THE INSPIRATION FD FR - Sam McLeod

The Inspiration

Psychological Thriller/ Drama

written by

Sam McLeod

First Draft (25/02/2023)
First Revision (02/03/2023)

sam.mcleod2004@gmail.com

"Art is merely one's confession to a masqueraded secret."

-Ela Tardieu
Christopher Anderson
FADE IN:
EXT. BOOK STORE - NIGHT

Thunder. Rain showers onto an enclosed book store, surrounded
by dozens of low-rate flats. Typical London scenery.
PEDESTRIANS walk down the pavement, black UMBRELLAS in hand.
Voice of a male JOURNALIST (late 50s), British, formal,
speaks to us...
JOURNALIST (V.O.)
For many viewers at home, the idea
of "perfection" has been seen as an
impossible virtue.
Behind the store window, a black leather BOOK sits on a
stand...
JOURNALIST (V.O.)
But as of recently, critics have
been acclaiming the all-new
bestseller of established author,
Christopher Anderson.
...titled: "THE INSPIRATION", accompanied by numerous copies.
Clearly selling well.
JOURNALIST (V.O.)
He calls it... "The Inspiration".
ON COMPUTER SCREEN
Chat forums spike with conversations, praising the work of a
modern genius. Comments flood the site, spiralling into utter
fandom.
JOURNALIST (V.O.)
Following this praise, it wasn't
long before fans expressed their
love for the novella, via online
discussions. One fan, in
particular, went as far as saying,
quote:
CLOSE ON -- One message reads:
JOURNALIST (V.O.)
"Christopher Anderson delivers an
ambitious novella, enriched by
thoughtful themes relevant today
and for decades to come.
2.
INT. BOOK STORE - DAY

PAN AROUND -- Watching CUSTOMERS queue up with copies of the
book. All notice the camera, nervously smiling.
JOURNALIST (V.O.)
As sales for "The Inspiration"
continue rising, it proceeds to
leave many questions surrounding
both the novel...
PHOTO
Of CHRISTOPHER ANDERSON (25), American, slick-back hair,
charmingly insecure about his self-image, posing with luck.
JOURNALIST (V.O.)
...and the man himself.
INT. LOUNGE - AFTERNOON

Two chairs in perfect view. Lighting rigs set up. In between,
a table with the BOOK on showcase. The JOURNALIST, British,
mildly wrinkled with grey hair, sits in a chair.
JOURNALIST (V.O.)
To answer these questions, we asked
Christopher Anderson for an all-
exclusive interview, to discuss his
response to the critical reception
of his novella.
Christopher enters frame, sitting down in the other chair.
Quickly handshakes the journalist.
FEW MOMENTS LATER

Both sat down, ready. Journalist seems thrilled and prepared.
Christopher looks down, thinking heavily to himself.
JOURNALIST
Christopher, tell me, how does it
feel to be you, right now?
CHRISTOPHER
(distracted)
As in?
JOURNALIST
"The Inspiration", A perfect book,
as some might suggest.
3.
CHRISTOPHER
Well, isn't that a bit of an
overstatement? I mean, don't get me
wrong, it's great seeing people
love my work but... I can't say I
share that same opinion.
JOURNALIST
May we ask why?
CHRISTOPHER
Well, put it like this: writing is
like eating your favourite meal
every day. At first, it's great!
You'll have so much excitement
and... passion for it. But after a
while, it starts to get boring, and
you begin yearning for a different
sort of idea...
(almost to himself)
... well, if you can think of one,
that is... so, um, with this new
book, I feel I've been trying to
perfect it for so long that... I
just don't see what's perfect about
it any more.
JOURNALIST
Could the same be said for your
first bestseller?
CHRISTOPHER
I'm sorry?
JOURNALIST
Um, "Eternal Crash", correct?
Hesitation. Reminded of something horrific.
CHRISTOPHER
(slightly quiet)
Um... no. Not really.
JOURNALIST
Interesting. Would you like to
remind us as to what it's about?
Christopher clenches his jaw, holding himself back.
CHRISTOPHER
It's um... it's based off my
wife's--
4.
JOURNALIST
--your wife? I didn't even know you
had a wife--
CHRISTOPHER
--my wife's accident.
Awkward silence. Journalist's smile turns upside down. Looks
around the room, nervous. Christopher sits in deep silence.
JOURNALIST
I-I'm so sorry. I-I didn't realise
that--
CHRISTOPHER
--no! No. It's alright. It happens.
Silence gets dragged out. Christopher internally mourns.
JOURNALIST
Should we um... move on to the next
question--?
CHRISTOPHER
--please.
Journalist flips through a set of cards, all with questions
on them. Picks one out. Clears his throat.
JOURNALIST
Could you tell us exactly, how did
you get the inspiration for...
(chuckles to himself)
...well, "The Inspiration"?
CHRISTOPHER
How did I come up with it?
JOURNALIST
Yes! Just, what gave you the idea
for the story?
Christopher thinks. Thinks hard, with a poker face. Looks
down at the book. Beautiful black leather cover.
INT. DARKNESS
Empty. Gloomy. Light shines over a WOMAN (early 20s), Grace
Kelly look-alike, standing in her black dress. Smiling.
Staring into our soul.
5.
INT. LOUNGE - NIGHT

Cameras still rolling. Christopher gulps, trying to keep his
cool. Looks up at journalist, pale-faced, caught off-guard.
JOURNALIST (O.S.)
(concerned)
Christopher? Is everything alright?
Looks back down at his book. Christopher hardly speaks,
staring down at the book, hypnotized.
PRELAP - CLASSICAL MUSIC plays, as we--
MATCH CUT TO:
INT. ELA'S HOUSE - DINING ROOM - NIGHT

The BOOK, wrapped in a black dust jacket, titled: "THE
INSPIRATION - THIRD DRAFT", sits in Christopher's hand.
Recently typed and well-cared.
He looks down on it, wondering--
ELA (O.S.)
Chris.
Looks up in front of him -- AT US -- interrupted.
A small dinner table sits in-between him and ELA TARDIEU
(25), sweet and keen, British-French, sporting denim overalls
and a RUBY NECKLACE.
Both have finished with their dinner. GRAMOPHONE sits to the
side, playing CLASSICAL MUSIC.
ELA (CONT'D)
Is that okay with you?
CHRISTOPHER
(heavy sigh)
Um... sure.
Places book flat onto the table.
CLOSE ON -- Bottom of BOOK COVER, reading: "Written by Ela
Tardieu".
CHRISTOPHER (CONT'D)
I'll see if I can take a look. And
maybe, I'll... give you some
feedback in the morning?
6.
ELA
(thrilled)
Really?
CHRISTOPHER
Of course. That's what friends are
for, right?
Millions of thoughts and feelings overwhelm Ela, as she
answers with one grateful smile.
ELA
Thank you. Thank you so much.
CHRISTOPHER
Don't mention it. I'm sure I could
give you some improvements to work
on.
Ela senses the contemptuous tone in Christopher's voice.
ELA
Improvements?
CHRISTOPHER
Well, yeah. It's not like this
thing is gonna be perfect, is it?
ELA
Well, no. But that's why they say
perfection is a subjective matter
to everyone, right?
Christopher gulps.
CHRISTOPHER
Right, yeah. But, um... once I give
you my subjective thoughts, then
perhaps you can make it perfect.
ELA
Or maybe, it doesn't need to be
perfect?
CHRISTOPHER
(doubtful)
Maybe.
Christopher sips his nearly-empty wine glass, smug...
...as he subtly glances at the book, still pondering.
Ela clears her throat -- INTERRUPTING Chris' moment -- as she
eyes his wine glass.
7.
ELA
Top up?
Christopher looks at his glass -- nothing left inside. He
smirks it off, as if he wasn't just mesmerized by her book.
INT. GARAGE - NIGHT

Lights FLASH ON -- as we're introduced to the dimly-lit mess
of a crummy garage. Ela walks in, going past:
Windows covered in cobwebs; gardening tools clumped together
beside the door; a dusty red TOOLBOX on the open floor--
--as her foot BANGS straight into the toolbox! She stops,
hopping up and down on one foot, holding the other. Even we
can tell that hurt.
Ela leans against the wall, holding in a scream of pain,
muttering angrily to herself. She shakes it off.
She slides the toolbox over to the side, huffing at it with
quiet resentment.
Ela's eyes quickly turn away, once again locking onto...
...a massive shelf of WINE BOTTLES, varying in all types of
beverages. Heaven for any desperate alcoholics -- including
Ela herself, smiling like an enamoured child in a candy shop.
She walks up to the cupboard, putting her hand up to the
bottles.
Her fingertips run across the bottle tops, sticking out from
their cubby holes, as she tries to decide on a bottle...
...until she stops. Her fingers cling to one bottle in
particular.
She pulls it out, reading the label: "Screaming Eagle". A
pricey classic. Her smirk knows this too well, quietly musing
to herself--
INT. LIVING ROOM - NIGHT

--as she BURSTS OUT into laughter, glass in hand, snuggled up
comfortably in her leather armchair.
ELA
You can't be serious?
8.
Christopher sits opposite Ela, in his own comfy leather

chair. His glass isn't as empty, although he's quite smiley.
CHRISTOPHER
No, I'm telling you! One minute, he
was this... quiet, almost reserved,
type of guy. But by the second
minute... well. You know?
Christopher takes another sip from his glass, getting up from
his chair. He walks around the room:
Lavish and vintage. Wooden beams cross the ceiling. Near-
empty log basket sits beside a burning fireplace.
PAINTING of JEAN-LUC TARDIEU (late 60s) hangs above. Sofas
and chairs gather in front of a TV. Bookcase of VHS cases sit
alongside.
ELA
Well, it depends on the drink.
Christopher walks over to the fireplace, leaning against the
fireplace mantle.
CHRISTOPHER
Well, what do you expect? An
American like him, who still
believes Citizen Kane is the
greatest film of all time.
He places his glass down onto the mantle -- next to a black-
cover BIBLE, reading "Holy Bible".
ELA
Sounds like an old-fashioned kinda
guy.
CHRISTOPHER
You mean him, or his drink?
Ela giggles again -- although a bit too much. Christopher
takes notice, but he enjoys it, laughing too.
ELA
So what? Did your agent not
remember confessing all this?
CHRISTOPHER
Nope. As far as I'm concerned, I'm
the only one who knows Louis likes
a good... spanking. Well, me and
his wife, at least.
9.
ELA
Well, I don't blame him.
Christopher catches onto that, getting playful. Ela realises
what slipped out of her mouth.
CHRISTOPHER
Excuse me--?
ELA
--I-I can explain!
CHRISTOPHER
Oh, you can explain now?
ELA
(holding back a smile)
Oh, just... shush your mouth.
Christopher laughs to himself, amused. He picks up his glass
again, sitting back down in his chair.
CHRISTOPHER
Well, you know what they say: A
drunken man's words are a sober
man's thoughts.
ELA
Actually, the French say:
(in French accent)
A drunk mind speaks a sober heart.
Christopher grimaces over Ela's quote.
CHRISTOPHER
Why do you French have to make
everything sound so... romantic?
ELA
Because we're proud of it.
Romanticism for the win, bitch.
They both laugh together, like they haven't done this for a
while. And they've missed it -- especially Ela, fiddling with
her necklace.
She looks at Christopher with a nervous, almost special look.
ELA
Hey, how about a toast?
Christopher looks up at her, instantly smiling at the idea.
He likes it.
10.
CHRISTOPHER
A toast? A toast to what?
ELA
I, um... I don't know. I was
thinking...
...Ela then smiles to herself, knowing exactly what to say.
She sits up, raising her glass high in the air.
ELA (CONT'D)
A toast to us... being together
again.
Christopher reflects her smile.
CHRISTOPHER
Yes.
He sits up, raising his glass too.
CHRISTOPHER
...a toast to us...
Ela softly smiles...
...and our new, professional bond.
...before her pearly whites quickly fade into a glum grin.
ELA
(slightly quiet)
Yes, um.... Cheers.
Christopher takes a sweet sip, while Ela drinks a depressing
mouthful...
...before putting the glasses back down.
EXT. FRONT OF ELA'S HOUSE - NIGHT

Darkness. We're inside something. Christopher and Ela speak
outside, echoing in.
ELA (O.S.)
Didn't know you had a thing for
Jaguars.
CHRISTOPHER (O.S.)
Why? You like them?
SOUND of KEYS jangle outside, as they enter the lock.
11.
ELA (O.S.)
Let's just say, I know my cars. And
believe me, this is a good car.
The car boot CLICKS -- as it's unlocked.
CHRISTOPHER (O.S.)
Well, I actually just got this
waxed and fixed up the other day.
Wouldn't leave anywhere without
this beauty.
CAR BOOT POV -- Opens. Chris and Ela peer in, both tipsy.
Although, Ela seems a little unimpressed with what she sees.
Looking around them, surrounding the house: fields of grass
stretch for acres on end. Fencing lines the perimeter. Stars
shine coldly in the night sky.
ELA (CONT'D)
That's it?
Inside the boot, a tiny SUITCASE, practically fit for a
child, sits in the orange glow of Christopher's car boot
lights.
CHRISTOPHER
Well, we said one night, didn't we?
ELA
Well, yeah, but... why did you need
my help with it?
Christopher tries to think -- REALLY hard. But he can't
remember. Mostly because the wine that's pumping through his
head.
CHRISTOPHER
When?
Ela chuckles to herself, trudging back over to the front
door.
ELA
I'll go prepare your room.
She heads inside. Christopher hasn't moved an inch, still
confused.
CHRISTOPHER
(repeating)
When?!
12.
No response. Christopher sighs. Screw her. He takes out his

suitcase and closes the boot of his--
--vintage Jaguar E-Type, coated with red paint. Clearly
expensive.
INT. ELA'S HOUSE - FOYER - NIGHT

Christopher carries in his suitcase through the front door,
and into a dark room. Too dark. He gets the lights--
--REVEALING a single staircase foyer, bridging between the
kitchen, the living room and the dining room. Abstract
paintings, Rothko-esque, hang on the walls.
Christopher walks past an entryway table, with a CORDED PHONE
on top, looking around for--
CHRISTOPHER
Ela?!
Beat.
ELA (O.S.)
(from upstairs)
Yeah?
Christopher looks up the staircase, trying to talk to Ela.
CHRISTOPHER
You have a place I could leave my
keys?
ELA (O.S.)
Yeah! There's a, um... key thingy-
ma-bob on the wall.
CHRISTOPHER
A key-what?
ELA (O.S.)
By the front door.
Christopher checks around, still trying to figure what a "key
thingy-ma-bob" is...
... but he spots it. A KEY RACK. He rolls his eyes.
Christopher hangs up his keys, alongside two other SETS: one
labelled: "GATE KEYS"; another set with multiple keys --
clearly the MAIN ONE.
13.
INT. SHOE CUPBOARD - NIGHT

Door opens. Christopher ducks his head through the door. It's
pitch black. He reaches around--
--until he grabs onto a PULL CORD SWITCH, pulling it down,
REVEALING:
Claustrophobic room. Shelves of cobwebbed shoes, squashed
together. Vaccum-sealed packs of CANDLES on the floor. Dusty
circuit breaker mounted to the wall, with a GREEN light.
Christopher takes his shoes off, looking up at the shelf--
--where this is no space whatsoever. Sigh. Christopher takes
out one pair of shoes -- brown leather -- putting them down
onto the floor--
--but something CATCHES his eyes about them...
...a hardened spot of BLACK. Definitely not mud. Christopher
looks at it closely. Picks them up again...
...as he examines. Scratching at it--
--REVEALING a STAIN of RED -- BLOOD. Big enough to be of
concern, but small enough to be glanced over.
Christopher looks at it for a good moment. He has a
thought....
...but he shrugs it off, quickly putting it back on the
floor.
He squeezes his shoes onto the shelf.
INT. FOYER - NIGHT

Christopher steps out of the shoe cupboard, closing the door
behind him. He walks around to the stairs--
ELA (O.S.)
(from upstairs)
Chris!
Christopher stops, desperate to just get to bed by this
point.
CHRISTOPHER
Yeah?
ELA (O.S.)
Don't forget the book!
14.
Christopher pats himself down, checking. He doesn't have it.

He turns around, looking into the dining room:
CHRISTOPHER'S POV -- Lit by the foyer lights, the book sits
on the table.
INT. DINING ROOM - CONTINUOUS

Christopher speeds back into the room, taking the book off
the table.
INT. GUEST BEDROOM - NIGHT

Moonlight streams into a pristine space. Rain pounds against
the window. Shelves of books sit organized. Bed lays made.
Writing desk remains clean, with a ticking CLOCK and PHONE-
CONNECTED FAX MACHINE on top.
Bedroom door opens. Ela steps inside, while Christopher lugs
behind his suitcase, book in hand.
CHRISTOPHER
You know what would've made that
dinner even better?
ELA
What's that?
CHRISTOPHER
That red wine apple pie you made in
college. That was a killer.
Ela grins, reminiscing on it too.
ELA
God, yeah. Those were the days.
Ela composes herself again, looking around.
ELA
By the way, is this okay with you?
CHRISTOPHER
(re: fax machine phone)
Do you mind if I use the phone
there?
ELA
Be my guest.
15.
Christopher puts down the suitcase, as Ela stands beside him,

facing the bed.
CHRISTOPHER
Thanks. Otherwise, yeah, I think
that'll be everything for me.
Christopher chucks Ela's book onto the bed, as if it meant
nothing. Ela takes notice.
ELA
Cool. I guess I'm... done here.
But she isn't, as Ela continues standing there. She looks
down at her necklace, holding it close.
Christopher places his suitcase on the bed, unzipping it with
his back turned.
Ela gulps, as she tests the water.
ELA
You, um, been writing anything?
Christopher stops. He's been trying not to think about it.
ELA (CONT'D)
I mean, you haven't really written
anything for a while. Not since--
CHRISTOPHER
(subtly irritated)
--I know.
Tense silence. They both know why. Ela confronts it.
ELA CHRISTOPHER
I read "Eternal Crash"-- --Ela, don't--
ELA CHRISTOPHER
--Chris, I don't know why you --Ela. I said don't--
didn't invite me to anything,
but--
ELA
--look! I just wanted to say sorry
about... you know? Her.
Christopher gulps, as he thinks about--
16.
INT. CHRISTOPHER'S HOUSE - KITCHEN - DAY (FLASHBACK)

Sun-lit. Mounted onto the pale green wall, a white ROTARY
PHONE dangles by the cord. Swinging back and forth...

Christopher takes a sigh. He gives her a chance. Ela speaks
up, like she's rehearsed this a dozen times before.
ELA (CONT'D)
I never got the chance to say it
then, so I-I thought I'd say it
now... because...
(deep breath)
I know she meant a lot to you. And,
well, I get she wasn't the greatest
fan of me and... I think we know
why.
Christopher doesn't, as he turns his head slightly.
ELA
But, I just hope you guys were
still happy together by the end.
And to put it out there, I only
wanted this night to be about us
just... reconnecting. So, can it be
that?
He sighs, unsure how to respond. Almost guilty. Looks down.
CHRISTOPHER
Sure.
Ela reads the room. Clearly time to leave.
ELA
Cool. Well, um, if you need
anything else, I'll just be down
the corridor.
She slowly makes her exit towards the door--
CHRISTOPHER
That's not why I haven't been
writing.
Ela stops in her tracks. Turns around. Chris looks at her
with sincerity.
17.
I just want to write something
original. Something different.
Something... Perfect.
ELA
Like with your first book?
CHRISTOPHER
No, Ela, you don't get it. After
I've written this, everyone needs
to know it wasn't some "off-chance"
success, you know?
Ela sees this as an opportunity, stepping closer.
ELA
Well, if you need any help for it,
whatsoever, then I'm always here
for you.
Christopher doesn't seem too keen. He sighs, turning away.
CHRISTOPHER
I'll see you in the morning, Ela.
Ela nods it off, like the door was just shut in her face.
ELA
(gulp)
Okay.
She exits the room, as the door slowly shuts, leaving
Christopher alone. But he's used to it.
He walks over to his suitcase, unzipping it open...
...taking out a RED PLASTIC FOLDER.
INT. UPSTAIRS CORRIDOR - NIGHT

Ela leans against the white-washed wall, listening to the
footsteps within the guest bedroom. Heavy sigh...
...until SOMETHING on the ground catches her eye: an ANT.
The ant crawls across the floor, stopping in front of Ela.
She looks at it intensely--
--STEPPING on it!
18.
INT. ELA'S BEDROOM - NIGHT

Darkness. Door opens -- as light pours in. Ela trudges
inside, walking towards her bed...
... turning on her bedside lamp. Next to it, a GLASS of WATER
and an ashtray sit, along with a BOX of MEDICATION -- HARD TO
READ.
She sits down on her perfectly-made bed. Looks around.
More abstract paintings hang on the walls. A shiny MIRROR
mounts against the wall. Ela avoids eye-contact with it...
...looking down at her wooden bedside drawer -- with a THREE-
DIGIT MULTI-DIAL LOCK. Her thumb hovers over the dials,
entering the code: "6-1-1". It unlocks. Ela opens it.
Beat.
INSIDE -- Filled with dust. PHOTO ALBUM sits inside.
She carefully takes it out, resting it on her lap.
Deep breath. She opens the album.
CLOSE ON FIRST PAGE -- PICTURE of YOUNG ELA (8) painting onto
a great canvas, as JEAN-LUC TARDIEU (late 30s), caring and
loving, kneels next to her, helping Ela.
Ela gently smiles, lightening her glum mood... as it quickly
vanishes, reminded of something worse.
She turns the page.
CLOSE ON SECOND PAGE -- PICTURE of TEENAGE ELA (19) and
TEENAGE CHRISTOPHER (19), both dressed up, sat on a ragged
sofa, both wearing funky sunglasses and making silly faces.
Ela titters to herself, as a longing tear rolls down her
cheek.
She turns the page again.
CLOSE ON THIRD PAGE -- PICTURE of teenage Ela on a park
bench, morosely sat beside the gleeful couple: teenage Chris
and TEENAGE KATHRYN (19), definition of a WASP.
Ela stops smiling. Her eyes focus on Kathryn -- with pure
SPITE. She takes the picture out of the album, staring at it
hard...
...RIPPING Kathryn's face out of the picture. The picture is
now just an unhappy Ela, separated from a joyful Christopher.
19.
Ela slowly stares up with a rebound determination. She gets

up from the bed...
INT. OFFICE - NIGHT

Telephone RINGS, surrounded by paperwork and books.
LOUIS DAVIS (early 40s), American, equally charming and
intimidating, still in his dressing gown, scrounges around
his desk, finally picking up the phone.
LOUIS
Yello?

Christopher sits at the desk, phone to his ear, fiddling with
the cord nervously. The plastic folder sits on the desk.
CHRISTOPHER
It's Chris.
INTERCUT WITH LOUIS/ CHRISTOPHER
LOUIS
Chris, buddy! Where've you been?
I've been tryna call you.
CHRISTOPHER
I'm abroad, remember?
Louis searches around his desk. It definitely rings a bell.
LOUIS
Wait, abroad where?
CHRISTOPHER
At a friend's house. I thought I
gave you her phone number.
LOUIS
(looking around his desk)
What phone--
Finds a note on his desk, alongside the writing: "Chris
Number (for holiday):", with a phone number underneath.
LOUIS (CONT'D)
Never mind.
20.
CHRISTOPHER
I thought I'd call, just to double
check if you needed anything.
LOUIS
Well, the only thing I need is that
next book of yours.
Christopher doesn't know whether he's joking or not, trying
to laugh it off.
CHRISTOPHER
That was a low blow--
LOUIS
--I'm being serious, Chris. It's
been three months. What's going on
here?
CHRISTOPHER
That depends on whether you want
another bestseller or not.
LOUIS
Look, we don't care whether it's a
bestseller or not. You already
knocked it out of the park with the
first one. And to be honest, we
weren't even expecting you to be a
bestselling writer.
Christopher's ego takes a big hit.
CHRISTOPHER
Wow. Thanks for the vote of
confidence, Louis.
LOUIS
Chris, the longer you go without
having another novel, the easier it
will be for everyone to forget
about you. Is that what you want?
Christopher gulps.
CHRISTOPHER
No, no I don't.
LOUIS
Good. At least we're on the same
page here. Now, tell me, how is the
writing going, Chris?
Guilty hesitation.
21.
CHRISTOPHER
It's um... you know...
Hesitates again. Distracted by the TICKING. Eyes turn towards
the clock, ticking away. Chiming perfectly. As needed. Just
as much as we need to--
MATCH CUT TO:
INT. CHRISTOPHER'S BEDROOM - NIGHT (FLASHBACK)

Another CLOCK, like before. Ticking perfectly. Sat on a large
desk, beside one singular LAMP -- the only source of light.
From the well-made bed, to the spotless carpet, this white-
washed room remains in complete divine state, except for--
--Christopher sitting behind his desk, head in hand. Barely
blinking--
--staring down onto the blank page -- PEN hovering over the
paper, hand shaking.
He breathes heavily. Watching the blank page, still blank as
ever. Like his own thoughts.
TICKING continues, as a moment of unproductive silence
lingers.
Christopher's eyes remain fixed on the pen, with a large INK
DROPLET hanging from the tip. Waiting for the inevitable...
SLOW MOTION -- As we watch the ink ever so slowly plummet
onto the caressed PAPER, like a gliding bomb. And then...
...SPLASH! A great pool of ink splatters the page, ruining
the once-white paper.
Christopher stares at the page, now tainted by a single drop
of ink.
Tense SILENCE holds.
Christopher puts the pen down. Gradually sits back in his
chair. Tries to hold it all in. Pushes his hair back with a
GRIP. Close his eyes...
...breathe in...
...until Christopher's eyes open again. Pupils flare with an
internal rage...
...breathe out.
22.
A stressful beat.
A cathartic SCREAM is unleashed--
--SLAMMING his fists down onto the table REPEATEDLY--
--CRUSHING the pen and SQUIRTING ink across the table--
--GRABBING the clock and HURLS it across the room--
--SHATTERING it against the wall--
--PROPELS the table onto the ink-stained carpet, SCATTERING
paper across the room!
An eerie SILENCE settles.
Christopher glances around, finally thinking straight.
Stunned by his own tantrum.
He looks down onto the lamp, lying on the floor. Connected by
one single cable.
Christopher picks it up from the ground, staring into the
lightbulb, illuminating with a glaring glow, with a
despairing smile.
Waiting for the inevitable...
...F-FLICKER!
Christopher's jaw CLENCHES. Temper HEIGHTENS. Breathing
DEEPENS--
--causing him to LAUNCH the lamp at the shelves, instantly
BREAKING -- CUT TO BLACK!
BACK TO:

Christopher continues staring at the clock--
LOUIS (O.S.)
Chris, you there?
He snaps out of it. Turns his eyes away from the clock.
CHRISTOPHER
Yeah, sorry. The line tends to
um... cut out sometimes. I just
said that I've been working on
something at the moment.
23.
INT. OFFICE - NIGHT

Louis leans forward, interested.
LOUIS
Ooh, you got a pitch?
INTERCUT CHRISTOPHER/ LOUIS
Christopher turns to the plastic folder, opening it up. He
takes out a PILE of PAGES, all with paragraphs of frantic
writing.
CHRISTOPHER
No, not quite. Still working around
an outline-- as well as the novel
itself, you know? It's just um...
It's not exactly finished yet but--
LOUIS
--when can you get a first draft
done for?
Christopher can't even comprehend the words alone. His eyes
race between the pages, thinking anxiously.
CHRISTOPHER
First draft? I-I don't know, it'll
take a bit. I'll be back home
tomorrow, but maybe... I could try
and write something for Wednesday?
LOUIS
I'm gonna need to make that Monday
morning. Can you finish it off in
three days?
Christopher takes in a nervous breath, as he looks down on
the pages.
CHRISTOPHER
Three? I um... I don't know, I need
some time to make sure it's good--
LOUIS
--it doesn't matter, Chris. Try and
have something done by then, okay?
CHRISTOPHER
Okay, but--
24.
LOUIS
--no buts, Chris. Get it done, or
um... we're gonna have some issues
with your contract. You understand?
Clearly a threat. Christopher feels his heart beating faster.
CHRISTOPHER
Yeah, I understand.
LOUIS
Alright! Well, hope it all goes
well then, and maybe I'll ring you
tomorrow or something? Just check
in for a bit, y'know? Otherwise,
good luck with your writing!
CHRISTOPHER
Thanks, Louis, and--
--CLICK! Phones hangs up on Christopher.
He puts the phone down. Sigh. Gets up from his chair and
trudges over to the bed.
Christopher sits down, staring towards the ground, pondering
to himself in a state of depression.
A single tear runs down his cheek, whilst holding back many
more.
He slowly buries his face in his palms, almost ashamed of
himself. And then...
...a long, silent cry is dragged out. Like it's the first
time in a long time -- SHAKING and SOBBING. Holding back an
inner scream of pure self-hatred....
...until he stops.
He begins to calm down, wiping the tears away. Pout turns
into a blank expression. Bloodshot eyes relax into a calm
gaze. Clenched fists loosen into calm palms.
Christopher stares into nothingness, acting like nothing had
happened...
INT. GARAGE - NIGHT

CLOSE ON WINE GLASS -- Sits on a dusty workbench. Overhead
light shines over.
25.
SLOW MOTION -- RED WINE BOTTLE tips into the glass, pouring
inside like a gushing waterfall.
Ela stares at it with an absorbed trance, like that of a
drunken sailor with his pint of grog.
She picks it up, examining it carefully--
--before DOWNING the entire glass, like it was nothing...
...letting out a massive -- BURP! She covers her mouth,
embarrassed. But she slowly laughs it off.
Ela pours herself another glass of wine.
INT. FOYER - NIGHT

Ela limps out of the kitchen, wine glass in hand, trying to
keep her footing.
She sits down on the stairs, taking a breather. Ela looks
around, taking a sip...
...as her eyes meet with one of the paintings on the walls.
CLOSE ON PAINTING -- A canvas of deep reds. Heavy blotches of
red dot around it. Some of it has decayed into dark browns.
Ela's eyes fix onto it, haunted and scared. She takes a
SERIOUS sip from her glass.
She stares into nothingness, thinking...
...as she glances behind, up the stairs, murmuring to
herself...
...but she pauses. Something has popped into her mind. Her
head slowly rises.
Ela turns around, looking up the stairs, checking. No one is
there. She turns back around...
...looking straight at the front door, mesmerized.
She scoffs to herself, chuckling over it. Shaking her head to
herself...
...but then she stops again. Reconsidering. Ela looks back at
the door again. She's now serious.
She glances back into the kitchen--
26.
--getting up on her feet in a spirited buzz -- SPEEDING back

inside.
INT. GARAGE - NIGHT

Light FLICKS back on! Ela speed-walks back in, approaching--
--the toolbox. Still sitting on the open floor.
Ela picks it up -- REVEALING a couple of ANTS crawling
underneath. Ela notices--
--SQUASHING them both with a single step!

Still sat pensively in his chair, Christopher stares through
the window, watching the rain droplets run down the glass--
--as a distant THUNDERCLAP interrupts the serenity!
Christopher doesn't even flinch. He just stares, thinking
about...
INT. DARKNESS
The woman turns towards us, smiling. She approaches with
careful footing, like she's trying not to wake a sleeping
lion.

Christopher blinks, like there's actual activity in his mind.
He sits up, curious. Turns to his side--
--LOOKING at the book that lies on the bed. The cogs turn in
his head, mesmerized by the book.
He gets up from his chair, approaching the bed.
Christopher stands over it, taking it in. It sits in the glow
of the moonlight, enchanted.
He carefully picks up the book, looking down upon the work.
It certainly has his interest.
27.
INT. FOYER - NIGHT

CLOSE ON KEY RACK -- Only the "Gate Keys" hang up. The other
two -- Christopher's keys and the main keys -- are now GONE--
--as a GUSH of WIND breezes past, brushing against the
keys...
...because, sure enough, the front door is wide open.
EXT. FRONT OF ELA'S HOUSE - NIGHT

BIRD'S EYE VIEW OF CAR -- Ela scrounges around underneath the
hood of Christopher's Jaguar.
Next to her feet, the toolbox sits open -- with the
screwdriver missing.
Ela digs her hands beneath several cables inside the car's
engine...
...until she finds the IGNITION COIL. She smiles.
INTERCUT BETWEEN ELA/ CHRISTOPHER
Christopher lifts the cover, reading the first page to
himself...
... he likes it. Sits forward slightly, turning the page.
Continues reading both sides...
Ela slowly disconnects the electrical plug from the side of
the ignition coil -- as it UNCLIPS!
... he REALLY likes it. Smiles. He turns the page again,
going on to read more...
She slides the ignition coil out of the slot with ease. She
looks at it with a devilish smile...
But as Christopher continues looking down onto the page, his
smiles drops. A moment of realization...
But as Ela continues looking down onto the ignition coil, her
smile drops. A moment of realization...
...he likes it TOO MUCH. He instantly turns the page again,
searching vigorously.
...she didn't think this through. Her guilt begins to set in.
She looks around with haste, trying to find a place to hide
it.
28.
PULL BACK -- As Christopher rifles through the pages, trying

so desperately to find something wrong...
CAR ENGINE POV -- Ela looks back down at the car engine,
hyperventilating with shame, as she--
--CHUCKS the ignition coil into the toolbox--
--SHUTTING the hood CLOSED--
--CUTTING TO BLACK!
END INTERCUT
INT. DARKNESS
Tied down to a chair, a crazed Christopher wears a
STRAITJACKET, staring at us.
A lustful grin slowly stretches across his face.
EXT. BACK GARDEN - MORNING

A piece of LOG sits on a stump. Sunlight glistens onto the
mossy bark.
Christopher stares in dismay, waiting for the--
--AXE STRIKING down onto the log -- SPLITTING in two!
Christopher blinks attentively, like he had just been awoken
from a nightmare.
Ela lifts her mighty axe from the stump, exhaling with
relief. Looks at Chris, with a hopeful smile.
Behind them sits the house. Backdoor left ajar. Large porch
out front. Garden itself is well-cared for, with flowers
blooming and tall fences neatly painted.
ELA
You really think so?
He gulps, sitting to the side like a cowardly schoolboy. He
sits up properly.
CHRISTOPHER
Yeah, it's... good.
(struggles to say it)
Really good.
Ela waits, expecting something else.
29.
ELA
Is that it?
CHRISTOPHER
(insulted)
What do you mean "Is that it"? I
just said, it's really good.
ELA
And you had no other thoughts on
it, whatsoever?
CHRISTOPHER
Well, what else do you want me to
say? For a guy that doesn't even
like romance, it was a pretty good
fucking romance! I mean, the book
itself was well-written, the
narrative was solid and it had this
feeling of um... Authenticity.
Ela perks up, as she picks up on one word.
ELA
Authenticity? What makes you say
that?
Christopher pauses, attempting to decipher his impulse for
the word... but he can't figure it out.
CHRISTOPHER
I don't know. I couldn't quite put
my finger on it.
Ela processes it, slowly nodding. Her smile drops again. She
turns her back against him, seemingly disappointed.
ELA
Well, thanks for reading it anyway,
Chris. I'll make sure to use your
notes for any improvements on it.
She grabs another log from a large PILE, placing it onto the
stump...
CHRISTOPHER
My notes?
...grips her axe...
ELA
If you don't have any, it's fine. I
guess I was just hoping for some
different kind of response.
30.
...raises it high in the air...

CHRISTOPHER
Of what kind--?
--SLAMS the axe down onto the log -- SPLITTING the log into
two -- WEDGING it stuck inside the stump!
Christopher observes a frustrated Ela, as she takes a moment
to catch her breath.
She gives up on the axe, leaving it planted in the stump.
ELA
(winded)
I don't know. Maybe I just had my
hopes too high.
Ela takes in the scenery, thinking. Christopher notices her
pensiveness, trying to match her eyeline.
CHRISTOPHER
(forced)
You um... you okay?
ELA
Yeah, I'm...
(reassures herself with a
smile)
... I'm okay.
Ela looks away again, as her smile quickly disappears.
Chris nods back, gritting his teeth with frustration, still
fixated on another thought.
INT. ELA'S HOUSE - KITCHEN - DAY

Decorative and tidy. Window looks out onto the clouded
garden. Fruit bowl, filled with fresh red apples, and a radio
sit on the counter top.
Ela and Christopher stroll in through the back door.
Something appears to be on Christopher's mind, bugging him.
CHRISTOPHER
So, what now?
ELA
Well, why don't you start packing
up your bags, while I put this
away--
31.
CHRISTOPHER
(passive-aggressive)
--that wasn't what I meant.
Ela stops. Turns to him, sensing his tone.
ELA
What was it you meant?
CHRISTOPHER
The book, Ela. The golden egg
you're sitting on.
Ela sighs. She puts the basket down onto the counter top.
ELA
I don't know... I haven't really
thought about it.
Christopher squints his eyes with disdain.
CHRISTOPHER
I'm sorry, you haven't thought
about it?
ELA
Look, I didn't expect this to be
any good, alright? I thought it'd
be... mediocre at best.
CHRISTOPHER
So, what? You're just gonna let it
sit on a shelf and collect dust?
ELA
Chris, I-I... why does it even
matter to you?
Christopher sighs, irritated.
CHRISTOPHER
Why? Why? Ela, I just spent the
entire night, sacrificing the time
for writing my book, in favour of
reading your book.
ELA
Hey, I didn't expect you to read it
all in one night, did I?
CHRISTOPHER
Then what else did you expect me to
do? Skim it in a few minutes and
give a half-arsed response?
32.
ELA
I was expecting you to just stay
longer and read it!
CHRISTOPHER
No. I am not staying longer. I have
work that awaits me.
ELA
And why can't it await here?
CHRISTOPHER
Because I need my own space.
ELA
And as if the bedroom isn't enough
space?
CHRISTOPHER
Ela, I am not staying.
(beat)
Got that?
Ela looks him in the eyes, holding back her tongue.
ELA
You know what, if you don't want to
stay around, then what do you want
me to do with it then?
CHRISTOPHER
Oh, I don't know? Put it out there.
Get some eyes on it. Do something
with it.
Ela sighs to herself.
ELA
Look, right now, it's just not
really a priority of mine.
Christopher reacts almost offended by that comment.
CHRISTOPHER
What are you talking about? Writers
would kill to have a book like
this, and you're telling me that
this isn't a priority?
Even Ela is starting to feel tested.
ELA
No, it's not a priority.
33.
CHRISTOPHER
It's not?
ELA
No, it's not.
CHRISTOPHER
And why not--?
ELA
--because why should I waste my
time on something that ends up as
invaluable as tissue, when I could
spend it on something more
meaningful with my life? Not
everything in the world has to be
about writing, Chris.
(beat)
Got that?
Checkmate. Christopher look down at the floor, submitting to
defeat. He can't bear looking Ela dead in the eyes.
CHRISTOPHER
I'm gonna go pack my things.
Christopher walks away from Ela, heading straight into the
corridor.
Ela watches him, standing strong, hands on hips...
...until Christopher disappears upstairs.
Ela breaks formation, quickly taking recovery, drawing a deep
breath. Her eyes bulge red, on the verge of tears--
--but she rubs them away. She reaches down into her pocket--
--taking out a HIP FLASK. Ela opens the cap, glugging away
her misery.
INT. GUEST BEDROOM - DAY

Sun-lit room. Suitcase sits on the bed, almost packed to the
brim. Christopher stuffs in his toothbrush.
He surveys the room. Nothing left to put in.
Christopher closes the case. Zips it shut.
He carries it all the way over to the door -- dropping it
with a THUD. Heavy sigh.
34.
He looks back around, having a final check. Desk is clear.

Bookshelf is organized. His eyes meet with the bed...
...catching sight of Ela's black-cover book, sitting on the
edge of the bed.
Beat.
An eery DRONING noise kicks in. Christopher can't stop
staring for some reason...
...until he slowly lights up with an unprecedented sense of
excitement, grinning. He approaches the bed, oddly ABSORBED--
--suddenly, WE SEE: the woman sat on the edge of the bed,
legs crossed, staring up at Christopher with a seductive
smile.
He doesn't utter a single word, stuck in a trance, standing
over her like a goatish teen.
She uncrosses her legs, slowly spreading them apart.
Christopher glances down, hypnotized with a great SMILE,
practically drooling with pleasure.
His hand reaches down and touches the woman's leg, caressing
her smooth skin.
The woman softly smiles -- as her eyes ROLL BACK--
--GRABBING Christopher's hand and pushing it in-between her
thighs!
Chris doubles down, as his hand reaches further -- breathing
HEIGHTENS -- eyes ROLL BACK with ECSTASY -- head TILTS BACK--
--with BLACK DROOL GURGLING from his GRINNING mouth! He
closes his eyes, letting his mind drift.
SUNLIGHT becomes INCREASINGLY BRIGHTER and COLDER -- FLOODING
the room with a WHITE LIGHT -- SILHOUETTING Christopher in
BLACK -- SHAKING like an EXCITED DOG!
A TRICKLE of BLACK INK runs down his leg -- SLITHERING across
the white-lit floor and onto the walls.
Black-ink LETTERS start forming on every surface, creating
cohesive WORDS.
Christopher opens his eyes. He stares around, perplexed. But
he goes with it, brightening up with a smile---
--as the writing CONSUMES the walls--
35.
--CUTTING TO BLACK!
INT. DARKNESS
Spotlight SWITCHES ON -- SHINING down on Christopher, WHIP in
hand, and the woman, down on all fours like a dog.
His eyes meet with the whip. Then with the woman. He puts two
and two together -- delighted with excitement--
-- as Christopher STRIKES DOWN -- LASHING the woman with all
his FORCE!
She INAUDIBLY CRIES out, either in pain or excitement -- as
Christopher winces with struggle.
Lash. Whip. Thrash. He keeps going...
...as he begins to SMILE, gaining a sick satisfaction--
SMASH CUT TO:
INT. FOYER - DAY

Front door opens. Ela carries in a woven-basket of chopped
logs, kicking the door shut. She walks in...
...as Christopher lugs his suitcase down the stairs,
exhausted.
Ela watches him, looking guilty.
ELA
Hey, Chris, you got a sec'?
Christopher reaches the bottom of the stairs, catching his
breath.
CHRISTOPHER
Not really.
Ela gulps, still trying to engage in conversation.
ELA
Look, I just wanted to apologise
about... whatever that was...
Christopher ignores her out of pettiness, shifting his
attention elsewhere...
36.
ELA (CONT'D)
...I just feel that I have some
more... personal reasons about this
thing...
...until his attention slowly shifts towards the--
CLOSE ON KEYRACK -- All the keys hang up nicely -- except for
Christopher's set. Missing.
ELA (CONT'D)
...and right now, being some
massive writer isn't what I want.
Christopher pats down his pockets. Nothing. He looks at the
entryway table. Nothing sits on top. He thinks...
ELA (CONT'D)
So, can we just act like that
didn't happen? You know? Let
bygones be--
--until he speeds into the living room, leaving Ela mid
sentence. She stops, watching him. She follows him into:
INT. LIVING ROOM - DAY

Christopher crawls around the carpet, scanning around for his
keys. Ela just watches him, bewildered.
ELA
(humoured)
You good there?
Christopher gets back on his feet, brushing his hair back.
CHRISTOPHER
Have you seen my...
He stops mid sentence, walking over to the armchair, looking
underneath the pillow. Ela looks back at him, waiting.
ELA
Your what?
CHRISTOPHER
My-my, um.... whatcha-ma-call it...
Christopher stops, trying to think about his words.
CHRISTOPHER
(still anxious)
...my keys. That's it.
37.
Ela's face subtly lights up with panic. She hides her

reaction from Christopher.
ELA
Are they not on the key rack?
Ela treads towards the Kindle basket, thinking to herself.
CHRISTOPHER
Where do you think I first checked?
Christopher checks the fireplace mantle, picking up the bible
and looking behind. Ela watches him, nervous.
ELA
You need me to help?
CHRISTOPHER
Would be helpful.
Ela nods at him, putting down the basket of logs. She slowly
walks to the door...
...before quickly scurrying out, as she gets closer.
Christopher looks around the mantle. Nothing. He looks down
at his hand...
...as he holds the bible. He looks down at it, curious.
INT. GARAGE - DAY

Sunlight streams in through the windows. Ela dashes in,
looking about--
--as she SPOTS the toolbox, tucked away. She walks over to
it, pulling it out.
She opens the toolbox, finding: Tools, Christopher's keys --
and the ignition coil.
Ela winces, faced with the coil, before taking out the keys
and--
--INSTANTLY shutting the toolbox lid.
INT. LIVING ROOM - DAY

Christopher leans against the mantle, as he reads the bible
with great interest--
--as Ela RUSHES in, panting.
38.
ELA
I've got the keys!
Christopher doesn't even look up.
CHRISTOPHER
(blunt)
Thanks.
He turns the page.
Ela watches him, relieved. She puts the keys in her pockets.
Walks over to Christopher, as he reads the bible.
ELA
So, have you taken an interest in
the Lord's words?
Christopher seems way too entranced by the book to notice Ela
listening.
CHRISTOPHER'S POV -- He reads a line from the bible: "Then,
after desire has conceived, it gives birth to sin; and sin,
when it is full-grown, gives birth to..."
ELA (O.S.)
Hello?
Christopher looks up properly. He clears his throat.
CHRISTOPHER
No, no. Nothing like that. Just...
He glares back down at the bible.
CHRISTOPHER'S POV -- Reads the final verse again: "...sin,
when it is full-grown, gives birth to death."
CHRISTOPHER
(gulp)
...what a fiction.
EXT. FRONT OF ELA'S HOUSE - DAY

CAR BOOT POV -- Opens. Christopher pulls his suitcase up,
chucking it inside the boot.
Christopher dusts his hands off, sighing in exhaustion...
...he takes a quick glance around. Just the GREY SKIES that
loom above. Nearly time for rain. And no one is around.
39.
Sneakily, he leans into the boot, digging for the suitcase

pocket. Christopher unzips it open--
--taking out ELA'S BOOK. He looks at it, grinning
cunningly...
...before the grin disappears. He bites his lip, as a hint of
guilt seeps in--
--but he shakes his head to himself, trying to forget it.
ELA (O.S.)
Chris?
Christopher QUICKLY turns towards the front door -- as Ela
steps out, approaching him. His face lights up into PANIC!
He turns back to the suitcase -- FRANTICALLY trying to stuff
the book back into the pocket.
CHRISTOPHER
U-uh... yeah, what? What is it,
Ela?
He gets it in -- ZIPPING the pocket shut. A sigh of relief.
Ela walks up to him, smiling at Christopher. But she notices
his pale face.
ELA
You okay?
Christopher puts his hands on his hips, smiling nervously.
CHRISTOPHER
Y-yeah. Just... what are you doing
out here?
ELA
Well, you're going, right?
CHRISTOPHER
Of course. At least I'll be out of
your hair now.
Ela smiles, entertained -- but almost in a smirky manner.
ELA
(jokingly)
Yeah, good riddance. Be gone!
CHRISTOPHER
I shall indeed.
40.
They both laugh together...

...until it draws out into a long, uncomfortable silence.
They look each other in the eye, holding back.
ELA
You reckon we'll meet again?
Christopher doesn't seem too certain.
CHRISTOPHER
Hopefully. It just depends on
whenever I'm next free.
ELA
Well, I'm free whenever. So, you
know... just say the word.
Christopher smiles, but almost in a smirky manner.
CHRISTOPHER
I will. Thanks, Ela.
ELA
No, thank you.
Ela holds her arms out for a hug. Christopher hesitates...
...embracing her with open arms.
Ela closes her eyes, hugging him tightly, making the most of
it. Christopher gives her a dismissive pat on the back. They
let go.
Christopher has something else to say.
CHRISTOPHER
And um... I wish you the best of
luck with the book. Honestly, I
know plenty of agents who would
love to have a book like that.
Ela smiles, slowly nodding, dwelling on his words.
INT. CHRISTOPHER'S CAR - DAY

CLOSE ON IGNITION LOCK -- Christopher goes to put the key in,
as it pokes around the edge, missing -- until he slides the
key into the slot.
Christopher takes a deep breath. He looks up and out the
driver-side window:
41.
EXT. FRONT OF ELA'S HOUSE - CONTINUOUS

Ela stands in front of the front door, hands behind back. She
watches, putting on a sweet, innocent smile, waving back.
INTERCUT WITH CHRISTOPHER/ ELA
Christopher smiles, waving too. He looks down at the wheel.
But without him looking, Ela's innocent smile devolves into a
cunning smirk.
Christopher puts his hand over the keys in the ignition lock,
gripping it.
CLOSE ON ELA'S BACK -- She puts her hands behind her back,
slowly crossing her fingers together.
Christopher turns the keys--
--as the car engine continuously CLICKS -- with the SOUNDS of
WHINING SCREECHES ECHOING into the open air...
...across the surrounding rural plains.
Ela bites her lip nervously, as she watches with intensity.
Christopher unturns the key, pausing for a moment.
He stares around at the dashboard, quizzical. He bites his
lip.
CHRISTOPHER
(under his breath)
No, no, no... don't fucking do this
to me.
He turns the key again--
--as the car further makes WHINING SCREECHES...
END INTERCUT.
INT. CHRISTOPHER'S CAR - CONTINUOUS

...before Christopher stops, groaning to himself in defeat.
EXT. FRONT OF ELA'S HOUSE - CONTINUOUS

Ela scratches her head, worried, until--
42.
--Christopher's car door opens slowly. He gets out, also

worried. He takes a good stare at his car hood, thinking...
...before looking back at Ela, smiling.
CHRISTOPHER
I might need your expertise here...
MOMENTS LATER
CAR ENGINE POV -- Opens. Christopher and Ela peer in,
assessing the damage.
But Ela keeps giving Christopher a nervous glance, poorly
hiding it.
CHRISTOPHER
So... what do you think?
Ela gazes around the engine, playing dumb.
ELA
Um...
ELA'S POV -- Aimlessly looking across a series of cables,
wires and motors -- until she LOCKS ONTO the missing ignition
coil.
ELA (CONT'D)
...I d-don't really know, Chris.
CHRISTOPHER
You sure? Like, I mean, you said
you know cars.
ELA
Well, I've repaired my dad's old
car a couple of times but... this
is a whole new car.
Christopher looks down at the engine again, pouting, taking
it seriously now.
ELA (CONT'D)
But you know, maybe you could come
back inside, and we could figure
this--
CHRISTOPHER
--what's that?
Ela pauses. She tries to match his eyeline.
43.
ELA
What's what?
Christopher points down...
...at the missing ignition coil slot.
CHRISTOPHER
That. Looks like something should
be there, right?
Ela gulps.
ELA
Right. Yeah. That's where the,
um... ignition coil is supposed to
be.
CHRISTOPHER
Ignition coil?
ELA
Well, yeah. Without it, the car
can't create the... juice needed to
actually run.
Christopher smile quickly disappears. He gives Ela a stern
look, as his frustration starts to build.
CHRISTOPHER
W-what are you-- are you saying
that...?
(beat)
Ela. Will this thing drive?
Ela feels the pressure from Christopher's stare.
ELA
I-I don't know. Maybe--
CHRISTOPHER
--Ela! Just give it to me
straight... can I leave?
Ela looks Christopher in the eyes...
...as she slowly shakes her head -- almost with a bit of
guilt.
Christopher stares for a moment, distraught, as he processes
it.
He stumbles back, looking around him--
44.
--at the long-stretching fields. Endless. Isolating.

He looks down, taking a deep sigh.
CHRISTOPHER
Great. This is just--
--KICKS the bumper of the car--
--fucking great! Just what I...
Christopher trails off in his words, as something comes to
mind. We can see him putting it together...
...as he turns back around to Ela. She looks back at
Christopher, smiling anxiously.
ELA
What?
CHRISTOPHER
How would I have been able to get
here... if I didn't have the coil
installed?
Ela keeps smiling, maintaining composure.
ELA
I'm sorry--?
CHRISTOPHER
--how can this piece of shit drive
here, if the ignition-thingy wasn't
installed in the first place?
Her eyes dart around in panic, thinking.
ELA
Well, um... sometimes...
Ela's eyes light up. She almost smirks to herself.
ELA (CONT'D)
...hang on a minute, didn't you say
you got this checked out the other
day?
CHRISTOPHER
What?
45.
ELA
You said you got it waxed and,
like, checked? You said it last
night.
CHRISTOPHER
I um... yeah, but that doesn't
explain--
ELA
--they probably just forgot to put
the ignition coil back in.
Christopher tries to consider Ela's theory.
CHRISTOPHER
But then how did I drive here?
ELA
As I said, the coil is what
produces the power for the car.
Maybe you just simply... drained
the rest of the battery.
Ela watches Christopher, fidgeting with her hands, awaiting
an answer. He thinks about it...
...as he gives Ela a suspecting glance. She shines back a
smile...
...as he glances at the boot of his car. Gulp.
But his eyes looks side-to-side, deciding...
...as he focus into one direction. He looks up at Ela again,
grudgingly.
CHRISTOPHER
Can I, by any chance, use that
bedroom space again?
Ela's nervous smile changes into one of pure delight.
INT. GUEST BEDROOM - DAY

Suitcase LANDS on the bed, crinkling the sheets up again.
Christopher stands over it, hiding his frustration. He
reaches for the front pocket -- UNZIPPING it.
He takes out Ela's book, staring at it. Still entranced. Yet,
he looks down at himself, guilty. Sighs...
46.
...chucking it back onto the bed.

Christopher reaches for the main zip, opening it up. Inside:
his red folder. Still filled with pages of writing.
Christopher glances back at Ela's book, as the thought comes
back to him--
--KNOCK-KNOCK! Christopher SNAPS out of it, turning to the
door.
CHRISTOPHER
Um... yeah. Come in.
Door opens, as Ela peeks inside.
ELA
Sorry, could I ask for the book
back?
CHRISTOPHER
You need it?
Ela raises an eyebrow.
ELA
Does it matter?
Christopher thinks about it. Fair enough. He picks up the
book, handing it over to Ela.
ELA
Thanks.
Ela leaves the room, shutting the door after her.
Christopher huffs to himself, looking back at his folder.
INT. ELA'S BEDROOM - DAY

Sunlight streams inside the room. Ela strolls in, holding the
book...
...as she walks over to her safe. Inputs the code: "6-1-1".
Opens up the safe...
...as she puts the book on top of the thick blanket of dust.
She goes to close the safe -- but STOPS herself. Glances back
inside:
The book sits on the safe shelf, essentially collecting dust.
47.
Ela thinks about it. Looks back behind her, out into the
corridor -- towards Christopher's door.
She sighs to herself.
EXT. GARDEN PORCH - DAY

Oversky grey clouds reduce the sunlight to a dull darkness.
Ela relaxes in her garden chair, smoking a cigarette, soothed
by the downpour of rain onto the lawn.
An empty chair sits next to her.
Christopher steps out of the backdoor, taking a seat next to
Ela.
He watches the menacing rain, entranced.
CHRISTOPHER
Could we call for a fixer?
ELA
Out here? Takes a few days.
CHRISTOPHER
What about taxis? Trains, even?
ELA
And leave your "beauty" behind?
Christopher sighs, nodding.
CHRISTOPHER
Fixer, it is.
Christopher calms down, watching the rain again...
...as Ela joins him, looking out herself. Listening to the
pattering of rain.
CHRISTOPHER
What do you actually do for a
living?
ELA
Inheritance.
CHRISTOPHER
Oh. So not much of a living then.
ELA
Says you. You were born into it.
48.
CHRISTOPHER
At least my parents worked their
business to leave me something.
ELA
At least my dad worked as a painter
to leave me something.
Christopher nods. Fair enough. But he turns back to Ela,
picking up on what she said.
CHRISTOPHER
Your dad was a painter?
ELA
You know the painting in the living
room?
CHRISTOPHER
Of your dad?
ELA
It was a self-portrait.
Christopher turns to Ela, surprised.
CHRISTOPHER
Wow. Now, that is some serious
artistry skills.
ELA
Thanks. Always tried to tell him
that.
Christopher picks up on her comment, looking at her. Ela
stares at the painting, dispirited.
CHRISTOPHER
What was he like?
Ela looks at Christopher with a solemn glance. She thinks
about it, clenching onto her necklace...
INT. LIVING ROOM - DAY (FLASHBACK)

Golden sunlight shines down onto a record player, crackling
out 50s SLOW DANCE MUSIC -- something like "Only You (And You
Alone) - The Platters".
CLOSE ON -- The brown leather shoes, from the shoe cupboard,
worn by a man, with another pair of feet, smaller, standing
atop. They move around, dancing together.
49.
These are the feet of CHILD ELA (8) and Jean-Luc Tardieu,
dancing together. They smile at each other, watching their
stepping.
Ela giggles with delight, trying not to slip.
Jean-Luc quietly sings the song to himself...
...as Ela listens to his voice. Closing her eyes. Happy.
EXT. GARDEN PORCH - DAY

...but Ela lets go of the necklace, clicking her tongue.
Looks back at Chris.
ELA
He was a man of love for me and his
art... and yet, not one bit of love
for himself.
CHRISTOPHER
At least he had the art going for
him, right?
ELA
Well, when I went to college with
you, all he had was art, yes. But
when he couldn't love his art...
what was left to love?
Christopher processes it, almost like it spoke to him
personally. He thinks...
...before turning back to Ela. Tapping her on the arm.
CHRISTOPHER
Hey.
(off Ela's attention)
At least he had you.
Ela smiles back, touched...
...before another thought fleets her mind: guilt. She looks
out.
ELA
But he didn't.
(looking at Christopher)
And that's the mistake I won't make
again.
Ela takes a drag from her cigarette, looking back out at the
rain.
50.
Christopher sighs. Looks back out too...

...until he reaches his hand out to Ela, gesturing for the
cigarette.
Ela takes notice, passing it over.
Christopher takes a long drag from the cigarette, thinking
heavily to himself.
Ela watches him -- with a slow smirk growing on her face.

Near pitch-black. Ela rests in bed, still holding that soft
smirk on her face...
...until her eyes open. Something is bothering her. She looks
at the door...
...as light peers through the outline of the door frame. The
lights are on outside.
She looks at it, confused. Reaches for her bed lamp, pulling
down on the cord--
--CLICK! It turns on. She gets out of bed, walking to the
door.
INT. FOYER - NIGHT

Ela descends the stairs, checking every corner. Almost
concerned...
...as she SPOTS light streaming out from the living room.
Flame-like. Possibly the fireplace.
She reaches the bottom of the stairs, turning into:

And sure enough, the fireplace is lit. Armchair sits in front
of it, with Christopher sat inside, watching the fire.
Ela walks in, staying cautious.
ELA
Chris? Everything okay?
Chris turns his head to the side, still keeping his eye on
the fire.
51.
CHRISTOPHER
Five minutes.
ELA
What?
CHRISTOPHER
Five minutes. That's how long it
takes for a decent amount of pages
to burn.
Ela walks up to Christopher, staring into to fire herself...
ELA
Or a good book, by the look of it--
--but she SEES Christopher's pages of writing -- BURNT to a
crisp. Nothing but ash.
She turns to Christopher. He feels the glance.
CHRISTOPHER
I give up.
ELA
B-but... why?
CHRISTOPHER
What's the point? I'm no writer, am
I?
ELA
Now, that's just bullshit. There's
a reason why you're a bestseller--
CHRISTOPHER
--and that's just bullshit too. All
of it. I just... I can't.
A tear runs down Christopher's cheek. Ela notices -- as she
GRABS a stool -- DRAGGING it over to Christopher.
ELA
Chris. What's going on with you?
I... Something's not right.
(grabs his hand)
Look... I get that this is about
your wife, and--
CHRISTOPHER
--you wanna know how I wrote my
first book?
Beat. Ela looks at him, confused.
52.
ELA
Sorry?
CHRISTOPHER
How I wrote it. You wanna know?
Ela thinks... as she nods. Letting him proceed.
Christopher takes a deep sigh.
CHRISTOPHER
I'll admit... things weren't
perfect between us. Never was.
BEGIN FLASHBACK:
INT. CHRISTOPHER'S LIVING ROOM - DAY

Golden sunlight fills the room with a soothing aura.
CHRISTOPHER'S POV -- Sat on a sofa. Opposite him, KATHERINE
ANDERSON (24), blonde, sweet-looking, joyful, reading a book
to herself, legs lounging across Christopher's lap.
CHRISTOPHER (V.O.)
I liked her for... the way she made
me feel.
Katherine peek over her book, looking at US -- Christopher.
She grins warmly.
CHRISTOPHER (V.O.)
She was simple, I guess. I needed
that.
INT. OFFICE CORRIDOR - DAY

Blue carpets. Beige blinds covering the large stretch of
windows. Cleanly. Just vacuumed.
Christopher sits on one of many chairs, all aligned against
the wall and down the corridor. He holds a briefcase in his
lap, watching something in front of him...
CHRISTOPHER (V.O.)
But things began to strain for a
while...
53.
INT. HEAD OFFICE - CONTINUOUS

THROUGH THE WINDOW -- Christopher sits outside, staring in--
--as a PAIR OF HAND shake -- one wrinkled and the other with
nail varnish.
CHRISTOPHER (V.O.)
...with her wanting a job and such.
INT. OFFICE CORRIDOR - CONTINUOUS

THROUGH THE WINDOW -- Katherine, suited up, converses with an
ELDERLY MAN (late 50s), also suited, smiling and laughing.
CHRISTOPHER (V.O.)
It was great for her, I suppose...
Christopher watches intently -- jealous.
CHRISTOPHER (V.O.)
...or at least, that's what I said.
INT. KATHERINE'S CAR - DAY

Still sat in the car park. Christopher tries to argue with
Katherine, but she doesn't even look at him. Not taking any
of it.
CHRISTOPHER (V.O.)
And, you know, I kept telling her:
(synchronous with
Christopher on-screen)
"Katherine, I-- we have the money!
You don't need it."
Katherine shakes her head to herself, ignoring Christopher.
He stares back, irritated.
CHRISTOPHER (V.O.)
Course, she pursued it. Ignoring
me.
INT. CHRISTOPHER'S BEDROOM - DAY

Christopher sits at his writing desk, pen to the paper. Yet,
not writing a single word. Still thinking.
CHRISTOPHER (V.O.)
And I just...
54.
He gets up from his chair, walking out of the room -- OUT OF

FOCUS.
CHRISTOPHER (V.O.)
...on top of not being able to
write a good book...
THROUGH THE DOOR -- Christopher stands in the corridor, hands
on hip. Katherine walks up to him, putting a hand on his
shoulder. Comforting him.
CHRISTOPHER (V.O.)
...it just built up into this
thing. This, this...
MATCH CUT TO:
INT. CHRISTOPHER'S BEDROOM - NIGHT

Christopher and Katherine stand apart in the corridor,
arguing INAUDIBLY. Throwing hands and gestures around. This
is not a pretty fight.
CHRISTOPHER (V.O.)
...implosion of anger-- from her
and myself. We argued and bickered
like dogs. It was madness from her.
END FLASHBACK.
INT. ELA'S HOUSE - LIVING ROOM - NIGHT

Christopher sinks his head into the armchair, still going.
CHRISTOPHER
And so, she... she said she was
going for a drive. Needed a break,
or whatever. And you know what I
said?
ELA
What did you say, Chris?
CHRISTOPHER
I told her to fuck off. Told her
she was a, um... a "self-entitled
bitch". And I... I guess I really
meant that...
BEGIN FLASHBACK:
55.
INT. CHRISTOPHER'S HOUSE - KITCHEN - NIGHT

CHRISTOPHER'S POV -- Nothing but Katherine's reaction: pure
distraught. Like her world had just crashed down and smashed
into a million pieces...
...as she drops to her knees. Swelling up with tears.
CHRISTOPHER (V.O.)
...because she cried...
She looks around: dimly-lit. Glasses smashed across the
ground. Pictures scattered around. A miserable wreck...
...with Christopher standing over Katherine, still
hyperventilating. Almost processing his own words...
...as Katherine breaks into a sob. Crying a river.
CHRISTOPHER (V.O.)
...broke down, and just, well...
Katherine lifts her head, looking up at -- the cupboards.
She SHOOTS up -- DASHING over to the cupboards. Swings the
cupboard door open--
--REVEALING a STASH of BOOZE. She GRABS it all.
CHRISTOPHER (V.O.)
...she grabbed all the alcohol we
had...
Katherine cradles the bottles in her arms, carrying them out
of the kitchen. Christopher walks after her, still bitter.
CHRISTOPHER (V.O.)
...ran for the car, and just...
EXT. CHRISTOPHER'S HOUSE - NIGHT

Practically a mansion. Gravel driveway. Tall pine trees
surround the place.
Katherine gets into the car, shutting the door closed...
...as Christopher stands by the front door, watching, arms
folded.
CHRISTOPHER (V.O.)
...she drove off. But did I stop
her...?
56.
Car STARTS up -- as the RED brake lights illuminate

Christopher's face: bitter and irritated.
CHRISTOPHER (V.O.)
Nope. I just let it happen.
Car pulls out of the driveway. Chris turns back around,
walking inside...
CHRISTOPHER (V.O.)
And then... and then... when I
heard the call-- I mean, I was
just...
...shutting the door closed.
END FLASHBACK.

Christopher hesitates for a long pause...
...with more tears streaming down his face. Ela strokes his
shoulder, comforting him.
ELA
Chris, you can't blame yourself
for--
CHRISTOPHER
--I was so happy.
Ela stops herself. What? She gives him a second glance.
CHRISTOPHER
I was so fucking happy. Because,
for the first time in, I mean
forever... I finally had a story.
Ela slowly pulls back, taken aback -- letting Christopher
keep going.
CHRISTOPHER
I-I mean--- I had it! The conflict,
the tension... and the climax.
INT. CHRISTOPHER'S HOUSE - KITCHEN - DAY (FLASHBACK)

Rotary phone, hanging from the cord, swings back and forth...
...as WE HEAR frantic scribbling against a hardwood table.
57.
CHRISTOPHER (V.O.)
And so I wrote...
Pages of lined paper lay scattered across the room. Smashed
plates and broken glass litter the floor...
CHRISTOPHER (V.O.)
...and wrote...
...coated with BLOOD. But the trail gets BLOODIER...
CHRISTOPHER (V.O.)
...and wrote....
...as we get closer to REVEAL -- Christopher, leaning over
the kitchen counter, as his hand jolts vigorously on the
table, excited.
CHRISTOPHER (V.O.)
...until I finally had it.
He raises his hand in the air -- SHAKING a PEN -- as he
lowers it back down -- as he WRITES, WRITES AND--

Christopher slowly grins to himself, reminiscing.
CHRISTOPHER
Took me an entire night, and there
it was. In my hand. Finally there.
ELA
W-what about your wife?
Christopher turns to Ela. Scoffs. Almost amused.
CHRISTOPHER
What, Katherine? Please. Shed a few
tears at the funeral, and people
buy it.
ELA
B-but--
CHRISTOPHER
--but that's not the point of the
predicament here, Ela. The problem
I have is that... I don't have
anything to write. Nothing. Nada!
(leans forward)
And I feel like this is it.
(MORE)
58.
I have nothing else to give as a
person. I just... I don't know how.
Ela looks at him, both with endearment and discomfort. She
gulps. Goes to say something, deep from the heart...
ELA
Art is merely one's confession to a
masqueraded secret.
Christopher softly chuckles to himself, almost in disbelief.
CHRISTOPHER
Let me guess: another one of you
French quotes?
ELA
Actually, it's an Ela quote.
Christopher stops smiling -- now interested. He leans back,
listening to Ela.
ELA
The reason why artists fail to
create anything for themselves is
because they have nothing to say.
Nothing to put forward. Nothing to,
as I said... confess.
CHRISTOPHER
And that's what you had with your
book?
ELA
Well, yeah. I had... something to
say. A secret, if you will.
CHRISTOPHER
And what was that secret?
Ela bites her lip, cradling her necklace, yet disheartened,
looking down...
BEGIN FLASHBACK:
INT. FOYER - DAY

Darkness. Front door opens. Ela wheels in her suitcase,
looking around with a wide smile. She closes the door.
Ela turns the lights on -- REVEALING the same interior as we
saw before.
59.
She walks through, looking about. But one thing is missing:

the red-covered painting.
Ela puts down her suitcase, looking around.
QUICK CUTS -- Ela looks into the dining room: nothing; she
looks into the kitchen: nothing; she looks into the living
room...
...she stops. Her jaw drops. She can barely move. She steps
into:
INT. LIVING ROOM - CONTINUOUS

A pair of feet, brown leather shoes, dangle above the ground.
Dried blood sticks to the trousers.
Ela slowly approaches, with tears streaming down her face.
She looks down below the feet--
--as a canvas lays underneath, covered in dried blood. Now a
finished work of art.
Ela gasps in horror, putting her hand over her mouth. She
takes a moment...
...as she looks up. Unable to take her eyes off it. Feet
dangling in front of her.
END FLASHBACK.

Ela lets go of the necklace, looks back up, shaking it off.
Looks at Christopher, smirking.
ELA
Wouldn't be much of a secret if you
knew, would it?
CHRISTOPHER
You're right. Yours to keep.
Christopher sighs to himself, as he looks around.
CHRISTOPHER
I reckon I'll just sleep it off for
the night. After all, writing is
all I have.
Christopher gets up from the armchair--
60.
--as Ela watches him walk away, fiddling with her necklace,
gritting her teeth with a thought -- as she SPITS it out:
ELA
Chris, can I ask you something?
Christopher stops mid-pace. Sigh. He turns back to Ela,
agitated.
CHRISTOPHER
What?
ELA
Well... you know that thing you
were talking about earlier?
CHRISTOPHER
What thing?
ELA
The, um... the agent thing. Just
before you were trying to leave.
Christopher tries to recall, as it slowly comes back to him.
CHRISTOPHER
Um... yeah. I think I... Yeah, I
remember. They'd love your book--
ELA
--and that's what I was going to
ask. See, I don't know anybody
outside this area, let alone any
literary agents.
CHRISTOPHER
No shit. The Frankenstein's house
aesthetic says enough.
Ela laughs it off -- before getting real. This is important
to her.
ELA
But Chris... you know them.
Christopher already sees where this is going, and he doesn't
like it.
ELA (CONT'D)
So, it got me thinking and, well...
I can't just keep sitting on this
thing like nothing. Which is why I
want you to help me get this book
published.
61.
Beat. Christopher can feel the shotgun wound to his foot.

CHRISTOPHER
I-I'm sorry?
ELA
Well, if you can get this under the
right eyes--
CHRISTOPHER
--Ela, that's not how it works--
ELA
--then how does it work, Chris?
He scrambles for excuses, stumbling in his words.
CHRISTOPHER
Well, y-you... you're supposed to--
ELA
--is it something to do with my
book?
CHRISTOPHER
Ela, no. Your book is fine. It's
just... do you really need to go
all-in already?
ELA
Chris, it's all-in or no-in. And if
anybody can help, it's you. That
way, you can stay around a bit
longer, and you can help me out.
Christopher wrestles with the decision. He scratches his
head, really thinking...
...but he gives in.
CHRISTOPHER
Maybe, I could... pitch my agent
your synopsis. How does that sound?
Ela shoots up with pure ECSTASY!
ELA
O-okay, that sounds great--
CHRISTOPHER
--but that also means I don't want
you being disappointed with any
feedback he might give, since... he
can be pretty hard to impress.
62.
INT. OFFICE - AFTERNOON

Louis swings around in his chair, ear glued to the phone,
dazzled.
LOUIS
I never thought I'd say it, Chris,
but... I'm impressed!
INT. GUEST BEDROOM - AFTERNOON

Christopher, head in hand, listens to those disheartening
words through the phone.
CHRISTOPHER
You are?
INTERCUT WITH LOUIS/ CHRISTOPHER
LOUIS
Yeah, well, I'm not much of a
romance guy myself, but this-- this
story we have here sounds
incredible! And it's from a woman's
perspective, right?
CHRISTOPHER
Yep.
LOUIS
Even better! Diversity. This is
exactly what the market needs,
Chris.
CHRISTOPHER
(annoyed)
Happy to hear that.
LOUIS
And you said it's called "The
Inspiration"?
CHRISTOPHER
Yeah. That's what it's called.
Louis leans forward, jotting down some quick notes.
LOUIS
Interesting choice. Say, how did
you come up with something like
this anyway?
Beat. Christopher sits up, confused.
63.
CHRISTOPHER
Wait, what are you talking about?
LOUIS
This idea of yours. Where did you
get "The Inspiration" from?
Christopher laughs it off.
CHRISTOPHER
No, Louis, you got it wrong. I
didn't...
He stops himself. Hold on a minute... He finally has a moment
of epiphany...
LOUIS (O.S.)
Chris? Hello?
A slow grin cements across his face. The adrenaline is
kicking in -- as his foot TAPS-TAPS-TAPS on the carpet floor.
CHRISTOPHER
Sorry, I um... line cut out. I was
just saying that... I didn't really
have an inspiration.
LOUIS
Interesting. Well, let's say this:
get it done for Monday and, well...
we could have another hit here.
CHRISTOPHER
That's great, Louis. I... I will.
LOUIS
Good to hear. Talk soon.
Line DISCONNECTS -- as Christopher smiles to himself
cunningly, slowly putting the phone down.
He sniggers to himself quietly, as he thinks about it more
and more...
...with a cunning grin.
MATCH CUT TO:
INT. GUEST BEDROOM - LATER

Christopher, wearing his blue-striped pyjamas, rests in bed,
eyes closed -- with a big smile on his face...
64.
...until a FLICKER of ORANGE light FLASHES to his side! He

doesn't awake, rolling over...
...as we TILT UP -- SEEING Ela, red night gown, sat in the
writing chair, cigarette in one hand, flask in the other.
Watching Christopher intently -- smiling to herself.
She takes a drag. Pause. Takes a sip. Another pause.
Ela gets up from the chair, creeping out of the room -- still
watching Christopher...
...as the door CREEKS closed.

Ela sits down on the bed, finishing off her cigarette. She
puts it out in the ashtray...
...as an ANT emerges from behind the ashtray, crawling across
the bedside drawer, towards--
--the box of medicine. Ela picks it up, turning it over to
read the front: "Rohypnol".
Ela takes out the packet, popping out a BLUE PILL. She puts
it in her mouth--
--grabbing the glass of water and downing the glass.
She puts the glass down -- STRAIGHT ONTO the ant -- SQUASHING
it!
She smiles, tucking herself into bed...
...as her eyes begin to shut. Still smiling.
INT. DARKNESS
QUICK CUTS BACK AND FORTH BETWEEN:
--Jean-Luc, smiling at US, sits at a table, made for dinner.
APPLE PIE sits in the middle, knife dug inside, ready.
--Jean-Luc, face pressed against the table, dead. BLOOD
spreading out across the hardwood.
END QUICK CUTS.
Jean-Luc sits on a chair, smiling at us. Like a happy memory
of him--
65.
--until the LIGHTS MOVE AROUND -- DYING DOWN -- with nothing

but BLACK...
...before coming back up -- as lights move around behind--
--ILLUMINATING Jean-Luc, face now purple and swollen. Scar
stretching around his neck. Slumped back on his chair.
Inactive...
...as the light FREEZES. Still. Watching Jean-Luc--
--JUMP UP from his chair -- SCREAMING -- AT US--
SMASH CUT TO:
INT. ELA'S BEDROOM - DAY

--SNORING like a tiger, Ela sleeps in bed, duvet wrapped
around her, messy hair covering her face...
...as a SHADOW casts over her. Inching closer...
...with a finger prodding her shoulder. It's Christopher's
finger.
CHRISTOPHER
(whispering)
Psst. Ela?
She's too busy snoring herself away from Kansas. Christopher
sighs--
--SHAKING her awake -- as her eyes WIDEN--
--JUMPING UP in a FRIGHT-- STANDING up on the bed--!
ELA
(screams)
W-w-what the fuck!
(realises who it is)
Oh for... can I help you?
CHRISTOPHER
No, but I think I can help you.
ELA
Wha... What are you talking about?
CHRISTOPHER
I spoke to my agent about your book
and, well... he likes it.
Ela smiles, genuinely surprised.
66.
ELA
Wait... really? Th-they--
CHRISTOPHER
(acting excited)
--yes, Ela! Loved it, even.
Ela can't even comprehend it -- SCREAMING for JOY--
--JUMPING onto Christopher -- as he CATCHES her in his arms.
They embrace each other tightly, with Ela laughing
excitedly...
...while Christopher smirks to himself...
...until Ela mounts off Christopher, standing to herself,
thinking. Christopher notices.
CHRISTOPHER
What's wrong?
ELA
I... I guess I didn't expect to
feel so happy about the book.
CHRISTOPHER
Well, I know that we should be
celebrating, right?
(looking around)
Come on! Where's the book?
ELA
The book? It's um...
Ela turns around to her bedside--
--moving her Rohypnol pills aside. Christopher notices.
CHRISTOPHER
What's that?
Ela crouches down to the combination lock, inputting the
code...
ELA
Those are just to help me sleep,
you know? But they have a real kick
to it sometimes.
...as Christopher secretly tries to PEEK over her shoulder,
attempting to get a good look on the safe. But he can't see
it.
67.
CHRISTOPHER
(distracted)
Right.
He grits his teeth--
--as the drawer safe opens. Ela takes out her book, showing
it to Christopher.
CHRISTOPHER
This is it, Ela. The perfect book.
ELA
And I wrote it. Can you believe it?
Christopher stares at the book, absorbed...
...before looking down at the safe -- SPECIFICALLY at the
combination lock. Christopher sighs to himself.
CHRISTOPHER
Just about.
INT. KITCHEN - DAY

Christopher and Ela sit at the counter top, book sat in the
middle of them.
CHRISTOPHER
Usually, the process for this thing
often goes: agent shops it around
to publishers, publishers
potentially come back with a deal,
and then the rest is history.
ELA
And what if I get a no-deal?
CHRISTOPHER
If we get a no-deal, then... well,
you have to move on.
Ela gives a surprised look.
ELA
Just like that?
CHRISTOPHER
Just like that. Cold, but fated.
Ela nods, trying to fathom all this information.
68.
ELA
Do I call this agent of yours--?
CHRISTOPHER
--no, no, no. Let me deal with it.
Ela gives him a suspecting look... but she nods it off.
ELA
Sure. Whatever makes this easier.
CHRISTOPHER
Now, I do need to ask... have you
made any other copies of the book?
ELA
From a handwritten original? No.
Christopher smiles, almost cunningly. But he keeps it to
himself.
CHRISTOPHER
Good. At least it makes the
process... easier.
(beat)
Now, let me run you down the
process.
Ela gazes around the room, clearly uninterested. Christopher
isn't picking up on it...
CHRISTOPHER
Assuming that you pull off a deal,
we would need to tell the agent
your decision...
...until something catches Ela's eye -- the FRUIT BOWL of
APPLES. She smiles to herself, thinking.
CHRISTOPHER
...reason being, they know how to
deal with these type of things--
ELA
--how about we talk it over dinner?
Christopher doesn't seem so enthusiastic. He looks down at
the book.
CHRISTOPHER
You mean, tonight?
69.
ELA
Yeah.
(grabs an apple)
We could pick a movie together,
have some dinner, and-- I mean, I
could make us the wine and apple
pie you wanted.
CHRISTOPHER
But if we get this out of the way
now--
ELA
--we could even have a few drinks!
Christopher seems ready to refuse -- until he stops himself.
A new thought brews in his mind.
CHRISTOPHER
What, and let slip of another
secret of yours?
ELA
Oh, come on! That... thing was a
one-time thing.
CHRISTOPHER
(smirks)
Well, it's like that thing you
said: a drunk mind speaks a sober
heart, right?
ELA
Right. And who knows what a drunk
mind might say... or even do?
Ela takes a CRUNCHY bite into the apple, looking at
Christopher. They share a smile.
INT. UPSTAIRS CORRIDOR - DAY

Ela and Christopher dash up the stairs, both excited as each
other...
...reaching the top, standing by Ela's bedroom doorway. Ela
turns towards her room--
--before Christopher taps her on the shoulder, stopping her.
CHRISTOPHER
I was gonna ask... who's sorting
out the drinks?
70.
ELA
You mean, my drinks?
CHRISTOPHER
I just wanted to help out.
ELA
Chris, I can sort it all out.
CHRISTOPHER
And make the food?
ELA
I can also multitask.
CHRISTOPHER
You can. But all I want is to
decide on the drinks. And you know
what, I'll even set up the table.
Ela scratches her head, thinking...
...as she glances into her room -- SPOTTING something. She
has the idea. Turns back to Christopher.
ELA
Let's do that.
CHRISTOPHER
Alright. Thank you.
Ela smiles at him...
...as she walks into her room. Christopher walks over to his
door...
...before stopping to look back through into:
INT. ELA'S BEDROOM - CONTINUOUS

Ela scrounges around her bedside drawer, moving aside her
glass of water.
INTERCUT BETWEEN CHRISTOPHER/ ELA
CHRISTOPHER'S POV -- Looking at Ela -- before looking down at
the safe.
Ela looks at her glass of water -- before switching over to
her pills of Rohypnol.
Christopher smiles to herself.
71.
Ela smiles to herself.

END INTERCUT.
INT. KITCHEN - NIGHT

Radio blasts out "Symphony no. 7 in A major, op. 92: II.
Allegretto - Ludwig van Beethoven" -- LOUDLY. Plays over
FOLLOWING SEQUENCE:
CLOSE ON CHOPPING BOARD -- Ela's hand holds a whole apple
carefully -- as a knife SLICES it in half--
--before being repositioned -- and CUT thinly into small
slices.
CLOSE ON ELA'S FACE -- Hyper-focused. Tongue sticking out
slightly.
INT. DINING ROOM - NIGHT

Table cloth FLIES up in the air -- as a wave of cotton sheet
RIPPLES out--
--as Christopher holds it out by the corners -- SLAMMING it
back down onto the hardwood table.
He dusts his hands off. Sighs. Looks around, spotting: a
CANDLESTICK, PLACE MATS and PLATES.
He grabs them and puts them down -- in that EXACT order.
Ela pushes in the ignition button on her stove -- while
SIMULTANEOUSLY turning the stove knob--
--as the stove gas COMES TO LIFE!
Christopher holds a red lighter -- TRYING to turn it on --
FLICK...FLICK...FLICK--
--as it IGNITES! He lights the candlesticks.
Saucepan sits over the stove. Ela grabs the chopping board,
scraping in the apples.
Christopher puts down the cutlery next to the place mats...
...as he doubles back to reposition his knife.
72.
Ela grabs a BOTTLE of RED WINE -- POPPING out the cork. She
tips it into the saucepan -- as it GLUGS out!
Christopher notices the empty wine glasses. Raises an
eyebrow. He turns around, walking out of the room...
END INTERCUT

Ela stirs the cooking spoon in the saucepan, staring
intensely into the pot. Entranced. And smiling...
...as she watches the red concoction mix together.
INT. GARAGE - NIGHT

Light FLICKS ON -- as Christopher steps inside, walking over
to the wine cabinet...
...where he raises his hand to pick out a bottle.
Ela lifts the spoon to her mouth, taking a try of it: it's
perfect. She grins to herself...
...but her smile turns into a smirk. She looks to her side--
--SEEING the ROHYPNOL pills. Ela looks back and forth between
the pot and pills...
...as she picks up the pills.
Christopher picks out two bottles from the cabinet, examining
them--
CLOSE ON TWO BOTTLES -- First, BOTTLE of CHARDONNAY, reading:
"14%". Second, BOTTLE of MADEIRA, reading: "20%".
Christopher smiles, looking back and forth between them...
...as he chooses the Madeira.
Ela POPS out a Rohypnol pill -- big and blue. She holds it
over the saucepan...
...as she stares into the red pie mixture.
SAUCEPAN POV -- Ela drops the pill -- as it PLUMMETS down
onto US.
73.
CABINET POV -- Christopher puts the Chardonnay back into the

cubby hole--
--CUTTING TO BLACK!
END OF INTERCUT -- and MUSIC!

VHS CASE POV -- Case gets taken out -- REVEALING Christopher
and Ela through the tiny gap in-between. Ela holds the case,
as they stare down onto it: "The Shining (1980)".
ELA
Shining?
Christopher thinks about it...
...before they look at each other -- nodding synchronously.
Ela opens up the case, as Christopher watches.
CHRISTOPHER
Imagine if they made a sequel.
ELA
What a dull imagination that would
be.
Christopher turns to Ela, almost taking it personally.
CHRISTOPHER
You think?
Ela looks up at Christopher. She notices the immense
seriousness on his face.
ELA
Oh... I thought you were joking.
CHRISTOPHER
I mean, I guess I was, but... now
your opinion interests me.
ELA
Well, my opinion is that it's
cheap. Just another excuse for
studios to bank on our nostalgia.
CHRISTOPHER
Right, but what about remakes? You
know, for the kids! Imagine...
Sunset Boulevard-- but in colour!
74.
ELA
Since when did kids watch Sunset
Boulevard-- let alone in colour?
CHRISTOPHER
No, that's not the-- okay, my point
is: there's all these great stories
told, and some people may never see
them. It's a clear opportunity!
ELA
Opportunity for what? Another cash-
grab? Look, if they want to tell
stories, tell us something new.
CHRISTOPHER
But what if all the stories have
been told? What then?
Ela takes out the VHS from the case, looking down at it.
ELA
That's the beauty of stories. As a
great man once said: "Everything
has already been done. Every story
has been told. Every scene has been
shot. It’s our job to do it one
better."
Christopher matches Ela's eyeline, looking at the VHS.
CHRISTOPHER
I'm gonna take a wild stab and say
either that was another French
quote, or... it's a Kubrick quote.
ELA
(smirks)
Maybe.
VHS CASE POV -- Ela closes up the case, sliding it back into
place -- CUTTING TO BLACK!

Wine glass base LIFTS off the CAMERA--
--as Ela swirls it around, lifting it to her nose for a good
whiff...
...and even we can see -- it smells good.
75.
OPPOSITE -- Christopher watches, resting his chin, waiting.

Finished plate of food sits in front of him.
Ela stares at the glass, taking it in.
Christopher bites his knuckle, watching anxiously...
...before Ela takes a BIG sip of the wine. She slowly smiles
to herself...
...as Christopher smiles to himself too.
CHRISTOPHER
Sensational, I presume?
ELA
Not as sensational as this pie will
be.
CHRISTOPHER
Oh, I highly doubt that.
They both smirk at each other, yet unknowingly of each
other's thoughts.

Oven door SWINGS open -- as Ela puts on her oven mittens with
haste--
--GRABBING the pie dish out of the oven, placing it down onto
the counter top. She shuts the oven door closed...
...turning back around to the pie. The GOLDEN CRUST pie.
Steaming hot. Almost shiny.
Ela smiles at it.

Christopher sits at the table by himself, twiddling with his
knife, waiting. He looks out into the passageway...
...before looking back at Ela's glass -- EMPTY.
He sighs. Looks at the wine bottle...
...picking it up and pouring more wine into Ela's glass--
--until he HEARS SCUFFLING outside the door--
--PUTTING the bottle back down...
76.
...as Ela walks through the door -- holding two plates of

sliced pie...
...walking it over to Christopher's place, putting it down.
He looks down at it, taking an interest in it.
Ela sits down, putting her own plate down -- NOTICING
Chirstopher's intrigue.
ELA
You look like you're about to drool
onto the plate.
CHRISTOPHER
For this, I would crawl on all
fours, if anything like this had
wine in it--
Christopher stops himself, as his smile drops. Something
comes to mind.
Ela laughs, grabbing her glass of wine, unbeknownst of
Christopher's top-up.
Christopher thinks...
...as he looks up at Ela. She takes a sip from her wine, as
Christopher watches.
He glances back down at the pie--
CLOSE ON PIE SLICE -- Red apple mixture OOZES out of the
filling. Pretty much all wine.
Christopher raises an eyebrow, thinking about it more.
ELA
Well, what are you waiting for? Dig
in!
Christopher looks up, smiling -- before NOTICING Ela's glass
being held. He leans back from the plate.
CHRISTOPHER
No, I insist otherwise. After all,
a chef must try their own dish.
ELA
But this chef insists on their
guest to try it.
CHRISTOPHER
And this guest insists otherwise.
77.
Ela glances down at the pie. Gulp.

ELA
Chris, please. I made it for you--
CHRISTOPHER
--and what's wrong with you taking
the first bite?
Ela grits her teeth. She can't say anything...
...as she picks up her fork, holding it tight. Looks down at
the pie, nervous...
...digging her fork in, breaking off a piece -- as she EATS
it in one SWIFT bite.
She looks back at Christopher, smiling, trying to hide her
discomfort.
Christopher smiles back, going in for a bite of his own...
CHRISTOPHER
You know, I reckon we should finish
off the whole pie together, right?
...as he CHOMPS down on his bite.
Ela's smile fractures. Clearly feeling triumphant, yet at a
loss.
ELA
Right.
Christopher takes another forkful from the pie, moaning to
himself in enjoyment.
Ela watches, looking down at her slice -- taking deep
breaths...
INT. DINING ROOM - LATER

Ela and Christopher are gone. Plates still left out...
...as the gramophone PLAYS the SAME SLOW DANCE MUSIC in her
flashback -- "Only You (And You Alone) - The Platters".
INT. FOYER - NIGHT

Gramophone music ECHOES out into the room, spreading around
the house, and into:
78.

Christopher and Ela slow dance, twirling around to the song.
Their feet touch each other, just like Ela with Jean-Luc...
...as Ela softly smiles to herself, closing her eyes, resting
her head on Christopher's shoulder...
...while Christopher smirks to himself, looking down at
Ela...
...as he glances over to the coffee table: the WINE BOTTLE
sits on top. His smirk grows wider.
INT. LIVING ROOM - LATER

CLOSE ON TV -- "The Shining (1980)" plays on-screen: Duvall
swings the bat at Nicholson on the stairs. Pixels and static
spread across the screen.
Christopher and Ela sit on the sofa, watching the television,
both looking COMPLETELY zoned out...
...as Ela slowly opens her mouth to speak.
ELA
Are you... You like the pie?
Christopher can't take his eyes off the screen.
CHRISTOPHER
Yeah. I think you put quite a...
lot of wine in there.
ELA
I mean, I didn't-- did not... I
mean, I didn't think there was much
in there.
Christopher nods to himself, almost reassuringly...
CHRISTOPHER
Maybe you're right.
...until Christopher RISES out of his seat. But he's not
standing up -- he's LEVITATING off the sofa -- CROSS-LEGGED!
He slowly rises towards the ceiling -- UNAWARE of his
levitation -- STARING at the television screen--
--until his head BANGS against the ceiling. He blinks, trying
to think. Looks up, stroking the surface...
79.
...before looking back down. About three feet high off the
sofa. Christopher tries to process everything...
...as he turns to Ela.
CHRISTOPHER
I um... might need some help here.
Ela doesn't look back.
CHRISTOPHER
Ela?
She continues staring at the television screen.
CHRISTOPHER
Ela, can you hear me?
Ela can't hear him at all. Christopher takes a deep breath...
CHRISTOPHER
M-maybe I'm dreaming... or maybe...
...until Christopher slowly drifts away to the side --
towards the corner of the ceiling. Unaware...
...as he pauses to himself, thinking--
--before TOUCHING the wall again. This time, now in the
corner.
He looks back at Ela and the television: DOLLY ZOOM IN -- as
the space WARPS in front of him -- making everything BIGGER!
DOLLY ZOOM OUT ON CHRISTOPHER -- As he begins to shrink,
while everything around him starts to enlarge. Closing in on
him...
...where his eyes LIGHT UP -- in URGENCY -- as he goes to
SCREAM--
--but without any AUDIBLE SOUND! We can't hear him. Trying to
get the attention of--
--Ela stares at the screen, taking a big sigh. She turns
around to--
--Christopher, sitting right next to her, still watching the
television. His mouth wide open -- slightly DROOLING.
Ela slowly nods, partially reacting to it. She looks back at
the television...
80.
...until something itches her hand. She looks at it, holding

it up CLOSE to her face:
CLOSE ON HAND -- Shaking VIGOROUSLY. Fingers TWITCHING. She
can't control it!
Ela lowers her sleeve, staring at--
CLOSE ON WRIST -- A tiny HOLE inside her wrist...
...as an ANT crawls out from inside!
Ela's eyes LIGHT UP in FEAR -- as she SQUASHES the ant! A
sigh of relief...
...before MORE ANTS CRAWL OUT -- AS MORE POP OUT from her
skin -- INFESTING her ENTIRE ARM--!
--CRAWLING AROUND her ENTIRE BODY -- slowly SWALLOWING Ela
up...
...as she CAN'T MOVE -- UNABLE TO BREATHE -- GASPING for
breath--
--until they CRAWL INTO her MOUTH -- CONSUMING HER--!
--before she DROPS TO THE GROUND -- SHAKING HELPLESSLY...
...as her arm lies out across the floor...
...with her hand STILL SHAKING -- TWITCHING FOR HELP--
--BEFORE STOPPING! Possibly dead. We can't tell...
...until the ants DIG BACK INTO the wrist--
--SPLITTING APART her wrist -- DETACHING the hand from the
arm!
More ants WRIGGLE their way into the INSIDE of the hand --
TAKING CONTROL OF THE HAND, like Thing from Addams Family!
The hand slowly STANDS UP on all fingers -- before SCURRYING
away from the corpse...
...across the carpet--
--BUMPING into a LARGE COFFIN! Situated in the middle of the
living room -- almost from out of nowhere! The brown leather
shoes sit on top.
The hand crawls up the coffin -- VERTICALLY -- like the hand
of Spiderman--
81.
--as it REACHES the top! Going past the shoes...

...as the hand lifts a finger -- STRIKING DOWN into the
coffin surface -- PIERCING THROUGH like a dagger...
...as the hand WRIGGLES through into the coffin --
DISAPPEARING...
...a long pause. Television continues playing in the
background--
--before a hand PUNCHES through the coffin lid! But this
isn't a detached hand of any sort--
--it's ELA! She pokes her head out -- CRAWLING out --
SCREAMING in PANIC -- like a fresh newborn. She looks at her
surroundings, trying to collect herself...
...getting out of the coffin. Walking away from it, as she
moves over to Christopher.
ELA
You feel... you tipsy yet?
Christopher looks up at her, almost snapping out of a
daydream.
CHRISTOPHER
Not myself. You?
Ela looks back behind her...
...as the coffin has COMPLETELY VANISHED! Ela sighs to
herself. She's definitely feeling it.
ELA
No. I think I'll just sit down.
Ela goes over to her seat -- but Christopher sits up in his
seat with a thought.
CHRISTOPHER
Why don't I um... grab us another
round?
ELA
Now? I don't think I--
--RING-RING-RING! The phone rings from the foyer -- as
Christopher and Ela turn towards it. Both look at each
other...
...as both GET UP -- with STRUGGLE!
82.
INT. FOYER - NIGHT

Christopher and Ela REALLY STUMBLE out of the doorway, trying
to make their way towards--
--the RINGING PHONE, sat on the entryway table.
Ela makes it to the phone first, as she picks it up...
ELA
Tardieu residence. How may we-- I
mean... How may I, myself, help
you, stranger?
Beat. Ela turns to Christopher, holding out the phone for
him.
ELA
I think it's the spanking man.
Christopher gets hit with a wave of ANXIETY -- as he SNATCHES
the phone off Ela, brushing his hair back.
CHRISTOPHER
L-Louis?! Is this you, my friend?
INT. OFFICE - NIGHT

Louis lounges back in his chair, feet kicked up on the desk,
munching on a chocolate and peanut butter sandwich.
LOUIS
Your friend? What's gotten you in
such a good mood?
INTERCUT BETWEEN CHRISTOPHER/ LOUIS
Christopher leans against the entryway table, smiling to
himself.
CHRISTOPHER
I'll tell you what's got into me:
an unholy amount of booze
equivalent to a drunkard's bar tab.
LOUIS
Never expected anything like this
from you.
CHRISTOPHER
What can I say? Quite the party
animal, I am--!
83.
--Duvall's SCREAM comes off the television -- ECHOING out

into the foyer -- LOUDLY--!
--as it REVERBS EVEN MORE LOUDLY into Christopher's ears --
as he SHRIEKS back in ANGUISH! He groans to himself.
LOUIS
Jesus, what's that sound?
CHRISTOPHER
I-it's just... the television.
We're watching "The Shining"!
LOUIS
The Shining? Good one. You know,
never beats--
CHRISTOPHER
--Citizen Kane. I know.
LOUIS
Well, got me there, I guess...
anyway, I wanted to call to ask
about the book.
CHRISTOPHER
The book?
LOUIS
Yeah! "The Inspiration"?
Christopher turns around, looking down--
--as HE SEES Ela laying across the floor peacefully, smiling
to herself. Pretty out of the loop.
Christopher turns back around to the phone. Gulp.
CHRISTOPHER
Y-yeah. Um, yeah, I'm working
towards it.
LOUIS
Well, can we work just a bit
quicker towards it here?
Christopher GRITS his teeth. His anger starts to surface.
LOUIS (CONT'D)
You know, with you getting drunk
and all. It doesn't sound like
you're actually focusing on this
thing.
84.
Christopher GRIPS the phone -- TIGHT! He's about to let go...

LOUIS (CONT'D)
So could you just... pull a finger
out, for once in your life, and--
CHRISTOPHER
--Louis... shut-the-fuck-up.
LOUIS
E-excuse me--?
CHRISTOPHER
--no, excuse you! I'm working my
fucking ass off, trying to get this
book together, and you-- you little
cunt-- can't give me a fucking
break! Always in my ear--
(annoying voice)
"Chris! Chris. W-where's the book?
I need the book!"
(normal)
But, you know, the truth is: you
need me. Without me, you are
nothing. So why don't you just shut
the fuck up... for once in your
life.
Louis' mouth sits open, stunned and insulted. Yet, he backs
off.
LOUIS
Look, Chris, I think I'm gonna let
you cool off, alright? Sounds like
you need it--
--Christopher HANGS UP the phone on him!
END INTERCUT
Christopher holds onto the phone, taking a deep breath. One
of RELIEF. He likes it...
...as Ela turns around to him, still on the floor.
ELA
You okay?
CHRISTOPHER
Never felt better.
(turns to Ela)
In fact, how about I grab us
another bottle, and we just... talk
some more?
85.
Ela sits up from the floor, with a big GRIN on her face.
ELA
I like that. Make sure to grab a
good one.
Christopher walks over to the kitchen door, heading off.
CHRISTOPHER
Oh, I will.
INT. GARAGE - NIGHT

The light has been left on. Christopher stumbles in. His eyes
LOCK onto the wine cabinet. He smiles to himself.
He struggles to make his way towards it, practically dragging
himself--
--before WALKING into the toolbox -- FALLING OVER -- KNOCKING
OVER THE TOOLBOX--
--as the IGNITION COIL falls onto the floor.
Christopher grunts to himself, as he struggles to get back up
on his own feet. Sighs...
...as he turns to the toolbox. But wait... he SPOTS it...
...seeing: the IGNITION COIL.
Christopher's curiosity leads him to pick it up off the
floor, examining it closely.
He knows exactly what it is... as a RAGE boils within him. He
thinks about it...
...as he looks back at the door. He grits his teeth.

Christopher walks back into the room, wine bottle in hand.
Television continues playing the film. But he doesn't care
about that. He looks at--
--Ela sits on the sofa, fiddling wwith her necklace, watching
the film. She turns to Christopher, smiling at the bottle.
ELA
You took your time.
86.
CHRISTOPHER
I'm sorry. Something distracted me.
Ela doesn't pick up on the tone, as she pats the sofa spot
for him.
ELA
Well, don't let it distract you
even more then.
Christopher doesn't smile back, yet still holding back. He
begrudgingly sits down next to Ela--
--as she grabs the bottle off him. She starts to open it.
ELA
You know, I just feel so good that
we've had this time together.
CHRISTOPHER
Well, if it wasn't for my car, then
I wouldn't have still been here--
--POP! Ela YANKS the cork out, as she holds it up with
victory.
ELA
But you are! And that's what
matters.
She GLUGS DOWN the wine out of the bottle. Christopher
watches her -- on the VERGE of BLOWING UP.
CHRISTOPHER
What, me being stuck here?
Ela puts the bottle down onto the coffee table. She looks at
him with doe-eyes, smiling seductively at him...
ELA
No, Chris. You being stuck with me.
...as she moves her hand onto Christopher's leg. He takes
notice, looking down. Then back up at her, confused...
...before Ela LEANS into Christopher, pouting her lips for a
kiss. Christopher doesn't reciprocate--
--as he turns his head away from her. Ela stops, inches away
from his cheek. She takes a deep breath...
...as she starts to tear up.
87.
ELA
W-Why? Why her, Chris?
Christopher shakes his head to himself. He doesn't want to
say it.
ELA
All I have done is care for you.
Look out for you-- I have tried so
hard! A-and you choose her? That
basic bitch...? Why did it have to
be her?
Christopher takes a sigh. Turns to Ela, solemn.
CHRISTOPHER
I didn't choose her because it was
her... I chose her because it
wasn't you.
A gut punch to Ela. She sits up, as a RAGE boils in her too.
ELA
What?
CHRISTOPHER
I have never liked you, Ela. Never
have, and never will. And you wanna
know why?
(beat)
Because all you do is undermine me.
And I don't like that-- no, I hate
that.
ELA
So what, you thought to play along?
CHRISTOPHER
Really? You think I want to play
along with this?
ELA
Then what do you want?
CHRISTOPHER
I want the book... and then I want
to leave.
Ela scoffs to herself. She stands up, as everything comes
together.
ELA
I get it now... You're jealous.
You're fucking jealous--
88.
CHRISTOPHER
--Jealous? Why the hell would I be
jealous of some random book of
yours--
ELA
--it's not just any random book,
Chris! It's a book about us! Of
what we could be!
Chris sits back, as he clocks everything. It makes sense.
ELA
But I guess it remains fiction now.
CHRISTOPHER
As fictional as my "jealousy"--
ELA
--you are jealous! But, I'm
sorry... I forgot that your big
flaming ego can't admit that!
CHRISTOPHER
At least I'm not some desperate
romantic, who traps people in their
home to fuck, w-with-- I mean...
(looks at wine)
Was this spiked or something?
Ela looks down at herself -- with SHAME. Christopher puts two
and two together.
CHRISTOPHER
Case and point: you are a desperate
woman, with some pretty fucked up
tendencies.
ELA
Desperate? Says the desperate
writer, still trying to assert he
has some relevance in this world!
CHRISTOPHER
I am relevant!
ELA
No, you're not-- and you know it!
You're just another failed writer,
with a one-time hit. And even when
you did have an idea, you just used
your own pity story, like the sick
fuck you are. Using people for your
own gain.
(MORE)
89.
ELA (CONT'D)
Because without your books, you are
nothing, Chris! Nothing! Nothing
but a narcissistic asshole, who's
always been a spoilt brat since you
wriggled out of your mother, still
thinking the world needs to revolve
around him and his entire writing.
But even if we were really honest
with each other: we know you will
die, trying to chase bygone trends,
hoping you can be somewhat
relevant... but even then, you
never will be.
Christopher scoffs to himself. A real reality check for him.
CHRISTOPHER
At least people are aware of my
relevance, Ela. I mean, look at
you... and this place. Living in
the middle of nowhere, still
loathing your loving father--
ELA
--don't you dare bring his fucking
name into this--
CHRISTOPHER
--how can I not?! This house is
practically a shrine for him. It's
everything you talk about. You are
nothing but the mourning of him.
And I would feel bad for you... but
it's just sad. You're just a sad
woman, living alone in her house of
a coffin, hoping that Prince
Charming will come and sweep her
off her feet, being the perfect
replacement for her father! And you
know what, that is a Greek tragedy
right there-- you know why? Because
you will continue to live in this
house, alone, shrivelling to death
in the pursuit of love. And when
you die, no one will notice, but
the breeze that brushes your dead
corpse... and worse, no one will
care.
Ela takes a breather, trying to recover mentally. She gives
Christopher a look of pure hatred.
ELA
Get out of my house.
90.
CHRISTOPHER
How can I do that, Ela? Oh! You
mean with my car? I'm sorry, I
don't think it works. I wonder why?
Ela rolls her eyes. He has a point.
ELA
I want you out in the morning. I-I
will fix it, and then you're gone.
Christopher stands up to Ela, getting close -- REAL CLOSE.
Almost confrontational.
CHRISTOPHER
I'm not leaving without that book.
ELA
I think you are.
Christopher shakes his head to himself, trying to remain
dominant.
CHRISTOPHER
Why does it matter to you? You
don't even want to be a writer.
ELA
I didn't. But now, maybe I want
someone to notice when I die.
A tense silence lingers between the two. Ela walks off, out
of the room. Christopher stares her off, in defeat...
...as he turns to the fireplace. Burning with fire.
CLOSE ON CHRISTOPHER'S EYES -- As the fire REFLECTS in his
eyes: his FURY builds up.

Christopher lies in bed, trying to get to sleep, eyes closed.
PUSH IN ON CHRISTOPHER -- He rolls and turns in bed, trying
to sleep. But he can't...
...until he stops turning. He settles down. Resting
properly...
...as WE HEAR a RECORD playing from a distance. Not from this
room, but from outside.
FOLLOWING SUPERIMPOSED OVER CHRISTOPHER SLEEPING:
91.
Christopher's eyes open WIDE. He sits up -- looking at the

door...
...as the woman stands by the door, looking back at
Christopher. Smiling...
...before she steps out of the room.
Christopher gets out of bed, tip-toeing over to the door,
trying to follow the woman with caution.
His hand touches the doorknob--
--as the SUPERIMPOSITION ENDS...
...but Christopher turns around -- TO US. Almost like he
noticed too...
...as he sees HIMSELF in bed, still sleeping.
Christopher doesn't say a word, almost stunned. He turns to
the door, leaving the room.
INT. FOYER - NIGHT

The RECORD MUSIC is LOUDER -- yet still ECHOING through the
room. Christopher descends the staircase, remaining weary...
...as he reaches the bottom, looking around every corner...
...until he looks into:

Christopher enters, SEEING:
The woman stands by the gramophone player, leaning against
the dinner table.
Christopher walks over to her, still confused. She looks back
at him with that same smile. He can't figure her out...
...but his curiosity leads him to the gramophone. He stares
down at it -- ABSORBED...
...picking up the record off the player -- yet the music
KEEPS PLAYING!
Christopher looks back and forth between the record and
player -- TOO CONFUSED. He looks to his side--
92.
--as the woman has DISAPPEARED! Christopher PANICS, looking

down at the record again--
--until he WHIPS AROUND -- HURLING the record away -- INTO:
INT. DARKNESS
The record GLIDES through the sea of black like a frisbee--
--before it HITS the ground -- CLATTERING -- ECHOING into the
soundscape.
Christopher, too, stands in the darkness, gazing at his
surroundings. His face says it all: fear and confusion...
...until WE HEAR a faint sobbing... or laughing? We can't
tell. But it's clearly a man. Christopher tries to pinpoint
the direction--
--until HE SEES IT! A singular MAN sits on a stool, back
turned to us, face in palms, shaking.
Christopher treads lightly, reaching his hand out...
...as he slowly approaches the man. Trying to be as quiet as
possible...
...until he gets behind him. Inches away. He still can't
decipher the man's noises...
CHRISTOPHER
E-excuse me? Are you okay, sir?
...as he TAPS the man's shoulder, trying to help--
--but the man FREEZES UP -- like he had just paused a robot.
Christopher takes a step back, just to be sure.
CHRISTOPHER
Sir?
Beat...
...as the man turns around -- REVEALING HIMSELF to be Jean-
Luc -- with BLOOD streaming down from his eyes -- yet
looking at Christopher with a great grin--
--CACKLING at him. Christopher TREMBLES back, mumbling to
himself in horror, haunted by his BLOODY eyes--
--until Christopher TRIPS on the toolbox -- FALLING BACK
ONTO--
93.

--the sofa -- with a big CRASH! He tries to catch his breath,
looking up at the ceiling...
...until he looks up further -- seeing Ela's head ENTERS HIS
POV. Christopher's eyes LIGHT UP with PURE JOY!
He sits up on the sofa, turning to Ela. They sit next to each
other. Television still continues playing "The Shining".
Everything just like before...
...as Christopher takes it in.
CHRISTOPHER
Ela, are you okay?
Ela doesn't respond back to him. Still staring at the
television.
CHRISTOPHER
Ela? Anyone home--?
--as WE HEAR some LAUGHING -- almost like from Ela. But it's
not from here. Christopher looks around the room...
...as he CATCHES a LIGHT through the window. Christopher
stands up, walking up to it, PEERING:
THROUGH THE WINDOW -- An EXACT reflection of the living room
-- except Ela is laughing inside. And Christopher isn't
there.
Christopher backs off from the window, looking back at his
own room: Ela sits, watching the television, glum.
Christopher looks down at himself. A wave of melancholy
sweeps his expression...
...until he looks down further -- at his hand -- HOLDING A
DAGGER! He PANICS -- LOOKING UP--
INT. CORRIDOR - NIGHT

Narrow and dark. Christopher stands with the dagger in his
hand...
...as he SPOTS a set of double doors at the end. He RUNS
towards it...
...with the sounds of APPLAUSE and CHEERS ROARING LOUDER--!
94.
--until he ARRIVES at the doors. He looks at it. Christopher

glances up...
...as he sees an RED EMERGENCY SIGN over the door, reading:
"EXIT?".
Christopher smiles to himself, taking the gamble, as he
SWINGS the doors open, ENTERING:
INT. AUDITORIUM - NIGHT

Rows of SILHOUETTED JOURNALISTS gather in front of a stage --
as Ela stands in front of a podium--
--holding up her book, high in the air. Proud of herself.
Christopher SEES THIS. He sees EVERYTHING. And he can't take
it--
--as he grips the dagger TIGHTLY. Clenches his jaw. Eyes
widen with FURY--
--as he CHARGES at ELA -- with a BATTLE CRY -- RAISING his
dagger in the air--
--JUMPING UP onto the stage -- LUNGING AT ELA -- TACKLING her
to the ground--
--STABBING her in the chest -- MULTIPLE TIMES -- ENJOYING
IT...
...until he stops. Clears his head for a moment. Wiping the
blood off his face. He looks down at the result. His face
tells us everything: it's not a pretty sight...
...as he looks up at the audience. Silence. All staring in
awe...
...Christopher pants to himself, anxious. Almost guilty...
...until a single CLAP arises from the audience...
...before turning into an all-around APPLAUSE. CHEERS and
WHISTLES of CELEBRATION. Cameras FLASH at Christopher --
CAPTURING a great moment.
Christopher stares at them all, slowly smiling...
...until he laughs with them. Almost at Ela's corpse. He
raises his dagger -- HIGH IN THE AIR -- WITH VICTORY!
He LAUGHS and CACKLES ALOUD -- as a subtle tear rolls down
his cheek.
95.
EXT. ELA'S HOUSE - NIGHT

THUNDERSTORM looms over the house -- RUMBLING with TERROR.
Winds GUSH through the open plains.
CLOSE ON ANTENNA -- Flailing in the dense winds. Struggling
to cling to the roof. Lightning STRIKES down in the distance.
INT. SHOE CUPBOARD - NIGHT

Breaker box hummms quietly, light reading GREEN, as the sound
of rain ECHOES in...
...until the humming WHIRS DOWN -- going SILENT. The light
SWITCHES to a BLINKING RED.

Rain pounds HARD against the window. Ela lays in bed -- still
SNORING like a tiger...
...until WE HEAR the SAME record playing from before, ECHOING
into Ela's room from afar...
...as Ela's snoring quietens. Her eyes open. She looks at the
door...
...with light peering in through the outline of the door
frame. Lights are on outside.
Ela sits up in bed, sighing to herself. It can only mean one
thing: Christopher.
She reaches for the bed lamp, pulling down on the cord--
--CLICK! But no light. The power is out. Ela acknowledges
with a nod to herself. Not the first time for her.
She gets out of bed, stepping onto the floor in her bare
feet, going over to the door.
INT. FOYER - NIGHT

Ela goes down the stairs, watching her step...
...SPOTTING the fireplace light coming out of the living
room.
She reaches the bottom of the stairs, turning into:
96.

Until Ela stops in her tracks, SEEING something else.
Something unexpected...
...Christopher sits on the floor, cross-legged with shoes on,
eyes closed, with lit candles surrounding him like a
pentagram circle.
Ela steps forward, yet keeping her distance.
ELA
Chris... what's going on?
Christopher slowly opens his eyes. This is not the same gaze
as the cowardly Christopher we know...
...as he turns to Ela, with a soft smile, hard to read.
Either he's happy or pissed.
CHRISTOPHER
I had an inspiration.
Ela gulps. This doesn't sound good to her.
ELA
What inspiration?
Christopher chuckles to himself, getting up off the floor,
walking towards Ela--
--as Ela takes a few step back, keeping away from him.
CHRISTOPHER
You, Ela. You are my inspiration. I
mean, with all those things you
said to me-- it made it all so
clear... you're right.
Christopher backs Ela off into:
INT. FOYER - NIGHT

Ela backs up onto the red-stained painting, as Christopher
slowly approaches her...
CHRISTOPHER
To you, I am nothing. To the world,
I am nothing. To myself... I am
nothing.
...as Christopher gets RIGHT IN FRONT of Ela. She can feel
his breath.
97.
CHRISTOPHER
But there was one condition I
realized from all this: I am
nothing... without that book.
ELA
Chris, I--
--Christopher SLAPS Ela around the face -- HARD! She puts her
hand over the pain, looking up at Christopher in shock. He
simply smiles.
CHRISTOPHER
What's the combination, Ela?
ELA
I'm not telling you--
--Christopher SLAPS AGAIN -- EVEN HARDER -- SENDING Ela onto
the floor. She pushes herself up, looking up at Christopher.
CHRISTOPHER
I don't want to ask again, Ela...
or I'm just going to have to do
this the hard way.
ELA
You can't just take the book,
Chris. People will know it's mine.
CHRISTOPHER
Not if it's the only copy.
Ela bites her lip. She made a blunder...
...until she smiles to herself, turning to Christopher.
ELA
You wanna know the code? Fine...
What day did we first meet?
CHRISTOPHER
(rolls eyes)
Are you serious? Now, you wanna get
all lovey-dovey--?
ELA
--that's the combination, Chris. If
you remember that, it's all yours.
Christopher and Ela stare at each other, standoff-like...
...as Christopher chuckles to himself, staying cool as a
cucumber. Ela doesn't seem as cool.
98.
CHRISTOPHER
Guess we're doing this the hard
way.
Christopher turns to the kitchen, leaving the room casually.
Ela, still tense, watches him walk out...
...before she turns around -- LOOKING UP the stairs -- as she
DASHES UP!
EXT. GARDEN PORCH - NIGHT

Backdoor KICKS OPEN with FORCE -- as Christopher lowers his
leg. He trudges out of the house, onto the porch, and into:
EXT. BACK GARDEN - CONTINUOUS

Rain showers onto Christopher, drenching him from top to
bottom. But he doesn't care. He cares more about--
--the AXE, still planted into the stump -- with an ominous
THUNDERCLAP!
Christopher stands in front of the axe -- GRIPPING onto the
handle--
--as he TUGS ON IT -- with all his MIGHT -- GRUNTING to
himself--
--as he YANKS IT OUT, holding it up high in the air, like
King Arthur holding up Excalibur...
...before Christopher rests it on his shoulder. He turns to--
--the house. He smirks to himself, strolling to the door.
INT. FOYER - NIGHT

Christopher comes out of the kitchen -- WIELDING the axe --
turning around to the stairs--
--as Ela stands at the top, looking down at him -- holding
her EMPTY GLASS. Christopher looks up, almost amused.
CHRISTOPHER
Get out of my way, Ela.
ELA
I told you once, and I told you
twice...
(MORE)
99.
ELA (CONT'D)
now I'll tell you for the third
fucking time: you're not getting
the book.
Christopher scoffs to himself, shrugging it off.
CHRISTOPHER
Suit yourself.
Christopher ascends the stairs, without a single care. Ela
holds the glass up--
--as she HESITATES. She's still thinking about it--
--but Christopher is APPROACHING -- FAST--!
--Ela shakes her head to herself. Fuck it. She HURLS the
glass at Christopher--
--as he LOOKS UP -- DODGING the GLASS--
--while the glass SMASHES across the foyer floor --
SCATTERING everywhere!
Ela's face sinks in PANIC! Christopher looks up at her,
smiling...
...as he GAINS on her -- SHOVING her to the side. Ela watches
him get to the top, sighing to herself...
...running back down the stairs.

Door BURSTS OPEN -- as Christopher enters, looking at--
--the safe! He smiles. Gets the axe at the ready, preparing
his swings like a golfclub--
--as he goes in for a HIT -- PIERCING through the hardwood
like glass!
He KEEPS SWINGING -- OPENING UP the safe nice and wide...
...until he stops, putting the axe down on the ground.
He crouches down, peering into the safe with a big grin...
...until his grin drops. Something is NOT RIGHT!
CHRISTOPHER'S POV -- Into the safe. But the book isn't there.
Only the photo album.
100.
Christopher huffs to himself, as his RAGE BUILDS AGAIN!

He turns around to the door, knowing exactly where it is...
...picking up his axe again -- RUNNING out of the room.

Christopher SPRINTS into the room, resting the axe over his
shoulder--
--until he HALTS in place -- SEEING SOMETHING! His face says:
PANIC...
...as Ela stands in front of the fireplace, firepoker in one
hand -- BOOK in the other.
ELA
One step... and I burn this thing
to a crisp.
Christopher looks at her hand CLOSELY -- holding the black-
cover book.
CHRISTOPHER
Burn that... and you'll never be a
writer.
ELA
I don't need to be a writer to win.
Christopher gulps. He looks around, frantically trying to
devise a new plan...
...until his expression drops. Almost like Hyde reverted to
Jekyll. Christopher looks back at Ela with a smile -- but
with some sincerity by the seems of it.
CHRISTOPHER
Ela, w-what are we doing? I mean,
we know this isn't what we want.
Ela's stance trembles. Christopher's words are getting to
her.
CHRISTOPHER
I just... I keep thinking about
what you said, and I just... what
if I really am nothing?
Christopher lowers his axe slowly -- yet keeping hold of it.
101.
CHRISTOPHER
Maybe we can just put our weapons
down... and maybe we can just start
over? Really be something, I guess.
Ela looks down, as she considers it...
CHRISTOPHER
And maybe, put that book down too,
so we don't burn ourselves, yeah?
...as Ela makes up her mind. Looking up at Christopher -- no
smile.
ELA
No. Not this time, Chris.
Christopher's smile slowly devolves into a sinister stare.
Jekyll is back.
CHRISTOPHER
And why not?
ELA
Because I am done waiting around,
feeling sorry for myself, just
because of one person. Truth is...
I don't need it.
Ela GRABS her necklace -- RIPPING it off her neck--
--TOSSING it to the floor. Christopher looks at it. Then back
to Ela.
CHRISTOPHER
Whatever you say, Ela--
--as Christopher SWINGS BACK the axe -- before HURLING it at
Ela--
--as her eyes WIDEN -- DODGING the axe--
--just as it HITS THE WALL -- getting STUCK!
Christopher and Ela look at each other -- both with VIOLENCE
in their eyes...
...as Christopher LUNGES at Ela -- TRYING to GRAB the book --
BUT MISSES -- HITTING the floor!
Ela tucks the book into the front of her trousers, preparing
herself for combat, holding the firepoker READY!
102.
Christopher gets up off the ground, standing up against

Ela...
...until Ela SWINGS the firepoker at Christopher--
--before he GRABS the rod -- TRYING to RIP IT out of her
hands. Both of them play tug of war with it...
...until Ela sees no use -- PUNCHING Christopher in the
crotch--
--KNOCKING him back onto the floor, as he GROANS in pain,
looking up at--
--Ela SWINGS down at him with the firepoker--
--before Christopher's reflex KICKS IN -- GRABBING the
firepoker--
--KICKING up into Ela's crotch -- SENDING her onto the floor
too -- DROPPING the firepoker onto the ground!
Both of them hold their crotch, suffering the worst pain
known to humans...
...as Christopher grunts to himself, enduring it...
...slowly dragging himself over to Ela -- REACHING for the
book--
--until Ela KICKS him in the face, pulling herself back away
from him.
Christopher puts his hand over his face, trying to recover--
--as he REACHES for the firepoker -- but not before Ela GRABS
it first--
--CHUCKING it into the fireplace, rendering it unusable.
Christopher looks up at Ela again -- GRABBING her foot--
--before she YANKS it out of his grasp. She looks around,
thinking...
...nodding to herself. She TAKES OFF -- RUNNING out into the
foyer.
Christopher slowly struggles to stand up on his feet...
...turning around to the axe. He walks over, grabbing it once
more--
103.
--YANKING it out of the wall. Looks back at the door,

following after Ela -- with murder written all over his face.

Door left open from the foyer. Christopher walks in, holding
his axe carefully, checking the corners...
CHRISTOPHER
You can't hide from me, Ela. The
house is only so small.
...until the door SLOWLY CLOSES behind him -- REVEALING Ela
BEHIND the door -- with a KITCHEN KNIFE in her hand--
--as she LUNGES at Christopher -- JAMMING the blade INTO HIS
LEFT SHOULDER--
--just as Christopher JERKS FORWARD in reaction -- he SWINGS
his axe behind -- JUST MISSING ELA--
--before she SHOVES Christopher onto the ground -- as he
TOPPLES down with a great THUD!
Ela looks down at him, trying to catch her breath...
...as she looks up at the CLOCK -- TICKING AWAY! She takes
note of it--
--until Christopher KICKS her legs -- KNOCKING her onto the
ground! Ela drags herself away from him--
--as Christopher looks at the knife -- STILL JAMMED in his
shoulder. Christopher slowly reaches for it--
--PULLING it out -- LOOKING IMMEDIATELY at Ela--!
--as she gets off the ground -- DASHING OUT of the room
again, into:
INT. FOYER - NIGHT

Ela RUNS across the floor -- ACCIDENTALLY STEPPING in the
shattered glass -- NEARLY SLIPPING ON IT--
--but she CATCHES her balance. Phew...
...until she looks down at her bare feet -- glass STICKING
into her sole. She bends down, taking the shard out...
...as she glances over at the entryway table -- with the
PHONE ON TOP! She smiles...
104.
...before looking back into the kitchen -- SEEING--

THROUGH THE KITCHEN DOOR -- Christopher already back up on
two feet -- COMING AFTER ELA!
Ela shakes her head to herself. No use taking the risk--
--as she SPRINTS up the stairs--
--with Christopher trudging after her -- as his shoes protect
his feet from the glass. He goes up the stairs.

Ela BURSTS into the room, looking around--
--SPOTTING the phone! She sighs in relief to herself--
--as she closes the door behind her -- looking down at the
door knob -- but there's NO LOCK! Crap...

Christopher REACHES the top of the stairs -- CHECKING Ela's
room--
--but no one's in there -- TURNING around to the guest
bedroom door.

Ela picks up the phone with HASTE -- DIALING IN: "9-9-9"--
--until FOOTSTEPS APPROACH the door -- Ela PANICS, looking
down at the phone -- responding with the DIALING TONE--
--as Ela looks around...

Christopher approaches the guest bedroom door -- GRABBING the
door knob--

--as the door SWINGS OPEN! Christopher enters, ready to
butcher an animal...
...except there is no animal here. And no Ela...
105.
...with the window left OPEN -- as rain POURS in. Phone

DANGLES off the table, with a voice coming from the receiver:
OPERATOR (O.S.)
9-9-9, which service would you
like?
Christopher strolls over to the phone, quietly hanging it
up...
...as he looks around the room. He checks under the bed.
Looks in the cupboards. Goes underneath the table...
...but Ela isn't here...
...before Christopher looks out through the window, onto:
EXT. BACK GARDEN - NIGHT

Empty. Rainy. No sign of Ela out here...
...as Christopher leans out of the window, trying to check
all the corners--
--before WE SEE:

Ela hides in the corner, injured leg, covering her mouth,
trying to muffle her breathing. She keeps ABSOLUTELY STILL.
Christopher eyes the porch, trying to check it... but alas,
he can't see anyone.
Ela tucks her feet in even more, just to be sure.
Christopher huffs to himself. He can't accept failure.
Ela uncovers her mouth, trying to quietly catch her breath...
...until SHE HEARS SOMETHING -- RING-RING-RING!
Christopher HEARS IT too -- RING-RING-RING!
Ela turns around to the backdoor, as it's coming from there.
Christopher turns around to the guest bedroom door, listening
to the RINGING PHONE.
END INTERCUT
106.
INT. FOYER - NIGHT

PUSH IN ON -- Phone on entryway table RINGS out loud --
ECHOING into the other rooms.

Christopher GRITS his teeth, looking back out of the window,
trying to find Ela--

--as Ela looks through the backdoor, thinking to herself. She
has no choice...
...she takes a big sigh. Beat...
...as she OPENS the backdoor--
--LIMPING STRAIGHT INTO:

Ela RUNS THROUGH, dragging her foot across the floor --
DESPERATELY trying to reach the phone -- as she PERSEVERES--
--QUICKLY APPROACHING the RINGING PHONE -- RING-RING-RING--!
--TURNING INTO:
INT. FOYER - NIGHT

Ela SNAPS towards the phone -- STILL RINGING--
--just as FOOTSTEPS DESCEND the staircase -- as Ela LOOKS --
IT'S CHRISTOPHER!
Ela SPRINTS to the phone, smiling to herself--
--before ACCIDENTALLY SLIPPING FORWARD on the SHATTERED
GLASS--
--COLLAPSING onto the ground...!
...the footsteps are getting CLOSER. Phone continues RINGING.
Ela GRUNTS to herself -- this is her only chance! She CRAWLS
forward to the entryway table...
...REACHING up for the phone -- PATTING around to find it --
as she FEELS IT--
107.
--PICKING IT UP SUCCESSFULLY--
--before the axe SLAMS DOWN into Ela's WRIST -- SEVERING her
HAND OFF--!
--as Ela SCREAMS out in PAIN -- HOLDING her BLOOD-SPEWING
WRIST -- LOOKING down at it in HORROR...
...as Christopher's shadow casts over her, standing
victorious. He smirks to himself--
--until a VOICE comes out of the phone receiver -- as
Christopher and Ela TURN towards it. Christopher FREAKS OUT,
as Ela SMILES in RELIEF--!
--as Christopher DROPS the axe -- PICKING up the phone,
taking deep breaths...
...until he hears the voice. He recognizes it. It's Louis!
LOUIS (O.S.)
Chris? You there?
Ela's eyes light up -- as she SCREAMS OUT:
ELA
HELP ME--!
--Christopher JAMS the heel of his foot in Ela's mouth --
SHUTTING her up for good!
LOUIS (O.S.)
The hell is going on over there?
Christopher stutters in his words -- trying to come up with
SOMETHING! Looking around for help.
CHRISTOPHER
I... We... were just--
LOUIS
--are you still watching horror
films, or something?
Hesitation. Christopher slowly smiles to himself: the perfect
excuse.
CHRISTOPHER
Yeah... yeah, how did you know?
LOUIS
Well, I guess I should've seen it
coming.
108.
Christopher looks down at Ela -- as she tries to WRIGGLE her

mouth off Christopher's shoe. He tries to catch his breath.
CHRISTOPHER
Louis, I... what made you call?
LOUIS (O.S.)
I thought to try and see whether
you cooled off. Are you--
CHRISTOPHER
--Louis... I've never felt better.
LOUIS (O.S.)
Wait... does that mean you're done?
CHRISTOPHER
(looks down at Ela)
Yes. Yes it does.
LOUIS (O.S.)
Oh, this is brilliant! Fax it over
to me when you can, alright?
CHRISTOPHER
Will do, Louis... will do.
Christopher hangs up the phone carefully, smiling to
himself...
...before looking back down at Ela, helpless and bleeding.
His smile grows EVEN WIDER...
...as he crouches down, rummaging through Ela's pockets,
looking for the book...
...while Ela SOBS to herself. An array of emotions fill her
mind: regret and despair.
Christopher DIGS into Ela's trousers -- FINDING it...
...pulling out the book! He smiles widely -- the HAPPIEST
he's been this entire time. He holds it like his own child,
filled with UTTER JOY...
...until he flips it over to the front...
...but WAIT. Christopher's smile drops. He looks at it,
almost too STUNNED to speak. Almost like he's about to cry...
...looking at the cover, reading: "Holy Bible".
Christopher HAS to be sure -- FLICKING through the pages--
109.
--all being everything you would find in a bible: passages,

prayers and quotes. No sign of Ela's book...
...as Ela's sob turns into LAUGHTER. Victory for her. She
LAUGHS at Christopher's distraught face, trying to make sense
of everything...
...as he slowly turns around to Ela, trying to keep his cool.
CHRISTOPHER
Ela... where's the book?
Ela continues CACKLING away, without the slightest care in
the world, smug...
...as Christopher can't bear it. His anger MIXES with
DESPERATION -- his TRUE SELF -- on the verge of TEARS, as he
BEGS:
CHRISTOPHER
Where's the book, Ela?! Where's the
fucking book?! The book! Ela!
Ela stops laughing at Christopher, calming down. Yet, still
smirking. She looks Christopher -- DEAD IN THE EYES.
ELA
Five minutes.
Christopher still doesn't understand what she's talking
about.
CHRISTOPHER
What?!
ELA
Five minutes... to burn a decent
amount of pages... or a good book.
Christopher's face SINKS. He knows what it means now...
...as he slowly turns towards:

CLOSE ON FIREPLACE MANTLE -- The bible is GONE...
...before we LOOK DOWN: CLOSE ON FIREPLACE -- Firepoker sits
on top of a pile of burning logs...
...until the firepoker FALLS onto the floor -- as a log MOVES
out of place--
110.
--REVEALING ELA'S BOOK: "The Inspiration" -- SITTING IN THE

OPEN FIRE -- BURNT TO A CRISP!
THROUGH THE LIVING ROOM DOORS -- Christopher gets up --
SPRINTING IN -- TRYING to save the book--
--as he GRABS the firepoker off the floor--
--but it's TOO HOT! He thinks on the spot--
--standing up -- KICKING the book out of the fireplace with
his shoes--
--as it falls out onto the carpet floor -- STILL IN FLAMES--!
--before Christopher STOMPS the fire out with his shoes...
...but of course, the book is nothing but charcoal. Nothing
left to salvage...
...Christopher stares down onto it, trying to come up with
one last plan. But he knows there won't be...
CHRISTOPHER
(screaming in anger)
FUUUCK!
...HEARING Ela's LAUGH again -- AMUSED by Christopher's
desperation...
...as Christopher slowly turns back around to Ela -- FURIOUS.
INT. FOYER - NIGHT

Christopher TRUDGES back towards Ela--
--as she looks up at him -- LAUGHING in his face. He looks
down at her -- ROYALLY PISSED.
ELA
Now... you are nothing.
Christopher lets it get to his head -- as he takes deep
breaths...
...SOBBING to himself. It's all over for him. Ela watches
him, smiling...
...until Christopher stops, wiping the tears away. He looks
around, trying to think, scratching his head...
...before his eyes meet with -- the AXE! He grins to himself:
that's the idea...!
111.
...he starts to HEAR SOMETHING -- CLASSICAL MUSIC! To be more

specific: "Nessun Dorma". Although, Ela doesn't hear it,
watching him, confused...
NESSUN DORMA (V.O.)
(Il nome suo nessun saprà!... e noi
dovrem, ahime, morir!)
...as Christopher looks around, smiling to himself, just at
the sound of the music. Soothing and calm...
NESSUN DORMA (V.O.)
Dilegua, o notte!
...while Christopher PICKS up the axe once more...
NESSUN DORMA (V.O.)
Tramontate, stelle!
...Ela notices -- REALISING what he's doing -- but the music
is LOUDER than Ela's voice!
NESSUN DORMA (V.O.) ELA
Tramontate, stelle! Chris... Chris! What are you
doing?!
But Chris smiles -- SINISTERLY -- LOOKING UP, like he had
been spoken to by God...
NESSUN DORMA (V.O.)
All'alba vincerò!
...before looking back down at Ela -- RAISING his axe...!
NESSUN DORMA (V.O.)
Vincerò...
...SLOW MOTION: Ela SCREAMS in DESPERATION -- INAUDIBLY -- as
she SEES the axe SLOWLY SWINGING down -- TOWARDS HER FACE...
NESSUN DORMA (V.O.)
...vincerò!
...as the music CRESCENDOS and CONTINUES PLAYING OVER
FOLLOWING -- Christopher's axe HITS ELA--
--SENDING US into:
INT. DARKNESS
PULL BACK ON -- Christopher CACKLING AWAY -- STRAPPED down to
a chair, wearing a straitjacket.
112.
INTERCUT BETWEEN CHRISTOPHER/ DARKNESS VISIONS

Christopher LIFTS the axe up again -- COVERED in BLOOD --
before STRIKING DOWN AGAIN--!
The woman dances around, hands out, looking up -- as BLOOD
RUNS down the camera lens -- PAINTING EVERYTHING CRIMSON RED!
Christopher LIFTS it AGAIN -- SMILING. He LIKES IT -- GOING
BACK DOWN--!
Legs, wearing trousers -- SHAKING like a DOG -- as a SNAKE
SLITHERS out from inside the trouser leg.
Christopher LIFTS the axe -- ONE LAST TIME -- face full of
ENJOYMENT -- as the MUSIC FINALLY ENDS...
...with Christopher SWINGING DOWN -- as WE--
END INTERCUT--
--and:
MATCH CUT TO:
INT. LOUNGE - NIGHT

Christopher holds the book in front of him, looking down at
it, as if he had been hypnotised...
JOURNALIST (O.S.)
Christopher?
...as he looks up -- met by the journalist. We're back where
we were...
...Christopher thinks to himself. Gulp...
...but he SMILES, almost for show. But no one else can tell.
CHRISTOPHER
Sorry, I... The inspiration... I
have to admit, this story actually
came to me, amidst one of my weekly
binges of horror films. It was
um... The Shining, actually.
JOURNALIST
Great film. But actually, speaking
of films, we hear that one
particular studio has bought the
licence to make an adaptation of
your book. Can you confirm this?
113.
Christopher smirks, trying to not give it away...

...but he can't help it, opening his mouth.
CHRISTOPHER
Okay, I can confirm that a studio
is making an adaptation-- but... I
can't say whom.
JOURNALIST
So, realistically, it could be any
one of them?
CHRISTOPHER
Well, they all do it, so...
Journalist laughs with Christopher.
JOURNALIST
Alright, I think we'll wrap it up
there...
(turns to camera)
...so there we have it! Can one
truly achieve perfection in our
modern world? That's for you to
decide...
Journalist holds his OWN COPY of "The Inspiration", showing
it to the camera.
JOURNALIST
...as you'll be able to pick up Mr
Anderson's book, "The Inspiration",
right this second... but until his
next book, it's time for our
scheduled weather report.
Beat, as the journalist stares at the camera, holding his
cheesy grin...
...until his smile drops, looking at SOMEONE behind the
camera.
JOURNALIST
We got it?
SOMEONE (O.S.)
We got it.
JOURNALIST
Thank god--
114.
--ALL OF A SUDDEN -- Movement SHIFTS AROUND behind US: the

camera. Murmurs and voices -- ALL CREW -- start PACKING UP
OFF-SCREEN.
Journalist stands up, stretching his arms. Looks around...
...before looking back down at Christopher.
JOURNALIST
Hey, again, real sorry about--
CHRISTOPHER
--as I said, no worries.
Journalist nods, still trying to make conversation.
JOURNALIST
All this talk about your book...
just makes me want some pie now.
CHRISTOPHER
Apple pie, per chance?
Journalist looks at Christopher with a smirk. Almost like an
inside joke.
JOURNALIST
Of course.
They laugh together.
WIDE ON -- Journalist pats Christopher on the shoulder and
says a few more things. But we can't hear them from here...
...before they shake hands. Journalist walks out, leaving the
room...
...as Christopher is the only one in the room. Sat in
silence. He muses to himself, looking down at the book.
Christopher OPENS UP the book, reading inside...
...as WE SEE TEARS roll down his cheek. He can't read another
sentence of it. Sighs to himself...
...before placing the book back onto the stand -- LEAVING IT
OPEN.
Christopher gets up, leaving the room too -- while we FOCUS
ON the book.
ONE FINAL SONG -- "Temptation (with Lenny Hayton & His
Orchestra - Bing Crosby" -- PLAYS OVER FOLLOWING:
115.
PUSH IN -- We DRAW CLOSER to the open book...

...as the WRITING on the pages are now BECOMING CLEAR...
...until we get EVEN CLOSER to the pages -- FOCUSING on ONE
PAGE--
--FOCUSING on ONE LINE--
--FOCUSING on ONE SENTENCE -- reading:
"'Art is merely one's confession to a masqueraded secret' Ela
said".
FADE TO BLACK.

THE INSPIRATION FD FR - Sam McLeod

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

THE INSPIRATION FD FR - Sam McLeod

Uploaded by

Copyright:

Available Formats

EXT. BOOK STORE - NIGHT

INT. BOOK STORE - DAY

INT. LOUNGE - AFTERNOON

FEW MOMENTS LATER

INT. LOUNGE - NIGHT

INT. ELA'S HOUSE - DINING ROOM - NIGHT

INT. GARAGE - NIGHT

INT. LIVING ROOM - NIGHT

Christopher sits opposite Ela, in his own comfy leather

EXT. FRONT OF ELA'S HOUSE - NIGHT

No response. Christopher sighs. Screw her. He takes out his

INT. ELA'S HOUSE - FOYER - NIGHT

INT. SHOE CUPBOARD - NIGHT

INT. FOYER - NIGHT

Christopher pats himself down, checking. He doesn't have it.

INT. DINING ROOM - CONTINUOUS

INT. GUEST BEDROOM - NIGHT

Christopher puts down the suitcase, as Ela stands beside him,

INT. CHRISTOPHER'S HOUSE - KITCHEN - DAY (FLASHBACK)

INT. GUEST BEDROOM - NIGHT

INT. UPSTAIRS CORRIDOR - NIGHT

INT. ELA'S BEDROOM - NIGHT

Ela slowly stares up with a rebound determination. She gets

INT. OFFICE - NIGHT

INT. GUEST BEDROOM - NIGHT

INT. CHRISTOPHER'S BEDROOM - NIGHT (FLASHBACK)

INT. GUEST BEDROOM - NIGHT

INT. OFFICE - NIGHT

INT. GARAGE - NIGHT

INT. FOYER - NIGHT

--getting up on her feet in a spirited buzz -- SPEEDING back

INT. GARAGE - NIGHT

INT. GUEST BEDROOM - NIGHT

INT. GUEST BEDROOM - NIGHT

INT. FOYER - NIGHT

EXT. FRONT OF ELA'S HOUSE - NIGHT

PULL BACK -- As Christopher rifles through the pages, trying

EXT. BACK GARDEN - MORNING

...raises it high in the air...

INT. ELA'S HOUSE - KITCHEN - DAY

INT. GUEST BEDROOM - DAY

He looks back around, having a final check. Desk is clear.

INT. FOYER - DAY

INT. LIVING ROOM - DAY

Ela's face subtly lights up with panic. She hides her

INT. GARAGE - DAY

INT. LIVING ROOM - DAY

EXT. FRONT OF ELA'S HOUSE - DAY

Sneakily, he leans into the boot, digging for the suitcase

They both laugh together...

INT. CHRISTOPHER'S CAR - DAY

EXT. FRONT OF ELA'S HOUSE - CONTINUOUS

INT. CHRISTOPHER'S CAR - CONTINUOUS

EXT. FRONT OF ELA'S HOUSE - CONTINUOUS

--Christopher's car door opens slowly. He gets out, also

--at the long-stretching fields. Endless. Isolating.

INT. GUEST BEDROOM - DAY

...chucking it back onto the bed.

INT. ELA'S BEDROOM - DAY

EXT. GARDEN PORCH - DAY

INT. LIVING ROOM - DAY (FLASHBACK)

EXT. GARDEN PORCH - DAY