INSOMNIAC_S THAT GO BANG IN THE NIGHT .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) old-faced, scruffy
hair, his eyes are dark with shades of purple. The darkness
from under his eyes can't go any further down his face. Yet
his actual eyes are highlighted. He wears a long coat.
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 cigarette left smoking on an ash tray.
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 a 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.
She wears a clear mac raincoat. Light hair. Not too tall.
We do not see her face.
Still.
MOMENTS LATER

3. 2.
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.
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 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. RIVER, CENTRE OF CITY - DAY
FLASHBACK
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.
Joseph is sat in a boat, bombing down the river.
He sits on the left, leaning as far away as possible. He's
detached and TIRED. Take-away coffee cup in hand.
He reaches into his coat pocket, pulling out a slip of paper.
JOSEPH (V.O.)
Your key out of this life is almost
here. Go to [LOCATION] park. My key
out of this life.
It reads:
"YOUR KEY OUT OF THIS LIFE IS ALMOST HERE."
"GO TO [LOCATION] PARK"
The note is HAND WRITTEN the writing being DISTINCTIVE.
JOSEPH (V.O.) (CONT'D)
My key out of this life. Two days
ago I received this. From who? I
have no clue.
Hold.
EXT. PUBLIC PARK NEAR RACETRACK - DAY
FURTHER FLASHBACK
A grand horse racing track stands in the background of this
open green space. People, are sparse. The sun is blocked by
the clouds. A layer of mysterious mist hovers on the ground.
We see a MAN walking by, seemingly going to work hence his
attire. Kitted out with a racetrack uniform. He's tall.
Unapproachable. He strides down the park, not naturally,
almost knowing someone is behind him. He smiles.
He then turns to go back the other way, as if to go back to
someone. Turning with a smile.
Mid walk THE TARGET - FREEZES.
CA-CHING!
A photography has been taken.

5. 4.
EXT. PUBLIC PARK - CONTINUOUS
MATCH CUT: A B&W photograph of The Target from the file,
below we see other bits of information.
Tall, thick trees. Empty benches. Mist hovering above the
ground.
Joseph is knelt down by some bushes, holding a file. This is
the same file we saw before. Clearly this file had been
hidden. Evidence of Joseph having dug up such file is
present.
Joseph continues to inspect the document.
He scans through it.
We see:
"OCCUPATION: LOGISTICS MANAGER AT RACETRACK"
"CLIENT SPECIFICATIONS: ATTACK MUST BE PUBLIC. TWO-PERSON
JOB"
"MEET YOUR PARTNER ON FLOOR 2 OF RACETRACK"
JOSEPH (V.O.)
A job. My last job.
EXT. PUBLIC PARK NEAR RACETRACK - CONTINUOUS
BACK TO THE FREEZE FRAME.
The Target continues to walk, unaware there's prying eyes.
We now see who was behind him. Jolene.
EXT. PUBLIC PARK - CONTINUOUS
We CUT BACK: to Joseph's reaction. Displeased. Confused.
Hurt. Clearly he has just read about The Target's involvement
with Jolene.
EXT. PUBLIC PARK NEAR RACETRACK - CONTINUOUS
BACK TO:
The Target with Jolene, his arms are around her waist as they
talk.

6. 5.
Joseph's reaction, from before. But now he is in the
environment with them.
EXT. PUBLIC PARK - CONTINUOUS
He's leaning over, sat on a bench. Things just got
complicated.
He reads the final few pieces of information:
"ONCE THE JOB IS COMPLETE GO TO THE RENDEZVOUS POINT. THERE
YOU WILL FIND A KEY. THAT IS YOUR KEY OUT OF THIS LIFE."
JOSEPH (V.O.)
Once the job is complete.
EXT. ALLEYWAY - DAY
We see the RENDEZVOUS POINT.
A tight alley.
We see THE KEY, wedged into an out of place stone.
It's golden with a RED sticker on it.
JOSEPH (V.O.)
Go to the rendezvous point. I'll
find a key.
EXT. PUBLIC PARK - CONTINUOUS
JOSEPH (V.O.)
That's me out of this life.
Jospeh looks back at that one detail:
"MEET YOUR PARTNER ON FLOOR 2"
INT. RACETRACK - 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.

7. 6.
Joseph stands like an out of place ornament.
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.
He is in shock and disbelief, yet he's felt this before so
the feeling isn't too heavy.
INT. PRIVATE RACE BOX - LATER
The private box overlooks the race track.
Jolene is there early, she stands looking out onto the track.
She has THE KEY is her hand, she's playing with it.
The room is as bare as it comes. Blank walls. Little
furniture.
Joseph steps into the room.
JOSEPH
Jolene.
As she turns, she DROPS the key onto the floor.

8. 7.
A brief panic. She looks at the key, then stepping forward.
The key is underneath her foot.
JOLENE
What?
JOSEPH
What was that?
JOLENE
(sharp)
Nothing. What do you want?
JOSEPH
Don't you think we should talk? I
know it's awkward. It's so strange
that you're here. How did you find
out about this?
JOLENE
I was approached by someone.
JOSEPH
Who?
JOLENE
I can't say.
Damn.
Jospeh doesn't want an argument. He lets it go.
JOSEPH
I never expected you to be here.
Doing this. Have you seen the
brief? The information on this guy?
He walks over to where the file is, ushering her over.
JOSEPH (CONT'D)
Have a look at it, then.
She steps over to look at it. Leaving the key on the floor.
As she scans through the file, Jospeh looks at her.
JOSEPH (CONT'D)
It's so bizarre, you're here.
She puts down the file and walks across to the other side of
the room.
JOLENE
Yes.

9. 8.
Her eye is on the key.
JOSEPH
We need to do this. We don't have
long.
Jolene, growing tired with this conversation.
JOLENE
I'm not good with words.
JOSEPH
Perhaps you were, would you still
talk?
The rhythm becomes faster.
Is this flirting or arguing?
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?
JOLENE
Isn't that my job?
They are now both closer to one another. That last comment
proved too true for Joseph, he turns away.
JOSEPH
You're here. Let's get this over
with.
As his back is turned, Jolene quickly picks up the key --
placed in her back-pocket.
While she thinks she's safe, Jospeh caught a glimpse of her
in the reflection of the glass.

10. 9.
INT. RACECOURSE RESTAURANT - LATER
The racecourse restaurant. Large. Empty.
The only people that occupy the space are The Target 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. The SISTER
could look like any girl, what she says is what matters.
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.
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!

11. 10.
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.
As he does, Jospeh chases after him.
JOLENE
Jospeh! Jospeh
END OF FLASHBACK
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.
RING.
RING.
INT. RACECOURSE - LATER
FLASHBACK
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. BEACH - DAY
DREAM
Jospeh is on his knees. Hands dug in the sand.
Jolene is heading towards the sea.
Waves crashing. Wind blowing.

12. 11.
END OF DREAM
EXT. RACECOURSE - MOMENTS LATER
Josephs runs out of the racecourse.
END OF FLASHBACK
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?
EXT. BEACH - DAY
DREAM
Jospeh is on his knees. Hands dug in the sand.
Jolene is heading towards the sea.
Waves crashing. Wind blowing.
END OF DREAM
INT. PRIVATE RACE BOX - LATER
Jolene storms into the room, collecting her YELLOW umbrella.
EXT. STREETS OF CITY - CONTINUOUS
Joseph runs out into the streets.
Twisting and turning each corner.
Running through endless, maze-like alleyways.
JOLENE (O.S.)
No Jospeh! No!
Jospeh stops and turns as if he heard something.

13. 12.
INT. DOMESTIC SETTING - DAY
Jolene and Joseph are arguing.
Domesticated setting - in a living room.
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.
INT. DOMESTIC SETTING - NIGHT
A mug with cold black coffee, swirling around - almost
hypnotically.
White bed sheets. Jospeh lying in BED, fidgeting.
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.
INT. DOMESTIC SETTING - DAY
BACK TO THE ARGUMENT IN LIVING ROOM
JOSEPH
I thought I wanted to give you
love, I thought you'd make me feel
loved but I still feel the same!

14. 13.
EXT. BEACH - DAY
DREAM
Jolene continues to march into the sea.
END OF DREAM
INT. DOMESTIC SETTING - NIGHT
Bedroom. Blank. Minimal.
Joseph applying lavender oil on his temple.
The lights flash: white. White. Yellow. Yellow. A combination
of colours.
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.
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.
INT. CAFE - NIGHT
RING! RING! RING!
The ringing continues.
Jospeh grabs his wrist. No alarm clock.
He's terrified.

15. 14.
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? You promised yourself
a key.
(listening)
I want no part of this. Only to
take my money and run. That's what
you agreed.
(listening)
Right. Meet you at the cafe. Calm
him down. Then we're done. Then
you're your own.
She tears off a nearby piece of paper and writes:
"MEET AT CAFE -- 2AM"
Her handwriting is the SAME as the one from before, on
Jospeh's scrap of paper.
EXT. STREETS OF CITY - DAY
BACK TO THE ALLEY'S OF THE CITY
Jospeh still chasing The Target however he is nowhere to be
seen.
INTER CUT WITH: Jolene heading the same direction.
She gets there before him at the rendezvous point. She sees
the crack where the key is meant to go.
She walks. In process her umbrella RIPS. Tearing off a piece.
She doesn't have time to collect it.
Joseph stops running. Out of breath. Exhausted.
The alley is empty of people.

16. 15.
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.
Joseph drags himself up, using a PERSON (any gender or
ethnicity) 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.
He picks it up to inspect it. Curious. That colour is
familiar. He puts it in his pocket.
INT. CAFE - NIGHT - CONTINUOUS
END OF FLASHBACK
BACK TO THE CAFE
CLOSE UP: Jospeh's pocket taking out the YELLOW NYLON,
keeping it below.
He notices the hole in Jolene's umbrella.

17. 16.
JOLENE
(getting up)
I better be leaving.
She starts to walk off, as she does so a slip of paper drops
out of her pocket.
JOSEPH
You dropped something.
Jospeh gets up, placing the piece of umbrella back in his
pocket. He collects the slip of paper. He looks at it
CLOSELY.
Jolene stops.
JOLENE
Oh it's nothing, just bin it.
He looks up at her.
That slip of paper has the SAME handwriting of one that was
sent to Joseph proposing this entire job.
JOSEPH
Is this your handwriting?
JOLENE
Yes. Why?
He takes out the ripped piece of umbrella.
Everything makes sense now.
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.
With that final comment, a smirk grows on his face.
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. All for what? To embarrass
me? Waste my time? Make a fool
outta me? Maybe I'm misremembering,
maybe I dreamt some of it. Or maybe
it's all true.

18. 17.
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.
Slowly walking towards Jolene.
He clenches his fist.
She starts to back away from him.
JOLENE (CONT'D)
Joseph.
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 each other.
They then move into kissing one another, again the sheets
blocking them from making real contact.
HOLD.
THE END.