The Trap: A Haunted Story of Gentrification Entry #3

INTERIOR- AUDITORIUM - AFTERNOON

CUT TO AERIAL VIEW AUDITORIUM ON SCREEN An African American male ballet dancer is visible before a large auditorium of scattered students and university faculty. Classical music plays.

CUT to MALE DANCER ON SCREEN With ballet's standard physique and chiseled facial features, he finished his routine with focus, grace and artistic precision. He bows.

SOUND EFFECT APPLAUSE


CUT to AUDIENCE ON SCREEN Their applause continues. There is a panel placed before the audience where the Head of Ballet is seated.

CUT to CU of H.O.B. ON SCREEN She speaks into the microphone.

HEAD OF BALLET

Very nice, thank you.

CUT to SUSAN ON SCREEN She sits quietly looking only at the stage.

CUT to H.O.B. ON SCREEN

HEAD OF BALLET

Next, for Performance Based Placement, Susan Bateman.



CUT to SUSAN ON SCREEN She stands.

CUT to H.O.B. ON SCREEN She looks at Susan, who walks across screen.

CUT to CU H.O.B. ON SCREEN

HEAD OF BALLET

Susan, your selection is ready.

CUT to CU SUSAN ON SCREEN She stares emotionless into the crowd. She breathes deeply.

CUT to H.O.B. ON SCREEN There is brief silence as she looks at Susan.

CUT to SUSAN ON SCREEN

S.E. CLASSICAL/BALLET MUSIC PLAYS

Susan begins her routine.

VARIOUS CUTS/ANGLES (approx. 10-15) CLIMATIC ROUTINE - DURATION APPROX. 60 SECONDS

Susan delivers a flawless performance. At the end of her routine/selection, she stands facing the audience, breathing heavily and stern in demeanor.

S.E. APPLAUSE

Susan smiles and bows appropriately.

CUT to H.O.B. ON SCREEN She smiles and nods approvingly.

HEAD OF BALLET

Very well, Susan. Thank you very much.

CUT to SUSAN ON SCREEN She nods in acceptance of her praise. As she begins to leave the stage, something in the distance catches her attention.

CUT to LUCAS ON SCREEN He stands at the auditorium entrance. He smiles at Susan and claps again silently.

FADE OUT

INTERIOR- KITCHEN -  EARLY EVENING

CUT to MR. BATEMAN ON SCREEN He sits at the kitchen dinette reading a journal.

CUT to MRS. BATEMAN ON SCREEN She preps dinner at the kitchen counter.

CUT to MR. BATEMAN ON SCREEN Without looking up from the journal, he addresses his wife.

MR. BATEMAN

Our daughter hasn't come out of her room this evening.

CUT to MRS. BATEMAN ON SCREEN

MRS. BATEMAN

She said she's worried about placement and has reading to do.

CUT to MR. BATEMAN ON SCREEN He looks up from his reading.

MR. BATEMAN

I'm sure that she placed just fine Marianne.

CUT to MARIANNE ON SCREEN She stops food prep, sighs and turns to her husband with her hand on her hip.

MARIANNE

Well what do you suppose I do William?

CUT to WILLIAM ON SCREEN He puts down the journal.

WILLIAM

Perhaps, you could use a hand with dinner.

He slowly returns to his journal while eyeing Marianne.

CUT to MARIANNE ON SCREEN She chuckles sarcastically in defeat as she continues prepping dinner.

INTERIOR - DINING ROOM - EVENING
CUT to BATEMAN FAMILY ON SCREEN They sit at the dining room table, quietly eating dinner. The light in the dining room is dim. The kitchen beside the dining room it pitch black.

CUT to MARIANNE ON SCREEN She sips a glass of wine, looks towards Susan and then her husband.

CUT to WILLIAM ON SCREEN He sips as well. He looks at Marianne, places down his glass and then addresses Susan.

WILLIAM

Susie...

CUT to SUSAN ON SCREEN She looks up from playing with her meal.

CUT to WILLIAM ON SCREEN

WILLIAM

How was your day?

CUT to SUSAN ON SCREEN She returns to playing in her food.

CUT to WILLIAM ON SCREEN

WILLIAM

I hear who had your placement audition.  

CUT to SUSAN ON SCREEN

SUSAN

My performance was fine, thank you.

CUT to MARIANNE ON SCREEN She looks to neutralize the tension between the two.

MARIANNE

And I'm glad. I have high hopes for you Susie.

CUT to SUSAN ON SCREEN She places down her fork.

SUSAN

But why would the three of us need to move to Philadelphia, if you two wouldn't be there?

CUT to WILLIAM ON SCREEN He pats his mouth with a cloth napkin.

WILLIAM

We would have,

CUT to MARIANNE ON SCREEN She nods in agreement to both.

CUT to WILLIAMS ON SCREEN

WILLIAM

but we both had to work and you know why you couldn't live on campus Susan.

CUT to SUSAN ON SCREEN

CUT to WILLIAM ON SCREEN

WILLIAM

So you didn't have to have another abort....

CUT to MARIANNE ON SCREEN She looks to save face.

MARIANNE

William, performance went well. I am very proud.

CUT to WILLIAM ON SCREEN He returns to his meal.

WILLIAM

You can't embarrass your mother and I if you focus on your grades and ballet.

CUT to SUSAN ON SCREEN Reluctantly, but solemnly, she agrees.

SUSAN

I have been irresponsible.

CUT to WILLIAM ON SCREEN

WILLIAM



That's correct and...



S.E. THREE (3) KNOCKS FROM KITCHEN

William looks over to the kitchen startled.

CUT to SUSAN ON SCREEN She does the same.

CUT to MARIANNE ON SCREEN Same.

CUT to WILLIAM ON SCREEN He stands and heads towards the kitchen.

WILLIAM

I'll be right back...

CUT to MARIANNE ON SCREEN

MARIANNE

Do you want me to go with you William?

CUT to CU WILLIAM ON SCREEN He walks into the dark kitchen.

WILLIAM

Uh uh, stay with Susan. 

CUT to KITCHEN ON SCREEN (darkness and silence)

CUT to MARIANNA ON SCREEN She peers into the darkness.

MARIANNE

William?

CUT to SUSAN ON SCREEN She looks into the darkness.

SUSAN

Dad?

CUT to KITCHEN ON SCREEN The light cuts on and William stands at the back door staring out of the window.

CUT to WILLIAM ON SCREEN He stares quietly through the small window curtain.

WILLIAM

Hm.

He turns and ad libs to the women of the house, diverting from the situation at hand.

FADE OUT

the full screenplay is in composition and available upon request...