HOLE script
Dec 12, 2022 23:14:26 GMT -5
Post by withswords on Dec 12, 2022 23:14:26 GMT -5
Title: THE HOLE
Author: Jonah Tennant
Genre(s): found footage
Summary: a hole in the wall
Content warning(s): N/A
a short video script i wrote a while ago and never did anything with, a quick concept inspired by all the abandoned malls and suburban trash in my part of the country
Author: Jonah Tennant
Genre(s): found footage
Summary: a hole in the wall
Content warning(s): N/A
a short video script i wrote a while ago and never did anything with, a quick concept inspired by all the abandoned malls and suburban trash in my part of the country
THE HOLE
INT. HOLE- NIGHT
A dark room, likely the inside of a building, with the only light coming from a single flashlight propped up lantern style. The camera jiggles as THE CONFESSOR positions it, and then scoots back to adjust themselves in frame. The confessor is dirty, wearing a heavy jacket and gloves, and terrified. Trembling, wide-eyed, frequently casting furtive glances around the room. They stammer when speaking, giving the impression that this was once a more professional endeavor but has gone terribly off script. The video occasionally cuts out or glitches significantly.
CONFESSOR
I’m not gonna-- This is going to be, this marks, the final record of the exploration of th--
GLITCH. A brief scene of a flashlight-lit wall with a gaping hole, behind which is entirely dark. No audio. GLITCH return to the Confessor.
CONFESSOR (cont’d)
--e hole. I apologize to the f… friends and family of Scott Campbell and Kelly Davidson. I apologize to my family. We are not… even if it were possible, it would just follow me, and you would be in danger.
GLITCH. The camera pans across the hole in the wall as the cameraperson steps towards it. A low, sustained groaning comes from inside the hole.
SCOTT (O.S.)
What the hell is that?
Glitch return.
CONFESSOR
I’m leaving this message in the hopes of reaching anyone else who might come through the hole. If you have been here long enough, you already understand. You need to stay.
Hopefully I’ll be… gone before anyone ever finds this. If anyone… Are you like us? We wan--
GLITCH. The confessor running down a cement corridor, breathing heavily, with no flashlight. They stop and turn back, and a figure down the hall with a light scans the ground and then aims up towards them. They turn to begin running again. GLITCH return.
Confessor’s speech is now intercut with glitching clips of the outside of the mall, sequences of hallway, clips of the confessor fooling around in a dimly lit abandoned mall.
CONFESSOR (cont’d)
--ted to explore something. There’s all those places along the road nobody ever touches; we wanted to feel special. We had, we had other footage of the mall and the tunnels inside the hole. It was getting dark, but we just went deeper and deeper. I don’t know how long… at least a week. Maybe.
It was a mistake. I don’t know why we ever thought… But listen to me. The thing that lives here, it can’t get out on its own. It needs us to come in. I’ve barricaded the hole from this side. I did what I had to do. That’s what you need to do too, if you care about anyone out there in the real world, if you love anybody and want to protect them. I don’t know if there will be other holes. I… have to assume there will.
Please, to anyone who sees this: you can’t let it go. You have to stay here. It’s the only way to kill it.
GLITCH. The camera is discarded, facing a wall which a flashlight occasionally glances over. Shuffling and voices are audible from out of frame.
CONFESSOR
–-the wall so nobody can come here again.
SCOTT
Listen to me-- listen! You’re not being rational. Whatever you’re seeing, it’s--
CONFESSOR
You know what I’m seeing! Fuck! You saw what happened to Kelly.
SCOTT
I saw her body! You know what, that’s a good fucking question. Why don’t you tell me what happened to Kelly? … Huh? Let’s hear it!
CONFESSOR
Scott, please, don’t do this. You’ve heard it too. I know. When you hear its voice--
The confessor’s voice breaks off into a yelp. Shuffling of clothing. A thud and a sharp noise as someone hits the ground.
GLITCH. Someone kneels in front of a panel of unblemished drywall, very close. Their breaths are audible, as well as the groaning, faint and falling away. They reach out to touch the wall. The camera hand goes limp, turning upside down and revealing a sledgehammer on the floor. GLITCH return.
CONFESSOR
(desperately)
But if this video leaves this place, you need to-- Jesus. I’m sorry. I’m so sorry, mom, Mr. Campbell. If you have, if you are seeing this footage, it means one of us--
They freeze, eyes widening. They look around wildly, turning and whispering curses. Grabbing the camera, they knock the flashlight over unintentionally as they scramble for a place to hide. They settle down and film an empty room with shaking hands for several moments, their panic rising. Something changes. The groaning sound begins.
CONFESSOR
No, no, no, no, no…
The confessor stands up as though about to run, but shrieks. The camera falls. Sound of scuffling and the groans rise to a fever. Suddenly the noises cease. A pair of boots step back into frame. They are the confessor’s. CUT TO BLACK
INT. OUTSIDE HOLE
The earliest glitch sequence resumes: the hole in the wall, the groaning. Scott, holding the camera, turns slightly as the confessor approaches. They inspect it, preparing to climb through.
SCOTT (O.S.)
I don’t think this is a good idea.
The confessor turns back, grinning. A subliminal frame of them staring into the camera, face bloody.
CONFESSOR
Come on. What are you scared of?
CUT TO BLACK
INT. HOLE- NIGHT
A dark room, likely the inside of a building, with the only light coming from a single flashlight propped up lantern style. The camera jiggles as THE CONFESSOR positions it, and then scoots back to adjust themselves in frame. The confessor is dirty, wearing a heavy jacket and gloves, and terrified. Trembling, wide-eyed, frequently casting furtive glances around the room. They stammer when speaking, giving the impression that this was once a more professional endeavor but has gone terribly off script. The video occasionally cuts out or glitches significantly.
CONFESSOR
I’m not gonna-- This is going to be, this marks, the final record of the exploration of th--
GLITCH. A brief scene of a flashlight-lit wall with a gaping hole, behind which is entirely dark. No audio. GLITCH return to the Confessor.
CONFESSOR (cont’d)
--e hole. I apologize to the f… friends and family of Scott Campbell and Kelly Davidson. I apologize to my family. We are not… even if it were possible, it would just follow me, and you would be in danger.
GLITCH. The camera pans across the hole in the wall as the cameraperson steps towards it. A low, sustained groaning comes from inside the hole.
SCOTT (O.S.)
What the hell is that?
Glitch return.
CONFESSOR
I’m leaving this message in the hopes of reaching anyone else who might come through the hole. If you have been here long enough, you already understand. You need to stay.
Hopefully I’ll be… gone before anyone ever finds this. If anyone… Are you like us? We wan--
GLITCH. The confessor running down a cement corridor, breathing heavily, with no flashlight. They stop and turn back, and a figure down the hall with a light scans the ground and then aims up towards them. They turn to begin running again. GLITCH return.
Confessor’s speech is now intercut with glitching clips of the outside of the mall, sequences of hallway, clips of the confessor fooling around in a dimly lit abandoned mall.
CONFESSOR (cont’d)
--ted to explore something. There’s all those places along the road nobody ever touches; we wanted to feel special. We had, we had other footage of the mall and the tunnels inside the hole. It was getting dark, but we just went deeper and deeper. I don’t know how long… at least a week. Maybe.
It was a mistake. I don’t know why we ever thought… But listen to me. The thing that lives here, it can’t get out on its own. It needs us to come in. I’ve barricaded the hole from this side. I did what I had to do. That’s what you need to do too, if you care about anyone out there in the real world, if you love anybody and want to protect them. I don’t know if there will be other holes. I… have to assume there will.
Please, to anyone who sees this: you can’t let it go. You have to stay here. It’s the only way to kill it.
GLITCH. The camera is discarded, facing a wall which a flashlight occasionally glances over. Shuffling and voices are audible from out of frame.
CONFESSOR
–-the wall so nobody can come here again.
SCOTT
Listen to me-- listen! You’re not being rational. Whatever you’re seeing, it’s--
CONFESSOR
You know what I’m seeing! Fuck! You saw what happened to Kelly.
SCOTT
I saw her body! You know what, that’s a good fucking question. Why don’t you tell me what happened to Kelly? … Huh? Let’s hear it!
CONFESSOR
Scott, please, don’t do this. You’ve heard it too. I know. When you hear its voice--
The confessor’s voice breaks off into a yelp. Shuffling of clothing. A thud and a sharp noise as someone hits the ground.
GLITCH. Someone kneels in front of a panel of unblemished drywall, very close. Their breaths are audible, as well as the groaning, faint and falling away. They reach out to touch the wall. The camera hand goes limp, turning upside down and revealing a sledgehammer on the floor. GLITCH return.
CONFESSOR
(desperately)
But if this video leaves this place, you need to-- Jesus. I’m sorry. I’m so sorry, mom, Mr. Campbell. If you have, if you are seeing this footage, it means one of us--
They freeze, eyes widening. They look around wildly, turning and whispering curses. Grabbing the camera, they knock the flashlight over unintentionally as they scramble for a place to hide. They settle down and film an empty room with shaking hands for several moments, their panic rising. Something changes. The groaning sound begins.
CONFESSOR
No, no, no, no, no…
The confessor stands up as though about to run, but shrieks. The camera falls. Sound of scuffling and the groans rise to a fever. Suddenly the noises cease. A pair of boots step back into frame. They are the confessor’s. CUT TO BLACK
INT. OUTSIDE HOLE
The earliest glitch sequence resumes: the hole in the wall, the groaning. Scott, holding the camera, turns slightly as the confessor approaches. They inspect it, preparing to climb through.
SCOTT (O.S.)
I don’t think this is a good idea.
The confessor turns back, grinning. A subliminal frame of them staring into the camera, face bloody.
CONFESSOR
Come on. What are you scared of?
CUT TO BLACK