MODEL 1.

0
SAM DAVID HARRIS

BASED ON: Imposter by DEAN HAYWARD

CAITLIN CULVER
SAM DAVID HARRIS
DEAN HAYWARD
BOB MCDONNELL
TIANYANG CHEN

INT. JOHNS KITCHEN

JOHN walks into his kitchen to make his morning cup of
coffee. As he passes a control panel on the wall, he swipes
his hand over it from a few centimetres away and it lights
up with a coloured circle. The lights dim up to reveal a
quiet, spotless kitchen. It is very modern, with a typical
stainless steel setting, marble bench top and frosted glass
splashback. JOHN rhythmically goes about his kitchen without
thought or consideration, as if he were a cog inside a
machine. He pours water from the kettle into a mug and it
mixes with the granulated coffee pieces, swirling around in
the cup. JOHN seems relieved to finally be getting his
morning pick-me-up.
A strange noise is heard from a distant room.
JOHN looks in the direction of the noise. In a swift second,
a black bag is pulled over Johns head and down over his
torso. His arms are pulled behind his body. The mug of
coffee falls to the ground, smashing into small white pieces
and spilling brown liquid across the kitchen floor. JOHN
struggles, but he is tasered, falling into the arms of two
large men in navy tradesmen uniforms and caps as they begin
to quickly carry him out.
EXT. CHAMBERS LANE, JOHNS STREET
An electricians van sits parked on Chambers Lane, engine
running. The two kidnappers bring JOHN out of his building,
leaving the door wide open. He struggles, with his hands now
tied behind his back, kicking his legs and screaming for
help. One of the kidnappers grips the handle on the side of
the van and slides the door open. The smooth sliding of the
door is heard before a loud clunk as it stops at the end of
its track. The wiring and tools have been removed and the
walls are lined with soft mattressing. It is obvious that
this van is not used by an electrician. The tradesmen from
the home walk JOHN toward the open door and throw him in.
INT. INSIDE VAN
JOHN is lying in the back of the moving van now, with the
bag still over his head and his wrists tied with rope. He
still fights to break free and screams out for help.
JOHN
What do you want from me? Who are
you?
The kidnappers sit in the front. In the passengers seat,
one of the kidnappers begins to speak on the phone.
(CONTINUED)

CONTINUED:

2.

KIDNAPPER 1
We have acquired the item. Well be
there in ten minutes.
The kidnapper hangs up the call.
JOHN
What item? What the hell are you
talking about?
One of the kidnappers smirks from underneath his cap, and
responds without turning his head.
KIDNAPPER 2
Youre worth a lot of money, buddy.
Youre an original model.
JOHN
What? But Im... No... Im not an
android.
The kidnappers up front of the van begin to laugh and pay no
attention to JOHN. As he wriggles in the back of the van, he
begins to feel the rope around his wrists loosen. He
pretends to still be tied up as his hands come free and
waits for an appropriate moment.
The van comes to a halt at a stop sign and John takes the
opportunity to run, pulling the bag off his head and
reaching for the door handle.
EXT. SUBURBAN STREET
The van sits at a stop sign, and the side door slides open.
JOHN jumps out of the van and begins to run - fast.
INT. INSIDE VAN
The kidnappers turn their heads slightly, looking into the
back of the van.
KIDNAPPER 1
Shit.
EXT. SUBURBAN STREET
As the two kidnappers step out of the van calmly, JOHN ducks
down a laneway and sprints toward the end, not knowing where
he is or where hes going. The two kidnappers begin to pick
up pace.
(CONTINUED)

CONTINUED:

3.

JOHN turns the street and jumps over a garden fence. He lays
down in the garden, hiding amongst the bushes. The
kidnappers run into the street and pass JOHN, not knowing he
is there.
RACHEL
What are you doing in my garden?
JOHN is startled, but quickly begs for her help.
JOHN
Ive just been kidnapped. Please.
Please help me, they just ran past.
I dont know whoRACHEL
Quickly, come inside.
Rachel rushes him into the house, looking over her shoulder
as they go.
INT. RACHELS KITCHEN
RACHEL leads JOHN into the kitchen, as he explains what just
happened. She pulls a stool out for him, as she sits down
opposite. RACHEL seems caring and maternal, making JOHN feel
comfortable. She listens closely, trying to figure him out.
JOHN
...and then threw me in the back of
a van. I had my hands tied and a
bag over my head, so I couldnt see
them, but I heard their voices.
RACHEL
Who were they? Are you somebody
important? Maybe they wanted you
becauJOHN
No, not at all. Im nobody. My name
is John Peterson, I dont have a
partner, I dont have kids, my
parents passed away a long while
ago.
RACHEL
Then why do you think theyre doing
this? Maybe you have something they
want?

(CONTINUED)

CONTINUED:

4.

JOHN
(Pensively, after a second)
They referred to me as an original
model. I think its me they want.
RACHEL
An original?
A glimpse of intrigue in RACHELs eye.
JOHN
But Im not though. Im not... one
of them.
RACHEL
But youre not supposed to remember
your programming.
JOHN
No. Im not.
Rachel stares at him, trying to figure out whether he knows
or not. RACHEL flicks the kettle on without moving to look
at it.
RACHEL
Would you like some tea?
She smiles a comforting smile at JOHN.
JOHN
Sure. Thank you.
JOHN watches the kettle boil, deeply confused about what is
going on. A moment of realization. JOHN looks toward his
hands and notices the small hairs standing up on the back of
his palms. RACHEL also looks to his hands, observing.
RACHEL
I should call the police. Ill be
right back.
RACHEL leaves the kitchen and JOHN looks back toward the
kettle. There is steam coming out of the spout as the water
inside boils. JOHN slowly takes his hand and nears it toward
the boiling metal. The music heightens as JOHN nears the
kettle. He stops for a mere second just before he gets
there.
JOHN touches it. He places his whole hand on the burning
kettle. The look on JOHNs face is sheer bewilderment.
Nothing. He looks at the palm of his hand. Nothing. The
kettle begins to whistle softly. Then louder and louder.
(CONTINUED)

CONTINUED:

5.

John opens the fridge. It is empty. Not a single thing sits

inside. Confused, he opens a cupboard to see that there is
nothing behind those doors either. He looks confused, as a
blurred body quietly enters the kitchen behind him. A large
solid object strikes the back of his head and all goes to
black.
INT RACHELS HOUSE
Only seconds later, JOHN comes to, being dragged across the
floor by his legs. RACHEL is effortlessly pulling him into
another room. He takes a second to realize what is happening
and then kicks his legs to loosen her grip.
JOHN
What the hell are you doing?
He breaks free and scrambles up before beginning to run for
the back door.
RACHEL
Wait! Please dont leave! I need
you!
RACHEL looks to the wall, quickly approaches it and turns a
knob up as far as it will go. A piercing sound cuts through
the air and shards Johns eardrums like glass. He drops to
the ground screaming, with his hands over his ears.
RACHEL stands there, unaffected as she watches him squirm.
She begins to near him as he pulls himself up slightly. He
drags himself across the floor clearly in pain and begins to
run for the back door, not able to get very high off the
ground. He reaches the door, slides it open and as he passes
through the frame, the noise suddenly disappears.
EXT. RACHELS BACKYARD
Sound shifts in and out for a second, JOHN looking as if he
may faint, his vision fading as he regains his balance. In a
quick second, he pulls himself up and runs toward the back
fence.
JOHN throws himself over the back fence without hesitation,
ripping his t-shirt and cutting his arm on the wire. He
falls to the other side and begins to run again. As he
rapidly turns the corner, he is met with a familiar face.
One of the kidnappers tasers him and JOHN falls to the
ground.

6.

INT. INSIDE VAN

JOHN is laying in the back of the van again, tied up by his
hands and feet now, the vehicle moving at a fast pace. He is
thrown around a little, feeling groggy and helpless. He
looks to his arm where he cut himself on the fence. A small
treacle of blood pours out, down toward his wrist and into
the palm of his hand. One word mumbles come from his mouth,
but hes not able to fight this time. He begins to fade and
all goes to black.
INT. CELIAS HOUSE
JOHN wakes up face down on a hardwood floor. He opens his
eyes softly to see a pair of high heels in front of his
face.
CELIA
Youre perfect. Its John, isnt
it?
JOHN looks up toward her and sees a beautiful, middle-aged
woman looking down at him. She is dressed up as if going to
a dinner party, with fancy jewelery and her hair perfectly
blow-dried. She holds a black wine glass and doesnt have a
single hair out of place. John is laying in a beautiful
bedroom, with fresh sheets, plumped pillows, two bedside
tables and an en-suite bathroom.
CELIA
Im so glad youre here. Dont
worry, John, Im not going to hurt
you. Youre an original. Ive
always wanted one of you. And now
Ive got one.
JOHN musters the energy to speak, barely able to move. He
mumbles, but CELIA does not understand what he is saying.
CELIA
(Sweetly, as if to a child)
Whats that, JOHN? Speak up, now.
JOHN
Im not... Not an android.
CELIA
Oh I know, dear.
She smiles at him.

(CONTINUED)

CONTINUED:

7.

CELIA
Youre a human.
CELIA walks out of the room, leaving JOHN lying frail on the
floor. He tries to yell, but has nothing left and begins to
cough. As she walks through the door, lasers appear across
the frame, blocking Johns escape. John possesses a look of
terror as he becomes aware of his eternal captivity.
EXT. CELIAS BALCONY
(POSSIBLE EXTENDED SCENE)
CELIA walks up the stairs and onto her balcony. She stares
out to the sea. A red overlay of augmented reality covers
the frame, as we see Celia online shopping. She clicks on a
girl named Sophia and then selects the "Order Now" button.