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Lipstick, Lies,Tears, Tragedy- Script

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Lipstick, Lies,Tears, Tragedy- Script

  1. 1. 1 Final Version Shooting ScriptLIPSTICK. LIES.TEARS. TRAJEDY. SCREENPLAY mf
  2. 2. 2 LIPSTICK. LIES. TEARS. TRAGEDY.FADE IN:1 INT. APARTMENT SITTING ROOM. NIGHT. 1Two indistinct characters, shown only from waist and torso, jostleback and forth in a distressed manner. VOICE 1(male, gruff) Get off me(angered) VOICE 2(female, delicate) No VOICE 1 Its over(cold and aggressive) VOICE 2 We can make it work(desperate) VOICE 1 Im leaving VOICE 2 I wont let you VOICE 1 I said get off me!-overlaid with the sounds of a loud thud, glass smashing anda short scream; loud and shrill. CUT TO BLACK.BLACK SCREEN. A telephone rings twice before redirected to anemergency operator. VOICE 3(V.O)(female) This is 911, what is your emergency?-proceeded by a continuous dial tone which runs until scene cut.2 INT. APARTMENT. DAY. 2A sequence of three short panoramas runs displaying differentrooms from within an apartment. The first, a homely sitting room.A large sofa, the length of the room, dressed in an arrangement offrilled cushions, an assortment of framed artwork fills the wallsand a large rug covers the floor.The second is a dining area; a long ovular table laid with a silkrunner and two matching candelabras, each holding two tapers,stand at either end.Last, a luxurious bedroom, complete with large dressing tableboasting its ornate-framed mirror and a large double-bed laid withan elegant spread beneath a grand chandelier. CUT TO BLACK. mf
  3. 3. 3BLACK SCREEN. Four words in a slim, serif font fade inconsecutively; Lipstick, Lies and Tears, each in white,concluded with Tragedy in blood red.3 INT. APARTMENT BEDROOM. NIGHT. 3BLACK AND WHITE. A clock displays the time 11.55h. A slenderfeminine hand with long, immaculately painted fingernails claspsthe handset of a 50s rotary telephone and pulls it upwards. Asingle bony figure begins delicately dialling a sequence ofnumbers.The telephone handset is propped against an ear as the sound ofthe outputting call rings continuously.An indistinct female form observes its reflection through a mirroras a make-up wand begins applying mascara to the eyelashes of awide, glassy eye in a casual, rhythmic fashion. The ringingeventually cuts out and the call is referred to the recordedmessage of an answer machine. VOICE 4(V.O)(automated) The number you have called is unavailable. Please leave a message after the tone. When you have finished recording, hang up.-followed by the tone. A pursed pair of lips begins movingsensuously in time with the dialogue whilst a hand rises up andbegins applying lipstick in a seductive manner. VOICE 2(slow and seductive) Hey c***(censored). It’s me [pause] again. We need to talk about what happened the other nightThe slender hand operates a computer mouse before a laptop monitorreveals a social networking profile page with a photograph of aman in a long black overcoat set as the profile picture. Anotification towards the top of the page reads ‘Blake Thornton isin a relationship with Rachel Pearey’. A feminine eye, heavilymade up with mascara, illuminated in the blue glow of the monitor,looks downwards, the dark pupils darting left to right, scanningthe page. The eyelids narrow in an angered and menacing manner. VOICE 2(O.S)(CONT’D) Call me-proceeded by the click of the telephone to signal the end of thecall. The web page on the monitor begins to scroll downwards,gradually revealing, post by post, a conversation between twousers, ‘Blake’ and ‘Rachel’. (CONTINUES) mf
  4. 4. 4CONT. RACHEL Hey, you still up for tomorrow? BLAKE Sure! Time? Place? RACHEL 12 noon by the old clock? x BLAKE Great, see ya there :)The strapline of the first post reads, ‘Posted 23/11/12 14:07’. FADE OUT TO BLACK.BLACK SCREEN. The telephone redials, rings twice and is redirectedto the messaging service again. The automatic voice speaks andgradually fades out.4 INT. APARTMENT BEDROOM. MORNING. 4A calendar, hanging on the wall, bares its November page. Thefamiliar, feminine hand holds a broad red marker pen and rings the24th box several times. A clock reads 11.30h. The hand swiftlyretrieves a large Polaroid camera from its resting place on thebed and a shadow moves across the room before the sound of a doorclicks shut.5. EXT. TOWN CENTRE. MIDDAY. 5COLOUR. A large crowd of people bustles to and fro infront of atall, red brick clock. Blake is stood waiting in the distancewearing a high collared, pale blue shirt beneath his smart blackovercoat. RACHEL, short and petite, wearing dark, slim fit jeanswith a tight-fitted brown leather jacket, greets him and theyembrace with a hug before he gives her a quick kiss on the cheekat which point there is a sequence of four quick bright flashes,seconds apart. The action freezes momentarily between each,capturing their embrace, until after the fourth flash upon whichthe action stays frozen for several seconds on a shot of Blakepecking Rachel’s cheek. This shot is bathed in a deep red filter.6 INT. BEDROOM. NIGHT. (CONT’D) 6RED FILTER. Remaining on the previous shot, the frame zooms outrevealing the snapshot to be a printed photograph lying on thebed. A hand picks up the photo and pins it to the wall using adrawing pin which is revealed to be the latest addition of a largecollage of photographs, all capturing Blake throughout variouslocations and encounters. The hand proceeds to retrieve a laptop,seeming to sign into a social networking account. The pale hands,illuminated in the monitors glow, begin typing on the keyboardbefore the monitor is shown, revealing a message to Blake fromRachel telling him to meet her at ‘apartment 64b’ that night. mf
  5. 5. 57 INT. APARTMENT BLOCK CORRIDOR. NIGHT. 7COLOUR. Blake, wearing his long black overcoat, a purple and redstriped scarf and a pair of black leather gloves, approaches awooden door displaying the number ‘64b’. After knocking severaltimes to no reply, he tries the handle and the door creaks open.INT. APARTMENT 64b ENTRANCE. (CONT’D)A door creaks open and Blake enters uncertainly into a pitch blackroom, the only light being that coming from the open doorway. BLAKE Hello(hesitant) Rachel? [pause] I got your message.8 INT. BEDROOM. NIGHT. 8Rachel is sat crossed legged on a large double-bed in a femininelydecorated bedroom, checking her social networking page on alaptop. She notices ‘her’ latest message to Blake with a stunnedexpression on her face. RACHEL(confused) Wait, I didnt write that9 INT. APARTMENT 64b. (CONT’D) 9 BLAKE Rachel, are you in here?Blake feels around for a light switch which he finds by the door.Just as the overhead light flickers on he is struck on the back ofthe head with a heavy object, sending him instantly unconscious. FADE TO BLACK.BLACK SCREEN for 5 seconds. Muffled and distorted SFX play. HORIZONTAL SWIPE TRANSITION (from centre):BLACK AND WHITE. OUT OF FOCUS. Blake is tied up with thick ropesto a rickety wooden chair with his arms behind his back. His mouthhas been gagged with his scarf. He takes several seconds to cometo, confused and dazed and visibly shaken by the ordeal, andspends several seconds looking around his location until his eyesstay fixed directly ahead. His eyes shoot wide open and allremaining colour drains from his face. An unclear feminine form indark clothing shown only from upper torso downwards is revealed,standing over him, looming down. It holds one arm fixed behind itsback. mf
  6. 6. 6 VOICE 2(muffled, feminine) Whats the matter? (soft and casual) (CONTINUES)CONT.Cut to a familiar pair of lips, heavily outlined with lipstick. VOICE 2 You look like youve seen a ghostThe lips smirk in a mocking manner, displaying huge amusement.Blake squirms uncomfortably and makes poor attempt to shoutbeneath the gag. VOICE 2 so nice of you to drop in by the way [pause]The form begins pacing around the chair and Blake, one armremaining constantly behind its back. VOICE 2 (CONT’D) ‘thought you’d finally seen the back of me, did you? (anger icily brewing before sharply back to the regular composed and sensuous voice) You should know you can’t get rid of me that easily Blakey (overly sweet and innocent) You see, Ive been trying to ring you [pause] I just, I hate that we had to end things on such a bad note, you know, I never got the chance to give you [pause] what you truly deserved.She quickly whips the arm out from behind her back revealing asharp kitchen knife. The shot comes quickly into focus as shepresses the knife brusquely to the centre of Blake’s chest. Hiseyes widen, larger still, in terror and his eyebrows furrow withplea as he makes further, wasted attempt to scream. VOICE 2 You killed me Blake and now its time for my revenge (hissing with anger, voice rising increasingly louder) RACHEL (O.S)(interrupts) Blake? Are you in there?INT. APARTMENT BLOCK CORRIDOR. (CONT’D)COLOUR. Rachel knocks continuously and rapidly on the door toapartment 64b calling out for Blake. She tries the handle thoughthe door is locked. mf
  7. 7. 7INT. APARTMENT 64b. (CONT’D) (CONTINUES)CONT.Blake’s eyes widen in response to the sound of Rachel’s voice anda small flourish of colour and hope is regained in his face. Thefemale is visibly unsettled by the interruption and thinks quicklyto regain control of the situation. VOICE 2(hushed tones) Don’t (hisses, spitting with anger) say a wordShe places a single, bony finger over Blake’s gagged mouth whilstbringing her face inches away from his. She presses the knife intighter towards his stomach and stares fiercely into his eyeswhich are fixed, watching the wooden door in desperation. Thereare several intense seconds of silence.INT. APARTMENT BLOCK CORRIDOR. (CONT’D)Rachel presses her ear to the apartment door and listens contentlyto hear only silence. Seemingly satisfied that the apartment isempty, she turns to walk away. Just then, there is a faint muffledyelp from beyond the door. She quickly spins around and puts herear to door again. RACHEL Blake? BLAKE(faint, muffled) Rachel! (desperate) Rachel! RACHEL Blake!Rachel desperately rattles the door handle rapidly and repeatedlythrows her body weight against the wooden door; a look of fear andpanic filling her face.INT. APARTMENT 64b. (CONT’D) VOICE 2 (bitterly angry) Oh, you’ve done it nowA shadow on the floor casts the shape of Blake in the chair withthe form clutching the knife to his chest. The arm clutching theknife sharply plunges forward as all three characters,simultaneously let out a deafening, high-pitched scream. At thatmoment, Rachel forcefully bursts through the door and quicklyflicks the light switch, revealing a bare, empty room with notraces of having ever been inhabited. Silence falls. mf
  8. 8. 8FADE TO BLACK. (ENDS) mf