SHALLOW GRAVE
Written by
John Hodge
FINAL DRAFT
INT. DAY
A blurred image forms on a white screen. A horizontal strip of
face, eyes motionless and unblinking.
DAVID
(VOICE-OVER)
Take trust, for instance, or friendship: these are the important
things in life, the things that matter, that help you on your
way. If you can't trust your friends, well, what then?
EXT. DAWN
A series of fast-cut static scenes of empty streets.
DAVID
(VOICE-OVER)
This could have been any city: they're all the same.
A rapid, swerving track along deserted streets and down narrow
lanes and passageways. Accompanied by soundtrack and credits.
The track ends outside a solid, fashionable Edinburgh tenement.
INT. STAIRWELL. DAY
At the door of a flat on the third floor of the tenement. The
door is dark, heavy wood and on it is a plastic card embossed
with the names of three tenants. They are Alex Law, David
Stevens, and Juliet Miller.
A man climbs the stairs and reaches the door. He is Cameron
Clarke, thin and in his late twenties with a blue anorak and
lank, greasy hair. He is carrying an awkwardly bulky plastic bag.
Cameron gives the doorbell an ineffectual ring and then stands
back, shifting nervously from foot to foot until the door is
answered.
CAMERON
Hello, I've come about the room.
Cameron enters and the door closes.
INT. LIVING ROOM. DAY
David, Alex, and Juliet sit in a line on the sofa directly
opposite Cameron, who shifts uneasily in his armchair. Alex
checks some items on a clipboard before speaking.
ALEX
What's his name?
DAVID
I don't know -- Campbell or something?
JULIET
Cameron.
ALEX
Cameron?
JULIET
Yes.
ALEX
(to Juliet)
Really?
CAMERON
That's right.
ALEX
(to Cameron)
What?
Cameron is not sure what to say.
ALEX
(CONTINUED)
Well, Cameron, are you comfortable?
CAMERON
Yes, thanks.
ALEX
Good. Well, you've seen the flat?
CAMERON
Yes.
ALEX
And you like it?
CAMERON
Oh, yes, it's great.
ALEX
Yes. It is, isn't it? We alllike it. And the room's nice too,
don't you think?
CAMERON
Yes.
ALEX
Spacious, quiet, bright, well appointed, all that sort of stuff,
all that crap.
CAMERON
Well, yes.
ALEX
So tell me, Cameron, what on earth -- just tell me, because I
want to know -- what on earth could make you think that we would
want to share a flat like this with someone like you?
INT. STAIRWELL. DAY
As Cameron plods slowly down the stairs, his shoes striking out
against the stone steps, Alex's criticisms continue.
ALEX
(VOICE-OVER)
I mean, my first impression, and they're rarely wrong, is that
you have none of the qualities that we would normally seek in a
prospective flatmate. I'm talking here about things like
presence, charisma, style and charm, and I don't think we're
being unreasonable. Take David here, for instance: a chartered
accountant he may be, but at least he tries hard. The point is, I
don't think you're even trying.
Cameron has reached the bottom of the stairs. He opens the main
door.
ALEX
(CONTINUED)
And, Cameron -- I mean this -- good luck!
Cameron leaves and the main door closes behind him.
ALEX
(CONTINUED)
Do you think he was upset?
INT. STAIRWELL. DAY
Inside the hall of the flat, David approaches the door toopen it.
Freeze-frame.
ALEX
(VOICE-OVER)
David likes to keep spareshoelaces in sorted pairs in a box
marked, not just shoelaces', but spare shoelaces'.
David opens the door to the Woman.
WOMAN
I've come to see about the room.
INT. STAIRWELL. DAY
Outside the door of the flat a young Goth girl, aged about
twenty, rings the doorbell.
INT. HALL. DAY
Inside the hall of the flat Alex approaches the door to open it.
Freeze-frame.
JULIET
(VOICE-OVER)
Alex is a vegetarian. Do you know why? Because he feels it
provides an interesting counterpoint to his otherwise callous
personality. It doesn't. He thinks he's the man for me. He isn't,
though there was a time when, well, there was a time when...
Alex opens the door to the Goth.
GOTH
I've come about the room.
INT. STAIRWELL. DAY
At the door of the flat a Man aged about thrity-five rings the
bell.
INT. HALL. DAY
Inside the hall of the flat Juliet approaches the door to open
it. Freeze-frame.
DAVID
(VOICE-OVER)
Like one of those stupid posters -- you know, a gorilla cuddling
a hedgehog, caption love hurts --- that's what I think when I
think of Juliet.
Juliet opens the door to the Man.
MAN
I've come about the room.
INT. LIVING ROOM. DAY
In the living room each of the candidates is interviewed
individually with the same seating arrangements as before (i.e.
the trio on the sofa and the applicant on the chair). What we see
are briskly intercut excerpts from each of these interviews. We
do not get the responses to the questions, although we may see
some facial reaction.
All of David's questions are to the Woman.
All of Alex's questions are to the Goth.
All of Juliet's questions are to the Man.
DAVID
All right, just a few questions.
ALEX
I'd like to ask you about your hobbies.
JULIET
Why do you want a room here?
DAVID
Do you smoke?
ALEX
When you slaughter a goat and wrench its heart out with your bare
hands, do you then summon hellfire?
JULIET
I mean, what are you actually doing here? What is the hidden
agenda?
DAVID
Do a little freebasemaybe, from time to time?
ALEX
Or maybe just phone out for a pizza?
JULIET
Look, it's a fairly straightforward question. You're either
divorced or you're not.
DAVID
OK, I'm going to play you just a few seconds of this tape -- I'd
like you to name the song, the lead singer and the three hit
singles subsequently recorded by him with another band.
ALEX
When you get up in the morning, how do you decide what shade of
black to wear?
JULIET
Now, let me get this straight. This affair that you're not
having, is it not with a man or not with a woman?
DAVID
Turning very briefly to the subject of corporate finance -- no,
this is important. Leveraged buy-outs -- a good thing or a bad
thing?
ALEX
With which of the following figures do you most closely identify:
Joan of Arc, Eva Braun or Marilyn Monroe?
JULIET
It's just that you strike me as a man trapped in a crisis of
emotional direction, afflicted by a realization that the partner
of your dreams is, quite simply, just that.
DAVID
Did you ever kill a man?
ALEX
And when did anyone last say to you these exact words: You are
the sunshine of my life'?
JULIET
OK, so A has left you, B is ambivalent, you're still seeing C but
D is the one you yearn for. What are we to make of this? If I
were you, I'd ditch the lot. There's a lot more letters in the
alphabet of love.
DAVID
And what if I told you that I was the antichrist?
INT. SQUASH COURT. EVENING
In a sports centre Juliet sits outside a glass-walled squash
court. She is ready to play, but at present is watching Alex and
David, who are inside the court.
INT. SQUASH COURT. EVENING
Inside the squash court, Alex is about to serve.
ALEX
Squash is often used as a metaphor to represent a struggle for
personal domination.
DAVID
Serve.
ALEX
I was trying to educate you.
DAVID
Just serve.
ALEX
In the same fashion as chess.
DAVID
What?
ALEX
Chess. Chess is often used as well.
DAVID
Will you shut up and play.
ALEX
You're a bad loser.
DAVID
I haven't lost yet.
Alex serves.
INT. SQUASH COURT. EVENING
The squash-court door opens and David walks out past Juliet as
Alex stands behind, jabbing his finger at him.
ALEX
Defeat, defeat, defeat-- sporting,personal, financial,
professional, sexual, everything. Next.
Juliet walks in and closes the door.
INT. SQUASH COURT. EVENING
Inside the squash court Alex is about to serve.
ALEX
Did you know --
JULIET
Just serve.
Alex serves.
INT. JULIET'S CAR (A MINI). NIGHT
Alex sits in the back, drinking.
Juliet is driving. David sits beside her.
ALEX
I wasn't trying to win.
There is no response from Juliet.
ALEX
(CONTINUED)
I don't want to devalue your victory, but I just want you to
know: I wasn't trying to win.
DAVID
Victory is the same as defeat. It's giving in to destructive
competitive urges.
ALEX
You learn that in your psychotherapy group?
DAVID
Discussion group, Alex, discussion.
JULIET
I thought you stopped going.
ALEX
Yeah, he had one too many of thise urges. You of all people
should know that.
Alex leans close to Juliet. Juliet brakes abruptly and, as Alex
flies forward, elbows him in the chest.
ALEX
(CONTINUED)
God, you two are sensitive. All I'm doing is implying some sort
of sordid, ugly, sexual liason. Why, I'd be proud of that sort of
thing.
JULIET
Maybe you should go, Alex.You'll meet someone wonderful.
ALEX
For my life? At a discussion group? I think not.
JULIET
For the flat.
ALEX
No. Be someone else like him. One is enough. And what happened to
that girl, that friend of yours, the one that came round. I liked
her. I really felt we had something. She could have moved in. We
had chemistry.
JULIET
She hated you --
ALEX
Well, she had problems --
JULIET
-- more than anyone she has ever met. In her whole life.
ALEX
-- I'd be the first topoint that out. In all kindness I would.
But, like they say, you know, she's got to want to change, hasn't
she?
INT. STAIRWELL. DAY
Outside the door of the flat Hugo rings the bell and waits.
Juliet opens the door. Hugo is in his early thirties, tall, dark
and bohemian in appearance.
JULIET
You must be Hugo.
HUGO
You must be Juliet.
JULIET
Would you like to come in?
HUGO
I'd be delighted.
Hugo walks in and Juliet closes the door quite deliberately
behind him.
INT. VACANT ROOM. DAY
Hugo looks around, pleased at what he sees, while Juliet watches
him. He sits on the edge of the bed.
HUGO
It's nice.
JULIET
Would you like to see the rest?
INT. LIVING ROOM. DAY
Hugo is seated on the sofa, Juliet sits opposite on an armchair.
JULIET
What do you do?
HUGO
Well, I've been away for a bit, travelling, that sort of thing,
and now I'm trying to write a novel.
JULIET
What's it about?
HUGO
A priest who dies.
JULIET
I see.
HUGO
Yeah. Well, maybe I'll change it.
JULIET
No.
HUGO
Yes, I mean, who wants to read about another dead priest? It's
about some other guy, some guy who's not a priest, who doesn't
die. You see, it's better already.
JULIET
Writing seems easy.
HUGO
It's a breeze.
The telephone begins to ring out in the hall. Juliet does not
move and at first says nothing. Hugo looks at her and towards the
door leading to the hall. After several rings, Juliet speaks.
JULIET
Do you think you could answer that?
HUGO
The telephone?
It continues to ring.
JULIET
Yes, the telephone, but if it's for me, I'm not in.
HUGO
You're not in.
JULIET
No.
HUGO
All right.
Hugo stands up. The ringing continues.
INT. HALL. DAY
Hugo lifts the phone. He turns to face Juliet and looks her in
the eye as he lies on her behalf.
HUGO
Hello. Yes. Who's calling please? Well, I'm sorry, but she's not
in right now. I don't know. Would you like to leave a message?
Hugo replaces the receiver.
HUGO
(CONTINUED)
It was some guy called Brian.
JULIET
Did he sound upset?
HUGO
A little bit. Is that good or bad?
JULIET
It's an improvement.
The telephone begins to ring again.
HUGO
Shall I answer it?
JULIET
No, just leave it. He knows I must be at home. I'm working nights
this week.
The telephone continues to ring.
HUGO
Working nights?
JULIET
I'm a doctor.
HUGO
And he's a patient of yours?
JULIET
No. But he needs treatment.
HUGO
For what?
JULIET
A certain weakness.
HUGO
The human condition.
JULIET
You know about it?
HUGO
I write about it?
JULIET
And that's not the same thing?
HUGO
No, but like all novelists, I'm in search of the self.
INT. KITCHEN. MORNING
Juliet, dressed and fatigued, sits at the table sipping a coffee.
Alex is also seated at the table, but wearing an old dressing-
gown and munching at cornflakes while he reads a newspaper and
talks at the same time. An array of other papers is spread over
the table.
ALEX
Has he tried down the back of the fridge? I mean, that's where I
normally find things.
JULIET
He seemed like a nice guy, Alex.
Juliet gets up and leaves the kitchen. The soundof a bath running
is heard.
ALEX
I'm not saying he didn't seem like a nice guy. All I'm saying is,
it's a bit strange, and this search for the self, and what he's
on about, you know.
Alex hears the mail falling through the door and stands up to
leave the kitchen and get it.
JULIET
(calling from outside)
He didn't seem strange, Alex.He seemed, you know --
INT. BATHROOM.MORNING.
Juliet watches the bath fill.
JULIET
...interesting.
INT. KITCHEN. MORNING
Alex considers her reply.
ALEX
Interesting. Interesting.
INT. HALL. MORNING
Alex is walking through the hall to the door,muttering
interesting' to himself. As he passes the phone starts to ring.
He stops and lifts it.
ALEX
Hello. No, she's not in. No. No. No. No ideas.
Alex replaces the reciever and walks on to the door.
JULIET
(from the bathroom)
Who was it?
ALEX
I don't know. He sounded Swedish. Do you know any Swedish men?
Maybe it was just the emotion.
Alex picks up the mail and looks through it. As he does so,David
emerges from his room, dressed for work.
ALEX
(CONTINUED)
What do you think?
DAVID
About what?
ALEX
About this guy, this Hugo person.
DAVID
I don't have time.
ALEX
I'm only asking what you think.
DAVID
I don't have time to discuss it now. I don't care so long as he's
not a freak.
David opens the door. Alex hands him an envelope.
ALEX
This is for you. It's your mother's handwriting, so I didn't open
it. I don't like reading about your father's constipation.
David snatches the letter and leaves, closing the door.
Alex walks back across the hall, opening one of the letters and
reading it quickly.
JULIET
(calling from the bathroom)
So we'll meet him, then?
ALEX
What? Oh, yeah, sure, if you want. I tell you, every letter this
guy writes to you is the same: they all begin like pure love and
descend into open pornography. I dream of your thighs, the soft
touch of your white skin leading me in desire, while I, aroused
and inflamed --'
Juliet's hand and arm appear around the bathroom door. She
attempts to grab the letter. Alex plays at holding the letter
just beyond her reach.
ALEX
(CONTINUED)
Aroused and inflamed.
JULIET
Alex.
ALEX
He even signs them, in his own name, can you believe it? I'd sign
someone else's name. I'd sign his name. If I wrote them, that is.
Which I don't.
INT. LIVING ROOM. EVENING
Alex, David, Juliet and Hugo sit round a table towards the end of
a meal. Alcohol has been consumed. Bowls containing the last of
the food sit on the table, being picked at occassionally. Alex
dispenses wine mainly into his own glass, alternating with
Macallan malt whisky, of which he pours generous amounts.
ALEX
Interesting.
HUGO
I see.
ALEX
Yeah, well, that's what she said. Interesting. That's why you're
here, you see.
DAVID
Normally I don't meet people, unless I know them already.
HUGO
I see.
DAVID
People can be so cruel.
ALEX
So, uh...
HUGO
What?
ALEX
What?
HUGO
You were going to say something.
ALEX
What was I trying to say? Oh, yes, I think, we think, or at least
I suppose we think -- am I right?
JULIET
Just get on with it, Alex.
DAVID
Keep it going, Alex. You're unstoppable now.
ALEX
We think it's fine.
Alex starts eating again. The others watch him expectantly. David
coughs.
ALEX
(CONTINUED)
It's OK. There's no problem.
HUGO
You mean I can have the room?
ALEX
Well, that's what I said, isn't it?
DAVID
He made it clear.
ALEX
Why, thank you, David.
JULIET
Yes, you can have the room.
Alex pours yet more alcohol.
ALEX
I'm not usually drunk.
JULIET
Not usually this drunk.
DAVID
Only on expenses.
ALEX
It's true. A newspaper is paying for all this. A newspaper...
With exaggerated scorn, Alex knocks over a glass of wine.
JULIET
In a moment he's going to tell he could have been someone --
ALEX
It was you, Juliet, it was you --
JULIET
-- instead of what he is --
ALEX
What I am.
JULIET
-- which is --
ALEX
-- which is a hack.
JULIET
The man we know and love.
ALEX
A miserable, burnt-out, empty shell of a --
Alex pauses, looks at his drink, then at Juliet.
ALEX
(CONTINUED)
Know and love?
JULIET
Yeah.
ALEX
I think you're lying.
JULIET
You're right.
ALEX
You see, they don't really know me.
JULIET
No, Alex, we don't really love you.
Alex smiles at Juliet and drinks again.
ALEX
Can you afford this place?
HUGO
Yeah.
Hugo reaches into his pocket and pulls out a thick bundle of
notes, which he places in front of Alex. Alex leans over and
sniffs the notes.
DAVID
Can I ask you a question?
HUGO
Certainly.
DAVID
Have you ever killed a man?
HUGO
No.
DAVID
Well, that's fair enough, then.
Alex raises his head.
ALEX
Certainly smells like the real thing.
EXT. A STREET. NIGHT
At a cash dispenser a man in his thrities is taking out some
money.
A younger man, Andy, stands besdie him, looking around in a
mildly agitated fashion.
As the money emerges, Andy assaults and robs the man. He starts
by smashinf the victim's face repeatedly against the cash
dispenser until the Perspex is smeared with blood. When he has
final finished and the man lies on the ground, Andy takes the
money and the card from the slots, then gets into a car which has
pulled up alongside, driven by Tim.
INT. STAIRWELL. DAY
Hugo climbs the stairs, carrying two suitcases. He stops at the
door of the flat and looks at a bunch of keys before selecting
one, which he inserts in the door.
INT. HALL. DAY
Inside the flat. The door opens and Hugolifts his cases in,
kicking the door closed behind him.
INT. JULIET'S ROOM. DAY
Juliet sleeps, undisturbed by the closing of the door.
INT. HALL. DAY
Hugo walks across the halland disappears into his room.
INT. HUGO'S ROOM. DAY
Hugo unpackshis bags. Included in his things are a few syringes
and needles. All these he puts into the drawer beside his bed. He
checks inside a second bag.
INT. HALL. DAY
Hugo dails a number on the telephone and awaits a reply.
INT. JULIET'S ROOM. EVENING
Juliet is woken by her alarm clock. The time is five p.m.
INT. LIVING ROOM. NIGHT
Alex sits watching television, constantly changing channels.
Juliet walks in, wearing a dressing gown. She watches Alex for a
few moments.
JULIET
Have you seen Hugo?
ALEX
No. Any idea which channel he's on?
INT. HALL. MORNING
The telephone is ringing. Alex lifts up the reciever. Again he is
wearing his dressing gown and is on his way to pick up the mail.
ALEX
No, she's not in.
Without waiting for any more, he replaces the reciever and walks
to the door, where he picks up the mail. On his way back from the
door, David emerges, ready to go to work.
ALEX
(CONTINUED)
Have you seen him?
DAVID
Alex, I don't have the time --
ALEX
Yes or no, yes or no, yes or --
DAVID
No.
David leaves, slamming the door.
INT. KITCHEN. MORNING
Alex returns to the kitchen, pausing only to knock at Hugo's
door, which elicits no response. In the kitchen Juliet sits
dressed for work, having just returned. He casually opens an
envelope and glances at both sides of the letter before handing
it to her.
ALEX
David hasn't seen him either.
JULIET
So I gathered.
ALEX
Maybe he didn't like us.
JULIET
David?
ALEX
Hugo.
JULIET
His car's still there.
ALEX
He's got a car?
JULIET
So what's wrong with that?
ALEX
What sort of car?
JULIET
Alex, how shouldI know? I'm just a girl.
ALEX
I will ask you once more, what sort of car --
JULIET
A blue one, OK. And it's still there.
INT. HALL. NIGHT
We see the door to Hugo's room, then Alex rapping sharply against
it. David and Juliet stand behind him.
ALEX
Hugo. Hugo. Sorry about this, but can you open the door? It's us,
Hugo, your flatmates and companions. Your new-found friends. He's
not in. He's left and we'll probably never see him again.
JULIET
Alex, the key is in the keyhole on the other side.
ALEX
So?
JULIET
Open it.
ALEX
You want me to kick it open?
JULIET
Yes.
ALEX
Now?
JULIET
Yes.
ALEX
All right. No problem.
After several ineffective kicks at the door, Alex turns to David.
ALEX
(CONTINUED)
You want a go?
INT. HUGO'S ROOM. NIGHT
Inside Hugo's room we see the door as David, outside, throws
himself against it. At the third attempt the lock gives way and
the door bursts open.
In the foreground at one side is the bed with a naked foot lying
still and exposed.
When the door is open, David is first in, followed by the other
two. There is a period of silent shock as they contemplate Hugo's
naked corpse. Alex opens a window.
DAVID
Is this what they always look like?
JULIET
Yes.
Juliet drapes a sheet over the body, covering it completely.
ALEX
I wonder how he did it?
JULIET
Did what?
ALEX
I wonder how he killed himself. I presume that that's what
happened. What do you think?
Quite casually, Alex begins to open drawers and cupboards,
emptying the contents on to the floor.
JULIET
Alex.
ALEX
What? What's wrong?
JULIET
What are you doing?
ALEX
I'm just looking.
JULIET
Don't.
ALEX
Don't look?
JULIET
No.
ALEX
Why not? What's wrong, Juliet? Aren't you curious? Don't you
wonder what he died from?
JULIET
No.The guy's dead.What more do you need?
ALEX
It's not every day I find a story in my own flat.
JULIET
Thats not a story, Alex. It's a corpse.
ALEX
Old newspaper proverb says dead human being is living story. Be
rational, please, and failing that be quiet.
In a drawer in a bedside cabinet, Alex finds needles, syringes
and a small bag of powder. Without comment, he holds it up and
throws it on the bed.
He reaches under the bed and pulls out a case, which he opens. It
is empty and he pushes it back under.
DAVID
I've never seen a dead body before.
JULIET
Alex, I think it's time for you to stop.
Alex continues to search. Juliet walks out.
INT. HALL. NIGHT
Juliet stands alone.
INT. HUGO'S ROOM. NIGHT
Alex continues his brisk search through Hugo's posesseions while
David looks on, appalled but speechless.
INT. HALL. NIGHT
Juliet listens to the sounds from the bedroom, then picks up the
telephone. She dials 999 and waits for a reply. It rings and
rings.
INT. HUGO'S ROOM. NIGHT
Alex has found and opened a large Gladstone bag. Neither David
norwe can see into it.
DAVID
I saw my grandmother, of course, but I don't suppose that counts.
I mean, she was alive at the time.
ALEX
Can I show you something?
INT. HALL. NIGHT
Juliet awaits an answer.
Alex approaches Juliet with the open bag. She turns around and
looks into it, then, seeing the contents, she replaces the
receiver. As she does so, the Operator's voice is audible for a
second.
OPERATOR
Hello, emergency services.
The telephone hits the cradle.
INT. KITCHEN. NIGHT
David, Alex and Juliet are seated in silence around the tabel.
The bag, stacked with money, lies open on the table.
DAVID
No.
ALEX
Think about it.
DAVID
No.
ALEX
Come on, David.
DAVID
No.
ALEX
Juliet?
JULIET
No, Alex. It's, it's --
ALEX
What?
JULIET
Unfeasible.
ALEX
Is that all?
DAVID
You mean immoral.
ALEX
I'm only asking you both to think about it.
DAVID
It's asick idea, Alex. It's sick.
ALEX
But don't tell me that you're not tempted by it. Don't tell me
that you're not interested. I know you well enough.
DAVID
You think so?
ALEX
(AMUSED)
All right, then, go ahead, telephone. Telephone the police. Try
again. No one's going to stand in your way. Go ahead. Tell them
there's a suitcase of money and you don't want it.
INT. HALL. MORNING
The flat is silent. Footsteps are heard outside the door and mail
falls through the letter box.
INT. LIVING ROOM. DAY
The living room, empty.
INT. KITCHEN. DAY
The kitchen, empty. The bag of money still sits on the table.
INT. HUGO'S BEDROOM. DAY
His corpse lies on the bed, covered as before, incompletely, by a
sheet, with parts of his body still showing (a foot, a hand, part
of his face or abdomen).
INT. NEWSPAPER OFFICE. DAY
The open-plan office of a busy newspaper. Alex sits at his desk.
He is talking on a telephone jammed against his shoulder and
while he does so he is casually acknowledging and waving at
colleagues.
ALEX
Now, was there a pet in the house? Yes, a pet, like a dog or a
budgie or a gerbil. You see, what I need is PC Plod rescues Harry
the Hamster from House of Horror'. All right... well, that's a
pity, you see, no pets, no human angle.
Alex hangs up.
INT. HUGO'S ROOM. DAY
Another view of the body: for example, from above.
INT. HOSPITAL. DAY
In the accident and emeregency department of a busy hospital,
Juliet sifts through a setof casenotes. Another Doctor approaches
her.
DOCTOR
Hi, there.
Juliet does not look up.
JULIET
Hello.
DOCTOR
What happened to that guy?
JULIET
What guy?
DOCTOR
That guy, the one that died.
Juliet looks up.
JULIET
What guy that died?
DOCTOR
That one, last week.
JULIET
Here?.
DOCTOR
Yeah, here, I mean, where else?
JULIET
Oh, him. Well, he died.
DOCTOR
(SATISFIED)
That's what I thought.
INT. HUGO'S ROOM. DAY
The body, stillpresent, exposed and motionless. The curtain
flutters by the open window.
INT. LUMSDEN'S OFFICE. DAY
Lumsden, a middle-aged chartered accountant, isseated in a
largechair behind a desk. He is talking to David,who appears
distracted.
LUMSDEN
What do we do here, David?
DAVID
Sorry?
LUMSDEN
Here.
DAVID
Right here?
LUMSDEN
In this firm.
DAVID
Well, it's a wide range of, eh --
LUMSDEN
Accounting, David, chartered accounting --
DAVID
Exactly what I was --
LUMSDEN
-- is often sneered at. Are you aware of that?
DAVID
Not any real sneering as such, no.
LUMSDEN
There's a whole wide world out there, and it all needs to be
accounted for, doesn't it?
DAVID
Eh --
LUMSDEN
But they sneer, don't they?
DAVID
I'm not sure --
LUMSDEN
Oh, it's unfashionable, I know, but, yes, we're methodical, yes,
we're dilligent, yes, we're serious, and where's the crime in
that, and why not shout it from the rooftops, yes, maybe
sometimes we are a little bit boring, but by God, we get the job
done.
DAVID
Yes, sir.
LUMSDEN
And that's why I think you fit in here.
DAVID
I'm boring?
LUMSDEN
You get the job done.
DAVID
Oh, I see, I thought you meant --
LUMSDEN
Which is why I'm trusting you with this account.
Lumsden throws a heavy folder into David's lap.
INT. HUGO'S ROOM. EVENING
It is almost dark.Only the familiar contour is visible through
the gloom.
INT. STAIRWELL. EVENING
David ascends the stairs to the flat.
INT. LIVING ROOM. EVENING
Alex sits in an armchair facing out of the window. Juliet stands
facing into the room. David, the last home, appears in the
doorway.
DAVID
He's still here.
ALEX
He couldn't get his car started.
DAVID
When are you going to let the police know?
ALEX
You call them if you want.
DAVID
(to Juliet)
And what about you?
JULIET
Well, I'm getting used to having him around.
INT. HUGO'S ROOM. DAY
The corpse as before.
INT. ACCOUNTANT'S OFFICE. DAY
David sits at his desk, looking across the office.
Crouched over a large array of other desks, young men and women
in suits are pouring over folders and columned books. No one is
speaking except in muted tones on the telephones.
David watches them. He looks to his left and to his right: on
either side young men like him are toiling over accounts. He
turns and looks behind him, where another array of accountants
sit.
He turns back to his desk and opens the file he was previously
given. He looks at the columns of records of profit, with a large
total at the bottom.
When David looks up he sees Juliet seated beside his desk. She
smiles and directs his gaze, with her own, to the surrounding
scene.
INT. HUGO'S ROOM. EVENING
The body in silhouette.
DAVID
(VOICE-OVER)
OK. Let's do it.
INT. DIY STORE. DAY
Inside a large, brightly lit DIY store with Muzak playing in the
background. We start with a tracking shot along an aisle stacked
with potentially vicious tools.
ALEX
(VOICE-OVER)
All right, now listen. We have to dispose of the body in such a
way as to make it unidentifiable, so that even if it is found,
then it's never anything more than an unknown corpse. Burning,
dumping at sea, and straightforward burial are all flawed either
by fingerprints, or, more commonly, by dental records. This I
have learned. Now, what I suggest is that we bury him out in the
forest, but first of all we remove his hands and his feet, which
we incinerate. And his teeth, which we just remove. It's as
simple as that.
As the tracking shot ends, we see David's head and shoulders as
he looks at something off picture. Suddenly a spring-loaded
screwdriver appears and is fired' so that the tip stops a few
millimeters from his face. David winces as we see that Alex is
holding it.
ALEX
(CONTINUED)
I always wondered what these were for.
Alex places the screwdriver down on the shelf and walks across
the aisle to pick up a saw and a hammer.
ALEX
(CONTINUED)
Now this is what we need. And this.
Alex hands the tools to David, who looks at them with disgust.
Alex walks on.
ALEX
(CONTINUED)
Now what else?
DAVID
I don't know.
ALEX
A spade, we need a spade -- I wish you would concentrate -- we
need a spade if we're going to dig a pit.
DAVID
So who's going to do it?
ALEX
Dig the pit, I don't know.
DAVID
No, not that.
ALEX
Then what? Who's going to do what?
DAVID
You know what I'm talking about.
ALEX
Do I? What? What? What are you talking about?
DAVID
You know what. Who's going to do it.
ALEX
We all are, David, we're all going to do it. Each of us, you, me
and Juliet, will do his or her bit. Is that fair enough?
DAVID
I can't do it.
ALEX
I don't hear this.
DAVID
I won't be able to.
ALEX
You're telling me you want out? Already? You're telling me you
don't want the money? Hugo is going off. He smells. The flat
smells. We can't wait any longer.
DAVID
I'm just telling you I can't cut him up.
Alex turns away in disgust.
EXT. LANE. NIGHT
Late at night, in a quiet lane at the back of the flat, a hired
Ford Transit is parked.
INT. VAN. NIGHT
Inside the dimly lit van, Alex and Juliet are laying down plastic
on the floor.
JULIET
Who's going to do it?
ALEX
I thought we all were.
JULIET
I don't thinkI can.
ALEX
But you're a doctor. You kill people every day.
JULIET
I don't want to. It's different.
ALEX
And now you tell me.
INT. UNDER WATER/BATHROOM. NIGHT
A Man's face is being held under water. Bubbles escape from his
mouth and his eys bulge.
Tim hauls the Man's head out of the bath. His legs and arms are
bound with cord. Andy sits on a chair, watching.
Tim ducks the Man's head under the water again.
The Man's face as before.
INT. HUGO'S ROOM. NIGHT
We see Hugo's face just before Alex, David and Juliet wrap him in
a sheet and thick, black plastic. They wear masks over their
noses. The smell is making them uncomfortable and irritable.
DAVID
There's something I want to ask.
INT. BATHROOM. NIGHT
The Man's head has just been lifted from the water.
MAN
I don't know. I swear to God, I don't know.
Tim ducks the Man's head back under the water.
INT. HUGO'S ROOM. NIGHT
ALEX
(angry through his mask)
Family? Family? Friends? Drugged-up wandering suicidal search of
the self fuck-ups don't have families, David.
DAVID
I just thought we should discuss it.
ALEX
Take his legs.
INT. STAIRWELL. NIGHT
In the stairwell of the flat, grunts of effort are heard as Alex,
David and Juliet struggle with the heavy corpse, carrying it down
the stairs wrapped in plastic sheeting. They come into view and
go down the stairs. They are all very tense and freeze with panic
after accidentally banging against another flat's door. They
swear at one another and continue theri descent.
INT. BATHROOM. NIGHT
Tim is ducking the Man again. He writhes and struggles but is
powerless to stop it.
EXT. BEHIND THE FLAT. NIGHT
The back yard and back door of the flats. The door opens and
Alex, David and Juliet emerge, carrying the corpse out towards
the van.
INT. LANDING OUTSIDE THE BATHROOM. NIGHT
From the landing we can see along the floor into the bathroom.
The Man's legs extend away from the bath. They are completely
still. Andy and Tim stand beside them, looking down.
ANDY
You stupid bastard.
INT. VAN. NIGHT
Inside the back of the empty van. The door is opened and the body
is half slid and half thrown inside. The door is closed and in
the dark interior, the outline of the plastic lump is just
visible, thanks to a streetlight. One of the doors opens again
and David throws a bag of tools in. He then closes and locks the
door.
INT. VAN. NIGHT
In front of the van, David is climbing into the passenger side.
Juliet and Alex are already in, with the latter at the wheel.
Alex turns to the other two.
ALEX
Why don't we just draw lots for it?
The other two remain silent.
ALEX
(CONTINUED)
Whoever draws the short straw does it all. That way, you either
do it or you don't. All or nothing.
JULIET
OK.
ALEX
David?
DAVID
I don't know.
ALEX
Look, if I draw the short straw, then I'll do it, but I'm not
going to do it just because you won't.
Alex starts the engine of the van.
EXT. FOREST. NIGHT
Through the darkness we hear an engine, then the headlights of
the van come into view.
It pulls off the track onto a patch of grass. The engine is
switched off but the light remains on. The trio descend from the
van.
In fron of the van, Alex, illuminated by its lights, Alex, David
and Juliet stand together. Alex is showing them two long stems of
grass and one short one. He encloses them in his fist and holds
them out.
ALEX
All right, then, here we are and this is it. Do you want to play
or not?
Alex holds his hand out towards Juliet, who takes the tip of one
of the stems. It is one of the larger ones.
Alex and Juliet turn to David. Alex holds out the stems. David
reaches out and takes one of the tips. It is the short straw.
DAVID
I can't do it.
EXT. FOREST. NIGHT
Deeper in the forest, with the headlamps still casting a little
light throught the trees, we see David's head and shoulders. His
right arm is moving briskly back and forth accompanied by a
vicious sawing noise. The sawing stops as he evidently finished
with one extremity. He shuffles back and starts sawing at
another.
Alex leans against the spade in a shallow pit that he has dug. He
observes David impassively. The sawing stops again.
DAVID
Finished.
ALEX
But not quite.
DAVID
Is that going to be deep enough?
Alex bends down to pick up the hammer, which he holds out towards
David.
ALEX
Don't you worry about that.
DAVID
Is this necessary?
ALEX
Yes. Now come on, all or nothing.
Most reluctantly, David takes the hammer and looks at Alex, who
gestures as if to say, "On you go.' With revulsion on his face,
he raises the hammer above his head.
INT. DAVID'S ROOM. DAY
David's face is visible against the plain white backdrop of his
pillow.
He lies fully clothed on his bed, looking up at the ceiling.
There is a knock at the door, then Juliet walks in.
JULIET
Are you all right?
DAVID
(without looking at Juliet)
Oh, yes, I'm fine, thanks, just fine.
JULIET
Would you like to talk about it?
DAVID
No.
INT. LIVING ROOM. DAY
Alex sits with his feet up watching a noisy game show, while
eating a snack and drinking from a can of beer. Newspapers lie
scattered at his feet.
INT. LOFT. DAY
The loft above the flat in darkness, but the trapdoor is opened,
letting in a pool of light.
INT. HALL. DAY
David is pulling himself through the trapdoor up into the loft.
Beneath him is a stepladder. Juliet stands half-way up the
ladder, while Alex stands on the floor beside it. As David enters
the loft, Alex hands up the bag of money to Juliet, who passes it
on up to David.
JULIET
Be careful.
ALEX
Yeah, we don't want another stiff on our hands. Don't fall
through the ceiling. OK? Is he listening to me?
JULIET
Stop nagging.
ALEX
(to himself)
I don't know why we couldn't stuff it in a mattress or put it
under the floor like any normal human being. We could have hid it
in the fridge.
INT. LOFT. DAY
David moves on into the dark cavernous loft, edging his way
across beams and pipes. There are no skylights.
He stops and leans against some structure (the water tank). He
strains to see in the darkness.
Suddenly there is a loud sucking and flowing noise as water
empties from the water tank. David is startled and steps forward,
tripping. He reaches out as he falls, striking a light switch.
Briefly the loft is illuminated: David blinking as he lies across
some beams, the large cavernous area, the pipes, the water tank,
the bag of money lying between two rafters, and then the old
brass switches beginning to spark and the light goes out.
David scrambles towards the trapdoor.
INT. HUGO'S ROOM. DAY
Now clean and empty, with no trace of recent habitation.
INT. HOSPITAL. DAY
In a basement corridor in the hospital, pipes run along the
ceiling. Above a fenced-off area is a sign saying For
Incineration Only -- No Aerosols'. On the floor of this area are
yellow plastic sacks. Juliet appears around a corner carrying one
of these. Quite casually the clumps it on the pile and continues
past.
EXT. QUARRY. EVENING
Alex pushes a blue car into a quary.
INT. SUBURBAN LOCK-UP GARAGE. NIGHT
In the garage there is a car, gardening equipment, several sacks
of fertilizer and a trunk-style deep freeze, on the lid of which
sit Andy and Tim. Tim takes out a cigarette and offers one to
Andy, who declines.
They slide off the deep freeze and open it.
Inside the freezer there is a man, naked and bound with cord.
They lift him up. He is very cold and weak.
The Man begins to whisper inaudibly. Andy moves his head so that
he can hear the whisper. He listens, then nods approvingly.
They push him down again and close the lid. Andy holds the lid
while Tim dumps the sacks of fertilizer on top.
INT. CHARITY BALL. NIGHT
Alex, David and Juliet are attending a charity ball. Everyone is
dressed very smartly, in ball gowns and black ties with the
addition of a significant number of kilts.
Neither Alex nor David wears a kilt. The trio seem to know a
number of people there but do not seem especially keen to speak
to them.
A middle-aged, podgy, mustachioed Master of Ceremonies is
standing on a platform in front of the band, making a speech to
the diners who are still sat at their tables.
MC
Ladies and gentlemen, may I have your attention please. First of
all, may I thank you all for coming along tonight and supporting
our appeal to raise funds for the sick children's unit.
There is a quick drum roll and applause breaks out. We move to
the table where Alex, David and Juliet are seated. Alex leans
across to Juliet.
ALEX
You didn't tell me that this was for children. I hate children.
I'd raise money to have the little fuckers put down.
Some other guests around the table cast critical glances at Alex.
JULIET
Sshh.
ALEX
I want my money back. Excuse me.
Alex signals to the waiter by lifting his hand and snapping his
fingers, then indicates another bottle of champagne that already
ists in front of him.
MC
For all too often there's a complacency: out of sight, out of
mind, let someone else bother about these things.
Alex cheers once and starts to applaud on his own. Juliet nudges
him viciously.
MC
(CONTINUED)
But just before the dancing, I'd like to say a special thank-you
to a few of the people who've worked so very hard to make this
occassion happen.
The MC's drone continues in the background while conversation
continues back at the table.
DAVID
Do you know many of these people?
JULIET
Yes. They're my friends.
ALEX
I see, so if they want to talk to you, we say you're not in.
MC
And now, ladies and gentlemen, and those of you who are neither
or both --
Drum roll.
MC
(CONTINUED)
-- would you make your way to the floor for Strip the Willow.
JULIET
Are we going to dance?
ALEX
Well, it's physical contact, isn't it?
INT. DANCE FLOOR. NIGHT
The dance floor a few minutes later. It is packed and rather
chaotic. Sweaty, dishevelled dancers sling one another around,
with the thud of flesh against flesh. Toes are stood on and
jackets discarded.
Juliet dances with Alex, who plunges in with the maximum of
violence, eventually tripping up and tumbling forcefully among
the other dancers.
He starts to get up, then rests his head back against the floor.
David has not been dancing. Instead he remains at their table and
at the bar, drinking steadily and watching the other two.
INT. TABLE. NIGHT
Back at the table, while most people are still on the dnace
floor, the trio sit drinking and Alex smokes a cigar.
ALEX
That was good.
DAVID
Can we talk about something?
ALEX
Not now. I have an idea.
Alex pours champagne on to a stack of glasses.
DAVID
Listen, it's important. We need to talk about what we're going to
do --
ALEX
Just stop worrying.
Alex stands and raises his glass.
ALEX
(CONTINUED)
Love and happiness for ever.
JULIET
For ever and ever.
Alex drinks, then puts his glass down. Juliet drinks but does not
drain her glass. David sits still.
ALEX
What's the problem?
DAVID
I want to talk now.
ALEX
After you drink to love and happiness forever.
DAVID
Now.
ALEX
After.
JULIET
David, I promise we will. Keep him happy.
ALEX
It's not for me. It's for love and happiness forever.
David reaches out to take his glass. Suddenly, Alex flings an arm
out to point, knocking over David's glass and completely losing
interest.
ALEX
(CONTINUED)
Look over there. It's Cameron.
JULIET
Who?
ALEX
Cameron. You remember Cameron.
JULIET
No, I don't.
ALEX
What's he doing here?
JULIET
That's not him.
ALEX
Yes, it is. It's him. Cameron, Cameron, come on over.Yo!
From some distance away, Cameron becomes aware of Alex and
cautiously makes his way across until he stands a few feet from
the table.
CAMERON
What?
ALEX
Nothing. We thought you were someone else.
Alex falls forward, laughing, and the other two also laugh as
Cameron walks away, humiliated again.
ALEX
(CONTINUED)
Good luck. I love that guy, but why does he have to follow us
around?
DAVID
Anyway, what I was wanting to say was this --
BRIAN
(UNSEEN)
The divine Juliet. Long time no see.
Brian approaches and is standing behind their table.
JULIET
Brian.
BRIAN
Would you care to dance?
DAVID
Hold on there. Who do you think you are?
BRIAN
What?
DAVID
Who do you think you are? You interrupted us.
BRIAN
I'm Brian McKinley, and who are you?
DAVID
Well, Brian McKinley, if you want to talk to my girlfriend, you
talk to me first. If you want to dance with her, then you apply
in writing three weeks in advance or you're gonna end up insode a
fucking bin-bag. You didn't apply, so you don't dance.
Shocked and frightened, Brian backs away, then turns around to
complete his departure. Juliet restrains David with a touch as
they watch him go.
JULIET
Do you think you could be a little more forceful next time?
DAVID
I'm sorry.
JULIET
It's alright. I think he got the message anyway.
DAVID
That was stressful. I found that stressful.
ALEX
Yeah, but you were good, you were really good. Fucking bin-bag',
I liked that. You were good. You explored your maleness to the
full there.
DAVID
You think so?
JULIET
Well, you certainly had a good look around.
ALEX
You were magnificent.
INT. TOILETS. NIGHT
The gents' toilet. Brightly-lit and white-tiled. Alex walk in and
goes into a cubicle and closes the door. We hear him whistling
and laughing as he passes urine. He keeps muttering bin-bag' to
himself. Then he flushes the toilet and opens the door. As he
does so a look of surprise appears on his face as he sees someone
waiting for him.
ALEX
Cameron! What a surprise.
As Alex is speaking Cameron's fist flies forward, hitting him in
the face and sending him flying backwards. Cameron enters the
cubicle and closes the door behind him.
INT. HALL. MORNING
Mail falls through the letter box.
INT. KITCHEN. MORNING.
Alex does not stir.
INT. HALL. MORNING
David emerges from his room, ready for his work. He looks towards
the kitchen, then walks to the door and opens it.
INT. KITCHEN. MORNING
We hear the main door closing as David leaves. Alex jolts with
energy with every sound. The telephone begins to ring. Juliet
looks at Alex expectantly, but he does not move. Eventually she
gets up and answers it.
JULIET
Hello. Hello.
ALEX
Who was it?
JULIET
Don't know. No one said anything.
ALEX
Rendered speechless with desire. I recall that feeling, from the
days when I had such a thing.
JULIET
Are you all right?
ALEX
No.
JULIET
Then let's spend some money.
INT. FLAT. DAY
There follows a video depicting the results of Alex's and
Juliet's spending spree. It opens with Alex seated at the kitchen
table talking to the camera, absolutely deadpan.
ALEX
Hello. It's been a struggle, but now the days of worry are over,
the light at the end of the tunnel has expanded into a golden
sunrise and at last, at long last, nothing will ever be the same
again.
Alex leans out and the camera foloows him as he presses the play
button on a tape recorder. The music begins.
Fast cuts follow, occasionally interrupted by out-of-focus shots
of the floor or ceiling as the camera swivels round and is
switched on and off.
Alex wearing several different suits, outfits and silk pyjamas.
Juliet wearing several different outfits.
Both of them posing with small objets d'art.
The expensive watch on Alex's wrist.
Juliet's jewellery.
Expensive toys.
Juliet takes a picture of Alex with a Polaroid camera.
Alex holds the camcorder out at arm's length in order to film
himself and turns to the camera and adjusts his tie.
ALEX
(CONTINUED)
This is Alex Law reporting from the scene of his own life, and
you know, I'm so happy I could die.
Darkness. TV. Turned off.
INT. LIVING ROOM. DAY
The music has stopped.
David presses the eject button and lifts the video from the
player.
Alex and Juliet are seated on the sofa, surrounded by their
acquisitions, and are evidently a little embarrassed. Juliet is
holding the Polaroid of Alex.
DAVID
I think we ought to scrub this, don't you?
David reinserts the tape and presses record.
ALEX
Will you calm down.
JULIET
Yeah, you're making us all nervous.
David picks up the Polaroid of Alex and throws it down, then
picks up a vase.
DAVID
How much did you pay?
ALEX
I don't know.
DAVID
How much did you pay?
ALEX
I don't know.
DAVID
How much?
ALEX
I don't know.
JULIET
Two hundred.
DAVID
Two hundred pounds?
JULIET
Two hundred pounds.
DAVID
You paid two hundred pounds for this?
JULIET
That's what it cost, David.
DAVID
No, no, no. That's what you paid for it. Two hundred pounds is
what you paid for it. We don't know what it cost us yet, for you
two to have a good time, we don't know the cost of that yet.
From out in the hall, the phone starts to ring. Nobody moves.
INT. DAVID'S ROOM. NIGHT
David lies awake in his bed.
INT. A FLAT HALLWAY. NIGHT
Hearing the noise, David sits up in bed, then gets out, reaching
for his clothes.
INT. STAIRWELL. NIGHT
David looks down the stairwell. Other neighbours, in nightclothes
or hurriedly dressed, are standing at the open door of the flat
below. David descends the the stairs and looks into the hall of
the other flat where the occupant, an Elderly Woman, lies
groaning on the floor.
A hand on David's shoulder pushes him out of the way and two
uniformed policemen walk past, followed by an ambulance man
carrying a stretcher.
DAVID
Did they take anything? Did they take anything?
No one acknowledges his question or answers it.
The ambulance men emerge carrying the woman, her face bruised and
cut. Everyone else begins to melt away.
INT. STAIRWELL. NIGHT
David stands alone on the darkened stairwell.
INT. DAVID'S ROOM. NIGHT
David lies awake in his bed.
INT. DOOR OF THE FLAT. DAY
Someone attempts to open the door but cannot because there are
two new security chains on the inside. The door is forced against
the chains with no success and Alex calls from the other side.
ALEX
What is this? What is going on? David!
David approaches the door.
DAVID
I'll let you in.
David closes the door and looks through a new spyhole to see Alex
grinning at him while he releases the chains and then opens the
door again. Alex walks in.
ALEX
What is this?
DAVID
Security.
DAVID
From what? Jehovah's Witnesses?
DAVID
There was a break-in.
ALEX
Downstairs, I know. Pensioner's terror ordeal: page six.
Alex hands David a rolled-up newspaper.
DAVID
Doesn't it worry you?
ALEX
No, it doesn't. I tried to let it worry me but it won't. I've
worked on that paper for three years. There is a pensioner's
terror ordeal on page six every day. Every day. Maybe when I'm a
pensioner it'll worry me.
Alex notices some more tools and the stepladder leading up to the
trapdoor.
ALEX
(CONTINUED)
What's all this for, more security?
DAVID
I fitted a lock up there. On the inside.
ALEX
Oh, that'll come in useful.
INT. KITCHEN. NIGHT
Alex is serving on plates from a large bowl of pasta.
David and Juliet sit at the tabel.
JULIET
Is this the same stuff you made last week?
ALEX
No, no, it's different.
JULIET
I hope it tastes better than the other stuff.
ALEX
It tastes different.
JULIET
I don't want it to taste different. I don't know why I bother. Is
that enough for you? Hey!
DAVID
What? Yes, that's fine.
ALEX
You're sure? There's lots more.
DAVID
No, I'm sure, that'll be enough.
ALEX
What's wrong?
DAVID
Nothing.
ALEX
You're not eating.
DAVID
Not eating what?
ALEX
Not eating like you used to, that's what.
DAVID
If you give me the plate, I'll eat.
Alex hands him the plate and he starts to eat. Alex watches him
chew a mouthful.
ALEX
Now swallow.
David does so.
ALEX
(CONTINUED)
You know, you should spend some of that money instead of worrying
about it. That's my advice.
JULIET
He's right. You'd feel much better about it.
David has stopped eating.
ALEX
Once it's spent you won't have to worry about it.
JULIET
Be like a weight off your shoulders.
ALEX
You know we're right.
JULIET
Don't you?
DAVID
I want to secure it.
ALEX
Secure it? What do you mean -- you're gong to take it to a bank?
You're not going to take it to a bank? You're not going to take
it to a bank Or what, you want to bury it? Is that it?
JULIET
I don't see the point in that.
ALEX
Because that's no good. Remember, we did what we did, we took the
money. It was a material calculation. But what's the use if it's
underground, or in some funny bank in some funny place? If you
can't spend it, if you can't have it, what use is it? None. It's
nothing, all for nothing, if you do that. I didn't get into this
for nothing, so that I could have nothing --
DAVID
Yeah, and you didn't saw his feet off.
There is silence. David resumes eating.
DAVID
(CONTINUED)
It tastes different.
INT. HALL. NIGHT
Alex stands at the sink doing some washing up. He hears footsteps
from the loft above. He stops what he is doing and walks slowly
out ot the hall.
INT. LOFT. NIGHT
In the darkness we can just make out David's eyes as he sits in
darkness.
ALEX
(calling from below)
David, David, what are you doing up there?
The torch goes on. David lifts the bag of money from between the
rafters. He puts it inside another thick yellow plastic bag,
which he ties tightly with string.
David opens the water tank.
Alex's voice can be heard throughout.
ALEX
(continued; calling from below)
Will you come down now. It's not safe up there. Are you listening
to me. Security and insanity are not the same thing.
INT. HALL. NIGHT
ALEX
Shit.
INT. KITCHEN. NIGHT
Juliet sits drinking coffee, while Alex sands in the doorway
looking up towards the trapdoor.
JULIET
Leave him alone.
ALEX
He can't stay up there.
JULIET
He'll come down. Leave him alone.
ALEX
Yeah, he's got to go to work, hasn't he? You think he'll come
down for that?
JULIET
No, but he's looking after the money, so what's the problem?
ALEX
Looking after it -- he's probably fucking well eating it.
INT. HOSPITAL. DAY
Juliet looks through the door from a small office out into the
main waiting area in the casualty departmet. It is busy and there
are rooms of people nursing injuries waiting to be seen. More
file past the door while she watches with no enthusiasm.
INT. HALL. DAY
The trapdoor opens. David's head appears. He looks around and
listens carfeully.
INT. LUMSDEN'S OFFICE. DAY
Lumsden answers his telephone.
INT. HALL. DAY
David speaks on the telephone.
DAVID
It's my mother, sir, she's very ill and I think I need to be with
her just now. I don't know. The doctors aren't sure. It could go
either way. Yes, sir, I'll certainly stay in touch.
INT. BATHROOM. DAY
David shaves carefully with a safety razor.
INT. KITCHEN. DAY
Bacon and eggs fry in a pan. David attends to them while drinking
from a large tumbler of orange juice.
INT. HOSPITAL. DAY
A Sister hands Juliet a casualty case sheet. Juliet reads it.
JULIET
Painful groin? What does that mean?
SISTER
I don't know. He wouldn't show me.
Juliet draws back the curtain of a cubicle. Alex is sitting on a
trolly.
ALEX
Boy, am I glad to see you.
JULIET
What are you doing here?
ALEX
We have to talk.
JULIET
Your painful groin?
She turns and walks away. Alex chases after her.
ALEX
Later. But first -- him.
JULIET
David?
ALEX
Exactly. Now I've been thinking --
JULIET
Oh, good.
ALEX
He won't do anything for me, but for you --
JULIET
Forget it.
ALEX
He isn't safe up there. If you really cared about him, you'd use
your influence to get him down, then he'd be safe.
JULIET
And the money?
ALEX
We could put it somewhere.
JULIET
Where he can't get it?
ALEX
Now you thought of that, not me.
JULIET
Forget it -- he'll come down.
Juliet walks away.
INT. HALL. DAY
The hall is empty and the flat is silent. We see the trapdoor.
INT. LOFT. EVENING
David sits in the darkness. A crack of light penetrates beside
the trapdoor.
INT. KITCHEN. NIGHT
Alex and Juliet sit at the table, eating in silence.
The doorbell rings. Alex and Juliet look at one another.
ALEX
Expecting anyone?
JULIET
No.
ALEX
Oh.
Alex resumes eating.
JULIET
Aren't you going to answer it?
ALEX
Well, I'm not expecting anyone either.
Juliet glares at him.
INT. HALL. NIGHT
Alex approaches the door and is about to open it. At the last
moment he checks himself and looks through the spyhole.
INT. THROUGH THE SPYHOLE. NIGHT
Tim and Andy stand outside the door.
INT. HALL. NIGHT
Alex, slightly puzzled, fixes the security chains before opening
the door. As soon as he opens it, the door is kicked wide open as
the security chains break off. Tim and Andy enter the flat.
In a whirlwind of force they drag and shove Alex and Juliet into
the living room and bind them up with cord. There are no words
apart from slightly muffled cries.
At the end of this Andy stands in front of Alex holding a
crowbar. Swiftly and without warning, he cracks it across Alex's
shins. Then Andy slowly puts one one end of the crowbar into
Alex's mouth. For a moment he does nothing, then just as slowly
again, he takes the crowbar out.
ALEX
It's in the loft.
INT. HALL. NIGHT
The trapdoor is closed but the sound of it being unlocked can
just be heard (although not by anyone in the flat.
INT. HALL. NIGHT
Tim pulls the ladder across to the trapdoor.
INT. LOFT. NIGHT
It is completely dark in the loft, but as the trapdoor opens a
shaft of light strikes upwards and illuminates a small pool
around the opening.
INT. LOFT. NIGHT
Away from the trapdoor there appears to be a wall of uniform
darkness, but then we see a pair of eyes in the darkness. It is
David. He stands perfectly still.
There is a hammer in his right hand.
INT. LOFT. NIGHT
Tim's head appears through the trapdoor. Cautiously he lifts
himself through and balances on the beams.
INT. HALL. NIGHT
The hall is empty, but we can see the open trapdoor. Suddenly
there is a single thud, as might be caused by a body landing
heavily on and across some beams in the loft.
INT. LOFT. NIGHT
David stands motionless in the dark, exactly as before.
INT. LIVING ROOM. NIGHT
Andy has heard the single thud. He strains to hear anything else
but does not. Slowly he backs away to the door of the living
room, keeping the crowbar trained on Alex as he does so. He looks
back and up towards the trapdoor.
INT. LOFT. NIGHT
Once again a small pool of light emanates from the open trapdoor.
Andy emerges into the front of this, crowbar in hand, peering
into the darkness. Carefully he stands up and moves out of the
light and steps across the beams. His foot strikes something and
he looks down. Tim's body lies spread-eagled beneath him. He
looks up. To one side of him is the brass light switch. Andy
lifts his arm, reaches towards it and switches it on. Sparks pour
out for a moment and then the light comes on for a fraction of a
second, long enough for Andy to see David's face is only
centimetres from his own.
INT. HALL. NIGHT
Alex and Juliet are bound together as before. There is a loud
thud from the ceiling, following by a few heavy steps. Then
Andy's body falls headfirst through the trapdoor, straight down
to the floor below, landing awkwardly and coming to rest with his
head hanging back, looking towards Alex and Juliet. Andy takes
one agonal breath and dies. Blood trickles from the side of his
mouth.
Tim's body lands on Andy.
David drops himself from the hatch to the floor.
David takes a large knife from a wooden block.
Back in the hall he kneels, holding the knife, beside Tim.
Noticing something at the top of tim's neck, he uses the knife to
lift away Tim's T-shirt. A tattoo covers Tim's neck. David looks
at it, then stands up.
He walks through to the living room, where Alex and Juliet, still
bound, watch him approach. He looks at them for a moment, then
extends the knife and cuts the cord in one place.
EXT. FOREST. NIGHT
In a scene similar to the dismemberment of Hugo, we see David's
shoulders as he saws back and forth at something unseen. He stops
and reaches out for the hammer, picks it up and raises it above
his head.
EXT. ROAD. DAWN
The van is silhouetted against a rising sun.
INT. BACK OF THE VAN. DAWN
The tools and the yellow sack slide about in the back of the van.
INT. VAN. DAWN
David is driving. Alex and Juliet are huddled silently away from
him. David seems quite at ease.
A thick bunch of keys dangles from the ignition. Juliet observes
them.
INT. LOFT. DAY
David sits still in the darkness.
INT. NEWSPAPER OFFICE. DAY
Alex sits at his desk fidgeting, about to write something but
unable to start. On the screen of his word processor is a page
mock-up with the headline CATS EAT PENSIONER'. As the telephone
on his desk rings, he is startled, then reaches out, slowly lifts
it fractionally and replaces it.
INT. TRAVEL AGENT'S. DAY
Hunched over a VDU, the Salesman is offering Juliet a range of
flights.
SALESMAN
October 15th, direct flight, London Heathrow to Rio de Janeiro,
British Airways, you are looking at seven hundred and sixty-five
pounds. Seven six five.
JULIET
That sounds fine.
SALESMAN
Air Portugal, on the other hand, via Lisbon, same day, five
hundred and sixty-five. Five six five. It's up to you. Catering
important?
JULIET
What?
SALESMAN
Air France. Glasgow. Direct, but then you're looking at the wrong
end of nine hundred and twelve pounds. That's nine one two. It's
up to you.
JULIET
Yes, the first one's fine. Heathrow direct.
SALESMAN
It's up to you. Air Patagonia. New outfit: via Caracas and Bogot
. No catering. Four hundred and eleven pounds. Four one one. Good
value, but refueling at Bogot is variable.
JULIET
The first one was fine.
SALESMAN
Well, it's up to you. Seven six five. How will you be paying?
INT. HALL. NIGHT
The hall is empty but we can hear David's footsteps on the beams
above.
INT. LIVING ROOM. NIGHT
Alex sits watching The Wicker Man on televison. He can hear the
footsteps above. He turns the sound up on the television so that
he cannot hear them, but he keeps looking up at the ceiling, as
though he expects to hear them or see somwthing.
Eventually he turns the sound back down and, after a moment's
silence, the footsteps start again, back and forth, then stop.
Alex looks up.
Without warning there is the sound of an electric drill.
The blade of the drill appears through the ceiling and is then
withdrawn. Alex is shocked. Other drill holes appear.
INT. VARIOUS CEILINGS. NIGHT
Holes are drilled in the ceilings.
INT. LOFT. NIGHT
Rods of light penetrate up from the holes, interrupting but not
obliterating the darknes. David sits back, pleased with his work.
INT. JULIET'S ROOM. NIGHT
Juliet sits at her desk. Alex stands in the doorway. He is about
to speak. Juliet raises a finger to her lips. They both look at
the ceiling.
EXT. GARDEN AT FRONT OF THE FLAT. NIGHT
Establishing shot of Alex and Juliet in garden.
INT. HALL. NIGHT
The trapdoor is open.
INT. ALEX'S ROOM. NIGHT
David is searching through Alex's desk, looking through letters
and folders, then shoving them back into drawers.
EXT. GARDEN AT THE FRONT OF THE FLAT. NIGHT
ALEX
No, definitely not. And that's that. I refuse to discuss it
further.
JULIET
It's the only way.
ALEX
I refuse.
JULIET
You're frightened.
ALEX
No, I'm not frightened. A little terrified maybe. Did you see
what happened to the last two who tried that? They went up alive
and they came down dead -- the difference, I mean, alive dead
dead alive, that sort of thing. It wasn't difficult to spot. He
killed them both: he cut them up.
INT. JULIET'S ROOM. NIGHT
David is now searching through Juliet's desk. He picks up a large
brown envelope and looks into it. Beneath it is the airline
ticket envelope.
The doorbell rings.
INT. THROUGH THE SPYHOLE. NIGHT
McCall and Mitchell stand outside the door.
INT. HALL. NIGHT
David opens the door. McCall smiles.
MCCALL
Good evening. I'm Detective Inspector McCall and this is DC
Mitchell. I wonder if we could ask you some questions.
DAVID
What about?
MCCALL
It's about the burglary.
DAVID
Burglary?
MCCALL
Downstairs.
DAVID
Of course.
MCCALL
Can we come in?
INT. LIVING ROOM. NIGHT
David sits on the sofa while the two policemen sit on armchairs
several feet apart.
DAVID
So I just heard her cries for help and all that, and when I went
downstairs there were already those other people there, so I just
stood around really, waiting -- you know how people do -- and
then when your colleagues arrived I came back upstairs. And
that's about all, I think. I didn't actually see anything useful,
I don't think.
MCCALL
did you hear anything before he cries?
DAVID
No, not that I recall, I was asleep.
MCCALL
Have you seen anything or anyone suspicious around here in the
last few days?
DAVID
No, nothing, sorry.
MCCALL
Well, if you do, you'll let us know?
DAVID
Of course.
MCCALL
And the other three people on the flat, did they hear anything?
DAVID
There are only two other people in the flat.
McCall consults a notebook.
MCCALL
Two?
DAVID
Who said there were four?
MCCALL
We understood there were four people living here. Not always, of
course, but now, four.
DAVID
No, three. Who said there were four?
MCCALL
How strange. And how unsatisfactory to have misleading
information. Only three people here. You're sure?
DAVID
Yes, absolutely.
MCCALL
Take a note of that, Mitchell. Only three, rather than four.
Write it down. You can use numbers or words, I have no
preference. Which are you using?
MITCHELL
Both, sir.
MCCALL
Excellent. DC Mitchell is a rising star, Mr. Stevens. Under my
tutelage he will undoubtedly make the grade.
DAVID
I see.
MCCALL
I doubt it. And these two other people, did they hear anything?
DAVID
No, they were asleep. They didn't even wake up.
MCCALL
Yes. Why do you think you woke and they didn't?
DAVID
I don't know. Maybe I'm a light sleeper.
Uncomfortably, David realizes that Mitchell has noted down even
this last, trivial remark in a painful longhand and has
underlined a short segment of it.
INT. HALL. NIGHT
In the hallway of the flat Mitchell stands at the open main door,
waiting to leave. McCall is kneeling at the door to Hugo's room,
tracing his finger down the broken lintel and lock. David looks
on.
MCCALL
Loks like you had a break-in up here as well.
DAVID
Someone lost the key.
McCall gently pushes the door open and the light from the hall
illuminates Hugo's room.
MCCALL
Is this where no one stays?
DAVID
Yeah, that's right, that's it.
David notices that Mitchell is writing this down.
INT. GARDEN AT FRONT OF THE FLAT. NIGHT
ALEX
You'll wait in the hall?
JULIET
I'll wait there.
ALEX
And if it sounds like I'm being killed, you'll phone the police,
you'll tell them everything?
JULIET
Everything.
ALEX
Everything. Except maybe that it was his idea and not mine in the
first place. OK? That's important to me. I need to die
misunderstood.
JULIET
Alex.
ALEX
What?
JULIET
As smart as you are, you'll need a little help.
She hands Alex a Yale key. Alex stares at it.
INT. LOFT. NIGHT
In the darkness, the sound of the lock being turned is heard.
INT. HALL. NIGHT
Alex tsands at the top of the ladder, holding the key in the
trapdoor lock.
ALEX
All right, David, what I'm going to do is, I'm going to open this
lock and I'm going to come up, and what's important is that you
remain calm.
There is one light on. Juliet stands at the bottom of the ladder.
Having opened the trapdoor, Alex stops and listens, but there is
no sound above his own breathing. Juliet throws up a torch, which
he catches. He switches it on. It shines, then goes out, and he
knocks it against the ladder, making it work again. Slowly he
pushes the trapdoor open.
INT. LOFT. NIGHT
The trapdoor opens. Below it, Alex crouches on the ladder,
expecting attack at any moment. He looks back down to Juliet, who
returns his gaze, then he slowly raises himself into the loft.
He turns around quickly, darting the torchlight around into
corners and squinting in the darkness, but he sees nothing.
The torch goes out. Cursing, he knocks it against a beam and it
shines again.
Slowly he moves further from the trapdoor into the centre of the
loft, still turning around and worried about what might be behind
him.
INT. HALL. NIGHT
Juliet stands waiting, braced for sounds of conflict.
INT. LOFT. NIGHT
Alex is still looking but has relaxed a little, feeling les in
danger. In one corner he notices David's pile of left-possessions
and the mat on which he has been sleeping. He moves towards it.
INT. HALL. NIGHT
Juliet stands, still waiting.
INT. LOFT. NIGHT
Alex stands in David's corner. With another sweep of the torch he
can still see nothing. He calls to Juliet.
ALEX
He isn't up here.
INT. HALL. NIGHT
A close-up of Juliet's face, just as David's hand slams across
her mouth, gripping her tightly while his other hand clamps on
the back of her head. David's mouth is right up against her ear
as he spits a warning into it.
DAVID
Tell him to look for the money.
Slowly, David relaxes his grip on Juliet.
JULIET
Look for the money.
INT. LOFT. NIGHT
Alex, cheerful now, is looking in the rafters.
ALEX
Don't worry, that's what I'm doing.
INT. HALL. NIGHT
David holds Juliet across her face again. She is terrified and
does not struggle.
DAVID
Expecting anyone?
JULIET
What?
DAVID
Were you expecting anyone? Tonight?
JULIET
No.
DAVID
Visitors? Some friends maybe? Someone you talked to?
JULIET
No one. I promise.
DAVID
Who have you talked to?
JULIET
No one.
DAVID
If I think you're lying --
INT. LOFT. NIGHT
Alex stands gazing around the loft.
ALEX
(from the loft)
Well, it's not up here.
INT. HALL. NIGHT
David pulls Juliet to one side.
INT. LOFT. NIGHT
Alex is about to descend when he notices the water tank. He walks
over and lifts the lid. His face breaks into a smile as he
realizes what it holds. He dips an arm into the tank, raises the
yellow bag, then quickly lowers it again. Alex steps back from
the water tank.
INT. HALL. NIGHT
Alex appears at the top of the ladder. Without looking, he slides
down as quickly as he can, calling out as he does so.
ALEX
Juliet, I have --
Alex reaches the base of the ladder. He turns around to find
himself facing the blade of the battery-operated drill, held by
David. Juliet stands off to one side.
ALEX
(CONTINUED)
-- a problem.
David holds the drill even closer until it is almost touching the
centre of Alex's forehead and presses the trigger' to turn the
blade slowly as he speaks.
Alex does not move at all.
DAVID
You looking for me?
ALEX
Looking for you? Yes.
DAVID
What for? What did you want? The money? Was that it?
ALEX
We just wanted to speak to you.
Alex's hands and sleeves are wet. A few drops of water fall from
his fingertips. Unnoticed by the other two, he slowly wipes his
hands on the back of his jeans.
DAVID
Who else have you wanted to speak to? Maybe you thought they'd
already got me.
The blade os the drill scrapes Alex's skin.
ALEX
Who?
DAVID
Your friends.
ALEX
I don't know what you're talking about.
JULIET
He doesn't know David.
David holds the drill back slightly while he thinks. It could go
either way.
DAVID
Well, maybe you don't --
David lowers the drill and smiles.
DAVID
(CONTINUED)
I'm talking about the police.
INT. ALEX'S ROOM. DAY
Alex has just woken up. He rubs his forehead. There is a nick in
it, where the drill has scratched. He rubs at it and examines the
drop of blood on the end of his finger.
INT. DAVID'S POINT OF VIEW. ALEX'S ROOM. DAY
Looking down from a hole in the ceiling, we see into Alex's room,
where he is getting dressed.
INT. HALL. DAY
Alex leaves his room and enters the hall.
INT. LOFT. DAY
Looking down from a hole in the ceiling, we see into Alex's room,
where he is getting dressed.
INT. LOFT/HALL. DAY
Looking down on Alex as he leaves the flat and closes the door.
INT. LOFT. DAY
David scurries back across the beams to look down through another
hole. He looks for several seconds.
NOTE In the following sequence, Juliet's face is not seen until
her comment on it.
INT. JULIET'S ROOM. DAY
Juliet lies on her bed. She throws the covers back.
INT. LOFT. DAY
David is still looking down through the hole.
INT. JULIET'S ROOM. DAY
Juliet moves about her room. She is wearing a large, baggy T-
shirt.
INT. LOFT. DAY
David still watching.
INT. JULIET'S ROOM. DAY
Juliet's legs are seen as the T-shirt lands on the floor beside
them.
INT. LOFT. DAY
David sits back suddenly, recoiling from the activity. He
scrambles back across to his mat, where he sits back down and
closes his eyes. Then he opens them and scrambles back to look
down again.
INT. JULIET'S ROOM. DAY
The room is empty.
The sound of the flat door closing is heard.
From David's point of view we see:
INT. LOFT/HALL (EMPTY). DAY
INT. LOFT/LIVING ROOM (EMPTY). DAY
INT. LOFT/KITCHEN (EMPTY). DAY
INT. HALL. DAY
David's head appears beneath the trapdoor. He hangs from the
hatch and drops down to the floor.
INT. BATHROOM. DAY
David showers.
INT. HALL. DAY
David emerges from the bathroom and walks towards the kitchen. We
follow him in.
INT. KITCHEN. DAY
David takes orange juice out of the fridge and pours himself a
glass. He sits at the table and looks briefly into a corner that
we cannot see. The expression oh his face does not change and his
voice is impassive.
DAVID
I thought you'd gone to work.
JULIET
(UNSEEN)
With a face like this?
INT. KITCHEN. DAY
Juliet's face. There are bruises across it where she was gripped
by David.
INT. MONITOR SCREEN/NEWSPAPER OFFICE. DAY
In close-up we track along the following half-sentence: In the
event of my death I want the following facts to be known:' --
The remainder of the screen is blank.
Alex sits at his desk, deciding what to type next on the screen
seen before. A young Office Boy approaches his desk.
OFFICE BOY
The editor wants to see you.
INT. KITCHEN. MORNING
David sits while Juliet talks. She is now seated behind him.
JULIET
I remember how things used to be here, and I see how they are
now, and I don't know why it is. I don't know how we let you
become like this. We were your friends and we should have looked
after you.
INT. EDITOR'S OFFICE. DAY
Alex sits nervously while the Editor sits on the side of his
desk.
EDITOR
Out in the woods. Three bodies. Decomposed. Mutilated. Beyond
recognition.
ALEX
I don't know anything about it.
EDITOR
Of course you don't know anything about it. If you knew anything
about it, I wouldn't have to send you over there to cover it.
ALEX
Cover it?
EDITOR
Well?
ALEX
But there's no --
EDITOR
Animals involved? I know, but you need a change. And besides,
we're short.
ALEX
I don't know.
EDITOR
Don't know what?
ALEX
Well, I've got this story, it's really good, I'm working on, that
is good, I feel it could be big, it this, eh, and it's, you know,
it's incredible. Am I right, did you say beyond recognition'?
INT. KITCHEN. DAY
David and Juliet are seated as before.
DAVID
I'm sorry.
JULIET
I should hope so.
david turns towards her. He reaches out and softly touches her
face.
DAVID
Maybe we can still sort everything out.
Juliet takes his hand.
JULIET
We can try.
They look at one another.
EXT. FOREST. DAY
Several police and unmarked vehicles, including one mobile
incident room', stand on a rough track. Another car arrives at
the end and is parkeed to one side. Alex steps out.
From where he stands, Alex can see towards the site of the
burials. There are a few policemen, uniformed and plain-clothes,
and a small knot of journalists, kept at bay by plastic tape
draped from tree to tree. Mounds of earth mark the site of the
exhumations.
Alex walks past the other journalists into the woods. He looks
back towards the sight, then turns to look in the opposite
direction. He finds himself at the edge of a golf course. From
the green to the graves is hardly any distance.
To one side, Alex sees McCall and Mitchell, hunched in earnest
discussion. Mitchell looks up briefly and ctaches Alex's eye.
BINT. KITCHEN/HALL. DAY
The kitchen is empty. We track through the kitchen and out into
the hall, stopping at the door to Juliet's room.
INT. JULIET'S ROOM. DAY
David and Juliet are seated on the bed. Among the junk on her
bedside table is the Polaroid photograph of Alex, propped up
against a tumbler. Juliet reaches out and turns it away before
pulling David towards her.
INT. MOBILE INCIDENT ROOM. DAY
Several journalists sit close together on plastic chairs. Alex
sits at the back, near the half-open door. At the other end,
three police officers face them. They are a medium-ranking
Uniformed Officer, and to one side of him Mitchell and then
McCall, both of whom sit in silence.
UNIFORMED OFFICER
All right, ladies and gentlemen, the releasable and print-worthy
facts of the day so far are as follows. Late yesterdat afternoon,
forestry workers came across one set of human remains lying in a
grave which appeared to have been recently dug. Further
excavation on our part has revealed two similar, deeper graves,
again containing human remains.
Alex turns his head and looks out of the door towards the burial
site, now enclosed in a plastic tent. He continues to stare at
it.
While Alex is looking, the sound of laughter and Uniformed
Officer's subsequent comments become muted and we hear the memory
of a sound in Alex's head: it is the noise of the saw going back
and forth across the victim's limbs.
UNIFORMED OFFICER
(CONTINUED)
As and when the corpses are removed, we will endeavour to
ascertain the mode of death and duration of burial, as well as
identification, which will of course be passed on to you after
informing, where possible, the next of kin.
Alex discreetly stands up and slips out of the van.
EXT. FOREST. DAY
Alex walks away from the incident room towards his car. He breaks
into a run for a few paces.
The noise of the sawing continues.
As he reaches his car, Alex fumbles in his pockets for his keys.
He is sweating and trembling. He drops his keys. As he bends down
to pick them up, his foot slips on the wet grass. He falls to his
knees, his forehead banging against the car door. He kneels for a
moment, gripping the keys, his head resting against the door.
The noise of the sawing stops.
From behind, the arm of a Police Constable reaches out and his
hand rests on Alex's shoulder.
THE END
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