JACARANDA BLUES
				    Written by
				  Mehreen Ahmed
			  Screenscript Consultant
				 Robert William Hult

Mehreen10@gmail.com 
rwhult777@yahoo.com
Registration Number: 1690926(AWGW)
Copyright©2013. This screenplay may not be used or reproduced without the express written permission of the author.

EXT.  TRAIN STATION MONTAGE – DOLLYSHOT - EARLY AFTERNOON

WE hear MUSIC, NUTCRACKER. 

LONGSHOT: WE SEE a busy day on a train station platform, one midsummer afternoon in 1986. It is a breezy, lazy day. Petals of Jacaranda and Poinciana drift in the air. Rows of them adorn both sides of the street, just the outside the station platform. With a roof over the platform and benches underneath, ATM machines, as well as newspaper stalls are located in many places. A ticket counter is just around the corner from the platform, with staff sitting behind it. 

A motley crowd of passengers, men and women of all ages, young and elderly are waiting around to board an after-noon train; while some read the newspapers standing, others just sit with a bored look on their faces. Women are dressed in short skirt, pants, men mostly in pants, gym pants and shorts. Some are talking on mobile phones, standing or sitting on the bench, yet others are seen buying tickets, at the counter. 

PULL IN ON a young woman, in a middle of the crowd waiting for the train as well. She is wearing a long, plain, full sleeve blue dress and a multi-colored bright scarf and open slippers. She carries a cotton bag.

PAN TO YOUNG WOMAN, RHONDA SMITH, who is about 24 years of age. She comes from a dysfunctional family of four. Not so much in the way of beauty, but she has a strong demure personality with shimmering straight black hair, left out; large brown eyes, full lips, fair skin, and slim, she is of medium height. 

LONGSHOT: FOLLOW RHONDA carrying books in her hand. She bites a corner of her lips, as she sits on the ledge of a bench and opens a book in the middle. 

INSERT: Virginnia Woolf’s MRS DALLOWAY. We see RHONDA holding it.

Suddenly train whistle sounds; she jumps up awkwardly gathering a pile of books; no time to place them back in her BAG; she rushes through the crowded station towards the train. 

CLOSE UP: SHOW that there is a sudden a clash with a person. She 
bumps into a stranger.

PAN TO CHRIS SAUNDER: He is a medical student training to be a doctor. He has blonde curly hair, bright blue eyes, fair skin and well built. Clean shaven with narrow square chin, he wears a ‘cotton on’ summer shorts and a hawaiin shirt, moccasin for shoes. FOLLOW CHRIS, as he meets RHONDA on the platform of the station; he bumps into her.

FADE OUT.
FADE IN.

EXT. TRAIN STATION – ON THE PLATFORM - AFTERNOON

LONGSHOT: WE SEE books barely balanced, some are under one arm and the others in each hand. Oblivious to everything around her, she collides full frontal into CHRIS; books go flying in all directions. Quietly, avoiding eye contact, she bends to pick up her books. 

SHOW that RHONDA mumbles. WE HEAR…,
			
		  RHONDA
Sorry Hi, I'm CHRIS,takes two to collide; I'm sorry too. 

  (Grimacing awkwardly)
																																FADE OUT.
FADE IN.

EXT. THE TRAIN DEPARTS WITHOUT HER - AFTERNOON

PAN DOWN TO RHONDA, who sighs and bends down to pick up her books. SHOW that she gives a sigh of exasperation and a shrug, as collects her books. CHRIS picks up a book as well and hands it to her. 
       CHRIS 
 (Grinning)
The next train won't be too     long; but say, are you in a hurry?

CLOSEUP: SHOW CHRIS, as he looks at RHONDA. She is enamored by his charm, but tries discreetly to hide it. She also tries to hide the overdue notice from the library. She puts the notice between one of her books.

		  RHONDA
Actually, I do have some time.
			(Smiling)
 	  CHRIS
Would you like to go for a      coffee? My shout.
(Smiles excitedly) 
 RHONDA 	
Oh, okay.
(Smiles wanly back)

  		FADE OUT.
FADE IN.

EXT. TRAIN STATION MONTAGE - DOLLY SHOT - AFTERNOON

SHOW that they head across the road towards the café. They look at either direction, before getting across. FOLLOW CHRIS and RHONDA to CAFÉ across the road.

										FADE OUT.
FADE IN.

EXT. CAFÉ MONTAGE – DOLLY CAMERA - AFTERNOON

LONGSHOT: A café is situated right across the station, among a row of shops. There is a butcher, vegetable green grocers, a petrol pump and a Hungry Jacks. Cars are parked up in front of the shops. 

SHOW men and women in skirt and pants T-shirts and top buying meat, vegetables and fruits from the shops. They are also walking on the pavement, as RHONDA and CHRIS walk over. 

A strand of RHONDA’S hair sweeps across her face in the breeze. SHOW that CHRIS sees it and smiles. RHONDA becomes self-conscious and tries to move the strand out of the way. Then they step together into a café called CORNER’S CAFÉ.

FADE OUT.
FADE IN.

EXT. CORNER’S CAFÉ - AFTERNOON

LONGSHOT: CHRIS opens the door for RHONDA to get in first. He is polite and gentle-manly. They enter and take a seat each, at a table. 

PAN OVER TO WAITRESS: SHOW a waitress, as she appears in jeans and a knotted white and black top blouse to wait on their table. She stands in front of them smiling, jotting down the order. They order two cups of coffee.

CLOSEUP: Both quiet, they appear to be uncomfortable. SHOW that they look away from each other and look outside the café, as no one knows who should break conversation ice. However, CHRIS talks first.

 CHRIS
Well, You read quite a bit, 
don’t you?
 (Amused) 
   	 RHONDA
  A bit,yes.
 (Nodding slightly)
    	  CHRIS
  Me too!
(Laughs silently) 
    	  RHONDA
  Really?
(Smiles broadly)
    	  CHRIS
  What’s your favourite 
  genre?
(Smiling)
  RHONDA
  Classics. How about you?
(Quietly)
			          FADE OUT.							
FADE IN.

EXT.  CORNER CAFÉ – OBLIQUE TWO SHOT - LATE AFTERNOON				

CLOSE UP: RHONDA and CHRIS signal the waitress. The same waitress takes order again and this time it is salad. SHOW each having a bowl of lettuce, tomato, egg and cucumber. They are also sipping coffee. CHRIS runs a nervous finger through his hair. He clenches his jaw muscle. One cup of coffee leads to another. 

SHOW MANY CUPS OF COFFEE.

    	  CHRIS
I’m fond of science fiction. 
But, I have read The Animal Farm.
	(Smiling engagingly)
    	  RHONDA
Yeah, I read it as well…,an astute piece of work, I’d say.
(Corners coining in smile)
			   	  CHRIS
It’s great literature! 1984 is fantastic too.
	(Enthusiastically)
			    	  RHONDA
God! Those awful     surveillance…. 
	(Rolling eyes) 
			       CHRIS
Yeah, pretty awful! They even  saw them making love!
(Shrugging, with both fists open in the air) 
                           RHONDA
It was such a gripping                    story…,just couldn’t stop reading it.
(Smiles raising her eyebrows)
   CHRIS
To change a subject a bit, I saw a BBC production of   Brideshead Revisited. Did you see it?
(Smiling)
				  RHONDA
No, but I have read the book. 
			(Pause)
I really liked Charles’s          relationship with Julia. 

   			FADE OUT.

FADE IN.

EXT. CORNER CAFÉ - OBLIQUE TWO SHOT - LATE AFTERNOON			

CLOSEUP ON CHRIS AND SHOW that he is looking at RHONDA intently. She is clearly uncomfortable. She looks away and puts a hand on the back of her neck and presses it slightly. His gaze softens, as he continues to look. RHONDA blushes and carries on with her story. She AVOIDS making eye contact with CHRIS.

																					FADE OUT.
FADE IN.

EXT. CORNER’S CAFÉ - LATE AFTERNOON

PAN ACROSS: WAITRESS comes to the table again. PAN UP TO the WAITRESS, as both CHRIS and RHONDA look at her. The waitress clears the table. SHOW that she turns and looks at them smilingly. She brings them more coffee. CHRIS speaks absent-mindedly.
						
  CHRIS
 I loved the atmosphere, 
 Oxford and all that.
					(Shrugging)
					      RHONDA
 Yeah, nice. What did you 
 think of Charles’s 
 relationship with Sebastian?
	 (Smiling)
					     CHRIS
  Julia’s brother,right?
					(Nodding)
					    	RHONDA
				  Yeah.
(Slight nod)
		CHRIS
I thought it was a bit strange. 
			       Did he love him or not? 
					(Shrugging)
					     RHONDA
  Hard to tell; they were in their 
  teens. Young people do try out things, 
  you know.
(Smiling)
					    	CHRIS
				  Yeah, or afraid to come out, 
maybe. Given the time….
(Quietly)

                     				FADE OUT.

FADE IN.

EXT. CORNER’S CAFÉ – AFTERNOON					

CLOSE UP: RHONDA looks outside. There are only four people left in the coffee shop, CHRIS, RHONDA and two staff. One STAFF is MOPPING THE FLOOR, while the other STAFF closes the door and turns the closed sign to face the street. 
						  RHONDA
Goodness me! Look at the time. I really must go. Thanks for everything. I really enjoyed chatting with you.
	(Getting up hastily)
													FADE OUT.
FADE IN.

EXT. CORNER’S CAFÉ DAY – LATE AFTERNOON

LONGSHOT: WE SEE RHONDA standing by CHRIS, who is scribbling his name and number on a napkin and stuffing it into her hand. He is also taking RHONDA’S land line number (Mobile phones had not been invented then). 
							
 CHRIS
Call me.
			(Smiling)
				RHONDA
		  Sure.
			(Unsure)
				CHRIS
		  Promise?
(Smiling)
				RHONDA
		  Promise.
(Smiling)

	FADE OUT.
FADE IN.

EXT. OUTSIDE THE CAFÉ – DOLLY CAMERA - LATE AFTERNOON				

They walk out together. FOLLOW CHRIS and RHONDA back into the train station. They enter the train station and walk up the stairs onto the platform. Waiting for the train, they decide to part.

  RHONDA
Goodbye CHRIS.
(Smiling wanly)
  CHRIS
 Bye. See ye’.
(Smiling enthusiastically)

  	    				FADE OUT.
FADE IN.

EXT. STATION PLATFORM - DOLLY CAMERA - LATE AFTERNOON			

RHONDA starts to head off towards the platform bench away from CHRIS. FOLLOW CHRIS and SHOW RHONDA smiling, as they catch the train together. FOLLOW CHRIS and RHONDA, boarding the train together. They look for seats and find one side by side. The train chugs along and RHONDA stands up to leave. She walks past CHRIS and smiles at him. Then they say good bye to one another. 

RHONDA gets off. She turns around to see CHRIS looking at her and rubbing a tongue over his dry lips.

         FADE OUT.
	FADE IN.

EXT. PLATFORM - DOLLY CAMERA - EVENING			

CLOSE UP: FOLLOW RHONDA. She gets off and soon reaches the street, where RHONDA’s mother’s house is located.

    FADE OUT.
FADE IN.

EXT. NEIGHBOURHOOD STREET - EVENING

SHOW that RHONDA looks back, as though she expects to see CHRIS on the street. She can’t see him obviously, but squints and arranges her hair. 
		
		FADE OUT.
FADE IN.	

EXT. RHONDA’S MOTHER’S HOUSE - DOLLY CAMERA - EVENING

LONGSHOT: WE SEE RHONDA’S mother’s house from distance. It is on a shabby street, in a cheap suburb called INALA. A one-storey small three bedroom brick house, it is quite dilapidated that needs to be fixed up. There are nice trees in the neighborhood, but no garden in their premises. It has a driveway, and dry weed with a bit of sporadic grass, but mainly just unkempt weed.

FOLLOW her, as she reaches her mother’s house and stands silently for a few moments. She enters the house and looks around the shabby open plan, kitchen come living area. Her two sisters are watching TV on an old, faded, brick coloured sofa bed. 

The kitchen has an old chipped off bench top, an old stove and a wooden table, with six dining chairs and a small second hand fridge from Frigidaire. There is also a phone attached to the wall. RHONDA stands by the phone.

									FADE OUT.
FADE IN.

INT.YOUNG RHONDA'S MOTHER’S HOUSE - EVENING

PAN OVER TO CLARA SMITH and EMILY SMITH. CLARA is 20 and has short straight black hair, firm thin lips, masculine built. She wears a size 12 dress and has beady, brown eyes. Fair, stern faced of medium height, she is a stocky girl; second in line among siblings, CLARA is cold, reserved and calculated.

EMILY is 18 and bony. She has curly hair with big, sickly soft, brown eyes. She is anorexic but soft-hearted.

SHOW CLARA wearing a pink T-shirt and shorts, while EMILY is in jeans and a white top, nothing too fancy.

RHONDA
 Hi,
					(Smiling cheerfully)
						CLARA
				  Hi, what’s up? 
				  You look radiant.
					(Frowns slightly)

CLOSE UP ON CLARA, who raises an eyebrow. The hard phone suddenly rings, which RHONDA picks up instantly, off the KITCHEN wall. 

SHOW RHONDA, picking up the phone and turning her back towards the sisters, while she speaks. Sisters give each other, a look of surprise and a shrug. 

									FADE OUT.
FADE IN. 

INT. RHONDA’S MOTHER’S LIVINGROOM-EVENING

PAN UP TO sisters looking eagerly at RHONDA, while she talks. CLARA smiles sheepishly and EMILY grins showing all her long teeth. RHONDA ignores them and continues to talk. We don’t hear the conversation, because it is spoken so softly, that it’s almost inaudible. After she finishes, RHONDA hangs up the phone and turns around to face the sisters.
						  RHONDA
I met someone really interesting.
(Cheerfully)

EMILY is curious and wants to know more. Her mouth is open.					
						
						   CLARA
 No kidding….
				  (Squinting eyes,looking skeptical)
						RHONDA
				  Nope.
						     CLARA
				  Tell me.
						  RHONDA
Well, there’s nothing to tell…, just met him.

RHONDA laughs, as CLARA pesters RHONDA to tell her more. She looks at RHONDA in anticipation and holds a hand out to her.
						
 CLARA
Please RHONDS
				  	(Pestering)
		 							  RHONDA
Okay, if you promise not to 
       tell anyone; but not today. 
Where’s mum?
 	(Naturally)

RHONDA turns around and asks EMILY again. EMILY looks quizzically at her.
				
                                  RHONDA     
Where’s mum?
				   			(Quietly)

CLARA looks at EMILY and both shrug. 

										FADE OUT.
FADE IN.						

INT. RHONDA’S BEDROOM - NIGHT   

RHONDA returns to her room. Her mood is suddenly turned off. SHOW that she turns on the clip on clip off table lamp. Then, she changes into checked pyjamas and white shirt and goes to bed with a book. Hours pass, and it is nearly midnight. She hears a car, parked on the driveway. There’s laughter. 

										FADE OUT.
FADE IN.

INT. RHONDA’S BEDROOM - MIDNIGHT

RHONDA comes out of her room and walks along the narrow, dimly lit hallway, which has warm coloured walls on both sides. Three poster pictures of a park, a lake and sky, also hang from picture hooks, on that wall. 

RHONDA PROCEEDS carefully and gets to the door; she puts her young smooth hand, on the door knob. She opens it just a little and sees a man and a middle-aged woman, enter the house. The woman looks at her and stiffens.

PAN TO RUBY SMITH: A middle aged woman, with short black hair and hot red lipstick appears on the scene. Her name is MRS RUBY SMITH. She has a mini black skirt on and a tight form fitting red blouse. Plump, and short, the tight blouse outlines her protruding pouch, particularly in those high heeled shoes. She looks slightly drunk. This woman is their mother. 

PAN TO BOB CARY. This man is unknown to RHONDA and is RUBY’S boyfriend. His name is BOB. Bald, stout and short, he has thick lips, snub nose and a wide mouth. There are some wrinkles along his cheeks. Middle-aged as well, he is wears a white n’ blue striped shirt and grey polyester full pants; the shirt is tucked in. He also, wears a belt and black polished work boots. 

										FADE OUT.
FADE IN.

INT.THE HALLWAY - DOLLY CAMERA - NIGHT

FOLLOW RUBY AND BOB, as THEY SEE RHONDA. RUBY is embarrassed. SHOW RUBY’S embarrassment. SHE IS JITTERY and LOOKS at BOB nervously. BOB is quiet and sullen.
						  
						  RUBY
 How come you’re still…?   
	(Laughing nervously)
						  RHONDA
 Up? Good night, mum. 
(Archly)
 I didn’t realize you had a friend. 
 I don’t recall meeting him.
						  RUBY 
 Oh! Where are my manners…? 
(Hesitatingly)
You…,haven’t met him. This is Bob.
		  RHONDA
				 Whatever….Goodnight mum, Bob.
					(Scornfully)
										FADE OUT.
FADE IN.

INT.  RHONDA’S ROOM MONTAGE - MIDNIGHT

CLOSE UP ON RHONDA, returning to her room and shutting her door. However, she waits by it, to hear RUBY and BOB’s conversation. She hears…
							
						 RUBY(V.O)
  Not Tonight
(Harshly) 
										FADE OUT.
FADE IN.

INT-THE HALLWAY-NIGHT

LONGSHOT: WE SEE RUBY tiptoeing to her room. 

                    						FADE OUT.
FADE IN.

INT.  RHONDA’S ROOM - NIGHT

CLOSE UP ON RHONDA, as she turns towards her bed. RHONDA’S room is decorated with old second hand furniture; a single bed near an old wooden window, a table, a wooden chair, a shelf full of books and a writing desk, she stands in front of the mirror, attached to her wardrobe on the wall. She picks up her book and leafs through a few pages of Mrs Dalloway. She can’t concentrate tonight. 

SHOW RHONDA’S IRRITATION, FROWN and GRIMACE. Clearly, she objects to RUBY’S promiscuous behavior. 
						
						RHONDA
Who the heck is BOB? 
Whatever happened to JIM?
(Whispering and disgruntled)

PAN TO GREG SMITH, who is RHONDA’S dad. He is also tall and rugged looking. But his health is failing. A drunkard and a mad punter, he is an abusive husband.

      								FADE OUT.
FADE IN.

INT. RHONDA’S ROOM - MIDNIGHT

WE SEE that she puts her book away and turns off the light. 
											
										FADE OUT.
FADE IN.

INT.  KITCHEN - EARLY MORNING 

PAN TO DAVID SMITH, who is RHONDA’s brother. He is 16 and impressionable. Something is wrong with him tonight. SHOW that he enters the kitchen and walks over to the counter-top. 

A jar is placed on the counter-top, which contains milk money. WE SEE DAVID, OPENING the jar. LOOKING AROUND, he checks, if anyone can see him, then he quietly STEALS the money. Putting it in his pocket, he gingerly leaves the kitchen. 

WE SEE an empty kitchen. DAVID comes in a little later with a note in his hand. SHOW DAVID leaving the note on the table, addressed to RUBY and then going out of the kitchen. 

										FADE OUT.
FADE IN.

INT.  RHONDA’S ROOM-DOLLY CAMERA - EARLY MORNING

CLOSE UP: RHONDA gets up to go into the kitchen. She has a headache. Show that she touches her temples and massages them. FOLLOW RHONDA into the kitchen. She finds RUBY there, in her pyjamas, with a letter in her hand. Sitting at the table, looking clearly distressed, she looks up, as RHONDA enters. 

SHOW RHONDA filling up a glass, with sink-water and getting headache pills from the brown lanolin cupboard, which is chipped at the corners.
						
					 	  RUBY
  DAVID’S not in his room. 
(Anxiously)
  Has he not come in from 
  work?

SHOW RHONDA LOOKING worried. She FROWNS, biting the corner of her lip.
						
						 RHONDA
I wasn’t at work today. But CLARA 
and EMILY are home. Why wouldn’t he be?
					(Worried and frowning)
 RUBY
 Dunno. I’m worried for him.
			(Calmly)
						RHONDA
 What’s worrying you?
 RUBY,
 Him…, becoming a punter.
RHONDA
 Well, he did steal money from the 
 till. Uncle TOM didn’t press charges.
			(Calmly)

PAN TO: TOM SMITH, owner of a fruit and vegetable shop, where RHONDA and her siblings work, he is their father’s brother, an uncle. He is medium height and a well built bloke, with a French beard.  
						  
						RUBY
It’s in his blood. He’s got
bad blood. 
  (Grimace)
    RHONDA
  Bad blood? Do you think he 
       takes after daddy?
		   (Quietly)
			RUBY
Possibly.
					(Grimly)

										FADE OUT.
FADE IN.

INT. KITCHEN - EARLY MORNING 	

  RHONDA
	What should we do then?
	(Calmly)
						  RUBY
  Dunno, keep a close eye maybe. 
  He’s sixteen and vulnerable.
(Quietly)
						  RHONDA
				  Why did you go to his room?
    (Curiously)
						  RUBY
       The milk money is gone! 
  To ask him if he took it.
	   (Agitatedly)

CLOSE UP: RUBY points at the jar on the counter-top.
						
 RHONDA
Even if he did, he wouldn’t 
admit it. Would he?
			(Calmly)
 RUBY
No, but I had to ask. That was  
pay for the entire week…,hav’ asked 
for a raise. But not lookn’too good.
      (Nervously)
People don’t hire cleaners anymore. 
They clean their own home. A lot of us’re out of job.
     (Agitatedly)		
   			      RHONDA
 I’ll keep an eye out for him 
 in the store.
	(Smiling sadly)
 God knows you’ve had your 
 share of pain, your share of trouble. 
 Let us, take the burden off you 
 now.
RUBY
 What do you mean?
 (Looking curiously)
DISSOLVE TO:		

INSERT FLASHBACKS ON GREG BEATING RUBY-DOLLY CAMERA-EARLY MORNING

PAN TO GREG SMITH. 40 years of age, GREG is RHONDA’S and her sibling’s dad and RUBY’s husband. With sharp, good-looking features, he is dark and clean shaven from Greek background. Of medium height, GREG is slim built, almost lanky.

A drunkard and a mad punter, GREG is also an abusive husband.

										FADE OUT.
FADE IN. 

INT.  RUBY’S BEDROOM - DOLLY CAMERA - EARLY MORNING

CLOSEUP TO a Young RUBY in bed. She is in deep sleep. It is two in the morning. There’s a faint knock on the front door. No one hears it. The knock is now louder. RUBY wakes up with a startle. In the dark, she waits, until there is another knock. This time she makes an attempt to get out of bed. She turns on the CLIP ON, CLIP OFF bed lamp placed on the bedside table, beside her double bed. Struggling to put her dressing gown, over her long nightie, hanging by her bed, she finally gets up with a deep scowl between her brows; she slides her feet into her bed-room slippers and scuffles out of the room towards the main door. 

FOLLOW RUBY: She gets out of her room, walks down the dimly lit hallway, and opens the front door. She sees a half drunken man, yelling at her, as he enters the house, almost pushing RUBY out of the way. He smells badly and RUBY turns her face away in disgust.

						  GREG
What the hell…? What took you 
so long?
(Scowling)
		  				  RUBY
  You have any idea what time 
  it is?
	(Frowning)

 									FADE OUT.
FADE IN.

INT.  THE HALLWAY - EARLY MORNING		

CLOSE UP ON GREG, who is stone-drunk. He turns around and gives her a punch in the nose. RUBY falls on the floor with nose bleed. She cries.
						  RUBY
	Aww, you bloody moron! 
					(Shrieking)

     								 FADE OUT.
FADE IN.

INT.  RHONDA’S ROOM - EARLY MORNING

PAN TO: Seven year old RHONDA. She wakes up in her room suddenly; it is dark around her and she is afraid. But, she does not turn on the light, as she continues to hear her parents’ brawl.
									     FADE OUT.
FADE IN. 

INT.  THE HALLWAY - EARLY MORNING

LONGSHOT: GREG pulls her up from the floor and warns her, with an index finger. WE SEE that GREG picks her up roughly and walks towards the bed-room. 

										FADE OUT.
FADE IN. 

INT.  RUBY’S BED-ROOM - DOLLY CAMARA - EARLY MORNING

FOLLOW THEM into their bed-room. He throws her into the bed. Then, he takes his belt off, from the waist. RUBY is afraid.

SHOW THAT, she puts a hand over her face and screams. GREG gives her two lashes on the leg. RUBY screams a bit more. Then he pulls her nightie up and rapes her. SHOW RAPE. Once he is finished with her.

						   GREG
I’m hungry! Go make me some 
pasta! Fresh.
					(Ordering) 				
										FADE OUT.
FADE IN.

INT.  RUBY’S BEDROOM - EARLY MORNING

LONGSHOT: WE SEE that RUBY gets up. She pulls her nightie down, as she stands by the edge of the bed. Then she runs a hand through her hair.

PULL IN ON little RHONDA, who is still in her room. She is in her pyjamas. Somehow she gets the courage to get out of bed, and tiptoes to the door, opening it quietly. The light is still on, in the kitchen, where she sees RUBY making preparation for fresh pasta, from scratch, by kneading the dough. 

SHOW that RHONDA is frightened. She has a pale face and hears a snore, coming from RUBY’S bedroom; turning around, little RHONDA sighs, as she gets back to bed. She holds on to her stuff toy for dear life, which she cuddles, chanting, ‘we’ll be fine. We’ll be safe.’

SHOW an old rag doll.

								GO TO BLACK.

INT.  RUBY’S KITCHEN - EARLY MORNING

PAN TO: Older RUBY AND older RHONDA, sitting at the kitchen table talking.

					

 	   RUBY
  Well, you do remember quite a bit. 
  Don’t you?
			(Sighing)
					 	  RHONDA
				   Yeah, I do. I don’t understand,
        why You still stayed? Why? 
        Why did you not leave him?
	  		(Earnestly) 
					 	   RUBY
 Because you must sleep 
 in the bed you make.
    	(Sadly)
					      RHONDA
	 No, not necessarily.
	 We could have lived in a flat, 
	 just the two of us. But no, you 
 had to have EMILY, CLARA and then 
			  DAVID.
		(grimacing)

										FADE OUT.
FADE IN.

INT.  KITCHEN - EARLY MORNING

CLOSEUP ON RUBY, who is quiet. She fidgets, fingers in a knot….				
						  RUBY
	I could have, but I was afraid.
					   (Fidgeting)
						 RHONDA
				  Afraid of what?
						 RUBY
				  Afraid of being on my own….
				  (Arms crossed rigidly over her chest)
  I guess.
    	 (Nervously)

CLOSEUP ON RHONDA. She is tired and yawns.
						
						RHONDA
	I’m tired mum,
				  Goodnight.
			(Yawning)
					 	 RUBY
				 Make a good life for yourself
				 RHONDA. Don’t make the mistake 
 that I made. Goodnight. Sleep 
 tight.
	   (Quietly) 

FADE OUT.
FADE IN.

INT.  RUBY’S KITCHEN MONTAGE - NIGHT 

LONGSHOT: RHONDA gets up. She leaves RUBY in the kitchen and goes to her room. She shuts the door behind her with RUBY doing the same. 

SHOW the kitchen, as RUBY AND RHONDA walk out of it. The paint is peeling off at the ceiling, on one side of the wall. 

									FADE OUT.
FADE IN.

INT.  RHONDA’S ROOM - DAWN

RHONDA climbs into bed and goes to sleep covering herself with a blanket, all the way to the neck. PAN UP TO the sky, as the day breaks into a pale morning, with the first sun’s streak, red across the sky. 

									DISSOLVE TO:

INSERT FLASHBACK ON RHONDA’S DAD LEAVING THE FAMILY

RHONDA is seven. She wakes up in the middle of the night, one day and realizes that the police are in the house; dad has gone missing. 

SHOW the police, as RUBY reports that GREG has not come home. Since then, he was never found. He left them without, not so much, even a word.

								  GO TO BLACK:

										FADE OUT.
FADE IN.

INT.  KITCHEN - MORNING

LONGSHOT: ON EMILY and CLARA. They are having breakfast in the kitchen, the next morning, when RHONDA shows up half asleep, in her pyjamas, while DAVID is snoring in his room. 

PAN UP TO RHONDA ,as both sisters look at her.
					
 RHONDA
  Hey,
(Cheerfully)
						   EMILY
	 Hey, you’re up early?
					(Surprised)
						  RHONDA
Yeah, Uncle Tom said there’s 
extra work to be done at the store. The delivery trucks are coming early.                     when’re you guys going?
	(Naturally)
 CLARA
We’ll go when DAVID wakes up. 
Uncle Tom will need us too, 
to put the heavy boxes away on 
the shelf. EMILY, DAVID and I will 
catch up soon. You go on now, 
if you like.
(Shrugging)
 EMILY
  It’s pay day today! 
  I am going shopping after work. 
  Care to come along RHONDS?
(Excitedly)
						 RHONDA
  No, I’m afraid not. 
  I won’t be able to, 
  not tonight.
     (Smiling) 
	     CLARA
				  Where to RHONDS?
					(Mysterious Smile)
						RHONDA
  Going out to dinner, 
  with a friend.
 	(Cheerfully)

CLOSE UP: TO sisters looking at RHONDA suspiciously. RHONDA gets up from her chair and proceeds towards the bathroom.

									FADE OUT.
FADE IN.

INT.  SHOP OFFICE - MORNING

CLOSEUP: ON RHONDA, who is seated in an office chair, with Uncle TOM. He is reading a document standing by her desk, while RHONDA waits looking up at him. Suddenly, the phone rings and she gets up to pick it up.
						  RHONDA
Hello
					(Naturally)
						MALE CALLER (V.O)
				  Is Tom there?
					(Loudly)
						 RHONDA
				  May I know, who this is?
					(Calmly)
					   MALE CALLER(V.O)
				  Sure! It’s TONY.
					      RHONDA
				  Just a minute.
					(Taking a breath)

										FADE OUT.
FADE IN.

INT.  SHOP OFFICE - MORNING

CLOSE SHOT ON RHONDA, as she talks on the phone. She hands over the receiver to TOM, who has now taken the phone from her. It’s his gay lover. We hear their conversation, but don’t see him. 
						   
						  TOM
	Tony! What’s up man?
					   (Excitedly)
						 TONY(V.O)
 			 Are you free tonight? I’d 
				 like to come over, around six.
    (Pause) 
Why not, have dinner together? 
I’ll cook. 
										FADE OUT.
FADE IN.

INT.  OFFICE-DOLLY CAMERA - MIDMORNING	

CLOSE UP: ON RHONDA, who doesn’t wait to hear the rest of the conversation. She leaves the room, as she over hears the last bit,”I love you too”. 

FOLLOW RHONDA, around the shop. She sees DAVID stacking up the boxes on the shelf, in boxer shorts and a T-shirt. EMILY and CLARA are working at the till, serving customers. They are in jeans and T-Shirts as well. The vegetable shop is full of fruits and vegetables, of all kinds. She smiles at them and goes to the back of the shop, where her desk is. 

SHOW RHONDA, taking a letter out from the drawer reading it. It is a resignation letter. She is quitting her uncle’s vegetable store and has applied for an admin job at Mater hospital. Taking the letter to Uncle TOM’s office, she leaves it on his desk, as he is not there. 

SHOW an ordinary shop office, with a work desk, chair and a filing cabinet. 

RHONDA leaves early. On her way, she stops shortly, to speak to CLARA. SHOW RHONDA standing on the other side of the till, as she speaks to CLARA. CLARA, avoids making eye contact and looks away in the direction of the vegetables being stacked, as she speaks to RHONDA.
					
						RHONDA
 I need to go home early. Make sure, 
 you take DAVID home with you.
		  (Indifferently)
						 CLARA
				 When will you be back? EMILY threw	
 up quite a bit after breakfast today. 
 She binged again.
			   (Calmly)
								FADE OUT.
FADE IN. 

INT.  SHOP OFFICE - MIDMORNING

CLOSE UP: ON RHONDA looking concerned. SHOW that she cares little today, as she waves her hand flippantly up in the air.
						  RHONDA
				 Don’t worry! She’ll be fine.
	 See you soon. I’ll see you home.
   		(Cheerfully)

										FADE OUT.
FADE IN.

EXT.  BUS STOP - DOLLY CAMERA – MIDMORNING 

FOLLOW RHONDA that she leaves the shop and does so in a real hurry, but does not go home. Instead, she takes a bus to the hospital. SHOW MATER HOSPITAL. 

										FADE OUT.
FADE IN.

INT.  RUBY’S HOME - DOLLY CAMERA - EVENING

CLOSE UP: WE SEE RHONDA trying out dresses. She stands in front of her closet mirror and looks at the few dresses that she has. SHOW few dresses in the closet. In a couple of hours CHRIS will arrive. RHONDA runs a nervous finger through them and checks her wrist watch. Sighing heavily, she picks a pink dress with a low neckline. 

WE HEAR…
					
       	RHONDA 	
      This will have to do!
	  (Murmuring emphatically)
							
							FADE OUT.
FADE IN. 

INT.  RHONDA’S ROOM - EVENING

CLOSE UP: ON RHONDA, who hears a car stop on the driveway. There is a knock on her door. Her sister CLARA enters.
						  
						 CLARA
There’s someone at door for you. 
He’s handsome. Who’s he?
	(Curiously) 
  Are you two going out?
						 RHONDA
  Not yet. I’ll tell you all 
  about it, when I get back; 
  wish me luck, for now.
	(Smiling)
						 CLARA
Just be careful. You don’t want to 
  end up like mum and dad.
   (Worried, frowning)
						RHONDA
				  Don’t worry! I Won’t.
					(Calmly)

           							FADE OUT.
FADE IN. 

INT.  RHONDA’S ROOM - DOLLY CAMERA - EVENING

CLOSE UP: RHONDA walks past CLARA. She is anxious. SHOW that she bites the corner of her lips. FOLLOW RHONDA walking past CLARA. She gets out of the door and holds her breath, as she greets CHRIS at the door. 

CHRIS is standing there, grinning. He gives RHONDA a peck on her cheek, and ushers her into the car. He opens the door of his green Toyota Sedan for her to get in.
						 RHONDA
	Thanks!
  (Smiling)
					       CHRIS
				  Pleasure’s all mine.
					  (Amused)
									FADE OUT.
FADE IN.

INT.  IN THE CAR - NIGHT

CLOSE SHOT: Without a word, he walks over and enters from the other side. RHONDA can’t take her eyes off CHRIS, as she looks at him, from the car. He gets in and puts a nice music on, MOODY BLUES, JAZZ. He turns on the ignition and puts the seat belt on. RHONDA does the same. The car starts to roll out of the spot slowly. He looks at her, from time to time, while he converses. And so does RHONDA, with a coy smile.
						   
						  CHRIS
Do you like Jazz?
(Cheerfully)
						 RHONDA
				 I love it. Where’re we 
				 going?
						(Happily)
						  CHRIS
				 Where do you want to?
						(Happily)
						 RHONDA
				 How about the valley? 
(Pause)
Fish n’chips.
 CHRIS
Sounds great!
(Cheerfully) 
Do you like Mexican?
						RHONDA
				  I don’t know. 
(Reluctantly)
I’ve never had Mexican food.
						CHRIS
				  Would you like to try some?
(Smiling)
						RHONDA
				  Why not?
						(Smiling)

										FADE OUT.
FADE IN. 

INT.  THE CAR - EVENING

CLOSE UP TO CHRIS, who senses RHONDA’S reluctance. He looks at her, from the corner of his eyes and laughs softly.
   				   	 CHRIS
				  Alright, we’ll have fish n’chips. 
If that’ll make you happy.
	(Beaming happily)

										FADE OUT.
FADE IN. 

INT.  THE CAR - EVENING

WE SEE RHONDA sighing. CHRIS hears RHONDA’S sigh of relief. He wants to make her feel comfortable. She feels the need to tell CHRIS, about her family. 

In a dilemma, SHOW that she fidgets. However, she doesn’t want to spoil the evening either. They arrive and CHRIS parks his car on the road. 

									FADE OUT.
FADE IN.

INT.  RESTAURANT MONTAGE - DOLLY CAMERA - EVENNG

FOLLOW RHONDA and CHRIS, as both get out of the car and walk slowly towards the restaurant. It is crowded and has a nice balcony. Waiters and waitresses are bustling everywhere. Crowd is chattering noisily, so much so, that music is hardly audible. There are tables both in and outside the restaurant. They manage to find a nice table for two, in a corner against the wall in the balcony. Through the crowd, they walk towards the balcony. SHOW CHRIS holding on to RHONDA’S elbow, as they walk. RHONDA is a bit self-conscious. A shy smile, continuously playing on her lips.
	
																				FADE OUT.
FADE IN.

INT.  RESTAURANT - EVENING

WE SEE a balmy evening and a dimly lit restaurant, with candle lights burning on each table; they sit opposite to each other. CHRIS starts off the conversation on a common topic.

																					FADE OUT.
FADE IN.

INT.  RESTAURANT - EVENING

						 CHRIS
I bet you didn't know that George Orwell’s Animal 	Farm, was not only 	rejected, but harshly. An 	American publisher told 	him that they couldn’t publish this book, because animal books don’t sell in America.
	(Gleefully)
				 RHONDA
		Are you kidding…?
				(Surprised)

CLOSE UP: RHONDA looks in awe, taking in every word that CHRIS is saying, as they continue to change topic of discussion.

         CHRIS
And part of our medical training is that we have to travel and…,0 hey, I'm sorry. I really am monopolizing the conversation. I can be a bit chatty; tell me about yourself, please.
		(Smiling)
				 RHONDA
I don't mind at all; your        story is much more    interesting than mine and     well, I don't really have that much to say.
	(Laughing)
				  CHRIS
		  Surprise me, I'm waiting to 		  hear it.
			(Enthusiastically)
				  RHONDA
	 Would have loved to study       literature at university; my English teacher always said I would be good at it, but I couldn't afford to. My dad took off a few years ago and my mother works, as a cleaner and has struggled to bring….  
	  (Hesitatingly)
	
She stops. Words suddenly freeze in her mouth.
												                    															FADE OUT.
FADE IN.

INT.  RESTAURANT - NIGHT

LONGSHOT: WE SEE that they carry on talking and talking like long lost friends. They've eaten their dinner and dessert and the plates have been cleared. They are now sipping coffees and the once full restaurant is now empty; they are again the last ones left. RHONDA feels a bit lighter to have shared some of her family problems. However, it is getting late and she feels the urge to leave.
				
				 	 	  RHONDA
CHRIS, can you take me home?
					(Abruptly)
						  CHRIS
				  What’s the rush?
					(Surprised)
						  RHONDA
				 I promised CLARA that I’d be
				 home soon.
	(Softly)

										FADE OUT.
FADE IN.

INT.  RESTAURANT - NIGHT

RHONDA appears to be thoughtful. She hears CLARA cautioning her IN HER MIND. 
						
						CLARA (V.O)
RHONDA SMITH, you must not rush into 
this relationship. CHRIS is charming 
and YOU like him, but GIVE YOURSELF 
more time.  

      FADE OUT.
FADE IN.

INT.  RESTAURANT - DOLLY CAMERA - NIGHT 

CLOSEUP: RHONDA looks away, frowning. Her lips are set. CHRIS looks at her, but he doesn’t push it. A smile appears in the corner of his lips.  
						
	 CHRIS
Okay, if that’s what the lady wants.
	   (Playfully)

										FADE OUT.
FADE IN.

INT.  RESTAURSNT - EVENING

CLOSEUP: RHONDA returns with a jolt. She smiles back at CHRIS.  FOLLOW CHRIS AND RHONDA, as they get up to leave. CHRIS pays at the counter on their way out.

LONGSHOT: They return to the car. CHRIS holds RHONDA’S 	waist and she feels a tingling sensation down her spine. She shivers. CHRIS notices, and puts an arm around her, holding her closely. This is her first date. But she walks quietly to the car and does not encourage CHRIS. He drives her home slowly.  

SHOW, they are home. She is about to get out of the car. But she is held back. He suddenly holds her in a deep embrace. RHONDA is startled, but she likes the gesture; he kisses her. She is completely taken aback. SHOW that she does not lose her composure, nevertheless. Upon release, she speaks.
						  
						RHONDA
Thanks,for the dinner! It was great.
(Smiles)

WE SEE RHONDA is blushing. She lowers her gaze. CHRIS speaks softly into her ears.
						 
						  CHRIS
				How about tomorrow same time?
(Smiling and Looking)
						  RHONDA
				If it’s the same place, then I’ll 
				meet you after work.
						  CHRIS
				See you tomorrow, same time and place.
						  RHONDA
				Bye.
						(Smiling)
						  CHRIS
				Bye. 
						(Twinkle in the eye)

										FADE OUT.
FADE IN. 

EXT.  RUBY’S HOUSE DRIVEWAY - NIGHT

CLOSEUP: ON RHONDA getting out of the car and entering her house. She is in a cheerful mood, but something’s not right. The house is too quiet. Where is everyone? She sees DAVID in the kitchen. He is standing in front of the open fridge, looking for food. He doesn’t see RHONDA coming in.
						RHONDA
				  Where’s everyone?
 (Placidly)

	 										      																					FADE OUT.
FADE IN. 

INT.  KITCHEN - NIGHT

CLOSEUP: ON DAVID, startled. He looks at RHONDA turning around. There is a loaf of bread in one hand and butter dish in the other. Wearing a blue checked shirt and white shorts, his curly hair is disheveled, as always. His feet are bare.
						DAVID
				RHONDS, I didn’t hear 
you come in. You crept up 
on me.
						(Startled)
RHONDA
				Where are they?
				(Gesticulates with two hands)
						DAVID
Well, EMILY was quite sick. 
She had to go up to the hospital. 
(Calmly)
She nearly fainted in the toilet 
after a puke. 
RHONDA
				Who took her?
					(Frowning)
						DAVID
				Mum and CLARA did…,on an 
				ambulance.
					(Anxiously) 

INT.  KITCHEN - NIGHT
										FADE OUT.
FADE IN.

CLOSEUP: ON RHONDA and DAVID. She silently looks at DAVID and observes, as he puts layers of butter on his bread slices, eating them. Obviously, there wasn’t enough food for dinner.

INT.  RHONDA’S ROOM-DOLLY CAMERA - NIGHT
																					FADE OUT.
FADE IN.

FOLLOW RHONDA, as she goes to her room quietly. She gets changed into pyjamas and hangs up her dress in the closet. SHOW that she changes down to her slip, then, she goes to bed with her book, Mrs Dalloway. Moments later, she hears a faint noise; she gets up and out of bed,walks towards the bedroom door, opens it and sees that EMILY, CLARA and RUBY have returned. EMILY looks emaciated. They look at RHONDA.
				
  RHONDA
                How’s she doing?
			 			  RUBY
				 Better, but tired. We better put her 
				 to bed.
	(Nodding)

           							FADE OUT. 
FADE IN.

INT.  RUBY’S HOUSE - NIGHT

LONGSHOT: FOLLOW RHONDA, as she walks with them. They take EMILY to the room that she shares with CLARA. SHOW that RUBY leaves EMILY to her sisters; she gets out of the room. They help her to get changed to put her to bed. CLARA looks at RHONDA. 

Their room does not have much furniture, but just two wooden, old single beds and a closet against a wall beside the window. A bedside table, with a clip on, off, lamp is placed on the table.
				
 		  CLARA
				 How did your date go?
						(Curiously)
						  RHONDA
				 T’was good. We’ll talk tomorrow. 
				 I’m tired. 
						(Yawning)
											FADE OUT.
FADE IN.

INT.  EMILY’S ROOM - NIGHT

LONGSHOT: WE SEE that RHONDA yawns. CLARA looks at her plainly.
						  CLARA
				  Goodnight.
						(Plainly)
 RHONDA
				  Goodnight.
						(Plainly) 

										FADE OUT.
FADE IN.

INT.  RHONDA’S ROOM - DOLLY CAMERA - NIGHT

RHONDA leaves. FOLLOW her, as she goes back to her room and OPENS the window. HOT and MUGGY, she CLIMBS up to bed and turns OFF the table lamp on her bedside table. 

  									FADE OUT.
FADE IN.

EXT.  VALLEY MONTAGE - NEXT EVENING

CHRIS waits for RHONDA, the next day at the valley, near the fish and chips shop, among a row of other shops and restaurants. He sees RHONDA, approaching through a crowd. When she comes closer, he smiles and rises from her chair, with more smiles. Today, she is wearing jeans and a pink top.
		  
		  CHRIS		
Hi, I’ve been waiting for ever.
(Beaming)
						  RHONDA
				 Sorry.
(Awkward smile)
					       CHRIS
				  I took the bus today as well. 					  Parking is horrendously  						  difficult in the city.
						  RHONDA
				  It is, isn’t it? Well, 
				  how’s your day?
						   CHRIS
				  Pretty hectic. And yours?
						  RHONDA
				  I quit from my uncle’s 
				  vegetable shop today.
						  CHRIS
				   O, yeah?
						  RHONDA
 Yeah. I got the job at the MATER. 
 Better pay.
						  CHRIS
				   When do you start?
						  RHONDA
				   Next week.
						  CHRIS
				   Aha, shall we order?
						(Playfully)
						  RHONDA
Yeah, let’s order. I am a bit 
				  hungry.

           							FADE OUT.
FADE IN.

EXT.  RESTAURANT - EVENING

PAN TO: a WAITER, who comes to the table to take orders. The waiter appears in black pants and white shirt. His hair is black, from oriental origin, Bangladesh. He has a lovely smile and has big, black eyes and black curly hair. White teeth are flashing on olive skin. CHRIS notices that RHONDA orders the same, as last night. Fish n’ Chips, but CHRIS orders Burritos.
				 		  CHRIS
I like travelling.
						(Plainly)
						  RHONDA
				  Do you travel a lot?
					(Looking uncertainly)
						  
						  CHRIS
				  I don’t normally. But I prefer 							  to. It’s good for research and							  medical career.
						  RHONDA
				  And, where would you go,
				  if you had to?
						(Unsure)
						  CHRIS
                 No particular place. Most likely Europe.
						 RHONDA
Oh, I see.
						(Apprehensively)
										
										FADE OUT.
FADE IN.

INT.  RESTAURANT - NIGHT 

CLOSEUP: WE SEE that CHRIS looks at RHONDA admiringly. His gaze shifts up and down her eyes first, and then her lips, all the way down to her breasts. 
				
	  CHRIS
Pink, really suits you.
						(Gazing)
										FADE OUT.
FADE IN.

INT.  RESTAURANT - NIGHT 

 RHONDA
				 Thanks.
						(Blushing)
CLOSEUP: Their eyes meet over drinking glasses. RHONDA becomes self-conscious of CHRIS’S looks. She lowers her eyes. SHOW that CHRIS smiles.
							
		 CHRIS
				   How about a nightcap, after dinner? 
 My place. 
	(Earnestly)

RHONDA is aware of his searching looks. She cannot say no. Her heart beat is raised. SHOW that she is flushed with excitement.
						
 RHONDA
	I’d love to.
					    (Excitedly)
										FADE OUT.
FADE IN.

INT.  RESTAURANT - NIGHT

LONGSHOT: CHRIS AND RHONDA, finish dinner, as fast as they can. CHRIS pays the waiter an extra tip. WAITER looks happy. He puts his arms around RHONDA, in a tight grip and they walk together, towards the bus stand. There’s a full moon in the sky. They walk in silence. 

										FADE OUT.
FADE IN.

EXT.  BUS STOP - EVENING

CLOSE IN ON CHRIS AND RHONDA, who are sitting on the bench waiting for the bus. Suddenly, neither of them speaks. RHONDA, is looking up, at the full moon. SHOW, a full moon, like a golden disc.
												 									FADE OUT.
FADE IN.

EXT.  BUS STOP - EVENING

CLOSEUP: CHRIS moves his hand across and starts to stroke RHONDA's hand. Her lips widen into a smile and she slowly turns to look at him. He moves in and presses his lips gently at first onto RHONDA's and then much more passionately. RHONDA participates. 

										FADE OUT.
FADE IN.

EXT.  BUS ARRIVES - EVENING 

WE SEE that the moment is interrupted by the screeching of the bus, as it pulls up to the stop. RHONDA climbs up first, CHRIS stepping aside, but maintaining physical contact with her. CHRIS’S voice is hoarse suddenly.
						  CHRIS
Let’s go.
(Hoarsely)
  RHONDA
		 Sure thing! 
				(Eagerly)   
  									FADE OUT.
FADE IN.

EXT.  BUS - EVENING

PAN UP TO a storm brewing. They get off the bus. Holding hands and swinging them, they stroll slowly towards his apartment building. It starts to rain. They don't seem to care. 
										
										FADE OUT.
FADE IN.

INT.  CHRIS'S HOUSE - DOLLY CAMERA - EVENING

LONGSHOT: FOLLOW them, as they reach CHRIS’S flat. It is a one bed unit in St. Lucia within a block of building. They go up the stairs to flat number 4, drenched in the rain. 

He opens the door. Sparsely furnished living-room, it has a sofa, a dining table for two, with candles in a couple of candelabra and a huge book shelf full of medical books. Upon arrival, he turns on the floor lamp, then lights up the candles, with matches in a match box, stashed away in the corner of a shelf. 

										FADE OUT.
FADE IN.

INT.  CHRIS’S LIVING ROOM - FX:ANGLE 45% - NIGHT

PAN UP: TO RHONDA, who looks around and fixes her gaze, on the book shelf, as he takes off his wet shirt. Then, he stands up and rubs his hands together. He looks outside.

PAN UP to a FX:ANGLE 45% storm, which has started. SHOW lightning and thunder, cracking up in the sky. BLUE flashing lights pouring in the darkness of the night, as winds lacerate through the nearby gum trees.

 									FADE OUT.
FADE IN.

INT. CHRIS’S BEDROOM - NIGHT

CLOSEUP: WE SEE that CHRIS undresses in the bed-room, next to his living-room. He wraps himself in a towel and then comes out to meet RHONDA in the living room. RHONDA, stands in the middle of the room, with a look of curiosity. Under the lids, she steals a look first, from the corner of her eyes. CHRIS enjoys her reaction. He continues to smile, a slow, but deliberate. 

Without a word, he comes closer towards RHONDA and holds up her chin, with his index finger, forcing her to look at him. She looks up and stares at his bare chest, trying to be discreet, but unsuccessful. 

  CHRIS
Let me get you something       dry, to change into.
	(Plainly)
										
										FADE OUT.
FADE IN.

INT.  CHRIS’S LIVING ROOM - NIGHT

CLOSEUP ON RHONDA, as she nods. RHONDA is naïve, inexperienced. But she can't take her eyes off his well built torso. She continues to watch shyly, until he disappears again out of sight, standing around waiting for him; he returns with a towel and one of his white shirts. 

PAN DOWN: TO CHRIS, as he hands her the shirt. 

PAN UP: TO CHRIS. He whispers in her ear from behind. He starts to towel dry her hair, before she has had a chance to answer.
						   
						CHRIS
Would you like some help?
	     (Earnestly)

  									FADE OUT.
FADE IN.

INT.  CHRIS’S LIVING ROOM - NIGHT

CLOSEUP: CHRIS’S hands move to her shoulders, where they remain for a moment. Her lips slowly part. Her fingers tremble beyond control; clearly, she has trouble unbuttoning her blouse. He spins her around slowly and takes over the unbuttoning. 

PAN DOWN TO her blouse, which drops on the floor. 

PAN UP TO CHRIS, as he starts to pat dry her bare shoulders and then the exposed skin of her breasts, which aren't concealed by her bra. His shirt drops from her hand. His hands travel the contours of her body; slowly, he unzips her skirt; then almost forcefully pulls it down, so it too drops on the floor.

PAN DOWN TO CLOTHES AND THEN PAN UP TO RHONDA AND CHRIS.

										FADE OUT.
FADE IN.

INT.  CHRIS’S LIVINGROOM- DIM FIRE LIGHT - NIGHT

PAN DOWN TO clothes and a LONGSHOT. SHOW, he cups her buttocks for a few moments. He lets go of the towel and unfastens her bra.
Gently, he slides down the straps; it joins the heap, on the floor. He pulls her close and wraps his arms around her; they pick up, where they were interrupted, at the bus stop. 

SHOW RHONDA, closing her eyes, as she whispers, at the full on romance.
							  
						 RHONDA 
	 Oh, CHRIS.
 (Breathing deeply)
										FADE OUT.
FADE IN.						

INT.  LIVING ROOMS - NIGHT

CLOSEUP ON RHONDA, who closes eyes. WE SEE that they are curled up, in an embrace, asleep on a rug, nude. 

										FADE OUT.
FADE IN.

INT.  RHONDA’S MOTHER’S HOUSE - DOLLY CAMERA - MORNING

SHOW that RHONDA comes home the next day. FOLLOW her, as she enters the house; it is empty. They have all gone to work. She smiles, when she thinks of last night. Looking at herself in the mirror, she touches her lips, her breasts, her hands. Something has happened, something fantastically romantic that it is unforgettable. 

Suddenly, the mobile rings. It’s CHRIS. SHOW that they almost whisper.
							
						  CHRIS
Hi, did you get in, okay? 
(Tenderly)
						  RHONDA
				  Yeah, just did. How’re you?
						(Lovingly)
						  CHRIS
				  Is that a question or invitation? 						  Speaking of which do you want 							  to meet in the park today?
	(In jest)
						  RHONDA
				  Yes, what time?
						  CHRIS
				  How about dinner time?
						  RHONDA
				  Okay, I’ll see you then.

										FADE OUT.
FADE IN.

EXT.  MATER HOSPITAL - DOLLY CAMERA - MORNING

WE SEE that RHONDA cannot wait to see him. SHOW that she is frequently checking time, on her wrist watch, at her desk in the clinic. Soon, it is after work and she is ready to meet CHRIS again. Wearing the same clothes, which she wore the day before, she gets ready to leave. 

FOLLOW her, as she walks from her room no 202 and proceeds towards the bus stop. SHOW that she waits at the stop and a bus comes along; RHONDA gets on.

																					FADE OUT. 
FADE IN.

EXT.  PARK MONTAGE - DOLLY CAMERA - LATE AFTERNOOON

LONGSHOT: RHONDA is at the PARK. She sees CHRIS, from a distance. SHOW that CHRIS sees her too and in long strides, comes forward to meet her. He puts her straight into her arms and kisses her; she submits, totally to his kisses. 

MUSIC: NUTCRACKER

PAN UP: They kiss under a blazing Jacaranda tree. A petal falls on RHONDA’S hair. SHOW PETALS FALLING rhythmically, IN THE BREEZE. CHRIS takes it out with gentle hands. FOLLOW them, as they walk together, arms wrapped around each other. 

CLOSEUP: WE SEE that they stop, for a quick peck on the lips, then another and another, then in intense passion. 

LONGSHOT: Soon it is dinnertime. Like hungry teens, they run out of the park to McDonalds for a bite. McDonalds is across a busy street. SHOW that they’ve finished and await for the bus. RHONDA holds CHRIS’S hand at the bus-stop, SMILING AND KISSING. The bus comes along; they get on. 

    								FADE OUT.
FADE IN.

PAN DOWN TO: RHONDA and CHRIS, sitting closely on a seat holding hands. They are talking and laughing. Suddenly WE HEAR RHONDA saying,
				
  RHONDA
				  CHRIS, I need to go home tonight.
						(Anxiously)
						  CHRIS
				  Why? Is everything okay at home?
						(Earnestly)
						  RHONDA
  O yeah, I start work at the new 
  place tomorrow. Need to turn in 
  early. But I shall meet you for 
  dinner tomorrow.
	(Smiling)
						  CHRIS
  I’ll miss you. Can’t wait to see 
  you tomorrow then.
	(Smiling)
						 RHONDA
				  Bye.
					(Smiling)
						 CHRIS
				  Bye darling.
					(Smiling)

										FADE OUT.
FADE IN.

EXT.  BUS-DOLLY CAMERA - EVENING

WE SEE their lips meeting in a passionate kiss. FOLLOW RHONDA getting off at the next bus stop. Closer, towards home, she sees RUBY at the entrance; kissing yet, another stranger, RUBY does not realize that RHONDA hides behind a tree. 

SHOW RHONDA that she quickly hides behind a tree, until the kissing is over and they say good bye. She sees a car reverse out of the driveway. 

										FADE OUT.
FADE IN.

INT.  RUBY’S HOUSE - EVENING

SHOW that RUBY enters the house and RHONDA enters soon after. They don’t meet tonight. RHONDA goes to her room and gets changed into pyjamas for bed. Then, she lies back with her book. It is nearly finished.

										FADE OUT.
FADE IN.

EXT.  OLDER RHONDA’S KITCHEN - MORNING

WE SEE THIRTY YEARS LATER, SHOW a LOW budget block of apartment building, not in such a posh area, is where an older RHONDA lives now. In her unit, no 4, on level 5, there are two small bedrooms with an ensuite, a living, a dining, a kitchen and a study. It is on a street, which has JACARANDA TREES lined up on both sides. She lives here with her husband SAM.

PAN TO: SAM CUNNINGHAM is sturdy-looking, and tall. He has SHARP features and STRAIGHT black hair and startling BROWN eyes. He is wearing worn out khaki shorts and a crumpled T-shirt. SAM is temperamental. He gets really bad mood swings. 

He is unemployed and a stay-home husband, who does house chores, while RHONDA still works at the MATER hospital, as an admin. 
		
				FADE OUT.
FADE IN.

INT.  RHONDA’S KITCHEN - MORNING

SAM is pottering in their tiny kitchen. It is well lighted, but small open plan, next to a dining come living area. There is a plain wooden table for six, in the dining space. Few pots of plants are on the kitchen window. A small stove is situated, next to the wash basin. No dishwasher, however, a small fridge is seen in one corner of the cluttered kitchen. 

SHOW, pots and pans placed on the narrow, small counter-top. Onions, herbs and a cutting board with knife are also on it. Potted herb plants on the ledge, the small window, showcases frayed curtains, drawn apart, to let the sun light in. 

WE SEE that SAM is in a bad mood today. He has a vicious scowl, as he swears, ‘DAMN IT, CAN’T FIND A THING!’ He is searching for pots and pans in the kitchen. He finds them finally, then takes them out and puts them in order. Small pots go in one cup-board and bigger ones in another. He then opens the refrigerator, to take a frozen raw leg of lamb to defrost.

		FADE OUT.
FADE IN.

EXT.  BUS STOP – MORNING 

PAN TO: OLDER RHONDA at 52, still slim, but much thinner. Wearing a red top and black dress pants, her hair has come down to her shoulder; it has been combed straight back, as she sits under a Jacaranda tree, not far from her place, waiting for a bus, in a quiet summer morning. 

SHOW Jacaranda Trees, LINED UP along the street. The branches WAVE in the SOFT BREEZE, on this bright summer morning. Her hair waving in the wind, as she sits engrossed in thought. 

SHOW her muttering to herself.

WE HEAR…,
						  RHONDA
What’s with SAM?
					(Annoyingly)
				  He loses temper at the drop 
				  of a hat these days.

										FADE OUT.
FADE IN. 

EXT.  BUS - DOLLY CAMERA - MORNING

LONGSHOT: WE SEE that the bus arrives. But she is still disturbed. FOLLOW RHONDA on the bus. SHOW that she sees a couple get up with a little child in their lap. The child looks sickly. At the next stop, the couple gets off. 

RHONDA takes a cursory glance and realizes that the couple has entered into an orphanage. SHOW orphanage. The bus moves on and stops, at the hospital, where she works, about two stops away.

										FADE OUT.
FADE IN.

EXT.  DOCTOR’S CLINIC - DOLLY CAMERA - MORNING

LONGSHOT: WE SEE RHONDA entering her office at the hospital, GP specialist’s room 202. She sits at her desk and opens the drawers. But she is suddenly hot, with sweats springing up her shoulders. 

FOLLOW RHONDA into the bathroom. She dabs the sweat off, to put on fresh makeup. She returns to office. The phone rings, she picks it up, and it’s a patient.

PAN TO: HAYLEY LONGBOTTOM, a patient at this hospital, who calls the doctor’s room to cancel an appointment.
			
  RHONDA
Dr Burton’s office RHONDA speaking.
						 (Smiling)
 HAYLEY (V.O)
				  Hi, this is HAYLEY. 
				  HAYLEY LONGBOTTOM.
						(Plainly)
						 RHONDA
				   Hi HAYLEY. How’re you?
						 HAYLEY (V.O)
				   I am well, thanks. 
				   Just calling to cancel 							 	   tomorrow’s appointment.
						(Smile) 

										FADE OUT.
FADE IN.

INT.  DOCTOR’S SURGERY - MIDMORNING

CLOSEUP: RHONDA scrolls down the computer to find HAYLEY. She finds her and cancels her appointment.
						
						  RHONDA
	Your appointment has been cancelled.
						  HAYLEY (V.O)
				 Thanks, I’ll call back for another soon.
				
FADE OUT.
FADE IN.

INT.  DOCTOR’S SURGERY - MIDMORNING

CLOSEUP: RHONDA hangs up, then decides to CLEAR her drawer; as she is does so, she finds a treasure box. She rubs on the box, a few times before she opens it. There are some black and white pictures in it, along with an old letter. She puts the box away in the drawer and unfolds the letter. PICTURES bring tears to her eyes; she looks at them and begins to read the letter silently.

									DISSOLVE TO:

INSERT FLASHBACK-ON CHRIS AND RHONDA-RESTAURANT-EVENING

CLOSE IN ON YOUNG RHONDA AND YOUNG CHRIS. They are enjoying an evening meal outside. RHONDA is wearing a low neck black dress. 

PAN DOWN: under the table. RHONDA has slipped her foot out of her black closed shoes and CHRIS has taken his feet out of his, which are still socked. Their feet are entangled into each other’s, under the table. Dinner finishes and they hold hands on the table, as they talk.
						
			 CHRIS
Tonight, I cannot let you go home.
(Laughingly)
						RHONDA
				  Who says I want to go.
					(Laughs hysterically)
						CHRIS
				 You look lovely. Tender as the night. 				 I have fallen in love with You, your 				 shy looks. I ‘love it, when you smile. 				 I love the way you respond to my 					 kisses. You want to, 							 yet unsure, whether or not you should. 				 You’re a mystery, RHONDA SMITH.
(Tenderly)

						FADE OUT.
FADE IN.

INT.  RESTAURANT - EVENING

CLOSE UP ON RHONDA, who blushed furiously. But the more she blushed the more CHRIS said. There’s no stopping.
						  
						CHRIS
	Shall we go home now?
					  (Hoarsely)
						RHONDA
				  Yes. 
					(Taking a sharp breath)

										FADE OUT.
FADE IN.

INT.  RESTAURANT - DOLLY CAMERA - EVENING

LONGSHOT: FOLLOW RHONDA AND CHRIS, as they head off to CHRIS’S house in his car. CHRIS has taken RHONDA by surprise. He has a present for her in the car. He doesn’t ask her to unwrap it, but does so himself. It’s his favorite perfume. Then he simply takes her home, without asking her again. 
		FADE OUT.
FADE IN.

INT.  CHRIS'S FLAT – BEDROOM - EVENING

MUSIC: NUTCRACKER.LONGSHOT: ON CHRIS’S bed. They make PASSIONATE love, WHISPERING into each other’s EARS occasionally and KISSING. CHRIS strokes RHONDA’S arms as she lies under him, with her eyes closed, stroking CHRIS’S back gently and slightly massaging his arms with two idle hands amorously, occasionally.
						
CHRIS 
	Love you….
					 (Tenderly)
						RHONDA 
				  I love you too.
(Softly)

				FADE OUT.				 
FADE IN.

INT.  CHRIS’S BEDROOM - NIGHT

After MAKING LOVE, CHRIS lies in bed with RHONDA, IN EACH OTHER’S EMBRACE.
							
						 CHRIS
	I need to tell you something.
						(Seriously)
						 RHONDA
				  What? Can it wait?
						(Playfully)
						 CHRIS
No. I need to ask you now. 
	  (In earnest)
I am leaving for South Africa 
 	soon, with a possible job offer.
		 RHONDA
Come again? Did you say, you’re 
going away? H’how come? You never 
told me? For how long?
  (Overwhelmed)
						 CHRIS
	           They confirmed it only 
	  this morning. 
	          (Seriously)
	            Will you come with me? 

		FADE OUT.

FADE IN.

INT.  CHRIS’S - EARLY MORNING

CLOSE UP: RHONDA’S world is suddenly COLLAPSING. She is PALE, UNSURE. She BITES the CORNER of her MOUTH. SHOW mouth nearly BLEEDING.
							
		  RHONDA
Come with you? To South Africa? 
Tell me, you’re joking.
(Nervous laughter)

SHOW that she looks at CHRIS intently.					
						  CHRIS
				  Do I look like, I’m joking?
						(Frowning tightly)
						  RHONDA 
Oh CHRIS, but it’s so sudden.
I’m not sure, I need t…. 
Time to think…,think about it. 
(Pause)

What’s wrong with our life here? 
Why, can’t we stay here?
   CHRIS
I can’t stay in one place for 
too long.I must travel.
	(Pause) 
Forgive me, if I’ve upset you.
						  RHONDA
				  I’I’m, not ready to go 
				  anywhere, need time to think it over. 							
					(Nervously blinks)
I’ve never been anywhere out of my 
comfort Zone. I’m sorry…not sure….
(Mixed feelings.
(Frowns)
		
		FADE OUT.

FADE IN.

INT.  CHRIS’S BEDROOM - EARLY MORNING

PAN UP: The night BREAKS into a PALE DAWN. RHONDA is crying loudly. SHOW that her heart is pouring out. She doesn’t know what’s wrong. But something is wrong for sure. CHRIS has her HEAD held GENTLY against his chest. After a while, he LETS her GO. RHONDA gets up and gets DRESSED. 

SHE TREMBLES.			
						  CHRIS
 Where’re you going?
					 (Sleepily)
						  RHONDA
				   I need to go. I need to get 
				   some sleep, before I go to work.
	(Emphatically)
						  CHRIS
	 I’ll take you home.
						(Calmly)
										FADE OUT.
FADE IN.

INT-AIRPORT-DOLLY CAMERA-AFTERNOON

LONGSHOT: SHOW Brisbane airport. FOLLOW CHRIS and RHONDA, as they enter the airport. RHONDA has a sad face and holds CHRIS’S elbow. CHRIS is pushing a cart full of luggage, checking into SINGAPORE AIRLINES, on a FLIGHT to SOUTH AFRICA. RHONDA and CHRIS are both in the MIDDLE of the cue. 

SHOW that it is a LONG cue. THEY are not TALIKNG MUCH. Once CHECKED IN, they stand in the front of the departure gate in an embrace. CHRIS MUST GO now. SHOW that RHONDA sobs and CHRIS is clearly STRESSED, as his JAW MUSCLES CLENCH.

		  CHRIS
Come with me.
  (Earnestly)
  RHONDA
You know, I can't.
  (Helplessly)
I get cold feet, at the mere thought of it. That, I’ll be moving away from my siblings.
		   CHRIS
But you can. Try.
(Emphatically)
   RHONDA
Oh CHRIS, I can't.
		(Swallowing a lump) 	   	   CHRIS
I love you.
 (Tenderly) 
Think about it and join me later.
				  RHONDA
I love you too, but I can't. Bye CHRIS. Have a safe trip.
		(Sobbing)
				  CHRIS
Bye darling. I shall write to you. Keep in touch.
(Sadly)

  			  FADE OUT.
FADE IN.

INT.  AIRPORT - AFTERNOON

LONSHOT: SHOW that RHONDA waits. Then she TURNS around and LEAVES reluctantly, while CHRIS proceeds towards immigration. On the bus, RHONDA cries sitting alone and takes out a photo of the two of them from her bag. SHOW RHONDA’S loneliness; there’s no one sitting next to her, but an elderly lady. She wipes off her tears.

								GO TO BLACK:

									FADE OUT.
FADE IN.

INT.  CLINIC - MIDDAY

LONGSHOT: RHONDA answers phones through the day. It is lunch time, but she still sits at her desk, with the letter is still in her hand, while the doctor walks out his room to have bite. She crunches it up, however does not throw it away. Instead, she irons it back and puts it her bag. 

									FADE OUT.
FADE IN.

INT.  CLINIC - AFTERNOON 

CLOSE UP: RHONDA returns to her drawer and does some more culling. She throws away rubbish, papers, broken temple bar from spectacles. SHOW that she grimly clears them, as though she is about to start all over, on a clean slate. However, she is interrupted by the phone ringing once again.

 RHONDA
Doctor's office.
 EMILY (V.O)
Oh RHONDA, I've just been in an accident.
	(Shrieks)
 RHONDA
EMILY, are you okay? Are you hurt?
		(Concerned)
 EMILY (V.O)
A bit shaken, but not hurt, though my car is in terrible shape. It was a young boy driving his dad's BMW, which is also in bad shape. Oh! RHONDA, it was, so not my fault.  
 
RHONDA
Oh EMILY, did you exchange phone numbers at least? Or, his registration number? 
	(Frowning)
You do realize that you’re not insured?
 EMILY (V.O)
He said he'll get his dad to call me and sort it out, but I was nervous, so I gave him your phone number.
		RHONDA
EMILY, you need to learn take responsibility, darl. 
			 	  EMILY (V.O)
I know. God knows, I’m trying.
 RHONDA
Well, I guess it's done now. Okay, I'll sort it out.

		  EMILY (V.O)
Thanks heaps, and hey did you want me to bring somethin’ tonight?
 (Calmly)
 RHONDA
Tonight?
(Absent-minded)
 EMILY (V.O)
For dinner of course; DON’T YOU remember? DAVID, CLARA and I, are coming over.
		 RHONDA
Oh yes, that's right, of course, I didn't forget, um 
  (Sudden recollection)
no, don't bring anything at all. I'm sure SAM'S got it all under control. See you at seven then.
	  EMILY (V.O)
Sure, thanks again RHONDA, remember it was completely his fault; he hit the bumper bar of my car, while he was weaving in and out between lanes.
(In all honesty)
										FADE OUT.
FADE IN.

EXT.  BUS STOP RHONDA'S PLACE - EVENING

LONGSHOT: RHONDA gets off the bus, WITH LOTS OF OTHER PEOPLE. She walks home and up the stairs. At her apartment door, she fumbles with her keys, trying to open the door, when SAM opens it for her. RHONDA walks into a messy kitchen, where SAM is cooking up a storm.

WE SEE SAM greeting RHONDA with a smile.

						  SAM
There you’re, finally. How's work?
		(Smiles)
		 RHONDA
Oh, the usual. 
			(Inattentively)

										FADE OUT.
FADE IN.

INT.  RHONDA’S PLACE - EVENING

CLOSEUP: RHONDA slides her bag, off her shoulders and puts it, on the sofa, next to the dining table, while SAM removes a roast from the oven. He puts it on the rack, on the counter-top, with an old kitchen red and white checked towel. 

The living room has a yellow sofa and a couple of black bean bags, over a red rug. There is also a small new TV, placed on a TV stand. 

USE IKEA FURNITURE.

						RHONDA
Smells good
			(Inhaling)
				SAM
I know.
			(Grimly)

  									FADE OUT.
FADE IN.

INT.  RHONDA’S KITCHEN - EVENING

RHONDA sets the table. SHOW that she holds a pile of rolled place mats, in her hand and spreads them out, on the table, in front of each seat. 
							
						RHONDA
Did you get a chance to hang out the wash?
		(Smiling)
		   SAM
Yes, I did.
						(Coldly)

CLOSE UP: WE HEAR that SAM’S TONE has CHANGED suddenly. It has become ANGRY with DARK SCOWLS appearing. 
							
						  SAM
You have done it again! I told you 
so many times, to not to mix my 
clothes with yours. You don't seem 
to be paying much attention at all!
		(Yelling)
		RHONDA
Well, there weren't enough clothes of my own, even for a small load. I needed 
to do the laundry pretty bad.
(Raising her voice)
SAM
And, why weren’t the pots and Pans, where they’re meant to be?
      (Accusatory)
		 RHONDA
What do you mean?
     (Listlessly)
		  SAM
Admit it, that you don’t pay enough attention.
      (Yelling)

CLOSEUP: SHOW that RHONDA is upset. She takes a sharp breath, protruding the neck bones. Her fingers are fidgeting. But SAM CONTINUES relentlessly.
							  
						  SAM
And you can't focus, or follow instructions. You never do what you're told. You’re always bored, not to mention useless.
     (Yelling) 

										FADE OUT.
FADE IN.

INT.  RHONDA’S KITCHEN - EVENING

LONGSHOT: RHONDA turns to leave the kitchen. Her mouth is set and grim. She runs a hand through her hair and is constantly pressing her lips together.
						   
						   SAM
Don't you walk away, when I'm talking to you!
	(Yells)

SHOW SAM has RAISED his VOICE to its maximum capacity.

 RHONDA
I just thought I should get changed before our guests arrive.
 (Subdued)
 SAM
Admit it! You’re not happy, never was, even on the wedding day. I’ll never know why, 
you bothered all this time, 
pretending. Your heart is not in this marriage. Only God knows, where it is? I hate to say this, but are you having an 
affair?
	(Still yelling)
				RHONDA
What a load of rubbish? What made you say that?
					  (Angrily)
										FADE OUT.
FADE IN.

INT.  RHONDA’S KITCHEN - EVENING

LONGSHOT: In meek voice and avoiding eye contact, RHONDA defends herself. The heated discussion is interrupted, by the door bell.
SHOW that RHONDA stands frozen, where she is, near the dining table and SAM walks over and opens the door. His mood has automatically transformed. SAM smiles naturally, while RHONDA puts an act. 

Her fingers are knotting and unknotting constantly. SHOW that she smiles forcibly.

						   SAM 
Well, well, hello guys. I'm so glad you could make it. Cooking’s almost done. Come in and take a seat. RHONDA, get us all a beer, would you?
	   (Happily) 

										FADE OUT.
FADE IN.

INT.  RHONDA’S LIVINGROOM - EVENING

WE SEE that RHONDA proceeds towards the fridge. She opens it and hands them all a drink stiffly.
						  
						RHONDA
So? What's new?
			(Forced smile)

RHONDA then plonks herself into a nearby bean bag.
							
						DAVID
Oh! Not much, business is, 
as usual at the store. 
We haven't got our raise yet!
						RHONDA
How awful! Have you asked for it 
though?
(Cold)

WE SEE that RHONDA is cold, not too excited.

 DAVID
No, not in so many words. 
	But we have expressed our interest.
(Sullenly)
   SAM
These things take time!
	(Sarcastically)
						  RHONDA
 Yes, but not even a single raise. 
		(Subdued rage)
 That really sucks!

SHOW that RHONDA is angry. Her eyes are cold with subdued rage.
						   SAM
Yeah! But do you have any idea 
how hard it is to run a vege shop? 
You sit in your cozy little office answering phones all day. What 
would you know 
about the world outside?

SHOW how SAM glares at RHONDA.

						  RHONDA
And I' s'pose you do! I know more about 
green grocers, than you could ever 
imagine! No raise in five years!
		   SAM
  What d’y FREAKIN’ know? 
		(Glaring)

		FADE OUT.
FADE IN.

INT-DINING-ROOM-DAY

LONGSHOT-RHONDA, SAM, DAVID, CLARA AND EMILY are all sitting together. EVERYONE, except RHONDA and EMILY, are eating dinner cheerfully. 

SHOW that RHONDA is picking at her food, clearly not hungry. CLARA, DAVID and SAM go for seconds. EMILY has hardly eaten. FOLLOW EMILY, as she suddenly stands up and gets ready to make a shot to the bathroom.

										FADE OUT.
FADE IN.

INT.  BATHROOM - EVENING

SHOW that RHONDA is upset. She tries to calm EMILY. She PUTS HER HAND on her back, as she vomits in the toilet bowl. 

										FADE OUT.
FADE IN.

INT.  BATHROOM - EVENING

EMILY, pauses briefly, then GETS OUT OF THE DOOR, with RHONDA, at her heels. No one says a word after that. EMILY, returns to the table looking very pale. They continue eating, with not much conversation going on. Dinner is finished.
											
										FADE OUT.
FADE IN.

INT.  DINING ROOM - EVENING 

LONG SHOT: SHOW that the girls are in the kitchen clearing up, while SAM and DAVID are making small talk, SAM is suddenly keen on what DAVID has to say. SAM puts the kettle on to make tea for everyone. And also, offers dessert in a little while. SHOW, he hands everybody a plate of wedged pudding slices. 

										FADE OUT.
FADE IN.

INT.  RHONDA’S DINNER TABLE - NIGHT 

LONG SHOT: The family eats dessert around the table in the dining -room. They chitchat. SHOW CHITCHAT. Finally, her siblings get up to leave. RHONDA kisses them goodnight and they wave goodbye to SAM and RHONDA from the car. 

										FADE OUT.
FADE IN.

INT.  BATHROOM - DOLLY SHOT - NIGHT

LONGSHOT: RHONDA yawns. FOLLOW RHONDA, as she heads to the bathroom, to brush her teeth and changing into a drab nightie. 

										FADE OUT.
FADE IN.

INT.  MASTER BEDROOM - NIGHT

CLOSESHOT: WE SEE that she climbs into bed and closes her eyes. Her eye lids move, as she pretends to be asleep. Cringing slightly, she moves a little away, when she feels SAM’S presence next to her, in the bed.

								FADE OUT.
FADE IN.

INT.  MASTER BEDROOM - NIGHT	

CLOSESHOT: SAM slips one hand inside her nightie, to caress her breasts; roughly, he makes love to her, by slipping his tongue, into her mouth. RHONDA does everything he demands, but in a mechanical way. Her heart is not in it. He puts in a lot of effort, but no amount of kissing arouses her any more, just heavy breathing, on her neck. SAM is clearly frustrated. He turns around on the bed and closes his eyes, with a tight scowl. 

SHOW SAM’S frustration.

										FADE OUT.
FADE IN.

INT. BEDROOM - NIGHT

RHONDA closes her eyes EVEN tighter. SAM falls asleep and moments later, starts snoring. 
										
										FADE OUT.
FADE IN.

INT.  MASTER BEDROOM - MIDNIGHT

CLOSE SHOT: RHONDA opens her eyes and ROLLS OVER TO her back, with her hands behind her head, unable to sleep. Gently, she gets out of bed and goes into the study. 

										FADE OUT.
FADE IN.

INT.  STUDY - MIDNIGHT 

CLOSEUP: SHOW that RHONDA takes a photo album, out of the shelf and flicks through the pictures. She sees how her youth has passed in flash, right before her eyes. 

									DISSOLVE TO:

INSERT FLASHBACKS-ON RUBY’S DEATH MONTAGE-EVENING

SHOW, RHONDA is drifting off. She visualizes RUBY and DAD arguing. AFTER, a few years of GREG leaving, RUBY dies of a heart attack, suddenly in her room one day. Her body was found by EMILY, on the floor, upon entering RUBY’S room.
									GO TO BLACK:

INT.  STUDY - MIDNIGHT

CLOSEUP: RHONDA picks up her diary from the table and turns a page, as she lies down on the floor of her study. She reads how she had met SAM and married him, not for love, but because of stability. 

SHOW RHONDA(O.S)READING FROM THE DIARY.
		
At the time I made a decision, a sensible one, in which love might or might not have had a role to play. What was more appealing, was a promise of a peaceful life that she has had until now, untouched by quandary. But that too was slipping away and she was powerless to recapture it, a virtuous relationship and its limpidness that knew neither quarrels nor deceit.
I could not have accompanied CHRIS or anyone, for that matter to travel overseas. Fear of the unknown was like shackles, in my life that paralyzed my spirit of adventure into imprisonment, which I could not overcome.

										FADE OUT.
FADE IN.

INT.  STUDY - MIDNIGHT

CLOSEUP: WE SEE that RHONDA finishes reading from her diary. She closes it, but is nostalgic. She coined a small smile in the corner of her mouth, as she, reminiscences the bygone days. She gets the crumpled letter out of her bag and straightens it. 

CHRIS’S (V.O): RHONDA reads the letter, as she hears CHRIS’S voice at the back of her mind.

Dearest RHONDA,
	Why do you not reply to my letters? I have sent you my phone number as well, you didn’t call either. I don’t know what’s going on. Are you not well? Or have you moved on?

I wait impatiently, yet another day, for your letter.

Love CHRIS. 

										FADE OUT.
FADE IN.

INT.  STUDY  -EARLY MORNING.

SHOW, RHONDA SOBBING and TALKING to herself out loud. There is plaintive desperation in her voice. 

	RHONDA (O.S)
Oh CHRIS, I never really stopped loving you. I couldn't travel the world with you, cause I was afraid…. I didn’t feel, it was for me. I didn’t have the energy to embark on this new adventure that you had so generously offered. I married SAM, because he promised to stay here with me. 
		(Plaintively)

  																				FADE OUT.
FADE IN.

INT.  STUDY - ANGLE SHOT - EARLY MORNING

RHONDA’S SOLILOQUY: She folds up the letter and PUTS IT BETWEEN THE PAGES OF HER DIARY. Then she speaks incoherently, as she looks out, at the darkness through the window.
	
What could I have done? Boredom fell upon me unexpectedly, like menacing dark soot from the chimney. I could not recover from it, although I behooved to perform my duties religiously, after you had left. 

And then I met him, SAM that is, thinking that he was my savior…. He is not bad, but lost his job. It was a good job at Bunnings….I don’t SHARE everything WITH him. That makes him mad sometimes. These are things about my family….Mum didn’t like him. I’m glad that she’s no more. It would have hurt her even more, to see us like this….At least he’s not punting….At least he’s dependable. YES, THAT HE IS. He’s always there for me….I would have to own up to him one day….wouldn’t I?

										FADE OUT.
FADE IN.

INT.  STUDY - EARLY MORNING

CLOSEUP: RHONDA is GRADUALLY falling asleep. HER EYELIDS DROOPING,as IF, she has been drugged. SHOW that the door opens suddenly and SAM enters, with a blanket to cover her with it.

										FADE OUT.
FADE IN.

INT.  STUDY - EARLY MORNING

RHONDA’S mobile is ringing. She jumps out of sleep and runs to the kitchen and answers it, just before it rings out.
						
	RHONDA
Hello
						CALLER
		  Hello
				 RHONDA
  Yes, who is this?
    CALLER
This is Dr CHRIS SAUNDER. My son DAMIEN collided with your car yesterday.
				 RHONDA
My sister’s car, EMILY. This is RHONDA. RHONDA SMITH. 
	 (Groggy)
 CHRIS
RHONDA, RHONDA SMITH? I used to know someone by that name. But it’s been donkey’s years…. 
	 (Curiously)
  RHONDA
Is that really you? Oh my God! CHRIS! CHRIS SAUNDERS, yes…, of course…, this is RHONDA. 
(Rubbing her eyes)
And it's been a really long time. How have you been?
		 CHRIS
You never were one, to give away too much; me? I'm a little older, not quite as fit, a father obviously and you? Do you have any kids? Goodness, how have you been? 
	(Excitement)
I thought it was your car, because EMILY gave me your mobile number and said to get in touch with you.
RHONDA
Yeah…. She told me…. 
	(Hesitatingly)
CHRIS
It's been so long. Do you want to meet one day?
				RHONDA
Um. Sure! …W-When?  Where?
		(Hesitatingly)
CHRIS   
How about the Valley? 
Where it all started.
RHONDA
	Sure!  When?
CHRIS
				  Friday evening, at 5 'O' Clock?
RHONDA
Sounds great!
	(Smiling)
										
										FADE OUT.
FADE IN.

INT.  STUDY - MORNING

CLOSESHOT: SHOW that RHONDA is making an effort, in TRYING TO BE CALM, HIDE THE THRILL IN HER VOICE…

  CHRIS
See you then!
(Excitedly)
 RHONDA
Yep.
				(Confidently)
				 CHRIS
	Goodbye, RHONDA. 
			(Sharp breath)
RHONDA
Goodbye, CHRIS. 
(Breathlessly)

																					FADE OUT.
FADE IN. 

INT.  STUDY - MORNING

CLOSEUP: WE SEE that RHONDA reluctantly put her MOBILE phone down, ON THE FLOOR WHERE SHE LAID LAST NIGHT, somehow hoping the conversation would continue. She sits there in utter disbelief, wondering if it was all a dream. 

SHOW, RHONDA’ is dazed, as she looks out of the window. She gets up and proceeds slowly towards the balcony from the study.

									FADE OUT.
FADE IN.

INT. BALCONY - DOLLY SHOT - MORNING 

CLOSEUP: FOLLOW RHONDA walking to the balcony. 
PAN UP TO a lark that she sees flying high up in the sky. Not quite excitedly, she smiles, paces UP AND DOWN THE BALCONY HOLDING BOTH ARMS together, to her chest.
						    
RHONDA
Oh CHRIS, what on earth 
compelled you to come back to 
my life? Do you think you can 
turn it upside down yet again? 
Oh, we are late. Thirty years 
too late.
  (Lamenting in whisper)

										FADE OUT.
FADE IN.

INT.  RHONDA’S PLACE MONTAGE - DOLLY SHOT - ALL DAY 

LONGSHOT: FOLLOW RHONDA AROUND HER APARTMENT. SHOW that she is thinking about CHRIS all the time. SHOW her distractions and forgetfulness, even more so these days. SAM notices; he suspects something not right, but he doesn’t say anything. 

CLOSEIN ON RHONDA’S lack of interest in household matters; SHOW, she ignores SAM, by staying alone, not talking much. She is SELF-ABSORBED.

FOLLOW her, as she GOES out ON LONG WALKS under JACARANDA TREES. RHONDA sits quietly, by herself looking out, when she is at home. SHOW that the days of the week are passing, until it is FRIDAY.

										FADE OUT.
FADE IN.

INT. RHONDA’S BEDROOM - FRIDAY MORNING

LONGSHOT: RHONDA is waiting for SAM to get up and go, for his morning jog. She remains in bed, until SAM leaves, pretending to be asleep. As soon as, he shuts the door behind him, RHONDA rushes to her wardrobe and pulls out an assortment of outfits. 

										FADE OUT.
FADE IN. 

INT.  RHONDA’S BEDROOM - MORNING

LONGSHOT: SHOW RHONDA is trying out outfits, ONE AFTER ANOTHER. She IS NERVOUS. SHOW that HER FINGERS are SHAKING, AS SHE IS HASTY. Finally, she settles with the most elegant PINK long dress WITH BRIGHT FLOWERS. She puts on matching pink shoes. 

SHOW that she checks her hair for whites. A SMIILE OF SATISFACTION APPEARS ON HER FACE. Then she gives herself a last critical look in the mirror before she leaves.  

																					FADE OUT.
FADE IN.

INT.  RHONDA’S BEDROOM - MORNING 

CLOSEUP: RHONDA spends extra time doing her hair, throws a handful of makeup into her handbag and puts on an oversized coat, to not to reveal what she is wearing underneath. She writes a NOTE for SAM and tries to make a quick getaway.

										FADE OUT.
FADE IN.

INT. RHONDA’S KITCHEN - MORNING

LONGSHOT: SHOW that she is writing on her kitchen counter-top.

CLOSEUP:  ON LETTER….

SAM DEAREST,
Please don’t wait up for me. I’ll be late tonight. Must check on DAVID.

Love,RHONDA. 

She leaves the note on the counter-top, where he can see it. Hardly breathing, her heart pounds madly. She bites the corner of her mouth.

										FADE OUT.
FADE IN.

EXT.  STREET - DOLLY SHOT - MORNING

LONGSHOT: SAM returns just, as she is leaving. FOLLOW RHONDA rushing to the bus stop. Bus is already here. She doesn’t see him, but walks straight to the bus. However, SAM sees her from behind. Show SAM noticing, as RHONDA gets on the bus. 

Before he has a chance to respond, she is gone. FOLLOW SAM, as he comes home and finds the note. His suspicions deepen; his rage fierce than ever; SHOW his scowl ferocious and dark; his mouth set in a grimace. He goes to the study and picks up RHONDA’s diary. SHOW, SAM talking loudly to himself.
				 			
						   SAM
She doesn’t talk to me anymore. What’s goin’ on? I must find out.
  (Scowling deeply)
 										
										FADE OUT.
FADE IN.

INT.  DOCTOR'S SURGERY - AFTERNOON

CLOSE SHOT: SHOW that RHONDA is watching the clock all day. She looks outside. There’s a SUMMER storm BREWING. 

PAN UP to a stormy evening. There are patches of clouds in the eastern sky; bitter winds blowing in every direction, with lightening flashing across. The blue SKY turns ashen. A distant palm tree stands still, its branches stirring frantically about, NOT going ANYWHERE. It is a passing storm, which stopped suddenly. 

																					FADE OUT.
FADE IN.

INT.  DOCTOR’S SURGERY - DOLLY SHOT - LATE AFTERNOON 

LONGSHOT: FOLLOW RHONDA at 4pm, as she heads to the bathroom and applies more makeup, than she has worn for years. At 4:30pm, she takes off. No need to tell the doctor, who is behind closed doors, because he already knows.

										FADE OUT.
FADE IN.

INT.  DOCTOR’S SURGERY - DOLLY SHOT - LATE AFTERNOON 

LONGSHOT: FOLLOW RHONDA, as she leaves the office and closes the door after her.

										FADE OUT.
FADE IN.

INT.  THE BUS - LATE EVENING

CLOSEUP: RHONDA is sitting on the bus, with a huge smile on her face. She looks out the window and the sky is dark AGAIN. 

PAN UP TO THE SKY: looks like it's going to rain. Her smile widens, as she remembers her first date. 

																					FADE OUT.
FADE IN.

EXT.  THE VALLEY - EVENING

LONGSHOT: RHONDA arrives a little early, takes off her coat and waits on the bench, the same bench that they had sat on waiting for the bus, all those years ago. 

EXT.  THE VALLEY - EVENING 

LONGSHOT: ON CHRIS, who walks up towards RHONDA. at exactly 5.00pm. She takes a sharp breath, when she sees him. HER HEART is starting to race. 

CHRIS is eagerly looking at RHONDA. SHOW that there is a twinkle in his eyes, as he sees her and smiles. He is a psychiatrist and looks much older, with receding hair line, slightly graying sporadically.			

										FADE OUT.
FADE IN.

EXT.  THE VALLEY - OBLIQUE TWO SHOTS - EVENING 

LONGSHOT: ON RHONDA, as she stands by him undecidedly. They hug awkwardly at first and then a peck on the cheek. 
						
						CHRIS

RHONDA SMITH, you look amazing! Exactly, as I remember you. What have you been doing? Bathing in milk and honey?
(Jokingly)

FADE OUT.
FADE IN.

EXT.  THE VALLEY - OBLIQUE TWO SHOTS - EVENING 

CLOSE UP: ON RHONDA, who is trying to find something nice to say too. STRANGELY, she does not feel the passion anymore. But she goes along, although she has gone cold. She feels something is wrong. 
SHOW RHONDA forcing A SMILE, which is more like a grimace AND FROWNING at the same time. SHE IS CONFUSED; an emotion that she doesn’t understand.

  	RHONDA
That would be one sticky bath.
And so do you. Has it really been that many years?
   (Mixed emotions, joking,frowning and half smiling)
CHRIS
I'm afraid it has. 
	(Cheerfully) 
RHONDA
I guess, I really do owe you an explanation…. It was just that….
	(Apologetically)
   CHRIS
Later, but tell me about you. What have you been up to, these past 30 years?
	(Positively forthcoming)

PAN UP: TO the sun set, as it soon gets dark. Sprinkle of rain started to fall. 

CLOSE UP: ON RHONDA, suddenly quiet.

  CHRIS
Let's go back to my place.Is that alright?
	(Happily)
  RHONDA
Sure.
			(Smiling)

										FADE OUT.
FADE IN.

EXT.  CHRIS’S HOUSE - DOLLY SHOT - EVENING

LONGSHOT: WE SEE that CHRIS’S house is in a rich suburb. It is surrounded by tall, old trees on two sides of the road, on millionaire’s row. It is a big two storey modern, million dollar home on a big block of land; SHOW an acreage with manicured front and a back lawn, a pool, tennis court among gardenias, lavenders and roses.

FOLLOW them, as they reach his house in the car; they get out. He opens the car door to let out. And then both walk up to the entrance of the house; he puts the key in, to open it. He helps her in, leaning closely towards her. 

SHOW RHONDA closing her eyes, at the smell of his after-shave. 

										FADE OUT.
FADE IN.

INT.  CHRIS’S HOUSE - DOLLY CAMERA - EVENING 

LONGSHOT: FOLLOW CHRIS, as he leads her into an opulent, atrium drawing room. Beset with expensive ARMANI XAVIRA MODERN FURNITURE, TWO LARGE SOFAS ARE PLACED WITH A COFFEE TABLE IN BETWEEN. MATCHING TAUPE STRIPE CURTAINS hang down two massive bay windows. A room decked in silver and crystal, decoration pieces are set on a fire place with a large crystal chandelier hanging down the roof of the atrium. 

WE SEE expensive WALL PAINTINGS by Rembrandt. RHONDA looks around, DAZZELED. Her hands close in a tight fist. This is so out of her comfort zone. SHOW that she sits on a chair ushered by CHRIS in an uptight manner and is quiet. He sits down next to her. She shifts in the chair uncomfortably. CHRIS notices her anxiety and tries to soothe her. Pictures of a boy and an attractive LADY are placed on a wall shelf. It is full of books as well. SHOW RHONDA looks at the PICTURES.

										FADE OUT.
FADE IN.
	
INT.  CHRIS’S LIVING ROOM - EVENING
							
						RHONDA
I already know that you have a son. When did you get married?
 (Half-heartedly) 	
	CHRIS
This is my wife RAISA’S photo.
	(Confidently)

CLOSE SHOT ON RHONDA’S face turning pale; she wants to run, but manages to compose herself. Water wells up in her eyes. SHOW that she BLINKS.
							
						  RHONDA
Raisa, lovely name, did you meet her in South Africa?
	(Smiling)
	  CHRIS 
Yes. She’s a writer,and has written quite a few best sellers. 
(Suddenly serious)
Why have you not replied my letters?
									
									FADE OUT.
FADE IN.

INT.  CHRIS’S LIVINGROOM - OBLIQUE TWO SHOT - EVENING

LONGSHOT: ON RHONDA, as she keeps quite. CHRIS stands up and walks towards the bar to pour him and RHONDA two glasses of wine from the crystal canister. RHONDA continues to look at the opulence around the room. CHRIS LOOKS at RHONDA for a response.
								
						  RHONDA
I wasn’t brave enough, CHRIS…, 
(Sullen)
wasn’t brave enough to 
follow you into the jungles of Congo,
the rainforests of the Amazon,and 
the wetlands of the tropics. 
Follow you to the end of the 
world as it were.
						 CHRIS
What the heck are you 
saying? Who said you had to 
go to those places? 
You could come and go 
any time? 
	(Half-jokingly)
And don’t tell me you’re 
xenophobic or get panic 
attacks from….
 	
RHONDA is thinking quietly ‘I don’t like traveling, dunno know why. I feel cramps in my tummy at the very thought of it.’ 
						 RHONDA
I guess I’m not the sort. 
You know? Adventurous, n’ol’that.
		  CHRIS
I felt, you didn’t take us 
seriously enough.
(Morose) 
						 RHONDA
I did?
						(Sincerely)
						  CHRIS
When did you stop caring?
		(Eagerly)		
						 RHONDA
				  You’re mistaken, if that’s 
				  what you think.
						(Emphatically)
						  CHRIS
				  Really? Well, why don’t you tell me?  							
						(Demanding)

										FADE OUT.
FADE IN.

INT.  CHRIS’S LIVINGROOM - EVENING

LONGSHOT: SHOW that RHONDA is quietly looking away from CHRIS. She looks at RAISA’S picture with DAMIEN AND CHRIS. 

SHOW a family picture of CHRIS with a woman and a boy on the side table. RHONDA puts her hands up in the air in despair, raising her voice a bit.
							  
						RHONDA
It wouldn’t have worked out. 
You and me…,bad idea…,just 
look at you? Do you see us 
walking together down that 
street, as a couple?
(Sadly)
						 CHRIS
I could. Why couldn’t you?
						RHONDA
You don’t know me. 
How much do you know me?
(Composed)
						CHRIS
	  I thought I did. Are you telling 
	  me suddenly that I don’t? After all 
	  the time  we spend together?
		(Passionately)
						RHONDA 
				  I got problems CHRIS. I got real 
				  problems. I don’t expect you to 					  understand them. And this meeting was 				  a mistake. 
						(Gets up hastily)
Please take me home. People can be together all their lives, and not really know one another.
(Composed, but plaintively)

										FADE OUT.
FADE IN.

INT.  CHRIS’S LIVINGROOM - OBLIQUE TWO SHOTS - EVENING

PAN UP: To the sky. It’s raining and storming. SHOW that RHONDA stands up and CHRIS stands up with her facing her. RHONDA hardly says a word. Her fingers tremble slightly. 

										FADE OUT.
FADE IN.

INT.  LIVING-ROOM - DOLLY CAMERA - EVENING

LONGSHOT: FOLLOW CHRIS, as he gets his car keys, from the left pocket of his pants. He turns around and faces RHONDA again. 					
  CHRIS
Not so fast. If you need 
psychiatric help, I’m the one, you 
should be conferring. Don’t you think, 
I deserve an explanation, at least?
	 	(Composed)
						 RHONDA
I know. I’m sorry, I can’t give 
you one.
		(Grimace)
						 CHRIS
				  Why not?
(Demanding)
						  RHONDA
Our circumstances have changed, 
  we have both moved on.
	  (Calmly)
		 CHRIS
Maybe, some things never change; 
history, we have that.
	   (Calmly)

										FADE OUT.
FADE IN.

INT.  CHRIS’S LIVINGROOM - ANGLE ON - NIGHT

PAN DOWN AND UP TO SHOW that RHONDA’S mobile suddenly rings IN HER HAND BAG. She gets it out of her it still on her shoulder, as they stand by the sofa. 

PAN UP: TO CHRIS, who overhears the conversation between RHONDA and SAM.

RHONDA
 Hello,
 		SAM (V.O)
				  You are not with DAVID are you?
					(Agitated)
						RHONDA
				  How did you find out?
					    (Calm)
						SAM (V.O)
				  I didn’t. You just told me.
					(Agitated)
						 RHONDA
				  I’ll see you soon.
					(Calmly hangs up)
 CHRIS
Everything okay?
 (Frowning)	
  RHONDA
Yeah, it's getting late. I really must be going. Thank you for the meeting.
(Calmly)
   CHRIS
You’re not happy, that’s clear. You want to tell me about it? For old time’s sake.
		(Concerned)
  RHONDA
If I’m not, IT won’t be, because of SAM. It’s me. I’m not capable of being happy. 
(Normally)
  CHRIS
It's late and raining…, no trouble taking you home. C’mon let’s go. We will talk in the car.
	(Effortlessly)
	      RHONDA
Yeah.
(Consenting with a slight nod)
  
FADE OUT.
FADE IN.

EXT-CHRIS’S LIVINGROOM-DOLLY CAMERA-NIGHT

LONGSHOT: FOLLOW them walking up to the driveway, where the car is parked. He opens the door for RHONDA. She steps in, as gently, as she can and relaxes on the leather seat. CHRIS gets in from the other side. He looks at RHONDA just a bit and pushes a CD in, on to its cavity. RHONDA notices from the cover that it is a South African band, called JACARANDA BLUES. CHRIS gets in.

						RHONDA
It would have been a pleasure to meet you and Raisa together. 
	   (Smiling) 
				  CHRIS
We could do that too, as old friends? Couldn’t we?
	 (Smiling)
										
										FADE OUT.
FADE IN.

INT.  CHRIS’S LIVINGROOM - NIGHT

PAN UP TO SHOW A STORMY NIGHT with thunder, lightning and strong winds in CHRIS’S GARDEN through the window. WE HEAR, the sounds of the winds GUSHING through the swaying trees.

									FADE OUT.
FADE IN.

INT.  GARAGE - NIGHT

PAN DOWN: TO RHONDA sitting quietly in the car. She winces with pain and swallows a cough, completely not hearing what CHRIS is saying. SHOW that RHONDA SWALLOWS THE PAIN AND COUGHS. 
									
									FADE OUT.
FADE IN.

EXT.  CAR-OBLIQUE TWO SHOT - DOLLY CAMERA - NIGHT

 CHRIS
It was good to see you RHONDA. Let EMILY know to not to worry about the damages. I’ll pay for everything. Just tell her to take the car into my garage at INDOOROOPILLY. 
	   (Smiling)
RHONDA
Thanks.
CHRIS
I need to tell you something. I hope you 
don’t have Ennui, a state of boredom. 
Call me if you need help. 
I’m beginning to think that you 
might be a sufferer.
	  (Smiling)
	 
 FADE OUT.
FADE IN.

EXT.  CAR - DOLLY SHOT - NIGHT

LONGSHOT: WE SEE that the red Ferrari has stopped near the bus stop at RHONDA’S place. SHOW RHONDA kissing goodbye on CHRRIS’S cheek and getting out of the car. FOLLOW her rushing inside the building without looking back. 

										FADE OUT.
FADE IN.

INT.  RHONDA’S PLACE - DOLLY CAMERA - NIGHT

PAN UP: Through the dim corridor of her flat like a phantom, as she walks in the night, softly and contemplative, she hears the sound of silence. WE HEAR NOTHING, TOTAL SILENCE.
											
										FADE OUT.
FADE IN.

INT.  RHONDA’S PLACE - DOLLY CAMERA - DAY

LONGSHOT: FOLLOW RHONDA quietly getting in. Instead of going to her bed, she goes into the study. SAM is already fast asleep and snoring. RHONDA sits silently on the cushion for a while. She is still thinking of the unbelievable interlude with CHRIS. Silently, she tries to disengage from her thoughts. SHOW HER ENTERING INTO HER STUDY and setting up a bed for herself on the floor. 

										FADE OUT.
FADE IN.

INT. RHONDA’S STUDY - NIGHT

CLOSE UP: ON RHONDA, who finds it difficult to sleep. She goes into a disturbed sleep. SHOW RHONDA is fidgety; she is crying in sleep, dreaming AND WAKING UP. Her eye lids are shut, but moving rapidly.
						
						  RHONDA
Don cry! Don cry mama! 
Daddy will be back soon.
(Screaming)

										FADE OUT.
FADE IN.

LONGSHOT: SHOW SAM SUDDENLY entering the study. FOLLOW him carrying RHONDA in his arms to their master bedroom, while RHONDA still talks in Sleep.
						
						RHONDA
Leave me! Leave me alone!
CHRIS…. SAM…. SAM…. ENNUI oh….
					 (Screaming)
										FADE OUT.
FADE IN.

INT.  RHONDA’S KITCHEN - MORNING

LONGSHOT: SHOW RHONDA is sitting at the kitchen table, having coffee. SAM walks into the kitchen. She wears a red top and a pair of ordinary jeans TODAY, hair combed straight back. SAM wears a white and black T-shirt, disheveled hair. SHOW SAM confronting RHONDA.
							   
						  SAM
Where were you last night? And who the heck is CHRIS?
(Confrontational)
				  RHONDA
I told you, I was helping DAVID. Afterwards….
(Meekly, avoiding eye contact)   			
		  SAM
Stop lying; you weren't with DAVID last night; he called me from the police STATION. And you haven’t told me, who CHRIS is? I read your diary.
(Angrily)
  		   RHONDA
Who’s in POLICE STATION? DAVID? What took you so long to tell me this? And what gives you the right to read my diary?
(Fearful,frowning)
    			SAM
Yes, the police rang last night. They said someone needs to pick him up today between 10 to 12 AM; he’ll be waiting for you at the INALA police station.
		(Agitatedly)
   		  RHONDA
And why didn't you help?
(Angry)
   		   SAM
I don’t know. I wasn’t sure, what the heck’s going on? Why is he in the police station? Has the world gone mad?
	(Concerned)
  		  RHONDA
How could you?
(Righteously) 
   		   SAM
Don’t you dare say that to me! 
Your diary clearly explains how 
bored you’re with me and with 
your life. What do you have to 
tell me about that?
(Angrily)

                                                   FADE OUT.
FADE IN.

INT.  RHONDA’S KITCHEN - MORNING

CLOSE UP: RHONDA STARES in a vacuum for awhile. PAN DOWN to RHONDA, as she picks up her bag grimly and heads out. SHOW SAM yelling from behind.							
						  SAM
This conversation isn’t over; you still have some explaining to do.
(Furiously)

										FADE OUT.
FADE IN.

INT.  RHONDA’S PLACE - DOLLY CAMERA - MORNING
FOLLOW RHONDA, as she slams the door behind her. 

										FADE OUT.
FADE IN.

EXT-BUS-MORNING

LONGSHOT: FOLLOW RHONDA on the bus. 

										FADE OUT.
FADE IN.

EXT.  POLICE STATION - OBLIQUE TWO SHOT - MORNING

LONGSHOT: WE SEE that RHONDA arrives at the police station. She enters the reception room. PAN ACROSS TO DAVID on the other side of the room. SHOW that he sees her and comes RUSHING towards RHONDA. A police officer sits at the reception working on her computer. RHONDA gives DAVID a hug, as soon as she sees her. 
							  
						  RHONDA
Oh DAVID, what have you done   now?
(Sadly)
  DAVID
I pinched some cash out of the till at work.
(Regretfully)
  RHONDA
How much this time, DAVID?
(Sighing)
  DAVID
Not much, just hundred     bucks. Well I figured he owed it to me, after not giving me a raise and all, even you thought I should get a raise.
(Remorseful)
 RHONDA
But DAVID, you can't steal. 
(Calmly)
 DAVID
I had no choice RHONDS, if I didn't pay my debts, I would be in big trouble.
	(Fearful)
      RHONDA
Your debts? What are you on about? I hope you haven’t become a mad punter like daddy? You must let me in on it. You can’t go that way. Do you understand? 
(Frowning)

CLOSE UP: SHOW that RHONDA is EXASPERATED. She inhales a deep breath and has tired, black rings, around her eyes.							  
						   DAVID
I will try to get help this time sis. Please help me out now and I will tell you everything. I promise. Everyone deserves a second chance in life don't you think?
(Remorseful)
  RHONDA
Thank God, mum isn't alive to see what you've become. It would break her heart.
 (Softly) 

  									FADE OUT.

FADE IN.

INT.  POLICE STATION - AFTERNOON

PAN DOWN TO RHONDA, as she fills out the paperwork. She hands them in and DAVID is free to go. The receptionist takes the paper work with a smile.

									FADE OUT.
FADE IN.

INT.  POLICE STATION  -DOLLY SHOT - AFTERNOON

LONGSHOT: FOLLOW RHONDA, as she walks through the sliding door behind her. DAVID and RHONDA walk out of the police station. They walk together to the bus-stop. It is a crowded bus stop. Many are waiting for it. RHONDA’S bus arrives. She gives DAVID a peck on the cheek and a word of advice, before she gets on it.

  RHONDA
Now, please try and stay out of trouble DAVID. REMEMBER, you’re on an AVO. And you cannot go near the shop anymore. For now, I must go, I'm late for work. I’ll come by afterwards. I neglected you, too long.
    (Sadly)
FADE OUT.

FADE IN.

EXT.  BUS STOP - DOLLY SHOT - AFTERNOON

CLOSE UP: ON DAVID, who catches the next bus home. He gets off the bus and walks home to RUBY’S old house. 
FOLLOW DAVID, as he enters and goes straight for the phone. He calls a friend. SHOW that DAVID is into phone, making a deal with the friend. WE see that he breathes heavily into phone while he listens.  
						  
						  DAVID 
Hey Mike. What’s up?
					    (Nervously)
						  MIKE (V.O)
Do you have it?
						  DAVID 
				 I’m in trouble man. Big time.
						(Fearfully)
						  MIKE (V.O)
				 What do you mean?
						  DAVID
				 I was in jail last night. 
				 for nicking money from the till.
						(Anxiously)
						  MIKE (V.O)
				 Get it. That’s an order, Or else…,
 		  DAVID
 I couldn’t get the bloomin’ money. 
 I just told ye. You think I don’t 
 know that? But I’m grounded, man, 
 big time.
			(Shouts Nervously)
			  MIKE (V.O)
	 Get 20 bucks worth of heroine. Easier to 			 pay.
                  DAVID
20, 30? Those days’re long gone, Not less than a 100 bucks will do now. OKAY, TAKE IT EASY, MAN!It’s OKAY! Let me see what I can do. Give me two days. Just two, that’s all I ask. 
     (Conciliatory)			
						  MIKE (V.O)
				  I keep a tab on you. Don’t forget.
						    DAVID
I’ll pay you back. I promise.
				  I’ll come up with som’thin.’ 
  Got to go….
	   (Hangs up urgently)
										
										FADE OUT.
FADE IN.

EXT.  RUBY’S HOUSE - AFTERNOON

PAN ACROSS: There’s a knock on the door. DAVID quickly hangs up the phone. He walks across to the front door and opens it. CLOSEUP ON DAVID. SHOW that he is startled, as he sees RHONDA. PAN UP TO RHONDA.

										FADE OUT.
FADE IN.

INT.  RUBY’S HOUSE-LATE - AFTERNOON

SHOW that RHONDA is entering her mother’s house. Her siblings have continued to live here, even after RUBY’S death. She is here to have a chat with DAVID. DAVID let’s her in.					
						  RHONDA
Thank God! You’re at home.
						(Relief)
						 DAVID
				  Why wouldn’t I be? But I got
 			  to head out soon.
	(Hurriedly)
						RHONDA
Where would you go?
						(Frowning)
						 DAVID
I got to meet up with a 
friend.
						(Rushing)
						RHONDA
Oh! And who is this friend? You 
can meet him later. Maybe, 
tomorrow. Today, we will have a 
nice family meal, after EMILY 
and CLARA come home from work. 
I’ll do the cooking.
(Confronting)
						DAVID
What do you care?
					 (Snickering)
						RHONDA
Care enough to know that you 
need to see a counselor.
	  (Listlessly)
						DAVID
A counselor? What’s a bloomin’ 
counselor goin’ to do? You think
they can help me? Get serious 
RHONDA. Look around you. 
What does it look like? 
 I need money. Money is…
  (Snickering)
						 RHONDA
That’s what I need to know. Why 
do you need more money? Don’t 
you have enough to eat at home? 
	(Frowning)		
	  DAVID
Do whatever you want with your 
life. Leave me alone. I’m not 
goin’ to a bloody shrink?
	(Loudly)
						 RHONDA
The AVO stops you from going to 
work as well. If you violate, 
then you will be in serious 
breach.
	(Warning)
						  DAVID
I already know that. You need 
not rub it in.
	(Loudly)
						 RHONDA
Why don’t we talk about it later?
Tomorrow, I’ll take you to 
McDonalds and we’ll talk. 
The law might look at you 
favorably, if they see that 
you’re making an effort by 
going to a counselor.
(Making concession)

																					FADE OUT.
FADE IN.

INT.  RUBY’S KITCHEN-OBLIQUE TWO SHOT - LATE AFTERNOON

CLOSE UP: ON DAVID, who hides his real problem to RHONDA. He tells her a lie. He doesn’t make eye contact. SHOW that they’re both standing in the kitchen, as RHONDA gets a glass of water from the tap. DAVID looks at RHONDA and then at her glass, as he talks.
						   DAVID
What do you know? A friend 
of mine was in a similar 
situation like me. He tried 
everything, man, everything; the works.
(Urgently)
						  RHONDA
				  Did he have a problem with stealing 
				  as well?
(Frowning)
						   DAVID
Yes. What’s the police or a counselor going to do? They might know the under world. But 
can they cure addiction?
(Desperation)
						   RHONDA
One would still needs to try, 
I guess….
						(Yawning)

										FADE OUT.
FADE IN.

INT.  RUBY’S KITCHEN - LATE AFTERNOON

LONGSHOT: DAVID doesn’t answer, but goes to his room. RHONDA stares after him confused. He is not too keen on the meal. But he stays in his room. 

										FADE OUT.
FADE IN.

INT.  RUBY’S OLD KITCHEN - EVENING

WE SEE RHONDA in the kitchen preparing a Shepherd’s pie. She cuts onions on the counter-top, with her back towards DAVID’S room. Her hand bag is behind her on a dining chair.

PAN DOWN: TO RHONDA’S HAND BAG. DAVID quietly comes out of the room and picks up RHONDA’S hand bag, without her noticing anything. And then he gets out of the kitchen in a flash. SHOW RHONDA looking at the direction of the door, as she hears it closing and then turns around instantly, to see that her hand bag is gone.

										FADE OUT.
FADE IN.

INT.  RHONDA’S OLD KITCHEN - DOLLY SHOT - EVENING

CLOSEUP: SHOW that RHONDA is panicking. FOLLOW RHONDA frantically looking for her bag. SHOW that she looks for it here and there and everywhere.

LONGSHOT: Then she knocks onto DAVID’S bedroom. She knocks again. And then she opens the door. SHOW RHONDA is astounded by what she sees; her eyes nearly pop out.

PAN DOWN: To DAVID’S bed. There are syringes everywhere. A small amount of ‘brown’ stuff is also found scattered on the bed. 

PAN UP To RHONDA. FOLLOW her, as she runs out of the house to look for DAVID. On the driveway, she finds her bag. She picks it up quickly. SHOW that she checks it. She frantically checks it again and then mutters to herself that ‘DAVID has taken my wallet.’ She takes her phone out and calls SAM. SAM doesn’t pick up the phone. She sends a quick text message. “DAVID’S MISSING. I’ll SPEND THE NIGHT HERE AND GET BACK HOME TOMORROW AFTER WORK.”

										FADE OUT.
FADE IN.

EXT.  RUBY’S DRIVEWAY - DOLLY SHOT - EVENING

LONGSHOT: EMILY AND CLARA come home. They see RHONDA standing outside without shoes. SHOW that there is a frantic look on her face.

FOLLOW RHONDA rushing to meet them half way. SISTERS stand together and talk. Then they come inside the house. The old sofa has been replaced by a bright red one from IKEA.

										FADE OUT.
FADE IN.

INT.  RUBY’S LIVING – ROOM - EVENING. 

WE HEAR, SISTERS HAVING A PASSIONATE ARGUMENT. RHONDA sits opposite to them on a chair, while EMILY AND CLARA next to one and another on the sofa. CLARA sits composed. 

SHOW that RHONDA is half lying, while EMILY constantly fidgets, as they talk about their dire predicaments. EMILY believes that their problems are hardwired, therefore cannot be changed and each one of them has a disorder of some sort. RHONDA herself has mild ENNUI that makes her perpetually bored. CLARA is cold and dispassionate. 

LONGSHOT:

 					 CLARA
We need to inform the police, again.
		(Pragmatically)
				 		RHONDA
 Yes. My wallet is missing.
		(Frantically)
						EMILY
				 Are you going to press charges?
					(Urgently)
						RHONDA
                We need to let police know that he’s 
 missing. AND did you know that our 
 brother is a drug addict?
					(Reporting urgently)
					 	EMILY
				NO!
					(Loudly)
					 	CLARA
				Are you surprised?
					(Coldly)
					      RHONDA
Aren’t you? Don’t tell me you knew and 
didn’t do anything about it.
		(Accusatory)
		       CLARA
	I didn’t know that he was a 
	druggy. But I do remember his 
	frustrations, as a growing child. 
	We never had enough to eat and 
	DAVID went to bed hungry every night. 
That’s when it all started, I’m 
guessing.
		 RHONDA
We struggled to make ends meet too. 
But we didn’t steal or become 
addicts.
(Casually)
			  EMILY
Maybe not, but we do have our 
share of disorders RHONDA. If you 
choose not to admit it, you will 
be making a mistake. You, for one, 
are perpetually bored. CLARA is 
indifferent. And what’s 
worse, is that we can’t change our 
conditions. It maybe that we’re 
HARDWIRED to them.
(Passionately)
	
										FADE OUT.
FADE IN.

INT.  RUBY’S LIVING ROOM - NIGHT

CLOSEUP: Sisters keep quiet for a moment. RHONDA walks SLOWLY, up to the phone and dials a number. We hear…

		POLICE (V.O)
POLICE, HOW MAY I HELP?  

										FADE OUT.
FADE IN.

INT.  RUBY’S LIVING ROOM - EVENING

LONGSHOT: SHOW that RHONDA gets busy in the kitchen preparing food on a cheap lanolin counter-top. SHOW a messy kitchen with dishes falling over the dish rack; empty bottles of coke and packets of chips on the floor, onion peels from RHONDA’S cooking. The kitchen hasn’t changed much in thirty years, only the solid wooden dining table has become older with more character. HOWEVER, SHOW that the stove IS new and modern. 

RHONDA has her back towards the stove, as they talk. She puts a pie dish into a gas convection oven. 

EMILY’S POV: PAN DOWN: TO EMILY and CLARA, sitting down, at the dining table of the untidy kitchen. SHOW in MUTE, they are discussing about DAVID and how to help him. EMILY is skeptical, as CLARA suggests psychiatric help, because it did not make her any better.

PAN UP TO RHONDA and then DOWN to sisters at the table:
					
  RHONDA
The police will get back to us, 
as soon as they have something. 
To change the subject now. 
How’s work?
	(Listlessly)
						  CLARA
				 Good
						(Coldly)
						  EMILY
DAVID will need help, I suppose.
	(Composed)
						  RHONDA
Yes, we will need to find out.
	(Calmly)
						  EMILY
I have heard about 
rehabilitation. 
Not sure if that’ll help.
  (Urgently)
       CLARA
Worth a try.
	(Calmly)
						 RHONDA
I’ll make some phone calls from 
work tomorrow.
	(Calmly)
						 CLARA
Yeah. Let’s eat. I’m hungry.
					(Dispassionately)
						 EMILY
How can you think of food, at a 
time like this?
	(Screaming)
	 RHONDA
DAVID is on AVO. So, you’ll have to support him until it’s over.
(Calmly)
						 CLARA
Do you think a psychiatrist could cure DAVID?
	(Rationally) 
	 EMILY
I didn’t get better. What makes you 
Think, he will be? 
	(Passionately)
						RHONDA
We don’t know. Something needs 
to be done. And as for you, 
you could get better too, 
who knows?
	(Shrugging)

										FADE OUT.						
FADE IN.
						
INT.  RUBY’S KITCHEN - NIGHT

LONGSHOT: The SHEPHERD’S PIE is in the oven. CLARA rises from her seat, to get some cutlery and plates out on the table. RHONDA sits at the table, while CLARA takes over.
						  EMILY
Bulimia is hard to knock off.
                          (Calmly)
						  CLARA
I believe, it can still be 
done, with supportive 
network in place.
	(Optimistically)
		   Emily
What bloody good is that? 
I’m beyond it and so is 
DAVID. He’s a druggy. Don’t 
you see what’s happening? 
We’re following into daddy’s 
footsteps. We will be 
doomed too, as daddy was. 
For different reasons maybe, 
with similar consequences, 
but.
		(Sadly)
					  	  RHONDA
How can you tell?
					(Raising eyebrows)

										FADE OUT.
FADE IN.

INT.  RUBY’S KITCHEN - NIGHT

LONGSHOT: SHOW EMILY suddenly starts crying. RHONDA and CLARA stare at her, without batting an eyelid.  

										FADE OUT.
FADE IN.

INT.  RUBY’S KITCHEN - NIGHT

CLOSE UP: ON CLARA, who gets the pie out and puts in on the table. RHONDA takes a wedge out of the pie.

LONGSHOT: EMILY stays on her chair. Rocking up and down for awhile, then gets up and leaves. RHONDA and CLARA continue to eat. 

										FADE OUT.
FADE IN.

INT.  RHONDA’S STUDY - EARLY MORNING.

MUSIC: NUTCRACKER. LONGSHOT: WE SEE RHONDA, as she sits on the window ledge of the bay window in her study, her latest entry into the diary is, as follows. PAN UP TO Jacaranda trees wavering in the wild wind. WE HEAR the sound of the swishing wind.

PAN UP: To the sky, which is clouded and dark. SHOW Jacaranda trees looking melancholy, under the PERFECT CLOUD. Trembling, the leaves fall with the symphony of NUTCRAKER, melodic and poetic. BLUES captured in a moment of solitude.

CHRIS’S POV: WE HEAR RHONDA (O.S), as she writes: 

People check in and out of LIFE every moment, but some things remain unchanged; a feeling that leaves us shortchanged; this is how DAVID felt.								
									DISSOLVE TO:

INSERT FLASHBACK: ON DAVID’S MURDER AT RHONDA’S PLACE-MORNING  

LONGSHOT: SHOW that SAM is in the living room. He is going out for a jog. As soon as he is near the front door, it suddenly opens. DAVID walks in stealthily. He is confronted with SAM and both get startled. SHOW that they’re both startled. 
							   
							SAM
What the hell’s goin’on? 
How did you get in?
					(Screaming)
							 DAVID
I, I have done a terrible thing. 
And, and I’m not proud.
	(Apologetically)
							  SAM
O yeah? Say it. I want to
hear it all. 		   
(Self-rightously)

CLOSEUP: WE SEE DAVID looking at SAM apprehensively. There’s a cowardly look on DAVID’S face, as he looks down. SHOW SAM confronting DAVID, as he rages, yells out of control.
						  DAVID
Can you please let RHONDA know 
that I’ll pay her back, 
the full amount? Here, her keys. I….I 
	(Guilelessly)
			   SAM
	  She gave you money?
	(Yelling)
			   DAVID
 N,no. I—t-o-o-k it, f-from h-her 
 b-bag.
		(Stammering)
			   SAM
	  What! Are you saying, 
you stole from her too? Your own
sister? You thick headed moron 
and you came to me for help? Get
a reality check, you half witted 
asshole.
(Yelling, hurling insults)
			  DAVID
I said, I can’t, can’t face her 
right now. I was gonna pay her 
back.
	 (Frantically)

										FADE OUT.
FADE IN.

INT.  RHONDA’S PLACE - MORNING

CLOSE UP: ON DAVID raising his voice to a pitch. SHOW SAM frowning, his face black with murderous rage. He walks across and holds DAVID’S shoulder, in a tight grip. He tries to wriggle out.
           SAM
And how were you going to do 
that? Mmm? Tell me how?
     (Intimidatingly)
          DAVID
Let me go! You’re hurting me!
(Wincing in pain, screaming)
	                                       	 
										FADE OUT.
FADE IN.

INT.  RHONDA’S KITCHEN - MORNING

LONGSHOT: SHOW that SAM doesn’t move an inch. PAN DOWN: TO DAVID biting his hand. SHOW that DAVID is biting. SAM cringes in pain and let’s go, but not for long; he grabs a knife from the counter table and runs it through DAVID’S chest in a frenzy. 

DAVID’S eyes pop out in pain. He falls inert on the floor, eyes wide open. SAM IS STILL in rage. SHOW he is puzzled. He looks here and there and everywhere and then STRAIGHT AT CAMERA for help. He opens the door and runs.
                                                       GO TO BLACK:
		       									
												FADE OUT.
FADE IN.

INT.  RHONDA’S STUDY - MORNING

LONGSHOT: PAN UP TO THE SKY. SHOW the looming clouds, the winds and the swaying Jacaranda trees. PAN DOWN: TO RHONDA, still sitting on the bay window, as she closes her diary. SHOW that she is looking out of the window. RAIN drops fall on her window pane. SHOW the downward slide of the rain water, on it. RHONDA opens up her diary again and writes a bit more.

SHOW RHONDA (O.S), as she writes…,

Dear DIARY,

When the murder took place, I was at work. The police was already searching for DAVID and finally when they did find him, he lay inert in a pool of blood. One neighbor, who lived next door, heard SAM yelling. By the time he came out to help, SAM was already on his way out. 

He saw a dead body, through the open doorway and called the police immediately. It was an easy investigation, as SAM’S finger print was all over the knife. But SAM could not be found for a long time. And then one day, as he used the EFTPOS machine, to get money out, my money, of course, since he didn’t have any of his, his whereabouts was detected. Finally arrested, he was taken into custody; he pleaded guilty and told the court exactly how the murder had happened. He was given 20 years with parole; the judge decreed that it was not pre-meditated, but an act, heinous, as it was, one that happened at the spur of the moment. However, bail was denied.

What followed was really quite simple? Finally, I got the long awaited divorce and we, sisters, sold our mother’s house to move in together. What do I do with my life is the question? Now that I am fifty-four years old. 

Aging and dying are inevitable. End of life means that our drama has ended on world-stage. But my life has not ended yet. Or has it in some obscure, mysterious way? I wanted to live a full life and be happy, as I still do. 

I can see how fast time is slipping away. I feel it even more, when I see elderly women on the bus. But what hurts most, is that it has mostly passed in vain. I haven’t really done anything worthwhile….

Yet, I hear, feel and see in my mind’s eye, a whisper; a sadness; a shadow; an apparition; a speck of a ship whistles by; are we even real? And the quest continues. Surely, there’s more to it, than meets the eye. In this temporariness, even if life were a detention centre, where people languish in despair, in total nihilism, there is always a glimmer of hope in the thought of the ‘otherness,’ waiting to be embraced in another world.

For all my mistakes, I feel that I stand strong in my resolve; atonement is made, as I continue with life; punishment, I have taken on the chin. No matter, how harshly the world might judge me, but in all honesty, every step I take, is a choice away from deception; one that is allowed, within the parameters of my mind.

																					FADE OUT.
FADE IN.

EXT-DOWNSTAIRS FROM RHONDA’S PLACE-MIDMORNING

LONGSHOT: SHOW that RHONDA is asleep in her study. She is dreaming that DAVID is here downstairs. He is looking up at RHONDA’S study window. He screams, as he talks…
						  RHONDA
Just what do you think you are doing?
	(Smiling)
       DAVID
You said I could borrow some money.
	(Casually)
	  RHONDA
I did not! I most certainly did not!  
(Emphatically)
You stole it.
	  DAVID
I needed it. I needed a hit badly. You promised you’d help me. You would won't you?
	(Pleading)
      RHONDA
You are at a better place. What is this place like?
	(Smiling)
			 	  DAVID
I’m at a better place. But I’m also dead. It’s over for me. 
  	(Snickers)
I would have overdosed anyway.
				  RHONDA
DAVID! Wait! Wait for me! Will I not ever see you again? 
(Yearning)
Not fair. You never get to see your loved ones, once they’re gone. What happens to us, living, thinking, laughing intelligent people…?

													FADE OUT.
FADE IN. 

INT.  CHRIS’S HOME STUDY - EVENING

CLOSE UP: RHONDA wakes up suddenly and looks down the window. PAN DOWN: TO a path strewn with Jacaranda petals whispering IN THE WIND.
										FADE OUT.
FADE IN.  

INT.  CHRIS’S STUDY - EVENING 

CLOSEUP: ON RHONDA’S DIARY in CHRIS’S hand. PAN UP: TO CHRIS, who just finished reading the diary. He wears a plain striped shirt and cotton pants with designer label, ‘cotton on.’ There is a letter too from RHONDA that arrived in yesterday’s mail. SHOW letter.

					RHONDA’S (V.O)
	
Dear CHRIS,
		I always knew, I would have to own up to you one day. So, here it is. I sent you my diary, where you’ll find your answers. This diary is our history, our time together. However, by the time you read it, I will have made some decisions. I’m planning to adopt a child that I had seen one midsummer morning on the bus, I think she has autism. And I know the orphanage. This will be my final attempt to do something worthwhile, if I’m able to it, that is. However, a reference letter from you would help, I think.
								Yours’ sincerely,
									RHONDA.

		FADE OUT.
FADE IN.

INT.  CHRIS’S STUDY - DOLLY CAMERA - EVENING

FOLLOW CHRIS walking up to the long window. WE SEE that his study has many books around the walls. There is a big Mahogany desk and a leather chair. A stand lamp from ARMANI is turned on. It is a clip on lamp. Lots of fat books on psychology are scattered on his desk, as well as a computer. 

He looks outside for awhile. SHOW that the sun is setting over the distant hills. He watches it go, and then comes back to his desk, turns on the lamp and sits at his computer to write.

		FADE OUT.
FADE IN.

INT.  RHONDA’S KITCHEN - OBLIQUE TWO SHOT -NIGHT

LONGSHOT: A dinner table is set at RHONDA’S place. CLARA, EMILY AND RHONDA sit down for dinner. They are having corn on cobs, chicken roast and salad. CLARA has some news to share.
				  
				   CLARA
I got a promotion. Uncle TOM said so this morning.
(Happily) 
  EMILY
Yeah, I got a raise too. 
	(Happily)
       RHONDA
That’s fantastic. I’m glad for 
you both. Uncle Sam has been saving it up, I guess.  
			(Smiling)
                  CLARA
There’s someone in my life now. 
	(Smiling)
			   EMILY
O, since when?
	(Jesting)
			   CLARA
I’ve only just met him. 
I’ll see how we go? 
He’s a nurse at Westmead, Sydney.
(Smiling)
			   RHONDA
Westmead? Now, that’s nice. When
do we get to meet him? 
			   CLARA
I’m thinking of having a party. 
If that’s okay with you guys. 
I want to invite him then.
	(Happily)

FADE OUT.
FADE IN.

INT.  RHONDA’S KITICHEN-DOLLY SHOT - NIGHT

CLOSE SHOT: WE SEE RHONDA and EMILY looking at one another. RHONDA rubs her shoulder, while EMILY fidgets. RHONDA looks at EMILY for approval. EMILY nods.
								
						  RHONDA
Sure, when?
					Listlessly)

LONGSHOT: FOLLOW CLARA, as she walks to the fridge to strip a magnet calendar off and brings it to the table. While her sisters look on, she looks for a suitable date. 

RHONDA’S kitchen is pretty much the same. The curtains on her window are left apart. She has a floor lamp from IKEA store, which is turned on. In the slight glow of the room and the coziness of the dining table, sisters make future plans. A change will bring them good, they think.

SHOW that RHONDA is now showing wrinkles around her mouth, but she still has not put on weight. She has character lines on her forehead and a deep frown mark between her eyebrows. EMILY and RHONDA look eagerly to the plan that CLARA makes.
								
		  CLARA
How about next Saturday?
						(Excitedly)
						  EMILY
Sounds good. It’s been ages, 
we’ve had one.
 (Enthusiastically)
 					  RHONDA 	
Who did you want to invite?
(Listlessly)
			   CLARA
Whoever we want. Let’s start 
with colleagues.
	(Enthusiastically)
	   RHONDA
That’s a good idea. I could invite 
a few colleagues, I suppose.
	(Snicker)
						   CLARA
And my friend.
	You will really like him RHONDA.
						(Smiling)
						  RHONDA
Great! let’s have a party then.
					  (Unenthusiastically)

FADE OUT.
FADE IN.

INT.  RHONDA’S KITCHEN - DOLLY CAMERA - NIGHT

LONGSHOT: SHOW that CLARA and EMILY get busy with pen and paper, making guest list ON THE TABLE. FOLLOW RHONDA walking over to the balcony and looking at the evening, as the sun sets.

										FADE OUT.
FADE IN.

INT.  RHONDA BALCONY - NIGHT

LONGSHOT: WE SEE that she looks up at the sky, full of twinkling stars. SHOW that she looks at the apartment window next door. The light is on. She sees an elderly lady, having a drink from her kitchen sink.

										FADE OUT.
FADE IN.

INT.  RHONDA’S BALCONY - DOLLY CAMERA - NIGHT

LONGSHOT: FOLLOW RHONDA, as she turns around and enters the kitchen. CLARA and EMILY still sit at the table making guest list. SHOW they look up at RHONDA.

   CLARA
  Our guest list is complete. 
  Do we have a date for the party yet?
(Excitedly)
  RHONDA
   When is it?
		(Unenthusiastically) 
		  CLARA
    How about the 16th, this coming 
    Saturday?
(Excitedly)
		  RHONDA
				    Perfect!
					(Smiling slightly)
										FADE OUT.
FADE IN.

INT.  RHONDA’S PLACE - MORNING

LONGSHOT: WE SEE EMILY dusting the furniture and RHONDA making a list of the food that needs to be bought.
							
						  CLARA
 Don’t forget the flowers.
		(Excitedly)
						 RHONDA
   No, of course not, the balloons and the 
 party decorations.
	(Smiling)
					FADE OUT.
FADE IN.

EXT.  SHOPPING CENTRE MONTAGE - DOLLY CAMERA - LATE MORNING 

LONGSHOT: SHOW ANY SHOPPING CENTRE. It’s a big and busy shopping centre. There’re lots of people milling about. Some are sitting down having rest; others, children, men and women are walking about. There is also a bus stand near it, which is surrounded by big trees. Sisters get off, at the bus stop. 

RHONDA is wearing a long blue dress and blue sandals with beads. CLARA is wearing a red short top and jeans and sneakers. EMILY is wearing shorts and a blue plain top with leather shoes.

SHOW that RHONDA, CLARA AND EMILY are buying food for the party.  

PAN DOWN: TO CLARA, as she buys loads of Gardenias and Water Lilly. 

FOLLOW RHONDA inside the shop. SHOW that she buys cupcakes, soft drinks, coke, lemonade, packets chips and party pies, and bread.   

										FADE OUT.
FADE IN.

EXT.  BUS STOP-DOLLY CAMERA - AFTERNOON

SHOW RHONDA, CLARA and EMILY are waiting with the shopping, at the bus stop. The bus arrives and they get on, while a bus full of people look at them, as they get on. RHONDA takes the window seat, with CLARA beside her. EMILY puts the groceries on the empty seat beside her. 
										
										FADE OUT.
FADE IN.

INT.  BUS STOP - DOLLY CAMERA - LATE AFTERNOON

LONGSHOT: FOLLOW sisters. As they get off the bus, they walk towards RHONDA’S place. Once inside, RHONDA puts the groceries on the table and takes the food out. She puts several eggs to boil on the stove and then gets cucumbers and puts the butter dish down on the counter-top to make sandwiches. CLARA and EMILY are putting the decorations up. 
											
										FADE OUT.
FADE IN.

INT.  RHONDA’S PLACE - LATE AFTERNOON

CLOSEUP: SHOW CLARA arranging THE GARDINIAS in a vase full of water and the LILLIES in another. SHE puts one vase out on the dining table and the other on the coffee table in the living room. 

LONGSHOT: EMILY helps to blow the balloons, which she hangs on windows and ties the silver balls with the balloons.

SHOW that the room looks bright, tidy and clean. 

PAN DOWN: TO RHONDA making sandwiches and baking party pies. Not long now, before party starts. It’s time to dress up. 

										FADE OUT.
FADE IN.

INT.  RHONDA’S LIVINGROOM - EVENING

LONGSHOT: RHONDA is wearing a bright red, plain sleeveless dress. EMILY is dressed in black, with scarf to hide her thin shoulders and neck. CLARA wears green short skirt and a matching blouse. They are all wearing high heeled black shoes.
										
										FADE OUT.
FADE IN.

INT.  THE PARTY MONTAGE - DOLLY CAMERA - EVENING

MUSIC…NUTCRACKER. PAN TO: PAT DONAGUE is a tall, lanky gentleman, with a mouth full of black beard. He is in his early fifties. He wears a white casual shirt and black pants. He brings bar-b-q meat with him and a portable bar-b-q stove, which he places on the balcony. 

WE SEE that the first guests to arrive are CLARA’S friends. FOLLOW PAT to the balcony. 

CLOSEUP: CLARA opens the door and kisses passionately on PAT’s lips.
 					 CLARA
Hi PAT. C’mon in.
(Enthusiastically)
						   PAT
	 Hi, CLARA.
		(Excitedly)			
			 CLARA 
Let me introduce you to RHONDA.
	 (Happily)
						
						FADE OUT.
FADE IN.

INT.  RHONDA’S LIVING – ROOM - EVENING

LONGSHOT: WE SEE AND HEAR men and women chatting, drinking and having bar-b-q. SHOW PAT is doing the bar-b-q. People are simply pouring in. Some are standing in a group, drinking wine. SHOW wine bottles on the dining table.

OTHERS are chatting, sitting down. AND YET, there are some others in the BALCONY, helping themselves to the b-b-q. The party takes off in full swing, a great success.

PAN ACROSS: TO RHONDA who stands in a corner of the room looking at CLARA AND PAT laughing together. 

CLOSEUP: SHOW that RHONDA smiles wanly at them. 

PAN DOWN: TO EMILY and SHOW that she is enjoying her meal tonight.

										FADE OUT.
FADE IN.

INT.  TRAIN STAION MONTAGE - DOLLY CAMERA - EVENING

LONGSHOT: RHONDA sits on a platform bench waiting for her train, which is late, as the sun sets, just beyond the cluster of the Jacaranda trees; a nice breeze plays with RHONDA’S hair. The wind also sweeps away the fallen Jacaranda petals. Fewer people wait for the train today. 

Returning from work, tired looking men in ties, dress pants and shirt, stand on the platform, with brief-cases in their hands. Women in skirt and dresses sit around with bags in their shoulders. 

PULL IN ON MIDDLE AGED RHONDA sitting among them. SHOW a strand of grey hair. Today she wears a white cotton dress and slippers. 

PAN TO: CHERUB SMITH, a five year old little girl, who sits with RHONDA on the bench.

PAN UP To RHONDA, looking at the glorious sun-set.

PAN DOWN TO CHERUB. She sits quietly in a bright red frock with RHONDA, waiting eagerly for the train.

												FADE TO BLACK:

						THE END.