A girl named Sarah Smith is stalked and kidnapped after a night out at the Christmas markets with friends. She is followed onto the bus and then taken to an abandoned warehouse, where her stalker has been watching her and has photos of her on the wall. Still tied to a chair, Sarah pleads for help as her stalker circles her menacingly with a weapon, ignoring calls from Sarah's worried friend Jason. The stalker threatens more harm is to come as ominous music plays, ending on a cliffhanger note.
DARK HARBOURWritten byCatherine Wignall[email prot.docxwhittemorelucilla
DARK HARBOUR
Written by
Catherine Wignall
[email protected]
FADE IN:
EXT. BLACKNESS
We can HEAR breathing.
Slowly, ever so slowly, tiny pinpricks of light pierce
through the veil of darkness.
STARS.
We are looking at the vastness of space.
IMANI (O.S.)
Danny!
INT. RELIEF SHIP - OBSERVATION HATCH - NIGHT
DANNY SHEPHERD lies at the observation window, staring out at
the infinity of stars. He’s an excitable puppy, cute, 26, and
African American.
IMANI (O.S.)
Get your butt down here!
Reluctantly, Danny moves away from the observation hatch. As
he does, he reveals a new section of window previously
obscured. Outside is a big, blue PLANET. NEPTUNE.
EXT. RELIEF SHIP - NIGHT
The space capsule floats through the silent void, passing by
Neptune and on toward a distant moon.
SUPER: “Triton”
A BLAST OF FIST-PUMPING, HEART-JUMPING ROCK MUSIC assaults us
and -
INT. TRITON BASE - EXERCISE ROOM - NIGHT
AURORA (RORY) REYNOLDS (27) runs on a treadmill in the
brightly lit exercise room, the music blaring from her
speakers.
Her hair’s pulled back tightly, her movements taut and
expert. She keeps up a brutal pace.
EXT. ISCO HEADQUARTERS - COMPANY CAR PARK - DAY
The sky is beautiful as the sun sets, a blaze of diaphanous
fire.
SUPER: “Orlando, Florida”
SAM SHEPHERD (29) clambers out of his car. He takes a moment
to look up at the sky, a small smile gracing his face. You
can see the family resemblance to Danny, though slightly
older, more mature.
INT. ISCO HEADQUARTERS - CORRIDOR - DAY
A variety of LAB WORKERS in white coats and OFFICE WORKERS in
scruffy smart-casual pass Sam as he wends through dimly lit
corridors. He nods a greeting to each one of them, a buoyancy
in his step.
Sam passes a series of doors labelled with various MOON
NAMES. He reaches a door labelled TRITON. Across the hall
another door is labelled CALLISTO.
INT. ISCO HEADQUARTERS - TRITON MONITORING ROOM - DAY
MAYA PATEL (28) flicks through a magazine while chipping at
her nail varnish, a bank of monitors in front of her. She
wears a headset and mic. TINNY ROCK MUSIC filters through the
headset.
MAYA
You’re late.
She doesn’t look up as Sam enters.
SAM
Sorry. All good?
MAYA
Wish she’d choose a different song.
Barely glancing up, Maya flicks a few switches. The MUSIC
from her headphones now blasts through a pair of battered
speakers.
Sam slumps into a seat beside Maya and turns the music down.
He scans the monitors before them. Each screen monitors the
vitals of a different person: COMMANDER ANGELA HAWKINS,
KARINA BABIKOVA, AZIZ KADER, RORY REYNOLDS. Three screens are
dark.
2.
SAM
Any problems?
MAYA
Nada.
SAM
Well, it was lovely talking to you
as always, Maya, but you’re in the
good chair. Go home. Shift.
Sam yanks the headset off Maya’s head. She barely notices.
INT. TRITON BASE - EXERCISE ROOM - NIGHT
Rory’s still pounding away at the treadmill. Her MUSIC cuts
out, replaced by the CRACKLE of the comms..
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1. Script
SCENE
ONE
–
Christmas
Markets
It’s
late
one
winter’s
evening,
approximately
9pm.
A
girl
and
a
group
of
friends
are
at
the
Christmas
markets.
Ambient
sound
of
Christmas
style
music
and
bells
ringing.
Inaudible
chatter
and
an
atmosphere
of
liveliness
and
business
is
occurring.
Sarah
Smith:
(To
friends,
giggling
in
background)
What
a
brilliant
night!
Girls:
Yeah
it’s
been
so
much
fun!
Sarah
Smith:
(Mobile
phone
rings,
phone
call
from
Jason,
in
shock)
I
must
go
now,
somethings
happened,
I’ll
text
yous
later.
Sarah
Smith
walks
back
to
the
bus
stop,
alone.
Background
music
of
Christmas
style
continues
and
chatter.
Sarah
Smith
looks
back
to
see
her
friends.
The
stalker
can
be
seen
in
the
background.
SCENE
TWO
–
The
Bus
Stop
The
music
has
now
faded,
Sarah
Smith
is
singing
with
her
earphones
in,
as
she
walks
to
the
bus
station
alone.
Sound
effect
of
Sarah
Smith’s
footsteps
and
breathing
can
be
heard
as
well
as
the
wind.
Low
key
lighting.
SCENE
THREE
–
The
Bus
Sarah
Smith
takes
a
seat
on
the
bus,
around
the
middle.
A
cough
is
heard
in
the
background,
followed
by
an
Over
the
Shoulder
shot.
The
stalker
is
on
the
same
bus
as
her
and
is
watching
her.
Sarah
Smith
leaves
the
bus;
the
stalker
follows
her.
SCENE
FOUR
–
The
Street
Ambient
music
begins
to
play,
building
tension,
as
Sarah
Smith
walks
along
the
street.
Sarah
Smith:
Arghhhhhhhhhhhhhhhhhhhhhhh
Sarah
Smith
is
taken
away
by
the
stalker.
She
drops
her
handbag
and
phone
in
the
street.
A
close-‐up
on
the
bag
and
phone
shows
the
phone
is
ringing
again.
It
is
Jason.
Tense
music
now
plays
as
sound
effects
of
breathing
and
screaming
continue
into
the
next
scene.
SCENE
FIVE
–
THE
ABANDONED
WAREHOUSE
Sarah
Smith
has
been
taken
into
the
warehouse.
Sound
effects
of
shutters
closing,
light
switches
clicking
and
chains
rattling
are
in
the
background.
The
next
shot
opens
with
Sarah
Smith
tied
to
a
chair.
Sarah
Smith:
(Confused
and
worried)
Help!
What’s
going
on?
Where
am
I?
The
Stalker:
(Quietly
and
slyly)
I,
Sarah
Smith,
am
the
person
whose
been
looking
for
you.
I
am
the
one
you
want,
the
only
one
you
need…
2.
Camera
pans
to
a
wall.
The
stalker
has
various
photographs
of
Sarah
Smith
stuck
over
the
wall.
Ambient
sound
of
helpless
screaming
and
general
commotion
and
banging
can
be
heard.
Sarah
Smith:
(In
a
shaken
voice)
Who
are
you?
Where
did
you
get
those
from?
Help
me!
Heeeelllllppppp….
The
stalker
sticks
duct
tape
over
Sarah’s
mouth.
He
circles
her
with
a
wrench/knife
in
his
hands.
A
mobile
phone
can
be
heard
ringing
in
the
distance.
Sarah’s
panics
and
tries
to
stand
but
the
stalker
knocks
her
back
down
again.
The
Stalker:
(Shouting)
You
are
not
going
anywhere!
Now
sit
down
and
shut
up!
The
stalker
walks
over
to
the
phone;
he
answers
the
call
from
Jason
Green.
A
split
screen
shows
the
stalker
on
the
left,
larger
side
of
the
screen
and
Jason
on
the
right,
smaller
side
of
the
screen.
Jason
Green:
(Desparately)
Sarah..
Sarah…
Where
are
you?
The
Stalker:
(In
a
creepy
voice)
Hello
Jason.
Don’t
you
worry,
Sarah
is
in
a
safe
place
now.
She’s
here
with
me…
The
stalker
hangs
up
the
phone
leaving
Jason
shouting
desperately
at
nothing.
Jason
Green:
(Shouting)
Sarah!
Sarah!
Ambient
sound
is
now
building
and
a
tense
atmosphere
is
being
created.
The
camera
has
moved
outside
and
shows
the
stalker
circling
around
Sarah
Smith
in
the
chair.
No
other
sounds
can
be
heard
apart
from
the
outdoor
general
noise,
emergency
sirens
and
wind
whistling
in
the
distance.
The
Stalker:
(Quietly)
Now
Sarah!
Time
for
some
fun!
Where
shall
we
start…
Sarah
Smith:
Noooooooooooooo!
Camera
quickly
moves
backwards
to
show
the
whole
warehouse.
Dramatic
music
plays
as
the
titles
and
credits
to
the
film
roll.
End