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INT. ZOO, ENCLOSURE - CONTINUOUS

Rose comes to an inner enclosure. The lighting is low.
Fluorescent. We see a large glass and steel cage.
Our eyes gradually become accustomed to the low light and
we can begin to sense a presence moving behind the glass.
Dark. Impressive. As our eyes continue to adjust to the
darkness we focus on the distinct figure of an ADULT GORILLA
with a YOUNG GORILLA clinging to her back. Rose moves closer
to the glass. The gorilla puts her powerful hand to the window.
So does Rose.

INT. UNIVERSITY CAMPUS, ACCOMMODATION BLOCK,

ROSES ROOM - DUSK
In a sparsely furnished room, Rose is sat at her
study desk. In front of her is a well-used box file,
stuffed full of official looking documents,
certificates and pages of notes. Rose is holding a
sheet of paper containing a list of names and phone
numbers, all but one of which have been scribbled out.
Roses gaze moves between the sheet of paper and the
view of the campus from her window. Rose wipes her
hands on her tracksuit before picking up her phone
and entering the remaining number. She hesitates
briefly, then makes the call. Ringing can be heard.
The ringing continues over the opening images of the
next scene.

INT. ZOO, VETERINARY FACILITY - DAY

Harsh strobing from a bank of fluorescent light bulbs
kicking into life. The loud sound to accompany it.
INT. ZOO, VETERINARY FACILITY - CONTINUOUS
Rose is present during a routine medical procedure on
the mother gorilla, Kubana. She watches on as the
VETERINARY STAFF, led by the senior vet SARAH, go
about the business of prepping and anaesthetizing
the gorilla, which, laid out on the table, looks
powerful yet vulnerable.

INT. UNIVERSITY CAMPUS, LECTURE HALL - DAY

Rose is sat in a lecture hall attentively listening
to a COLLEGE LECTURER. Words like context, natural,
inherited, behavior, genetic, ecology abound.
Roses concentration is broken when a note is passed
to her. She opens it. It reads: Friday? Rose looks
around and spots Molly with another friend, JESS.
Rose smiles at them. Rose intimates she is undecided.
Her friends make a sad face and cajole Rose.

EXT. UNIVERSITY CAMPUS, - CONTINUOUS

Rose continues to talk but it becomes a
voice-over against a series of images in
which we see Rose getting up from her chair
and making her way out of the room, then
walking down the corridor, and out into
the daylight - the sun bleaching out the
details of the campus and adding to a
monochrome, dream-like quality - Rose
coming to the end of a path and stopping.
Rose, standing on the edge of a large campus,
very much an isolated figure.

INT. PARTY HOME, LIVING ROOM - NIGHT

The loud beat of dance music dominates
as Rose and her two college friends make
their way through a throng of PARTYGOERS.
We see that Rose eventually opted for a
short skirt and a low cut t-shirt.
They find a corner from which to view
everything. Lots of people, their age,
enjoying themselves.

INT. ZOO, CORRIDORS - DAY

Rose is walking down a corridor on her
way to the gorilla enclosure.
She passes the senior vet, Sarah.

EXT. LEAFY SUBURBAN STREET,

ELLENS HOUSE, LONDON - CONTINUOUS
As Rose stands looking at the house,
the front door suddenly opens and
Ellen comes out.
Rose, caught off guard, immediately
turns around. Rose, unsure of what to
do next, stands immobilized as Ellen l
ooks in her direction. Rose then pulls
herself together and starts to walk in
the direction of the hire car.
As she walks, Ellen still looking in
Roses direction, makes her way to her
car and turns the engine over.

EXT. CAR PARK, LONDON - CONTINUOUS

Rose is standing beside Ellens car.
Waiting. Anxious. The sun is shining
intensely. It is harsh, hazy. Rose observes
SHOPPERS bringing their trolleys to their cars,
DELIVERY MEN unloading trucks, SECURITY GUARDS
making their rounds. We are close on Rose. Her
expression suddenly changes. Rose can see Ellen
coming into view. Rose tracks Ellen as she walks
across the car park wheeling a shopping trolley.
Ellen is getting closer. Roses anxiety increases.

EXT. HOTEL, CAR PARK, LONDON - DAY

Rose pulls up into the car park of a
hotel that has seen better days. She
gets out of the car and looks around.
Bleak. Roses phone rings. On seeing
that it is her dad, Rose visibly changes
and performs an upbeat mood.

INT. TV STUDIO, SOUNDSTAGE SET,

LONDON - CONTINUOUS
Standing beside Ellen is a FLOOR ASSISTANT
with headphones and script. On the other side
of a false wall we can hear the 1ST A.D.
preparing the cast and crew for a take.

INT. HOTEL, BEDROOM, LONDON - AFTERNOON

Several hours later Rose is in the same
foetal position. She wakes up. Rose looks
around the room. Disorientated, she momentarily
has no idea where she is. Rose looks at her
watch. The TV is still on. Adverts are
playing.

INT. HIRE CAR, LONDON - LATE AFTERNOON.

Sat in her car, Rose is looking at Ellens
house from a safe distance.
The front door opens. Rose can see Ellen
and her husband Ben followed by a DOG.
Ben grabs the dog. Rose can see a HOUSEKEEPER
coming to the front door to take the dog.
Rose watches as the housekeeper and the dog go
back inside and Ellen and Ben drive off.

INT. ELLENS HOUSE, HALLWAY - CONTINUOUS

Both Rose and Eva stand in the
large elegant hallway.
Rose takes a look around.

EXT. ROAD, LAY-BY, FOREST, LONDON - DAY

Rose is standing beside the hire car.
It is parked up by the edge of a forest.
It is remote. Rose turns her head at the
sound of an approaching vehicle.

EXT. FOREST, LONDON - CONTINUOUS

Ellen and Rose have walked deeper into
the forest. A darkness sweeps over them
both. As they walk they move in and out
of the light. Ellen seems very distracted.

INT. ELLENS CAR, AIRPORT TERMINAL,

LONDON - CONTINUOUS
Ellen watches as Rose disappears out
of sight. Ellen, with a growing feeling
of anxiety, is looking at the various
MEN making their way to the terminal.
They all look normal. Regular. Average.
We see these men one by one. In close up.
Like a series of portraits. Ellen looking
at them.

EXT. SUBURBAN STREETS - CONTINUOUS

Rose has Lottie on the lead. They are walking
slowly down the road. Lottie is curious about
every tree and wall. They come round a corner.
There are blue police lights strobing in the
distance. Rose slows down as she approaches two
police cars with their lights rotating brightly.
Lottie is getting anxious. Rose calms her.
The police are parked haphazardly outside a
residential house. A couple of police officers
are walking up towards the front door which is
wide open. A police officer remains standing
by the cars. Some neighbours are out in their
gardens. As Rose and Lottie walk by, the blue
police lights sweep across Roses face.

INT. CORRIDOR - NIGHT

All is dark. It takes several seconds
for our eyes to adjust to the darkness.
Were tracking slowly down a corridor.
It is pitch black at the end of the corridor.
The sound of deep rumbling.
The sound of a distressed primate.
The sound grows in volume. Ominous.

INT. TV STUDIO, PRODUCTION SET, LONDON - CONTINUOUS

Cast and crew are in position on a very
busy production set. Ellen is waiting in
position. The DIRECTOR, is standing by a
viewing monitor. We go close on the face
of the 1st A.D..
Doctor Swain, having applied green surgical
gloves, is handed the scalpel. We cut to a
close up of this scalpel as it slowly comes
to rest on the young girls neck.

INT. WIG SHOP - DAY

We are tracking slowly along an aisle in a
brightly lit shop. At the end of the aisle Rose
is looking at a row of wigs. Rose picks up an
auburn wig, scrapes back her own hair, and tries
it on. She looks at herself in the mirror. We see
Rose from the back. We slowly track in towards the
back of her head.

EXT. VARIOUS ROADS - DAY

We match cut from the back of Roses head as she
drives along a country road wearing the wig.
The landscape, less than an hours drive from Dublin,
is remote, rural. Wild. Stunning.

EXT. ARCHAEOLOGICAL DIG, HILLSIDE - DAY

Rose hugs the side of the woodland. As she
turns a corner she can see, in the distance,
a GROUP OF PEOPLE working away in a series of
dug out trenches. High visibility jackets abound.
Most of the people are young. Some are writing
notes. Some, gently brushing objects that are
arranged on sheets of plastic. Some are in the
trenches slowly digging and brushing at the
artefacts they have unearthed.

INT. ELLENS HOME, BEDROOM, LONDON - NIGHT

Ellen is lying in bed. She is awake. We look
down on Ellen as if from the ceiling. Ben is
asleep beside her. We move closer in on
Ellens face. She looks very troubled. The
sound is changing, building. Very intense.
DISSOLVE THROUGH

DISSOLVE THROUGH
A sequence of slow tracking shots that move
gradually through a links golf course. Dark,
barely perceptible, mostly out of focus. The
wind is up and blowing the grass. Although in
slow motion, it sways violently. We slowly tilt
down to the green. The frame is filled with
swaying grass.

INT. HOTEL, ROOM - DAY

Ellen has booked into a comfortable room.
The decor is modern. Corporate. Ellen is
sitting on the end of her hotel bed.
She looks out the window. Ellen picks up
her mobile phone. She calls a number.
It rings.

INT. HOTEL, CORRIDOR - DAY

Rose gets out of the lift just as Peter Doyle
and the woman disappear into a room at the far
end of a long hotel corridor. Rose, cautiously
walks down the corridor towards the room.
Before she gets to the room a door opens and
a HOTEL GUEST comes towards her. Once the
guest has passed Rose turns around and heads
back to the lifts.

EXT. GOLF CLUB, CAR PARK - DAY

Ellen arrives at a golf club. Ellen parks up
and gets out of her car and hesitates before
making her way to the golf clubhouse.
The building itself is contemporary.
Post modern. Like a giant futuristic mollusc.
It is set against the backdrop of the sea.

EXT. PETER DOYLES HOME - DAY

With her wig on we are close on Rose.
We hold this image. We see her standing
outside Peter Doyles house. Rose looks around.
We see what she sees. The suburbs.
A MAN walking his dog down the road.
In the distance AN ELDERLY MAN with
his lawn-mower. Across the road A MAN fixing
his car. Down the road A MALE PASSENGER
getting out of a taxi. Rose starts walking
cautiously up to Peter Doyles door.
Rose looks at the doorbell. Breathes in.
Exhales.

EXT. CLIFF WALK - CONTINUOUS

Up ahead Rose can see Peter Doyle has come
to a stop. He rests at the point where a fence
pushes the cliff path closer to the cliff edge.
Rose hesitates but makes her way to this spot.

EXT. ARCHAEOLOGICAL DIG, HILLSIDE - CONTINUOUS

As Peter Doyle gets closer he can see that there
are TWO YOUNG VOLUNTEERS looking into one of
the trenches. In the trench is an ADULT DEER
lying on the ground. Peter Doyle looks down at
the deer. The deers front hooves are caught in
the wire that protects the trench. Its a mess.
Lots of blood loss.
The deer is writhing in pain.

INT./EXT. PETER DOYLES HOME, LIVING ROOM - NIGHT

Peter Doyle is standing by the living room patio
doors. They are open. He is looking at a message
on his phone. Teresa comes into the room and makes
her way over to Peter Doyle. Discreetly, he puts
the phone away.

INT. PETER DOYLES CAR, GOLF CLUB,

CAR PARK - EARLY MORNING
We are close on Peter Doyle. He brings a
half bottle of whiskey to his lips and
takes a swig. His drinking is interrupted
by the sound of a car entering the car park.