1. 1
Final Version Shooting Script
LIPSTICK. LIES.
TEARS. TRAJEDY.
SCREENPLAY
mf

2. 2
LIPSTICK. LIES. TEARS. TRAGEDY.
FADE IN:
1 INT. APARTMENT SITTING ROOM. NIGHT. 1
Two indistinct characters, shown only from waist and torso, jostle
back and forth in a distressed manner.
VOICE 1(male, gruff)
Get off me(angered)
VOICE 2(female, delicate)
No
VOICE 1
It's over(cold and aggressive)
VOICE 2
We can make it work(desperate)
VOICE 1
I'm leaving
VOICE 2
I won't let you
VOICE 1
I said get off me!
-overlaid with the sounds of a loud thud, glass smashing and
a short scream; loud and shrill.
CUT TO BLACK.
BLACK SCREEN. A telephone rings twice before redirected to an
emergency 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. 2
A sequence of three short panoramas runs displaying different
rooms from within an apartment. The first, a homely sitting room.
A large sofa, the length of the room, dressed in an arrangement of
frilled cushions, an assortment of framed artwork fills the walls
and a large rug covers the floor.
The second is a dining area; a long ovular table laid with a silk
runner and two matching candelabras, each holding two tapers,
stand at either end.
Last, a luxurious bedroom, complete with large dressing table
boasting its ornate-framed mirror and a large double-bed laid with
an elegant spread beneath a grand chandelier.
CUT TO BLACK.
mf

3. 3
BLACK SCREEN. Four words in a slim, serif font fade in
consecutively; 'Lipstick', 'Lies' and 'Tears', each in white,
concluded with 'Tragedy' in blood red.
3 INT. APARTMENT BEDROOM. NIGHT. 3
BLACK AND WHITE. A clock displays the time 11.55h. A slender
feminine hand with long, immaculately painted fingernails clasps
the handset of a '50s rotary telephone and pulls it upwards. A
single bony figure begins delicately dialling a sequence of
numbers.
The telephone handset is propped against an ear as the sound of
the outputting call rings continuously.
An indistinct female form observes its reflection through a mirror
as a make-up wand begins applying mascara to the eyelashes of a
wide, glassy eye in a casual, rhythmic fashion. The ringing
eventually cuts out and the call is referred to the recorded
message 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 moving
sensuously in time with the dialogue whilst a hand rises up and
begins 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 night
The slender hand operates a computer mouse before a laptop monitor
reveals a social networking profile page with a photograph of a
man in a long black overcoat set as the profile picture. A
notification towards the top of the page reads ‘Blake Thornton is
in a relationship with Rachel Pearey’. A feminine eye, heavily
made up with mascara, illuminated in the blue glow of the monitor,
looks downwards, the dark pupils darting left to right, scanning
the 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 the
call. The web page on the monitor begins to scroll downwards,
gradually revealing, post by post, a conversation between two
users, ‘Blake’ and ‘Rachel’.
(CONTINUES)
mf

4. 4
CONT.
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 redirected
to the messaging service again. The automatic voice speaks and
gradually fades out.
4 INT. APARTMENT BEDROOM. MORNING. 4
A calendar, hanging on the wall, bares its November page. The
familiar, feminine hand holds a broad red marker pen and rings the
24th box several times. A clock reads 11.30h. The hand swiftly
retrieves a large Polaroid camera from its resting place on the
bed and a shadow moves across the room before the sound of a door
clicks shut.
5. EXT. TOWN CENTRE. MIDDAY. 5
COLOUR. A large crowd of people bustles to and fro infront of a
tall, red brick clock. Blake is stood waiting in the distance
wearing a high collared, pale blue shirt beneath his smart black
overcoat. RACHEL, short and petite, wearing dark, slim fit jeans
with a tight-fitted brown leather jacket, greets him and they
embrace with a hug before he gives her a quick kiss on the cheek
at 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 which
the action stays frozen for several seconds on a shot of Blake
pecking Rachel’s cheek. This shot is bathed in a deep red filter.
6 INT. BEDROOM. NIGHT. (CONT’D) 6
RED FILTER. Remaining on the previous shot, the frame zooms out
revealing the snapshot to be a printed photograph lying on the
bed. A hand picks up the photo and pins it to the wall using a
drawing pin which is revealed to be the latest addition of a large
collage of photographs, all capturing Blake throughout various
locations 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 keyboard
before the monitor is shown, revealing a message to Blake from
Rachel telling him to meet her at ‘apartment 64b’ that night.
mf

5. 5
7 INT. APARTMENT BLOCK CORRIDOR. NIGHT. 7
COLOUR. Blake, wearing his long black overcoat, a purple and red
striped scarf and a pair of black leather gloves, approaches a
wooden door displaying the number ‘64b’. After knocking several
times 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 black
room, the only light being that coming from the open doorway.
BLAKE
Hello(hesitant) Rachel? [pause] I got your
message.
8 INT. BEDROOM. NIGHT. 8
Rachel is sat crossed legged on a large double-bed in a femininely
decorated bedroom, checking her social networking page on a
laptop. She notices ‘her’ latest message to Blake with a stunned
expression on her face.
RACHEL(confused)
Wait, I didn't write that
9 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 of
the 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 ropes
to a rickety wooden chair with his arms behind his back. His mouth
has been gagged with his scarf. He takes several seconds to come
to, confused and dazed and visibly shaken by the ordeal, and
spends several seconds looking around his location until his eyes
stay fixed directly ahead. His eyes shoot wide open and all
remaining colour drains from his face. An unclear feminine form in
dark clothing shown only from upper torso downwards is revealed,
standing over him, looming down. It holds one arm fixed behind its
back.
mf

6. 6
VOICE 2(muffled, feminine)
What's the matter? (soft and casual)
(CONTINUES)
CONT.
Cut to a familiar pair of lips, heavily outlined with lipstick.
VOICE 2
You look like you've seen a ghost
The lips smirk in a mocking manner, displaying huge amusement.
Blake squirms uncomfortably and makes poor attempt to shout
beneath 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 arm
remaining 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, I've 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 a
sharp kitchen knife. The shot comes quickly into focus as she
presses the knife brusquely to the centre of Blake’s chest. His
eyes widen, larger still, in terror and his eyebrows furrow with
plea as he makes further, wasted attempt to scream.
VOICE 2
You killed me Blake and now it's 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 to
apartment 64b calling out for Blake. She tries the handle though
the door is locked.
mf

7. 7
INT. APARTMENT 64b. (CONT’D)
(CONTINUES)
CONT.
Blake’s eyes widen in response to the sound of Rachel’s voice and
a small flourish of colour and hope is regained in his face. The
female is visibly unsettled by the interruption and thinks quickly
to regain control of the situation.
VOICE 2(hushed tones)
Don’t (hisses, spitting with anger) say a
word
She places a single, bony finger over Blake’s gagged mouth whilst
bringing her face inches away from his. She presses the knife in
tighter towards his stomach and stares fiercely into his eyes
which are fixed, watching the wooden door in desperation. There
are several intense seconds of silence.
INT. APARTMENT BLOCK CORRIDOR. (CONT’D)
Rachel presses her ear to the apartment door and listens contently
to hear only silence. Seemingly satisfied that the apartment is
empty, she turns to walk away. Just then, there is a faint muffled
yelp from beyond the door. She quickly spins around and puts her
ear to door again.
RACHEL
Blake?
BLAKE(faint, muffled)
Rachel! (desperate) Rachel!
RACHEL
Blake!
Rachel desperately rattles the door handle rapidly and repeatedly
throws her body weight against the wooden door; a look of fear and
panic filling her face.
INT. APARTMENT 64b. (CONT’D)
VOICE 2 (bitterly angry)
Oh, you’ve done it now
A shadow on the floor casts the shape of Blake in the chair with
the form clutching the knife to his chest. The arm clutching the
knife sharply plunges forward as all three characters,
simultaneously let out a deafening, high-pitched scream. At that
moment, Rachel forcefully bursts through the door and quickly
flicks the light switch, revealing a bare, empty room with no
traces of having ever been inhabited. Silence falls.
mf

8. 8
FADE TO BLACK.
(ENDS)
mf