User:CraftTech/Sandbox

Mike (12, small, on the border of puberty) sits up in bed, frightened, sweaty, panting.

He looks at the clock. 11.58.

It’s a messy but homey bedroom. Posters on the wall: posters of movies but also cartoons. Old stuffed toys in corners; framed photos of Mike and his adoptive mother; of Mike and friend Max in a school play; an Atari; games; scattered drawings he’s made. Mike lays back down to sleep but:

A heavy coughing from offscreen. Mike listens, concerned. The coughing doesn’t come again. He sits up.

Mike pads quietly down the hallway until he gets to his mom's bedroom door. It’s open slightly. He looks in.

In the moonlight, Joyce is asleep, alone in her bed. Her head is obscured by pillows.

Mike: Mom, are you asleep?

Joyce: Yes.

Mike: Are you sure?

Joyce: (opens one eye to him) Yes, I'm sure.

Mike quietly slips into the bed.

Joyce: What are you doing?

Mike: Shush. You’re asleep.

Joyce: Mike...

Mike: Just five minutes, I promise...

Joyce puts her arm around Mike who instantly falls asleep.

The next morning Mike is very deep asleep, having obviously stayed there all night. His mom is asleep, too, gently snoring.

In the dawn light we now see a line of medicine bottle on Joyce's dresser. A wig on its stand on the dressing table.

Mike wakes, sits up. Joyce doesn’t wake. He pulls the covers over her. He doesn’t glance at the medicine bottles. They’re obviously part of his daily life.

Very slowly making sure he is not making any noise, Mike gets up and heads out into the day by himself.

Mike begins what is obviously a familiar routine.

He puts on his clothes, trying for the untucked rebellious look that he’s still just slightly too young for. (he tries to make his hair look cool in the mirror and puts it up but he looks funny and puts it down again, etc).

He opens a drawer. No clean socks left.

Mike gets out to the backyard to where the clothes are hanging to look for a clean pair of socks but all the clothes are wet. He takes a wet pair of socks and goes back into the house.

Mike stuffs the washing machine with laundry, over-filling it, but shutting it all in the door.

Mike pulls the duvet over his bed so it’s made, if quite messy. (Clumsily hiding the wrinkles of the duvet under the cushions)

Mike looks at Joyce's bedroom (the door is closed) and then over the top of the stairs. Down in the kitchen, he can hear the faint sounds of a woman on the phone. This is Grandma (mid-60s, crisp, professional, very ungrandmotherly).

Mike only sees the top of her head as she exits, still in her coat, still on her phone, scolding someone sternly. She is clearly making an attempt to keep her voice down.

Grandma: Because I’ve got three showings today, that’s why. I’m not responsible for your sick Weimaraner-

He steps back so she won’t see him. He only catches a glimpse of her as she leaves.

He waits a beat, then starts down the stairs, but she re- enters, carrying bags of groceries, still on the phone. Mike freezes. Grandma stops in the hall, angry at something that’s been said.

Grandma: How dare you throw that in my face? Do you have any idea what-? Now, you listen to me, Marcus, I know full well you’ve covered for me-

Storms into kitchen. He hears her still talking. Mike waits, nervous. She exits the kitchen again, still whispering.

Grandma: Fine. Fine. I’ll call her myself. (hangs up) Lazy bastard.

She exits again. Mike waits a beat, then goes downstairs

Mike, deeply curious, heads towards the kitchen. Then he hears the front door again and steps quickly into the sitting room where he hides behind the door. His Grandma, on the phone again, enters, looking for a pen and paper.

Grandma: If you do my afternoons today, I can take your open house on Saturday. (rolls eyes) Of course, I’ll give you your commission...

She looks around the warmly messy sitting room, lifting things, and looking for and finding a bit of paper. She keeps looking.

Grandma: Pen, pen, pen... damnit this house- (into phone) Yes, I’m here right now. She’s fine.

Mike watches, waiting to be discovered, but his grandma never even turns around. She finds a pen.

Grandma: Yes. Thank you. I... appreciate it.

Hangs up as the caller is mid-sentence. Leaves. By sound, Mike follows her movements into the kitchen, out again and out of the house. He waits until her car starts before he feels safe to move again.

On the counter, there are now bags of groceries and a closed cardboard box with a note on it. Mike reads it, doesn’t react.

Opens the groceries. They’re full of medicinal-looking health food. Mike makes a face.

Mike prepares himself breakfast. The eggo is burnt. Mike scratches the burnt stuff off with a knife. The black dust falls on the white plate. He makes a couple of strokes on the dust with his finger and creates a drawing.

Mike throws away his leftovers (there’s a lot he didn’t eat), and washes the breakfast dishes in the sink. He stays there for a moment absentminded staring out the window.

A yew tree stands in the churchyard at the top of the hill in front of the house.

He finishes packing his bag with books and papers. Looks at the clock again. There is something he needs to check.

He opens a drawer of the kitchen table and slams it shut making a loud dry noise.

Joyce: Mikey? Is everything alright?

Mike: Yes Mom! I was shutting a drawer!

Later…

Joyce leans against the kitchen counter with a cup of tea, scarf tied around her head. She’s clearly undergoing chemo-therapy: thin, pale, bald. Exhausted, but facing it well.

Joyce: You’ve had breakfast?

Mike: Yes, mum.

She gives him a look. She may be ill, but she’s still Mom.

Mike: Eggo, cereal and juice.

Joyce sees no sign.

Mike: I washed the dishes.

Joyce reaches for the BROOM.

Joyce: I’m sorry I wasn’t up.

Mike: It’s okay.

Joyce: You know, it’s just this new round of-

Mike: It’s okay.

Joyce is surprised at strength of his interruption, but she lets it pass. She turns to the groceries and the box.

Joyce: Your grandma’s coming to stay with us tomorrow for a few days.

Mike: Seriously, Mom. We don’t need her here-

Joyce: You know how I get at this point in the treatment-

Mike: We’ve been okay every time before-

Joyce: You shouldn’t have to make yourself breakfast every morning-

Mike: I’m fine-

Joyce: Mike.

Stops Mike complaining.

It's Mike's turn to be shocked at the interruption. Joyce, exhausted, smiles again.

Joyce: Only a few days, I promise. That’s all I can take, too. Like living with your boss.

She laughs.

Joyce: She’s going to bring me a box full of wigs she got somewhere, if you can believe it. Be lucky if I don’t end up looking like a zombie singer.

Mike is relaxing, the atmosphere improving. Joyce regards him for a moment, then ruffles his hair.

Joyce: Now, tell me you haven’t shrunk my favourite wool jumpers?

Mike laughs shyly.

Joyce: Go on, go.

Mike walks to his bag.

Joyce: Stop dragging your feet!

He picks them up comically, like a clown. As Mike puts his rucksack on, Joyce leans against the counter, looking out the window.

Mike walks to school, rucksack on his back. It’s a bit of a journey, and he pulls his coat tight against the cold.

He’s deep in thought, but he’s distracted by one store window. Inside the window are a set of art pencils that he obviously craves.

He’s about to walk on but he sees someone down the street. He steps into the doorway to hide while he watches…

A girl, Max, 12, thick glasses, the friend from the photo in his bedroom. She’s harmless, goofy, charming, but Mike holds back so she won’t see him.

Conor & Lily are at the start of 7th grade, so they’re the tiniest students among giants.

Later in the day…

Mike is pushed over during recess, hitting the ground. Still down, he puts his hand to his lip. It comes away bloody.

Behind him, we see Troy, 13, joined by James, also 13. Troy is straightening his leg, clearly having tripped Mike.

Troy: Watch it Wheeler. You might fall.

James laughs. Mike is resigned. This isn’t new. He reaches for his bag and starts to get up, but a perfectly timed trip from Troy sends him falling again.

Troy: Always off in your own little fantasyland. What’s there that’s so interesting, Wheeler?

James keeps laughing. Conor starts to rise again. There’s blood on his lip.

James: He’s bleeding! He’ll have to get his skeletor mom to kiss it for him!

Silence, as the group absorbs this crossing of the line. Mike's face hardens, but before he can respond, Max bounces back into the scene.

Max: You leave him alone!

Mike winces, and James is already laughing. Not Troy, though, who never stops looking at Mike.

Troy: Your attack dog's here to save you, Wheeler!

Outraged, Max pushes Troy hard. Surprised, he falls backwards over a shrubbery.

Max: I’m just making it a fair fight!

Miss. Carter: Maxine Mayfield!

Everyone freezes as Head of Year MISS KWAN (late 30s, British- Chinese descent, stern but fair) storms over. LILY They started it, Miss! MisS KWAN I don’t want to hear it. (to Sully, now rising) Are you hurt, Sullivan? Sully, seeing an opening, fakes injury. Badly. SullY I might need to go home, Miss. MISS KWAN Don’t milk it. (to Lily) My office, Lily. LILY But, Miss, they were- Now. MISS KWAN LILY They were making fun of Conor’s mother! Everyone freezes. A dangerous silence. Miss KWAN Is this true, Conor? Conor looks from Anton to Sully, and on to Lily, her face burning with injustice, but then to Harry, who is as calm and firmly fixed on Conor as ever. ConoR (eyes on Harry) No, Miss. I just fell. They were helping me up. Lily looks like she’s been slapped. MISS KWAN Get to your forms. (to Lily) Not you. Miss Kwan drags an aghast Lily away. Conor watches them go. When he turns back, Harry is holding out Conor’s bag for him. 23. Harry Well done, O’Malley. Beat. Conor takes the bag and makes his way inside. 24. 19 Int. Physical Social and Education class - lATER 19 A Powerpoint display at the front of the class reads: “THE MIRACLE OF BIRTH”. MR CLARK, 40s, wry, kind, perhaps a bit soft, steps up next to it. Mr Clark Brace yourselves. Conor sits at the back, an empty desk next to him. He looks very drowsy. MR Clark (CONT’D) We’ve been studying this all week. You’ve seen the diagrams, heard the descriptions. You think you’re ready to watch the real thing. He gives a you-have-no-idea-what-you’re-in-for chuckle and clicks to start a hilariously graphic CHILDBIRTH DOCUMENTARY on the Powerpoint. The sounds from the documentary (”The cervix fully dilates to 10 centimeters and the baby's head crowns when the widest part of it reaches the vaginal opening”, complete with sounds of a mother in labour) fade as we focus on Conor, looking exhausted, falling asleep propping up his face with his hand. He’s sitting under the A/C vent and the sound of it starts to merge with a WIND sound, that eventually rises to the SOUNDTRACK of the NIGHTMARE we heard over the TITLES. We close on Conor, the soundtrack rising to a FAINT SCREAMING (”Conor!”). Conor? Mr Clark (CONT’D) Conor jumps as Mr Clark is right next to him. He waits to see if he’s in trouble. But Mr Clark looks overly sympathetic. MR Clark (CONT’D) You all right there? You look tired. (beat, nothing from Conor) You know, if you ever wanted to talk- He’s interrupted by a labour-scream from the video and an accompanying SHOUT OF HORROR from the class who can’t believe what they’re seeing (”As soon as the baby's head comes out, the doctor will suction amniotic fluid, blood, and mucus from they baby’s nose and mouth”). Mr Clark looks up with an amused smile, gives Conor a last look, and keeps patrolling the classroom. Conor sees Harry a few seats over. Harry’s watched the exchange and looks as if he’s sussing Conor out, somehow. 25. As the sounds of childbirth and the accompanying trauma of the class continue (”The umbilical cord will eventually fall off due to a combination of putrefaction and mummification”), Lily enters from the front, eyes swollen from crying. She sits next to Conor in the empty desk. He doesn’t acknowledge her, despite her furious gaze. Wounded, she looks up at the video and is comically horrified by what she sees. Mr Clark reaches the front of the classroom as the sounds of childbirth reach their exhausted conclusion (“And mother’s happy ordeal is finally over...”). Mr Clark clicks off the Powerpoint and turns to the class. Mr Clark (CONT’D) Any questions? Apart from Conor, Lily and Harry, every single traumatised hand in the classroom shoots into the air. 26. 20 EXT. BIN street - that afternoon 20 Conor walks home by himself, lost in thought. LiLY (o.S.) Hey! Wait! Conor, wait! She catches up to him. He ignores her. LilY (CONT’D) Why did you do that today? Why didn’t you tell Miss Kwan what really happened? Conor Why did you butt in when it was none of your business? LILY I was trying to help you. CONOR I don’t need your help. LILY (visibly hurt) My mum keeps asking why you don’t come over anymore. Conor says nothing. LilY (CONT’D) (now genuinely distressed) What the heck is wrong with you? I’ve got detention all week now. CONOR That’s not my problem. LILY But it’s your fault. Conor turns on her in fury. She steps back, frightened. ConoR It’s your fault. It’s all your fault. He takes off walking again, leaving her behind. LiLY (calling after him) We used to be friends! Conor carries on down the street, fast at first then slowing as he nears his house. He looks back to see if Lily is still there, half-hoping she will be. She isn’t. 27. 21 InT. conor’s sitting room - momentS LATER 21 Conor enters, not too happy. Mum is waiting there, cardboard box open. Conor looks wary at an OLD-FASHIONED SUPER 8 FILM PROJECTOR. Canisters of FILM sit next to it. Mum is nervous, excited. ConOR What is it? 28. 22 INT. conor’s sitting room - momENTS LATER 22 Conor and Mum set up the projector. Neither of them really know how to do it, so they figure it out together, threading the film, getting it wrong, eventually getting it right. MuM Your granddad’s old film projector. CoNOR You mean... like a video player? MUM (laughs) No, this is a relic, a proper dinosaur. CONOR (long beat) What are we supposed to do with it? Mum I wish you could have met him. Even your grandma softened up around him. By the way, she is coming to stay with us tomorrow for a few days. CONOR Aw, mum. We don’t need her here- MUM You know how I get at this point in the treatments- CONOR We’ve been okay every time before- Mum You shouldn’t have to make yourself breakfast every morning- CONOR I’m fine- MUM CONOR. Conor’s a bit shocked at the strength of the interruption. Mum is, too. Exhausted, she smiles again. Mum (CONT’D) Only a few days, I promise. That’s all I can take, too. Like living with your boss. She laughs. Conor tries to, too. 29. MUM (CONT’D) Can we just enjoy the movie? I got it for us. ConoR (picking up film canister) What are we watching? MUM King Kong. Oldie but a goodie. ConOR Are we really going to watch something though? You always fall asleep. MUM I won’t fall asleep. I promise. (stepping back) Right. I think we got it. Black & White TITLES come up for KING KONG. CONOR (moans) You didn’t say it white. MUM (mischievous) Be happy it’s not was black and a silent movie. Mum. CONOR MUM Shush. Conor nestles in to watch, unhappy

Chapter 4

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23 InT. conor’s sitting room - later 23 It’s dark outside now. Conor, despite himself, is still watching. We can see leftovers of the pizza they ordered. He looks over. His mum is asleep against the arm of the settee. He reaches over and covers her with a blanket and keeps watching it. But it’s the sequence where KONG is on the Empire State Building. BI-PLANES ATTACK and KONG falls- Conor is surprisingly shocked by this, obviously triggering some memory. He watches as Kong falls and falls and falls... Then with a burst of WHITE, the reel finishes, leaving Conor watching a blank white space. We zoom in on the white and dissolve to: 31. 24 Int. conor’s BEDROOM/HALLWAY - that night 24 A white sketchpad sheet. A hand comes in to draw. Conor at his desk. It’s RAINING heavily outside now, and his window is covered with condensation. His clock reads 11.34. He draws KONG on the skyscraper. It’s good. He FLIPS THE PAPER OVER and draws BI-PLANES on the back. He holds it up to the desklamp. He flicks the light on and off, making the planes appear and disappear, like they’re firing shots (Sound Effect: “Ratatatatatata” leading us to sound of nightmare). Then he draws Kong falling. He gets lost in it, and the sound of the NIGHTMARE rises again. This time, we even see flashes of it: 32. 24A NIGHTMARE 24A --FLASH OF TWO PAIRS OF HANDS locked in a ferocious grip, as if one is trying to keep the other from falling. Conor keeps drawing, almost furiously. 33. 24B NIGHTMARE 24B --FLASH OF VIOLENT MOTION, dark and burning. Conor keeps drawing, as the soundtrack intensifies. He doesn’t notice a breeze tousling his hair or the pencils rolling across the desk again. 34. 24C NIGHTMARE 24C --FLASH OF A DISTANT FIGURE ON A CLIFF’S EDGE, calling out, “CONOR!!” Soundtrack ceases as he sits back and blinks at the sketchpad. He’s drawn a GAPING HOLE OF BLACKNESS that looks as if it might swallow the whole world. A face - possibly HIMSELF - stands at the edge of it, looking back up to us. He suddenly hears hurried footsteps in the hall. They rush past his room to the toilet. We hear his mum being brutally sick. Conor waits. She vomits again. ConOR (calling to her) Do you need any help? Mum (o.S.) (beat, forced cheer) No, sweetheart! Beat, then water running. Footsteps. He covers the nightmare with the Kong drawing and quickly moves back to his bed. She opens his door. CONOR You okay? Mum I’m kind of used to it by now. Sorry I dozed off during the film. You should be asleep, too. ConoR I was. I am. She sees his desklamp still on. She goes over and picks up the sketchpad, including the nightmare drawing. Conor is alarmed. Mum sits down on the bed next to him and looks through his Kong sketches. MUM This is good, Conor. Such a sad ending. Conor (troubled) Why did they kill King Kong? MUM People don't like what they don ́t understand. They get scared. Conor Her boyfriend was a jerk. 35. MUM Yeah, he's pretty bad. Conor King Kong should have squashed him. Broken him into a million pieces. (makes squashing motion) Boom! She smiles and turns to the nightmare finally, a little scared by the hole and the face he’s drawn, but she looks closer. It has very realistic eyes. She’s very surprised and impressed. MUM What is this? Is that you? Conor No, Mum. MUM Looks like you. Conor shrugs. MUM (CONT’D) It's very good. Really, REALLY good. The strokes of the pen... And I love the reflection in the eyes... Life is in the eyes, you know. (gentle beat) What's it of? What's this scene? Conor (shrugs) Nothing. Just... I made it up. MUM Well, doesn't matter where it comes from if it's true. That's what artists do. They say the truth. Conor smiles. Suddenly the mother realizes what time it is. MUM (CONT’D) Gosh, it's late, isn't it? Time for us both to be asleep. She bops him playfully on the head with the sketchpad. 36. 3 InT. conOR’S BEDROOM - night - conTINUOUS 3 Conor is back on his bed in the dark bedroom. He can ́t get back to sleep. He sits up and looks at his small DRAWING DESK in the corner. 37. 3A EXT. churchyard hilltop - night - continuous 3A A YEW TREE, huge, ancient, ominous looms on the hill overlooking Conor’s house. Its needle-like leaves are sharp in the moonlight, red berries clustered throughout its branches. It sits in a small churchyard on a hilltop, a graveyard stretching down the hill in front of it. Down below, Conor’s bedroom desk light comes on. 38. 3B InT. conOR’S BEDROOM - niGHT - conTINUOUS 3B Conor takes out drawing pencils and sharpens them. He takes out an inexpensive SKETCHPAD out of a PAPER BAG from an art store. Tired but awake, he flips through the earlier sketches - fantastical things, superheroes, etc, they’re very good - and finds a blank page. He taps the pencil to his teeth, wondering what to draw. His clock ticks over to 12.07, and as if on cue: monster (O.S.) (whispering) Conor. A monstrous voice, deep, old as the earth itself. Conor looks immediately to the door. Did he actually hear that? Mum? ConoR But it’s not coming from the door. He looks out his closed window. It dramatically frames the hilltop with the yew tree. Conor decides to draw it, making a frame on his page for the window. A pencil starts to roll across the desk. Conor sees it, looks back up to the window: the YEW TREE IS NO LONGER THERE. Conor is astonished, confused. Conor stands and looks out the window. It’s shut but a breeze tousles his hair. 39. 3C The yew tree is now standing farther down the hill. 3C Conor stares in disbelief. As he watches, the tree begins to change. It shifts and splits, twisting slowly, incredibly, into the shape of a TOWERING MAN: --two muscular arms made from branches twining together. --a second leg placed down beside the trunk. --the uppermost branches gathering into a great and terrible face with huge, monstrous eyes. Conor watches, amazed, but not overly afraid... THE MONSTER, huge and impressive, strides across the rail line, over Conor’s back fence and stands up in front of him. MonSTER Conor O’Malley. The voice echoes and booms. The Monster suddenly FALLS against the house, its hands on either side of Conor’s window, lowering its head to peer inside

Chapter 5

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3D The Monster pushes against the house. It creaks under the 3D Monster’s weight. MonstER (CONT’D) I have come to get you, Conor O’Malley. Conor (beat) So come and get me then. Monster What did you say? Conor crosses his arms. CONOR I said, come and get me then. The monster roars terrifyingly. Conor hides at one side of his desk and puts his hands over his ears at the sheer volume of the Monster’s voice. MONSTER (taunting) Why don’t you run, Conor O’Malley? Why don’t you run for your mother? Conor looks surprisingly defiant at this. He stands and closes his bedroom door, as if to protect his mum. CONOR (surprisingly defiant) You leave her alone! I’m not afraid of you! A beat, as the monster, impossibly, looks surprised- And disappears. 41. 3E Then it ROARS and PUNCHES an enormous fist through Conor’s 3E window, taking out a large section of the wall. Conor at last tries to run, but the monster is too fast, grabbing him up and pulling him out of his bedroom... 42. 3F I/E CONOR’S BEDROOM - NIGHT - CONTINUOUS 3F ...lifting him high into the night. The Monster roars again, still terrifying. 43. 3G IntheMonster’sgrasp,Conorcanbarelybreathe,buthe 3G looks surprisingly defiant. The Monster stops, perplexed. The Monster gets an angry look. MoNSTER You will be. Before the end. I will visit you again on further nights Conor O’Malley. And I will shake your walls until you wake. And then I will tell you three stories. And when I have finished my stories, you will tell me a forth and it will be the truth. Your truth. CONOR (scared now) What are you talking about? MONSTER This truth that you hide. (glowers) The truth you draw, Conor O’Malley. The truth you dream. CONOR No. No way- MONSTER For this is why you called me. CONOR Called you? I didn’t call you- MONSTER You will tell me the fourth tale. You will tell me the truth. CONOR And if I don’t? Its mouth ROARS impossibly wide, and hundreds emerge from it like tentacles trying to reach of branches Conor ́s face. Cut TO: 44. 5 INT. CONOR’S KITCHEN - MORNING - later 5 CONOR pokes his head around the door into his kitchen. Mum? ConOR It’s empty. Good. He drags the PAPER BAG FROM THE ART STORE to the BIN and shoves it deep inside. It opens a little; we see that it’s full of YEW TREE BERRIES. Conor covers it with other rubbish

Chapter 6

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7 ExT. conOR’S HOUSE DRIVEWAY - MomenTS LATER 7 Conor drags the wheelie bin to the curb to leave it for the dustmen, wipes his hands, looks back to the house. ConOR Right. 51. 27 NEW INT. CONOR’S BEDROOM - AFTERNOON 27 NEW Conor enters his room and throws his rucksack to the floor. He removes his clothes and checks out the bruises on his chest and stomach. He changes his clothes and looks out the window. 55. 28 EXT. conor’s bacK GARDEN - the next morning 28 The rain has stopped. It’s a cold, clear day. Conor warily walks across his back garden to an OLD IRON GATE in the back fence. 56. 57. 28B EXT. HILL GATES - MORNING 28B 28A EXT. TRAIN TRACKS - MORNING 28A This LEADS ON TO THE RAILWAY LINE, but a LOCK on the GATE has long since broken. The gate is slouched open. Conor approaches, all the time watching the tree on the hilltop. He gets to the gate, stepping slightly through, hand on the open half. A WIND rustles the top of the yew tree. It also RUSTLES CONOR’S HAIR. Do we hear a whisper? Is a voice saying, “Conor...” Conor pulls the gate shut firmly, still watching the tree. The wind dies. Mum (o.S.) He turns at the call from his mum. Conor? 58. 29 InT. conor’S KITCHEN/sittinG ROOM - the NEXT DAY 29 Conor enters through the kitchen and sees his GRANDMA (mid- 50s, crisp, professional, VERY ungrandmotherly) standing with her back turned to him in the sitting room. Mum, red scarf tied around her head, sits on the couch looking into a box. She glances up and sees Conor, causing GRANDMA to turn. Grandma (crisp, not entirely friendly) Ah, there’s the little man. Mum (still looking in box) Jesus, Ma, let him have a childhood first. (pulls out a terrible wig) Where did you say you got these? GrandMA Clearance of a very nice old people’s home. They’re turning it into flats and I’ll be the agent. Mum gives Conor a look of comical horror Grandma can’t see. Conor smiles. Grandma looks to see if she’s being made fun of, but Mum’s face immediately goes serious again. GranDMA (CONT’D) They’re clean. MUM Thanks, Ma. Conor shares one last conspiratorial look with his Mum. GRANDMA They’ll be warmer than those scarves. It’s not exactly summer anymore. In case you haven’t noticed. Mum (quietly defiant) I like my scarves. GraNDMA (to Conor) Your mother needs some tea. Green, no sugar. I take mine black. Conor looks at his Mum at this command. She rolls her eyes and nods. As he leaves, Grandma turns back to Mum. GranDMA (CONT’D) Now then, Elisabeth, my girl. What are we going to do with you? 59. 30 InT. conor’s kITCHEN - MOMENTS LATER 30 Conor waits for the kettle. He looks out the window, where the yew tree sits innocently atop the hill. He hears raised voices from the sitting room

Chapter 7

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30A EXT. CHURCHYARD HILLTOP / CONOR’S HOUSE - MORNING 30A He stares HARD at the tree while his mum and grandma argue and the kettle whistle gains in intensity. GranDMA (o.S.) ...this has gone on far too long, these things need to be discussed- Mum (o.S.) Ma, I know what I’m doing- GRANDMA (o.S.) Yes, all those marvelous impulsive decisions that never affect your life at all- MUM (o.S.) Says the woman who schedules her toilet breaks. Seriously, Ma? We’re having this conversation now? GRANDMA (o.S.) I’m sorry, I’m sorry, I just- MUM (o.S.) Go help Conor with the tea or I will literally go insane. Kettle whistle sound stops as Grandma enters kitchen. She regards Conor, hands on hips. GranDMA (beat, all business, voice low so mum can’t listen) You and I need to have a talk. Conor stiffens. This isn’t the first time for this. ConOR I’m making tea. Conor- GRANDMA CONOR I’m making tea. GraNDMA (snapping) We have to- (beat, gathers herself) I’m not your enemy, Conor. I’m here to help your mother. 61. CONOR I know why you’re here. He grabs a cloth and starts furiously wiping the counter. Grandma snatches the cloth out of his hand. To his surprise, he sees that her hands are shaking. GRANDMA I’m here because 12-year-old boys shouldn’t be wiping down counters without being asked to first. ConOR Were you going to do it? GRANDMA Less of your cheek- CONOR She’s always sick after the treatments. She’ll be better tomorrow. And then you can go home. Grandma doesn’t answer, just rubs her face, then her arms, keeping strong emotions in check. This is a woman whose daughter may be dying, after all. Conor is so unsettled, he grabs another cloth and starts on the counter again. GRANDMA (barely controlled) She’ll seem better tomorrow. But she won’t be. Conor doesn’t like this at all. CONOR Yes, she will. “You go through the rough stuff but it’s for a good reason.” That’s what she says. Grandma clearly wants to say much more but can’t or won’t. GRANDMA You need to talk to her about this. (to herself) She needs to talk about this with you. CONOR Talk to me about what? GRANDMA (beat) About you coming to live with me. There, the die is cast. Conor is furious. 62. CONOR I’m never coming to live with you. GRANDMA Conor, listen to me, if your mother- CONOR There’s no if. She’ll feel better and then you can leave- GRANDMA Conor- A panicked call from the sitting room. Mum (O.S.) (distressed) Ma? Mum? A look of heartbreaking terror crosses Grandma’s face, as she bolts, almost comically fast, out of the kitchen to her daughter. Conor follows, glancing out the window, where the tree is still a tree- 63. 31 InT. conor’S SITTING ROOM - conTINUOUS 31 Conor enters the sitting room. Grandma is helping Mum up from the floor, Mum is in serious pain. Mum (gestures to mantel) I need the Oromorph- GRANDMA (looking) Which one? Conor steps forward, points. ConOR That one. For the stabbing pains. Quick, grim beat for Grandma and Mum that Conor knows this, then Grandma grabs a LIQUID PAINKILLER from the mantelpiece and starts to dose her daughter. Mum pants as she swallows it, trying to catch her breath, ride out the pain. Grandma rubs her back. GranDMA It’s okay, darling, it’s okay, shh, shh, shh. Grandma looks up at Conor, her face set and unreadable. 64. 32 InT. conor’s sitting room - that evening 32 Grandma sets a meal, heavy on the celery, down in front of Conor and his Mum, who looks much more tired. They eat on trays in the sitting room. Mum A tray where joy goes to die. GraNDMA It’s good for you. MUM When in history has that ever worked? Grandma’s not listening. She’s looking back at the projector. GRANDMA Are you just going to leave that hunk of junk in the middle of the sitting room? MUM It’s not a hunk of junk. Dad loved it. Grandma snorts, a little dismissively. MUM (CONT’D) But all those classics. King Kong, Frankenstein- GRANDMA When exactly do you think I was born? I was 18 years old when Star Wars came out. I have about as much interest in boring old films as Conor probably does. (to Conor) Right? ConoR (quietly) King Kong was pretty good. GRANDMA (shaking her head, to Mum) You and your father. Always chasing butterflies. Mum Yeah, well, you were always there to remind us we had chores to do. 65. GRANDMA (stung) And made sure there was food on the table. Mum holds up limp celery, giggling with Conor. Grandma sees. GranDMA (CONT’D) Shall I just make you ice cream sundaes that you’ll throw back up? (grabs pizza box, still there from before) Or order pizza that’ll make sure you’ve only got empty calories to face more chemo with? Mum What’s wrong with food that makes me happy? Can’t you let me enjoy life a bit? GRANDMA (shocked) Yes! I want you to enjoy it for a long, long time. MUM (warning her about Conor) Ma- GRANDMA Why is it so bad that I’d like you to take care of yourself? MUM I don’t know, is it so hard to remember I’m a grown woman and can make those decisions for myself? GRANDMA (shaking her head) The irony of it. No one wants to be like their parents, but we all expect our kids to be exactly like us. (almost to herself) No wonder it’s always so hard. Mum (mumbles) Daddy liked pizza. This really hurts. Grandma stands, gathering the trays, even if they aren’t finished. Mum (CONT’D) (regretful) Ma, I’m- 66. Grandma disappears into the kitchen. Mum looks at Conor and sighs. 67. 33 InT. conor’s hallWAY/CONOR’S BEDROOM - that night 33 Conor stands outside his own bedroom as his grandma hands him his blankets. Her bag is partially unpacked on his own bed. ConOR Just don’t touch anything. GraNDMA Trust me, I’ll be doing my very best not to. She hands him a last pillow. GraNDMA (CONT’D) Our conversation isn’t over, young man. She gives him a “to be continued” look and shuts the door. ConOR (quietly) Oh, yes, it is. Fade to bLACK. 68. 34 InT. conor’S SITTING ROOM - that night 34 Conor sits up, sweating, panting again. The sitting room is dark. Conor calms himself where he sleeps on the settee. He looks around the dim, untidy room. We can see plenty of get well cards on the shelves, plus tumbles of smart chicklit, his mum’s CD collection (90s rave, Massive Attack, Blur), some of her drawings. Conor glances impatiently at the clock display on the DVD player. It clicks over from 12.06 to 12.07. A breeze tousles Conor’s hair. He listens for the Monster. And listens. And listens. Nothing. The clock ticks over to 12.08. He sees a pen rolling across the top of the DVD player. Other things, including his shoe, start rolling towards the kitchen. Conor gets to his feet, blanket wrapped around him. He goes into

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35 Int. conor’S KITCHEN - conTINUOUS 35 ...the kitchen. The kitchen roll and a cup from the table are rolling towards the door outside. It rattles, too. Conor opens it. 71. 35A INT./EXT. CONOR’S KITCHEN /BACK GARDEN - NIGHT 35A The Monster is waiting for him. MoNSTER What took you so long? 72. 35B ExT. conOR’S BACK GARDEN - continuous 35B Conor exits into his back garden. The Monster towers over him again. MonsteR It is time for me to tell you the first tale. ConOR (disgusted) What good does that do me? I don’t need a story- (looks up to his bedroom) I need a bus ticket for my grandma. MONSTER (more strongly) It is time for me to tell you the first tale- Conor turns away. MonSTER (CONT’D) Where do you think you’re going? I will be listened to! I have been alive as long as this land and you will- CONOR (turns back, angry) What do you know about anything? MONSTER I know about you, Conor O ́Malley. CONOR No, you don’t. If you did, you’d know I don’t have time to listen to stupid stories from a stupid tree that isn’t even real. MONSTER Were the leaves on your floor real? Were the berries? CONOR Who cares if they berries. Ohhh, so from the berries! were! They were scary, save me MONSTER How strange. The words you say tell me you are scared of the berries but your actions suggests otherwise. 73. CONOR You’re as old as the land and you’ve never heard of sarcasm? The monster doesn’t know how to answer that. ConOR (CONT’D) (giving up) Never mind... I saw you when I was talking to my grandma, and I thought... MonsteR You thought I came to topple your enemies. Slay your dragons. Conor frowns. This is obviously true. ConOR Or at least help me with my grandmother. But all you want to do is tell me stupid stories. MONSTER Stories of how I toppled enemies. Stories of how I slew dragons. The Monster leans down until its face is close to Conor’s. MONSTER (CONT’D) Let me tell you a tale of when I came walking. Let me tell you of the end of a wicked queen and how I made sure she was never seen again. The Monster looks up to Conor’s bedroom, where grandma sleeps. Conor follows his gaze. ConOR Go on then. The Monster grins his evil grin. The Monster puts his hands on the ground. Branches, leaves, twigs start to twine around Conor. A branch with leaves covers Conor’s eyes. MONSTER What do you see? CONOR Nothing. There are leaves in the way. MONSTER Use your imagination. What do you see? 74. 36 BlaCKNESS, conor’s vision - conTINUOUS 36 We cut to blackness, what Conor is seeing. There’s nothing. Then there’s a small light. CONOR I see a spark. MONSTER Yes? And? The spark seems reflected on water. CONOR No, it’s water. It’s watercolour. MONSTER Keep looking. A world starts to appear: the light on the water becomes the sun reflected on a brook. Pull out to see that - though the world is an abstract, water-colour-like landscape, we can recognise the hilltop behind Conor’s house with a younger, smaller yew tree on it. ConOR Whoa. MonSTER Whoa, indeed. We zoom up to... 75. 37 EXT. First Tale Hilltop - DAY 37 ...the water-colour hilltop itself, turning to look down at an empty valley below. All the modern houses and roads are gone, but there’s a small VILLAGE and a looming CASTLE. The abstract style remains for the entire tale. MoNSTER (V.O.) Long ago, before this was a town with roads and trains and cars, it was a kingdom. ConOR (V.O.) Here? We don’t even have a Tesco. We race down the hill, over the village and towards the Castle, swooping over moats and turrets before finding a window, rushing through it and... 76. 38 InT. first tale castle hallway - conTINUOUS 38 ...down a hallway, passing maids and servants and the business of a castle before stopping in the... 77. 39 InT. first tale throne room - conTINUOUS 39 ...throne room, where a KING sits on a throne. MoNSTER (V.O.) It was a happy kingdom, with a wise king who had won peace for his people. But peace had come at a price. 78. 40 Ext. first tale battlefield 1 - day - conTINUOUS 40 A battlefield of armies fighting. Monster (v.O.) The king had lost all three of his sons in battle. To giants. A FIRST SON of the king is killed by a giant. 79. 41 ExT. first tale battlefield 2 - daY - contINUOUS 41 A different battlefield in a different place. Monster (v.O.) To dragons. A SECOND SON of the king is killed by a dragon.

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42 ExT. first tale battlefield 3 - day - continuous 42 A final battlefield, one army fighting another led by a terrible wizard. Monster (v.O.) To armies of men led by great wizards. The battle commences, hard-fought and chaotic. 81. 42A EXT. conor’s baCK GARDEN - conTINUOUS 42A Conor grabs at the leaves covering his eyes. Conor This is all sounding pretty fairy tale-ish. MONSTER You wouldn’t say that if you heard the screams of a man killed by a spear. 82. 42B ExT. first tale battlefield 3 - day - continuous 42B A THIRD SON of the king is run through with a spear. The screams are terrible. We return to... 83. 43 InT. first tale THRONE ROOM - day - conTINUOUS 43 The King sits forlorn on his throne again. MonstER (V.O.) The king’s sole remaining heir was his orphaned grandson. ANGLE ON: the toddler PRINCE, playing with a wooden toy dragon. The King watches him affectionately. Pan to reveal a QUEEN, sitting to the King’s right. MonSTER (v.O.) (cont’d) The King had taken a wife in peacetime, his first having died of heartbreak at the loss of all her sons. The KING leaps from his throne to play with the PRINCE. The QUEEN watches, detached. MONSTER (v.O.) (cont’d) (CONT’D) And if the new Queen’s tongue was a bit sharp, she was at least young and fair and made the King happy. We pull back out the hallway we came in and into: 84. 44 Ext. first tale countryside - day - contINUOUS 44 The young prince runs playfully through the countryside, the King in pursuit. These images continue as the Prince ages: the Prince with a dog, the Prince hunting his first stag, the Prince winning his first joust as a 17-year-old. Monster (V.O.) The Prince grew until he was nearly a man, winning the love of the kingdom for his gallantry and good heart. But one day, the old king fell ill. In the audience for the joust, the king suddenly collapses. 85. 45 InT. first tale THRONE ROOM - day - contINUOUS 45 The King, now in a sickbed tended by the Queen. MonSTER (V.O.) Rumour began to spread that he was being poisoned by his wife. That she was an evil witch, bent on taking the throne for herself. The Queen gives the King medicine. Or is it poison? MonSTER (v.O.) (cont’d) But the King loved her and even with his dying breath, he begged his subjects not to blame her. The King has his dying breath. We rush back out of the throne room to... 86. 46 ExT. first tale COUNTRYSIDE - DAY - conTINUOUS 46 ...the Kingdom, in mourning, shadowy rain coming down. We find the Prince, looking up at the castle. MonSTER (v.O.) The Prince was too young to take his place yet as King. The Queen would rule as Regent for another year. The future was uncertain. The FARMER’S DAUGHTER approaches the Prince. He greets her with a flower. MonSTER (V.O.) The Prince, meanwhile, had given away his heart- Conor (V.O.) (groaning) I knew it. There’s always some stupid prince falling in stupid love, ruining everything- MONSTER (V.O.) (louder) The Prince, meanwhile, had given away his heart- The Prince sweeps the Farmer’s Daughter up in romance, running flirtatiously through orchards, exchanging love letters, parting with sweet sorrow... Monster (v.O.) (cont’d) She was beautiful and smart and though only a farmer’s daughter, the kingdom smiled on the match. We rush back up to the castle, through the hallway and into: 87. 47 InT. first TALE THRONE ROOM - DAY - conTINUOUS 47 The Queen, sitting on her throne, dispensing queenliness. MonstER (v.O.) The Queen, however, had other ideas. She was rather enjoying being Queen. And what better way to remain so than to marry the prince herself? ConOR (V.O.) WHAT?! That’s disgusting! She was his grandmother! Queen on throne, offering this objectionable plan to Prince. MONSTER (V.O.) Step-grandmother, no relation, and still a young, beautiful woman herself, don’t forget. The Prince, however, didn’t like the idea either. We rush out of the castle and into... 88. 48 ExT. first TALE COUNTRYSIDE - night - contINUOUS 48 ...a stormy night. The Prince saddles a horse and helps up the Farmer’s Daughter. Monster (V.O.) He took the farmer’s daughter and they rode away into the night- They ride through the storm, before taking shelter on... 89. 49 ExT. first TALE HILLTOP - night - conTINUOUS 49 ...the hilltop where the yew tree stands. The Prince and the Farmer’s Daughter shelter at the base, under blankets. MonSTER (v.O.) Stopping only to shelter themselves under the branches of a yew tree. They slept. Sleeping is pretty clearly not what they’re doing under the blanket. ConOR Yeah, I don’t think they’re sleeping. MonsteR (V.O.) They slept. Eventually. The Prince and the Farmer’s Daughter sleep. The image stills as time passes and

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50 ExT. first TALE HILLTOP - DAY - contINUOUS 50 ...the sun comes up. The Prince wakes. MonstER (V.O.) The next morning, the Prince woke. “Arise, my beloved,” he said. The Prince mirrors the Monster’s words. MonSTER (V.O.) (cont’d) But the farmer’s daughter did not stir. The Farmer’s Daughter slumps. CLOSE ON: The Prince’s bloodied hand. MONSTER (V.O.) (CONT’D) Which was when the Prince noticed the blood. ConOR (V.O.) Blood? The Prince stands. Blood everywhere. MONSTER (V.O.) Someone had killed his beloved in the night and made him look like the murderer. “The Queen!” he cried. “The Queen is responsible for this treachery!” The Prince mirrors the Monster’s words. Men approach from a distance. MonSTER (v.O.) (cont’d) He saw men approaching and knew they’d been sent to arrest him. Conor (v.O.) And the queen would be able to rule on her own! I hope this story ends with you ripping her head off. The Prince looks around in panic. MONSTER (v.O.) There was nowhere for the Prince to run. His horse had been chased away. He turned to the only place he could look for help. The Prince looks up at the yew tree. You? ConOR (V.O.) 91. The Prince talks to the tree. We don’t hear what he says. The tree remains a tree. ConOR (v.O.) (cont’d) What did he say? MonSTER (v.O.) He said enough to bring me walking. We rush away from hilltop and down into... 92. 51 ExT. first TALE COUNTRYSIDE - DAY - conTINUOUS 51 ...the Prince racing through the countryside. MonsTER (V.O.) He ran through the villages. “The Queen has murdered my bride! The Queen must be stopped!” Behind the Prince, the Monster comes, terrifying, huge. MonSTER (v.O.) (cont’d) The people were quick to rally to the Prince when they saw the great Green Man behind him, high as the hills, coming for vengeance. The Prince leads the villagers to a storming of the castle, the Monster behind them. It tears down the castle walls. Flames rise, turrets tumble, until we ANGLE ON: the terrified Queen screaming in the Monster’s upraised hand. MonSTER (CONT’D) The Queen was never seen again. 93. 52-52A ExT. conOR’S BACK GARDEN - niGHT - conTINUOUS 52-52A Conor pushes away the leaves and looks up to the Monster. ConOR Good! She deserved it! He turns to the upstairs bedroom where his Grandma sleeps. ConoR (CONT’D) I don’t suppose you can help me with her? I mean, I don’t want you to burn her at the stake or anything- MonSTER The story is not yet finished. Conor turns to the Monster, confused. CoNOR But you said the Queen was never seen again. MONSTER Indeed. The Monster puts the leaves back over Conor’s eyes. We rush back into... 94. 53 EXT. First TALE HILLTOP - DAY - conTINUOUS 53 ...the Castle burns in the background as the Monster, still holding the Queen, walks away from it. MonSTER (v.O.) I carried her far enough away so that her people would never find her- The Queen looks quite safe in the Monster’s hands. MoNSTER (v.O.) (cont’d) To a village by the sea, where she began a new life. 95. 54 ExT. conor’S BaCK GARDEN - nighT - conTINUOUS 54 Conor is outraged, pushes the leaves away again. Conor But she killed the Farmer’s Daughter! How can you save a murderer? He tries to step back from the Monster in dawning fright. ConOR (CONT’D) You really are a monster. MONSTER I never said she killed the farmer’s daughter. I only said that the Prince said it was so. The Monster twists some branches into a frame. Conor watches it like a television. We move through the frame into: 96. 55 ExT. first TALE HILLTOP - nigHT - conTINUOUS 55 The Prince and the Farmer’s Daughter, sleeping, as before. MonSTER (V.O.) The Prince never fell asleep that night. The Prince rises and looks down at the Farmer’s Daughter. He goes to his tied-up horse and retrieves something, setting the horse free in the process. MoNSTER But waiting for the Farmer Daughter to be lost in her dreams and then began his real plan. CLOSE ON: A KNIFE glinting in the Prince’s hand as he approaches the sleeping Farmer’s Daughter. Conor (V.O.) We rush back from the hilltop to... NO! 97. 56 ExT. conor’s back GARDEN - nighT - conTINUOUS 56 Conor watches in shock as the scene fades on the hilltop, the Monster lowering his hands. Conor You said he was surprised when he woke up! MonstER He was merely acting out a pantomime should anyone be watching. CONOR But... but you said he asked you for help and you gave it! MoNSTER I only said he told me enough to make me come walking. I never said I came to help him. CONOR What did he say then? MONSTER He said it was for the good of the kingdom. That the queen was, in fact, a witch, too powerful to topple on his own, so he killed the Farmer’s Daughter to get the fury of the people behind him. Just as the King’s sons had died in battle, the Farmer’s Daughter had given her life to a greater good. ConOR That’s a load of crap! MoNSTER The justifications of men who kill should always be heard with scepticism. ConOR Did he ever get caught? MONSTER He became a much beloved king who ruled happily until the end of his long days. Conor unhappily considers all this. 98. CONOR So the good prince was a murderer and the evil queen wasn’t a witch after all? The Monster begins to rumble, louder and louder, until we realise it’s laughing, a laugh that shakes the earth, spooking owls from their perches, causing leaves to fall. MonSTER (calming some) No, the Queen most certainly was a witch and could well have been on her way to great evil. Who can say? ConOR Why’d you save her then? MonSTER Because what she was not, was a murderer. She hadn’t poisoned the king. He had merely grown old. ConOR I don’t get it. Who’s the good guy here? MONSTER There is not always a good guy. Nor is there always a bad one. Most people are somewhere inbetween. CoNOR That’s a terrible story. And a cheat. MONSTER It’s a true story. Many things that are true feel like a cheat. Kingdoms get the princes they deserve, farmer’s daughters die for no reason, and sometimes witches merit saving. Quite often, actually. You’d be surprised. Conor glances unhappily up to his bedroom window again. CONOR So how is that supposed to save me from her? MONSTER (o.S.) It is not her you need saving from. Conor turns back to the Monster, but he’s gone. On the hilltop, the yew tree is back in place, as if nothing had happened. Which is annoying. 99. 57 ExT. pavement CONVERSATION WITH LILY - the neXT DAY 57 Conor walks to school, rucksack on his back, stopping to look at the PENCIL CASE again. He starts walking as Lily catches up to him. She doesn’t say anything at first, just waits for his response. Gets none. LILY I forgive you. Conor says nothing, just walks on. LiLY (CONT’D) I forgive you for getting me in trouble, okay? Conor You got yourself in trouble. LilY (ignoring this) And I forgive you for all the things you said, too. Conor remains silent. Lily is defiant, but hopeful. LiLY (CONT’D) Aren’t you going to say you’re sorry back? Conor stops, and his anger backs Lily into a nearby wall. ConoR I’m not sorry, and I don’t forgive you. LILY My mum said we need to make allowances for you, but I just think you’re acting like a jerk- CONOR I was doing just fine before you screwed everything up. LILY (baffled) Me?! CONOR No one knew, Lily. No one. And then your mum tells you and then guess what? Suddenly everybody knows- LILY About your mum-? 100. CONOR (over) -and now they all treat me like I’m the sick one or that I’m not really there or... He stops, choked up, angry about it. He takes off again, leaving Lily behind