GRIT

Written by

Lex Wilkinson

INT. LIVING ROOM, SEAN AND ZOE’S HOUSE - EVENING1 1

The house is BARE: virtually NO CHARACTER OR LIFE has been put into it. You could easily REMOVE any EMOTIONAL ATTACHMENT to the place if you needed to. Wooden floors contrast HORRIBLY with the FADED PATTERNS of the seating furniture and the BLAND white walls act as a RESTRICTION to imagination. Very reminiscent to a WHITE PADDED CELL.

Seated around the front of a SOFA are THREE YOUNG ADULTS playing 21’S on a SMALL TABLE in the middle of them. The goal is simple: get as close to 21 as possible without going over. If you do, you’re out. Saying ‘hit me’ will get you another card from the deck but only to a maximum hand of 5 CARDS. Jack, Queen and King are value of 10 whilst an Ace can be 1 or 11.

SEAN BREWER: TALL, INTELLIGENT and a great TASTE in FASHION. Seated on a foldable chair, his posture is IMPECCABLE. It’s as if his vertebrae were a single plank of wood fused to his pelvis and skull. In front of him on the table are TWO PLAYING CARDS: a KING OF CLUBS an ACE OF HEARTS to total a perfect 21. He’s won this round but the man opposite him is still HOLDING his cards.

Opposite him on the LEFT SIDE of the sofa is ZOE OLSEN: Sean’s GIRLFRIEND. It’s easy to see why Sean believes he’s punching ABOVE his weight: BEAUTY and BRAINS. Atop her salon-worthy BLACK HAIR rests a DARK BLUE BEANIE to match her temperature; she’s attempted to battle the cold with a grey SWEATSHIRT. The way she is sat indicates she is COMFORTABLE around her close friends. A nice change for her otherwise, INTROVERTED NATURE. Her FOUR PLAYING CARDS are face-up on the table. A 4 OF SPADES; a 5 OF HEARTS; an ACE of CLUBS; a 4 OF SPADES and a 9 OF DIAMONDS for a total of 23. She tried to be clever with her ace but blew it by being greedy.

Beside her is the comedian himself: PERRY HAGUE. The pure definition of CASUAL. T-shirt, shorts, none of this designer label bollocks or dress-to-impress attitude that he cares so little for. His back is arched forward like it’s being used as a makeshift ski-slope for mice whilst SCANNING his THREE PLAYING CARDS. His usually LIVELY, BROWN EYES seem FIXATED on them, as if he’s challenged the damn things to a staring contest; and the fucker’s WINNING.

The words ‘CHAPTER 1: SOUND LIE’ APPEAR: as if they were printed on the INSIDE of the LENS. We MOVE ROUND to the RIGHT SIDE of the table and are DRAWN to Perry SLAMMING his cards down onto it. An ACE OF CLUBS; a 3 OF DIAMONDS; a 10 OF DIAMONDS and a JACK OF SPADES: 24.

PERRYFuck it!

ZOE(Winces)

Tough luck.

She suddenly makes a REALISATION.

ZOE (CONT’D)You were bust anyway!

She POINTS at the cards as she LISTS THEM.

ZOE (CONT’D)A one, three and two tens!

PERRYCan’t give Sean the satisfaction of winning all the time.

ZOEFuck sake.

Perry CHUCKLES as he picks up his cards and HANDS THEM OVER to Sean.

SEANCheers. Again?

PERRYGo for it: I ain’t leaving til I’ve won at least once!

Sean begins to COLLECT the other cards. Perry POINTS at Sean

PERRY (CONT’D)And when I’ve read your book.

Sean RESHUFFLES the deck as the word ‘BOOK’ APPEARS on the screen: representing Sean’s CONSCIOUS AND SUBCONSCIOUS THOUGHTS. KEY WORDS that stand out to him.

SEANIt’s not a book yet. Not until it’s published.

ZOE(To Sean)

Shall I show Pehz my new painting?

PERRYYou’ve done a new one?

ZOEYeah-

Zoe STANDS UP.

ZOE (CONT’D)-I’ll get it.

2.

PERRYWhere the fuck do you two find the time to do this? You do have jobs right?

‘JOBS’ APPEARS.

SEANYeah, but we have spare time too.

Sean DEALS out a card to each seat and to himself and then repeats a second time. He and Perry PICK UP their cards.

PERRYI do hope it’s not a still life of you naked.

‘NAKED’ APPEARS. Sean DIVERTS his eyes from his cards to Perry. A WRY SMILE grows on his face.

SEANWell now you’ve just ruined the surprise.

PERRY(Laughing)

Fuck that!

The two LAUGH as Zoe COMES BACK with a MEDIUM SIZED CANVAS with a painting on it. Perry looks up: the painting is of a dead man on a bed in an apparent suicide. Very similar to Edouard Manet’s ‘Le Suicide’. Behind her on the FRIDGE are some magnets that spell out SCHIZO.

PERRY (CONT’D)Wow, morbid.

‘MORBID’ APPEARS.

ZOEIgnoring that: what d’you think?

PERRYPretty good. You should think about bunging them in a gallery or something.

ZOEI’m thinking of doing that. Sean likes the idea too.

SEANYeah, gives your talent a spotlight.

PERRYAnd there’s me struggling to colour within the lines!

3.

The trio LAUGH as ZOE EXITS to return the canvas back on the easel she took it from inside the conservatory. As she does there’s a KNOCK on the DOOR.

SEANI’ll get it.

INT. CORRIDOR - SEAN AND ZOE’S HOUSE - EVENING2 2

Sean proceeds down the empty corridor and OPENS the DOOR. Stood there is a PIZZA DELIVERY MAN with their food. His face is hidden under a BLACK CAP. It’s ARCHIE, who we will be seeing soon. Sean doesn’t TAKE ANY NOTICE of his face.

PIZZA DELIVERY MANDouble Cheese and Tomato and a Chicken Combo.

SEANThat’s us.

The Delivery Man hands Sean over the TWO pizza boxes. We catch a GLIMPSE of the company name and slogan: UNREAL PIZZA CO. “So Good It’s Unreal!”

PIZZA DELIVERY MANThere you go, so that’ll be eighten-ninety-eight.

SEANEighteen... ninety-eight...

Sean takes out his WALLET and hands the Delivery Man the exact change. The Delivery Man LINGERS for a second before LEAVING; saying NOTHING as he does. Sean SHRUGS this off and returns to the others with the food. Zoe has RETURNED to her SEAT.

INT. LIVING ROOM - SEAN AND ZOE’S HOUSE - DAY3 3

SEANI bear food.

ZOEWhat food?

Sean looks down to find a MANUSCRIPT in his hands instead of the pizza boxes. The title is barely readable:

‘GRIT’

PERRYI want to read it, not eat the fucking thing!

4.

Sean HANDS Perry the manuscript and SITS down: CONFUSED. He’s sure he was holding food. He picks up his BOTTLE of BEER and takes a SIP. The label reads:

‘NICHT ECHT: DIESES IST NICHT IN ECHT’

‘NOT REAL: THIS IS NOT REAL’

SEANI swear we ordered pizza...

PERRYNah mate. Think you’ve had one too many!

They CHUCKLE as the next round of 21’s begins. Perry JUGGLES between playing the game and reading the manuscript.

PERRY (CONT’D)Hit me!

Sean deals him a card as we slowly BACK AWAY from them.

EXT. FLARED OWLS PARK - DAY4 4

Sean and Zoe are SAT TOGETHER on a PARK BENCH. Zoe is LEANING against Sean: comforted by his arm AROUND her. A cute couple. They seem CONTENT with one another’s COMPANY. Sean is SCANNING the park. Analysing the green plain to make sure that it is just them two alone.

SEANI like it when the park’s quiet.

ZOEIt’s so peaceful. I just, love being outside.

‘OUTSIDE’ APPEARS. There’s a SILENT 5 as Sean INHALES DEEPLY through his nose and EXHALES via his mouth, still SURVEYING the open green world of the park: population TWO.

SEANSo nice...

ZOEI’d love to go camping, sometime.

SEAN...camping?

ZOEYeah: grab a couple tents and just spend a night out in the woods or something. There’s something about the fresh air that, makes you feel alive.

5.

The word ‘ALIVE’ APPEARS as A RANDOM JOGGER passes by. It’s ARCHIE again but Sean still DOESN’T NOTICE him.

SEANAlive huh? You could become a jungle girl and make shit out of twigs and leaves.

They both GIGGLE and TIGHTEN their grips around each other. A VIBRATION distracts Sean: he reaches down to his pocket and pulls out a MOBILE PHONE. He UNLOCKS it and a TEXT MESSAGE from Perry appears: FLOATING in the air beside him.

The message reads: ‘Hey man, wanna come over later?’ Sean replies, ‘Yeah sure, what time?’ ‘Later ;)’ Sean expels a HUFF of LAUGHTER, attracting Zoe’s attention.

ZOEThat Perry?

SEANYeah, he’s inviting us over to his later.

ZOECould be good.

SEANI’ve said yeah, we can head straight there after we’re done.

ZOEThat’s cool.

Silence befalls the duo as they maintain their EMBRACE. We linger for a few SECONDS.

EXT. PERRY’S HOUSE - DAY5 5

Sean and Zoe ARRIVE at Perry’s house: very STANDARD and RESIDENTIAL, no defining features to note. Sean KNOCKS on the door THREE TIMES and waits. A few seconds pass and NO RESPONSE. Sean tries AGAIN to NO AVAIL.

SEANWeird, surely he’d be in if he’s expecting us.

ZOENot on the toilet, is he?

SEANI’ll give him a bell.

Sean takes his PHONE out and RINGS PERRY. MORE SILENCE passes as it eventually goes to the automated voice stating the person cannot be reached. He puts his phone AWAY.

6.

ZOENow what?

SEANNo idea... I guess we could wait-

Sean’s vision is suddenly attracted to a WELL DRESSED male: Archie. The SWAGGER subliminally hidden inside his GAIT would make a God look PALTRY in comparison. Possibly the SUAVEST bastard you’ll ever meet. If he were to smile it wouldn’t be surprising if his teeth SPARKLED.

He looks CONFIDENT and FRIENDLY. That SHINY smile worn with PRIDE, BEAMING across his face. Despite this, he isn’t VAIN or COCKY; just a very NICE GUY with everything going good for him.

ARCHIEHey there.

SEANHi, er-

ARCHIEYou here to see Perry too?

SEANYeah, he er, invited us over I’m sorry you are?

ARCHIEArchie, excuse my sudden arrival.

The words ‘ARCHIE’ and ‘ARRIVAL’ APPEAR. Archie OFFERS a HAND in greeting. Sean GLANCES at it and ignores it. UNSURE of who this man even is.

SEANSean.

Zoe ACCEPTS Archie’s handshake.

ZOEAnd I’m Zoe.

ARCHIESo: lazy cunt not up?

SEANHe’s not answered the door, tried calling him too.

ARCHIEHm, weird. Have you tried opening the door?

‘DOOR’ APPEARS.

7.

SEANWell, no I didn’t think-

Archie walks between Sean and Zoe and TURNS the door handle: it OPENS and the trio PAUSE.

ARCHIESurely he’d remember to lock his door...

INT. CORRIDOR - PERRY’S HOUSE - DAY6 6

Archie STEPS INSIDE the house. Sean and Zoe look at each other and FOLLOW him.

INT. LIVING ROOM - PERRY’S HOUSE - DAY7 7

Inside the house it seems normal: UNIMAGINATIVE DECOR lines every corner of the building. They enter the LIVING ROOM and find it NEAT and TIDY. Like a fossil PRESERVED in TIME. Sean regularly LOOKS at Archie; UNSURE what to make of him. This total stranger is behaving like they’ve been lifelong friends and it’s making him CAUTIOUS.

ZOEIt’s tidy.

‘TIDY’ APPEARS.

ARCHIEYou’re telling me.

Sean EXAMINES the several FRAMED PHOTOS of him, Perry and Zoe that ADORN the MANTELPIECE. Archie ISN’T in ANY of them. It is UNCLEAR whether or not Sean makes this realisation.

Archie FLAPS his arms up and lets them DROP back to his sides: admitting he has no idea what’s happened.

ARCHIE (CONT’D)Well it doesn’t look assuring does it?

ZOEShould we call the police?

The word ‘POLICE’ APPEARS. Archie takes a SECOND to DECIDE. He SUCKS IN some AIR as he does so.

ARCHIENo point.

‘NO POINT’ APPEARS

8.

ARCHIE (CONT’D)There doesn’t seem to be anything here that would qualify as suspicious activity.

Archie PICKS UP one of the PHOTO FRAMES and SCANS the photo. There’s a STRANGE PAUSE as Sean and Zoe watch him do this. Sean maintains his CAUTIOUS STARES. He seems to almost direct his suggestion at Archie.

SEANWe should search the whole place. Make sure.

ZOEEr...

Zoe GLANCES in the direction of Archie: like she’s waiting for his OPINION. As if it were the FINAL SAY.

ARCHIEAgreed. Better safe than sorry.

‘SAFE’ and ‘SORRY’ APPEAR. ‘SORRY’ seems to LINGER and switches to ‘I’M’ for a couple of FRAMES.

ZOEShall I start upstairs?

ARCHIEYeah sure.

ZOEShout if you find anything.

‘SHOUT’ APPEARS as Zoe LEAVES the living room and heads up the STAIRCASE. We can HEAR her STEPS CREAK during her ASCENT.

Sean and Archie begin to SEARCH the living room for anything that would alight towards Perry’s disappearance. Sean starts on the OPPOSITE END.

ARCHIESo how long have you known Perry?

SEANSince we were 11.

ARCHIEWhat about Zoe? How long have you been together for?

Sean PAUSES for a SECOND. How does Archie know they’re a couple?

SEANWhat makes you think that?

9.

Archie INNOCENTLY POINTS at one PHOTO FRAME in particular: Perry taking a comedic SELFIE as Sean and Zoe KISS in the background.

ARCHIEEither that or you’re very, very good friends.

SEAN...6 years.

ARCHIEWow. No ring?

SEANWe’re still young.

Sean’s voice is virtually EMOTIONLESS as he tries to DISCONNECT himself from Archie’s attempts at conversation. He doesn’t want to give TOO MUCH AWAY. However he does have one question for him.

SEAN (CONT’D)How do you know Perry?

ARCHIEMet him at a party. Strangely enough that was 6 years ago too.

SEAN(Unimpressed)

Really.

ARCHIEYeah.

SEANSmall world.

ARCHIEExtremely.

Sean has FINISHED SEARCHING his side of the room and HEADS toward the KITCHEN.

SEANI’m going to check the kitchen.

INT. KITCHEN - PERRY’S HOUSE - DAY8 8

Sean starts his search by OPENING each DRAWER and CUPBOARD in the room. Archie ENTERS a few seconds later and SEARCHES the cupboards and drawers at the other end.

ARCHIEWhat do you do?

10.

SEANI work in a department store. But I’m a writer.

ARCHIEA writer? The coincidences extend!

Sean is still unimpressed. The word ‘COINCIDENCES’ APPEARS.

ARCHIE (CONT’D)Working on anything at the moment?

‘FUCK THIS’ APPEARS.

SEANLook, I get you’re trying to make chat, but I’m not OK. So can we just get on with this?

ARCHIEOK. I understand.

Sean CONTINUES SEARCHING. Zoe RETURNS from her search of the upstairs.

ZOENothing upstairs.

ARCHIEWhat do you do Zoe?

Sean has had ENOUGH. His PATIENCE LOST to the frustrations caused by Archie’s constant TALKING.

SEANAm I the only one taking this seriously?

Zoe is SURPRISED by Sean’s comment.

ZOEWe are Sean but he might just be busy.

Archie TURNS TO Zoe.

ARCHIEIf I give you my number, we can arrange a meet up tomorrow. Have a talk about it.

ZOEOK. That’d be good.

Zoe takes out her PHONE and readies herself to note down his number.

11.

ARCHIEOh-nine, one-three... one, seven, nine... one-four... five, four.

ZOE...Got it.

ARCHIEAssuming the worst, that is.

Sean is ANGERED by Archie’s comment and GRABS Archie’s SHIRT.

SEANWhat’s your problem?

He SHOVES him against the WORK-TOP. Zoe INTERVENES quickly: PRISING Sean off of Archie.

ZOESean! Stop it!

SEANI don’t trust this arsehole! Who the fuck asks about our jobs when someone could be missing!

Zoe USHERS Sean to the other side of the kitchen and almost SQUARES up to him. She MOVES in CLOSE as a SERIOUS EXPRESSION COVERS her face.

ZOEGo. Home.

SEANI’m not leaving you here with him! We’ve just met the guy!

ZOEI’m not leaving him here with you!

Sean is taken ABACK by this.

SEANYou’re on his side?

ZOEGo home Sean. Please.

Sean DEBATES this INSIDE his head. Ultimately he OBEYS. We STAY with Zoe as the sounds of Sean OPENING and CLOSING the FRONT DOOR ring down the corridor. Zoe turns to Archie.

ZOE (CONT’D)Sorry about that.

INT. LIVING ROOM - SEAN AND ZOE’S HOUSE - DAY.9 9

12.

Sean is sat on the SOFA; READING his MANUSCRIPT. Zoe enters dressed as if she’s going out. Sean NOTICES and looks PUZZLED.

SEANOff out?

ZOEWe are.

Zoe COLLECTS a set of KEYS from the table.

SEANWhere to?

ZOEFit Fishes Lake.

She STANDS IN FRONT of Sean.

ZOE (CONT’D)Think it’ll calm you.

Sean NODS his head slightly and puts the manuscript down. He LEAVES the living room and begins to CLIMB the stairs. We stay with Zoe for a couple of SECONDS before:

EXT. LAKE EDGE - FIT FISHES LAKE - DAY10 10

The gentle waves of the ENORMOUS body of water LAPPING the edges of the pavement that borders it. It’s quiet and TRANQUIL here clearly. For such an area of peace and beauty, there is strangely NO OTHER sign of LIFE.

Sean and Zoe STROLL ALONGSIDE the lake; HOLDING one-another’s HAND. It seems to be doing the trick. Sean looks CALM and HAPPY.

ZOEFeeling good?

SEANYeah. Better.

ZOEWhat happened today? That wasn’t you.

SEANI just don’t trust him. Pissed me off.

ZOEHe’s only trying to help.

13.

SEANI don’t like it: Perry’s gone and he turns up!

ZOEPerry isn’t gone.

SEANWhat makes you think that?

Zoe come’s to a UNEXPECTED STOP. Sean STOPS a half-second later.

ZOEHis house was clean. And his phone, wallet and keys weren’t there.

Sean is starting to get AGITATED. It’s evident in his TONE.

SEANWhere would he go? And why would he not tell us?

Sean isn’t the only one who can give ATTITUDE. Zoe SNAPS BACK.

ZOEI don’t know. This is Perry we’re talking about!

SEANWell I want to look for him. Maybe put some posters up.

ZOEThat’s a bit extreme Sean.

SEANWell it’s better than what you’re proposing: which is ‘do nothing’!

Zoe let’s go of Sean’s HAND.

ZOEI care about him just as much as you.

SEANDoesn’t sound like it.

Zoe EXPELS a HUFF of air in DISBELIEF. Did he really just say that?

ZOEYou’re becoming a right arsehole.

Sean DOESN’T RESPOND, he’s SURPRISED at Zoe’s response.

14.

ZOE (CONT’D)Fuck this, clearly you haven’t calmed down!

Zoe WALKS AWAY. Sean WATCHES as she does so before JOGGING AWAY to CATCH UP with her.

EXT. TREE STUMP - FLARED OWLS PARK - DAY11 11

We begin on a WIDE ESTABLISHING SHOT: the park is SERENE and BEAUTIFUL. Not many people are here either making it the PERFECT time to have a relaxing walk. The words ‘CHAPTER 2: FLARED OWLS’ APPEARS.

We see Archie STANDING ATOP a TREE STUMP, like a STATUE has been erected in his honour. His gaze is FIXED AHEAD. An EAGLE watching its PREY. We see where he’s looking: SEAN AND ZOE are walking together on the path.

We TELEPORT to the couple: Zoe appears to be SEARCHING for something or someone. She SPOTS Archie in the DISTANCE and WAVES at him. He RAISES an hand and HOPS OFF of the stump. He makes his way over to them.

Sean appears uncomfortable about the meet up. Every second that PASSES until the inevitable ENCOUNTER fills him with emotions. DOUBT. HATRED. DISTRUST. And even FEAR.

ZOERight, you don’t have to speak, OK?

SEANYeah, I know.

ZOEJust please: try and keep calm.

Sean ACKNOWLEDGES this with a BARELY DETECTABLE NOD. Archie comes to a STOP BESIDE them.

ARCHIEHey, you two OK? Managing alright?

ZOEYeah. Oh, mind the dog poo.

Archie SNAPS his neck down to look at floor and SIDE-STEPS towards Zoe.

ARCHIEFucking hate dogs.

‘HATE DOGS’ APPEARS.

ARCHIE (CONT’D)It’s gotten cold very abruptly today.

15.

ZOEI’m glad I put a coat on.

ARCHIEThey say it might snow, think it will?

SEANIs this appropriate right now?

Zoe GLANCES at Sean: a WARNING to him. BEHAVE. Archie NODS in UNDERSTANDING. It isn’t appropriate.

ARCHIESuppose it isn’t. So: I found something of interest.

‘INTEREST’ APPEARS. However other words start to FLASH and become ERRATIC. Like a SECOND CONVERSATION is going on.

‘HOW DID YOU GET ON?’

ZOEWhat?

‘NOTHING, NO ONE CAN REMEMBER’

‘YEAH RIGHT’

ARCHIEPerry’s wallet.

‘WALLET’

‘I THINK YOU WERE THE LAST TO SEE HIM’

ZOESeriously?

‘YEAH’

ARCHIEYep. It was at Lieafstalk Woods.

‘LIEAFSTALK’

It’s clear that a BREAK is happening. Being in the mere PRESENCE of Archie is DISTORTING the CONTINUITY and STRUCTURE of the WORLD. Sean WINCES for a SECOND.

ZOEWhy would it be here?

SEANCan we see it?

16.

The appearing words have STOPPED. Zoe and Archie look at Sean BEMUSED. He might as well have shit on his face and would still receive less of a weird look.

ZOEWhat wallet?

SEANThe wallet, you said you found Perry’s wallet.

ARCHIEI didn’t say-

Sean STRIDES up to Archie and GRABS his COAT. Sean proceeds to PAT DOWN Archie and FORCE his hand into his POCKETS.

SEANWhere’s the fuck is it!

ZOESean! Hey! Stop it!

Sean manages to PULL OUT a WALLET from Archie’s pocket. He FLIPS it open: it’s ARCHIE’S wallet.

Zoe SNATCHES it from Sean’s hands and GIVES it back to Archie.

ZOE (CONT’D)Happy now?

Archie TAKES the wallet as Sean REMOVES himself from the immediate area to CALM his anger by moving a few steps AWAY. Zoe CHUCKS another ANGERED and DISGUSTED look at him before returning her attention to Archie.

ZOE (CONT’D)I’m, so sorry about this.

ARCHIEWe can continue this tomorrow.

ZOEIf that’s OK?

ARCHIEYeah, I’m fine with that. I’ll see you later.

ZOEOK bye.

Archie WALKS AWAY. Zoe watches him for a few SECONDS with a CONCERN-RIDDEN face. She’s EMBARRASSED. This quickly DISSIPATES and RAGE FLOODS in. She SPINS on her heels and STORMS OVER to Sean with the BIGGEST OF BONES to pick.

17.

ZOE (CONT’D)What’s your fucking problem huh?

SEANHe has Perry’s wallet.

ZOEWhat fucking wallet Sean? You just attacked him. Again!

SEANHe’s hiding something, I know it!

ZOEYou don’t know shit! I don’t know what’s come over you but this has to fucking stop! I’m really losing my patience with you now!

Zoe SPEEDS OFF. Completely DITCHING Sean in the park. Sean appears CONFUSED. What is happening to him? Archie definitely said ‘wallet’ didn’t he?

We LINGER with Sean for a SILENT 5.

INT. LIVING ROOM - SEAN AND ZOE’S HOUSE - DAY12 12

We are CLOSE UP to the TRAY of a PRINTER. It’s SPITTING OUT sheet after sheet of an unknown document.

EXT. STREET - RESIDENTIAL AREA - DAY13 13

We CAPTURE a few moments of some ELEGANCE in the CONCRETE JUNGLE that is the URBAN AREA. Leaves are CARESSED by a FEINT BREEZE that sways them around like it’s playing a friendly game you would with a friend. A gentle provocation. A LINE OF CARS appear as a herd of ELEPHANT navigating the SAVANNAH: each one holding the predecessor’s tail in its trunk. Watched on by the LAMPPOSTS that stand tall like GIRAFFE.

Sean CALMLY TRUNDLES down the path. His gaze affixed to a LAMPPOST a couple of dozen feet ahead. He SLOWS DOWN to it and ties a KNOT OF ROPE around its neck. Attached to the rope is a MISSING POSTER.

‘MISSING PERSON

NAME: PERRY HAGUE

AGE: 22

HEIGHT: 5’9”

DESCRIPTION: SHORT BROWN HAIR, BROWN EYES

LAST SEEN ON SUNDAY 3RD MARCH’

18.

Underneath the text is a PHOTO of PERRY. It looks like one taken a social gathering: he’s smiling away.

Sean STARES at the POSTER: analysing it. He walks away; leaving us with it.

INT. CORRIDOR - SEAN AND ZOE’S HOUSE - DAY14 14

The silence in the house is as empty as the brick carcass containing it. It’s a strange sight to see it STRIPPED of the LAUGHTER and CASUAL CONVERSATION that occurs inside.

We ARRIVE at the FRONT DOOR. A LETTER comes through the LETTERBOX and lands on the mat. Sean DESCENDS down the stairs and PICKS UP the letter. He opens it and reads the note: ‘If you want to know more, come to Peweak Road’.

Sean makes the CONNECTION and drops the note. We CUT to him leaving the house: the NOTE in the FOREGROUND. However it now reads:

‘If you want to know more, come to Lieafstalk Woods’

EXT. PEWEAK ROAD - DAY15 15

Sean waits ANXIOUSLY in the OPEN. Head shifting left and right ANTICIPATING COMPANY. Company that never seems to come.

He waits.

Then something CATCHES his EYE. A HOODED FIGURE stops beside a LAMPPOST with a missing poster on it and TEARS the thing off. Sean is STUNNED by this.

SEANHey!

The figure RUNS OFF and Sean GIVES CHASE.

EXT. ALLEYWAY - DAY16 16

The figure PACES down an THIN ALLEYWAY and ROUNDS the corner at the end of it. Sean ERUPTS from the alleyway and stops DEAD in his tracks.

EXT. OPEN AREA - DAY17 17

In front of him is a HUGE OPEN AREA. The hooded figure is NOWHERE to be seen. Sean breathes HEAVILY as he tries to make sense of it all. He SCANS the area hoping to find them but NOTHING.

19.

INT. LIVING ROOM - SEAN AND ZOE’S HOUSE18 18

We are with ZOE in the living room. She’s reading a BOOK. Sean ENTERS the living room, ATTRACTING her ATTENTION. She speaks to him as if the past events NEVER HAPPENED. Her attempts to try and keep the strains in their relationship at BAY.

ZOEWhere’ve you been?

SEANOut. Someone sent us a ransom note.

Zoe’s FULL ATTENTION is SEAN’S. She leans forward slightly.

ZOEWho?

SEANNo idea.

Sean LOOKS AROUND the immediate area for the NOTE. He continues to talk as he ENTERS the CORRIDOR to carry on the search.

SEAN (CONT’D)I also saw someone rip off a poster. I chased him but he got away.

ZOEA poster?

SEANYeah-

Sean RENTERS the living room.

SEAN (CONT’D)Missing poster.

Zoe looks at him in DISBELIEF.

ZOEYou put posters up?

SEANYeah. I did.

Sean RUSHES over to the small table they play cards on at the other end of the room where a stack of letters and other leaflets are. In the background are a STACK OF DVD’S: showing a range of movie taste. A part of the REAL WORLD has begun to SEEP IN through to this FALSE WORLD.

Zoe shakes her head in DISAPPOINTMENT. Sean RETURNS to Zoe and hands her the note.

20.

She stares at it, her BODY LANGUAGE immediately gives it away: she’s seen something that’s crossed the line with her.

SEAN (CONT’D)Why

Zoe looks as though she is about to CRY in FRUSTRATION.

ZOE(Blunt)

It’s a pizza leaflet.

SEANHuh?

ZOEIt’s a fucking. Pizza leaflet.

Zoe borderline SHOVES the leaflet in Sean’s FACE. It’s true: the note Sean handed to her is in fact an advertising leaflet for The Unreal Pizza Co. CONFUSION fills his face.

SEANBut, I gave you the ransom note.

ZOEYou haven’t Sean! Look, I’m fucking trying here. I really am. Why are you making this so difficult?

Sean has NO ANSWER. He’s SPEECHLESS, face like a DEER in the HEADLIGHTS. Zoe realises that he can’t answer the question and account for what he’s done.

ZOE (CONT’D)Until you start to grow up, I’m gonna stay with my parents.

Zoe STANDS, TOSSES the leaflet onto the sofa and EXITS the room. We stay with Sean as his almost VACANT expression tries to process why the ransom note changed. The lingers tenderly, perhaps LONGER than we would find comfortable. Sean is EXPOSED right now. VULNERABLE.

EXT. BLUEBELL HILL - AFTERNOON19 19

We cut to behind Sean as he’s SEATED on a bench on top of a HILL. THE view is simply STUNNING: it wouldn’t look out of place in a gallery. As Sean sits STARING out, a TIME-LAPSE OCCURS. An HOUR passes by in a MATTER OF SECONDS, yet Sean seems to not be affected by this.

The time-lapse STOPS and we JUMP to the other side of Sean to see his face BLANK AND VACANT. He takes a SIP of a CAN OF BEER that is firmly CLASPED in his COLD HAND. He ADMIRES the BEAUTY of the BUSTLING LIFE below him.

21.

We come back BEHIND to see his view: the WHITE AND RED LIGHTS emit from the distant MOTORWAY like a steady RIVER of COLOUR. The industrial area portrays a STRONG YELLOW GLOW from its many light sources that add a sense of peace. The AMBIENCE is a beautiful CALM before the seemingly IMMINENT STORM.

He STANDS UP and walks AWAY from US, staggering a little...

EXT. PUBLIC FOOTPATHS - EVENING20 20

We HARD CUT to a SNORRICAM of Sean drinking MORE ALCOHOL and WANDERING AROUND the park SHOUTING and VENTING his anger. For a split second, about ONE FRAME, Sean is REPLACED with ARCHIE. The sequence CUTS RANDOMLY to Sean in different STATES: laughing, shouting, angry, confused, drunk.

EXT. STREET - DAY21 21

We cut to Sean in an UNKNOWN location underneath the SPOTLIGHT provided by the nearby lamppost. He takes a long, LINGERING SIP from a can and LOWERS it from his mouth. He stares at the can, ANGER FLOODING into him and reaching a fast approaching BOILING POINT. Sean SPINS and LAUNCHES the can at a wall. The contents EXPLODE and SOAK the impact area. Sean, carried by the momentum of the spin, STAGGERS away: plunging into the DARKNESS that surrounds the solitary glow from the lamppost.

INT. LIVING ROOM, SEAN AND ZOE’S HOUSE - DAY22 22

Sean WAKES UP on the SOFA. His head POUNDS from the hangover after yesterday’s booze-up. He SITS UP and ACCLIMATISES to his situation. The words ‘CHAPTER 3: AIDING ME’ APPEAR.

There’s a KNOCK at the door. Sean PAUSES, who could it be? He GETS UP and ANSWERS THE DOOR.

INT. FRONT DOOR PORCH - SEAN AND ZOE’S HOUSE - DAY23 23

It’s ARCHIE. He seems very CALM and CASUAL but there’s definitely something DIFFERENT about his BODY LANGUAGE. Like he’s UNHAPPY, but in a SUBTLE WAY.

Sean is SURPRISED to see him stood here. Sean remains CALM however; possibly due to his high level of VULNERABILITY. His Jaw TIGHTENS as he holds back the urge to LAMP ARCHIE.

ARCHIEZoe asked me to take you out: help search for Perry.

‘TAKE YOU OUT’ APPEARS. Sean is VAGUE in the FACE. CAUTIOUS of every WORD Archie says. He wants to question this but it’s his BEST CHANCE to prove that Perry IS missing.

22.

SEANOK...

CUT TO:

EXT. CAR PARK - LIEAFSTALK WOODS - DAY24 24

We WAIT in the CAR PARK: SMALL and seemingly DESOLATE. A car ROUNDS the corner and enters. It PARKS in one of the select few bays.

INT. ARCHIE’S CAR - DAY25 25

Sean STARES out the WINDSCREEN as Archie UNBUCKLES his seatbelt. He GRABS a WATER BOTTLE and EXITS the car. Sean FOLLOWS SUIT.

EXT. LARGE FIELD - LIEAFSTALK WOODS - AFTERNOON26 26

EXTRA-WIDE ESTABLISHING SHOT of the two as they SEARCH the field. Archie is holding a STICK which he is using to PART the tall grass for a better view of the ground. Sean is TAKING HIS TIME with this. He doesn’t want to miss ANYTHING.

ARCHIEWe can go check the woods after this.

SEANI’m happy here.

Sean DEADENS the conversation. Archie makes no effort to push his intentions FURTHER.

Sean glances at the BACK of Archie’s HEAD. THOUGHTS ZIPPING around.

‘DO IT’

‘END THIS’

‘YOU KNOW IT’S HIM’

ARCHIEI forgive you for the wallet debacle the other day.

‘WE’RE ALONE’

Sean doesn’t answer.

ARCHIE (CONT’D)I understand you two are close. Hopefully he’s safe.

23.

‘SAFE’

‘BUT YOU’RE NOT’

The silence is UNBEARABLE. Sean looks like he’s about to go TEN ROUNDS with Archie. His FISTS OPEN AND CLOSE as he debates with himself whether to go ahead with his plan.

‘DO IT’ appears THREE TIMES AT ONCE as Sean approaches Archie; picking up SPEED. He’s going in for the ATTACK. We FOLLOW close behind as Sean covers the short distance in three beats.

Just before he begins his ONSLAUGHT, Archie SPINS round: OFFERING his WATER BOTTLE to Sean. Sean attempts to disguise his approach by taking two CASUAL, SMALL STEPS to make it appear he was strolling up to Archie anyway.

ARCHIE (CONT’D)Thirsty?

Sean INTAKES a SHARP breath of air through his nose as he immediately tries to STAVE his ADRENALINE.

SEANNo... thank you.

Archie UNSCREWS the lid and drinks a HEALTHY AMOUNT of water. Sean notices that there is a LABEL stuck to the SIDE of the bottle.

‘ARCHIE’

‘LABEL’

SEAN (CONT’D)Do you label your stuff?

Archie appear briefly PUZZLED by what Sean is talking about before CLICKING. He looks at the side of the bottle and nods as he SWALLOWS the water.

ARCHIEAnything of mine that isn’t bolted down. I live with three other people. Nightmare.

Sean ACKNOWLEDGES with a SLOW NOD. Archie FLINCHES SUDDENLY and looks DOWN at his WAIST. He reaches into his POCKET and takes out a PHONE. He SMILES and ANSWERS it.

ARCHIE (CONT’D)Trigg! Alright?

‘TRIGG’ APPEARS.

ARCHIE (CONT’D)Yeah good, what’s up?

24.

Sean SAUNTERS away to resume the search.

ARCHIE (O.S.) (CONT’D)I am running a bit dry yeah.

Sean STOPS DEAD as he SPOTS something: a MOBILE PHONE.

ARCHIE (O.S.) (CONT’D)I can meet you at the usual place?

He PICKS IT UP and WAKES IT UP from SLEEP MODE. The wallpaper image is PERRY AND SEAN: one arm around each other. This is PERRY’S PHONE.

‘PERRY’ APPEARS.

ARCHIE (O.S.) (CONT’D)Brown sugar yeah.

Sean enters in a 4 DIGIT code to UNLOCK the phone. The code ‘4514’ APPEARS.

Sean checks the CONTACTS LIST of the phone and DOESN’T FIND Archie’s name on the list.

‘I KNEW IT’ APPEARS.

ARCHIE (O.S.) (CONT’D)Hey.

Sean TURNS and SLIDES the phone into his BACK POCKET.

ARCHIE (CONT’D)Sorry about this but I need to go now.

SEANOK.

ARCHIEDo you want me to take you back home?

SEANNo, I’ll stay here, not done yet.

ARCHIEOK well, I’ll see you later then.

SEANSee ya.

Archie WALKS AWAY from the BARELY FRIENDLY conversation. Sean WATCHES him for a moment before TAKING the PHONE back out. His EXPRESSION becomes a SLIGHT SMIRK as he KNOWS he’s CAUGHT Archie. There’s no explaining this. How can you be friends with someone for 6 years and NOT HAVE THEIR NUMBER?

25.

EXT. STREET - AFTERNOON27 27

Sean WALKS ALONE down the EMPTY STREET. His search came to nothing except PERRY’S PHONE. He passes a LAMPPOST with a MISSING POSTER on, glancing at it as he goes by. However this one is DIFFERENT:

‘MISSING PERSON

NAME: SEAN BREWER

AGE: 22

HEIGHT: 6’0”

DESCRIPTION: BROWN HAIR, BROWN EYES

LAST SEEN: SUNDAY 3RD MARCH’

Sean comes to a SHARP HALT. He’s made the realisation. He SPEEDS back to the lamppost and SCANS the poster.

It’s back to NORMAL. It’s now a PERRY MISSING POSTER. Sean notices this and tries to SHAKE IT OFF. WALKING AWAY as he does. We LINGER on the poster.

INT. BATHROOM - SEAN AND ZOE’S HOUSE - DAY28 28

The words ‘CHAPTER 4: EARLY EXIT’ APPEAR.

We face the mirror HEAD ON as Sean stares at himself. There’s a SILENT 15 as he EXAMINES himself: analysing, detailing, trying to work out what is looking back at him. A husk? Is this him? What has he become?

Several words and phrases APPEAR on the walls: “Regret it?”; “What am I?” and other HEAVY thoughts. Sean gives one final SIGH before EXITING the bathroom.

INT. KITCHEN - SEAN AND ZOE’S HOUSE - DAY29 29

Sean is LOST IN THOUGHT again: his OUTSTRETCHED arms pressed against the edge of the WORK-TOP. The TEXT AROUND HIM gives us clues as to what he’s thinking about. PERRY. WHAT IS HE UP TO? WHERE IS HE? ARE YOU SAFE? It’s like a SENTIENT JIGSAW PUZZLE trying to solve itself but to no success.

What started as barely audible background noise GROWS and EVOLVES into a SHARP RAISE IN PITCH AND VOLUME, like PRESSURE BUILDING UP until-

BING. BING. BING

Sean’s thoughts are brought to a sudden HALT: the MICROWAVE. It has finished heating up Sean’s LUNCH: a bowl of SPAGHETTI HOOPS and BEANS.

26.

Not exactly roast Grouse but for someone who’s dealing with a lot of stress, it should fill the hole in his belly.

He OPENS the MICROWAVE DOOR and STIRS his food in two QUICK CUTS.

INT. LIVING ROOM, SEAN AND ZOE’S HOUSE - DAY30 30

Another sudden CUT to Sean as he SLUMPS onto the sofa, food in hand. He PICKS UP the REMOTE CONTROL and CHANGES the CHANNEL. He begins to allow his mind to go NUMB and soak in whatever programme he is watching. Before he can though a TEXT MESSAGE from an UNKNOWN NUMBER distracts him. It comes up PERRY’S PHONE.

‘Watch the news’

Sean PAUSES. He then grabs the REMOTE and SWITCHES to the news channel: there’s a report detailing a HUGE STORY.

REPORTER (V.O.)-found in the early hours of the morning inside a tent and has since, been identified as the 22 year-old.

Sean stares at the TV: EMOTIONLESS. It’s as if he isn’t able to PROCESS the words the reporter is saying. The camera SLOWLY TURNS 180 DEGREES to show us the report on the TV. The headline reads ‘MISSING BODIES FOUND’. There is a SCROLLING HEADLINE BAR at the bottom of the screen it details THE FOLLOWING:

‘Sales of Respidoral have risen significantly in the last quarter...’

REPORTERWe have the discoverer of the body here with us-

The news camera pans slightly to reveal ARCHIE stood beside the reporter.

REPORTER (CONT’D)-how did you, come across the body?

The STRAPLINE APPEARS: ‘ANDREW VOIGHT’

It’s the wrong name. Sean must be IMAGINING Archie on the TV.

ARCHIEWell I was out walking my dog when she start going crazy and, and I followed her, curious, and... there it was... he was just lying there in a tent.

27.

REPORTERAnd it wasn’t just the one body was it?

ARCHIENo there were two oth-

The TV screen is suddenly SHATTERED by the REMOTE CONTROL SMASHING into it. Sean has THROWN it in a fit of RAGE. He walks past the camera, still facing the now destroyed TV, and CALLS ZOE. It’s UNCLEAR whether or not the call actually goes through.

SEAN (O.S.)It’s Archie! I have proof! You have to believe me!

We RAISE UP level with Sean’s head as he PRESSES some KEYS on his phone and places it to his ear to call ARCHIE. The anger is VISIBLE in his MANNERISMS but not in his voice.

SEAN (CONT’D)Can you come over? We need to talk.

‘TALK’ APPEARS but is REPLACED for ONE FRAME with ‘LIAR’.

INT. LIVING ROOM - SEAN AND ZOE’S HOUSE - DAY31 31

Archie and Sean are SAT on SEPARATE SOFAS. Despite Sean’s invitation it’s clear that they haven’t spoken since Archie arrived. The SILENCE and TENSION is so thick you could climb it. Archie BRAVELY BREAKS this silence.

ARCHIESorry about Perry, we can go to Lieafstalk if-

SEANShut the fuck up.

Archie is TAKEN BACK by this.

ARCHIEI can’t fathom what you’re-

SEANI know it’s you.

ARCHIEWhat do you mean?

SEANYou, killed, Perry.

There’s a BRIEF MOMENT of SILENCE as Archie ASSESSES Sean’s ACCUSATION. He SUDDENLY STANDS UP.

28.

ARCHIEYou’re crazy.

SEANI was right not to trust you. How do even know where to find the body? Because you put it there!

ARCHIEI was walking, my dog.

SEANYou. Hate. Dogs!

ARCHIEWhat are you talking about?

SEANYou said you were walking your dog right? You hate them!

ARCHIEI didn’t say that! I didn’t find his body!

SEANI saw you on the TV!

Archie can’t BELIEVE what he’s HEARING. Sean is IMAGINING all of this yet seems so ADAMANT that it happened.

ARCHIEScrew this, I’m leaving.

Archie STORMS OUT of the house. SLAMMING the DOOR behind him.

Sean, feeling the FRUSTRATION and SUSPICION RISE, paces around the room. He speaks to HIMSELF as the camera jumps about, creating a sense of DISORIENTATION.

SEANHe’s denying it but I know the truth. It’s him, has to be. A dog, a fucking dog!

(Laughs)Yeah right! Stupid PRICK! I know, ooh, do I fucking know. Tail between his legs. I should see where he runs to.

(Snaps fingers)Yes! Catch him in the act, you’re done, you’re so fucking done.

Sean SPINS around as if someone where there.

SEAN (CONT’D)(Shouts)

And I’m acting weird apparently.

29.

Sean RUSHES out of the house.

SEAN (CONT’D)I’m the weird one!

EXT. PATHWAY, LIEAFSTALK WOODS - DAY32 32

The words ‘CHAPTER 5: LIEAFSTALK’ APPEARS. Archie walks PAST us, a few seconds later SEAN APPEARS. He MAINTAINS HIS DISTANCE trying not to get caught. He PASSES the camera shortly after. The trees teem over the two like FINGERS on an infinite hand trying to enclose them together in an eternal tomb.

We are now BEHIND Sean as he continues to FOLLOW Archie in a SNORRICAM shot. The words “I have you now” and other suspicion-induced phrases appear along the pathway and surrounding area.

EXT. CAMPSITE, LIEAFSTALK WOODS - DAY33 33

Sean FOLLOWS Archie to the CAMPSITE. There are TWO TENTS cordoned off with POLICE TAPE in a small opening in the foliage.

ARCHIE(Aloud)

Here we are Sean.

Archie comes to a STOP in FRONT of the RIGHT TENT. Sean SLOWS DOWN too and keeps himself SEVERAL FEET BEHIND Archie.

SEANYou’re done, I know it’s you.

ARCHIEOpen the tent then...

Archie turns to face Sean: almost like he’s CHALLENGING him.

ARCHIE (CONT’D)...prove it.

The words ‘PROVE IT’ appear on the front of the TENT as Sean PAUSES, CONSIDERING Archie’s challenge. He CAUTIOUSLY walks around him and SLOWLY UNZIPS the tent. He PARTS the flaps and finds the DEAD BODIES of Zoe... and himself. Lying there with BLOOD all over the walls of the tent. Sean is CONFUSED, UNSURE with what he’s seeing. He FALLS to his KNEES, DEVASTATED.

SEANWhat, is this?

ARCHIEWhere it all began...

30.

SEANYou... fucking killed her!

ARCHIEMore importantly: why are you there?

His breathing has become more ERRATIC. The anger TAKING OVER. Sean SPINS AROUND to face Archie and RISES to his feet: his arms FLAILING and POINTING in time with his words.

SEANThis is a sick joke! You’re fucked up in the head. You killed them both! Her and Perry!

ARCHIENot me: us!

SEANNo! No! Don’t put this on me, I had nothing, to do with it.

ARCHIEYou had everything to do with this Archie.

Sean is STUNNED for a couple of seconds. The connections being made in his head. Each time Archie makes a statement the world around them BREAKS and DISTORTS. The basic CONTINUITY of the world JARS as Sean tries to MAKE SENSE of it all.

The name ‘ARCHIE’ APPEARS on several TREES.

SEANWhat- What did you just call me?

ARCHIEArchie.

SEANNo... you’re Archie.

Archie GESTURES with a NOD down to Sean’s RIGHT HAND. He is holding a KNIFE. Sean FLINCHES in SHOCK. Where did this come from?

SEAN (CONT’D)You’re setting me up.

ARCHIE(Prolonged)

Come on (Agitated)You can work it out. Bodies, knife, me and you-

31.

(MORE)

(louder)What does it all mean!

SEANYou’re the killer! Not me!

Sean THROWS the KNIFE AT ARCHIE: who JERKS out of the way in complete SURPRISE.

ARCHIEHow are you not getting this! There is no set up, no conspiracy. This world. Is fake.

We see a SNORRICAM of Sean as he PROCESSES this massive piece of news.

SEANYou’re crazy-

Within this shot: a quick SECOND LONG insert of Sean LAUGHING MANICALLY and the words ‘YOU’RE CRAZY’ APPEAR.

SEAN (CONT’D) This is real.

There is now a SNORRICAM of ARCHIE responding to him.

ARCHIEYou created this world.

The CAMERA ANGLES are getting WEIRDER. The rule of thirds has been FORGOTTEN and the line is being CROSSED more times that a tic-tac-toe board.

The world CONTINUES to DISTORT and just completely FUCK UP the CONTINUITY. RANDOM WORDS regularly APPEAR. FAKE. ARCHIE. MURDERER. TRIGG. DEALER.

We REVERSE SHOT to Sean but instead PERRY is in his place.

PERRYWhy would I do that?

ARCHIETo avoid the truth. We’re a mess.

INT. LIVING ROOM - ARCHIE AND ZOE’S HOUSE - DAY34 34

Archie and Sean are suddenly inside the house. Where are we really?

ARCHIEIrresponsible, anger issues-

32.

ARCHIE (CONT'D)

EXT. CAMPSITE - LIEAFSTALK WOODS - DAY35 35

We are BACK at the campsite. What is going on? The world seems to be FALLING APART.

ARCHIE-alcoholic, a fucking junkie!

‘JUNKIE’ APPEARS.

SEANI’ve never-

ARCHIEIt was only a matter of time...

Sean’s anger and frustration has reached it’s FINAL LIMIT. He WORKS HIMSELF into a state of RAGE and SHOUTS IN ANGER. Like a SPARTAN screeching their WAR-CRY before going into battle. He SPRINTS at Archie and TACKLES him down to the ground: sending himself ALMOST ROLLING with the carried momentum. Archie manages to get back UP and RUNS OFF into the WOODS.

ARCHIE (O.S.) (CONT’D)Listen to me! Please!

‘PLEASE’ APPEARS as Sean RISES like a robot; focussed on one single task: KILL ARCHIE. He picks up the NEARBY KNIFE he threw at Archie and FOLLOWS him into the woods.

EXT. WOODS - LIEAFSTALK WOODS - DAY36 36

The woods appear to go on FOREVER. The TREES LIMITLESS in their NUMBERS. They act as makeshift CORNERS to peer round. MASKING any possible outlines of a person. This MAZE is now a TOMB for one of them.

ARCHIE (O.S.)We became paranoid, thought Zoe was cheating! With. Sean. Then she organised the camping trip for the four of us...

‘PARANOID’; ‘CHEATING’ and ‘FOUR’ APPEAR in time with them being said.

Archie’s voice ECHOES and REVERBERATES around the TUNDRA. Breaking the DEAD SILENCE that has COATED the WOODS. LEAVES CRUNCH under Sean’s steps as he tries, and fails, to pinpoint the source of the voice.

ARCHIE (O.S.) (CONT’D)Us, her, Sean and Perry!... We fucking lost it!... Saw them both, in, the same, tent...

33.

Sean maintains his VICE GRIP around the KNIFE. He looks BEHIND himself to ensure no surprise attacks.

ARCHIE (O.S.) (CONT’D)Perry... he was only-... it shouldn’t have happened...

‘SHOULDN’T’ APPEARS.

Sean RESPONDS: SHOUTING in ANY direction.

SEANI’m. Sean!

ARCHIE (O.S.)You’re not Sean... he’s dead, Perry and Zoe too... we need to accept what we have done.

‘NOT’; ‘DEAD’ and ‘ACCEPT’ APPEAR.

Sean SPINS QUICK on the spot, the PARANOIA has reached a peak. Any second this could end. Any moment.

Sean see’s a PARTING in the TREES and RUSHES towards it.

EXT. CAMPSITE - LIEAFSTALK WOODS - DAY37 37

Sean finds himself BACK AT THE CAMPSITE. A COMPLETE LOOP. He lets his GUARD DOWN for a moment as he tries to FIGURE IT ALL OUT.

SEAN(To himself)

I haven’t done anything...

ARCHIE (O.S.)For fuck sake!

Archie’s voice JOLTS Sean’s GUARD back up. He TURNS several times, still trying to LOCATE where Archie is.

ARCHIE (O.S.) (CONT’D)You have! You’re a murderer! I’m a murderer! Face the fucking facts!

‘MURDERER’ APPEARS.

Sean REENTERS the woods. Still COMMITTED to hunting down Archie.

SEANNo! You face it: you killed Perry and Zoe and now you’re trying to frame me!

34.

‘FRAME ME’ APPEARS, followed by a FOUR-FRAME insert of the words ‘HELP ME’.

SEAN (CONT’D)The moment you turned up I knew you were a fucking weird one! I was right to never trust you!

‘TRUST YOU’ APPEARS. It’s briefly replaced with ‘I TRUSTED YOU’.

Sean comes to a STOP. He LOWERS his GUARD and takes a BREATH.

SEAN (CONT’D)But you fucked up... You’re finished.

Sean SPINS round and THRUSTS the KNIFE. It SLIDES into ARCHIE’S CHEST, who was standing BEHIND SEAN. Sean MOVES FORWARD as he does so; PINNING Archie against a TREE.

Archie GASPS as shock and pain take over. Sean gives a SIMILAR REACTION: as if he’s ALSO BEEN STABBED. They stare THROUGH ONE ANOTHER as the camera RISES UP to point at the SKY. We GRAPHIC MATCH to:

INT. LIVING ROOM - ARCHIE AND ZOE’S HOUSE - DAY38 38

The camera FLOATS down and MOVES BACK to reveal ARCHIE’S DEAD BODY lying on the floor. A KNIFE, planted FIRMLY in his CHEST.

LITTERED around the floor are EMPTY CANS of alcohol and what also appears to be DRUGS. The TV is ON but MUTED. On the screen are THREE PHOTOS: SEAN BREWER, ZOE OLSEN and PERRY HAGUE. The photos are old, like they were SUPPLIED to the NEWS STATION by a NEXT OF KIN. The topic of the report can be identified by only one HEADLINE at the bottom: ‘CAMPING HOMICIDE VICTIMS IDENTIFIED’.

The house itself has changed: PHOTO FRAMES of the VICTIMS and ARCHIE are dotted around; taken by one another when they’ve hung out. DVD’s line the SHELF, detailing a VARIED amount of movie taste: including the film FIGHT CLUB. BOARD GAMES can be seen in their boxes stacked MESSILY. They were used RECENTLY. This house has LIFE, or DID HAVE. All that is left are remnants of that life and what it had accomplished: the years of love and friendships. The piss-inducing laughs and numerous card games that happened in this room.

We LINGER on Archie’s LIFELESS BODY for a few more seconds.

Fade to BLACK.

35.