(Name of Project) by (Name of First Writer


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Revisions by (Names of Subsequent Writers, in Order of Work Performed)

Current Revisions by (Current Writer, date)

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INT. CAMPUS - MEDICAL SCIENCE LAB – DAY A large medical science lab – a teaching facility on campus. Rows and rows of benches. A STUDENT DOCTOR, kind and courteous, wholesome mid-20’s, in a white lab coat and jeans, t-shirt, is waiting. He has set up his experiment: implements at the ready. Plastic tubing, a small rubber balloon. He checks his watch. He fusses around. He puts on a pair of thin white rubber gloves, takes a seat. A long wait: he stretches the fingertips of the rubber gloves. Impatient, he goes to stand but on second thoughts he settles back down. Finally LUCY enters, unapologetic. She is 23; she wears flat knee-high boots, a shortish skirt and a casual top. Minimal grooming. Self-possessed. STUDENT DOCTOR Hey. LUCY Hey. STUDENT DOCTOR Your autograph please. He presents her with a clipboard and she signs the clearance without bothering to read it. LUCY Sure. He shows her into the seat. He fits the rubber balloon to the end of the snaking plastic tube. He hands it to her. STUDENT DOCTOR Thanks for this. She opens her mouth and tips back her head. She holds the balloon above her open mouth and after a few seconds she swallows it: he hovers over her, guiding the tube. This disquieting experiment is in real-time. STUDENT DOCTOR Good, that’s it. Good. OK. He clips the end of the tube to a machine and takes a measurement. Then he unclips the tube; he picks up a syringe and very carefully pushes some air down the tube.


STUDENT DOCTOR I’m pushing the air in now. Just a little. So the pressure in your chest will change. He clips off the tube and reconnects it to the machine to take a second measurement. He unclips. With great care he slowly pushes in more air with the syringe. STUDENT DOCTOR You’re doing a great job. She slowly blinks in acknowledgement. INT. CAMPUS - WOMEN’S TOILET- DAY Lucy is in the public women’s toilet. She is drinking water out of the tap, gargling so as to soothe her throat. Another student enters, with a bottle of water, and this student begins to apply lipstick. Lucy continues to drink water out of the tap. INT. CORRIDOR/LECTURE THEATRE ENTRANCE - DAY Lucy leaves the toilets and walks along the corridor. This is an ugly campus (UNSW). A large group of students, many Asian, are patiently funnelling through the entry of the lecture theatre. She joins them. A ubiquitous surveillance camera is perched above the door. There is a pile of student newspapers on the ground; she picks one up on her way past. INT. RESTAURANT – NIGHT Lucy is clearing the tables at the restaurant. There are no plates or glasses. She patiently removes a tablecloth and throws it onto the floor in the centre of the room. She quickly windexes the tabletop and gives it a wipe. She tips the chairs upside down onto the table: it is the end of the night. She clears a second table. She clears a third table. She works quickly and efficiently. The COOK – 20’s, male - comes out of the kitchen. COOK Need a ride?

She is nursing a beer. short hair. COOK See ya. The place is fashionably decorated. LADIES RESTROOM . WOMAN Can I interest you in a line? LUCY Why not. LUCY Thanks. large breasts. The woman deftly racks up two generous lines on top of the silver toilet-paper dispenser. . LUCY (continuing her clearing) No thanks. The woman gets up and heads for the Ladies’ Restroom. They acknowledge each other with quick smiles.NIGHT They squeeze into the same cubicle. She rolls up a bank-note and snorts. silk shirt. is sitting at the bar amidst a swarm of businessmen in expensive suits. comes to join her at the bar. A WOMAN in her 40’s. moneyed. Instead of returning the rolled-up note she openly pockets it. INT. LUCY Aye aye me hearty. manicure. serious jewellery. The woman steadily returns the direct gaze. in a stylish pants suit. Lucy goes next. think I’ll do the drycleaners. Night. BAR – NIGHT Lucy. A strong sexual tension. Lucy follows.3. WOMAN A pleasure. in red lipstick. COOK Seek Help. INT.

WOMAN This is Lucy. BUSNESSMAN 2 (TO WOMAN) Are you in? The woman shakes her head. this year.Head. Lucy follows. sweeping up the coin) Head it is. .4. Each holds two balloons of brandy. BUSINESSMAN 1 Hi Lucy. BAR – BANQUETTES – NIGHT The woman slides onto a velvet banquette in a private alcove.. Lucy in the sky. But did I say when. (He plays with the coin). BUSINESSMAN 1 Fair enough. Did I say tonight. BUSINESSMAN 2 (TO BUSINESSMAN 1) Heads or tails? BUSINESSMAN 1 Head. LUCY Oh really. INT. Tonight or next year. next year.. Man 2 fumbles for a coin. BUSINESSMAN 2 Cunt! BUSINESSMAN 1 (jubilant. Why don’t you toss for it? The businessmen are surprised but delighted. (Long pause). BUSINESSMAN 2 We’ve just been talking about which one of us is going to fuck you. Sitting opposite are two BUSINESSMEN in their 40’s. Tonight . She is slightly miffed that the young Lucy is the beacon for sexual attention. We’ll toss. They all lean forward to see the result. Ties loosened. my prince. Man 2 flips coin over and over – builds anticipation – then tosses. LUCY Yes.

girlfriend and boyfriend. shall we. BUSINESSMAN 2 (TO LUCY) Tonight. EXT. are eating breakfast. LUCY I want to.MORNING Lucy opens the front door: this requires concentration... Let’s go then. He tosses the coin. BUSINESSMAN 1 Right. Ratty student furnishings. LUCY Now . It lands on heads. BAR/STREET .or in five hours? She directs a complicit glance toward the woman. They inspect the fall. Lucy smiles and accompanies him without protest. into the living room. He gathers his coat and briefcase. They are dressed in cutting-edge fashion. INT. Windowfuls of morning light. Her key ring holds numerous keys and has a distinctive key-tag. She walks down the corridor.NIGHT They stand outside the bar waiting for a cab. The living room abuts an open kitchen..5. Now. Man 1 stands to his feet. BUSINESSMAN 1 (kindly) We don’t have to go through with this. her hair is mussed. LUCY Hi.LIVING ROOM . Two flatmates.HALL . I can pour you into a cab. BUSINESSMAN 1 My lucky night. SHELL and CHRIS. STUDENT TERRACE HOUSE . She is wearing the clothes from the night before.tails. . LUCY Tails never fails. She seems to have interrupted them. He tosses the coin again.. BUSINESSMAN 1 OK.


SHELL Hi. Chris just nods. Lucy goes to the fridge. The shelves have names: “Shell & Chris”. “Lucy”. Lucy’s shelf is almost bare. A jar of anchovies. A small container of cream, yellowed at the edges. A tin of chickpeas. She closes the fridge and picks up an apple in a fruit bowl on the bench. Behind her on the wall is a magnetic strip which holds several large sharp knives. Shell and Chris swap glances. He raises his brows. Shell frowns as if to say ‘shut up’. CHRIS Have you got the rent? LUCY The rent? CHRIS The rent. As in: the rent. The rent is due. The rent is overdue. LUCY It won’t kill them to wait. CHRIS You have no idea. It’s her house. LUCY (to Shell) Is it your house? Shell shrugs. LUCY (CONT’D) (to Chris) It’s her parents’ house. There’s no virtue in being born. CHRIS Just pay the fucking rent and while you’re at it clean the fucking bathroom. As we all agreed (to Shell). It’s your turn (back to Lucy). LUCY I did clean it. CHRIS You have to grout. Lucy, stone-faced, doesn’t seem to know what ‘grout’ means.


CHRIS (CONT’D) Grout. Between the tiles. That black stuff. LUCY (self-possessed) It will give me great pleasure to grout. INT. STUDENT TERRACE HOUSE - BATHROOM - DAY Lucy, still dressed in clothes from the night before, wearing pink rubber gloves, is barefoot in the bath and is patiently and determinedly rubbing away at the mould between the tiles: grouting. Now and then she picks up an anti-mould spray and sprays the tiles. Returns to grouting. She displays no frustration or anger but instead an equanimity. A long boring job. INT. STUDENT TERRACE HOUSE - BEDROOM – DAY The bed is a low futon on milk crates; another milk-crate serves as a bedside table. It holds a frangi-pani flower in a small glass of water and an eye-mask, the kind found in an airline toiletries bag. The spartan room is strewn with clothes, empty coffee cups, junk. Lucy enters. She dumps her boots. She sits on the edge of the bed and puts on the airline eyemask. Still dressed, she sprawls out, belly down. She does not move an inch. She sleeps. EXT. TERRACE BACKYARD - LANEWAY - MORNING A new day. The concrete backyard of a student terrace. Lucy walks out the back door and into the laneway. Lucy is freshly dressed, has redone her hair. Her walk is steady, selfpossessed. She is wearing head-phones. A tree overhangs a back-fence, laden with red berries. As she walks past – but without stopping – she reaches out and grabs a fistful of berries. As she continues her long walk she scatters these berries one by one on the macadam. A dead bat clings to a powerline: she aims a berry in its direction.


The laneway ends in an onslaught of heavy traffic: she faces an overwhelming transverse eight lanes of cars, morning rush. INT. PHOTOCOPY ROOM – DAY A large artificially-lit room devoted to photocopying - a super-machine. She is processing a stack of papers ...unpicking staples, running the documents through the machine, restacking. Methodical and seemingly endless Sisyphean work. She is wearing headphones. There is a small surveillance camera perched high in one corner of the room. Page after page runs through the machine. Copy after copy after copy. Repetition. Inexplicably the photocopier makes a crunching noise and jams. This does not phase her in the slightest. She has to open the machine and look through every part of it to find the scrunched document. She removes the toner cartridge and reaches into the machine, gently easing out a document folded like a concertina. She closes the machine and is patiently trying to smooth out the document when – behind her – a YOUNG COLLEAGUE enters the room. He is about her age, mid-20’s, and is wearing a smart suit and tie: her superior. He is carrying a huge stack of manila folders. COLLEAGUE Lucy. (Louder) Lucy. He fails to get her attention and so he puts the folders down on the table and goes to stand nearby. He is about to touch her on the shoulder but thinks better of it and instead waves his hand in front of her face. She turns to face him. COLLEAGUE (pointing to the documents) Can you do them by 11.00 LUCY Sure. The colleague leaves. She carries on with her photocopying. There is another interruption – this time by a SECOND COLLEAGUE, a woman, 50’s, whose enormous collagen-plumped lips are further enhanced by bright red lipstick. COLLEAGUE 2 Lucy!

No. Bye Mum. COLLEAGUE 2 Line three. Goodbye. LUCY Thank you. I really have to go. Expiry 04/12.9. The woman holds open the door to a room and points to the telephone. Don’t worry.but the door remains open and she is clearly eavesdropping. Lucy calmly removes her headphones. Note: she has no credit-card in her hand. Do you want me to lose this job? Alright. How did you get this number? No. Ok. No. Lucy can’t hear or see her . COLLEAGUE 2 Lucy. Hi Mum.DAY Lucy follows Colleague 2 down the corridor. I have the card in my hand. Your mother. past a warren of offices. .as her back is to the door. Alright? I have to go now. The woman flicks the lights on and off in order to get Lucy’s attention. What? Yes. I’m sure. INT. Telephone. LUCY (ON TELEPHONE) Hello. CORRIDOR/OFFICE . Bye. I can see it. The woman stands outside the room so as to afford some measure of privacy . 4564 3185 1970. Visa. Security code 399. Lucy turns around.

She signs the receipt. He has a temporary tattoo of a beer logo on his forehead. LUCY That’s OK. The sandwich board incorporates a small sound-system which plays a constant advertising jingle. LUCY Ta. is a HUMAN BILLBOARD. A man wearing a sandwich board with advertising for an electrical goods outlet. ATTENDANT Cash or credit. She puts down the phone and leaves the room. . loaded with the heavy box and the muesli. Coming toward her. Passes the colleague. She walks out. BOTTLE-O . Lucy’s gaze is direct. The ATTENDANT. They make eye-contact. Neither says anything. She hands him a credit card. ATTENDANT Have a good one.STREET . walking slowly. She walks determinedly along the pavement. All I’ve got. LUCY Credit. They bear toward one another. ATTENDANT There’s a charge with Amex. He generates the paperwork.DAY Lucy is at the Bottle-O. ATTENDANT You’ll be right to carry this? LUCY Yeah. INT/EXT. challengingly unashamed. Lucy walks away. Hell. fine thanks. 18.10. ATTENDANT No worries. is putting four bottles of vodka and a six-pack of beer into a cardboard box. She has a small plastic bag full of packets of muesli slung around one wrist: her own knapsack hangs over her shoulder.

BIRDMANN. then she waits patiently. This is done with a minimum of fuss. is in advanced stages of alcoholism: he is very thin. INT. She opens a cupboard and a tiny kitchen is revealed: two electric burners on top of a mini bar-fridge. A sink. BOARDING HOUSE ENTRANCE/ STAIRWAY. the human billboard averts his eyes. After a long while the door opens. elbow out . She puts her ear to the door to hear if anyone is moving. he has his hand on his side. Birdmann stands and watches.DAY This is a boarding house for men. clear as water. BOARDING HOUSE LANDING/BIRDMANN’S APARTMENT . I bear gifts. . She opens one beer. BIRDMANN Hello Lucy. He has a gentle manner.DAY Lucy goes to the door – No. BIRDMANN Thanks. tap-tap. early 30’s. with grey pallor. He is clean-shaven although he has a few shaving cuts. tap. She retrieves a packet of muesli from the groceries bag. Come in. tap-tap.7 – and does a secret knock. so happy to see him) Hey Birdmann. She looks to see what he is drinking.we see an old man watching her from the stairwell. LUCY (warmly. He holds the door open and she walks into his bed-sit. Though bare. his hands have a slight tremble. As they pass. She dumps the vodka bottles in the sink. with a finger of vodka. Tap. His hair is neat and combed. She quickly pours him a small bowl. She rests the beer and groceries on the floor.11. There is a large tumbler on the table. The bare entrance hall has no security.he is applying pressure to his painful kidney. The bed has been made. Lucy enters . INT. She climbs a set of grimey stairs to the first floor. it is very clean and neat. He is dressed in a dark grey business suit with an immaculate white shirt. She opens one of the bottles of vodka and splashes it in the bowl rather than milk.

LUCY That’s OK. And You? LUCY Very Well Thank You. She nods. The arsehole of the arsehole of the arsehole. LUCY (sincerely) Thanks. And Yours? LUCY Oh Yes.on the beach. You look beautiful. Well. BIRDMANN (CONT’D) (now sincerely) It’s good to see you. But I couldn’t because of my tongue. They sit next to one another on the small sofa. Very Well. This deliberate ritualistic patter ends – they both know it be untrue. BIRDMANN Well. BIRDMANN I have something important to tell you. the sound is turned down.12. How Are You? BIRDMANN (also highly mannered) Very Well Thank You. LUCY (highly mannered) Hello Birdmann. You must have wanted me to kiss you. I wanted to kiss you. Furred and thick. Thank You. The TV is on so that a light jitters on their faces. BIRDMANN (CONT’D) Do you remember that time . Putrid. I couldn’t kiss you. And How’s The Family? BIRDMANN Oh Very Well. . That morning. My tongue was furred. After we’d been to Andy’s place.

Thank you so much..MORNING The next morning Lucy is walking down the laneway. EXT. not that I know. EXT.... BIRDMANN (taking a drink) I’m so fucking tired of watching Oprah..No. She is wearing more make-up. she takes a handful of berries and bounces them in her palm. I look forward to seeing you... Yes.. LUCY Hello....12B.. She flicks through the paper until she finds the page she wants.13..Yes....Yes. Today she has made an effort with her grooming... She carries on. She pauses...Slim. LANEWAY . As before.. She backtracks to the phones.. I just want to love my friends. Out of instinct she checks each phone for loose change: she salvages a few coins....I understand. .Brunette. She aims a berry in its direction. She looks up to see if the dead bat is still there: it is. BIRDMANN I wanted you to know.. She is wearing a dress and high heels.Pert (eyes roll). Selfassured..... playfully scatters them one at a time.Bye.... This is Melissa. What should I wear?. LUCY I know. Dials a number from the untraceable public phone.DUSK Later that day Lucy walks past a bank of public telephones.. I’m calling about the ad in the student paper.... Not an unreasonable request.....Five foot 7 ..... seemingly in good spirits..Alright. Her hair swings shiny and clean. She gives him a gentle friendly kiss on the cheek..Yes. She digs into her knapsack and finds the student newspaper.. PUBLIC TELEPHONES .

INT. He turns around. at the furthest distance from the guard. THOMAS (listening a while before speaking) Yes. Businessmen.exits a train station. a dove-grey chaise longue littered with swathes of rich furnishing fabrics.. He stands and walks over to her. a collection of antler trophies on the wall. When she sees a teenage guy about to go through – his ticket at the ready – she quickly steps in. An immaculately groomed. He shows her through a door at the back of the room. Lucy is sitting on a Louis XV sofa. thank you. GUY WITH TICKET No worries. old ladies. LUCY (smiling brightly) Sorry. Japanese silk-screens. She stands. DECORATOR’S SHOWROOM – DAY This is an elegant interior decoration showroom: there is a chandelier. THOMAS Are you sure you wouldn’t like a tea or coffee. He puts down the phone and nods to Lucy. TRAIN STATION Lucy – in her dress and heels . A tone of refinement. The other departing passengers file past with their tickets in hand. On the wall behind him hangs an elaborate gilt-framed antique mirror. Water? LUCY I’m fine. He returns to the desk. It is not at all gaudy. pushes through behind him. 30. Lucy idly leafs through one of the “World of Interior” magazines on the low table beside her. She hovers around the ticket barriers. THOMAS. EXT. .14.. a pair of stone urns. They quickly go their separate ways. effeminate man with shaped eyebrows. A phone rings at the reception desk. sits behind an antique desk doing some paperwork. I think we are ready.

There is room for promotion. .so please be sure to maintain another. Once she would have been a great beauty. You will work with other girls. How does that sound? LUCY Yes. CLARA We rely on mutual trust and discretion . INT. An orchid on the table. cash. some of whom will have more responsibilities. Pearls.in lingerie we will supply.DAY Lucy enters the office: it is chic and refined. She is greeted by CLARA. Such a pleasure to see such a unique beauty.15. You will be engaged on a freelance basis . hello. sit down.and I’m obliged to tell you that there are heavy penalties – very heavy penalties – for any breaches of discretion.job by job. CLARA We are looking for a silver-service waitress to work at private functions . A small archaic Greek statue. please come in. if you are interested. a supremely elegant woman in her late 50’s. A pale-hued dress and jacket. Either of us can stop our arrangement at any time . She wears her hair in a glossy chignon. more reliable. Let me tell you how I think we should proceed. LUCY Thank you. CLARA Hello. source of income. The pay is $250 an hour. we will discuss particulars. LUCY I understand. good. She notices the antique mirror that hung in the reception room works two-ways. DECORATOR’S OFFICE . CLARA Thank you for coming. Lucy take a seat. gentle: dignified resignation. She seems kind. I will describe the job and then.

Work hard for a short amount of time. CLARA Open your mouth. feels it’s weight. Your vagina will not be penetrated. Your vagina will be a temple. CLARA Not pierced. Thomas. Think of it as a windfall.there it is. Passes her thumb over the nipple. She cups one breast. Clara carries out a physical appraisal. CLARA Excellent.bra and panties.. So . Clara is greatly pleased by this reply: a test has been passed. Lucy is slightly apprehensive. Lucy shakes her head. will you stand up for me please and strip. She stands in her underwear .. Please – please do not see this as a career. darling. Thomas enters the room and stands close behind Lucy. CLARA My sincere advice is to use the money wisely.. LUCY My vagina is not a temple.16. Pay off your student loan. LUCY OK. She touches Lucy’s hair. CLARA No tattoos? Lucy shakes her head. my darling. Although it’s quite true.. . you won’t ever be penetrated. She inspects her teeth. CLARA Good. (She picks up the phone). Or save for a home-deposit. Lucy slips off her dress: we see the hem is held up by white masking tape. Now.

Clara takes a close look at the faint scar. . CLARA Sit down. THOMAS Please. Clara returns behind her desk. calves. right up her inner thighs. still behind her. He gets down on his knees. He pauses.Effexor? LUCY No. CLARA Are you a smoker? LUCY No. LUCY I had a mole removed. makes no comment.17. get dressed. Clara tucks her hair behind an ear to reveal an injury: her right ear is deformed. Then the inspection is over. thighs. Are you on any medication? LUCY Just the pill. CLARA That’s all? No allergies? Not antidepressants? LUCY No. THOMAS Stand your feet apart a few inches. THOMAS What’s this? He turns out her inner thigh. the top has been sliced off and is scarred and mangled. and runs his hands lightly along her ankles. Rarely. CLARA No Prozac . Lucy dresses. Lucy registers this deliberate exposure. Maybe the occasional jazz cigarette. I have some questions I need to ask you. Thomas stands nearby.

Now.18. She runs an astrology hot-line. You are familiar with silver-service? LUCY Yes CLARA From which side does one serve the fish? LUCY (micro-pause) The right side. Drugs are a form of grace. CLARA (not missing a beat) We have a doctor we’d like you to see. silverservice. CLARA You called us on a public telephone. CLARA Left side. Will that be a problem? LUCY That’s fine. CLARA Good. Never. Thomas is going to help you. CLARA Why not? Throughout history humankind have used drugs. LUCY My mother is an alcoholic with a violent temper. We will give you a creditcard for all your expenses – workrelated expenses. take note. . for blood tests. CLARA Other drugs? Anything at all toxic? LUCY No. Thomas. Do you have a mobile? LUCY Yes. aspirin for the soul.

DAY Lucy is sitting high on the pedicure throne at the beauty salon. (To Thomas) Aren’t we? Thomas nods. but we are going to make you even more beautiful. Good girl. CLARA(cont'd) You are very beautiful.DAY Lucy is lying on a trestle table. more talented.her fingernails have just been painted a purple-red.19. The beautician points at the panties and indicates to Lucy that they should come off. When this doesn’t happen the beautician takes hold of the foot herself. Her arms are crossed over her chest. The beautician readies a towel and waits for Lucy to take her foot out of the water for drying. Then she stretches the taffy and presses it onto Lucy’s pubic hair -.your name. Lucy’s hands are on display .then she rips it away. INT. WAXING SALON . A Korean woman – wearing thin white rubber gloves and a white face mask over her mouth – is bathing Lucy’s feet. darling? . Subservience. It is the first time Lucy has had a pedicure and she is not familiar with procedure. LUCY Ow! BEAUTICIAN Would you like a lavender tissue. wearing a shirt and panties. BEAUTY SALON . very talented. performing a pedicure. We’d like to call you Sara. CLARA Oh . smiling and nodding. To begin she reassuringly places a hand on Lucy’s belly. The door opens and a beautician enters: a matronly Arabic woman in her 50’s. showing Lucy what to do. INT. The beautician goes to a workbench and returns with a ball of sticky-stretchy sugar taffy. BEAUTICIAN OK.

He gingerly takes a seat at the little table. BIRDMANN And How Are You? LUCY Oh Very Well Thank You. She gives him a peck on the cheek. BIRDMANN Oh Yes Fine Thank You. INT. sit down. a nest of mismatched plates. LUCY OK. At the table. Lucy falls silent and shuts her eyes – on the next rip she turns her head to the side. And You. The procedure is repeated. smiling and indulging Lucy’s complaints.20. removing every last trace of hair with the viscous ball of pube-studded taffy. Each time Lucy cries out – Ow! The taffy is stretched and balled. headed straight for the kitchenette. BIRDMANN To what do I owe this pleasure? . working quickly.DAY Lucy does the secret knock at Birdmann’s door: Tap tap-tap tap-tap – But before she finishes the door opens wide. She deposits the snowy-white tissue over Lucy’s nose. The beautician continues. The beautician lifts both Lucy’s knees and works right between Lucy’s legs. BIRDMANN Good Afternoon. Lucy nods. She brings over a fistful of mismatched cutlery. She quickly sets the table-for-two. LUCY Good Afternoon. wincing in pain. A couple of wine glasses. The beautician gets a kleenex tissue and sprays it with lavender essence. stretched and balled. She carries a plastic bag filled with two bottles of vodka and takeaway food containers. The ridiculous kleenex tissue has fallen away. then passes down the hallway. over and over. Lucy grows hysterical with laughter – as if she can’t believe the pain. BOARDING HOUSE LANDING/BIRDMANN’S APARTMENT .

over the food. . BIRDMANN OK. then scuttles her nails up onto the plate. They both study these fingers that appear to have a life of their own and then comment. A staccato assault. BIRDMANN Can we watch some porn? LUCY No.showing off her new skills by shuffling her food around the plate. BIRDMANN (Pause) Nothing special? Lucy shakes her head. (He sips his drink. Birdmann observes. After she has served him she serves herself. she successfully transfers some food onto his plate in a dextrous silver-service fashion. from the correct height and twisting the bottle at the final moment so as not to spill a drop. She places her fingertips on the table. They both look at the unappetising food. She puts down the bottle and then opens the takeaway food containers.) What have you done to your fingers? She puts down her cutlery and contemplates her shiny lacquered nails.. you first. I’m ‘upgrading my skillset’. She sits down. Nothing special. avoiding the question. LUCY Nothing. She grips a fork and spoon in one hand. impressed. She stands beside him with a newly opened bottle of vodka. LUCY Go on.. He manoeuvres a mouthful. LUCY White or white? She pours the vodka into the glass. chews slowly. at the same time: LUCY AND BIRDMANN Beetles. He accepts this. and holding the container in the other hand as if it were a platter. A small shared smile acknowledging this moment of unexpected unison. across the table.21.

SOPHIE You look lovely. SOPHIE Hello Sara.ENTRANCE/BEDROOM/KITCHEN . She slips off her dress.open. She is immediately greeted by a beautiful woman in her 30’s.as is her habit. Ultra-feminine. She is wearing high heels. Glamorous makeup. With confidence. Sophie wears a short black silk kimono . no panties. She is wearing a cream silk balconette bra. LANEWAY – NIGHT The back gate opens and Lucy walks down the laneway. I’m Sophie. Up ahead we see a car waiting at the spot where the dead bat hangs in the power-lines. . Under the kimono she is wearing a 1930’s burlesque-style black suspender belt and black net stockings. LUCY Hi. The bed is loaded with coats and bags belonging to the staff. Her style is suicide-girl. cream silk panties that tie with satin ribbons at the side. her DRIVER. He holds open the backseat door for her. a coat. is leaning against the driver door. Her hair is cropped short and she has a large tattoo over her left breast. cream silk suspender belt and cream silk stockings. DRIVER Sara? She nods. Oak-panelled walls. No bra. Lets them drop. She quickly ushers Lucy down a corridor into a minimally furnished guest bedroom. SOPHIE. A swarthy bull-necked man. nipples exposed. parquet floor. As he sees her coming he makes call on a mobile phone to confirm her arrival. They drive away.NIGHT The doors of an art-deco elevator open: Lucy steps out into the entrance hall of a grand apartment. glossy smooth hair: a beauty. EXT. She grabs the berries .22. LUXURY APARTMENT . INT. Lucy unbuttons her coat and lays it on the bed.

LUCY (muted disbelief) You’re kidding me. stands up. has a good look. She gently adjusts the hair of one of her girls. lounging against the benches.match your lipstick to the colour of your labia. She leaves it alone and instead brushes her hair. Lucy obliges.an exact match . blending. One waitress whispers something to her friend. She emerges and gazes directly at Sophie. . They exude a languorous menace. A sense of abundance. She checks her watch. The friend gives a knowing laugh. SOPHIE OK now I need you to go into the ensuite and fix your make-up. They study Lucy: a bunny who has walked into a lion’s den. They leave the room and Sophie leads the way down the corridor into a large kitchen. The other WAITRESSES – six of them – are sitting around. stirring. topless. Each of these other waitresses are dressed in the same manner as Sophie: extraordinarily beautiful 20-something suicide-girls. Lucy goes into the bathroom and finds the palette. You’ll find a lipstick palette in there and I want you to match . Long pause. She approaches Lucy and quickly bends down. A male CHEF is working hard. LUCY Thanks. Ha. pierced and tatooed. SOPHIE (gently) It’s not a game.23. black or red suspenders and stockings. mixes her brush along the lip palette and then wipes away the lurid pink with the back of her hand and applies a new colour to Lucy’s mouth. pulls aside the panties. Sophie is nonplussed and removes another palette from a pocket in her kimono. clearly something about Lucy. Sophie shakes her head and indicates the direction of the ensuite bathroom. She fixes her eyeliner. no panties. She studies the palette and then decides to apply the most lurid shade of pink possible. Sophie shucks off her kimono.

He is thin and kindlyfaced. friends.DINING ROOM . A ceremonial procession. A balletic serving performance. Once the diners are seated Lucy steps forward to serve MAN 1 who presides at the head of the table. a Helmut Newton room. she adjusts her bra strap. One man has trouble walking .NIGHT A sumptuous dining room. A pair of French double-doors is opened wide and one by one the diners slowly file in. A glittering chandelier. She expertly displays the wine bottle and pours a glass of white wine. The diners: these men are all late 60’s or older. Lucy and Sophie are stationed on either of the buffet. The waitresses stand to the ready. LUXURY APARTMENT . Sophie steps forward. each balancing two entrees. then nods and smiles in thanks. The feel of a gentleman’s club. for being here tonight. SOPHIE Tonight’s entree is Le Foie Gras poelee. She works her way around the table . An oak buffet. Abundant flowers. . The sound of approaching footsteps. Among them is one old butch dyke. patrician. SOPHIE (chiefly to Lucy) Let’s go. now empty. Lucy takes a deep breath. Thank you. They begin to eat. Once everyone has a full glass a toast is made. He sniffs the wine. Power. Cheers. Wealth. An elaborately laid table. Silverhaired. take their respective places. Puree d’Ail et de Citron A door opens and three waitresses stream in.24. They wear formal black and white dinner suits. INT. Murmured appreciations. set for seven places.to the appreciation of the diners. As ever it is wonderful to see you. Cut crystal glasses. patient and poised.he is truly ancient. MAN 1 Thank you.

and was wondering whether I ever should – but tonight I asked Tony to do what he could. .KITCHEN . He wipes around edges of each platter with a damp cloth. When the Chef is satisfied the Group A waitresses line up to take out the next course. too kind. A memorable night.DINING ROOM . Two Michelin stars.NIGHT The CHEF is putting the finishing touches to the main course. INT. You are too kind. SOPHIE Tonight we are serving fricasee de poulet aux morilles Michel. the chef at Jamin. ways and means. LUXURY APARTMENT . Lucy watches mesmerised as Sophie begins to spoonfeed him like a baby. LUXURY APARTMENT . I haven’t tried the dish since then . In Paris. It’s remarkable: where do your source your supplies? She turns to Lucy and indicates she’d like a top-up of wine. Three waitresses (Group B) enter with finished entree plates that they dump on a bench.25. MAN 1 Ways and means. BUTCH Ah my favourite. MAN 3 (to MAN 1) Michel.NIGHT Lucy serves a red wine: one glass after the other. Sophie takes a stool and sits by the ancient man (who has not touched his food). Do we know Michel? No-one seems to know. Three waitresses (Group A) don’t lift a finger to help. INT. MAN 1 Michel Hennekine. My wife and I had our thirtieth anniversary there.

then from the morel sauce jug. Finished.26. The waitresses station themselves around the room. A luxurious and refined environment.NIGHT The desert has been demolished. Sophie opens the French double-doors. He holds out one sweetened finger. They serve each individual in the silver-service style: first from the rice platter. Sophie approaches a diner. APARTMENT . Their exquisite naked arses are on display. Sophie gives her a reassuring tiny nod. INT. facing a fireplace. Two girls we haven’t seen before – suicide-girls in leather collars– are kneeling over low velvet footstools. Sophie goes to a side-table and passes Lucy a silver tray bearing a crystal decanter and brandy balloons. INT.DINING ROOM .NIGHT The Chef is preparing an elaborate dessert. Persian rugs. MAN 1 places his linen serviette on the table and slowly stands. She licks its length and then takes it whole in her mouth as if giving a blow-job. then from the chicken fricasee platter. Paintings on the wall. A living-room area is revealed. He allows one of the waitresses a sample tasting. . MAN 3 (half-heartedly) To the dish itself. She swaps a quick glance with Sophie. Leather club couches and velvet upholstered wing chairs. The others follow suit. she resumes her station. The waitresses have been making sure everyone has their main course. MAN 1(cont'd) Perhaps you will be able to tell me if it really does taste so good or if it is the memories of Elizabeth that make it so special. The others are in agreement though they pick up their cutlery as if it weighs very heavy. Lucy continues her pouring: she doesn’t spill a drop. Sophie herself then takes up a second tray which bears a silver coffee pot and coffee cups. LUXURY APARTMENT – KITCHEN . Sophie and Lucy and the waitresses enter the room. The diners take up their seats.

A waitress is summoned from her station and is instructed by MAN 3 to sit close by him. His opportunity to touch her. She obeys without question. The CHEF is carefully wiping down his knives. . pours brandy into the glass balloon. Her eyes shine with tears. SOPHIE Don’t worry. LUXURY APARTMENT . Sophie pours a hot black coffee and knows exactly how much milk and sugar to add. They leave the room.NIGHT Sophie and Lucy return to the kitchen with their trays.KITCHEN . MAN 1 gets up from his seat and helps her to her feet. Lucy is upset. flummoxed. Once Sophie and Lucy have finished serving the drinks they prepare to leave the room. She tumbles to the floor . humiliated but under Sophie’s stern gaze she says nothing. there. They approach the next guest. Upsie getsy.he deliberately sticks out his foot and trips her. He runs his fingers up and down her spine. This is no scandal: with the fireplace metal dustpan and poker calmly in hand we feel she has seen this all before. Not to worry. Sophie walks ahead. on the other side. LUCY I’m sorry. MAN 1 There. INT. A waitress moves over to collect the broken crystal. She arches her back in cat-like response. You did well. SOPHIE Coffee or brandy? The process is repeated. breasts forward. Crash: the crystal decanter is shattered.but does not make a sound: all eyes on Lucy. As Lucy walks past MAN 2 – a strong man.27. SOPHIE Coffee or brandy? With a wave of the hand the diner indicates he will take both. barrel-chested with a big gut . Lucy. on the edge of the leather sofa.

This is long boring repetitive work that she performs with equanimity. COLLEAGUE 2. The moment she has left the room Lucy retrieves the folder. Her colleague enters with a new folder. She takes the pay envelope from her coat pocket. the very last remnants of the manicure. clearly. It gives her deep pleasure to be able to destroy it. She lights it and inhales. However.DAY Lucy is back at her photocopy job. INT. patiently feeding documents through the machine. We see her chipped scrappy nailpolish. She opens it and empties out the $50 bills. SOPHIE (CONT’D) Leave those for the cleaners.STUDENT TERRACE HOUSE . not complete equanimity: she takes a deep sigh and presses her thumbs against her eyeballs. PHOTOCOPY ROOM . crumples it up. makes to wash the dishes. She slams down the folder to get Lucy’s attention. Feels its weight. She uses the unpicker to remove staples from some papers. She flicks her cigarette lighter with her manicured nail and applies a steady flame to the bill she has set aside.HALLWAY .LIVING ROOM .NIGHT Lucy comes home to a dark empty house. She expertly rolls herself a spliff. Lucy goes to the sink and turns on the tap. In a drawer in the TV cabinet she finds a pouch of pot and some rollies. watch the plasticised money shrivel and burn. SOPHIE (CONT’D) We won’t be needing you anymore tonight. INT . She fashions a neat stack of bills. It’s the woman with the enormous collagen-plumped reddened lips. with hyper-enunciation: . She goes to a drawer and pulls out an envelope. There is a folded note “Lucy” on the table. then peels off the top bill. She smacks her lips together and then says loudly.28. She reads it and frowns. She hands this over to Lucy. The staples are tricky to remove.

After one or two attempts to calm him the mother ignores the child. She is casually dressed. A young mother and her child. The child starts screaming. CHILD-TYRANT Stand up! Stand up. Mummy! Stand up! Over and over and over. Lucy has arrived at a new luxury residence. LUCY Baboon. He thumps and bangs the seat. Her shin is bandaged. having an hysterical fit. . High pitched squealing. There are three seats free. INT. The mother sits down. Lucy regards him coldly. The eye of the storm. She stares at Lucy and offers a watery smile.29. A sudden quiet. CHILD-TYRANT I won’t sit down! I won’t sit down! Stand up. The commuters continue to stare blank-faced and discomfited. Lucy does not return the smile. Mummy! Stand up! Stand up. Mummy! Don’t sit down! Stand up Mummy! I won’t sit down! The mother gives the child a hard slap across the face. Lucy stands and moves away.and sits on the seat beside. Lucy is obliged to slide over onto the graffiti-marked seat. The fit resumes with even greater intensity. She looks down and sees someone has drawn a large cock and balls picture on one seat. INT.DAY Lucy gets on the train. stand up. An old woman is sitting on the bench opposite. The child yanks at his mother’s skirt. The child pauses in his hysterical fit and sneaks Lucy a glance. Mummy! Mummy. She is in her coat and high heels. SECOND APARTMENT .NIGHT The elevator doors open. She avoids this . TRAIN . age 5. also get on the train. The compartment is almost full.

dressed in her black silk kimono and black suspender belt. But it’s never easy. SOPHIE It gets a little easier. pale pink suspender belt and cream stockings. SOPHIE Very beautiful. Lucy nods in appreciation. Her hair is a new colour. In the bedroom Lucy takes off her coat. Once again. LUCY Hi. On the way they cross paths with a suicide-girl WAITRESS from the previous dinner. Sophie is waiting for her. ultra-feminine. SOPHIE What sort of question is that? Lucy realises her gaff. Ta. . Sophie gestures with an invisible lipstick. LUCY How long have you been doing this? Sophie gives her a long hard stare. LUCY Sorry.30. As before. SOPHIE Hi. We see she is wearing a new lingerie ensemble: a pale pink lacetrimmed balconette bra. Your hair looks great. Lucy goes to the bathroom and does her make-up. pale pink stain panties that tie at the side. SOPHIE Oh. LUCY You look good. a platinum white. then her dress. Once again Sophie ushers Lucy into a bedroom that is used by staff as the cloakroom. She acknowledges Lucy with a friendly nod. quickly applying a natural shade of lipstick.

INT. DRIVER No problem. EXT. He raises his glass to her. tie loosened. being driven by her allocated driver. LUCY Just at the corner. LUCY (CONT’D) I have something to show you. her haunt. LUCY You’re doing a good job. LUCY (CONT’D) (absolute sincerity) I would really love to suck your cock. BUSINESSMAN Some people fake their deaths . She waits for the car to disappear out of sight before she turns in the other direction. CAR/CITY STREET– NIGHT Lucy is in the back of the car.31. she raises hers. She studies him closely. She is full of indiscriminate love so appears warm. loving.I’m faking my life. . BUSINESSMAN May I? LUCY Be my guest. She toys with the envelope of cash in her hand. BAR – NIGHT Lucy makes a noticeable entrance and without hesitation orders herself a drink. The car pulls over. thanks. Lucy gets out. She inches up her dress and reveals the top of her stockings. darl. She walks along the street until she reaches the moneyed bar. friendly. Soon she is joined by a businessman. The businessman is impressed but is not lecherous.

He emerges as if nothing has happened. She plonks down on the sofa. She puts her ear to the door.32. BIRDMANN Hello Lucy. will you marry me? BIRDMANN Yes. He puts on an electric kettle. On his feet: a garish pair of fluffy slippers. tap-tap. He studies her: is she serious? Lucy nods in affirmation. Afte a while the door opens. more quietly this time. BIRDMANN Can I get you anything? Coffee? LUCY Coffee. What time is it? LUCY Morning. She is wearing clothes from the night before. She gives him a kiss on the cheek. Birdmann steps into the toilet: we hear the sound of vomiting. BUSINESSMAN Hallelujah. tap-tap. Birdmann is wearing pyjamas buttoned to the neck and a full-length dressing gown belted at the waist. They go into his room: the bed has been hastily made. A slow smile spreads on the businessman’s face. LUCY (CONT’D) Say yes. tap. She repeats the secret knock. LUCY (CONT’D) Birdmann. INT. BOARDING HOUSE LANDING/ BIRDMANN’S APARTMENT.MORNING Early the next morning Lucy is at Birdmann’s door. . LUCY Thank you. her hair is a mussedup bird’s nest. She does the secret knock: tap. Thanks.

BIRDMANN Not at all. Thought to be extinct until recently. There is very little known about the animal due to it’s rarity. It’s main predators include owls and bats. BIRDMANN (V. I think. wincing at the pain in his side. hands slightly trembling. I could. LUCY We could get you back into detox. There is a strong tenderness between them. cupping it on both hands to hold it steady. Ta.) The Sandhill Dunnart. LUCY (gentle) I think you could. I’m flush. He settles slowly onto the sofa. Me. BIRDMANN Thank you. I think I’m nearly ready.O.. He brings the coffee over to her.. I could. I don’t think I’d make it this time. He spoons some instant coffee into a mug and adds boiling water. We see the nature footage: a marsupial mouse blinking and hopping. . BIRDMANN A pleasure. LUCY That’s very kind of you. BIRDMANN Do you believe that? LUCY I don’t know.33. They share a small gentle smile at what they both know to be untrue. Nocturnal and endangered.(long pause). He turns on the TV and they snuggle together to watch the nature footage with the sound turned down. A marsupial mouse.. looking direct to camera. BIRDMANN I’m ready.

getting lighter down the sides of the body with white on the underside and feet. Long time.) Smooth as a baby’s bottom. I understand. EXT. brows raised. she returns the wave. She disappears into the theatre.34. . Try me. yes. OK. Bye.AFTERNOON Another day. fresh-faced – is waiting outside the lecture theatre while the outgoing STUDENTS stream past. Due to it’s reclusive nature very little is known about its feeding habits.that’s South Australia. Behold -. Lucy – now in jeans. CAMPUS . no hear. Sandhill Dunnarts vary in colour from buff to gray. Sorry? (Brows raised in disbelief) For how long? That’s it? How much? (Again. One girl waves. She quickly looks over her shoulder to see if anyone had been eavesdropping. Sharp carnivore’s teeth. little is known about its reproductive cycle. I’d be happy to do what I can. No. BIRDMANN(cont'd) It’s only current known location is on the Eyre Peninsula . She checks to see who it is before she answers. Her phone rings. The animal prefers to eat insects but will also eat meat on occasion.CORRIDOR . A scared Sandhill Dunnart will make a loud noise as it moves into an offensive position. I understand. LUCY Hey Thomas.sheer lifeforce. She returns the phone to her jacket pocket. This scene is a long interlude of uncomplicated lifeforce. Likewise. What it really is .the Sandhill Dunnart is a miniature and more tenacious Kangaroo.

abandonned vehicles. scattering most as she walks along. LUCY Can we stop at the next petrol station? I need to pee. They drive away.MORNING Lucy is walking confidently along the laneway. COUNTRYSIDE/ INT.35. EXT. LUCY Hey. she is casually dressed. She turns back to the countryside. LANEWAY . The driver activates the automatic door locks. filthy muddied sheep.waits in the pick-up spot. Countryside: powerlines cut through swathes of green. EXT.DAY Lucy observes the countryside through the car window: this is a long drive. . On second thoughts she leans forward again. post bushfire. Up ahead the driver . blackened trees with fine furry leaf-cover. she opens her palm and deliberately lets the last red berries drop to the floor. He opens the door for her and she climbs aboard. DRIVER Morning. Rests her cheek against the glass window. Inside.in sunglasses . She leans forward as if to ask the driver a question: draws back. DRIVER (long pause) Of course. It is a clear blue-sky day. She has her knapsack with her. CAR . She pulls off a handful of berries as she goes past the trees.

This girl can hardly stand. He bundles the second girl into the car. A bucolic paradise. I hope the trip wasn’t too gruelling. INT. An immaculately landscaped garden.DUSK As dusk falls they draw close to a great gateway. LUCY No. With a curt nod he acknowledges Lucy’s arrival. CLARA Wonderful. There is another car parked in the circular driveway. A beautiful heritage mansion comes into view.DAY Now Lucy sees Clara emerge through the front door.MANSION . LUCY Alright. thank you. The irongrille gate has a sophisticated electronic surveillance system. As Lucy gets out of her car she notices Thomas helping another GIRL – same looks and age as Lucy – toward the parked car. She discreetly raises a hand in welcome. GREAT GATEWAY – DRIVEWAY . CLARA Welcome to my home. She heads down the corridor. . MANSION . it was fine. CLARA Come in. She shows Lucy through the house into a luxurious but austere living room. stockings. You’ll find a robe behind the door. The gates open and they pass through. on the left. There’s a bathroom at the end of the corridor. The driver removes his sunglasses and undergoes a scan of the iris. One arm is slooped around Thomas’ shoulder. heels.36. As ever. she is impeccably dressed in a pale skirt and jacket. Perhaps a shower might refresh you after the long drive. They ascend a pebbled allée lined with linden trees. EXT. Not a hair out of place. They seem to have come from around the side of the house. Thank you for coming.GRAND FOYER/LIVING ROOM . come through.

CLARA Are you in good health? LUCY I’m fine. She. appears selfpossessed. too. CLARA You will go to sleep: you will wake up. She deposits her incongruously ugly knapsack (filled with her clothes) by her barefeet. Lucy sits herself down nearby Clara. On the low table in front of her is a silver tray laden with an antique fine porcelain teaset: a tea-pot. . The sound of a door closing shut and Lucy returning to the room. It will be as if those hours never existed.NIGHT Clara is sitting on a sofa. She is wearing a long silk kimono. Folds the cloth. With ceremonial grace she very slowly prepares a tea for Lucy. a saucer. tied at the waist. Clara is satisfied. Clara in not doing anything at all: she sits perfectly still with her hands folded in her lap.try not to let your hair get wet. a cup. She returns the whisk to the tray and drys it carefully with the silk cloth. Lucy nods. There is also a slender silver whisk and a square of silk cloth on the tray. She remains implacable. She slowly pours the tea and then hands over the cup in a deferential manner. INT. Clara’s expression does not change in the slightest. MANSION .LIVING ROOM . First she opens the tea-pot and stirs the tea with the whisk: a meditative movement performed with great concentration.37. LUCY I’m ready. implacable. CLARA Are you feeling well? LUCY Pardon. CLARA (afterthought) Oh . She takes a good long look at the tea-set.

dog-earred them . I picked it up and soon discovered that yes. MAN 1 Thank you. INT. Lucy is asleep. A low platform queen-size bed. he’d given it to me for my birthday. MAN 1. Clara acknowledges his thanks with a small nod. Lucy lies between them.I had definitely read it. For an hour or two after you wake you will feel .NIGHT This is the Sleeping Beauty bedchamber. Well. MAN 1 (addressing the camera) A few months ago a strange thing happened.even though I would have sworn I hadn’t because I saw I’d turned down a few pages. slightly groggy .and then fine. No windows.I was idling through my bookshelves when . A spare and austere refinement. naked. Perfectly fine. CLARA(cont'd) You won’t even dream. it was mine. It was mine because it bore a dedication from brother. . Not nearly as bad as a hangover.I noticed a book that I would have sworn didn’t belong to me. Lucy listens and slowly sips her tea. They sit straight-backed at the end of the bed. A bedside table with a delicate lamp. under snowy-white sheets. Clara. Two figures enter the room: Clara and the host of the first dinner party. Such a sleep works wonders.38. For the first time in in a long time .the way I do when I’m working through something. I started to reread one of the stories.yes. SLEEPING BEAUTY CHAMBER . once upon a time . A collection of short stories. You will feel Profoundly Restored.for no good reason . A formal composition. And what’s more.

.What does he do? He leaves town again. is seized by restlessness.things like the pores in his skin.. He desires an extreme solution to his conundrum.remains pearshaped. MAN 1(cont'd) It was about a year in the life of a man who one morning wakes up and can’t bring himself to get out of bed. our man is hospitalised. Months pass .. they paralyse him..”I say unto thee rise up and walk. in things he doesn’t have to prove . When I reread those words .. none of your bones are broken .He decides to return to the city where he was born and educated..but even in Rome he can’t escape people from his former life..Nothing changes.he shuts his eyes in selfdefence. where he pays taxes .He wants to burrow under the earth like a bulb. he packs his bags and cuts all ties.but it all goes pear-shaped or I should say.....He re-evaluates his life..He can no longer live among the people he knows. they ride off into the night until .. none of your bones are broken!!”.He aches for no less than a new world..The End.but which he can’t quite call home... A man picks him up.. He has a confidence in himself.I felt a tremendous sadness.. away from the infirm and the moribund..his wounds heal.. a new language....bang ..is generally tormented. Do you know what the first line of the story is? “When a man enters his thirtieth year people will not stop calling him young. back to Rome. He can’t wait to get out of the hospital...they smack into a wall. like a root. exhaustion and because he can’t think of anything better to do he decides to go back to his hometown. The driver dies. Out of indifference.39. he goes to Rome. He abandons his train journey to do some hitching. broken up.He’s moneyed..I say unto thee rise up and walk. Now he wishes for life..hearing them with my inner ear or whatever inner faculty it is that we have for absorbing language .” 30! .a desire to act ruthlessly. all things corporeal..

I carried on dutifully. And I didn’t cherish my friends or even my children. A sack of loose skin. He unbuttons his shirt. Clara. One day I will need your help.But what did I do back then? I carried on. I was a success. She gracefully stands and leaves the room. an unconscious bodily adjustment that happens during sleep. Holds her tight.for all these years I’ve known you and now for the first time I say .my bones are broken. And then he removes his silk boxer shorts.. Broken. MAN 1(cont'd) I’d been given the book for my 30th birthday! “The Thirtieth Year” by Ingeborg Bachmann. The great true things are unsuprising. An old man.. there is no shame here. Then he hauls himself onto the bed. . I just . He takes off his jacket. He lies his full length against her. placid. I knew all along even if I didn’t really know. CLARA You are safe.. under the sheets. I’d been told. CLARA (CONT’D) Our rules must be respected. the back foot.. He stands and unbuckles his belt. He observes her closely. And now tonight I tell you. feels the warmth of her leg through the sheets..40. But in truth I did not cherish my wife. He nods. No penetration. Long pause. He pulls away from her and draws down the sheet to marvel at her beauty. Elizabeth and I. He tenderly tucks a strand of hair behind her ear. All of my bones are broken. lets this speech settle between them. an Austrian. We were The Happy Couple. Now he is completely and utterly naked. White-wiry hair on his chest. No-one will see you. Clara. He sits close to the girl for a minute. That’s how people saw us.I was on the defensive. she moves a little to be more comfortable..carried on. He removes his trousers. MAN 1 Thank you. I made my way but at each step I cringed. SoI’d heard.

He kisses her on the back of the neck. He begins to kiss her all over. You’ll feel better very soon. LUCY (weak) Thanks. He kisses her toes. She gets in. not staggering. THOMAS Take care. She is only slightly groggy. EXT.then he lifts her head and lays it one side on the pillow so that she can breathe.41. Clara wanders over to Thomas. Goodbye. one by one. Clara watches from the doorway. Her driver holds open the door. He lies down beside her and gently rubs one hand in the groove of her arse cheeks. He picks up a limp soft hand and holds it in his veined mottled old hand. he cherishes her. The car pulls away. A repetitive. Lucy grimaces like she doesn’t believe him. CLARA Your instinct was right. She waves goodbye to the disappearing car. THOMAS We’ll see. He cups her arse in his hands.MORNING The next morning Lucy is being helped by Thomas to walk from the house and into the parked car on the driveway. He shuts the door. MANSION DRIVEWAY . The car disappears from view. At first she is face-down in the pillow – for a long moment . He gently rolls her onto her belly. MAN 1 My beauty.the perfect sleeper.. my dearest darling. He venerates her beauty. Safe trip. Lucy remains in a deep sleep and does not respond. All the way down her legs. Thomas hands over her knapsack. He carefully kisses each finger. meditative movement that brings him transcendental ecstatic peace. ..

STUDENT TERRACE HOUSE . INT.42. LUCY (conciliatory) Me too. “LUCY”. Exhausted.DAY Lucy. SHELL (kindly to Lucy) I’m really sorry. enters the small real estate office. She turns away to go to her room . dressed up in a conservative way.DAY Lucy has arrived home to find another note left for her on the table. she can’t believe she has one more burden to bear. CHRIS Two weeks then you’re out. working at his desk behind the reception counter. INT. CHRIS Whatever. REAL ESTATE OFFICE . appears at the entrance to the room. LUCY Hi. Chris watches her. LUCY You really are a fuckwit.then on second thought turns back and begins to read it. LUCY Que lo pario. Adios amigo. He She turns to see him – surprised that he has been watching. The AGENT is a jolly besuited man in his 30’s. It pisses her off to see it there. She lays down the piece of paper. AGENT Good morning. Chinga tu madre. She cups his elbow in a placatory gesture. Bad news. . A bell tinkles. la puta que le pario. Vete a la mierde. Shell comes to stand beside him. Behind her.leaving the note unread.KITCHEN/LIVING ROOM .

He scrutinises it. LUCY It’s OK. I’m sure the Excelon will be excellent. Loocy. AGENT OK. AGENT Fan-tastic. No law against it. AGENT (CONT’D) (to himself) Lucy. my darling. She fumbles in her bag and produces her wallet. The agent studies her for a long moment. You know how it is. She shows him the ID. a stitch in time saves nine. LUCY Don’t worry. So do you have photo ID? LUCY Yes. close to everything. But its better to see it. He interrupts this form-filling to ask: . sure. I have keys and can show you if you’d like. There’s some paperwork. LUCY (CONT’D) Is this Excelon still available? AGENT That’s right. Buyer beware and all that. if that’s the case we can do that. LUCY (CONT’D) I have a friend in the building. Heart of the city. Lucy pretends to be amused. He leaves her to it. AGENT Right. Fan-tastic place. Starts filling in a few details. He takes out a lease form.43. Lucy-loo. She quickly scans through a list of rental properties. Skip to the Loocy.

Tap. Lucy hesitates. Saddened. tap. listens. Gives her a querying look. weighing his options. She waits and listens. Family. LUCY I have independent means.Mum or Dad .DAY Later that day Lucy is at Birdmann’s door. tap-tap.a substantial amount. tap-tap. She rests her cheek against the door. Departs empty-handed. The deal is done.to go guarantor. She knocks a third time. hands it over to him. He looks at her without saying anything. undecided. The Agent acquiesces. takes the money. LUCY I prefer to pay in cash. She forks out a large wad. She does the secret knock: Tap. She has bottles of vodka and a plastic bag of muesli slung around her wrist. AGENT (CONT’D) I’ll need your last two pay-slips. Lucy forks over more cash . She repeats the knock. tap. tap-tap. tap-tap. . He holds his pen mid-air then puts it down. BIRDMANNS’ DOORWAY . tap-tap. tap. That’s 3 months rent in advance. The Agent looks at the cash. We’ll just need someone . AGENT That’s fine.44. Lucy reaches into her bag and pulls out a huge envelope of cash. INT. very gently: Tap. tap-tap. Loud. LUCY Meet Daddy. She settles the bottles of vodka and bag of groceries outside the door. She waits. Fine. He counts it.

DAY Once more Lucy is patiently photocopying. thanks Thomas. Page after page after page. She lies still. Bye.NIGHT The new modern bedroom. mirrored built-ins. Sleek and sterile. That’s done. . this is Sara. OK.45. shhk: the machine collates a hundred copies. She goes over to the documents table of papers. Lucy is lying naked on her old futon. THE EXCELON. Ok – Listen. Halogen lights. perhaps you can help me. Thomas. Shhk. thank you. I was hoping Clara was out of her meeting. She gets out of bed and rummages around in one of the plastic bags until she finds a pair of panties. She takes out her mobile and the machine with the papers. if you could keep me in mind I’d be grateful. Repetition. The thing is I have a new lease and I need some work. Then she thinks better of papers. Thanks. There. now she is safe. She puts these on as though they might afford her some protection.BEDROOM . talking time. INT. Eyes open. eyes closed. Very well. PHOTOCOPY ROOM . an array of unpacked cardboard boxes: she has just moved in. Returns to and copying at the same LUCY Hello Thomas. INT. She clambers back into bed and after a moment she deliberately pulls up the sheet to ensure her breasts are covered. Around the room are cheap brightly-chequered plastic bags full of unpacked clothes. eyes open She reaches across to switch on a lamp that sits on the carpeted floor. shhk. and picks up a new pile it and puts down the makes a call. which is still propped up on milk-crates.

reconnects it. MEDICAL SCIENCE LAB – DAY On another day Lucy is back in the medical science lab. The student doctor is taking a pressure measurement. STUDENT DOCTOR Ok. Her phone rings and even though she has the tube in her mouth she finds the phone in her pocket and checks to see who has called. just a little more this time. STUDENT DOCTOR Nearly done. You’re doing well. LUCY (garbled) Hey. What can he do? STUDENT DOCTOR OK. STUDENT DOCTOR (shrugs) OK. He smiles kindly at her. She signals to him to get the tube out of her mouth. my little Frankenstein. INT. Bad Frankenstein. LUCY Sorry. slowly he pulls out the tube. very worried. Lucy rolls her eyes. Slowly. Once the tube is out Lucy gives a little cough. wipes her mouth. I promise. I have to take it. LUCY See. Finished he takes up the syringe and injects more air into the tube. Two minutes. I’ll be back. He hurries over. important call. I’m leaving my bag. He makes a note of the new measurement. it’s OK. She is in the chair with the plastic tube running from deep in her chest to the machine.46. STUDENT DOCTOR And again. .

inhales. MAN 2 Thank you. He is barrel-chested with a big gut. purposefully extinguishes the lit cigarette on the soft plain of Lucy’s shoulder blade. under snowy-white sheets. Inhales. Clara. SLEEPING BEAUTY CHAMBER . exhales. INT. He retrieves his cigarette.NIGHT Lucy is asleep. and studies Lucy: she has rolled over so that he faces her back. CLARA There is the one rule: no penetration. Lucy lies between them. MAN 2 The only way I can get hard these days is if I take a truckload of viagra and then a beautiful woman jams her finger up my arse. departs. MAN 2 Spread your cunt. . He takes a silver cigarette case out his jacket pockets and lights a cigarette. A formal composition. He balances his lit cigarette on the edge of the bedside table. He slowly undresses. He returns the cigarette to the bedside table and then manoeuvres into bed.47. naked. They sit straight-backed at the end of the bed. That’s good. Two figures enter the room: this time it is Clara and the man who deliberately tripped Lucy at the first dinner party. I’m the one who needs penetration and I don’t expect that good fortune tonight. in the austere Sleeping Beauty Chamber. She does not react. She leaves the room. with the glowing end off the wood. CLARA You are quite right. good girl. He reaches under the sheets and pulls her knee back. She gracefully stands. He reaches across the bed and slowly. MAN 2. dumb bitch.

MAN 2 Whore. She enters the tutorial room and finds a seat.COUNTRYSIDE . observing the countryside. trying to get a view of what pains her. . nose. forehead. She wriggles but can’t see the burn mark as it is in her blindspot. INT/EXT. her face pressed to the window.MORNING Lucy is on her way home in the car. CAMPUS . The driver makes no comment.he grabs her by the hair and jerks her head around. She frowns and returns to staring out the window.CORRIDOR . Lucy copies the logarithm step by step in her notebook. EXT.48.CAR .TUTORIAL ROOM. my fucking horse’s prick. The other students all do the same . Countryside. She rolls down the shoulder of her top. Cunt.DAY Another day. She turns away from the window and takes off her jacket. Lucy walks the length of the campus corridors. checks the caller. Her cheeks. eyelids. He leers and licks every inch of her face.on sudden thought .concentrating intently. It is obscene. A long walk. (Lick). She feels her phone vibrate in her jacket and quickly pulls it out. The lecture begins: this is an advanced mathematics lecture. He writes a complex logarithm on the white board. (Lick). till you fucking scream. . This is an excruciating scene of utter degradation. The rest of the rows around her fill with fellow students. MAN 2(cont'd) I’ll press your button and get you wet and fuck you with my big stiff prick. He presses himself close to her and starts to slowly lick her face. He lies back and rests his head between his hands. Then . LECTURER Good morning. Flat mud-ploughed fields. Fucking bitch. (Lick). He tires of this futile attempt to arouse her. She has lost the usual spring in her step.

Her neighbouring student glares at her. He is gaunt. She listens for a response inside. Only when she leaves the room does he resume the proof of the algorithm. One of these keys fits his door. tap. one by one. LUCY It’s OK. He tries to speak . He can’t move. It takes all his strength to faintly smile. A new-found determination. very sick.she has her distinctive set of keys ready in hand. INT. urgency. She packs up her stuff and to the chagrin of her fellow students climbs over them. Mmmmnnnnn makes a groaning mumble. vigour. He is wearing damp pyjama’s.49. The place is spotless. There are two empty bottle of vodka on the table. The lecturer pauses. He trys to speak again. EXT. Quick . Lucy does the secret knock at Birdmann’s door: Tap. The cab drives away. Two empty silver plastic pill packets. he is barely compus mentus. She reaches the cab-rank and arranges a ride. tap-tap. I’m here. at times almost breaking into a run.DAY A little later. LUCY (whispering) Hi.he fails. He studies her. His eyes are heavy-lidded. . She hurries down the hallway into the living area. LUCY I’m coming. unshaven and very.DAY Lucy power-walks through the campus. buttoned to the neck. Birdmann is in bed. tap-tap. I’m here. The mattress has a yellowed sweat stain. It’s a major disruption. CAMPUS . BOARDING HOUSE LANDING/BIRDMANN’S APARTMENT. she’s had it all along. She quickly inspects the packets. Nothing. She returns a tender look.

BIRDMANN Ta. infinitesimally rising and falling with his breath. OK. RESTAURANT . It clatters to the ground. She spoons against his back. .top.50. COOK You OK? Tough innings? LUCY Yeah. All the diners have left. Finished. LUCY Yes. Clasping him close. Her lower lip begins to tremble. She is topless. He is dying. LUCY (whisper) Goodnight Birdmann. Tears stream down her cheeks. around and around and around. She is windexing the tabletop: her movements are slow. He sees her and senses something amiss. She doesn’t make a sound. She trys again. when the COOK calls out on his way into the room: COOK You right to lock up? LUCY (calling back) OK. She is resting her cheek against his back. spasm. His breath is deep and snaggled. her hands under his pyjama top. she clumsily tips a chair upside down onto the table. She is wiping down another table. INT. She holds him close. He forces another small smile. She watches him lovingly as she slowly removes her jacket and then unbuttons her blouse. She bites down on it. She carefully climbs into bed with him.NIGHT Late that night Lucy is clearing the tables at the restaurant.take off . She gently rocks him to and fro. She can’t bear to watch his face so she gently turns him over.

. Two weeks in this weather. how long is it since I saw you. He wears a suit for the occasion. He tries to keep his voice down. LUCY I love drinking.. He watches a moment. There are about 15 mourners.his family and some of his old circle of friends. observing the scene . I think he was wearing your old suit.DAY A sunny day. Leaves.well. aside from the others. She is drinking red wine. Birdmann’s wake is being held in a modest suburban backyard.. She continues working. A young family member is wandering with a camera making a memorial video. It’s like a subdued BBQ. Mark nods.and talking to MARK. MARK When did you last see him? LUCY About three or four months ago. unsure of what to do.. She quickly turns back to wiping down the table so that he can’t see she is on the point of tears. LUCY Will you marry me? Mark is taken aback: angry and astonished. I’m good at it.51. SUBURBAN BACKYARD . A table of food and drink has been placed on the lawn. No-one is crying. I took him out to dinner. A plate of cut-sandwiches is being handed around. Mark is one of the old friends: once her boyfriend. The grey one. She is in her best dress and heels. Lucy is standing at the end of the garden. EXT. A Hills Hoist.. A year?. They say it was two weeks before his brother found him. COOK See ya. . MARK I hadn’t seen the Birdmann in. MARK What! Why now? Why now! You had your chance..

Lucy lies between them. Courtesy. MARK (stern) I’m with Helen now. CLARA You will be safe. that there be no penetration. naked. I also ask that you take care not to leave a mark. MARK (CONT’D) (composing himself. She adjusts herself in her sleep. No-one can see you. though. There is no shame here. INT.NIGHT Lucy is asleep. priggish) Helen is courteous. You don’t believe you.52. Two figures enter the room: this time it is Clara and another old man from the dinner party. She means what she says even if it is an impossible ask. They sit straightbacked at the end of the bed. SLEEPING BEAUTY CHAMBER . Lucy doesn’t speak. bemused. I can’t believe you. MAN 3 Thank you. MAN 3. I don’t believe you. Clara. You should try it. Fuck it. LUCY (sincere) Go on. . LUCY That’s one way to put it. No marks. CLARA I ask. MARK Fuck you. Her gaze is provocative. LUCY (raising her glass) Courtesy. A formal composition. Fuck you to death. under snowy-white sheets. in the austere Sleeping Beauty Chamber. He is visibly distressed.

lumbering. She falls onto the edge of the mattress then slides to the floor. Still in his trousers. is still asleep.53. She is splayed on the ground. He is returning to the bed. INT.slowly unbuckles his belt. She is banging papers around. She is. He crawls over to her and checks to see if she is still breathing. a deadweight. At last he succeeds. He turns her so that she lies horizontally across the end of the bed. He. Soon after she is gone he stands up. He is alarmed by what he has done. Limp. PHOTOCOPY ROOM – DAY The red-lipped colleague is working the photocopier. On all fours. MAN 3 (nods) Thank you. he tries to cradle it. She weighs heavy. He is in pain.weary . Then he sits by the bedside table and . drops to the ground and grips his back. It is difficult to manoeuvre her limp body. He has tears in his eyes. COLLEAGUE 2 (inspecting her ruined manicure) Shit! . He bends and picks her up in his arms. He unbuttons his shirt. She gracefully stands and leaves the room. down to the end of the bed. To her great frustration. He positions her once more as the sleeper. muttering under her breath. This is a long physical struggle. He walks with her around the room. She is heavy. He clambers up and then struggles to get her back into the bed. when he has a back spasm and he lets her drop. when she tries to remove a staple from a document she breaks a fingernail. Her head flops back. too. he lifts the sheet and then pulls Lucy by the legs.

The colleague pointedly checks her watch. He’s not in a rush to make a sale. Past a man who has two dogs on a leash: a wolf-like Alsatian and a tiny toypoodle. Dark circles under her eyes from sleepless nights. night vision. listening devices. you know. The colleague swallows a bitter laugh of disbelief.DAY Lucy peruses goods in a Spy Shop that sells CCTV.. The universe is out of kilter. transmitters. INT. COLLEAGUE 2 (CONT’D) Alright . . as if she has a stone in her shoe. Lucy is walking through an artificially lit hyper-mall.. she enters with a slight limp. There are CCTV cameras active all around the small store. Just as she gets back to copying Lucy shows up. turns back to the machine. LUCY Hi there. Out of the corner of her eye she clocks herself onscreen. She walks with self-possessed determination despite her limp. HYPER-MALL . She has to get his attention.54.SPY SHOP . She carries an injury from her fall. COLLEAGUE 2 (CONT’D) Well? Lucy remains silent. The shop assistant is 19. spotty-faced. COLLEAGUE 2 (CONT’D) We do fire people here. Lucy chooses not to answer. Unapologetic. She checks out all the goods and then pauses before the display of mini video cameras. cameras.you’re fired. LUCY (without insolence) Thank you. debugging. Past elaborate islands of indoor plants.DAY Later that day. HYPER-MALL . INT. surveillance equipment. alarms.

ASSISTANT Hi. Nota bene. Yasunari Kawabata.. He gets it out of the glass cabinet. As the lecturer laserpoints to the various circles he narrates the game: LECTURER OK. LUCY What do you think of that one? ASSISTANT Not bad. Black was showing an aggressive spirit.and then...here Black 127 turned again to the centre of the board... TUTORIAL ROOM. Teeny-tiny.55. INT.. Three minutes later Black 123 brought Otake cutting back into White formation. She is recording the lecture. Some black and white numbered circles represent the positions (reference: The Master of Go... Here. See: POV through her camera... She has placed her new mini-video camera beside her notebook.and Black 129 lashed out to decapitate this triangle here that the Master had so stubbornly put together.. Fourth Ito session moves 122. A complicated diagram is projected on a screen: it shows the progress of a match..Let’s get Going. This is a lecture on the game of Go. And then. The Master responded with white 122. The students moan good-naturedly at his pun. She points to a mini-camera.what did the Master do? . LECTURER (CONT’D) We open with Otake’s sealed move Black 121. at the end of a row.. back to the fourth session as narrated by Mr Kawabata in his novel The Master of Go. competitive.145 at p 127). He comes over..DAY Lucy is sitting in the tutorial room.

holds it safe. Closer and closer.. Lots of bling. she bunches up her sleeve in her hand and gingerly reaches out toward the stranger’s mouth. Lucy studies the sleeping hairdresser. Her magazine slides off her lap onto the floor. late 30’s. White 130.maintain visual contact with your possessions at all times. She dabs away the drool. A delicate operation. RESTAURANT . She is sitting opposite a sleeping woman... HAIRDRESSER Thanks luv. LECTURER(cont'd) He counter-attacked to the right with White 130. . The Cook is ready to leave.. LUCY You dropped this. The sleeping woman doesn’t stir. TRAIN .. Hesitating a moment.56. Why did he ensure his own defeat? INT. She returns the magazine. Lucy moves so that now she is sitting right beside the hairdresser.. startles awake. After a while the hairdresser lolls her head. who has an elaborate J-Lo hair-do that is incongruous with her roughtough pugilistic face. A New Idea magazine lies open on the hairdresser’s lap. Lucy remains seated beside the woman: as protective safeguard. Train announcement: Attention travellers . Lucy is vigorously cleaning the last tabletops.DAY Lucy is taking the train home from university. Unforseeable. She continues to study the sleeper. INT. A little drool escapes from the sleeper’s mouth.. Her eyes shine with tears. Why did he do it? After 27 minutes of deliberation.NIGHT It’s the end of another night. Most of the chairs and tables in the restaurant have been stacked. And with that move the invincible Master’s fate was sealed. Incredible. A shared tiny smile. White 130 (Amazed). Lucy retrieves it. Knuckles interlaced. a HAIRDRESSER..

. LUCY Why not. then Lucy’s. Black water. no childish waterfight. The Cook’s head emerges from the water. live a little. LUCY Fear of death is the number one hoax. COOK You coming to the party? LUCY Sorry. Holds it high: looks at him. COOK What. COOK There you go. Let the night begin.57. back from the dead. Bang: she slams it down on the table with full-force. can’t. Hold their breath for as long as they can. Something good for you. A small wave breaks over them.NIGHT Close on a calm sea under the night sky. She swings a chair up in the air. No romantic kiss. her eyes glint. They go under again. They revel in the elements . From his pocket he produces two cling-wrapped white pills. BEACH . EXT. Up. Big day tomorrow. They both drop a pill.high. COOK (CONT’D) Ta-da! LUCY What is it? COOK Who knows. COOK How big? LUCY I’m sleeping.

LUCY (CONT’D) Shit. THE EXCELON. give me three minutes. The Cook opens one eye as if to say ‘what’s going on’. LUCY Don’t move. I’m so . Knock! Knock! Knock! Without cease. She returns to her bedroom. They are both wretched and try to sleep some more. A moment later. She shuts the door in his face. A windowful of bright morning light. He switches it off. The room is bereft of any homely touches. They ignore it. Then he collapses back down into bed. OK. she trys to lean across his body so she can silence her phone but it’s out of reach. COOK What was that fucked-up shit.ugh. Knock! Knock! Knock! Knock! Knock! Knock! Lucy grumbles and gets out of bed. Whoever it is keeps ringing. LUCY (under her breath) Yeah. . It’s her driver. yeah. He reaches out. sorry. LUCY You get it.BEDROOM . She picks a garment off the floor and uses it to cover herself. INT. Drops it. Bleary. she opens the door.MORNING Lucy and the Cook are sprawled naked on the bed in the Excelon. Knock-knock-knock: someone is knocking at the door. ring. ring. Let yourself out. Pulls the pillow around his head. Errgh. The sound of Lucy’s phone: ring. she groans and rolls over. He goes back to sleep. fumbles around and finds her phone.58.

some are off to the library. She looks away.MORNING Lucy and the driver wait in the lobby for the elevator. She combs her knotty hair back in a lumpen ponytail. The students are chattering in Mandarin about the day ahead. He gestures that she should come back to bed. escorted by the driver. She hurriedly dresses. Some are off to work. She deflects the request with a slight shake of the head. She enters first. INT. The students politely offer Lucy a right of way. bare-chested. Her face changes as her mouth fills with saliva: a sudden nausea.COUNTRYSIDE . When she is gone his friends make a mummy’s-boy joke at his expense – which he good-naturedly shrugs off. The door to Lucy’s apartment opens. Leaves the room. . A group of CHINESE STUDENTS streams out of the neighbouring apartment: six young men. EXCELON LOBBY . A lurid plastic plant in a large terracotta pot rests against the wall. He kisses her on the cheek. He gives her a chance to change her mind.59. The students pile in. being driven through the countryside. Pause. Now the door to the Chinese students’ apartment opens and a girl runs out in her pyjamas: she gives her boyfriend a packed lunch. Lucy slumps against the wall. She finds her knapsack. She rummages around under her mess and unearths the mini-video camera. the Cook appears in unbuckled jeans. He retreats. The elevator arrives.DAY Lucy sits in the back of the car. She makes sure to pack it away deep in the knapsack. They continue their wait in the lobby. LUCY Thanks. She leans forward toward the driver. INT/EXT CAR . the driver unobtrusively props her up. Nods of acknowledgement to Lucy and the driver.

60. When she returns to the car he reaches back and hands her a plastic bottle of water and a packet of mints. CLARA Are you sure? LUCY Yes. They walk arm-in-arm. fine thank-you. LUCY Pull over! Pull over! He immediately pulls over. a gesture initiated by Clara: an ambivalence between intimacy and frog-marching. Impeccably dressed. MANSION -DUSK Clara is waiting outside the house. LUCY Thanks. As they walk to the house she asks in a concerned voice: CLARA Are you well? LUCY Yes. She accepts. They drive away. CLARA Hello darling. fine thanks. Lucy switches her knapsack to the shoulder furthest from Clara. smiling. She stumbles out of the car and vomits on the side of the road. CLARA (confiding but callous) A shower always works wonders. . A valiant smile. sinks down in the seat. Clara is momentarily taken aback by Lucy’s appearance. Lucy gets out of the car and Clara comes over to greet her. LUCY Hi. as ever. EXT.

opens her hand: displaying the tiny camera on her palm. She is wearing the long silk kimono. Clara remains implacable. But my dear. she disguises her surprise and returns her hands to her lap.61. Clara is sitting on a sofa in the living room. INT. She sits straightbacked. . Long pause. After a long moment her silence is deemed consent: Lucy continues.DUSK As before. Clara doesn’t say anything. LUCY I would like to ask a favour. tall. At home. She extends this fist to Clara.fresh from the shower. Clara begins the tea ceremony. briefly fidgets with her hair. The silver whisk and square of silk cloth. She is reaching out in a slow ceremonial manner for the tea-pot when Lucy interrupts her: though this is a great shock to Clara. she folds one hand over the other. CLARA I understand. LUCY I haven’t been sleeping well. a saucer. Long pause. I need to see what goes on. I do understand. Implacable. Clara gives slight deferential nod to indicate her approval. On the low table in front of her is the silver tray laden with an antique fine porcelain tea-set: a tea-pot. It is so small it fits inside her closed fist. then returns to stillness. The sound of a door closing shut and Lucy returning to the room . MANSION . Clara suppresses her displeasure. a cup.LIVING ROOM . tied at the waist. a huge breach of protocol. She deposits her ugly knapsack by her barefeet. Just once. in there. Lucy sits herself down nearby Clara. Clara is not doing anything at all: she sits perfectly still with her hands folded in her lap. my clients. Self-possessed. CLARA But how will this be possible? To Clara’s further surprise and displeasure Lucy slowly opens her knapsack and scrabbles around: she retrieves the minivideo camera. After this stillness she discreetly checks her watch.

62. LUCY Perhaps if you asked .. Clara. sees Lucy is driving a hard bargain. Clara shakes her head. In the morning I will watch it here. Clara resumes the tea-ceremony. beside the vase.NIGHT Lucy is asleep. INT. CLARA And I can assume you are quite well? Lucy pauses. under snowy-white sheets.. CLARA Good girl. LUCY (CONT’D) I thought about that.to be frank ..they would agree. CLARA(cont'd) How can I expose them . . Long pause. An almost imperceptible frown. LUCY Great. Then you can destroy it. nods.We can hide the camera on the shelf. CLARA Very well.. Once more she discreetly checks her watch.just the once . thank you.to blackmail. She deliberately does not complete the sentence/ultimatum. implacable. in the austere Sleeping Beauty Chamber. naked. That’s not the way we do things. Clara remains calm. CLARA (CONT’D) In good health? LUCY I’m perfectly fine. SLEEPING BEAUTY CHAMBER . LUCY (CONT’D) Otherwise. With slow cold grace she prepares the tea for Lucy.

. Lucy pulls herself together and stumbling. she manages to hide this second secret camera in the room. He has taken special care with his appearance. Clara is implacable. fighting the drugs. This is where her knapsack is stored. her arms outreached and then we see the POV bump along ground as she walks away with the camera in hand. She leaves. As soon as Clara has left . Note: Start secret camera footage. Bleary. She collapses back into bed. This time Clara walks with ceremonial grace. Two figures enter the room: Clara and Man 1. struggling to keep her eyes open . Gets under the sheets. disoriented. Double-cross. She fumbles inside and retrieves a second mini-camera. furtively. She gives him a small tender smile. Time and date code on bottom of screen. She approaches and hastily removes the hidden camera: that is. Man 1 is dressed in a suit. She sleeps. gently) Thank you. They sit at the end of the bed. MAN 1 (softly. staggering. Back to surveying the Chamber. We now see through this POV. She returns the whisk to the tray and drys it carefully with the silk cloth. Clara. whisk and silk square. She performs the teaceremony. The silver tray between them. We see Clara’s face. She goes to the side of the Chamber and opens a sliding panel in the wall.she gets out of bed. Passes out.but instead. With meditative grace she very slowly opens the teapot and stirs the tea with the whisk. Clara to the left. Folds the cloth. This time she does not enter gracefully .63. She is carrying the silver teatray laden with the antique porcelain tea-set. the old man to the right. Lucy’s hidden camera is our POV. A figure enters the Chamber: it is Clara.Sleeping Beauty awakes.

She is still facing out. She crosses in front of him and takes the tray over to the bedside table.and then hands the cup to the old man in a deferential manner. He steadily sips his tea. He reaches over to the bedside table and pours himself a cup of tea. Drinks. he lies down beside her. She leaves. And another cup. he gets into bed with Lucy. surely he begins to drink. Finished. A small bow. Implacable. She carefully sets it down. He takes it and raises it one hand. He returns the cup to the tray. Eventually she slowly stands and picks up the tray. CLARA Goodnight. Naked.64. SLEEPING BEAUTY CHAMBER . Note: End of secret camera footage. Feels her soft hair. He stands and undresses. INT. MAN 1 Thank you. rotates the cup so as to admire its design. under the sheets. . She does not watch him drink but faces out. A long pause. Her hands folded in her lap. another time period. He admires her.MORNING The morning-song of country birds. She walks back in front of the bed. Slowly. motionless. They sleep: after a while the footage flickers the tiniest fraction. Another flicker. Strokes the curve of her shoulder with gentleness. MAN 1 Goodnight. the time and date code changes. She slowly pours the tea . He remains seated.a long pour . Before she reaches the door she stops and addresses the old man.

After a while she reaches for Lucy’s foot. She crawls up onto the bed. Clara sits back a little so that she can nestle Lucy’s foot in her lap. Clara enters the Sleeping Beauty Chamber and throws open the curtains. Clara walks around the front of the bed. She rests a long moment. She is perfectly groomed in a new suit. He lying on his side. No response. Chignon. Animated. Deadman’s stare. With great self-control she bends down and thumbs his eyes open. she snatches Lucy’s foot from under the sheet and feels it: cold. Then the next. Pearls. Then she wiggles the next toe. She slowly moves to sit at the end of the bed. Eyes closed.65. A silent game of ‘This Little Piggy’. Lucy and the old man are asleep in bed. She studies her folded hands. Clara begins mouth-to-mouth resuscitation. Clara frantically slaps her cheeks. She desperately turns Lucy’s head so that she is lying face up. One-two-three. facing toward the wall. Implacable. Shakes her. The foot is still beneath the sheet. A look of horror crosses her face. Then the next. under the snowy-white sheet. Other than to take a deep breath she betrays no emotion. Thumps. crawls over Lucy’s body. Then she thumbs them closed with complete sangfroid. Back to breathing: three quick breaths one-two-three. Then she wiggles the little toe. She holds her hand under nose to make sure he is not breathing. Suddenly she is disconcerted that Lucy has utterly failed to respond. Bright bare daylight. She thumps hard on Lucy’s chest five times. Ruptures. She panics. She runs her fingers up Lucy’s calf. We see Lucy is pale. Instantly. over to the bedside table nearby the old man. she abandons all composure. Three quick breaths in succession. . Clara finds Lucy’s big toe and gives it a wiggle.

a deep instinctive animal groan. Clara grips Lucy’s nose and recommences breathing. run down her cheeks. Her lamentations are unbearable.. Behind her Lucy continues to groan. Face to face. Once more. Clara climbs off Lucy and sits on the edge of the bed. Screams and howls and wails. A prayerful monkey-grip. Lucy gives a pathetic cough.undone. She sobs and gags. She is . She rails against being brought back into the world. These groans and cries escalate. She flails against the wall. Surrounded by mayhem. Lucy groans . Close on her: tears slowly form in her eyes. Meanwhile Clara is sitting very still. LUCY O! No!!! CLARA (very quiet) Get dressed. She pushes Clara away. Lucy sits upright: Lady Lazarus. her hands folded in her lap. Bafflement gives way to horror and dismay as she sees Clara crouching over her. A long unbearable scene. Outrage. Excruciating. Howls and wails.comes alive. Utter horror and pain. louder and louder. No! No! She smashes against the mattress.66. END . she does not move an inch.. She tries refolding her shaking hands in her lap.

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