THE
HORROR
SEASONS
WRAP AROUND STORY
ANGELICA
SCREENPLAY BY
WILLIAM PATTISON
______________________________________________________________
CHARACTER LIST
ANGELICA
JANICE
DERRICK
POLICEMAN
GARETH
REVEREND BURBANK
JOHNNY
ESTHER
PROFESSOR VANCE
GUY1
GUY2
OTHERGUY1
OTHERGUY2
______________________________________________________________
THE HORROR SEASONS:
WRAP AROUND STORY
ANGELICA
MAIN TITLE SEQUENCE
FADE IN:
EXT. COLLEGE CAMPUS--DAY
We open on a typical college campus. We see students seated on benches studying. We see men and women walking to classes toting backpacks or books. We see four male students(GUY1,GUY2, OTHER GUY1, and OTHER GUY2) throwing a football around. Everything seems shining and bright and happy.
INT. STUDENT CENTER—DAY
We see ANGELICA and her friend JANICE walking through the student center, laughing and talking. ANGELICA is a thin, dark haired, girl wearing a plain white shirt and blue jean pants and coat. JANICE is a blond thin sexy girl in a flowered dress and pink button down sweater.They are both carrying books. The CAMERA PULLS into a MEDIUM SHOT of the two of them.
JANICE
(amused and a bit playful)
Did you see that new guy in home arts class, he is so built. You should ask him out.
ANGELICA
(she looks over at JANCE with her mouth open. A bit embarrassed.)
Oh,....he is cute but I could never....I'd be too nervous. And, anyway, he's more your type.
JANICE
(smiling and shaking her head.)
And what is your type, Angelica? I mean all through High School you spent every waking moment with your nose in books. I never saw you go out.
CLOSEUP of ANGELICA.
ANGELICA
(looking self conscious.)
I went out a couple of times. I went out with Rick Dandrich once.
CLOSEUP of JANICE.
JANCE
(looking shocked.)
You mean Rick the Geek from twelfth grade Geometry class? The one who whistled those old western songs while he was walking down the hall.?Oh, my god, girl. I wish I'd known I would've tried to help you out.
MEDIUM SHOT of the two of them.
ANGELICA
The songs were from the musical PAINT YOUR WAGON, and I thought he was sweet. He was just a bit too anxious.
JANICE
(Surprised and confused)
Anxious? Anxious about what?
ANGELICA
(embarrassed.)
You know.
JANICE
(cringing)
Oh, don't gross me out. What you need, my girl, is a good party.
JANICE grabs ANGELICA's hand and maneuvers her over to a bulletin board.
CLOSE UP of JANICE.
JANICE
(looking over the board.)
Ok, let's see what we got here?
POV of JANICE.
We see the bulletin board. There is a mish mash of ads for rooms, cars for sale, luncheon and breakfast notices, rock band handouts, art exhibits handouts, and special lecture and workshop handouts.
MEDIUM SHOT of the two of them.
We see that ANGELICA is also looking at the board.
CLOSEUP of ANGELICA.
ANGELICA gets an intense, excited, look on her face.
POV of ANGELICA.
The CAMERA focuses on a handout in the right corner of the board. The handout has a half shadowed picture of an intense looking man (PROFESSOR TERRANCE VANCE)with his hand on his chin, looking intelligent. It reads.
JOIN ME....Professor Terrance Vance, author of the best selling books
THE BLOOD THIRST, THE NIGHT PEOPLE and VAMPIRES THROUGH HISTORY AND LITERATURE,
for a FREE lecture and workshop on creative writing.
ONE NIGHT ONLY
APRIL 13th
7pm
Beckering Hall Room 12
ALL ARE WELCOME....
MEDIUM SHOT of ANGELICA and JANICE.
ANGELICA takes the handout off the bulletin board. JANICE looks over at her and down at the handout in ANGELICA's hand.
JANICE
OOOH, hello tall, dark, and handsome.
ANGELICA looks embarrassed.
JANICE
Too bad he's a professor.
CLOSEUP of ANGELICA.
ANGELICA
(she looks down at the handout again.)
I'm not interested in him that way. I just think he's brilliant. I think it'd be great to actually meet him.
MEDIUM SHOT of ANGELICA and JANICE.
JANICE
(amused)
Oh, yeah, and you just love him for his mind. Oh, I see a bit of a crush there, honey.
Then JANICE looks down at the handout again and gets a serious look on her face.
JANICE
(looking over at ANGELICA)
It's too bad you won't be able to do it.
ANGELICA looks at JANICE with surprise.
ANGELICA
Why you say that?
JANICE
(She points to the handout.)
Look when this workshop is going on.
ANGELICA looks down at the paper and back at JANICE.
ANGELICA
Yeah, so?
JANICE
Are you being dense or just being stupid. It's going on at night. Remember? The last several weeks. Six girls dead, even with this place crawling with police at night. Hell, they just found Kathleen Dore's body yesterday sitting on the stairs of the library. I heard she was completely drained of blood.
ANGELICA
I understand all that. I'll have Derrik walk me over there. He's taking night classes.
JANICE
Oh, yeah. If I was a serial killer I'd be afraid of DDDDerrik.
ANGELICA
And I can take care of myself.
ANGELICA pulls her car keys out of her jeans pocket. Fixes the keys into position where one keys point is sticking out through her fingers, which are in a fist. Then she jabs her fist in front of JANICE's face a couple times.
ANGELICA
See.
JANICE
Oh, yeah, you're really the Buffy the Vampire Slayer.
ANGELICA gives JANICE a frustrated look.
ANGELICA
Look this might be my only chance to actually meet this man and learn something from him.
JANICE
But is it worth risking your life?
CLOSEUP of ANGELICA
ANGELICA turns away from JANICE and looks toward THE CAMERA , she is considering.
FADE OUT.
FADE IN:
EXT. COLLEGE CAMPUS-MAIN COURTYARD
We begin during the day with students walking around and sitting studying.Then the scene CHANGES TO night. The courtyard is empty and lit up. Two people walk into frame.It is ANGELICA and a guy named DERRIK. DERRIK is extremely skinny and is wearing an oversized T-shirt which goes to the knees of the bluejeans he's wearing. His hair is greasy and slicking up in the air.
MEDIUM SHOT of ANGELICA and DERRIK.
ANGELICA
(smiling)
Thanks for doing this.
DERRIK
(smiling back)
Nno..Pproblem. Mmy pppleasure.
The CAMERA PULLS BACK as the go past a couple building. They turn towards
a third building and head up the path towards it.
MEDIUM SHOT of ANGELICA and DERRIK.
We hear a voice(POLICEMAN) from off CAMERA.
POLICEMAN
(voice over)
Hey, you. What you doing out here?
ANGELICA and DERRIK are visually startled.
MEDIUM SHOT of POLICEMAN as he comes out of the shadows.
POLICEMAN
I said what you two doing out here.
MEDIUM SHOT of ANGELICA and DERRIK.
DERRIK
(startled and angry)
Yyyou sscared the pppiss out of uus.
MEDIUM SHOT of the POLICEMAN as he walks towards them.
POLICEMAN
I hope I did. You kids shouldn't be walking around here alone like this. Especially you young lady.
MEDIUM SHOT of ANGELICA and DERRIK
ANGELICA
(indicating DERRIK)
He's walking me to a class.
Then ANGELICA holds up the handout. The POLICEMAN walks into frame and looks at the handout.
POLICEMAN
(shaking his head.)
Stupid asses. Ok, miss, you and Romeo here hurry to your class. And, I'd suggest you find yourselves a group of people to leave with or you might find yourself stopped again.
DERRIK
Tthank yyou, ooofficer.
POLICEMAN
Just don't get yourselves killed please.
ANGELICA
We'll definitely try, officer.
OVER THE SHOULDER SHOT of the POLICEMAN as ANGELICA and DERRIK continue heading down the path to the building.
INT. HALLWAY---NIGHT
We see ANGELICA and DERRICK walking down the hall towards the CAMERA. They continue to walk until they come to a MEDIUM SHOT which will place them in front of the door to classroom number 12.
ANGELICA
(smiling at DERRIK)
This is the place. Thanks for walking me.
DERRICK
Mmy pppleasure.Wwill yyou need mmme tto come bback aaand get yyou aafter cclass?
ANGELICA
I think I'll be able to find someone from the class to help me. But if I can't I'll call your cell.
DERRIK
Oook, II'll keep aan eeear ooopen.
DERRIK gives ANGELICA a hug and starts heading up the hall away from the CAMERA.
ANGELICA opens the door to room 12 and heads inside.
INT CLASSROOM ---NIGHT
ANGELICA enters and closes the door.
POV of ANGELICA
The CAMERA PANS back and forth giving us a view of the room. We see the backs of three men seated desks spread out in different rows throughout the room. It gives the impression that none of them are really very sociable.
In the seat to the right, facing the instructors desk, is GARETH (from Chapter1). He is wearing a tan sportscoat and pants as well as his turtleneck shirt. He has a lap top computer on his desk and he is talking on a cell phone, actually yelling into it is a better description.
CLOSEUP of GARETH.
GARETH
(annoyed)
God damnit, I told you not to call me. I said I was going to this fucking lecture and wanted to be left alone!
MEDIUM SHOT of REVEREND BURBANK (from Chapter 2).
REVEREND BURBANK (He is not in his priestly garb. He is wearing a blue button down shirt and gray slacks.) is two rows over from GARETH and is three desks back. He looks over at GARETH with a slightly annoyed look and shakes his head, yet he remains silent.
MEDIUM SHOT of GARETH.
GARETH
(angry)
I don't give a flying fuck if you need to talk to me, I'm busy. I've got a life, Mark. It can't always be about your weakness!
MEDIUM SHOT of JOHNNY(from Chapter 3).
The JOHNNY is in the next row to the left of REVEREND BURBANK and two desks forward of REVEREND BURBANK. He looks annoyed at GARETH.
JOHNNY
(in a low voice)
Dick.
MEDIUM SHOT of GARETH.
GARETH
(Furious)
I don't give a fuck what your doctor says. FUCK YOUR DOCTOR! Don't call me again tonight. God damnit, grow up!
GARETH hangs up the cellphone. He closes his eyes for a second. With his free hand he rubs his temple.
GARETH
(taking a deep breath.)
Fuck.
MEDIUM SHOT of ANGELICA.
ANGELICA has been watching this exchange. She shakes her head and gives him a slight wave away motion with her hands. It is obvious she does not want anything to do with this.She takes a seat in the back near the door, well away from GARETH and the others.
Behind ANGELICA the door opens and ESTHER(from Chapter 4) enters.
MEDIUM SHOT of ESTHER.
She is wearing a pink, long sleeved, blouse and gray skirt.
ESTHER
Is this the creative writing workshop?
MEDIUM SHOT of ANGELICA.
ANGELICA
It's either that or somebody let the loons out.
MEDIUM SHOT of ESTHER.
ESTHER
(confused)
Excuse me?
MEDIUM SHOT of JOHNNY
JOHNNY is watching ANGELICA and ESTHER.
JOHNNY
(amused)
She just means that you missed the pre show.
MEDIUM SHOT of ESTHER.
ESTHER looks from JOHNNY to ANGELICA with a confused look on her face.
MEDIUM SHOT of ANGELICA and ESTHER.
ANGELICA
(indicating the seat next to her.)
Have a seat. We're still waiting for Professor Vance.
ESTHER takes the seat.
The door behind them opens and PROFESSOR TERRANCE VANCE enters. He is tall and heavy built with slicked back graying brown hair and a mustache. He is dressed in a black trenchcoat, button down black shirt, and black slacks. The CAMERA FOLLOWS him as he rushes around the out edge of the desks to the right and around to the instructor's desk. He takes off his trenchcoat and lays it over the chair behind the desk. Then he comes around to the front of the desk and leans against it.
PROFESSOR VANCE
I'm sorry for being late.
CLOSE UP of ANGELICA
ANGELICA watches him with a mix of interest and excitement.
PROFESSOR VANCE
(continues)
(He looks around the room.)
Ah, I see we're going to have a rather small group today, which in many ways I find more preferable. We will have a much more intimate experience that way. You see, I conduct a rather unique sort of workshop. You, the students will be the inspiration, and I will use you to illustrate examples of this evenings topic.
CLOSEUP of GARETH
GARETH
(he holds up his hand.)
Excuse me, I thought in a creative writing workshop we were supposed to do the writing?
MEDIUM SHOT OF PROFESSOR VANCE.
PROFESSOR VANCE
(smiling with understanding.)
As I said this workshop is unique. I believe that the best way for my students to learn is through example. So with that in mind let me present you with this evening's topic.
PROFESSOR VANCE heads around the desk to the chalkboard on the wall behind the desk. He picks up a piece of chalk and writes the following topic on the board:
THE HORROR SEASONS
Then he comes around the desk again and leans against it. He tosses the chalk from hand to hand.
PROFESSOR VANCE
What does this topic say to you?
MEDIUM SHOT of GARETH.
GARETH
(holding up his hand again.)
It says to me that this is gonna suck.
MEDIUM SHOT of PROFESSOR VANCE.
He puts the chalk on the desk. And leans forward slightly.
PROFESSOR VANCE
Why do you say that?
MEDIUM SHOT of GARETH.
GARETH
I mean, give me a break. All this spooky stuff...you know the boogerman. All that shit has no interest to me. I'm more interested in the real world....real issues.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
(pondering)
So you're trying to tell us that horror stories don't reflect real issues.
He looks around the room with a questioning look on his face.
PROFESSOR VANCE
(continues)
Does anyone share this opinion?
The room is silent.
PROFESSOR VANCE
Does anyone have any other questions?
MEDIUM SHOT of ANGELICA.
ANGELICA holds up her hand excitedly.
MEDIUM SHOT of PROFESSOR VANCE
PROFESSOR VANCE
Yes? In the back.
MEDIUM SHOT of ANGELICA
ANGELICA
(slightly self conscious)
Well, I was wondering about the topic, The Horror Seasons. Are you talking about seasons of the year?
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
Good question. Yes indeed. You see, the time of the year a story is set in can really have an affect the story itself. Now, can you give me an example of this?
MEDIUM SHOT of ANGELICA.
She ponders for a few moments.
ANGELICA
Ah, The Legend of Sleepy Hollow....A Christmas Carol?
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
(impressed)
Exactly. And, these are also good examples of morality tales as well.
CLOSEUP of GARETH
GARETH rolls his eyes.
(SOUND EFFECT cellphone ringer)
GARETH pulls out his phone from inside his coat, opens it up and puts it to his ear.
GARETH
Hello?...Oh hi, chief, what can I do for you? Oh, I think I can fit you in. Let me check.
He puts his phone on top of his lap top, takes a planner out of his coat pocket, and looks through it. He takes a pencil from his pants pocket and writes in a quick note. Then he picks up his phone again.
GARETH
Hey....chief, I'll be able to be there on Friday and we'll see what we can do. Cool, catch ya.
He puts his cellphone and planner away.
MEDIUM SHOT of PROFESSOR VANCE.
He looks over at GARETH with a slightly annoyed expression.
MEDIUM SHOT of GARETH.
GARETH
Sorry about that, chief. You know how it is sometimes. You're always on the job, even when you're not.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
(even toned)
I must say, Mr. Freeman, that you have a real knack for customer service. You really know what to say and how to make the person on the other end of the phone comfortable.
MEDIUM SHOT of GARETH.
GARETH
(smiling proudly)
I definitely try my best. Anything to make the customer happy.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE's expression turns cold.
PROFESSOR VANCE
(icily)
And yet you can't seem to give that same consideration to your own brother.
MEDIUM SHOT of GARETH.
GARETH
(surprised)
Excuse me? What the hell does my brother have to do with this?
MEDIUM SHOT of PROFESSOR VANCE.
The CAMERA FOLLOWS as PROFESSOR VANCE heads over to the front of GARETH's desk and glares down at him.
PROFESSOR VANCE
(still icy)
It has everything to do with it. You treat total strangers with more dignity and respect than your own brother. How do you think Mark feels when you treat him like you did on the phone here before?
The CAMERA FOCUSES IN on GARETH.
GARETH
(surprised and uncomfortable)
I don't give a fuck how he feels. He's not even my real brother, he's my stepbrother. But how the fuck did you know I talked to him on the phone? You weren't even here.
MEDIUM SHOT of PROFESSOR VANCE and GARETH. PROFESSOR VANCE closes GARETH's laptop and leans down towards him until they are face to face.
EXTREME CLOSEUP of PROFESSOR VANCE's face. (LIGHTING EFFECT: The place around PROFESSOR VANCE's eyes are high lighted, while the rest of his face is medium lighted.). He has a dark expression on his face. His eyes look like they could bore into GARETH's very soul.
PROFESSOR VANCE
I believe we've found the subject for our first example.
MEDIUM SHOT of PROFESSOR VANCE and GARETH.
PROFESSOR VANCE pulls back.
The CAMERA FOLLOWS as PROFESSOR VANCE moves back to the front of the instructor's desk and leans back again.
PROFESSOR VANCE
(pondering)
Yes we've found our subject. Now we have to figure out the season. How about Autumn, specifically Halloween......yes, Halloween.
FADE INTO CHAPTER1:
CHAPTER1 ENDS:
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
(coldly)
And so judgment was rendered.
MEDIUM SHOT of GARETH.
GARETH has a shocked and frightened expression on his face. He is hunched low in his chair and he looks away from the others.
MEDIUM SHOT of ANGELICA.
ANGELICA has an impressed look on her face and is nodding her head.
MEDIUM SHOT of PROFESSOR VANCE.
He pushes away from the desk and looks around the room.
PROFESSOR VANCE
(smiling)
So who will be our next subject?
The CAMERA FOLLOWS as PROFESSOR VANCE walks along the front rows of desks. He stops in front of the row where REVEREND BURBANK is sitting. He walks down the row and stands in front of REVEREND BURBANK's desk.
PROFESSOR VANCE
(smiling)
What about you, Reverend?
REVEREND BURBANK looks up at him surprised.
REVEREND BURBANK
(surprised)
How did you know I am a Reverend?
CLOSEUP OF PROFESSOR VANCE.
PROFESSOR VANCE's expression goes cold.
PROFESSOR VANCE
(coldly)
I can smell a man of God at ten paces. And from you I can also tell that you are from a small town. On vacation are we, or are you trying to get away from something?
CLOSEUP OF REVEREND BURBANK.
REVEREND BURBANK
I don't know what you're talking about. I simply came here to see a friend and thought this workshop would be interesting.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
(smiles, yet expression is still cold.)
Oh, yes, more interesting than you with your closed mind can possibly imagine. I would gather it must be hard being the moral compass for an entire community, Eh, Reverend. You see, I've noted that these small communities, in many cases, are dens of sin. But they do keep their dirty little secrets so close to the vest, don't they? But eventually even these sinners must pay the piper. Isn't that right, Reverend?
CLOSEUP of REVEREND BURBANK.
REVEREND BURBANK
(insensed)
I really can't comment on such things. It is up to the Lord to make such judgments.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE leans in on REVEREND BURBANK and comes face to face with him.
EXTREEM CLOSEUP of PROFESSOR VANCE's face. (LIGHTING EFFECT: Highlight on the place around PROFESSOR VANCE's eyes and nose. Medium lighting on the rest of his face). He has the same cold expression as before, and like before his eyes are piercing.
PROFESSOR VANCE
(coldly)
You hypocritical fool. You dare sit there and tell me that drivel. You who stands in front of your parishioners and does nothing but judge. Oh, Reverend, you make this so easy for me.
MEDIUM SHOT of PROFESSOR VANCE.
The CAMERA FOLLOWS as PROFESSOR VANCE pulls away and goes back to standing in front of the desk again. He looks around at his students.
PROFESSOR VANCE
So, we have our subject now. Now we just need a season. Any suggestions, my dear Reverend?
MEDIUM SHOT of REVEREND BURBANK.
REVEREND BURBANK crosses himself.
MEDIUM SHOT of PROFESSOR VANCE.
A subtle shudder of pain comes over him.
PROFESSOR VANCE
(Letting out his breath, looking uncomfortable)
Fine. Then I guess I 'll do the choosing, and I say it'll be Winter. And, to make it even more interesting, we will set our story around Christmas.
MEDIUM SHOT of REVEREND BURBANK.
A look of fear comes to his face.
REVEREND BURBANK
No. You musn't.
CLOSEUP of PROFESSOR VANCE.
PROFESSOR VANCE
(smiling, yet cold)
Oh, yes, Reverend. I am.
FADE INTO CHAPTER2:
CHAPTER2 ENDS:
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
(smiling.)
Justice is a dish best served cold. Isn't it, Reverend?
CLOSEUP of REVEREND BURBANK.
He looks frightened. He crosses himself again.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE shudders in pain again. But then he pulls himself back together
PROFESSOR VANCE
So, is anyone brave enough to volunteer to be our next example?
MEDIUM SHOT of ANGELICA
ANGELICA holds up her hand. She looks excited.
MEDIUM SHOT of JOHNNY.
JOHNNY holds up his hand. He looks cool and confident.
JOHNNY
Do your worst, Doc.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE looks over at JOHNNY.
PROFESSOR VANCE
Did I just hear a challenge?
MEDIUM SHOT of JOHNNY.
JOHNNY is actually smiling.
JOHNNY
(smiling, his tone challenging)
If you want to see it that way.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
(smiling, amused)
A confident man.
The CAMERA FOLLOWS as PROFESSOR VANCE heads over and stands in front of JOHNNY's desk.
PROFESSOR VANCE
(still amused)
I like a confident man. But why shouldn't you be confident. In a short time you will be a rich man, once your father leaves this mortal coil.
JOHNNY
(still challenging)
So, what am I supposed to do, become all self conscious because somehow you know about my father?
PROFESSOR VANCE leans over the desk and looks JOHNNY in the eyes.
EXTREEM CLOSEUP of PROFESSOR VANCE's face.(LIGHTING EFFECT: Highlight of area around PROFESSOR VANCE's eyes and nose. Medium lighting of the rest of his face). He gives JOHNNY a cold intense look.
PROFESSOR VANCE
Just remember, my friend, that at times like this things can come up from the past and sometimes they are neither pleasant nor comforting.The past can be a tangled web full of skeletons we, or our loved ones, would rather remain hidden.
MEDIUM SHOT as PROFESSOR VANCE pulls back.
PROFESSOR VANCE
(coldly)
Are you still so cocky about being the next subject?
MEDIUM SHOT of JOHNNY.
He gives PROFESSOR VANCE a hard look.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
(still cold)
Then so be it.
The CAMERA FOLLOWS PROFESSOR VANCE back to the front the instructor's desk, where he leans back against it.
PROFESSOR VANCE
And now to the season this story will be set in.
(he ponders for a moment)
I can only think of one season appropriate. The season of renewal, of rebirth. Spring.
FADE INTO CHAPTER 3:
CHAPTER3 ENDS:
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
What happens in the family stays in the family. Isn't that right, Johnny.
MEDIUM SHOT of JOHNNY.
JOHNNY is looking down at his desk with a shocked and disbelieving look on his face.
MEDIUM SHOT of PROFESSOR VANCE.
He looks around the room. He has an unfriendly smile on his face. He stops. He is looking in the direction of ANGELICA and ESTHER.
PROFESSOR VANCE
Well, now it appears that we must choose from the fairer sex.
The CAMERA FOLLOWS as he heads up the row between them. He stops in front of the two of them and looks back and forth between them.
POV of PROFESSOR VANCE.
We see ANGELICA looking very excited and enthusiastic. Then we PAN to ESTHER. She looks insensed and nervous.
MEDIUM SHOT of PROFESSOR VANCE.
His smile turns to a sad expression.
PROFESSOR VANCE
I see before me a wilting flower, a victim of so much pain and abuse. But do not fear, my flower, soon loves embrace shall revive you.
MEDIUM SHOT of ESTHER.
She looks embarrassed and slightly shocked.
ESTHER
Excuse me. I'm not out looking for love. I'm a happily married woman.
MEDIUM SHOT of PROFESSOR VANCE.
He nods his head but he has a disbelieving look on his face.
PROFESSOR VANCE
Happily married. We know better than that. Shall I pull up the sleeves of that pretty blouse of yours and show the class the pretty bruises on your arms.
MEDIUM SHOT of ESTHER.
She protectively crosses her arms.
ESTHER
(defensive)
Don't you touch me.
MEDIUM SHOT of PROFESSOR VANCE.
He holds up his hands.
PROFESSOR VANCE
(Smiling again)
I'm not here to touch you. I'm here to give you hope and to give you a little warning.
Then PROFESSOR VANCE puts his hands on her desk and leans in on her.
ESTHER tries to pull back but she is trapped in the desk.
EXTREME CLOSEUP of PROFESSOR VANCE's face. (LIGHTING EFFECT: Highlight on PROFESSOR VANCE's eyes and nose area. Medium lighting on the rest of his face).
PROFESSOR VANCE
(Coldly)
Remember that love can make us do things we never thought we could do. Love is brilliant, but like any flame it can burn us.
MEDIUM SHOT of PROFESSOR VANCE and ESTHER.
PROFESSOR VANCE pulls away. ESTHER looks totally shocked and insensed. She still has her arms crossed, but now she is rocking slightly.
The CAMERA FOLLOWS as PROFESSOR VANCE heads back to the front of the instructor's desk, where he leans against the desk again.
PROFESSOR VANCE
So love and abuse are going to be our subjects. Now to a season.
(He ponders for a moment.)
If love is a flame than I say this story takes place in the heat of Summer. Hot Summer nights.
FADE TO CHAPTER4
CHAPTER4 ENDS:
MEDIUM SHOT of PROFESSOR VANCE.
He is smiling.
PROFESSOR VANCE
Summer lovin' happens too fast. And, like a flame can burn those who love away.
MEDIUM SHOT of ESTHER.
She is sniffing, has tears in her eyes, and is rubbing her hands self consciously.
MEDIUM SHOT of PROFESSOR VANCE.
He looks at his watch.
PROFESSOR VANCE
(pleasantly)
Well, unfortunately, we've run out of time for this evening.I do hope that all of you have come out of this experience more enlightened.
PROFESSOR VANCE (VOICE OVER)
If anything I suggest you remember these stories and take heed of their messages.They are something to be treasured and to be respected, for they are mirrors of who we are beneath our fasades.
(This plays as the following four shots are shown)
MEDIUM SHOT of GARETH.
He is still upset. He closes his eyes and looks down at his desk.
MEDIUM SHOT of REVEREND BURBANK.
He crosses himself.
MEDIUM SHOT of JOHNNY.
He is still looking down with the same shocked and disbelieving look on his face.
MEDIUM SHOT of ESTHER.
She is rubbing the tears out of her eyes, sniffing, and shaking her head.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
(still pleasant)
Class dismissed.
OVER THE SHOULDER SHOT of PROFESSOR VANCE.
We see GARETH, REVEREND BURBANK, JOHNNY, and ESTHER all getting out of their desks and rushing to the door and head out. Only ANGELICA seems not in a rush. She remains seated until all the others leave.
MEDIUM SHOT of ANGELICA she gets up out of her desk. The CAMERA FOLLOWS as she heads up the row of desks towards the instructor's desk and up to PROFESSOR VANCE.
ANGELICA
(pleasantly)
Oh, Professor Vance, I just had to come up here and tell you what an incredible experience I had.
She holds out her hand.
ANGELICA
Angelica Price.
PROFESSOR VANCE takes her hand and kisses it.
PROFESSOR VANCE
(smiling)
Charmed....Well, thank you. I only wish we'd had time to include you in this evenings workshop.
ANGELICA
I would've enjoyed that. Unlike the others, I'm a real fan of your work. I've read all your books. But I have to say that these stories tonight were simply amazing.
PROFESSOR VANCE
Then it would be simply unconscionable for me to do you such a disservice. May I have the honor of escorting you to your car?
PROFESSOR VANCE pulls away from the desk and the CAMERA FOLLOWS as he heads around the desk and picks up his trenchcoat from the chair.
PROFESSOR VANCE
(while is doing the above)
And, while we're walking I'll tell you your story. How does that sound?
MEDIUM SHOT of ANGELICA.
ANGELICA
(smiling)
I'd like that.
MEDIUM SHOT of PROFESSOR VANCE.
He is putting on his trenchcoat.
PROFESSOR VANCE
Excellent. Though I do have to tell you that due to the constraint of time it'll be more like a treatment.
MEDIUM SHOT of ANGELICA.
ANGELICA
I don't mind that.
Then CAMERA FOLLOWS as she heads over to PROFESSOR VANCE. Then the CAMERA FOLLOWS them both as they head for the door.
PROFESSOR VANCE
(while they are walking)
Our story begins on a clear Fall night. A lovely young lady named Angelica is being escorted by her friend, Derrick. The reason she is out this evening is because her favorite author, Terrance Vance, is having a creative writing workshop.
ANGELICA
(Amused)
It sounds like this is going to be an amusing story.
PROFESSOR VANCE laughs as they head out of the classroom.
EXT. PARKING LOT---NIGHT
LONG SHOT:
We see a parking lot with a few scattered cars. We see PROFESSOR VANCE and ANGELICA walk into frame.
MEDIUM SHOT of PROFESSOR VANCE and ANGELICA walking.
PROFESSOR VANCE
.....So the students in the class leave in a hurry, but Angelica stays and does what she's wanted to do all evening. She goes up to Professor Vance. She tells him how thrilled she was with all the stories. Then the professor offers to tell her her story as he escorts her to her car.......
POLICEMAN
( voice over from out of frame)
Is everything alright over there?
PROFESSOR VANCE and ANGELICA stop and look around.
MEDIUM SHOT of POLICEMAN.
The POLICEMAN comes out from around one of the cars. The CAMERA FOLLOWS as he comes up to them.
PROFESSOR VANCE
Can we be of assistance, officer?
POLICEMAN
Do you two have a death wish?
(He looks over at ANGELICA.)
Oh, it's you again.Thought I told you not to run around campus without a group.
PROFESSOR VANCE
I'm escorting this woman to her car. She'll be fine.
The POLICEMAN gives PROFESSOR VANCE an amused look.
EXTREEM CLOSEUP of PROFESSOR VANCE's face. (LIGHTING EFFECT: Highlight of the eyes and nose area of PROFESSOR VANCE's face. Medium lighting of the rest of his face).
He gives the POLICEMAN a cold and intense look.
PROFESSOR VANCE
(coldly)
I said she will be fine. Now go about your business and leave us alone.
MEDIUM SHOT of the POLICEMAN.
His face goes blank for a moment. Then his face goes back to normal.
POLICEMAN
Yes....yes, of course, she'll be fine. If you'll excuse me.
MEDIUM SHOT of ANGELICA.
She looks surprised.
MEDIUM SHOT of PROFESSOR VANCE.
He nods his head at the POLICEMAN.
LONG SHOT of the three of them as the POLICEMAN leaves.
MEDIUM SHOT of ANGELICA.
ANGELICA
(surprised)
That was weird.
MEDIUM SHOT of PROFESSOR VANCE.
PROFESSOR VANCE
(amused)
He just saw the truth.
MEDIUM SHOT of the two of them.
ANGELICA gets a slightly unhappy look on her face.
PROFESSOR VANCE
(concerned)
What's wrong?
ANGELICA
It's just that he interupted your story. I really wanted to hear how it ends.
PROFESSOR VANCE
Are you really so sure you want that.
MEDIUM SHOT of ANGELICA.
ANGELICA
(surprised)
Why? Why wouldn't I?
MEDIUM SHOT of PROFESSOR VANCE.
He looks down as if ashamed.
PROFESSOR VANCE
(he sounds a bit sad)
Because it ends unfortunately.
Then he turns away from her.
PROFESSOR VANCE
(continues with his back to her.)
For you see, my dear Angelica, you made the one sterotypical mistake that the ladies in these stories always make. You accepted help from the tall, dark, stranger.
Then PROFESSOR VANCE turns around. His face has changed. He is a vampire. His face is pale, almost white. He has dark circles around his eyes and his eyes look more intense. His lips are tinted a deeper red. His lips part slightly and we see his fangs.
MEDIUM SHOT of the two of them.
ANGELICA has a startled look on her face. She takes a step back.
PROFESSOR VANCE grabs her around the waist with his left hand, which now has sharpened finger nails. He brings his right hand up and fans it down her face.
ANGELICA's head falls back and she gets a dazed look on her face.
PROFESSOR VANCE takes his free hand and shifts he head to the side, exposing her neck.The he puts his free hand around her and on her shoulder.
ANGELICA
(drunkenly)
No.
PROFESSOR VANCE brings his head up and opens his mouth to expose his fangs. He makes a hissing sound and brings his head swiftly down and bites her in the neck.
ANGELICA
(groaning)
Uhhh!
CLOSEUP of ANGELICA's neck. We see blood dribble from PROFESSOR VANCE's lips and down her neck.
MEDIUM SHOT of the two of them. Spasms shoot through her body as PROFESSOR VANCE continues.
FADE OUT:
FADE IN:
EXT. COLLEGE CAMPUS---DAY.
College students are sitting on benches studying. Students are walking around.
Students are talking and laughing. Everything is bright and happy.
The CAMERA focuses on a bench from behind. A dark hair girl (ANGELICA) is sitting there. It is facing a grassy area where a catch football game is going on. Four guys are playing.
LONG SHOT of the game. GUY 1 throws the football to GUY2. OTHER GUY1 and OTHER GUY2 charge GUY2, who has the ball and is running away from the CAMERA.
MEDIUM SHOT of GUY2 with the ball. He turns and throws the ball over the CAMERA.
MEDIUM SHOT of GUY1 who tries to catch the ball, but misses it.
CLOSEUP shot of the ball. The CAMERA follows the ball as it rolls. The ball bumps into a sneakered foot.
CLOSEUP of ANGELICA's face. Her face is white and bloodless. Her head is leaning against the top of the bench. Her eyes are open and her mouth is slightly open. She has a dreamy expression on her face. We can see her neck, which has two punctures in it with two dribble lines of blood coming down from them.
MEDIUM SHOT of ANGELICA on the bench.
The CAMERA begins to PULL BACK. GUY2 comes jogging into frame and goes up to her.
GUY2
Oh my God!
GUY2 waves toward the CAMERA, which continues to PULL BACK. Then GUY2 looks down at ANGELICA's body and shakes his head.
(We hear GUY1 off CAMERA)
GUY1
Hey, what's going on?
GUY1 and OTHER GUY 1 and OTHER GUY 2 run into FRAME and run over to GUY2 and ANGELICA.
FADE OUT:
END CREDITS.