Grit 5th Draft

8/18/2019 Grit 5th Draft

1/38

GRIT

Written by

Lex Wilkinson

2 Western RoadMaidstoneKentME16 8NE


2/38

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

The house is BARE: virtually NO CHARACTER OR LIFE has beenput into it. You could easily REMOVE any EMOTIONAL ATTACHMENTto the place if you needed to. Wooden floors contrastHORRIBLY 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 ADULTSplaying 21’S on a SMALL TABLE in the middle of them. The goalis simple: get as close to 21 as possible without going over.If you do, you’re out. Saying ‘hit me’ will get you anothercard 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 1or 11.

SEAN BREWER: TALL, INTELLIGENT and a great TASTE in FASHION.

Seated on a foldable chair, his posture is IMPECCABLE. It’sas if his vertebrae were a single plank of wood fused to hispelvis and skull. In front of him on the table are TWOPLAYING CARDS: a KING OF CLUBS an ACE OF HEARTS to total aperfect 21. He’s won this round but the man opposite him isstill 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’spunching ABOVE his weight: BEAUTY and BRAINS. Atop her salon- worthy BLACK HAIR rests a DARK BLUE BEANIE to match hertemperature; she’s attempted to battle the cold with a greySWEATSHIRT. The way she is sat indicates she is COMFORTABLEaround her close friends. A nice change for her otherwise,INTROVERTED NATURE. Her FIVE PLAYING CARDS are face-up on thetable. A 4 OF SPADES; a 5 OF HEARTS; an ACE of CLUBS; a 4 OFSPADES and a 9 OF DIAMONDS for a total of 23. She tried to beclever with her ace but blew it by being greedy.

Beside her is the comedian himself: PERRY HAGUE. The puredefinition of CASUAL. T-shirt, shorts, none of this designerlabel bollocks or dress-to-impress attitude that he cares solittle for. His back is arched forward like it’s being usedas a makeshift ski-slope for mice whilst SCANNING his THREEPLAYING CARDS. His usually LIVELY, BROWN EYES seem FIXATED on

them, as if he’s challenged the damn things to a staringcontest; and the fucker’s WINNING.

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

PERRYFuck it!

ZOE(Winces)Tough luck.


3/38


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‘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 ofyou naked.

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

SEANWell now you’ve just ruined thesurprise.

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 adead man on a bed in an apparent suicide. Very similar toEdouard Manet’s ‘Le Suicide’. Behind her on the FRIDGE aresome magnets that spell out SCHIZO.

PERRY (CONT’D)Wow, morbid.

‘MORBID’ APPEARS.

ZOEIgnoring that: what d’you think?

PERRYPretty good. You should think aboutbunging them in a gallery orsomething.

ZOE

I’m thinking of doing that. Seanlikes the idea too.

SEANYeah, gives your talent aspotlight.

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

The trio LAUGH as ZOE EXITS to return the canvas back on the

easel she took it from inside the conservatory. As she doesthere’s a KNOCK on the DOOR.

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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 faceis hidden under a BLACK CAP. It’s ARCHIE, who we will beseeing soon. Sean doesn’t TAKE ANY NOTICE of his face.

PIZZA DELIVERY MANDouble Cheese and Tomato and aChicken Combo.

SEANThat’s us.

The Delivery Man hands Sean over the TWO pizza boxes. Wecatch a GLIMPSE of the company name and slogan: UNREAL PIZZACO. “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 theexact change. The Delivery Man LINGERS for a second beforeLEAVING; saying NOTHING as he does. Sean SHRUGS this off andreturns to the others with the food. Zoe has RETURNED to herSEAT.

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 ofthe pizza boxes. The title is barely readable:

‘GRIT’

PERRYI want to read it, not eat thefucking thing!

Sean HANDS Perry the manuscript and SITS down: CONFUSED. He’ssure 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’

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‘NOT REAL: THIS IS NOT REAL’

SEANI swear we ordered pizza...

PERRY

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

They CHUCKLE as the next round of 21’s begins. Perry JUGGLESbetween 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 LEANINGagainst Sean: comforted by his arm AROUND her. A cute couple.They seem CONTENT with one another’s COMPANY. Sean isSCANNING the park. Analysing the green plain to make surethat it is just them two alone.

SEANI like it when the park’s quiet.

ZOEThis is why I love the outside so much: it’s just perfect...

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

SEANSo nice...

ZOEI’d love to go camping, sometime.

SEAN...camping?

ZOEYeah, used to do it when I wasyounger. Spend a night or two outin the woods. There’s somethingabout being away from it all that,really makes you feel alive.

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

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SEANAlive huh? You could become ajungle girl and make shit out oftwigs and leaves.

They both GIGGLE and TIGHTEN their grips around each other. A

VIBRATION distracts Sean: he reaches down to his pocket andpulls out a MOBILE PHONE. He UNLOCKS it and a TEXT MESSAGEfrom Perry appears: FLOATING in the air beside him.

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

ZOEWhat’s up?

SEAN

It’s Perry being stupid. He’sinviting us over to his later.

ZOEI’m up for that.

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

ZOEOk.

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

EXT. PERRY’S HOUSE - DAY5 5

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

SEAN

Weird, surely he’d be in if he’sexpecting us.

ZOEMight on the toilet?

SEANI’ll give him a bell.

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

ZOEWhat should we do?

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

ARCHIESurely he’d remember to lock hisdoor...

INT. CORRIDOR - PERRY’S HOUSE - DAY6 6

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

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

Inside the house it seems normal: UNIMAGINATIVE DECOR linesevery corner of the building. They enter the LIVING ROOM and

find it NEAT and TIDY. Like a fossil PRESERVED in TIME. Seanregularly LOOKS at Archie; UNSURE what to make of him. Thistotal stranger is behaving like they’ve been lifelong friendsand it’s making him CAUTIOUS.

ZOEWhy would he leave the door open.

‘TIDY’ APPEARS.

ARCHIEYou’re telling me.

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

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

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

ZOE

Should 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

ARCHIE (CONT’D)There doesn’t seem to be anything

here that would qualify assuspicious activity.

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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 directhis suggestion at Archie.

SEAN

We should search the whole place.Make sure.

ZOEEr...

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

ARCHIEAgreed. Better safe than sorry.

‘SAFE’ and ‘SORRY’ APPEAR. ‘SORRY’ seems to LINGER andswitches 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 upthe STAIRCASE. We can HEAR her STEPS CREAK during her ASCENT.

Sean and Archie begin to SEARCH the living room for anythingthat would alight towards Perry’s disappearance. Sean startson the OPPOSITE END.

ARCHIESo how long have you known Perry?

SEANSince we were 11.

ARCHIEClose?

Sean pauses, surprised at the question.

SEANVery.

ARCHIEWhat about Zoe? How long have youbeen together for?

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

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SEANWhat makes you think that?

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

ARCHIEEither that or you’re very, verygood friends.

SEAN...6 years.

ARCHIEWow. No ring?

SEAN

We’re still young.

Sean’s voice is virtually EMOTIONLESS as he tries toDISCONNECT himself from Archie’s attempts at conversation. Hedoesn’t want to give TOO MUCH AWAY. However he does have onequestion for him.

SEAN (CONT’D)How do you know Perry?

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

SEAN(Unimpressed)

Really.

ARCHIEYeah.

SEANSmall world.

ARCHIE

Extremely.

Sean has FINISHED SEARCHING his side of the room and HEADStoward 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 thecupboards and drawers at the other end.

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ARCHIEWhat do you do?

SEANI work in a department store. ButI’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.

SEAN

Look, I get you’re trying to makechat, but I’m not OK. So can wejust get on with this?

ARCHIEOK. I understand.

Sean CONTINUES SEARCHING. Zoe RETURNS from her search of theupstairs.

ZOENothing upstairs.

ARCHIEWhat do you do Zoe?

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

SEANAm I the only one taking thisseriously?

Zoe is SURPRISED by Sean’s comment.

ZOEWe are Sean but he’s probably justout.

Archie TURNS TO Zoe.

ARCHIEIf I give you my number, we canarrange a meet up tomorrow. Have atalk about it, if he doesn’t comeback.

ZOEOK. That’d be good.

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

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! Whothe fuck asks about our jobs whensomeone could be missing!

Zoe USHERS Sean to the other side of the kitchen and almostSQUARES up to him.

ZOEPerry isn’t missing!

SEANHow do you know that huh? My bestfriend doesn’t just disappear Zoe!

ARCHIEI apologise if I’ve offended you.He is as you’ve said, your bestfriend.

Zoe MOVES in CLOSER as she now adopts a SINCERE and CALMINGTONE.

ZOEMaybe you should go home...

SEANI’m not leaving you here with him.

ZOEI think, you’re getting ahead of

yourself... I’m sure he’s fine.

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14/38

Zoe’s passive approach is WORKING. Sean has relaxed hisdefiant stance and is CALMING DOWN.

ZOE (CONT’D)I’ll let you know if we findanything...

Sean DEBATES this INSIDE his head. Ultimately he OBEYS, butnot before throwing a GLARE at Archie.

SEANOk.

We STAY with Zoe as Sean begins to WALK AWAY.

EXT. PERRY’S HOUSE - DAY8A 8A

We CUT to outside the house as Sean CLOSES the front door.He’s takes a MOMENT to CALM before WALKING OFF.

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

Sean is sat on the SOFA; READING his MANUSCRIPT. Zoe entersdressed as if she’s going out. Sean NOTICES and looksPUZZLED.

SEANOff out?

ZOEWe are.

Zoe COLLECTS a set of KEYS from the table.

SEANWhere to?

ZOEFit Fishes Lake.

‘FIT FISHES LAKE’ APPEARS as Zoe STANDS IN FRONT of Sean.

ZOE (CONT’D)Think it’ll calm you.

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

EXT. LAKE EDGE - FIT FISHES LAKE - DAY10 10

Sean and Zoe STROLL ALONGSIDE the lake; HOLDING one-another’sHAND.

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EXT. TREE STUMP - FLARED OWLS PARK - DAY11 11

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

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

We TELEPORT to the couple: Zoe appears to be SEARCHING forsomething or someone. She SPOTS Archie in the DISTANCE andWAVES 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 withemotions. 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. Archiecomes 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-STEPStowards Zoe.

ARCHIE

Fucking hate dogs.

‘HATE DOGS’ APPEARS.

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

ZOEI’m glad I put a coat on.

ARCHIE

They say it might snow, think it will?

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SEANIs this appropriate right now?

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

ARCHIESuppose it isn’t. So: I foundsomething of interest.

‘INTEREST’ APPEARS. However other words start to FLASH andbecome 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 TWO 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 merePRESENCE of Archie is DISTORTING the CONTINUITY and STRUCTUREof the WORLD. Sean WINCES for a SECOND.

ZOEWhy would it be here?

SEANCan we see it?

The appearing words have STOPPED. Zoe and Archie look at SeanBEMUSED. He might as well have SHIT on his face and wouldstill receive less of a weird look.

ZOEWhat wallet?

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SEANThe wallet, you said you foundPerry’s wallet.

ARCHIEI didn’t say-

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

SEANWhere the fuck is it!

ZOESean! Hey! Stop it!

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

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

ZOE (CONT’D)Happy now?

Archie TAKES the wallet as Sean REMOVES himself from theimmediate area to CALM his anger by moving a few steps AWAY.Zoe CHUCKS another ANGERED and DISGUSTED look at him beforereturning 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 seeyou later.

ZOEOK bye.

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

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

SEAN

He has Perry’s wallet.

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ZOEWhat fucking wallet Sean? You justattacked him. Again!

SEANHe’s hiding something, I know it!

ZOENo he isn’t! I don’t know what’scome over you but this has to stop!I’m really losing my patience withyou now!

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

We LINGER with Sean for a SILENT 5, moving in CLOSER. He

closes his EYES and we suddenly CUT:


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

EXT. STREET - RESIDENTIAL AREA - DAY13 13

We CAPTURE a few moments of some ELEGANCE in the CONCRETEJUNGLE that is the URBAN AREA. Leaves are CARESSED by a FEINTBREEZE that sways them around like it’s playing a friendlygame you would with a friend. A gentle provocation. A LINE OFCARS appear as a herd of ELEPHANT navigating the SAVANNAH:each one holding the predecessor’s tail in its trunk. Watchedon by the LAMPPOSTS that stand tall like GIRAFFE.

Sean CALMLY TRUNDLES down the path. His gaze affixed to aLAMPPOST a couple of dozen feet ahead. He SLOWS DOWN to itand ties a KNOT OF ROPE around its neck. Attached to the ropeis 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’

Underneath the text is a PHOTO of PERRY. It looks like one

taken a social gathering: he’s smiling away.

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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 carcasscontaining it. It’s a strange sight to see it STRIPPED of theLAUGHTER and CASUAL CONVERSATION that occurs inside.

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

Sean makes the CONNECTION and drops the note. We CUT to himleaving the house: the NOTE in the FOREGROUND. However it nowreads:

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

EXT. PEWAUK ROAD - DAY15 15

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

He waits.

Then something CATCHES his EYE. A HOODED FIGURE stops besidea LAMPPOST with a missing poster on it and TEARS the thingoff. 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 cornerat 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 isNOWHERE to be seen. Sean breathes HEAVILY as he tries to makesense of it all. He SCANS the area hoping to find them butNOTHING.

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

We are with ZOE in the living room. She’s reading a BOOK:‘AMERICAN PSYCHO’.

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22/38

Sean ENTERS the living room, ATTRACTING her ATTENTION. Shespeaks to him as if the past events NEVER HAPPENED: herATTEMPTS to try and keep the strains in their relationship atBAY.

ZOE

(Feigned curiosity)Where’ve you been?

SEANOut. Someone sent us a ransom note.

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

ZOEWho?

SEAN

No idea.

Sean LOOKS AROUND the immediate area for the NOTE. Hecontinues to talk as he ENTERS the CORRIDOR to carry on thesearch.

SEAN (CONT’D)I also saw someone rip off aposter. I chased him but he gotaway.

ZOEA poster?

SEANYeah-

Sean RENTERS the living room.

SEAN (CONT’D)Missing poster.

Zoe looks at him in DISBELIEF.

ZOE

You put posters up?

SEANYeah. I did.

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

Zoe shakes her head in DISAPPOINTMENT. Sean RETURNS to Zoe

and hands her the note.

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23/38

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

SEAN (CONT’D)What?

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, she letshim take it from her. It’s true: the note Sean handed to heris 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 fuckingtrying here. I really am. Why areyou making this so difficult?

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

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

Zoe STANDS, and EXITS the room. We stay with Sean as hisalmost VACANT expression tries to process why the ransom notechanged. The camera lingers tenderly, perhaps LONGER than we would find comfortable. Sean is EXPOSED right now.

VULNERABLE.

EXT. BLUEBELL HILL - AFTERNOON19 19

We cut to Sean seated on a BENCH atop a HILL. Beside him is abag which becomes apparent is FULL OF ALCOHOL after he takesout a can of NICHT ECHT beer. He cracks it OPEN and takes aSIP, SATISFIED by it’s flavour.

‘ARCHIE’

‘TRUST’

‘IT’S HIM’

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We SHIFT to now being BEHIND Sean as he takes ANOTHER SIP.THE view is simply STUNNING: it wouldn’t look out of place ina gallery. As Sean sits STARING out, a TIME-LAPSE OCCURS. AnHOUR passes by in a MATTER OF SECONDS, yet Sean seems to notbe affected by this.

The time-lapse STOPS and we JUMP to the other side of Sean tosee his face BLANK AND VACANT. He ADMIRES the BEAUTY of theBUSTLING LIFE below him. WHO KNOWS how many cans he’s had inthis time.

We come back BEHIND to see his view: the WHITE AND RED LIGHTSemit 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 isa beautiful CALM before the seemingly IMMINENT STORM.Whatever that may be.

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 andWANDERING AROUND the park SHOUTING and VENTING his anger. Fora split second, about ONE FRAME, Sean is REPLACED withARCHIE. The sequence CUTS RANDOMLY to Sean in differentSTATES: laughing, shouting, angry, confused, drunk. A PAINFULAND MESSY NOISE overlays the visuals, adding to the chaos weare witnessing.

EXT. STREET - DAY21 21

We cut to Sean in an UNKNOWN location underneath theSPOTLIGHT provided by the nearby lamppost. He takes a long,LINGERING SIP from a can and LOWERS it from his mouth. Hestares at the can, ANGER FLOODING into him and reaching afast approaching BOILING POINT. Sean SPINS and LAUNCHES thecan 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 glowfrom the lamppost.

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

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

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

23.


25/38


26/38

‘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.

‘SAFE’

‘BUT YOU’RE NOT’

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

‘DO IT’ appears THREE TIMES AT ONCE as Sean approachesArchie; picking up SPEED. He’s going in for the ATTACK. WeFOLLOW close behind as Sean covers the short distance inthree beats.

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

ARCHIE (CONT’D)Thirsty?

Sean INTAKES a SHARP breath of air through his nose as heimmediately 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 thebottle.

‘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 nodsas he SWALLOWS the water.

25.


27/38

ARCHIEAnything of mine that isn’t bolteddown. I live with three otherpeople. Nightmare.

Sean ACKNOWLEDGES with a SLOW NOD. Archie FLINCHES SUDDENLY

and looks DOWN at his WAIST. He reaches into his POCKET andtakes out a PHONE. He SMILES and ANSWERS it.

ARCHIE (CONT’D)Trigg! Alright?

‘TRIGG’ APPEARS.

ARCHIE (CONT’D)Yeah good, what’s up?

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 wallpaperimage is PERRY AND SEAN: one arm around each other. This isPERRY’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 FINDArchie’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 gonow.

SEANOK.

26.


28/38

ARCHIEDo you want me to take you backhome?

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. SeanWATCHES him for a moment before TAKING the PHONE back out.His EXPRESSION becomes a SLIGHT SMIRK as he KNOWS he’s CAUGHTArchie. There’s no explaining this. How can you be friends with someone for 6 years and NOT HAVE THEIR NUMBER?

EXT. STREET - AFTERNOON27 27

Sean WALKS ALONE down the EMPTY STREET. His search came tonothing except PERRY’S PHONE. He passes a LAMPPOST with aMISSING POSTER on, glancing at it as he goes by. However thisone 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. HeSPEEDS 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 hedoes. 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’sa SILENT 15 as he EXAMINES himself: analysing, detailing,trying to work out what is looking back at him. A husk? Isthis him ? What has he become?

27.


29/38

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

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

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

What started as barely audible background noise GROWS andEVOLVES into a SHARP RAISE IN PITCH AND VOLUME, like PRESSUREBUILDING 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 SPAGHETTIHOOPS and BEANS. Not exactly roast Grouse but for someone who’s dealing with a lot of stress, it should fill the holein his belly.

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

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

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

‘Watch the news’

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

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

Sean stares at the TV: EMOTIONLESS. It’s as if he isn’t ableto PROCESS the words the reporter is saying. The cameraSLOWLY TURNS 180 DEGREES to show us the report on the TV. Theheadline reads ‘MISSING BODIES FOUND’. There is a SCROLLINGHEADLINE BAR at the bottom of the screen it details THEFOLLOWING:

‘Sales of Respidoral have risen significantly in the lastquarter...’

28.


30/38

REPORTERWe have the discoverer of the bodyhere with us-

The news camera pans slightly to reveal ARCHIE stood besidethe 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 whenshe start going crazy and, and Ifollowed her, curious, and... there

it was... he was just lying therein a tent.

REPORTERAnd it wasn’t just the one body wasit?

ARCHIENo there were two oth-

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

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

We RAISE UP level with Sean’s head as he PRESSES some KEYS onhis phone and places it to his ear to call ARCHIE. The angeris 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’.


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

ARCHIESorry about Perry, we can go toLieafstalk if-

29.


31/38

SEANShut the fuck up.

Archie is TAKEN BACK by this.

ARCHIE

I 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.

ARCHIEYou’re crazy.

SEANI was right not to trust you. Howdo even know where to find thebody? Because you put it there!

ARCHIEI was walking, my dog.

SEANYou. Hate. Dogs!

ARCHIEWhat are you talking about?

SEANYou said you were walking your dogright? 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 allof this yet seems so ADAMANT that it happened.

ARCHIEScrew this, I’m leaving.

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

30.


32/38

Sean, feeling the FRUSTRATION and SUSPICION RISE, pacesaround the room. He speaks to HIMSELF as the camera jumpsabout, 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. Tailbetween his legs. I should see where he runs to.

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

Sean SPINS around as if someone where there.

SEAN (CONT’D)(Shouts)

And I’m acting weird apparently.

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 PASTus, a few seconds later SEAN APPEARS. He MAINTAINS HISDISTANCE trying not to get caught. He PASSES the camerashortly after. The trees teem over the two like FINGERS on aninfinite hand trying to enclose them together in an eternaltomb.

We are now BEHIND Sean as he continues to FOLLOW Archie in aSNORRICAM shot. The words “I have you now” and othersuspicion-induced phrases appear along the pathway andsurrounding area.

EXT. CAMPSITE, LIEAFSTALK WOODS - DAY33 33

Sean FOLLOWS Archie to the CAMPSITE. There are TWO TENTScordoned off with POLICE TAPE in a small opening in thefoliage.

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.

31.


33/38

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 SeanPAUSES, CONSIDERING Archie’s challenge. He CAUTIOUSLY walksaround him and SLOWLY UNZIPS the tent. He PARTS the flaps andfinds the DEAD BODIES of Zoe... and himself. Lying there withBLOOD 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...

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: hisarms FLAILING and POINTING in time with his words.

SEANThis is a sick joke! You’re fuckedup in the head. You killed themboth! Her and Perry!

ARCHIENot me: us!

SEANNo! No! Don’t put this on me, I hadnothing , to do with it.

ARCHIEYou had everything to do with thisArchie.

Sean is STUNNED for a couple of seconds. The connectionsbeing made in his head. Each time Archie makes a statementthe world around them BREAKS and DISTORTS. The basic

CONTINUITY of the world JARS as Sean tries to MAKE SENSE ofit all.

32.


34/38

The name ‘ARCHIE’ APPEARS on several TREES.

SEANWhat- What did you just call me?

ARCHIE

Archie.

SEANNo... you’re Archie.

Archie GESTURES with a NOD down to Sean’s RIGHT HAND. He isholding a KNIFE. Sean FLINCHES in SHOCK. Where did this comefrom?

SEAN (CONT’D)You’re setting me up.

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

(louder)What does it all mean!

SEANYou’re the killer! Not me!

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

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

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

SEANYou’re crazy-

Within this shot: a quick SECOND LONG insert of Sean LAUGHINGMANICALLY 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 hasbeen FORGOTTEN and the line is being CROSSED more times thata tic-tac-toe board.

33.


35/38

The world CONTINUES to DISTORT and just completely FUCK UPthe 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?

‘UNIVERSITY’, ‘GUILT’

‘FAILING’, ‘DRUGS’

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-

EXT. CAMPSITE - LIEAFSTALK WOODS - DAY35 35

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

ARCHIE-alcoholic, a fucking junkie!

‘JUNKIE’ APPEARS.

SEANI’ve never-

‘HEROIN’

‘BROWN SUGAR’

ARCHIEIt was only a matter of time...

Sean’s anger and frustration has reached it’s FINAL LIMIT. HeWORKS HIMSELF into a state of RAGE and SHOUTS IN ANGER. Likea 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!

34.


36/38

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

EXT. WOODS - LIEAFSTALK WOODS - DAY36 36

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

ARCHIE (O.S.)We became paranoid , thought Zoe wascheating! With. Sean. Then sheorganised the camping trip for thefour of us...

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

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

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

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

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

‘SHOULDN’T’ APPEARS.

Sean RESPONDS: SHOUTING in ANY direction.

SEAN

I’m. Sean!

‘I’M ARCHIE’

‘STRESS’

‘A LIE’

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

‘NOT’; ‘DEAD’ and ‘ACCEPT’ APPEAR.

35.


37/38

Sean SPINS QUICK on the spot, the PARANOIA has reached apeak. 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. Helets his GUARD DOWN for a moment as he tries to FIGURE IT ALLOUT.

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 severaltimes, 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.

‘I’M SORRY’

‘I’M ARCHIE’

Sean REENTERS the woods. Still COMMITTED to hunting downArchie.

SEANNo! You face it: you killed Perryand Zoe and now you’re trying toframe me!

‘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 wasright to never trust you!

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

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

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

finished.

36.


38/38

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

Archie GASPS as shock and pain take over. Sean gives aSIMILAR REACTION: as if he’s ALSO BEEN STABBED. They stare

THROUGH ONE ANOTHER as the camera RISES UP to point at theSKY. 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 DEADBODY lying on the floor. A KNIFE, planted FIRMLY in hisCHEST.

LITTERED around the floor are EMPTY CANS of alcohol and whatalso appears to be DRUGS. The TV is ON but MUTED. On the

screen are THREE PHOTOS: SEAN BREWER, ZOE OLSEN and PERRYHAGUE. The photos are old, like they were SUPPLIED to theNEWS STATION by a NEXT OF KIN. The topic of the report can beidentified by only one HEADLINE at the bottom: ‘CAMPINGHOMICIDE VICTIMS IDENTIFIED’.

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

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

Fade to BLACK.

37.

Documents

Grit 5th Draft