by Gary Kittle
Android Mary tenses, as if in readiness to attack him. Don takes a step backward, brandishing a golf club he has retrieved from behind the bedroom door. He uses his free hand to waggle his index finger at Android Mary.
DON:
Uh-ha. Be a good girl now!
He holds the club up ready to defend himself. But Android Mary merely smiles, head repeatedly twitching to the right.
ANDROID MARY:
Do you want pancakes, sweetie? Do you want pancakes, sweetie? Do you...
SCENE 14) INT. Kitchen. First thing Monday morning.
Don wanders in wearing a dressing gown. Android Mary is filling the dishwasher at break-neck speed. He looks her way momentarily then picks up the phone, his body obscuring her actions. He has to raise his voice to make himself heard.
DON:
Hi, Laura. Listen, I'm not feeling too well.
(BEAT)
Can you tell McKenzie?
(BEAT)
Thanks. Bye.
Don lowers the phone, mouth agape as he turns to stare at Android Mary.
DON:
Mary, what are you doing?
Don steps forward and slightly to the right, showing Android Mary frantically stuffing the dishwasher with dirty laundry.
DON:
Give me strength.
Android Mary stops loading immediately and her head snaps around to face Don, though her body is still bent over the machine.
ANDROID MARY:
NO!
Don braces himself for another attack, but Android Mary remains petrified, her mouth open in mid-speech, hands full of clothes.
DON (TO HIMSELF):
Now what?
(BEAT)
Mary?
Don slumps onto a kitchen chair. Android Mary remains frozen.
DON:
She's right about that warranty...
Don looks over at the framed photograph of Real Mary.
SCENE 15) INT. Kitchen. Later that afternoon.
Android Mary, having loaded the food blender, puts the lid on and flips the switch on, then off again. She leans forward, apparently fascinated by the swirling/settling contents. CUT TO: In the living room Don is slumped on the settee watching TV.
DON:
Are you OK in there?
CUT TO: Android Mary in the kitchen. She switches the blender on and off, on and off, her face getting ever closer to the machine.
DON:
How's that smoothie coming along, sweetheart? Need a hand?
Android Mary's body comes upright suddenly, her eyes wide.
ANDROID MARY:
You know, a hand might make all the difference.
CUT TO: In the living room Don starts to stand up.
DON:
All right. Let me...
CUT TO: Android Mary flips the lid off the blender and stuffs her left hand inside. With her free hand she switches the blender on. There is a horrendous whining, tearing sound as the reddened fruit smoothie squirts up the walls, etc. Don is across the kitchen in an instant, but before he reaches Android Mary there is a bang that sends her flying across the room. The TV. and lights die. Don stares in horror as Android Mary picks herself up off the floor and examines the smoking stump of her left wrist.
ANDROID MARY:
Don't worry, sweetie. All the best things come in pairs!
She winks at Don, and mimics masturbation with her good hand.
SCENE 16) INT. Hallway. A minute or so later.
Sound of doorbell ringing. Don, frowning, flips a switch and closes the lid over the fuse box. The doorbell rings again.
DON:
Mary?
CUT TO: Living room. Don checks the living room and messed up kitchen, but Android Mary has vanished. The doorbell rings a third time. Don, cursing/muttering, hurries through the house and yanks the front door open, revealing a well-dressed Mary with a handbag. He opens his mouth to speak, but no words will come.
REAL MARY:
Hello, Don. It’s been a long time.
SCENE 17) INT. Living room. A few minutes later.
Real Mary sits in a chair, clutching her handbag. Don remains standing.
DON:
You know, people who run away usually don’t come back. So what are you doing here?
Real Mary clutches her handbag tightly.
REAL MARY:
The office said you've been off sick.
Somewhere above a door creaks and slams.
DON:
Stress. It's nothing.
Real Mary spies empty bottles by the kitchen bin.
REAL MARY:
What's wrong, Don? Can't cope on your own?
There is more creaking from above.
DON:
Who said I was on my own?
(BEAT)
And this one won't walk out on me. I guarantee it.
REAL MARY:
No, Don. They’ll probably carry her out in a box.
Don laughs.
REAL MARY:
What's so funny?
A floorboard groans. Unsteady footsteps lurch half-way down the stairs then stop.
DON:
You are.
(BEAT)
Both of you.
REAL MARY:
You can't frighten me anymore, Don.
DON:
Is that what you came back to tell me?
DON (CALLING):
Oh, Mary? Mary, get down here! There's someone I want you to meet.
REAL MARY:
Mary?
The lurching footsteps resume their decent of the stairs. The footsteps near the door to the living room. The door slowly starts to open. The door opens fully, revealing Android Mary, her dented face smeared with lipstick and blusher.
ANDROID MARY (BRIGHTLY):
Hi! You must be Mary!
Real Mary starts screaming, but in a flash Android Mary has clamped a hand over her mouth and pinned her down into the chair. Don wanders over towards the two Marys. Real Mary struggles but Android Mary holds her down easily.
ANDROID MARY:
Shall we go upstairs?
Don raises his eyebrows, then runs the back of his hand down Android Mary 's arm and across Real Mary's cheek.
ANDROID MARY:
Are you a bitch, too?
Real Mary struggles again, groaning.
DON:
I'm going to tell her to let you go. No tricks, mind.
Don leans down into Real Mary's face.
DON (WHISPERED):
But I'm giving you a present to take back to your little hidey-hole.
(BEAT)
Something to remember me by.
ANDROID MARY:
Tumbler. Large whiskey. Ice. Now!
DON:
And every time you go to sleep. Every time you think about trusting someone else, this is what you'll remember.
(BEAT)
Mary! Tongue!
Android Mary jumps off Real Mary and starts to unzip Don’s trousers. Real Mary tries to run but Android Mary trips her up in a flash.
ANDROID MARY:
Don't go! You'll love this game!
Android Mary grabs Real Mary's ankle and pulls her back across the carpet.
REAL MARY:
No, Don! Please!
Android Mary places a hand around Real Mary's throat and starts to squeeze. A small tendril of smoke rises from Android Mary's neck.
DON:
No, damn it!
Don tries to pull her away but can't. Android Mary squeezes harder.
DON:
Deactivate!
ANDROID MARY:
No! No!! NO!! NO!!!
DON:
DEACTIVATE!
Android Mary, twitching, lets Real Mary go suddenly.
ANDROID MARY:
I think you should spend some time in your box now.
Real Mary coughs an
d rubs her throat. She crawls away towards the living room door. Don pulls open a drawer in the coffee table and produces a revolver. Real Mary and Don look at one another for a split second. Then Android Mary snatches the gun from Don’s grasp. Don freezes. Android Mary's arm straightens, ready to fire.
DON:
Mary!
ANDROID MARY:
My warranty...
A vase crashes into the side of Android Mary's head and she falls to one side, staring up at Real Mary.
ANDROID MARY (BRIGHTLY):
But darling, wasn't that a wedding present?
Android Mary and Don grapple for the gun lying between them.
ANDROID MARY (AGAIN BRIGHTLY):
Look! Aren't we the happy couple?
They both have their hands on the weapon when something knocks Android Mary and Don across the carpet. Real Mary is standing over them, this time wielding Don’s golf club. Android Mary writhes on the ground, smoking and twitching.
ANDROID MARY:
My warranty is limited to accidental damage. My warranty...
Don tries to get up.
ANDROID MARY (IN REAL MARY'S VOICE):
'You can't frighten me anymore, Don.'
Android Mary grabs Don and pulls him back to the floor, pinning him down. She thrusts the gun barrel deep into his mouth.
ANDROID MARY:
Spit or swallow?
Don looks over at Real Mary, who raises the golf club above her head. Don's eyes widen in fear and Real Mary hesitates.
REAL MARY:
Mary, stop! Your warranty!
ANDROID MARY (MERRILY):
Warranty! Warranty! Warranty!
Don chokes desperately as the barrel penetrates further into his mouth and down into his throat.
REAL MARY (DESPERATELY):
Stop! Your warranty has been violated.
ANDROID MARY (IN DON’s VOICE):
'Fuck your warranty!'
REAL MARY:
Shut down, damn it!
Android Mary pauses, looking down uncertainly into Don’s face.
ANDROID MARY (CONFUSED):
My warranty has been violated. My warranty has been...
Don chokes violently so that his whole body trembles.
REAL MARY:
Shut down, Mary! Shut down!
Android Mary twitches violently and then freezes completely, still sitting astride Don's chest; and pinning his arms down with her legs, the revolver firmly pushed into his mouth. Real Mary staggers off towards the door. Don roars at her incoherently, still spluttering and retching with the gun barrel rammed down his throat. Real Mary walks slowly back towards him, gradually regaining her breath and her composure.
REAL MARY:
You’re right, Don. I can’t just leave you like this.
Don moans.
REAL MARY:
I bought you a present, too.
Real Mary reaches into her handbag and pulls out a set of house keys, which she puts down next to the framed photograph of a younger Don and Mary. Don bellows with rage, but Real Mary just stares at him. She turns and walks out, leaving the front door ajar.
END
WHERE THE SKY IS TAINTED RED - PROLOGUE
SCENE 1) EST. EXT. A deserted underpass at dusk.
KILLER (V.O. /RUNNING MONOLOGUE)
There’s been a murder; not far from here, they say. They ought to lock him up if they catch him. And I’d know all about that.
SCENE 2) EXT. Empty children’s park shot through fence. Day.
KILLER (V.O. CONT/D)
My earliest memories are of bars. From playpen to stair gate, it was always me on one side and everyone else on the other. Not that I ever complained. No matter how tired or hungry or neglected I was, I never let out so much as a whimper. Instead, I just glared, lips tightly compressed, hands clenched into miniature fists that one day would become hammers.
SCENE 3) EXT. Empty park. Day.
I’ve always been a scrapper, see. I fought my brother, they locked me in the coal shed; I fought at school, they locked me in the games cupboard; I fought in the street, they locked me in a behavioural unit. There was never a carrot, only sticks. No one ever picked me up or so much as ruffled the hair on my scabby little head.
SCENE 4) EXT. Showroom dummy on an unlit bonfire heap. Day.
This shrink thought he had me sussed, though: said I was ‘insecurely attached’ to my mother. Who pays these people? Must admit, though, nothing makes me angrier than a woman – it’s probably why I’ve hurt so many of them. But to say that was down to my old Ma is cuckoo. Birds just wind me up. That’s how I ended up doing an eight year stretch. But this time was different: I vowed that no one was ever going to lock me up again.
SCENE 5) EXT. A plane seen flying over at high altitude. Day.
I travelled all the way to America to do what I had to do. And no, not all of them were women, Mr Psychiatrist! I pleaded guilty amidst an orgy of evidence, declined my right to appeal, and stretched myself out for a cocktail of lethal injections.
SCENE 6) EXT. View of houses as seen from a wood. Nightfall.
Now I’m born again, a night owl, intent on mischief, my stone heart blacker than an ocean of coal dust.
SCENE 7) EXT. Lights seen going on in a bedroom. Night.
It’s me that sets off your car alarm.
SCENE 8) EXT. A can blown along a gutter. Night.
Me that kicks a can along the gutter as you’re trying to get off to sleep.
SCENE 9) EXT. A woman’s legs (ankle level) running. Night.
Me that makes your loved ones quicken their pace as they walk home alone from the bus stop.
SCENE 10) EXT. A deserted underpass at dusk (again).
There’s been a murder, not far from here, they say; but locking him up would be too good after what he’s done. But as my dear old Ma – God rest her soul – used to say: you can never break the same egg twice.
WHERE THE SKY IS TAINTED RED - EPISODE ONE
SCENE 1) EST. EXT. Car park. Twilight.
A man in his fifties emerges from a shop, weighed down by carrier bags.
KILLER (ALL VOICE OVERS):
Creatures of habit, teachers.
The man approaches his car, starts searching for his keys.
KILLER:
But I can't believe my luck that this one's still knocking about.
The man pushes his hand deep into his pocket and finally finds his keys. He looks up as a gate starts banging (even though there's only the slightest of breezes). The keys tumble to the ground.
KILLER:
The habitual disciplinarian. You know the type. Don't spare the rod, or you'll spoil the child.
The camera races forwards across the tarmac as the man bends to retrieve his keys.
KILLER:
And all that sado-masochistic bollocks.
The teacher recoils, startled, and drops a carrier bag; its contents roll around him. He struggles to collect his shopping in a sudden gust of wind.
KILLER (LAUGHING):
Hello again! Mr. Kennedy.
SCENE 2) INT. Inside the teacher’s car. Twilight.
The teacher, Mr. KENNEDY throws his bags onto the back seat of his car, where the camera quickly darts before the rear door slams shut. KENNEDY gets in and drives off.
KILLER:
Get lonely in the evenings, Mr. Kennedy?
The car pulls up outside a dreary bungalow.
KILLER:
We can't have that.
One bag of shopping is pushed off the seat, contents scattering again. The teacher, Mr KENNEDY glances back, frowning.
KILLER (LAUGHING):
Oops.
KENNEDY grabs what he can and scuttles up his garden path, entering his front door with the camera close behind.
SCENE 3) INT. Teacher’s hallway. Night.
KENNEDY sighs and heads for the squalid kitchen.
KIL
LER:
I could die laughing if I wasn't dead already!
KENNEDY starts to unpack. The camera slowly creeps towards his back. He stops and looks around, frowning.
KILLER:
How the mighty have fallen.
KENNEDY puts the kettle on. When his back is turned the camera approaches the kettle and it switches off.
KILLER:
Didn't expect to hear from me again, hey?
KENNEDY switches the kettle back on. A second later it switches back off. He stares at it, picks it up, shakes it.
KILLER:
Just look at him! Mr. 'butter wouldn't melt'.
KENNEDY switches the kettle back on, and to his relief it stays on.
KILLER:
Firm but fair. And boy, could he dish it out!
The kettle starts to boil but the switch won't release. KENNEDY turns as water starts to spit onto the worktop.
KILLER:
But the question now is: can he take it?
KENNEDY reaches out for the switch but a blob of boiling water splashes onto his hand, making him scream. The KILLER howls with laughter.
KILLER (LAUGHING):
I even reported him to the police. Fat lot of good that did me.
A second later the electrics trip out. KENNEDY fumbles in a drawer, lights a match that illuminates his frightened face.
KILLER (WHISPERED):
I'm going to take you to a place where the lights never come back on - Sir.
KENNEDY opens the fuse box and the lights are restored. The camera retreats through the kitchen door, KENNEDY still standing pensively.
KILLER:
Same time next week, then?
SCENE 4) EXT. A park. Day.
The camera focuses on a large tree, branches stirring in the breeze.
KILLER:
Conkers? I was never one for playing games. No friends, see? Why split someone's conker when you can split their lip, hey?
The camera focuses on a young woman seated on a bench with a pram before her.
KILLER:
I was married once. Bet that's surprised you!
The camera slowly stalks across the grass.
KILLER:
Surprised the shrink, too. Especially when I didn't kill her.
The camera slowly circles the bench so that we are looking over the woman's shoulder.
KILLER:
And here she is. The grieving widow.
The baby starts to cry.
KILLER:
