by Gary Kittle
I know, but it's his office, Fee.
FELICITY:
Our office, actually. I'm a partner in the business, too. (LOUDLY) And why are you whispering?
MAX laughs and the couple kiss. FELICITY retrieves champagne and glasses from a bag.
MAX:
Oh, Felicity!
More kissing, then MAX breaks off, looking troubled.
MAX:
I was worried when I got your call. I thought something was wrong.
FELICITY:
I wanted to celebrate.
MAX:
Celebrate? Celebrate what?
FELICITY (COYLY):
Oh... just us. And everything!
She tickles his ribs. They run upstairs, giggling. At the first landing, however, they hear a long mechanical squeal from downstairs. MAX looks pensive again.
FELICITY:
You didn't close the front door properly, silly. (LICKS HER LIPS) It's very, very sticky.
MAX runs back down to close the door, laughing.
SCENE 3) INT. Front door area again.
MAX pushes the front door closed but it bangs very loudly, making him jump. He spins around as if someone is standing behind him. He exhales, heavily. The building is suddenly unnaturally quiet. MAX heads back towards the stairs.
MAX (TO HIMSELF):
Make your mind up, Fee...
MAX slowly climbs the stairs. His breath clouds in front of his face. He continues upward, through deathly silence.
SCENE 4) INT. First floor landing.
At the first landing he looks into the kitchen, then the toilet. From the toilet he emerges holding a pregnancy testing kit (C.U.), showing positive. His eyes widen. His breath still clouds the air.
MAX:
Felicity?
MAX slips the pregnancy kit into his pocket. In the room at the end of the landing movement can be heard.
MAX:
Fee, knock it off, OK? I don't have all day, you know.
From the room beyond there is the snigger of a man's voice.
MAX:
Hey! Who's there?
MAX finally reaches the doorway and peeps inside.
MAX (WHISPERED):
Oh, my God! It's...It's you, isn't it?
SCENE 5) INT. Large empty room.
MAX moves forward into the room.
MAX:
Gerry? Gerry, what are you doing?
GERRY stands on a small stool with a noose around his neck. GERRY's hooded head leans forward, causing his body to teeter precariously. MAX stops abruptly.
MAX:
All right! I'll... I'll stay here. Just don't do anything stupid. OK?
GERRY's head sags disconsolately and he sighs.
MAX:
You know, don't you?
GERRY lets out a sorrowful wail.
MAX:
Well, of course you do!
MAX suddenly frowns.
MAX:
Gerry, what have you done with Fee?
GERRY tips his head back, twisting his head to the ceiling. He sobs and starts to wobble the stool deliberately.
MAX:
No, wait!
GERRY steadies himself again.
MAX:
It's not serious. OK? We just fancied a bit of fun. It's you she really loves.
GERRY snorts with laughter and turns to his left. MAX looks towards the window and sees a pile of plastic bottles.
MAX:
What?
MAX inches around the room and examines the plastic bottles. They are all empty, but hidden among them is a pregnancy testing kit reading negative (C.U.).
MAX:
She told me you hated kids.
GERRY's head drops down onto his chest. MAX begins inching across the floor behind GERRY, dropping his voice in an attempt to disguise his proximity. GERRY weeps. MAX prepares himself for a desperate lunge at GERRY.
MAX:
And besides, she's on the pill. She...
GERRY's head snaps round and he roars with hysterical laughter.
MAX:
She told me.
MAX looks confused, as GERRY continues to snigger.
MAX (LAUGHING):
But I haven't used anything. She said I didn’t need to.
FELICITY (FLASHBACK):
'I wanted to celebrate.'
MAX hears a baby crying and looks at the ceiling.
FELICITY (FLASHBACK):
'Us. And everything.'
With a grunt GERRY kicks the stool away as MAX dives at his legs. He just catches him in time, but GERRY struggles.
MAX (SHOUTING):
Help! Someone help! Please, anyone!
MAX looks around the room. Just behind the door are two glasses and an empty Champagne bottle. Surrounding it are dozens of white tablets. MAX stares at the front of GERRY's hood.
MAX (PANTING):
You've overdosed!
GERRY's laughter quickly turns into a bellow of fury and suddenly MAX finds he is only holding the hood GERRY was wearing (GERRY and his noose have vanished). MAX runs out.
SCENE 6) INT. First floor landing.
MAX rushes up the stairs to the second-floor landing, following the baby's crying. He charges towards a half-open door. The baby's crying is replaced by a choking sound.
MAX (TO HIMSELF):
Felicity! Oh, my God. Oh, my God!
Just as MAX is about to reach the threshold the door slams shut in his face with a loud bang, and he finds himself back downstairs, staring into the back of the closed front door.
SCENE 7) INT. Front door area.
MAX turns around, confused at his sudden change of surroundings. He is alone. He breathes out but there is no clouding this time. Slumping back against the door, MAX laughs at himself.
MAX:
Get a grip, weirdo...
MAX glances up the stairs but can hear nothing.
MAX (SHOUTING):
Felicity?
MAX trots upstairs.
SCENE 8) INT. First floor landing.
MAX checks the kitchen and toilet, which are empty. He then approaches the door to the meeting room. He hears a champagne cork pop and smiles, pushing the door inward.
SCENE 9) INT. Large empty room.
Inside, MAX sees GERRY's hooded figure dangling in the middle of the room by a rope. He sees the glasses, empty champagne bottle and the pills behind the door. Lying on the floor directly beneath the swaying body is a large kitchen knife.
MAX (WHISPERED):
No...
MAX slumps back against the door frame, gasping for breath and in the process notices a dark red stain in the ceiling just above his head. MAX feels something in his pocket and pulls out the pregnancy testing kit.
MAX (SHOUTING):
No! No! No!
MAX charges out and hits the stairs two at a time.
SCENE 10) INT. The front room on the second floor.
MAX bursts into the room. A body in shredded clothes is suspended upside down from the ceiling, crimson and lacerated. Blood drips from the fingertips and there is something like a pile of meat lying directly beneath her. MAX drops the pregnancy testing kit on the floor.
MAX (SCREAMING):
FELICITY:!!!!!!!
SCENE 11) CLOSING FRAME – Red script on a white background.
FELICITY:
2. the ability to express oneself appropriately.
(Oxford English Dictionary)
END.
TALK OF THE TOWN
SCENE 1) EST.Colchester High Street. Daytime.
A middle-aged woman walking, head down, along the pavement. She looks dishevelled. She stops, looks up, suddenly alert, a finger to her ear.
PENELOPE (WHISPERED):
Say again, Control?
CONTROL (THROUGH RADIO STATIC):
There's a problem. Keep walking. Don't look back.
PENELOPE:
CONTROL (THROUGH RADIO STATIC):
Just keep walking.
PENELOPE walks on, staring fixedly ahead.
CONTROL (THROUGH RADIO STATIC):
Relax. Act natural. Look ahead.
PENELOPE:
Tell me what's happening, for God's sake!
CONTROL (THROUGH RADIO STATIC):
They're on to you. They're coming.
PENELOPE:
But I'm on my own out here.
CONTROL (THROUGH RADIO STATIC):
Relax. Act natural. Look ahead. Keep walking.
PENELOPE (WEEPING):
Please...
CONTROL (THROUGH RADIO STATIC):
Hush! We've got you on CCTV. Watching your every move.
PENELOPE:
But I'm unarmed.
PENELOPE turns her head a little, as if to look behind her.
CONTROL (SHOUTING, THROUGH RADIO STATIC):
Don't look back!
PENELOPE (WEEPING):
Then do something!
CONTROL (THROUGH RADIO STATIC):
Someone's on their way. A cleaner.
PENELOPE:
A cleaner: in broad daylight. How?
CONTROL (THROUGH RADIO STATIC):
Cross the road. Look at your watch, like you're late for something. Quicken your pace. She's closing on you fast.
PENELOPE:
She?
PENELOPE glances at her bare wrist, crosses the road, careful to look only for traffic. She quickens her steps and disappears up Lion Walk.
CONTROL (THROUGH RADIO STATIC):
Get going. Head for Vineyard Steps.
PENELOPE:
But it's her, isn't it? No one ever shakes her off. No one stops her. She's the best!
CONTROL (SHOUTING, THROUGH RADIO STATIC):
Stay calm! We'll stop her.
Penelope starts to peek back over her shoulder again.
CONTROL (THROUGH RADIO STATIC):
Don't look back! Get down those steps!
SCENE 2) Vineyard Steps. Minutes later.
PENELOPE gets to Vineyard Steps and looks out over the car park below, flustered. Her finger goes back to her ear.
PENELOPE:
Where now? Where now!
CONTROL (SHOUTING, THROUGH RADIO STATIC):
Down! When you reach ground level, turn right. Head for the Playhouse.
PENELOPE:
Is that where the cleaner is?
CONTROL (THROUGH RADIO STATIC):
No. He's stuck in traffic. You'll have to...
(SHOUTING)
Penelope, move! She's closing in again!
PENELOPE issues a subdued cry and hurries down the steps. In the car park she turns right, almost running.
SCENE 3) Osborne Street. Minutes later.
CONTROL (THROUGH RADIO STATIC):
Good work, Penelope.
PENELOPE turns to cross the road opposite the Playhouse.
CONTROL (SHOUTING, THROUGH RADIO STATIC):
No! Don't go in the Playhouse.
PENELOPE:
But you said...
CONTROL (THROUGH RADIO STATIC):
Pay attention. Turn right at the traffic lights. Then right again at the top of North Hill.
PENELOPE has her head down, a finger to her ear, breathing heavily.
PENELOPE:
Won't that take me back to where I started in the High Street?
CONTROL (THROUGH RADIO STATIC):
To exactly where we want her, Penelope...
(SUDDENLY SHOUTING)
She knows! She's started running. Penelope, move it. Run!
SCENE 4) Along Head Street, then back along the High Street.
PENELOPE screams and runs up past the traffic lights, along Head Street and down towards the next set of lights at the top of North Hill. Now she is casting anxious glances behind her at regular intervals. (Snatched shots of pedestrians walking.)
CONTROL (THROUGH RADIO STATIC):
Penelope, head back to the spot in the High Street where you crossed earlier. The cleaner's on his way. He's in the traffic queue at the top of North Hill, waiting to turn.
Snatched shot of waiting cars at the traffic lights at the top of the hill. PENELOPE rushes on, turns into the High Street and crosses over to the Town Hall side.
CONTROL (SHOUTING, THROUGH RADIO STATIC):
She's right behind you! Ah, shit, I can see a blade. The Cleaner's in the High Street. When I say cross, make a dash for the other side. It’s your only chance!
PENELOPE (PANTING):
But the traffic...
CONTROL (THROUGH RADIO STATIC):
You're on CCTV. You'll have to trust us. On my count. 3,2,...
PENELOPE is now almost hysterical and hyper-ventilating.
PENELOPE (WEEPING):
Please, please, please...
CONTROL (SHOUTING, THROUGH RADIO STATIC):
NOW!
PENELOPE gives a despairing cry and lurches towards the road.
SCENE 5) High Street, opposite side to the Town Hall.
PENELOPE stands panting and searches the road for her would-be assassin. There is only a normal Sunday street scene. She looks confused then begins to cry, clutching at her clothes and shaking uncontrollably.
CONTROL (URGENTLY):
Penelope? Are you there? Penelope? Penelope...?
CONTROL’s voice trails away into silence.
STEVE:
Here, you all right, love?
PENELOPE turns to face a man dressed as a street cleaner. He approaches her with sensitivity.
PENELOPE:
You're... You're the cleaner?
STEVE (LAUGHING):
Well, that's what they pay me for!
PENELOPE:
Did you get her?
STEVE looks awkward and confused, opening his hands at his side in a non-threatening gesture.
STEVE:
Don't you remember me, Penelope? Are you having a bad turn, love? Why don't I buy you a nice cup of tea, hey?
PENELOPE (WEEPING):
They're after me, though. She’s after me. She never gives up. I must...
PENELOPE looks over STEVE's shoulder at a stranger speaking into his mobile phone. He stares back at her. PENELOPE turns to see someone else on the phone. She then turns to see others using their phones too. Finally she turns to stare at STEVE, who offers her his hand and a warm smile.
STEVE:
Come with me. It's all right. You're just having one of your turns...
PENELOPE notices the mobile phone attached to STEVE’s belt and covers her face with her hands, sobbing. STEVE puts his arm around her shoulder and leads her away.
PENELOPE (WEEPING):
Why won't they leave me alone?
STEVE:
They do, though, love.
STEVE looks back over his shoulder at the passers-by.
STEVE:
But that's the problem.
Final shot of STEVE/PENELOPE walking away with pedestrians walking past them, oblivious.
END.
RAY OF HOPE
SCENE 1) EST. INT Hospital room. Single bed, chair, side cabinet, bedside lamp. Male child in the bed. Night.
There is a humming sound from outside. The boy sits up.
MATT:
Dad?
The humming stops. There is a hissing sound followed by heavy, lurching footsteps overhead. The boy looks up at the ceiling.
MATT:
Dad!
The footsteps cease briefly, then resume in the corridor immediately outside the room. MATT stares at the half-open door, terrified. The footsteps stop outside. MATT grabs a toy ray gun from his bedside cabinet and raises it, ready to fire. His hands shake and he drops it on the bed, crying.
MATT (whispered):
Please, Dad!
Suddenly the d
oor bursts inward and the main light comes on. The room is full of sci-fi toys, games, etc. MATT screams
DAD:
It's me. I'm here.
DAD rushes to the bed and hugs MATT.
MATT (WHISPERED):
It was... them.
DAD:
But the gun. Did you use the gun?
MATT stares down at the toy gun, frowning.
MATT:
It didn't work, Dad. If you hadn't come in...
DAD:
No, no. Don't say that. Remember what I told you?
MATT:
It's a proton...
DAD:
Prototype. Designed to defeat the alien force field hidden inside us all. And if you prove it works, it will save humanity.
MUM enters, looking concerned.
MUM (TO DAD):
Was it another nightmare?
DAD and MATT look at each other briefly, then nod. MUM picks up the gun and puts it back on the bedside unit with a sigh. She strokes MATT's hair.
MUM:
Well, try to get back to sleep. You'll need more medicine tomorrow. So you can get better.
MATT:
So we can all get better. Hey, Dad?
MUM glares at DAD, who looks away sheepishly. She tucks MATT back into bed. DAD starts to speak, but MUM turns away.
SCENE 2) INT. Side room. Hospital. The next day.
A doctor in a white coat talks to the parents, looking at some papers in his hands.
DOCTOR:
There's been a setback.
MUM catches her breath, her hand covering her mouth.
DAD:
But you said...
DOCTOR:
I know. But the illness has fought back. It might have to be radiotherapy, after all.
MUM (GLARING AT DAD):
How does that work? With a ray gun?
DOCTOR:
I'm sorry?
DAD:
Linda! I just don't want him to be scared, that's all.
MUM:
And I don't want to lose him!
DOCTOR:
We'll increase the current dosage first, of course.
MUM:
(TO DAD) You'd better think up a new story, Obi-Wan.
SCENE 3) INT. MATT's room again two nights later.
MATT:
Where's Mum?
DAD:
Having a lay down, but she's OK.
MATT shakes his head, looking suddenly angry.
MATT:
No she's not. It's the alien force field making her sick, too. And it's my fault!
DAD is too choked to speak.
MATT:
