TEASER
FADE IN:
INT. THE COMPANY - BENSON'S OFFICE – SIDE ROOM – AFTERNOON
ALISTAIR BENSON wanders around the personal library. He
studies the books on the walls, occasionally running his
fingers over the spines.
JENNA (O.S.)
Sir?
Benson turns. Through a pair of sliding doors, he sees
JENNA COOKE enter his office next door.
BENSON
In here, Ms Cooke.
JENNA
Oh, I'm sorry. Am I disturbing
you?
BENSON
No, not at all. I'm just...
hiding, I suppose.
JENNA
Well, uh, maybe I should come
back later, then.
BENSON
Jenna, what is it?
She takes a deep breath.
JENNA
I have something to tell you
and... you're not going to like
it.
Benson steadies his gaze on her.
CUT TO:
INT. HOSPITAL ROOM - SAME TIME
CLOSE UP ON ANDREW
Eyes closed. Head against a pillow. We hear the steady
BEEP, BEEP, BEEP of a heart monitor.
VI (O.S.)
So he's gonna be okay?
WIDE SHOT
ANDREW FRIAR lies on a hospital bed. VI MORGAN and a NURSE
stand with their backs to him, facing another bed across
the room. A man with a plaster cast on one leg and a
bandage around his head lies unconscious in front of them.
NURSE
We gave him a lot of morphine to
kill the pain so he's going to be
fairly out of it for a while but
there's no permanent damage.
VI
'Coz when that taxi hit him I
just thought...
The Nurse smiles and pats her on the shoulder.
NURSE
You don't need to worry, sweetie.
Your uncle's going to be just fine.
She gives her hand a supportive squeeze and leaves. Vi
walks over to Andrew.
VI
So I'm guessing we screwed up,
huh?
Andrew opens his eyes, swings his legs around and pulls
himself into a sitting position.
ANDREW
Big time.
VI
Will Benson be mad?
Andrew grimaces. A beat.
ANDREW
Not with you.
He stands and they walk out of the room.
CUT TO:
INT. HOSPITAL - MAIN CORRIDOR
VI
But it's my fault too. We should
have asked to see a business card
or something. Then we would have
known if we'd had the right guy
or not.
(beat) )
I mean, for God's sake, who
spells "John" without an "H"?
It's like the cream inside an
oreo. Without that, it's just a
... brown circle.
ANDREW
Come on, Vi. We missed a letter,
so what?
VI
A guy's in the hospital because
we tried to help.
ANDREW
We tried to do our jobs. Helping
suggests that we should have some
kind of guilty conscious about
what happened. Which we don't.
(beat)
Do we?
DING!
Next to them, an elevator - which we didn't even notice
before - slides open. There's no one inside. Andrew groans.
ANDREW (CONT'D)
Oh no.
VI
What?
ANDREW
He knows.
VI
Who knows?
ANDREW
Benson!
VI
Already? But we just - -
ANDREW
Trust me. These things have a way
of getting around pretty quickly.
He takes a moment, staring into the open elevator.
VI
Well aren't we gonna, y'know, go?
ANDREW
In a sec. I'm gathering... What's
that stuff called? Courage.
VI
It's just Benson. He's not gonna
go all Leather Face on you and
cut your legs off with a chain-
saw.
ANDREW
You don't understand. This isn't
the first time that I've - -
A mobile phone starts to RING and Vi fumbles it out of her
pocket. She checks the screen.
VI
(to Andrew)
Hang on just a sec.
(into phone)
Hello?...Cam, what...Wait, slow
down. What happened?....I'll be
right there.
She hangs up and turns to Andrew.
VI (CONT'D)
I need to get home.
ANDREW
What's going on?
VI
I don't know. That was my
brother. He said it was an
emergency.
Andrew starts to lead Vi towards the main doors.
ANDREW
Come on, I'll drive you.
Vi points back to the elevator.
VI
But what about Benson?
ANDREW
Benson can get stuffed. Let's go.
They walk off camera and we stay on the elevator. A beat.
It closes.
CUT TO BLACK:
END OF TEASER
ACT ONE
FADE IN:
INT. MORGAN RESIDENCE - BACK HALLWAY – CONTINUOUS
VI (O.S.)
(calling)
Cam?! Where are you? Mum?! What's
going on?
Vi turns the corner and sees CAROLINE, PENNY and CAM MORGAN
hovering outside a door at the end of the hallway.
Well, technically – Caroline is hovering, Cam is lying on
the floor attempting to peer under the closed door and
Penny is leaning against the wall, filing her nails and
occasionally flipping through a thick book resting in her
arms. Vi joins them.
VI (CONT'D)
(extremely confused)
What's going on?
CAROLINE
Good. You're home. We have a
situation.
VI
What kind of situation?
A beat. Caroline is unsure of how to start.
PENNY
Dad's gone psycho again and we're
all gonna have to move.
CAROLINE
Penny!
(to Vi)
He's not... No one is moving,
okay?
VI
So what's the problem?
PENNY
I'll tell you what the problem
is! Just because I graduate next
year, school is freaking out
about what I want to do with the
rest of my life.
She holds up the book and reveals it to be a "Career
Guide".
PENNY (CONT'D)
Can you believe I actually have
to read this? And pick
something?!
CAROLINE
Penny, I don't think they expect
you to - -
CAM
(still on ground)
He's moving! I can see him...
He's walking over to the door...
Oh... Wait...
CAROLINE
What? What's he doing now?
CAM
(to Peter)
Hi Dad.
Down at Cam's level, we see Peter sprawled out on the floor
on the other side. He calmly pushes a note under the door,
stands and walks away. Cam sits up and unfolds the note.
CAROLINE
What does it say?
PENNY
"Dear Diary. Guess what? I'm
stiiiiill crazy".
Vi smacks the back of Penny's head. Penny goes to hit her
with the book.
CAROLINE
Girls! Not helping!
Penny smiles.
PENNY
Yeah. Not helping, Vi. Or maybe
you want to call your "cousin".
I'm sure he'll be able to - -
VI
I know what would help. You could
take Dad out clubbing! Oh, wait.
He's over eighteen so you won't
be breaking the law and that's
just no fun.
Caroline glances between them - taking in their hostile
tones - but ultimately disregarding their words.
CAM
(reading)
"Don't forget to tape Survivor."
Caroline sighs in frustration.
CAROLINE
Oh for the love of...
She starts banging on the door.
CAROLINE (CONT'D)
Peter! If you don't open this
door in the next three seconds, I
swear to God I'll... I'll...
She turns to Vi.
CAROLINE (CONT'D)
(hopeful)
Vi?
VI
(realising)
Nuh-uh. No way.
CAROLINE
Please?
VI
Do you remember what happened
last time? I had to get six
stitches and a tetanus shot!
CAROLINE
But this is different.
PENNY
Yeah, his study's not on the
second floor this time.
VI
Then why can't Cam or Penny do
it?
CAROLINE
Because Penny doesn't care and
Cam's arms are too short to reach
the latch.
A beat. Vi glares and holds out her hand to Penny who
reluctantly hands over her nail file. Vi sighs in
frustration and heads to the back door.
CAROLINE (CONT'D)
(calling)
Thank you!
CUT TO:
EXT. MORGAN RESIDENCE – BACKYARD – MOMENTS LATER
Vi huffily moves around the side of the house. She reaches
a window and leans over the flower bushes to peer inside.
She sees Peter pacing around the room.
She puts the nail file under the window and fiddles it back
and forth until the latch on the other side springs open.
She pushes up the window and hauls herself in.
CUT TO:
INT. MORGAN RESIDENCE - STUDY – CONTINUOUS
Peter stops muttering to himself and jumps in fright as Vi
tumbles to the ground.
She climbs to her feet and dusts off her jeans. She gives
Peter a small smile.
VI
Hi.
CUT TO:
INT. MORGAN RESIDENCE - BACK HALLWAY - MOMENTS LATER
Cam scrambles to his feet as the door opens. Vi slips out
first as Peter stands sheepishly in the doorway.
Caroline looks at Peter sternly before throwing herself
forward – wrapping him in a hug.
CUT TO:
INT. MORGAN RESIDENCE - FRONT HALL – CONTINUOUS
Vi appears, heading directly for the front door. Behind
her, Cam dashes around the corner.
CAM
Where are you going?
VI
Out.
CAM
But you just got home.
VI
Because someone called me saying
that there was an emergency. I'm
not done doing what I was doing.
CAM
And what was that?
VI
None of your business.
As Vi exits - Cam, surprisingly, doesn't look hurt. He's
thinking. Observing. Being the scientist that he is.
He moves to the side window by the door and watches Vi walk
down the driveway and onto the foot path - out of sight.
VI (PRE-LAP) (CONT'D)
I'm guessing that this is a
little... er... out of the
ordinary?
CUT TO:
INT. THE COMPANY - RECEPTION – LATER
ANGLE ON DOOR
More specifically, it is the door leading into Benson's
Office. From behind it, MUFFLING YELLING can be heard.
SLOWLY PAN OUT to reveal a group of RANDOM EMPLOYEES
including Vi, Jenna and GLENDA MORRISON huddled around the
reception desk – attempting to listen to the argument.
JENNA
If you mean, does Benson take
time out of his busy day to
verbally assault employees? Then,
yeah, it's kind of unusual.
GLENDA
They've been in there for hours.
JENNA
Forty-five minutes but I
understand the exaggeration. It
is... hard to... you know...
VI
Tear yourself away?
GLENDA
It's like reality TV.
(beat)
My son was on Big Brother, you
know.
They continue to listen.
VI
So, I've been here for a while. I
thought I'd gotten to know people
like Benson and Andrew pretty
well. But... there's something I
don't quite get.
JENNA
What's that?
VI
There has to be a reason why
Andrew's always getting picked
on, right? I mean, Benson doesn't
strike me as "pointless vendetta"
guy.
JENNA
It's... complicated.
VI
Is that just your way of saying
that you don't know?
Jenna gives her an apologetic look.
JENNA
I wish I could help you but I'm
not really one for poking my nose
around in someone else's
business.
VI
Even if that someone else happens
to be your friend?
JENNA
Who? Andrew?
She scoffs.
JENNA (CONT'D)
Andrew's definitely not my
friend!
Benson's office door bursts open and the employees scatter.
Glenda busies herself with the fax machine while Jenna and
Vi - unable to actually do anything else - stand awkwardly
by the reception desk.
Andrew walks out but makes his way directly to the
elevator. He slams his fist against the button.
VI
Andrew!
He turns to her as he steps inside.
VI (CONT'D)
What happened?
Andrew doesn't even look at her.
ANDREW
Go home, Violet.
As the elevator door closes, we stay on Vi's hurt and
confused expression.
CUT TO:
EXT. GARRETON ACADEMY - FRONT LAWN – DAY
As we CRANE OVER the crowded grounds – Vi, Cam and Penny
are easily spotted crossing the street towards the school.
ANGLE ON VI
Who steps onto the footpath and turns, only to jolt to a
stop when she sees - -
- - ERIN FOWLER walking towards her, only twenty feet away.
Almost sensing her presence, Erin glances up and stops
moving.
There is a long, awkward pause and then, they quickly look
away - Erin setting off across the lawn and Vi hurrying
towards the main entrance. Penny and Cam share a look and
then scramble after Vi.
PENNY
So I guess it's true then?
VI
What's true?
PENNY
They really did break up because
of you.
VI
Oh, come on Penny! You really
have to pretend that you don't
know? You were there.
PENNY
Yeah. But it's just so sad.
They reach the front steps and walk towards the main doors.
VI
What?
PENNY
You went to all that trouble to
break Bianca and Erin up and now
you can't even stand within fifty
metres of him.
Vi is shocked and stops. Penny smirks - walking ahead and
entering the building. Vi looks down at Cam.
VI
It doesn't seem like I... broke
them up... Does it?
Cam shrugs.
CAM
Just from a scattered surveying
of our general school populous...
You're a scarlet woman.
He continues walking. Vi takes a beat and then starts after
him.
VI
Wait. What the hell does that
mean?!
CUT TO:
INT. GARRETON ACADEMY - ART ROOM – LATER
Red. Splashed over a canvas.
PULL BACK to reveal BIANCA PARRY as she puts down the paint
can delicately. She takes a good hard look at the canvas in
front of her and then plunges forward - running her hands
over the surface, smudging and smearing the paint in a
frenzy of anger and passion.
ANGLE ON VI
As she watches her from across the room. She holds a brush
and stands in front of her own canvas.
VI
(re: Bianca's vigour)
Do you think that's because of
me?
SHANE EVANS pops his head out from behind an easel next to
Vi. He studies Bianca for a moment.
SHANE
I wasn't aware you taught our art
class.
He goes back to his work.
VI
Was that snark? Were you being
snarky with me?
SHANE
Nope.
VI
Did I do something?
He shrugs.
SHANE
I'm just painting my painting.
Vi looks at Bianca again.
VI
Do you think she's planning
something? Like... dipping my
hair in ink or throwing pigs
blood all over me?
SHANE
Okay. Number one, you're not Anne
of Green Gables or whoever and
number two, everybody knows that
animal blood stunts never end
well.
VI
So she's not planning anything?
SHANE
I didn't say that. I just said
she probably won't mimic popular
culture when she does it.
Vi sighs. Shane's obviously touchy about something. Vi
attempts to focus on her work but it doesn't last long.
VI
Okay, what is it?
SHANE
(innocently)
What?
VI
Don't give me that wide-eyed, 'I
have-no-idea-what-you're-talking
about' look. What did I do wrong?
SHANE
You didn't do anything wrong.
He motions to Bianca.
SHANE (CONT'D)
She just broke up with her
boyfriend. Maybe every vicious
stab at her canvas isn't about
you, okay?
VI
So you think I'm self-centred?
SHANE
No. I think you're freaking out
over nothing. If she's mad at
anyone, it's Erin. He's the jerk
who treated her like crap in the
first place.
VI
Excuse me? Did you see what
happened at the club?
SHANE
Yeah, I did. I saw a guy trying
to cover his own arse after he
was caught having a thing for
some other girl.
VI
Shane!
SHANE
I'm sorry. That's just how I
feel. If you wanna date him,
fine. Just don't expect me to
like him.
He looks down and picks up his murky water jar.
SHANE (CONT'D)
I need to change my water.
He starts to walk away but pauses and turns back.
SHANE (CONT'D)
And Erin is a girls name.
(beat)
Just so you know.
He walks off and Vi is left stunned. She raises her brush
to her canvas but glances around it to watch Bianca who now
stands perfectly still - staring blankly at her work.
CUT TO:
INT. ANDREW'S APARTMENT - LIVING ROOM – LATER
Andrew stumbles blearily towards the front door. On the
other side someone KNOCKS loudly and appears to have been
doing so for some time.
He pulls open the front door to reveal Jenna. She gives him
a nervous wave as he stares at her. He looks disheveled -
like he's just woken up.
JENNA
Hi.
ANDREW
Hi.
JENNA
Can I... Can I, er, come in?
A beat. Andrew steps back and holds the door open wider.
Jenna gives him a small smile and enters. He closes the
door behind her.
ANDREW
Take a seat.
Jenna takes a look around the messy living room.
JENNA
I'll just stand. Thanks.
There's an awkward beat. The awkwardness radiates more from
Jenna than it does Andrew. He's too tired to care.
JENNA (CONT'D)
I just came by to... to see how
you were.
ANDREW
As you probably heard, I'm just
peachy. So, if you don't mind, I
was just in the middle of a nap.
JENNA
Actually, I haven't heard. That
is to say - no one knows what
happened last night. Between you
and Benson. And when you didn't
show up this morning, I was...
Well... I was concerned.
ANDREW
About me?
JENNA
N-no. Not you per say. Just... in
general.
(beat)
I've never seen him like that
before.
Andrew scoffs and flops down onto the couch - yanking an
old pizza box out from under him.
ANDREW
What? Like a pompous bastard who
only cares about "The Plan"?
Because believe me - I've seen
that Benson all too often.
JENNA
I just want to know if I can
help. If I can talk to him for
you. Maybe I can make this blow
over sooner and then everything
can get back to normal.
ANDREW
The definition of normal changed
at around seven p.m last night.
JENNA
What are you talking about?
ANDREW
I'm officially demoted. Andrew
Friar is a pencil pusher. From
now on, I'm a lackey in the
records department.
JENNA
(shocked)
So that means...
Andrew stands.
ANDREW
No more assignments, no more
mentoring, no more... doing
whatever it is that I used to do.
JENNA
Does Violet know?
ANDREW
Not unless someone else told her.
JENNA
Don't you think she should hear
it from you?
ANDREW
I honestly don't care anymore.
Andrew starts towards the front door. Jenna's upset about
this and she has to be - making up for Andrew's all to
suspicious lack of emotion.
JENNA
I'll fix it. I'll talk to Benson.
He'll listen to me.
ANDREW
He's done listening to whatever
anyone has to say about me.
(beat)
Now get out. I'm tired.
He yanks open the door but Jenna won't leave.
JENNA
So you're just going to let her
wonder what's going on? Let her
worry about you?
ANDREW
She won't care! She hates me just
as much as I hate her! I'm happy
that I'm not Vi's mentor anymore!
What's more, I feel sorry the
next loser who has to take her
on.
Jenna looks at him in horror. Then, her face hardens.
JENNA
I'm sorry you feel that way.
We move WITH HER out into the hallway where she stops.
JENNA (CONT'D)
(shocked)
Violet...
Vi stands just outside of the doorway - frozen. She's still
dressed in her school uniform and grips a box of fresh
donuts in her hands.
Andrew, upon seeing her, says nothing. But there's a sudden
look of guilt in his eyes.
Vi looks close to tears for a moment but grits her teeth
and glares, shoving the box of donuts into Jenna's hands
and hurrying down the staircase - out of sight. Jenna looks
to Andrew and hands him the box.
JENNA (CONT'D)
I'd really love to know how you
became such a jerk. That way,
there's a chance it might not be
entirely your fault.
She leaves. Andrew's expression is cold but wavering.
FEMALE VOICE (PRE-LAP)
Can I help you with something?
CUT TO:
[
top
| next
]
Script created with Final Draft by Final Draft, Inc.