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Shallow Grave Movie Script

Writer(s) : John Hodge

Genres : Comedy, Crime, Drama, Thriller

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                                      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