Screenplay draft

1. “VIOLENT DELIGHTS/A LOVE LIKE THIS”
By
Kaia Sayer

2. 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)
“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 NATE has disappeared
from the bed and SUMMER is left alone in the bed, curled
in a foetal position.
SUMMER (V.O)
“I am simply sick, physically sick,
without you.”
Looking at Summer closely as we see tears streaming down
her face as she looks completely distraught. She then
wipes her tears frantically and proceeds to laugh
SUMMER (V.O)
“I cry”

3. 3
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?’
SUMMER (V.O)
“I lay my head on the floor; I choke,
hate eating-
----
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
jacket, whilst shoving things 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.

4. 4
EXT. OUTSIDE. FIELD. MIDDAY
We see closely both Nate 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
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

5. 5
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.
FADE TO BLACK
SUMMER (V.O)
And love isn’t supposed to hurt, right?
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.

6. 6
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