The Ouija III SCRIPT

A sample from my new screen-play, these are the opening four scenes.

Scene-Play

  • THE LOUNGEROOM AT FRANK’S HOUSE – (EVENING) – SEPTEMBER 30, 1997

Frank sits on the couch, playing a GameBoy and the lamp is switched on next to him.

FRANK’S MOTHER

[You’re going to sleep.] Go to sleep now, Frank. You’re getting up late doing that.

Frank sits there for another half an hour and then switches off the light, quietly.

FRANK

[Muttering] I wish I had mum there all the time.

[Puts her hand on Frank’s head] Frank’s mother stands there and with her head under the light that the ceiling gives off, she gently condescends him and tells him to go to bed.

FRANK’S MOTHER

[You do.] I’ll always do.

  • THE NEIGHBOURHOOD FOOTPATH – THE FOLLOWING MORNING (11:00AM)

Azalea, Frank and Gilly are all walking down the footpath together past Michelle’s house and they get to Sophia’s.

Azalea knocks on Sophia’s front door.

Gilly comes walking up the steps to the front door and knocks on it, aware of her parents.

The door opens 40% and Sophia is smiling, then she opens the door all the way.

FRANK

Hello.

SOPHIA

Hey, why didn’t you get here [earlier] yesterday?

FRANK

I don’t – [know.]

GILLY

Sorry, he was at my house.

Frank cuts the scene by ducking out of the view,

He walks out [guilty] from under Azalea’s arm and he leaves a remark [I don’t love you] by slighting Gilly’s hand with his own. Gilly looks down on him like it’s important that he stays.

AZALEA

I’m sorry, he’s just leaving now, I’m sorry but he didn’t want to bother you.

Sophia closes the door sadly.

SOPHIA

Ok

[quietly.]

Azalea, Gilly and Frank make it down the steps to the footpath and they re-moralize, maturely. The three guests walk away from the flat door with little-to-no expression on their faces, except for Frank. He has a guilty smile, like the relationship had begun.

Gilly smiles.

  • THE HIDEOUT BEHIND AZALEA’S HOUSE – (DAY) – OCTOBER 1, 1997

The couple sit on the bank of a forest walk, cuddling each other and talking.

GILLY

I am not so sure about tomorrow [when I just want to be here, with you.]

AZALEA

Why don’t we leave it until later? It’s not that important to be there, I like far-away things – The view from here is  nice, with the forest beneath us. You shouldn’t have made this for me

[smiling.]

The sun goes down [orange sunset.]

  • GILLY’S HOUSE, AT THE KITCHEN TABLE WITH GILLY’S PARENTS AND THE COUPLE – GILLY AND AZALEA – (DAY) – OCTOBER 2, 1997

Gilly’s parents sit at the kitchen table with Gilly and Azalea. Azalea sits crossed-legged and Gilly is staring at her, but his parents are happy to enjoy their company while they offer them the keys to the house.

Gilly looks down at the floor, when his father speaks.

His father is wearing a brown waist-coat, he is fat, but built, like his son. It is above him in the ceiling, the light.

MR. ALBUQUERQUE

Here are the keys. Guys I hope you like it! It’s nothing fancy.

MRS. ALBUQUERQUE

It’s not been watched over for years, do you think you will be ok?

I suppose you won’t know until you get there.

AZALEA

Ok that sounds fine, but we’re not doing it like that time that I found you weren’t watching or something, those kids are funny enough on their own. We’re not taking responsibility for the whole group of the three of them. Michelle can look after herself and I can take care of Frank and Sophia.

GILLY

I’ll look after them. You can’t see both of us supervising properly but it shouldn’t be different to our home. It’s easy, but have you been there before, though or is it just a house that your mum and dad lived in? I don’t really want to be there at that easy, advantageous mindset anymore. I hope it’s old!

MR. ALBUQUERQUE

No, it’s just somewhere –

It’s just somewhere they used to stay to enjoy themselves or something. It was always nice. [! – 2 – 3]


“Sorry, it’s not my verb it’s your add-noun.”

Jesse Almarker