid and then picks it up.

BENNY LANG (CONT’D)

Again, many thanks.  You don’t know, it’s been in my family for generations.  I will be no more trouble to you.

Terence hefts the trunk on top of the stagecoach.

Helena helps Benny to the perch as Terence walks over to her.

TERENCE DEAN

You keep your eyes open, I don’t trust him.

HELENA STORM

Do your job Marshall, I’ll do mine.  When this is over, we can go back to our own lives.

TERENCE DEAN

You mean our life?

Helena’s only response is to look away.

Terence takes her hand and feels for her wedding ring.

TERENCE DEAN (CONT’D)

What if I told you this was my last job?

Helena looks him straight in the eye.

HELENA STORM

I’ve heard that before, remember?

Helena steps up to her seat on the stage coach and grabs the reigns.

Terence is again left standing there as Helena starts the horses.  He has to rush to catch the stagecoach door and climb in.

INT. STAGECOACH – SAME

Jacob is smiling broadly.

JACOB CALHOUN

Never gets old.

FATHER WINTERS

What’s going on Marshall?

TERENCE DEAN

Luke, Father, chapter ten.

JACOB CALHOUN

The parable of the Good Samaritan.

Terence and Father Winters stare at Jacob who continues to smile.

JACOB CALHOUN (CONT’D)

With that in mind, my arm where your girlfriend dug her knife, is paining me.  Is it possible to move my shackles?

TERENCE DEAN

When we get there.

JACOB CALHOUN

So kind.

TERENCE DEAN

Not another word.

Terence looks out the window at the passing red rock vistas.

EXT. DEAN’S RANCH – DAY – PAST

Young Helena exits the barn with a fresh bucket of milk. 

In front of the house, she notices two US MARSHALS mounting their horses. Terence stands between them.

US MARSHAL # 1

See you day after tomorrow.

The Marshals see Helena, nod and then ride off.

Terence looks at Helena.  She looks down worried and continues past him into their home.  He tries to say something, but can’t find the words.

EXT. STAGECOACH – DAY

Benny and Helena sit silently on the perch.  She steers the stagecoach through the winding desert, lost in thought.  The sun is falling closer to the horizon.

BENNY LANG

Personally, I’m not one to settle down.  Almost fell for a petite dancer in Georgetown, then I thought better of it and headed for the West.  Heard the cards were highly regarded out here.  They are, after all, my first love.

Helena smiles at Benny’s chatter, eager for a distraction from her thoughts.

BENNY LANG (CONT’D)

Love takes commitment.  The kind a traveller like me can’t afford.

He pulls something out of his vest pocket.

BENNY LANG (CONT’D)

You know what this is?

Helena looks down.  Benny is holding a deep black obsidian stone.

HELENA STORM

A rock?

BENNY LANG

Yes, but do you know what they call it?

 

HELENA STORM

(More hesitation.) A rock?

BENNY LANG

Yes, of course.  But it’s much more than that.  They call it an Apache Tear and it’s very rare.  Do you know how it got it’s name?

Helena shakes her head no.

BENNY LANG (CONT’D)

Alright, story time.  There is a legend behind the Apache Tear.  There were two young Indian lovers who were from different tribes.  They were warring factions of the Apache people.  They were commanded to treat the other as hostile, but they desperately loved each other.  They would meet in secret, making an oath of their undying love.  When their tribes learned of their treachery, they were each sentenced to death unless they denounced their love.  They would not.  Each one escaped from their tribe and they met again on the cliff of the mountain top, with the tribes in pursuit.  With no other option before them, they jumped off the cliff to their death.  Legend has it, the Apache Tears were made when the mountain wept.

HELENA STORM

That’s a beautiful story.

BENNY LANG

Commitment and sacrifice is true love.

Helena turns away with a tear in her eye.

HELENA STORM

That’s why it’s so rare.

INT. STAGECOACH – DAY

Terence is also lost in thought.  Jacob eyes him closely.

JACOB CALHOUN

I’m gonna kill you.  You know that?

Terence snaps into the present.

JACOB CALHOUN (CONT’D)

For killin’ my Brother.  You shouldn’t a done that.

Father Winters looks up from reading his Bible.

TERENCE DEAN

Actually, you killed him.

JACOB CALHOUN

How’s that?

TERENCE DEAN

Your life led you to that moment.  You created it years ago when you became an outlaw.  What do they say Father?  Live by the sword, die by the sword?  Only our swords have changed, haven’t they?

Terence pats the six shooter on his hip.

JACOB CALHOUN

Your moment’s coming Marshall.

Suddenly, the stagecoach begins to slow again.

Jacob smiles knowingly.

Alarmed, Terence pokes his head out of the window to see what’s going on.

EXT. STAGECOACH – DUSK

The stagecoach comes to a complete stop.

Terence exits with his guns drawn.

TERENCE DEAN

I told you not to stop.

Terence stops in his tracks and stares into the tree before him.

Two men ominously swing on nooses in the large oak tree by the road.  The first has a crude sign painted on him in red that reads, “Horse thief”.

TERENCE DEAN (CONT’D)

This is not right.

Terence swings around just as one of Jacob’s men, Ash, comes rushing around the back of the stagecoach with a rifle.  Terence raises his pistol.

SCARFACE

I wouldn’t do that Marshall.  Drop your guns.

Terence slowly turns to find Scarface swinging in the trees with the first man, but he is very much alive and has two six shooters aimed directly at him.

Helena reaches for her rifle, but Ash is there to take it from her.

ASH

I don’t think so little darlin.  You and the boy jump down.

BENNY LANG

Who you calling a boy?  I’ve more whiskers than you.

Helena and Benny climb down from the stagecoach.

JACOB CALHOUN

You bone heads gonna keep me in here all day.  I need the key in Marshall’s left vest pocket.

Ash walks over and cautiously approaches Terence.

SCARFACE

Marshall, why don’t you kindly throw my buddy the key then.

Terence looks up at Scarface who cocks his guns.

He takes the key from his vest pocket and throws it to Ash, who rushes it over to Jacob. 

Jacob unlocks his handcuffs and rubs his bandaged wrist.

Ash hands him a gun.

Jacob triumphantly walks up to Terence.

JACOB CALHOUN

Well, well, well.  Who’s moment is it now Marshall?

Jacob looks over at the dead man next to Scarface.

JACOB CALHOUN (CONT’D)

Who’s that?

SCARFACE

He’s a horse thief.  Where’d you think we got the idea.

JACOB CALHOUN

Get down from there.

Scarface struggles.

SCARFACE

Boss, I need help.

Jacob ignores him and turns back to Terence.

JACOB CALHOUN

You killed my Brother.  Now it’s my turn.

Jacob turns to look at Helena.  Terence moves towards Jacob who shoves a pistol in his face.

TERENCE DEAN

You got me, leave her alone.

JACOB CALHOUN

Or what, Marshall?

TERENCE DEAN

So help me, I will travel to hell to make you pay.

JACOB CALHOUN

Strong words, for a man in your position.

Jacob walks backwards towards Helena, with his gun drawn on Terence. He reaches her and looks around.

JACOB CALHOUN (CONT’D)

We’re missing someone.  (Yelling)  Oh Father, come on out.  I’ll need you to deliver some last rites.

Father Winters slowly exits the stagecoach.

Jacob turns back to Terence, as Father Winters raises a hidden pistol.

SCARFACE

Boss, look out.

Father Winters shoots Scarface dead, as a whirlwind of motion occurs simultaneously.

Scarface drops one of his six shooters and Terence catches it. Ash turns and shoots Father Winters, who goes down.

Terence shoots Ash dead.

Benny runs for cover behind the stagecoach.

Helena gets to her rifle and raises it to Jacob, just as he grabs the barrel and swings behind her.

Terence trains his gun on Jacob, who now has Helena in his grasp with his gun to her head. They face each other once more.

JACOB CALHOUN

Deja vu Marshall.  Seems like we been here before.

TERENCE DEAN

Let her go, and you live.

JACOB CALHOUN

Nice trick in there with the padre.  One of your Deputy’s I presume?

TERENCE DEAN

You can’t win.  Give it up!

Jacob cocks his pistol and pushes it into Helena’s temple.

JACOB CALHOUN

Why Marshall, I’ve already won.  I just want you to pay.

TERENCE DEAN

Don’t!  Okay, okay.  Take me, not her.

Terence drops his gun and holds his hands up in surrender.

JACOB CALHOUN

Oh how very chivalrous, but that’s not the point.  How does the scripture go?  An eye for an eye?

Helena swings a knife over, but Jacob intercepts it this time and throws it to the ground.  He squeezes her tightly.

JACOB CALHOUN (CONT”D)

I don’t think so, little lady.  Not this time.  You see Marshall, I’m going to take something from you now.

With a wild banshee cry, Benny Lang jumps out from behind the stagecoach with a small Dillinger aimed at Jacob.

Jacob just turns and shoots him square in the chest.  Benny looks helplessly down at the gaping hole in his chest and falls to the ground dead. Terence goes for his gun.

Jacob aims again at Marshall Dean.  Both guns go off simultaneously.  Jacob gets shot in the head and falls backwards. 

Helena looks up at Marshall Dean breathlessly.  He smiles.  She smiles back.  A red stain suddenly appears on his shirt. She hesitates unbelieving.  He staggers to the ground. 

She rushes over and kneels down and cradles him in her arms.  She begins to cry. He struggles to breath. 

HELENA STORM

Don’t leave me again, please don’t leave me.

TERENCE DEAN

I should have loved you more.

His eyes go blank as he stops breathing.  She cries.

HELENA STORM

Please, please no.  I will do anything.  Just come back to me.

A voice is heard behind her.

It is Benny Lang now standing and uninjured.  His eyes blaze red. Helena stares at him, puzzled.

BENNY LANG

Would you?  Would you do anything?

HELENA STORM

What?  I thought you were…

BENNY LANG

Sacrifice and commitment, remember.  The sign of true love.  Would you do anything?

HELENA STORM (Confused)

Of course I would!

BENNY LANG

Would you give your life?  Your… soul for him?

Helena looks down at the still form of Terence and whispers.

HELENA STORM

Yes.

BENNY LANG

So be it!

Benny snaps his fingers and Terence wakes up.  He looks into Helena’s eyes and kisses her.  She immediately falls limp, dead. 

Terence looks to Benny who smiles wickedly.  He holds a white wisp in his hand.  The faint voice of Helena can be heard in the wisp.

HELENA STORM (From the wisp)

I love you Terence, I always will.

The Marshall jumps up and goes after Benny, who quickly climbs up to the top of the stagecoach and opens his wooden trunk.  Terence advances and Benny jumps inside, slamming the door shut on top of him.

Terence pulls the trunk down off of the stagecoach and it crashes to the ground open, empty. Terence yells helplessly in the desert.

INT. SALOON – NIGHT

Another time, another place, a seemingly normal poker game proceeds in a dark and crowded saloon.  Benny Lang is smiling and rakes in another deep pot with a full house, aces high. 

The GAMBLER across the table sits unblinking.  Benny folds up the deed on top of the stack and puts it in his jacket pocket. 

GAMBLER

That’s it, that’s everything.  What have I done?  I’ve ruined myself and my family.  I would do anything to have the last few minutes of my life back.

Benny looks at him intently and his red eyes blaze.

BENNY LANG

Would you?  Would you do anything?

CUT TO BLACK:

Locker 13 the Lost Episodes Part 1

 

I bet you didn’t know that there were officially 3 segments of the movie Locker 13 that went unfilmed, due to the fact that we couldn’t raise the funds to shoot them during the recession of 2008. I thought it would be interesting to publish in the blog the 3 missing scripts, for those of you that liked Locker 13 and would like to read what could have been. Would’ve made for a VERY different movie.

Here’s the 1st one called, Midnight Blues:

BLACK.

DANTE (V.O.)

Nietzsche once said, “The advantage of a bad memory is that one enjoys several times the same good things for the first time.”

FADE IN:

EXT. CEMETERY – SOMETIME AFTER DUSK

A plain black casket lay closed on a pallet above a freshly dug grave. The casket is closed.

The cemetery is void of people, except DANTE CHARON. In profile, Dante is a pale white haired man dressed all in black. His hat in hand, he looks sadly at the casket as he says his last good-byes.

DANTE (V.O.) (CONT’D)

He never said anything about the bad times. There are some things we wish we could never remember. But sometimes…we have to. It’s the bad times that can remind us who we really are.

In silhouette, Dante looks up just as a CAR BACKFIRES, a flock of birds nearby release into the air with a start.

DANTE (V.O.) (CONT’D)

So I guess the reverse must be true as well. The burden of a good memory is that one must suffer often the painful memories HE holds…almost as if he’s paying some kind of endless penance for some past mistake…

Dante’s hand reaches down and cups some earth, he pauses a second…then tosses it into the grave.

DANTE (V.O.) (CONT’D)

But I guess that’s my fate. A life lived in solitude.

The morning sun hits Dante’s face. He is disfigured…

CLOSE-UP: DANTE’S EYE

His left eye is sealed shut and massive scars cover the surface from brow to cheek.

DANTE (V.O.) (CONT’D)

But it’s not only my life. I’ve made it my job.

Dante puts on his black hat. The hat of a chauffeur. He turns and walks toward a big black CADILLAC. But it’s no ordinary Cadillac.

It’s a HEARSE.

SMASH CUT TO:

INT. OFFICE – EVENING

A WOMAN screams.

It is SARA LIPTON, a middle-aged woman, stern and of fading beauty.

She wrestles with 2 YOUNG MEN. A hand with a rag filled with some kind of liquid is roughly placed over her mouth. She slowly goes slack and loses consciousness.

The men start laughing. One of them, JAKE, looks nervous. His eyes shift back and forth as a hand wipes nervously at a white powdered nose. The burly man, JIM, slaps Jake on the arm.

JIM

It worked!

Jake laughs at Jim and nods. He looks down at Sara and nudges her with his foot as she lays sprawled out ungenerously on the carpet.

JAKE

It’s payback, bitch!

CUT TO:

EXT. HEARSE – NIGHT

The Hearse door shuts.

Feet walk past to the back where it is parked next to a set of double doors.

The man in black passes a plaque that reads, “Phoenix City Morgue” on his way through the double doors.

CUT TO:

INT. HALLWAY – SAME

The man in black walks to an entry desk in the back. A MAN IN A WHITE LAB COAT sits with his feet up on the desk watching “Matlock” from a miniature television while chewing on a piece of beef jerky.

His name tag reads, “ROBERT DIENER”.

He looks up and just about chokes on his jerky.

ROBERT

Holy shit!

Robert sees the scarred eye of Dante for the first time.

Dante ignores the reaction and pulls a name tag out of his pocket and waves it at him. It reads, “Dante Charon, Green Acres Cemetery”. He taps a clipboard.

DANTE

Here for a pickup.

Robert tries to compose himself.

ROBERT

Course.

He shuffles some papers around. Can’t find what he’s looking for. Dante seems to make him nervous.

DANTE

New here?

ROBERT

I been round the block if that’s what you mean…

Robert lifts the TV and looks under it. Dante breathes out slowly.

DANTE

This block?

ROBERT

Damn! OK, so I been here about an hour, it’s my first shift, I just had that file…

Robert tries not to look at Dante’s eye. But it’s obviously freakin’ him out.

ROBERT (CONT’D)

Ok, ok. So? You’re makin’ me nervous ok, could happen to anyone.

DANTE

Which one?

Robert stops shuffling papers. He’s confused.

ROBERT

What? I wasn’t lookin’ at the eye if that’s what you mean…I mean it’s frickin’ strange and all, but I’m no peep…

Dante looks at the clipboard.

DANTE

Cold chamber. Which one?

ROBERT

Oh, locker 13.

Dante nods and exits through a large metal door.

Robert sits back down and breathes out a huge jet of air.

ROBERT (CONT’D)

Sorry, about the eye…thing…

He trails off talkin’ to himself.

CUT TO:

INT. COLD CHAMBER – SAME

CLOSE-UP: METAL LOCKER DOOR WITH THE LARGE “13” ON IT DEAD CENTER.

Dante unlatches the metal latch.  Cold air rushes out of the locker. Dante pulls out the casket on rollers. He pushes it towards the metal door in the back.

CUT TO:

EXT. HEARSE – SAME

Dante loads the casket into the Hearse.

CUT TO:

INT. HEARSE – SAME

The door opens and Dante gets in and buckles up.

He lowers the visor to reveal a group of postcards, with a picture of Edward Hopper’s painting, “Nighthawks” on top. The postcards say, “Chicago Museum of Art” in the lower left hand corner of each card.

He takes the cards down and shuffles them until he finds the one he’s looking for. He puts them back under the visor with a picture of Edvard Munch’s “The Scream” on top.

He closes the visor and starts the engine.

He reaches down and pulls out a “Hall and Oates” CD. He puts it into the CD player and skips to song number 4.

CUT TO:

ESTABLISHING – The city at night.

The Hearse drives through the freeway at midnight.

Hall and Oates, “She’s Gone” plays in the background.

CUT TO:

INT. HEARSE FRONT SEAT – NIGHT

Dante thumps on the steering wheel with the music.

INT. HEARSE BACK – NIGHT

The casket lays in silence. Something’s not quite right. Something BUMPS softly from inside the casket.

INT. HEARSE FRONT SEAT – SAME

Dante looks out the rearview mirror.

CUT TO:

EXT. HEARSE – SAME

The Hearse pulls through the large metal gates of a cemetery.

CUT TO:

INT. HEARSE FRONT SEAT – SAME

Dante looks left and right as he slowly drives down the small path.

INT. HEARSE BACK – SAME

The THUMPING gets louder, more insistent.

HEARSE FRONT SEAT

Dante stops the car and listens.

HEARSE BACK

The THUMPING is very loud and panicky.

HEARSE FRONT SEAT

Dante turns the CD player off and hears the thumping coming from the back.

CUT TO:

EXT. HEARSE – NIGHT

Dante gets out and walks around to the back. He opens it and pulls out the casket on rollers. The THUMPING is very fast and LOUD now.

He opens up the casket and Sara Lipton sits up and gasps for air.

She looks very much the worse for wear. Her hair is a mess, her makeup smeared on her face, and wearing what appears to be a mechanics grey jumpsuit. Dante doesn’t look surprised.

SARA

What’s going on! Why did you put me in here?

DANTE

I didn’t put you in there.

SARA

Where am I and how did I get here?

DANTE

You’re in the Green Acres Cemetery and I drove you here.

Sara gets out of the coffin and dusts herself off. She gets hysterical and runs over and starts beating on Dante.

SARA

ARE YOU CRAZY? WHY WOULD YOU DO THAT! THIS IS KIDNAPPING! I HAVE TO CALL THE POLICE…

Dante grabs her wrists and stops her from hitting him.

DANTE

Ma’am, calm down… I can help you through this.

She stops and cries.

SARA

You’ve done this before?

DANTE

I’ve helped people though a lot worse.

He points to his eye.

She notices it for the first time. This calms her down.

DANTE (CONT’D)

Do you remember who you are?

SARA

Of course I do, my name’s…

She’s puzzled. She can’t remember her name.

SARA (CONT’D)

My name is…

She’s terrified.

SARA (CONT’D)

I can’t remember…

Dante opens the car door and pulls out the clipboard.

DANTE

Sara Lipton.

She remembers.

SARA

YES! YES! Sara…of course my name is Sara!

He nods. She nods.

DANTE

Do you remember how you got in there?

She shakes her head. He shakes his head.

DANTE (CONT’D)

What’s the last thing you remember?

 

SARA

I remember working today. I’m a CPA…

CUT TO:

INT. OFFICE – DAY

Sara is at her desk, she’s yelling at someone.

SARA

That’s it! NO MORE CHANCES! I’m sick of the lies! The backstabbing! I won’t take it anymore…

She throws a file into a startled man’s lap.

SARA (CONT’D)

GET THE HELL OUT OF MY OFFICE! YOU’RE FIRED, JAKE!

CLOSE-UP: Jake.

Jake’s eyes are panicked.

JAKE

You can’t do this! I been with this firm 10 years, I can’t start over…

She pushes him toward the door.

SARA

I just did! I never want to see you around here again! Don’t come back…

He walks away, stunned.

She SLAMS the door.

SLAM CUT TO:

EXT. HEARSE – NIGHT

Her eyes remember little things, but her brow furrows.

SARA

I had a bad day today…I can remember some things…but not how I got here…

DANTE

It will come to you.

CUT TO:

INT. HOME – EVENING

Sara comes home to an empty house. She opens the front door, turns on the hall foyer light. She reads the mail on a side table.

INT. KITCHEN – SAME

She opens the fridge. Hardly anything in there. Nothing interests her.

INT. BEDROOM – SAME

She turns on the bedroom lights and looks at the bed. There is only one pillow in the center of the bed. She leaves.

INT. FOYER – SAME

She stands in the empty room. She stands in an empty house.

She is alone.

She leaves and SLAMS the door behind her.

SLAM CUT TO:

EXT. HEARSE – NIGHT

She’s crying now. The memories are coming on stronger now.

SARA

I couldn’t go home so I went back to the office…

CUT TO:

INT. OFFICE – EVENING

Sara screams.

She wrestles with 2 YOUNG MEN. A hand with a rag filled with some kind of liquid is roughly placed over her mouth. She slowly goes slack and loses consciousness.

FLASH CUT TO:

EXT. HEARSE – NIGHT

The memories are flooding in a torrent against her. She cries openly, trying to gain her composure.

SARA

It was Jake…he wanted to get back at me for firing him…but he was a junkie…I couldn’t have that in the office anymore. I covered for him way too long…

FLASH CUT TO:

INT. WAREHOUSE – EVENING

She slowly wakes up from the floor. She gets up groggily. She can hear voices in the next room. She shakes her head and walks over to the door.

INT. ROOM – SAME

Jim and Jake are arguing. There’s a table between them with cocaine and hard liquor scattered about. A gun sits in front of Jim.

JIM

…we can get a ransom!

JAKE

From who? She’s got no friends or family, everyone hates her!

JIM

-Then what, JAKE? WHAT DO WE DO WITH HER?

JAKE

Make her clear her bank account! Get all the stuff from her house–

Sara opens the door and staggers in. She’s not quite right yet, still not lucid from being drugged.

SARA

I’ve got to get to the police! You’re going to JAIL! YOU’RE…

Jim picks up the gun, startled as she hobbles forward like a creature from a horror movie.

She sways forward, woozy, Jim thinks she’s coming to get him. He pulls the gun up and everything SLAMS to slow motion…

His finger pulls the trigger.

The gun FIRES…

She gets shot in the chest. Looks down at the gaping hole where her heart should be. She crumples to the floor.

CUT TO:

EXT. HEARSE – NIGHT

Sara stops. Dante nods.

DANTE

You remember now, don’t you?

She reaches up and unzips the jump suit to reveal a Y INCISION on her chest.

DANTE (CONT’D)

They only do a Y-Incision when there’s been an autopsy…

She looks at him, in amazement.

SARA

You knew?

DANTE

It always goes smoother when they find out for themselves. I’ve been through this before remember?

She looks over at the casket. She walks over and lifts it.

The body of Sara Lipton still lies inside. She is looking at herself.

SARA

But how?

DANTE

The ones who aren’t quite ready yet, just need a little time to adjust. To get use to the idea of passing through…

SARA

Passing through, where?

DANTE

A much better place.

She cries.

SARA

Really?

DANTE

Yes. You have loved ones, Sara.  They are waiting for you.

SARA

For me?

DANTE

Yes, Sara. You’re not alone. There is a place for you, and you’re not alone. A much better place than here.

She walks forward and wipes her tears. She smiles up at Dante. She reaches over and touches his eye.

SARA

You see much better than we do, don’t you?

He smiles at her.

She turns and walks away.

SARA (CONT’D)

You’re the ferryman, aren’t you? The river Styx, come to bring me to the other world…

DANTE

The river Acheron actually. My name’s Charon.

He nods to her.

DANTE (CONT’D)

You’re free to go, Sara. Go in peace.

SARA

Thank you, Charon.

She smiles and slowly fades away.

He walks over and closes the casket.

SMASH CUT TO:

EXT CEMETERY – MORNING

A plain black casket lay closed on a pallet above a freshly dug grave. The casket is closed.

The cemetery is void of people, except Dante Charon.

DANTE

Aristotle once said, “Happiness is the highest good, being a realization and perfect practice of virtue, which some can attain, while others have little or none of it…”

CUT TO:

INT. HEARSE – SAME

He lowers the visor and takes the postcards down. He shuffles them until he finds Georges Seurat’s painting, “A Sunday on La Grande Jatte.” He puts that on top and closes the visor.

He skips the CD to number 2 and “Sara Smile” from Hall and Oates starts to play.

He smiles.

DANTE

But what the hell did he know.

SMASH CUT TO:

BLACK.

What is a Movie Press Kit?

 

Over the next few months, I will use the website blog to document some elements of independent film production that we have gone through in the past and share specific examples of our process along the way.  I hope this new series of posts becomes a good resource for young filmmakers following after us.
BrosInk Logo (1)When we released the feature film, Locker 13 to theatres and to DVD in 2014, we put together some documents and photos full of information and sent them out to anyone and everyone in the press that would be inclined to discuss the film.  This included magazines, blogs, newspapers, radio, TV, journalists, and the media in general. This document and all of it’s attachments became our makeshift, “Press Kit”.  EPK stands for Electronic Press Kit. Whatever you want to call it. We included the background on the film, and production, the loglines, the biographies on the cast and crew, pictures of behind the scenes and stills from the film, links to interviews, links to websites for the film and so on.

Here is a sample of a 4 page EPK we sent out to a few places, I’m attaching it as a link here in Word so you can get a sample of what it would look like and for format and everything.  If I were to just cut and past into the blog, the formatting would change drastically.

Locker 13 Movie Press Kit 2-2014

In April of 2014, we also were scheduled to attend the Phoenix Comicon as an example of what you do during exposure and publicity for a movie.  We had a panel on the making of the film that would include Jon Gries (he ended up not being able to make it as he was filming Taken 3), Jason Spisak and Executive Producers John Waldron and Donovan and Adam Montierth.  We sent ahead to the Comicon, biographies of the panel members, here’s what that included:

Locker 13 Phoenix Comicon Attendees Biographies

Here’s some behind the scene photos and stills from the film that we would include in our Press Kit:

Behind the Scenes of Gunsight Pass for Locker 13

Shooting of the Gun Fight at Gunsight Pass!Adam Devaney Matthew Mebane Ricky Schroder

Director Matthew Mebane, with Producer, Art Director Adam Devaney, and Actor, Producer Ricky SchroderBruce Dellis and David Huddleston

Director Bruce Dellis with Actor David HuddlestonJohn Waldron

Executive Producer John Waldron during an Interview for the film

On the Set of Gunsight Pass 4

Director Adam Montierth and the cast and crew for The Other Side

Ricky Schroder Jon PolitoRicky Schroder and Jon Polito in the Down and Out segment
Jon Gries and Jason Spisak 2

Jon Gries and Jason Spisak in The Other Side segmentBart Johnson and David Huddleston

Bart Johnson and David Huddleston in the Bizantine Order segment

Iko Uwais and The Raid 2

 

Originally, this film was written before The Raid: Redemption (2011). When funding fell through, Gareth Evans (director) decided to do a film that required a lower budget that would eventually become the first movie. That film was so successful, the sequel was greenlit immediately upon release of the first film. Part 2’s choreography was already in place before The Raid: Redemption went into pre-production, however, Gareth Evans decided to reserve the choreography for the sequel and use all new ‘silat’ (Indonesian martial arts) choreography for the first movie. The Raid 2’s story begins two hours after the first one ends.raid 2 2

Preparation for the fight scenes in The Raid 2 took 18 months (excluding the completed choreography made before The Raid 1).  All the punches and kicks to the body of the actors were real. Iko Uwais and the other fighters had to learn how to control their speed and strength so that it would look real on the camera.  Iko Uwais had training together with the other fighters for 6 months, so that they would meet everyday and build that mutual trust before shooting the fight scenes, so that when one of them missed, they wouldn’t want to punch back harder.  When they shot the fight scenes, shooting would have to halt Mid scene for about 20-30 minutes each time, for the make-up artist to create damage on their faces, etc, for continuity purposes.

For the car chase scene, roads had to be cleared from 6 a.m until 6 p.m.  According to Gareth Evans interview, this is explanation about how he shot the car chase scene; “the pass started with the director of photography on one side of the car. The second DOP is actually dressed as one of the seats. The camera comes in through the window and he just grabs it. On the other side of the car crouching right by the tires on a platform is another camera assistant, so the second DOP passes it to him through the back window.”raid-2-g

The final epic kitchen fight scene took 8 days to film and contains 195 shots and is a favorite of the director Gareth Evans, as it took him 6 weeks to design.

The Raid 2 was directed by Gareth Evans for Pt. Merantu Films.raid 2 4

Things to look up (go to IMDB):

  • Pt. Merantu Films
  • Iko Uwais
  • Gareth Evans

Check out our new Book, 100 Years of the Best Movie Stunts!

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