2

CONTENTS:

• Script, Pages 3-25

• Production Schedule, Page 36
• Storyboards, Pages 26-35
• Props List, Pages 37-38
• Location Recces, Pages 39-45
• Character Profiles & Casting, Pages 46-49
• Clearance and Confirmations, Pages 50-54
• Crew List, Page 54
• Contingency Plan, Pages 55-57
• Risk Assessments, Pages 57-58
 3

IN LIMBO
Written By Seth Dennis

SCENE 1:

From a black screen

 4

EXT. DAVID’S GARDEN. DAYLIGHT

We open to a close up of DAVID, a young man (20 years

old). His eyes look below the frame, the light of an
iPhone appears in the reflection of his eyes through the
flares of sunlight. Despite the overbearing light on his
eyes, there’s still something behind them. Music fades
in.

‘PHAT PLANET’ by LEFTFIELD begins playing.

As the drums rise to full volume, the music cuts- David

looks down to a reveal his phone in his left hand and a
business card in his right. On the card there is only a
phone number. He puts the card in the back of the phone
case. David looks up to the sky and leaves the frame.
Behind him the title appears.

TITLE CARD: IN LIMBO

The music continues- cue MONTAGE.

INT. DOWNSTAIRS FLOOR. DAYTIME

David races through the downstairs floor of his, we see a

kitchen of un-washed dishes and plates left on a kitchen
countertop. Scattered around the house are yellow post-it
notes covered in writing. We pass through a lounge with
pillows on the floor and a television left on silent
playing boxing highlights. At the centre of the lounge
sitting on a wooden coffee table is stack of empty post-
it notes with a black pen next to it. David rushes into
the lounge and picks up the notes. Once in his hands, he
storms out of the room and back outside where we see the
garden.

EXT. DAVID’S GARDEN. DAYLIGHT / INT. KITCHEN

A polar opposite to the interior of the house. The garden

is well-kept with grass freshly cut. David paces through
the garden, pen in hand. This is intercut with shots from
the kitchen of David writing ideas on the notes, drinking
energy drinks and reaching for his phone. On his phone,
David consumes content at a relentless pace. He scrolls
on Instagram in time-lapse footage
 5

We continue to see David write on the notes, different

shots of him writing and close ups of his eyes are faded
over one another.

We track David’s eyes through the different ideas, the

words are unclear until David lands on different phrases;
‘CHEF WHO BLEEDS’ ‘IN FOR THE HEAT’ ‘KILLER PRIEST’.

We see David write on a note: ‘You can’t rush greatness.’

INT. LOUNGE. DAYLIGHT

We see David sitting on his phone in the lounge, he stops

scrolling and reaches to his notes to write down ideas.

Back in the kitchen we see David holding his phone.

He looks above his phone around the room, tracking the

separate ideas he has scattered across the room. The
notes are disorganised, with some hanging off of the
wall.

INT. DAVID’S BEDROOM. MORNING.

David wakes. He turns his eyes to his closed blinds and

rises to open them. As he rises, we see his room, clothes
left everywhere, empty glasses. Next to his bed is a
bedside table containing; several books- most of which
are opened to the first page, his iPhone, some notes and
a digital clock reading- 12:38. After opening his blinds
to light the room with sunlight, David first reaches for
his phone. We pan to the right to follow David returning
to his bed. After a moment, we pan to the left to show
David reaching for a note stack, the digital clock now
reads- 14:02. David writes a few notes for a few seconds
and places them by the side of his bed next to several
notes. He picks up his phone and falls back into his bed.

ZEALOTS OF STOCKHOLM by Childish Gambino begins playing

from the 1:22 mark.

INT. LOUNGE. DAYLIGHT

David, rises from his side on the downstairs sofa- phone

in hand, he then ‘rolls’ to his other side and falls onto
the sofa.
As he hits the sofa we cut to his room.

INT. BEDROOM. NIGHT

 6

David ‘rolls’ from lying to his side until he is sitting

upright. He is dressed differently to how he was on the
sofa.

SCENE TWO:

SATURDAY NIGHT SPECIAL (instrumental) by The Alchemist

begins playing.

David sits on his bed mindlessly scrolling on his phone.

The background behind him fades to black, leaving the
focus purely on his face lit by the phone. We track his
eyes as he consumes endless content. The music halts.
We see a wide of David looking up from his phone and
around his room. The bedside clock reads 01:15. David
looks to the notes stack to his side before returning his
attention back to his phone.

CARTONS & CEREAL by Kendrick Lamar begins playing from

the 0:53 mark.

INT. GYM. DAYTIME

We see David in a gym sitting by himself on a bench-

phone in hand. By his feet is his gym bag, in the gym bag
is a stack of notes.

EXT. BRIDGE. DAYLIGHT

David walks over a bridge crossing a river. He has

headphones on and his gym bag on his back. The view from
the bridge sees a large park to one side. David looks at
the park and sees a group of young men walking together.
We cut back to David walking alone.

INT. GARDEN. SUNSET

David stands in his garden writing on a note.

INT. LOUNGE. NIGHT

David sits on his sofa writing some notes, in the

background is boxing on the tv. Halfway through writing a
note, David stops and opens his phone. When he opens his
phone it opens on a bank account app. On recent activity-
we see: DAD - +£150.

SCENE THREE:

INT. KICTHEN. NIGHT

 7

David sits on his phone at the kitchen counter top. In

the foreground of the shot is the notes stack. David puts
his phone down to write on the notes. As he begins to
write something down, his phone illuminates. The music
stops. David has an incoming call from ‘JORDAN’. David
has a smile on his face, as he sees the incoming call his
smile fades and he reaches to accept the call. As soon as
David answers the phone he hears his brother’s voice.

JORDAN
(from the phone)
Have you called them yet?

DAVID
Yeah I’m good thanks bro, how are you?

JORDAN
(from the phone)
Who gives a shit David have you called
them yet.

David stands from his seat and walks outside.

EXT. GARDEN. NIGHT

We see David’s garden lit by side lights. David stands at

the end of a deck and picks up a basketball.

DAVID
No not yet.

INT. JORDAN’S OFFICE. NIGHT

We see JORDAN, a young man dressed in a light suit

sitting behind an oak desk in his office. He holds his
phone to his ear.

JORDAN
Why not?

We inter-cut from Jordan’s office and David’s Garden.

DAVID
Don’t now, just haven’t yet.

Jordan puts his palm to his forehead.

JORDAN
What are you doing then?

DAVID
 8

Look I’m getting there I just need time.

JORDAN
No you need a job.

David looks up at the exterior of his house.

DAVID
Why do I need to do something I don’t
enjoy.

JORDAN
It’s not about enjoying it. Either way the
contact I gave you is specifically
something for you.

DAVID
It’s not that simple man, you can’t just
rush these things I can’t get signed
without having something concrete.

JORDAN
So write something concrete then.

DAVID
It’s not that simple.

JORDAN
What else have you got to do.

DAVID
Loads of things.

JORDAN
Like what?

DAVID
It doesn’t matter, besides when you were
my age you weren’t doing anything.

JORDAN
Doesn’t matter I went to university the
next year. I take it you won’t be.

DAVID
I don’t need to do that.

JORDAN
You need to do something.

DAVID
 9

I’m living fine here as it is, I just need

to take my time.

JORDAN
Are you seriously proud of yourself for
living in Mum and Dad’s house?

DAVID
I don’t care. Why did you even call me?

JORDAN
To see if you called yet.

DAVID
You got your answer why are you still
here?

JORDAN
Because I’m actually trying to help you
succeed.

David stands silently for a moment.

DAVID
I’ll call them tomorrow.

David hangs up the phone and walks back into the house.

INT. LOUNGE. NIGHT

David sits at his sofa, phone in hand. He looks at the

phone but doesn’t open it. He places the phone on a
coffee table in front of him and walks upstairs- leaving
the phone on the table. David turns off all of the lights
in the lounge- leaving the room in darkness. The only
light left on is behind the door of the lounge. Through
the glass panel on the door we see David walk up a flight
of stairs. We hold the shot for a moment, the light from
behind the door stays on. David re-enters the frame and
walks into the lounge to take his phone.

SCENE FOUR:

INT. BEDROOM. MORNING

David lies face down in his bed. His phone rests beside
him on his bedside table. David wakes, he sits up in his
bed and stares at his phone next to him. He stands to
open the shutters in his room, he turns his eyes once
 10

again to his phone. Next to his phone is a stack of notes

and a pen. David picks up neither and exits the room.
David re-enters the room dressed, his hands free. He
takes his phone from the bedside table and leaves the
room.

INT. KITCHEN. DAYLIGHT

David sits at the kitchen counter-top and takes the agent
card from his phone case. He stares at it for a moment.
He turns to look at all of his notes around the kitchen.
When he returns to the phone, he hesitates to pick it up.
We see the phone in the foreground with David out focus
in the background. In the background we see David
undertake different tasks. We see him cook food, wash
dishes and pace around the room. The phone remains in the
same position as we cut between the different actions
until David is not present in the background. David
enters from behind the frame and picks up the phone-
leaving the card behind.

SCENE FIVE:

EXT. THE BRIDGE. SUNSET

David crosses the bridge over the river, his phone in his
hand. As he walks, we see the sun-set in the background-
David is oblivious to this. As he reaches the middle of
the bridge he is pushed by a hand in a black glove. We
cut to a wide to reveal there is no one there. David
falls nonetheless.

The sound goes silent.

EXT. UNDERWATER

We see the empty view from under the surface of the

river. The light rays from above the surface serve as the
single source of light. After a moment, David crashes
through the surface and falls facing the surface. We see
him fall in the water in slow-motion. We see a close-up
of David’s eyes- open staring to the sky through the
water. He closes his eyes.

We see a hand reach into the water and grab hold of David
by his clothing. We see from above the surface- the hand
pull David from the river. His eyes now open.

SCENE SIX:

EXT. RIVERSIDE PATHWAY. DUSK

 11

David sits on a bench from the side of the river. He has

a towel around his clothes and a male police officer
around thirty years old standing to his left side holding
a pad of paper. To his side on the bench is his phone-
soaked. He looks first to the river, looking at the
currents- he then looks to his right to see a group of
teenage boys talking to another police officer. Two of
these teenagers also have towels around them. As David
looks at them, one of the boys looks back and gives him a
subtle nod.

POLICE OFFICER
(off screen)
Your name.

David looks to the police officer to his let side holding

his pad of paper and a pen, confused as to whether or not
he was asked a question.

DAVID
Sorry?

POLICE OFFICER
What’s your name young man?

DAVID
Oh sorry, David.

David sits in clear shock, the police officer shows

slight sympathy.

POLICE OFFICER
Full name kid.

DAVID
Oh sorry, umm David Allen.

POLICE OFFICER
Do you live around here?

DAVID
Yeah, just down the road.

POLICE OFFICER
Do you live with your parents?

DAVID
No, my parents don’t live in the
country anymore.

POLICE OFFICER
 12

Do you live with a sibling or

girlfriend or-

DAVID
I live alone.

The officer takes a moment and looks at David

suspiciously and writes something into his pad of paper,
David remains looking at the river.

POLICE OFFICER
Do you work around here?

DAVID
Yeah, I work from home.

POLICE OFFICER
They said you fell of the bridge,
where were you coming from?

David clears his throat and looks at the officer.

DAVID
Well I uh was um- I was-
just going for a walk.
POLICE OFFICER
A walk?

DAVID
Yeah no it was to uhm clear my head.

The police officer gives him another suspicious look. And

writes something down. David sees this.

DAVID
(cont’d)
Look I didn’t jump, I just tripped.

POLICE OFFICER
Don’t worry kid these questions are
only to understand what happened-

The officer continues to speak but a ringing noise

overtakes his speech. David turns away from the officer
and back to the water. The sound of a shower begins to
emerge.

SCENE SEVEN:

INT. DAVID’S BATHROOM

 13

David stands with his back to the camera in the shower

with the water falling in slow-motion. We see David from
the waist-up.

INT. DAVID’S BEDROOM. NIGHTTIME

David, with a towel around his head walks into his room-
he looks around at the mess. His bed is un-made. He has
clothes all over the floor and multiple food and drink
scattered around. David looks in shame. We see a bible
opened face down on the top of David’s bed.

INT. LOUNGE. NIGHTTIME

We see David tidy his lounge, he takes down all post-it

notes from the walls and pile them together. We see an
analog clock in the lounge read ten minutes past
midnight.

INT. DAVID’S BEDROOM. NIGHTTIME

David walks into his now clean room with the pile of
notes in his hand. The clock by his bedside reads 01:02.
David places all of the notes into his bedside table.. He
goes to sleep. We keep the same wide shot, but cut to
morning. The sun lights the room, the clock by David’s
bedside reads 09:00. The bed is made and David is not
there.

SCENE EIGHT:

INT. DAVID’S LOUNGE

We see the now clean lounge, empty. The tv is turned off

and the sofas are tidy.

EXT. GARDEN

We see David’s garden, the grass is freshly cut with the

lawnmower left out.

INT. GYM

We see David at a gym, he has his hood down. No

headphones on and no one around him. He stands back to
camera and has both of his hands on a high-positioned
barbell.

EXT. HIGHSTREET. DAYLIGHT

 14

We track David walking through a quiet high street. On

the high street he stops and looks into a shop. We see
David walking further down the high street placing
something into his gym bag.

EXT. PAVEMENT. DAYLIGHT

As David approaches his house, he sees Jordan sitting at

the footstep of the front door dressed in a suit. Jordan
looks up at his younger brother with a slight smile.

JORDAN
So this is how I found out I’m your
emergency contact?

DAVID
Who else was I gonna put?

David reaches his hand out and pulls Jordan to his feet.

DAVID
(cont’d)
Thinking of changing it seeing as it only
took you three days to come see me.

JORDAN
I’m here now aren’t I. Not like I didn’t
try to call you.

David opens the front door and the two enter the house.

INT. LOUNGE. DAYLIGHT

David walks into the lounge with Jordan behind him,

Jordan takes a moment to look around at the now clean
room.

JORDAN
Less notes than last time I was here.

DAVID
(from the kitchen)
Took up too much space, besides you were
right they weren’t leading to anything.

David walks from the kitchen to the garden- he drops his

gym bag by the door, Jordan follows closely behind after
placing his suit jacket on a kitchen seat. Inside the
kitchen, Jordan looks at the countertop and sees David’s
phone in a bag of rice.
 15

EXT. GARDEN. DAYLIGHT

JORDAN
Ay they weren’t all bad. I liked that one
about the killer uhm-

David sits in a garden chair.

DAVID
Killer priest.

JORDAN
Yeah the killer priest. Why didn’t you
ever make a story from that one.

DAVID
Not enough depth.

JORDAN
Entertaining though.

Jordan stands in front of his brother. David looks up

with a stern look on his face.

DAVID
Why are you hear Jordan?

JORDAN
What you think I’m gonna hear about my
little brother falling off of a bridge and
not check on him? Even if he is a loser.

DAVID
Well you see me breathing, where does the
whole life speech come in?

JORDAN
Look you know I was only trying to push
you, the way dad should have.

DAVID
(sarcastically)
It worked well for you didn’t it?

Jordan looks to the floor and back to David.

JORDAN
You’re talented David, more so than me.
But you needed someone to tell you the
truth.
 16

DAVID
I heard it loud and clear. To be honest
you were actually right. Besides I’ve been
thinking about doing something easier.

JORDAN
Something easier than sitting at home all
day and writing post-it notes?

DAVID
Yeah.

Jordan takes a moment to look at David closely, for a

moment there’s a slight look of admiration in his eyes.

JORDAN
Look if you really mean what you say, take
sometime to rest and you can come and work
with me.

DAVID
Don’t I need a degree?

JORDAN
Nah, anyone can do it.

DAVID
I appreciate it, I’ll let you know in a
week.

Jordan stands for a moment before turning to leave. David

stays sitting in his chair, before Jordan reaches the
door he turns to speak to David.

JORDAN
Enjoy your rest bro, you actually have a
reason for it now.

As Jordan says this, we see a slight smile on David’s

face fade. He is left alone in the garden.

SCENE NINE:

INT. LOUNGE. SUNSET

David sits on his sofa in his lounge, watching football

on his television. Out the window, we see the sunset. The
sun shines through the lounges shutters, the last rays of
the day directed into David’s eyes before the sun sets-
leaving David in darkness. He turns to look out of the
window, before looking around the whole room. Below the
 17

television rests a glass panel, David looks into this

panel and sees his reflection. He stands.

INT. KITCHEN. DUSK

David returns to where he left his gym bag, he picks it

up and opens it. He reaches out a small square box.

INT. BEDROOM. DUSK

Box in hand, David enters his bedroom and approaches his

bedside table. He takes out all of his notes and places
them inside the square box. He leaves two notes behind.
One reads- ‘You can’t rush greatness’. The other reads
‘PROVERBS 18:9’.

INT. KICTHEN. NIGHTTIME

David approaches the phone in rice, he places the square

box on the kitchen countertop. He stares at the bag of
rice for a moment before taking the phone out and trying
to turn it on. The phone turns on. The date of the phone
reading Saturday 6th July. On the phone is two missed
calls from Jordan, David taps on this notification-
calling Jordan back. The phone rings for a moment. Before
Jordan can answer, David cancels the call. David looks
across the countertop and sees the agent card. He dials
the number and clutches the square box in front of him.

David sits at his kitchen counter-top staring at his

phone, the phone rings. We see a close up of his eyes-
focused purely on the phone. The background behind him
fades to black. After a moment, he closes his eyes. The
other line picks up. David takes a moment to think.
Before he speaks, the other line begins the conversation.

AGENT
(from the phone)
Hello?

DAVID
Hi.

AGENT
(from the phone)
Can I ask who’s calling?

DAVID
This is David Allen.

AGENT
 18

(from the phone)

Oh David, man we’ve been waiting to hear
from you for ages. How are you.

DAVID
I fell off a bridge.

AGENT
(from the phone)
That’s great. What can we do for you?

DAVID
I don’t really know I have some uhm. Well
I don’t really have any completed ideas.
Basically I just have some very rough
notes I was hoping to do something with.

AGENT
(from the phone)
Amazing, send them through and we’ll look
at options.

DAVID
What kind of options?

There is no reply from the phone.

AGENT
(from the phone)
You just give us the ideas and we’ll do
the rest.

David hangs up the phone and leaves it on the countertop.

He leaves the agent’s card next to the phone. Beneath the
phone number on the card is an address- THE RUSHES- 101’.

SCENE TEN:

EXT. THE RUSHES. NIGHTTIME

On a quiet side street. We see David walk with the square

box in his hand. The houses on the road are all absent of
light. The street lamps serve as the only source of
light. David reaches a sign that reads ‘The Rushes’. He
walks past the sign into a private area. David walks in
the centre of the road. He can hardly see anything in the
distance. Out from the darkness comes a brown envelope.
The envelope flies straight at David and lands at his
feet. David places the box in the envelope and slides it
back across the road. He turns and walks away.
 19

SCENE ELEVEN:

INT. BEDROOM. DAYTIME

We see David’s eyes open- now in the morning. The clock

at his bedside table reading 07:00. David’s reaches out
of bed to pick up his phone, he holds the phone in his
out-stretched arm and sees no notifications. He puts the
phone back down and rises from his bed.

INT. GYM. DAYTIME

David sits on a gym bench, he has his phone propped up

against a wall. He constantly looks over to his phone in
search of a call.

INT. KITCHEN. NIGHTTIME

David sits at his kitchen countertop eating a meal, he

has his phone placed to the right of his bowl.

INT. LOUNGE. DAYLIGHT

David sits on his sofa watching football on his tv, his

phone is resting on a coffee table in front of him.
David’s eyes are focused on the game, he glances down to
the look at the phone for a moment before returning his
focus back to the game.

INT. GYM. NIGHTTIME

We focus on David’s phone, screen-down on the floor next

do David’s gym bag as he stands in the background talking
to three other young men.

INT. HALLWAY

We see the upstairs hallway of David’s house, the doors

are open but no one is seen. A phone ring emerges. David,
walks out of the bathroom and enters his room.

INT. BEDROOM. DAYLIGHT

David enters his bedroom to find the phone. As soon as he

gets hold of it the ringing stops. David’s face drops
immediately to frustration. Before he has a chance to say
anything, he receives another call- from a London based
number. After a moment of hesitation, David answers the
phone.

SCENE TWELVE:
 20

DAVID
Hello.

DIANE
(from the phone)
Wow, we got him eventually, is this David
Allen?

DAVID
Can I ask who’s calling?

INT. PUBLISHER’S OFFICE

We see DIANE ADLER, a forty year-old woman sitting behind

a large oak desk with a wired phone in her hand.

DIANE
This is Diane Adler.

INT. DAVID’S BEDROOM

We inter-cut between the two locations as the two speak

on the phone. David sits up straight confused.

DAVID
Hi Diane, yes this is David how, how
are you?

Diane sits calmly, whilst admiring her manicure.

DIANE
I’m all good David, I was calling to let you
know that we went through your work and I have
to say. We really think there’s something
special in those little notes. And by the way,
what a clever way to display your work.

David rises to his feet and raises his free hand to his
forehead.

DAVID
Wow that’s great. (Clears his throat)
Which uhh, which works in particular did you?

Diane sits forward in her chair with a confused look on

her face.

DIANE
All of them. Oh especially that one about the
killer priest.
 21

David paces around the room stunned.

DIANE
(cont’d)
Listen David, we like your work. We want
you to come in next Friday with some rough
drafts and we’ll go through some ideas.

DAVID
Rough drafts?

DIANE
Yes- oh and don’t worry about length we can
always trim a hundred pages.

DAVID
Great, great.

DIANE
Fantastic, we’ll see you on Friday.

DAVID
Ok, where exactly?

Diane takes a moment and begins to laugh.

DIANE
Just look for the large penguin
on the wall.

David stops pacing and opens his mouth in shock.

DIANE
(cont’d)
Great I’ll see you on Friday.

The call ends on David’s phone, after the call fades we

see the date revealed on David’s phone- ‘Sunday 25th
August’. After seeing this David drops the phone onto his
bed and opens his bedside draw, the notes are no longer
there. We feature the phone David left on the bed in the
foreground with David in the background in focus. David
turns and looks at the phone on the bed as it comes into
focus.

A title card appears on screen: SUNDAY 12:38.

Phat Planet by Leftfield begins to play again.

SCENE THIRTEEN:
 22

INT. LOUNGE. DAYLIGHT

The title changes to: SUNDAY 16:16

David sits on his sofa with his feet up, holding his
phone.

INT. KICTHEN. LATE NIGHT

The title reads: SUNDAY 20:48

David stands washing dishes.

INT. DAVID’S BEDRROOM. EARLY MORNING

The title reads: MONDAY 11:57

David lies in his bed, on his phone. We see a close up of

the phone dying. He reaches to his bedside table to put
the phone back on charge. The title card cuts, but in the
background we can see the clock on his bedside table read
’12:31’.

INT. DAVID’S OFFICE. DAYLIGHT

The title reads: MONDAY 17:06

David sits at his desk, his computer turned on to a blank

word document. He stares blankly at the screen before
turning his eyes to his phone.

INT. GYM.

The title reads: TUESDAY 07:25

David sits with an empty look on his face on a gym bench.

He looks down to his open gym bag, sitting at the top of
the bag is his notebook.

INT. DAVID’S OFFICE. NIGHTTIME

The title reads: TUESDAY 22:55

We see the back of David’s head leant forward into his

hands and the blank screen in front of him. David gets
out his chair and walks out of the room, he leaves the
note ‘You can’t rush greatness’ on the computer, he takes
his phone with him. The music stops. The shot stays the
same, but we cut to daylight.

The title reads: THURSDAY 07:00

 23

The note is still place where David left it on Tuesday

night. The computer is switched off. David enters the
room and turns on the computer, he removes the note from
the computer. Again- the shot remains the same but we cut
to the empty room.

The title reads: FRIDAY 07:00

David is no longer sitting there, the computer is turned

off. All that remains is a stack of paper.

SCENE FOURTEEN:

INT. PUBLISHERS OFFICES

David sits in a waiting room- his back to the wall. He

sits dressed in a shirt and tie as people dressed
casually walk past. David looks up to smile at them but
receives no look in return. He then looks at his own
outfit in annoyance. In his hands he holds a large
envelope. David looks to his left and right before
opening the envelope and seeing the stack of paper
inside. He lifts his right hand to his left and pinches
himself.

SECRETARY
(off-screen)
David-

David lifts his head and looks up to see a SECRETARY

standing outside of an office. She smiles at David.

SECRETARY
(cont’d)
They’ll see you now.

David stands and clear his throat. There is no imprint on

his left hand.

DAVID
Ok.

David follows the secretary down a hallway, the camera

stays still as we watch the two walk (David walking with
a limp) the two talk- we don’t her what they are saying.

INT. DIANE’S OFFICE. DAYLIGHT

We see Diane dressed immaculately, sat opposite David

behind a desk. On the desk is a corded phone, laptop, a
 24

pot of pencils and a clipboard with a piece of paper

attached. David sits upright in his seat, holding the
envelope closely. Diane looks at the envelope. David
passes it over to her. Diane opens the envelope and reads
through the first three pages through her glasses.

DIANE
It’s great, really great stuff. And to
think you’re only 19.

When she says this, we focus on David’s face. He looks

confused. We track his eyes as he looks at the clipboard
on the desk.

DAVID
What’s that?

Diane looks up from reading and sees David pointing the

clipboard.

DIANE
Oh that’s your contract.

DAVID
(to himself)
That wasn’t so hard.

THE PRAYER by Travis Scott begins playing.

Diane continues to speak to speak but we don’t hear what

she says. The music drowns out any volume.

EXT. OFFICE ENTRANCE. DAYLIGHT

David exits the building. He undoes his top button and

loosens his tie. He walks out of frame.

EXT. THE BRIDGE

We see the bridge again; David enters from behind the

frame and begins to walk over the bridge. We see the same
shots from earlier, this time with David crossing the
bridge from the other side. As he reaches the mid-point
of the bridge he stops. He turns to look down at the
water. At first, we only see the empty river. We cut to a
close up of David’s eyes as he smiles. Looking back at
the water, we see David- dressed in the same clothes as
when he fell in.

EXT. UNDERWATER
 25

We see David, dressed how he was when he fell in the

water- sink through the water- out of frame.

Title Card: IN LIMBO

The end.
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33
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PRODUCTION SCHEDULE
 36

KEY: = ABSENT DAY

= DEADLINE

OBJECTIVE MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

WEEK • BEGIN PRE- • MAY BANK HOLIDAY • PRODUCTION • BEGIN SCRIPT • CONTINUE • FINISH FIRST DRAF
1 PRODUCTION SCHEDULE • LOCATION FIRST DRAFT
6-10 RECCES
MAY

WEEK • COMPLETE PRE- • CLEARANCE & • CHARACTER • LOCATION • SCRIPT EDITS • SCRIPT FEEDBACK
2 PRODUCTION CONFORMATIONS PROFILES CLEARANCE • PROPS LIST
13-17 • CHARACTER • BEGIN CASTING • RISK ASSESSMENT
MAY PROFILES CALLS • CONTINGEN-
• CY PLAN

WEEK • FINAL PRE- • CASTING FINALISING • STORYBOARDS • FINAL • PRODUCTION • BEGIN PRODUCTIO
3 PRODUCTION • FINAL CREW LIST CLEARANCE PREP • SCENES 1 & 2
20-24 EDITS • FINISH
MAY STORYBOARDS

WEEK • PRODUCTION • SCENES 4, 5, 6 • SCENES 3, 12, • SCENES 11 & 13 • (IF • (IF NECESS
4 WEEK- 14 NECESSARY) -ARY)
27-31 • SCENES 7, RE-SHOOTS RE-SHOOTS
MAY 8,9,10 TO BE
FILMED OVER
WEEKEND

WEEK • EDITING WEEK • FINAL

5 CUT
3-7 DUE
JUNE

PROPS LIST
 37

ITEM CHARACTER USED SCENE USED ACTION DATE(S)

BY FOR & DESCRIPTION NEEDED
FOR
iPhone DAVID ALL Black iPhone, used in Friday 24th
various ways across all May-
scenes. Friday 31st
Business Card DAVID 1, 9. Held by David to read. Friday 24th
Card contains a phone & Saturday
number on one side and 25th May
address on the other.
Post-it-note stack. DAVID 1, 2, 3, 4, 7, 9. Stack of yellow post-it- Friday 24th
notes. Used by David to May-
write on and place Friday 31st
individual notes around
house.
Basketball DAVID 3. Used by David whilst on Tuesday
the phone to Jordan. 28th May
iPhone JORDAN 3. Black iPhone, held by Tuesday
Jordan whilst on the 28th May
phone to David.
Gym Bag DAVID 2, 8, 9. Holds notes stack during Friday 24th
scenes in the gym. Held May-
by David when walking Sunday 26th
from the gym.
Squared Box DAVID 9, 10. Small black square box, Saturday
David places notes in the 25th May &
box during scene 9 and Sunday 26th
placed into envelope in
scene 10.
Envelope 1 DAVID 10. Large brown envelope. Sunday 26th
David places square box May
in envelope and throws it
into darkness.

Envelope 2 DAVID 14. David holds envelope in Tuesday

& DIANE waiting room. Inside 28th May
envelope is stack of
paper. David gives the
envelope to Diane in her
office.
Paper Stack. DAVID 13, 14. Printed pages placed in Tuesday
& DIANE envelope 2- read by 28th May &
Diane in scene 14. Wednesday
29th
Contract Clipboard DIANE 14. On Diane’s desk in scene Tuesday
14. 28th
Wired Phone DIANE 12, 14. Used by Diane when on Tuesday
the phone to David. In 28th
Diane’s desk in scene 14.
Pen & Notepad POLICE OFFICER 6. Notepad written on by Monday
Police Officer. 27th May.
38
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CHARACTER PROFILES
 46

CASTING
 47

CASTING CALLS

PRODUCTION TITLE: IN LIMBO

PRODUCTION TYPE: INDEPENDENT- NON-UNION.
PROJECT LENGTH: SHORT FILM
PRODUCTION LOCATION: MARLOW, ENGLAND
CONTACT: SETH DENNIS
DIRECTOR: SETH DENNIS
AUDITION LOCATION: 11 POUND LANE, MARLOW, ENGLAND, SL7 2AH.
EMAIL: [email protected]

CHARACTER NAME: JORDAN

CHARACTER PROFILE:
25-YEAR-OLD WHITE MALE, SUCCESSFUL YOUNG BUSINESSMAN.
OLDER BROTHER TO THE PROTAGONIST.
ACTOR NAME: JAKE DENNIS
AGE: 19.
(AUDITION AVAILABLE ON
sethdennisunit8.weebly.com)

SUITABILITY FOR THE AUDITION NOTES & AVAILABILITY

ROLE RESULT
Despite the age gap, With the role written Works during week
Jake can play older. specifically for days, is free full
Through knowledge of Jake, he fit the role time on weekends and
his personality, Jake well. In his during weekday
fits the character audition, he nights.
type of a demanding immediately
brother figure and understood the
materialistic driven context and the
mentality. profile of the
character. After the
audition I offered
him the role and he
confirmed his
availability.

CHARACTER NAME: DAVID

CHARACTER PROFILE: PROTAGONIST. 19-YEAR-OLD WHITE MALE.
UNEMPLOYED SCHOOL GRADUATE.
ACTOR NAME: LUKE ZWARTEVEEN
AGE: 17
(AUDITION AVAILABLE ON sethdennisunit8.weebly.com)

SUITABILITY FOR THE AUDITION NOTES AVAILABILITY

ROLE
Luke can play older; Luke not only looks Attends sixth form,
he understands the the age for the part, clear to begin
 48

themes of the story he can play a filming from Friday

and fits the convincing young 24th May until Friday
character type of a adult. From one read 31st May. During the
modern young adult of his sample script, week, Luke can film
halted by Luke understood the around the clock.
distractions. themes of the story
and didn’t need any
guiding in his
audition.

CHARACTER NAME: DIANE

CHARACTER PROFILE: TWO SCENE CHARACTER. MIDDLE-AGED WOMAN.
SUCCESSFUL PUBLISHING AGENT.
ACTOR NAME: MAGGIE DENNIS
AGE: 48
(AUDITION AVAILABLE ON sethdennisunit8.weebly.com)

SUITABILITY FOR THE AUDITION NOTES AVAILABILITY

ROLE
Maggie fits the No one else could Mother of myself, due
profile of a have played this to May half term- is
successful part, the role was free specifically
businesswoman well. written specifically Tuesday 28th May and
From collaboration on for Maggie and Wednesday 29th.
previous projects, I rightfully so. She Shooting will only
understand that understood the take one day.
Maggie is a talented context of the
actor and will be character and was
able to portray the able to give a
role with a good convincing
performance. performance as Diane.

CLEARANCE & CONFORMATION

Location Conformations:

Westhorpe Water Sports-: No.1 Choice for Underwater Scenes

Little Marlow SL7 3RQ
 49

Contact: Response:

Alternative: The response from Westhorpe mentioned using council owned land called spade
oak. The body of water is located very close to Westhorpe and as mentioned in the response-
is council owned, meaning I would be able to film there free of charge. Located around the
area are several other bodies of water. If the quality of water is unclear at Spade Oak, I
could look to use other public lakes near to Spade Oak and Westhorpe.
Westhorpe

Spade Oak

Un-named Alternative
Shooting on the location would involve setting up the crew on the central island. Access to the
lake is from Marlow Road, towards the Spade Oak Car Park- Coldmoorholme Lane, Bourne
End, SL8 5PS. The car park is free of charge.

SPADE OAK
MARLOW
CAR PARK
ROAD
 50

The issue with using Spade Oak, is that the water quality looks unclear. The most important
part of using a lake (other than the safety of the actors) is the transparency of the water so I
will be able to get clear shots. A better alternative is the surrounding lakes of the area that
are free to use- (in the satellite image above- the un-named alternative is shown).
Filming
Location
Access is by crossing this
bridge. Bridge accessed
from Wiltshire Road,
Marlow SL7 1UU.

11 Pound Lane, priority location- (HOME OF MYSELF)

Danesfield School:

Contact: Response:
 51

Marlow Bridge: Public Road. Footpath open 24 hours despite road closures.

Source:

Bisham Abbey Gym:

Previously used- filming allowed to membership owners as long as no bystanders are in shots-
membership owned by myself and cast members.

Available dates:

The Rushes: Public Road.

Actor Conformations:

Luke Zwarteveen- David Jake Dennis- Jordan

Conformation: Conformation:
 52

Maggie Dennis- Diane Adler Max Zwarteveen- Police Officer

Conformation: Conformation:

Extras: Joseph Windall & Jon Alex Dennis

Crew Conformations:

Sole Camera Operator- *Myself

Underwater crew:
 53

ROLE ACTOR CAMERA SAFETY CREW SAFETY SAFTEY

OPERATOR CREW CREW
PERSON Luke Seth Dennis Jake Dennis Max Jon Alex
Zwarteveen (myself) Zwarteveen Dennis
AVAILABILITY Friday 24th Friday 24th Friday 24th Monday Monday 27th
May- Friday May- Friday May- Friday 27th May May
31st 31st 31st

Safety Crew Conformations:

CONTINGENCY PLAN

CREW CONTINGENCY

ROLE OPTION 1 OPTION 2 OPTION 3

DAVID Luke Zwarteveen Jake Dennis Joseph Windall
07846 532204 07801 994595 07471 082450
[email protected] [email protected] [email protected]
JORDAN Jake Dennis Abraham Musoke Joseph Windall
07801 994595 07552 110940 07471 082450
[email protected] [email protected] [email protected]
DIANE Maggie Dennis (IN THE CASE OF OPTION 1 N/A
07720 293874 BEING UNAVAILABLE
[email protected] CHARACTER WILL BE RE-
WRITTEN AS MALE)
Jon Alex Dennis
07566 202028

AGENT Seth Dennis N/A N/A

(voice only) (Myself)
POLICE Max Zwarteveen Nick Coleman N/A
OFFICER 07937 714218 07770 263489
[email protected] [email protected]
 54

LOCATION PLANS

For David’s house- the main location of the story. The location that I will use is my own house.
11 Pound Lane, SL7 2AH, Marlow, Buckinghamshire, England. This 100% available for
shooting. Actors all have access to the location.

LITTLE MARLOW LAKES- UNDERWATER SCENES

OPTION 1 OPTION 2
Unnamed Lake, SL7 1UU, Marlow Spare Oak Lake, SL8 5PS, Bourne End,
Buckinghamshire. Option 1 for clear Buckinghamshire. Recommended from
waters- public land. previous choice location. Second option due
to unclear waters- public land.

THE RUSHES

OPTION 1 OPTION 2
The Rushes, Pound Lane, Marlow,
Buckinghamshire-public Road. The scene
can only be filmed at the rushes- the street N/A
is public. 100% clear to use. Scenes will be
filmed late at night so no people will be in
backgrounds.

OFFICES

OPTION 1 OPTION 2 1/2 OPTION 2 2/2

Danesfield School, Henley Road, 11 Pound Lane, SL7 2AH, For Diane’s office,
SL7 2EW. Access from Marlow. Office room be Henley College
groundskeeper means that used as an alternative for Rotherfield offices- RG9
during half term week the Jordan’s office as this room is 1TR, Henley-on-Thames
offices will be available to use not featured elsewhere in the can be used for free use.
full time. Can be used for both story. The house is free to This will be as an
Jordan and Diane’s offices as use. absolute last resort.
well as the waiting room.

BRIDGE

OPTION 1 OPTION 2
Marlow Bridge, Marlow High Street, SL7 Henley Bridge, Hart Street RG9 2LJ.
1RG. The bridge has maintenance work If Marlow Bridge maintenance proves to be
during production week between 8 p.m. and an issue during production. Henley Bridge is
6 a.m. a suitable alternative and is free to use.

RIVERBANK

OPTION 1 OPTION 2
 55

Higginson Park, Marlow, SL7 1AW. Free of

charge 24 hours a day. N/A

GYM

OPTION 1 OPTION 2
Bisham Abbey Gym, Bisham, SL7 2RR. If Gym is unavailable, scene will be cut as it
Free to film on limited hours- membership isn’t essential.
necessary for all crew members.

Equipment & Props Plan.

For equipment, I will hopefully have access to a Blackmagic Raw camera to use during
production. If I am unable to have access to this camera, I have a Canon DSLR that I have used
for all of my previous projects that could be used for this project. This camera has two
batteries and three lenses to use. For the underwater scenes, I have an underwater camera
case that can fit either camera. If this case breaks or fails to protect the camera, I have a
spare to use. Before filming the underwater scene, I will back-up any previously filmed scenes
to a separate SD card. I will purchase a separate SD card specifically for underwater scenes
to ensure safety of previous footage. As for microphones, I will use additional microphones
such as iPhone mics or lav mics in support of camera built-in mics.

For props, I have an old iPhone that has not been used for over 5 years. For underwater
scenes, I plan of having David holding this phone as there is no loss if the phone is damaged in
the water. For other phones, every actor owns their own phone and I own a single iPhone that
will be used specifically for David. For the notes, I will buy at least three stacks to store
around the house when filming. The agent calling card will have to be designed specifically
for the film. I have access to a printer and will be able to print several copies of the card. For
other props, I will have duplicates on set in case of losing any props.

RISK ASSESSMENT

LOCATION HAZARDS PRECAUTIONS

Un-named lake- water scenes. Deep Water, actor without Current-less water but
lifejacket could drown. deep nonetheless. Crew
Legally required three crew members will need
members on set to support lifejackets and equipment
actor. Equipment could get used in water will need
damaged from water. to be kept in water-poof
cases.

Marlow Bridge. Rests over River Thames, Film at early morning

barriers serve to stop crew or (after 6 a.m. due to road
equipment from falling. Cars closures) to have easy
pass over the centre of the access, secure all
bridge, pedestrians’ cross side equipment on crew
paths. members far from edge.
 56

11 Pound Lane. N/A N/A

Bisham Abbey Gym. Weights on set could damage Keep all equipment from
equipment or actors. Other free weights. Only begin
people in gym may enter a shot if the backgrounds
shots. are clear or if people
consent to being filmed.
Higginson Park Next to a river, crew or Only place equipment
equipment could fall into the near pathway edge if
water. necessary- store rest of
equipment far from river.
Danesfield Offices. N/A School Is Closed due to N/A.
May Half Term.
The Rushes N/A N/A