TRAIN OF THOUGHT

By Michael Bell

SCENE 1
1) INT. DAY. KITCHEN.
High angle view of a murky, dirty, scum ridden goldfish bowl. It sits atop a crappy kitchen table which has debris strewn across it. Debris includes a few crushed Tennants Super cans, an empty bottle of Buckfast, a dole receipt, a photo of MAN with a girl. Floating in the green water is a dead goldfish. Hold establishing shot for 7 seconds until a hand comes into the shot and unceremoniously scoops the dead fish out of the water.

2) INT. DAY. BOILER HOUSE.
High angle view of a shit stained, piss stained, vomit stained toilet bowl. The fish is fired from out of shot into the toilet, bouncing off the side as it meets its watery grave. From the same direction as the fish comes a steaming stream of pish which hits the fish knocking it about the bowl. The urine is yellow, foamy and deliberately being aimed at the fish.

3) INT. DAY. BOILER HOUSE.
Medium close-up of MAN from the side. He looks like he's just up after a heavy nights drink. His eyes are sunken, he needs a shave, he has a groggy look about him and he is in the middle of a pee. When finished he zips himself up. A flicker of movement can be seen out the window and it catches his attention and pauses his flush. He looks briefly out the window, thinks it nothing, glances back down the toilet bowl at the fish and with absolute disregard, flushes the fish out of his mind and presence.

SOUND FX.
TOILET FLUSH CROSS FADES INTO THE SOUND OF TRAIN.
FADE TO BLACK.
TITLES.

SCENE 2
4) EXT. DAY. RAILWAY BRIDGE. CULTRA STATION.
Long shot of a bridge. Camera pans as it follows MAN who is lumbering towards the bridge and the camera. The day is grey, overcast and characterless. His attire is grey and characterless. He is smoking a roll-up, deliberately sucking. He moves slowly as if sudden movement would shake his hangover causing that sharp, searing pain in his brain that he is so used to. When he reaches the middle of the bridge he cautiously climbs onto the wall so his legs are dangling above the railway track which is quite a distance below.

5) EXT. DAY. RAILWAY STATION. CULTRA.
Low angle shot from the platform of Cultra station looking up at the bridge, showing its height, and showing MAN who is perched on the wall looking down with a contemplating face. He takes the last draw and tosses the cigarette down to the tracks. (close up of cig hitting tracks?)


6) EXT. DAY. RAILWAY BRIDGE. CULTRA.
Camera is in a different location as SHOT 4. It follows GIRL who is walking from the same direction that MAN came from. She is pretty, expensively attired and carrying a bulky bag. Her pace stops a hesitant pause when she spies the MAN. Then she almost quickens her step as she makes her way towards him.

7) EXT. DAY. RAILWAY BRIDGE. CULTRA.
Medium long shot showing MANS back as he sits oblivious on the bridge wall. GIRL walks into shot and up to him. He hears nothing in his own wee selfish world. She reaches out, cop-like and taps his back. He spins round and in mid spin cut to

8) EXT. DAY. RAILWAY BRIDGE. CULTRA.
Low angle medium close up. Showing MANS back in mid spin. GIRL is retracting her hand after tapping. His face shows his anger, shock, fear and hatred. It softens slightly when he realises how pretty she is.

GIRL
(businesslike, matter of factly)
Excuse me?

MAN
(stammering with anger and fear)
W..w..wh..what?

GIRL
You're not going to jump, are you?

MAN
(pure anger)
W..w..what's it to you?

GIRL
Ehm'�.I don't know. I just thought'� perhaps I could help.

9) EXT. DAY. RAILWAY BRIDGE. CULTRA.
Low angle medium shot form GIRLS POV. Showing MANS full face and her from a side on view.

MAN
(venomously)
Ahhh'� a regular Mother Theresa from fucking cul..Cultra.

GIRL
(backing off slightly but still holding her authoritarian austere)
I'm'�.sorry. Just showing a little care in the community. I won't be doing (turning) that again.

GIRL makes a move to walk off in the direction she came. MAN reaches out and almost touches her but stops himself.

MAN
No'�stop'�you do seem to care.

GIRL stops and turns back to MAN giving him her full attention.

10) EXT. DAY. RAILWAY BRIDGE.
Same as SHOT 8. Low angle medium close up of MANS POV.

GIRL
Well not so much, now.
(pause)

GIRL looks at MAN seriously and questioningly.

GIRL
Are you going to jump?

MAN
(avoiding eye contact, looking around furtively)
Eh'�.I don't know. I haven't decided yet.

11) EXT. DAY. RAILWAY BRIDGE.
Same as SHOT 9. Low angle medium close up of GIRLS POV.

GIRL
Yeah it's a tough decision. Exist or cease to exist.

MAN
You put it so poetically.

GIRL
That's the bottom line isn't it? To be or not to be.

MAN
I always preferred, to die or not to die. Has a better ring to it.

GIRL
It's a bit grim.

MAN
Life's grim.

GIRL
So I see. Better to die than face it.

MAN
What would you know?

GIRL
Oh'�I know a lot.

MAN
You know nothing about me and if you'll just leave me to it, we can keep it that way.
12) EXT. DAY. RAILWAY BRIDGE.
Same as SHOT 8. Low angle medium close up of MANS POV.

GIRL
(thinking to herself)
Ummmm'�. I might hang around and watch, you know'�'�now I've got to know you.

MAN
That's a bit sick.

GIRL
I'm sick.

MAN
Sick enough for suicide?

GIRL
Sick enough for suicide viewing anyway. In fact I've got my camcorder, I might tape it. Is that sick?

MAN
(a little uncomfortable)
Yeah'�..just a wee bit.

GIRL
(reaching out, smiling and actually touching him flirtily)
Awww, I'm only joking. Hey listen'�I'm going into town to get some lunch. D'you fancy joining me. A last supper'�.maybe even a fish supper. I'm buying?

MAN
Ehhmm'� I don't know. Ehh'�I was..

GIRL
(still very flirty)
Awwch come. We'll have some food and then later you can come back here and do what you gotta do. Better on a full stomach eh..(smiling, winking) and the light'll be better later for my camcorder (actually laughing in a hypnotising, beautiful way). Come on. Let's get some lunch.

FADE OUT FAST

SCENE 3
13) INT. DAY. RESTAURANT. JEFFERS.
Establishing shot. Camera pans following a bored looking WAITER walk across the empty restaurant. Empty that is apart from one table where MAN and GIRL are sitting with empty plates in front of them. There is a distance between them and an aura around them suggesting this hasn't been the most talkative of dining experiences. He is in the process of rolling a cigarette with shaky hands. She is playing with the straw in her dark drink. The WAITER walks up to the table and lifts the plates.

WAITER
(lazily and almost incoherently)
Everything okay?

MAN looks up slightly, gives a little, barely noticeable nod and refocuses his attention on the cigarette.

GIRL
(looking up at the waiter with a smile)
Yes, thank you.

The WAITER walks out of shot carrying the plates. GIRL lifts the straw out of the drink and puts it to her lips, sucking the residue liquid content into her mouth. He has finished rolling and has lit the cigarette, taking the first needfully deep drag out of it. He is still looking down, shiftily while she stares at him thoughtfully.

GIRL
(removing straw from mouth)
So'�..what's your motivation?

14) INT. DAY. RESTAURANT.
High angle, over the shoulder shot from GIRLS POV. MAN looks at her, making eye contact for the first time during the meal which he wolfed down silently. He inhales another deep drag before answering her.

MAN
Motivation? Interesting choice of words.

GIRL
I was wondering what would motivate someone to kill themselves.

MAN
It's not just one thing, it's everything. No job, no money, no girlfriend. The shittiness of modern life. I mean, when you look at it, what's the point in living?

15) INT. DAY. RESTAURANT.
High angle, over the shoulder shot showing MANS POV. GIRL is still playing with the straw.

GIRL
But that's all resolvable, and'�'� life's got to be better than death.

MAN
How do you know? I know life's shite but I don't know what death's like. It might great.

GIRL
Which you'll experience one day. Why hurry it along? There gotta be another way to deal with your problems. You're not even dealing with them, you're running away, chickenshit.

16) INT. DAY. RESTAURANT.
High angle, over the shoulder shot showing GIRLS POV. MAN is still smoking and GIRL has now put the straw back in her drink. Her hand is round the glass which she is rotating slowly.

MAN
You really make some broad assumptions don't you? You know nothing about me so don't judge me.

17) INT. DAY. RESTAURANT.
High angle, over the shoulder shot showing MANS POV. GIRL picks up her glass in her right hand and with her left hand she places the straw between her lips, missing the first time and then taking a quick seductive suck.

GIRL
(still holding the glass)
You've said that already. Why the fear of people knowing you?

MAN
I don't like people judging me.

GIRL
I'm only basing my opinions on what you've told me and on the fact that 20 minutes ago you were going to jump of a bridge and so far you've given me no good reason.



18) INT. DAY. RESTAURANT.
High angle, over the shoulder shot showing GIRLS POV. MAN takes the last drag of his roll-up and stubs it out deliberately.

MAN
There's no good reason just lots and lots of bad ones.

19) INT. DAY. RESTAURANT.
High angle, over the shoulder shot showing MANS POV. She has set the drink back down on the table has begun fidgeting with the straw again. She's rubbing it provocatively.

GIRL
No job, get one. Then you'll have money. And the girlfriend problem, it can be sorted too. The shite of modern life's a bigger issue but you certainly shouldn't give up because of it.

20) INT. DAY. RESTAURANT.
High angle, over the shoulder shot showing GIRLS POV.

MAN
I'm not giving up. I haven't just happened on this decision, you know?

21) INT. DAY. RESTAURANT.
High angle, over the shoulder shot showing MANS POV. GIRL has placed her thumb over the end of the straw, vacuum trapping the liquid and lifts the straw to her lips and again sucks the contents seductively.

GIRL
I thought you hadn't decided.

22) INT. DAY. RESTAURANT.
High angle, over the shoulder shot showing GIRLS POV. MAN is looking straight at GIRL. Accusingly. He vaguely senses that she's playing with him but he's still misreading the signs.

MAN
I haven't, and you're not helping. I thought you were supposed to be helping. Care in the community and all that.

23) INT. DAY. RESTAURANT.
High angle, over the shoulder shot showing MANS POV. GIRL has put her straw back in her drink.

GIRL
I got you off, the bridge. I'm buying you dinner. I'm trying to offer an alternative other than suicide and all your doing is bitching at me defensively. I'm trying to help but you're not letting me.

24) INT. DAY. RESTAURANT.
High angle, over the shoulder shot from GIRLS POV. MAN looks at GIRL.


MAN
(shaking his head in annoyance, putting his hands to his temples and almost covering his face)
Awwchh'�you don't understand'�

25) INT. DAY. RESTAURANT.
Close up of MANS face. His hands come away from his face, no doubt to fidget at table height and he is looking straight at GIRL seriously and sadly.

MAN
(almost whispering)
Katherine died'�..

26) INT. DAY. BOILER HOUSE.
High angle shot showing toilet bowl. The toilet is being flushed and a goldfish is seen going down the drain. The sound of the flush is not heard. The audio is still from inside the restaurant.

MAN
'�.today.

27) INT. DAY. RESTAURANT.
Medium close up, side on view of the table. GIRL reaches out and holds MANS hand, which flinches slightly at the touch.

GIRL
Oh..I'm so sorry. I didn't'�realise.

MAN
(awkward, looking at the joined hands)
No. You didn't.

GIRL reaches out with her other hand and holds his hand in between hers. MANS hand still looks awkward.

28) INT. DAY. RESTAURANT.
Close up of GIRLS hands sandwiching MANS hand. She is caressing his hand gently and persuadingly.

GIRL
You shouldn't be alone. Come back to mine and we'll have a wee drink.

29) INT. DAY. RESTAURANT.
High angle, over the shoulder shot showing GIRLS POV. MAN is staring straight at GIRL. He wears a face of surprise and agreement.

MAN
(almost stuttering)
Ehm'�okay.


SCENE 4
30) INT. DAY. KITCHEN.
Wide shot showing a tidy, modern kitchen. GIRL is standing at a counter top with her back to the camera. She is making drinks and utilising a well stocked drinks cabinet. She pours two large glasses of gin over one ice cube and then adds a dash of tonic to each. MAN is standing by a table facing the camera. On the table is a goldfish bowl. It is the same as the one in his house but this one is pristine. There is a live fish swimming about in the bowl. He is staring at it intently and touching the side of the bowl with the nail of his finger.

MAN
I've got a fish too. The only thing that gives a shite about me and that's because I feed her. If someone else did she wouldn't even notice.

GIRL has finished making the drinks and has turned around with drinks in hand making her way to the MAN

MAN
(accepting the glass)
What's yours called?

GIRL
Zebbedee. After the Magic Roundabout, bouncy guy.

GIRL drains half her drink in one quick swallow. MAN is still holding his, not drinking.

GIRL
What's your name?

MAN
Sure you'll see it the paper tomorrow. Man mashed on tracks. Police confirm suicide.

GIRL
That's not funny.

MAN
It's not a joke.

GIRL finishes the last half of her drink in another swift gulp. She takes the full glass off MAN and sets it on the table beside the goldfish bowl. She reaches out and takes his hand guidingly.

GIRL
I've never done this with a dead man before.

GIRL leads MAN by the hand out of shot.

FADE TO BLACK

FADE IN
SCENE 5
31) INT. DAY. BEDROOM.
Camera pans around a darkened, close curtained bedroom. It shows a freshly fucked in bed with just the GIRL lying in it, apparently asleep. Camera keeps panning and we hear a front door downstairs being slammed shut. GIRL sits up at the sound and climbs out of bed. Camera, still panning follows GIRL out of bed as she makes her way to a wardrobe. The wardrobe door is open slightly and small red light can be seen through the crack.

32) INT. DAY. BEDROOM.
Camcorder shot. Date and time can be seen on the bottom left of the screen. Camcorder is looking out of the crack in the wardrobe door at the GIRL who is making her way towards the camera. She opens the door (perhaps messing up cameras brightness level by the sudden change in light) and thrusts her arm into the wardrobe directly at the camera. Her hand goes out of the shot as she reaches to the back of the camera.

STATIC FOR FOUR FIFTHS OF A SECOND.

33) INT. DAY. BEDROOM.
Medium close up of an open wardrobe. GIRL is standing in front of the open door. She has just switched off the camcorder which is now very obviously inside. Beside the camcorder are 12 video cassettes with various men's names on them. She ejects the current cassette quickly and grabs a marker pen from beside the tapes of previous victims. She looks at the blank tape for less than a second and swiftly scrawls a question mark on the label. She places the tape at the top of the stack and turns away from the wardrobe with speed. Camera slowly zooms in on the cassette with the question mark, showing clearly for the first time all the other names on all the other tapes.

FADE TO BLACK SLOWLY AND HOLD FOR HALF A SECOND

FADE IN
SCENE 6
34) EXT. DUSK. RAILWAY BRIDGE.
Establishing shot same as SHOT 4. This time there is no lumbering but a definite spring in MANS step. He glides along the bridge. A train can be heard in the distance. As soon as he hears it his ears prick up, he runs lightly back to the centre of the bridge and bounces effortlessly onto the wall. As his feet leave the ground cut to

35) EXT. DUSK. RAILWAY STATION.
Same as SHOT 5. We see MAN in mid movement jumping onto the wall, but for a brief second we think he's leaping to death. When he lands on the wall camera pans down quickly to show the oncoming train.

36) 37) 38) 39) 40) 41) 42) EXT. DUSK. RAILWAY STATION/BRIDGE.
Series of fastly cut shots showing the approaching train from various angles.




43) EXT. DUSK. RAILWAY STATION.
Same as SHOT 36. Camera follows train past it and under the bridge. Camera then pans up to show the MAN still sitting on the wall of the bridge. He is ruffling in his back pocket for something which he finds and pulls out.

44) EXT. DUSK. RAILWAY BRIDGE.
High angle, over MANS shoulder shot. His legs can be seen dangling over the barely visible track. It's too dark to make out what is below but distance can be sensed. He's leaning forward pulling a book and a marker out of his back pocket. He brings these into shot and the book, although dark, is plainly readable. On it there are 13 train names. 12 have been scrawled out in victory but one remains intact, untouched and unmarked. He takes the marker, (same as hers) and scratches it all over the last, unmarked train name. He scribbles it out more than any of the others showing obvious delight in doing so. He then leans forward precariously and puts the book and marker back in his back pocket.

45) EXT. DUSK. RAILWAY BRIDGE.
Medium close up, side on view of MAN sitting on a bridge. He is in mid movement after putting the book in his back pocket. His right hand comes back from his arse and begins to pull something out of his bulky jacket front. Camera is on his left. His hand emerges with a sealable sealed sandwich bag containing a third of water and all of Zebbeddee.

MAN
(cooing into the bag)
Zebbeddee. That's a daft name for a fish. You'll be Katherine from now on. I prefer Katherine'�. it has a better ring to it.

He strokes the bag with his finger nail. So focussed on chatting up a male fish he doesn't notice the sound of the oncoming train. It is coming from the opposite direction as the first train.

SOUND FX TRAIN NOISE FADE IN FAST AT THE MOMENT HE TOUCHES THE BAG WITH HIS NAIL.

Startled by the train and the bag being wet, he loosens his grip on Katherine and she slips to her death. He makes a desperate lunge forward to catch her, loses his arse-hold of the wall and falls off the bridge.

46) EXT. DUSK. RAILWAY TRACKS.
Very low angle shot looking almost straight up at the bridge. MAN falls into speed from out of shot. Shot lasts a fraction of a second.

47) EXT. DUSK. RAILWAY TRACKS.
Very low angle shot. A railway track dominates the bottom third of the screen. The parallel track dominates the top third. MAN bounces in, fast from top of shot. He lands, lifeless.

48) EXT. DAY. RAILWAY TRACKS.
Birds eye view, medium close up of man lying dead on the tracks. A sandwich bag containing a dead fish is 30cm away from his left hand. The camera is slowly, gently zooming out. Being pulled back. From out of shot a FIGURE emerges, obviously holding a camcorder pointed at the body. It picks up the sandwich bag and holds it up to the camera. Awkwardly it unzips the zipper seal and tips the contents over the corpse of MAN all the time filming carefully. The fish exits the bag and bounces of the MAN. The sound of the train in the distance fades at the same time,

FADE TO BLACK FOR HALF A SECOND

FADE IN
SCENE 7
49) INT. MORNING. LIVING ROOM.
Close up of a television screen. It is showing camcorder footage and the date and time taken are perfectly visible at the bottom left. The footage shows a thin window and MAN can be seen, furtively through the window obviously urinating. Suddenly the footage shows the camera moving frantically away with fear. Footage goes to static for a fraction of a second. Footage abruptly cuts to inside the wardrobe looking out. GIRL is on bed being fucked by MAN. She is desperately pressing a button on the small remote control in her hand. Camera pans out to reveal more of the television and the camcorder it is attached to. Fucking shot last only a brief glance to establish what is happening. Footage changes to static when GIRL becomes visible in shot. Camera is still panning out slowly. GIRL is sitting on the floor, barefoot, beside the camcorder. She has ejected the cassette and it pops out. She pulls the tape from the camcorder and grabs a marker from the surface off one of the newspapers that surround her. She glances at a paper, the closest one which has a headline with a black marker ring round it and writes something on the cassettes label. She sets the tape on the paper where she found the marker.

50) INT. MORNING. LIVING ROOM.
Close up of newspaper. Ringed headline says 'Man mashed on tracks. Police confirm suicide.'� GIRL from out of shot sets the tape beside the article. On the label of the tape, beside a question mark, she has written in marker '?Anonymous'�

CUT TO STATIC FOR HALF A SECOND
CAMCORDER SHOT OF MAN FALLING OFF BRIDGE. TAKEN FROM BUSHES.
FADE SLOWLY TO BLACK WITH CREDITS STARTING TO ROLL

TITLES

THE END.

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