Round We Go
JANE
It’s great, thank you.
Jane picks up her backpack from the floor and puts the keychain on the zipper, alongside another one Sofia has given her. They are the exact same.
SOFIA
Oh. I didn’t realize I’d already given you one.
JANE
Doesn’t matter. This way I have a spare.
SOFIA
Right. I’ll get you a plushy next time.
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The Final Chase
ALISON
Is he okay?
GARY
He’s quite upset but as far as we can tell, he’s alright, yeah.
ALISON
He said there was someone in the house?
GARY
Yes, we had a look, we can’t see anyone, or any signs of forced entry.
ALISON
Okay, good. He suffers from dementia so I–
GARY
Yeah, we thought so. That’s the closest Lucy’s been able to get to him - he flinches when we touch him.
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If I Told You I'd Have To Kill You
BRIAN
The dead drop is in the peacock’s nest…
BRIAN winks badly. HECTOR seems confused.
BRIAN
I’ll cause interference, giving you approximately three minutes to pick up the package and exit the establishment as planned. Make sure you’re back for bingo at 5pm sharp matey. Oh, and tell Jane that I miss her choux pastries.
HECTOR nods and checks his watch.
HECTOR
I will. Thank you so much chap. Just one quick question on the whole operation –
BRIAN
Of course.
HECTOR
What kind of distraction have you got planned this year? Are you going for the classic?
BRIAN chuckles.
BRIAN
I think the paramedics might catch on. Don’t you worry Hector; I’ve cooked up something brilliant!
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物の哀れ (Mono No Aware)
The oil sizzles in the wok as VANESSA (45) gives it a hearty shake. They both laugh as EMILY (20) rushes over with the clean rice and pours it into a saucepan of boiling water.
EMILY
I wouldn’t call that dancing, mum. Here try something like…
EMILY pushes herself away from the stove, elegantly spinning, and dipping into a pirouette. She unbalances with a squeal and grabs VANESSA for support.
VANESSA
I see all those ballet lesson paid off, didn’t they?
EMILY (20) pauses to answer the question, her lips pursing.
EMILY
Yeah, I suppose they did.
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Confessions of Love, After the Fact
GEORGE
You smoke now?
SAMANTHA
Only on special occasions.
GEORGE
What’s so special about today?
SAMANTHA
I bumped into you, of course.
GEORGE
How cute. If I buy you a drink, will you stop lying to me?
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Lighter
JOSH
I wanted to give a speech today.
HARRY
Yeah?
HARRY is staring at the cigarette.
JOSH
I had one written down. I was going to give it, but...
JOSH flicks the ash off his cigarette.
JOSH (CONT’D)
I couldn’t do it. I just wanted to give Dad a proper send-off, but... Fucking coward. I couldn’t do it.
JOSH stamps his cigarette out. HARRY looks at it, crushed on the floor.
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England 'Til I Die
RHYS: Give me a dare. Go on. Anything, I’ll do it.
JAMIE: Anything?
RHYS: Yeah.
EMMET stands looking unsure, JAMIE looks around and focuses his attention on the houses around them.
JAMIE: Alright. Dare you to hop the fence behind you and bang on one of those windows.
RHYS: Which one?
The boys look toward the houses through gaps in the wooden fencing. JAMIE points to one in particular: an unkempt looking house with yellowing England flags and draped inside the windows.
JAMIE: That one.
RHYS: Easy.
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Checkout
CARL
You've never been disappointed?
GABRIEL
No. I guess it's because I've never hoped.
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Only Me
There is no reply. He walks back into the centre of the room. As he looks around the cabin he catches sight of his reflection in the large mirror. He flinches.
He walks towards it, confused and afraid. Reflected in the mirror is not his own image, but that of the man. John moves his head slowly from side to side and the reflection follows this movement.
MAN(REFLECTION)
Of course I’m here.
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Beneath the Oak
Kira
Being so far out in nature, it really makes you think.
Finley
(not paying much attention, has his eyes closed)
Oh yeah? How so?
Kira
(glances down at him, nervous)
Well, summer is almost over. Some of the leaves are falling already. You can't help but wonder how much longer we're all gonna be here.
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Diamonds
1 INT. EDITH’S LIVING ROOM - EVENING 1
A ring tone plays as a conference call loads. The call connects.
EDITH (77) is too close to the camera. She has her ear to it as though she is taking a telephone call.
EDITH
Hello?
SKYE
Hello, Edith.
EDITH
Hello? Who is it?
SKYE
Edith, you’ve got to move back, love. It’s a video call. Look at the screen.
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Of The Dark
INT. JULIA’S HOUSE- NIGHT
Stairs fly toward us. We hear footsteps, loud and fast.
A young woman enters frame as she sprints up the staircase.
Terrified.
She reaches the landing at the top of the stairs and bolts into one of the rooms, slamming the door shut in our face...
...SMASH TO
TITLE: OF THE DARK
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