by Gary Kittle
Been busy, too.
The woman tries to console the baby, but as the camera advances the baby cries harder.
KILLER:
Hush, now, little one. Shhh...
The baby starts to calm down.
KILLER (SIGHING):
It's mine, by the way. I found that out on Death Row. Very compassionate, that, I thought.
The mother starts to do her coat up.
KILLER:
Her name's Mandy.
MANDY stands, reaching out for the pram.
KILLER:
I'm not being mean when I say this, but I hope she's on her own.
MANDY wheels the pram away.
KILLER (ANGRILY):
Because if I can't have her, no one can.
MANDY looks nervously over her shoulder and hurries away.
SCENE 5) EXT. Street with shops. Midday.
A young girl is standing across the road, staring.
KILLER:
Some might call me possessive. But it was different with Mandy...
The camera stops and pans back to the staring girl.
KILLER:
I've never liked being stared at.
The girl is immobile, wide-eyed, unflinching.
KILLER (SHOUTING):
Oi! I said I hate being stared at!
The girl remains statuesque. The camera turns one hundred and eighty degrees to reveal a blank wall behind. When the camera turns back to view the spot where the girl was standing/staring, she has vanished.
KILLER:
See what I mean, Mr. Psychiatrist?
WHERE THE SKY IS TAINTED RED - EPISODE TWO
SCENE 1) EST. INT. Shopping arcade. Late afternoon.
A woman sits next to the camera, mobile phone in her handbag.
KILLER:
It's amazing how susceptible modern technology is to paranormal interference.
The screen lights up.
KILLER:
It wasn't a complete waste inside, you know. Obviously, you can't research bomb-making or poisoning.
The phone starts to ring. The woman answers it.
KILLER:
But no one stopped me reading about poltergeists, telekinesis, and the like.
The woman drops her mobile back in her lap, scowling.
KILLER:
I died quite the expert. Got plenty of time to practice now, too. Watch.
Again the phone lights up, ringing. The woman ignores it.
KILLER:
Pick it up, you silly bitch, before I drain your battery.
The woman picks up the phone.
KILLER:
You birds can be so damned...
SCENE 2) EXT. Field. Night. (Flashback.)
We see a spade digging a hole in the earth, accompanied by laboured breathing. Next to the hole is something large covered in discoloured plastic.
SCENE 3) INT. Shopping arcade. Late afternoon.
(C.U.) Phone is next to the woman's ear. We hear a man's heavy breathing/grunting from Scene 2 (above). The woman switches the phone off and returns it to her lap.
KILLER (SNIGGERING):
Recently - and this will impress you - I've even learned how to send texts.
The mobile phone pings. The woman stares at the blank screen, frowning because it's supposed to be switched off.
KILLER (IN A SING-SONG VOICE):
It's for you-who!
A second text alert sounds and the woman turns her phone back on. As she reads her eyes widen and she puts a hand to her mouth. She throws her mobile into her handbag and marches out of shot, leaving the KILLER in hysterics.
KILLER:
And do you know the best part? She thinks it's from her fourteen year old nephew. Priceless!
SCENE 4) INT. Killer’s former flat. Day.
The camera looks down the hallway from the front door.
KILLER:
Come in, then! I'll give you a tour.
The camera advances into the living room.
KILLER:
Well, it wasn't this nice when I had it. Obviously.
We hear a key turning in a lock.
KILLER (WHISPERED):
Oh, here he comes. The new boy!
The camera turns to the front door.
KILLER (WHISPERED):
I'm not sure about my new 'flatmate', though. Bit neurotic. Know what I mean?
The door opens and a nervous young man enters the flat carrying a briefcase.
KILLER (SNIGGERING):
Frankly, I think he'll have to go. And you know how persuasive I can be.
The young man shivers and turns up the heating.
SCENE 5) EXT. Field. Night. (Flashback.)
We see a pile of dirt next to a hole. A shovel is tossed onto the dirt pile with a grunt.
SCENE 6) INT. Killer’s former flat. Day (Cont/d).
KILLER (LAUGHING):
Terrible nightmares!
The young man disappears into the kitchen. Camera heads towards the open bedroom door.
KILLER:
'Course there was a lot more action in here when I was the sole tenant. I don't think this one even jerks off. Can you believe it?
SCENE 7) EXT. Field. Night. (Flashback.)
There is more grunting as something large and wrapped in plastic is rolled into the hole.
SCENE 8) INT. Killer’s former flat. Day.
We see the bed. There is a shape under the bedclothes.
KILLER:
Well, well, well! Now this is a surprise.
The camera approaches the bed and the duvet is lifted up, revealing a pair of muddy feet. Then the lower legs are shown, bound by gaffer tape. The surrounding skin is cut and bruised.
KILLER (WHISPERED):
Still waters run deep.
The camera turns back towards the living room, where the tenant is watching TV.
KILLER:
Someone's been a naughty...
When the camera turns back to the bed it is empty, the covers smooth and clean. Off camera we hear a woman's scream.
The camera rushes towards the window and looks down into the street. The young girl from earlier is looking up at the window, screaming her lungs out, whilst passers-by seem oblivious to her presence.
KILLER:
Not you again! Now this is bang out of order!
The camera turns and rushes through the flat, out the door, down the stairs and out into the street.
SCENE 9) EXT. Street outside the killer’s former flat. Day.
The girl has gone. The camera looks left and right, and then catches sight of something in a parked car close by.
KILLER:
What the...
The camera approaches the passenger side window and shows the young girl trying to get out of the car. The girl strains her neck to the roof of the car and starts to splutter as if she were drowning.
KILLER:
Yer. I remember you. And you must remember me - since I was the last person you saw alive.
The girl is now frantically struggling for breath and banging on the window.
KILLER:
How come you're not where I left you? Unless, of course...
The camera notices water seeping out from the bottom of the car door. There are river weeds/reeds over the car body.
KILLER (LAUGHING NERVOUSLY):
Oh, right. Unless you are still where I left you.
SCENE 10) EXT. Isolated lake. Day.
The camera looks across the icy water to the sound of echoing, choked screams.
SCENE 11) EXT. Street outside the Killer’s former flat. Day.
The camera looks in the passenger window again, but the car is empty/clean, the ground dry.
KILLER:
Yer, and good riddance! It's not my fault you were stupid enough to walk home alone.
SCENE 12) EXT. Another street. Day. Moments later.
The cam
era is following a woman, who starts looking behind her, anxiously.
KILLER:
Asking for it, the bloody lot of them, if you ask me!
The camera moves up closer to the woman. She pulls her coat collar tightly around her neck.
KILLER:
Even MANDY had her moments, silly cow. But I won’t hear a bad word spoken about her.
The camera is now directly behind the woman's head. She hurries on.
KILLER:
There are two types of people in life - did you know that?
The woman suddenly stops and turns around, staring directly into the camera, eyes searching but seeing nothing.
KILLER:
Those who tell you what you want to hear, and those who tell you what you need to hear.
The woman continues on her journey, moving away from the camera.
KILLER:
I never realised that till I met MANDY.
The camera turns one hundred and eighty and pans down to the pavement.
KILLER:
I've realised something else, too.
There are small wet footprints in the killer's wake. The camera slow focuses on these.
KILLER:
Those aren't mine.
WHERE THE SKY IS TAINTED RED - EPISODE THREE
SCENE 1) EST. EXT. Graveyard. Day.
Wide shot of graveyard.
KILLER:
Did I ever tell you I killed my brother?
The camera focuses on the graveyard path, which is marked by wet footprints.
KILLER:
It was an accident.
(BEAT)
No, no. Really.
(BEAT)
But Ma never forgave me.
SCENE 2) EXT. Lake. Day. (Flashback.)
Shot of lake with an island at the centre.
KILLER:
Wasn't even my idea. 'Let's go there,' he says.
C.U. of the water's surface. Indistinct echoes of a child giggling.
KILLER:
I had to take their word for it that he'd drowned.
Camera running frantically through lanes and paths. Laboured, tearful breathing close to.
KILLER:
Because I can't remember a soddin thing.
SCENE 3) EXT. Graveyard. Day. (Cont/d.)
More atmospheric graveyard shots. In the distance, out of focus, are two figures.
KILLER:
The reason I mention it now...
The camera brings the two figures (woman, boy) into focus.
KILLER:
Is because that's him standing right there with Ma.
C.U. of mother's impassive face.
KILLER:
Which is not possible.
C.U. of the boy's arm, which is dripping with water.
KILLER:
When they're both supposed to be playing peek-a-boo with Baby Jesus.
SCENE 4) INT. Teacher’s flat. Bedroom. Low lighting. Night.
Mr. KENNEDY, the teacher has his bedside lamp on. He is sleeping fitfully and starts to toss and turn.
KILLER:
I had tablets from the quack.
(BEAT)
And I knew all about them.
SCENE 5) INT. Day. (Flashback.)
(C.U.) shot of a woman pushing a tablet into her mouth.
SCENE 6) INT. Teacher’s flat. Bedroom. Night. (Cont/d.)
KILLER:
And later on still - when things really went tits up - I saw the shrink.
KENNEDY's nightmare intensifies.
KILLER:
But through it all, there was always Kennedy. Saw himself as some kind of knight in shining armour.
SCENE 7) INT. Day. (Flashback.)
C.U. shot of a man's hand resting on the woman's shoulder.
SCENE 8) INT. Teacher’s flat. Bedroom. Night. (Cont/d.)
KILLER:
Soon as my old man had slung his hook, out of the shadows crawled Creepy Kennedy.
KENNEDY starts to shout out in his sleep.
KILLER:
Not that Ma took him seriously to start with. But after... the accident.
SCENE 9) INT. Day. (Flashback.)
(C.U.) The woman tries to break free from the man's grip, but it tightens and pulls her into a firm embrace.
SCENE 10) INT. Teacher’s flat. Bedroom. Night. (Cont/d.)
C.U. of bedside lamp.
KILLER (TO KENNEDY):
Well, she was vulnerable, and Kennedy saw his chance to get his boots permanently under the table.
The lamp goes out just as KENNEDY sits bolt upright in the bed, screaming.
KILLER:
Only thing was...
We hear KENNEDY scrambling about in the dark; then the light comes back on.
SCENE 11) INT. Day. (Flashback.)
Another (C.U.) shot of the woman pushing tablets into her mouth, but faster this time.
SCENE 12) INT. Teacher’s flat. Bedroom. Night (Cont/d.)
KILLER:
Nobody realised just how fragile she was. You know, mentally.
KENNEDY screws up his eyes and hyperventilates.
KILLER (WHISPERED):
Sweet dreams, Mr. KENNEDY.
SCENE 13) EXT. Back in the street again. Day.
The girl is staring from across the road once more.
KILLER:
I don't remember her name. She was just 'next'. All that mattered was getting away with it.
C.U. of the girl's face. She is crying.
KILLER:
And I did, too. Mind you, someone will find her eventually. They always do.
(LAUGHING):
Not that I need worry. This cracked egg's been well and truly broken.
SCENE 14) INT. Day. (Flashback.)
(C.U.) Of woman knocking back a bottle of gin.
SCENE 15) EXT. Back in the street again. Day. (Cont/d.)
From across the street, the girl appears to be speaking.
KILLER (SHOUTED):
Do what, love?
C.U. of girl's mouth, repeating the same phrase over and over, ever more desperately.
KILLER:
What's got into her? (LAUGHING) Apart from me, that is!
The girl now appears to be shouting at the top of her voice.
KILLER (STILL LAUGHING):
Bloody hell, she never made this much fuss when she was alive.
SCENE 16) EXT. An alleyway. Day.
The camera peeks around the corner into the (empty) road.
KILLER (NERVOUSLY):
I didn't see this coming, did I? Silly cow's started stalking me.
The camera takes another, longer peek into the road.
KILLER (LAUGHING):
But it stands to reason, really. Mine can't be the only unquiet spirit, now can it?
The camera turns to look back up the alley, which is empty.
KILLER:
And I read somewhere that if you save someone's life you become responsible for it. So maybe it's the same if you take a life.
SCENE 17) EXT. Night. Wooded area. (Flashback.)
We see a car boot slammed and a pair of gloved hands pushing the car towards water.
SCENE18) EXT. An alleyway. Day. (Cont/d.)
The camera looks back into the road.
KILLER:
Maybe if they find her remains, give her a proper burial... Anyway, sod this for a laugh. I'm off.
The camera turns back into the alley to find the KILLER's brother and mother standing at the far end. Water is running down the alleyway towards the camera.
WHERE THE SKY IS TAINTED RED - EPISODE FOUR
SCENE 1) EST. INT. Ex-wife’s flat. Early evening.
The Killer's ex-, MANDY is standing in front of a crying baby's cot, face wet with tears.
KILLER:
Uh-oh. Meltdown!
KILLER (COCKNEY ACCENT):
All too much for you, babe?
MANDY continues to weep and shake her head.
KILLER:
Better off without me now, are you?
The camera turns to reveal a shadow on the carpet from the kitchen. MANDY is becoming very distressed.
KILLER:
Boyfriend trouble, hey, Mand?
(SNIGGERING):
We're all the same underneath.
SCENE 2) INT. Day. (Flashback.)
(C.U.) A woman's head lolls forward, her breathing starts to rasp. The camera pulls back to show the KILLER's mother and a dressing table crowded with wine and medicine bottles.
SCENE 3) INT. Ex-wife’s flat. Early evening. (Cont/d.)
The silhouette becomes a man as he steps into shot. It's KENNEDY.
KILLER:
What... What the hell are you doing here?
KENNEDY slowly advances towards MANDY, carrying a tee towel, which he is twisting in both fists.
KILLER:
How the hell do you know my Mandy?
KENNEDY puts his arms around her. She tries to pull away.
SCENE 4) INT. Day. (Flashback.)
The semi-conscious mother turns to look back at the bedroom door. The handle starts to turn, then stops. The mother breathes a sigh of relief.
SCENE 5) INT. Ex-wife’s flat. Early evening. (Cont/d.)
KILLER:
Get out of here, Kennedy. D'you hear me? I said...
MANDY relaxes and sobs into Kennedy’s chest.
KILLER:
You think you've found yourself another damsel in distress!
KENNEDY starts stroking MANDY's hair.
KILLER (SHOUTED):
Don't you?
KENNEDY glances down into the cot, smiling.
KILLER:
You keep away from my family! I'm warning you, Kennedy. You KEEP AWAY!
A light bulb explodes.
SCENE 6) INT. Church. Day.
The camera, slowly surveying the interior of the church, spins around suddenly.
KILLER:
Now what? I hate churches. Reminds me of funerals.
Shot of stained glass window, with sunlight waning.
KILLER:
Not that I've ever been to one.
KILLER (LAUGHING):
Not even my own.
C.U. of a gargoyle in torment.
KILLER:
As for my brother's. Well, I wasn't allowed to go. 'His' advice, of course. Ma just did as she was told. Like she was dead, too.
