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LIGHT By Alex Colman

INT. SMALL APARTMENT. DAY. A small, dingy apartment is dimly lit in a yellow/orange light. An unkempt man flusters around the room untidy room. He struggles to put his coat on whilst checking his watch. He forces his arm in the sleeve. With his coat now on he moves to the door and with one hand on the door handle he rubs his slightly blood shot eyes.

EXT. STREETS OF LONDON. DAY. As he exits his building he places some black sunglasses over his eyes. The man moves through the streets as dark as night. Orange street lamps create a dim glow. People bustle around crowding the streets. From the windows of the buildings towering above, lights shine out in reds, oranges, yellows and more uncommonly light blues and greens. The time period is questionable, the lights and colours seem futuristic but the buildings themselves seem old and grimy. The man fights through the crowd passing by and quickly glancing at any other person wearing sunglasses. He soon comes to a large clearing packed with more people then it can hold. The man joins on to the back of what seems like and endless queue. As we follow up the queue right at the front stands a large White building, illuminated in blue. The building is out of place against the dark, polluted background. It presents itself as a beacon of hope in a bleak maze.

INT. LIGHT FACTORY. DAY. The man now at the front of the queue walks into the lobby of the building wiping swear from his brow. The interiors are white and pristine, flooded with blue. He looks around sheepishly. A young attractive woman walks to greet him in a smart white dress. She beckons the man to follow her. She leads him down a corridor to an open heavy metal door. She stands outside and gestures to him to enter. He walks inside and she closes the door behind him. As she walks away the corridor can be seen to hold many more large heavy doors all firmly closed.

INT. LIGHT FACTORY CHAMBER. DAY. The man steps forward into a little room with another door right in front of him. The walls are lined with clothes hooks holding some white shorts. The man begins to remove his coat. Once changed he takes his coat and begins ripping the lining on the inside of the coat, pulling from it a small electronic device.


INT. LIGHT FACTORY CONTROL ROOM. DAY. A large white room filled with people sitting in front of screens. One of the screens in the room begins to flash red with a warning sign pasted across it. The man sitting before it calmly reaches for the phone next to him and dials number 5. LIGHT FACTORY WORKER #1 Hello MR FORD, we have a bomb warning in chamber 59.... Yes sir.... Okay Sir. The worker places the phone back down turns to his screen and types in protocol six.

INT. LIGHT FACTORY CHAMBER. DAY. JOHN BARROW withdraws from his wallet a black credit card. He moves to the touchscreen located on the wall and inserts the card into the slot. COMPUTER SYSTEM Welcome, JOHN BARROW. Please select treatment. JOHN begins selecting options from the screen. COMPUTER SYSTEM Treatment accepted. Please enter. John goes to enter through the next door but finds it locked. He quickly turns around to try the door behind him finding it to be locked as well. The screen suddenly begins flashing, a large warning sign appears upon it. COMPUTER SYSTEM Warning, Bomb recognised. Protocol six activated. The bomb in his hand comes to life and begins ticking down from 5. He throws it to the floor banging on the walls all around him. JOHN BARROW screaming * * We will win! We will bring this industry to its knees! We Will WIN! COMPUTER SYSTEM Sterilization commencing. The bomb explodes and the room shudders, the blast contained by the thick reinforced metal surroundings.


INT. LIGHT FACTORY CONTROL ROOM. DAY. The worker reaches again for the phone, pressing number 5. LIGHT FACTORY WORKER #1 The issue was taken care of, i will begin clean-up.... Im sorry Sir it wont happen again.... No the shipment hasnt arrived yet but should be with us within the next five minutes. Thank you sir. The places his phone down and turns back to his computer, he selects something on his screen. COMPUTER SYSTEM This is a staff notification, shipment arrival in approximately 5 minutes, thank you.

EXT. SPACE. DAY. A satellite wielding a large golden disk floats pointing directly at the sun.

INT. SATELLITE. DAY. Inside the same message is filling the air, a man move to a a flashing screen. The computer screen shows 15 different container statuss. Out of the 15, 12 show Sunlight status: Harvesting. The man selects one of the other three that show Sunlight status: Full. On the next screen he selects the Send Option. He then floats over to a window further down from the screen and peers outside. COMPUTER SYSTEM Sending sequence initiated.


EXT. SPACE. DAY. Outside a capsule detaches itself from the hull of the satellite as it launches itself towards a brown planet. Earth looks unrecognisable, the usual green and blue is replaced by a thick, dark brown that engulfs the planet. The capsule moves quickly, closer and closer to earth until it begins to pierce the atmosphere. The smog layer seems to go on and on, never ending as the planet gets darker and darker. Suddenly lights are seen below as the cities shine in the darkness. London grows bigger and bigger as the capsule moves ever closer. A large blue building shines bright nestled in between oranges, browns and reds. A parachute flys out the back of the capsule greatly decreasing its speed. It gets closer and closer to (CONTINUED)



the city until it is almost upon the blue building. A laser beam shines up onto the surface of the capsule following its movement, below it a large trampoline like surface provides a landing platform for the capsule which glides down with incredible accuracy. It crashes firmly but safely onto the surface. FADE OUT: 11 INT. NOLANS OFFICE. DAY. The small office is crowded with files and papers. The desk overwhelmed by documents spilled across it. A large window takes over one side of the room looking out across the dark city. The office is covered with a green light, a picture of a young couple is upon the wall next to a large board covered with suspects, paper clippings and more work. NOLAN BANKS is a well built man in his mid 30s, he has short dark hair on his head and wears a stylish but resilient black suit. He sits behind the desk peering though documents, muttering under his breath. The door to his office opens and someone steps through. Without looking up, NOLAN raises a hand to shoo the intruder. NOLAN Not right now, please go away. JESSICA Well if your going to treat me like that, i will. JESSICA, a attractive woman of about 29 with flowing blonde hair wearing a light blue dress and a black jacket, turns to leave. Realising who it is NOLAN jumps up from his desk. NOLAN No wait.. sorry JESSICA. JESSICA turns around looking back towards NOLAN . NOLAN I didnt realise it was you. Come on in. Coffee?... NOLAN picks up his office phone. JESSICA smirks NOLAN Hello RECEPTIONIST, two coffees please. Thanks. NOLAN places the phone down and starts trying to tidy his desk in a fluster. JESSICA walks in the room.




JESSICA No thank you. NOLAN looks up with a arm full of papers. NOLAN Sorry? JESSICA The coffee, no thank you. NOLAN Ohh... no of course. Umm what can I help you with, do you need anything, are you alright? Is the baby alright? NOLANS eyes move down to a small bump on JESSICAS stomach hidden by the the black jacket she has buttoned up. JESSICA (Laughing) The babys fine, Im fine. We just came to see daddy working, to see if he wanted a break. There is a knock on the door behind them. RECEPTIONIST is stood with a tray containing two steaming cups and coffee. RECEPTIONIST Coffee sir? NOLAN Ahh yes, thank you. We changed our mind err you keep it. My treat. NOLAN looks at RECEPTIONIST whose face is creased into a frown. She smiles unwillingly. RECEPTIONIST Thank you sir, your too kind. NOLAN Ohh dont mention it RECEPTIONIST. NOLAN smiles at his wife, who looks lovingly back at her husband. NOLAN Now go enjoy it.




RECEPTIONIST gives one last scowl at her employer quickly changing it into a smile as JESSICA turns towards her. She turns and leaves through the door, shutting it firmly behind her. NOLAN blinks, flinching when the door snaps shut. He places the papers down, walking over to JESSICA. NOLAN Well I think a break would be a good idea, get out of this messy office. 12 EXT. STREETS OF LONDON. DAY. NOLAN and JESSICA walk out through the large glass opening of the police station onto the packed streets. JESSICA I know a place we can go, its not far. JESSICA grabs NOLANS hand, and begins pulling him along. 13 EXT. OUTSIDE A CAFE IN LONDON. DAY. JESSICA pulls NOLAN to a stop outside a small yellow cafe. The exterior looks cute and inviting. JESSICA Here we are! What do you think? Ive heard good things about it. Jessica turns to walk in but NOLAN tugs her hand spinning her round to face him again. NOLAN Yellow light babe? We can manage somewhere better then this. JESSICA Well this is where i want to go. And dont worry, it wont affect the baby. I promise. JESSICA smiles at him, and NOLAN rolls his eye, smirking and giving in to JESSICAS tugs. He follows her inside. 14 INT. CAFE. DAY. NOLAN and JESSICA are sat at on a table by the window. In front of them is two cups of coffee and slice of cake. NOLAN is looking out the window watching a group of people holding signs dressed in white. The signs read STOP LIGHT, FREE PEOPLE and ILLEGALISE DRUGS, ILLEGALISE LIGHT!). The group move down the street. JESSICA slides her hand across the table, taking his in hers. (CONTINUED)



JESSICA NOLAN, there was another reason I came to see you... We have run out of vegetables, I want to get some more. NOLAN turns to look at her, taking a sip from his coffee before speaking. NOLAN Okay, I will get some. I know someone I can get a discount with, but we wont have as much as last time. JESSICA No they are too expensive, I want to buy them myself, I have plenty of money. NOLAN pulls away from her grip leaning back in his chair. NOLAN But its not your money, its his. JESSICA Its my money, my father gave it to me to help us... NOLAN To help you. JESSICA sighs. NOLAN stands still, staring at the ground. JESSICA This money is going to help our future. Our baby will be here before we know it and the money will give us a better chance to give it the life it deserves. It paid for the house we live in... NOLAN I dont live there yet. JESSICAS eyes begin to fill with tears. JESSICA You can stay at yours tonight then, cant you. JESSICA stands and leaves the table. NOLAN is sat still staring at his coffee. He looks up after her, out of the window, but she is lost in the crowd. He turns back to his coffee, banging his hand on the table. Other members of the coffee shop look around at the source of the noise.



INT. NOLAN S APARTMENT. NIGHT. NOLAN is sat on the end of his sheet-less bed, bathed in an orange light. The small room looks empty and un-lived in. Next to him is a land line phone the wire stretched across the room. He lays back on the bed, fully clothed. His eyes closed with weariness.


INT. JESSICAS HOUSE LOUNGE. NIGHT. A news broadcast dated (PRESENT DAY) is playing on a large flat screen TV. JESSICA is sat on her sofa, illuminated in pale blue lights which surround the room. The walls are pale grey and bare, apart from the odd artistic picture. On the screen a news presenter is seated in a white background with a white table in front of them. They are bathed in a pale yellow light. MICHEAL The biggest story of today, Londons largest light factory was attacked by a man who took a bomb into the building with him. We can confirm that the attacker was JOHN BARROW, a strong activist in the Fight against Light campaign. This attack was luckily unsuccessful but the message was clear, that this group of people are dangerous. A representative from the factory has stated That the recent attack was shocking, but we have learnt from it. We will be more prepared to prevent anything like this happening again. And lets hope nothing like this does happen again. Now finally time for the smog density forecast for the week, hopefully we will see some bright patches. Over to you CHRIS. CHRIS Thanks MIKE. Well this week doesnt seem much brighter. The thickness congregates over London and other major cities, Birmingham and Manchester. Brighter patches may be seen in the higher parts of Scotland later this week.




MICHEAL Thanks CHRIS. Thats all for tonight now, so join us again tomorrow. Goodnight. As the show finishes an advertisement for Light appears on the screen. JESSICA stays sitting for a beat then, leaving the TV on, she picks herself up from the sofa and places a glass from her hand onto the table. Once stood, she glances at the phone on a small table at the edge of he room. Ignoring it she then proceeds to leave the room down a hallway. 17 INT. JESSICAS HOUSE HALLWAY. NIGHT. JESSICA proceeds down the hallway reaching a heavy metal door stopping outside. Her hand reaches up for the keypad on the side of the door. The sound of the room powering up rumbles around the hallway as JESSICA steps back and removes her white dressing gown revealing a white swimsuit. She tugs on the door and it opens revealing a dim blue light. She steps inside closing the door behind her. At the end of a corridor a figure appears, masked with shadows. It moves forwards. 18 INT. JESSICAS HOUSE LIGHT CHAMBER. NIGHT. Inside the metallic chamber JESSICA walks over to a large silver laid back chair glimmering silver in the low light, located in the middle of the room. She places herself upon the chair, reaches down to open a draw on the side of the chair, taking from it a pair of silver goggles. She pulls them over her head, concealing her eyes and lays back on the chair. JESSICA Password NOLAN , Light treatment activate, dosage 1 hour. COMPUTER SYSTEM Treatment, accepted. Commencing in 10, 9... 19 INT. JESSICAS HOUSE HALLWAY. NIGHT. The figure is stood in front of the door, it wears a long black trench coat, with gloves and a black balaclava. The countdown plays in the back whilst a hand moves up to gently stroke the keypad. Another hand, bringing with it a small metal rod moves towards the keypad. Wedging the metal rod between the wall and the panel holding the keypad, the arms grip the rod tightly and sharply pull (CONTINUED)



down. The panel breaks loose and the hands, placing the rod back to where it came, gently remove it being careful not to disconnect the wires attached. Then holding the panel with one hand, he brings from his pocket a small electronic device with a long wire attached to something hidden in his bag. The hands begin disconnecting wires from the keypad and reconnecting them with the device. 20 INT. JESSICAS HOUSE LIGHT CHAMBER. NIGHT. COMPUTER SYSTEM 2, 1, Treatment Begin. The room, once dimly lit, gets suddenly flooded in a magnificent, burning white light. 21 INT. NOLANS APARTMENT. NIGHT. The NOLAN sits up on his bed, awoken by a bad dream. The phone still lies next to him. He picks it up, pauses, then dials a number. The phone rings. 22 INT. JESSICAS HOUSE HALLWAY. NIGHT. The hands are moving faster, connecting the last of the wires and placing them confidently onto the device. The phone in the next room begins ringing, the figure stops suddenly jumping at the noise. It pauses, listening. The ringing phone is muffled by the rumble of the machine. Realising what the sound is the figure turns continuing with his work. Now completely disconnected the keypad is placed to the side. Grasping the small device firmly a finger moves to the single switch occupying the devices surface. It pulls the trigger. 23 INT. JESSIAS HOUSE LIGHT CHAMBER. NIGHT. Inside the chamber, the light shines as bright as the sun. But slowly, the pure white turns slowly more red. JESSICA, lying on the chair starts breathing more heavily. The light is now a deep blood red. She suddenly sits, bolt upright. Her hands reach for her head and she screams. 24 INT. JESSICAS HOUSE HALLWAY. NIGHT. As the screaming starts the figure pulls out small stopwatch, and begins timing.



INT. JESSICAS HOUSE LIGHT CHAMBER. NIGHT. JESSICA, sat screaming rips the goggles from her head to reveal jet black eyes. She slides off the chair onto her knees.


INT. JESSICAS HOUSE HALLWAY. NIGHT. The stop watch is ticking away the seconds. The figure jumps slightly as banging begins on the other side of the door of the chamber. The figure chuckles slightly, regaining his posture. The screaming begins to get weaker. FADE OUT:


INT. JESSICAS HOUSE HALLWAY. NIGHT. There is silence accept for the gentle rumble of the chamber. The figure gets out a notebook and begins to write a time down onto the paper, 1min 49seconds - Needs to be faster. He snaps the book closed placing it back into his bag and quickly disconnects his device placing it back into the bag from which it came. He picks up the old keypad and holds it against the wall, secures it in position and turns to leave.


EXT. A FIELD. DAY. A field of the greenest grass, surrounded by magnificent trees. The sun can be seen up in the sky, bright and beautiful. Not a cloud in sight. A hand comes up in front of the sun, sunlight slipping through the fingers.


INT. OLIVER LOGANS OFFICE. DAY. A young man of mid twenties is sitting behind a desk dressed in a white lab coat covering a green shirt and tie and black trousers. He is thin with medium length dark hair, his face young and attractive except for the overall weariness it holds. The office is small but fairly tidy and uncluttered, a yellow light fills the room. The walls are filled with old pictures of the sun shining over beautiful landscapes. His hand is held out in front of him. He regains focus and looks out at his hand with curiosity. Someone walks through the door and pauses as if he has interrupted something. OLIVER LOGAN reacts quickly, retracting his hand. He straightens himself up and sits back in his chair. OLIVER Yes, Peterson can I help you?




PETERSON, a young assistant also wearing a white lab coat but covering an orange shirt, shakes off what he has just seen moves forward to talk to him. SCIENTIST PETERSON Umm, yes, sorry for disturbing you but we have had a call from the police concerning a recent murder. They were asking for you personally. OLIVER Me? What for? SCIENTIST PETERSON They wouldnt say, but they want you to contact them immediately. OLIVER Okay, thank you for passing on the message. Ill find out what they want. Peterson nods, turns and leaves the room closing the door behind him. OLIVER relaxes in his chair and looks back at his hand. He then reaches for the phone. 30 INT. POLICE STATION. DAY. The overcrowded corridor bathed in green light, is a mess of people running back and forth, all dressed in black. OLIVER sits awkwardly on a bench at the edge of a corridor watching the people pass by, his tatty brown suit standing out from the crowd. An older woman walks out from a door to his left. The small woman dressed in black with large glasses moves over towards OLIVER. RECEPTIONIST Mr. Logan is it? OLIVER nods nervously. OLIVER Yeh thats me. RECEPTIONIST Okay follow me please. The woman beckons OLIVER to follow, leading him into a smaller office room with a solitary desk and a few chairs to one side.

13. 31 INT. WAITING ROOM. DAY. Once inside the woman shuts the door behind him, muffling the sound of busy people outside. She moves past him towards her desk and beckons towards a seat on the right hand side of the room. RECEPTIONIST DETECTIVE BANKS will be ready for you shortly. OLIVER Okay, thanks. From the other door in the room raised voices can be heard. 32 INT. NOLAN S OFFICE. DAY. The large and cluttered office is illuminated in pale green light. NOLAN stands behind his desk staring at another man on the other side of the room. MR. FORD stands tall and proud in and expensive white suit and coat. His hair is a pale silver and his face is full of anger. MR. FORD My daughter is dead!... is it too much to want to know how she died, to know who was responsible. NOLAN MR. FORD can you not see I am doing everything thing I can. Everything in my power to try and find that out! MR. FORD Well obviously your as much a failure at your job as you were too my daughter! NOLAN slams his hand down looking at the desk. NOLAN MR. FORD. I loved your daughter and I promise you I will find her killer but for her, not for you. NOLAN looks up at MR. FORD. He has tears in his eyes. NOLAN Now please leave... Now. MR. FORD makes no response, he looks in disgust at NOLAN before turning and walking through the door slamming it behind him.



INT. WAITING ROOM. DAY. OLIVER watches as MR. FORD rushes past him and out the other door. The receptionist picks up the phone on her desk and dials a number. RECEPTIONIST I have Mr. Logan outside, shall I send him through?... Okay. RECEPTIONIST puts the phone down. She turns to OLIVER. RECEPTIONIST DETECTIVE BANKS will see you now. OLIVER smiles and gets up, nervously adjusting his tie. He knocks on the door and opens it, stepping inside.


INT. NOLAN S OFFICE. DAY. NOLAN is stood gazing out, his back turned. OLIVER walks into the room closing the door quickly behind him. OLIVER Hi Im Oliver Logan, Ive been told I could be of some use to you, but thats about all Ive been told. Were you the one who was looking for me? NOLAN continues to look out of the window. NOLAN OLIVER yes, Im glad you came. My name is Nolan Banks and if you dont mind Ill get straight to the point... NOLAN turns from the window. His face tired and worn, his eyes bloodshot. NOLAN A young woman has been killed. He pauses breaking eye contact with OLIVER. He looks back towards him, a forced smile appears on his face. NOLAN And I need you to catch the killer. OLIVER looks taken-aback, he stutters. OLIVER What? Why me?




NOLAN This case is something I have never seen before.. and it will take a brilliant mind for us to have any chance of solving it. OLIVER You have a lot of faith in someone you have just met. What if Im not who you think I am? NOLAN Then I will admit I was wrong, and our killer will stay free. OLIVER opens his mouth to say something, but no sound comes out. NOLAN Here look at these. NOLAN moves over to his desk picking up a large envelope and handing it over to OLIVER who takes it in his hands. He opens the envelope and sheepishly puts his hand in taking out a series of photos. NOLAN These are photos from the crime scene... What do you think? OLIVER studies the picture, closely looking at them one by one, his face covered in confusion. OLIVER This.. this is a Light Chamber... And the woman, she died inside the chamber? NOLAN She did. OLIVER How did she die? NOLAN pauses and looks out the window. NOLAN We dont know. OLIVER looks up at NOLAN. NOLAN Its something we have never encountered. The damage was localised to her brain, it was... destroyed. And her eyes were burnt black like coal. No other (MORE) (CONTINUED)



NOLAN (contd) symptoms where found apart from bruises and small cuts on her hands which we believe came from her umm, her attempts to escape. NOLANS hand clenches. OLIVER looks down, noticing. OLIVER Are you alright? NOLAN un-clenches his hand, and wipes his face. He turns from the window. NOLAN Im fine. NOLAN takes the documents back off OLIVER, he looks down at them. NOLAN We thought at first she had been exposed to immense amount of heat from the symptoms we found but its impossible that she would show no other signs. OLIVER It sounds like a malfunction, not that I have ever heard of a machine malfunctioning like this. NOLAN It was a murder. NOLAN slams the documents onto his desk, breathing heavily. He turns back towards OLIVER. NOLAN Now will you help me or not? OLIVER looks at the NOLAN. He nods slowly. NOLAN Good. We will begin immediately. Do you have a car? OLIVER No, I never learnt to drive, its became to expensive as everything has became electric. I have a bike? NOLAN smirks.




NOLAN Dont worry, we will arrange transport for you in the future, for now you can ride with me. One of the few advantages of being a police officer these days. 35 INT. POLICE CAR. DAY. NOLAN and OLIVER are sat in the car together, NOLAN driving. The electric car hums lightly as it moves along the empty roads. OLIVER sits in his seat looking around the car in bewilderment.NOLAN looks over noticing. NOLAN Have you ever been in a car before? OLIVER looks over at him. OLIVER A few times i think, when i was very young not that i can remember. But since most people stopped driving i havent got the opportunity. Its great though isnt it! NOLAN chuckles. NOLAN Its alright, i guess Im used to it now. OLIVER Ive always wanted to drive, but my dream is to fly in a plane. Not that it will ever happen. NOLAN I have once, when i was a young boy before the smog. My mother always used to tell me, we went on holiday too France. But that was a long time ago. OLIVER is staring at NOLAN, taking in every word he is saying. He goes to open his mouth but NOLAN begins to slow. NOLANS face drops. NOLAN We are here.



INT. JESSICAS HOUSE HALLWAY. DAY. JESSICAS house stands bordered off by police tape. The interior looks exactly as it once did. NOLAN and OLIVER walk through the hallway, the OLIVER pulling rubber gloves over his hands. They move towards the Light chamber. NOLAN This is the chamber. You can see here that the keypad has been forcibly removed and replaced. When we removed it we found the wires hidden underneath were disconnected and loose. OLIVER moves over to the keypad and inspects the wiring behind it. NOLAN turns away leaning against the far wall. OLIVER This wasnt just ripped off, it was removed with precision. They knew what they were doing. Can we go inside? NOLAN turns, gesturing with his hand towards the chamber. OLIVER moves forward pulling back the heavy door.


INT. JESSICA HOUSE LIGHT CHAMBER. DAY. He moves forwards into the room, NOLAN follows with resistance. NOLAN There wasnt bruising on her body, we dont believe she was forced in. But you can see where she tried to get out. Smears of blood are plastered across the door. OLIVER She must have been trying for a while. Theres a decent amount of blood. It wasnt a quick death, she will have been in agony to try this hard to get out. NOLAN grimaces, he puts a hand out supporting himself against the wall. NOLAN Ill leave you to work in peace. Ill be outside. NOLAN makes to head to the door.




OLIVER Where are you going? NOLAN Im gonna make a call. Just see what you can find, there are other officers outside if you need anything. OLIVER nods. NOLAN leaves the room. 38 INT. JESSICAS HOUSE HALLWAY. DAY. Other officers can be heard in the living room at one end of the corridor. NOLAN turns, heading the opposite way. At the other end of the hallway just around the corner a set of stairs lead up. NOLAN sits at the bottom of the stairs his head in his hands. 39 INT. JESSICAS HOUSE LIGHT CHAMBER. DAY. OLIVER looks around the room, running his fingers along the chair. He looks up at the ceiling. Climbing up onto the chair, he steadies himself reaching for the panels above. He loudly lifts them, moving them out of the way to gain access to the Source of Light in the room. The large bulb burns hot and blue. OLIVER examines it shielding his eyes as they begin to water looking into the dim light. He suddenly smiles and jumps down off the chair. He moves quickly outside the room to turn of the light from the switch in the hallway. He runs back in to the now darkened room. 40 INT. JESSICAS HOUSE HALLWAY. DAY. NOLAN glances down the hallway hearing OLIVER. He stands up composing himself. 41 INT. JESSICAS HOUSE LIGHT CHAMBER. DAY. OLIVER leaps up onto the chair, the dark room lit dimly from the hallway. Rolling his sleeves down over his hands he reaches up to try and un-attach the large bulb. He manages to get it loose and safely lift it down to the floor. NOLAN walks back through the door. NOLAN Whats going on in here?


CONTINUED: OLIVER Here! take this. Careful its hot.


OLIVER passes the light bulb down to NOLAN who takes it carefully,making sure to protect his hands. OLIVER jumps down, grabbing the bulb back into hi hands. OLIVER I need to look at this in some light. He rushes past NOLAN who quickly turns to follow. They go down the hallway coming to the large lounge. 42 INT. JESSICAS HOUSE LOUNGE. DAY. OLIVER moves a over to a lamp, switching it on and aiming it towards the bulb which they both crowd around. OLIVER Look closely at the bulb, do you notice anything. NOLAN Well, it could do with a clean. OLIVER No look, can you see these small markings on the bottom of the bulb here. The bulb obviously wasnt able to handle whatever was coming out of it. I dont feel it would have lasted much longer under the strain it was going through. NOLAN Can you tell what it was? What it was being produced by the bulb? OLIVER I cant tell here, we will need to examine it back at my lab. Umm excuse me, err.. CAMERON WOOD sir, CAMERON WOOD. OLIVER CAMERON, could you take this for me. Make sure its well looked after and makes it back to the police lab. CAMERON nods, taking the bulb which has now cooled into his hands and walking away. NOLAN turns to OLIVER.




NOLAN Did you find anything else? OLIVER Nothing that you hadnt already pointed out. The outside panel is still of interest, but what its use was is still unclear. Ill head back to the lab now and start analysing the bulb. NOLAN Alright I will get us a lift back. 43 INT. POLICE CAR. EVENING. The bright array of coloured lights flick past the car, illuminating the car interior. NOLAN and OLIVER sit in the front of the car, NOLAN staring ahead his face sad and tired. OLIVER keeps risking glances over to him. Finally plucking up the courage he speaks. OLIVER Can I ask a question? NOLAN makes no response. OLIVER NOLAN! NOLAN startles slightly, he turns quickly. NOLAN Yes, yes, what sorry? OLIVER I want to ask you something, about what you were saying earlier, about life before the smog. How old where you? NOLAN smirks. NOLAN Not old enough to remember much. I was only 9 or 10 when the smog came. The little I remember is a few vague images, like most childhood memories. Thats probably not the answer you were looking for. OLIVER Its alright, I have spoken to others about what it was like, (MORE) (CONTINUED)

CONTINUED: OLIVER (contd) older family members. But I never feel like they are telling me everything, like they are protecting me making it out to be a fantasy place rather then the world they once lived in. NOLAN Im sorry I couldnt tell you more. Why are you so interested? OLIVER Umm just personnel interest, dont you ever wish you new more, more than just hearing stories or seeing pictures. To know how it felt to stand under sun. NOLAN I try to stay in the present. I dont have time to get caught up on the past.


OLIVER turns back in his seat. Opening his mouth to speak but NOLAN begins unbuckling his seat belt. NOLAN Were here. NOLAN climbs out his door closing it behind him. OLIVER sits back in his chair tilting his head back and closing his eyes. He then quickly moves to unbuckle his belt following NOLANS lead. 44 EXT. STREETS OF LONDON, OUTSIDE POLICE STATION. DAY. OLIVER hurries to catch up with NOLAN. He catches up, slowing to walk beside him. NOLAN Im heading up to my office, I have other work to attend to. I presume your going to the Lab? OLIVER Yes, want to get started A S A P. NOLAN Good. He pulls the door open, holding it for OLIVER. NOLAN Report your findings when you have any. You know where I am if you need anything.


NOLAN suddenly veers off, heading up towards his office. OLIVER watches him for a beat before turning and heading down another corridor towards the lab. 45 INT. POLICE STATION LAB. EVENING. OLIVER flashes his laminate at the attendant supervising the lab. The attendant buzzes the door allowing OLIVER to enter. Inside the large white and chrome room is bathed in a yellow, orange light. OLIVER moves to the hand sanitizer dispenser by the door, placing his hand underneath. The liquid drizzles onto his hands which he rubs together. Moving into the lab he removes a white lab coat from a hook, throwing it over his arms as he proceeds to the large wall of cabinets on the far side of the room. He quickly sees the bulb labeled and opens the draw containing it, pulling it out. 46 INT. NOLANS OFFICE. EVENING. NOLAN walks inside his office, closing the door carefully behind him. He then moves forward, towards his desk before stopping and dropping to his knees. His hands move to his face as he starts silently crying. After a few seconds he moves his hands down his face revealing his eyes. He breathes heavily, wiping his cheeks. He moves his hands to his knees and stands up suddenly. He moves round his desk, sitting down on the chair. He turns on the desk lamp which emits a dim green, and reaches over to one of the many files piled up on his desk placing it in front of him. He opens it up and begins working. FADE OUT: FADE IN: 47 EXT. A FIELD. DAY. A field of the greenest grass, surrounded by magnificent trees. The sun can be seen up in the sky, bright and beautiful. Not a cloud in sight. A hand comes up in front of the sun, sunlight slipping through the fingers. 48 INT. POLICE STATION LAB. NIGHT. A pierce phone ring breaks the silence. OLIVER raises his head up from the table quickly looking around. He stands up shakily, looking at the clock on the wall. He sighs and moves over the to the phone attached to the wall. He takes it in his hand, putting it to his ear.




OLIVER Hello? NOLAN Its NOLAN, we have just got a call that another attack may have just taken place. Meet me outside now. OLIVER Im on my way. 49 INT. POLICE STATION. NIGHT. NOLAN rushes places his phone down in the office, and rushes from the room. He quickly takes the stairs down two at a time. At the bottom of the stairs, in the main lobby he sees OLIVER coming from the other hallway, he signals to him, and they both move outside. 50 INT. POLICE CAR. NIGHT. OLIVER sits in the passenger seat as NOLAN drives. OLIVER Who made the call? NOLAN It was an anonymous tip,they arent always reliable but we dont exactly have many leads on this case yet so I am taking a chance. What we have been told is that a woman was seen being forced into a building which has been on record before as a Light Den. We havent heard activity from it for months... OLIVER looks down, away from NOLAN, then out of the windscreen. OLIVER Is this is? 51 EXT. LIGHT DEN. NIGHT. The car pulls up outside of a large dark building. The shabby exterior with windows missing makes the building look abandoned. The lights inside the building flicker orange. A scream is heard from inside. NOLAN and OLIVER stop and glance at each other.




OLIVER The woman. Shes still alive, its still happening. We should call for back up, we dont know who else may be in there. NOLAN? NOLAN is stood as still as rock staring at the building. He takes a step forward. OLIVER Wait, NOLAN. We cant go in by ourselves. Another scream is heard. They both look towards the building, then NOLAN turns his glance to OLIVER. They lock eyes for a beat and NOLAN turns and runs towards the building. OLIVER No Wait! DECTECTIVE pulls out his gun as he runs. He sees an open window and heads towards it. He stops as he reaches the window, pressing himself against the wall, he peers around looking into the window. The orange light flickers on and off illuminating the room, its deserted. NOLAN climbs threw and proceeds into the building. 52 INT. LIGHT DEN. NIGHT. NOLAN makes his way through the room towards the door on the far side. He slowly opens the door, checking its clear before proceeding through. He moves through into a long corridor. He begins to run down it, but as he reaches the end he notices movement around the corner. He pauses, hiding behind the wall. Around the corner a man is stood holding a gun, the orange light flickers off and on as NOLAN sneaks up behind the man and engages him. Grasping him from behind he gets his arm round the mans neck. The man raises his gun but NOLAN uses his free arm to grab the mans arm hitting it against the wall, once, twice. The gun fires and then falls to the ground. He prys free of NOLANS grip turning to face his opponent. In the flashing orange light NOLAN is able to subdue his opponent knocking him unconscious. Deeper into the building in a large room, a Light chamber stands alone. Four men are stood outside of it, three dressed very differently to one who wears a long black trench coat with a black balaclava. They all look towards the door staring and waiting. After a beat the figure in black returns back to a machine connected to the light chamber.




FIGURE IN BLACK We have visitors children. Go and play. The three men turn and look at the man dressed in black, then turn back to the door holding up there guns and moving forwards. 53 EXT. LIGHT DEN. NIGHT. OLIVER stands by the car, the in car radio held to his mouth. OLIVER Thank you, Please come quick. OLIVER places the radio back inside the car and looks back at the building. He glances to the window OLIVER entered through and shakes his head looking down. He looks back up again closes the car door and runs for the window. 54 INT. LIGHT DEN. NIGHT. NOLAN moves through into a large long room, with two sets of square columns running down the length of it. Debris and rubbish litter the room. The orange light pulsing on and off unexpectedly dimly lights the room. As NOLAN moves through the room, the sound of gunfire echoes in the room. NOLAN quickly takes cover as the bullets pelt towards him. They strike the walls and the column he hides behind. The firing stops and NOLAN move quickly from behind his pillar, finding a target in the dark room and firing. The target falls. NOLAN quickly moves further along in the room, covering behind another pillar. The men fire randomly unaware of NOLANS new location. NOLAN peers around the corner spotting another target, and pulls his head back. He raises his gun and turns, firing another single bullet which finds its mark, the man goes down. The Single man now panics. He quickly fires the remainder of his bullets, randomly shooting around the dark room. The bullets stop firing. The man drops the gun, puling a knife from his belt. He looks around frantically, the orange light flashing on and off. NOLAN appears from the pillar closest quickly disarming his opponent, knocking the knife to the floor. He then easily subdues his opponent and moves through to the next room, he is in a small corridor with no light. About half way down a large opening can be seen with a strange flashing light coming from it. NOLANS moves forward quickly but cautiously. He stops at the entrance carefully peering in, the room appears deserted, he spots the Light Chamber and slowly moves round the corner, his gaze fixed upon it. Just then OLIVER appears round the corner stopping suddenly as NOLAN whips round pointing his gun at OLIVERS face.


CONTINUED: OLIVER Wait, wait! Its me!


NOLAN lowers his gun, OLIVER now seeing the chamber moves forwards staring wide eyed. OLIVER Its still active! The process it still on! NOLAN turns realising what this means, they rush toward the chamber the loud humm growing louder as they get closer. They get the chamber looking for the panel to switch it off but just as the last it is removed. NOLAN The door! Help me with the door! They move to the door, and try to open it. The heavy door provides challenge as they pry it open. A blood red lights pours out. OLIVER Get out of the light! Dont let it touch you. They both move back, stepping away. NOLAN There is someone in there, we need to go in! OLIVER The light, its not right. We cant risk it. OLIVER stands in front of NOLAN blocking the way. NOLAN I cant just stand and watch! NOLAN pushes past OLIVER and rushes into the chamber. The chamber is large, but old and rundown. Once inside and bathed in red light NOLAN sees the woman strapped to the chair. He moves forwards but only makes a few steps before yelling in pain and dropping to his knees holding his head. Controlling himself he stands slowly and moves to the bed unstrapping the body. Once she is free he grabs her in an attempt to carry her to the door. He yells again stumbling and hitting a wall. At that moment OLIVERS hand grabs the back of NOLAN, he pulls with all his might bringing both NOLAN and woman towards the door and out. They fall out the door in a pile, OLIVER quickly gets up closing the large door and banishing the red light from the room. He is panting and sweating heavily. He turns to look at NOLAN who crouching over the body. OLIVER moves around NOLAN peering down at the body, and sees what NOLAN is looking at. The womans eyes are pitch black. (CONTINUED)



Far above from a balcony covered in darkness, a man dressed in a black trench coat and balaclava stands gazing down at them. He holds a stopwatch in his hand, pressing the button to stop the timer. CUT TO BLACK: End.

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