Different Perspectives - Episode 1: Draft

8/17/2019 Different Perspectives - Episode 1: Draft

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DIFFERENT PERSPECTIVES

(Episode 1)

Written by

Sam McKeown

Script Draft Written7th February 2016

Sam McKeown75 Tylney RoadBR1 2RS07948626561


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1. EXT. - ‘SOUL STREET’ OUTSIDE ELLIOTT’S HOUSE - DAY

Our main character ELLIOTT is a soft-spoken guy in his mid-twenties with a slim build, He has blue eyes, dark brown hairand also wears glasses. He has suffered from paranoidschizophrenia since his early teens. He also has bouts of

depression but despite everything he is a happy go lucky guy with a self-deprecating sense of humour.

FADE IN:

We start off with ELLIOTT walking down the street listeningto music.He walks past a man, who is standing casually, leaningagainst a building. He has sunglasses on. As soon as ELLIOTTpasses, the man raises his hand to an earpiece in his ear.

MAN:

Yeah, we got him.

He continues to watch ELLIOTT’s movement. ELLIOTT looks towards the lights which are flashing green. Hestarts to walk across. At the same time a BLACK CAR withtinted windows is driving along at a brisk pace. ELLIOTT isoblivious to this and is struck by the car knocking him over.

ELLIOTT is knocked a few feet in front of the car, and isstunned, lying still on his back. We see a POV shot ofELLIOTT knocked to the floor, and his eyes are blinking andalmost completely shut. He sees the legs of a man dressed in

white walking towards him.

The man wearing sunglasses slowly gets of the wall and walksover to ELLIOTT. As he passes the car he waves, and the car manoeuvres around ELLIOTT and the man, driving away.

2. INT. DREAM SEQUENCE DAY

FADE IN: ELLIOTT’S HALLUCINATION:

He is standing alone in the middle of a dark room. A DOORappears on the wall opposite him. ELLIOTT walks towards it,and tries to open it. When he tries to turn the HANDLE, itbreaks off in his hands, trapping him. He tries to fix thehandle, but it has completely broken off. He then tries toforce the door open by pushing at it, with no success.Panicked, he looks around him for another way out, seeingnone. The room has no windows, and the only entrance is thedoor, which is now broken.


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He hits the wall next to the door with his fists. The wallfalls apart like paper, tearing to reveal a camera with a REDLIGHT blinking.

CUT TO THE CAMERA’S POINT OF VIEW

ELLIOTT stares into the lens. He begins tearing away at the walls, which falls apart easily. This reveals more and morecameras, which are all surrounding and filming ELLIOTT. Cutto another dark room, this one flooded with monitors, eachone showing him from one of the camera’s viewpoints.

ELLIOTT backs away to the middle of the room, bumping intoanother camera. He looks straight into the lens. Frightened,he turns to see himself floating in midair, fast asleep. Abeam of light is shining on his head. He slowly reaches outand touches his sleeping self’s shoulder. As he does this,the sleeping Elliott opens his eyes, and the beam of light

shuts off.

3. INT. HOSPITAL - LATE AFTERNOON

ELLIOTT wakes up, sitting up and gasping. He hears a loudbeeping, and looks over to see he is attached to a heart monitor, which is going off furiously because of his raisedheart rate.He looks down at his arms, and gently runs his fingers overthe tape holding an IV in place. The hospital room is small,brightly lit, and bare, except for the machines and ELLIOTT'S

bed. A NURSE enters the room, knocking quietly on his door.

NURSEOh, good. You're awake! I have avisitor for you.

The nurse steps back, allowing his girlfriend, ELENA to stepinto the room. She runs over to ELLIOTT’S side.

ELENA Oh my god, Elliott.. I was so

worried about you! Are you okay?

ELLIOTTI-I guess, I don’t feel much pain..

ELENA That's so good to hear. I’m reallyglad you didn’t break something. Doyou remember anything?

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ELLIOTTWell that’s the thing, I don’treally remember anything after theaccident.. except a shadowyfigure..

NURSEYou’re lucky to be alive. Whoeverhit you was didn’t stop fordetails. It was lucky that someonephoned us.

ELLIOTTDo you know who it was?

NURSEHe didn’t leave a name or address..We can try and put an inquiryforward, but it might take some

time.

ELLIOTTNo, no. I just want to get out ofhere. (Looking at the nurse)How long will I have to stay inhere?

NURSEWell, fortunately you’ve onlysuffered a few bruises.

ELLIOTT

My head kind of hurts a though.

NURSEThat’s perfectly normal after anaccident like this. Thankfully thedoctor thinks you're in the clear.The crash didn't cause any majortrauma.

ELLIOTT slowly nods. ELENA takes his hand, and grins happily.ELLIOTT leans his head back against the pillows and closeshis eyes.

ELENA turns to talk to the nurse, and sees the man withsunglasses from before that appeared before standing outsidethe room, staring inside. She looks confused although shedoesn’t think much of it. The nurse notices, and shuts thedoor behind her.

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4. INT. ELLIOTT’S BEDROOM - LATE MORNING - ONE WEEK LATER

ClOSE-UP of ELLIOTT waking up with a start from the dreamsequence, sitting up and rubbing his eyes. He is dressed inhis pyjamas, which consist of a T-shirt and plaid patterned

trousers. He looks around him, ensuring everything is normal.He reaches out to his bedside table and checks the time onhis phone, and putting his glasses on.

ELLIOTT (TO HIMSELF)Oh god.. What did I drink lastnight?

He notices the clock on the wall, saying 11:30AM.

ELLIOTT (CONT’D)Shit.

ELLIOTT gets up out of bed, tossing his blankets sloppilyback onto the mattress. He walks to the bathroom and beginsgetting ready. We see him brushing his teeth, the sound ofthe toilet flushing, etc.. Shots of his morning routine areinterspersed with shots of his messy room, pictures of himand his girlfriend ELENA on the side table, open mysterynovels lying everywhere. When he is finished getting ready,he takes one final look in the mirror, and sighs. He thengrabs his keys and folders for work from the small table nearhis door, and leaves, forgetting to lock his door.

5. EXT. LONDON STREET - SUFFRAGETTE ST. - EARLY AFTERNOON.

As he is walking to work, he sees a camera out of the cornerof his eye between two houses. When he turns to look, thereisn’t anything there. Unsettled, he pulls his jacket a bittighter and continues. He approaches his work building, andtries to open the door, but the handle breaks off in hishand, like in his dream. He backs away from the door, lookingup to see a camera attached to the side of the building, watching him.

He looks unsettled, and stands in front of the broken doorfor a moment, idly playing with the broken handle. He reaches

out and tries to fix the handle, but quickly gives up. Helooks up at the camera again, which is still pointed at him.ELLIOTT then walks briskly around to a different entrance,looking around him constantly. He spots another camera on apower line, and hurries inside an office building.

SCREEN FADES.

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6. INT. OFFICE: ELLIOTT’S DESK - AFTERNOON

ELLIOTT is an intern at a NEWS STUDIO on SUFFRAGETTE ST. inSOUTHSTONE. It is a large studio with multiple floorscatering to an entire production team.

He walks in through the door, inside there are a group ofpeople sat next to desks. There is also a group of writershaving a conference in an office at the end of the hall.ELLIOTT gets to his desk and sits, sighing. He begins to rubhis head.

ELLIOTT opens his computer and inserts his flash drive. Hestarts looking at a list of notes next to him.) He beginstyping, shaking his head and blinking frequently. He doesn’tnotice his boss, MICHAEL walk up behind him until MICHAELclears his throat. This causes ELLIOTT to jump, then turn,looking only slightly relieved when he notices who it is.MICHAEL is older, in his late fifties, with grey hair and

dresses very formally in a suit and tie.

ELLIOTTUh... hello. You startled me.

ELLIOTT nervously laughs. Michael keeps the same stoicexpression.

ELLIOTT (CONT’D)What can I help you with?

MICHAELWell that’s thing, we urgently needthe outline for

As MICHAEL speaks, ELLIOTT shrinks a little and scoots hischair over a bit to block the computer screen. MICHAELnotices this, and his frown deepens.

ELLIOTTI’m just putting some final toucheson it… you know, I want to get theplot twist just right and I think

I've nearly got it…

At this point ELLIOTT is rambling and MICHAEL looks veryangry.

MICHAELElliott...

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ELLIOTTI’ll have it done by tonight. Ipromise!

MICHAEL sighs, and runs his hand over his head. After a moment he finally nods. He turns and walks back to hisoffice. As he walks away ELLIOTT turns to his computer andbegins typing FURIOUSLY. As soon as he sees MICHAEL enter hisoffice, he stops typing and begins staring at the window.MICHAEL sees him do this, and turns away, shaking his head.

CUT TO:

A shot of a CLOCK appears showing time rapidly descending.

7. INT. ‘HOLLYWOOD’ CAFE - AFTERNOON

LONG SHOT of ELLIOTT WALKING INSIDE

ELLIOTT walks to a nearby cafe, and goes inside, a bell onthe door jingling. He looks around for a moment and thenspots Elena, who is sitting at a back table. Elena is a 23year old libarian. She has red hair and glasses and is wearing a blue coat. She waves, and he smiles. He walks overand sits down, shrugging out of his jacket.

ELENA Hey.

ELLIOTT

Hey, EL. How was work?

ELENA Oh god, it was so boring today.(Rolls her eyes) You look prettytired today, did you get enoughsleep? (Sips her drink)

ELLIOTTUh, not really. But I had thisreally weird dream-

ELENA(INTERRUPTING)-I knew it. You’ve been drinkingall week, you know that’s not goodfor you.. especially mixed in withyour medication!

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ELLIOTTYeah but this didn’t feel like anormal dream, it was like (Changingthe subject) Er- Have you evernoticed all thosecameras?

ELENA opens her eyes wide for a second, than laughs.

ELENA Huh? What are you talking about?

ELLIOTTWell, at work, there was a cameraon the building. I don’t think I’veseen it before. And then I keptfinding other ones.

ELLIOTT points to a camera across the street that is pointed

at the cafe window.

ELLIOTT (CONT’D)There’s another one, can’t you seeit?

ELENAUm.. There’s nothing there.Are you trying to make jokes?

As it becomes obvious ELENA can’t see the camera, ELLIOTTbegins to look frustrated.

ELLIOTTIt’s right there, Elena!Put your glasses on if you have to,it’s there!

ELENA puts her hand on her forehead in exasperation.

ELENA Just give this up, ELLIOTT. Itisn’t funny anymore.

ELLIOTT crosses his arms and sits back, looking out the

window. Elena can tell he’s upset and leans forward, tryingto calm him down.

ELENA (CONT’D)Do you want something to drink, acup of tea maybe?

ELENA SMILES, trying to make him feel better. ELLIOTT nods,and manages a small smile.

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ELENA takes that as a sign that everything’s back to normal,and gets up. She walks over to the counter to get some TEA.While she is at the counter, ELLIOTT FROWNS at the CAMERAacross the street. He stares into it for a moment. Then, itslowly moves, pointing to the crosswalk. ELLIOTT’S eyesWIDEN. Right after this happens, ELENA puts his tea down in

front of him, and sits down again, this time in the chairnext to him, leaning against him slightly.

ELENA (CONT’D)How’s it going in the News studio,anyway? I know

ELLIOTT sips his tea, and diverts his vision back towardsELENA.

ELLIOTT..Er, Pretty well I guess. My bossis being a bit of a prick about it.

I just want it to be perfect, buthe’s more worried about thedeadline.

ELENA Well, time is important when you’re making a show.

ELLIOTT sighs.

ELLIOTTI know. I told him I’d have it doneby tonight, but I don’t think he

believed me.

Elena sympathetically puts her hand on his arm.

ELENA Hey, it’ll be fine, i’m sure youcan finish it by then.

Elliott turns towards Elena, and smiles.

ELLIOTT

I know. Thanks.

Elena smiles back, and hugs him. Elliott relaxes for a moment, and lets his gaze wander around the cafe, drinkinghis tea. Suddenly, he spots a red light blinking from theright corner in front of him, near the ceiling.

The camera cuts to an EXTREME LONG SHOT of a blurry RED LIGHT

He squints, trying to make out what it is.

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As he is doing this, ELENA is also drinking her tea, happilylooking out the window, taking no notice of ELLIOTT. Herealises that he is looking at a small CAMERA, partiallyhidden behind the wall. He stiffens. ELENA turns with aconfused look on her face, and sees ELLIOTT, still staring atthe corner.

ELENA Elliott?

She looks in the direction he is staring, sees nothing, andthen looks back at him, slightly worried.

ELENA (CONT’D)Hey..

She nudges him.

ELENA (CONT’D)Are you okay? Elliott?

She nudges him again, a bit more forcefully this time,causing some of Elliott’s tea to splash onto his shirt. Thisbreaks Elliott’s concentration, and he blankly looks at the wet spot, then back at Elena.

ELENA (CONT’D)Oh, I'm sorry!

Elliott doesn’t say anything. Elena hands him a napkin, whichhe takes. He begins to dab at his shirt. He then quickly

stands, which startles Elena.

ELLIOTTWe should go.

ELENA But we haven’t eaten yet-?

ELLIOTTWe can get something on the wayback.

He quickly puts on his jacket and grabs his things, andbegins to walk out. ELENA stares after him for a moment, thengets up, pushes her chair in, and hurries after him. Shecatches up to him as he reaches the door, and pulls on hissleeve, forcing him to turn towards her.

ELENA What’s gotten in to you? Elliott?!

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ELLIOTT looks around nervously, turning back to look at thecamera. ELENA looks at him expectantly. He leans closer to whisper in her ear.

ELLIOTTLook, I’ll tell you in a minute,

okay? Just not in here.

ELENA leans away from him, frustrated.

ELENA Why not in here?

As ELENA speaks, ELLIOTT tries to cover her mouth to quiether, but she pushes his hand away, still upset.

ELLIOTTEl, please, let’s just go outside.

ELENA frowns at him. She opens her mouth to say something,then changes her mind, pushing past ELLIOTT and exiting thecafe.

8. EXT. CAFE ENTRANCE - AFTERNOON

At the edge of the pavement, she turns, waiting for ELLIOTTto catch up. When he is standing in front of her, she tiltsher head.

ELENA Well? (Impatiently)

ELLIOTT looks around, making sure the camera across thestreet is still pointed at the crosswalk. When he is sureit’s not pointed in their direction, he steps closer toELENA.

ELLIOTTThere was a camera watching us-

ELENA -Elliott, for gods sake, it wasprobably just a surveillance cameraor something! They’re everywhere!

ELLIOTTBut I’ve never seen one in therebefore….

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He pauses, looking up inquisitively.

ELLIOTT (CONT’D)At least... I don’t think I have.

ELENA rolls her eyes.

ELENA So? They might have just put it in.

ELLIOTTI suppose...

ELENA rolls her eyes again, then sweetly smiles at ELLIOTT,adjusting his jacket.

ELENA You need to stop being so paranoid,It’s not good for you!

ELLIOTT tries to smile back, but ELENA doesn’t really notice.

ELENA (CONT’D)Not everything needs to be a bloodyconspiracy!

ELLIOTTElena please..

ELENAI hope you took your medicationtoday, you’ve been acting weird all

day-

As ELENA speaks, she turns to face the street and begins tocross.

ELLIOTTHey don’t cross!

ELLIOTT suddenly becomes frightened looking over at thenearby traffic light, which is red. There aren’t any cars onthe street, only a few people walking by on the pavement.Then ELLIOTT notices the camera is now pointing at ELENA. He

steps forward as he shouts.

ELLIOTT(SHOUTING)ELENA!!

ELENA turns to face ELLIOTT, looking confused. She is only acouple feet into the street. As she turns, a car comes intoview at the edge of ELLIOTT’S peripheral vision. It isspeeding, and headed straight for ELENA’s path.

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ELLIOTT runs forward towards ELENA, who still hasn’t noticedthe car. He grabs her arm as she turns and sees the car. Hereyes widen in shock. ELLIOTT pulls her back towards him, theforce of it knocking him backwards onto the pavement, ELENAfalling on top of him. The car speeds past, veering wildly to

the left, turning the corner and disappearing. She begins tostand, her hands shaking a bit. She looks over at ELLIOTT, who is staring at the camera.

ELENA Are y-you alright?

Elliott doesn’t answer at first, still staring at the camera.As he watches, the camera slowly turns away again, pointingonce more at the crosswalk.

ELLIOTTWere you watching that?

ELENAWhat?

ELLIOTT turns to Elena, and stands, helping her up.

ELLIOTT..Nothing.

ELENA looks in the direction the car went, and shivers.

ELENA That was bloody close! He came out

of nowhere!

ELLIOTT takes ELENA’S hand.

ELLIOTTWell, he’s gone now.

With his other hand, he brushes some dirt off his jacket,then turns, staring at the camera again. It is stillinnocently pointed at the crosswalk. Elena moves closer tohim.

ELENA Well, should we go get something toeat? I have a few minutes left.

ELLIOTT continues staring at the CAMERA hidden next to the wall.

ELLIOTTUh, yeah. Yeah, i’m quite hungry.

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He looks away from the camera and grins at Elena. The twocross the street quickly and walk to the left, out of theshot.

FADE TO:

9. EXT. NETWORK STUDIOS - LATE AFTERNOON

ELENA and ELLIOTT are approaching the back entrance whichELLIOTT tried to use earlier in the morning. As the two getcloser, ELLIOTT notices that the handle is fixed. He does adouble take, reaching out and turning it. ELENA notices hisconfusion and laughs.

ELENA It’s just a door, Elliott.

ELLIOTTYeah, but it was broken this morning, I had to go around to thefront.

ELENA They must have fixed it prettyquickly. I came in after you and it was working fine then.

Elliott is still holding onto the door, looking confused.

Elena looks at him strangely, then shrugs it off.

ELENA So um...are you going to open thedoor?

ELLIOTT..Oh yeah. Of course!

Elliott laughs nervously, and opens the door, gesturing Elenathrough. After she enters the building, he follows, the doorshutting behind him.

10. INT. OFFICE: ELLIOTT’S DESK - AFTERNOON

Elliott reaches his desk, and plugs in his flash drive,opening his computer. He sits down, thinking. He starts totype, but then stops. He pushes back his chair, pulling outhis waste bin. He pulls out the papers, finding nothing atthe bottom. He sets the bin down, looking around.

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He checks all his desk drawers and his pockets, but he can’tfind the broken door handle from earlier. He slowly puts thepapers back in the waste bin, replacing it under his desk. He moves his chair back up to his computer.He rests his chin on his hands, staring at his computerscreen.

ELLIOTTWhat the hell is going on?

FADE TO:

11. INT. ELLIOTT’S DESK - EVENING

ELLIOTT is sitting at his desk, resting his head on his handsand gazing off into space. After a moment, he begins typing.After he writes a sentence or so, he pauses again. He looksup, and notices his webcam light is blinking. He tries to

turn it off, but it keeps recording. He then takes a stickynote from next to his computer, covering up the webcam.

As he is doing this, a coworker, TIM, walks up behind him,holding a mug. TIM is ELLIOTT’S age, tall, with blonde hairand a wide smile, wearing a loud ORANGE jumper over his dressshirt.

TIMSo how are you getting on with thescript, ELLIOTT?

Elliott jumps, knocking against his desk, causing a pen tofall off and roll away. He looks behind him, and sees that

it’s Tim. He lets out a deep breath and moves back in hischair, bending down to pick up his pen.

ELLIOTTJesus, Tim. Don’t do that.

TIM(LAUGHS) I can’t help it if youscare easily!

Tim gestures towards the sticky note on Elliott’s computer.

TIM (CONT’D)What’s that for then, eh?

ELLIOTTOh, my webcam won’t turn off.

TIM laughs again.

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TIMWhat, you think someone might be watching you?

ELLIOTT

(RAISES VOICE) -NO!!

Tim looks a bit taken aback.

ELLIOTT (CONT’D)The light was annoying me, that’sall.

TIM obviously doesn’t quite believe ELLIOTT, but doesn’tpress him. He looks around awkwardly for a moment beforedeciding on a new conversation.

TIM

So, I saw MICHAEL over hereearlier. What did he want?

ELLIOTT jumps on this new topic eagerly.

ELLIOTTOh just his usual, I’m your boss,now do as I say” thing. Heh.

TIM nods and laughs, getting more comfortable, setting his mug down and leaning against ELLIOTT’S desk.

TIMYeah, I know. I heard he might beleaving in a few months.

ELLIOTTLeaving?

TIMYeah. Apparently he’s up for apromotion and he’s pretty confidenthe’ll get it.

As TIM is talking, ELLIOTT gets a strange look on his face,then looks across the room towards MICHAELS office.

TIM (CONT’D)He’s not in there, no worries.

ELLIOTT still has a strange look on his face, and pulls hisflash drive out of the computer.

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TIM (CONT’D)Hey, what’s wrong?

ELLIOTT(WHISPERED) I’m getting fired.

TIMW-what did you just say?

ELLIOTT quickly gets up and begins to pack all of his thingstogether.

ELLIOTTYou heard me. I’m fired.

TIM stares at him with a look of bewilderment.

TIMUm..

TIM looks confused for a moment, then starts laughing,lightly punching ELLIOTT’S shoulder.

TIM (CONT’D)Very funny, Elliott! You nearly had me for a minute.

ELLIOTT ignores TIM, putting all his things in a canvas bag.As he continues to pack them, TIM stops laughing and just watches ELLIOTT for a moment. After about ten seconds, he

speaks, stepping closer to ELLIOTT.

TIM (CONT’D)You can’t be serious, Elliott. Howon earth would you know that?

ELLIOTTI can sense it.

TIMJust because you got talked to?Shit, Mike’s talked to me more than

once, and I’m still here!

TIM’s reassurance isn’t swaying ELLIOTT. As he finishespacking his bag, he stands, making TIM step back. ELLIOTTleaves his laptop open. TIM picks his mug back up fromELLIOTT’s desk. ELLIOTT turns to leave, then notices MICHAEL, who is walking over. ELLIOTT walks up to MICHAEL, who looksconfused.

ELLIOTTI know, I’m fired.

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As ELLIOTT says his line, MICHAEL looks shocked, and looksover at TIM, who is watching everything with wide eyes. Helooks back at ELLIOTT. He begins to speak, but ELLIOTT giveshim a small salute and walks past him, walking out the door.MICHAEL just stands there, dumbfounded. TIM walks over toMICHAEL, still staring towards the door.

MICHAELDid you tell him?

TIMTell him what?

MICHAELSo, he really didn’t know?

TIMWait. So you actually were goingplanning to fire him?

MICHAEL..How the hell did he know?

Tim shrugs as Michael turns to face the same way Tim isstaring.

TIMHe just.. knew.

MICHAELOh, for fucks sake! He wasn’tsupposed to know beforehand!

CLOSE UP of the two men staring towards the door.

CUT TO ELLIOTT’s webcam view, blocked by the sticky note.After a few seconds, it turns off, blacking out the screen.

12. EXT. LONDON STREET ‘REBEL ROAD’ - EVENING

Elliott walks out of the front doors, carrying his bag overhis shoulder. ELENA is standing a few feet in front of him,her back to him, playing on her phone. Elliott walks over to

her, and taps her on the shoulder. She turns and smiles whenshe recognises him, then she looks somewhat concerned,noticing his canvas bag.

ELENA Wait, you’re not supposed to leavefor another hour, right?

ELLIOTT shifts around uncomfortably, looking away from ELENA.

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ELLIOTTSomething happened..

ELENA realises what he means and hugs him. ELLIOTT awkwardlyhugs her back, trying not to hit her with his bag. ELENApulls away and squeezes his hand sympathetically.

ELENA Oh Elliott. I’m so sorry.

ELLIOTT shrugs.

ELLIOTTIt’s fine.

ELENA sighs, then looks up at ELLIOTT.

ELENA Do you want me to come over

tonight?

ELLIOTT looks down at ELENA, and nods.

ELLIOTTYeah, I'd like that.

Elena smiles back, and they both turn outwards towards thestreet.

ELENA We can do some job hunting for youtomorrow, okay?

ELLIOTT sighs unenthusiastically.

ELLIOTTYeah, sounds good.

The two stand there for a moment, then a cab pulls up to thecurb. ELENA begins to walk towards it, waving with her freehand. She turns towards him.

ELENA C’mon, we’ve been through worse

than this.

ELLIOTT nods in agreement.

ELLIOTT follows her, and they both get into the cab. The cabdrives off. As it does, a camera on a nearby lamp post tracksit, panning with it as it drives away.

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13. INT. ELLIOTT'S HOUSE, MORNING

ELLIOTT and ELENA are both sitting in Elliott's living room.Elena is on her laptop, and ELLIOTT is flipping through anewspaper. They are both dressed, and seated on opposite endsof the sofa.

ELENA What about this one?

She points at the screen, turning it so ELLIOTT can see. Heleans in so he can see better, squinting and pushing hisglasses up.

ELLIOTTEh, I guess. I’ll send my CV in.

ELENA Good, so that's five places

already. You'll have a new job inno time!

ELLIOTT shrugs nonchalantly, and continues idly flippingthrough the newspaper. ELENA rolls her eyes and smiles,reaching over to gently nudge ELLIOTT.

ELENA Hey. It’s all going to work out,you know.

ELLIOTT turns towards ELENA.

ELLIOTTI know. Thanks.

ELENA smiles, then reaches to grab her phone off the table.She looks at the time and begins to quickly get all herthings together.

ELENA I’ve got to go! I didn’t realisehow late it was getting.

ELENA walks over to ELLIOTT, and gives him a kiss goodbye.

ELENA You should go out and turn in someapplications, don’t just sit aroundand mope all day.

ELLIOTTI will, don’t worry.

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ELENA musses up ELLIOTT’s hair, then walks out the frontdoor, turning to wave before shutting the door behind her.

ELLIOTT turns and waves as she leaves.

ELLIOTTBye!

As soon as ELENA shuts the door behind her, ELLIOTT turnsback to his newspaper. He circles a couple more ads, thenadds them to a piece of paper, on which he has written allthe places he could apply. He stares at the paper for a moment, then tosses it onto the table in front of him andleans forward to grab his T.V. remote. He then leans back,getting into a more comfortable position.

He pushes up his glasses, and then turns on the television.He flips through the channels quickly, and then gets to the

local news channel. They are doing a story outside the local,Bewley Brothers law offices on Diamond Street, a block or soaway from CTN Network Studios.

There is a journalist standing outside the office buildingtalking. ELLIOTT stares uneasily at the television for a moment, the shot on the television flickers briefly, changingto the same scene, except now the Bewley Brothers building ison fire. ELLIOTT’s eyes widen and he quickly changes thechannel to a cooking show.

He thinks for a moment, and then flips back to the newschannel. The scene has returned to normal, no fires. ELLIOTT

still looks troubled, however. He turns the television offand stands quickly, grabbing his jacket. He puts it on andleaves the house, locking the door behind him.

14. EXT. ELLIOTT’S HOUSE - MORNING

ELLIOTT walks away from his house, pulling his jacket tighteraround him. He looks behind him once, then continues walkinginto town.

15. EXT. LONDON STREET - ‘DIAMOND ST.’ - DAY

ELLIOTT approaches the Bewley Brothers building, slowing downand stopping in the middle of the pavement directly in frontof the front doors. The reporter is gone, and there are onlya few people walking past, some turning to look curiously atELLIOTT. He stands there, staring up at the building.Everything appears to be normal.

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Suddenly, ELLIOTT’s vision changes, and he once again seesthe same building burning. He jumps back, and closes hiseyes, and opens them. He still sees the burning version ofthe building. He looks around, panicked. Everyone else isfine, walking along like nothing is happening. ELLIOTT grabsa man by the arm and pulls at him frantically, gesturing

towards the ‘Bewley Brothers’ Law Firm. The man is around midthirties, carrying a briefcase.

He is on his mobile phone, and drops it when ELLIOTT pulls athim.

MANWhat the hell?

He bends down to pick up his phone, making sure it isn’tcracked. When he sees that it didn’t, he returns it to hispocket.

ELLIOTTDo you see that?

The man looks at the building, then back at Elliott. Heslowly removes his arm from ELLIOTT’s grasp, and takes a stepback, staring at ELLIOTT.

MANY’wot mate? It’s just a bloodybuilding!

ELLIOTT looks at the building, then back at the man. Herealises no one else can see the fire. He begins to back away

from the man, alternating looking at the man and thebuilding. Finally, he stops.

ELLIOTTErm, sorry mate, i’m fine. I thinkI was imagining something..

The man backs away a little more, and is still watchingELLIOTT carefully, almost with fear. He still has a look ofconfusion on his face. ELLIOTT takes one last look at thebuilding and then turns, running in the direction of the news

studio. The man takes a step towards ELLIOTT.

MANHey! (SHOUTING)

ELLIOTT doesn’t stop, he continues to run, turning right atthe street corner, and continuing out of shot.

We cut back to the man, who is still staring after ELLIOTT.

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A camera is on the building behind him, and is turned thesame way, watching ELLIOTT’s movement.

CUT TO:

16. INT. - ELLIOT’S LIVING ROOM - DAY

The audience hears the sound of computer KEYBOARD CLACKING

CUT TO:

ELLIOTT and ELENA are sat on a couch in the living room ofthe house. ELENA is reading the newspaper trying to job huntfor ELLIOTT, who is typing on the computer.

ELLIOTT sighs.

ELLIOTT

It feels like were gettingabsolutely nowhere with this jobhunting thing. We’ve been searchingall night for something promisingto come up. But we still can’t findanything remotely decent, let alonelocal.

ELENA Don’t get discouraged, we’ll findsomething.. I-I know we will.

ELLIOTT

You don’t know that, this couldtake months.

ELENA We’ll find you a job, stop worrying

ELLIOTTWell it feels like a miracle needsto happen for that to be the case.

ELENA Well being miserable isn’t gonna

get you anywhere. Besides you did walk out kind of abruptly..

ELLIOTT rolls his eyes.

ELLIOTTLook I'm not being miserable, Icould sense myself getting fired.This wasn’t intuition, I... I justknew.

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ELENA turns towards ELLIOTT and hugs him, resting her head onhis shoulder.

ELENA I know, I get it. You were just

acting different yesterday.

ELLIOTT sits up, wiping his eyes.

ELLIOTTIt feels like you still don’tunderstand where I'm coming from.

ELENA I understand you’re not thinkingstraight.. You’ve seemed reallydistant recently.

ELLIOTTEverything’s felt different sincethen. I feel this weird sense ofdread everywhere I go now.

ELENA That’s exactly what I mean,you’ve got to get out of this mind-set, It’s driving you crazy!

ELLIOTT draws a deep breath and sighs. He gets off the couchand paces quickly towards the kitchen.

ELLIOTTI’m gonna make some coffee, doyou want anything?

ELENAElliott, I'm worried about you.Please, please, don’t do anythingirrational.

ELLIOTT gives a look of CONFUSION.

ELLIOTTWhat are you talking about? I’monly getting some coffee!

Elliott proceeds to go into the kitchen.Elena stands up and walks in with him.

17. INT - ELLIOTT’S KITCHEN - DAY

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ELENA I’m constantly afraid you’re goingto do something crazy.

ELLIOTTEl, can we just drop this? You’re

really not helping my situation.

ELLIOTT sighs in FRUSTRATION.

ELENA It’s only a situation becauseyou’ve made it a situation.

ELLIOTT slams forcefully on the kitchen counter.

ELLIOTTGive me a goddamn break for

gods sake!

ELENA shakes with fright for a second. ELLIOTT quickly reactsby dropping his angry stance and walking up to her. ELENA moves her body away from him as he tries to hug her.

ELLIOTT (CONT’D)Elena, I'm so sorry. I’m just a bitstressed out right now.

ELENA You and me both.

ELLIOTT slowly sinks down towards the floor. Until he is satcross-legged with his head in his hands.

ELLIOTTIt’s getting worse.. in a second,i’m certain you’re going to getcalled into work early..

ELENA looks at him in bewilderment.

ELENA Er, what are you talking about? I’m

not going in until later.

Suddenly, ELENA gets a call on her phone. She goes to thecounter and picks it up. It’s her boss SAMANTHA.

SAMANTHA Elena, is that you? I’m reallysorry about this but we’re reallyshort staffed today. We need you tocome in, it’s quite urgent.

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ELENA opens her eyes widely, and gives a confused looktowards ELLIOTT. Who slowly stands up from the floor.

ELENA Uh.. yeah, I-I guess.. i’ll come inas soon as possible.

SAMANTHA Thank you so much, Miss Smith.*CLICK*

ELENA hangs up. *CLICK* She looks at ELLIOTT in shock.

ELENA How did you.. How did you know?

ELLIOTTI’m not being paranoid. I can sense when certain things are happening.

ELENA What do you mean.. Certain things?

ELLIOTTIt doesn’t always work. But I cansense when things are going tohappen. Sometime dangerousthings.

ELENA laughs nervously.

ELENA

Hey, you don’t really thinksomething’s gonna happen at work doyou?

ELLIOTTI don’t know. It’s not clear to meexactly.. But, just be careful!

ELENA looks at her WATCH, noting that it is now 10AM.

ELENA Hmm, I guess I'd better go now.

I’ll see you later on baby.

ELLIOTT looks at her anxiously.

ELLIOTTOkay, but keep me posted ifanything happens. Please!

(MORE)

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ELENAI will, I promise. Stop worrying so much.

ELLIOTTI’ll try not too.

ELENA Don’t forget to take your medication today.

ELLIOTTOh shit. I forgot, sorry..

ELENA Oh for gods sake Elliott, you knowhow important it is that you keeptaking it!

ELLIOTTI know, I know. I’m sorry!

ELENAI have to go now, but we’re notdone here.. Take your medication orthese superstitions of yours willonly get worse!

ELLIOTT:Elena, wait!-

*SLAM* ELENA walks out the door, with ELLIOTT standing near

the doorway. We move away from him and through the window,out onto the streets below. Across from his house is a bridgeleading underground. The camera follows down the side of theentrance.

18. EXT. LONDON STREET- ‘BRIDGE ST’. - DAY

We see two surveillance camera installers holding down aladder, ROBERT is installing a small camera onto the wall while JEFF watches.

JEFFShould be done with this soon Ithink!

ROBERTI wouldn’t count yourself so lucky,the guy wanted us to install themall around the town. Apparentlyhe’s got other people doing thesame thing!

ELENA (CONT'D)

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JEFFI don’t understand though, this isone of most crime free citiesaround!

ROBERT finishes installing and steps down off the ladder.

ROBERTYeah, but the guy who wanted theinstallation seemed all kinds ofshady..

JEFF-How come he didn’t give you aname?

ROBERTThat’s the thing, he said he’d payextra if no questions were asked..

Says it all really.

JEFFBloody hell. Well hopefully nopolice come crawling around.

ROBERTWe’ll be fine. Just don’t sayanything to anyone about this..

The two of them walk away as we follow through the camera andsee a Flash-Forward vision of the next episode.

CUT TO:

19. EXT. - ‘BEWLEY BROTHERS’ LAW FIRM, BUILDING ENTRANCE -EVENING (A FEW HOURS LATER)

We see a PANNING SHOT of the building burst into FLAMES , and with SMOKE coming out. We hear the sound of a fire engine andpeople screaming in terror. Although the camera is onlyfocused on the building.

FADE TO BLACK.

END

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Different Perspectives - Episode 1: Draft

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