Over a year ago, as an exercise, I started writing one short story a week. This was something Harlan Ellison (I think) suggested to one of his fans, his reasoning being "You can't write 52 bad short stories in a row." I'm not sure about that, but here's one of those stories. This is a spoof on part of the film noir "Detour". I love the film, and write a post about it ("Public domain film noir: Detour (1945)"), but parts are unintentionally funny and inspired me to write the story below.
Laws of Form and ShapeIn design theory, "form" is any visual element in an image, as opposed to we commonly call "negative space" (an area of the image with little or no contrast value). Sometimes a form is also called a "positive value" in the image, while a "negative value" is really negative space in the image.
Over a year ago, as an exercise, I started writing one short story a week. This was something Harlan Ellison (I think) suggested to one of his fans, his reasoning being "You can't write 52 bad short stories in a row." I'm not sure about that, but here's one of those stories.
Alfred Bester (1913-1987) wrote science fiction, but also wrote for TV, radio, and comic books. He was an editor for a travel magazine for many years. In 1936 he married Rolly Bester, the actress who played the first Lois Lane on the radio show Adventures of Superman.
Among his many short stories and novels, Bester is perhaps best known for The Demolition Man (1952) and The Stars My Destination (1956), both serialized in Galaxy magazine. The 1952 novel won the first ever Hugo Award given at the 11th World Science Fiction Convention.
I'm not a lawyer but here is some information which suggests both of these novels are in the public domain. The Internet Archive has The Demolished Man, scanned from it's publication in Galaxy, (part 1, part 2, and part 3, and likewise for the 1956 novel). While there is an indication that Bester renewed the copyright (see this search item for the 1952 novel, and this item for the 1956 novel), the copyright page of Galaxy indicates that Galaxy owned the copyright and so it seems to me, as a non-lawyer, it is Galaxy that had to renew it. (I base my reasoning on the section "Who May Claim Renewal" in this copyright.gov pdf.)
I've typed all of The Demolished Man into latex, including the original artwork, for fun and to learn Bester's writing style by forcing myself to pay attention to the details. A really terrific novel by an excellent writer.
Over a year ago, as an exercise, I started writing one short story a week. This was something Harlan Ellison (I think) suggested to one of his fans, his reasoning being "You can't write 52 bad short stories in a row." I'm not sure about that, but here's one of those stories.
In the back seat of their big old sedan sit three kids, 7 year old Tommy, 5 year old Carol, and 3 year old Debbie. Tommy and Carol are buckled in, while Debbie’s in a car seat staring out the car window in wonder. Tommy and Carol act silly. Tommy calls Carol a “Carol-Barrel-Feral-daryl-big-barrel” and Carol calls Tommy a “Tommy-orgami-commie-big-dommy.” When they both laugh, that’s Debbie cue to join in with her own high-pitched laugh.
Fred and Marcie are in the front seat, somber. It’s a humid, overcast day, and looks like rain, but it's holding back. Marcie strokes the greying hairs of their beagle-mix Buddy, who she holds in her arms. Buddy’s awake and stares blankly with his foggy grey eyes. He’s been blind for a few years and has been going deaf recently.
Fred pulls in the parking lot of the Animal Hospital. “I’ll be right back,” Fred tells his kids in the back. Fred gets out and Marcie opens her door. Fred somberly takes Buddy in his arms and carries him inside. Marcie sniffs, shuts her door, and watches Fred and Buddy go inside.
“What’s wrong, Mommy?” Tommy asks Marcie. “Nothing,” Marcie says without looking at Tommy. Carol tickles Debbie and pokes Tommy in the arm. This starts another sequence of silly laugh-inducing behavior from the back seat, that continues until Fred returns without Buddy.
Fred gets in the car, pulls out of the parking lot, and heads back home the way they came.
Eventually the silliness in the back seat dies down and Tommy asks, “Where’s Buddy?”
“Buddy was sick, sweetie,” Marcie says.
“Is Buddy at the dog doctor?” Carol asks.
“We had to put Buddy to sleep,” Fred says, almost apologetically. “What does that mean?” Tommy asks. "He's sleeping?"
“Is Buddy sleeping at the vet’s?” Carol asks.
“Buddy was sick. The vet put him to sleep permanently. He’s not coming back,” Fred says.
“Buddy’s not asleep, he’s dead?” Tommy asks.
“Yes, sweetie, I’m sorry,” Marcie says. Carol starts to cry. Then Tommy starts to cry. When they both cry, that’s Debbie cue to start her own high-pitched, loud wailing.
“Couldn’t you wait until tomorrow?” Carol asks.
“It was his time, honey,” Marcie says.
“No it wasn’t!” Carol said, snot running down her nose.
“He’s not asleep. Why did you say he was?” Tommy asks, in between sobs.
“It’s just an expression,” Fred says. “He was fifteen. That’s a very old age for a dog.”
The rest of the ride home was like this - crying followed by occasional sobbing questions - but, deep down, Tommy didn’t believe Buddy was gone. Buddy has been around the house ever since Tommy was born.
That night, Fred came into Tommy's bedroom to tuck him in for bed.
Tommy told his dad about thhe times he teased blind old Buddy, picking his up and placing him in front of a wall then loudly calling him from another room. Buddy would walk into the wall and Tommy would laugh like the immature, sometimes cruel, little snot he was. He thought nothing of making fun of Buddy, when Buddy was alive. Now that Buddy was gone, he couldn’t stop thinking of how mean he was. This started a new round of crying.
“I’m sure Buddy’s in heaven and he forgives you,” Fred says, handing Tommy another kleenex.
“How do you know?” Tommy asks in between sobs.
“He was a nice dog, don’t you think?”
“He was the best.”
“It’s in his personality. Are you going to do that again, if we get another dog?”
“Never, dad. Will God forgive me for being mean to Buddy?”
“You know it was wrong and you promise to do better in the future, right?”
“Yes. I’m sorry.”
“I think God forgives you and Buddy forgives you. And you mom and I forgive you. I love you, kiddo. Get some sleep and let Buddy live a happy life in your dreams tonight.”
“I’m going to dream about playing with Buddy.”
“Good night,” Fred says, kissing Tommy on his forehead, turning out the lights and softly closing the door.
Outside, the rain finally stars pouring. And Tommy starts to cry again.
Magic was written by William Goldman (based on his own novel of the same name) and directed by Richard Attenborough. It starred a young Anthony Hopkins and Ann-Margret.
Warning: Spoilers below!
The first part of this 1978 film takes place in Hollywood, California, the rest is mostly in a few cabins on a lake in the Catskills.
Breakdown:
* We pan around the room of Merlin Jr, an old, sick magician. All kinds of magician's nik-naks are scattered around the small room (including an old ventriloquist doll). Merlin Jr is wheezing away, alone, laying on a couch, covered by a blanket.
* Corky Withers (young, bright, shy) enters. Merlin asks how his act went. Corky lies: he knocked them dead. Flashbacks to his act intercut with their conversation indicates the audience was bored and Corky was very nervous. Merlin Jr doesn't buy the story that Corky was successful. Indeed, onstage, Corky eventually cracks and calls the audience names. Merlin says Corky needs to "find himself some charm."
* Some months later, talent agent Ben Greene, who is handling Corky, is entertaining George, a CBS entertainment executive at a Hollywood Lounge. They talk about Corky and his act: magic combined with comedy using his ventriloquist dummy Fats. Both Ben and George are impressed with Corky.
* Corky's dressing room has a photo of Merlin Jr and a photo of a teenage girl (Peg, as we'll learn later). Ben enters and they talk about his act. Ben sees great things in Corky. Corky wants to know when he'll make it big. Ben says when they eat at the Four Seasons Restaurant he'll know.
* A scene of Corky on the Dinah Shore Show was cut in the movie.
* Corky and Ben meet at the Four Seasons restaurant in NYC. Ben says George wants Corky to star in a pilot for a new show on CBS. One thing: they need Corky to take a physical. Corky refuses "on principle" and walks out.
* Corky goes to his hotel room and packs up. He has a conversation with Fats, but there's no indication that Fats knows things that Corky doesn't. It doesn't appear Fats is a supernatural presence. Fats complains by Corky packs him into a special carrying case. Then Corky checks out and takes a cab out of NYC.
* Corky and the cabbie talk about Corky's career as they drive up to a lake in the Catskills. After they arrive Corky pays the cabbie an extra amount to not tell anyone where he was driven.
* Corky rents a cabin on a lake from Peg, a lady his age. After they are alone in his cabin, Fats reveals an aggressive, creepier personality.
* Corky gets settled in and goes to Pegs house and flirts as he gets soap and towels for his cabin. She thinks Fats is cute and invites Corky over later for some wine. On the walk back to the cabin, Fats and Corky have a strange sexual conversation about Peg.
* Over wine, they talk about Corky's career. He says he's afraid of success. It's a long scene. He confesses he had a crush on her in HS. She knows. She tells him she's married (her husband's out of town) but the marriage is rocky.
* Corky returns to his cabin. Fats wants to know how it went with Peg.
* The next day, Corky and Peg walk in the woods. Peg asks about Merlin and what tricks Corky has in his act. He shows her a simple magic trick with an acorn.
* Back in the cabin, Corky shows Peg a complicated card trick (requiring her to think of a card and he guesses it). It doesn't work and Corky gets very upset. Corky confesses he's loved her all his life and that he never expected to find her here. He forces Peg to try it with him again. She's uncomfortable and worried about his reaction but they do it again. This time it works and Corky says "I didn't fail".
* That night she spends the night in his cabin and they have sex. Fats listens in the next room. He wants her to leave her husband Duke. She says that's impossible.
* He walks her to her house. He says he's serious about running away. She says she wants to think about his offer some more.
* Corky goes back to his cabin and talks to Fats. He leaves the front door open. Fats wants to go back to NYC. Corky says he doesn't want to discuss it. Fats insults Peg. Corky starts to strangle fats. Ben Greene shows up on his doorstep.
* Corky makes up a lie: he and Fats are practicing a new routine. Ben doesn't buy it. He now knows Corky's crazy. He asks if this is why he refused a physical exam. Corky lies and says he's just afraid of success. Ben says he knows good doctors who can help him. Fats keeps interrupting, tells Corky that Ben is against him, thinks he's crazy, wants him to see a shrink. Corky tells Fats to shut up repeatedly. Ben starts to leave. Corky asks him to stay, to see the new acts. ben says, he'll stay if Corky can make Fats shut up for 5 minutes. If he can't Corky has to agree to see a doctor. Corky agrees. Ben starts a watch. Corky breaks down and Fats belts out a long nonsensical speech. Ben gets up and leaves. Corky and fats argue. Fats tells Corky he's going to get locked up in an asylum if he doesn't stop Ben. Fats tells him to use "MEE-MEE- MEEEEE!" to stop him.
* Ben chases after Ben and repeatedly hits him over the head with Fats until Ben collapses in the woods, unconscious.
* Interrupting, Peg yells a question about dinner from her porch. He yells back an answer. She goes back in. Fats complains his head is broken.
* Corky and fats are in his cabin, Corky taping up Fats' head. Fats tells Corky to empty Ben's pockets, replace them by lots of stones, and swim Ben's body out into the middle of the lake.
* Corky does that, but when he gets to the middle Ben wakes up. They fight in the water and Corky drowns him. Corky swims back. The ripples in the lake fade from moon-lit dark to morning light.
* Corky wakes up, goes outside his cabin. Peg is there she says Duke arrived home late last night. He's suspicious and watching them now. Duke wants to meet Corky.
* Corky gets Fats and returns to Peg's house for some coffee. After small talk, Duke leaves to lock up some of the unoccupied cabins on the lake. He discovered Ben's car, unoccupied and returns to Peg's house. Corky says the car must be Ben's (as though he's never seen him). Duke asks him to call around to figure out what's going on. Corky makes a phone call and pretends to be talking to Ben. They get into an argument.
* Later, Duke and Peg get into an argument in their bedroom. Duke thinks Peg has slept with Corky.
* Later, Duke and Corky are out in the lake with fishing poles. (It appears Peg has gone to town.) They get out in the middle of the lake and Duke tells Corky that Peg admitted she slept with Corky. Corky laughs it off. Duke gets his line snagged on something heavy. Corky says he's cold and wants to go in now. (Note Corky is without Fats for over 5 minutes...) Duke keeps reeling in his line. Finally, he reels in a log. They row back to shore and spot Ben, lying on the sore, half in and half out of the water.
* They get out and examine the body. Corky lies and says it's not Ben. Duke tells Corky to call the hospital and tell them to come right away. Corky runs off. Duke tries to revive Ben but gives up after he realizes Ben's dead.
* Duke enters Corky's cabin while Corky is in Peg's house. He snoops around and finds Ben's wallet hidden in a drawer. He takes the wallet and starts to leave when he sees Fats in the kitchen. He walks over to Fats. Fats stabs Duke to death. As Duke collapses, the camera pulls back to reveal Corky.
* Corky asks Fats what is he going to do now? Fats says to wrap both bodies in a sheet, dump them in the lake, clean the blood up off the kitchen floor and get in the shower.
* Peg returns. Corky tells her Duke went hunting and kicked him out. Peg tells Corky that she's decided to leave Duke and go with Corky, but she has to wait for Duke to return form his hunting trip first. They agree to go get packed to be ready to go.
* Corky packs in his cabin with Fats. He tells Fats that Fats will not be going with Peg and him on their trip. Their act together is over. Fats is enraged. He says he's the only reason Corky because famous. He tells Corky he has to kill Peg, to stab her with the knife. Corky stabs himself to death instead.
Review of script:
The script is published in one of William Goldman's books (Five Screenplays). This is the version I'm using.
While entertaining and very well-written, it is formatted quite different from a typical spec script. (This script was contracted upon reading Goldman's manuscript for the novel this is based on. It is very detailed in terms of editing suggestions and camera directions.) Sluglines, if they exist, are all non-standard. All caps are used liberally to indicate where the camera is to focus. None-the-less, readable and very engaging.
About the perspective from which the story is told, I can't help to think that this is a story about a very unstable young man with an unhealthy obsession over a woman his age. The doll Fats represents his worsening psychological issues. As the film evolves, it's revealed Corky has what I guess would be called a split personality. The doll Fats represents his self-centered part of his character and Corky himself, as the world superficially sees him, is his bright, sweet, kind self. If it were about a supernatural doll doing evil things to help Corky, one that has corrupted Corky somehow, I'd feel more comfortable with the story. (I'd also prefer we follow Peg more closely, making this a little more about her.) But Corky is the protagonist, and a very non-sympathetic one at that. The story simply explores an aspect of his worsening psychosis in the framework of a horror movie.
Over a year ago, as an exercise, I started writing one short story a week. This was something Harlan Ellison (I think) suggested to one of his fans, his reasoning being "You can't write 52 bad short stories in a row." I'm not sure about that, but here's one of those stories.
Gracious Gardens is a soap opera for senior citizens. It's on TV or the web or cable or something. You've seen it. As you know, it takes place in a two story nursing home and hospice care facility in the Baltimore-Washington corridor called Gracious Gardens. Actually, it’s three stories if you count the basement, but that’s underground, for storage only, secured by sophisticated electronic locks, and only accessible by a special key card.
Stay tuned the latest episode...
