Screenplay 2nd draft

Screenplay 2nd draft

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  “VIOLENT DELIGHTS” By Kaia Sayer
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  2 FADE IN: INT. BEDROOM.LONDON. EARLY MORNING A bedroom is shown. It is clean and tidy. Books and CD’s are placed in a bookshelf. Posters and photos fill the walls above a bed. A book is laying open on a bed side table, it focuses in on the words “Time. Time is the healer. Time was always the healer.” SOUND: ALARM BLEEPING SUMMER (V.O) Sylvia Plath once wrote a letter to her lover, and in it she wrote- We are then shown a couple sleeping in bed. They are still for a moment, then there is movement. We see the couple laughing and holding hands as they talk, but we do not hear this. SUMMER (V.O – CONT’D) “I honestly believe that by some mystic uniting we have become one flesh;” Still looking at the couple in the same position, but from a different angle. Suddenly LUKA has disappeared from the bed and SUMMER is left alone in the bed, curled in a foetal position. SUMMER (V.O – CONT’D) “I am simply sick, physically sick, without you.” Looking at Summer closely as we see tears streaming down her face as she looks down, looking completely distraught. She then wipes her tears frantically, looks up and proceeds to laugh SUMMER (V.O – CONT’D) “I cry” Summer is stood, only her neck exposed as we see a pair of hands wrap around her neck. This is then put into the question of ‘Are these her hands or someone else’s?’
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  3 SUMMER (V.O) “I laymy head on the floor; I choke, hate eating- Summer is shown sat in the middle of her bed. She picks up her phone and puts her headphones in one by one. As she puts the first bud in, we can hear a song quietly playing in the background. When she finally has both headphones in, the song can be heard clearly. Summer falls back into the duvet. MUSIC PLAYS “I DON’T WANT TO CRY” BY CHUCK JACKSON “I still love you, like I did before.” FADE IN BLACK “But before you smile, and walk through the door, darling…” FADE IN: BEGIN FLASHBACK: INT. LIVING ROOM. NIGHT. LUKA and SUMMER are shown laughing in the living room as they sing along to the song (SINGING)LUKA AND SUMMER “I don’t wanna cry, I don’t wanna cry. No more, no, darling, no more.” FADE IN INT. BEDROOM The room is dark as see Summer lying in bed, her face being alit by the light of her phone. She scrolls aimlessly and then moves around the bed into different positions, moving the pillows and duvet. SOUND: ALARM BLEEPING We then see her in the same position, but it’s lighter within the room and it appears to us that she hasn’t slept at all. We are shown as she goes about her day to day life, getting ready and putting her shoes on and a
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  4 jacket, whilst shovingthings into her bag and leaving the house out the back door. These actions repeat over and over again until the alarm goes off one day and she turns, turns it off and returns to her original position. The back door is shown, but this time no one is walking out of it. SUMMER (V.O) “hate sleeping, going out or going to bed. I am living in a kind of death-in- life.” Nate is reading a book on the bed for a few seconds, then looks up to smile at Summer who is not on screen, but taken the place of the camera. SUMMER (V.O) And I could never truly understand what she meant by this, that was until I met him. SUMMER (V.O) And maybe this is how love is supposed to feel. EXT. OUTSIDE. FIELD. MIDDAY We see closely both Luka and Summer smiling in two separate shoots. They both mouth “I love you”, but this exchange is muted. SUMMER (V.O) Love is (long pause) infatuation, safety, peace SUMMER (V.O) It’s a warm lit fire in the middle of a harsh storm
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  5 INT. DINING ROOM.LONDON. NIGHT There is a table and chairs placed in the centre of the room, with glasses and plates laid out as if they are about to eat dinner. The chairs are empty as a projection covers the wall behind them, it is playing a montage of black and white films. Summer enters the room and sits down on one side of the table, she glances over at the space left vacant in front of her and gets up slowly, collecting the plate and glass that was placed on the table and walks away. We next see her sat down with her head on the table crying softly. We hear a door slam, she then whips her head up as if someone has walked into the room and walks out of frame frantically. SUMMER (V.O) But if asked for the definition of love, I would tell them that love is being robbed in an alley eight times in a row, and hoping that there is something about today that makes all of that different. SUMMER (V.O) But my love feels heavy and crushes me from the inside out We are shown Summer and the purple bruises that are scattered across her neck and wrist. Nate is then shown shouting into the camera, the sound muted. We see his grip her face harshly SUMMER (V.O) And when your days begin to slowly blend into one, suddenly you lose sight of what is happening right in front of you. I tell myself he wasn’t really out of control. But how innocent we are of our mistakes, yet how responsible we are for them. Summer’s phone is placed on her bedside table as we see notifications pop up and FADE TO BLACK SUMMER (V.O) And love isn’t supposed to hurt, right?
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  6 FADE IN: INT. BEDROOM.LONDON. MIDNIGHT The room is empty as we see a bare chair in the centre of the room. As the phone rings, we see Summer come into frame and sit down. We are faced with a purple bruise that lays across Summer’s eye. She looks into the camera as if looking into a mirror and touches the bruise, then looks down and begins to cry slightly. As this is happening we hear a faint ringing in the background that continues as Summer begins to pick up a foundation bottle and apply it heavily to certain areas of her face messily with just her fingers. SUMMER’S DAD (V.O) (Your call has been forwarded to an automated voice messaging system. At the tone please record your message) Hey, it’s Dad again. I thought I’d call again as I felt you were a bit down the last time we spoke. But I just wanted to say that I’m here for you if you wanted to talk…or maybe (He stutters nervously, almost afraid of his own words) -maybe if you wanted-if you wanted to come home, I’d be here for you…okay, I’ll see you soon then. Oh, and Summer…I love you. It’s Summer’s Dad on the phone, and as he speaks we slowly see her fall apart as she begins to cry but still whilst applying her makeup. When Summer’s Dad speaks about her coming home, she stops what she is doing, lowers her head and puts her head in her hands as we hear her sob violently. She stays like this for a while until she sits back up, looking into the camera frantically wiping her tears away and smoothing her hair back as she smiles widely. When the voicemail finally ends Summer’s face goes completely emotionless. FADE OUT: THE END