( Draft No.2 )
Written by
0416 213 676
Copyright. Sept 2007.
1.
EXT. HOUSE – NIGHT.
Camera
dollies into house. Noises of people and a dinner party going
on inside. Sloe dolly shot with intercuts of dinner party happening
inside. The front door opens and MIKE and STEPH, the host couple in their late
twenties, are showing out their friends PAUL and JULIE. Also
in their late twenties.
PAUL
…and that’s the way I’ve always
been.
So why change now?
STEPH
That’s why we love you Paul.
Paul
stumbles on the bottom steps and chuckles to himself.
He’s
drunk but he stays on his feet.
STEPH
Ooh… I think you better drive
Julie. You’ve had one… not as
many.
JULIE
Me? Im
too tired.
MIKE
Come on Jules…
JULIE
(snatching
the keys)
I know! I’m driving.
They say
their good-bye sand head toward their car.
2.
INT. CAR. NIGHT.
PAUL
So how come you’ve been so
grumpy tonight?
JULIE
You were drinking. You promised me
That you
wouldn’t.
PAUL
Oh come on Julie, I just had a
few. We were having a/ well I was
having a good time. Damn, lighten
up for once. Please.
JULIE
You’re right. I’m sorry. As long
as you’re
having a good time.
Paul is
about to talk back but he bites his tounge. Giving
up, he shakes his head. After a few moments Paul takes out his wallet. As he
dose so he starts to talk.
PAUL
When we get home, pay Kate and
Ill make sure Sofie’s
all
tucked…
JULIE
No, Ill check Sophie, you just
pay Kate and go to bed.
PAUL
Juli..
JULIE
You’ve had too much to drink!
PAUL
Im fine.
JULIE
I can smell you from here.
Paul just
gives up again and stares straight ahead. He tries again to change the subject.
PAUL
Stop at the liquor shop can
you? I have to get a six pack.
JULIE
Kate needs to get home. We’re
running late already.
PAUL
It’s on the way, I’ll be quick.
You don’t even have to stop the
engine.
JULIE
Why do you need more to drink
anyway?
PAUL
Its not for me it’s for Walker.
He’s dropping over your birthday
present in the morning.
JULIE
Really? You mean my present is
worth a whole six pack?
PAUL
No. Ive already payed
for it.
The beer is just the courier fee.
JULIE
O.K. fine. We’ll get your beer.
3. EXT. CARPARK OUTSIDE BOTTLE SHOP. NIGHT.
They pull
up in a car space across the road from the bottle shop. It is reversed into the
space so the front seats face onto the side of the shop. Paul hops out and
makes his way toward the shop.
INT.
CAR.
Julie
sits watching him. She notices he is in no hurry.
Julie
stops the engine, puts on her CD of nature sounds and makes herself
comfortable.
JULIE
Like hell you’ll be quick.
She puts
her head back and closes her eyes.
EXT. CARPARK OUTSIDE BOTTLE SHOP. NIGHT.
PAUL
She always does it. She’s got to
get on my case when I’ve had a few
drinks.
4.
INT. BOTTLE SHOP.
Paul
enters the shop and makes a quick scan of the store. Walking in he nods at the store owner. As he enters one of the isles he
looks up and notices three men, he would rather avoid, standing looking at the
bourbons. Right near the beer fridge. The big one is named MEAT and his two
mates are TAYLOR and MARCUS. He hopes he is just being paranoid and heads to
the beers fridge anyway. He makes eye contact for a second with MARCUS. The smallest of the three. MARCUS notices PAUL is a bit
under the weather and brings it to the attention of MEAT and TAYLOR. MEAT is kinda hungry looking. In a scary sort of
way. Meat signals that they just get back to the bourbon. So they do.
MARCUS
Get this one man. This one
rips. Its so
nice.
TAYLOR
Thirty-nine bucks!
MEAT
Get this one. Twenty-four bucks.
PAUL is
swaying. Choosing. Listening.
He chuckles to himself over their apparently poor financial situation.
Meat
looks over when he hears the laugh. Now meat decides to play.
MEAT
How much do slacks like them
Cost, sir?
PAUL
Sorry?
MEAT
Those strides of
yours.
Mighty spiffy.
MARCUS
and TAYLOR laugh to themselves in the background.
MEAT
Money like that, you should
be drinking Dom Perignon.
PAUL
I’m no better than you mate.
MEAT
I know.
Meat then
lunges forward at PAUL as if to head but him, but only scares him.
MEAT
Just Poofier!
All three
notice PAUL jump back in fear and crack up laughing.
MEAT
Just taesin’, ya big girl.
Don’t have a heart attack.
Meat
turns to return to his friends.
PAUL
(under
his breath)
God damn psycho.
Meat
hears this and slowly turns back to PAUL.
MEAT
What the hell did you just
say to me…
He says
as he picks Paul up by his jumper.
MEAT
…you scrawny son
of a bitch?
The store
owner sees this happening in the mirror.
MEAT
changes his grip to PAUL throat and starts lightly slapping his face.
MEAT
What did you call me? I tell you
what, you either got balls of steel
or shit for brains you fu/
TED
Hey!
The boys
turn to see the store owner, Ted, wielding a baseball bat.
TED
Put him down and get out
of my shop.
MEAT lets
go of PAUL. Pushing him to the ground.
TAYLOR
Look, Dude there’s no pro/
TED
I don’t care what you have to say.
Just shut up and get out of my
shop.
They take their time.
TED
Now!
MARCUS gives PAUL a little kick in the legs
as he heads for the door.
MARCUS
Have a nice life. Ya wanker.
TED
Come on.
MEAT
We’re going. We’re
going.
The three leave the shop. TED turns and
follows them to the door with the baseball bat at the ready. He watches them
leave then locks the door behind them and turns the sign to closed.
PAUL too watches them leave, then relaxes with a sigh
of relief.
FADE OUT.
FADE IN.
Paul finishes up a glass of water and puts it
on the counter.
PAUL
Thankyou
TED
Don’t mention it.
PAUL
Sorry we made you
close up.
TED
No. I was just about
to.
PAUL
(looking
out the window)
Well, Id better go.
My wife will
be thinking I ducked out the
back door and made a run for it.
TED
You’ll be OK?
PAUL
Yeah I’ll be fine.
Just need a bit
of TLC I think.
TED heads to the door going through his keys.
PAUL
Thanks again for
standing in
like you did.
TED
Paul, I’ve taken on
rougher guts
than that in my sleep. You should
take on my wife.
PAUL
By the sounds of
that I’m
glad I don’t have to.
TED
Yeah, you should be.
You
take care of yourself.
PAUL
Thanks. You too.
5. EXT. OUTSIDE BOTTLE SHOP. NIGHT.
PAUL walks out of the bottle shop and around the corner to where his car is parked.
THE CAMERA SHOWS PAULS POINT OF VIEW AS HE
LOOKS DOWN TO THE SIX PACK OF BEER HE IS CARRYING WITH
BOTH HANDS. A HAND COMES INTO SHOT FROM THE TOP OF SCREEN AND KNOCKS THE SIX
PACK TO THE GROUND SMASHING ALL BUT TWO. CAMERA PANS UP JUST IN TIME TO SEE
MEAT AND A BIG KING HIT OVER THE LEFT EYE.
Paul flies back into the arms of TAYLOR and
MARCUS. They hold him there while MEAT lays in a few more hits. MARCUS and
TAYLOR drop PAUL, then proceed to kick and punch him as he lays
on the ground. PAUL is trying to fight back the whole time, but achieves
nothing.
INT. INSIDE CAR.
Julie lays back, asleep in the drivers seat.
THE CAMERA SITS ON THE BACK SEAT WITH JULIES FACE IN FOCUS IN THE FOREGROUND. PULL FOCUS TO THE BEATING OUTSIDE.
Only Julies relaxing CD can be heard, with
slight sounds coming through from outside.
EXT. OUTSIDE BOTTLE SHOP.
MEAT grabs a beer and starts drinking. TAYLOR
continues the beating while MARCUS, also steps out for a breather and a beer.
They look at each other with a look of job well done.
INT. INSIDE CAR.
Julie wakes up. She rubs her eyes and looks
out to see PAUL being kicked like he’s a football. Immediately startled, she
reached for the door handle then stops. She stops and watches for a few
seconds. She lets it happen. Then her conscience gets the better of her. She
grabs the steering lock and her mobile phone and jumps out.
EXT. OUTSIDE CAR / BOTTLE SHOP.
JULIE heads over, screaming, with the phone to her ear, waving the steering lock in the air.
JULIE
Get away from him
you monster.
Get off him. Go.
MARCUS
Ooh, feisty one.
TAYLOR
(to
himself)
Ah’ bloody screamin bitches.
JULIE
I’ve got the police
on the phone
right now. They’re on their way.
MEAT looks as if he can’t be bothered with
the hassle. He calls for TAYLOR to finish up.
MEAT
Oi! Bitch. Lets
go.
The three men leave and JULIE rushes to PAULS side.
He is pretty messed up.
JULIE
Paul. Paul can you
hear me.
Paul. Say something.
Paul!
PAULS head is lolling around and he moans as
he tries to pull it together and get up. Julie lightly slaps his face.
PAUL suddenly gets a rush of adrenaline and
jumps up, knocking JULIE to the ground. He stumbles around and heads towards
the car.
JULIE now changes. It is what she was praying
would not happen. She gets up and heads to the car.
JULIE
What are you doing?
PAUL
Get in the car.
JULIE
We have to get you
to a hospital.
PAUL
We’re going home.
JULIE
Paul, I’m driving , please.
PAUL
Just get in.
JULIE
Paul..
PAUL
Get in the god-damn
car woman.
She is scared but she gets in. Paul gets in
the drivers side and slams the door. He starts the car and guns it out of the carpark.
6. INT. INSIDE CAR. DRIVING.
PAUL
Those weak arse pussy bastards. I
hate them. Wear are they. They’re
dead. I bet you’re not so tough with
a tonne
of steel bearin down on
your arse.
Eh?
JULIE
Paul, slow down.
PAUL
(ignoring
Julies request)
Three
against one.
Yeah,
That’s real tough
isn’t it.
(beat)(fu)kin COWARDS.
He hits the steering wheel. Once, twice, then franticly pounding the wheel. Julie just
sits still, facing forward but keeping an eye on PAUL the whole time.
PAUL is coughing on his own blood and every
cough is a rush of pain shooting through his battered body.
JULIE has never seen him this bad.
7. EXT. OUTSIDE HOUSE. NIGHT.
The car speeds in and skids to a stop. JULIE
jumps out first and runs to the house with her keys ready. PAUL drags himself
out of the car.
PAUL
Julie. Come here
Julie.
Don’t you…
He slips and falls. JULIE keeps running to
the door. Just as she reaches it, KATE, the babysitter, opens the door.
Julie runs in slamming the door behind her.
8. INT. HOUSE.
JULIE puts some money in KATES hand as she
rushes her through the house towards the back door.
JULIE
Thanks honey but you
have got to go.
KATE
What’s wrong? Is
everything…
JULIE
No, everything’s
fine. PAULS
just had one too many drinks.
KATE
(said
with a ‘nudge nudge,wink wink.’)
Oh, I get it. HA ha ha…
JULIE
Yeah, sweet isn’t
it.
JULIE quickly gets KATE out the back door.
JULIE
Now run.
KATE
O.K.
JULIE
Over
the fence.
KATE looks back as if to say ‘are you
serious’ but does not get a word out.
JULIE
Go!
KATE finally realizes the danger. She turns
and runs. As she runs she pulls out a mobile phone and starts to dial.
EXT. OUTSIDE FRONT DOOR.
PAUL makes his way up the stair and stumbles
around looking for the spare key.
INT. HALLWAY INSIDE HOUSE.
JULIE runs from the back door to a bedroom.
She closes the door fast but quietly and locks the deadlock. PAUL can be heard
stumbling his way to the bedroom door, Yelling and moaning in pain. Julie turns
around as SOPHIE, their 8 year old daughter, wakes up and calls for her mum.
JULIE runs to her and jumps on her bed. JULIE holds SOPHIE as she comforts her.
SOPHIE cries and JULIE does her best to be strong, as they listen to PAUL
through the door.
PAUL gets to the bedroom door. It is already
damaged from when this has happened before. PAUL punches the door in rage
yelling for JULIE to come out.
Dialogue here will be somewhat improvised. This stands as a guideline.
PAUL
Julie. Julie. Open
the door.
Let Sophie sleep.
Julie.
He punches the door more and tries turning
the handle.
He then calms himself a bit to try to talk to
Sophie.
He squats down against the door.
PAUL
Sophie. Honey. Open the door
For
daddy. Come on
sweetheart,
Open the door. I’m
fine Soph’,
Mum just…heard me
wrong when
I said something
before.
That’s all. What did
she say
Soph’. Come on just open the
Door. Remember our song.
(lyrics
to be written)
Open the god-damn
door Julie.
You’re going to pay
for
this you bitch. She’s my
daughter too. Sophie, open the
door. Daddy’s not going to
hurt you. Daddy’s not going
to hurt you. I wont.
I promise.
HE PUNCHES THE DOOR WITH A SERIES OF 4
PUNCHES. ON POINT OF IMPACT OF THE FIRST 3, INSERT QUICK FLASHBACKS OF PAUL
BEATING JULIE AND SOPHIE. ON THE 4TH, INSERT FLASHBACK OF PAULS HEAD
HITTING THE GROUND, FROM THE BEATING HE JUST RECEIVED.
The flashback are
images flashing through PAULS head. PAUL breaks down against the door. His tone
changes and he pleads to be let in.
PAUL
I’m sorry. I’m sorry
baby. Julie!
Please come out. I’m
not going
to hurt you. I’m sorry. Im not
going to hurt you. Not any more.
Im so weak. Im so weak I need
your strength Julie. Im so sorry.
INT. SOPHIES BEDROOM.
Julie and SOPHIE lie like spoons on the bed. Julie holding Sophie tight. Rocking her.
Sophie cries. Julie tries to calm her.
JULIE
Sshh…sshh. It’s OK.
EXT. FRONT OF HOUSE.
CAMERA DOLLIES BACK FROM HOUSE. POLICE SIRENS
START TO BE HEARD AND APPROACHING RED AND BLUE FLASHING LIGHTS CAN BE SEEN.
SOPHIE
Why does he do it
mum? Why?
JULIE
I don’t know baby. I
don’t know.
FADE TO BLACK AND TITLES APPEAR ON SCREEN :
‘Only He Knows’
FADE OUT TO CREDITS.