INT. RESIDENTIAL FLAT - MORNING We open on LOTTIE (28), with curly brown hair and brown skin, sitting at a kitchen island and eating a slice of toast. Golden light filters in through the window and the radio plays an upbeat pop song. Distracted, Lottie taps along to the beat, not noticing the blob of strawberry jam slipping from the toast onto her floral pyjama top. CUT TO: EXT. RESIDENTIAL FLAT - MORNING A metal ladder clangs against the outside brick wall. Specks of dust crumble away and JESS (27), with short black hair and white skin, brushes brown flecks from her blue dungarees. The back of her t-shirt reads 'window cleaner'. A man, Dan (30) walks behind Jess carrying bags of shopping. DAN: (cheerfully) Busy day today, Jess? Raising a full bucket of water, Jess chuckles as a splash of white bubbles slip over the bucket's rim. JESS: Certainly is. DAN: Will I see you tomorrow? JESS: You doubt my loyalty to the Guild? Dan grins and bows his head mockingly. DAN: Not for a second. (pauses) I will see you then, My Liege. Dan carries on walking down the road. Jess turns her attention back to the ladder. JESS: (sighing) Another day... Jess begins her ascent up the ladder. FADE TO: INT. RESIDENTIAL FLAT - MORNING: We see Lottie rise from her stool. Having noticed the jam, she walks around to the sink by the window. A single plate, bowl and a set of a knife and forks scatter the draining board. Lottie grabs a red cloth and runs it under the water. She dabs the stain. Eyes on the jam, Lottie doesn't notice Jess on the other side of the glass. She pushes open the window and the rim catches Jess' chin. Yelling, Jess grabs for the window ledge. CUT TO: EXT. RESIDENTIAL FLAT - MORNING: Water sloshes over Jess' face. The ladder slips and she topples back. Still focused on the wall, we see Lottie's face through the window and hear a loud crash from below. Lottie disappears from the window. CUT TO: EXT. RESIDENTIAL FLAT - MORNING: The front door to the residential flat slams open. Dishevelled, and frantic, Lottie stumbles out, still dressed in her floral pyjamas. Her head whips around quickly before stopping suddenly. LOTTIE: (panicked) Oh, stars! Lottie runs forward, her bare feet slapping on the concrete pavement. LOTTIE: I'm SO sorry! Are you alright? We focus on Jess's face, her hair damp, and the pavement wet around her head. Jess groans, her eyes pinched shut and she touches a hand to her forehead. JESS POV: A high pitch whine as we look through Jess' eyes up at Lottie. Bright sunlight haloes Lottie's face and confused, in awe, Jess touches a hand to Lottie's face. JESS: (moaning) Warrior Queen. Angel. The camera focuses on the smeared jam stain on Lottie's top. JESS: Jammy angel. The shape of Lottie disappears from view, turning the screen white and the high pitch whine continues. LOTTIE: (muffled, into a phone) Yes, ambulance, please. She fell from a ladder... FADE OUT: BEGIN MONTAGE: EXT. OUTSIDE AN AMBULANCE - MORNING A shot of Jess being lifted onto an ambulance gurney. A shot of Lottie standing on the curb, nervous, clutching both of her hands to her chest. A shot of two paramedic's sliding Jess' gurney into the ambulance. A shot from inside the ambulance to outside. Through the doors, we see Lottie walking around into view. A group of people mingling behind, talking. A final shot of the ambulance door's slamming shut and the screen turning black. END OF MONTAGE.

Fade in EXT. BEACH FAR FROM SHORE - DAY We open to the beach with Birds eye view and waves crashing softly onto the shore. We move closer onto the beach shore where SERENA walks by with her hair blowing in the wind SERENA- brown hair with lucious curls and enchanting green eyes, very attractive EXT. BEACH FAR FROM SHORE - DAY SERENA walks smiling with no shoes, alone, people chatter in the background, with kids laughing and having fun TRACKING SHOT, SERENA (V.O) I remember when he was here with me, when we were one. Happy, Hopefull, Alive. One day he will come back! Tears fall from her eyes and she walks farther and farther away

SCENE 1: Opening Credits EXT. THE MIDDLE OF A CORNFIELD IN NEW YORK STATE NORTHEAST OF NEW YORK CITY [We hear “The Wrong Generation” by Phillip Boa And The Voodooclub, play as we zoom in on the cornfield from an aerial shot. The zoom in is slow, almost painfully slow, but it must be this way to allow the opening credits to fade in and out on the screen. There is a red tractor driving across the field. As the credits finally come to a close we focus in on a small part of the field. There is a young boy that appears to be about high school age laying on his back with his eyes closed. He has Apple EarPods in that if followed, lead back to what appears to be an iPhone. All around him there are cornstalks slowly drifting in the lift cool wind of Fall. Though it is not technically Fall yet the weather seems to have inflicted it’s own views on the seasons upon New York. This weather will result in a miserable start to school for most but those who enjoy the Fall will be elated. There is distant shouting in the back from the boy’s Father but the words are indistinguishable due to the music.] ROBERT ELIJAH *Muffled shouting slowly fading into clearer words, due to the fact the character is moving closer to said subject* Nichollas! Nichollas! Nichollas! Nichollas! [The boy we now know to be NICHOLLAS slowly opens his eyes and sits up. He turns on the screen of his phone and pauses the song playing: The Wrong Generation. With it the background music ceases. As Nichollas takes out his EarPods, his Father is now upon him.] ROBERT ELIJAH *sternly* Get up boy, ya’ got shit to do. Ya’ promised me and yur’ mother you’d be done by now. NICHOLLAS ELIJAH *defeated* Yeah I know. [Nichollas slowly gets up while putting his phone in his pocket and watches his father head back towards the red tractor, which we are to assume he was driving before. Nichollas waits for a few seconds before following and the shot zooms out back into aerial view capturing the entirety of the field and farm, as well as the red tractor now driving around again. The movie title fades in and out in the middle of the scene, similarly to the credits.] -We cut to next scene-

Scene 1 Laura sits on a wooden stool, staring out into the distance. A man in blue overalls walks up to her and offers a peck on the cheek. Laura: Ew! (stands up) You disgusting, lying, son of a foul mouth! Man: (confused) What do you mean? You looked forlorn, and—(look of understanding) You don’t remember me, do you? Laura: Stop acting like we’re star crossed lovers! (walks of stage)

Jessica Hello. Can you tell me where the dog park is? Dan Hello. I was just going there myself. We can walk together. Jessica What is the name of your dog? Dan Poopsy. Jessica (Laughing) How did your dog get that name? Dan My grandmother named her. What is the name of your dog? Jessica Betty Boop Dan You seem a little young to know Betty Boop. Jessica Betty Boop is still around! But she was named by her previous owner. Dan Who was her previous owner? Jessica My grandfather. Dan Do you ever do play dates? With the dogs of course. Jessica laughs.

[open up to a busy street in London. It is rush hour; focus on people pouring into the tube station, rushing to get to work. One man is struggling against the rest, battling his way out of the station. The man is tall and thin and wears a short jacket over a white T-shirt and washed out jeans. He’s wearing a backpack. Once he makes it to the street, he stops and takes out a large paper map. He gets looks from passers-by, but ignores them, and seeming to have found what he was looking for, carefully refolds the map and tucks it away. He walks away. Shot cuts to him turning into a side road, walking up to an inconspicuous building, and ringing the bell. It is opened by a disheveled looking man.] BILL: [quite rudely] who’re you? JAMES: James McElroy. Is this the Short House? [The man looks James up and down, then sticks out his hand.] BILL: [gruffly] Bill Castimon [cut to inside, Bill is opening a door and showing James through it. Camera follows him in, panning over the small bedroom.] JAMES: It’s perfect. [he swings his backpack onto the bed, the turns to thank bill.] JAMES: thanks man. I — [bill is no longer there. Bewildered, James sticks his head out of his room and looks down the empty hallway. Seeing no one there, he shrugs and turns back to his bed, only to be started by the girl sitting in his bed.] TORI: Hey there! [James looks at her in shock. She is of average height, slim, and has a shock of curly hair dyed blue at the tips.] JAMES: What — who are you? [tori raises an eyebrow] TORI: that’s not very polite, is it? JAMES: [suddenly affronted] Polite? I don’t know you and you’re sitting on my bed! [she surveys him thoughtfully, then leans back on her hands] TORI: you’re in a house full of thieves, James. [James looks startled that she knows his name. She points at his backpack, which has his name written in black marker down one of the straps.] you shouldn’t just leave your door open like that, or someone might just...slip in. [she puts emphasis on those last words, then gets up and moves toward the door. Her movements are extremely grateful, like a cat’s. At the door, she stops, her nails curled around the doorframe, and turns back.] TORI: I’m Tori, by the way. [she slinks away, leaving James. Camera zooms up to show his confused face, then as he shakes it and flops down on the bed. Cut to black] [end scene]

EXT: shot of quiet suburban streets, minimal cars; a few people walking Show a row of houses with an old weatherboard with a white picket fence INT FOREGROUND: A girl with large headphones around her neck is standing by a kitchen bench, tapping on her iPhone. She is dressed in activewear, hair tied back in a strict bun. The activewear is a mixture of expensive brands. There is a fruit bowl on the kitchen bench with oranges and hand sanitiser beside it. BACKGROUND: there is a TV on with the news, reporting on Coronavirus. A dull buzz of the news can be heard with words like ‘cases are slowing’; ‘restrictions not to be lifted’; ‘impact to the economy has been terrible’. Girl lifts her phone of the bench, smile on her lips. Taps it one last time. A soft music beat from her headphones starts. She pulls her headphones on. Background noise cuts out and Fitness by Lizzo starts playing from 0:09 seconds ‘independent’. She cricks her neck - left and then right. MOVING SHOT INT: Camera follows the girl leaving the kitchen, walking straight down a hallway to the front door. EXT. MOVING SHOT - She opens the front door walking to the gate, leaning on the post to complete hamstring stretches. Camera continues following her as she runs through local surburban streets. Other people / or sometimes her veer onto the verge or onto the road, taking almost a comical approach to maintaining social distancing. The girl does not run particularly fast, almost a slow jog. MONTAGE the girl is running past empty shops; the girl is running through a local park; the girl is running past a a school. With each cut, the music changes to another top 40 song. CLOSE UP. The girls face is red, there is sweat beading on her forehead, and she’s breathing hard. The camera moves as if she is turning a corner, her eyes go wide. CUT to black. Title appears ‘ONE POINT FIVE’