Directed by Frank Silas. Initial concept by Tom Carroll and Frank Silas. Written by Tom Carroll, with Amber Greenlee, Ben Johnson, and Frank Silas.
"There are six sides to this story. Six people that must make a life or death decision. Like six sides to a little shiny box. A box that contains something we all want: something worth dying for, something worth killing for. A prisoner, a housewife, a Russian mobster, a schoolgirl, a bomb maker, and a knife-crazed serial killer have been playing a dangerous game via a mysterious box that appears when it is time to play the game. At least one will try to play honorably, but is honor possible in a game of life and death when you are not prepared to die?"
"BOX"
INT. PRISON MORNING
Lance, a boxer long gone to seed, is in his cell.
Sfx (o.S.)
SFX of tape being pulled, torn, wrapped.
Pan around his cell to show BOXING POSTER showing him in the ring; a set of BOXING TICKETS stapled to the poster; a US MAP with pins and strings showing Lance is going back there.
Est. Shot, diana, Int. kitchen, upscale house, morning
Diana is dressed to thrill in the kitchen. She's on the phone, getting ready to jet out.
DIANA
Well I don't care what they think, just ... please keep it to yourself ...
She looks over, PAN WITH HER; she sees box on counter.
Diana (CONT'D)
Gotta go.
DIANA hangs up phone. She reaches into a nearby cabinet below and pulls out an assault rifle. She looks over at the box.
Medium shot, lance, INT. PRISON MORNING
PAN RIGHT to Lance. He reaches for roll of tape, picks up, tears off a new strip.
Est. Shot, peter, Int. soundproofed room
PETER is smoking filterless Marlboros, listening to RUSSIAN HIP HOP, sipping Russian vodka. He reaches for his vodka bottle and when he turns back in his chair a box is there. PULL BACK and there are six weapons nearby. He picks up two matched revolvers, kisses one.
Peter
We jump in it ...
(Audience sees the box.)
Medium c.u., lance, INT. PRISON MORNING
Lance continues wrapping his hands. With every round his face becomes more resolute.
Est. Shot, int. House, shirley, morning
Shirley is studying intently. ROTATE around her to show cube on table. Her expression says "Damn," without speaking. But she recovers ...
Shirley
Awww, hell ...
She reaches over and grabs a something, pulls it up, and we see it is a full on ASSAULT RIFLE.
Shirley (CONT'D)
She looks at box and says, "it's about time."
c.u., lance, INT. PRISON, MORNING
Lance continues wrapping, pauses. He sighs, lets the air out slowly and starts some soft shadow boxing.
Est. Shot, joshua, int. industrial space, morning
JOSHUA in grungy clothes, working on a device. There is an empty space. JOSHUA reaches. PAN WITH HIM. PAN BACK and a box is there. He sees box looks at if for a moment with mild amusement.
Joshua
Nice. Time for some action.
Starts putting equipment in bag.
Medium shot, lance, INT. PRISON, MORNING
Lance now is looking out barred windows shadow boxing. He throws a few punches and stops...looking out window.
Est. Shot, annette, int. shower / bathroom
Carrying a HUGE CHOPPING KNIFE, Annette is in a timidly heightened state. She walks back and forth in front of a shower enclosure. The distance is out of focus. RACK FOCUS on the distance where a naked man is tied up under the shower. FOCUS BACK ON HER and PAN LEFT to reveal a box on the sink. She looks at the box, then turns to face the man.
Annette
Sorry, it isn't your time ...
She touches the box and the BOX EFFECT causes her to disappear...

Medium shot, lance, INT. PRISON, MORNING
Hands fully wrapped, Lance sighs quickly, crosses himself, reaches for the box and touches it. BOX EFFECT makes him disappear.
SFX
The SFX for a box disappearance.
Est. Shot, int. industrIal space, later
SHIRLEY and ANNETTE are fighting. Annette has knives; Shirley chases her, pauses to fire assault rifle.
Sfx
Automatic gunfire.
NEW ANGLE, LANCE, INT. INDUSTRIAL SPACE, LATER
Sfx (CONT'D)
Automatic gunfire.
PETER cautiously enters room and surveys the area. Pauses and asks...
Peter
Would you like a warning shot?
PETER Pauses. As he lowers his guard he looks to the right and LANCE is there. Peter is too slow to raise his guns and LANCE lays him out.
Audience sees guns slide across floor.
Medium SHOT, LAnce's profile, PETER, INT. workship
Lance picks up one of Peter's revolvers, turns it over, considers putting it back down, then tucks it into his back waistband.
Int. open area, shirley, annette, noon
Shirley totes gun, rounds corner looking for Annette. Knife whizzes by her, pull back to show it sticking in wall. <Update: thrown knife?>
NEW ANGLE, OPEN AREA, SHIRLEY, ANNETTE, NOON
Shirley and Annette are now both in the same shot, Shirley has gun pointed at Annette who still has a knife in her throwing hand.
ShirlEY
I can't believe you're still doing this ...
MED C.u., shirley, open area, noon
ShIRLEY
Bringing a knife to a ... well. I don't know how you survived all these years. But I just need your box, Annette.
C.u., annette, OPEN AREAL, NOON
Annette raises her blade(s?) up, ceremonial like ...
AnneTTE
I'm going to gut you like a fish. <Update>
MED C.u., shirley, open areal, noon
Shirley opens up, full auto mode.
Insert shot here (wAIST UP)
SHIRLEY looks down, reaches and picks up an offscreen box with blood on it.
Explosion o.s. Shirley reacts to it.
Int. stairway room, industrial space. Noon
DIANA is atop the stairs, looking around and sees JOSHUA below. She has her gun in hand, keeps him targeted as she walks down
JOSHUA is below. He's got a grenade in his hand, pin pulled.
Diana
Did you just blow up the door with explosives?
JoshUa
I had to get in somehow? And I have lots of these.
Diana moves the barrel of the gun to the right.
DIANA begins moving down the staircase and towards JOSHUA.
DIANA
We don't have to do anything rash, do we?
JOSHA
Well, I know you want my box.
DIANA
No ... you're young and stupid. You want my box.
JOSHUA
Are you prepared to die? Because I can make that happen.
New angle, int. Stairway room, insustrial space, noon
Diana puts the gun down while moving towards JOSHUA. She's right next to Joshua.
Diana
You've got it all figured out, don't you.
JoshUA
Yeah ... I think I ...
Diana reaches out, grabs Joshua's grenade hand, stabilizes it, while reaching for another gun and shoots him.

JOSHUA drops and releases the device to DIANA's hand. Shirley bursts in the room thinking she's going to regulate, but is surprised when DIANA turns around with the device in hand.
Int. Shirley, diana, int. industrial space, noon
Shirley holds gun on Diana, who also holds gun on Shirley. DIANA holds up the device deviously.
DIANA
I bet you didn't see this one coming.
Shirley
Mother F.... How the hell did I get myself into this.
Diana
In many ways, this is what I do ...
Characters start walking around the area, guns still on each other. Circling.
DIANA (CONT'D)
That gun must be awfully heavy. How long can you keep IT up?
ShIRLEY
I can hold on long enough to squeeze the trigger.
DIANA
If you don't kill me with your first shot, I'll definitely kill you with mine. Just grazing me isn't going to be good enough.
SHIRLEY
Lady, I don't miss ... ever.
DIANA
Go back to your life, kid. Have a boyfriend, have a prom, a first kiss. You have a ton of potential, but there is a ton of potential that never amounts to anything.
SHIRLEY
...
DIANA
Just leave the box, turn, and walk away. You've got plenty of time to do this later.
C.u. ShirlEY, INT. INDUSTRIAL SPACE, NOON
Shirley considers this ... turns her head down,
Medium shot, ShirlEY, INT. INDUSTRIAL SPACE, NOON
Shirley sets down the weapon, pulls out the box, and sets down the box. She backs up while CAMERA PULLS BACK TO SHOW DIANA watching her. As Shirley turns to walk out, Diana raises her gun and shoots her in the back. Shirley falls, plop, to the ground. Pull back further and we see Lance standing looking at the scene.
LancE

Pretty good at shooting kids in the back. That's your M.O, isn't it? Cheap shots?
Diana turns to face Lance. Recognizes him, drop the gun to her side.
DianA
Oh, it's only you, the boxer. Have you been watching all this time? Sizing me up? Getting ready for another round?
Lance takes the gun from his back waistband and points it at her.
Diana (CONT'D)
What are you going to do with that?
LanCE
I've spent a lot of time not doing much of anything. I might just surprise you.
Diana begins to ease the gun upward, but Lance points his gun at her with renewed energy.
Lance (CONT'D)
I do have you against the ropes ...
DianA
You were a loser then and you're a loser now. Nothing's changed.
Diana raises the gun in one swift motion, There is the sound of two guns going off
Sfx
Two guns going off.
C.u., Int. BOX room, lance, midnight
Close in on Lance at start of shot. Pull back to show Lance finishing an arrangement of five boxes.
New angle (maybe high angle), INT. cube room, midnight
Lance opens the boxes one by one, each makes a slightly different sound variation of the teleport noise. Some effect out of or from the boxes.
New angle, INT. box room, midnight
With trepidation, Lance pulls out his own box and begins to place it.
P.o.v. Shot from arrangement angle on lance, int. Cube room
Lance finishes setting the cube in place. He slowly reaches to open the box as the sounds intensify. As he slowly lifts the lid of the final box, the CUBE EFFECT radiates and the sounds build.
Instant cut to black where we hear the cacophony of box noises coming to a climax and and quickly dissipitates.
Credits
Music for credits plays.


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