Post by Deleted on Sept 26, 2010 19:04:39 GMT -5
(OOC - when you come across blue, italicized text it's a clickable youtube link)
The scene opens up in the parking lot outside of a small television studio in Reading, Pennsylvania. It's a little after eleven at night and most of the vehicles in the parking lot have already left, with the exception of a dark blue 1993 Honda Civic and a plain white panel van with tinted windows. The front door of the studio opens as Hank Brown walks out into the parking lot following the most recent taping of his wrestling show. He pauses at the top of the steps to pull out a cigarette and a book of matches. He strikes the match and lights the cigarette before tossing the match off to the side and resuming his walk to his van. The camera shot switches to behind Hank as ominous music begins to play in the background. The sound of leaves rustling in the cool autumn breeze can be heard from the nearby woods. Hank pulls his cell phone from his pocket and turns his ringer volume back up and checks his voicemails as he approaches his van. The cameraman stops following Hank just as he puts the phone back in his pocket...opens the driver's side door...climbs inside...and starts it up. The "cameraperson stays our of sight as Hank flips on his headlights and drives out of the parking lot, completely untouched.
The cameraman then spins around and heads back toward the studio as the front door again opens, this time as WCF's other backstage interviewer, Chuck Jones, walks out along with Cameraman Rick.
C.J.: All right, so Saturday morning we catch our flight into Sacramento and head straight for the arena for our afternoon meeting with Hank and Seth. Then after that's over we check into the hotel and it's off to the clubs.
Cameraman Rick: Sounds like a plan, I'll see you tomorrow.
The two part ways, with Chuck heading out front to catch the last bus of the night and Rick heading to his car. The camera shot switches to behind Rick as the same ominous music from earlier begins to play again. As Rick draws closer to his car the "cameraman" seems to pick up speed as the gap between the two quickly closes. Rick sticks the key into the lock and pulls open the door...and the scene fades to black.
The scene slowly fades back in on a dimly lit room. Dark bricks make up the walls and the only furniture appear to be two metal folding chairs set up underneath the only source of light, a single unshaded light bulb hanging from the ceiling with a metal pull chain. A groan is heard and the camera is turned slightly downward to reveal Cameraman Rick lying on the cold cement floor, holding his head as he slowly begins to stir. The sound of a door opening is followed by the sound of footsteps on the concrete. A set of hands appear from the darkness and grab hold of Rick's ankles as he is dragged across the floor. The "cameraman" follows along slowly, keeping the camera focused on Rick's face as he slowly begins to come to and realize what is happening to him.
Cameraman Rick:...uhh..wha...what the hell? HEY WHAT'S GOING ON!
"Man": Shut up.
Cameraman Rick: You can't do this to me! LET ME GO NOW!
The man drops Rick's feet to the ground and roughly stomps his foot into Rick's stomach. The air is sucked out of him as he grasps hold of his midsection. The man picks Rick's feet back up and resumes dragging him down what appears to be a long hallway as the "cameraman" follows.
The camera shot switches to inside of what appears to be another room, this one larger than the last and slightly better lit. A set of double doors is opened and a large man, his identity hidden by the shadows, comes into the shot pulling Cameraman Rick by his legs. Another man, this one holding a handheld camera in front of him, enters the room, his face too hidden by the shadows. He shuts off his camera and sets it on a nearby table before grabbing hold of Rick's arms and helping lift him off of the ground. The new "cameraman" sweeps across the room and reveals the decor: a beat-up old couch, a couple of folding chairs and a coffee table that's seen better days. The two men dump Cameraman Rick on the couch and a cloud of dust floats up into the air, choking Rick. The two men then grab the chairs and pull them out of the camera's view, leaving Rick by himself. He tries to get up in an attempt to escape when a voice speaks up from the shadows, it's source unknown but the sound unmistakable.
Jay Price: I suggest you stay sitting, or the next blow to your head will hurt a hell of a lot more.
Cameraman Rick: You can't just go around beating people up and kidnapping them. There's laws against that type of shit.
Jay Price: Laws? Where were the laws of society all those times I was attacked from behind by Logan and his deviants with steel pipes? What makes this any different than Logan abducting a girl and holding her hostage whilst beating the crap out of her?
Cameraman Rick: I..I don't know.
Jay Price: Of course you don't know Rick, after all I wouldn't expect someone of your status in society to understand the methods in which Logan and myself operate. However while our strategies may seem similar, the truth of the matter is that they couldn't be farther apart. You see Logan, like Oblivion or Greenfever, commit random acts of violence simply for the shock and awe factor. They crave the attention of the hapless masses and go to the extremes to get it. I, however, have reasoning for everything that I do. Every act of violence or depravity serves a purpose, whether it's obvious to people like yourself or not.
Cameraman Rick: So what's the purpose of all this? To show that you can beat up a defenseless cameraman and then force him to sit down and talk with you?
Jay Price: I'm pretty sure that's been established already; Hank Brown can attest to that. As for the purpose of this little get-together, well I've been restricted from using Hank for interviews because of those past incidents and I felt it was only right to use someone else with such experience.
Cameraman Rick: And by experience you mean someone that you've beaten the shit out of during a promo?
Jay Price: Precisely. Now then..
The camera pans to left as Price walks into the shot, a slight grin on his face.
Jay Price:..how about we get started.
The camera slowly pans to the side as the sounds of fleshing hitting flesh repeatedly can be heard, drowning out the cries of pain coming from Rick. As the scene fades out a rather menacing laugh can be heard.
The scene opens up in the parking lot outside of a small television studio in Reading, Pennsylvania. It's a little after eleven at night and most of the vehicles in the parking lot have already left, with the exception of a dark blue 1993 Honda Civic and a plain white panel van with tinted windows. The front door of the studio opens as Hank Brown walks out into the parking lot following the most recent taping of his wrestling show. He pauses at the top of the steps to pull out a cigarette and a book of matches. He strikes the match and lights the cigarette before tossing the match off to the side and resuming his walk to his van. The camera shot switches to behind Hank as ominous music begins to play in the background. The sound of leaves rustling in the cool autumn breeze can be heard from the nearby woods. Hank pulls his cell phone from his pocket and turns his ringer volume back up and checks his voicemails as he approaches his van. The cameraman stops following Hank just as he puts the phone back in his pocket...opens the driver's side door...climbs inside...and starts it up. The "cameraperson stays our of sight as Hank flips on his headlights and drives out of the parking lot, completely untouched.
The cameraman then spins around and heads back toward the studio as the front door again opens, this time as WCF's other backstage interviewer, Chuck Jones, walks out along with Cameraman Rick.
C.J.: All right, so Saturday morning we catch our flight into Sacramento and head straight for the arena for our afternoon meeting with Hank and Seth. Then after that's over we check into the hotel and it's off to the clubs.
Cameraman Rick: Sounds like a plan, I'll see you tomorrow.
The two part ways, with Chuck heading out front to catch the last bus of the night and Rick heading to his car. The camera shot switches to behind Rick as the same ominous music from earlier begins to play again. As Rick draws closer to his car the "cameraman" seems to pick up speed as the gap between the two quickly closes. Rick sticks the key into the lock and pulls open the door...and the scene fades to black.
The scene slowly fades back in on a dimly lit room. Dark bricks make up the walls and the only furniture appear to be two metal folding chairs set up underneath the only source of light, a single unshaded light bulb hanging from the ceiling with a metal pull chain. A groan is heard and the camera is turned slightly downward to reveal Cameraman Rick lying on the cold cement floor, holding his head as he slowly begins to stir. The sound of a door opening is followed by the sound of footsteps on the concrete. A set of hands appear from the darkness and grab hold of Rick's ankles as he is dragged across the floor. The "cameraman" follows along slowly, keeping the camera focused on Rick's face as he slowly begins to come to and realize what is happening to him.
Cameraman Rick:...uhh..wha...what the hell? HEY WHAT'S GOING ON!
"Man": Shut up.
Cameraman Rick: You can't do this to me! LET ME GO NOW!
The man drops Rick's feet to the ground and roughly stomps his foot into Rick's stomach. The air is sucked out of him as he grasps hold of his midsection. The man picks Rick's feet back up and resumes dragging him down what appears to be a long hallway as the "cameraman" follows.
The camera shot switches to inside of what appears to be another room, this one larger than the last and slightly better lit. A set of double doors is opened and a large man, his identity hidden by the shadows, comes into the shot pulling Cameraman Rick by his legs. Another man, this one holding a handheld camera in front of him, enters the room, his face too hidden by the shadows. He shuts off his camera and sets it on a nearby table before grabbing hold of Rick's arms and helping lift him off of the ground. The new "cameraman" sweeps across the room and reveals the decor: a beat-up old couch, a couple of folding chairs and a coffee table that's seen better days. The two men dump Cameraman Rick on the couch and a cloud of dust floats up into the air, choking Rick. The two men then grab the chairs and pull them out of the camera's view, leaving Rick by himself. He tries to get up in an attempt to escape when a voice speaks up from the shadows, it's source unknown but the sound unmistakable.
Jay Price: I suggest you stay sitting, or the next blow to your head will hurt a hell of a lot more.
Cameraman Rick: You can't just go around beating people up and kidnapping them. There's laws against that type of shit.
Jay Price: Laws? Where were the laws of society all those times I was attacked from behind by Logan and his deviants with steel pipes? What makes this any different than Logan abducting a girl and holding her hostage whilst beating the crap out of her?
Cameraman Rick: I..I don't know.
Jay Price: Of course you don't know Rick, after all I wouldn't expect someone of your status in society to understand the methods in which Logan and myself operate. However while our strategies may seem similar, the truth of the matter is that they couldn't be farther apart. You see Logan, like Oblivion or Greenfever, commit random acts of violence simply for the shock and awe factor. They crave the attention of the hapless masses and go to the extremes to get it. I, however, have reasoning for everything that I do. Every act of violence or depravity serves a purpose, whether it's obvious to people like yourself or not.
Cameraman Rick: So what's the purpose of all this? To show that you can beat up a defenseless cameraman and then force him to sit down and talk with you?
Jay Price: I'm pretty sure that's been established already; Hank Brown can attest to that. As for the purpose of this little get-together, well I've been restricted from using Hank for interviews because of those past incidents and I felt it was only right to use someone else with such experience.
Cameraman Rick: And by experience you mean someone that you've beaten the shit out of during a promo?
Jay Price: Precisely. Now then..
The camera pans to left as Price walks into the shot, a slight grin on his face.
Jay Price:..how about we get started.
The camera slowly pans to the side as the sounds of fleshing hitting flesh repeatedly can be heard, drowning out the cries of pain coming from Rick. As the scene fades out a rather menacing laugh can be heard.
To Be Continued...
