1. Black screen, during the voiceover a candle is slowly revealed, only the flame is visible. A
moth is drawn to it and catches on fire.
MOTH (V.O.)
Dreams have meanings, don’t they? Symbolism. Snakes are challenging issues you haven’t
faced yet. Falling means you’ve lost control. But when you’re awake it all means something
else. Falling means you didn’t lift your foot up high enough. Snake means get the fuck out of
there. Why would my brain send a snake to tell me I need to face up to my problems? What if
I just like snakes? So maybe dreams don’t have a meaning. Maybe nothing does. Maybe
we’re all just so desperate to find the meaning, reason, for everything that we make one up.
It’s scarier when things don’t have a meaning, isn’t it? Moth. Why? Why? Why? Moths can
move in darkness, agilely moving around to find the light. Ability to hear unspoken
messages. Ability to confuse enemies… Maybe I just like moths. Did you know that most
adult moths don’t have mouths? They starve for a week until they die. Their goal in life is to
breed, to make more moths, to breed, to starve, to die. Maybe there’s no symbolism in the
way we pay psychiatrists to pretend there is. Maybe there’s just something beautiful in being
born to create and to die.
EXT. NIGHT. On a front lawn in front of a large white house lit by a few lamps. There is a
wired fence behind Seth.
Seth (dressed in all black, pale and slender. He has been trained to kill, but something is
different about this one) and a barking Rottweiler. He has a stick in his hand. The dog jumps
at him and Seth hits his side with the stick, the dog drops and he keeps beating it until an off
screen whimper tells us it’s dead. A light comes on over the front porch and Seth drags the
dog behind a bush. NAYA –black, dressed in a robe and slippers, holding a shot gun. She has
a thin silver bracelet on. She looks around frantically.
NAYA
I know you’re here!
SETH (whispered to dead dog)
See, this is the problem with women. They think they know everything.
Seth pats the dog.
SETH (continued)
There’s no such thing, really, as the right to live.
He brings out a gun and aims it at her, taking it off safety as he speaks.
SETH (continued)
Especially people like her.
A gun shot takes us to the train station. It is later that evening.
EXT. TRAIN STATION. NIGHT.
A few other people on either platform. Seth walks past them all until he’s completely alone.
Stares at empty tracks.

2. [Flashback] EXT. TRAIN TRACKS. He is younger. It is raining, walking along side tracks.
He falls over, focus on face as he closes his eyes. MATCH CUT TO INT. Seth is pulled out
of bed by a man, his father. Undecipherable audio of yelling fades.
EXT. Present day. Sound of train approaching, it quickly comes. Seth jumps in front of it.
Cuts back to him waiting for it. It was a day dream.
INT. Cuts to train, one or two people in every section of seats. Seth sits opposite a man-
white, a scar over his nose.
[Flashback] INT. Work out area, punching bags and mats around the room, mirrors across
one wall. Younger than present day but older than before, taller, stronger. Seth’s chest is
pushed back, he stumbles. Swing to hit the other, Moth, (an older man, strong build and
bandages over fists) his arm is grabbed and pushed back again. Moth goes to punch Seth,
hitting his nose and causing it to bleed.
MOTH
Now you’re dead.
SETH (grumpily)
Thanks.
MOTH
Come on. Focus.
SETH
I’m trying!
MOTH
Hit me again.
Seth clutches his nose with one hand and tries to hit him again, Moth grabs his arm and
pushes him down. Seth sits on the floor, Moth sits beside him.
MOTH (continued)
Okay, let’s call it a day.
SETH
Let’s.
MOTH
Tilt your head forward.
Seth does so and Moth takes a bandage off of his hands and places it under Seth’s nose.
SETH
Think you could go a little easier next time?
MOTH
If I go easier you’ll die.

3. A beat of silence.
SETH
Maybe that wouldn’t be such a bad thing.
MOTH
Maybe.
Another beat of silence.
SETH
Why do people call you Moth?
MOTH
How long have you been thinking about that?
SETH
Three years.
MOTH
I didn’t know you had that kind of attention span.
SETH
Why do people call you Moth?
MOTH
Because I have no mouth.
INT. Back in train- present day.
MAN #1
Can you stop staring at me?
SETH
Oh.
MAN #1
Creepy fucker.
SETH (V.O.)
This man has not been taught to fish. He will eat for one day and starve.
Good.
Seth looks away and faces the window. Focuses on his reflection and notices blood on his
neck, he rubs it and moves his head. It is not his blood. Facing the other way Seth stares at a
blonde, slim woman in a red dress, she is reading. The woman looks up at him and smiles
awkwardly. He does not smile back. The train stops and the doors open. A man walks on but
he is not important, the Rottweiler on a leash is. The man sits a seat over from Seth. The dog
stares at him and he stares back. The dog barks at Seth and the owner hits his head.

4. Seth looks over the dog and at the same blonde woman. She is deeply engrossed in her book.
Seth looks down to his hand and starts picking at the blood beneath his nails.
[Flashback] MATCH CUT. His hands covered in blood over a white carpet are taken by
feminine hands- AMELIA. Amelia is blonde, slim and pretty, dresses in pastel colours. She
dabs the blood with cotton wool. Seth is thrown by her concern, mostly silent out of
embarrassment.
AMELIA
You didn’t have to beat him up.
A side-view shows that Seth is sitting on the edge of a bed as Amelia stands over him, a table
beside them with a bowl of water and a bandage. Amelia occasionally uses it to soak different
pieces of cotton wool. A moment of silence.
AMELIA (continued)
You know... if anyone told me a year ago that I would end up like this with you I would have
called them a filthy liar.
SETH
Like what?
AMELIA
... Not wanting you to leave.
SETH (V.O. – bitterly)
Doesn’t she just break your heart?
CUT TO: Seth moving into the neighbourhood, the two are neighbours. Seth struggles to turn
the key in his door and Amelia approaches him, smiling and takes over.
AMELIA
You should probably change your locks. All the doors here had the same problem in the
winter, they were all made at the same time. It’s an old neighbourhood but the people are
good as new.
The door opens and they smile at one another
SETH
Thanks... I’d invite you in... but...
He motions to the empty house.
AMELIA (looking inside with a laugh)
Yeah I get it, that’s okay.
WAJID (O.S.)
Amelia!

5. SETH (V.O.)
Gag reflex.
AMELIA (looking away)
Coming!
SETH
Who’s that?
AMELIA (back to Seth)
Oh that’s Wajid, he’s my boyfriend. We live together it’s... no big deal. We’ve been together
for a while and he lost his job, so I told him to come move in with me and—that’s a lot more
information than you asked for.
She laughs anxiously and he just smiles gently at her.
WAJID
Come on!
AMELIA
Coming! I’ll see you around...?
SETH
Seth.
AMELIA
Amelia. Nice to meet you, Seth. Welcome to the neighbourhood.
She turns and walks away.
MONTAGE Seth is always alone, dressed in similar clothes, Amelia wears different dresses
of bright colours and is constantly accompanied by Wajid, they wave and smile, Wajid does
not. Seth often hears them arguing from his room at night. After a while she is throwing
Wajid’s clothes out to him on her doorstep. Cut to them sitting on her couch later that
evening, she pours them a glass of wine.
AMELIA (putting the bottle down)
Things haven’t been... great between us for a long time. I guess I thought helping him and
letting him stay would save us somehow. I thought I really loved him. I don’t know, it was
really stupid. All that happened was we argued more often.
SETH (monotonously)
I know. I heard.
AMELIA (shocked and embarrassed)
What? You heard? Oh my God... I am so, so sorry. That’s so embarrassing…
SETH
It’s okay.

6. SETH (V.O.)
It felt like home.
AMELIA
You know... we sometimes argued about you. The person who lived there before was this old
lady, and now that a guy lives there... God, he’s just so jealous, you know? Anyway, I guess
we won’t be disturbing you anymore. You must be glad.
SETH
Are you?
AMELIA
Yeah... I think I am.
SETH (V.O.)
One swallow does not make a summer, nor does one day. So too, one day does not make a
man blessed and happy.
SETH
Me too.
Back in the room. A curtain is blown gently by the wind behind Seth and Amelia, she is now
wrapping a bandage around his knuckles.
SETH
Wajid deserved it.
A flash of Seth punching Wajid in the face outside her home.
AMELIA
Oh, Seth. You don’t have to... defend my honour. I’m a big girl.
SETH
I know.
AMELIA
Then why did you do it?
SETH
Because he deserved it.
SETH (V.O.)
Our slippery people, whose love is never linked to the deserver.
AMELIA
I’ve always been against fighting.
SETH
That’s your mistake.

7. AMELIA
Promise me you won’t do it again. I don’t want you to get hurt.
SETH
I promise I won’t get hurt.
INT. Back in train- present day.
The train stops and Seth stands, we follow him off the train and as he walks. He uses only
alleys and backstreets, remaining completely alone. Occasionally he is illuminated by
streetlamps until he stops in front of a blue door. He knocks twice and is greeted by MOTH a
few moments later.
MOTH (grinning)
Seth! Come in, come in!
INT. A small room with no windows, a couple low chairs and a fireplace as the only source
of light. They sit down and Seth puts his hand into his pocket. There is a coffee table between
them with a bottle of alcohol and two cups on it.
MOTH (CONT.)
Drink?
SETH
No thanks.
MOTH (teasingly)
Oh? Okay. Your loss.
SETH
I have to tell you something.
MOTH (pouring himself a drink)
It sounds serious. Can it wait?
SETH
For what?
MOTH
… Is it bad news?
SETH (smiling a little)
No, it’s good. You’ll like it.
MOTH
Really?

8. SETH
It’s… a present, I guess. I wanted to show you how much I appreciate all that you’ve done for
me. I know it was really hard for you, especially with Naya. She was so against it but you still
helped me… she even wanted to send me back home but you wouldn’t let her.
MOTH (taking a drink)
God, that was so long ago.
SETH
Yeah, but, you two had so many arguments and you were always shouting at each other, and I
remember once you were so angry you told her you wished she would die and… I wanted to
fix it.
MOTH (laughing)
What did you do? Tape her mouth shut for me?
SETH
Better.
Seth pulls out Naya’s bracelet. Moth stares at it.
MOTH (slowly)
Where did you get that?
SETH
From Naya.
MOTH
How did you get that?
SETH (smiling softly)
She’s dead.
MOTH
What?
SETH
I killed her.
Moth is silent. He stares at the bracelet and slowly takes it from Seth. He starts to cry.
SETH (CONT.)
I... thought you’d be happy.
MOTH (angry)
How the fuck would that make me happy?! My wife is dead!
SETH
You’re always arguing!

9. MOTH
That’s how marriage works!
Seth falls silent.
MOTH (CONT.)
You stupid fucking—
SETH
Stop it!
MOTH (standing up)
No! I took you in! I brought you up when nobody else wanted you!
I’m the one you owe your life to! She is my wife! I love her!
SETH (also standing)
How can you love anyone?! How can you kill people and love them?
Moth lunges at Seth, pushing him down and repeatedly punching his face. Flashes integrate
of Seth as a young boy being beaten by his father, rapidly speeding up until Seth snaps and
pushes Moth off of him, into the fire. Moth’s arm catches on fire and he screams, leaving
Seth panicking. He stands and runs out of the house, panting as he runs to the train station.
Time skips when he gets on the train and gets off, running to his home he stops and instead
goes to Amelia’s. Knocking urgently she eventually comes to the door, but does not open it.
AMELIA (O.S.)
Who is it?
SETH
It’s Seth!
AMELIA
Seth?
The door opens and they stare at one another.
SETH (V.O.)
How can you kill people and love them?
AMELIA
What is it?
SETH
Can I come in?
AMELIA
I don’t think-
SETH
Please?

10. SETH (V.O.)
Maybe loving someone is the best way to kill them.
Amelia steps aside.
CUT TO:
INT. Her living room, dimly lit. They sit on her couch as they had before. He is clinging to
her, and she is holding him.
AMELIA
It’s okay…
She kisses the side of his head and is on the verge of tears. What she is about to do she does
not want to.
SETH
He hates me.
AMELIA
No, Seth. He cares about you. We both do.
I promise.
She looks down and a gun is strapped beneath the table that she bring it out, just as Seth is
sitting up and leaning in to kiss her. The barrel is pressed to his head and the gun is put off
safety.
SETH
What are you doing?
AMELIA (sadly)
My job.
SETH
What?
AMELIA
Oh, Seth. You killed someone important and we’re here to set things right.
SETH
We? You and… Wajid? You… so
everything was just one big lie?
AMELIA (hesitant)
Give me your weapons.
SETH
I don’t have any.

11. AMELIA
Cut the bullshit. I know you do. Hand them over or I’ll shoot you.
SETH
Aren’t you going to shoot me anyway?
AMELIA
Put them on the table. Now.
After a moment Seth reaches down and brings out the knife strapped to one ankle and the
small gun strapped to the other. He puts them down on the table.
SETH
That’s it.
AMELIA (standing)
Get up. Come on.
Seth slowly stands and brings out the gun he used to kill Naya, still in his waistband.
EXT. NIGHT. A view of both of their homes. We hear a gun shot.