….following on…
NICK
The
jealous boyfriend?
ANGELA
No.
NICK
No?
ANGELA
I barely
know him. Met him at the UN awards...briefly. Is he one of your vipers?
NICK
You know
he is. Why do you ask me that? I might be a cretin but...
ANGELA
turns red with embarrassment; finds it difficult to hold his gaze.
ANGELA
OK, he
is...Gerard is...my...my...
NICK
Lover?
ANGELA
Boyfriend.
But...
NICK
But!?
ANGELA
Right
now I wish I could kiss you.
NICK
I’m not
going to stop you.
ANGELA
smiles. NICK smiles.
This
interchange has been noted by GERARD, talking with a GUEST. He then observes
TERRY SWINTON, more than a little drunk, making his way towards NICK and
ANGELA.
NICK
notes TERRY’S approach; raises his eyebrows:
NICK
You are
about to meet a viper.
ANGELA
notices NICK touch his shirt pocket as TERRY walks up; jabs NICK in the chest aggressively.
TERRY
You’re a
cunt, Morecombe. You know that, don’t you.
NICK
As you
keep reminding me, Terry.
TERRY
turns to ANGELA.
TERRY
‘Scuse
my language, young lady, but you need to know that this man here is a cunt.
ANGELA
Is that
meant to be an insult, Mr...?
TERRY
Swinton.
Yes, of course its a fucking insult.
ANGELA
I love
my cunt Mr Swinton. It gives me great pleasure.
TERRY is
not sure what to make of this revelation!
TERRY
Well,
I...
ANGELA
So your
calling Mr Morecombe a cunt is not, in my eyes, an insult but a compliment.
NICK
This
‘cunt’ here used to work for the FBI before they found our he was setting up
drug stings, stealing the money and drugs...
TERRY
throws the remainder of his champagne in NICK’s face.
TERRY
Fuck
you, Morecombe.
NICK
acts as though he doesn’t have champagne dripping from his face..
NICK
And did
time in jail. How long was it, Terry?
BALIN
MEAS observes this interaction with interest.
TERRY’S
jaw is clenched tight.
NICK
Do you
own ‘Khmer Plus’ Mr Swinton?
TERRY is
seething with anger but not sure what to do with it.
NICK
Does
your wife own ‘Khmer Plus’? (A BEAT) And ‘Pussy Galore’? And...
TERRY
Get
fucked. None of your fucking business. Ask her, cunt.
NICK
She wont
talk to me.
TERRY
Tough
shit!
NICK
Are you
aware that ‘Khmer Plus’, your company, is engaged in providing Cambodian slaves
to the Thai fishing...’
TERRY
Willing
workers. Workers who sign contracts...
NICK (voice off)
Workers
who can’t read, can’t write, who will place their thumb print on any
document...
TERRY
Not my
problem, Morecombe...
TERRY
raises his hand, index finger extended (a ‘gun’).
NICK
...any
document they think will get them work so they can feed their family...
TERRY
points his finger at NICK; pulls the ‘trigger’.
TERRY
Fuck
off, cunt.
NICK
lifts his note-book, starts to write ‘Fuck off’, nods.
TERRY
That’s
all off the record, Morecombe.
NICK
Should
have mentioned that earlier, Terry.
NICK
takes a tiny camera from his pocket, holds it up. TERRY, apoplectic, looks at
the small hole in NICK’S shirt pocket.
NICK
Have a
nice evening, Terence.
TERRY
You’ll
get yours mate, no worries.
He
points his finger at NICK again: his hand a ‘gun’.
42 INT. LIVING ROOM. NICK’S
APARTMENT. DAY
ANGELA,
her hand shaped like a pistol, mimicing Terry, looks into the lens of the video
camera beside which, on either side, sit TODD and KATIE.
TODD
Did that
bother Nick?
ANGELA
No. “All
bark and no bite,” is how he described Terry.
TODD
nods, glances briefly at KATIE.
KATIE
Did it
bother you?
ANGELA
I
thought he was being a bit... cavalier but I figured he knew what he was doing.
KATIE
So...Wing
Chou’s white ‘tent’. What was under it?
ANGELA
You
know.
KATIE
Yes, but
our viewers don’t.
ANGELA
So you
want me to pretend that you do not already know the answers to the questions
you ask me?
KATIE
We know some answers.
ANGELA
OK, the
lights were dimmed and the music began...
43 EXT. CONCOURSE/SWIMMING POOL.
NIGHT
As the
lights on the concourse around the swimming pool dim the opening bars of “Thus
Spake Zarathustra” are heard and a synchronized laser lightshow begins.
In
amongst the assembled guests NICK raises his eyebrows, rolls his eyes, shakes
his head in disbelief; makes a vomit gesture. ANGELA smiles, elbows him in the
side: “Don’t!”
The
sides of the ‘tent’ slowly rise to reveal, spotlit in the centre of the table,
a detailed replica of a tropical island - replete with palm trees,
golden-sanded beaches and in the centre, a large and magnificently designed
white building.
As the
lightshow ends and the music fades, WING CHOU points to this building with a
white cane.
WING CHOU
The
centrepiece of our latest development project is this state of the art eco
casino offering high rollers everything that can be found in the best casinos
in the world. And More. (A BEAT) Our target clientele? Chinese billionaires.
NICK
looks in the direction of:
TWO
CHINESE MEN and their BODYGUARDS looking on impassively.
WING
CHOU points his white cane at:
Five
beautifully designed and modestly sized hotels, radiating out from the casino,
in the shape of a star - separated from each other by swimming pools, gardens
and pockets of tropical rain forest.
WING CHOU
To
accommodate our guests we will be providing them with every comfort imaginable...and
some ‘unimaginable’ to cushion the blow when they have lost millions of dollars
in the casino...
The
assembled guests laugh appreciatively. NICK shakes his head again. He can’t
believe it. ANGELA either.
Radiating
out from the five hotels, separated from them by gardens and man-made lakes
surrounded by palm trees, are clusters of condominiums - designed in such a way
that each condo has both privacy and a view of the ocean.
WING CHOU
And here we have 200 of the most luxurious
condominiums you will find anywhere in the world - each one with a magnificent
view of the ocean and totally private. These we will be selling to privileged
buyers so if any of you have your cheque books with you...
There is
a good deal of laughter. NICK calls out.
NICK
Mr Wing
Chou, what compensation will you be paying to the community of fisherman and
their families who were evicted at gunpoint?
WING CHOU
If you’d
kindly wait, Mr Morecombe, until I finish this presentation before asking your
questions. (Nick nods.) There may be some here who, like Mr Morecombe perhaps,
may be thinking, “Yes, this is all very well for those who can afford to lose
money in a casino and who can afford a luxury condominium, but what about
Cambodians who live in abject poverty?” This is a valid question and we at Wing
Chou Industries have an answer. Or, should I say, that Gerard Moreau has an
answer. And a very clever one it is. I will get Gerard to explain.
MR WING
CHOU signals to GERARD to come up onstage. As GERARD makes his way through the
crowd:
WING CHOU
As I am
sure you are all aware, Gerard has recently been awarded... rewarded...for the
enormous contribution Humanitarian Solutions has made to feeding, clothing,
accommodating and educating children...
GERARD
arrives on stage, all smiles; holding aloft his gold medallion. The assembled
guests applaud enthusiastically. NICK’S eyes are on ANGELA but her face gives
nothing away.
GERARD
Working
alongside Wing Chou Industries we at Humanitarian Solutions are also building a
village. The accommodation will not be quite as...salubrious...as on the
island, but for the impoverished poor families who will move into the
village...they will feel like millionaires. And who will be paying for this
village? Not me! I could not afford it. Humanitarian Solutions? No, we could
not afford it, either. We work to a very
tight budget. You are going to pay for it. At least those of you who buy a
condominium.
GERARD
looks at WING CHOU
WING CHOU
For each
condominium we sell, Wing Chou Industries will buy one new home to be given to
a poor family.
NICK
The
families you evicted from the island?
WING CHOU
We did
not evict the families. The Cambodian authorities had removed them before we
acquired a lease because they had no legal right to...
NICK
Wrong.
In accordance with Cambodian land law...
TERRY
Shut the
fuck up Morecombe!
NICK
Wing
Chou Industries was already negotiating with the government...
TERRY
Fucking
loser.
WING CHOU
Please,
Mr Swinton...
VLADIMIR,
a drunken Russian, waves is cheque-book in the air.
VLADIMIR
I vant
to buy condom.
Many of
the assembled guests laugh.
WING CHOU (smiles)
You
don’t want to now the price first, Vladimir?
VLADIMIR
shrugs, as if the cost is not important to him.
NICK
...negotiating
with the government! Is this the same government that murdered a fisherman who
was doing nothing more than advocating his right...
TERRY
Shut the
fuck up, Nickle Arse. No-one is listening.
No-one
is paying any attention to NICK. Seemingly unfazed, he gives up, writes notes
in his journalist’s note book.
44 INT. LIVING ROOM. NICK’S
APARTMENT. EVENING
ANGELA
looks from TODD to KATIE, on either side of the video camera; her face large on
the flip-out viewfinder.
She
smiles, adopts an exaggeratedly broad Texan accent.
ANGELA
“About
as popular as a skunk at a garden party,” as Brad would say.
TODD
Brad?
ANGELA
Texan
guy Nick was talking to that night.
KATIE
What can
you tell us about Brad?
ANGELA
Not
much. Why?
KATIE (laughs)
I’m just
a busy body.
ANGELA
You’d
have got on well with Nick.
KATIE
looks at ANGELA questioningly.
ANGELA
A conversation
with Nick could be like an interrogation sometimes.
KATIE
I don’t
mean...
ANGELA
It’s
OK...it’s your job. Mine... poking my camera in people‘s faces. Another kind of
interrogation I guess.
KATIE
nods, smiles. ANGELA glances down at the glass of wine on the floor beside her.
ANGELA
Are you
still filming?
KATIE
goes through the motions of switching the camera off but leaving it on; shakes
her head.
ANGELA
So I
can....
She
indicates the glass of wine on the ground beside her.
KATIE nods:
“Sure, go for it.” ANGELA leans down to pick up her wine. Alongside of it is
the glossy colour brochure on which can clearly be seen, in large bold
lettering:
“...and nothing but the truth.”
ANGELA
Do
you...(want a glass?)
KATIE
shoots a quick glance at TODD.
KATIE
No...thanks...
TODD
I’d like
to use your bathroom, though.
ANGELA
Sure.
Through the living room, up the hall, last on the right.
TODD
gestures his thanks, walks inside. ANGELA sips her wine.
ANGELA (sotto voce)
Is he your
boyfriend?
KATIE (laughs)
He’d
like to be. He’s working on it but...He’s my boss, so...(A BEAT)
You’ve
never mentioned Brad before.
ANGELA
Nothing
to mention, really.
KATIE
You know
he works for the US Embassy?
ANGELA (nods)
Handles
passport renewals, I think...visas to the States...that sort of thing. (A BEAT)
Very polite. Calls me ‘mam’.
KATIE
Gay?
ANGELA
How
would I know?
KATIE
Nick
might have told you?
ANGELA
sips her wine, shakes her head.
Close on
the flip out screen of the video-recorder; Angela’s face in close up. A green
dot is lit up. Time-code rolls.
KATIE
Was Nick
gay? Bi?
ANGELA
No. (A
BEAT) If he was he kept it secret.
KATIE
Did he
keep a lot of secrets?
ANGELA
Is the
Pope a Catholic? Does a bear shit in the woods? About his work, yes.(A BEAT)
Brad fell into Nick’s ‘Don’t ask’ category. “If I tell you I’ll have to kill
you,” he said. I think I am drunk. I know I am drunk. Fuck.
ANGELA
stares into space, finishes her glass of wine, looks at her empty glass.
KATIE
We can stop,
if you like.
ANGELA
No, it’s
OK. (A BEAT) Do you... (want a drink?)
KATIE
shakes her head. ANGELA stands, walks towards the kitchen area.
A LITTLE
LATER
ANGELA,
in front of the camera, finishes pouring herself a glass of wine from a new
bottle; raises the glass.
ANGELA
In vino
veritas.
KATIE
Sorry!
ANGELA
‘In wine
there is wisdom.’
ANGELA
puts her glass down, composes herself, moves her mouth close to the radio mike
pinned to her shirt.
ANGELA
Next
question.
KATIE
looks at TODD.
KATIE
Maybe we
should call it a day.
ANGELA
Or we
should call it...a night. Hello night. Darkness my old friend. No...
She
gestures to the camera.
ANGELA
Turn that
fucking thing on again.
KATIE
goes through the motions of turning the camera (still running) back on.
ANGELA
takes a big slug of wine.
ANGELA
I lost
the plot that day. Yes, I lost the plot. Bigtime...
45 EXT. RURAL CAMBODIA. LATE
AFTERNOON
ANGELA
stands close to her 4 WD, alongside CAMPBELL. STAIR and BALIN MEAS can be seen
standing close to Nick’s burnt out 4WD in the background.
ANGELA
He was
fucking murdered, Campbell.
CAMPBELL
Angela,
I know this is...very painful for you...but...it does look as though it was...
ANGELA
Yes,
because its supposed to look as though it was a ‘tragic accident’... Nick was
onto something, Campbell. Something big. I don’t know what but...
She
takes a key from her key ring
ANGELA
Give
this to...
She
gestures towards STAIR dismissively, hands the key to CAMPBELL, gets into her
4WD, sees, in the rear-vision mirror, an ambulance approaching.
46 INT. ANGELA’S 4WD. LATE
AFTERNOON
ANGELA
does a U-turn; drives off. Nick’s 4WD, BALIN MEAS, STAIR and CAMPBELL can be seen
in her rear vision mirror.
She goes
through a gamut of emotional responses - grief, anger, tears, confusion,
nausea, madness; starts to pound the steering wheel; hits the window with her
fist; draws blood.
47 EXT. PHNOM PENH STREET. NIGHT
Angela’s
4WD turns into a street lined with Embassies, palatial homes and Non Government
Organizations. Outside each white edifice there are uniformed guards.
48 EXT. ENTRANCE TO ‘HUMANITARIAN
AID CAMBODIA’ (HAC)
ANGELA
pulls up at the gates leading into the courtyard in front of the ‘HUMANITARIAN
AID CAMBODIA’. A large plate, written in gold, announces the name of the NGO.
The
SECURITY GUARD recognizes ANGELA, smiles, presses a button to activate the
electronic gate. It slides open.
ANGELA
drives into the courtyard, parks in amongst dozens of large shiny 4WDs bearing
the logos of a multitude of NGOs.
49 INT. FOYER. ‘HUMANITARIAN AID
CAMBODIA’. NIGHT
ANGELA
strides through the Reception Area of HAC, a look of ‘mad’ determination in her
eyes. A RECEPTIONIST stands to greet
her. ANGELA ignores her; strides past.
50 INT. ‘HAC’ HALLWAY. NIGHT
ANGELA
walks fast towards a Conference Room - outside of which neatly UNIFORMED KHMER
WOMEN sit at a table covered with name tags and vases of ornately arranged
flowers. A large sign announces the title of the conference in progress:
EMPOWERING THE CAMBODIAN WOMAN
The
UNIFORMED KHMER WOMEN stand and smile at her approach but she walks straight by
them and into:
51 INT. CONFERENCE ROOM. NIGHT
ANGELA
strides into a room filled with NGOs (Khmer and non-Khmer), Embassy staff from
several countries. The men are dressed in suits; the women in their finest
dresses and most expensive bling. WAITERS circulate with silver platters
covered in hors
d'oeuvre and glasses of champagne.
ANGELA
makes her way through the throng in search of someone; sees GERARD up ahead,
makes her way towards him.
GERARD,
in a designer suit, hair neatly coiffed, holds court for a group of EXPATRIATE
MEN AND WOMEN. He exudes charm. GERARD sees ANGELA approaching. The smile
disappears from his face. He excuses himself, walks towards ANGELA.
GERARD
Angie, I
heard about Nick. I am so sorry...
ANGELA
Did you
fucking kill him, Gerard? (A BEAT) You did, didn’t you?
She
starts to hit him; out of control.
ANGELA
Why?
Why? Fuck you...
The room
falls silent. GERARD fends off her blows, holds her in his arms. ANGELA allows
herself to be comforted for a moment, then pulls away, points at him; eyes blazing.
ANGELA
Fuck
you!
She
glares at GERARD for a moment before striding towards the entrance. GERARD
follows her.
52 INT. ‘HAC’ HALLWAY. NIGHT
ANGELA
bursts through the door, marches down the hallway. GERARD runs after her, grabs
her; spins her around.
GERARD
Angie...Three
deep breaths, OK?
ANGELA (desperate)
I’m
going mad.
GERARD
puts his arms around her; holds her tight.
ANGELA
I
can’t...it’s not...
She
breaks away, holds up both hands, turns and walks off,.
53 INT. ANGELA’S 4WD. ‘HAC’
COURTYARD. NIGHT
ANGELA
climbs into the driver’s seat, stares into space; at a loss what to do with
herself. After a long moment she reaches into her pocket, takes out a business
card; looks at it:
A photo of
Francoise and the words PERSONAL TRAINER, MASSEUSE, PHYSIOTHERAPIST, HEALER
54 EXT. PHNOM PENH STREET. NIGHT
ANGELA
sits with VANNY at a table in the street, opposite “Pussy Galore”; a haunted
look in her eyes. VANNY, her tray of
books resting on the table, strokes ANGELA’S hand as she stares vacantly into
space.
FRANCOISE
walks up, sits beside ANGELA, takes her in her arms, holds her. ANGELA starts
to cry. FRANCOISE comforts her, makes eye contact with VANNY: “Thanks.”
ANGELA
They
killed him.
FRANCOISE
holds her; strokes her comfortingly. VANNY makes eye contact with FRANCOISE:
“Should I go?” FRANCOISE nods.
ANGELA
looks at VANNY, holds out her hand. VANNY takes it. ANGELA squeezes it, mouths:
‘thanks’. VANNY nods, walks off down the road. In the background Campbell’s US
Embassy 4WD can be seen pulling up outside a hotel.
A LITTLE
LATER
ANGELA,
with FRANCOISE, is a little drunk.
ANGELA
You read
about this happening to other people, but you never... I can feel Nick’s breath
on my neck. I...I can smell him. Taste him...How can he be...!?
She
looks at FRANCOISE, in hopes that she might have an answer to a question that
ANGELA can’t articulate.
FRANCOISE takes her hands, holds them tight. ANGELA leans close, wanting to be held.
FRANCOISE holds her - ANGELA’S head tucked into the space between her shoulder
and head.
55 INT. LIVING ROOM NICK’S
APARTMENT. NIGHT
ANGELA,
drunk, walks through the front door (FRANCOISE close behind), heads for the
refrigerator; takes out a bottle of wine. FRANCOISE takes it from her; shakes
her head.
FRANCOISE
You need
zee nourriture.
ANGELA
nods. FRANCOISE looks inside the refrigerator. There is very little in it. She
shakes her head, looks at ANGELA - who half smiles, shakes her head.
FRANCOISE
takes her hand, leads her across the room. ANGELA is quite happy to have
FRANCOISE make decisions for her.
56 INT. NICK’S BEDROOM. NIGHT
ANGELA,
in a sarong now, lies on Nick’s double bed, looking at FRANCOISE, who sits
beside her; holding her hand.
ANGELA
You take
it for granted that the people you love are...going to...be there...
tomorrow... next week...next year..and then...
FRANCOISE
Zee
illusion we live with...nous devons vivre avec des illusions.
ANGELA
I used
to say to Nick, “Tell me a reassuring lie.”
FRANCOISE
Il vit dans
mon cœur. (A BEAT) “ee lives in my heart.”
ANGELA
A
reassuring lie?
FRANCOISE
Zere ees
nothing, mon petit, but zee mensonge rassurant. Zee lie that make zee life
tolérable, no?
ANGELA
nods. FRANCOISE leans forward, kisses her on the cheek. ANGELA manages the
beginnings of a smile.
FRANCOISE
Je vais
retourner, mon amour.
FRANCOISE
walks out of the room. ANGELA buries her face in a pillow, sniffs it, starts to
cry; closes her eyes.
A LITTLE
LATER
ANGELA
is asleep. The sound of her mobile phone is heard: the opening bars of
Beethoven’s 5th Symphony.
ANGELA
wakens, swings her legs out of bed, looks around; can’t see her mobile. She
stands, gets out of bed, looks for it but can’t find it. The ringing stops. She
gives up, sits back on the bed; is overwhelmed with feelings of grief; falls
back on the bed, sobbing.
ANGELA (voice over)
And I
eventually went to sleep; a deep deep sleep.
57 INT LIVING ROOM. NICK’S
APARTMENT. DAY
ANGELA
talks for KATIE and TODD’S camera.
ANGELA
And then
I woke, when I heard the floorboards creaking. “Nick’s home,” I thought to
myself, all excited for a second or however long it took me to realize
that...it wasn’t Nick. It was Stair. And I got up. And we talked. And then we
argued. And then I saw the photos of...the skeleton...and we fought...I mean,
really fought...
58 INT LIVING ROOM. NICK’S
APARTMENT. NIGHT
ANGELA’S
point of view, from where she lies on the floor, looking up at STAIR kneeling
astride her, his hands holding her wrists firmly against the floor.
ANGELA (voice over)
...wrestled...physical...I
wanted to kill him and I wanted...
Their
heads are close together. They stare into each others eyes - both breathing
deeply, exhausted by their struggle.
ANGELA
struggles to extricate herself from under STAIR. He is too strong for her.
In
Angela’s recollection she is the passive participant; Stair using his strength
to force himself on her.
STAIR
moves his lips close to hers. She turns her head away. She does not want to be
kissed. STAIR is in the process of forcing himself upon her when she turns her
head and bites his lip. STAIR jerks his head back: “ouch”
ANGELA
glares at him, a strange mad lust in her eyes, raises her head, mouth open,
ready to kiss him; wanting to kiss him.
The
sound of Angela singing:
ANGELA (voice over)
“There’s
a fine line between pleasure and pain...”
59 INT. LIVING ROOM. NICK’S
APARTMENT. DAY
ANGELA,
lost in her memory, sings drunkenly:
ANGELA (sings)
“You’ve
done it once, you can do it again...”
ANGELA
sips her wine.
KATIE
Sorry,
you’ve lost me.
ANGELA
I’ve
lost me, too. (A BEAT) There may be wisdom in a little wine but too much...Too
much information. (A BEAT) The wine talking. (A BEAT) Not me. (LAUGHS) You’ll
edit that last bit out, right? About the kiss...?
ANGELA
looks at TODD and KATIE enquiringly. KATIE nods. ANGELA sips on her glass of
wine; looks at the camera.
ANGELA
Can you
turn that off for a moment?
KATIE
nods, leans forward, pretends to turn off the camera.
Close on
the flip out screen of the video camera. It is switched on; the time code
rolling.
ANGELA
This is
my life, you understand? If I am going to...bare my ‘soul’...I need to be able
to trust you not to...screw me. OK?
KATIE
and TODD both nod.
KATIE
But you
wanted to screw Stair, right?
ANGELA laughs,
sips on her wine.
ANGELA
Yes, I
was ready to fuck Nick’s brother! Who I hated. With a passion. (A BEAT) Weird,
eh!? I was mad, yes, but...wet...wet, you understand? Wet with...lust. (A BEAT)
Adrenalin is a strange aphrodisiac, Katie. I didn’t know that. Did you? I could
have fucked the next man who came in the door. No problem.
KATIE
The next
woman?
ANGELA
frowns playfully, wags her finger at KATIE.
KATIE
You did
say ‘warts and all’!
ANGELA
Yes, I’m
beyond caring what anyone thinks of me, Katie. Of my ‘warts’. But I have a
mother. And a father. And they will watch this and... they’ll care. Believe
Me...OK, turn your fucking camera on and let’s get this over with before I’m
non compos mentis! OK, next question, Todd!
KATIE
Before
we do, just quickly, I’m curious...apart from the fact that you were quite
prepared to...to make love with Stair, what did you make of him? That first
day?
ANGELA (laughs)
‘To make
love with’! The word I used was ‘fuck’. (A BEAT) Stair? An arrogant cunt. I
can’t say that, can I? When you’re filming
KATIE (off screen)
The
broadcaster will bleep out the ‘c’ word.
ANGELA
Not the
‘c’ word, Katie. Cunt.
KATIE
I hate
that word.
ANGELA
Really!
Why?
KATIE
Can we
just...(continue).
ANGELA
I love
my cunt. Do you, Katie? Love your cunt? Does Todd?
TODD (smiles)
I do,
actually. Very much.
ANGELA
bursts out laughing; indicates to KATIE to turn the camera back on. She goes
through the motions of doing so.
60 EXT. STAIR’S PALATIAL HOME.
TURTLE BAY HONOLULU. DAY
STAIR, unshaven,
his hair longer, a little unkempt, looks directly into the camera lens:
TODD and
KATIE sit by the video camera; their backs to Stair and Tilda’s house.
KATIE
Was
Angela...trying to kiss you or bite you?
STAIR
You’d
have to ask her. (A BEAT) You have, haven’t you? (A BEAT) What does she say?
TODD and
KATIE exchange looks.
STAIR
I’m
going to find out eventually, right? (A BEAT) Unless Angela’s version doesn’t
make it into the final cut. (A BEAT) Or maybe it’ll be my version that doesn’t
make it. (A BEAT) Have you figured out who is telling the truth, yet? (A BEAT)
Does it matter? More than telling a good story?
KATIE (laughs)
You are
such a cynic, Stair.
STAIR
A
realist, Katie.
TODD
Mr
Morecombe, can you...?
STAIR
You can
call me Stair, Todd.
Referring
to Todd’s written questions:
STAIR
Fire
away, Toddy boy.
TODD
bristles.
61 INT LIVING ROOM. NICK’S
APARTMENT. DAY
STAIR
sits astride ANGELA, who is semi-naked. FRANCOISE, sprawled on the floor amidst
strewn groceries, addresses ANGELA indignantly.
FRANCOISE
How can
you let zee man treat you zis way?
ANGELA
‘ee was
giving me zee lesson wrestling.
STAIR
laughs. FRANCOISE stares at ANGELA in incomprehension; then at STAIR - anger
and hatred in her eyes.
End of
Episode Three
BALIN MEAS (voice off)
You are
all under arrest.
STAIR,
ANGELA and FRANCOISE turn to see:
BALIN
MEAS, in the doorway, the Glock pistol pointed at them.
STAIR,
ANGELA and FRANCOISE react with shock.
BALIN
MEAS smiles, lowers the Glock. In his other hand is a concertina manila file.
BALIN MEAS
Please
excuse me for interupting... votre conférence!
A LITTLE
LATER
ANGELA,
on her feet now, adjusts her sarong. STAIR rakes fingers through his disheveled
hair, ignoring FRANCOISE’S hands-on-hips hateful stare. ANGELA’S eyes are on
the Glock.
BALIN MEAS
It was
underneath the driver’s seat of Nick’s car.
ANGELA
Nick
didn’t own a gun.
STAIR
Meas
didn’t say it was Nick’s gun, Angela.
ANGELA
glares at him.
STAIR
He said
he found it under the seat.
ANGELA
Don’t
fucking patronize me, Alistair.
STAIR
holds up his hand (”OK”), raises his eyebrows for BALIN MEAS’ benefit:
(”Women!).
ANGELA
Nick
didn’t own a fucking gun.
BALIN MEAS
I am
sorry, Miss Angela but..
ANGELA,
quite drunk, slurs her words a little.
ANGELA
At
least...that’s what he told me. And if he had one, and if...or if he got one
but didn’t tell me...
STAIR’S
mobile announces the arrival of a text message.
ANGELA
...because...
because he didn’t want me to worry about him...its because he needed some
protection from... whatever it was...whoever he was scared of?
STAIR
reads the message. It is not good news!
BALIN MEAS
What was
he scared of?
ANGELA
You’re
the cop, Meas. You fucking figure it out. He had more enemies than you could
poke a stick at.
BALIN
MEAS is confused. STAIR is more preoccupied with the ramifications of his text
message than with the conversation.
ANGELA
A
shitload of enemies. (A BEAT) A lot of enemies.
BALIN MEAS
Yes, I
understand, Miss Angela, but he also had plastic containers full of petrol in
his car and...
ANGELA
And he
was a fucking moron but...
She
cries tears and anguish and frustration, gestures to BALIN MEAS: “You figure it
out.”
She
looks to FRANCOISE, who takes her hand, leads her out of the room.
BALIN
MEAS indicates to STAIR they should go outside, to the dimly lit tropical
garden.
STAIR
nods follows him.
62 EXT. TROPICAL GARDEN. NIGHT
As STAIR
and BALIN MEAS walk into the tropical garden.
BALIN MEAS
I
arrived at a difficult moment, no?
STAIR
We all
grieve in our own way.
BALIN MEAS (smiles)
My
friend, I do not want to contradict Miss Angela, but I think Mr Nicholas, he
owns a gun.
STAIR
nods, but is disinterested. He is pre-occupied by the contents of the text
message.
BALIN MEAS
If he
feared for his safety, as Miss Angela says, if he was scared, I have to ask
myself - of what or who is he scared? For his life?
STAIR
He’s
dead, Meas. That’s all...(that matters.)
BALIN MEAS
All?
STAIR
I don’t
mean that. (BEAT) I mean, Nick is my brother...was... but...let’s just say he
was murdered...
BALIN MEAS
So you
think it is possible?
STAIR
No. I
mean...He’s just as dead if he was murdered as if...
BALIN
MEAS
It is my
job to...(ask questions)
STAIR
Yes, I
understand, but...
STAIR
speaks fast; in something of a panic.
STAIR
Meas,
have you ever been...in a situation that...where you’re trapped...can’t escape.
There is no way out and you panic and... then a way out appears...a light at
the end of the tunnel and you have no choice but to run as fast as you can towards
that light and... there is a chance...a slim chance that you can...save
yourself?
BALIN
MEAS nods; he understands.
STAIR
That’s
me. Now. It would be too complicated to explain but...I have to get back to
Sydney. If I don’t...
He makes
an explosive gesture with his hands.
BALIN MEAS
I
understand some...a little...of what you say. You’re on the edge of a deep hole
and if you are not careful you will fall into it. (A BEAT) I know this feeling.
“At the end of your tether” I think you Barang call it.
BALIN
MEAS pats STAIR’S shoulder reassuringly.
BALIN MEAS
You need
say no more, Mr Stair. I understand.
STAIR
nods his thanks, composes himself.
63 INT. BATHROOM. NIGHT
FRANCOISE
removes ANGELA’S sarong, takes her hand, leads her into the shower recess.
ANGELA allows her to take control.
The
distinctive ringing sound of Angela’s mobile phone (the opening bars of
Beethoven’s 5th Symphony can be heard in the background.) ANGELA registers it
but pays no attention.
Water
pours down on ANGELA’S head and shoulders, drowning out the sound of her phone.
64 EXT. TROPICAL GARDEN. NICK’S
APARTMENT. NIGHT
STAIR
sits, head in hands. BALIN MEAS sits closeby.
STAIR
I owe a
lot of money, Meas. A lot. And the person I owe it to wants it back. Now. And I
don’t have the money. Now. In a week, I should...have it, but I might not! (A
BEAT) And if I don’t, I lose... everything. More than everything.
BALIN MEAS
I
understand what it is like to lose everything.
STAIR
I am
this close...this close...
He holds
his thumb and index finger close.
STAIR
...but I
have to be in Sydney to...make it happen.
BALIN MEAS
If you
worry about this problem tonight, will this change anything?
STAIR
stares at BALIN MEAS for a moment; shakes his head.
65 INT. BATHROOM. NIGHT
ANGELA,
in a daze, stands under the shower. FRANCOISE, close by, reaches for a bar of
soap.
66 EXT. TROPICAL GARDEN. NIGHT
Close on:
Skeletal hands clutching the
steering wheel.
STAIR (V.O.)
Nick’s
hands are holding the steering wheel...
STAIR,
holding his iPhone, on which the photo is displayed, looks at BALIN MEAS to see
if any pennies drop for him.
STAIR
...as if
he had no warning that he was about to be burned to death.
BALIN
MEAS thinks about this, nods, but is clearly confused as to where STAIR is
going with this.
STAIR
Let’s
just say the fire started in the engine.
BALIN
MEAS nods.
STAIR
There
would have been a few seconds, at least, from when the fire broke out and the
gas tank exploded, right?
The
penny drops for BALIN MEAS. He gestures his understanding of what STAIR is
suggesting.
STAIR
And a
few seconds again before the petrol containers caught fire.
BALIN
MEAS nods, would like to interrupt.
STAIR
Nick
would have had a few seconds, at least, to get out of the car...
BALIN MEAS
...in
which case his hands would not be clutching the steering wheel.
STAIR
Precisely.
BALIN MEAS
Your
theory is an interesting one, Mr Stair, but...perhaps the fire started inside
the car...If Mr Nick lit a cigarette and...
BALIN
MEAS makes an explosive gesture with his hands. STAIR shakes his head.
STAIR
No, that
doesn’t work, Meas. His hands wouldn’t be clutching the steering wheel if he’d
just lit a cigarette. (A BEAT) And Nick didn’t smoke.
BALIN MEAS
You have
the makings of a good detective, my friend.
STAIR
I
trained as a lawyer.
BALIN MEAS
I know.
“The first thing we do, let's kill all the lawyers.”
STAIR (laughs)
You read
Shakespeare?
BALIN MEAS
In a
past life.
STAIR
I must
say, Meas, I never expected to meet a Cambodian policeman who could quote
Shakespeare!
BALIN MEAS
Do not
expect anything in my beautiful country, my friend. And expect anything.
STAIR
How do
you know I am...was...a lawyer?
BALIN MEAS
It is my
job to know things.
STAIR
nods, smiles.
STAIR
So you
agree with Miss Angela that your brother’s death may not have been an accident?
STAIR
No. But
I don’t disagree. (A BEAT) But...I have a few doubts.
BALIN MEAS
Without
doubt we have no reason to look behind the appearance of things. We must keep
an open mind.
STAIR
A
policeman’s job.
BALIN MEAS
And a
lawyer’s. (A BEAT) You are right, my friend, to doubt. In Cambodia nothing is
ever quite as it seems to be.
STAIR (smiles)
In life.
BALIN MEAS (nods)
Indeed.
My own doubts have to do with this.
He holds
the Glock pistol up; points to the base of the grip.
BALIN MEAS
You see,
here, the serial number? I have checked online...it was part of a batch of 200
guns bought by one buyer...
STAIR
Checked
online?
BALIN MEAS
I seem
to you a simple policeman, no?
STAIR
Not
simple, Meas, in any sense of the word.
BALIN MEAS
You are
too kind! (A BEAT)...but the name of the buyer has been...how do you
say...re-d...
STAIR
Redacted.
BALIN MEAS
Redacted,
yes. What is interesting is the address of the supplier. Virginia, United
States of America.
STAIR
doesn’t understand.
BALIN MEAS
Langley,
Virginia. (A BEAT) Where the CIA has its headquarters.
STAIR
holds his hands up in a familiar gesture.
STAIR
I can
assure you, Meas, that there is no way, no way on earth, that my brother worked
for the CIA.
STAIR’S
attention is caught by ANGELA, inside, her hair wet, dressed in jeans and a
t-shirt; standing in front of Nick’s Nest of Vipers collage with FRANCOISE.
ANGELA
points, talks fast, traces coloured threads with her index finger. FRANCOISE
nods; takes it all in.
67 INT. LIVING ROOM. NICK’S
APARTMENT. NIGHT
FRANCOISE
looks closely at the photo of:
The severed head of Lindsay
Henderson lying in the rubbish; mouth taped shut with gaffer tape.
And then
at the photo of:
Lindsay Henderson’s severed head,
mouth open, resting on a metal tray, beside a shriveled penis.
FRANCOISE
I know
ziz man.
She
points to the photo of Lindsay Henderson, connected by a black thread to a
photo of Terry Swinton.
ANGELA
You knew
him?
FRANCOISE
I give
‘im massage one time. I talk to ‘im.
ANGELA
About?
FRANCOISE
waves the question away, (”I can’t remember”; surveys the Nest of Vipers
montage.
FRANCOISE
Is tres
intéressant zis vipers nest of Neekolas! (She nods her head.) Tres intéressant.
ANGELA
makes eye contact with STAIR through the sliding glass door as FRANCOISE takes
out her smart phone.
68 EXT. TROPICAL GARDEN. NICK’S
APARTMENT. NIGHT
STAIR
turns back to BALIN MEAS. ANGELA and FRANCOISE can be seen in the background. FRANCOISE
holds up her smart phone.
BALIN MEAS
My
friend, I am not saying your brother worked for the CIA, but...I have for you a
question. If you were the CIA and recruiting spies what sort of people would
you recruit?
STAIR (smiles)
The
kinds of people whose friends... brothers...would say...’there’s no way my
brother worked for the CIA.’
BALIN
MEAS smiles; nods.
As STAIR
processes this thought he looks inside; sees FRANCOISE taking photos of Nick’s
Nest of Vipers montage.
BALIN
MEAS opens the concertina manila file; takes a Chinese coin from one of the
slots, along with a plastic bag with a fire-blackened object in it. He hands
the coin to STAIR.
BALIN MEAS
I found
this.
STAIR
nods his thanks, looks at the coin briefly, but is more interested in the
contents of the plastic bag.
STAIR
And?
BALIN
MEAS hands to plastic bag to STAIR. Inside:
The blackened remnants of a mobile
phone.
BALIN MEAS
Mr
Nicholas’ smart phone.
Most of
the mobile has melted; burnt black. The small part that has not been burnt is
red.
STAIR
looks at it; puzzled.
As
ANGELA makes her way to the door leading to the garden, STAIR gestures to the
burnt mobile phone:
STAIR
Don’t
mention this to Angela.
He stuffs
the plastic bag in his pocket.
BALIN
MEAS, puzzled, nods. ANGELA slides open the door, walks up; sober and focused
now. FRANCOISE lingers inside; her eyes
on the Nest of Vipers collage.
ANGELA
OK, so
Nick told me that he did not own a gun, but let’s say he lied, right? Let’s say
he didn’t want me to worry about him - which I would have if I knew he had a
gun, because I would have asked him why he had a gun and he would not have....
STAIR,
pre-occupied with his own problems, is only half listening, which annoys
ANGELA.
ANGELA
So Nick
was scared...of something... when he left that morning. Really scared. Doesn’t
the fact that he was scared, that he had a gun, if the gun was his, at least
raise some doubt in your mind about his death being ‘accidental’?
BALIN MEAS
I have
an open mind, Miss Angela. If there is a truth to be found, I will find it.
ANGELA
looks to STAIR for a response.
STAIR
I am
sure Meas knows what he is doing.
ANGELA
I’m sure
you do, Meas. It’s just... my brain is...exploding now and...
She
turns to Stair.
ANGELA
When was
the last time you spoke to Nick?
STAIR
A couple
of days ago. Very Brief. Like...60 seconds. Less.
ANGELA
Why? (A
BEAT) Did you call him or did he call you?
STAIR
He
called me.
ANGELA
Why?
STAIR
I don’t
know.
ANGELA
What did
you talk about?
STAIR
Nothing.
ANGELA
And the
time before that?
STAIR
Four
years.
ANGELA
Did you
call him or did he call you?
STAIR
glances at BALIN MEAS, whose face gives nothing away.
STAIR
Neither.
We spoke.
ANGELA
‘We
spoke’! About what? Why?
STAIR
doesn’t want to answer; glances at BALIN MEAS again.
ANGELA
You
don’t speak for four years, then the day before he... dies...he calls you out
of the blue and you talk about... nothing! (A BEAT) Stair?
STAIR
maintains his silence. ANGELA turns to BALIN MEAS.
ANGELA
Excuse
us.
She
indicates to STAIR to follow her. It is a demand; not a request. She walks back
into the Living Room. STAIR follows.
69 INT. LIVING ROOM. NICK’S
APARTMENT. NIGHT
ANGELA
signals with her eyes to FRANCOISE that she wants to talk alone with STAIR.
FRANCOISE nods, walks out into the tropical garden; joins BALIN MEAS; closes
the sliding door.
ANGELA
Was Nick
in some kind of trouble? Four years ago? With the police? (A BEAT) He was,
wasn’t he?
STAIR
If he
told you he was, I guess he was.
In the
background BALIN MEAS can be seen answering his mobile; nodding as he listens.
ANGELA
You are
so fucking infuriating, Stair! No, he didn’t tell me. He wouldn’t tell me. I
picked up clues, asked him about... whatever it was. The police were involved.
And a girl, I think. Underage. He said it was ‘nothing’. Now I am asking you.
Was Nick’s ‘nothing’ the same as your ‘nothing’?
STAIR
Some
sleeping dogs are best left to lie.
ANGELA
Lie!
That’s what he did. He lied. He wasn’t a
good liar, Nick. He was a fucking hopeless liar!
STAIR
Or so
good you never picked it!?
ANGELA
Cunt.
STAIR
Groundhog
Day.
ANGELA
Groundhog
Day.
They
both smile at the same moment.
STAIR
The
family dog.
ANGELA
The
family dog!
STAIR
Jasper.
That’s what he wanted to talk about.
ANGELA
is gobsmacked; doesn’t know what to say. The sliding door opens and BALIN MEAS
appears; very apologetic.
BALIN MEAS
Please
excuse me for intruding, but I must leave. I have some matters to attend to.
70 INT. LIVING ROOM. NICK’S
APARTMENT. NIGHT
ANGELA (nods)
OK,
but...one last thing. Nick’s mobile phone? He had it with him. Maybe...!
BALIN MEAS
There
was no mobile phone, Miss Angela. Not that we found. The heat...gasoline burns
at more than 800 degrees centigrade...Now, if you will excuse me...oh, do you
mind if I take a photo of...
He
indicates Nick’s Nest of Vipers montage. ANGELA shakes her head. BALIN MEAS
takes a few photos of the N O V montage.
BALIN MEAS (to Stair)
I hope I
will see you again before you leave.
STAIR
I doubt
that I will have time, but...
BALIN MEAS
I
understand. Please excuse me.
He
smiles, walks out. STAIR turns to ANGELA
STAIR
Back in
a moment.
He moves
fast towards the front door.
71 EXT. NICK’S APARTMENT. NIGHT
STAIR runs
after BALIN MEAS, calls out:
STAIR
Meas!
BALIN
MEAS stops; turns.
STAIR
Can I
ask you a question? About my brother?
BALIN
MEAS nods.
STAIR
You know
about his case? The young girl?
BALIN MEAS
Yes. I
was not involved but...I have looked at the file.
STAIR
Was Nick
guilty?
BALIN
MEAS pauses for a long moment.
BALIN MEAS
I
believe you are a man who would prefer the truth to...
STAIR
Yes, the
truth, Meas, please.
BALIN
MEAS sighs, takes a deep breath.
BALIN MEAS
I was
hoping you would not ask me this question, but...
He opens
the concertina manila file, takes out a folder.
BALIN MEAS
Are you
sure?
STAIR
looks from BALIN MEAS to the folder; nods.
BALIN MEAS
Photos.
(A BEAT) The evidence. Entrapment, perhaps, but...
STAIR
takes the folder, looks at it for a long moment; not sure he wants to open it.
He does, takes out a 10 x 8 inch photo. We see the back of the photo only.
STAIR
looks at it. His facial expression gives nothing away.
End
Episode Three
No comments:
Post a Comment