CAYOM YEAR 3 - PART I - MOVIE SUBMISSION

[Xillix]

5 hours ago, Ethan Hunt said:

2 Lonely 2 Zookeepers is done by the way if you wanna put that on the schedule 

I mean, I wouldn't say I WANT to...

[YM!]

Miraculous is done now.

[YM!]

Also new TCs for Pigeon and Stitch:

 

Pigeon: 4,210

Stitch: 4,085

Edited April 9, 2018 by YourMother the Edgelord

[Xillix]

Silent Hill: Innocence Lost

Release Date: October 25th, Y3

Studio: Red Crescent Films

Genre: Horror

Directors: Jeremy Gillespie & Steven Kostanski

Original Score: Akira Yamaoka

Theater Count: 3,075

Premium Format: 3D

Shooting Format: 4K Digital (Red Epic-W) (In native 3D)

Aspect Ratio: 2.40:1

Image Release Formats: 2K DCP, 2K 3D DCP

Audio Release Formats: 5.1, 7.1, Dolby Atmos

Production Budget: $45 million

MPAA Rating: R for extreme violence, gore, thematic content, and terror

Running Time: 129 minutes

Major Cast:

Jensen Ackles (Harry Mason), Kate Mara (Cybil Bennett), Charlize Theron (Dahlia Gillespie), Jodelle Ferland (Lisa Garland), Hugh Laurie (Dr. Michael Kaufmann), Lulu Wilson (Alessa Gillespie)

 

Plot Summary:

Based on the original 1999 video game Silent Hill.

 

LINK: https://docs.google.com/document/d/1dH5r-nfV4yuft7n6ooxyGpiwBhroNJNxfCkjarRJuqs/edit

 

Spoiler

 

We open on a dark state highway in the New England wilderness. An onscreen caption informs us it is August 11th, 1989, in Toluca County, Maine. A solitary Jeep roars through the night, its headlights casting long shadows from the pine trees surrounding the road. Inside at the wheel is Harry Mason (Jensen Ackles), a bit drowsy but doing his best to focus on the road. He'd left a bit later than he was supposed to but is determined not to make any more stops before his destination. In the backseat is his daughter Cheryl, fast asleep with her coloring book still open on her lap. Harry glances into the rear view mirror to look at her, a smile on his face.

 

That's when he notices the motorcycle shooting out of the darkness like a bat out of hell. Its single headlamp floods the Jeep with light as it approaches rapidly. Harry, squinting, nudges the wheel to the right ever-so-slightly to let it pass. He turns and looks out the window to see it's a female police officer on a motorcycle marked "Brahms PD." She races past him and around a curve just ahead. The noise causes Cheryl to stir. Yawning, she asks her father if they're there yet. As the Jeep rounds the corner, the iconic green sign with yellow lettering comes into view, lit by two overhead lamps - "Welcome to Silent Hill."

 

"We're just about there, honey. It'll just take a few minutes to drive down into the town. Why don't you put away your book?"

 

Cheryl complies, packing the coloring book and her crayons into her small purple backpack. As Harry rounds another curve, he sees the cop's motorcycle crashed into a tree off the side of the road. He can't see the officer herself anywhere. As he's peering out the driver's side window at the wreck, his daughter calls out from the back.

 

"Daddy, who's that?"

 

Harry looks back to the road ahead to see a black-haired teenage girl (Lulu Wilson) stepping into the street, staring right at him. He turns the wheel all the way to the right, just missing her. The Jeep grazes a tree and begins rolling uncontrollably down the hill into town, branches blinding Harry as they scrape against the windshield, scratching at the sides of the car. Cheryl screams in terror as the car finally smashes through a chain-link fence and drops over a retaining wall at the bottom of the hillside, the front end smashing into a sidewalk. Everything goes black.

 

 

The iconic series theme song plays over the opening credit sequence, a series of paintings, newspaper clippings, and photographs from the town's history - the founding of the lakeside settlement in the late 1600s, the burning of a suspected witch in 1692, the rediscovery and rebuilding of the abandoned town in the early 1800s, a mysterious and deadly plague in 1810, the establishment of coal mines in the 1850s, headlines about mysterious disappearances in town in the 1890s, the closing of the mines after a series of accidents in the 1930s, the redevelopment of the town as a tourist destination in the late 1970s, and the unexplained deaths and vanishings of several city council members in 1980. At the end of the credit sequence, the pictures and papers are sent flying into the air by a silent wind, and spontaneously combust, their ashes falling slowly behind the film's title.

 

The ashes transform into snowflakes against a black background, and as the screen brightens to a light grey, the camera pans down to reveal the wreck of Harry's Jeep. Light snow is, somehow, falling in the summer, quickly melting as it hits the ground. There is an incredibly dense fog, reducing visibility to less than a dozen yards. Harry, slumped over the steering wheel, gradually stirs. He grabs his head and looks around, realizing with what little he can see that he's on the edge of downtown Silent Hill. He turns back to check on Cheryl.

 

The back door is open, and she is gone, only her little backpack left behind. Immediately, Harry flies into a panic, practically leaping out of the car and calling out her name. He runs down the street asking for help, but no one seems to be around. All the lights in town are off despite the foggy weather. The entire town seems run-down and deserted, far from a vacation hotspot. Many of the windows are cracked or boarded up. He runs for several blocks, calling out to Cheryl to no avail.

 

Finally, he catches a glimpse of her through the fog. She's facing away from him, walking into an alleyway between two houses. It seems as though she is following someone. Harry calls out again, but Cheryl doesn't seem to notice, disappearing into the swirling mist. He runs after her, turning down the alleyway and passing a sign on the house's fence reading "BEWARE OF DOGS." In the yard is an empty doghouse with a broken chain. No dog in sight.

 

He runs down the alley, which winds between backyards and garages before leading to a rusty gate, slightly ajar, beyond which the alley continues between two tall brick buildings. Harry pushes the creaky gate open and runs into the tighter, almost tunnel-like space. He steps in something and nearly slips and falls. Glancing down, he is horrified to see an unidentifiable mass of gore - like the mostly-eaten corpse of some kind of animal, so badly mutilated that it could be just about anything. He gasps and gags, but this only strengthens his resolve to find and rescue his daughter.

 

He continues down the alley, but is forced to slow down as it makes several sharp turns. In the distance, a siren begins to wail, almost as if there's an oncoming air raid. The sky gradually darkens, making it even harder to see. After rounding another corner, Harry bumps into a hospital stretcher, of all things. Something is laying on it, covered in a blood-soaked sheet. He presses on, growing more frantic by the minute, until he reaches a dead end. There's another chain-link fence, with a hole at the bottom just large enough for Cheryl to have crawled through. It's too dark for him to see what lies beyond.

 

As he leans over to examine the hole, he's startled by the sound of a low, angry growl behind him. He turns back just in time to see a skinless, demonic-looking dog jump out of the darkness to attack him. He struggles to fight it off, kicking and punching as it pins him to the fence. In the distance, he can hear the rapid footsteps of more dogs approaching. Just when it seems he's about to be overwhelmed, the siren screams again. The dogs turn and flee, and Harry slumps onto the ground holding his head in pain until he passes out...

 

We see Harry's nightmares, or perhaps, visions. Fragmented, choppily-edited bits and pieces. He sees his late wife, sick and frail, distraught at the thought of never being able to have a child. He sees himself and her, finding Cheryl as an infant by the side of an empty road, holding her tight, bringing her home, raising her. His wife's death when Cheryl was just three years old. Cheryl, just a month ago, asking him to take a trip to Silent Hill for their summer vacation. And then, Cheryl, in a place he's never seen before - a schoolroom, but not at her school. She's wearing a purple uniform, and the other kids seem frightened of her. She clenches a fist and another girl screams, collapsing to the floor. An unseen teacher grabs Cheryl's hand to pull her away -

 

Harry's eyes open for a split second. From his point of view, we see his own hand, grasped tightly by a stranger's. The light has returned, and he is being pulled along the asphalt. He quickly passes back out.

 

He bolts awake, rising from a prone position on a bench inside an abandoned diner. Just as he begins to get his bearings, he's approached by a woman - the cop he saw on the motorcycle the night before (Kate Mara). Without her helmet and glasses, he can get a better look at her - blonde, relatively young, tough yet pretty. She approaches him and helps him up from the bench.

 

"Are you okay, sir?"

 

Harry isn't sure how to respond. The officer continues after a moment of silence.

 

"It seems like you were in trouble. I had to drag you out of an alley."

 

"Then..." Harry finally speaks, sounding unsure of himself. "...I really was there?" The cop looks confused. "I was having... some sort of nightmare. I'm still not sure what was real."

 

Terror and realization flashes across Harry's face. "My daughter! Cheryl! Have you seen my daughter? Black hair, just turned seven last month."

 

The cop shakes her head sadly. "Sorry, I can't say I have. You're the first person I've seen all day. Can you tell me what's going on here? The whole place is like a ghost town."

 

Harry does his best to answer, still obviously flustered. "I - no. I'm just a tourist, from Portland. We came here for a vacation. I crashed my car on the way into town last night, and when I woke up, she was... gone. I've got to find her!"

 

He moves to leave, but the cop steps in front of him and asks him to calm down. She explains that her name is Cybil Bennett, and she's an officer from Brahms, the next town over. She was driving into town last night to pick up some evidence for a joint investigation her department was doing with the Silent Hill police when she too crashed. But now the town is empty, the phones and her police radio won't work, and none of the vehicles on the streets will start.

 

Harry offers his name in return, explaining he's just a writer and has never even been to Silent Hill before. He again insists that he needs to go find his daughter, but Cybil tries to stop him since they don't know what's going on. She explains she's going to hike back to Brahms to get backup, and suggests Harry should wait in the diner until she returns. But Harry refuses, saying that if something dangerous is going on, he needs to find Cheryl immediately. With a sigh, Cybil relents. She suggests he head for Silent Hill's police station to see if he can find anyone there to help him, saying that if Cheryl's a bright little girl she may have gone there herself. She also gives him her pistol in case he needs to protect himself.

 

"Take this," she says as she hands it over, "And hope you don't have to use it. Now listen to me. Before you pull the trigger, know who you're shooting. And don't do it unless you have to."

 

She tells Harry to stay at the police station once he gets there, whether he finds his daughter or not, so that she'll know where to look for him when she returns with backup. Harry reluctantly agrees, and Cybil leaves the diner, heading for the road out of town and telling him she should be back in a few hours.

 

Before heading out on his own, Harry finds a tourist map to the town on the diner's counter and studies the quickest path from his location, the Café 52, to the police station about a mile away. As he's going over it in his head, staring at the map, he's suddenly distracted by the sound of static. Turning his head, he identifies the source - a small battery-powered pocket radio that's been left on one of the tables. The static is growing gradually louder. Curious, Harry approaches the table.

 

Just as he reaches out to grab the radio, one of the large windows at the front of the dinner shatters. In flies what can only be described as a razor-toothed, screeching, deformed pterodactyl, its wings flapping furiously as it swipes its claws at Harry. He fires the gun wildly, but his aim is horrible. The bizarre creature chases him around the diner, and he's forced to crouch beneath a table for cover, finally managing to hit the beast enough times to bring it down. The static begins to quiet down to a low hum. As Harry steps over the thing's bleeding body, it twitches, and he stomps on its head reflexively, finally killing it. The radio goes silent. Realizing it seemed to respond to the monster's presence, Harry grabs the radio and puts it in his jacket pocket before departing the diner.

 

The streets, as before, are eerily empty and quiet. In the distance, Harry thinks he hears the flapping of wings. The radio begins to crackle, and he quickens his pace. The route to the police station takes him past the alley where he was attacked earlier, and as he passes by, the radio blares out a loud wave of static and the skinless dogs reappear from the alley's depths, chasing him down like helpless prey. He's memorized his path through town and sprints for his life, turning a corner at an intersection, pursued closely behind all the while - but he thinks he can make it.

 

Then, from out of the dense fog, an enormous chasm in the road before him comes into view. He drops to his knees to stop himself, nearly sliding over the edge. It's as if there's been an earthquake and a fault line has opened up in the middle of town, splitting the street in two. The gap is at least eight feet across, and too deep to see to the bottom. The dogs quickly catch up and launch themselves at him, nearly pushing them over the edge. There are three dogs, and he manages to kill two of them with his gun before running out of bullets. The last of the monsters jumps on top of him, knocking the gun out of his hand and down into the abyss. Harry is barely able to hold it back from biting into his neck. Eventually, though, he grabs it by the leg and tosses it into the chasm, the canine beast howling all the way down. The sound fades out, but Harry never hears it hit the bottom.

 

Consulting the map, Harry is able to find a detour around the fissure. It takes him past Midwich Elementary School, an imposing, old brick building which, like the rest of the town, seems to be abandoned and falling apart. Out in front, broken down and crashed into the concrete sign bearing the school's name, is a rusty yellow school bus. From inside, Harry hears the sound of a child crying. Thinking it could be Cheryl, he runs toward the bus. As he approaches it, the radio in his pocket again begins to emit static, which grows louder the closer he gets. This only encourages him to approach faster, thinking Cheryl could be cornered by a monster.

 

He boards the bus, and notices the crying is coming from a seat near the back. Carefully, cautiously, he approaches, calling Cheryl's name. There is no response. Soon he is able to peer over the other seats and see the source of the noise.

 

It's not Cheryl.

 

Hunched over in the seat is a mockery of a child's form, a grey, ashen, twisted humanoid, faceless, with just four fingers clutching a knife. It turns and leaps at Harry, who goes to run out of the bus. He's tripped by several small, disfigured hands reaching out from underneath the other seats to grab at his ankles. There are many more of the sickening things hiding under the rows of cracked leather benches. He struggles to his feet, kicking himself free, gasping at the inhuman atrocities swarming after him.

 

He manages to escape the bus, and runs, and runs, and runs. Finally he's back on the right path. The radio is quiet. The path to the police station is still long. In a montage, he runs along several streets, sometimes ducking behind houses or bus shelters when the radio begins to act up. Eventually, though, he reaches the Silent Hill Downtown Police Station. It's in as poor a state as anything else he's seen here.

 

Harry enters through the front door and finds the station, disappointingly but unsurprisingly, abandoned. The lobby is a mess, papers and chairs scattered across the floor. He decides to search the rest of the building in case his daughter is hiding somewhere inside. When he enters one of the offices, he finds a desk with a case file open, as if someone were in the middle of reading it when they simply vanished. Hoping it might provide some insight into the state of the town, Harry reads it. It details the suspicious death of one Officer Gucci, who, it seems, died of an overdose of a drug called PTV - despite no prior indications he had ever used it.

 

Having never heard of such a thing, Harry reads deeper into the file. PTV, it seems, is a locally-available hallucinogenic drug sold to tourists, made from a plant called White Claudia that only grows in the area around Toluca Lake. Officer Gucci was leading a joint investigation into the production and distribution of the drug in cooperation with the Brahms department. "That explains what Cybil was doing here," he says to himself. Before he can dig any deeper, though, he once again hears the wailing of the town's siren. The light streaming in through the windows quickly fades to blackness. While he can still see, he digs around in the drawers of the desk in the office, managing to find a flashlight and a loaded revolver. Everything goes pitch black as the siren fades.

 

When he turns the flashlight on, illuminating the inky darkness, he finds the station has changed drastically. The windows have disappeared. The walls are all rusted, pitted metal. Looking down, he sees the floors have been replaced with metal grates. Below is only a black void, but from the emptiness beneath him, Harry can hear an agonized, inhuman moaning, echoing eternally against steel walls. Terrified and badly disoriented, Harry goes to run out through the lobby to the front door - only to find that the door to the lobby has disappeared, a huge metal plate bolted onto the wall where it once was. 

 

As he runs down the hallway in search of another exit, Harry is suddenly grabbed by something that's darted out of another office. The radio hadn't warned him. It seems it doesn't work in this strange darkness. The creature is vaguely human, but pale, emaciated, and deformed. Instead of a face, it has only a bleeding, small hole where its mouth should be. Syringes are jabbed into its body at several points, and it seems skin has grown over their needles, fusing the tips to the body. Harry shakes the monster off of him and blasts it in the face, killing it - but several more stream into the hallway to chase him. As they approach, they rip the syringes out of their flesh, sending blood spurting everywhere, trying to jab Harry with the needles.

 

He shoots down a few who get too close, but his aim is poor, especially in the dark, and he has to conserve ammo. He reaches the end of the hall and locks himself in the room at the end, a large conference space. When he turns to examine the room's interior, he finds an enormous, occult-looking symbol seems to have been burned into the floor-grating in the center of the room. 

 

 

Harry spots a door he thinks might be an exit on the other side of the room. He runs over to it, carefully avoiding stepping on the odd symbol, but just as he puts his hand on the door, his head begins to pound again. Groaning in pain, he collapses onto his knees, blacking out...

 

Again we see Harry's nightmares. He sees tourists in Silent Hill - not as it looks to him now, but normal, sunny, pleasant, like on the postcards. They inject themselves with syringes full of PTV. Then a vision of the local hospital, the same tourists being treated for withdrawal, suffering seizures, rapid weight loss, anemia, vomiting up blood. Then Cheryl again, there, in the hospital, watching as one of the withdrawal patients is carted into the ER, with a cast on her hand. Someone grabs her shoulder and leads her away. She continues to stare at the patient, screaming in agony. It's intercut with shots of a dog - a normal dog, chained up to that doghouse, barking to the same frightening rhythm, a rhythm which keeps steady even as the sound changes again, to...

 

...the sound of church bells, rousing Harry from his blackout. As he wakes, he finds the police station more or less back to the state it was in when he first arrived - dusty, disorganized, abandoned, but relatively normal. There are windows again, the diffuse light of the foggy day streaming into the conference room. After a pause to try and collect himself, Harry sets out through the back door, which leads into another, smaller hallway, and then an exit onto the street.

 

Once outside, he consults his map and finds that there's a Catholic church a few blocks away, in the direction where the sound seems to be coming from. Surprisingly, his trip to the church is short and uneventful. When he enters, he finds a lone woman (Charlize Theron) inside, standing up front at the altar. She's wearing a decidedly odd getup, including a long brown dress, an unzipped jacket on top of that, and a white lace veil draped over her head, leaving her face exposed. She is, however, completely barefoot. Though she is not elderly, she is wearing too much makeup, and her hair is prematurely grey. She hears Harry enter the church and turns away from the altar to face him.

 

"I knew you would come," she says, a preacher's fire in her voice. "It was foretold. You want the girl, don't you?"

 

Harry is shocked that she seems to know about Cheryl, and runs over to her - but she warns him to stay back, and he complies.

 

"My name is Dahlia Gillespie," she says, "And I fear your daughter's very soul is at stake. To save her you will need to quell the fires of the underworld. I cannot do it myself." 

 

Harry is, of course, horribly confused - but given what's happened to him so far, he's not sure he can afford to dismiss her rambling as nonsense.

 

"Whatever I need to do to save my daughter, I will. Do you know where she is?"

 

Dahlia seems to ignore his question. "Nothing is to be gained from wandering about at random. You must follow the path. The path of the dark one who created this hell. You saw what it did at the police station." She offers him an odd, ancient-looking artifact, a sort of puzzle box in the shape of a three-sided pyramid, covered in strange markings. "Only the Flauros can contain its magic, disrupt its darkness. You must make haste to the hospital before its work is done there. If you fail, your daughter will not be the only one lost."

 

Harry tries to ask more questions, completely lost as to what this madwoman could possibly mean. She simply scolds him, warning him there is no time for "idle chatter," and she departs out an emergency exit in a hurry. Carefully, cautiously, Harry picks up the Flauros. It seems entirely unremarkable to him, despite its odd design. He tries to rearrange the segments and open it up, but can't get any of them to move. Perplexed, but unsure of what else he can do, he slides the strange trinket into his largest jacket pocket and departs the church.

 

There's another montage as Harry makes his way through the fog-shrouded streets to Alchemilla Hospital, relying on the map for guidance. Every once in a while his radio begins to crackle, but only a bit - it seems he's managed to find a path that avoids most of the monsters in town. When he arrives at the hospital, however, he's startled by the sound of gunshots from inside. He runs into the lobby, following the continued bangs into an office off the hallway just beyond. As he throws open the door, he comes face to face with an older gentleman in a business suit (Hugh Laurie) - who is now pointing his gun right at him.

 

Harry throws up his hands and begs him not to shoot, and the stranger sighs in relief. "Finally, another human being," he says. There's a dead monster at his feet, freshly-killed - a bug of some kind, huge and mean and clawed, like a hellish parasite. "Is it as bad out there as it is in here?"

 

Harry confirms that the entire town seems to be abandoned and overrun with monsters. The older man introduces himself as Dr. Michael Kaufmann. He claims he was taking a nap between shifts, and when he woke up, the rest of the staff had disappeared and the place was overrun with those bugs. "Creatures like this aren't supposed to exist," he says. "What the hell is going on here?"

 

Harry replies that he doesn't know either, but that some "crazy woman" name Dahlia Gillespie had told him to come here. Dr. Kaufmann claims not to know who she is. Harry asks about Cheryl, and Dr. Kaufmann says he hasn't seen her, but that he hasn't looked through the whole hospital. He says he has someone he's looking for, too - a young nurse, Lisa Garland, blonde and in her early twenties. He says she wasn't at the hospital when he dozed off and is likely to still be somewhere in town. He seems in a desperate rush to leave. Dr. Kaufmann promises to keep an eye out for Cheryl, and Harry for Lisa. The doctor departs the hospital, leaving Harry to search it for his daughter - or for whatever "demon" Dahlia was talking about.

 

Harry doesn't get far when he ventures into the hospital. The stairwell is blocked off by collapsed rubble from the ceiling, and the other rooms on the first floor are all empty. The elevator doors, though, are stuck open, an empty wheelchair wedged between them. Pushing the wheelchair away, Harry enters the car and finds that, despite the apparent lack of power, the button for the basement is lit. The remaining buttons - for floors 1, 2, and 3 - are dark. He presses the button for the second floor just in case, but nothing happens. Taking a deep breath, he presses the button for the basement. The elevator creaks and groans, and then suddenly lurches downward, the doors slamming shut.

 

They open slowly once the elevator has reached its destination, and Harry switches on his flashlight and steps out as the doors close behind him again. The basement is surprisingly small, consisting of a single hallway. The radio in his pocket begins blaring out static, but when he shines his flashlight all around him, he can't see any apparent threat. The doors are labeled - there's a generator room, a machine room, a secondary staircase marked "FIRST FLOOR ACCESS ONLY," and several storage rooms. The doors all seem to be locked. Suddenly Harry is startled by the sound of something scampering across the floor. Shining his light downward, he sees one of the otherworldly bugs racing towards his feet. He blasts away at it, killing it in a few shots. When he checks the chamber of his revolver, he sees he has only one bullet left. He approaches the stairwell only to find it is blocked off from down here, too. But then he hears something else behind him...

 

...beeping. The beeping of a heart monitor, coming from behind the closest door. It's marked as a storage room, yet when Harry approaches it, he can hear not only the heart monitor, but other medical equipment - the hiss of an oxygen pump in particular. The door won't open. He knocks, calling out, asking if anyone is inside, but no one answers. Then, from the other end of the hallway, a ding. The elevator doors have re-opened themselves. He enters the car and finds all the buttons blacked out - all except the button for the 4th floor, a button which did not previously exist. With no other way out of the basement, he presses it.

 

As the elevator slowly ascends, the siren can be heard again in the distance. No apparent changes take place inside the elevator car - but when the doors open, the fourth floor presents itself as a single, doorless, windowless hallway, the walls and floor rusted metal, the surfaces coated in bloodstains and scratches. Harry has nowhere to go but forward. The closed-off corridor makes one turn, then another, before opening into the stairwell. Harry descends the worn, iron steps, his pace quickening as he goes from one landing to the next. The door out onto the third floor is blocked, as is the door to the second floor. But, unlike before, the way back out onto the first floor is clear.

 

Harry steps out into the hall and hears footsteps approaching him. When he turns to shine his light on the source of the noise, he sees one of the hospital's nurses. She's hunched over, limping toward him in agony. Her face is lifeless, cold, expressionless. Only a guttural moan escapes her lips. One of the parasitic creatures has burrowed partway into her back, tapping into her exposed spinal column. It seems to be controlling her shambling corpse like a puppet of flesh. In her hand she wields a surgical scalpel, which she begins swiping wildly at Harry as she approaches him.

 

Not wanting to waste his last remaining bullet, Harry turns and runs the other way, rounding a corner in the hallway that leads back to the lobby. As he turns, he sees this section of the corridor is occupied by a whole mob of the puppet nurses, with a few doctors present in similar condition. His escape is blocked. He turns back around, blasting the lone nurse behind him in the head. The shot connects, but it does nothing. The nurse lurches on unhindered as blood pours out of the hole in her forehead. Harry charges past her, receiving a deep slash to the side of his abdomen. Down the hall he sees another swarm of the undead nurses approaching. There's only one door he can make it to in time.

 

He throws open the door to find himself in the hospital's kitchen. It appears to be free of monsters... but there's a loud banging coming from inside the large, industrial refrigerator in the center of the room. The floor around the refrigerator is marked with the same strange symbol he saw in the police conference room. The door is secured by an iron rod jammed through the handles, which is gradually being shaken loose by the pounding from the interior of the appliance. Harry runs along the side wall of the kitchen to the door on the other side of the room, but he's not fast enough. The rod slips loose, and the doors swing open, revealing...

 

Nothing. The refrigerator is empty, all its shelves and drawers removed. The inside is coated in what looks like fresh blood. Harry sighs heavily and continues to the exit door, pulling it open -

 

And an infested doctor reaches through the opening, swinging a scalpel at him. Harry slams the door shut, trapping the arm. He drops his empty revolver and, from a nearby counter, grabs a rusty butcher knife and hacks away at the thing's wrist. It refuses to let go of its weapon. Harry is forced to completely sever the hand, blood and some kind of watery green liquid gushing out of the stump. At the other end of the kitchen, the nurses that had been after him pour through the door he came in. Harry reopens the door in front of him and charges into the doctor, slamming him into the wall of the hallway beyond. He stabs the knife into the thing's torso and neck repeatedly, to no avail. Finally, he reaches around to the doctor's back and uses the blade to pry the bug off of his back, bits of the spinal cord coming out with it. The creature collapses to the floor and he crushes it underfoot, the doctor's now-immobile corpse slumping down against the wall.

 

Harry rushes down the hall, but sees the only door is an emergency exit to the outside of the building - which is blocked by thick iron grating. But there's also a single flight of stairs back down to the basement. He races downward and finds himself on the other side of the door he'd noticed in the basement earlier. Thankfully, it's unlocked. He rushes through, slamming and locking the door behind him, and he's once more in the cramped, dark basement - made only less hospitable by the shift to this hellish reality. Down the hall, he hears something. A crying woman. It's coming from the storage room where he heard the medical equipment earlier. Holding his knife at the ready, he heads to the door and tries the handle. It's now unlocked and opens easily.

 

Inside he finds a nurse in the hospital's red and white uniform, her blond hair a mess, makeup smeared by her tears (Jodelle Ferland). The badge on the uniform reads "L. Garland, RN." She's startled by the sound of the door opening, but when she sees it's another living human being, she runs over to Harry and embraces him. He asks if she's Lisa Garland, which she confirms, though she's in hysterics. "She's gone," she repeats over and over.

 

Indeed, in the center of the room is an empty, blood-soaked hospital bed. The medical equipment he heard earlier is there, turned off and disconnected. The storage room has been turned into a makeshift patient care unit. Harry tries to tell Lisa that Dr. Kaufmann is alive and looking for her, but she doesn't seem happy to hear the news. She only becomes more frantic, saying that he'll kill her for "screwing up again." When Harry asks if she's seen a seven-year-old, black-haired girl, she shakes her head and denies it with suspicious vigor. 

 

Not getting anywhere with the nurse, Harry examines the room while she retreats to a corner to continue her breakdown. He finds a logbook on a table near the bed, and skimming it, is able to find the name of the patient in a recent entry - Alessa Gillespie, age 14, apparently in treatment for third-degree burns all over her body. Most of the book's pages have been torn out, including everything from more than a week or so ago. He confronts Lisa again, asking if Alessa is the daughter of Dahlia Gillespie.

 

She panics, rambling incoherently about how she "didn't want to do it" and they "made her," that she "needed it..." and that's when Harry notices her scratching at her arm, pulling up the sleeve briefly. There are track marks from hypodermic needles all over her forearm. He grabs a hold of her and assures her that Dr. Kaufmann has left the hospital, and that he won't harm her, but that his daughter is in danger and he needs answers.

 

Simmering down a bit, Lisa tells him that she can't remember much, thinking she may have been knocked out. But when she woke up, everything around her had changed, and Alessa was gone. "It's impossible," she says. "That girl... most of her muscles were atrophied. She barely had any skin. She'd been in that bed for years. Someone must have taken her. They must - oh god..."

 

Harry can tell she knows more than she's letting on, so he tries to press her on the matter. She's reluctant to divulge any more information about Alessa, but is a bit more forthcoming when asked about the horrific state of the town. In fact, she scarcely seems surprised to learn the strange affliction that's struck the hospital is affecting all of Silent Hill.

 

"They never should have brought tourists here," she chokes out. "There's always been something wrong with this place. Plagues, disappearances. Ever since I was a kid I heard about it. I just never thought..."

 

Harry's vision goes blurry. He can't hear the rest of what Lisa is saying. His head throbs and he begins to black out. Lisa tries to help him, but is unable to keep him from losing consciousness... 

 

Another nightmare, or vision. More fragments of the past, or the present, or the future. Maybe some other world, some other timeline. Lisa and Dr. Kaufmann in the room Harry's just passed out in. Younger. Lisa's a teenage nursing trainee. Alessa is in the bed, wrapped completely in bandages soaking through with bodily fluids, just a small child. Then Cheryl, again in a strange place. Harry sees the entrance, the sign - Green Lion Antiques. Cheryl is inside. She's staring at an old, ornate dresser. Lisa is panicking. She doesn't understand how the girl is still alive. She should have died months ago. Dr. Kaufmann tells her not to worry about it. Just keep changing the bandages, and don't tell anyone. Cheryl runs her hand across the front of the dresser, but then becomes distracted by something she sees on the floor. Lisa says she doesn't want to do this anymore, that it's driving her crazy. Kaufmann says it's just the withdrawal. He holds out a syringe of PTV. If she doesn't continue looking after the girl, he says, he will cut her off completely. Again a hand grabs Cheryl, and Harry is jerked back to wakefulness.

 

He's back in the hospital's lobby, lying across a row of chairs. The light has returned. There is no sign of Lisa or the monstrous nurses. But standing before him is an angry-looking Dahlia Gillespie.

 

"You were too late," she scolds. "Its task here is complete. Oblivion inches closer."

 

Harry is still a bit dazed. He looks around, realizing he's not in the same place. "Did you move me?" he asks Dahlia. She does not acknowledge the question.

 

"Surely you have seen it. The Mark of Samael. The town is being devoured by darkness. Strength must overcome petty desire. Childish sleep-talk. I knew this day would come..."

 

"Childish?" Harry interrupts. "She is your child, isn't she? Alessa Gillespie? What happened to her?"

 

Dahlia pauses for a moment as if to reflect before continuing. "Alessa was my daughter. She is no longer. Tainted. Used. Corrupted by the impure, the unholy. Fear of blood tends to create fear for the flesh."

 

Harry tries to press for more details, but the woman simply begins to walk away. She calls out to him over her shoulder as she departs. "There is a lighthouse on the edge of the lake, to the north. That is the next site of the seal. That must be your destination. Make haste." She disappears around a corner. Harry considers following her but thinks better of it. He can't waste time digging for answers from someone so unstable. All he knows for sure is Cheryl is still missing, still in danger.

 

Harry departs the hospital, setting out again into the fog-covered town. Snow swirls around him as he runs to the north, turning the volume on his radio all the way up. There is no signal, for now. As he makes his way up the road, he passes a building he recognizes, if only from a dream. Green Lion Antiques. The door is open. He knows he is supposed to hurry to the lighthouse - but he saw Cheryl here in his visions. What does that mean? Could she be here now? She's more important to him than the ramblings of stranger. He goes inside.

 

The store is decrepit, a thick layer of dust coating everything, several of the valuable items inside smashed or strewn about on the floor. But there it is, against the back wall. The dresser. He rushes over to examine it. His hand traces the path he saw Cheryl's take, as if he is trying to feel her presence. He glances down at the wooden floor.

 

It's scratched. Someone has moved the dresser to the side, its feet digging into the hardwood planks. He pushes the dresser to the side, and discovers a large hole in the wall behind it. On the other side is a short corridor leading to a red door. Suddenly he's startled by the sound of footsteps behind him. It's Cybil. She's relieved to have found him.

 

"I've been looking for you. Why weren't you at the police station?"

 

"I was. Cheryl wasn't there. I had to keep looking. How did you find me?"

 

"I was looking all over town for you. I just saw you run in here. The road out of town is gone. Like a cliff. I couldn't even see to the bottom. There's no way out. And there are fissures in the roads, and those... things everywhere. What the fuck is going on here?"

 

Harry explains his meetings with Dahlia Gillespie, and her claims of an apocalyptic darkness overtaking the town. He mentions his own odd experiences as well - his apparent shifts in reality, his frequent blackouts and visions. Cybil suggests that he may have been drugged.

 

"PTV?" Harry asks. "I saw something about it at the police station."

 

"Yeah," Cybil explains. "It's a hallucinogen. The plant it's made from has grown around here for centuries. They used to use it for some weird religious ceremonies. Once the town was redeveloped as a resort someone started making it into a drug and selling it to tourists. Our departments have been trying to crack down on it for years, but we can't find anything solid. And the people who are onto something keep dying."

 

"Religious ceremonies?"

 

"Yeah. The Indians around here thought this land was sacred. They called it the 'Place of Silent Spirits.' Something about a power here that could bring dreams to life, trap you in them if you weren't careful. Sounds like a bad trip to me. When the town was settled, the people followed some kind of pagan nonsense. They used White Claudia in their rituals. I guess it showed them what they wanted to see, made their beliefs stronger. They went underground when the tourists started coming."

 

Harry shakes his head. "I don't know about any of that... but look around. This is real. Those things, they've hurt me. Tried to kill me. Look..." 

He shows Cybil the scalpel wound he got in the hospital.

 

"And you're real. We're both here. We're both seeing this. This can't be a hallucination."

 

Cybil says she agrees something horrible is happening, but she doesn't have any more answers than Harry does - and she hasn't seen any of this strange, otherworldly darkness he's talking about. She's only concerned with finding a way out of here. Harry mentions how Dahlia told him he could stop whatever's happening if he made it to the lighthouse in time, and that it's the best lead he's got. Cybil agrees to accompany him there, but first, Harry wants to examine the hidden room he's discovered.

 

Cybil hands him another gun out of her holster - she picked up a couple more at the police station just in case. She tries to have Harry wait in the store while she goes down the secret hallway, but Harry says he thinks Cheryl might be back there, and that she'd be more likely to trust him. Cybil agrees, and, readying her own gun, stays behind to guard the shop.

 

When Harry goes through the red door at the end of the tunnel, he doesn't find Cheryl. Instead, there's a small room with some sort of shrine. On the shrine sits an old, silver chalice, inside of which is a strange white powder. The altar on which it sits is marked with some sort of occult symbol, similar to but different than the seal he's seen before.

 

 

Above the chalice, on the wall, hangs a framed painting of a woman, hands clasped in prayer, a halo around her head. Eagle-eyed viewers will notice it is the same woman who was seen in a painting in the opening credits being burned for witchcraft. An engraving on the frame reads - "Saint Carroll - Unwavering Faith Under Death's Blade."

 

 

Suddenly, the powder in the chalice ignites, and the flames shoot upward onto the painting, burning it away into ash. The siren sounds in the distance.

 

Back in the store, Cybil is digging through the owner's desk. She finds paperwork showing the shop's owner is none other than Dahlia Gillespie. There is no siren. The sky remains a light, foggy, sickly grey. She calls out to Harry, wanting to inform him of her discovery, but there is no response. Concerned, she ventures down the hidden hallway, into the small room. The fire is out, but the painting has been burned away. There is no other way in or out of the room - and yet Harry is gone.

 

In the world of darkness, Harry runs out of the shop onto the street. The entire town is pitch black, his flashlight beam illuminating heavy drops of falling rain. The pavement is scorching hot, the raindrops evaporating into steam as they hit the ground. The buildings are in an even worse state of disrepair, some with entire walls missing, exposing the rusted metal beams that seem to make up their frames. Harry yells out for Cybil, but can't find her. With no other leads, he again begins running north up the main road.

 

As he runs, constantly swinging around his flashlight, searching for oncoming threats because the radio will not work here, his beam catches something. No. Someone. It's the girl he saw on the road into town, the one who made him crash. She turns back briefly to look at him. He notices she looks about 14 - but she's not burnt at all.

 

"Alessa?" he calls out, running after her. He forces himself to skid to a stop on the hot, wet pavement when he realizes the road in front of him is gone. There's another fissure in the street. As he catches a last glimpse of Alessa disappearing into the darkness, he sees she is walking on thin air, hovering above the huge tear in the ground.

 

Harry searches for a way around the crevice, but there doesn't seem to be one. As he shines the light down into the abyss, though, it reveals a large, intact metal pipe. A sewer tunnel, connecting the split road underground. Somewhat reluctantly, he finds the nearest manhole in the pavement and drops down into the sewer with a thick, heavy splash. There is no water or sewage running through the pipes - it appears to be blood.

 

Harry crouches down and makes his way forward, quickly at first. Soon, though, the metal below him begins to creak with each step, louder and louder as he moves along. He slows his pace, lightens his steps. But one misplaced foot breaks through the brittle steel. His ankle becomes trapped in the hole, blood spilling out of the pipe through it, streaming down into the bottomless fissure. As Harry struggles to break free, he hears a sound from above him. He shines his flashlight upward.

 

Clinging to the ceiling of the sewer pipe is a huge, froglike monster, slimy skin shining brightly in the beam of light. It drops down, splashing into the blood and charging at Harry, swinging its webbed, clawed hands. Harry fires a few shots at point-blank range, but the beast grabs a hold of him, claws digging into his sides. Finally he pulls his foot free, and just as the thing opens its mouth to reveal rows of razor-sharp teeth, he blasts a bullet down its throat, killing it. He carefully steps over the dead creature and finds the next exit to the surface, emerging out of another manhole on the other side of the crevice. As he climbs out onto the pavement, he collapses in pain again, blacking out.

 

Cheryl, in a strange house, at a desk in her bedroom. She's reading a book about dinosaurs and ancient animals. Staring intently at a drawing of a pterodactyl. The croaking of frogs along the edge of Toluca Lake, as Cheryl picks one up in her hands. A disgusting bug scampers across her desk, drawing her attention from the book. The frog jumps out of her hands at her face, and she screams, recoiling in shock. Cheryl stares intently at the bug on her desk. Its exoskeleton cracks, guts spilling over the wooden surface, the insect crushed by some invisible force. She hears someone approaching, turning to check behind her. A look of fear crosses her young face when she sees whoever is entering her room.

 

Harry stirs, back among the fog and snow, lying on the cold asphalt. His radio crackles with static. Something is coming. One of the flying monsters cuts through the mist, screeching as it swoops in toward him. Harry fires twice, missing each time. He barely dodges the creature's claws. He breaks into a sprint, running for his life. A building appears out of the fog - the sign says Annie's Bar. The windows, thankfully, look to small for the beast to break through. The door is unlocked. He races inside, slamming the door behind him. The flying creature is trapped outside.

 

But Harry is not alone in the bar. From behind him, he hears a human scream. He turns to find Dr. Kaufmann, pinned to the floor by one of the emaciated monsters he encountered in the police station. The horrific creature is going in for the kill. Harry takes aim and blasts away, downing the creature in a single headshot. It falls onto Kaufmann, who pushes it off of him with disgust and struggles to his feet. He thanks Harry in a curt, insincere fashion. He's in a rush to leave. The radio goes silent as the creature bleeds out, and there's no clawing at the door or flapping from outside. It seems the pterodactyl-thing has left.

 

Harry notices the door to the manager's office has been left open, and the room beyond ransacked. Kaufmann has a briefcase, bits of papers sticking out, hastily-packed. Syringes stick out of his coat pocket. Harry recognizes them. PTV. 

 

"I found Lisa," he says accusingly. "In the basement. Alessa is missing."

 

Dr. Kaufmann badly pretends not to know what he's talking about. He heads for the door, telling Harry - with a complete lack of emotion - he's glad to hear Lisa is okay. But he still has business to attend to, he says. Since he can't find a way out of town, there are "loose ends" he needs to tie up. He refuses to say any more, storming out of the bar. By the time Harry follows him outside, Dr. Kaufmann has disappeared into the fog. 

 

Harry consults his map and finds the lighthouse. He's about two blocks away when the siren screams through the air again. The snow turns to rain as the light fades away, the streets burning and boiling away the downpour. Harry shines his light a nearby building and watches as the wall disintegrates, peeling away in chunks that drop to the ground and melt into nothing, a rusted metal structure being exposed underneath. This shift feels different, somehow. More powerful. The siren blares louder and longer than it ever has before, as everything Harry can see is transformed.

 

As he makes his final approach toward the lighthouse, he passes what used to be a decorative water fountain. Now it's a decaying, twisted metal pillar surrounded by a pool of boiling black liquid. From the other side a shape emerges, running toward him.

 

"Harry!"

 

It's Cybil, who's followed the path he said he planned to take in hopes of finding him.

 

"What the fuck is happening? Is this what you were talking about? The darkness?"

 

Harry nods, only a bit less panicked than she is.

 

"It's never happened like this before. It's getting stronger. The nightmare is taking over the town."

 

"Nightmare? What nightmare?"

 

"I don't know. I keep seeing Cheryl, in my blackouts. Like she's been here before. Maybe she's dreamed of it? Could this all be her nightmare coming to life?"

 

"Harry, you're not making any sense!"

 

"You said they believed there was a power in this town - that it could trap you in your dreams. I think we're trapped in someone else's."

 

Just as Cybil is about to respond, Dahlia steps out of the darkness and interrupts their conversation.

 

"Was it not as I said?" 

 

She's still barefoot, the soles of her feet charred and peeling at the touch of the hot pavement. She doesn't seem to notice. Cybil draws her gun, aiming it at Dahlia.

 

"You'd better start explaining this, lady. I know you have something to do with it."

 

Dahlia speaks directly to Harry, ignoring the gun pointed at her.

 

"I see it all now. Yes, everything. Hungry for sacrifice, the demon will swallow up the land. And what's more, the task is almost finished. Only two remain to seal this town to the abyss. The Mark of Samael. When it is completed, all is lost."

 

She gazes up into the sky, unblinking even as the rain pours onto her face and into her eyes.

 

"Even in daytime, darkness will cover the sun. The dead will walk, and martyrs will burn in the fires of hell. Everyone will die."

 

"Then what are we supposed to do!?" Cybil shouts in frustration.

 

"It is simple," Dahlia says, still addressing only Harry. "Stop the demon! The demon taking that child's form! Stop it before your daughter becomes a sacrifice! The Flauros is the key. Only it can quell the rage in this place."

 

"You said there are two more," Harry inquires. "After the lighthouse, where will the last mark be?"

 

"The amusement park," Dahlia answers - clearly, for once. "If all else fails, that must be the line in the sand, the point where the fires of hell are held back from this mortal world."

 

Cybil declares that she will go on ahead to the amusement park now in case Harry is too late in getting to the lighthouse. The pair have a bit of a moment, trying to calm each other down, telling one another to be careful. By the time they are ready to part ways, Dahlia has disappeared into the darkness again.

 

When Harry arrives at the lighthouse, he sees he is too late as soon as he steps inside. The Mark of Samael is burned into the floor of the structure, under the spiraling metal staircase to the top. He sees no sign that Alessa could still be there. Cursing to himself, he turns back and runs for the amusement park. If the Flauros is the only thing that can stop this "demon," then Cybil is in trouble.

 

The road to the amusement park is long and isolated, running along the shore of Toluca Lake. Harry runs as fast as he can, hoping to catch up to Cybil. As he draws near, the road turns into what was probably, before the shift, a boardwalk - metal grating over the edge of the water. Entire sections of the grating have broken away, slowing Harry's progress as he navigates around them. Just as he steps over a gap, one of the frog-things leaps out from the water and grabs his leg. He manages to kick it off, sprinting towards the park entrance. The monster clings to the underside of the grating, keeping pace with Harry from beneath, claws protruding through the holes in the metal. He runs, and runs...

 

Finally, he's back on solid concrete, underneath the main entrance archway. The sign overhead reads "Lakeside Amusement Park" - or at least, it's supposed to; several of the letters have fallen off. The admission turnstiles are immobilized by rust, and Harry has to climb over them to enter the park. Like the rest of the town, it's dark and empty, covered in rust and in horrible disrepair. The Ferris Wheel has fallen over onto its side, and entire sections of track are missing from the roller coaster. There appear to be bodies hung from the top of the drop tower ride, though Harry's flashlight beam is weak that high up, and it's hard to make them out.

 

Harry spots Cybil standing on the carousel, walking between the horses, which have been transformed into angry-looking, metallic demon steeds. He rushes over and Cybil explains that she heard a child. Just as Harry realizes what's happening and tries to warn her, one of the ashen, monstrous kids from the school bus appears and attacks her. She blasts it away with her gun, but a chorus of shrieking voices surrounds them. The carousel starts up on its own, the lights flashing shades of orange and red, an out-of-tune organ joining the hellish song of the demonic children, the ride spinning faster and faster as the horses go up and down, down and up...

 

Dozens of the little beasts swarm Harry and Cybil. They both quickly run out of bullets. Cybil takes out her baton and begins bashing in their skulls, a look of horror on her face. Some part of her wonders if these are, or were, actual human children. Harry manages to pry off a loose, pointed iron rod from the fence around the ride, using it as a spear. Eventually the pair manage to slaughter their attackers, and the ride grinds to a halt. They take several moments to collect themselves.

 

"Were those..." 

 

Cybil can't bring herself to finish the question.

 

"I don't know. I don't want to think about it," Harry responds.

 

After an awkward pause, Cybil has more questions. "You said Cheryl might have dreamed of this place? Why would she do that? Has she been here before?"

 

Harry shakes his head. "No. I mean. I don't think so."

 

"You don't think so?"

 

He sighs deeply before continuing. "I haven't even told her yet, but... Cheryl isn't my biological daughter. We found her abandoned, on the side of the road. She was just a newborn, and she didn't have anyone, and my wife was sick... she'd always wanted a daughter. But she'd never get to have one of her own. So we took her in. But we never really found out where she came from. The place we found her... it wasn't far from the turnoff to Silent Hill."

 

Cybil is sympathetic, but confused.

 

"So... you think she was born here?"

 

"I don't know. But last month, when I asked where she wanted to go on vacation, she named this town immediately. She was obsessed with it. I'd never even told her about it. We could've gone to Boston, or to the Hamptons. But she only wanted to come here. She wouldn't tell me why."

 

Their conversation is put on hold when Harry hears footsteps approaching. He rushes over to the source of the sound, Cybil following close behind. He catches the figure in his flashlight beam as she kneels down onto the ground. It's Alessa. He calls out for her to stop, demanding his daughter back. She looks at him with tears in her eyes. She doesn't seem like a demon, a herald of the apocalypse. She looks like a frightened, desperate child.

 

"I don't have her," she says. "She was never supposed to come back. They called her. They dragged you in. I tried to stop you." 

 

Cybil approaches and draws her gun. Alessa glares at her, and the gun rusts away in Cybil's hand, dissolving to nothing.

 

"You..." Harry realizes. "This world... it's your nightmare."

 

"I'm sorry," she says. "But I can't let anyone leave." 

 

Alessa presses her hands to the ground, and they begin to glow with energy. Just then, though, Harry notices a glow coming from his jacket pocket. The Flauros has been activated. As Harry pulls it out, the pyramid shifts and turns, unlocking itself. An opening to its center emerges, and a bright, blinding light shines out at Alessa. She screams and collapses. The whole town seems to begin shaking, the world blurring, out of focus. Dahlia appears, approaching the agonized girl.

 

"You've been a ghastly little pest, haven't you, Alessa?"

 

"M-mother... stop..." She writhes in pain as Dahlia approaches.

 

"I was careless, thinking you were ready. Trusting that nurse. But this is the end of your little game. Everything is prepared. Our salvation awaits."

 

She reaches a hand out to her daughter. Reluctantly, the tortured girl grabs onto it.

 

"You will be a mother again, my child."

 

The screen fades to black, the image distorting and breaking apart. Again, we see Harry's visions.

 

Younger Lisa, seven years ago, a trainee. Strung out, suffering from withdrawal. Hallucinating. She turns on a faucet and blood and pus pour out. Alessa, seven years old, wrapped in bandages, screaming through her covered mouth, convulsing. Lisa looks on in shock and horror. Blood drips from the hospital bed onto the floor. A baby's voice wails. Lisa lifts the infant girl up, cleaning her off as best she can. Lisa writing in the log book Harry found earlier. One of the torn-out pages. "Human child," she scribbles. "Stillborn. Disposed." 

 

Dahlia and Dr. Kaufmann arguing in his office. Dahlia blames Kaufmann for delegating matters to Lisa. Kaufmann suggests Alessa was simply not ready. Kaufmann suggests releasing her, but Dahlia refuses. She reminds him of their deal. He will cooperate or lose his "business." She says the ritual can be salvaged. The pain and torment Alessa feels will "make her fertile again."

 

Kaufmann confronts a badly-ill Lisa, blackmailing her with the drug. She admits the baby survived, that she left it by the road. Dahlia steps in, saying it will need to be retrieved. All of Alessa's spirit must be sacrificed to complete the incubation. This child, this "splinter of her soul," must be retrieved. She says she will prepare a summoning ritual. "The wandering soul will return to its family," she declares.

 

Cheryl, in the crashed Jeep, snow falling through the fog all around her. She tries to wake Harry, but he can't be roused. Dahlia steps out of the mist and beckons to her. "My dear granddaughter," she says with sickening sweetness. "You really are the spitting image of your mother." She opens the back door of the crashed car, helping Cheryl out. "Come now, child. A great destiny awaits you."

 

When Harry wakes up, he is back in that makeshift hospital room in the Alchemilla basement. Lisa is there, sobbing in a rusty corner again. Harry calls out to her. He tries to explain his visions to her. That Alessa is Cheryl's mother - or, that Cheryl is Alessa, a part of her. Lisa apologizes. She couldn't keep the secret, and now, "everything will end. I'm so sorry, Harry. It's all my fault."

 

Lisa wonders aloud why she is alive, why she isn't a monster. Harry says Alessa spared her because she tried to help, to save her daughter, to keep her spirit safe.

 

"No," Lisa cries. "I kept her down here. Seven years in agony. She was just a kid. She didn't deserve any of this. But I didn't get her out, I didn't tell anyone. God, I should have killed her!"

 

Lisa breaks down completely, shivering and swaying. "I don't deserve forgiveness. I see the others walking around, dead, those things on their backs. I didn't know why. But now I do. It's her revenge, isn't it? And she deserves it for what we did to her."

 

Harry tries to calm her down, but it's hopeless. Lisa stands up and turns to look at him, tears streaming down her face. "I'm the same as them," she says. "I just hadn't noticed before."

 

Her tears turn from water to blood, staining her porcelain skin red. She shambles forward, reaching out to Harry.

 

"P-pleeease," she says, slurring her words. "Stay with me... I don't want to die alone..." 

 

Cracks open in her skin, and blood cascades down her face. Terrified, Harry turns and runs out the door, slamming it behind him and holding it shut. From the other side, he can still hear Lisa's muffled crying, her banging on the thick metal. Gradually, it dies off.

 

When Harry shines his light around, though, he realizes he's not in the hospital basement. It's the kitchen. There in the center is that fridge, unmoving, silent, the doors shut but un-jammed. He goes to cross the room... but as he passes the fridge, the doors swing open, a mass of blood-soaked, claw-bearing tentacles spilling out, reaching around the room for him, trying to grasp him. One grabs his left arm, the spikes digging into his flesh. He shoots the tentacle wrapped around his limb, forcing it to let go just long enough for him to escape and rush through the door into the next room.

 

Suddenly, he finds himself in a classroom in Midwich Elementary school. He sees a ghostly image of what he now realizes is a seven-year-old Alessa, who looks exactly like Cheryl. She's crying over her desk, pounding on it in childish rage. Suddenly the desk shoots away from her, propelled by some psychic force she seems to possess, knocking down the whole row of chairs and seats in front of her. 

 

The next door leads him into the police station lobby, which he runs through without major incident, and then into a young Alessa's bedroom. He sees apparitions of her and her mother. Dahlia is speaking sternly with her, blocking the door out. The door Harry came in through seems to have disappeared.

 

"Just lend me a piece of your power," Dahlia says to Alessa. "It will make everyone happy. It's for your own good, too. We have the chance to free this world from suffering forever, my child."

 

Alessa, frightened, refuses, shaking her head.

 

"I see..." Dahlia glares at her daughter, and a realization seems to come over her. She places a hand on Alessa's stomach.

 

"Then you must be the vessel!" A sincere, but deeply off-putting smile flashes across her face. "Yes, there is no reason to wait! Herein lies the mother's womb, containing the power to create life. Through ritual and pain, suffering and blackness, you will become worthy."

 

Dahlia leans in and embraces a still-frightened Alessa, who struggles to escape her hold. 

 

"You will be the one to save us all, my child," Dahlia says. "The mother of god."

 

The apparition fades, and a disturbed Harry continues on through the bedroom door. His flashlight seems to have died, and the room beyond is pitch black. Just as the door closes behind him, sealing him in darkness, an eruption of flame illuminates the room, accompanied by the screams of a child. It's the basement of the Gillespie house. Little seven-year-old Alessa, still in her school uniform, is tied to a makeshift altar, engulfed in fire, her clothes and flesh burning away. Beside the altar is Dahlia, mumbling an incantation. Her mouth is stretched into an ecstatic grin, and she is crying tears of joy.

 

The light from the flames intensifies until it takes over the screen. When it fades, Harry is in a room we've never seen before - a large temple of sorts, with a floor of metal grating and banners bearing the symbol Harry saw on Dahlia's shrine in the antiques store hung all around. It is lit by walls of fire, burning around the perimeter. Alessa, the fourteen-year old, is strapped down to an altar. Cheryl is nearby, tied to a steel pillar. Between them stands Dahlia, pulling a knife out of her jacket. Dr. Kaufmann is next to the altar, tending to Alessa. Dahlia approaches Cheryl, holding the blade to her throat.

 

"Now all is prepared," she says, turning to face her helpless daughter. "The nightmare in which you meant to trap us is falling apart, Alessa. It is under my power now. And it will be the birthplace of the true god, the one who will remake the world into paradise. Despite all your heretical efforts, you will be our savior. A saint."

 

Alessa remains silent, but Cheryl is crying hysterically. Harry sees her and calls out, and Dahlia turns to address him. "Ah, the tourist. You too shall be revered. Your love for this abomination is what allowed my plans to succeed. Perhaps you will be granted a place in paradise."

 

Before Harry can respond, Cybil, who seems to have arrived in this strange place out of space just after Harry, yells out to the madwoman. This distracts her long enough for Harry to raise his gun to Dahlia and pull the trigger. But the gun is out of ammo. It clicks uselessly as Dahlia laughs. But while she's gloating, none other than Dr. Kaufmann produces his own pistol, aiming it at her.

 

"Let her go, Dahlia," he says.

 

"Doctor, we had a deal."

 

"The apocalypse is bad for business," he quips.

 

"The process has already begun," she responds. Indeed, Alessa is writhing in agony, something inside of her squirming and growing, her stomach bulging and distorting. "Without the soul to feed it, god will be twisted."

 

"Not if it's never born," Kaufmann says. He pulls the trigger. Dahlia collapses to the floor, a bullet in her gut. Harry and Cybil run over and free Cheryl, while Dr. Kaufmann tries to stop the birth. But it doesn't seem there's much he can do. The god, or demon, or whatever it is within Alessa is growing rapidly. He bends over and picks up Dahlia's knife, raising it into the air and then bringing it down hard, stabbing it into Alessa's gut. An inhuman shriek shakes the room, black liquid pouring out of her skin. Alessa coughs up her own blood and dies, but the thing inside her continues to grow, ripping her apart from within.

 

Dr. Kaufmann keeps stabbing and slashing at the thing to no avail, when suddenly something tears its way through the grating beneath him. It's Lisa, or what used to be her - a blood-soaked, mutated, deformed monstrosity. She grabs Dr. Kaufmann and drags him down to his doom, Cybil reaching out to save him too late. As the doctor and his former nurse disappear into a pit of blackness, the god-thing emerges fully.

 

Rapidly it grows, its bones snapping into place, skin stretching over its muscles, wings unfurling from its back. Its abdomen splits open and falls away, revealing its spine, the sole connection left between the upper and lower parts of its body. It has the head of a goat, hooved feet, the wings of an angel with jaundiced skin where feathers should be. It ascends into the air and roars. Barely clinging to life, Dahlia looks upon it in wonder.

 

"It's... beautiful..." she claims. 

 

 

Lighting shoots from the thing's horns, sparking across the altar and floor. A bolt strikes Dahlia, who bursts into flame, feeling, for a moment, a sample of the agony she had put her daughter through. As she dies, the god-thing falls to the floor, landing roughly on its hooves, its wings weak and broken. Collapsing onto all fours, it focuses its blood-red, glowing eyes on Cheryl. It crawls its way toward her, Harry, and Cybil. Cybil tells Harry to keep Cheryl away from the thing at any cost.

 

Harry runs across the fire-ringed room, but there's no exit. Cybil, meanwhile, does her best to hold off the monster. At first it tries to crawl its way around her, still firmly fixated on Cheryl. When she refuses to let it pass, the thing simply rips her apart with its claws. Harry covers Cheryl's eyes as it tears through Cybil's flesh, continuing its approach. Cheryl and Harry are cornered. But the god-thing is malnourished, incomplete. Its movement slows as it draws near. Its flesh begins to decay, skin peeling away like the surfaces of the buildings in town during the transition between levels of reality. Painfully, with an enraged roar, it drags itself toward its prey. One clawed hand reaches out to Cheryl, protruding far out of the screen into the audience...

 

And the thing dies, the ritual a failure. Its flesh and bones disintegrate, the flames lining the room fading to embers. Everything goes black.

 

When Harry wakes up, he is in Alchemilla hospital. But it's not the nightmarish, abandoned place he would recognize. It's hectic, a handful of doctors and nurses running to and fro, not enough of them there to deal with all the patients. Harry looks himself over. The wound he got from the monstrous nurse, in this very same building, is still there, sutured closed. Confused and frightened, he calls out for Cheryl. One of the nurses rushes over to him.

 

"Sir, sir, calm down. Your daughter is fine. Can you tell us what happened?" 

 

"I - I don't know. Where am I?"

 

"Alchemilla Hospital, Silent Hill. You had a concussion. Harry Mason, right? That's the name on your ID."

 

Harry nods, still dazed. "Where's Cheryl?"

 

"She's in the pediatric unit. She'll be fine, she just has a few bruises and scratches. They found your Jeep crashed on Bachman Road yesterday, Harry, but it was empty. Someone found you and your daughter this morning on the other side of town. Do you know what happened after the crash? We asked your daughter, but she doesn't remember anything. Where were you? What were you doing?"

 

"I..." Harry shakes his head, trying to process the information. "I'm... not sure. Can I see Cheryl?"

 

"That's okay, Mr. Mason. I'll have someone bring her here as soon as they can. You'll have to bear with us, we're understaffed."

 

"Why? What happened?"

"We don't know yet, Harry. A lot of the staff went missing yesterday. But the cops are looking into it. You and your daughter are safe, okay? That's all that matters. Try to get some rest."

 

The nurse turns to leave, but Harry grabs her arm. "Wait. The basement. The storage room at the end of the hall. Did you check it?"

 

The nurse is taken aback. "Sir, how did... how did you know about that?"

 

We cut to the next day. August 14th, 1989, as the caption informs us. Harry and Cheryl are sitting together on a bus out of town. As the bus drives along many of the same streets Harry had explored in the nightmare realm, he marvels at how ordinary the town now seems. The shops and homes are in good condition, and there are people everywhere. Tourists are happily taking pictures with their families. Cheryl sees a group of kids, about her age, playing with souvenirs from a gift shop.

 

"Daddy," she asks. "This place looks fun. Can we come back here someday?"

 

The bus passes a bench where a young blonde girl, about twelve, is sitting alone. She's dressed conservatively in a long, black dress, her straight, thin hair dangling over her face as she sulks. She glances up at the bus and catches sight of Cheryl. There's a spark of recognition in her eyes. The girl stands up and walks alongside the bus, trying to keep up. Her gaze is fixated on Cheryl the entire time, though Cheryl doesn't seem to notice. As the bus leaves her behind, Harry turns to his daughter and, trying to hide the fear in his voice, shakes his head.

 

"No, sweetie. I don't think that's a good idea."

 

The bus continues off into the distance, up the hill and into the forest, passing the town's welcome sign. From this side, it reads - "Now Leaving Silent Hill - See You Soon!"

 

THE END

 

[Rorschach]

 

Based on the book by Dathan Auerbach

Director: Trey Edward Shults

Composer: Jóhann Jóhannsson

Genre: Thriller

Release Date: December 6, Y3

Theater Count: 2,783

MPAA Rating: R for violence, disturbing images, and language

Runtime: 130-140 minutes (undecided)

Production Budget: $10 million

 

Cast: Noah Jupe (the narrator, 11 years old), Noah Schnapp (Josh, 11 years old), Mary Elizabeth Winstead (Mom), Joel Edgerton (Josh’s Dad), Malin Akerman (Josh’s Mom), David Mazouz (the narrator, 15 years old), Kara Hayward (Veronica), Krisha Fairchild (Mrs. Maggie), and Aaron Taylor-Johnson (the narrator, grown-up)

 

Premise: Penpal is told via a series of non-linear recollections by an anonymous narrator trying to make sense of mysterious events that happened to him during his childhood, the truth of which was kept from him by his mother all his life.

 

Plot: Under Construction

Edited April 12, 2018 by Rorschach

[Xillix]

The Meteor Manhunt

Release Date: November 8th, Y3

Studio: Gold Crescent Pictures

Genre: Action/Disaster

Director: Chris Gorak

Theater Count: 2,730

Premium Format: 3D

Shooting Format: 4K Digital (Sony CineAlta F55) (In native 3D)

Aspect Ratio: 2.40:1

Image Release Formats: 2K DCP, 2K 3D DCP

Audio Release Formats: 5.1, 7.1

Production Budget: $30 million

MPAA Rating: PG-13 for action violence, destruction, intense peril, and language

Running Time: 88 minutes

Major Cast:

Scott Adkins (Sheriff Jake Jordan), Zack Ward (Loose Larry), Taylor Lautner (Deputy Carl Dean), Gina Carano (Vicious Vivi)

 

Plot Summary:

Spoiler

 

The midwestern town of Burning Rock, Kansas - a former coal mining community that's gone to hell since exhausting its natural resources - is the site of a manhunt for drug leader, convicted murderer, bank robber, and all-out crime lord "Loose Larry" (Zack Ward) - so named for his constant escapes from prison - and his felonious girlfriend "Vicious Vivi" (Gina Carano). The pair have been hiding out in the isolated town but a tip has finally unveiled them, and tough-as-nails county sheriff Jake Jordan (Scott Adkins) is determined to have them arrested before they can slip away again - and before the feds arrive to "meddle in his case." He hopes this will win him enough public support to get more funding for his sheriff's department, especially since this year they blew their whole budget on buying a helicopter despite his own objections. He is supported by his loyal, tough, skilled, but sometimes clueless deputy, Carl Dean (Taylor Lautner).

 

The madness builds to a fever pitch when a meteor, known to have been making a close flyby of Earth, collides with the International Space Station. The station is destroyed and the astronauts on board killed. The collision also breaks the meteor into hundreds of smaller meteorites, which, over the course of several hours (i.e., the in-story length of the movie), enter the atmosphere and make impact on Earth... right in Burning Rock. Sheriff Jordan orders the rest of his police force to rescue civilians during the disaster while he and Deputy Dean go after the criminals alone.

 

The movie is less of a real story than a string of set-pieces, including the destruction of the ISS, the disruption of the police ambush of Larry and Vivi by the arrival of the first meteorites, the characters struggling to escape a flooding basement when the town's water tower is knocked over by a meteorite onto the building they're in, a gunfight in an apartment building falling apart thanks to repeated meteorite impacts, a stunt sequence involving the criminals driving a hijacked school bus through a wall of flame created when a meteorite strikes a gas station, and the deaths of Dean and Vivi when, during a melee battle on a rooftop, Vivi pushes Dean into the path of an oncoming meteorite only to be taken down when the entire building collapses beneath her.

 

The climax involves the discovery that the final, largest fragment of the meteor will wipe Burning Rock out completely. Sheriff Jordan and Loose Larry engage in a car chase, racing out of the city before impact. Sheriff Jordan manages to take out Larry's tires, slowing him down enough that he's killed in the impact blast. However, just when all seems safe, the ground begins to cave in all around the town, the meteor strike collapsing the abandoned underground coal mines. Sheriff Jordan realizes he can't escape in time, but thankfully the fancy new helicopter the sheriff's department just blew their budget on comes to his rescue. He jumps from his car and grabs onto the helicopter's skids just as the ground drops away beneath him.

 

 

[YM!]

Changing the director for Howling Commandos to Matthew Vaughn. It’s still done but he’s seems to be a better fit than James Gunn right now.

Edited April 15, 2018 by YourMother the Edgelord

[YM!]

Father

Studio: Infinite Studios 

Platinum Dunes

Release Date: 2/14/Y3

Genre: Horror

Director: Adam Robitel

Rating: R

Budget: $10M

Theater Count: 3,293

Format: 2D

Runtime: 113 minutes

Cast: 

All Unknowns 

 

In the 1700s in colonial Massachusetts, a local priest is possessed by a demon who he has a tried making a deal with so he can manipulate his colony. The demon tells the people to do insane and inhuman acts (drinking blood, killing the neighbor Indians) but the townspeople listen despite some reluctance. The demon kills a certain amount of people who oppose him. However a young teen named Emma who is an outcast of the town and a group of her fellow outcasts attempt to expose him to no avail. They eventually take manners even further and try to exorcise the demon but it fails and the demon kills them off one by one in grotesque and horrific manners, and Emma the lone survivor is forced to kill the possessed priest. However freed from a demon, a townsperson witnesses the act of murder and Emma is hung for her crime and to her horror, she realizes seconds before she’s hung an unholy cackle coming from another member of the crowd realizing the demon is still alive.

Edited April 17, 2018 by YourMother the Edgelord

[Ezen Baklattan]

LiveStream

 

Director: Christopher B. Landon

Producer: Jason Blum

Genre: Thriller/Crime (With some elements of Dark Comedy)

Release Date: February 22

Major Cast: Taissa Farmiga (Roxanne), Elizabeth Gilles (Esther), Dacre Montgomery (Noah), Ryan Potter (Ethan), Janeane Garofalo (Esther's Mother), Jason Isaacs (Esther's Father)

Theater Count: 2,813

MPAA Rating: PG-13 for language, brief violence, and drug use

Runtime: 87min (1hr, 27min)

Production Budget: $3.75 million

 

**NOTE: Social media is used extensively through the film, showing as displays above the device being used. The film was also shot using an iPhone.

 

Spoiler

Roxanne Bellamy is a college senior and a famous Instagram barista (Instagram posts shown with the opening credits as comments and notifications on a phone screen) who is pursuing a degree in business management to eventually open her own café. One night, she makes plans to go to a graduation party for her best friend in college, Esther, at the roof of her apartment building. Her family was very rich, so she was able to afford quite a nice apartment, and with her honors degree in Computer Science, she’s going to keep making bank.

 

Making all kinds of exciting drinks, looking up recipes online and setting up music to play for the party, she takes pride in getting to prepare everything. The party goes into full swing, as Esther and Roxanne talk about their plans post-graduation. Roxanne wants to try and get a recipe book made for her drinks and move closer to New York City, (their college is an unnamed suburban setting about an hour away) while Esther is taking a consulting position in Chicago with her boyfriend of about three years, Noah. Esther truly believes that they’ll have a good life together but was feeling sick and couldn’t make it. Esther shows Roxanne a snapchat of him lying in bed, saying: “Feeling like death. ☹ “

 

Knowing that this will be one of the last times in a while they can see one another, they decide to make it a night to remember. The party is a blast, and Esther and Roxanne both get fairly intoxicated. Roxanne decides to film a live video on Instagram to celebrate her friendship, making a humorous cheer and hugging Esther, who moves her phone toward their faces. The video is saved to her device.

 

As the party leaves, Esther turning off the music, Roxanne asks to crash on their couch. Both being quite drunk, Esther plugs her phone into an outlet and puts a blanket on her. Roxanne wakes up in the middle of the night after a glass bottle falls to the ground, startling her. Esther is still asleep, however. She checks her phone to get the time but finds out that the live stream video was taken down after being flagged. Looking back at it, there was faint footage in the background on the ground below: A man was stabbed to death in an alley way by someone wearing a mask of a dragon.

 

Roxanne freaks out, making sure that Esther is still asleep and trying not to interrupt her. Roxanne moves to the apartment hallway to make a phone call to the local police department, tipping them off. However, the call is intercepted by a bizarre signal. She receives a text message from an unknown number. The text tells her to not to call the police further. They text.

 

Roxanne: who the hell are you?

Unknown: someone you shouldn’t take lightly. We know what was posted.

Roxanne: did you kill him?!

Unknown: Beside the point. But do what I say and you and your “bestie” won’t share his fate.

 

Roxanne resists, but is terrified of what may happen. She is guided to go to the 24-hour library at her campus, requiring a student ID for entry, taking an Uber there. She goes onto a computer and is guided to open a word document emailed to her. It gives her a list of instructions to install special software on her phone. Roxanne refuses, but the texter gives Esther’s address, which Roxanne is tricked into verifying. They will kill Esther unless she follows the steps. She does so, setting up software on her phone that makes it easier for them to track it.

 

Roxanne, getting an idea, leaves the phone at a hidden nook in the library and runs to a nearby police station. Without having access to Uber, she runs to find a couple driving in the night, giving them $20 and asking for a ride. Roxanne awkwardly sits in the backseat as they make lovey-dovey talk. She makes it to the police station and prepares to give them a tip. With the evidence on her phone, she struggles to find anything useful.

 

She tells the officer on duty to look through Instagram and Twitter on the police computer to see if there was any discussion on the post. Very little comes up, as the police officer gets more annoyed with Roxanne. She tries logging into her account, but with the video gone, she realizes that the only place to find it is on her phone. She convinces an officer to come to the library, where her phone should hopefully still be. Once they get there, it is gone. The police officer is mad at Roxanne and threatens to run her in for falsifying evidence but lets her off with a warning.

 

Roxanne continues to look for her phone across the library, asking a janitor if he saw anything. The janitor reveals that he did see someone come in and take their phone, but he thought someone just left it there. Roxanne tries to convince the janitor to go into the security room and see who took the card, but the janitor refuses. Roxanne offers to sneak into the library café and make him a drink if he helps her. The janitor asks if it can be a hazelnut flavor.

 

We then see Roxanne going into the café and seeing all the drinks. She can run the machines easily, as she worked there Freshman year. The janitor admits that he could get fired for this, but privately discloses that the name of the student was Ethan Matsuda. She goes onto Facebook and finds out that he is president of a community service organization. Moreover, Ethan was part of a school fraternity, Kappa Phi.

 

Apparently, the frat had a major party that night, and Roxanne decides to go and see if Ethan is there, admittedly feeling nervous. The door is unlocked, yet almost no one is there. Solo cups and dirty alcohol line the floor. She is careful not to slip or step on anything. She soon sees a light on upstairs. Roxanne sneaks through, moving to find someone awake. We see someone move in the shadows behind her, eventually moving towards her. Roxanne moves to the kitchen to find a knife, but the lights turn on.

 

Ethan was behind her. He apologizes to Roxanne for startling her but admits that he was a bit freaked out about someone being downstairs. He was going message her the next morning to let her know that he found her phone in the library but is confused as to why it was there. Ethan assumed that she left the phone there by mistake but is then confused as to why she was even at the library after exams were over. Roxanne fibs and says that she wanted to check on a file she saved in her school server.

 

Ethan and Roxanne go to his room, where he had kept her phone. Roxanne is happy to have received it, telling him that he had a crazy night and was nervous is someone stole her information. Ethan teases that she can’t go one night without her phone, but Roxanne laughs. Ethan tells her not to worry – he’s the same way. As Roxanne opens it up, she notices a few applications missing and the livestream footage missing as well. Roxanne confronts him to see if he was tampering with her phone, but he denies it. She gets a text from the unknown sender once again. “A hook-up, I see. Fascinating.”

 

Roxanne, realizing that Ethan wasn’t sending the messages and losing evidence of the murder, tries to contact Instagram support to access the picture again, but no one will be able to take her message until morning. Dejected, she decides to go back to Esther’s place. However, the door is locked. Roxanne tries to call Esther but does not get anywhere. Looking through her snapchat messages, she reveals that she was going to check on Noah, who called her in the middle of the night after waking up with a coughing fit.

 

Looking through old notes and messages on her phone, she remembers that Esther gave her the combination to her apartment’s lock, complete with a spare key. She goes inside, finding an open envelope on the table. Inside is a receipt from Amtrak for a 5am train to Chicago.

 

Panicking, she runs to Noah’s apartment. They are on the couch, cuddling. The time is about 3:30am, so they are planning to leave for Chicago soon. Roxanne reveals that she knew it, and Esther gets mad at her for snooping on her information.

Roxanne suspects that Noah had been faking his illness, given how much better he sounds, but he was taking a bit of medicinal marijuana to help himself feel better.

 

Roxanne asks if she can use the restroom, to which Noah obliges. Esther moves to check on Roxanne upstairs, asking if she is alright. She should feel free to talk, as friends don’t let friends keep secrets from each other. Roxanne breaks down, confessing what she had been doing that night. Esther hugs her, thanking her for admitting everything. Suddenly, Noah comes upstairs in a dragon mask, holding a paddle. Esther nods to him and backs away, as he hits Roxanne.

 

As Roxanne is tied to a pole in the apartment, Esther calls her parents on an encrypted line. Through the call, we learn that Esther’s family had been involved in trafficking illegal substances, and that the person they killed wouldn’t pay off his debts. Moreover, her friendship with Roxanne was completely fabricated as part of their means to keep her true intentions covered up. Moreover, Esther reported the livestream a moment after it was posted, so virtually no one saw it, having faked her intoxication. We see a montage of the following:

 

·        With Roxanne asleep, Esther checks on the body and calls someone to get it taken away.

·        Esther was one texting from the unknown line, finishing touches on the apps Roxanne downloaded at the library.

·        Noah followed her to the library, erasing the picture on her phone as she went to get to the police.

 

They will clear any legal issues with Noah to keep him out of jail, in addition to the extensive payment he received for his support for three years, from storage to...grunt work. While having him execute the hit close to the party was risky, she wanted to easily make sure the body was taken care of, the area was isolated enough that it would be hard to detect. Roxanne is heartbroken that she was used, but Esther warns her that they will kill her if she tries to follow.

 

As Esther and Noah leave their apartment, locking Roxanne inside, she activates an app on her phone that completely resets the data on Roxanne’s phone, getting rid of everything from her recipe notes to her contact data and so much more. Roxanne, feeling heartbroken, knows that she can’t stop them, knowing that the police were probably being paid off by Esther’s family. Hesitating, she breaks a window using a lamp, and breaks out. It being on a second story window, she uses a bedsheet to make an escape. The knot breaks and lightly injures her. Knowing her phone won’t boot up, she searches for an oncoming car to take her to the train station, she finds the couple from before, still humorously enamored with each other. Roxanne finds out that they are third year drama students building their senior thesis on stories they hear driving around people. Roxanne is weirded out but knows that a ride is a ride.

 

She arrives at the station with 5 minutes until departure. In the car trip, she booted up her phone back to normal, albeit with missing data, but the battery is at 12%. As Esther and Noah, sitting in an otherwise empty car, see Roxanne at the station, Noah pulls out his knife. Roxanne is stopped by an attendant for not having a ticket, but Roxanne reveals that she indeed bought a ticket to the next closest stop for $3 at the counter, throwing it at the attendant and apologizing for the rush.

 

In the private car, Esther makes a skype call to her parents, who are impressed with her work. It’s a shame that she’ll miss graduation, but it was good to have her work towards their goals. Esther reveals that Roxanne followed them but is having Noah take care of it. Her parents remark that he is a keeper. As Roxanne moves through the cars to find the two, she finds another empty car and is attacked by Noah. She holds up and fights well, but Noah attacks the point where she was injured, harming her badly. The train starts to move, making the fight more difficult.

 

Roxanne, losing the ability to walk easily, is almost cornered by Noah, but she manages to find a lost bit of luggage in one of the overhead containers. She pulls it down and hits Noah, knocking him out. Moving up to confront Esther, the two get into another fight, where Esther stabs Roxanne in the arm, putting her to the ground. Esther kicks her, injuring her badly as the movement continues to disorient her. Esther admits her apology for what she had done and for faking their friendship but knows that this is what’s ultimately necessary. Moving the knife toward Roxanne’s chest, Roxanne turns over, pulling out her phone. She had been recording this on a live stream to Instagram, but the phone almost dies as it is about to upload.

 

Esther smugly smiles, grabbing the phone, as she admits the effort was nice, but was ultimately unnecessary. However, as Esther goes back to her laptop, she finds out the post went live after all. We see police at the next station taking Esther and Noah away, as Roxanne is called by an ambulance. The police has asked her to take the stream down, but news reporters come to celebrate the unexpected hero that took down a criminal empire.

 

As she gets back for Graduation, Ethan congratulates her on the amazing job, asking if she’d want to meet up and get some coffee. Roxanne agrees.

 

 

[Xillix]

Unknown Sender

Release Date: April 26, Y3

Studio: Red Crescent Pictures

Genre: Horror

Director: Johannes Roberts

Theater Count: 2,674

Shooting Format: 4K Digital (Red Raven)
Aspect Ratio: 2.40:1

Image Release Format: 2K DCP

Audio Release Format: 5.1

Production Budget: $5 million

MPAA Rating: R for horror violence, blood, gore, language, and suggestive content

Running Time: 92 minutes

Major Cast:

Bailee Madison (Claire), Dylan Minnette (Cody), Kelvin Harrison Jr. (Mike), Lyrica Okano (Yumi), Karan Brar (Jack), Sydney Scotia (Rose), Ciara Hanna (Lily), Christina Masterson (Alice)

 

Plot:

Spoiler

 

College junior Alice (Christina Masterson) is running late for a job interview at the local movie theater near campus. As she rushes to get herself ready, she gets a text on her phone. She checks it, worried it's got to do with the job - but instead, we can see that it's the second message from an unknown sender. The previous message simply read "Tuesday" and was delivered three days ago. Today is in fact Tuesday, and fittingly, the new message simply reads "Today." Though she's a bit creeped out, Alice tries to ignore it and continue her preparations.

 

After her interview, Alice goes out for dinner at a burger joint with her friend Claire (Bailee Madison). Everything goes fine, except for Alice having to ask for more ketchup. When Claire drops Alice off at her apartment, though, she is startled by a scream and a loud noise as she's about to leave. Rushing back inside, she finds Alice has been electrocuted to death by her phone charger, which apparently shorted out when she went to plug it in.

 

What seems like a tragic accident definitely puts a damper on the following week's events, because Alice and her friends had been planning a trip to a riverside vacation home for spring break. The guests, besides Alice, were to be Claire, her boyfriend Cody (Dylan Minnette), BFF Lily (Ciara Hanna), Lily's boyfriend Mike (Kelvin Harrison Jr.) and sister Rose (Sydney Scotia), Alice's roommate Yumi (Lyrica Okano), and Yumi's boyfriend Jack (Karan Brar). The huge house is owned by Lily and Rose's parents, who are the kind of obnoxiously rich people that pamper their kids but barely ever see them. Alice had been there the previous spring break with just Claire, Lily, and Rose. The larger gathering had been her idea.

 

The group decides to call off the trip, but in the following days they begin getting similar text messages from an unknown sender and dying on the day the messages say. Lily is the first to go, when her bathroom door slams and locks behind her and the light bulbs explode, catching the room and fire and graphically burning her alive. Next, Yumi and Jack both get messages at the same time and wind up being killed together when the elevator in their apartment building malfunctions, dropping them several stories and crashing into the basement. Yumi actually survives the initial fall but is killed while trying to crawl out of the car, crushed by the doors closing on her like a vice.

 

At this point Clair, Cody, Mike, and Rose begin receiving more cryptic messages from the unknown sender which all seem to be clues as to the history of the vacation home where they were supposed to be staying. They find out that it was the site of an unsolved murder in 1988, just before Lily and Rose's parents bought it. They decide to go to the house to investigate, but before they can make it there, Mike's time runs out and he's killed when - after a ghastly screech over the stereo, which is playing music from his phone - all the electronics in his car cut out, including the headlights and power steering. It's the middle of the night, so this causes him to crash, and his airbag fails to deploy so he dies.

 

At the vacation home, the remaining members of the group discover clues hinting that Rose and Lily's parents were the ones who committed the murder, then bought the house to cover it up. Cody gets the text of doom and winds up dying while searching a storage barn out back with the others. He falls through rotted floorboards on the second level, right onto a large collection of sharp farming implements that impale him.

 

When Claire gets the next text, though, she has a realization. Rose was the one who had told Cody to go check the area with the rotting floorboards, Rose is the one studying technology, Rose had access to her family's vacation home to plant all the fake clues. Indeed, there is no ghostly curse, only Rose setting traps for her "friends" and sending the messages with an automated program. As it turns out, she's a dangerous psychopath, a fact her rich and influential family have gone to great lengths to hide, even from her sister. Some of the macabre "clues" she put around the house were real examples of her own previous handiwork. 

 

The film concludes with a chase through and around the barn and house, with Rose wielding weapons and Claire having to avoid other traps Rose had already set up. In the end, though, Claire tricks Rose into one of her own traps, and she's killed in the kitchen when the oven blows up.

 

 

Edited April 20, 2018 by Xillix

[Xillix]

Cupid's Quest

Release Date: February 14, Y3

Studio: Rising Crescent Pictures

Genre: CG Animation/Family/Fantasy

Director: Ash Brannon

Theater Count: 2,452

Aspect Ratio: 1.85:1

Image Release Format: 2K DCP

Audio Release Format: 5.1

Production Budget: $25 million

MPAA Rating: PG for mild fantasy violence and some frightening images

Running Time: 85 minutes

Major Voice Cast:

Zac Efron (Cupid), Liam Neeson (Perses), Gary Oldman (Zeus), Jane Lynch (Hera)

 

Plot:

When the Titan of destruction, Perses, breaks free of his underworld imprisonment in Tartarus, he manages to steal Cupid's magical love arrows and corrupt them into hate arrows, causing all sorts of chaos in the mortal world and on Mt. Olympus - even striking some of the gods and making them spiteful and angry, including Zeus' wife Hera. Cupid is sent on a magical journey across ancient Greece by Zeus, king of the gods, to reclaim and fix his arrows and restore love to the land. He succeeds in his quest, obviously, since this is a kids' movie, and Perses is re-sealed. However, Hera breaks up with Zeus anyway because she's sick of him cheating on her to date mortal women, which he did a lot of while she was incapacitated by the hate arrows. Cupid offers to help set her up with someone more deserving.

Edited April 20, 2018 by Xillix

[YM!]

5 minutes ago, Xillix said:

Cupid's Quest

Release Date: February 14, Y3

Studio: Rising Crescent Pictures

Genre: CG Animation/Family/Fantasy

Director: Ash Brannon

Theater Count: 2,452

Aspect Ratio: 1.85:1

Image Release Format: 2K DCP

Audio Release Format: 5.1

Production Budget: $25 million

MPAA Rating: PG for mild fantasy violence and some frightening images

Running Time: 85 minutes

Major Voice Cast:

Zac Efron (Cupid), Liam Neeson (Perses), Gary Oldman (Zeus), Jane Lynch (Athena)

 

Plot:

When the Titan of destruction, Perses, breaks free of his underworld imprisonment in Tartarus, he manages to steal Cupid's magical love arrows and corrupt them into hate arrows, causing all sorts of chaos in the mortal world and on Mt. Olympus - even striking some of the gods and making them spiteful and angry, including Zeus' wife Athena. Cupid is sent on a magical journey across ancient Greece by Zeus, king of the gods, to reclaim and fix his arrows and restore love to the land. He succeeds in his quest, obviously, since this is a kids' movie, and Perses is re-sealed. However, Athena breaks up with Zeus anyway because she's sick of him cheating on her to date mortal women, which he did a lot of while she was incapacitated by the hate arrows. Cupid offers to help set her up with someone more deserving.

Right next to My Peoples. 

Edited April 20, 2018 by YourMother the Edgelord

[YM!]

@Xillix any remaining filler spots needed?

[Xillix]

3 minutes ago, YourMother the Edgelord said:

Right next to My Peoples. 

Yeah but it's a no-budget one-paragraph filler so I'm pretty sure you've got nothing to worry about  

[Rorschach]

8 minutes ago, Xillix said:

Cupid's Quest

Release Date: February 14, Y3

Studio: Rising Crescent Pictures

Genre: CG Animation/Family/Fantasy

Director: Ash Brannon

Theater Count: 2,452

Aspect Ratio: 1.85:1

Image Release Format: 2K DCP

Audio Release Format: 5.1

Production Budget: $25 million

MPAA Rating: PG for mild fantasy violence and some frightening images

Running Time: 85 minutes

Major Voice Cast:

Zac Efron (Cupid), Liam Neeson (Perses), Gary Oldman (Zeus), Jane Lynch (Athena)

 

Plot:

When the Titan of destruction, Perses, breaks free of his underworld imprisonment in Tartarus, he manages to steal Cupid's magical love arrows and corrupt them into hate arrows, causing all sorts of chaos in the mortal world and on Mt. Olympus - even striking some of the gods and making them spiteful and angry, including Zeus' wife Athena. Cupid is sent on a magical journey across ancient Greece by Zeus, king of the gods, to reclaim and fix his arrows and restore love to the land. He succeeds in his quest, obviously, since this is a kids' movie, and Perses is re-sealed. However, Athena breaks up with Zeus anyway because she's sick of him cheating on her to date mortal women, which he did a lot of while she was incapacitated by the hate arrows. Cupid offers to help set her up with someone more deserving.

You do realize that Athena is Zeus’s daughter, right?

 

[Xillix]

Just now, YourMother the Edgelord said:

@Xillix any remaining filler spots needed?

May 24th and November 22nd.

[Xillix]

Just now, Rorschach said:

You do realize that Athena is Zeus’s daughter, right?

 

Oh right, Hera. Woops.

 

...let's be real though it's Zeus, he'd still hit that.

[Rorschach]

Just now, Xillix said:

Oh right, Hera. Woops.

 

...let's be real though it's Zeus, he'd still hit that.

Stahp 

[Xillix]

3 minutes ago, Rorschach said:

Stahp 

I mean Hera's also his sister, so.

[YM!]

9 minutes ago, Rorschach said:

Stahp 

You can’t silence the truth.