From ‘The Rising’
A feature-length screenplay by Hughie Brennan and Mike Kay.
© H.Brennan & M.Kay 2008
BLACK SCREEN
We hear static from a radio, the static crackles and a news program is heard fading in and out.
NEWS ANNOUNCER
(Crackling)
. . . the vote in the commons t– . . . rejected by m– . . .
The program fades out into static. We hear a bleep as a button is pressed.
FADE IN:
INT. CAR – NIGHT
CLOSE UP: Car radio, “SEEK” on the display.
The camera pulls back and we meet PETE, a normal looking twenty something, driving alone with not a care in the world. Pete looks at the radio and presses the seek button again.
A song is heard, crackly at first then clearer.
EXT. LEAFY CITY STREET – NIGHT
We see a low angle shot in the middle of a deserted street. Autumn leaves lie on the road.
We hear footsteps. A woman crosses in front of the shot and hurries down the street.
INT. PETE’S CAR – NIGHT
Pete taps the steering wheel and nods his head to the song.
EXT. LEAFY CITY STREET – NIGHT
The woman steps onto the pavement and hurries on, she looks over her shoulder.
INT. PETE’S CAR – NIGHT
Pete is singing a little, he gets the words wrong.
EXT. LEAFY CITY STREET – NIGHT
We follow the woman as she steps off the pavement and heads to the driver’s side of a car parked in the road. She fumbles in her bag for her keys. She looks behind her again and drops the keys in the road.
WOMAN
Shit – get a grip.
She bends over to pick the keys up.
INT. PETE’S CAR – NIGHT
Pete looks out the car window.
Pete’s POV: He sees the woman bending to pick up her keys as he passes her.
EXT. LEAFY CITY STREET – NIGHT
The woman straightens up with her keys in hand. She looks up and sees a man standing close to the bonnet of her car. The man is wearing a long black coat, his eyes are wide. He smiles at the woman.
FADE IN:
INT. HOTEL FOYER – EVENING
The foyer is nicely decorated and expensive-looking but surprisingly quiet for the time of day.
A middle-aged couple approach the reception desk. This is MR & MRS ATKINS. They are dressed to give the impression that they have money. Mr Atkins puts a suitcase down as he reaches the desk and fumbles inside one of the bags he’s carrying on his shoulder. Mrs Atkins watches.
Another couple approach who appear to have the money the Atkins crave. This is MR & MRS BARBER. She is an attractive young woman; he is trying to deny his true age.
MR BARBER
(To receptionist)
Mr Barber.
RECEPTIONIST
Oh yes sir. Your suite is ready.
The receptionist hands over the key and the Barbers head to the lift and wait with a group of three men.
Mr Atkins lays his booking confirmation on the reception desk.
MR ATKINS
Mr Atkins.
A man enters the foyer from the street. This is JOE. He looks about forty years old. He is wearing a suit that has seen better days.
Joe stands looking around the foyer for a moment. He seems a little drunk. He wanders over to a leaflet stand and examines its contents.
One lift opens and the Barbers and the group of men enter. The Atkins are too late to catch it. The second lift opens and the Atkins enter.
Joe walks over and enters the stairwell through some double doors next to the lifts.
INT. HOTEL ROOM – EVENING
A businessman (PAUL) is sitting at a table sorting through papers and sipping milk in a very ordered manner.
He fixes his tie and looks at his watch. He packs his papers into a briefcase, puts on his jacket and heads out of the room.
INT. ATKINS ROOM. TOILET – EVENING
Mr Atkins is in the bathroom clipping nasal hair. He winces as he extracts a long specimen.
He turns to lock the door but finds the catch is broken. He pulls his trousers down and sits on the toilet.
MRS ATKINS (O.S.)
Can I come in?
MR ATKINS
What?
Mrs Atkins enters and looks at Mr Atkins who stands, his pants round his ankles. Mrs Atkins laughs.
MRS ATKINS
I just need a towel.
She grabs a towel from the rail then stands looking at her husband.
MR ATKINS
Is that all?
MRS ATKINS
I need to blow my nose.
MR ATKINS
Go on then.
Mrs Atkins looks at him mischievously then snorts through her nose.
INT. BARBER ROOM – EVENING
Mr Barber is in the bathroom using an electric shaver. He finishes and examines his face. He applies moisturiser lovingly.
The camera slowly pans across to the doorway, revealing Mrs Barber in the other room. She is lying unconscious on the bed, her face bloodied.
Mr Barber emerges from the bathroom, pauses for a moment looking at his wife, then exits.
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The woman manages to unlock her car door but can only open it a fraction before the man, now closer, pushes it shut again. She looks at him with nervous eyes.
INT. PETE’S CAR – NIGHT
Pete stops the car at the traffic lights of a deserted crossroad junction. He looks in his rear view mirror.
Pete’s POV: In the mirror he sees the man and the woman.
EXT. LEAFY CITY STREET – NIGHT
The woman nervously fumbles in her bag. The man smiles at her. Suddenly the man grabs her by the shoulders. The woman gasps in shock and drops her bag.
INT. PETE’S CAR – NIGHT
Pete’s POV: In the mirror he sees the man and the woman struggling. What he sees could be passion or violence. The song crackles out into radio static.
Pete looks at the traffic lights: they are still on red.
He looks back at the man and woman. Suddenly the man seems to lunge at the woman and wrestle her to the ground beside her car.
As Pete watches the man looks up and meets his gaze in the mirror.
CLOSE UP: The man’s face; wide eyes, blood around his mouth.
PETE
What the fuck?
The man stands up still looking at Pete.
Pete looks at the traffic lights; they’re still on red.
Pete looks back at the man and sees that he has covered half the distance between them and is closing fast. Pete panics-
PETE
Fuck me!
-puts the car in gear and speeds off through the empty junction away from the man.
We hear Pete’s laboured breathing and the car’s roaring engine. Pete looks in the rear view mirror and sees the man standing in the road just watching him speed away.
PETE
Jesus . . .
EXT. LEAFY CITY STREET – NIGHT
We see a very low angle shot of the street at the legs of the man, we see Pete’s car retreating down the road.
EXT. LEAFY CITY STREET – NIGHT
Pete’s car speeds past, leaves fly into the air.
INT. OFFICE – TIMELESS
Suddenly the door clicks and glides open. On the other side is an office smaller than the ante-room. In the office a small bespectacled man is sat behind a desk. The man is halted in mid-motion. He is looking at Paul.
After a moment the man speaks.
MAN
(rapidly)
Come in – Sit – Water? – Find us OK? – Good.
Paul pauses before heading into the room. The door swings closed.
Paul sits before the desk. He looks uncomfortable. The man smiles at him amiably. The man takes a piece of paper from a pile and reads it, still smiling.
Paul looks at the name plaque on the desk.
CLOSE UP: Plaque: “Mr Steel”.
Mr Steel, still smiling, puts the paper on the desk and looks at Paul.
MR STEEL
(rapidly)
It’s a small office in a big place. You’ll like it. We’re team players here.
Paul nods. He looks about to say something.
MR STEEL (cont.)
College man are you? You’ll fit in. Like some water?
PAUL
(nods)
Thanks.
Mr Steel nods and smiles.
MR STEEL
I think you’ll fit in OK.
Mr Steel extends his arm.
MR STEEL (cont.)
Monday start?
Paul pauses for a moment then shakes hands with Mr Steel. Mr Steel breaks the shake quickly and stares at Paul, smiling all the while.
Paul stands. He seems unsure. He turns to go then turns back to Mr Steel. Mr Steel is watching him, smiling.
Paul turns, heads to the door and leaves. The door closes with a loud echoing bang.
INT. CORRIDOR – TIMELESS
Paul emerges through the tarpaulin into the corridor. He looks both ways, utterly lost.
Paul gets his note out and reads it again.
CLOSE UP: The note: “Room 64A”. He turns it over; the other side is blank.
He looks around again then heads off to the right.
He walks past door after door. The doors here have no handles and seem strangely close together.
Paul continues. He turns a couple of corners and comes to a corridor where the carpet is darker and the walls are bright white.
A little way down he comes to a door with a handle. He tries the handle but it won’t budge. He notices a keyhole and bends down to look through it.
Paul’s POV: Through the keyhole the room is pitch black. We hear a quick inhaled breath.
Paul moves to the next door. He tries the handle, which again doesn’t budge. He kneels and looks through the keyhole.
Paul’s POV: The room is dark. In the dark we see a pale, blurred patch.
Paul frowns and looks again. After a moment he stands and continues down the corridor.
He passes a few doors then stops before one and tries the handle. The door clicks and slowly swings a quarter open.
The interior is dark. Light from the corridor reveals a bundle of clothes on the floor near the door. Paul pushes the door a little but it seems to be knocking against something. He tries to see into the dark.
Paul’s POV: Ahead, faintly, he sees a light, blurred patch in the dark.
Paul strains to make out the object. From somewhere light falls onto the thing and Paul sees it’s a man stripped to the waist, his hands tied above his head. The man seems to be swinging very slightly.
The man’s eyes dart over to Paul’s left, behind the door, then back onto Paul. Paul goes to step into the room. The man shakes his head forcefully, his eyes suddenly filled with fear. Paul stops. The light goes out. The door swings closed.
Paul tries the handle again but this time it’s stuck.
After a moment Paul continues down the corridor looking at the doors but not trying any of the handles.
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cover designs:
michael kay
composer/producer
artwork of
dave fairbrother-roe [isle of wight festivals, anne mccaffrey]
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