Short film screenplay: 'Just The Way You Are'
This was my first screenplay attempt, written almost a year ago as part of my A-Level. Maybe too descriptive, but what can I say about my perfectionism and love for amateur dramatics. Happy reading, and as always, all comments and genuine criticism are appreciated. (NB. not typical screenplay format due to Substack’s formatting; speech marked with speech marks!)
0. SCREEN BLACK
DR EISENSTEIN (V.O.)
‘A long time ago, a man called God created everything. I know he’s a man because he’s only got a capital letter at the beginning of his name. Otherwise, he’d be GOD. Then he’d be something immense, like a corporation, or something representative and abstract, like an acronym. Now if he was god, he would just be a thing. Maybe as small as a bee, or an ant. But he’s God.
A creator.
A scientist.
Someone.
In a way, I think I could be God. Some people believe in a soul, but I’m not so sure. Maybe it’s something else. Something intangible... that ‘something’. That’s the something you can’t fabricate. That’s what God’s for. Your innate sense of being.
How do you know you’re truly human?’
FADE IN.
1. INT. CORRIDOR WINDOW (INSIDE), DAY
View outside the window: an unassuming suburban back garden at the height of summer. THE FAINT BUZZ OF FLIES. The odd ENGINE NOISE. BIRDCALL. DR EISENSTEIN, an arrogant young scientist, clad in heavy felt coat and itchy mauve jumper, rounds the corner into centre frame. Her purposeful, direct stride reflects a stability, but there is something ravenously Faustian behind the eyes. She stares directly down the lens as she makes her way down the corridor, the camera tracking backwards to keep her in frame:
DR EISENSTEIN
‘I started small, working to elicit life from the lifeless. Doesn't sound it - small, that is - but in my line of work... Anyway, that was a long time ago. I've moved on. And I’ve gone so far.
(laughs) And yes, I’m aware greed only leads to misery, but I’ve no Mephistopheles to grant me every wish; I’ve no Satan to tempt me to the fruit. All my work is mine. My responsibility. My reward.’
The camera continues to track Dr Eisenstein backwards, rounding the corner into the kitchen where it stops in the centre of the table, only lowering as she takes the available seat at the table directly in front of the camera. Throughout this, she continues narrating:
DR EISENSTEIN (CONT.)
‘Mother always told me I had to succeed. No other choice, you see; ‘success is to emotional fulfilment as bread is to stone’. Fat lot of good it did her.
(awkward pause, looking down at clasped hands) She’s not dead. She’s just living in a council house in Warwickshire, bringing up a family of seven from a second marriage. She might as well go to Zumba at this point.
Funny, I still live by those words. I could never have time for a family of my own, though; no, I’m married to the job, as they say. I have enough responsibility down in the lab, in fact - ’
Through her final sentence, a figure rounds the corner where Dr Eisenstein has just entered and appears behind her with abhuman calmness, only visible from the shoulders downwards. With one swift movement - unseen by the camera - THE MONSTER stabs Dr Eisenstein in the back. Only the sudden METALLIC PENETRATION OF HER LUNG is heard as the figure stills, paused in motion. Dr Eisenstein lets out a MINISCULE GASP, barely audible, as her eyelids flutter and the determined glint dies in her eyes. She slumps forward, suddenly and noisily, her head THUDDING SHARPLY ON THE WOODEN TABLE in front of her, revealing the knife wedged in her right lung from the back. The Monster reveals nothing in his body language, moving offscreen left after a beat.
A grimy finger slowly nears one of the kitchen radio’s knobs, before reconsidering and picking a different knob. Twisting gingerly, nothing happens. A little frustrated, the hand moves around the whole radio, pressing and twisting random buttons and knobs in hopes of eliciting life from the radio. Finally, the finger finds the 'ON' switch, and the radio sparks into a FLURRY OF STATIC before delivering a quickly-spoken news report.
RADIO
“...a recent Italian study into the family projection process has emphasised the presence of its cyclical nature, calling into question the severity of its effects, and...”
Unsatisfied, the finger returns to the original knob and twists slowly. The reporter's voice dies and the mellow opening tones of BILLY JOEL’S ‘JUST THE WAY YOU ARE’ emerge from the radio as The Monster tinkers with the knob. Finally, satisfied, the hand withdraws.
The Monster takes the kettle and fills it up in the sink, out of view. The sound of RUNNING WATER is heard for a few seconds, more than enough for one mug. Returning the kettle to be boiled, he turns it on. An elaborate, quickly-cut, tea-making sequence begins:
The Monster opens the cabinet, where only two mugs are placed. He takes both of them in each hand without thought. He places both mugs next to the kettle and roots around in the boxes on the kitchen counter until he finds a couple of teabags, placing one in each mug. The sound of the KETTLE DROWNS OUT THE SONG.
2. FLASHBACK - INT. WINDOWLESS CELL (MONOCHROME)
The Monster's eyes flutter open. Only black and white tones flood his vision, seeing the grotty ceiling of his cell. Dr Eisenstein, fiddling with something on his head, looks at him as the camera shakes a little and he emits A SPLUTTER.
DR EISENSTEIN
‘(drawing away) Awake? Good. Very Good. Wondered how long that would take.’
She checks his pulse. Huffs.
DR EISENSTEIN
‘(to herself) Not great for a fresh one, but it'll do.’
She stands eye-level with him, placing her hands on his temples so that only her face is in his field of vision.
DR EISENSTEIN
‘Now. I need you to be strong and I need you to be useful. Wundt’s method of introspection enables someone to look into their own mind. You are going to find something that resembles a soul.’
Her eyes bore into him.
DR EISENSTEIN
‘And you are going to bring it to me.’
Electricity begins to run through The Monster's limbs. Reaching his head, The Monster's SIGHT BECOMES FUZZY as only Dr Eisenstein's face fills his vision. BILLY JOEL’S ‘JUST THE WAY YOU ARE’ permeates the sound of ELECTRICITY, heard AS IF UNDERWATER.
3. END FLASHBACK - INT. KITCHEN, DAY (COLOUR)
The KETTLE SWITCH CLICKS as it comes to a boil, the bubbling seen through the kettle window. Boiling water is poured into both mugs. The Monster opens the fridge door, hand clasping the milk carton, taking it, and closing the fridge door. Grimy fingers twist the milk lid open. A splash of milk into the brewing teas. The teabags are also scooped out and the tea is stirred. The DISCARDED TEABAGS LANDING IN THE BIN is audibly heard as the tea swirls in the mugs. The hand picks up one of the mugs and brings it upwards as if to drink.
A POV shot illustrates The Monster’s view out the window, A SLIGHT FILTER SATURATING THE GREENERY. A pause in happenings as the SONG is BROUGHT TO THE FOREFRONT, with no other diegetic sound. Outside bright greenery can be seen, as well as small animal movements. Slowly, as if only being noticed, BIRDCALL and BUZZING FLIES are heard and the SONG begins to FADE. The green picture is overwhelming. Nature is thriving.
We finally see The Monster’s eyes. A deep gash has been sewn together diagonally across his forehead, the needlework neat but noticeable. The hair visible on the forehead and eyebrows is dishevelled and matted, evidently uncared for. Despite his less-than put-together appearance, the eyes stand vividly blue and glassy, transfixed. The SONG has COMPLETELY FADED, the SOUNDS OF NATURE SEEMINGLY DEAFENING. The Monster's eyes almost reflect the potent greenery of the view, eyebrows quirking every few seconds to manage the barrage of emotions.
4. FLASHBACK - INT. WINDOWLESS CELL (MONOCHROME)
Cut to the same frame of The Monster's eyes in the cell, no longer emotion-ridden but empty. Waiting. Rather than the sounds of nature, all that is heard are Dr Eisenstein's frustrations. With each METALLIC CLASH, crackle of ELECTRICITY, or DULL THUD, The Monster's eyes do not flinch, but follow the doctor.
DR EISENSTEIN
‘(venomous) I gave you everything! You think it was easy, giving you life? Your entire existence is indebted to me... ME! Were it not for my ability, my knowledge, my sacrifice, well... you’ve no idea the work it’s taken to get to this point. You think just anyone could have done this? You’ve no idea, no idea the work..! But you’re nothing!
(beat.)
... after all this, how can you be nothing?’
Her sardonic tone hangs in the air. Heard: her HEAVY BREATHING, her FOOTSTEPS, her SIGH. Still his eyes do not move.
DR EISENSTEIN (CONT.)
‘I... I need this. You're the last one. (beat.) I need you to try again.’
5. END FLASHBACK - WIDE SHOT - INT. KITCHEN, DAY (COLOUR)
The floor-to-ceiling shot encapsulates the strangeness of the scene. The tinny radio continues playing ‘JUST THE WAY YOU ARE’. On the right, Dr Eisenstein is still slumped on the table, knife in her back. A pool of blood has formed under her chair. On the left, The Monster stands gazing out of the window, bringing the mug to his lips. He exudes an appearance of grubbiness previously unseen: hair more evidently tousled, skin grimy, and long, winding scars run up his arms and neck. The scars are unhealed, in some places surgical string is left unsutured. All in all, a skilled but hasty job. The Monster takes a much-needed sip of tea. The room is calm as THE SONG SWELLS. The Monster sighs, indulging, then turns to the radio to TURN THE VOLUME DOWN BY HALF. He grasps both mugs and take a seat opposite the body, placing the other mug in front of Dr Eisenstein. A pause. The Monster leans over and turns the mug handle so it is facing Dr Eisenstein.
Our first full view of The Monster. Now more than ever, the eyes are striking. They move slightly left and right, deciphering. The audience is similarly inspecting him. Dr Eisenstein's body lies as is, almost comical. The Monster settles back in his chair, eyes finally relaxing. They are none the less striking. He gives a little smile, picking up his mug. The song's SAXOPHONE FADES, as if submerged UNDERWATER.
6. CUT TO BLACK
A SPARK is heard. A few more in quick succession before an ELECTRICAL CURRENT sparks to life.
7. POV SHOT - INT. WINDOWLESS CELL (MONO)
Dr Eisenstein's eyes flutter open. The Monster is leaning over her, bathed in monochrome contrast.
CUT TO BLACK - ‘JUST THE WAY YOU ARE’ plays as credits roll.