Yesterday (Friday) SNR productions met with the director and the DP to discuss the script and schedule. A few changes are to be made to the script but apart from that we're going ahead at a decent rate. We also took photos on the set (i.e. bathroom and corridor) and that was fun to do and look at afterwards.The shooting starts soon and in the words of Optimism, All Will Go Well.
Just one question: why am i the only one still blogging? Is there anyone else out there? helloooooo!?
Saturday, October 31, 2009
Wednesday, October 21, 2009
.
Our presentation went well today. And thank you fellow classmates for your well-intentioned and useful suggestions for improvement. Because it is a good feeling to have your work appreciated, because after exerting so much effort into something it is really crushing to have it looked at negatively. And things are going positively forward although there is always someone or someones trying to pull ya back and mek ya feel a way and offset ya 'brations. But i aint digging nuttin bout that. Power to de people!
Rachel
Rachel
Saturday, October 17, 2009
Obstacles
I had no plans on being absent yesterday. As mentioned on Wednesday the Dell tech screwed up my computer, so I'm left hopping from place to place to get computer access. So what happened yesterday was that had to not only find a computer but a printer as well. So when I did finally manage to get the stuff I was meant to get printed printed, class time was gone.
So my apologies for not being there (and as yall probably found out Nahshondah was ill too), but we'll do our case study next Wednesday God willing.
Obstacles, people, they just keep coming, so wear a helmet and some armour. Its raining knives and chisels, but stick to it and this projet could turn out to be something really excellent.
So my apologies for not being there (and as yall probably found out Nahshondah was ill too), but we'll do our case study next Wednesday God willing.
Obstacles, people, they just keep coming, so wear a helmet and some armour. Its raining knives and chisels, but stick to it and this projet could turn out to be something really excellent.
Monday, October 12, 2009
Saturday, October 10, 2009
RELEASE FORM FOR USE OF NAME/IMAGE/VOICE
Production Title: Attack of the Short Man
Producers: MEKWAY PRODUCTIONS
I, the undersigned, grant permission to MEKWAY PRODUCTIONS (hereby referred to as the producers) to photograph me and record my voice, performance, appearances, and use my picture (and other reproductions) of my physical likeness and voice as part of the production tentatively titled “Attack of the Short Man”. I also grant permission for their use in the film’s distribution, promotion, and exhibition.
I agree that I will not make any claim of invasion of privacy, defamation of character, or any other violation of civil rights regarding the authorised use of my physical likeness and voice in the film by the producers. I release the producers from all claims, liabilities, actions, demands, and expenses.
I hereby certify that I am 18 years of age or older and have read the preceding contractual details. I fully understand their implications and that, upon signing this agreement, I am legally bound to it.
Agreed to and accepted by:
Name: _______________
Character: _________________
Address: _______________
Tel #: _____________
Signature: _____________
Date: _______________
Producers: MEKWAY PRODUCTIONS
I, the undersigned, grant permission to MEKWAY PRODUCTIONS (hereby referred to as the producers) to photograph me and record my voice, performance, appearances, and use my picture (and other reproductions) of my physical likeness and voice as part of the production tentatively titled “Attack of the Short Man”. I also grant permission for their use in the film’s distribution, promotion, and exhibition.
I agree that I will not make any claim of invasion of privacy, defamation of character, or any other violation of civil rights regarding the authorised use of my physical likeness and voice in the film by the producers. I release the producers from all claims, liabilities, actions, demands, and expenses.
I hereby certify that I am 18 years of age or older and have read the preceding contractual details. I fully understand their implications and that, upon signing this agreement, I am legally bound to it.
Agreed to and accepted by:
Name: _______________
Character: _________________
Address: _______________
Tel #: _____________
Signature: _____________
Date: _______________
EMPLOYMENT AGREEMENT (ACTORS)
MEKWAY PRODUCTIONS, referred to as the EMPLOYER, and ____________________, referred to as the ACTOR, agree:
ACTOR is engaged to perform the part of ___________________________ in a play entitled "Attack of the Short Man" herein referred to as the “film”. ACTOR warrants that he/she has had full opportunity to review the script and directions of the play.
ACTOR shall attend all rehearsals, as they are scheduled by the EMPLOYER, and shall participate in the same in good faith and shall fully and professionally cooperate with the directors and producers and other support staff selected by the EMPLOYER. In addition, ACTOR shall participate in such promotional events as may be requested by the EMPLOYER.
The term of employment under this agreement shall be for the run of shooting of the film beginning on ________________________ and concluding on _________________________, unless earlier terminated as provided herein, or, unless the production is closed earlier, in which case the agreement shall terminate at the close of the production.
ACTOR grants to EMPLOYER the right to use ACTOR’s name and image in connection with advertising of the film, including the right to use of video and audio clips not exceeding 30 seconds within promotional material. ACTOR explicitly gives up any rights to residuals or other payments related to this production being taped, filmed, videoed, or otherwise duplicated and used in the future for any purpose whatsoever.
In consideration of the artist’s services the Manager shall pay to the artist one dollar ($1.00).
Prior to the scheduled termination herein, the EMPLOYER in its sole discretion may terminate this contract and pay herein shall end with the performance immediately prior to the termination for: artistic reasons, with the judgment of the EMPLOYER being final; acts, including acts during the personal time of the ACTOR which adversely affect the reputation of the production, with the judgment of the EMPLOYER being final, or, failure of the ACTOR to appear for rehearsal or shooting of the film.
Dated: ________________
_______________________________
For _______________________ By Actor
_______________________________
For ____________________ By Employer
ACTOR is engaged to perform the part of ___________________________ in a play entitled "Attack of the Short Man" herein referred to as the “film”. ACTOR warrants that he/she has had full opportunity to review the script and directions of the play.
ACTOR shall attend all rehearsals, as they are scheduled by the EMPLOYER, and shall participate in the same in good faith and shall fully and professionally cooperate with the directors and producers and other support staff selected by the EMPLOYER. In addition, ACTOR shall participate in such promotional events as may be requested by the EMPLOYER.
The term of employment under this agreement shall be for the run of shooting of the film beginning on ________________________ and concluding on _________________________, unless earlier terminated as provided herein, or, unless the production is closed earlier, in which case the agreement shall terminate at the close of the production.
ACTOR grants to EMPLOYER the right to use ACTOR’s name and image in connection with advertising of the film, including the right to use of video and audio clips not exceeding 30 seconds within promotional material. ACTOR explicitly gives up any rights to residuals or other payments related to this production being taped, filmed, videoed, or otherwise duplicated and used in the future for any purpose whatsoever.
In consideration of the artist’s services the Manager shall pay to the artist one dollar ($1.00).
Prior to the scheduled termination herein, the EMPLOYER in its sole discretion may terminate this contract and pay herein shall end with the performance immediately prior to the termination for: artistic reasons, with the judgment of the EMPLOYER being final; acts, including acts during the personal time of the ACTOR which adversely affect the reputation of the production, with the judgment of the EMPLOYER being final, or, failure of the ACTOR to appear for rehearsal or shooting of the film.
Dated: ________________
_______________________________
For _______________________ By Actor
_______________________________
For ____________________ By Employer
Friday, October 9, 2009
Due dates for Production Management Elements
This is the rundown of when each component of our projects is due. Please ensure that you post everything to the blog.
1) Proposal................................ due October 12th
2) Contracts & Legal Documents............. due October 23rd
3) Script Breakdown & Scheduling........... due October 20th
4) Budget & Cash Flow...................... due November 13th
5) Post production......................... semester deadline for university assignments (possibly late November... to be confirmed)
1) Proposal................................ due October 12th
2) Contracts & Legal Documents............. due October 23rd
3) Script Breakdown & Scheduling........... due October 20th
4) Budget & Cash Flow...................... due November 13th
5) Post production......................... semester deadline for university assignments (possibly late November... to be confirmed)
Wednesday, October 7, 2009
ARTICLES OF ASSOCIATION
These Articles of Association (the Agreement) are made and effective this 2nd day of October, 2009,
BETWEEN: Akley Olton (the 'First Partner'), an individual with his main address at: 6th Avenue, Wanstead Terrace, St Michael
AND: Brook-Elliott Gill (the 'Second Partner'), an individual with his main address at: Top Rock, Christ Church, BB15016.
The parties agree to be partners under and by the name of MEKWAY PRODUCTIONS and to engage in the business of film production, according to the following terms and provisions:
1. DURATION
The partnership association will commence on the execution of this agreement and continue until December 22nd, 2009, or for such time as the partners may then see fit.
2. CONTRIBUTION
Each of the partners is contributing skill, time, and labour to the partnership, and it is understood that each partner will receive an equal share of any revenue that may be earned through the ventures of MEKWAY PRODUCTIONS.
3. MANAGING PARTNER
To conduct and manage the affairs of the partnership, both Akley Olton and Brook-Elliott Gill shall be managing partner. Akley Olton and Brook-Elliott Gill shall have the full authority to conduct, manage, operate, and arrange all the business affairs of the partnership, to hire and fire other employees needed to carry on the business, determine the wages and make contracts with the employees, enter into other contracts in the name of and for the partnership, and in general do anything ordinarily done by the manager of a business.
4. BOOKS OF ACCOUNT
One member of the partnership shall keep the books of account, and these books shall be open to examination by either member at any reasonable time. Entries shall consist of all money received and expended in and about the business, as well as all equipment or other material purchased for the partnership with partnership funds, and all other matters involving money of the partnership.
5. DIVISION OF PROFITS
At the end of each year, or at such time as the partners may decide, any profits of the partnership shall be distributed in the following proportions:
Brook-Elliott Gill–50%
Akley Olton – 50 %
It is agreed, however, that the expenses of the business shall be borne equally and that all operating expenses shall be deducted before profit is determined.
6. AMENDMENTS
It is agreed that this partnership agreement may be amended at any time, or from time to time, in the judgement of the partners, but such amendments shall be formal and written and signed by both partners.
IN WITNESS WHEREOF, the parties have executed this agreement at The Errol Barrow Centre for Creative Imagination the day and year first above written.
We, the undersigned, do hereby acknowledge the creation of this partnership and agree to the aforementioned stipulations of the agreement.
FIRST PARTNER SECOND PARTNER
_____________________________ _____________________________
Akley Olton Brook-Elliott Gill
WITNESS
_____________________________
_____________________________
BETWEEN: Akley Olton (the 'First Partner'), an individual with his main address at: 6th Avenue, Wanstead Terrace, St Michael
AND: Brook-Elliott Gill (the 'Second Partner'), an individual with his main address at: Top Rock, Christ Church, BB15016.
The parties agree to be partners under and by the name of MEKWAY PRODUCTIONS and to engage in the business of film production, according to the following terms and provisions:
1. DURATION
The partnership association will commence on the execution of this agreement and continue until December 22nd, 2009, or for such time as the partners may then see fit.
2. CONTRIBUTION
Each of the partners is contributing skill, time, and labour to the partnership, and it is understood that each partner will receive an equal share of any revenue that may be earned through the ventures of MEKWAY PRODUCTIONS.
3. MANAGING PARTNER
To conduct and manage the affairs of the partnership, both Akley Olton and Brook-Elliott Gill shall be managing partner. Akley Olton and Brook-Elliott Gill shall have the full authority to conduct, manage, operate, and arrange all the business affairs of the partnership, to hire and fire other employees needed to carry on the business, determine the wages and make contracts with the employees, enter into other contracts in the name of and for the partnership, and in general do anything ordinarily done by the manager of a business.
4. BOOKS OF ACCOUNT
One member of the partnership shall keep the books of account, and these books shall be open to examination by either member at any reasonable time. Entries shall consist of all money received and expended in and about the business, as well as all equipment or other material purchased for the partnership with partnership funds, and all other matters involving money of the partnership.
5. DIVISION OF PROFITS
At the end of each year, or at such time as the partners may decide, any profits of the partnership shall be distributed in the following proportions:
Brook-Elliott Gill–50%
Akley Olton – 50 %
It is agreed, however, that the expenses of the business shall be borne equally and that all operating expenses shall be deducted before profit is determined.
6. AMENDMENTS
It is agreed that this partnership agreement may be amended at any time, or from time to time, in the judgement of the partners, but such amendments shall be formal and written and signed by both partners.
IN WITNESS WHEREOF, the parties have executed this agreement at The Errol Barrow Centre for Creative Imagination the day and year first above written.
We, the undersigned, do hereby acknowledge the creation of this partnership and agree to the aforementioned stipulations of the agreement.
FIRST PARTNER SECOND PARTNER
_____________________________ _____________________________
Akley Olton Brook-Elliott Gill
WITNESS
_____________________________
_____________________________
ASSIGNMENT OF RIGHTS CONTRACT
Owner of Rights (Assignor): AKLEY OLTON
BROOK-ELLIOTT GILL
Work to be Assigned Title: BACCOO
Work Genre: film script
Recipient of the Rights (Assignee): MEKWAY PRODUCTIONS
Project name: Attack of the Short Man
Project Genre: short film
This is an Agreement between the Assignor (hereafter known as the “Owner of the Rights”) and the Assignee (hereafter known as the “Recipient of the Rights” to Assign the Rights of the above named Work to be used in the above named Project.
KNOW ALL MEN BY THESE PRESENTS:
1. The undersigned “Owner of the Rights” does hereby sell, grant, convey and assign unto “Recipient of the Rights” her/his/their/its successors, assigns and licensees forever, all Right, Title and Interest including but not limited to the exclusive worldwide Project and allied rights of “Owner of the Rights” in and to that certain Work, to wit the above named Work and all drafts, revisions, arrangements, adaptations, dramatizations, translations, sequels and other versions of the Work Assigned which may heretofore have been written or produced or which may hereafter be written or produced with the sanction of “Owner of the Rights”.
2. The “Owner of Rights” further understands that, by accepting this one time compensation (of $1.00) and granting this permission, the “Owner of Rights” is irrevocably giving up all rights and claims to monetary compensation for any future uses of this Work by the Producer(s).
3. The “Owner of the Rights” further warrants that it has full right and authority to transfer said rights and that these rights herein transferred are free of lien, encumbrance, or adverse claim.
This assignment shall be binding upon and inure to the benefit of the parties, their successors and assigns.
Signed this 2nd day of October, 2009.
____________________________ ____________________________
Brook-Elliott Gill (Assignor) Akley Olton (Assignor)
MEKWAY PRODUCTIONS
____________________________ ____________________________
Assignee Assignee
BROOK-ELLIOTT GILL
Work to be Assigned Title: BACCOO
Work Genre: film script
Recipient of the Rights (Assignee): MEKWAY PRODUCTIONS
Project name: Attack of the Short Man
Project Genre: short film
This is an Agreement between the Assignor (hereafter known as the “Owner of the Rights”) and the Assignee (hereafter known as the “Recipient of the Rights” to Assign the Rights of the above named Work to be used in the above named Project.
KNOW ALL MEN BY THESE PRESENTS:
1. The undersigned “Owner of the Rights” does hereby sell, grant, convey and assign unto “Recipient of the Rights” her/his/their/its successors, assigns and licensees forever, all Right, Title and Interest including but not limited to the exclusive worldwide Project and allied rights of “Owner of the Rights” in and to that certain Work, to wit the above named Work and all drafts, revisions, arrangements, adaptations, dramatizations, translations, sequels and other versions of the Work Assigned which may heretofore have been written or produced or which may hereafter be written or produced with the sanction of “Owner of the Rights”.
2. The “Owner of Rights” further understands that, by accepting this one time compensation (of $1.00) and granting this permission, the “Owner of Rights” is irrevocably giving up all rights and claims to monetary compensation for any future uses of this Work by the Producer(s).
3. The “Owner of the Rights” further warrants that it has full right and authority to transfer said rights and that these rights herein transferred are free of lien, encumbrance, or adverse claim.
This assignment shall be binding upon and inure to the benefit of the parties, their successors and assigns.
Signed this 2nd day of October, 2009.
____________________________ ____________________________
Brook-Elliott Gill (Assignor) Akley Olton (Assignor)
MEKWAY PRODUCTIONS
____________________________ ____________________________
Assignee Assignee
Friday, October 2, 2009
De Men Productions- Release Form
USE OF NAME AND IMAGE
Dinner Theatre Experience
De Men Productions
#2 Walcott Warner Theatre,
Errol Barrow Center for Creative Imagination,
University of the West Indies,
Cave Hill Campus,
St. Michael,
Barbados 2009-10-02
I, the undersigned, herby grant permission to “De Men Productions” (Producer) to photograph and record my voice, performances, poses, and appearances and use my picture, photograph, silhouette, and other reproductions of my physical likeness and sound as part of the Student Project tentatively entitled The Dinner Theatre Experience (The Advertisement) and the unlimited distribution, promotion and exhibition of the Advertisement by any method or device now known or hereafter devised in which the same may be used, and/or incorporated and/or exhibited.
I agree that I will not assert or maintain against you or your successors any claim, action, suit, or demand any kind of nature whatsoever, including but not limited to, those grounded upon invasion of privacy, rights of publicity or other civil rights, or for any other reason in connection with your authorized use of my physical likeness and sound in the Advertisement as herin provided. I hereby release you and your successors from and against any and all claims, liabilities, demands, actions, costs and expenses whatsoever, at law or in equity, which I ever had, now have or may, shall or hereafter have by reason, matter, cause or thing arising out of your use herin provided.
I have read the foregoing and fully understand the meaning and effect thereof and intending to be legally bound, I have signed this release.
Agreed and Accepted to
____________________________ By_______________________
Print Name
____________________________
Signature
____________________________
____________________________
Address
____________________________
Dinner Theatre Experience
De Men Productions
#2 Walcott Warner Theatre,
Errol Barrow Center for Creative Imagination,
University of the West Indies,
Cave Hill Campus,
St. Michael,
Barbados 2009-10-02
I, the undersigned, herby grant permission to “De Men Productions” (Producer) to photograph and record my voice, performances, poses, and appearances and use my picture, photograph, silhouette, and other reproductions of my physical likeness and sound as part of the Student Project tentatively entitled The Dinner Theatre Experience (The Advertisement) and the unlimited distribution, promotion and exhibition of the Advertisement by any method or device now known or hereafter devised in which the same may be used, and/or incorporated and/or exhibited.
I agree that I will not assert or maintain against you or your successors any claim, action, suit, or demand any kind of nature whatsoever, including but not limited to, those grounded upon invasion of privacy, rights of publicity or other civil rights, or for any other reason in connection with your authorized use of my physical likeness and sound in the Advertisement as herin provided. I hereby release you and your successors from and against any and all claims, liabilities, demands, actions, costs and expenses whatsoever, at law or in equity, which I ever had, now have or may, shall or hereafter have by reason, matter, cause or thing arising out of your use herin provided.
I have read the foregoing and fully understand the meaning and effect thereof and intending to be legally bound, I have signed this release.
Agreed and Accepted to
____________________________ By_______________________
Print Name
____________________________
Signature
____________________________
____________________________
Address
____________________________
Sample Contract
SAMPLE CONTRACT FOR TALENT RELEASE
Given and understanding the fact that I will be filmed on this date_______I hereby assign and authorize the producer_____________________the right in and to the aforementioned filming of my image. I also authorize said producer, without limitation, the right to reproduce, copy, exhibit, publish or distribute any such videotape, and waive all rights or claims I may have against your organization and/or any of its Affiliates, Subsidiaries, or Assignees other than as stated in this agreement.
___________________ __________________________
Signature of Talent Signature of Producer(s)
____________________
Signature of Witness
____________________
Date
Given and understanding the fact that I will be filmed on this date_______I hereby assign and authorize the producer_____________________the right in and to the aforementioned filming of my image. I also authorize said producer, without limitation, the right to reproduce, copy, exhibit, publish or distribute any such videotape, and waive all rights or claims I may have against your organization and/or any of its Affiliates, Subsidiaries, or Assignees other than as stated in this agreement.
___________________ __________________________
Signature of Talent Signature of Producer(s)
____________________
Signature of Witness
____________________
Date
Thursday, October 1, 2009
Reminder
Hello Class,
The planning for your films is going great. I'm glad most now have their Proposals and scripts.
Here are some things you will need to complete for your prep:
1) Contact sheet (cast/crew - role - name - contact info)
2) Project schedule: Prep, Shoot, Post - when are you going to shoot, and when will you have the project completed by?
3) Legal framework docs: Entity, contracts with Creator, Writer, Producer (yourself), Director, Cast, Crew Deal Memo.
4) Script breakdown
5) Budget
This is what we will adress tomorrow. Please come to class on Friday with:
- Your production "Binder" - This will contain your relevent "production paperwork"
- Your laptops, if you have them.
- Be on time!
See you Friday.
The planning for your films is going great. I'm glad most now have their Proposals and scripts.
Here are some things you will need to complete for your prep:
1) Contact sheet (cast/crew - role - name - contact info)
2) Project schedule: Prep, Shoot, Post - when are you going to shoot, and when will you have the project completed by?
3) Legal framework docs: Entity, contracts with Creator, Writer, Producer (yourself), Director, Cast, Crew Deal Memo.
4) Script breakdown
5) Budget
This is what we will adress tomorrow. Please come to class on Friday with:
- Your production "Binder" - This will contain your relevent "production paperwork"
- Your laptops, if you have them.
- Be on time!
See you Friday.
The Baccoo Script - Second Draft
The Midget Man (temp title)
SCENE 1
EXT. NEIGHBOURHOOD STREET – NIGHT
The setting is a quiet residential area at night. Crickets can be heard chirping in the surrounding foliage. A young girl (Kim) dressed in a T-shirt and a pair of shorts runs down the middle of the dark neighbourhood street. She appears to be frantic and trying to get away from something. She eventually approaches a house, makes her way to the door, and starts hammering on it furiously.
KIM: Granny! Granny! Open the door!
The lights in the house come on and someone peeps out the window. One hears the sound of locks turning and the door opens to reveal a woman (in her early sixties?) who has a distinct look of concern on her face.
GRAN: Jesus, Lord! What in heaven name you doing out ‘pon the street this time uh night, Kim? What happen?
Kim is visibly shaken and unable to talk.
GRAN: What happen, child? Tell me, nuh?
SCENE 2
INT. GRAN’S LIVING ROOM – NIGHT
The two women go into the house and stop in the living room. Kim is clutching her grandmother’s clothes as she is half-dragged to a chair. Her body trembles as she tries to gain composure.
KIM: Something in the house, Gran!
GRAN: Something in the house? Something like what?
KIM: I... I... ain’ sure... but it is something living!
GRAN: Wait, child. Wait. Lemme get you something
hot to drink.
Gran goes to the kitchen to fix a cup of tea. Kim remains in the living room staring blankly at the wall. Gran returns with the drink and passes it to her.
GRAN: Now tell me what happen.
KIM: Gran, something was in my house! I was
watching TV...
(She is interrupted by her grandmother)
GRAN: Watching TV at this hour?!
SCENE 3
INT. KIM’S LIVING ROOM – NIGHT
The scene changes to a flashback of Kim’s apartment earlier that night. She is wearing the same clothes as she is now and watching the television set while relaxing on the sofa. The film showing on the TV is Van Helsing – a Hollywood movie with characters from the European horror genre. She narrates following events.
KIM: ...I was watching TV. Then I hear some sort of commotion. I thought it was something outside at first, but it was really coming from the kitchen. So a mind tell me to go and see what happen.
Kim gets up to adjust the volume on the TV.
KIM: ...I swear blind I hear something run through the passage behind me. I was frightened as hell... tell you nuh lie, Gran.
She stands in the archway to the adjacent kitchen and flicks on the light.
KIM: When I check the kitchen...
A shot of the kitchen shows it in a mess. There is a small pile of fruit on the counter in one corner of the room. Banana skins are all over the floor and counter tops. Of all the fruit, only the bananas seem to have been troubled.
KIM: It looked like somebody ransacked it... bananas half-eat... skins pelt ‘bout...
She makes her way across the kitchen to the counter and steps in something wet. She looks down to find a large puddle of milk on the floor along with the banana mess.
KIM: ... Milk throw ‘way on the ground.
Her gaze moves from the puddle to the refrigerator. It is then that she realises that the back door is unlocked and slightly ajar.
KIM: And the back door was open and swinging like somebody not too long went through it! And I know I that door was locked, Gran! I don’t use that door at all!
She quickly moves to the door and locks it. Puzzled and a little frightened, she looks around the room nervously. Her eyes light on the puddle she stepped in before. There is a trail of milk leading from the puddle to the far side of the room and around the corner into a dark hallway. The trail is smeared as though a small animal has walked through it. Kim picks up a nearby frying pan and cautiously follows the trail around the corner. The corridor is pitch black and she can’t see anything, but she can hear something moving about in the darkness. The noise stops and then recommences just as suddenly. Kim gets the sense that something is coming toward her. The corridor is suddenly filled with a sickening evil laugh that causes Kim to throw the pan in the direction of the laughter’s source and bolt out of the house screaming.
KIM: I pelt the pan at it. I ain’ know if I hit it or not. I was out the front door and I ain’ stop running ‘til I get here.
SCENE 4
INT. GRAN’S LIVINGROOM – NIGHT
The flashback ends and the scene returns to the grandmother’s house.
KIM: I never hear a laugh like that one yet. I feel sick just remembering it.
Gran sits quietly for a few seconds.
GRAN: Tell me something. Anybody would have reason to trouble you?
KIM: (Clearly puzzled)How yuh mean trouble?
GRAN: You ain’ interfere wid nobody or owe them money?
KIM: I ain’ do nuttin to nobody, Gran. Why would you ask that?
GRAN: ‘Cause what you just tell me sound like something I used to hear ‘bout when I was the same age as you now... and if it is what I think it is... it means somebody send it for you.
KIM: Send what? What you talking ‘bout, Gran?
GRAN: I think it might be the Baccoo.
KIM: The Ba-who? What is that now?
GRAN: Lord, what I hearing though? You mean to tell me that you never hear ‘bout the Baccoo? Children nowadays don’t know a thing that does go on ‘round them... just studying TV and Internet all the time...
(She is sharply interrupted by Kim)
KIM: I really ain’ ‘bout nuh sermon right now, Gran. You know what it is that in the house?
GRAN: The Baccoo is a short... short... little man. I call it a man, but it is really a spirit. I never see one and, as far as I know, I ain’ know nobody that got one... but nuff people would swear that they know somebody who know somebody that got one.
The body that own one does keep it in a bottle... it that short... and you gotta feed it milk and bananas by the pound. If you treat it good, it is supposed to do anything for you. I don’t know why anybody would want a Baccoo, but from the things I hear when I was growing up, it don’t be for nuttin nice at all.
I once hear ‘bout a woman in Speightstown who dead. The woman daughter was cleaning the house some time after she pass and come ‘cross a blanket under the bed. When she tried to take it out, the blanket move right back under the bed like it was living. When my girl check the blanket good she find a Baccoo staring right back at she. People say that one of them salesmen that does come ‘round on the weekends send it. The girl mother didn’t ‘bout paying the man and play she hiding whenever he pass, so he send the Baccoo to sort she out.
Anyhow, the lil bastard wouldn’t move now matter how hard the girl try to mek it. She even bring a priest who manage to put the Baccoo in a bag and give a fisherman fifty dollars to pelt it in the sea. But the foolish fisherman couldn’t mind he own business, and he open the bag to find out what it had in. Well, he find out exactly what it had in the hard way, ‘cause the Bacco fly out and tek off as he open it. And I don’t think the Baccoo was too pleased ‘bout being in the bag either, ‘cause by the time the fisherman reach back shore he find out that his house burn right down to the ground.
KIM: You barely joking, Gran! You serious? A little spirit man running ‘bout in my house?
GRAN: Child, there does be more truth in stories like that than you might think. It could only be a Baccoo. Why you doubt me? You feel a monkey break in and mess up the kitchen? Monkey could unlock doors and open fridge? From what you tell me, I believe it is the Baccoo. According to you, it only interfere with the bananas and the milk. What else love love milk and banana so? Take too much of them things and they would work yuh.
KIM: So you really think that one of these Baccoo things by me? Who would send one for me?
GRAN: I can’t help you with that one, girl. Only the Baccoo and whoever send it would know.
KIM: So what I supposed to do now. How to get it leave?
GRAN: You don’t worry ‘bout that little devil. We goin’ fix he. Stand here tonight. We goin’ sort that in the morning. You got me up so late after nearly giving me a heart attack... I can’t take no more excitement tonight.
The two walk out of the room and the light goes off.
There is a fade from black to the closing credits. These credits feature an animated sequence where Kim returns home and manages to catch the creature.
SCENE 1
EXT. NEIGHBOURHOOD STREET – NIGHT
The setting is a quiet residential area at night. Crickets can be heard chirping in the surrounding foliage. A young girl (Kim) dressed in a T-shirt and a pair of shorts runs down the middle of the dark neighbourhood street. She appears to be frantic and trying to get away from something. She eventually approaches a house, makes her way to the door, and starts hammering on it furiously.
KIM: Granny! Granny! Open the door!
The lights in the house come on and someone peeps out the window. One hears the sound of locks turning and the door opens to reveal a woman (in her early sixties?) who has a distinct look of concern on her face.
GRAN: Jesus, Lord! What in heaven name you doing out ‘pon the street this time uh night, Kim? What happen?
Kim is visibly shaken and unable to talk.
GRAN: What happen, child? Tell me, nuh?
SCENE 2
INT. GRAN’S LIVING ROOM – NIGHT
The two women go into the house and stop in the living room. Kim is clutching her grandmother’s clothes as she is half-dragged to a chair. Her body trembles as she tries to gain composure.
KIM: Something in the house, Gran!
GRAN: Something in the house? Something like what?
KIM: I... I... ain’ sure... but it is something living!
GRAN: Wait, child. Wait. Lemme get you something
hot to drink.
Gran goes to the kitchen to fix a cup of tea. Kim remains in the living room staring blankly at the wall. Gran returns with the drink and passes it to her.
GRAN: Now tell me what happen.
KIM: Gran, something was in my house! I was
watching TV...
(She is interrupted by her grandmother)
GRAN: Watching TV at this hour?!
SCENE 3
INT. KIM’S LIVING ROOM – NIGHT
The scene changes to a flashback of Kim’s apartment earlier that night. She is wearing the same clothes as she is now and watching the television set while relaxing on the sofa. The film showing on the TV is Van Helsing – a Hollywood movie with characters from the European horror genre. She narrates following events.
KIM: ...I was watching TV. Then I hear some sort of commotion. I thought it was something outside at first, but it was really coming from the kitchen. So a mind tell me to go and see what happen.
Kim gets up to adjust the volume on the TV.
KIM: ...I swear blind I hear something run through the passage behind me. I was frightened as hell... tell you nuh lie, Gran.
She stands in the archway to the adjacent kitchen and flicks on the light.
KIM: When I check the kitchen...
A shot of the kitchen shows it in a mess. There is a small pile of fruit on the counter in one corner of the room. Banana skins are all over the floor and counter tops. Of all the fruit, only the bananas seem to have been troubled.
KIM: It looked like somebody ransacked it... bananas half-eat... skins pelt ‘bout...
She makes her way across the kitchen to the counter and steps in something wet. She looks down to find a large puddle of milk on the floor along with the banana mess.
KIM: ... Milk throw ‘way on the ground.
Her gaze moves from the puddle to the refrigerator. It is then that she realises that the back door is unlocked and slightly ajar.
KIM: And the back door was open and swinging like somebody not too long went through it! And I know I that door was locked, Gran! I don’t use that door at all!
She quickly moves to the door and locks it. Puzzled and a little frightened, she looks around the room nervously. Her eyes light on the puddle she stepped in before. There is a trail of milk leading from the puddle to the far side of the room and around the corner into a dark hallway. The trail is smeared as though a small animal has walked through it. Kim picks up a nearby frying pan and cautiously follows the trail around the corner. The corridor is pitch black and she can’t see anything, but she can hear something moving about in the darkness. The noise stops and then recommences just as suddenly. Kim gets the sense that something is coming toward her. The corridor is suddenly filled with a sickening evil laugh that causes Kim to throw the pan in the direction of the laughter’s source and bolt out of the house screaming.
KIM: I pelt the pan at it. I ain’ know if I hit it or not. I was out the front door and I ain’ stop running ‘til I get here.
SCENE 4
INT. GRAN’S LIVINGROOM – NIGHT
The flashback ends and the scene returns to the grandmother’s house.
KIM: I never hear a laugh like that one yet. I feel sick just remembering it.
Gran sits quietly for a few seconds.
GRAN: Tell me something. Anybody would have reason to trouble you?
KIM: (Clearly puzzled)How yuh mean trouble?
GRAN: You ain’ interfere wid nobody or owe them money?
KIM: I ain’ do nuttin to nobody, Gran. Why would you ask that?
GRAN: ‘Cause what you just tell me sound like something I used to hear ‘bout when I was the same age as you now... and if it is what I think it is... it means somebody send it for you.
KIM: Send what? What you talking ‘bout, Gran?
GRAN: I think it might be the Baccoo.
KIM: The Ba-who? What is that now?
GRAN: Lord, what I hearing though? You mean to tell me that you never hear ‘bout the Baccoo? Children nowadays don’t know a thing that does go on ‘round them... just studying TV and Internet all the time...
(She is sharply interrupted by Kim)
KIM: I really ain’ ‘bout nuh sermon right now, Gran. You know what it is that in the house?
GRAN: The Baccoo is a short... short... little man. I call it a man, but it is really a spirit. I never see one and, as far as I know, I ain’ know nobody that got one... but nuff people would swear that they know somebody who know somebody that got one.
The body that own one does keep it in a bottle... it that short... and you gotta feed it milk and bananas by the pound. If you treat it good, it is supposed to do anything for you. I don’t know why anybody would want a Baccoo, but from the things I hear when I was growing up, it don’t be for nuttin nice at all.
I once hear ‘bout a woman in Speightstown who dead. The woman daughter was cleaning the house some time after she pass and come ‘cross a blanket under the bed. When she tried to take it out, the blanket move right back under the bed like it was living. When my girl check the blanket good she find a Baccoo staring right back at she. People say that one of them salesmen that does come ‘round on the weekends send it. The girl mother didn’t ‘bout paying the man and play she hiding whenever he pass, so he send the Baccoo to sort she out.
Anyhow, the lil bastard wouldn’t move now matter how hard the girl try to mek it. She even bring a priest who manage to put the Baccoo in a bag and give a fisherman fifty dollars to pelt it in the sea. But the foolish fisherman couldn’t mind he own business, and he open the bag to find out what it had in. Well, he find out exactly what it had in the hard way, ‘cause the Bacco fly out and tek off as he open it. And I don’t think the Baccoo was too pleased ‘bout being in the bag either, ‘cause by the time the fisherman reach back shore he find out that his house burn right down to the ground.
KIM: You barely joking, Gran! You serious? A little spirit man running ‘bout in my house?
GRAN: Child, there does be more truth in stories like that than you might think. It could only be a Baccoo. Why you doubt me? You feel a monkey break in and mess up the kitchen? Monkey could unlock doors and open fridge? From what you tell me, I believe it is the Baccoo. According to you, it only interfere with the bananas and the milk. What else love love milk and banana so? Take too much of them things and they would work yuh.
KIM: So you really think that one of these Baccoo things by me? Who would send one for me?
GRAN: I can’t help you with that one, girl. Only the Baccoo and whoever send it would know.
KIM: So what I supposed to do now. How to get it leave?
GRAN: You don’t worry ‘bout that little devil. We goin’ fix he. Stand here tonight. We goin’ sort that in the morning. You got me up so late after nearly giving me a heart attack... I can’t take no more excitement tonight.
The two walk out of the room and the light goes off.
There is a fade from black to the closing credits. These credits feature an animated sequence where Kim returns home and manages to catch the creature.
Rachel blogs . . .
Fianlly my concept was welcome with open arms by my groupies. We have a concrete idea of what we're doing now. Now it's just to get it off the ground. I've made some progress with getting together the cast, though we still haven't confirmed the director (working on it). But by tomorrow we should be on the same page as the other groups, cause things are looking hopeful. Cant wait to shoot.
Project Moving Foward
Finally!!!!! We are definately getting somewhere after scrapping the old idea. This new concept is something I can definately work with. Already, i'm comming up with camera angles, shots and imagery to use during production and we havent even finalized the script as yet. I'm quite happy that my group is in total unison in thinking concerning this new idea. Gee.....I wonder if it's a sign, maybe this poject we are working on was meant to be or maybe i'm just being dreamy eyed. Anyway, all that is left to do before moving on to the other steps is to break down the script alot further than we already have it; as anyone working on a project could imagine, we want it to be the best that it can be, so we are definately going to see how we could all further improve it. There's always room for improvement...even when it dosen't appear that way. Cheers!!!
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