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Yes.

- Gently.

Tilt it slowly.

- Little.

Take the frame.

Same direction?

Yes.

Ease it.

Not too much.

Little.

Yes.

- It's not working.

We need to do it again.

A bit smaller, poppet. - Okay.

- Maybe...

Maybe I can help you come up with some ideas.

- Sit.

So, tell me about your idea.

- Well, uh...

- Yeah, because you work with your dad,

working for dad. - Yeah. I want to finish my home.

- Yeah, we haven't worked on it for 10 years.

- Yeah, I'm always developing,

and I'm trying anything, ya know.

- Yeah. - But I do get paid

to produce music.

Hey. She emerges from her cave.

- Ella, look at you.

So, this is one that we did last year.

The client was a bitch.

- Is this new stuff?

- Uh, well, this one's new,

and this one's new.

- Oh, wow, it's really good. - Oh. Thanks, babe.

- You want a drink?

- Um. I'm okay. Thanks.

What are you...?

What are you doing?

- I need to go.

Playtime is over.

- Come on. I need to get back before she wakes up.

I feel so used right now.

No, no, no.

- No, stay.

- Get off me. I've got work to do.

- No, you haven't.

- When you think you'll finish this film of yours?

- It's not my film. It's my mom's.

- She's a legend. That's true.

- Her hands are getting worse.

I promised I'd help her finish this last film.

So, she's the brains, and I'm the hands.

That's the way it is.

- You don't want to make your own films?

Find your own voice, ya know?

- I don't have my own voice.

Poppet!

Poppet!

Wake up, poppet!

Time to work.

Are you tired, poppet?

Are you a little bit grumpy this morning?

- No, I'm fine.

- All I want is to finish this film...

before I die.

Is it such a burden?

Left 2 millimeters.

- What? - Head left 2 millimeters.

Head left 2 millimeters!

Take the frame.

Left, half a millimeter.

What is wrong with you?

Half a millimet...

millimeter.

Leave it.

Back to where you were.

Put your hands on the puppet.

Leave it there.

Don't you dare move!

Don't move a muscle.

Don't blink.

Don't you dare...

move!

Don't move a muscle!

- Mom.

Mum.

Mom.

Don't move.

Mom.

Well, she's not responding to any stimuli.

We'll take her to ICU, and have her for a CT scan.

She's in a coma.

Has she had a stroke in the past?

Ella, has your mother had a stroke in the past?

- She has arthritis in her hands, and, uh...

She doesn't look real.

- Ella.

Look, you can stay here as long as you like. Okay?

You shouldn't go back to that place.

Ella.

Ella, you okay?

- I need to finish it.

- This is it.

Most people have moved out now.

We're gutting the place, so it's going to be empty for a while.

They're all the same. - Sh.

Can I see this one?

- I mean, it's a pretty good studio.

I'd only hope for you to use this as a space.

You can come back to mine at night.

- Tom.

- All right. Well.

I'll stay with you, then.

- You'll distract me.

- No, I won't.

- I have to work.

I'm not stopping you.

- All right.

Uh, so, I'll see you later, then?

Bring you some dinner.

I'm looking after you now.

Good luck with the film.

Excuse me.

Wait!

- What's all that stuff?

- I'm making a film.

- Is it a cartoon?

- It's called stop-motion animation.

- Can I see?

- Hey, hey, hey, hey!

That's not a toy.

It's okay. It's just. It's delicate.

Look, I'll show you how it works.

So, here's Mrs. Cyclops, and inside her is an armature.

- An arm chair?

- Armature.

It's... It's like her skeleton.

- Armature. - Here.

- Say, that's inside that.

- See, I move her a tiny bit like this.

And then, I take a picture with this camera here.

Click.

I'll move her again.

Click, and again, click.

- And when you play it all back,

it looks like she's moving.

- That's right. - Yeah, that's a cartoon.

It must take ages.

- It does.

- Why bother?

- Well, because I like it,

and I'm good at it.

And...

And it feels like you're bringing something to life.

It's about a Cyclops.

She traded one eye with the gods to see her destiny.

But she saw her own death.

What do you think?

- Hm?

Well?

It's a bit boring.

- It's not finished, and it's not boring.

Well, how do you think I could make it better?

- I'm serious. How would you do it?

- Make a new one.

- A new one? - Yeah.

I know a better story.

You want to hear it?

- Go on then.

- There's a girl in the woods, and she's scared.

- Why is she scared?

- Because she's lost.

- And what's so scary about that?

- There's someone coming.

- Who's coming?

- What's that stuff?

- Uh, it's called Mortician's Wax.

They use it to fix up the faces of dead bodies for, like,

when the families want to see.

- You should definitely make a girl from this.

- Yeah, right. - Like, definitely.

- Look, I've got to get on now, so...

- What else do you got here?

- It's been really nice to meet you.

- How long are you going to be here?

- I don't know.

- Someone's been busy.

Ella.

Give me your hand.

We'll go back to mine. You need a break.

You'll feel better after some food.

- I'm not hungry.

- Look at that. Huh?

There's someone coming.

- Hi.

Are you looking for, Tom?

He's not here.

- I came to see you, actually.

Tom told me about your mom.

I just...

I wanted to see if you were okay.

Hm?

- I'm okay. Thank you.

- So...

What are you doing in there?

- Um, just a project.

- Oh, yeah?

- Uh, do you wanna come in? - Oh.

Okay. Yeah.

What are you on? - I'm not on anything.

- No?

Get my best ideas when I'm tripping my tits off.

You know what? This might be good for something we're doing.

You should come in for a chat.

- The adverts?

You're making my film?

- Well, really, it's my film. - What do I press?

- Hang on. Settle down. I'll press it.

- You don't like it?

Well, what's wrong with it?

- She doesn't look real.

- She's not supposed to look real.

You told me to use the wax.

What are you looking for?

- See? - See what?

- Make a new girl out of this.

Just imagine.

- It's raw meat. Dead meat.

- Yeah, but you bring it to life.

- Well, it's too late anyway.

I've already started with the other one.

- No, the next bit.

- Well, then it won't be the same as the first bit.

- So what? Maybe she's growing up or something.

Go on. Please.

I'll tell you what happens next.

Please!

So, the guy runs away through the woods.

She finds a house, and she hides in it.

- And who's coming for her?

Maybe a wolf, like a "Red Riding Hood" type thing.

- It's a man.

- What man?

- A man no one wants to meet.

He comes on three nights.

- What does he want?

- Hey, that's much better.

See.

You can use our skin.

See?

Looks better from down here.

- Like that? - Yeah.

- What should we call this guy?

- Hm.

Ashes to ashes.

- The Ash Man.

- The man no one wants to meet.

- What are you doing?

This new... the album.

How's your film going?

- It's going well.

Actually, um. There was something.

No, I was... I was wondering if...

Would it be okay if you don't tell your sister what I'm doing?

She visited today.

Thanks.

Yeah. No, um, we could have lunch tomorrow, if you like.

- Can't, I'm working.

See you at the party? Flat 28. Ground floor.

- Mm-hm.

- He will come...

on three nights.

- What are you doing? Why are you up?

Come on, I found something.

- Come on.

- Slow down.

- If you're going to make The Ash Man,

you need to do it properly. - I've already made The Ash Man.

- No, he needs to be made out of something dead.

We could make an arm trowel with the bones,

wrap them in skin, and give them teeth and a tongue.

- Okay. I think we need to go back now.

- Oh. Come on.

- No. - Yes.

- Look, using a bit of leftover meat is one thing.

This is something else.

- Well, I won't tell you the next bit of the story, then.

- This is my film. - Is it?

What happens next?

What happens on that first night?

Do it without me, then.

- So, it's the first night,

and The Ash Man comes and knocks.

And then...

And then...

I came to say, I'm sorry.

I couldn't finish your film.

I started my own.

Except it wasn't mine, was it?

Just someone else's.

Again?

I just don't have it in me, do I?

Without someone telling me what to do.

- Hey. You came. - Where's your sister?

- Uh, she is...

- Hey. Hey! - Hey, how are you?

I was just talking about you.

When are you going to come in for that chat?

- You know what you said about getting

your best ideas.

You know, um,

"Tripping your tits off."

- Yeah. - Have you got some?

- Are you sure?

- Hey. All good?

I'm serious about that job, you know.

We're pitching next week, so how about tomorrow?

- I'd kill myself if I had to work in a place like that.

- Howdy.

Hear the echo.

Come with me.

It is her.

Look for it.

Find it, Ella.

Find it.

- The Ash Man comes on three nights.

- "The Ash Man comes on three nights."

- On the first night...

He sees her.

- Talking to yourself is the first sign of madness.

- Look who's talking.

- The Ash Man has to be made out of something dead.

I see that now.

- Well, come on, then.

Much better.

See.

So, the girl is in the bungalow,

and The Ash Man's coming.

She tries to hide, but...

...he sees her.

Ella.

Ella.

He saw me. - Who saw you?

Hey, it's me.

Look...

did you take something last night?

Snacks will probably give you something.

- I didn't touch it.

The men from my film,

he came and looked through the door, saw me.

- No, no, no, look, you animated it. See?

- I want to go.

I want to go.

I want to go. I want to go. I want to go.

- All right, we're gonna go, okay.

- I need a shower.

- How'd you sleep?

- Good.

- What do you want?

- Um...

- You don't have to lie to me.

I know you didn't sleep last night.

Whatever it is you think you saw back there, it's not real.

- Yeah.

- You can have a bit of fun, as well.

It's like me, I don't let music rule my life.

It's all about balance.

- It's fucking Barry Gibb

from the "Bee Gees."

- Don't you see, it's fucking Barry Gibb?

It's the hair. - Sh.

Sorry.

Thank you.

- Tomorrow, I just... I think you should just go out

and do something. - Like what?

- Something normal.

It's not healthy to stay in...

Don't you want to hear the next bit of the story?

- Leave me alone. I've changed my mind.

I don't want to make this film anymore.

- On the first night, he sees her...

- Shut up.

- On the second night, he touches her.

- Maybe, I was too quick to leave.

- Well, hang on. There is no way you're going back there.

- What else am I going to do? I can't stop thinking about it.

I-I don't know how to do anything else.

- Okay, okay, then... then...

Then, you can come help me at work,

and that will distract you.

- What, in some admin office

on a building site.

- Yeah. Sure. No. I appreciate your efforts.

It's just time is money.

- Best if you don't wander around.

Just call me If you need something.

- Am I not working with you?

- Here's the director.

- Stop whining. - Brett, this is Ella Blake.

- Ah, hi.

Uh, Ella, over here.

We've got a crowd scene tomorrow

for this toothpaste gig.

And we need a hundred eyes.

- I thought I was animating.

- Got to go prep my pitch.

Have fun.

- No, you're not animating. You're making eyes.

You just roll them up like that. And don't forget they're people.

They don't need to be exactly the same.

- Just roll them up?

- Yeah, you just roll them up.

7 mil wide. People, 3 mil.

Well, I'll be on 205, mate.

Let's move like cg, okay?

- I watched your mom's films in uni.

The Medusa one.

Must been amazing growing up in that environment.

Great... Great writers.

- Always for me. - Thank you.

- I think it really... - Sorry.

- What is this?

- It's a mood board.

- These are pictures of my film.

- For reference.

Anyway, it's not exactly the same.

I smartened up a bit.

Besides, I offered it to you, and you told me to stick it.

- It's mine.

- Don't be so precious.

Anyway, I was going to give you some money.

What are you doing?

Hey. Stop! Stop! Stop!

Okay, okay.

Thank you, thank you. Please, that's enough.

Ella.

- It's a wonderful medium, isn't it?

Bringing dead things to life.

- What happens when it takes on a life of its own?

- Are you scared?

- I'm scared at what'll happen if I carry on?

And I'm scared of what will happen if I don't.

- Poor, poppet.

Such a morbid imagination.

- I must take after my mum.

- Mm, the difference is I can control it.

You can't.

- Of course, you'd think that.

Look at you now.

I'm the one living my life.

It's my turn.

You can't control anything.

You're a puppet...

caught in your own strings.

And if it isn't me pulling them, it's somebody else.

But when the puppets are done with their play...

...they're put back in the box.

- So, now it's the second night.

And The Ash Man comes back.

And this time, he touches her.

- No, that's not what happens.

The girl escapes, and The Ash Man

doesn't touch her.

- That's not how it goes.

He comes three nights.

On the first night, he sees her,

and on the second night, he touches her.

- Not anymore. - You can't change it.

- Yes, I can, it's my film.

- Okay, then.

- On the second night, she escapes.

- I told you.

- Keep your head still. Follow my finger.

You were found wandering near your building.

Do you remember how you got that cut on your leg?

- My head still hurts.

- We're keeping you in overnight under observation.

Rest now. We'll talk more later.

She's got a nasty cut on her leg,

and she's got...

- Thank you.

- If you think I did this on purpose, the answer is no.

Ella.

Look...

I'm not saying that you can't do your films.

Once you're better, you can go back to making stuff.

I mean, we could even work together.

You could do my music videos for my album.

What's so funny?

- Nothing.

- No. Go on.

- You don't make music, Tom.

You put on a suit and go to work.

Fuck you, Ella. And you're what?

You're some fucking artistic genius animating

a steak and a dead fox.

Like, who the fuck wants to see that?!

Yeah, I-I thought you were

trying to work through something,

so I was trying to help you.

I'm just not doing it anymore. Do you know what?

I'm going to go there right now,

and delete the whole fucking thing.

- Don't you dare. - I'm going to clear the flat.

I'm going to throw it all away,

so, we can be done with this shit.

- Wait, wait. Let me do it.

Just let me do it.

Okay. You're right.

I know this needs to stop. I know it's bad for me.

But I started it.

I need to be the one to end it.

Please.

- No.

We'll do it together.

I'll drive you there in the morning,

and I want you to do it.

- Thank you.

- I'm so sorry, Ella.

- Are we done here?

The fox meat doesn't work.

It's all dried out now.

We need to find something better.

- Something more bleedy.

- What for?

- Come here.

I want to look at you.

- What are you doing?

- Have you got that out of your system now?

- Hey, hey.

It's okay. We're nearly there.

- I'm scared.

What happens on the third night?

What does The Ash Man do?

- Don't be scared.

It'll be all right.

It will be worth it.

Something only you could have made.

Great artists always put themselves into their work.

Hand me that.

Go!

- Oh, God.

- It's okay.

Come on, Ella.

- Let's get you out of here.

- Oh, gosh. Help me!

Stop! Stop!

- Stop! - They're gonna ruin this.

- You're bleeding, Ella!

Tom!

Help me. Help me.

- This is even better.

- That bit.

Wow.

- Ready?

Steady.

Go.

- Isn't she going to do anything?

- Sh. Watch.

What's he doing?

This isn't what happened.

- I love it.