FILM SCRIPT
-----------

Characters:
ANDY - Main guy
STEVE - Andy's friend
HOLLY - Andy's girlfriend

Scene 1
INT. GYM. EVENING.

ANDY and STEVE are engaged in a boxing sparring session. They are wearing
typical gym gear - tracksuit bottoms/shorts and vests/t-shirts.
It is apparent that Steve is the more skilled boxer.
After being forced further and further back, Andy has had enough. With a snarl, he grabs Steve and throws him spectacularly to the ground in a well-executedjudo move.
Steve looks astonished, but breaks into a smile after a couple of seconds.
Steve (moaning):
For fuck's sake, man... That's just crap!
Andy helps Steve to his feet.
Andy (laughing):
You asked for it!
Steve (rubbing his back):
Yeah, but we were boxing. That's not allowed! You'll have to teach me that stuff.
Andy (jokingly):
I don't think you're ready for it yet. I might, one day. You wanna spar a bit more? We've got two minutes left.
Steve:
Yeah, OK.
They circle each other.
Andy sniggers:
You box like a girl...
They lunge together at the same time. 
Jump to Scene 2.

Scene 2
EXT. GYM ENTRANCE. EVENING.
ANDY and STEVE are leaving the gym. They are dressed in casual clothes and both have rucksacks/gym bags. Steve looks around.
Steve:
Where's your car then?
Andy:
There weren't any spaces earlier - I had to park down the road.
Steve:
You doing anything tonight?
Andy:
Going out with Holly.
Steve (knowingly):
You still seeing that bitch? Riiight... 
Andy (with a smile):
Shutup! See ya tomorrow.
Steve:
Yeah, bye.
They go off in different directions.

Scene 3
EXT. TOWN CENTRE. EVENING.
It is a street busy with pedestrians and traffic. ANDY is walking down the
centre. He has to maneouvere around several people that get in his way.
Andy sneers. He goes into a shop and is seen purchasing a small item. He carries on down the street.

Scene 4
EXT. TOWN STREETS. EVENING.
ANDY arrives at his car and gets in. As he slams the door, Track 1 (Gm7/F - C) starts up.
Titles play over shots of the car driving through the crowded streets and ANDY enjoying the song. Implication is that it's from the car stereo.
Suddenly, he slams on the brakes (music halts) and sits looking shocked.
Fade to scene 5.

Scene 5
INT. ANDY'S FLAT. EVENING.
ANDY carefully enters his flat. He is careful not to touch any surfaces with his hands. He goes to the bathroom and washes them off. He looks at his face in the mirror. He shakes his head and then has a shower. He then gets dressed very quickly in clothes for going out. He transfers a small box from the pocket of the trousers he was wearing previously to the trousers he is now wearing.
He goes through the hallway, notices that the answerphone has a message and hits the play button. As it begins to play, he to the bathroom mirror and starts doing his hair. The voice on the answerphone is HOLLY.
Holly:
Andy, it's Holly. Er... I've been thinking about what you said the other
night. I know you didn't mean it, but I think you're right. There's no point carrying on.
Andy stands in the bathroom doorway, mouth open and looking silly with his hair all messed up.
Holly:
Um, if you want your stuff, come round in your lunch break tomorrow, I've
put it all in a box ready. My brother will give it to you. Um... night.
Answerphone beeps off.
Andy immediately attempts to phone Holly, but there is no reply.
Looking very upset, he takes the small box from his trouser pockets and opens it.
Jump cut to scene 6.

Scene 6
INT. PUB. EVENING.
We can see inside the box. It contains a pair of nice looking earrings. The box snaps shut.
ANDY and STEVE are sitting in a pub. They are wearing casual clothes. Steve is holding the box. He is laughing. Andy is hunched over the bar. Groups of people are sat around at tables.
The background music is reasonably quiet. A sort of disco-esque beat.
Steve:
Well, I hope you've still got the receipt!
Andy sticks his middle finger up at Steve.
Steve gives the box back to Andy, who pockets it.
Steve:
Sorry, mate. But seriously, she was a stupid bitch anyway.
Steve notices Andy's empty glass.
Steve:
Here. I'll get you another drink.
Steve (to the barman):
Same again please.
Steve indicates Andy.
Steve (to the barman):
I'll have another too. Cheers.
Andy:
Yeah, I know what you thought about her. But she wasn't like that when you
got to know her.
Steve raises an eyebrow as he pays the barman.
Andy:
Oh fuck, whatever.
Steve:
Come on, man, cheer up! You're single now.
Andy smiles, ruefully.
Andy:
Guess I've got no choice about that.
Steve:
You could have any woman in here, if you wanted.
Steve gestures around the room, then realises what he is saying.
Steve:
Well, fair enough, that's not saying much...but, y'know...
Andy looks around, and then at one bird in particular. They both laugh.
Andy (shuddering):
I think we need to keep the firewater flowing.
Andy downs his drink.
Steve:
Alright!
Steve follows suit.
Andy:
Get us another.
Andy gives Steve some cash. The background music starts to get louder.
Cross-fades between the two of them laughing and getting sloshed.
Cross-fade to scene 7.

Scene 7.
EXT. STREET. NIGHT.
ANDY and STEVE stagger towards a nightclub entrance. 

Scene 8.
INT. NIGHTCLUB. NIGHT.
ANDY and STEVE are up to no good in a nightclub. They drink at the bar, dance stupidly on the dancefloor, try talking to women. Hilarity ensues.
(Opportunity for cameo appearances of friends/family of the film crew).
Steve meets an attractive young lady. Andy doesn't.
Halfway through the night, Andy is sitting on a stool/chair and is slapped on the back by somebody. He falls forwards.
Jump cut to scene 9.

Scene 9.
EXT. OUTSIDE ANDY'S FLAT. NIGHT.
ANDY slaps onto the grass, face first. Time passes as he lies there.
Eventually, he makes it to his feet. He shoves his hands in his pockets and struggles to pull something out. He ends up with the earring box and his keys in his hands. He looks annoyed in a kind of drunken fashion and throws the box away. He then staggers in through the front door, after fighting with the key in the lock.

Scene 10.
INT. ANDY'S FLAT. NIGHT.
ANDY gets partially undressed and collapses backwards onto his bed, where he passes out once more. As he fell, the clock on the bedside table is revealed.
It is 2:30am. All sound stops. Slowly, we are aware of a heartbeat sound, fading in. (Track: Pit of Despair). The view slowly scans around to take in the closed curtains of the bedroom. They ripple in a slight breeze. A circle of light is centred on them. The image dissolves into one of Andy's sleeping eyelids. The eyeball is moving rapidly beneath the lid. This dissolves to a replay of the end of scene 4, but this time we see a bit more. Andy steps out of his car and walks forwards, looking down worriedly.
Fade into scene 11.

Scene 11.
INT. ANDY'S FLAT. MORNING.
We fade back to ANDY's closed eyeball. Overlaid onto the eyeball is the curtain. The view of the curtain shifts around until we are focused upon the alarm clock once more. The time is now 6:59am.
The alarm triggers at 7:00am, turning on the radio, and Andy's eye snaps open. The radio is playing static. Andy groans painfully and hits the alarm until it shuts up. The camera moves around the flat. Everything is dead quiet.
Arrive back at Andy as he struggles to pick up the phone. The clock, visible in the background, says 9:27am. He dials a number and waits a few seconds. We hear the answering machine on the other end.
Answerphone:
Hello, this is Premier Insurance. We are sorry, but our offices are
now closed. Our opening hours are nine a.m. to five p.m. Please leave a message and your contact details after the beep so that we can return your call as soon as possible.
Andy (croaking):
Hi, this is Andy Jones. I'm sorry, Dave, I can't come to work
today because I'm dying. I must have the 'flu or something. I'll see how I am tomorrow. Thanks, mate.
Andy hangs up and collapses to the bed once more.
Cross fade to scene 12.

Scene 12
INT. ANDY'S FLAT. MIDDAY.
ANDY wakes up again and looks at the clock. It says 11:42.
Andy (groaning):
Holly...gotta get my stuff...
He gets out of bed and shambles around, washing and getting dressed. He picks up the phone and dials a number. He stands waiting at it rings, but there is no reply. He hangs up and dials again, but there is still no reply.
He hangs up, annoyed and grabs his coat. He leaves the flat, slamming the door behind him.

Scene 13
EXT. OUTSIDE ANDY'S FLAT. MIDDAY.
Everything is unnaturaly quiet. The sound of the door slamming seems strangely loud.
ANDY walks towards his car. On the way, he accidently kicks the earring box that he threw away the night before. He bends down to pick them up.
Andy:
You twat. Those were expensive!
He puts it in his pocket and gets in the car.

Scene 14
EXT. ANDY'S CAR. MIDDAY
As ANDY pulls away, he turns the radio on. All he hears is static. He triesswitching channels.
Andy:
For fuck's sake!
He can only find static, so he gropes around for a tape and slams it in.
(Track: Something abientesque - maybe Am7 - Fmaj7?).
As he drives around, there is no other traffic or people.
Andy:
Where is everyone?

Scene 15
EXT. OUTSIDE HOLLY'S HOUSE. MIDDAY.
ANDY's car pulls up in a residential street. He turns the music off and 
gets out of the car. He goes up to the front door. As he does, he looks around with a bemused expression on his face. He rings the bell. When there is no immediate reply, he knocks with his fists. When this fails, he steps back and shouts.
Andy:
Hello? Holly!!! It's Andy! Holly?
He gets his mobile out and tries to call Holly. No answer.
He gives up and gets back in his car.
He changes the number that he's dialling to Steve's. He can't get through to Steve either. With increasing frustration, Andy turns the car's ignition key.

Scene 16
EXT. OUTSIDE STEVE'S HOUSE. AFTERNOON
ANDY is banging on Steve's door.
Andy:
Hello?!? Steve? Where are you? Hello?!? Where the hell is everyone?!?

Scene 17
EXT. ANDY'S CAR. AFTERNOON
ANDY drives down a street devoid of people and traffic.

Scene 18
EXT. OUTSIDE 24 HOUR SUPERMARKET. AFTERNOON
ANDY gets out his car and goes into the supermarket. There is nobody about. He enters through the doors, which are open as if for normal custom.

Scene 19
INT. 24 HOUR SUPERMARKET. AFTERNOON
ANDY goes down an aisle, half running, and turning around.
Andy: Hello?!? Is there anybody there?!? What's going on!?!?

Scene 20
EXT. OUTSIDE A SCHOOL. AFTERNOON
ANDY looks through railings into an empty playground. Leaves blow by in the wind. He goes to a phone box and dials 999. We can't hear what is on the other end of the line, but he's obviously annoyed as he slams down the phone and storms out.

Scene 21
EXT. TOWN CENTRE. EVENING
Echoing scene 3, ANDY walks down the street. This time, there is no traffic and no pedestrians.

Scene 22
EXT. ANDY'S CAR. EVENING
ANDY drives down more streets devoid of people and traffic. He is muttering incoherently to himself. He drives past the empty forecourt of a petrol station.

Scene 23
INT. ANDY'S FLAT. NIGHT
ANDY is indecisively pacing around the flat. He suddenly sits down on a sofa. He finds the remote control for the TV somewhere under his cushion. He uses it to turn the TV on. There is nothing but static on the first channel. He flicks rapidly through a few channels.
ANDY:
Fuck...Fuck... Fuck!
He throws the remote across the room.
ANDY (resignedly):
Shit.
He gets up and goes to the kitchen, where he pulls out a bottle of some kind of liquor. He sits down on his bed and drinks a swig straight from the bottle.
A few cross-fades later and he lies down on his back.
A close up of his eyes shows them to be in a state of confusion.
Overlay the static-filled television set on his eyes.
As the eyes close, the sound fades down to silence while the static rages on.
The view of the TV set shifts around the room and moves into Andy's bedroom where it settles onto one of his eyes once more. The eye is moving rapidly beneath it's lid. (Track: Pit of Despair starts to fade in). Dissolve to a replay of Scene 4, all the way up to where Andy gets out of the car and looks down worriedly. We see that he has found a cat.
Dissolve back to the TV screen in the flat. The sound fades out again and we shift over to the curtains. We can gradually hear running footsteps outside.
They drag to a halt and there is a distant scream.
Andy's eyes snap open. He slowly gets to his feet and paces gracefully out to the TV set.  As he does so, there is obsolutely no sound. He slowly crouches down in front of the TV set, which is filled with static but silent. After staring face to face with the TV set for a few seconds, he reaches up and presses the off button.
The TV turns off with a loud 'Schoom!!' type noise and breaks the silent spell.
A clock in the living room chimes.  Andy lets out a long breath, blinks and rubshis eyes. He staggers back to bed, accidently banging into several pieces of furniture on the way.

Scene 24. 
INT. 24 HOUR SUPERMARKET. AFTERNOON
ANDY is wandering around the aisles with a trolley, picking up whatever he
likes. He picks up an apple, takes a bite, and puts it back. Close up on the bitten apple as he leaves.

Scene 25.
INT. ANDY'S FLAT. AFTERNOON
ANDY is stacking several cans that he got from the supermarket into a cupboard. He shuts the door.

Scene 25.
EXT. TOWN STREET. AFTERNOON
ANDY shuts his car door and walks confidently a little way down the street, whistling a tune. He turns sharply up a driveway, picks up a convenient brick and smashes the window out of the door. He reaches in and opens the door. He wanders into the house, stepping over the broken glass. He explores the house, opening doors and drawers, but finds little of interest. He leaves.
Cross fade to Scene 26.

Scene 26.
EXT/INT. TIME PASSING. DAY/NIGHT
Lots of cross-fades. Track: something about time passing.
ANDY takes a swig of liquor and lies down to sleep.
Stepping over broken glass into another house.
Driving in his car.
Forcing a door open with a metal bar.
Sleeping.
Finding a pile of rotten fruit in a bowl and recoiling in disgust.
Walking down a street, looking at empty houses.
In a clothes shop, trying various items on.
Eating from a tin can with a spoon.
Driving in his car. Close up on the fuel indicator shows that it's low.
Sleeping in a different position.
Unable to make a petrol station fuel pump work.
Eating from a tin can with a spoon. Finishes and licks the spoon clean.
Stepping over some broken glass into a house.
Sleeping in another position.
Takes a set of keys from a rack inside a house.
Eating with trepidation from another can. Throws it away in disgust.
Gets in a different car and drives off.
Sleeping.

Scene 27.
EXT. STEVE'S HOUSE. AFTERNOON.
The music finishes. ANDY steps out of his car and gazes up at Steve's house.
He picks up a metal bar from the car seat.
Andy remembers a conversation that he once had with Steve.

Scene 28.
INT. STEVE'S HOUSE. NIGHT.
ANDY and STEVE are sitting on a sofa, watching TV. There are empty food packets and cans scattered across the table in front of them.
TV:
...it is unknown, as yet, how people were killed in the blast. No group has admitted responsibility. Spanish authorities suspect the extremist group...
(the TV announcer continues)
Andy:
Religion again. People killing other people because their beards aren't
long enough.

Steve (chuckles):
Yeah. They'd find another excuse if religion didn't exist, though.
They pause as the news broadcast continues.
Steve:
I had a thought yesterday... You know like, the difference between your brain and your mind?
Andy:
Yeah.
Steve:
I mean, the brain being the physical part, the mind being your consciousness.
Andy:
Er... yeah.
Steve: Well, your brain is made of physical matter. You are what you eat and all that... So, if you put matter together in a certain way, you create a mind.
Andy looks blank.
Steve:
That means that consciousness exists in all the things around us... like the table, or whatever. You've just got to put it together the right way.
Andy:
Right....
TV announcer:
...and fifteen were injured...
Andy:
fuck, news is depressing.
Andy changes the channel.

Scene 28.
EXT. STEVE'S HOUSE. AFTERNOON
ANDY walks up to the door. He is carrying a metal bar, ready to smash in a
window. As he approaches the door, he realises that it is slightly ajar.
Cautiously, he pushes the door open and peers in. He is not able to see very much. He reaches for a light switch, but it doesn't work.  He goes back to his car and takes a torch from the boot. He flicks it on as he steps into the house.

Scene 29.
INT STEVE'S HOUSE. AFTERNOON.
ANDY steps into the hallway. He flashes his torch around. There is rubbish
strewn along the corridor. The torch picks out the light fitting. There is no bulb. He sniffs as he catches a faint odour.
He pushes open a door and tries another light switch. That doesn't work either.
The torch reveals a messy living room, also without a light bulb.
He carries on to the kitchen.
On one of the tops is a plate that contains rotted meat. Flies are buzzing
about, and a close-up reveals the writhing shapes of maggots.
Andy recoils at the smell and puts a hand to his face.
There is a sound from upstairs, as if somebody moved across the floorboards.
Andy gasps. He moves quickly to the stairs. He takes them very slowly, one step at a time.
When his head is level with the landing, he lifts his torch and looks about.
There is only the sound of water dripping and the faint sound of flies.
Hefting the metal bar, Andy gets to the top of the stairs. He has to step over several pieces of discarded rubbish/clothes/toys to avoid disturbing them and making a sound.
His torch picks out a door slowly shifting closed towards the jamb, as if
somebody were pushing it from behind and trying not to make a sound as they do so.
Andy approaches and pushes the door open, very carefully. The buzzing of the flies increases.
The torch beam swings up to reveal a bed in disarray, with dark-stained sheets.
The beam shifts to the right and starkly reveals the semi-naked, emaciated and filthy form of STEVE cowering in the corner. His hands are clawing into the walls and he tries to hide his face from the torch light.
Andy (quietly):
Steve!
Andy puts the bar down and steps into the room.
Andy (sniffing):
You fucking stink, mate.
Steve just whimpers and continues to attempt to bury himself in the wall.
Andy (with more concern):
What happened to you...? Can you understand me?
Andy takes a step forward.
Steve flinches in the torch light.
Andy:
It's alright, mate. It's only me. Andy.
Andy takes another step forward.
Andy:
You remember me, right?
Steve becomes silent and freezes, absolutely still.
Andy:
It's Andy.
Andy steps forward and reaches out a hand.
With sudden ferocity, Steve launches at Andy, knocking his arm out of the way and raking downwards with both hands twisted into vicious claws. Andy is knocked back onto the bed. Steve is snarling and baring his teeth.
After the initial surprise, Andy remembers his judo and turns the situation around. Steve is thrown off the bed and onto the floor, where Andy pins him down. At first, Steve thrashes violently about, but his movements become more and more hopeless as Andy holds him secure.
Eventually, Steve's snarls give way to a quiet sobbing.
Andy:
Shit.
Andy forces Steve to his feet, all the time keeping him locked tight so as to be of no danger.
Andy:
What the fuck am I going to do with you? Look at the state of you...
Andy pushes Steve towards the door.
Andy:
Right. First thing we've got to do is clean this shit off.
He pushes Steve ahead of him, down the stairs and through the kitchen. As they pass the meat, a gleam comes into Steve's eyes and they track the meat as he goes past. Andy has a sickened look on his face.
Andy grabs a handy power cable from a kettle as he pushes Steve out of the
house and into the back garden.

Scene 30.
EXT STEVE'S BACK GARDEN. AFTERNOON.
ANDY pushes STEVE towards a drainpipe. When Steve struggles, Andy increases the force he is using in his hold to subdue him. Steve whimpers. Andy ties Steve's hands to the drainpipe.
Andy:
Can't leave you with all this shit on you, can I?
Steve walks part way up the garden and grabs the end of a hose. He moves over to the tap mounted on the side of the house. He slowly approaches Steve, who is concentrating on twisting and turning in his bonds. When Andy stops in front of him, Steve's head snaps around to look at him with a snarl. Andy pulls the trigger on the hose head as if it were a gun, and the snarl is instantly wiped off of Steve's face. Steve twists and turns in vain as the powerful stream of cold water batters him. After a fair dose, Andy stops. Steve is immediately on the offensive, making threatening noises and baring his teeth. Andy sprays him
again. Gradually, Steve slumps down the pipe to the floor and lowers his head.
Andy continues until he is satisfied that he has got the worst of the crap off.
Andy:
Be right back...
Andy disappears from camera shot, leaving the camera on the slumped, dripping, heavily breathing form of Steve for a good twenty seconds or so.
Andy comes back with a towel.
As he steps back into view, Steve's head raises slowly to look Andy in the face.
Steve:
Erugh...Annn..er.
Andy:
That's right, mate, it's Andy.
Steve:
Ergh..An...
Andy chucks the towel over Steve's head.
Jump to scene 31.

Scene 31.
INT ANDY'S FLAT. EVENING.
Close up on a discarded towel in the bathroom. The camera moves out through the doorway and into the living room, where we see STEVE, who has got clean, but ill-fitting clothes on and is dry. He is tied up to a radiator, sitting on the floor with his legs in front and his hands behind his back. Andy is sitting on a chair opposite him.
Andy:
...so I remember walking through the front door and then I must have
passed out. When I got up, I had a massive hangover. You must have had one as well - you drank just as much as me...
Steve is rocking gently from side to side, making regular noises and looking anywhere but at Andy.
Steve (quietly):
...ngh...ngh...ngh...ngh...
Andy:
...and then, when I went out, everyone had disappeared...like...everyone.
Except you, obviously. And whoever it is that's trying to get in when I go to sleep. At least, that's that feeling I get. Like, if I don't lock the doors and close all the windows, somebody's going to get in here...when I'm not awake... I mean, who knows what goes on outside you're indoors? Nothing on the TV or radio...fuck knows what's out there right now. And I'm not going out there to check...
Andy waves his hand in Steve's eyeline. Steve ignores it.
Andy brings his arm down, giving up. He tuts and stands up.
Andy:
Sod it. Bed time, mate. See you in the morning.
Andy throws a cover over Steve, checks the doors and windows, and goes off to bed.
Cross fade to scene 32.

Scene 32.
INT ANDY'S FLAT. EVENING.
The camera is moving slowly around the flat again. It tracks up to the form of STEVE, who is now dead still. Just his eyes are darting around the room above the blanket that covers him. The camera tracks across the floor towards the bedroom and the sleeping form of ANDY. Although he is asleep, he is restless.
He rolls over and the camera closes in on his eye, which is moving under the eyelid once more. (Track: The Pit of Despair starts to fade in). Dissolve to a replay of scene 4, all the way up to where he finds the cat. He reaches down in slow motion and turns it over. Although the cat is still alive, there is a gaping wound in it's side. We see a close up of this, intercut back and forth rapidly with Andy's closed eye, which opens slowly to reveal his eye rolled up into the back of his head, with just the white visible. The music alters significantly as this happens, to indicate shock (probably some kind of discordant screech). The intercutting slows down and the eyelid closes. The music dies down, to be replaced by heavy, shuddering, breathing. The view of the eye pulls back and around to where Steve is now sleeping peacefully. During
this move, the heavy breathing dies down to quiet.
The view of Steve holds onto the cut into the next scene.

Scene 33.
INT ANDY'S FLAT. MORNING.
The view of STEVE from the scene before is the same. A hand comes into view from off-camera and shakes his shoulder a little. Steve looks up sleepily.
Andy is holding an open tin of some food and a spoon.
Andy:
Wake up, breakfast time. I got some food for ya.
Andy pushes the spoon towards Steve's face. Steve grabs at the food with his mouth. He swallows quickly.
Steve:
ngh...ngh... good.
Andy looks a little surprised, but hides it quickly.
Andy:
It could be worse.
Andy gives Steve some more. Steve gobbles it up as enthusiastically as before.
Andy:
So what happened to you, huh?
Steve:
Light..ngh... water.
Andy looks at Steve expectantly, but nothing else is forthcoming.
Steve looks up at Andy.
Steve:
Good.
Steve looks down at the tin.
Andy looks down too, and then feeds him some more.
Andy:
Look, I can't just leave you here, tied up.
Andy puts the tin down away from himself, and Steve's eyes follow it.
Andy reaches behind Steve and frees his hands with a knife. He steps back
quickly, keeping the knife behind his back. Steve's head turns back round to Andy as Andy moves away. His eyes dart back towards the tin, but he doesn't move. He looks back at Andy again, as if seeking confirmation.
Andy:
Go on, it's yours.
Steve's hands come out from behind his back and he moves on all fours to the tin. He sits down and eats greedily.
Andy slips the knife away into his trousers without Steve noticing.
Andy:
I've got some water somewhere in the kitchen. Hang on...
Andy goes to the kitchen and returns with a bottle that he passes to Steve. Steve takes it and swigs gratefully.
Andy: Is that what you meant when you said 'water'?
Steve:
ngh...light.
Andy:
...light?
Steve (around mouthfuls):
Run!
Andy (resignedly, under his breath):
OK...
Andy straightens up and goes over to the window.
Andy (louder):
Right, I think it's safe now, it's daylight.
Andy pulls back a curtain and we see the view outside, devoid of life.
Andy:
I reckon we need to make this place more secure. Now I've found you, there
must be other people out somewhere. Anyone could smash in through these windows, piss easy.  There's no rules anymore, so we've got to protect ourselves.
Steve:
Good!
Steve throws the tin aside.
Andy:
We've got to go out and get wood and nails and tools and the like and
board ourselves in. You're gonna help. We could do with getting you some clothes that fit, too.

Scene 34.
EXT/INT. VARIOUS LOCATIONS AND TIMES.
Music track: unwritten.
The following bits are either lots of crossfades, or a screen split into two with different things going on in each.
ANDY drives his car past the camera. STEVE's face and hands are pressed up
against the glass, eyes open wide in fascination.
Andy and Steve in a hardware shop, picking up nails and hammers.
Andy kicking down a wooden fence and breaking it up into small
pieces.  Steve watches and then joins in with enthusiasm. When Andy has pieces he is satisfied with, he gets Steve to hold out his arms and he places several in them. Andy picks up some himself and heads towards the car. Steve follows.
Andy showing Steve how to hammer nails into planks over the windows.
Steve trying on some clothes in a shop.
More hammering.
Andy and Steve stepping over some broken glass into a house. Steve is more timid than Andy as they go in.
Andy showing Steve how to open a can with a tin opener.
Steve eating greedily from a can.
Andy throwing a blanket over Steve, who is already asleep on the couch in Andy's flat.
Andy picking up a hefty crowbar in a hardware shop.
A shot of a street at night. The camera travels fast and close to the ground, along the pavement.
Steve picking up a knife in the hardware shop.
Andy lying in wake at night with his eyes open.
A slow zoom into a boarded up window inside the flat.
Slow dissolve into the next scene.

Scene 35.
EXT. TOWN STREET. AFTERNOON.
The crowbar swings in front of the camera. It is being held loosely by ANDY. He walks forwards with STEVE following. Andy indicates a house with the crowbar.
Andy:
Let's try this one.
Steve:
ngh! break!
They go up to the door, Andy leading.
Andy puts a hand to the door and pushes it lightly. It opens up a crack. He is instantly on the alert. He reaches over and touches Steve on the shoulder.
Steve stops looking at nothing in particular and focuses his attention on Andy.
Andy puts his fingers to his lips.
Andy (whispers):
Stay here...(indicates 'stay here' with both hands pushing down
towards the ground)... I'm gonna go check it out.
The point of view changes as if someone were watching them at the front of the house from behind the fence along the pavement - handheld camera.
Andy cautiously pushes the door open.
The point of view changes to being inside the house, looking at the dark figure of Andy in the doorway as he attempts to peer into the dark.
The (handheld) camera moves past the waiting Steve and around the side of the house. We see that Steve is trying to peer past Andy and into the house as this happens.
Suddenly, Steve hears or senses something and spins around to look at the
corner of the house. He glances around and then back to the corner and then at the door, before slowly approaching the corner.
The view shifts to the view at the other end of the passageway at the side of the house, looking back towards where Steve cautiously pokes his head around before stepping fully into the passageway. He moves towards the camera and eventually past it, out of sight behind it.
The view switches to being just behind Steve, looking at his back. The camera then moves backwards, back along the passageway (we see Steve turn the rear corner of the house), around the first corner and onto the front door of the house.
A nasty male scream breaks the silence. It is quickly joined by the sounds of a scuffle.
Andy comes rushing to the door.
Andy:
Fuck!
He looks around briefly and sets off down the passageway. We follow him down and we see into the back garden of the house, over his shoulder. Steve is rolling on the ground with a dishevelled looking figure.
Both seem intent on serious harm to the other.
Andy:
Fuck!
Andy dives in and separates them. He has to push Steve off with considerable force, causing him to fall into a hedge.
Andy:
Holly?!?
Holly (gasping):
He fucking tried to kill me!
Steve seems terrified of Holly.
Steve:
No! ngh...no! no good!
Steve crawls on all fours to hide behind Andy's legs.
Holly: Keep him away from me!
Andy glances behind and down at the frightened form of Steve.
Andy: You probably surprised him...
Holly: He grabbed me from behind!
Steve: No..!
(Andy and Holly continue speaking...)
The view changes to being from behind Steve, looking at Holly through Steve's legs. We can see Steve's hand reaching back to the hilt of the knife stuck into his trousers, visible now that he is on all fours. As he reaches towards it, and pulls it part way out, a buzzing sound rises over the sound of Andy and Holly's conversation.
Andy:
Something's happened to his head.
Holly (sarcastically):
You reckon?
Andy:
Well, I couldn't just leave him. He's my best mate.
Andy turns to Steve and bends down to his level. Unseen, Steve slips the knife away. Andy gestures with both hands.
Andy:
Come on, it's OK, get up.
Steve slowly gets to his feet, never taking his eyes off Holly.
Andy:
That's it. Don't be scared. She's OK.
Unseen by Andy, Holly bares her teeth at Steve. Steve flinches.
Andy:
Woah. Easy... (to Holly) Let me calm him down. Put him back in the car.
Holly (with a nod):
OK.
Andy:
Come on, mate...
Andy takes Steve back to the car. Holly follows behind, at a small distance. Andy throws Steve a bar of chocolate through the window of the car. Steve grabs it, rips it open and munches greedily. Andy turns back to Holly, who is standing by the gate.
Holly:
So... what happened to you?
Andy:
After you dumped me, we went out and got pissed. When I got up the next day, everyone had gone. After a couple of days, I found him. I reckon that whatever wiped everyone else out messed up his brain. Maybe he saw something and he couldn't handle it. I don't know. I think he's getting better though. Slowly. What about you?
Holly:
I was at my mum's house in Reading that night. Pretty much the same as what happened to you, except *I* didn't go get drunk. Just got up and everyone had gone. After a while I nicked my mum's car and came back here to see if my brother or anyone else was around. But there's noone.
Andy: We're here, aren't we? We've fixed up my flat so nobody can get in at night. And I think there *is* somebody outside when it gets dark. We don't stay out at night, just in case.
Holly:
You're being paranoid. I drove down here last night. In the dark. I didn't see anybody.
Andy:
There's definitely somebody out there, so we're gonna shut ourselves in
again tonight... Are you gonna come with us? You'd be safer.
Holly:
Safer locked in your flat with him?!?
Holly indicates Steve in the car. During Holly's couple of sentences, the view changes to Steve's viewpoint, to a close up of his eyes watching, and then a close up of Holly's lips.
Holly:
I don't think so. I had enough of your shit...
Andy:
My shit?!?
Holly:
...and his shit... before all this happened. I'm better off by myself.
Alone. I'm gonna go down to Bournemouth tomorrow to see if I can find my dad. Tonight, I'm staying at my place.
Andy:
OK, fine. See you in hell.
Andy gets in the car and drives off. He looks at the rear view mirror as Holly
recedes into the distance.
Andy (to himself):
Not if you were the last man left on the planet.

Scene 36.
INT. ANDY'S FLAT. EVENING.
A shot of a hammer banging in a nail. STEVE is lying on the sofa. ANDY is making sure that the place is secure.
Andy (whilst hammering nails):
Fucking women, man! What's the point? I tell you what, I should've let you kick the shit out of her. Who would've known, hey? Fucking bitch!
Andy picks up a blanket and throws it at Steve. He then storms off into his bedroom. The camera stays on Steve, who's eyes seem to be gazing inwards, deep in thought.
Fade to next scene.

Scene 37.
INT. ANDY'S FLAT. NIGHT.
Fade to a camera shot travelling fast along a town street, close to the ground. Fade back to ANDY's room, where he is asleep on the bed. Track: Pit of Despair starts to fade in with it's heartbeat-like tempo.
Fade to a replay of the end of Scene 4, all the way up to where he turns the cat over and finds the wound. We see Andy twisting on his bed as the Andy in Scene 4 reaches down with both hands to grab the cat by the neck. The music starts the screech again as Andy pauses. There is a brief flash of a rolled-back eyeball and Andy snaps the cat's neck. The music dies down as the image of Andy on his bed fades back in, before fading to the camera rushing down the street at night. The camera arrives at Holly's front door as the final heart beats of the track play out.

Scene 38.
INT. ANDY'S FLAT. MORNING.
ANDY gets out of bed and blearily walks into the living room. He leans over the couch.
Andy:
Time to get up, mate...
Andy trails off as he realises that Steve isn't there. He turns slowly to look at the door. The planks of wood that should be sealing it up are piled next to it.
Andy:
Oh, shit.
An image of STEVE and HOLLY fighting from the earlier scene flashes up briefly.

Scene 39.
EXT. OUTSIDE ANDY'S FLAT. MORNING.
ANDY rushes out of the door and jumps into the car. He starts driving. As he drives, images from scenes from the rest of the film flash into his mind. He arrives outside Holly's house and goes up to the door. He pushes it open. In a repeat of the earlier scene, we see him silhouetted from the inside of the house. He steps in. An image flashes onto the screen that is so brief, the audience might not be sure they were seeing it correctly. It is blood-stained flesh. As Andy moves into the house, different angles of the scene about to be found by him flash up very quickly. He walks up the stairs.
Andy (quietly):
Holly...?
We see him from in front as he turns a final doorway. He stops, open-mouthed as he is confronted with the scene in front of him. We never see the full scene ourselves, but the camera zooms out from Andy slowly, so parts of the walls are revealed. They are splattered with blood. This is intercut with brief close-up images of ragged flesh, bones, gristle and blood. Holly has been butchered, ripper-style.
Andy staggers back out of the house, retching.

LAST FEW SCENES GO HERE...