INT. DAY

A blurred image forms on a white screen. A horizontal strip of

face, eyes motionless and unblinking.

DAVID:

(voice-over)

Take trust, for instance, or friendship: these are the important

things in life, the things that matter, that help you on your

way. If you can't trust your friends, well, what then?

EXT. DAWN

A series of fast-cut static scenes of empty streets.

DAVID:

(voice-over)

This could have been any city: they're all the same.

A rapid, swerving track along deserted streets and down narrow

lanes and passageways. Accompanied by soundtrack and credits.

The track ends outside a solid, fashionable Edinburgh tenement.

INT. STAIRWELL. DAY

At the door of a flat on the third floor of the tenement. The

door is dark, heavy wood and on it is a plastic card embossed

with the names of three tenants. They are Alex Law, David

Stevens, and Juliet Miller.

A man climbs the stairs and reaches the door. He is Cameron

Clarke, thin and in his late twenties with a blue anorak and

lank, greasy hair. He is carrying an awkwardly bulky plastic bag.

Cameron gives the doorbell an ineffectual ring and then stands

back, shifting nervously from foot to foot until the door is

answered.

CAMERON:

Hello, I've come about the room.

Cameron enters and the door closes.

INT. LIVING ROOM. DAY

David, Alex, and Juliet sit in a line on the sofa directly

opposite Cameron, who shifts uneasily in his armchair. Alex

checks some items on a clipboard before speaking.

ALEX:

What's his name?

DAVID:

I don't know -- Campbell or something?

JULIET:

Cameron.

ALEX:

Cameron?

JULIET:

Yes.

ALEX:

(to Juliet)

Really?

CAMERON:

That's right.

ALEX:

(to Cameron)

What?

Cameron is not sure what to say.

ALEX:

(continued)

Well, Cameron, are you comfortable?

CAMERON:

Yes, thanks.

ALEX:

Good. Well, you've seen the flat?

CAMERON:

Yes.

ALEX:

And you like it?

CAMERON:

Oh, yes, it's great.

ALEX:

Yes. It is, isn't it? We alllike it. And the room's nice too,

don't you think?

CAMERON:

Yes.

ALEX:

Spacious, quiet, bright, well appointed, all that sort of stuff,

all that crap.

CAMERON:

Well, yes.

ALEX:

So tell me, Cameron, what on earth -- just tell me, because I

want to know -- what on earth could make you think that we would

want to share a flat like this with someone like you?

INT. STAIRWELL. DAY

As Cameron plods slowly down the stairs, his shoes striking out

against the stone steps, Alex's criticisms continue.

ALEX:

(voice-over)

I mean, my first impression, and they're rarely wrong, is that

you have none of the qualities that we would normally seek in a

prospective flatmate. I'm talking here about things like

presence, charisma, style and charm, and I don't think we're

being unreasonable. Take David here, for instance: a chartered

accountant he may be, but at least he tries hard. The point is, I

don't think you're even trying.

Cameron has reached the bottom of the stairs. He opens the main

door.

ALEX:

(continued)

And, Cameron -- I mean this -- good luck!

Cameron leaves and the main door closes behind him.

ALEX:

(continued)

Do you think he was upset?

INT. STAIRWELL. DAY

Inside the hall of the flat, David approaches the door toopen it.

Freeze-frame.

ALEX:

(voice-over)

David likes to keep spareshoelaces in sorted pairs in a box

marked, not just shoelaces', but spare shoelaces'.

David opens the door to the Woman.

WOMAN:

I've come to see about the room.

INT. STAIRWELL. DAY

Outside the door of the flat a young Goth girl, aged about

twenty, rings the doorbell.

INT. HALL. DAY

Inside the hall of the flat Alex approaches the door to open it.

Freeze-frame.

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