Veris

 

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Veris

  1. Verisimilitude: appearance of truth or reality.
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Act I

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:

MOMENTS LATER

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.

CREDIT SEQUENCE

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.

 
CASTROL

One bung lung, (BEAT) You
will pay! Osh shosh osh shosh. 
(BEAT) Fulfill your dream beggar!
 
TEKO

I don’t resent how much more
control it gives them. Just how 
agro they get if you don’t text 
straight back. You know. 
The Repeater.

TEKO mimics a frenzied texting on the console. It doesn’t help his game.

 
TEKO

Second only to the drunken’ dial.
What happened to the three day 
interval?  What happened to 
suspense?
 
CUT TO:

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

CASTROL

Beats waiting around the olds all
weekend, too scared to leave the
house in case the phone finally rang.
 
TEKO

I never did that.
 
CASTROL

Bullshit. Two words. Natalie Vance.
You skipped footy training for a
week waiting for her to ring you
back. True story Teek, if we had
cell phones in high school,
we would have won the ‘89 Grand
final against Trinity.
 
CASTROL wins the heat they are playing. Slams down the stick and does a
small but impressive victory lap around the coffee table

 

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.

CASTROL (Off Screen)

Phillip Larkin, full forward. John
Van Staffen, Centre Half Back,
Angelo Caruana, Ruck.
 
The names they mention begin to line up with the images at the reunion, stencilled super text, gives us some of the background on them, as if framed in a school year book; like a moving Facebook, age, nick-names, achievements, hopes for the future.... It’s very quick and hyper treated as a deliberate production style of the film.
 
CASTROL (O.S.) 
Rocky Materia, rover. Weak as
piss. Should have been back pocket.
 
TEKO (O.S.)

He was back pocket. Darren
Macy was rover.
 
CASTROL (O.S.)

Darren Macy’s mum had twins that
day. That’s why they let your
brother play.
 
TEKO (O.S.)

Wouldn’t get away with it today.
Too many rules.
 
CASTROL (O.S.)
Shouldn’t have allowed it then.
He was shit. I was in the zone.
I was frigging standing there twenty
meters from the sticks and he refused
to kick it to me. Selfish.
He was always hungry.
 
TEKO (O.S.)
Strikes me it wasn’t my
preoccupation with Natalie the
pants Vance that ruined our
chances for the flag.
 
TEKO (O.S.) 
Punching Dan in the head
five minutes before the siren went
mighta had something to do with it.

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.

TEKO (O.S.) 
Besides, me and Nat. We were never,
you know. She was all talk.
Total show pony. Wouldn’t be at
all surprised if she went into PR.

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.

 
REBA

How long since you saw him?

DAN shrugs, checks the rear view, adjust the GPS device on the dashboard.

 
DAN
A while.

We aren’t sure if she means Teko or Castrol and it’s intended to be this way.

DAN 
You?
 
REBA

Yeah. A while. Too long. Been busy.

DAN hides a smirk.


Reba looks the question.

REBA 
What?
 
DAN
Nothing.

A pregnant pause as DAN slows at a stop sign. They sit in silence until the lights turn green. He accelerates...

 

DAN 

It’s just that it’s got to be one
of the top three euphemisms
of all time. “Cheque’s in the mail.”

“I won’t cum inside you.”

“I’ve been busy.”
Busy- I forgot but I don’t want
to hurt your feelings. 
Busy- I remembered but you’re not
a priority. Busy- earning money
means more to me than spending
time with you.

 

She cuts him off.

 
REBA
Busy like I have to be in three
places at once or a hundred
people don’t get paid.

 

DAN raises an eyebrow. Not chastened but corrected.

 
DAN

Well I’m not busy. Not any
more and I still never had any
time for him. How’d you like
them apples?

 

REBA opens up her handset, takes a USB connection and patches it into the GPS screen on the dashboard.

REBA

He sent me a message. Yesterday. It
was a group send. D'you get this?

DAN’S tone now suggests he knows he was being too harsh and his voice softens.

DAN

Nah. Yeah. Thought it was spam.
Deleted it before I opened it.

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....

TEKO
What you need to appreciate here
is the essence of why we enjoy
the company of friends; Someone
to share with, someone who listens,
but most of all, someone who
remembers your stories....
 
In the car, REBA can’t get the volume any louder. The distraction is becoming a problem. DAN swerves to avoid hitting another car.
 
DAN

Shut the fucking thing off
will you?


 

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.

TEKO

I’d kill for a coffee. You?
 
DAN nods.

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.

DAN tries to break the mood with small talk.
 
DAN

You won’t believe what the old
man’s into at the moment?


TEKO doesn’t seem fussed if DAN tells him or not.

 
DAN (CONT’D)

Feng Shui. He calls it Feng Shooey.
He’s reorganised the house.
Reckons there’s money in it. Driving mum nuts.

 

TEKO nods, smiles even but clearly he’s not interested.

 
DAN (CONT’D)

Her car finally gave up the ghost.
Ronda’s Honda is gone to god.
Reckon's she’s glad. Says it's time
we all stopped driving anyhow.

Typical isn’t it?- for mum to drive
her shitbox into the ground
and then she gets an environmental
conscience. Did you know she votes Green now?

 

Finally, as if to stop DAN running off at the mouth.

 
TEKO

How’s it going there? Got your old
room back?


DAN ignores the hint of sarcasm.

DAN 

Our old room. Like the Marie
Celeste. Not a blu-tack mark out
of place. The toe rags and porn
mags are still under the mattress.
 
TEKO (genuinely)
Really?
 
DAN
Joking.

TEKO shrugs it off-

BETTY serves the coffee and discreetly, with a knowing smile to TEKO, disappears back to her room.

 
DAN
 (rhetorical, meaning
Betty)
Been a while.
 
TEKO
Year or so.
 
DAN

(trying to make light of
the situation)
Must be getting serious.

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-

DAN  
(po faced)
I hate to ask, bro. (beat).
I need to borrow some lolly.

 

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.

DAN 
(awkwardly)
How’s work?
 
BETTY
Great.
 
DAN
You’re looking fit.
 
BETTY

I stay off the caffeine.

In the mirror, we see DAN watch TEKO pull on a fresh shirt, expensive trousers, designer shoes, squirt some cologne.

DAN
Smells expensive.
 
TEKO
You’d be surprised.
 
DAN
Familiar. Armani?
 
TEKO
Not Armani.
 
From the bedroom.
 
TEKO (O.S.)
 Dad still keep that jar of pennies
in his room? Or did it get nixed
in the Feng Shui revamp?

 

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.

TEKO 
Breakfast?
 
DAN, looking at him.
 
TEKO 
My shout.

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

Hate to make you late for work bro.
 
TEKO

It’s cool. Man’s gotta eat.

DAN collects himself, his body language literally flailing as he searches for car keys, wallet.

DAN

We’ll make it quick eh? A latte
maybe. Gotta make tracks anyway.
Shit loads on today.

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 grins.

 
DAN
Nice view.
 
TEKO
Close to work.
 
DAN

How’s it going? Kicking goals?
 
TEKO

I’m Garry Bloody Ablett.
 
DAN

I caught dad bragging about you to
some of his mates. The were sinking
a few quiet ones on the porch
after golf. And I’m not too
proud to admit I was pretty jealous.
 
TEKO
Jealousy's a curse.
 
DAN

Pregnancy’s worse. Hey you seen
Reba lately?
 
Dan’s Freudian slip isn’t lost on TEKO. He twitches imperceptibly, her name adding to what’s upsetting him.
 
DAN
(gesturing to the paper)
Stupid question. She’s everywhere.
Mum reckons you could see it in
her as far back as kindergarten.
Reckons she was calling the shots from creche.
 
TEKO

Has it ever occurred to you Ronda
might also be a bit jealous?
 
DAN chuckles.
 
DAN

She was pretty funny the other day
as a matter of fact. She was running
around the house with the TV remote.
(Mimicking) Here I am in the bedroom,
making the beds. Here I am in the
kitchen, washing the dishes. Here
I am in the living room, vacuuming
the carpet. How would I manage
without Veris?

 

DAN’S impersonation is rather charming and pierces TEKO’s inscrutable armour for a second. But the drawbridge rises again just as soon when...

 
DAN

‘Spose you and Castrol have it all
figured out. You basically get paid
to have fun. Does it bother your boss...

But TEKO physically cuts him off by stretching for the menu cart on another table.

TEKO

Do’you wanna order some food? I
gotta go in a mo.
 
DAN

No. No. Not if you're not sticking
round. Look Tom you know I hate to ask....

And TEKO isn’t making things easy for anyone today.

TEKO

I’ve got a tab here. Order anything
you want. Good to see you.
 
..and tosses him the folded tabloid he'd been pretending to read.
 
DAN

(one last ditch effort)
Mum wants to know if you’re coming
round for tea before the reunion?
 
But TEKO is gone, lost in the swarm of commuters.

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.

CUT TO:

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...

REBA
We need to have another look at
the time lines for the next cost report.

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..

REBA 
How soon can I get a copy of the drawdowns?

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.

ASSISTANT

The I.T. guys have fixed the
glitch.
 
REBA smiles.
REBA
For now.
 
Her look suggests he’s interrupting her unnecessarily.
 
REBA 
Is that all?

He’s brash, cheeky. Ambitious.

LUCA

I could streamline your workload if
you let me check your Veris for legals.

She shakes her head.

He shrugs.

REBA

Isn’t it the point to keep it
personal. Hello!- Reduce compliance
issues? Since when did you get
operations clearance from V-corp anyway?
 
LUCA
(unashamedly brash)
It’s only a matter of time?
 
REBA
(pointedly)
Not until we iron out all the glitches.
 
LUCA
Coffee?
 
REBA
Now he’s talking.
 
He stops before he exits.
LUCA

Just a thing. Um... You aware there
was a security breach at your
apartment the other day?

REBA had no idea but subtly adjusts her body language to cover. She doesn’t like surprises or people knowing things she doesn’t.

LUCA 

It’s nothing. No biggie trust me. I
spoke with your security company.
Just some loser trying to get past the
doorman. Said he knew you. Trust me it
was nothing. They got it all on CCTV.
 
REBA
(quietly)
People do funny things.
 
LUCA

Coffee coming right up.
 
22 - EXT CITY MISSION DAY

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.

REBA

I have to be somewhere.
DAN
Can’t you cancel?
REBA

Not this. It’s work.
 
DAN’S silence speaks volumes.
 
REBA
 I’ll try find him. Alright.
 
DAN

No I’ll find him, you find out what
you can. There has to be footage.
 
24 CITY STREETS DAY

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.

CUT TO:

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.

CASTROL

Good to see you buddy. Bout time
you called. Feeling lucky?

 
TEKO shakes his head. This is more than weird.
 
TEKO
Let’s walk.
 
The two friends walk a ways down the street. TEKO’S body is heavy with worry.

By contrast, CASTROL walks with an easy gait and occasionally swings off poles instead of walking round them.

They pass a warm looking BAR.

CASTROL

What do you reckon, hustle up some
girls and brag about my bank account?

TEKO eyes off the newspaper in CASTROL’S hands. He casually takes it off his friend.

TEKO

Only thing this is good for is fish
food and dunny paper.
 
CASTROL
(with a wink)
I only read it for the articles.
He turfs it into a bin as they enter...
 
CUT TO:

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.

TEKO

The fact you were still playing
with model cars at thirteen is the worry.
 
CASTROL

Semantics mate- ‘playing with’ is
incorrect. Perfecting prototypes
is a more appropriate tone to take.
 
TEKO

Tarzan's grip and mass produced
plastic does not an engineer make.
You know Dan just thought you did
it to get high on the glue. Another round?
 
CASTROL

Does the Pope shit in the woods?

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.

CASTROL
Well Dan learned not to
underestimate my especial talents
the hard way didn’t he?

TEKO returns with two foaming pots of beer, smiling.

TEKO

I still think super gluing a joint
to his lips was a waste of good green.
 
CASTROL

In some cases sacrifices have to be
made. Now Reba on the other hand,
she would never have stooped, so to speak.
 
TEKO

No. More her style to steal your
gear and then help you look for it.
 
CASTROL

Then maybe. Serious stamina eh? She
could have inhaled an entire forest
of the stuff and still sat her final
exams without cramming. I think
maybe she’s a genius?
 
TEKO

Are you wise? It's privilege man.
That's all it is. Money is the perfect
camouflage for a lack of skills;
social, technical and especially in the bedroom.
 
CASTROL

S’oright Teek, no-one blames you
for what happened. (Cheeky)
Well not since your probation
period expired. And you were never
gonna last. Pussy whipped. You’re
a man’s man and I don’t mean gay.

Despite CASTROL’S unyielding refusal to take anything seriously, TEKO’S mood shifts into pensive, brooding.

TEKO

Kind of funny not one of us ever
got married.
 
CASTROL

Have you taken a stupid pill today?
Marriage starts with an M and
all things in life to be staunchly
avoided also start with M.
Mortgage, Maternity...
 
TEKO
Methamphetamines......Mates.
 
CASTROL
(ignoring him)
Why does a bride wear white? To blend
in with the appliances on the gift
registry. Uh oh, heads up.

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.

TEKO
Relax.

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.

CASTROL

Two cold ones and make it snappy.

REBA mocks submission and as she orders a new round the men enjoy the view. She is a stunning looking woman.

CASTROL 
(playfully nudging Teko)
Less is more Teek. Less is more.

REBA plants the fresh round on the table, slides in next to Teko and gives him a familiar and sensual kiss on the lips.

REBA

Nose to the grind stone
as usual, darling?

 

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Act II

27 - EXT CITY STREETS DAY
 
Super- Anger
 
Later, TEKO and CASTROL stagger out into the street and cross against the traffic, attracting the attention of a smiling but no less serious VERIS TRAFFIC OFFICER who seems overly cheerful.
As the OFFICER approaches the men, CASTROL puts up a V sign, much as REBA did in the previous scene. The OFFICER, all the while smiling, casually waves it away.
 
TRAFFIC OFFICER
You have just violated civic
ordinance 3/725. Failing to properly
observe pedestrian access and
thoroughfare. You are directed to
remunerate the Town Clerk for your
failure to comply with said
ordinance and fees will be
deducted accordingly.
 
TEKO

(under his breath)
And instantly.
 
TEKO hands over a credit card. The OFFICER produces a portable EFTPOS machine and deftly swipes it through the machine.
The OFFICER then turns to CASTROL who flashes his wrist at the cop. It reveals a small bar code but the action is so swift it’s hard to see exactly what transpired.
 
TEKO and CASTROL wander under the bridge where the accident happened. There is no sign of earlier activity. The bunting above cannot be seen at this angle.
 
CASTROL deftly runs up the side of the curved bluestone and lands catlike on his feet.
 
CASTROL

So what’s up with this?
 
And just as quickly, CASTROL turns the action into giving the officer the Bird before he walks on unhindered.
The OFFICER just smiles at TEKO and pats his Tazer gun. It's very odd.
 
28 - EXT CITY BRIDGE DAY
 
TEKO is pensive. His mood has positively turned dark. He walks on.
Ahead, by the river bank are two HOMELESS MEN, one of whom we saw near the Mission. Both are pissed and ‘fishing’ with a stick and a bit of line. They are laughing, sharing a bottle of something in a brown paper bag.
 
They notice TEKO and CASTROL watching and call them over to join them. They offer them some of their bottle. Without a second thought CASTROL throws some back and wipes his mouth and with a cheeky smile...
 
CASTROL
 It’s not half bad.
 
The old MEN roar laughing. TEKO is bemused.
 
OLD MAN

What’s the matter, afraid of
catching something?
 
The OLD MAN takes another long draught and drains the bottle. He throws the bottle past but not at TEKO who makes a show of ducking as it hits the blue stones behind him.
 
The bottle falls out of the brown paper bag and reveals a Grange Hermitage label. They laugh again.
CASTROL is clearly impressed. TEKO much less so.
 
TEKO
What’s on the line?
 
OLD MAN
(winking to his mate)
Take a look for yourself.
 
TEKO is now the only one not having a good time. He stares into the river where their line disappears, edging closer, frustrated and a bit curious until the OLD MAN hauls up a spluttering, half dead RAT. The rat sprays and shakes TEKO with filthy river water.
 
CASTROL finds this as funny as the old men. But not TEKO. Instead he grips the OLD MAN by his coat collar and drags him away from the river bank, along the grass to the path and starts kicking him.
 
It’s nasty, unexpected and violent and takes a good moment and few good kicks before anyone reacts.
CASTROL lunges at TEKO.
 
CASTROL

Teek, Tom, mate. Stop. Stop. Ease
up. Shit man. Fucken give it up!
 
CASTROL drags TEKO off. TEKO seems in shock himself but tries his best to stay calm, shrugging off CASTROL as if it’s nothing.
The OLD MAN groans, rolling over, cradling his genitals.
CASTROL pulls TEKO further along the pathway down the river, throwing whatever coins he has in his pocket to the men.
 
The other HOBO scoots to collect the money, abusing them but not necessarily to proving to be any assistance to his mate. They depart.
 
29 EXT CASTROL'S APARTMENT AFTERNOON
 
The west end of the city, an upwardly mobile but still slum- like in appearance. The expensive chunks of real estate still contend with refuse, broken footpaths and busted street lamps.
TEKO stares up at a remodelled apartment, fitted out from an old textile warehouse.
For a moment he seems completely alone. But then CASTROL steps into frame.
 
TEKO
(agitated)
How much time on the clock?
 
CASTROL

Relax, you got hours before re-
charge. 
He means the Veris time left.
 
30 EXT/INT CASTROL'S APARTMENT MOMENTS LATER
 
CASTROL’S mood, always on the up, delights in being home. He runs around the large, open space, tweaking venetians, flooding the place with light.
 
In the middle of his space is a car in spare parts. CASTROL dives on it and tinkers.
 
TEKO wanders the space- taking things in, reading the overdue bills on the fridge.
 
TEKO
Castrol stop.
 
CASTROL
Wait there’s more.
 
TEKO
I said stop.
 
CASTROL finds a much loved leather SHERIDAN football.
 
CASTROL
Think fast.
 
He handballs the Sheridan to TEKO, his reflexes still razor sharp. And as quickly, Castrol runs at him. The moment is not without a heightened frenzied sort of uncertain fear. But CASTROL simply relieves TEKO of the ball and starts lapping the space, recreating an old school match.
 
CASTROL  
Desilvio tails him, Mulrooney looks
a chance but Penhaligon is
untouchable and thumps it
through for six points.
 
Much as before, CASTROL plays both hero and audience, doing a very good impersonation of a packed stadium cheering their full forward.
The football bounces off the wall and over to TEKO who seems momentarily jolted out of his pensive mood. He grabs the pig skin, bounces once, twice and darts past CASTROL.
 
It’s on. With CASTROL in pursuit, TEKO takes the lead and bounces the ball around the space, darting and weaving around CASTROL, looking for a gap to kick a goal into the same, imaginary goal posts.
But CASTROL is easily the faster and fitter of the two and hurls himself onto TEKO. They tussle for possession until TEKO pulls back.
The physical contact unhinges his reserve. He stops playing- touches CASTROL’s hair, his face. CASTROL reacts accordingly.
 
CASTROL 
Love you like a brother and all but
if you don’t stop touching
me I’ll kick you in the gonads.
 
The BATHROOM is a curtained off area in the corner of the open plan space. TEKO scours the bathroom for information. He finds pills, anti depressants, Viagra. Clearly this is an unexpected find.
A trapeze is tied to a metal bar on the wall and CASTROL releases it and indulges in an athletic but seemingly effortless swing. He swings over TEKO’S head, narrowing missing him.
 
TEKO by contrast barely raises a eyebrow. He looks soulfully around the place.
 
CASTROL somersaults off the swing, landing expertly on a rubber mat kept obviously for the very purpose. He bows to an imaginary audience, raises his arms and mimics the sound of a large crowd.
 
TEKO seems engrossed in the few photos decorating space. They are large, mostly black and white, printed onto chip board. CASTROL’S handy work. They have touch of DIANNE ARBUS about them- strangers in strange places, caught unawares. They have a moribund feel to them, but striking and poignant much more sensitive than one might expect from the CASTROL we know so far.
 
CASTROL
Like em?
 
TEKO
(genuinely)
I do.
 
CASTROL

Take ‘em. Look better at your place
anyhow.

 
The prints are so large this is clearly not true.
 
CASTROL picks up some Vynal LP’s
 
CASTROL
Want these? Mint condition.
 
Without waiting for an answer he picks up some retro Raybans.
 
CASTROL

What about these? You were always
at me for them. They’re yours.
 
CASTROL’S behavior is moving from enthusiastic to disturbingly frenetic.
 
TEKO pulls away as if repelled. As CASTROL rights himself, TEKO runs to the semi partitioned BEDROOM at the end of the warehouse and rummages through CASTROL’s bedside drawers until he finds what he’s looking for; CASTROL’s stash.
 
CASTROL, is delighted, surprised even. TEKO rolls up a spliff.
 
MINUTES LATER.
 

CASTROL is messing about with some possessions.
 
TEKO

I see your green thumb has
improved. This is as good as
the stuff you grew in your old man’s bunker.
 
CASTROL

The lost empire. Best reason ever
for banning incinerators.
 
TEKO
(blankly)
It’s the new Nuclear Holocaust.
 
CASTROL
Come again?
 
TEKO

Incinerators. The environment. The
new bogey man for a generation?
With us, Nukes over broadway.
Our folks? Shit scared about
the cold war ruining breakfast
- a la old Bob’s Fall Out shelter
and now we have Mother Nature
putting the wind up us, so to speak.
 
CASTROL

Go doomsday. Here, give us that.
 
TEKO doesn’t hand the joinit over immediately.
 
TEKO

But what’s really interesting is
why today’s youth, so hell bent
on organics and such things, vacuum
up so much hydro shit they might
as well drink weed killer.
 
CASTROL
Teek. Shddup or skin up.
 
CUT TO:
 
31 - INT MOTHERWELL'S WAITING ROOM DAY
 
REBA sits agitated in the waiting room at Motherwell’s, a simulated parenting program for busy professional women.
 
A bright faced RECEPTIONIST hands her a clip board. REBA takes a seat again and fills in the form.
 
There are happy family paintings and photos around the walls. The atmosphere is not unlike a Doctor’s waiting room at an Obstetricians.
There is also a very obvious No Mobile Phone sign, which REBA clearly ignores.
 
Unused to time on her hands, REBA presses DAN’s number in her phone. She fills in the form while she talks to him.
 
REBA

No luck so far. (meaning TEKO)
 
DAN (Off Screen) 
What about Veris?
 
REBA

Not possible. I suspended his
account the last time he...
 
32 - EXT DAY CONTINUOUS CITY STREETS
 
DAN is walking and listening.
 
REBA (O.S.)
..the last time he...
 
DAN

Fucked up. He fucked it up, didn’t
he?
 
REBA (O.S.)

We have rules. Had. His access was
a favour.
 
DAN

We really need to find him. Where
are you?
 
33 - INT MOTHERWELL'S WAITING ROOM DAY CONTINUOUS
 
On the form in her hand, REBA'S pen hovers over MRS, MISS or 
MS. She writes MS, then crosses it out and writes MX instead
 
REBA
Working. I’m at work
 
DAN (O.S.)

Great. I’m just a few blocks from
there. I’ll swing by...
 
The Receptionist finally catches REBA’s attention, pointing a long red manicured finger at the No Mobile phone sign and another slashed across her mouth, making a ‘ssh’ sign.
 
REBA

I gotta go. I’ll text you if I hear
anything.
 
She shuts off her phone and the Receptionist gives her a cheesy smile.
 
RECEPTIONIST

It scrambles our system. The
technology is very sensitive.
 
34 - INT CASTROL'S APARTMENT LATER
 
CASTROL gets more and more into the things he finds in his apartment. From a cupboard he hauls out a box of ephemera;- photos that he starts flinging at TEKO- one after another, smiling youthful images of TEKO and CASTROL with a plethora of friends, family, women.
 
TEKO

How many photos d'you reckon will
be around in fifty years?
 
CASTROL
This a test?
 
TEKO
Hypothetical.
 
CASTROL
In the whole world?
 
TEKO

Whole known universe.
 
CASTROL

Don’t say universe when I’m stoned.
 
 
TEKO
None. There'll be no photos,
nuthin, cos people just take photos
now, hundreds of them, on their phones,
or whatever, but hardly anyone prints
them. And even if they do, they won’t
last. Fade away. A whole generation with
nothing to look back on. (mumbling)
Believe me, we were better off cave drawing.
 
Then CASTROL, who wasn’t listening strikes gold- a collection of video cassettes and a cannister of super 8 footage.
 
CASTROL
Gotcha!
 
He examines the audio visual capacity of the apartment- Plasma monitors and USB drives. Nothing as anachronistic as a VCR let alone a Super 8 projector.
 
It sets CASTROL on a mission. He wants to watch the footage.
 
CASTROL 
Your old man still own a projector?
 
TEKO
How should I know?
 
Castrol, gesticulating.
 
CASTROL
S’called communicating.
 
TEKO
When was the last time you saw your
olds?
 
CASTROL
Saw? This is the age of digital
presence. One doesn’t need
to see their parents to communicate effectively.
 
TEKO
Well communicate with Dan. He lives
at home now. He can find out for you.
 
CASTROL
Since when?
 
TEKO
Since his business went belly up
and the Feds got him for tax fraud.
 
CASTROL
(impressed)
Fuck off.
 
TEKO selects a photo from the pile- it’s CASTROL- full post punk outfit mid 80s- low cut singlet, shredded trousers, studded belt, dog collar, Mohawk, black bovver boots. It’s the band. The Sphincters, shot at an inner urban pub.
 
TEKO
How you pulled chicks like this is
beyond me?
 
CASTROL
Wall to wall groupies mate. If you
weren’t so busy with your
New Romantic Uni poofter pals
you could’ve shared the spoils
 
TEKO
One gig. You played one gig and
then the wheels came off.
 
CASTROL
One sold out gig and it’s all in
here.
 
He taps the film cannister.
 
CASTROL
Shot by the Roger Corman of the
post punk indie music scene.
This’ll never fade. Giddy up,
we’re going to your place.
 
TEKO
In your dreams.
 
But CASTROL won’t hear of it. He launches himself onto the well appointed music collection until he finds what he’s looking for. A cassette tape. Diving on the stereo system he pulls out plugs and lines and rewires the set up until he has the old cassette component re-attached. He fiddles with the amp until the warehouse is blasted by the raw sounds of CASTROL's erstwhile (if stretched) post punk outfit.
 
CASTROL, jumps, leaps and air guitars his way around the warehouse, launching off furniture, letting it rip. TEKO watches, amused.
 
While CASTROL is submerged in memory lane, TEKO toys with the clip on his handset.
 
CASTROL grabs the cannister of Super 8 footage. He waves it at TEKO as if a prized possession. He mouths to TEKO that they have to watch it- most of which is lost on both us and TEKO.
 
TEKO holds up his VERIS handset, the clip playing for CASTROL to see. Trying to yell over the noise he says...
 
TEKO
 This mean anything to you?
 
With the noise level exceeding sanity- CASTROL, as if ignoring or at least not noticing what TEKO said, suddenly bee lines for a corner of the room where an attic ladder hangs from the ceiling. He makes a stunning leap and grabs the lower rung, pulling it down and disappearing up the ladder onto the roof.
 
TEKO shakes his head, resigned to follow him but is startled, shocked to his skin by the rolling wooden door and the sudden appearance of a modest looking woman in her early 40s- MOIRA.
 
Silence.
 
 
35 INT CASTROL’S APARTMENT DAY
 
MOIRA
The music. I thought burglars..
 
TEKO
You’re brave. Came in anyway.
Lucky for me you didn’t call the cops.
 
MOIRA
Who said I didn’t?
 
Moira is nervous as a cat but a duplicitous person and hard to read. She remains calm but is taking everything in around her, keeping a safe physical distance from TEKO.
 
Teko by contrast is doing his best to assure MOIRA all is well.
He notices her notice the marijuana smell and the dishevelled state of the warehouse- CASTROL'S things strewn everywhere.
 
TEKO tries to rectify the situation.
 
TEKO
I’m Tom, Tom Teko. You?
 
MOIRA
The neighbour.
 
TEKO
You live downstairs?
 
MOIRA
Not quite. You?
 
TEKO
I’m down at the docklands.
 
MOIRA
Bit out of your way then?
 
TEKO
Not really.
 
TEKO notices MOIRA is clutching a set of keys, with a plastic frame encasing a photo of a young girl. He tries to make reassuring, friendly conversation but just ends up sounding creepy.
 
TEKO
 That your little girl?
 
MOIRA wraps a hand around the photo frame so TEKO can’t get another look.
 
MOIRA
How do you know Bernard?
 
TEKO
Castrol? Let’s just say I can tell
you what he ate for play lunch.
 
Moira looks the question.
 
TEKO
I mean we’re besties. Known each
other since kindergarten.
 
A noise on the roof attracts MOIRA’S attention. Her eyes are drawn to the hatch in the ceiling and now she seem to think for certain TEKO broke in.
 
She backs ever so gently towards the door and as she does notices the juggling baton just out of arm's reach.
 
The noise on the roof again.
 
MOIRA
It’s funny. Bernie never mentioned
you.
 
The imperceptible but recognizable wail of a police siren can be heard in the distance. Whether or not it is headed for the warehouse is moot- it seems to urge MOIRA to reach for the baton.
 
TEKO, to his shock, moves instinctively and gets there first, accidently raising the baton and scaring the absolute crap out of MOIRA.
 
The siren is getting ever closer. The noise on the roof again.
 
MOIRA
 Who’s up there?
 
TEKO sees the situation for what it is, a strange man inside a strange apartment, holding a weapon aloft at a defenceless woman.
 
He hurls the baton away from himself and MOIRA, scaring her even more.
As she runs for the open doorway, he bolts for the suspension ladder and shimmies up to the ceiling hatch as fast as he can.
 
MATCH CUT TO:
 
36 - EXT CASTROL’S ROOFTOP MOMENTS LATER
 
TEKO crawls through the hatch and pulls up the ladder behind him. He stands then, moves...
 
TEKO
We’re out of here champ.
 
But finds CASTROL in his element- among several blooming pots of marijuana sheltered inside a well-tended cage of homing pigeons. CASTROL is inside the large aviary, deftly and gently stroking one of the birds.
 
TEKO is still moving toward the end of the building and the fire escape ladder.
 
CASTROL is unperturbed.
 
TEKO
 Know someone called Moira?
 
CASTROL
You’re frightening them.
 
TEKO
No time buddy.
 
The wail of police siren is definitely closer.
 
CASTROL
The tags...
 
TEKO is almost over the wall. CASTROL is yet to move.
 
TEKO climbs back onto the roof, toward the bird cage. He enters the cage and starts scattering the pigeons. The unexpected activity sending them into the sky around him. The cage is quickly evacuated.
 
TEKO
No more birds. No more tags. Let’s
go.
 
CASTROL
What's the rush?
 
TEKO, very frustrated.
 
TEKO
Your pal, a real Mrs Cravitz
(listening to the siren)
They're definitely playing our song.
Now let’s go.
 
But infuriatingly and very calmly, hatch.
 
CASTROL
My stuff’s down there. I
watch that film footage.
 
TEKO
You’re gear's down there and
 I
 don’t want to get nicked.
Again. Now come on!
 
TEKO heads toward the the wall and starts to climb over.
 
CASTROL is suddenly altogether indifferent about his ‘stuff’. He bolts past TEKO, much more athletic and shimmies past him on the ladder, quite dangerously bumping past him.
 
37 INT SALON AFTERNOON
 
BETTY getting her hair done, and a bit more. Waiting for her foils to set, she eavesdrops on the woman next to her in the chair talking about her impending wedding to another WOMAN in the next chair. The BRIDE neither draws breath or waits for a response.
 
It’s hard to tell, but all these women look very much alike.
 
BRIDE
Guess how much they wanted for the
flowers? Three grand. Guess how much
I talked them down? Two and half.
Ask me how much the catering was?
Don’t bother, as soon as I
mentioned Veris Corp,
fifteen percent discount.
 
BETTY seems downcast by the news and buries herself in a magazine featuring an article on MOTHERWELLS.
 
38 - INT MOTHERWELLS AFTERNOON
 
In the Reception area, REBA tries to read a magazine, the same one BETTY was reading, featuring appealing consumer choices along with the same advertisement.
 
A MOTHERWELLS’ STAFFER arrives to greet REBA. She is a mix of Real Estate agent and Beautician. She motions REBA to follow her, taking the clipboard from the RECEPTIONIST.
 
STAFFER
First time?
 
REBA nods without speaking. She wears her usual inscrutable mask.
 
STAFFER 
We’ve just extended our hours. As
soon as the interest rates went
up we were flat chat. Who recommended you?
 
REBA manages not to give an answer.
 
STAFFER 
Our vetting process usually takes
months. You were lucky to get
a booking so soon.
 
The STAFFER suddenly stops in her tracks, ever so subtly giving REBA a sideways glance as if she’s just recognised her.
 
REBA’S face is a benign mask.
 
STAFFER 
This way.
 
The STAFFER leads REBA through a metal detector, then we are inside...
 
MATCH CUT TO:
 
39 - INT MOTHERWELLS STUDIO MOMENTS LATER
 
...a room that looks to all intents and purposes, like a model home.
 
Outside, or what appears to be outside but is actually virtual environment, is a PLAY AREA with a sandpit and a slide.
 
REBA wanders around the space taking it in.
 
STAFFER
(gazing around in satisfaction)
It’s lovely isn’t it. We designed
it after a longitudinal study
of parenting practices, plus a
nation wide magazine survey
and.. voila! The ideal environment.
Safe, warm, no UV to worry about.
Home. Take as long as you like.
Eat, have a cup if tea. Do whatever
feels right. (a smile) No alcohol.
By the way, we bill by fifteen
minute increments.
 
And with that she moves to an adjacent door to the one they just entered.
 
When she exits, REBA walks slowly around the space. It is homey and REBA looks decidedly out of place in it.
 
She scans the walls; paintings, prints, some kids drawings with SAM written in the corner, as if by a pre school teacher.
 
REBA opens the fridge. Inside she finds plastic containers full of small portions of cheese, carrot sticks, milk, rice bars. She finds a box marked SAM'S LUNCH.
 
REBA pull it out, smells it. Fresh.
 
A little knock in the door. She looks around expecting return of the STAFFER but no-one appears.
 
Another knock, a little louder.
SAM
(Off screen)
Mummy?
 
REBA opens the door and there stands SAM, a little girl of two or three, clutching a worn looking rabbit and looking rather sleepy. She is wearing a grow suit with bunny ears. She rubs her eyes and with stunning familiarity, reaches up for REBA who kneels down to her height and is a little shocked when SAM wraps her arms around REBA and clings to her, fully expecting her to pick her up.
 
SAM (CONT’D)
I'n hungry.
 
40 INT VERIS HQ/BOARDROOM AFTERNOON
 
BETTY sits in a leather swivel chair at a long oval table. Beside her, five other very good looking and very similar looking WOMEN also sit. In front of them are small computer monitors. They are taking an interactive psyche test and enter answers in silence.
 
At the far end of the table, a young and very bored looking male ADMIN ASSISTANT sits fiddling with his phone.
 
41 - INT MOTHERWELLS STUDIO LATER
 
REBA is uncharacteristically ruffled. She is also somewhat uncharacteristically happy. It shows on her face as she and SAM play together in the sandpit in the virtual backyard.
 
SAM is delightful and bubbly and full of love. It’s hard not to confuse it for the actual thing.
 
They monkey around. She picks her up and gives her an aeroplane ride. SAM squeals.
 
REBA
Bath time. Will we have a bath?
 
SAM loves the idea.
 
REBA gently flies her back to earth. She is caught completely off guard when SAM clings to her neck, snuggles into her and whispers..
 
SAM
I love you mummy.
 
Catching her breath, REBA allows herself the indulgence. She buries her nose in the folds of SAM’S neck and inhales deeply. It's hard to tell exactly what this makes her feel. But she looks if anything, a little sad.
 
She takes SAM inside, still cuddling her and holding tightly. Her phone alarm sounds.
 
Reluctantly, she releases SAM from her cuddle and checks her screen, still holding her in her arms.
 
From her face we see her resume her former mind set. Business. She looks from the phone to SAM, her little face full of expectation.
 
SAM 
Duck duck?
 
REBA looks towards bathroom, torn.
 
Gently, she places SAM back on to her feet and reaches over to a large red switch at shoulder height.
 
She reaches down to SAM and hugs her again. Then hits the switch.
 
REBA
(whispering)
I love you too Sammy.
 
SAM disappears.
 
Just as quickly, the lighting changes, fluorescents flicker on. A team of cleaners enter the space  and get to work.
 
42 - INT TEKO FAMILY HOME DAY
 
DAN- at home. Lying on the bed of his youth. His room is still decorated as it was when he was young, complete with additional second bed- TEKO’S. Eighties chart busting posters line the walls along with the iconic 70s Farrah Fawcett photo.
 
Outside he can hear his parents converse in the habit of a well-worn couple. They are discussing the bromeliads.
 
On his desk are piles of bills, a lap top with a spreadsheet and evidence of unfinished paper work. DAN tho- lies on his bed staring at the ceiling.
 
43 - INT HOLE IN THE WALL BAR EVENING
 
REBA on a date. Pre dinner martinis. Distracted.
 
Her date is very good looking and clearly smitten with her but evidently disappointed in her lack of attention.
 
She fiddles with her phone while he orders another round. He motions to the bar tender for another.
 
BAR TENDER
And for the lady?
 
The DATE looks at her, still not paying attention. He motions to the BAR TENDER to give him a moment then whips out his phone and presses in a number.
 
REBA’S phone rings and she is suddenly alert. She turns away from her DATE to answer, but it’s him calling.
 
DATE
One olive or two?
 
REBA whips around, mortified. She places her hand on his shoulder to reassure him she meant him no disrespect.
 
REBA
I’m so sorry. I’ve just got a lot
on my mind.
 
DATE
Clearly. Look no offence, but I
waited a month for you
to schedule a drink with me.
 
REBA
Three olives. Three fat, juicy
olives.
 
The BAR TENDER whips into action and the DATE seems momentarily appeased.
 
REBA alights from her chair.
 
REBA 
I’ll go fix my face and when I come
back, I’m all yours.
 
She touches his shoulder again and the DATE is putty in her hands.
 
44 - INT LADIES ROOM EVENING CONTINUOUS
 
REBA in a cubicle. She sits on the closed lid on the toilet and takes out her VERIS handset. She presses in a few numbers and sits back taking a rare breather.
 
Beside her, another WOMAN can be heard, exiting the cubicle and the bathroom.
 
The coast clear, REBA exits the cubicle, checking her face in the mirror.
 
46 - INT HOLE IN THE WALL BAR EVENING CONTINUOUS
 
REBA slips through the small establishment, staying close to the walls.
 
She steps outside the building and takes in a breath of fresh air and moves quietly along the street. As she passes the window of the BAR we see an identical VERIS REBA sitting with her DATE, being utterly charming.
 
She keeps walking and passes a neon lit 24/7 pool room.
 
MATCH CUT TO:
MOMENTS LATER
 
45 - INT POOL HALL
 
TEKO and CASTROL, sinking billiards.  BETTY is there, so is REBA’S curly haired Veris. TEKO is leaning over REBA as if to show her how to use the pool cue. BETTY looks on, her expression ambiguous and again it’s a weird scene.
 
Despite seeming to need tuition, REBA takes her shot and sinks the ball expertly.
 
BETTY takes her drink and stands over by the window. Her gaze focuses on the real REBA walking past the bar and down the street.
 
There is no look of recognition on her face- she is blank. Beautiful but blank.
 
46 INT REBA’S APARTMENT LATER
 
REBA arrives home. Her apartment- as expected, is a dedicated display of comfort and elegance. Floor to ceiling windows expose a breath taking view of the city. Carpeted and polished parquetry floors make every corner unique and eye catching.
 
Large post modern landscapes enhance the space and the colour scheme is both dramatic but soothing. The lighting is soft, transcendent. Fitted, built-in finely upholstered furniture, gives the space a kind of expensive, post modern Bedouin appeal.
 
Her work space is perched above her living area, with a short circular stairwell and gallery railing cordoning it off and giving it a sense of mission control.
 
She Skypes DAN on her desk top. He appears through the screen looking tussled from a late afternoon nap. Through the webcam, an empty glass of milo and a half-eaten sandwich is visible on his desk.
 
REBA
Hey.
 
DAN
(on web cam)
Hey yourself?
 
REBA
Any word?
 
DAN
All quiet on the western
suburbs..front.
 
REBA
You’re evidently delirious and you
look like shit.
 
DAN
Am I supposed to argue with that?
What have you got?
 
REBA
Nothing.
 
DAN
What about the security footage?
 
REBA
I’m not ASIO.
 
As they talk over the web, REBA feeds the Veris device into her desktop and we start to see a scrolling amount of vision being downloaded onto the machine.
 
In addition, a GRID MAP of the city appears and the red LEDs blink on and off.
 
DAN
Thank god for that. Well there’s
not a peep out this way.
Believe me, if there was bad
news in the parish Rhonda
would have been all over it
like corn on a cob. She feeds
off tragedy. So if it wasn’t
him, who was driving his car?
 
REBA
You know he came by here a while
back?
 
DAN
When?
 
REBA
Didn't get past security.
 
DAN
How do you know it was him?
 
REBA
They got it on camera.
 
DAN is silent a moment.
 DAN
What?
 
REBA 
Nothing. Just, why didn't you let
him in?
 
REBA
His name wasn’t on the list.
 
DAN clearly has something to say about this but holds his tongue.
 
REBA starts highlighting the GRID MAP references on her monitor. As she does a still frame of the Quicktimes pop up and the first reveals REBA in a dark suit still in a meeting at a HIGH RISE office at the PARIS end of town.
 
The second shows her at a formal cocktail function at a magnificent glassed venue down by the river.
 
The third is the Hole in the Wall bar where we last saw her on her date.
 
On each of the Quicktime images a big red V is superimposed over the image of herself.
 
As REBA keeps talking to DAN, she fails to see a fourth red LED blinking almost exactly behind the hole in the wall, this is her VERIS at the POOL ROOM.
 
DAN
You going to this thing tonight?
 
REBA
I haven’t decided.
 
DAN
Thought you were giving a speech.
 
REBA
Who told you that?
 
DAN
I dunno. Just thought you were.
 
The Veris vision finishes its download.
 
REBA
Time’s up. Ill text you if I hear
anything.
 
DAN
Don’t break a nail. Ciao.
 
She disconnects, sits and ponders a moment then walks over to her security door where a small screen is mounted next to an intercom. Pressing the button, she contacts her DOORMAN.
 
MONTY (O.S.)
Security.
 
REBA
Hi Monty, it’s ..
 
MONTY (O.S)
Evening Ms Williams.
 
REBA
Do you still have that footage you
secured last week?
 
MONTY (O.S.)
Would you like a copy?
 
REBA
Do you have it?
 
MONTY (O.S.)
Patching it through now.
 
REBA waits a moment before an email signal informs her the file is available. It boots up on the small screen and plays in grainy vision. But it’s CASTROL, struggling with two security guards and it’s not a pretty sight. In addition, the clean shaven, lithe CASTROL we have seen with TEKO is not present. Instead this is a gaunt but fluidy looking older man with no joy in his being.
 
REBA switches it off before it finishes.
 
From her work station, but unseen to her, the LED on the Grid Map starts to move.
 
47 INT GENTLEMEN’S CLUB/LADIES TOILETS EVENING
 
BETTY alone. Checking the mirror. The cosmetic work she's had. She snorts some coke.
 
48 INT GENTLEMEN’S CLUB CONTINUOUS
 
BETTY returns and slips TEKO some coke. He smiles and kisses her a little grotesquely in front of his friends. They don't seem to care.
 
TEKO cuts up a few lines, he snorts, then CASTROL. It’s REBA’s turn. At first she declines but TEKO waves the rolled fifty note under her nose, enticing her. He licks his lips, then kisses REBA full on the mouth.
 
She draws away, smiles and takes the rolled fifty. She winks coyly at BETTY, stoops to snort the coke and as she does, her body shivers then freezes. She is suddenly suspended with tiny flecks of light streaming through her, as if paused on a DVD.
 
TEKO panics a little. People staring. Management not happy. He presses his Veris device without luck. REBA’s body starts to emit an alarm.
 
49 INT REBA’S APARTMENT CONTINUOUS
 
The same alarm emits from her desk top. But REBA is in the shower and doesn’t hear it at first.
 
50 INT GENTLEMEN’S CLUB CONTINUOUS
 
The management is getting annoyed.
 
CASTROL gets the giggles.
 
BETTY looks on, worried.
 
The small crowd begins to grow. A MANAGER approaches TEKO.
 
MANAGER
Would Sir like to call his service
provider to fix the problem?
 
TEKO is stuck. He tries again and again with the Veris handset but to no avail.
 
51 INT REBA’S APARTMENT/GENTLEMEN’S BAR CONTINUOUS
 
REBA exits the bathroom in a robe, towelling her hair. She hears the alarm and bolts to the work station, realising her earlier mistake and bringing to full screen the situation at the CLUB.
 
Via the machine, she calls TEKO again. INTERCUT AS REQUIRED.
TEKO answers.
 
TEKO
Long time no see.
 
REBA
Thank god. Finally. What’s going
on?
 
TEKO is three sheets to the wind and does his level best to seem on top of things.
 
TEKO
Hey can you deactivate your avatars
from your end? Sorry. So to speak.
 
REBA in a double click does exactly this. The alarm stops at both ends. The crowd seem a little disappointed but the management relieved if still bemused.
 
TEKO 
Thought you could. Cheers.
 
He moves as if to hang up.
 
REBA
I said what’s going on? Where are
you? (she peers into the monitor)
Who signed you in?
 
TEKO
Yeah, cheers, nice. Seems they have
a No Veris policy here. There’s a
little PR exercise for you.
No need for thanks.
 
REBA
Not to mention an issue with drugs
on the premises.
 
TEKO
Whatever.
 
REBA
I asked what’s going on? I’ve been
calling you all day.
 
TEKO
Just doing a little after hours
business.
 
REBA
Did you get any of my messages? We
need to talk.
 
TEKO
So talk. Go on, talk, talk your
head off. Please, I’ve been trying
to talk to you for years but all
I get is some poof called Luca
taking my messages. So speak.
 
REBA
Jesus Tom, everyone is worried sick
about you.
 
As she communicates with TEKO, REBA uses her keyboard to scrutinise the situation. She can see her suspended VERIS still sitting poised with a fleck of cocaine on her nose. She can see BETTY standing in the background and the small crowd dispersing.
 
REBA 
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.
 
REBA 
You have got to be kidding? Tom,
this is serious. That Veris.
 
TEKO
 Who said it’s a Ver..
 
REBA
My Veris then!
 
But TEKO is suddenly not interested.
 
TEKO
Look babe, love to chat but it’s a
big night for the class of 88.
Come join us if you want. Bring
your wrinkle cream.
 
TEKO rather asininely waves his Veris hand set around, this time annoying the Manager so much he motions to two SECURITY MEN dressed conspicuously in dinner jackets. They start their march toward TEKO'S crowd.
 
CASTROL sees them and motions to TEKO with a razor sign across his throat. BETTY steps over to TEKO for support
 
In her apartment, REBA sees all of this. She punches in another code on her keyboard and her VERIS disappears from the club.
 
REBA
Don’t you hang up..(on me).
 
But TEKO isn’t listening. He disconnects the call and REBA is left at her work station with a black screen. With no VERIS activated and no connection to TEKO'S phone, there is nothing left to look at.
 
52 - EXT TEKO FAMILY HOME NIGHT
 
A modest home, kitsch letter box, well tended garden. REBA stands in silhouette in the doorway.
 
DAN
Well well well. I feel a curtsy
coming on.
 
REBA
Give me a break, Danno. What a
night.
 
DAN
Visiting your folks?
 
REBA
I wish. Look put your pants on ok,
we have to go find Tom.
 
From the house, RHONDA TEKO calls.
 
RHONDA
Off screen 
Is that Tom?
 
DAN
(Calling)
No ma. (lowering his voice)
I’ve heard nothing. His old man
would have told someone if it
was him in the car.
 
REBA
Castrol isn’t answering. Isn’t
online. Teko won’t return my calls.
 
DAN
Nor mine.
 
RHONDA OS
Who is it then?
 
DAN
(calling)
It’s no-one shuddup will ya?
 
REBA
As far as I know he hasn’t spoken
to his family in years. They might not know.
 
DAN
Well you know what I reckon, I
reckon they’re pulling a stunt
for the reunion. Think about it.
 
REBA
I know one thing they’re doing,
they’re messing with Veris.
Tom had a pirate version of me.
 
DAN whistles.
 
DAN
Clever dick. How’d he do that?
 
REBA
How’d you think? Castrol, no doubt.
And while he’s at it, I’m pretty
sure he’s with Castrol’s Veris right now.
 
DAN
Then what are we worried about?
 
REBA
We’re worried it was Castrol in
that car.
 
The penny drops.
 
DAN
I’ll get dressed. Come in for a
minute.
 
53 - INT TEKO FAMILY HOME NIGHT
 
Inside the living room ARTIE TEKO sits in a Jason recliner, asleep in slippers, a paper over his knees and a cup of tea by his side, his glasses in his lap.
 
REBA’S entry wakes him.
 
He looks twice, unsure at who he is seeing, replaces his glasses then recognises her.
 
ARTIE
Stone the crows. Reba the rebel.
You're looking flash. Off to the reunion eh?
 
RHONDA enters with a pile of ironing.
 
REBA
Hi Rho...Mrs Teko. Good to see you.
 
RHONDA
Hello dear, Dan said you were here.
 
From his bedroom, DAN bellows.
 
DAN OS
Mum! Have you seen my brown cords?
He bowls down the corridor and
hovers just outside the living room
 
RHONDA sifts through her basket and passes them to him.
 
RHONDA
How’s the family love?
 
DAN
You don’t wash these!
 
RHONDA
You and your dry cleaning. No
wonder you don't have any money.
 (to Reba) Still running the
business?
 
REBA
No. Dad sold out of that a few
years back. Just consulting now.
 
RHONDA
Consulting is he? Seems that’s all
anyone does now. Your mum must
be keeping busy with all those
grandkids of hers. How many now, three?
 
REBA
Another on the way.
 
RHONDA
Another! Lucky for some. I’ll be in
the grave before my lot produce
anything that amounts to off spring.
What about you? Still single?
 
If the comment is loaded, Rhonda Teko is the master of passive aggressive. Fortunately DAN enters, dressed if a little crumpled.
 
DAN
Let’s motor.
 
54 INT REBA’S CAR NIGHT
 
And again we are back in the car with REBA and DAN from the early scenes. DAN is driving.
 
DAN
These things as good as the spin?
 
REBA
Negligible. It’s more about the
cred as far as I can tell.
 
REBA plugs in the Veris handset again to speaker phone.
 
REBA (CONT’D)
Your mum’s never liked me has she?
 
DAN
That’s not true. She liked you
plenty when she thought you
would be the bearer of her grandkids,
but since you broke her favourite
son's heart and became much much
more successful than him, not so much.
 
REBA plays a portion of the tape again.
 
REBA
You sure this doesn't mean anything
to you?
 
DAN
I haven’t a clue. I haven’t seen
him for, months..shit years.
 
REBA
It’s just he hasn’t had the money
to keep a Veris, or even a car
for that matter.
 
DAN
How’d yo know that?
 
REBA
I don’t have to be ASIO to find
that out. I could do a credit
check on you from this handset
if you gave me a good enough reason.
 
DAN
Vindictive little fucker you are.

55 - INT TEKO’S APARTMENT NIGHT
 
Super- Bargaining
 
CASTROL is in the middle of a shower and shave. His conversation takes place as he walks from bathroom to living room.
 
TEKO is already changed and clean shaven. He is more sober than the last scene but they are both still drinking.
 
BETTY lies asleep on the couch, her head in his lap. He is stroking her freshly cut hair and the tenderness is palpable
 
CASTROL
Half an hour in a cab. Less if the
traffic’s good.
 
TEKO
You do not want to go to the
reunion.
 
CASTROL
How d’you know what I want?
 
TEKO
Very good question. I just, it’s
just not a good idea we’re
out in public tonight.
 
TEKO gently extracts himself from BETTY who stirs momentarily and settles again, like a baby.
 
He lifts his VERIS handset from the table and calls up the Quicktime on the menu.
TEKO (CONT’D)
What do you know about this?
 
He starts to play the file but CASTROL draws a blank.
 
CASTROL
Dunno.
 
CASTROL reenters the bathroom and he emerges again slapping Brut 23 on his face. His charm is irrepressible.
 
CASTROL (CONT’D)
You can keep your Armani, your
Pabco Rabanne and your Eau Savage-
Just give me Come To Me-Brut 33.
Nostalgia in a bottle. They'll
be so mesmerised by memory lane
they won’t even know I’ve slipped it in.
 
TEKO
Charming. Come on Castrol, why
would you send this to me? And the others.
 
CASTROL
I don’t know.
 
TEKO
You filmed me?
 
CASTROL
Why did I do that?
 
TEKO
That’s what I want to know? We have
to talk about this.
 
CASTROL
You know the rules mate. Can’t
change ‘em now.
 
But he takes a minute to look at the footage.
 
CASTROL (CONT’D)
Nice framing, I’m not a bad steady
cam don’t you reckon? (A beat) Why
the applause?
 
TEKO
It's customary, that’s what Suits
do when they realise you’ve just
made them a shit load of money.
See that's me, showing them how
our market penetration will deliver
them thirteen and half percent
more profit margin than
they expected before the meeting.
 
CASTROL
How?
 
TEKO
Because thanks to you, we came up
with the best marketing strategy
\IT communications has ever seen.
How we’ve always done it. Your creative
genius, my connections. Your backroom
brilliance, my front man charm. Jump
in any time Einstein.
 
CASTROL stops what he is doing for the first time.
 
CASTROL
All my work eh?
 
TEKO looks expectant?
 
CASTROL (CONT’D)
So where’s my cut?
 
56 - INT SPAN BRIDGE NIGHT
 
The view toward the city is impressive- an EMERALD CITY stretched out before them.
 
DAN
I’ll say one thing for this heap of
jeep. It’s got traction.
 
But REBA isn't listening, she’s texting on her phone.
 
DAN (CONT’D)
D’you ever clock off?
 
REBA
Not these days. It’s the point
isn’t it?
 
DAN doesn’t answer immediately.
 
DAN
Say Tom is stupid enough to
activate a (he is going to say
dead and stops) a non material
Veris, what’s the biggie?
 
REBA
The biggie is nobody knows. It’s
unprecedented. To my mind it's
a copyright issue and let’s be
clear about that- the legal beaks
have so far made a complete mess
of those, so as far as I can
tell, we’re in unknown territory.
 
DAN
We’re just talking misdemeanor
aren’t we?
 
REBA
Maybe. But misdemeanour added to
prior conviction, no matter how
long ago that was, add to that
loss of job, immediate eviction
and ...well, no more perks means
your bedroom is about to
get a lot more crowded.
 
DAN exits the bridge and pulls up at a red light. TEKO’S building in within sight.
 
DAN
I know I’m a horse’s arse Reba and
I’ve been a total shit to you in
the past but I mean this, why
do you suddenly care so much?
 
But Reba doesn’t answer immediately.
 
REBA
There’s a moral prerogative.
Dan gives her a sideways glance.
 
REBA (CONT’D)
Just don’t.
 
57 - INT TEKO’S APARTMENT NIGHT
 
Looking at the photo-shopped version of the photo with BETTY, TEKO, CASTROL. He seems puzzled.
 
CASTROL
Didn’t we do this camping trip with
Reba?
 
TEKO looks at BETTY before answering.
 
TEKO (whispering)
Betty wasn’t comfortable with it.
She photo-shopped herself in.
 
CASTROL
Right.
 
He pours himself a healthy shot, downs it and pours another for TEKO.
 
CASTROL (CONT’D)
Well I’m not going to get any tail
here. (he looks at BETTY)
Unless you want to share.
 
TEKO
Fuck off.
 
CASTROL
Capitol idea. How much time before
the batteries need a recharge?
 
TEKO pales at the mention of it. He checks his VERIS handset.
 
TEKO
Less than ten.
 
CASTROL
Then we better get a wriggle
on. First stop, my place to
grab that film cannister, next...
Into a cab and out to the old
stomping ground.
 
TEKO
We’re not going back there.

And we’re not going...
 
CASTROL
I reckon a bit of memory lane and
the Old Spice might get me a
long overdue shot with Vance the Pants.
 
Over this we see..
 
58 INT ELEVATOR TEKO’S APARTMENT CONTINUOUS
 
From the street we see REBA and DAN ascend the elevator.
 
59 - INT TEKO’S APARTMENT NIGHT
 
TEKO
She might not look as good as you
remember.
 
CASTROL
She can’t have changed that much.
 
TEKO
In twenty years I think there’s a
fair chance.
 
CASTROL stops and looks at him.
 
CASTROL
Whatcha talking about Willis?
 
TEKO
The reunion mate, it’s our second.
It’s twenty years since we
left high school.
 
CASTROL seems a moment like this might have some devastating impact but instead.
 
CASTROL
Jeez that went quick.
 
TEKO looks at him, imploringly, as if he might come clean about things.
 
TEKO
You sure you don’t want to tell me
something?
 
CASTROL gets very serious. He takes one of TEKO'S hands in his, grips it and looks him in the eye.
 
 
CASTROL
I do want to tell you something. I
want to tell you, that if we don’t
get out of here soon and strap on
a pair of beer goggles I will
climb the walls.
 
He launches out of his chair with remarkable agility and heads for the door.
 
CASTROL (CONT’D)
We got ten hours in V Mode. Let’s
pony. 
 
That’s it then- CASTROL wants a big night on the razz. How can TEKO deny him?
 
He looks at the sleeping BETTY. His look is ambiguous. Is it longing or chagrin?

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.

BETTY
Long time no see. Come in. Would
you like a drink?
 
But REBA isn’t buying it. REBA notices the same photo CASTROL mentioned earlier and we know, she knows she has been Stalinised out of it.
 
DAN
We’re not staying. But thanks.
 
BETTY
Pity. I mix a great martini. Three
olives isn’t it?
 
She has directed this comment to REBA and there is no discernible sarcasm about it, just a primal instinct between the two women. It gets up REBA’S nose.
 
REBA
We’re not staying. We’ve been
looking for Teko all day. Where is he?
BETTY is a good cover.
 
BETTY
No idea. Out. He’s usually out.
 
REBA
Why aren’t you with him?
 
REBA’s comment isn’t rude but speculative, like an employer or school teacher.
 
BETTY
Wasn’t invited. Surplus to
requirements.
 
The wry comment and the insight if offers into BETTY takes REBA by surprise. She responds as a competitor who has just realised she has underestimated her quarry.
 
REBA bluffs.
We’ll wait.

 
REBA gives DAN a look.
 
 DAN
(apologetically)
If that’s all right with you.
 
REBA
They have to come back eventually.
 
BETTY
You think?
 
REBA is more and more circumspect by the minute.
She gets out her VERIS handset and dials up the clip CASTROL sent.
 
REBA
Know anything about this?
 
BETTY takes a moment to look at it.
 
BETTY
It’s the launch of the new V-Corp
advertising campaign. He was working
on it for months.
 
 
REBA
Paid off too. Big promotion for
Thomas Augustus Teko. Long time coming.
 
BETTY
If you say so.
 
The temperature is rising. DAN intercedes.
 
DAN
Maybe I will have a drink. Got any
whiskey?
 
BETTY nods and perfunctorily pours him a perfect two fingers in thick bottom tumbler and hands it to him with a miniature napkin.
 
REBA keeps acting like a cop.
 
REBA
Are they out celebrating?
 
BETTY
Something like that.
 
REBA
Strange you didn’t tag along.
Promotion like this, means big
things for Betty doesn’t it?
Congratulations, tenure.
 
DAN skulls his whiskey.
 
BETTY looks calm but her hands imperceptibly quiver. She walks to a bureau and pulls open a draw to retrieve a packet of cigarettes. She draws back the glass door to the balcony and lights up.
 
REBA walks to the bureau where the whiskey bottle sits and pours herself a glass, topping up DAN’S. It’s another of her actions that suggests her dismissive attitude to BETTY.
 
REBA
(to DAN)
Interesting. Betty’s aren’t supposed
to smoke. It's in their contract.
 
But BETTY surprises them all. From the balcony she calls over her shoulder.
 
BETTY
Well this Betty’s contract has just
expired, so I don’t care what I’m
supposed to do or not do.
 
REBA is all ears.
 
BETTY (CONT’D)
You must have missed that email. I
didn't get tenure. I nearly got
retrenched as a matter of fact. Fortunately
Veris Corp decided to cut their losses
and I’m just reassigned. Starting tomorrow.
So if you don’t mind, I’ll choke as
many of these as I can before then.
 
She walks over to REBA as she says this and takes the whiskey glass from her hands and downs it in one.
 
DAN
Did he sack you?
 
BETTY
No no, he wouldn’t do that. He
quit. So, you know, force majeur.
 
She lights up another and steps toward the balcony again.
 
BETTY (CONT’D)
So no tenure, no superannuation, no
marriage and definitely no babies.
 
DAN is worried about his brother.
 
DAN
When did he do this?
 
BETTY
(flatly)
Today.
 
DAN
Why?
 
BETTY looks like she might cry but regains her composure as quickly.
 
BETTY
Not for me to say.
 
REBA hasn’t enjoyed being in the dark and looks like she might lose her composure. She takes an instinctive but regrettable step toward BETTY.
 
REBA
Is he with Castrol? Now, right now?
 
BETTY
You know I've never met Castrol?
I've only heard about him. So
I’m sorry but I really can’t
answer your question.
 
BETTY busies herself with tidying up- a passive aggressive action.
 
DAN signals to REBA they should leave, but REBA seems determined.
 
REBA
What if he’s in trouble?
 
BETTY
What if he is? D’you think I have
some super powers? That I can stop
him doing anything he wants.
 
REBA
They’re phasing you out. Veris will
make you redundant soon. Without looking up.
 
BETTY
Teko really didn’t do you credit.
 
BETTY is having an uncharacteristic moment of bile.
 
BETTY (CONT’D)
He talked a lot about you, about
Dan and Castrol too. Personally
I could never see what the big deal
was. Your Veris weren’t much of a
recommendation. Bunch of commitment- phobes
as far as I could tell. But so much
fun, so much fun.
 
REBA
You’re hardly in a position to
criticise. How old does Teko think
you are? It’ll catch up with you eventually.
 
BETTY
God forbid I might have to get by
on my actual, like personality! So
I didn't go to university, or get
my MBA or the connections that go with it.
And so what if a Stotts Book keeping
certificate doesn’t quite cut it in
the boardroom, but don’t get all wet
about Veris changing your world. It’s
not the gadget, it’s just another gadget.
The human consumption for new toys is
unlimited perhaps, but so is their boredom.
I have to pack now, I think it’s
best if you left.
 
DAN step in before REBA has another crack.
 
DAN
If you tell us where he is, we
think we can help him, stop him
doing anything stupid.
 
BETTY steps out to the Juliet balcony, taking in the sweep of the city below.
BETTY
They’re out there. That’s all I can
tell you. Boys night. You figure it out.
 
61- INT GOYA’S STRIP CLUB NIGHT
 
Indeed TEKO and CASTROL are out there. This is a regular haunt of theirs, at least it was. The colour scheme is red, black, lots of faux velvet and leopard print.
 
Inside the music is revved and discordant.
 
The lights are bright on the stage and low around the tables and bars.
Topless WAITRESSES slide around, making orders, taking shit from clients and smiling all the way through it. The tips are good.
The bar is stacked and so are the girls sliding up and down poles.
 
CASTROL sits on a stool by the catwalk, soaking up the show.
 
CASTROL
Your shout.
 
TEKO
Make the most of it, this is the
last of my dosh.
 
CASTROL
What’s with the cash flow shortage?
Didn't you just get a big promotion?
 
TEKO doesn’t answer, instead.
 
TEKO
Them and me, not much difference in
our line of work.
 
CASTROL looks blank.
 
TEKO (CONT’D)
A slippery pole surrounded by
arseholes.
 
TEKO is edgy, self conscious, unable to enjoy himself as he might otherwise. At the bar he orders two expensive beers and turns to give one to CASTROL, just in time to see a sexy TRANSVESTITE whispering and licking CASTROL'S ear, before moving away. She looks a little like Debbie Harry with very big hands.
 
TEKO (CONT’D)
What was that about?
 
CASTROL makes the crude ‘blow job’ sing with his tongue in his cheek.
 
TEKO (CONT’D)
Hate to rain on your love parade
idiot- she’s a man.
 
CASTROL
Then she’ll do a proper job.
 
A pre recorded fanfare blasts; The show lights blaze and the TRANSVESTITE steps up on stage, looking sexy, buxom and flamboyant.
The backing track floods the venue. She begins to sing and strip and give it all to a bluesy brassy version of Peggy Lee’s ‘I’m a Woman-W-O-M-A-N’
 
During the number CASTROL is a pig in shit. But TEKO remains edgy, convinced other people are watching him.
 
CUT TO:
 
62 EXT CITY STREETS/SOUVLAKI STAND LATER
 
...underscored by the vamp number of the previous scene, TEKO is waiting in a queue as CASTROL chats up some breezy women nearby. He seems to be doing well.
 
TEKO motions to CASTROL for some cash. We see CASTROL fishing in his pockets. He pulls out the lining on both. Suddenly the women react physically to something and move hastily away.
 
TEKO then sees what upset them, CASTROL has performed the ‘Elephant’, using his  pocket linings making the ears and his penis, the trunk.
 
TEKO, flabergasted, drags him off.
 
63 INT SEEDY BAR LATER
 
Castrol is immersed in a conversation with another woman, his charm and ease is patent.
 
 
TEKO downs another shot and grabs his arm to leave.
CASTROL affects a desire to shrug him off for the sake of the woman and uses it to value add his like-ability.
 
Shouting over the music, as they make their way to the exit..
 
CASTROL
What’s your beef?
 
TEKO
Too many cameras.
 
CASTROL
You’re fucking nuts. We were in.
Well I was, you’re just not trying.
 
TEKO
I’m not interested.
 
CASTROL
Why? Betty? Isn’t that the point?
Come on. We’re flying bro- It’s the mole-high
club and I’m a gold class member!
 
TEKO surprises CASTROL by literally jamming him up against a wall.
 
TEKO
We haven’t got time for this!
 
CASTROL
Easy Teek.
 
Two security guards move in on the men. CASTROL saves the day.
 
CASTROL (CONT’D)
Sorry gentlemen my boyfriend here
and I were having a dispute about
tops and, well bottoms.
 
TEKO walks out of the bar, CASTROL grinning at the guards, follows.

CASTROL
(CONT’D)
I know what you need.
 
64 - EXT GO KART TRACK NIGHT
 
Two grown MEN, two Go KARTS speed round the track.
In the shadow of a span bridge linking the industrial part of town, the bright lights of city buildings arc over the track, under lit by neon. Godlike in its overhang
 
The arena is floodlit, cold and near empty. It has the atmosphere of a cemetery.
 
A small operators’ booth, like a life saving tower guards the track at the cyclone fence entrance. The track is carved out of reclaimed domestic waste- landfill, adjacent to a synthetic wetlands near the port end of the river.
 
A small party is speed starting KARTS by the watchtower.
 
TEKO and CASTROL race each other. Their energy is supreme, their hedonism gratifying. The race is on.
 
TEKO drives to catch CASTROL to tell him to take it easy, but the more he pursues the more CASTROL takes the challenge and drives faster.
 
Until the inevitable happens.
 
TEKO’s kart clips the rear tyre of CASTROL’S and his KART flips and rolls onto its roof.
 
TEKO leaps out of his Kart, pulling off his helmet, desperate
 
TEKO
Castrol!
 
But CASTROL emerges from the Kart unscathed and suitably impressed with himself, ever the thrill-seeker.
 
He runs a small victory lap around the KART, tries once to lift it realises he can’t and does another. If they could bottle CASTROL'S blood and sell it on the streets, it would be the new drug of choice.
But TEKO, by contrast is starting to fray. His nerves are shot, his exhaustion peaking, his suspended disbelief starting to collide with a big bite of reality.
 
TEKO (CONT’D)
I can’t do this anymore.
 
CASTROL
What’s with you tonight? Stress
maniac. I’m fine. Not even a scratch.
In fact when aren’t I fine?
 
TEKO
Will you shuddup?
 
He grabs CASTROL and tries to settle him.
 
TEKO (CONT’D)
Shut up. Shut up. You’re not fine.
Why did you do this to me? It’s all
fucked. It’s all so completely fucked.
 
CASTROL
What are you talking about?
 
TEKO takes out his VERIS handset. He shows CASTROL an ID photo of CASTROL with a digital stop watch icon. It shows less than six hours left.
 
TEKO
This is all I have left of you. Six
hours, less than. What was so wrong?
Why didn’t you talk to me?
 
CASTROL
Tall about what? We don’t talk.
Talk is for tools and we just have
fun. It’s the deal, baby so build a bridge...
 
TEKO
..and drive over it.
 
TEKO looks like he will utterly break down.
 
TEKO (CONT'D)
It’s over. It’s so over. You, me,
my job. Betty. If you hadn’t pirated
all the software, we wouldn’t even
have this. I can’t believe you fucked me. Again.
 
CASTROL is not programmed to accept this news. Leaping into TEKO'S abandoned KART, CASTROL heads back down the track, and takes the KART off road, into the synthetic wetlands under the bridge.
 
A siren wails from the Observation Tower and a PA sparks up.
 
TOWER GUARD OS
The driver will return to the
premises. The driver will return to
the premises.
 
TEKO breaks into a run and clearly he’s not as fit as he’d like to be.
 
CASTROL has quite the head start and by the time TEKO catches up with him, he is out of the KART, staring over the river toward where they all grew up.
 
When TEKO reaches him, CASTROL has abandoned the KART, unzipped and is taking a leak, arcing his urine in an impressive flow into the river below.
 
CASTROL
Hard to believe we grew up just
over there. Teko puffed.
 
TEKO
Why?
 
CASTROL
Well look how far we’ve come.
 
TEKO
You think?
 
TEKO takes out his Veris handset and pulls a piece of paper from his pocket.
 
TEKO (CONT’D)
Yesterday you sent me this. Then
today, this.
 
CASTROL seems to oblige, he looks blankly at the Newspaper photo of his accident.
 
CASTROL
Oh my god! My car.
 
A squad car flashes its lights and bleeps the siren.
CASTROL, not equipped to rationalise makes a move to run, but a young COP, a real Cop and not some Veris Factotum, points a real weapon.
 
TEKO screams.
 
TEKO
Don’t Castrol. Stop!
 
TEKO runs for CASTROL. The officer changes his aim to TEKO. A moment of confusion. An older COP appears closer to CASTROL and fires a TAZER. It hits TEKO just as TEKO grabs CASTROL.
 
TEKO’S body arcs in pain. CASTROL, with a look of great surprise receives the bolt of electricity through TEKO and instantly disappears.
 
65 INT CITY LOCK UP LATER
 
TEKO is a sorry sight, shoeless, shivering in his designer clothes.
 
Footsteps down the hard surface. He raises his head. A night warden appears with a cup of coffee and a sad looking bucket of take away food.
 
OFFICER
Feel like chicken tonight?
 
TEKO doesn’t answer but she places it inside the cell in the bench next to him.
 
OFFICER (CONT’D)
You’re making this a lot harder on
yourself than you need to.
 
He still won’t answer.
 
OFFICER (CONT’D)
Suit yourself, but the night is
still a pup.
 
She waves a mobile at him.
 
OFFICER (CONT’D)
Go on...phone a friend.
 
66 INT TEKO FAMILY HOME NIGHT
 
The house is dark.
 
The land line rings shrilly.
 
Lights go on in the bedroom and RHONDA in a dressing gown appears.
 
ARTIE still in his chair startles awake.
 
ARTIE
Who is it love?
 
RHONDA
How should I know?
 
The doorbell rings.
 
ARTIE
Jesus wept.
 
67 INT FRONT DOOR MOMENTS LATER
CUT TO:
 
From the living room, RHONDA’S voice can be heard speaking on the phone.
 
Artie still forcing himself awake tentatively opens the front door to a nondescript old man his own age. It’s CASTROL’S father, Robert Penhaligon.
 
ROBERT
Sorry to bother you so late Art.
 
Rhonda’s voice can be heard down the hallway.
 
RHONDA
For heaven’s sake, who is..
 
ARTIE (caling)
It’s Bob Penhaligon.
 
ROBERT
I didn’t know who to, what to...?
It’s Bernard.
 
He takes a step backwards, a little unsteady.
 
68 - INT TEKO’S APARTMENT NIGHT
 
Dan is on his mobile in TEKO'S bedroom. REBA is on the balcony staring out at the busy city view.
 
Betty is packing.
 
As DAN rings off, all three find themselves standing in the living room.
 
Dan looks shaken.
 
DAN
That was mum. It’s confirmed. I
gotta get over there. You coming?
 
REBA nods yes but her body doesn’t move.
 
REBA
(quietly)
Take my car.
 
DAN
You're not coming?
 
REBA
I..I. Jesus Dan.
 
REBA doesn’t seem to be able to move, or speak properly.
 
DAN
Mum’s freaked. Thinks Teko will do
something stupid. I gotta go. Just in case.
 
REBA
But he’s not there.
 
DAN
No. He’s not. Not yet. Maybe the
reunion. She wants me to check.
You should come.
 
REBA looks aghast.
 
REBA
I can’t.
 
DAN
Suit yourself.
 
With the heaviest of shoulders, he exits.
 
Behind him, a pall of silence sits between BETTY and REBA.
 
Finally BETTY checks her luggage again. Despite the earlier hostility, the confirmation of CASTROL’S death has changed the atmosphere considerably.
 
BETTY
Stay as long as you like. Tom will
come back eventually.
 
She gathers her things. Still REBA doesn't move.
 
REBA
Where have they reassigned you?
 
BETTY
What?
 
REBA
Your next assignment.
 
BETTY
Actually I quit.
 
REBA
(surprised)
That’s brave. (Beat) Or stupid.
 
BETTY
Not really. I turn forty next month
and my pay rate plummets. So,
getting phased out, Veris or not.
 
REBA
Would you like me to...
 
BETTY
You don’t have to do this.
 
REBA
What?
 
BETTY
Make small talk because you’re
embarrassed to suddenly be alone with me.
REBA I’m not.
 
BETTY
Yes you are. It’s awkward. Anyway,
I’m going. They’ll be sending security
up here soon anyhow, make sure I vacate
the premises and don’t rip the joint off.
 
BETTY picks up her suitcase and heads for the door.
 
REBA picks up the photo-shopped frame from the table again. Betty can just see this out of the corner of her eye.
 
REBA replaces the frame. She still seems little fragile.
 
REBA
Can I tell you something?
 
Under the circumstances it seems a very odd thing to say. BETTY still hangs onto her luggage but turns a little.
 
REBA (CONT’D)
I knew Castrol was pirating Veris.
I knew because I gave him
the pin codes to launch a prototype.
He wanted my help and I wanted
him to leave me alone. It was
convenient. When Veris Corp find
out, and they will, I’ll be in much
the same circumstances you now
find yourself.
 
BETTY
I doubt that.
 
REBA
He called me a cyber bully.
 
BETTY at the door, not really wanting to turn around.
 
REBA 
Castrol, the last time I saw him.
He said I hid behind my emails
and texts, that I was a pretend
friend. That I wasn’t capable of
having a real relationship anymore
and all I did was use technology
to feather my nest. Could I have another
shot of whiskey do you think?
 
BETTY slowly and deliberately puts her bags down and makes REBA’s drink, and one for herself.
 
BETTY
(toasting)
Virgin, mother, crone. She drinks.
 
Reba looks at her.
 
BETTY
Tell me, in history, one time, ever
when a woman has managed to be a
success in her own terms without
breaking the sanctity of that
cycle? Or another way of putting
it, without being considered, a whore.
 
She collects her bags again.
 
BETTY 
I told you, I never really met
Castrol. But the man I knew
seemed pretty busy using technology
for his own gratification.
 
Betty at the front door. Reba calls after her.
 
REBA
Good luck.
 
BETTY
You too.
 
She leaves REBA alone in silence.
 
69 - INT HIGH SCHOOL NIGHT
 
We see again the red head, NATALIE at the reunion, kissing the life-size image of TEKO. She looks over to the door. A look of recognition and a big smile.
 
70 - EXT STREET NIGHT
 
BETTY hails a cab. Her phone rings.
 
BETTY Teko! 
 
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