The Antagonist

A heroic cowboy faces off with an evil sheriff for the love of a woman.

Directed by Laura Eriksen

Written by Shawna James

Director / Writer's Commentary

"Everything Happens in Black and White" started with the idea of writing a horror film that questioned reality. As the writing process continued I realized that I couldn't just write mindless violence. There had to be motivation behind the violence for people to connect with what was happening. Once I made that connection, the script took on the structure of switching back and forth between the violence, and the story leading up to the violence. From the beginning I wanted the film to be in black and white in order to produce a feeling of stark disconnect. I believed this would add creepy suspense to the story. Describing how "everything happens in black and white" as the first line of the script turned out to be a perfect title. Not only would the film be seen in black and white, but the essential story relates to how people often make snap black and white decisions in life. Is this person good or evil? Or, is that action justified or not? Ultimately, the story questions whether we should see everything in black and white terms.

Everything Happens in Black and White

Fear and pain set the tone as a ruthless intruder terrorizes a woman during a home invasion.

Written and Directed by Shawna James

Thoughts, Anyone?

So what do you think? This installment of The Purple of Life is over. Should it continue, or is it time for a new story?

The Purple of Life, scene 33

EXT. SCARY STREET - NIGHT

Andy slowly drives along a street known for criminal activity. He passes a drug dealer and slows down near a group of PROSTITUTES.

He rolls his window down. A BLOND PROSTITUTE approaches.

BLOND PROSTITUTE

You looking for a date?

ANDY

Yes, but not you.

Andy points at a prostitute with dark hair and eyes. She’s reminiscent of Diana, but a little plumper and shorter.

ANDY (CONT'D)

Her.

The blond prostitute gives way to Andy’s choice. The prostitute gets in his car.

Andy drives around the corner.

DARK HAIRED PROSTITUTE

I’m -

Andy supplies the name.

ANDY

Diana.

DARK HAIRED PROSTITUTE

Right, Diana. What do you want, honey?

Andy unzips his pants and holds up some money. The prostitute takes the money and bends over to give Andy a blow-job.

Andy leans back. He watches the nearby fire for a minute then closes his eyes while the prostitute does her job.

ANDY

(whispering)

I love you.

FADE TO BLACK

The Purple of Life, scene 32

INT. CHURCH - LATER

Five DEACONS, one of whom is Steve, Andy’s neighbor, sit in a circle in the church. When Andy walks in to join them, they immediately halt their discussion. They all stare at Andy.

ANDY

You guys look serious. You must be talking about the fires. We may have to come up with an alternative location for Sunday’s services and Mike and Isa’s wedding.

STEVE

We’ll take care of that.

ANDY

I was thinking about asking the Methodist Church down on Lincoln to loan us out some space. They owe us from when they needed worship space during their construction.

STEVE

Andy, you’re going to need to step down as Pastor of this Parish. Immediately.

ANDY

What? Why?

STEVE

I think you know why.

DEACON #2

You need some help. And probably a lawyer.

STEVE

Diana called.

ANDY

Guys, I’m in love. I was just trying to get a date.

STEVE

Andy, leave it. And us. We can’t have you as a spiritual leader.

Andy looks around at the Deacon’s.

ANDY

You can’t just decide this. What about the congregation? What about Mike and Isa’s wedding?

STEVE

We’re acting on behalf of the congregation. You’ll have to work out wedding plans on your own, but my advice would be to recommend a substitute. Go with God.

Andy realizes the Deacon’s won’t back down.

ANDY

Okay. I guess that’s it, then.

STEVE

Get some help, Andy, and work on returning to the spiritual path.

Dejected and rejected, Andy leaves.

The Purple of Life, scene 31

EXT. COFFEE SHOP - AFTERNOON

Andy, waits with two coffees. He sits at a table on the patio, just as Diana always does.

Diana arrives. Andy stands and motions her over.

ANDY

I took the privilege of ordering you some.

DIANA

(distracted)

Thanks.

They sit.

ANDY

You really didn’t sound good over the phone.

DIANA

I’m kind of going through something right now.

ANDY

You’re one of my flock. I care for you, Diana. Let me help.

Diana cries.

DIANA

I’m so embarrassed, ashamed, mad, scared...confused.

ANDY

Why?

Diana pulls out the envelope from her purse.

DIANA

These were left at my front door this morning.

Andy takes the envelope, opens it and looks at the pictures.

DIANA (CONT'D)

They’re disturbing, yet I can’t keep from carrying them around with me. It’s like...at least if I have them in my possession I have some control over the situation.

ANDY

Any idea why they were sent? Was there a note?

DIANA

(whispering)

Yes.

ANDY

What?

DIANA

It said, "you will love me."

ANDY

You don’t have to be scared, Diana. I can help you.

DIANA

How? The police said there was nothing they could do unless it happened again and some evidence was left.

ANDY

(quietly)

You could love me.

DIANA

What?

Diana focuses on Andy.

ANDY

Diana, I’m so happy you agreed to meet me.

DIANA

What?

ANDY

You are fantastic.

DIANA

(disbelief)

No, no, no...

ANDY

I realized I needed to woo you and show you how much I cared.

DIANA

You’re sick.

ANDY

I am persistent.

DIANA

You’re so sick. Stay away from me.

Diana gets up and moves back. Andy stands and reaches out towards her.

ANDY

Diana, wait, you don’t understand.

DIANA

I don’t need to. You stay away from me.

ANDY

I know we’re meant to be together. I’ve watched you for years now. You’re my soul mate.

DIANA

I never want to see you again.

ANDY

Please -

DIANA

Stop! Just stop.

(cold)

You’re finished.

Diana quickly leaves. Andy watches her go, devastated.