- Verisimilitude: appearance of truth or reality.
1 - INT CORPORATE BOARD ROOM DAY
A man, TOM TEKO (mid thirties) suit, tie, designer hair, holds court in a crowded meeting. To his right, a large plasma screen is looping a slick looking advertisement.
Behind him a vast sweeping view of the city spreads out to take in the shipping channel from the river port to the sea mouth as large container ships slip through an industrial landscape.
TOM, or TEKO to all who know him, is on the receiving end of a round of applause. He seems to appreciate it but there is a hesitancy in his manner, a nervousness embellished by his habit of turning to his right and staring at what appears to be, down the barrel of the camera. He raises his eyebrows as if to seek approval.
PULL OUT TO:
2 - INT LATE MODEL MONARO
Suddenly the image telescopes out and we are watching the same scene but from a small LCD monitor inside the vehicle.
A cigarette is extinguished in an overflowing ashtray. The hand is male. We don’t see much else.
The MONARO is parked beach side, inner city. Organic and synthetic materials compete for space amid the industry. Pigeons feast on anything they find.
The scene in the boardroom ends. Like a Quicktime it just stops and freezes on TEKO’S half smiling face. A USB or similar device is inserted and the clip extracted onto a handset-, like an Iphone and roughly the same size. It isn’t an Iphone- it’s VERIS.
But like a phone, the unseen driver scrolls through a menu, selects the names; DAN, REBA & TEKO, attaches the Quicktime clip and presses SEND.
Hand on car keys. A twist. The engine ignites. Pistons pump and eight cylinders roar to life scattering the birds on the bonnet.
The credit sequence is TEKO’S advertising clip from the opening scene. For the duration of the credits, it plays on a range of plasma screens and monitors; the city square, A/V display rooms, suburban living rooms, on computer monitors in high rise office buildings, personal entertainment units in the hands of commuters. It looks exactly like a TV advertisement for the latest mobile phone and in a way it is- except it's Veris, highlighting the multiple, fashionable, necessary applications it contains. And curiously, the advertisements all feature images of Teko and his friend Castrol, exemplifying the various permutations of their social life.
Unfamiliar with TEKO and CASTROL at this stage of the story we don’t pay it much attention. It’s not until much later that it will make sense. For now it’s just a series of rapid sequences with two good looking men having a very good time; drinking, dancing, go kart racing, shooting hoops, teeing off golf balls from high rise buildings, abseiling others,- each scenario is the very epitome of the cashed up and cool with female counterparts to match.
The combined effect lets the images wash over them, but at the same time, aroused by the power of personal technology. Sex in a hard drive. Veris as Viagra.
3 - INT TEKO'S APARTMENT EVENING
An electric doorbell is buzzing.
TEKO and CASTROL (mid- late 30’s, the man from the advertisements) sitting on the couch of TEKO’s apartment; a well-appointed city high rise in the new-ish developed Docklands.
Neither seem to hear the buzzer.
TEKO and CASTROL are friends. They have been friends since primary school and share a look that is slightly interchangeable; handsome with age, rakish, angular.
Camera work is close and fast; mouths, eyes, hands on faces, shot glasses downed. Occasional view of the exterior blanket of lights, high rise apartments, the city at night.
For much of this, no words are shared between the two men. There is something deeply intimate, but not sexual happening. The Foley is particular, emphasising breath, swallowing, habitual coughing ticks, the sound of scratching stubble, the click of bones stretched, hair scruffed.
They fiddle with phone handsets, car keys- mildly peripatetic but not self conscious agitation- a post modern hyper activity that is, contemporaneously- utterly normal
Obtusely- 80s Music underscores.
4 - EXT CITY STREETS NIGHT
A car burns through the street- the same late model Holden Monaro, lowered out, mags, metallic green, special edition.
Inside we see a hand shift gears- the interior, earlier littered with detritus is now clean, detailed.
The city is equally dark and night-lit as the previous scene but from a worm's eye POV.
MATCH CUT TO:
5- INT ROAD TRAFFIC AUTHORITY HQ NIGHT
The MONARO’S trajectory is clocked on the bank of monitors in the demountable headquarters near the span bridge on the CBD’s perimeter.
An UNSEEN SOMEBODY seems to be taking an interest in the speed of the car and we cut as needed between the MONARO exterior and inside at HQ to infer the high level of surveillance operating 24/7.
6 - INT TEKO'S APARTMENT NIGHT
TEKO and CASTROL have XBOX on the plasma, burning virtual rubber. CASTROL is doing better than TEKO and still managing an old party trick of his, a martial arts routine, complete with sound effects.
We realise after a beat, he is running one of his favourite routines and impersonating an episode of MONKEY- with delayed English dubbing. He invents his appalling version of Mandarin, then follows with the translation.
TEKO mimics a frenzied texting on the console. It doesn’t help his game.
7 CITY STREETS NIGHT
In the speeding car, The GPS gives directions but the driver takes a left when it says right. A hand switches it off mid sentence.
8 INT TEKO’S APARTMENT NIGHT CONTINUOUS
9 INT HIGH SCHOOL HALL EVENING
As they talk, we see a school reunion taking place inside a school hall. The eye catches the leader boards of sports carnivals, pennant banners and framed photos of headmasters that line the walls.
Stylish silver and black ribbons and balloons party up the look of the room, and along the room are rather cool, free standing life size photos of students in various activities.
Graduate old boys and girls circulate, juggling full glasses and high spirits.
They stand next to their school images and those of their erstwhile school friends, having more photos taken with them as they were then and now.
Eighties music; New Order, Happy Mondays and Frankie Goes to Hollywood dominates the atmosphere.
Off screen, Castrol’s voice seems very impassioned. Teko more laconic.
As he says this, two of the men they have been talking about- Darren Lacy and Franco make a staged headlock, as if demonstrating to the small crowd around them exactly what happened on the day. Beer is spilled, laughs unfurl.
Some of the spilled beer splashes the neat outfit of a red haired WOMAN (late thirties, very attractive) as she walks past. Mock horror, she playfully punches Franco on the arm and keeps moving. She is bee lining a cluster of three women, all late thirties, some showing their age more than others. As she nears them she spies TEKO's full size photo.
The red headed woman stops. Her stencil year book fills the frame. It’s Natalie Vance. From the detail we see she is married with three children and works in a WOMENS REFUGE.
For the benefit of her friends' amusement, she stops by the photo of TEKO as if to talk to him, gesticulates wildly as if in an argument then leans in to kiss the photo. Her friends squeal shrilly. Old times. Someone else grabs a photo of a sexy, intense looking teenager. (REBA) and pretends to admonish the red head, wagging a finger. More laughter.
10 EXT CITY STREETS NIGHT
....the car speeding through the streets. .....The electronic door bell still buzzing.
11 - INT/EXT CAR/CITY STREETS NIGHT
Then we are inside a car with REBA, now mid thirties, well groomed, chiselled features. And DAN, TEKO’S elder and more scruffy brother. They drive through the night in REBA’S Prius. The tension is thick, the windows are foggy. The mood is as prickly as a hair shirt.
REBA is checking her Veris Handset.
They are both extremely tense. REBA seems to choose her words carefully.
DAN shrugs, checks the rear view, adjust the GPS device on the dashboard.
We aren’t sure if she means Teko or Castrol and it’s intended to be this way.
DAN hides a smirk.
Reba looks the question.
A pregnant pause as DAN slows at a stop sign. They sit in silence until the lights turn green. He accelerates...
She cuts him off.
DAN raises an eyebrow. Not chastened but corrected.
REBA opens up her handset, takes a USB connection and patches it into the GPS screen on the dashboard.
DAN’S tone now suggests he knows he was being too harsh and his voice softens.
We won‘t appreciate the tragedy of what he just admitted to for a while.
REBA presses play and DAN half watches it while driving.
We see a snippet of the Quicktime clip of TEKO, a little sooner in the timeline sequence than we saw earlier from the first scene. Of the crowd of suits, male and female, young and not so young, TEKO has their attention. His sales pitch is effortless, his charm natural. The image size is small, grainy, jumpy, but we can see that whoever is filming the scene is the object of TEKO’s attention. He keeps referring to them in flattering tones, seemingly unaware he is being filmed.
In the Quicktime....
His reaction seems over the top.
12 INT HIGH SCHOOL EVENING
At the reunion, the students are bunching in together for a group photograph. There is general enthusiasm, hackneyed nostalgic sledging, giggling and camaraderie.
Someone starts to sing the school anthem for old times' sake- others join in, reluctantly at first, then with gusto.
The anthem carries over and into...
13 EXT CITY STREETS NIGHT
...the speeding car clips the facia of a bridge and we see for the first time into the eyes of the driver. They look familiar. Is it CASTROL?
There is white, ...a moment’s silence between the pause in the beats of the final bars of the anthem, then the white light settles into a new day.
14 - INT TEKO'S APARTMENT EVENING
DAN and REBA outside TEKO’s front door, pressing the buzzer. It’s the actual buzzer we heard from the first scene.
15 - INT TEKO'S APARTMENT NIGHT
TEKO and CASTROL descend a glass elevator...
16 - EXT CITY STREETS/TEKO'S APARTMENT NIGHT
TEKO and CASTROL step outside as the same speeding car roars past them.
17 - INT TEKO'S APARTMENT MORNING
Super: Friday morning. Denial
TEKO’s apartment faces out over a magnificent view of the west end of the city. THE HARBOUR. A mix of commercial enterprise and private craft bob on the water, tied to the fish-bone of piers stretched out below.
TEKO is lying on the couch in slept-in clothes. He looks hung over. He is flicking through his phone or what looks like a phone. He plays part of the same clip CASTROL sent to him. The same one REBA played in the car. We hear again a round of applause.
The buzzer again. It's really getting annoying. TEKO’s face shows his annoyance. He switches off the message.
Unexpectedly, a blonde gamin; long legs, size 8 waist, age indiscernible BETTY steps out from the bedroom and opens the door. To DAN. Their greeting is odd. Not familiar nor unfriendly, just odd.
BETTY lets him in. DAN takes a moment to take in his surroundings. TEKO's place is expensive but not representative of actual money. The kind of place to live when someone else is picking up the tab; glamorous, but small, like a well-appointed high rise housing commission, only exclusive.
DAN removes some crumpled clothes from a plush chair and perches on the edge. He has an agenda. He's uncomfortable.
Without being asked, BETTY slips into coffee making mode and while she does this, idly starts picking up clothes and cleaning mess. TEKO's mess. The way she does this has a certain allure that neither TEKO nor DAN can ignore, but it's only mildly distracting- like an attractive maid in a five star hotel. They keep their eyes on her while the coffee boils. The loaded silence impregnates the room.
TEKO doesn’t seem fussed if DAN tells him or not.
TEKO nods, smiles even but clearly he’s not interested.
Finally, as if to stop DAN running off at the mouth.
DAN ignores the hint of sarcasm.
TEKO shrugs it off-
BETTY serves the coffee and discreetly, with a knowing smile to TEKO, disappears back to her room.
The joke falls flat. Because they both know BETTY has contractual obligations. TEKO lets DAN simmer in silence, not offering him an easy opportunity to ask his question- but finally-
Before TEKO answers he leaves DAN to sit, sunken in the chair, while he showers and shaves. From the angle, we can see over DAN, into the open door to the bedroom and ensuite where TEKO showers. We see BETTY provide an habitual bit of assistance; a towel, shaving cream.
DAN is the older brother and this intimacy creates a very hard to define sense of awkwardness. TEKO doesn’t seem to mind DAN witnessing his relationship with his girlfriend, but the sensibility is not within the realm of fraternity- more voyeurism.
Dan tries to look away but the apartment has so many reflections it’s hard not to watch.
BETTY returns to top up his coffee. She smiles.
In the mirror, we see DAN watch TEKO pull on a fresh shirt, expensive trousers, designer shoes, squirt some cologne.
In his chair, we see DAN accept this was never going to be an easy ask. We watch his internal struggle to stay calm, eyes on the prize, ignore his habit of high status righteousness.
TEKO finally emerges from the bedroom. His mood and manner remains contained, hard to read. But he looks impressive.
The comment is half way between ambiguous and condescending. We see again, DAN struggling. We get the sense he’d like to throttle his patently more successful younger brother. He chooses the age-old habit of trying to claw back lost ground by assuming the condescension of the caring elder.
DAN collects himself, his body language literally flailing as he searches for car keys, wallet.
TEKO is barely listening. As DAN scrambles for his self esteem, BETTY has reappeared like a wraith, handing TEKO his keys, VERIS handset, sunglasses and a beautiful smile. She kisses him gently on the edge of his lips. DAN doesn’t see TEKO draw her back for a second, lingering kiss. There is a quick look of enquiry in her eyes. In TEKO’S, something close to yearning.
18- INT ELEVATOR MOMEMTS LATER
TEKO and DAN descend the glass elevator. The mood remains pregnant with silence.
19 - EXT BOARDWALK CAFE DAY
The winter sun bounces off every surface. TEKO is quick to pull on his sunglasses. They only to add to his allure. DAN’S glasses are also expensive but no longer fashionable.
TEKO gestures to DAN and takes an al fresco seat in a cafe where the staff all seem to know him. It’s a vibrant humming little place where the length of the wait staffs’ aprons is in direct relation to the affluence of the clientele. TEKO motions to the BARISTA at the coffee machine for two of the usual.
He habitually picks up a tabloid from the paper rack while DAN rubber necks. The view from the cafe is excellent. A passing parade of pedestrian commuters pose no end of interest. TEKO remains engrossed in his paper.
There is something odd about the WAITRESS. She seems to be here, there, everywhere as if there is some poor editing happening. It's not a glitch, it's Veris. She arrives with their coffees and is just as quickly gone.
DAN notices, but is distracted. He stirs his coffee too quickly and offers TEKO some sugar.
TEKO nods no. He still hasn’t said anything for minutes. If DAN were paying proper attention, if he wasn’t so absorbed in his own problems, he might have noticed a change in TEKO'S mood from controlled, to something much more fragile.
A long beat.
DAN’S impersonation is rather charming and pierces TEKO’s inscrutable armour for a second. But the drawbridge rises again just as soon when...
But TEKO physically cuts him off by stretching for the menu cart on another table.
And TEKO isn’t making things easy for anyone today.
DAN looks compromised; he looks as if he's just had his pants pulled down. He glances through the paper and takes in the car accident from the previous night on page three- a graphic shot of the bridge not far from where he is sitting.
Looking up, he can now see the police bunting and plastic water barriers cordoning off the area where the accident happened. The information seems to have an affect on DAN and he stares into the place where CASTROL’S car hit.
And now we definitely know there is something rather odd in the timing going on.
20 - EXT CITY BRIDGE MOMENTS LATER
TEKO, standing by the barriers, as two DIVERS search the river. We see TEKO check his Veris handset.
21 - INT REBA’S OFFICE BUILDING DAY
REBA at work; busy, professional, checking Veris on her desk top- we don't yet understand how it works.
REBA’s office has the kind of circular city view that assures us her position in the world is important. The space has elegant touches Art Deco with equally antiquated looking technology that is actually late model and fresh on the market; leather trims, embossed motifs, gilt edges.
REBA works the Veris software at her impressive work station. Her ear piece is a bejeweled, but elegant like a clip-on earring. Her clothes are tailored and also add to her total effect of a women before her time.
Finally we see the Veris technology in full function. Her wide screen monitor shows a half dozen thumbnail media boxes, all of them like Quicktime clips, but each operating simultaneously. She adjusts the volume on each as she watches. The clips have a code, a time and date and a meter ticking over. They are also positioned on a grid map of the city.
We watch her scrutinising herself in various outfits and locations; a black evening gown at a ball, a tailored shirt at dinner etc, and at first assume she is watching downloaded clips stored in her phone or camera. But something about her interaction, the way she punches in details, adding text here and there, encoding and encrypting, makes us realise this is all happening simultaneously.
We focus on a clip in which she is wearing sports gear, teeing off on a spectacular fairway in bright sunlight on a very exclusive looking golf course. A good looking MAN in as equally expensive sports wear comments on her stroke. The REBA in the clip smiles a stunning look of appreciation.
REBA at her desk types in a few key strokes- n.b.- extend deadline for cost report- In seconds, from the golfing REBA on the screen, we hear her say...
Reviewing another Veris box, REBA fast forwards a Quicktime clip. We see her moving rapid speed, dressed in a more sombre dark suit, addressing a serious looking bevy of bankers. From this box, we hear..
In her office, her printer immediately spits it out.
A knock on her door and a young male assistant LUCA (one we saw milling around moments earlier) steps in. He’s keen, attractive, androgynous.
He’s brash, cheeky. Ambitious.
She shakes her head.
REBA had no idea but subtly adjusts her body language to cover. She doesn’t like surprises or people knowing things she doesn’t.
The mission is located in the heart of the city, next to an old blue-stone church. Its boundary is a tall steel fence. Old and young homeless shuffle in an out.
A billboard with replaceable letters should read.-Jesus is watching over you. But someone has vandalised it and scrambled part of it so it reads - verus is watching you.
From outside the fence, DAN slows his walking and watches the activity. He notices an OLD MAN hacking phlegm, and another dubious couple of younger MEN palming something in silver foil.
Then he sees a PRIEST, dressed casually but his white collar exposed, motioning to DAN to come in.
At first DAN thinks the PRIEST needs his help, but then he realises the Priest thinks DAN is in need. Appalled, DAN moves off quickly and in his haste, upsets a flock of pigeons feeding on bread crumbs on the flagstone square outside the church. It catches him off guard and he sits very heavily, dropping onto the steps.
He watches the pigeons scatter and takes out his phone. It’s a normal phone. DAN doesn’t have VERIS.
23 - INT/EXT REBA'S CAR/CITY STREETS DAY
REBA driving, receives a mobile call, slows then stops the car. The whole scene seems to slow. It’s DAN, telling her what he saw in the paper. She is suitably concerned but resolute.
I’ll try find him. Alright.
TEKO walking the city. BETTY (or someone who looks a lot like BETTY) walks past him. We see hers and his reflection in the window of a shop front- TEKO looks straight at her. She smiles coyly and walks away. We don't understand why.
TEKO receives a call from REBA- rejects it. His screen shows he has missed calls from DAN as well. He deletes them until he arrives again on the phone menu at the clip he was watching earlier. We see him almost delete this as well.
Instead he punches a pin code into his Veris gadget and still we don't know what he's doing.
25 - EXT LANE WAY MOMENTS LATER
CASTROL is leaning against a door frame of a side alley cafe. The daily tabloid (same as the one DAN was reading) is folded under his arm.
TEKO sees him and hesitates. CASTROL is utterly nonchalant.
By contrast, CASTROL walks with an easy gait and occasionally swings off poles instead of walking round them.
They pass a warm looking BAR.
TEKO eyes off the newspaper in CASTROL’S hands. He casually takes it off his friend.
26 - INT CITY BAR DAY/LATER
It’s mid morning but what the hell. CASTROL is two drinks down, laconic, ready for more. They sit in a secluded booth in a near empty establishment.
As TEKO waits at the bar, he again fiddles with his Veris gadget. In the back ground we can see CASTROL deftly perform a clever trick with a box of matches.
He calls to TEKO as the trick nearly sets fire to the paper wine list on the table.
TEKO returns with two foaming pots of beer, smiling.
Despite CASTROL’S unyielding refusal to take anything seriously, TEKO’S mood shifts into pensive, brooding.
CASTROL has seen REBA enter the bar. Backlit against the sun in the door frame it’s impossible to see her properly. But as she steps forward, we realise her hair is styled differently to the previous scene in the car. Suddenly we think we are seeing a flashback. But we’re not. It’s Veris.
As he says this, REBA flashes a bright, wide smile and makes a V sign with her fingers.
CASTROL mimics her then rudely turns the V into the universal symbol for go forth and multiply, but grins widely.
REBA mocks submission and as she orders a new round the men enjoy the view. She is a stunning looking woman.
REBA plants the fresh round on the table, slides in next to Teko and gives him a familiar and sensual kiss on the lips.
None. There'll be no photos,
Your old man still own a projector?
When was the last time you saw your
Saw? This is the age of digital
Well communicate with Dan. He lives
Since his business went belly up
How you pulled chicks like this is
Wall to wall groupies mate. If you
One gig. You played one gig and
One sold out gig and it’s all in
The music. I thought burglars..
You’re brave. Came in anyway.
I’m Tom, Tom Teko. You?
You live downstairs?
I’m down at the docklands.
Bit out of your way then?
How do you know Bernard?
Castrol? Let’s just say I can tell
I mean we’re besties. Known each
It’s funny. Bernie never mentioned
We’re out of here champ.
No more birds. No more tags. Let’s
Your pal, a real Mrs Cravitz
My stuff’s down there. I
You’re gear's down there and I
Guess how much they wanted for the
We’ve just extended our hours. As
Our vetting process usually takes
(gazing around in satisfaction)
Bath time. Will we have a bath?
I love you mummy.
I’m so sorry. I’ve just got a lot
Clearly. Look no offence, but I
Three olives. Three fat, juicy
I’ll go fix my face and when I come
All quiet on the western
You’re evidently delirious and you
Am I supposed to argue with that?
What about the security footage?
Thank god for that. Well there’s
You know he came by here a while
Didn't get past security.
How do you know it was him?
They got it on camera.
Nothing. Just, why didn't you let
His name wasn’t on the list.
You going to this thing tonight?
I haven’t decided.
Thought you were giving a speech.
I dunno. Just thought you were.
Time’s up. Ill text you if I hear
Don’t break a nail. Ciao.
Do you still have that footage you
Would Sir like to call his service
Thank god. Finally. What’s going
Hey can you deactivate your avatars
I said what’s going on? Where are
Yeah, cheers, nice. Seems they have
Not to mention an issue with drugs
I asked what’s going on? I’ve been
Just doing a little after hours
Did you get any of my messages? We
So talk. Go on, talk, talk your
Jesus Tom, everyone is worried sick
Teko, it’s Castrol. We don’t..
And it’s then she sees CASTROL, rather his VERIS and his lithe, energised form confirm it’s not the same man she saw in her security footage.
You have got to be kidding? Tom,
Look babe, love to chat but it’s a
Don’t you hang up..(on me).
Well well well. I feel a curtsy
Give me a break, Danno. What a
Visiting your folks?
I wish. Look put your pants on ok,
I’ve heard nothing. His old man
Castrol isn’t answering. Isn’t
As far as I know he hasn’t spoken
Well you know what I reckon, I
I know one thing they’re doing,
Clever dick. How’d he do that?
How’d you think? Castrol, no doubt.
Then what are we worried about?
We’re worried it was Castrol in
I’ll get dressed. Come in for a
Stone the crows. Reba the rebel.
Hi Rho...Mrs Teko. Good to see you.
Hello dear, Dan said you were here.
Mum! Have you seen my brown cords?
You don’t wash these!
You and your dry cleaning. No
No. Dad sold out of that a few
Consulting is he? Seems that’s all
Another! Lucky for some. I’ll be in
These things as good as the spin?
Negligible. It’s more about the
Your mum’s never liked me has she?
That’s not true. She liked you
You sure this doesn't mean anything
I haven’t a clue. I haven’t seen
It’s just he hasn’t had the money
I don’t have to be ASIO to find
Vindictive little fucker you are.
55 - INT TEKO’S APARTMENT NIGHT
Half an hour in a cab. Less if the
You do not want to go to the
How d’you know what I want?
Very good question. I just, it’s
Charming. Come on Castrol, why
That’s what I want to know? We have
You know the rules mate. Can’t
Nice framing, I’m not a bad steady
It's customary, that’s what Suits
Because thanks to you, we came up
I’ll say one thing for this heap of
Not these days. It’s the point
Say Tom is stupid enough to
The biggie is nobody knows. It’s
We’re just talking misdemeanor
Maybe. But misdemeanour added to
I know I’m a horse’s arse Reba and
There’s a moral prerogative.
Didn’t we do this camping trip with
Well I’m not going to get any tail
Capitol idea. How much time before
Then we better get a wriggle
Into a cab and out to the old
We’re not going back there.
And we’re not going...
I reckon a bit of memory lane and
She might not look as good as you
She can’t have changed that much.
In twenty years I think there’s a
Whatcha talking about Willis?
The reunion mate, it’s our second.
You sure you don’t want to tell me
I do want to tell you something. I
We got ten hours in V Mode. Let’s
The space is suddenly dominated again by the buzzing of the doorbell in the opening scene.
60 - INT TEKO’S APARTMENT NIGHT
A refreshed looking BETTY opens the door to REBA and DAN.
REBA is circumspect around her. This is their official first meeting- person to person. No Veris. The history they share has so far been all business.
BETTY is her usual, convivial self and turns on the charm to DAN who can’t seem to help himself around her.
Long time no see. Come in. Would
We’re not staying. But thanks.
Pity. I mix a great martini. Three
We’re not staying. We’ve been
No idea. Out. He’s usually out.
Why aren’t you with him?
Wasn’t invited. Surplus to
They have to come back eventually.
Know anything about this?
It’s the launch of the new V-Corp
Paid off too. Big promotion for
Maybe I will have a drink. Got any
Are they out celebrating?
Strange you didn’t tag along.
Well this Betty’s contract has just
You must have missed that email. I
No no, he wouldn’t do that. He
So no tenure, no superannuation, no
When did he do this?
Is he with Castrol? Now, right now?
You know I've never met Castrol?
What if he’s in trouble?
What if he is? D’you think I have
They’re phasing you out. Veris will
Teko really didn’t do you credit.
He talked a lot about you, about
You’re hardly in a position to
God forbid I might have to get by
I didn't go to university, or get
If you tell us where he is, we
They’re out there. That’s all I can
Make the most of it, this is the
What’s with the cash flow shortage?
Them and me, not much difference in
A slippery pole surrounded by
Hate to rain on your love parade
Then she’ll do a proper job.
You’re fucking nuts. We were in.
I’m not interested.
Why? Betty? Isn’t that the point?
We haven’t got time for this!
Sorry gentlemen my boyfriend here
What’s with you tonight? Stress
Shut up. Shut up. You’re not fine.
What are you talking about?
This is all I have left of you. Six
Tall about what? We don’t talk.
It’s over. It’s so over. You, me,
The driver will return to the
Hard to believe we grew up just
Well look how far we’ve come.
Feel like chicken tonight?
You’re making this a lot harder on
Sorry to bother you so late Art.
For heaven’s sake, who is..
I didn’t know who to, what to...?
That was mum. It’s confirmed. I
Mum’s freaked. Thinks Teko will do
But he’s not there.
No. He’s not. Not yet. Maybe the
Stay as long as you like. Tom will
Where have they reassigned you?
Your next assignment.
Not really. I turn forty next month
Would you like me to...
You don’t have to do this.
Make small talk because you’re
Yes you are. It’s awkward. Anyway,
Can I tell you something?
I knew Castrol was pirating Veris.
He called me a cyber bully.
Castrol, the last time I saw him.
I told you, I never really met