Storyline

FADE IN:

EXT. SUMMER CAMP CABIN - NIGHT SUPERIMPOSE: Fog Wood, New Hampshire 1986 A man, JAMES ALLAN (early 20s), lounges on the slightly slanted roof of a weathered camp cabin. His messy brown hair falls over his tired eyes, the summer heat sticking to his skin. He wears a faded white R.E.M. concert shirt, short yellow shorts, and muddy white sneakers. It’s a warm summer night. Crickets chirp. Fireflies drift lazily through the air. A cool breeze pushes through the needles of the surrounding pine trees. The still lake stretches out in front of him. His gaze is fixed on the water - silent. He flicks a METAL LIGHTER that has yet to produce a flame. CLINK. The sound of two glass bottles clinking o -screen. ELIZABETH CRAVEN (early 20s) quietly climbs a ladder onto the roof. She has a short, messy black bob. She wears red and white dolphin shorts and a white baseball tee with the words “CAMP FOGGY LAKE” on the front and “STAFF” on the back. ELIZABETH (whispering) It’s me. James shakes his head then exhales. JAMES (whispering) Phew, I thought you were Danny – I didn’t want to tell him toget down again. James takes a moment to look forward, then shifts his gaze to Elizabeth. JAMES Do you think we’re setting a bad example? Elizabeth smiles as she slowly makes her way to where James is sitting. She holds TWO BROWN GLASS BOTTLES in her right hand. ELIZABETH Of course, but we’re not setting an example if the kids are all sleeping, right? Elizabeth reaches James, sits beside him, close but not too close. James shifts awkwardly, makes space between them but moves away too deliberately. His face blushes and he clears his throat. He continues to click the lighter - still no flame. Elizabeth glances at him as he moves, her smile fades. She puts the bottles in her lap. After a moment she turns to James, pushing back some strands of hair behind her ears. ELIZABETH For a guy breaking the rules you are awfully tense.

Highlighting the excellence of Mason student literature through screenwriting!

2024 -2025

Storyline.

Our Staff

Emily Gomez

Copy Editor

Emily is a Senior at George Mason University, pursuing a Bachelor’s degree in English with a concentration in Creative Writing, and a minor in Film and Media Studies. In her free time, she mainly enjoys reading fiction books, writing stories, and finding new shows to binge watch. She would like to rekindle her enjoyment in more creative hobbies such as drawing and painting. In the future, she hopes to pursue a career in editing with a particular passion for publishing fiction novels.

Allyson Bautista

Palika (DC) Sridurongrit Layout and Design Editor

DC is a Junior majoring in Film and Video Studies with a concentration in Screenwriting and a minor in Graphic Design. In her free time, she enjoys binging YouTube, playing rhythm games, writing stories and drawing (although she’s struggling with finding the time for those hobbies). In the future, she hopes to pursue a career in graphic design and maybe illustration.

Social Media and Marketing Director

Allyson is a Senior majoring in Communication with a concentration in Public Relations and a minor in Aviation Management. In her spare time, she loves to play video games and track flights around DC, discover new coffee shops. She has an interest in anything aviation especially in airlines. She recently lived in Japan for half a year to study abroad at Aoyama Gakuin University in Shibuya, Japan. After college, she hopes to pursue a career in aviation, particularly becoming an airline pilot.

Editor’s Note

When I first joined the staff of Storyline as Copy Editor in Spring 2024, I did not expect to become as invested nor as involved as I presently find myself. As the first Editor-in-Chief of Storyline, I have overseen all aspects of this publication, from inspiration for the cover to the font, a far cry from only having to proofread and copy edit. It has been an exercise in patience, trust, and perseverance, but I think both the publication and I are all the better for it.

Although we did not have a theme in mind when submissions initially opened, I believe that all the stories have a common thread: fear. A fear of rejection; a fear of loss; a fear of not being good enough; and more. The universality of this emotion and the various forms that the writers capture speak to the power of screenwriting. Not only in visualizing a setting but creating characters whose emotions feel so real that readers, even if they haven’t experienced the exact scenario, can relate to them as people. Scripts are underrated as a form of literature, but the ability of their writing to evoke facets of the human experience renders them a medium worthy of respect and attention.

Navigating this path has not been easy, but I am immensely grateful to the Student Media staff and Professor Britt for, not only their guidance, but the very opportunity to occupy this role. I also want to extend a special thanks to my staff, Emily, DC, and Allyson, for their patience and dedication to the completion of this publication.

Sariya Scribner Editor-in-Chief

Sariya is a Senior majoring in English with a concentration in Cultural Studies and a minor in Film and Media Studies. In her free time, she enjoys reading books and comics of any genre, working through her list of movies to watch (80 and counting), and playing The Sims 4, and Stardew Valley. After graduation, she plans to pursue a career in the publishing industry, probably as an editor.

Our Advisors

Thomas Britt Faculty Advisor

Thomas Britt is a Professor of Film and Video Studies at George Mason University. He is the head of the Screenwriting pathway and creator of many courses, including Ethics of Film and Global Horror Film. He completed his PhD at the University of Brighton and his MFA in Filmmaking at Ohio University. He is the recipient of George Mason University’s Teaching Excellence Award and writes about film, television, and music for a variety of publication outlets.

Jason Mabry Content Judge

Jason Hartsel Faculty Advisor

Jason Hartsel is the Assistant Director of Student Media at George Mason University and serves as the faculty advisor for Volition, The Forge, So to Speak, Phoebe, and The George Mason Review, and co-advisor for Storyline, Hispanic Culture Review, and the Mason Votes editorial team. He is also an adjunct instructor for Mason’s Communication Department and is a recipient of the University Life Positive Impact Award. Jason graduated from Mason with a BFA in Graphic Design.

Jason Mabry is a senior FAVS student with a concentration in Screenwriting. His approach to writing focuses on telling high-concept stories with unique twists that allows him to show audiences something they might not have seen before. During his time at Mason, he has written multiple scripts, with his most successful being Pandora’s Box and Crash — both previous winners of the Storyline competition.

Advisor’s Note

Issue three of Storyline brings with it several new developments for the journal. Now, in our third consecutive academic year of celebrating short film screenwriting at George Mason University, Storyline is a publication with effects beyond the page. Storyline scripts have been used as models in screenwriting classes. Others have been produced as short films directed by their writers, and Student Media recently hosted a screening of one of those films. Additionally, formerly selected Storyline writers are now beginning to return to the publication as judges. In short (pun intended), this type of student literature is thriving at Mason.

The scripts selected for this issue come from writers representing various majors and minors. Like last year, their scripts span quite different story worlds and genres. Alongside this diversity of perspectives and content emerges a common theme relating to escape. The characters herein are attempting to break free from various feelings and forces: unexpressed longing, fear of rejection, negative selfperception, past trauma, regret, imprisonment, and physical danger. Though each writer developed their script outside the influence of the others, perhaps it could be said that the confluence of stories in this issue reveals the currents of the time.

It would be limiting to say that screenwriting is a form of escape, especially when the subjects direct the reader’s attention to complex realities. I commend these writers for using their screen stories to wrestle with the real, imagine the fantastic, turn relatable conflicts into visual action, utilize inventive metaphors, and create dimensional characters.

Nothing comes easily for the characters in this group of scripts. However, working with the writers and Student Media has been a pleasure through and through.

Thomas Britt Professor, Film and Video Studies

A speculative “spec” script is an original script written by a screenwriter without prior request from an executive or studio.

Student Media Professional Staff:

Kathryn Mangus, Director

David Carroll, Associate Director

Jason Hartsel, Assistant Director

Leah Lewis, Office Manager

Storyline is a co-curricular partnership with Film and Video Studies. Student Media provided funding and advising support, scholarships for the student editors, and honorariums for those students whose scripts were selected for publication.

Xander Hall

Major: English

Graduating in: 2027

Screenplay: Camp Confessions

Logline: On a warm summer night, camp counselors James and Elizabeth share a quiet, intimate moment atop a cabin roof, as James nervously gathers the courage to confess his feelings to her.

Why do you feel this publication is important?

“I believe Storyline is incredibly important because it provides Mason students with an opportunity to share their screenplays in a curated publication, ensuring that their work is both seen and valued by others.”

What are the inspirations/motivations behind your screenplay?

“I was motivated to write this piece because of my desire to write a story with likeable characters in a nostalgic atmosphere. Although I am a lover of horror films, I also love ‘80s and ‘90s coming of age rom coms. While writing this piece I took inspiration from some of my favorite writers such as Cameron Crowe, John Hughes, and Noah Baumbach.”

Camp Confessions

Written by Xander Hall

FADE IN:

EXT. SUMMER CAMP CABIN - NIGHT

SUPERIMPOSE: Fog Wood, New Hampshire 1986

A man, JAMES ALLAN (early 20s), lounges on the slightly slanted roof of a log camp cabin. His messy brown hair falls over his tired eyes, the summer heat sticking to his skin. He wears a faded white R.E.M. concert shirt, short yellow shorts, and muddy white sneakers.

It’s a warm summer night. Crickets chirp. Fireflies drift lazily through the air. A cool breeze pushes through the needles of the surrounding pine trees. The still lake stretches out in front of him.

His gaze is fixed on the water - silent. He flicks a METAL LIGHTER that has yet to produce a flame.

CLINK.

The sound of two glass bottles clinking off-screen.

ELIZABETH CRAVEN (early 20s) quietly climbs a ladder onto the roof. She has a short, messy black bob. She wears red and white dolphin shorts and a white baseball tee with the words “CAMP FOGGY LAKE” on the front and “STAFF” on the back.

ELIZABETH (whispering)

It’s me.

James shakes his head then exhales.

JAMES (whispering)

Phew, I thought you were Danny –I didn’t want to tell him to get down again.

James takes a moment to look forward, then shifts his gaze to Elizabeth.

JAMES

Do you think we’re setting a bad example?

Elizabeth smiles as she slowly makes her way to where James is sitting. She holds TWO BROWN GLASS BOTTLES in her right hand.

ELIZABETH

Of course, but we’re not setting an example if the kids are all sleeping, right?

Elizabeth reaches James, sits beside him, close but not too close.

James shifts awkwardly, makes space between them but moves away too deliberately. His face blushes and he clears his throat.

He continues to flick the lighter - still no flame.

Elizabeth glances at him as he moves, her smile fades. She puts the bottles in her lap. After a moment she turns to James, pushing back some strands of hair behind her ears.

ELIZABETH

For a guy breaking the rules, you are awfully tense. You gotta loosen up, man.

James pushes out a half-smile.

JAMES

That sounds like peer-pressure to me.

ELIZABETH

Ha Ha, fuck you.

Elizabeth pushes James' shoulder gently. James smiles.

James finally looks her over. When he notices the brown bottles, his eyes widen.

JAMES

Okay, I - uh - don’t want to sound lame and tense, but… are those-?

Elizabeth follows his gaze to the bottles, then scoffs, shaking her head with a smirk.

ELIZABETH

Seriously? Even if I was that dumb, you really think I’d mess with the slasher rulebook? Two camp counselors sneaking drinks? That’s basically begging for a machete to the face, dude.

James exhales, half-laughing in relief. The moment hangs, but then he shifts with uncertainty.

JAMES

No, no - I’m sorry - I wasn’t trying to, like, accuse you or anything! And I never doubted your knowledge of the final girl rules. It’s just… what are they?

Elizabeth smiles, noticing James blush. He turns away and begins fidgeting with the lighter again.

ELIZABETH

First off, you didn’t insult me, but I appreciate you checking. Second…

Elizabeth takes the bottles from her lap and presents them to James as if she was a model on a game show.

ELIZABETH (CONT’D) (whispering)

Ta da!

James’s eyes light up. He examines two slightly wet ROOT BEER bottles held by Elizabeth. They both have illustrations of Bigfoot on them with large text that reads “Bigfoot Brew: Root Beer Worth Tracking Down”. James’s jaw drops and he looks at Elizabeth with a bright, innocent smile, his expression a mixture of surprise and delight.

JAMES

You didn’t!

Elizabeth puts her index finger over her mouth and shushes him. She hands over one of the bottles to James. He takes it and inspects it.

ELIZABETH

I saw it catch your eye at the gift shop while you were busy wrangling the kids. I thought, ehwhat the hell. Why not share a drink? We could really use it.

James sets aside his metal lighter onto a sturdy tile.

James spins the bottle around, looking at the label. Elizabeth stares at his face with a big smile. After a beat passes, she takes a bottle opener from her shorts and opens both bottles with a POP.

She holds out her glass towards James. He takes a moment, smiles and they both clink their bottles together.

JAMES Cheers.

ELIZABETH

Cheers.

They both take a swig of their root beer and stare towards the lake. The sounds of nature are in full swing. It's a moment of clarity and stillness. James looks back towards Elizabeth’s face, staring at her side profile. His face turns red, and he tries to push down a smile.

A moment passes, and James glances at his bottle, a humorous smirk forming on his face.

JAMES

Man, this has a kick to it.

Elizabeth looks over and smirks - she knows where this joke is going.

ELIZABETH

Oh yeah?

JAMES

Yeah - wow - this is strong stuff.

ELIZABETH

You feeling tipsy?

JAMES

Oh yeah, totally. Has there always been two of you?

James starts shifting his head around slowly, as if he was dizzy, pretending to point to multiple versions of Elizabeth

Elizabeth lets out a held-back laugh.

ELIZABETH

You’re such an idiot

A beat passes.

ELIZABETH (CONT’D) but it’s cute.

James’s back stiffens, his face turns to shock but quickly shifts to an embarrassed smile.

JAMES

I - uh - thanks?

James can’t stop himself from looking back at her face. He brings his legs closer to his chest awkwardly. His face has gone a little pale.

James clears his throat, then glances back at the lake.

JAMES (CONT’D)

So - uh. Elizabeth, I - uh - I wanted to tell you something.

There is a pause. Elizabeth turns to face James, but he is unaware.

ELIZABETH Yeah?

JAMES

This could totally be the beer talking…

Elizabeth scoffs and rests her jaw on her left palm. His face is focused on her now, nothing but her. They begin to whisper again.

JAMES (CONT’D)

but uh - we’ve been working at the camp for like three years now, right?

ELIZABETH

Ahem.

JAMES

and you have been my rock, my - my stone… my granite?

James closes his eyes and cringes to himself.

ELIZABETH

Okay, I am a mineral gotcha.

JAMES

I’m really sorry - I just don’t want this to be weird, but I guess I did just call you granite…

ELIZABETH

Just get it out, man.

James clears his throat again as Elizabeth gets a little closer to him.

JAMES Alright.

James takes a deep breath.

JAMES (CONT’D)

I really like you… like, romantically. I was wondering if you feel the same? I understand completely if you do not, if you aren’t looking, if - if you are busy - if you don’t -

Elizabeth breaks in with a relieved smirk.

ELIZABETH

I really hope it’s not the beer talking cause, I like you too, James.

James’s face lights up. Elizabeth smiles at his reaction. James puts his hand to his mouth, accidentally gasps and without thinking blurts:

JAMES (almost shouting)

Oh my God.

ELIZABETH (chuckling and whispering) Keep it down!

James covers his smiling mouth with both hands. Elizabeth gets closer while continuing to laugh. They speak quietly.

JAMES

Sorry, I’m just so happy right now. I really really like you.

ELIZABETH

Well, I really really like you too.

There is silence as Elizabeth stares at James’s face. Although he is silent, he continues smiling and looking at the glass of a lake with bright red cheeks.

The crickets and owls overtake the silence.

Elizabeth looks away, then turns back and leans in closer. She puts her right hand on his right cheek and turns his face to face hers. She leans in towards him and closes her eyes.

James’s eyebrows go crooked for a moment, but he quickly gives an understanding smile. He begins to lean in as well, shifting his weight onto his right hand - only for his palm to land on a leaf. The leaf shifts, and James’s hand slips, sending him flailing.

James gives a surprised yelp and tumbles off the roof landing on the grass below with a soft THUMP and a muffled FUFF.

The root beer bottle, caught in the chaos, rolls off the roof as well, spilling its sugary, sticky contents all over him.

Elizabeth puts both her hands to her mouth in a gasp as she watches James fall off. She quickly checks to see if he’s okay.

She looks down to see James lying on his stomach rolling over to his back. He puts his right arm up and gives her a thumbs up.

JAMES (whispering, out of breath) I’m good!

When Elizabeth is reassured of his safety, she laughs to herself, humorous tears fall from her eyes.

James is on the ground slowly forcing himself up when he sees a small child, DANNY (roughly 8 years old) in superhero pajamas exit the dark cabin rubbing his eyes.

DANNY

Is Bigfoot on the roof?

James gets up quicker now, wiping dirt off his clothes and drying his face from the sticky soda. He looks back up to Elizabeth who is silently laughing up a storm.

James gives a quick playful middle finger to her and then quickly shifts back to his camp counselor attitude.

JAMES

No Danny, he’s not here tonight.

DANNY

But - but I heard thumping and –and something fall.

JAMES

You must’ve been dreaming about what would happen if you climbed up there again. Now, let’s get you back to bed, alright? You have a pretty busy day tomorrow.

James waves the kid back into the cabin, gently taking his hand.

Elizabeth sits back down on the roof smiling to herself and wiping off joyful tears. She listens to James and Danny’s fleeting remarks as they move inside the cabin.

DANNY(O.S.)

Why do you smell like toothpaste?

JAMES (O.S.)

I - uh - I just brushed my teeth, did you?

Elizabeth sits back and looks over the lake. The cabin door below creeks shut and the sounds of nature take over. She looks down at her legs and notices something glimmering to her left, a LIGHTER.

Elizabeth takes the lighter, opens the cap and flicks it - the lighter immediately releases a bright flame.

LINGER ON THE FLAME

THE END

Storyline was established in 2022 through a collaboration between Student Media, Film and Video Studies alum CJ Grooms, and film professor Thomas Britt.

Visit storyline.studentmedia.gmu.edu to learn more!

Kai Morales

Major: Film and Video Studies

Minor: Animation

Graduating in: 2026

Screenplay: She Is Doubt

Logline: While experiencing her first love, a teenage girl is tormented by the embodiment of her own doubt.

Why do you feel this publication is important?

“I transferred to Mason not knowing much about the school or the film community here. At a production fair, someone handed me a copy of Storyline, and reading through the scripts was the first time I really felt connected to other Mason film students. Sharing student work like this says a lot about who we are, and I think it can really inspire other students too.”

What are the inspirations/motivations behind your screenplay?

“Through the pain and joy of falling in love, I feel that this story wrote itself. Especially in my teenage years, my brain has felt so bombarded by thoughts and emotions that it sometimes feels like there’s a demon who wants nothing more than to hurt me. It’s easier to believe those thoughts and feelings belong to someone else than to accept that all of that hate is inside of me. But the truth is every horrible thing in my head belongs to me and it terrifies me that I can’t run from that. That fear is what inspired this little screenplay.”

She Is Doubt

Written by Kai Morales

FADE IN:

INT. MARLEY'S BEDROOM - NIGHT

MARLEY, a 16-year-old girl, walks into her bedroom and turns on the table lamp on her vanity. The room is lit with a warm glow illuminating the many displays of personality around her room: small trinkets on her vanity; posters of indie bands on her walls; a twin bed with a puffy dark blue comforter.

Marley sits in a spinning chair and holds up a rose in her ha nd. She smells the flower fondly, looks at herself in the vanity mirror and smiles. Her phone dings from inside her back pants pocket.

Marley puts down the rose and pulls out her phone. The display reads: “I meant what I said earlier.” Another ding and a new message comes from her phone: “I love you Marley <3”. Marley unlocks her phone and smiles. As she begins to type, a FIGURE stands up from a da rk corner of the room and moves toward Marley.

As Marley types, Doubt, a hooded figure with shadows around their eyes, walks into the lamp light and scoffs. Marley looks into the mirror and sees Doubt. Doubt puts their arm around Marley and looks at her phone. The unsent message reads: "I love you too".

Doubt takes the phone from Marley and places it on the vanity. Doubt spins Marley in the chair t o face them. Doubt gives a mischievous smile and cocks their head to the side.

DOUBT

Do you honestly believe he loves you?

Marley looks toward the floor, avoiding Doubt's eyes.

MARLEY (softly)

Of course he does.

DOUBT

Why? Because he said so? Because he gave you a little rose?

Doubt grabs the rose off of the vanity and holds it up inspecting it.

DOUBT (CONT’D)

You've always said that flowers are a stupid symbol for love.

(MORE)

DOUBT (CONT’D)

Beautiful for a moment before they wither and die.

Doubt looks at Marley.

DOUBT (CONT’D)

I think they're kind of perfect.

Doubt moves their attention back to the rose, picks off a petal, then lets it fall softly to the ground.

DOUBT (CONT’D) He loves you.

Doubt takes another petal.

DOUBT (CONT’D) (pouting mockingly) He loves you not.

Marley gets up from her chair and grabs the rose from Doubt. A thorn from the rose pricks Marley's finger. She winces, but ignores it. Marley places the rose back on her vanity.

DOUBT (CONT’D)

Dangerous little things, aren't they.

Doubt takes a step closer to Marley, crushing the petals on the floor.

MARLEY

I love him.

DOUBT Why? Because he's pretty?

MARLEY

No. He's- He's smart and kind, and he cares about me.

DOUBT

Oh please. You think he cares about you? He's just being nice. You think that of all the people to choose from, he wants to be with you? You are nothing.

Marley sits on her bed. Doubt walks around Marley's room and finds a photo of Marley and her friend, EMILY.

DOUBT (CONT’D)

Now Emily, on the other hand. That’s a woman. She is just gorgeous.

MARLEY

Emily has a boyfriend.

DOUBT

And if she didn't, Alex would leave you in a heartbeat. Emily is beautiful. She's clever and funny and they’re always laughing together. People will only ever laugh at you.

MARLEY I-

DOUBT

God, you are so boring. What could you possibly offer anyone?

Marley is looking down.

MARLEY

I don't know.

Doubt appears behind her and whispers.

DOUBT

Nothing.

Marley gasps in surprise and quickly stands up. Doubt follows.

DOUBT (CONT’D)

Maybe Alex just wants your body, but even then you are just so... (beat)

Average. I mean come on-

Doubt grabs Marley's chest.

DOUBT (CONT’D) You have nothing.

Marley pushes Doubt off of her. She grabs a black hoodie and puts it on. She zips it up to her neck.

MARLEY

He doesn't care about things like t hat!

Doubt walks towards Marley's bedside table.

DOUBT

Yes, he does. Everyone. Does.

MARLEY

He says I'm beautiful.

Doubt reaches for a glass of water that is next to a few prescription bottles. They trace the rim of the glass with their finger, before picking it up.

DOUBT

Does he even know what you look like without all this stupid makeup?

Doubt throws the water in Marley’s face. Marley gasps as her hair and f ace are soaked. She rubs her face smudging eyeliner and mascara across her eyes.

MARLEY

What are you trying to do? I am happy, for the first time in so long!

DOUBT (smiling)

I'm just telling the truth.

Doubt disappears from sight but their words echo through Marley's room.

DOUBT (V.O.)

You are nothing. Stupid. Worthless. Pathetic. Disgusting.

Marley tries to cover her ears from all of Doubt's words, but ca n't tune them out.

MARLEY

Stop it!

The room goes quiet as Marley slams her hands down on her vanity and accidentally smashes the rose.

MARLEY (CONT’D)

I am happy.

Her wet hair drips water on the vanity over the crushed rose.

MARLEY (CONT’D) (smiling through tears) I am happy.

Marley pulls her jacket hood over her head. Her smudged makeup and black hoodie are parallel to Doubt's shadowy eyes and cloak. As Marley looks in the mirror, her reflection is Doubt.

MARLEY (CONT’D)

IFADE OUT.

Student Media offers a variety of student-run media groups including newspaper, radio, TV, literary journals, and more! Students can contribute to multiple groups to gain experience in different areas while building their portfolio and meeting people who share their interests.

Visit studentmedia.gmu.edu to learn more!

Isabella Koontz

Major: Film and Video Studies

Concentration: Directing

Graduating in: 2026

Screenplay: It Didn’t Have to Be Worse

Logline: Lilah, a nineteen year old college student, struggles to rekindle her faith in Christianity after being sexually assaulted by a stranger on the metro.

Why do you feel this publication is important?

“Storyline is an important publication because it gives students the opportunity to share their scripts with a broader audience. Personally, this publication has given me a chance to focus and refine my writing. I am excited to have my script as a part of Storyline so that I can share this important narrative with others.”

What are the inspirations/motivations behind your screenplay?

“Lilah represents thousands of women who have been sexually assaulted in any form, not just those who were raped. They can start to believe that their pain isn’t as valid because of the idea that ‘it could have been worse.’ But trauma and pain are not confined by check boxes. Religion adds another layer to the onslaught of questions that come after assault. Many student films show Christianity in a negative way, but I wanted to shed a positive light on it and the ways it can bring people together and provide strength and healing. It Didn’t Have To Be Worse was created to validate survivors’ individual experiences and the complexity of finding healing post trauma.”

It Didn’t Have to Be Worse

Written by Isabella Koontz

1 INT. SUNDAY SCHOOL - DAY 1

LILAH, a 19 year old anxious college student, sits in a small classroom filled with bookshelves and a couple couches in a circle around a table.

She is zoned out and staring at her lap while muffled voices call her name, the METRO SCREECH gets louder.

MARSHALL (O.S.)

Lilah. Lilah. Lilah?

METRO SCREECH stops.

Lilah looks up, realizing her friends, TINA (20, a kind, heavier set woman), MARSHALL (21, the wise bible study group leader), SHAREN (20, snarky, but sweet hearted), and TOM (19, comical and caring, dating Sharen), are looking at her. Tina is on the couch next to Lilah while Marshall, Sharen, and Tom sit on another couch.

TINA

It's your turn for prayer requests.

LILAH

Oh. N- No. I'm good.

MARSHALL

Okay. Let's pray. Dear Heavenly Father...

They bow their heads and close their eyes.

Lilah suddenly stands and rushes out of the room. Her friends watch, confused.

Lilah's door slams as she walks into her dorm. It is messy and the prayer board on her wall hasn't been updated in weeks. She throws her bag down and goes to her desk. She begins working on her laptop before glancing at her Bible sitting on the corner of the desk. She hesitates before refocusing on her computer. BEGIN

In a plain room, Lilah sits in a circle of chairs. CAITLIN, ANNABELLE, BRUCE, and other survivors sit in the other chairs. Lilah's head is down as she tries to ignore the other survivors

I was sleeping over at my cousin's house. My aunt came into the

Annabelle sits up straighter for her turn to speak. Lilah continues to disassociate.

SURVIVOR 2 - ANNABELLE

He was a few years older, but I liked playing video games with him. I trusted him. Then one day he asked me to get into bed with him to watch a movie...

Lilah readjusts in her seat nervously as Bruce picks up in the middle of his story while looking around at the group. SURVIVOR 3 -

Annabelle turns away from the group, looking down as she tries to gather her thoughts.

SURVIVOR 2 - ANNABELLE

I was too young to even understand what was happening. But something felt... wrong.

Lilah pulls on a shirt that hugs her body and exposes her shoulders. She rips it off and throws it into the closet.

Caitlin speaks to the group with confidence.

SURVIVOR 1 - CAITLIN

I didn't want to tell anyone because I didn't want her to get into trouble. I didn't want anyone to be mad at me.

Lilah lays in

Tina, Sharen, Tom, Marshall, and Lilah cook in the communal dorm kitchen. Lilah's friends talk over each other and laugh while Lilah stays silent.

They carry food to the table, sitting down. Lilah goes to pick up her silverware when Tina catches her hand. Lilah looks at her, then the others who are holding hands to pray. Lilah's heart softens as she watches and listens.

MARSHALL

Heavenly Father, we thank you for bringing us together today to enjoy a delicious meal and time of fellowship. Bless it to the nourishment of our bodies. Let us enjoy this time together-

SHAREN

-even though we probably don't need help with that.

MARSHALL

And continue to grow with each other. Amen.

TINA, SHRAREN Amen.

TOM

Amen. Amen. Let's eat.

Lilah looks over at Tina who is still holding her hand. Tina gives her a warm smile and a gentle squeeze. Lilah squeezes back. They all begin talking and eating, Lilah speaking too.

14 INT. CHURCH SANCTUARY - DAY 14

Lilah sits in a pew. Light streams in from the stain glass window. She avoids looking at the wooden cross on the stage. PASTOR, an African-American man in his 40s, walks in.

PASTOR

It's been a while since I've seen you in here.

LILAH

I haven't exactly been feeling God lately.

The Pastor motions to ask if he can sit and Lilah nods. He sits in the pew behind her. There is a beat before he speaks.

PASTOR

"Ask and it will be given to you; seek, and you will find; knock, and it will be opened to you."

LILAH

When Adam and Eve realized they had sinned, they hid themselves from God. And when He found them, He threw them away. (pauses and then quietly) What if He does the same to me?

PASTOR

Adam and Eve didn't have to hide. They chose to because they were ashamed. But God did not leave his children to perish in the deserts. He gave them the gifts needed to survive outside of the garden. Eventually He sent His son to save them. What is a greater display of love than that?

LILAH

There's no way Jesus could love me anymore. I'm unclean. And it's my fault.

Lilah walks down the stairs to the metro platform.

LILAH (V.O.)

I knew I shouldn't have gotten on the metro at night by myself.

Lilah gets onto the metro. The doors close.

Lilah sits in her seat. A MAN walks past and sits down across from her. He keeps looking at her. She glances up and then looks back down at her phone.

LILAH (V.O. CONT'D)

I should have paid more attention. Maybe I would've noticed...

Lilah gets off at the platform and the Man follows her.

LILAH (V.O. CONT'D) (Getting angry) I mean he got off at the same station as me! It's like everything they tell you to look out for. I was so stupid!

Lilah walks down the street and enters an alley.

METRO RUMBLE starts, dissolving into a SCREECH.

LILAH (V.O. CONT'D)

He was clearly following me and I trapped myself.

The Man pushes her against the wall.

LILAH (V.O. CONT'D) I froze.

Lilah and the Man are in the middle of a doorframe, Lilah is trapped.

METRO SCREECH peaks.

LILAH (V.O. CONT'D)

I was so stupid! Why didn't I do anything! I should've done something! Screamed, fought back, prayed... Why didn't God do something?

Lilah's hand reaches up towards the sky as the man pins her wrist to the wall.

LILAH (V.O. CONT'D) He left me.

Lilah stands alone in the alley, clutching herself.

19 INT. CHURCH SANCTUARY - DAY 19

Pastor continues listening to Lilah as she cries.

LILAH (CONT'D)

If He's supposed to protect me, where was Jesus when I needed Him the most?

PASTOR

He was on the cross. Reliving his crucifixion. Suffering with you for someone else's sin.

METRO NOISES stop.

Lilah calms as the pastor's words sink in.

PASTOR (CONT'D)

He didn't abandon you. He was right there, feeling all of your pain then and your pain now. But He never meant for you to go through it alone.

LILAH

I just don't understand why He would let this happen to me.

PASTOR

Sometimes the waters we think will drown us are meant to lead us to the place we need to be. That doesn't make the rapids any less painful.

Lilah shakes her head, having been thinking this to herself since she was assaulted.

LILAH

I shouldn't be feeling this much pain. I wasn't even raped. It could have been worse.

PASTOR

It didn't have to be worse.

The Pastor gazes at the cross. Lilah looks over at the Pastor. She hesitates before looking at the cross too. 20 INT. DORM - DAY 20

Lilah sits in her bed, tapping her leg before grabbing her Bible and opening it to Isiah 64:8.

SURVIVOR 3 - BRUCE (V.O.)

Some days I still wake up in a cold sweat, ready to fight.

21 INT. METRO - DAY 21

Lilah sits on the metro, bouncing her leg and clutching her pepper spray.

SURVIVOR 2 - ANNABELLE (V.O.)

It's getting better though. Most days are easier.

Lilah sits in group therapy, paying attention to the others in the circle.

SURVIVOR 1 - CAITLIN

I just take it day by day and if that's too hard: hour by hour, minute by minute, whatever works.

The group claps and turns to Lilah. She takes a nervous breath.

LILAH

I keep thinking that if I ignore it, it'll just go away. But saying it out loud- admitting it...

23 INT. SUNDAY SCHOOL - DAY 23

Lilah sits, crying, as she describes her assault. Tina holds her hand. Marshall sits beside them, strongly listening. Tom gets angry, but Sharen puts a hand on his shoulder and shaking her head. Tom hugs Lilah. She tenses before hugging him back.

The whole group hugs.

LILAH (V.O)

I'm starting to feel like myself again.

INT. DORM - DAY

Lilah updates the prayer board hanging above her desk.

LILAH (V.O.)

Or maybe not myself, but.. a new, pieced together version. Like stained glass.

25 INT. CHURCH - DAY

Lilah takes a deep breath, smoothing down her dress before walking inside. She nervously clutches her Bible to her chest.

TINA

Lilah!

Her friends wave her over. She smiles and joins them.

"Must Jesus Bear the Cross Alone?" begins to play on the piano and they all stand. Lilah opens her mouth to sing the first lyric.

FADE TO BLACK

Major: Accounting

Zachary Kim

Minor: Film and Video Studies

Graduating in: 2027

Screenplay: Please Rewind

Logline: After the death of his brother, Wyatt will do anything to get him back, even if he has to break both time and him to do so.

Why do you feel this publication is important?

“Storyline is important because it allows for non-film majors to have the opportunity to show creative expression and show their abilities as artists. Many non-FAVS or art-based majors will struggle to have chances to represent themselves in a creative effort and potentially enter different areas of personal exploration. Storyline not only gives these opportunities but also direct motivation for those to give an effort with the monetary prize and publication of work.”

What are the inspirations/motivations behind your screenplay?

“For several years, I’ve wanted to write around this idea: ‘If someone you loved died and you had one last conversation with them, what would you say?’ I’ve continuously written this conversation until I knew exactly what I wanted: for it not to be a conversation about who has died, but rather one of regret, comfort, and acceptance. I wanted to make sure the conversation and story were as emotionally meaningful and real as I could make them as I tried to embody myself within the two characters. In some ways, I approached the script with my personal desire to let my friends and family know how deeply important they are to me. I am someone who deeply cherishes my relationships, as I consider the connections we have and how we foster them to be the most important part of being alive. I took that core belief and implemented it throughout the entire story.”

Please Rewind

Written by Zachary Kim

INT. LIVING ROOM - PRESENT - NIGHT

WYATT (20's) is working on his desk. His outfit is a mess. The room is littered with trash, ripped papers, and broken machines. A small box lays before him as he slowly twists small screws into it.

WYATT

I can fix this, I can fix this, I can fix this.

INT. LIVING ROOM - PAST - NIGHT

The room is filled with messy stacked papers and built gadgets. Wyatt is typing code on his laptop by his desk.

Suddenly, BRODIE (20's) barges into the room carrying a bag of chips and a DVD.

BRODIE

Yo Wyatt, ready for movie night? It's Back to the Future time.

WYATT

Sorry Brodie. Can't tonight, I'm busy.

BRODIE

Your ass has been stuck to this chair all day.

WYATT (Sigh)

Can't waste time tonight.

BRODIE

So I'm a waste of time? You're hanging out with the best brother in the world and watching the best movie in the world. Wyatt gives him a look.

BRODIE (CONT'D)

UGGGH. All right fine, mister nofun, I'll leave.

Brodie walks to the door but stops.

BRODIE (CONT'D)

Love you bro.

WYATT

Uh huh.

Brodie leaves and shuts the door as Wyatt continues his work.

INT. LIVING ROOM - PAST - NIGHT

Hours later, Wyatt has passed out on his desk. Suddenly, his phone rings. Wyatt awakens and picks up his phone, seeing Brodie is trying to reach him with several unread texts and calls. He answers.

WYATT

What the hell do you need?

BRODIE (V.O.)

Finally. Look, I went to the theater and my car died. Can you pick me up please?

WYATT

Just walk back man, I'm tired.

BRODIE (V.O.)

Come on man, I'm more tired. Can you please just do thi- Oh shi-

There is a heavy crash and tumbling as Brodie stops talking.

WYATT

Brodie... BRODIE! Shit...

Wyatt hangs up and grabs his jacket and keys as he runs out the door.

INT. LIVING ROOM - PRESENT - NIGHT

Wyatt is still at his desk. He looks tired and dirty. He types code into his laptop with the device hooked up. His phone rings. He glances for a moment before continuing his work.

EXT. THEATER BUILDING - PAST - NIGHT

Wyatt is running from a parking lot as a crowd of people surround a body. Brodie is on the ground splattered with blood. A car is nearby with a large dent in the front. Wyatt pushes the crowd away as he grabs Brodie close to him. A man (DRIVER) is seen next to the vehicle looking visibly shaken.

WYATT

Brodie, wake up, please. You're okay, you're okay. Please Brody.

DRIVER

I'm sorry, I-I didn't see him! It was too dark! He was coming out and it was too late for me to stop.

WYATT

HELP, SOMEBODY! PLEASE SOMEBODY HELP!

Brodie's cold body lays in Wyatt's arms as sirens can be heard from a distance.

INT. LIVING ROOM - PAST - NIGHT

Wyatt returns home and closes the door. He looks around the room and sees all the clutter. He grabs a fistful of paper and crumbles it. Wyatt begins ripping up papers and smashing up tech. Wyatt throws different objects around the room in a fit of rage.

WYATT FUCK, YOU IDIOT!

INT. LIVING ROOM - PAST - LATER

Wyatt is lying on the floor after raging. Torn up pages, and wrecked machines are around him. His phone rings next to him as he picks it up to see his mom calling him. He puts it down without answering.

Wyatt looks around the room with photos of him and his brother and different movie posters across the walls. He gets up and starts ripping the posters off the walls before stopping at one. It’s Back to the Future. He thinks to himself as an idea forms. Wyatt knocks everything off a table and places different tools and supplies. He begins typing code on his laptop and combining different scattered parts together.

INT. LIVING ROOM - PRESENT - MORNING

Wyatt is adding the finishing touches to the device. He is totally disheveled. His phone rings. Again. Again. The noise overwhelms him. His cell phone buzzes. He finally checks it.

MOM (TEXT)

Wyatt, please answer, we're worried.

WYATT (TEXT)

It's going to be fine, I'm going to fix this.

He puts his phone down. The device is now finished as he places it in front of him. It's a small box with a light and a switch. Wyatt takes a deep breath and stares at the device. He moves in and flips the switch expecting it to work, but it fails. He flips it again, it fails. He flips again and again and again.

WYATT (CONT'D)

Please, please, please, please...

Wyatt throws the device at the floor in anger. Wyatt begins to weep as his emotions begin to overwhelm him. Suddenly, the device begins to glow with a buzzing in the air. Wyatt stops crying for a moment as he turns towards the device. The device releases a blast of energy as the room fills with white light.

INT. LIVING ROOM - PAST - NIGHT

Wyatt is now back at his desk. The room has returned to its slightly less messy state, his old work in front of him.

Suddenly, Brodie barges into the room carrying a bag of chips and a DVD.

BRODIE

Yo Wyatt, ready for movie night? It’s Back to the Future time.

A beat. Wyatt stares at Brodie as Brodie puts down his stuff.

BRODIE (CONT'D) (CONT'D) You alright bud? You look kinda pale right now.

WYATT

Yeah... I’m alright. I-uh got a question for you though.

BRODIE

Sure, shoot.

WYATT

Um... Do you ever feel regret? Like not saying the stuff you wanted to.

Brodie looks slightly confused as he ponders the questions for a moment.

BRODIE

What? Movie night making you deep?

WYATT

Hehe yeah...just wished I said things to someone I cared about. A beat. Brodie takes a seat next to Wyatt.

BRODIE (Sigh)

Okay um... You know I love Back to the Future right. However, I don't believe that if we could just fix the past everything would be better. Things happen because they happened, We can't change what we did before. But we can choose what we do next.

Brodie shakes the hair of Wyatt as Wyatt does a small laugh.

BRODIE (CONT'D)

Look regret sucks, but it shouldn't be pulling you down. Hell, you're the smartest guy I know, well besides me (laughs), and with a head that big you shouldn’t let something stop you from living.

WYATT

You sure..?

BRODIE

If my calculations are correct. Wyatt chuckles. A beat.

WYATT

Alright, fair. I hear you.

BRODIE

That’s the spirit. Now then, movie ti-

A beep goes off as Brodie turns his head to the leave.

BRODIE (CONT'D) (CONT'D) Shit, the popcorn. Alright, I’ll be back in a moment.

Brodie stands up and begins to walk towards the kitchen.

WYATT

Hey Brodie...

Brodie stops walking.

BRODIE

Yeah bro?

WYATT

I uh... I love you. You know that right?

BRODIE (chuckles)

Of course, I love you too. Now then, popcorn.

Brodie jogs out the room as we see Wyatt sitting alone in the room at his desk. Wyatt looks down at the device in his hand. Wyatt sighs as he takes one last look at the room around him and a glance at his brother. We hear the click of the switch as the sound of time warps him with light filling the room.

INT. LIVING ROOM - PRESENT - DAY

Wyatt wakes up head down on his desk. He is now alone in the living room. Ripped papers of formulas and wrecked machines trash the room. Wyatt puts the time travel device on the table. He closes his laptop.

INT. KITCHEN - PRESENT - DAY

Wyatt puts a microwave popcorn into the microwave. While waiting, he sends a text on his phone.

WYATT (TEXT) Hey mom, you free to call later?

INT. LIVING ROOM - PRESENT - DAY

He walks out the kitchen with a bowl of popcorn and sits on the couch. His hand wavers over the time travel device before grabbing the T.V remote and turning on the T.V.

THE

END

Johnny Strauch

Major: Film and Video Studies

Graduating in: 2025

Screenplay: American Devotion

Logline: A young trans man seeks connection in an increasingly hostile world.

Why do you feel this publication is important?

“Storyline is important because amidst the current attacks on artistic expression, publications that empower young artists are vital. Publishing American Devotion ensures that students, particularly queer and trans students, understand that the world of film remains open for them in a time when their stories face being neglected in favor of ‘appropriateness.’”

What are the inspirations/motivations behind your screenplay?

“As a trans man, I personally experience how we are ostracized in society, including larger queer society. We remain a heavily misunderstood minority in the LGBTQ+ community, especially now, when legislation against trans people is at an all-time high. With American Devotion, I sought to highlight these issues, and the responsibility cis queers have to protect their trans peers.”

American Devotion

Written by Johnny Strauch

FADE IN:

INT. BAR - NIGHT

Music pulses throughout the room. Androgynous, butch, and femme queer individuals crowd the dance floor, a mass of different skin tones, presentations, and genders.

The walls are decorated with various flags, movie posters, and queer activist memorabilia: ACT UP art, Stonewall posters, and newspapers showcasing rights advancement.

NICO (23), anxious, long-haired, and androgynous, sits at the bar alone. People talk amongst themselves around him. He nurses a cocktail. A MAN (20s) a few stools down sneaks glances at him.

MATTY (25), beautiful and exuberant, enters. He cranes his neck, looks around, and finds Nico. He shakes his head and moves to Nico -- the crowd parts for him, watching as Matty passes.

Matty stands behind Nico. He covers Nico's eyes with his hands.

MATTY

Guess who!

Nico jumps slightly, then sighs exasperatedly.

NICO

Hey, Matty.

Matty moves to beside Nico, leaning over the stool. He gives Nico an annoyed look.

MATTY

You know, you're probably the person here least excited to see me.

NICO

Sorry, it's ... I really want to quit this job.

The BARTENDER comes over. The man down the bar continues watching, his eyes raking over Matty.

MATTY

I'll have the opposite of whatever he's having.

BARTENDER

You've got it, babe.

NICO

How is he supposed to figure out what that means?

MATTY

He's an artist!

Matty sits beside Nico. He sighs and analyzes Nico's face. Nico looks at him in bewilderment. Matty cups Nico's face tenderly.

MATTY

You don't need to be drinking, my dear, you need to be at home.

NICO

Drinking makes me feel better.

MATTY

In the normal way or the Nico "Imust-suffer" way?

NICO

Huh?

MATTY

Nicki, listen. I care for you; I want whatever this latest issue is to be fixed, but I came here to have a good time. And make some money.

The bartender returns with a far more colorful drink than Nico's. Matty takes a sip and does a chef's kiss.

MATTY

Bellissimo! An artist!

NICO

Do I really do that? Wallow in self-pity?

Matty rolls his eyes. He gestures around them, to the room full of people like themselves having the time of their lives.

MATTY

Look at where the fuck you are!

Matty stands with his drink. He kisses Nico and pats him on the shoulder. He leans in closer to his ear.

MATTY

That cutie by the door's been staring at you this whole time.

Nico looks up at Matty, then glances over down the bar. Matty walks off to the dance floor. Nico walks over to the man, leaving his drink behind. He sits beside him.

I'm Adam.

ADAM

NICO

Nico, pleased to meet you.

ADAM

Was that your boyfriend?

NICO

He wishes.

Nico takes a sip from Adam's drink.

NICO (CONT'D)

So, what brings you here?

ADAM

Not the music!

Adam laughs uproariously while Nico laughs gently. He glances Adam over, watching his rings, his expensive watch, the designer clothing.

NICO

If not the music, then what?

ADAM

Well, I'm glad I found you.

NICO

That's a very original line, Adam.

Adam laughs uproariously again. Nico downs the rest of the glass. He places a hand on Adam's thigh and leans in closer to him.

NICO (CONT'D)

Do you feel close to me?

ADAM

What?

NICO

Would you like to dance, Adam?

ADAM

Yeah, Nick.

NICO

Nic-o, right-o.

Nico stands, holding Adam's hand. He guides him to the dance floor.

INT. DANCE FLOOR - CONTINUOUS

Nico loses himself in the music, melting into the mass of bodies around himself. Adam watches awkwardly.

Nico finds partners around him, dancing for moments with random strangers. Adam tries to keep up with him. At the end of the song and start of a slower number, Nico finds him.

Adam and Nico dance. Nico pulls Adam closer. They blur into the mass, the dim lighting making each person indistinguishable from the next.

Matty steps off the dance floor and goes to the bar.

INT. BAR - CONTINUOUS

The bartender goes to Matty.

MATTY

Water.

The bartender pulls a bottle of water from under the bar and hands it to Matty. He drinks, scanning the dance floor. Matty spots Nico and freezes.

INT. DANCE FLOOR - CONTINUOUS

Adam's hands travel across Nico's body. Nico dances slowly and resolutely. He looks into Adam's face.

NICO

There's something you should know...

ADAM

So, the pretty boy is your boyfriend?

NICO

I'm trans.

Adam steps back. He dusts his hands off, to wipe away the memory of Nico's body. Nico watches him distantly, swaying slightly.

ADAM

Trans? You're trans? How, I mean...

INT. BAR - CONTINUOUS

Matty watches from by the bar, his body tense. He clenches the water bottle in his fist.

INT. DANCE FLOOR - CONTINUOUS

Nico goes over to Adam, who shoves him away. Nico, drunk, stumbles backward onto the floor. The crowd around them stops dancing and looks around in alarm.

Matty charges from the bar to Nico. He helps Nico up and walks him to a bar stool.

INT. BAR - CONTINUOUS

The bartender gives Nico water and a clean rag.

BARTENDER (To Adam) Get the hell out.

Adam looks around. Various people record him on their phones. They boo him until he exits. Everyone applauds and resumes dancing. Matty looks Nico over.

MATTY

You okay?

Nico nods. He stands and leans his weight against Matty. They exit.

FADE OUT.

The Film and Video Studies degree offers courses in ethics, business and producing, screenwriting, fiction and documentary directing, cinematography, sound, and post-production.

Visit film.gmu.edu to learn more!

Brian Revor

Major: Film and Video Studies

Graduating in: 2028

Screenplay: Ravage

Logline: A being thought to be safely secure in a deep underground prison is suddenly given an opportunity they can’t pass.

Why do you feel this publication is important?

“This publication is important because it allows screenwriters to share their works to a larger audience and gives them the recognition many writers deserve. Having the opportunity to be published gives writers so many opportunities and opens new doorways that will push them even further. It is a great motivator to keep writing and to continue to try and create the best work that a writer can.”

What are the inspirations/motivations behind your screenplay?

“There are a lot of different influences and inspirations for this screenplay, with fiction and supernatural abilities always being of interest to me. Similarly, the world building of fantastical stories has been a key component of my writing. One of my biggest inspirations comes from One Piece by Eiichiro Oda. The level of world building and creativity he expresses has helped me in crafting my own world. This story is a snippet from that world and is my first attempt to share it in an actual work.”

Ravage

Written by Brian Revor

INT. PRISON ELEVATOR - UNKNOWN

THREE SILHOUETTES descend in the elevator. Two large and intimidating figures tower behind a smaller more reserved person. Lights pass over them as they continue down, revealing them.

SWEN (32), wearing a white winter jacket with blue accents flowing through it. One hand holds a journal with an icon of a crow on the front, while the other holds a long black quill. A co ntent smile holds his face together.

WELD (8), a massive being covered in iron armor, with an equally as massive axe attached to their back. A belt filled with an assortment of items, such as keys and a lantern, can be seen. Their face is somber.

BLAZE (8), equally as tall as Weld, but far skinnier. Their hair is shaped like a black flame, and flame tattoos rise up their arms.

SWEN

I’ve never visited a prison so secure, I can’t even imagine trying to break out. It was difficult enough to enter. And the guard system as well, combining some of the Blades with the Creators’ experiments- Astounding!

WELD

I appreciate the compliments, but please be aware that the prisoner is still very dangerous even locked away.

BLAZE

Why are you trying to meet with that bastard anyways? He’s nothing special.

SWEN

Not hing special!? In the span of a few months, he was proclaimed a new Conqueror and staked a claim in the Abandoned City.

Silence. Weld and Blaze glance at each other.

BLAZE

Anyone can claim an abandoned city.

SWEN

Do you guys not know about the Abandoned City?

WELD

We have never left this prison.

DING. The elevator lands at the bottom floor. Weld fishes around their belt and pulls out a key. Inserting it into a lock in the wall, the elevator rotates around before finally coming to a stop and opening.

INT. PRISON HALLWAY - UNKNOWN

A long, dark hallway sprawls before them. Weld and Blaze walk out in front of Swen. As Swen steps out, a terrifying weight in the air descends upon him. Sharp, pointy teeth, bright yellow eyes, and shadows ooze out from the end of the hallway. The teeth enclose around him, devouring him.

The hallway is dark and stale. Weld pulls out a lantern from his belt. Swen starts to stagger behind them, almost collapsing to the ground. His smile is gone.

SWEN

Wa-was... that his presen ce? How menacing...

Swen looks up at the two guards. Weld and Blaze glance behind them before looking at each other. Blaze shrugs his shoulders and continues on while Weld turns back.

WELD

We aren’t quite sure what you just felt, as we detected nothing. His presence should be dulled by our chains.

Swen looks back down the hallway, the teeth and eyes still glaring, almost taunting him.

SWEN

If this i s what he is like weakened... I hope to never witness him outside these walls...

Weld and Blaze continue forward, dragging Swen with them.

BLAZE

Well come on now, lets get this “investigation” over.

As the three walk closer and closer to the cell, the shadows and teeth only grow more ominous, almost touching Swen. The bars of a cell start to be illuminated at the end of the hallway- The source of the terrors.

INT. PRISON CELL - UNKNOWN

Swen walks up to the bars, only seeing the ghastly image of the teeth and eyes, nothing beyond. Weld and Blaze stand on either side of him. Weld then searches a round his belt once more, before pulling out another key. Inserting it into the wall near the cell, a light turns out inside the bars. The teeth and eyes disappear. Underneath the light, chained to the wall, sits RAVOK (20).

Ravok’s right arm is hanging from chains. Where his left arm should be there is only a burn scar on his shoulder. Chains wrap around his chest in a X formation. Scars cover hi s body. His legs sprawl out before him, cloaked in black pants and dark talon-like toes at the end. He has his head hung down, with long, bright yellow hair hanging off his face, with threads of black hair interwoven.

Swen steps up closer to the bars and then writes “calm” onto his hand with his pen. Breathing in, his smile returns to his face and he sits down in front of the bars, flipping through his journal.

SWEN

Hello there prisoner 505... or should I say, Ravok?

Silence.

SWEN (CONT’D)

My name is Swen. I am here under the Triad’s order to investigate you, as your faction has started causing trouble for us again. I hope to leave with the news of your security.

SWEN (CONT’D)

Please answer these questions quickly and clearly, so that neither of us have to be in each other’s presence for long.

Swen laughs nervously. Ravok tilts his head slightly upwards, revealing a bright yellow eye glaring at Swen through the cell bars. The visage of the eyes and teeth appears again for a brief moment, but Swen still jolts back.

RAVOK (raspy, dry voice)

My faction, huh? Causing trouble?

Ravok slowly raises his head as he laughs. The chains seem trivial and unnecessary, as a smile of sharp pointy teeth sp reads across his face. Both of his eyes glisten with life and vigor.

SWEN

Uh, correct. I am here to ask, do you somehow have communication with them? The recent movements have seemingly sprung out of nowhere. Do you know why this is?

Swen slowly leans forward towards Ravok, his pen ready.

RAVOK

Do I have communication? (laughs)

You’re a funny one mister. How the hell would I know what they are doing? I’ve been trapped in these walls for three years, and specifically in THIS wall for one of ‘em.

SWEN

Yes, I understand, but the Triad wanted reassurance of your security and inability to communicate. Better safe than sorry, you know? But thank you for reassuring us of your security.

Swen scribbles into his notebook.

RAVOK (chuckles sinisterly)

“Better safe than sorry” huh? You are a damn fool. Thanks for the intel, and for the guest.

Swen cocks his head back.

SWEN

A guest? What do you mean?

RAVOK

(ignoring Swen)

Oi, you in the shadow. Reveal yourself.

Taken aback, Swen’s face becomes confused. He looks back at Weld and Blaze who are similarly concerned. Both guards tense up, readying their stance. Swen turns back around.

SWEN

Who... who are you talking to?

RAVOK

I told you. The one in your shadow. Hiding away. You’re here for me aren’t ya?

Suddenly, a massive longsword shoots out of Swen’s shadow, striking the ground. A long lanky arm follows suit, slowly pulling itself out. All of a sudden a tall, LANKY FIGURE cloaked in shadows stands before them all. Their longsword is impossibly large for such a figure to wield. Where their eyes should be only a bright white light shines.

Weld immediately swings his axe through the shadow. The shadow is suddenly on the other side of the bars, kn eeling before Ravok.

SLONE

My name is Slone. I heard great things about you boss. I wish to become your shadow.

Weld and Blaze rush over to the bars. Ravok studies SLONE and then smiles.

RAVOK

Boss, huh. They’re really making a name for themselves. (laughs)

Sure you can be my shadow, just don’t hinder me.

SLONE

Of course boss.

Slone sinks into Ravok’s shadow.

RAVOK

Now then. I wonder if the sky has cha nged.

A shadowy body with teeth and eyes manifest from his arm and bites through the chain on his arm.

Tearing through the rest of the chains, Ravok slowly starts to stand up. The visage of the teeth and eyes appear around him, covering his entire body.

Weld and Blaze start to panic, fear seeping into their bodies.

BLAZE

HOW ARE YOU ABLE TO MANIFEST! THOSE CHAINS SHOULD STOP YOU!

RAVOK

Clearly you don’t understand the nature of presence and manifestation.

WELD

Blaze. Do what you have to do, I can fix a nything later.

Blaze smiles. Dark black flames with white tips appear from their hands, destroying the bars and heading straight towards Ravok.

The teeth around Ravok grow and open, revealing a black hole. The flames disappear into the mouth as the teeth chomp down.

INT. PRISON HALLWAY - UNKNOWN

Ravok steps forward, his presences weighs down the three in the hallway. The word “Death” appears to fo llow Ravok.

WELD

Investigator! Please escape from here. We will hold him back. The Blade, Amethyst, should be near by, please grab her.

Swen stands up and starts to sprint back down the hall. Blaze charges forward, more flames forming around them.

BLAZE

There is nothing my flames can’t BURN!

Ravok continues his strut forward, smiling menacingly.

Nine cat-like shadows shoot out from Ravok, each donned with his smile of sharp teeth and pair of bright yellow eyes. Blaze tries to burn them down but the flames are devoured by each. Ravok crouches down in a ready position.

Ravok’s fist appears right in front of Blaze’s face, the teeth forming around his knuckles. As the fist connects the teeth crunch down and launches Blaze past Weld and Swen. Swen continues to run past the collapsed Blaze into the elevator.

Ravok starts to stretch his arm and legs, and cracks his neck.

RAVOK

Man, I’m a little rusty.

From Ravok’s burned shoulder, a shadowy arm forms with marks of brig ht yellow and teeth around it. Ravok holds it up to his face and studies it.

RAVOK (CONT’D)

Hmm, not as sturdy as before, but it should suffice.

SLASH, the arm is chopped off and disappears. Ravok looks up to see where the attack came from. Amethyst gemstones stick to the wall behind him. At the end of the hallway, next to Blaze is a menacing presence.

AMETHYST (26), wearing a loose jacket with accents of pu rple. A strap on her right shoulder holds a sword perfectly where her hand rests. Her eyes are intense and focused solely on Ravok.

RAVOK (CONT’D)

Ah, the Blade, Amethyst, has finally appea-

A slash of purple shoots straight towards Ravok. He swiftly flips over it, regrowing his shadowy arm at the same time.

RAVOK (CONT’D)

That is quite the quickdraw-

Amethyst is crouched below Ravok, drawing her blade from her sheat h, quickly slashing up towards his head, amethyst stones grow along the blade. Ravok barely avoids the attack with a backflip. Using his momentum, he kicks Amethyst in the head with his left foot, the teeth appearing once more. Gems harden right where she is hit, reducing the impact, but the teeth still crunch down adding to the force. She is flipped backwards.

Ravok stands up, smiling and panting .

RAVOK (CONT’D)

Barely appeared and has already done more damage than two of the Creators’ best experiments.

He gestures towards Weld and Blaze. It’s revealed that Ravok was cut diagonally across his chest. Blood starts to flow. Teeth manifest around his body vertically, closing over the cut before dissipating. The cut stopped bleeding.

Amethyst holds her blade up in a ready position, the visage of an amethyst tiger appears around her. Gems coat her body like armor.

AMETHYST

BLAZE! Get up! We need your fi re power! Weld, cover me.

Weld gives a confirming nod, gripping his axe. Blaze slowly starts to stand up, holding their head and wincing. As they pull their hand down, black flames erupt from their body.

Amethyst makes a signal to Weld. Slamming their axe down, vines made of metal erupt from the floor and walls, all seeking Ravok. Weld then dashes to Ravok’s side.

RAVOK

Oi, shadow.

SLONE

(from Ravok’ s shadow)

Don’t worry boss.

Ravok stands still as Weld strikes toward his back, simultaneously with the metal vines. Slone’s longsword shoots out from Ravok’s shadow blocking Weld’s axe. Ravok’s shadowy arm transforms into a massive mouth with sharp teeth and devours all of the vines.

From behind the cover of the vines, Amethyst lunges forward, thrusting her blade towards Ravok. Gems manifest all ar ound it, increasing its power. Ravok intentionally dodges to his right, letting his left arm be destroyed again. Amethyst’s momentum carries her too far, and Ravok strikes her, the teeth crunching once again. The crunch sends her flying off into the wall.

While Slone clashes with Weld, Ravok walks towards Blaze. Black flames shoot from Blaze, but Ravok easily devours them. Blaze yells in frustrati on.

BLAZE

I WILL KILL YOU!

Blaze creates an overwhelming force of flames, destroying the walls of the hallway, breaking into the neighboring parts of the prison. Ravok stands in the middle, unaffected.

RAVOK

Poor fool. More destruction isn’t going to help you. After all, you are missing one key part of flames.

Blaze ignores him and keeps trying to incinerate Ravok but to no avail.

RAVOK (CONT’D)

You’re missing heat.

Ravok touches his burned shoulder.

RAVOK (CONT’D)

Your flames lack the presence of true fire. They can never burn. They simply destroy.

Ravok’s constant smile falls. Blaze takes a step back.

RAVOK (CONT’D)

Sad.

R avok blitzes Blaze and launches a devastating kick up into their jaw. As the teeth crunch, Blaze disappears into the ceiling above.

As Ravok returns his leg to the ground, Slone flies past and crashes into the wall in front of Ravok.

SLONE (wincing)

Sorry... boss.

They drop their longsword to the ground. Ravok turns around to see Weld and Amethyst walking towards them. A garden of iron thorns grow w ith each of Weld’s steps. Ravok turns back around to Slone.

RAVOK

Unfortunate circumstances. Now then, I am going to borrow your sword.

Ravok walks over to Slone and picks up the massive longsword. It is almost twice the height of Ravok, but he wields it naturally. Turning towards the guards, the presence of terror exudes from Ravok. Weld and Amethyst both briefly stop.

Weld swings their axe forwar d and the iron thorns launch toward Ravok, but he easily cuts them down. Each slash manifests crunching teeth. Amethyst uses the cover of the vines to try and flank Ravok, but he notices. Their blades clash, as a flurry of slashes collide between them.

Ravok lets one of Amethyst’s slashes past the longsword, forcing her momentum to carry her forward again, but this time he crunches down on her blade with his own teeth. He swings his head and Amethyst flies from her blade, landing on the floor.

Ravok spits out the sword, and then lunges at Amethyst. The longsword strikes the outside of her left leg, breaking the floor.

RAVOK (CONT’D)

It’s unfortunate that i t must end like this. I hope to meet again, with my actual sword and have a real duel. None of this manifestation bullshit.

A wall of metal vines envelop over Ravok, but he quickly slashes it apart, with teeth tearing it up even more.

RAVOK (CONT’D)

Now then, all that’s left is the nuisance.

Ravok draws back the longsword, pointing it straight at Weld. Ravok then lunges forward, bright fiery yellow eyes ma nifesting around the blade, and strikes straight through Weld, teeth crushing their body more. Weld disappears through the walls Blaze destroyed, flying off into the distance.

Ravok slowly breathes in and then exhales, relaxing. He returns to Slone and hands him his blade.

RAVOK (CONT’D) (laughs)

Your sword back. Let’s continue.

Ravok looks upwards at the elevator column. He then turns and walks through the dismantled halls.

RAVOK (CONT’D)

But first, there are a few deals I have to honor.

Ravok walks through the ravaged landscape and through the crumbled walls seeking out a specific cell.

him and closes her eyes. James’s eyebrows go crooked for a moment, but he quickly gives an understanding smile. He begins to lean in as well, shifting his weight onto his right hand - only for his palm to land on a leaf. The leaf shifts, and James’s hand slips, sending him flailing. James gives a surprised yelp and tumbles o the roof landing on the grass below with a soft THUMP and a mu ed FUFF. The root beer bottle, caught in the chaos, rolls o the roof as well, spilling its sugary, sticky contents all over him. Elizabeth puts both her hands to her mouth in a gasp as she watches James fall o . She quickly checks to see if he’s okay. She looks down to see James lying on his stomach rolling over to his back. He puts his right arm up and gives her a thumbs up. JAMES (whispering, out of breath) I’m good! When Elizabeth is reassured of his safety, she laughs to herself, humorous tears fall from her eyes. James is on the ground slowly forcing himself up when he sees a small child, DANNY (roughly 8 years old) in superhero pajamas exit the dark cabin rubbing his eyes. DANNY Is Bigfoot on the roof? James gets up quicker now, wiping dirt o his clothes and drying his face from the sticky soda. He looks back up to Elizabeth who is silently laughing up a storm. James gives a quick playful middle finger to her and then quickly shifts back to his camp counselor attitude. JAMES No Danny, he’s not here tonight. DANNY But - but I heard thumping and – and something fall. JAMES You must’ve been dreaming about what would happen if you climbed up there again. Now, let’s get you back to bed, alright? You have a pretty busy day tomorrow. James waves the kid back into the cabin, gently taking his hand. Elizabeth sits back down on the roof smiling to herself and wiping o joyful tears. She listens to James and Danny’s fleeting remarks as they move inside the cabin. DANNY(O.S.) Why do you smell like toothpaste?

JAMES (O.S.) I - uh - I just brushed my teeth, did you? Elizabeth sits back and looks over the lake. The cabin door below creeks shut and the sounds of nature take over. She looks down at her legs and notices something glimmering to her left, a LIGHTER. Elizabeth takes the lighter, opens the cap and ﬂicks it - the lighter immediately releases a bright ﬂame. LINGER ON THE FLAME

OUT.