Case Report Screenplay

Part 1: Locked

1. Int. Lounge / Int. Damian’s Room – day

Whilst sitting in a couch, DAMIAN is using his computer, and as GEMMA enters, he closes the screen.

Gemma enters, carrying some envelopes.

DAMIAN

Anything new?

GEMMA
Yeah … this thing came, and it’s not addressed. Who do you think it’s for?

DAMIAN

Pass it here.

Gemma passes the letter. Damian opens it. Gemma carries on talking.

GEMMA
Look, I know you want the extra money, but seriously that gang is going to be the death of you …

DAMIAN

You, my friend, need to stop wo –

Damian extracts the contents of the envelope into his hand, and looks up at Gemma, worried.

DAMIAN

Gemma, do you trust me?

GEMMA
Of course. We’ve been friends for ages. Why?

DAMIAN

Go home, right now. And don’t come back until the morning.

GEMMA
Uh – Okay. Why are you so panicked?

DAMIAN

Just – just do it, Okay?

GEMMA
Jeez, fine.

She leaves. Damian looks at the seeds again, and then he gets up and runs to his room, and slams the door. (Camera in ONE position – does not move to track Damian).

He sits down in the chair, and mutters to himself.

DAMIAN

Oh, really? Now? Of all times?

He opens a Word document and begins to type. He moves away from the desk and pulls out a piece of paper and a pen. Then he gets up, and begins to heave the wardrobe across the doorway.

2. Ext. House / Mailbox - Day

MATTHEW is standing outside a house, on the phone.

MATTHEW

Delivered it just now.

Some girl collected it.

Are you sure your records are correct?

Hopefully he’ll get the message sometime soon.

He takes pictures of the house, then walks away.

3. Int. Damian’s Bedroom - Day

Damian is sitting at his computer, typing.

He empties an envelope and turns the contents (5 apple seeds) over in his hand.

Slow POV shot coming towards him.

He looks up, and turns around.

DAMIAN

In case you’re wondering, I picked the paint job.

[pause]

And You could at least have faced me properly.

(exasperated)

Oh all right then, shoot me.

Gunshot is fired.

The seeds scatter over a blanket lying on the floor.

Opening Titlecard .

4. Int. Hallway Outside Damian’s Bedroom - Day

GEMMA approaches the door. She knocks.

GEMMA

Open up, it’s been twelve hours.

She pushes the door open a crack and sees the body. She also sees a sign in handwriting saying “Alex” above the desk, at an odd angle.

She grabs at her pocket, and slowly gets out her phone.

5. Ext. Footpath / Ext Bus Stop - Day

Matthew is walking towards a bus stop. He is on a phone.

MATTHEW

That went well. Let’s move.

What do you mean? He had a warning …

He signals a bus, and as it stops he gets on.

Caption: two weeks later

6. Int. Alex’s Bedroom - Day

ALEX is playing with model trains, whilst listening to The Good, The Bad and The Ugly music.

Shot of the train, and the printed desert background, before showing him handling the controls.

GEMMA knocks on his bedroom door, and enters.

GEMMA

Ex – Excuse Me? Hello? Alex?

Gemma taps Alex on the shoulder.

Alex turns down the music.

ALEX

What? I’m busy …

GEMMA
Look, I have a puzzle for you. Would you mind … ?

ALEX

Give me a minute on your crime scene. But one question – why me? Go to the cops …

GEMMA

Well, they think they’ve cracked it, but I still don’t know how he got in, or who it was that killed him.

[Takes a breath]. In any case, your price?

ALEX
It’ll cost you …

GEMMA
Oh …

7. Int. Hallway Outside Damian’s Bedroom - Day

Alex and Gemma are in a hallway.

ALEX

So what’s the main question you want answered, again?

GEMMA

(joking)
I’m paying you by the minute. Least you can do is remember the bloody question.

ALEX
Come on, not quite by the minute. So?

GEMMA
How’d the killer get in? The door was barred. With a wardrobe.

ALEX

Dunno. I’m only allowed one minute, so best be quick. And it was only a wardrobe …

GEMMA
True. But that thing is heavy.

Alex enters the room, and slams the door. He can be heard moving the wardrobe.

8a. Int. Damian’s Bedroom (Crimescene) - Day

Alex sits in the chair, and takes out his phone.

He calls to Gemma.

ALEX
Gemma! The paper-boy should be on his run now. Could you see if he knows anything?

GEMMA

[Salutes at the closed door]
Yes, sir.

Alex relaxes in the chair, and switches the phone to camera mode.

He notices five apple seeds in an open envelope on the desk.

9a. Int. Living Area / Ext. Mailbox – Day

Gemma walks out to the footpath, and calls out.

GEMMA
Hey! Excuse me?

Were you around here yesterday?

8b. Int. Crimescene - Day

Alex is still sitting in the room.

ALEX
Let’s see …

He moves around the room, taking photos of the wardrobe’s relative position to the door, and marks on the window. He sees a piece of rope lying on the floor in his initial scan.

He finds a note in the wardrobe, and turns it over in his hands.

9b. Ext. Mailbox - Day

Gemma and the Paperboy are still on the roadside.

GEMMA
Oh well. Let me know when or if you find anything out.

Gemma walks back into the house.

8c. Int. Crimescene - Day

Alex has finished taking photos, as he moves the wardrobe back into its original position; he sees a few Mintie wrappers on the floor. He takes a photo.

Alex then walks out of the room.

10. Int. Living Area - Day

Gemma walks in the door, as Alex walks down the stairs.

BOTH (simultaneous)

So, what’d you find?

No, you first.

Fine, I’ll go.

They wait for a few seconds in awkward silence.

ALEX
Well?

11. Ext. Park - Day

Alex and Gemma are walking along a path in a park.

ALEX
So if the paper boy didn’t see anything and yet you’re adamant that the crime happened around that time …

GEMMA
Actually, I don’t know when it happened, but Damian received a letter, and started acting weird, the letter may have been about his little experiments.

ALEX
What experiments? I didn’t see any equipment.

GEMMA
He was a sort of rocket scientist. He tried to come up with “cures” for common ailments. Or maybe he just mucked around, I’m not really sure …

ALEX

(muttering)

Then he came up with one someone else wanted … or did some serious damage …

GEMMA
You need to go back there, right?

ALEX
Hell yeah.

GEMMA

You know what to look for?

ALEX

Of course.

12. Int. Matthew’s Lair – Day or Night

Matthew is alone in a dark, messy room. He is on Skype. The person he is Skyping with is not seen.

MATTHEW

What do you want now?

PERSON

I want you out of there. Unless you want to get caught …

MATTHEW
What makes you say that?

PERSON

Alex

MATTHEW
Shit. [Begins to pack a backpack]. Shit, shit, shit, shit.

13. Int. Crimescene - Day

Gemma and Alex have returned to the crime scene. It is as Alex had left it. Alex moves swiftly, and seems absorbed in searching. He moves from the window to the wardrobe to the chair and back to the window again, taking photos throughout. He stops at the wardrobe and grabs a piece of paper.

Gemma stands in silence.

GEMMA

So, what is it you’re looking for?

ALEX

A solution.

GEMMA
What have you so far?

ALEX

Enough

He sweeps out of the room. Gemma sighs in an exasperated fashion, and follows.

14. Ext. Street - Day

Alex and Gemma are walking along the street.

GEMMA
Are you hoping to find the killer?

ALEX

Ye of little faith …

GEMMA
So, Alex, how do you intend to find him?

ALEX

This [shows Gemma a piece of paper].

GEMMA
So?

ALEX

Well, if I’m right, then –

He gets cut off as a fast-moving heavily laden person slams into his left shoulder, apologises and then attempts to move off. Alex grabs him by the shoulder.

ALEX
Actually, sir, you’re just the man I wanted to see.

15. Int. Lounge / Int. Crimescene - Day

This scene has frequent flashbacks which do not interrupt the audio.

Gemma and Alex are sitting in a lounge, drinking milo/coffee, etc.

GEMMA
All right, explain. I promise I won’t interrupt. And if you have all the evidence on file, can I look through it?

Alex passes over the phone. Gemma fiddles with it throughout.

ALEX

Okay … I started by sitting at the desk, where I noticed an envelope with five seeds in it postmarked the 2^nd February. The body was found on the morning of the 5^th. This means it was some kind of signal.

GEMMA

Yes, but the question was never how he died …

ALEX

Gunshot obviously. The murderer pulled the blanket up just before his exit. Continue.

GEMMA
The question was how he got in.

ALEX
Okay, when you entered the room, did you see the rope lying on the floor.

GEMMA
It was one of Damian’s experiments …

ALEX
No it wasn’t. On the window there was a groove, where something heavy, e.g. a rope with a person on the other end, had been slotted and this had damaged the frame.

GEMMA
And the paper?

ALEX

Was a photo. I only showed you the reverse, didn’t I? My bad …

Shows the photo. It is a photo of Matthew with the letters IOU scrawled underneath.

GEMMA
How’d he get in?

ALEX

Intruda window.

GEMMA
Ha-ha-ha. Now focus.

How’d he kill Damian?

ALEX

You know how – ah. You want to know how he got in without Damian noticing?

He didn’t. He was already in the room. This [holds up the Mintie wrapper] tells me so.

GEMMA
And you didn’t report him?

ALEX

No, I interviewed him, and he went off. Don’t care where to, but a win’s a win.

GEMMA

But he’s on the loose!

ALEX

I don’t have enough evidence and he knows it. However, if further crimes are committed, then … well …

GEMMA
Well, what?

ALEX

Don’t make me say it.

GEMMA
Say what?

ALEX
I’m warning you, I’ll say it.

GEMMA

Go on then.

ALEX

Cops

GEMMA
We agreed …

16. Ext. Postbox - Day

Alex and Gemma are standing by a postbox.

ALEX

So the seeds were a sign, as I have said.

GEMMA
So, what, exactly? We beat them at their own game?

ALEX

Precisely.

He drops five apple seeds into the envelope and seals it.

ALEX
Next thing we hear of our friend “Matthew”, he’ll be dead, or scared stiff.

GEMMA
But we won’t kill him, right?

ALEX

We won’t, no. But the organisation, which is obviously tons bigger than just this one crime, will hear of him receiving the signal or something similar, and act accordingly.

He drops the envelope into the box.

GEMMA
And now we wait …

17. Int. Matthew’s Lair - Day

Matthew walks into his house and checks the post on his way in. He walks down the path and into the house, down the hall, and to his bedroom.

Sitting on his bed, he opens the package.

His window opens slowly.

He extracts the seeds from the package, and reads the note “With love, Alex”.

Shoes hit the floor with a bump.

He looks up.

MATTHEW

[Pleading]

Please! I can explain …

Closing Titles .

Part 2: Family Business

1. Int. Office – Day

GEMMA is sitting at a desk, typing on her keyboard. She narrates the scene as it (or parts of it occur onscreen).

GEMMA (VO)
Alex. You will not have seen me for some time when you get around to reading this. I am not dead, but … actually, it’s a long story. This report is the cause of many things, and, as you know, the effect of many others. It started about a year ago, now …

2. Ext. Park – Day

ALEX and GEMMA are walking through the park. There are sculptures visible in the background, and more become visible as they continue walking.

GEMMA

I started the report a day ago. Why … what did you talk about with Matthew when you interviewed him?

ALEX
Stuff. He knows I don’t have enough official evidence to pin him up, so he admitted.

GEMMA
He sounds smart. Can’t wait to meet him.

ALEX

You might not have to …

GEMMA

Sorry, what? Have I met him already?

ALEX

Sorry [looks around anxiously], that’s all I’m allowed to say.

Another boy wearing dark clothing is standing in the shadow of a nearby sculpture. He pulls out a phone and texts Alex.

Good. Tell her more, and you’re dead.

He then walks out of shot.

Opening Titlecard .

3. Int. Matthew’s Lair - Day

MATTHEW is typing up an email to his superiors.

She could endanger everything we’ve worked for. What should I do?

He sends the email, and waits for several minutes. His email bleeps, and he checks his inbox. He has received a reply.

Bring her to me. And don’t think we spared you just so you could stuff it up. Make mistakes, and you die this time.

Matthew calls the number.

MATTHEW

I wouldn’t be a good brother then. You’re closer. Bring her to me. You know where I live. And I know that you’ll kill me; I won’t stuff up.

4. Ext. Busy Street - Day

ALEX and GEMMA are walking away from the park, which can be seen in the background. They are walking along a street. Gemma has just laughed at something Alex said.

ALEX

So, it’s been a month. Do you like hanging out?

GEMMA
With whom?

ALEX

Me, stupid. You’ve got no-one else.

GEMMA
It’s alright, I guess …

ALEX

Gemma, you should probably know something about Matthew …

GEMMA
Text me later. I gotta go.

ALEX

You don’t have my number do you?

GEMMA
You could always …

ALEX

Emergencies only. Not now.

GEMMA
All right then. See you.

Alex grabs his phone, and opens up a contact. Whilst doing this, Gemma has walked off, and the cloaked guy comes out from behind the shadow, and puts his hand over Gemma’s mouth.

ALEX

Actually, here. [looks up.]

Gemma? Where …

Shit. I knew it. The bastard.

Alex runs off, down the street.

5. Int. Car – Day

GEMMA and THE MAN are sitting in the back seat of a car.

GEMMA (VO)

If I’d known what he’d told you, and you’d told him about the case, I would’ve understood why …

THE MAN

So you’re writing a report, right?

GEMMA

Yes, why?

THE MAN

No reason. Just protecting the interests of some people.

GEMMA
What people?

THE MAN

Matthew. You may have met him.

GEMMA
Name doesn’t ring a bell, but it should …

THE MAN

Oh well, you’ll meet him soon, I guess …

GEMMA
What’s so important in the report? It’s just documenting a juvenile case …

THE MAN

It has us in it. We try to keep a low profile. [He Pauses]. We’ve arrived. Stay close to me. Don’t wander off, or I’ll have to kill you.

6. Int. Office – Day

GEMMA is still sitting at the laptop.

GEMMA (VO as typing)

So, let me take you back now, to evens you remember, because this is probably not making a lot of sense, and I can explain this more properly.

[Pause]

The case was your first, I think, and you’d managed to find a killer after no more than five minutes on a crime scene …

7. Int. / Ext. Recap – Day

GEMMA is dictating events as they occur onscreen. She quickly recaps “Locked”.

GEMMA

You looked around a room, and established that because of the wardrobe, this crime could, in theory at least, not possibly have occurred. Then suddenly, it seemed, the killer had come in through the window, and you’d caught him.

The flashback ends and shot returns to the office and Gemma typing.

GEMMA

Obviously, they thought you had something they wanted.

8. Int. Alex’s Bedroom - Day

Alex is sitting at a desk, working on his laptop. He opens Facebook, and pauses, as if considering something for several seconds. Then he opens up a chat window with ‘Damian Stevenson’. He writes,

I know I won’t get a reply, what with you being dead and all, but what do I do?

He waits for a few minutes, and goes to close the window, but just before he does, he receives a reply.

Here.

Below the message there is a link. Alex moves to click it.

ALEX (to himself)

What the hell … You’re dead, mate …

9. Ext. House – Day

GEMMA and THE MAN have arrived at a house. MATTHEW is waiting outside the car, as GEMMA steps out of the car.

MATTHEW
Hi, Gemma. Hope your trip wasn’t too … uncomfortable.

GEMMA
What do you want from me?

MATTHEW
All in good time. But, for now, Theodore will direct you to your cell.

GEMMA

Theodore?

Matthew points at The Man.

GEMMA

Cell?

MATTHEW
You’re basically a hostage. You didn’t think we’d be nice, did you?

THEODORE

Come on. [Under his breath] He’s so self-important. I’ll explain in a minute.

MATTHEW

I heard all that.

Theodore and Gemma move off, and enter the house.

THEODORE
Your room’s just down here. We couldn’t afford a proper cell.

GEMMA
Had me worried for a second there. Can you drop something off for me?

She pulls out a piece of red paper.

THEODORE

Where to?

10. Ext. Park – Day

ALEX is walking through a park close to his house. He sees a red piece of paper under a bush and picks it up.

It reads “I will ring in 30 minutes”, and is date-stamped 10:25.

He looks at his watch. It says 10:49

His phone rings.

ALEX
Hello? Who’s this?

GEMMA

Red paper.

ALEX
Okay … why take all this trouble to call me?

GEMMA
Because I’m in trouble and I need help.

ALEX
With what? Hang on … Gemma? How can you possibly have … ?

GEMMA
Yes, but don’t say it too loudly. The walls have ears. And besides, I arranged for a person to drop the paper there a while back. And I’m signed in to Facebook as Damian, so …

ALEX
I’m in a park.

GEMMA

Same principle.

You know the case report, right?

ALEX

Yes … what about it?

GEMMA
Okay, listen carefully then. Go back to your room, print a copy and delete it off your computer. Keep your eyes on that copy at all times.

ALEX
Why the precautions? It’s not done yet.

GEMMA

People want it, and I’m hostage – if you can even call it that - because of it.

ALEX
Who’s holding you? And where are you?

GEMMA

Matthew. And I’m in a cell.

ALEX
That’s not what I meant. I –

The line goes dead.

11. Int. Gemma’s “Room” / Int. Office – Day

GEMMA is sitting on the bed. She looks at her watch, and the time, 11:00 is shown.

The shot of Gemma typing very slowly fades in so that it is washed out in the “background” of the scene.

GEMMA (VO)

I waited for an hour for you to come, but I guess I knew that was never going to happen. Eventually Theodore came back …

The shot returns to just the room.

THEODORE

Boss says you have to move.

GEMMA

You told him about the paper, didn’t you?

THEODORE

Umm …

Gemma is typing on the keyboard.

GEMMA

So I was moved to another place, and this one was worse, but not by too much.

I was sat there, waiting to be found …

12. Int. Alex’s Bedroom – Day

Alex is on his computer, searching for Matthew’s address.

ALEX

Phonebook. [Pause]

No entries. Dammit. [Pause]

Facebook [Pause]

Nothing. Wait a minute.

He logs in to Facebook and checks on Damian’s profile. His address is listed.

ALEX
I always thought this was a joke, “Gang HQ”, but maybe it wasn’t. Maybe he wanted them to get busted, or he knew that one day someone would need to be found.

He sweeps out of the room, and grabs his HOP card as he does so.

13. Ext. House / Int. House – Day

Alex has found the address. It is the one Gemma was first dropped at. Alex calls to her as he wanders through the house.

ALEX

Gemma?

[Pause]

Gemma?

He sees the room she was in before, and goes in to look for her, and see if she’s there. She’s not, but he sees a piece of paper on the floor.

He picks it up and unfolds it, it is red.

I was here, but I have been moved. Follow the red car.

Alex looks up, and seems confused.

ALEX

What?

Then he sees a red car outside, pulling away from the road. He runs to the window, but it’s gone.

He looks hopelessly at the paper, and then walks slowly outside, and down the street, to a bus stop.

14. Int. Room – Day

THEODORE is standing outside a closed door. GEMMA is inside.

THEODORE

What does he want from you anyway?

GEMMA

He seems to think I have written a report, with something in it. Dunno what he’s talking about, though.

THEODORE

Oh. I see, well he wouldn’t have taken such drastic measures to kidnap you if he didn’t think exposure would be bad for us.

GEMMA
Why’s that?

At this point Theodore hears a click, and a thump sound. He carries on talking however.

THEODORE

Because he’s your brother, and wouldn’t want bad things to happen to you.

[Pause]

Gemma?

GEMMA (slightly tinny sound)
He seems to think I have written a report, with something in it. Dunno what he’s talking about, though.

THEODORE

What?

He unlocks the door, and sees a phone on the windowsill, that is flashing a red light, the window open, and no Gemma. As he moves to grab it, Gemma leans in and grabs it, before leaving the room. She stops just before running off, and says;

GEMMA
Leverage … how exciting!

She runs off, leaving Theodore on the floor.

THE MAN (into his phone)

Get her. Now.

Fade to black.

Closing Titles .

Part 3: Lost and Found

1. Ext. City Streets – Day

GEMMA is running down the street holding her phone in her hand. She looks behind her shoulder every 20 seconds or so. Eventually, she stops, and hides behind a tree. Whilst behind the tree, she grabs a backpack, stuffs the phone inside, and rests against the tree.

THEODORE is heard yelling for Gemma, in the distance.

THEODORE

Gemma!

Gemma gets up and carries on running for a distance, and Theodore can be seen following at a distance, as Gemma turns into a driveway. She goes around to the back door, and pulls a key out her pocket. She fumbles with the door, but manages to open the door. She goes inside, but stops soon after, as she has seen MATTHEW, who is standing in front of her.

GEMMA

What are you doing here?

MATTHEW

Well, you are wanted …

GEMMA
And you are my brother.

MATTHEW

What? Sorry, I’ve no idea what you’re …

GEMMA

Well, then. You need to listen to the recording.

MATTHEW
Okay, but before I do, I just want to show you something.

Matthew pulls out a frying pan.

GEMMA

So, what? A pan …

MATTHEW
Yes, a pan.

He smacks her with it.

FADE TO BLACK AND IN.

Opening Titlecard .

2. Ext. Street – Day

ALEX is walking along another street. He pulls out his phone, and considers texting Gemma. He does so.

For emergencies only.

Then he leans against a tree, and waits for a reply. He doesn’t get one fast, so he moves off.

3. int. House – Day

GEMMA and Matthew are inside the house. Gemma is tied to a chair, unconscious. As she comes to, Matthew sits down in a chair opposite her.

GEMMA

What … what’ve you done?

MATTHEW

Not much, really. I’m still waiting to hear that recording.

GEMMA
Well, I’ll just …

While saying this, Gemma attempts to grab her phone out of her pocket. She can not do so, as she is tied up. It goes off, and vibrates audibly. Matthew tutts.

GEMMA

So, untie me then, if you’re so anxious to hear it

MATTHEW

Okay then mum …

GEMMA

Actually, in a loose sense, that’s what I wanted to show you

MATTHEW

What?

GEMMA
Untie me. Now.

Matthew does so, and grabs her phone out of her pocket as well. He hands it over.

MATTHEW
There you go.

Gemma flips it open, and reads the text. She then goes to play the audio. She plays it.

THEODORE

Oh. I see, well he wouldn’t have taken such drastic measures to kidnap you if he didn’t think exposure would be bad for us.

GEMMA
Why’s that?

There’s a thump sound in the recording, as Gemma jumps out the window.

THEODORE

Because he’s your brother, and wouldn’t want bad things to happen to you.

[Pause]

Gemma?

She stops the recording.

GEMMA
So? Are you?

MATTHEW
Yes, I suppose I am.

GEMMA
And why not just – I dunno – silence me?

MATTHEW

Familial obligation not to kill you I suppose.

GEMMA
Right, so you would’ve killed me?

MATTHEW
Yeah, I suppose I would.

Matthew moves around the room, thinking, before speaking again.

MATTHEW
Gemma, what do you think would be the best way of getting your “friend” Alex to give the report.

GEMMA
You’ll have to force him …

MATTHEW
Okay then, we’re going for a little trip.

4. Int. Alex’s Room – Day

ALEX is sitting at his computer, printing off the case report. He presses print, and then goes to collect it from the printer in an adjacent room that can be heard.

He comes back and deletes the original off the computer, then he folds up the paper copy.

5. Int. Matthew’s Lair – Day

MATTHEW and GEMMA have travelled to his lair, and are waiting there. Matthew has decided to interrogate Gemma about what she knows.

MATTHEW

You were there. What did Alex find out?

GEMMA
About what? He found out lots …

MATTHEW

About us!

GEMMA

Why the hell would Alex care about – oh. That’s why you want the report isn’t it? To ensure you don’t get exposed. People finding that out would be dangerous to your … umm … organisation, so you can’t let that happen.

MATTHEW (bored sounding)

Done yet?

GEMMA
Yeah, pretty much.

MATTHEW
So? What’d he tell you?

GEMMA
Oh, he told me about the seeds, and the IOU photo, but other than that, he didn’t really say anything. You’ll have to ask him …

MATTHEW

Will I now?

GEMMA
Dammit.

Matthew gets out his phone, and send a text.

GEMMA

What are you doing?

MATTHEW
Making arrangements. So; here’s the deal …

6. Ext. The City – Day

GEMMA exits Britomart, having caught a bus there. She then looks around, slightly confused.

GEMMA
Classic. Send me to a place, get me lost …

Then she walks off in a vague manner towards and then along the water front.

7. Int. Matthew’s Lair – Day

Matthew is pacing up and down a hallway, talking on the phone.

MATTHEW
Turns out she knew nothing.

So you may as well stop bothering her and move on to Alex.

Why are you coming here?

He hears the reply in his ear and in the distance at the same time.

To deal with you …

MATTHEW
Hello? Who is this?

He walks into the room, and sees THEODORE standing against the window.

THEODORE

I am so sorry, but your clean-up record is really shit.

MATTHEW

What?

THEODORE
You may want to get a new cleaner in. Then again, it won’t really be your problem.

Theodore shoots him. Then he picks up Matthew’s phone, and dials.

THEODORE

Get Alex to the Gantry. I’ll meet you there. [Pause] Matthew only did half a job.

8. Ext. The City / Ext. The Gantry – Day

GEMMA has found the Gantry, and walks up and along it, slowly, looking at the views. Then she is startled to see THEODORE standing beside her against the railing.

THEODORE

I knew we’d meet again. I just hoped Matthew had a brain.

GEMMA
What happened to Matthew? And does this have anything to do with Alex?

THEODORE

Well …

GEMMA

What’s gonna happen to me?

THEODORE

My superior will be here in a minute, and I have other things to do – getting the papers, and all that waste-of-time stuff, so she’ll deal with you.

ALEX walks out of the lift and on to the same level as the other two boys.

ALEX
If it’s a waste of time, then what am I doing here?

THEODORE
You’re going to give me what I want. Or my supervisor …

ALEX

Hah. I dealt with her ages ago. Turns out she dislikes you as much as I do. And the bag is downstairs …

Theodore moves off to retrieve the bag, and Alex and Gemma run in the opposite direction, hoping to get away.

9. Ext. The Gantry – Day

As ALEX and GEMMA are running towards the stairs, THEODORE is coming back up.

THEODORE
You lied! There was nothing there.

ALEX

Of course I lied. Why would I tell you?

THEODORE

You’d tell me because you want this whole charade over …

GEMMA
Or you lied because you knew that the report didn’t actually have anything meaningful in it …

THEODORE
Eh?

ALEX
Look here

He takes out the paper and opens it out. It has the beginning of a report on it, in the first half-page, detailing situation, evidence, crimescene, etc. but nothing about the actual gang on it. The bottom half is the word ‘bananas’ repeated over and over.

ALEX

Do you see yet?

THEODORE

Ah … oops. But you know what this whole game means, don’t you, Alex?

ALEX

No, what?

THEODORE
You can’t see her again. You’re connected with her, and Matthew was her brother, so she’s a target. You can’t see her, or you’d be one too.

ALEX

But she hasn’t done anything wrong …

THEODORE
They don’t know that.

ALEX

How can I make sure she’ll be safe?

THEODORE
Well, if she stops snooping – which she was only doing because of you, then I would say they’ll leave her alone.

ALEX

Right then. So I leave her, and she’s safe?

THEODORE
Basically, yes.

ALEX

Okay then.

THEODORE (taunting)

Last wishes? Anything you want to say?

Gemma pipes in.

GEMMA

Actually, yeah. Alex, could you pass me my bag, please?

ALEX

What for?

Gemma takes out a small frying pan from the bag.

GEMMA

Desserts

Gemma smacks Theodore with the pan.

Alex takes the pan back from Gemma, then he turns and leaves.

GEMMA
Alex? Come back, Alex!

Alex is walking away from Gemma, leaving her on the Gantry. He does not look back.

10. Ext. Street / Int. House – Day

Caption: Some Time Later

ALEX walks up the street towards Gemma’s house. He walks up to the door and knocks.

Her sister answers the door.

SISTER

Oh … Hi. Who are you?

ALEX

I’m Alex. Is Gemma around?

SISTER

Ah. I heard all about you. Do you want to see her?

ALEX

If it’s no trouble …

SISTER

It won’t be to her …

Alex gets led through the house, and into Gemma’s bedroom.

She is asleep. Alex stands, looking at her for several minutes. Then he turns to the Sister.

ALEX

Why’d you take me here? I can’t speak to her, can I?

SISTER

I just thought …

ALEX

It doesn’t matter.

Alex pulls out his phone, and scrolls through his contacts to find “Gemma”. Then he texts her.

Goodbye.

He turns around and leaves.

ALEX (to Sister)

Done it now.

Alex walks out the front door of the house, and slams it behind him.

Gemma hears the noise, and wakes up. She sees her phone has a message, and she checks it.

She texts him back

Bye, Alex.

He gets the text halfway down the street, and considers turning back, then gives up, and just carries on walking to a bus stop. He sits at the bus stop alone, and waits.

Closing Titles .

For Reels Documentary and Trailer Script

For Reels Script

I. Various – Day

Somewhat dramatic music plays as the film opens. Shot of a clapper being clapped.

MARKER

One-Zero-Six, A Camera, Mark.

Switch to shot of Sanders introducing the boys to THE HQ. the shot is framed in such a way that another unit filming the scene, and a boom mic can be seen in the frame.

MATTHEW

Welcome to HQ.

Switch to a talking heads shot of Dylan

DYLAN

It’s near the end of the road; I wanted to do something stylish, technical and ambitious

An editor places a typing shot on a timeline in Premiere.

NARRATOR

Join us as we follow a project from conception to completion.

[Opening Titles].

1. Ext. Park - Day

Shot of a park, with two boys running on a path. A voiceover cuts in, gentle, and yet somehow authoritative.

NARRATOR

The planning for the film started, as every film must; running around a park.

The one on the left, JAMES, is slightly unfit and therefore out of breath. The one on the left, MANAN, is more fit and therefore not. They are talking, or attempting to, while running, with occasional stops for wheezing. During one of the stops, Manan says to James

MANAN

What’s he planning?

JAMES

Well, you know him. Something complicated. Probably a massive genre hybrid. It’ll look awesome on camera though. Techno-thriller with stunts and VFX setups and stuff like that –

A boy, DYLAN is swinging on a swingset. A girl, MIKAYLA is sitting next to him on the ground. Mikayla speaks.

MIKAYLA

So, what’re you planning?

DYLAN

Absolutely no idea. I do need to get the archival footage off James though …

2. Int. Production Workspace – Day

DYLAN and JAMES are sitting in a room. Dylan is at a laptop, typing a script, while James is sitting on the bed nearby, looking at the typed stuff on a TV mounted to the wall directly in front of James and perpendicular to Dylan. The camerawork in this scene is handheld, shaky.

NARRATOR

With the concept approved and thoroughly planned, the script can now be written.

Dylan types something, James immediately responds to it.

JAMES
Yeah, that’s good enough for now. We should tighten it up later though.

Shot changes to an interview shot of James and Dylan

DYLAN

The main thing is to write stuff you know you can film rather than just assuming --

JAMES

Hey, hey, that wasn’t my fault

DYLAN

What part of ‘having guns over the motorway and the cops being called’ corresponds to ‘not my fault’.

James looks down, embarrassed.

Back to the original setup. Dylan types something else, and sits back, triumphant.

DYLAN

There! Done!

He prints the script.

JAMES
Filming should be a cakewalk.

3. Ext. Top of Big King – Day

DYLAN and JAMES are frantically setting up a camera on the mountain. The weather is not unfavourable – not sunny, but not raining.

NARRATOR

But nothing could prepare them for the first day of shooting.

JAMES

Did you check the mikes?

DYLAN

Of course I checked the mikes!

MANAN is across the other side of the open area they have inhabited, learning his lines.

MANAN

(normally)

Hi, what’s up?

(much higher, too fake sounding)

Hi! What’s up!

Dylan plugs in the microphone and records a test. He plays it back, disappointed.

DYLAN

Flat. Got any spare batteries?

JAMES

Nah, you said it’d be fine. I brought the tripods, though

DYLAN

You mean the crane and dolly, I hope. Show me.

James sheepishly holds up a tripod in its bag.

4. Ext. Pathway – Day

The team are filming a second-unit shot of KEVIN (in character as Sanders) entering through a door by force.

NARRATOR

The next day, and the crew follow a more chaotic schedule, attempting to shoot all the second unit footage in six places.

DYLAN explains the shot to the camera while framing the shot.

DYLAN

This shot is a security feed of Kevin’s character entering a door, which we’ll use which we’ll use to show previous attempts at acquiring the report.

Both Dylan and the camera stand back, as the action unfolds.

Talking heads shot of Kevin

KEVIN

It’s good, acting for people, because you sometimes get to do things like this where you run around the city like a madman doing all kinds of stuff. I mean, I get to kick a door down.

5. Int. Production Workspace – Day

JAMES is in the edit suite; the setup is similar to the writing one, with the “final” product broadcast on to the second screen this time. He is editing the trailer.

JAMES

(muttering)

So that shot goes there, and then there’s the VFX one …

Talking heads shot of James

JAMES
When you edit, especially a trailer, pace has to be constant because a jarring slow-fast-slow-fast pace in a trailer just puts audiences off. Unless that’s {slight jump cut] what you want …

Back to the shot of James editing, where he cuts the security footage and the cartoon together. He places this new clip in a Premiere timeline.

JAMES

Also I think you should start the edit as soon as possible, that way you either have more time to fine-tune or know if something goes wrong. They’re still –

In the distance, DYLAN can be heard.

DYLAN

Action!

James

- filming downstairs. Try to use as much footage as you can; wheeling a suitcase full of gear along a road and then not using any of the resultant footage isn’t worth the weird looks.

6. Int. Ops Room Setup – Day

The team are setting up the studio by laying out cables on a tabletop and setting up cameras, tripods and microphones.

NARRATOR

Three quarters of the way through the shoot now, the team had to prepare to shoot in two places – the studio, and the City.

Talking heads shot of DYLAN.

DYLAN

When you have to shoot a reasonably large amount in one day, you kind of hope things will go right for you, as you don’t have a lot of time to compensate for errors. And on top of that, I had to be somewhere else – so Kevin had to direct.

Shot showing JAMES holding the marker as he says;

JAMES
One-zero-six, A Camera, mark.

KEVIN

(from off-shot)

Action!

KEVIN runs around from behind the camera (shown in a second-unit shot) and into position.

KEVIN (in character as SANDERS) enters around a corner with MANAN.

KEVIN

Welcome to HQ!

He splays his arms out, gesturing to the whole room.

KEVIN (from that position)

And cut there.

Manan carries the scene on, talking off stage, he can be seen but his dialogue is unheard.

KEVIN

Manan … Cut! Umm, Manan ... I said Cut! Uh ….

Cut to talking heads shot of Kevin

KEVIN

I think those early shots went relatively well; we managed to get in with time to spare – sorry, but that nodding is really off-putting.

Show a noddy of James for a just-short-of-uncomfortable length of time.

7. Ext. Skytower – Day

The team are at the Skytower (shown by an establishing shot)

NARRATOR

Later in the day, the team start to feel the pressure of filming as they head to one of their more ambitious locations.

Shot of JAMES holding a camera by way of a camera setup.

JAMES

So this is the way we’re shooting, just handheld. We may not have much time to get the shots we need, so we need to be mobile.

NARRATOR

And he was right, because not long into the shoot…

Manan looks down at his phone.

MANAN

Uh, I’m sorry guys but I gotta go.

JAMES

Just one more shot?

MANAN

Nah, I really gotta go.

He walks off.

JAMES

Well, that sucks. Dylan, you might need to re –

He looks across to see Dylan already frantically scribbling on the script.

JAMES

You’d think after three years we’d be used to this sort of thing …. Not long now though ….

8. Various – Day

Music plays while filming is shown to continue. Various shots both through the main filming camera and second unit showing a Behind-The-Scenes style shot are utilised, with clappers to guide the viewer as to the timeframe followed.

One of the shots shows a clapper being clapped with the appropriate slate and then removed, showing a side-on MS of Manan.

DYLAN

Action!

Manan does nothing and is just staring into space.

DYLAN

Manan … hello? I said action. (sighs). Not again …

A further shot shows Kevin as Sanders

KEVIN

Quickly, someone get me the fornicator. [Manan laughs.] Fault Locator, I meant fault locator.

9. Int. Production Workspace – Day

JAMES and DYLAN are editing the final product in Premiere. James places a cut on a timeline.

NARRATOR

As the process draws to a close, the team finalise the edit.

DYLAN

So that’s pretty much done, ready to export. Could you just check that all the files can be seen by the project on the Hard Drive?

JAMES

Sure, just a minute.

James opens up the Hard drive and clicks through folders, noticing dates as he flicks through. He finds a random file in a location. He clicks the file and it opens

JAMES

Whats this?

DYLAN

Oh, I got bored.

JAMES

Ah, sweet. Can I use it?

DYLAN

Would you want to?

James’ attention turns back to the clip; DYLAN looks across the table strewn with wires that is used as the main and

central setup for the filming of the trailer. JAMES holds a clapper up to the camera, and reads out the on-clapper information

JAMES

One-five-one, A-Camera, Mark!

He claps the clapper, and removes it from in front of the camera. Sad music swells up.

Shot changes to a slight low-angle shot with Dylan’s back to the camera, as he looks away from the set up camera and across the table towards the empty chair directly across. BUT instead of an empty chair we see all the people Dylan worked with in the last three years in a sort of group photo around the table.

Shot changes again, this time to a Big-Close-Up of Dylan’s face, as images from the films he’s worked on fly across the screen, briefly setting then moving off. As one of the moving images settles, Dylan reaches out, and grasps the imaginary image in his hand. He holds it for about two seconds, then releases his grip. The image fades, and the shot changes back to the perspective long shot. The ‘group photo’ has now also disappeared. The clip ends

James clicks out of the file and goes back to the export program, he then click the export button

The credits roll as the following monologue plays

NARRATOR

After the completion of the film JAMES was offered a place at AUT film school, specialising in cinematography. His shooting style exclusively uses cranes and complicated setups. MANAN was likewise offered a place at drama school, but had to leave all his lectures early. KEVIN graduated from film school, but has failed to find work as a director. Apparently he lacks clarity. Due to the stress of the project, DYLAN did not pursue the media career and instead practises tax law in a basement office somewhere. He still watches TV in the foetal position.

Trailer plays over the remaining credits.

For Reels Fake Trailer Script

Black screen showing a “Coming Soon” titlecard, with MATTHEW’s voice.

MATTHEW (V.O.)

There was a case last year that involved us

Shot of Thomas in Word, typing a case at a granite table in his kitchen.

MATTHEW (V.O.)

Some guy is writing a report.

Shot of Matthew receiving an email from his superior, called Alex. It says;

MATTHEW (V.O.)

We need to find and destroy it. We’ve tried many times … and failed all of them

Shot of Matthew breaking a door down on a security camera.

Matthew is trying to hack Thomas and get the file.

MATTHEW

Dammit. Losing his PC. I need that file …

He begins to run a tree structure.

THOMAS is beginning to fight him.

THOMAS

Disable LAN and DHCP connection …

MATTHEW is frantically typing.

MATTHEW

Found it. Now, the file …

ALEX succeeds.

THOMAS

And shut down.

Gemma and Thomas are in a park.

THOMAS

Hi, what’s up?

GEMMA (angrily)

I need you to tell me what is going on!

Matthew walks around a corner with Thomas and gestures to a whole room. The table can be seen with laptops and some cables.

MATTHEW
Welcome to HQ. So, the report; my superiors will be in touch …

Shot of Alex, Gemma and Thomas at the top of Big King overlooking the city.

GEMMA

What if we’re giving you a fake?

Shot of a USB being handed over.

ALEX

I’m prepared to take that risk.

That Science Thing Script

Formula Sheet

Çole’s (Solay’s) Law (Pull Force)

Where h = hunger, w= Waistline, m= Mass, S = displacement (length of straight line from you to McDonalds), Vi = Velocity initial (m/s), p = momentum (m/s) and t = time to get to Mc Donalds (Seconds)

Eg1

Eg2

--------------------------------------------------------------------------------------------------------------------------------------

Çole’s Law (Push force)

Where h = hunger, w = waistline, m = mass s = displacement (length of straight line from you to McDonalds), Vi = Velocity initial (m/s), p = momentum (m/s), d = distance from McDonalds (meters)

Eg 1

Eg 2

Scene 1

An announcer is standing in front of a large whiteboard, holding a string of felt-tips, and swinging it around.

ANNOUNCER

Welcome to another episode of “that Science thing”, where we try, however pointlessly, to identify and explain those complex, or previously unheard of, Science concepts, and explain them, in Idiot’s English. I would advise you have some paper at hand, as you will be asked to note certain things, throughout this program. They will be helpfully pointed out on the screen, or by me.

Note that down.

Scene 2

The announcer takes the lid off one of the pens on his “pointer”, and writes on the board. “Çole’s Law”. He then pieces his pointer back together.

ANNOUNCER

Today, we will look at a concept called Çole’s Law. So there it is. Go on, look at it!

Close-up shot of the words, leading in to a voice-over.

VOICEOVER

Çole’s Law describes the force that pulls a person towards the nearest McDonalds.

An added sped-up voiceover says

Sped-Up VOICEOVER

Other fast food chains are available.

Fade out.

“That Science Thing” Titlecard.

[Opening Titles]

Scene 3

Shot of people walking towards McDonalds.

ANNOUNCER

Çole’s Law dictates that as you get closer to a McDonalds, the forces pulling you in that forwards direction become stronger.

The people in the shot gradually speed up, until they crash into the wall.

ANNOUNCER

And that therefore, the further away from a McDonalds you are, the weaker the force is.

Note that all down now.

Scene 4

Screen showing “Experiment One”

ANNOUNCER

Using the basic theory mentioned before, we can conduct a simple practical, or experiment.

First, we get a subject.

Shot of a person, with a piece of card, reading “Maths” secured to their shirt.

ANNOUNCER

Then, we place them one metre from the McDonalds. And they take a step.

Meanwhile, the person has been placed 1 meter from the McDonalds, and takes a step forward.

ANNOUNCER

The length of the step is recorded, and then analysed.

Then the subject is placed 50 centimeters from the McDonalds, and they take a step.

The subject is placed 50 cm from the McDonalds, and they take a noticeably larger step.

ANNOUNCER

That is recorded, and then analysed.

Note that down, now.

Scene 5

The Announcer is standing at the whiteboard. It has a formula on it.

ANNOUNCER

Where would Physics be without formulae? So here we have a special formula, just for you.

Shot of the formula fills the screen.

ANNOUNCER

Let me explain this a little …

The picture of the formula annotates itself when a new variable is explained.

ANNOUNCER

In the formula, h = your hunger (in apple equivalents), w= Waistline, m= Mass, S = displacement (which is the length of a straight line from you to McDonalds), Vi = Your Initial Velocity (m/s), p = your momentum (m/s) and t = the time it takes to get to McDonalds (in Seconds).

ANNOUNCER

Let’s do an example …

With these figures, and this formula … ummm, I dunno … screw it. You do the maths. We’ll get back to that later. While we’re not talking about this, note it down.

Scene 6

The announcer is standing against the whiteboard with his pointer, and another formuka is on the board.

ANNOUNCER

There is also, an equal and opposite force that we must also mention.

It goes like this.

Formula fills the screen and annotates itself again.

ANNOUNCER

But this time …

H = your hunger, w = waistline, m = mass s = displacement (length of straight line from you to McDonalds), Vi = Your Initial Velocity (m/s), p = your momentum (m/s) and t = the time it takes to get to McDonalds (in Seconds).

But we won’t cover this in detail.

Let’s check your answers for the other formula.

You should have got this.

Shows the formula with the correct answers.

ANNOUNCER

Write that down on your paper now.

Scene 7

The announcer is sitting at a desk.

ANNOUNCER

So, in summary … do take this all down.

A screen shows the main bullet points as they are mentioned.

ANNOUNCER

The force is called Çoles Law, it describes a force that pulls towards the nearest McDonalds.

The closer you are to it, the stronger the force, and we demonstrated this with an experiment.

Then we looked at the formula, and the formula of an opposite force.

Cuts back to the shot of the announcer.

ANNOUNCER

So that’s all for this week’s episode of “That Science Thing.” We’ll see you next time, when we will focus on bucket and spade chemistry.

[Closing Credits]

Dustbusters! Screenplay

by Aaron Wong

Scene One - INT Day (Saturday?), Generic IT Office

Open on an ECU of a post-it (reading “192.168.1.56 VPN ROUTER”) being sucked into a Vacuum cleaner.

CU of VICARTHY MEYER’s Face as he Vacuums.

CU of vacuum cleaner moving with the flexi stem/pipe.

WS of VIC vacuuming an office. Sideways track between cubicles showing the vacuuming.

CU of VIC’s feet moving.

VARIOUS CUs of the office, blinking lights, screens, cables

FISHEYE WS of the office.

CU of the electrical socket the vacuum is plugged into with the AURAL BRIDGE of a vacuum cleaner going on and off.

MS of VIC gently kicking the vacuum cleaner during this time as it stutters.

VIC

Bloody machine, Technology is dumb…

The vacuum cleaner returns to normal.

VIC

Yeah, you better; If I have to work you have to work.

The lights start to flick on and off.

CU, WS, FISHEYE WS of the office, lights, VIC, etc as the lights flick on and off.

The flickering stops and VIC continues.

VIC

Great, someone ought to fix this.

MS of MICK poking her head around the door.

MICK

Fix what? Or rather, what doesn’t need fixing…

CU of VIC winding in the vacuum cleaner cord.

WS of VIC lugging vacuum cleaner towards a door.

VIC

Don’t ask me, I’m but a humble househusband to the firm.

CROSS FADE to VIC walking downstairs

Scene Two INT Day, Data Centre

Will need to be modified to suit location due to stuff.

CU of VIC’s shoes as he walks into the data centre.

WS that tracks backwards as VIC walks down between the rack and places the vacuum cleaner on the ground. TABEN walks into the shot holding an open Laptop.

VIC

TAB, are you Nocturnal or something?

TAB pauses and we switch to back and forth OTS shots.

TAB

Tired, why do I have to work Saturdays?

VIC laughs awkwardly.

VIC

I’m not tired, I don’t sleep, this is so mind numbingly boring that it’s like sleep to me. Except I get paid, and I have all these electron cities for company.

CU as TAB puts her laptop down somewhere.

WS of them both.

TAB

I’ve got to grab a coffee, you want one?

CU of VIC.

VIC

I don’t sleep.

WS as VIC starts the vacuum cleaner and TAB walks away.

Scene Two Insert INT Day, Kitchen

TAB is making coffee.

Scene Two Cont’d.

CU as VIC turns vacuum off and wipes brow with hand.

GHOST

HI THERE!

CU then WS as VIC turns around looking everywhere.

VIC

Not funny guys, not at all.

CU of green glow from laptop.

CU of VIC’s face, worried.

GHOST

I AM NOT A GUY, I AM A GHOST.

WS swish pan fade from empty doorway to laptop.

GHOST

I AM A GHOST INSIDE THE MACHINE.

CU as VIC examines the laptop then laughs.

VIC

Good joke

CU, zooming in at laptop.

GHOST

IT’S NO JOKE, WATCH ME VIC…

CU as VIC looks around.

WS as the light suddenly comes on.

CU of TAB’s feet coming down the stairs.

CU to WS as VIC spins around pointing at TAB.

VIC

DID YOU SEE THAT?

BACK AND FORTH as TAB frowns.

TAB

Nice you turned the light on.

VIC turns around and you see a quick zoom into the laptop which he points to.

VIC

That!

CU as TAB frowns and walks towards her laptop.

TAB

It’s my laptop?!?

MS as VIC walks up and opens it revealing an underwear website.

TAB

Why are you looking at my private things?

CU of VIC as he exasperates.

VIC

I swear I wasn’t! There was a green glow and a ghost spoke!

CU to WS at TAB picks up laptop and walks away.

TAB

Whatever you say Vic…

Scene Three INT In the kitchen on the phone (Split screen) to a mate who is on the toilet drinking V.

CU of an apple on a chopping board.

VIC

I TELL YOU IT’S A GHOST! IN THE MACHINE!

CU of phone wedged on shoulder of VIC.

CU of the apple being halved dramatically.

WS of VIC on the phone thus.

Introduce split screen.

MS of JAKE on toilet.

JAKE

Vic, how do you sleep at night with all these weird dreams!

JAKE drinks more V.

VIC

I don’t, but that’s not the point. Are you drinking on the dunny again?

JAKE rolls eyes.

JAKE

That’s not the point, if it’s real, then what do we do? Who are you going to call?

VIC coughs.

VIC

No clue, I’ll look it up online. I hope the GHOST can’t see my browsing history, for this and, um, other reasons.

Full MS of JAKE now.

JAKE

Dude, I’m trying to drink here…

MCU of VIC’s face.

VIC

I’m trying to, um, fruit salad here. Meet me at mine.

Scene Four EXT Day Busy Street

CU, MS, 2S, then WS as VIC and JAKE walk down a busy street with tinfoil caps and vacuum cleaners.

Fast motion from an EWS.

KEEP SHALLOW FOCUS!

Dub this with Music

Scene Five INT DAY Office

CHAOS!

JAKE and VIC race around the office with the sounds of vacuum cleaners magically working dubbed on.

This fun ends abruptly with a quick zoom in and out returning to focus on MICK.

CU of MICK, utterly bemused.

MICK

What are you nut jobs up to?

2S as JAKE looks at VIC.

CU for VIC.

VIC

We’re fixing things.

CU as MICK looks at JAKE.

WS as JAKE points at VIC accusingly.

JAKE

He dragged me up ______ Street with this get up!

CU as VIC gives evil eyes.

VIC

You came anyway! Can we continue, MICK?

WS POV from VIC to MICK.

MICK

If you must, just don’t break anything.

Scene Six INT Data Centre

COMPLETE DARKNESS

VIC

I’ll go in first, you follow when I whistle the opening bars to ‘God Save the Queen’. Right?

JAKE

Right!

WS of VIC walking into Data Centre with glowsticks around his neck.

POV with HUD as he walks around wielding the vacuum cleaner.

VIC

*Whistles a spy like theme with no copyright*

MS of TAB poking her head around one of the racks.

TAB

WHO ZAT!!!!!!!

WS of VIC as he turns the light on and stumbles back.

VIC

SCHNAUZER!!!!

MS as TAB walks up to VIC.

TAB

Gottcha there! What the hell are you doing.

The light goes out and a light shines up onto VIC’s face.

CU VIC’s face.

VIC

I will find the ghost, and I will copy her over at USB 4 speeds!

Lights goes on and normal back and forth resumes.

TAB

Why her?

VIC tuts and wags finger.

VIC

I’m not sexist. Anyway, get out!

TAB Groans. WS of both of them.

TAB

I’m taking my laptop though…

TAB flicks light on as she leaves.

TAB passes JAKE.

TAB

Oh not you too.

JAKE walks in.

VIC

BUT THE QUEEN!

JAKE is unamused, close up to WS of both.

JAKE

Just plug your ghostvac in…

CU and MS as VIC rummages in pockets.

VIC

Damn! Of course I usually carry a multiboard…

JAKE shakes his head, MS.

JAKE

Do you see that one, right there, a multi board. Here, plug me in!

CUs as they do so.

VIC

Let’s ghost hunt!

They both start their vacuum cleaners and the lights go out.

VIC

RATS! What did you do?

You hear a fluctuating diminuendo as the ghost’s green light fades.

CU of the green light on the Raspberry Pi.

MS as JAKE watched.

JAKE

It’s like any ghost, always goes for the Pi.

CU as JAKE pulls the card out.

VIC

That was simple.

The light goes back on.

JAKE

Why didn’t we just turn it off and turn it on again?

VIC claps, then speaks.

VIC

Because then all the IT geeks would be out of a job.

Let’s go get a pie or something.

JAKE throws the card behind him.

Slow zoom onto the card, blur the focus, light goes out and dub with laughing GHOST track.

Slow fade to black.

Suddenly loud TECHNO music and stills with credits.

Fast Forward Screenplay

Written by Dylan Thompson, Directed by Aaron Wong

OPENING TITLES

CUT TO:

ANNE PEHRSSON is sitting alone at a bar. A hand touches the bar next to her, and she looks around.

JOHN WONG

Um, I’m sorry, but is this seat taken?

ANNE

No, no; sit please.

JOHN was, now ANNE could see him properly, a total nervous wreck. He pulled out the chair, and it shook slightly. Then JOHN sat down on it, slightly misjudged, and fell off. ANNE helped him back up.

ANNE

Hi, I’m Anne. And you are?

JOHN
Fucking dying. I’m so sorry about that.

CUT TO:

A significantly nicer table, and JOHN was sat across from ANNE, still awkward; not making eye contact.

ANNE

You’re not saying much today?

JOHN
Sorry about that. Have I ever said much?

ANNE

That’s a fair point, but I need a brick wall to rant at

John looks up, and you can see he hasn’t taken this seriously, or taken any offence at this. He grins and replies, almost flirting.

JOHN
So that’s all I am to you?

ANNE

Don’t be ridiculous. You’re also free transport and the bility to walk home at night.

JOHN

That’s fair. So, should we meet up again sometime?

ANNE

If I can’t be bothered walking somewhere I’ll let you know.

JOHN looked up slightly confused, she’d misunderstood.

JOHN

That’s not what I –

ANNE

I know, I know.

ANNE inputs JOHN’s number in her phone, and then closes the app. Her desktop is a picture of a park.

CUT TO:

The park, very similar to the photo on ANNE’s phone.

JOHN

So it’s been a year. You still sure you actually like me?

ANNE

Yeah, your trial period expired nine months ago.

JOHN

Nine months? Is there something else you want to tell me?

ANNE

Yes. You see, I’ll be going to Europe over the summer for Debating.

JOHN

Well, in that case, before you go;

He knees down. We all know what he’s doing, including ANNE. He never actually asks the question, because he misbalances and falls over.

CUT TO:

A bedroom workspace, some time later, and a photo not dissimilar to the previous shot was hanging on the wall. Someone knocks at the door. It’s JOHN.

JOHN

So, do you like the room?

ANNE

We did buy this house together, dude.

JOHN

Well, seeing as it’s ours, let’s … make it ours.

SOUND FX: One baby crying.
JOHN looks tired, as he is prepared for work, just taking a moment before he walks out the door. He shouldn’t be tired, and yet here he was.

JOHN

Why.

CUT TO:

SOUND FX: Two babies crying.

ANNE was cooking dinner, while also keeping an eye on the NZX 50. Her phone rang, and she picked it up.

ANNE

Yes, I think the investment in Auckland Airport is a good move. Yes, you should pass that on. Sorry, I have to go …

She hung up, then stood for a minute, as tired as JOHN.

ANNE

Why.

CUT TO:

JOHN and ANNE are standing on a balcony, and it’s after dark. Really quite beautiful, and they’re dressed up nice.

ANNE

So this is our happy ever after is it?

JOHN

Yes and no.

ANNE

Yes and no?

JOHN

I can’t give you a happy ever after because I can’t guarantee tomorrow. I’ll try for right now, but that’s the best I can do.

ANNE

But alcohol under the moonlight … I mean that’s about as good as you get.

JOHN

As far as moonshine booze goes, it is pretty good, yeah.

Pull back to reveal that they’re on their own balcony, and a faint crying comes from inside.

JOHN

So this is our happy ever after …

ANNE sighs.

ANNE

Yes. Yes it is.

END CREDITS

Generic Office Meeting Screenplay

Written by Dylan Thompson, Directed by Aaron Wong

OPENING TITLES

CUT TO:

There’s a room. Big and open, with some other people at desks (probably KEIC group study space, maybe?). On a table, two people sit at opposite ends, watching the other and waiting for them to react. Or act, at all.

PERSON A is sitting down the far end, and he’s the more nervous and twitchy of the two. They’re both wearing suits and PERSON B has a poker face on at the moment.

They don’t speak but we can hear their internal monologues narrated. There’s also a cloud loudly ticking on the wall (or not on the wall because it’s been banished to the corner …)

PERSON A
Oh my God, what’s he thinking?

PERSON B

Hmm, I wonder what he’s thinking.

Tick. Tick. Tick. Loud, obtrusive.

PERSON A

He called me in here. What can he possibly want?

PERSON B says nothing and doesn’t even move. There’s more awkward silence broken only by the ticking of the clock.

PERSON A

Should I spin on this chair? Does it even spin?

He moves as if to spin it, and then stops.

PERSON A

Wait, no. Improfessional.

PERSON B
He’s gripping the desk; look how nervous he is.

-----------------------------------------

Eventually, PERSON B looks up from the Mexican standoff occurring on the desk as the clock makes a particularly important tick.

PERSON B

Right. So. You’re probably wondering why I called you here.

The first line of dialogue in the film. PERSON A looks slightly shocked by this, but relieved as well.

PERSON B

See, it’s simple.

He gets up and opens the door. An absolute torrent of background ambience and noise floods in, and PERSON B grimaces. He gently closes the door, and the noise stops. He returns to his seat.

PERSON B

I just wanted some peace and quiet.

PERSON A

Why didn’t you sit in here on your own then?

PERSON A gets up to leave and is nearly at the door, when a thought occurs to PERSON B

PERSON B

Oh and also, did you want a Management position?

Reaction shot of PERSON A’s face.

CUT TO:

END CREDITS

“Papers” Screenplay

By Dylan Thompson

I. Int. Damian’s Room / Ext. Field – Day

DAMIAN is asleep in a bed.

FADE TO WHITE

MATTHEW

This might hurt just a little.

He uses the syringe.

FADE TO WHITE AND IN

Damian is on a field. Matthew is with him. Matthew is talking. He is twirling a syringe.

MATTHEW

Do you know why I had to do that?

DAMIAN

N – No. I’m sorry, what are we - ?

MATTHEW
The injection. You had to disappear. Your friend knew too much.

DAMIAN

My friend?

Gemma is now talking – she has replaced Matthew walking around the field.

GEMMA

Yes. Your friend. We could’ve killed you – actually I’d have preferred it, but …

DAMIAN

But?

Matthew continues talking, Gemma has now gone.

MATTHEW

Morality. Sleep well, and know I could have killed you. Remember that, and sleep well …

Damian wakes up (in bed, or on a bed) with a start. It is the same room, but his clock lists the date as (whatever the date is). He grabs his iPod off the dock, and reads a message left for him.

Morning, Eric. Meeting at 9.

Eric gets up.

1. Int. Dining Room - Day

MATTHEW and KYLIE are sitting around a table, waiting.

KYLIE
Bloody hell. Hurry up, Eric.

The door opens and a figure in more formal attire to Matthew enters. He sits down opposite Matthew, so the three characters form a triangle. He makes a ‘stop’ gesture. All characters become silent. He then points at Kylie. She speaks.

KYLIE

Who would’ve sent the message? And frankly, you’re lucky I came, or else …

MATTHEW
Yeah, yeah, yeah, I’d be dead, blah blah blah. For the tenth time, I don’t know.

The man pulls out a photo and slides it across the desk. Matthew looks at it. Realisation dawns in his face.

MATTHEW

Oh … Alex.

KYLIE

Wait, what? Do we need to watch someone? You should get started immediately.

MATTHEW

Is that okay, boss?

The man nods almost imperceptibly. Matthew gets up, and walks out.

Opening Titlecard .

2. Ext. Park – Day

ALEX and GEMMA are walking in a park, with sculptures, and talking.

GEMMA
The report is started, isn’t it?

ALEX

Yeah, but it’s just for me. (Looks around). I can’t tell you anything.

Another boy wearing dark clothing is standing in the shadow of a nearby sculpture. He pulls out a phone and texts Alex.

Good. Tell her anything, and you’re dead.

He then walks out of shot.

ALEX

Actually Gemma …

GEMMA
Text me later. I gotta go.

Alex looks down. Whilst doing this, Gemma has walked off, and the cloaked guy comes out from behind the shadow, and puts his hand over Gemma’s mouth. Alex looks around.

ALEX

Gemma? Where …

Shit. I knew it. The bastard.

Alex runs off, down the street.

3. Int. Office – Day

Kylie is in a room. It is messy, but there is enough room to sit one person. There is a knock at the door. She opens it. MATTHEW walks in, with Gemma.

MATTHEW

Here’s your charge. See ya.

Gemma sits down and Matthew leaves, closing the door behind him.

KYLIE

You’re writing a report, right?

GEMMA

Why?

KYLIE

No reason. Just protecting the interests of my bosses.

GEMMA
Righty. So not only am I “friends” with a pedantic nutter, I’m caught in a bloody conflict of interests! (pauses)

What’s so important in the report? It’s just documenting a juvenile case …

KYLIE

It has us in it. We try to keep a low profile. [She pauses]. So does that explain it?

GEMMA

I think so. Can I go … (she gestures bathroomwards).

KYLIE

Of course.

GEMMA

Oh, and could you drop off a note for me?

4. Int. Matthew’s Lair / Eric’s Room – Day

MATTHEW sits down and gets out his phone. He calls his boss.

MATTHEW

Um, excuse me … sir. Sir. Eric?

ERIC

What? I’m Busy. Make it quick.

MATTHEW

We’ve kidnapped Gemma as leverage. Hopefully he’ll come to us now.

ERIC

Good. She mustn’t find out …

Matthew hangs up, and turns back to his laptop.

5. Int. Alex’s Room – Day

alex receives a text saying “go to park”. He gets up and leaves.

6. Ext. Park – Day

ALEX is walking through a park close to his house. He sees a red piece of paper under a bush and picks it up.

It reads “I will ring in 30 minutes”, and is date-stamped 10:25.

He looks at his watch. It says 10:49

His phone rings.

ALEX
Hello? Who’s this?

GEMMA

Red paper.

ALEX
Okay … talk fast. I don’t have time.

GEMMA

They want the report, be really careful and guard your computer.

I’m so sorry, that’s all for now, bye.

She hangs up.

ALEX

(mutters)

My computer … Oh shit.

He runs back to his room.

SCENE 7 AND 8 ARE INTERCUT WHERE THE LINES ARE.

7. Int. Matthew’s Lair – Day

ERIC is standing around MATTHEW’s laptop.

MATTHEW

So, what, Eric? Do I try to get the file?

ERIC

Yeah. And you can call me Damian

MATTHEW
Why?

ERIC

Long, long story (w/ flashback)

Matthew opens up a CMD window, and Damian just stands back, leaning against the wall or something.

MATTHEW and DAMIAN are trying to hack Alex’s PC. Matthew types “systeminfo” into a CMD window.

DAMIAN

His computer?

MATTHEW
Yep.

DAMIAN says to Matthew, whilst he is typing.

MATTHEW

Dammit. Losing his PC.

DAMIAN

Find it.

Begins to run a tree structure.

MATTHEW is frantically typing.

MATTHEW

Found it. Now, the file …

MATTHEW has found the file.

MATTHEW
And … downloading. Hells, it’s a big file. 20 meg.

Matthew’s computer begins to shut down. Matthew is still typing frantically, while looking at the download bar. Then the computer shuts down in mid-operation.

8. Int. Alex’s Room – Day

Alex grabs his computer and frantically types.

ALEX

No, no, no, no, no.

ALEX is beginning to fight them.

ALEX

Disable LAN and DHCP connection …

ALEX types something, and the specs of their PC come up.

ALEX

Where was I?

The tree is still running for ALEX, who takes his mouse, and goes to log into Hamachi. He types his username.

ALEX
Access their PC …

He logs in.

ALEX

And … shut down.

He clicks.

Alex leans back from his computer, with satisfaction.

FADE OUT.

9. Int. Office – Day

KYLIE is off to one side of the room, and Gemma is in the other corner, sitting. Kylie is on the phone with DAMIAN.

KYLIE

Hi, umm, what? Gemma’s –

DAMIAN
Reservoir in half an hour. Clear?

KYLIE

Yes boss.

He hangs up. Kylie sighs.

10. Int. Matthew’s Lair – Day

MATTHEW and DAMIAN are still standing around Matthew’s laptop.

MATTHEW
What?

DAMIAN

Go to the reservoir.

MATTHEW
What if it’s a fake?

DAMIAN
I’m prepared to take that risk. Half an hour.

11. Ext. Reservoir – Day

Gemma, Matthew and Kylie are standing together. Damian is a short distance away facing away from them. ALEX arrives.

ALEX

I have something you want.

DAMIAN

Yes you do.

He turns around, and Gemma is surprised.

12. Ext Reservoir - Day

ALEX passes over the report, and DAMIAN flicks through it.

DAMIAN
Eh? What’s this?

ALEX
The report. What I finished, anyway.

Damian makes a decision, discarding the mostly blank report.

DAMIAN

Well, this has all been very –

He turns around to leave.

GEMMA
Ay! Get back here!

Damian turns around.

GEMMA

You said you were …

She trails off.

Damian walks back towards her.

DAMIAN

Look, I can explain –

GEMMA

Well then?

DAMIAN

(pleading)

You knew too much. They pressured me into it. They arranged everything, and changed my name. Just …

GEMMA
Rubbish.

She slaps him, then walks away.

Matthew can be seen laughing into his fist.

FADE OUT.

13. Int. Alex’s Room – Day / Int. Matthew’s Lair - Day

Alex is typing up an email consisting of all evidence he has on the case, which can be seen.

Matthew is sitting at his computer, on Facebook.

Alex presses ‘send’.

There is a knock at the door. Matthew opens it up.

14. Int. Office – Day

Kylie throws the last few items on her desk into her bag before shutting her laptop and putting that in too.

She knocks on the door of another house.

15. Int. Eric’s Room – Day

Damian Is sitting at his desk, holding his phone. He selects Gemma’s name and moves to call it.

After a while, a girl answers.

GEMMA
Hi. This is Gemma –

DAMIAN

Look, I’m really s-

GEMMA

… after the tone. [bleep].

Damian sighs, and hangs up.

Damian looks through his phone at old texts Gemma sent him. He is sitting in his room. Eventually he texts Gemma.

Goodbye.

He waits a while, and eventually receives a reply.

Bye, Damian.

Damian carefully closes the phone, and sets it down on the empty desk. He then gets up and leaves the room, closing the door behind him.

Closing Titles .

“Pleased to Murder You” Screenplay

Written and Directed by

Dylan Thompson

OPENING TITLES

The first shot of the film is a still shot of a lamp, that eventually pans out to show a darkened room and a person (WALTER GRAYLE) being interviewed by a DETECTIVE. The opening credits show over this.

CUT TO:

1. INT. INTERVIEW ROOM – NIGHT 14 2100

Establishing shot of POLICE HQ. Pan to the Police logo.

CUT TO:

WALTER GRAYLE is sitting in a darkened INTERVIEW ROOM. This can be seen as (like in films) there is a lamp shining on to his face, and making it bright, casting shadow around the rest of the room. He is in a suit and a trilby is resting on the table. A DETECTIVE interviews him from across the table. Walter wears a suit and trilby. Consulting a tablet and reading something then looking up again, he begins speaking.

DETECTIVE
So, let me get this straight, You’ve been arrested for no reason and yet the paperwork tells me you’ve committed fraud?

There’s a pause for five seconds, as WALTER GRAYLE is expected to reply. He does not.

DETECTIVE
So, you’re being quiet now. Has your point been made, or are you just waiting for your lawyer? Look, I’m not accusing you of anything; we just need a full and accurate picture of the case. So tell me, in the simplest way you can, what happened.

WALTER begins a reply, and his voice carries on as a voiceover.

FADE TO WHITE AND IN:

Establishing shot of WALTER’S FLAT that fades to a shot of a computer screen, which showed Facebook open and emails. WALTER composes a new email.

WALTER GRAYLE (V.O)
Okay, fine. I’ll talk. It started about two weeks ago, when I met this girl online. She said she had money problems over Facebook [show speedy navigation around a PC], but everyone has money problems these days. She wanted my help, and was prepared to pay for it. That bit made as much sense as buying shares in a chocolate teapot company.

CUT TO:

2. INT. WALTER’S FLAT/INTERVIEW ROOM – DAY 01 1000

WALTER is sitting in his flat. He is wearing typical modern attire. He is on his computer, typing up some notes of some kind, with Facebook open and a phone nearby.

WALTER’S voice continues from the voiceover he started previously.

WALTER (V.O)
It started two Wednesdays ago, with the sun high in the sky, and the temperature low in the mercury.

WALTER receives a reply from ‘Helena’. “Are you Walter Grayle, Head of Security, Kumar ‘n’ Kumar’s Bank?”. The voiceover continues.

WALTER (V.O)
A woman, Helena, wanted my help. As a gentleman, how could I refuse …

Walter replies to the email. ‘Yes, what do you want?’

FADE TO:

WALTER and the DETECTIVE are still seated in the interview room, as Walter continues his story. The DETECTIVE is sitting with his head in his hands, slowly falling asleep, then waking himself up. But WALTER doesn’t notice …

WALTER (V.O)
It did help that the whole thing was over email

CUT TO:

WALTER is sitting at his desk. He receives a reply to his latest email from Helena; ‘Well, I’ve lost $1000’.

FADE TO:

3. EXT. STREET/INTERVIEW ROOM – DAY 02 1030

WALTER and the DETECTIVE are seated in the interview room. The DETECTIVE is taking notes on a notepad of some sort, with a felt-tip pen that he then uses like a cigarette. He speaks, with the pen in his mouth and is completely incomprehensible.

DETECTIVE
So you decided you would help her? Even though you’d never met?

WALTER
What?

DETECTIVE
Oh [she takes it out]. You decided you would help a girl you’d never met?

WALTER
Well, yes. She seemed trustworthy. She set me to work straight away learning about how to hack airgapped drives.

Show: Google searches about hacking in a montage. Walter continues to narrate the tale.

Walter [V.O]
I realised I’d need to get off my arse and do some proper research.

CUT TO:

The interview continues.

INTERVIEWER
At what point did you dress up like a twat? I don’t need this for the interview, just curious …

WALTER
It’s like 1940s detective films, yes? Come on, you have to admit you like it.

He doffs his hat and the DETECTIVE rolls his eyes.

4. INT. WALTER’S FLAT/INTERVIEW ROOM – DAY 01 1100

WALTER is continuing to narrate his story to the DETECTIVE, who sits in silence, eating a pastry of some kind. WALTER pauses his story and the DETECTIVE waves him to continue (talking with a mouthful is bad, even for incompetent cops).

WALTER
I told her I wouldn’t do it. I had morals.

INTERVIEWER
And she re-established contact?

FADE TO:

WALTER is sitting in his flat, at his computer, sending and receiving emails (in a montage). He continues his narration.

WALTER (V.O)
The emails continued for the next week, and I think I was beginning to fall for her. Maybe I was just bored – my diary was empty and I craved a new job. An hour crawled by like a sick cockroach. Then she was replied.

The reply can be seen; ‘I won’t take no for an answer. And besides … you seem quite nice. We should meet up sometime. J’.

WALTER
Then the discourse shifted to Skype chat. Easier to have a proper conversation. Well, I talked by video, and she replied by text. Funny, I never actually saw her face …

Shows a Skype chat with a reply from Helena; First step is; read up on the bank’s security and computer systems. If you manage the heist you keep your fee plus ten percent.

WALTER
Okay, sure. Walter Grayle, at your service. Pleased to murder you – meet, I meant meet. I work at the bank, that’s my job. Name’s on the door or that’s some pretty neat graffiti.

He had at this point attached a photo of his door, with a sign that clearly didn’t say that.

HELENA replied; ‘Oh, so you’re … “an absolute and total dick?”’

WALTER
What? Oh … [he sees the sign]. It actually is graffiti … Never mind that then. I really should get it fixed.

5. EXT. STREET/INTERVIEW ROOM – DAY 08 1000

WALTER continues his narration of events to the DETECTIVE. The DETECTIVE is lying on the table, basically asleep.

WALTER (V.O)
After a week, I became convinced it was a lousy frame-up for a heist of funny money.

The DETECTIVE jolts awake at this and clearly doesn’t understand the lingo.

DETECTIVE
Sorry, what?

WALTER
I was convinced she was conning the bank out of money

DETECTIVE
Oh, okay.

She opens her Facebook. And takes notes on a tablet, although obviously the Facebook is most important.

CUT TO:

WALTER is in his flat taking part in another conversation on Skype with Helena. His narration of the tale continues.

WALTER (V.O)
She somehow convinced me to do it.

WALTER reads the message from Helena; that reads ’So, will you do it? Oh by the way … you wouldn’t mind meeting up sometime?’. He narrates;

WALTER (V.O)
My mind raced like a Ford Model-T, with some … quite serious modifications.

WALTER considered his reply for a bit, then said;

WALTER
Sure, I will, and my fee’s hardly relevant … between, err, friends.

6. INT. WALTER’S FLAT/INTERVIEW ROOM - DAY 10 1300

WALTER went back to his flat and began the heist.

WALTER (V.O)
So, you’ll remember I was security manager at the bank. I was familiar with the procedures, so after learning about the drives we were prepared to pull off the heist.

WALTER and HELENA discussed the heist over Skype. She wrote; ‘So you just need to deposit the money in my bank account – I’ll pay you later’.

WALTER
Well, okay then … it’s set in motion. So how much should I transfer?

HELENA replied thus; ‘Do two thousand dollars.’

WALTER
Didn’t you only – nevermind. It’s not like you’re a con artist, cyber-terrorist or anything.

He laughs awkwardly.

WALTER (V.O)
Then things escalated quickly.

7. INT. INTERVIEW ROOM/WALTER’S FLAT – DAY

WALTER is in his flat, on Skype with HELENA. He hears a siren, then there’s a knock at the door. Well, only a knock in a similar way to if Hitler was ‘a little bit bad’.

FADE TO WHITE THEN IN:

WALTER is talking to the DETECTIVE. He has sat up, and is paying almost full attention for the first time.

WALTER
That brings you up to speed.

DETECTIVE
So. The way I see it, this has two solutions. Pinch you for arranging the heist or - .

WALTER
You’ve started talking like a 1940s detective film as well.

DETECTIVE
May as well join in. So what’s it going to be?

WALTER
We actually didn’t do anything.

DETECTIVE
But you had a plan. At the very least you go down for conspiracy.

WALTER
Our plan being, rob the bank of some money through backdoor and hard-to-trace channels and then get away with the money. But we never actually started. Who would do that, anyway? Pick a guy at random and set him up to take the fall for a robbery, all for some cash …

DETECTIVE
Hang on. Has anyone actually committed a crime, here?

WALTER
As far as I can see, no.

WALTER gets up and walks out. WALTER’S voice plays with his musing from before.

WALTER (V.O)
Who would do that, anyway? Pick a guy at random and set him up to take the fall for a robbery, all for some cash …

As the DETECTIVE opens an email app on his phone. The user ID is HELENA’s email address, and name.

DETECTIVE
Not yet, anyway. [evil laugh].

WALTER walks down a narrow passage and sends a quick message to HELENA. He hears a beep behind him and thinks nothing of it, but otherwise receives no reply.

CREDITS.

Rocket Science Trailer and Screenplay

“Rocket Science?” Screenplay

Written By James Ashworth, Directed by Dylan Thompson, Created by James Ashworth

Scene 1

The crime boss, drug dealer and thug are sitting in the crime boss' office. The crime boss is sitting at a desk, and the drug dealer is standing at the desk. The thug is standing at the door.

Crime Boss

We're losing money fast, J. Timberland is running us out of town.

Dealer

I'm moving as much as I can. I've been working my arse off.

Crime Boss

We're not getting enough of a return on this.

Dealer

It doesn't help that I've been attacked by Timberland's goons three times this week. They stole all of my shit, and all of my money! And there was 5 of them!

Crime Boss

They have been encroaching on our turf. I will have knuckles follow you.

Dealer

I can't sell drugs with that... that... Freak! following me around.

Crime Boss

He'll keep a low profile, won't you, Knuckles?

The thug nods, and opens the door.

Crime Boss

Come back here on thursday after school, J, and we'll give you another K. Try and sell it quickly this time; I don't like to wait.

The drug dealer walks out. The thug exits the room too, and closes the door.

Scene 2

At School, the chemist and a friend of the chemist are talking about their chemistry projects. The drug dealer is standing not too far from them, pretending to listen to music.

Chemist

So how goes your chemistry scholarship? Done anything yet?

Friend

Not too much, just some basic research. What did you do for yours?

Chemist

I've made a prototype of my drug, but I'm not sure it's good enough to win. It's very addictive, your tolerance for it increases really slowly, and it's near harmless.

Friend

Very nice! You can probably do it. You're way better than anyone else in that class.

Chemist

I hope so. I couldn't afford a university tuition unless I win it.

After hearing this conversation, the dealer puts on his headphones properly and walks away.

Scene 3

The Drug dealer is back in the crime boss' office. The thug is standing at the door, as always.

Crime Boss

So, have you sold all of the shit?

Dealer

Yeah. It's all gone. Your thug took the money when he searched me.

Crime Boss

Good. He'll give you your K when you leave, plus your wages.

Dealer

One more thing, before I leave. I heard something interesting while I was in school today.

Crime Boss

And?

Dealer

Well apparently the chemistry scholarship candidates have been tasked with making a drug that gets you super high but doesn't have any of the nasty side effects like what we sell. It's highly addictive as well.

Crime Boss

Really? Are you sure?

Dealer

Oh yeah, definitely.

Crime Boss

This gives me an idea. Do you think I look young enough to go back to high school?

The drug dealer and thug look the crime boss over. The thug nods.

Dealer

Yeah, you probably could.

Crime Boss

Very good. I will probably see you around school, J. But don't be a dumbass. Stay away from me. I will steal the drug from him. Then you will sell it.

The drug dealer walks out of the office, followed by the thug, who shuts the door.

Scene 4

The drug dealer and the thug are standing on the footpath, discussing their plan to attack the dealer.

Dealer

He/She gave me the information. He should be coming here soon. Get ready.

The thug hides behind a bush.

Dealer

Is he unconscious?

The Thug nods

Dealer

Good. Let's get him back to his home, and search it from there.

The Drug Dealer and The thug pick up the unconscious chemist and carry him back the way they came.

Scene 5

The chemist is lying in his bed (not under the covers). The items on his desk from Scene 2 are missing, only his laptop and books remain.

Chemist

Argh...my head.

The chemist stands up, and looks over his desk

Chemist

Wait up... Oh Shit! SHIT SHIT SHIT SHIT SHIT!!!!!

Chemist picks up the phone and dials a number

Chemist

It's gone!

Scene 6

The chemist is sitting with the crime boss at a table or something (idk where this should be set)

Chemist

I wake up in my bed, and the next thing i know, all of the stuff is missing. I made nearly 600 grams of that, and that took me nearly 3 months of work.

Crime Boss

Well, that's no good then. Do you have any idea who might've taken it?

Chemist

No, but it was suspicious. I was leaving my house to go for a walk, and then some men knocked me unconscious, then I am left in my bed, with all of the stuff stolen.

Crime Boss

That's terrible. So what will you do?

Chemist

I suppose I could make some more of it, but then again, it might just get stolen again. I don't think I'll make any for a little while.

Crime Boss

That's a real shame. What will you do for your chemistry scholarship?

Chemist

I don't know, but I'll think of something. Provided the bastards who stole my stuff didn't steal my notes. I'd better go home now, I have a lot of work to do

Crime Boss

Okay then, see you in school at some point.

The chemist gets up and leaves. The crime boss texts the dealer “He knows, be careful”

Scene 7 – A few weeks later

The drug dealer is standing at his usual spot, listening to headphones. The Chemist walks past. No one else is around.

Dealer

Good evening, friend. Might I interest you in some high quality home grown marijuana? Certified Paraquat free.

The chemist keeps walking, before stopping, and turning around

Chemist

Hey! You!

The drug dealer turns around, and sees the chemist (rapid zoom shot would be awesome here, especially in Django Unchained style)

Dealer

Oh shit...

Dealer begins to run away but is caught by the chemist after a short running sequence, and is tackled.

Chemist

You're the little bitch who stole my chemicals aren't you?

Dealer

Get off me man! I don't owe you squat!

Chemist

Where did you put it? You didn't sell it did you?

Dealer

Leave me! I haven't done anything to you, man!

The chemist climbs off the dealer and stands up. The Dealer lifts himself onto his feet.

Chemist

Are you or are you not the person who mugged me last week? And don't worry, I have not contacted the Police.

Dealer

Are you sure, man?

Chemist

I legitimately haven't contacted them, or thought about doing do; I think you know why I want it back?

Dealer

Well if it's information you want, it will cost you a lot; I'm not a cheap sellout.

Chemist

How much?

Dealer

Enough for a plane ticket out of here. If I tell you this shit, my boss will kill me, and you. I want a bigger chance of survival.

Chemist

You will get paid when you tell me. Do you have my shit, and where is it?

Dealer

My boss has it. I will give you the address tomorrow, and I'd better receive the money, else I'll come for you just like they'll come for me.

The dealer writes down the address of the crime boss' office.

Dealer

You shouldn't follow this, dude. He/She'll PWN your ass back to the 15^th century.

Chemist

You should watch your own back. Prick...

The chemist walks away, leaving the dealer with an exasperated look on his face.

Scene 8

The drug dealer is walking home, with headphones on his ears, as per normal. He stops at a bus stop, and lights up what appears to be a joint (actually is rolled up piece of paper)

Crime Boss

J, how many times have I told you, don't use what you sell.

Dealer

I don't know anything about any selling...

The Drug Dealer turns around to look at the Crime Boss, who is standing next to the thug, who is holding a gun.

Dealer

Hey bro, wanna buy a DVD? It's for real cheap.

Crime Boss

Shut up, you don't sell DVDs. You're a drug dealer.

Dealer

I don't sell drugs. You're making that up.

Crime Boss

But you sell information, right?

Dealer

I have no idea what you're talking about.

Crime Boss

I told you to be careful, J. Our boy got wise. He knows you stole it. I know you told him about me.

Dealer

Jesus Christ... Look, he beat it out of me, okay? What would you have done?

Crime Boss

Killed him.

Dealer

Not all of us are psychopaths. I'm just a kid who sells drugs to fund a university education.

Crime Boss

But you'll be with plenty of them in hell. Goodbye J.

The thug shoots the dealer in the chest, the dealer looks as if he's about to say something, but crumples up and falls on the ground before he can. The crime boss picks up the dealer's lighter and pockets it.

Crime Boss

I'm taking your lighter, bitch.

Scene 9

The chemist has walked into the crime boss' office, but is stopped by the thug

Thug

Sorry mate, we're full.

Chemist

I need to speak to your boss.

The thug takes a few steps forward

Thug

Sorry mate, we're full.

Crime Boss (from inside his/her office)

What the hell is all that noise?

Thug

Mate, you need to leave now.

Chemist

It was you wasn't it. You stole my product, or had your lapdog steal it for me.

We hear the crime boss swearing/having a minor explosion of anger, before he/she yells at the Thug.

Crime Boss

Let him in.

The thug lets the chemist in. The crime boss is playing with the dealer's lighter.

Chemist

Jesus Christ! (Insert name of Crime Boss)?

Crime Boss

(Quietly swears under breath)

Shit...

Chemist

You stole my chemstry scholarship work? So you could SELL IT AS ILLEGAL DRUGS?

Crime Boss

Well, why else would I befriend you?

Chemist

Do you still have ANY of it left? Or have you sold it all? And did you figure out how to actually take the drug?

Crime Boss

I don't use what I sell. Neither does J. There is a little bit left. J has sold some. The amount of it that we sold, sold WAY faster than anything else. Even the pot that J grows. It's a shame that we no longer have a supply of that...

Chemist

You killed him, didn't you?

Crime Boss

Yeah, I killed him. He was one of my best dealers. But he never should've told you who I really am.

Chemist

That is no concern of mine, I just want my stuff back. It was for an important assignment for my chemistry class.

Crime Boss

I really need this. It's my only source of income. We were selling this to enrich our lives, so we didn't have to be homeless.

Chemist

That's why I need it.

Crime Boss

We can't even afford food without it.

Chemist

But you're criminals. Thieves, and drug lords. I need that to pay for a university education. It secures my future

Crime Boss

You were selling it too?

Chemist

No, it was for a chemistry scholarship.

Crime Boss

Let me make you an offer. Since I like you, I'll let you leave here alive without calling Knuckles in here to skin you alive. You'll leave, without the money, or the drugs; you'll make more of it for your chemistry scholarship or whatever, and then you'll leave. Are we agreed?

Chemist

Well................................................NO!

Crime Boss

KNUCKLES!

The chemist quickly draws a phone from his pocket and dials a number.

Scene 10

External shot of the building. A phone ringing is heard, before the building explodes. It then cuts to black and credits.

“Rocket Science?” Trailer

Written By James Ashworth, Directed by Dylan Thompson, Created by James Ashworth

Opening shot of a student mixing brightly coloured chemicals in a lab.

Chemist (Voiceover)

What if there was a new drug …

The chemist is wearing full safety gear, as he holds his nose and takes it (the drug – a bright blue substance) like a shot.

Chemist (Voiceover)

A drug you knew worked that was high grade and everyone wanted.

The chemist has just taken the drug. He puts the receptacle down on a piece of paper marked “test one”, and looks up to see a clone of himself.

Chemist

Who – who’re you?

Clone

So, a hallucinogen? Good job. Relax. I’m here to help.

The clone flickers and the chemist blinks, bringing the clone back into focus.

Clone

You’re ignoring evidence, though, so I’ll tell you want you need to know.

The chemist is talking to his friend about a Scholarship assignment.

Chemist

I’m nearly done my Chem Scholarship assignment, and there’s no nasty side effects.

Friend

Be careful though. Don’t get killed for a Uni scholarship.

The boys are being heard by a shady figure with a hood and headphones on. He walks away.

The shady figure is in an office. No faces can be seen.

Dealer

Boss, I heard something at school today. I think you’re gonna like it.

The chemist is sitting at a lab, looking up a chemical on the Web.

Chemist (voiceover)

Soon enough, they’ll find you.

Shots of a person throwing things around a room, and looking through drawers and papers.

Shot of the chemist’s desk, panning along books and notes, to an empty mug marked ‘Test 5: Rocket’.

The chemist is looking out a window.

Chemist (Voiceover)

Because when they do, and they steal what you’ve worked for …

The chemist and his friend are sitting on a bench at aschool, talking.

Chemist

Look, mate, I need your help.

Friend

Why me?

Chemist

You know the combat stuff, I know the Chemistry.

Friend

You’re not …

Shot of the chemist and his friend in a car, seeing the dealer walk past with a paper bag clearly visible in his hand. The car is parked.

Chemist

That’s our man. I saw him listening to us before.

Friend

Are you sure?

Chemist

Go. Just go.

The car pulls out and runs the dealer over.

The chemist and friend are talking, in a bedroom, the chemist’s bedroom.

Friend

So now a drug ring’s after you. What are you going to do? They’ll kill you.

The chemist pulls out a deep red substance from his drawers.

Chemist

My death doesn’t frighten me. Get out of here.

Friend

What are you doing?

Chemist

Proving a point, now move.

The friend leaves the room, then there is a large bang, and the chemist exits also.

The chemist is near the boss from earlier, about to go in and meet him.

Chemist (Voiceover)

When they steal what you’ve worked on, you have to get it back.

Closing close-up of the chemist’s face. He walks towards the boss, and out of shot. The title “Coming Soon” appears after he leaves. The final shot of the film is the Titlecard for the film “Rocket Science”.

Fade to black and credits.

Closing Caption “This film will not actually be made.”

Screen Play Trailer and Screenplay

“Screen-Play” Screenplay

Titles white on black intersected by cars and boy walking along road.

Scene 1 Ext. City Park

A Boy walks along a pathway, various angles.

He sits down.

ECU of his hands opening a crisp packet.

He plunges his hand into the bag.

Fade using blurry pan of park.

Scene 2 Ext. City Park

A Girl is leaning against a public toilet.

She is on her phone.

Sanders on phone

Do you see him?

Girl

Who?

Sanders on phone

Gemma, your brother, Matthew Lee.

Gemma looks around franticly.

Then she freezes.

Matthew is still happily eating crisps.

She just looks from a distance.

Gemma

Crap! I don’t think this is a good idea, I’ve worked for the Dragons Tail and I know what they’re capable of.

Matthew gets up to go.

He starts walking.

Sanders on phone

The British Government will do everything to protect you, I should know, I was at MI6 at one time, remember.

Matthew sticks the packet in a bin.

He goes out via an alleyway.

Gemma starts walking away from his general direction.

Gemma

Ok I’ll do it, I’m just concerned about my brother could do, he’s very capable, but is very determined.

Sanders on phone

I’m hoping my new recruits will be the same.

Gemma

Not as determined as me.

Sanders on phone

I’d call it stubborn, training starts tomorrow.

Gemma

I don’t need training, I’m an experienced hacker!

Sanders on phone

As I’m sure but I need to prep you in the art of intelligence.

Gemma

And I’ll meet your new recruits?

Sanders on phone

You are one, but yes you’ll soon meet them, in about a month, we just have to set it up so no-one suspects what’s going on.

Scene 3 Int. Bedroom

Thomas and Alex are playing Ragdoll Masters.

They are starting the game.

Alex

C’mon Thomas lets get a new high score!

Thomas

You know I could hack this so we win.

Alex

But that’s cheating!

Thomas

You want to win don’t you Alex?

Alex

Yeah Yeah, You’re the White guy.

~~Titles~~

Scene 4 Ext. Playground.

Thomas and Matthew are sitting on separate swings moving slowly.

Matthew

I can pay you, it’s not much but It’ll be worth your while.

Thomas

It sounds dodgy.

Matthew

Its not Black hat Hacking, you just got t’ tell us If we have people snooping in our network.

Thomas

We?

Matthew

I’ll assume that’s a question not an agreement.

But anyway ‘we’ are the cyber division of the Dragons Tail.

Thomas

Oh, but what I’m doing isn’t illegal right?

Matthew

It’s not, (quietly) yet.

Thomas

I guess so.

Alex walks up to them but doesn’t have a swing so leans awkwardly against the frame.

Alex

So Matthew, didn’t get picked for the computer academy?

Matthew

I’m already diverted by way of employment.

Alex

Where McDonalds?

Matthew

I can’t tell you!

Thomas

Why do you guys never get along?

Matthew

It can be utterly impossible to get along with such primitive neural architecture you got there.

Alex

You didn’t get a scholarship so what are you to talk about primitive engineering.

Matthew

See?

Thomas

I’m trying to stay neutral.

Scene 5 Ext. quiet street

Matthew is walking down the road.

His phone beeps.

He has a look at the text.

Your twin sister is in country, be careful.

He replies

No way, Not possible

He receives

Check BA website, actual name.

Matthew keeps walking.

Scene 6 Int. bedroom

Matthew is looking at Spoofed BA website.

Matthew calls someone.

Matthew

It’s true, we’ve got to figure out what she’s up to or she could compromise our whole setup.

<pause>

No don’t silence her; I wouldn’t be a nice twin then.

Interlude (Fade to black then fade to morning)

Scene 7 Int. Ops Room

Clock shows 10:05

Sanders

So they’re going to be here within the hour.

Gemma

What’s the cover?

Sanders

Eh?

Gemma

What you told them goes on here, you can’t just say that we’re a bunch of British anti-cyber crime agents who want the help of the local students!

Sanders

All their parents know is that this is a special institute for computing and programming run by the Local ministry for Science and Innovation.

Gemma

Good, but will the ruse last?

Sanders

Well of course we tell the recruits eventually otherwise, how do we carry out these top secret missions?

Gemma

How many?

Sanders

Two, boys, a similar age to you, oh and they have been in contact with Matthew so to them you’re not Gemma, you’re Jade.

Gemma

Jade seriously? You could have picked worse.

Sanders

And now I regret not doing so…

Scene 8 Ext. Door

Thomas

You ready Alex?

Alex

You sound like we’re going to do suicide or win the world cup, but yeah, I’m ready.

Thomas knocks.

Scene 9 Int. Hallway

Sanders walks to the door and opens it.

Sanders

Ahh, you have arrived!

Alex

No actually we’re just a figment of your overactive imagination and we’re here to…

Alex is jabbed in side by Thomas and abruptly stops.

Sanders

Do come in, no need to remove your foot ware.

They begin to enter.

Scene 10 Int. Ops Room

Thomas

I dear say but this doesn’t look much like a school.

Sanders

Its not, it’s a computing and programming institute to further refine skills.

Gemma coughs noisily.

Sanders

Thomas and Alex this is Jade, she’ll be working with you.

Gemma hasn’t paid attention.

Sanders

Jade, introduce yourself.

Gemma realises that’s her.

Gemma

I’m G- Jade welcome to the Academy.

Alex

Academy?

Sanders

It’s an informal title.

Thomas

So what exactly do we do here?

Sanders

I’ll explain later, first I’ll get some tea and biscuits out.

Scene 11 Ext. Wall

Alex and Thomas are leaning against a grey wall.

Alex

This does seem a bit odd.

Thomas

I think there is something he isn’t telling us, I know he’s from the UK; we have programmes on those computers only available to such organisations as…

Alex

Which organisations?

Thomas

The Secret Services.

Alex

You have to be kidding!

Thomas

Oh shit you don’t think they know I’m helping Matthew?

Alex

You’re helping Matthew? What on?

Thomas

Cyber Security.

Alex

I don’t think so.

Thomas

He only just asked me.

Alex

Whoever really runs this place probably wouldn’t have found out as fast, even if it was flippin’ GCHQ

Gemma walks in (or out).

Gemma

What’s this about GCHQ?

Thomas

It’s the British Government Communications Headquarters.

Gemma

I know what it is.

Alex

So is this Academy run by GCHQ?

Gemma

(Genuinely)

Of course not

Thomas

But who is it run by?

Gemma

I dunno, ask Sanders.

Scene 12 Int. Ops Room

Sanders

My superiors figured your parents wouldn’t be legal eagles so we snuck in the official secrets act. So that means you’re bound by it and it also means I can tell you.

Alex

What?

Sanders

This organisation is called Digital Forensics and Electronics Service or DFES which is also the name of the British education department or Department For Education and Skills.

Thomas

So that when people who shouldn’t hear about this DFES hear about this DFES think whoever is talking, is talking about the other DFES.

Sanders

Absolutely and it also means we can get away with more.

Alex

But what do we do?

Sanders

Well, GCHQ does anything legal that we could do so we end up doing their dirty work and things they are not capable of.

Alex

Like?

Sanders

That’s classified.

Scene 13 Ext. Backyard

Alex and Thomas are sitting at an outdoor table.

Alex

He’s so self important, “That’s Classified”

Thomas

It probably is.

Thomas looks at his watch and starts to get up.

Alex

Where are you going?

Thomas

Matthew wanted to see me.

Alex

He hardly ever comes out of his bat cave.

Autumn

But he’s too young to have a bat mobile.

Thomas

He wanted me to do some work for him.

Anyway I need to go now.

Alex

See ya.

Thomas is walking away.

The gate slams.

Alex

I don’t trust Matthew, he seems dodgy.

Autumn

How so?

Alex

Well he only moved here in year 8 and changes the subject when we ask about his parents or where he came from.

Autumn

Maybe he’s just shy.

Alex

This is Matthew Lee we’re talking about.

Autumn

Oh that Matthew.

Alex

Exactly, come to think of it, I hardly know anything about him.

Autumn

He doesn’t seem like he’s got siblings.

Alex

Funny you mention that, at the Academy...

Autumn

The what?

Alex

The computer academy, well there is this girl with a similar accent to Matthew, and they’re both Asian.

Autumn

What sort of accent.

Alex

I’d say English, but they are clearly both Asian.

Autumn

If everything was a clear…

Interlude (Fade to black Fade to scene)

Scene 14 Int. Foyer

Caption: Next Day

Alex and Thomas are playing shit games on their laptops.

Alex

So what did you do at Matthews?

Thomas

Nothing, I do it all from my house

Alex

What?

Thomas

He just wants me to do cyber security for this group he’s part of.

Gemma walks into view.

Alex

I don’t trust Matthew.

Gemma

What are you lot talking about?

Thomas

You wouldn’t know him.

Gemma

I might.

Alex

He may come from Britain but you probably don’t know everyone in the country.

Gemma

Still I might.

Thomas

Matthew, Lee that is.

Gemma pauses and looks a bit shocked.

Gemma

No, never heard of him.

Alex

As I thought.

(Triumphantly)

Thomas

Must you not get along with anyone?

Alex

I just don’t trust Matthew!

Gemma raises her eyebrow.

Thomas bites his lip.

Gemma

Why?

Alex

A lot of things just don’t add up.

Thomas

Don’t be daft.

Gemma

We should probably go up to the ops room now.

Thomas

Just shut this down.

Scene 15 Int. Ops Room

Sanders

My superiors were happy with you’re scores on the standard DFES test.

That means you are now qualified to go incognito.

To celebrate we’re going to flex our muscles

Thomas

Annnnnnnnd...

Sanders

Let’s play with the servers of Exxon Mobil

Thomas

So can we redirect visitors to a spoof site?

Sanders

Absolutely.

Scene 16 Int. Random Office

An Indian call centre worker is typing on his workstation.

The phone rings.

Raj

Hello welcome to Maximus Information Technology how may I help you sir?

Man

Uh hello, I’m calling from Exxon Mobil.

Raj

Could you repeat that please Ma’am?

Man

Sir, its Sir.

Raj

I am very honoured Ma’am.

Man

I’m a male.

Raj

I’m very sorry sir what may I help you?

Man

I’m calling from Exxon Mobil and I would like to report that our website has been hacked.

Raj

Could you repeat please sir?

Man

I’m calling from Exxon Mobil and I would like to report that our website has been hacked.

Raj

Have you tried re thrashing the page?

Man

Speak up boy!

Raj

Have you try re thrashing the page?

Man

You need to articulate more clearly!

Raj

Sorry sir but If you are going to be racist I cannot help you, goodbye!

Man

Hello? Hello? Damn!

Int. Screen shot.

The man refreshes the page.

It goes back to normal.

Man

That was odd.

Scene 17 Int. Bedroom

Alex and Thomas are looking at the Exxon Mobil Corporation Website.

Alex

Hey that’s awesome!

Thomas

It was a simple one time DNS redirect.

Alex

English?

Thomas

If we refresh the page.

He does so.

Thomas

It goes back to normal

Alex

Why?

Thomas

We don’t want to cause a massive hullaballoo so it blocks your IP after one view and expires after a day.

Alex

It’s pretty cool.

Thomas

Its elementary stuff but yeah its pretty cool.

Scene 18 Int. Bedroom

Thomas is on the fluffy cloud storage website.

Clicking from various shots.

Fade to black.

Interlude (Fade to black fade to scene)

Scene 19 Int. Foyer

Caption: Next Day

Thomas and Alex are sitting on the couches, doing shit (not literally).

Alex

So, what have you done for Matthew?

Thomas

I just had to back up some files to a NAS.

Alex

Oh. Why?

(As if he doesn’t know)

Thomas

Christ, I don’t know. They asked me to send it to an anonymous PO Box.

Gemma walks up.

Gemma

What’s this about PO Boxes?

Alex

Something he’s doing for our friend Matthew.

Gemma

Matthew?

Alex

Well, he’s not exactly a friend …

Thomas jabs him in the ribs.

Alex

What!

Gemma

What’s his last name?

Thomas

Lee. Why?

Gemma

… Oh, uh, no reason.

Okay, well … I’ll see you.

She leaves.

Scene 20 Int. Sanders’ office.

Gemma

Are your new recruits acquainted with Matthew?

Sanders

(Nervously)

They might be, yes.

Gemma

And did you think it wasn’t relevant?

Sanders

Well …

Gemma

So that’s why I’m known as Jade? In case he asks?

Scene 21 Int. Foyer

Thomas

Did you hear that?

Alex

Hear what?

Scene 22 Int. Sanders’ Office

Sanders

Well, yes.

But not so loud.

Gemma

And does Matthew know?

Sanders

We’ve taken all proper precautions.

Scene 23 Int. Kitchen

Matthew is looking on the BA website.

You can hear clicking and typing but not the screen.

Matthew calls someone.

Matthew

I’m on BA now; do you have username for whoever booked it?

Pause

Matthew

Ok, I’ll scan the flight base

Pause

Matthew

No, no don’t do that, she’s family, she wouldn’t be in with whoever you’re thinking of, that’s illegal anyway.

Hangs up.

Fade montage.

You can now see screen.

Matthew

Mr Sanders C, alias or real, they’d have to be stupid.

He calls.

Matthew

She flew in on BA 4551 by Cathay Pacific from Hong Kong

Pause

Matthew

Yeah it is suspicious going through Hong Kong but it is the cheapest route.

Pause

Matthew

It seems the most obvious if not plausible reason.

Pause

Matthew

I’ll stay vigilant anyway, thanks for the heads up, bye.

Scene 24 Int. Bedroom

Thomas and Alex are playing Battlefield.

Thomas

I’m not sure about Jade, she acts weird.

Alex

How so?

Thomas

She seemed really surprised when you mentioned Matthews’s name.

Alex

Come to think of it, they are both Asian with Blackish hair and brown eyes.

Thomas

Most Asians do, Alex

Alex

And they do have a British Accent

Thomas

Suspicious but really, he doesn’t have a sister.

Alex

As Far as I know he doesn’t have one, although I don’t k now If he even has parents, I never see them when I walked to school with him, reluctantly.

Thomas

This is not a sitcom; parents don’t stand at the porch waving their kids off in real life, at least not here.

Alex

We don’t really know him do we.

Thomas

He could be anyone.

Scene 25 Int. Bedroom

Matthew has headset on and is Skyping (Or Equiv).

Matthew

I’ll look on the Immigration website but if it’s what we think it is, and I hope not, I’ll have to scan the UK Embassy as they handle those on Diplomatic Status.

Pause

Matthew

Yeah it’s all in the Server Room.

Pause

Matthew

We can’t possibly start now!

Pause

Matthew

How can she compromise it, she doesn’t know!

Pause

Matthew

It’s a risk but it’s a small risk.

Pause

Matthew

Hang on; I’ve got her on a student visa at InfoTech Academy.

Pause

Matthew

It is dodgy but you can’t fire guns without a reason.

Pause

Matthew

Maybe not the best quote.

Interlude (Fade to black, shot of sky at night, fade to scene)

Scene 26 Int. Ops Room

Sanders

Right, we’ve had fun but this is our first real assignment.

Alex

Which is…?

Sanders

Let me finish, I reckon the most hated branch of the government is Revenue and Customs.

Thomas

What?

Sanders

Uh, Inland revenue I think here but anyway there is a strictly secret case of Tax Evasion.

Alex

That all?

Sanders

It’s more complex - obviously - we’re going against a very powerful Finance and Insurance institution.

Thomas

Not Amalgamated Banking Corporation?

Sanders

I never said it would be easy.

Gemma

So what exactly are we doing?

Sanders

Some digital forensics, Gemma.

Thomas

What?

Sanders

I mean Jade.

Alex

You said Gemma.

Gemma

He meant Jade, I hope.

Sanders

Aside from that, a rose by any other name would smell as sweet they say but this is important we need to conduct a full back up of their system so we can analyse it.

Thomas

But that must be Terabytes

Sanders

Well more than 100 Definitely.

Gemma

But surely that’s simple

Thomas

Well, they do encrypt it and some of its air gapped

Alex

What?

Gemma

It’s when a network is not connected to the internet.

Thomas

But it’s rarely fully air gapped, that would render the network useless.

Sanders

But they do have an Intranet but that is air gapped, sort of.

Alex

Sanders

We can gain access to the network and get the files that way.

Thomas

That would take months to copy it through IMAP or POP3, better to stick a scrambled Wi-Fi terminal in.

Sanders

Jammed, all of them.

Thomas

Okaay, so we could break in and copy it to drives manually but that would take forever and would be risky, CHERUB doesn’t exist right?

Sanders

What?

Gemma

Teen book series where children are spies.

Sanders

Sounds like you lot and not to my knowledge.

Thomas

So it’s break in and copy, or launch a formal enquiry.

Sanders

Impossible, absolutely.

Thomas

Well then we can try through the mail server.

Alex

What about that networking through the power lines?

Thomas

Well yes but we’d still have to be plugged into the building power and we would have to plug the network into a mains power socket.

Gemma

I doubt IT security are going to be that lax.

Sanders

You’d be surprised, and this might work.

They look at Thomas.

Thomas

Have we got an expenses budget?

Scene 27A Int. Kitchen

Matthew is checking an email reading…

“Wired link is in place for op. extraction

Please use port 21 and use as if FTP.

Files required will be of .CSV type with a proprietary encryption based on AES.

Check for encryption programme and modify so you can brute force it.

TURN WIRELESS AND BLUETOOTH OF WHILE IN VICINITY.

Thank you,

And good luck.”

Matthew

Easy.

Scene 27B Int. Bedroom

THIS SCENE IS A TEMPORARY SCENE THAT MAY OR WILL CHANGE AS AND WHEN THE FINAL SCENE IS AVAILABLE, TO MIRROR THAT.

Thomas is sitting on a bed. He is talking on a phone with Alex.

Thomas

What do you mean you have to go to the US?

Alex

It’s just a holiday. I will be back, you know.

Thomas

Yeah, but the timing is inconvenient, to say the least.

Alex

You’ll just have to cope.

Thomas

I’m not sure that’s entirely –

Alex

Look, I have to go now.

Thomas

Alex –

Alex

Bye.

The line goes dead.

Thomas

[Puts phone down]

Sanders will be pissed.

Scene 28 Int. Ops. Room

(Just Sanders, Thomas and Gemma)

Sanders

Well our agent planted the link and we’ve got a relay setup from the park to here.

Thomas

Via?

Sanders

Broadband

Gemma

Let’s hope it’s not TelCo, you can’t load a Wikipedia article let alone all of ABC’s files.

Sanders

I think it is but let’s hope it isn’t that bad.

Thomas

How long is this going to take?

Sanders

Not any faster thanks to Alex swanning off to the states.

Thomas

I mean copying the data.

Sanders

I’m not even sure if we can store all the data.

Gemma

Are we meant to be starting now?

Sanders

Why not? Dial it up Thomas and test the line.

Gemma

Hope you aren’t referring to the speed.

Scene 29 Int. Bathroom

Matthew is about to wash his hands, his mobile rings.

Matthew

What the hell now, I’m heading over, just getting ready.

Matthew

Interference, it’s a wired connection!

I’m coming over, keep trying.

Scene 30 Int. Ops. Room

Thomas

The Line keeps dropping off.

Sanders

What?

Thomas

It must be interference from another electronic device.

Gemma

Or another network.

Sanders

How?

Thomas

Well yes that is possible, maybe even probable; I can scan this data if you want?

Sanders

Ok, we need to see what the hell is going on.

Scene 31 Int. Room

View of command prompt tree

Hand waves over screen.

Matthew

This ain’t no interference.

It’s scanning as normal.

Scene 32 Int. Ops. Room

Thomas

It looks like they’re copying or scanning files.

The same command prompt tree.

Sanders

I don’t like it, can you trace the traffic?

Thomas

I can insert a tracking programme into one of the folders that being scanned soon.

Sanders

Well do that.

Scene 33 Int. Room.

Man you can’t see

The connections gone!

Matthew

No, the connections there, the volumes just been dismounted.

Man you can’t see

Matthew

We’re going to have to try a different tact.

Scene 34 Int. Ops. Room

Thomas

Well I’ve tracked the IP to within the city.

But they’ve stopped the scanning or whatever.

Gemma

Why do you think?

Thomas

I’m checking the recording now.

Pause

Thomas

One of the volumes was disconnected and then they stopped.

Gemma

Thomas

The information they want is probably on that drive.

Gemma

Who and What.

Thomas

No idea and No idea, the drive is 12 Terabytes.

Gemma

That’s a big drive.

Thomas

It’s a RAID array probably, Network Accessible Storage, or now Inaccessible, I think we need the surveillance monitored.

Sanders

We can get all the exterior and public area but the rest is highly encrypted and not connected to the intranet.

Thomas

Well let’s just get what we can, we might have to go and remove the drive for safety reasons, and I’m curious.

Scene 35 Int. Car.

All characters are out of shot and only boots and hands can be shot.

Sanders

Ok Gemma, Thomas is back at HQ monitoring the CCTV, you’ve got Ten minutes or so, everything we could has been de-activated.

Gemma

So I’m not Jade now am I?

Sanders

Look if your brother’s goons get wind of you being here you could be in danger?

Gemma

Which Goons?

Sanders

You know very well, I think its time.

Scene 36A Int. Kitchen

Matthew is holding a half-eaten apple in his hand with a phone in the other.

Matthew

I do think that our only option is to physically access the drive but the time it would take to copy twelve terabytes of data is something else.

Pause

Matthew

I don’t think physical removal would be possible, it could be screwed into a rack or something.

Scene 37A Int. Darkened room

You can only see a close up of Gemma unscrewing a hard drive from a mount.

Scene 36B

Matthew

Yeah it’s possible but I don’t like it, they are a bank after all.

Scene 37B

View of Microwave Sensor with light going off.

View of Security Camera.

Scene 36 C

Matthew

Today, or rather Tonight isn’t out of the question but I’d want some surveillance footage to guide the operation.

Scene 38

Thomas is sitting in the ops room with a page of surveillance feeds open.

He opens his mobile and dials.

Thomas

All good here.

Scene 36 D

Matthew

Right, you rally the troops and I’ll cover ya back, out.

Scene 39 Int. Car

A mobile is picked up.

Sanders

Are you out yet?

You see a clock.

Scene 40 Int. Kitchen

You see a clock with the same time.

Matthew

I’ve got a live feed but quality is dastardly, so 2300 hours start?

Scene 41 Ext. Side door

Sanders is on the phone.

Sanders

Quickly now.

Scene 42 Int. Ops room

Surveillance is showing Sanders.

Thomas calls Sanders.

Goes to voicemail.

Thomas

Answer the phone.

Scene 43 Int. Kitchen

Surveillance is showing Sanders.

Matthew

There is someone by the side door on the west side.

Scene 44 Ext. Side door

Door opens

Scene 45 Int. Ops room

Thomas is typing furiously into command prompt.

Scene 46 Int. Kitchen

The surveillance changes to “die fuhrers face”

Matthew

What the bloody?

Scene 47 Int. Ops room

Thomas

Have you got them?

Scene 48 Int. Car

Shot of shoe box on back seat with Sanders patting it.

Sanders

Yes indeed.

Any problems?

Scene 49 Int. Ops room

Thomas

None at all.

Scene 50 Int. Kitchen

The footage switches back.

Matthew

He could be one of the security guards or an employee or something else but in both cases we have to move now and the footage changed to some cartoon which could mean they’re onto bus, but regardless we need those drives!

All units move out!

Over

Pause

Matthew

Yes I know there is only one unit

Pause

Matthew

Just do it!

Scene 51 Int. Ops room

Thomas

It’s heavily encrypted in the accounting software’s proprietary format.

Thomas continues to look at the files.

Sanders (Out of Shot)

Well that’s what you’re here for.

Scene 52 Int. Kitchen

Matthew

There’s nothing there!?!

You’re not looking in the right place then, search the whole server room!

Pause

Matthew

No rack nine?

Oh god you are kidding!

Scene 53 Int. Ops room

Thomas

I’ve got one file done, it looks like credit cards.

Gemma

They should try a different scam.

Scene 54 Int. Kitchen

Matthew

Well, get out!

Scene 55 Int. Ops room

A man is shuffling papers and generally cleaning up.

Sanders

Well, that looks like a success; I’ll do the boring report in my office while you de-encrypt the files ok?

Scene 56 Int. Kitchen

Matthew

Found something? What?

Pause

Matthew

A screw driver (dismissively)

Yeah bring it with you, I can get it sent to Anderson, he’ll get the tests done discreetly.

In the meantime get out before the feds get there.

Pause

Matthew

State police, CIA whatever? Just get out.

I’ll look over the surveillance footage and send anything interesting off to Anderson for ID, drop whatever needs to be off at mine and go home.

Scene 57 Ext. door

Man knocks on a door

A light goes on.

The door opens.

Matthew

Ahhh! Thank you, Dominic, that’s all?

He is handed a clear plastic bag with a screwdriver in it.

Man

Matthew

Matthew Closes the door.

Interlude (Shot of night sky etc. fade to sunrise)

Scene 58 Int. Office (well you can’t see but whatever)

(Caption, 11:21 21^st of January, DFES Branch Headquarters)

Sanders is typing an email reading…

Attn: Robert Haraway GCHQ

Subject: Operation Mouse

Message:

Good Evening,

Operation Mouse has been completed successfully and the files are currently being worked on locally by DFES. I do not believe there is any need to forward the raw data to GCHQ or NZSIS however the information appears to be credit card records held by ABC at their national office. Information will be forwarded to the SFO and if need be, NZSIS.

The operation was completed by me and one other operative where level 2 forensic protection was enforce by the other operative as I did not enter the premises internally.

There was a manual loop of the previous 60 seconds on all external cameras during entry or exit of the building.

The Police had recently been notified by ABC personnel who have in turn been informed of the attempt by DT of access and the need of immediate removal and have requested the drives back; this will be executed on the 22^nd after we have copies for evidence to relay to whoever shall need it.

We are not aware of any further action by DT at this time however the local police are remaining vigilant.

Regards,

Sanders

DFES Southern Zone

He Sends it.

Scene 59 Int. Kitchen

Matthew

Have you got any results yet Andy?

Pause

Matthew

Sorry, Anderson

Pause

Matthew

Well email them when they come through.

Interlude (Shots of motorway, city street, fade to black then morning)

Scene 60

Sanders is speaking furiously into the phone.

Sanders

I know it’s a secret file but the fact they requested to see my file is suspicious enough let alone Gemma’s too.

Pause

Sanders

You have copies of the ABC data right?... OK I’ll burn the platters, that should destroy it but as for my agents they either have to get out of the country or find some bloody good hiding space.

Scene 61 Int. Kitchen

Matthew is pacing.

Matthew

I am no traitor, what Gemma does is not my business

Pause

Matthew

Yes, Yes, Yes but is there any way that you can get the data that doesn’t involve guns.

Pause

Matthew

You bastard, you have no loyalty and no brains and I hope your heads on a platter by the end of today.

Scene 62 Int. CUTS (Cupboard Under The Stairs)

Sanders has opened a HDD enclosure and is unscrewing the platters from the axle thingy.

Scene 63 Int. Taxi

Thomas is talking on his mobile clutching A4 printed sheets and his passport. His suitcase is next to him.

Thomas

I don’t know exactly but some sort of shit has hit the fan and I don’t know what.

Alex

Where are you now

Thomas

In a taxi to the Airport, look you have my landing time at LAX so can you meet me there?

Alex

Sure, How is Jade getting out?

Thomas

I haven’t been told.

Scene 64 Int. CUTS

Sanders puts the enclosure into the shoebox and is holding one platter up.

He is on the phone.

Sanders

Look I’m in the safe room, I’ve got the platters off but I can’t burn them, but in any case it will be hard to get much off them now.

Pause

Sanders

I don’t care if the police think its not their job, get people from the embassy if you must, just get here before they do.

Scene 65 Int. Room

Gemma is on the phone looking surprised.

Gemma

How did you know I was here?

More to the point how did they?

Matthew

It doesn’t matter, I’m on my way just get packing so we can get cracking, they don’t know where you are but information leaks. Let me remind you I’m also in danger, they think I’ve been snitching to you.

Gemma

I don’t like this.

Scene 66 Int. CUTS

Sanders

Gemma, have you left yet?

Gemma

Matthews coming to pick me up.

Sanders

What?

Gemma

Don’t worry, they’re gunning for him, they think he’s been feeding me info, we’re flying back to Heathrow on a different flight to the one you booked me.

He said they hacked your BA account and that’s how they know I’m here.

Sanders

Sorry, I didn’t think

Gemma

Never mind, are you going to be alright?

Sanders

Just worry about yourself, call me when you get there.

Scene 67

Blank screen just a voices over walkie talkie.

Voice 1

Phone tap says he’s picking her up now.

Voice 2

Unit 2 ready to move on your mark

Voice 1

Roger that, wait for Unit 1

Scene 68 Int. CUTS

Sanders is holding a frying pan.

Voice Outside

He’s in here

There is pounding on the door.

Sanders shoves open the door moves the frying pan in front of his face.

Bullet ricochets.

Sanders looks left-right then swings the pan.

Sound Effect.

He swings again, there are bullets ricocheting.

Sound Effect.

The other door is shoved open.

Sanders looks up.

Sanders

About time you got here, your dinners cold, out cold.

Scene 69

Blank screen just a voices over walkie talkie.

Voice 2

They’re coming out.

Voice 1

Unit 2, Move out

Scene 70 Ext. Street.

Gemma is pulling a suitcase as she and Matthew walk a short distance.

Matthew sticks his arm out.

A taxi drives past.

Matthew

Didn’t stop.

Matthew is tapped on the shoulder, he starts to look around.

Fade to Black

[Closing Credits]

“Screen Play” Trailer

Written By Aaron Wong, Dylan Thompson

Directed by Dylan Thompson

Created by Aaron Wong

STEPHANIE is at her laptop in a dark room. She receives some files in her emails. Opening them, she reads;

You are being posted a 1TB external Hard-drive. Further instructions when it arrives.

Then she looks puzzled.

STEPHANIE

What?

SANDERS and GEMMA are in Sanders’ office, sitting and talking. Sanders has his laptop open. The office is a small room, and Gemma is sat on an ottoman, while Sanders is on his chair

SANDERS

My superiors in MI5 say the XXXX are almost ready to move.

GEMMA

Something to get the new recruits on to I guess

SANDERS

Probably, you’d better send them out, but I have another idea to try first.

Gemma nods and walks out.

THOMAS and ALEX are sitting in a room, holding envelopes. They are opened. Thomas’ laptop is on a desk in the corner, with Minecraft open. Alex’s is next to his.

THOMAS

Uni Scholarships for us then!

Alex looks, puzzled, down at the envelope.

ALEX
But I didn’t apply for Uni …

GEMMA and SANDERS are in a car, by the side of a road. The car is, at this point, not moving. They see STEPHANIE walk past the car, and go to cross the road.

SANDERS

You see the girl crossing the road? She’s our target

Gemma gives Sanders a ‘go’ signal. They accelerate and run her over. Stephanie then gets up off the road, clothing ruffled and runs off. She talks into her phone

STEPHANIE

They’re on to us. We have to be careful [Pause]

Yes, okay. I’ll get a snooper boy. I know just the one.

In a park, STEPHANIE approaches THOMAS and taps him on the shoulder. He turns around, startled.

THOMAS

Hi, what’s up?

STEPHANIE

I have a job for you. Interested?

THOMAS and ALEX are outside the front door of a building. Thomas is about to knock on the door.

THOMAS

You ready?

Alex turns towards the door and answers.

ALEX

Let’s see what this place actually is, first.

SANDERS opens the door and lets them in. They walk down a hallway lined with coats, hats and shoes and into a room with a table front-and-center, covered in cables and laptops.

SANDERS

Boys and girls, welcome to the Academy.

Sanders gestures at the room, as the camera pulls away.

STEPHANIE is on the phone in the dark room. She is asking for Thomas’ help, continuing the discussion from before.

STEPHANIE

Thomas, call me back when you can. Thing is, I want you to monitor the network I told you about, to see if people are spying on us. I’ll pay you.

In the Ops Room, THOMAS looks down at his phone and sees a missed call. SANDERS is talking about the Academy. Thomas asks a question, putting his phone away.

THOMAS

So, what do you do here?

SANDERS

We further refine already excellent hacking skills.

ALEX cuts in, impatient.

ALEX

I’m assuming you called us here for a reason.

SANDERS

Well … get set up and I’ll tell you.

THOMAS and ALEX set up their laptops on the table, and begin to work. Sanders continues talking while they connect to the Wifi.

SANDERS

You see the thing is, we have info that an anarchist group is on the move. We want you to find their next target and neutralise them in the act.

THOMAS

So where do we start?

STEPHANIE is at her PC. The Hard-drive is plugged in. She goes into the drive and begins copying files off of it. Sanders’ voice can be heard over this scene, and cuts back to the Ops Room after this.

SANDERS (voiceover)

There’s a girl called Stephanie, who is set to receive a Hard-Drive that she will upload to a server.

SANDERS and GEMMA are in a car. Sanders is talking to Gemma, as she reaches into the boot and pulls out a winch.

SANDERS

Our task is to find and steal the server after she does that.

STEPHANIE is in front of a laptop, watching security footage on a screen and running a CMD window. Also on the phone, she is tense. Files are still copying.

STEPHANIE

The server seems secure.

THOMAS is in the Ops Room watching the same footage. He is on the phone to Sanders as he types with his left hand.

THOMAS
I’ve got the feed. Need to re-route the DHCP and kill connectivity now.

STEPHANIE is still on the phone; she has the files copied, and is about the close. A network drops off. She panics now, and relays this information across the phone.

STEPHANIE

Shit. Lost rack 9. Get down there, Quick. Something’s up!

THOMAS’ phone rings. Stephanie is calling. Stephanie sounds angry.

STEPHANIE

You said you’d monitor the network. Why’s it gone down?

THOMAS

I am monitoring the network, it was out of my control. I’ve got bigger fish to fry, go away.

He hangs up.

SANDERS is in the car, but has heard all this through the phone he was using to communicate with Thomas with

SANDERS

Who was that?

THOMAS
Uh, no-one.

THOMAS is in the Ops Room on the phone to Sanders. When he doesn’t get a reply, he panics and then recollects himself and carries on with the job.

THOMAS

Sanders, have you got it? All I need to do now mess with the security footage. Sanders? Hello? [Pause] Oh well, may as well do it anyway.

He transfers the security footage feed.

STEPHANIE is watching the security footage, which changes to Die Fuehrer’s Face

STEPHANIE

Shit …

THOMAS is in the Ops Room

THOMAS

Hello? Sanders? Have you got it?

Closing close-up of the Command-Prompt window as it scrolls. The title “The Crash” appears over this text. The title “Coming Soon” appears after this fade out. The “Coming Soon” title zooms in, until the screen is black. This black screen is then replaced by the first frame of the documentary, which follows.

Silence of the Supreme Trailer and Screenplay

Silence of the Supreme Screenplay

[Opening Titles]

Scene 1 – ext. Field

Silence of the Supreme Titlecard shows while a gunshot is heard. There is a lengthy pause, then cuts to a low-angle shot from a body of a boy holding a gun. The dead body is holding a box. He leans over the camera, takes the box and drops the gun.

SERGIO

Don’t cross my boss next time. Actually, there won’t be a next time.

He leaves the park.

Scene 2 – ext. Field

Two boys are sitting on a park bench. One has an Accounting workbook balanced on his knee, and is concentrating.

Frederico

6 Subjects is so much bloody work! I don’t know how you do it all.

Nick [looks up from his work]

Glad to know some of us appreciate the free education. Geez. [Goes back to his work].

A gunshot can be heard in the distance.

A third boy runs across the field. He arrives and is red-faced.

EMMET

Guys! You won’t believe this!

They run off in the direction of the gunshot.

Scene 3 ext. Bushes

Sergio walks briskly away from the scene as the boys show up. Emmet runs right up to the camera.

EMMET

I swear I saw … oh well. Should we report it?

FREDERICO

Nah, its allgood. The cops will find it soon anyway.

NICK

And why would we willingly get involved in a murder?

EMMET

Trust me; I know what I’m doing.

Frederico snaps a few pictures on his phone, and takes the gun.

FREDERICO

You know, for evidence …

Scene 4 – ext. Field

Sergio is walking away from the bushes. He drops the box on the ground and smashes it open with a hammer produced from his pocket. He takes a piece of paper from the ruins and leaves.

Scene 5 – int. Office

Sergio is typing out an email.

SERGIO

Attached is the Rival’s business ledger.

It says that they're planning to fork out nearly two million in new automobiles, and they've carelessly taken money away from security spending. A group of our lads could wipe out some of their turf and I can claim it as my own. We desperately need to expand out, it's too cramped here.

Let me know of your thoughts in due course,

Sergio.

The phone rings. Sergio answers.

Sergio

Hello?

voice ON PHONE

You have something of ours.

serGIO

Who the hell is this? I don’t care about what you think you’ve lost.

voICE ON PHONE

For all you know, Sergio, it's karma. My actual name is not important. But your actions are.

sergio

What are you talking about?

voicE ON PHONE

Meet me at Central Park. You know, where that box was. Meet me there tomorrow, at noon. If you are late, you will be shot. If you are early, you will be shot. If you are on time, even, you will probably be shot. Our bosses will both be heavily invested in the outcome of this conversation.

The line goes dead. Sergio goes to put the phone back.

Fade out.

Transition 1 – ext. Sunrise

Shot of the sun low in the sky (morning).

Scene 6 - int. Table

Frederico, Nick and Emmet sit around a table. They have three pieces of paper (one each), and the gun.

FREDERICO

Any ideas gents? I mean, sure, the insane asylum’s nearby, but there must have been a reason.

NICK

The person that killed him might not even know they had …

EMMET

But – look. The shooting is too precise. He must have known what he was doing.

NICK

You know what, you go get the gun checked out, Emmet, and then we’ll see.

FREDERICO

Yeah, ‘cause you know pyrotechnics when you see ‘em.

EMMET

It was once, okay. Drop it. I haven’t blown up a microwave since.

The phone rings and Nick runs to answer it. He comes back out with it.

NICK

Yeah, this is Nick. Why?

Oh?

Right – the murder.

Yep, we’ll present the evidence. I’m a bit busy though.

Cool, bye.

He hangs up.

FREDERICO

Who was that?

NICK

The cops … I’m still going to get the gun checked, but I’m not sure I need to bother.

Scene 7 – int. Lounge

Sergio is sitting on a sofa. His suitcase is next to him. He looks at his watch. 7:32. He picks up his bags and walks out of the shot. He receives a text.

“The police know. Get out. Quick. T”

He gets up and leaves.

Scene 8 – ext. Path / ext. Park

Sergio is walking to Central Park to meet the person on the other end of the phone. He stops when he is about 10 meters away from Timberland. Timberland wears a high Trench coat, and a bowler hat,

timberland

It’s funny how initiates are always sent to do our boss’s dirty work.

SergIO

Yes, I agree. Now speak, you’re wasting my time.

tIMBERLAND

Two days ago, Sergio. Remember what happened two days ago?

Timberland walks closer to Sergio so that they are only 1 meter apart.

timberland

I know that you know what happened here two days ago, Sergio.

One of my fellow initiates was killed here. You killed him, Sergio. And, what's more, you also took some things of mine. Things that are important to me and my organisation.

Sergio

Have you considered that that was the reason why I took them?

timberland

Shut up! Now, where are the things that you took?

sergio

Up my butt. You aren't getting them back! Unless, of course … you want to fight me for it?

timberland

Well, then. This means war. And there is no going back from this. To the death, we shall fight.

Sergio

So be it, Timberland.

Sergio and Timberland walk away from each other in opposite directions, and out of shot.

Scene 9 –int. HQ

While Nick and Frederico are in school, Emmet takes the weapon into his HQ for “analysis”. He sits in an armchair, and pulls his laptop from his bag.

He perches his computer on his lap and logs on to the username “Timberland_H”. This is seen next to the username “Emmet_S”

He looks at the gun, and types a report, whilst talking to himself.

EMMET

I know Sergio, so this is probably an M9 … my boss should evaluate these findings.

He takes several pictures of the gun, and slides them under a door, on his way out.

Scene 10 – int. Table

Nick, Emmet and Frederico are back in Nick’s house. Emmet is discussing the response of the weapon enthusiast. Emmet pretends that he went to see the Enthusiast, when he did not.

nick

So, he said that it was fired from a Beretta M9?

emmet

That's what he said.

nick

How can you be sure that he wasn't trying to throw you off the scent? He could be in cahoots with the murderer, or he could even be the real murderer.

emmet

He didn't look or act suspicious, though

nick

Looks can be deceiving, Emmet. He could be the murderer

fredERICO

Forget that for now, Nick. While it is a valid idea, we need more information. Emmet, did the gun enthusiast say anything else?

emmet

Actually, he did. He mentioned a man named Sergio.

nICK

Maybe we should pay this Sergio a visit.

frederico

It's like you're reading my mind, Nick.

Transition 2 – ext. Busy Street

Shot of cars driving past.

Scene 11 – ext. Door

Nick, Emmet and Frederico decided to visit Sergio at his home about the murder. They arrive and knock on Sergio's door. Sergio's reaction is far from positive.

sergio

Who the hell are you people and what the hell do you want?

Nick

We need to talk to you, Sergio.

sergio

What do you want to talk about, and how the hell do you know my name?

nick

Your friend the weapon enthusiast sent us here.

sergio

[sigh] Come on in.

Nick, Emmet and Frederico enter Sergio's house. Sergio shuts the door behind them.

Sergio

Take a seat, gentlemen, and tell me, what did you want to talk about?

emmet

The body. And the bullet.

sergio

Oh...

Sergio gets up and shuts the windows and curtains.

sergio

... you saw it, didn't you?

nick

Yes, Sergio, we did. Was it you, Sergio? Was it?

sergio

Yes.

nick

I could have guessed as much.

sergio

Well, my alibi would have fooled the average person. You people clearly aren't average. So, don’t bring this up, and don’t go to the authorities, OK?

Get out of my house.

Nick, Emmet and Frederico leave. Sergio opens his curtains again.

frEDERICO

I can tell that there's something that he's not telling us. What do you think, Emmet?

emmet

We should do a little more digging; find out what we can about this guy.

frederico

I agree. Let's get out of here, before he comes after us.

Emmet looks up, and sees Sergio on a phone.

EMMET

You guys go. I have some explaining to do.

The others walk off, and Emmet walks up to Sergio’s door. He knocks.

Sergio opens the door, holding a gun.

SERGIO

You’d better start talking, Timberland.

EMMET/TIMBERLAND

Not much I can say, really.

SERGIO

Hurry up, or else.

Timberland/Emmet is held at gunpoint by Sergio.

EMMET

Well …

Long shot of them talking. Emmet turns around and walks away after some time.

[Part 2 Opening Title – Full version, fade out]

Transition 3 – int. Bench

Shot of the gun lying on the bench, and the boys outside.

Title down the bottom of the screen says something between “1 week and 6 months later” – this allows for filming in batches

Scene 12 – ext. Table

The boys are sitting around a table, and talking, each having done some research.

NICK

I have thought about this for some time, and I think, if we are to obtain the undisclosed information, we should send an intricately worded email, or something.

FREDERICO

Good idea. I will do that now.

He pulls his laptop out of his bag, and starts working on it.

EMMET

I was thinking, though, what if someone else goes to the cops?

NICK

We dispose of our evidence … or go to the police ourselves and risk it.

EMMET

What if we were to place it an external hard-drive, and then deposit it under … (looks at Frederico typing) Frederico’s house, or something. It’s a nightmare under there.

NICK

Maybe we should do that, who would look there?

FREDERICO

Exactly. By the way, I’m done. (Shows them the screen).

NICK

Well, send it then. I’ll go place the Hard drive in position.

Scene 13 – ext. House/int. Basement

Nick walks down the stairs outside Frederico’s house (where they are), and opens a basement door. He walks in and places the Hard drive underneath a pile of random schist.

Scene 14 – int. Office

Sergio is checking his emails and an email pops up in his inbox.

He opens it. It is a survey from “Microsoft”.

He fills it out, and presses submit.

Scene 15 – ext. Table

The boys are sitting around the table.

NICK

Frederico, check your emails, why don’t you?

Frederico clicks into his emails, and looks for the relevant message.

FREDERICO

Ah, yes, here it is … he submitted it blah blah blah … name, blah, age blah, IQ blah, nationality blah blah … wait a second, says here he’s an Initiate.

EMMET

Oh God …

This isn’t just any crime …

NICK

Well – I guess we’d better send the malware, given that we’ve started.

FREDERICO

What have we got to lose? I’ll send it now. I think … We probably won’t get an answer until tomorrow, though.

Transition 4 – int. Room

Shot of an unmade bed, and Frederico’s closed laptop lying on the bed.

Scene 16 – int. Hall

Sergio is pacing nervously. He is holding a phone.

SERGIO

Hello? Yes – is Ghost there?

Good, may I speak to her?

Yes, I may have completely stuffed up a murder.

To do with our objective … taking out the Rivals, remember?

Yeah … they demanded the items back, and have declared war on us, albeit through an Initiate, but the theory is the same.

Some stupid teenagers rubbed their nose in my business. What should I do?

OK, I’ll let you know. Goodbye.

Scene 17 – ext. Park/ int. Room

Timberland is standing in the middle of the park. He picks up a spare piece of paper. It has a name, address and number on it. He dials the number.

TIMBERLAND

I don’t know who you think you are, but you need to stop messing around. I’m as much involved in this as Sergio. Don’t even think about grassing us or I will kill you.

Tell me what you know

Yes, I know what you saw. I saw it too.

Apart from that …

Just shut the F –

Cuts to a shot of Frederico, on the phone.

FREDERICO

Well that’s rude.

Wait – didn’t he sound like …?

Scene 18 – int. HQ

Timberland is sitting in an armchair. He dials the police.

TIMBERLAND

Yes, hi. I’d like to report a murder. I say that because I know who did it. Goes by the name of Sergio Moretti. Actually I’m happy to provide evidence …

Fades out so that you can hear he is speaking, but aren’t sure what he’s saying, while he crosses Sergio’s name off a list.

Scene 19 – int. Room

Frederico re-reads the email. He is on his own in a room.

He reads it aloud.

FREDERICO

…Timberland is the founding member of a rival gang, and I have something of his that he wants, so I’m basically dead anyway. By the way Nick, I know it’s you.

He reads it again.

FREDERICO

Dammit. Timberland … sounds interesting …

His phone rings.

FREDERICO

Hey Sergio. Sorry – w – what? You’ve been arrested? I swear I knew nothing!

Where are you now? Ahh, in jail … all right … I see.

Wait – what? Watch out for who? Timberland?

What does he look like?

Frederico turns around and is startled by Timberland standing behind him. Timberland is holding a gun.

TIMBERLAND

Hang up the phone, and turn around slowly with your arms raised. I will shoot.

Scene 20 – int. Room

Frederico is being held at gunpoint by Timberland.

TIMBERLAND

Now … make a phone call to your little friend Sergio, telling him to meet me at the park. And that if he does not, I will kill every member of his gang. Got it?

Sergio appears at the door.

SERGIO

Yes, sir.

Timberland does not move his gun or position from looking at Frederico.

TIMBERLAND

Where’s my equipment?

SERGIO

I banked it. For me.

TIMBERLAND

(enraged)

You bastard!

He turns around and shoots Sergio eight times.

TIMBERLAND
You don’t mess with me.

Frederico manages to sneak around behind Timberland, and out the open door. He then locks it.

TIMBERLAND

You bastard.

Shot shifts to Frederico running out of his house, as the door can be heard smashing.

Shot of Sergio lying dead on the floor.

Scene 21 – int. Bedroom

Nick is sitting on his bed, reading the newspaper. Frederico runs in the door.

FREDERICO

Timberland … he’s after me …

He collapses on to the bed, and Nick moves aside.

Nick

I’m sorry, what?

FREDERICO

Okay, so Sergio has been shot, and Timberland is after me –

The phone rings. Nick answers.

TIMBERLAND

Come to the park tomorrow morning. 9 sharp. I wish to talk to you. Don’t let me down. I know where you live [hangs up].

NICK

You sound a lot like – dammit he’s gone.

Transition 5 – ext. Park

Shot of a sculpture in the morning sun.

Scene 22 – ext. Park

The boys and Timberland are at the park, standing opposite each other.

Nick

Timberland, right?

timberland

Yes, my name is John Timberland. What do you want, arseholes?

nick

Alright, listen. We know about your actions within the last week-or-so. We know that you killed Sergio Moretti, we know that you tried to kill his boss, and that you've declared war on him.

timberland

How did you find out? I demand that you tell me!

Nick

Not important. Just stop this war business.

Timberland

No.

FrEDERICO

You can kill people anytime! You should enlist in the army and fight in Afghanistan; there you can kill as many people as you like.

timberland

For the last bloody time … get out.

Timberland pulls out a gun, at the same time, a gust of wind blows his hat off.

FREDERICO

Shit! Run! Wait …

Nick and Frederico start running from Timberland. Nick realises he has a gun, as Timberland pulls his. A single shot is fired by Nick, and Timberland/Emmet falls, dead, as Nick and Frederico run out of the building.

nick

Holy crap that was close!

FREDERICO

I have to agree with that. I think that we may have to call in a higher power on this.

nick

You mean a deity?

freDERICO

No. I mean the police.

nick

We'll discuss it when we get back to my house. For now, run!

They run out of shot.

Scene 23 – ext. Table

Nick and Frederico are sitting at a table, discussing whether they should bring the law into their problems

NICK

I think that we should. There may be prosecutions that work in our favour because of it.

Frederico

Of course.

Nick

Good. Go there and collect our External Hard Drive and Emmet's old camera phone. We can go to the police with that.

Frederico

Very Well. I will go now.

Frederico gets up and leaves. Nick shuffles his papers.

Scene 24 – int. Basement

Frederico enters the room, and picks up the Hard Drive and camera phone.

He uses the phone to dial ‘111’.

Scene 25 – int. Room

Nick

I guess the war is off, I mean there are no Initiates in this are anymore, right?

FREDERICO

Yes, but gangs are large organisations. There will always be someone, somewhere ... It might be off for now, but there are more than two gangs in this town. One more will eventually seize the available holdings, and take control once more. Soon, other, smaller gangs will pop up out of the blue, and start warring, and then, they will be taken down by their own power. This won't be for another ten years or so, but the cycle will never stop, at least, not in this town. It will never be over. (Looks at camera) Never.

[Closing titles]

Silence of the Supreme Trailer

[Opening Titles]

Scene 1 – ext. Field

SERGIO

Don’t cross my boss next time. Actually, there won’t be a next time.

He leaves the park.

Scene 2 – ext. Field

Two boys are sitting on a park bench. One has an Accounting workbook balanced on his knee, and is concentrating.

Frederico

6 Subjects is so much bloody work! I don’t know how you do it all.

Nick [looks up from his work]

Glad to know some of us appreciate the free education. Geez. [Goes back to his work].

A gunshot can be heard in the distance.

A third boy runs across the field. He arrives and is red-faced.

EMMET

Guys! You won’t believe this!

They run off in the direction of the gunshot.

Scene 3 ext. Bushes

Sergio walks briskly away from the scene as the boys show up. Emmet runs right up to the camera.

EMMET

I swear I saw … oh well. Should we report it?

FREDERICO

Nah, its allgood. The cops will find it soon anyway.

NICK

And why would we willingly get involved in a murder?

EMMET

Trust me; I know what I’m doing.

Frederico snaps a few pictures on his phone, and takes the gun.

FREDERICO

You know, for evidence …

Scene 4 – ext. Field

Sergio is walking away from the bushes. He drops the box on the ground and smashes it open with a hammer produced from his pocket. He takes a piece of paper from the ruins and leaves.

Scene 5 – int. Office

Sergio is typing out an email.

SERGIO

Attached is the Rival’s business ledger.

Let me know of your thoughts in due course,

Sergio.

The phone rings. Sergio answers.

Sergio

Hello?

voice ON PHONE

You have something of ours.

serGIO

Who the hell is this? I don’t care about what you think you’ve lost.

voICE ON PHONE

For all you know, Sergio, it's karma. My actual name is not important. But your actions are.

sergio

What are you talking about?

voicE ON PHONE

The line goes dead. Sergio goes to put the phone back.

Fade out.

Transition 1 – ext. Sunrise

Shot of the sun low in the sky (morning).

Scene 6 - int. Table

Frederico, Nick and Emmet sit around a table. They have three pieces of paper (one each), and the gun.

FREDERICO

Any ideas gents? I mean, sure, the insane asylum’s nearby, but there must have been a reason.

NICK

The person that killed him might not even know they had …

EMMET

But – look. The shooting is too precise. He must have known what he was doing.

NICK

You know what, you go get the gun checked out, Emmet, and then we’ll see.

FREDERICO

Yeah, ‘cause you know pyrotechnics when you see ‘em.

EMMET

It was once, okay. Drop it. I haven’t blown up a microwave since.

The phone rings and Nick runs to answer it. He comes back out with it.

NICK

Yeah, this is Nick. Why?

Oh?

Right – the murder.

Yep, we’ll present the evidence. I’m a bit busy though.

Cool, bye.

He hangs up.

FREDERICO

Who was that?

NICK

The cops … I’m still going to get the gun checked, but I’m not sure I need to bother.

Scene 7 – int. Lounge

Sergio is sitting on a sofa. His suitcase is next to him. He looks at his watch. 7:32. He picks up his bags and walks out of the shot. He receives a text.

“The police know. Get out. Quick. T”

He gets up and leaves.

Scene 8 – ext. Path / ext. Park

Sergio is walking to Central Park to meet the person on the other end of the phone. He stops when he is about 10 meters away from Timberland. Timberland wears a high Trench coat, and a bowler hat,

timberland

It’s funny how initiates are always sent to do our boss’s dirty work.

SergIO

Yes, I agree. Now speak, you’re wasting my time.

tIMBERLAND

Two days ago, Sergio. Remember what happened two days ago?

Timberland walks closer to Sergio so that they are only 1 meter apart.

timberland

I know that you know what happened here two days ago, Sergio.

One of my fellow initiates was killed here. You killed him, Sergio. And, what's more, you also took some things of mine. Things that are important to me and my organisation.

Sergio

Have you considered that that was the reason why I took them?

timberland

Shut up! Now, where are the things that you took?

sergio

Up my butt. You aren't getting them back! Unless, of course … you want to fight me for it?

timberland

Well, then. This means war. And there is no going back from this. To the death, we shall fight.

Sergio

So be it, Timberland.

Sergio and Timberland walk away from each other in opposite directions, and out of shot.

Scene 9 –int. HQ

While Nick and Frederico are in school, Emmet takes the weapon into his HQ for “analysis”. He sits in an armchair, and pulls his laptop from his bag.

He perches his computer on his lap and logs on to the username “Timberland_H”. This is seen next to the username “Emmet_S”

He looks at the gun, and types a report, whilst talking to himself.

EMMET

I know Sergio, so this is probably an M9 … my boss should evaluate these findings.

He takes several pictures of the gun, and slides them under a door, on his way out.

Scene 10 – int. Table

Nick, Emmet and Frederico are back in Nick’s house. Emmet is discussing the response of the weapon enthusiast. Emmet pretends that he went to see the Enthusiast, when he did not.

nick

So, he said that it was fired from a Beretta M9?

emmet

That's what he said.

nick

How can you be sure that he wasn't trying to throw you off the scent? He could be in cahoots with the murderer, or he could even be the real murderer.

emmet

He didn't look or act suspicious, though

nick

Looks can be deceiving, Emmet. He could be the murderer

fredERICO

Forget that for now, Nick. While it is a valid idea, we need more information. Emmet, did the gun enthusiast say anything else?

emmet

Actually, he did. He mentioned a man named Sergio.

nICK

Maybe we should pay this Sergio a visit.

frederico

It's like you're reading my mind, Nick.

Transition 2 – ext. Busy Street

Shot of cars driving past.

Scene 11 – ext. Door

Nick, Emmet and Frederico decided to visit Sergio at his home about the murder. They arrive and knock on Sergio's door. Sergio's reaction is far from positive.

sergio

Who the hell are you people and what the hell do you want?

Nick

We need to talk to you, Sergio.

sergio

What do you want to talk about, and how the hell do you know my name?

nick

Your friend the weapon enthusiast sent us here.

sergio

[sigh] Come on in.

Nick, Emmet and Frederico enter Sergio's house. Sergio shuts the door behind them.

Sergio

Take a seat, gentlemen, and tell me, what did you want to talk about?

emmet

The body. And the bullet.

sergio

Oh...

Sergio gets up and shuts the windows and curtains.

sergio

... you saw it, didn't you?

nick

Yes, Sergio, we did. Was it you, Sergio? Was it?

sergio

Yes.

nick

I could have guessed as much.

sergio

Well, my alibi would have fooled the average person. You people clearly aren't average. So, don’t bring this up, and don’t go to the authorities, OK?

Get out of my house.

Nick, Emmet and Frederico leave. Sergio opens his curtains again.

frEDERICO

I can tell that there's something that he's not telling us. What do you think, Emmet?

emmet

We should do a little more digging; find out what we can about this guy.

frederico

I agree. Let's get out of here, before he comes after us.

Emmet looks up, and sees Sergio on a phone.

EMMET

You guys go. I have some explaining to do.

The others walk off, and Emmet walks up to Sergio’s door. He knocks.

Sergio opens the door, holding a gun.

SERGIO

You’d better start talking, Timberland.

EMMET/TIMBERLAND

Not much I can say, really.

SERGIO

Hurry up, or else

The Sketch Show Screenplay

1. Int. Bedroom – Day

DYLAN walks into a room, carrying an umbrella. He lays it down on the floor.

AARON is sitting at the desk, Facebooking.

AARON (halfheartedly)

Why were you out in the rain?

DYLAN

Well I saw a free TV and wanted to check it out.

AARON

So?

DYLAN

There was a note saying it was stuck on full volume. How can you turn that down?

AARON is facebooking. Dylan knocks at the door. He is holding a large biscuit.

DYLAN knocks on the door.

AARON

Go away.

Dylan walks out, and goes down the hall for a few minutes, then comes back.

He tries to enter the room again.

AARON

And you aren’t allowed biscuits in here either.

Dylan goes away again, then comes back. He waits at the door for a minute, then hides the biscuit behind his back and walks in.

He has pulled the biscuit behind his back with too much force, so it flies over the other side of his body and smacks (or comes close to) Aaron

AARON

Jesus Christ. What?

DYLAN

Can I ask a question?

They wait for a few seconds in awkward silence before Aaron beckons Dylan to continue.

DYLAN

That was it. Done.

He walks out.

AARON has google-searched something and Dylan walks in.

AARON

Two questions

DYLAN

Yep.

AARON

What should I do if I wanna be self-Employed?

DYLAN

Mind your own business

Aaron doesn’t laugh at this.

AARON

And did you disable cookies? The PC won’t let me access the bank site.

DYLAN

Well … I once bit the legs off a gingerbread man.

2. Int. Office – Day

JAMES is talking to DYLAN, wearing a funny hat. There is a clapper lying on a table in the background, and Dylan is wearing headphones.

DYLAN

So, seriously, you need to stop changing costumes in every shot.

JAMES
But I don’t.

DYLAN

I can prove it that you do.

James has now changed to be not wearing the funny hat.

JAMES

How? You can’t prove it.

DYLAN

You’ve just bloody done it

James has changed shirt to a noticeably different color.

JAMES

Done what?

DYLAN

Oh my god …

JAMES and DYLAN are still talking. Dylan has since set up a camera, and James is wearing the same costume as before.

DYLAN

So, don’t change costume, please.

JAMES
Okay.

Dylan turns around and does something. When he turns back around, James has changed again.

DYLAN

Oh my god. And to think you got the company laziness award at the dinner last week.

JAMES
Well no. I got someone to get it for me, remember?

[Pause]

There’s a B on your foot.

DYLAN

Huh?

He looks down.

DYLAN

Ah.

He picks up a ‘B’ from the bottom of his shoe.

JAMES and DYLAN are still standing around talking.

JAMES

I play guitar. Why do people not like me?

DYLAN

Do you want the full list?

JAMES
But seriously …

DYLAN

But seriously, I thought you were going to use the ‘fingering a minor’ gag.

[Pause]

It’s easy to sound like an expert on anything if you say it with enough confidence.

JAMES

How would you know?

DYLAN

I got a Certificate in basic human Psychology from AUT.

JAMES
Really?

DYLAN

See, it’s easy.

JAMES
I haven’t changed clothes in the last five minutes. Did you not notice?

Dylan takes a bottle of water from a nearby table.

DYLAN

Say that again.

He takes a drink.

JAMES

I haven’t changed clothes in the last five minutes.

Dylan spits the water.

3. Int. Lounge – Day

Shot of a man wrestling with a balloon with a question mark on it as another MAN comes into the room.

MAN looks across at his friend, like he’s nuts.

The man is still wrestling the balloon. By now his friend has sat down and is flicking through a book. He looks up, comically.

The man continues to wrestle with the balloon for a short time, then it pops. His friend looks up, startled. The man replies, to his friend’s questioning glance.

MAN

Finally popped the question.

SHIVAY and JAMES are gossiping.

SHIVAY

Dylan works for a one-armed typist when the typist wants to type capital letters.

JAMES

You could say he does shift work.

SHIVAY

Stop stealing my punchlines.

JAMES
Geez, okay

Our house sold for $100 000, which we were happy with because –

SHIVAY

You’re renting, aren’t you?

DYLAN walks in.

DYLAN

Gossiping?

SHIVAY

Yep.

DYLAN

You disgust me.

JAMES

Yes, we did.

SHIVAY

You can break the cycle

JAMES

What’s this about a bike?

SHIVAY

Not damage the bike, break the cycle.

JAMES is looking on a DVD, and SHIVAY walks in. James is staring at a blank screen, with the title “Deleted Scenes”.

SHIVAY

What … are you doing?

JAMES

Looking at deleted scenes

SHIVAY

And …?

JAMES

There was nothing there.

4. Ext. Train Station – Day

DYLAN is waiting for a train. JAMES comes and sits down next to him. James is playing on a smartphone.

JAMES
So when’s the next train to Britomart?

DYLAN

Look online.

JAMES

That’s a bit dangerous, don’t you think?

[Awkward silence]

At the airport once, I tripped over my luggage and went flying.

DYLAN

Hmm. What’s a pilot’s favourite flavour of ice cream?

JAMES

Plain.

[Awkward silence then James looks at the station board]

Dammit, I’m at the wrong station. Seeya. [He looks at his watch]. Shit, I’m late. Bye.

He runs off.

DYLAN is still waiting for the train. Another MAN comes into shot and sits down next to him, bumping him as he sits down.

MAN

Sorry, sorry, sorry, sorry, sorry.

DYLAN

Could you stop that, it’s getting quite annoying now.

MAN

I can only apologise. [Pause]

You know, once when I –

Dylan turns away from the man. Who continues talking about himself, and mutters

DYLAN

Some people are so self-aware. [Looks back across at the man]. They know who they are.

DYLAN walks back to a station, where the man is still sitting.

MAN

I once got lost in the jungle …

DYLAN
And?

MAN

Lucky I had a compass to draw perfect circles …

DYLAN

I’ll tell you something about myself.

MAN

What?

DYLAN

I’m a secretive person.

MAN

Yeah?

DYLAN
That’s it really …

Dylan gets up and walks around, looking for a train.

DYLAN

Twenty minutes … well, that’s Auckland transport. From Waitakere to Pukekohe in fours hours, hmm. Try four days

5. Int. Restaurant – Day

A BUSINESSMAN is at a restaurant with his ASSOCIATE. They are seated across from each other at a table. WAITER arrives to take their orders. The person is sitting sideways in his chair.

WAITER

So … menus ….

He places them on the table and waits.

BUSINESSMAN

Um, I’ll have the steak, please …

WAITER
And … [gestures at the date]

ASSOCIATE

I’ll just have a salad, thanks.

Waiter takes back the menus.

WAITER

Entrees?

BUSINESSMAN

It’s up to you how you carry them, mate.

The waiter walks off, disgruntled.

ASSOCIATE

So, what’s the business you wanted to discuss

BUSINESSMAN

Ah. I wanted to discuss your position in the company.

ASSOCIATE

And?

BUSINESSMAN

It’s not working, you probably should –

ASSOCIATE

You can’t make that call

BUSINESSMAN

Phone my boss, then.

He slides a phone across the table, and leans back smugly, falling out of his chair that he was sitting in and onto the floor. He gets up, in front of the waiter, who has returned with the dishes.

WAITER

Now, would sir like the cheeseboard later, or is sir getting just desserts?

JAMES and DYLAN are getting drinks from a kitchen. They are both around the sink. James has a glass of water filled, and Dylan is filling his.

JAMES
There isn’t a subject I don’t have a joke for.

He takes a drink.

Dylan finishes filling his glass and moves back to a table.

DYLAN

Beavers?

JAMES

Damn.

JAMES and DYLAN are doing the same.

DYLAN

So I have a joke.

JAMES
What is it?

DYLAN

No. That’s wrong. Let’s meet again tomorrow, so I can say it properly.

Caption; One Day Later

JAMES
Have you sorted out what you’re going to say yet?

DYLAN

Yup, I’m fine. But that’s also wrong. Tomorrow?

Caption; One Day Later

James beckons Dylan to start

DYLAN

I’ll tell you something worth it’s weight in gold.

James gestures.

DYLAN

Gold.

Dylan takes a drink

6. Intertitle

A photo of a block of cheese and the caption and voice over “Cheesy Intertitle”. Used 3 times, with different photos.

7. Ext. Field – Day

AARON is standing on a field, unaware that Dylan has a baseball cap of leaves behind him.

Aaron looks around.

DYLAN

Autumn!

Dylan pours the leaves over Aaron’s head.

A bucket of water is poured on AARON from the window of a building, by DYLAN.

DYLAN

Winter!

AARON

Bloody hell!

AARON is playing with a spring, as he walks along a road.

The spring bounces off in a random direction after being compressed. Aaron curses, and follows it. Dylan jumps out from behind a bush, scaring Aaron.

DYLAN

Spring!

AARON is walking through a field. DYLAN comes up in front of him and shines a torch into his eyes (in some way).

DYLAN

Summer!

AARON
Aah! Bloody hell!

8. Int. Desk Space – Day

DYLAN and JAMES are sitting at a desk.

DYLAN

The budget sketch is set to be revealed later this evening; and this revelation has posed many questions.

JAMES
The leading questions are mainly to do with whether there will be a surplus or deficit.

DYLAN
And that is how funny or not the audience are likely to find it.

JAMES
We’ll be back later in the evening with the actual budget as it unvelops.

DYLAN is sitting at a desk.

DYLAN

So, now for the budget.

He takes out a piece of paper.

DYLAN

So it looks as though many things remain unchanged but it is estimated the price of power will rise by 7%.

The shot tightens from MWS to MS.

DYLAN

Sorry, the estimate has been revised to 10%.

The shot tightens to MCU.

DYLAN

The new figure is 30%.

Dylan looks down, and then up again.

DYLAN

We are sorry, but due to the estimated rise of power costs at 50%, we can no longer afford to power this recording. Good night.

9. Int. Aaron Norton Show Studio – Day

AARON NORTON is in the studio.

AARON NORTON

Tonight on the show we have the star of an incomprehensible thriller movie.

The Inception logo flashes up somewhere.

AARON NORTON

And we also have the inventor of the wonderful BreathTaking Anti-Speak, a phone app that –

A white flash offscreen, and Aaron Norton carries on talking, with no sound.

AARON NORTON

(Mouthing)

Let’s Start the show!

[Opening Titles]

SAM and DYLAN are now sitting on the couch. Aaron is sitting on a spinning chair to their right.

AARON NORTON

So the software is out in the Apple Store now, but how did you think of it?

DYLAN

Waiting in queues. It’s like Physics; “nothing goes faster than the speed of light, and nothing goes slower than a Post Office queue at lunchtime”. Which requires Physics to explain it because it’s technically finite, but seems to go on forever. And in that time I just thought.

AARON

Good. And Sam, what was actually on the disc?

SAM

I don’t know, but I like to think it was related to origami.

DYLAN

Why?

SAM

Because the advantage of easy origami is twofold.

AARON

Was your mother strict with you as a young boy?

SAM

Let me make one thing absolutely clear – my mother was never a young boy.

AARON

And now it’s time for the famous red ch- what are you doing?

Dylan and Sam have got up and are pushing the spinning chair around so Aaron Norton cannot be seen.

[Closing Credits]

10. Int. Newsroom – Day / Ext. pond – Day

A NEWSREADER is sitting at a desk. He leads in a report.

NEWSREADER

And we have an expert’s advice on what to do as global warming dries up our water sources. We cross to him now.

An EXPERT is standing next to a pond.

EXPERT

Thank you.

NEWSREADER

So, what should the public do about the decreasing amount of water in New Zealand lakes and pools?

EXPERT

Well –

NEWSREADER

Thanks for the advice.

EXPERT

What the hell was that? It’s like 8 News has been taken over by children …

11. Ext. Path / Ext. Bus Stop – Day

Targot Intro

JAMES HOWARD-SMITH is walking along a footpath.

JAMES HOWARD-SMITH

On Targot tonight, we’ll be trying out several brands of pasta to see which brand people prefer.

Montage of 3 people trying the pasta.

PERSON 1 eats the pasta with an audible crunch

PERSON 2 projectile spits the pasta.

PERSON 3 leaves the pasta and cooks 2 minute noodles.

JAMES HOWARD-SMITH

That excellent trial and lots more on Targot this week.

Targot outro with Titlecard.

Targot intro.

JAMES HOWARD-SMITH is outside a bus stop.

JAMES HOWARD-SMITH

On Targot this week, we put the public transportation system of Auckland to the test!

He holds out a BAD Card, and proceeds to facepalm himself with the card. He transports about ten meters, flickers and appears at the bus-stop.

JAMES HOWARD-SMITH

It’s faster to walk …

He walks off.

Targot outro.

12. Ext. Field / Int. Office - Day

A GUY in semi-formal attire presses a walkie Talkie to his mouth.

ASSOCIATE

How’s it at your end?

GUY

The pidgeon’s flying.

ASSOCIATE

Good. Don’t let anything happen to her.

MAN

If she gets here …

An ASSOCIATE of the guy walks into shot.

ASSOCIATE
What? Where’s the “pidgeon”. You said she was “flying” …

He makes inverted comma signs on the word “pidgeon”.

The guy points over his shoulder, to a bird standing nearby.

Caption; Coming Soon

A MAN is on a phone.

MAN

Renewable energy? I’m a big fan. Why?

Yes, I’m paid to spin that line.

The guy is in the doorway.

GUY

Excuse me sir? A matter has arisen …

MAN

What?

A PERSON is walking through a park.

The associate appears in the park, wearing quite formal attire and a top hat. He proceeds to walk across the field. He raises a bottle of makeup of some description.

ASSOCIATE

Do you know why you’re here?

PERSON

Umm, no?

ASSOCIATE

Did you hear about the man who drowned in a vat of varnish? It was a terrible end, but a beautiful finish.

PERSON

How’s that even –

Cut to black screen and a piercing scream.

The guy and man are still talking.

GUY

We need your help to sort out a little issue.

MAN

I don’t know who you think I am.

GUY

Trust me, you’re the right guy.

MAN

I still think you’ve got the wrong guy. But what do you want?

GUY

We need to know what power company to use …

13. Int. Bar / Int. Room - Day

A GUY is at a bar (trust me).

He is talking to a GIRL. The girl takes a drink and leaves, giving him her number.

Caption; Some time later.

The guy is in his room, a typical bachelor pad. He is holding a phone and is weighing up calling the girl.

He dials the number and is put through to answer machine.

GUY

Hi, this is Jake from at the bar … you gave me your number? I have two tickets to a light show at someplace or other and was wondering if you fancied me – it. Fancied it. Damn.

He ends the message and re-records it.

GUY

Hi, this is Jake from at the bar, and I was just wondering if, and there’s no reason you’d accept, but - you know, actually never mind. Sorry I bothered you. Good night.

He ends the recording and is visibly baffled at his own behaviour.

He re-records the message.

GUY

The invention of the shovel was ground breaking, but the construction of the broom was the one that truly swept the nation. On the contrary soap washed away the competition and the invention of the CD broke a lot of records.

[Pause]

Okay, you can say that, so why the hell can’t you just admit you like her and ask her out?

The answer machine beeps and warbles,

MACHINE

You have reached message limit. Please hang up now.

Then a dial tone sounds.

The guy puts down the phone looking slightly shellshocked.

GUY

Reached message limit?

[Pause]

Oh F-

Smash cut to next sketch.

14. Int. Workroom - Day

JAMES is inside a workroom (or anywhere with a desk/bench + tools), working at a work bench. SHIVAY and DYLAN are outside, hiding behind the door.

DYLAN

We’ll have to be careful. He’s been in there for days, god knows what he’s working on.

SHIVAY

Are we covered?

DYLAN

Yeah, I think so.

SHIVAY

In we go.

Dylan opens the door. James is startled at their entrance

JAMES

What are you doing in my workroom?

SHIVAY

We’re stopping you from doing anything drastic! Now, drop the spanner (or other tool)!

JAMES

Don’t come any closer, I’ve got an alphabet grenade!

DYLAN

You’d better not, if he sets that off, it could spell disaster

Shivay and James glare at Dylan.

DYLAN

Nothing like tension, for a really shit j-

Dylan steps towards James, and James pulls the pin on the grenade

Magnetic letters shower down around the boys.

SHIVAY

Well, that’s anticlimactic

He looks on the ground and sees a series of letters spelling “DISASTER”.

SHIVAY

Ah …

15. Ext. Road / Int. Lounge - day

SHIVAY, DYLAN and JAMES are walking down a road.

SHIVAY

Damnit, I think I left my wallet on the bus.

DYLAN

If you think that’s bad, try and losing a box of money from a bake sale.

SHIVAY

Never mind that, it’s the quest of find my wallet!

Cut to a lounge or something. James is inside, doing something.

SHIVAY

Hey James, have you seen my wallet?

James jumps and hides what he’s doing behind his back.

JAMES

What?

SHIVAY

Where’s my wallet, James?

It can be seen that James is holding the/a wallet

JAMES

Umm...What wallet? You don’t carry a wallet.

SHIVAY

Yes I do. Give me my wallet, James.

JAMES

Dylan has it! Dylan took it from you!

SHIVAY

Lies.

JAMES

Fine. Here is your wallet.

James throws him a wallet. Inside the wallet, there is chocolate coins. James runs off. As he does, Dylan lasso’s him with the 3.5mm plug of his headphones.

DYLAN

Now that’s how to be a cowboy

SHIVAY

What the living f-

DYLAN

Language. Someone has to be a lone hero, right? Seriously, give the wallet back …

JAMES

(from out of shot) You actually did leave it on the bus.

Shivay facepalms.

16. Int. Room / Int. Hall – Day

DYLAN is inside a room. The lights and technology are flickering and turning on and off. He looks at his computer screen, unplugging it from the power and moving it on to his bed. The lights stop flickering and all is quiet for several seconds. Then a vacuum cleaner starts outside and bangs against the door several times. On the bed, Dylan opens up a CMD window and types something. His computer processes this as he looks away from the screen, to return his gaze and the process has been wiped from the command screen with a /cls command. He panics, and runs a /tree command, watching the files race by as he types quickly. His phone lights up and he receives a text, then the text is removed from the phone. Dylan looks puzzled, and gets up to open the door. JAMES is outside.

DYLAN

What are you doing?

JAMES

Well I was using the vacuum to suck the life out of the room. But now you’re here I can turn it off.

DYLAN

You want to suck the life out of rooms? Just be yourself …

JAMES

(points at Dylan)

Be yourself? Don’t do that …

DYLAN

So what was happening?

James steps aside to reveal his own phone and laptop.

JAMES

Practical joke. Aaron’s downstairs playing with the power switch for your r-

James goes to turn on the vacuum and he can’t.

JAMES

(yelling to Aaron)

That’s not funny, mate.

James goes inside the room with his power cord, and the door closes behind him. James hears a bang inside the room, and tries the door, being unable to open it. Dylan is walking away outside the door, laughing, as James bangs on the door asking for help.

The News Screenplays

Episode 1: Professional Incompetence

Written By Dylan Thompson

With Aaron Wong, James Ashworth, Shivay Singh

Created by Dylan Thompson

Directed By Aaron Wong

I. Previously

AARON (voice)

Previously on … the news

MANAN and DYLAN are running down a hallway with saucepans in their hands.

MANAN
We killed them all!

DYLAN

No, I killed them all while you polished the cutlery. You should have cooked the chicken!

AARON is sitting at a desk.

AARON

Now that the other more senior members of staff are no longer with us, I should take over.

DYLAN

(tired sounding)

What do you want?

AARON

We need to keep this channel running, boys, we need, The News!

Opening Titles

1. Int. Newsroom – Day

JAMES is sitting at the news desk. He shuffles his papers.

JAMES

And that’s all for tonight folks. Goodbye. [Lengthy pause and awkward silence. James looks down].

Oh shit, sorry. [Shuffles papers and puts on a weak smile]

Hello and welcome to 8 News. Lots of important stuff happened that we’ve decided we won’t show you, so here’s something we prepared earlier.

James bends down under the desk and presses some buttons and the on-screen camera feed turns red. James pulls the laptop onto the desk.

JAMES (muttering)

We killed the professionals so I have no idea what I’m doing.

He presses more buttons. There is an audio-feedbacking noise and the audio of the clip goes and is replaced with white noise

JAMES
Ummm, how does this thing –

He puts a USB in a laptop and a small frame (about 720x576) appears at the bottom of the frame.

JAMES

There we go.

2. Ext. Pond – Day

DYLAN is standing next to a pond, and is presenting a report.

DYLAN
The price of water has risen exponentially since 1996, due to the gradual decrease of fresh sources. However, this pond has remained untouched by water companies, possibly due to the pollution of its waters, and the invention of Whiskey in 1999. The world's water shortage has largely happened to other places, and pretty well left this pond alone. So, overall, it looks like this pond … isn’t going anywhere soon. I’m Dylan Thompson, for the News.

{If Tide is Out THEN follow}

Dylan looks around and sees (so do viewers) that the “pond” in question has no water in it.

DYLAN

Oh …

3. Int. Office – Day

A computer screen flicks from a Premiere Pro screen showing the cross they just filmed to Facebook.

DYLAN and JAMES walk into the Manager’s office.

They sit down on the bed. The Manager is on Facebook, so there is an awkward silence for ten seconds or so.

DYLAN

I would say ‘don’t sleep in your office, but …”

MANAGER
What do you want?

JAMES

You called?

MANAGER

Did I? Oh. Yes. So, your program …

DYLAN

What about it?

MANAGER

It’s shit. You can’t even transfer video correctly.

JAMES
Well, it was new systems and I just thought …

MANAGER

Nononononono! What I think is this; you should re-allocate the task of outfitting the area in which you output the material to an individual of higher professional competence.

JAMES
What?

MANAGER

Just … I don’t know! Do it properly! Is that too much to ask?

DYLAN

Yes … I think so.

MANAGER

… (expression shot)

FADE TO BLACK AND IN

4. Int. Lounge – Day

SHIVAY is tinkering with a program. He types in code to a computer, then DYLAN walks in.

DYLAN

I was just boiling the jug. Do you want some coffee? And how’s the teleprompter coming along?

Shivay nods, and types a string of commands into the computer, and presses Enter.

The machine warbles, “Make me coffee”.

DYLAN
Okay then. It’ll be five.

He goes off.

Shivay attempts to re-program the machine.

SHIVAY

(to Dylan)

What’s the news for today?

COMPUTER

There isn’t any you fool.

SHIVAY

I wasn’t talking to you

COMPUTER

Too bad. My opinions matter more than who the original comments are aimed at.

SHIVAY

Are you saying Dylan is –

COMPUTER

Yes.

SHIVAY

(mutters)

Allright then. Let’s see.

He goes back to tinkering. Dylan comes back with coffee, and places it on the table. Shivay is seen typing something.

COMPUTER

Make me coffee.

DYLAN

All right. Shut up. There it bloody is, you stupid machine.

He walks off, and Shivay laughs.

5. Ext. Beach – Day

DYLAN is looking across a beach from the footpath. He sees the camera.

DYLAN

Recent news of scientific trials that may possibly short out the sun were announced earlier this week. These trials will be fantastic for ensuring people never see the light again. If my inherent sarcasm and blatant disapproval of these experiments is not fully evident, then may the Lord strike me down.

He hears a lightning strike in the distance.

DYLAN

That wasn’t a challenge. [Pauses]. Anyway, for those of you wondering, at night, whether the sun will rise in the morning, don’t worry. It’ll soon dawn on you. I’m Dylan Thompson for The News.

Lead out music.

6. Int. Newsroom – Day

JAMES is sitting in the studio, leading out the previous scene.

JAMES
So, that was this week’s science report.

Finally, on 8 News tonight, the prices of water have risen substantially over the past year, and it is believed that –

DYLAN enters with a survey/clipboard in his hand. He sets it down on the desk. James reads it and then looks at Dylan in an annoyed manner.

JAMES
For god’s sake. We’re on air!

DYLAN

But now I’m here, could you just take a minute and fill out the survey?

JAMES
Or you can take a minute and fetch your clipboard.

He throws it out the window.

In the distance, a toilet flush can be heard.

AARON

No! My phone …

JAMES

Aaron and new technology never mixed.

DYLAN

Like that time with the blender.

JAMES

Yeah. That.

[He turns back to face the camera.]

So that’s all from 8 News for now.

Lead out music plays while James gets up and smacks Dylan across the back of the head.

7. Int. Lounge – Day

SHIVAY has returned to his work station. DYLAN walks in.

SHIVAY

Hey Dylan. Check this out.

DYLAN walks over.

SHIVAY

Here’s the controller. Type in what you want it to say. It does have slight Tourettes with the “make coffee” thing, but I’m working on it.

Select the purpose for which you want to use the device.

DYLAN

Select … teleprompt

You have selected Make Coffee.

Enter text you wish to use.

DYLAN

Type … the quick brown fox jumps over the lazy dog.

SHIVAY

(with a smile)

Are you sure you want to do this? I won’t help you if it goes wrong.

DYLAN

It’ll be fine.

He presses start. Shivay walks out.

The correct text flashes on the screen, but the TV wails out.

Make coffee make coffee make coffee make coffee make coffee make coffee make coffee make coffee make coffee make coffee make coffee make coffee make coffee make coffee make coffee make coffee make coffee

DYLAN

(covers his ears)

Aah! Help!

Someone make it stop!

Shivay walks back in holding a mug.

SHIVAY

Umm, here you go.

He places the mug on the table.

AARON yells from his office.

AARON

Keep that racket down! I’m trying to not do work in peace here!

(pause)

Actually, could you all come to my office please?

8. Int. Office – Day

DYLAN, JAMES and SHIVAY are all in AARON’s office.

Aaron has gone out to get a drink of water.

He enters the room after about 20 seconds of awkward silence, and sits down.

DYLAN
So, what’d you want to say?

Aaron simultaneously logs in to Facebook and answers his phone, ignoring Dylan’s question.

He talks in random Chinese, with ludicrous subtitles at odd intervals.

DYLAN

Manan, make yourself comfortable. What time do you have to get home today?

Aaron says something constituting random incomprehensible language with the subtitle ‘my keys are made of wool’, into his phone. Then he hangs up.

AARON

I wanted to talk to you about your program.

MANAN
What ‘bout it? We’re presenting the news …

DYLAN (looks around)

Manan, what are you doing?

Manan is playing Scrabble on the bed.

MANAN
Dylan, it’s your move.

Dylan sighs, places the word ‘power’ and returns to focussing on Aaron.

AARON

It’s rubbish. So I think you should reconsider your positions in this company.

MANAN

You were like us once …

AARON

… a long time ago. It’s twelve o’clock. The News awaits

MANAN
Okay, just don’t touch my Scrabble board, okay?

9. Int. Newsroom – Day

JAMES is standing in front of a green screen [or TV if that doesn’t work]. A weather map of the country flickers and then materialises.

JAMES

Are we good?

DYLAN

Yep. And … go.

JAMES
So, if we look here [gestures to a spot on the map] we can see there will be a massive tornado that will rip up a large part of the city and ocean nearby – oh God. Wrong script.

[Frantically gestures randomly on the map]

No it’s here. No, no hang on.

The map comes off the wall and James is left looking at a wall. [Or the screen turns off].

JAMES
Hang on. I’m sure I can fix …

He attempts to put the screen back on the wall. [Or inspects the blank screen for technical faults, etc.]

AARON is standing in the doorway.

AARON

[Sighs]. There’ll be letters … [Into the microphone attached to his headphones] Umm, Dylan? Quickly. Air the report we prepared earlier.

He hears an affirmative, and then the News music is heard and the feed changes, smoothly.

10. Ext. Top of a Mountain – Day

DYLAN is standing at the top of Mount Roskill.

DYLAN

This is a back-up report assuming we arse something up this week. Obviously we have, otherwise you would not be seeing this.

The camera slowly pans to a view of the city and weather.

DYLAN
Look at the beautiful weather [even if it’s not]. There are even some clouds over there …

SLOW FADE OUT AND IN.

The camera is still showing the same shot.

DYLAN

Look, at the lovely sun!

Shot changes back to Aaron from earlier in the studio.

AARON

Quite enough of that. Meeting. Now.

11. Int. Office – Day

The gang are in Aaron’s office.

AARON

Right. What the hell was that? Progress?

MANAN

Well … Shivay made more headway with the teleprompter, I think ...

JAMES

Bought a new camera. This one here.

He takes it out and puts it on the table.

DYLAN

Nothing really, but you didn’t give me anything.

AARON

Yes. You’re only a reporter, and there are no livecrosses this evening. We’ll survey locations tomorrow.

JAMES

No need, look at these photos I took …

He passes over the camera.

AARON
Maybe you guys are more competent than I thought –

MANAN

Wait, what’s this about?

Aaron sighs, and puts his head in his hands.

AARON
(muttering)

Every village needs at least one idiot. I’ve lucked out and got four …

[Pause]

Manan, you just carry on playing Scrabble. We’ll just look at one of yesterday’s “live” segments, okay?

Manan looks up from the board guiltily.

12. Ext. Field – Day

DYLAN is standing in a field, on his phone.

DYLAN
So it turns out the radiation phones give off is harmful to people and other technology they possess. In that they go nuts, start vandalising scenery, and need mental healthcare.

His phone rings.

DYLAN

This is the phone of Dylan Thompson. He is not here right now. Please leave a message. Beep.

He hangs up.

DYLAN

Where was I?

The phone rings again.

MANAN (voice)

Don’t hang up on me mate.

DYLAN

(angrily)

I said beep.

He throws the phone and it heads towards the camera, then the view goes into static.

13. Int. Office – Day

AARON, MANAN and DYLAN are in Aaron’s office. They are sitting on his bed. Manan occasionally plays with the Scrabble board that is still set up.

AARON

So, we must be professional, and that means live crosses that are actually live, okay?

DYLAN

Yes, boss.

AARON

It also means no disruptions while you’re on air.

DYLAN

It’s not me though.

AARON

Well then?

They both look at Manan, who looks up, and is eating raw pasta.

MANAN
What? I won’t do that –

AARON

Nonononono! You basically can’t be trusted to get anything right, ever. So this is what’s happening. I will write your scripts, because the prompter is useless, and you will do the recording, but if you get it wrong, you’re fired. Okay?

MANAN

Yeah, whatever. Let’s just do the recording.

AARON

Record at 6. Give me some time.

Dylan and Manan get up. Dylan walks out. Manan is just out the door, when Aaron gets up and goes to him.

AARON

Don’t think I’m happy about this.

MANAN

Well, when one door closes, another one –

Aaron slams the door in his face.

14. Int. Lounge – Day

SHIVAY is playing around with his prompter. He presses a few buttons, and stands up, stretching.

AARON walks in.

SHIVAY

(sarcastic)

It’s done, boss

AARON

Then you won’t mind if I have a go.

Aaron takes a breath and yells

AARON

Make Coffee!

MACHINE

Make coffee

SHIVAY

What have you done?

Aaron looks across the room, thoughtful.

AARON
What did I come in here for?

He walks out.

Shivay tries to calm the machine down, which is just repeating “Make Coffee”.

Aaron walks back in.

AARON

Oh that’s right. Coffee.

The machine, which had calmed down, starts up again. Shivay throws down a remote in frustration and storms out. He can be heard yelling.

SHIVAY

You do this deliberately just to make my life hell –

A door slams in the distance.

Aaron makes a coffee, the machine’s warbling still mildly audible, then he goes back up to his office.

There is a cup of coffee on his desk.

AARON
Well that’s no fun, is it?

He sets down the other cup, and drinks from each cup alternately.

AARON

Right. This evening’s broadcast …

He gets out a pen.

15. Int. Newsroom – Day

JAMES is presenting the end of a news show.

JAMES

And the final story of tonight;

A group of teenage boys mysteriously murdered all employees at the local media center, and police want to know – hang on. Umm, [shuffles his papers] that’s all for tonight on 8 News. [A thought occurs to him] Oh, but before we go, entering our “Who killed the employees of TV 8” competition is really simple. All you have to do is email a four-digit code to the head of BCB 8 Drama, who will then forward a copy of the code to me, and simultaneously send you a second entry form which can be used to get priority so we may place you in the draw. What’s the big prize? Who knows? [He taps his nose in a knowing fashion] You’ll have to wait and see.

[He shuffles his papers].

That’s all for tonight. Goodbye.

Closing Titles

James gets up and walks out of the room, slamming the door. He calls to Manan (Audio only).

JAMES
Hey, Manan! Can you get me the laziness award I won at the company awards do last night?

DYLAN (audio only)

Nah, he’s polishing the cutlery. Again.

JAMES

I want some chicken. Oh wait … someone didn’t cook it!

SHIVAY

Everyone calm down and [a button click is heard] ‘Make … me … coffee”

Episode 2: Broadcasting Adequacy

Written By Dylan Thompson

With Aaron Wong, James Ashworth, Shivay Singh, Manan Sharma

Created by Dylan Thompson

Directed By Aaron Wong

1. Int. Newsroom – Day

Titlecard saying “Previously on The News”.

JAMES is in the studio, recording. The phone rings and he answers. He says nothing and passes the phone to DYLAN.

Dylan

Yeah, I’m the boss now. What do you mean ‘what do you mean?’ He got replaced. The company’s much better now.

James steps to within hearshot of the phone.

JAMES

Breaking News!

James presses a button on the laptop. A vase smashing sound is heard through tinny speakers.

JAMES

Broken News!

DYLAN

[sigh]. This is why we’re being cancelled.

Opening Titles

2. Int. Office – Day

JAMES, MANAN, and SHIVAY are seated in the office. DYLAN comes in with ELEANOR not far behind. Dylan sits at the desk and Eleanor on the bed next to Manan. He then tries unsubtly to ‘accidently’ hold her hand. She stands up and moves away as Dylan begins to speak. Shivay has seen all this and is already trying not to laugh.

DYLAN
This is our new employee. She’ll take over my old job.

SHIVAY
What, generally looking like a knob?

DYLAN

If you like. She’ll also basically be our producer, so anything needs organising, go see her.

James looks across at Manan

JAMES

Are dates included in this?

ELEANOR

Only if you’re good looking, so … nope.

DYLAN

Anyway, she’s already worked out your jobs.

ELEANOR

James, you report the drug story, Shivay will have your script in no less than twenty minutes.

SHIVAY

Shit –

He runs off.

ELEANOR

And Manan, stop … doing what you’re doing

MANAN

Being nosy?

ELEANOR

Not exactly

MANAN
If you don’t think I’m nosy why’d you write that in your diary?

Dylan facepalms as they all leave.

3. Ext. House – Day

JAMES is outside a house on a quiet street.

JAMES
Drugs are an increasing issue in the community, and neighbourhoods like this one -

A hooded figure runs out of a nearby house and gives James a package as he runs away, up the street.

JAMES

Wha – What am I supposed to do with this? This is just a flattened piece of cardboard. I said X-Box, not Ex-Box.

He stands there for a few seconds, thinking.

JAMES

Oh, we’re still recording. Right. And this means that the –

Fade out.

4. Int. Office – Day

DYLAN is sitting at his desk on a computer. He opens an email window, and the inbox has 65 unread messages. He then looks at a massive pile of papers and tries to get one of the papers in the middle out of the pile. He is also juggling a phone between his right ear and arm.

DYLAN

I did have a Pie chart to demonstrate obesity, but umm ...

Manan is outside, just around a corner, talking to AARON through a walkie-talkie, and plotting Dylan’s overthrow.

MANAN

So what should we do? You do want to come back, right?

AARON

Not while you’re there as a fly on the wall. Oust him, and then I’ll consider it.

MANAN

I’ve called the SWAT team, that should sort the fly problem.

AARON
Fly problem? [Pause] Seriously, get it right first. I don’t want a “Civil War” on my hands when the coup goes wrong.

MANAN

Done. And about the other thing

ELEANOR walks past and waves at Manan, who throws the Walkie-Talkie over his shoulder and runs after her.

AARON

What other thing? Manan?

5. Int. Newsroom – Day

MANAN enters the studio. ELEANOR has just finished recording a story.

ELEANOR
Hi, Manan. What do you want?

MANAN
Well I – umm, I umm –

ELEANOR

Hurry up! I have other stuff to do.

MANAN

(hurriedly)

You know how you like coffee? Maybe sometime we could …

ELEANOR
Umm …

MANAN
Course not, you’re busy. Why’d I even ask.

Manan walks away. Eleanor follows him and taps him on the shoulder.

ELEANOR

Is tomorrow okay?

MANAN

What?

ELEANOR

You did just ask me out …

MANAN
And look how that turned out for you.

6. Int. Kitchen - Day

JAMES and MANAN are in the staff kitchen and talking about the mysterious package James has received.

JAMES
I don’t know what it is, but it sure as hell isn’t legal.

MANAN
Pass here, I’m a chemist, lemme run some tests

Manan puts on some safety glasses. then pours the substance into water and it dissolves. He then shakes it.

MANAN

So, it’s soluble. Not a lot of drugs are, so that narrows your field of view –

ELEANOR walks past, and Manan watches her, slowly letting the substance pour down the drain as he is not watching it. James’ expression turns from confusion to anger.

JAMES
Uh, Manan?

MANAN
(absent-minded)

Yeah, what?

He sees the substance, and stops.

MANAN

Oh …

JAMES

(angrily)
What’d you do that for, idiot? Now I have to get more …

MANAN

I’m sorry …

James smacks Manan around the head with each word;

JAMES
Why, why, why, why

7. Int. Edit Suite - Day

SHIVAY is sitting at a desk on a laptop, on Facebook. He decides to open up a Premiere Pro Project in the company archives, and goes into After Effects

SHIVAY

What should we put in here …

He decides on an explosion and overlays it randomly on an unbroadcast live cross with Manan in a field (Scene 8), then saves it and closes After Effects.

SHIVAY

Now to see if they notice …

DYLAN can be heard coming towards Shivay.

DYLAN

Shivay, what are you doing in there?

Shivay looks left and right in a panic then closes the laptop and throws it out of the window, and follows after it.

Dylan walks into the room to see a window open and curtain flapping.

8. Ext. Field - Day

MANAN is standing in a park somewhere noticeable.

MANAN

In a recent study it has been revealed that horse sh –

JAMES (off-camera)

Manan, say the proper news

Manan’s demeanour changes from even remotely serious, to not being.

MANAN

Oh my God she asked me out! She! Me! And it’s like this weekend! I just! Can’t even!

He begins jumping up and down, and the ground nearby explodes. (Shivay’s contribution from earlier).

JAMES (off-camera)

Well this is embarrassing … Manan. Manan. Manan.

Manan stops jumping and looks cross.

MANAN

Yes, what?

JAMES

The News?

MANAN

Oh yeah. A thing happened about some stuff that did a thing and stuff. That is all. Back to the studio.

Hard cut to Dylan in his office watching the clip over. Cut to Establishing shot of the building, and hear his yell.

DYLAN

Shivay!!!!!

9. Int. Office – Day

DYLAN is in his office, and he notices a broadcast quality microphone somewhere, with a lengthy wire plugged in somewhere. He then looks around further and sees a camera recording up high in the room.

DYLAN

Okay. That is clever. But Really annoying. But clever. Mostly clever. High-Five Manan.

MANAN is around the corner on the phone to AARON.

AARON

Damn, he’s on to us

MANAN

Well not necessarily; there could be another Manan.

AARON

No there isn’t you idiot. So here’s what you do –

ELEANOR walks past (off-camera)

MANAN

Ooh Eleanor!

He drops the phone and leaves Aaron talking at the air.

AARON

Manan? Manan? Not again, you hare-brained fu -

10. Int. Edit Suite

SHIVAY is in the edit suite mucking around again, this time with a script.

SHIVAY

Now, the script for that other one…

Shivay goes into a Word file and replaces the line “I’m Dylan Thompson, for 8 News” with “I’m a giant knob”. Then he sits back and leans back in the chair so its legs aren’t all on the ground. MANAN walks past, talking to Eleanor (unseen).

MANAN

Eleanor, I got another one. Went camping the other night, it was intense.

Shivay yells after him

SHIVAY

That one fell a bit flat

Then the chair misbalances and he falls backwards.

11. Ext. Walkway – Day

DYLAN is standing on a walkway, presenting The News.

DYLAN

So, the run-up to a local-body election later this year has started.

He pauses, and JAMES (behind camera) prods him onwards.

JAMES

And?

DYLAN

No, that’s the whole story, but while I’m here, I can’t believe Aaron wants his job back, and Manan decided to help him. It just doesn’t make any sense at all. Well I suppose it could if they both had anything to gain but I dunno –

JAMES

No. That’s enough.

DYLAN

I’m Richard Dawkins. Thank you, good night, and God Bless. Shit.

James looks disapprovingly at Dylan

JAMES

At least try … we’ll get chucked off the air otherwise.

DYLAN

Well then. [Looks down at script] I’m Dylan, and I’m a giant knob. [Pauses, then continues, angry]

Shivay!

12. Int. Around the Studio – Day

ELEANOR has nothing to do and is walking around sabotaging stuff.

ELEANOR

Setting up the staff party. Pssh. Party. You know what I’ll do?

She writes a letter and puts it on Dylan’s desk, signing it “The Boss”. The letter says

You guys can’t have a staff party this year. The show isn’t good enough.

Then she writes out a formal invite for James and emails Manan saying

Booked the restaurant for 8 on Saturday night.

She finds a microphone lying outside Dylan’s office and sighs. Manan is around the corner.

MANAN

The bird is entering the nest. The Bird is Entering the Nest.

13. Ext. House – Day

JAMES is presenting an update from his drug story.

JAMES

So the current census shows that in this area –

Another gangster runs out of the house and past James. He then stops.

GANGSTER

Hey you! Wanna buy a DVD?

JAMES

Um, no thanks, I’m good.

GANGSTER

I know you. Where’s the goods?

JAMES
I … don’t –

GANGSTER

Get it. In an hour. Or else.

JAMES

Or else?

GANGSTER

The hair.

JAMES

Aren’t you drunk? Will you even remember?

GANGSTER

Probably not. But if I do …

JAMES

Well Okay then. And I’m James Ashworth for 8 News

14. Int. Edit Suite – Day

JAMES is talking to SHIVAY about his issues.

JAMES

And I need to get those drugs back, man. Or else they’ll cut me off at the legs.

SHIVAY

… And your case won’t have a leg to stand on?

Shivay appears to have changed clothes when he is next seen.

JAMES

Seriously, Shivay, are you sure you can’t commit suicide and collect the money from your life insurance? [Amazed] How fast can you change?

Shivay has changed again.

SHIVAY

You tell me.

JAMES
But seriously focus. Just cash in your life insurance or something.

Shivay has changed back to his original clothes.

SHIVAY

What’d that do? You won’t be able to buy more … that’s beside the point.

[pause]

I have a solution … [Places a slightly-blue coloured solution in a bottle on the table].

JAMES

[Looks slightly annoyed]

Seriously?

Shivay continues his sentence properly.

SHIVAY

… milo. He won’t notice anyway, he’s a drunk.

GANGSTER walks in, wobbling slightly.

GANGSTER

What’s this about a drunk?

SHIVAY

Who’s this?

JAMES

My … little friend …

15. Int. Kitchen – Day

JAMES, SHIVAY and the GANGSTER are crowded around a boiling kettle.

JAMES
It’s nearly done.

He hands the drunk a jar of Milo. The drunk then walks off, while attempting to sniff some.

SHIVAY

Imma go lie down. Why’d it take us so long to find Milo. How many tomes did I say “The supermarket sells it”?

JAMES

Not my fault we were high on V. Go, have a sleep.

Shivay goes off and lies down on the couch, going to sleep.

Shivay dreams he is limping around the room. Implied he has a bullet wound.

SHIVAY

So that’s what happens when a drug deal goes South … oh well. I can fix that.

He regenerates into a different body (with all appropriate shots and actions).

Shivay wakes up with a start, and checks over his current body (which is unchanged). He goes to get cereal, and falls forward, asleep, into it.

16. Int. Newsroom – Day

DYLAN comes into the studio while Manan is on-air. He is presenting a weather report.

MANAN

What do you want?

He points at a random point on a weather map and it falls off the wall. Manan bangs his head against the now-empty wall multiple times.

MANAN

It must be this screen. Every bloody time …

DYLAN

Are you trying to take over?

MANAN

No, but Aaron wants his job back.

DYLAN

Right … the company won’t allow it. He was no good.

MANAN

Well, I suppose.

ELEANOR walks in.

MANAN

What should I wear for the date?

ELEANOR

Um, I dunno …

DYLAN

I’ll just go stick my head in the microwave, okay?

He moves off. The two of them watch him leave.

ELEANOR

So I booked it for 8, is that okay? If you could be there before then …

MANAN

It’s the staff party, though.

ELEANOR

Oh don’t worry, I’m not going either.

MANAN

Well then. See you there.

She begins to leave, as they hear a ‘ding’ sound in the distance.

17. Int. Newsroom – Day

DYLAN is reporting in the studio.

DYLAN

This seemed like the best place to have this, or as good as any, and my office was egg-bombed by Manan, so we’ll have a little chat about that, but … no, actually, James; you can say it.

James says the eulogy.

JAMES

Shivay didn't even get the chance to say goodbye - which was all the more poignant as he drowned in a bowl of Cheerios. It should've been fruit loops though. He'd have wanted it that way.

DYLAN

Wait … we needa get the V from downstairs.

He goes, and when he is gone, Eleanor wheels a cabinet against the door, and produces two V cans from one of the drawers.

ELEANOR

Cheers.

18. Int. Locations – Day

DYLAN is getting stuff from a cupboard. He receives a call.

DYLAN

What do you mean we’re cancelled?

He hangs up.

JAMES and ELEANOR are in the studio, drinking V. Eleanor’s phone rings.

ELEANOR

What? [Pause]

Ah. Just Hang on a minute.

She leaves the room, and goes into Dylan’s office.

ELEANOR

What do you mean ‘I can only pick one’, of course I know that.

So, James, or Manan …

She dials a number.

MANAN is sitting at a table, alone. His phone rings.

JAMES is back in the studio. His phone rings.

DYLAN is where he was before. His phone rings again.

All three people are in their locations.

JAMES, MANAN and DYLAN all answer at the same time

ALL THREE

Hello?

Closing Credits

Sunday 29 August 2021: Screenplay Archive

Navigation Field

A Hundred Days of Trump

Case Report Screenplay

Part 1: Locked

Part 2: Family Business

Part 3: Lost and Found

For Reels Documentary and Trailer Script

For Reels Script

For Reels Fake Trailer Script

That Science Thing Script

Dustbusters! Screenplay

Fast Forward Screenplay

Generic Office Meeting Screenplay

“Papers” Screenplay

“Pleased to Murder You” Screenplay

Rocket Science Trailer and Screenplay

“Rocket Science?” Screenplay

“Rocket Science?” Trailer

Screen Play Trailer and Screenplay

“Screen-Play” Screenplay

“Screen Play” Trailer

Silence of the Supreme Trailer and Screenplay

Silence of the Supreme Screenplay

Silence of the Supreme Trailer

The Sketch Show Screenplay

The News Screenplays

Episode 1: Professional Incompetence

Episode 2: Broadcasting Adequacy

Tie Screenplay