Sunshine Periphery (Draft 13)

By
Eric Liddle

22 Fairgrove Drive
Lindsayfield
East Kilbride
G75 9FH
ericjliddle@gmail.com
+447568 597 061
EXT. DESERT. SUNRISE.
The sun rises gradually over the empty valley. The sprawling
desert landscape is vast, but calm. A tall, muscular, middle
aged man dressed in light clothing (JONNY) walks aimlessly
across the sand. He takes in his surroundings. His attention
is drawn to what seems to be a door standing in the
distance. He walks towards it. Jonny is within a few steps
of the door. He slows his pace, before stopping. He hears a
stopwatch begin to countdown. The sound of the stopwatch
quietens, as the door fades into thin air. Jonny scratches
his head before turning around. The door now stands in the
place that Jonny has just walked from. Jonny sits down,
defeated. He notices a pair of binoculars laying on the
sand. Jonny peers through the binoculars. He see’s barren,
empty desert, until a vaguely familiar woman who is dark
haired and petite (KIN) emerges suddenly from a mound of
sand.
JONNY
(Shouting across the plains)
Hello!?

Jonny waves his arms in the air before peering through the
binoculars again. Kin is no longer there. A red flag stands
where she used to be. Jonny hesitates for a moment, before
sprinting towards the red flag. The stopwatch returns,
building in volume as Jonny approaches the flag at pace. A
roulette wheel peaks from a hole in the sand. Jonny looks
straight ahead towards the flag and takes a heavy fall. An
evil chuckle is heard. Jonny looks up and see’s a tall, slim
menace dressed in an elaborate manner (GRIM). Grim holds a
bottle of wine and two lavish glasses.

GRIM
(Laughing)
What are you chasing this time?
Grim pours a glass and offers it, but Jonny declines.

JONNY
Do...
Jonny is reluctant to speak. He stares at Grim.
JONNY
Do you know why...
GRIM
What’s with all this tension my
friend?

(CONTINUED)
CONTINUED: 2.

JONNY
(Pauses)
What do you mean?

Grim chuckles and begins to walk, leading the way further

out into the desert. He throws the wine bottle back at Jonny
who sighs. After looking around to see no signs of life,
Jonny follows Grim.

EXT. SAND DUNES. MORNING.

Jonny trails his feet through the white sand, fed up. He
checks his shoulder every other second.

JONNY
So, how did you end up out here?
Grim shrugs his shoulders and lights a cigar.
GRIM
I don’t know, the same way you did?
Jonny bites his lips in frustration. Grim continues to march
on, unfazed by the heat, smoking quickly through his thick
cigar.

JONNY
(Irritated)
Where exactly are you taking me
here?
Grim stops and looks at Jonny, grinning.

GRIM
You ask a lot of questions. There
is no need to be stressed.

JONNY
I’m not stressed!
Grim raises his eyebrows.
GRIM
There are so many expectations in
life, and so many rules we live by.
Grim continues to walk. Jonny follows, sighing.
GRIM
Does it not feel fulfilling to
simply go where the wind takes us?
To live fluidly, without worry or
responsibility?

(CONTINUED)
CONTINUED: 3.

JONNY
I thought I was the one who asked a
lot of questions?
GRIM
(Excited)
Oh a little humour! That’s more
like it my friend!
A half smile appears on Jonny’s face. He looks beyond the
dunes into the distance and see’s a large, black object. He
lifts his binoculars from his chest and looks through them
to see a piano.
JONNY
What is that doing out here?

GRIM
Does it matter? All that matters is
that it is here, right?
Jonny lowers his binoculars and begins to walk towards the
piano. His walk soon turns into a jog - as he gets closer he
finds himself sprinting enthusiastically towards the piano.
Grim smiles, watching on.
Jonny takes a seat and lays his fingers on the keys of the
piano. The sun gleams from the black mahogany finish. Jonny
hesitates.

GRIM
What are you waiting for?
JONNY
((Pauses, in deep thought) )
I don’t know what to play?
GRIM
Play whatever you want. There is no
right or wrong.

JONNY
Surely you have a preference?
GRIM
And surely YOU have a preference?

Grim smiles at Jonny, who for the first time looks relaxed.
He takes a deep breath and begins to stroke the keys. He
plays a comforting, jazzy medley of chords. Grim taps his
foot in the sand along to the rhythm of Jonny’s chords.

(CONTINUED)
CONTINUED: 4.

GRIM
It’s not life that gets you down
-it’s you! The key is to think and
live positively, no matter what
your situation.

JONNY
That’s easier said than done.
GRIM
Yes, you’re right! It is easier
said than done! Not enough people
try to simply think positively!
Jonny scoffs at Grim’s reply. Grim begins to sing along to
Jonny’s melody, closing his eyes and getting lost in the
moment. Jonny looks at his surroundings and smiles, before
he too closes his eyes, continuing to play. He savors every
chord before suddenly Jonny can no longer here the piano. He
opens his eyes and is confused to see that his hands are
still peppering the keys. He looks up towards Grim who is
frozen, as if stuck in time. His foot sits just above the
sand, ready to tap the floor, and his arms are solidly still
in mid-air. There is complete silence. Jonny gets up from
his seat. He stares at Grim, unsure of what to do next.
Jonny scrambles down the white dune as the sound of the
stopwatch returns, this time a little faster paced. Jonny
turns to locate the sound. On his left he is shocked to see
a soaking wet man dressed in a formal suit and cap (WET
MAN). Jonny is transfixed, watching the droplets of water
leave the mans suit, which is covered in seaweed. Jonny’s
attention is caught by the sound of a piano playing in the
distance. Jonny looks at the wet man.

JONNY
Can you hear that?
CUT-TO:

INT. DINER. DAY.

GRIM
Hear what my friend?

Grim pushes a large cup of black coffee across the diner

table where him and Jonny sit. Jonny squints his eyes. He
see’s an empty, typical American style diner. The piano is
now playing through the speakers in the diner.

(CONTINUED)
CONTINUED: 5.

JONNY
What happened to you back there?
GRIM
(Laughing)
Oh no! Not the questions! They’re
not coming back are they?
Jonny glares at Grim, who’s smile sours. A young waitress
dressed in a cocktail dress piles a plate full of empty
coffee cups. She turns to look at Jonny, only to reveal a
blank, featureless face, with no eyes, mouth or nose to be
seen. Jonny looks down towards his coffee in shock.
JONNY
There’s so much going on. Its
overwhelming.

GRIM
Of course there is. The world is
overwhelmed by our existence.
JONNY
Was that meant to be reassuring?
GRIM
Focus on a small thing. Put all
your energy into 1 thought my
brethren. Clear the mind.

JONNY
Oh fucking hell I can’t.
GRIM
Your coffee. Think about your
coffee, and forget about everything
else my friend.
Jonny stares into the coffee cup in front of him, breathing
slowly.

GRIM
You’ve got to take things step by
step, at the pace that life
intends. No rush my amigo.

Jonny continues to stare at the black coffee. The piano

still plays through the speakers.
CUT-TO:
 6.

EXT. SAND DUNES. DAY

The black coffee fades into the black mahogany finish of the
piano. The camera pulls out to reveal Jonny tinkering the
keys once more, this time with the cup of coffee sat on top
of the piano as he does so. The vibrations from the keys
make the coffee spin and whirl. Jonny smiles, completely
relaxed. As he continues to play, a small array of other
instruments begin to join him. Jonny closes his eyes, only
to hear a sudden banging. He looks over to his left. There
is a black door. There is more knocking, which intensifies,
before the door cracks slightly ajar.
CUT-TO:

INT. DINER. DAY.

The faceless waitress bangs her hand on the table
continuously. Jonny looks at her, perplexed. The banging
becomes more and more aggressive, and as it does Jonny
winces further.
GRIM
No we wouldn’t like to order
anything else thank you!

The waitress stops banging the table. When she does, Jonny
hears a small turning clock hand. He looks up to see that
she has a small pocket watch hanging from her uniform. Jonny
begins to shiver nervously. He looks towards Grim, who once
again is frozen still, this time with his mouth open and his
coffee cup inches away. Jonny hears a knocking and looks
towards the window. He see’s the wet man. The wet man stares
intensely at Jonny. Jonny slaps Grim cleanly across the
face.
JONNY
(Whispering)
Wake up! Fucking wake up!
Grim remains frozen. Jonny pulls himself to his feet and
stumbles down the aisle of the diner, shivering like a sick
dog. Jonny just about forces his body through the front door
to reach the:

EXT. CITY STREET. EARLY EVENING.

Jonny struggles down the street, He closes his eyes as he
scampers. As Jonny walks further from the diner, a car horn
frightens him into opening his eyes. He see’s a familiar,
dark haired woman (KIN) sitting in the drivers seat of a 4x4
pickup truck, which has its passenger seat door wide open.

(CONTINUED)
CONTINUED: 7.

KIN
You’re okay. Come on now.

Jonny slumps himself into the car without hesitation,

slamming the door shut behind him. The pickup takes off
immediately. As it leaves, we see the wet man standing and
staring on the other side of the street.

INT. CAR. CITY STREET. EARLY EVENING.

Jonny stares out of the window, focusing solely on the sound
of the wind coming through the small gap in his window. He
takes deep breaths, relaxing gradually. Kin’s mannerism’s at
the wheel are very calm and composed. She occasionally looks
over towards Jonny and smiles. Jonny locks eye contact with
her through the reflection.
JONNY
Thank you.

KIN
For what?
JONNY
I feel much better now.

KIN
What makes you think I’m
responsible for that.
The car waits at a traffic light. Jonny looks towards Kin,
noticing that she is wearing distinct earrings - two small
red flags. Jonny stares at the earrings.

INT. CAR. RURAL ROAD. EARLY EVENING.

KIN
Are you sure you’re feeling better?
You look tired.
Jonny rubs his eyelids and yawns.

JONNY
Do you judge everyone by how they
look?
KIN
If we made life as simple as
possible, it would still be
difficult to live...but what would
life be if it was easy? It
certainly wouldn’t mean as much.

(CONTINUED)
CONTINUED: 8.

JONNY
I guess not. You wanna listen to
some music or something?

Jonny goes to turn on the radio, only to hear the sound of

turning clock hands. He turns it off immediately.
KIN
If you go into a casino and watch a
roulette game it’s not as stressful
as playing it... but once you put a
stake in the game it becomes much
more intense and the game takes on
a whole new dimension. The same can
be said for living. Everyone needs
their stake. Something worth living
for. That’s why people fall in
love.
JONNY
So that’s a no to music then?

KIN
Do you enjoy music Jonny?
JONNY
Yes. I do.

KIN
Well the same can be said for
satisfaction and enjoyment. You’re
not feeling any as of now, but
perhaps that means that when you
eventually do it will feel better,
or mean more. Patience is rewarded.
JONNY
Surely people should be able to
feel happy throughout their whole
life?
KIN
And surely we should now live in a
society that fully understands and
adapts to the human condition? We
don’t live in an ideal world Jonny.
JONNY
Where are you taking me?

KIN
It’s a long drive, you can sleep if
you like.

(CONTINUED)
CONTINUED: 9.

JONNY
I thought I was sleeping?
KIN
Oh yeah? What makes you think that?

Jonny yawns and falls back into his seat. He focuses on the
calming breeze, listening to its rhythm as Kin drives faster
and slower. Jonny stares at Kin as she drives, unsure of
what to make of her. He closes his eyes and we gradually

CUT TO BLACK
but we can still here the sound of the wind and other
passing cars. These sounds continue for another 10 seconds
or so, before suddenly we here the sound of screeching
breaks, and then we

CUT TO

EXT. DESERT GAS STATION. MORNING.

Jonny awakens in his car seat, but it has been removed from
the car itself. Jonny stands, his clothes ripped to shreds.
His binoculars lay on the floor, remarkably unscathed. He
walks out into the long desert road and peers through them.
He see’s a red flag standing at the top of a rocky cliff
edge. Jonny lowers his binoculars only to find himself
surrounded by 5 red flags which circle him. Jonny leaves the
circle, spooked, and follows another trail of red flags.
Jonny approaches another circle of flags as the turning
clock hands return loudly. He senses that he is getting
closer to the sound of the clock. The clock ticks from the
middle of the circle. Jonny enters it and see’s a mannequin,
dressed in exactly what he is wearing, with a beard drawn on
its face. Jonny stares at the mannequin, the constant
ticking making the hairs on his arm stand up. Jonny puts his
ear to the mannequins head, listening. He lowers his head to
the mannequins chest and listens again. After a beat, Jonny
punches through the chest of the mannequin. He opens his
palm to see a small stopwatch. He opens the watch. Inside
there is a picture of a black door. The moving clock hands
reach a crescendo of volume as we

CUT-TO:
 10.

INT. MOTEL ROOM. NIGHT.

We see a red, digital alarm clock on a bedside table in a
dirty, bare, motel room. As the hands hit 12 the alarm
begins to sound. A man laid in bed fumbles to turn the alarm
off. The man groans, before slowly getting up, revealing
himself to be Jonny. Jonny stands in front of a broken
mirror and looks at himself. He has bad bed-head and bags
underneath his eyes. Jonny starts to get dressed. As he is
pre-occupied, we see Kin standing menacingly behind him.
Jonny throws his clothes on carelessly and turns around for
one final inspection of himself. Kin disappears instantly as
he turns. Jonny picks up his wallet and keys before heading
for the door. He hesitates. He picks up what looks to be a
credit card from the bedside table. On closer inspection, it
is a casino membership card. Jonny leaves through the door
as we
CUT-TO:

EXT. BEACH. SUNSET.

Jonny walks through a black door which leads straight onto
an empty, picturesque beach. He is disorientated. He goes to
walk back through the black door but turns and is surprised
to see Kin, seemingly out of nowhere.

KIN
Back so soon?
JONNY
Where were you meant to be taking
me? We never got there?
KIN
Oh really? Are we not here now?

JONNY
What happened to... to...
KIN
What happened to who?

JONNY
I never asked him his name.
KIN
Life leads us down many unexpected
paths. Most of the time, the events
that are unplanned are the ones
that have the most impact on us,
whether that be for better or
worse.

(CONTINUED)
CONTINUED: 11.

The sound of moving clock hands return. Jonny can’t help but
focus on them.

JONNY
Do you hear that?
KIN
Hear what?

Jonny frowns at Kin. Kin tries to light a flint, a small

bonfire sitting just behind her.
JONNY
Surely you’re not cold?

KIN
The earth is overpopulated Jonny.
If we are to justify our existence
we need to do more than exist. We
need to blaze a trail. More than
ever, we need to find meaning and
truth.
JONNY
But not everyone has the capacity
to be influential.

KIN
Everyone has the capacity to at
least try.
Kin sparks the splint and sets the small fire. Jonny listens
to the wood burning as the light reflects on his face. He
focuses on the small fire, and how the flames build from the
bottom. The camera pulls closer until it feels like we are
literally in the fire.

EXT. SAND DUNES. EVENING.

The camera pulls out of the fire to show the piano standing
at the top of the sand dune, burning. Jonny falls to his
knees and places his hands on his head.

GRIM
What a damn shame.
JONNY
What do we do?

GRIM
What can we do my companion?
Sometimes you have to accept that
life is unpredictable and cruel.

(CONTINUED)
CONTINUED: 12.

JONNY
But its not life that gets us down?
Grim smiles at Jonny.
GRIM
It seems the tables have turned.
JONNY
How do you block out the bad
thoughts? The negativity?

GRIM
I don’t think its particularly
healthy to block out anything.
Everything in life has its
reasoning. You learn to live with
it. You learn to adapt.
JONNY
Take things step by step, at the
pace that life intends?

Grim chuckles. He reaches into his jacket and pulls out a

bottle of wine. He pours a glass and offers it to Jonny, who
this time, accepts. The sound of moving clock arms begin to
rise once more as the pair toast to the burning piano before
embracing. The camera pulls out to show a cluster of red
flags on the dune behind them. As the camera keeps moving a
black door also fades into shot. The moving clock hands
reach a crescendo of volume as we:
CUT-TO BLACK
THE END.