Monday, November 25, 2013

2nd letter to Georgie McClean re Screen Australia's $50,000 sponsorship of 'The Conversation'


Georgie McClean
Manager, Strategy, Research and Communications
Screen Australia
Level 7, 45 Jones St
Ultimo 2007                                                                                                    25th Nov 2013

Dear Georgie

I have received no response to my letter of 13th Nov re Screen Australia’s $50,000 sponsorship of ‘The Conversation’. You have not even acknowledgment receipt of my letter. Is this because, as a mere blogger, I am not entitled to ask questions? If so, such a policy would be understandable. After all, why on earth should Screen Australia respond to every blogger with questions to ask?

However, in the past, when I have been writing an article for a mainstream publication, the same principle has applied. Screen Australia has refused to answer questions and senior members of management (Ruth Harley, Martha Coleman, Ross Mathews) have refused to make themselves available for comment or to be interviewed.

If Screen Australia refuses to answer questions from journalists that might be difficult, or challenging, or that it simply does not wish to answer, how can we who work in Australian film and TV ever be sure precisely what is going on within the organization and why? How can Australian tax-payers, without whom there would be no Screen Australia, be sure that their money is being well spent?

What is important here is not so much my question about the $50,000 and how and why it was given to ‘The Conversation’ without the benefit of discussion amongst Board members, but the principles of transparency and accountability according to which Screen Australia should be operating.

Who is entitled to ask questions and to receive answers? If not myself, wearing my journalist’s hat, who?

best wishes

James Ricketson

letter to Georgie McClean at Screen Australia re $50,000 sponsorship of 'The Conversation'


Georgie McClean
Manager, Strategy, Research and Communications
Screen Australia
Level 7, 45 Jones St
Ultimo 2007                                                                                                    13th Nov 2013

Dear Georgie

I have read with interest the piece that Tim Burrows wrote about Screen Australia’s $50,000 sponsorship of ‘The Conversation’ and the comments in response to it.

There are aspects of this sponsorship that concern me and other filmmakers I have spoken with. I have expressed my concerns in an Opinion Piece – a draft of which is to be found enclosed.

In the ‘arts, culture and creative industries section” in which we filmmakers work (producers, directors, screenwriters etc) can there be genuine ‘discussion, debate’ if the only people able to generate discussion and debates are academics who are not practicing filmmakers? Would Screen Australia’s $50,000 be better spent on a website on which the thoughts of practicing filmmakers were also welcome? Surely, the initiation of ‘discussion, debate’ should not be limited to either academics or practicing filmmakers but should be open, in a free market of ideas, to anyone with good, confronting, insightful  and perhaps ‘dangerous’ ideas?

You will have noted at least two things from the comments made in response to Tim Burrows’ piece. One is just how many filmmakers are critical of, suspicious, of Screen Australia’s motives in this sponsorship deal. The other is just how many filmmakers choose to remain anonymous. The reason for this, you must be aware, is that filmmakers are, with some justification, fearful of biting one of the few hands that will feed them. This is an unfortunate state of affairs.

My own belief is that there should be at least one online forum (preferably more) where all involved in Australian film and TV can both contribute as writers (generating ‘discussion, debate’) and take part in the ensuing ‘discussion, debate’, using their own names, without fear of retribution. Such open dialogue is essential in the collaborative medium in which we all work and in an era in which the rules of the digital game change with frightening rapidity.

I will be happy to include any response you may have to the contents of my article, “A conversation with ‘The Conversation’”

best wishes

James Ricketson

Close to two weeks later I have not yet received a response to this letter, or acknowledgement of its receipt.

Tuesday, November 19, 2013

PLAYING GOD





‘PLAYING GOD’, a cyber-thriller (is there such a genre?) is a feature film in search of a co-writer, a director, a co-producer, a distributor, a keen funding body and anyone wishing to invest in a film intended as mainstream entertainment for Australian and international audiences. All of these objectives are complicated by the fact that I, as the initiator of the project  as screenwriter and as producer, have been banned by Screen Australia. If the project has any merit Screen Australia will only look at it with a view to funding if my name does not appear on any application forms. Yes, a ridiculous state of affairs - made possible by a Screen Australia Board that, no questions asked, went along with Ruth Harley's decision to ban me on the grounds that I have placed Screen Australia staff at risk and intimidated them with my correspondence!

'PLAYING GOD’ can be made for a modest budget and has, as its leads, two 19 year old young women – SAMANTHA and IMOGEN. For those whose appetites have been whet by Act One, the full script is available on request.

1 INT. MAKE UP AND DRESSING ROOM

Music over opening montage credit sequence:

SAMANTHA, 19, stares at her reflection in a mirror as she brushes her waist-length golden blonde hair. She is lost in her own private reverie, seemingly unaware of the other young women in the room dressing, putting on make-up, chatting.

2 EXT. UNIVERSITY GROUNDS. DAY

Music over opening montage credit sequence continues:

PHILLIP, a pale young man, early 20s, walks awkwardly through a crowded university campus. Under one arm he carries a long florist's box tied with a ribbon.

3 INT. LARGE ROOM

Music over opening montage credit sequence continues:

A huge TV Screen, occupying most of a wall, broken into 54 'boxes' - in each one of which is CCTV footage of people in rooms, cars, shops, lifts etc. Sense of intense surveillance.

4 INT. TAMSIN’S BEDROOM. DAY

Music over opening montage credit sequence continues:

TAMSIN, 14, in a school uniform, long blonde plaited hair sits in front of a mirror in her bedroom, iPad in hand. She smiles as she sends a text message to 'Samson' on her iPad.

TAMSIN: Old enough!

TAMSIN waits excitedly for a response. It comes:

SAMSON To know better?

TAMSIN laughs, starts to unplait her hair. Through the window her BROTHER, 12 years old, can be seen practicing riding his bicycle on the rear wheel only; the front wheel in the air.

5 EXT. ORCHARDS. DAY

Music over opening montage credit sequence continues:

Orchards. Aerial shot. The camera moves low over a hilly landscape covered in orchards - as far as the eye can see.

6 INT. BEDROOM. NIGHT

Music over opening montage credit sequence continues:

A laptop computer in dark room, seen over a shoulder.

The cursor moves across the screen to a file entitled ‘DIARY’, pauses for a moment before moving onto a file entitled 'MOVIES' file.

A hand performs a double click motion to open the file.

7 INT. MAKE UP AND DRESSING ROOM

Music over opening montage credit sequence continues:

SAMANTHA, eyes closed, bunches her hair on top of her head, holds it there with one hand, opens her eyes, stares at her reflection.

With her free hand SAMANTHA reaches out to pick up an ornate antique (Fleur de Lyse) pewter hairpin.

SAMANTHA is in the make up and dressing room for the talent quest: REACH FOR THE STARS. Female contestants finish dressing, getting made-up.

8 EXT. UNIVERSITY GROUNDS. DAY

Music over opening montage credit sequence continues:

PHILLIP, his face covered now with a film of sweat, walks towards a group of students sitting on the grass, talking.

On the inside wrist of PHILLIP'S free arm, (his other holding the florist’s box):
           
A multi-colored eye-of-Horus tattoo

9 INT. LARGE ROOM

Music over opening montage credit sequence continues:

A group of men, seen in silhouette, look at the wall-sized TV screen filled with 54 moving CCTV images - set in a wood-panelled wall. They laugh and chat amongst themselves. 

A MAN WITH A CIGAR, seen in silhouette, takes it from his mouth, blows a smoke ring, picks up a remote control device, presses a button.

The 54 images are replaced by one - blown up to fill the entire screen.

A SEMI-NAKED MAN AND WOMAN frolic on a bed in a bedroom.

The sound of men’s laughter.

10 EXT. FERRY. DAY

Music over opening montage credit sequence continues:

TAMSIN sits on an outer deck of a ferry in Sydney harbour as is passes the Opera House. A photo pops up on Tamsin’s iPad:
        
A handsome young man, early 20s

And a text message:
         
SAMSON: I want to meet you now. NOW!

11 EXT. ORCHARDS. DAY

Music over opening montage credit sequence continues:

PAIGE, 40'ish, drives a tractor between rows of apple trees, towing a large box of apples. She waves to:

BLAKE, 16, (a 'Goth', dressed in black) playing with an old blind Labrador, outside a ramshackle shed.

BLAKE pointedly ignores PAIGE.

12 INT. BEDROOM. NIGHT

Music over opening montage credit sequence continues:

On the laptop computer screen, over a shoulder, a movie:

An 11 YEAR OLD GIRL plays Rapunzel in a school play. She sits in her prison tower, her long hair reaching in a plait to the base of the tower. A 13 YEAR OLD BOY with red hair, dressed as a Prince, prepares to climb the plait to rescue her.

The image disappears in a cloud of exhaled cigarette smoke.

13 INT. MAKE UP AND DRESSING ROOM

Music over opening montage credit sequence continues:

Close on the pewter double pronged ‘Fleur de Lyse hairpin, as SAMANTHA skewers her bunched up hair, securing it in place.  In the background, IMOGEN, performs for the other YOUNG CONTESTANTS.

IMOGEN, pretty, 20, her short-cropped hair dyed pink, clad in underwear only, speaks into a small electronic synthesizing device that alters her voice so that it sounds like that of a man. Phone-sex dialogue:

IMOGEN
“Do you like how that feels, babe?”

14 EXT. UNIVERSITY GROUNDS. DAY

Music over opening montage credit sequence continues:

PHILLIP, florist's box in his shaking hands, has his eyes on MICHELLE - a blonde-haired student (early 20s), sitting with the group of friends on the grass as they chat and eat lunch.

Close on PHILLIP, his face wet with sweat now.

15 INT. LARGE ROOM

Music over opening montage credit sequence continues:

The wall sized TV screen seen over the shoulder of the MAN WITH A CIGAR. With a remote control device he zooms in on one grainy image that fills the wall:

An empty hallway, dimly lit. A door opens. Bright light spills in from outside. Two figures appear in silhouette - one clearly male and the other female.

16 EXT. CIRCULAR QUAY. DAY

Music over opening montage credit sequence continues:

TAMSIN disembarks from the ferry at Circular Quay, looks at the screen of her iPhone. The text message reads:

SAMSON: A Treasure Hunt :-)

TAMSIN laughs to herself excitedly.

17 ENTRANCE TO PAIGE’S ORCHARD

Music over opening montage credit sequence continues:

PAIGE walks from her tractor to a fruit stand at the side of the road: buckets of apples underneath a hand-painted HELP YOURSELF sign - along with prices.

TOM, mid 30's, checks out the apples, his car parked close by. TOM, smiling and polite speaks in an American accent.

TOM 
Mam…

18 INT. BEDROOM. NIGHT

Music over opening montage credit sequence continues:

Laptop computer monitor. Onscreen:

A  folder entitled ‘OLD STUFF’ opens. The cursor darts from file to file, hovers over a file entitled ‘DELILAH’.

19 INT. MAKE UP AND DRESSING ROOM

Music over opening montage credit sequence continues:

As SAMANTHA repositions the Fleur de Lyse hairpin in her bunched up hair, IMOGEN moves the electronic device from her mouth so that her own 'phone sex' voice is heard.

IMOGEN (PURRS)
Mmmm...Yes...That feels ...soooo ....good.

The other CONTESTANTS and MAKE-UP ARTISTS all laugh but SAMANTHA’S attention is focused on a kitten playing on the bench in front of her.

IMOGEN
Oh...Honey Bunny...stop...that is too too nice...

SAMANTHA picks up the kitten, smiles; pays no attention to IMOGEN’S phone sex routine. 

20 EXT. UNIVERSITY GROUNDS. DAY

Music over opening montage credit sequence continues:

PHILLIP is close to MICHELLE and her friends now.

PHILLIP
Michelle!

MICHELLE turns, looks at PHILLIP.

PHILLIP
Phillip…from Facebook.

MICHELLE'S eyes light up. She laughs excitedly.

MICHELLE
Phillip Lasker!?

PHILLIP
Phillip Tillman.

The smile disappears from MICHELLE'S face.

21 INT. LARGE ROOM

Music over opening montage credit sequence continues:

The MAN WITH A CIGAR, seen from behind, watches the screen, looks down, writes in a note book. OTHER MEN can be seen in soft focus - all looking at the multiple TV images on the wall and making notes. We do not see what they see.

22 EXT. ENTRANCE TO PAIGE’S ORCHARD. DAY

Music over opening montage credit sequence continues:

TOM bites into an apple, smiles broadly at PAIGE.

TOM
That's one helluva damn fine apple…?

PAIGE
Paige…

23 INT. BEDROOM. NIGHT

Music over opening montage credit sequence continues:

Moving image on laptop computer screen:

The 13 YEAR OLD BOY with red hair, dressed as a Prince, holds out his arms. 'Rapunzel' steps close. He wraps his arms around her. She rests her head on his chest and smiles.

24 INT. TV STUDIO

Music over opening montage credit sequence continues:

SAMANTHA, wearing glasses, in a brightly colored 50's style print dress, with HAMISH, 19, watches from the wings of a TV studio as IMOGEN, in a tank top and a pair of tight body-hugging hot pants, sings for the TV studio audience and Judges - ALAN, ZOE and CORINNE.

IMOGEN (SINGS)
“Like a virgin, touched for the very first time…”

ALAN, 40'ish, takes a keen interest in IMOGEN'S body and makes no attempt to hide the fact. ZOE and CORRINNE exchange theatrical head-shakes for the audience’s benefit.

25 EXT. UNIVERSITY GROUNDS. DAY

Music over opening montage credit sequence continues:

PHILLIP holds the long florist’s box out to MICHELLE. She gestures, shakes her head nervously: 'No'. PHILLIP stares at her; expressionless. He seems a little unhinged.

26 EXT. LUNA PARK. DAY

Music over opening montage credit sequence continues:

TAMSIN takes a hand-drawn map from under a rock close to the smiling Luna Park entrance:

Alongside a skull and cross bones, the word “Treasure”.

TAMSIN smiles, orients the map, walks towards the smiling Luna Park face - past a red mini van, whose driver, seen from behind, watches her.

27 INT. TV STUDIO

Music over opening montage credit sequence continues:

SAMANTHA watches IMOGEN'S performance from the wings. The audience response suggests that IMOGEN is very popular.

IMOGEN (SINGS)
“Like a virgin, when your heart beats, next to mine…”

SAMANTHA'S attention is caught by TODD (25), partly hidden from view backstage, filming her with his mobile phone.

TODD, an awkward shy young man, smiles sheepishly, stops filming.

SAMANTHA shakes her head, waves her finger: “No”.

TODD looks down, embarrassed. 

28 EXT. UNIVERSITY GROUNDS. DAY

Music over opening montage credit sequence continues:

A strange smile appears on PHILLIP’S face - unnerving both MICHELLE and her friends.

29 EXT. HARBOUR FORESHORE. DAY

Music over opening montage credit sequence continues:

Using her ‘map’ TAMSIN finds a small plastic bag hidden under leaves at the base of a tree. She opens it. Inside:

A small USB device and a note.

TAMSIN smiles, reads the note, is puzzled, inserts the USB into her iPad.

30 EXT. UNIVERSITY GROUNDS. DAY

Music over opening montage credit sequence continues:

As PHILLIP starts to undo the ribbon on the flower box ANOTHER STUDENT takes out her mobile and films.

31 EXT. HARBOUR FORESHORE. DAY

Music over opening montage credit sequence continues:

On the LCD screen of Tamsin's iPad (the USB device plugged into it) appears:

CCTV style footage of her herself, her MOTHER, BROTHER (seen earlier riding his bicycle on one wheel) and FATHER, watching TV - a show with 'scary' suspenseful music.

TAMSIN watches the covertly filmed footage with puzzlement as the red van pulls up alongside her.

TAMSIN looks up from her iPad at the driver (whom we do not see), beams a nervous/friendly smile.

TAMSIN
Samson?

32 EXT. UNIVERSITY GROUNDS. DAY

Music over opening montage credit sequence continues:

PHILLIP takes a shotgun out of the flower box. MICHELLE and the STUDENTS freeze. The girl with the mobile keeps filming.

33 EXT. HARBOUR FORESHORE. DAY

Music over opening montage credit sequence continues:

TAMSIN, in the passenger seat of the red van, looks at the driver (still unseen), smiles nervously:

TAMSIN
How did you...?

She indicates her iPad.

34 EXT. UNIVERSITY GROUNDS. DAY

Music over opening montage credit sequence continues:

PHILLIP points the shotgun at MICHELLE - terror in her eyes.

35 EXT. HARBOUR FORESHORE. DAY

Music over opening montage credit sequence continues:

TAMSIN, very scared now, wishes she had not got into the van as the driver (still seen only from behind) pops the cork of a bottle of champagne - loud like a gun shot.

36 EXT. UNIVERSITY GROUNDS. DAY

Music over opening montage credit sequence continues:

PHILLIP, smiling madly, holds his shotgun, smoke coming out of its barrel. The sound of screaming. PHILLIP turns the gun around and places the end of the barrel in his mouth.

37 INT. MINI VAN. DAY

Music over opening montage credit sequence continues:

Close on TAMSIN's eyelids. She is unconscious. She regains consciousness. Her eyes open.

TAMSIN’S mouth is taped. It takes her a moment to realize where she is; that she is bound and gagged.

In a wider shot we see that her arms and legs are bound; that she is in the back of the red mini van - the DRIVER visible in soft focus in the background.

TAMSIN, terrified, tries to scream but produces muffled grunts only. She thrashes her body about but the DRIVER pays no attention.

end opening credit sequence
                        
PLAYING GOD

38 INT. TV STUDIO

Close on IMOGEN singing. Her voice is not the greatest:

IMOGEN
'You're so fine and you're mine
I'll be yours till the end of time…'

In the wings, SAMANTHA, wearing her glasses, whispers to fellow contestant HAMISH. She is somewhat in awe of Imogen.

SAMANTHA
Gorgeous!

HAMISH
Pity about the voice!

SAMANTHA laughs girlishly, hits HAMISH playfully.

39 INT. JORDAN'S BEDROOM. NIGHT

On a large plasma screen, Imogen can be seen singing:

IMOGEN
'Like a virgin, kissed for the very first time…'

As Imogen continues singing onscreen, JORDAN, 19, peroxide blonde hair, sits in front of his computer, controls in hand, playing:

An animated 3-D game. The POV from the cockpit of a helicopter:

A woman below runs across a desert landscape chased by a horde of bandits firing at the helicopter as it rises, falls and weaves to avoid being shot down.

Jordan's neat, expensively furnished room is suggestive of his family's wealth.

On the wall behind JORDAN, in soft focus, is a print of Michelangelo's Sistine Chapel painting of God touching the outstretched finger of Adam.

JORDAN looks at Imogen singing onscreen for a moment then returns to his game:

The running woman looks back at her pursuers, then up at the helicopter as it swoops in to rescue her.

40 INT PAIGE'S HOME. NIGHT

PAIGE watches TV as she works on a sewing machine - alongside which is a bolt of cloth identical to the material from which Samantha's colourful 50's print dress (seen in TV studio) is made. Onscreen:

IMOGEN has finished her song. She walks up and stands in front of ALAN, ZOE and CORINNE. ALAN is the REACH FOR THE STARS ‘sleaze’ whom everyone hates.

ALAN  
I'm very impressed.

ZOE  (RAISED EYEBROWS)
By her voice I hope you mean!

BLAKE (Paige's 'Goth' son), watches the TV with his mother - the head of the old blind family dog, Matilda, resting in his lap.

ALAN
Her voice is okay too, but that's not the first thing I noticed about Imogen!
IMOGEN winces but maintains her smile. The audience hisses and boos.
ZOE
You're a pig, Alan.

ALAN snorts like a pig. CORRINE upends a jug of water over ALAN'S head. The audience cheers. ALAN smiles. 

There is a knock at the door. PAIGE throws BLAKE A look: 'behave yourself'. BLAKE shakes his head, gets up, moves towards the door.

Onscreen:

ALAN
I'm giving her 9.

He holds up a card with 9 written on it.

BLAKE opens the door with an obvious lack of enthusiasm and ignores the person (unseen) standing there.

41 INT. JORDAN'S BEDROOM. NIGHT

JORDAN looks up from his computer game to the plasma screen:

ALAN, soaking wet, addresses a camera with a smile.

ALAN (ON TV)
Reach for the Stars, the show that turns losers into winners, will be back after the break… 

JORDAN'S attention is now 100% on the plasma screen:

ALAN (ON TV) (
…with the one and only Queen of atrocious attire, Samantha, so don't go away.

JORDAN'S face contorts and his eyes flare in a moment of rage.

42 INT. TV STUDIO. NIGHT

SAMANTHA looks at her dress, wondering with furrowed brow if it is really that bad! She looks up, sees ALAN walking towards her. As he walks past, ALAN (a sleazebag!) smiles, gives her two 'thumbs up'. SAMANTHA, without apparent guile, seeing only good in people (it seems!) smiles back at him warmly.

SAMANTHA sings softly to herself for a moment, becomes aware of TODD'S presence at her side. TODD is shy, sweet, besotted with Samantha.

TODD
Nervous?
SAMANTHA nods.

TODD
You'll be fine. Promise.

TODD holds up two fingers.

TODD
Two minutes.

SAMANTHA nods. TODD smiles, walks off.

TRACY (VOICE OFF)
Samantha…

SAMANTHA turns to see TRACY (a fellow contestant) holding a mobile phone out to her. SAMANTHA smiles, shakes her head.

TRACY
Says it's urgent.

SAMANTHA takes the phone, holds it to her ear.

SAMANTHA
Hello.

MAN'S VOICE (PHONE)
Sammy Buttons?  

The color drains from Samantha's face. She is speechless.

43 EXT. HILL AMIDST ORCHARDS. DAY

Flashback. Very brief. A tractor driven by a man tilts precariously on the side of a steep hill alongside orchards. 

44 INT. TV STUDIO. NIGHT

SAMANTHA, mobile at her ear, her face pale, is in shock.

MAN'S VOICE (PHONE)
Darling, are you there? It's daddy.

45 EXT. HILL AMIDST ORCHARDS. DAY

Flashback. An 11 year old girl with long blonde hair (YOUNG SAMANTHA) watches as the tractor tips over rolls down the hill.

46 INT. TV STUDIO. NIGHT

SAMANTHA doesn't see TODD standing closeby, pointing to his watch.

SAMANTHA
Who is this?

MAN'S VOICE (PHONE)
What a question to ask your father!

SAMANTHA
My father's dead. What do you want?

MAN'S VOICE (PHONE)
It's not what I want, darling. It's what you want.

TODD waves his hand urgently in front of SAMANTHA to get her attention. She seems not to notice him.

MAN'S VOICE (PHONE)
I've been thinking a lot lately, Sammy Buttons, about our secret.
TODD gestures that it is time for her performance. 

MAN'S VOICE
You haven't told anyone have you?

SAMANTHA hangs up - angry, distressed; in shock. Tears well in her eyes. TODD watches her, concerned. Audience members sit down in preparation for the next segment.

ALAN returns to his seat, chats with ZOE and CORINNE. SAMANTHA takes off her glasses, wipes tears from her eyes.

TODD (SMILES)
Good luck.

SAMANTHA composes herself, nods to TODD, tries to smile, replaces her glasses, walks out onstage.

ALAN casts a critical eye over Samantha's dress; shakes his head.

ALAN
Your mother have some old curtains she was not sure what to do with, Samantha?

SAMANTHA
No, they were quite new curtains actually, Alan, but I asked mum if she'd mind sacrificing them to produce…

She does a little pirouette to show off her dress. ALAN smiles, holds his hands up to get the audience to stop its applause. He has something to say but before he has an opportunity SAMANTHA speaks:

SAMANTHA
My rock piece tonight, Alan, is 'Light my Fire', a… 

ALAN
Highly unlikely, Samantha, dressed like that.

SAMANTHA
…a psychedelic jazz-rock piece, made famous by Jim Morrison whose fire, like yours Alan, was extinguished a long time ago.

ALAN smiles and gives her the thumbs up as the audience cheers and SAMANTHA cues the band to start playing.

SAMANTHA
“Hallo I love you, won't you tell me your name…”

47 INT. JORDAN'S BEDROOM. NIGHT

JORDAN, crunches an empty beer can angrily in his hands. On the wall behind him, in soft focus: the print of Michelangelo's Sistine Chapel painting of God touching the outstretched finger of Adam.

SAMANTHA (SINGING OFF)
“Hallo I love you, let me jump in your game…”

48 EXT. SAMANTHA'S FAMILY HOME. NIGHT

BLAKE sits in the dark with Matilda, smoking a joint and looking at:
The wall of the house, through the window of which can be seen his mother PAIGE and TOM watching the TV.

SAMANTHA (SINGING OFF)
“Hallo I love you, won't you tell me your name…”

49 INT. STUDIO. NIGHT

TODD, love-struck, watching from the wings, alongside IMOGEN, sighs and whispers his own name. IMOGEN notices and clearly thinks that TODD is a little weird.

50 INT. STUDIO. NIGHT

SAMANTHA has finished her song. The audience applause is at least equal to that which IMOGEN received. ZOE turns to ALAN.

ZOE
Have your fires been lit?

ALAN
Smoldering, Zoë! Smoldering. The voice, Sam, is exquisite but you've got to do something about your frightful attire. Your clothes suck!

There are hisses and boos from the audience in the TV studio.

51 INT. SAMANTHA'S FAMILY HOME. NIGHT

SAMANTHA nods and smiles warmly.

PAIGE, at her sewing machine watches the TV with TOM.

ALAN (TV SCREEN)
Think 'sexy' not 'frump' and, oh, lose the specs unless you want people to think you're a rocket scientist.

SAMANTHA (TV SCREEN)
My name is Samantha, if you don't mind, Alan. Not Sam.

PAIGE smiles, turns to TOM, reaches out, places her hand on his knee affectionately.

52 INT. TV STUDIO. NIGHT

SAMANTHA
I actually want to be a rocket scientist when I grow up so I'll stick with these (HER GLASSES), thanks.

The TV audience laughs and cheers. ZOE and CORRINE look at ALAN - pleased to see him put in his place. ALAN smiles and gives SAMANTHA a double thumbs-up.

53 INT. DRESSING ROOM. NIGHT

SAMANTHA, in bra and knickers, holds Imogen's electronic voice synthesizing device. IMOGEN and the other contestants are in various states of undress. IMOGEN shakes her head. 

IMOGEN
It wasn't me, promise!

SAMANTHA nods, hands the device to IMOGEN, who speaks into it - her voice becoming 'male'.

IMOGEN
What you need, gorgeous one, is one of these.

IMOGEN produces a pill. SAMANTHA shakes her head.

IMOGEN
All your problems will disappear. Trust me. Come dancing with us! Pleeeeeze.

She holds the pill out to SAMANTHA - who looks at it suspiciously, shakes her head.

TRACY (VOICE OFF)
Whose mobile is that?
All eyes turn to a mobile phone propped up in front of the make-up mirror. All present deny ownership. IMOGEN picks up the mobile.

IMOGEN
The fucking camera's turned on. Someone's perving on us. Can you believe it!?

IMOGEN laughs, turns the mobile phone camera on herself, looks into the wide angle lens - her face distorting massively.

IMOGEN
Get a life wanker!

SAMANTHA, grabs the mobile from IMOGEN's hands and drops it into a glass jug of water on the bench in front of her. IMOGEN and the other contestants all cheer. SAMANTHA grins.

54 INT. VAN. NIGHT 

SAMANTHA is wearing a red dress, red lipstick and red high heeled shoes, her long blonde hair flowing free. She is not wearing her glasses. DOMINIC, mid-30's, switches off the digital recorder on the table alongside him. They are sitting in what appears to be a very upmarket camper van.

SAMANTHA
This is exactly the kind of game Imogen would play.

DOMINIC nods, looks directly at her.

DOMINIC
Your secret?
SAMANTHA holds up her hand, shakes her head; gestures: ‘It’s nothing’.

DOMINIC
And 'Sammy Buttons'?

SAMANTHA
It's what dad called me.

DOMINIC nods, looks at the note-pad in his hand.

SAMANTHA’S eyes are on a folder with a large V written on it, resting on the table.

SAMANTHA
Is V a person, a place, a thing?

DOMINIC
Please, Samantha, let me ask the questions.

SAMANTHA reaches out to pick up the folder. DOMINIC lays his hand firmly on it, stops her. 

DOMINIC
Did anyone else call you Sammy Buttons? Other than your dad?

SAMANTHA
My brother Blake sometimes - to tease me. (A BEAT) It's just some fan, right, trying to mess with my mind. (A BEAT) Right?

DOMINIC (EVASIVE)
Does Blake try to mess with your mind?

DOMINIC flicks back a few pages in his note pad.

DOMINIC (READS)
“It all started the day I got an email from Blake.”

DOMINIC looks at SAMANTHA. She sighs, clearly reluctant to continue. DOMINIC presses 'play' on the recording device.

55 EXT. BLAKE'S DEN. DAY

An old wooden shed, a large orchard in the background.

SAMANTHA (VOICE OFF)
He’s part of a collective of hackers. They compete with each other...

On the door of the shed there is a skull and crossbones and a sign: DEN OF INIQUITY ENTER AT YOUR OWN RISK. Through the door SAMANTHA can be seen, a dart in her hand.

BLAKE (VOICE OFF)
Another firewall. Give me a few minutes!

56 INT. BLAKE’S DEN. DAY

SAMANTHA throws the dart, misses the circular dart board on the other side of the room.

SAMANTHA turns, pays attention to what BLAKE is doing on his computer as he types in instructions to get past a firewall. He is wearing headphones with a microphone attached close to his mouth.

BLAKE (LAUGHS)
Make that 30 seconds.

SAMANTHA watches her brother hunched over his computer, shakes her head.

BLAKE
Fucking amateurs! Firewall! Huh! OK, I’m in...
SAMANTHA'S attention is caught by the old dog, Matilda, seen through the window of Blake's den - walking into a post. As BLAKE continues with his hacking, SAMANTHA moves into the doorway.

SAMANTHA (CALLS)
Matilda! Over here sweetheart.

As Matilda approaches it becomes clear she is blind. SAMANTHA crouches to pat her.

SAMANTHA (TO MATILDA)
Poor old girl!

A LITTLE LATER

BLAKE looks at the mainframe security code written on a scrap of paper and types numbers into a box on his computer screen.

SAMANTHA
You're going to wind up in jail!

BLAKE
Yeah, right! I can just see their lawyer standing up in court and saying “This school kid got past all our firewalls, intrusion detection systems and biometric smartcard authentication devices…”

SAMANTHA
It's happening, Blake! They're prosecuting people like you in the US, bigtime!

BLAKE (SHRUGS)
Whatever…

PAIGE (VOICE OFF)
Yoo Hoo.

PAIGE walks in. She is a little nervous. To SAMANTHA:

PAIGE
You all packed?

SAMANTHA nods. There is a moment's awkward silence.

PAIGE
I thought you might like to meet Tom before you go.

TOM appears in the doorway.

PAIGE
Tom, I'd like you to meet Samantha and Blake.

TOM smiles, holds out his hand to SAMANTHA.

TOM
Hi. I've heard lots about you both.

SAMANTHA shakes TOM'S hand; greets him warmly.

SAMANTHA
Hi Tom. We've heard lots about you too.

TOM
I feel like I know you. From the TV.

SAMANTHA (LAUGHS)
Can't believe everything you see on TV!

TOM laughs, releases SAMANTHA'S hand, extends it to BLAKE - who won't shake it. BLAKE turns and sits back at his computer console. TOM makes light of Blake's rudeness.

TOM
Looks like you've got a great set-up here buddy.

BLAKE ignores TOM. PAIGE is angry with him.

PAIGE
Blake! 

BLAKE ignores his mother. PAIGE would protest more but TOM indicates to her to drop it, takes her elbow and walks her out of the room. SAMANTHA turns on BLAKE.

SAMANTHA
What did you do that for?

BLAKE glares at SAMANTHA angrily, picks up a dart, throws it hard at the dart board on the other side of the room - hits the bulls-eye.

57 SAMANTHA'S BEDROOM. PAIGE'S HOUSE. DAY

SAMANTHA packs her laptop computer into its carry bag. Above a bed covered in teddy bears, dolls, stuffed animals (cats, dogs etc.) is a window - through which can be seen the old shed which is Blake's Den. Posters on the wall reveal Samantha's interest in Lady Godiva and Rapunzel - both with long blonde hair. The richness of Samantha's fantasy life is suggested by framed pictures of fairies, goblins, fire-breathing dragons and knights in shining armor on the walls. In one corner there is an old rocking horse.

58 EXT. BUS STATION. DAY

SAMANTHA, Rapunzel in her arms, kisses her tearful mother goodbye.

PAIGE
Sing like an angel, Princess. And don't forget your medication.

SAMANTHA 
Yes mum.

SAMANTHA impulsively kisses BLAKE on the cheek.

SAMANTHA
I know you're probably going to have to wash your face now but, hey…

BLAKE shrugs. SAMANTHA starts to shake TOM'S hand but changes her mind and impulsively kisses him on the cheek. Over TOM'S shoulder she can see BLAKE shaking his head and putting two fingers in his mouth in a 'vomit' gesture.

As SAMANTHA turns to get onto the bus she sees JORDAN, impeccably dressed, standing alongside a silver car.

SAMANTHA runs up to JORDAN, smiling - affectionately.

SAMANTHA
Hey! How's everything?

JORDAN shrugs. SAMANTHA indicates her kitten.

SAMANTHA
Meet Rapunzel.

JORDAN
You know how I feel about cats.

SAMANTHA kisses Rapunzel.

SAMANTHA
Going to wish me luck?

JORDAN
Yeah, right! So you can become a 'somebody' and leave all us 'nobodies' behind…

SAMANTHA
Jordie, we broke up before I even got to round one of the show, so don't try to blame…

JORDAN     
If you hadn't gone to Sydney…

SAMANTHA
Jordie, you're always going to be my bestest friend, you know that don't you?

SAMANTHA reaches out and touches JORDAN'S arm. He pulls away, looks at her with the anger of a rejected lover in his eyes.

JORDAN
I don't want to be your 'friend'.

59 INT. BUS. DAY

On the TV hanging from the bus ceiling:

A photo of Tamsin in her school uniform. A title reveals the program's name: CRIME WATCH.

REPORTER (ON TV)
…a plea from the family of Tamsin O'Hara…

As the bus pulls out of the bus station, SAMANTHA, Rapunzel in her lap, waves to PAIGE, BLAKE and TOM; pays no attention to the TV.

REPORTER (ON TV)
…whose daughter is believed to have travelled by ferry...

SAMANTHA waves to JORDAN - standing alongside his Mercedes - a mobile phone held up to film the bus pulling away.

REPORTER (ON TV)
...to meet a Facebook ‘friend’ who calls himself 'Samson'.

JORDAN does not respond to SAMANTHA'S wave. He just keeps filming.

On the TV set TAMSIN’S BROTHER can be seen sitting with her MOTHER and FATHER on a couch holding a photo of her.

TAMSIN'S MOTHER (ON TV)
Tamsin, if you're watching this. Or 'Samson'…

60 EXT. COUNTRY. DAY

A handsome medieval KNIGHT in shining armor rides a white horse through an enchanted forest. He has a large sword at his waist. He turns to the camera and smiles.

61 INT. BUS. DAY

Seen through a bus window, SAMANTHA, wearing glasses, looks out - the faintest of smiles on her face. She is looking at:

A man riding a horse alongside an orchard at the side of the road.

SAMANTHA strokes her kitten, curled up in her lap; pays no attention to the news story on the TV hanging from the ceiling:

REPORTER
Police hold grave fears for the safety of...

A photo of Tamsin in a school uniform, her blonde hair plaited dissolves through to CCTV footage of her disembarking from the ferry looking at her iPad.

REPORTER
...15 year old Tamsin O'Hara last seen four days ago…

62 EXT. BUS STATION. SYDNEY

SAMANTHA, carrying her kitten, is greeted with a smile by TODD as she gets off the bus.

TODD
Samantha!? I'm Todd.

SAMANTHA smiles. TODD has a photo ID hanging around his neck.

63 EXT. PARKING LOT. DAY

TODD, over-eager to please, awkward in his role as chauffeur, opens the back door of a REACH FOR THE STARS van for SAMANTHA.

TODD
Anywhere you wish to go, Madame! Your wish is my command.

A beeping sound: a text message arrives on TODD'S mobile. He reads it carefully, nods, speaks quietly to himself.

TODD
Yes sir.

TODD becomes embarrassed when he realizes that SAMANTHA has seen him talking to himself.

64 INT. CAR. DAY

TODD drives, looking at SAMANTHA in the rear-vision mirror. 

TODD
I love apples…

SAMANTHA
Sorry!

TODD
Your mother's orchard.

SAMANTHA (SMILES)
How do you know we have an orchard?
TODD
Internet.

SAMANTHA (LAUGHS)
Are people really interested in that stuff?

TODD (EXCITED)
Yes…

SAMANTHA laughs, shakes her head

TODD
I read…you've never ever cut your hair once in your life. Like Rapunzel. Is that true?

SAMANTHA (LAUGHS)
Yes.

SAMANTHA holds up her kitten.

SAMANTHA
Rapunzel, meet my chauffeur, Todd.

TODD (LAUGHS)
Hi Rapunzel

SAMANTHA holds Rapunzel’s cheek against her own, meouws like a cat.

TODD laughs. He is besotted.

65 INT. APARTMENT BLOCK. DAY

SAMANTHA, holding Rapunzel, watches TODD as he extracts a key-ring from his pocket with lots of keys on it, finds the right key, has difficulty inserting it into the lock because his hands are shaking.

66 INT. LIVING ROOM. APARTMENT. DAY

SAMANTHA walks in, TODD close behind with her bags.

SAMANTHA
Imogen, Hi!

IMOGEN, sitting at her laptop, greets SAMANTHA warmly.

IMOGEN
Hi Sam. Todd, can you help me get connected? Pleeeze!

TODD
Sure.

SAMANTHA
It's Samantha if you don't mind.

IMOGEN
Not a problem. You can call me Im or anything you like...

TODD pulls up a chair alongside IMOGEN'S at her computer. IMOGEN smiles at him flirtatiously.

IMOGEN
...gorgeous, sweetheart...

TODD blushes. IMOGEN puts her hands on TODD'S knee.

IMOGEN
...honeypot...

IMOGEN pats Rapunzel.

IMOGEN
Cute. (TO TODD) Did you stroke Samantha’s pussy, Todd?

LATER

SAMANTHA finishes booting up her own laptop computer - at the other end of the dining table from Imogen's laptop.

On the REACH FOR THE STARS website, alongside a photo of Samantha, the text: “You have 26 new fanmails.”

SAMANTHA (CALLS OUT)
Twenty six.

IMOGEN emerges from her bedroom, in a dressing gown and carrying her shampoo and other toiletries.

IMOGEN
Hey, I only got eighteen!  

SAMANTHA (READS)
“Is that your real hair or a wig?”

IMOGEN puts her chin on SAMANTHA'S shoulder, looks at the screen.

SAMANTHA
Another 'hairmail'!

IMOGEN laughs as she reads another of Samantha's fanmails.

IMOGEN 
“I want to run my fingers through your silky blonde hair…”

IMOGEN runs her fingers through SAMANTHA'S hair.

IMOGEN
My fans have different ideas about what they'd like to do with their fingers! 

SAMANTHA shakes her head, smiles. IMOGEN caresses SAMANTHA'S hair for a moment before walking into the bathroom. SAMANTHA stares out the window, daydreaming.

67 EXT. CASTLE. DAY

SAMANTHA, in medieval dress, sits in front of a castle on a bright sunny day. Standing behind her, brushing her hair, is the KNIGHT seen earlier. Medieval lute music can be heard. The KNIGHT puts down the brush and caresses SAMANTHA'S hair with his hands, moving them gently over her shoulders and down in the direction of her breasts.

68 INT. LIVING ROOM. APARTMENT. DAY

SAMANTHA, eyes closed, smiles. The lute music continues. A 'pinging' sound. SAMANTHA opens her eyes, looks at her computer screen. In the FROM column:

'BLAKE'. In the SUBJECT column, “Check this out!”

SAMANTHA clicks on the email. In the centre of the screen:

A skull and crossbones icon/button.

SAMANTHA (LAUGHS)
Blake!

SAMANTHA clicks on the icon. Onscreen: 

A room with ensuite kitchen, refrigerator, double bed, TV, walking machine, flowers in a vase. It could be a holiday rental apartment.

SAMANTHA watches, mystified as:

TAMSIN, dressed as she was in the opening credit sequence, walks into frame and attempts to open the door with a knife (there is no door handle). Alongside the door there is a rack of colourful costumes and, in a corner of the room, a children's rocking horse.

SAMANTHA is mildly annoyed now.

TAMSIN, in frustration gives up trying to open the door, walks towards the camera that is filming her, looks directly into the lens: 

TAMSIN
I'll do whatever you want but please don't hurt me.

The image onscreen freezes for a moment before dissolving into a vivid, ornate and multi-colored graphic of a human eye. This is the Eye of Horus - the same design seen on the wrist of Phillip - the shotgun killer of Michelle.

SAMANTHA  (VOICE OFF)
Is it supposed to be funny, Blake?

69 INT. BLAKE'S DEN. DAY

On a computer monitor SAMANTHA can be seen talking via skype.

SAMANTHA 
Or scary or what?

Blake's den is dominated by a computer console made from recycled computer parts patched together. A computer nerd!

BLAKE
I've got better things to do, Sam, than mind-fuck my sister.

On another monitor, the Home Page for a Porn Site: TEEN SLUTS.

SAMANTHA
Careful you don't go blind.

BLAKE
Whatever…

BLAKE hangs up. Samantha's face disappears from the screen.

70 INT. LIVING ROOM. APARTMENT. DAY

SAMANTHA stands on the patio of hers and Imogen's apartment, looking down at the swimming pool in the courtyard, mobile held to her ear.

SAMANTHA
Why would you send me something like that?

71 EXT. JORDAN'S HOUSE. DAY

JORDAN, mobile held to his ear, stands on the red gravel turning circle in front of his family's palatial home - surrounded by orchards. A helicopter can be seen on the helipad in the background.

SAMANTHA  (MOBILE)
Jordie?

JORDAN
Just some girl I've kidnapped, Sam. My sex slave.

SAMANTHA  (MOBILE)
Jordan!

JORDAN (COLD)
Forgotten to take your medication, Sam?

72 INT. LIVING ROOM. APARTMENT. DAY

SAMANTHA, mobile in hand, stands by her computer. IMOGEN, her hair wet, stands in the bathroom doorway in her dressing gown.

IMOGEN
Show me.

SAMANTHA walks to her computer, sits. IMOGEN walks up, pulls up a seat next to her. SAMANTHA looks closely at the screen.

SAMANTHA
It's gone!

SAMANTHA, puzzled and a little distressed, scans the INBOX. The email from BLAKE is gone. Samantha's mobile phone rings.

SAMANTHA
It was here just a minute ago!

IMOGEN (LAUGHS)
What drugs are you on?

SAMANTHA looks at the LCD screen of her mobile: JORDAN

SAMANTHA
Jordie.

73 INT. JORDAN'S BEDROOM. DAY

JORDAN, mobile to his ear, sits in front of his computer - on which is screening some home movie footage of himself and Samantha.

JORDAN 
I'm sorry.

SAMANTHA (ON MOBILE)
It's OK.

JORDAN
I can't stop thinking about you.

Imogen's voice is heard over as JORDAN looks at home movie footage of himself and Samantha: 

SAMANTHA and JORDAN laughing, kissing, hugging, fooling around as young teen lovers. Happy times.
IMOGEN (VOICE OVER)
So I got this email from a guy called Nathaniel...

74 INT. TODD'S CAR. SUNSET

TODD drives. SAMANTHA and IMOGEN sit in the back seat, IMOGEN leans slightly forward as she tells TODD this story.

IMOGEN
...same name as an old boyfriend of mine!

TODD nods shyly, shifts in his seat so that he can see SAMANTHA in the rear-vision mirror.

IMOGEN
But this email was not from my Nathaniel. It was an ad for penis enlargement. 

IMOGEN pauses, looks to TOOD for a response. TODD laughs nervously.

IMOGEN
What every girl needs, eh Todd? A large penis!

SAMANTHA shakes her head, holds a finger to her lips, frowns and smiles simultaneously at IMOGEN: “Shhh!”

IMOGEN
I'm sure Todd is very well hung, aren't you Todd?

TODD blushes, pauses for a moment, smiles shyly.

TODD
Like a donkey.

SAMANTHA and IMOGEN laugh. TODD smiles. A beeping sound announces the arrival of a text message on TODD'S mobile. TODD reads it.

TODD
Alan wants to see you both.

IMOGEN (LAUGHS)
Naked?

SAMANTHA smiles, shakes her head, hits IMOGEN playfully.

IMOGEN
Would you like to see us both naked, Todd? Steamy lesbian sex!

75 INT. FOYER. TV STATION. DAY

IMOGEN, SAMANTHA and TODD walk into the foyer of the TV station. IMOGEN walk as ‘sexily’ as she can; links her arm through SAMANTHA'S. On a monitor as they walk past:

'Grainy' (mobile phone) images of Phillip lifting a shotgun out of a long florist's box.

REPORTER
…sensational footage of the shotgun murder of university student

Michelle Phillips filmed by a fellow student on a mobile phone and posted on Facebook…

76 INT. ALAN'S OFFICE. DAY

ALAN, smoking a large cigar, sits with his cowboy boots resting on his desk. TODD, stands behind him, looking nervous. SAMANTHA and IMOGEN sit on the other side of the desk. ALAN puffs on his cigar.

ALAN
One of life's great pleasures…as Monica Lewinsky can confirm…

ALAN laughs. SAMANTHA and IMOGEN have no idea what he is referring to. ALAN holds the cigar out to SAMANTHA. She shakes her head.

SAMANTHA
Don't smoke. Never have. Never will.

ALAN
Don't knock what you haven't tried, sweetheart.

IMOGEN takes the cigar, takes a puff - coughs, grimaces, laughs, hands the cigar back to ALAN.

IMOGEN
Tastes like shit, Alan!

ALAN ignores IMOGEN, his eyes of SAMANTHA'S as he moves the cigar suggestively in and out of his mouth. SAMANTHA is turns  red in embarrassment. ALAN turns his attention to IMOGEN.

ALAN
And what's your ambition as a singer, Imogene?

IMOGEN
To win 'Reach for the Stars', of course.

ALAN
Not everybody can be a winner. Most people are losers.

IMOGEN
Only coz they take 'no' for an answer.

ALAN
And you always say 'yes'?

IMOGEN
As long it doesn't hurt too much.

IMOGEN fixes ALAN with a seductive smile.

IMOGEN
Whatever it takes.

SAMANTHA tries hard not to laugh. ALAN hands two glossy 'passes' to IMOGEN: “HELLFIRE CLUB - you will be punished”.

SAMANTHA is finding it increasingly difficult not to laugh.

77 INT. CORRIDOR. DAY

ALAN stands in the doorway to his office, grinning, moving his cigar in and out of his mouth suggestively. IMOGEN reciprocates with a suggestive mouth gesture of her own, laughs, turns with SAMANTHA and walk down the corridor. As ALAN closes the door behind him SAMANTHA bursts out laughing.

IMOGEN
Boys will be boys!

SAMANTHA
You are a wicked woman, Imogen Stubbs.

SAMANTHA looks at the HELLFIRE CLUB card in her hand; reads.

SAMANTHA
'You will be punished'

IMOGEN 
I hope so!

IMOGEN links her arm affectionately with SAMANTHA'S. As they walk down the corridor, laughing, Dominic's voice is heard.

DOMINIC (VOICE OVER)
Sounds like there’s no shortage of people with a reason to kill Alan?'

78 INT. VAN. NIGHT 

SAMANTHA, in red dress, red lipstick etc. shakes her head, crosses her heart; laughs.

SAMANTHA
A queue!

DOMINIC
What about you?

SAMANTHA
Wanting to do something and actually doing it are two different things.

DOMINIC
Just as well we can't be arrested for our fantasies!

SAMANTHA stares at DOMINIC. He looks down at his note pad.

DOMINIC
What about Blake's fantasies?

SAMANTHA
If Blake could live out his fantasies, no young woman would be safe. (A BEAT) He’s not going to get into any trouble, right? You’re not an undercover cop or anything?

DOMINIC (LAUGHS)
If I was an undercover cop, d’you think I’d admit to it? (SAMANTHA SMILES) So, did you...take Imogen’s pill?

SAMANTHA
If I did, do you think I’d admit it.

DOMINIC (SMILES)
I’m not an undercover cop!

SAMANTHA
No, I went home...

SAMANTHA gets a faraway look in her eyes.

DOMINIC
And?

79 EXT. SAMANTHA AND IMOGEN’S APARTMENT. NIGHT

From the inside of a van parked across the road, SAMANTHA can be seen getting out of a taxi in front of her apartment.

In a wider shot a figure in the red van watches SAMANTHA as she makes her way to the entrance.

80 INT. SAMANTHA AND IMOGEN'S APARTMENT. NIGHT

As SAMANTHA walks trough the door she is met by Rapunzel - whom she picks up and cuddles as she makes her way to her laptop computer.
SAMANTHA looks at the collection of emails she has received. She clicks on the one from JORDAN. The screen fills with:

Home-movie montage of Samantha and Jordan fooling around over the years, mostly filmed with mobile phones - cut to the music of Whitney Houston's “I will always love you.”

SAMANTHA sighs, watches with mixed feeling.

Jordan drives an expensive convertible around the red gravel turning circle in front of his palatial family home.

SAMANTHA’S mobile rings. She answers it.

Jordan in the cockpit of his dad's helicopter on the helipad - pretending to be flying it.

A familiar male voice.

MAN'S VOICE
Hello, Sammy Buttons.

SAMANTHA
Jordan, Blake, whoever you are…this is not funny!

As the conversation proceeds there are brief moments when Samantha’s caller sounds more electronic than real.

MAN'S VOICE
If it's not funny, I guess it must be serious!

SAMANTHA
Only if I take it seriously. And I can't take you seriously - talking to me in that silly Darth Vader voice.

Samantha's mystery caller mimics Darth Vader's voice well.

MAN'S VOICE
“If only you knew the power of the dark side, Samantha.”

SAMANTHA
Imogen, is that you?

MAN’S VOICE
I can be Imogen if you like?

SAMANTHA
Blake? Jordan?

MAN’S VOICE
I told you, Sammy Buttons, it’s daddy.

SAMANTHA
How do you know my father called me ‘Sammy Buttons’?

MAN’S VOICE
I know everything about you.

SAMANTHA
Yeah, right...Blake. I know you think you’re just the awesomest dude but you are not God and don’t know half of what you think you know.

MAN’S VOICE (LAUGHS)
God! Mmmmm. (A BEAT) Would you like me to play God?

SAMANTHA
I thought God was dead, Blake!

MAN'S VOICE
Imogen? Blake?

SAMANTHA
Jordan?

MAN'S VOICE
I prefer God.

SAMANTHA
OK, God. (A BEAT) I’ve got a few questions for you, God!

MAN'S VOICE
They'll have to wait, Sammy Buttons. God has a very busy schedule tonight.

SAMANTHA
Organizing a tsunami or an earthquake or something?

MAN'S VOICE (LAUGHS)
Oh, something much more fun than a tsunami. Or an earthquake.(A BEAT) Now listen to me, Sammy Buttons. And don’t interrupt. I want you do exactly what God tells you to do. I want you to obey His every command without question. Is that understood. If you don’t...If you don’t, well, I’ll leave it to your imagination to figure out what the consequences will be. (A BEAT) Don't let the bed bugs bite, darling.

‘GOD’ hangs up. SAMANTHA stares into space; remembering.

81 INT. SAMANTHA'S BEDROOM. FAMILY HOME. NIGHT

Flashback: YOUNG SAMANTHA snuggles up to her FATHER as he sings.

SAMANTHA'S FATHER (SINGS)
“Don't let the bedbugs bite ya, children…”
YOUNG SAMANTHA loves her dad. Really loves him!

82 EXT. SAMANTHA'S FAMILY HOME. NIGHT

Flashback continues: YOUNG BLAKE, 10 years old, watches jealously through the window. 

SAMANTHA'S FATHER (SINGS)
“…Don't let the bedbugs bite ya.”

83 INT. SAMANTHA'S APARTMENT BEDROOM. NIGHT

ADULT SAMANTHA opens her eyes, wet with tears. She is in her bed, cuddling a teddy bear.

SAMANTHA'S FATHER (SINGS)
"Children I hope you sleep tight…”

Close on SAMANTHA crying; desperate.

84 EXT. FRONT DOOR. SAMANTHA'S APARTMENT. NIGHT

Close on the front lock of the apartment. A hand appears with a key - inserting it slowly, deliberately, noiselessly.

85 INT. HALLWAY. SAMANTHA'S APARTMENT. NIGHT

A pair of male feet in socks creeps down the darkened hallway. Rapunzel appears and looks at the intruder. Her hackles rise. The male feet stop dead in their tracks.

86 INT. SAMANTHA'S BEDROOM. NIGHT

SAMANTHA'S eyes open suddenly. She sits up, hears something, swings her legs out of bed and listens: a low and barely perceptible moan, then a quite audible moan.

87 EXT. ORCHARD. DAY

A brief flashback. CLOSE ON a WOMAN moaning, grimacing, eyes wide open; her face contorted as if in great pain.

88 INT. SAMANTHA'S BEDROOM. NIGHT

SAMANTHA is terrified. There is another moan - followed closely by a laugh. Imogen's laugh. SAMANTHA breathes a sigh of relief, lies back down in her bed.

A LITTLE LATER

SAMANTHA lies in bed listening to the sounds of lovemaking coming from Imogen's room. There is a loud ‘pinging’ sound from the living room.

Close on SAMANTHA - caught between fear and excitement.

89 INT. LIVING ROOM. NIGHT

SAMANTHA walks into the dark Living Room, sits in front of the glowing laptop computer screen, stares at it in shock.
In the INBOX there is an email from:

GOD

SAMANTHA is in two minds about opening it. She hesitates for a moment before clicking the email open. Onscreen:

Tamsin’s room. TAMSIN’S  actions are recorded by several cameras. ‘Reality TV’! TAMSIN inspects a rack of costumes - school uniforms, ballet dresses, fairies wings, nun's habit, sexy lingerie etc. There are also several different coloured wigs.

A familiar electronically distorted male voice is heard.

MAN'S VOICE
You are free to choose whichever role you want to play.

TAMSIN turns from the rack of costumes and addresses the intercom from which the voice emanates.

TAMSIN (CHEEKY)
Lara Croft?

MAN'S VOICE
That is not an option. You can either be a victim or you can take control of your life. Your choice.

TAMSIN
If you want to fuck me, why not just fuck me. Rape me. Why all this…?

TAMSIN gestures to the costumes dismissively.

MAN'S VOICE
Do as you're told, child, for your brother's sake. Look at the television.

The TV set flickers to life, revealing:

TAMSIN’S BROTHER riding his bicycle, on one wheel, in the family back yard.

Close on TAMSIN - incomprehension quickly giving way to fear, panic and tears.

The image onscreen freezes for a moment before dissolving into a vivid, ornate and multi-colored graphic of the Eye of Horus.

SAMANTHA is frozen in shock for a moment.

Close onscreen:

The word ‘Michelle’ is typed into ‘Google’.

Close on SAMANTHA as she types. Onscreen:

Phillip lying on the ground with the sheet over him - one arm protruding, palm facing upwards.

NEWSREADER (VOICE OVER)
Police are hoping that tattoos on the gunman's arm will help identify…

Over other images of the crime scene.

NEWSREADER (VOICE OVER)
…the man, who, police believe may have been stalking Michelle Phillips…

Close on the tattoos on the man's arm.

SAMANTHA leans close to the computer screen and looks at:

The Eye-of-Horus tattoo on 'Phillips' wrist.

End of Act One