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INT. TETLEY'S COFFEE HOUSE NIGHT
A typical coffee shop. It is empty apart from a
COUPLE on the far side of the room who are in
mid-conversation, and an OLD MAN who is sitting
on his own. He has had the same coffee for the
past hour and a half.
JOANNE, 17 is pretty, cute American girl,
confident about herself. She leans on the
counter, watching the couple as they start to
argue.
CLEO, 18 appears from the kitchen. She is small
and pretty, looks self assured. Even looks good
in the unflattering uniform she is wearing. She
has brown hair.
She reaches to tap Joanne on the shoulder.
Joanne is unaware that Cleo is behind her and is
startled when the hand touches her. She screams.
JOANNE
Don't do that.
Cleo laughs and eye balls the old man and the
couple who are all staring at the shocked girl.
CLEO
The sink is full of dishes. Can you
finish them. I've got to go now. Mr
Biggs said it was OK to leave early.
JOANNE
(distant)
Sure.
CLEO
Are you OK? You seem a bit distant.
JOANNE
No, I'm fine.
CLEO
You shouldn't let someone like James
ruin your life. He's a psycho. He's
not worth the attention. And he's not
worth crying over.
JOANNE
I'm not crying over him. I couldn't
give two hoots about him. He treated
me like crap.
CLEO
Good to hear.
JOANNE
I just want to meet someone nice.
Someone who I can talk to, cuddle up
to on a cold night. I want someone who
will be there for me.
CLEO
And you don't think you can find that?
JOANNE
Not yet, no. I mean look at this
place. I know everyone in town, and
everyone knows me. There's nothing new
here.
CLEO
Maybe things will change when you go
to college.
JOANNE
If I go to college.
CLEO
What?
JOANNE
I don't know if I can afford it.
The couple stand up and walk out, hand in hand.
The old man sits at his table still.
CLEO
What're you talking about? You're
dad's like, so rich. You could buy the
university if you wanted.
JOANNE
It's not that simple. It's his money,
not mine. That's why I'm working here.
In a coffee shop.
CLEO
You mean he won't give it to you?
JOANNE
Probably. I don't know. If I'm that
desperate. I could steal it from him
and he wouldn't notice.
CLEO
You could steal a hundred grand and he
wouldn't notice. I wish I had that
kind of money. I tell you what, I'll
swap lives with you. You live in my
three bedroomed house and I'll have
your house the size of Britain.
JOANNE
Deal.
Cleo is shocked at Joanne's lack of enthusiasm
for life.
CLEO
Is everything OK at home?
JOANNE
Sure. Everything's fine. I'm just a
bit down.
CLEO
I know how you feel. But hey, maybe if
you came to the party tonight then
you'll meet someone who's cuddly and
sensitive and who can beat the hell
out of James if he doesn't leave you
alone. Either that or call the police
on him. I would've done that weeks
ago.
JOANNE
I can't come. But I'll see you at
school and you have to tell me all the
juicy gossip.
CLEO
Will do.
Cleo walks out of the coffee shop and waves
goodbye to Joanne through the window. Joanne
smiles and Cleo disappears out of sight.
Joanne waits for a moment. There is a spookiness
about the shop. It is silent. She shakes her
head and walks into the kitchen.
INT. TETLEY'S COFFEE SHOP. KITCHEN CONT'D
Joanne looks at the pile of dishes. It was under
exaggerated by Cleo. They are piled up higher
than the Empire State building (not literally).
JOANNE
Oh crap.
She turns and walks out of the kitchen and into
the coffee shop floor.
INT. TETLEY'S COFFEE SHOP CONT'D
JOANNE
(to old man)
Sorry, I'm closing up now. You'll have
to
(realising man has gone)
go.
She looks around the shop but he has gone. She
shrugs her shoulders and walks over to the empty
cup on the table where he sat. There is a tip of
'$300'. Joanne stares at it. There is no emotion
of happiness, surprise or shock. Just puzzled.
She picks up the cash and counts it.
BANG! The front door opens and DEAN walks
through. He is large, confident, football player
build.
DEAN
Hey babe.
JOANNE
You scared me.
DEAN
Really? I'm sorry. I'll make it up to
you.
JOANNE
(flirts)
Really? And how're you going to do
that?
DEAN
I was thinking of going down on you on
the table.
Joanne laughs.
JOANNE
At least you're honest.
DEAN
And that's a good thing is it, Jo? You
like guys being honest?
JOANNE
Well I don't like a liar.
DEAN
Well I won't lie. I like you. I've
always liked you Jo. I think you're an
amazing girl who I'd bang in a second.
JOANNE
How
romantic.
DEAN
I know you probably don't trust me,
and why should you. The history that
you've had with guys. I'd be a lesbian
by now.
(beat)
Are you a lesbian? You can tell me if
you want. I'm not here to criticise.
JOANNE
(laughs)
I'm not a lesbian.
Dean looks jokingly disappointed.
JOANNE (CONT'D)
I don't
hate men. I'm just a bit
DEAN
A bit what?
JOANNE
I'm not sure I want a relationship
right now.
DEAN
Is it that you don't want a
relationship or you don't want a
relationship with me? Cos I'm fine
with it if you just want casual sex.
JOANNE
I don't want a relationship right now,
Dean. And I'm not sure about the
casual sex thing. I'll have to get
back to you on that one.
DEAN
OK, see how desperate you get. I'm
only a block away.
JOANNE
OK, I'll see you around. I have to
close up now. Mr Biggs goes crazy if
you don't close up on time.
DEAN
OK, I'll leave you to it.
Joanne smiles and kisses Dean on the cheek.
JOANNE
You're a nice guy. I'm a lucky girl to
have you as my friend.
DEAN
Yeah, friend.
BANG! A noise from the kitchen. It sounds like
crockery smashing.
DEAN
What was that?
JOANNE
I don't know. Probably some plates
smashing. I'll get it deducted from my
pay-check. Great!
DEAN
Well if nobody finds them, nobody'll
know.
Dean heads for the kitchen.
JOANNE
Wait! Where're you going?
Dean doesn't turn around as he walks into the
kitchen.
INT. TETLEY'S COFFEE SHOP. KITCHEN CONT'D
Dean walks in.
DEAN
Let's just clean up this mess and
nobody'll be the wiser. And kill me if
I say that phrase again.
He looks up to find all the plates, glasses,
cups etc smashed on the floor and across the
table.
DEAN
What the
VOICE
With pleasure!
Dean turns to see where the voice came from. A
large knife flashes down into his chest. Dean
crashes to the ground.
Joanne runs into the kitchen and sees Dean
struggling on the floor. A large, black FIGURE
stands over him. A knife in his hand.
Joanne screams. The figure looks at her.
JOANNE
James?
JAMES
(innocently)
Yes baby?
Dean struggles to climb up. He pulls himself up
a bench but the knife slams down on his fingers,
cutting them in half. Dean screams in agony as
blood pours from his wounds.
JAMES
What's wrong? Never seen someone die
before?
Joanne watches one last blow to Dean's head. He
collapses on the ground. James pulls out the
knife from Dean's skull and wipes the blood.
JAMES
You know I wanted to trust you, then
this happens.
JOANNE
(scared)
What?
Joanne backs away slowly.
JAMES
All I wanted was the best for you,
Joanne. The best! I treated you with
respect.
JOANNE
Respect? You tried to stab me.
JAMES
It was your own fault, Jo. You should
have let me take care of you. I wanted
to take you some place nice.
JOANNE
You're a psycho!
JAMES
Maybe. But at least I'm not a whore.
JOANNE
I'm not a whore!
Joanne sees that she can escape through the
coffee shop. She turns and runs. James follows.
EXT. STREET CONT'D
Joanne runs out of the coffee shop. James
follows close behind, the knife waving about in
the air.
JAMES
You can't run, Joanne.
Joanne doesn't stop as they turn a corner. She
slips and looses her footing. She is quick to
get up though. James has caught a few metres up
and is gaining on her.
JAMES
(out of breath)
Stop running!
James reaches out a hand and manages to grab her
hair. He pulls her back and she swings in the
air. He legs lift off the ground. She crashes
back into him.
JAMES
I said NO!!!
James throws her to the ground.
JOANNE
(cries)
Leave me alone!
JAMES
All I did was love you.
Joanne laughs under her tears.
JOANNE
Love me? That's a joke.
James kicks Joanne while she is still down. She
clutches her ribs.
JAMES
I loved you so much and you treated me
like shit. And now it's time for
revenge.
James pulls Joanne to her feet by her hair. She
struggles but doesn't succeed. James drags her
along the dark street.
EXT. LAKESIDE MORNING
The sun beats down on the lake. It is a pretty
view from the town. An early morning fisherman
is sailing out into the middle of the lake. A
squad car roles by.
INT. SQUAD CAR
OFFICER LEASON, 25 sits in the car. An
overweight, out of shape cop. He watches the
road ahead. It is early morning and nobody is
about.
Sitting in the passengers seat is OFFICER
ALFORD, a trainee police officer. He has just
come out of University.
LEASON
I hear you got another job at the
Doughnut shop.
ALFORD
It's only a weekend job. It pays for
my overdraft which is kind of ruining
my life right now. And it also means
that I can get a discount.
LEASON
Yes, I think it's a good idea.
ALFORD
What? Cheap doughnuts or a new job?
LEASON
Both. I know this job doesn't pay much
for trainees. It's more of a moral
thing. Doing good for mankind. Helping
people when they're in need, that sort
of thing.
ALFORD
Plus the ladies like a guy in a
uniform.
LEASON
Yes, well. That's how I met Marge. She
fell for me in my uniform. It's a
killer.
(re: belly)
I'm not sure that'd work nowadays.
Alford laughs. Then there is a sound of a badly
filtered voice from the radio. Leason picks up
the radio set.
LEASON
44, we're on it.
Leason puts the radio down and speeds up the
car.
ALFORD
You actually understood that?
LEASON
We got a report of a girl, badly
beaten unconscious. It's just up the
road. There goes our morning coffee
break.
The car speeds up. Alford and Leason both look
at the sidewalk. The sun shines into their view.
It is blinding.
ALFORD
Some girl? Did they say who?
LEASON
Not sure.
Leason notices an OLD WOMAN waving at the car.
She looks in distress.
LEASON
There we go.
Leason pulls the car up to the side and looks
out the window.
EXT. PROMENADE
Joanne is strung up to a lamp post. She is naked
apart from her underwear. She is covered in
bruises. Blood is everywhere. She is
unconscious.
LEASON (V.O)
Oh my god.
FADE OUT:
Blackness.
MATTHEW (V.O)
Twenty two years of my life gone by,
I've done the studying, had the sex,
and drank the alcohol, what haven't I
done? Simple. Love. What is love?
Why do we need it? When it hits you,
you break down. When it rejects you,
you die. Which is worse? And is
there a difference? How do you avoid
it? The best way I found is to pretend
it doesn't exist. Why would you want
to do that? Apparently, history shows
falling in love as the ultimate
tragedy in life. Nothing good can
come from it. It's not right I tell
ya. Love is a fairy tale that
belongs only in children's books and
trashy romance novels. But that
perception lasts only so long. One
day you'll have to meet with your
self, face to face, and get over it.
Just accept your fate and take it on.
(beat)
I don't want to know love. Fear is
all I know. What it all comes down
to is this: Is the joy of it worthy
of the inevitable pain?
(beat)
You'll have to find out for yourself.
FADE IN:
EXT. LAKESIDE - DAY
'Three months later'.
A lovely, wooded lake. It couldn't be more
picturesque. A Sailboat is moored at the dock
and an old stone lighthouse sits on a point
across the lake.
Joanne, now 18, sits on the edge of the dock.
The scars from the event three months before
have heeled nicely. They are hardly visible to
the human eye.
Her feet dangle in the crisp summer water. A
deep sense of sadness fills her eyes.
EXT. HIGH SCHOOL MORNING
It's a typical small town American high school,
somewhat repressed but alive. As usual the crowd
splits into its various tribes: punk rockers,
jocks, potheads, cheerleaders, nerds.
EXT. SCHOOLYARD - MORNING
Joanne walks towards the front entrance of the
school. For a moment, she stops and glances at
all the people who are gathered at this one
building.
There are so many different types: the cool
people, the geeks, the loners. Luckily for
Joanne, she is in the popular group.
A GROUP OF CHEERLEADERS approach Joanne. They
are SARAH, KELLY, DAFF and CLAIRE. Joanne forces
a smile onto her face.
JOANNE
Hey girls.
SARAH
Hello Joanne. How are you? I haven't
seen you in a while. You haven't been
in school all week.
JOANNE
Oh you know.
KELLY
Boy troubles? We know all about them.
Sarah and Kelly wrap their arms around Joanne as
the group walk off into the school.
CLAIRE
(as they walk away)
Did I tell you, Brian wanted to take
me out, to a roadside diner. I said
"no way, you take me there and you're
not getting any nookie tonight" so he
took me to 'Leo's' for a four course
meal. He's such a babe.
INT. SCHOOL. MAIN HALLWAY AFTERNOON
Joanne is now accompanied by Cleo, now 19. They
walk down the main hallway, passing groups of
students. It is a busy place.
CLEO
How're you feeling today?
JOANNE
Sick.
CLEO
Sick? You want to go to the nurse?
JOANNE
I'm sick of everybody asking me how I
feel. It's like I'm still a victim.
Hello! It happened three months ago.
I'm so over it. James is in prison and
I'm finally getting on with my life.
Well, trying to.
CLEO
I'm sorry.
JOANNE
Hey, no. I'm sorry. I know you're just
looking out for me. But I promise you,
I'm fine. I've never felt better
actually. My life is gradually getting
good. And I'm on the cheerleading
squad and my grades are high and
Joanne notices someone in the distance. Cleo
keeps on talking.
CLEO
Well at least one of us is doing well.
You know how humiliating it is to re-
do the last year? It's so
embarrassing. Everyone thinks I'm
thick. I'm not. I have a B grade
average. That's better than anyone in
my family.
JOANNE
(distant)
That's good.
CLEO
(playing)
Hey, Joanne. Can I sleep with you?
JOANNE
(distant)
Sure.
(realising)
What?
CLEO
Only kiddin'. I'm playing you. What,
or who are you looking at? I hope he's
cute.
JOANNE
Peter.
Joanne stares at PETER, a big, athletic guy
walking down the corridor. He stands out from
the rest. He is a football star.
CLEO
The quarter back?
JOANNE
Peter, Dean's brother. You know I'm
sure he hasn't forgiven me for getting
his brother killed.
CLEO
Hey! Listen! You didn't get Dean
killed. James killed him. He was just
in the wrong place at the wrong time.
It wasn't your fault.
JOANNE
But he was there to see me. If I
hadn't been there then he wouldn't
have got killed.
CLEO
And if I hadn't left you alone this
may never have happened. And I live
with the regret of it every day of my
life, but you don't hold it against
me, do you?
JOANNE
Of course not.
CLEO
Then why should he? It's my fault as
much as yours. But it's neither of our
faults so let's blame the real
culprit, your psycho ex James. And
let's get off the subject cos it's
getting complicated and I'm confused.
Joanne laughs.
JOANNE
Well I've got a free so we can go and
get a burger or something from
Brown's.
CLEO
Sure. What'll one burger do to my
diet.
A hand taps Joanne on the shoulder and she spins
around. She is relieved to see it is PRINCIPAL
WOODGATE, a man in his mid forties with kind
eyes to go with his kind heart.
PRINCIPAL
Joanne, it's good to see you back. I
hope you're feeling better.
JOANNE
I'm fine sir. Just a stomach ache.
PRINCIPAL
Good to hear it. Can I have a word
with you in my office.
JOANNE
(curious)
Sure.
Joanne looks at Cleo who smiles 'typical'.
CLEO
I'll see you after school.
JOANNE
OK, see you then.
INT. SCHOOL. PRINCIPAL'S OFFICE CONT'D
Joanne sits opposite Principal Woodgate.
PRINCIPAL
I know that you've been through a lot
in the past three or four months. I
can't start to understand how hard
it's been for you.
JOANNE
It's been quite hard.
PRINCIPAL
And I know, with the S.A.T's coming
up, you're going to be under a lot of
stress and strain.
JOANNE
I'll be fine.
PRINCIPAL
Are you sure? Because if you ever want
anyone to talk to then I'm here. Or if
not me, then the counsellor will be
able to help. Do you have anyone to
talk to?
JOANNE
I have Cleo.
PRINCIPAL
That's good. It's good to be able to
talk to someone.
JOANNE
I know.
PRINCIPAL
But if you ever want a chat, you know
where I am.
JOANNE
OK.
EXT. BROWN'S BURGER BAR LATE AFTERNOON
Joanne and Cleo sit at a table outside the
rather tacky burger bar.
JOANNE
I'm sure he was coming onto me. I
think he wanted me to cry on his
shoulder or something. Old men are
sick.
CLEO
They're not sick. They're just old.
They're desperate to regain their lost
youth from 'the war' where they spent
all their days locked up in some
factory making green helmets.
JOANNE
It's still sick. I just hope I'm not
like that.
CLEO
Oh you won't be. You're a girl. It's
only the men who are perverts. I mean
look at Britney Spears. Look at all
these old men who want to get into her
pants. You don't see old women doing
it to George Clooney.
JOANNE
Yes, but I bet they think it.
CLEO
Well who wouldn't. But we don't do
anything about it.
JOANNE
But isn't that a bad thing?
CLEO
Why?
JOANNE
If we don't do anything about it then
we'll just end up lonely and old and
living in a house on the edge of town
with lots of cats.
Cleo laughs.
CLEO
Well it sounds good to me.
JOANNE
Do you ever just stop and think?
CLEO
About what?
JOANNE
About life. Why things happen.
CLEO
I try not to. My mom always said that
everything happens for a reason. It's
not original, I know, but it must be
true. She said everything ends up how
it should. If it's not meant to be
then you'll know about it. There'll be
a clear sign.
JOANNE
Very deep, Cleo.
CLEO
Thank you. What's brought this on?
You're not having nightmares again are
you?
JOANNE
No, I'm way over all that. I don't
know why. I guess I've been thinking,
about my future. Not college and all
that but
CLEO
If you're ever going to find the right
person. You're not the only one,
Joanne. Everyone is the same. Everyone
is insecure in some way. Nobody thinks
of themselves as perfect. That's cos
nobody is perfect. We're all screwed
up one way or another.
JOANNE
(smiles)
That's a huge help. So I'm never going
to find Mr Right.
CLEO
Oh you'll find him. He's just not
going to be that guy off the
toothpaste advert.
JOANNE
I sure hope not. His teeth are way too
white. And I think he's gay.
EXT. HIGH SCHOOL EVENING
The school at night. There are a few lights on.
Some teachers are working late.
INT. FOOTBALL FIELD
It is football training night. The team is
playing a warm up match.
On the sidelines are the cheerleaders. They too
are training.
TEACHER
OK, that's enough for tonight. I'll
see you all in gym class tomorrow
lunch time.
The girls grab their belongings on the ground
next to the Bleachers.
Joanne picks up her jumper. She sips her drink
and then heads for the changing rooms.
NIGEL (O.C)
Jo!
Joanne turns around to see NIGEL running towards
her. He is dressed in the football team uniform
and carries a ball. He is big, athletic. He is a
lady killer (not literally).
JOANNE
Hey Nigel.
NIGEL
Hey Jo. Can I talk to you?
JOANNE
Sure. Let me get changed first.
NIGEL
OK, I can wait.
EXT. OUTSIDE CHANGING ROOMS MINUTES LATER
Joanne walks out of the changing rooms, holding
her bag in her right arm. She carries her drink
in the other.
Nigel sits on the hood of his dad's car, waiting
for her. He is now dressed in more formal wear.
JOANNE
What did you want to ask me?
NIGEL
Why'd you think I was going to ask you
something?
JOANNE
Well, what did you want?
NIGEL
To talk.
Nigel stands up.
JOANNE
You want to talk? About what?
NIGEL
Does there have to be a specific
topic? I just wanted to get to know
you better.
JOANNE
Oh really. So that's what you wanted.
NIGEL
I don't mean I want to get to know you
better i.e. get into your panties. I
meant I want to talk to you. I like
you.
JOANNE
You do?
NIGEL
Yes. And I want to take you out some
place nice one day so that you can get
to know me. I know you probably think
I'm just some stupid jock who hasn't
got a brain and has sex with everyone,
but I'm not. I'm like all guys.
JOANNE
So you don't have a brain and you want
sex with everything.
NIGEL
Well, yes. But I try to hide it.
Please give me a chance.
JOANNE
OK.
NIGEL
Cool! You wanna lift?
JOANNE
Home?
NIGEL
To your place. I'll be the perfect
gentleman.
JOANNE
Sure.
Joanne and Nigel get into the car.
INT. NIGEL'S CAR LATER
The car drives through the rough part of town.
NIGEL
So, what do you want to talk about?
JOANNE
I don't know. I thought you had a
topic.
NIGEL
No, just general things. Family, Job,
Boyfriend? That sort of thing.
JOANNE
Well, live with my dad, only child,
work in a coffee shop and no.
NIGEL
No? Do you have anyone in mind?
Joanne turns quiet. She tries to stay out of the
conversation.
NIGEL
I'm sorry. Is it a bad topic? The
whole James thing? I heard about it.
JOANNE
I guessed that.
NIGEL
Why?
JOANNE
Cos everyone knows about it. It's like
a burden on my shoulders. I'm the poor
defenceless girl who got raped and
beaten unconscious by a psycho
murderer. I hate being treated
differently.
NIGEL
I didn't mean to
JOANNE
I know you didn't mean to. It's just
how it is. But I'm fine now. I never
think about it unless someone brings
it up and someone always does.
Beat.
NIGEL
Where do you live?
JOANNE
54 Robin Avenue.
NIGEL
Robin Avenue? You must be rich.
JOANNE
(smiles)
We have money, yes.
EXT. JOANNE'S HOUSE MINUTES LATER
The car pulls up and Joanne steps out of it. She
closes the door and leans into the car.
JOANNE
Thanks for the lift.
NIGEL
Hey, no problem.
Joanne steps back from the car as it drives off
down the road. Joanne looks up at the big,
white, luxurious house.
INT. JOANNE'S BEDROOM MORNING
The early morning sun shines through the window
onto a sleeping Joanne. She looks so peaceful.
A knock at the door. Her FATHER enters. Mr Ryan,
late forties is well dressed in an expensive
suit and shoes. He has taste.
MR RYAN
Joanne? I'm off now.
Joanne doesn't wake up. She doesn't even move.
MR RYAN
I'll be back at five.
He quietly closes the door behind him and his
footsteps can be heard leaving the hallway.
Joanne slowly opens her eyes. She looks at the
closed door. Then she falls back to sleep again.
INT. HIGH SCHOOL. CLASSROOM DAY
A class full of students. Joanne and Cleo sit at
the back of the classroom. They are not paying
attention to the TEACHER at the front who is
writing on the blackboard. All the other
students are scribbling down every word.
CLEO
So what happened last night?
JOANNE
Nothing happened. He was the perfect
gentleman. It was strange. I always
thought of him as the sex mad type. He
never mentioned it once which made me
a bit suspicious.
CLEO
See, not all guys are like that. Most
are, but not all.
JOANNE
The thing was, I kind of wanted him to
come onto me.
CLEO
Well I've gotta say. I'm kind of
jealous. Nigel is quite cute. And he's
a football player so he's gotta have
big muscles.
JOANNE
And he's a nice person.
CLEO
So you going out sometime?
JOANNE
Maybe, maybe not. I'm OK with it. I'm
not sure if he wants some nookie or a
relationship.
CLEO
Take whatever comes to you, Jo.
EXT. SCHOOLYARD LATER
Nigel and a bunch of FRIENDS are sitting on a
bench. A group of GEEKS walk past and his
friends throw paper balls at them. Nigel sits
back and watches. He doesn't seem amused.
Joanne walks up to him.
JOANNE
Nigel?
Nigel turns to her. He smiles.
NIGEL
Hey Joanne. What's up?
JOANNE
Not much. I just thought you'd maybe
wanna go see a movie sometime this
weekend.
NIGEL
A movie? Sure. What's on?
JOANNE
I don't know. I think the new one with
Mel Gibson's supposed to be quite
good. But then that's a girlie flick
so you choose. I can sit through gore
and violence if you want.
NIGEL
OK. I'll have a look.
(realising)
But hey, I'm kind of busy this
weekend. I have to visit my dad in San
Francisco But I'm free tonight.
JOANNE
OK, so I'll give you a call tonight
about it.
NIGEL
Sure.
Joanne walks away. She can still hear the
comments that are being said:
FRIEND#1
Bullseye man, she's a babe.
FRIEND#2
Score!!! She has a nice ass.
Joanne laughs. She carries on walking.
INT. JOANNE'S KITCHEN EVENING
Joanne is dressed in a pretty outfit. It is
quite revealing but elegant with a hint of
cuteness to it. She leans on the side counter.
Mr Ryan, her father sits at the table. He is
eating dinner.
MR RYAN
This is good food, Joanne.
JOANNE
It's only microwave lasagne.
MR RYAN
Well it's nice.
He scoffs down some more of the lasagne.
MR RYAN
You know, I really appreciate all
this. The whole making dinner for me
and cleaning the house. I know it must
be hard. But we're coping. I never
knew how much hard work your mother
had to do in a day.
JOANNE
Tell me about it.
MR RYAN
She'd be very proud of you.
JOANNE
(uncomfortable)
I have to go soon. Nigel's picking me
up.
MR RYAN
Is he a nice boy? Not like that James
I hope.
JOANNE
He's not like James. He's sane.
MR RYAN
Well, be careful. I know what these
boys are like. They're after only one
thing.
The doorbell rings and Joanne jumps off the side
and runs out of the kitchen.
MR RYAN
(shouts)
Have a good time.
EXT. JOANNE'S HOUSE CONT'D
Nigel stands at the door, dressed smartly.
Joanne opens the door. Nigel is impressed at her
look.
NIGEL
You look amazing, Joanne.
JOANNE
You do too.
NIGEL
Thanks. I wasn't sure what to wear. I
borrowed this from my bro's closet.
JOANNE
Nice car.
Nigel looks back at the blue Mercedes parked on
the curb.
NIGEL
Oh, it's my dad's. Mine's not in too
good of a condition right now.
INT. CINEMA FOYET EVENING
Joanne, Nigel and a load of PEOPLE are lined in
a queue for popcorn.
NIGEL
You like salted?
JOANNE
I prefer sweet.
NIGEL
Me too.
(jokes)
See, we're perfect for each other.
We've got so much in common.
JOANNE
(smiles)
I guess we are.
They reach the counter.
NIGEL
Two sweet popcorns, two large cokes.
INT. CINEMA LATER
The movie has started. Joanne and Nigel are
sitting close together. Nigel glances over at
Joanne who is fixed on the screen. He smiles and
chews some popcorn.
INT. NIGEL'S CAR LATE EVENING
Nigel drives the car through the rough part of
town again. They cross a rail track. The car
jumps over the lines.
NIGEL
Thanks for tonight.
JOANNE
I should be the one should be saying
that. Thanks.
NIGEL
For what?
JOANNE
For restoring my faith in men. For a
second I was thinking of trying
lesbianism.
NIGEL
Well that would be a waste, although
not for sleazy Swedish porn makers.
JOANNE
(laughs)
I had a good night.
NIGEL
Well it's not over yet.
JOANNE
What do you mean?
NIGEL
I mean we don't have to go home yet.
It's only
(looks at watch)
10:30. We've got all night.
JOANNE
I have to be back by 12:00. My dad's
strict on them kinds of things. He's a
little over protective.
NIGEL
I can understand that. You being so
pretty and all.
JOANNE
Thank you.
NIGEL
But we still have an hour and a half.
We can do anything. Get a burger,
coffee.
JOANNE
Sure. Not coffee though, seeing as I
work in the only decent coffee shop in
town.
NIGEL
Was that a bit of plugging there?
JOANNE
I have to do my bit.
EXT. BROWN'S BURGER BAR LATER
The car park is strangely full for this time of
night.
INT. BROWN'S BURGER BAR
While Nigel orders at the counter, Joanne is on
the phone. She faces away from the room as if
she was trying to hide something.
JOANNE
Hi, Cleo.
CLEO
(filter)
Jo? What you up to?
JOANNE
I'm at Brown's with Nigel.
CLEO
(filter)
Really? How's things going?
JOANNE
Great! Can I talk to you tonight. I
told him I had to be home by twelve.
Can you be there by twelve thirty?
I've got so much to talk about.
CLEO
(filter)
Sure. I'll see you then. Your dad
won't mind, will he?
JOANNE
He'll be asleep. Meet me outside, I
don't want to wake him.
CLEO
(filter)
OK Jo.
(beat)
Hey, Jo. I'm happy for you, things
working out and all.
JOANNE
Thanks Cleo. I better go.
CLEO
OK.
Joanne puts the phone down and sees Nigel
waiting with the tray of fast food. She walks
over to him.
NIGEL
Who was that?
JOANNE
Just ringing home, saying I'm fine. My
dad's way too over protective.
NIGEL
I got a chicken burger. I know they're
not actually made of chicken but hey,
it's near enough.
JOANNE
OK then.
INT. CLEO'S BEDROOM
Cleo is ready and sitting on her bed. She is
impatient and looks at her watch, then again. It
is 11:51.
INT. BROWN'S BURGER BAR
Joanne and Nigel still sit in the caf้. They are
in mid conversation.
NIGEL
She is beautiful. But Britney's no
comparison to you.
JOANNE
(blushes)
You're just saying that.
NIGEL
Why? So I can get into your pants?
JOANNE
Something like that.
Nigel laughs.
NIGEL
Near enough.
The door opens and Peter walks in. He is
followed by some FRIENDS.
NIGEL
(re: Peter)
Fuckin' typical.
JOANNE
(whispers)
You don't like him?
Peter approaches.
PETER
Hey Nigel. Hi Joanne.
JOANNE
Hi Peter. How are you?
PETER
Not bad. Just getting a little food
before we go out. We're going into the
city, find a bar. A few honey's. That
kind of thing. You wanna join us.
JOANNE
As much fun as it sounds, getting
hooked up with some drunk girl doesn't
seem my kind of fun. Thanks anyway.
PETER
OK, maybe next time. Although, you
know you can pull guys as well. It's
not a rule you have to pull girls.
JOANNE
Maybe next time.
PETER
OK, take care of yourself.
NIGEL
We better be going. We don't want to
be late.
PETER
You two got something planned?
JOANNE
I have to be home by twelve. Sad isn't
it.
PETER
Oh, OK. It's not sad.
NIGEL
Yeah, anyway.
Nigel stands up and grabs his jacket from off
the back of the chair. Joanne also stands up.
PETER
I'll see you guys at school.
NIGEL
(pissed off)
Yeah.
Nigel and Joanne walk out of the caf้.
EXT. BROWN'S BURGER BAR CONT'D
Joanne and Nigel continue to the car.
JOANNE
What's up between you and Peter?
NIGEL
Let's just say that there's a bit of
rivalry between us.
JOANNE
Rivalry? About what?
NIGEL
Doesn't matter. It's not important.
Don't worry your little head about it.
JOANNE
Little head?
NIGEL
Let's just get you home and into bed.
JOANNE
(smiles)
Into bed, hey?
NIGEL
Of course.
INT. NIGEL'S CAR LATER
Nigel and Joanne are driving through more rough
industrial estates.
JOANNE
You're going the long way. It would
have been quicker to go down Philberts
Avenue.
NIGEL
I know where I'm going.
JOANNE
It would have been
NIGEL
I wasn't joking, you know.
JOANNE
About what?
NIGEL
Getting into your pants, or even more.
JOANNE
Oh, OK.
NIGEL
I mean I've been thinking about it. I
can't get into your pants, seeing as
you're wearing a dress, but then
that's easier isn't it.
JOANNE
Not tonight, Nigel.
NIGEL
What do you mean, not tonight?
JOANNE
I mean you're not going to get any
tonight. I have to be home in five
minutes.
NIGEL
Is that a fact?
Joanne suddenly realises where they are. The car
pulls to a stop in a warehouse car park. The
rail road runs opposite.
NIGEL (CONT'D)
I don't see you with the gun.
Nigel pulls out a gun from under the seat.
JOANNE
What're you doing, Nigel?
NIGEL
You see, girls like you are all the
same. In fact, girls are all the same.
They wear shit like what you're
wearing and flirt. But when the guy
comes onto the girl, they push them
off saying "I don't want sex" and it
PISSES ME OFF. You show so much skin
and you expect men not to react.
JOANNE
I don't expect to be raped.
NIGEL
You don't? You're stupider than James
said.
JOANNE
What's James
NIGEL
Shut up! James didn't love you. He
wanted your body. He wanted pussy. But
you had to give everyone else pussy
didn't you. You're a whore, a fuckin'
whore.
JOANNE
I never slept with anyone.
NIGEL
OK, so maybe he was a psycho. Maybe he
just wanted to cut you up and eat your
liver, but hey. Nobody's perfect,
right.
JOANNE
You're a fucking psycho.
NIGEL
No, cos you see I know what I'm doing.
I understand that this is wrong. But
I'm getting pussy even if it kills
you. Now take off your dress.
Joanne is completely shocked, and terrified.
NIGEL
Just think. If you had gone with
Peter, none of this would have
happened. Funny how things work out.
It must be fate though. There must be
a reason why you chose me.
JOANNE
Because I thought you were normal.
NIGEL
I am normal. I just want what every
guy dreams of. The difference is, I'm
actually doing something about it. Now
TAKE OFF YOUR DRESS!!!
Joanne slowly takes off her dress. Her eyes are
filled with terror. She doesn't know what to do.
NIGEL
Do you know how many guys want to be
in my position right now? Hundreds!
There was a poll last year by all the
guys in the school. The question was,
who is the most fuckable girl in the
world. You're name came up third
behind Buffy and Britney. That must be
an honour.
Joanne struggles with the zip on the back of the
dress.
JOANNE
I can't undo the zip.
She turns around.
NIGEL
Can't you pull it off?
JOANNE
No, it won't. You have to unzip it.
Nigel slowly unzips the dress, revealing her
back. She has perfect skin. Nigel touches it.
NIGEL
You have perfect skin.
JOANNE
Thank you.
Nigel is lost in his own imagination. He doesn't
see Joanne's elbow hitting him in the face. He
smacks back into the chair.
Joanne scrambles out of the car.
EXT. NIGEL'S CAR CONT'D
Joanne runs away from the car as fast as
possible. Nigel jumps out of the car holding his
head. He chases her towards the buildings.
EXT. STREET CONT'D
Joanne runs along the street. She has reached
civilisation. She stops and throws off her high
heeled shoes. She realises that Nigel is very
close. She runs again.
EXT. ALLEYWAY CONT'D
Joanne runs down an alleyway. At first it seems
a good idea, until she realises she is trapped
in a dead end.
Nigel runs around the corner and stops running.
He laughs under his heavy breathing.
NIGEL
You're fast for a girl. But you'd
never get away from me.
JOANNE
We can talk about this.
NIGEL
Talk? I don't think so.
He starts to advance on her. Joanne tries to
find a way out. There are no escapes apart from
another alleyway on the right of her. But Nigel
would catch her if she tried for it.
JOANNE
We can make a compromise.
NIGEL
Compromise. I have you and you keep
your life. Is that good enough? You
see, nobody cares about you. You're
just another cheerleader that people
want to fuck. If you died, nobody
would care. They'd just find someone
else to jerk off on.
Nigel reaches the entrance to the other
alleyway.
NIGEL (CONT'D)
All you are is a piece of meat.
A fist flashes out and Nigel falls to the
ground. He is unconscious.
MATTHEW, 22, large wearing all black steps out
of the shadows.
MATTHEW
I hate people like that.
Joanne is in shock. She doesn't say anything.
MATTHEW
You're Joanne, right? Joanne Ryan?
JOANNE
(shocked)
Yes.
MATTHEW
I thought so. Life's always a re-run,
isn't it.
Matthew walks away and around the corner. Joanne
is left standing in the alleyway. She is shocked
but not so scared anymore. She is curious of who
Matthew was.
EXT. JOANNE'S HOUSE LATER
Cleo waits at the front porch. She has been
sitting for a while. She looks at her watch
again.
A police car turns the corner of the street.
Cleo notices it but doesn't pay any attention to
it.
Only when it pulls up to the curb of the house
does Cleo notice Joanne sitting in the back
seat.
Cleo runs to the car. Officer Alford steps out
of the drivers side.
ALFORD
Hey Cleo.
CLEO
What happened? Is she OK?
ALFORD
We just found her walking downtown on
her own. I told her she shouldn't do
that on her own. It's a dangerous
place at night.
He opens the back door and Joanne steps out.
JOANNE
(to Alford)
Thanks Officer.
ALFORD
It's Bill, you know that.
JOANNE
Sorry, I thought I'd give you a good
impression in front of Sheriff
Duberry.
ALFORD
(smiles)
Thanks Joanne.
Alford gets back in the car, but before he
closes the door:
ALFORD
Take care Joanne.
JOANNE
Will do Bill. Thanks for everything.
Alford closes the door and drives off down the
road.
Joanne turns to Cleo.
CLEO
Where have you been? It's 1:30.
JOANNE
Don't ask.
INT. JOANNE'S HOUSE. KITCHEN LATER
Joanne and Cleo sit at the kitchen table with
cups of hot chocolate.
CLEO
So what happened?
JOANNE
What do you mean?
CLEO
Why were you walking downtown at
night? You know what happens down
there. You know the kind of people who
hang out there. Druggies and bums.
JOANNE
It doesn't matter.
CLEO
Didn't he offer you a lift back?
JOANNE
(smiles)
He offered me a 'lift'.
CLEO
Then why'd you walk? Didn't things go
good? Cos when you called me,
everything seemed to be great. I'd
never heard you that happy before.
JOANNE
Let's just say people are never what
they seem.
Beat.
CLEO
Did he try and come onto you?
Joanne nods slightly.
CLEO
I hope you told him where to go.
JOANNE
I did, I told, and he carried on.
CLEO
What happened?
Joanne doesn't seem too bothered about the
event. Cleo is concerned.
JOANNE
We stopped in the estate and he
started talking to me about girls and
why they flirt with guys, etc. Then he
got all psycho and came onto me. He
wanted me to take off my dress.
CLEO
Did you do it?
JOANNE
He had a gun.
CLEO
(surprised; shouts)
Shit! He had a gun?
JOANNE
Shush! My dad's asleep.
CLEO
He had a gun?
JOANNE
And he pointed it at me. I managed to
escape and I ran into an alleyway
which was a dead end. Clich้ or what.
CLEO
Did the police see? Did Bill find you?
Did he rape you?
JOANNE
(smiles)
No, I don't know what happened. One
second, Nigel is walking towards me,
all perverted and sick, the next he's
on the ground unconscious and this guy
appears out of the shadows. He looked
at me and said "life's like a re-run"
or something like that.
CLEO
A guy? Who was he?
JOANNE
I'm not sure, but he knew me. He was
big and old. Not old, old, but he was
in his twenties.
CLEO
Did you see his face?
JOANNE
(smiles)
Oh yes!
CLEO
I take it he was cute.
JOANNE
He had this whole mysterious Angel
thing going on. The dark clothes,
leather jacket. But he just walked off
without saying hi. It was weird.
CLEO
Wow.
JOANNE
It was like a dream.
CLEO
Do you wanna know what I think?
JOANNE
What?
CLEO
Tell everyone. Make him feel bad. Ruin
his life like he ruined yours.
JOANNE
He hasn't ruined my
(off Cleo's look)
Maybe. If he's still alive that is. He
wasn't moving.
EXT. SCHOOLYARD MORNING
Joanne and Cleo, followed by Peter et al, walk
towards the school. All eyes are fixed on
Joanne, the victim of another attack. Some are
sympathetic, some are jealous, some are angry.
CLEO
Don't listen to anyone.
JOANNE
I won't.
PETER
(to Joanne)
Hey, you coming to my party tonight?
It wouldn't be the same without you.
JOANNE
Maybe.
INT. SCHOOL. PRINCIPAL'S OFFICE DAY
Joanne sits in the office. Principal Woodgate
paces behind his desk. He looks out of the
blinds and onto the schoolyard.
PRINCIPAL
Joanne, Joanne. I'm so sorry about
what happened.
JOANNE
Hey, no problem. I'm OK. Nothing
happened.
PRINCIPAL
I suppose you can't trust anyone.
JOANNE
I have a few people.
PRINCIPAL
Cleo came to me. She said you were
having trouble coping.
JOANNE
I'm not having trouble coping. I'm
fine with it. It's just everyone else
who's got a problem with it. I'm
completely fine with everything.
PRINCIPAL
If you want to talk then
JOANNE
I met a guy last night. He looked
about twenty, early twenties,
something like that. He was kind of
cute, large build, dark clothes.
Mysterious looking. He was the one who
helped me out.
PRINCIPAL
Did he? That's nice of him.
JOANNE
It was, but I have no idea who he was
or what his name was. He disappeared
before I could say thank you. I know,
you being good friends with Mr
Phillips and all, have there been any
new families moved to town? I mean he
must be staying somewhere and Phillips
and Co are the only real estate agents
in town.
PRINCIPAL
Well it's not a big topic when we
talk. I don't talk about the kids and
school and he doesn't talk about
houses and real estate agencies. It's
a rule we have. But I could ask next
time I see him. Unless you want to go
down there yourself. He's in at this
time of day if you want.
(beat)
You've been under a lot of stress
recently. I think it'll be OK if I
slipped you out of school for a few
hours. No harm done.
JOANNE
(smiles)
Thanks Mr Woodgate, you're a nice guy.
We're so lucky to have such a great
principal at our school.
PRINCIPAL
(laughs)
Don't butter me up, Joanne. It's
tacky. But thanks anyway.
JOANNE
OK then Sir. Thanks a lot.
EXT. MAIN STREET AFTERNOON
Joanne and Cleo walk down the street, passing
numbers of shops (typically hardware stores and
general food stores).
CLEO
Are you sure Woodgate won't mind me
skipping class as well?
JOANNE
He said I could, and I don't want to
go out on my own so I brought you
along. It'll work. He's an old softie.
CLEO
Like a teddy bear.
JOANNE
(concerned; smiles)
What?
CLEO
Forget it.
The two reach Phillips and Co Estate Agents on
the end of the street. They enter.
INT. PHILLIPS AND CO ESTATE AGENTS CONT'D
A local run business. A nice atmosphere with a
friendly RECEPTIONIST behind the desk.
RECEPTIONIST
How can I help you Joanne, Cleo?
JOANNE
I was hoping Mr Phillips would be in.
RECEPTIONIST
He's out for lunch with his wife. Can
I help at all?
CLEO
We're trying to find a guy, good
looking with big build. About twenty.
JOANNE
Well, we're looking for him, but were
wondering if anyone has moved here
recently. It's a small town.
RECEPTIONIST
What was his name?
JOANNE
We're not actually sure of that.
RECEPTIONIST
And he was about twenty?
JOANNE
I think so. He may not have moved in
on his own. He may have moved in with
his parents or something. Can you
check.
RECEPTIONIST
Well I've been on holiday for the past
three weeks so I'm not sure who's
moved in or out. But I'll check for
you.
She types in some letters and numbers into the
computer besides her and waits for an answer.
She stands up and moves to a filing cabinet
where she pulls out a number of files.
EXT. SUBURB AFTERNOON
A red BMW convertible pulls up at the side of
the road. It looks out of place in this part of
town. It is not a nice area.
Joanne and Cleo step out of the car and look
around at the small houses that line the street.
JOANNE
Are you sure this is the place?
CLEO
Positive. 28A Filbert Street. Jo, the
chances are that he doesn't live here.
He may have been passing through. Or
maybe he's staying at the Holiday Inn.
JOANNE
I know, but he saved my life. Nigel
could have killed me.
CLEO
I know that but
JOANNE
And this guy saved me. I need to thank
him.
CLEO
I understand but
JOANNE
But he'll probably not live here. I
mean who'd want to move in some place
like this anyway?
CLEO
Not everyone's as rich as you.
JOANNE
I know.
Joanne and Cleo walk up to the front porch of
the two bedroomed house and Joanne knocks.
After a moment, the door opens and a GIRL stands
in the doorway. She is dressed in just a t-
shirt, most likely to have just got out of bed.
GIRL
Can I help you?
Joanne doesn't speak for a moment. A slight bit
of jealousy floods her head.
JOANNE
Is
CLEO
This is going to sound completely
crazy but does a really cute guy live
here? Dark clothes, gelled hair,
mysterious looking?
GIRL
Mysterious? Sorry girls. There's no
cute, mysterious guys living here.
Joanne sighs in disappointment.
CLEO
OK, thanks anyway.
(to Joanne)
I said don't get your hopes up.
They turn to walk away when:
GIRL
But then again, you maybe looking for
Matt.
Joanne turns around eagerly.
JOANNE
Matt?
GIRL
He's my brother.
JOANNE
(smiles)
Brother?
GIRL
I mean I don't think he's cute myself.
I mean I'm not from Texas, but my
girlfriends always have had a thing
for him.
JOANNE
Is he tall, dark, nice dress sense.
GIRL
I guess, in a none gay sense, yes.
JOANNE
That's great. Is he in?
GIRL
No.
JOANNE
Oh, when will he be back?
GIRL
About six. He's a mechanic.
JOANNE
Where?
GIRL
GMN Motors.
JOANNE
Thanks a lot.
Joanne skips down the steps. Cleo rolls her
eyes.
GIRL
Can I ask you girls something?
JOANNE
Sure!
GIRL
What do you want him for?
JOANNE
He saved my life.
GIRL
(to herself)
He's always the hero.
EXT. GMN MOTORS LATER
Joanne and Cleo pull up to the garage. They look
up at the tatty old garage. It is situated on
the main road out of town.
JOANNE
(disgusted)
He works here?
CLEO
A work place doesn't determine who
someone is. You've got too much of a
ideal of this guy, Jo.
JOANNE
I didn't say anything.
INT. GMN MOTORS CONT'D
Joanne and Cleo enter the workshop. There is
nobody to be seen, but music is playing on a
stereo.
JOANNE
(shouts)
Hello?
There is no reply.
JOANNE
Hello?!!
Cleo notices the stereo and turns it off. A
voice from under a car says:
VOICE
What the hell?!!
An OLD MECHANIC, early seventies, crazy looking.
He has spent too much time under cars. He has a
deep Brooklyn accent.
MECHANIC
Oh, how can I help you two beautiful
ladies?
JOANNE
We're looking for a guy called Matt. I
was told he worked here.
MECHANIC
They always want Matt. Well he's not
here. He said he had to go somewhere,
meet some people.
(dirty look)
So can I help you girls out? Do you
want your 'car' servicing?
CLEO
That's disgusting.
JOANNE
Let's go.
MECHANIC
You can't blame a guy for trying.
The two walk out of the workshop.
INT. JOANNE'S CAR CONT'D
Joanne and Cleo sit in the car. They are still
parked at the garage.
JOANNE
Why is this guy so hard to get hold
of?
CLEO
I don't know. Maybe they're trying to
tell you something.
JOANNE
Who are?
CLEO
I don't know. The forces up there.
Maybe you're not supposed to meet him
again. Maybe it was a one off thing,
like a guardian angel or something. I
know it's cheesy but maybe
JOANNE
It is. Cheesy I mean.
CLEO
OK, I don't know. But I tell you what.
Let's take a brake from all this
'manhunting'. I have an idea.
EXT. PETER'S HOUSE EVENING
A party is going on. It is Peter's birthday. Not
the type with jelly and balloons but with girls
and alcohol. A typical teenager bash.
INT. PETER'S HOUSE. LIVING ROOM
The party continues inside. Peter and FRIENDS
hang about. There are a lot of people here. Some
dance, some drink. Couples are making out all
over the place. This isn't a classy do.
While in the middle of an oversized glass of
beer, Peter spots Joanne and Cleo lingering at
the refreshments table. He struggles over to
them.
PETER
Hey girls. You came!
(overly excited)
Joanne, you look great! GREAT! Is that
a new dress? Cos it looks great on
you.
(to Cleo)
And you. Not the dress, I mean it
might do. I haven't seen it on you
yet, not that I want to
(beat)
Do you want a drink?
Joanne and Cleo hide their laughter from
embarrassing drunken Peter.
JOANNE
I'm OK.
CLEO
We've brought you something.
Cleo pulls out a tub of yoghurt and hands it to
Peter.
CLEO
We know how much you like your
yoghurt.
PETER
Oh, thank you. Yes, I do. It's great
in foreplay.
Beat.
JOANNE
OK then.
Joanne turns to the refreshments table and grabs
a can of soda. She hands Cleo one.
PETER
Hey, listen. Before I make a complete
ass out of myself, I wanna say thank
you. For coming to my party and
everything.
JOANNE
Oh, that's OK. It should be me who
should be saying thanks.
PETER
Why?
Joanne nods to Cleo and she walks off.
PETER
Why should you be saying thanks? I
haven't done anything.
JOANNE
Yes, you have.
INT. PETER'S HOUSE. KITCHEN LATER
Cleo is talking to a group of guys. Joanne walks
in and interrupts.
CLEO
Hey Jo. Meet the guys. They're from
North Walton High. Football stars, all
four of them.
JOANNE
Great.
(to guys)
Nice to meet you.
(to Cleo)
I think I should go now.
CLEO
Are you sure?
Cleo moves in so Joanne can whisper.
JOANNE
You know what my dad's like. It's
nearly midnight.
CLEO
OK, I'll be there in a sec. I don't
wanna be the only girl who didn't pull
tonight.
JOANNE
I didn't pull.
CLEO
Tell Peter that.
JOANNE
(changes conversation)
I'll meet you in the car.
Joanne walks out of the kitchen as Cleo gets
busy with the four guys.
INT. PETER'S HOUSE. HALLWAY CONT'D
Peter is seeing off some PEOPLE at the door.
Joanne taps him on the shoulder. He turns.
PETER
Hey Jo. Thanks again for coming. And
that thing you were talking about, I
don't blame you. It wasn't your fault.
JOANNE
Thanks. And thanks for tonight. It was
a good night.
JOANNE
Oh, will do.
Joanne walks out of the front door. Peter
watches her as she disappears into the darkness.
One of Peter's FRIEND'S appears behind him.
FRIEND
Shit man, SCORE!!!
PETER
Yeah right.
EXT. PETER'S HOUSE CONT'D
Joanne walks to her car. It is quiet outside.
There is no loud music, no people talking, just
a sense of spookiness. Joanne notices a black
car parked in the distance. There is somebody
sitting in it. She recognises it but doesn't
know where from. She ignores it and gets into
her car.
INT. JOANNE'S CAR LATER
Joanne and Cleo sit in the car. They are parked
outside Cleo's house. Music plays faintly in the
background. Both girls are tired.
JOANNE
Thanks for forcing me to come out
tonight. I had a pretty good time.
CLEO
I bet.
JOANNE
What does that mean?
CLEO
Nothing. But I'm sure it means
something to Peter.
JOANNE
What? Why do you have this obsession
with Peter having a thing for me? It's
stupid.
CLEO
No it's not stupid. Jo, I don't want
to sound gay here but you're a great
looking girl. And he's a babe. It's
obvious you should be together.
JOANNE
Why? Because we're both good looking?
How do you figure?
CLEO
Because that's how the world works.
Beautiful people go out with other
beautiful people and leave the rest of
us to pick up the other rejects. It's
not fair but it's how the world is.
JOANNE
Cleo, that's not true. I mean look at
all those twenty something models who
marry them old men for money. You
can't say that's beauty and beauty.
CLEO
That's different. That's about money,
not love. You're getting all this
attention and I hate it. Not because I
think you don't deserve it cos you do,
but because it makes me feel so
lonely. I've been single for way too
long and it's about time I got laid.
But I feel I never will cos I don't
have the perfect American dream girl
looks.
JOANNE
You're not ugly.
CLEO
I know I'm not
that ugly but compared
to you.
JOANNE
What're you trying to say? You don't
wanna be my friend anymore?
CLEO
Of course not. I'm saying I wanna a
makeover. I wanna dye my hair.
Joanne laughs.
JOANNE
Oh Cleo, why didn't you just say that.
You got me all worried. We'll do that.
We'll make you into the hottest babe,
even Sarah Michelle Gellar will be
jealous of you.
CLEO
Deal.
EXT. STREET
Parked just a hundred metres away down the road
from Joanne's car is another car. It is the same
car as seen outside Peter's house.
INT. JOANNE'S CAR
CLEO
Oh, I better go, have a bath. I hate
getting up early for school. It does
nothing for the bags under my eyes.
JOANNE
You sound like an old woman. I'll see
you tomorrow.
EXT. JOANNE'S CAR CONT'D
Cleo steps out of Joanne's car, exchanges a few
words before closing the door and walking to her
house.
Joanne's car drives off, closely followed by the
mysterious black car.
EXT. HIGH SCHOOL MORNING
STUDENTS flock to school before the bell rings.
INT. HIGH SCHOOL. CORRIDOR
Joanne pulls some folders and books out of her
locker. Cleo, Peter and some of his FRIENDS all
stand around her, waiting for her.
PETER
So anyone got a hangover? I fuckin'
well have.
JOANNE
Well, seeing as I drank Coke all
night, I'm glad I haven't. Although I
think all them 'vegetable extracts'
have burnt my gums away. Either that
or my electric toothbrush. What's up
with them? They always make your mouth
bleed.
CLEO
What's up? You are very
paranoid
today.
JOANNE
No I'm not.
CLEO
Not paranoid, nervous.
Cleo takes Joanne to one side.
CLEO
What's up? Did something happen
between you and Peter last night that
I should, or shouldn't know about?
JOANNE
No, nothing like that.
(beat)
It's just
When I left the party last
night, this morning, whatever, there
was this car parked outside. It was
creepy. There was somebody sitting
inside and it felt like they were
watching me.
CLEO
Did you see who it was? It was
probably just some guy.
JOANNE
That's what I thought. So I ignored
it. But when I drove home he was
behind me. He parked outside my house.
He waited until I was inside before it
drove on.
CLEO
What're you thinking? Nigel?
JOANNE
I'm not sure.
Cleo turns to Peter.
CLEO
Hey guys, you know what kind of car
Nigel has?
PETER
I'm not sure. I think it's a black
Plymouth. Old, not sure what year.
Cleo turns back to Joanne. She nods.
JOANNE
Sounds about right.
EXT. NIGEL'S HOUSE DAY
Nigel, along with two FRIENDS relax on the front
lawn of his house. They are obviously drunk.
They don't notice Peter and FOUR FRIENDS
approaching.
Peter reaches Nigel and without warning, he
grabs him by the throat. Nigel's two friends try
to get to their feet but are too drunk.
NIGEL
Hey! Man!
PETER
I want you to stay away from Joanne.
No following her, no calling her. And
if I find out you've been doing that,
I'll fuckin' kill you.
NIGEL
What the fuck are you talking about?
I'm not going anywhere near that
bitch. OK,I made a mistake. I thought
she was coming onto me. We all make
mistakes. I got it wrong, but I'm no
fucking stalker. Not for her anyway.
PETER
Then why's she seen your car
following her everywhere?
NIGEL
My car? She's seen my car?
PETER
Yes.
NIGEL
That got nicked two days ago. Where'd
she see it?
PETER
Nicked?
NIGEL
Check with the police. I reported it.
Peter lets go of his throat.
NIGEL
I ain't got it. And I'll fucking kill
the guy who has.
Beat.
PETER
Don't come near Joanne.
Peter and his friends walk away.
INT. TETLEY'S COFFEE HOUSE EVENING
Cleo and Joanne are working, still. It is late.
It is nearly time to close up. There are still a
few CUSTOMERS left.
A few more PEOPLE enter the caf้. A group of TWO
GUYS and TWO GIRLS.
Joanne turns to Cleo and rolls her eyes.
JOANNE
Typical. They always come just at
closing time.
(points to old man sitting on his
own)
Especially that guy. He's so hard to
get rid of.
CLEO
That's Mr Tristan. He's so sweet. His
wife died last year. I think he's just
lonely. He used to tell me stories
when I was a kid.
JOANNE
Oh, I didn't know. I suppose we could
give him a few more minutes.
CLEO
OK. I'll finish off the dishes and
then we can go.
Cleo turns and walks into the kitchen. She
carries a crate of dirty mugs.
Joanne walks over to the new people.
JOANNE
Sorry guys, we're closing now.
GUY#1
Oh, sorry babe. Can I get a takeaway?
JOANNE
I'm sorry. We're closing.
GUY#1
(re: other people)
Well all these have got drinks.
JOANNE
They've already ordered.
GUY#1
Can't I just get a takeaway? All I
want is a cup of coffee. I've hard a
hard day.
JOANNE
Who hasn't. sorry but
GUY#1
Just give me a fuckin' coffee.
The OLD MAN turns around in disgust. Joanne
looks at the guy for a moment, then walks away.
She heads for the kitchen.
INT. TETLEY'S COFFEE HOUSE. KITCHEN CONT'D
Cleo is washing up the cups. Joanne walks in.
JOANNE
We've got some guy in there who won't
leave.
CLEO
Are they causing trouble?
JOANNE
He wants a "fucking coffee".
CLEO
Well make him on.
JOANNE
But that's not the point. We have to
set rules. Mr Biggs wouldn't give him
it.
CLEO
Well Mr Biggs isn't here and I don't
want any trouble and I'm guessing you
don't either. Just make him a coffee.
Joanne rolls her eyes and stomps out.
INT. TETLEY'S COFFEE HOUSE CONT'D
Joanne makes a coffee to go. She walks over to
the group. She smiles forcefully as she reaches
the smug guy.
GUY#1
Thanks. That's all I wanted.
Cleo appears at the counter.
JOANNE
OK, sorry for the wait. Here's your
fucking coffee.
She lifts the lid off the cup and throws it at
the group. It covers all of them.
They all stand up, wiping off all the coffee.
They are all obviously very angry.
Cleo is shocked, yet is amused by this. She
covers her mouth up, hiding her smile.
GUY#1
What the fuck!!!
JOANNE
Don't you ever speak to me like that
again.
The guy looks down at his coffee stained
clothes, then back at Joanne.
GUY#1
You bitch!
He raises his arm, ready to hit her when the
door opens. Matthew walks in. He looks around
the room and sees Joanne in trouble.
The guy waits, then lowers his hand. He seems
scared of Matthew.
Joanne is unaware that Matthew is standing
behind her.
JOANNE
Go on! Hit me!
The guy looks at Joanne, then behind her at
Matthew. He stands down and walks past her. His
friends follow closely.
Joanne waits for the door to close behind the
group before turning around and bumping into
Matthew.
JOANNE
God, hi!
MATTHEW
Hi.
Cleo curiously watches the two, wondering who
the mysterious guy is.
JOANNE
What do you
I mean would you
I'll
start again. Do you want something?
MATTHEW
Coffee. Black, no sugar.
JOANNE
No problem.
Joanne walks over to the coffee machine and
pours him a cup to go. Cleo nudges Joanne. "Who
is he?".
JOANNE
(to Matthew)
This is
MATTHEW
Cleo, I know.
CLEO
You do?
JOANNE
(to Cleo)
This is Matthew.
MATTHEW
So you know my name.
JOANNE
We asked your sister. She was at your
home.
MATTHEW
So you know where I live.
JOANNE
We found out from the real estate
agents.
MATTHEW
(re: coffee)
How much will this be?
JOANNE
What? The coffee? Oh, it's on the
house.
MATTHEW
OK then.
(turns to walk out)
I'll see you around.
JOANNE
Wait! Can I call you?
MATTHEW
Take care.
Matthew walks out of the front door. Joanne
turns to Cleo and smiles.
CLEO
Well, that was
strange.
JOANNE
Very.
EXT. LAKESIDE EVENING
Sitting on the beach, on the secluded side of
the lake is Joanne, Cleo, Sarah and loads more
STUDENTS. They are scattered about, doing their
thing. It's yet another party.
Sarah, Kelly and the cheerleader gang have all
managed to score. Meanwhile, Joanne and Cleo are
sitting next to a log fire cuddled up in their
over sized grey jumpers.
JOANNE
(re: Sarah etc)
Look at them. How do they do that?
CLEO
They have big tits. Guys like to look
at them. It's just like a strip show,
just it's free.
JOANNE
Guys like that?
CLEO
Only the dumb ones. They are idiots.
They fall for anything in a mini
skirt. You see, them guys think
they're the luckiest guys in the
world. But what they don't know is
that they'll be dumped the next day
without reason or warning and it'll
brake their hearts. And all because
they wanted to get a quick happy from
some bimbo who can't spell her own
name. Those types of girls are
incapable of creating relationships.
JOANNE
What 'type' of girls?
CLEO
Them. Sluts. Just for sex kind of
girls. I used to be jealous of them,
but now, I just think they're sad.
JOANNE
Yeah
But it'd be good to have that
kind of power.
CLEO
Look who's talking, little miss
beautiful.
JOANNE
Huh?
CLEO
Peter, that Matt guy. He may put on
this mysterious guy thing on to make
him look like he doesn't care, but in
fact he's undressing you with his eyes
every time he sees you. He's totally
into you.
Joanne smiles.
JOANNE
You really think so? I mean I wouldn't
mind him undressing me with his eyes,
or hands, or teeth.
The two girls giggle like school children.
Peter appears behind the girls.
PETER
Hey girls.
They turn around.
JOANNE
Hey Peter, where've you been?
PETER
Places. Turns out Nigel's car got
nicked a couple of days ago. It's the
real deal as well.
JOANNE
You believed him?
PETER
It was his pride and joy. He looked
very distraught. It may have been me
grabbing him by the throat though.
JOANNE
Oh.
PETER
So it looks like you've got another
'admirer'.
JOANNE
Oh great!
PETER
Don't worry, babe. I won't let
anything happen to you.
Just as he says that, a squad car pulls up and
Officers Leason and Alford step out.
ALFORD
Is Peter here? Peter Cromwell?
PETER
Here Officer.
ALFORD
Can we have a word, down the station.
PETER
Why?
LEASON
Let's do this down the station.
PETER
Am I under arrest for something?
LEASON
Not under arrest. We just want to ask
you some questions.
PETER
About what? Aren't you going to tell
me what this is about?
ALFORD
The attempted murder or Nigel
Waterman. All we cant is some answers.
You were seen "threatening" Nigel this
afternoon. All we want is to clear all
this up.
PETER
Attempted murder? You're joking,
right?
ALFORD
No joke. Let's just go down the
station and talk about it, get your
name off our list.
PETER
Sure. Shit, man. I didn't do it.
ALFORD
Then you've got nothing to worry
about.
Peter turns to Joanne.
PETER
I didn't do it. I didn't touch him.
The two cops escort Peter away.
INT. JOANNE'S HOUSE. LIVING ROOM LATER
Joanne and Cleo sit in the living room watching
the television and eating Tortilla's from a
bowl. Cleo is also scanning through the
television magazine.
JOANNE
Thanks for waiting with we.
CLEO
No problem. I'm a friend. That's what
we do. Plus I get to eat all the chips
I want.
JOANNE
(laughs)
I know you like them.
CLEO
Hey, you wanna watch 'Sleepless in
Seattle'. It's on HBO tonight.
JOANNE
I'm not sure. My dad'll be home soon
and
Just then the front door opens and slams shut.
Joanne's dad appears at the living room door.
MR RYAN
Hey girls. What're you up to?
CLEO
Nothing Mr Ryan. Just watching TV.
MR RYAN
Anything good on?
CLEO
Sleepless in Seattle is on soon.
JOANNE
(to her dad)
Can Cleo stay to watch it? I mean just
until it finishes.
MR RYAN
Sure, why not. But I'm going to bed
now. I've had a long day so you can
keep the crying down. I know what you
girls are like in Tom Hanks movies.
CLEO
OK Mr Ryan.
He walks out of the room.
CLEO
You're dad is so cool.
JOANNE
Yeah, right.
CLEO
It's true. My dad is so tight. He's
too strict. He never lets me do
anything.
JOANNE
He's only like this when you're here.
He's totally different when you're
not.
CLEO
Oh no. He's not a Kevin Spacey is he?
He's not
into me is he?
JOANNE
Oh I hope not. Cos that would be so
embarrassing.
The two girls laugh for a moment before suddenly
going silent.
JOANNE
Do you think Peter did it?
CLEO
I don't know. I think he'd do anything
to help you out.
EXT. LAKE EARLY MORNING
A beautiful morning. The sun rises over the tree
tops and shines down on the crisp summer water.
EXT. JOANNE'S HOUSE. PATIO
Joanne and Cleo sit at the patio table eating
breakfast. They both look very tired, like they
had been up all night.
JOANNE
Can you pass the OJ.
Cleo passes the Orange Juice to Joanne.
JOANNE
Thanks.
Joanne's dad appears at the patio doors.
MR RYAN
Hey girls.
(to Cleo)
You're early.
CLEO
Yes Mr Ryan.
JOANNE
She stayed over last night. It got
kind of late and I was too tired to
drive. You don't mind, do you?
MR RYAN
Of course not sweetheart. You didn't
bother me.
Her dad grabs a piece of toast from a plate and
walks away.
MR RYAN
(turns)
I'll be back late. Have what you want
for dinner.
JOANNE
(rolls her eyes)
Will do, dad.
(to Cleo)
What've we got planned today?
CLEO
Well, we could go shopping. Or we
could just hang about in town, meet a
few guys.
JOANNE
We could do that makeover you wanted.
If you were serious about it, that is.
CLEO
Sure. Do you have any dye? I'd like my
hair blond. See what it looks like.
JOANNE
No, but we can get some. Give me five
minutes.
EXT. TOWN CENTRE DAY
A busy Saturday afternoon. The town is filled
full of market stalls.
INT. DRUG STORE
Joanne and Cleo are looking at the wide
selection of hair dyes that are available.
CLEO
This better not turn my hair pink.
JOANNE
There's no guarantee.
CLEO
Oh great.
Cleo pulls out a certain product and the two
walk to the counter. The LARGE ASSISTANT scans
the box and they exchange money.
EXT. DRUG STORE CONT'D
The two walk towards Joanne's car parked down
the road.
JOANNE
Can we make a quick stop.
CLEO
Sure, where?
EXT. GMN MOTORS LATER
Joanne's car pulls up.
INT. GMN MOTORS CONT'D
Joanne enters the dark garage. This time there
is no music playing. She looks around but there
is nobody to be seen.
JOANNE
Hello?
There is no answer. She wonders further into the
garage.
JOANNE
Is anyone here?
MATTHEW (O.C)
We should stop meeting like this.
People will start talking.
Joanne turns to find Matthew dressed in
overalls. He wipes his hands of grease with an
already dirty cloth.
JOANNE
Hey Matthew.
MATTHEW
Hi.
Joanne walks closer.
JOANNE
I just though I'd come around.
MATTHEW
Why?
JOANNE
To say thank you
again. It seems you
always show up at the right times.
MATTHEW
People say I do have good timing.
JOANNE
Yeah, well. I just wanted to say
thanks and give you this.
Joanne hands Matthew a piece of paper. It has
her number on it.
MATTHEW
What is it?
JOANNE
A number. My number.
MATTHEW
Your number, hey?
JOANNE
It's my home phone.
MATTHEW
It's an honour.
JOANNE
Well, give me a call whenever, if you
want.
Matthew smiles and puts the piece of paper into
his pocket.
MATTHEW
Italian sound good?
JOANNE
Italian? It does, yes.
MATTHEW
Good.
He turns and walks towards the office on the
other side of the room.
JOANNE
So will you call me?
Matthew laughs and disappears into the office.
INT. JOANNE'S HOUSE. BATHROOM DAY
Cleo has her head leaned backwards over the
sink. Joanne is massaging her hair. The bottle
of dye is on the side table. Cleo is reading the
local paper.
CLEO
Here's one. Twenty five year old male
seeking sixteen to fifty year old
woman. Must have GSOH. Easy going.
What's GSOH?
JOANNE
Good sense of humour.
CLEO
Oh. Good sense of humour, easy going.
You're between sixteen and fifty.
JOANNE
Me, so are you.
CLEO
Yeah, but I'm not easy going. I'm as
tight as anything.
JOANNE
No you're not. Give him a call.
CLEO
No.
JOANNE
Why are you reading the personal ads
anyway?
CLEO
No reason. Just for fun. Oh god,
listen to this one. Fifty year old
male seeks fourteen to eighteen girl.
Must have school girl uniform. That's
just sick.
JOANNE
Probably also illegal.
CLEO
And morally disgusting.
(re: massage)
You know, this feels so good. It's so
relaxing.
JOANNE
(reading dye box)
OK, what we need to do is wait for
five minute and then rinse thoroughly.
And then hopefully it'll turn blond.
CLEO
OK.
INT. JOANNE'S HOUSE. LIVING ROOM 5 MINS LATER
Joanne is watching 'The Teletubbies' on TV. Cleo
appears at the door and walks towards Joanne who
is unaware of her. Cleo stands in front of the
TV.
CLEO
What do you think?
Joanne looks up at the blond hair. It looks good
on her.
JOANNE
Wow. You look great! And this time I
do mean it in a lesbian way. You look
hot.
CLEO
Really?
JOANNE
Yes. Guys will be falling all over
you.
CLEO
Thanks.
JOANNE
So where are we going to show you off?
INT. SUPERMARKET AFTERNOON
Joanne and Cleo stand in the vegetable aisle.
CLEO
You want to show me off in a
supermarket?
JOANNE
Supermarkets are great places to meet
single guys. It's a well known fact.
CLEO
Really? Why's that?
JOANNE
I'm not too sure. I read it in 'B'.
But apparently a lot of single guys
come here.
(points to two girls)
You see them two. You think they're
really looking at the different types
of British cheeses?
(points to guy)
No, they're checking him out.
CLEO
That's sad.
JOANNE
Maybe, but it's easy. And you never
know. There maybe Mr Right just around
the corner.
An OLD AMN walks from around the corner pushing
a trolley full of soup.
JOANNE
I didn't say that corner.
The two laugh as the old man walks by.
P.O.V of someone watching Joanne and Cleo from
around another corner. They face the opposite
way and don't notice him/ her.
EXT. BACKSTREET EVENING
A squad car rolls down the dirty backstreet. It
pulls up behind another police car which is
already parked there.
Leason and Alford step out, torches in their
hands.
ALFORD
Where's Criecton?
OFFICEER CRIECTON, a small man in his early
thirties appears from around the corner.
CRIECTON
It's good to see you guys. This is
really freaking me out. It's fuckin'
disgusting is what it is.
LEASON
What've we got?
CRIECTON
Come and have a look. But I'm warning
you, hold your noses.
The three cops walk around the corner and head
into another alleyway from where Criecton just
came.
ALFORD
Where?
Criecton points to the end of the alleyway. It
is too dark and far away to see from here.
ALFORD
Oh fucking great. I hate this part of
the job. Why can't we stick to helping
old ladies cross the street.
CRIECTON
That's the boy scouts you fucking
moron.
ALFORD
Whatever. I didn't expect this in the
force. Especially in this town. I mean
it's fucking deader than Freddy
Krueger.
Leason shines his torch down the alley. Bins and
rubbish is scattered all over the place making
it hard for the three cops to walk down.
LEASON
Would you stop fuckin' complaining.
(to Criecton)
So what've we got?
Criecton shines his light down the alleyway
towards a wall. He moves it right until it
reaches something on the wall. The three cops
move in for a closer look.
ALFORD
What the hell is it?
All three torches shine on the wall. Hanging
lifelessly by their hands are three girls. All
are cut from neck to groin. All are blond.
LEASON
Oh Jesus fucking Christ!!!
Alford falls back holding his nose.
CRIECTON
It's fucking disgusting isn't it.
Alford vomits on the floor. Leason steps out of
his way.
CRIECTON
I mean who would do such a thing?
LEASON
I have kind of an idea.
INT. JOANNE'S HOUSE. BEDROOM MORNING
Joanne lies asleep in her bed. The door opens
and her dad walks in.
DAD
(softly)
I'm going to work now. See you later.
He kisses her on the forehead and then leaves.
Joanne still sleeps.
EXT. STREET MINUTE LATER
Leason's squad car drives down the road.
INT. SQUAD CAR
Leason and Alford sit in the car and watch as Mr
Ryan pulls out of the driveway.
ALFORD
You think this is a good idea?
LEASON
Probably not.
INT. JOANNE'S HOUSE. BEDROOM CONT'D
The doorbell rings and wakes Joanne up.
INT. JOANNE'S HOUSE. HALLWAY CONT'D
Joanne sleepily walks down the hallway to the
front door. She opens it. Leason and Alford
stand in the doorway.
JOANNE
(sleepy)
Yes?
ALFORD
Hi Joanne.
JOANNE
(realising)
Oh, hey Officer Alford. What can I do
for you?
LEASON
Can we come in?
JOANNE
Sure. What's this about?
INT. JOANNE'S HOUSE. KITCHEN CONT'D
The three enter the kitchen.
JOANNE
Do you want a coffee?
LEASON
That'd be great.
ALFORD
Yeah, thanks.
JOANNE
What do you like?
LEASON
Milk, one sugar.
ALFORD
Same for me.
JOANNE
OK.
Joanne walks over to the sideboard and makes the
coffee.
JOANNE
So what's this about? If it's about
Peter then I don't know anything.
Sorry.
ALFORD
Oh, it's not about him. Well not
specifically.
LEASON
He was let go a couple of hours ago.
There wasn't enough to keep him in.
And his friends swear that he was with
them at that time so that works in his
favor.
JOANNE
Oh, well that's good.
Joanne finishes making the coffee and hands the
two cops their mugs.
LEASON
So how's things? How are you coping?
JOANNE
I'm good. I'm great in fact. I'm lucky
to have such good friends by my side.
They help me out a lot.
LEASON
That's good. It's good to hear. Do you
want to sit down?
JOANNE
(curious)
OK.
Joanne sits down at the kitchen table. So do the
two cops.
LEASON
We don't want to worry you.
JOANNE
You are. What's all this about?
ALFORD
James is out. He's on
parole. Good
behaviour or something.
JOANNE
He's out? But he can't come near me,
right?
LEASON
That's the other thing. He's kind of
gone missing.
JOANNE
(scared; shocked)
Gone what?
ALFORD
He disappeared about two weeks ago.
JOANNE
He's gone? And he's after me? Why
didn't anyone tell me this?
ALFORD
We didn't want you to panic. We didn't
want you to get worried over something
that may not happen.
JOANNE
Worried? A psycho is after me and you
don't want me to be worried?
LEASON
We don't know anything yet. He may
have just skipped country. Gone to
Mexico or something.
ALFORD
But we do know something.
JOANNE
What?
LEASON
We found three girls last night. All
blond, all teens. All raped and
murdered.
JOANNE
Oh god. And you think James did it?
LEASON
He or she used the same rope to tie
these girls up. Same knot, same
position.
JOANNE
What if it is him? What do I do?
LEASON
We'll get someone to patrol here every
so often. There's nothing to be
concerned about. I know it's a bit of
a shock.
JOANNE
It is.
LEASON
But it's just a precaution. Chances
are, it was just some sick fucker who
prayed on these innocent girls. It
might not be related at all.
JOANNE
There has been someone following me.
In a black car. It's Nigel's old one.
He had it stolen a couple of days ago.
LEASON
A black 1967 Plymouth convertible?
It's a nice car.. You say it's been
following you?
JOANNE
Twice now. It's really creepy. Is
Nigel OK?
ALFORD
Last time I heard, he was still in
intensive care. Could you see a
driver?
JOANNE
I saw someone. Only a shape though.
LEASON
Could you describe it for us?
JOANNE
Big build. Not massive, just big.
That's all I can say.
LEASON
No distinctive hair style?
JOANNE
No, it's always too far away to see.
LEASON
Ok then Joanne. Thanks for your co-
operation.
JOANNE
No problem.
Leason stands up and walks out of the room.
Alford waits behind.
ALFORD
There's no reason to be scared. It's
probably just another police fuck up.
Take care of yourself.
JOANNE
I will do.
ALFORD
And if you ever see anything slightly
suspicious, give us a call.
(hands a piece of paper)
Or me a call.
Alford walks out of the room. Joanne looks at
the piece of paper which has Alford's phone
number on it.
EXT. TRAIN STATION DAY
A train pulls into the station. A few passengers
step off and some step on.
INT. TRAIN
As the crowds of passengers cram onto the
already full train, Joanne struggles to lift her
bag up onto the compartment above her.
People barge past, not taking any notice of
Joanne's struggling arms. A hand reaches out to
help her. She jumps and turns. Of course, it is
Matthew.
MATTHEW
Joanne. What a surprise.
JOANNE
Hey Matthew.
(smiles)
Are you following me?
MATTHEW
It doesn't look good.
JOANNE
What're you doing here?
A MIDDLE AGED MAN tries to get past, throwing
abuse at Joanne and Matthew standing in the way.
Matthew puts his hand on Joanne's stomach and
pushes her to the side so that the angry man can
get past.
Joanne notices the hand on her stomach. She
smiles.
MATTHEW
I'm heading for Los Angeles.
JOANNE
Me too. What a coincidence.
They both sit down at the nearest vacant seats.
MATTHEW
I guess so. Why are you going?
JOANNE
I don't know. Just for the hell of it
I suppose. It's a change. Why are you
going?
MATTHEW
Oh, you know. Stuff.
JOANNE
Stuff? Oh, OK then. If you don't wanna
tell me then it's OK. Is it something
dangerous? Are you going for
'business'?
MATTHEW
I'll tell you what. I'll make a deal
with you. I'll tell you why I'm going
to LA if you tell me why you are. And
I want a real answer. Something more
original than "just for the hell of
it". Do we have a deal?
JOANNE
What makes you think I'm not going for
a brake?
MATTHEW
I've no doubt you are. I mean isn't
that why everyone goes to LA? To get
away from it all. Question is, what
are you taking a brake from? I mean
what would a beautiful girl like you
be doing, running away from home?
JOANNE
Why do you think I'm running away?
MATTHEW
Because you've got a big bag full of
heaviness and you're leaving in the
middle of a school term. It's kind of
obvious.
The train starts to move.
JOANNE
I'm just going to LA. I'm just
visiting some friends.
MATTHEW
Oh, OK then.
JOANNE
You know, you're very rude.
MATTHEW
Hey, I was just trying to make
conversation.
EXT. CALIFORNIAN COUNTRYSIDE AFTERNOON
The train speeds through the picturesque
countryside.
EXT. LOS ANGELES LATE AFTERNOON
An overview of the city.
EXT. LOS ANGELES TRAIN STATION
Matthew and Joanne, along with hundreds more
passengers step out of the train station and
onto the busy street.
Waiting in front of them is a line of taxis.
JOANNE
So
I'll be seeing you.
MATTHEW
I guess so.
Matthew walks away leaving Joanne standing by
herself. It is obvious that she is alone and
doesn't know what to do. She begins to cry.
MATTHEW (O.C)
You know, you can come with me if you
want.
Joanne wipes the tears from her cheeks.
JOANNE
Really?
MATTHEW
How can I resist.
Joanne smiles.
INT. HOLLYWOOD ROOSEVELT HOTEL EARLY EVENING
Matthew and Joanne stand at the entrance of the
hotel.
JOANNE
You're staying at the Roosevelt hotel?
MATTHEW
I like to stay in style. Plus it looks
good to hang around with all these
stiffs. Builds my status up here.
They walk towards the reception.
JOANNE
It must cost a fortune.
MATTHEW
$840 for three nights. But it's worth
it. You get a private bathroom and
cable TV with 'CNN'.
JOANNE
That's very impressive.
MATTHEW
And you get in-room coffee makers.
Isn't life great.
JOANNE
Are you sure you can afford this? It's
very expensive. We can stay in the
motel down the road if you want.
MATTHEW
We're not staying in some seedy motel
room. Just because I'm a mechanic,
doesn't mean I can't afford this. I
have another job on the side.
JOANNE
What is it? Drugs?
MATTHEW
(laughs)
No, not drugs.
Matthew rings a bell and the RECEPTIONIST, a
small, young lady appears from the office behind
the desk.
RECEPTIONIST
Can I help you?
MATTHEW
Matthew Bassett, b a double s e double
t.
RECEPTIONIST
OK, you're room number is 210. If you
need any help just call.
MATTHEW
OK then.
The receptionist hands Matthew the key.
INT. HOLLYWOOD ROOSEVELT HOTEL. ROOM MINUTE
LATER
Matthew and Joanne walk into the well decorated
room. Joanne notices something.
JOANNE
There's only one bed.
MATTHEW
Maybe it's a sign. Fate and all that.
JOANNE
You wish.
Joanne throws her bag onto the bed.
JOANNE
So what are we going to do tonight?
MATTHEW
What do you mean?
JOANNE
I mean we're in LA. It's the city of
angels.
MATTHEW
Why is it called the city of angels
anyway? From what I've seen of it,
it's not so perfect.
JOANNE
Because it's the place where dreams
come true.
MATTHEW
Is it?
JOANNE
Yeah. I'd love to live here.
Beat.
MATTHEW
I'll tell you what. I'm going to take
you somewhere.
JOANNE
Where?
Matthew grabs Joanne's hand and they walk out of
the room.
EXT. HOLLYWOOD HILLS LATER
The two sit under the Hollywood sign. The city
is magnificent from here. Lines of lights just
disappear into the distance.
MATTHEW
When I was a kid, I used to come up
here. I always wanted to be an actor.
I thought that if I came here then
somebody would just come up to me and
hand me a contract or something. I was
an idiot. I didn't realise that life
sucked that much. It took me eighteen
years to realise that.
JOANNE
Why do you say that?
MATTHEW
Some people say that if you really
want something then just go for it and
it'll happen on way or another. What a
crock of shit. Whoever said that must
have been crazy. Or rich, one of them.
More likely the second one.
Beat.
JOANNE
Why'd you save me?
MATTHEW
Save you?
JOANNE
From Nigel.
MATTHEW
The guy down the alley? I don't know.
He was a prick.
Joanne smiles.
JOANNE
He was a prick.
MATTHEW
And I don't like them. Football
player?
JOANNE
Yeah.
MATTHEW
I bet he thinks he can get anything,
right? Because he can throw a football
or whatever. He thinks it gives him
the right to have whoever he wants.
It makes me sick.
JOANNE
I suppose. Although he's not really
saying much at the moment. He was
beaten up pretty badly. Did you have
anything to do with it?
MATTHEW
Only the one punch. Although I have
been told I've got a pretty tough
throw. I used to box.
Beat.
JOANNE
Why are you here?
MATTHEW
I said I'd tell you if you tell me.
JOANNE
That's so Kindergarten.
MATTHEW
It's the rule.
JOANNE
Why are you so curious about me?
MATTHEW
I don't know. Why are you so curious
about me?
JOANNE
Because you're like this mysterious
guy who appears whenever I need help.
It's like you're an angel or
something.
MATTHEW
(laughs)
An angel? I'm no angel.
JOANNE
Is it just coincidence then? Or are
you spying on me so you know when I'm
in trouble so then you can play the
knight in shining armour?
MATTHEW
Yeah. That's it. I like role plays.
JOANNE
What is it? Why do you care about me?
Why did you come back at the train
station?
MATTHEW
OK, have you ever woken up in the
morning, right? And you do whatever
you do. Have a quick wash, go in the
shower, whatever. Then you brush your
teeth and after all that you stop and
look at yourself in the mirror. You
stop and stare at the image before
you. That's why. You're hot! You've
got this whole Britney thing going on.
And you're got a great body and I'm a
sucker for girls in need of help. So I
suppose I do like playing the knight
in shining armour.
JOANNE
And that's the reason? Because you
think I'm hot? Because you wanna jump
into bed with me?
MATTHEW
Hey, no. I don't. I mean I do but I
won't. Not if you don't want to.
That's not why I helped you. I helped
you because I like you. It's not
always about sex.
JOANNE
It's not?
MATTHEW
No. There's actually three minutes in
a day that men don't talk or think
about sex.
JOANNE
(laughs)
Really? Three minutes?
MATTHEW
It's a struggle but we get through it.
JOANNE
(laughs)
So in them three minutes what do you
guys think of?
MATTHEW
Anything. Beer, football, love.
(beat)
Why are you here? What are you running
away from?
Beat.
JOANNE
You know about me don't you. About my
past. About James, how he raped me and
left me for dead. According to Officer
Alford I looked a wreck.
MATTHEW
I heard about it, yes.
JOANNE
Well it turns out that James is out of
jail and hasn't reported to his PO for
the past week or so. And suddenly all
these weird things start to happen.
Nigel gets knocked into intensive
care. Strange cars start to follow me.
MATTHEW
Is that why?
JOANNE
Because I'm scared. That's why I left.
I'm scared of what he's going to do to
me.
MATTHEW
Why don't you tell someone? Tell the
police.
JOANNE
They know. They said they'll send
around a car every so often so that I
am safe. Like that'll help.
MATTHEW
I know that cops suck at your age but
JOANNE
My age? How old do you think I am?
MATTHEW
17, 18? Something like that. You're
still in high school and you seem too
clever to have been kept back a year.
Joanne smiles.
JOANNE
I'm just really scared. The cops
haven't protected me yet. I don't know
why they think they can now.
MATTHEW
I don't know. Maybe they're trying to
help.
Beat. Matthew shivers from the gust of cold
wind.
MATTHEW
It's getting cold. Do you wanna go?
JOANNE
Where?
MATTHEW
Back to the hotel? To tell you the
truth I'm a bit tired. I've had a long
day.
JOANNE
Sure.
INT. CAR LATER
Matthew drives Joanne back to the hotel. There
is an awkward silence between them. After a
while:
JOANNE
So are you single?
MATTHEW
Single? You think my wife would let me
sleep in the same room as another
girl?
(off Joanne's look)
No, I'm not married. I'm as single as
ever.
Joanne smiles in relief.
INT. HOLLYWOOD ROOSEVELT HOTEL. ROOM EVENING
Matthew is pulling his socks off on the bed
while Joanne gets undressed in the bathroom. The
door is open but Matthew is not peeking.
JOANNE (O.C)
So what's happening?
MATTHEW
What do you mean?
Joanne appears from the bathroom wearing a very
nice little outfit of tight shorts and top.
Matthew is thrown by her cuteness.
JOANNE
I mean what's happening tomorrow?
MATTHEW
Anything. What do you want to do?
JOANNE
I'm not sure. I don't have much money.
MATTHEW
How much do you have?
JOANNE
About $200.
MATTHEW
You ran away to LA with $200? What
were you going to do? Join a strip
club? There's no way you could live on
$200. It wouldn't last a week.
JOANNE
You think I could be a stripper?
MATTHEW
Well you have the body for it. I'm not
sure about the brains though.
JOANNE
Huh?
MATTHEW
I'm not sure if you're stupid enough
to get into that business.
Joanne smiles again at one of Matthew's
compliments.
JOANNE
You know I can't believe that you're
single.
MATTHEW
Why?
JOANNE
Because you always know what to say to
a girl.
MATTHEW
I watch a lot of TV. You learn a lot
of things.
Joanne sits down next to Matthew and holds his
hand.
JOANNE
You always know what to say and do.
MATTHEW
Well, you know.
JOANNE
(seductive)
No, show me!
She jumps onto Matthew and starts kissing him.
At first Matthew tries to fight her off but then
realises it's too good and lets it flow. He
leans back and then comes the heavy stuff.
EXT. TETLEY'S COFFEE HOUSE MORNING
Cleo is cleaning the outside tables. She clears
some old mugs into a tray.
Peter walks up to Cleo.
PETER
Hey Cleo.
CLEO
Hey Peter. What happened?
PETER
Not much. They just took my name down.
They had no evidence so they couldn't
keep me in.
CLEO
That's good. Unless you did it then
it's kind of bad. And I know how much
you like Joanne and you'd do anything
for her.
PETER
I wouldn't put someone into a coma,
unless he really hurt her. Then I'd
kill him.
(off Cleo's worried look)
Anyway, is she here?
CLEO
Joanne? No. She never showed up for
work today and I haven't heard from
her. There's nobody home. Her dad says
she didn't come home last night.
PETER
Do you think she's OK?
CLEO
I'm not sure. But I looked for her
last night and I couldn't find her. I
thought she might be around.
Cleo stops.
PETER
Where?
CLEO
Oh just some persons house.
PETER
A guy?
CLEO
(sympathetic)
Yes.
Peter is upset at this. He tries to hide the
fact.
PETER
Oh.
CLEO
Just a friend though. But she's not.
She's not there.
PETER
(relief)
Oh good. I mean that's bad. So we
don't know where she is still?
CLEO
She'll turn up.
PETER
I'm worried about her. She might have
run off.
CLEO
Why would she do that?
PETER
Because of James.
CLEO
James? That happened months ago. I
know it was a tough thing to happen
but she's getting over it.
PETER
No. Rumour has it he's back.
CLEO
He's back? How? He's in prison.
PETER
Parole. But apparently, according to
what Liam told me his dad was talking
about to Sheriff Duberry, he jumped
and legged it and nobody has seen him
since. And that would answer Joanne's
question of who's been driving that
big black car that's been following
her everywhere.
CLEO
He's back?
PETER
Well that's what I think. And that's
what Sheriff Duberry told Liam's dad.
CLEO
That's awful.
PETER
So we have to find Joanne because she
could be in real trouble if he gets
his hands on her.
CLEO
(panicking)
God! We don't know what he might be
doing to her right now.
INT. HOLLYWOOD ROOSEVELT HOTEL. ROOM MORNING
Joanne lies in the bed. She looks like she is
naked underneath the covers. From the smile on
her face it looks like she has just been laid.
JOANNE
That was so good!
MATTHEW (O.C)
It was, wasn't it.
Joanne looks over at the bathroom. Matthew is
inside getting washed.
JOANNE
We should do that again.
MATTHEW (O.C)
Now? I'm not sure. I'm kind of
JOANNE
You're right. We should leave it for
now. I maybe more hungry later though.
MATTHEW (O.C)
OK. Maybe later.
Joanne rolls onto her side and curls into a
little ball.
Matthew walks in from the bathroom.
JOANNE
It was different. I've never had one
like it.
MATTHEW
I know the cook here. His bacon
sandwiches are famous in these areas.
JOANNE
Well tell him from me that I want his
recipe. What was that sauce he put in
it?
MATTHEW
You'll have to ask him.
Matthew walks up to Joanne and sits down besides
her.
JOANNE
Thanks for letting me sleep in the
bed. I feel a bit guilty.
MATTHEW
Don't. The sofa wasn't too bad. We've
gotta go if you want to catch that
train.
INT. JOANNE'S HOUSE. HALLWAY DAY
The front door opens slowly and Joanne peeps her
head around the corner. The hallway is empty.
She then walks in. Matthew closely follows.
MATTHEW
It's a nice house.
JOANNE
It's big. Not very homely. It needs a
mothers touch.
MATTHEW
Where is she?
JOANNE
She ran off with the baker. Sounds
like a joke. It's not. Trust me. She
left me with my dad, Mr Strict.
They close the door behind them.
INT. JOANNE'S HOUSE. LIVING ROOM CONT'D
The two walk into the living room.
JOANNE (CONT'D)
But he's not home, luckily.
MATTHEW
He can't be that bad.
The doorbell rings. Joanne turns around. She
hesitates.
MATTHEW
You not going to answer it?
JOANNE
(unsure)
Yes.
Joanne slowly walks into the hallway.
INT. JOANNE'S HOSUE. HALLWAY CONT'D
Joanne carefully opens the front door. She peeps
her head around. She is relieved to find Peter
and Cleo standing there.
She opens the door fully.
CLEO
Where the hell have you been?
Matthew appears behind Joanne. Cleo looks at him
and then back at Joanne. "Who is this?"
JOANNE
This is Matthew.
CLEO
Matthew? The mechanic guy?
JOANNE
Yes.
Matthew leans forward and shakes Cleo's hand.
MATTHEW
Hi.
Peter looks upset.
PETER
I'm Peter.
MATTHEW
Hey.
Joanne invites them in.
INT. JOANNE'S HOUSE. KITCHEN CONT'D
The four stand in the kitchen.
CLEO
So where you been?
JOANNE
LA.
PETER
LA? Why?
JOANNE
Just for the hell of it.
CLEO
(doesn't believe)
OK then. Why'd you really go? Is it
because of James? Because if it is you
know we won't let anything happen to
you.
PETER
That's right!
Matthew looks at Peter. He now knows how he
feels about Joanne.
JOANNE
I know you guys are looking out for
me. But James is a fucking psycho guy.
He raped me. I put him in jail and now
he wants revenge.
CLEO
That's not true.
PETER
He's not going to touch you.
MATTHEW
I've gotta go.
(to Joanne)
You'll be OK.
JOANNE
OK.
INT. JOANNE'S HOUSE. HALLWAY CONT'D
Joanne lets Matthew out of the front door.
JOANNE
Thanks for everything.
MATTHEW
I didn't do anything.
JOANNE
You let me sleep in your bed.
Cleo pops her head from the kitchen. She is
intrigued.
MATTHEW
You just take care of yourself.
JOANNE
I will. Will I see you again?
MATTHEW
You know where I live.
Joanne smiles.
MATTHEW (CONT'D)
Come around whenever.
JOANNE
I will.
Matthew walks away and Joanne closes the door
behind her. A big, satisfied smile covers her
face.
Cleo walks in.
CLEO
Did you sleep with him? He's cute!
JOANNE
I'm not telling you that.
CLEO
Oh come on!
JOANNE
Let's just say that he was the perfect
gentleman.
CLEO
He went down on you, didn't he.
Joanne doesn't answer. Cleo grins and turns to
the kitchen door.
CLEO
(to Peter)
Us girls want to talk. Can you come
back later.
Peter walks from the kitchen. He is
disappointed.
PETER
See you later then.
He walks out of the house.
Cleo turns to Joanne. She is very eager.
CLEO
So
Tell me all about it.
EXT. STREET CONT'D
Peter is walking down the street away from
Joanne's house. He notices Nigel's car parked a
little way down the road.
He thinks for a moment. "What should I do?".
He stares at the car. There is somebody in the
drivers seat watching him but he can't see who.
Suddenly:
MATTHEW (O.C)
Peter, right?
Peter jumps and turns.
PETER
Oh shit. You scared the fuck out of
me.
MATTHEW
I have that effect.
PETER
You a friend of Joanne's?
MATTHEW
Yes.
PETER
You know her past? You know about
James?
MATTHEW
Yes.
PETER
Well guess who's sitting in that car.
Matthew looks over at the black car.
MATTHEW
That's James?
PETER
Yes.
Matthew smiles. He starts to pace over to the
car. Peter follows.
Before Matthew reaches the car to see who's
inside, it drives off suddenly. It misses
Matthew by inches.
PETER
What the fuck!!!
(to car)
MOTHER FUCKER!!!
The car disappears around a corner and out of
sight.
PETER
Jo's going to be freaked!
MATTHEW
You're not telling her anything.
Matthew walks off.
INT. JOANNE'S HOUSE. LIVING ROOM
Cleo and Joanne relax in the comfort of the
large leather sofa.
CLEO
Why are you holding back all info? You
know how nosy I like to get.
JOANNE
Exactly. I bet it's torture.
CLEO
Come on! Tell me. I really want to
know. Does he have a big dick?
JOANNE
I'm not telling you.
CLEO
Then what did you mean "He was a real
gentleman"?
JOANNE
Exactly what I said.
(beat)
We didn't sleep together.
CLEO
You didn't?
JOANNE
I wanted to, kind of. But he said he
didn't want to take advantage of me.
He wasn't like that.
CLEO
So what did you do?
JOANNE
We talked. We talked for hours. And
then we had this amazing bacon
sandwich and then got the train home.
A short silence between the two. Cleo obviously
wants to ask something but she is too nervous to
ask. Finally:
CLEO
Why did you leave?
JOANNE
I didn't
leave.
CLEO
I was so worried about you. I had no
idea where you were and when Peter
told me that James had escaped I was
scared that something had happened to
you. And I couldn't bare it if
anything happened to you because
you're my best friend and you made me
beautiful and loads of guys are
interested in me now and it's all
because of you. I love you!
Joanne is thrown by Cleo's burst of honesty.
JOANNE
Really?
CLEO
Yes!
Cleo leans over and gives Joanne a big hug.
JOANNE
It's going to be alright.
Cleo cries on Joanne's shoulder.
EXT. SCHOOL YARD MORNING
Joanne walks to school. She notices most
STUDENTS are watching her. News has spread fast
that James is back. They all look sympathetic.
A GUY she has never met before walks up to her.
GUY
If you want me to brake his legs I'll
do it.
JOANNE
Thanks.
INT. HIGH SCHOOL. CLASSROOM LATE MORNING
Joanne and Cleo sit at the back of the class.
They are once more bored.
Peter leans over from the left of Joanne.
PETER
You OK?
JOANNE
I'm fine. I wish people would stop
asking me that.
Peter sits back.
PETER
I was just trying to help.
The TEACHER notices the two talking.
TEACHER
Joanne. Is there anything you'd like
to share with us?
JOANNE
Not really sir.
TEACHER
Then shut up.
Joanne is shocked at the Teacher's rudeness. She
looks at Cleo who shrugs her shoulders.
INT. HIGH SCHOOL. HALLWAY LATER
Joanne and Cleo walk down the hallway.
JOANNE
I think I'll go home.
CLEO
You not feeling very well?
JOANNE
It's not that. I just can't be
bothered with school right now. I'm
not taking anything in. There's not
much point in me being here.
CLEO
You want me to walk you home?
JOANNE
I think I'll be alright.
CLEO
Are you coming around mine tonight?
JOANNE
Sure. 8 O'clock?
CLEO
Yeah.
EXT. HIGH SCHOOL CONT'D
Joanne walks down the street. Even though she
assured Cleo it'd be alright, she is very
nervous.
She spots a black car parked across the other
side of the road. She keeps an eye on it as she
walks further down the street. Just as she
passes it a hand reaches for her shoulder.
Joanne screams and turns, ready to hit whoever
it is. But it is Matthew and she relaxes.
MATTHEW
I thought I'd come and meet you.
JOANNE
Really? How'd you know I'd be out now?
It's not the end of school.
MATTHEW
I thought I'd wait. I wasn't sure what
time but I wanted to see if you were
safe.
JOANNE
I'm fine.
MATTHEW
(re: black car)
Is it bugging you? It's not his.
JOANNE
How'd you know?
MATTHEW
Because it's not a Plymouth. That's
just a Cadillac convertible. They look
similar.
JOANNE
Oh.
MATTHEW
So where are you going?
JOANNE
I was going home.
MATTHEW
Can I give you a lift?
INT. BROWN'S BURGER BAR DAY
Joanne and Matthew sit at a table. They eat
their food.
MATTHEW
So why aren't you in school?
JOANNE
What? Are you turning into my dad?
MATTHEW
(smiles)
I'm just curious.
JOANNE
Well I figured it's a nice day outside
and I didn't want to be stuck inside
with all that depressing atmosphere.
Life's a bitch already. I don't want
other people making it even worse.
MATTHEW
People giving you a hard time?
JOANNE
No. It's the opposite actually.
Everyone is being so friendly and
supportive and always asking "Are you
OK?". It's getting so annoying.
MATTHEW
They probably just want to see you
safe.
JOANNE
Yeah.
MATTHEW
It's probably the safest place to be
right now.
JOANNE
You sound like a cop.
MATTHEW
(smiles)
My uncle was a cop.
Beat.
JOANNE
(nervous)
Would you like to go out with me? On a
date I mean.
MATTHEW
A date? I don't know.
JOANNE
It could be fun.
MATTHEW
Yeah. Maybe. I'm not sure what I'm
doing yet.
JOANNE
What do you mean? Are you moving?
MATTHEW
Oh, no. Nothing like that. I'm just
kind of busy right now with loads of
work. And the garage is crammed full
of orders.
JOANNE
But you have time to go to LA and wait
outside school for me? You didn't even
go and see your mom in LA.
MATTHEW
I thought I'd bring you home and see
you safe. That's all.
JOANNE
That's all? So what were you going to
do? Just fuck me and then leave me?
An OLD COUPLE hear this and watch in eager
anticipation as a fight brews.
MATTHEW
We never had sex.
JOANNE
No we didn't. But we could have. But
you didn't want to because you didn't
want to take 'advantage' of me. Well
maybe I wanted to be taken advantage
of. Maybe I wanted to be fucked by
you. Maybe I like you.
MATTHEW
Look, I didn't want sex because I
didn't.
JOANNE
Is there something wrong with you? Are
you impotent or something?
MATTHEW
No! I just didn't want it then. It
wouldn't have felt right.
JOANNE
So what do you want from me? You come
into my life and pretend to care for
me and you make me fall in love with
you and for what? So you can feel all
high and mighty that you saved me from
a fucking psycho?
MATTHEW
OK, you wanna know what I want from
you? Nothing. I don't want anything
from you. You want to know why I
helped you out? I felt sorry for you.
And now, because I saved you from a
randy prick you think that we're soul
mates and you want to know everything
there is to know about me. Well here's
the truth. I don't fancy you! I never
have and I never will.
A tear runs down the side of Joanne's face. She
is about to burst into a storm of tears but
holds it back.
JOANNE
(upset)
You're a real fuck, you know that? You
should have let me get killed. It
would have saved everyone a lot of
time.
Joanne storms out of the burger bar. The
AUDIENCE all stare at Matthew. All of them are
very angry at him.
Matthew suddenly realises what he's done.
MATTHEW
(to himself)
Shit!
He runs after her.
EXT. STREET CONT'D
Joanne storms down the street. Matthew runs out
of the burger bar.
MATTHEW
(shouts)
Joanne!
JOANNE
(carries on walking)
Fuck off!
Matthew sighs and walks towards her.
MATTHEW
I'm sorry. I didn't mean to say that.
Matthew reaches Joanne and grabs her by the arm.
He spins her around.
MATTHEW
I didn't mean to say that.
Joanne has been crying. She still is.
JOANNE
Just let me go. I won't bother you
ever again.
MATTHEW
Just listen to me.
JOANNE
Why? You've said all you can say. I
don't really want to hear anymore
about how unattractive I am.
MATTHEW
Hey. You're not unattractive. You're
hot! I'm just
very defensive. I have
a bad past, OK? I don't like it when
people push too hard.
JOANNE
(calms down)
Well I won't ask you again then.
Joanne walks down the street, at a normal pace.
She is still upset but her tears have stopped.
Matthew watches as she walks down the street,
passed an alleyway and:
Joanne is suddenly grabbed by someone hiding
down the alleyway. Joanne screams.
Matthew sees and runs towards the alleyway to
help Joanne who has disappeared around the
corner.
Matthew turns the corner when:
BANG!
A gunshot rings out. Matthew drops to the floor.
He waits for a moment, squeezing his eyes. He
thinks he's about to get shot. But all he hears
is footsteps walking away and the quiet sound of
Joanne being dragged away.
FADE OUT:
The sound of dogs barking.
FADE TO:
EXT. WOODS EARLY EVENING
Dozens of COPS are searching the woods for
traces of Joanne. They are helped by SNIFFER
DOGS.
It is dark now and the only real light is from
the torches that the cops are carrying.
EXT. POLICE STATION
Matthew leaves the police station. Before he
leaves, Officer Alford runs after him.
ALFORD
Hey, wait up.
MATTHEW
Yeah?
ALFORD
I'm Officer Alford. I'm a friend of
Joanne's.
MATTHEW
(smiles)
You're in love with her.
ALFORD
What? No! I'm a friend.
MATTHEW
She told me about you.
ALFORD
She did?
MATTHEW
You're the guy who won't stop drooling
over her.
ALFORD
Listen. If you know where she is then
you better tell me because if she's
harmed and it's your fault, I'll
personally see that you get what's
coming to you.
MATTHEW
Hey! Fuck you! I haven't touched her.
I want to find her as much as you do.
Well, maybe not as much as you but I
want to find her. Are you taking a
'special interest'?
ALFORD
Damn right I am!
MATTHEW
Wanna go look for her? In the
unofficial way.
ALFORD
What do you mean?
MATTHEW
Let's find this motherfucker and deal
with him!
ALFORD
Sounds good to me.
INT. CLEO'S HOSUE. LIVING ROOM EVENING
Cleo looks at her watch. It is 10:30pm.
CLEO
(to herself)
Where are you?
She waits, then decides to call her. She walks
over to the phone and picks it up. She dials the
number and waits.
INT. JOANNE'S HOUSE. KITCHEN CONT'D
Mr Ryan picks up the phone.
MR RYAN
Hello?
CLEO
(filter)
Hi, is Joanne there?
MR RYAN
Is that Cleo?
CLEO
(filter)
Yeah.
MR RYAN
Sorry. She never came home from
school. I thought she must have gone
around yours straight away.
INT. CLEO'S HOUSE. LIVING ROOM CONT'D
Cleo looks worried yet confused.
CLEO
Really? She's not here. She left
school early to go home. Are you sure
she's not up in her room?
MR RYAN
(filter)
I'm sure.
CLEO
OK, thanks.
Cleo puts the phone down. She is really worried
now.
After a moment, she dials a new number. She
waits.
VOICE
(filter)
Hello?
CLEO
Hi, is Peter there?
VOICE
(filter)
Sure, I'll just get him.
INT. PETER'S HOUSE. HALLWAY CONT'D
Peter sleepily walks towards the phone which is
on the sideboard.
PETER
Hello?
CLEO
(filter)
Joanne's gone. She's disappeared.
PETER
Huh?
INT. PETER'S CAR EVENING
Peter drives the car while Cleo watches out of
the passengers window. The streets are empty.
PETER
You sure we're going the right way?
CLEO
His house is down here. We went there
once before.
PETER
And you're sure she'll be there?
CLEO
I'm not sure of anything. It's a long
shot. Joanne isn't stupid. She knows
how dangerous it is now. And she knows
how much people worry about her. She
wouldn't just run off without telling
anyone.
PETER
She did it before.
CLEO
That was different.
The car turns a corner and onto the street where
Matthew lives.
CLEO
It's just further on down here. I
can't remember which number it was.
PETER
Oh fucking great!
CLEO
Don't take it out on me.
PETER
I'm sorry. It's just if anything's
happened to her I'll
CLEO
There he is!
Cleo points to Matthew and officer Alford
walking down up the driveway of Matthew's house.
The car speeds up.
EXT. MATTHEW'S HOUSE CONT'D
Matthew and Alford turn when they hear the sound
of tyres skidding along the ground.
Peter jumps out and quickly runs over to
Matthew. He slams him against the wall.
PETER
Where the fuck is she?
MATTHEW
Hey!
Matthew pushes Peter back with ease.
MATTHEW (CONT'D)
Get your fucking hands off me.
Cleo steps out of the car and runs up the drive.
PETER
Where is she?
MATTHEW
Why does everyone think I know. Is it
because I'm the new guy?
PETER
If anything's happened to her then
MATTHEW
Then you'll kick my ass. I've heard it
all before. But I'm telling you, I had
nothing to do with it. I got shot at
for fucks sake.
CLEO
Shot at?
MATTHEW
This dick has a gun. Luckily he has a
lousy aim. Wait here.
Matthew enters his house. The three remain on
the doorstep. They don't talk. All are anxious.
After a while, Matthew appears from his house
holding a gun. He puts it in his belt.
MATTHEW
Come on.
Matthew leads the group down the driveway.
INT. WAREHOUSE EVENING
A flash of bright light from a table light
reveals a HAND moving about a workbench. There
are various tools and equipment scattered about.
The hand grabs a knife and turns. It is James.
He slowly walks towards the far and darkened
side of the room. The knife is gripped tightly
in his hand.
He reaches a table and places the knife besides
a hammer and some nails. Some are covered in
blood. The table is swimming in it.
There is a muffled grunt of pain from the
darkness. James looks over. He grins.
JAMES
You're awake.
James picks up the knife and walks over to the
FIGURE in the darkness. It is Joanne. She hangs
from the ceiling. She is handcuffed, gagged with
her feet ties together. Her feet don't touch the
ground.
Her clothes have been taken off. She is naked
apart from her underwear and her shoes.
Her body is covered in blood. It is her blood.
JAMES
For a moment there, I thought you were
never going to wake up. It was only a
little cut.
James steps forward and sticks his finger into a
cut on Joanne's stomach. He wiggles it about a
bit. She screams under her gag. She is a lot of
pain.
The place looks like Hell's kitchen. Blood lines
the walls, the floors, the ceiling. Various
hooks and other pain-inducing instruments are
hung on the walls, glinting in the weak light
that streams through a barred window. Bodies of
girls are hanging from the ceiling. All are
dead.
JAMES
Now, tell me when it hurts.
James puts the knife to her legs and starts to
cut into her thighs. Joanne screams in pain,
trying to free herself from the rope that is
holding her up.
INT. MATTHEW'S CAR EVENING
Matthew drives with Peter in the passengers
seat.
PETER
Wouldn't it be safer if we all went
together?
MATTHEW
We'll cover more ground this way.
PETER
But
MATTHEW
I know what I'm doing.
PETER
Sorry. I didn't know you'd done this
before.
Silence.
PETER
Can I ask you something?
MATTHEW
What? I know it's got something to do
with Joanne.
Peter takes his eye off the road.
MATTHEW
Keep looking!
PETER
Why'd you say that?
MATTHEW
Because you're hot for her. Everyone
seems to be around here.
PETER
Why'd you think that?
MATTHEW
Because of the way you looked at her.
The way you treated her. The way you
watched her ass when she walked
around. All guys are the same. They
see this beautiful girl, but you see
something else. You see something
more. Am I right?
Peter doesn't answer.
MATTHEW (CONT'D)
And that's why you're so eager to help
her. It's not because you want to get
into her pants. I've no doubt you do,
but it's more than that. You want to
help her because you're truly madly
deeply in love with her. And it kills
you inside that she doesn't feel the
same way as you.
PETER
You know what. Fuck you! You don't
know me or Joanne.
MATTHEW
Then tell me. Why do you want to be
her knight in shining armour?
PETER
You want to know? OK, so what? I love
her! What's the big deal. I LOVE HER!
MATTHEW
Then why the heart ache? Isn't being
in love the best feeling in the world?
PETER
Because every time she looks at me,
every time she smiles, every time she
blows me off, I feel like I'm back to
being 12 years old again and playing
'spin the bottle'. And so I'm sitting
in this circle of popular and
unreachable people and it's my turn.
So I spin the empty bottle of Pepsi
and
it lands on Joanne. I can see the
terror filling her face. "Oh my god, I
have to kiss Peter. Help me!". So
there I am, about to kiss the most
beautiful girl in the world, and she's
pretending to faint. So her friends
rush around her and carry her away and
I'm left sitting on my own again. And
all because of some stupid bottle.
(beat)
So I think "Hey, maybe if I build
myself up to be a football kind of guy
she might like me. She might actually
glance over my way and actually notice
me". But shit, that worked. Whatever I
do, it's not good enough for her.
Whatever I say, it won't make any
difference because she looks at me and
doesn't see me. She sees some
stereotypical loser who thinks has a
grudge against her because her ex
killed my brother.
Matthew is shocked.
PETER (CONT'D)
But I don't. I don't hate her. I hate
myself. And for some strange reason,
deep down inside me, I have this small
hatred for my brother because he got
to her first. And that could have been
me. That could have been me trying to
save her life. And then of course you
turn up. You with your mysterious
looks and big car and she goes crazy
for it. It's like I'm in some real
life fucking Buffy or something. She
sees you, but I'm the guy who'd jump
in front of a car for her. And she
doesn't even know who I am. I'm just
some jock who can't spell. And that's
how it's always going to be.
MATTHEW
And that's why you want to save her?
PETER
That's why I lover her.
Silence again.
EXT. BACK STREET EVENING
Peter's car slowly drives down the back street.
INT. PETER'S CAR
Alford sits behind the wheel. Cleo is looking
out but fins nothing. She is really upset.
ALFORD
So who's this guy anyway? Is he some
kind of boyfriend?
CLEO
Who? Matthew? He's just some guy. I
don't think it's serious. Why aren't
we in your car?
ALFORD
(touchy)
Because mine's back at the station and
Peter's is less obvious. It doesn't
have big red and blue lights on top
and the word 'POLICE' on the side.
CLEO
Sorry.
ALFORD
No. It's me. I'm just so worried.
CLEO
Everyone's worried. Knowing her, she's
probably living the high life in LA
again.
ALFORD
Again?
INT. WAREHOUSE EVENING
Joanne is still hanging from the ceiling. She
has been cut more times on the legs and some on
the arms and stomach. She is in a lot of pain.
James appears at the table where he picks up a
hacksaw.
Joanne sees this through her half open eyes. She
squirms but can't brake free.
JAMES
(laughs)
I wonder. Which part of you should I
cut up now?
JOANNE
(muffled)
No!
James walks to her, kneels down and wraps his
free hand around her ankle.
JAMES
What about your foot? Or maybe your
toes.
James rests the saw on her toes and moves it
once across them. They start to bleed.
JAMES
But that'd mean you couldn't walk.
James drops the saw on the floor and stands up.
He slaps Joanne in the face.
JAMES
Tell me!
Joanne doesn't answer.
JAMES
I have an idea.
INT. MATTHEW'S CAR EVENING
They are still driving.
PETER
So why the gun?
MATTHEW
What do you mean?
PETER
Why have you got a gun?
MATTHEW
I lived in New York. In a bad
neighbourhood.
PETER
Oh.
Peter notices a black car parked outside an old
warehouse.
PETER
There it is.
Peter points over to the car. Matthew looks
over. He screeches the car to a halt and steps
out.
EXT. BEHIND OLD WAREHOUSE CONT'D
Matthew doesn't walk far when he notices that
the car isn't the same car. It is a Ford Saturn.
He walks back to the car.
INT. MATTHEW'S CAR CONT'D
He steps back in.
MATTHEW
It's a fucking Saturn. How does that
look like a Plymouth convertible?
PETER
I'm sorry. It was black.
MATTHEW
Jesus!
Matthew starts to engine again and they drive
off.
EXT. WOODS EVENING
The POLICE OFFICER and SNIFFER DOGS advance
deeper into the woods.
OFFICER#1 (O.C)
There's a car!
All torches shine directly at a black car parked
next to a hut.
The officer hurry to the scene. It is dark and
hard to see what make of car it is. It is a
Plymouth. They don't know what year.
OFFICER#2
It's a Plymouth convertible all right.
OFFICER#3
Shit!
They here moans coming from inside the hut.
INT. WAREHOUSE EVENING
Joanne is now strapped to the table. The various
instruments are on her stomach. She is blind
folded and has ear phones on. She is not gagged.
Her legs and arms are spread out in a star
shape.
JAMES
Oh little baby. I wish it hadn't come
to this. But you've been such a bad
little girl. You've been cheating on
me and I don't like that. It's not
very nice.
James lifts up a pair of scissors and stabs them
into her chest.
She screams!!!
EXT. WOODS EVENING
The officers hear screams from inside the hut.
They rush to the door and brake it open.
INT. HUT CONT'D
The officers pile into the little room and find
an MIDDLE AGED MAN with a SCHOOL GIRL. She can't
be older than 14. They have obvious just had
sex, and from the sounds of it, it was good.
MAN
I swear I thought she was older.
The school girl jumps out of bed, grabs her
clothes and runs out of the hut. The man is left
in the bed.
The officers sigh in disgust and disbelief.
EXT. INDUSTRIAL SITE EVENING
Matthew and Peter walk through an industrial
site. They are warehouses lined up for a mile.
MATTHEW
You sure you heard a scream?
PETER
I fucking well did.
Another scream catches their attention. It is
coming from a warehouse further down.
Matthew and Peter start to run towards the
noise. Then it suddenly stops.
PETER
Where the fuck did it come from?
MATTHEW
I don't' know.
Then Matthew notices a burnt out car further
down. He runs to it. Peter stays where he is. He
is scared.
MATTHEW
(shouts)
It's the car. It's been torched.
PETER
Shit!
Matthew looks around at any warehouses that may
have been used recently. Only one has the lock
smashed off.
Matthew walks towards it. He slowly opens the
door while pulling his gun from his belt. He
peeps inside.
Peter runs towards him.
PETER
Is she there? Is she there?
Peter reaches the door and tries to barge past.
Matthew stops him.
PETER
Let me see?
Matthew is sickened by the sight of what he
sees.
PETER
Joanne?
Peter manages to get Matthew away from the door
and he opens it up fully.
INT. WAREHOUSE CONT'D
He steps inside and looks around. He finds
Joanne tied to the table. All the various
instruments of 'torture' are stuck in her.
She has been cut up, beaten, probably raped. She
is naked apart from her knickers.
PETER
Joanne?
Matthew doesn't want to look.
Peter just stares at her lifeless body. He then
pukes all over the floor. He drops to the ground
when the sight and smell gets too much for him.
Peter stands up. He doesn't look at the body. He
turns and storms right out of the room.
MATTHEW
(to himself)
Oh shit!
EXT. INDUSTRIAL SITE CONT'D
Peter runs to the car and gets in. He drives off
without Matthew.
EXT. HIGH STREET MINUTES LATER
Mathew's car rolls down the street. Slowly it
drives.
INT. MATTHEW'S CAR CONT'D
Peter looks at all the people in the crowd. He
is a state of shock, anger, fear.
He turns another corner and notices a guy who,
from the back looks like James.
EXT. STREET CONT'D
The car stops and Peter jumps out.
PETER
James!!!
The guy turns around. It is James. He smiles
before running off down the road. Peter follows.
There are a lot of people on this street. Peter
finds it hard to dodge everyone.
For a second, James disappears out of Peter's
sight. He looks around, still running. He trips
over an OLD LADY'S bag.
Peter crashes to the ground. The old woman
shouts at him but he doesn't take any notice. He
keeps his eyes on the street ahead. He notices
James again. He is not too far ahead.
Peter gets to his feet and sprints.
INT. PETER'S CAR EVENING
Alford drives down the high street the same way
as Peter had.
ALFORD
Isn't that Matt's car?
CLEO
Yeah.
EXT. HIGH STREET CONT'D
The car stops in the middle of the road. Alford
leans over to the nearest PERSON. It is a man.
ALFORD
(re: car)
Hey, pal! Where's the driver?
The man points in the direction that Peter went.
MAN
He just jumped out of the car and
started chasing some guy down that
way.
ALFORD
OK, thanks.
Alford sticks his head back in the car. They
drive off down the street.
EXT. STREET CONT'D
Peter is closing in on James. Ahead is a POLICE
OFFICER standing on the corner.
JAMES
(to police officer)
Help! This guy's trying to kill me.
The police officer turns to James. For a second
he knows him, but then his mind goes blank.
JAMES
He's going to kill me!
The police officer looks at Peter who bares down
on James.
OFFICER
(to Peter)
OK, let's calm it down over here.
What's the problem?
PETER
(to James)
I'm going to fucking kill you!!!
OFFICER
OK, calm down. I've told you once.
Peter's car pulls around the corner and drives
towards Peter.
Just as that happens, Matthew appears in the
crowd. He also hurries towards Peter.
Peter doesn't stand down .He tries to get past
the large officer who easily brushes him back.
OFFICER
If you don't behave I'll have to
arrest you. Now calm down, sir.
PETER
(to James)
I'm going to fucking kill you.
Peter charges one more time. He hits the officer
in the face who falls back.
BANG! A gunshot rings out in the crowd. The
audience fall to the ground and scatter.
The officer falls to the floor. He clutches his
chest where a bullet has exited his body. Blood
sprays all over Peter who looks up at James.
But he can't do anything as a second bullet
bursts into Peter's throat. He grabs it and
collapses. James follows the second shot with
five more into the wiggling body of Peter.
Matthew runs onto the scene. He quickly grabs
the hand which the gun is held in and pulls it
off.
James swings his right fist and Matthew falls
backwards. He stays on his feet.
Matthew manages to kick James as he reaches for
the gun which is now on the floor. James
stumbles.
Matthew stands up and charges at James again. He
wrestles him to the floor.
They grapple for a while until James punches
Matthew in the face. He repeats it three times
until Matthew gives way.
He pushes him off and reaches for the gun.
Before Matthew can get to his feet, James pulls
the trigger. A bullet crashes into Matthew's
skull. He is instantly killed. Blood pours
everywhere.
Peter's car pulls up at the side of the road.
Quickly, Alford jumps out and crouches behind
the open door. Cleo ducks inside the car.
ALFORD
(to James)
On the ground! On the fucking ground!
James turns around and fires at the car door.
Alford ducks into safety.
He waits for the rounds to end before jumping up
to aim. He doesn't see a fist smashing through
the window and cutting him in the face.
James grabs Alford's gun and shoots him
repeatedly in the chest. Alford falls and Cleo
screams.
James smiles at her.
JAMES
Cleo.
He aims the gun at her and is about to pull the
trigger when:
BANG! Another gunshot. It hits James in the
knee. He falls to the ground. He coughs up
blood.
Leanne, Matthew's 'sister' appears.
LEANNE
Two officers down. One agent. A
civilian. Get an ambulance. We need a
medic for fucks sake.
Cleo opens her eyes and sees Leanne. She
remembers her. She thinks 'agent?'.
Leanne picks James' gun up.
LEANNE
Face the floor now!
A GROUP OF MEN dressed in what looks to Cleo
like boiler suits run onto the scene. She knows
they're not janitors when she sees the three
letters 'FBI' written on their backs.
Cleo watches them as they grab James from off
the floor.
James struggles to stand up. He hobbles on one
foot. But to everyone's surprise, James grabs
one of the FBI agents guns and shoots him in the
face.
The agent goes down. It's a rush for their
weapons as James lets the trigger go wild.
Bullets rip flesh, blood spattering everywhere.
Only one bullet manages to leave an agents gun.
It is a fatal one. A hole the size of a tennis
ball explodes in the back of his head. James
drops to the floor.
Cleo get splattered with blood. She wipes it off
her face and hair. She cries out.
FADE OUT:
Silence. The sound of police sirens comes and
then disappears into the distance. Then silence
again.
FADE IN:
INT. HOSPITAL CRITICAL WARD DAY
Peter is lying in a hospital bed. He is covered
in plaster and bandages. He is hooked up to a
drip. He is alive.
Cleo walks into the room. She walks over to
Peter and places a bunch of grapes onto the
bedside table.
CLEO
I sneaked in some grapes for you. I'll
feed them to you if you want.
Peter finds it hard to talk. A bandage covers
his throat.
PETER
(struggles)
Thanks Cleo.
CLEO
I know you haven't had anything to
eat. Well, nothing good anyway.
(re: drip)
That stuff looks yucky!
PETER
Tell me about it. You're not having it
pumped into you.
Cleo smiles. It is obvious she is hiding
sadness.
CLEO
How are you feeling?
PETER
I think I've got a sore throat coming
on.
They both laugh.
PETER
Did I hear right? Was Matt an FBI
agent?
CLEO
Apparently. Some undercover operation.
James had killed over twelve people
since he escaped. Joanne sure picks
his men.
Beat.
CLEO
She did notice you.
PETER
Huh?
CLEO
She did notice you. She always said
what a fit body you had.
Peter smiles.
CLEO (CONT'D)
She knew you liked her. She didn't
think you'd die for her but she knew
you liked her.
PETER
I haven't died yet.
CLEO
You're not going to die.
PETER
Maybe not.
Cleo reaches over and kisses Peter on the
forehead.
PETER
What was
CLEO
I know I'm not her, but you deserve
it. You put your life on the line for
her.
PETER
Didn't do much good did it? I killed
four people. I could have let him go
but no. I had to play the hero.
CLEO
Why?
PETER
Because I had nothing left to live
for. She was my reason for getting up
in the morning.
Cleo smiles. She touches his cheek and rubs it.
CLEO
I have to go now. I just thought I'd
come and say hi. Maybe give you a blow
job. I know what you guys are like.
You can't move and you're exploding
inside.
Peter smiles. Cleo kisses him on the lips and
stands up. She walks away. But before she does:
PETER
I'm going to have to take you up on
that offer.
Cleo laughs.
CLEO
Maybe another day.
Cleo disappears out of the door. Peter watches
her. He stops smiling and relaxes back in his
bed.
FADE OUT:
1
136
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