Yep, Spleenal, a pal from my past, present and hopefully future wrote this years ago for a series of very terrific self published comic books.
The main character, Inspector Trap is a balding, over weight everyday hero cop investigating a series of unusual cases.
What I loved about Inspector Trap and The Maddening Rain was the way Spleenal effortlessly mixed ordinary life with hyper weirdness - and he did this BEFORE the X-Files hit big and Buffy was still a shitty movie we watched purely for the genius of Paul Rubens.
Anyway, half a decade ago I wrote a screenplay of The Maddening Rain, simply as an exercise to see if I could. I don't even think Spleenal has seen this.
The Maddening Rain
1. EXT. AN ARIAL VIEW OF THE CITY – ESTABLISH – DAY
The Arial shot holds for a few seconds as we take in where we are, then suddenly it descends faster and faster, plummeting from the sky. As we close in on a busy street we can make out the tiny figures of Citizens and in particular the partially bald-head of Inspector Peter Trap. We have almost fallen to his head when he looks up in horror.
2. EXT. SEMI-DETACHED OF THE BROWNS – ESTABLISH – DAY
JOHN (V.O): Have you finished in there yet Jan?
3. INT. A kitchen OF THE BROWNS – Day
JANET, a middle-aged woman is cleaning the floor of this ordinary kitchen by hand.
JANET: Almost done.
JOHN (V.O): Good, when you’ve done that you can get down the ‘offee and get me some more beers.
4. INT. The Lounge OF THE BROWNS – Continuous – Day
JOHN, a fat middle-aged balding man sits in a big armchair, the TV is blaring out – A Football match. He has a beer can in his hand, and many more empties on the coffee table next to him.
JANET (V.O): You haven’t drunk all those already John?
JOHN shifts round in his chair to face the kitchen behind.
JOHN: (Angry) What if I have?
JANET appears at the kitchen door looking into the lounge.
JANET: (Nervous) Nothing –
JOHN: (Shifts back to face the TV) Good. Oh and make sure you get cans, can’t be doing with those bloody bottles.
5. INT. The Kitchen OF THE BROWNS – Continuous – Day
JANET carefully walks to the sink and starts to wash out the cloth she has used to clean the floor. As she does she stares out the window in front of her.
6. Ext. the garden OF THE BROWNS – Continuous – Day
ANGLE: Looking in at JANET looking out.
JANET: Looks like it’s coming on to rain.
7. EXT. The town high street - Establish – Day
The town is bustling with busy shoppers. All town life is represented from teenagers to grannies, from wealthy middle-aged women to beggars with hand written cardboard signs and dogs. There is also a crazed looking young man with a sandwich board, which reads on the front: BEWARE THE RAIN and the reverse reads: BEWARE THE MADNESS. This is scrawled in red paint, or quite possibly – blood.
He stands on the pavement and watches as TRAP drives up in his car.
8. INT. Traps car – Continuous – Day
TRAP, an over weight, balding man with a thin goatee beard is driving with HUTCHINGS – a detective in her thirties sitting next to him reading a report from a brown folder.
The car pulls up on double yellow lines outside a newsagent.
HUTCHINGS: Is there anything you want Guv?
TRAP: Get me a packet of cheese and onion crisps Emma.
HUTCHINGS: (getting out the car) Right you are.
TRAP lowers the window of the car and looks around the street as he waits for his partner to return.
9. EXT. The town high street – continuous – Day
ANGLE: The Sandwich board man - HERALD looking over at TRAP
HERALD: (At TRAP – Shouting) The Future…The Future!
10. INT. Traps Car – Continuous – Day
TRAP is alerted by HERALD and looks over directly at him.
HEARLD (V.O): I Have seen what will be – beware!
11. EXT. The town high street – continuous – Day
HERALD: (Cont’d) I have seen what is to be – The Maddening Rain.
CLOSE ON: HERALDS face, rapidly becoming increasingly manic.
HERALD: (Cont’d) Insanity from the Heavens. It rains, it rains, it rains, it rains insane, it rains…
12. INT. Traps Car – Continuous – Day
TRAP is still watching the crazed HERALD. Shoppers are now stopping and listening to HERALD’s deranged ravings. But still HERALD directs his apocalyptic message at TRAP.
HEARLD (V.O): (Cont’d) Pollution, The gasses we can’t see, can’t smell, can’t feel. Toxins on my skin, in the air, the air we breathe.
13. EXT. The town high street – continuous – Day
ANGLE: HERALD looking over at TRAP
The view of Trap is now blocked by the small group of onlookers forming around HERALD. HERALD stops his rant momentarily and surges forward toward TRAPS car (on the opposite side of the road). As HERALD pushes forward he knocks an elderly woman to the ground, he ignores this and pushes forward anyway.
Once he can see TRAP again he continues to rave.
HERALD: (Cont’d) It’s in the clouds, it’s in the clouds and it’s coming. The sickness… the insanity. The madness above. The Maddening Rain…
14. INT. Traps Car – Continuous – Day
ANGLE: Behind Trap looking over at HERALD as he steps out into the road
still staring at TRAP.
HERALD: (Cont’d): The Maddening Rain…
15. EXT. The town high street – continuous – Day
CLOSE ON: HERALDS face, suddenly he calms and starts to smile, softly.
16. INT. Traps Car – Continuous – Day
CLOSE ON: TRAPS face. TRAP goes from looking very confused - to responding to HERALDS sudden change by smiling back.
17. EXT. The town high street – continuous – Day
ANGLE: The crowd look over at HERALD as he walks toward TRAPS Car.
Suddenly out of no where a white van ploughs into HERALD, knocking him sideways into TRAPS car. The front of the sandwich board is torn free due to the violence of the impact and flies at TRAPS window. TRAP instinctively pulls back but is caught on the bridge of the nose by the board.
18. INT. Traps Car – Continuous – Day
HERALD lies face up on TRAPS bonnet. TRAP, breathless with shock at what has just occurred stares out at HERALDS lifeless body. TRAPS nose bleeds profusely down his jet black tie, soaking into his clean white shirt.
And then TRAP gets it together and gets out the car.
19. EXT. The town high street – continuous – Day
TRAP kneels down beside HERALD.
TRAP: Everythings gonna be okay.
A crowd is now forming around the car.
TRAP: (Cont’d - shouts) Someone get an ambulance!
HERALD: (Choking on his own blood) Ugh…lis…listen.
TRAP: (To HERALD) Don’t try to speak—
HERALD: (Opens his eyes and glares at TRAP) Beware the rain…
The VAN DRIVER appears behind TRAP he is clearly shocked and is speaking to anyone who will listen in the crowd that has formed around TRAPS car.
VAN DRIVER: I just didn’t see him he came out of know where…
TRAP: What’s your name son?
HERALD: (Confused, closes eyes) I…can’t remember…
VAN DRIVER: Why wasn’t he looking, stupid bastard…
TRAP takes one of HERALDS hands.
TRAP: Doesn’t matter.
HERALD: (Looking up at the dark clouds in the sky) Looks like rain.
VAN DRIVER: There was no way I could have avoided him!
20. INT. CASUALTY DEPARTMENT OF HOSPITAL – DAY – LATER
TRAP sits on a bed in curtained cubicle, a nurse is stitching the gash on the bridge of his noise. Hutchings stands just at the entrance of the cubicle with Peterson – Chief Inspector. Peterson is a tall thin-set man in his late fifties. He has a narrow band of hair, which hardly rises above the tops of his ears.
PETERSON: (To HUTCHINGS) So where were you when all this was going on?
HUTCHINGS: I was getting some fags, Sir.
TRAP: I already told you what happened, Sir.
HUTCHINGS: From the witnesses statements it looks like this guy was a nutter.
PETERSON: A nutter, Detective Hutchings?
HUTCHINGS: Care in the community, what a joke!
PETERSON: And he couldn’t remember his name?
TRAP: No Sir.
PETERSON: And you’re sure you heard him correctly.
TRAP: (Getting agitated by PETERSON) Yes Sir!
NURSE: Stop moving or this will take longer and hurt more.
TRAP: (At NURSE) OWWA!.
PETERSON: (To HUTCHINGS) How is the man?
HUTCHINGS: They’re working on him now SIr.
The NURSE puts a rather large bandage on TRAPS nose.
TRAP: (To NURSE) Is this necessary?
NURSE: No, not if you don’t mind getting an infection in the wound and then coming back here for more serious treatment.
TRAP: Ow! Who trained you? – the SS?
NURSE: Now if you’ll just stay still for a moment longer you’ll be back on the street arresting members of minority groups on trumped up charges.
TRAP shots the nurse a look of ‘touché’
A DOCTOR appears in his theatre scrubs.
DOCTOR: Which one of you gentlemen is TRAP?
HUTCHINGS gestures toward TRAP.
TRAP: I’m Inspector Trap, how’s the patient?
PETERSON: Can I have a word please Doctor?
DOCTOR: And you are?
PETERSON: Chief Inspector Peterson.
DOCTOR: Goodness, does the poor man currently residing in intensive care really warrant such attention?
PETERSON: No…I was actually here on another matter.
HUTCHINGS: None of our business Sir?
PETERSON: I don’t know. (To TRAP) TRAP I want you to talk to Dr Trunz after you’re patched up.
DOCTOR: If you’ll excuse me gentlemen.
The Doctor leaves.
TRAP: Which department is this Dr Trunz in Sir?
NURSE: (Not looking away from what she is doing) The psychiatric ward.
TRAP shoots a look at HUTCHINGS.
NURSE: (Cont’d) All done.
PETERSON: Right, I’ll see the pair of you later then.
TRAP: What is it you want me to speak with this Doctor about Sir?
PETERSON: He may have some information that is relevant to this case.
TRAP: What case?
PETERSON: The man you just saw knocked down in the street.
TRAP: But that’s all there is.
PETERSON: (Slowly) Speak to Doctor Trunz.
TRAP: Yes Sir.
PETERSON: Oh and Hutchings…
PETERSON: Get your hair cut.
PETERSON turns and leaves. HUTCHINGS shoots TRAP a ‘Cheeky bastard’
NURSE: (To TRAP – Pointing at the bandage) Keep that clean.
TRAP: (Cheeky) Yes Miss.
HUTCHINGS: What was all that about the hair?
TRAP: (Distracted) I don’t know.
HUTCHINGS: Just because he hasn’t got any hair.
TRAP starts putting his clothes back on, first his tie, then his jacket.
TRAP: I wouldn’t let Peterson hear you talking about his lack of hair if I were you.
The NURSE looks up at TRAP, then directly at his thinning thatch.
TRAP: (Cont’d) Besides which male pattern baldness is a sign of virility. It’s caused by high levels of male hormones.
TRAP now fully dressed nods toward the NURSE then walks out the cubicle
HUTCHINGS : (Looking at the NURSE, but to TRAP) ‘Course you’re not
that gifted in the hair department yourself, are you Sir?
TRAP (V.O) Come along Hutchings.
21. INT. HOSPITAL CORRIDOR – CONTINUOUS - DAY
HUTCHINGS: I assume that this Doctor Trunz is a psychiatrist or something?
TRAP: I’m not keen on psychiatrist.
HUTCHINGS: Perhaps they can help explain some of that pent up repression you seem to be carrying.
TRAP turns quickly and points at HUTCHINGS.
TRAP: Now you look here Hutchings, I don’t like having the piss taken out of me, not by the work, not by my seniors, and most defiantly not by some detective only five minutes out of the plods. Do you understand me?
HUTCHINGS: (Taken aback) Yes Sir, Sorry Sir.
TRAP: I know you’ve got something to prove, and I appreciate that. In time you’re gonna be a great Detective but right now I need your support, okay?
HUTCHINGS: Yes Sir, understood.
TRAP turns and walk off down the corridor, HUTCHINGS hesitates for a
moment, possibly reflecting on her dressing down.
TRAP (V.O): Besides which, I am not repressed.
HUTCHINGS gives a ‘yeah right’ look.
22. INT. Doctor Trunzs office – Day – Later
TRUNZ sits behind his desk, while TRAP looks at the books on the shelves and HUTCHINGS stands attentively at the back of the room.
DR TRUNZ: Well I don’t know what you want to hear Inspector, I’ve just told your Chief Inspector all I know.
TRAP: Well now you can tell me.
DR TRUNZ: Can I ask you a question Inspector?
TRAP: You can ask.
DR TRUNZ: How do you feel?
DR TRUNZ: How do you feel?
TRAP: I’ve just seen a rather nasty accident and had this happen (gestures to nose). So, you tell me.
DR TRUNZ: (Shifting forward in his seat) Recently you’ve been feeling anxious, almost to the point of having short panic attacks, over the last week this feeling of uneasiness has grown. Now you can’t sleep at night, you lay awake and you think about the future and this makes your anxiety far more intense, if only you could identify exactly what the anxiety stems from.
TRAP: And this is what Peterson wanted me to talk to you about?
DR TRUNZ: We usually have approximately twenty patients in the psychiatric ward with about one hundred outpatients. Within the last fourteen days ninety of our outpatients have either re-admitted themselves or have had to be re-emitted. That plus a few new faces and we now have a hundred and thirty inpatients, and the number is rising. We’ve already had to open a closed ward to accommodate the increase in volume.
HUTCHINGS: So what’s causing this?
TRAP: Was that lad we brought in one of your patients?
DR TRUNZ: I don’t know who he was and I don’t know what’s causing it.
TRAP: So what can you tell us then?
DR TRUNZ: I can tell you that all these people have dread, Gentlemen, dread for the future. They believe that very soon something huge and terrible is going to happen to them, to everyone. (He pauses and contemplates what he has just said, then slowly nods) And I feel it also. Probably you feel it. It’s just that our patients are more sensitive to this zeitgeist. They feel the dread but are somewhat ill equipped to rationalise their fear. But they know its coming… all of them.
CLOSE ON: TRAP Shooting HUTCHINGS a look.
23. EXT. RETAIL PARK ELECTRICAL STORE – ESTABLISH – DAY
A Car pulls into the busy car park and circles looking for a parking space.
24. INT. THE SECURITY GUARDS CAR – CONTINUOUS – DAY
ROBERT the security guard circles in his car looking for a space.
The Prodigy blares out from his car stereo.
25. INT. MANAGER OF THE STORES OFFICE – DAY
The Manager of the store sits at his desk working away at his PC. There is a tap the door.
The door opens and ROBERT the Security Guard steps in.
ROBERT: Mr Briggs?
MANAGER: (Not looking up) Yes.
ROBERT: I’m Robert Bishop, the new Security Guard.
MANAGER: Arh good, come in come in, push the door to.
26. INT. THE CORRIDOR TO MANAGERS OFFICE – CONTINUOUS - DAY
The door to the manager’s office shuts. After a moment two members of staff cross by in the corridor. The first a middle-aged woman has her coat on. The other, a young lad is in his uniform.
WOMAN: Off home then?
YOUNG LAD: Yeah, thank Christ.
WOMAN: Hope you’ve got a brolley, it’s coming on to rain.
27. EXT. THE HOSPITAL CAR PARK – DAY – LATER
TRAP and HUTCHINGS walk to the car. Neither speak, both look lost in thought.
28. INT. Traps car – CONTINUOUS - Day
HUTCHINGS drives out the hospital and up through town. Still neither TRAP nor his partner speak.
29. EXT. HIGH STREET – CONTINUOUS – DAY
TRAP stops at a set of traffic lights.
TRAP (V.O): What do you think?
HUTCHINGS (V.O) About what Sir?
30. INT. Traps car – CONTINUOUS - Day
TRAP: About the Shrinks prophecy of doom.
TRAP: Do you believe that?
HUTCHINGS: Dunno Guv.
The lights change and HUTCHINGS pulls away. She looks over at TRAP who seems lost in thought.
HUTCHINGS: What do you reckon Guv?
TRAP: (Distracted) I was just think about an old friend of mine.
HUTCHINGS: Is it connected to what Trunz was talking about?
TRAP: I dunno, it’s just something Trunz said about feelings of dread, made me think of Samuel.
HUTCHINGS: In what way Guv?
TRAP: Do you believe in God, Emma?
HUTCHINGS: I don’t really know Guv, haven’t really put much thought into it – do you?
TRAP: Me? – no, no not at all.
HUTCHINGS: This friend, this Samuel is he a believer then is he?
TRAP: Well, he claims he doesn’t, but he told me the strangest story, and I’ve just realised that that was when I started having this really unsettled feeling (taps his chest).
HUTCHINGS: Like Trunz said?
TRAP: Yeah, exactly as Trunz described.
There is a few moments of silence between the pair. TRAP stares off into the
distance, deep in thought, HUTCHINGS pulls over to the side of the road and
stops the engine, she then turns to speak directly to TRAP.
HUTCHINGS: If you don’t mind me asking Sir, what was it this friend of yours told you?
TRAP: Its probably just bollocks.
HUTCHINGS raises her eyebrows in a ‘I’m ready to listen’ way.
31. INT. TRAPS LOCAL BOOZER – FLASHBACK – NIGHT
ANGLE: Behind the bar.
We can see SAMUEL an elderly gentleman with deep dark sad eyes sitting in front of us, mournfully nursing a pint. In the distance we can see the lounge door opening and TRAP entering. He has a newspaper in his hand, which he is using as a substitute umbrella. He is quite wet from the rain. He gets to the bar and notices that it is SAMUEL.
TRAP: Evening Samuel, how ya doin’ you old git?
SAMUEL: Ok, I suppose, Inspector Trap.
TRAP: (Leans in) Please Sam, call me Peter, don’t want any of these old rogues knowing that you’re chatting to the Old Bill now do we?
SAMUEL: No Peter, I suppose you are right.
TRAP: Can I get you a pint? Looks like that ones dead.
SAMUEL: (Heavy sigh) No thank you Peter, I’m not really in the mood for drinking.
BARMAN: Yes mate?
TRAP: Pint of Bitter please mate, (TO SAMUEL) Sure?
SAMUEL nods affirmatively, then looks back down at his pint. TRAP hands
the BARMAN a note and the BARMAN gets his change then he goes about
getting TRAPS pint.
TRAP: (To SAMUEL) Is everything alright Sam?
SAMUEL nods again, still looking down into his pint.
TRAP: (Cont’d) Do you want to talk about it?
SAMUEL looks up slightly and looks over at the BARMAN who has his back
to the pair. TRAP nods, understanding that SAMUEL doesn’t want to speak in
front of the BARMAN.
BARMAN: (Turning round) One pint of bitter.
TRAP takes a large swig of it before motioning to SAMUEL with his head to a
free table in the corner of the bar. SAMUEL gets his drink and they both go
over to the corner table and sit.
TRAP: You look like you the world on your shoulders there Sam.
SAMUEL: (Heavy sigh) Do you believe in God?
TRAP looks confused, but doesn’t answer
SAMUEL: You know I never really believed in God or the Devil or Heaven or any of that when I was a kid. I was absolutely sure there was nothing, I was positive, I was positive with all my youthful arrogance that I was an atheist. No question about it. Fifty-three years ago that was. No one was an atheist back then, least they didn’t advertise it in public like I did.
TRAP: You always get the impression that everyone had some form of religion back then. I bet your folks weren’t greatly happy with you…
SAMUEL: They were only ones who never knew… I never told them. They would have gone through the roof.
TRAP: I bet they would have as well. My mothers never out of the Church herself… strict Catholic you see.
TRAP: ‘Cause when you’re a kid you don’t really think about it much, you just think that’s the way it is…
TRAP takes a swig of beer
TRAP: (Cont’d) I haven’t been in Church for years, not since Dad died. Devout Catholic, that’s what I was, believed in the divine goodness of God and then my old man who never hurt anyone, never heard him complain, worked his whole life providing for his family and raising them as best as he could gets cancer at thirty-seven.
TRAP scratches his beard.
TRAP: (Cont’d) Dead at thirty-eight. I went to our Church that night, y’know to get some answers… I looked up at the cross, guess what I got.
TRAP: Silence. Nothing but Silence.
TRAP taps SAMUELS pint glass with his own in solidarity.
TRAP: (Cont’d) Joined the club.
SAMUEL: Well I don’t know so much.
TRAP: Are you still a non-believer then Sam?
SAMUEL: A friend of mine once asked me to prove to him that I was an atheist.
TRAP: How? How do you prove something like that?
SAMUEL: He asked me to sell my soul to him.
SAMUEL: If I didn’t believe then selling my soul wouldn’t mean anything.
TRAP: What did you do?
SAMUEL: He went really serious and without an expression on his face he turned in his chair and looked right at me, right in the eye, if I had a soul I felt like he was looking right into it. He told me that he wasn’t Gavin Daler at all.
SAMUEL nervously takes a sip of his pint. He is visibly shaking.
SAMUEL: (Cont’d) He said he was the Devil. But seeing as how I didn’t believe in any of that it wouldn’t matter, couldn’t rightly sell what I didn’t have, could I? If I really was an atheist…
TRAP: What did you do?
SAMUEL: I sold him my soul.
TRAP: How much was it, The price for your soul?
SAMUEL: The price of a pint of bitter.
TRAP looks confused/ shocked, he swills the remaining bitter in his glass round and round, closely watching it.
SAMUEL: (Cont’d) He wrote out a short contract on a small scrap of paper. He signed it, and then I signed it. He even got the barman to witness it. Then he bought me a pint.
TRAP: How long ago was that?
SAMUEL: Fifty-two years.
TRAP: Fifty-two years ago?
TRAP: What happened to Gavin?
SAMUEL: Dunno… I never saw him again after that night. But I never forgot what I did. Not for one day.
TRAP: But you don’t really believe he was the Devil?
SAMUEL: Like I said, I don’t know so much, I’m just not sure anymore. I’ve avoided religion my whole life, just in case I catch it and start believing. Thing is, I’m seventy-four years old and I can feel death creeping up on me and I’m afraid. Afraid.
TRAP: Everyone fears dying Sam.
SAMUEL: I’m not afraid of dying, not as such, I’m just afraid that when I do finally die that’s when I’ll see Gavin Daler again. When he comes to collect.
TRAP just looks at SAMUEL not really knowing what to say, after a deep
TRAP: Oh come on Sam, lighten up mate, you didn’t really sell your soul. Its just one of those stupid things you do when your drunk.
SAMUEL: I was never more sober then when I signed that scrap of paper. I can remember that moment as clear as if it happened yesterday. I sold my soul to the Devil, that’s what I did.
TRAP: (ANGRY) You did not sell your soul, you don’t believe in any of that bollocks and nor do I, it’s like Marx said, its just opium for the masses.
SAMUEL: That’s what you think is it?
TRAP: Yeah that’s what I think.
SAMUEL: You don’t believe in the God and the Devil and that…?
TRAP: No I don’t.
SAMUEL turns in his seat and stares at TRAP full on.
SAMUEL: Prove it.
32. EXT. Traps car IN A RESIDENTIAL STREET– Day
HUTCHINGS (V.O): What did you do Sir? Did you sign anything.
TRAP(V.O): Did I bollocks.
33. INT. Traps car – CONTINUOUS - Day
HUCTHINGS: What about your friend?
TRAP: It’s like Trunz said, he’s got these strong feelings of dread, and he translates that as this one event from his past.
HUTCHINGS: Where to next then?
TRAP: I’m thinking maybe we should pay him a visit, see if he’s alright.
HUTCHINGS: Community policing ey Sir?
34. EXT. CANAL PATHWAY, UNDER AN OVERPASS - DAY
Two men are standing in the shadows under the bridge. Both are scruffy and
look as if they have been sleeping rough. One man stands in front of the
other. They do not looking at one another.
MONARCH: Yes my friend. What is it?
SEAN: There are many rumours circulating.
MONARCH: What do these rumours pertain?
SEAN: They speak of the future, it is uncertain what it holds.
MONARCH: And those that see?
SEAN: Clara says that it is the end of the world.
MONARCH: I love Clara much as a son might love his mother, but this does not cloud my judgement. Clara is seldom right.
SEAN: Yes Monarch.
MONARCH: Tell me, what does Oswald have to say on this matter?
SEAN: Oswald is missing Monarch, some say he is lost to us.
MONARCH: Then this is cause for much concern. I have the greatest respect for Oswalds precognitive ability. I would value his opinion on this time, highly.
SEAN: But what of your own power? They say there is nothing the Monarch can not predict.
MONARCH: The future is not carved in stone Sean, it is written in sand. Once you can see that, you can see that sand shifts in even the gentlest breeze. There is a great storm coming.
SEAN: A storm Monarch?
MONARCH: It is in a human’s nature to fear the unknown and to hate what it fears. It is also in a human’s nature to fear change. And if there is one single thing I have a certain of it is that things change.
SEAN: Yes Monarch.
MONARCH: And that shit does happen.
MONARCH: We, who have nothing to lose and everything to gain have no fear. Every end is a new beginning, death, as Pan once said, is the last of the great adventures.
SEAN: Pan Monarch?
MONARCH: Go forth young Sean, go forth with the Heralds and spread the word.
SEAN: What is the word Monarch?
MONARCH: Tell them, tell them all to embrace the future, never fear it, never fight it.
SEAN: Let your mind go and your body will follow?
MONARCH turns and looks at SEAN for the first time, SEAN looks fearful.
MONARCH: Yes Sean, That’s a good one, I’ll have to remember it.
34. EXT. SAMUELS HOUSE – DAY
SAMUELS is a large imposing victorian house. The garden is over grown and all the curtains are closed. TRAP and HUTCHINGS are standing at the gate looking up at the house.
HUTCHINGS: This Samuels house then is it?
HUTCHINGS: Quite an imposing place.
HUTCHINGS: Not bad, perhaps I should sell my soul to the Devil.
TRAP starts to walk up the path to the front door.
TRAP: You did when you became a detective.
TRAP starts to knock at the front door.
TRAP: (Cont’d) SAM?
HUTCHINGS walks up the path and tries to see in through the ground floor windows.
TRAP: (Cont’d) SAM? Are you in there? (To HUTCHINGS) Can you see anything Emma?
35. INT. SAMUELS HOUSE – CONTINUOUS - DAY
ANGLE: Looking at the curtains, slowly pulling back.
HUTCHINGS (V.O): (Cont’d) Looks like he’s out then.
TRAP (V.O): Yeah I suppose so.
HUTCHINGS (V.O): Hold on a sec Guv…I think I can see something.
Pull back to reveal a chair on its side in the middle of the room and a pair of
legs limply hanging in the air.
TRAP (V.O): What can you see?
HUTCHINGS (V.O.)That’s odd, there’s a chair … (sudden realisation) OH SHIT!
36. EXT. THE CLOUDS – DAY
Big dark clouds are gathering over head.
37. EXT. THE CITY – CONTINUOUS – DAY
People go about their business, shopping, browsing, chatting, working. The clouds cast shadows across the city.
38. INT. KAYS HOUSE – HALLWAY – DAY – LATER
ANGLE: We are following KAY down the corridor and to the front door. This she opens and standing out in the street are TRAP and HUTCHINGS.
TRAP: Kay, this is Detective Hutchings…
TRAP: (Cont’d) I suppose you know why were here.
39. EXT. KAYS HOUSE – CONTINUOUS – DAY
ANGLE: From across the road we see TRAP and HUTCHINGS at the door with KAY standing in the door way, after a few moments she gestures them in and they enter.
40. INT. KAYS HOUSE – LOUNGE – DAY
KAY sits in a big armchair in one corner of the room, she has a large brandy in her hand. TRAP sits on the sofa in front of KAY listening intently to her. HUTCHINSON sits at the back of the room on a chair round the dinner table.
TRAP: I knew your mother could see.
KAY: And how did you know I could as well?
TRAP: I guessed.
KAY: Poor Uncle Sam, I never thought he’d do something so stupid.
TRAP: I spoke with him on a couple of days ago.
KAY: He told you did he?
TRAP: About the contract?
KAY: So he did tell you.
TRAP: I suppose he couldn’t wait any longer.
KAY: I didn’t see his clearly, I could only see that someone close to me had died. When I saw you pull up I knew it was Uncle Sam.
TRAP: I wish I’d gone round to see him sooner.
KAY: We’re all feeling the anxiety Peter.
TRAP: You know about that do you?
KAY: Yeah I know about it.
TRAP: What does the future hold Kay?
KAY: The awful truth is that I don’t know. (Turns to HUTCHINGS) I can remember my own birth, and even before that, can you imagine?
HUTCHINGS sakes her head – no.
KAY: (Cont’d) Being in the womb, you never know security like it ever again. I remember my birth, it was no surprise, and I’ve never been surprised, not once, because I can see the future… Always have. Do you know I haven’t worked a single day in my life?
TRAP: I didn’t know that, no.
KAY: Neither did my mother.
TRAP: I knew that.
KAY: We never had to, I get all my money from betting.
HUTCHINGS: How enterprising.
TRAP shoots HUTCHINGS a ‘shut up’ look. HUTCHINGS raises her
eyebrows and looks away.
KAY: Horses, Dogs, Football, Cars the Christmas number one. You can bet on anything you want. And I always win. But there is nothing after tonight.
KAY: I can’t see past midnight. There is nothing, just blackness.
41. EXT. THE HIGH STREET – OUTSIDE A BETTING SHOP – DAY
MONARCH sits with two other young men. People walking past don’t even spare them a fleeting glance, they may just as well be invisible.
MONARCH: Can you feel it Edward?
EDWARD: Feel what Monarch?
MONARCH: The coming storm.
GABRIEL: Why do you greet the storm with a smile Monarch? We are without shelter, we hate the cold, the wind and the rain.
MONARCH: No Gabriel, this storm will bring us salvation, the current, up and out of the gutter will carry us, for this one night. For this one night we will cease to be beggers… we will be takers.
EDWARD: I can feel it Monarch.
MONARCH: Then it is starting.
42. INT. KAYS HOUSE – LOUNGE - CONTINUOUS – DAY
TRAP: What does it mean, if you can’t see the future?
KAY: I just don’t know, it may mean that I’m going to die
HUTCHINGS: It could also mean that we’re all going to die.
KAY: It could. In a way I can’t stand the waiting. I just want it would be over with. I want what’s going to happen to happen.
TRAP: I suppose that’s how Samuel felt.
KAY: I’m completely blind, I’ve never felt so vulnerable. I can’t sleep Peter, I’m beginning to lose it. I have to knock myself out at night with pills, and when I do wake up…
KAY: I wake up screaming, the sheets are drenched in sweat. (KAY looks at HUTCHINGS) I haven’t had a period in months…
HUTCHINGS nods in agreement, TRAP looks confused.
KAY: (Cont’d) I’m getting vertigo more and more, even when I’m just walking around the house. I’m afraid of crowds, I’m afraid of small spaces… I don’t know what’s going to happen Peter but I’m scarred.
TRAP: What about the rain?
TRAP: What about the rain?
KAY looks suddenly shocked.
KAY: Oh my God!
KAY breaks down, TRAP rushes to her and puts his arms around her.
KAY: (Cont’d) Oh God Peter, that’s what it is, that’s what I haven’t been able to see… the rain, it’s the rain…
TRAP gestures to HUTCHINGS to leave the room, she frowns and TRAP re-emphasises his gesture and this time HUTCHINGS leaves the room.
TRAP: Look Kay, you have to listen, I can’t stay here.
KAY: Please Peter, I don’t want to be alone, not tonight…
TRAP: I’ve got to go, I wish I could stay but I need to see if I can help.
KAY: You were so good to me when my mother died.
TRAP: I loved your mother.
KAY: Be careful Peter, you’re a good man, but there is the dark in you…
TRAP: I’ll be careful, I’ll try to come back tonight.
KAY: You promise?
TRAP: I’ll try.
43. EXT. KAYS HOUSE – DAY
TRAP walks to the car, HUTCHINGS is waiting leaning back against it.
HUTCHINGS: You okay Guv?
HUTCHINGS: What’s happening Guv?
TRAP: I don’t know.
HUTCHINGS: Can she really see the future and that?
TRAP: As good as her mother could.
They start to get into the car. TRAP driving.
44. INT. TRAPS CAR – CONTINUOUS – DAY
HUTCHINGS: How do you know her mother.
TRAP: I’ll tell you another time.
HUTCHINGS: Where now?
TRAP: Tell me something Emma, what was Peterson doing at the hospital?
HUTCHINGS: You know why, he was seeing Doctor Trunz.
HUTCHINGS: Well… I don’t know really.
TRAP starts the engine and pulls away at a break neck speed.
45. EXT. SUBURBAN STREET – EARLY EVENING
An elderly couple walk up the street along with their six-year old collie dog. As they walk along JANET comes rushing out one of the houses, she still looks very harassed. As she rushes out she almost knocks into the elderly couple.
JANET: Oh I’m sorry.
MORRIS: Rushing to get back before it pours down?
JANET: That’s right.
MINNIE: (To REX, the dog) You just want to get in front of the fire don’t you boy.
JANET smiles politely and shoots off down the street, the elderly couple continue to walk up the street.
46. EXT. RETAIL PARK ELECTRICAL STORE – EARLY EVENING
ROBERT opens the front door of the store, the security shutters are already
half-way down. The Manager appears behind ROBERT. He has his coat on
and is about to leave for home.
MANAGER: Goodnight Robert.
After the MANAGER leaves ROBERT closes the shutters and disappears into
the darkness of the store.
47. EXT. THE POLICE STATION – ESTABLISH – EARLY EVENING
PETERSON (V.O): What can I do for you Trap.
48. INT PETERSONS OFFICE – CONTINUOUS – EARLY EVENING
TRAP is leaning on PETERSONS desk, Peterson is sitting forward in his seat. HUTCHINGS is standing by the door.
TRAP: Well you can stop bullshitting me for a start…Sir.
PETERSON: No ones bullshitting you Trap, least of all me.
TRAP: What were you doing at the hospital?
PETERSON: I’m interested to know how you think that is your business?
TRAP: It’s my business if its connected to that kid that’s lying in intensive care and the nut ward currently bustling with business and to my friend who has just committed suicide.
PETERSON: So how is all that connected?
TRAP: I don’t know, but I do know that you are keeping me in the dark here. Now …what aren’t you telling me, Sir?
PETERSON gets up and goes over to the door, next to HUTCHINGS.
PETERSON: Hutchings go and get a coffee or something will you.
HUTCHINGS looks over at TRAP for guidance, despite Peterson seniority
TRAP nods ‘okay’.
HUTCHINGS: Err…yes sir
HUTCHINGS leaves, PETERSON closes the door behind him. He then sits
back down behind his desk. He gestures to the chair next to TRAP but TRAP
just shakes his head ‘no’.
PETERSON: Do you know I have a brother TRAP?
PETERSON: Well I do. His name is Oswald, he’s a few years younger than me.
TRAP: Is he in the job Sir?
PETERSON: No Oswald chose quite a different path. He’s homeless, and has been for some years. We never got along as children…there was this big age difference, it never really got better as we became adults, truth be known.
TRAP: Well brothers Sir –
PETERSON: This isn’t easy for me TRAP, Me a Chief Inspector and my own flesh and blood out there, living on the streets, involved in God knows what.
TRAP: It doesn’t automatically follow –
PETERSON: I’m a very rational man TRAP, what you see is what you get as far as I’m concerned. I know you’ve investigated some more flavoursome cases in the past…
TRAP raises his eyebrows.
PETERSON: And I’ve always been sceptical with the results you’ve brought in. But you have brought in results.
TRAP: Is this the right time for my appraisal Sir?
PETERSON: The fact of the matter is my brother Oswald display certain abilities.
TRAP: What kind of abilities Sir?
PETERSON: I think they’re called… psychic…abilities.
49. INT. HUTCHINGS DESK – POLICE STATION – EARLY EVENING
HUTCHINGS is at her desk on the phone. The office is still very busy, despite it getting late. She sits hunched forward with her hand up to the mouthpiece of the phone, as if to hide her actions from her colleagues.
HUTCHINGS: No Dad, listen, stay in tonight, please, for me… I can’t explain what’s happening, but I really want you stay in tonight. Do you understand?… Look I said I couldn’t explain, you’ll just have to trust me on this okay? Just stay indoors.
50. INT. PETERSONS OFFICE – CONTINUOUS – EARLY EVENING
TRAP: Your brothers can see?
PETERSON: Of course he can see. Look I don’t know how much in this you believe, but the fact remains that he has a high degree of precognitive insights. I tried to explain them away when we were growing up as illusionary, but over the past few years he’s told me things that have invariably happened with an alarming accuracy. I can’t just write this off anymore.
TRAP: And now Sir?
PETERSON: He’s ill Trap, his gift, if you can possibly call it that is causing some sort of psychological damage. His knowledge of the future… he can’t cope with what he can see. He’s under the care of Doctor Trunz, just one of many patients with similar disturbances I’m lead to believe. I went to see him this morning. He’s been with Trunz for a week now. He came to my home in the middle of the night begging for help and ranting about … he was crazy with this vision he had of tonight. I had him admitted to Trunz, I didn’t know what else to do.
TRAP: What about tonight?
PETERSON: He told me that it would rain tonight. He told me that anyone caught in the rain would, that they would… it would make them go insane.
TRAP: (To himself) Insanity from the Heavens.
PETERSON: I know the story itself sounds insane… and if it were anyone else telling me I wouldn’t give it any credence, but Oswald… as soon as he told me I knew it to be true.
TRAP looks up and behind PETERSON, at the large window behind his chair.
PETERSON: (Cont’d) Tonight this town will go insane and we can’t do anything about it.
PETERSON looks down and then slowly looks up at TRAP. TRAP is like a
statue looking beyond PETERSON. PETERSON looks confused, he gets up
and looks directly at TRAP.
PETERSON: (Cont’d) Trap? Trap? … What is it?
TRAP: Rain Sir.
PETERSON: Yes, that’s what he said, rain.
TRAP: It’s raining.
51. EXT. POLICE STATION – CONTINUOUS – EARLY EVENING
ANGLE: Looking in at PETERSONS office. TRAP and PETERSON stand side
by side and watch the first few drops of rain on the window, it steadily gets
heavier until it starts to pour down. And then it thunders.
52. INT. HUTCHINGS DESK – POLICE STATION – EARLY EVENING
HUTCHINGS looks up and sees that it is raining, she gets up and goes
over to the window. She puts her face up close to the glass and looks out.
53. INT. KAYS HOUSE – LOUNGE – EVENING
The light from a street lamp casts a shadow of the rain into KAYS
lounge. KAY sits in the shadow rain slowly rocking, nervously.
54. INT. SECURITY ROOM OF THE ELECTRICAL STORE – EVENING
Robert sits in his chair reading a copy of the Guardian newspaper. In front of him are three monitors, each linked to a number of security cameras. They flick through each camera in rotation. On the second rotation we can see that there is now a large group of people in the car park. Robert continues to read his paper.
55. INT. The Kitchen OF THE BROWNS – NiGHT
JANET sits at the kitchen table, she is flicking through a copy of Hello
magazine whilst smoking a fag. The kitchen itself is immaculate.
JOHN (V.O): (Shouts) Jan!
JANET: (Wearily) What John?
JOHN (V.O): Get me a can?
JAN gets up and goes over to the fridge, this she opens. It is at this moment
that Jan realises that the one thing she forget to get whilst out shopping was
JOHNS beers. She looks panic stricken.
JOHN (V.O.) (Getting impatient) Jan where the bloody hells that can?
56. INT. THE LOUNGE OF THE BROWNS – CONTINUOUS –NIGHT
ANGLE: From the kitchen door looking into the lounge. We can see the back of JOHNS chair and the TV in front of it.
JOHN (V.O): JAN!
JANET: (NERVOUS) I… forgot to buy your beer.
JOHN turns in his chair looks at JANET then gets to his feet.
JOHN: What did you say?
JANET: I forgot your beers, sorry luv, I was really busy, I had a lot on my mind.
JOHN: Then you’d better go and get them now.
JANET: But it’s pouring down out there, I’ll get soaked.
JOHN walks over to JANET and gentle strokes her hair, when his hand is
behind her head he pulls at hair and cranes her neck back.
JANET: (SCARED) John please don’t…
JOHN: You stupid bitch.
JOHN punches her just once pull in the mouth. JANET falls to the ground.
She clutches at her injured face crying.
JOHN: You useless fat cow.
JOHN takes hold of her by the hair and pulls her up, she cries in pain as he
does, her lip now bleeding down her face.
JANET: (Crying) John… please…
JOHN: You know I always have a beer in the evening, (he looks back at the TV) and now the bleedin’ films started.
JANET: (Pleading) I’ll go and get them, just don’t hurt me please.
JOHN: Yes you will go and get them.
JOHN pulls JANET along to the front door in the lounge.
JANET: Let me get my coat John… please.
JOHN opens the door and pushes her out into the street.
57. EXT. SEMI-DETACHED OF THE BROWNS – NIGHT
JOHN stands in the door and JANET stands in the street, getting wet.
JOHN: And don’t gab.
JANET: My coat…?
JOHN motions to hit her again and she recoils further into the street. He looks
at her one final time then slams the door shut. JANET leans back against a
lamp post and crying desperately.
58. EXT. THE HIGH STREET – OUTSIDE A BETTING SHOP – EVENING
EDWARD and GABRIEL still sit together outside the betting shop. They are protected from the rain by the shop canopy. MONARCH is standing in the raining, he is smiling wildly, he walks out into the street and a car screeches to a halt narrowly avoiding him. He opens out his arms and looks up at the sky. He looks over at his two colleagues. They get up and also walk out into the rain. Meanwhile the driver of the car that almost hit MONARCH is shouting something we just can’t hear from inside his car. MONARCH looks at the driver and smiles. Then crash, Gabriel has got a rubbish bin and has put it through the drivers window screen. The driver incensed gets out the car, as he does he puts the hood of his parka up so as not to get wet.
DRIVER: (To MONARCH – shouts) What the hell do you think you people are doing?
He stops at that and looks around, slowly realising that there are at least ten
of MONARCHS followers standing around him, all looking as maniacal as
MONARCH, who himself is now walking away down the middle of the street.
59. EXT. SEMI-DETACHED OF THE BROWNS – NIGHT
CLOSE ON: JANETS Face. As it rains the blood from her lip is washed away.
She licks her lip and starts to smile. She looks up at the street lamp and
watches how drops of rain splash onto the street light canopy and down the
neck of the lamppost.
60. INT. SECURITY ROOM OF THE ELECTRICAL STORE – EVENING
ROBERT still sits and reads his paper. The monitors now show that the build
up of people in the car park has moved to the front of the store. A camera
from within the store, trained on the entrance shows that they are at the main
door. After a moment the crowd part and without noise a car hurtles through
the entrance. This naturally sets of an internal alarm. ROBERT practically falls
out of his chair. He gets up and views the monitor. The crowd of people has
disappeared and all ROBERT can see is the a gapping whole in the entrance
left by the car. There is no one to be seen on any of the monitors.
ROBERT: Oh Christ.
He grabs his torch and phone and leaves the security room.
61. EXT. AN ARIAL VIEW OF THE CITY – NIGHT
The rain continues.
62. EXT. A STREET – NIGHT
ANGLE: Foot level as we track a man running down a rain drenched street. We pan up to reveal it is TRAP and he is running like a madman – drenched in rain, a determined look on his face. Several cars pass him, passenger faces pressed to the windows desperately trying to see who this lunatic is. TRAP ignores all of them. He is no longer a policeman, Peter TRAP no longer remembers who he really is, all he knows is that the darkness has emerged. Peter is the wolf, and if you’re not a wolf you’re a sheep, and sheep are meat for wolves.
END OF PART ONE