The Trap: A Haunted Story of Gentrification Entry #3

INTERIOR- AUDITORIUM - AFTERNOON

CUT TO AERIAL VIEW AUDITORIUM ON SCREEN An African American male ballet dancer is visible before a large auditorium of scattered students and university faculty. Classical music plays.

CUT to MALE DANCER ON SCREEN With ballet's standard physique and chiseled facial features, he finished his routine with focus, grace and artistic precision. He bows.

SOUND EFFECT APPLAUSE


CUT to AUDIENCE ON SCREEN Their applause continues. There is a panel placed before the audience where the Head of Ballet is seated.

CUT to CU of H.O.B. ON SCREEN She speaks into the microphone.

HEAD OF BALLET

Very nice, thank you.

CUT to SUSAN ON SCREEN She sits quietly looking only at the stage.

CUT to H.O.B. ON SCREEN

HEAD OF BALLET

Next, for Performance Based Placement, Susan Bateman.



CUT to SUSAN ON SCREEN She stands.

CUT to H.O.B. ON SCREEN She looks at Susan, who walks across screen.

CUT to CU H.O.B. ON SCREEN

HEAD OF BALLET

Susan, your selection is ready.

CUT to CU SUSAN ON SCREEN She stares emotionless into the crowd. She breathes deeply.

CUT to H.O.B. ON SCREEN There is brief silence as she looks at Susan.

CUT to SUSAN ON SCREEN

S.E. CLASSICAL/BALLET MUSIC PLAYS

Susan begins her routine.

VARIOUS CUTS/ANGLES (approx. 10-15) CLIMATIC ROUTINE - DURATION APPROX. 60 SECONDS

Susan delivers a flawless performance. At the end of her routine/selection, she stands facing the audience, breathing heavily and stern in demeanor.

S.E. APPLAUSE

Susan smiles and bows appropriately.

CUT to H.O.B. ON SCREEN She smiles and nods approvingly.

HEAD OF BALLET

Very well, Susan. Thank you very much.

CUT to SUSAN ON SCREEN She nods in acceptance of her praise. As she begins to leave the stage, something in the distance catches her attention.

CUT to LUCAS ON SCREEN He stands at the auditorium entrance. He smiles at Susan and claps again silently.

FADE OUT

INTERIOR- KITCHEN -  EARLY EVENING

CUT to MR. BATEMAN ON SCREEN He sits at the kitchen dinette reading a journal.

CUT to MRS. BATEMAN ON SCREEN She preps dinner at the kitchen counter.

CUT to MR. BATEMAN ON SCREEN Without looking up from the journal, he addresses his wife.

MR. BATEMAN

Our daughter hasn't come out of her room this evening.

CUT to MRS. BATEMAN ON SCREEN

MRS. BATEMAN

She said she's worried about placement and has reading to do.

CUT to MR. BATEMAN ON SCREEN He looks up from his reading.

MR. BATEMAN

I'm sure that she placed just fine Marianne.

CUT to MARIANNE ON SCREEN She stops food prep, sighs and turns to her husband with her hand on her hip.

MARIANNE

Well what do you suppose I do William?

CUT to WILLIAM ON SCREEN He puts down the journal.

WILLIAM

Perhaps, you could use a hand with dinner.

He slowly returns to his journal while eyeing Marianne.

CUT to MARIANNE ON SCREEN She chuckles sarcastically in defeat as she continues prepping dinner.

INTERIOR - DINING ROOM - EVENING
CUT to BATEMAN FAMILY ON SCREEN They sit at the dining room table, quietly eating dinner. The light in the dining room is dim. The kitchen beside the dining room it pitch black.

CUT to MARIANNE ON SCREEN She sips a glass of wine, looks towards Susan and then her husband.

CUT to WILLIAM ON SCREEN He sips as well. He looks at Marianne, places down his glass and then addresses Susan.

WILLIAM

Susie...

CUT to SUSAN ON SCREEN She looks up from playing with her meal.

CUT to WILLIAM ON SCREEN

WILLIAM

How was your day?

CUT to SUSAN ON SCREEN She returns to playing in her food.

CUT to WILLIAM ON SCREEN

WILLIAM

I hear who had your placement audition.  

CUT to SUSAN ON SCREEN

SUSAN

My performance was fine, thank you.

CUT to MARIANNE ON SCREEN She looks to neutralize the tension between the two.

MARIANNE

And I'm glad. I have high hopes for you Susie.

CUT to SUSAN ON SCREEN She places down her fork.

SUSAN

But why would the three of us need to move to Philadelphia, if you two wouldn't be there?

CUT to WILLIAM ON SCREEN He pats his mouth with a cloth napkin.

WILLIAM

We would have,

CUT to MARIANNE ON SCREEN She nods in agreement to both.

CUT to WILLIAMS ON SCREEN

WILLIAM

but we both had to work and you know why you couldn't live on campus Susan.

CUT to SUSAN ON SCREEN

CUT to WILLIAM ON SCREEN

WILLIAM

So you didn't have to have another abort....

CUT to MARIANNE ON SCREEN She looks to save face.

MARIANNE

William, performance went well. I am very proud.

CUT to WILLIAM ON SCREEN He returns to his meal.

WILLIAM

You can't embarrass your mother and I if you focus on your grades and ballet.

CUT to SUSAN ON SCREEN Reluctantly, but solemnly, she agrees.

SUSAN

I have been irresponsible.

CUT to WILLIAM ON SCREEN

WILLIAM



That's correct and...



S.E. THREE (3) KNOCKS FROM KITCHEN

William looks over to the kitchen startled.

CUT to SUSAN ON SCREEN She does the same.

CUT to MARIANNE ON SCREEN Same.

CUT to WILLIAM ON SCREEN He stands and heads towards the kitchen.

WILLIAM

I'll be right back...

CUT to MARIANNE ON SCREEN

MARIANNE

Do you want me to go with you William?

CUT to CU WILLIAM ON SCREEN He walks into the dark kitchen.

WILLIAM

Uh uh, stay with Susan. 

CUT to KITCHEN ON SCREEN (darkness and silence)

CUT to MARIANNA ON SCREEN She peers into the darkness.

MARIANNE

William?

CUT to SUSAN ON SCREEN She looks into the darkness.

SUSAN

Dad?

CUT to KITCHEN ON SCREEN The light cuts on and William stands at the back door staring out of the window.

CUT to WILLIAM ON SCREEN He stares quietly through the small window curtain.

WILLIAM

Hm.

He turns and ad libs to the women of the house, diverting from the situation at hand.

FADE OUT

the full screenplay is in composition and available upon request...

           

Occult Observations: The Shame of Descent - A Review of Charlie Chaplin's "City Lights"

The silent comedy opens with the star, Charlie Chaplin, sleeping on a monument that had not yet been revealed to the city. Once revealed, the eighty-six minutes of controversial adult comedy, inspiring more occult shock than laughter, takes off. The monument that The Tramp rests on consisted of three subjects or statues. The Tramp preferred to and succeeded in the pursuit of disregarding what was intended to be charitable and honorable for the people in order to rest in the lap of the throned woman; an indication of sexual preference and loyalty to his origin, maternal energy. He was successful in the endeavor by waiting until nightfall when neither the people or the city could witness the violation. The comedic and simple-desired criminal mastermind’s timing reveals that the hierarchy of the sexes is, in fact, the reverse. Notice the sword of the reclining male philosopher or paternal deity is pointed to The Mother's abdomen. Oh Mother, the pleasurable pain of division, how we fell!

Furthermore, The Tramp, achieving the child's rest on the mother's lap is later educated on the way of the world by receiving a foreign paternal point in the rear end. This adds credence to the philosophy that our art progresses as our society does. Such a painful consequence for evading the responsibility of rising to the attainment of philosopher as every true adult should. While there is no glory in his pursuit of the mother over the woman, those observing the film must admire and be amused by his ability to turn the tables on the shame of his descent from his prolonged stay on the mother's lap. He proclaimed to the world silently. I should have lived as a man with a woman on my lap and now the point has ruined my pants as my discipline from the elders from my gender related cult. But know this, before I resume tramping I will mock those disciplining me! To hell with you Sir, I sit on your face! Oh, I smell you intelligent and curious gentleman, acceptable, but I must stay on course. So, I'll sit on your hand. Look, it’s humorous to the people. They love it! Then he proudly moves on and finds the woman. Mr. Forty Year Old Tramp, welcome to manhood!

Another impressive aspect of this contextual theme is response from those In attendance of the monumental revelation. The mayor's wife and the other ladies in attendance were utterly mortified. How dare he ruin our moment? Didn't he see our Mrs. Mayor’s pull the ribbon so perfectly? Did he not notice how important we are? No, no he did not. The mayor and other officials were deeply engrossed even slightly amused. Then joined the military in outrage when the commotion was noticed. But overall, Mr. Forty Year Old Tramp had a great turnout for his performance and seamless getaway. With a camera positioned far from the scene, realistic portrayals and long scenes reducing the number of cuts, there is no wonder how such a perversely charged artist could avoid prison. Is one not surprised that a man afraid of swimming’s perfect match is a blind girl?

The Trap: A Story of Haunted Gentrification Entry #2

INTERIOR -  COLLEGE CLASSROOM - NOON

CUT to PROFESSOR ON SCREEN He lectures before the class, speaking with artistic gusto.

PROFESSOR

In The Black Cat, the motif of murder

CUT to PROFESSOR POV ON SCREEN The room of young adults has mixed attention.

PROFESSOR

                                                       (dramatically)

and or

CUT to SUSAN ON SCREEN She sits in the back of the class in the middle. She looks down, doodling with a pen in a notebook.

PROFESSOR

death 

CUT to PROFESSOR ON SCREEN 

PROFESSOR

that follows Poe,

CUT to LUCAS ON SCREEN Caucasian male, looks at the professor pretentiously, humored by the performance.

PROFESSOR

stalking him in fact

CUT to COLLEGE STUDENT #1 ON SCREEN Caucasian redhead female, she is unenthused.

PROFESSOR

reveals the artist's personal connection with

CUT to SUSAN ON SCREEN She is as before.

PROFESSOR

The Ancient Fire God.

CUT to SUSAN POV ON SCREEN She draws stars in the right margin of her notebook. 

PROFESSOR

With the black cat as the representative of the protagonist

As she draws, Susan's hand slows involuntarily, almost to a complete stop.

SOUND EFFECT PROFESSOR VOICE PROGRESSIVE DISTORTION

PROFESSOR

What is to be said of the feline's screeching informing the policemen? 

CUT to CU of SUSAN ON SCREEN She is horrified as possession sets in.

SOUND EFFECT MUFFLED DISCUSSION STUDENT AND PROFESSOR

CUT to SUSAN POV ON SCREEN Her hand slowly moves to the left and begins to quickly make illegible markings, scratches, over her notes. 

CUT to SUSAN ON SCREEN Her fear transitions to deranged fixation on what's being written. It is apparent Susan is no longer "present" in class.

PROFESSOR

                                                    (cheerful gusto)

Susan!

With her head still down towards the notebook, mouth slightly opened, she slowly looks up at the professor. Her hand still moves but more slowly.

CUT to PROFESSOR ON SCREEN He is oblivious to the change in her presence.

PROFESSOR

You seem deeply engaged.

CUT to SUSAN ON SCREEN She is silent as she stares at the professor.

CUT to PROFESSOR ON SCREEN 

PROFESSOR

What are your thoughts on wives catering to their husbands' perversions?

CUT to SUSAN ON SCREEN She continues to stare unresponsively while her writing has ceased.

CUT to LUCAS ON SCREEN Still cockily amused, he looks back and forth between the professor and Susan. He chuckles while looking at the professor.

LUCAS

I don't think Susan is concerned with your perversions.

The class chuckles in unison. 

CUT to PROFESSOR ON SCREEN Embarrassed, he quickly regroups and diverts with his rehearsed enthusiasm. 

PROFESSOR

Very well then, moving along!

CUT to LUCAS ON SCREEN He looks back at Susan.

PROFESSOR

The Premature Burial!

CUT to LUCAS POV ON SCREEN Remaining lifeless in the happenings, Susan's eyes have cut over to Lucas.

CUT to SUSAN POV ON SCREEN Through his amusement, he shows concern for Susan. He nods to encourage a confirmation that she is indeed okay.

CUT to SUSAN ON SCREEN Ignoring Lucas, her eyes are now back on the professor, she then cuts her attention back to her notebook.

CUT to SUSAN POV ON SCREEN A scribbly letter "J" is amidst the illegible markings.

CUT to CU of SUSAN ON SCREEN She stares at the markings.

CUT to SUSAN POV ON SCREEN 

PROFESSOR

                                                 (loud outburst)

Class dismissed!

CUT to (possible CU) SUSAN ON SCREEN The loud sudden announcement, causes Susan to snap out of her engagement; blinking quickly. She tears.

CUT to SUSAN ON SCREEN (?) There is movement around her as the classroom empties. She quickly wipes her tears, runs her hands through her hair; gathering her composure and her belongings.

CUT to LUCAS ON SCREEN He stands, putting on his book bag. Noticing Susan's tears, he takes a more serious disposition.

LUCAS

Hey Susan, you okay?

CUT to SUSAN ON SCREEN She stands, leaving the class without any regard to Lucas.

CUT to LUCAS ON SCREEN He is offended even irritated by her brush off. 


FADE OUT

to be continued...

The Trap: A Story of Haunted Gentrification Entry #1

The following screenplay was inspired by the comedy of actor, comedian and writer, Mike Epps...


BLACK SCREEN

SUPERIMPOSITION: "1979" white, Arabic Typesetting

SUPERIMPOSITION FADE OUT

FADE IN



EXTERIOR - ROW HOME - 11PM
STILL SHOT NORTH PHILADELPHIA ROW HOME

The windows and front door are boarded. The home is completely dilapidated and declared abandoned by the city.



INTERIOR - BACK BEDROOM - SAME
CUT to PROSTITUTE ON SCREEN High and naked, an African American woman lays sprawled across a dirty, ruined mattress. Her head rolls back and forth with the dips and spins of her high. Smoke fills the air.



CUT to DRUG DEALER AND BUYER ON SCREEN An African American male seated at an old wooden table with only two chairs, the dealer passes a vile to his customer, who throws his money down on the table. The table is dirty and covered in paraphernalia, food remnants and trash, ashtrays and malt liquor cans. The African American consumer stands before the dealer.



CUT to DEALER ON SCREEN High himself, he coughs and looks up at the customer.

DEALER

Disrespectful bitch, you couldn't put that shit in my hand?

CUT to BUYER ON SCREEN Dressed in dirty tattered clothing, and jittery. He side steps back and forth, his jaw jumps. He looks back over his shoulder and then back at the dealer, reaches into his coat pocket and pulls out a smaller revolver.

BUYER

Bitch!

He fires twice into the dealer's chest.

CUT to PROSTITUTE ON SCREEN She sits up and screams.

CUT to BUYER ON SCREEN He cleans the bleeding and hyperventilating dealer's pockets of money and drugs and takes off.

INTERIOR - DOWNSTAIRS- SAME
CUT to BUYER ON SCREEN  He runs through the living room/dining room, into the kitchen and climbs throughboarded back door.

INTERIOR - BACK BEDROOM - SAME

CUT to DEALER ON SCREEN He lays lifelessly in the chair at the table, bled out entirely.  The prostitute runs passed holding her clothes. Still screaming.

PROSTITUTE (V.O.)

June Bug dead!

ZOOM IN

CU OF JUNE BUG

FADE TO BLACK SCREEN

SUPERIMPOSITION: "2000" white, Arabic Typesetting

FADE IN

INTERIOR - LIVING ROOM- 2PM
CUT to REAL ESTATE AGENT ON SCREEN A well dressed and perky Caucasian woman shows the newly renovated home to a middle aged Caucasian couple, who follows behind her into the living room.

R.E. AGENT

The three bedroom, two and a half bath features brand new cherry hardwood flooring...

CUT to COUPLE ON SCREEN They look around the room and then separate while browsing.

R.E. AGENT

The home was completely gutted and soundproofing installed throughout.

CUT to WIFE ON SCREEN Now standing between the dining room and kitchen.

WIFE

Are these stainless steal appliances?

CUT to REAL ESTATE AGENT ON SCREEN

R.E. AGENT

Why yes and brand new tile flooring.

CUT to HUSBAND ON SCREEN He steps beside his wife and places his hand on the small of her back.

HUSBAND

How's the neighborhood? Our daughter will be attending Temple's Fine Arts program in the fall and we're hoping that we can move into an area that is dedicated to their students' housing.

CUT to REAL ESTATE AGENT ON SCREEN She approaches the couple.

R.E. AGENT

Yes, Mr. Bateman. Both of the surrounding homes are Temple University housing.

CUT to BATEMAN COUPLE ON SCREEN They look at one another.

CUT to REAL ESTATE AGENT

R.E. AGENT

and this listing would have been as well, if you weren't making such an attractive offer. But no worries, it is still a quite and safe neighborhood.

CUT to BATEMAN COUPLE ON SCREEN They look at one another again, weighing their options.

CUT to REAL ESTATE AGENT ON SCREEN She gives a rehearsed smile of friendly professionalism.

INTERIOR - BACK BEDROOM - DAY TIME

CUT to FF VIEW of SUSAN ON SCREEN She hangs a poster on her new bedroom wall. The room is visible behind her.

CUT to REAR VIEW of SUSAN She stands, hands on hips, and reviews the poster of a ballerina.

SUPERIMPOSITION LOWER RIGHT SCREEN  "3 weeks later..."

Mrs. Bateman enters the room. BLACK BLUR

SUPERIMPOSITION FADE OUT

MRS. BATEMAN

Susan?

CUT to XCU of SUSAN ON SCREEN She turns around.

SUSAN

Yeah, Mom...

CUT to MRS. BATEMAN ON SCREEN She stands by the doorway and far wall. While large furniture is in place, there is a wall of boxes.

MRS. BATEMAN

Sweetheart, I know you wanted to stay on campus but...

CUT to SUSAN ON SCREEN

SUSAN

I know Mom, you want to keep me safe and on task. I'm not wayward you know.

CUT to MRS. BATEMAN ON SCREEN Now red in the face, she approaches her daughter. Her hands are outstretched to grasps her daughter's.

MRS. BATEMAN

Oh, sweetie, I know. But try convincing your father of that.

CUT to MRS. BATEMAN AND SUSAN ON SCREEN She holds her daughter's hands.

CUT to SUSAN POV ON SCREEN

MRS. BATEMAN

Ugh, eighteen already and just...

She holds her daughters face.

CUT to MRS. BATEMAN POV ON SCREEN Completely unenthused, Susan receives her mother's affection.

MRS. BATEMAN

...so beautiful.

CUT to MRS. BATEMAN ON SCREEN She let's go of Susan's face and backs up and looks at the room.

MRS. BATEMAN

Do you want some help unpacking?

CUT to SUSAN ON SCREEN She does the same.

SUSAN

Uh, no. I'm okay. I'll do what I can but

(sarcastically)

classes start tomorrow. So the last minute move will have to take a backseat to my education.

CUT to MRS. BATEMAN ON SCREEN Still emotional. She places her hand over her heart.

MRS. BATEMAN

That's correct and your dancing.

She heads towards the door.

CUT to SUSAN ON SCREEN She watches her mother, exasperated.

CUT to MRS. BATMAN ON SCREEN She stops at the doorway of the large room and turns back to look at her daughter.

MRS. BATEMAN

You know, I just want to be there as you pursue ballet, the way I did. I just want to be there for my baby.

CUT to SUSAN ON SCREEN

SUSAN

And now you will be, Mommy.

CUT to MRS. BATEMAN ON SCREEN She chuckles and sighs, leaving the room.

CUT to SUSAN ON SCREEN She looks around the room and looks at the sunlight coming through her window. She approaches the window.

CUT to FF VIEW of SUSAN She sternly pulls the curtains shut.

FADE TO BLACK SCREEN

BURST LAMP LIGHT

SOUND EFFECT CLASSICAL MUSIC

FF CU of SUSAN ON SCREEN She reviews her frame in the mirror.

CUT to SUSAN POV ON SCREEN Dressed in her nude leotard, she begins practicing her craft. She runs through her positions, plies, etendres, relevers, glissers.

ALTERNATE VARIOUS VIEWS THROUGHOUT

CUT to SUSAN POV ON SCREEN And when she begins to sauter, in the mirror she notices her closet door slowly opening. She stops and looks to her desk.

CUT to DESK ON SCREEN Her CD player/boom box sits on the desk. She presses pause.

CUT to SUSAN ON SCREEN She approaches the closet.

CUT to SUSAN POV ON SCREEN She looks inside the closet.

CUT to LOWERED FF VIEW of SUSAN ON SCREEN She looks down into the dark closet. The tops of her shoes can be seen. She closes the door.

CUT to CU of SUSAN ON SCREEN  She turns around to head back to her desk.

 SUSAN

Hm.

FADE OUT

BLACK SCREEN

to be continued...

















"I Don't Care!"

The 2001 Sony Entertainment Pictures production, America's Sweethearts was a childhood and family favorite. The premise involved a celebrity acting couple that after an approximate decade or more suffers a terrible break up leaving the husband, Eddie, in psychiatric rehab, mourning the loss of his love, Gwen. Instead of the prescribed three months inside, his money and mourning paid for more than a year's stay at the oasis. To his misfortune, profit and popularity trends disturbed his peace and meditation and he was enticed into leaving, causing him separation anxiety. He later sits in the limousine, with a lap full of high quality herbs, wearing sun glasses, reciting his mantras and growing closer in conversation with his limousine driver, one of the first human interactions he had encountered since his release. He then became perturbed by the spontaneous parking on their way to the late movie premiere and the tapping on his window by an assistant. Begrudgingly, he rolls down the window and is bombarded with what he felt were irrelevant questions with obvious answers that his mental or emotion strain could not entertain. He resorts to the only logical solution of throwing the herbs at the female assistant screaming "I don't care!", repeatedly as he then rolled up his window.

Relating greatly to Eddie's emotional attachment to the detachment of the loony bin, I resound to my life's inadvertent and therefore inevitable controversy with a loud proud, "I don't care!". Life tests my self-esteem, self-awareness, path, intelligence, imagination and physical capabilities, strategically and what seems to be pointlessly. I have reason, so why should my hardships? So I flip the bird, swear, and reject all notions of Universe's dominance over my existence to the point of extremism, even urinating and expectorating in the streets, highly anticipating in-patience. I could care less about being teased or labelled or the stigmas of those labels. I've been called crazy every day since beginning my menstrual cycle at twelve. After all, I am Artist, therefore, I am God.

On this overly critical path where even babies in strollers "are looking at me and judging me, the whole world is judging me", I refuse to contradict anyone's opinion of or desires for me. Think what you want, feel how you want, scheme and plan all you want because you all are "totally nutths". I mean, Hell! "I can't even enjoy my chower", when I get to take one! Where's the loony bin?

If I dont 301 myself before your next half witted practical joke of a hardship, I'll will be forced to pour a skillet of hot scrambled eggs in the next "man"'s lap screaming that "I'm sick of all the buuullshit!". That is, as soon as I manage to find a stove and skillet, or a home with a kitchen for that matter. I declare, with the utmost confusion of the highly intelligent trapped amongst the masses of barking microscopic infusions "You're the Devil" you stupid arrogant asshole! Dare one more time that you dont know whether or not to go through with our agreement or "to just hand me the divorce papers" and I'll go flying through your window on a motorcycle as you sit at the sill. Then, I'm a psychopath and you're in danger. Then, call 911 you shivering midget "bathdard". I wouldn't care about you if you were contemplating suicide from the rooftop of an outdoor event, because you need one last attempt for attention and sympathy. "Puthy boy gonna go splat". Though, I'd be up there too, just to be alone and think. Only, you'd claim it were some non existent occasion where a Black American was a terrorist.

Hold the paddy wagon boys and the fake news actors, this isn't a terrorist attack to report on. I can take myself to the crisis center. I'll take the drugs while I wait on herbs and mantras.