by Gary Kittle
SCENE 7) INT. A living room. Day. (Flashback.)
Mourners in a room.
KILLER:
Nobody blamed me to my face. But I knew there were rumours - and where they came from.
The mourners turn to stare out through the half-open doorway.
KILLER:
He knew he'd never stand a chance with Ma if I was still around. So he did everything he could to get shot of me.
The door is slowly closed on the camera, with the mourners staring disapprovingly.
KILLER:
I overheard him tell Ma once: "That boy's all cock and no balls." Well, we'll see about that, won't we?
SCENE 8) INT. Child’s bedroom. Night. (Flashback.)
The camera appears to 'sit up' in the bed. There is a man standing in the doorway (seen from the waist down).
KILLER:
He was always threatened by the fact I was another man's child.
The man (still seen from waist down only) steps into the room.
KILLER:
He had to get rid of the competition, see? Before he could claim his crown.
The camera slowly starts to pan up.
KILLER:
And my brother's accident was his big chance to take me out of the equation permanently.
The camera pauses just below the man’s chin.
KILLER:
He nearly won, too. But getting rid of me turned out to be a pretty spectacular own goal.
We see a pair of adult fists, knuckles white.
KILLER (TEARFULLY):
I tried to protect my brother after our Dad walked out. Even more so when Ma started seeing this other creep.
The two fists are turned over.
KILLER:
But I screwed up big time at that bloody lake. So I felt I had to make amends. Any way I could.
The left hand opens to reveal several unpackaged condoms.
KILLER:
You know, get back for her what I'd lost.
The second fist uncurls to reveal a darning needle.
KILLER:
I just wanted to make it all right again, that's all!
KILLER (SHOUTED AT KENNEDY):
Didn't you understand that?
The camera shows the man in full, revealing his identity.
KILLER:
KENNEDY!!!
KENNEDY turns away, switches the bedroom light off and slowly closes the door behind him.
SCENE 9) INT. Church. Day. (Cont/d.)
The camera is facing the closed church door.
KILLER:
So you see, I can't wait here. Not now I know he's after Mandy, too.
The church door is slowly pulled open.
KILLER:
But how did he find her?
SCENE 10) EXT. Churchyard. Day.
There is no one immediately outside, but leading up to the threshold are wet footprints again.
KILLER:
Whatever you want, guys, it's going to have to wait.
Across the headstones the three spirits stare over at the camera. The girl starts to scream, whilst the mother just stares at him and his brother shakes his head sadly.
KILLER:
Don't worry, Ma. He won't get away with it this time.
SCENE 11) INT. Ex-wife’s flat. Night.
MANDY is alone. She slumps onto a sofa with a bottle of white wine. She opens it; pours herself a full glass, which she downs quickly. (Background sound of running bath tap.)
KILLER:
Good. He's scuttled off. Back to his place? He'll be back, I'll bet.
MANDY pours herself another full glass.
KILLER:
Was it him that bought you that bottle, love? Trying to buy your affections. He does that.
She drinks deeply again.
KILLER:
He's old enough to be your grandfather, the dirty sod!
MANDY wanders over to the bathroom and goes inside.
We hear the water stopped and see MANDY walking into a BEDROOM.
KILLER (SIGHING):
Ironic, that. He almost is.
MANDY emerges from the bedroom, a little unsteadily, carrying the baby in a towel.
KILLER:
Bath time, eh, kid? You're lucky. No one ever bathed me.
MANDY holds up a bath toy and giggles with the baby.
KILLER:
Relax, you two. Kennedy won't be a problem. I promise.
The camera turns towards the front door.
WHERE THE SKY IS TAINTED RED - EPISODE FIVE
SCENE 1) EST. INT. Kennedy’s flat. Day. (Flash forward.)
The camera is looking down at the front doormat. It is covered with unopened post.
KILLER:
It's horrible sometimes, the thoughts that go through your head.
(BEAT)
'Cause maybe he didn't find her at all.
The camera resumes its journey towards the living room.
KILLER:
Maybe she went in search of him.
The camera enters the living room. KENNEDY's chair is empty. There are no lights on. There is dust on the furniture. The camera focuses on the daylight coming in through the blinds.
KILLER:
What’s going on? What happened to last night?
Camera heads for the kitchen, where a plastic carton of milk with its cap removed has gone off. The camera looks closer.
KILLER:
Glad I can't smell. That's days old.
There is a mug by the sink with mouldy dregs inside.
KILLER:
Weeks even.
The camera peeks into the living room and focuses on a number of empty medicine bottles, a few loose pills and a couple of empty whiskey bottles laying by KENNEDY's armchair.
KILLER:
What's going on?
SCENE 2) INT. Kennedy’s flat. Night. (Real time.)
The camera turns back into the kitchen, but it has changed (now artificially lit). The mug by the sink contains a fresh, steaming coffee. The milk carton is still standing uncapped, but hasn't gone off. Someone is humming off-camera.
KILLER:
Ah, right! I get it.
The camera moves into the living room to find KENNEDY munching a sandwich in his armchair. He is wearing headphones and humming to music.
KILLER:
Precognition! I read about that inside, too. Never knew I had it in me! Still freaky, though.
Nearby, KENNEDY's mobile phone rings. KENNEDY is oblivious. The camera looks down and sees the caller's name: MANDY.
SCENE 3) INT. Mandy’s flat. Night. (Real time.)
MANDY is pacing the room with the phone to her ear. She is visibly upset.
KILLER (TO MANDY):
What's he said to you, hey? What's he done?
She redials and paces even more frantically.
KILLER (TO MANDY):
You, go after him? Bollocks. He must have seen your picture in the papers during the trial. 'YOUNG WIFE IN MERCY FLIGHT TO DEATH ROW.' And a few weeks' later, down he swoops to save the Day!
MANDY snatches up the TV remote control and unmutes the television.
NEWS REPORTER:
'... have not confirmed yet that the body in the car is that of missing student...'
MANDY shakes her head in horror and puts off the TV.
KILLER:
Well someone was going to find her eventually, Mand! You must have known there were others.
(SNIGGERING):
I think the nature of serial killing is somewhat betrayed by the term, love.
MANDY snatches up the wine bottle and drinks. She sways and tries the phone again.
KILLER:
Listen, I know it's a shock, but crying on his shoulder won't...
MANDY finishes off the bottle and looks around for another. She makes a beeline for the kitchen.
KILLER:
Here, I
know you always hated my being overprotective, but haven't you had enough for one night, babe?
Inside the kitchen MANDY slips on some spilled water and knocks her head on the way down. She doesn't move but is still breathing.
KILLER:
Oh, now look what's happened, you silly...
From the bathroom comes the sound of splashing water. The camera rests on the unconscious figure of MANDY.
KILLER:
MANDY?
The camera comes up close to MANDY's face.
KILLER:
MANDY, wake up! MANDY, please!
MANDY starts to come around but is groggy. She looks over towards the bathroom. We hear more splashing. The camera follows her gaze.
SCENE 4) INT. Kennedy’s flat. Night.
KENNEDY picks up his TV. remote.
KILLER (PANICKED):
Yes, yes. Do that, KENNEDY. Watch the news. See what she's seen. Then you can call her, start to worry when she doesn't pick up, grab your coat and...
With a sigh KENNEDY tosses the remote away and yawns.
KILLER:
What are you doing, you arse? This is your chance to be the hero. Isn't that what you want? To be the ‘big man’ again!
KENNEDY puts down his plate and moves off towards the bedroom, with the unanswered mobile phone in the foreground.
KILLER:
No, no, no! You have to...
The camera scans the room nervously. There is a dripping sound.
KILLER:
Who's there? Who's doing this?
SCENE 5) INT. Bedroom. Evening. (Flashback.)
The KILLER's mother is now slumped lifelessly over the dressing table top amidst the mess of empty gin bottles, pills and medicine bottles.
The door opens slowly behind her to reveal the shocked figure of young KENNEDY. His face crumples and he falls screaming to his knees.
SCENE 6) INT. Kennedy’s flat. Night. (Real time.)
The camera follows KENNEDY into his bedroom, where he prepares himself for bed. The camera focuses on the lights and switches around the room. We hear someone straining with effort off-camera but the main light only flickers momentarily. KENNEDY doesn't notice. The camera sits next to KENNEDY on the bed.
KILLER (SIGHING):
I want you to die more than I've ever wanted to kill anyone before.
The KILLER starts to whimper.
KILLER:
But if you do you'll take away the only good thing I've ever done.
The camera sinks towards the floor. Again there’s a distant dripping sound.
KILLER (CRYING):
I know it's you doing all this, Ma.
The main light flickers again. This time KENNEDY does notice but merely lies down on the bed with his headphones on.
KILLER (CRYING):
But that baby is as much your flesh and blood as mine.
KILLER (SHOUTED):
It's your grandchild, Ma!
The main light blows. KENNEDY sits up and pulls off his headphones just as his mobile phone starts to ring.
SCENE 7) INT. Mandy’s flat. Night.
MANDY is sitting just inside the kitchen doorway, slumped against the frame. There is a mobile phone in her hand.
KILLER:
Good girl! Creepy Kennedy's on his way. Everything's going to be...
The sound of splashing from the bathroom suddenly stops.
KILLER:
Oh, no! Come on, Mand! Don't just sit there, woman! Move.
The camera returns to MANDY, but she looks very woozy and there is a trickle of blood running from out of her hair.
KILLER:
MANDY?
There is a knock from the front door.
KILLER:
Oh, thank God!
There is another knock, louder this time.
KILLER:
Don't muck about, KENNEDY. Just...
The camera focuses on the catch to the door, then back to MANDY's drowsy figure.
KILLER:
Nooooooooo!!!!!!!!
WHERE THE SKY IS TAINTED RED - EPISODE SIX
SCENE 1) EST. INT. Mandy’s flat. Night.
Close up of MANDY, semi-conscious and bleeding.
KILLER (SOBBING):
I never hated Mandy. Even when she wound me up. Is that what love is: not hating? Story of my life, really: one big absence.
(BEAT)
And now? Now I don't even have a shadow to call my own.
SCENE 2) INT. Mandy’s flat. Night.
The camera is focused on the locked front door catch. Someone is pounding on it to get in. The camera turns back to MANDY.
KILLER:
Mandy? You have to get up now, love.
More pounding. MANDY's mobile rings.
KILLER:
MANDY, listen.
Camera turns in the direction of the bathroom. Silence, slow dripping water and then splashing and giggling.
KILLER:
I'm sorry. All right. I've never said this before. Not to you. Not to anyone.
The pounding resumes with muffled shouts from outside.
KILLER:
Not even in the Execution Chamber.
There is a sudden loud splash from the bathroom, followed by dripping, then silence.
KILLER:
But...
Someone starts to kick at the outside of the front door.
KILLER:
I am sorry.
MANDY's eyes start to flicker and she groans.
KILLER:
Believe me, Mand. I. Am. So! So! Sorry!
MANDY looks groggily over at the front door and painfully begins to crawl out of shot on all fours towards the door.
KILLER:
Oh, thank...
As MANDY approaches the door the view through the camera starts to fade out to the soundtrack of loud dripping.
KILLER:
Thank you, Ma.
The camera slumps like a lolling head.
KILLER:
Please forgive me...
The last thing the camera sees is MANDY's outstretched arm reaching for the door catch.
KILLER:
I love you.
SCENE 3) INT. Mandy’s flat. Night. (Later.)
The camera fades back in. MANDY is in a chair, a blanket wrapped round her, crying. KENNEDY is stroking her hair.
KENNEDY says something consoling but MANDY's crying only worsens.
KILLER:
Oh, no, no, no! It wasn’t too late.
The camera starts to move towards the bathroom.
KILLER:
Just tell me it wasn’t too late!
The camera is on the threshold of the bathroom door.
KILLER:
Please, Ma. Enough's enough! I know!
Slowly the camera peeks around the corner, the bath itself revealed bit by bit.
KILLER:
You don't have to show me! I know! I KNOW!!!
The bath is empty and dry. We hear the killer let out a sigh, then a sobbing laugh of relief.
SCENE 4) INT. Mandy’s flat. Night. (Flashback to former screened Scene 11/Ep 4.)
MANDY emerges from the bedroom carrying the baby in a towel. She holds up a bath toy and giggles with the baby. We can hear the television faintly in the background.
MANDY stiffens and stares into the lounge. The camera follows her line of sight: it's the TV.
KILLER (MUFFLED):
No, no, don't! Don't look at the...
Wide-eyed MANDY approaches the screen carrying the baby.
SCENE 5) INT. Mandy’s flat. Night. (Later.)
The camera jolts back into the present, focusing on wet footprints on the bathroom floor.
KILLER:
It's not Ma.
(BEAT)
It was never Ma. It's... you.
The camera spins around to see the baby in its cot in the bedroom, sleeping peacefully.
KILLER:
It's been you all along.
SCENE 6) EXT. Lake. Day. (Flashback.)
Shot of lake's surface with a child’s ghostly giggling in the background.
SCENE 7) INT. Mandy’s flat. Night. (Later.)
The camera approaches the cot, but already the picture is beginning to fade out/ distort.
KILLER:
I could never bring myself to say your name afterwards.
(WHISPERED):
But I swear I never forgot you. Not for a second.
The view from the camera starts to flicker and black out.
KILLER:
Johnny...
The view from the camera starts to reduce (like someone falling down a tunnel). Then black out.
KILLER (WHISPERED):
Thank you, brother.
WHERE THE SKY IS TAINTED RED - EPILOGUE
SCENE 1) INT. Different house. Living room. Day. (Some years later.)
(View through cot bars.) A child is crying. A man storms into shot (seen from waist down only). The child is screaming.
UNIDENTIFIED ADULT:
Shut your row. Get this into your head, you little shit: Your Mum's gone and she ain't coming back!
The figure approaches the bars, fists clenched, and the camera retreats (as if in fear). The child is now silent.
UNIDENTIFIED ADULT:
And we all know whose fault that is. Right?
The UNIDENTIFIED ADULT stalks off again.
There is stillness and silence. Then a toy sails over the bars of the cot. Then another and another.
Final shot (in silence) of two small fists clenching the bars of the cot. They start to shake it, harder and harder each time.
END.
FELICITY
SCENE 1) OPENING FRAME – Black script on a white background.
FELICITY:
1. complete happiness
(Oxford English Dictionary)
SCENE 2) EST. INT. Front door area.
The door opens slowly and MAX sticks his head inside.
MAX (WHISPERED):
Felicity?
MAX slips inside, pushing the door behind him.
MAX:
Felicity, it's MAX. Where are you?
MAX heads for the stairs. A shadowy female form creeps out behind him. With a lunge she pops her hands over MAX's eyes, making him jump. She giggles.
FELICITY:
What are you so nervous about? It's hardly the first time.
MAX (WHISPERED):