Working Title
By
Grace Walker and Benjamin Wilson
INT. GENTLEMAN’S CLUB
The room is dark and rich with deep reds and browns, a
Caravaggio brought to life.
In the middle of the room a man, MICHAEL (50’s), lies
motionless on the floor.
- TRACK TOWARDS MICHAEL’s face - MICHAEL gasps for air -
CLASSICAL MUSIC SOUNDS GENTLY in b.g - MICHAEL coughs and
curls into a fetal position whilst his breathing normalizes
- CLASSICAL MUSIC FADES OUT -
- We hear only MICHAEL’s breathing and spoken word -
MICHAEL is clearly exhausted, he sits up, face in the palm
of his hand. Dropping his hand MICHAEL scans the room - c.u.
of eyes -
MICHAEL
Where am I?
MICHAEL notices his attire, a black suit and tie, after an
inspection of the pockets turns up nothing he begrudgingly
accepts it. MICHAEL proceeds to stand, he refrains from
further motion when stood, he stares intently at his shoes.
MICHAEL taps the floor with a foot - NO SOUND - he gives a
stomp - NO SOUND -
c.u. of MICHAEL looking up, around, then holding a look past
centre frame, slightly shy of ’down the barrel’.
Hello?
INT. GENTLEMAN’S CLUB - LATER
MICHAEL O.O.S
Frame is empty (furnishing in b.g.), c.u.(s.a) MICHAEL steps
into frame, searching.
MICHAEL (CONT.)
Hello?
w.a. from behind - MICHAEL stands alone in the empty room,
he shrugs.
MICHAEL
Well.
- OMINOUS LOW RUMBLING WHITE NOISE sounds - p.o.v. style, we
TRACK TOWARDS MICHEAL from behind.
CUT TO:
(CONTINUED)
CONTINUED: 2.
MICHAEL turns back around and sees a door, the only exit to
the room. MICHAEL approaches the door - OCEAN WAVES SOFTLY
sound, INCREASING IN VOLUME UPON APPROACH OF THE DOOR -
MICHAEL’s pace slows upon hearing the ocean, he’s curious.
MICHAEL reaches the door, looks down at the handle. Looks
back to the frame centre. MICHAEL leans up against the door,
ear pressed to the wood - THE OCEAN IS CLEARER, WAVES BREAK
SOFTLY -
MICHAEL’s expression is one confusion and worry, he pulls
away from the door and looks back at the handle. MICHAEL
slowly moves his hand to the handle - A LOW HUM BUILDS -
MICHAEL places his hand on the handle - A SOMBER JAPANESE
BUDDHIST CHANT SOUNDS LOUDLY -
MICHAEL slowly turns the handle with hesitation. Upon
reaching the end MICHAEL holds still -
BEAT
MICHAEL opens the door ajar slightly leaving only a small
opening. - SILENCE (briefly) - There is only darkness beyond
the door, MICHAEL edges to opening, peering in, winds blows
through the opening. - THE OCEAN SOUNDS LOUDLY, WAVES CRASH
VIOLENTLY, THUNDER STRIKES - Sea water begins to flood
through the opening along the floor.
MICHAEL slams the door shut and backs away.
BEAT
WOMAN’S VOICE
(whispered)
Michael.
MICHAEL spins around, there’s a table at the opposite end of
the room. On the table is a SMALL WOODEN CHEST, it’s worn,
old and locked with a large variety of locks.
TRACK IN ON CHEST - OMINOUS LOW RUMBLING WHITE NOISE SOUNDS
MICHAEL is disturbed by the CHEST, he looks at door, then
down to the gap at the bottom, he notices there’s no more
water on floor. MICHAEL removes his jacket, folds it and
place it at the foot of the door. He sits down, against the
door and rests head in his hands.
MICHAEL
What the hell is going on.
MICHAEL closes his eyes.
(CONTINUED)
CONTINUED: 3.
INT. GENTLEMAN’S CLUB - DREAM SEQUENCE
c.a. TRACK AHEAD OF MICHAEL, fully suited up, as he walks
towards the CHEST.
TRACK TOWARDS CHEST.
c.u. The door handle turns slowly.
INT. GENTLEMAN’S CLUB
CUT TO:
MICHAEL is hunched over in a seated position, sleeping. He
lets out semi-conscious sounding grunts of distress/pain.
CUT TO:
INT. GENTLEMAN’S CLUB - DREAM SEQUENCE
The door opens behind MICHAEL as he slowly proceeds towards
the CHEST. - SOFTLY FADING IN ARE MICHAELS SCREAMS v.o. -
All of the locks on the CHEST are now gone.
INT. GENTLEMAN’S CLUB
CUT TO:
c.u. MICHAEL is twitching and letting out louder grunts of
distress/pain.
CUT TO:
INT. GENTLEMAN’S CLUB - DREAM SEQUENCE
MICHAEL extends his hand to the CHEST, his hand is covered
in blood. - MICHAELS SCREAMS GET LOUDER THE CLOSER TO THE
CHEST HE GETS -
We TRACK through the door frame into the darkness. - A WOMAN
SCREAMS -
CUT TO:
FADE TO BLACK:
FADE IN:
INT. GENTLEMAN’S CLUB
MICHAEL jumps awake from the nightmare. He stares at the
CHEST.
MICHAEL approaches the CHEST, he crouches to the same level
as it. There’s an element of horror in MICHAELS expression
as he reaches out to touch the CHEST.
- CREAKING SOUND -
MICHAEL looks to his right and sees a YOUNG MAN sat at an
empty table, with an empty chair opposite him.
The YOUNG MAN (20’s) is dressed in the same suit and tie as
MICHAEL. The YOUNG MAN has vacant look about him, he stares
at a spot across the room from him.
BEAT
MICHAEL
Who are you?
MICHAEL (CONT.)
Hello? Kid? How’d you get here?
Hello, can you hear me?
MICHAEL sighs.
MICHAEL looks down a moment, then back at the CHEST as he
begins to get up from his crouching position. MICHAEL looks
back at the YOUNG MAN, the YOUNG MAN is staring right at
MICHAEL. MICHAEL is startled and pauses.
- YOUNG MAN b.g. o.o.f / MICHAEL f.g c.u. back of head - The
YOUNG MAN turns his head slowly and unnaturally back to it’s
previous position.
MICHAEL (V.O.)
(in quick succession,
overlapping)
Where am I/Who are you/What did I
do/Why won’t you talk/Who’s doing
this to me/Why is this happening?
4.
CUT TO:
INT. GENTLEMAN’S CLUB - LATER
MICHAEL is seated opposite the YOUNG MAN. MICHAEL is sizing
the YOUNG MAN up.
YOUNG MAN
You’re dreaming-
MICHAEL
(interrupting)
-Jesus!
The YOUNG MAN continues to stare blankly into the distance.
MICHAEL
Sorry, it’s just.. you spoke, but..
hello? You listening?
MICHAEL waves his arm back and forth past the YOUNG MAN’s
line of sight.
BEAT
MICHAEL (CONT.)
(aggravated)
.. What is this? .. Who are you,
and where am I?
MICHAEL
Ughh!
MICHEAL sighs and rest his head in his hand.
Silence.
YOUNG MAN
You’re dreaming;
MICHAEL peers at the YOUNG MAN.
YOUNG MAN (CONT.)
you find yourself lost in the cold.
Wind softly blows over MICHAEL, it’s like a wave of
relaxation.
YOUNG MAN (CONT.)
You’re lost in the coldest night of
winter, but you no longer feel it’s
grasp.
Snow begins to blow in with the wind.
(CONTINUED)
5.
CONTINUED:
6.
YOUNG MAN (CONT.)
You’re lost because there is
nothing in front, nothing behind.
You only see the light.
CROSS FADE - A bright light glows across MICHAEL’s face,
whitening the screen.
FADE TO:
EXT. PITCH BLACK SNOW TRAIL
Black screen.
A light pulses in the foreground (for two BEATS),
brightening the darkness, there is a narrow snow trail
leading off into the darkness. - WITH LIGHT, CLASSIC MUSIC
FADES IN THEN BACK OUT AGAIN -
YOUNG MAN (V.O.)
Further and further away.
The light pulses again, further into the b.g. this time. -
THE CLASSIC MUSIC FADES IN AND OUT WITH LIGHT, ALSO IT’S
QUIETER, RELATIVE TO THE LIGHTS DISTANCE -
- The sound of the WINTER WIND begins to pick up -
YOUNG MAN (V.O.)
(quiet)
Harder and harder to see the path.
The light pulses further away in the b.g., the light
smaller, lighting less of the snow trail. The light pulses
again dimly, lost in far b.g.
YOUNG MAN (V.O.)
(whisper)
Lost.
No more light, only darkness. - THE WIND WHISTLES SHARPLY,
FAINT CRY WHISPER THROUGH, A SCREAM FLIES BY LIKE A SPEEDING
TRAIN -
WOMAN’S VOICE
Michael! HELP!
TRANSITION // We TRACK BACKWARDS out of the darkness into -
TRANSITION TO:
INT. GENTLEMAN’S CLUB
- the GENTLEMAN’S CLUB through the door which MICHAEL is
stood holding open; he’s in a dazed state. MICHAEL snaps
back into consciousness and hurriedly slams the door shut.
He look over to the table seeing himself sat with the YOUNG
MAN.
INT. GENTLEMAN’S CLUB - LATER
MICHAEL is sat with the YOUNG MAN in a dazed state.
YOUNG MAN
Do you want to hear another story?
MICHAEL slowly lulls, then begins to wake from the dazed
state.
MICHAEL
What was that? How’d you do that?
YOUNG MAN
That has come to be, that was your
how. This will be your why.
MICHAEL
Why?
The YOUNG MAN smiles.
YOUNG MAN
Why.
Underneath the table, the YOUNG MAN reveals a knife, he
keeps it hidden pressed against his lap.
A tear of blood rolls down the YOUNG MAN’s cheek.
The YOUNG MAN’s attention is caught by something lurking in
the shadows on the other side of the room, near to where
he’s been staring.
In the shadows is the figure of a woman, water runs off her.
MICHAEL turns his head side on to see behind himself, he’s
too terrified to turn around fully.
YOUNG MAN
True terror does lie behind you.
You feel it, creeping towards you.
(CONTINUED)
7.
CUT TO:
CONTINUED: 8.
Across the table sea water spills across and over MICHAEL
resting hands. MICHAEL turns back and look at the water in
horror.
YOUNG MAN (CONT.)
When it had no memory you’d close
your eyes and build a din. Each
wave is louder than the last. Lost.
Whilst telling his story, the YOUNG MAN can be heard less
and less, the sound of the ocean comes back into the
foreground of the sound, canceling out all other noise.
MICHAEL
(silence)
I can’t hear you. I CAN’T HEAR YOU!
The YOUNG MAN smiles as he continues his story.
CUT TO - another MICHAEL is curiously moving closer towards
the door, he’s looking at the handle.
MONTAGE -
- MICHAEL sat at the table is getting more aggravated and
upset by the inability to hear and by sounds of the ocean.
MICHAEL
(silence)
STOP! MAKE IT STOP! PLEASE!
- MICHAEL by the door approaches the door, he looks at his
hands, they’re covered in blood. MICHAEL places a hand on
the handle and slowly begins to turn it.
- The YOUNG MAN becomes more sinister in the way he tells
his story.
- The WOMAN in the b.g. flails around psychotically,
screaming (silence).
MICHAEL at the table notices the other MICHAEL opening the
door.
MICHAEL
(silence)
NO! STOP!
MICHAEL at the table extends his arm towards the other
MICHAEL.
The YOUNG MAN is no longer talking, he has the knife raised,
readied for an attack.
(CONTINUED)
CONTINUED: 9.
MICHAEL by the door goes through the door. The door slams
shut behind him.
- THE DIN OF THE OCEAN STORM STOPS. DEAD SILENCE. -
- A METALLIC CLANG SOUNDS -
MICHAEL looks back to the YOUNG MAN, but he’s no longer
there, instead there’s a bloodied knife on the table.
MICHAEL looks down at his hands. blood starts to pour down
from his sleeved area, over his hands onto the table.
- SOUND OF LOCKS SPRINGING FREE AND HITTING A TABLE -
MICHAEL looks to where the knife was and now sits the SMALL
CHEST, unlocked with the locks spread around it.
MICHAEL pulls the CHEST towards him and opens it. MICHAEL
pulls out a picture of him and a woman sat on a beach,
hugging tentatively.
MICHAEL begins to cry.
c.u. A woman’s hands as they glide across the table, remove
the picture from MICHAEL’s hand and then proceed to hold his
hand.
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