The Last Call - By Nadine Rajoo Govender
Written By: Nadine Rajoo Govender
Category: Screenplay
Competition: Global Poetry and Creative Writing Competition 2026
Nadine Rajoo Govender presents "The Last Call," a thrilling supernatural horror screenplay. Set against the eerie backdrop of Willow Creek, South Africa, this work immerses readers in a chilling story of family secrets and haunted memories. Submitted to the Global Poetry and Creative Writing Competition 2026, Govender's screenplay explores themes of memory, guilt, and the supernatural. As Taylor Reese confronts her family's dark past, "The Last Call" promises suspense and intrigue.
About the Work
"The Last Call" intertwines elements of supernatural horror with a psychological thriller. Rich in haunting imagery and chilling atmosphere, the screenplay delves into the mysterious disappearance of a young girl. Govender’s narrative captivates with its layered characters, gripping dialogue, and a setting that comes alive with its own dark presence. The story’s tension builds masterfully, exploring themes of familial love, loss, and the lingering echoes of the past.
The Last call
Original Submission by Nadine Rajoo Govender
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THE LAST CALL
An Original Supernatural Horror Screenplay
Genre: Supernatural horror / psychological thriller
Setting: Willow Creek, South Africa
Estimated runtime: 85–95 minutes when fully staged and paced
Tagline: Some doors should stay closed.
Play Characters
No.
Character Name
Description
1
Taylor Reese (27)
The main character. Intelligent, stubborn, and emotionally guarded, Taylor has dark hair and a haunted expression. She must confront her repressed childhood memories to uncover the truth about her younger sister’s disappearance.
2
Jordan Keller (29)
Taylor’s closest friend. Protective, witty, and initially sceptical of the supernatural, Jordan helps investigate the haunted house but hides a connection to its dark past.
3
Eliza Reese (8)
Taylor’s younger sister, who disappeared years ago. She appears as a mysterious girl with long dark hair, a white nightdress, and bare feet. Her ghost seems desperate for Taylor to remember what happened.
4
Marcus Vale (45)
The quiet, weathered owner of the local bar. Marcus knows the haunted house’s history and warns Taylor about the telephone, but he conceals secrets of his own.
5
Raymond Reese
Taylor and Eliza’s father. Controlling and obsessive, Raymond attempted to use the house’s supernatural powers to bring back someone he loved. His actions are central to the family tragedy.
6
Helen Reese
Taylor and Eliza’s mother. Loving but deeply tormented, Helen appears in ghostly visions and memories, gradually revealing fragments of the family’s dark past.
7
The Presence
An unidentified supernatural entity. Tall, shadowy, manipulative, and predatory, it exploits grief, guilt, and fear. It may be the true evil controlling the house.
8
The Detective
An investigator examining the strange events surrounding the house. The detective plays an important role in uncovering the truth and delivering the story’s final revelation.
9
Young Taylor
Taylor as a frightened and confused child. Appearing in flashbacks, young Taylor holds crucial memories that explain what happened to Eliza.
10
The Children of the House
The spirits of children connected to the building’s tragic history. Their whispers, cries, and appearances help reveal the house’s secrets and the source of its supernatural power.
________________
ACT ONE: THE ARRIVAL
SCENE 1: THE GIRL IN THE BEDROOM
INT. OLD REESE HOUSE, UPSTAIRS BEDROOM. NIGHT.
SOUND: A distant thunderstorm. A child's laughter.
BLACK SCREEN.
A little girl hums a nursery rhyme.
GIRL (V.O.)
Taylor? You promised you'd come back.
A floorboard CREAKS.
The camera slowly reveals an old bedroom. Peeling wallpaper. A cracked mirror. A porcelain doll lying on the bed.
A LITTLE GIRL, approximately eight years old, sits with her back to the camera.
GIRL
I'm frightened.
A woman's voice comes from downstairs.
WOMAN (O.S.)
Come downstairs, sweetheart.
The girl freezes.
GIRL
That's not Mommy.
The bedroom door begins to close.
A pale hand appears in the gap.
The little girl backs away.
GIRL
Please don't let him in.
The lights go out.
A SCREAM.
CUT TO BLACK.
A telephone rings three times.
TITLE CARD: THE LAST CALL.
SCENE 2: THE RED LANTERN
INT. THE RED LANTERN BAR. NIGHT.
Rain hits the windows. A television flickers above the counter.
TAYLOR REESE, 27, sits with her friend JORDAN KELLER, 29.
JORDAN
Please tell me you haven't actually signed the lease.
Taylor puts a key on the counter.
TAYLOR
I've signed it.
JORDAN
For the house on the hill?
TAYLOR
It's cheap, it's quiet, and nobody bothers you.
MARCUS VALE, the bartender, stops polishing a glass.
MARCUS
Nobody living, anyway.
Jordan turns to him.
JORDAN
You could try being normal for five minutes.
MARCUS
I tried. Didn't suit me.
Taylor laughs despite herself.
TAYLOR
What happened there?
Marcus looks at the key.
MARCUS
A little girl disappeared. Eleven years ago. They searched that house for weeks.
TAYLOR
And?
MARCUS
Never found her.
JORDAN
That's tragic. It doesn't mean the house is haunted.
Marcus leans forward.
MARCUS
If the telephone rings tonight, don't answer it.
Taylor frowns.
TAYLOR
What telephone?
MARCUS
The one without a line.
Nobody laughs.
SCENE 3: THE ROAD UP THE HILL
EXT. WILLOW CREEK HILL. NIGHT.
Taylor drives through heavy rain.
The radio crackles.
RADIO ANNOUNCER
Authorities have reopened the investigation into the disappearance of eight-year-old...
STATIC.
A little girl's voice replaces the broadcast.
GIRL (RADIO)
Taylor.
Taylor slams on the brakes.
TAYLOR
Who's there?
Silence.
She checks the back seat.
Empty.
She looks towards the hill.
The house stands among the trees. One upstairs window glows yellow.
A small silhouette appears behind the curtain.
The figure raises a hand.
Taylor blinks.
The window goes dark.
SOUND: Three knocks against the inside of the car boot.
Taylor spins around.
Nothing.
She starts the engine and drives.
SCENE 4: THE HOUSE
INT. REESE HOUSE, FRONT HALL. NIGHT.
Taylor unlocks the door.
The house is dusty, cold and strangely untouched. An old family photograph hangs beside the staircase.
She shines her phone light on it.
A father. A mother. A little girl.
Taylor studies the girl's face.
TAYLOR
Why do I know you?
A floorboard CREAKS upstairs.
TAYLOR
Hello?
A child's voice whispers behind her.
GIRL (O.S.)
You're late.
Taylor spins around.
Nothing.
She looks upstairs.
The girl stands at the top of the staircase, barefoot, wearing a white nightdress.
TAYLOR
Who are you?
GIRL
You don't remember me?
Taylor backs towards the front door.
GIRL
Mommy said you would forget.
The lights flicker.
The girl disappears.
Taylor bolts outside.
SCENE 5: THE TELEPHONE
INT. REESE HOUSE, KITCHEN AND HALLWAY. LATER.
Taylor sits at the kitchen table, speaking to Jordan on her mobile.
JORDAN (PHONE)
I'm coming over.
TAYLOR
No. Stay on the phone with me.
JORDAN
Tell me exactly what you saw.
TAYLOR
A little girl. She said I should remember her.
The mobile crackles.
GIRL (PHONE)
She's lying.
Taylor jerks the phone away.
TAYLOR
Jordan?
JORDAN
I'm here.
The lights die.
From the hallway comes the RINGING of an old telephone.
Taylor approaches it. The cord has been cut.
She lifts the receiver.
TAYLOR
Hello?
GIRL (PHONE)
You said you'd protect me.
TAYLOR
Who is this?
GIRL (PHONE)
You held the door shut, Taylor.
Taylor begins to tremble.
TAYLOR
No.
GIRL (PHONE)
You locked me in.
Taylor drops the receiver.
It swings beside the table.
A man's voice whispers through it.
MAN (PHONE)
Now she remembers.
CUT TO BLACK.
END OF ACT ONE.
________________
ACT TWO: THE HOUSE REMEMBERS
SCENE 1: THE ARRIVAL OF JORDAN
EXT. REESE HOUSE. NIGHT.
Headlights sweep across the front of the house.
Jordan jumps out of his car and hurries towards the front door.
JORDAN
Taylor!
No answer.
He enters.
INT. FRONT HALL. CONTINUOUS.
Jordan finds Taylor sitting against the wall, clutching the telephone receiver.
JORDAN
Jesus. What happened?
TAYLOR
We need to leave.
JORDAN
Good. Finally, a sensible decision.
He helps her up.
The front door slams.
Jordan tries the handle.
Locked.
JORDAN
That's funny.
He pulls harder.
JORDAN
Taylor, did you lock this?
TAYLOR
No.
Behind them, the telephone rings.
Jordan turns.
JORDAN
What telephone?
Taylor stares at him.
TAYLOR
You can hear it?
The ringing stops.
From upstairs comes Jordan's own voice.
JORDAN'S VOICE (O.S.)
Taylor, don't let him leave.
Jordan goes pale.
JORDAN
That wasn't me.
A bedroom door closes upstairs.
SOUND: A heavy bolt sliding into place.
Jordan grabs Taylor's hand.
JORDAN
We're getting out of here. Even if I have to break every window.
SCENE 2: THE FIRST RECORDING
INT. UPSTAIRS BEDROOM. NIGHT.
Jordan finds an old cassette recorder inside a wardrobe.
A label reads:
R. REESE. 17 JULY 1998.
Taylor stares at the date.
TAYLOR
That's three days after my birthday.
JORDAN
You said your family moved away when you were little.
TAYLOR
We did.
Jordan presses PLAY.
STATIC.
A MAN'S VOICE emerges.
RAYMOND (RECORDING)
I locked the door. I thought it would keep her safe.
A woman begins crying in the background.
WOMAN (RECORDING)
You can't keep doing this.
RAYMOND (RECORDING)
She knows what happened. She keeps asking questions.
A loud BANG.
The recording distorts.
Then a child's voice.
GIRL (RECORDING)
Taylor did it.
Taylor recoils.
TAYLOR
Turn it off.
Jordan presses STOP.
JORDAN
Who is Raymond?
Taylor shakes her head.
TAYLOR
I don't know.
The recorder clicks on by itself.
GIRL (RECORDING)
Jordan knows.
Jordan drops it.
TAYLOR
What does that mean?
He cannot look at her.
JORDAN
I think we should leave.
TAYLOR
You said that already.
JORDAN
Then why are we still here?
SCENE 3: THE MIRROR
INT. UPSTAIRS BATHROOM. NIGHT.
Taylor washes her face.
The water runs brown for a moment.
She looks into the mirror.
Her reflection is standing perfectly still.
Taylor raises her hand.
The reflection does not move.
Taylor steps backwards.
The reflection smiles.
Behind it stands the little girl.
GIRL (REFLECTION)
You left me.
Taylor turns around.
The bathroom is empty.
She looks back into the mirror.
The girl's reflection is closer.
GIRL
Ask your mother what happened.
Taylor's breathing becomes ragged.
TAYLOR
My mother is dead.
The reflection's smile disappears.
GIRL
Then who's been calling you?
The bathroom door SLAMS.
Taylor screams.
Jordan bursts through the door.
JORDAN
Taylor!
She clings to him.
TAYLOR
There's something in here.
Jordan looks into the mirror.
For one brief second, he sees a man's reflection standing behind him.
He spins around.
Nobody.
He says nothing.
SCENE 4: THE TOWN'S SECRET
INT. THE RED LANTERN BAR. PRE-DAWN.
Marcus sits alone, studying an old newspaper.
The headline reads:
LOCAL GIRL STILL MISSING AFTER ELEVEN YEARS.
Jordan enters, soaked and exhausted.
MARCUS
Where's Taylor?
JORDAN
Still there.
Marcus closes his eyes.
MARCUS
Then it's started again.
JORDAN
What started?
Marcus pushes the newspaper towards him.
A photograph shows a little girl named ELIZA REESE.
MISSING: ELIZA REESE, AGE 8.
JORDAN
Reese?
MARCUS
Taylor's younger sister.
Jordan stares at the photograph.
JORDAN
Taylor told me she was an only child.
MARCUS
That's what she was told.
JORDAN
By whom?
Marcus looks towards the dark window.
MARCUS
Her father.
Jordan slowly sits down.
JORDAN
Why would a father erase his own daughter?
MARCUS
Because sometimes the truth is worse than a haunting.
SCENE 5: THE LOCKED DOOR
INT. REESE HOUSE, UPSTAIRS LANDING. DAWN.
Taylor finds a narrow door behind an old wardrobe.
A rusted key hangs from a nail beside it.
She unlocks the door.
Inside is a small child's bedroom.
The bed is neatly made. Toys sit on the shelves. A drawing hangs on the wall.
Two little girls hold hands beneath a smiling sun.
One is labelled TAYLOR.
The other is labelled ELIZA.
Taylor touches the drawing.
A memory flashes.
Two little girls laughing.
A man shouting.
A door slamming.
A little hand reaching beneath a door.
ELIZA (MEMORY)
Taylor! Please!
Taylor staggers backwards.
TAYLOR
No. No, that's not real.
She notices a message scratched into the inside of the door.
YOU PROMISED YOU'D COME BACK.
Behind her, the little girl speaks.
ELIZA
You finally found my room.
Taylor turns.
The girl stands beside the bed.
TAYLOR
Eliza?
The girl nods.
ELIZA
Now find where he put me.
CUT TO BLACK.
END OF ACT TWO.
________________
ACT THREE: THE GIRL IN THE WALLS
SCENE 1: THE BASEMENT KEY
INT. REESE HOUSE, KITCHEN. MORNING.
Taylor and Jordan sit at the kitchen table.
Neither has slept.
Taylor places the drawing between them.
TAYLOR
I had a sister.
Jordan says nothing.
TAYLOR
Why didn't you tell me?
JORDAN
I didn't know until Marcus showed me the newspaper.
TAYLOR
You knew something.
Jordan looks down.
JORDAN
When we were children, I came here once. My father worked with Raymond. I remember a girl crying upstairs.
TAYLOR
You remember my sister?
JORDAN
I remember being told to forget what I heard.
Taylor stares at him.
TAYLOR
Everybody knew except me.
JORDAN
Taylor, I was nine.
She gets up.
TAYLOR
And now we're going downstairs.
Jordan follows her to the hallway.
Beneath the staircase is a small iron door.
A keyhole sits in its centre.
Taylor takes the rusted key from her pocket.
It fits.
Before she turns it, a voice whispers from the other side.
ELIZA (O.S.)
Don't let him in.
Taylor freezes.
JORDAN
Who?
The iron door rattles violently.
ELIZA (O.S.)
He isn't dead.
The lock clicks.
The door opens by itself.
SCENE 2: BELOW THE HOUSE
INT. BASEMENT STAIRS. CONTINUOUS.
The staircase descends into darkness.
Jordan holds a flashlight.
Taylor follows.
SOUND: Water dripping. A distant scratching.
At the bottom is a narrow corridor lined with old family photographs.
Every photograph has been scratched across the father's face.
Except one.
Taylor lifts it.
Her father, RAYMOND REESE, stands beside a younger Marcus.
Behind them is a third man whose face has been burned away.
TAYLOR
Who is that?
Jordan examines the photograph.
JORDAN
I don't know.
A whisper travels through the corridor.
VOICE (O.S.)
You do.
The flashlight flickers.
At the far end stands a man in a dark suit.
His face is hidden in shadow.
TAYLOR
Dad?
The man raises his head.
His face is pale, his eyes dark.
MAN
You shouldn't have come back.
The flashlight goes out.
A violent CRASH.
Jordan shouts.
Taylor runs blindly towards him.
When the light returns, the corridor is empty.
On the floor lies a small silver locket.
Inside is a photograph of Taylor and Eliza.
On the back, someone has written:
ONE CHILD WAS SAVED. ONE WAS CHOSEN.
SCENE 3: THE TAPE OF THE TRUTH
INT. BASEMENT STORAGE ROOM. DAY.
They discover shelves of cassette tapes.
Each is labelled with a date.
Taylor finds one marked:
THE NIGHT ELIZA DISAPPEARED.
She presses PLAY.
RAYMOND (RECORDING)
She won't stop asking about the room.
WOMAN (RECORDING)
She's a child, Raymond.
RAYMOND (RECORDING)
She saw what happened.
A crash.
RAYMOND (RECORDING)
Taylor! Take your sister upstairs!
A little girl cries.
ELIZA (RECORDING)
He hurt Mommy!
Silence.
Then Taylor's childhood voice.
YOUNG TAYLOR (RECORDING)
Come with me, Eliza.
ELIZA (RECORDING)
He's coming!
A door slams.
YOUNG TAYLOR (RECORDING)
I'll get help. I promise.
Footsteps.
A lock turns.
Eliza begins pounding on the door.
ELIZA (RECORDING)
TAYLOR!
The recording stops.
Taylor stands motionless.
TAYLOR
I left her.
JORDAN
You were a child.
TAYLOR
I promised I'd come back.
Her voice breaks.
TAYLOR
And I never did.
From the far corner comes a slow clap.
Once.
Twice.
Three times.
The man in the dark suit stands there.
MAN
Very good, Taylor.
Jordan grabs her arm.
JORDAN
Run.
The man smiles.
MAN
There's nowhere left to go.
SCENE 4: THE WOMAN IN THE WALL
INT. BASEMENT CORRIDOR. CONTINUOUS.
They sprint towards the stairs.
The walls begin to shake.
A woman's voice emerges from inside them.
WOMAN (O.S.)
Taylor?
Taylor stops.
TAYLOR
Mom?
A small section of plaster cracks.
A pale hand presses through the wall.
Jordan drags Taylor forward.
JORDAN
That's not your mother!
The wall splits.
Inside the darkness is a woman's face.
Her eyes are sewn shut.
Her mouth opens.
WOMAN
You left us both.
Taylor screams.
The staircase stretches impossibly far away.
Jordan pulls her towards it.
The man appears at the top.
MAN
You always run.
The lights explode.
Darkness.
A hand grabs Taylor's ankle.
She kicks free.
Jordan shouts her name.
They stumble through the iron door.
It slams behind them.
The house falls silent.
SCENE 5: THE GIRL'S REQUEST
INT. REESE HOUSE, CHILD'S BEDROOM. NIGHT.
Taylor enters Eliza's bedroom alone.
The room is exactly as it appeared in the photograph.
She sits on the bed.
TAYLOR
I'm sorry.
The little girl appears beside the wardrobe.
ELIZA
I know.
TAYLOR
I was scared.
ELIZA
I was scared too.
Taylor begins crying.
TAYLOR
I didn't know he'd lock you in.
Eliza looks towards the wall.
ELIZA
He didn't.
Taylor stops crying.
TAYLOR
What?
ELIZA
You did.
A long silence.
ELIZA
You closed the door because you thought he was behind me.
Taylor shakes her head.
TAYLOR
No.
ELIZA
But he wasn't.
Eliza reaches for Taylor's hand.
Her fingers are ice-cold.
ELIZA
He was standing behind you.
Taylor looks up.
In the mirror, the man in the dark suit stands directly behind her.
ELIZA
And he's still here.
CUT TO BLACK.
END OF ACT THREE.
________________
ACT FOUR: THE TRUTH
SCENE 1: JORDAN'S CONFESSION
INT. REESE HOUSE, FRONT HALL. NIGHT.
Jordan packs a bag.
Taylor enters, holding the silver locket.
TAYLOR
We need to get out.
JORDAN
Agreed.
She notices blood on his sleeve.
TAYLOR
You're hurt.
Jordan covers the stain.
JORDAN
It's nothing.
Taylor reaches for his arm.
He pulls away too quickly.
TAYLOR
Jordan.
He looks at her.
JORDAN
My father was the third man in the photograph.
Taylor's face changes.
JORDAN
He worked with your father. They were involved in something. I don't know exactly what.
TAYLOR
You knew him?
JORDAN
He died when I was twelve.
TAYLOR
How?
Jordan struggles to answer.
JORDAN
They found him in his car. The doors were locked. The radio was playing, but the engine was off.
Taylor looks towards the telephone.
TAYLOR
What was playing?
Jordan whispers.
JORDAN
A little girl singing.
The telephone rings.
Neither moves.
Jordan looks at Taylor.
JORDAN
I think the house has been following our families for years.
SCENE 2: THE MISSING PAGE
INT. BASEMENT STORAGE ROOM. NIGHT.
They return to the basement.
Taylor searches through a box of old papers.
She finds a diary belonging to her mother, HELEN.
Most of the pages are torn out.
One entry remains.
HELEN (V.O.)
17 July 1998. Raymond says the voices are getting louder. He says they belong to the people who died before we moved here. He says the house remembers every death.
Taylor turns the page.
HELEN (V.O.)
He has started locking the children in their rooms. He says it protects them. I think he is protecting something else.
A final line is written in red ink.
HELEN (V.O.)
If Taylor ever remembers, do not let her answer the last call.
Taylor drops the diary.
TAYLOR
What is the last call?
A voice comes from behind the shelves.
MARCUS (O.S.)
The call that tells the dead they're allowed to leave.
Marcus steps into the light.
Jordan raises the flashlight.
JORDAN
How did you get in here?
Marcus looks exhausted.
MARCUS
I've been here before.
SCENE 3: THE HOUSE'S HISTORY
INT. BASEMENT. CONTINUOUS.
Marcus reveals a bundle of old newspaper clippings.
In 1964, a fire destroyed a children's home that had occupied the hill.
Several children died.
The building was later rebuilt as a private residence.
MARCUS
Your father bought the place because he believed the children were still here.
TAYLOR
Why?
MARCUS
He thought they could speak to him. He thought he could bring someone back.
JORDAN
Who?
Marcus looks at Taylor.
MARCUS
Your mother.
Taylor shakes her head.
TAYLOR
My mother died in a car accident.
MARCUS
That's what your father told you.
Marcus reveals another photograph.
Helen stands in front of the house.
Behind her is the little girl.
But Eliza is holding the hand of a much older woman whose face is obscured.
MARCUS
Your mother never left the house.
A sound rises from the walls.
A woman's laughter.
Marcus backs away.
MARCUS
We need to go. Now.
The basement door SLAMS.
The man in the dark suit appears at the end of the corridor.
MAN
Nobody leaves before the family is complete.
SCENE 4: THE WOMAN'S FACE
INT. UPSTAIRS LANDING. NIGHT.
The group races upstairs.
The lights flicker.
At the top of the stairs stands HELEN, Taylor's mother.
Her face is pale. Her clothes are wet.
TAYLOR
Mom?
Helen smiles sadly.
HELEN
My baby.
Taylor moves towards her.
Marcus grabs Taylor's wrist.
MARCUS
Don't touch her.
Helen's smile fades.
HELEN
You let her die, Marcus.
He releases Taylor.
HELEN
You let him take her.
Marcus begins shaking.
MARCUS
I was trying to help.
Helen turns towards Taylor.
HELEN
Your father wasn't trying to bring me back.
TAYLOR
What was he doing?
Helen looks towards the darkened hallway.
HELEN
He was trying to trade places.
A long silence.
HELEN
The house takes one life to return another. Your father wanted me back. Eliza was the price.
Taylor stares at her mother.
TAYLOR
And you let him?
Helen begins crying.
HELEN
I tried to stop him.
The man in the suit emerges from the shadows.
His face is now visible.
It is Raymond.
RAYMOND
Enough.
The house shakes.
Every door opens at once.
Children's laughter fills the hallway.
RAYMOND
It's time.
SCENE 5: THE LAST DOOR
INT. REESE HOUSE, SEALED ROOM. NIGHT.
Raymond forces Taylor into the small room behind the basement.
Jordan and Marcus struggle against invisible hands in the corridor.
Inside the room stands an old telephone mounted on the wall.
Its cord disappears into the plaster.
Raymond closes the door.
RAYMOND
You have no idea what I've done for this family.
TAYLOR
You killed your daughter.
RAYMOND
I saved your mother.
TAYLOR
She's dead!
Raymond's face twists with anger.
RAYMOND
Death is a door, Taylor. I found a way to open it.
The telephone rings.
Raymond gestures towards it.
RAYMOND
Answer.
Taylor backs away.
RAYMOND
Answer it!
She lifts the receiver.
A chorus of children's voices whispers through the line.
CHILDREN (PHONE)
Let us out.
Taylor looks at the walls.
Tiny handprints begin appearing beneath the wallpaper.
CHILDREN (PHONE)
Please.
Raymond steps closer.
RAYMOND
Say the words.
TAYLOR
What words?
RAYMOND
Tell them they can come home.
Taylor looks into the receiver.
TAYLOR
I won't.
Raymond's face changes.
For the first time, he looks afraid.
RAYMOND
Then you will stay here forever.
The room goes black.
A little girl's hand takes Taylor's.
ELIZA (O.S.)
Now, Taylor.
CUT TO BLACK.
END OF ACT FOUR.
________________
ACT FIVE: THE LAST CALL
SCENE 1: THE VOICES
INT. SEALED ROOM. CONTINUOUS.
Taylor stands in darkness.
The telephone rings.
She can hear Eliza crying.
ELIZA (PHONE)
Taylor, please.
Taylor lifts the receiver.
TAYLOR
I'm here.
ELIZA (PHONE)
I'm tired.
TAYLOR
I know.
ELIZA (PHONE)
I want to go home.
Taylor closes her eyes.
TAYLOR
I'm going to get you out.
Raymond's voice erupts from the darkness.
RAYMOND (O.S.)
You can't save her!
Taylor turns.
RAYMOND (O.S.)
You couldn't save her then. You can't save her now.
Taylor grips the receiver.
TAYLOR
Maybe not.
She looks towards the darkness.
TAYLOR
But I can stop you.
She slams the receiver against the wall.
The telephone shatters.
The house screams.
SCENE 2: THE HOUSE OPENS
INT. REESE HOUSE, BASEMENT. NIGHT.
The walls crack.
Dust rains from the ceiling.
The doors swing open.
Jordan and Marcus stumble into the corridor.
Taylor emerges from the sealed room.
JORDAN
Taylor!
She grabs his hand.
TAYLOR
We need to find Eliza.
Marcus points towards a narrow passage behind the shelves.
MARCUS
The original room. That's where it began.
They run.
The passage opens into an old chamber.
Children's shoes lie scattered across the floor.
A small wooden door stands at the far end.
Taylor approaches.
She hears Eliza knocking from the other side.
Three slow knocks.
ELIZA (O.S.)
Taylor?
Taylor kneels.
TAYLOR
I'm here.
She reaches for the handle.
A hand clamps around her shoulder.
Raymond.
His face is distorted, his eyes black.
RAYMOND
You don't get to leave.
Jordan attacks him.
They struggle.
Marcus grabs an iron bar and strikes Raymond across the back.
Raymond barely reacts.
He turns towards Marcus.
RAYMOND
You should have died with the others.
The lights explode.
Marcus is thrown against the wall.
Taylor opens the door.
Inside sits Eliza.
She looks exactly as she did eleven years ago.
ELIZA
You came back.
Taylor begins to cry.
TAYLOR
I'm sorry it took so long.
Eliza holds out her hand.
Taylor takes it.
The house begins collapsing around them.
SCENE 3: THE CHOICE
INT. ORIGINAL CHAMBER. CONTINUOUS.
The room fills with a low, unnatural hum.
Raymond stands between Taylor and the exit.
RAYMOND
If she leaves, someone else must stay.
Taylor looks at Eliza.
TAYLOR
Is that true?
Eliza shakes her head.
ELIZA
He's lying.
Raymond laughs.
RAYMOND
The house always takes someone.
Taylor looks at the broken telephone on the floor.
Then at the children’s shoes.
She understands.
The house doesn't need another victim.
It needs someone to keep answering its calls.
Taylor lifts the telephone receiver.
The line crackles.
TAYLOR
My name is Taylor Reese.
The walls begin trembling.
TAYLOR
I remember Eliza Reese.
A distant child's voice responds.
CHILD (PHONE)
Remember me.
TAYLOR
I remember you.
Another voice.
CHILD (PHONE)
Remember me.
TAYLOR
I remember all of you.
The room fills with the sound of children whispering their names.
One by one, tiny lights appear in the darkness.
Raymond screams.
RAYMOND
STOP!
Taylor continues.
TAYLOR
You don't belong to this house. You never did.
The telephone line bursts into white light.
Raymond falls to his knees.
His body begins dissolving into ash.
RAYMOND
You can't destroy me!
Taylor looks directly at him.
TAYLOR
I'm not destroying you.
A beat.
TAYLOR
I'm letting them go.
The walls split open.
A rush of cold air sweeps through the chamber.
Raymond disappears.
The house falls silent.
SCENE 4: DAWN
EXT. REESE HOUSE. DAWN.
Taylor and Jordan emerge from the house carrying Eliza.
Marcus follows, badly injured but alive.
The sky is pale grey.
Behind them, the house begins to collapse.
A deep groan echoes across the hill.
The roof caves in.
Windows shatter.
The entire structure sinks into a cloud of dust.
Taylor holds Eliza close.
TAYLOR
You're safe now.
Eliza looks at her.
ELIZA
Am I?
Taylor pulls back.
Eliza's face is no longer that of a little girl.
For a split second, she looks much older.
Then she smiles.
ELIZA
You should go home, Taylor.
Taylor blinks.
Eliza is gone.
Jordan looks at Taylor.
JORDAN
Where did she go?
Taylor cannot answer.
She looks towards the ruins.
Among the broken stones lies the porcelain doll.
Its face is no longer cracked.
Its eyes are open.
SCENE 5: THE LAST CALL
INT. TAYLOR'S CAR. MORNING.
Taylor sits in the driver's seat.
Jordan stands outside the open door.
JORDAN
You're coming with me.
Taylor nods.
She starts the engine.
The radio comes alive.
Soft music plays.
For the first time in the film, everything feels normal.
Jordan steps back.
Taylor puts the car into gear.
Then the radio crackles.
A telephone ring cuts through the music.
Taylor freezes.
The display reads:
UNKNOWN CALLER.
She switches off the radio.
The ringing continues.
Jordan looks towards the car.
JORDAN
Taylor?
She doesn't move.
The telephone rings again.
She answers.
TAYLOR
Hello?
Silence.
Then Jordan's voice comes through the speaker.
JORDAN (PHONE)
Taylor, don't get out of the car.
Taylor looks through the windscreen.
Jordan is standing beside the vehicle.
His face is pale.
He is smiling.
The voice on the telephone whispers:
JORDAN (PHONE)
Whatever you do, don't look at me.
Taylor slowly turns towards the real Jordan.
He is no longer smiling.
He is staring at the back seat.
Taylor follows his gaze.
A little girl sits behind her.
White nightdress.
Wet hair.
Porcelain doll in her lap.
Taylor cannot breathe.
The girl leans forward.
ELIZA
You forgot someone.
Taylor begins to cry.
TAYLOR
Who?
The girl smiles.
ELIZA
Me.
The car doors lock.
Jordan pounds on the window.
JORDAN
TAYLOR! OPEN THE DOOR!
The engine dies.
The radio crackles.
A man's voice whispers:
RAYMOND (RADIO)
One child was saved.
A beat.
RAYMOND (RADIO)
One was chosen.
Taylor looks into the rear-view mirror.
The girl is gone.
Instead, the mirror reflects the old house.
Standing in its upstairs window is Taylor herself.
Her reflection raises one hand.
Taylor doesn't move.
The reflection smiles.
CUT TO BLACK.
Three telephone rings.
Silence.
A final whisper.
UNKNOWN VOICE (V.O.)
You're not the first.
END.
________________
POST-CREDIT SCENE
INT. POLICE STATION. NIGHT.
A detective sits at his desk reviewing footage from a roadside camera.
The footage shows Taylor's car leaving the hill.
The detective rewinds it.
Something moves in the back seat.
He zooms in.
A little girl looks directly into the camera.
She mouths three words.
GIRL (FOOTAGE)
Answer the phone.
The detective's desk telephone rings.
He looks at it.
The screen displays:
UNKNOWN CALLER.
He answers.
DETECTIVE
Hello?
A child's voice whispers:
GIRL (PHONE)
Where is Taylor?
The detective slowly stands.
Behind him, every telephone in the station begins ringing.
SMASH CUT TO BLACK.
THE LAST CALL WILL RETURN.
About the Competition
The Global Poetry and Creative Writing Competition 2026 by Hashtag Kalakar encourages writers worldwide to showcase their talents in poetry and creative writing. This prestigious platform celebrates diverse voices and innovative storytelling, fostering a global community of writers. Participants from around the world share their unique perspectives and creative expressions, making this an exciting event for literary enthusiasts.
We extend our deepest gratitude to Nadine Rajoo Govender for sharing "The Last Call" with us as part of the Global Poetry and Creative Writing Competition 2026. This compelling screenplay enriches the competition with its intricate narrative and atmospheric depth. We look forward to seeing more of Govender’s creative endeavors and thank her for her contribution to the literary arts.
About Hashtag Kalakar
Hashtag Kalakar is a creative platform dedicated to providing artists, writers, singers and other creative talents with opportunities to showcase their work and reach wider audiences through competitions, features and creative initiatives.
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