The Lonely Stranger 1

EXT. OUTSIDE A FRONT DOOR IN HENLEY – (DAY) – LONG SHOT

We see a view of the rustic, terraced house from the opposing
side of the road on a bare, lonely street. Flecks of sunshine
are speckled along the row of buildings, with blinding
reflections sparking from the windows. There is a blend of
wood and bricks trailed amongst the buildings’ construction.
HELEN is a 42-year-old innovative, career-driven mum – often
drained from constant 12-hour shifts at her local hospital.
She is a slim figured woman who often sustains her hair in a
messily thrown- up bun.
HELEN (V.O.)
(shouting) No! For God’s sake Charlie, we have been
iiiiiiiiiiihere. You can’t keep doing this. I can’t keep
iiiiiiiiiaolending you money just for you to be frivolous with
aioooooooooit!
CHARLIE (an imaginative teenage boy, dressed unpretentiously
in joggers and a hoodie) huffs distinctly in an angry manner.
HELEN (V.O.)(CONT’D)
(resentfully) Oh, go on. You never listen anyway.
aooooooooiiDo what you want, I’ve had enough.
The CAMERA DRAWS FORWARD, displaying a MEDIUM CLOSE-UP SHOT of
the upper half of the door and walls either side as Charlie
exits the house.
The CAMERA moves to an EXTREME CLOSE-UP of Charlie’s hand
pulling the door handle to shut it.
The CAMERA switches to a MEDIUM SHOT of the boy’s side view
from the waist up, TRACKING him as he treads swiftly down the
road. We see him reach in his pocket for his headphones,
pulling out a white case of airpods.
The CAMERA advances forward into a CLOSE-UP SHOT of the boy’s
side profile as he places an airpod into his ear then,
RETRACTS BACK into a LONG SHOT, tracing him from a set
position.
Charlie carries on walking briskly in the direction of the
train station. He maintains a blank, almost empty expression.
We see him traipse into the distance, taking long, heavy
strides - whilst reaching for and throwing on his hood. The
sky turns cloudier and greyer, reflecting the change in mood.
 2
EXT. HENLEY TRAIN STATION – DAY
As Charlie arrives at the train station, he slows down. The
CAMERA sits behind the boy, watching him plodding into the
station from a LONG SHOT. When Charlie is out of view, the
CAMERA TRACES him around the corner toward the bench in a
shaky manner.
The CAMERA shoots in a stationary side-view position as
Charlie turns around apprehensively to check that there was
nothing following him.
The train station is vacant, leaving Charlie alone with his
music. The deserted atmosphere creates a chilling feel,
allowing him to feel weary of his surroundings. Echoing voices
in his head are leaving him unsettled and he peaks around his
shoulder.
The CAMERA switches to an EXREME CLOSE-UP of the boy’s
confused facial expression as his eyes peer from left to
right.
A sudden deep, booming voice appears from the left of Charlie.
MAN
(clearly) Hello.
The CAMERA moves to a front MEDIUM SHOT of the two now sat
side by side on the bench. Charlie looks at the man with
perturbed eyes, with the man remaining forwards.
MAN (CONT’D)
(in monotone) I didn’t mean to startle you.
The CAMERA moves between the two, focussing on them as they
speak. Charlie stays staring at the man in confusion and
scarce. Whilst making eye contact, the man forcefully extends
his hand, in attempt of a greeting. Upon subtle rejection, he
places his hand back down.
MAN (CONT’D)
Oh, come on. I’m not going to bite you. I just
oiiioioooooiwanted to make a friend.
The man shrugs his shoulders.
CHARLIE
(wearily) A friend?
 3
The two make brief eye contact before Charlie looks away
uncomfortably, attempting to edge away from the man.
MAN
What? (chuckles) Have you never heard that word
ioooooiiioobefore?
The man looks away with a faint smile drawn over his face,
then soon enough returns to a void, almost hypnotic
expression.
The CAMERA PANS to Charlie, looking marginally embarrassed yet
defensive.
CHARLIE
(muttering) I do know what a friend is.
He looks demoralised.
CHARLIE (CONT’D)
I have friends…
The man looks back at Charlie, almost compassionately. He
brings his hand forward once again; Charlie hesitantly raises
his hand alongside the mans. They shake hands firmly. A noise
behind them is heard and Charlie spins around.
The CAMERA moves to a CLOSE UP SHOT of Charlie looking over
his shoulder, and then pans to a LONG/ESTABLISHING landscape
shot of Charlie’s view whilst turned around.
As he looks back, the man is gone. The CAMERA pans back to a
MEDIUM SHOT of the two, with Charlie sat and the man standing.
There is a tap on Charlie’s other shoulder, making his head
shoot around – the man is standing there menacingly.
The CAMERA then moves to a HIGH ANGLE SHOT, very slightly
looking down at Charlie – creating an illusion of the man
towering over him.
The sudden shock makes Charlie jump in his seat and hesitation
polishes his face once again. The man passes an attempted
reassuring look.
MAN
You’ve really got to get used to that, you should see
llllllllthe look on your face.
 4
CHARLIE
How did you do that? You were just…

He is interrupted.
MAN
I really didn’t do anything. You’re very jumpy,
iiiillo how about a walk?
Charlie debates for a few seconds and then nods his head
slowly, picking up his phone.
The two walk out of the train station side by side with the
CAMERA shooting a MEDIUM SHOT from behind. They begin walking
down a road, towards an alleyway.
The current road is fairly busy, putting Charlie’s fearful
mind at rest. The street is dotted with well-maintained
buildings either side and cars frequently proceeding by.
Initially, the CAMERA TRACKS them from the front, and
continues switching view as they talk.
CHARLIE
(aimlessly) So?
The man examines him fleetingly and then returns to his
forward focus, remaining silent. They carry on ambling.
CHARLIE (CONT’D)
I’m sorry – I didn’t catch your name?
MAN
(bluntly) Because I haven’t told you.
CHARLIE
(attentively) Well? What is it then? Why are you here?
ooooooooWhere did you come from?
MAN
(interrupting) So many questions.
CHARLIE
And not enough answers. What do you want from me?
 5
MAN
Good questions. Very good. I’m afraid I can’t share
saasiiiothe answers with you.
Charlie turns towards him with a confused yet accusing glare.
CHARLIE
Why not?
MAN
(pauses) Because I’m not really here.
Charlie scoffs, letting out a faint grin – unclear that the
man’s words are not a joke. His face returns neutral upon the
realisation that the man is not teasing him.
CHARLIE
What do you mean ‘not here’. You can’t not be here.
The CAMERA shoots in a CLOSE-UP frame, of the boy’s hand
reaching for the man. He goes to touch the man, placing his
quivering hand on the man’s shoulder.
The CAMERA pans back to a medium shot unveiling the boys
standing.
CHARLIE (CONT’D)
See! You liar! I’d be a fool to believe anything that
ooiiiooicomes out of your mouth.
The man a exhibits sinister gaze, looking right through
Charlie. He reaches for Charlie’s hand and upon touch,
vanishes on the spot.
The CAMERA manoeuvres to a COWBOY SHOT and we see Charlie
breathing erratically, frantically seeking for the man’s
appearance. He looks at his shaking hands with grave fear
drawn on his face.
The CAMERA holds a LONG SHOT for several seconds, watching
Charlie search for the man in his stationary position, and
then moves to an ARIEL SHOT where we see the whole of Charlie
and his near surroundings – making him look vastly petite. The
boy is left in a state of confusion and guilt.

THE END