AMBER
Neil Stratton
EXT GROUNDS TWILIGHT
A car comes to a halt at the top of a long
drive. The Wade family climb out and
gaze at the looming presence of the old
wooden mansion, attended by only a
single twisted oak. Iron latticework
crawls up the lower level windows like a
vine. The higgledy-piggledy nature of
the house gives the impression it had
survived an earthquake, though not
intact.
Ben turns to his wife.
BEN
When do the bats fly out?
MARLENE
Did I mention the rent's a steal?
BEN
You did indeed, dearest, and I rashly
assumed we were the perpetrators.
Amber tilts her head, as though the key
lay in finding the right angle.
AMBER
I don't get it.
BEN
It's perfectly simple, sweetie-pie. The
architect was having a nervous
breakdown when he designed the place.
MARLENE
I was told he built it for his wife, and
intended the effect to be whimsical.
BEN
And Bill Burroughs aimed for the apple,
but what you hit is often more important
than what you miss.
Brad's eyes glow with excitement.
BRAD
You reckon there's ghosts?
BEN
Well son, if they do exist – and I'm not
positing – they would be foolish not to
avail themselves of such an inviting
haunt.
MARLENE
When I suggested something roomy and
atmospheric, you were more than happy.
BEN
Anyone who's more than happy is
obviously in an unbalanced state, and
therefore not fit to pass judgement.
MARLENE
You hate the place.
BEN
I'm not saying that.
MARLENE
But?
BEN
I'm merely wondering if we really need
five stories.
MARLENE
Four plus the attic.
BEN
Equals five.
MARLENE
We do.
BEN
Good to know.
They all pile back into the car except for
Amber, who stands shaking her head.
AMBER
I still don't get it.
EXT MANSION TWILIGHT
The grinning skull makes Ben drop his
bags.
BEN
Hon, what is that?
Marlene brushes past him to rap on the
door in demonstration.
MARLENE
Presto.
BEN
I know what it is. I mean, is it someone's
idea of a joke?
MARLENE
Quite possibly. It certainly wasn't here
last time I visited.
She unlocks the door and goes inside.
Brad and Amber follow, passing verdict
on the way.
BRAD
Cool.
AMBER
Tacky.
BEN
Am I the only one here not missing the
point?
INT HALLWAY TWILIGHT
Ben finds his daughter marvelling at the
spiral staircase.
AMBER
It's like something out of a movie.
BEN
Technically speaking, grand staircases
existed before film.
AMBER
Is it that old?
BEN
Not this particular one, no.
AMBER
So when do you reckon?
Ben shrugs.
BEN
The decade that roared.
AMBER
Cool.
BEN
Actually the word then was 'hot'. Like
Louis Armstrong and his Hot Fives and
Sevens.
But Amber is barely listening.
INT DINING ROOM NIGHT
The family minus Amber are gathered
around the table scoffing pizza.
Marlene sighs.
MARLENE
Where is that girl now?
BRAD
I bags her pizza.
BEN
Son, the police take forty-eight hours to
declare a missing person. I suggest you
show your sister the same consideration.
Moments later Amber slumps in.
MARLENE
Your pizza's half-cold.
Amber stares glumly at her plate.
AMBER
Well I'll just have the half that's hot.
BEN
What's up, sugar plum?
AMBER
How come, when we live in this big huge
house -
BEN
Which is it? Big or huge?
AMBER
Both. So how come I end up with such a
piddly wee room? Yes, daddy, piddly
and wee.
BEN
You might consider whether we're eating
before embarking on such imagery.
Amber chews in sulky silence.
BEN
Sweetie, it's just where they dumped
things. If you can find a better room,
fine. Just remember I'm not a ten-foot
tall removal man.
BRAD
I bags the third floor.
BEN
Son, ambition's a fine thing, but I think
you should just stick to keeping your
own room untidy.
MARLENE
Yes, I suggest we keep the use of rooms
to a minimum. We're not here on a
cleaning safari.
BEN
Unless of course Brad's willing to fund a
staff of maids with his pocket money.
BRAD
Yeah cool. Can I have a raise?
INT AMBER'S BEDROOM NIGHT
A loud creak pops Amber's eyes open.
She listens. Silence. She closes her
eyes again. Another creak. She springs
up and switches on the light. The
stillness envelopes her. She turns off
the light and huddles under the covers.
Creak.
INT PASSAGE NIGHT
Amber taps politely but insistently on the
master bedroom door.
AMBER
Can I come in?
No response.
AMBER
Hello? Anyone home?
BEN (voice)
Hang on, we're still deciding whose
daughter you are.
INT MASTER BEDROOM NIGHT
A woeful Amber trudges in.
AMBER
I can't sleep.
BEN
Sweetie, that was cute when you were
four.
MARLENE
Not what you said at the time.
BEN
In retrospect, hon.
AMBER
The house is making noises.
MARLENE
Your sphere, darling.
She disappears under the covers,
earning a resentful glare from Ben
before he turns back to his daughter.
BEN
The house is made of wood.
AMBER
So?
BEN
So that's what wood does.
Amber continues her blank expression.
BEN
People make musical instruments out of
wood. No-one makes any out of brick.
AMBER
It's not music, it's just creaky and
creepy.
BEN
It only seems that way because you
were brought up in brick. Now go back
to sleep.
AMBER
Thanks for the sympathy.
BEN
'Night, poor little brick girl.
He joins his wife under the covers.
Amber frowns at the two lifeless forms.
INT BRICK ENCLOSURE NIGHT
Amber shines her torch around the
circular wall, frantically searching for an
opening. There is none. She screams.
INT AMBER'S BEDROOM DAY
Amber finds herself upright in streaming
sunlight. She falls back down, covers
her face with her pillow and groans.
INT DINING ROOM DAY
Huddled in her satin dressing-gown,
Amber shuffles in and collapses onto a
chair. Empty plates abound. Marlene
and Ben sip coffee.
BEN
You're looking very Noel Coward this
morning. People, prepare to be hit with
a bon mot.
Amber rolls her eyes. Her mother pours
cereal.
AMBER
Why didn't anyone wake me?
BRAD
We couldn't find your bedroom.
Marlene pushes the plate in front of her
daughter.
MARLENE
I'm assuming this isn't just a cameo.
AMBER
Depends. What does muesli do for
nightmares?
BEN
Lots. I'm surprised they don't make it a
feature on the packet.
MARLENE
Sorry, darling, we should've asked how
you slept.
BEN
Well it's too late now, the surprise has
been ruined.
Amber pulls out her cellphone and
waves it around accusingly.
AMBER
How come I can't get coverage?
BEN
I believe it has something to do with a
negative spike in gravitation.
MARLENE
You're thinking of Canada, darling.
Amber morosely contemplates her fate.
MARLENE
I do hope you'll make an effort.
AMBER
Yeah, it'll be an effort all right.
EXT GROUNDS DAY
The family survey the vast lawn.
MARLENE
You did say you wanted to exercise
more.
BEN
And by that I meant leisurely strolls in
the countryside.
MARLENE
We'll all take turns.
AMBER
I work out for body tone, not to be an
Olympic contender.
BEN
We'll buy a ride-on. Or better still, pay
someone.
AMBER
I don't get this lawn.
BRAD
It's a lawn, stupid. What's to get?
BEN
Sorry, sweetie, I'm with your brother on
this one. As lawns go, this one
definitely lacks complication.
AMBER
That's exactly my point. You have this
great big crazy house and it's set in this
dull featureless blah.
MARLENE
I'm told that in its heyday, the place was
famed for its garden parties.
BRAD
What's a garden party?
BEN
Same as a lawn party. In those days
lawns and gardens knew how to party.
AMBER
So what happened?
BEN
The thirties followed the twenties. Don't
they teach you anything in mathematics?
Amber tries to imagine the scene.
AMBER
They drank champagne out of shoes,
didn't they?
BEN
Yes, they operated by different hygiene
standards.
AMBER
And the music, what was the music?
You mentioned something hot?
BEN
Jazz. It was the jazz age.
Amber's head fills with the sounds of
laughter and music. She opens her
eyes and finds herself alone on the
empty lawn.
INT ATTIC DAY
Amber mooches about as Ben and Brad
work at re-assembling Ben's desk.
BEN
Why are things always easier to pull
apart than put together?
AMBER
The law of physics.
BEN
What?
AMBER
Atrophy.
BEN
I think you mean entropy.
AMBER
Entropy, atrophy, you say tomato, I say
potato.
BEN
You realise you've just ruined a perfectly
good song?
AMBER
It's only music.
She moves to the window. Ben makes
repeated strikes with an imaginary
hammer. Brad laughs.
AMBER
He's doing the hammer routine, isn't he?
BEN
Thanks, son.
Amber spins around.
AMBER
I don't get it. You hate spooky and you
choose the spookiest room in the house.
BRAD
You're just sore 'cause you didn't bags it
first.
AMBER
Okay, I admit it. I could've been queen
of the castle.
BRAD
There's a room downstairs if you want to
sit on a throne.
AMBER
Why do twelve-year-old boys always
have to find something to snigger at?
Brad shrugs.
BRAD
Our job, I guess.
BEN
It's only spooky at night, which gives me
a perfect excuse for not doing overtime.
AMBER
Even so, I bet you get more creaks here
than anywhere else. They probably float
up from all the other floors.
BRAD
I reckon the reverb'd be awesome. You
could soundproof the room, and then
when you're not using it, I could play my
guitar at a decent volume.
BEN
I thought the whole point of death/thrash
was to avoid a decent volume. Besides,
I saw this film where the man was
working in his sealed home-office while
outside a maniac slaughtered his family.
AMBER
Yuk.
Ben stands back to admire his
craftsmanship.
AMBER
Is it safe to sit on?
Ben gives his daughter a disdainful look.
Amber warily tries the desk out.
AMBER
So how's it going anyway? Your book.
BEN
Very well, as you can see.
AMBER
I didn't mean right at this second.
BEN
Still sorting out my notes. I'm up to
'Good Vibrations'.
AMBER
What have the Beach Boys got to do
with medieval polyphony?
BEN
Interwoven melodies also happen to
feature in early jazz and some of Brian
Wilson's work, most unusual in pop.
BRAD
You doing anything on my stuff?
BEN
Sadly, Aural Damage don't fit the
criterion, although I do admire their
ingenuity in constructing an entire
melody from a single note.
AMBER
What's that spooky instrument in the
song?
BEN
It's called a theremin and you're right, it
was mainly used in films of that nature.
There's an amusing allusion to it in the
woo woo vocal line.
BRAD
What's so great about him? Like, didn't
he record in mono?
BEN
Yes, that was the technology of the time,
but interestingly it was also how he
heard the world - a perfect fit.
BRAD
Huh?
AMBER
He only has one good ear, dummy.
Ben starts pacing about, as though
seeking room for his ideas.
BEN
You and I, we not only see things in
space, we also hear things in space.
BRAD
Like extra-terrestrial?
AMBER
Not that kind of space, he means the
stuff between your ears.
BEN
It's how we filter and sort the various
sounds of our environment.
Amber happily translates for her brother.
AMBER
It's how you tune out the teacher so you
can concentrate on what's out the
window.
Brad rewards her with a spectacular
face.
BEN
The lack of such ability forced Brian
Wilson to listen more intently than the
rest of us. He developed his ear to such
an extent, he could identify all the
composite sounds of any given piece,
yet still retain the sense of an
harmonious whole.
BRAD
I still reckon you should give death/
thrash a second chance.
EXT RIVER DAY
Good Vibrations
Amber breaks through the surface,
creating a cascade of glittering drops.
She tilts her head up and lets the sun's
rays caress her cheeks.
Suddenly a cold sensation slithers down
her back like a snake. She opens her
eyes but sees nothing stirring. She
listens, but there is only the rustling of
the waters and chirping of the crickets.
Covering herself with her arms, she
slowly turns around.
He's by the bank, sitting on a large tree
stump, calmly chewing on a grass stalk.
Amber flushes indignantly.
AMBER
Do you mind?
The chewing stops.
AMBER
Well I do. It's an invasion of privacy.
CARL
You own the river?
AMBER
That's not what I meant.
CARL
You're a city girl, aren't you?
AMBER
So?
CARL
So just because we don't have hordes of
mindless commuters, you people think
this is some kind of deserted wilderness.
AMBER
Well sorreee.
He resumes chewing.
AMBER
Come here often?
CARL
Yeah, I like this place.
AMBER
I bet.
He gets up and saunters off without a
backward glance. She's surprised at
this abruptness, and even more
surprised at her annoyance.
INT ATTIC DAY
Amber, perched on her father's desk,
scrolls down his iPod while he taps away
on his laptop.
AMBER
Why nineteen?
BEN
What?
AMBER
'Nineteenth Nervous Breakdown'.
BEN
It's just a number.
AMBER
So it could be any number?
BEN
No, it has to be nineteen.
AMBER
Why?
BEN
Alliteration.
AMBER
So why not ninth or ninetieth?
BEN
It needs to be two syllables to get the
driving iambic rhythm, suggestive of the
pounding in the temples. Then at the
end you get the release with the
descending bass runs.
He returns to his keyboard.
Thump.
BEN
Don't do that, sweetie.
Amber is all innocence as she continues
swinging her legs.
AMBER
Do what?
Ben waits a moment.
Thump.
BEN
That.
AMBER
I'm bored.
BEN
Maybe so, but it's wrong to hold my desk
responsible.
AMBER
How 'bout I help you with your book?
BEN
You could indeed. Peace and quiet
would be extremely utilitarian.
AMBER
I could work on a name.
BEN
What's wrong with 'Counterpoint Through
Through The Ages'?
Amber gives a vague shrug.
AMBER
You want it to sell, don't you?
BEN
Honey bun, if I wanted it to sell, I'd be
writing 'Sex And Violence Through The
Ages'.
Amber springs up and goes to the
window.
AMBER
If you squint, you can just about see the
river.
BEN
I'm not a squinter.
Amber returns, standing before him
forlornly.
AMBER
Why can't I be your assistant?
BEN
Because.
AMBER
That's not an answer.
BEN
When you were young, it was the only
one that would shut you up.
AMBER
Well I'm older now and it's about time
you noticed.
Ben thumbs through some loose pages.
BEN
I have, petal.
He resumes typing.
AMBER
Okay, fine, I'll just do drugs instead.
Ben stops.
BEN
Clear your diary from Monday. I'm
booking you in for rehab.
AMBER
I think you're supposed to wait till I've
actually started.
BEN
I'm your father and we'll do things my
way.
Amber gives a mighty sigh.
AMBER
Okay, no drugs. I'll just die of boredom
instead.
BEN
There's a zillion things you can do.
AMBER
Name them.
BEN
Pumpkin, if I were to do that, the sun
would turn into a white dwarf.
AMBER
One then.
BEN
Go to the library.
AMBER
And how do I do that? I can't believe
you only brought one car.
BEN
Well if you can't believe it, feel free to
use the other one.
Amber pouts. Ben closes his laptop.
BEN
I'll drop you off and pick you up. Deal?
AMBER
I thought you were busy working.
BEN
No, I'm busy planning your murder, but
since I'm rather fond of you, I'm offering
this alternative.
Amber shudders.
AMBER
I wish you wouldn't say things like that,
especially when I know your favourite
movie is 'The Shining'.
INT LIBRARY DAY
Amber, engrossed in reading onscreen
from an old newspaper, inadvertently
takes too large a sip.
AMBER
Ow.
Her neighbour leans over to offer a
grandmotherly warning.
ROSIE
The coffee's hot.
AMBER
Yes, thank-you, I'm beginning to work
that out.
ROSIE
I see you have an interest in olden
times. Such a rare trait in the young
these days.
AMBER
My father says that people who don't
know about the past are like Alzheimer
patients, but without the medical excuse.
Rosie glimpses a name and draws back.
ROSIE
Oh dear.
Amber jumps in quickly.
AMBER
Do they still talk about the murder of
Kitty Hayze?
Rosie studies her a moment, then a light
goes on.
ROSIE
My goodness, you're from that family
that's just moved into the old place.
AMBER
We're just renting. My father's on
sabbatical.
Rosie starts gathering up her books.
AMBER
What's wrong? Did someone else die
there?
Rosie shakes her head vigorously.
ROSIE
No no, nothing much happens here, so
people make up silly stories, that's all.
She gets up to leave. Amber stands
also.
AMBER
If you know something, please tell me.
Rosie hesitates.
ROSIE
Just be careful, dearie.
She scurries off. A disturbed Amber
returns to the screen and takes another
sip.
AMBER
Ow.
EXT PARK DAY
Ben joins his solemn-looking daughter
on the bench.
BEN
How was the library?
AMBER
Full of books.
BEN
As I suspected.
AMBER
He murdered her.
BEN
Who?
AMBER
Charles Hayze. He killed his wife Kitty.
BEN
And who's Charles Hayze when he's at
home?
AMBER
The architect.
BEN
Our architect?
Amber nods.
BEN
Of all the ideas, I had to pick the one
bad one. What are the odds? Well we
know what they are – a zillion to one.
Amber remains silent.
BEN
I'm going to have a word to your mother.
She may find this Gothic gloom inspiring,
but she needs to consider the effect on
susceptible young minds.
Amber smiles at last.
AMBER
Don't be silly, daddy, Brad loves that
kind of thing.
INT STUDIO DAY
'Know Your Arts From Your Arse' flashes
in Las Vegas lights. The host says to
the contestant, "We were looking for
'Michelangelo', although I agree 'me'
also starts with 'M'."
Amber lies on the sofa studying the
ceiling.
AMBER
Do you think he really killed her?
MARLENE
Who?
AMBER
Charles Hayze. I told you the story.
MARLENE
Does it matter, darling? They hanged
him and the noose doesn't distinguish
between guilty and innocent.
AMBER
Can we please not turn this into a
debate on capital punishment?
MARLENE
I wasn't the one who raised the issue.
Amber pouts. Her mother continues
sketching, oblivious.
AMBER
He proclaimed his innocence right to the
very end.
MARLENE
Or maybe even beyond.
Amber gives a slight shudder, then
decides to ignore the remark.
AMBER
He built this house for her.
MARLENE
So?
AMBER
So he must have loved her.
MARLENE
So?
AMBER
So how can you murder someone you
love?
MARLENE
Quite easily, darling, you're leading me
down that path right now.
AMBER
You're starting to sound like daddy.
MARLENE
One of the perils of marriage.
AMBER
Mother, are you warning me off
marriage?
MARLENE
Heavens, child, I thought danger made
things more alluring.
EXT ROAD DAY
Amber approaches the dusty van,
seemingly abandoned on the side of the
road, and studies the sign curiously:
EVANS ELECTRICAL.
EXT RIVER DAY
Carl sits on the stump flinging stones
into the water. Amber creeps up behind
him.
AMBER
Out of luck, huh?
Carl doesn't flinch, much to Amber's
disappointment. He scoops up another
handful, and weighs them in his palm.
AMBER
I'm Amber, if you're interested.
CARL
Carl.
She joins him on the stump. There's not
much room and they're nearly touching.
AMBER
Who's Evans?
CARL
The old man. He buggered off, so now
it's just me.
She waits for him to elaborate, but he
throws a couple of stones instead.
AMBER
So how's business?
CARL
I'm on a break, okay?
AMBER
I wasn't... Jeez you're hard work.
Carl looks at her for the first time since
her arrival. She finds herself almost
gasping at the intensity of his blue eyes.
He seems to read her mind.
CARL
You've got funny eyes.
AMBER
Thanks.
CARL
Are they supposed to be brown?
AMBER
They're brown with speckles of green.
Is that a crime?
He tosses all the remaining stones into
the water. There's a long silence.
AMBER
Why is it so hard to make conversation
with you? Was it easier when you had
me at a disadvantage?
He sniggers.
CARL
Do all city girls talk like that?
AMBER
Enough of the city girl crap. I talk like
me, okay?
CARL
So what does daddy do?
AMBER
He's a professor.
CARL
Figures.
Amber jumps up.
AMBER
The only thing it figures is you're
completely obnoxious.
She starts to storm off.
CARL
Wanna do a movie?
She calls over her shoulder without
breaking stride.
AMBER
Pick me up at seven. The old mansion,
you can't miss it.
INT KITCHEN DAY
Marlene dices parsley while Ben grates
mozzarella to make up for the nibbling
shortfall.
BEN
So what do we know about this guy?
MARLENE
He's an electrician.
BEN
She's sixteen.
MARLENE
So?
BEN
So we should put our foot down.
MARLENE
Our foot?
BEN
Yes, sweetheart, we have a collective
foot.
MARLENE
And why?
BEN
Why? Did you date an electrician when
you were sixteen?
MARLENE
No, darling, there were so many trades
and only three hundred and sixty-five
days in the year.
Ben absent-mindedly pours himself a
glass of wine.
MARLENE
That's cooking.
Ben tastes and nods.
BEN
Most definitely.
Marlene starts scraping the parsley into
the pan. Ben watches with a faraway
look.
BEN
Who does he work for?
MARLENE
Himself.
Ben takes another gulp as he mulls this
over.
BEN
That's either very good or very bad.
MARLENE
How clever of you to narrow it down to
those two possibilities.
BEN
Why has she never mentioned him
before? Don't you find that odd?
MARLENE
No, darling, what I find odd is you
imagining your daughter keen to discuss
her romantic feelings with you.
Ben narrows his eyes.
BEN
Why is that, hon?
MARLENE
Because you don't discuss, you
interrogate.
Ben drains his glass and immediately
re-fills.
BEN
And what's wrong with my interrogation?
MARLENE
Nothing, you would've made a superb
Grand Inquisitor.
Ben takes a large mouthful, sloshes it
around contemplatively then swallows.
BEN
Do you think he knows she's only
sixteen?
MARLENE
Well if he doesn't, I'm sure he will by the
time you're finished with him.
BEN
Damn right.
Marlene stops stirring to face him.
MARLENE
Please don't spoil her evening.
Ben empties his glass again. Marlene
raises an eyebrow. He shrugs.
BEN
It grows on you.
INT LIVING ROOM DAY
It's early evening but still light. The
family sit around waiting. Brad, with the
sharpest ears, sounds the alarm.
BRAD
Action stations.
They all pick up books.
Amber appears in a wide-belted short
red dress with black tights and ankle
boots. Her hair has been swept up then
allowed to tumble down onto her left
cheek. Chunky earrings complete the
look.
BEN
You don't miss stereoscopic vision?
MARLENE
What your father means is you look
ravishing.
BEN
I do indeed. And may I point out that
ravishing doesn't equate to ravishable.
Quite the opposite, in fact.
MARLENE
We're all grateful to you for clearing up
our semantic confusion.
BEN
My pleasure.
Amber risks a peek out of the window
then whips back around, struck by a
sudden thought.
AMBER
What if he doesn't show?
BEN
Then he'd be an idiot, and my daughter
shouldn't be dating an idiot anyway.
Brad smirks.
BRAD
You're on time for once.
BEN
Excellent point, son. Sweetie-pie, that's
as good as throwing yourself at him.
Amber turns to her mother imploringly.
MARLENE
It's okay, darling, he's promised to mend
his evil ways.
BEN
I still insist on meeting him, though.
AMBER
Or I could I wash the car for a month.
BEN
And I'm sure you would. It'd be once a
month for the entire month.
Amber, at the window again, ducks down.
AMBER
Omigod, he's here. What do I do?
MARLENE
Panic, darling. That always makes a
good impression.
INT/EXT FRONT DOOR DAY
Amber opens the door with studied
insouciance. Carl, in black leather
jacket and white T-shirt, is a similar
picture of unconcern as he leans with
his back against the wall. That is, until
he catches sight of her.
AMBER
What's wrong?
CARL
You.
Amber looks down at herself then back
up at him.
AMBER
How do you mean?
CARL
I mean you look great.
AMBER
Thanks. Now my dad wants to meet
you, but it's just a formality, so stay cool.
CARL
I'd like to meet him too.
AMBER
You would? Listen, my dad's not big on
me seeing guys -
CARL
How many have you dated?
AMBER
Billions, you're missing the point. Just
show your face, say as little as possible,
then we scram. Got that?
CARL
Why? Are you ashamed of me?
Amber sighs.
AMBER
This isn't the time to be paranoid. I told
you, it's nothing personal, he's like that
with all my dates.
CARL
So how many, really?
AMBER
How many do you think? I'm sixteen.
Carl blinks.
CARL
I thought you were older.
AMBER
Now that's the sort of thing we don't
need to bring up with my dad.
Carl shrugs.
CARL
So let's do it.
He strides inside, all confidence.
Behind him Amber rolls her eyes.
INT LIVING ROOM DAY
Amber maintains a firm grip on Carl's
arm as they enter.
AMBER
Guys, this is Carl – Carl, family. See you
later.
Despite her act of bravado, she doesn't
even try and leave. Ben pumps Carl's
hand.
BEN
Professor Wade.
MARLENE
Ben to his students.
Ben motions for them to take a seat.
Carl is quick to comply. Amber remains
defiantly standing.
BEN
Amber's sixteen, by the way.
Carl gives a casual nod.
BEN
You look a bit older.
CARL
I'm twenty. I'll be twenty-one in a few
months.
BEN
I'm pleased you intend following the
customary sequence.
Amber glowers at her father.
BEN
I was twenty-one once.
AMBER
Really? I thought that was just a rumour.
BEN
At twenty-one you've seen things, done
things - we can say you're a man of the
world. Now Amber on the other hand -
AMBER
Mother, do I have to put up with this?
MARLENE
Of course not, dear. Have a good time,
you two.
Amber eagerly hauls Carl up from the
chair.
AMBER
Ciao. Don't wait up.
They're gone in an instant. Ben turns to
his wife with an enquiring look, only to
find himself in the spotlight.
BEN
What? We were having a civilised
conversation.
MARLENE
Yes, but at what level of civilisation?
Had fire been discovered?
INT MASTER BEDROOM NIGHT
Marlene reads a book, which Ben treats
as a spectator sport, in between anxious
glances at the clock. Finally he speaks.
BEN
So what do you make of him?
MARLENE
Who, darling?
BEN
The mysterious stranger who's abducted
our daughter, that's who.
MARLENE
To be honest, I have my doubts.
BEN
You have doubts and still you let her go?
MARLENE
My father had doubts about all my
boyfriends, which only made me all the
more determined - and secretive.
BEN
Funny, I thought I hit it off quite well with
him.
Marlene smiles.
MARLENE
You were the one exception. I don't
think you realised how much that
counted against you.
BEN
I just assumed you were jealous
because I got on better with him than
you did.
MARLENE
Possibly true. That may have been what
saved our relationship.
BEN
I wasn't aware our relationship had
needed saving – or that it had been at
the mercy of such a weird father-
daughter dynamic.
MARLENE
Well now that you are, maybe you'll cut
Amber some slack.
Ben mulls.
BEN
Do you think she has secrets?
MARLENE
There's probably not a lot to know – her
relationships never seem to come to
much.
BEN
She's too young anyway to have
relationships working out.
Marlene raises an eyebrow.
MARLENE
You'd rather she played the field?
BEN
No, my idea – and it's a good one – is for
her to develop a harmless crush on
some remote figure like a pop star.
MARLENE
She's sixteen, not eleven.
BEN
And that's her problem. She should've
stayed eleven a little bit longer instead
of rushing madly into sixteen.
Marlene sighs.
MARLENE
How about we just have some faith in
our daughter?
BEN
I was saving that as a last resort.
INT HALLWAY NIGHT
Amber closes the front door with
masterly care, converting incipient
creaks into the merest of whimpers.
Proud of her accomplishment, she turns
around and nearly screams.
INT LIVING ROOM NIGHT
Amber perches stiffly on the edge of the
sofa while her father wears out the
carpet.
BEN
So - midnight – what happened?
AMBER
Nothing happened. I guess I'm not
Cinderella.
Ben stops and faces her squarely.
BEN
If you continue in this vein, I shall have
to start addressing you as 'young lady'.
AMBER
We had to drive all the way to town,
catch a movie, grab a bite, then drive all
the way back. You can't get midnight
out of that.
BEN
I couldn't sleep, I was worried.
AMBER
Yes, I was worried you couldn't sleep
too.
BEN
Would you rather I didn't care about you?
Is that it?
AMBER
No, I'd rather you cared enough to ask
how my evening went.
BEN
I'm sure you had a great time, it's me
who -
He breaks off at the sight of her
glistening eyes.
BEN
What happened? What did he do?
AMBER
Nothing. He didn't do anything. That's
the whole bloody point.
She jumps up and rushes out of the
room. Her bewildered father calls after
her.
BEN
So how is that not a good thing?
INT STUDIO DAY
Two aliens in a bubble-ship look
askance at a giant sign sticking out of
planet Earth: BEWARE GLOBAL
WARMING.
Amber fidgets on the sofa while her
mother inks. Despite Amber giving the
occasional sigh, the inking continues
unabated.
AMBER
What am I going to do about daddy?
MARLENE
I suggest you keep him on.
AMBER
How dare he ruin my evening.
MARLENE
Yes, he's quite the risk-taker in that
regard.
Amber pouts.
MARLENE
So pre-father, everything went
swimmingly?
Amber reacts.
MARLENE
I don't have eyes in the back of my head,
but I'm assuming it's a face.
AMBER
He took me to this weird movie.
MARLENE
Weird movies can be good, you should
give them a chance.
AMBER
I mean date-movie weird. Two guys go
white-water rafting?
MARLENE
Echoes of 'Deliverance'?
AMBER
Huh?
MARLENE
You should brush up on the seventies –
a great period for film.
Amber shrugs.
AMBER
I kept waiting for the love interest to
show up, and guess what?
Marlene sighs wistfully.
MARLENE
I've never been white-water rafting.
AMBER
I gave you a free guess.
MARLENE
And I wouldn't want to waste it on
something I already know the answer to.
AMBER
Anyway, you can kill yourself on the
rapids.
MARLENE
Did they?
AMBER
No, they just got a bit maimed in the
head. Enough to give them the delusion
someone was after them. Except
someone really was.
Marlene puts down her brush and
swivels around.
MARLENE
Let me tell you something about first-
date movies, at least in my experience.
Only one was memorable – and he
wasn't.
Amber nods gravely.
AMBER
After that we went to a hamburger joint
and stuffed our faces. Romantic, huh?
MARLENE
Did you kiss?
AMBER
Mother.
MARLENE
Sorry, I'll re-phrase. Did you have sex?
AMBER
Is that what you did on a first date?
MARLENE
Not all of them, darling. Your father, for
instance.
She gives a thin-lipped smile.
MARLENE
Maybe there's a lesson there.
AMBER
You waited until you got married?
MARLENE
Goodness, child, what an extraordinary
imagination you have.
AMBER
Okay, so give me a number.
MARLENE
It was either the fifth or sixth.
AMBER
You don't remember?
MARLENE
No, it depends on how you define date.
Anyway, it was in a park on a gorgeous
summer evening. Your father was
paranoid about being caught.
Amber shakes her head in a vain
attempt to dislodge the thought.
AMBER
Eew. Eew. Eew.
MARLENE
How could a daughter of mine be so
squeamish? Does God punish with
irony?
EXT UNDERWATER DAY
Amber floats along to an ambient mix
inspired by whale callings.
INT AMBER'S BEDROOM NIGHT
Amber pulls the T-shirt from her face and
throws down her headphones.
AMBER
What's that for?
Her brother shrugs.
BRAD
Just getting your attention.
AMBER
With a smelly T-shirt?
BRAD
I didn't know. You should put your dirty
stuff on the floor like I do.
Amber waits impatiently while Brad
scopes out the room.
BRAD
Don't you find it creepy being so far
away?
AMBER
No, because I'm not a wuss like you.
Brad gives another shrug.
BRAD
Your boyfriend's on the phone.
AMBER
I don't have one.
BRAD
Your girlfriend then. The one with the
deep voice.
AMBER
Tell him I'm out.
BRAD
Tell him yourself.
He leaves. Amber calls after him.
AMBER
Yeah, that'll make it real convincing.
INT HALLWAY NIGHT
Amber finds her mother waiting at the
bottom of the stairs.
MARLENE
Would you like me to handle it?
Amber gives a haughty toss of the head.
AMBER
I am perfectly capable.
She pauses at the kitchen door.
AMBER
But thanks.
INT KITCHEN NIGHT
Amber picks up the phone then glares at
her brother, who's having some
unidentified problem with the tap.
Marlene enters and solves it in her own
fashion.
MARLENE
Out.
BRAD
Aren't I allowed a drink of water?
MARLENE
All rights are suspended for the duration
of the call, including habeas corpus.
She sweeps him off to the living room.
Amber takes a deep breath.
AMBER
Hi.
CARL (voice)
Hi.
Amber bites her lip, letting her silence
speak for her.
CARL (voice)
When can I see you again?
AMBER
I don't think that would be a good idea.
It's Carl's turn for silence. Amber fights
the urge to speak.
CARL (voice)
What's up?
AMBER
Nothing. Look, don't get me wrong, the
other night was fun. I had fun.
She winces at her choice of words.
CARL (voice)
Then I don't understand.
Amber mouths 'Help me' to her absent
mother.
AMBER
If we did it again, it would become
something else. Like serious.
Another long silence. She winds her
hand in a hurry-up signal.
CARL (voice)
Yeah, how could it be serious? It was
always a joke, right?
Amber pulls a face.
AMBER
Nooo, I didn't mean it like that.
CARL (voice)
So how then?
AMBER
All right, you want the truth? You're a
hunky guy and I don't regret our going
out. But I find you too intense. Like
now, for instance.
Click.
AMBER
Hello? Hello?
She stares at the receiver in disbelief.
Her mother returns in a display of
perfect timing.
AMBER
He hung up.
MARLENE
Most people do when they've got the
message.
Amber shakes her head, unassuaged.
AMBER
This was different. I've done this before,
you know, and the others were all cool
about it.
MARLENE
Or pretended to be.
Amber nods miserably.
AMBER
Maybe I was unfair. One date – what
does that prove?
MARLENE
In my experience, quite a lot.
AMBER
Yes, but I'm not like you. I don't have
your intuition.
MARLENE
Then go with your instincts.
AMBER
What's the difference?
MARLENE
Intuition is what you develop. Instincts,
you're born with.
Brad bursts in and proceeds to fill his
glass.
BRAD
If this was the desert, I'd be dead by
now.
MARLENE
And if it were Mars, your eyeballs would
be popping out.
Brad stops to marvel at this factoid.
BRAD
Cool.
EXT RIVER DAY
Amber wanders through softly luminous
mist. As it melts away she finds herself
at the river's edge. A figure rises up
from the waters and comes towards her.
She recognises Carl. She turns away
and tries to move but can't. She feels
his hand on her shoulder, sliding up
around her neck, then caressing her hair
and then she's kissing him with savage
passion.
INT AMBER'S BEDROOM NIGHT
Amber jerks upright. Moonlight floods
her brain. She blinks rapidly as she
scans the room, puzzled at finding
herself alone.
INT STUDIO DAY
A man walks along the corridor of a
clinic, past two doors heading for a third:
QUIT SMOKING... QUIT DRINKING...
QUIT WHINING.
Amber, stretched out on the sofa, lets go
the drawing and idly watches it flutter to
the ground.
AMBER
Have you thought about going back to
books?
MARLENE
No, darling, have you?
AMBER
Ha ha.
MARLENE
Did I mention Drake's coming for the
weekend?
Amber sits bolt upright.
AMBER
No, mother, you didn't.
MARLENE
Good, then it'll be a surprise. I do hope
you'll spare him your usual rudeness.
AMBER
I'm never rude. I just don't happen to
admire his attitude to women.
MARLENE
Which is?
AMBER
Deplorable.
MARLENE
My mother used to deplore. They do
say genes skip a generation.
AMBER
He treats us like we're disposable.
MARLENE
Really? And how has he disposed of
you?
AMBER
I don't mean me personally. I was
speaking generally.
MARLENE
How very beneficial of him to encourage
female solidarity in my daughter, a feat
I've never been able to manage.
AMBER
So why hasn't he got a long-term
girlfriend?
MARLENE
Because, to quote Keynes, in the long
term we're all dead.
Amber ruminates.
AMBER
Before daddy, how many guys did you,
like, go with?
Marlene gives a short laugh.
MARLENE
Your father's never been able to wheedle
that one out of me, so I don't rate your
chances.
Amber responds with a vexed frown.
AMBER
Isn't marriage all about openness and
communication?
MARLENE
No, it's about having kids who bombard
you with questions while you're trying to
work.
She rips off a sheet and crumples it.
AMBER
But isn't keeping secrets a recipe for
disaster?
MARLENE
You're confusing pre-marital with extra-
marital.
Amber tosses her hair.
AMBER
I can't imagine keeping secrets when I'm
married.
Marlene spins around to deliver the full
blast.
MARLENE
Yes, child, you do that. You tell him
everything, and then when he gets
bored and runs off with someone else,
don't come crying to me.
Amber gapes.
EXT MANSION DAY
Drake steps out of the car just in time to
witness Amber come to a skidding halt
nearby.
AMBER
So what do you think?
DRAKE
I think they're very short shorts.
AMBER
I meant the house.
DRAKE
Is that what you call it?
AMBER
What would you?
DRAKE
Well I grew up in a house, so I know all
about houses, and that ain't one. How
about 'haunted mansion'?
AMBER
Except there aren't any ghosts.
DRAKE
It's very big. They probably got lost.
Amber grins, prompting a curious look
from Drake.
DRAKE
You've changed, and I don't just mean
into those shorts. Is it the country air?
AMBER
Yeah, they should bottle it and sell it as
air freshener.
DRAKE
Or an inhaler for the mopey teenager.
Amber's eyes flash.
AMBER
I was never mopey.
DRAKE
And I shouldn't quibble. I should just
make hay while the sun shines. How do
you make hay anyway?
AMBER
With grass.
DRAKE
Ah, I knew there was a secret ingredient.
AMBER
Do you cycle?
DRAKE
No, I was born with a fitness gene that
renders all forms of exercise
superfluous.
AMBER
I'll teach you.
DRAKE
I can ride. Admittedly it was a long time
ago, shortly after my pedal-car phase.
AMBER
Race you to the house.
She darts off. Drake smiles bemusedly
at the display of misplaced enthusiasm.
INT DINING ROOM NIGHT
Ben waits till Drake finishes his mouthful
of pizzaiola steak then pounces.
BEN
So what do you think?
DRAKE
A culinary masterpiece. Yours, Ben?
BEN
No, Marlene's the talented one on that
score. My forte is supplies. Arm me
with a shopping list and I'm invincible.
MARLENE
I believe Ben was referring to the house.
BEN
I mean apart from the lack of video-
conferencing facilities.
DRAKE
Well it was obviously designed by a very
twisted sort of mind, so it definitely gets
my seal of approval.
AMBER
Yeah, twisted all right. He built it for his
wife then murdered her.
BEN
That's not a dinner topic, sweetie-pie.
Or any sort of topic while we're living
under this roof.
BRAD
Well I haven't seen any ghosts. I reckon
we should ask for our money back.
MARLENE
Certainly you may have your money
back, love. Have you got change for a
dollar?
DRAKE
I can see the whimsicality that Marlene
mentioned, and that certainly makes it
hard to reconcile with murderous intent.
AMBER
Really? So murderers don't have a
sense of humour?
DRAKE
Well they're not famed for it.
BEN
That'll come as a shock to Brad. He
always roots for the villains in movies
because of their style and wit.
MARLENE
I believe Stalin was well known for his
gallows humour.
AMBER
I wasn't talking about mass-murderers.
MARLENE
Sorry, darling, I didn't realise your
interest was in quality, not quantity.
Amber pouts.
INT STAIRCASE NIGHT
Amber and Drake stand at the top
looking down over the railings.
AMBER
The maids heard her scream and found
her on the landing. She managed to say
a few words before slipping into a coma.
DRAKE
She named him?
AMBER
No but she claimed she was pushed,
and apart from the two maids, they were
alone in the house.
INT PASSAGE NIGHT
Drake can't resist trying all the doors,
forcing Amber to backtrack.
AMBER
It was a public holiday, and the rest of
the staff were gone for the day. They're
all empty. Pretty boring really.
DRAKE
Apart from the outlook, I bet.
He disappears into a room.
INT ROOM NIGHT
Amber turns on the light switch, but
there's no bulb. She joins Drake at the
window.
DRAKE
Just as I thought. A very impressive
view of the moon.
AMBER
Hayze came down the stairs moments
later. When the police arrived, they
searched the whole place and found
no-one.
DRAKE
What, the maids kept vigil until then?
AMBER
Yeah, they took turns. Remember, it's
the only staircase, apart from the few
steps to the attic.
INT ATTIC NIGHT
Amber spins around on her father's chair
while Drake glances around the room
with some incredulity.
DRAKE
He actually chose this as his office?
AMBER
He avoids it at night.
Drake smiles and nods.
AMBER
The thing that puzzles me is why.
DRAKE
Why?
AMBER
Hayze, I mean. Kitty was beautiful and
vivacious, not to mention fabulously
wealthy. He was damn lucky to have
her.
DRAKE
Wasn't he successful in his own right?
AMBER
Well he was very flamboyant and
dashing, and everybody talked about his
off-kilter designs, but actual
commissions were few and far between.
DRAKE
Maybe he had gambling debts and she
wouldn't give him enough pocket money.
AMBER
Except he wouldn't inherit a bean,
because all her money was tied up in
trust. They said bean in those days.
DRAKE
Jealousy. She had a lover.
AMBER
Other way round.
DRAKE
A lover had her?
AMBER
Hayze, you idiot. Now that's something
he was guilty of. Her name was Gloria
Krull, and she was a local beauty – but
poor.
DRAKE
And Kitty found out and they had a
violent quarrel.
Amber gives a vexed frown.
AMBER
No. I mean I don't think so. Damn, why
didn't I think of that?
DRAKE
Why do you care anyway?
Amber shrugs.
AMBER
I guess I just want to understand why
people do the things they do.
Drake sighs.
DRAKE
Yeah, the human heart – that's the real
mystery.
Their eyes meet. Neither speaks for a
moment.
DRAKE
We should get back. Thanks for the tour.
He goes out. Amber remains sitting.
INT DINING ROOM DAY
Drake sips his coffee while observing
Brad and his toast. Amber sashays in.
AMBER
Morning.
Drake gives her a quick glance before
returning to Brad.
DRAKE
Morning. I've always wondered how
much jam you could fit on one piece of
toast, and now I'm about to find out.
Amber sits down opposite and sips her
fruit juice. Brad notices the straw and
rolls his eyes.
DRAKE
Looking forward to school, Brad?
Brad looks at him blankly, not
understanding the question.
AMBER
He's too cool for school.
DRAKE
Good place to make friends though,
especially with it being so isolated here.
Brad shrugs.
DRAKE
Or have you made some already?
BRAD
There's Kevin. We go mountain-biking.
DRAKE
Impressive, considering the lack of
mountains.
Brad nods, taking full credit.
DRAKE
And girls? Any around here your own
age?
BRAD
Only Kevin's sister. They're supposed to
be twins, 'cept you wouldn't figure it.
DRAKE
Why not?
BRAD
'Cause she's got a bike too, but all she
does is polish it.
DRAKE
I'm picking they're non-identical twins.
AMBER
How come you never mentioned her
before?
BRAD
Because there's nothing to mention.
DRAKE
Apart from her polishing.
BRAD
She's no fun. Like, I put fake vomit on
her plate and she complained to her
mum.
DRAKE
You've got to remember she's a
country girl. She's not used to your
sophisticated city wit.
Brad gives another shrug.
DRAKE
Might I suggest a different approach?
BRAD
Huh?
DRAKE
What sort of things is she into?
BRAD
Dunno.
DRAKE
Then let's make finding out the first step.
BRAD
How do I do that?
DRAKE
By talking to her. Admittedly it does
lack the flair of fake vomit.
Brad shrugs again.
DRAKE
I understand your birthday's soon.
You've got the shrugs, I think you're
going to make it as a teenager.
EXT FOREST DAY
Sunlight flits through the branches.
Drake keeps looking around, much to
Amber's bemusement.
AMBER
Haven't you seen trees before?
DRAKE
Of course, only there's rather a lot of
them.
Amber gives a wicked grin.
AMBER
And when trees congregate, it's called a
forest.
DRAKE
Haunted mansions I can handle, but
I've always found forests creepy. I think
it's because I read Hansel and Gretel at
an impressionable age.
Amber shakes her head. They walk a
few moments in silence.
AMBER
Can I ask you a personal question?
DRAKE
Ah, is that why you lured me here? It
wasn't just to introduce me to all your
tree buddies.
AMBER
Do you have a girlfriend? I mean like
someone you see more than once.
DRAKE
Right now I'm between girlfriends. Not
literally, I don't do threesomes. My loss,
I know.
He stumbles.
AMBER
Was that metaphorical too?
DRAKE
Yes, I'm rehearsing for my conceptual
art piece, 'Man Tripping Over Root.'
Subtitled, 'How Life Gets In The Way Of
Life'.
AMBER
Do you believe in love?
DRAKE
Yes but unfortunately love hasn't always
shown the same faith in me.
Amber sighs.
AMBER
You also believe in being evasive.
DRAKE
I believe in lots of things. As a kid I
believed in the tooth fairy, and
financially that worked out well for me.
Amber comes to an abrupt halt.
AMBER
I thought for once we could have a
serious conversation.
DRAKE
Firstly, you should never admit to
thinking only once. And secondly -
AMBER
And secondly, I should've known you
love to burble.
She immediately bites her lip.
AMBER
I'm sorry.
DRAKE
No no, it's true. I took up burbling at an
early age and never looked back.
They resume walking.
AMBER
Tell me about your first love.
DRAKE
We were in kindergarten. It didn't work
out. Even before she moved away, we
were going in different directions. She
was into finger-painting, I was into play-
dough, you know how it is.
AMBER
Okay, I get it, you're not into serious
relationships.
She whirls around and storms off, then
stops a short distance away and hisses
under her breath.
AMBER
Damn damn damn.
INT STUDIO DAY
Two teen girls wearing message T-shirts
walk in the park. The first reads: 'I love
my boyfriend', the second: 'I love her
boyfriend too'. Two old men playing
chess look up from their board, one
commenting to the other, 'You can push
irony too far.'
Marlene is busy rifling through sketches
as Amber quietly slips in and sits down
meekly on the sofa.
MARLENE
Hon, the meeting's in five minutes.
AMBER
I know, don't mind me, I'll just be like a
fly on the wall.
MARLENE
Yes, darling, I'm sure you'd make a
perfectly charming fly. The answer's
still no.
AMBER
Why? What's the big deal? You're just
kicking round a few ideas, right?
Marlene gives her daughter a sharp look.
MARLENE
You tell me.
AMBER
Okay, sure, you're developing a new
strip, but I still don't -
MARLENE
No – what's the big deal with you?
AMBER
Me?
MARLENE
You think I don't know a lovelorn
teenager when I see one?
AMBER
Mother, I told you I'm over Carl.
MARLENE
Not Carl.
Amber reddens. Marlene sighs.
MARLENE
I suppose I should've expected it.
You're a natural-born flirt.
Amber remains tight-lipped, glowering
resentfully.
MARLENE
Fortunately it takes two to tango, and I
know Drake has more sense.
Amber maintains her defiant silence
several more moments, then her face
crumbles into despair.
AMBER
I didn't want it to happen. I thought he'd
be the last person I'd fall for.
MARLENE
Always a dangerous position to hold
when it comes to love.
AMBER
It's not just me, he feels something too.
I've seen it in his eyes.
MARLENE
Let me explain something to you about
the male of the species.
Amber's eyes flash in anger.
AMBER
Don't treat me like a child.
MARLENE
That's exactly what you are. A child in
a woman's body.
Amber jumps up and rushes out of the
room, almost knocking Drake over in the
process. He looks to Marlene for
explanation.
MARLENE
She was all set to hang around here with
puppy-dog eyes.
Drake flops onto the sofa and sighs
wearily.
DRAKE
I was trying not to hurt her feelings.
MARLENE
Then I suggest you reconsider. Every
girl needs to have her heart broken. It's
how she becomes a woman.
INT DINING ROOM TWILIGHT
The family are half-through their meal as
Amber quietly takes her seat, removes
the tin foil from her plate, then looks
around in puzzlement.
BEN
We were about to send out a search
party.
AMBER
And you work better on a full stomach.
Ben puts down his knife and fork as a
prelude to his response, but Marlene
warns him off with a shake of the head.
AMBER
Where's Drake?
BEN
Gone.
AMBER
What do you mean gone?
Ben glances at his wife.
BEN
I really think we should buy her a
dictionary.
AMBER
Why didn't he stay for dinner?
MARLENE
Because he was tired, it's a long drive,
and he has work tomorrow.
AMBER
Well I think it's extremely rude to leave
without saying goodbye.
BEN
Perhaps Miss Manners here could write
a book of etiquette and give him a copy.
Amber pouts.
MARLENE
The real question is, where were you?
AMBER
Stuffing my lungs with fresh air.
MARLENE
All this time?
AMBER
I got lost in the woods, okay?
BEN
Lost in the woods. Sounds like
something from a fairy tale.
MARLENE
I'm glad you find it amusing, especially
with our daughter having all the survival
instincts of a dodo.
AMBER
Hey, that's unfair.
BRAD
Yeah, dodos never got lost.
BEN
Hold on a moment. Amber, you did have
a compass, didn't you?
AMBER
No.
BEN
What did I say about taking a compass?
AMBER
You said take a compass.
Ben rests his case with open palm.
AMBER
Like I really wanted to visit Santa Claus.
Ben shakes his head in amazement.
MARLENE
Well did you show her how to use one?
BEN
It points north, what's to show?
AMBER
So what anyway? I made it back without
the help of any dumb compass.
BEN
The compass is one of the world's great
inventions. When I was a kid, I even
had one in my shoe.
BRAD
That'd be worse than a stone.
BEN
No, son, it was inbuilt. The point is,
where would we be without the
compass?
BRAD
Using GPS?
BEN
Thank-you, Brad, at least your heart's in
the right place. So, Amber, when are
you free for lessons?
AMBER
Mother, make him stop.
MARLENE
I believe she's got the message, darling.
Amber pushes her plate away.
AMBER
May I be excused?
BEN
You've hardly touched your food.
AMBER
I'm not hungry.
BEN
How is it possible to stagger around a
forest all afternoon and not develop an
appetite?
A miserable Amber gives her mother an
imploring look.
MARLENE
Okay, dear, just don't make a habit of it.
Amber nods gratefully and scurries off.
BEN
Well at least we know where the real
authority in this family lies.
MARLENE
I'll explain later.
BRAD
Explain what?
BEN
Son, women are complicated. Let that
be a warning.
INT MASTER BEDROOM NIGHT
Ben snaps his book shut with a flourish
then turns to his wife, who continues to
read.
BEN
Okay, I'm listening.
MARLENE
To what?
BEN
Very droll.
MARLENE
If I can keep you amused while
maintaining my place on the page,
so much the better.
BEN
This thing with Amber.
MARLENE
She was upset, that's all.
BEN
I rather think the compass has the
greater right to feel aggrieved.
MARLENE
Just forget it.
BEN
Or I could forget I have a daughter, that
would work equally well.
Marlene coolly flicks over a page. Ben
studies her expression for any hint of a
clue then apparently gives up and lies
down, as though preparing for sleep.
Moments later he springs up.
BEN
She's pregnant.
MARLENE
What?
BEN
Off her food, over-emotional, it all fits.
MARLENE
It also fits the profile of a non-pregnant
teenager.
BEN
Possibly, possibly.
Marlene turns over another page – too
soon to have fully read it. Observing
this through narrowed eyes, Ben treats
it as confirmation.
BEN
How could she possibly imagine I'm
ready to be a grandfather? Do you think
it's my fault for not reminding her that on
my side we grey prematurely?
MARLENE
She's not pregnant.
BEN
How do you know?
MARLENE
Because I would never allow any
daughter of mine to be sexually naïve.
BEN
I should be reassured, yet strangely I'm
not.
Marlene sighs.
MARLENE
She's developed a crush on Drake.
BEN
Impossible, I would've noticed.
MARLENE
Quite right, darling.
BEN
He's even older than Carl.
MARLENE
Yes, I'm arranging a birthday dinner to
celebrate that very fact.
BEN
She's only sixteen, just a kid.
MARLENE
I believe the crush idea was yours.
BEN
Nice try, hon, but I'm not taking credit
for this one. And is that all it is?
MARLENE
Why do you think he left early?
Ben nods while he digests this.
BEN
It's more the trend that concerns me.
By the time she's eighteen, she could
be cruising the rest homes.
MARLENE
May I remind you this is your own
daughter you're talking about?
Ben sighs wistfully.
BEN
Yes, whatever happened to that sweet
young thing who gurgled in glee when
you chucked her chin?
MARLENE
You mean the one who screamed her
lungs out in the dead of night? I
remember you hoping the next one
would be a boy, because you thought
boy babies were too manly to cry.
BEN
Boy did I get a shock over that one.
Babies certainly have their dark side.
Let's not have any more.
MARLENE
I entirely agree. From now on we
delegate.
BEN
Amber changing nappies. Now that
would be sweet revenge.
Marlene switches off the light.
BEN
You don't think I'm tempting fate with
that throwaway remark?
MARLENE
Probably.
She plumps her pillow, then there's
silence.
BEN
Sleepy?
MARLENE
No.
BEN
In the mood?
MARLENE
I was.
BEN
Was?
MARLENE
I think it was all that talk about babies.
BEN
Dammit.
EXT FOREST DAY
Amber moodily kicks up leaves. A twig
snaps. She freezes, then slowly turns
around.
AMBER
What are you doing here?
CARL
I suppose you own the forest too.
AMBER
Have you been following me?
Carl ignores the question, stepping
closer.
CARL
What's his name?
AMBER
Whose?
CARL
Your boyfriend.
AMBER
I don't have one.
CARL
Liar.
Amber walks off in sudden fury.
CARL
I've seen you together.
Amber stops.
AMBER
Omigod, you really were spying on me.
CARL
Is that why you dumped me? For him?
AMBER
You're crazy, and I don't need to explain
myself to you.
Again she starts off.
CARL
That proves it.
Amber whips around, eyes flashing.
AMBER
All it proves is that you're an idiot.
Drake's just a friend.
CARL
Drake.
Amber bites her lip.
AMBER
Damn.
CARL
So what kind of dumb name is that?
Amber glares at him a moment, then
her features soften.
AMBER
Look, Carl, sometimes things just don't
work out. It's nobody's fault.
Carl lowers his voice almost to a
whisper.
CARL
I should've kissed you that night, I
wanted to.
Amber finds herself nodding in
agreement.
CARL
You were so scornful at the river, so I
told myself no, wait until next time. But
you never gave me that chance.
AMBER
I'm sorry.
Carl gives a bitter laugh.
CARL
Yeah, I can see that.
Realising nothing she can say will make
a difference, Amber heads for home.
Despite her intentions, she finds herself
stopping to look back, but all she can
see is trees.
INT DINING ROOM NIGHT
Ben swallows the last mouthful and
leans back contentedly.
BEN
That was delicious, hon. I almost feel
dessert would be an anti-climax.
MARLENE
Pity, because it's fresh fruit, which I
made specially.
AMBER
I feel like ice cream.
BEN
Your brother devoured the last of it
yesterday, but rest assured it's on the
list.
BRAD
How'm I supposed to grow if I don't eat?
BEN
I was simply using poetic imagery to do
justice to your mode of ingestion.
AMBER
There's an ice cream parlour in town.
Let's all go there.
MARLENE
When I was your age, I could eat
sundaes galore. Now...
She sighs.
AMBER
Brad?
BRAD
No way. That place is too cool to go
there with you guys.
BEN
Son, even in my day, ice cream parlours
weren't cool places.
MARLENE
Which no doubt explains why your father
took me to one once on a date.
BEN
That was a date? I thought we were just
having ice cream.
Marlene gives a tight-lipped smile.
MARLENE
We did just have ice cream.
BEN
Your mother thought that fancy
restaurants and expensive gifts were
marks of insincerity.
MARLENE
Yes, your father saved me from a life of
fine living. How remiss of me not to
thank him.
Amber springs up.
AMBER
Just us two then. Won't be long.
BRAD
That always means she'll take forever.
BEN
Hang on, why do you need to get
changed? You look perfectly fine.
AMBER
Mother, explain.
She tosses her hair and marches out.
MARLENE
She's a woman, darling, and that's what
we do. Whereas men never really
change.
INT LIVING ROOM NIGHT
Ben paces the room with the regularity
of a metronome but none of its patience.
BEN
Is she changing or transmogrifying?
MARLENE
You have to remember she lacks the
male advantage of being able to throw
on a patched-leather corduroy jacket
and look debonair.
BEN
In my line of work, you've got to protect
the elbows. If they go, you're nothing.
Amber makes her entrance in black
jeans and low-buttoned white silk blouse.
Her swept-up hair falls in elegant ringlets.
Ben coughs.
BEN
Um, sweetie, you look very chic.
Amber smiles demurely.
AMBER
Thank-you.
BEN
And by that I mean perfect for an ice
cream parlour in Paris.
He turns to his wife.
BEN
Do they have ice cream parlours in
Paris?
MARLENE
You're telling the story.
BEN
Okay then, they do. However – and
here's the kicker – you're not in Paris.
Amber gives a nonchalant shrug.
AMBER
Sometimes a girl just likes to dress up.
BRAD
Yeah, she doesn't care where she hangs
out, as long as she's hanging out.
Amber scrunches her nose at him.
BEN
Brad, did we bring you up to talk about
your sister like that?
Brad goes to speak, but Ben holds up a
restraining hand.
BEN
Rhetorical question, son. Learn to spot
'em.
Again he faces Marlene.
BEN
What do you reckon, room-sending?
MARLENE
He already spends too much time in
there.
BEN
Good point. Brad – your room is now out
of bounds.
BRAD
Where'm I supposed to sleep?
BEN
Your mother will handle the practicalities.
MARLENE
So what's new?
Amber's impatience breaks out.
AMBER
Are we done?
BEN
Not quite. To be perfectly fair, your
brother does have a point.
BRAD
Does that mean I'm unbanned?
BEN
Like I said, your mother will attend to the
particulars.
Brad gives Marlene a bewildered look.
MARLENE
Forget it, love, just watch your father
at work and learn from a pro.
BEN
Lambkins, you're very stunning, but we
do need to talk about buttons.
AMBER
Why? I'm perfectly comfortable the way
I am.
Ben notices Marlene smirking.
BEN
Hon, would you care to pitch in?
MARLENE
Certainly. My father always insisted I
would catch pneumonia.
AMBER
And did you?
MARLENE
No. I think he was disappointed. He
hated being wrong.
Amber breezes out of the room gleefully.
BEN
Did I deserve that?
Marlene smiles sweetly.
MARLENE
Another rhetorical question.
INT ICE CREAM PARLOUR NIGHT
The waitress delivers two triple-scoop
sundaes. Ben nods at her then
commences inspection.
BEN
Real glass – tall - fresh whipped cream –
the right sprinkling of walnuts - even the
chocolate flake. Why can't we get this
in the big city? When did they lose the
art of caring?
Amber puts on an affected voice.
AMBER
I understand the boysenberry-strawberry
nexus, with the raspberry topping
continuing the theme, but how do you
explain the hokey-pokey?
BEN
Counterpoint, sugar plum, it's all about
counterpoint.
Amber takes a cheeky scoop of her
father's sundae.
BEN
Hey, you've got your own.
AMBER
I know, but how else can I compare and
contrast?
The woman at the other table whispers
to her husband in a tone louder than
some people's speaking voice.
WOMAN
She's young enough to be his daughter.
MAN
Shh, it's none of our business.
Ben winces. Amber grins.
BEN
I knew that outfit was just plain wrong.
AMBER
Chill out, pops. I bet if mum was here,
she'd find it funny.
BEN
Your mother is a cartoonist. She's
professionally bound to find the humour
in human suffering.
Amber suddenly turns solemn.
AMBER
What was she like? I mean when you
guys first met?
Ben smiles at the memory.
BEN
Let's just say she had her wild side.
Amber nods impatiently.
AMBER
Tell me more. Like, what were your first
words?
BEN
'Can I buy you a drink?' I know that
line's been used before, but whoever did
so forgot to copyright it.
Amber leans forward, eyes aglow.
AMBER
And what did she say?
Ben shakes his head.
BEN
I'm not giving you a blow-by-blow
account, you'll have to use your
imagination. Or better still, don't.
AMBER
You can't just leave it hanging there.
BEN
Sweetie, there's no mystery, you know
the outcome.
AMBER
Mum says nothing in life is inevitable,
not even love.
Ben sighs.
BEN
True, I guess. She declined. Said she
wasn't my type.
AMBER
And?
BEN
And your eyes are bigger than your
stomach. You've hardly touched yours.
Amber takes a perfunctory mouthful and
quickly swallows.
BEN
I said, for her I'd switch types any day. I
still shudder at the ineptness, but
anyway she laughed. Or maybe she was
laughing in my face, I couldn't really tell,
I was a little intoxicated.
Amber smirks. Ben gives her a stern
look and qualifies with loud emphasis.
BEN
With love, sweetie. Intoxicated with
love.
WOMAN
He's not even trying to keep it down.
MAN
Well neither are you.
Ben leans back in his chair with an air
of smug satisfaction.
BEN
And that's how you were born.
Amber's eyes mist up. Ben frowns at
this unexpected reaction
BEN
What's wrong?
Amber can only shake her head.
BEN
Come on, pumpkin, what did I say?
AMBER
Nothing, it's nothing.
BEN
Then I don't understand.
Amber manages a weak smile.
AMBER
Mum also says fathers were never
meant to understand their daughters.
INT LIVING ROOM DAY
Amber is splayed out on the sofa, idly
flicking through a magazine. Marlene
comes in and heads to the drinks cabinet.
MARLENE
Yes, make the most of your sprawling
years. If I was to do that now, my back
would sue me for damages.
AMBER
Mother, sometimes you talk like you're a
hundred. I only hope I look as good as
you when I'm your age.
MARLENE
You mean I'm well-preserved. I believe
they say the same thing about fossils.
AMBER
Daddy's right. He says you're a hard
person to compliment.
Marlene approaches with two glasses.
Amber straightens up. Her mother sits
down beside her.
MARLENE
I guess that's one area in which I could
take lessons from my daughter.
AMBER
What's this?
MARLENE
Produce from Portugal.
AMBER
I mean why?
MARLENE
I thought we could have a discussion
like two civilised people.
AMBER
I'm not a sherry drinker. I'm surprised
you are. You don't fancy something a
little more wild?
Marlene raises an eyebrow, then smiles.
MARLENE
That's right, darling, I'm turning into my
mother.
Suddenly, impulsively, Amber grabs the
glass and downs the contents in a single
gulp. She meets her mother's eye with
defiance. Marlene, though clearly
unimpressed, merely waits.
AMBER
Yeah, I get it. You're softening me up
for some mother-daughter talk.
MARLENE
I offered it to you because you're not a
child anymore, even though you often
insist on acting like one.
Amber sighs impatiently.
AMBER
Can we just get it over and done with?
Marlene calmly takes a sip before
responding.
MARLENE
It's Drake's quarter-century, and I'd like
to invite him for a celebratory dinner.
Amber smirks.
AMBER
And you're asking my permission.
Marlene appears to find the idea
amusing, which annoys Amber.
MARLENE
What I want is your assurance there
won't be any unpleasantness.
Amber is all wide-eyed innocence.
AMBER
Mother, whatever do you mean?
Marlene takes another sip. Amber looks
ruefully at her own empty glass.
MARLENE
You've taken the call a few times when
Drake's rung.
AMBER
So?
MARLENE
He reported your manner as one of
excessive politeness.
AMBER
Omigod, my politeness offends him.
How hypersensitive is that?
MARLENE
My concern is more about when the dam
breaks.
AMBER
Mother, I am totally over Drake. It's
Drake who needs to get over himself.
Marlene can't resist a small smile before
continuing.
MARLENE
Then it's all settled? You'll behave?
The seconds pass. Amber remains
expressionless. Marlene doesn't move,
doesn't even blink. Suddenly a sob
erupts from deep within and Amber
presses her head to her mother's chest.
AMBER
I hate all men.
Marlene taps her back.
MARLENE
Of course you do, darling, we've all been
there.
INT/ EXT FRONT DOOR DAY
Amber opens the door and gapes. A girl
with tight ginger curls that cascade down
onto bare ivory shoulders, stands
clutching her helmet like a trophy.
LETITIA
Hello, my name's Letitia. Would Bradley
be in?
Amber continues to stare.
LETITIA
They're natural curls.
Amber collects herself.
AMBER
You want Brad?
LETITIA
Yes please. Is he in?
AMBER
No, he's out riding. Were you expected?
LETITIA
No but Neville, that's my father, says we
should always expect the unexpected.
Amber has to quickly bite her lip.
LETITIA
May I?
Without waiting for Amber's assent, she
steps confidently inside.
INT LIVING ROOM DAY
The two face off on opposing sofas,
Letitia seemingly perfectly content to
wait in silence.
AMBER
Would you like something to drink?
LETITIA
Mineral, please.
AMBER
Sorry, only tap.
Letitia nods with condoling sympathy.
AMBER
How about tea or coffee?
LETITIA
Peppermint, please.
This time Amber's tone is unrepentant.
AMBER
English Breakfast.
Letitia, sitting perfectly upright, shows
no reaction.
AMBER
You drink coffee?
LETITIA
The health benefits are still being
debated. I'm on the sidelines.
AMBER
Sherry?
LETITIA
I'm thirteen.
AMBER
Just kidding.
LETITIA
I wouldn't mind a dry martini. Without
the alcohol, of course.
AMBER
I believe they call that a wet martini.
Letitia nods. Amber is forced to comply.
LATER
Letitia sips her wet martini, watched
curiously by Amber on fruit juice. Again
it's Amber who feels compelled to break
the silence.
AMBER
So you're Kevin's sister?
LETITIA
He's my younger brother.
AMBER
I thought you were twins.
LETITIA
I was born first by thirty-five minutes.
Kevin tries to claim they got the times
mixed up, but everyone in our family
knows how hard it is to get him up in the
morning.
Amber looks at her watch and sighs.
Letitia, already feeling the effects of her
wet martini, now takes the initiative in
conversation.
LETITIA
Bradley says you're bossy. Are you?
AMBER
What?
LETITIA
At our house, no-one bosses anyone
else. We operate by consensus.
AMBER
Really? I've heard that system produces
spoilt brats.
LETITIA
The only one who's spoilt is Alphonse,
and that's because he's very gifted.
AMBER
Alphonse? Another twin?
LETITIA
He's our cat. He watches the news with
us.
AMBER
Cats can't watch TV because they
register the flicker.
LETITIA
He adjusts for that. I told you he was
clever.
AMBER
And do you discuss current affairs with
him?
LETITIA
He can't speak. It's really bad luck he
was born a cat. He would've made a
brilliant scientist.
Ben enters, on the quest for some
instantly forgotten object.
BEN
Oh hello.
Letitia gets up to offer her hand.
LETITIA
I'm Letitia. You must be Bradley's
father.
Ben shakes her hand enthusiastically.
BEN
Yes, that's my main claim to fame.
They both sit.
LETITIA
May I call you by your first name? At
our house, that's all we use.
BEN
Certainly. I'm Ben.
LETITIA
Is that short for Benjamin?
BEN
No, I'm simple Ben. My name, I mean.
LETITIA
Neville, that's my father, says not using
a person's proper name is sheer
laziness.
BEN
I do hope Brad – Bradley isn't neglecting
you.
He shoots an almost accusatory look at
Amber.
AMBER
Letitia wasn't expected.
Ben nods understandingly.
BEN
What is it they say about the unexpected
pleasure?
AMBER
Nothing, father, nothing at all.
BEN
Well perhaps they should. A cold beer
would be nice, sweetie-pie.
Amber gives him a strained smile.
AMBER
Certainly, father. Where would you like
it?
EXT MANSION DAY
Brad rides up and slowly encircles
Letitia's bike, as though it had fallen
from the sky and he was looking for the
indent.
INT LIVING ROOM DAY
Brad bursts in like a detective on a
mission to crack a difficult case.
BRAD
How come you're here?
Ben turns apologetically to Letitia.
BEN
I assure you he wasn't brought up this
way.
LETITIA
I thought we could see a film together.
Would you like to?
BRAD
A movie?
BEN
Son, it's not a trick question.
BRAD
I don't drive.
Ben shakes his head wearily.
LETITIA
Neville will take us. It's all arranged. I
mean if you want. Only if you want.
BRAD
I guess.
LETITIA
Good. Now you can take me on a tour
of the house and then we'll check out
your wardrobe. It's best we co-ordinate,
don't you think?
Amber smirks.
AMBER
You're right, he doesn't think.
Brad only has time for a momentary
glare at his sister before being whisked
away by Letitia. Ben takes a swig of
beer.
BEN
My son can sure pull 'em.
Amber rolls her eyes.
BEN
What?
AMBER
You mean apart from the fact you were
never this enthused about my first date?
BEN
Yes, apart from that.
AMBER
All right then, she's a stuck-up little
madam.
BEN
Certainly her modish dress-style and
well-spokenness mark her out for
condemnation, but we should be
tolerant of others' faults.
Amber sighs.
BEN
Jealous?
AMBER
What?
BEN
There's another pretty young female
about the place.
AMBER
Daddy, looks aren't everything.
BEN
Says she who can't pass a mirror without
inspecting herself.
Amber pulls a face.
INT KITCHEN DAY
Marlene dices carrots with a passion that
makes Amber wince.
AMBER
I take it you've met Letitia.
MARLENE
Don't talk to me about that little witch.
AMBER
Mother, such language.
Marlene turns to her, using the knife for
emphasis.
MARLENE
Do you know what she called that shirt
of Brad's? His favourite, I might add.
Amber keeps a straight face by focusing
on the knife-point.
AMBER
You mean that black-and-white thing
with the red splodges?
MARLENE
I chose that shirt. There's nothing wrong
with it.
AMBER
I'm guessing Letitia had another view.
Marlene returns to the chopping board
with renewed fury.
MARLENE
Vulgar. She said it was vulgar.
AMBER
Okay, but is it worth losing a finger over?
Marlene stops and takes a deep breath.
AMBER
I thought I'd be the last person defending
her, but she's just a kid.
MARLENE
Really? And have you seen the way she
dresses?
Amber shakes her head disbelievingly.
AMBER
Mother, listen to yourself.
Marlene pours a glass of wine.
AMBER
That's cooking.
MARLENE
Blame your father.
Amber watches curiously as she gulps it
down, but can't decipher her mother's
expression.
AMBER
Actually you may have a point. I think
she could be sexually precocious.
Marlene gives her daughter an icy look
but Amber stands her ground.
AMBER
Do you remember what you gave me on
my first date?
MARLENE
That's different. You were older.
AMBER
And what you said?
MARLENE
My son was brought up to respect
females.
AMBER
You mean like his sister, who he insults
at will?
MARLENE
I'm not talking about petty squabbling.
Besides, you give as good as you get.
AMBER
Whatever. The point is -
MARLENE
The point is they're far too young, and
your brother isn't that irresponsible.
AMBER
You said putting on a seat-belt doesn't
mean you intend having an accident.
Again Marlene uses the knife to
underscore.
MARLENE
Don't you go giving him ideas.
This time Amber raises her eyebrow at
the blade.
AMBER
Mother, this isn't you.
Marlene is silent. Amber waits patiently.
MARLENE
Just make it clear you're not
encouraging him.
AMBER
Me? Shouldn't it be daddy?
Marlene's tone is full of withering scorn.
MARLENE
Now that really would be putting out the
fire with gasoline.
INT DINING ROOM NIGHT
All except Drake raise their glasses in
toast.
MARLENE
To Drake, showing there's life after
twenty-four.
DRAKE
Life there may be, but my days of fresh-
faced innocence are behind me.
Marlene sniggers.
MARLENE
Innocence.
DRAKE
That was for the benefit of the
impressionable young minds among us,
which by the way appear to have
dwindled. I mean that numerically, not
intelligence-quotiently.
BEN
I do apologise for Brad.
DRAKE
No no, quite unnecessary. I say let Brad
be Brad in all his Bradness.
MARLENE
Just drink.
DRAKE
Marlene knows me too well. When I talk
I get light-headed. Fortunately there's
champagne to bring me back down to
earth.
BEN
Your quarter-century, Brad's first date,
it's a day for milestones.
DRAKE
You've got to give him credit. Barely
into his teens and already making up for
the wasted years.
His grin evaporates as he catches sight
of Marlene's thunderous expression.
AMBER
So you think thirteen's old enough to
date?
BEN
Letitia's also thirteen, so it doesn't
offend symmetry.
Amber shoots her father an annoyed
look then quickly returns her attention to
Drake.
AMBER
Tell me then, how would you define a
sixteen-year-old female? Is she a girl
or a woman?
DRAKE
'Trouble' would be my definition.
MARLENE
Don't pout, darling, you brought it on
yourself.
AMBER
What? It was a simple question.
DRAKE
In my experience females, excluding
young children, are incapable of asking
a simple question. We males, on the
other hand, are at heart simple
creatures. Sorry, Ben, I couldn't resist.
BEN
My wife wasn't even there.
All eyes go on Amber.
AMBER
This is really nice champagne.
INT LIVING ROOM NIGHT
They sit with their coffees. Amber plays
the afterdinner-mint hostess.
DRAKE
So tell me more about this wily temptress
who's ensnared our Brad.
BEN
A charming girl. I believe she'll be a
very civilising influence on him.
MARLENE
Interesting that you think our son needs
civilising.
BEN
That wasn't so much a specific criticism,
more a general appreciation of the role
females play in civilising society.
DRAKE
Considering the state of the world, they
seem to be doing a pretty poor job.
MARLENE
Perhaps men should make more of an
effort to civilise themselves.
BEN
Quite right, dearest, and by not
contesting the point, I'm making my own
small contribution to world peace.
EXT MANSION NIGHT
Amber and Drake take in the night air
under the light of a ghostly moon.
AMBER
My mother's very fond of you.
DRAKE
Me too. I don't mean of myself, that
goes without saying.
AMBER
I know you guys still work together, but
I'm sure she would've seen more of you
at the agency.
DRAKE
Your point being?
AMBER
Who says I have one?
DRAKE
Let's just call him Mr Anonymous. Or
think of me, but pixelated.
AMBER
Okay then, why did she leave?
Drake gives a long sigh.
DRAKE
Your mother has the soul of an artist
who likes to pursue her own vision of
the truth.
AMBER
And that was a problem?
DRAKE
It is when you work for a boss who
considers truth a function of power.
Though the fireworks were certainly
entertaining.
Amber reflects a moment.
AMBER
I still don't get it. I know my mother and
she's the opposite of volatile.
DRAKE
At home and in her studio I'm sure that's
true enough. But the agency's a
pressure-cooker. Why do you think I go
out so much? Not for the fun of it.
Amber shivers.
DRAKE
You're cold. Let's head inside.
AMBER
Not yet. It was stuffy in there. Besides,
there's something else I want to ask you.
DRAKE
I've already said too much, which I tend
to do with wine.
AMBER
So how do I tell the difference?
DRAKE
Touché, ma petite.
AMBER
I know what you think of my mother, but
what do you think of me?
Drake tilts his head.
DRAKE
What's up with that moon?
AMBER
It's just mist, answer the question.
DRAKE
I can't.
AMBER
Why not? Because you think I'm just a
dumb kid?
DRAKE
No.
He turns abruptly and walks back to the
house. Amber sighs to herself.
AMBER
Well at least I know how to shut you up.
EXT MANSION DAY
The languid breeze makes a token effort
to stir the few fallen leaves. Sipping
vermouth and lemon on ice under the
shade of the old oak, Marlene inclines her
head only slightly as her daughter
approaches. Amber plops herself down
on the grass beside the canvas chair.
AMBER
Shouldn't you be working?
Marlene spares her the merest of glances,
enough to note the mischievous grin.
MARLENE
That's right, darling. I came to the
countryside so I could lock myself up in
the studio all day.
Amber nods understandingly.
AMBER
We should buy this place.
MARLENE
Really? And how much are you willing to
chip in?
Amber gives a vague shrug.
AMBER
How much would it cost?
MARLENE
Far more than we could ever afford.
AMBER
Mother, your new strip is going to be a
fabulous success and Drake can move
down here and -
MARLENE
Whoa girl, stop.
AMBER
What?
MARLENE
You're living in fantasy land.
AMBER
And we could plant a garden like in the
old days, with heaps of gorgeous bright
flowers.
MARLENE
You've never done an ounce of weeding
in your entire life.
Amber rolls her eyes.
AMBER
Well obviously we'll have a gardener.
MARLENE
Yes of course, because we're still in
fantasy land.
AMBER
And we absolutely must have garden
parties.
Marlene sighs.
MARLENE
It's Drake, isn't it?
Amber avoids her mother's eye.
AMBER
I have no idea what you're talking about.
Marlene takes a long sip and stares into
the distance.
MARLENE
I was once young and silly too. And I said
to myself my children weren't going to
make the mistakes I made. How we
delude ourselves.
Amber straightens up excitedly.
AMBER
Tell me more.
MARLENE
More?
AMBER
Yes yes, what mistakes did you make?
MARLENE
Never you mind.
AMBER
That is so typical. Just when things get
interesting, you go all enigmatic.
Marlene rises.
MARLENE
Come on, let's take a walk in an
imaginary garden.
A dubious Amber reluctantly follows.
MARLENE
Note the crushed-seashell path, very
twenties.
AMBER
Drake told me why you left the agency.
MARLENE
And I'm sure it was very entertaining.
She pauses to smell an imaginary flower.
Amber, still suspicious, refuses to play
along.
AMBER
Why do you say that?
MARLENE
Because he loves to dramatise. I
particularly like the story where he's the
mediator, to-ing and fro-ing so fast he
becomes a blur, rather like that tiger
running around the tree until it turns into
melted butter.
AMBER
Okay, mother, you've made your point.
So what's your version?
MARLENE
Freelance spoilt me. With children's
books, anything's possible.
AMBER
So why go back in the first place?
Marlene shrugs.
MARLENE
Desperate attempt to regain lost youth?
AMBER
Mother, you don't do desperate.
Marlene smiles.
MARLENE
You'll understand one day.
AMBER
Why not now?
MARLENE
Because, darling, youth is something
you've never lost.
She plucks an imaginary flower and
hands it to her daughter.
AMBER
What do I do with it?
MARLENE
Smell it. Remember, in those days the
flowers still had fragrance.
Amber takes a sceptical whiff.
MARLENE
I guess we all have our fantasy land. In
mine, work was fun and the parties
endless.
AMBER
So you were a party animal in your
younger days?
Marlene's smile hovers between rueful
and apologetic.
MARLENE
You wouldn't think it to look at me now.
AMBER
Is that what marriage and kids does to
you?
MARLENE
No, darling, it's what life does to you.
People change.
AMBER
Tell me about your boss.
Marlene laughs.
MARLENE
He was one of the ones I used to party
with. I was naïve then, I didn't see the
calculating ambition, didn't notice the
measured sips, how he never really got
drunk or made a fool of himself.
AMBER
What about the fireworks?
MARLENE
What?
AMBER
Drake said there were fireworks.
MARLENE
Oh did he? Well it must be true then.
AMBER
Come on, please.
MARLENE
It used to be about what you could do.
The second time, it was more about what
you couldn't do. I suffocated. And when
you're gasping for breath, you don't
always behave with decorum.
Amber is silent a moment.
AMBER
It wasn't easy for you, was it?
MARLENE
No.
AMBER
How come we never talked like this back
in the city?
MARLENE
Too many distractions, I guess. Here
we're stuck with each other.
Amber's eyes go blurry. Marlene frowns.
MARLENE
Goodness, child, what's the matter now?
AMBER
I've been so mean to you.
She hugs her mother.
MARLENE
What's the real reason?
Amber breaks off.
AMBER
What do you mean?
MARLENE
Emotionally, you're all over the place.
What's bothering you? I mean apart
from teenage hormones.
Amber continues to look bewildered.
Marlene softens her tone.
MARLENE
Drake.
Amber's expression turns reproachful.
AMBER
What do you want me to say? You know
I have feelings for him, but I have to
pretend they don't exist.
Marlene nods sympathetically.
MARLENE
It's my fault, I shouldn't have invited him
down. It was too soon.
AMBER
Talk to daddy, please. Make him
understand.
MARLENE
Darling, I happen to agree with him.
AMBER
But you know what's it's like. You've
been there, right?
MARLENE
And it didn't work out – unsurprisingly.
AMBER
And did all your other relationships work
out? Obviously not, or you wouldn't have
married daddy.
Marlene sighs.
MARLENE
It was your father's idea to have children.
I always knew I'd be a bad example.
INT LIVING ROOM NIGHT
Amber slips into the darkened room and
slides onto the sofa, disposing of Brad's
feet in one economical movement. She
studies the screen for several moments,
then pronounces her verdict.
AMBER
You're wasting your time.
BRAD
How do you know?
AMBER
Because I've seen this movie before.
BRAD
So?
AMBER
So you're only watching for the raunch
scenes, but it's all tastefully done with
subtle lighting.
BRAD
I spose you're gonna spoil the ending too.
Treating the remark with disdain, Amber
waits several moments before broaching
her real subject.
AMBER
How's it going with Letitia?
BRAD
None of your business.
AMBER
Hey, I'm your sister.
BRAD
What I mean.
AMBER
Not the physical stuff, because that would
be gross.
BRAD
What do you care? You don't even like
her.
AMBER
I never said that.
BRAD
So? You think it.
AMBER
Well pardon me for having thoughts. In
future I'll try and be as empty-headed as
you.
She pretends to sulk.
BRAD
And how's your love-life?
AMBER
Is that a genuine question, or are you just
gloating?
BRAD
You should stay away from Carl.
AMBER
Carl? I thought you were talking about ...
BRAD
Who?
AMBER
Nobody.
BRAD
Letitia says he's weird.
AMBER
You told her about us? Why? It was
one date and it didn't go anywhere.
BRAD
So how come he keeps hanging around?
AMBER
Because it's a free country.
She peers through the dimness, trying to
study his expression.
AMBER
Does she know something about him?
Brad shrugs.
AMBER
Thanks, that's really helpful.
BRAD
You wouldn't believe her anyway.
AMBER
God you can be infuriating.
She hugs the life out of a cushion.
BRAD
He's a Krull.
AMBER
Duh – his name's Evans.
BRAD
Maybe it's his mother's name.
AMBER
See, you're just guessing. You don't
know anything.
BRAD
I know you're ruining this movie.
Amber falls into a troubled silence.
INT STUDIO DAY
An elderly teacher addresses the class in
stentorian tones while holding out a
cellphone, whose hapless owner stands
beside him: "There are two great defining
moments in Western civilisation. Firstly
when the Greeks added vowels to the
Phoenician alphabet, and secondly when
little Miss Emily here took them out."
Amber lolls on the sofa munching an
apple.
MARLENE
How was school?
AMBER
Very schoolish.
MARLENE
How terribly succinct of you, darling.
AMBER
Did you know Gloria Krull ended her
days in a mental institution?
MARLENE
I didn't even know she ended her days,
or for that matter, started them. And I
believe the correct term in those days
was loony bin.
AMBER
The locals call this place Krull House.
She's the one who inherited it from
Hayze. Guess why.
MARLENE
Relation?
AMBER
No but they had relations.
Marlene sighs.
MARLENE
You couldn't just say she was his
mistress?
AMBER
The point is, when it comes to murder,
it's always important to look at who
benefits.
MARLENE
Darling, don't you think this obsession of
yours is in danger of becoming tedious?
AMBER
What obsession? It's just idle curiosity.
MARLENE
Caused by not enough homework.
AMBER
Fine, I'll shut up then.
She takes a large bite and crunches
noisily, earning a pointed stare from her
mother.
AMBER
What? It's healthy.
MARLENE
Not for my concentration, it isn't.
AMBER
Why do you want to do a syndicated
strip anyway? Look what it did to Bill
Watterson.
Marlene does a rapid swivel.
MARLENE
Did you know I wanted to study painting
in Paris?
AMBER
No, what stopped you? Let me guess –
you met daddy and had me instead.
Marlene's expression softens.
MARLENE
I made my choices and I'm happy with
them. But please don't begrudge me this
project.
AMBER
Sorreee. I just thought drawing and
talking used different parts of the brain.
Marlene resumes inking, but the silence
soon gets to her and she lays down her
brush.
MARLENE
So what are you implying about Gloria
Krull? That she was in on it?
AMBER
What if Hayze was telling the truth about
his innocence, but that wasn't the whole
truth?
MARLENE
You mean he took the rap for her? And
not only that, made her beneficiary. Why
would he do that?
AMBER
Because...
She pauses for dramatic effect, a
triumphant gleam in her eye.
AMBER
She was carrying his baby. His only
child.
MARLENE
It all sounds perfectly entangled.
AMBER
And even if he had accused her, she
was his mistress. The jury would
probably still have believed he was
implicated. See, this was after the
crash, when people became very
moralistic about his kind of hedonistic
lifestyle.
MARLENE
Congratulations. And now you've solved
the murder, I suggest we celebrate with
a gin and tonic.
AMBER
Mother, are you trying to turn me into a
boozer?
MARLENE
Darling, the gin's for me, the tonic's for
you.
INT DINING ROOM NIGHT
Marlene rejoins the others at the table.
She picks up her cards and studies them
expressionlessly.
BEN
What was the call?
MARLENE
I'm still deciding.
BEN
The phone variety.
MARLENE
We've all been invited to dinner.
AMBER
But we've already eaten.
MARLENE
Saturday night, darling. I assume you'll
have digested by then.
BEN
How is it possible? We don't know
anyone here.
MARLENE
Which is why I accepted. I always find
impossible invitations impossible to
resist.
BEN
Oh I see, this is a game and we're
supposed to guess.
MARLENE
Not at all, seven clubs.
BEN
Nicely parried.
MARLENE
Thank-you.
AMBER
Why the big mystery?
Marlene smiles sweetly at her daughter.
MARLENE
I thought you were fond of them.
Amber suddenly turns to Brad, eyes
narrowed in suspicion.
AMBER
How come you're not saying anything?
BEN
He's giving you cool. You can't expect
conversation as well.
MARLENE
Yes, it's Letitia's parents.
AMBER
Well I'm not going.
She gives her brother another dark look.
BRAD
Hey, I didn't know anything.
BEN
And we must believe you, son, since
no-one can accuse you of false modesty.
Marlene raises an eyebrow at Amber.
MARLENE
So what are your qualms?
AMBER
We don't know anything about them,
other than they created Letitia.
BRAD
You promised you wouldn't keep saying
stuff about her.
AMBER
What did I say? What?
MARLENE
Darling, how's your heart situation?
AMBER
Just fine, mother.
BEN
That's not a call.
AMBER
Pass.
BRAD
Pass.
BEN
A measly seven clubs? What's wrong
with you people? How can you live with
yourselves? Nine hearts.
Marlene bursts out laughing.
AMBER
Oh great.
BEN
Sometimes it's better to go down in a
blaze of glory.
MARLENE
Yours.
Ben scoops up the kitty.
BEN
Sweetie, unless you have a prior
engagement -
AMBER
I do.
MARLENE
What?
AMBER
Painting my toenails.
BEN
I don't understand what the problem is.
Give me a clue.
Amber hesitates, then her indignation
takes over.
AMBER
Okay, Brad's got Letitia, you've got
mum, and Letitia's parents have got
each other. I'll be the odd-man-out.
BEN
Person.
BRAD
Thing.
BEN
That wasn't called for. Don't you want
your sister to come along?
BRAD
Not if she's going to be a ...
AMBER
What did you call me?
BRAD
Nothing. Just like you don't say anything
about Letitia.
BEN
Okay, children, I feel I should step in here
with some words of wisdom.
MARLENE
He doesn't have any, but that doesn't stop
the feeling.
BEN
Hon, that was my line. Mes enfants,
avoid marriage if you want to keep your
own lines.
AMBER
The point is, Brad will take off with Letitia
and I'll be stuck listening to boring
grown-up talk.
BEN
Don't worry, petal, I'll be sure to include
you in the conversation.
Amber scowls.
AMBER
I hate it when you're condescending.
BEN
Come on, sulky-britches, give daddy a
smile.
AMBER
I'm not three.
MARLENE
At the moment, that's rather moot.
BRAD
Don't forget about Kevin.
BEN
I do believe that's something we're all
guilty of. What about him?
BRAD
He'll be there too.
AMBER
Oh God.
BRAD
He was going to ask her to the school
dance till I talked him out of it.
BEN
See what your brother does for you?
BRAD
I was thinking of Kevin.
BEN
Amber, honey-pie, we're not leaving you
alone in this big old creepy house.
AMBER
Why not?
BEN
Why not? Have you never watched a
horror pic?
Amber rolls her eyes.
BEN
Sweetie, if you don't go, we don't go. Is
that what you want?
Amber jumps to her feet.
AMBER
What I want? What I want doesn't seem
to matter a damn.
She storms out. Ben muses.
BEN
Where do you think I lost her? The film
reference?
INT MASTER BEDROOM NIGHT
Ben rolls over, taking the covers with him.
Marlene yanks them back in exasperation.
MARLENE
Do you mind?
BEN
Mmm?
MARLENE
I can't sleep.
BEN
Bad dream, huh?
MARLENE
No, bad reality. You're making me
seasick.
BEN
We'll get a new bed in the morning.
MARLENE
Or better still, I could get a new husband.
BEN
That's bigamy, hon.
MARLENE
Not if you do it right.
Finally alert to her tone, Ben springs
upright and switches on the light.
BEN
I must say lack of sleep doesn't exactly
bring out your most endearing qualities.
MARLENE
Does it anyone?
BEN
Well actually, I once knew this guy who -
MARLENE
Ben.
BEN
Honeykins?
MARLENE
I'm too old for bedtime stories.
BEN
Sorry, I thought you wanted to talk.
MARLENE
No, you do.
BEN
Me?
MARLENE
Yes.
BEN
It can wait till the morning.
MARLENE
No it damn well can't.
Ben nods.
BEN
What are we going to do about Amber?
MARLENE
I've already given you my suggestion.
BEN
Why are you so determined to throw them
together?
MARLENE
Why? Obviously because I trust him.
BEN
What about someone from school?
MARLENE
It's a boyfriend thing.
BEN
Not following.
MARLENE
She doesn't have one, so they think she's
there to steal theirs.
Ben sighs.
BEN
The female mind ...
He catches Marlene's eye.
BEN
Is a wonderful thing. What about her old
friends? Surely there's someone she can
invite down.
MARLENE
So typical of you not to notice.
BEN
Rising above the slur – notice what?
MARLENE
How much they've drifted apart.
BEN
In a few months? How is that humanly
possible?
MARLENE
It's the crowd she hung out with. If
you're not present, you're history.
Ben shakes his head ruefully.
BEN
Kids these days are so superficial. We
used to have deep meaningful
conversations. Whatever happened to
deep meaningful conversations?
MARLENE
We grew up.
Ben is silent a moment.
BEN
It's not that I have anything against him,
he's an amusing guy. I just think it
would be more helpful if he kept his
distance until this crush thing of hers
wears off.
MARLENE
Let me remind you his visits were your
idea. I was perfectly happy to meet up
in the city.
BEN
Okay, could we leave the city out of this?
I'm sorry I inadvertently gave the
impression I didn't trust you. But we're
talking about Amber. Surely we're both
agreed she's young and foolish.
MARLENE
Rather like that student of yours who
always dressed in such a hurry she forgot
her bra.
BEN
She was part of the tutorial group, we
were never alone, and you were there.
MARLENE
Is that why you had the sessions at our
house? Because you didn't trust yourself
without my presence?
BEN
Why don't I just put my head on the block
and you chop it off?
Marlene declines to respond.
BEN
Why can't we insist she come with us?
Doesn't she want to be part of this family?
MARLENE
Fine, you do that. She'll hate you forever,
but don't let a little thing like that stop you.
BEN
We both know that's not true.
MARLENE
Maybe not, but it goes deeper than you're
willing to admit.
BEN
I just want to protect my little girl. Is that
so wrong?
MARLENE
She's not little, and the best way to protect
children who unreasonably insist on
growing up is to encourage self-reliance.
Ben yawns.
BEN
It's a conundrum, a real conundrum.
He switches off the light and settles back
down under the covers.
BEN
Thanks, hon, I'm glad we had this chat.
He yawns again.
MARLENE
No, thank-you, because now I'm wide-
awake.
INT DINING ROOM NIGHT
Amber watches intently as Drake takes
a mouthful of saltimbocca. He nods
approvingly.
AMBER
I was trying not to poison you.
DRAKE
Very thoughtful.
AMBER
I've never actually cooked before. You're
my first guinea-pig.
DRAKE
Well at least if I die, it'll be in the name of
science.
AMBER
Of course I've seen mum do it a thousand
times, so I guess she's the one who really
deserves the credit.
Drake smiles.
AMBER
What?
DRAKE
You. Or rather me. I guess I'm not used
to such unspoiled charm.
AMBER
Is that a polite way of saying you're more
used to smart sophisticated types?
DRAKE
No it's just ...
AMBER
Lost for words?
DRAKE
Yeah, what the hell have you put in this?
Amber grins. Drake turns solemn again.
DRAKE
Amber, you're a sincere person in an
insincere world, and that makes you
vulnerable.
AMBER
Crap, I'm stronger than you think.
DRAKE
Sorry, I didn't mean to sound patronising.
Amber shrugs it off.
AMBER
I guess I have been acting kind of gawky.
They continue their meal in silence.
INT LIVING ROOM NIGHT
Amber plonks down two steaming mugs
then bounds onto the sofa.
AMBER
Are you sure you don't want anything
stronger?
DRAKE
When I say coffee, I always mean coffee.
It's destroyed countless relationships.
AMBER
If your relationships don't work out, you
should blame yourself, not the coffee.
DRAKE
No I blame my great-great-great-
grandparents. Some people blame their
parents, but I like to cut to the chase.
AMBER
So how come anyway?
DRAKE
What?
AMBER
They don't work out.
DRAKE
You tell me, Miss I-want-to-be-a-
psychologist.
AMBER
Okay then.
She whips out an imaginary pen and
notebook.
AMBER
Did you have a happy childhood?
DRAKE
No complaints.
AMBER
Everyone has complaints.
She pretends to make notes.
AMBER
'Lies about childhood.' Do you think
women are equal to men, or superior?
DRAKE
Both.
AMBER
'Confused about women.' Have you
always considered love a four-letter
word?
DRAKE
No, only since I started school.
AMBER
Daddy says swearing should be reserved
for the important things, like stubbing
your toe if you're a man, and childbirth if
you're a woman.
DRAKE
Hey, this is all about me.
AMBER
Uh-huh.
DRAKE
So what's your conclusion?
AMBER
You mean apart from the obvious one of
narcissism? Besides, we never come to
a conclusion, because that would mean
the end of fee-paying. However on the
evidence so far – severe psychosis.
DRAKE
Thanks. What do I owe you?
AMBER
A kiss.
Drake gives her a quick peck on the
cheek.
AMBER
'And if that's how subject kisses women,
no further explanation required.'
DRAKE
So what movie have you chosen?
AMBER
I haven't.
She points forlornly to a pile of discs on
the coffee-table.
AMBER
I got into the store and suddenly realised
I didn't have a clue what sort you liked.
DRAKE
The old Amber would've chosen
something and rammed it down my throat
as a masterpiece.
AMBER
Would I have used that word?
DRAKE
Probably not. Beyond brilliant.
Amber jumps up.
AMBER
Okay, I admit it. I don't know how to
behave around you anymore. Like, what
are you? My babysitter? I'm nearly
seventeen, for God's sake.
DRAKE
I'm here because nobody should be alone
in this spooky old place, least of all me.
AMBER
I'm not a little girl scared of the dark.
Drake eyes her coolly.
DRAKE
Do you think he's out there tonight?
Amber gives a self-conscious shrug of
unconcern.
AMBER
How should I know?
Drake sifts through the discs.
DRAKE
Have you seen any of these?
AMBER
No, I just grabbed a bunch.
Drake pulls one out.
DRAKE
A horror movie, excellent. I think you'll
find this one very educational.
Amber rejoins him on the sofa.
AMBER
Tell me more about the old Amber. She
was a bitch to you, right?
DRAKE
Actually I have to admit I rather enjoyed
our banter.
Amber sighs.
AMBER
And then I went and spoilt it by going all
serious on you. I wish I could help the
way I feel but I can't.
Drake puts down his mug, avoiding her
eye.
DRAKE
Maybe I will have something stronger.
Amber is at the drinks cabinet in a flash.
AMBER
Father likes port.
She turns and catches Drake smiling.
AMBER
What?
DRAKE
I've never heard you call him that before.
AMBER
Is that a no?
DRAKE
Please.
Amber pours a glass, followed by a
second smaller one. As she sits down
she notes his dubious expression.
AMBER
Like I'm driving.
They take several sips in silence.
DRAKE
He finds it hard, you know – your growing
up.
Amber shakes her head vigorously.
AMBER
No more talk about parents.
DRAKE
But it's okay for us to drink their wine?
AMBER
Absolutely.
Drake goes to the window and looks out
into the night.
AMBER
The doors are locked and the windows
secure, so you can relax.
A loud creak makes Drake jump. Amber
laughs.
AMBER
Better flag that horror flick. Looks like
you're spooked enough already. Woo
woo.
DRAKE
The house – what's its secret?
AMBER
Secret? Dunno. Is there one?
She finishes her drink and springs up for
a refill.
DRAKE
I don't think so.
Amber does a little jig.
AMBER
Come on, lighten up. Let's have our own
little party.
She turns on the sound system, delivering
a blast. Drake remains impassive. She
turns it off.
AMBER
What? It's not like we have any
neighbours to disturb.
Drake sits down on the sofa and looks at
her, as though expecting her to follow.
Instead she starts dancing.
AMBER
Who needs music? Like my moves?
She whirls around till finally collapsing in
a laughing heap on the floor. Drake still
shows no reaction.
AMBER
Am I being too silly? Good. I'm sick of
having to act all grown-up around you.
I'm just me, so there.
She pokes her tongue out, then pulls a
face.
AMBER
God, did I really just do that?
She flops down onto the sofa.
AMBER
Just because I live in a gloomy house
doesn't mean I have to be gloomy.
Drake gives a slight nod.
AMBER
Aren't you speaking to me now?
DRAKE
Of course, but at the moment I'm
listening.
AMBER
Fine, I'll rabbit on some more. Let's
see. There's a guy in my class who
fancies me. Maybe I should hook up
with him. You know, just to get it over
and done with.
Drake looks away.
AMBER
I'm making you uncomfortable. You
choose something.
DRAKE
Marlene says you have a theory about
the murder.
AMBER
Yeah, apparently I'm an obsessive.
She takes out the disc and puts it into
the tray.
DRAKE
You think it was Gloria Krull.
AMBER
Not that it did her any good. She couldn't
afford the upkeep.
DRAKE
She never sold?
AMBER
No, and that's the really odd thing. It
was only sold after she'd been
committed.
DRAKE
So who owns it now?
AMBER
God knows. Mother says the agent
wouldn't reveal.
DRAKE
So how does Carl fit into all of this?
Amber stares at him.
AMBER
Carl?
DRAKE
What is it? Great-great-?
AMBER
Brad's a big fat blabbermouth.
DRAKE
I wonder if Carl knows the secret?
AMBER
Again, what secret?
DRAKE
If Gloria Krull did it, why didn't the police
find her? The maids claimed no-one got
past them.
AMBER
Why are you so worried about Carl? Are
you suggesting he's got killer genes? I
must admit he does look ruggedly
handsome.
Smirking at her own remark, she picks
up the remote.
INT PASSAGE NIGHT
A women creeps along a dimly-lit
corridor accompanied by spine-tingling
music. Alerted by its sudden absence,
she nervously turns around - and
screams.
INT LIVING ROOM NIGHT
Amber and Drake sit in total blackout.
DRAKE
This movie really makes you feel like
you're in it.
AMBER
There's a torch in the kitchen.
DRAKE
Yeah, but we're not.
AMBER
It's just a simple fuse-switch.
DRAKE
We weren't overloading.
AMBER
It's an old house, old wiring. Sometimes
it plays up. Get used to it, I have.
She stands up. He pulls her back down,
triggering an involuntary squeal.
DRAKE
It's only me.
AMBER
I know it's only you. Just don't grab me
like that again.
DRAKE
I wasn't trying to scare you, I just think
we should be careful.
AMBER
Well you could start by not giving me a
heart-attack.
DRAKE
So how many times has this happened?
AMBER
Once? Twice? Thrice? Why don't we
say thrice anymore? Who decreed it
wasn't useful? So short and snappy.
DRAKE
Amber -
AMBER
The point is, I can't remember. Now can I
please get the torch? If you want, you can
come too. I'll even let you hold my hand.
INT KITCHEN NIGHT
Amber fumbles for the torch. Drake picks
up the phone.
DRAKE
Dead.
AMBER
What?
DRAKE
The phone. It's not digital, is it?
AMBER
One thing at a time, puh-leease.
She swings the beam into Drake's face
and giggles.
AMBER
Do you know you look quite scary by
torchlight?
DRAKE
You're obviously holding it wrong. At the
right angle I look ruggedly handsome.
She brushes past him.
DRAKE
Hang on.
INT HALLWAY NIGHT
Drake catches Amber at the foot of the
stairs.
DRAKE
Where are you going?
AMBER
The fuse-board. We discussed this.
DRAKE
Where is it?
AMBER
The attic.
DRAKE
Forget it.
AMBER
You prefer the darkness? And here's me
thinking you were freaking out.
DRAKE
Well while you're thinking, chew on this.
We're alone together for the first time –
then this happens.
AMBER
It's called a coincidence. Look it up in the
dictionary if you don't believe me.
DRAKE
Don't go up there.
AMBER
And how are you going to stop me?
DRAKE
With hypnosis.
AMBER
Oh really?
DRAKE
Look deep into my eyes.
Amber aims the torch at him. He grabs it
off her and heads for the front door.
AMBER
Swine.
INT DRAKE'S CAR NIGHT
Amber drums her fingers on the
dashboard while Drake turns the engine
over without success.
AMBER
It's because you're panicking.
DRAKE
I'm not panicking. There's something
wrong.
AMBER
Everyone knows panicking equals
flooding.
DRAKE
They teach you that at school?
AMBER
Kindergarten. Or as they call it these
days, pre-school learning centre. Isn't
that simply hideous?
Drake hits the steering wheel in
frustration.
DRAKE
Damn it.
AMBER
Can I have my torch back now?
DRAKE
Don't you understand? He's tampered
with it.
AMBER
Poppycock. I've always wanted to say
that. Do you think they used it a lot in
the twenties?
DRAKE
Yes, it was the heyday of poppycock.
We're going to have to walk.
Amber laughs.
AMBER
Surely you jest, my good friend. We're
miles from anywhere.
DRAKE
Then we'll bike.
AMBER
We don't have lights, and you know what
maniacs people are on country roads.
EXT DRAKE'S CAR NIGHT
Drake pokes the torch around the engine
while Amber stands by sceptically.
AMBER
Do you even know what you're looking
for?
DRAKE
No, I'm just doing this for effect.
Impressive, huh?
AMBER
I see it.
DRAKE
What?
AMBER
A severed connection.
DRAKE
Where?
He unthinkingly hands her the torch, but
illumination never comes. He turns and
sees the light disappearing into the
distance.
DRAKE
Amber, stop. This isn't a game.
He jumps into the car, reaches under the
seat then re-emerges holding a second
torch.
INT PASSAGE NIGHT
The beam of light dances around like a
firefly as Drake makes his way along the
darkened passage. A loud whisper
brings him to a halt.
VOICE
Drake.
DRAKE
Amber?
A rush of creaks makes him spin around,
but too late to stop the metal torch
coming down on his head and plunging
him into nothingness.
INT ATTIC NIGHT
Amber shines her light on the fuse-board.
All the switches are off.
AMBER
How odd.
She returns them to on. Nothing
happens.
AMBER
Idiot, you forgot to turn -
Light hits her. She faces the source,
squinting.
AMBER
Drake?
Silence.
AMBER
Not funny.
CARL
Who's laughing?
AMBER
Omigod.
Carl flicks the switch, flooding the room.
He stands framed in the doorway, exuding
an eerie calm.
AMBER
Where's Drake?
CARL
He'll be okay.
Amber moves forward.
AMBER
What have you done to him?
CARL
Nothing. Much. Like I said -
AMBER
I want to know.
CARL
You honestly think I'm here to talk about
your poxy boyfriend?
AMBER
How many times? We're not together.
CARL
So the romantic dinner for two – I just
imagined it?
AMBER
I don't have to justify myself to you. What
are you doing here anyway? Please
leave.
CARL
The magic word. Except it doesn't seem
to be all that magic.
AMBER
Just go.
CARL
That's the plan. You and me, babe. How
about it?
AMBER
What? Where?
CARL
Anywhere. That's the fun of it. We hit the
road and vanish. Cool, huh?
AMBER
Are you insane?
Carl stiffens.
CARL
Obviously.
AMBER
Look, I didn't mean... You do need help,
though. I can get you help.
CARL
Help? You can't even help yourself.
He gives a throaty laugh that comes out
almost as a growl.
AMBER
What's that supposed to mean?
Carl checks his watch.
CARL
We're wasting time, and there's not much
of it to waste.
AMBER
If you go now, I won't tell anyone. It'll be
our secret.
CARL
And you're so good with secrets, aren't
you?
Amber shivers.
CARL
Yeah, I know everything. How you've
been poking that cute little nose of yours
into my family history.
AMBER
Gloria Krull did a bad thing and it
destroyed her. You're not like that.
CARL
What do you dream about?
AMBER
What?
Carl smiles.
AMBER
Omigod. You were there.
CARL
You woke suddenly. I nearly didn't have
time.
AMBER
But why? No – I don't want to know.
CARL
Did you ever feel anything for me?
Anything at all?
His eyes seem to pierce her very soul.
She finds herself responding, her voice
soft and low.
AMBER
Yes.
CARL
Prove it.
AMBER
How?
Carl gives a disdainful snigger.
CARL
See, that's the thing. You wouldn't need
to ask.
Amber erupts in fury.
AMBER
You're utterly loathsome.
She storms towards the doorway. He
takes her by the shoulders.
CARL
I can save you.
Amber's eyes blaze.
AMBER
Go to hell.
His hands fly off, her scorn hitting him like
an electric shock.
INT PASSAGE NIGHT
Amber stops at the bottom of the stairs,
her chest heaving. Seconds pass. She
swears under her breath.
INT ATTIC NIGHT
Amber whirls around.
AMBER
Carl?
INT PASSAGE NIGHT
Amber flicks on lights as she rushes
along. Suddenly she freezes then
screams out.
AMBER
Drake.
She hurls herself towards the slumped
form, then kneels down and gently
shakes him.
AMBER
Wake up, wake up.
Drake stirs. Amber waits for further sign
of life, gets none ands resumes her
attempts at resuscitation.
AMBER
Drake. Drake.
Drake opens his eyes and puts his hand
to his forehead.
DRAKE
Can you leave off with the shaking? I'm
feeling rather fragile.
AMBER
Thank God you're all right.
DRAKE
The hell I am. How much did I have to
drink?
Amber sniffs the air then coughs.
AMBER
We have to get out of here.
She jumps to her feet. The lights start
flickering wildly. Drake blinks back at
them.
DRAKE
Is that me?
AMBER
Yes, now come on.
She helps him up. They get a short way
then a coughing fit slams her against the
wall.
DRAKE
Nasty. You should take something for
that.
AMBER
It's smoke, you idiot. How come you're
not affected?
DRAKE
I just recently gave up, so for me this is
like breathing fresh air.
They start off again. Amber sways, turns
and discovers Drake sitting on the floor.
AMBER
What are you doing down there?
DRAKE
I don't know. I think I was hit by an
earthquake.
A second jolt sends Amber flying. She
lands on top of him.
AMBER
I'm sorry, I'm sorry.
DRAKE
Earthquakes are an act of God. He
should be the one apologising.
One by one the light bulbs start popping.
AMBER
Omigod, what else?
INT STAIRCASE NIGHT
Guided now by their torches, Amber and
Drake reach the stairs, only to be greeted
by a loud groaning. She grabs him. The
sound stops. They wait.
She shines her beam down below, but
the blackness eagerly devours it.
DRAKE
What's happening?
AMBER
I don't know.
As though in answer, a low rumbling
emanates from the depths, crescendoing
into an agonised shriek.
DRAKE
That can't be good.
The plume of smoke and dust arrives,
sending them spluttering backwards.
AMBER
Any other brilliant comments?
DRAKE
Don't worry, we can always jump out a
window.
AMBER
We're on the third floor, you do the
maths.
DRAKE
I can't, my head hurts. Are you sure it's
just a hangover?
AMBER
Then I'll do it for you. Third floor equals
fourth level, and there's no x factor to
save us.
The whole house seems to shudder, and
they lurch forward. Amber clutches Drake
tightly.
AMBER
Come on, we can't stay here.
INT PASSAGE NIGHT
Amber and Drake stumble along as the
shocks, though small, become more
frequent.
DRAKE
Where are we going?
AMBER
To hell.
DRAKE
Then shouldn't we be headed in a
different direction?
Amber stops, leans against the wall and
slowly sinks down.
DRAKE
Are we resting? Because we should
probably get a wriggle on.
Amber starts coughing. Drake joins in.
AMBER
Recent quitter, huh?
DRAKE
It can also make you ultra-sensitive.
AMBER
Or it means we're nearly out of time.
DRAKE
So what's the plan?
AMBER
You're the adult, you tell me.
DRAKE
Adults don't have the answers, we only
pretend we do.
He sits down beside her.
DRAKE
Have you given any more thought to my
window idea?
AMBER
Drake, you've got concussion. It would
kill you.
DRAKE
Concussion?
AMBER
Yes, concussion and it's all my fault.
DRAKE
How?
AMBER
Does it matter? We need to think. Come
on, you're smarter than me.
DRAKE
Are you kidding? I'm non compos mentis.
AMBER
At least you haven't forgotten your Latin.
DRAKE
They say it's the last thing to go.
Amber starts shaking her head.
AMBER
I don't know what to do.
DRAKE
You'll think of something.
AMBER
That's the stupidest thing I ever heard.
DRAKE
I always try for superlatives.
AMBER
I've failed us.
Learning To Fly, Tom Petty & The
Heartbreakers
Fighting off another coughing attack, she
struggles to her feet then pulls Drake up.
They continue on their way.
INT ATTIC NIGHT
Amber stabs the light in every direction as
Drake watches in bemusement.
DRAKE
What are you looking for?
AMBER
The secret. You said the house had a
secret.
DRAKE
Should that be our priority? I mean with
the smoke and the earthquakes and all
that?
AMBER
Carl was here and then he disappeared.
DRAKE
Carl was here?
AMBER
Do you have to repeat everything?
DRAKE
Maybe. Maybe not. I haven't had much
experience with concussion.
AMBER
How did he do it?
DRAKE
Can I mention window again?
AMBER
I thought the roof, but I realise now he
would've needed mountain-climbing gear.
Alerted by the silence, she flicks the
beam on Drake. He's sitting down, his
head resting on the desk.
AMBER
Drake.
DRAKE
It's okay, I'm thinking.
AMBER
You can't close your eyes, it could be
fatal.
DRAKE
I'm sure there are more dangerous things
right now than my eyes.
AMBER
Hayze. You said he had a twisted mind.
Drake has a coughing fit.
AMBER
Distorted perspective. That's how you
hide a secret passage.
DRAKE
When I was in Ireland -
AMBER
We're talking about Ireland? Now?
DRAKE
This mansion had one and we ended up
in an open field.
AMBER
The entrance. Tell me about the
entrance.
DRAKE
It was a trapdoor in the cellar.
AMBER
So what the hell are we doing in the
attic?
DRAKE
That was going to be my question.
Amber paces around furiously.
AMBER
Trapdoor. Trapdoor. There is no
trapdoor.
She swings the torch around.
AMBER
At this level it has to be a wall. But which
one?
The room shakes. A beam makes an
ominous complaint.
AMBER
The back wall. It's the only one not easily
visible from the ground.
She tries to find an opening then bangs
the wall in frustration.
AMBER
I can't do it.
She turns around and sees Drake's head
down again.
AMBER
You utter moron.
She marches over and lifts his head. At
the same time a violent spasm sends
them both sprawling onto the floor, Amber
once more landing on top of Drake.
AMBER
Oh God, I'm so sorry. Are you all right?
DRAKE
Yes I am, and let that be a lesson to you.
AMBER
Please, you have to stay awake. I can't
do everything.
DRAKE
Save yourself. I'm going down with the
desk.
AMBER
The desk. You're a genius.
DRAKE
Finally someone believes.
She shunts Drake aside then slides the
desk along the wooden floor, using it as
a battering ram. The wall splinters, but
it's not enough. She tries again. On the
third attempt she's able to pull away
pieces to create a sizeable hole.
AMBER
Come on, we can squeeze through.
Drake staggers over, now coughing more
than ever.
DRAKE
Is it safe?
AMBER
Of course it's not safe. The whole bloody
building's unsafe.
DRAKE
I suppose this isn't a good time to
mention my claustrophobia.
AMBER
Damn right.
DRAKE
Thank God I didn't.
AMBER
What about Ireland?
DRAKE
Yeah but I had to force myself.
AMBER
And you don't think your life in the
balance is motivation enough?
The beam comes crashing down.
EXT MANSION NIGHT
The roaring house lights up the night with
fiery menace.
INT AIRPORT BAR NIGHT
Ben pushes his empty glass towards the
barman.
BEN
Please, but this time less of the ice.
BARMAN
I didn't give you any.
BEN
And that was too much.
The barman remains hesitant.
BEN
Have you ever lost a daughter?
BARMAN
No, man, I haven't.
BEN
Good for you.
The barman reluctantly pours. Ben takes
a large swig as Marlene appears. She
coolly notes her husband's flushed
features.
MARLENE
What are you up to?
BEN
Just taking my quantum of solace.
MARLENE
Which I believe is a fancy pants way of
saying small comfort.
She gives the barman a frosty look.
MARLENE
You didn't notice he'd had enough?
BEN
We both forgot to count, so this one's just
to make sure.
Marlene puts down money.
MARLENE
Two double-shot espressos, please.
Gripping Ben's arm, she takes him to a
table, where he defiantly drains the
remnants of his salvaged glass.
BEN
You know I hate flying.
MARLENE
Except you're not the one getting on the
plane.
BEN
Most logical, my heart of hearts.
However, since fear of flying is itself
illogical, I fail to see the relevance.
His eyes turn misty and he clambers to
his feet to envelope the new arrival in a
fervent fatherly hug.
BEN
I love you, princess, I love you to bits.
AMBER
I love you too, daddy.
She looks enquiringly over her father's
shoulder. Marlene holds up the empty
glass.
BEN
I just wanted you to know that, in case
the plane crashes.
AMBER
I already knew, and that plane stuff was
yukky.
She sits down. Ben does likewise, but
with less elegance. A waitress delivers
the coffees.
MARLENE
They're both for my husband.
BEN
I'm sorry, so sorry. I should never have
left you alone in that house – no offence
to Drake.
AMBER
Daddy, please, stop it. I'll smudge and
look like a sad-eyed clown in the
goodbye shots.
Drake joins them, handing Amber a fruit
juice. She's more interested in his drink.
AMBER
You – beer?
DRAKE
Apparently it's convivial, although I can't
find it anywhere on the label.
BEN
Honeypot, you still haven't told me what
your plans are for when you get back.
AMBER
Journalism. I've decided to become a
war correspondent.
BEN
Let me explain something to you about
wars. People get killed. Soldiers
sometimes, civilians always.
AMBER
Exactly, and that's why the world needs
to know what's going on.
BEN
As your father, I forbid you to set foot in
a war zone.
DRAKE
Or it's off to bed with no supper.
MARLENE
Where's Brad?
AMBER
Still deciding. And they say we're
choosy.
BEN
It's an important decision.
DRAKE
How so?
BEN
It's finally dawned on him he's going to
have to get a job one day, so he's settled
on movie star. Get the shades right and
all else follows.
DRAKE
How come you're buying him a goodbye
present? Shouldn't it be the other way
round?
AMBER
I don't need any sunglasses. Besides, I
don't want my family to forget me.
BEN
Petal, I'd be willing to trade my socks
anyday for a better gift – your staying.
AMBER
It wasn't socks. Come on, let's go for a
walk.
DRAKE
I haven't finished my drink.
Amber grabs his glass and gulps. She
puts it down with a burp.
DRAKE
What I admire most about your daughter –
her resourcefulness.
Amber springs up and bounds off. Drake
is about to follow but Ben holds up a
delaying hand.
BEN
So tell me – you and Amber, what exactly
is the state of play?
MARLENE
And all it took for him to ask that question
was innumerable whiskies.
DRAKE
Put it this way – if she doesn't fall in love
in Paris, the city will have a lot of
explaining to do.
Marlene smiles, which Ben catches.
BEN
I hate it when women smile mysteriously.
I blame that Mona Lisa for starting it all.
INT AIRPORT TERMINAL NIGHT
Amber is wrapped tightly around Drake's
arm as they wander along.
AMBER
You will write, won't you?
DRAKE
Of course, I'm a writer, what else would I
do?
AMBER
I mean to me. I want old-fashioned love
letters.
DRAKE
For that you need poetry in your soul. I
have prose.
AMBER
I'm not asking for high-flown sonnets.
DRAKE
I suppose I could rustle up a limerick or
two. Where are you from again?
Amber pulls him around for a face-to-
face.
AMBER
I don't want our relationship to affect
yours with mother.
DRAKE
As if me being stuck in the middle of two
possessive women could ever be a
problem.
Amber instantly flares.
AMBER
I am not possessive.
DRAKE
And neither is Marlene. Whew, managed
to talk my way out of that one in time.
They resume walking.
AMBER
I'm worried about Brad. He and mother
are hardly speaking – ever since she
refused to let him board with Letitia's
family.
DRAKE
Personally I'm rather envious – your
brother can do taciturn. With me, it just
falls flat.
AMBER
I shouldn't be going, I'm breaking up the
family. I should stay and be the bridge.
DRAKE
What are you really afraid of?
AMBER
What do you mean?
Drake merely smiles. She sighs.
AMBER
Growing up, I guess. It's strange, you
spend your whole life wishing for it, and
when it happens, you panic.
DRAKE
Amber doesn't do panic. I should know, I
was in a burning house with her.
Amber can't resist a bashful grin. Drake
tweaks her cheek.
DRAKE
That's my little war correspondent.
They kiss. Ben and Marlene, happening
along some distance away, witness.
BEN
Shouldn't we do something?
MARLENE
Good idea.
She reverses direction, taking him with
her.
BEN
Am I supposed to follow the female logic
in that? Because remember, I grew up
with two brothers.
MARLENE
How could I possibly forget when you
never let me? And anyway, you had a
mother. Pity we never met, I'm sure I
would've liked her.
BEN
And why is that, dearest? Because she
ran off when I was still young?
MARLENE
Damn, why did I have to bring that up
now?
BEN
She loved parties and hey, so do you.
Maybe you're planning on leaving me too.
They all do, you know, the women in my
life. They run off.
MARLENE
Darling, you know I never plan things.
They simply happen.
The sight of his woebegone expression
makes her laugh.
MARLENE
Sorry, even though you deserved that.
I'm not your mother.
BEN
But you are a woman though, I got that
part right.
MARLENE
Just a woman?
BEN
The woman I love.
They kiss. She suddenly pulls back.
BEN
Me?
MARLENE
The booze.
BEN
Just checking.
They walk off together. People mill about.
END