The inevitable return to The Roxy has some baring here, but very little when it comes to the Go-go zombies. I wandered into the place at midday and was grateful for the silent stillness of the joint. David Bowie's Rebel Rebel echoed from the the distant jukebox. A caseworker with a patient a few tables over were the only company in the dining room. I sat in a leopard print diner chair and decided, much to my surprise, to order a cheeseburger rather than a pastrami sandwich. That's right, a burger rather than pastrami. I'm obsessed with pastrami sandwiches and everyone knows it.
In our last short screenplay exercise we investigated the anecdote. We used the anecdote as a springboard to story. We also analyzed scene. After all, when I got involved initially at Rocket House, it was because the director of Pastrami on Rye had the set built. We were in Belgium 1945. Limiting, perhaps, but what I learned was pretty vast: scene as a background or as a major driving force for story is a considerably good place to start.
But there are other springboards for story and there are other elements to story too. Characters, namely.
As we discussed in the short film, dialogue is key. Dialogue, especially in the case of Rocket House products was the primary importance. Where do characters fit in? Well, someone has to do the talking?
After the completion of Pastrami on Rye, there were the associated viewings and parties. It was a wonder to see this seven minute film in public, which I did a few times. I watched the world premier of the film in the basement of St. Mark's Coffeehouse in Denver with about six other people. I saw it again at DUFF (Denver Underground Film Festival) where it won best animated short. DUFF also hosted my student film, New Boots back in 1997. I saw Pastrami on Rye for the last time at the 2010 Vail Film Festival. It was delighted that the film got laughs when intended and I loved that at the moment of denouement the only sounds in the audience were hearts beating and careful breaths. The film traveled to New York where is showed at Tribeca, it traveled to Brazil and it traveled with the GI Joe Stop-motion Animation Film Festival all over North America. Great!
In the wake of the buzz, I returned to the studio. There was talk of subsequent films. Of course I wanted to be on new assignments and a part of new projects. But things weren't so cut and dry. There was no commission this time such as, “it's Belgium 1945, and there are two men in a foxhole.” There was no set, no fresh ideas, and unlimited options.
Seeing the set from Pastrami on Rye dismantled was sad too.
Carter the doll, made it out of the film relatively intact. He made it back but Bellamy wasn't so lucky. Bellamy stayed on the empty set looking just as bad as he had at the end of Pastrami on Rye. “What are you going to do with Bellamy?” I asked Gio.
“Dunno,” he replied. “We'll keep him, he might make a good zombie.”
“Cool,” I said.
Before we go further, I have to say that I know nothing about zombies. I'm not attracted to zombies. I've seen a few zombie movies, but the whole zombie culture alludes me. And furthermore, for a writer of dialogue, zombies don't provide much of a challenge.
“You're thinking about a zombie movie?” I asked. I was still holding Bellamy. How can Bellamy, beautiful comb women's hair Bellamy be a zombie? He did look pretty bad, admittedly.
“Dunno,” Gio said.
At any rate, I thought it only fair to reuse Bellamy, after all Gio had spent a lot of time making the poor devil look so bad.
Again, I left Gio perplexed and thinking about the next film. What I knew when I walked away: 1) the next film would be easier to execute than the first. 2) a close viewer of Pastrami on Rye will notice that Carter blinks his eyes twice. After the completion of this film, Rocket House began to experiment with 2D facial mapping software. This meant that with the use of the digital, the dolls (actors) would be able to talk. 3) the entire project would be new. New dolls, new set, new everything. And 4) I was determined to use Bellamy and if it were zombies, then so be it.
I looked at the old George Romero movies. I looked at Ed Wood's films. I went to friends who love zombies. I asked questions. One night, late, I was watching old film footage from the 1960s. I wanted to set something in that mood or at least that general flavor.
Then the Elvis beach movies came. They weren't so different from the zombie flicks. The color and the hues were about the same. The dialogue was similar. Even the sensibilities were similar.
Then I saw something that changed everything. I saw the white boots first. I saw the boots before I saw the boobs. Dancing girls. I love the idea of dancing girls almost as much as I love pastrami sandwiches. Mostly because the very words “go-go dancers” are almost as fun to say as “Pastrami on Rye.”
Go-go dancers. This was the next film. But what about Bellamy? Then it occurred to me: go-go zombies. Right? White booted go-go dancers turned zombies.
Still not enough.
Dialogue? Character? Zombies, go-go dancers and luaus?
I knew the idea of one go-go dancer would not work. Two go-go dancers, maybe, but three?
As I love to say, now it's time to pull out your notebooks and write.
We're staring with one character. Here's your dossier:
Name:
Sex:
Age:
Profession:
Desire:
Religion:
Now, take that and give her a monologue about “What we're doing tonight.
Next, add a second character. Use the same dossier. This character only has one thing in common with the first. This is how they know one another. Character number two will give a monologue about what they did last night. Now, give them a dialogue in which they talk about something that they both know. So, if the thing they share is occupation, then they can talk about that.
Next, add a third character following the same dossier. This character shares one thing in common with only one of the others. Now, this third character needs a monologue (internal or external) that is direct conflict with either tonight or last night's monologue.
So now, we have conflict. How does it get resolved and how will the characters work through it?
In the case of Low Level Mischief and the Rise of the Go-go Zombies, I chose a mean girl, a peace maker and a suicidal pity party girl. I made them all self-absorbed, and I made them focused on the party. As the story progresses, I made the meeker-suicidal one become the leader when they turn zombie.
REV 8/23/09
Low Level Mischief and the Rise of the Go-Go Zombies
Int. Bedroom. Night.
Dee is sitting at the window (which is open) and laughing. Enter Ruth.
Ruth
Dee-li-la.
Dee
Don't call me that.
Ruth
It's your name.
Dee
You know better. (Beat) Don't call me that.
Ruth
What are you doing? I thought you were getting ready for the party.
Dee
Oh, shit, you gotta see this.
Ruth closes in and sits at the window and looks out it with Dee.
Int. Bedroom. Med-shot Women's backs. Night.
Ruth
He looks pretty pissed, what are you doing to him?
Dee
It started with an ice cube. I've never heard anyone growl like that.
Ext. House. Long Shot. Night.
The girls are in a second story window and there is a “Zombie” on the sidewalk making a scene, gyrating and jumping, growling. Dee continues to drop stuff on him, further pissing him off.
Ruth
Wow.
Dee
I know, isn't it funny?
Ruth
Kind of, well, no. (Beat) It's kinda fucked up.
Dee
Oh! it's just a little low level mischief, and besides, I think he likes it.
Int. Bedroom. Night.
Ruth comes back in from the window quickly and pulls Dee with her.
Ruth
Come on, it's time to get going. Are you ready?
Dee
Ready enough, what about Rebeca?
Ruth
Oh, shit, Rebeca.
Int. House. Night.
Ruth moves down some stairs to Rebeca's door. Knocks.
Int. House—hallway—Rebeca's door. Night.
Rebeca (Voice-over)
Yeah?
Ruth
Are you ready yet?
Rebeca (Voice-over)
Yeah, in a minute.
Ruth hesitates at the door for a second, she leans in closer to the door, trying to hear something. Afterwards, she leaves.
Int. Rebeca's room. Night
Rebeca sits on the bed, naked, or close to naked and she holds a gun. She moves the gun to her head then moves it back to her lap.
Rebeca
Stupid bitches. Always gotta be in the middle of it. Telling people I'm just another Becky. (Beat) Oh, (Weeping) what's the use?
Ext. House. Night
The Zombie(we see only his backside) is still lingering at the window, but he is a little less upset now. He walks up to the door and tries the knob. When it opens, he goes in.
Int. Rebeca's door. Night.
The Zombie stands at Rebeca's door, still we see only his backside. He knocks, but somehow not intentionally at the door.
Rebeca (Voice-over)
Give me a fuckin' minute, I'm almost ready to go to your god damned party.
Int. Rebeca's door. Night.
The Zombie puts his hand on the knob and opens the door. *POV* Over the man's shoulder we see the woman on the bed. She stands quickly and looks scared. The Zombie walks in and closes the door.
Int. Hallway—Rebeca's room. Night.
Rebeca holds the gun out at the man, they have rotated in the room. Rebeca is now by the door, and the Zombie is by the window.
Rebeca
What do you want.
Man
You.. (growling) you...
Rebeca
You can't stop me, not you, not anyone.
The Zombie rushes her. Rebeca shoots. He moves back a little and growls. We see the man's face now, he's beat up, zombied and now freshly shot. As he nears her, she lifts the gun again.
Rebeca
Do it again and I'll shoot again.
Int. Dee's room. Night
Ruth
What the hell was that?
Dee
A truck back fired.
Ruth
It sounded like it came from downstairs.
Dee
Don't worry about it girl, trucks back fire all the time.
Int. Rebeca's room. Night.
The Zombie is clearly not right. Rebeca hasn't figured this out yet and still thinks it's a suicide intervention. However, she still has the gun on him and his arms are outstretched.
Rebeca
Who sent you? How did you know?
Zombie
Brains...(Grunts) Brains....
Rebeca
Bryan?
Zombie
Brains (Grunts).
He rushes her, she shoots him again. He manages to swat the gun away and they begin to struggle. In the fight, he manages to bite her. She gets him toward the window and pushes him out. Once he's out, she closes the window and dives for the gun.
Int. Dee's room. Night.
Dee and Ruth continue to get ready.
Ruth
You think that one was a back fire too?
Dee
Shouldn't I? The trucks back fire all the time.
Ruth
It seemed kinda sharp for a truck's back fire.
Dee
Okay, maybe it was a motorcycle.
Ruth
No, you silly bitch, I don't think it was a moving vehicle's exhaust or otherwise.
Dee
Okay (facetiously). You silly bitch, then what was it? A gun or what?
Ruth
Maybe.
Dee
Come off it. It was fireworks then. The neighbor boys play with them.
Ruth
Fireworks? Now, if (Beat). (The third shot goes off) What the hell? You still think it's fireworks?
Dee
Listen...
Ruth
What? (Beat) What am I listening for?
Dee
It's quiet.
Ruth
What's this?
Dee
Hey, I'm just humoring you. I can accept it was a back fire or fireworks.
Ruth
So what?
Dee
Well, listen, if it was a truck, we'd hear it. If it was fireworks, we'd hear more, right?
Dee crosses the room and looks out the window. *POV* From the window we see out.
Ext. Sidewalk. Night.
*POV* The Zombie is laying face down.
Dee
Uh, shit, he's still out there, look.
Ruth
You must have killed him.
Dee
Don't be ridiculous, ice cubes can't kill him.
Ruth
Well, he certainly doesn't seem to be moving.
Dee
Well, come on, we'll settle this.
Ext. House. Night.
The girls open the front door, and then—no man.
Dee
See, I told you, there is no way that ice cubes can kill a man.
Ruth
I-I suppose not.
Dee
Now, are we going to this luau, or what?
Ruth
What? What?
Dee
The party Ruth, are we going to it, the party?
Ruth walks into the house and leaves Dee outside. Dee looks back and forth, up and down the sidewalk.
Dee
Yeah, that's right. Can't mess with that, can't touch this.
Dee then starts doing the MC Hammer.
Dee
Can't touch this.
Ruth (Voice-over)
(Screams) Dee, we got trouble.
Int. Rebeca's room. Night.
The two girls stand over the dead girl's body. Rebeca is on the floor, dead, still holds the gun. Stylistically here, we should have the POV from above, and if any way possible, a sweeping POV from the door around the girls then up above.
Ruth
I told you it wasn't fireworks.
Dee
No, you didn't.
Ruth
Yes, I did.
Dee
You said it wasn't a truck back firing.
Ruth
Shit, what the—what do we do?
Dee
We? We? What do we do?
Ruth
Yeah, what are we going to do?
Dee
We're going to the luau.
Ruth
What?
Dee
Well, Rebeca must not have wanted to go.
Ruth
We should call the police.
Dee
Why? She's already dead.
Ruth
What?
Dee
She's dead, isn't she? I mean, she looks dead. (Beat) Anyway, who cares, let's go.
Ruth
What's the matter with you?
Dee
The party, the longer we stand here, the longer the party goes on without us.
Ruth
We can't just leave her here.
Dee
Why not?
Ruth
Because she's our friend.
Dee
Listen, Ruth, she's not going anywhere. She's dead, she won't move, I promise.
Ruth
Well, can't we get in trouble for this, I mean for not reporting anything?
Dee
I doubt it, we didn't kill her, right?
Ruth
I don't know.
Dee
Have you ever been involved with the cops?
Ruth
No. But—
Dee
But nothing! The trouble is the cops take up too much time.
Ruth
Really?
Dee
Yeah, they ask too many questions, hell, they ask the same question fifty times. They'll waste the whole night on this.
Ruth
Really?
Dee
Yeah, I think it's just a symptom, you know of a government job.
Ruth
You lost me.
Dee
The girl's dead. Right?
Ruth
Yeah.
Dee
So, why ruin a good thing?
Ruth
What? (Beat) (Resigned) I guess you're right.
Dee
Damn straight. Besides, three's a crowd.
The girls begin to leave, Dee first then Ruth. *POV* from the door and into the room between the legs of the living girls the dead girl, Rebeca, leans up to sit.
Int. Bedroom. Night.
Rebeca
(Grunting and groaning) (Sitting up) Fuck!
Ruth tugs at Dee and they both come running into the room.
Rebeca
Fuck! (Beat) What happened?
Ruth
We were going to ask you the same question.
Dee
Becky, you tried to kill yourself, we thought you were dead.
Rebeca
Oh. Yeah.
Ruth
What? What?
Dee
What's with you Ruthie, What? What?
Ruth
Shut up.
Rebeca raises the gun, looks at it, and sets it down. She still sits there and looks down.
Rebeca
Fuck, I can't seem to do anything right.
Dee
It's okay sweetie, it's over now. (Beat) Do want to get ready for the luau?
Ruth
The party, how fucked up are you?
Rebeca
Oh, yeah, the party. (Beat) The one you said would be filled with nothing but “Chads” and “Beckys”?
Dee
(Nervous, looks around) Oh, yeah, right, I guess so. It was just a joke honey, you know an expression.
Rebeca
Not a very funny one.
Ruth
Yeah Dee, not a very funny one.
Dee
Well, I'm sorry, are we going or what?
Ruth
No.
Rebeca
Why no? I'm in.
Dee
Oh, Good! (Beat) We have to get you cleaned up. Oh, and dressed.
Black out
Ext. Medium shot car. Night.
The girls drive to the party. Dee drives, Rebeca, who looks exactly the same if not a little worse is in the passenger seat. Ruth is in the back with her head in the middle.
Ruth
Do you really think this is a good idea?
Dee and Rebeca
Shut up, Ruth.
Ruth
I mean, she doesn't look so good. (Beat) No offense, sweetie, you're usually so pretty.
Rebeca
(Groans) I'm hungry.
Dee
Yeah? Drive Thru? Want a burger or something?
Rebeca
No. (Grunts) Not a burger.
Ruth
A taco?
Rebeca
No. (Grunts) Not a taco.
Ruth
No?
Rebeca
No.
Dee
Some fried chicken?
Rebeca
(Angrily groans) No chicken.
Ruth
Perhaps there'll be something to munch on at the party.
Dee
Yeah, chips and dip.
Rebeca (whispering)
Or Chad and Becky.
Dee
(Patronizing) What dear? (Beat) Well. We're here.
Rebeca
Already?
Dee
Yeah, this is the place. Are you ready?
Rebeca
I'm so hungry.
Ruth
They'll have snacks in there.
Rebeca
I have snacks in here.
Black out
Int. Party. Night.
*POV* a scan of the party might be fun. This party can be an outside party too. The revelers are going what they do, making merriment and drinking, etc. To make this a truly amazing Go-Go party, the music should have that 1960s twang or surf sound. The music is important: it can be simple and homemade.
Ext. House/car. Night
Rebeca gets out of the car. She stumbles exposing her go-go boots and pretty sexy outfit, except for the gore, she's pretty. She straightens out her shirt. As this happens, Dee gets out next, then Ruth both from the opposite side of the car.
Dee
I'm hungry.
Ruth
Me too.
Rebeca
(Confident now, she has risen to the top of the little groups pecking order) Well, they'll have some snacks inside.
The three walk in a triangle, Dee with Ruth behind and Rebeca's in the lead.
Int. Party. Night.
The hostess of the party opens the door. POV suggestion: the girls outside.
Hostess
Welcome ladies, please come in.
The three say nothing but enter the house.
This is the “bridge” of the film. There are endless possibilities of the party, shots of party goers. Just keep the flavor of the 1960s, go-go theme.
To make the scene sexy, at last a little, move the POV to each of the girls: Dee, Ruth and Rebeca. Let each take a guy, seduces him, then eats his brain.
Between each brain eating, the girls love to dance, after all this is a luau go-go party.
Ext. Party house. Night.
Our original zombie from the beginning arrives. He's been a zombie much longer than the girls so he has lost all semblance of being a human being and rather than knocking on the door he walks around to the windows.
Zombie
Brains. (Groans) Brains.
In the window he sees a stage, a coffee table perhaps, and see the girls, all three, doing a go-go routine.
Zombie
Ah! Noooooooo. (Grumbles and groans)
The Zombie breaks through the windows and inside finds nothing but eaten and dismembered bodies.
He hunts through and eventually shrugs his shoulders and begins dancing with the girls.
** Closing Credits **
Outside the house, a swamp, maybe, and alligators coming. Each shot of the gators come closer to the luau. The tag at the end:
Coming soon:
Go-Go Zombies
vs
Atomic fall-out gators
As far as character goes, I started with Bellamy and went to 3 girls. Yes, I objectified girls which is something I normally would not do. But I also would not choose to write zombie flicks.
The actual soundtrack of Go-go Zombies was interesting too. Gio decided that we would record the actors one at a time which kind of limited the collaborative process. The sound quality improved over the first effort, and we had more one on one with each actor. I even got to feed the actors lines, which was fun.
Much of the film happens in post-production anyway. So why not record one actor at a time?
At the time of Go-go Zombies, everyone at Rocket House Studio was streamlining, innovating and pioneering the processes. Improvements in sound, and set building were impressive to see. Each trip to the studio created a feeling of “ah-ah.” The go-gos came from Japan and their bodies were perfect for the part. Yes, they had great girl figures complete with bums and boobs. However, from an animator's point of view, these dolls had removable heads and wonderfully, nearly human joint articulation. Joint articulation is a big deal with animators especially where dancers are concerned.
Last notes and last exercises:
Develop your characters. Give them desires and baggage, a task to complete, a task thwarted, or a quest. Give them conflicts—one vs the other or the supernatural or themselves. This is how characters express their humanness, this is what makes them real or interesting. At this stage, start drafting some dialogue. Remember that we realized our dialogue needs to be real. Avoid soliloquy or long monologues.
We're going to mold these exercises into a screenplay with a beginning, a middle and an end. Start in the middle of conflict.
As always, good luck and happy writing.
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