SOMETHIN'S GOTTA KILL YA

A SCREENPLAY

By

Gazza King

(C) 2004

Somethin’s Gotta Kill Ya
© Gazza King
POBOX 3201 GMC
Vic. Australia, 3841
BA:!0042101

FADE IN:

INT.  FLIGHT DECK  -  DAY.

OPEN: on flight deck of airliner. The captain and first officer's faces are not seen. The camera is behind them and low. We hold on their hands, pushing the power controls forward during take off. We hear one of them speaking the departure procedures as they hurtle down the runway. 'Eighty knots' (3 beat) 'V one' (2 beat) 'Rotate' (3 beat) 'Gear up'.

FADE OUT: on plane heading high, cockpit P.O.V. of clouds in the distance.

INT.  GLEN VERNE'S BEDROOM  -  DAY.

GLEN VERNE, a handsome, solidly built twenty three year old, is having intercourse with a female prostitute named TAMMY. She is in her early twenties. They are in his double bed. They both climax, then roll over and lay on their backs, regaining their breath. Moments later, Tammy sits up and leans down to put on her top.

					GLEN
			 Can I ask you something?

					TAMMY
			 Yeah, sure.

					GLEN
			 How long you been doin' this kinda work?

					TAMMY
			 Oh I don't know. About two years.

					GLEN
			 This might sound like a weird question. But, 
			 do you enjoy it?

					TAMMY
			 It's alright, I suppose. Depends who it's with.

					GLEN
			 What about me?

					TAMMY
					 (coyly)
			 Now, that would be telling, wouldn't it?

					GLEN
			 Have you ever had anyone who's a problem?

					TAMMY
			 Oh, yeah I've had a few idiots. But gotta pay 
			 the bills somehow.

					GLEN
			 Speaking of money. 

Glen leans down to his jeans and takes out some notes. Tammy stashes them in her purse. 

					TAMMY
			 Anyway. I'd better get going. Felix (her pimp) 
			 has got me workin' my arse off today.

She slides out of bed and hurriedly dresses, while checking her make-up in his wardrobe mirror.

					GLEN
			 You want a coffee before you go?

					TAMMY
			 Nah, I'm right. Thanks. 

Tammy finishes dressing, then dabs on some fresh lipstick. She turns to Glen, still lying in bed.

					TAMMY (cont)
					 (curious)
			 There were three of us working on that 
			 corner last month.Why did you pick me?

					GLEN
				      (smiles, mimics) 
			 Now, that would be telling, wouldn't it?

					TAMMY
					 (laughs)
			 Anyway. I'd better go. Same time next week?

					GLEN
			 Yeah, beauty. See you then, Tam.

Tammy opens the back door to his upstairs flat and exits.

INT.  HOLDEN COMMODORE (MOVING)  -  DAY.

22 year old STEVEN JEROME is driving his Holden Commodore toward Moorabbin airport (Melbourne). He has the radio blaring. On his white shirt are the eppaulettes worn by commercial pilots. It is a winter's day. We show Steven's P.O.V. as he drives. In front of him is an empty tray truck, travelling at about eighty kph, some fifteen metres ahead. Steven checks his watch, impatiently. He looks out his side window to see what the weather has to offer from the West. We then hear the truck lock up it's brakes. Steven is slow to react. He turns back to see the truck shuddering to a halt. Steven slams his foot on the brake pedal - but he is too late, his car smashing into the rear of the truck at seventy kph, his air bag deploying at the moment of impact.

										CUT TO:

External shot of Steven's car wedged under the rear of the truck.

FADE OUT: on a little dog trotting innocently across the road, the cause of the accident.

INT.  HOSPITAL  -  DAY.

STEADICAM on 2 ORDERLY'S as they push a trolley through the corridor of a hospital, hurriedly getting Steven Jerome into theatre. Steven is moaning in agony, trying to get up off the trolley, as if to escape the pain. 

					FIRST ORDERLY
				           (keeps Steven down)
			  Take it easy. Just lay back. 

Steven obeys the instructions, but manages another painful moan just as the trolley enters an operating theatre. A team of specialists are getting prepared as the trolley rolls in.

FADE OUT: on Steven being lifted from the trolley and on to the operating table.

FADE IN:

INT.  HOSPITAL WARD  -  DAY.

Steven Jerome is lying in a hospital bed. It is a four bed ward. The other three beds have men with various illnesses/injuries in them. Steven's DAD (MITCHELL) and his MUM (DAWN) are sitting in chairs at Steven's bedside. The privacy curtains are drawn around Steven's bed enclosure. He has been in a drug induced sleep for several days. There is an intravenous tube is in his arm. His parents are keeping a bedside vigil.

					MUM
					(to dad)
			 I think I'll get a coffee. You want one?

					DAD
			 No thanks, hon.

					MUM
				 (puts arm around dad)
			 I wish you'd get some rest. 

					DAD
				        (worn out)
			 I'll be right.

ON:

Steven as he starts to rouse from his slumber, his eyes opening and head moving as he gazes around, a confused frown on his face.

					STEVEN
				(croakily, seeing his parents)
			 Dad...? Mum...?

					MUM
			 Hello, darling.

					DAD
				          (to mum)
			 Hon. Better go and get the doctor.

Mum rubs a gentle hand through Steven's hair, then exits the ward. We STEADICAM on her scooting down to the nurses' station.

					MUM
				 (to NURSE JACOBS)
			 Can you call doctor Glassen, please. Steven's 
			 coming to.

The nurse hits a button on her desk intercom. The mum goes over to a nearby wall phone and picks up the receiver.

RETURN TO SCENE:

					STEVEN
				       (to dad, drowsily)
			 Where am I?

					DAD
			 You're in hospital, son.

					STEVEN
					 (vague)
			 Huh? What happened?

					DAD
			 You had a car accident.

					STEVEN
				           (dry mouth)
			 Thirsty, dad.

Dad takes a drink from Steven's bedside cabinet and Steven takes a sip. The dad returns the drink and moves closer to his son.

					STEVEN (cont)
			 How long I been here?

					DAD
			 A few days, Stevie. They've kept you pretty 
			 well zonked out on medication. How are you
			 feeling?

					STEVEN
					 (frowns) 
			Shit house, actually.

DOCTOR GLASSEN enters through the privacy curtains. He acknowledges the dad with a nod, then checks Steven's eyes with a torch. He studies the chart hanging at the foot of Steven's bed.

					DOCTOR
			 Hello, Steven. How are you doing?

Steven just stares at him, still a bit fuzzy.

					DOCTOR (cont)
			 I'm doctor, Glassen. Do you know why 
			 you're in hospital?

					STEVEN
					(croakily) 
			Yeah. I had a car accident.

					DOCTOR
			 Do you remember the accident?

					STEVEN
			 Think so. I ran into a truck.

					DOCTOR
			 That's right. Is your vision blurry at all?

Steven blinks a few times. He looks around, then shakes his head.	

					DOCTOR (cont)
			 You feel nauseous? Anything like that?

					STEVEN
			 No. My leg's a bit sore though.

The doctor writes something in the clipboard and returns it to the foot of Steven's bed. The doctor and dad exchange looks. 

					DOCTOR
			 I'll send a nurse in with some pethidine to 
			 relieve the pain, Steven. I'll pop back later.

The doctor exits.

					STEVEN
				             (to dad)
			 That's right. Now I remember. I was on my 
			 way to the airport when some idiot stopped 
			 dead in front of me. Yeah, that's right. It's all 
			 coming back to me now...

					DAD
				         (hurtfully)
			 Son...there's something I have to tell you. I'm 
			 not exactly sure how, so I think the best thing is 
			 for me to do is to come right out and say it. When 
			 you hit the truck, I'm afraid your left leg took the 
			 brunt of it, and well...the doctors had to take it.

					STEVEN
			 What? 

					DAD
			 Stevie. The doctors had to take your left leg 
			 at mid-shin. I'm sorry.

					STEVEN
			 What are you on about? I can still feel my toes.

					DAD
			 Stevie.The doctor's said you'll experience that
			 sensation until the nerves in your leg settle down. 
			 It's called phantom limb. The leg feels like it's 
			 there, but it's not. 

Steven is wearing a hospital gown, with tie cords down the back. He tries to get himself out of bed.

					STEVEN
				       (head swimming) 
			Where are my clothes. Stuff this for a joke. 
			I'm getting out of here.

					DAD
			 Stevie! Just listen to me.

					STEVEN
			 Where are my clothes? 

Steven slides his legs so that they are protruding from under the bedclothes. He holds his head as if to keep it from falling off, then he sees that his left leg is missing from about six inches below the knee. His eyes bulge.

					STEVEN
			 Jesus Christ! Where's my leg?

					DAD
			 Stevie. Just get back into bed, okay.

					STEVEN
			 What?

					DAD
			 I'm sorry, Stevie... 

					STEVEN
			 I can't believe it. What happened to my leg?

					DAD
		 	Come on. Get back into bed.

					STEVEN
			 What's going on, dad?

					DAD
			 The leg was crushed. It couldn't be saved.

					STEVEN
			 I can't believe you let them take it!

					DAD
				        (painfully)
			 It wasn't up to us, Steven.  

Steven looks around, like maybe it's a nightmare. He reluctantly slides back into bed.

EXT.  172 CESSNA LIGHT AIRCRAFT (FLYING) -  DAY.										
A MEDIUM (ESTABLISHING) SHOT of a single engine,172 Cessna, flying at about three thousand feet. Below is the pasture land of the Moorabbin Flight Training Zone.

INT.  172 CESSNA LIGHT AIRCRAFT (FLYING) -  DAY.
									
There are two men on board the plane. In the left seat is a young, STUDENT pilot. In the right seat is HARROLD NOBLE, a forty five year old. He is the boss and Chief Flying Instructor of Southern Flying Centre, the outfit Steven flies for. Harrold has eppaulettes and a set of silver wings on his white shirt. He leans across to the back seats and grabs a plastic 'Training hood'. It allows the wearer to see the instrument panel but nothing external. It is used to train students on how to use and trust their flight instruments. Harrold hands it to the student.

					HARROLD
			 Here. Put this on.

The student obliges. He's done this before.

					HARROLD (cont)
			 Okay. My aircraft. 
			          (grabs his own set of the dual controls)
			 I'll stall the aircraft, then drop her into a spin. 
			 When I give her back to you, I want you to 
			 bring her back to straight and level using only
			 the instruments as reference. Got it?

					STUDENT
			 Yep. I got it.

The student secures the hood on his head, while Harrold retards the throttle and pulls back on the controls, until eventually the wings stall, which makes the plane pitch out of control.

					HARROLD
			       (as calm as could be, he's an expert) 
			Okay, your aircraft!

The student takes the controls as the plane spins groundward. Harrold sits back with his arms folded. His mobile phone rings. He puts it to his ear, calm as could be.

					HARROLD
					(into phone)
			 Yeah. What?

										CUT TO: 

receptionist inside SOUTHERN FLYING CENTRE at Moorabbin airport.

					RECEPTIONIST
			 Sorry to bother you, Harry. But I thought I'd 
			 let you know. I just got word. Steven's fully 
			 awake. 

RETURN TO SCENE:									

Harrold grabs his own set of controls and wrenches the plane away from the student.

					HARROLD
			 My aircraft!

In a flash, the student rips off the hood and looks around in panic, as if the Instructor's assumed command to avoid a mid air collision.

					STUDENT
			 Fuck! What's wrong?

					HARROLD
			 Nothin'. We're headin' back to Moorabbin.

INT.  HOSPITAL WARD  -  DAY.

Mum comes through the privacy curtain and sits next to Steven, putting on her bravest face.

					MUM
				         (to Steven)
			 How are you feeling, darling?

Steven just stares at her.

					MUM (cont, to dad)
			 Have you told him?

					DAD
			 Yes, love, Steven knows.

					STEVEN
			 Couldn't they have just put a metal pin in it?

					DAD
		 	 It wasn't that simple, son.

					STEVEN
			 So, what happens now?

					DAD
			 Well. Once the wound heals, you'll go down to the
			 rehabilitation centre and be fitted with a new leg.

					STEVEN
 			Was that doctor before the one who took it?

Dad nods.

					STEVEN (cont) 
			Just like that? I have a minor bingle, and the next
			thing I know I'm lying in a hospital bed with a leg 
			missing. That's it, then. I'm going to sue this place 
			and that quack for everything they own! 
				(grimaces as a surge of leg pain strikes)
			Where's that bloody pethidine?

INT.  GLEN VERNE'S FLAT  -  DAY

Glen Verne lives in an old flat at the back and above a snooker hall/video and pinball machine establishment in the middle of  the City of Melbourne, called 'Phil's Snooker Emporium'. The back door of Glen's flat leads to a set of stairs that lead down to a back alley. Another door on the other side of his flat leads to a set of stairs which head down to another door which opens to the rear of the Snooker Emporium. Glen Verne works here as an assistant manager/caretaker. The owner, Phil, lives in the eastern suburbs. We PAN around Glen's flat, showing the basic layout as Glen goes from room to room, tidying up. There are two bedroom's, a kitchen, a bathroom and a lounge room. On the mantle piece are half a dozen trophies for kick boxing. There is a punching bag and weight set in the bedroom. Up against the lounge room wall are several old video game machines, like Pacman.Glen picks up a huge set of keys and hitches them to a belt hoop on his jeans.

INT.  SNOOKER EMPORIUM/ANTE-ROOM  -  DAY.

We STEADICAM on Glen as he heads from the stairs and into the Emporium. He walks past a dozen, full size snooker tables and goes to the front of the establishment, entering an Ante-Room filled with pinball and video machines. He turns on the lights and switches on all the machines, then walks out and goes over to the front counter and checks the till and the nearby vending machines.

Just then, PHIL, (the owner) an easy going man, of about forty eight arrives at the front doors and unlocks them. He walks in, closing the doors behind him.

					PHIL
			 Gidday, pal. How's it goin'?

					GLEN
			 Good, mate.

					PHIL
			 That new machine's arriving about one. Unplug 
			 that shoot 'em up job before the crowd arrives 
			 will ya. Bloody thing's shit itself. 

					GLEN
			 Yeah, sure. No worries. 

INT.  HOSPITAL  CORRIDOR -  DAY.

Harrold Noble (Steven's boss/instructor) walks down to Steven Jerome's ward. When he arrives, nurse Jacobs halts him. She is carrying a small tray containing an empty pethidine syringe, which she has just administered to Steven.

					NURSE
				         (to Harrold)
			 Can I help you, sir?

					HARROLD
			 Hi. I'm here to see Steven Jerome.

					NURSE
			 I'm sorry. But you can't go in there right 
			 now. Visiting hours are between...

Steven's dad steps out.

					DAD
			 It's okay, nurse...thank you.

The nurse concedes, then exits.

					HARROLD
			 I got here as soon as I could. How's he 
			 doing? He know about the leg?

					DAD 
			Yeah. Obviously, he's taking it pretty hard.

					HARROLD 
			Yeah, no wonder.

INT.  HOSPITAL WARD  -  DAY.

Dad and Harrold enter Steven's enclosure. Steven is already half stoned and drowsy from the shot of pethidine, but he recognises Harrold, his flying instructor and boss.

					STEVEN
					(drowsily)
			 Hi, Harry. You hear what happened?

					HARROLD
			 Yeah, mate. I heard.

					STEVEN
			 Harrold...will this affect my licence?

					HARROLD
			 Nah, mate. A lot of pilots have great careers 
			 with one leg. Just have to sit an extra medical, 
			 that's all.

					STEVEN
				 (girlfriend comes to mind) 
			Oh God. Where's Rachel? What did she do 
			when she found out?

					MUM
			 I just called her place, Stevie. She had to fly 
			 up to Brisbane yesterday for a photo shoot. 
			 She'll be back tomorrow.

DISSOLVE:  on Steven as the somnolent effects of the drug finally overcome him.

INT.  GLEN VERNE'S FLAT  -  DAY.

Glen Verne is making himself something to eat in his kitchen when there is a timid knock on his back door. He opens it. Standing there is Tammy (the prostitute) a broken heeled shoe in one hand and a tattered hand bag in the other, with a knapsack slung over her shoulder. Her mascara has run and she looks like shit. Glen holds the door open for her. She enters.

					GLEN
			 Tammy. What happened?

					TAMMY
			 Felix found out I had a savings account with 
			 two grand in it. He says it's his, but it's not. I've 
			 been saving it for a year. I was gonna use it to
			 get back to Adelaide. My cousin lives over there. 
			 I was gonna quit this shit and start afresh. That 
			 prick knows it's mine. But he needed it for a two 
			 up game...fucking arse hole!

					GLEN
			 Did he hurt you?

					TAMMY
			        (raises top, showing bruise)
			 He hits us in places where it doesn't show 
			 much. He reckons whores with marks on 
			 their bodies are a turn off. I'm sorry to bother 
			 you with this shit. I just didn't know where 
			 else to go.

					GLEN
			 Don't worry about it. Where is he?

					TAMMY
			 At the Westminster Arms pub in Port 
			 Melbourne. Blowing my fucking money. They 
			 have a two up game upstairs once a week.

Wearing blue jeans and a black tee shirt, Glen pops into his bedroom and comes out, putting on a thick woollen jumper.

					GLEN
			 What's he look like?

					TAMMY
			 What?

					GLEN
			 How will I recognise him?

					TAMMY
			 He wears a black leather coat and has a 
			 long pony tail. Why? What are you gonna do?

					GLEN 
			Try and get your money back.

					TAMMY
			I don't think that's a good idea. He practically
			runs that pub. He has a blade with him too, 
			sometimes even a gun.

					GLEN
			 Don't worry about it. I'll just have a quick word. 
			 See if I can reason with him.

					TAMMY
			 That's very nice of you, Glen. But I'm afraid 
			 Felix isn't the kind of guy you can reason with.

					GLEN
			 Just wait here, okay. Clean yourself up. Make 
			 yourself somethin' to eat. I'll be back soon.

					TAMMY
				   (just before he exits)
			 Oh yeah, people who know him well, call him 
			 "The cool".

					GLEN
			 I'll be right back.

EXT.  ALLEY/STREET  -  DAY.

Glen Verne walks down the stairs at the rear of his flat and down the alley and out into a main street. He flags down a cab and jumps in the front seat.

					GLEN (O.S.)
			 Just down to the Westminster in Port Melbourne,
			 thanks driver.

DISSOLVE:  to cab pulling up outside pub in Port Melbourne. Glen steps out and enters pub.

INT.  HOTEL BAR  - DAY.

The pub is an old, blue collar joint. The public bar is filled with wharfies and labourers, drinking beer. The place is thick with smoke and noise. Glen Verne approaches the bar.

					GLEN
				       (to barman)
			Hi. A beer thanks.

The barman serves the beer.

					GLEN (cont)
			Any chance of joining in upstairs?

					BARMAN
			     (the game is illegal outside casinos) 
			Hey? What are you talking about?

					GLEN
			 Fuck it. I must have the wrong place. The 
			 cool must have given me the wrong address.

					BARMAN
			 Oh, you're with Felix. Upstairs. First door.

					GLEN
			 Beauty. Thanks.

Glen takes his beer and heads up the stairs. 

INT.  HOTEL ROOM  -  DAY.

Glen walks in. There are twenty men standing around in a circle, while a guy in the centre is tossing two coins into the air. Glen is scoping the place when he sees a guy wearing a black leather jacket and a pony tail on the other side of the room. Another GUY yells over to FELIX.

					GUY
			 Hey cool! You wanna go two fiddy on 
			 the next one?

					FELIX
			 Right. I'll take tails. Today's my lucky day.

The two men lay their two hundred and fifty dollars on the floor, while other guys are laying their own bets. The coins are tossed. They flop to the floor. Two tails. Felix scoops up his winnings. This happens for another three tosses, until eventually Felix collects his money and heads out the door. STEADICAM on Glen following. Felix walks down the stairs and into the public bar toilets. 

INT.  PUBLIC BAR TOILETS  -  DAY.

Felix goes to the far end of the urinal and starts to relieve himself. Glen waits until another guy, who is so pissed he can barely stand up, does up his fly and staggers from the toilet, leaving Glen and Felix alone. Glen pretends like he is about to use one of the three vacant toilet cubicles, then goes over to behind Felix and grabs him by the pony tail, swinging him solidly up against the wall. Felix looks stunned, trying to do up his pants while at the same time trying to grab something from his pocket. Glen kicks Felix in the guts with an almighty left boot, making Felix crumple to the floor with an exhaling groan, a blade tinkling to the floor. Glen drags Felix into a vacant cubicle and closes the door behind them. He sits Felix on the porcelain toilet bowl and grabs him by the throat. 

					FELIX
				     (holds his guts)
			 Do you know who you're fuckin' with, cunt?

					GLEN
			 Yeah, you're a gutless pimp who bashes 
			 women. Give me your wallet?

					FELIX
			 Fuck you!

Glen squeezes Felix's throat until he yields. Felix reaches into his pocket and drags out a fat, fine leather wallet. Glen flicks through the contents. He takes out Tammy's ATM card and three grand.

					FELIX (cont)
				 (notices the ATM card)
			You and that slut are fucking dead meat. You 
			got that, fuck arse!

Glen pockets the card and money, then drops the wallet and its remaining contents between Felix's legs, into the mirky toilet bowl.

					GLEN
			 Hope you brought your scuba gear with you.

Glen lifts Felix from the seat and punches him hard in the stomach. Felix slumps on the toilet bowl. Glen opens the door and starts out.

EXT.  STREET  -  DAY.

Glen walks out into the street and jumps on a City bound tram.

INT.  TRAM  -  DAY. 

Glen takes a seat. He looks to see no-one followed, then takes out the money and counts out three grand. He stuffs a grand in his back pocket for himself and puts the two grand and key card in another pocket. He sits back to enjoy the ride home.

INT.  NELSON TALLY'S BEDROOM  -  DAY.

NELSON TALLY is twenty one years of age. He wears Buddy Holly glasses and is rather plain. He is solidly built and has never smiled in his life. He also has some very serious mental problems. He lives in a suburban home with his dad and his bedroom is filled with a H.O. model train set. Nelson's bedroom door is shut and he is busy fixing a model train.

					NELSON'S DAD (O.S)
			 Nelson! I'm just goin' down the shops. You 
			 want me to bring you anything back?

					NELSON
				      (fiddles with loco) 
			Nah. I'm right, Popsy. 
					  (beat) 
			Maybe KFC.

					NELSON'S DAD
			Okay. Back soon.

We hear the front door close. Then we hear a car as it drives out of the driveway. Nelson puts down the train and looks about, like he's got some very dark secret. He exits his bedroom.

INT.  NELSON TALLY'S HOUSE  -  DAY.

Nelson enters the lounge room and looks out the window to see that his dad has gone. Then he checks through the kitchen window. Satisfied, he grabs a kitchen chair and plants it under the man hole cover in the hallway. He gets on the chair and raises the cover. He reaches up and brings down something wrapped in an old cloth. He puts this on the chair, then reaches back up and drags out a well used sex doll, the female type with big mouth, mop of black hair on its head and all the rest. It is a little deflated as he steps down and picks up the other thing wrapped in the cloth. 

INT.  NELSON TALLY'S KITCHEN  -  DAY.

Nelson enters the kitchen and puts some more air into the doll. He sits it on a chair at the kitchen table, then takes a seat opposite. He lays the rag on the table and unveils an old type .38 revolver. There are two bullets in the cloth too, and as Nelson opens the gun cylinder, he turns to see a black and white photo of his Great Grand Father on the kitchen sideboard, dressed as a soldier, carrying a rifle and pistol. Nelson looks back at the gun, then slides one single bullet into one of the chambers and snaps the cylinder shut. He rotates the cylinder and splonks the gun on the table. He gleams across at the doll, which is looking at him from across the table.

					NELSON
			 Well, bitch. It's come to this then. Just you 
			 and me again huh?

The doll just stares back.

					NELSON (cont)
			 One shot! 
				(picks up pistol, puts to own head) 
			 If I win, you get a gob full of my jism. If you 
			 win, you don't gotta suck my knob no more.
					     (beat)
			 What was that? What did you say, bitch! Oh, 
			 you want me to make it two, do ya? Alright, 
			 then. Let's make it two.

Nelson flips open the cylinder and slides in the second round. He rotates the cylinder, then puts the gun back on the table and smirks at the doll.

					NELSON (cont)
			 You should see your fuckin' self. You're nothing 
			 but a fucking dog. A fucking two time loser.
					    (beat) 
			 What? What was that? Okay, let's see, shall we.

Nelson puts the gun to his head. He pauses for what seems an eternity. Then he turns the gun on the doll and pulls the trigger. It dry clicks. Nelson sneers maniacally.

					NELSON (cont)
			 You got lucky...this time, bitch.

Nelson stands and grabs the doll violently, holding the gun to its head like a hostage and heads into his bedroom.

					NELSON (cont) 
			Come on. You know the drill, slut!

INT. GLEN VERNE'S FLAT  -  DAY.

Tammy has cleaned herself up, and is now wearing jeans and a thick jumper, eating a sandwich as Glen enters through the back door. He takes the two grand and keycard from his pocket.

					GLEN
			 Here you go. Two grand and your card.

					TAMMY
			 You got it? How did you get it?

					GLEN
			 Felix gave it to me.

					TAMMY
			 You mean, he just gave it to you?

					GLEN
			 Not exactly. Let's just say that MR Nike 
			 had to talk some sense into him.

					TAMMY
			 I don't believe it. I don't know what to say.

					GLEN
			 Don't say anything. But if I was you, I 
			 wouldn't go bumping into Felix again. He 
			 knows I was there for you.

					TAMMY
			       (slings knapsack over shoulder) 
			You don't have to worry about that. I'm goin' 
			 to Adelaide. I mean it. I'm outta this shit.

					GLEN
				           (curious) 
			How many girls does he have workin' for him?

					TAMMY
			 Three...now.

					GLEN
			 Poor fools. Come on. Let's grab a cab and 
			 get you to the airport. 

DISSOLVE:  to next day.

INT.  HOSPITAL WARD -  DAY.

Steven's privacy screens are still drawn closed. No-one else is in his enclosure. He is laying on his bed, propped up on pillows and fully awake watching a portable t.v.  There is an untouched meal sitting on a tray at his bedside. 

Nurse Jacobs enters his enclosure.

					NURSE
					 (caring) 
			Steven. If you don't start eating your meals, then 
			I'm afraid we'll have no other choice than to feed 
			you through an I.V. Now, what's it gonna be?

					STEVEN 
				         (despondent)
			Just not hungry.

					NURSE
			Just try for me, okay? Have you met your 
			bunk buddies yet?

She drags his privacy curtains open, drawing them all the way around to expose the rest of the four bed ward to him.

					NURSE
 			That's, Jack. (asleep) Over there is Ken. 
			(couldn't care less) and in the bed next to you 
			is Mr Mackenzie (dying). Now eat something, 
			Steven. I mean it.

Nurse exits. 

In the bed directly across from the foot of Steven's bed is JACK MORGAN, a huge man in his sixties who spends most of his time asleep, as he is right now. In the bed to Steven's right is a very OLD MAN on all kinds of machines to keep him alive, although he is basically dead already. In the bed diagonally across from Steven is KEN, a forty two year old with his leg hanging from cables in a full length plaster cast. This man has his head permanently buried in a racing form guide and keeps pretty much to himself, a small radio with an earplug keeping him up to date with his daily bets. Gradually, JACK MORGAN stirs from his slumber. Steven reluctantly picks up a piece of food and starts chewing, while watching Jack manoeuvre himself into a sitting up position. Jack looks over at Steven and gives him a kind of "how ya doin'" nod.

					JACK
				         (to Steven)
			 Gidday, mate. Steve, is it?

Steven nods.

					JACK (cont) 
			 I'm Jack. Jack Morgan. 

					STEVEN
			 Hi. What are you in for?

					JACK 
			Some kind of cist on a heart artery. I'm havin' 
			my third heart operation in as many months. Be 
			glad when it's fuggin well over. Don't really give 
			a fug, actually.When the big boy comes a callin' 
			I'll be ready and willin' with a big smile on me dial. 
			You better believe it. Had a gut full. What about 
			you? Take one of your pins, did they?

					STEVEN
			Yeah. Can you believe it? One minute I'm driving 
			to work, the next minute I'm lying here minus a leg.

					JACK
			 Yeah. My older brother, Alfred, lost a leg back in 
			 WW2.Was runnin' along with a can of bully beef he'd 
			 pinched from the yanks when he stood on a fuggin land 
			 mine. Blew him arse over tit, it did. Next thing he knew 
			 he was Waltzing Matilda on one pin and wearin' a fuggin 
			 colostomy bag. Poor prick. Survived the whole fuggin 
			 war until about two days to go. Unbelievable, it was. 
			 Not that the leg worried him. It was the colostomy bag 
			 that fugged him up. Bit of a turn off, you know what I 
			 mean...piss and shit comin' outta a hole in the guts...

Jack leans over and takes a drink of juice.

					STEVEN
			 What happened to him?

					JACK
			 Who?

					STEVEN
			 Your brother?

					JACK
			 Oh, Alfred. Yeah. Died about seven years back. He 
			 wore one of those peg leg wooden jobs, you know 
			 those old types that use a rubber bung for a foot. He 
			 liked those old legs.Anyway, he was at the footy and 
			 slipped over on a piece of tossed hot dog and fell 
			 down four flights of stairs and broke his fuggin neck.

					STEVEN 
			Bloody hell.

					JACK
			Yeah, poor prick. Woud've been spewin' too. 
			Collingwood were twenty points up at the time. 
			Yeah, top bloke my brother.Better man never 
			drew fuggin breath. 
				 (picks up t.v. remote)
			Anythin' good on?

Before Steven can answer, RACHEL, Steven's beautiful young, blonde model girlfriend enters. She goes straight over to his bed and gives him a kiss on the forehead. 

					RACHEL 
			My God, Steve. Are you alright?

					STEVEN
			As well as can be expected I guess. I'm glad 
			you're here, Rach. I've really missed you. 

Rachel can't seem to drag her eyes away from the mound of bedding concealing his amputation.

					STEVEN (cont)
			 How'd the job up north go?

					RACHEL
			 Pretty good. It was only a day's work, you 
			 know, for a shopping catalogue. 
					  (beat) 
			 My God, Steve. This is all so unbelievable.

					STEVEN 
			Tell me about it.

					RACHEL
			I'm so sorry, Steve. It must be horrible.

INT.  DINGY FLAT  -  DAY.

Felix "The cool" is in a small, dark room of an inner City, suburban flat. He is packing a carry bag. As he bends over to do so, he grimaces a little from the remnant pain from the hits in the guts. A whore named MELANIE comes in while he is busy packing. She is talking as if the conversation has been going on for the past few minutes.

					MELANIE
			 ...yeah, I remember her talkin' about it. It's
			 in Murray Bridge, about fifty miles outta town. 
			 I think her cousin, or sister runs it.

					FELIX 
			Is it a restaurant, a cafe, what?

					MELANIE 
			Don't know. Reckon she's with that guy?

					FELIX 
				        (dismissive)
			 You book the flight?

					MELANIE
			 Yep. You leave at one.

					FELIX
			 Now. I don't want to be fucked around. You 
			 positive she said she was gonna piss off back 
			 to Adelaide?

					MELANIE 
			I don't know for absolute certainty. She just 
			mentioned it, that's all. She grew up over that
			way. I told you. But she could be anywhere. 
			Might even still be in Melbourne.

					FELIX
			 Nah. No way. She's not that fuckin' stupid. And 
			 you're sure there's no listings under that sir name?

					MELANIE
			 Positive. What ever family she has over there, 
			 they must all have silent numbers.

Felix opens a set of drawers and takes out a bunch of stolen, fake and doctored drivers' licences. He selects one and tosses the rest in the draw. Then he grabs a pistol, checks it's loaded and stuffs it in to his carry bag.

					MELANIE
			 What are you doin'? You can't take that with 
			 you. The Xray'll pick it up.

Felix ponders, realises she's right. He puts the gun away, then grabs a piece of nylon rope, about two feet long and places this in the bag instead.

					MELANIE (cont)
			 What's that for?

					FELIX 
			 Shut the fuck up and give me some money.

					MELANIE 
				(drags a wad from her panties)
			 Will this do?

					FELIX 
				        (snatches it)
			Go and see what Kylie and Chrissy've got.

					MELANIE 
			What are you gonna do if you find her?

					FELIX
			 Mind your own fuckin' business. And listen! 
			 While I'm away, if any one of you scrags thinks 
			 of leavin' like her, then you'd better think again, 
			 because I'll chalk up more frequent flyer points 
			 than Buzz Aldrin if I have to.You got that? Tell 
			 Tony to grab me a cab!

INT.  ANTE-ROOM/SNOOKER EMPORIUM  -  DAY.

Glen Verne is in the ante-room, filled with dozens of video and pinball machines, the huge set of keys hanging from his jeans. He is opening a machine to dislodge a coin on a video machine that two girls are playing. Both girls are very pretty, one blonde, 16 year old JOANNE who wears dental braces, the other a brunette, 17 year old PAULA. Paula is flirting with Glen while he works. There are dozens of other teens playing machines and walking around the place.

					PAULA
			          (hooks arm around Glen's arm)
			 C'mon. A couple of freebies aint gonna kill ya.

					JOANNE
			 Yeah. The amount of dosh we put into these 
			 things, we're due for a few free games, aren't we?

Glen fixes the machine, but before closing the hatch, he reaches in and clicks the machine to twenty free games. The girls smile broadly.

					GLEN
			 There. Don't say I don't give you anything.

As Glen walks off, the girls watch him leave. 

					PAULA
			 He's cute, isn't he?

					JOANNE 
			Probably married with three rats.

					PAULA
			 No, he lives out the back. Phil told me he hasn't 
			 even got a girlfriend. How old do you reckon he is?

					JOANNE 
			I don't know. About Thirty.

					PAULA
			No way. He's about twenty, twenty five tops.

The girls start playing the machine. Glen leaves the ante-room through a set of swinging doors, and enters the snooker hall. A dozen or so snooker players are busy playing games at various tables. Glen goes over to behind the service counter at the front of the establishment. Phil is serving a customer who is booking a table.

Suddenly, THREE Vietnamese, older teenagers enter through the front door. TAN is the leader.

					PHIL 
				         (to Glen)
			 Hey, pal. That little prick, Tan's, back. 
			 Have a word to him will ya?

Glen confronts the three youths before they can enter the ante-room.

					GLEN
			 Sorry guys. You're barred for another two days.

					TAN
			 What are you talkin' about? Our week was 
			 up yesterday.

					GLEN
			 That's not what the boss reckons. Come back
			 in two days.

The three youths give Glen a mean look, but Glen's face is even more fearsome.

					TAN
			 You're just doin' this 'cause you're a racist.

					GLEN 
			 I'm doin' this 'cause you fucked the F One 
			 machine. Now fuck off.

They turn to leave, but just as they go to exit, one of them turns and throws a wild punch at Glen. Glen dodges the blow and strikes the guy to the side of the neck, sending him to the floor. Without hesitation, Glen kicks the other youth's legs from under him, dropping him to the floor. Then Glen kicks Tan in the mid riff and Tan slumps to the floor, gasping for breath. Glen leans down and goes through Tan's pockets. He takes out Tan's ID and reads it, then tosses it in his lap.

					GLEN
			 You're barred for life. You or any of your 
			 skunk mates come back and I'll maim the
			 fucking lot of you. And don't forget, fuck 
			 breath, I know your name and where you live.

The three young men drag themselves from the premises, licking their wounds.

INT.  HOSPITAL WARD  -  DAY.

TRISH JAMES, the hospital physiotherapist/limb maker approaches Steven, who is filling out his dinner menu.

					TRISH
			 Hi, Steven. I'm Trish, your physiotherapist 
			 and prosthetician. I'm the one who'll be making 
			 your new leg and getting you back on your feet. 
			 How are you today?

					STEVEN
				         (despondent) 
			 Shit house. Leg's still sore.

					TRISH
			 Yes, of course. It takes a while for the pain 
			 to settle down. But nevertheless, it's standard 
			 policy to get amputees up and about asap. Just 
			 thought I'd pop in to introduce myself. The 
			 bandages and stitches will be removed soon, 
			 then we can get to work, okay? 

					STEVEN
			 Are they wooden?

					TRISH
			 Hey?

					STEVEN
			 Are artificial legs wooden?

					TRISH
			 Nah, nothing like it. Made from rubber 
			 compounds, titanium steel and all kinds of hi 
			 tech stuff these days. The feet even have toes. 
			 Believe me, once you've got your new leg you'll 
			 be amazed at how good they are.

					STEVEN 
					(sardonic)
			 Yeah, right.

EXT.  RURAL STREET  -  DAY.

A SHOT of a new Ford Falcon coming down the road, slowly entering a town. We PAN around as the car passes, revealing a sign which reads MURRAY BRIDGE. The car is a rental. It slows down as it passes a road side diner. The car turns around and pulls into the diner car park. It stops and Felix steps out, wearing a dark blue beanie, with his pony tail concealed beneath it, a pair of fine leather gloves and sunglasses. He takes a small, brand new note pad and pencil from his pocket and looks up at the name of the diner. He writes down the initials of the diner, then puts the pad and pencil back in his pocket and enters.

INT.  CAN'T PASS DINER  -  DAY.

Felix takes a seat at a vacant window table and picks up the menu. A WAITRESS comes over.

					WAITRESS
			 Hello, welcome to the Can't Pass Diner. 
			 What can I get you?

					FELIX
			 Just some black coffee, thanks.

The waitress disappears. Felix is looking out at the view when the waitress returns with his coffee.

					WAITRESS
			 Cool one today, hey?

					FELIX
			 Hey? Oh, yeah. Least the rain's stayed away.

					WAITRESS
			 Which way you headin'?

					FELIX
			 Oh, uhm, actually, I was gonna hang around 
			 for a few days. I used to have relatives that 
			 lived here. I thought I'd have a bit of a look 
			 around and check out my old roots, if you 
			 know what I mean. 

					WAITRESS
			 Oh, yeah? Who's your family?

					FELIX 
			I'm a distant relly of the Zenderhaussen's. 
			Heard of 'em? 

					WAITRESS
			 Can't say I have. I've only been here for about 
			 a year but, so what would I know. Want me to 
			 ask around for you?

					FELIX
			       (concerned about being exposed)
			 What? No, no, I'd rather you didn't, if you 
			 don't mind. This is just a personal kinda thing. 
			 I'd like to keep it low key.

					WAITRESS
			 Of course. I understand.

					FELIX 
			Thanks. Tell me something. How many places 
			are there like this in town?

					WAITRESS
			 What, you mean diners and cafe's and things?

Felix hums.

					WAITRESS (cont)
			 Gosh. I don't exactly know. Heaps, I'd imagine.
			 Never actually counted 'em. The Blue Fin Take 
			 Away's just around the corner there. Then you've 
			 got the...

					FELIX
				         (interrupts)
			 Thanks. No problems. Don't worry about it.
			 I'll find my way round.

					WAITRESS
			 Oh, okay. Just holler if you want anything else.

Felix smiles as she exits.

FADE OUT:  on Felix having a sip of coffee.

EXT.  BLUE FIN TAKE AWAY  -  DAY.

Felix is standing on the foot path looking at the blue fin tuna painted across the window of the fish and chip shop. He takes out his small note pad. C.U: of the initials of the diner he'd just been in, which reads, C.P.D. He takes out a pencil and puts a solid line through it. Then he writes the initials B.F.T. in the pad and enters the shop.

INT.  BLUE FIN TAKE AWAY  -  DAY.

A customer at the service counter ahead of him pays for a wrapped up meal of fish and chips, gets her change, then exits. Now there are only Felix and a twenty two year old LADY, serving behind the counter. Felix approaches the counter, putting his notepad in his pocket.

					FELIX
			 Hi. How you doin'?

					LADY
			 Good. What can I get for you?

					FELIX
			 Four fried dim sims and a coke, please.

The lady starts to prepare the food. Felix looks around and notices a chair. He is about to take a seat when the lady strikes up a conversation.

					LADY
			 You just passing through?

					FELIX
			 Hey? Oh, no. Here on business. Actually, 
			 while I was here I thought I'd look up an old
			 friend. Maybe you've heard of her? Her name's 
			 Tammy. Tammy Zenderhaussen.

					LADY
			 Tammy? That's my cousin! You know Tammy,
			 do ya?

					FELIX 
				       (eyes light up)
			 Yeah, of course. Haven't seen her in a while, 
			 though. How is she? 

					LADY 
				           (excited) 
			This is amazing. She's been gone for two years, 
			then, out of the blue, she rocks up at my place 
			last night looking for a place to crash. Now you're 
			here asking about her. Talk about coincidence.

					FELIX
			 Huh! That is amazing. What's she been up to?

					LADY
			 Back packin' round Australia. 

					FELIX
			 Really? Bet she's got some incredible stories, hey?

					LADY 
			Yeah, I'd reckon.You want me to call her, let 
			 her know you're here?

					FELIX 
				          (nonchalant)
			 Nah, no big deal. I'll catch up with her later. 
			 She probably just wants to take it easy for a 
			 few days, get some rest.

					LADY
			 Oh, I don't know about that. I told her she could 
			 only stay a week. As far as I know she's trawling 
			 through the phone books, lookin' for a job.

					FELIX
				       (convincing lies)
			 You know what. I might be able to help out there. 
			 I run a couple of sports stores this side of Adelaide. 
			 I'm always lookin' for staff. Maybe I should go and
			 have a word to her. See if she's interested.

					LADY
			 Really? That'd be great. What did you say your 
			 name was again?

					FELIX
			 Roger. Roger McAvaney. 
				     (pats pockets) 
			 I got some business cards here...somewhere. Must 
			 be in the car. I'll just go and...

					LADY
			 Don't worry about it. 
				      (starts to write) 
			 I live just around the corner. 

Lady hands over address. Felix checks his watch, pulling a face like he may not have the time after all. Then the lady encourages him, as if Tammy could lose the opportunity of a lifetime, or the lady simply wants her out of her house.

					LADY (cont)
			 Go on. Go and see her. I mean it's got to be 
			 fate, right?

					FELIX
			 I gotta admit. The timing is pretty incredible.
			 Yeah, okay. Got a lot of catching up to do, 
			 anyway. And do me a favour, will ya. Don't let 
			 her know I'm coming. I'll surprise her.

INT.  HOSPITAL WARD  -  DAY.

Steven reaches across to his bedside cabinet and takes out his mobile phone. He is about to use it when Jack grabs his attention.

					JACK
			 May not be a good idea, Steve. The ol' boy's
			 machines...you know what I mean?

					STEVEN
			 Oh, right. 

					JACK
			 Just ask the nurse to bring you in a land line. 
			 Plugs into the wall next to ya. Gonna ring your 
			 missus, hey? That pretty one?

					STEVEN
			 Yeah. Said she was coming in last night, but 
			 I haven't heard from her.

					JACK 
				         (sagacious) 
			 You know what, Steve. I've been married three 
			 times. First one left me for another bloke, the 
			 second one left me because my business went broke 
			 and the third one, Maria, died in my arms at home 
			 about two years ago. I got it right the third time round. 
			 Maria was my soul mate. Took me twenty five years to 
			 find her, but it was worth the wait. A beautiful person. 
			 Miss her a lot, ya know. But hey. That's how life works, 
			 don't it? Fuggin laugh a minute. Maria used to always 
			 say to me. 'Never lose your sense of humour, Jack'.

					STEVEN
			 What kind of business did you have?

					JACK
			 A building company. You know, houses, flats, that 
			 kinda thing. Built the business back up though. Me 
			 and my two sons. Goin' great now. Not that I do 
			 much of the labouring anymore. I basically do the 
			 book work...

Jack leans over and takes a chocolate toffee from a box on his bedside cabinet and pops it in his mouth. He turns back to Steven to continue talking, when all of a sudden he makes a gulping sound - sort of like he took a lung full of air but the chocolate went down with it. It gets caught in his windpipe and he just sits there, turning purple, trying to regurgitate it. Steven stares on, wondering if maybe it's a normal occurrence. Then Jack seems to take a turn for the worse. He starts making a gagging sound and reaching for his throat. In a flash, Steven leans up and presses his own emergency button over his bed, while at the same time calling out for help.

					STEVEN
			 Nurse!!! Nurse!!!

KEN, the guy diagonally across from Steven, lowers his form guide and peers over his glasses to see what's going on. He looks at Steven, then over at Jack. This guy is totally unperturbed.

					KEN 
				      (about Jack)
			 What's his fucking problem?

Just then an ELDERLY NURSE comes scurrying in. She stops dead in her tracks, assesses the situation, then approaches Jack and pulls him forward and thwacks him on the back. The half melted toffee spurts out and lands on the floor. Jack inhales a huge breath of fresh air.

					NURSE
			 You alright, Jack?

					JACK 
			Christ. Thought I was the first cab off the rank.

EXT. TAMMY'S COUSIN'S HOUSE  -  DAY.

Felix's rental car is parked down the road. He heads down the side of the house and onto a back, semi enclosed patio. To his surprise, the back, glass sliding door is wide open. It is open because a washing machine is on the patio, beating away during a wash cycle.

INT. TAMMY'S COUSIN'S HOUSE  -  DAY.

Felix steps inside the house and closes the door behind him. The t.v. is blaring in the lounge room. He creeps down the hall, checking that each bedroom is empty. He arrives at the lounge room and takes out the piece of rope. Slouching on the couch is Tammy, watching t.v. Felix creeps up behind her and wraps the rope around her throat, dragging her off the couch and up against the wall.

					FELIX
			 Hello, sweetie. Where's your new boy friend?

					TAMMY 
					  (gags) 
			 What?

					FELIX 
			 The prick! That cunt you sent round? What! 
			 Has your mind slipped a cog or somethin'?

					TAMMY
			 I don't know what you're talking about?

					FELIX 
				      (tightens noose)
			 Let's get something straight. I don't give a fuck about the
			 money. All I want is to have a word to your new beau. If
			 you don't tell me where he is, then I'm gonna pull this rope
			 so tight your fucking head will pop off like a fucking wart.

					TAMMY
			 He's back in Melbourne. He was just a trick. I hardly 
			 know him.

					FELIX
			 What's his name?

					TAMMY
			 Glen. I don't know his second name.

					FELIX
			 And where's he live?

					TAMMY
			 I'm not really sure. Some flat in Melbourne. It's 
			 kinda above some video shop or somethin'.

					FELIX 
				        (loosens rope) 
			Don't take this the wrong way, Tam. But no-one fucks
			with The Cool and gets away with it.You got that. No-one.
			Now, I think you know more than you're actually telling...

Tammy takes advantage of the slack and stomps on Felix's foot. She makes a quick dash from the room. Felix gives chase down the hallway. Tammy turns into the kitchen and as she bolts, we show the patio directly ahead of her. Trouble is, Tammy hasn't noticed that Felix has closed the sliding glass door and she runs straight through it, crashing through onto the patio, a huge splinter of glass jutting from her throat. Felix arrives and sees the wound and her deathly stare.

					FELIX
			 Fuck it...

Felix turns around and walks down the hallway and exits through the front door.

EXT.  KFC CAR PARK  -  DAY.

NELSON TALLY pulls up at the drive through window of KFC on his Vesper motorbike and awaits his order. He is wearing his Buddy Holly glasses and a visorless crash helmet. He is also wearing a pair of blue jeans and a brown cardigan that went out of style in the 1960s. He is given his two piece feed and his change, and rides his bike over to a vacant parking space and turns off the engine. Next to him is a new car with tinted windows. Inside are three nineteen year olds, all heroes of the twenty first century, eating their meals. Nelson puts his bike stand down, the type that lifts the rear wheel into the air, but keeps the bike well balanced. He starts to eat.

										CUT TO:

inside car. The three men are joking and laughing when the driver takes a keen, yet snide interest in Nelson.

					DRIVER
			 Check out that cunt.

				FRONT PASSENGER
			 What a loser.

The driver takes a bun from his meal and leans over to dip it into his friend's potato and gravy.

					DRIVER
			 How much if I hit him in the head?

				FRONT PASSENGER
				 (pulls potato and gravy away)
			 Get lost. The gravy's the best part. If you're gonna
			 waste it on that cunt, use your own.

					DRIVER 
			Fuck you. 

The driver dips the bun into his own serve of potato and gravy. He pushes a button to open his front, driver's side electric window. Nelson isn't paying attention. Just enjoying his meal.

					DRIVER
				           (to Nelson) 
			Hey, fuck stick!

Nelson turns and in a flash the driver slings the bun and strikes Nelson in the face. The two other guys in the car laugh as the driver raises his side window, the driver laughing louder than anyone. Nelson doesn't show any emotion. He simply gets off his bike, puts his meal in the nearby bin and takes the bike off it's stand. However, in his side pocket he has his can of Pepsi, and just as he starts his bike he takes out the unopened can and throws it through the driver's side window. The glass shatters into a million pieces. Nelson backs his bike out and starts off, toward home. The driver of the car isn't happy, sitting there covered in Pepsi and broken window.

EXT.  STREETS  -  DAY.   

The driver starts the car and backs out, hurriedly chasing the Vesper. The bike dodges and weaves in and out of traffic, as does the car. 

EXT.  NELSON TALLY'S DRIVEWAY  -  DAY.

Nelson arrives home and speeds down his driveway. He pulls up outside an empty garage, the tilta-door in the up position. Nelson races inside the house, through the back door, just as the three punks pull into the driveway and jump out to give chase. Nelson emerges with the .38 pistol and stuffs it in the driver's face.

					NELSON
			 Yeah! What do you want? Do you wanna be dead 
			 as a fucking duck! Is that what you want, you whore,
			 cunt, maggot fuck!

					DRIVER
			 Hey! Hang on, just hang on a tick. It was only meant
			 to be a joke. I'm sorry, okay. Let's just forget about it.

The punks back up, then run back to the car and speed off. Nelson watches them leave, then walks inside. 

INT.  NELSON TALLY'S HOUSE  -  DAY.

On the kitchen table is a note from his dad, saying he'll be home later. Nelson puts a chair under the man hole cover and grabs his sex doll.

					NELSON 
					  (to doll) 
			Sorry bitch, but somebody's gotta pay for this. And
			unfortunately it's gonna be you...so pucker up!

INT.  HOSPITAL WARD  -  DAY.

Steven Jerome is sitting up in bed watching t.v. Glen Verne comes in, appearing lost.

					GLEN 
				        (to Steven)
			 Gidday, buddy. Is this ward 104?

					STEVEN 
			Yeah. Why, who you looking for?

					GLEN 
				(refers to piece of paper) 
			Steven Jerome...

					STEVEN 
			Well, you're looking at him. You from the car 
			insurance company, are you?

					GLEN
			 Hey? Oh, no. My name's Glen Verne. I'm just 
			 here to say hi. See how you're doin'.

					STEVEN
			 Yeah? How come?

					GLEN
			 You mind if I take a seat?

					STEVEN
			 No, you're right. Go ahead.

					GLEN
					 (sits)
			 So, how you doin'?

					STEVEN
			 Don't take this the wrong way. But who are you?

					GLEN 
			Oh, sorry. I'm sort of new at this. Only done it a 
			couple of times before.You see. I've gotta do 
			community service.And well, part of it is to come
			into hospitals and see people who've had car 
			accidents, lost legs, you know, that kinda thing. 

Steven shrugs, continuing to watch t.v. Glen turns to watch t.v. too.

					STEVEN 
				      (breaks the silence)
			 So, how come you got community service?

					GLEN 
			Had a bit of an accident while I was pissed. 

					STEVEN
			 Really?

					GLEN
			 Yeah. I was comin' home after a night on the grog
			 when I ran over a derro. I got out to see if he was 
			 okay when I saw the cops comin' down the road. 
			 So, I jumped in my car and took off but the pricks 
			 caught me.

					STEVEN
			 What happened to the guy?

					GLEN 
			Broken leg and a few bruises. Got the prick off 
			the streets at least. I heard he got a huge payout 
			and bought a house. 

					STEVEN 
			What'd you blow?

					GLEN
			 Three point one, I think. Something like that.

					STEVEN
			 Shit. That's six times over the limit.

					GLEN 
			Yeah, I know. Got a huge fine, lost my licence 
			 for two years and got twelve months of this shi...

Steven just stares at him.

					GLEN (cont) 
			So, how did your accident happen? Pissed?

					STEVEN 
			Nah, on my way to work. Rammed up the arse of a truck.
			Bloody driver stopped because a dog ran across the road.

					GLEN
			 Yeah? No shit. 
					(beat) 
			 What kinda dog?

					STEVEN
			 Not sure. Some cop came in and took a statement.
			 I think he said it was a poodle.

					GLEN 
			Fuck that. I'd stop for a German Shepherd, but who
			gives a fuck about a poodle? They're shit dogs. I'd speed
			up if one of those fucking skanks crossed my path.

					STEVEN 
			Yeah, I know what you mean. So. How come you 
			 have to visit amputees?

Glen stands, walks out to the middle of the ward and raises his left jeans leg to reveal a below knee, artificial leg.

					GLEN
			 'Cause I'm a member of the minus member club too.

					STEVEN 
			 Jesus! How'd you lose yours?

					GLEN
				       (returns to chair)
			 Shark. Down at Philip Island a few years back.

					STEVEN 
			You've got to be kidding me?

					GLEN 
			Nah. I was out snorkeling with a mate when a great
			white grabbed me about here. 
				(indicates just below mid-shin)
			I thought it was some prick playing a joke at first. But
			when I bobbed up and saw the blood and felt the leg gone 
			I realised what was goin' on. By then the prick I was with
			was already back on the beach yelling for me to swim for it.

					STEVEN 
			Bloody hell!

					GLEN 
			Yeah. It's amazing what goes through your mind at times like
			 that. While I waited for the bastard to come back and finish
			 me off, I kept wondering if I'd been to the toilet before I'd
			 gone swimming. Not that it mattered. By the time I realised
			 it was a great white, I'd already shit myself. 

					STEVEN
			 Then what'd you do?

					GLEN
			 Well. I looked to see where I had to swim to, which was
			 about fifty metres away, when a very strange thing happened.

					STEVEN
			 What was that?

					GLEN 
			It sounds weird, but I kinda saw this shiny white door in the
			distance, but really it was right in the middle of my head, if 
			you know what I mean. It was bloody freaky. I think it had 
			somethin' to do with losin' so much blood. Anyway. I kept
			expecting the door to open. But deep down somethin' told
			me that if it did, then I was gonna be in a whole world of hurt.

					STEVEN 
			How come?

					GLEN 
			Because I'd see my whole life flash before my eyes and
			I'd be dead as a maggot. Anyway. To make a shit story
			short, out of the blue, some chick came paddling out on
			a surfboard and helped me back to shore.

					STEVEN
			Who was the chick?

					GLEN
			 Don't know. I heard later she was a tourist from 
			 America. Some surfie. Never heard from her again.

					STEVEN
			 That's incredible.

					GLEN
			 Hmmm. I suppose it is.

					STEVEN
			 Took a lot of guts on her part.

					GLEN
			 Bloody oath. There were tons of people around too, and 
			 she was the only one who took the risk. I still have trouble 
			 believin' someone would do somethin' like that. But she did.

					STEVEN
			 Then what happened?

					GLEN 
			Not much. When she got me ashore, an ambulance took
			me to hospital. After it healed, they gave me a new leg. 

					STEVEN
			 I can't believe how well you walk. If you hadn't shown
			 me your leg, I'd have never guessed you wore one.

					GLEN
			 Yeah, I know. Where'd you lose yours? 

					STEVEN
			 Below knee. Like you.

					GLEN
			 You're laughin' then. You'll be walkin' as good as me
			 before you know it. 

					STEVEN
			 What do you do for a crust?

					GLEN
			 I'm assistant manager of Phil's Snooker Emporium 
			 in Melbourne. You hear of it?

Steven shakes his head.

					GLEN (cont)
			 Yeah, I live there too, upstairs in a flat. What about 
			 you? What do you do?

					STEVEN 
			 I'm a commercial pilot.

					GLEN 
			Get fucked...you serious?

					STEVEN
			 Yeah. I was on my way to the airport to take a 
			 flight north when I had my prang.

					GLEN
			 Fuck me. A commercial pilot, huh? Get the chicks 
			 with a job like that, hey?

					STEVEN 
			Oh, I don't know about that.

					GLEN 
				      (checks watch) 
			Anyway, Steven. I gotta get goin'.  

					STEVEN
			Call me Steve.

					GLEN
			Okay, Steve 
				(takes paper from pocket) 
			Can you sign and date this. I gotta prove I was actually here. 
			Sorry I can't stay any longer, but I've gotta catch two trams. 
			I had to sell my car to pay off some fines.

					STEVEN 
				          (signs form)
			 What would it matter if you had your car? You can't 
			 drive it.You haven't got a licence.

					GLEN 
					(laughs)
			 Yeah, right.

Steven's P.O.V. of a whole bunch of empty spaces on the paper to be filled out. He takes out a couple of different coloured pens from his draw. He fills out the vacant spaces and post dates them.

					STEVEN
			 Here you go. Save you having to come back for a while.

					GLEN 
			Shit. You beauty. Thanks, Steve.

					STEVEN
			 No worries, mate. And thanks for coming. Seeing the way 
			 you walk has made me feel a whole lot better, that's for sure.

Glen gives him the thumbs up as he exits.

DISSOLVE:  to several days later.

INT.  VIDEO RENTAL SHOP  -  DAY. 

Felix walks into a video rental shop in Melbourne. He smiles at the ATTENDANT.

					FELIX
			 Hi. How you doin'? I was just wondering if you have
			 a guy by the name of Glen living here?

The attendant gives him a weird look.

					FELIX (cont) 
			It's just a bloke I know. I don't know he's second 
			name, but I met him at a pub and I owe him some 
			money. He told me he lives in a flat above a video 
			shop.

					ATTENDANT
			 Sorry, mate. No one lives upstairs here. We use 
			 the rooms upstairs as a storage area.

					FELIX 
			Oh, okay. No worries. Sorry to trouble you.

As Felix exits the shop, he takes out his note pad and strikes a line through the initials of the store with his pencil, a list of about fifteen other stores he's already tried with lines through them also.

INT.  SEX PRODUCT SHOP  -  DAY.

Nelson Tally splonks his deflated sex doll on the counter of the 'Snatch & Grab' sex shop and glares at the male salesman. There are several other customers walking around, looking at things.

					SALESMAN 
			What's this?

					NELSON
			 I got it here three months ago and it's fucked already.

					SALESMAN
			 Hey?

					NELSON
			 I was told it would last a year. Well, it's only been 
			 three months and it's already fucked.

					SALESMAN
			 Hang on. I don't understa...

					NELSON 
					(interrupts)
			 The other guy sold it to me. That older bloke.

Just then the OWNER, who happens to be the older bloke, appears behind the counter.

					OWNER 
			What's this?

					NELSON
			 Yeah. You're the bloke. You sold me this three 
			 months ago and you told me it'd last for a year.

					OWNER
			 What've you been doin' to this thing?

					NELSON
			 It was fucked when I bought it.

					OWNER
			 If it was damaged when you bought it, why didn't 
			 you bring it back straight away?

					NELSON
			 I've been too busy.

					OWNER 
				         (to salesman)
			 Take it out and put a patch on it, will ya?

The salesman takes it out the back, but Nelson isn't happy.

					NELSON
			 I don't think you understand. I don't want it fixed. 
			 I want to exchange it for a new one.

					OWNER
			 It doesn't work like that, mate.

					NELSON
			 I want to exchange it for that one up there. The super
			 sucker model. The black one.

					OWNER
			 You're not listening to me. We don't work like that.

					NELSON 
				       (points to notice)
			 It says right there. Satisfaction guaranteed or money 
			 cheerfully refunded. Well, I'm not satisfied. Simple. Listen,
			 I'm not even asking for a refund. I just wanna exchange it.

					OWNER 
			But the product we sold you wasn't damaged until after
			you'd used it.

					NELSON
			 I told you, it was fucked when I bought it. Besides. You said
			 it would heighten my pleasure. But it didn't. I want a new one.

					OWNER
			 C'mon, mate. Who you tryin' to kid. That thing was in
			 mint condition when we sold it to you. Trouble is, you've
			 been ridin' it harder than a Brahman bull.

					NELSON
			 Bullshit. Now reach up there and give me a look at that one.

					OWNER 
			I don't think I'm gettin' through to you, mate. I'm not 
			exchanging it. What, you think I'm just gonna put
			your shit one back in a box and put it back on the shelf, 
			or somethin'? By the way, where is the box.?

					NELSON
			     (Nelson had cut it up for his train set) 
			It didn't come in a box. That's right, it was a display model.

					OWNER 
			We don't use display models, mate.

					NELSON
			 Just send it back to the factory and get a new one.

The owner finally twigs that Nelson isn't your average off the street human.The salesman returns with the doll. It has a black patch on it's neck, just above the shoulder. It is still deflated, but it had obviously been inflated to find the hole. The owner puts it on the counter.

					OWNER
			 There. We fixed it for you. No charge.

					NELSON 
					(grabs doll) 
			Alright, you pack of cunts. That's the last time I shop 
			here. I mean it. You've lost my business for ever. 
			Fuckin' arseholes.

EXT.  STREET  -  DAY.

Nelson storms out, rolling up the doll to remove the last bit of air so he can put it on his vesper back rack. There are parents with children walking past him in the street, drawing their kids away, as if Nelson's some kind of deviant. 

INT.  SNOOKER EMPORIUM  -  DAY.

Glen is putting cues on racks when young Paula comes over. Phil is over by the service counter and several of the snooker tables have players at them. Most of the tables, however, are vacant.

					PAULA 
					(to Glen)
			 Hi.

					GLEN 
			 Oh, Hi. What's ya up to'?

					PAULA 
			Not much.Waitin' for Jo?

					GLEN
			 Who?

					PAULA 
			Joanne. My friend. She's at the dentist gettin' her 
			braces off.

					GLEN
			Oh, yeah? So you're slummin' it alone for a while, 
			are ya?

					PAULA
			Yeah. You could say that.
					(beat)  
			So. How do you play this game?

					GLEN 
			What you say your name was?

					PAULA
			 Paula.You're Glen, aren't you?

					GLEN
				   (nods, checks watch)
			 Tell you what. I've got to go and see someone. 
			 When I get back I'll give you a lesson.

INT.  DINGY FLAT  -  DAY.

Felix is in the bathroom of his flat. He has just had a shave and takes a bunched up towel from a chair and wipes his face with it. Just then, one of his whores, Melanie, enters.

					MELANIE
				         (indicates towel) 
			You didn't just use that, did you?

					FELIX 
			Yeah, why?

					MELANIE 
			I was gonna throw it in the laundry. Big Tony had it 
			between his thighs all night.

					FELIX
			What? Why would he do that?

					MELANIE
			 When he hits the grog he gets that...you know, what's
			 he call it? That 'itchy crack itis' thing. His arse goes all
			 blotchy. Some kind of rash. He puts a towel in warm 
			 water then stuffs it between his cheeks.

Felix storms from the bathroom, down the hallway and opens a bedroom door. On a double bed is TONY, a thirty year old, rather obese man, lying on his belly wearing only underpants.

					FELIX
			 Hey, cunt! Is it true?

					TONY 
			 What?

					FELIX
			 That towel in the bathroom. Did you put it between 
			 your legs last night?

Tony frowns, trying to think. 

					FELIX (cont)
			 Well!!

					TONY
			 Yeah. But I didn't put it back on the rack.

					FELIX
			 How bad's your rash?

Tony goes to lower his underpants, but Felix holds out a hand and looks away.

					FELIX (cont) 
			I don't want to see it, you dirty cunt! Mel! Get 
			down here.

Melanie enters.

					FELIX 
				         (to Melanie)
			 How bad's his rash?

Melanie goes over to take a look. Tony lowers his underpants so she can assess the damage.

					MELANIE 
			Don't know. Just looks like a bad case of acne.

					FELIX 
					(to Tony)
			 Is it contagious?

					TONY
			 I don't know, boss.

					FELIX 
			I'd better not get that on my face, you fat fuck. 
				      (to Melanie) 
			Quick. Let's go. 

					MELANIE
			Hey? Where?

INT.  HOSPITAL WARD  -  DAY. 

Steven's in bed, on the land line phone trying to contact his girlfriend, Rachel. She is avoiding him.

This sequence is a CUT TO: or (through phone) exchange between MR SMYTHE (Rachel's dad) and Steven.

					STEVEN
			 Hello? Mister Smythe...?
								
					DAD
			(hand covers mouth piece, to Rachel) 
			 You want to talk to him, babe? 

					RACHEL 
				      (to dad, irritated)
			 Just tell him I'm not here. I can't handle all this right now.

					DAD 
				   (puts phone to ear) 
			 Hello, Steven?
						
					STEVEN
			 Oh, hi mister Smythe. Is Rachel there?
								
					DAD
			 Uhm, nah, not right now. She's had to go up north
			 for six weeks for another photo shoot. Can I get her
			 to call you when she gets back?									
					STEVEN 
			I've been trying her mobile for the past few days but it 
			seems to be switched off all the time. Is everything alright?			

					DAD
			 Steven. Rachel's going through a really tough time right
			 now. You know, with work and travelling and all the... 							
					STEVEN
				    (interrupts, sarcastic)
			 Oh. Rachel's going through a tough time, is she? Let 
			 me ask you something, mister Smythe. If you don't 
			 mind. Has Rachel called you since she's been gone?
								
Dad doesn't answer, just a long, uncomfortable pause as he stands there, wondering what to say.
									
					STEVEN (cont) 
			 You see what I'm getting at?

					DAD
			 Steven...I'm sorry, but...

					STEVEN
			 It's alright, mister Smythe. All the drugs they've been
			 giving me must have made me a bit dim. But I think 
			 I'm starting to understand now. I'm sorry to trouble 
			 you. Don't worry, it won't happen again.

Steven hangs up the phone.

					STEVEN 
					(to Jack) 
			Hey, Jack. Can I ask you something?

					JACK
			 Yeah, mate. What is it?

					STEVEN 
			 You know my so called, girlfriend? While I was 
			 drifting in and out consciousness, for what, about 
			 three or four days. How many times did she pop in 
			 to see me?

					JACK 
			Well. You gotta keep in mind that I nod off a lot, Steve...

					KEN 
				(looks up from form guide)
			 Once!

					STEVEN 
				        (shakes head)
			 Bloody hell. Once when I was out to it, and once 
			 a few days ago. That speaks volumes, doesn't it? 

Glen Verne enters. He walks over to Steven.

					GLEN
			 Gidday, buddy. How's trix?

					STEVEN
			 Shit house. My girlfriend's dumped me. 

					GLEN
 			How long you been goin' out with her?

					STEVEN
			 About a year. Everything was going great. I was even
			 thinking about moving in with her. Can you believe this?

					GLEN
			 Do you think it's 'cause of the leg?

					STEVEN 
			Bloody oath. Don't have to be Einstein.

					GLEN
			 Don't worry about it. How is the leg?

					STEVEN
			 Hey? Oh, good. Only have to wear a bandage round
			 it now. Already started physio, too.

					GLEN
			 Beauty. You know what. You need a break. Get 
			 outta this joint for a couple of hours.

					STEVEN
			 I'm not really in the mood.

					GLEN
			 Bullshit. C'mon. I'll go and tell the nurse I'm taking 
			 you out for the arvo.

					STEVEN
			 Can I just leave like that?

					GLEN
			 Of course. You're in a hospital. Not a fucking prison.

					STEVEN
			 How come you came back?

					GLEN 
					(shrugs)
			 Thought I'd see how you're gettin' on.

INT.  HOSPITAL/ EMERGENCY ADMISSIONS DESK  -  DAY.

Felix and Melanie are at the admissions desk when a NURSE/RECEPTIONIST finally sees them.

					NURSE
			 So. What seems to be the problem?

					FELIX
			 I rubbed a towel on my face that some idiot wiped 
			 all over his...rash. And I need to know if I should
			 take penicillin or somethin'?

					NURSE
			 Hey?

Felix grabs a plastic bag carrying the towel and slams it on the counter.

					FELIX
			This is it Can you take it for analysis and see if it's 
			contagious.

					NURSE
			 Actually. That's not the way we do things. We sort of, 
			 well, we only treat people who actually have an emergency.

					FELIX
			 This is an emergency! If I get an arse rash on my face 
			 then I'll kill the prick.

The nurse walks away. While she's gone, Glen Verne steps off the elevator with Steven, who is on crutches with his leg missing, about ten metres away from where Felix is standing. Melanie notices them step off the elevator but Felix is too engrossed in his own problems to notice.

					MELANIE 
					 (to Felix)
			 Poor guy's lost a leg. Look.

Felix is about to look when he realises what she'd said. He turns the other way, so as not to look. 

					FELIX
			 You idiot. You know shit like that puts me off my food.

Melanie continues to watch as Glen and Steven exit through the hospital's electric sliding doors. Glen hasn't noticed Felix and Felix hasn't noticed Glen.

The nurse/receptionist returns to Felix.

					NURSE
			 The doctor on duty says it's probably best to just go 
			 home and wait and see what happens. He said to buy 
			 some calamine lotion if the rash erupts and if it doesn't 
			 get any better, then go and see your local doctor.

					FELIX	
			 So that's it, is it? I pay my fucking taxes for your wages 
			 and the best you can do is basically tell me to fuck off!

					NURSE
			 Excuse me sir. Please watch your language. If you keep
			 that up, I'll have to call security.

					FELIX
			 Are you fucking kidding me! I come here for help and 
			 you're gonna call security! Well, that's just great, isn't it? 
			 Well, you can call security, and then you can go and get 
			 well and truly fucked!!

Melanie basically drags him out, taking the plastic bag and towel with them.

EXT.  HOSPITAL CARPARK  -  DAY.

Felix and Melanie get to a car, just as Steven and Glen arrive at a brand new Range Rover. Felix and Glen still don't notice one another - although they are only ten metres apart.

					STEVEN
					 (to Glen)
			 What are you doing with this?

					GLEN
			 It's Phil's, my boss'. He lends it to me sometimes.

					STEVEN
			 He doesn't mind that you don't have a licence?

					GLEN 
			Nah, doesn't give a fuck. He reckons they took my 
			licence, not my ability to drive.

They jump in and the rover backs out and they drive off, right past Felix and Melanie.

INT.  SNOOKER EMPORIUM  -  DAY.

Glen and Steven enter, Steven on crutches. They approach the service counter and see Phil.

					GLEN 
					(to Phil)
			 This is my mate Steve. Steve. My boss, Phil.

					PHIL
			 Gidday, buddy.

					STEVEN
			 Hi, Phil. Good to meet you.

					GLEN 
			We're just gonna have a few games on the pinnies 
			and shit, alright?

					PHIL
			 Yeah, sure. Knock yourselves out.

INT.  ANTE-ROOM  -  DAY.

Glen and Steven enter the ante-room. Glen uses his set of keys to get free games. They are at a machine when Paula and Joanne appear. Paula hoops an arm around Glen's like they've been together for years.

					PAULA
			 Hi. What about that lesson?

					GLEN 
			Oh, Hi, Paul.Yeah, no probs. In a tick, alright. 
				  (turns to Joanne)
			How'd it go?

					JOANNE
			 Hey?

					GLEN
			 You got your braces off didn't you. Give us a look.

Joanne blushes, smiles a beautiful smile. Steven and Joanne's eyes meet. They stare at each other for a few seconds longer than a usual first encounter.

					GLEN 
			This is Steve. He's a good mate of mine. So be nice.

					PAULA
			Hi Steve. I'm Paula. This is Joanne.

					STEVEN
			Hi Paula, Hi Joanne. (about her smile) Looks good.

					JOANNE 
					(blushes)
			What happened to your leg?

					STEVEN
			Car accident.

					JOANNE
			Can I touch it?

					STEVEN 
					(shocked)
			Hey? Yeah, if you like.

Steven raises his jeans lower leg to reveal a bandaged stump, and to his surprise Joanne simply reaches down and touches it, like a curious kid.

					GLEN 
				        (to the girls)
			 Guess what this guy does for a crust?

The girls ponder, then shrug.

					GLEN (cont) 
			 He's a commercial pilot.

					PAULA
			 Really. Who do you fly for?

					STEVEN
			 Southern Flying Centre, down at Moorabbin.

					PAULA
			 Coool.

					GLEN
			 So. What about some snooker? Me and Paul against 
			 you two. (to Steven) Do wonders for your sense of 
			 balance, buddy.

INT.  DINGY FLAT  -  DAY.

Felix storms into the flat and opens the door where Tony had been lying, but he's gone.

					FELIX 
				          (to whore)
			 Where'd that fat fuck go?!

					WHORE
			 I don't know. After you left he got up and pissed off.

EXT.  STREET  -  DAY.

Felix storms down the street, bumping into the occasional GUY he knows.

					FELIX
			 You seen Tony?

					GUY
			 Nah. I thought he was at your joint.

Felix continues for another twenty metres and bumps into another GUY.

					FELIX
			 You seen Tony?

					GUY
			 Yeah. Think he popped into Mario's.

Felix continues down the street to Mario's pizzeria

INT.  MARIO'S PIZZA SHOP  -  DAY.

Felix enters the shop. No-one is around. Felix goes around the counter and into the kitchen. Tony is sitting on a table, while MARIO is at the sink, their backs turned. Felix punches Tony in the back of the head. Tony goes flying across the room, knocking pots and pans all over the place. Whilst on the ground, Felix kicks the shit out of him, yelling at the top of his lungs.

					FELIX
			 You filthy fat fucking cunt!

Mario watches on in shock. He knows better than to intervene when Felix is on the war path.

					FELIX 
				      (cont, to Tony) 
			Don't ever let me catch you round here again. Ever! 
			You got that, fat man?!

Tony mumbles that he has the message, then Felix straightens his own clothing and exits. 

EXT.  STREET  -  DAY.

Felix starts to return to his flat around the corner when he passes a video shop, one he obviously hasn't noticed before. He stops and goes in. He takes out his note pad and approaches the counter and smiles at the ATTENDANT.

					FELIX
			 Hi. You haven't got a bloke by the name of Glen 
			 living upstairs by any chance, have you?

INT.  GLEN'S FLAT  - DAY.

The girls are playing the video machines in Glen's lounge room while Glen shows Steven around.

					STEVEN
				      (stops at trophies)
			 Kick boxing, hey? Shit! This one's a State Title.

					GLEN 
			Won 'em years ago. Used to be pretty good. After I 
			lost my leg I had to basically quit. My new leg cracked 
			a guy's skull so the judges basically banned me.

Paula stops playing the machine and frowns at Glen.

					PAULA
			 What do you mean, lost a leg? What are you on 
			 about?

Glen pulls up his own trouser leg to reveal his prosthesis, and both girls stare in amazement.

					PAULA (cont)
			 That's incredible. I never knew that.

					JOANNE
			 How'd yours happen?

					GLEN 
			Shark

					PAULA
			Oh my god. You're kidding!?

					GLEN
			Great white got me.
						
					JOANNE 
					(to Paula)
			 Guys are crazy. They give legs away to cars and sharks
			 and it doesn't seem to bother 'em.

					PAULA 
			 You know what. I think you could be right. Men are nuts.

The girls simply shrug it off and return to their machines.

					GLEN
			 Anyway! You guys hungry? I can whip up some party 
			 pies and sausage rolls, if you like.

					GIRLS 
			 Yeah, great.

Glen and Steven enter the kitchen and Glen puts pies and rolls in microwave. 

					GLEN 
				(whispers, to Steven) 
			 Jo's a little honey, hey?

					STEVEN
			 Yeah. Pretty kid. How old is she?

					GLEN
			 Jo's sixteen and Paul's seventeen.

					STEVEN 
			 Is Paula your girlfriend?

					GLEN 
			 Don't know. Good question.

					STEVEN 
			 How long you known them?

					GLEN 
			 They've been playing the machines downstairs for ages.

					STEVEN
			 Has Jo got a boyfriend?

Glen pops his head out into lounge room, the girls playing the machines.

					GLEN 
			Hey, Jo. You got a boyfriend?

					JOANNE 
			Hey?

					GLEN 
			Are you rootin' anyone at the moment?

Joanne and Paula laugh.

					JOANNE 
			Nah. Why?

					GLEN
			Steve was just askin'.

Steven's face goes red. As Glen continues preparing food, Steven wide eyes him.

					STEVEN 
					(to Glen)
			 Are you crazy?

					GLEN 
			 No good fucking round, Steve. You want answers, 
			 sometimes you gotta go straight out and get 'em.

Glen puts the meals on plates and takes them to the lounge room table. 

					GLEN (cont) 
			C'mon guys. Tucker time.

Steven crutches his way in from the kitchen and sits down, trying to compose himself. The girls can't seem to drag themselves away from the machines.

					GLEN (cont)
			Hurry up, ladies. Before it gets cold. You can 
			play later.

The girls leave their machine's and take a seat at their meals and start hoeing in as naturally as if they've been eating here for years. Glen eats while Steven kind of picks at his, still a little uncomfortable about having been embarrassed.

					JOANNE 
					(to Steven)
			You got a girlfriend?

					STEVEN 
				       (nearly chokes)
			 Ahhh, well...

					GLEN 
				        (interjects)
			 He had one, but she pissed him off after his accident?

					PAULA
			 Because of the leg?

					STEVEN
			 Uhhm, I suppose...

					GLEN
			 Yeah. One of those shallow types. On deck when 
			 things are good, and jumps off the first sign of trouble.
			 Right, Steve?

					STEVEN
			 Yeah, I guess so.

					JOANNE 
					(to Steven) 
			You know, I've never been in an aeroplane. 
			
					STEVEN
			 Really?

					GLEN
			 I went down to Tassie on a Qantas jet once. About 
			 two years back. Had to look at a snooker joint Phil 
			 was gonna buy. Turned out to be a shit hole. 

					STEVEN 
			I'll take you guys up for a spin in a light aircraft if you 
			like. A lot more fun than those big jobs.

					JOANNE
			Really? Are they safe?

					STEVEN
			Trust me, Jo. If they weren't safe, you wouldn't get
			me anywhere near them.

					PAULA 
				          (to Steven)
			What's the biggest plane you've flown?

					STEVEN
			A first officer on a 767.

					GLEN
			Yeah? Those are the big jet jobs.

					STEVEN
			 I've done a few cargo runs on them, you know, just
			 to get the experience. We don't have anything like that
			 at Southern Flying Centre. We operate the light ones.

					JOANNE
			How long you been flying?

					STEVEN
			Six years. Started when I was sixteen.

					PAULA 
			You mean to tell me you can fly before you can drive?

					STEVEN
			I had my private pilot's licence a year before I had my 
			driver's licence. I used to have to get a lift to the airport 
			so I could fly people all around Australia.

					PAULA 
			Geez, you learn something new every day. 

					JOANNE
			Why did you become a pilot? Is your dad one?

					STEVEN
				        (shakes head)
			He's an architect. Don't know why I started flying, actually.
	
					GLEN 
			Where do you young ladies live?

					JOANNE 
			My mum's place up in Fitzroy.

					GLEN 
			You two related, are ya?

					PAULA 
			Nah, I've got my own bungalow out the back. We've 
			been best friends for ages, haven't we, Jo?

Joanne nods.

					GLEN
			 Do you work?

					PAULA
			 We worked at Maccas for a while but the manager 
			 was a perv. He used to rub up against us.

Paula finishes eating and jumps up and returns to one of the machines. 

					PAULA
			Hurry up, Jo. See if you can beat my highest score. 

					STEVEN 
					(to Glen) 
			Tell me something. How hard is it to learn to walk again? 

					GLEN
			 Piece of piss, Steve. When you start at rehab, I'll pop in
			 whenever I can to lend a hand. Before you know it, 
			 you'll be walkin' just as good as me.  
 
INT.  REHAB. WALKING ROOM  -  DAY.

Trish James, the physiotherapist, is crouched down fitting Steven's leg to his stump, while Steven's father sits nearby looking on. 

Glen comes in through the doors, whistling.

					GLEN
			 Gidday, Steve. Have I missed your first steps?

					STEVEN
			 Hi. No, just about to start. (to father) Dad! This is 
			 Glen. Glen, my dad, Mitchell. 

					GLEN 
				  (shakes dad's hand) 
			Pleasure to meet you, mister Jerome. 

					DAD
			 Call me, Mitch, Glen. Steve's told us all about you. 
			 Thanks for helping out.

					GLEN
			 No prob. 

					TRISH 
			 That voice sounds familiar.

					GLEN 
			 Oh, hi, Trish. Shit! Haven't seen you in ages.

					TRISH
				      (stern humour)
			 Yes, I know. You've been due for an annual review 
			 for two years already. Or is it three?

					GLEN  
			I've been so busy. Haven't I, Steve? Tell Trish how 
			hard I work at the Snooker Emporium.

					STEVEN 
				       (grins, sarcastic)
			Yeah, sometimes he nearly works half a day a week.

					TRISH 
				         (rolls eyes) 
			Okay. (to Steven) Let's get you over to the parallel bars.

The ensuing sequence will be a MONTAGE of events covering days or weeks, of Steven walking with the aid of parallel bars and climbing steps etc. Each sequence will DISSOLVE into the next to show the elapsing of time. In some shots, Glen will be present, others with both parents present, and so on. Some of the shots will be with Glen doing as much instruction and coaching as Trish. Then we:

FADE OUT:  on Glen and Steven smiling, walking side by side around the walking room.

INT.  HOSPITAL WARD  -  DAY.

Steven enters his old ward. Jack is present, but the other three beds are empty. Steven approaches Jack, who is quietly watching t.v.

					STEVEN
			 Hi, Jack.

					JACK
			 Huh? Oh, gidday, Steve. Didn't see you come in. 
			 Thought you'd headed for greener pastures.

					STEVEN 
				         (steps back) 
			What do you think. Good as new, hey?

					JACK 
			Fuggin beauty, Steve. 

					STEVEN 
				       (indicates beds) 
			Left you all alone, hey? 

					JACK
			 Yep. Ken went home last week, and ol' Macka, 
			 well he went home permanently, so to speak, two 
			 nights ago.

Steven hums, looking at the empty bed of recent death.

					STEVEN
			 What about you? How you going?

					JACK 
			 Great. Gettin' out on the weekend. They removed 
			 the cist and gave me the all clear. No worries, Steve.

					STEVEN
			 Anyway, I'd better go. I got a lift waiting downstairs.

					JACK
				  (they shake hands)
			 Okay, Steve. You take care of yourself. And let's 
			 never fuggin meet in a place like this ever again, okay?

FADE OUT:  on Steven smiling, waving goodbye.

EXT.  STEVEN'S PARENTS' DRIVEWAY  -  AFTERNOON.

A Mercedes pulls into the driveway of a two storey, glorious house. The double door garage is connected to the house. One of the garage doors opens electrically and the Mercedes drives in.
									
INT.  GARAGE  -  AFTERNOON.

Steven's dad (Mitchell) is standing next to a brand new Ford Fairlane, parked behind the other closed, garage door as the Mercedes pulls to a halt. Steven's mum is driving. The garage lights are on. Steven steps out of the Mercedes front passenger seat and frowns.

					STEVEN 
					(to dad) 
			When did you get that?

					DAD
 			This morning. Nice, isn't it?

					STEVEN
			Yeah! 

					DAD 
				    (holds out fist)
			 Hold out your hand. 

					STEVEN
			 Hey?

					DAD
			 Do you want the keys to your new car or not?

					STEVEN 
			 You're kidding me?

					MUM 
				  (alights from Merc)
			 What do you think, Stevie?

					STEVEN
			 I can't believe it!

					DAD
			 We got some other good news for you too. Harry's
			 booked a Medical Officer to see you at Southern Flying
			 Centre tomorrow. Three o'clock. Harry said don't be late.

					STEVEN 
				      (embraces parents)
			 This is unbelievable. You guys are the greatest.

					MUM 
			Come on. Let's put dinner on. (to Steven) You're not 
			taking your new car out for a spin until you've eaten.

INT.  FAIRLANE (MOVING)  -  NIGHT.

Steven drives along the city streets, his CD player blaring with his favourite music. He arrives outside the front of Phil's Snooker Emporium and pulls up.

INT. FAIRLANE  (STATIONARY)  -  NIGHT.

Steven turns music down, takes out mobile phone and dials.
 
This sequence is a CUT TO: or (through phone) exchange between Steven and Glen.
									
Glen is in his flat, finishing dinner. He reads the phone display to see who's ringing.

					GLEN
			 Steve! How you goin', buddy?

					STEVEN 
			 You busy?

					GLEN
			 Nah, why?
									
					STEVEN
			 You want to go for a spin in my new car?

					GLEN
			 Yeah, sure. What'd ya get?
								
					STEVEN
			 A Fairlane.
									
					GLEN 
			Shit hot.Where are ya?								
					STEVEN
			I'm out the front. Hey, guess what I got in the mail?
									
					GLEN
			Hmmm, don't know. (wild guess) A shampoo sample!
									
					STEVEN 
			Hey? No, you goose. I got a letter. Listen. I'll read it to you.
				   (turns interior light on)  
			"Dear Steve. I'm so sorry that things didn't work out. I hope 
			we can all still be friends. Sincerely yours, Leonard Smythe."
								
					GLEN
			 Who the fuck's Leonard Smythe?
									
					STEVEN
			 Rachel's dad.
							
					GLEN 
			You've gotta be kiddin' me! You mean she got her 
			dad to write a Dear John letter to you?
									
					STEVEN
			Pretty rich, isn't it?
								
					GLEN 
			I'll be right down.

RETURN TO SCENE:

Steven is fiddling with his CD player when Glen jumps in.

					GLEN 
			Faaark. Flash car, buddy. 

					STEVEN 
			Yeah, she's a beauty. You want a drive?

					GLEN 
			Nah, you're right. So what ya gonna do?

					STEVEN 
			What do you mean?

					GLEN 
			You're not just gonna let your ex get away with this
			are ya?

					STEVEN
			Not much I can do about it, Glen.

					GLEN 
			Bull shit.Where does she live?

					STEVEN 
			With her oldies, out in Doncaster. But as far as I 
			know, she's up north doing a photo shoot.Why?

					GLEN 
			She a model?

					STEVEN
			Yeah. Only just starting out, really.

Glen takes a balaclava from under his jumper. Wrapped up in it is a pair of woollen gloves, a screw driver and a rather large hypodermic syringe, with needle, filled with yellow fluid.

					STEVEN 
			What's this?

					GLEN
			 Let's go.

					STEVEN 
			Go where?

					GLEN
			 To your exes joint. We'll give her a little surprise for 
			 when she gets back.

					STEVEN 
			Hey?

					GLEN 
			We'll give her a piss patch.

					STEVEN 
			A what?

					GLEN
			A piss patch. I open the window to her bedroom a 
			little, then stuff the syringe in and squirt the piss onto 
			her bedroom floor. Is it carpet?

					STEVEN
			 What? Oh, yeah, I think so.

					GLEN 
			Great. The stink'll last for ages and she'll never figure 
			out where it's comin' from.

					STEVEN 
			You kidding me?

					GLEN
			 Nah, I'm serious. Let me tell you something, Steve. When
			 somebody does good by you, always do good by them.But
			 when somebody fucks you over, then you always make sure 
			 you fuck them back. It keeps a kharmic balance. An old Tae 
			 Kwon Do master taught me that. Now, C'mon. Take me there. 

INT.  FAIRLANE (MOVING)  -  NIGHT.

					STEVEN 
					(dubious) 
			 I don't know about this.

					GLEN
			 C'mon. Don't be a girl. Good for a laugh. I used to do things
			 like this all the time while I was on the streets.

					STEVEN 
			 Hey?

					GLEN
			 When I lived on the streets...as a street kid.

					STEVEN
			 A street kid? Where are your parents?

					GLEN 
			 I haven't got any parents.

					STEVEN 
			What do you mean?

					GLEN 
			My oldies brought me out to Aussie when I was about five
			from Poland and they were killed in a car accident a year later.
			I didn't have any other family out here so I ended up in a foster
			home. Bloody hell hole, Steve. Anyway, when I turned thirteen
			I pissed off and headed to the City and lived on the streets, until
			one day I wandered into Phil's and challenged him to a game of
			snooker for twenty bucks. Trouble was, I had no money and he
			won. He was gonna beat the shit outta me, but instead he made
			me clean the dunnies to pay off the debt. I've been there ever since.

					STEVEN 
			How long did you live on the streets for?

					GLEN 
				       (matter of factly)
			Oh, I don't know. Couple of years. Phil saved my life. He's the
			one that got me involved in kick boxing and taught me the ropes
			on how to manage a place like the Emporium. I love that bloke
			like my own dad.

					STEVEN 
			How did you survive on the streets?

					GLEN
			Stole. Cheated. Anything to get through 'till the next day. 
			One day I ripped the face off a store dummy's head I found
			in a dumpster, you know the mannequins they put in shop
			windows? Anyway. I fucked around with it until it fitted perfectly 
			over my face, then I stuffed it down my pants and went into Myers
			and walked around like a shopper until closing time, then I put
			the mask on my face and pulled the hood of my jacket over
			the back of my head and just stood in the clothing section like
			a dummy until they closed the doors. Kept still for two hours
			and not one person new I was a real, fifteen year old kid. Then,
			about an hour after everyone had gone, I just ripped off the mask
			and pinched everything I could get my hands on. Then I threw a
			cabinet through the front doors and made a dash for it. I sold the
			lot the next day and made about three hundred and fifty bucks.
			Lasted me a month.

					STEVEN 
			Really?

					GLEN
			 Of course. Desperate times and all that shit.

					STEVEN 
			How come you never told me about any of this before?

					GLEN 
			Never told anyone before, actually. Except Phil, of course.

					STEVEN 
			You've lived a really interesting life, haven't you, mate?

					GLEN 
			Yeah. I guess ya could say that.

										CUT TO:

CRANE shot of car disappearing down a highway.

INT.  FAIRLANE  (STATIONARY)  -  NIGHT.

The Fairlane stops outside Rachel's parents' two storey house. Light rain is falling. A couple of rooms downstairs have lights on. But no lights seem to be on upstairs.
									
					STEVEN 
					  (points) 
			That's her room right there. Upstairs. Next to the trellis. 

					GLEN 
			No probs. You park around the next corner and turn your
			lights off. I'll be back in five minutes.

					STEVEN 
			You sure about this?

					GLEN
			Trust me. It'll be a hoot.

EXT. RACHEL'S PARENTS' HOUSE  -  NIGHT.

Glen hops out of the car and Steven continues around the corner. Glen ducks into Rachel's driveway. It is quite dark, and some light drizzle is falling.Glen pulls the balaclava over his face and dons the gloves. He goes over to the trellis, some vines growing on it, places the syringe and screw driver between his teeth, then climbs quietly up to a small landing under Rachel's window. He starts to slip a little, almost sliding off the small window eave. He regains composure, grabs the syringe in one hand and the screw driver in the other and wedges the screw driver between the double swing, wooden windows and starts to lever them apart, putting his shoulder to it, when suddenly the whole window frame collapses inward with his weight, making an almighty crash as Glen lands on top of the whole mess, right next to Rachel's bed. 

INT.  RACHEL'S BEDROOM/HOUSE  -  NIGHT.

There is an almighty scream as a bedside lamp is switched on. Lying in bed is Rachel, holding the blankets up to her chin. Glen holds out his hands in an attempt to keep her calm, the syringe in one hand, the screw driver in the other.

					GLEN
			 It's alright. It's alright, relax. I'm not here to hurt you.

Rachel's eyes lock onto the screw driver and syringe and her scream rocks the house. Her bedroom door opens from the other side and in pops the barrel of a double barrel shotgun, the father turning on the main light while yelling for answers. He is about to come all the way in, when Glen rams his weight up against the door, wedging the gun and the dad's arms between the door and the door jamb. Glen stabs the syringe into the dad's forearm, and squeezes the contents into his system. The dad screams in horror and discharges a single shot from the gun, which narrowly misses Rachel's head. Glen opens the door and kicks the dad up against the upstairs wall, the gun falling to the floor. By now the mum has joined in the chorous of screaming. Glen rushes to the stair banister and straddles it and starts to ride it down, feet first. However, at the end of the banister is a rounded bollard, which Glen hasn't noticed. Then he hits it, right between his legs and it practically knackers him. He rolls off the banister, then hobbles out as fast as he can.

EXT. STREET  -  NIGHT.

Glen crosses the road and goes down the side street, holding his crotch. He hops into Steven's car.

INT.  FAIRLANE (STATIONARY)  -  NIGHT.

					GLEN
			 Go. Go. Go!

					STEVEN 
			 What happened?

					GLEN 
			 Just go. For fuck's sakes. I think I've knackered myself.
			 And leave the headlights off until you get to the end of the
			 street. Don't want any nosey neighbours seeing the plates.
			 They might of heard the bang.

INT.  FAIRLANE  (MOVING)  -  NIGHT.

					STEVEN  
			What bang?

					GLEN 
			Didn't you hear it?

					STEVEN 
			Hear what?

					GLEN 
			The gun.

					STEVEN 
			Gun?! What gun?

					GLEN
			The ol' man came in with a shotgun and tried to shoot me.

					STEVEN
			What do you mean, "came in?" Came in where?

					GLEN
			Into the bedroom.

					STEVEN 
			The bedroom? What were you doing in the bedroom?

					GLEN 
			The fucking windows caved in. Then she started screaming.

					STEVEN 
			Who started screaming?

					GLEN 
			Rachel.Your ex missus. Blonde crimped hair, right?

					STEVEN 
			Are you bloody kidding me? What was Rachel doing 
			there? She's meant to be up in Brisbane.

					GLEN 
			I don't know. Someone's obviously been tellin' you 
			bullshit. Now, can you do me a favour and get me 
			home. I gotta run a cold bath and soak my nuts for 
			a while.

					STEVEN 
			How'd you hurt yourself?

					GLEN 
			Comin' down the stairs.  

					STEVEN
			 Did you plant the patch?

					GLEN
			 Yeah, well and truly. It should be gettin' into the back 
			 of an ambulance in about ten minutes.

					STEVEN
			 What do you mean?

					GLEN
			 It all went a bit banana. It was a real family affair. Your 
			 ex was screamin', the mum was screamin', and the dad 
			 was tryin' to blow me away. The only way I could disarm 
			 him was to stick him with the needle.

					STEVEN
			What?!

					GLEN
			 Yeah. Got a bit hectic there at one point. But don't 
			 worry, he'll be right. He'll just get a bit queasy and 
			 need a tetanus shot. No worries.

FADE OUT:  on Steven shaking his head, wide eyed with disbelief - Glen rubbing his nuts.

FADE IN:  on the Fairlane pulling up outside the Emporium.

INT.  FAIRLANE (STATIONARY)  -  NIGHT.

					GLEN 
				     (opens car door) 
			No worries, buddy. You comin' round tomorrow?

					STEVEN 
			I've got my flight medical at three. So I'll be round 
			about four, okay. Reckon the girls will be here?

					GLEN 
			Yeah, probably. Actually, Joanne's been askin' about you.

					STEVEN
			 Really? What she say?

					GLEN 
			Not much, just askin' what you're doin'. I think you're in 
			with a chance there, buddy.

					STEVEN 
			How's it going with you and Paula?

					GLEN
			Good. Only one problem.

					STEVEN 
			What's that?

					GLEN 
			I can't get past second base. Joanne's always around. 
			That's why I need you to hook up with Jo. Keep her
			busy so I can get busy with Paula, if you know what I mean.

					STEVEN 
					(Laughs) 
			I'll see what I can do.

					GLEN
			Anyway, I'd better get goin'. See ya tomorrow. 

FADE OUT:  on Glen dragging himself out of the car and Steven driving off, tooting his horn.

INT.  SOUTHERN FLYING CENTRE  -  AFTERNOON.

Steven is wearing civies. He walks into Southern Flying Centre. He is greeted by several commercial pilots he knows, then he gets a big hug from his boss and mentor, Harrold.

					HARROLD 
			So.You ready for your test?

					STEVEN 
			Sure. How hard's this going to be?

					HARROLD 
			Nothing to it. He'll just get you to show how much pressure
			you can apply with your foot, probably put you in the Sim
			for a couple of stall recoveries, then that'll be it.

A door opens at the other end of the S.F.C. reception and a man in a suit nods to Harrold.

					HARROLD (cont) 
			That's him, Steve. Go for it.

Steven approaches the man. They enter the room and the door is shut behind them.

INT. EMPORIUM ANTE-ROOM  -  AFTERNOON.

Joanne and Paula are sitting in a couple of jet fighter flight simulators, side by side, trying to hit targets and getting hit by bogies at the same time, while chatting to each other.

					PAULA 
			Go on. He wouldn't have given you his mobile number 
			if he didn't want you to call.

					JOANNE
			I don't know. How come he never asked for mine?

					PAULA 
			You know how guys are these days. It's like women 
			were fifty years ago. They pretend they're not interested, 
			but deep down it's a different story.

					JOANNE 
			Glen said he'll be here later on today. I'll wait and see. If 
			he doesn't turn up, then maybe I'll give him a call, okay?

					PAULA 
			I'm tellin' you. If you don't act quick, his ex will probably 
			come crawling back to him. Happens all the time.

					JOANNE 
			What about you and Glen?

					PAULA 
			What do you mean?

					JOANNE 
			Have you done it yet?

					PAULA 
			Nah, not yet. See how things go tonight.

INT.  SOUTHERN FLYING CENTRE  -  AFTERNOON.

Harrold is writing on a work roster, rubbing names out and putting names in. A pilot comes in and grabs a set of keys from the board behind the service counter, signs the aircraft out, then disappears through the rear door. The door Steven had gone through suddenly opens, and Harrold looks up, waiting for the verdict. Steven approaches with a piece of paper in his hand and smiles. 

					HARROLD 
			Told you there'd be nothing to it.

					STEVEN 
			Reinstated effective immediately!

					HARROLD 
					(shake hands) 
			Beauty. When do you want to come back to work?

					STEVEN
			I was hoping I could take another few days off.
		
					HARROLD 
			Yeah, okay. No worries. 

					STEVEN 
			And one other thing.

					HARROLD 
			Let me guess. You want to take a plane up to get the 
			air under your arm pits again, right?

					STEVEN 
			That's it.

					HARROLD 
			Take the Arrow. She's free for the rest of the day.

					STEVEN 
			Thanks, Harry. Thanks a lot. I'll be right back. I've 
			just got to go and pick up some friends.

EXT.  SOUTHERN FLYING CENTRE CAR PARK  -  AFTERNOON.

Steven takes out his mobile and dials. Puts to ear. 

This sequence is a CUT TO: or (through phone) exchange between Steven and Glen.

					STEVEN 
			Glen. Guess what. We're going for a trip over 
			Melbourne. I'm airborne again.									
Glen is in the Snooker Emporium, phone to ear.

					GLEN 
			You fucking beauty. 

					STEVEN
			How are your pills?

					GLEN 
			Hey? Oh, no prob. A good ol' soakin' fixed me 
			right up, no worries.									
					STEVEN 
			Are the girls there?
																	GLEN 
			Yeah. I gave 'em heaps of freebies to keep 'em 
			quiet for a while.									
					STEVEN 
			Alright. I'll be there in half an hour.							
					GLEN 
			Okay, I'll let Phil know I'm pissing off  and grab the
			girls. You know what. There's one thing in Melbourne 
			I've always wanted to see from the air. Guess what it is?

INT.  PIPER ARROW (FLYING) -  AFTERNOON.

Paula and Glen are in the two rear seats of a single engine, Piper Cherokee Arrow. Steven and Joanne are in the two front seats. The registration on the wing reads VH-CHE. They are cruising over East Melbourne at two thousand feet, the drone of the engine making them have to speak up to be heard.

					GLEN 
			Where is it?

					STEVEN 
			Look! Over there. You can't miss the light towers. 
			They stick out like balls on a pig!

					GLEN 
			Oh yeah, I see it. Whoa!

					PAULA
					(to Glen) 
			What are you looking at?

					GLEN 
			The Gee.

					PAULA 
			The what?

					GLEN 
			The Melbourne Cricket Ground. The place where they 
			held the fifty six Olympics, where Bradman played, Peter 
			Hudson played. The greatest sporting ground in the world! 

Joanne is clutching her seat like she's about to fall from the sky.

					STEVEN 
					(to Joanne) 
			Relax. Just have fun. Here. Have a go and see how easy it is.

					JOANNE 
			What? Are you crazy?

					GLEN 
				(leans over from back) 
			Go on, Jo. Have a go.

Hesitantly, she takes the controls and starts to actually fly the plane, with Steven using his own set of controls to correct the plane's attitude when it occasionally gets away from her.

					STEVEN 
			Nice and easy, Jo. You don't have to do anything in a hurry 
			when you're flying an aeroplane. Everything's done smooth 
			and effortlessly. Just like cruising down a freeway in a car. 
			That's it. Yeah, now you're getting the hang of it.

					JOANNE 
				     (turns to others) 
			Hey. Look at this! I'm flying an aeroplane.
 
					GLEN 
				          (to Steven) 
			Can I have a go?

					STEVEN 
			Yeah, sure. But not right now. It's a bit hard swapping 
			seats around up here. Next time we come up you can 
			take the front seat, okay?

					GLEN 
			Okay. When?

					STEVEN 
			Soon. I promise. We'll go for a trip somewhere.

					JOANNE 
			This is unbelievable. Craps all over those video machines.

					STEVEN 
			Of course. It's the real thing. Anyway. We'd better start
			heading back.

					GLEN 
			You guys hungry? Chinese take away. My shout.

INT.  GLEN'S FLAT  -  NIGHT.

Camera PANS across lounge room table, showing packets of empty Chinese meals, chop sticks and forks, plates and empty drink glasses lying about. Both the bedroom doors are shut, but there are sounds of sex coming from the other side of each of them.

										CUT TO:

spare bedroom. Steven is having sex with Joanne. 
										CUT TO:
Glen's bedroom. Glen is having sex with Paula.

DISSOLVE:  on Glen and Paula climaxing, then laying back in bed.

INT. GLEN'S FLAT  -  MORNING.

Steven and Joanne are lying in bed, half asleep when there is a light knock on their door.

					GLEN (O.S.) 
			You guys decent?

					STEVEN 
			Yeah, mate. Come in.

Glen enters, carrying a tray loaded with coffee, juice and bacon and eggs. He hands it to them. 

					GLEN 
			You guys got any plans for the day?

Steven shrugs, looking at Joanne.

					JOANNE 
			No. Why?

					GLEN 
			I was just wondering if you'd like to come with me and 
			Paul to Luna Park for the day. Have a few goes on the 
			rides. What do you reckon?

					STEVEN 
			Yeah, why not. (to Joanne) You want to go.

Joanne nods, getting stuck into breakfast.

					GLEN 
			How'd you sleep?

					STEVEN 
			Good mate. 
					JOANNE 
			Is Paula up?

					GLEN 
			She's having breakfast in bed. Anyway. I'll go and tell her 
			we're off to the park. She's been on at me all night about it.

EXT.  LUNA PARK  -  DAY.

Glen and Paula are riding the roller coaster. Steven and Joanne are down below, eating ice cream. When the roller coaster emerges from a tunnel, Steven and Joanne look up and wave.

					STEVEN 
			They get on like a house on fire, don't they?

					JOANNE
			 Yeah, I know...Steve. If I tell you something. Do you
			 promise not to say anything to Paula?

					STEVEN 
			Hey?

					JOANNE 
			Do you promise?

					STEVEN 
			Yes, of course. What is it?

Joanne pulls a pained expression.

					STEVEN (cont) 
			Come on. You can tell me anything. 

					JOANNE 
					(2 beat) 
			Paula's got a serious medical condition.

					STEVEN 
			What?

					JOANNE 
			She's doesn't like people feeling sorry for her, so she 
			doesn't like anyone knowing about it.

					STEVEN 
			What are you talking about?

					JOANNE 
			She was diagnosed with a brain tumour eighteen months ago.

					STEVEN 
			My God. How serious is it?

					JOANNE 
			Very serious, I'm afraid. She had radiation therapy but it 
			didn't work. And they can't remove it because it's too 
			dangerous. 

					STEVEN 
			So what's going to happen?

					JOANNE 
			She'll just collapse some day or go to sleep and not wake up.

					STEVEN 
			How long before all this happens?

					JOANNE 
			She saw her specialist last week. He says she's only got a 
			few months left. Maybe even less.

					STEVEN 
			Jesus Christ! What are we going to do?

					JOANNE 
			What do you mean? What can we do?

					STEVEN 
			I don't know. But Jesus. She's only seventeen. Is she on 
			any medication or anything?

					JOANNE 
			Yeah, of course. Pain killers. Drugs to keep her mind 
			stable. That kind of thing. She gets really bad migraines 
			a few times a day. Haven't you seen her taking tablets?

					STEVEN 
			No. Does Glen know?

					JOANNE 
			Yep. She told him this morning.

					STEVEN 
			Bloody hell. Shouldn't she be with her family at a time like this?

					JOANNE 
			She hasn't got any family. Her mum's dead and her dad shot 
			through about five years ago. And she's got no brothers or 
			sisters. Only me and my mum, really.

					STEVEN 
			How did Glen take the news?

					JOANNE 
			Got a bit upset. Who wouldn't?

The roller coaster arrives at the terminal and Glen and Joanne step off, laughing and joking. She is holding him tight as they walk down the ramp to join the others.

					PAULA 
			You guys going on it?

					JOANNE 
			No way! Getting on a little aeroplane is one thing. But no 
			way am I getting on that thing.

					GLEN 
			Go on. Give it a go.

					STEVEN 
			Hey. You know what. Why don't we do something special. 
			Why don't we go and stay at a classy hotel for a couple of 
			days. I feel like letting my hair down. (to Glen) You know 
			Melbourne like the back of your hand. What's the classiest 
			place you can think of?

					GLEN 
			I don't know. The Belmont's pretty flash.

					STEVEN 
			Well? Is everyone in?

					JOANNE 
			We'll have to go home first and grab some fresh 
			clothes and stuff.

					STEVEN 
			No probs. Ford Fairlane, stopping all stations.

					PAULA 
			Can we have another go on the dodgems before we go?

EXT.  BELMONT INTERNATIONAL  -  DAY.

Steven drives into the Belmont International, circular driveway. They alight and an attendant takes the car down, under to the hotel car park.

INT.  BELMONT INTERNATIONAL  -  DAY.

The foursome enter and book an executive suite for four. They take the elevator up and are shown to their suite. There is a kitchenette, two bedrooms either side of the kitchenette and a huge lounge room with giant plasma t.v. Each bedroom has it's own en suite and spa. They take a tour of the suite, then Glen and Steven go down to the car to grab some items they left behind.

INT.  UNDERGROUND CARPARK  -  DAY.

Steven is handing a bag to Glen from the boot. When Steven closes it, Glen folds his arms and leans against the car.

					GLEN 
			Steve. Paula wants me to tell you something. But I 
			got a feeling Jo's already told you.

					STEVEN 
			Yeah, mate. I know. Christ. I'm so sorry.

					GLEN 
			She wasn't gonna tell me, you know. Then she thought
			she should just in case I fell in love with her. Stupid idiot. 
			I've never been in love in my life. (unconvincing) Shit. 
			I'm not about to start now, am I?

					STEVEN 
			Isn't there anything they can do these days. I mean, Jesus. 

					GLEN 
			Nah. All she can do is take medication and wait for the reaper.

					STEVEN 
			I can't believe how well she's handling it.

					GLEN 
			Yeah well. What are you gonna do. No good runnin' round 
			screamin' like a banshee. How's that gonna help.
					(2beat)
			You know what, Steve. I met an old wino a couple of times
			while I was on the streets. I was about fourteen and I met him 
			at the Salvo's soup kitchen when one day he simply said to me.
			"You wanna know what the answer is, kid?" I kinda looked up 
			at him and he said. "Go down to the public dunnies on the Yarra
			near Spencer and read what's on the back of one of the dunny 
			doors." So. A few days later, my curiosity got the better of me 
			and I went down there. A real stink hole it was back then. Just 
			before I went in, I thought, hang on. The ol' bugger's in there 
			waiting for me. He'll probably bum me stupid. This was before 
			I could fight, ya know. Anyway, I finally went in and checked 
			behind each of the three cubicle doors. There was all kinds of 
			shit written all over the place. But I finally found the thing he was 
			talking about. It said. "Why worry, we'll all be fucking dead 
			someday." it was either that or, "Mary Lou gives great head, 
			ring this number." which was written below it. Funny
			thing. Even though those words make sense to me. I mean, 
			we all croak, sooner or later. I just know when Paul drops off 
			the twig it's gonna knock me around a bit. 
					(2 beat)
			Anyway. Let's get up and see what they're up to, hey.

INT.  HOTEL SUITE  -  DAY.

Steven and Glen walk in. The two girls are smoking a joint, sitting together on the living room sofa, laughing. Room service has been and a trolley loaded with champagne and food is nearby.

					GLEN 
			Mind if we join the party?

					JOANNE 
					(to Steven) 
			Hope you don't mind, sweetheart. But I think I bent your 
			credit card out of shape.

					STEVEN 
			In that case I'd better have a go at that joint. Soften the pain.

					GLEN 
			Yeah, give me a tug too.

DISSOLVE:  from party.

INT.  BEDROOM  -  DAWN. 

Steven is laying in a double bed with Joanne snuggled up next to him. Everything is quiet and he is sound asleep. The bedside clock reads 5:47 AM. Steven's head starts to sway, back and forth, until he wakes up and sits bolt upright, looking directly into the camera. Joanne is sound asleep.

INT.  HOTEL SUITE  -  DAWN..

Wearing a pair of pants, Steven opens their door and creeps over to Glen and Paula's door. He is about to open it, when Glen walks up behind him.

					GLEN 
			Morning, Steve.

Steven leaps from his skin, doing a one eighty as he lands back on the floor.

					STEVEN 
			Christ!

Glen puts a finger to his own lips, indicating, "keep it quiet".

					STEVEN (cont) 
			You scared the shit out of me. 

					GLEN 
			What are you doin' up so early?

					STEVEN 
			I had a nightmare that...Paula...she died.

Glen approaches the living room table, a hot cup of coffee on it.

					GLEN
			She's fine, Steve. I just checked on her. Want a coffee?

					STEVEN 
			Nah, I'm right. What are you up and dressed for?

					GLEN 
			I had to make a phone call.

					STEVEN 
				          (approaches) 
			Who to?

					GLEN 
			A mate of mine. You see, last night, Paula happened to 
			mention that she'd love to see her dad before she croaks. 
			Trouble is, she hasn't got a clue where he lives. So, I just 
			rang someone who might be able to help.

					STEVEN 
			What, is he a P.I. or something?

					GLEN 
			Nah, nothing like that. He owns a deli up in North 
			Melbourne. He's just got a lot of contacts, that's all.

					STEVEN 
			What time you going to meet him?

					GLEN 
			Six thirty.

					STEVEN 
			I'll get dressed and give you a lift.

INT.  FAIRLANE (MOVING)  -  MORNING.

Steven is driving Glen to SAN PAN SAM'S deli. While Glen shows him the way, Glen tells the story of how San Pan and he first met.

					GLEN 
			San Pan used to sell some of his weed at Phil's. Phil didn't mind, 
			as long as he got a cut. Phil never mixed with the hard stuff. He's 
			not into that. Just dabbled in a bit of gunge. You know how things 
			work. Anyway. I'd been working at Phil's for a bout a year or two 
			when the cops raided the place. But incredibly, nothing was found. 
			They missed the delivery date by a day. If they had rocked up the 
			day after we'd have all been fucked. Anyway. The cops were a bit 
			pissed so they took me back to police H.Q. and threatened to pin 
			an armed robbery on me if I didn't spill the beans about San Pan. 
			You see, he sort of runs a drug and illegal gambling empire and 
			no-one's been able to touch him for twenty years. He's one of 
			those refugees from Korea who's been kissed on the dick by the 
			good luck fairy. Anyway, when the cops realised I couldn't be 
			intimidated, Sam found out and sent one of his cronies round to 
			say thanks. And he told me if I ever needed a favour, then all I had 
			to do is ask. So guess what. I'm askin'.

INT.  FAIRLANE  (STATIONARY)  -  MORNING.

The car stops outside SAN PAN SAM'S closed deli in a quiet area of the industrial/storage area of North Melbourne. 
									
					GLEN 
			You comin'? Meeting San Pan's a real education

					STEVEN 
			Yeah, I bet is. Maybe I'll just wait here.

					GLEN 
			Bullshit. Come on.

					STEVEN 
					  (beat)
			Ahhh, stuff it. Alright.

EXT. SAN PAN SAM'S DELI  -  MORNING.

Glen knocks on the glass door once, then twice, then once again. Thirty seconds later, a huge man named BRUISER, with a jagged facial scar opens the door. He looks brutal, but respects Glen.

					GLEN
			How ya doin', bruiser?

					BRUISER 
			Fuckin' nasty, mate. What about you?

					GLEN 
			Don't give a fuck.

					BRUISER 
			That's the spirit. Who's your mate?

					GLEN 
			This is Steve. He's a good friend of mine. He's cool.

Bruiser motions for the pair to enter.

INT. SAN PAN SAM'S DELI  - MORNING.

Glen and Steven go through to the rear of the shop into a kitchen. Playing poker are four men. Two asians, who have huge piles of betting chips at their elbows and two other guys wearing turbans, who have rather small piles. SAN PAN SAM has a huge cigar dangling from his mouth. Everything is quiet, until finally, San Pan Sam looks up to see who came in.

					SAM 
				     (thick accent) 
			Ahhh. How you doin' my fren? Wha you bin up to?

					GLEN 
			Fuck all, Sam.

Suddenly, Sam notices Steven and he gets a little edgy.

					SAM 
			Who the fuck you?

Steven gulps, looking very uncomfortable.

					SAM (cont) 
			Why you no answer me? 

					GLEN 
			He's cool, Sam. He's with me. His name's Steve.

					SAM 
			Why you here?

Steven looks to Glen for help.

					GLEN 
			I told you, Sam. He's cool. I wouldn't have brought 
			him here if he wasn't.

					SAM 
				       (to Steven) 
			You pick?

					STEVEN 
			Hey?

					SAM 
			How I know you not pick?

					GLEN 
				        (to Steven)
			He wants to know if you're a pig.

					STEVEN 
			What? No, no. I'm not a cop. I don't even like cops.

					SAM 
			Wha you do?

					GLEN 
			He's a pilot.

					SAM 
			Ohhh, a fry boy. You fry druck?

					STEVEN 
			What?

					SAM 
				          (to Glen) 
			Wha he probrem. He no speak engrish.

					GLEN 
			No, Sam. He's not one of those types of pilots. He's
			a real one. On the level pilot.

Sam relaxes a little, satisfied that his security hasn't been breached.

					SAM 
				          (to Glen) 
			So. Wha you wan me do for you, my fren?

					GLEN 
			I need to find someone. His name's Neville Cartwright. 
			As far as I know he moved north a few years back. He's 
			a stock broker and has a daughter by the name of Paula. 

					SAM 
			So. Dis man. He owe you money? You wan maybe we 
			break he arm for you?

					GLEN 
			No. Nothin' like that. I just need to find out where he lives.

					SAM 
			Okay, my fren. I see wha I can do.

					GLEN 
			    (puts piece of paper with details on table)
			How long do you reckon it'll take?

					SAM 
			C'mon. You see I busy here.

					GLEN 
			It's just that it's a matter of life and death. Really. I mean it.

					SAM 
				         (ponders) 
			I give you story by runch time. That okay?

					GLEN 
			Thanks, Sam. My mobile number's there too, okay?

					SAM 
			No probrum. You go now. I on win streak. I win all deese 
			towel head mudder fuckers money, den I see wha I can do.

Steven and Glen are escorted out to the front of the shop by Bruiser.

					BRUISER 
					(to Glen) 
			You still kickin' heads?

					GLEN 
			Nah, not much these days. Been takin' it easy.

					BRUISER 
			Why don't you come and work for Sam? Pays more 
			than Phil.

					GLEN 
			Nah, you know how it is. You get used to your own 
			shit pit.

					BRUISER 
			Yeah, know what ya mean. Anyway, catch ya later, pal.

EXT.  SAN PAN SAM'S DELI  -  MORNING.

The deli door is shut and bolted. Steven and Glen approach the car, parked at the curb.

					STEVEN 
			Bloody hell. Is that guy for real?

					GLEN 
			Yeah, ol' Sam's a character, that's for sure. He thinks 
			he's Al Capone. 

					STEVEN
			At one stage there I thought about making a run for it. 
			I didn't know where I was going to run to, I just thought 
			I'd better start running.

					GLEN 
					(laughs) 
			Let's get Brekky for the girls. And hey, don't tell them 
			what we've been up to. I want it to be a surprise.

Steven uses his keyless remote to open the car doors. Steven and Glen climb in.

INT.  FAIRLANE (STATIONARY)  -  MORNING.

					STEVEN 
			You reckon Sam'll find him?

					GLEN 
			If he's on this planet, Sam'll find him.

					STEVEN 
			What happens then?

					GLEN 
			I'll give him a call and let him know what's happening 
			to his daughter. Then we'll make arrangements for him
			to come down and see her.

					STEVEN
			What if he doesn't want to come?

					GLEN 
			Then we'll never mention any of this ever again.

INT.  HOTEL SUITE  -  AFTERNOON.

The girls are watching a latest release movie on the lounge room t.v. Steven and Glen are in one of the bedrooms playing ps2. Glen's mobile phone vibrates. He puts it to his ear.

					GLEN 
			Hello...Hi, Sam. How'd it go?...Yeah, okay.
			(writes) Beauty. Yep, okay. 
					(beat) 
			Thanks, Sam. Catch ya later.

					STEVEN 
			So?

					GLEN 
			He's in Sydney. Trouble is, Sam couldn't get a phone 
			number.

					STEVEN 
			Maybe it's unlisted. What do you want to do?

					GLEN 
			Fuck it. Let's tell Paul and see what she reckons.

					STEVEN 
			I got a better idea. Why don't I borrow a plane 
			tomorrow and fly us up there. We'll just turn up at her 
			dad's and surprise her.

					GLEN 
			Yeah, brilliant. Then he'll have to see her. Don't say a 
			word. We'll just tell the girls we're going for a trip to
			Sydney to see a mate of mine. In the meantime, let's take
			the girls to a live stage show. Chicks love that kinda shit.

					STEVEN 
			No worries. I'll just ring my boss and book a plane.

DISSOLVE:  to next day.

INT. PIPER ARROW (FLYING) -  AFTERNOON.

They are in the same four seater they had taken for a joy flight. Glen is sitting in the front, at the controls with a huge grin on his face. The girls are looking out their windows, enjoying the view. Steven is talking into his headset microphone, while writing on his flight plan, sitting on his lap.

					GLEN 
			How long's this been goin' on? I gotta get myself 
			a pilot's licence.

					STEVEN 
					  (laughs) 
			Okay, Glen. We're coming into controlled airspace 
			now. I'll take her from here. (turns to girls) Buckle up 
			ladies. We'll be landing at Bankstown in a few minutes.

										CUT TO:

a LONG SHOT of the aircraft on Final Approach.

										CUT TO:

inside the CONTROL TOWER. A CONTROLLER is watching through a pair of binoculars

				CONTROLLER 
				(into headset mic) 
			Charlie Hotel Echo, clear to Land.

										CUT TO:

the aircraft touching down. It slows down then taxis to the visitors parking apron and shuts down.

INT.  PIPER ARROW (STATIONARY) -  AFTERNOON.

					STEVEN 
				        (opens hatch)
			What you reckon? Better fun than those big cigar 
			tubes, hey?

					GLEN 
			You bet. Fucking magnificent. 

					PAULA 
			A bit bumpy though.

					STEVEN 
			Yeah, you get that sometimes. Okay. Let's get our 
			stuff together and grab a cab.

EXT.  AIRPORT CAR PARK/TAXI  -  AFTERNOON.

A couple of cabs are waiting. Steven, Glen, Paula and Joanne, each carrying a single carry bag, approach a cab and the CABBIE leaps out and opens the boot. They stow their gear, then Glen hops in the front, the girls and Steven in the rear. The cabbie leaps back in and starts off.

INT.  TAXI (MOVING) -  AFTERNOON.

					CABBIE 
			Where to folks?

					GLEN 
			Sixty Gilmore Terrace, East Hills, thanks, buddy.

CRANE SHOT:  on cab driving off into the distance.

EXT.  STREET  -  AFTERNOON. 

The cab pulls up outside a huge, house. The foursome get out, grab their carry bags, pay the driver, then wander over to the locked front gates. The wrought iron gates are two metres high, as are the surrounding concrete walls. There is a speaker imbedded in the front wall by the gates.

					PAULA
					(to Glen) 
			My God. What's your friend do for a living? He must
			be loaded.

					GLEN 
			Actually, Paul. This isn't my mate's place. This is your 
			dad's place.

					PAULA  
			What?

					JOANNE 
					(excited) 
			Really? You've got to be kidding.

					GLEN 
			I'm serious. Me and Steve tracked him down for you.

Steven goes over to the intercom and is about to press the button when Paula stops him.

					PAULA
			 No. Don't.

					GLEN 
			What's wrong? I thought you wanted to see your dad.

Paula takes out a pill bottle and swallows a tablet or two.

					PAULA
			Hang on, hang on. I'm not sure about this.

					GLEN 
				(puts arm around her) 
			Come on. We'll be with you all the way. Shit. We don't 
			even have to go into the house if you don't want. We can
			just say hello at the front door, then piss off. No drama.

					PAULA 
			I wouldn't know what to say to him. I mean, God. It's 
			been more than five years since I've seen him. Besides, 
			he's probably at work.

					STEVEN 
			Someone's home. Look, there's a car in the driveway.

					JOANNE 
			Come on Paul. This'll be great. What've you got to lose?

Steven doesn't await a response, he simply presses the button on the intercom. 

					WOMAN (O.S.)
				         (through speaker)
			Yes. Can I help you?

					STEVEN 
			Hi. We're here with Paula. Paula Cartwright. She just 
			thought she'd say hello to her dad.

					WOMAN (O.S.) 
				         (through speaker)
			What did you say your name was?

					STEVEN 
			My name's Steve. Me and a couple of friends have 
			brought Paula to see her dad, Neville. Is he in?

There is no reply, but a few moments later the gates open. The foursome walk down the long driveway, passing a brand new Jaguar. They step up onto the porch and Glen rings the buzzer. A big woman of about fifty answers and gives them a measuring look.

					GLEN
			Hi. This is Paula. Is Neville in?

					WOMAN 
				 (takes an eyeful of Paula) 
			You'd better come in then.

INT.  MANSION  -  AFTERNOON.

The interior is luxurious. The woman shows them into a sitting room. On the walls are several large photo portraits of different people. One of the photos is of a man in his forties with a young woman in an intimate embrace. The guy in the photo is unattractive, but the young woman is beautiful.

					WOMAN (cont)
			Please. Take a seat.

They all sit. Steven on a small divan next to Joanne, Paula on a divan next to Glen.

					WOMAN (cont) 
			So.You're Paula.

Paula nods, looking rather uncomfortable.

					WOMAN (cont) 
			I'm sorry to have to tell you this. But your father had a heart 
			attack last year and passed away. I look after this place while 
			his wife...I mean, your step mother goes north during winter.

The foursome just stare in shock. Then Paula responds in a way which seems totally out of context by the news she'd just received, her dad's death coming a distant second.

					PAULA  
			My dad got married again?

Steven and Glen look at each other in amazement, aware of the incongruity.

					WOMAN 
			Yes. About three years ago.

Paula looks sad and the woman softens her attitude. 

					WOMAN (cont) 
			Would any of you like a drink, or something to 
			eat maybe?

They all shake their heads. Then Paula starts to sob. Glen puts an arm around her.

					GLEN 
			It's okay, Paul. (to woman) She's been having a bit 
			of a bad trot lately.

					PAULA 
			I didn't even get to see my dad before I die.

The woman looks perplexed.

					GLEN 
				        (to woman) 
			She's very ill. She wanted to see her dad before...you know.

					WOMAN 
			Oh my goodness. I'm so sorry. I had no idea he wasn't in 
			contact with you. He always talked about you, you know 
			(points) Look. There's a photo of you up on the wall there.

Paula goes over to look at a photo of when she was twelve.

					WOMAN 
				  (to Glen, about Paula) 
			What kind of...you know, what type of condition...

					GLEN 
			Brain tumour.

					WOMAN 
			Oh, I see.

					GLEN 
			Untreatable.

					WOMAN
			You know, just because the, so called "experts" say 
			something's untreatable, doesn't mean something can't 
			be done, you know.

					GLEN 
			What do you mean? 

					WOMAN 
			Wait here for a tick. I'll be right back.

The woman exits, leaving the others in the sitting room. Paula returns to sit with Glen.

					GLEN 
				         (to Steve) 
			Bloody San Pan. 

					STEVEN 
			Well, at least he got the address right.

					GLEN 
			Yeah, but he missed one very important fact, didn't 
			he? That bloody knuckle head.

					STEVEN 
					(to Glen) 
			What's this lady on about?

Glen shrugs. The woman re-enters. She hands a brochure to Paula.

					WOMAN 
			This is all about a faith healer in India. I went with my 
			Sister to see him when she was diagnosed with stomach 
			cancer that supposedly couldn't be cured. I swear, every 
			single person I spoke too said the man's a miracle worker. 
			I know one thing for sure. My sister's good as gold now.  

Paula and Glen open the brochure and read the contents. 

					GLEN 
			Shit. Look at the cost. That's a bit rich, isn't it?

					WOMAN 
			What good's money if you're not around to use it?

					GLEN 
			We haven't got any money. Not that kind of money, 
			anyway.

					WOMAN 
			What about your dad's inheritance? Use some of that.

					PAULA 
			What inheritance?

					WOMAN 
			The money your dad left you in his will. He left you two 
			hundred and fifty grand, if I remember rightly. Haven't 
			you heard from his solicitors? Oh, of course, if you knew
			he had passed away you wouldn't be here, would you.

She goes over to a set of draws. She takes out a business card and hands it to Paula.

					WOMAN (cont) 
			This is the name and address of your dad's solicitor. 
			Actually, (indicates) his office is just down the road 
			and to the left down Mason street. If I were you I'd 
			find out what's going on. I know for a fact that you 
			were in his will.

					GLEN 
			Okay. Beauty. We'll do that. Anyway. Thanks for 
			your time. We'd better get going.

					WOMAN 
			Would you like me to call my sister. She'd be happy 
			to talk to you about her trip to India.

					GLEN 
			Nah, thanks. That's okay. We'd better get a move on.

The foursome stand. The woman escorts them to the front door.

					WOMAN 
				           (hugs Paula) 
			I'm so sorry about all this. I hope things work out 
			for you. You take care of yourself now, okay.

EXT.  STREET -  AFTERNOON.
  
They walk out onto the quiet street. The gates automatically close behind them. Glen reads the phone number on the business card and dials the number on his mobile. Hands Paula the phone.

					GLEN
				          (to Paula) 
			Make an appointment as soon as possible. Then we'll 
			book into a motel for a couple of days and have a look
			around Sydney.

					PAULA 
				 (2 beat, then into phone)
			Hello...Yes, Hi, My name's Paula Cartwright and...

										CUT TO:

Steven and Glen wander away to talk, Paula's voice barely audible in the background.

					STEVEN 
			Could take weeks to get an appointment, you know.

					GLEN 
			Yeah, I know.

					STEVEN 
			Shame about her dad.

					GLEN 
			Yeah. Poor kid. I feel fucking shit house for her.

					STEVEN 
			He must have been rolling in it. Look at the size of that place.

					GLEN 
			Yeah. You would have thought he'd have had the decency
			to contact her before he croaked, wouldn't you?

					STEVEN 
			Suppose so. See the picture of that chick with the old guy, 
			hanging on the wall. I think that was him with his new wife.

					GLEN 
			Yeah. Stunning. Tell me she wasn't in it for the money. 
			(softly) I mean see Paul's dad. Fair dinkum. When you
			look under the definition of Missing Link in an encyclopedia, 
			I bet you'd find a picture of him. I've seen better heads on 
			a pigeon. 

					PAULA 
				         (announces) 
			They're going to see me in half an hour. 

					GLEN
			C'mon then. Let's get a move on.

FADE OUT:  on the foursome grabbing their bags and heading down the road.

EXT.  STREET  -  AFTERNOON.

This scene opens with the foursome exiting a small office building, a solicitor's name across the door. They have seen the solicitor. Glen is carrying his and Paula's bags, Steven carrying his and Joanne's. The foursome walk to the corner of the street. Paula stands at the corner in a state of shock, while the other three walk up a side street a little. Glen drops the bags to the ground, shaking his head.

					JOANNE 
				          (to the men) 
			What are we gonna do?

					GLEN 
					(shrugs) 
			What was all that bullshit about, can't have it 'till she turns 
			eighteen. Fucking hell.
				(looks to see Paula's not listening)
			That's eight months away. She hasn't got a prayer. 

					STEVEN 
				        (checks watch) 
			Friday afternoon. All we can do is fly home, get Paula's
			medical records on Monday and then get our own probate
			lawyer to have a look at the case. That prick in there made
			it quite clear he doesn't give a shit about her situation.

					GLEN 
					(angry) 
			Yeah. What an arsehole. All he cares about is the dead dad 
			and that fucking estate. This is crap. Going through the courts 
			could take months, even years. She doesn't deserve this!

Glen turns to see Paula over near the corner, clutching the faith healer brochure like a life preserver, staring blankly into the distance. Glen calls to her and she snaps out of it and wanders over.

					GLEN 
				          (to Paula) 
			Give us one of your pethidine tablets, will ya. I've got 
			a headache.

					PAULA 
			You sure. They're strong.

					GLEN 
			Yeah, yeah, I know. I've had peth before.

Paula obliges. Glen swallows it down and Paula takes another one herself, just for good measure.

					GLEN (cont) 
			Can you drive a car, Paul?

					PAULA 
			Hey? Yeah, of course.

					GLEN 
			Do you want your money today?

					PAULA 
			What?

					GLEN 
			If I told you I could get your money for you today, 
			what would you say?

					PAULA 
			I'd say great! But how?

Glen opens his bag and takes out a pair of woollen gloves, a peak cap and a pair of sunglasses. He puts it on, while Steven, Joanne and Paula watch with nervous intrigue. Glen then takes out a large, dark green jacket and puts this on.

					GLEN 
			Wait here, guys. I'll be right back.

They watch Glen walk off, down the street. 

					STEVEN 
					(to girls) 
			What's he up to?

Paula and Joanne shrug. 

										CUT TO:

Glen turns down a side street. He looks in through the windows of parked cars. He comes across an early model Commodore, parked among other cars in a quiet residential area. He checks to see the coast is clear, then thrusts an elbow through the rear, passenger window. He reaches in and opens the driver's side door and jumps in. He puts his left boot up on the ignition assembly and gives it a kick, knocking it from its housing. He fiddles with the wires until the engine starts, then  snaps the inbuilt steering lock with all his weight. He engages the auto transmission and heads off.

RETURN TO SCENE:									

					STEVEN 
					(to girls) 
			I got a bad feeling about this.

					JOANNE 
			Yeah, me too. What do you think he's got in mind?

					STEVEN 
			Don't know. That's what scares me. Anything's
			possible with Glen.

The stolen Commodore pulls into a parking space right in front of the other three.

					GLEN 
			        (opens front passenger door) 
			C'mon. Grab your shit and get in.

The three pause, trying to make sense of it all.

					GLEN (cont)
			Hurry up!

Steven throws the bags on the back floor and jumps in the front seat, the girls jump in the back.

INT.  COMMODORE (STATIONARY) -  AFTERNOON.

					STEVEN 
					(to Glen) 
			Where'd you get this thing from?

					JOANNE 
				(brushes broken glass aside) 
			This car's stolen.

					GLEN 
			Of course. How else do expect us to get around?

Steven, Joanne and Paula's eyes grow wide.

					STEVEN 
			What's going on, Glen?

Glen takes a street directory and first aid kit from the glove box and puts them beside him.

					GLEN 
			I'm gonna get Paula's money for her.

					JOANNE 
			What are you talking about?
 
					GLEN 
			I'm gonna walk into a bank and make a withdrawal. 
			Simple.

					STEVEN 
			Are you kidding me?!

Glen shakes his head, then holds up a finger for silence. He dials a number on his mobile.

In this sequence we CUT TO: or (through phone) the exchange between Glen and San Pan Sam.

					GLEN 
			Hi. Sam. It's Glen. I'm still up north. How you doin'?
						
San Pan Sam is playing poker, talking on his own mobile phone.

					SAM 
			How you my fren. You fine your man?					

					GLEN 
			Yeah, no probs. If you had to get rid of a warmish 
			car up here, who would be the best person to give it to?									
					SAM 
			Rast time I do favour for free, my fren. Dis time, I got
			charge you heper fee.									
					GLEN 
			Yeah, yeah, I understand.

					SAM 
			Say. One gee gee.

					GLEN 
			Yeah. As soon as I get back I'll fix you up.

					SAM 
			You know Bracktown?

					GLEN 
			Blacktown? Yeah, sorta.
									
					SAM 
			You take to lear of Macaury's wreckers on Haughton. 
			You pless buzzer on door twice. Den once. Den three 
			time. You got dat?
									
					GLEN 
			Yep. Then what?

					SAM 
			      (Sam's voice starts to break up) 
			Den nuttin. You walk away and reave it to dem.

					GLEN 
				      (shakes phone)
			Fucking battery. (back to ear) Okay, buddy. Battery's 
			flat. See you later.

					GLEN (cont) 
					(to Paula) 
			You're gonna have to drive this thing. You up to it, babe?

					PAULA 
			Of course. But are you sure you want to do this? 
			I mean, you could end up in a lot of trouble. And I 
		            don't want that to happen. This isn't your problem.

Steven and Joanne nod in agreement.

					GLEN 
			I'm making it my problem. I know exactly what I'm doing. 
			Trust me. Okay. (to all of them)  In a perfect world, this is how 
			I see things working. Me and Paul will wear disguises, you know, 
			like fake beards and shit. Paula will drive this thing and wait 
			outside the bank. I'll go in, grab the cash, then we'll dump the car 
			and remove our disguises and walk casually away and get a cab 
			back near the airport, where you guys will be waiting. Then we all 
			fly home. See. It'll be good that Paul's with me 'cause when we 
			remove our shit, the cops won't be looking for a bloke and a chick
			walking around arm in arm. They'll be looking for two blokes.

					STEVEN 
			This is some kind of joke, right? One of those reality, phony t.v. 
			shows or something. Okay. You got me. Where's the camera?

					GLEN 
			This is no joke, Steve. This is a real stolen car, and I'm gonna
			rob a real fucking bank.

INT. COMMODORE (MOVING)  -  AFTERNOON.

					JOANNE 
			I don't feel so good. I think I'd like to go home now.

					STEVEN 
			This isn't the way to go about things, Glen. We've got 
			to do it the legal way. 

					GLEN 
			It's gonna take too long that way, Steve. We haven't got
			the time. By this time next week, Paul's gonna be seeing
			a faith healer, not waiting for a judge to decide her fate. 

					STEVEN
			 But...this is madness.

					GLEN 
			Look. She's gonna get her money in eight months anyway. 
			So We're just gettin' it a bit early, that's all. After she's 
			been cured, she'll get her inheritance, right? Then we'll just
			send the money back to the bank we take it from. Look 
			at it as a loan. No-one'll get hurt. It's win win.What's the 
			big deal?

					STEVEN 
			I can't get my mind round this. This is insane. I think you'll 
			find the authorities will think it's a big deal.

					GLEN 
			You don't have to wait for us if you don't want to, Steve. 
			If you really don't want nothin' to do with it, then I'll 
			understand. Just let us know before we get to the airport, 
			okay. Then me and Paul will make other arrangements.

					STEVEN 
			Look. It's not too late. No offence, Paul. But this isn't the way 
			to go about it. So what, the car's got a smashed window. Big 
			deal. Let's dump this thing, then on Monday we'll see a solicitor 
			and see where we stand. He might say we can get the money in 
			a week, or something. I mean, Paula's circumstances are pretty 
			extreme. The courts will probably hand it over straight away.

					GLEN 
			Legal processes take ages, Steve. You know that as well as I do.

					STEVEN 
			You're both going to end up in prison. Do you know that?

					GLEN 
			We don't plan on gettin' caught, Steve.

					STEVEN 
			So. Let me get this straight. You're just going to walk 
			into a bank and rob it. Just like that.

					GLEN 
			Yeah, basically.

					STEVEN 
			How are you going to get the money? You haven't got a gun.

					GLEN 
			Don't need a gun. Not these days.

					STEVEN 
			But don't most banks have those security screens that 
			pop up and cameras, all that kind of shit?

					GLEN 
			A disguise fixes the cameras. And trust me, the security
			shutters, if the bank has them, are useless.

					JOANNE
					 (to Paula) 
			Are you really serious about this, Paul?

					PAULA 
			Yep. What have I got to lose?

					STEVEN 
			Glen.Will you just listen for a minute?

					GLEN 
			No can do, Steve. My mind's made up.

										CUT TO:

the Commodore pulls into Bankstown airport and stops near the visiting aircraft parking apron.

INT.  COMMODORE (STATIONARY)  -  AFTERNOON. 

					GLEN
				         (to Steven) 
			So.You waitin' or goin'?

Joanne opens her door, grabs her bag and exits. She lugs her bag away from the car without a word, or even looking back.

					STEVEN 
			So this is no bull shit! You're fair dinkum?

Glen and Paula nod.

					STEVEN (cont) 
			Fucking hell. I can't believe this...Alright. I'll make you a 
			deal. We'll wait here until (checks watch) We'll wait until 
			six o'clock sharp. If you're not back here by then, then 
			we're out of here. I mean it. It'll be dark by then and I want 
			to get out of here before the weather closes in. And if you 
			get caught, then you don't know anything about us, okay? 
			You got up here and done all this all by yourselves.

					GLEN
					(nods) 
			You're a bloody champion, buddy. After we ditch this thing, 
			we'll walk a while then catch a cab down to Milperra Road 
			shops so it doesn't look like we came directly here. Then we'll 
			see you by six. Leave Paul's bag here, Steve. There's a couple 
			of things we'll need from it. Take mine though, will ya? 
												
Steven grabs his and Glen's bags and gets out. Paula climbs over into the front passenger seat. The door is closed and Glen drives off. 

										CUT TO:

Steven' P.O.V. as he watches the car disappear into the distance, shaking his head with disbelief.

INT.  COMMODORE (MOVING)  -  AFTERNOON.

					PAULA 
			So. Where we headin'?

It starts to rain. Glen hits the wipers.

					GLEN
			Blacktown. We're gonna have to find a bank within a 
			kilometre or so of Macaully's wreckers. Got to find 
			somewhere quiet first. A couple of things we gotta do.

										CUT TO:

CHOPPER SHOT:  as we follow the car exiting the airport grounds and turns into a side street, then down another side street. It pulls up at a football oval, with no other people around.

INT. COMMODORE (STATIONARY)  -  AFTERNOON.

Glen reaches over and grabs Paula's bag. He hands it to her. The rain is getting heavier.

					GLEN 
			Put a hat on and a pair of sunnies.You got any gloves?

Paula shakes her head.				

					GLEN (cont)
			Don't worry about it. I'll wipe it down before we ditch it.  
			      (Glen takes scissors and tape from first aid kit) 
			Okay, turn around. I need some of your hair. We've gotta
			make beards and mos. Don't worry. Won't make a mess of it.

He starts to cut, putting the hair on the arm rest as he does so. He hands her the tape.

					GLEN (cont) 
			Start sticking' hair to some strips of tape like this (example).

Paula goes to work. Then Glen uses the scissors and a small blade from a set of nail clippers to unscrew the car radio. He rips it free. It's a standard car cd/radio, with a few wires hanging from it. He reaches into her bag and takes out a blouse. He cuts it up to make a square of fabric and wraps the radio in it, leaving a wire hanging out in clear view. He uses some tape to keep the cloth wrapped tightly around the radio, while Paula is busily making beards and moustaches.

Glen, wearing his green jacket, sunglasses, peak cap and gloves, heads off toward Blacktown.

INT. PIPER ARROW (STATIONARY) -  AFTERNOON.

Steven and Joanne are sitting in the two front seats. The rain is running down the windscreen.

					JOANNE 
			What time did you say we'd wait till?

					STEVEN 
			Six. If they're not here by ten too, I'll  lodge a flight 
			plan and we'll head back without them.

					JOANNE 
			Is this really happening? I had to pinch myself to see
			if it's real.

					STEVEN 
			Oh, it's real alright. It's very bloody real.

					JOANNE 
			Do you think they'll really go through with it?

					STEVEN 
			Glen never fails to surprise me. He's capable of anything. 

INT.  COMMODORE (STATIONARY)  -  AFTERNOON.

Glen stops near the wrecking yard. He refers to the street directory. The wipers are operating.

					GLEN 
					(points) 
			That's where we're gonna dump the car. Perfect. We'll walk 
			out through that back alley and onto the main road and grab a 
			cab. Now watch carefully. Count the turns as we head for town.

EXT. COMMODORE (MOVING)  -  AFTERNOON.

We follow the Commodore as it turns down several streets. Then it travels a kilometre along a main road until it pulls up outside a bank, on the other side of the road.

INT. COMMODORE  (STATIONARY)  -  AFTERNOON.

Glen is still driving. It's still raining. The streets are not very wide and there is traffic everywhere.

					GLEN
			That's the bank. You'll be parked over there facing the 
			way we just came from, so remember. When I jump back 
			in, you go straight ahead, then left, then right, then left, then 
			right again at that service station I showed you, okay?

					PAULA 
			Yep. I got it. Don't worry.

					GLEN 
			Okay. Tell it back to me.

					PAUL 
			When you get back in, I go straight ahead, then left,
			then right, then left, then right again at that servo. The 
			wrecking yard's just around next corner.

					GLEN 
			Right. Now, let's find somewhere to park so we can
			try out these beards and shit.

EXT. COMMODORE  (MOVING)  -  AFTERNOON.

We follow the Commodore again. It drives down a couple of side streets and pulls into a vacant parking spot at a large supermarket, about two blocks from the bank. Glen turns off the engine.

INT. COMMODORE  (STATIONARY)  -  AFTERNOON.

It is still raining as they apply their facial hair, sharing the rear view mirror. Some pieces require extra adhesive, but finally they finish and look at each other.

Paula starts to laugh.

					GLEN 
			What? (looks in mirror)

					PAULA 
			You look like a crazed bikie.

					GLEN 
			Good. Give us another tab.

Paula reaches into her pocket and dishes one out to him. Glen throws it back with a quick gulp.

					GLEN (cont)
			Right. Switch seats.

They swap. Paula climbs into the driver's seat and Glen the passenger seat.

					GLEN (cont) 
			Okay, let's do this.

INT.  COMMODORE  (MOVING)  -  AFTERNOON.

Paula pulls out of the car park and into the traffic. She is a capable driver. It starts to rain even heavier now, and the wipers are working flat out. All of a sudden Glen frowns as we show his P.O.V. of what he sees as Paula drives. Everything Glen gazes at suddenly appears to be through a fuzzy type of tunnel vision - people on footpaths, the buildings, cars. Everything. Glen wipes his eyes, then he blinks as he tries to get some clarity back to his sight, but from his P.O.V. everything still appears as if he's looking through a blurry, narrow tunnel. 

					GLEN 
			What's goin' on here?

					PAULA 
			Hey?

					GLEN 
			My eyes. Everything looks...weird.

					PAULA 
			What do you mean?

					GLEN 
				       (blinks hard)
			 I don't know. Everything looks like...it's like I've 
			 got no, what do they call it...peripheral vision. I
			 feel like I'm lookin' through a fuzzy toilet roll.

 					PAULA 
			Oh my God.

					GLEN 
			What!?

					PAULA 
				(takes out two pill bottles) 
			I gave you a condolexon tablet by mistake.

					GLEN 
			A what?

					PAULA 
			A condolexon. They stop me from hallucinating.

					GLEN 
			Are you fucking joking me?

					PAULA 
			I didn't know. It was a mistake. I usually keep the 
			condolexon in this pocket and the peth in this one, but 
			with all this excitement I must have got 'em mixed up.

					GLEN 
			This is bullshit. I'm fucked! I can't believe it! Of all the
			times to get your tabs mixed up, you pick now! Five 
			minutes from when I'm meant to be doin' a bank job!

					PAULA 
			I'm sorry. It doesn't last long. It should wear off soon.

					GLEN 
				     (looks at watch) 
			Look! I can't even tell the time. My fucking watch is
			all blurry!

					PAULA 
				   (checks own watch) 
			It's a quarter to.

					GLEN 
			A quarter to! The bank shuts in fifteen minutes! I can't 
			go in there like this! I'll end up robbing a fucking pot plant!

					PAULA 
			I'm so sorry, Glen. My God. I've really fucked up, haven't I?

					GLEN 
			Okay, okay, let's not panic here. Let's just keep our cool. 
		 	Does this happen to you when you take those things?

					PAULA
			Nah, they keep me stable so that kind of thing doesn't
			happen.

					GLEN 
			How long before it wears off?

					PAULA 
			About twenty minutes.

					GLEN 
			Is there an antidote? I mean, if I drink a ton of water or 
			somethin', would that help?

					PAULA 
			I don't know. I don't think so.

Paula turns down the next street and slows down right outside the bank.

					PAULA (cont) 
			      (as if she's forgotten about his problem) 
			There's no parking spaces. I can't double park. The whole 
			street'll get backed up.

					GLEN 
			What are you talking about?

					PAULA 
			We're here. We're right outside the bank.

					GLEN 
			I can't go in there like this! Are you crazy!?

					PAULA 
			What are we gonna do?

					GLEN 
			Go around the block. I need more time to clear my head.

Paula continues down the street. She turns left and then continues down to the next intersection. She turns left again. All the while, Glen is blinking and rattling his head to regain some clarity.

					GLEN 
			Have those tablets ever affected anyone permanently?

					PAULA 
			What do you mean?

					GLEN 
			I mean, is there any possible chance in this fucking world that 
			the drug won't wear off and I'll be stuck like this for fucking ever!

					PAULA 
			No, no way.

					GLEN 
			It better fucking not. I mean it. If it doesn't start clearing up 
			soon. I'm gonna get outta this car and start swingin'!

Glen continues to blink, while Paula drives slowly down to the next corner.

					GLEN (cont) 
			What time you got?

					PAULA 
			It's almost five to.

					GLEN 
			Fuck it. Get me back to the bank. I'm gonna have to wing it.

EXT. OUTSIDE BANK  -  AFTERNOON.

The car pulls up, double parked outside the bank. Glen steps out, wearing his peak cap, gloves, sunglasses, green jacket and motley beard and moustache - the radio under his jacket. He heads for the bank and nearly knocks over an old woman. He bumps into a street sign, then enters bank.

INT.  BANK  -  AFTERNOON.

The bank is only small to average in size. There are no service grills between customers and tellers. There is a camera on the wall overhead. There are three tellers working, serving clients while only two other customers are waiting in line. Glen nudges the first teller's customer aside, and in a flash he slides the wrapped radio, with wire hanging out onto the TELLER'S side of the counter, sliding it right under the young man's nose. In Glen's other hand is his mobile phone.

					GLEN 
			       (to teller, in thick Middle East accent) 
			My name is Abdul Akbah Mohammed. In that parcel is three 
			kilos of Semtex high explosive. (displays phone) If I press this 
			call button, it will detonate the package and kill everyone within 
			a twenty metre radius, regardless if you raise the screens or not.
			(loud, at customers) Everybody lie on the floor! This is a hold up! 
			(to teller, taking plastic shopping bag from jacket pocket) Fill it! 
			Or else I'll kill you, myself, and everyone else in this place. And if
			you put a dye bomb in there, you're all dead.

The teller gulps, eyes wide. He takes the plastic bag and starts stuffing notes into it.

INT.  COMMODORE  (STATIONARY)  -  AFTERNOON.

Paula sits at the wheel, looking at the bank. It is still raining. The traffic is going around her when no traffic is coming from the other direction. All of a sudden she looks into the rear view mirror and sees a police car through the droplets of rain on the rear window, pulling up right behind her.

										CUT TO:

inside police car. TWO COPS, both young constables.

					COP DRIVER 
			What's this idiot doin'?

					SECOND COP 
			Probably waiting for someone.

					COP DRIVER 
			Well fuck it. There's no double parking here.

The cop driver blows his horn.

										CUT TO:

inside Commodore. Paula continues to stare into the mirror, unsure what to do.

										CUT TO:

inside police car. The driver gets angry He starts shooing the car away with wild hand movements.

					COP DRIVER 
					(at Commodore) 
			C'mon. Get the fuck outta here!

										CUT TO:

Paula engages gear, then slowly moves off. The cops follow. At the next intersection, Paula puts on her left indicator and turns slowly around the corner. She looks in the mirror, but the cops just continue on down the road. Paula sighs with relief. Then she starts to speed up to the next intersection to get back to the bank. She is in the left turning lane when the lights turn green. She starts to roll forward, but just as she turns the corner, a sudden, SFX screeching noise erupts between her ears as the migraine from hell strikes. She puts the car in Park and grabs her head.

INT.  BANK  -  AFTERNOON.

					GLEN 
				           (to teller) 
			Come on. I haven't got all day!

The teller hands over the bag, filled with cash. Glen grabs it, then holds up the phone and starts out.

					GLEN (cont)
			If anyone rings an alarm or the police, then I detonate! 
			After I leave, you count to sixty before you move.You 
			then have twenty minutes to clear the building!

EXT.  STREET  -  AFTERNOON.

Glen exits the bank, and to his amazement, the car is gone. He blinks hard and wipes his eyes, as if his eye sight is still fucked, although his vision has cleared considerably.

					GLEN (cont, to no-one) 
			The car! Where's the fucking car gone?

A couple of people nearby stop chatting to look, wondering what he's on about. Glen looks up and down the street, but the car is nowhere to be seen. He heads left until he gets to the corner of the next street. He hears car horns down the road and strains his eyes to see what's going on.

										CUT TO:

the intersection, about fifty meters away, Paula is still holding her head, groaning in pain as people from other cars and pedestrians look on, wondering why the Commodore is blocking the traffic. Then she manages to reach into her pockets and take out her pills. She stuffs a couple down.

										CUT TO:

Glen realises it's Paula. He starts down the street, moving faster and faster, weaving in and out of the backed up traffic. He arrives at the car and leaps in the front passenger seat.

INT.  COMMODORE  (STATIONARY)  -  AFTERNOON.

					GLEN 
			Go Paul! Go!

INT.  COMMODORE (MOVING)  -  AFTERNOON.

Without saying a word, Paula slams her foot to the accelerator and the car takes off, weaving around other cars and narrowly missing vehicles coming the other way.

					GLEN (cont) 
			What are you doing? You're driving like a maniac. 
			You're gonna get us killed. Settle down!

But Paula fails to heed him. She continues driving like a mad woman, her face contorted with the headache from hell. At the next intersection, the traffic lights are red. But Paula keeps going. As she speeds through the cross roads, a postal van coming with the green lights hits the side of the car, spinning the Commodore ninety degrees, the driver of the mail van waving a fist and yelling.

INT.  COMMODORE (STATIONARY)  -  AFTERNOON.

					GLEN 
			Jesus Christ, Paul! How many of those mind 
			benders did you take? You're driving like a 
			mad woman. Quick, swap seats.

Glen helps her get into his side, while he slides into the driver's seat. 

INT.  COMMODORE (MOVING)  -  AFTERNOON.

Glen guns the car, fish tailing up the road, while he too has to dodge and weave to avoid the on coming traffic. 

					GLEN (cont)
			Which way?

					PAULA 
			What?

					GLEN 
			Which way to the wreckers?

					PAULA 
			I don't know. I think it was left back there.

					GLEN 
			The map. Where's the fucking map?

Paula finds the map under her seat. She flicks through it, but can't find the page.

					GLEN (cont) 
			Well? Where are we? Which way do we go?

					PAULA 
			I don't know. I've lost the page.

Glen turns into an alley and guns the car to the end, emerging into a quiet side street. He pulls over.

INT.  COMMODORE  (STATIONARY)  -  AFTERNOON.

					GLEN 
			Give me a look.

Glen flicks through the map book, but he's lost too. He gets frustrated and throws it to the floor.

					GLEN (cont) 
			Fuck this. We gotta get outta here.

INT.  COMMODORE  (MOVING)  -  AFTERNOON. 

Glen drives down to the end of this street, then turns into another street which leads to an unfamiliar main road. As they slow down at a T intersection, Glen notices a bus pulling up at a bus stop to his right, about thirty metres away to drop off passengers. On the destination display window is the word, BANKSTOWN.

					GLEN (cont)
			 Look! That bus. It's goin' to Bankstown.

Glen turns left and makes for the next bus stop, about two hundred metres down the road.

INT. COMMODORE (STATIONARY)  - AFTERNOON.

Glen stops at the unattended bus stop. He stuffs the plastic shopping bag containing the money into Paula's carry bag and puts it on her lap. Then he helps her remove her own disguise.

					PAULA 
				  (headache easing) 
			What's going on?

					GLEN 
			When that bus arrives, you're gonna be on it.

					PAULA 
			What? I'm not leaving without you!

					GLEN 
			I can't come with you. Once the cops find the car, they'll 
			know what bus we're on. I've got to ditch it. Now listen
			closely. When you get to the airport, tell Steve that if I'm not 
			there by six o'clock, then go without me. I mean it. Don't wait. 
			I'll make my own way back. I'll meet you at Phil's at midday.

					PAULA 
			But...

					GLEN 
			No buts (checks mirror) The bus'll be here any minute. 
			Now take the bag and go! Trust me. Everything'll be fine.

Reluctantly, Paula gets out of the car with her carry bag containing the plastic cash bag. While her door is open, Glen throws the hair and tape from her disguise out into the gutter and the rain takes it down the storm water drain. He gives her the thumbs up.

INT.  COMMODORE  (MOVING)  -  AFTERNOON.

Glen turns down the very next side street. He drives for another fifty metres, then makes another left turn, his eyes darting about, panic rising. Then he turns down another side street and cruises slowly down it. He is about to pick up the directory, when he hears a distant siren, like a police car.

INT.  BUS (STATIONARY)  -  AFTERNOON.									
Paula climbs up the steps of the bus and smiles at the driver.

					PAULA 
			Hello. Bankstown, please.

INT.  COMMODORE  (MOVING)  -  AFTERNOON.

Driving very slowly, Glen's P.O.V. as he notices a thirty metre long driveway of a residential house. It leads to an open, tilta-door garage. In the middle of the garage is a Vesper motorbike. The nearby siren gets louder, like it's one street away. Suddenly, Glen turns into the driveway and speeds into the garage.

INT.  NELSON TALLY'S HOUSE  - AFTERNOON.

A SHOT of Nelson Tally's closed, bedroom door from the hallway. Suddenly we hear a crashing sound outside. (the car hitting the Vesper) Nelson quickly opens his door, his plastic sex doll in hand, eyes startled. He pauses, wondering what the noise was. 

										CUT TO:
										
inside garage as Glen reaches up and closes the garage tilt-a-door, concealing himself and the car inside. The vesper has been knocked up against the back wall. There are a set of side windows, allowing light in.

										CUT TO:
									
Nelson steps out into the hallway, carrying his doll, eyes wide with bewilderment. He goes down the hall into the kitchen and peaks through the window. He frowns. The garage door is shut.

										CUT TO:

inside the garage as Glen wipes the car clean with some remnant cloth to remove prints.

										CUT TO:

Nelson puts the doll on the kitchen chair where he usually sits it. Then he cautiously goes to the back door and opens it slowly, his .38 pistol is sitting on his bed.

EXT.  NELSON TALLY'S BACK YARD/GARAGE  -  AFTERNOON.

Nelson sneaks out and very cautiously approaches the closed garage, wiping the rain from his Buddy Holly glasses so he can see. When he gets to it, he peaks in through the side windows. He sees a car, and right then, Glen peaks out through the same window and their eyes meet. They both recoil in shock. Nelson leaps away and rushes inside. Glen exits through the side door of the garage and rushes after him.

INT.  NELSON TALLY'S KITCHEN  -  AFTERNOON.

Just as Glen enters the kitchen, Nelson comes in with the .38 pistol.

					NELSON 
					(points gun) 
			Who are you?

					GLEN 
			Hey! What are you doin' with that thing?

Nelson moves over to the telephone, sitting on the kitchen sideboard and picks up the receiver.

					GLEN (cont)
			Hang on, hang on. What are you doing?

					NELSON 
			I'm calling the cops.

					GLEN 
			That's not a very good idea, buddy. I wouldn't do 
			that if I was you.

Nelson tries to look at the dial pad while keeping the gun trained on Glen. He is about to start pressing numbers when Glen makes a step toward him.

					GLEN (cont) 
			Don't do it. You press another number and you're 
			gonna miss out on the chance of a lifetime.

					NELSON 
			What are ya talkin' about?

Glen notices the doll but makes a point of not reacting to it.

					GLEN 
				      (vies for time) 
			The money.

					NELSON 
			What money?

					GLEN 
			I just robbed a bank. I got hundreds of thousands. I'll
			give ya half. All you gotta do is put down the phone.

					NELSON 
			Bullshit. You never robbed no bank.

					GLEN 
			No bullshit. Did you see what's in the shed?

					NELSON
			A car.

					GLEN 
			Yeah. A stolen car I used for the bank job.

					NELSON 
			No. A car you smashed into my Vesper with.

					GLEN 
			Sorry about that. But with the money I'll be giving 
			you, you'll be able to buy fifty vespers. A Harley 
			if you like.

Glen removes his facial disguise and drops it on the kitchen table.

					GLEN (cont) 
			There. Would I wear all that shit if I didn't rob a bank?

					NELSON 
			What do I need you for then? I can just shoot you, then 
			take the money all for myself.

					GLEN 
			Yeah, but there's only one problem with that idea.

					NELSON 
			What's that?

					GLEN 
			The money's not in the car. I hid it in a park somewhere.
 
					NELSON 
				(replaces receiver, sits down at table) 
			Sit down. In that chair there.

Glen obliges, sitting across from the doll and Nelson, making a triangle.

					GLEN 
			So, what do ya reckon. Partners, or what?

					NELSON 
			Popsy'll be home soon. I'll see what he says.

					GLEN 
			Who's Popsy?

					NELSON 
			My dad. 

					GLEN  
			That may not be such a good idea. Better if we do a 
			deal before he gets home. We don't want too many
			people knowing about this, right?

					NELSON 
			Get fucked. Don't you say anything about my Popsy 
			or I'll blow your fucking head off, cunt!

					GLEN 
			           (realises Nelson's an idiot) 
			Relax. Take it easy. You know what, you're right.
			Let's wait and see what your dad has to say, okay?

DISSOLVE:  on Glen, Nelson and the doll all looking at each other.

INT.  PIPER CHEROKEE  -  DUSK.

					JOANNE 
			What time you got?

					STEVEN 
			Almost five forty.

					JOANNE 
			Are we really gonna leave at six?

					STEVEN
					  (beat)
			Stuff it. We'll give them till quarter past. But that's it. 

					JOANNE
			 What do you think's happened?

					STEVEN 
			Don't know. I just foresee a whole lot of messiness.

INT.  NELSON TALLY'S KITCHEN  -  DUSK.

From Glen's P.O.V. we see it getting dark through the kitchen window. Glen checks his watch.

					NELSON 
			My Popsy could snap your neck like a fucking chicken.

					GLEN 
			I know. I bet he could.

					NELSON 
			Popsy was in the SAS.

					GLEN 
			Really?

					NELSON 
			Yeah. Killed twenty five gooks with his bare hands.

					GLEN 
			Shit, must be good.

					NELSON 
			Fucking oath he is. 

					GLEN 
				(indicates photo on sideboard) 
			Is that Popsy?

					NELSON  
			No, you fucking dip shit. That's my Popsy's grand
			father. He was a hero in the first world war and 
			Popsy's dad was a hero in the second world war.

					GLEN 
			Really. And what war you gonna fight in?

					NELSON 
			Don't know yet. Wouldn't take me first time. They'll 
			take me next time but.

					GLEN 
			You reckon?

					NELSON 
			Popsy's gonna have a word to an old army buddy.

					GLEN 
			That'll be good.

					NELSON
			Fucking oath it will. Then I'm goin' over to one of 
			those sand nigger countries and kill twenty six.

					GLEN 
			Yeah. One more than your dad, hey?

					NELSON 
			Fuckin' oath.

					GLEN 
			Does your dad know about...(doll)

					NELSON 
			Nah. And he's not gonna know, either.

					GLEN 
			What happens if he walks in right now.

					NELSON 
			I'll say it's yours. He'll believe me too. 

					GLEN 
			Not really my type. What's her name?

					NELSON 
			Slut guts!

Glen feels his top pocket. He takes out his mobile. Nelson points gun, wondering what he's doing.

					NELSON (cont)
			Don't try anything, cunt. I'll blow your fucking head off.

					GLEN 
			Relax.You wouldn't happen to have a phone charger 
			by any chance, would you?

					NELSON 
			Put that away. Popsy says they cause brain damage.

					GLEN
				   (puts phone away) 
			Okay. No probs. So, where's ya mum?

					NELSON 
			That whore fucked me and Popsy off for another 
			cunt man when I was six. Fucking slag.

					GLEN 
				      (checks watch) 
			Gettin' dark. How long's Popsy gonna be?

					NELSON 
			Popsy suits himself.

					GLEN 
				  (plans to jump Nelson)
			He could be ages. Why don't you just come with me and 
			I'll show you where the money is. By the time we get back 
			Popsy'll probably be home. Imagine how surprised he'll be.

The Tally's land line telephone rings. Nelson goes to get up to answer it. It's almost within arms reach, but he has to stretch to get to it. Glen halts him.

					GLEN (cont) 
			Wait! You answer that, and there's no deals!

Nelson ponders, sits back down. The phone rings about six times, then the answering machine kicks in, with Nelson's own voice.

					NELSON 
				   (over phone speaker) 
			No-one home. Leave a message after beep.

					MAN'S VOICE 
				        (after tone, red-neck terse) 
			Nelson. It's your uncle Andrew. Pick up the phone. 

Glen motions for Nelson not to respond. Nelson obliges, just keeps his seat.

					MAN'S VOICE (cont) 
			Something bad's happened. Some bastard robbed a bank in 
			Blacktown. Popsy was in the bank at the time and had a heart
			attack. He died on the way to hospital.Call me as soon as ya can.

The answering machine hangs up. The look on both their faces is something very special.

					GLEN 
			You fuckin' well believe me now, don't ya?

					NELSON 
				(points gun at Glen's face) 
			You killed my Popsy!!

As Nelson pulls the trigger, Glen pulls a pained face, like he's ready to receive the slug. But incredibly, only a fizzing sound and a small puff of smoke come from the weapon. They both look at the gun with surprise. Nelson turns the gun around and is about to look into the barrel when the gun discharges, the bullet entering Nelson's gob smacked mouth and wedging in his brain stem. He sits there for a few moments, then his head drops back, like he's waiting for a dentist. The gun drops to the table. Glen approaches and has a close look. Nelson's dead.

					GLEN  
			Faaark. There ya go, buddy. You didn't have to wait 
			for your Popsy after all. You get to go and visit him 
			instead, you dead, mental maggot.

INT.  NELSON TALLY'S HOUSE  -  NIGHT.

Glen goes through the rest of the house, just to get the lay of the land. He looks out through the lounge room window. It's getting very dark now. 

					GLEN 
				       (checks watch) 
			Fuck it. Missed my ride.

Glen wanders back in to the kitchen. He looks at Nelson, then at the doll and puts a hand to his chin, thinking. He takes his own fake beard and moustache and flushes it down the toilet. Then he returns to the kitchen with a grin on his face - he's got something in mind.

INT. PIPER ARROW (STATIONARY) -  NIGHT.

The aircraft is still sitting in the visitor's parking apron. A dim interior light is on.

					STEVEN 
				        (checks watch) 
			Well. That's it then...

Suddenly the plane rocks as someone steps up onto the right wing and opens the hatch. Steven and Joanne turn around in shock. Paula pops her head in.

					JOANNE 
			My God. Paul! What happened?

					STEVEN 
			Where's Glen?

Paula maneuvers her way into the rear seat, exhausted. She puts her carry bag on the seat beside her and opens it, taking out the money bag inside. She holds it out for them to see the contents.

					JOANNE 
			Bloody hell. You did it. How much did you get?

					PAULA 
			Don't know. Haven't had a chance to count it.

					STEVEN 
			Where's Glen?

					PAULA 
			He's dumping the car. Things didn't go exactly to plan. 
			Glen said if he's not here by six o'clock, then we're 
			to go without him. He'll make his own way back. He 
			said he'll meet us back in Melbourne tomorrow.

					STEVEN 
			Is he alright?

					PAULA 
			Yeah, he's fine. That guy's amazing. You should have 
			seen him. He's unbelievable. We got a bit lost and couldn't
			find the place where we had to dump the car so that's what
			he's doing now.

					STEVEN 
			You sure about this?

					PAULA 
			Yep. He made it very clear. He'll meet us at Phil's at noon.

					STEVEN 
			Alright. If that's what the man said.

INT.  NELSON TALLY'S HOUSE  -  NIGHT.

Glen opens the front door and steps out into the night. He is no longer wearing his dark green jacket, but a dark blue jumper and jeans. And just as he closes the door, we:

PAUSE in the quiet hallway for a few moments, then PULL the camera back and PAN around into the kitchen to show the doll sitting in it's chair, it's hair all tattered and cut to pieces. Then we show Nelson, wearing Glen's cap, jacket and sunglasses. On Nelson's face we see a motley beard and moustache. In one hand is a pair of gloves, and in the other is the gun - as if he had something to do with the hold up and couldn't handle something happening to Popsy.

EXT.  STREET  -  NIGHT.

Glen exits the driveway. He puts his hands in his jeans pockets and heads off into the distance.

INT.  PIPER ARROW (FLYING) -  NIGHT.

The aircraft is climbing to cruise altitude, with Joanne sitting next to him, and Paula in the rear with the plastic money bag on her lap. Steven is hitting the occasional switch and setting the plane up for cruise. He looks over his shoulder at Paula. Her head is against the rear window, sound asleep.

					STEVEN 
					(to Joanne) 
			Paul's out like a light.

					JOANNE 
			I'm not surprised. What a day.
										
EXT.  NELSON TALLY'S DRIVEWAY  -  NIGHT.

A car pulls into Nelson's driveway. TWO men get out, one a big, forty seven year old named KEV, the other, forty six year old UNCLE ANDREW. They alight and go and knock on the front door, the car's headlights illuminating the front door and driveway.

					UNCLE ANDREW 
			Nelson! It's Uncle Andrew! You there? 
					     (to Kev) 
			Go round the back. The poor fool's probably on his train set.

While Uncle Andrew waits at the front door, we watch Kev disappear to behind the house. Then, after a (2 beat) we hear heavy foot steps hurrying down the hallway, inside the house - getting louder and louder until the front door opens. Standing there is Kev, a look of horror on his face.

					UNCLE ANDREW
			What?

Kev is ashen. He simply points to kitchen.

Uncle Andrew pushes past Kev and disappears inside the house. After a (2 beat) we hear a howl of terror from the kitchen. Kev takes out his mobile phone and punches in a number.

					KEV 
				      (into phone) 
			Hello...police...

INT.  PIPER ARROW (FLYING) -  NIGHT.

The plane is flying straight and level. There is more cloud than clear sky, and momentary rain is splatting on the wind shield, only to be blown off by the thrust of the propeller. The instrument lights are bright and Steven has his headset on. Joanne has her head resting against her side window. Paula is doing likewise in the rear, the drone of the engine lulling them to sleep. The plastic shopping bag is in Paula's lap, the handles of the plastic bag tied in a knot.

EXT.  HUME HIGHWAY  -  NIGHT.

Glen is thumbing for a ride. Cars and trucks are simply speeding past him. He brushes some light rain from his shoulders, then continues walking, his thumb stuck out as he goes.

We TIME LAPSE here, showing Glen morph into the distance, DISSOLVING, then reappearing further on down the road. A semi trailer pulls up and Glen hurries up to it. He climbs into the cab.

INT.  TRUCK (STATIONARY) -  NIGHT.

					TRUCKIE 
			Gidday, mate. Where ya headed?

					GLEN 
			Melbourne.

					TRUCKIE
			Well you're in luck. I'm headin' to Geelong.

					GLEN 
			You beauty. Thanks					
						
INT.  PIPER ARROW (FLYING)  -  NIGHT.

Steven frowns at the oil pressure gauge. He flicks it with his finger, but it doesn't budge. He gives it another flick, when all of a sudden a loud bang erupts at the front of the plane, snapping Joanne instantly from her slumber. Paula, however, is unmoved.

					JOANNE 
			What was that?! What happened?!

					STEVEN 
			We're losing oil pressure. The engine's dying.

					JOANNE 
			What!?

Steven holds up a finger to keep her quiet, then he speaks into his headset microphone, voice calm.

					STEVEN 
			Melbourne, this is Charlie Hotel Echo, declaring 
			mayday. Twenty nautical miles north east Mytrleford. 
			Engine barely functional. Three P.O.B. Activating epirb...

										CUT TO:

FLIGHT CONTROLLER as he listens through his own headset. 

					CONTROLLER
				          (returns transmission) 
			Charlie Hotel Echo, Roger. Acknowledged Mayday. 
			Will alert SAR and advise when we pick up your signal. 
			You got GPS?

										CUT TO:

					STEVEN 
			Affirmative. Stand by for lat and long.

Steven takes a GPS from his brief case and starts to operate it. 

					JOANNE 
			Steven! What's happening?

					STEVEN 
			Jo. Please. Just hang on a tick. (into mic) Melbourne, 
			you ready for details...?

										CUT TO:

					CONTROLLER 
			Charlie Hotel Echo, Melbourne. Go ahead.

The controller starts to write, while listening through his headset.

					CONTROLLER (cont) 
			Roger that, Charlie Hotel Echo. SAR are on their way.

RETURN TO SCENE:
										
Steven lays a map across his lap and marks their exact position in relation to the ground. 

					STEVEN 
					(to Joanne) 
			There's a road right below us. Don't worry. We'll be
			right. I'll put her down there.

					JOANNE 
			A road! Are you kidding me!?

					STEVEN 
			It's a country road in the middle of no where. Trust
			me. I've done this a thousand times in training. Make 
			sure your seat belt's on?

					JOANNE 
				(looks over her shoulder) 
			Paul's still asleep. Is her belt on?

Steven reaches back to check Paula's seat belt. C.U: on his hand touching hers. He frowns. Her hand is cold. Suddenly, he jerks his hand away. PAULA HAS DIED. Steven recoils in horror.

					JOANNE 
			Is Paul's seat belt on?

					STEVEN 
			Hey?

					JOANNE 
			Has Paul got her belt on?!

					STEVEN
					(startled) 
			Yeah, yeah, it's on.

Steven returns his rattled attention to the front of the plane. He begins a gentle turn when all of a sudden the plane breaks through the low level cloud and enters clear sky. The only lights they can see are those of a couple of towns, up ahead in the distance.

					JOANNE 
			Where's the road?

					STEVEN 
			Relax, I'll find it.

A few moments later, the high powered landing light illuminates a tall gum tree, dead ahead
. 
					JOANNE 
					(screams) 
			Steven!! We're going to crash!!

He steers away from the tree and pulls back on the controls when all hell breaks lose. The plane strikes another tree and plummets to the ground, cart wheeling end over end until it comes to a halt.

INT.  WRECKAGE  -  NIGHT.

It's a tangled mess of jagged metal. Steven shakes his head to regain some clarity. He reaches under his seat and takes out a torch and looks around. To his right, all he sees is a gaping hole. Joanne is gone, and so is her seat. He looks over his shoulder and Paula is gone too. He calls out to Joanne, but no answer. He tries to remove himself from the wreckage, when he notices his left leg is stuck fast, amongst the rudder pedals. He tugs and tugs, but it won't budge. He freezes. He sniffs the smell of high octane fuel, dripping from the left wing fuel tank, down toward the hot engine. With shear panic he lifts up his pants leg and unstraps his leg, then drags himself free.

EXT.  BUSHLAND  -  NIGHT.

Steven rolls out onto the soaking wet grass. He tries to stand, but his right ankle is broken. He drops to the ground and with the aid of the torch, crawls back through the trail of debris, looking for Joanne. He come upon a shoe and puts the torch on it. To his horror, he sees a foot inside. It's Paula's. He crawls back another twenty metres when he comes upon the plastic money bag. He pushes it aside, then continues until he sees Joanne, sitting in her seat, up against a tree. He crawls over and lifts her chin to look into her eyes. She's still alive, but just barely.

					STEVEN 
			Hang on, Jo. Search and Rescue will be here
			any minute..

The plane suddenly goes up in an almighty ball of flames, lighting up the whole area. Around him he sees rocks and boulders and the occasional tree amongst knee high grass. To his left, about twenty metres away, he sees a bunch of boulders forming a pyramid. Then he sees the white money bag. 

					STEVEN
			Christ. The money... 

It is now we see a gaping wound on the side of his face. He crawls over and grabs the money bag and drags it over to the pyramid of boulders and wedges the bag amongst them, covering it with pieces of scrub and smaller rocks. Then he leans back against the monoliths, exhausted. He feels his top pocket and takes out his mobile phone. He turns it on, then hits an auto dial number.

This is a sequence of CUT TO: and (through phone) exchanges between Steven and his dad.						
Steven's dad, Mitchell Jerome, is in their living room. He gets up to answer the land line

					DAD 
			Hello...?
						
					STEVEN
			Dad...?
									
					DAD
			Stevie...is that you?

					STEVEN 
			Dad...I fucked up. 
					   (beat) 
			No, don't talk. Just listen. I stuffed it in the boulders...
			where I crashed...
										
					DAD 
			What's going on, Steven? What are you talking about?
										
					STEVEN 
			Get it...for Glen, dad. Got to go back to Jo now...
									
					DAD 
				 (phone goes dead) 
			Steven...Steven!!

RETURN TO SCENE:										

Steven drops the phone. He is losing breath when, in the distance, coming toward him he sees a set of lights. He watches it get closer and closer, then we see it's a car.

					STEVEN 
				           (breathless) 
			I knew that bloody road was here somewhere.

INT.  TRUCK (MOVING) - MORNING.

The truck FM radio is on, playing the Blues. Glen is half asleep. The driver is simply driving down the highway. Then, right on seven o'clock, the morning news comes to air.

					ANNOUNCER 
Good morning, I'm Peter Macintyre with the Easy FM morning news. Tragedy has struck the north eastern Victorian town of Mytrleford over night, when a light aircraft crashed just north of the town in dense bush land. The Piper Arrow, believed to be operated by Moorabbin's Southern Flying Centre, was returning from Sydney when the accident occurred. The twenty two year old pilot from Donvale and his two female passengers, both teenagers from Fitzroy, were reportedly killed instantly. Air safety experts are on their way to the scene of the crash site to determine the possible cause of the accident. (beat) In other news, a house fire in...

					GLEN 
				   (frowns, to driver) 
			What did he just say?

					TRUCKIE 
			Hey? Oh, a plane crashed last night.

					GLEN 
			Stop the truck!

					TRUCKIE 
			What?

					GLEN 
			Stop the fucking truck!

EXT.  HIGHWAY  -  MORNING.

The driver pulls over and Glen leaps out. He walks up ahead a little and vomits. The driver gets out and approaches him.

					TRUCKIE
			You okay, mate?

Glen holds his hands up for the man to keep away, but the driver continues to approach. Then, for no reason, Glen bolts across the road and is struck by a passing car. The car screeches to a halt.

					TRUCKIE
			 Jesus Christ!!

DISSOLVE:  to several days later. Mitchell and Dawn Jerome are at home. Dawn is sobbing in the living room. Mitchell is sitting quietly in the kitchen. He takes out his mobile and dials a number.

This sequence is a CUT TO: or (through phone) exchange between Mitchell and Harrold.

					MITCHELL 
					(into phone)
			 Hi Harry. How you goin', mate?

Harrold is at Southern Flying Centre, sitting with other pilots, while on his mobile phone.

					HARROLD 
			 Hi, Mitch. You okay?
									
					MITCHELL 
			You know how it is. Good moments and bad. 
			Can you do me a favour?								
					HARROLD 
			Of course. You name it.
									
					MITCHELL 
			Can you find out exactly where...where Steven 
			went down. I want to go up and lay a wreath.									
					HARROLD 
			I'll call you back in ten minutes.

INT.  PHIL'S SNOOKER EMPORIUM  -  DAY.

Mitchell Jerome walks in and approaches the service counter. Phil is serving.

					MITCHELL
			Hello. Sorry to trouble you. Is Glen Verne around.

					PHIL 
			Who's askin'?

					MITCHELL 
			I'm Mitchell Jerome. My son and Glen were good mates...

					PHIL 
				        (interrupts) 
			Oh shit. You're the pilot's dad. I'm sorry, mate. I didn't 
			mean to be rude. Look. He's up in the Northern Hospital. 
			After he heard about the crash he had a bit of an accident 
			himself. Bloody boof head stepped out in front of a car.

					MITCHELL 
			My God, is he alright?

					PHIL 
			Yeah, yeah. A couple of cracked ribs and some 
			concussion. If he wasn't so fit he wouldn't have stood a 
			chance the doctors said. He gets out tomorrow, actually.

					MITCHELL 
				    (hands over envelope)
			Can you give him this please?

					PHIL 
			You bet. And I'm really sorry. I only met Steve a few times, 
			but he was a top bloke. Glen loved him like a brother. They 
			were great mates, ya know. Hit it off the first time they met.

					MITCHELL 
			Yes, I know. Anyway. Thank you.

EXT.  STREET.  DAY. 

Mitchell walks out of the Emporium and up the road a little. He climbs into his Mercedes.

INT.  MERCEDES  (STATIONARY)  -  DAY.

Mitchell goes to start the engine, then stops himself, puts his hands to the steering wheel and buries his head in his arms and starts bawling.

DISSOLVE: to next day.

INT.  PHIL'S SNOOKER EMPORIUM  -  DAY.

Glen walks in the front door and Phil rushes from behind the counter. They give each other a hug, the kind that doesn't break already cracked ribs.

					PHIL 
			You okay?

					GLEN 
			Yeah, I'll live.

					PHIL 
			Oh. Steven's dad popped in yesterday and asked
			me to give you this.

Phil hands over the envelope, then discretely disappears. Glen opens it and takes out the letter. It reads, "Dear Glen. Dawn and I would like to thank you for being there for Steve when he really needed someone who could help get him back on his feet. I'm so sorry it had to end like this. Anyway. In this envelope is a key. It opens a locker at Spencer Street Station. Inside is something Steven wanted you to have. Take care, and all the very best, signed, Mitchell and Dawn Jerome."

					GLEN 
			Hey Phil! I've gotta piss off and do something. I'll be 
			back soon.

					PHIL 
			No probs, buddy. Take it easy, okay?

INT.  SPENCER STREET STATION - DAY.

Glen counts along the lockers to the one he's after and opens it. He stares at the contents in disbelief. He drags it out. On the side of the plastic bag are traces of diluted blood. He closes the locker, unties the bag and peeks in. It's full of cash. He turns and heads out to grab a cab.

INT.  TAXI (STATIONARY)  -  DAY.

Glen jumps in the first cab on the Spencer Street taxi rank.

					GLEN 
			Phil's Snooker Emporium, thanks, buddy. The rear 
			entrance, if you don't mind. You know the alley that 
			runs down the back?

					CABBIE 
			Sure. No worries..

INT. GLEN'S FLAT  - DAY.

We PULL slowly back from the video machines up against the wall, until we see Felix sitting in a lounge room chair, a snarl on his face as he flicks through his little note pad, pages of the initials of video shops he's visited, all with lines through them. The last entry are the letters P.S.E., circled.

					FELIX 
				    (to self, sardonic) 
			Video shop, huh...stupid bitch.

It is now we see that the entire flat is torn to pieces, pillows, beds, chairs, crockery, everything, except the chair Felix is sitting in. The chair is situated so he can see the back door and the door that leads down to the Emporium. In his hand is a small pistol. Then we hear a car pull up out the back. Felix jumps up and races to the kitchen window, which looks out onto the back parking area and alley. He uses the gun to gently pull back the curtain to see what's happening. From his P.O.V. we show Glen step out of the cab and lean in to pay the driver. Felix grins. But just as he goes to hide behind the back door, his pistol gets caught up in the curtains. He tugs at it to get it free, but somehow the gun has made a very secure docking with the holes in the pattern. Felix gets irritated and as he pulls the gun free, it flies out of his hand and spins around in the air. As he makes a grab for it, his thumb gets caught in the trigger and the gun goes off.

										CUT TO:

Glen and the cabbie both look up, having heard the bang.

					CABBIE 
			What was that?

Glen shrugs, the plastic money bag in hand. 
										CUT TO:

inside flat as Felix raises his shirt to see the wound. A perfect hole, just above the right kidney. The blood is oozing slowly, but then it starts to get heavier. He drops the gun like a hot spud and staggers to the back door. 

EXT.  EMPORIUM CAR PARK/ALLEY  -  DAY.

Felix  hobbles down the stairs. The cabbie and Glen are watching in amazement. Felix gets to the passenger side door, from which Glen has just alighted, and climbs in. He sneers up at Glen.

					FELIX 
				      (points at Glen) 
			You're time's comin', cunt. You and that bitch in 
			Adelaide thought it was over, huh? Well, guess again. 
			I never forget, or forgive, you got that, arse hole! 

					CABBIE 
			What happened to you?

					FELIX 
			I fuckin' shot myself.

					CABBIE 
			Why?

					FELIX 
			I didn't do it on purpose, you fuckin' moron. Now get 
			me to the hospital, quick smart. And if I faint before we
			get there, you'd better think twice before goin' through
			my pockets, you got that, prick dick?

Felix slams the door shut, Glaring at Glen as the cabbie reluctantly backs out and heads down the alley. 

INT.  GLEN'S FLAT/EMPORIUM  -  AFTERNOON.

Glen goes up the stairs and into his flat. He shakes his head at the mess. He takes the money bag and heads down the stairs to the Emporium. Phil is behind the service counter. Glen approaches Phil and hands him the money bag. Phil peeks inside.

					PHIL
			 Faaark. Have a win on the ponies, buddy.

					GLEN 
			Yeah, something like that. Can you write me a cash 
			cheque for ten grand? Take it outta that. (indicates bag)

					PHIL 
			Sure. Mind if I ask why?

					GLEN 
			I've gotta go to Adelaide and find a friend. Let her know some 
			dick head's out to get her. I want to give her some dough too, 
			but I don't want to go carrying big chunks of cash on the plane.

Phil takes a cheque book from a drawer and starts to write.

					GLEN (cont) 
			And one other thing. Can you call San Pan and ask him to find 
			out where a chick by the name of  Tammy lives. All I know is, 
			she lives in Adelaide somewhere and she used to work for a 
			scungy pimp by the name of Felix. He's also known as The cool. 
			Give Sam five grand and tell him I'll call him when I get there.

					PHIL
				 (hands over cheque) 
			No worries. You got it..

					GLEN 
			Thanks, Phil. Back soon. 

The following scene is the very first scene of the screenplay.

INT.  JET AIRLINER (FLYING)  -  DAY.

The camera is low and behind two airline pilots, their hands on the power controls as they rumble down the runway, one of them calling out the departure procedures. '80 knots' (3 beat) 'V one' (2 beat) 'Rotate' (3 beat) 'Gear up'. 

But now the camera PULLS back into the cabin of the 767, passing passengers, sitting in their seats as the plane heads sky high. In one of the seats is Glen Verne, in an aisle seat. The camera continues back, all the way to the rear toilet, showing a full aeroplane. The plane starts to level out at cruising altitude. The GUY sitting next to Glen turns to him.

					GUY 
			Fuck I hate this?

					GLEN 
			What?

					GUY 
			Having to fly ten times a week for work.

					GLEN 
			What do you do?

					GUY 
			Sell computer software.

					GLEN 
			Could be stuck in an office all day, I suppose.

					GUY 
			Yeah, that's true.

All of a sudden the flight attendants seem very  frantic. Glen watches them closely. He knows something isn't quite right. Then, over the loud speakers comes the captain's voice.

					CAPT
				           (calmly) 
Ladies and gentleman, this is Captain Rogerson. I'm afraid we're going to have to return to Melbourne. It's no big deal, and I'm sure it's nothing to worry about. But we've had a report that an explosive device may have been planted on board. Now, although we're convinced it's a hoax, it's standard airline policy to put down at the nearest appropriate airport. So, please bare with us, and we'll get all this sorted out before you know it. Thank you.

					GUY 
				      (to Glen, calmly) 
			Unbelievable. This is the third time this has 
			happened to me in the past year. Bloody 
			hassle. It's always bullsh...

An almighty explosion tears the right side of the aircraft away, half the wing with it, the sudden loss of pressure sending people to their deaths. Glen's face is being forced back, like he's sky diving. Two cabin crew go flying out through the huge gap and the plane tilts to the right, while at the same time going nose down, heading straight for the ground. Through the hole Glen can see the fast approaching ground....when we: FAST TRACK deep into Glen's mind, showing a shiny white door (the one he told Steven about when attacked by the shark). It is shut, but then it slowly opens and Glen sees segments of his life flash before his eyes. At this point we only show early parts of his life, like when he was in the foster home and when he put on the face mask to rob Myer etc. Effectively, we have shown the end at the beginning, and now we show the beginning at the end... that is, Glen's mind catching up to the second scene of the screenplay, where Glen is having sex with the prostitute, Tammy - all happening in his mind's eye. This is the last thing Glen and the audience see, before we:

FADE OUT:

					THE END