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Day 13 Assignments
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Lesson 13: Scares, Releases, and Creepy Moments
What I learned is that these moments need to be apparent throughout the script.
INT. BATHROOM – DAY
Amanda sits on the toilet. A shadow appears underneath the door. It startles her.
AMANDA
Hello? Peyton is that you.
Silence
AMANDA
C’mon, this isn’t funny.
A tube of hand soap rolls underneath the door. Amanda’s freaked now.
AMANDA
Peyton, quit.
A spider scurries along the wall. Amanda, jumps up, wipes and gets out of their fast. Then realizes it’s a shadow spider.
AMANDA
Very funny.
She pulls on the door, but it won’t budge. She bangs on the door.
AMANDA
Let me out! Hey. Stop fucking with me.
The lights go out. Amanda yells, bangs harder, frantic. No one responds.
A solitary light comes on. On the wall of the stall is the shadow of a hangman’s noose.
Amanda’s had enough. She balances on the toilet. As she reaches up to look over the stall – BOOM!
Cameron is in her face. The lights come on. Peyton and Cameron fall about laughing
AMANDA
You little shits.
She pushes by them to leave the bathroom – she try’s the door, twists at the handle and pulls – but that doors locked now.
AMANDA
Okay guys this is ridiculous.
Peyton and Cameron settle, then get nervous.
AMANDA
Give me the damn key.
PEYTON
We didn’t lock it.
AMANDA
Just unlock the fucking door. Enough.
Cameron and Peyton are both dead-pan. In a surge of panic, Cameron moves forward an pulls on the door – It opens.
CAMERON
What the fuck, Amanda?
Amanda strides out with a gleam in her eye.
AMANDA
See you at rehearsal.
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Douglas Ryan’s Scares, Releases and Creepy Moments
What I learned from this assignment is that having my lengthy outline helped me with finding a scene that is a perfect set up for things to come allowing my monster to be completely creepy and terrifying at the same time.
INT. XENO’S OFFICE-EXAM ROOM – CONTINUOUS
The room is dimly lit and Daniella sits in the exam chair. Xeno comes in silently from behind her.
DR XENO
Hello.
Startled, she looks around and finally sees him.
DANIELLA
Oh, hey.
DR XENO
Please go sit in that chair.
He points to a chair across the room with the eye puff machine.
DANIELLA
Oh shit. I have to do that thing. Man I hate the eye puff thing.
She makes her way to the other chair and sits. Xeno steps around behind the machine.
DR XENO
Don’t worry it’s not the same as it used to be, it’s a very light puff. Come on put your chin here and look straight ahead.
He adjust it for her face.
DANIELLA
Well it still feels weird.
DR XENO
You get used to it. Usually I have a tech do this but I gave the staff the day off because of the long weekend.
DANIELLA
Your staff of what 2 people?
DR XENO
Very astute. Look forward.
Puff.
DANIELLA
Ugh.
DR XENO
And again, look forward.
Puff.
DANIELLA
What the hell man. I don’t know anyone who could get used to that.
DR XENO
Go ahead and get back in the chair.
She gets into the exam chair. He turns on a monitor with letters in lines.
DR XENO
Ok read the first line.
She reads it.
DR XENO
Now the 3rd line.
She reads it perfectly. He does this 3 more times making her read the smallest lines.
DANIELLA
Why are you making me read the small ones?
He ignores her question.
DR XENO
Remarkable. I have to check this.
He does the light test.
DANIELLA
So what is up man?
He gets closer to her, he is staring into her eyes.
DR XENO
Did you know you have perfect vision?
DANIELLA
You sure man? I mean I think you better use that lens thing over there.
Xeno gets closer, his lips are almost on her nose looking into her left eye. She cringes.
DR XENO
No need. I have a rare gift as do you. I can see your iris, it’s perfect.
He slowly moves to the right eye.
DANIELLA
Okay. So you wanna give me some space.
She attempts to sit up and he puts his hand on her shoulder pushing her back into the chair.
His eye is shaking, she stares as it darts back and forth. His breathing is heavy and quick. His voice is more excited.
DR XENO
We’re not done yet. I’m still looking at the right eye. I have to make sure. I have to be sure. If you have the perfect eyes, I just have to be sure.
His hand pushes into her shoulder causing pain.
DANIELLA
Ow! Man, what the fuck are you doing.
He stares for a few seconds more, his eye shaking faster and faster. His breathing is heavier and heavier.
There is a commotion outside in the waiting room. The exam room door bursts open. He blinks and lets her go.
It’s the Boy from the coffee shop he is with his MOM, 30’s, she is agitated.
MOM
Look he needs to see you right now. So take him.
Xeno looks at her with disdain.
DR XENO
Ma’am you need to wait outside. I’m in the middle of an exam.
MOM
So.
DANIELLA
Um I’m cool if the kid needs to be seen right away.
Xeno looks at her.
DR XENO
Well if you insist. Go sit at the puff machine young man.
The kid saunters up to the machine. He takes his glases off and puts them lens down on the table moving them back and forth.
Xeno watches. With every movement he can hear the scratches on the lens’s. He looks at the mom, nose in her phone.
He stands and goes over to the machine. He looks down at the Boy. The kid smiles and continues to slide the glasses.
Xeno has had enough and grabs the kid’s hand.
DR XENO
Now young man, you should never do that you’re ruining your glasses.
He shrugs. Xeno lets go of the Boy’s hand.
BOY
So. My mom will get me new ones.
Xeno is visibly pissed off. He looks at the mother again, she’s scrolling, could care less.
DR XENO
Put your chin here, and look forward.
The Boy does it. Xeno looks at Daniella who is watching him intensely. His eye is shaking and a tear is falling off his chin.
BOY
So we gonna start.
DR XENO
Ready. Just a little
Puff.
BOY
Not bad.
Xeno’s hand moves the dial to a higher setting. He looks at Daniella, she shakes her head no. One more tear down his cheek.
DR XENO
Okay. One more
PUFF!
BOY
OW! MOMMY!
The Boy’s eye is bleeding. The Mom drops her phone. Daniella jumps up to help. Xeno is smiling his eye slowly stops shaking.
The child is crying uncontrollably.
DR XENO
My apologies ma’am you will have to take him to the ER.
MOM
What kind of doctor are you hurting a kid like that?
DR XENO
So sorry it was an accident
DANIELLA
Hell no it wasn’t!
Xeno spins and grimaces at her.
MOM
Are you sure young lady?
DANIELLA
Fucking positive, he’s a god damn creeper.
Betty appears in the door way.
BETTY
Don’t listen to her. She’s a lying heathen, that god doesn’t trust.
The Mom is taken back that another mother would say that about their child.
DANIELLA
It’s true Betty! You crazy bitch!
Betty slaps her in the face.
All the other freeze to see what these two will do next.
Betty grabs Daniella by the arm and shoves her out the door.
BETTY
Get to the car hussy!
DANIELLA
Fuck you!
Daniella flips her off and Xeno too. She leaves.
Betty turns to Xeno.
BETTY
I’m so sorry about this Doctor Xeno. I’ve been working on breaking her of her lies ever since she came to live with us. I hope this doesn’t affect my appointment tonight.
DR XENO
Thank you Betty, and no it doesn’t affect your appointment. Still bring her tonight. I would like to talk to her about what she thought she saw today. (To the Mom) I’m so sorry about this, let me cover your ER visit. Just send me the bill and I’ll cover it.
The mom is satisfied with this.
BETTY
He’s such good man. Thank you doctor Xeno.
Xeno nods and smiles at both women. They both notice his smile is off.
DR XENO
I took an oath to do no harm, and if I do. Well I try to make it right.
Xeno escorts them out the door.
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John Garofolo’s Scares, Releases and Creepy moments
What I learned from this assignment is further validation of the importance of carefully sequencing the emotions for maximum effect.
OUTLINE:
INT. FAMILY HOME (UPSTAIRS AND DOWNSTAIRS)
The survivors split up and hide inside the house, one pair going upstairs the other remaining downstairs.
The killer is somehow inside the house without making any noise. He stalks and finds the two panic-stricken survivors hiding downstairs as they try and make their escape
The bride-to-be and Maid of Honor, still in hiding, know their friends have been killed: and are riddled with panic, sorrow, guilt and shame.
Now, the bride-to-be and the Maid of Honor are faced with a decision: fight or make a run for it.
The killer turns off all lights in the house and begins hunting for the remaining two.
The two survivors are terrified, but resign themselves to the fact that they have to fight to survive.
The killer moves through the house, opening doors, peering inside, slamming them shut (for effect) He finds them waiting for him and they fight with tenacity and anger, both taking one hell of a pounding, but finally the two women get an advantage and one of them hits him with whatever heavy or sharp object they have and the killer goes down.
After the fight, the two survivors are exhausted, express sorrow, simultaneous guilt and gratitude they’ve survived.
They think they’ve won the fight and limp through the house and take stock of the situation. They look for their phones and go back up to the second floor bedroom and continue looking for their other friends (Note: The killer will probably reveal the two dead bodies by this time, but, I haven’t worked these reveals out yet).
The killer comes back to life and begins quietly stalking the two survivors, until he makes a move attacking from behind and round two of the fight continues.
When the dust settles this time, the maid of honor and the killer both appear to be dead.
The bride-to-be sobs heavily as she caresses her best friend’s body, holding her tight to her chest.
But, then, she realizes the killer, the man she almost married, has come back to life again, grabbing her from behind and choking her, lifting her off her feet.
She struggles to break the hold, throwing elbows, reaching around to grab anything. She’s almost out of air and with one final effort, pokes him in the eye and he releases his grip. She rushes to the side of the bed and reaches for a baseball bat. She grabs it, but he grabs her and pulls her away, and she swings away at him and finally strikes a killing blow.
SCENE:
INT. ENTRYWAY – NIGHT
The killer re-enters the house. His slow walking seems to be unnaturally loud.
INT. FAMILY HOME (UPSTAIRS/DOWNSTAIRS) – NIGHT
Intercut as killer moves through the house and Samantha and Olivia’s reaction as they hear him hunting them down.
INT. UPSTAIRS BEDROOM CLOSET – NIGHT
Olivia and Sam hold their breath so they can hear. They try and keep their sobbing under control.
INT. DOWNSTAIRS – NIGHT
The killer opens every door and peers inside, slamming them shut for effect.
This process seems to take forever.
INT. DOWNSTAIRS OFFICE – NIGHT
The Killer stops at the open double door and peers inside
He steps into the office and slowly looks around. He sees the cluttered bookshelf, a shadowbox with a folded American flag, A Coast Guard poster, some other photos on the wall.
He pulls the chair away from the desk and looks underneath
It’s empty.
He deliberately turns around and walks into the downstairs hallway.
INT. UPSTAIRS BEDROOM CLOSET – NIGHT
Sam and Olivia, hold each other and listen carefully at the SOUND of FOOTSTEPS, now even LOUDER on a hardwood floor.
Suddenly, there’s a CRASHING SOUND from the kitchen.
This scares the shit of the two of them.
SAM/OLIVIA
(startled, terrified)
Aaahhh!
They realize their error and stifle their scream.
INT. KITCHEN – NIGHT
The killer HEARS their STIFLED SCREAM and cocks his head as if he’s trying to hear through the ceiling.
INT. BEDROOM CLOSET – NIGHT
Sam and Olivia are intertwined and hold their hand over the other’s mouth to keep them quiet.
INT. KITCHEN – NIGHT
The killer slowly walks out of the kitchen through the dining room door.
INT. DINING ROOM – NIGHT
The killer walks through the dining room into the adjacent living room.
INT. LIVING ROOM – NIGHT
The killer walks through the living room and stops and looks at his tableau of the two dead bridesmaids.
He appears to be studying the image.
He then closes in on the two bodies and makes an adjustment on their positions.
INT. BEDROOM CLOSET – NIGHT
Sam and Olivia slowly remove their hands from the other’s mouth.
SAMANTHA
(mouthing the words)
Can you hear anything?
Olivia shakes her head, “no.”
INT. ENTRYWAY – NIGHT
The killer steps from the carpeted living room to the entryway with hardwood.
His footsteps sound like bolts of thunder.
INT. BEDROOM CLOSET – NIGHT
Olivia and Sam HEAR the FOOTSTEPS and can only wait, their terror mounting.
INT. STAIRWAY – NIGHT
The killer reaches the carpeted stairway, but the weight of each footstep is still deliberate but audible.
INT. BEDROOM CLOSET – DAY
Sam and Olivia listen to the approaching FOOTSTEPS and begin panicking.
Tears stream down their cheeks as they realize their days are probably numbered.
The FOOTSTEPS stop.
A long pause.
Suddenly…
The killer finds them and they are hysterical with fear and try and escape. But they can’t.
He blocks their escape and pushes them to the ground.
He stands over them and just stares.
ANGLE ON OLIVIA AND
Now that they are faced with the inevitability of their death, they look at each other and are surprisingly calm.
They accept their fate and resign themselves to the only option they have left.
They stand up and the killer waits for their move.
They turn their gaze to the killer and SCREAM their best REBEL YELL and attack.
Sam and Olivia fight with tenacity and anger. It’s a life and death struggle and they’re not giving up. Not yet, anyway.
The killer, however, doesn’t just give up. He fights with tenacity and, somehow, a discernible enjoyment.
Sam and Olivia take one hell of a pounding, but, their adrenaline kicks in and, finally, they get an advantage and momentarily stun the killer, stopping his attack.
Sam hits him with her old baseball bat that was laying on the floor.
The killer lunges towards the two grabbing them by the throat and starts choking them.
Then collapses on the floor.
They can’t believe they’re still alive. They’re exhausted, but still alive.
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Carmen’s Scares, Releases, and Scary Moments
What I learned doing this assignment is the small nuisances mean a lot to build scares and keep the tension and the audience guessing. It was not as difficult as the more intense scenes – but building on those made this assignment fun to write!
EXT. DESERT – MIDDLE OF THE NIGHT
FREDO and LUCA dig up DON BRUNO’S grave. A small desert tornado brushes by them and then envelopes both of them for several beats. (SCARE).
FREDO is standing near him, holding a flashlight.
LUCA rubs sands from his eyes and SHAKES his hair.
LUCA
What the hell was that?
FREDO shakes the sand from his clothes. But he is undeterred. Nothing can get in his way.
FREDO
Jesus, Luca, just get it open.
LUCA
I don’t like this.
FREDO
Just get it open. We need that cash.
Beat.
LUCA keeps digging. He hits the box. There’s a SCREAM in the distance.
LUCA stops digging.
LUCA
Why don’t you take a turn?
FREDO
Do you think he ever dug any kind of hole in his life, ever?
FREDO points to DON BRUNO’S grave.
LUCA
Well, you’re not him.
FREDO
Just get it open, Luca!
LUCA jumps into the large hole. He uses a crowbar to PRY open the small box on top of the coffin.
It is filled with cash.
He looks up at FREDO, they share a greedy smile and LAUGH. (RELEASE)
FREDO
Fuck me, there it is. That’s going to start my new casino.
Beat.
FREDO (CONTINUED)
Now, open his box.
LUCA looks up at him.
LUCA
Shit, no. You fucking open it if you want.
FREDO pulls his handgun and aims it at LUCA.
FREDO
I’m the new goddamn Don. Open the fucking box, Luca.
LUCA tries several times to PRY open the box.
LUCA
It’s stuck, man.
FREDO is still holding the gun.
FREDO
Fucking open it.
LUCA
We have the money, Fredo.
FREDO
Don, Don Fredo.
LUCA pauses. FREDO is still holding the gun to his head.
LUCA
Don Fredo.
LUCA finally PRIES the box open.
The DON’S body doesn’t look very decomposed.
LUCA
Shit, he’s, he’s.
FREDO
He’s nothing!
FREDO holsters his gun. He jumps into the hole next to LUCA.
FREDO
He’s nothing. He’s fucking dead. I just wanted to see his rotting flesh and bones.
LUCA
But, he’s not..
FREDO ignores LUCA and SPITS on DON BRUNO’S corpse. It looks like his eyes come to life. (CREEPY MOMENT)
GHOST VOICE OF DON BRUNO
FREDO! FREDO!
LUCA
How the fuck are we going to get out of this hole?
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Larry Fraller’s Scares, Releases, and Creepy moments!
What I learned doing this assignment is there are really cool ways to scare people, and then give them a chance to calm down before hitting them with something even scarier. Way cool!
SETTING: Dinner beneath the tree where Lorette is pressured to eat meat, though she’s a vegetarian.
OUTLINE:
Ossimon greets Chambers and Lorette, charming her.
They discuss the vinyard while food is brought.
Megarette cautions them to taste everything but finish nothing. It’s tradition.
Lorette is pressured to taste the lamb, though she’s a vegetarian. She does, and likes it. She’s been starved for meat for so long that she practically inhales the lamb on her plate.
Megarette frowns disapproval when Lorette avoids the lamb. Smiles when Lorette gives in.
Lorette sees darkness in Megarette, feels a cold draft from the old woman. both when she smiles and when she frowns.
SCENE:
EXT. CASTLE GROUNDS – DAY
Gothic hand-carved wooden table beneath a spreading tree. Benches on both sides. Set for 6, an intimate affair of local foods and wine and bright conversation.<sub></sub>
Prince Ossimon welcomes Chambers and Lorette with a sweeping gesture, and a charming kiss on her hand.
She blushes and pulls away from him, hiding behind Chambers, playfully.
OSSIMON
So good of you to come. I had concerns that our humble ways might not live up to your standards. But here you are.
CHAMBERS
Here we are.
LORETTE
This place is fabulous.
Ossimon’s shadow slides an inch towards her. Unsure, she watches it grow closer. When it touches her feet, she leaps backwards against Chambers.
The shadow retreats quickly to Ossimon, retreats entirely into his body.
Chambers steadies Lorette on her feet, a bit rough.
CHAMBERS
You’ll have to excuse my wife. We’re not used to such fancy fare.
OSSIMON
She’s an artist. Perhaps she finds the real world a bit underwhelming.
She catches her breath, puts herself back together.
LORETTE
We don’t have any standards compares to this.
OSSIMON
I blush at your compliments. Perhaps you’ll discover other behaviors that exceed your expectations.
MEGARETTE
Sit. Wherever you choose, but we locals will sit in the shade, so that you may bathe in the splendor of our magical sunlight.
Ossimon whispers in Lorette’s ear. She blushes.
The Vintner diverts Chambers’ attention.
VINTNER
Perhaps the gentleman would appreciate a walk through our ancient vines, renowned for the most sensuous of wines.
VINTNER’S WIFE
Some say we produce the world’s only true aphrodisiac.
Vintner secretly smiles at a tender-aged SERVANT GIRL.
VINTER
I like to think so.
Servant girl escapes to the kitchen at the rear of the castle.
VINTNER’S WIFE
But it’s just gossip, I assure you.
Vintner pinches Wife’s butt. She lets out a squeal and a little fart.
OSSIMON
I’m of the same opinion.
Lorette leans in close to Chambers.
LORETTE
(whispers)
Which opinion?
Ossimon grins. In the shade of the massive tree, his shadow grows darker, larger, with long fingers that creep towards her, while Ossimon’s fingers remain rigid with formality.
OSSIMON
You be the judge. Perhaps the lady would care to lift a toast to her hosts and hostesses.
He hands Lorette a crystal glass, sparkling with sunshine. His eyes glow like heated iron. His shadow grows towards her. No one else seems to notice, or even see what she sees.
Vintner pours a proper draft all around.
Lorette raises her glass, nerves on edge, spills wine onto Ossimon’s shadow. A wisp of smoke rises from the shadow which shrinks to its normal size.
LORETTE
(voice cracks)
I’m terrible at speeches. Chambers?
Chambers shrugs. He raises his glass. Ossimon jumps in, raising his glass and asserting his charm.
Lorette sighs. Chambers rubs her back.
OSSIMON
In this dark world, may we always find light. In the cold, the heat to warm our lives.
Lorette applauds, sees the others are not, continues softly, fading to silence.
They toast. They sit.
CHAMBERS
A little over-eager. She gets emotional.
LORETTE
At formal occasions.
If looks could burn, she’d have set Chambers on fire every moment since they arrived. With a little wine in her – watch out.
Servant girl and an AGED WOMAN bring out splendid dishes of sumptuous salads and savory meats.
OSSIMON
This lamb is one of our own. Slaughtered this very morning.
Aged woman bows.
OSSIMON
I pride myself in ending their precious sentience with minimal pain.
SERVANT GIRL
What I do is I smack the shit out of the little fuckers before they know what hits them.
Aged woman drags servant girl to the kitchen, muttering at each other as they go.
Megarette sits across from Lorette.
MEGARETTE
It’s our castle’s tradition to taste everything served, but leave some of each for the servants and other animals we keep.
CHAMBERS
Love it. A tithing in reverse.
Lorette pokes at the lamb on her plate.
OSSIMON
Yes? Is it not to your liking?
LORETTE
I’m a vegetarian.
Megarette frowns with harsh intent.
MEGARETTE
You dare defy our tradition?
Lorette smells the lamb, presses her fork against it. Slides the meat around on her plate.
LORETTE
I gave up meat in college when my roommate brought her pet bunny from home. How could anyone even once hold an animal and look into its eyes, then ever bite into their flesh and muscles and –
She sees Megarette’s eyes turn black like polished obsidian.
A frigid draft shuts down Lorette’s ability to speak. Her words devolve into trembling gibberish.
OSSIMON
I embrace your pain. These animals have such innocent eyes, and appear tamed, even domesticated. But all fantasy aside, they are in the end, little beasties with black hearts wreaking of lust and loose bowels.
CHAMBERS
Go ahead and at least give it a taste. No harm in that.
Lorette slices a tiny piece of the lamb, bites into it, savors it. Digs in and gobbles the rest until there’s nothing but juice left on the plate. In her eagerness, she licks the plate clean.
OSSIMON
Well done!
Megarette smiles, her eyes, blacker than before and without their luster, pierce deep into Lorette.
LORETTE
I’m not feeling so good. Would you excuse us, if we left early? Please?
She tucks an arm under Chamber’s arm and tugs him to his feet.
MEGARETTE
But of course.
OSSIMON
Perhaps another time – soon.
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Mark Dot
Lesson 13: <b style=”font-family: inherit; font-size: inherit;”>Scares, Releases, and Creepy Moments
What I learned form this lesson is… well, I learned how to get through a gross scene. I hate roaches so I decided to add them in this scene to creep myself out. It worked.
The startled crew tries to compose themselves. Cameron peaks into the dark room upstairs.
INT. DARK ROOM UPSTAIRS
Unexpectedly a light pops on over one of the doors. This one is wooden and raw. Then another light pops on, this door is metal.
Then another light pops on, this door is gold colored and may be real gold.
CAMERON
Hey ah. I’m going to need your help up here.
INT. THE THREE DOORS ROOM
Shannon looks into the three doors room where Cameron is. She sees one door is metal, one door is wood and one door looks like a roll up door. Boxie follows Shannon cautiously.
CAMERON
What am I suppose to do?
BOXIE
Obviously, pick a door.
CAMERON
I know that. But which one?
Shannon starts walking in front of the doors. She is using her senses and trying to decipher what is what.
SHANNON
The metal door…
Shannon places her hand closer and closer to the metal door.
SHANNON
There is a lot of heat coming from here.
Shannon moves down to the wood door.
SHANNON
I can’t tell with this one.
Shannon moves down to the roll up door. She peaks below the door and then gets up on a knee and starts to slowly roll up the door.
SHANNON
I’m going to try this one.
Boxie comes to her aide and stands in front of the door.
BOXIE
Can I help?
SHANNON
I think you should stand back.
CAMERON
Just pick one already!
Cameron cracks the roll up door, which jerks back, Shannon rolls backwards and avoids a series of blades attached to the door. As the door goes up the blades are pushed out. Shannon and Boxie both avoid the massive attack of blades.
CAMERON (POSH)
Wrong door.
Shannon looks back, lucky to be alive.
SHANNON
That’s not helping.
Cameron is annoyed.
CAMERON
It has to be this one?
Cameron approaches the wood door.
SHANNON
I have no idea. But that metal door is hot. There is something going on behind there. What do you think Boxie?
Boxie is still recovering from the blades that flew at her.
BOXIE
I definitely don’t think we want to go through the metal door.
Cameron cracks open the wood door. It creeks open revealing a long dark corridor. Tiny cracks of light shine through here and there.
CAMERON
I don’t think this is right?
Boxie and Shannon push past Cameron to look into the corridor. A voice chimes in from inside the walls.
TOMMMY (O.S.)
You have chosen well.
SHANNON(SARCASTICALLY)
Um… thanks I guess.
Shannon starts walking into the dark corridor. Boxie follows.
CAMERON
Is this a good idea?
SHANNON
You got anything better?
Cameron takes a breath and heads in too. Slivers of light come through vertical openings from the walls.
BOXIE
Are we going in between the walls?
Shannon approaches cautiously. They can see a light in the distance. Cameron gets excited.
CAMERON
There! There, heads towards that.
Cameron picks up speed and squeezes past Boxie and Shannon.
CAMERON
We just have to reach that light right?
Cameron is feet from the light and then she see’s in front of the light a group of spikes fly up.
Cameron looks down and sees a floor fitted with spikes.
CAMERON
Shit!
Cameron balances and avoids falling into the pit. Shannon’s hand quickly grabs her joined by Boxie who both pull her back and they all fall to the ground. Boxie is looking up.
BOXIE
Don’t look at the ceiling.
They all look up in unison to see the ceiling.
The ceiling is covered in large water beetle roaches. Cameron turns slowly to her right.
CAMERON
AAAHHH!
A roach is on her shoulder staring directly at her. Boxie swats it off Cameron’s shoulder.
The roaches start falling one by one on the girls. Shannon and Cameron start freaking out. Boxie keeps her cool.
BOXIE
I know they are gross but they are harmless.
Boxie starts peeling them off. Cameron sees a switch next to them.
CAMERON
What’s this?
Cameron pulls the switch as…
BOXIE & SHANNON
No Don’t!…
The room starts to rumble a little bit and the roaches are shaking off of the ceiling and falling on the crew. Cameron is screaming.
CAMERON
No! Get them off of me!
Cameron pulls one out of her hair. Boxie again with a level head looks around the room. She sees a hole of light where the roaches are coming from.
SHANNON
God! They won’t stop falling!
Shannon is dancing around shaking them off and squishing them beneath her feet.
CAMERON
I’m going back the way we came!
Cameron pulls another large roach out of her hair and starts walking back the way they came in the dark.
Boxie, unshaken by the roaches, starts following the speck of light. She sees where the roaches are coming from. Boxie sticks her hand in. Roaches quickly cover Boxie’s arm and are crawling up to her face.
Cameron frantically searches for the way back.
CAMERON
Wait! There wasn’t a wall here before! What the hell is going on!?
Shannon pulls a roach out of her hair.
Boxie has pushed her hand and arm into the hole of light.
BOXIE
There is something over here guys.
Boxie grabs something on the other side of the hole. She pulls hard and tears apart a piece of the wall. More light comes in.
Boxie peaks through the hole. She sees the image of a chubby teenager.
TOMMMY(O.C.)
Hee Hee!
The image runs away. Boxie continues to tear open the wall exposing a room.
BOXIE
Quick! Over here!
Shannon comes to help and starts ripping at the wall.
Cameron is feeling the walls trying to find her way back.
SHANNON
Cameron! Forget about it. They cut it off!
BOXIE
I saw someone over there. A boy. He ran away.
SHANNON
I heard him laugh, the sadistic bastard.
Cameron is felling the walls now. Shannon gets a hold of a big piece of wall, she rips it opening a hole big enough for them to get through.
BOXIE
Here we go!
Boxie climbs through followed by Shannon.
SHANNON
Come on Cameron!
Cameron reaches over and grabs Shannon’s arm. Shannon and Boxie help pull Cameron over.
INT. GAME ROOM
Shannon and boxie take in the room they are in. The see the tube that fed roaches into the hallway they just left.
SHANNON
So they shoved them in the room?
Cameron looks over to a window. She looks out.
CAMERON
Where are we? This house is fucked up.
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