tc1x10
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
EXT. MORGAN RESIDENCE – NIGHT
Establishing shot.
CUT TO:
INT. MORGAN RESIDENCE – VI'S ROOM – NIGHT
PAN AROUND Vi's extremely messy bedroom. Although we hear
her voice, our heroine is nowhere to be seen.
VI (O.S.)
No, next Friday's no good.
(beat)
Family thing.
(beat)
Yes, another one.
We COME OVER the bed to find VI MORGAN lying on the floor
on the other side. A telephone is pressed to her ear and a
calender is spread out in front of her.
VI (CONT'D)
(into phone)
Hmmm... Next Sunday?
She runs her finger over the calender to a Sunday in a
later week. This date, along with every other square on the
page, is empty.
VI (CONT'D)
Nope. Dentist appointment.
CUT TO:
INT. FOWLER RESIDENCE – ERIN'S ROOM – SAME TIME
As he talks to Vi on the phone, ERIN FOWLER sits at his
computer desk, spinning slowly around in his chair.
ERIN
All day?
CUT TO:
INT. MORGAN RESIDENCE – VI'S ROOM – CONTINUOUS
VI
'Fraid so.
ERIN (O.S.)
(filtered)
Okay, so...
We've sufficiently established
that you'll be busy every single
day for the next four weeks. When
do you suggest we go out?
VI
I don't know. This is... this is
a big deal. It's our first...
y'know...
CUT TO:
INT. FOWLER RESIDENCE – ERIN'S ROOM
ERIN
Date. And if you can't even say
the word, I'm finding it hard to
imagine how you're actually going
to go on it. If we ever settle on
a day, that is.
He looks up at a plain school term calender stuck on his
wall. As a complete contrast to Vi, more than half of it is
booked solid.
ERIN (CONT'D)
What about tomorrow?
CUT TO:
INT. MORGAN RESIDENCE – VI'S ROOM
Vi is momentarily surprised. She looks down at her
calender.
VI
Uh, tomorrow? Tomorrow's Saturday
and I have... uh... Tomorrow
night? I'm busy.
ERIN
What about the day?
Vi smacks herself in the head.
VI
(long pause; grimacing)
Yeah. I guess that's okay.
CUT TO:
INT. FOWLER RESIDENCE – ERIN'S ROOM
ERIN
Cool. I'll pick you up around
eleven. See you later, Vi.
He hangs up and leans toward the calender. With a pen, he
scribbles out "Soccer Practice" and writes "Vi – 11am".
CUT TO:
INT. MORGAN RESIDENCE – VI'S ROOM
Vi slowly hangs up. She stands, her face looking more than
a little forlorn, and falls front first onto her bed –
groaning.
CUT TO:
INT. MORGAN RESIDENCE – FRONT HALL – MORNING
MUSIC CUE: "Crash the Party" by OK Go
As bright morning sunlight shines in through the windows,
Vi tromps down the stairs.
She's dressed in a simple pair of jeans and a t-shirt – not
exactly looking to impress.
CUT TO:
INT. MORGAN RESIDENCE – KITCHEN – CONTINUOUS
She moves into the kitchen and heads straight for the
refrigerator, passing PENNY MORGAN who leans against the
kitchen bench fixing herself a cup of coffee.
PENNY
Good morning to you too.
VI
Not today, Penny.
PENNY
Ouch. I'm guessing the phone
conversation with the boy didn't
go well last night?
Vi turns, eyebrows raised in disbelief, as Penny sinks down
into a seat at the kitchen table.
VI
How'd you know I was talking to
Erin?
PENNY
Irrelevant. So, spill. Did he
dump you or what?
Vi grabs a tub of yoghurt from inside the fridge and fishes
out a spoon from a drawer as she speaks.
VI
No! It's not like we're
actually... y'know... dating or
anything. I mean, there's one
date. Today, actually, but I
don't... I'm not...
PENNY
Oh, I totally understand. You're
not sure if you like this guy
who's been obsessing over you for
months. Who is, aside from Jake,
probably the hottest, most
popular guy in school. His
girlfriend broke up with him
because his passion for you was
so intense that it caused the
polar ice caps to melt and drown
tiny countries in the northern
hemisphere. I get it, I really
do.
There's a beat.
VI
Remind me why I'm talking to you
about this?
CAROLINE (O.S.)
About what?
CAROLINE MORGAN followed closely by PETER MORGAN enters the
kitchen.
PENNY
Just Vi's boyfr - -
VI
(quickly; embarrassed)
Nothing. It's nothing.
There's a sudden BEEPING noise and Peter looks around –
searching for the origin. He pulls open the microwave and
looks inside.
Vi takes her mobile phone out of her pocket.
ANGLE ON MOBILE PHONE SCREEN
The text message reads, "Meeting".
BACK TO SCENE
Vi stands.
VI (CONT'D)
I'm just running down to the
shops for a minute, okay? We need
milk.
Caroline pulls open the fridge.
CAROLINE
I bought some yesterday.
VI
Low fat. I didn't want to say
anything but Penny's been looking
a little "Size 10" lately.
Vi ducks out of the kitchen as Penny gasps and hurls the
empty yoghurt container at her.
CUT TO:
EXT. STREET – LATER
Vi walks slowly down the footpath, deep in thought. Her
phone RINGS.
VI
(into phone)
Hello?
CUT TO:
INT. THE COMPANY – CONTROL CENTRE – SAME TIME
Weaving her way amongst the bustling workers is a female
employee in her twenties wearing a telephone headset.
She's intense – reminding us a little of Paris Geller from
Gilmore girls. In fact, I think that's what we'll call her
– PARIS.
PARIS
(into headset)
Violet Louise Morgan?
INTERCUT WITH:
EXT. STREET – SAME TIME
VI
Who's this?
PARIS
You're late.
VI
For what? Is this... Oh! The
Company? Okay, that's fine.
I thought you were a
telemarketer. Wait – exactly who
am I speaking to?
PARIS
I say again, you're late.
VI
Well maybe if you sent me a text
message with an actual time on it
instead of just "meeting" - -
PARIS
If you have a complaint, there
are comment cards at the front
desk. Your assignment is nine-oh
four.
VI
What?
PARIS
Your assignment. Nine-oh-four.
And it starts...
(checks her watch)
Now.
A BUS rumbles past Vi and pulls up at a bus stop ahead. As
a passenger climbs on, Vi looks up and sees that the bus
number is 904.
VI
Oh.
(beat; sarcastic)
Yay.
PARIS
Have a nice day.
She hangs up. Vi does the same and mutters to herself as
she jogs towards the bus.
CUT TO:
INT. BUS - FRONT – LATER
Vi slips a few coins into the machine as the doors close
and the bus begins to move.
She takes a seat and turns around to view the passengers.
No one looks overly in need of help except for - -
- - A MOTHER AND A CRYING BABY.
The MOTHER talks on a mobile phone with a stack of papers
on her lap – she looks stressed to say the least. A
screaming BABY is strapped into a pram in the aisle.
Vi looks down to see a dropped pacifier lying on the ground.
Standing, she moves shakily down the aisle and picks up the
pacifier. The Mother is too distracted to notice Vi wipe it
on her shirt – with a slight disgusted cringe – and slip it
into the baby's mouth.
The baby immediately calms.
Vi smiles to herself as the bus pulls up to another stop.
The Mother, suddenly noticing the silence, looks relieved
as she gathers her things and pushes the pram towards the
set of doors halfway down the bus.
VI
(to herself)
Well, that was painless.
Vi stands as well and moves to the front doors – waiting
for them to open.
ANGLE ON FRONT DOORS
The "Watch Your Step" sticker now reads, "Nope. All of
them".
Vi turns and looks over the passengers (all SIX of them).
VI
Oh, I hate public transport.
CUT TO BLACK:
END OF TEASER
ACT ONE
FADE IN:
INT. JENNA'S APARTMENT – BEDROOM – DAY
The curtains are closed but do nothing to block out the
light which filters into the room, giving it a soft golden
glow.
JENNA COOKE, sleeping peacefully amongst a comfortable
looking quilt, stirs. She opens her eyes and looks over to
an alarm clock on her bedside table. It reads 10:15 am.
JENNA
(suddenly wide awake)
Bloody hell!
She leaps out of bed and scampers into the bathroom.
CUT TO:
INT. JENNA'S APARTMENT – LIVING ROOM – LATER
Rushing in from the bedroom, Jenna is fully dressed in her
work attire. She grabs a set of keys and a handbag which
she slings over her shoulder as she moves towards her front
door.
She starts turning the complicated locks – about six of
them in all – and slips back the security chain before her
door is finally able to open.
She moves briskly out into the hall and closes the front
door sharply.
CUT TO:
INT. THE COMPANY – RECEPTION – LATER
With a CHIME, the elevator slides open. Jenna hurries out
and moves immediately around the corner.
CUT TO:
INT. THE COMPANY – CONTROL CENTRE – LATER
Pushing open the door, Jenna enters and looks around. She
grabs a RANDOM EMPLOYEE and hands him her handbag and coat.
JENNA
Good morning, Barney. Can you put
these in my office for me? And a
coffee. I could really do with a
coffee.
RANDOM EMPLOYEE
Uh... Sure thing, Ms. Cooke
but... what are you doing here?
JENNA
What do you mean?
PARIS (O.S.)
Barney! Where is my vanilla
latte?
Paris, the "intense employee", hurries down the stairs to
join Jenna and a suddenly terrified looking Barney.
She shoves a styrofoam cup at him.
PARIS (CONT'D)
Because this couldn't be
described as either. I know
you're not a barista but would it
kill you to take a course or
something?
JENNA
Um... Excuse me but... who are
you?
PARIS
(shaking Jenna's hand)
Your replacement. Nice to meet
you, Ms. Cooke. Now, if you'll
excuse me, there's lots of work
to be done.
She stalks away.
PARIS (O.S.) (CONT'D)
Barney! Keep up!
Barney throws Jenna an apologetic glance and hands back her
bag and coat – scurrying after Paris.
Off Jenna's somewhat alarmed and confused expression...
CUT TO:
INT. BUS – MIDDLE - SAME TIME
.... Vi's melancholy one.
She sits in a seat – her head resting against the window.
Every so often, her eyes dart around to the passengers she
can see in front of her.
There's a foreign man in his 50s, a young woman listening
to an mp3 player and a teenage boy.
Turning around in her seat, she sees a business man reading
a newspaper, a woman staring blankly out of the window and
another man (this one approximately 30 years old) sitting
at the very back of the bus reading a novel.
Vi turns back, taking out her mobile phone.
CUT TO:
INT. HOTEL – ROOM – DAY
ANDREW FRIAR moves around the room. He steps over an open
suitcase as his mobile phone RINGS.
ANDREW
(into phone)
Yo.
CUT TO:
INT. BUS – MIDDLE – CONTINUOUS
VI
(into phone)
Help me!
ANDREW (O.S.)
(filtered)
I'm a little busy right now, Vi.
CUT TO:
INT. HOTEL – ROOM
He picks a grape out of a bowl of fresh fruit on a table.
VI (O.S.)
(filtered)
Doing what?
He pops the grape into his mouth.
ANDREW
(into phone)
Working. Got an assignment.
VI (O.S.)
(filtered)
What about my assignment? You're
still my mentor even if you have
your own stuff now, remember?
Andrew walks to a large open window and peers outside.
ANDREW
(into phone)
Sorry. No can do.
You'll just have to fix that
connection on your own.
CUT TO:
INT. BUS – MIDDLE – CONTINUOUS
Vi groans.
VI
(into phone)
Trust me, there's way more than
one connection that needs fixing.
I'll be here all day!
(beat; brightening)
I'll be here all day.
ANDREW (O.S.)
(filtered)
You sound a lot more excited
about that than you should be.
VI
(into phone)
I'll talk to you later, okay?
She hangs up before he can reply. Then, she dials another
number.
VI (CONT'D)
(into phone)
Erin! Hi!
CUT TO:
INT. FOWLER RESIDENCE – ERIN'S ROOM – SAME TIME
Erin smiles.
ERIN
(into phone)
Hey, Vi. I was just about to come
and get you.
VI (O.S.)
(filtered)
I'm really sorry about this but
we'll have to take a rain check
on that date thing.
CUT TO:
INT. BUS – MIDDLE – CONTINUOUS
VI
(into phone)
Something just came up.
ERIN (O.S.)
(filtered; beat)
Oh. Okay.
CUT TO:
INT. FOWLER RESIDENCE – ERIN'S ROOM – CONTINUOUS
His face drops in disappointment.
ERIN
That's fine. I... I guess I'll
just see you on Monday, then.
VI (O.S.)
(filtered)
I knew you'd understand. Bye!
She hangs up. Erin drops the phone onto his bed and leans
down, picking up his soccer bag from the floor.
CUT TO:
INT. THE COMPANY – CONFERENCE ROOM – LATER
ALISTAIR BENSON sits around the table with bunch of
EXECUTIVE TYPES as the double doors burst open and Jenna
comes charging in!
While the Executives jump in surprise, Benson isn't
shocked.
BENSON
Is this going to become a habit
with you, Ms. Cooke?
JENNA
What is all this crap about me
being replaced?
Benson looks to the others around the table.
BENSON
Would you excuse us for a moment,
please?
The Executives hurry out of the room, the last one closing
the doors behind him.
BENSON (CONT'D)
(beat; to Jenna)
I am extremely happy to see that
you've started coming out of your
shell, Jenna. There's no doubt
about that.
However, I'd appreciate it if
you'd at least knock before you
come barging into important
meetings to swear at me.
Jenna blushes.
JENNA
I... I'm sorry, sir. I didn't
think. I just... It won't happen
again.
BENSON
Oh, I'm sure it will. Now, take a
seat.
Jenna sits down.
BENSON (CONT'D)
What is it you wanted to talk to
me about? Something about you
being... replaced?
JENNA
Well aren't I? I know I'm late –
my alarm didn't go off – but I
hardly think that's enough reason
to replace me.
BENSON
I believe you received this news
from Miss... Uh... The loud one?
With the headset?
JENNA
(through a tight smile)
Yes.
BENSON
She's taking over your duties for
today only. Nothing more. Today,
I believe you're receiving a
"free pass".
(beat)
A day off.
Jenna laughs.
JENNA
You're kidding.
(off Benson's expression)
You're not kidding.
(beat)
But... I've never had a day off.
Four years and not one. I came to
work when I had pneumonia! If you
people gave out trophies, I'd be
the little gold person on top!
BENSON
That may be true but you're not
working today.
JENNA
(suddenly suspicious)
Why? What's so special about
today?
BENSON
I know you can't have forgotten.
You of all people. Think back
four years.
(beat)
What's so special about today?
Jenna takes a long moment, thinking. Then...
JENNA
(realising)
Oh...
CUT TO:
INT. BUS – FRONT - DAY
Deciding to get this over and done with, Vi stands and
makes her way to the young woman listening to the mp3
player.
She sits down beside her, smiles cheesily and even throws in
a friendly wave for good measure. The woman (FRANCINE, 26)
tries to hide her confusion.
FRANCINE
(pulling off her
headphones)
Hi...
VI
Hello. What's your name?
FRANCINE
(hesitantly)
Francine... What's yours?
VI
I'm Violet but you can call me
Vi. It's nice to meet you,
Francine.
FRANCINE
Yeah, same here.
She goes to replace her headphones but Vi speaks again.
VI
Are you okay?
FRANCINE
Huh?
VI
I mean, do you feel like your
life is missing something? Like
you're not living up to your full
potential because something's
standing in your way? I'd love to
hear about it and details would
be great.
Francine takes a long moment – trying to figure Vi out.
Finally, she chuckles nervously, putting her headphones
back on.
Vi waits. Francine says nothing and appears to be ignoring
Vi completely.
VI (CONT'D)
Okay, I guess... I guess we'll
catch up later.
She gets up and backs away – cringing at her own
awkwardness.
CUT TO:
INT. BUS – MIDDLE - LATER
Vi is with the teenage boy, LENNY (16). He's trying to act
smooth.
VI
So, Lenny... What's up?
LENNY
Not much. Little bit of this,
little bit of that. You know how
it is.
He assumes a "cool" position – foot propped up on his
opposite knee and elbow leaning against the window.
LENNY (CONT'D)
Vi, right? You come here a lot?
His elbow slips, causing him to jolt forward. Vi discreetly
rolls her eyes.
CUT TO:
INT. BUS – FRONT – LATER
ZEKI (50s) holds out a deck of cards for Vi. He is a
friendly foreign man who speaks in broken English and a
thick Turkish accent.
Vi takes a card, looks at it and puts it back into the deck.
ZEKI
I think you wonder how I can ever
know, yes? What is your card.
He shuffles the deck deftly.
ZEKI (CONT'D)
Ah, but it is magic. The magic
knows.
He slips the deck up his sleeve and waves a hand through
the air.
ZEKI (CONT'D)
Abracadabra!
He flicks his hand out and he now holds a lolly-pop. He
hands it to Vi.
VI
Cool trick.
He smiles, not finished, and points to something wrapped
around the stick of the candy. Vi unrolls it. It's her
card.
CUT TO:
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Script created with Final Draft by Final Draft, Inc.