TEASER
FADE IN:
INT. THE COMPANY – ELEVATOR
We face the door. Cheesy ELEVATOR MUSIC plays in the
background. The door opens and we move into...
INT. THE COMPANY – RECEPTION
It looks different. Newer. Tackier. A man (late thirties
but still thinks he's twenty-one) leans over the desk,
chatting to a young receptionist. The man wears a cheap
brown suit, a flowered shirt and bow-tie. As we near him,
he turns to us.
MAN
Oh, hey there! I'm Sammy, the
Director of the Company. What's
your name?
He waits – as if for some response from the audience. He
smiles.
MAN/SAMMY
Groovy! I'm sure you're just
dying to take a look around.
Follow me!
There is an awkward beat. He grins wider as his eyes glance
off-camera.
CUT TO:
INT. THE COMPANY – CONTROL ROOM – LATER
Sammy moves up the stairs, still looking directly to the
camera. It's apparent now, from the aged haircuts and
fashions of the surrounding EMPLOYEES, that these scenes
are set some decades ago.
SAMMY
So, I bet you're asking yourself
what you're doing here, right?
VI (V.O.)
No.
BENSON (V.O.)
No comments, please.
Sammy continues, not having heard these voices.
SAMMY
(lowering voice)
Well, let me tell you a little
secret...
(yelling)
You're here to save the world!
He throws his arms up energetically, startling a middle
aged man walking by.
CUT TO:
INT. THE COMPANY - HALLWAY - LATER
Sammy walks down the hall carrying a piece of paper.
SAMMY
Y'see, when you work for us, you
get these neat little things
called assignments - -
He hands the paper to a passing employee who he then gives
the thumbs-up sign to.
SAMMY (CONT'D)
And these assignments - -
The images flickers. Coming in and out of focus. It starts
to speed up and rewind.
VI (V.O.)
Focus!
BENSON (V.O.)
Now really, Miss Morgan.
CUT TO:
INT. THE COMPANY – CONFERENCE ROOM
VIOLET MORGAN and ALISTAIR BENSON sit in two chairs in
front of the tiny television.
Benson, sighing in frustration at the state of the film,
stands and fiddles with the VCR.
He BANGS on the top of the box a few times until the tape
SHOOTS OUT – landing at Vi's feet – and spewing streams of
tape. Benson picks it up sheepishly.
BENSON
We really ought to invest in one
of those VD things.
VI
You mean DVD. VD is like
Gonorrhea.
VI (CONT'D)
(off Benson's look)
So, that Sammy's a riot, huh?
Benson's unamused as he turns the TV off.
Vi swings her chair around and scoots towards the
conference table as Benson heads to the windows and presses
a button – the curtains WHIR as they are pulled back –
revealing a beautiful sunny day.
BENSON
Still the same Sammy that
introduced me to the Company.
VI
You had VCRs back then?
BENSON
Contrary to popular belief, Miss
Morgan, I was born after the
dinosaurs.
VI
But that guy? Really? I kind of
got the impression that Company
Directors had to be like... You.
BENSON
It's not exactly in the job
description.
VI
(re: tape)
So, since this is kind of dead...
When can we expect the new and
improved version? They probably
wouldn't make you wear the bow-
tie.
BENSON
Moving on...
He takes a piece of paper from his jacket pocket and hands
it to Vi.
BENSON (CONT'D)
Your next assignment.
Vi gives him a THUMBS UP. But, taking in Benson's glare,
opens the paper and reads. After a beat...
VI
(reading)
"Doctor Brennan. One p.m."
(beat)
Okay, even you have to admit that
that's a lot vaguer than usual.
BENSON
Hmm? Oh. Excuse me.
He hands her a second piece of paper. Vi opens it.
BENSON (CONT'D)
This is your assignment. That is
your appointment.
Benson heads to the closed doors leading into the Reception
area. Vi looks down at the second piece of paper.
ANGLE ON PAPER
It reads, "Rebecca Simms".
BACK TO VI
VI
(to Benson)
Appointment for what?
Vi hurriedly stands and follows him. Benson stops.
BENSON
Your psychological interview.
It's standard procedure.
VI
(daunted)
Psychological...
BENSON
Interview. Yes.
VI
So, that means talking, right? As
in... sharing... stuff?
BENSON
One p.m on Friday. The office is
right here in the building.
VI
I have school. Or, more
specifically, I have lunch which
could still be considered a part
of school. Technically.
BENSON
Skip it.
He opens the door and walks into Reception. Vi follows...
CUT TO:
INT. THE COMPANY – RECEPTION – CONTINUOUS
VI
I'm getting the feeling that you
Company people aren't fans of
secondary education.
(beat)
Or the food pyramid.
(then)
I'm gonna end up working at the
Happy Vampire thanks to you.
BENSON
I don't think that's going to be
possible.
VI
Because I already have a job,
right?
BENSON
See? You're learning.
(beat)
School, Miss Morgan, can only
take you so far. The Company,
however, is a whole other plane
of education.
He presses the button on the elevator and it CHIMES as the
doors open. He steps back and motions for Vi to enter. She
gives him a tense glare and does so.
BENSON (CONT'D)
One o'clock!
Benson remains in the office and as the doors start to
close...
BENSON (CONT'D)
And yes, you are expected to
"share".
The doors shut. Vi sighs, frustrated, and - fighting off a
tantrum - kicks the elevator wall. A beat.
VI
(softly)
Ow.
CUT TO BLACK:
END OF TEASER
ACT ONE
FADE IN:
INT. THE COMPANY - PSYCHOLOGIST'S OFFICE
The office is plain, simple and hardly personal. The
furniture is a pale beige. So are the walls. There is a
wilting fern in the corner.
In fact, the only interesting thing about the room is
Violet. Who sits silently in a chair, wearing her school
uniform.
Across from her, and behind a desk, sits DOREEN BRENNAN.
The psychologist. She is about as bland as her office.
DOREEN
So, Violet... How are things?
Vi shrugs.
VI
Fine.
DOREEN
Really?
VI
Why would I say "fine" if I
didn't mean it?
DOREEN
People say a lot of things when
they're put under pressure.
VI
I'm not under pressure.
DOREEN
You're being forced to see a
psychologist. I think that's
pressure enough.
A beat.
VI
I don't have pressure.
DOREEN
Alright.
She scribbles something down in a note pad.
DOREEN (CONT'D)
Tell me about your family.
VI
They're fine too.
DOREEN
Do you have a good relationship
with them?
VI
(quickly)
Yes.
DOREEN
What about your mother? Do you
two talk much?
Vi says nothing.
CUT TO:
EXT. MORGAN RESIDENCE - BACKYARD (A FEW DAYS LATER)
Vi lies on her back in the grass, reading a book and
listening to music through earphones.
Suddenly, her light is blocked by...
... CAROLINE MORGAN.
Vi slowly removes one ear piece.
CAROLINE
I want to talk.
VI
Okay...
CAROLINE
To you.
Vi discreetly turns up the volume on her music player.
Caroline swoops down and unplugs Vi's earphones from the
mp3 player which she takes with her as she walks towards
the house.
VI
Hey!
She scrambles to her feet and follows. Caroline gives her a
stern look. Vi sighs.
VI (CONT'D)
(apologetic)
It's the sun. It makes me all
crazy. Like plants and
photosynthesis. I mean, what's up
with that?
Caroline softens and gently takes Vi's book and headphones.
She sits down on the porch steps and Vi does so as well.
CAROLINE
I've been thinking...
VI
Talking and thinking. Apparently
they're not sold separately
anymore.
CAROLINE
And I've talked this over with
your Dad. We both think it's for
the best.
VI
Oh God...
CAROLINE
I know you're probably not going
to be too fond of the idea but I
think, in time, it'll really help
you.
VI
Oh God...
CAROLINE
You just need to give it a chance.
You - -
VI
Mum, just give it to me straight.
Exactly how far away is this
boarding school? Are we talking
Canada or just, like, New Zealand
because - -
CAROLINE
I want you to see a psychologist.
A beat. Vi blinks.
VI
Why?
CAROLINE
Your accident was very traumatic
for everyone and - -
VI
Mum, it's been over a month. If I
was going to have a breakdown,
don't you think I would have
gotten it over with already?
CAROLINE
Time just doesn't make these sort
of things go away, Vi. I've given
you a bit of leeway on this one.
I think probably too much.
(then)
Looking back, I should have sent
you to talk to someone the day
you got back from the hospital
but... I guess there are a lot of
things I would have done
differently...
VI
It's okay...
CAROLINE
So, you'll go?
VI
No.
CAROLINE
Violet!
VI
No, I mean... I mean I can't go
because I'm already seeing a
psychologist. A counselor. At
school.
CAROLINE
(surprised)
I didn't know about this.
VI
I just didn't want you to freak
out.
CAROLINE
I wouldn't.
VI
Mum. Please.
(then)
So, are we good? No psychologist?
CAROLINE
Well, I suppose...
Vi takes back her book and music player. She stands.
VI
Great. I'll be back for dinner.
Vi hurries into the house. We get a shot of her face as she
passes - relieved at having dodged that particular bullet.
CUT TO:
EXT. GARRETON ACADEMY - DAY
Establishing shot.
CUT TO:
INT. GARRETON ACADEMY - HALLWAY
Vi walks down the hall, her attention taken by a piece of
paper resting on her armful of books. She doesn't notice
her near collisions with other students who also make their
way to class.
She is joined by SHANE EVANS. Noticing the paper, he
groans.
SHANE
Please don't tell me there's a
test.
VI
(noticing him)
Oh, good! It's you.
SHANE
Are you being sarcastic?
VI
(sarcastic)
Yes.
A beat. Shane is confused. Then...
VI (CONT'D)
I need your help.
She moves to the wall and hands Shane the piece of paper
and a pen.
VI (CONT'D)
Your handwriting's kind of
womanly, right?
SHANE
Uh...
VI
I've already typed up the actual
letter. I just need a signature.
SHANE
(reading)
"Violet is currently seeing a
professional psychologist out of
school and therefore will not be
requiring the assistance of the
therapy sessions which your fine
institution is offering".
(to Vi)
And I'm guessing this isn't true?
VI
How'd you know?
SHANE
Well, you are asking me to forge
your mother's signature.
VI
Do you even know the definition
of sarcasm?
SHANE
And you spelt psychologist wrong.
Vi snatches the paper back and looks over it.
SHANE (CONT'D)
Here...
He takes the paper and, using a copy of Caroline's
signature which Vi hands him, mimics the scrawl on the
bottom of the page. Handing it back to her, they continue
walking...
SHANE (CONT'D)
So, are you really?
VI
Really what?
SHANE
Seeing a psychologist?
(quickly)
Not that it's any of my business.
VI
I kind of told my mum I was
seeing one here.
SHANE
Ah, the old "straight out lie".
I'm guessing you were away when
they were handing out that little
thing called a conscience?
VI
And you never lie?
They both turn, taking their conversation into a nearby
classroom...
CUT TO:
INT. GARRETON ACADEMY - ENGLISH CLASSROOM
SHANE
I am a pillar of upstanding moral
behaviour.
(beat; jokingly)
Seriously, there's an actual
pillar. They're unveiling it next
week. Ribbon cutting and
everything.
Vi smiles. MR IAN PARKER sits at his desk, doing a
crossword puzzle. As each student passes, they casually
take a gummy worm out of a jar on his desk. Vi and Shane do
this too.
VI
Hi, Mr Parker.
The two take their seats. The class is filling up and
settling in.
SHANE
Need some help, Mr P?
In fact, Mr Parker does look like he needs some assistance.
He's studying the crossword intently, chewing on the end of
a pencil.
MR PARKER
Nine letter word. Opposite of
"pleasant".
Shane thinks. Just then, BIANCA PARRY enters the room on
the arm of ERIN FOWLER. When Erin sees Vi, he awkwardly
pulls his arm from Bianca. Vi, however, doesn't notice
either of them.
VI
(re: crossword)
Obnoxious?
Bianca, about to head down the aisle to her seat, stops at
Vi.
BIANCA
(to Vi)
I'm sorry, did you say something?
VI
Huh?
BIANCA
Don't "huh" me, you - -
Erin takes her by the shoulders - guiding her down the
aisle.
ERIN
Oh, hey. Sophie saved us some
seats.
As he passes Vi, he gives her an apologetic smile. Mr
Parker, oblivious to the near girl-fight, counts down the
letters.
MR PARKER
Perfect! Okay...
He puts down the crossword puzzle.
MR PARKER (CONT'D)
That's enough English for today.
Who's up for some Uno?
The class perks up. Could this be a lesson with no actual
work?
MR PARKER (CONT'D)
... When hell freezes over. Back
to The Crucible, people!
Groaning, the class pull out their copies of the book
whilst Mr Parker turns to write on the board. Shane leans
over to Vi.
SHANE
Wanna do something after school?
We could go to the park and try
to name all of the pigeons.
VI
As tempting as that sounds, I'm
busy today.
SHANE
(disappointed)
Oh, that's cool. I guess I'll
just go and hang out with Jimmy
or something.
VI
This weekend?
SHANE
Sure.
And as they settle in to work...
DOREEN (PRE-LAP)
How does it feel...
CUT TO:
INT. THE COMPANY - PSYCHOLOGIST'S OFFICE - EARLIER
DOREEN
... To keep secrets from your
friends?
We're right back where we left off. Vi is firm - her
invisible wall hasn't broken down yet.
VI
I'm good at keeping secrets.
DOREEN
They're a big part of your life
at the Company, correct?
VI
It's not a life.
DOREEN
Pardon?
VI
It's a job.
DOREEN
Are you good at your job?
VI
(confident)
Yes, I'm very good.
Her eyes don't leave Doreen's. Almost challenging her to
find fault in this confession.
CUT TO:
EXT. CITY STREET - AFTERNOON (DAYS LATER)
CLOSE UP ON VI
VI
I told you I wasn't good at this!
REVEAL Vi standing on the footpath.
She watches ANDREW FRIAR as he crouches at the rear of his
car - looking over his smashed tail light.
Turning, he studies the broken head light of the car behind
him. He stands.
ANDREW
It's not like I was asking you to
flag in an airliner. Saying
"Stop" would have been
sufficient.
He moves to the car in front of his own.
VI
You aren't going to leave a note?
Bending down, he rips off a bumper sticker...
ANDREW
Well, my mother used to tell
me...
... Which he takes back to his own car and tapes it over
his broken light.
ANDREW (CONT'D)
... That the Lord will provide.
He turns to Vi and smiles - revealing the bumper sticker to
advertise Peter Jackson's "The Lord of the Rings". Vi rolls
her eyes.
CUT TO:
EXT. CITY STREET - LATER
Vi and Andrew walk down the path, far away from the scene
of the crime.
VI
So, this girl's name is Rebecca
Simms. I looked her up in the
phone book last night.
ANDREW
Hey, who taught you the phone
book trick?
VI
Uh... You.
ANDREW
Oh.
(beat)
Well, check me out. I'm like a
real mentor and everything. I
should get paid double for this.
Vi grabs his sleeve - yanking him to a stop. She's stunned.
VI
Wait. Just... Hang on.
(beat)
We get paid for this?
ANDREW
You didn't know?
VI
No!
ANDREW
Someone should have told you.
VI
Someone like, oh say, my mentor?
Andrew shrugs and keeps walking. Vi quickly catches up.
ANDREW
I don't think the blame should
entirely rest on me. I'm sure
Microsoft had something to do
with it.
VI
Okay, now getting back to the
money thing. How much, how often
and how come I still only have
five pairs of shoes?
Andrew stops at the window of a cafe and looks over the
menu taped to it.
ANDREW
Calm down. You're like one of
those money hungry girls on The
Bachelor.
(to himself)
Just looking for love. Pfft!
Vi stares at him - waiting for a real answer. Andrew
catches her reflection in the window and turns to her.
ANDREW (CONT'D)
You got a bank account?
VI
Yeah. A savings account but
there's next to no money in
there. I think my Grandparents
put ten bucks in every Christmas
or something.
ANDREW
The Company'll transfer your pay
into it after every assignment.
VI
But won't people notice?
ANDREW
This is the Company, Vi. Nobody
notices anything. What time is
it?
He grabs her wrist - checking her watch.
ANDREW (CONT'D)
Ah, I've got to go.
VI
But the assignment!
ANDREW
Hey, you've already got the phone
book trick down. You'll figure it
out.
He walks away - giving her a wave over his shoulder.
VI
(calling)
Y'know, you really shouldn't be
getting paid at all!
Vi sighs and leans against the side of a bus shelter. There
is an advertisement next to her. A beautiful model holding
a bottle of perfume. Vi turns to look at it. The slogan
reads, "Ocean View. The scent of success".
Then, the ad changes - scrolling upwards on a mechanical
timer - to reveal a SECOND advertisement. This time for dog
food. "Give your best friend a taste of Ocean View".
Vi, this time, looks a little confused. The ad scrolls
BACK. It's the model again but this time the poster reads,
"Yes. I'm talking to you. Turn around".
A little freaked, Vi spins around to see the CAFE Andrew
was staring in earlier. The name painted on the window
reads, "THE OCEAN VIEW CAFE". Vi takes a moment and looks
back to the ad.
VI (CONT'D)
(to model; re: perfume)
Just for the record, I'm not
buying that.
A nearby WOMAN, waiting for the bus, looks her up and down
in concern. Vi shrugs.
VI (CONT'D)
They test on animals. I read an
article.
The Woman nods in agreement.
CUT TO:
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