Screenplay.

1. LOST
by Dominic Griffiths

2. 1
OPEN ON –
INT. DAY. LIVING ROOM
Grey overcast. Cold domestic lighting. No music. Ambient sound of quiet
house with infrequent passing cars and sirens in the far distance.
Distant sound of one continuous synth bass begins to play. Over the
next six shots synth gradually increases in volume. Extreme close up
shot. Slow pan across a dark marble dust covered mantelpiece.
CUT TO – INT. DAY. LIVING ROOM
Close up shot of the frame of a mirror. Slow track up the frame of the
mirror.
CUT TO - INT. DAY. KITCHEN
Close up shot of a shelf filled with mugs. Tracking parallel with the
shelf past multiple mugs with various tourist style prints.
- ‘Findhorn, Scotland’
- ‘Orlando, Florida’
- ‘Niagara Falls, New York’.
CUT TO – INT. DAY. LIVING ROOM
Close up shot of a white marbled drawer top. Tracking across the
surface
- Orchid
- Family picture with faces blurred
- Family picture with faces blurred
- Older photo with MAN. Middle-aged, mixed race.
CUT TO - INT. DAY. HALL
Static establishing long shot. Hall. Edwardian style. On the left side
are stairs upwards. On the right side the hall continues. One pair of
leather loafers are set neatly against the wall on the right.
Introducing the voice of LAURA.
LAURA (O.S.)
Anyway, so now Daniela wants to come with us to the party after
CUT TO - INT. DAY. KITCHEN
Blurred Close-up side profile of a mixed-race man, appearing to be in
his early fifties. He wears a plain shirt with a dark green woolen
jumper over the top. He stands parallel to a window on the left side of
the shot. He looks out. The shot gradually become more blurred. An
increasing high-pitched frequency paired with white noise begins.
LAURA (O.S.) (CONT’D)
I asked her three weeks ago if she wanted to car share and she said
“no”. Now our car is full because I offered my sister a lift and I
can’t let her down especially after our argument about commitment to
plans last week.
SFX have reached a climax. All SFX cut out leaving the ambient sound of
the house. Simultaneously, the shot becomes clear and you can see man’s
face clearly for the first time. It is the same man as in the old
photo.
LAURA (O.S.)
Are you listening to me?

3. 2
MAN (continuing to stare forward)
Yes, yes. Party at 19:00.
CLAIRE (O.S.)
Dad?
MAN blinks suddenly and looks downwards. The shot pans down with him
onto a shot of two mugs sitting on a counter. One mug has a polka dot
design. The other is slightly turned away, however, you are able to
make out ‘NUMBER ONE G’
LAURA (O.S.)
So, what am I supposed to do now Clai-
MAN
-Coffee?
LAURA (0.S.)
Please! You know how I feel about interrupting.
CUT TO – INT. DAY. KITCHEN
Zoomed out mid-shot of kitchen. CLAIRE on the right side of the kitchen
in the forefront of the shot. Thirties, wearing a light blue shirt with
a smart black jacket over the top. Similar complexion to her father,
with dark hair that is tied in a neat bun. Due to a shallow depth of
field, in the back of the shot you can make out the blurred image of
LAURA wearing a light floral dress with a lighter complexion and dark
blonde hair.
CLAIRE
For me please.
0.2s excerpt of ‘Wish someone would care’ (WSWC) by Irma Thomas plays,
accompanied by a crackling record noise. Distant effect, giving the
illusion it came from next door. During the excerpt…
CUT TO – INT. DAY. KITCHEN
The prior profile shot of MAN looking up suddenly.
MAN
Did you hear that?
CLAIRE
What?
Another 0.2s excerpt of WSWC plays. During the excerpt…
CUT TO - INT. DAY. KITCHEN
Close up, parallel with the kitchen surface. Full mugs.
MAN reaches to pick them up, however, these hands appear much older and
wrinkled.
CUT TO – INT. DAY. KITCHEN
Prior midshot. LAURA still not in focus.
LAURA
We’ve got to sort out the frame for the present as well.

4. 3
MAN turns around holding both the mugs.
LAURA
Did you find the photos of them because we’ve got to get that sorted
by tonight?
MAN
I’ll go get them now.
CLAIRE
Get what?
MAN
The photos from the attic.
LAURA (irritated tone)
I asked you last week. So, are you gonna go and get the frame later
from the shops?
MAN hands over the polka dot mug to CLAIRE. CLAIRE smiles warmly as she
receives it.
MAN (winking at CLAIRE)
Yes sir.
CLAIRE wraps her hands fully around the mug
CLAIRE
Cheers dad.
Beat
MAN walks past CLAIRE moving more into the foreground and exits left
out off shot. Camera turns with him, to see the man turn a corner into
the hall.
CUT TO – INT. DAY. HALL
Static longshot. MAN walks from the back of the shot into the
foreground. Turns at the bannister and begins to walk up them.
CUT TO – INT. DAY. STAIRCASE
Close-up side profile of MAN’s head walking up the stairs.
Camera tracks with him perfectly level and smooth.
Behind him on the wall he passes three family photos.
As he reaches the top of the stairs he walks out right of the shot.
Camera coming to rest on the final picture of ELDERLY MAN with CLAIRE.
The ELDERLY MAN is wearing the same outfit as MAN and mixed race, but
appears much older, around 80.
CUT TO – INT. DAY. LANDING
Wide shot of MAN from behind. Similar narrow hall with closed doors
leading up the hall. In the ceiling is a square hatch.
MAN lets out a small grunt as reaches up and pulls down the hatch from
which a ladder unfolds.
CUT TO – INT. DAY. HALL
Close-up CLAIRE’s face. Looking up the stairs.

5. 4
CLAIRE (slightly shouting)
I’m off now. Are you gonna be ok?
MAN (pulling the ladder further down, loudly, joking tone) (O.S.)
Don’t worry about me, I’ve got Laura to protect me.
Beat
CLAIRE glances down at the floor for a moment.
CUT TO – INT. DAY. LANDING
MAN begins to climb up the ladder.
LAURA (raised voice from downstairs, stern tone) (O.S.)
Careful
CLAIRE (subtle nervous tone) (O.S.)
Ok dad. Be safe.
SFX of front door closing.
CUT TO – INT. DAY. ATTIC
Shot level with the ground in a dim attic.
Natural light is shining upwards from the bottom of the shot where the
hatch can be seen. You can make out several stacked boxes with various
dates scribbled on in black permanent marker. One reads ‘10/04/1946’
MAN’s hands come into shot, wrapped around the side of the hatch as to
pull himself up. He pulls himself up so his head is poking through the
hatch. He looks upwards and reaches up for a light cord. He pulls it,
the click matches to the following cut and a 0.2S excerpt of WSWC
plays.
CUT TO – INT. DAY. ATTIC
Pitch black. Rustling sound effect. Lid is lifted of the lens of the
camera (the camera is placed upwards inside one of the previous seen
cardboard boxes. MAN’s hand reaches in towards the camera.
CUT TO - INT. DAY. ATTIC
Over the shoulder, POV shot.
MAN pulls out an extremely knackered black photo album.
He begins to flip through the album.
CUT TO –
Photo centred on black photo album card. A man in a garden, face
blurred.
CUT TO -
Similar photo, slightly off centre. The man, still blurred, is now
looking down at a baby crawling into the frame of the photograph
CUT TO –
Photo centred on black photo album card. House. 1970s British bungalow.
SFX of a building bus horn.
CUT TO - INT. DAY. ATTIC

6. 5
Close up side profile of MAN’s face. Bright unnatural white light
begins to intensify on his face, along with SFX. He turns to look pass
the camera.
The light almost washes out his face. MAN squints and scrunches his
face.
Sound reaches climax.
CUT TO – EXT. DAY. BUS STOP
A wide shot of a bus passing by a bus stop, filling the shot at first.
shot frames MAN sits in the centre of the centred bus stop.
Introduction of ambient road side sound. Light rain. Man is still
wearing the same jumper, appearing slightly underdressed.
Another bus passes, filling the shot from left to right. Before the bus
parts with the left side of the shot…
CUT TO – INT. DAY. SUPERMARKET
A graphic match of the doors of a super market opening. Wide shot in
which MAN is centred between the doors.
CUT TO - INT. DAY. SUPERMARKET
Wide shot panning smoothly across the aisles of the bright supermarket.
MAN walking along the other end of the aisle. Camera rests as MAN walks
down the long aisle towards the camera. Camera mirrors this, smoothly
going down the aisle towards MAN. When the camera is around a meter
away from MAN, it curves round into an over the shoulder shot as he
pulls a frame from the shelf. Focus is pulled away from his shoulder
and onto the frame.
CUT TO – INT. DAY. SUPERMARKET
Midshot of MAN looking down at the frame. WSWC plays over the
supermarket speakers. MAN looks up.
CUT TO – INT. DAY. SUPERMARKET
Close-up shot of one of the supermarket speakers.
CUT TO – INT. DAY. SUPERMARKET
Close-up shot of another supermarket speaker.
CUT TO - INT. DAY. SUPERMARKET
Prior mid shot of MAN staring up in a different direction. In the back
right of the shot you see FRIEND, a woman in her late 40s, white,
trousers and a belted trench coat on. She steps forward.
FRIEND (muffled)
Hi. Hello? Are you alright?
MAN turns to FRIEND.
CUT TO – INT. DAY. SUPERMARKET
Wide shot with MAN on left and FRIEND on right.
CUT TO – INT. DAY. SUPERMARKET
Close-up shot of MAN
MAN
Yes, sorry. In my own world.

7. 6
CUT TO – INT. DAY. SUPERMARKET
Close-up shot of one of FRIEND
FRIEND
Don’t be silly. How are you doing?
CUT TO MAN SHOT
MAN
Good, just doing some house chores.
CUT TO FRIEND SHOT
FRIEND (rub his arm)
It’s so nice to see you out and about.
CUT TO MAN SHOT
MAN (laughing slightly uncomfortably, looking down at arm):
I try
CUT TO FRIEND SHOT
FRIEND
How are you getting on at home?
CUT TO MAN SHOT
MAN (laughing)
This Mrs isn’t that bad.
CUT TO FRIEND SHOT
FRIEND’s face drops discreetly and she looks down for a moment and then
back up.
FRIEND
Yes, of course.
Focus pulled away from FRIEND and onto supermarket speaker in the
background. SFX of static plays mixed with short excerpt of WSWC.
Followed by a normal staff announcement ‘Please can spare cashiers come
to check out 3’. FRIEND continues to talk but it is completely muffled.
Focus remains on speaker.
Heavy bass begins to grow. Camera pulls in smoothly onto the shelfs in
the background. Items begin to vibrate, gradually more aggressively.
FRIEND begin to look worried and repeat the same phrase, although still
muffled.
FRIEND
Are you alright? Are you alright?
CUT TO MAN SHOT
MAN begins looking uncomfortable.
Behind him the items in the shelves are also vibrating, even more
aggressively.
CUT TO FRIEND SHOT
Items behind FRIEND are almost all falling off the shelves now.
She appears more concerned, repeating the same phrased, although still
muffled.

8. 7
CUT TO – INT. DAY. SUPERMARKET
Close up on frame in his hand. Bass continues to grow.
MAN’s hands begin to tremor and as he drops the frame. As the frame
falls the shot goes into slow motion. As it is about to hit the ground,
speed returns to normal. Instantly…
CUT TO – EXT. DAY. FRONT DOOR
Regular roadside ambient sound. Wide shot of man in his doorway, as the
frame smashes on the floor.
MAN (looking down)
Bugger.
MAN rings the doorbell. He bends down to pick up the glass.
CUT TO – EXT. DAY. FRONT DOOR
Extreme close up on hands picking up glass. However, the hands, once
again, are an older man’s hands.
CUT TO – EXT. DAY. FRONT DOOR
Return to wide shot.
MAN rings the doorbell again. He opens the letter box and peeks
through.
CUT TO - INT. DAY. FRONT DOOR
Long shot from inside the house, metres away from the front door.
MAN can be seen peeking through the letterbox.
Complete silence.
CUT TO – INT. DAY. LIVING ROOM
Extreme close up. Slow pan across a dark marble dust covered mantel
piece.
You can make out the bottom of some birthday cards reading 80th.
CUT TO – INT. DAY. KITCHEN
Close up shot of a shelf filled with worn out mugs.
The same tourist mugs are visible as before but extremely worn with
their prints barely legible.
CUT TO – INT. DAY. LIVING ROOM
Close up shot of a white marbled drawer top. Landline resting on
surface. The healthy orchid from before is now drooping, with all the
petals fallen onto the surface.
Tracks on to a series of family photos. The faces in the photos are no
longer blurred out.
CUT TO – INT. DAY. FRONT DOOR
MAN raises his mouth to the letter box.
MAN
Laura?
Halfway through ‘Laura’…
JUMP CUT TO -

9. 8
MAN on the inside of the house finishing the line, as he closes the
door.
Walks towards the camera.
CUT TO – INT. DAY. KITCHEN
Midshot of kitchen.
MAN (raised voice)
Laura?
CUT TO – INT. DAY. LIVING ROOM
Wide shot. Mantelpiece and mirror on left hand side, set of drawers in
the centre, and door to the right.
OLD MAN (O.S.) (Almost shouting)
Laura!?
Footsteps can be heard coming down the stairs.
MAN walks into the living room.
CUT TO – INT. DAY. LIVING ROOM
Close up. OLD MAN’s hand picks up phone of the counter.
CUT TO – INT. DAY. LIVING ROOM
Prior wide shot.
MAN walks up to the mirror, calling a number of the landline. SFX of
dialling.
MAN holds the phone up to his ear as he reaches the mirror.
CUT TO – INT. DAY. LIVING ROOM
Mid shot/Over the shoulder. MAN looking into mirror and reflection is
visible.
On the mantel piece below the mirror, the 80th cards are still visible.
SFX phone ringing.
CLAIRE (O.S.) (Recorded message)
Sorry I’m not at the phone right now. Leave a message although I’m not
amazing at checking.
SFX tone.
MAN (rushing through the line)
Is Laura with you? I just went to the- the-. Out, and now I can’t find
her anywhere. Is she with you? Please call me back.
MAN puts down the phone on the mantel piece. He catches eyes with a
grey hair on his head. He grips onto it and jolts his hand to pull it
out.
CUT TO –
Exact same shot except with OLD MAN staring at himself in the exact
same position for 1 second.
CUT TO –

10. 9
MAN in same position. His eyes flicker. A blurred red light in the
reflection comes on. Focus is pulled to the record player it is coming
from. The needle moves itself onto a now turning record.
SFX of crackling. WSWC begins to play.
Focus is pulled back onto MAN. He appears shocked, and his eyes come to
meet his reflection.
SFX of static and bass return, growing.
As they reach climax, a series of super impositions commence, in which
OLD MAN in the same position is layered over MAN. Both MAN and OLD MAN
appear in pain. They contort their face and bodies. The super
impositions are distorted, slowed and sped up.
All SFX and music cuts out leaving MAN standing breathless staring at
himself in the mirror.
MAN turns towards the camera and passes it, appearing very relaxed and
casual. In the reflection, you can see him walking out of the room.
CUT TO – INT. DAY. KITCHEN
Midshot of kitchen.
MAN (casual tone, as he enters the kitchen)
So, have you organised the carpool then Lau-
CUT TO – INT. DAY. KITCHEN
Close up on his face as MAN looks worried SFX of phone ringing from the
other room. He turns, walking out of shot of close up.
CUT TO – INT. DAY. HALL
MAN (walking down hall and shouting up the stairs as he passes them by)
I’ll get it Laura.
CUT TO - INT. DAY LIVING ROOM
Prior midshot of mirror. Phone is visible ringing on the mantel piece.
MAN can be seen entering the room. He reaches the mirror and picks up
the phone.
CLAIRE (O.S.)
Dad? Are you alright?
MAN
Hello darling. How are you?
MAN goes to sit down on the sofa. The camera turns with him resulting
in a wide shot of the sofa as he sits down.
CLAIRE (O.S.)
You left a message on my phone talking about mum, are you alright?
MAN (confused)
I -

11. 10
CLAIRE (O.S.)
Dad, we’ve talked about this-
MAN (confused)
I can’t find Laura.
CLAIRE takes a big sigh.
CLAIRE (disheartened) (O.S.)
I know Dad. Hang on I’m coming over.
MAN lowers the phone down.
CLAIRE (O.S.) (more distant)
Dad? Dad? Stay there.
MAN looks at the table to his right with the record player.
CUT TO – INT. DAY. LIVING ROOM
Close up, POV shot. Record player turns on by itself again and the
needle lifts itself and lands on the now spinning record. WSWC plays.
CUT TO – INT. DAY LIVING ROOM
Prior wide shot. MAN staring blankly forward.
CUT TO EXTREME CLOSE UP OF OLD MAN’S EYES ON BEAT
CUT TO EXTREME CLOSE UP OF OLD MAN’S LIPS ON BEAT
CUT TO EXTREME CLOSE UP OF OLD MAN’S HAND, STILL HOLDING THE PHONE ON
BEAT
CUT TO PRIOR WIDE SHOT. ON BEAT
As the lyrics begin ‘Sitting home alone, thinking about my past.’ the
camera begins to pan in a semi-circle around the MAN. Passes behind one
of the 80th cards, completely covering the shot. As it passes the OLD
MAN is now sitting on the sofa with MAN also staring forward. MAN is
looking at OLD MAN. OLD MAN turns his head slowly to look at MAN also.
They hold eye contact. They both look forward and close their eyes
simultaneously.
After a second of their eyes being closed…
CUT TO BLACK
W.O.B. graphics of ‘LOST’ appear on screen
CUT TO BLACK
W.O.B. graphics of ‘Alzheimer’s Society’ followed by
‘https://www.alzheimers.org.uk’ followed by graphics of the logo.
CUT TO BLACK
CREDITS
THE END.