tc2x10
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
INT. BENSON'S HOUSE – BEDROOM – MORNING
ALISTAIR BENSON lies in bed, asleep. An alarm clock begins
to BUZZ obnoxiously.
Opening his eyes, Benson rolls over and faces the alarm. He
slowly reaches a hand up and silences it.
INT. BENSON'S HOUSE – KITCHEN – MORNING
Benson enters, dressed in a smart business suit. He's
looking down – fumbling with his tie.
FEMALE VOICE (O.S.)
Morning, honey.
PATRICIA BENSON (30) sits at the table, spoon feeding a
BABY in a high chair. Benson's distracted by his tie.
BENSON
Yeah.
Patricia rolls her eyes. She stands and walks over to him.
She takes the tie out of his hands and begins to tie it
expertly.
Benson takes the time to study her face.
PATRICIA
What?
BENSON
Nothing. Just trying to imagine
life without you.
PATRICIA
How does it look?
BENSON
It doesn't exist.
Patricia smiles as she finishes off his tie. She shakes her
head.
PATRICIA
Alistair...
BENSON
I'm not kidding.
(beat)
I love you, Patricia.
PATRICIA
I love you, too.
They kiss.
CHILD'S VOICE (O.S.)
Ew! Mummy and Daddy are sexing!
They break apart. Patricia is mildly amused while Benson is
confused. Benson turns to see a SIX-YEAR-OLD GIRL sitting
at the table. The baby is nowhere in sight.
PATRICIA
It's called kissing, Faye. One
day you're going to kiss boys
just like I kiss Daddy.
BENSON
Patricia.
Patricia laughs and pats him on the shoulder reassuringly.
PATRICIA
But not for a long time.
Faye just giggles and swings her legs beneath the table.
Patricia notices Benson's expression and frowns.
PATRICIA (CONT'D)
Are you okay?
BENSON
Everything's changing.
PATRICIA
Of course it is, silly. That's
what happens.
BENSON
But it's too --
FAYE (O.S.)
Mum? Dad? Ready to go?
Benson turns around.
EIGHTEEN-YEAR-OLD FAYE stands in the kitchen doorway,
dressed in a navy graduation robe - a hat in her hand.
Patricia - who still hasn't changed a bit - smiles, holding
back tears.
PATRICIA
Oh, you look beautiful.
Faye looks to Benson.
FAYE
Dad?
BENSON
(stunned)
Yes, you look --
Suddenly, Faye and Patricia are across the other side of
the room. Patricia holds the back door open.
PATRICIA
Come on. We'll be late.
FAYE
Hurry up, Dad!
BENSON
Alright, just give me a --
Pain crashes over him like a tidal wave. Benson clutches
his head and drops to his knees, his face contorted in
agony.
CLOSE UP ON BENSON
His eyes are closed tight. Sweat beads at his temples.
Then, just as quickly as it started, the pain fades away.
Benson's face calms and his breathing slows.
A SOUND pushes to the foreground. The steady BEEP, BEEP,
BEEP of a heart monitor.
Benson slowly opens his eyes.
INT. HOSPITAL ROOM – DAY
Benson lies in a hospital bed. The room is dark, lit only
by the glow of moonlight.
Sitting up, Benson squints into the shadowy corners of the
room.
BENSON
Who's there?
There's MOVEMENT. A FIGURE - which appears to be a man
sits in an armchair.
BENSON (CONT'D)
(realising)
I know you...
JENNA COOKE appears at his bedside. Benson's attention is
dragged away from the figure in the corner.
JENNA
No hard feelings, okay?
BENSON
Jenna --
Jenna grabs the pillow from behind him and pushes it down
over his face.
Benson struggles, clawing at her arms, but Jenna's grim
determination forces us to...
SMASH CUT TO:
INT. BENSON'S HOUSE - BEDROOM – MORNING
Benson's alarm clock begins to BUZZ. He opens his eyes and
rolls over but doesn't move to turn it off.
The NOISE continues as Benson stares up at nothing – his
face blank and emotionless.
CUT TO BLACK:
END OF TEASER
ACT ONE
FADE IN:
INT. MORGAN RESIDENCE – FRONT HALL – MORNING
VI MORGAN walks down the stairs, tugging on her school
blazer. She WHISTLES the Star Wars theme song.
At the bottom step, she pauses. Vi cocks her head to one
side, listening.
There's nothing but silence.
INT. MORGAN RESIDENCE – KITCHEN – MORNING
Vi appears in the doorway. She narrows her eyes.
VI
(suspicious)
Good morning.
The rest of the Morgan family (CAROLINE, PETER, CAM and
PENNY) are seated around the kitchen table. Not talking.
Not eating. Not doing anything - but trying to look
nonchalant about it.
CAROLINE
Good morning, Vi.
PENNY
Hey.
CAM
Morning.
Vi moves further into the room.
VI
What's going on?
CAROLINE
Nothing. We're just having
breakfast.
Vi eyes the empty kitchen table.
VI
Ah, the Hollywood diet.
She makes her way to the fridge. As she moves, the others
turn – watching her every move.
Vi opens the fridge and grabs a juice popper. As she
pierces the straw through the seal, she turns to her
family. They immediately look way.
VI (CONT'D)
Okay. What's going on? Were you
guys talking about me?
Caroline smiles, completely at ease.
CAROLINE
No, of course not, sweetie. We
were talking about --
PETER
(interrupting)
We were talking about various
world events including but not
limited to: global warming, the
US presidential election and
umm...
(off Caroline's look)
... Other... things.
A beat.
VI
You guys kind of suck.
She marches out of the kitchen. Caroline sighs.
CAROLINE
Penny?
Penny leans over and smacks Peter on the back of the head.
EXT. MORGAN RESIDENCE – FRONT PORCH – LATER
Vi, her backpack slung over one shoulder, closes the front
door. She turns around.
VI
Shane?
SHANE EVANS, grinning a little ashamedly, walks across the
lawn towards her.
SHANE
Miss me?
Vi leaps off the porch steps and wraps him in a huge hug.
SHANE (CONT'D)
(laughs)
I'll take that as a no, then?
Vi steps back and punches him in the arm.
VI
Actually, I don't know if I
should be happy or not.
Seeing as how you just abandoned
me for weeks. You know, I
actually had to study in study
hall?
SHANE
Oh, the tragedy!
Breaking into a fit of giggles, they amble off screen.
INT. THE COMPANY – RECEPTION OFFICE – DAY
Jenna enters from around a corner, sifting through an
armful of files.
Her attention is broken by LOUD, ANGRY VOICES and she looks
up to see a MOB OF EMPLOYEES surrounding the reception
desk.
GLENDA MORRISON is ignoring them, staring intently at her
computer.
Jenna comes quickly around the desk.
JENNA
Glenda? What are you --
She stops, staring at the screen. Glenda is playing
solitaire. Jenna leans over, switching off the monitor.
GLENDA
Oh, my!
She looks up, seeing Jenna for the first time. She smiles.
GLENDA (CONT'D)
(loud)
Hello, Jenna! How are you today?
Jenna motions to the Employees (who would be, if this were
a real TV show, ad-libbing their dialouge. Things like "I
need to get these filed!", "Hey, I was here first!" and
"Just listen to me, damnit!").
GLENDA (CONT'D)
Oh, sorry!
She pops two ear plugs out of her ears.
GLENDA (CONT'D)
It was getting a bit much.
Jenna turns to the crowd.
JENNA
Excuse me? Um... Hello?
They don't listen. Jenna motions for Glenda to get up from
her chair. She does.
Jenna uses the chair to step up onto the desk. Now a good
way above the crowd, she WHISTLES.
In the sudden silence:
MALE EMPLOYEE
(to friend; quiet)
Is she gonna take her shirt off?
Jenna glares in his direction.
JENNA
Okay, what's the matter?
They ALL start up at once.
JENNA (CONT'D)
One at a time! One at a time!
EMPLOYEE IN SUIT
Mr. Benson has to sign these
assignment reports and she --
(he nods to Glenda)
-- won't let me into his office.
EMPLOYEE WITH APRON
I need to see Mr. Benson, too.
The kitchen staff are really
harping on about that raise he
promised us.
EMPLOYEE WITH "COMMENT" BOX
(hysterical)
Our comment card review session
was supposed to start ten minutes
ago! Ten minutes ago!
JENNA
Alright, I think we can get all
these things sorted out. But...
She looks behind her. Glenda's back in her chair, looking
at the computer.
JENNA (CONT'D)
Can somebody help me down?
INT. ELEVATOR – DAY
ANGLE ON A SHEET OF PAPER
It reads...
To: Mr. Alistair Benson.
This is a reminder that your disciplinary hearing is
scheduled for today at 11:30am in court room A.
From: The Company (Australasian Regional Head Office)
ANGLE ON BENSON
He looks over the paper grimly. Then, he folds it carefully
and slips it into his pocket.
The elevator glides to a smooth stop, a bell CHIMES and the
doors open.
INT. HEAD OFFICE – LOBBY – DAY
Benson exits the elevator into the lobby - which is far
larger and more stylish than our reception office.
Although he tries to appear unfazed by the grandness of the
place, Benson still looks like a very small fish in a very
large pond.
INT. HEAD OFFICE – COURT ROOM – DAY
One of the heavy double doors swings open. Benson enters,
hesitantly.
FEMALE VOICE (O.S.)
You're late, Mr. Benson.
The room is like any other court room except for one major
difference. At the bench where the Judge would normally
sit, THREE people are seated. The WOMAN who spoke is one of
these.
They are too far away to see properly and Benson starts to
walk closer through the otherwise empty court room.
BENSON
I apologise.
WOMAN
No excuses?
BENSON
I assumed you wouldn't be
interested.
Benson reaches a table and chair, set up directly in front
of the Judges bench.
BENSON (CONT'D)
Is this for me?
WOMAN
Yes. Have a seat.
Benson sits down.
WOMAN (CONT'D)
My name is Mrs. Clark. This is
Mr. Kelland and Mr. Webb.
MRS. CLARK (54) peers over the rim of her glasses at the
man sitting beside her, MR. KELLAND (40), a native New
Zealand man. On her other side is MR. WEBB (35), who gives
Benson a faint, polite smile.
MRS. CLARK
Any questions so far?
Benson shakes his head.
Mrs. Clark leans forward, clasping her hands together on
the table in front of her.
MRS. CLARK (CONT'D)
Then let's get straight down to
business, shall we? We've looked
over your case very thoroughly,
Mr. Benson.
MR. KELLAND
We're not surprised that it was
brought to a disciplinary
hearing. Your file is... Let's
just say the required reading was
extensive.
MR. WEBB
And we'd like to hear your side
of it all, we really would.
But...
A bit lost for words, he looks at the others.
MR. KELLAND
But we believe we have all the
information we need.
Mrs. Clark sighs.
MRS. CLARK
Let's be honest, Mr. Benson.
We've never had a Director of a
Company branch going through one
of these proceedings before.
MR. WEBB
At least not in this division of
Head Office.
MRS. CLARK
And, after we decide your
punishment...
(beat)
I'm sure you'll be the last.
Benson's expression has been blank. At this moment, he
wavers slightly. He's afraid.
INT. THE COMPANY – BENSON'S OFFICE – DAY
Jenna sits at Benson's desk, a stack of paper in front of
her. She takes one off the top – tries to read it but rubs
her eyes, exhausted.
LEX GRACE – Benson's bubbly personal assistant that we met
last season – enters without knocking.
LEX
Ah, so the rumours are true.
Benson's dead.
Jenna looks up quickly.
JENNA
(alarmed)
He's not dead!
Lex shrugs, slapping another piece of paper down in front
of her. He slumps down into an empty chair.
LEX
Well, I am his personal
assistant. If he's not here, I at
least should get to know where he
is.
Jenna sighs. She picks up the newly delivered paper.
JENNA
What's this?
LEX
Expenditure report from the
surveillance department. Got
handed to me on my way up.
Jenna glances over it. She raises her eyebrows.
JENNA
Sixty-eight dollars for raw
cookie dough?
Lex shrugs.
LEX
You know how those guys are.
(beat)
Look, I need to know what's going
on. Not because I have a
reputation as being the break
room gossip but because this
affects my job.
(beat)
He's coming back, right?
Jenna opens her mouth to answer. The TELEPHONE RINGS.
They both turn to look at it, simply watching the red light
blink on and off.
INT. GARRETON ACADEMY – HALLWAY – DAY
As other STUDENTS walk by, Vi stands at her locker, piling
in books. Shane trudges up beside her – hauling an armful
of papers.
Vi sees him and struggles to hold back laughter.
VI
Oh... Wow.
SHANE
You could have at least mailed me
some of my assignments.
VI
I had assignments of my own. Not
just history and math but... you
know...
SHANE
Yeah, I do. I still have your
crazy Sign things in my head,
remember? I saw them all. Loads
of fun when I was watching Wheel
of Fortune, by the way.
Vi opens her locker wider.
VI
Here. Stash some of it with me.
You can pick it up later.
SHANE
Thanks.
Vi helps him load the papers into her locker. She closes
the door and they both start walking down the hall.
VI
You want to hear something funny?
SHANE
To get my mind off the inevitable
Mount Everest of work waiting for
me later? Yes, please.
VI
I think my family are keeping
secrets from me.
SHANE
And that's funny because...?
VI
It's just... different, you know?
I mean, I'm always the one
avoiding the subject and having
to come up with excuses as to why
I missed dinner or have to run
off all of a sudden.
(beat)
What do you think it is?
SHANE
What?
VI
The secret?
SHANE
It's probably nothing. They did
plan that surprise party for you.
VI
But it's not my birthday.
SHANE
And your dad didn't tell you he
was still working on the book.
VI
Unless he's attempting a sequel,
I think I'm safe.
SHANE
Well, maybe...
Shane shrugs off the thought.
SHANE (CONT'D)
Never mind.
VI
What?
(beat)
Shane, come on.
SHANE
You don't think it has something
to do with what... you know...
today is?
VI
Wednesday?
SHANE
Okay, changing the subject...
Vi frowns, growing annoyed.
VI
Shane!
Suddenly, a FLOOD OF STUDENTS push past her, directed by
MR. PARKER.
MR. PARKER
Come on, guys. Into the
auditorium. Hurry up. On your
marks, get set --
(calling ahead)
Brian, I know you're on the track
team but there's no need to show
off!
He spots Vi and Shane.
MR. PARKER (CONT'D)
Well, don't dawdle. We've got
assembly.
He moves off.
SHANE
Assembly? That's always on
Friday.
Vi shrugs.
VI
I guess today's special.
Shane goes pale. He stops walking and takes her arm.
SHANE
Vi, I don't think you should go
in there. It might be... too much
for you.
VI
Yeah, especially when they read
out all the sports notices. Talk
about yawn-worthy.
SHANE
No, I mean... Ugh! I... Vi...
Shane grits his teeth, trying to find the right words. Vi's
light mood quickly darkens.
She pulls away from him and walks down the hall, turning a
corner...
INT. GARRETON ACADEMY – SECOND HALLWAY – DAY
She nears the auditorium doors. Students walk past her,
heading inside.
Shane jogs around the corner after her.
SHANE
Vi! No!
INT. GARRETON ACADEMY – AUDITORIUM – DAY
Vi enters, coming to a stop in the open doorway. Her eyes
wide, she takes in the sight.
REVERSE ANGLE
Vases of flowers are spread out along the auditorium stage,
surrounding a large picture of OLIVIA GIBSON.
A student ORCHESTRA sets up by the stage. They are all
dressed in black.
A colourful banner – obviously made by an art class – is
slung along one wall. It reads: "We Will Always Love You,
Olivia!".
BACK TO VI
Shane joins Vi's side. He takes a shaky breath.
SHANE
It's been a year since she died.
(beat)
And a year since you died.
There's a long beat as Vi's shock sinks in.
SHANE (CONT'D)
Vi, I'm sorry. I --
She turns back to him. Laughing, she smacks him in the
chest.
VI
You had me scared there for a
second, Evans.
She turns back, shaking her head and smiling to herself.
VI (CONT'D)
Idiot.
She moves further into the room.
Off Shane's surprise, cut to:
A ROW OF PINS AS THEY'RE KNOCKED DOWN BY A BOWLING BALL.
We're in:
INT. BOWLING ALLEY – DAY
ANDREW FRIAR pumps his fist in the air.
ANDREW
Oh, yeah! Another strike for the
Drewmiester!
He dances around in a circle – spinning to point a finger
at someone O.S.
ANDREW (CONT'D)
How do you like them apples?
REVERSE ANGLE
A passing BOWLER (male, middle-aged, bright blue bowling
shirt) stops.
BOWLER
(confused)
Are you talking to me?
We move to a WIDE SHOT where we see Andrew is completely
alone amid a sea of BOWLING TEAMS.
Andrew drops his hand, replacing his triumphant grin with a
blank expression.
ANDREW
I'm sorry, what?
BOWLER
What?
ANDREW
What?
BOWLER
Were you talking to me?
Beat.
ANDREW
No.
He turns, collecting his ball as its returned by the
machine. Utterly confused, the Bowler walks off.
He takes his ball down to the end of the lane. Poised, he
narrows his eyes at the new set of pins down the end.
ANDREW (CONT'D)
Oh, yeah. You know what's coming,
don't ya?
He swings the ball back and forward again – and his MOBILE
PHONE begins to BUZZ in his pocket.
Reacting to the phone, he lets the ball go too late. It
sails through the air, landing a few lanes over.
There are a few alarmed CRIES. Andrew, as he digs his phone
out of his pocket, tries to ignore them.
ANDREW (CONT'D)
(into phone)
Yeah?
(beat)
What?
(beat)
WHAT?!
The Bowler – now at the lane next to him – stares in his
direction.
ANDREW (CONT'D)
(to Bowler)
Oh, not you. Calm down.
He hurries to the row of plastic chairs and attempts to tug
off his bowling shoes – keeping the phone pressed to his
ear with his shoulder.
ANDREW (CONT'D)
(into phone)
Jenna, repeat what you just said.
There's some craziness going on
over here.
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Script created with Final Draft by Final Draft, Inc.