THEM 1x01 "Pilot" By Charlie Hanbury

charlie_is_lost@hotmail.co.uk

FADE IN: EXT. BURNED DOWN HOTEL - SIDE STREET - NIGHT SUPER: NOVEMBER 1 Rain HAMMERS down on the tarmac, almost causing the road to glow as it reflects the moonlight. The streets are deserted. JAYE (V.O.) We’re all afraid of something. INT. BURNED DOWN HOTEL - NIGHT A swarm of DARK FIGURES trudge up a set of stairs. JAYE (V.O.) Our hearts beat faster. Hairs stand on end. Senses arouse. (beat) To overcome these fears we have to confront them. If we choose to let fear in, it’ll consume us. A fire took place a few years prior, everything’s covered in soot, a constant scar of the terror that took place. EXT. BURNED DOWN HOTEL - SUITE 503 - NIGHT JAYE STRONG (38), slim, handsome but rough around the edges with a slight disconnection from the world, stands in the center of the empty room, eyes focused on the doorway. Behind him, CASSIDY STRONG (35), beautiful with piercing deep blue eyes, grasps his hand. JAYE Don’t be afraid. A single tear rolls down Cassidy’s cheek. She grips his hand tighter.

2.

INT. BURNED DOWN HOTEL - STAIRWAY - NIGHT A crowd of dark figures continue to trudge up the stairs until they arrive at SUITE 503. INT. BURNED DOWN HOTEL - SUITE 503 - NIGHT They gather in the doorway, emotionless. They stand there staring. Waiting. Jaye and Cassidy look back at them. The DARK FIGURE at the front of the crowd pulls out a revolver. It slowly begins to approach Jaye. It raises the gun, pointing it at Jaye’s head. Jaye remains unfazed by this. It moves a step closer. Now the barrel of the gun is TOUCHING Jaye’s forehead. Jaye’s forehead SWEATS. JAYE We’re not afraid of you. The dark figure smiles, lowering the gun. DARK FIGURE We’ll see. It lifts up the gun again, this time pointing it at it’s OWN head. EXT. BURNED DOWN HOTEL - SIDE STREET - NIGHT Rain continues to pour, when suddenly... BOOM. A blinding white light fills the room on the 5th floor as a single shot is fired. Then an ominous silence.

3.

EXT. ROAD - NIGHT SUPER: OCTOBER 30 Trees surround either side of a long stretch of road. A blue fly, it’s wings buzzing as they flutter over 14,000 times a minute, flies down the quiet road. Out of nowhere, it is hit by a passing car and splatters on the windscreen. INT. CAR - NIGHT Jaye drives, whilst Cassidy sleeps in the passenger’s seat. Jaye notices the fly corpse on the windscreen so he turns on the window wipers for a moment. ELIJAH "ELI" STRONG (16), pleasant boyish looks mask his secret depression. He sits in the back seat with his headphones on, music blazing. Next to him, BRYCE STRONG (2 months) is asleep in the car seat. Up ahead, a set of POLICE CARS are perched either side of the road, LIGHTS FLASHING. The sudden light awakes Cassidy. Jaye slows down the car to a halt. A POLICE OFFICER approaches, wearing dark shades, a torch in his hand. Jaye rolls down the window. JAYE What’s going on? The Police Officer points his torch around the car, then in each of their faces. OFFICER Nothing. Have a good night. The Police Officer smiles, and signals for them to drive through.

4.

EXT. CAR - NIGHT Jaye’s car slowly drives through. On the road is a line of cars, each trying to get out of town. The POLICE OFFICERS signal for them to turn back around. They’re not letting anyone out of town. INT. CAR - NIGHT Cassidy watches through the window. CASSIDY They’re letting people in, but not out. (beat) How weird is that? Jaye looks through the rear view mirror. JAYE Anyone in the mood for some music? EXT. ROAD - NIGHT A sign on the side of the road reads "NOW ENTERING PERFECTION POINT". Jaye’s car drives past, headlights cutting through the night. EXT. PERFECTION POINT - NIGHT SUPER: OCTOBER 31, TODAY The small town of Perfection Point, located between the surrounding mountains, sits quietly beneath the starry night sky. INT. JAYE AND CASSIDY’S BEDROOM - NIGHT A DIGITAL ALARM reads 6:59 AM A large bedroom, containing a double bed and crib. A cozy family room. The TV is on, but it’s just broadcasting static. (CONTINUED)

CONTINUED:

5.

Light from the streetlights creeps weakly into the room through gaps in the blinds. In the crib is Bryce Griffin. Jaye and Cassidy’s baby. In the double bed, are Jaye and Cassidy. Jaye is awake, looking up at the ceiling. JAYE (V.O.) It started like any other day. (beat) The nightmares were getting worse. Every time I closed my eyes I’d lose her. He turns to his side, watching the red digits on the alarm glow in the dark. The alarm hits 7:00 AM, and a shrill BEEPING breaks the silence. Jaye quickly shuts it off. Cassidy wakes up due to the noise. Jaye leans over and kisses her. JAYE I’ll be back later. He emerges from beneath the covers, switches off the TV, and exits the room. INT. ELI’S BEDROOM - MORNING Jaye peers through the crack in the door to find Eli asleep in his bed. INT. BATHROOM - MORNING Jaye wraps a towel around himself, switches off the shower and the water stops. Steam fills the air. He makes his way over to the cabinet. Jaye opens the cabinet, taking out a box labeled OLANZAPINE (for treatment of schizophrenia/psychosis). He takes out a pill and swallows it. He wipes the mirror, revealing his pale and worn out face. (CONTINUED)

CONTINUED: His eyes are heavy. He’s standing there half asleep. VOICE (O.S.) Open your eyes, Jaye. He opens his eyes and closes the cabinet. A BALD MAN appears in the reflection.

6.

Jaye remains unfazed by this. It’s clearly just a figment of his imagination. BALD MAN Look at me. Jaye focuses his eyes on him. BALD MAN Don’t be afraid. JAYE What? BALD MAN Your fear will be the death of you. Jaye, disoriented, confused, tries to take this in. Jaye exits the bathroom, the Man disappears. EXT. FRONT GARDEN - MORNING A picket fence lines the edge of the garden. The white paint has started peeling. The street is still dark due to the time of year. Street lights brighten parts, leaving others lurking in the shadows. Jaye gently closes the front door as he leaves the house, in an effort to not wake those upstairs. He heads towards his car. A black SEDAN. As he puts the key in the slot, he notices something through the corner of his eye --- An OLD WOMAN, cold sapphire eyes, snow white hair, dressed in a white gown, bare feet, stands in the middle of the road. She’s whispering, but he can hear her.

(CONTINUED)

CONTINUED:

7.

OLD WOMAN (slowly) The eyes... they’re the gateway to the soul... Jaye stands there silently for a moment, unsure of whether she’s real or a part of his messed up imagination. The Old Woman softly smiles, then begins to walk away. Jaye gets into the car. INT. CAR - MORNING Jaye puts the key in the ignition, and reverses out of the driveway. He drives down the road, listening to the radio. RADIO HOST (O.S.) ... police say there’s still no sign of the group of patients who escaped Perfection Point’s Mental Institution last Sunday. Let’s hear what our caller has to say. (beat) Okay, caller, you’re on the air. CALLER (O.S.) Yes... hello... I just wanted to let you know that the end is coming. RADIO HOST (O.S.) The end of what, miss? CALLER (O.S.) It’s all going to end... all of it... nothing will last... we’re all going to die-The caller is disconnected. RADIO HOST (O.S.) Sorry about that folks, I don’t know how she manages to keep getting back on the air. Speaking of escaped nuts-Jaye switches off the radio, when out of nowhere -- A GIRL stands in the middle of the road. RIGHT infront of him.

(CONTINUED)

CONTINUED:

8.

Before Jaye has chance to react, the girl flies over the car, smashing the windscreen, landing over the other side. The car screeches, the tires grind against the ground as he SLAMS the breaks. JAYE Oh fuck. Jaye catches his breath, and gets out of the car. EXT. ROAD - MORNING Jaye slowly moves around the car, towards the rear. Nothing. Nobody there. Jaye looks beneath the car and the area surrounding. The girl is gone. INT. CAR - MORNING Jaye climbs back in, trying to absorb what’s going on, when he notices the windscreen is no longer smashed. It’s in the same condition it was while parked in the driveway. JAYE (to himself) Here we go again. He takes a pill from the glove compartment, swallows it, and continues to drive. INT. BEDROOM - MORNING Elijah, your typical moody teen, hormones raging, lies awake on his bed. The quilt bobs up and down around his crotch, rustling as he masturbates beneath the covers. His bedroom lacks personality. The walls are white and plain, and his room contains nothing but the necessary furniture and a TV. ELI (V.O.) Here’s me, just putting my morning wood to good use. He orgasms. Pulling a SOCK from beneath his covers, he stashes it under his bed. (CONTINUED)

CONTINUED:

9.

As the door begins to creak open, Eli closes his eyes, pretending to sleep. The light shines in through the doorway as his mother, Cassidy, walks in. CASSIDY (whispering) Eli, are you awake? No answer. CASSIDY (louder) Eli. ELI Mum, if I don’t answer you’re supposed to assume I’m asleep. CASSIDY Or in this case, pretending to be asleep. ELI Yeah, well what do you want? Cassidy walks over to the far side of the room, pulls open the curtains. CASSIDY Get ready for school. ELI What? CASSIDY You heard me. ELI We’ve only just moved in! Why can’t I just have the rest of the week off? CASSIDY Because one week will lead to two, and before we know it you’ll be too old for school. Come on, get ready. Eli remains in his bed.

(CONTINUED)

CONTINUED:

10.

ELI Mum... CASSIDY What? ELI I need to get dressed. CASSIDY Oh, right, I’ll go make breakfast. Cassidy walks towards the door. She halts as she reaches the doorway. CASSIDY One more thing, I bought you some tissues for your room. We haven’t got the money to keep buying you new socks. Eli’s eyes widen as if he’s seconds away from being roadkill. Every teenage boy’s nightmare. INT. TAXI - MORNING In the back seat sits NATHAN PARKER. He’s in his mid 20’s, cocky, arrogant, constantly ticked off at the world. Next to him is a random BLOND WOMAN who he picked up at a bar. They’re both drunk. In the front seat is the TAXI DRIVER. He’s wearing dark shades, and he’s sweating profusely. NATHAN Hey, are you alright? There’s a long pause. TAXI DRIVER I’m marvelous. (beat) I hope you don’t mind if I turn on the radio. NATHAN No, go for it. (beat) It’s the first house on the left. (CONTINUED)

CONTINUED:

11.

The Taxi Driver brings the car to a halt. NATHAN Cheers, how much is that? TAXI DRIVER Four-fifty. Nathan hands him a fiver, and awaits his change. The Taxi Driver hands him his change. NATHAN Cheers again. Nathan and the Blond Woman leave the car, slamming the door shut behind them. The Taxi Driver looks into his rear view mirror, suspiciously watching them approach the house. TAXI DRIVER (under his breath) See you soon. EXT. FRONT YARD - MORNING The taxi drives off. NATHAN (V.O.) My name’s Nathan. I’m on top of the world. But I’m ready to jump. Nathan wobbles toward the front door. Almost tripping on his own feet. They both laugh. NATHAN (V.O.) I’m addicted to the night. But it’s getting old. I go out, bring a girl home and then I do it over again. EXT. NATHAN’S BACK YARD - MORNING A swimming pool sits outside, the underwater lights illuminate the pool.

12. INT. HOUSE - MORNING A three-bedroom tract house. Wooden flooring, white walls, the place is spotless. Nathan shuts the door, as the Blond Woman takes her handbag off her shoulder and places it on the floor. BLOND WOMAN Nice house. NATHAN Yeah, and let’s keep it that way. (beat) My parents don’t know I still have a key. They’re away for the week. She raids the fridge. Pulling out a pack of sausage rolls. NATHAN What are you doing? BLOND WOMAN Eating. NATHAN You’re raiding the fridge. (beat) If my dad finds his fridge half empty he’ll kill me. BLOND WOMAN (laughing) I’m hungry. NATHAN Well do you have to fucking chomp like that? BLOND WOMAN This is how I eat. NATHAN Right. It’s either sex or the food. Your choice. She places the sausage rolls on the kitchen worktop, walks over and kisses him. They begin kissing passionately, their hands all over each other, breathing heavily. They barge into the long mirror on the wall, it shatters.

(CONTINUED)

CONTINUED:

13.

NATHAN Fuck. BLOND WOMAN That’s seven years bad luck. The blond woman giggles, and they continue kissing. INT. BEDROOM - MORNING Nathan and the blond woman barge through the door. She throws him onto the bed. She unbuttons the top of his shirt, kissing him below the neck. She undoes the next button, kissing him again. She moves onto the third, when suddenly he begins to violently MOAN uncontrollably His nose begins to BLEED, and his eyes roll to the back of his head. EXT. POOL - NIGHT - FANTASY Nathan stands beside the pool. He’s wearing a black and white suit, fit with a black tie. His eyes are closed shut. His arms are outstretched, he’s standing there motionless. Darkness surrounds him. The underwater pool lights make the pool glow, and are the only source of light around. INT. WILLY’S HOUSE - LIVING ROOM - MORNING The room is crowded with CATS. Lots of them. WILSON "WILLY" AIKEN (52), overweight, nervous, peers through the curtains. A MAN in a black suit stands in the middle of the dark road, motionless. His back towards Willy. Willy’s curiosity piqued, he continues to watch from behind the curtains. He’s your regular nosy neighbour. The Man turns around to reveal a black set of SHADES. He looks right back at Willy.

14.

A BLACK CAT moves towards the Man. It rubs itself up against him, curling it’s tail around the Man’s leg. INT. DOCTOR’S WAITING ROOM - MORNING A long sofa stretches around the edge of the room, preventing anyone sitting alone. A TV is placed in the corner of the room, playing a BLACK AND WHITE movie. Jaye sits next to a sleeping OLD MAN. JAYE (V.O.) I remember how life used to feel. All there is now is a constant numbness, slowly eating away at me. I’m alive, but I’m not living. I’m merely existing. I can’t sleep. I can’t think. Then there’s the people I see... the ones who aren’t actually there. An OLD WOMAN, white hair and brown overcoat, sits opposite. She stares at him, smiling. RECEPTIONIST (O.S.) Jaye Griffin? Jaye gets up and approaches the RECEPTIONIST. She’s seated behind a glass window. RECEPTIONIST Third door to your left. INT. DOCTOR’S OFFICE - MORNING - MOMENTS LATER DR DOWLING sits in a black leather chair. In the doctor’s hand is a clipboard with papers attached. In his other hand is a pen. Jaye sits opposite. DR. DOWLING ... have you ever had suicidal thoughts?

15.

INT. LIVING ROOM - FLASHBACK Jaye holds a GUN in his hands. He’s stood there, gazing at it. He’s put a lot of thought into what he plans to do next. DR. DOWLING (V.O.) Jaye? He accidently shoots the gun, and a bullet flies across the room, hitting a photo on the wall. The photo falls to the ground, and the glass shatters. He brushes the glass off, and looks at the photo. It’s a black and white photo of himself, Cassidy and Eli on a rollercoster. They’re all smiling. One of the best days of their lives. INT. DOCTOR’S OFFICE - DAY Jaye snaps back to reality. JAYE No. JAYE (V.O.) That was a lie. DR. DOWLING I’m not going to judge you, I just want to help... same question. JAYE No. I haven’t. JAYE (V.O.) That was another lie. DR. DOWLING Then why are you here? Jaye thinks about it for a moment. JAYE I’m... uh... seeing things... People who aren’t there. Dr Dowling moves his chair forward, listening.

(CONTINUED)

CONTINUED:

16.

JAYE I’ve been taking Olanzapine. My old doctor prescribed them to me... But they’re not working. Dr Dowling nods as he listens intently. DR. DOWLING I see... How would you feel about me upping the dosage? JAYE Tried it... didn’t make a difference. DR. DOWLING What dosage are you currently taking? JAYE The highest dose. The Doctor’s eyes widen as he grows with concern. JAYE But that’s not it. DR. DOWLING Go ahead. JAYE It’s not just the things I’ve been seeing... it’s the dreams too. Or nightmares. INT. CAR - NIGHT Jaye is sat in a car. Cassidy sits beside him in the passenger’s seat. Rain hammers down on the window. JAYE (V.O.) I’m in this car, with a gun in my hand. Jaye looks down to the gun his his hand. He looks at it, deep in thought. JAYE (V.O.) Then there’s this face. Pressed up against the window. Death. Waiting. (CONTINUED)

CONTINUED:

17.

An UGLY DISFIGURED OLD MAN presses his face up against the window, rain sliding down him. Jaye lifts the gun up, pointing it at Cassidy. Cassidy closes her eyes. Cassidy says something, words come out but there’s no sound. JAYE (V.O.) She’s mute, but I can still see her lips move. I think she’s saying kill me. (beat) I pull the trigger. I kill her and I don’t know why. Jaye pulls the trigger. The gun sounds. INT. DOCTOR’S OFFICE - MORNING - MOMENTS LATER JAYE I lose her every time. DR. DOWLING Who? JAYE Cassidy. DR. DOWLING It’s just a dream, Jaye. JAYE OK. Let’s pretend it’s not. Let’s pretend it means something. What now? DR. DOWLING In this dream... it seems to me you have a choice to make. The gun is in your hands. (beat) I wouldn’t lose too much sleep over it. EXT. CAR PARK - MORNING Heavy gray clouds fill the overcast sky. Diminutive drops of rain fall through the air. Jaye approaches his car. (CONTINUED)

CONTINUED:

18.

As he looks into the REAR VIEW MIRROR, he notices a BALD MAN stood behind him. BALD MAN Get in the car. Jaye turns around, there’s nobody there. Jaye looks back into the mirror, and the bald man re-appears. JAYE What do you want from me? BALD MAN I want you to drive. Jaye ponders this for a second, then gets in the car. EXT. BEACH - MORNING Light rain continues to fall. A HOMELESS MAN is seated on a bench, watching the oncoming waves. Sat beside him is his shaggy dog. The dog perks it’s ears up, jumps off the bench and runs towards the ocean, leaving a trail of footprints in the sand. The dog stops and begins barking at something floating in the water. The homeless man squints his eyes to try and make out what it is. It looks like a human body. The dog continues barking as the body washes ashore. INT. UPSTAIRS HALLWAY - MORNING Steam seeps from beneath the bathroom door. INT. BATHROOM - MORNING Eli lies in the bathtub, fully clothed. His head is underwater, but his eyes are wide open. The steam from the bath creates a fog on the cabinet mirror. The tap occasionally drips, causing a ripple effect.

(CONTINUED)

CONTINUED:

19.

ELI (V.O.) I prayed for someone to barge through the door, pull out a gun and put me out of my misery. INT. BATHROOM - FANTASY A man dressed in black with a ski mask over his head bursts through the door, pulls out a gun and shoots Eli. INT. BATHROOM - DAY Eli snaps back to reality, rises from the water, then looks across to the closed door. ELI (V.O.) But it didn’t happen. He gets out of the bath, water pouring off his clothes. He rubs the foggy mirror, enough so that he’s able to make out his reflection. He stares at himself for a moment, running his hands backwards through his hair. He sighs. He doesn’t like his reflection. He heads over to the window. He opens it to let out the steam. Something, or SOMEONE catches his eye. EXT. BRODY’S HOUSE - MORNING BRODY SMITH (16), blond with an innocent quality to his face, dressed in school uniform, lifts a garden GNOME off it’s side, standing it upright. He notices Eli, and their eyes meet. They feel a pull, almost magnetic, that makes them get lost in each other’s eyes.

20.

INT. BATHROOM - MORNING Eli stares out the window. ELI (V.O.) And that’s when I saw him. EXT. POOL - NIGHT - FANTASY Nathan stands beside a pool, eyes closed, arms outstretched. He leans forward, and plunges into the pool. Submerged in water, his eyes open to reveal PITCH BLACK eyes. Almost as if they’re coated with WET BLACK TAR. EXT. WOODS - DAY Nathan awakes in the middle of the woods, catching his breath. He’s lying on his back, gazing up at the long stretching tree trunks and the canopy above. It’s autumn, the ground is covered in a carpet of orange leaves, and the trees contain the last few dying leaves which will soon fall. NATHAN (V.O.) I woke up in the middle of nowhere, not knowing where I was or how I got there. I lost almost two hours of my life. He lifts his forefinger to his nose, then looks at the blood. NATHAN (V.O.) Last thing I remember was almost getting laid by some blond. He gets to his feet, and throws the sunglasses to the ground. NATHAN What... the fuck? He begins jogging towards what looks like a clearing up ahead. The jogging turns to sprinting as he gets closer.

(CONTINUED)

CONTINUED:

21.

NATHAN (V.O.) This was only the first. There were more blackouts to come. He comes out onto a road. It’s quiet, no cars around. No sight of houses, just a long stretch of road. INT. DUVALL BEDROOM - DAY An irritating alarm sounds. It wakes LIVIA DUVALL (32), blond hair, black nail polish, sexy without having to give a shit, and BILL DUVALL (mid 40’s). Bill is obviously annoyed by this. BILL Turn that shit off for fuck’s sake! Livia emerges from the covers, fully clothed. They’ve obviously got no sex life. Livia rushes over to the alarm and shuts it off. The room falls silent. LIVIA Good morning to you too. Livia begins to get changed into her work clothes. Bill remains in bed, his eyes open, watching her. BILL Did you scrape the dog shit off my shoes? LIVIA Yeah, I sorted them out last night. They’re dog shit free. BILL Don’t you get smart with me. (beat) Did you iron my shirt? LIVIA Yeah. I did that too.

22.

INT. DUVALL KITCHEN - DAY Livia cracks an egg over the frying pan. The yolk sizzles as it hits the hot surface. Bill enters the room, but Livia continues cooking with her back to him. BILL You get the paper? Livia peers over her shoulder. LIVIA On the table, behind you. Bill grabs hold of the paper, taking a seat at the dining table, flipping the paper open. Bill shakes his head. BILL The whole damn town is going down the drain. (beat) A bunch of mental patients have escaped. How does something like that even happen? Who the fuck is running that place? (beat) You know what? I don’t know why I even bother reading this shit anymore. Livia continues cooking, listening but not saying a word. She hastily scoops up the eggs from the frying pan and dumps them on a plate. BILL Are you even listening to me? Livia picks up the plate with one hand and heads over to the table. She calmly places the plate in front of Bill. Bill tilts his glasses down his nose, and inspects his breakfast. BILL Come here.

(CONTINUED)

CONTINUED:

23.

LIVIA What? Bill pulls her close to him, and tries to kiss her neck. She recoils from his touch. LIVIA Don’t. BILL What the hell is wrong with you? LIVIA Nothing. I’ve got to get to work. (beat) Goodbye, Bill. She says "Goodbye" in such a tone that it obviously has a deeper meaning to it. Bill looks at her for a moment, then gets back to reading the newspaper. It seemingly goes over his head. BILL Bye. EXT. DUVALL HOUSE - DAY Livia closes the front door, takes her handbag off of her shoulder, pulling out her phone. She walks a safe distance from the house to make sure Bill can’t hear. She taps a few buttons, then raises the phone to her ear. LIVIA Hey. It’s me... Bill will be out all day, so come over any time after I’ve finished work... no, he doesn’t know a thing. Screw the bastard... no, not yet, I’ll pack tonight... can’t wait to see you, baby. Love you. Livia closes her flip phone shut then continues down the road, not realizing Bill is standing at the window, suspiciously watching her.

24.

EXT. SMITH HOUSE - DAY A newspaper boy on a bike whizzes past. He throws a newspaper, it hits the GNOME, knocking it on it’s side again. INT. LIVING ROOM - DAY ANGELA, Brody’s mum, late 40’s, badly aged from years of abuse, sits asleep on the floral patterned sofa. The TV is on STATIC. Brody enters, closing the front door behind him. He switches the TV off. ANGIE What... What did you say? BRODY I didn’t say anything. ANGIE Why did you turn the TV off? I was watching that. BRODY It was on static, Mum. ANGIE Oh. Okay. BRODY (V.O.) My name’s Brody. Three months ago I found my dad hanging from the ceiling. INT. SMITH HOUSE - DAY - FLASHBACK Brody walks into the room to find his dad slowly twirling around whilst hanging from the ceiling fan. INT. LIVING ROOM - DAY Brody picks up his school bag, swings it over his shoulder.

(CONTINUED)

CONTINUED:

25.

BRODY (V.O.) He used to beat me. My mum had it worse. Now he’s gone. I think a part of her went with him. BRODY I’ve got school now, Mum. I’ll be back at around half three. ANGIE Wait. BRODY Yeah? ANGIE Where’s Winston Churchill? BRODY He’s dead, Mum. ANGIE No, no. I’m talking about my cat. BRODY Yeah, he’s dead too. Last year, remember? ANGIE Oh. I was wondering why the carpet wasn’t full of hair. Brody rests his hand on his mum’s shoulder, giving her a peck on the cheek. BRODY I’ll be back later. ANGIE Bye, love. EXT. SMITH HOUSE - DAY Brody leaves the house, closing the door behind him. He walks through the front garden, and turns down the road.

26.

EXT. TRINITY ROAD - DAY Brody walks down the residential street. Across the road, an OLD WOMAN attaches a sign to her garden gate. It reads: "DOG TOILET OUT OF ORDER. PLEASE SHIT IN YOUR OWN GARDEN". Brody looks up to Eli’s window, there’s nobody there. INT. SCHOOL - DAY A GIRL sits at her desk, curling her hair with her finger. Behind her is Brody, sat at the back of the class. His eyes half closed, he watches as the seconds hand of the clock ticks. Time seems to go on forever. BRODY (V.O.) The world is coming to an end... I don’t know how... or why... but I have this feeling... it can’t go on forever. Suddenly the classroom door opens, interrupting Brody’s gaze. A TEACHER walks in. TEACHER Right, class. We have a new pupil joining the school. Eli enters. TEACHER His name’s Elijah. I need someone to watch him for the rest of the day, to show him around. No answer. TEACHER Anyone? (beat) Well ain’t you lot the welcoming bunch. (beat) If nobody volunteers, I’ll randomly choose one of you. (CONTINUED)

CONTINUED: Brody raises his hand. BRODY I’ll do it. TEACHER Good. (then, to Eli) Go take a seat. Eli takes a seat at the front of the class.

27.

Eli looks over his shoulder. The girl sat in front of Brody smiles at him flirtatiously, but Eli looks right past her, clearly not interested, and his gaze is met with Brody. Brody smiles at him. Eli smiles right back. The teacher begins to take the class register, but her words are barely audible as Eli’s mind is focused on one thing only. Brody. EXT. HIGH SCHOOL - DAY - LATER A bell HAMMERS. End of school. Eli and Brody stroll down the steps of the school, and out through the gates. BRODY I’m Brody, by the way. I live across the road from you. ELI Yeah. I’m Eli. BRODY So we’re both walking in the same direction. Can I walk with you? ELI Sure. If you want. BRODY What do you think of your new house? ELI It’s alright. BRODY You probably won’t get a lot of trick or treaters tonight.

(CONTINUED)

CONTINUED:

28.

ELI Why’s that? BRODY The old woman who lived there before you, she would give out fruit. Kids don’t like fruit. Up ahead is the homeless man and his dog from earlier, sat on a bench. Brody digs into his pocket, pulling out a few coins. He hands it to the homeless man as they walk past. ELI Why did you do that? BRODY Do what? ELI Give that homeless guy money. BRODY Because he needed it. ELI Yeah, but he’ll probably just waste it on booze. BRODY Well if that’s what makes him happy, I’m glad I could help. There’s a pause as they gaze into each other’s eyes. Eli smiles. ELI What? BRODY Can I show you something? ELI It’s gonna rain, I’ve gotta go home. BRODY Oh. OK. I’ll see you tomorrow then?

(CONTINUED)

CONTINUED:

29.

ELI Yeah. Tomorrow. Brody turns off the road, heads towards a hill. Eli stands there for a moment, watching Brody go, then carries on down the road. EXT. BUS STOP - DAY Livia is seated beneath the bus stop. An OLD MAN is sat next to her. Livia looks at her wrist watch. The bus is late. Livia sighs, get’s up and leaves. EXT. CITY STREET - DAY Livia walks along, alone among a throng of strangers. INT. OFFICE BUILDING - DAY A large room filled with identical cubicles. Separate offices line the edge of the room. LIVIA (V.O.) This is where I work. INT. WOMAN’S CUBICLE - DAY A WOMAN applies lipstick whilst sitting on her desk with one leg placed over the other. LIVIA (V.O.) These are my coworkers. INT. SHIFTY MAN’S CUBICLE - DAY A SHIFTY MAN, mid 40’s, downloads internet porn. He occasionally looks up to make sure nobody can see what he’s up to.

30.

INT. PHOTO COPIER ROOM - DAY An overweight MUSLIM MAN prays to Allah. INT. LIVIA’S CUBICLE - DAY Various pieces of computer equipment, A4 paper and other bits and pieces clutter the cubicle. Livia sleeps with her head resting on her desk. The PC displays a screen saver due to it’s inactivity. LIVIA (V.O.) And this is me. Asleep on my desk. INT. LIVIA’S CUBICLE - DAY Livia’s BOSS approaches. He’s in his early 40’s, sleazy, and has it in for her. LIVIA (V.O.) On top of that, I’m about to get fired. He coughs in an attempt to wake her up. Nothing. BOSS Livia! A few droplets of saliva jump out of his mouth land on the side of Livia’s face. She wakes up, startled. A piece of paper stuck to the other side of her face. LIVIA Wh-- What? She wipes her face. The piece of paper falls off. BOSS My office. Now. She gets up and follows him. INT. BOSSES OFFICE - DAY Livia’s Boss sits in a large black leather reclining chair, while Livia sits on an uncomfortable plastic chair.

(CONTINUED)

CONTINUED:

31.

BOSS Do you know why you’re here? LIVIA Uh... not really. Livia’s Boss sighs. BOSS Late, again. LIVIA I-BOSS Shh. I’m not done. (beat) Asleep on the job, again. Livia doesn’t bother with an excuse this time. BOSS This firm has a reputation. We have a standard to hold ourselves to. The truth is, you’re getting sloppy. LIVIA I’ll work harder. BOSS No. You won’t. And you’ve made it extremely easy for me to come to a decision. Livia just waits for it. She knows what’s coming next. BOSS You’re fired. (beat) I want you out of here as soon as possible. LIVIA I wouldn’t do that if I were you. (beat) I know what you did with Shannon on office hours. She told me all about it. BOSS You do not want to fuck with me.

(CONTINUED)

CONTINUED: LIVIA What if I do? Livia gets up off her chair, strolls over to her Boss, swings his chair around, and begins to unzip his fly. We zoom out to reveal a TV monitor. The scene is being recorded.

32.

A crowd of PEOPLE stand around watching with various pieces of camera equipment. OVERWEIGHT MAN CUT! The OVERWEIGHT MAN is holding a clapper board. OVERWEIGHT MAN That’s it folks. We meet back here in an hour. Livia and the MAN portraying her boss walk towards the exit, until the overweight man stops her. OVERWEIGHT MAN Hold on Liv. LIVIA Yeah? OVERWEIGHT MAN Come with me. INT. OFFICE BUILDING CORRIDOR - DAY Livia and the overweight man walk down the corridor together. OVERWEIGHT MAN I know this is your first time and all, but I can’t afford for you to screw up. He takes a bite of his greasy cheeseburger. OVERWEIGHT MAN I can tell that you’re nervous. They all are. (chomp) But you’ll get used to it. The overweight man’s nostrils begin to twitch.

(CONTINUED)

CONTINUED: OVERWEIGHT MAN And what the fuck is that smell? LIVIA I didn’t have chance-OVERWEIGHT MAN Go clean up. I can’t have you smelling like that during the shoot. Livia tries to smile. LIVIA Sure. They part ways. The overweight man points to his wristwatch. OVERWEIGHT MAN Fifty-five minutes. Tick tock Liv. INT. PUB - DAY

33.

A GROUP OF MEN, including Willy, all in their 50’s/60’s, sit around a table, each with a pint of beer in front of them. Willy’s glass is empty. They’re in the midst of a conversation. WILLY He was just stood there, watching me. MAN #1 Maybe it’s because of all your darn cats. You know you’re not supposed to have that many of ’em. MAN #2 Yeah, it was probably the bloody health department again. WILLY Then why didn’t he knock on the door? MAN #3 It might’ve been one of them escaped nuts. You know, the ones who broke out last weekend.

(CONTINUED)

CONTINUED:

34.

MAN #2 Yeah, I heard about that. WILLY I need another drink. MAN #3 It’s your round. Willy gets up and heads towards the bar. The door swings open. Nathan, his clothes soaked through, enters. A MAN at the bar has just bought several glasses of beer. KATHY, a petite barmaid, wears slutty clothes whilst chewing bubblegum. KATHY Do ya want a tray with that? MAN (sarcastic) No. I’ve got enough to carry as it is, love. Nathan approaches the bar. KATHY So what can I get ya? NATHAN A pint of guiness. A MIDDLE AGED WOMAN sits on a bar stool next to him. She’s plastered with make-up. MIDDLE AGED WOMAN Bad day? Or are you just another drunk like the rest of us? Nathan turns and looks at her. The barmaid places the glass on the bar. KATHY That’ll be two-thirty. Nathan hands her the money, then looks back at the woman sat next to him.

(CONTINUED)

CONTINUED:

35.

MIDDLE AGED WOMAN I’m just wondering why you’re drinking so early in the day. NATHAN I’m having a weird day. (beat) What about you? With all that make-up, something tells me booze isn’t the real reason you’re here. It takes her a moment to figure out what he’s implying, then she SLAPS him, right across the face. Kathy smirks. The woman swings her handbag over her shoulder, then leaves. NATHAN (to himself) Just sayin’ Nathan lifts up his glass, then notices the beer mat beneath it. It has a picture of the perfect pint on it. All beer, no froth. NATHAN You, come here. Kathy throws a bar towel over her shoulder and approaches. She continues to chew her bubblegum. KATHY What? He points to the beermat. NATHAN Look at this. He raises his glass NATHAN Now look at this. Kathy is silent. She frowns. NATHAN (CONT’D) Do you see where I’m going with this? Kathy’s face is blank. She blows a bubble. It pops.

(CONTINUED)

CONTINUED:

36.

NATHAN I didn’t pay for half a glass of this white frothy shit. I’ve seen five year olds finger paint with shit better than you can pour a pint. (then) Fill ’er up. Kathy hesitantly takes the glass and heads to the bar. Nathan pulls out a script out of his bag. He puts it on the table, raises his hand to his head as he thinks. Kathy brings Nathan’s glass over again, minus the froth. NATHAN See, not hard really is it? Kathy fakes a smile. Kathy notices the script. KATHY So you’re an actor, huh? Kathy lifts up the script. She flicks through the pages. Nathan looks up. NATHAN A writer. KATHY No shit. Well I’m an actor. Actress actually. Trying to be anyway. But as you can see, it’s not going well. (beat) Have I seen anything of yours? NATHAN No, haven’t sold a thing. KATHY So how’s this one going? NATHAN Not good. I’m having a hard time getting into the character’s head.

(CONTINUED)

CONTINUED: KATHY This guy I know, he started taking crack. To think like the character. (beat) I don’t think he ever quit after that though. NATHAN So you’re saying I should rob a store for the experience? KATHY I’m not saying anything. But if you really want to get into the character’s head you’ll do what you have to. Feeling adrenaline pumping through your veins like that will give you something to remember. Nathan ponders this for a moment. NATHAN I wouldn’t take you for such a smart girl. Kathy smiles.

37.

A TV sitting in the corner of the room broadcasts the news. NEWSCASTER ... we’ve been completely shut off. Nobody’s getting out of town... The newscast goes unnoticed due to the amount of noise surrounding the bar. INT. STORE - DAY An OVERWEIGHT MAN sits behind the counter, reading a newspaper. He occasionally looks up at Nathan, making sure he doesn’t steal anything. Nathan eyes the wine rack. He looks at the Overweight Man, then back at the wine. He lifts a bottle off the rack, then heads towards the counter. Nathan stands there staring at the him for a moment. OVERWEIGHT MAN Dude? Nathan eyes the exit.

(CONTINUED)

CONTINUED:

38.

OVERWEIGHT MAN Don’t even think about it. Nathan does. He legs it. The Overweight Man runs out after him. The Overweight Man stops to catch his breath, already exhausted. He notices 2 officers approaching the store. OVERWEIGHT MAN STOP HIM! The officers walk towards the Overweight Man. OVERWEIGHT MAN Hey! He’s getting away! He took the god damn booze! OFFICER #1 Sir, I’m gonna have to ask that you put your hands behind your back and face the wall. OVERWEIGHT MAN What? The officers move closer. The Overweight Man looks at Nathan as he continues running, then back at the officers. OVERWEIGHT MAN Shit! The Overweight Man legs it. The officers chase after him. The Overweight Man doesn’t get very far. He’s struck down by a car. Jaye’s car. INT. CAR - DAY Jaye’s driving, the bald man sits in the passenger’s seat. BALD MAN Don’t stop. Keep driving. JAYE He could be hurt. BALD MAN He’s fine. Forget about him. He’ll get what’s coming to him.

39.

EXT. ROAD - DAY The overweight man lies on the floor, an officer cuffs his hands behind his back. OFFICER #2 Kiddy porn. You sick son of a bitch. EXT. CAR - DAY Jaye drives down the road alone. His seemingly imaginary visitor cannot be seen. INT. CAR - DAY The rain is heavier now. The window wipers are on, but the rain’s so heavy they’re not of much use. BALD MAN So do you have a wife? JAYE What? If you’re in my head, shouldn’t you know that? BALD MAN Just answer the question. JAYE Yeah. Why? BALD MAN Do you love your wife? JAYE If I didn’t love her I wouldn’t have married her. BALD MAN Then stop the car. JAYE What? Why? BALD MAN We’re here. Jaye stops the car beneath a bridge.

40.

EXT. BENEATH BRIDGE - DAY Jaye gets out of the car. The bridge shields him from the rain. JAYE Now what? BALD MAN (pointing) Look. A CROWD OF MEN. All dressed in identical suits and sunglasses, stand motionless in the rain. JAYE What the.. BALD MAN That’s them. JAYE Who? BALD MAN Them. They’re ready. A storm’s coming. JAYE What are you talking about? BALD MAN You’ll see. JAYE I’ll see what-Jaye turns around, his imaginary visitor is gone. Jaye looks at the wedding ring on his finger, then back at the Crowd Of Men. One of the men takes their sunglasses off to reveal PITCH BLACK EYES. Jaye’s eyes widen with fear. The MAN rubs his eyes then puts the sunglasses back on. JAYE (to himself) What’s going on?

41. EXT. STRONG HOUSE - DAY Jaye arrives home. He parks the sedan in the driveway, and heads inside the house. INT. STRONG HOUSE - DAY Jaye closes the front door. JAYE Cass? No answer. JAYE (louder) Cassidy? No answer, again. JAYE Eli? (beat) Anyone? No answer. INT. KITCHEN - DAY Jaye heads to the sink, fills up a glass with water, glugs it down. He rubs his forehead, takes a deep breath, and splashes water on his face. He wipes it off with his sleeve. He stands there looking out of the window, when he begins to hear something. A TAPPING coming from the living room. Jaye turns and heads into INT. LIVING ROOM - DAY Jaye approaches the window. The tapping continues. He quickly pulls open the curtains to reveal... A bird flapping it’s wings up against the glass. Jaye jumps back, startled. (CONTINUED)

CONTINUED:

42.

He catches his breath. JAYE You’ve got one hell of an imagination-The TV switches itself on. Jaye stands there with his back to it. NEWSCASTER (on TV) ... still no official statement has yet been made as to what’s going on. More on this as it comes in because your fear will be the death of you... Jaye raises his head and turns around to face the TV. NEWSCASTER your fear will be the death of you, your fear will be the death of you... JAYE What the-Jaye picks up the remote, he tries to switch off the TV. It won’t switch off. NEWSCASTER ... your fear will be the death of you, your fear will be the death of you... He presses the power button on the TV. Nothing. The message continues to repeat over and over. NEWSCASTER ... your fear will be the death of you... Jaye notices the plug socket on the wall. The TV is plugged in. One last time the message is repeated, this time the voice has transformed into a DEEP SADISTIC TONE. NEWSCASTER ... YOUR FEAR WILL BE THE DEATH OF YOU -Jaye pulls out the plug. The screen turns blank. (CONTINUED)

CONTINUED:

43.

Jaye breaths a sigh of relief. There’s a sudden noise from out of the kitchen. It’s the printer. INT. KITCHEN - DAY Jaye makes his way over to the printer. It’s repeatedly printing out the message "Your fear will be the death of you". Jaye runs towards the phone. He picks it up, dials in a few numbers. It starts ringing. Cassidy answers. INT. SUPERMARKET - DAY Cassidy pushes a trolley along an aisle. One of the wheels wobbles more than the others. Bryce sits in the built-in toddler seat in the trolley. CASSIDY Jaye? JAYE (O.S.) Cass, somethings going on... INT. PASSAGEWAY - DAY Jaye glances out the kitchen. The printer has stopped. Actually, it was never on in the first place. Nothing has been printed. The pages are blank. CASSIDY (O.S.) What’s wrong? What’s going on? (beat) Jaye? JAYE Forget it. It’s nothing. (beat) Love you. Bye. Jaye puts down the phone.

(CONTINUED)

CONTINUED:

44.

JAYE One hell of an imagination. Jaye stands there, puzzled. EXT. HILL - DAY Rain still pours as Brody sits on top of a hill overlooking the town. Sheltered by the canopy, Brody grabs a fistful of dirt and watches as it slides between his fingers and onto the ground. An old abandoned car is parked behind him. Written on the dirty car window, reads: "I wish my wife was as dirty as this", on one of the side windows. Eli walks out of the brush behind Brody. Brody notices. BRODY Eli. ELI Brody. BRODY You changed your mind. ELI Yeah, it turns out I like the rain. BRODY Me too. Eli settles down beside Brody. They both look out at the view of the town below. BRODY Beautiful, ain’t it? ELI Yeah. BRODY I come up here a lot to get away from everything. Eli reaches into his pocket, pulling out a packet of cigarettes.

(CONTINUED)

CONTINUED:

45.

ELI Do you smoke? Brody shakes his head. ELI (CONT’D) Me neither. Eli places the packet back in his pocket. Out of nowhere, something falls from the sky. It’s a bird. A DEAD BIRD. ELI (CONT’D) Is it dead? BRODY I don’t know. Brody gently picks it up. The bird doesn’t move. BRODY (CONT’D) I think so. Brody places it down on the ground. ELI Poor guy. BRODY What do you think happens when you die? ELI I think there’s nothing. The same nothing that was there before we existed. When we’re dead, we’re dead. And that’s it. BRODY Really? ELI That’s what I think. BRODY Don’t you believe in God? ELI I don’t know what to believe anymore.

(CONTINUED)

CONTINUED:

46.

They both continue gazing out at the town below, Eli moves closer to Brody. Brody notices this, then looks at him. They both get lost in each others eyes. BRODY I... uh... I... Brody looks away, then begins rubbing his hand. ELI What’s wrong? BRODY It’s nothing. My hand just swells up when I’m nervous. ELI You don’t have to be afraid. Eli leans over and kisses him on the cheek. Brody is stunned, speechless. ELI I’m sorry, I thought-BRODY (stuttering) I... I’ve got to go... Brody gets up, runs away, leaving Eli alone. INT. OFFICE BUILDING - NIGHT Livia is in the bathroom, wistfully staring at herself in the mirror. Black teardrops of mascara slide down her cheek bones. LIVIA Stop crying Livia. Stop it. She wipes her eyes. LIVIA (V.O.) Porn. Can you sink any lower? I don’t like it, but it’s all I’ve got. She takes a deep breath, grabs her handbag and exits the room.

47.

INT. CORRIDOR - NIGHT Livia bumps into a man, knocking off his sunglasses. LIVIA You can pick those up. She looks up to find both of his eyes are completely BLACK. He’s stood there staring at her, completely motionless. Almost robotic. She begins to slowly walk backwards. LIVIA Are you alright? He slowly begins to approach, which is when she begins running. She dares not look behind her, she just continues running. A door up ahead. It opens to reveal... the OVERWEIGHT MAN. Livia slows down, catches her breath, then looks behind her. The man with black eyes is gone. OVERWEIGHT MAN Right on time. INT. BOSSES OFFICE - NIGHT Livia kneels down in front of the man portraying her boss. She glances around the room at the crowd of faces staring at her. The overweight man begins counting down on his fingers. 3... 2... 1... OVERWEIGHT MAN Action. Livia closes her eyes for a second, then opens them again. She slowly begins to undo the fly. She kneels there, deep in thought. The overweight man begins to get anxious. He scratches his head in frustration. (CONTINUED)

CONTINUED: Livia gets up off her feet. LIVIA I’m sorry. I can’t. OVERWEIGHT MAN Goddammit! Livia picks up her handbag and rushes out of the room. INT. CORRIDOR - MOMENTS LATER Livia is stood beside the elevator. She presses the button, it lights up, and she waits. The doors slide open, to reveal... THE MAN WITH BLACK EYES. He reaches out in an attempt to grab Livia. Livia quickly runs towards the stairway door. INT. OFFICE BUILDING - STAIRWELL - NIGHT

48.

There’s silence, which is soon interrupted as Livia barges through the doors, the rhythmic sound of her shoes hammering down the stairs, as well as her heavy breathing. She occasionally looks over her shoulder, but she’s alone. EXT. OFFICE BUILDING SIDE STREET - NIGHT A road in deluge. Livia limps from the building. So afraid that she’s barely able to move her body. Her feet drag across the ground. Rain pours. Most people have umbrellas or their hoods up. Not her. She pauses for a moment, feeling uneasy. She looks behind her, to find the Man with the black eyes stood up against the window, watching her. The Man presses one hand up to the glass. She looks back at him for a moment, then turns around again and carries on running.

49. INT. NATHAN’S PARENTS’ HOUSE - LIVING ROOM - NIGHT Nathan is sat at his laptop. He looks at the screen with a satisfied grin. The script is complete. He puts his fingers to the keyboard, then gently types: "THE END." He gets up, about to walk out of the room when he feels something drip on his shoulder. He lifts his hand up to his shoulder, when he realizes it’s blood. His eyes widen with fear as he looks up at the ceiling to find a big red stain. The blood is coming from upstairs. He slowly begins to walk upstairs, but then pauses a few steps up. Something catches his attention. He looks down. Red footprints. More BLOOD. INT. NATHAN’S PARENTS’ HOUSE - UPSTAIRS - NIGHT Nathan follows the bloodied footprints along the carpet. They lead to a closed door. He pushes the door open. It’s dark inside. He can’t see a thing. He reaches around to the light switch, and flicks it on. The light fills the room, but what’s lying in the middle of the room isn’t something he wanted to see. The Blond Woman. DEAD. Covered in BLOOD. Her neck snapped. NATHAN Oh shit. Nathan, not sure how to react, backs out of the room. He’s shaking so much he’s barely able to walk steady. He rushes down the stairs, almost falling down them. EXT. NATHAN’S PARENTS’ HOUSE - NIGHT Nathan bursts through the back door, puking all over the place. He walks over to the pool. The pool lights are off, and it reflects the evening sky. Rain falls, causing a ripple effect in the pool. (CONTINUED)

CONTINUED:

50.

He kneels down, looking at his reflection, confused. NATHAN It wasn’t me. He takes a deep breath. NATHAN It wasn’t me. Suddenly his eyes widen as a sudden thought rushes through his head. NATHAN Steve. He gets to his feet, and rushes back inside. INT. ATTIC - EVENING Nathan pushes the attic door open, he peers around, shoves a few cardboard boxes out of his way, and climbs up. He pulls on a string above, and the light from a single naked bulb weakly lights the room. The space is crammed with boxes of junk. He glances around, looking for a specific box. He notices a box labeled "NATHAN’S STUFF". This is the one. He rips off the silver tape, and opens it. INSIDE A tattered stuffed bear. A few worn out toy race cars. And a pile of papers. He takes out the pile of paper and begins shuffling through it. He goes through them all, almost giving up, until he reaches the final sheet. A CHILD’S reflection reflection "Me". Next DRAWING. A drawing of a boy looking at his in the water. The boy is drawn in colour. His is BLACK. Next to the colour drawing it reads to the black reflection, it reads "Steve". NATHAN He’s back.

51.

INT. BRODY’S BEDROOM - NIGHT The room is dark. Brody is sat on his bed staring into space. A sudden light fills the room. It’s coming from the window. Brody gets up off the bed and heads toward the window. Across the street, Eli is stood behind his bedroom window with a flashlight in his hand. Eli gives Brody a small wave. Brody waves back. Eli turns off the flashlight, picks up a notepad, and begins writing something. Eli lifts up the notepad, and presses it up against the window. It reads "I’m sorry". The rain outside begins to fall heavier now, and Brody is no longer able to see Eli. INT. ELI’S BEDROOM - NIGHT No longer able to see Brody due to the rain, Eli begins to close the curtains, until something barely catches his eye. THE GNOME. It’s been knocked on it’s side again. EXT. BRODY’S HOUSE - NIGHT Eli, once again completely drenched due to the heavy rain, picks the gnome up off it’s side, putting it back upright. Rain HAMMERS down on him, he shivers. He turns around to head back to his house, until the door opens behind him. Brody stands in the doorway. ELI Your gnome fell over again. I just came to put it back up.

(CONTINUED)

CONTINUED:

52.

BRODY Thanks. (beat) Look, you don’t have to be sorry. ELI So you’re not, you know? BRODY I don’t know. It’s complicated. (beat) It’s just, they don’t understand. ELI Who? BRODY People. ELI I’d better get back to the house. BRODY Wait. ELI What? I’ve done what I came here to do, and you don’t feel the same way, so just let me go. Brody steps outside. BRODY Close your eyes. ELI Why? BRODY Trust me. Eli closes his eyes. They both stand there in the pouring rain. Brody slowly leans forward... their lips meet. They kiss. Eli’s eyes flutter as Brody’s skin touches his own. It’s just a small kiss, but the type you’ll remember for a lifetime. Eli smiles. Brody smiles back.

(CONTINUED)

CONTINUED:

53.

ELI That was... BRODY I know. ELI So what now? BRODY I don’t know. (beat) Do you wanna come in? Eli peers over Brody’s shoulder to find Brody’s mother asleep on the sofa in a seated position, the light from the TV shining on her face. ELI Can we go somewhere else? BRODY Anywhere. Brody closes the door. INT. DUVALL BEDROOM - NIGHT Livia is stood at the wardrobe packing her clothes. An open suitcase sits at the foot of the bed. It’s filled with clothes and a few of Livia’s other belongings. She’s packing light. Her phone rings. She throws a shirt into her suitcase, reaches into her pocket and answers the phone. LIVIA (into phone) Hello... hey babe... do you really think I’d be talking to you if he were here?... OK... love you... bye. Livia ends the call. EXT. DUVALL HOUSE - NIGHT The rain is heavier now. It’s pissing down. A car pulls up outside the house and a man steps out. He begins to approach the house.

54.

INT. DUVALL BEDROOM - NIGHT Livia hears the car pull up outside and smiles. She obviously assumes it’s her lover. Livia zips up the suitcase, about to leave the room when she notices a photo of herself and Bill. She places it face down, then leaves the room. INT. LIVING ROOM - NIGHT As Livia heads down the stairs with her suitcase, the doorbell rings. She sees the silhouette of a man standing behind the glass. The doorbell rings again. LIVIA I’m coming baby. She walks to the front door, puts the suitcase down, and then opens the door. Livia stands there in a state of shock when the figure is revealed to be... BILL. He looks right back at her, then at the suitcase. There’s an intense look of hate in his eyes. Rain continues to pour, and thunder roars. INT. STRONG LIVING ROOM - NIGHT Jaye and Cassidy sit on the sofa watching the TV. Cassidy kisses Jaye, and gets up off the sofa. CASSIDY I’ll go say goodnight to the kids. INT. BEDROOM - NIGHT Bryce lies asleep in his crib. The mobile hanging above him casts a shadow on him. Cassidy enters the room, and approaches the crib.

(CONTINUED)

CONTINUED:

55.

CASSIDY Night night, love. She winds up the mobile and it begins to slowly turn as it plays a lullaby. She then leaves the room, closing the door behind her. INT. ELI’S BEDROOM - NIGHT The door opens, and the light from the passageway fills the room, revealing an empty bed. CASSIDY Eli? No answer. She flicks the light on. The room is empty. INT. BATHROOM - NIGHT Cassidy knocks on the door. CASSIDY Eli? You in there? No answer. She opens the door to find an empty room. Cassidy leaves the bathroom and rushes downstairs. INT. LIVING ROOM - NIGHT Jaye’s TV viewing is interrupted as Cassidy storms into the room. CASSIDY Eli’s not in his room. JAYE What do you mean? CASSIDY He’s not here. JAYE Maybe he snuck out to a friends?

(CONTINUED)

CONTINUED:

56.

CASSIDY Oh come on, we both know he doesn’t have any friends. JAYE Are you sure he’s not in his room? CASSIDY Of course I’m sure. JAYE This isn’t like him. I’ll phone the police. Jaye heads towards the phone, picks it up and puts it to his ear, but there’s no dial tone. JAYE The phone line is dead. Where’s your mobile? CASSIDY I’ve got no credit. JAYE Looks like we’re taking the car then. INT. POLICE STATION - NIGHT The police station is filled with desks, most desks are accompanied with a police officer. Some are empty. INT. POLICE STATION - BATHROOM - NIGHT An ALBINO MAN stares at himself in the mirror. There’s a knock at the door and an officer enters. OFFICER Time’s up. ALBINO MAN You can’t imagine the feeling to not recognize your reflection in the mirror. The Albino Man moves his hand from side to side, checking to make sure his reflection is really him.

57.

INT. POLICE STATION - NIGHT Jaye and Cassidy are sat at a desk with OFFICER #1. Bryce is asleep in the pram next to them. The Officer is eating a doughnut, he licks the sugar off his finger after he eats the last piece. OFFICER #1 We’ll be in touch. JAYE Is that it? You’re not going to do anything? OFFICER #1 There’s nothing we can do. Not yet anyway. I’m sure your son just wandered off somewhere. JAYE In the middle of the night? He wouldn’t. OFFICER #1 If he’s not back by the morning, we’ll be able to help you. Cassidy puts her arm on Jaye’s shoulder. CASSIDY Come on, let’s go home. Jaye gets up, ready to leave, until something runs across his mind. He pauses. JAYE What’s with the quarantine? OFFICER #1 I’m sorry? JAYE Last night... the roads were blocked. They weren’t letting anyone out. OFFICER #1 We know as much as you. They’re from out of town. That’s all we know. Cassidy and Jaye begin to walk away. (CONTINUED)

CONTINUED:

58.

OFFICER #2 enters the room. His leather boots squeak as he walks. He’s wearing a dark set of glasses. He takes a seat at a desk nearest to the exit, and suspiciously watches Jaye. Jaye and Cassidy get up and head towards the exit, but Jaye stops next to Officer #2. JAYE Take off your glasses. CASSIDY Jaye! OFFICER #2 I beg your pardon? JAYE Take them off. OFFICER #2 Son, you’re in no place to tell me what to do. JAYE Take them off! Officer #2 sighs. He slowly reaches up to his head, and begins to take off the glasses to reveal... Nothing. His eyes are normal. OFFICER #2 Happy? Jaye’s obviously disappointed, but also relieved. Cassidy grabs Jaye’s hand and they walk out. INT. STRONG KITCHEN - NIGHT The room is silent. The only sound is that of the clock ticking. Cassidy is mixing food in a bowl, whilst Jaye sits at the table, staring into space.

(CONTINUED)

CONTINUED:

59.

JAYE Something’s going on, Cass. CASSIDY What? JAYE Something’s gonna happen. Something big. CASSIDY What’s that supposed to mean? JAYE I don’t know yet. But it’s not good. Cassidy scoops up some sauce on a spoon, then makes her way over to Jaye, her hand hovers beneath the spoon making sure the sauce doesn’t drip on the floor. CASSIDY Try this. JAYE I’m not hungry. (beat) Are you even listening to me? (beat) Something is going to happen. And something’s telling me that we’d best be far away from here when it does. When we find Eli, we’re going Cass---Jaye is interrupted as the room begins to violently SHAKE, sending Cassidy and Jaye to the ground. The lights EXPLODE, sending SPARKS and SHARDS OF GLASS flying. They cower on the floor with their hands protecting their heads. Cassidy gets to her feet, runs towards the stairs. CASSIDY Bryce! JAYE Cass, no! It’s then that the room stops shaking. (CONTINUED)

CONTINUED:

60.

They look at each other. JAYE I think it’s over. Cassidy heads upstairs to check on the baby. Jaye looks over at the clock hung on the wall, a concerned expression on his face. The clock’s hands froze on 12:00 to the second. INT. MOVIE THEATRE TICKET BOOTH - NIGHT An old styled movie theatre. Brody and Eli buy their tickets and head inside. INT. MOVIE THEATRE - NIGHT The place is almost empty, just a few people including Eli and Brody sit scattered around the theatre. The original 1956 version of Invasion of the Body Snatchers is playing. ELI Do you ever want to just get a car and get away? BRODY All the time. ELI I’ve been thinking about it for a while now, but I’ve saved up enough money to actually go through with it. I’ll save you a seat if you want. BRODY I don’t think I could do that to my mum, you know. She needs me. Yeah, I parents need to grow on ELI guess you’re right. My would freak. Maybe I just give this town a chance to me.

(CONTINUED)

CONTINUED:

61.

BRODY You could stick around for me. They share a smile, when Brody realizes something. He takes his phone out of his pocket. ELI What’s wrong? BRODY My mum. She’ll want to know where I am. ELI Can I borrow your phone once you’re done? My parents are probably worried too. I don’t usually do stuff like this. BRODY Sure. Brody raises the phone to his ear, and waits for a few seconds. BRODY (into phone) Come on mum, pick up. (beat) Mum. It’s me... Brody... it’s Brody, mum... BRODY! I’m at the theatre with... mum? Hello? His phone is dead. ELI What’s wrong? BRODY The phone went dead. The battery was fully charged as well. ELI Weird. Suddenly the overhead lights and projector explode, the room begins to shake, waking a sleeping audience member. Brody grabs hold of Eli’s hand. The theatre is left in darkness.

62.

EXT. HOUSE - NIGHT Jaye stands on the doorstep. He takes an unsettling look around the street. Several concerned NEIGHBOURS stand at their doorsteps, wondering what’s going on. The power is out, and the street is in darkness. Rain continues to pour. Cassidy, the baby in her arms, stands in the doorway behind Jaye. CASSIDY What do you think it was? JAYE An earthquake, maybe. But that doesn’t explain why the clock stopped ticking. (beat) We’ll just have to wait and see how it all looks in the morning. A FLASH of LIGHTNING illuminates the street, and its quickly followed by the LOUD RUMBLE OF THUNDER -- CUT TO: CHARACTER MONTAGE Angie is asleep on the sofa. A bright strike of lightning lights up the room revealing a SHOTGUN above the mantelpiece... Eli and Brody sit in the theatre, a lighter in Eli’s hands lights up their faces... Livia stands face to face with Bill... Nathan is asleep on the doorstep, surrounded by empty beer cans... The Albino Man is sat at the police station, staring into space... Willy peers through the curtains. Nobody there... CUT TO: INT. STRONG BATHROOM - NIGHT Jaye opens the medicine cabinet, pulls out a tub labeled ’Sleep Easy’, then closes the cabinet door. He’s relieved to find that his imaginary visitor has gone. He takes three pills from the tub, then puts the tub back in the cabinet.

63. INT. LIVING ROOM - NIGHT A CLOCK, the hands froze on 12:00AM. EXT. PERFECTION POINT - NIGHT The whole town lies in complete darkness. INT. JAYE AND CASSIDY’S BEDROOM - NIGHT A PAIR OF EYES. Pupils contract as the pair of eyelids open. They belong to Jaye as he wakes up in a cold sweat. His face filled with trepidation. A baby cries. CASSIDY (O.S.) Jaye! (beat) Get up, Jaye! (beat) We’ve gotta go! Jaye rubs the sleep out of his eyes. JAYE What? What’s going on? CASSIDY Get out of bed. Hurry up! Jaye slides out of the bed. Cassidy has the Baby in her arms. He’s screaming. JAYE What’s wrong with Bryce? CASSIDY There’s no time. We’ve gotta go! JAYE Calm down! Tell me what’s going on! CASSIDY These things.. These people.. They’re everywhere, Jaye, listen to me, we’ve gotta get out of here.

(CONTINUED)

CONTINUED:

64.

JAYE I’ll get my car keys. CASSIDY No. It won’t work... that thing earlier... it must’ve been an EMP. We’ll have to run. EXT. STRONG HOUSE - NIGHT Jaye and Cassidy leave the house, they don’t bother shutting the front door. Rain still pouring. Bins are tipped over. People SCREAMING. Children CRYING. Complete and utter chaos. CASSIDY They’ve blocked the roads. We’ve gotta go through the woods. It’s our only chance. They follow the road towards a line of trees. JAYE I take a few pills and the world has turned to shit! (beat) I’ll find Eli, Cass. He’ll be alright. Cassidy breaks down in tears. CASSIDY No. He won’t... if they have him... then it’s too late. JAYE We’ll find him. Here, give me the baby. Cassidy hands him Bryce, and they head into the woods. A cluster of crows eerily watch as they’re perched on a branch in the canopy above.

65.

EXT. WOODLANDS - NIGHT They begin to pick up the pace, not knowing where they’re going. They choose a direction and continue through the woods. Out of nowhere, dark silhouettes of men begin to emerge from behind the trees. Jaye and Cassidy notice this. JAYE They’re surrounding us! CASSIDY Oh god! I love you Jaye. JAYE NO! Not yet! They begin to frantically run, fearfully glancing over their shoulders. Suddenly Jaye is WHACKED in the head. He falls to the ground, but manages to keep the baby in his arms. CASSIDY (O.S.) Jaye! The baby begins to CRY. Cassidy SCREAMS. JAYE RUN! She continues running. Jaye’s vision is distorted, he can’t see clearly. A sudden SCREAM erupts from Cassidy’s lungs. JAYE NOOOOO! CASSIDY (O.S.) JAYE! Jaye’s growing weaker, his voice now nothing but a whisper.

(CONTINUED)

CONTINUED:

66.

JAYE Cassidy. He slips into unconsciousness. END OF EPISODE ONE

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