Andrew Watson
Living the Nightmare
As the voiceover begins, the audience will be bombarded with a number of different dreamlike visuals; followed by a continuous wide shot from the top corner of the room of the central character MIKE tossing and turning in bed, attempting unsuccessfully to go to sleep.
NARRATOR
Nightmares have the power to haunt you. There is but one good thing about them. The fact that when you wake up, you know that none of what's happened is real. But what if you couldn't wake up? What if the nightmare was real? The average person dreams for around 30 minutes a night. This nightmare lasted the whole damn day.
The shot starts off not in focus. It gradually focuses so that at the end of the narration, the picture is clear, revealing someone's eyes.
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Wide shot. MIKE, a man in his early thirties, wakes up to a silent, undeniably empty house.
Bright cinematography will be used here because everything seems so much brighter when you first wake up.
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Close-up. A videotape starts rewinding slowly.
This will be shot in silence, with the only sound being produced by the videoplayer. The sound of the video rewinding will have an almost hypnotic ambience to it and each time the videoplayer is shown , it will be shot through a green filter (creating an ongoing theme).
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1A INT. BATHROOM - SEVERAL MINUTES LATER
Medium shot of MIKE shaving himself in the mirror.
MIKE cuts himself badly.
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Close-up. The blood going down the drain. One immediately gets the idea that this isn't going to be his day.
To be shot through a blue filter. In the film, the colour blue represents those events which have a negative effect on MIKE's day but don't stand out as his central problems.
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2. INT. OFFICE BUILDING - LATE MORNING
Slow-burning zoom on a door. Presumably the door to MIKE's office. A conversation is faintly audible.
There is a large amount of bright light shining through the door.
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2A INT. MIKE'S OFFICE
Wide angled shot from the corner of the room.
The bright cinematography here represents a brief moment in which MIKE has almost woken up from the nightmare he's experiencing.
MIKE is on the phone with an important client.
The camera pans up from the corner of the room to sit on the front of his desk.
MIKE
You'll make my day… I understand that you need some time.
(nods his head)
No problem. We'll update you twice a month… Absolutely. I guarantee you are making the right decision. No. Thankyou sir. Have a nice day. Bye bye. Yes!
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Close-up of the phone as it rings.
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Close-up of the videotape still rewinding slowly.
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2B INT. MEETING ROOM
Wide shot of MIKE sitting at a table.
This will be shot through a red filter. In the film, the colour red represents the central reasons why MIKE's day has been as bad as it has.
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Wide shot. There are two people sitting in front of him. One of them, a tall, imposing figure, gets up.
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Medium shot.
JOHN
I gotta tell you Mike. You're the hardest working man on the team. 50 deals in 14 days is very impressive and so… we've decided to let you go.
AND:
Wide shot.
MIKE
What?
As MIKE says "What?", the camera will zoom out as it pans in towards him, giving the impression that the background is moving away from him.
JOHN
Well done. You're fired.
As he says the words "You're fired", the camera will pan into a close-up of JOHN's face.
Oh don't worry. We've sorted out a package for you.
MIKE
What the hell is going on? You're firing me but you're giving me a car.
(he is given a sheet of paper)
But this car only has three wheels!
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3. EXT. MIKE ARRIVING HOME IN HIS CAR
Long shot of the car entering the drive.
Bright cinematography.
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3A INT. MIKE'S HOUSE
Wide shot as MIKE enters in a hurry. He goes and picks up the
phone. He dials the number.
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Close-up on his hand as he places a speeding ticket on the table.
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Medium shot.
MIKE
Yes. Hello. My name is Mike Rushmore. I'd like to file a complaint… Do not put me on hold.
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Wide shot. He walks over to the fridge, takes out a carton of orange juice and pours some into a glass from a cupboard in front of him.
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Medium shot of fridge. By mistake he puts the glass in the fridge instead of the carton.
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Wide shot. It is only when he is about to drink from it that he realises.
MIKE
What am I doing?
He corrects his mistake.
MIKE
Hello. Yes. That's right. You're gonna have to get back to me? But I haven't even told you my problem. Can I leave you my name and number? It's Michael Rushmore. That's R-U-S-H-M-O-R-E. And the number's 01372…373000.
(He pauses)
373 triple 0. Okay? Bye.
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Medium shot. Just then, the doorbell rings. He opens up to find
a man holding a package.
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Head shot.
MIKE
(taking package)
Do I need to sign for this?
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Medium shot.
MAN
No…
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MIKE
It's already covered? Cool. Would you mind waiting for a moment? I just need to…
(He opens up the package)
It's the right one! I don't believe it!
AND:
MAN
Don't get too excited. It's only a book.
MIKE
(clearly fed up)
You can go now.
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P-O-V shot as MIKE goes back inside.
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Close-up of the videotape still rewinding slowly.
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Angled close-up. The telephone rings.
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Angled medium shot of MIKE sitting on the edge of a bed and picking up the phone from the bedside table.
Shot through a red filter.
MIKE
Hello?
CREEPY VOICE
You have 7 days to deliver the money.
MIKE
What?
CREEPY VOICE
Take a look on your doorstep.
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Slow-building zoom on a sheet of paper lying on the doorstep.
Upwards shot of MIKE picking it up and reading it.
MIKE
You've got to be… They lost? Man U lost to Torquay United!
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4. INT. A SEEDY BAR - EARLY EVENING
Medium shot. Side view of Mike.
The jazz music in the background sets the scene.
Shot through a blue filter.
MIKE
Give me a JD and coke.
(He hands the bartender his credit card. The bartender hands it back)
Let me guess. It won't accept it?
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Medium shot.
BARTENDER
It could be the machine. Let me try it again.
(raises hand)
MIKE
No. Take the money.
(He gives him the cash)
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Close-up on the money.
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Wide shot. A good-looking girl, sits down next to him.
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Head shot.
NICKI
Rough day?
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Head shot.
MIKE
This morning I was fired for good work and my company's redundancy package consisted of a £1000 cheque and a tricycle. This afternoon I was done for speeding and found out I owed a loan shark 10 grand. To top it all off, it now seems my credit card's been cancelled. Last night, I had a nightmare 'bout not being able to get to sleep. Now I just wanna wake up. Apart from that…
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NICKI
That doesn't sound so bad.
AND:
MIKE
Oh, you've had worse, have you?
NICKI
Couple years ago, I worked seven months, 9 to 5 stacking shelves at Heathrow… But it was ten pounds an hour. You do the math… Your so-called redundancy package isn't looking so good anymore is it?
(She winks and MIKE responds with a rare smile)
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Medium shot.
I'm Nicki.
(raises hand)
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Medium shot.
MIKE
Mike.
(shakes it)
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Medium shot.
NICKI
I have to admit I'm intrigued. Listen…Mike.
(she draws MIKE in)
I've got to go. If you feel like talking, meet me at the Lager Lounge at 10.
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Long shot of her walking off.
The outline of her body will be digitally altered so that her body seems to emit a kind of white light.
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Close-up on MIKE's face.
MIKE
There's gotta be a catch.
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Close-up of videotape rewinding slightly quicker now.
The sound of the videoplayer is beginning to get louder.
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5. INT. MIKE'S HOUSE - NIGHT
Wide shot.
Dark blue cinematography.
MIKE gets into the shower. He turns on the tap, only to find out that there is no warm water.
MIKE
Ah. Cold, cold, cold. Will somebody please wake me up!
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Wide shot. MIKE opens his cupboard.
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Medium shot. MIKE irons his shirt.
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Long shot. Shadow of MIKE changing.
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Close-up of MIKE putting on his jacket.
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Head shot of MIKE looking in the mirror.
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Close-up of the front door being locked.
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Close-up of the front light on the right of the car.
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Close-up of MIKE handling his money.
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Close-up shot of MIKE's feet as he enters the restaurant.
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6. INT. LAGER LOUNGE - NIGHT
Medium shot.
Reasonably bright cinematography.
MIKE
Table for two?
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Close-up of videotape rewinding quickly now. Is MIKE's nightmare coming to an end?
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Wide shot. MIKE looks to have been waiting for a while (An hour to be exact). He has seemingly drunk half a bottle of wine on his own.
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Medium upwards shot.
WAITER
Are you sure she's coming sir?
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Medium shot.
MIKE
(Determined)
She'll be here.
Camera zooms in on his face.
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1 hour later.
Medium upwards shot.
WAITER
Are you sure?
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Medium shot.
MIKE
Excuse me. Where's the bathroom?
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6A INT. LAGER LOUNGE RESTROOM
Wide shot. MIKE punches the wall. There are tears in his eyes.
Red filter.
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Close-up on MIKE's face.
MIKE
Just give me a break.
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6B INT. RESTAURANT
Wide shot. MIKE walks over to the table and sits down. Moments later, Nicki appears.
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Head shot.
NICKI
(smiling)
I hope you weren't waiting for me.
Freeze frame.
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Close-up of videotape stopping. The nightmare has ended.
NARRATOR
Nightmares can seem a lot like videotapes rewinding. They feel like they last forever when in reality they only take up a few minutes of your time. As the videotape comes to a halt, so does the nightmare. Nothing can go on forever.
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Freeze frame and back to normal speed.
NICKI
You seem shocked.
Medium shot. MIKE hits himself in the face and starts pinching himself.
MIKE
Thankyou God.
NICKI
All nightmares have gotta end somewhere, right?
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END CREDITS
2003. Copyright Black Diesel Cinema. All Rights Reserved.