Descension

By
Jennifer Grand & Michael Maxwell
Based on
The Chimera House Urban Legend

FADE IN:
INSIDE A TRANSPARENT TUNNEL, like you might find in a
McDonald's playground.
HEAVY BREATHING. SAMANTHA, (20’S), diminutive but brash,
scoots through the tight tunnel on her stomach. It’s a
claustrophobic's nightmare.
She pauses, trying to quell the rising PANIC.
MALE VOICE (O.S.)
Come on. You’re halfway through.
From above her, TICK-TICK TAP-TAP TICK-TICK.
Confused, Samantha rolls to look up through the CLEAR tunnel
as a CASCADE of brown comes pouring towards her.
SAMANTHA
What the --
Thousands of MADAGASCAR HISSING COCKROACHES rain down.
Instantly they surround the entire tunnel. Centimeters from
her face. HISSING. She clenches her eyes.
SAMANTHA (CONT’D)
Help!!
A pair of HANDS reach in and pull her out.
OUTSIDE THE TUNNEL
She shakes her hair and arms, as if shaking off the roaches
that never touched her.
Her BOYFRIEND LAUGHS.
BOYFRIEND
You should have seen your fa--
EXT. DRIVEWAY - DAY
Samantha power walks toward an old, black Trans AM. Her
Boyfriend trails behind.
BOYFRIEND
Come on, wait up.
SAMANTHA
I wanna go home. Now.
2.
BOYFRIEND
You’re being ridiculous. We weren’t
in any danger in there.
SAMANTHA
Some guy you met in a bar tells you
about this death trap and you bring
your girlfriend here? Haunted
houses are supposed to be fun. That
wasn’t fun!
BOYFRIEND
No, haunted houses are supposed to
scare your pants off.
(under his breath)
That’s what I was counting on
anyway.
Samantha glares at him.
INT. TRANS AM
As they pull away, a Buick sedan pulls up. Samantha makes eye
contact with a pretty REDHEADED GIRL and a TOUGH GUY with a
bulldog tattoo on his neck.
SAMANTHA
She’s in for a treat.
EXT. PRIVATE COLLEGE CAMPUS - DAY
A year at this school costs more than most people’s car.
INT. REBECCA’S APARTMENT - LIVING ROOM
REBECCA, (21), pops in, sweaty and flushed. Her brunette hair
is in a ponytail, and her team uniform proudly proclaims her
a FIGHTING HORNET.
Her roommate, a FASHIONISTA, (21), doesn’t look as if she’s
ever worn a team uniform in her life.
FASHIONISTA
You’re just now getting home?
REBECCA
Coach asked me to help him clear
the track.
FASHIONISTA
Isn’t that his job? Say no.
3.
REBECCA
Look, I have to shower real quick.
Wait for me?
FASHIONISTA
No.
(beat)
See how easy that is?
REBECCA
If I only had your elegant
delivery.
FASHIONISTA
I don’t know why you’re even
coming. You hate these frat
parties.
REBECCA
Jake really wants to go.
Rebecca walks into the,
BATHROOM
She takes off her shirt, leaving just her sports bra.
FASHIONISTA (O.S.)
You’re killing yourself to make
everyone else happy.
The front door SLAMS as she turns on the SHOWER.
LATER
KNOCK at the front door.
LIVING ROOM
Rebecca emerges from the bathroom. The transformation from
sweaty athlete to fresh-faced coed is complete.
She opens the door to find a SLIGHT MAN, (50’s), in a second-
hand suit, the seams fraying. His left arm is in a sling.
REBECCA
Can I help you?
SLIGHT MAN
I’m here about the Craigslist ad.
REBECCA
I’m sort of out the door to meet
some friends. Maybe tomorrow?
4.
SLIGHT MAN
I came all the way from
Bridgefield.
REBECCA
That is quite a drive.
SLIGHT MAN
I’d really appreciate it.
REBECCA
OK. If we make it quick.
She leads him through the apartment. He lags behind, scanning
the bookshelves and photos on the walls.
SLIGHT MAN
Nice place. Very cozy.
REBECCA
Here she is.
BEDROOM
Rebecca points out the bed, but remains in the doorway.
The Slight Man inspects the bed, rounding to the other side.
SLIGHT MAN
I like the wood work.
REBECCA
It’s Ikea. Not sure it’s actual
wood.
SLIGHT MAN
How long have you had it?
REBECCA
Two, maybe two and a half--
SLIGHT MAN
What’s this here?
He crouches to examine the leg. Rebecca stretches to see.
REBECCA
What?
SLIGHT MAN
It looks like the wood is
splitting. Come take a look.
5.
REBECCA
Really?
SLIGHT MAN
Come on over.
He BECKONS. She rounds the bed to join him.
SLIGHT MAN (CONT’D)
You have to bend down to see it.
REBECCA
I don’t see anything.
SLIGHT MAN
Really bend down.
She steps back. Something is off.
REBECCA
It’s $150 as is.
SLIGHT MAN
Perhaps an arrangement--
JAKE (O.S.)
What’s going on?
The voice of JAKE, (21), booms with authority. His broad
shoulders fill the door frame. His blue eyes, usually
twinkling playfully, are narrowed with suspicion.
REBECCA
I was showing this guy out.
The Slight Man leaves without making eye contact with Jake.
JAKE
Who the hell was that?!
REBECCA
He came to see the bed.
JAKE
Rebecca, you can’t let some random
guy in when you’re home alone. It's
dangerous.
REBECCA
I know. I let you in two years ago
and now I'm stuck with you.
6.
JAKE
Just say, “Thank you for rescuing
me”.
REBECCA
(sincerely)
Thank you for rescuing me.
They kiss.
JAKE
Are you ready to see the costumes I
got us?
Jake looks excited. Rebecca looks dubious.
INT. FRAT HOUSE HALLOWEEN PARTY - NIGHT
MINDY, BRYCE and a TUBBY BRITISH FRIEND (all early 20's) are
drinking from the standard red Solo cups. Mindy is beautiful,
with legs for days. And she knows it. Bryce looks like he
likes sports, beer and manscaping. He’s all peacock.
BRYCE
(to TUBBY BRIT)
My dad said when I graduate, his
firm will hire me. So I’m set, bro.
MINDY
You shouldn’t count your chickens
before they hatch.
BRYCE
Before they hatch they’re called
eggs. Can I count my eggs?
(back to TUBBY BRIT)
I’ll put in a good word for you.
Starting salary is 150k.
MINDY
Bryce, $150,000 a year in Manhattan
is barely above the poverty line.
BRYCE
Do you have anything nice to say?
MINDY
I’ll let you know if I come up with
something.
BRYCE
What’s your big, post college plan?
7.
MINDY
Whatever I want. I’ll have a degree
from one of the best private
colleges in the nation and my
people skills.
BRYCE
Name one.
MINDY
Sarcasm.
BRYCE
That’s not a people skill.
MINDY
It is if you don’t like people.
Jake and Rebecca, carrying beers, join them. Rebecca hands a
beer to the Tubby Brit, but he waves her off.
REBECCA
You’re still not drinking?
TUBBY BRIT
(he pats his round belly)
And it's working. I’ve lost 10
kilos already.
BRYCE
I’d congratulate you, but I don’t
understand why you’re measuring
your weight in units of cocaine.
JAKE
I think he’s trying to reduce his
street value.
MINDY
I’m bored.
BRYCE
And?
MINDY
And this vodka is cheap, and I’m
tired of talking to the same
people. It’s Halloween weekend and
I want to do something.
BRYCE
Finish your drink. There's sober
kids in Africa.
8.
INT. JAKE AND BRYCE’S SPACIOUS APARTMENT - LIVING ROOM
Jake and Bryce are in a heated Ping Pong match. Mindy
watches... then SNATCHES the ball out of mid-air.
BRYCE
Hey! That was my point!
MINDY
Guys. Seriously. What’s the plan?
Rebecca walks past with a plate of snacks. They move to the
couches and begin helping themselves to her food.
JAKE
Let’s throw our own a party.
BRYCE
No. Last time we had people here
someone broke my juicer.
Jake whispers something to Rebecca. She shakes her head.
BRYCE (CONT’D)
The new Call of Duty just came--
MINDY
No. Don’t even finish that
sentence.
JAKE
(whispering to Rebecca)
I think it sounds fun.
REBECCA
I don’t know if it’s a good idea.
JAKE
They would love it.
MINDY
(whispers to mock them)
What are you two whispering about?
JAKE
We have an idea.
EXT. PARKING LOT OF APARTMENT BUILDING - MORNING
Jake and Rebecca are cuddling by a black BMW X5.
Mindy comes out of the building, followed by Bryce with a
rolling suitcase and duffle.
9.
JAKE
Dude, it’s an overnight trip.
The girls get in the car as the guys load the bags.
BRYCE
I was thinking, you know what would
make this even better? If we bring
someone who’d actually get scared.
INT. MARK’S APARTMENT
MARK, (20’s), is pale and scrawny. Dorky, but he owns it. He
opens the door wearing a Twilight Zone T-shirt.
BRYCE & JAKE
Mark!
MARK
Hey, guys.
(suspicious)
What’s up?
Mark’s ROOMMATE comes in.
ROOMMATE
Hey there. We’re going skiing for
the weekend. Either of you have a
pair of skis I can borrow?
BRYCE
I don’t even know you.
JAKE
You going too, Mark?
MARK
No. I have this paper on micro--
BRYCE
Excellent! You’re coming with us.
MARK
What?
BRYCE
Come on.
JAKE
Get dressed.
MARK
Where are we going?
10.
BRYCE
Somewhere you’ve never been before.
MARK
Thank you, that narrowed it down.
JAKE
I promise it’ll be fun.
Mark trusts Jake. Plus, he wants to be a part of the group.
MARK
Alright.
BRYCE
Bring a toothbrush.
MARK
Toothbrush?
JAKE
Like an overnight bag.
EXT. BRYCE'S BMW
The BMW turns onto a freeway.
INT. BRYCE’S BMW
Mark is squeezed in the backseat with Jake and Rebecca.
MARK
How far is this place?
REBECCA
We’ll be there by four.
BRYCE
Depending on stops.
JAKE
That was directed at you two girls.
MARK
Four? Someone, please tell me where
we’re going.
Bryce looks at Mark in the rear view mirror.
BRYCE
Don’t you like surprises?
11.
MARK
No.
JAKE
We’re going to a haunted house.
MARK
You’re kidding me.
JAKE
Not some hokey haunted house for
kids. This place is legit. Nobody
even makes it all the way through.
BRYCE
I’ll make it.
MARK
Wait, what do you mean?
JAKE
It’s 13 stories and each floor gets
scarier and more dangerous. Most
people quit after the first few.
MINDY
I don’t understand what could be so
horrifying that you’d leave.
JAKE
Isn’t that why we’re going? To find
out?
BRYCE
Nothing in a haunted house can be
scary. It’s all fake.
JAKE
You say that now, tough guy.
REBECCA
Anyway, if you do make it through--
MARK
--through all 13 floors you get
your money back. And I’ll bet your
cousin told you about the place.
Beat.
REBECCA
How did you know?
12.
MARK
Guys, a 13 story haunted house,
really? It’s an urban legend.
Google it.
REBECCA
No, I’m talking about a real place.
My cousin went there.
MARK
I doubt she went. I'm sure she
heard about it from a friend and
passed it on. That's how these
stories spread. It's like that one
about the couple on Lover's Lane
and the escaped convict with a hook
for a hand. You know?
They look at him blankly.
REBECCA
She went, and said she would never
go back.
BRYCE
And that’s why we’re going!
MARK
I know you never listen to me--
BRYCE
I’m gonna do more floors than any
of you.
JAKE
Let’s bet.
BRYCE
You’re on.
MARK
(to himself)
I’ll bet. I’ll bet this place
doesn’t even exist.
EXT. FOUR LANE FREEWAY - DAY
The BMW drives away from a NONDESCRIPT MIDWESTERN CITY.
INT. BRYCE’S BMW
Mindy fiddles with her phone. Without looking up,
13.
MINDY
Coffee.
BRYCE
Mindy, we just got on the road.
MINDY
I. Need. Coffee.
EXT. BRYCE’S BMW
The BMW pulls into the parking lot of a trendy coffee shop.
INT. BRYCE’S BMW
Mindy turns to Bryce.
MINDY
Large sugar-free soy latte.
Bryce realizes it’s his job to get her coffee.
JAKE
I’ll come with you, buddy.
Mindy turns around to face Rebecca.
MINDY
Tell me about this sister of yours.
REBECCA
My cousin.
MINDY
Whatever.
INT. TRENDY COFFEE SHOP
Bryce and Jake are waiting in line.
JAKE
All I’m saying is from the
perspective of an outside observer
it looks like you hate each other.
BRYCE
We do hate each other. Therefore
the sex is mind-blowing.
14.
INT. BRYCE’S BMW
REBECCA
There’s the head of an 8 point buck
that hangs on my Uncle Don’s wall
that Samantha shot. So, no, I
wouldn’t say she’s especially
squeamish.
Beat.
MINDY
I don’t even know what that means.
MARK
It’s a hunting term. It refers to
the number of points on the...
Mindy stares blankly at him.
MARK (CONT’D)
That was rhetorical.
Bryce and Jake return. Mindy takes a sip of her coffee.
MINDY
This coffee tastes like shit.
There’s no sweetener!
BRYCE
You said no sugar.
MINDY
No, I said sugar-free.
BRYCE
How can that not be the same thing?
MINDY
Because it’s completely different.
She hands the cup back to an annoyed Bryce.
EXT. BRYCE’S BMW - AFTERNOON
The BMW turns off the freeway, onto a smaller highway.
FADE TO:
EXT. BRYCE’S BMW
The BMW turns off the highway onto a two lane rural road.
15.
INT. BRYCE’S BMW
The car is silent. Jake is asleep. We get the feeling they’ve
been driving a while.
Bryce’s phone CHIMES. He taps the Facebook app and reads:
MINDY IS AT -- THE MIDDLE OF NOWHERE -- WITH BRYCE BENNETT,
REBECCA LANE AND 2 OTHERS
BRYCE
I told you to stop checking me in!
MINDY
And I told you to stop looking at
your phone while you’re driving.
MARK
(to Rebecca)
Do they ever stop fighting?
MINDY
Just watch the road.
BRYCE
I am.
MINDY
More.
REBECCA
You learn to tune it out after a
while. Hey, guys? Guys! Can we stop
at the next gas station?
EXT. RURAL GAS STATION
Everyone gets out of the car. The temperature has dropped and
the wind has picked up. Rebecca shivers.
MINDY
Bryce.
Mindy SNAPS her fingers and gestures to follow her.
INT. RURAL GAS STATION - DINGY BATHROOM
Mindy hovers over the toilet. Bryce stands guard.
MINDY
I can't believe they're moving in
together. What does he see in her?
16.
BRYCE
Rebecca’s sweet and they actually
seem to like each other. What’s
your problem with her?
MINDY
I don’t think she fits.
BRYCE
Because she doesn’t have a trust
fund?
MINDY
Laugh, but it’s true. Her family
could never afford this school.
She’s on full scholarship.
BRYCE
She’s an athlete.
MINDY
The bitch throws a javelin, let’s
not go crazy. And
(whispers)
She works summers.
INT. RURAL GAS STATION
Rebecca looks over the limited options for snacks.
MARK
Have you had these?
REBECCA
They taste like they want to be
M&M’s, but they’re not. You’ll like
them. You’ll eat anything.
Jake passes by on his way to the register.
JAKE
(singing/humming under his
breath)
Just sit right back and you’ll hear
a tale, tale of a fateful trip,
that started from this tropic port,
aboard this tiny ship.
The GAS STATION ATTENDANT is in filthy coveralls unzipped
below his bloated belly, barely covered by his undershirt.
17.
JAKE (CONT’D)
Route 2 is just a mile or two down
the road, right?
GAS STATION ATTENDANT
Can’t see what you want with Route
2. Nothing down that way but good
deer hunting land. Y’all don’t look
like hunters.
JAKE
We’re exploring.
GAS STATION ATTENDANT
Just offering some friendly advice.
Jake and Rebecca walk out with their arms around each other's
waists.
Mark watches wistfully for a moment. It's hard not to have a
crush on a girl like Rebecca.
EXT. DIRT ROAD
As the BMW moves down the dirt road we see a SMALL SIGN in
the brush that reads: PRIVATE PROPERTY NO TRESPASSING.
INT. BRYCE’S BMW
The energy in the car is ANXIOUS.
As the trees thin, they pull up to a TWO-STORY FARMHOUSE.
The BMW's navigation system says,
NAV
You have reached your destination.
EXT. FARMHOUSE
It’s painted soft yellow, and a brick path leads up to a
veranda with a wooden porch swing. At one time it looked
inviting, but now small signs of neglect are everywhere.
They exit the car and stand staring at the house.
JAKE
This can’t be it.
REBECCA
According to the map, this is it.
18.
MINDY
Well, this is some bullshit.
MARK
I picked up some brochures at the
gas station for when this turned
out to be a wild goose chase.
(flipping through
brochures)
There's a tractor pull in town
tonight. There's also an old silver
mine we can tour, hmm, but that
closes in half an hour.
Mark looks up and everyone has left him and followed Jake to
the house.
MARK (CONT’D)
Wait, where are you guys going?
FRONT PORCH
Everyone watches Jake KNOCK on the door.
POV SECURITY CAMERA zooms in. FACIAL RECOGNITION SOFTWARE
scans Jake. His name, address, driver’s license number, then
a rapid series of personal information quickly scrolls by.
The SECURITY CAMERA pans to SCAN Rebecca’s face next.
Jake looks at everyone and shrugs. He KNOCKS again. Louder.
Bryce peers in a window.
BRYCE
Lights are on.
REBECCA
And there’s cars out front.
Someone’s home.
CLOSE UP of the door lock. With a SOFT CLICK it slides back.
MINDY
They just don’t hear you.
Mindy POUNDS on the door. As her fist connects the unlocked
door opens. She’s frozen for a moment, fist still in the air.
MINDY (CONT’D)
Hello?
MARK
I don’t think we should intrude.
19.
No one listens. They enter, leaving Mark on the porch.
MARK (CONT’D)
(to himself)
Sorry, Officer, we didn’t mean to
break into the nice old lady’s
house. We thought it was a 13 story
house of horrors.
Mark reluctantly follows.
INT. FARMHOUSE
The five stand in the foyer. CLASSICAL MUSIC is playing and
by the scratchy quality, it sounds like a record player.
JAKE
Hello? Anyone home?
LIVING ROOM
There’s the RECORD PLAYER and a WARM FIRE burning. Along a
wall is a table with a sign pointing to a SMALL BLACK BOX
with a slit in the top.
JAKE (CONT’D)
(reading)
Please pay your admission fees
here. The tour will begin shortly.
Jake is brimming with excitement.
MARK
Clearly someone is home. We should
wait outside.
JAKE
Come on, this is all part of it.
Jake and Mark pay. Bryce pretends to be interested in a
painting. Jake nudges him and points to the black box.
BRYCE
What? No one’s watching us.
JAKE
It blows my mind how cheap you are.
Bryce sighs and pulls out his wallet.
A text message CHIME emanates from Rebecca’s pocket.
20.
SAMANTHA
(via text)
You’re not going to the house are
you?
CUT TO:
INT. SAMANTHA’S KITCHEN
A phone on the counter VIBRATES next to a newspaper with
photos of the Red Headed Girl and Tough Guy. Samantha picks
it up.
REBECCA
(via text)
We’re here! Or trespassing. Not
sure yet.
INT. FARMHOUSE - LIVING ROOM
Our fivesome look around expectantly.
MINDY
Now what?
As if on cue, a bookcase slides back to reveal an elevator.
Mark is dumbfounded.
JAKE
What’s the opposite of an urban
legend?
MINDY
An urban fact?
Jake boards the elevator. Mindy and Rebecca follow. Bryce
SLAPS Mark on the butt as he passes him.
BRYCE
You coming?
MARK
Against my better judgment.
ELEVATOR
The elevator doors close. A TV screen in the wall comes on.
First, SNOW and STATIC, then a grainy video right out of the
60’s, with a PROFESSOR TYPE.
21.
PROFESSOR
Welcome. You are now descending 13
stories down. For your safety and
enjoyment we ask that you pay
attention as I explain these simple
guidelines.
An ANIMATED GRAPHIC in the video shows what he’s describing.
PROFESSOR (CONT’D)
When you exit you will find
yourself on our BOTTOM FLOOR. As
you make your way, EACH DOOR MUST
BE CLOSED BEFORE PROCEEDING. At the
end of each floor you’ll come to an
elevator illuminated with a GREEN
GLOW. You’ll have two choices;
proceed to tour the next floor or
if you would like to leave, press
the button for the ground floor.
MINDY
Do we really need this spelled--
MARK
Shh.
MINDY
(crossing her arms)
Mindy does not like this one bit.
PROFESSOR
Note, if you choose to go to the
next floor, you must tour the
entire floor. If you have any
questions please ask your guide.
They all look at each other like, “what guide?”
BRYCE
Who would build this under a house
in the middle of nowhere?
REBECCA
Rich people are weird.
Behind Rebecca’s back, Mindy gestures to Bryce “told you.”
JAKE
This has to be the world’s slowest
elevator.
They continue to descend for a moment. Then the doors open.
22.
INT. FIRST FLOOR - CARNIVAL
The elevator opens to a giant red and yellow carnival tent.
A blinking sign with half the bulbs burnt out reads: HARPO’S
HOUSE OF HORRORS.
A GIANT CLOWN stands at the entrance, it’s mechanical arm
waving hello in a jerky, stilted fashion.
An old school reel to reel tape player plays the sound of
CACKLING LAUGHTER.
MINDY
This is already lame.
Jake pulls back the flap and leads the way into,
HARPO’S HOUSE OF HORRORS
The CACKLING continues. The walls SHAKE.
The sound of thunder CLAPS overhead. Each CLAP elicits jumps,
then LAUGHTER from the group.
A strobe light FLICKERS. A thick layer of fog SWIRLS.
Bryce dances in a hallway of fun house mirrors.
MINDY (CONT’D)
What are you five?
Suddenly, a giant clown POPS out from the shadows on a
spring-loaded device. Mindy jumps. The group LAUGHS.
BRYCE
What are you five?
MINDY
I wasn’t expecting it.
As the group continues, the MUSIC OF “ENTRY OF THE
GLADIATORS” becomes so loud it’s impossible to talk.
A narrow hallway is lined with DANCING WINDSOCK MEN decorated
like clowns. The windsock men FLOP and DANCE as their silky
arms grope at the group and tussle their hair.
They walk through a flap at the end of the tent and the
elevator is waiting patiently.
ELEVATOR
Mark looks at the two buttons; UP and GROUND.
23.
MARK
What do we want to do?
JAKE
Up!
BRYCE
That wasn’t scary at all.
REBECCA
It was just the first floor.
JAKE
Yeah, the warm up.
CRACK! The elevator CREAKS as it tilts. Another CRACK! They
panic. The elevator DROPS out from underneath them!
... then slows to a stop.
After one last CLOWN CACKLE, the elevator starts to rise.
They look at each other and LAUGH in relief.
INT. SECOND FLOOR - HOSPITAL - HALLWAY
The elevator opens to a SILENT hallway lined with doors. The
once bright white paint, now faded and peeling. A wheelchair,
a gurney and a rack with an empty IV bag sit abandoned.
Their footsteps ECHO eerily as they move forward.
MARK
I get the clowns, but who’s afraid
of hospitals?
JAKE
People with HMO’s.
They try a few doors, but they’re locked. Peeking in the
windows they just see stark, empty hospital rooms.
MINDY
So something pops out, we all jump,
then we get in the elevator again.
I’m bored already.
REBECCA
(to Jake)
People say “if you’re bored, you’re
boring.”
Mindy shoots Rebecca a dirty look.
24.
A HEAVY STEEL DOOR at the end of the hallway is cracked open.
It GROANS as Jake opens it up to an operating room.
BRYCE
Sweet.
OPERATING ROOM
They enter. As Jake lets go, the heavy door SLAMS shut.
Leg and arm SHACKLES hang from an old school operating table
next to a steel tray with surgical instruments.
The blue sheets are STAINED with blood.
POV SECURITY CAMERA pans to follow them as they explore.
PULLING BACK through the security camera we see them on a
monitor. One of many in a bank of monitors.
INT. DARK BEDROOM
Heavy velvet shades block out all but cracks of sunlight. The
KOOSHHHHH of an oxygen ventilator drones in concert with the
BEEPS of the heart monitor next to a large mahogany bed.
A shriveled, age spotted HAND, wearing a gold ring with the
initials RR, uses a remote control to zoom the camera in on
Mindy.
INT. HOSPITAL - OPERATING ROOM
Mindy looks through a refrigerator full of medicine bottles.
MINDY
Why so much penicillin?
REBECCA
Ok, this is creepy.
JAKE
Samantha wasn’t exaggerating.
This reminds Rebecca to check her phone.
SAMANTHA
(via text)
Stop and call me ASAP.
Rebecca taps out a reply. BEEP. MESSAGE SEND FAILURE.
25.
MINDY
No reception. I already tried.
Rebecca pockets her phone. Her face shows her unease.
Mark examines shelves of GLASS JARS FILLED WITH BODY PARTS in
formaldehyde. He picks up a jar with a FLESHY PINK BLOB and
turns it like you would a Magic 8 Ball to reveal your future.
JAKE
What is it?
A TINY FETUS FACE presses up against the glass. Mark drops
the jar. It SHATTERS at their feet and SPRAYS their legs and
Mindy’s face with formaldehyde and fetus.
Mindy YELPS and wipes at her face. Bryce GAGS. He takes a
step back, CRASHING into the tray of medical instruments and
slicing his hand on a scalpel.
BRYCE
(wincing)
Thanks, Mark.
Mark picks up a roll of gauze to wrap Bryce’s hand.
MARK
You’ve had a tetanus shot, right?
Bryce smirks at Jake like “who needs a tetanus shot?”.
REBECCA
Hey, did you guys hear that?
MINDY
No, we missed the jar shattering --
REBECCA
Shhh...
They hear a muffled MURMUR and then faint BANGING. Jake walks
towards the sound.
He opens a door to a dim corridor with six doors. The MURMUR
and BANGING intensify.
CORRIDOR
The banging stops. They stand peering in.
Each door has a tiny window and a slot in the middle. Down at
the end is a door with the green glow shining underneath.
26.
Mindy strides into the hallway. She looks in one of the
windows. An unmade bed, a toilet, clothes on the floor.
A faint MURMUR. They freeze. Then again, UNNNNNNN. Bryce and
Mark join them.
BRYCE
What is that?
JAKE
Over here.
They approach the door and peer in.
VOICE (O.S.)
Unnnnnnnnn. Unnnnnnn.
SLAM! A MALNOURISHED WOMAN presses her sunken face to the
window. Everyone JUMPS back. Her pale, young face has open
sores and her hair is thinning and greasy.
MALNOURISHED WOMAN
Runnnn. Run! RUN!!!!!
Ravaged faces of MEN and WOMEN appear in all the windows,
emaciated and desperate, BANGING on the doors.
MALNOURISHED MAN
Help me.
MALNOURISHED WOMAN #2
We are the forgotten.
Jake grabs Rebecca’s hand and they dash for the exit.
JAKE
It’s locked?!
REBECCA
What?! How else do we get to the
elevator?
The patients are now all BANGING on the doors and YELLING.
The CACOPHONY has our fivesome rattled.
BRYCE
We should go back and find another
route!
MARK
But the elevator’s right here.
27.
JAKE
(thinking out loud)
As you go through, each door must
be closed before proceeding.
Jake closes the door they came through.
JAKE (CONT’D)
Try now.
MARK
Got it!
Mark flings the door open. The elevator is there.
ELEVATOR
Everyone is on board.
BRYCE
That was awesome.
MINDY
Yeah? You like to see girls locked
up in mental institutions?
BRYCE
There’s one girl I’d like to see
locked up.
CUT TO:
INT. THIRD FLOOR - TERRARIUM - FOYER
The elevator opens. Mindy and Bryce are making out. Heavily.
JAKE
What is wrong with you two?
Jake, Rebecca and Mark squirm past. Mindy and Bryce keep at
it as the elevator doors close.
REBECCA
Should we wait for them?
JAKE
They’ll catch up.
Rebecca, Jake and Mark stand in front of another door.
28.
MARK
You know, I think I’m actually
enjoying this.
ROOM #1
They enter a small room bathed in orange from the heat lamps
in the ceiling. On the opposite side is a door and KEYPAD.
JAKE
Jesus, it’s hot in here.
A panel along the wall slides open and four mice SCAMPER out.
More panels open. For a moment nothing happens, then from
each panel SLITHERS several large snakes.
The mice scramble, sensing the danger.
Mark shrinks back to the wall.
MARK
Oh, god.
Mark tries the door behind him. Locked. He BANGS on it.
MARK (CONT’D)
Bryce?! Mindy?!
JAKE
Mark! We can’t go backwards. Only
forwards.
MARK
I don’t like snakes.
JAKE
Then, let’s go.
All three are SWEATING now, a mix of the heat lamps and fear.
Jake steps on the tail of a Burmese Python and it WHIPS into
a strike pose, HISSING aggressively.
He tries the exit door. Locked. Next to the keypad is a sign
with a picture of a snake.
REBECCA
(reading the sign)
How many snakes do you see?
JAKE
Mark! Count the snakes.
29.
MARK
Jake! No.
JAKE
I don’t really like snakes either
but we need to start counting.
REBECCA
Wait! Are any of them poisonous?
MARK
Venomous.
REBECCA
What?
MARK
Poisonous animals you have to touch
them or eat them to get the toxin.
But snakes have fangs so they
inject--
REBECCA
Mark! Are they venomous?
Sweat drips down Mark’s forehead.
A boa constrictor strikes at a mouse and in a flash wraps it
tightly. Another snake HISSES and strikes out at the first
snake angrily as it swallows the mouse whole.
MARK
I don’t think so.
JAKE
Then let’s start counting. Unless
you want to hang out in a hot box
with hungry snakes?
Jake grabs the snakes and slings them into one corner. It’s
hard to tell where one snake ends and another begins.
JAKE (CONT’D)
One, two, three, four, five...
The snakes slither angrily back, confusing his count.
JAKE (CONT’D)
Mark, keep them in the corner!
MARK
How!
Mark waves his hands as if shooing them.
30.
MARK (CONT’D)
Back! Go!
JAKE
Six, seven, eight, nine, Mark!
MARK
What?!
Snakes are coiling around Mark’s legs.
JAKE
Ten, eleven.
Jake winks at Rebecca.
JAKE (CONT’D)
Eleven and a half... eleven and
three quart--
MARK
Who taught you how to count??
JAKE
(laughing)
It’s 12 snakes.
Rebecca punches in 12. The keypad flashes red.
REBECCA
Wrong.
JAKE
Wrong??
MARK
This is why you don’t mess around
when-- when you’re counting snakes
for the code to a keypad!
JAKE
It’s 12. I know I counted 12.
Rebecca rereads the sign with the directions.
REBECCA
How many snakes do you see??
(triumphantly points at
the picture of the snake)
How many snakes do you see! 13!
She punches 13 into the keypad, it FLASHES green.
ROOM #2
31.
Jake SLAMS the door shut, and turns to see a couple in their
20’s. WINSTON is tall, well-built, with eyes so dark they’re
almost black. LUCIA, is pretty, but wearing a tragically bad
fuschia outfit. Her cheeks are stained with tears.
Jake JUMPS.
JAKE
Aah!
WINSTON
What? I scare you more than a room
full of snakes?
JAKE
No. I just-- I didn’t expect to see
you-- I-- What the fuck?
Jake looks into a pit filled with EVERY KIND OF SPIDER YOU
CAN IMAGINE. Crossing the pit is a narrow plank, plenty wide
enough to walk across but, also crawling with spiders.
REBECCA
I preferred the snake room.
LUCIA
That’s exactly what I said.
WINSTON
Yep, that’s what she said. Hours
ago. I keep crossing back and forth
to show her how easy it is.
LUCIA
I can’t do it!
WINSTON
You’re not going to fall in! The
path is a foot wide!
LUCIA
Stop yelling at me! I’m not doing
it! I’m just going to wait here
until they come get us.
WINSTON
No one is coming to get us!
MARK
(to Rebecca and Jake)
This is too good.
REBECCA
Good?
32.
MARK
It’s all perfectly designed to
isolate and play on our fears. And
fear is always disproportional to
the actual danger. I’m impressed.
JAKE
You weren’t saying that in the
snake pit.
MARK
Exactly.
Mark steps onto the plank to cross. With each step we hear
the sickening CRUNCH as he crushes spiders. He turns around.
MARK (CONT’D)
He’s right. What’s your name?
WINSTON
Winston.
MARK
Winston’s right. You won’t fall.
He flicks a spider off his shoe with a shake of his ankle. He
clears the pit and turns around triumphantly.
MARK (CONT’D)
Who’s next?
REBECCA
Settle down, it’s not Raiders of
the Lost Mark.
Rebecca steps out onto the plank and cringes as she hears the
CRUNCH. She takes a deep breath and sprints across.
WINSTON
See how easy that was, baby?
JAKE
How about, I’ll walk in front and
Winston will walk behind you. We'll
make sure you don't fall.
LUCIA
I can’t.
JAKE
OK, then.
Jake steps onto the plank.
33.
LUCIA
No, wait! I’ll do it.
Lucia is shaking. A GOLIATH TARANTULA crawls up Jake's shoe.
JAKE
Can we speed it up?
WINSTON
Spiders bothering you?
JAKE
Uh, yeah, a little.
Jake brushes off the bristly tarantula. Lucia grabs his
shoulders. Winston comes behind her and grabs her hips.
LUCIA
Uhhhhhhhhhh
WINSTON
Walk.
JAKE
Walk.
WINSTON
Walk!
She steps forward. Slowly at first.
A massive spider leg surfaces from below, followed by a
second leg and a seven inch AUSTRALIAN HUNTSMAN SPIDER pulls
it’s body onto the plank. Lucia SHRIEKS.
JAKE
Keep moving! The slower you go the
worse it is!
LUCIA
Emmmmmmmmmmmmm!
The sound that emanates from her is guttural. But she moves.
Jake reaches the end, and bats a few spiders from his pants.
LUCIA (CONT’D)
Get them off!
Rebecca helps Winston brush spiders off Lucia’s legs.
REBECCA
Are you OK?
34.
LUCIA
No! Can we get the fuck out of here
please?
JAKE
I’m dying to know what’s next.
ROOM #3
They enter to see a MAZE made of the same THICK, CLEAR
PLASTIC that protects bank tellers from robberies. Barely
visible through the maze is the elevator.
Winston opens a door that’s entirely clear except the handle
and enters the maze.
MARK
This looks pretty innocuous.
REBECCA
Famous last words.
They follow. It’s not that complicated, but the fact that
every wall is clear is confusing on the eyes. They bounce
into walls, scramble over obstacles.
Rebecca, Winston and Lucia move through quickly.
Jake follows the slower moving Mark. He comes to the mouth of
a tunnel, and gets on his stomach to slide through.
TICK-TICK TAP-TAP TICK-TICK comes from above.
Jake scrambles out as thousands of brown HISSING roaches pour
out from above, surrounding every inch of the tunnel.
REBECCA (CONT’D)
What was that?!
JAKE
Cockroaches. A lot of cockroaches.
CUT TO:
INT. FOURTH FLOOR - FOYER
The elevator doors open on a short hallway and a door.
MARK
Anyone else developing a door
phobia?
The group holds their breath as Jake turns the handle.
35.
PARLOR ROOM
The room behind the door is... just a room. Decorated in turn
of the century antiques. Winston sprawls out on the couch.
LUCIA
Really?
WINSTON
This is the first comfortable seat
I’ve had in hours.
LUCIA
How did you guys hear about this
place?
REBECCA
My cousin. How about you guys?
WINSTON
I read about it online, in a
discussion forum. But when I went
back later to show it to her, it'd
been removed.
LUCIA
Which I took as a sign we shouldn't
come.
There's a lull in the conversation.
REBECCA
Are we supposed to be waiting for
something?
JAKE
(in an exaggerated voice)
Welcome to the waiting room of
terror.
MARK
(in the same voice)
If the third floor didn’t scare you
to death, the fourth floor will
bore you to death.
They all LAUGH. Another lull.
JAKE
(to Winston)
You wanna make some room there for
the girls to sit down?
36.
WINSTON
I’m comfortable.
JAKE
I’m sure you are, but all the same-
They jump at the sound of GEARS TURNING and CABLES PULLING.
A precise series of movements follow:
A panel in the wall opens.
A table extends with A SCALE OF JUSTICE, a BEAKER and a
FUNNEL.
A second panel holds a gleaming MACHETE.
A trap door opens from the floor, and a steel stake rises
with a BABY GOAT chained to it.
An antique clock rotates into the wall and a digital clock
takes it’s place. 2:00. 1:59, 1:58...
The walls SCREECH and LURCH forward.
LUCIA
What was that?
REBECCA
The walls are moving.
WINSTON
Walls don’t move.
SCREECH. LURCH.
JAKE
These walls do.
Jake braces himself against a wall to stop it. No luck.
LUCIA
What do we do?!
WINSTON
There’s a machete over here.
1:27, 1:26...
JAKE
There’s also a scale, with a beaker
and a funnel.
The goat BLEATS.
37.
REBECCA
And the goat.
The walls SCREECH, louder, and closer.
:58, :57, :56...
Jake examines the beaker. His face falls.
Winston looks over the machete.
WINSTON
Wait! It says “a pound of flesh”.
Everyone looks at Winston. Then turns to look at Jake.
JAKE
(reticently)
The beaker says “a pint of blood”.
They turn to look at the goat.
LUCIA
You gotta to be fucking kidding me.
REBECCA
We have to kill the goat?
MARK
We’re not killing the goat.
Everyone relax. Let’s talk it out.
WINSTON
Talk it out? Man, we’re gonna be
dead in a minute.
Jake tilts the machete, still in Winston’s hand, so he can
see the inscription.
MARK
Nothing can happen. This is all
about simulating fear.
Winston JERKS his arm out of Jake’s grasp. He waves the
machete aggressively.
WINSTON
This mother fucking goat isn’t
simulated!
JAKE
Hey, hey! Easy, Winston.
:28, :27, :26...
38.
LUCIA
Baby, do something!
WINSTON
The messages say we need a pound of
flesh and a pint of blood. Unless
someone wants to volunteer...? It’s
gonna be the goat.
MARK
That’s not happening.
The room is squeezing them tighter by the second. Jake takes
a standing floor lamp and wedges it between the walls. The
walls SNAP it in two with ease.
Lucia grabs the beaker and funnel.
In this tight space, Rebecca is between Winston and the goat.
WINSTON
Move!
Winston brandishes the machete. Fearful, she steps back.
:10, :09, :08...
MARK
You don’t have to do that! We’re
not in danger.
Winston puts the machete to the goat’s neck.
POW!
From the side Jake, now in only a wife-beater, punches
Winston in the jaw. Winston stumbles.
Jake follows with a punch to the ribs. Jake’s other hand,
wrapped in his shirt, grabs the machete from a stunned
Winston without injury.
LUCIA
(shrilly)
What is wrong with you?! We’re
gonna die in here!!
JAKE
(to Mark)
This is right. Right?!
MARK
It has to be.
39.
SCREECH. LURCH.
The corner of a table presses into Jake’s hip. He WINCES.
:03, :02, :01
BEEP. Clock stops. Walls retreat. Relief washes over them.
A green glow appears highlighting hidden door. Jake pushes on
it and it opens.
LUCIA
(laughing hysterically)
It was all a trick! You were gonna
kill a goat. I was gonna help you!
He places a firm hand on Rebecca’s back and the three rush
into the elevator leaving Winston and Lucia behind.
WINSTON
I was protecting you! I was
following the directions! Lucia,
cut it out! Stop laughing!
CUT TO:
INT. FIFTH FLOOR - WAREHOUSE
The elevator doors open to a SEVEN-FOOT GRIZZLY BEAR towering
over them. Rebecca SHRIEKS.
The bear doesn’t move.
Jake reaches out and touches it’s thick fur.
JAKE
It’s stuffed.
REBECCA
(sheepishly)
Naturally. Why would a bear live
down here.
MARK
Or a goat for that matter.
They are surrounded by a menagerie of taxidermied animals.
Some heads mounted on walls. Some life-sized and posed.
Jake puts his arm around her and kisses her temple.
40.
JAKE
They can’t let us get too
comfortable.
MARK
Who is “they”? Anyone wondered that
yet?
HONK, HONK! SWOOSH! A stuffed goose swings off the wall,
barely missing Mark and disappears into the unlit ceiling.
MARK (CONT’D)
This is a lawyer’s nightmare. You
know, we didn’t even sign a waiver.
PPPSSSHHHHHH! An intense blast of air hits Jake. Startled he
throws his arms up to his face for protection.
They laugh. It’s nice to see Jake lose his cool.
JAKE
Anyone that comes all the way out
here knows what they’re in for.
The animals are becoming more aggressive. Attack poses, teeth
bared, closer to the path, crowding it.
MARK
I would have to disagree with you
there, Jake. Were you expecting to
be told to slaughter a goat?
SCREECH! A monkey’s call echoes through the hallway. Rattled
now, they all duck despite no threat.
REBECCA
This is where we all agree we're
leaving on the next elevator right?
MARK
Yes!
JAKE
What? No. Come on, baby. This place
hasn't gotten the best of you
already has it?
REBECCA
Jake, you just got into a fight!
JAKE
That guy was being an asshole. He
was the problem and now he's gone.
41.
REBECCA
So, you're still having fun?
JAKE
Hell, yeah. This is way better than
I expected. Besides, think about
how pissed we’d be if we'd drove
all this way and we weren’t scared
right now.
Hell, yeah. This is way better than
I expected. Besides, think about
how pissed we’d be if we'd drove
all this way and we weren’t scared
right now.
A CHEETAH, mouth wide, baring teeth, shoots toward Mark with
a WILD CAT GROWL.
Mark scrambles, catching his shirt on the talon of an eagle.
It RIPS as it pulls the eagle down. The sharp beak is heading
for his face, before he dodges it.
Jake puts a hand out to help him up.
MARK
(wincing)
So very pissed.
Further along the animals are arranged in tableaus.
A male LION mating with a female lion.
A pack of WOLVES tearing apart a raccoon.
VULTURES picking at a carcass.
Rebecca sniffs the air and quickly covers her nose. Jake and
Mark grimace at the stench too.
REBECCA
Something smells very wrong here.
Jake leans in and smells the raccoon carcass. It looks very
real.
JAKE
Is that the raccoon that stinks?
MARK
Is this what fresh taxidermy smells
like??
PPPSSSHHH! They all freeze. Nothing happens. Then another
hard BLAST of air hits Rebecca’s face, blowing her hair back.
42.
REBECCA
Dammit!
Ahead is a TURTLE with the head and tail of a snake.
A BADGER with two crows heads.
A HAWK with the head of a white rabbit.
REBECCA (CONT’D)
I’m officially disturbed.
Jake looks at the crows. The eyes of both heads fly OPEN,
black like tar. Both beaks open. SQUAWK!! Jake steps back.
REBECCA (CONT’D)
I think the smell is getting worse.
Let's keep moving.
JAKE
You gotta breath through your
shirt, like this.
He pulls his shirt up over his nose.
JAKE (CONT’D)
(through his shirt)
See? Can't even smell it anymore.
The come to the green lit elevator and in front is a sign
reading:
THANK YOU FOR VISITING US. PLEASE TAKE THE ELEVATOR TO THE
GROUND FLOOR.
Beneath that is a giant smiley face.
JAKE (CONT’D)
What about the rest of the floors?
REBECCA
I’m not over this floor yet.
MARK
Now, are they saying don’t go on or
are they saying
(melodramatically)
“Don’t go on”.
Jake spots a door with another sign reading: RESTRICTED
ACCESS TRESPASSERS WILL BE PROSECUTED
REBECCA
Either way, it’s over.
43.
Jake opens the Restricted Access door to a supply closet. A
steel ladder leads up to a HATCH in the ceiling.
JAKE
Or, we can keep going. It’s like a
Choose Your Own Adventure.
REBECCA
Jake, this isn’t like skydiving or
climbing Machu Picchu. This isn’t
something you have to conquer.
JAKE
But, it’s a bluff.
MARK
Maybe. Or maybe the tour is over.
The sign says to take--
JAKE
I can read, thank you. Wasn’t it
you that said not to believe
anything in this place? And what
about Bryce and Mindy?
MARK
They can find their way just fine.
JAKE
If Bryce wins the bet I’ll never
hear the end of it.
REBECCA
He’s right though, we shouldn’t
leave them.
MARK
They left us.
JAKE
You two can go up. I’ll stay and
look for them.
MARK
How do you know they’re not up
there waiting for us already?
REBECCA
I don’t think we should split up.
JAKE
Let’s do one more floor. If they
haven’t caught up by then, we’ll
leave.
44.
Mark shakes his head and hits the button for the elevator.
Jake puts his hand out for Rebecca to take.
JAKE (CONT’D)
One more floor? For me?
REBECCA
(reluctantly)
One more.
Mark TAPS his foot impatiently at the closed elevator doors.
MARK
(muttering to himself)
I’m not scared. I’m just following
directions.
He looks in the supply closet and sees Jake climbing the
ladder.
He looks back to the elevator. No movement.
MARK (CONT’D)
Jake, wait up!
JAKE
Atta boy! Close that door behind
you.
Mark does and Jake turns the hatch handle. It opens with a
release of air pressure. WOOSH.
CUT TO:
ELEVATOR FOYER
Outside the supply closet the elevator doors slide open to an
empty elevator.
But, no passenger is waiting to board...
POV SECURITY CAMERA as we PULL BACK into,
INT. DARK BEDROOM
The shriveled hand belongs to an OLD MAN, barely visible in
the shadows.
He presses a button on the intercom.
45.
OLD MAN
Send for my son.
CUT TO:
INT. FIFTH 1/2 FLOOR
Jake gives Mark a hand coming up the hatch. The ceiling is so
low they can’t fully stand. Above them is a SECOND HATCH.
FROM BELOW we look up through the first hatch at the
apprehension on Rebecca’s face as she slowly closes it.
CUT TO:
INT. WORKSHOP
SPARKS fly.
A LARGE MAN in a welding mask at a workbench stops to look
over his work. A KNOCK at the door.
He lifts the shield on his mask and we meet ABRAHAM RANDOLPH,
(50’s), snub nosed, with a barrel chest and thick dark
eyebrows.
He opens the door to sandy-haired TWIN BOYS (9).
TWIN #1
Ma needs help opening a jar.
ABRAHAM
A jar?
TWIN #2
She says she can’t finish dinner
‘til you come.
Abraham CHORTLES. He puts his welding mask on Twin #2’s head
as he walks out of the workshop.
Twin #2 walks around bumping into things. Both boys GIGGLE
and follow their father.
ABRAHAM
(to Twin #1)
Close that door will ya.
TWIN #1
Got it!
He closes it... and it slinks back open a crack.
46.
INT. WORKSHOP
The hatch in the floor opens with the same release. WOOSH.
Jake, Rebecca and Mark come up through the hatch and look
around.
Tacky green wall paper, a faded old couch, rolls of plastic
sheeting, a mattress, an industrial sink, a work bench with
assorted tools and the welder’s torch.
Jake looks over the work bench.
Rebecca picks up a pile of photographs. Men and women tied to
the bed, abused and tortured. A black sheet on is on the wall
behind the bed and plastic sheeting covers the floor.
She puts the pictures down, revolted. Lingering on top is a
photo where a corner of the black sheet has come undone.
Behind it is the same TACKY GREEN WALL PAPER as the workshop.
REBECCA
We need to leave.
JAKE
This torch is still hot.
MARK
We don’t even know what we’re
supposed to do yet.
Mark takes a closer look at the only door in the room.
JAKE
Maybe we have to weld our way out.
Is that a thing?
Rebecca sees large hooks screwed into the walls above the
mattress and chains piled on the floor next to the mattress.
REBECCA
(urgently)
Jake. Now.
JAKE
OK, well I’m sure we can’t just
walk out of here.
MARK
Hey. The door’s open.
47.
INT. SIXTH FLOOR - MAPLE STREET
The three peek out the door and their faces fill with awe.
Ten bungalow style homes line the adorable street, softly lit
by street lamps.
Each home has a facade that appears to have been modeled
after the “Music Man”. Painted in cartoon-ish colors, with
perfect turf landscaping.
The street sign reads: MAPLE STREET
MARK
Whoa.
JAKE
Now, aren’t you glad we kept going?
From the window of one house a PALE WOMAN holding a baby
watches Rebecca. Shaking her head, she closes the curtain.
REBECCA
Not yet.
On the porch of one of the houses, the Twin Boys stop
shooting marbles and stand and stare at them in unison.
WOMAN’S VOICE (O.S.)
(calls out)
Boys.
SARAH RANDOLPH, (50’s), opens the screen door, drying her
hands on her apron. Her graying hair is pulled up into a tidy
bun showing off her delicate features.
SARAH
Boys, come in for-- Oh my gosh. I
didn’t realize we had company. Abe?
Abraham steps out. He smiles warmly as he puts an arm around
his wife’s shoulders.
SARAH (CONT’D)
I’m Sarah. This is my husband.
ABRAHAM
Abraham Randolph. Join us for
supper, won’t you?
They hesitate. Rebecca eyes the elevator.
48.
REBECCA
(under her breath)
Let’s skip it.
MARK
I’m starving.
ABRAHAM
Come in. I insist.
CUT TO:
INT. SIXTH FLOOR - MAPLE STREET - THE RANDOLPH HOUSE
Jake, Rebecca and Mark look around a home straight out of
another era. A heavily patterned sofa, solid oak furniture,
Norman Rockwell paintings on the walls and a cozy fire.
SARAH
(astonished)
You all look so healthy.
She smiles widely, so they smile and nod in response.
Sarah joins Abraham in the kitchen.
They join the Twin Boys and a BLONDE WOMAN with a warm tan,
at the table. They just stare at them.
JAKE
It'll be like dinner theater.
MARK
Hopefully with real dinner.
Hellooo.
He waves his hand in front of the boys. They don’t flinch.
MARK (CONT’D)
Maybe they don’t get speaking
roles.
Sarah and Abraham return with the meal.
Abraham cuts the meatloaf and Sara serves it. It doesn’t look
right. Grayish and lumpy.
Rebecca looks at her plate. Soggy vegetables and funky
meatloaf.
Jake pokes at the meatloaf, then chooses the dinner roll.
Mark digs right in.
49.
ABRAHAM
Jacob.
JAKE
Abe.
ABRAHAM
Abraham. You don’t care for the
meal?
JAKE
No, it’s very tasty. Thank you,
Mrs. Randolph.
Jake nods politely to Sarah. Abraham studies him carefully.
MARK
(with his mouth full)
This is good.
Sarah stands to dish him out a second helping.
SARAH
It's been so long since we've had
new young men come into our home.
Could this mean that the worst is
behind us?
ABRAHAM
I will ask the questions!
Abraham's outburst puts everyone on edge.
ABRAHAM (CONT’D)
Sarah doesn’t mind intruders in our
shelter. Of course, she has no
sense about her. Where have you
come from?
JAKE
Albuquerque.
From Mark and Rebecca's faces, we gather this isn’t true.
ABRAHAM
(to the twins)
That was in New Mexico, boys.
He lovingly takes Sarah’s hand in his.
ABRAHAM (CONT’D)
Remember when we took the train? We
went through New Mexico.
50.
Sarah nods and beams at him, but her eyes are vacant and
empty.
ABRAHAM (CONT’D)
(back to Jake)
You’re a long way from home then.
SARAH
Is it safe there? No contamination?
Abraham SLAMS his hand on the table. Rebecca WINCES.
JAKE
(puzzled)
It’s perfectly safe.
ABRAHAM
Of course. As if life has just
carried on as usual while we've
been living down here. What’s the
price of gasoline these days? 75
cents a gallon?
Mark SNICKERS. Abraham shoots him a look of rage. Mark’s
smile disappears. Abraham turns back to Jake.
ABRAHAM (CONT’D)
You think you’ll find sanctuary
here? You think I’ll take you into
my home, endanger my family, feed
you, protect you, along with your
woman.
JAKE
I have no idea what you’re talking
about.
ABRAHAM
Why do they always pretend they
don’t know anything?
Rebecca looks closer at the Blonde. She's covered in bruises
and her fingernails are worn down and bloodied from
scratching.
The Blonde looks right at Rebecca and mouths “Help me”.
Rebecca takes Jake’s hand under the table and squeezes it.
ABRAHAM (CONT’D)
(practically growling)
We prepared ourselves for the
devastation of war.
(MORE)
51.
ABRAHAM (CONT’D)
And we will continue to do whatever
is necessary to protect ourselves,
Jacob.
JAKE
Is that a threat?
ABRAHAM
I don’t need to threaten you. I’m
in control here.
MARK
(unsettled)
This is different.
Abraham's tone flips from menacing back to friendly again.
ABRAHAM
Rebecca, do you read the Bible?
Rebecca shakes her head.
ABRAHAM (CONT’D)
That’s a shame. You don’t even
realize what a serendipitous
occasion it is for Sarah and me to
have you join our home.
JAKE
There’ll be no joining.
ABRAHAM
A pretty young woman named Rebecca
has blessed us and she will help us
repopulate.
REBECCA
Just because you work here doesn’t
give you a free pass to be
disgusting.
Abraham looks confused by her suggestion.
JAKE
I’m gonna punch him in the face.
SARAH
I'll get dessert.
She stands. Abraham SMACKS her.
ABRAHAM
You’ll go nowhere, unless I tell
you to!
52.
Sarah sits, tears in her eyes.
JAKE
What the hell is wrong with you!??
Twin #1 tries to stab a steak knife into Mark’s hand. He
barely pulls away in time. The knife sticks into the table.
MARK
What the fuck? What if I didn’t
move my hand?
ABRAHAM
I don’t appreciate that language at
my dinner table. Mark, Jake, I
think you two better leave us. Now.
JAKE
We’re all leaving.
INT. SIXTH FLOOR - MAPLE STREET
The three of them head out the door towards the elevator.
Abraham comes out with a SHOTGUN.
ABRAHAM
Let’s make this easy peasy.
JAKE
Nice prop, buddy.
Abraham FIRES the gun above their heads.
GAME CHANGER. They BOLT.
ABRAHAM
Where are you going, Rebecca?
Abraham FIRES again as they race into the elevator.
ELEVATOR
Jake and Rebecca hug the walls.
Mark, stunned, watches Abraham take aim.
Jake YANKS him to the side as BOOM! A huge hole rips open the
back wall of the elevator just as the doors close.
53.
MAPLE STREET
Sarah has joined Abraham and puts her hand on his shoulder.
SARAH
Don't kill the boys this time,
dear. It would be so nice to have
them around.
INT. SEVENTH FLOOR - OPERATION CENTER
The elevator doors open to what looks like an empty elevator.
One by one, Jake, Rebecca and Mark’s faces peek out.
Cautiously, they move into the quiet hallway.
REBECCA
Wait.
Rebecca turns on the Emergency Stop starting a soft,
INTERMITTENT BEEP.
JAKE
Good thinking.
BRYCE
There you are!
They JUMP as Bryce pops his head out of a doorway.
REBECCA
Dammit, Bryce!
BRYCE
You guys are jumpy.
Mindy steps into the hallway.
MINDY
We thought for sure you chickens
went back to the car.
MARK
We should’ve.
JAKE
We were looking for you.
REBECCA
Now we’re looking for the way out.
54.
BRYCE
Good luck. These elevators don’t
have a button for the ground floor.
MINDY
Why are you so worked up?
MARK
(to himself)
I didn’t even want to come here.
JAKE
Did you not meet our new neighbor,
Abraham, with the shotgun?
MARK
(to himself)
I think it qualifies as a
kidnapping.
BRYCE
No way?
(to Mindy)
I told you we should have stayed on
that street a little longer.
MINDY
It looked boring.
REBECCA
It was. Until he tried to shoot us.
MINDY
Big deal, an actor chased you
around with a fake gun.
Jake points to the gaping hole in the elevator.
JAKE
Fake?!
MARK
Guys, I don’t think they were
actors.
MINDY
I don’t think Vin Diesel’s an actor
but that doesn’t stop him.
BRYCE
(to Mindy)
Let’s show them what we found.
55.
PROJECTOR ROOM
A dozen chairs and an 8mm projector sit facing a screen.
JAKE
My dad used to have one of these.
MINDY
Good, maybe you can work it. Bryce
burned a hole in the first film.
Bryce hands Jake a film canister, labeled: PRISCILLA 1957.
Mark sees a FLASH of movement from the hallway.
HALLWAY
Mark steps out into the hallway, but sees no one.
The elevator’s BEEPING continues.
Moving down the hallway, he peeks into a small lab. On the
wall are graphic images of the human body exposed to
radiation for progressive amounts of time.
PROJECTOR ROOM
Rebecca, Jake, Bryce and Mindy watch black and white footage
of men in hazmat suits placing live pigs in metal canisters.
FEMALE NARRATOR (V.O.)
To determine the effects of an
atomic bomb on human skin, the army
bought 700 pigs. The pigs were tied
into special raised pens designed
by Randolph Robotics, and exposed
to the heat, radiation, and blast
of an atomic bomb.
ATOMIC BOOM. A huge FLASH. The pigs SQUEAL and SCREAM as the
blast incinerates them.
Rebecca drops her eyes to the floor, sickened.
BRYCE
Our military did this?
HALLWAY
Mark tries another door. Locked. He looks through the window
into a storage room. Hazmat suits, the same as in the film
footage, oxygen tanks, fire extinguishers and medical
supplies.
56.
PROJECTOR ROOM
The film is still running and the pigs are still SQUEALING.
MINDY
Turn it off!
JAKE
I’m trying!
STUDY
Mark flips through a thick hardback book. He puts it back on
the shelf. The spine reads: BIOCHEMICAL ENERGY SOURCES.
He looks over the mahogany desk. A lamp, pens, stapler --
He perks up, listening, then stuffs something in his pocket.
PROJECTOR ROOM
The film has finally stopped.
Jake is reading the titles of the other film canisters and
half listening to Bryce.
BRYCE
(quietly)
... it gets even better. We get out
of the elevator and we’re stucking,
and she reaches her hand--
JAKE
Wait, what’s stucking?
BRYCE
We were standing up and--
Bryce mimics sex. Jake waves him off.
JAKE
Got it.
REBECCA (O.S.)
Jake, come see this.
Jake turns to her, leaving Bryce in the middle of his story.
She points to a map of a massive silo with 13 floors.
REBECCA (CONT’D)
It’s a map of this place. Here’s
the floor we’re on now.
57.
JAKE
So six floors left?
Bryce and Mindy gather curiously. Quiet, for once.
REBECCA
This stairwell alongside the
elevator goes straight to the top.
Mark bursts in.
MARK
Guys!
JAKE
Hang on, Mark.
MARK
The elevator isn’t beeping anymore.
Rebecca RIPS the map off the wall and folds it in her pocket.
REBECCA
Let’s go.
BRYCE
What’s the hurry?
JAKE
Now!
Jake’s urgency moves Bryce and Mindy to follow.
HALLWAY
They dash towards the elevator.
Through the study window we see the eyes of a FRECKLE-FACED
LITTLE BOY follow them.
Jake quickly tries the door to the stairs.
JAKE (CONT’D)
Locked.
ELEVATOR
They're all on board. Somehow, Bryce and Mindy are still
unfazed.
58.
BRYCE
I can’t believe we haven’t seen a
vending machine. I’m hungry. And
I’m getting hangry.
MINDY
Do you think they have good sushi
anywhere around here?
INT. EIGHTH FLOOR - PANTRY - FOYER
The elevator stops. Mindy and Bryce stride out into a foyer.
JAKE
(to Mark)
Do you think we’re overreacting?
MARK
No. Absolutely not. We need to get
the fuck out of here.
Bryce and Mindy turn back to them.
BRYCE
Are you ladies coming?
JAKE
Hold on. I think we should all take
a minute.
BRYCE
(exasperated)
I can’t believe what easy marks you
are. If you ran a haunted house,
wouldn’t you try to convince people
that everything was real?
REBECCA
It’s not that simple.
MINDY
Really? If we’re in so much danger,
how come your crazy friend isn't
chasing us?
REBECCA
Maybe there’s no need to.
Jake puts his arm around her, realizing for the first time
just how scared she is.
59.
BRYCE
You’re not actually buying into
this, right, Jake?
MARK
(more firmly than usual)
There’s a big difference between
courage and ignorance, Bryce, and
if you’d stop being such an asshole
and listen for a minute--
BRYCE
An asshole?!
JAKE
Everyone calm down.
MINDY
(pointing to herself and
Bryce)
I think that’s what we’ve been
saying this whole time.
JAKE
Just hear him out.
MARK
Before he shot at us, that guy said
he was Abraham Randolph, but
Abraham Randolph has been missing
for over 40 years.
JAKE
Who’s Abraham Randolph?
MARK
The son of Elmore Randolph...
CUT TO:
INT. PRESS CONFERENCE - 1950’S
ELMORE RANDOLPH, a well dressed man in his late 30’s with
perfect Cary Grant hair, speaks in front of a crowd. The LOGO
for Randolph Robotics is projected behind him with the
slogan: Protecting YOU!
The RR logo MATCHES THE RING on the sickly, old man's hand.
60.
MARK (V.O.)
...the founder of Randolph
Robotics, the largest weapons
manufacturer in the country.
CUT TO:
The cover of TIME MAGAZINE features MICHAEL RANDOLPH,
Abraham’s IDENTICAL TWIN BROTHER, with the caption:
Protecting YOU?
MARK (V.O.) (CONT’D)
His other son, Michael, is the
current CEO.
CUT TO:
INT. EIGHTH FLOOR - PANTRY - FOYER
BRYCE
So, what? I went to Disneyland when
I was a kid and a guy pretended to
be Mickey Mouse.
MARK
Haven’t you guys noticed everything
in this place has been labeled
Property of Randolph Robotics?
He holds up the pen from the study to show them the Randolph
Robotics logo.
Mindy grabs the pen.
MINDY
(holding it up)
This is a prop.
(pointing to the floor)
Those were actors.
(pointing at them)
You are suckers.
JAKE
Why would a weapons manufacturer
build an underground haunted house?
That doesn't make any sense.
MARK
No, but building a fallout shelter
does. Elmore went senile. That's
why he stepped down and his son
took over.
(MORE)
61.
MARK (CONT’D)
He was convinced his company's
weapons would bring on a nuclear
holocaust.
REBECCA
You’re saying that family lives
down here?
MARK
(shrugs)
No one has seen Abraham Randolph in
40 years.
BRYCE
How do you know all this shit?
MARK
I read.
THUD! They turn in the direction of the noise.
MINDY
What was that?
BRYCE
How am I supposed to know?
REBECCA
Shhhh.
Jake peeks around the corner.
MEAT LOCKER
ZEKE, (20’s), comes out of a large refrigeration unit.
Dressed in overalls, he’s clean cut and well-built, with huge
forearms and hands. He drops a hunk of meat on a massive
butcher block with the same THUD!
FOYER
Jake signals the group to keep quiet. He watches Zeke return
in to the refrigerator, then waves them forward.
MEAT LOCKER
They dart behind some crates. Zeke reemerges and they freeze.
He chops a chunk of meat with an enormous meat cleaver, then
passes the meat through a scanner. BEEP.
He goes back into the refrigerator.
62.
MINDY
What’s he doing?
Jake and Rebecca peek up. They see into the refrigerator
where there are FOUR BODIES hung on hooks, meat locker style.
One body we recognize as the Tough Guy with the bulldog
tattoo. Rebecca’s eyes go wide in fear as Zeke pulls the body
down from the hook and throws it over his shoulder.
Rebecca opens her mouth. Jake clamps a hand over it. He pulls
her to the ground to silence her, ending up on top of her.
MINDY (CONT’D)
What??
Jake just shakes his head.
Mindy and Bryce peek and then immediately drop back down in
horror.
Abraham’s voice BOOMS before he even enters.
ABRAHAM (O.S.)
Zeke!
ZEKE
Yes, Father?
Mark signals Bryce and Mindy to be silent.
Jake’s hand remains over Rebecca’s mouth.
Zeke starts putting hunks of carved human flesh in a meat
grinder. VRRRRR VRRRRR VRRRRR.
Rebecca, lying on the ground, can see through a space between
two crates. She watches Zeke push the flesh through the
grinder. VRRRRR VRRRRR VRRRR.
ABRAHAM
Did you see any new comers pass
through here?
ZEKE
No, sir.
A STREAM OF BLOOD from the meat grinder trickles it’s way
towards Rebecca, laying pinned under Jake’s weight. Her eyes
widen and his hand tightens on her mouth.
ABRAHAM
Hm.
63.
ZEKE
Is there a problem?
ABRAHAM
Nothing I can’t handle. How’s this
batch?
ZEKE
Clean. It’s all clean.
The BLOOD is headed towards the drain but Rebecca’s face is
in the direct path. The blood hits her cheek and begins to
pool. Rebecca closes her eyes tightly, a tear squeezing out.
ABRAHAM
If you see anyone, you know what to
do.
ZEKE
Yes, Father.
Abraham’s FOOTSTEPS move away as the VRRRRRRR of the meat
grinder continues. Jake lets Rebecca loose and she rolls
away, tears intermingling with the blood on her face. He
takes her face in his hands and wipes away the blood.
JAKE
(soothing)
Shhhhhh.
Bryce looks at Jake and holds up his hands as if to say,
“what do we do?”. Jake shrugs.
They hear the plastic strips SHUFFLE. Jake peeks.
JAKE (CONT’D)
Let’s go.
Jake holds a swinging door open as everyone passes through.
He guides the door back into place silently, as Zeke returns.
PANTRY
The group moves through a massive storeroom filled with
canned and dry goods. Many with labels of outdated brands
like Royal Pudding & Puffed Wheat Cereal.
BRYCE
Man, that’s a lot of food.
REBECCA
Enough for decades.
64.
Mark bumps a can off the shelf sending it tumbling to the
floor. Jake reaches out and snags it. They exhale in relief.
They open the next door to a BUZZ and BRIGHT LIGHT.
GARDEN
Rows and rows of plants perched on racks above the ground. A
network of small tubes creates a drip system for watering.
BRYCE
Hydroponics.
Everyone looks at Bryce.
BRYCE (CONT’D)
What? I read.
They pile into the elevator.
MINDY
Somebody say something foreboding.
The elevator doors slide closed.
CUT TO:
INT. RANDOLPH COUNTY SHERIFF’S DEPARTMENT - NIGHT
The sliding doors open and Samantha storms in holding up her
RINGING phone. The front desk phone RINGS in time with hers.
SAMANTHA
Does anyone answer the phone here?!
The grumpy, old RECEPTIONIST rolls her chair out from behind
a cubicle divider. She picks up the receiver and puts it
right back down.
RECEPTIONIST
What’s your emergency?
INT. SHERIFF DUNPHEY’S OFFICE
Samantha sits across the desk from SHERIFF DUNPHEY, (50’s),
surly, with gray hair and a matching beard.
SAMANTHA
Yes, it’s the middle of the night,
but nothing’s been done since I
called this afternoon!
65.
SHERIFF DUNPHEY
I know a few hours without a text
is an eternity to you kids, but to
law enforcement that’s not a
missing person.
SAMANTHA
When someone goes missing, the
likelihood of finding them
decreases by 10% an hour.
SHERIFF DUNPHEY
Is that true?
SAMANTHA
Shouldn’t you know?! Listen, she’s
in trouble.
SHERIFF DUNPHEY
Because she is visiting...
(he looks at his notes)
An underground haunted castle.
SAMANTHA
It’s not a castle.
SHERIFF DUNPHEY
Miss Dean, the majority of people
who are thought to be missing are
found unharmed. Usually they just
needed a break. From their family.
A young DEPUTY walks in and hands the Sheriff a file.
SAMANTHA
Fine, if you’re not interested in
finding Rebecca then what about the
missing couple?
SHERIFF DUNPHEY
Right, Andrew Weston and Tiffany
Leeds. You saw them in the haunted
house?
SAMANTHA
I saw them pull up.
SHERIFF DUNPHEY
You didn’t see them enter?
SAMANTHA
I don’t see why that matters.
66.
SHERIFF DUNPHEY
Is that where you met them to buy
drugs?
SAMANTHA
What?
SHERIFF DUNPHEY
You were arrested for drug
possession last year, correct?
He shows her the file with her mug shot and arrest record.
SAMANTHA
(flustered)
It was just weed.
SHERIFF DUNPHEY
Marijuana is an illegal substance.
You were in possession of an eighth
of an ounce.
SAMANTHA
What does that have to do with
Rebecca?
SHERIFF DUNPHEY
Andrew Weston is a known drug
dealer.
SAMANTHA
I did not buy drugs from him. I saw
him as I was leaving the house.
SHERIFF DUNPHEY
And in the house you say that you
took an elevator 13 floors down.
SAMANTHA
Yes.
SHERIFF DUNPHEY
Underground.
SAMANTHA
Yes.
SHERIFF DUNPHEY
Was that before or after you took
the hallucinogenic drugs?
SAMANTHA
I didn’t take drugs! Why aren’t you
listening to me?
67.
SHERIFF DUNPHEY
Would you like to take a drug test?
Pause.
SAMANTHA
(much calmer)
No.
INT. NINTH FLOOR - DETENTION CENTER
The fivesome huddle behind shelves. A door SLAMS, metal
CLANKS. Jake waves them to follow and they begin crawling.
Through the spaces between we catch glimpses of a prison cell
with the lifeless Redheaded Girl’s body. And a workshop with
the Blonde Woman from dinner tied to a steel chair.
MINDY
They’re gonna chop her up and eat
her.
MARK
Eat her??
BRYCE
Do they eat the women?
MARK
Wait, who’s eating--
A door FLIES open. They drop to the ground.
Abraham enters wearing a leather butchers smock and gloves,
carrying an axe. He walks out of view.
Keys JANGLE. A heavy door CREAKS open. THUMP. SHHH SHHH SHHH.
Abraham drags the Redheaded Girl into the workshop. He
shackles her to a wooden platform, her head hanging off one
end. The platforms axis sits in the center, like a seesaw.
Allowing it to rotate 360 degrees.
ABRAHAM
(to the Blonde)
Time for a little demonstration.
The Blonde Woman SOBS.
ABRAHAM (CONT’D)
Shhh. It’s OK. She’s forced me to
do this. You’ll learn, or you’ll be
next.
68.
BLONDE WOMAN
I just want to go home.
ABRAHAM
You are home.
He smiles and wipes a tear from her cheek.
He unclips a ring of KEYS from his belt loop, sets them on a
counter next to a WALKIE TALKIE. He carefully takes off his
watch. Rolls up his sleeves.
The Redheaded Girl’s filthy head bobs and droops. He rotates
the platform from vertical to horizontal. It over rotates
causing her head to SMASH into the floor.
REDHEADED GIRL
AHHHHHHWWWWOOWWWWWWWAGHHHHHHH!
ABRAHAM
We got a live one.
The group GASPS, as what looked like a corpse, comes to life.
Abraham strokes her red hair, matted with blood.
REDHEADED GIRL
You sick fuck.
ABRAHAM
You know we don’t like that talk
here. Now, something’s missing.
He exits.
JAKE
We have to get those keys.
BRYCE
There’s five of us. Let’s take him.
MINDY
He has an axe.
BRYCE
OK, so, one of us takes an axe to
the head. But then the other four
take him down.
MARK
Uh, which one of us?!
Already, Jake is sprinting.
69.
REBECCA
Jake!
Jake is FAST. He grabs the keys. Then pauses to look at the
Blonde Woman. Her eyes plead for help.
Jake begins to run right past her--
Only to STOP, drop to his knees and begin to undo the knots.
BLONDE WOMAN
Please hurry.
The group waves desperately at him to come back.
In the next room a needle SCRATCHES across a record. The
sound of THE BEACH BOYS fill the floor.
Wouldn’t it be nice if we were older, then we wouldn’t have
to wait so long. And wouldn’t it be nice to live together...
Jake freezes. Despite barely making a dent in the ropes, he
scampers out and hides behind some shelves.
The KEY RING is left on the floor next to the Blonde Woman.
Abraham returns to resume with the Redheaded Girl. He leans
in and speaks softly to her.
ABRAHAM
You could have survived.
He rotates the platform until it’s parallel to the ground,
with her facing the floor. He locks it into place.
She does whatever she can so he misses his target: her neck!
She sees the group and makes eye contact with Mark.
REDHEADED GIRL
(moans)
There!
Abraham’s axe comes down on her head. Plunging deep into her
skull. Her body goes lifeless.
ABRAHAM
You moved. I hate when they move.
He pulls the axe, but it’s stuck in her skull. He unlocks the
platform and it drops, SMASHING her face on the ground.
He puts his boot on the back of her head and pulls out the
axe. He swings again.
70.
Cleanly striking through her neck, to the ground creating
SPARKS. The head rolls and bounces, spurting blood.
POV OF THE SEVERED HEAD as it rolls across the room then
comes to a stop looking directly up at the group of friends.
Abraham turns back to the Blonde Woman, exhilarated.
ABRAHAM (CONT’D)
Now, maybe we can chit-chat.
He sees his keys on the ground.
ABRAHAM (CONT’D)
(growling)
Who’s here?
Mark is already scrambling to his feet.
MARK
Can we run yet?
REBECCA
Yes! Run!
They all break for the elevator.
Abraham grabs the axe and CHASES. He moves remarkably fast
for a man his age.
The group is trapped, waiting for the elevator doors to open.
Mindy steps behind Bryce and pushes him forward.
MINDY
Do something!
Rebecca grabs a long pipe. With perfect form she throws the
pipe like a javelin, connecting with Abraham’s head.
It knocks him to the ground, leaving a gash on his forehead.
The group is stunned. DING! They jump on the elevator.
The doors close as Abraham is getting up. Blood pours from
his forehead. Now he’s really pissed.
ELEVATOR
MARK
Holy shit!
BRYCE
That was amazing!
71.
INT. NINTH FLOOR - DETENTION CENTER
ABRAHAM
(into the walkie-talkie)
Zeke! We’ve got fighters. Initiate
the protocol. Lock down the Great
Hall.
Abraham flips a switch on an electrical panel in the wall. He
locks the panel, then clips the keys back to his belt.
INT. TENTH FLOOR - GREAT HALL - ELEVATOR
The doors slide open onto PITCH BLACK. They can see a faint
green glow up ahead and nothing else.
Silence from the darkness. Silence from them.
BZZZZZ!! They jump. The elevator doors want to close.
GREAT HALL
They are just silhouettes in front of the harsh light of the
elevator. They put out their hands and walk blindly forward.
THUD!
MARK
AAAOWWW!
REBECCA
You alright?
MARK
Yeah. I ran into a table. I think.
The elevator doors close. Now it’s nothing but black.
RUSTLING.
MARK (CONT’D)
What is this?
SQUISH.
MARK (CONT’D)
(starting to panic)
It’s like... wet... and sticky.
JAKE
Keep moving, Mark.
72.
MARK
Is it blood? Oh my god, you guys.
JAKE
Mark, follow my voice.
A door CREAKS. Then SLAMS. A lock CLICKS into place.
JAKE (CONT’D)
(barely a whisper)
Keep moving.
HEAVY BREATHING.
SHUFFLING of five pairs of feet. And one set of heavy,
deliberate FOOTSTEPS.
Then PANDEMONIUM as they panic and run in the darkness.
BRYCE
Hey!
SMACK! Bodies wrestle, flesh SLAPPING. A SCREAM.
BRYCE (CONT’D)
He cut me!
SCUFFLING. The CLANK of metal hitting the floor.
Out of the darkness, the button for the elevator is
illuminated.
REBECCA
The elevator’s coming!
BRYCE
I’ve got your knife. Come at me
now, you fucking inbred!
Bodies collide. A fist SMACKS flesh. A SCREAM. SCRAPE. GASPS.
GURGLING. THUMP.
The elevator doors open and BRIGHT LIGHT spills out.
Bryce is standing over the crumpled, bloody body of Mark. The
MEAT CLEAVER sticking out of his chest.
REBECCA
Oh my god!!
JAKE
Bryce, What did you do?
Bryce stands stunned over Mark’s body, covered in blood.
73.
MINDY
Get in the fucking elevator, Bryce!
JAKE
Bryce!
Jake’s face softens in sympathy as Bryce turns to him, tears
starting to flow. Jake pulls his friend into the elevator.
ELEVATOR
BRYCE
Why did Mark attack me? What did I
do?
The cut on his arm bleeds heavily. Rebecca puts pressure on
it. He doesn’t even notice.
MINDY
Pull yourself together.
BRYCE
(blubbering)
I killed Mark.
MINDY
You didn’t even like him.
They’re all disgusted at her response.
MINDY (CONT’D)
Is anyone going to push the fucking
button?
BRYCE
What is wrong with you?
Mindy pushes the button and turns her back to the elevator
doors as they begin to close.
MINDY
What’s wrong with me? What’s wrong
with you? It is survival of the
fittest in here now, baby, and we
need to move--
A hand reaches in from blackness and grabs Mindy by the hair,
yanking her torso backwards. The jerk down is so violent and
sudden, her spine CRACKS.
The elevator doors close on Mindy, pinning her between them.
74.
REBECCA
No, no, no!
The elevator moves up. Mindy is paralyzed in its grasp.
Bryce huddles in the corner. It’s all too much for him.
The elevator rises. Mindy’s body is now at the partition
between the two floors. The elevator lurches to an abrupt
stop. BA BUMP, BA BUMP.
The elevator fights to move up, Mindy’s body blocking it. The
power of the elevator begins to CRUSH her bones.
Rebecca and Jake pull desperately at her legs.
JAKE
Pull harder!
BA BUMP, CRUNCH! Her ribs shatter from the sheer force of the
elevator. BA BUMP. SQUISH. Her internal organs explode. BA
BUMP! RIP. The elevator lurches upward, now free of her body.
The lower half of Mindy’s body; her bloody, perfect 10 legs
and Prada skirt, slide down the metal elevator doors.
Rebecca buries her face in Jake’s chest.
The elevator doors open to the eleventh floor. Jake steps
over Mindy’s remains to scan the floor.
BRYCE
(still crying)
I’m not moving.
REBECCA
We have to.
Rebecca grimaces as she steps in Mindy to get to him.
BRYCE
It keeps getting worse. I don’t
want to do it anymore.
REBECCA
I don’t want to either. But we have
to keep moving.
BRYCE
We are all going to die down here.
I’m going to get eaten, and you’re
going to breed for them.
75.
JAKE
Bryce!
Jake grabs Bryce and yanks him out of the elevator.
INT. ELEVENTH FLOOR - SCHOOL - HALLWAY
They stand in the hall. Weary and unsure what to do next.
GIGGLING spills into the hall. They duck into an open door.
CLASSROOM #1
They each scramble into hiding places.
The GIGGLING gets closer. Kids FOOTSTEPS running and LAUGHING
down the hallway. The LAUGHTER stops abruptly as the children
come upon Mindy.
CINDY (O.S.)
Ewwwww.
DANIEL (O.S.)
Whoa.
Bryce and Jake creep into the next room. Jake waves for
Rebecca to follow, but she’s not looking. She’s crept forward
to peek out at 8-year-old CINDY and 5-year-old DANIEL.
CINDY
Don’t touch it, Daniel! Leave it
for Father.
DANIEL
OK.
Rebecca looks back for Jake and Bryce. They’re gone.
She turns back. Standing directly in front of her are the
children. She STARTLES. They stare.
CINDY
(suspiciously)
What are you doing?
REBECCA
I’m playing hide and seek.
DANIEL
Who’s coming to find you?
76.
REBECCA
Zeke. But I don’t want your father
to know where I am either.
Cindy nods, excited to be in on the game.
CINDY
OK.
DING. The elevator doors open. Rebecca freezes.
The children run to the elevator.
HALLWAY
Abraham kicks the bottom half of Mindy out of the elevator
and steps out. Zeke follows.
CINDY & DANIEL
Hello, Father. Hi, Zeke.
ABRAHAM
Have you two seen anyone?
They look at each other.
CINDY
She went upstairs.
They GIGGLE.
ABRAHAM
She? Did you see anyone else?
DANIEL
Nope.
ABRAHAM
(to Zeke)
You search this floor. I’ll go
upstairs.
ZEKE
No problem.
Abraham unlocks the door to the stairs.
ABRAHAM
You two go directly home,
understand?
CINDY & DANIEL
Yes, Father.
77.
Abraham and the children exit.
Zeke starts to HUNT. A MEAT HOOK in one hand, a SHOTGUN slung
over his shoulder, and a pair of HANDCUFFS on his hip.
CLASSROOM #1
Rebecca watches as the door to the stairs CREAKS open and the
two children peek out.
HALLWAY
CINDY (CONT’D)
Zeke?
ZEKE
Yeah?
CINDY
When you’re done playing Hide and
Seek with her, can we play?
ZEKE
You know about our game? Show me
where she’s hiding.
CLASSROOM #1
Rebecca presses hard against the wall at her back, trying to
breathe silently.
HALLWAY
Cindy removes her shoe and places it in the door jamb to keep
it propped open. A trick she’s surely used a thousand times.
Cindy takes Zeke’s hand and leads him directly to where she
saw Rebecca.
CLASSROOM #1
Zeke rounds the corner and sees... EMPTY SPACE.
CINDY
Where’d she go?
ZEKE
Where did she go? Run along. We’ll
play later.
Zeke pats Cindy on the head gently.
78.
CINDY
‘kay.
Zeke resumes his hunt as the children leave. He sniffs the
air as if he can smell outsiders.
CLASSROOM #2
Rebecca joins Jake and a trembling Bryce.
BRYCE
(too loud)
We can’t stay here.
JAKE
Shhhh.
BRYCE
Let’s make a run for it.
JAKE
(hissed through clenched
teeth)
Shut up!
They peek and see Zeke walk into another classroom.
Bryce BOLTS.
HALLWAY
Bryce slides into the hallway, barely keeping his feet.
The Twin Boys have joined the party. They block the elevator.
Bryce doesn’t hesitate and barrels right at them, after all,
they’re only nine years old.
Twin #1 pulls up a BOW & ARROW and shoots Bryce in the ribs.
Twin #2 brandishes a SLINGSHOT and a MARBLE and fires it,
hitting Bryce above the eye. Bryce stumbles.
Blood pours from his wound into his eye. He GASPS for air,
but the arrow punctured his lung.
The twins smile in unison as Bryce falls at their feet.
ZEKE
That’s enough.
79.
TWIN #1
We wanna finish.
ZEKE
Enough, I said. Get outta here.
The boys scowl.
CLASSROOM #2
Jake and Rebecca are still hidden.
REBECCA
He’s gonna kill him.
Jake looks around. A globe, chalkboard, crayons, books.
HALLWAY
Bryce is losing blood rapidly and trying to crawl away.
Zeke puts a heavy boot on his back, pinning him to the floor.
ZEKE
Just me and you, pretty boy.
Though, you ain’t so pretty
anymore.
Zeke kicks him over onto his back. Bryce tries to speak.
Nothing but wheezing air comes out.
ZEKE (CONT’D)
What was that? You think I’m cute?
Zeke looks at his reflection in a mirror and fixes his hair.
As Bryce tries to squirm away, Zeke plunges the meat hook
into his chest, then uses it to drag Bryce towards him.
BRYCE
Faaaaa youuuuuu.
Bryce passes out. Zeke undoes one side of his overalls.
CLASSROOM #2
Jake pulls a 1960’s style desktop paper-cutter off a table.
He plants his shoe where the hinge of the cutting arm meets
the wooden base and SNAPS the arm off, giving him a weapon.
HALLWAY
80.
Zeke freezes, listening. Eyes darting back and forth.
He hears something on his left, then right. He pulls the
shotgun off of his back and COCKS it.
ZEKE
Olly olly oxen free!
Rebecca dashes across the hallway into the other classroom.
Zeke whips around, and BAM! fires a shot just behind her.
Jake pops out, CLOBBERING him with the paper-cutter.
The shotgun flies from Zeke’s hands, as he reels. He regains
his balance and slams Jake into the wall, choking him
mercilessly. Jake is fit, but Zeke is a brute.
BAM! Rebecca shoots Zeke with the shotgun. Blood SPRAYS
across Jake’s face.
Rebecca pulls the trigger twice more but the empty shotgun
just CLICKS. She raises the shotgun over her head and throws
it down on Zeke’s lifeless body.
Jake slumps against the wall, catching his breath.
Rebecca’s chest heaves. She shakes with fear and adrenaline.
Jake approaches her to put his arm around her.
JAKE
It’s gonna be okay.
REBECCA
You can comfort me when we get out
of here.
Zeke’s walkie talkie CRACKLES. The sound is muffled
underneath Zeke’s dead body.
ABRAHAM
(over the walkie)
Zeke? This floor is clear. I’m
moving to the next one.
REBECCA
We need a plan.
JAKE
Let’s look at the map.
REBECCA
The map? The map!
81.
CLASSROOM #2
Jake wipes everything off a desk. Rebecca splays the map out.
JAKE
There’s another floor above us and
then the thirteenth, this
industrial floor.
REBECCA
This air vent here has to lead to
the outside. Plus, the higher up we
go, the more likely it is our
phones will work.
JAKE
The elevator doesn’t go to
thirteenth floor and all the stairs
are locked.
She looks out in the hallway at Zeke’s body lying in a heap.
The shiny KEY RING still attached to his belt loop.
CUT TO:
HALLWAY
Jake and Rebecca stand over Zeke’s body.
JAKE
Let’s move.
REBECCA
Wait. One more thing.
Rebecca reaches into the bloody remains of Zeke's head,
soaking her hands in blood, as Jake watches in disgust.
INT. SHERIFF DUNPHEY’S CAR - PRE DAWN
Samantha is in the back seat.
SAMANTHA
Why can’t I sit in front?
SHERIFF DUNPHEY
Regulations.
SAMANTHA
Is it also a regulation that you
drive ten miles under the speed
limit?
82.
SHERIFF DUNPHEY
Look here, I’m required by State
Law to investigate all leads, no
matter how ridiculous. So, don’t
think I’m doing this for you.
EXT. SHERIFF DUNPHEY’S CAR
The sheriff’s car travels down a long empty road.
INT. TWELFTH FLOOR - REC ROOM
Rebecca and Jake open the door cautiously.
A tennis court, the net hanging limply in tatters. A pool
table, the felt faded. Pin ball machines covered in dust. A
sitting area with shelves full of books, records, and games.
JAKE
We need a hiding place.
Rebecca's shirt is now soaked with Zeke's blood.
She pauses at a wall of FAMILY PHOTOS. One photo is of Elmore
Randolph with his twin sons, Abraham and Michael.
REBECCA
Here's Abraham with his brother.
Another is of YOUNG ABRAHAM & YOUNG SARAH, happy and tan as
teenagers at the beach.
FADE TO:
EXT. BEACH - DAY - 1970'S
The sun shines as Young Abraham, (16), drops his surfboard
and chases a laughing Young Sarah, (15), playfully across the
beach.
FADE TO:
INT. TWELFTH FLOOR - REC ROOM
REBECCA
They look happy.
83.
JAKE
Looked happy.
FADE TO:
INT. SIXTH FLOOR - THE RANDOLPH’S HOUSE - 1970'S
In their house on Maple Street a Young Sarah sobs.
YOUNG SARAH
What about my family? My friends?
Young Abraham puts his arm around her. He's warm and loving.
YOUNG ABRAHAM
We’re so lucky my father brought us
to safety in time.
YOUNG SARAH
But he said he would come back.
YOUNG ABRAHAM
He said he would, if it was safe.
But with several thousand nuclear
warheads pointed at us at all
times, we have no way of knowing
what's going on up there.
FADE TO:
INT. TWELFTH FLOOR - REC ROOM
Another photo shows Sarah holding a baby with a proud
Abraham. There are other pictures with other babies and in
each Sarah's smile becomes more strained and her eyes more
vacant.
Then photos of babies each being held by DIFFERENT WOMEN,
with birth dates underneath, many also have death dates.
The women are pale, cheeks sunken, eyes lifeless.
REBECCA
Mark was right about everything.
JAKE
Come on, we have to get ready.
INT. TWELTH FLOOR - STAIRWELL
Abraham, carrying a sickle, enters the twelfth floor.
84.
REC ROOM
He spots a drop of blood on the ground, then another. A smile
slides onto his face.
He follows the trail and sees Rebecca laying on the floor,
blood soaking her shirt.
ABRAHAM
Rebecca, dear. What happened? Did
Zeke hurt you?
She is terrified to see him. Alone and vulnerable.
ABRAHAM (CONT’D)
We've gotten off on the wrong foot.
Rebecca tries to crawl.
ABRAHAM (CONT’D)
Let me help you.
Jake pops out with the shotgun. The EMPTY shotgun.
JAKE
Don't you touch her!
ABRAHAM
Take it easy, now.
Abraham sets his sickle down on a table and holds his empty
hands out to demonstrate he comes in peace.
Rebecca moves behind Jake.
ABRAHAM (CONT’D)
You surprise me, Jacob. I didn’t
have you figured for a violent man.
JAKE
You’ll find out exactly what kind
of man I am if you come near us.
FOOTSTEPS from the stairs. The door opens. It’s Sarah.
SARAH
Jacob, why do you have a gun?
ABRAHAM
Sweetheart. Please, tell them
everything is okay here.
Abraham steps towards Jake and Rebecca. Jake COCKS the
shotgun. Stopping Abraham in his tracks.
85.
REBECCA
Sarah, it is not okay here. Come
with us.
SARAH
I can’t leave my children.
REBECCA
Bring them.
ABRAHAM
Stop talking now, Sarah.
JAKE
(to Rebecca)
Go up. Call for help.
REBECCA
Come with me.
JAKE
I’ll keep them here. Go!
REBECCA
Jake, please.
JAKE
So, help me God, you better fucking
RUN!!
And she does. At the door she pulls off her shoe, blocks the
door with it and for just a moment, locks eyes with Jake.
ABRAHAM
You let your woman do the work for
you, Jacob?
JAKE
You’re insane you know that?
ABRAHAM
Think about what’s best for
Rebecca.
JAKE
I’m what’s best for her. The
surface of the earth is what’s best
for her.
STAIRWELL
Rebecca slips off her other shoe, and places it in the door.
86.
REC ROOM
ABRAHAM
What did you hope to accomplish by
coming here?
JAKE
It was supposed to be a good time!
Abraham takes a big step forward.
JAKE (CONT’D)
Back up! I have the gun! I’m in
control now!
(to Sarah)
He knows it’s safe to leave here.
He’s lying to you. He's been lying
to you for years!
ABRAHAM
Stop spewing these lies!
CUT TO:
INT. THIRTEENTH FLOOR
Rebecca bursts out. The floor is filled with water tanks and
generators HUMMING. She pulls out her iPhone: NO SIGNAL
REBECCA
Come on!! Work!
INT. DARK BEDROOM
There is a KNOCK at the door. The shriveled hand uses the
remote to turn off the bank of monitors.
INT. TWELTH FLOOR - REC ROOM
SARAH
I can show you the way out.
JAKE
No. We‘re all gonna wait here.
Sarah moves towards the door.
JAKE (CONT’D)
Stay right there.
She keeps walking.
87.
While Jake is watching Sarah, Abraham moves a few steps.
Now Jake is directly in the middle of the two.
SARAH
I can help you.
JAKE
Stop moving!
Jake starts to panic.
JAKE (CONT’D)
Go back over there. The cops are on
the way!
SARAH
She’ll never get a signal.
The two start moving towards Jake from both sides. He’s
turning the shotgun back and forth.
JAKE
Get back! I’ll do it. I’ll shoot
both of you.
Abraham senses his vulnerability and dives towards him,
calling his bluff.
CLICK, CLICK, CLICK goes the shotgun.
Exposed now, Jake CLOCKS Abraham with the shotgun.
Sarah WAILS as she runs at him. He SWINGS the shotgun into
her face. She crumples to the floor.
Jake SWINGS the shotgun at Abraham again but misses. Abraham
PUNCHES Jake in the stomach, doubling him over. Then a left
HOOK. Jake spins to the ground, losing his weapon.
Abraham bends over to pick up the shotgun.
Jake SLAPS a handcuff onto Abraham’s wrist attaching the two
of them together and catching him by surprise.
ABRAHAM
Very shrewd.
Jake jerks the handcuffs pulling Abraham towards him as he
throws a PUNCH. Abraham drops to a knee.
Abraham LAUGHS. Jake delivers a PUNCH, then another.
88.
Abraham rises and takes a powerful step backwards, and
yanking Jake off-balance.
Abraham reaches for his sickle a few feet away. Jake plants
his feet to stop him. The two men are locked in a tug of war.
ABRAHAM (CONT’D)
Just give in, Jacob.
JAKE
I never give in.
JAKE (CONT’D)
(to Sarah)
We could’ve saved you.
SARAH
Jesus saves.
Abraham grabs the sickle and in one fluid motion CHOPS OFF
both of Jake’s hands, just above the wrist.
Jake flails his handless arms as blood is spurting onto
Abraham's face.
He swings the sickle again and cleanly opens Jake’s abdomen.
Jake falls to his knees and his organs flop onto the floor,
before he falls forward onto his face. Jake is dead.
INT. DARK BEDROOM
The hand turns on a bedside light and reveals that it belongs
to, ELMORE RANDOLPH, (80's), lying in his bed at the edge of
death. His voice is weak, but he's clearly of sound mind.
FOOTSTEPS as a figure moves through the shadows towards the
light.
A pair of hands take one of Elmore's hands.
MALE VOICE (O.S.)
I'm here.
MICHAEL RANDOLPH, (50's), Abraham's very rich, very educated,
TWIN BROTHER looks over his father with concern. Michael is
tan, his teeth are perfectly white and he looks like he just
came from the country club.
Elmore coughs and draws in a ragged breath.
MICHAEL
I should get the nurse.
89.
Elmore grips Michaels arm tightly.
ELMORE
No. There's something important we
need to discuss. The future.
MICHAEL
Father, you don't need to worry
about the future of the company--
ELMORE
It's not what will happen to the
company I care about. It's what
will happen because of the company.
I spent my life building weapons,
the biggest and the most
destructive, and selling them to
the highest bidders. I've put
thousands of nuclear warheads into
the hands of men even greedier than
I was. Randolph Robotics has built
enough weaponry to destroy
civilization dozens of times over.
MICHAEL
As the CEO, I have to live with
that responsibility as well.
ELMORE
Yes, but now it's time I share with
you my master plan. My redemption.
INT. THIRTEENTH FLOOR
Rebecca jogs around trying to find a signal. She trips
sending her phone skittering across the cement floor.
REBECCA
Shit.
A pale white hand reaches out and picks up the phone. ANNA,
(14), who was crouched behind a generator, stands. Rebecca
freezes, her body tensed in fear.
ANNA
Everyone has one of these now.
She swipes at the screen awkwardly.
REBECCA
Where can I get a signal?
90.
ANNA
Signal?
REBECCA
So I can use the phone.
ANNA
I don’t know. Daddy and Zeke always
destroy these.
Anna’s puts the iPhone in her pocket. Rebecca slowly stands.
Anna's eyes scan every inch of Rebecca.
ANNA (CONT’D)
It’s safe. Isn’t it?
Rebecca answers softly, delicately.
REBECCA
It is. It’s very safe. And it’s so
beautiful.
Her voice catches a bit and tears well up. It’s hitting her
how beautiful the world is and she may never see it again.
REBECCA (CONT’D)
I could show you. Don’t you want to
see the sun?
Anna shrinks back slightly.
ANNA
I’ve never seen the sun.
REBECCA
How can we get out of here?
Anna shrugs.
REBECCA (CONT’D)
Please.
Anna shakes her head.
REBECCA (CONT’D)
Help me.
ANNA
You should just be nice to them,
Father and Zeke.
91.
Anna steps out from behind the generator. She is very
pregnant.
CUT TO:
EXT. FARMHOUSE - PRE DAWN
Sheriff Dunphey’s car pulls up to the farmhouse.
INT. SHERIFF’S CAR
Samantha pulls the door handle, but the door doesn’t open.
SHERIFF DUNPHEY
You’ll be waiting here.
SAMANTHA
But I need to see--
He SLAMS the door.
EXT. FARMHOUSE
The Sheriff speaks into the radio on his chest.
SHERIFF DUNPHEY
This is Unit 14. I’m going to
investigate. Be advised.
RADIO (O.S.)
Copy that Unit 14. Standing by.
The Sheriff KNOCKS on the farmhouse door.
POV SECURITY CAMERA zooming in on his face. The facial
recognition software scans him. His name, badge number etc.
EXT. FARMHOUSE
Sheriff Dunphey peers in through a window. He STARTLES at the
face of an OLD MAN staring back at him.
MOMENTS LATER
MR. FOGNER, older, but probably very handsome in his day,
opens the door. He’s holding his morning cup of coffee.
MR. FOGNER
Good morning, Sheriff.
92.
SHERIFF DUNPHEY
Mr. Fogner?
MR. FOGNER
Yes? How can I help you?
SHERIFF DUNPHEY
We’ve had some reports of
suspicious activity on the
property. Mind if I look around?
Pause.
MR. FOGNER
By all means.
INT. FARMHOUSE
Sheriff Dunphey’s eyes scan over every detail.
LIVING ROOM
The bookcase is slid back hiding the elevator, the record
player has stopped and the admission fee box is gone. Nothing
catches his attention here either.
INT. SHERIFF’S CAR
Samantha strains to see in through the farmhouse windows.
INT. FARMHOUSE
MR. FOGNER
Can I get you a cup of coffee?
SHERIFF DUNPHEY
I’m fine, thank you.
From the foyer a SCRAMBLING sound. The Sheriff spins.
SHERIFF DUNPHEY (CONT’D)
What was that?!
A cat scampers through the foyer and MEOWS as it passes.
MR. FOGNER
Not a fan of cats, Sheriff?
Sheriff Dunphey doesn’t like this question.
93.
SHERIFF DUNPHEY
Mind if I search upstairs?
POV from the kitchen, we see Mr. Fogner in the doorway facing
the Sheriff. Just inside the kitchen, hung on the wall is a
large hunting rifle.
MR. FOGNER
Help yourself.
INT. THIRTEENTH FLOOR - GENERATOR ROOM
Rebecca hears the stairwell door open. Anna scampers away.
Rebecca crouches down.
Rebecca isn’t sure if it's Jake or Abraham that has walked
in. Her face a mix of fear and excitement as she listens.
Abraham stalks the floor. We can see Jake’s hand attached by
the handcuffs, still dangling from his wrist.
ABRAHAM
Rebecca?
Hearing Abraham’s voice is enough for her to know Jake’s
fate. Tears flow and she covers her mouth to cry silently.
ABRAHAM (CONT’D)
Rebecca, darling?
Rebecca runs between the water tanks. Abraham hears her.
ABRAHAM (CONT’D)
It’s just you and me now. Like it
should be. Don’t you understand?
She pulls the map out and tries to compose herself.
REBECCA
Where is the fucking air vent?
ABRAHAM
I don’t want to hurt you.
Abraham realizes Jake’s hand is still attached to his. He
shakes it loose, like one might brush away a fly.
ABRAHAM (CONT’D)
I want you to trust me. Grow to
love me. We have a duty to fulfill,
but we are a family too.
94.
Rebecca has the map folded to a very specific area. She
traces her finger along. Here. Then here. Then home.
She sprints across the walkway and opens a door.
INT. DARK BEDROOM
Michael stands slack jawed in front of the bank of monitors.
MICHAEL
Who else knows about this?
ELMORE
No one.
MICHAEL
Good, then we can shut it down.
ELMORE
Haven't you listened to a word I've
said! This bunker safeguards the
future of humanity! When the
weapons that we have built destroy
us, man will rise again! And
Abraham will lead the way!
This sets off another coughing fit.
Michael's breath leaves his lungs as the color leaves his
face.
MICHAEL
Abraham?....Is down there? No. No.
Abe is dead. Abe died.
ELMORE
Abraham is alive. Your brother is
safe. Take a look for yourself.
Elmore zooms the camera in on Abraham's face. Michael can't
believe he's looking at his twin brother again.
ELMORE (CONT’D)
Who could I trust more than my own
two sons to preserve the Randolph
legacy. You from here. Abraham from
there.
95.
INT. THIRTEENTH FLOOR - LOCKER ROOM
An industrial sink and a line of lockers, but no other door.
Rebecca has trapped herself.
ABRAHAM (O.S.)
You don’t know how lucky you are.
This is a gift.
GENERATOR ROOM
Abraham pulls a large knife from his ankle holster and opens
the Locker Room door.
LOCKER ROOM
The room is empty. Nothing.
Abraham stands completely still. Eyes tracing every inch of
the room. A slight SHUFFLING from one of the lockers.
Abraham flings the door open, knife ready, only to see ANNA.
ANNA
Father, it’s me!
ABRAHAM
Get the hell out of here!!
ANNA
Don’t hurt her, Father!
ABRAHAM
Get!!
LOCKER ROOM
Abraham notices footprints on a dusty table. He looks up.
CRAWLSPACE
Rebecca is crawling silently across a drop ceiling.
ABRAHAM (O.S.)
Rebecca! I’m losing my patience.
Rebecca freezes for a moment, then crawls even quicker.
96.
INT. FARMHOUSE
SHERIFF DUNPHEY
A couple more questions. Have you
seen these kids?
Mr. Fogner takes a close look at the photo he holds up.
MR. FOGNER
No, sir. Are they in danger?
SHERIFF DUNPHEY
Let’s hope not. What about this
young girl?
He holds up a picture of Rebecca.
MR. FOGNER
Don’t think so.
SHERIFF DUNPHEY
Any kids come by at all?
As they talk the CAMERA PANS DOWN to Sheriff Dunphey’s shoes.
He is standing next to an AIR VENT in the old wood floors.
MR. FOGNER (O.S.)
I can’t think of any reason kids
would come all the way out here.
INT. THIRTEENTH FLOOR - DROP CEILING
Rebecca sees a shaft of warm light ahead. The vent she’s been
looking for!
RIIIIIIP! RIIIIIP!
LOCKER ROOM
Abraham is sticking a broom handle into the ceiling tiles and
ripping them down.
ABRAHAM
So how about it?
DROP CEILING
RIIIIIIP! RIIIIIIP! It’s getting closer.
97.
Rebecca is at the air vent but it’s covered by a thick steel
grating. She looks up the vent, but can’t see anything. The
light is too bright.
ABRAHAM
You’re making this much too hard on
yourself.
She pulls at the grating but it’s screwed in place. If she
can remove it, she can definitely fit into the vent. She uses
one of the keys as a screwdriver, but her hands are shaking.
RIIIIIP! RIIIIIIP! Abraham’s closing in.
ABRAHAM (CONT’D)
I don’t want your settling in
period to be any harder than it
needs to be.
INT. DARK BEDROOM
ELMORE
Each year we attract the bravest,
fittest of our society. If they are
able to make it past the first
challenges we set for them, they
are destined to have their lineage
passed on.
MICHAEL
You're crazier than I thought.
You've built this sick ark as if
you're a modern day Noah, waiting
for the flood.
ELMORE
Michael, I built this bunker during
the cold war, but do you think
humans are any further away from
destroying themselves now as they
were then?
Michael is silent.
ELMORE (CONT’D)
Promise me you'll follow through. I
need you to promise.
Michael sighs in resignation.
98.
INT. THIRTEENTH FLOOR - DROP CEILING
The screws won’t budge. The tears are flowing down Rebecca’s
cheeks. She shakes the grate in frustration.
LOCKER ROOM
Abraham freezes, listening.
INT. THIRTEENTH FLOOR - DROP CEILING
A ceiling tile is ripped down just feet behind Rebecca.
As loud as she can she SCREAMS into the air vent.
REBECCA
Help me!!! Help!!!!!! Help!!!!
Her voice straining as she holds the scream.
We hear her piercing SCREAM as the CAMERA TRACKS UPWARD
through the vent. Slowly at first. Then picking up speed.
The metal air vent is now flying past. Then concrete. Then
dark earth, then more concrete. As the CAMERA SLOWS, we see a
basement, then the metal of the air vent.
As the distance increases her SCREAM fades to NOTHING. We
come to a stop at the Sheriff’s shoes next to the air vent.
The silence is crushing.
SHERIFF DUNPHEY
Thank you for your time.
MR. FOGNER
Good day, Sheriff.
INT. SHERIFF’S CAR - DAWN
Sheriff Dunphey gets into his car.
SAMANTHA
What happened? Where’s Rebecca?
SHERIFF DUNPHEY
No one’s there. Just the property
caretaker.
Samantha sees Mr. Fogner peeking through the windows.
99.
SAMANTHA
You need to search the house!
SHERIFF DUNPHEY
I did.
SAMANTHA
Again.
SHERIFF DUNPHEY
I don’t have a warrant.
SAMANTHA
So?!
SHERIFF DUNPHEY
Listen here--
The sheriff’s radio CRACKLES.
RADIO
Unit 14, come back.
SHERIFF DUNPHEY
Unit 14, go.
SAMANTHA
Come on!
RADIO
Unit 14, code 773. Need immediate
assistance.
SHERIFF DUNPHEY
Roger. I'm on my way.
SAMANTHA
What?!
SHERIFF DUNPHEY
I’m sorry.
Samantha locks eyes with Mr. Fogner as he stares out the
front window at her. He knows that she knows.
As the Sheriff’s car flips on its lights, the lights of the
house turn off.
“Con te Partiro” begins to play.
THE END