movie
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CAMERA SHOT - EXT. - A FIELD FROM ABOVE. YELLOW-TINGED, PERHAPS EARLY SPRING OR LATE FALL. PERHAPS AMERICAN MIDWEST.
CUT TO:
The CAMERA drops from far above. Then the CAMERA rises from a yellow-tinged grassy field like a shark from water. It moves forward, slowly, down a rolling hill. There are trees around the clearing; there is no wind, and they do not sway. But as it parts, the grass shakes and shivers.
CAMERA SHOT - EXT. A BACK-FACING VIEW - SUN SETTING OVER HORIZON
The silhouettes of four INDIVIDUALS, of varying heights. They are following a self-made path through the grass. Most of the field lays behind them; based on the distance and the exhausted slouch of shoulders, they clearly been walking for some time.
CAMERA SHOT - EXT. THE FIELD FROM BEHIND THEM - PEEKING FROM THE GRASS
The CAMERA winding through the field. It begins to move faster, parting blades of dry shrubbery. Faster. Faster. Blurry shapes in the distance: the INDIVIDUALS. The camera draws closer, jittery and snakelike, to the quartet. They don’t seem aware: their conversation and idle travel-chatter is increasingly (but barely) audible over the sound of wind, of grass parting.
CUT TO:
A forwards-facing view of the INDIVIDUALS. From left to right: BENJI, who wears a worn leather jacket and scowl; LARK, whose roots need rebleached and seems the least tired of the four; TINO, sun-kissed and older than the others, but dewey and in good spirits; finally, XAVIER, who towers over the other three and is the only one carrying two backpacks.
Behind them, the grass flattens in a zig-zagging line. There is SOMETHING following the four men; none of them are aware. It moves closer. It moves faster. FASTER, FASTER, UNTIL IT IS RIGHT BEHIND THEM.
CUT TO:
CAMERA SHOT - CLOSE-UP OF XAVIER
There is a sound like hundreds of voices whispering. The noise grows louder as whatever cuts through the grass towards them, and seems to trail up XAVIER - right next to his ear.
XAVIER (yelps, stumbles) Ah!
In tandem:
LARK (stopping) What? What?
TINO (also pauses) Y’alright son?
BENJI continues walking for several paces. Then he sighs heavily and turns back with his arms crossed.
BENJI More drama?
XAVIER swats at his ears repeatedly, hands protectively cupped around them for a moment. He heard the whispers: he seems to be the only one who did. Obviously perturbed, he glares up at BENJI, who is now snickering.
XAVIER I heard - something touched me -
He looks over his shoulder. The others peer around him, back towards the smooth field. The acres of grass sway in tandem; there is no longer a bent trail besides their own.
BENJI (snorts) That hard up for it? Imagining the grass gettin’ fresh?
TINO (exasperated, ‘disappointed dad’ tone) Benji.
XAVIER Fuck you-
LARK Can the fight wait, like, a half mile? We’re almost there-
BENJI Won’t make it if we stop every five seconds to hallucinate-
TINO (serious, final) Benji.
CAMERA SHOT - EXT. - OVERVIEW OF THE QUARTET AS THEY BICKER.
FADE OUT
FADE IN
CAMERA SHOT - EXT. TO INT. - A DILAPIDATED WAITING ROOM OF SORTS
A large double-door creaks open; stood in the low afternoon light, framed by the waning sun, is TINO. He fidgets shapelessly at his hip for a moment, and then the camera is flooded with brilliant white from a flashlight.
CAMERA SHOT - INT. - FURTHER INTO THE WAITING ROOM.
Something in the darkness, hidden from the yellowy cone of light, sinks around a corner further into the shadows.
XAVIER stands slightly behind TINO and BENJI. He has one hand curled (protectively or requesting protection, unclear) around TINO’S arm. The other hovers near BENJI’S bicep. XAVIER glances down, realizes the proximity, and then snatches his hand closer to himself.
XAVIER Did you see that?
TINO Nope. What was it?
BENJI (muttering) Figment of his imagination, probably.
XAVIER flushes. It could be embarrassment or anger.
XAVIER Would it kill you to-
BENJI (flatly) Yes.
TINO lowers the flashlight with a sigh. The darkness looms closer, but otherwise the only sound is the distant chirp of birds and rustling of nature.
TINO Okay. Xavier, son, how about you go help Lark get everything sorted in the equipment tent? You know how he is with those posts - can’t get them anchored for nothin’.
CAMERA SHOT - EXT. COURTYARD - OVER TINO’S SHOULDER
In the vine-encrusted, time-worn courtyard just behind them, LARK pauses from his unpacking of their backpacks, straightens, and waves enthusiastically. He puts both fists on his hips and smiles. He is totally unaware of the tension.
CAMERA SHOT - INT. WAITING ROOM - BENJI AND XAVIER GLARING
BENJI Right. Go run along then, yeah? Brought you to be the muscle, not jump n’ piss yourself at every sound.
XAVIER (heated, losing his temper) Tino invited me along to help with data collection, you didn’t bring anything other than your shitty fucking - hey! Go fuck yourself -!
As he’s talking, BENJI has lifted a hand between their faces. Fingers and thumb press together to make a mouth, which he opens and closes alongside XAVIER’S Boston drawl.
TINO (fully done babysitting/peacekeeping) Benji. Stop. Xavier. Go help.
XAVIER and BENJI stare at each other a moment longer; XAVIER glares, BENJI smirks victoriously.
XAVIER (to TINO) Yes sir. (to BENJI: lifts his middle finger)
TINO and BENJI watch him lope down the stairs to the building. Lark spreads his arms, gesturing as the taller man nears. Xavier waves his own, his venting about the situation at hand audible even across the distance.
TINO (turns to BENJI) What in the hell has gotten into you lately?
BENJI (innocent, but he’s not even buying what he’s selling) I don’t know what you mean, Ti.
TINO You know, the rest of us don’t have even a hint of a problem with that boy. He’s been nothin’ but nice, and you -
BENJI (mood souring, expression shuttering) Pft. Nice.
TINO Listen. Job needs done. We don’t got a lot of time to hash this out now. (He pokes a finger into the shorter man’s chest) But you best not take that as a…sweeping’ it under the rug situation.
BENJI What would we even sweep?
He’s glaring over his shoulder, where LARK and XAVIER are animatedly chatting to each other. They look comfortable, close, and like they’re having the time of their lives - even as they just unpacking a variety of electronic equipment and other supplies.
BENJI’S expression sours further. His brow is wrinkled in displeasure.
BENJI Nothin’ to sweep.
TINO (bad impression of a buzzer)
BENJI Aw, come off it - there’s nothin’, Ti, I don’t-
TINO (another buzzer noise, somehow worse)
BENJI I’m not allowed to dislike the guy?
TINO (smiles, affirmative) Ding ding ding. Right answer. What’s your prize?
BENJI (taking the flashlight out of his hand grumpily) Five minutes alone. Let me do the survey.
TINO shrugs and begins to walk backwards out the door, and down the stairs. He has a pep in his step; optimistic, maybe, of solving the apparent bad blood. He does a pause, brow furrowing, and then quickly turns and catches BENJI by the elbow.
BENJI Wh-
TINO We’re talking about this once we get home, Benj. I’m not letting y’all fester whatever nastiness is going on. And I’m not (he pokes again, more firmly) letting it put anybody in danger. You hear me?
BENJI pauses. Then, begrudgingly, but still in a mocking impression of XAVIER:
BENJI Yes sir.
CUT TO:
CAMERA SHOT - INT. - A DARK ROOM - CLOSE-UP OF XAVIER - HAND-CAM, GRITTY FILTER, UNSTEADY.
XAVIERadjusts the camera and the picture gains some clarity. He steps back, more of him coming into frame. He spreads his arms and strikes a pose.
XAVIER What’s up guys, it’s me, Zac Brogans, and it’s another episode of Ghost -
LARK (out of frame) That’s not his name.
XAVIER …Zachary?
LARK Naw, man. It’s Bagans.
XAVIER (confidently) I think you’re wrong about that.
He comes towards the camera again, and the frame swings. There is a brief shot up his nose and the sound of fingers tapping away at a screen. Then XAVIER pouts.
LARK Google says I’m right, doesn’t it?
XAVIER (mockingly) Google says I was - (normal voice) Listen. I’ve been through a lot today. I’ve been bullied. Leave me alone.
LARK moves into frame. He glances at the phone in XAVIER’S hands. Their foreheads briefly knock together, and they share a quick grin.
LARK (sobering) What’s up with that, by the way?
XAVIER makes a noncommittal, distracting noise. It does not work.
LARK (unwilling to drop it) C’mon. You and Benji. You don’t have to be at each other’s throats all the time.
XAVIER If he wasn’t such an asshole-
LARK He’s not- (pause) Well. He’s just kinda - (pause) Benji is -
XAVIER An asshole.
LARK He cares, okay? And you care. Tino does. I do! So if something is going on - (another awkward pause) We can talk about -
XAVIER drops the camera back onto the surface he’d propped it against. He slaps his hands over his ears.
LARK (exasperated) I don’t mean that -
XAVIER (shouting) GOOD. I AM GOING TO GO SET UP THE REST OF THE CAMERAS. AND I AM NOT GOING TO THINK ABOUT ANYTHING RELATED TO-
LONG PAUSE. WIND WHISTLES THROUGH THE EMPTY ROOM WITH THEM.
XAVIER AUGH. FUCK YOU I THOUGHT ABOUT IT.
LARK barely muffles his laughter as XAVIER flees, a variety of microphones, EMF readers, and handheld video cameras in his arms.
CUT TO:
CAMERA SHOT - INT. - A DARK HALLWAY - CLOSE-UP OF XAVIER - HE IS RUNNING
XAVIER Fuck fuck fuck fuck fuck.
Behind him, as he runs, doors on either side of the hallway SLAM open and closed. The noise is deafening; XAVIER winces against it as he runs. And then, skidding, he stops outside a door with some light spilling from its window. He darts inside. He slams the door and leans against it, the camera hovering near his chin. It is trembling, as if XAVIER’S hands are, too.
XAVIER What the fuck-
DISEMBODIED VOICE RUN.
XAVIER screams. He throws himself to the side.
CAMERA SHOT - INT. - A ROOM LIT BY A SINGLE CANDLE
Prone and panting, XAVIER scrabbles backward across the ground as a figure strides out of the darkness. The CAMERA, his phone, has been flung in his terror. An angled frame of the room shows this confrontation occurring upside-down.
THE FIGURE draws closer. The doors slamming outside have stopped; the only sound is XAVIER’S exhausted wheezing. He jumps to his feet, hands outstretched. He seems to be brandishing something in his left - a crucifix.
FIGURE/DISEMBODIED VOICE Bit presumptuous, yeah?
XAVIER goes still, then snarls.
XAVIER Jesus!
He raises a fist, clenches it, waves it mid-air between then. Then, as if it takes a tremendous amount of willpower, lowers it to his side.
XAVIER (absolutely exasperated) Jesus. You get off on that or something?
BENJI drifts out from the shadows. He is smirking, much too proud of himself for the scare.
BENJI Hm?
XAVIER I said - God, you are such an asshole. I said do you get off on that? Messing with me for no reason?
CAMERA SHOT - XAVIER’S ANNOYED, YET STILL STARTLED - FROWN, FRAMED IN THE SPACE BETWEEN BENJI’S COCKED HIP AND ELBOW.
BENJI immaturely pumps his own fist in the air, sneering.
BENJI Awful concerned about the circumstances of my gettin’ off, huh? Freak.
XAVIER You - oh, man. We really don’t have time for this. Didn’t you hear that shit?
BENJI Mate, I’ve been setting up for the past hour.
He taps a pair of headphones around his ears. They’re connected to a blinking microphone in the corner of the room.
BENJI Haven’t heard nothin’ but this.
XAVIER This is — we’ve been here an hour?
BENJI stares at him incredulously.
BENJI Why the fuck would Tino send you off on your own if you can’t handle a little asylum over-nighter? This is basic shit, mate. I thought you had some experience. (scoffs) Lark didn’t say you were a total rookie.
XAVIER grits his teeth. He points at BENJI. His finger shakes. He is clearly doing everything in his power to control his temper.
XAVIER I just got chased by something. And then scared by you. And now you’re being — I can’t - you are so -
BENJI rolls his eyes. He moves across the room towards XAVIER’S discarded phone and picks it up to hand over. Then he squeezes past the taller man, bodily moving hims away from the doorframe.
XAVIER Don’t fucking-
BENJI (exasperated, but edgy; he is close to a temper snap too) Would you cool off? Fuckin’ hell, man. Go finish your set up.
BENJI leaves the room with a cheeky two-finger salute over his shoulder. He hesitates in the hallway, unbeknownst to XAVIER, who has turned his back to assess the new crack in his phone screen. He seems like he wants to say something. But then he turns and disappears in the direction XAVIER had initially fled.
CUT TO:
CAMERA SHOT - INT. - A LARGE, DARK AND EMPTY CAFETERIA
On the southern wall of the tiled floor, a set of bars separates the kitchen area of the cafeteria to the rest of the space. There are a variety of tables and chairs, dusty and askew from the years of disuse, scattered around. On one of them, closet to the jail-like barrier, rests a stack of equipment. A mic pack, a handful of spare batteries, and a phone. It is face-down, its case covered with a variety of fading band stickers. It rings and rings; a looping stanza of string-heavy music from a classical Japanese orchestral piece.
LARK sits on the other side of the bars, trapped in the small kitchen space. He has both hands covering his ears, his face twisted in a terrified, angry grimace.
LARK SHUT UP. SHUT UP!
The phone’s tune increases in volume.
VOICE Lark?
LARK No. Shut up-
He avoids eye contact with the ringing phone. He needs to use it to call for help — although he’s small, there is no way he can squeeze through the bars.
VOICE (coming closer) Lark?
BENJI and TINO round the corner. They stand shoulder-to-shoulder, looking terrified as well. BENJI’S hair is a mess; TINO is covered in a layer of grime and soot.
LARK (sobbing with relief) Oh. Fuck. It’s — oh fuck, get me out of here.
TINO darts towards the bars, fingers wrapping around them. He shakes, testing the resistance.
LARK Turn the phone off, I can’t -
BENJI Phone?
TINO Has he been in here all night - ? Alone? I thought you checked on him, Benji.
BENJI (defensive) I did! Half past two, like you asked.
TINO That was three hours ago! What were you thinkin’? You saw the readings - you heard what Xavier said about the boiler room-
BENJI (scoffing) Yeah, and he’s been seein’ things all night. Just green, Tino. He’s just a fuckin’ coward and green-
TINO whirls around. He looks angry now, but his eyes shine with a bit of genuine fear. BENJI takes a step back, shocked to see that particular display of emotion. TINO is not green. TINO taught them what they know - he is usually unflappable, a constant calm even when shit hits the proverbial fan.
TINO (voice shaking, loud but not yet yelling) He ain’t green. And you ain’t - (pause)
BENJI (pause, then cold) Ain’t what, Ti?
TINO Ain’t actin’ right, lately. Now you pack up whatever the hells goin’ on in your head and help me get Lark outta here. Look at ‘em. Hang it up, Benji.
LARK is trying to put a brave face on, witness to this rare almost-fight between the two. But there are clearly drying tracks of tears down his cheeks. TINO moves away, down the hall.
BENJI crosses over to the table to collect LARK’S phone. He taps at the screen repeatedly.
BENJI Here, mate, let’s get some music playin’ while we look for the keys or another way outta there, yeah? Get you right and sorted, but at least some good tunes will distract you - (he frowns, pauses) The hell, Lark? How long’s your phone been dead for?
LARK stares up at him through the bars. He looks at Tino. He looks at the phone. Then the tears start freely again, his head hanging to hide their intensity.
LARK It was ringing - it was my mom’s ringtone - it was ringing, Benj. It was. I’m not hearing things. I swear.
BENJI (disturbed, trying not to show it) Okay, man. Okay. I har you. I believe you Lark, okay?
BENJI looks up at TINO, who has reappeared with a pair of bolt cutters.
BENJI Xavier’s still not checked in?
TINO (intensely worried, now) No. Fuck, no.
CUT TO:
CAMERA SHOT - INT. - AN ABANDONED LIBRARY - CLOSE-UP OF XAVIER - HAND-CAM, GRITTY FILTER, UNSTEADY.
XAVIER Ok, now check this out-
He jogs backwards, arms out for balance. Tongue stuck out in concentration, XAVIER does a little wiggle to assess the space he takes up. And then he tucks his long legs and leaps in the air, arms pinwheeling as he attempts a jumping backflip. Out of frame, a variety of paranormal equipment begins beeping. XAVIER doesn’t hear, initially - he is busy recovering from the failed attempt, rubbing his sore hip.
FOOTSTEPS slowly walk across the room; they can be heard above XAVIER’S petulant whining, but their source unseen.
XAVIER Ow. That - ow.
VOICE (echoing, multilayered) Making a movie?
XAVIER freezes. Palms flat to the ground, his fear-widened eyes go even bigger as the footsteps draw closer. He’s looking off to the side, pupils growing larger and larger in the dim night vision as something the CAMERA cannot see moves closer.
Finally, a foot pads into frame. It is just sinew and muscle, dripping a wet puddle where it stands. XAVIER’S terrified eyes draw upwards.
VOICE (slowly becoming more corporeal as it speaks) I love movies. And you already set up all the shots for me. All this fancy equipment.
XAVIER whimpers in pure terror, his arms drawing closer to his body like he’s getting ready to run again. His face goes slack with panic: he can’t move.
VOICE Let’s go find your friends, though. We have the star -
A similarly wet, stripped arm floats into frame; the VOICE points a long, bony finger in XAVIER’S direction.
VOICE ... and the crew.
The arm folds, making a disgusting squelching sound as the VOICE ostensibly presses a hand to its raw chest.
VOICE Now we just need the supporting cast.
CUT TO:
CAMERA SHOT - INT. - SECURITY CAMERA IN THE CAFETERIA - TOP-DOWN VIEW
TINO We know there are some restless spirits here, son, there’s bound to be some activity.
BENJI and TINO help LARK to his feet. The bars have been cut - and, with their combined strength - pried apart to free the terrified man.
LARK (near hysteric) No - no. It’s something else. We have to find Xavier-
ALL THREE MEN slap hands to their ears as a piercing, awful noise that rises from the bowels of the old building. It seems to come from the walls, below them, and deeper into the depths all at once. It’s the sound of a thousand or two thousand or ten thousand machines all jamming at once, gears and pipes bursting, not an explosion but worse.
VOICE (off camera, all around, echoing) Beat you to it, cutie.
CAMERA SHOT - INT. - THE CAFETERIA - CLOSE-UP OF LARK
The CAMERA glitches and goes black.
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