We are currently working on a zero budget movie, with all money made being donated to the Piam Brown children's cancer ward, based in Southampton.

I thought I would share the first draft of the script with you, please do not place this anywhere else at this time, as the final shooting script will be released online free of charge. We just want to keep an eye on where this script goes. It is currently available only on this website.

The Board

First Draft Script

By Wish Craft

1 INT. HALLS OF RESIDENCE - EVENING 1

We see a a dark hallway, a silhouette is seen walking along
and places something under a door.

2 INT. DEREK'S ROOM - DAY 2

We see DEREK lying on the bed, his eyes closed.

3 INT. HALLS OF RESIDENCE - EVENING 3

We see another instance of something being slid under a
door.

4 INT. DEREK'S ROOM - DAY 4

We see DEREK on the bed, his eyes closed. His eyes
suddenly open and he swings off of the bed, sits up and
places his face into his hands.

5 INT. HALLS OF RESIDENCE - EVENING 5

Another instance of something being slid under a door.

6 INT. DEREK'S ROOM - DAY 6

DEREK goes over to a chair beside his desk and picks it up,
placing it in the centre of the room.

7 EXT. OUTSIDE DONNA'S HOUSE - EVENING 7

We see a dark figure at her front door and see something
posted through the letter box.

8 INT. DEREK'S ROOM - DAY 8

We see Derek stripping his bed.

9 EXT. OUTSIDE SIMON'S HOUSE - EVENING 9

We see a dark figure silhouetted in the glass and an
envelope is seen to come through the letter box.

10 INT. DEREK'S ROOM - DAY 10

We see DEREK ripping his sheets into strips.

11 EXT. OUTSIDE KERRY'S HOUSE - EVENING 11

We see the dark figure posting another envelope.

12 INT. DEREK'S ROOM - DAY 12

We see DEREK suddenly come into view, his legs swinging
frantically until they gradually come to a stop and we just
see DEREK swaying slightly.

13 INT. MARCUS'S ROOM - NIGHT 13

We see MARCUS opening the envelope and removing a card from
inside.

MARCUS
For a night of true revealing.

14 INT. ALAN'S ROOM - NIGHT 14

We see ALAN reading from the card.

ALAN
Meet up at the old farmhouse for
the truth.

15 INT. SIMON'S ROOM - NIGHT 15

SIMON is reading from the card.

SIMON
All will be revealed when you
arrive.

16 EXT. APRIL'S CAR - NIGHT 16

She is reading from the card.

APRIL
Come alone.

17 INT. KERRY'S ROOM - NIGHT 17

She is reading from the card.

KERRY
Midnight tonight.

18 EXT. THE STREET - NIGHT 18

We see her reading from the card.

DONNA
Tell nobody, or the truth will be
revealed to them.

19 INT. ALAN'S ROOM - NIGHT 19

ALAN is talking on his mobile.

ALAN
I know, but who really cares
about that, as long as we get the
work done.
(Short pause)
I can't tonight, I have somewhere
to go.
(Short pause)
I could, but then I'd have to
kill you and I could do without
the hassle of mopping up.
(Short pause)
I have no idea, but I'll let you
know tomorrow, if I don't have a
killer headache.
(Short pause)
Yeah, we'll do that. Cya soon.

20 INT. CORNER SHOP - NIGHT 20

We see APRIL enter the shop, walk around for a bit and
eventually pick up a bottle of vodka and a packet of
condoms. She then walks to the counter.

SHOP ASSISTANT
Hey April, looks like you're in
for a good night.

APRIL
There's always hope.

SHOP ASSISTANT
It's like that then is it?

APRIL
Totally. I'm not sure whether to
use the vodka to get someone
drunk or just whack em over the
head and have my evil little way
with them while they are out
cold.

SHOP ASSISTANT
Good luck anyway.
(Short pause)
Twelve forty nine please.

APRIL passes over the correct money and leaves the shop.

21 INT. THE PUB - NIGHT 21

We see a crowded pub, there is a karaoke set up and people
are singing in the background - badly. As we pan around
the pub, we see AXEL sat near the singer, MARCUS enter and
wave at a group of people unseen on camera, SIMON stood at
the bar with JACK and SONIA stood at the bar ordering a
drink.

DONNA and SHELLEY are sat at a table talking. On the next
table we see CRAIG, though this isn't noted any way.

DONNA
I have no idea what this message
is about.

SHELLEY
(Passes back the card to
Donna)
It all seems a bit weird to me.

DONNA
That's one way to put it, weird.

SHELLEY
What are you going to do about
it?

DONNA
Do about it?

SHELLEY
Yeah, are you going to go along?

DONNA
I'm going.

SHELLEY
You're going? Are you sure that
that's a good idea?

DONNA
I dunno, but you know me.

SHELLEY
Yeah, you just can't resist can
you.

DONNA
It could be a party and I'd hate
to miss out on a party. What's
the point of being a student if I
can't party?

22 INT. THE PUB - NIGHT 22

We see The Mystic Mongoose singing a song as badly as
everybody else. We stick with him on the song, getting a
sense of the fun within the pub. AXEL remains unnoticed
sitting at a table beside the singing area.

23 INT. THE PUB - NIGHT 23

We see SIMON at the bar talking with JACK.

SIMON
Things are going pretty well, but
we'll just have to see if things
get any harder.

JACK
Are you finding things on the
course a little too easy then?

SIMON
I am right now and it doesn't
help that some of the people on
there with me don't seem to be
grasping the simplest points.

JACK
It happens.
(Short pause)
What are you doing about it.

SIMON
Well, I'm working with some of
them, seeing if I can get them up
to speed before my brain starts
to ferment with boredom.

JACK
Just as I expected. That's what
makes your mum and me so proud,
you are always there to help
those not as gifted as you.

SIMON
Er, yeah. Whatever you say dad.

24 EXT. OUTSIDE THE PUB - NIGHT 24

We see Axel getting some fresh air. Sonia comes out of the
pub and starts to talk to him.

SONIA
Hi.

AXEL
Hello.

SONIA
It's a bit stuffy in there with
so many people, figured I'd get
some fresh air while I had the
chance.

AXEL
I know what you mean, hard to
keep up with it all.

SONIA
Well you are busy aren't you.

AXEL
Busy?

SONIA
I know about you, I know what you
are doing.

AXEL
I'm sorry, but I have no idea
what you are talking about.

SONIA
I've been following you around.

AXEL
Why would you be following me
around?

SONIA
Oh come on. It seems that
wherever you turn up, people are
disappearing. I don't know what
you are doing exactly yet, but I
will find out and when I do, I'm
going to tell my readers.

AXEL
You're a journalist?

SONIA
I'm a journalist.

AXEL
Great, that's all I need.

SONIA
Is that an admission?

AXEL
No, that is not an admission.
(Short pause)
It isn't me.

AXEL starts to look uncomfortable.

AXEL (CONT'D)
You wouldn't believe me if I told
you who it was.

SONIA
You know who it is doing it?

AXEL
I know what it is doing it.

SONIA
Oh great, I suppose you're going
to tell me you're tracking some
big cat around now or something.

AXEL
Not a big cat, far more dangerous
than that.

SONIA
Tell me then, and if you do I may
not run the current story on you.

AXEL
Not yet, the time isn't right.

SONIA
Great cop-out. So when will the
time be right?

AXEL
I don't know, maybe never.

AXEL walks off across the parks. SONIA looks as though she
will follow, but soon changes her mind.

25 INT. KERRY'S ROOM - NIGHT 25

We see KERRY on her computer, surfing the web. We see that
she is looking at a website for those who have lost
siblings. We see a tear form in her eye.

26 EXT. FARMHOUSE - NIGHT 26

We see a clear night, lit up by the moon. In the distance
is a farmhouse, the moon shining down upon it. As we
watch, the silhouette of Donna is seen to enter the
farmhouse. She is soon followed by Alan.

27 INT. FARMHOUSE - NIGHT 27

DONNA is in the farmhouse, looking around when ALAN enters.

ALAN
Hi, are you the one who invited
me?

DONNA
No.

ALAN
Oh well, there was always hope.

DONNA
I was going to ask if you were
the one who invited me.

ALAN
Not guilty.

DONNA
Who did invite us then?

ALAN
No idea, probably somebody's idea
of a practical joke.

APRIL enters.

DONNA
April!

APRIL
Hey Donna.

DONNA
Surely you didn't invite us here.

APRIL
No, I only found out about it
tonight.

ALAN
Me too. An invitation card?

APRIL
Yeah, that's right.

DONNA
I have no idea what is going on
here, but it is pretty weird.

SIMON and MARCUS enter.

DONNA (CONT'D)
OK. Now it's getting weirder.

MARCUS
What do you mean?

DONNA
Nobody here invited us, so who
did.

MARCUS
I don't know, let's just go with
the flow. Could be a cool party
out here in the farmhouse ruins.

SIMON
Good point, I don't know why we
never thought of having one out
here.
(Looks across the room)
Hey, a Ouija board!

MARCUS
Cool.

APRIL
Six chairs and five of us. I
guess we'll soon be meeting our
host.

KERRY enters.

MARCUS
Hey, it's the new girl.

SIMON
Hi new girl.

KERRY
Hi. Why did you all invite me?
None of you know me out of
college.

APRIL
We didn't.

DONNA
This is freaking me out now, it's
like some badly made cheap horror
film. Who the hell invited us?

APRIL
I don't know, but there are six
of us and six chairs.

DONNA
Yeah, so I suppose we have to get
on that thing, see how all of
this unfolds.

SIMON
Hey, we could have a bloody great
time on that thing, speak to
Elvis or Kurt Cobain.

MARCUS
Or Angel.

SIMON
Angel?

MARCUS
Yeah, he's dead.

DONNA
Whatever.

APRIL
Buffy was much better anyway?

MARCUS
Buffy? No way, Angel was the one
to watch, no crazy little girl
stories. Don't you reckon Simon?

SIMON
No.

MARCUS
What do you mean no? You
preferred Buffy?

SIMON
No way. For me it has to be
Firefly. It was criminal to
cancel that show after just
fourteen episodes.

DONNA
As entertaining as this whole
conversation is getting, I think
we should get on with the Ouija
board, see what happens.

KERRY
Ouija board?

DONNA
Yeah, there's one just over there
(Points to the Ouija
board)
Six chairs and six of us, so we
figured there would be six of us.

SIMON
And here we all are.

KERRY
So I see. This could be
interesting.

MARCUS
Yeah right, gonna be heaps of fun
sitting around a table in a cold
farmhouse talking to a bit of
wood.

DONNA
No different to talking to you.

MARCUS
Bravo, very good.

APRIL
Shall we get on with it then, I
want to contact my aunt. She
died last.
(Short pause. Looks at
Donna)
Who are you going to talk to?

DONNA
Well, if it works, I wouldn't
mind having a chat with my
grandmother. From what my mum
says, she was pretty cool.

ALAN
I think I'll try to get through
to John Lennon. He was warned on
the Ouija board that he'd be
shot, but he didn't pay any
attention.

DONNA
Really?
(Sarcastically)
How interesting.

ALAN
What about you Marcus?

MARCUS
It's not really worth thinking
about. These things are just a
load of rubbish anyway.

SIMON
Yeah I agree, it's always
somebody else moving the glass.

KERRY
Planchet.

SIMON
What?

KERRY
It isn't a glass. Looking at
that lot over there, it looks
like it is a Planchet. Gives
much better results.

SIMON
OK, somebody always moves the
Planchet then.

APRIL
Who are you going to contact
Kerry?

KERRY
I don't really want to say. Then
if he comes trough, I'll know
that it's really him.

SIMON
See, Kerry reckons it will be
somebody moving it too.

KERRY
I didn't say that.
(Short pause)
I just want to be sure.

DONNA
Are we going to do this thing or
just talk about it all night?

Everybody takes their places at the table and places their
hands on the planchet.

APRIL
Hang on, there's some candles,
why don't we turn out the light,
better effect.

MARCUS
Go for it.

DONNA
Thanks for volunteering.

MARCUS goes over to the light while April lights the
candles, he then turns off the lights and returns to the
table, placing his hands once more on the Ouija board.

APRIL
Right then, let's do this.

28 INT. FARMHOUSE - NIGHT 28

DONNA
Who's going to start.

SIMON
I'll start.

DONNA
Go on then.

SIMON
(Spooky voice)
Is there anybody there?
(Short pause)
If there is anybody there, come
through to us now, let us know of
your presence.
(Short pause)
Use us to do your evil bidding
upon this planet of doom.

SIMON and MARCUS are laughing.

DONNA
Yeah, very funny. We have to be
serious doing this, no messing
about.

KERRY
I'll do it.

DONNA
Just be serious, OK

KERRY
I will be, don't worry.

KERRY waits for SIMON and MARCUS to calm down.

KERRY (CONT'D)
Is there anybody there?
(Short pause)
Can you hear us, are you able to
come through the board?

SIMON
It doesn't look like it does it.

DONNA
Shhh.

APRIL
Shhh.

The Planchet slowly starts to move on the spot. We see
Donna's eyes widen.

DONNA
If there is somebody there, give
us a sign, show us that you are
here.

The candles all extinguish and we hear APRIL give a little
scream of shock.

ALAN removes his hands from the Planchet and relights one
of the candles.

KERRY
You shouldn't have broken the
circle, that can be dangerous.

ALAN
Yeah? Well if I didn't, we
wouldn't have been able to see
anything.

APRIL
He does have a point there.

KERRY
He does, but it is dangerous
still.

ALAN places his hands back onto the Planchet.

ALAN
Happy now?

KERRY smiles at ALAN.

KERRY
Sorry, Alan. I just don't want
things to go badly by us doing
this thing.

KERRY closes her eyes and has a few deep breaths, then
continues.

KERRY (CONT'D)
Do you have a message for
anybody?

The Planchet smoothly moves over to the word YES.

KERRY (CONT'D)
Who is the message for?

The Planchet slowly does a full circle, but speeds up until
everybody is having trouble keeping a hold of it.

KERRY (CONT'D)
Are you saying that you have a
message for everybody?

The Planchet stops suddenly on the word YES.

KERRY (CONT'D)
What are the messages.

The Planchet moves over to SIMON. It spells out YOU WONT
FEEL A THING.

SIMON
What the hell does that mean?

The Planchet moves over to DONNA. It spells out YOU WILL
BE RECYCLED.

DONNA
Eh?

The Planchet moves over to APRIL. It spells out YOUR MOANS
WILL BE MADE TRUTH.

We see a confused look on April's face.

The Planchet moves over to MARCUS. It spells out YOUR
INNER BEING WILL BE REVEALED.

The Planchet moves over to ALAN. It spells out YOU WILL
GET THE POINT.

ALAN
This isn't making any sense.

DONNA
Tell me about it.

The Planchet moves over to KERRY. It spells out ALL WILL
BE REVEALED.

All of the candles are again extinguished.

APRIL
Does this Planch thing feel wet
to you?

DONNA
What do you mean?
(Short pause)
Hang on, it does feel kind of
wet.

Camera switches to night vision.

DONNA puts her hand to her nose.

DONNA (CONT'D)
It's definitely wet and smells
kind of weird.

MARCUS
I've had enough of this, I'm
switching on the lights.

MARCUS goes to the light switch and turns on the lights.

Camera switches to normal view.

APRIL
(Screams, then points at
Donna)
Your face.

DONNA has blood around her nose and mouth. The table is
covered in blood.

DONNA
What the...

ALAN
Oh my God, Simon, your wrist!

SIMON looks down at his wrist and sees that he has blood
pouring out of his wrist. He then collapses on the table
and stops moving.

DONNA
I know I've said this before, but
this is weird. What the hell is
going on here?

APRIL
You won't feel a thing.

DONNA
What?

APRIL
That's what the Ouija board said.
You won't feel a thing, and he
didn't. He didn't know anything
until Alan said something.

DONNA
To Hell with this. I'm out of
here, this is definitely not my
idea of a party.

Donna stands up and runs out of the farmhouse, followed by
everybody else.