Forget Me Not – Script by Adam Amini

INT. HOUSE. VARIOUS ROOMS. DAY

Old home-movie footage of PETER and MARIA shows them as a

happy couple, decorating their new house. MARIA has a
faded bruise and cuts on her face and arms; as the couple
begin to argue, PETER storms to the camera and turns it
off as the film breaks and the picture goes blank.

INT. HOUSE. LIVING ROOM. DAY

One year later, PETER is asleep in the untidy living

room. Bottles of wine and general litter are scattered
around the.
FLASHBACK TO:

MARIA screams as PETER advances violently towards her.

BACK TO PRESENT

Peter shifts uncomfortably, having a nightmare due to his

repressed guilt. In the nightmare he sees a ghostly
version of his wife staring at him before he is awoken by
the doorbell, as a LETTER is posted.

PETER
[Sleepily]
Hmm?! Who’s there?

PETER comes to his senses and trudges through the mess of

the room to the front door.

INT. HOUSE. HALLWAY. DAY

PETER unlocks and opens the door, but finds no one there.
As he is walking away he notices the LETTER on the floor,
addressed to him in red ink, and opens it. Upon pulling
out his wife’s RING, he is visibly shaken and more about
TESS’s murder is revealed.

FLASHBACK TO:

INT. HOUSE. KITCHEN. DAY

PETER pushes MARIA to the floor as begs him to stop

attacking.
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MARIA
Please! Don’t hurt me!
I love you!

PETER ignores her and continues his attack. MARIA’s

wedding ring is clearly shown as she shields herself,
helplessly.

BACK TO PRESENT

INT. HOUSE. HALLWAY. DAY

PETER is in shock upon seeing the RING. He drops it, and

runs up the stairs; panicking more as he reaches the
bathroom, flashing back to the hours after the murder;
hiding the evidence and cleaning the blood-covered crime
scene.

INT. HOUSE. UPSTAIRS. DAY

Crawling upstairs, still flashing back to the murder,

PETER reaches the BATHROOM where a year’s worth of built
up subconscious guilt cause him to be sick. He slowly
makes his way up, wondering: who could have got the RING?
Why were they tormenting him now? Could somebody know
about the murder?

He looks at the cabinet in the bathroom, seeing for the

first time in his reflection how worse-for-wear he is.
[Knocking noise from inside cabinet]. He slowly opens the
door, nervously seeing what is inside. There is, however
nothing.

A close-up shot of PETER’s face implies his fear of what

is happening and also his anger that he is letting
someone get to him, when he has already shown how much of
a strong-minded person he is.

PETER
Come on, Pete, you’re
cracking up here!

He slams the cabinet shut, and in the mirror, behind him,

is the deathly pale face of MARIA. He whirls around in
fear, and runs from the bathroom, with more fears and
questions running through his mind.
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INT. HOUSE. BEDROOM. DAY

PETER begins to gather clothes and other belongings into

a suitcase, his fears of what is happening increasing. He
leaves the room, to get more clothes from a wardrobe, as
the tension in the air is increased. Upon returning to
the bedroom he finds his belongings strewn around, and
slashed as if by a knife. In the suitcase now, are the
bloodstained clothes MARIA was wearing as she was
murdered. PETER backs out of the room, ready to turn and
run down the stairs, he doesn’t care if he doesn’t have
his belongings; the sooner he leaves this life the
better.

INT. HOUSE. STAIRCASE. DAY

Escaping the bedroom, PETER falls down the staircase, at

the bottom he once gain sees the ghostly MARIA, this time
crawling up the staircase. There is something wrong about
the way she moves, jerky and inhumanly, he back away up
the staircase, reaching a dead end, and the audience are
shown the horror in his face as MARIA gets to him,
reaching out a cold, dead hand.

DIP TO BLACK

INT. HOUSE. KITCHEN DAY

PETER is stood in the kitchen, shaking and obviously

distressed. He is flashing back to the murder, his guilt
and worry increasing, while being haunted by images of
MARIA and of him dead on the floor, in the spot where he
killed MARIA.

PETER looks upwards, as if trying to find an answer to

his guilt and fear, and he notices the KNIFE he used to
kill his wife. He makes his way towards it, sobbing,
hoping that this will be enough punishment, that he can
now escape this horror. He raises the knife to his wrist.

CUT TO BLACK

PETER is dead on the floor, in a pool of blood, where

MARIA was found dead. As more of the house, and the mess
PETER was living in is revealed, audience are shown
flashes of an alternate, ghostly house; a cleaner and
more ordered place. As the audience are taken into the
living room, the flashes become more frequent, revealing
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the ghostly MARIA to be sat in the centre of the sofa

where PETER had begun his ordeal, and as the shots have
shifted fully into the alternate world, the finality of
MARIA’s revenge is implied.

CUT TO BLACK

CREDITS