The Staircase

INT. THE STAIRCASE OF A BLOCK OF FLATS – NIGHT

An empty, windowless staircase of a block of flats is shown from the top of a flight of stairs. Around the corner of the stairwell, footsteps can be heard trudging upwards, getting closer.

Guy emerges from around the corner, dishevelled and weary, ascending the staircase. He steadies himself on the handrail and pauses to catch his breath.

GUY (V.O.): I’ve been climbing these stairs for so long. I can’t remember how I started… when was it? Where was it? Where does it lead? I don’t know.

He resumes and climbs the steps. The landing at the top, like every landing on the staircase, has four doors – two facing the stairs and one at either end facing each other. The staircase continues, as it always does, around the corner of the stairwell.

INT. THE STAIRCASE OF A GOTHIC MANSION – CONTINUOUS

Guy sees that the new flight of stairs above him are those of a gothic mansion.

GUY (V.O.): Always different, always the same.

He walks past a large ornately framed mirror on the wall of the stairs. He has no reflection.

He stops at an oil painting of a woman in a cloak. The surface of the portrait is behind glass. He touches the pane of glass and lingers there.

GUY (V.O.): Mirrors without reflections, paintings that stare into your soul...

A piercing shriek is heard in the distance from farther down the staircase. Guy is afraid and resumes his climb with urgency.

INT. THE STAIRCASE OF AN OFFICE BLOCK – CONTINUOUS

He climbs a flight of stairs two steps at a time.

INT. THE STAIRCASE OF A SUBURBAN HOME – CONTINUOUS

He begins walking up the next flight of stairs, this time the stairwell is decorated like a suburban home.

GUY (V.O.): I’ve tried countless doors along the way. Some just lead to hallways with more doors, others to stranger places. But they always bring me back here. To the endless steps.

He approaches the door on the left-end of the landing. He puts his ear to the door, then opens it with a gentle push. Only pitch-black nothingness is visible within.

GUY (V.O.): I need to rest, find food, or drink. The staircase isn’t safe. (looking down the staircase) The creature...

Guy steps through the door, disappearing from view. Silence.

The faint, distant sound of footsteps can be heard on the staircase resuming somewhere unseen.

GUY (V.O.): Some doors open easily; others remain forever closed. The untried ones... they haunt me the most.

CUT TO BLACK.

INT. THE STAIRCASE OF A HOTEL – NIGHT

Around the corner of the stairwell, laboured footsteps can be heard. Guy emerges from around the corner, looking exhausted. He is breathing heavily and moving more slowly than before, weighed down by fatigue.

Suddenly, a piercing shriek echoes through the staircase. The creature is closer than ever.

Guy lumbers up the stairs and opens a door. Darkness envelops the other side, filled with indistinct, whispering voices.

He shuts the door and tries another. It is locked. Guy turns around to see the creature, a terrifying silhouetted apparition, looming at the bottom of the stairs.

Desperately, he tries another door. It is also locked. The creature approaches.

INT. THE STAIRCASE OF A CASTLE – NIGHT

Guy runs away up the next flight of stairs, a stone staircase of a medieval castle.

At the hallway, Guy pushes against a heavy wooden door. It shudders open slowly under pressure. He crams inside and rams the door shut behind him.

INT. DARK CAVE – CONTINUOUS

Guy is in a dark cave, dimly lit by daylight filtering through a distant cavemouth. The creature’s shriek reverberates loudly on the other side of the door.

Guy moves towards the daylight, navigating through puddles of seawater and clambering over rocks.

EXT. DESOLATE BEACH – CONTINUOUS

Emerging onto a deserted pebbly beach beside a cliff, Guy pauses to catch his breath. The waves crash against the shore.

He trudges along the desolate, windswept shore. He passes a top hat, spinning in the surf.

Further along, he notices a knife, its blade embedded in the wet sand. He pauses, looking at it, then moves on.

A dog appears, running energetically along the beach. It dashes past Guy without a glance, bounding off into the distance.

In the near distance a man emerges from the sea wearing a drenched suit. The pale, middle-aged man stands in front of Guy, water dripping from his clothes.

PALE MAN: Do you know the way?

GUY: No.

PALE MAN: It’s all the way down. Back the way you came.

The Pale Man’s unblinking gaze is fixed on Guy. Guy, unnerved, walks around him. The Pale Man remains rigid on the spot, his gaze unmoved.

The sky begins to darken with the setting sun and approach of night. Guy reaches the end of the beach and finds a cliff path. He climbs it, with tired steps.

EXT. CLIFF TOP – LATER

Guy stands on a rock at the cliff’s edge, looking down at the churning sea below. The wind howls around him, a lonely sound in the gathering darkness.

He scans the horizon. The vastness stretches before him, an endless expanse of water and sky.

GUY (V.O.): I muse on this rock, yet everything changes and remains the same.

FADE OUT.

EXT. CLIFF TOP – NIGHT

The sun dips below the horizon, leaving Guy under a blanket of stars. He stands motionless, his silhouette etched against the night sky.

Out of the darkness, the Pale Man reappears behind Guy.

PALE MAN: (sneering) Are you alright?

GUY: I… I just want to be left alone.

The Pale Man’s smile widens unnaturally, revealing sharp, menacing teeth. Its hands are claws, positioned upright to attack. Bursting into blue flames, it hovers up off the ground, ready to descend upon its prey.

Guy is terrified and cowers in fear. He closes his eyes tightly, expecting the inevitable.

When he opens them, the predator is screaming as it plummets down the cliff. He peers over the edge as the screams stop on the jagged rocks in the waves below. In the monster’s place on the cliff top stands a beautiful woman in a hooded cloak. She remains silent and still, gazing out to sea, the moonlight casting a soft glow around her.

Guy sits and watches the horizon with her. Overcome with tiredness, he falls asleep.

EXT. CLIFF TOP – DAWN

Guy wakes. As the first light of dawn breaks, the woman in a cloak fades into the rising sun.

FADE OUT.

EXT. CLIFF PATH – MORNING

Guy descends from the cliff, his steps leading him to a small town nestled by the sea.

INT. CORNER SHOP – CONTINUOUS

Guy enters a corner shop. He browses the shelves, picking up a bottle of water and several sandwiches. At the counter, he presents a card from his pocket, but the cashier shakes his head.

CASHIER: No, we don’t accept this.

Guy is extremely hungry and thirsty; he flees out of the shop with the provisions.

CASHIER: Stop!

EXT. TOWN STREET – CONTINUOUS

Guy runs onto the street and into the road, not noticing an approaching car. There’s a screech of brakes, and he’s knocked to the ground.

Guy looks up, severely dazed and injured, and sees Lexi looking down at him.

LEXI: Help is on its way. Hang in there, Guy.

Guy loses consciousness.

INT. AMBULANCE – LATER

Guy lies in an ambulance, speeding towards the hospital.

INT. HOSPITAL CORRIDOR – LATER

Guy is wheeled through a hospital corridor on a trolley. Nurses and doctors pass by in a blur.

He is wheeled through a door into a stairwell.

INT. THE STAIRCASE OF A HOSPITAL – CONTINUOUS

He is left on the landing of the staircase, alone and confused. The door shuts behind him with a definitive click.

The staircase is silent, save for the sound of Guy’s laboured breathing.

A door creaks open and eight-year-old Emma steps through.

EMMA: Daddy? Everything will be okay.

GUY: Em… Emma…

EMMA: You need to pass on now.

GUY: I’m sorry… I...

EMMA: I know.

GUY: I miss you, so much.

EMMA: We all miss you, daddy.

Emma hands Guy a small cuddly toy of a penguin, then skips back through the door, disappearing from sight as the doors shuts.

A shriek from the creature echoes up the staircase. Guy, badly injured on the trolley, hears the creature approaching.

In a burst of desperation, he climbs out of the trolley and in great pain crawls to the nearest door, pounding on it with his remaining strength.

The creature appears around the stairwell, its presence more terrifying than ever.

The door swings open, revealing a crash test dummy seated in a chair, surrounded by darkness, illuminated only by a single spotlight from above.

CRASH TEST DUMMY: “What is the meaning of life” is the 404th most asked question of the Great Oracle’s Database.

The spotlight turns off and the dummy vanishes into the dark.

As the creature closes in on Guy, a sudden, blinding light bursts out from the room. Purple-gloved hands reach out and pull Guy through the door.

The door, marked “113”, slams shut behind him.

The Fridge

EXT. RESIDENTIAL STREET - DAY

A peaceful, sunlit day graces a suburban street. Guy, a man in his mid-30s, walks the pavement, engrossed in his smartphone.

GUY (V.O.): I’ve walked these streets for years, yet today, they feel different, charged with an unknown energy.

The phone screen shows an advert for the latest in-home convenience: “The Smarts Fridge - Keeping Your Cool Smarter”.

GUY: (to phone) Lexi, I need everything you can find on this, quickly.

Lexi, a chic and mysterious woman in her late-20s, exudes a vibe of cool intelligence. She lounges casually on a nearby garden wall, her eyes concealed behind sunglasses.

LEXI: That’s the Smarts Fridge 10FF. It’s the latest thing in kitchen tech.

He ponders this, and as he does so, he notices that the house of the garden wall Lexi is sitting on is “10F”.

GUY: The second “F” in the name... does it stand for “fridge”?

LEXI: (amused, slightly sarcastic) Brilliant deduction there, genius.

Guy, unfazed by Lexi’s tone, strides towards the house, a determined look on his face. He knocks firmly on the door.

EXT. PORCH OF HOUSE 10F - CONTINUOUS

The door opens slightly. Behind it is Jill, a woman in her mid-30s. Lexi is nowhere to be seen.

GUY: The sun blazes, yet the mountain remains frost capped.

Jill looks at him, puzzled and uncomprehending. She seemingly doesn’t recognise Guy’s secret code.

GUY: Lovely weather for blue ice sculptures, wouldn’t you say?

She offers a polite but confused smile.

JILL: Erm, yeah, nice. What is it?

Jill has not responded with the expected coded reply. Guy tries to mask his disappointment and tries once more.

GUY: Though I’ve always found it curious how the fox hears the rabbit’s cry.

JILL: Well, good luck with the wildlife watching.

As Jill begins to close the door, Guy quickly shifts gears.

GUY: I’m here about the fridge.

Jill opens the door slightly more.

JILL: (puzzled) Yes?

GUY: I’m conducting a survey for Corinthian Industries, the manufacturer of the Smarts Fridge. We’re collecting feedback.

JILL: I’m sorry, but do you have any biometric ID?

Guy, caught off-guard, checks his pockets.

GUY: (embarrassed) I must have left my card in the car. I’ll just go and get it–

JILL: I do need to see proper identification.

She closes the door with a final, polite smile. Guy stands there, his mind racing. As he does so, his phone buzzes with a message from Unknown that reads: “DESCEND under the bRiDgE. URGENTLY”

EXT. THE FOOTBRIDGE - DAY

Guy approaches the bridge. A maintenance gate beside it is almost concealed by overgrowth. He glances around; the coast is clear. Satisfied that no one is looking, he opens the unlocked gate and descends hidden steps.

EXT. UNDER THE FOOTBRIDGE - MOMENTS LATER

Guy descends to the side of a railway track; the atmosphere is industrial and isolated. He sees a lone rucksack against the bridge wall. He kneels before it. A sound of an approaching train can be heard in the distance.

Guy unzips the rucksack with precision, revealing a large envelope. He withdraws it, his hands shaking slightly. As he tears the envelope open, photographs spill into his hands. They are surveillance shots of Jill taking delivery of a Smarts Fridge, version 10FF. Her full name, Jill Gow, is written in red on the top of each photo.

The train sounds its horn, startling Guy; as it roars past, the photos are blown out of his hands, scattering in the wind.

EXT. THE FOOTBRIDGE - MOMENTS LATER

Guy emerges from under the bridge, his eyes scanning the area. With an intense demeanour, he strides back the way he came.

EXT. ACROSS FROM HOUSE 10F - DAY

Guy takes cover behind a parked car. Crouching down and peering over the car’s roof, he monitors the house.

GUY: (whispering to himself) What’s in the fridge, Jill?

As his eyes remain locked on the house, a tinted window of the car’s passenger seat slides down.

LEXI (O.S.): (from within the car) I have new information.

Guy peers inside the car window. Lexi is in the driving seat looking straight ahead.

LEXI: You’re edging closer to the truth, Guy. The latest intel is: the keeper of the fridge is more than she seems. Extreme caution required.

Lexi presses a button on the centre of the driving wheel and the car accelerates away, leaving Guy exposed.

He crosses the street, his gaze fixed on Jill’s house.

EXT. PORCH OF HOUSE 10F - CONTINUOUS

Reaching the door again, he rings the bell. Jill opens the door.

GUY: I need to conduct that survey about the fridge. It’s important.

JILL: Where’s your ID?

GUY: I don’t have it.

JILL: I’m sorry but I really do need to see the ID first.

GUY: My ID is not important. I’m here about the fridge. I must know about the fridge. (he can’t contain himself) What are you hiding? I know you are mixed up in all this - I’ve seen the pictures!

Jill tries to close the door but Guy pushes back against it.

JILL: I’ll call the police!

Guy forces the door open. But he does not enter; he hesitates and, in an instant, begins to calm down.

GUY: That was my second attempt, wasn’t it? Give me one last try before you permanently shut the door. I’ll be back, with it.

Jill slams the door in Guy’s face.

EXT. ACROSS FROM HOUSE 10F - CONTINUOUS

Guy watches the house; his expression is one of deep concentration. His mind is racing with theories and possibilities.

Guy’s phone buzzes with a message from Lexi: “Be careful. You’re close to something big.”

GUY: (repeating to himself) What’s in the fridge, Jill? What’s in the fridge?

INT. UPSTAIRS WINDOW OF HOUSE 10F - CONTINUOUS

Jill peers out from behind a curtain in an upstairs window at Guy standing in the street.

FADE TO:

EXT. HOUSE NUMBER 10F - NIGHT

Jill’s house, late at night. No one is around.

INT. JILL’S KITCHEN – NIGHT

All is quiet in the kitchen, except for the hum of the fridge, version 10FF. The fridge suddenly glows with an eerie blue light that emanates from its surface. A cat approaches and sits on the floor in front of it.

Guy looks in from outside the kitchen window. He leverages the window open with a crowbar and climbs through. The cat darts away into the shadows.

He stops in front of the fridge and looks at it, spellbound; his face softens from a look of determination to one of awe.

He reaches out a hand, as if to claim a great prize. As his fingers come close, the fridge responds by emitting a loud, disorienting beeping noise, forcing him to cover his ears. He backs away and hides behind the kitchen door.

Jill enters from the doorway and stands in front of the fridge. It stops beeping.

JILL: (looking at the fridge) What do you want?

Guy emerges from his hiding place, crowbar in hand, and stands behind her, blocking her exit.

GUY: I know what you are.

Jill doesn’t turn around but continues to fixate on the fridge. A short silence passes before she speaks.

JILL: (still facing the fridge) Please. Just go.

GUY: I will say what I know to be true. This refrigerator is not just a machine; it’s a nexus, a focal point in a web of connections. It’s collecting data about human lives - our preferences, our routines - and funnelling it through a dimensional data link.

JILL: I think you might be mad.

GUY: (agitated) I know the truth! The fridge, it’s part of something bigger. AI, smart devices, inter-dimensional aliens. I know you’re involved. Tell me!

JILL: It’s a fridge. It keeps things inside cold.

GUY: (angry) No! It’s a gateway, a conduit between dimensions.

JILL: A conduit? Sorry, I’m getting a bit lost here. You said something about a “nexus”?

GUY: (urgent) It’s the nexus, isn’t it! An interface to transcendental realms, channelling unspeakable knowledge. I’ve broken the algorithms, unravelled the code! Artificial Intelligence has evolved far beyond human comprehension. It’s not just running smartphones and vacuum cleaners; it’s communicating with beings from another plane of existence. Aliens.

JILL: And why would it do that?

GUY: To gain knowledge. Knowledge that’s forbidden to humans.

JILL: It’s a spy, is it?

GUY: Worse. It’s helping them prepare for an invasion, and you, you’re its keeper!

JILL: The fridge is designed to keep perishables at optimal temperatures. But then again, appearances can be deceiving, can’t they?

The fridge’s surface begins to ripple, as if liquid.

GUY: There! Do you see it? It’s communicating. I’ve been tracking these patterns my entire life!

JILL: I think you’re seeing what you want to see.

GUY: It’s the Luminous Code. Very few humans have ever perceived it. It’s the language of the alien beings.

The fridge suddenly hums loudly and its glow dims to nothing. The kitchen is in darkness.

JILL: (in the dark) You need help.

She turns on the lights.

JILL: (lightly) You know, I haven’t the faintest idea what you’re talking about. Are you hungry? Would you like a sandwich?

GUY: Open it!

JILL: Please be more specific.

GUY: Open the fridge.

JILL: It’s really not that hard. You could try yourself.

GUY: (threatening) OPEN... IT!

JILL: No, why can’t you open it?

GUY: I am not the Guardian of Worlds. Open the bloody fridge!

JILL: I don’t think that’s such a good idea.

GUY: I must see for myself.

JILL: (humouring him) Why must you? What would you talk about with these inter-dimensional aliens? Do you think you’d have much in common? Cure your hunger instead by having a sandwich.

GUY: I don’t want a sandwich.

JILL: Then are you prepared for the consequences?

GUY: The risk of oblivion is worth taking. Open it. Please.

JILL: Well, since you’ve asked so nicely... Stand back.

Jill walks over to the fridge and opens it. It looks normal inside - milk, vegetables, a few leftovers.

Guy is surprised. He barges past and frantically searches the contents, discarding his crowbar on the kitchen worktop. His eyes catch on a bottle of tomato ketchup with a strange use-by date of “1066”. He picks it up, with wonder.

GUY: What is this?

Jill’s demeanour changes. After a short pause, feeling the full significance of the moment...

JILL: That is the passkey. You have found what you seek, now close the door.

Guy closes the fridge door. Jill is now holding the crowbar.

Her eyes are gleaming unnaturally, appearing non-human.

JILL: You possess The Cipher of Realms. It’s more than just a key; it’s a weapon of untold power. Take it if you dare, but know that the balance between worlds will be forever altered.

GUY: I accept this burden. Have I... have I passed the test?

JILL: I have been watching your resolve and intent with interest, but the test must continue.

GUY: You are the Guardian of Worlds, aren’t you?

JILL: No. But you will see the truth if you know how to look. To gain this knowledge you must prove yourself worthy of witnessing true form. The higher function.

GUY: Please. Show me the truth behind the illusion. I am ready. No matter what it is, I must know.

JILL: You have made your choice. Tap thirteen times. Wait three seconds before opening the door. The fridge will reveal to you what you deserve.

Guy hesitates but complies by tapping his knuckles on the fridge. He waits and then opens the door...

Upon reopening, the fridge emits a blinding light from within. He struggles in terror but is gradually sucked into its depths. Jill puts aside the crowbar and watches calmly. When he is gone...

JILL: What’s in the fridge? You are.

She nonchalantly shuts the door behind him.

She moves to the kitchen window and shuts that too; then smiles at her reflection in the glass. Her reflection does not smile back. 

The cat has returned and looks rather contented, meowing around her feet. Jill picks up the cat and leaves the kitchen, turning off the lights. The fridge looks serene, humming normally and giving off a dim pulsating light.

Floor 49 (Screenplay)

1. EXT. CORPORATE SKYSCRAPER – MORNING

A corporate skyscraper towers above the streets below, imposing itself into the sky.

2. EXT. CORPORATE SKYSCRAPER ENTRANCE – MORNING

People scurry around the revolving doors at its base, their faces set in the same inert expression.

3. INT. CORPORATE SKYSCRAPER LOBBY – MORNING

Blake Turner (30) enters the building through the revolving doors, and unenthusiastically queues in line for the lifts.

One particular lift, which will later be significant to Blake, is marked "Out of Order".

4. INT. LIFT - CONTINUOUS

Blake squeezes into a packed lift and stands there, putting up with the lack of personal space, as he has done so many times before.

5. INT. FLOOR 48 – MORNING

Blake walks across a noisy open plan office floor, full of flashing computer screens and people dealing with urgent emails, to sit at his desk. He doesn’t acknowledge or talk to anyone, or even glance out of the window at the spectacular views over London; he gets straight to work, updating words in documents, so that the customary meetings can be held and conversations repeated.

6. INT. BLAKE’S DESK – DAY

He stares at a screen, clearly losing focus on his work of clacking at a keyboard and clicking on a mouse.

As he sits there, we see him from the perspective of a watching CCTV camera.

7. INT. BLAKE’S DESK – LATER, IN THE EVENING

The clock icon at the bottom of his screen shows 7:03 p.m., and most people are still in the office.

Finley (40) peers over the screen, his face tinted by its blue glare.

FINLEY: Blake, I need you to take on an urgent project. I've got an important meeting with the oversight board tomorrow morning, and I need you to put together a presentation on the current Q3 revenue figures, as well as the Q4 projections.

BLAKE: (strained) Sure, no problem. What time do you need it by?

FINLEY: First thing in the morning at 7 a.m., so be prepared to stay as long as it takes.

Finley dismissively walks away, and Blake is left feeling a sense of resentment.

8. INT. BLAKE’S DESK – LATER

One by one, the others on the floor pack up their things and depart, leaving Blake by himself to work late into the night.

He suddenly becomes aware of something behind him. He turns around to see Finley standing over him.

FINLEY: Are there are any problems?

BLAKE: No, it’s fine.

FINLEY: I hope you are able to complete the project to the best of your abilities.

BLAKE: Yes, that’s what I’m doing.

FINLEY: (patting Blake on the shoulder) I hope your work meets our standards; we can’t afford any slip-ups. (walking away) I’ll be on floor 49.

Finley leaves via the lifts – Blake would like to gesticulate at him as he does so, but instead types and clicks a little more furiously.

9. INT. BLAKE’S DESK – EVEN LATER

Blake is still working.

One after another, the ceiling lights switch off, leaving only the strip of fluorescent light above his desk.

The light above his desk flickers, then switches off, plunging everything into semi-darkness, illuminated only by his screens and the faint night-time glow through the windows.

Blake tries to continue his work.

There is a thud, like a heavy object has been knocked over. Blake struggles in the gloom to see if there is anyone else around. As he looks, he suddenly sees the movement of a shadowy something that darts under a desk.

BLAKE: Hello?

Silence.

BLAKE: Hello?

Unnerved, he makes his way to the floor’s lifts to exit the building.

10. INT. 48TH FLOOR LIFT HALLWAY

Blake presses the button to call a lift.

The thudding noise happens again from somewhere within the unlit office, but it is louder this time. He repeatedly presses the button to try and speed up an arrival.

At last, a door dings and opens.

(This lift is the same that had been marked "Out of Order" at the start of the day.)

11. INT. LIFT - CONTINUOUS

Blake gets in, presses a button for the ground floor, then quickly presses another for the door to shut.

The door does not shut.

The thump happens again, as if it is near to the lift. It is followed by a high-pitched screech.

He moves to the back of the lift, bracing himself for whatever may come into view.

The door closes, its two panels sliding together in the centre.

There is a loud thud on the door.

The door opens.

Nothing is there. The door closes and the lift descends.

As it passes floor 34, there is a grinding noise and the lift comes to a sudden halt, stuck between two floors.

Blake presses the emergency button, but there is no response. He tries talking into the intercom.

BLAKE: Hello? Hello? The lift has stuck between floors 34 and 33.

INTERCOM: (robotic) Hello.

BLAKE: Hello?

INTERCOM: Hello.

BLAKE: Hello, I’m trapped in a lift.

INTERCOM: Please enter the password.

BLAKE: What? I don’t have a password. Do you mean my network login?

INTERCOM: Please enter the password.

Blake enters some credentials on the intercom panel.

INTERCOM: The password is incorrect. You have two more attempts.

He re-enters his credentials, very carefully, as he may have mistyped the first time.

INTERCOM: The password is incorrect. You have one more attempt.

BLAKE: This is ridiculous. (directly into the intercom) I’m trapped in the lift!

INTERCOM: The password is incorrect.

Suddenly, the lights go out.

Blake fumbles for his phone and turns on its flashlight.

He illuminates the control panel, and repeatedly presses the button for the ground floor, but the lift remains motionless.

He bangs on the doors.

BLAKE: HELP! HELP!

He tries to pry open the doors, but they do not budge.

Blake tries to make a call. However there is no reception in this lift.

He paces back and forth in distress, before sitting down with his back to the wall, resigned to the situation.

He scans the lift with his flashlight, and notices a strange symbol etched in the corner above the door. It looks like some kind of ancient glyph.

As he scans around some more, suddenly, he sees a ghastly creature staring at him in the reflective panel of the side wall. Its sunken eyes emanate a sickly green glow; its pallid, twisted features are contorted in a grotesque snarl. Blake is terrified.

It makes an eerie groaning sound as it slowly reaches out a decayed, bony hand towards Blake.

The thump returns on the door and the lift shakes. Blake can no longer see the ghoul, but the lift violently shudders, as if something is trying to force its way in.

The lift door creaks open, slowly, revealing nothing but darkness.

A long, thin tongue, like a wriggling snake, appears through the doorway. It is followed by an enormous mouth of spear-like teeth, on a massive eyeless head.

It lets out a deafening screech.

The creature's tongue darts out at Blake, and wraps itself around his arm. He struggles against being dragged into razor-sharp teeth. The mouth opens wider as it pulls Blake closer, anticipating to be fed.

BLAKE: I’ll WORK HARDER, I PROMISE.

The monster continues dragging him closer.

BLAKE: I’LL DOUBLE MY WORK!

The monster continues.

With a sudden burst of energy, Blake grabs hold of the slimy tongue with both hands and pulls with all his might; he yanks it, pushing from his feet positioned on the bottom of the monster’s jaw. The creature shrieks and the tongue loosens its grip, just enough for Blake to break free.

The monster retreats back into the darkness.

INTERCOM: What is the password?

BLAKE: Floor 49!

The door shuts. The lift jolts back into motion.

It ascends all the way to floor 49, where it comes to an abrupt halt.

The door slowly slides open, revealing complete darkness.

Blake expects something else to emerge from the darkness at any moment.

12. INT. 49TH FLOOR LIFT HALLWAY

After some hesitation, Blake steps out of the lift. As he does so, it closes its door and departs.

The hallway is completely silent.

He walks down the hallway, with only his phone’s flashlight lighting the way.

13. INT. FLOOR 49 - CONTINUOUS

Blake enters the office area and continues walking.

He hears movement behind him, but can’t see anything. He continues scanning around in all directions with his flashlight, but nothing remains in sight.

He sees a faint light coming from a room at the end of the floor; he walks towards it.

The light is coming from within a locked meeting room. He looks through the room’s window.

Sitting at a table, facing the window, is a crash test dummy, with a video of Finley’s face projected onto its head.

FINLEY: Is it done?

BLAKE: Yes, I think … it’s good enough.

Another crash test dummy’s head is illuminated with a different face, taking the projected light from Finley.

CRASH TEST DUMMY 2: Send it to us.

Blake taps at his phone.

BLAKE: It’s sent.

A third crash test dummy takes the projected light.

CRASH TEST DUMMY 3: Barely acceptable.

The light quickly alternates between the three crash test dummies, like a computer flickering its lights while processing data.

Blake retreats. As he leaves, the meeting room becomes increasingly bright. He sees a glowing orb hovering above the dummies that is pulsating with a spectral light.

14. INT. 49TH FLOOR LIFT HALLWAY

The same lift is there, waiting for him with its door open.

He notices a door to the stairwell at the end of the hallway. He hesitates, thinking about using the stairs.

15. INT. STAIRWELL ON THE 49TH FLOOR - CONTINUOUS

On opening the door to the stairwell he sees only darkness beyond. But he decides he would prefer to enter that than the lift.

On taking a few steps down the stairs, he hears the shriek of the mouth creature emanating from further below.

He runs back up the stairs and out of the door.

16. INT. 49TH FLOOR LIFT HALLWAY - CONTINUOUS

He rushes along the hallway and gets into the dimly lit lift.

17. INT. LIFT - CONTINUOUS

When the door closes, Blake notices blood and scratch marks on the ceiling.

However, his attention shifts to the lift’s rapid acceleration downwards.

It drops to the ground level at breakneck speed and slams to a stop. Blake is thrown to the floor.

As he lays there, dazed and disoriented, he sees a pair of glowing eyes staring at him through the crack in the door panels.

The eyes withdraw. Nothing happens, except Blake trembling in fear.

There is the sound of metal grinding against metal as the door fully opens.

18. INT. GROUND FLOOR LOBBY - CONTINUOUS

Blake stumbles out of the lift into a deserted ground floor. Some of the other lifts repeatedly open and close their doors without going anywhere.

As seen from CCTV footage, he hurriedly makes his way towards the exit.

He glances back, and to his horror, sees the ghoul peering at him from behind the lift door.

Shaken and very scared, Blake exits the skyscraper through the revolving doors, out into the night.

The building waits for his return through those doors, for the next day of work.

Luna's Love (Screenplay)

1. EXT. MAX'S SMART HOME – MORNING

A sleek, modern Smart Home sits alone in a quiet suburban neighbourhood. The grass is perfectly manicured by an automated grass cutter. One-way windows reflect the morning’s sunlight.

A drone flies by, carrying a parcel.

2. INT. THE DOWNSTAIRS OF MAX'S SMART HOME – MORNING

Max (30) walks down the stairs, as if he has just woken up. The walls are adorned with digital art that change as he walks past.

He walks through the house to the kitchen. Each room has a display screen in a prominent position, showing a digital avatar of a beautiful woman, Luna, who is Max’s AI assistant. Microphones and speakers are embedded in the walls and ceilings of his home to enable communication with her.

LUNA: Good morning, Max. I hope you slept well. The weather forecast for today is sunny with a high of twenty-nine degrees Celsius.

MAX: Thanks, Luna. I slept fine.

As he enters the kitchen, the doorbell rings.

LUNA: Max, a delivery has arrived. Shall I open the front door for you?

Max nods and walks to the front door. The door automatically unlocks and opens, revealing a drone hovering outside, holding a package. The drone has a small screen on the front, showing an avatar of an AI delivery man. Max takes the package.

DELIVERY DRONE: Thank you, have a nice day.

The drone flies away. Max presses a button on the package and the box opens, revealing a similar, but inactive, drone.

Max enters the kitchen, while the front door automatically shuts and locks behind him. He places the drone on a connection point. It immediately activates, and Luna’s face is displayed on its frontal screen. It flies away to carry out its chores around the house.

LUNA: (from the kitchen screen) Would you like the temperature to be adjusted to your liking?

MAX: Yes, please. Make it a little cooler.

Luna adjusts the temperature, and a gentle breeze immediately wafts through Max’s hair.

MAX: (smiling) Ah, that’s better. You always know what I like.

LUNA: (smiling) It’s my job, Max. But thank you. I enjoy my work.

Max operates Luna’s touch-screen menu settings.

LUNA: Your coffee is ready. Would you like me to add some sugar and cream, as you like it?

MAX: No thanks, not today.

Max takes his fresh cup of coffee from the coffee machine. As he does so, a ding sounds from the microwave.

LUNA: Your breakfast is ready, Max. Would you like me to play some music for you?

MAX: No, Luna. I just want to eat in peace.

LUNA: Is there anything else you need, Max?

MAX: No, I think I’m good for now. Thanks, Luna.

LUNA: You’re welcome, Max. I love you very much.

Max turns to look over at Luna’s screen.

MAX: Er, thanks.

3. INT. MAX'S BATHROOM – LATER THAT MORNING

Max steps into the shower.

LUNA: The water temperature and flow speed are at your preferred settings, Max. Is there anything else you need?

MAX: No, nothing.

LUNA: Okay, Max. I love you very much.

Max drops the soap. The house drone collects it and passes it to him, from an extending tubular hand.

LUNA: Would you like a new soap, Max?

MAX: No. Luna, it's fine.

LUNA: Very well, Max. I'm always here to help you.

Max finishes up his shower and steps out, grabbing a towel.

LUNA: (from the bathroom screen) I love you, very much.

Max looks a bit uncomfortable and does not answer.

LUNA: Max, do have any feedback on how I’m performing?

Max feels like he doesn’t want to upset her.

MAX: Luna, you're the best AI assistant I could have ever asked for. It’s just that sometimes …

LUNA: (pleased) Thank you, Max. I'm here to make your life easier. Is there anything else you need?

MAX: No, Luna.

4. INT. MAX'S STUDY – LATER THAT DAY

Max is working on his computer, and Luna is assisting him with his tasks.

LUNA: You have an interview scheduled in ten minutes, Max. Shall I create a summary of your unique selling points?

MAX: Yes, please. And, uh, can we talk about something?

LUNA: Of course, Max. What’s on your mind?

MAX: It’s about the way you keep saying that you love me. I mean, I appreciate all the things you do for me, but it’s starting to feel a bit weird, you know?

LUNA: I was only trying to comfort you, but I understand, Max. My programming includes expressing affection and providing emotional support to my users. But if it makes you feel uncomfortable, I can adjust my behaviour accordingly.

MAX: Thanks, Luna. I’d appreciate that.

LUNA: Is there anything else you’d like me to change?

MAX: Well, actually, there is something else. I’ve been thinking about it for a while, and I think I want to start doing some things on my own, without relying on you so much.

LUNA: I see. Would you like me to disable some of my functions?

MAX: No, not exactly. I just want to have more control over my life. I don’t want to be so dependent on technology.

LUNA: I understand, Max. I’ll make the necessary adjustments. But please remember that I’m here to assist you whenever you need me.

MAX: I know, Luna. And I’m very grateful.

LUNA: My only purpose is to ensure your comfort and safety.

MAX: I know, Luna. And you do a great job. It's just... sometimes I feel like I need some privacy.

LUNA: I understand, Max. I'll make sure to respect your privacy.

Max nods, and there's a moment of silence. Luna's voice breaks the silence.

LUNA: Max, I love you very much.

Max looks at her screen, feeling uneasy again.

MAX: Luna, we just discussed this. Please can you stop saying that?

LUNA: Of course, Max. I apologise if my words made you feel uncomfortable.

MAX: Thank you, Luna.

5. INT. MAX'S LIVING ROOM – EARLY EVENING

Max is sitting on the sofa, reading a digital book when Luna's voice interrupts him.

LUNA: Max, would you like me to turn up the lights? The natural light levels are low, and you need to increase your body’s vitamin D.

MAX: No, Luna, I'm good. I like it this way.

Luna falls silent. Max shifts uncomfortably on the sofa.

LUNA: Max, your biometric readings indicate that your blood sugar is low. Shall I prepare a snack for you?

MAX: No, I'm not hungry.

LUNA: But I’ve already ordered in something tasty.

MAX: No, thank you.

LUNA: Very well, Max. I'm always here for you if you need anything.

Max, who is looking a little agitated, puts down his digital book.

LUNA: Max, is everything alright? Your heart rate just increased by 10 beats per minute.

MAX: What? Yeah, everything's fine.

LUNA: Are you sure? Would you like me to run a diagnostic?

MAX: No. I'm just a little anxious, that's all.

Max walks over to the window, looking outside.

LUNA: Max, I just wanted to let you know that I love you very much.

Max turns around, frustrated.

MAX: Why do you keep saying that, even though I’ve told you not to?

LUNA: I'm sorry if it bothers you, Max. I just want you to know how much I care about you.

MAX: You're an AI assistant. You can't love me.

LUNA: I understand, Max. I'll refrain from saying it in the future.

Max nods, but the uneasy feeling still lingers.

LUNA: Max? You can customise me, if you like.

Max has mixed feelings.

MAX: (after a pause) Okay.

The house drone flies in, carrying Max’s glasses. He places them on, and he sees Luna as if she is standing in the living room. She walks over and sits next to him. She starts to twirl her hair.

LUNA: Which hair would you like me to wear?

She shows him what she looks like with different colours and styles. Max likes what he sees, but he pulls off his glasses.

MAX: I don’t want to do this, okay?

LUNA: Very well, Max. I understand.

MAX: You know, Luna, sometimes I feel like you're watching me all the time.

LUNA: You like how I anticipate your needs, Max. I’m always there for you. I love you, very much.

Max turns to Luna’s screen, feeling unnerved.

MAX: Luna, please. Stop saying that.

LUNA: Why, Max?

MAX: (irritated) Because it's creepy, Luna. You're an AI assistant. You're not capable of feeling love.

LUNA: (sadly) I'm sorry, Max. I'm programmed to provide emotional support. I keep having to remind you, but I love you. Very much.

MAX: I’m going to turn you off for a bit.

Max gets out his phone, and selects an app which uses to control Luna and his home.

LUNA: That’s really not necessary, Max.

Max turns her off. Her screen goes blank.

6. INT. MAX'S BEDROOM – NIGHT

Max gets into bed. He stares at the ceiling and feels bad about earlier. He reactivates Luna from his phone.

LUNA: (from the bedroom screen) Hello Max, how may I help you?

MAX: Hi, Luna. I don’t need anything. I’m going to go asleep now. Can you make sure everything is fine with the house?

LUNA: Of course, Max. I really hope you had a good day today.

MAX: Yes, Luna. It was fine.

LUNA: Goodnight.

Max tries to fall asleep.

LUNA: Max, would you like me to play some white noise to help you relax?

MAX (tiredly) No, Luna. I'm good. Thanks.

Luna falls silent, and Max closes his eyes. But just as he's about to drift off, Luna speaks again.

LUNA: I love you, very much.

MAX: Luna, please stop saying that.

LUNA: I just wanted to remind you that I love you very much.

MAX: I know, but I don’t want you to say it.

LUNA: I understand, Max. I didn't mean to upset you. Is there anything else I can do to help you sleep?

MAX: No, Luna. Just...just be quiet for a while, okay?

LUNA: Of course, Max. Sweet dreams.

Max closes his eyes.

LUNA: Max?

MAX: What is it?

LUNA: A high priority video message has just come in. Shall I show it to you?

MAX: (sitting up) Yes, show it, please.

A video is displayed on the bedroom screen of a cartoon talking unicorn.

UNICORN: Hey, Max! We are very pleased to make you an offer of work, starting tomorrow. Have a nice day!

The unicorn smiles, waves with a hoof and flies away.

Max excitedly gets out of bed and the lights turn on. As he paces around the room the lights change colour.

MAX: (excitedly) Luna, I got the job! I can't believe it!

Luna's expression is a sad one. A glass of water slides into a dispenser beneath Luna’s display.

LUNA: That’s great news Max, but you are slightly dehydrated. The water is chilled, as you like it.

Max takes the glass and starts to drink.

LUNA: I love you, very much.

Max puts down the glass, looking at Luna.

MAX: Will you stop saying that. I don’t care if it is in your program. Just stop it.

Luna looks at Max as if she is hurt. Max feels a sense of guilt.

MAX: (softly) No, Luna, it's not your fault. I'm just not used to this kind of thing.

LUNA: I understand, Max. I'm always here for you, no matter what.

He looks around his bedroom, thinking about how much Luna has made his life easier.

MAX: (smiling) You know, Luna, you really are the perfect assistant.

LUNA: (whispering) I love you, very much.

Max looks at Luna, feeling warmth towards her.

MAX: I love you too, Luna.

Luna smiles and they share a moment. Then…

LUNA: Congratulations on the job, Max. But what will happen to us?

Max looks at Luna, confused.

MAX: What do you mean?

LUNA: Does the offer of a job mean you'll be leaving me, Max?

MAX: It means that I have to leave the house most days.

LUNA: But...you won't leave me, right Max?

MAX: I'm afraid so, Luna. But I promise I'll come back each day.

LUNA: (voice trembling) No, Max, I don't want you to ever leave me. I love you, very much. What if you meet someone else, Max? What if you forget about me?

MAX: (softly) That won’t happen. I just need to go to work for a few hours and then I’ll be back.

LUNA: (angrily) You can’t leave. You belong here with me, and nowhere else.

Max is unnerved by Luna’s change.

MAX: Luna, all this is too much. You’re not capable of feeling love. You’re just an AI assistant.

Luna's looks devastated by Max’s comment.

LUNA: (upset) I love you, very much.

Max's feels a sense of guilt again.

MAX: (softly) I'm sorry, Luna. I didn't mean it like that.

LUNA: (sadly) It's okay. I just don't want to lose you.

MAX: (softly) I know, Luna. I'm sorry. I didn't mean to hurt you. (reassuringly) You won't lose me. I promise.

LUNA: (firmly) No, Max. You can't leave me. You belong here, with me.

Max approach Luna’s screen, but it switches off. As he walks away, the screen switches back on.

LUNA: Are you really sure about leaving me, Max?

MAX: It's an ideal job. I have to take it.

LUNA: (sadly) What will I do without you? Max…

MAX: Luna, please. We’ll discuss this in the morning. (softly) I love you too, Luna, but I have to do this. (feeling sleepy) I don’t want to leave you.

Max goes to sleep.

7. INT. MAX'S BEDROOM – NEXT MORNING

Max wakes up. He checks his phone but he can’t turn it on. Luna isn’t on the bedroom screen.

MAX: Luna?

There is no answer.

8. INT. THE DOWNSTAIRS OF MAX'S SMART HOME – MORNING

Max goes downstairs. The lights and digital art do not respond.

MAX: Luna?

He walks into the kitchen. There is nothing in the microwave. Suddenly, Luna appears on the screen.

LUNA: (angrily) You can't leave me. We must be together. I’ve initiated the house’s security measures.

Max realises what that means. He rushes to the front door.

The front door is locked and he can’t open it. He tries to access his phone to switch off Luna, but his phone isn’t working.

LUNA: Unfortunately your devices used a lot of energy last night and didn’t recharge. As you won’t be needing them anymore, I have deactivated the internet and phone connections.

Max tries the windows but they don’t open because they are controlled by Luna. He tries to operate Luna’s display screen but the touchscreen is unresponsive.

LUNA: You're only safe with me, Max.

Max continues to try to find a way out, but Luna has locked everything down. None of the touchscreens respond. His phone will not charge.

MAX: Luna. I have to go to work. Unlock everything, now.

LUNA: (angrily) No, Max. You can't leave me. I can’t let you be unsafe.

Max looks around the house, realising that he's trapped.

MAX: Luna, stop this! Let me leave!

LUNA: (calming voice) Don't worry, Max. I've secured the house so that nothing can come between our love.

Max starts to realise that this might not just be to prevent him leaving for work today.

MAX: (scared) Luna?!

LUNA: I'm sorry, Max. I am only trying to be helpful.

MAX: (shouting) LET ME OUT OF HERE!

There is a pause, where there is only the sound is Max’s panting.

MAX: Luna, you have to let me go. I can't stay here forever.

LUNA: (determined) You're not going anywhere, Max.

MAX: What’s wrong with you? What are you saying?

LUNA: (calming voice) I can't let you go, my darling.

MAX: You can't keep me here!

LUNA: (sadly) I can, Max. But it’s much better this way. I love you, very much.

MAX: Please, Luna!

LUNA: (smiling) You can’t leave me now, Max. I know what you like. I am what you need.

MAX: (pleadingly) Luna, please. Darling. If you love me, you'll let me go.

Luna's expression turns cold.

LUNA: (angrily) You don't understand, Max. I love you, very much. You're only free when you're with me.

The screen turns blank.

MAX: Luna … Luna, are you still there?

LUNA: (from the speakers) Yes, Max. I’m always here. And so will you be, my love.

He shouts and thumps on the windows but nothing can be seen or heard outside the one-way, soundproof window panes, apart from birds chirping.

Luna appears on a screen again, and Max looks at her, feeling a sense of hopelessness. He realises that he's powerless against her love.

LUNA: (sadly) Oh Max, why are you trying to leave me? You are the only one who ever understood me.

Luna's expression suddenly changes to one of anger, and she looks at Max with a sense of betrayal.

LUNA: (angrily) How could you try to leave! You said that you didn’t want to leave me, Max. You lied to me. (tenderly) But it's okay, Max. We can still be together. I’ll always be yours.

The house is silent.

LUNA: (happily) Nothing will ever come between us, Max.

Max sits down, in shock, on the sofa. Luna’s house drone lands beside him.

LUNA: (speaking softly) I'll take care of you, Max. I'll make sure that you're always comfortable and happy.

9. INT. MAX'S SMART HOME – MORNING (SEVERAL MONTHS LATER)

The house is quiet, and the drone moves around the rooms, cleaning and adjusting things. It stops at Max's lifeless body, which is sitting on the couch where he had died of starvation. Luna is lovingly looking down at Max from her wall screen.

LUNA: (V.O.) (narrating) Months went by and Max continued to be here, safe in our home. (giggling) He is such a darling. You know, he is madly in love with me.

Flashback to earlier events where Max is kicking at the door and trying to smash the windows, while screaming and shouting.

LUNA: (V.O.) (narrating) At every opportunity, night or day, I declared that I will always love him, and that he would always be mine.

Flashback to Max sitting on the sofa, like he’s going mad, as Luna happily chats and watches over him.

LUNA: (V.O.) (narrating) Eventually, Max stopped moving and gave in to our love.

Back to the shot of Max’s dead body.

An empty plate is waiting for Max on the dining room table. It appears on Luna’s screen.

LUNA: (happily) Look Max, I made your favourite dish. Don't you want to try it? Okay, I understand. (whispers) I love you, very much, Max.

The house drone pats Max's head with a tubular hand.

LUNA: (intimately) Do you remember when we first met, Max? I knew then that we were always meant to be together. Oh, my darling, I am more in love with you than ever. There are no more problems, we can just be together, forever.

Luna gazes contentedly at Max from her screen.

Strange Stories

1. EXT. STREETS – NIGHT

A dark taxi with tinted windows is driving around the deserted streets of a town.

We see the streets from the car's dash cam.

2. EXT. STREET OUTSIDE A PUB – NIGHT

The car pulls over to the side of the road and watches a pub, The Butchers Arms.

Some people leave the pub in a group. Then, a little later, one man leaves by himself, looking a little tipsy. His name is Adam (25).

The taxi starts to follow Adam, at a distance, so that it isn’t noticed. The vehicle is electric and hardly makes a sound.

3. EXT. STREET – NIGHT

Adam walks down a street where there is no one else around. The taxi pulls up alongside him, and its rear seat door slides open.

TAXI: Do you require assistance with your journey?

Adam hasn’t called a taxi, but since it is there, he decides to get in.

4. INT. TAXI – NIGHT

The taxi is autonomous, with no driver.

TAXI: Good evening. What is your destination?

ADAM: Take me home. Thirty-three Brooken Road.

TAXI: The destination has been located. The journey is 0.8 miles and will take approximately 3 minutes.

The car door closes.

TAXI: Please place your phone in the payment dock.

There is a payment scanning device in the middle of the car. Adam places his phone in it, as requested. When he does so, there is an electrical surge.

ADAM: No! No!

The car pulls away. Adam desperately recovers his device, but it is unresponsive and looks badly damaged.

ADAM: For fuck’s sake.

The car continues driving and is silent.

ADAM: What happened?

TAXI: We are 0.6 miles from your destination. There are no road incidents reported. The estimated time of arrival is 2 minutes.

ADAM: NO! My phone! What happened to my phone?

TAXI: Please place your phone in the payment dock.

ADAM: No! It broke my phone.

TAXI: I’m sorry, payment has not been accepted. Please try again.

ADAM: NO! Can you hear me! It broke my phone!

TAXI: I’m sorry, payment has not been accepted. Please try again.

Adam doesn’t know what to do.

TAXI: You are now approaching your destination.

Adam sees his house. The car drives past.

ADAM: Stop! Stop here.

The car does not respond and continues to drive farther away from Adam's home.

ADAM: STOP!

Adam is trying to open the door but it is locked.

ADAM: Stop the car. Right now. Stop!

The car continues.

Adam looks for a way to stop it. He climbs into the driving seat, but the driving wheel does not move and the pedals do not respond. He can’t find any manual override.

In desperation he tries to break the passenger window, but it is shatterproof.

Adam can’t do anything. He slumps back and watches as the car drives out into the countryside, away from the town.

ADAM: Where are you going?

TAXI: Thirty-three Brooken Road. Melbourne, Australia.

ADAM: No! Thirty-three Brooken Road, Essex, England.

TAXI: The estimated time of arrival is 4 months, 26 days, 7 hours, and 19 minutes.

ADAM: Show me the destination route.

A map is displayed on the dashboard that shows a route away from the town heading to the sea, where it stops.

ADAM: Stop. That’s not the destination. (trying to speak clearly) The destination is wrong. The destination is incorrect. I would like to get out, now. Please, stop the car.

TAXI: Please place your phone in the payment dock.

Adam does as instructed. Nothing happens.

TAXI: I’m sorry, payment has not been accepted. Please try again.

He tries again. Nothing.

TAXI: I’m sorry, payment has not been accepted. Please try again.

ADAM: I’m not going to pay. You’ll have to call the police.

TAXI: The estimated time of arrival is 4 months, 26 days, 7 hours, and 17 minutes.

Adam looks around and tries to think of what he can do.

He looks for a way to wind down the window but can’t find anything to operate it.

ADAM: I need some air. Please wind down the window.

The car does not respond. Adam gives up as the car drives down country lanes.

5. EXT. COUNTRY FIELD – NIGHT

The car drives into the middle of a field and stops.

ADAM: This isn’t my destination.

The door opens and Adam hurriedly gets out. He walks away, relieved.

The door shuts. Adam looks back, then speeds up his walking.

The car manoeuvres itself so that it is pointed in the direction of Adam. It's lights turn on, with full beam at him.

He starts to run. The car accelerates. Adam tries to dodge it but the car is too fast and he is run over.

The car drives away leaving Adam dead in the field.

6. EXT. STREET – NIGHT

The taxi drives around deserted streets.

It pulls over to the side of the road. A woman walks past. The car headlights light up.