‘PLAYING GOD’, a
cyber-thriller (is there such a genre?) is a feature film in search of a co-writer, a director, a co-producer, a distributor, a keen funding body and anyone wishing
to invest in a film intended as mainstream entertainment for Australian and international
audiences. All of these objectives are complicated by the fact that I, as the initiator of the project as screenwriter and as producer, have been banned by Screen Australia. If the project has any merit Screen Australia will only look at it with a view to funding if my name does not appear on any application forms. Yes, a ridiculous state of affairs - made possible by a Screen Australia Board that, no questions asked, went along with Ruth Harley's decision to ban me on the grounds that I have placed Screen Australia staff at risk and intimidated them with my correspondence!
'PLAYING GOD’ can be made for a modest budget and has, as its leads,
two 19 year old young women – SAMANTHA and IMOGEN. For those whose appetites
have been whet by Act One, the full script is available on request.
1 INT. MAKE UP AND
DRESSING ROOM
Music over opening montage credit sequence:
SAMANTHA, 19, stares at her reflection in a mirror
as she brushes her waist-length golden blonde hair. She is lost in her own
private reverie, seemingly unaware of the other young women in the room
dressing, putting on make-up, chatting.
2 EXT. UNIVERSITY
GROUNDS. DAY
Music over opening montage credit sequence
continues:
PHILLIP, a pale young man, early 20s, walks
awkwardly through a crowded university campus. Under one arm he carries a long
florist's box tied with a ribbon.
3 INT. LARGE ROOM
Music over opening montage credit sequence
continues:
A huge TV Screen, occupying most of a wall, broken
into 54 'boxes' - in each one of which is CCTV footage of people in rooms, cars,
shops, lifts etc. Sense of intense surveillance.
4 INT. TAMSIN’S BEDROOM.
DAY
Music over opening montage credit sequence
continues:
TAMSIN, 14, in a school uniform, long blonde
plaited hair sits in front of a mirror in her bedroom, iPad in hand. She smiles
as she sends a text message to 'Samson' on her iPad.
TAMSIN: Old enough!
TAMSIN waits excitedly for a response. It comes:
SAMSON To know better?
TAMSIN laughs, starts to unplait her hair. Through
the window her BROTHER, 12 years old, can be seen practicing riding his bicycle
on the rear wheel only; the front wheel in the air.
5 EXT. ORCHARDS. DAY
Music over opening montage credit sequence
continues:
Orchards. Aerial shot. The camera moves low over a
hilly landscape covered in orchards - as far as the eye can see.
6 INT. BEDROOM. NIGHT
Music over opening montage credit sequence
continues:
A laptop computer in dark room, seen over a
shoulder.
The cursor moves across the screen to a file
entitled ‘DIARY’, pauses for a moment before moving onto a file entitled
'MOVIES' file.
A hand performs a double click motion to open the
file.
7 INT. MAKE UP AND
DRESSING ROOM
Music over opening montage credit sequence
continues:
SAMANTHA, eyes closed, bunches her hair on top of
her head, holds it there with one hand, opens her eyes, stares at her
reflection.
With her free hand SAMANTHA reaches out to pick up
an ornate antique (Fleur de Lyse) pewter hairpin.
SAMANTHA is in the make up and dressing room for
the talent quest: REACH FOR THE STARS. Female contestants finish dressing,
getting made-up.
8 EXT. UNIVERSITY
GROUNDS. DAY
Music over opening montage credit sequence
continues:
PHILLIP, his face covered now with a film of
sweat, walks towards a group of students sitting on the grass, talking.
On the inside wrist of PHILLIP'S free arm, (his
other holding the florist’s box):
A multi-colored eye-of-Horus tattoo
9 INT. LARGE ROOM
Music over opening montage credit sequence
continues:
A group of men, seen in silhouette, look at the wall-sized
TV screen filled with 54 moving CCTV images - set in a wood-panelled wall. They
laugh and chat amongst themselves.
A MAN WITH A CIGAR, seen in silhouette, takes it
from his mouth, blows a smoke ring, picks up a remote control device, presses a
button.
The 54 images are replaced by one - blown up to
fill the entire screen.
A SEMI-NAKED MAN AND WOMAN frolic on a bed in a
bedroom.
The sound of men’s laughter.
10 EXT. FERRY. DAY
Music over opening montage credit sequence
continues:
TAMSIN sits on an outer deck of a ferry in Sydney
harbour as is passes the Opera House. A photo pops up on Tamsin’s iPad:
A handsome young man, early 20s
And a text message:
SAMSON: I want to meet you now. NOW!
11 EXT. ORCHARDS. DAY
Music over opening montage credit sequence
continues:
PAIGE, 40'ish, drives a tractor between rows of
apple trees, towing a large box of apples. She waves to:
BLAKE, 16, (a 'Goth', dressed in black) playing
with an old blind Labrador, outside a ramshackle shed.
BLAKE pointedly ignores PAIGE.
12 INT. BEDROOM. NIGHT
Music over opening montage credit sequence
continues:
On the laptop computer screen, over a shoulder, a
movie:
An 11 YEAR OLD GIRL plays Rapunzel in a school
play. She sits in her prison tower, her long hair reaching in a plait to the
base of the tower. A 13 YEAR OLD BOY with red hair, dressed as a Prince,
prepares to climb the plait to rescue her.
The image disappears in a cloud of exhaled cigarette
smoke.
13 INT. MAKE UP AND
DRESSING ROOM
Music over opening montage credit sequence
continues:
Close on the pewter double pronged ‘Fleur de Lyse
hairpin, as SAMANTHA skewers her bunched up hair, securing it in place. In the background, IMOGEN, performs for the
other YOUNG CONTESTANTS.
IMOGEN, pretty, 20, her short-cropped hair dyed
pink, clad in underwear only, speaks into a small electronic synthesizing
device that alters her voice so that it sounds like that of a man. Phone-sex
dialogue:
IMOGEN
“Do you like how that feels, babe?”
14 EXT. UNIVERSITY
GROUNDS. DAY
Music over opening montage credit sequence
continues:
PHILLIP, florist's box in his shaking hands, has
his eyes on MICHELLE - a blonde-haired student (early 20s), sitting with the
group of friends on the grass as they chat and eat lunch.
Close on PHILLIP, his face wet with sweat now.
15 INT. LARGE ROOM
Music over opening montage credit sequence
continues:
The wall sized TV screen seen over the shoulder of
the MAN WITH A CIGAR. With a remote control device he zooms in on one grainy
image that fills the wall:
An empty hallway, dimly lit. A door opens. Bright
light spills in from outside. Two figures appear in silhouette - one clearly
male and the other female.
16 EXT. CIRCULAR QUAY.
DAY
Music over opening montage credit sequence continues:
TAMSIN disembarks from the ferry at Circular Quay,
looks at the screen of her iPhone. The text message reads:
SAMSON: A Treasure Hunt :-)
TAMSIN laughs to herself excitedly.
17 ENTRANCE TO PAIGE’S
ORCHARD
Music over opening montage credit sequence
continues:
PAIGE walks from her tractor to a fruit stand at
the side of the road: buckets of apples underneath a hand-painted HELP YOURSELF
sign - along with prices.
TOM, mid 30's, checks out the apples, his car
parked close by. TOM, smiling and polite speaks in an American accent.
TOM
Mam…
18 INT. BEDROOM. NIGHT
Music over opening montage credit sequence
continues:
Laptop computer monitor. Onscreen:
A folder
entitled ‘OLD STUFF’ opens. The cursor darts from file to file, hovers over a file
entitled ‘DELILAH’.
19 INT. MAKE UP AND
DRESSING ROOM
Music over opening montage credit sequence
continues:
As SAMANTHA repositions the Fleur de Lyse hairpin
in her bunched up hair, IMOGEN moves the electronic device from her mouth so
that her own 'phone sex' voice is heard.
IMOGEN (PURRS)
Mmmm...Yes...That feels ...soooo ....good.
The other CONTESTANTS and MAKE-UP ARTISTS all
laugh but SAMANTHA’S attention is focused on a kitten playing on the bench in
front of her.
IMOGEN
Oh...Honey Bunny...stop...that is too too nice...
SAMANTHA picks up the kitten, smiles; pays no
attention to IMOGEN’S phone sex routine.
20 EXT. UNIVERSITY
GROUNDS. DAY
Music over opening montage credit sequence
continues:
PHILLIP is close to MICHELLE and her friends now.
PHILLIP
Michelle!
MICHELLE turns, looks at PHILLIP.
PHILLIP
Phillip…from Facebook.
MICHELLE'S eyes light up. She laughs excitedly.
MICHELLE
Phillip Lasker!?
PHILLIP
Phillip Tillman.
The smile disappears from MICHELLE'S face.
21 INT. LARGE ROOM
Music over opening montage credit sequence
continues:
The MAN WITH A CIGAR, seen from behind, watches
the screen, looks down, writes in a note book. OTHER MEN can be seen in soft
focus - all looking at the multiple TV images on the wall and making notes. We
do not see what they see.
22 EXT. ENTRANCE TO
PAIGE’S ORCHARD. DAY
Music over opening montage credit sequence
continues:
TOM bites into an apple, smiles broadly at PAIGE.
TOM
That's one helluva damn fine apple…?
PAIGE
Paige…
23 INT. BEDROOM. NIGHT
Music over opening montage credit sequence
continues:
Moving image on laptop computer screen:
The 13 YEAR OLD BOY with red hair, dressed as a
Prince, holds out his arms. 'Rapunzel' steps close. He wraps his arms around
her. She rests her head on his chest and smiles.
24 INT. TV STUDIO
Music over opening montage credit sequence
continues:
SAMANTHA, wearing glasses, in a brightly colored
50's style print dress, with HAMISH, 19, watches from the wings of a TV studio
as IMOGEN, in a tank top and a pair of tight body-hugging hot pants, sings for
the TV studio audience and Judges - ALAN, ZOE and CORINNE.
IMOGEN (SINGS)
“Like a virgin, touched for the very first time…”
ALAN, 40'ish, takes a keen interest in IMOGEN'S
body and makes no attempt to hide the fact. ZOE and CORRINNE exchange
theatrical head-shakes for the audience’s benefit.
25 EXT. UNIVERSITY
GROUNDS. DAY
Music over opening montage credit sequence
continues:
PHILLIP holds the long florist’s box out to
MICHELLE. She gestures, shakes her head nervously: 'No'. PHILLIP stares at her;
expressionless. He seems a little unhinged.
26 EXT. LUNA PARK. DAY
Music over opening montage credit sequence
continues:
TAMSIN takes a hand-drawn map from under a rock
close to the smiling Luna Park entrance:
Alongside a skull and cross bones, the word
“Treasure”.
TAMSIN smiles, orients the map, walks towards the
smiling Luna Park face - past a red mini van, whose driver, seen from behind,
watches her.
27 INT. TV STUDIO
Music over opening montage credit sequence
continues:
SAMANTHA watches IMOGEN'S performance from the
wings. The audience response suggests that IMOGEN is very popular.
IMOGEN (SINGS)
“Like a virgin, when your heart beats, next to
mine…”
SAMANTHA'S attention is caught by TODD (25),
partly hidden from view backstage, filming her with his mobile phone.
TODD, an awkward shy young man, smiles sheepishly,
stops filming.
SAMANTHA shakes her head, waves her finger: “No”.
TODD looks down, embarrassed.
28 EXT. UNIVERSITY
GROUNDS. DAY
Music over opening montage credit sequence
continues:
A strange smile appears on PHILLIP’S face -
unnerving both MICHELLE and her friends.
29 EXT. HARBOUR
FORESHORE. DAY
Music over opening montage credit sequence
continues:
Using her ‘map’ TAMSIN finds a small plastic bag
hidden under leaves at the base of a tree. She opens it. Inside:
A small USB device and a note.
TAMSIN smiles, reads the note, is puzzled, inserts
the USB into her iPad.
30 EXT. UNIVERSITY
GROUNDS. DAY
Music over opening montage credit sequence
continues:
As PHILLIP starts to undo the ribbon on the flower
box ANOTHER STUDENT takes out her mobile and films.
31 EXT. HARBOUR
FORESHORE. DAY
Music over opening montage credit sequence
continues:
On the LCD screen of Tamsin's iPad (the USB device
plugged into it) appears:
CCTV style footage of her herself, her MOTHER,
BROTHER (seen earlier riding his bicycle on one wheel) and FATHER, watching TV
- a show with 'scary' suspenseful music.
TAMSIN watches the covertly filmed footage with puzzlement
as the red van pulls up alongside her.
TAMSIN looks up from her iPad at the driver (whom
we do not see), beams a nervous/friendly smile.
TAMSIN
Samson?
32 EXT. UNIVERSITY
GROUNDS. DAY
Music over opening montage credit sequence
continues:
PHILLIP takes a shotgun out of the flower box.
MICHELLE and the STUDENTS freeze. The girl with the mobile keeps filming.
33 EXT. HARBOUR
FORESHORE. DAY
Music over opening montage credit sequence
continues:
TAMSIN, in the passenger seat of the red van, looks
at the driver (still unseen), smiles nervously:
TAMSIN
How did you...?
She indicates her iPad.
34 EXT. UNIVERSITY
GROUNDS. DAY
Music over opening montage credit sequence
continues:
PHILLIP points the shotgun at MICHELLE - terror in
her eyes.
35 EXT. HARBOUR
FORESHORE. DAY
Music over opening montage credit sequence
continues:
TAMSIN, very scared now, wishes she had not got
into the van as the driver (still seen only from behind) pops the cork of a
bottle of champagne - loud like a gun shot.
36 EXT. UNIVERSITY
GROUNDS. DAY
Music over opening montage credit sequence
continues:
PHILLIP, smiling madly, holds his shotgun, smoke
coming out of its barrel. The sound of screaming. PHILLIP turns the gun around
and places the end of the barrel in his mouth.
37 INT. MINI VAN. DAY
Music over opening montage credit sequence
continues:
Close on TAMSIN's eyelids. She is unconscious. She
regains consciousness. Her eyes open.
TAMSIN’S mouth is taped. It takes her a moment to
realize where she is; that she is bound and gagged.
In a wider shot we see that her arms and legs are
bound; that she is in the back of the red mini van - the DRIVER visible in soft
focus in the background.
TAMSIN, terrified, tries to scream but produces
muffled grunts only. She thrashes her body about but the DRIVER pays no
attention.
end opening credit
sequence
PLAYING GOD
38 INT. TV STUDIO
Close on IMOGEN singing. Her voice is not the
greatest:
IMOGEN
'You're so fine and you're mine
I'll be yours till the end of time…'
In the wings, SAMANTHA, wearing her glasses,
whispers to fellow contestant HAMISH. She is somewhat in awe of Imogen.
SAMANTHA
Gorgeous!
HAMISH
Pity about the voice!
SAMANTHA laughs girlishly, hits HAMISH playfully.
39 INT. JORDAN'S BEDROOM.
NIGHT
On a large plasma screen, Imogen can be seen
singing:
IMOGEN
'Like a virgin, kissed for the very first time…'
As Imogen continues singing onscreen, JORDAN, 19,
peroxide blonde hair, sits in front of his computer, controls in hand, playing:
An animated 3-D game. The POV from the cockpit of
a helicopter:
A woman below runs across a desert landscape
chased by a horde of bandits firing at the helicopter as it rises, falls and
weaves to avoid being shot down.
Jordan's neat, expensively furnished room is
suggestive of his family's wealth.
On the wall behind JORDAN, in soft focus, is a
print of Michelangelo's Sistine Chapel painting of God touching the
outstretched finger of Adam.
JORDAN looks at Imogen singing onscreen for a
moment then returns to his game:
The running woman looks back at her pursuers, then
up at the helicopter as it swoops in to rescue her.
40 INT PAIGE'S HOME.
NIGHT
PAIGE watches TV as she works on a sewing machine
- alongside which is a bolt of cloth identical to the material from which
Samantha's colourful 50's print dress (seen in TV studio) is made. Onscreen:
IMOGEN has finished her song. She walks up and
stands in front of ALAN, ZOE and CORINNE. ALAN is the REACH FOR THE STARS
‘sleaze’ whom everyone hates.
ALAN
I'm very impressed.
ZOE (RAISED
EYEBROWS)
By her voice I hope you mean!
BLAKE (Paige's 'Goth' son), watches the TV with
his mother - the head of the old blind family dog, Matilda, resting in his lap.
ALAN
Her voice is okay too, but that's not the first
thing I noticed about Imogen!
IMOGEN winces but maintains her smile. The
audience hisses and boos.
ZOE
You're a pig, Alan.
ALAN snorts like a pig. CORRINE upends a jug of
water over ALAN'S head. The audience cheers. ALAN smiles.
There is a knock at the door. PAIGE throws BLAKE A
look: 'behave yourself'. BLAKE shakes his head, gets up, moves towards the
door.
Onscreen:
ALAN
I'm giving her 9.
He holds up a card with 9 written on it.
BLAKE opens the door with an obvious lack of
enthusiasm and ignores the person (unseen) standing there.
41 INT. JORDAN'S BEDROOM.
NIGHT
JORDAN looks up from his computer game to the
plasma screen:
ALAN, soaking wet, addresses a camera with a
smile.
ALAN (ON TV)
Reach for the Stars, the show that turns losers into
winners, will be back after the break…
JORDAN'S attention is now 100% on the plasma
screen:
ALAN (ON TV) (
…with the one and only Queen of atrocious attire,
Samantha, so don't go away.
JORDAN'S face contorts and his eyes flare in a
moment of rage.
42 INT. TV STUDIO. NIGHT
SAMANTHA looks at her dress, wondering with
furrowed brow if it is really that bad! She looks up, sees ALAN walking towards
her. As he walks past, ALAN (a sleazebag!) smiles, gives her two 'thumbs up'.
SAMANTHA, without apparent guile, seeing only good in people (it seems!) smiles
back at him warmly.
SAMANTHA sings softly to herself for a moment,
becomes aware of TODD'S presence at her side. TODD is shy, sweet, besotted with
Samantha.
TODD
Nervous?
SAMANTHA nods.
TODD
You'll be fine. Promise.
TODD holds up two fingers.
TODD
Two minutes.
SAMANTHA nods. TODD smiles, walks off.
TRACY (VOICE OFF)
Samantha…
SAMANTHA turns to see TRACY (a fellow contestant)
holding a mobile phone out to her. SAMANTHA smiles, shakes her head.
TRACY
Says it's urgent.
SAMANTHA takes the phone, holds it to her ear.
SAMANTHA
Hello.
MAN'S VOICE (PHONE)
Sammy Buttons?
The color drains from Samantha's face. She is
speechless.
43 EXT. HILL AMIDST
ORCHARDS. DAY
Flashback. Very brief. A tractor driven by a man tilts
precariously on the side of a steep hill alongside orchards.
44 INT. TV STUDIO. NIGHT
SAMANTHA, mobile at her ear, her face pale, is in
shock.
MAN'S VOICE (PHONE)
Darling, are you there? It's daddy.
45 EXT. HILL AMIDST ORCHARDS.
DAY
Flashback. An 11 year old girl with long blonde hair (YOUNG
SAMANTHA) watches as the tractor tips over rolls down the hill.
46 INT. TV STUDIO. NIGHT
SAMANTHA doesn't see TODD standing closeby,
pointing to his watch.
SAMANTHA
Who is this?
MAN'S VOICE (PHONE)
What a question to ask your father!
SAMANTHA
My father's dead. What do you want?
MAN'S VOICE (PHONE)
It's not what I want, darling. It's what you want.
TODD waves his hand urgently in front of SAMANTHA
to get her attention. She seems not to notice him.
MAN'S VOICE (PHONE)
I've been thinking a lot lately, Sammy Buttons,
about our secret.
TODD gestures that it is time for her
performance.
MAN'S VOICE
You haven't told anyone have you?
SAMANTHA hangs up - angry, distressed; in shock.
Tears well in her eyes. TODD watches her, concerned. Audience members sit down
in preparation for the next segment.
ALAN returns to his seat, chats with ZOE and
CORINNE. SAMANTHA takes off her glasses, wipes tears from her eyes.
TODD (SMILES)
Good luck.
SAMANTHA composes herself, nods to TODD, tries to
smile, replaces her glasses, walks out onstage.
ALAN casts a critical eye over Samantha's dress;
shakes his head.
ALAN
Your mother have some old curtains she was not
sure what to do with, Samantha?
SAMANTHA
No, they were quite new curtains actually, Alan,
but I asked mum if she'd mind sacrificing them to produce…
She does a little pirouette to show off her dress.
ALAN smiles, holds his hands up to get the audience to stop its applause. He
has something to say but before he has an opportunity SAMANTHA speaks:
SAMANTHA
My rock piece tonight, Alan, is 'Light my Fire',
a…
ALAN
Highly unlikely, Samantha, dressed like that.
SAMANTHA
…a psychedelic jazz-rock piece, made famous by Jim
Morrison whose fire, like yours Alan, was extinguished a long time ago.
ALAN smiles and gives her the thumbs up as the
audience cheers and SAMANTHA cues the band to start playing.
SAMANTHA
“Hallo I love you, won't you tell me your name…”
47 INT. JORDAN'S BEDROOM.
NIGHT
JORDAN, crunches an empty beer can angrily in his
hands. On the wall behind him, in soft focus: the print of Michelangelo's
Sistine Chapel painting of God touching the outstretched finger of Adam.
SAMANTHA (SINGING OFF)
“Hallo I love you, let me jump in your game…”
48 EXT. SAMANTHA'S FAMILY
HOME. NIGHT
BLAKE sits in the dark with Matilda, smoking a
joint and looking at:
The wall of the house, through the window of which
can be seen his mother PAIGE and TOM watching the TV.
SAMANTHA (SINGING OFF)
“Hallo I love you, won't you tell me your name…”
49 INT. STUDIO. NIGHT
TODD, love-struck, watching from the wings,
alongside IMOGEN, sighs and whispers his own name. IMOGEN notices and clearly
thinks that TODD is a little weird.
50 INT. STUDIO. NIGHT
SAMANTHA has finished her song. The audience
applause is at least equal to that which IMOGEN received. ZOE turns to ALAN.
ZOE
Have your fires been lit?
ALAN
Smoldering, Zoë! Smoldering. The voice, Sam, is
exquisite but you've got to do something about your frightful attire. Your
clothes suck!
There are hisses and boos from the audience in the
TV studio.
51 INT. SAMANTHA'S FAMILY
HOME. NIGHT
SAMANTHA nods and smiles warmly.
PAIGE, at her sewing machine watches the TV with
TOM.
ALAN (TV SCREEN)
Think 'sexy' not 'frump' and, oh, lose the specs
unless you want people to think you're a rocket scientist.
SAMANTHA (TV SCREEN)
My name is Samantha, if you don't mind, Alan. Not
Sam.
PAIGE smiles, turns to TOM, reaches out, places
her hand on his knee affectionately.
52 INT. TV STUDIO. NIGHT
SAMANTHA
I actually want to be a rocket scientist when I
grow up so I'll stick with these (HER GLASSES), thanks.
The TV audience laughs and cheers. ZOE and CORRINE
look at ALAN - pleased to see him put in his place. ALAN smiles and gives
SAMANTHA a double thumbs-up.
53 INT. DRESSING ROOM.
NIGHT
SAMANTHA, in bra and knickers, holds Imogen's
electronic voice synthesizing device. IMOGEN and the other contestants are in
various states of undress. IMOGEN shakes her head.
IMOGEN
It wasn't me, promise!
SAMANTHA nods, hands the device to IMOGEN, who
speaks into it - her voice becoming 'male'.
IMOGEN
What you need, gorgeous one, is one of these.
IMOGEN produces a pill. SAMANTHA shakes her head.
IMOGEN
All your problems will disappear. Trust me. Come
dancing with us! Pleeeeeze.
She holds the pill out to SAMANTHA - who looks at
it suspiciously, shakes her head.
TRACY (VOICE OFF)
Whose mobile is that?
All eyes turn to a mobile phone propped up in
front of the make-up mirror. All present deny ownership. IMOGEN picks up the
mobile.
IMOGEN
The fucking camera's turned on. Someone's perving
on us. Can you believe it!?
IMOGEN laughs, turns the mobile phone camera on
herself, looks into the wide angle lens - her face distorting massively.
IMOGEN
Get a life wanker!
SAMANTHA, grabs the mobile from IMOGEN's hands and
drops it into a glass jug of water on the bench in front of her. IMOGEN and the
other contestants all cheer. SAMANTHA grins.
54 INT. VAN. NIGHT
SAMANTHA is wearing a red dress, red lipstick and
red high heeled shoes, her long blonde hair flowing free. She is not wearing
her glasses. DOMINIC, mid-30's, switches off the digital recorder on the table
alongside him. They are sitting in what appears to be a very upmarket camper
van.
SAMANTHA
This is exactly the kind of game Imogen would
play.
DOMINIC nods, looks directly at her.
DOMINIC
Your secret?
SAMANTHA holds up her hand, shakes her head;
gestures: ‘It’s nothing’.
DOMINIC
And 'Sammy Buttons'?
SAMANTHA
It's what dad called me.
DOMINIC nods, looks at the note-pad in his hand.
SAMANTHA’S eyes are on a folder with a large V
written on it, resting on the table.
SAMANTHA
Is V a person, a place, a thing?
DOMINIC
Please, Samantha, let me ask the questions.
SAMANTHA reaches out to pick up the folder.
DOMINIC lays his hand firmly on it, stops her.
DOMINIC
Did anyone else call you Sammy Buttons? Other than
your dad?
SAMANTHA
My brother Blake sometimes - to tease me. (A BEAT)
It's just some fan, right, trying to mess with my mind. (A BEAT) Right?
DOMINIC (EVASIVE)
Does Blake try to mess with your mind?
DOMINIC flicks back a few pages in his note pad.
DOMINIC (READS)
“It all started the day I got an email from
Blake.”
DOMINIC looks at SAMANTHA. She sighs, clearly
reluctant to continue. DOMINIC presses 'play' on the recording device.
55 EXT. BLAKE'S DEN. DAY
An old wooden shed, a large orchard in the
background.
SAMANTHA (VOICE OFF)
He’s part of a collective of hackers. They compete
with each other...
On the door of the shed there is a skull and
crossbones and a sign: DEN OF INIQUITY ENTER AT YOUR OWN RISK. Through the door
SAMANTHA can be seen, a dart in her hand.
BLAKE (VOICE OFF)
Another firewall. Give me a few minutes!
56 INT. BLAKE’S DEN. DAY
SAMANTHA throws the dart, misses the circular dart
board on the other side of the room.
SAMANTHA turns, pays attention to what BLAKE is
doing on his computer as he types in instructions to get past a firewall. He is
wearing headphones with a microphone attached close to his mouth.
BLAKE (LAUGHS)
Make that 30 seconds.
SAMANTHA watches her brother hunched over his
computer, shakes her head.
BLAKE
Fucking amateurs! Firewall! Huh! OK, I’m in...
SAMANTHA'S attention is caught by the old dog,
Matilda, seen through the window of Blake's den - walking into a post. As BLAKE
continues with his hacking, SAMANTHA moves into the doorway.
SAMANTHA (CALLS)
Matilda! Over here sweetheart.
As Matilda approaches it becomes clear she is
blind. SAMANTHA crouches to pat her.
SAMANTHA (TO MATILDA)
Poor old girl!
A LITTLE LATER
BLAKE looks at the mainframe security code written
on a scrap of paper and types numbers into a box on his computer screen.
SAMANTHA
You're going to wind up in jail!
BLAKE
Yeah, right! I can just see their lawyer standing
up in court and saying “This school kid got past all our firewalls, intrusion
detection systems and biometric smartcard authentication devices…”
SAMANTHA
It's happening, Blake! They're prosecuting people
like you in the US, bigtime!
BLAKE (SHRUGS)
Whatever…
PAIGE (VOICE OFF)
Yoo Hoo.
PAIGE walks in. She is a little nervous. To
SAMANTHA:
PAIGE
You all packed?
SAMANTHA nods. There is a moment's awkward
silence.
PAIGE
I thought you might like to meet Tom before you
go.
TOM appears in the doorway.
PAIGE
Tom, I'd like you to meet Samantha and Blake.
TOM smiles, holds out his hand to SAMANTHA.
TOM
Hi. I've heard lots about you both.
SAMANTHA shakes TOM'S hand; greets him warmly.
SAMANTHA
Hi Tom. We've heard lots about you too.
TOM
I feel like I know you. From the TV.
SAMANTHA (LAUGHS)
Can't believe everything you see on TV!
TOM laughs, releases SAMANTHA'S hand, extends it
to BLAKE - who won't shake it. BLAKE turns and sits back at his computer console.
TOM makes light of Blake's rudeness.
TOM
Looks like you've got a great set-up here buddy.
BLAKE ignores TOM. PAIGE is angry with him.
PAIGE
Blake!
BLAKE ignores his mother. PAIGE would protest more
but TOM indicates to her to drop it, takes her elbow and walks her out of the
room. SAMANTHA turns on BLAKE.
SAMANTHA
What did you do that for?
BLAKE glares at SAMANTHA angrily, picks up a dart,
throws it hard at the dart board on the other side of the room - hits the
bulls-eye.
57 SAMANTHA'S BEDROOM.
PAIGE'S HOUSE. DAY
SAMANTHA packs her laptop computer into its carry
bag. Above a bed covered in teddy bears, dolls, stuffed animals (cats, dogs
etc.) is a window - through which can be seen the old shed which is Blake's
Den. Posters on the wall reveal Samantha's interest in Lady Godiva and Rapunzel
- both with long blonde hair. The richness of Samantha's fantasy life is
suggested by framed pictures of fairies, goblins, fire-breathing dragons and
knights in shining armor on the walls. In one corner there is an old rocking
horse.
58 EXT. BUS STATION. DAY
SAMANTHA, Rapunzel in her arms, kisses her tearful
mother goodbye.
PAIGE
Sing like an angel, Princess. And don't forget
your medication.
SAMANTHA
Yes mum.
SAMANTHA impulsively kisses BLAKE on the cheek.
SAMANTHA
I know you're probably going to have to wash your
face now but, hey…
BLAKE shrugs. SAMANTHA starts to shake TOM'S hand
but changes her mind and impulsively kisses him on the cheek. Over TOM'S
shoulder she can see BLAKE shaking his head and putting two fingers in his
mouth in a 'vomit' gesture.
As SAMANTHA turns to get onto the bus she sees
JORDAN, impeccably dressed, standing alongside a silver car.
SAMANTHA runs up to JORDAN, smiling -
affectionately.
SAMANTHA
Hey! How's everything?
JORDAN shrugs. SAMANTHA indicates her kitten.
SAMANTHA
Meet Rapunzel.
JORDAN
You know how I feel about cats.
SAMANTHA kisses Rapunzel.
SAMANTHA
Going to wish me luck?
JORDAN
Yeah, right! So you can become a 'somebody' and
leave all us 'nobodies' behind…
SAMANTHA
Jordie, we broke up before I even got to round one
of the show, so don't try to blame…
JORDAN
If you hadn't gone to Sydney…
SAMANTHA
Jordie, you're always going to be my bestest
friend, you know that don't you?
SAMANTHA reaches out and touches JORDAN'S arm. He
pulls away, looks at her with the anger of a rejected lover in his eyes.
JORDAN
I don't want to be your 'friend'.
59 INT. BUS. DAY
On the TV hanging from the bus ceiling:
A photo of Tamsin in her school uniform. A title
reveals the program's name: CRIME WATCH.
REPORTER (ON TV)
…a plea from the family of Tamsin O'Hara…
As the bus pulls out of the bus station, SAMANTHA,
Rapunzel in her lap, waves to PAIGE, BLAKE and TOM; pays no attention to the
TV.
REPORTER (ON TV)
…whose daughter is believed to have travelled by
ferry...
SAMANTHA waves to JORDAN - standing alongside his
Mercedes - a mobile phone held up to film the bus pulling away.
REPORTER (ON TV)
...to meet a Facebook ‘friend’ who calls himself
'Samson'.
JORDAN does not respond to SAMANTHA'S wave. He
just keeps filming.
On the TV set TAMSIN’S BROTHER can be seen sitting
with her MOTHER and FATHER on a couch holding a photo of her.
TAMSIN'S MOTHER (ON TV)
Tamsin, if you're watching this. Or 'Samson'…
60 EXT. COUNTRY. DAY
A handsome medieval KNIGHT in shining armor rides
a white horse through an enchanted forest. He has a large sword at his waist.
He turns to the camera and smiles.
61 INT. BUS. DAY
Seen through a bus window, SAMANTHA, wearing
glasses, looks out - the faintest of smiles on her face. She is looking at:
A man riding a horse alongside an orchard at the
side of the road.
SAMANTHA strokes her kitten, curled up in her lap;
pays no attention to the news story on the TV hanging from the ceiling:
REPORTER
Police hold grave fears for the safety of...
A photo of Tamsin in a school uniform, her blonde
hair plaited dissolves through to CCTV footage of her disembarking from the
ferry looking at her iPad.
REPORTER
...15 year old Tamsin O'Hara last seen four days
ago…
62 EXT. BUS STATION.
SYDNEY
SAMANTHA, carrying her kitten, is greeted with a
smile by TODD as she gets off the bus.
TODD
Samantha!? I'm Todd.
SAMANTHA smiles. TODD has a photo ID hanging
around his neck.
63 EXT. PARKING LOT. DAY
TODD, over-eager to please, awkward in his role as
chauffeur, opens the back door of a REACH FOR THE STARS van for SAMANTHA.
TODD
Anywhere you wish to go, Madame! Your wish is my
command.
A beeping sound: a text message arrives on TODD'S
mobile. He reads it carefully, nods, speaks quietly to himself.
TODD
Yes sir.
TODD becomes embarrassed when he realizes that
SAMANTHA has seen him talking to himself.
64 INT. CAR. DAY
TODD drives, looking at SAMANTHA in the
rear-vision mirror.
TODD
I love apples…
SAMANTHA
Sorry!
TODD
Your mother's orchard.
SAMANTHA (SMILES)
How do you know we have an orchard?
TODD
Internet.
SAMANTHA (LAUGHS)
Are people really interested in that stuff?
TODD (EXCITED)
Yes…
SAMANTHA laughs, shakes her head
TODD
I read…you've never ever cut your hair once in
your life. Like Rapunzel. Is that true?
SAMANTHA (LAUGHS)
Yes.
SAMANTHA holds up her kitten.
SAMANTHA
Rapunzel, meet my chauffeur, Todd.
TODD (LAUGHS)
Hi Rapunzel
SAMANTHA holds Rapunzel’s cheek against her own,
meouws like a cat.
TODD laughs. He is besotted.
65 INT. APARTMENT BLOCK.
DAY
SAMANTHA, holding Rapunzel, watches TODD as he
extracts a key-ring from his pocket with lots of keys on it, finds the right
key, has difficulty inserting it into the lock because his hands are shaking.
66 INT. LIVING ROOM.
APARTMENT. DAY
SAMANTHA walks in, TODD close behind with her
bags.
SAMANTHA
Imogen, Hi!
IMOGEN, sitting at her laptop, greets SAMANTHA
warmly.
IMOGEN
Hi Sam. Todd, can you help me get connected?
Pleeeze!
TODD
Sure.
SAMANTHA
It's Samantha if you don't mind.
IMOGEN
Not a problem. You can call me Im or anything you
like...
TODD pulls up a chair alongside IMOGEN'S at her
computer. IMOGEN smiles at him flirtatiously.
IMOGEN
...gorgeous, sweetheart...
TODD blushes. IMOGEN puts her hands on TODD'S
knee.
IMOGEN
...honeypot...
IMOGEN pats Rapunzel.
IMOGEN
Cute. (TO TODD) Did you stroke Samantha’s pussy,
Todd?
LATER
SAMANTHA finishes booting up her own laptop
computer - at the other end of the dining table from Imogen's laptop.
On the REACH FOR THE STARS website, alongside a
photo of Samantha, the text: “You have 26 new fanmails.”
SAMANTHA (CALLS OUT)
Twenty six.
IMOGEN emerges from her bedroom, in a dressing
gown and carrying her shampoo and other toiletries.
IMOGEN
Hey, I only got eighteen!
SAMANTHA (READS)
“Is that your real hair or a wig?”
IMOGEN puts her chin on SAMANTHA'S shoulder, looks
at the screen.
SAMANTHA
Another 'hairmail'!
IMOGEN laughs as she reads another of Samantha's
fanmails.
IMOGEN
“I want to run my fingers through your silky
blonde hair…”
IMOGEN runs her fingers through SAMANTHA'S hair.
IMOGEN
My fans have different ideas about what they'd
like to do with their fingers!
SAMANTHA shakes her head, smiles. IMOGEN caresses
SAMANTHA'S hair for a moment before walking into the bathroom. SAMANTHA stares
out the window, daydreaming.
67 EXT. CASTLE. DAY
SAMANTHA, in medieval dress, sits in front of a
castle on a bright sunny day. Standing behind her, brushing her hair, is the
KNIGHT seen earlier. Medieval lute music can be heard. The KNIGHT puts down the
brush and caresses SAMANTHA'S hair with his hands, moving them gently over her
shoulders and down in the direction of her breasts.
68 INT. LIVING ROOM.
APARTMENT. DAY
SAMANTHA, eyes closed, smiles. The lute music
continues. A 'pinging' sound. SAMANTHA opens her eyes, looks at her computer
screen. In the FROM column:
'BLAKE'. In the SUBJECT column, “Check this out!”
SAMANTHA clicks on the email. In the centre of the
screen:
A skull and crossbones icon/button.
SAMANTHA (LAUGHS)
Blake!
SAMANTHA clicks on the icon. Onscreen:
A room with ensuite kitchen, refrigerator, double
bed, TV, walking machine, flowers in a vase. It could be a holiday rental
apartment.
SAMANTHA watches, mystified as:
TAMSIN, dressed as she was in the opening credit
sequence, walks into frame and attempts to open the door with a knife (there is
no door handle). Alongside the door there is a rack of colourful costumes and,
in a corner of the room, a children's rocking horse.
SAMANTHA is mildly annoyed now.
TAMSIN, in frustration gives up trying to open the
door, walks towards the camera that is filming her, looks directly into the
lens:
TAMSIN
I'll do whatever you want but please don't hurt
me.
The image onscreen freezes for a moment before
dissolving into a vivid, ornate and multi-colored graphic of a human eye. This
is the Eye of Horus - the same design seen on the wrist of Phillip - the
shotgun killer of Michelle.
SAMANTHA
(VOICE OFF)
Is it supposed to be funny, Blake?
69 INT. BLAKE'S DEN. DAY
On a computer monitor SAMANTHA can be seen talking
via skype.
SAMANTHA
Or scary or what?
Blake's den is dominated by a computer console
made from recycled computer parts patched together. A computer nerd!
BLAKE
I've got better things to do, Sam, than mind-fuck
my sister.
On another monitor, the Home Page for a Porn Site:
TEEN SLUTS.
SAMANTHA
Careful you don't go blind.
BLAKE
Whatever…
BLAKE hangs up. Samantha's face disappears from
the screen.
70 INT. LIVING ROOM.
APARTMENT. DAY
SAMANTHA stands on the patio of hers and Imogen's
apartment, looking down at the swimming pool in the courtyard, mobile held to
her ear.
SAMANTHA
Why would you send me something like that?
71 EXT. JORDAN'S HOUSE.
DAY
JORDAN, mobile held to his ear, stands on the red
gravel turning circle in front of his family's palatial home - surrounded by
orchards. A helicopter can be seen on the helipad in the background.
SAMANTHA
(MOBILE)
Jordie?
JORDAN
Just some girl I've kidnapped, Sam. My sex slave.
SAMANTHA
(MOBILE)
Jordan!
JORDAN (COLD)
Forgotten to take your medication, Sam?
72 INT. LIVING ROOM.
APARTMENT. DAY
SAMANTHA, mobile in hand, stands by her computer.
IMOGEN, her hair wet, stands in the bathroom doorway in her dressing gown.
IMOGEN
Show me.
SAMANTHA walks to her computer, sits. IMOGEN walks
up, pulls up a seat next to her. SAMANTHA looks closely at the screen.
SAMANTHA
It's gone!
SAMANTHA, puzzled and a little distressed, scans
the INBOX. The email from BLAKE is gone. Samantha's mobile phone rings.
SAMANTHA
It was here just a minute ago!
IMOGEN (LAUGHS)
What drugs are you on?
SAMANTHA looks at the LCD screen of her mobile:
JORDAN
SAMANTHA
Jordie.
73 INT. JORDAN'S BEDROOM.
DAY
JORDAN, mobile to his ear, sits in front of his
computer - on which is screening some home movie footage of himself and
Samantha.
JORDAN
I'm sorry.
SAMANTHA (ON MOBILE)
It's OK.
JORDAN
I can't stop thinking about you.
Imogen's voice is heard over as JORDAN looks at
home movie footage of himself and Samantha:
SAMANTHA and JORDAN laughing, kissing, hugging,
fooling around as young teen lovers. Happy times.
IMOGEN (VOICE OVER)
So I got this email from a guy called Nathaniel...
74 INT. TODD'S CAR.
SUNSET
TODD drives. SAMANTHA and IMOGEN sit in the back
seat, IMOGEN leans slightly forward as she tells TODD this story.
IMOGEN
...same name as an old boyfriend of mine!
TODD nods shyly, shifts in his seat so that he can
see SAMANTHA in the rear-vision mirror.
IMOGEN
But this email was not from my Nathaniel. It was
an ad for penis enlargement.
IMOGEN pauses, looks to TOOD for a response. TODD
laughs nervously.
IMOGEN
What every girl needs, eh Todd? A large penis!
SAMANTHA shakes her head, holds a finger to her
lips, frowns and smiles simultaneously at IMOGEN: “Shhh!”
IMOGEN
I'm sure Todd is very well hung, aren't you Todd?
TODD blushes, pauses for a moment, smiles shyly.
TODD
Like a donkey.
SAMANTHA and IMOGEN laugh. TODD smiles. A beeping
sound announces the arrival of a text message on TODD'S mobile. TODD reads it.
TODD
Alan wants to see you both.
IMOGEN (LAUGHS)
Naked?
SAMANTHA smiles, shakes her head, hits IMOGEN
playfully.
IMOGEN
Would you like to see us both naked, Todd? Steamy
lesbian sex!
75 INT. FOYER. TV
STATION. DAY
IMOGEN, SAMANTHA and TODD walk into the foyer of
the TV station. IMOGEN walk as ‘sexily’ as she can; links her arm through
SAMANTHA'S. On a monitor as they walk past:
'Grainy' (mobile phone) images of Phillip lifting
a shotgun out of a long florist's box.
REPORTER
…sensational footage of the shotgun murder of
university student
Michelle Phillips filmed by a fellow student on a
mobile phone and posted on Facebook…
76 INT. ALAN'S OFFICE.
DAY
ALAN, smoking a large cigar, sits with his cowboy
boots resting on his desk. TODD, stands behind him, looking nervous. SAMANTHA
and IMOGEN sit on the other side of the desk. ALAN puffs on his cigar.
ALAN
One of life's great pleasures…as Monica Lewinsky
can confirm…
ALAN laughs. SAMANTHA and IMOGEN have no idea what
he is referring to. ALAN holds the cigar out to SAMANTHA. She shakes her head.
SAMANTHA
Don't smoke. Never have. Never will.
ALAN
Don't knock what you haven't tried, sweetheart.
IMOGEN takes the cigar, takes a puff - coughs,
grimaces, laughs, hands the cigar back to ALAN.
IMOGEN
Tastes like shit, Alan!
ALAN ignores IMOGEN, his eyes of SAMANTHA'S as he
moves the cigar suggestively in and out of his mouth. SAMANTHA is turns red in embarrassment. ALAN turns his
attention to IMOGEN.
ALAN
And what's your ambition as a singer, Imogene?
IMOGEN
To win 'Reach for the Stars', of course.
ALAN
Not everybody can be a winner. Most people are
losers.
IMOGEN
Only coz they take 'no' for an answer.
ALAN
And you always say 'yes'?
IMOGEN
As long it doesn't hurt too much.
IMOGEN fixes ALAN with a seductive smile.
IMOGEN
Whatever it takes.
SAMANTHA tries hard not to laugh. ALAN hands two
glossy 'passes' to IMOGEN: “HELLFIRE CLUB - you will be punished”.
SAMANTHA is finding it increasingly difficult not
to laugh.
77 INT. CORRIDOR. DAY
ALAN stands in the doorway to his office,
grinning, moving his cigar in and out of his mouth suggestively. IMOGEN
reciprocates with a suggestive mouth gesture of her own, laughs, turns with
SAMANTHA and walk down the corridor. As ALAN closes the door behind him
SAMANTHA bursts out laughing.
IMOGEN
Boys will be boys!
SAMANTHA
You are a wicked woman, Imogen Stubbs.
SAMANTHA looks at the HELLFIRE CLUB card in her
hand; reads.
SAMANTHA
'You will be punished'
IMOGEN
I hope so!
IMOGEN links her arm affectionately with
SAMANTHA'S. As they walk down the corridor, laughing, Dominic's voice is heard.
DOMINIC (VOICE OVER)
Sounds like there’s no shortage of people with a
reason to kill Alan?'
78 INT. VAN. NIGHT
SAMANTHA, in red dress, red lipstick etc. shakes
her head, crosses her heart; laughs.
SAMANTHA
A queue!
DOMINIC
What about you?
SAMANTHA
Wanting to do something and actually doing it are
two different things.
DOMINIC
Just as well we can't be arrested for our
fantasies!
SAMANTHA stares at DOMINIC. He looks down at his
note pad.
DOMINIC
What about Blake's fantasies?
SAMANTHA
If Blake could live out his fantasies, no young
woman would be safe. (A BEAT) He’s not going to get into any trouble, right?
You’re not an undercover cop or anything?
DOMINIC (LAUGHS)
If I was an undercover cop, d’you think I’d admit
to it? (SAMANTHA SMILES) So, did you...take Imogen’s pill?
SAMANTHA
If I did, do you think I’d admit it.
DOMINIC (SMILES)
I’m not an undercover cop!
SAMANTHA
No, I went home...
SAMANTHA gets a faraway look in her eyes.
DOMINIC
And?
79 EXT. SAMANTHA AND
IMOGEN’S APARTMENT. NIGHT
From the inside of a van parked across the road,
SAMANTHA can be seen getting out of a taxi in front of her apartment.
In a wider shot a figure in the red van watches
SAMANTHA as she makes her way to the entrance.
80 INT. SAMANTHA AND
IMOGEN'S APARTMENT. NIGHT
As SAMANTHA walks trough the door she is met by
Rapunzel - whom she picks up and cuddles as she makes her way to her laptop
computer.
SAMANTHA looks at the collection of emails she has
received. She clicks on the one from JORDAN. The screen fills with:
Home-movie montage of Samantha and Jordan fooling
around over the years, mostly filmed with mobile phones - cut to the music of
Whitney Houston's “I will always love you.”
SAMANTHA sighs, watches with mixed feeling.
Jordan drives an expensive convertible around the
red gravel turning circle in front of his palatial family home.
SAMANTHA’S mobile rings. She answers it.
Jordan in the cockpit of his dad's helicopter on
the helipad - pretending to be flying it.
A familiar male voice.
MAN'S VOICE
Hello, Sammy Buttons.
SAMANTHA
Jordan, Blake, whoever you are…this is not funny!
As the conversation proceeds there are brief
moments when Samantha’s caller sounds more electronic than real.
MAN'S VOICE
If it's not funny, I guess it must be serious!
SAMANTHA
Only if I take it seriously. And I can't take you
seriously - talking to me in that silly Darth Vader voice.
Samantha's mystery caller mimics Darth Vader's
voice well.
MAN'S VOICE
“If only you knew the power of the dark side,
Samantha.”
SAMANTHA
Imogen, is that you?
MAN’S VOICE
I can be Imogen if you like?
SAMANTHA
Blake? Jordan?
MAN’S VOICE
I told you, Sammy Buttons, it’s daddy.
SAMANTHA
How do you know my father called me ‘Sammy
Buttons’?
MAN’S VOICE
I know everything about you.
SAMANTHA
Yeah, right...Blake. I know you think you’re just
the awesomest dude but you are not God and don’t know half of what you think
you know.
MAN’S VOICE (LAUGHS)
God! Mmmmm. (A BEAT) Would you like me to play
God?
SAMANTHA
I thought God was dead, Blake!
MAN'S VOICE
Imogen? Blake?
SAMANTHA
Jordan?
MAN'S VOICE
I prefer God.
SAMANTHA
OK, God. (A BEAT) I’ve got a few questions for
you, God!
MAN'S VOICE
They'll have to wait, Sammy Buttons. God has a
very busy schedule tonight.
SAMANTHA
Organizing a tsunami or an earthquake or
something?
MAN'S VOICE (LAUGHS)
Oh, something much more fun than a tsunami. Or an
earthquake.(A BEAT) Now listen to me, Sammy Buttons. And don’t interrupt. I
want you do exactly what God tells you to do. I want you to obey His every
command without question. Is that understood. If you don’t...If you don’t,
well, I’ll leave it to your imagination to figure out what the consequences
will be. (A BEAT) Don't let the bed bugs bite, darling.
‘GOD’ hangs up. SAMANTHA stares into space;
remembering.
81 INT. SAMANTHA'S
BEDROOM. FAMILY HOME. NIGHT
Flashback: YOUNG SAMANTHA snuggles up to her FATHER as he
sings.
SAMANTHA'S FATHER (SINGS)
“Don't let the bedbugs bite ya, children…”
YOUNG SAMANTHA loves her dad. Really loves him!
82 EXT. SAMANTHA'S FAMILY
HOME. NIGHT
Flashback continues: YOUNG BLAKE, 10 years old, watches
jealously through the window.
SAMANTHA'S FATHER (SINGS)
“…Don't let the bedbugs bite ya.”
83 INT. SAMANTHA'S APARTMENT
BEDROOM. NIGHT
ADULT SAMANTHA opens her eyes, wet with tears. She
is in her bed, cuddling a teddy bear.
SAMANTHA'S FATHER (SINGS)
"Children I hope you sleep tight…”
Close on SAMANTHA crying; desperate.
84 EXT. FRONT DOOR.
SAMANTHA'S APARTMENT. NIGHT
Close on the front lock of the apartment. A hand
appears with a key - inserting it slowly, deliberately, noiselessly.
85 INT. HALLWAY. SAMANTHA'S
APARTMENT. NIGHT
A pair of male feet in socks creeps down the
darkened hallway. Rapunzel appears and looks at the intruder. Her hackles rise.
The male feet stop dead in their tracks.
86 INT. SAMANTHA'S
BEDROOM. NIGHT
SAMANTHA'S eyes open suddenly. She sits up, hears
something, swings her legs out of bed and listens: a low and barely perceptible
moan, then a quite audible moan.
87 EXT. ORCHARD. DAY
A brief flashback. CLOSE ON a WOMAN moaning, grimacing, eyes wide
open; her face contorted as if in great pain.
88 INT. SAMANTHA'S
BEDROOM. NIGHT
SAMANTHA is terrified. There is another moan -
followed closely by a laugh. Imogen's laugh. SAMANTHA breathes a sigh of
relief, lies back down in her bed.
A LITTLE LATER
SAMANTHA lies in bed listening to the sounds of
lovemaking coming from Imogen's room. There is a loud ‘pinging’ sound from the
living room.
Close on SAMANTHA - caught between fear and
excitement.
89 INT. LIVING ROOM.
NIGHT
SAMANTHA walks into the dark Living Room, sits in
front of the glowing laptop computer screen, stares at it in shock.
In the INBOX there is an email from:
GOD
SAMANTHA is in two minds about opening it. She
hesitates for a moment before clicking the email open. Onscreen:
Tamsin’s room. TAMSIN’S actions are recorded by several cameras.
‘Reality TV’! TAMSIN inspects a rack of costumes - school uniforms, ballet dresses,
fairies wings, nun's habit, sexy lingerie etc. There are also several different
coloured wigs.
A familiar electronically distorted male voice is
heard.
MAN'S VOICE
You are free to choose whichever role you want to
play.
TAMSIN turns from the rack of costumes and
addresses the intercom from which the voice emanates.
TAMSIN (CHEEKY)
Lara Croft?
MAN'S VOICE
That is not an option. You can either be a victim
or you can take control of your life. Your choice.
TAMSIN
If you want to fuck me, why not just fuck me. Rape
me. Why all this…?
TAMSIN gestures to the costumes dismissively.
MAN'S VOICE
Do as you're told, child, for your brother's sake.
Look at the television.
The TV set flickers to life, revealing:
TAMSIN’S BROTHER riding his bicycle, on one wheel,
in the family back yard.
Close on TAMSIN - incomprehension quickly giving
way to fear, panic and tears.
The image onscreen freezes for a moment before
dissolving into a vivid, ornate and multi-colored graphic of the Eye of Horus.
SAMANTHA is frozen in shock for a moment.
Close onscreen:
The word ‘Michelle’ is typed into ‘Google’.
Close on SAMANTHA as she types. Onscreen:
Phillip lying on the ground with the sheet over
him - one arm protruding, palm facing upwards.
NEWSREADER (VOICE OVER)
Police are hoping that tattoos on the gunman's arm
will help identify…
Over other images of the crime scene.
NEWSREADER (VOICE OVER)
…the man, who, police believe may have been
stalking Michelle Phillips…
Close on the tattoos on the man's arm.
SAMANTHA leans close to the computer screen and
looks at:
The Eye-of-Horus tattoo on 'Phillips' wrist.
End of Act One
