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HARRY & THE HENDERSONS – 80s slapstick fun with Bigfoot… like FOX & DOG

FOX & DOG is an R-Rated goofball sci-fi horror series – or, splatstick comedy. Fox is a reporter for THE RAISED EYEBROW, a tabloid-type newspaper that covers myths like BIGFOOT, GHOSTS, and ALIENS. Every now and then, the stories are true. It’s up to FOX to find out.

MILES TELLER portrays the main character in this experimental PICTUREplay format… the idea is to make the reading of a screenplay more entertaining and easier to imagine…

THIS EPISODE… Fox meets a MAGIC DOG… They partner up for his next assignment – a small Canadian town has been invaded by BODY SNATCHER-like aliens…


There are 6 episodes of FOX & DOG completed thus far. 

***The formatting has been altered to fit on the Interweb. The accompanying images are only for visual aids. I am no casting director. This is a hobby. I’m just trying to spice up the text as you scroll. Enjoy.***

I will start with the PILOT EPISODE (below). Keep your eyes peeled for more in the future.




Happy Holidays, fellow nerds. Here is a Christmas movie I wrote with an 80s vibe for the whole family. 

To put it briefly… An animator converts old cartoons into 3D. A Holiday wish & some weird science helps his cartoon character magically enter the real (3D) world for Christmas.

There’s a lot of slapstick humour, but also a lot of emotion.

I think adults and children alike will have fun with this Holiday story.

I hope you enjoy it…

***This short film is submitted here in the experimental PICTUREplay format…It is written as a one hour holiday special for television…Images may not match perfectly. The aim here is to make for more entertaining scrolling.***

H O L Y   3 D   C H R I S T M A S !

copyright, all rights reserved 12/2014 – thelastfountain(at)gmail com



Animated snowflakes fall from the bright blue sky. Sunrays reach for the winter wonderland below.

A 4 foot tall squirrel named ACORN builds a snowman.

ACORN… looks something like this

He wears a green hooded sweatshirt. A big black robber’s eye-mask makes him seem at least a little deviant.

Acorn prepares a boulder for the snowman’s head, rolling it across a long field of snow.

Smoke billows from a cabin’s chimney.

A picnic table is occupied by a large 2-foot (actual) acorn resting on its surface.

Acorn adds the head onto the snowman.

He places two lumps of coal for eyes.

He adjusts a carrot into the snowman’s face.

The squirrel admires his snowman. He smiles large.

    ACORN (sings) Merry Christmas to me.

A large shadow slowly grows behind Acorn, reaching across the snowman.

    ACORN (cont.) Merry Christmas to m–

A thunderous flapping sound draws the squirrel’s attention to the ominous shadow.

Acorn slowly cranks his neck.

A large 5 foot tall CROW swoops into the valley. His wingspan must be nearly 20 feet wide.

There’s a loud WHOOSH each time the enormous wings flap.

    ACORN Oh, shhhh–ugar balls.

The crow aims his talons for that large appetizing acorn.

It lands on the picnic table. It’s claws embedding in the wooden surface.

    ACORN Heh, that’s mine. Leave it alone.

A mischevious smile grows across the crow’s long beak, as he reaches down to the ground, and prepares a large snowball.

    ACORN Don’t even, you big nasty mess of feath–

SPLAT! Acorn is hit, square in the face by a messy snowball.

The slush slides down his shocked face.

    ACORN You?

The crow points its wing to itself.

    CROW Me?

ACORN… in a variety of poses

    ACORN Yeah. You… (hesitates) Y-You… farp.

    CROW Farp?

    ACORN Yeah. Farp: a lethal combination of burp and fart. You do both those at the same time and you die.

    CROW What?

    ACORN You die. That’s what lethal means, beak for brains.

    CROW No. You can’t die from… THAT? Um, can you?

    ACORN It’s true. Go on. Look it up in your Funk-n-Wagnel’s.

    CROW Whoah. Did you just say the F-word?

    ACORN Funk AND Wagnel’s. It’s a dictionary. Ever heard of those?

    CROW What do I care? I just want that nut?

Acorn, accordantly, pulls out a dictionary from some hidden compartment within his hoody.

He whips the thick book at the crow.

It hits the bird in his face and falls to the picnic table.

    CROW I can’t believe you just did that?

    ACORN Believe it. You hit me with snow, I hit you with knowledge… Farp.

The crow whips through the dictionary pages. He licks his feathered finger and flips some more. He finds it.

    CROW Me? A farp: a sharp expellation of gas? Through both exits?

    ACORN Exact-o-mundo.

    CROW But that’s nothing like me?

    ACORN Isn’t it though?

The squirrel has successfully confused the dim-witted crow. The large bird searches for a retort.

    ACORN How dare you fire upon an unarmed squirrel. But what should I expect from a big dumb thievin’ bird.

    CROW Okay. I know this much. Them’s fightin words.

The crow whips the book back at the squirrel.

WHIFF. Acorn ducks it.

    CROW Nice Acorn you got here. Mind if I eat it, little squirrel?

    ACORN Acorn? That’s my name, don’t wear it out.

The crow’s proverbial jaw drops. He cowers.

    CROW (aside) No. That name?

    ACORN So, Big Bird, if you want THAT acorn, you’ll have to go through me first.

Acorn tosses a snowball in his hand.

    CROW Acorn? I’ve heard of you. It can’t be? No.

    ACORN Oh it BE. It SO be me.

Acorn whips the snowball. Crow dodges, taking to the air.

He flies over to the cabin and lands on its roof.

The squirrel gives chase, heading for the cabin.

He throws another snowball at the crow above, but it falls short – out of his range.

The crow laughs at the little squirrel down below.

    CROW Nice arm, girly man. You’re nothing like the stories. Pathetic. Let me show you how it’s done.

The crow makes a big snowball and launches it.

Acorn runs for protection behind the snowman.

The ground is pelted by multiple snowballs, as the squirrel darts for cover.

It’s like a twisted holiday version of NAM. The snow explodes around Acorn like its shrapnel from a grenade.

The crow laughs into the cold air. Smoke billows behind his large frame. Menacing.

Acorn hides behind his cover. He breathes heavily.

The crow flies off the roof and swoops back in for the acorn on the picnic table.

    CROW You’re not so tough after all. Playing hide-n-go-seek behind a snowman. Coward.

He lands on the table and grabs the large acorn.

The crow looks over to the snowman. Amazement rushes across his face – his beak opens wide. Stunned.

Acorn grabs the large head off of the snowman, raises it high over his head.

    ACORN You were saying?

The squirrel WHIPS the large boulder at the crow.

BAM! The giant snowball hits the target.

The crow’s beak sticks out of the snowman’s head atop its own head.

The acorn falls to the ground, sinking into the snow.


A phone blares in the distance.

The squirrel looks to the sky.

The ringing echoes, sounding very far away.

The crow bobs its “snow-head” – saying something muffled as it looks for the ringing sound.


Acorn searches for the source of this strange sound, watching snowflakes cascade on this cartoon wonderland.

Again, and again. RING RING.

The snowflakes slowly loose their animated aesthetic…

EXT. TOWNHOUSE – sunset (live action)

…as snowflakes fall on a small subdivision of plug and play houses.

It looks more like a Lego-set than a community.


Perfect flakes float across Christmas lights. Red snowflake. Green snowflake.

Children build snowmen and forts on their front lawns.

A father and son team shovel their laneway.

INT. TOWNHOUSE – continuous

A frosted window looks out to the community at play.


ELLIOT… (*as played here by JAY BARUCHEL)

Seated at an artist’s draft table is a scruffy haired ELLIOT (early 30s).

He draws with a professional graphite pencil on thick porous paper – it’s the opening scene of Acorn and Crow in STORYBOARD format.

He’s in a trance. The persistent RINGING goes ignored.

Then, the graphite tip of his pencil SNAPS.

Elliot looks to the phone, his face scrunched in anger. Annoyed he’s been interrupted.

He swipes at his phone and taps the SPEAKER button.


    ELLIOT Sir?

    STEINWEIN (OS) Elliot–

    ELLIOT I know what you’re thinkin, Mr. Steinwein.

    STEINWEIN (OS) Do you? And?

    ELLIOT It’s the holidays, sir.

    STEINWEIN (OS) And with your extra free time I thought I could toss you this project.

    ELLIOT But, sir?



Neo-Alchemists on board an orbiting spaceship unleash Hell in  DEMON STAR 31. The Captain, Sojourner, must battle demonic creatures to save her crew and return home to her family.

This SHORT FILM screenplay was submitted as part of a one week challenge for SIMPLY SCRIPTS.

The challenge parameters for the 10 page story was: a portal to an another world from sun up to sun down on Halloween. And there was only one speaking character allowed. This short film was the result.

a variety of demons are promised… now with 37% more flavour


The following content is recommended for adult audiences. This would be R-Rated.

The screenplay formatting has been altered for a streamlined browser experience.

DEMON STAR is another experiment in PICTUREplay format. There will be the occasional image (appropriate for scene) that may not perfectly demonstrate the content.

The demonic designs were hard to find especially. The idea is to be freaked out by the imagery. I hope it helps. Hopefully, the read is more “fun”.

There will also be musical score videos to listen to while you scroll.

I hope you enjoy this. Turn out the lights.

(this spooky music should set the mood – DARIO ARGENTO’s Proffondo Rosso.)

D E M O N . S T A R . 3 1

copyright, 2014

all rights reserved



“O God! I could be bounded in a nutshell, and count myself

King of infinite space, were it not that I have bad dreams.”




The brilliant light of dying stars casts into the bleak void of outer space.

A long moment… Then the stars ripple.

The vast blanket of liquid crimson reflects celestial patterns. It shimmers, disturbed. A morbid reflection of the night sky.

some camera trickery… what looked like stars was a reflection… as a woman emerges…

Slowly, a human form emerges – a nude woman, thickly coated with dripping blood.

Twinkling stars reflect against the sheen of death.

The woman slowly smiles an ominous grin.

she accepts the sheen of death


SOJOURNER (30s, Black, long hair, athletic) snaps awake, exiting this portal to another world.

Her bedroom looks like it belongs in a submersible. Tight, cramped, and cold – littered with mechanical equipment.

SOJOURNER (*as portrayed here by KERRY WASHINGTON*)

She wipes sweat from her forehead, and gathers her breath.


Sojourner’s egg-brown shuttle drifts through the stars.


Delicate fingers trace along cracks in a mirror.

Sojourner’s sad reflection stares back, fragmented across the shining surface.

She slides her hand across a panel below the mirror.

The panel opens and she retrieves a straw-like tube. It extends as she pulls it to her lips for a drink.

Sojourner stands there in her underwear. Deep in thought.


A slashed wrist drains of life.

A feminine hand slices another wrist with a sleek blade.

Blood spills from the open wound.

The blade is passed to another hand.

Another wrist – slashed.

Candle flames dance across this strange blood ritual.

The process continues, as a circle of women methodically kill themselves.



TURN IT OFF is an original short film screenplay – a twisted time travel science-fiction tale like TWILIGHT ZONE with QUANTUM PHYSICS.

This was a short film challenge from SIMPLY SCRIPTS solid community. Every few months they will have a ONE WEEK CHALLENGE. This time the parameters included a TIME TRAVEL premise.

Here is the short I developed. NERD ALERT 2000: My username is Last Fountain over there. (Go figure.) I’m including images within the script. The actors are not who I want to play or anything like that. More like an easy to  Google visual stand in. I feel like it helps with enjoying the read a bit more in this unique medium.

***Screenplay formatting has been adjusted to fit in this browser. The speaker / dialogue will not be centered.***



By Daniel Viau

© copyright, all rights reserved, January 2014



Cellular structures under extreme magnification. The images keep dividing from the micro-world to the macro.

Vibrating strings wobble in the vast interior of a nucleus.

    NARRATION (male): It`s been a long time since they first turned IT on. But ever since, they`ve been trying to turn it OFF.

A quadruple helix of DNA, a ladder with four corners, stacked like a skyscraper.

A laboratory technician skilfully manipulates the strand of DNA with nano-machine technology.

    NARRATION: The believers say it can be done. I think it`s a waste of time.

A long thin tablet glows a faint violet. The smallest of structures forms from an invisible nothing.

Nano-machines are building a crystalline structure from miniscule carbon tubing.

    NARRATION: You look at yourself long enough. You begin to see what others see.

A long row of pale shining domes, with small openings on top.

A robotic arm gently places the crystalline structure into one of the domes. The pale beige dome slides closed.

It’s a cybernetic human. His eyes open. The large pupils dilate.


JAMES FRANCO as the “MAN”, and the voice of the NARRATOR

A MAN (mid-30s) with stubble and scruffy hair, looks to his reflection in the mirror, examining the details. Wondering.

  NARRATION: I don`t know what`ll happen when I see him. They say the world will end with his return. I don`t buy it.

He washes face and prepares for the day.

  NARRATION: Every trip a new stream is made. A new road. But a completely unique road that only the observer can see.

The man fastens his outfit by running his index finger along the seams. It form fits. A flight suit.


An orange sky streaked with brilliant smears of red. The sun blares on the cracked RED desert floor below.

A sleek blue jet rockets across the sky. Past the horizon of the sun and a small BLUE marble in the distance.

  NARRATION: We all drive down our own long stretch of highway. Alone.

Small dome habitats dot the landscape below. This is MARS.


That same MAN from earlier, looks through his visor down to the ground below. He tips his wings at a dome.

The jet rockets down toward a collection of domed habitats.



A chalk board with a giant equation, taking up both slabs.

  NARRATION: But every now and again, there`s a turn-off.

A typewriter. A stack of sheets next to it.

Music from the 50s plays from somewhere off-screen.

A man (20s) hunches over his desk. He has thick glasses and looks like he belongs in the 50s.


This is MALLICK, theoretical scientist.

  NARRATION: That`s what I`m looking for. A way out.

There is a strange something covered in sheets next to the chalkboard. It’s a 10 foot tall strange something. It’s as wide as the rest of the room.

Mallick’s hands deftly swipe across a tablet surface. The small computer verifies the equation. Long sequences of complex numbers stream by.

RING! Mallick reaches for his SATphone and answers.


The blonde cracked desert of the Australian Outback.

SUPER-IMPOSED TITLE types out one letter at a time:


The TITLE disappears via back-spacing, THEN:


A small plane flies over the countryside. Above some ancient caves and Aboriginal men. It lands over a hill near a small cabin with a small garden.


Inside the lab, the chalkboard starts to vibrate. A small piece of chalk rolls out of its cradle, onto the wooden floor.

MALLICK (also played by James FRANCO)

Mallick looks up from his desk. He rushes past boxes of supplies, over to a window, and swipes the curtain aside.

He sees the landed plane outside. The spinning engines slow down, and the vibrations cease.


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