Friends! Strangers! You've come to this post to see what shinies I have to show you and I really hope you accept my offering because otherwise, I'm going to have to sacrifice one of my characters. Don't test me. I will do it.
I little while ago, I adapted the first few chapters of my Watty Winner Natalie's Diary into a TV pilot script (cross all your fingers and toes that ONE DAY, maybe you'll be binge watching on Netflix). UNTIL THEN, I present the first appearances to major characters Jane, Rhys, Kate, Dean, and--drumroll--Natalie in the flesh. In chronological order of appearance.
Some things in this scripty tidbit are DIFFERENT from the book. There might be some surprises. All good surprises. For a chance to read the ENTIRE SCRIPT, enter my giveaway! I'm offering five people a copy of the whole pilot. There are a couple ways to get in on that, so make sure you look closely at the giveaways page.
Imagine dramatic music starting now.
INT. ANTIQUE STORE - EVENING
An antique store like any other. No one browses the armoires and hutches. The store is empty and eerily quiet.
NATALIE DRISCOLL, an unassuming, remarkably average seventeen-year-old, shelves books onto a shelf. There is one book she lingers on:
WATCH AND WAIT
An unassuming bird watching book.
Something moves in the corner of her eye. Natalie wheels around to find the source.
DEAN GARNETT, as close to a prince as a small town can have, studies her from the other side of an antique WINDOW FRAME on display. His is a warm, affectionate look.
DEAN
But soft, what light through yonder window breaks? It is the east, and Natalie is the sun.
NATALIE
Ay me.
DEAN
She speaks.
Dean comes out from behind the window, closing the distance between them.
NATALIE
What are you doing here?
DEAN
Still trying to change your mind.
Natalie falters.
NATALIE
I told you...
Dean pulls her away from the shelf by the hands.
DEAN
Natalie, will you just--come to the party with me. It'll be fine.
NATALIE
I can't.
DEAN
Because of my mother?
NATALIE
Rose by any other name would still look down her nose at me.
DEAN
I will--I will handle her.
NATALIE
Far too Shakespearean. Besides... I have plans. I can't just reschedule.
DEAN
What's so important?
Dean tries very hard to distract her. Natalie tries very hard to focus on her work.
NATALIE
You'll see soon enough.
DEAN
So mysterious.
NATALIE
You don't know the half of it.
DEAN
Natalie, you can tell me anything.
NATALIE
Don't you need to go?
Dean checks his watch. Yes, he does.
DEAN
Good night, good night! Parting is such sweet sorrow, that I shall say good night till it be morrow.
Natalie's smile is somber.
NATALIE
Goodbye, Dean.
Dean goes to kiss her goodbye. It's sweet and lingering. Dean leaves and Natalie is left behind, alone.
She runs her fingers over the book spines. She stops once again on WATCH AND WAIT.
EXT. TOPSHAM STREET/NATALIE'S HOUSE - EVENING
We follow Natalie as she walks down her street. She walks past her own house--old and colonial with a spiked gothic fence surrounding--to see her neighbor JANE MADARANG next door.
Jane, a seventeen-year-old Filipino girl, is changing the oil in a car in her driveway.
NATALIE
There aren't enough people around here willing to get their hands dirty.
JANE
I like it. Makes me feel like I have control over something. Can fix my own problems.
NATALIE
Afraid of feeling helpless?
Jane wipes oil off her hands on a towel.
JANE
Uh, I guess. I mean, who isn't?
Natalie doesn't answer the question.
NATALIE
There's something... I have something for you.
JANE
For me? What did I do?
NATALIE
It's only for someone willing to get their hands dirty.
Jane watches in confusion as Natalie produces a PACKAGE wrapped in brown paper from her backpack.
Natalie hands it off very carefully to Jane.
JANE
What is this for?
NATALIE
Because you're a good neighbor.
JANE
I'm really no better than--(anyone else).
NATALIE
Anyway, I should get home. Big night.
Natalie goes to leave.
JANE
Natalie?
NATALIE
Yes?
JANE
Is everything okay?
Natalie smiles, but it doesn't answer the question.
NATALIE
Why wouldn't it be?
Natalie turns to her house and walks away.
Jane considers the package in her hands. She shuts the hood of the car and heads inside her own house.
INT. AWARDS DINNER-PUNCH TABLE - NIGHT
KATE HAUMANN, a porcelain doll of a teenager, stands near the back of the room at the buffet table. She ignores the clapping and fills her cup from the punch bowl.
POLICE CHIEF ESPEN (O.S.)
Thank you, Rose, for that beautiful introduction. I'm not sure that I deserve all that.
KATE
(to herself)
You're not wrong.
TALIA CHAMBERLAIN and PARTY GOER stand in earshot.
PARTY GOER
It should be Conrad Haumann up there.
TALIA
Conrad Haumann was a disgrace. He should've been dishonorably discharge.
Kate is tuned right into the conversation. Her blood is boiling under the surface.
PARTY GOER
You think Espen's done a better job?
TALIA
Haumann came across a case he couldn't handle and quit. He left town in the middle of the night. Doesn't that speak for itself?
Kate walks by them. She intentionally lets her glass slip from her hand. Punch spills all over
Talia.
KATE
Oh my gosh! I'm so sorry! These heels--can barely walk, you know?
TALIA
(poorly masked annoyance)
It's fine. This dress only cost--Katie? Is that you, all grown up?
Kate hates this recognition.
KATE
Like I said, really sorry. Let me get you some napkins for that.
She turns away, no intention of grabbing napkins.
ANDREA (O.S.)
Kate.
ANDREA BROOKVALE, Kate's mother. In her forties, Andrea looks little like Kate. She's more bottled blonde and spray-tanned than her daughter.
KATE
What?
ANDREA
What was that?
KATE
An accident.
ANDREA
I didn't bring you here to embarrass me.
KATE
Then why did you bring me here? To listen to people still gossiping about dad ten years later?
ANDREA
Katherine.
KATE
I wish Officer Sullivan was here. He's still on dad's side.
ANDREA
Well, the whole police force can't be here, can they? Someone has to look after the town.
KATE
What difference would it make? Nothing ever happens here.
INT. MUSEUM. MAIN HALL - EVENING
We come in on an aged photograph of EARLY CULLFIELD.
RHYS (V.O.)
Cullfield was established in 1816 by a man named William Cull who claimed the townsite originally as... yes?
RHYS DAVENPORT, a looming, tense eighteen-year-old, guides a small group of uniformed
SCOUTS through the museum. He points out a SCOUT in front.
SCOUT
Was he the guy murdered out by Camp Mayville?
RHYS
No, actually. You're thinking of the seventh mayor of Cullfield, Fredrick Mayville, who was actually killed by Cull's great grandson...
A CHAPERONE gives Rhys the evil eye.
RHYS (CONT'D)
Who was definitely not murdered anywhere near camp and definitely does not haunt it. Anyone who says otherwise is just trying to keep you up all night.
SCOUT
Okay, but how'd he do it, though?
RHYS
Oh. He axed--you know, I've done enough talking. There's lots to see.
The group scatters around the museum. Rhys notices a something across the room.
CAM BLAKE, seventeen and twitchy, loiters by the entrance. Rhys walks over to him.
RHYS (CONT'D)
What are you doing here, Cam?
CAM
(ignoring the hostility)
We believed in Freddie's ghost, didn't we?
RHYS
We were ten. That's what ten-year-olds believe in. Ghosts.
CAM
Now you just believe in some guy from a hundred years ago axing his buddy to death so he could be in charge.
RHYS
Look, what do you want? You have to have a ticket to wander around in here.
Cam points out one of the wandering kids.
CAM
Have to take my brother home after.
RHYS
I can't believe your parents stuck him in after--
CAM
After what? You got pulled out 'cause your brother lit a tree on fire.
RHYS
I'm sorry, did you mistake me for a guy who still buys into your bullshit? I didn't mean to give you that impression.
BRAD PATRICK, Rhys' manager, swoops in to mediate. Patrick appears as a friendly face, a man happy to embody the past in full vintage garb.
PATRICK
Is there a problem?
RHYS
None. Cam's just going to wait right here for his brother.
Rhys walks away to a group of boys examining an UNDERGROUND RAILROAD display. Cam is left at the door.
RHYS (CONT'D)
So, during the civil war, people built secret tunnels under their houses in Cullfield to hide escaping slaves...
Rhys shoots Cam one last venomous look.
Imagine an awesome title sequence somewhere in there in a super cool font with some super spooky music! I'm thirsty for what you guys think! Tell me, ask me, comment me anything! KellyAnneBlount has given me this fabulous opportunity to party so I can connect and share this exciting never-before-seen stuff with you!
If you're intrigued, fascinated, and/or tantalized, head over to voraciously read Natalie's Diary in book form over on my profile! Or follow this link:
https://www.wattpad.com/story/65061168-natalie%27s-diary
GIVEAWAY INFORMATION: KeriHalfacre will giveaway a PDF copy of the Natalie's Diary pilot script to 5 lucky winners! My giveaway is open internationally.
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Enter the #WattpadBlockParty Giveaways for Your Chance to Win Amazon Gift Cards, Signed Paperbacks, E-Books, Shoutouts from Your Favorite Wattpad Authors, and Much More!
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