Web 2.2
Dream
Lover
A
Black and While film
Location: A North England Town
Setting: Present Day.
Cast:
YOUNG MAN:
YOUNG WOMAN:
OLDER MAN:
SISTER of Young Man:
TRAIN CONDUCTOR'S voice over:
RECEPTIONIST:
MALE COMMUTER:
DULL CANDIDATE 1:
DULL CANDIDATE 2:
DULL CANDIDATE 3:
1. INT. DARKENED BEDROOM -
DAYTIME - SPRING TIME
Fade up.
Music starts, we move along a shelf
and focus on a framed photograph of ‘a’ Young Woman. She looks a lot like the
Young Woman we are soon going to meet, later, in the film but Young Woman in
the photograph is not the same one. She has long blond hair, not short dark
hair. The photo has solarization makeing her look angelic. There is a note
jammed into the frame.
(Voice
and off) Going! see 'y later.
Sound of the front door slamming
too. The photograph jumps slightly on the shelf.
Fade to
2a. TITLES SEQUENCE
Helvetica, black over white.
Joe
Ogden film production
Joedot
‘Atmosphere’ music sound track.
Fade to
2b. EXT. ROADSIDE – DAYTIME
Young Man walking in the rain. He
looks to cross a busy main road. We are at ground level, and we hear the sounds
of cars in the rain as they pass.
Fade to
2c. TITLE SEQUENCE
Helvetica, white on black
Dream
Love
2d. EXT. STEPS TO RAILWAY STATION - DAYTIME
Young Man walking
away from camera, from left shoulder in lens to ascending steps.
2e. TITLE SEQUENCE
Helvetica, black on white
Written
by Joe Ogden
3.EXT. RAILWAY STATION PLATFORM -
DAYTIME
Over-exposed shoot to focus on empty
railway station, view from opposite platform.
Music plays - Piano chords cross
fade to the sounds of wind and rain. We watch the Young Man, we hear the sound
of the rail vibrating as the train approaches. Then unexpected loud noise as an
express train rattles passed without stopping. We see Young Man on opposite
platform. He looks confused as if the train should have stopped.
4.INT. THE RAILWAY CARRIAGE -
DAYTIME
Close up on Young Woman’s
face. The train is moving. The train slows to stops we hear the sound of the
air breaks and background sound of complaining commuters.
(Voice
over - on intercom.) I would like to apologise to our customers for delays
today. I've just been informed this delay is due to, (matter of fact,) train on
the track...(Comments, thought to be ‘off’ the intercom.) What? is this right?
Well where the hell else would they have a train? (Over intercom.) Ladies and
gentlemen, I can confirm that we are delayed due to ‘train on the track’. Er
can we once again take opportunity to apologise to our customers for our delays
today and hope you chose Fast-Track Arriver for your return journey.
A general murmur fills the air.
Young Woman lays her head against the window and remembers that morning.
5.INT. YOUNG WOMAN'S HOUSE -
DAYTIME - MORNING
In flash back.
YOUNG
WOMAN
(Her
voice and actions.) I hate having to sneak around...
CUT TO: she looks out of window at
weather and walks into of room
...No!
You know how I feel...
CUT TO: A calendar, all the days
have been marked off with big red love hearts.
...She's?
- if you tell her will you leave her?...
CUT TO: Young Woman passing the
phone
...I
know, you’ve been married for a long time...
CUT TO: Camera slow pans along the
dates
...I
don't know what to say? Oh, I got a job interview next week...
CLOSE UP: On calendar, Thursday is
marked with a 'JOB INT'
Of course
I do, I need a job though...
CUT TO: Brushing her hair
...Yes, I
have thoughts when I'm with you. (Pause) afterwards I dream about you or me,
us. No not saying.
CUT TO: Putting on her lip stick, in
the mirror.
...What’s
that? She there, now? (Quickly) Where we meeting? Station, eleven, yes,
WHICH...!
CUT TO: Holding a mug of coffee and
puts mug down as sound of phone returns to receiver. The phone rings, she picks
it up quickly, showing her picking her reading glasses.
YOUNG
WOMAN
(Voice
and actions) Which Station?! (Pause) No, no I'm not interested, not even if I
do get the up stairs windows free. No, Good-bye.
CLOSE UP: On cleaning her glasses
Fade out.
6. INT. RAILWAY CARRIAGE - DAYTIME
Wider shoot on Young Woman and Male
Commuter next to her, reading his paper. She comes out of her daydream. She
shudders.
YOUNG
WOMAN
Double -
glazing.
The train starts off again.
MALE
COMMUTER
Oh? Is
that's what you're looking at. I would of said thickened er, safety glass.
She smiles.
7.CUT INS
Lonely music played on Saxophone
over next.
CUT TO: Young Man walking down steps
he just walked up
CUT TO: Train pulling out of city
station and Young Woman now walking up the platform
CUT TO: Young Man walking along the
roadside, saxophone plays; traffic sounds as he walks into the distance
CUT TO: Young Woman waiting on
platform
CUT TO: Young Man walking past the
large mill building
CUT TO: Young Woman waiting
CUT TO: Young Man walking past
closed down shops
CUT TO: Young Woman waiting
CUT TO: Young Man looks at a statue
CUT TO: Young Woman sit, looking sad
CUT TO: Young Man walking onto
railway station
8.EXT. RAILWAY STATION - DAYTIME
We see them both in wide shot. Young
Woman stands and waves at what we see to be the Young Man, he looks, not sure
who she is. Young woman walks towards him waving.
P.O.V Young Man: Sees the Young
Woman walking towards him 'music to match.' Young Woman in slow motion. Waving,
his see the woman in the photograph on his self, in his maid and how she looks
like this women.
MID SHOOT: Young Woman waves and
smiles. She walks towards him more quickly.
CLOSE UP: Young Man looks at her
puzzled.
MID SHOOT: Young Woman. She see the
Young Man, stops and turns to look past him towards another Man, the OLDER
MAN walks into the shot. The Young Women and looks at Young Man for a
moment. The Older Man only sees Young Woman. The Older Man and Young Woman
embrace, the two lovers and have met.
MID SHOOT: The two embracing and the
Young Man who also stops a moment also and looks on, slow motion then speeds up
into reality.
OLDER
MAN
(A little
angry.) I thought you were going to be in you car? I've been waiting in the
bloody car park, I’ve told her I've got a meeting.
YOUNG
WOMAN
Oh, I’m,
Sorry! I told you the car was in the garage. You don’t listen? I'll need it if
I get the job. The interview, next week.
Older Man looks crosser but she
misses that and looks at Young Man again, who's still standing there but she quickly
look back to the Older Man.
OLDER
MAN
Yes...
We’ll talk about that. I never get to see you, if you start work.
She misses that, looking towards the
strange Young Man.
Cut to: The walk away together,
talking.
Cut to: Young Man who walks forward
he looks behind. The couple are some way off now, they seem to be arguing.
Cut to: The couple.
OLDER
MAN
I can't
'tell her' she be difficult, I love her, but I love you too. I don't want to
make a choice. Why should I?
The Young Woman walks away a little,
she sill loves him but... The Older Man follows her so as not to lose her.
9. INT. HALL WAY OF A FLAT -
EVENING TIME - LATER THE SAME DAY
Young Man walks into flat. He Walk
down the hall, taking off his coat.
YOUNG
MAN
Hi sis
I'm home.
SISTER
(Off)
Hi-in here.
10.INT. KITCHEN OF FLAT - EVENING
TIME
Young Man walks into kitchen. Sister
is making evening meal.
SISTER
How's the
'architect' then? How did the interview go?
YOUNG
MAN
It's teaching
- computer aided design 'if' I get the job. The interview is next week. I just
went on a 'rekie' to see where the place is. It' a good job to, they've gone
and changed the train times again.
He eats some sliced carrot his
sister just cut.
SISTER
Wouldn't
know? Not been on one - for a while. (Lifts the blinds - looking out the
window.) Not been anywhere for a while (Panics. Looks away she see him eating
carrot.) 'Hey you' I hope you've washed your hands before touching?
YOUNG
MAN
(Thoughtful)
Sis?
SISTER
Yeah?
YOUNG MAN
I met a
girl today...
SISTER
Wonders
never shop. Well what's her name... is she suitable for my little brother...
(Waves some food under his nose.) Ve haf vays of making you talk...
Young man smiles.
...Must
be good.
YOUNG
MAN
I didn't
actually talk to her. I thought she fancied me but she went with this other
man.
SISTER
No
accounting for taste.
YOUNG
MAN
He had
someone already, wife I think.
SISTER
It's like
that sometimes, love goes to love (both awkward pause. Just to say something)
Well the table needs setting.
YOUNG
MAN
(Slowly)
She looks like...
SISTER
(Quickly)
let her go... (Sister holds him)
YOUNG
MAN
I miss
her...
SISTER
I know, I
know you do, if you would just cry, it's been; so long, she happy, she gone.
Young man stands rigid he cannot
cry.
11. EXT. DOORSTEP - YOUNG WOMAN'S
HOUSE - SAME DAY - EVENING TIME
MID SHOT: Young Woman and Older Man.
YOUNG
WOMAN
I wish
you didn't have to go. I love holding you.
OLDER
MAN
She's
started to ask questions.
Sadness overwhelms her and she
clings to him. They part and she walks into the house. He exits almost skips
down the path, he’s got her.
12. INT. HALLWAY - YOUNG WOMAN'S
HOUSE - EVENING
Young Woman leaning against front
door weeping.
13. INT. BEDROOM OF YOUNG MAN -
EVENING
Young Man laid on his bed, staring
into space. Holding the photograph of the girl.
Fade.
14. DREAMS CUT INS
FADE UP TIGHT CLOSE UP: On Young
Woman's eyes. She is in bed and goes into REM sleep, we see her eyes lids start
to flicker. The sound of a express train passing, we zoom close in fast to her
face into blackness.
FADE TO: Dreams sequence - Filmed in
black, white and red. Overlaid, the sound of a train, and image of train going
through the station.
TRAIN
CONDUCTOR
The lover
now standing on platform one will be moving to another station. However I will
not mean he doesn't love the station he is currently at, he loves the whole
network...
P.O.V. of Young Women floating along
a railway platform where a person dressed as the 'Older Man', her lover, stands
but is different, we cannot see his face he turns away as the camera tries to
show it.
...so if
you are thinking of leaving the train, may I point out this train dose not stop
until it reaches the end of the line, so there is no point in changing.
CUT TO: Young Woman on Train.
CUT TO: The Young Woman is seen
through glass of a sort of railway carriage.
P.O.V. Young Woman runs towards the
Older Man but this time it's the Young Man dressed as Older Man, he removes a
cut out mask.
CLOSE UP: Young Woman, the Older Man
grabs her and turns her around.
CUT TO: Older Man, on the left and
right of him is the Young Woman, twice. One is happy one is sad.
OLDER
MAN
I love
you both (laughs).
CUT TO: Young woman in bed turning
in the dark.
CUT TO: Young Man in his bed. He is
dreaming now.
CUT TO: Dream sequence, black, white
and Yellow. Music and sounds.
CUT TO: Young woman as girl in Young
Man's photograph.
YOUNG
WOMEN
I didn't
die I just moved down the road. Why didn't you call?
CUT TO: Sister.
SISTER
She's
gone, let her go. I saw her laying there...
CUT TO: Young woman runs towards
Young Man.
CUT TO: Young woman is taken away by
the Older man.
CUT TO: Sister in the kitchen of her
flat.
SISTER
You miss
her like you miss the trains...
CUT TO: Older Man pulls Young Woman
from Young Man. The reds and yellows and other colours mixing. Fish eyed lens
CLOSE UP: Older Man points to a
Woman in the shadows his wife (Played by Young Woman).
TOP SHOOT: Young Man in beds, then
Young Woman in her bed.
BOTH
YOUNG WOMAN AND YOUNG MAN
NOoo...!
(Both sit up in bed in their beds.)
Fade out
15. INT. A RECEPTION ROOM -
DAYTIME
We are in small waiting room. The
Young Woman and Three smartly dressed people waiting for an interview, they are
drinking cups of coffee they move at the same time, like a dance. Young Man
enters and sits across from the Young Woman with the three candidates
in-between them.
YOUNG
MAN
This where
the interviews for teaching post - are being held.
DULL
CANDIDATE 1
Yes - It
looks like rain.
DULL
CANDIDATE 2
Yes -
(looking) indeed it does look like rain.
DULL
CANDIDATE 3
Yes - I
think rain is on the way.
From now on the Dull Candidates
follow the conversation as if in a tennis match.
YOUNG
WOMAN
Yes (She
looks down the line, she seems to know him.) I know you, don't I?
YOUNG
MAN
Yes,
mistaken identity (smiles) I thought you were someone else - on the railway
station.
YOUNG
WOMAN
Oh-yes?
YOUNG
MAN
You waved
to me - well no - I thought you were waving to me - But you were waving to -
your friend.
YOUNG
WOMAN
(Recalls.)
I remember - I was - it was Wed - Thursday? I recognised you. I'm shocked you'd
remembered me.
YOUNG
MAN
I thought
you looked like... (He stops.)
YOUNG
WOMAN
What?
YOUNG
MAN
I thought
you looked 'like' - really good.
Silence between them. The three DULL
CANDIDATES smile.
YOUNG
WOMAN
You're
here for the interview as well then?
YOUNG
MAN
I am -
yes. Er - wish you luck.
YOUNG
WOMAN
(Smiles)
Need it.
Silence between them.
BOTH
YOUNG MAN AND YOUNG WOMAN
Do you...
Both laugh.
YOUNG
WOMAN
You
first.
YOUNG
MAN
Do you
work.
YOUNG
WOMAN
Not for a
while. You?
YOUNG
MAN
Not for a
while, I've been... (He doesn't say). After interview do you have to go?
YOUNG
WOMAN
'NO' -
no, do you want to go for a coffee - talk - compare notes; on the interview?
YOUNG
MAN
YES - I
mean yes, just to talk.
16.EXT. CAFÉ - AFTERNOON - A MONTH LATER
17.INT. CAFÉ - AFTERNOON
The Young Man and Young Woman are
sat at the table. They look relaxed with each other.
YOUNG
WOMAN
‘To
talk.’ That what you said. Just to talk.
YOUNG
MAN
That was
a mouth ago? no wonder, my sister's been quizzing me about you...
YOUNG
WOMAN
Oh yes...
YOUNG
MAN
(As
sister)'off to see your girlfriend.' - (Himself) I see some one for coffee a
couple of times...
YOUNG
WOMAN
Try twice
a week for the last month, but I’m not you girlfriend...
YOUNG
MAN
...(smiling.)
as I was saying, five or six times and we're meant to be dated, well you know
what I mean - sisters.
YOUNG
WOMAN
Gor - we
were only friends. You've met my boyfriend...
YOUNG
MAN
I know, I
know__ but she doesn't understand that, about our 'friendship', she just sees
me going out and wants to know how come you can't come over for a meal, as a
friend, some day next week, Friday maybe please, because...
YOUNG
WOMAN
Okay, all
right I'll come to dinner, with your sister. You can join us if you like.
She reaches out and touches the side
of his face - momentarily he freezes then smiles - she pulls her hand away and
looks down.
YOUNG
MAN
If wises
were horses...beggars would all ride tall.
Fade out
18. INT. BEDROOM OF YOUNG WOMAN'S
HOUSE - WEEK LATER - AFTERNOON
The Older Man is doing up his
shoelaces. The Young Woman is being playful stopping him getting ready. He's
getting a bit cross.
YOUNG
WOMAN
You
weren't thinking of coming over on Friday, were you?
OLDER
MAN
She's getting
suspicions - I'll just have to fit you in where I can. - Why?
YOUNG
WOMAN
I've been
invited to my friend's flat and his sister's for a meal.
OLDER
MAN
A male
friend hey, I'll have to watch out for him.
YOUNG
WOMAN
Don't be
daft, he's just a friend - god, he lives with his sister.
Older Man put his jacket on.
OLDER
MAN
He
Probably needs you as an excuse to leave home...
She thinks.
...I'll
give you a ring Friday night ten'ish; before you go to bed, 'yours' (fain
laugh.)
YOUNG
WOMAN
Will you?
(Smiles) I'll be home by ten. Jealous?
OLDER
MAN
No...
She leans against his arm - he pats
her awkwardly a bit like a dog, then yawns.
...I'm
tired.
He gets up and walks out of shot. She
thinks she's done something to hurt him she sits and looks to where he's gone.
Fade out
19.INT. HALLWAY OF THE SISTER'S
FLAT - EVENING TIME
Young Women, Young Man and Sister
walk down hallway.
SISTER
...and
this is the where you'll be eating tonight...
We pan to see a table set up with
candles looking really romantic! Lighting to match.
YOUNG
MAN
Oh -
what? That's why you sent me half way across town for the wine. This wasn't
supposed to be a romantic dinner for three...
SISTER
Hell's
teeth, three a banquette! I'm off to bingo...
YOUNG
MAN
You never
go to bingo! You never go...
SISTER
Shush!
(To Young Woman) First time for everything! In’t there love. Anyhow cabs here
now - oven gloves are over the cooker, look after her... (She goes.)
YOUNG
MAN
(To Young
woman.) I'm really sorry about this.
Young woman's has been looking at
the room in wonder.
YOUNG
WOMAN
Its -
beautiful thank you, thanks.
Cut to: Both eating meal.
Fade to: both chatting, music plays
Cut to: End of meal.
YOUNG
WOMAN
That was
the best meal I had in years..
YOUNG
MAN
Best
vegetarian meal you've had. Well she's a good cook, my sister...
YOUNG
WOMAN
Shall we
retire to the lounge then?
YOUNG
MAN
We could,
but this is it, it's just that and this it. (Nervously.) We could always go and
sit in my room - there's a sofa and a T.V.
YOUNG
WOMAN
After
you.
20. INT. CUT BETWEEN HALL AND
YOUNG MAN'S ROOM - NIGHT
Young Woman walking into his room.
CUT TO: Young Man Walking down
hallway.
YOUNG
MAN
I get the
coffee's...
CUT TO: Young Woman walking around
the bedroom and see the single bed and smiles.
YOUNG
WOMAN
(To
herself) A Telly and a 'bed', gee.
She sees the photograph of the girl.
She picks it up, just as Young man walks back in.
YOUNG
WOMAN
(Suddenly
cross) Who's this? You the Hell is this?
Young Man pulls it off her.
YOUNG
MAN
She was a
friend...
Young woman censes something in his
words.
...She's
gone
YOUNG
WOMAN
You want
me don't you! Well done you, bloody good match! You just want me 'cos ‘she’
left you, you so me at the station. All these weeks and you never said! What is
it...
Sound of mobile phone.
...Blast!
(Answers the phone. She looks at Young Man, as she talks to the man on the
phone. Young Man looks at her sad.) Yes! - is it really, that late, yes I'm
still here! See you later...tonight, not a chance, I see you tomorrow. Oh –
Well do you love me? (She shuts down phone) I'm leaving now. Good night.
YOUNG
MAN
I don't
understand, you told me you didn't want to be my girlfriend, you was – Why are
you so upset?
YOUNG
WOMAN
'Yes',
'well', but I'm not going to be your excuse - O-or just sex on the side, o-or a
replacement in for ‘her’!...
YOUNG
MAN
You don't
understand...
YOUNG
WOMAN
Don't
touch me, don't hold me...
YOUNG
MAN
What? I
wasn't. I want you too know, look, read this. (Hands over the note jammed
inside the photo-frame.)
YOUNG
WOMAN
(she
looks at the photo and reading aloud.) "I have to leave now - I love
you" - What? - let me guess. 'You' living with your sister put her off, so
she left! Is that it - hey?
YOUNG
MAN
No she
die, I was holding her(Pause). Something, brain - That's the last thing she
wrote, when she couldn't speak. I moved here to help my sister over her. Look I
haven't been - this happy for...
YOUNG
WOMAN
Oh, you
bastard! You bastard.
YOUNG
MAN
(blurted
out, knowing it not right time to ask.) Do you want to come to Sunday lunch.
Its my sister she’s be here – she wants you to come. And I-I do too cos...
YOUNG
WOMAN
Shush.
(She reaches out to him.)
They hold each other.
Fade out
21. INT. CAFÉ - DAYTIME
Young Man and Young Woman set at the
table.
YOUNG
WOMAN
Hi! Guess
what.
YOUNG
MAN
Er...
don't know?
YOUNG
WOMAN
It
great...
YOUNG
MAN
What!
YOUNG
WOMAN
Something
that makes me so happy.
YOUNG
MAN
You don't
love ‘him’, anymore and you want me?
YOUNG
WOMAN
Don't do
daft. I'll always love him. No I've got the job...
YOUNG
MAN
At the
art's centre? - The one we went for!(Reeling inside on three points, lost his
would be girlfriend, losing the job he wanted and he was called daft for
thinking she could loved him. In just a few words.) That - really nice - when
do you start?
YOUNG
WOMAN
(Looking
at the paper) I start - er this Monday. Look got to go tell my friends, are we still
on for Sunday lunch? I’m so happy. See you later.
She gets up.
YOUNG
MAN
Yes (Oh
heck)
YOUNG
WOMAN
Tell you
more about it then, bye.
She goes.
YOUNG
MAN
We have
coffees... (she gone) Together.
Camera pulls back to see Young Man
is left alone in the café.
Fade out.
22. INT. YOUNG WOMAN'S LIVING
ROOM - NIGHT
Young Woman and Older Man are having
a glass of campaign.
OLDER
MAN
Do you
like? - Don't you dear say the bubbles go up your nose?
YOUNG
MAN
Yes...
well they do. (she Drinks.)
OLDER
MAN
A working
woman hey – W-what days do you get off?
YOUNG
WOMAN
I’m a
full time working 'woman'. You know something – (A little drunk.) you've never
stopped this late on a Saturday before?
OLDER
MAN
Oh Full?
Well I can tell you now. This is a double celebration (pause.) I'm moving out,
I’m leaving her. Cheers (click glasses and they drink.)
YOUNG
WOMAN
You'll be
staying. I love you.
OLDER
MAN
Yeah I
will, with you all night.
She puts her arms around him.
YOUNG
WOMAN
I do love
you - you do loved me.
OLDER
MAN
I
love your moves. (He laughs.)
Fade out.
23. INT. YOUNG WOMAN'S KITCHEN -
MORNING
Young Woman in the kitchen, in her
night things, Older Man is dressed.
YOUNG
WOMAN
I've
never slept so well. You where a bit... I make us breakfast, er lunch soon. Oh
Noo Sunday lunch. I said I’d go for lunch. Wait there I'll make the phone call,
then we'll have lunch. I’m going to be popular...
OLDER
MAN
I need to
take about...
YOUNG
WOMAN
Yeah,
Yeah. Back in a mo. (She Goes out the room.)
OLDER
MEN
But!
(She gone)Bloody women!
24. INT. SISTER’S KITCHEN – DAY
The Phone rings. She among pots and
pans.
SISTER
Hi...
Sister looking around the kitchen.
We see Young Man helping make lunch. He looks up at her and smiles. Sister nods
as she takes the massage that the Young Woman is not coming for Sunday lunch.
...I'll
let him know.
25. INT. YOUNG WOMAN'S KITCHEN
Older Man is puts on his coat.
YOUNG
WOMAN
Were you
going - to get the Sunday papers?
OLDER
MAN
No. I’m
having lunch with the wife. She needs me for a while longer but I’m moving out.
What? Its only lunch for god sake.
YOUNG
WOMAN
Then
you're coming back here? With your things - yes?
OLDER
MAN
No? I'm
moving into me dad's old house.
YOUNG
WOMAN
I thought
you were going to move in here - with me? I love you...
OLDER
MAN
I said I
was moving out, not moving ‘in’. Its not very thoughtful of you, now is it. The
wife, she won't want to come here? I love you but she'll still my wife - It
won't be ease for a women her age to find someone. You should know.
YOUNG
WOMAN
Last
night you never said. You; you asked me if the drink was good. We made love -
now you tell me 'I going to have dinner with my wife!' (She bets him.) Just
bloody go, go to hell, get out.
OLDER
MAN
Hey, hey
I love you babe, it’s a hard time for all of us. Okay! We'll talk later when
you’ve settled down. You can get me on the mobile.
YOUNG
WOMAN
just
piss off!
Older Man leaves we hear the sound
of a door closing, Young Woman stands stunned and starts to cry.
26. INT. YOUNG MAN'S BEDROOM
Young Man
in his room. Picks up the photograph. Holds it to his chest. Lays down on his
bed and starts to sob.
27. INT. YOUNG WOMAN'S KITCHEN
Young Woman sat alone holding her
knees to her chest on a chair.
28. INT. YOUNG MAN'S FLAT HALL
WAY
Sister by young man's door, leans
back against the wall.
SISTER
Are you
crying? Let it out, let it out...
29.CUT INS
CLOSE UP: Young Woman looks at the
phone. Picks up the receiver and dials.
CUT TO: Older man's mobile phone, we
cut before it rings.
CUT TO: Sisters Phone, we cut before
it rings.
CUT TO: Young Woman on phone.
YOUNG
WOMAN
We need
to talk...
Fade Out.
THE END AND CREDITS.