INSOMNIAC - D.1 .pdf

1.
INSOMNIAC'S THAT GO BANG IN THE NIGHT
written by
L. M. Higham

2. BLACK.
The patter of rain against a window. Faint. Gentle.
INT./EXT. CAFE - NIGHT
Sitting in the front window is JOSEPH (19), his head is
tilted up facing the ceiling. Eyes shut. He looks damaged and
exhausted. The cafe is in darkness. The only source of light
is coming from neon signs in the distance. Dark blues.
Purples. Greens. Yellows.
On the bar table in front of Joseph:
An empty espresso cup
A half empty glass of water
A file with the contents scattered
Sleeping pills
A ripped piece of nylon, the colour is UNCLEAR
Two bright yellow beams of light slowly shine into the cafe,
illuminating the room and shining in Joseph's face. His eyes
flicker. His head turns. It's car. And he knows who it is.
He slips the piece of nylon into his pocket, the colour is
still unclear.
For a few moments we hear very faint waves in the distance.
The lights shut off. As does the sound of the beach.
A WOMAN gets out of the car, propping up a YELLOW umbrella
with a sizeable hole in it. She waits a few moments, staring
into the window.
We do not see her face.
Still.
MOMENTS LATER
The umbrella is propped up on the floor drying.
The woman and Joseph are sat on a table, different to where
Joseph was before. The table has a WHITE table cloth. More
central to the room.

3. 2.
The woman is JOLENE (19) she is wet from the rain, her makeup
has been smudged. Her face looks tattered while her
expression is determined and proud.
On this table we see: a small jug of water, with two glasses.
Jolene keeps her coat on, she knows this won't take long.
Joseph exhales. Loud. Long. Deliberate.
Jolene reluctantly speaks first.
JOLENE
I'm sorr--
Joseph swiftly cuts her off.
JOSEPH
--You don't... have to apologise.
She shakes it off.
JOLENE
I just want you to know, I had
nothing to do with it.
JOSEPH
I know.
Joseph looks down to the table cloth. He begins to rub it.
Jolene tries to get his attention.
JOLENE
Jospeh.
He looks up.~
JOSEPH
What happened?
He pours himself a glass of water, as he reaches for the
glass it knocks over, spilling the water onto the floor.
We hear a BOOMING foghorn.
EXT. THE RIVER OUSE, CENTRAL YORK - DAY - EARLIER
Misty. Dim. Lonely. Cold.
Early morning.
The water of the river, stone cold. The current is strong,
from the harsh wind.

4. 3.
We see Joseph's silhouette walking down a path, by the side
of the river. BACK TO CAMERA. He strides through the mist, he
could just as easily be mistaken for a ghost.
Over all of this imagery, we hear a booming, confident voice.
DECEIVING ACQUAINTANCE (O.S.)
Thanks for meeting me today. How
are you? I know you've taken time
off. Enjoyable, I hope.
CUT TO:
Joseph and THE DECEIVING ACQUAINTANCE (older than Joseph, age
unclear) bombing down the river in a boat.
Jospeh sits on the left, leaning as far away as possible.
He's detached and TIRED. Take-away coffee cup in hand.
DECEIVING ACQUAINTANCE (CONT'D)
You look tired.
Joseph gives him a look. His expression seems to say: "no
shit."
DECEIVING ACQUAINTANCE (CONT'D)
I have a job for you. You've done
this type of stuff before, nothing
new. Treat them like they're
nothing. The client is remaining
anonymous.
He pauses. Hoping for a response.
DECEIVING ACQUAINTANCE (CONT'D)
Do you wish to hear more?
Joseph exhales.
JOSEPH
How long have I worked for you?
DECEIVING ACQUAINTANCE
(his tone grows in
persuasiveness)
Every job you've done, it's been
completed to an excellent standard.
I know you want out. This is your
key. You do this for me, and all
your worries will be gone. This is
what I want you to finish on. When
this job came up, oh boy I said
your name so fast it almost made my
head spin. Off.
(MORE)

5. 4.
DECEIVING ACQUAINTANCE (CONT'D)
This is the way you go out.
Otherwise you spend the rest of
your life in this. Your choice.
EXT. PUBLIC PARK - MOMENTS LATER
Tall, thick trees. Empty benches. Mist hovering above the
ground.
Joseph and The Deceiving Acquaintance stroll round a small
park. Joseph has a newspaper folded between his arm.
The Deceiving Acquaintance pulls out a brown paper file, the
same file we saw earlier in the cafe. He opens it, taking out
a document.
We see the document that has a picture of THE TARGET and
other bits of information.
DECEIVING ACQUAINTANCE
(handing it to Joseph)
Here he is. All the details are
there.
Joseph scans through them.
We see:
"OCCUPATION: LOGISTICS MANAGER AT YORK RACECOURSE"
"CLIENT SPECIFICATIONS: ATTACK MUST BE PUBLIC. TWO-PERSON
JOB"
"MEET YOUR PARTNER ON FLOOR 2 OF RACECOURSE"
He stops walking to lean up against a bench.
JOSEPH
It says something about having a
partner?
The Deceiving Acquaintance chooses his words carefully.
Pause.
DECEIVING ACQUAINTANCE
Um... yes. This job requires that.
The client requested it be a two-
person deal.
Pause.
Joseph thinks.

6. 5.
He continues to scan through the document.
We see:
"IMPORTANT: RETRIEVE A RED GLOVE FROM THE TARGET"
JOSEPH
A red glove?
DECEIVING ACQUAINTANCE
Yes. The client was very particular
about that one detail. You must
retrieve the red glove. I don't
care if you slap him in the face.
But that red glove is of upmost
importance. If all else fails, get
the red glove.
He takes a KEY out of his pocket.
DECEIVING ACQUAINTANCE (CONT'D)
See this?
Joseph looks at the key.
DECEIVING ACQUAINTANCE (CONT'D)
This is your key out of this harsh
world. You'll find it at the
rendezvous point... in the alley.
Once the job is done.
His response is reluctant but well advised.
JOSEPH
Fine. I'm in.
He looks back at that one detail:
"MEET YOUR PARTNER ON FLOOR 2"
INT. YORK RACECOURSE - DAY
Floor 2.
Joseph is inside, stood in a central hallway. A stairway to
his left, a set of two lifts to his right.
The ambient sound of a BUZZ - faint humming of a machine.
The hallway is strangely empty. Quiet. Albeit, the racecourse
is closed but surely other workers can be spotted.
Joseph stands like an out of place ornament.

7. 6.
Waiting.
Waiting.
Are they even gonna turn up?
A door opposite to where Joseph is stood, gradually opens.
It's Jolene.
Joseph doesn't move. He wants to say something but can't find
the words. Should he be mad? Happy? Professional?
His faces says he's cautiously happy, but she can't know
that.
They start to walk towards each other.
Their pace becomes swifter as they get closer and closer.
They collide into a hug. A hug of passion, forgiveness,
acknowledgement, solace.
HOLD CLOSE ON: Joseph's face.
After a few moments he lets go.
She's gone.
The girl he'd just been holding managed to slip away.
INT. PRIVATE RACE BOX - LATER
Jospeh stands looking out onto the race track.
The room is as bare as it comes. Blank walls. Little
furniture.
Joseph steps back into the room, where Jolene is stood.
JOSEPH
I need to know one thing. Did you
know you were going to be working
with me?
JOLENE
No.
JOSEPH
I can't believe you.
JOLENE
What?

8. 7.
JOSEPH
This. I never expected you to be
here. Doing this.
JOLENE
No thanks to you.
Jospeh becomes increasingly agitated.
JOSEPH
Don't do that. Don't pin me up on
this. Anyway - we need, we need to
do this. Plan this. We don't have
long.
While wanting to move on, Jolene's presence in this situation
is causing Joseph much distress.
JOSEPH (CONT'D)
Listen, why are you even here? Who
chose you? They know our history
this is just an unnecessary
complication.
Jolene, already tired with this conversation.
JOLENE
I'm not good with words.
JOSEPH
Perhaps you were, would you still
talk?
JOLENE
No.
JOSEPH
You used to be good.
JOLENE
Perhaps I still am, just not for
you.
JOSEPH
Perhaps you were good to me?
JOLENE
Perhaps I drop this whole thing now
and run?
JOSEPH
Perhaps I chase after you?

9. 8.
JOLENE
Isn't that my job?
JOSEPH
Shut up. You're here. Let's do this
and run.
INT. RACECOURSE RESTAURANT - LATER
The racecourse restaurant. Large. Empty.
The only people that occupy the space are THE TARGET - sat on
one of the tables with paperwork and a small group of people
chatting in the corner.
Joseph and Jolene enter, walking towards The Target.
The people in the corner are particularly loud.
This woman is full of energy and enthusiasm.
SISTER
Anyway we must do this now
otherwise they'll come for us,
anyway it is important.
Joseph and Jolene slow down to observe what she is saying.
The Target doesn't seem to notice the noise.
SISTER (CONT'D)
Anyway, they'e in love,
they're in love ok or they
used to be anyway that's
finished with anyway yes
let's forget about that. Ok,
anyway ok, let's just forget!
Forget it all.
JOLENE
Joseph isn't that your
sister?
JOSEPH
Yes.
JOLENE
Aren't you gonna say
something to her?
JOSEPH
No.
SISTER (CONT'D)
Everyday I wake up, I feel defeated
and cynical but a glimmer of
excitement and thrill shines
through. The unpredictability of a
day makes an interesting and
worthwhile existence, if you know
where to look!

10. 9.
They continue on, trying to brush off that odd experience.
We still hear SISTER in the background - emphasis on anyway.
Joseph swiftly approaches The Target.
The Target turns his head.
BANG!
Joseph THUDS The Target in the head with his fist, sending
him off his chair to the ground. Clean.
Joseph grabs him by his hair.
THUD!
Again another PUNCH to the face. You can almost hear the echo
and vibration coming from The Target's head.
The Target tries to get up and run away, only for Joseph to
KICK him back down.
The Target finally manages to scamper away.
Jolene turns to Joseph.
JOLENE
The red glove. Did you get the red
glove?
Jospeh gives her a look of disagreement. But it must be done.
He searches through the paperwork where The Target was sat,
throwing things everywhere, frantically searching.
JOLENE (CONT'D)
No, he'll have it on him. You need
to go after him!
He gives a look. Then runs.
INT. CAFE - NIGHT - CONTINUOUS
We shoot back to the cafe where Jolene and Jospeh are still
sat.
CLOSE UP: Jolene.
She knows more than she's letting on.
RING.

11. 10.
RING.
RING.
INT. YORK RACECOURSE - LATER
The sound of an alarm clock.
Jospeh is curled up on the floor of the HALLWAY, he turns
with an ALARM CLOCK strapped to his wrist.
RING! RING! RING!
EXT. YORK RACECOURSE - MOMENTS LATER
Josephs runs out of the racecourse.
INT. CAFE - NIGHT - CONTINUOUS
Back to the cafe.
MATCH CLOSE ON: Joseph's face.
JOSEPH
Jolene we were set up. You know it.
JOLENE
What is love in a single image? No
words.
EXT. BEACH - DAY
Jospeh is on his knees. Hands dug in the sand.
Jolene is heading towards the sea.
Waves crashing. Wind blowing.
INT. PRIVATE RACE BOX - LATER
Jolene storms into the room, collecting her YELLOW umbrella.
EXT. STREETS OF YORK - CONTINUOUS
Joseph runs out into the streets.
Twisting and turning each corner.

12. 11.
Running through endless, maze-like alleyways.
JOLENE (O.S.)
No Jospeh! No!
Jospeh stops and turns as if he heard something.
INT. DOMESTIC SETTING
Jolene and Joseph are arguing.
Domesticated setting.
JOLENE
You need to stop! I can't believe
you!
JOSEPH
I'm trying aren't I? They won't
stop asking me. They won't stop
calling me. I answer and I do the
job and I get money for you.
JOLENE
It's wrong! My god you're killing
me. How am I supposed to love you?
JOSEPH
I'm sorry. I thought I wanted this,
I thought I wanted you... but I
still feel the same. I have love in
me but it's finding it's way out of
me.
CUT TO:
A happier time.
Same setting.
Joseph lying on a sofa with Jolene.
JOSEPH (CONT'D)
Why are all the best thing I've
ever thought of, I've forgotten.
I'm starting to question if they
were any good at all.
A mug with cold black coffee, swirling around - almost
hypnotically.
White bed sheets. Jospeh lying in BED, fidgeting.

13. 12.
On the side there's SLEEPING PILLS and a laptop with a video
showing how to cope with insomnia. Jospeh has HEADPHONES on
with WHALE SOUNDS playing we hear the sound penetrate through
the headphones into the soundtrack.
He then applies lavender oil on his temple.
BACK TO THE ARGUMENT
JOSEPH (CONT'D)
I thought I wanted to give you
love, I thought you'd make me feel
loved but I still feel the same!
EXT. BEACH - DAY
Jolene continues to march into the sea.
BACK TO
Joseph applying lavender oil on his temple.
The lights flash: white. White. Yellow. Yellow. A flash of a
combination of colours- red, orange, yellow, green, blue,
purple.
Jospeh reacts to the colours.
With the white he's in an equilibrium.
With yellow he's entranced with love and lust.
With the combination of colours, he rejects them with anger.
Rejecting the truth.
More colours flash: pink, purple, blue. Strong yellows.
With the pinks, purples and blues he reluctantly accepts
them.
The yellow is alluring, desirable and dangerous. Filled with
pain and suffering. Compulsion and embarrassment.
RING! RING! RING!
EXT. STREETS - NIGHT
Joseph is in an abandoned phone booth. There is NO PHONE yet
there continues a CONSTANT ringing.
He can't get out. He can't answer the phone.

14. 13.
INT. CAFE - NIGHT
RING! RING! RING!
The ringing continues.
Jospeh grabs his wrist. No alarm clock.
He's terrified.
INT. PRIVATE RACE BOX - CONTINUOUS
WE GO BACK to Jolene in the room.
She answers her phone.
The ringing stops.
JOLENE
(into phone)
He's chasing him now.
(listening)
No.
(listening)
You promised him a key out of this
life, right?
She reaches into her pocket and takes out a KEY.
JOLENE (CONT'D)
(into phone)
I've got the key.
(listening)
Listen, it was never my intension
to hurt him. I need the money...
badly. No thanks to him.
(listening)
It was you that wanted to be cruel!
(listening)
Oh please. I want no part of this.
Only to take my money and run.
That's what we agreed.
(listening)
Right. Meet him at the cafe. Calm
him down. Then we're done. Then
he's yours.
She tears off a nearby piece of paper and writes:
"MEET AT CAFE -- 2AM"

15. 14.
JOLENE (CONT'D)
(into phone)
Where did you tell him he'd find
the key?
EXT. STREETS OF YORK
BACK TO THE ALLEY'S OF YORK
Jospeh still chasing The Target however he is nowhere to be
seen.
The alley is empty of people.
Joseph stops running. Out of breath. Exhausted.
He starts to feel the walls, search the dirty pavement. He
slowly descends until he's practically sitting on the floor.
He reaches into his upper coat pocket. Pulls out a ZIPPO
WINDPROOF LIGHTER. It's rusty, chipped with stains of mud,
dirt and blood. It takes at least five spins of the flint
wheel to light up. With that he takes a cigarette.
One long drag of the cigarette is enough.
He then continues to search the floor for THE KEY.
Digging his fingers into the paving stones, he grows
increasingly desperate.
Finally! He sees something shiny. He reaches to pick it up.
It's a key.
He holds it in his hand. We clearly see it.
GONE!
The key disappears from his hand. With that, many people are
now walking up and down the alleyway, as if out of nowhere.
Josephs drags himself up, using a PERSON to lift him up.
JOSEPH
(to THE PERSON)
Where's the key?
PERSON
There is no key.
Joseph clumsily walks out of the alleyway, as he reaches the
exit he notices a ripped piece of nylon, YELLOW.

16. 15.
He picks it up to inspect it. Curious. That colour is
familiar. He puts it in his pocket.
INT. CAFE - NIGHT - CONTINUOUS
BACK TO THE CAFE
CLOSE UP: Jospeh's pocket taking out the YELLOW NYLON,
keeping it below.
He notices more the hole in Jolene's umbrella.
JOLENE
(getting up)
I better be leaving.
She starts to walk off.
As Joseph begins to speak, she stops.
JOSEPH
Why did you want to meet me in the
first place? All we've done is talk
about what happened. We haven't
even worked out who betrayed us
yet.
Pause.
JOSEPH (CONT'D)
Obviously the whole job was a set-
up. I really want to know who hired
me. Because this job has been
bizarre. A red glove? A key? All
for what? To embarrass me? Waste my
time? Make a fool outta me?
Jolene turns around.
JOLENE
(taking a deep breath)
Joseph.
JOSEPH
Jolene.
JOLENE
I don't know what happened --
exactly. I wanted to meet with you
to make sure everything was ok.
JOSEPH
How did you rip your umbrella?

17. 16.
JOLENE
I caught it on something.
JOSEPH
On what?
JOLENE
I can't remember. Am I ok to go?
JOSEPH
Something sharp? Dirty? Like a
stone pointing out in an alleyway?
He slams the piece of umbrella onto the table.
Violently getting up.
Slowly walking towards Jolene.
CLOSE UP: His feet walking, on the surface of the cafe until
it changes to mud and grass.
EXT. WOODLAND - DAY
Jospeh is a normal looking woodland. He turns to usher Jolene
to join him who is still in THE CAFE.
Hung up on the branches of trees are WHITE BED SHEETS.
Blowing in the wind.
Jospeh stands on the left, Jolene on the right.
They move closer to each other, the closer they get the more
they embrace each other.
They collide in a passionate hug. The sheets blocking them
from actually touching other.
They then move into kissing one another, again the sheets
blocking them from actually making real contact.
HOLD.
THE END.