S E E Y O U
A psychological thriller short
written by Maggie Brandewiede
INT. BEDROOM, MORNING
The camera is focused on Boy's eyes and they quickly open as music begins to play. CUT to Boy swinging feet up next to bed; camera moves to pause on the empty photograph frame. His attire his unkempt and he wears a dark colored suit. His hair is a mess and his eyes are lifeless and black.
He makes his way to the kitchen and momentarily pauses in the doorway, over shoulder SHOT as an old movie is with significance is playing on his old tv. A dim lamp illuminates the corner of the green wallpaper kitchen area.
He sighs and he moves about the kitchen, pouring the coffee,dropping in three sugar cubes, giving it a stir and throwing the newspaper and doing his usual sequence of morning routines.(all in quick shots) This seems to be the only organization in his life.
INT.PAUSES TO LOOK IN MIRROR, WE BRIEFLY SEE HIS WEARY FACE
He slams the door on his way out as the camera is focused and pans to stack of papers signifying his passion for writing. His feet are the last thing we see as he leaves the room.
EVERYTHING FADES TO BLACK.
INT. OF BOY'S CAR, DRIVING DOWN A REGULAR STREET, WE SEE HIS EYES BRIEFLY IN THE MIRROR. ALSO AN OVER THE SHOULDER SHOT, REOCCURES FREQUENTLY.
Side shot of him turning into a lot. We see his slumped like nature and can assume he is not himself.
SCENE TRANSITION TO A PENCIL BEING CRACKED IN HALF, ECHOEING SOUND OF IT.
INT. OFFICE BUILDING, PLAIN ROOM WITH SOFTLY TITNTED ORANGE WALLS AND A TABLE AND CHAIRS CENTERED IN THE MIDDLE OF THE ROOM. TWO INDIVIDUALS FACE EACH OTHER AT A LONG TABLE.
COUNSELOR
(SOFT UNADIBLE MUTTERING)
It isn't like that anymore?
No, no, no
(shaking his head)
it can never
be like that again.
BOY DOES NOT MAKE EYE CONTACT.OCCASIONALY GLANCE AT EACH OTHER ACROSS THE ROOM. BOY LOOKS ANNOYED AND KEEPS TAPPING HIS FINGERS ON HIS SEAT.
COUNSELOR
Did you hear what I said?(adressing him) Boy?
THE CAMERA IS FOCUSED ON BOY JUST OVER COUNSELOR'S ARMS. WE DON'T SEE HIS FACE BUT ONLY HIS MOVING LIPS.
BOY
(NERVOUSLY SQUIRMS IN HIS SEAT, WHILE BITING HIS NAILS AND STARING INTO SPACE.)
COUNSLEOR PUSHES GLASS OF WATER TO BOY. HE PICKS UP HIS GLASS OF WATER, WHICH IS FOCUSED ON WITH CAMERA MOMENTARILY, AND TAKES A BIG SWIG)
Of course.
COUNSELOR
You haven't had an episode in months I take it?
BEAT. How are you feeling?
BOY
(HE SQUINTS AS IF HE IS TRYING TO FIND THE WORDS)
I'm trying. I still feel like I'm missing something you know?
None of this feels...
SCENE QUICKLY CUTS TO THE MIDDLE OF NOWHERE, AERIAL SHOT PERHAPS/BOY STANDS IN OPEN SPACE.
BOY
(He gasps and clutches his side, as images play back in his mind. Sillouhetts of him and a girl argueing.
They are colorless memories but vivid in the mind)
HE WAITS IN THE FIELD AS A TEAR STREAMS DOWN HIS LEFT EYE, SHOT FOCUSES ON HIM, A GIRL BEHIND HIM APPEARS AND COMES INTO FOCUS.
HER DARK HAIR COVERS HER FACE AND WE CAN BARELY MAKE OUT HER APPEARANCE. SHE IS IN A WHITE DRESS AND MAKEUP AS IF SHE WAS AT AN EVENT. HE IS AWARE THAT SHE IS THERE AND GLANCES TO THE SIDE.
COUNSELOR
(VOICE ECHOES OUT OF NOWHERE, CATCHES BOY OFF GUARD)
I THOUGHT YOU'D BE HERE. WHATEVER YOU'RE LOOKING FOR, YOU WON'T FIND IT.
BOY
You were supposed to make a difference. All I see, it's (on verge of tears and hatred in voice) none of it is right. (shouting) help me!
COUNSELOR
You don't get it do you?
SCENE FADES AND IS IN AN EMPTY HALLWAY. A RED GLOW IS FAINT AND BOY IS ONCE AGAIN ALONE. HE HEARS A VOICE.
VOICE
She's there. You know she is.
So why are you waiting?
BOY
Because BEAT. If I find her...if I could,
what would words do to change her mind?
SILENCE IS HEARD AND BOY HEARS SHATTERING GLASS. HE LOOKS DOWN HALLWAY AND THERE SHE IS STANDING BEFORE HIM. IT IS QUICK BUT SHE TURNS AND BOLTS, WE SEE RED ON HER BACK. BLOOD.
BOY
No, wait. Come back.
(He starts in a jog and then runs faster down the hall,
pushing open the doors and being blinded by a bright light)
COUNSELOR IS STANDING THERE WITH HIS ARMS CROSSED BEHIND HER.
COUNSELOR
It was done. She was so beautiful. And innocent. You see, when life gives BEAT. It also takes away. (He points to her and she slowly
takes the knife in her hand in view from behind her)
BOY
I don't understand.
COUNSELOR
No one is meant to understand.
BOY
(directs his attention to counselor,annoyed)
Why are you here?
COUNSELOR
You asked me to,
don't you remember?
/IMAGE FLASHES BEFORE HIM, TWO OF THEM SHAKING HANDS, WHAT APPEAR TO BE COVERED IN RED STAIN (BLOOD)
BOY BLINKS RAPIDLY, TAKING IT ALL IN. HE LOOKS DOWN AT HIS HANDS AND THEY ARE FILLED WITH BUNCHES OF FRESH ROSES.
COUNSELOR
(Grinning) Engagement.
BOY WALKS SLOWLY UP TO HER AND SLIPS HIS HAND INTO HERS, HIS OTHER HAND CLUTCHING THE FLOWERS. HE STARES FORWARD, HE KNOWS HER. THEY LIVED A LIFE TOGETHER, HOW COULD SHE FORGET?
BUT SHE DOESN'T KNOW HIM. THEY ARE BOTH CONNECTED BY THE FAMILIARITY OF ONE DAUNTING THING: THE KNIFE.
BOY
I haven't known this pain I know now. What does that mean?
(he turns to ask COUNSELOR but he is not there)
CAMERA CUTS. THEY'RE SIDE BY SIDE. CAMERA FOCUSES ON THEIR JOINED HANDS AND THEN ON HER, HAIR BLOWING IN HER FACE, SQUEEZING THE KNIFE IN HER OTHER HAND. SHE TAKES HER HAND AWAY.
BOY
I know you. Isn't that enough? Look I can prove it, the ring...(
he grabs in his pocket for the ring he gave her but it isn't there, he panics) I've always had that.
GIRL
(She hands him the knife and points to him)
WE BRIEFLY SEE HIS FACE BEFORE
SCENE CUTS TO BLACK. INT. BOY BACK IN HIS BEDROOM, SITTING ON HIS BED, HIS FACE IN HIS HANDS
HE LOOKS AT THE CLOCK AND THEN CAMERA GOES BACK TO HIM,
ONE SHOT PAN. MOMENTARY PAUSE SHOT ON TICKING CLOCK.
HE JUMPS UP GOES TO HIS CALENDAR TO SEE WHAT THE DATE IS. EVERYTHING IS WHITED OUT AND IT ISN'T CLEAR WHAT DAY IT IS. HE RIPS THE CALENDAR OFF THE WALL ANGIRLY AND GLANCES UP AT THE CLOCK TICKING AWAY. HE PUSHES OPEN HIS BLINDS AND SEES THAT EVERYTHING IS NORMAL. HE ASSUMES EVERYTHING WAS JUST A DREAM.
HE PICKS UP HIS PHONE AND DIALS A NUMBER AND LEAVES A MESSAGE FOR GIRL.
BOY
HI. IT'S ME.I REALISE WE'VE BEEN THROUGH A LOT.
I WISH YOU'D TALK TO ME.
UM, SO CALL ME BACK I GUESS. I'M HERE AND I'LL BE WAITING.
HE HANGS UP AND TOSSES HIS PHONE ASIDE. HE FRANTICALLY LOOKS AROUND HIS BEDROOM AS IF SOMETHING IS AMISS. THEN HIS EYES SETTLE ON DEAD, DRY ROSES SITTING ON HIS DESK.
HE RUSHES OVER TO THEM AND PICKS THEM UP IN CONFUSION.
QUE MUSIC.
CUT TO SCENE:
HE RUNS DOWN THE STREETS, ROSES IN HIS HANDS, JUST RUNNING INTO THE DISTANCE, RUNNING AND RUNNING. AT ONE POINT HE TOSSES THEM ASIDE AND BENDS OVER. HE CRYS AND SLOWLY LOOKS UP A THE PARK HE'S IN.
HE SITS DOWN SLOPPILY ON A PARK BENCH, EXHAUSTED FROM RUNNING.
CAMERA PANS AROUND HIM IN CIRCLES AS HE RECOLLECTS IT ALL. WE HEAR COUNSELOR'S DIALOGUE IN HIS HEAD AS HE TRYS TO GET A GRIP ON REALITY.
COUNSELOR
(narrating)
It can never be like that again.
You don't get it do you?
BOY
(quietly)
Why?
DIALOGUE STARTS, WHILE HE IS SITTING THERE ON THE PARK BENCH TAKING IT ALL IN.SCENES OF HIS PAST FLASH BEFORE HIM. HIM AND GIRL IN HIS APARTMENT HOLDING GLASSES AND CONVERSING ETC.
COUNSELOR
(narrating)The human mind plays a clever trick on you while you're asleep. Many have always been perplexed with the idea of this. Things can simultaneously occur when you aren't even awake or conscious of the world. Even so, you can be stuck in one place that seems like forever. But BEAT. How can one really know if this is it; if there is nothing else?
#SCENE OF BOY AND GIRL TALKING AT TABLE IN KITCHEN. A RED GLOWING LIGHT IS FAINT.DIALOGUE UNAUDIBLE.THIS IS A TIMEW WHEN THEY ARE HAPPY.THE REOCCURING THEME OF RED.
FLASHBACK SCENE OF COUNSELOR WISHING HE COULD HAVE GIRL. LONGINGLY LOOKS ON AS GIRL WALKS AWAY WITH BOY.
SCENE TRANSITIONS TO BOY AGAIN ALONE IN A WIDE SHOT. SHOT SHOWS HER SHOULDER ONLY, ANOTHER OVER THE SHOULDER SHOT. WE NOW FIND OUT IT'S FROM HER PERSPECTIVE OF THINGS NOW.
COUNSELOR
The time you two were together...you gave each other a forever. That's more than most people can say in their lifetime. You'll always be together. Remember that.
CAMERA CUTS. FOCUSES ON BOY.
BOY
(gets up and reaches for GIRL but groans and pulls back, clutching his sides. He looks down and there is blood stained on his abdomen.)
(mutters) No.
(he looks down at the ground and a knife lay at his feet, his face struck with shock. He wasn't stabbed at that moment, it was implied he was earlier)
FLASHBACK OCCURS OF THE COUNSELOR AND BOY MEETING, AND COUNSELOR LACING HIS WATER WITH A HALLCUINATING PILL. BOY PUTS THE PUZZLE PIECES TOGETHER IN HIS HEAD.
SCENE CUTS TO BOY ONLY IN SHOT, CRUMPLING OVER IN SLOW MOTION. THIS IS THE MOST EMOTIONAL SCENE AND SHOULD BE DEMOSTRATED AS SO. IT IS THE CLIMATIC MOMENT. HE COLLAPSES TOWARDS THE END OF THE SHOT AND IT SLOWLY ZOOMS OUT AS GIRL RUNS UP TO HIM AND HOLDS HIM IN HER HARMS, HIS FALLEN, LIMP CORPSE.
SCENE ENDS/BRIGHTENS TO A BRIGHT WHITE LIGHT...
FUNERAL SEGMENT. REQUIRES EXTRAS.RAIN PREFERRED.
PEOPLE CLOTHED IN BLACK ALL SURROUNDING SOMETHING, BUT WE NEVER SEE THE COFFIN FOR SURE.
BRIEF PAN SHOT OF GIRL STANDING BY HERSELF, THE OTHER FUNERAL GOERS GIVING HER A WIDE CIRCLE OF SPACE. SIGNIFIES ISOLATION. THE PEOPLE ARE EXPRESIONLESS, LIFLESS AND CAN BE DEBATBLY IMAGINATIVE FIGMENTS...
COUNSELOR
(repeated narrartion)when life gives, it also takes away.
It takes away a part of some...(BEAT. End)
SOMETHING IN THE SCENE IS BLOCKING THE MIDDLE OF THE SHOT. A UNKNOWN FIGURE STANDS NEAR GIRL WITH HIS HAT POINTED DOWN. EASY TO MISS FOR VIEWERS.
PREACHER
Even though I walk through the valley of the shadow of death I will fear no evil;
for you are with me...(rest is inaduble)
SCENE SLOWLY FADES TO BLACK AS SOMEONE TOSSES A ROSE ON THE QUESTIONABLE OBJECT IN THE MIDDLE.
INT. APARTMENT, BEDROOM.
The room is slightly redecorated and looks as if it is occupying girl. The walls are blanker than normal, and there is not much light. The pan shot starts on the lamp and nightstand with the photograph frame seen earlier. Its glass is shattered and old, dead, crumpled roses are scattered around it messily.
CAMERA PANS TO GIRL'S FIGURE ON THE BED, LYING PERFECTLY STILL, HANDS CROSSED AND HOLDING THE LAST ROSE THAT SEEMS TO BE IN DECENT HEALTH. IT IS ALL SHE IS CLUTCHING ONTO. HER ATTIRE IS A GREEN DRESS AND HER FACE IS MADE UP NICELY.
CAMERA CUTS TO JUST HER CLOSED EYES.
GIRL SLOWLY RAISES THE DYING ROSE (JUST LIKE SHE TOO IS HEARTBROKEN)AND TOUCHES HER LIPS TO IT BEFORE WHISPERING:
GIRL
See you.
BEFORE THE SCENE ENDS, HER EYES POP OPEN, MUCH LIKE THE OPENING SHOT.
THE END
