Abroad Draft 3

Written By

Diara VassalloTed NewmanMisha ConradSol BirchMaddie Tod

Charlie O'rourkeFrancesco RuvuloEden HopwoodLauryn Fuller

1. Long shot

Range of long shots and low angle shots (setting the scene)

1. MS

Mid shot of Rob and Mary on plane.

2. MS/Closeup

Mid shots/closeups of other passengers. Closeups of Robs emotions.

EXT. RUNWAY. DAY

A PLANE IS LANDING INTO HEATHROW TERMINAL 5.

INT. PLANE. DAY

ROB AND MARY ARE SEATED ON THE PLANE.

ROB HAS A SHAGGY LOOK TO HIM, HE IS IN HIS LATE 20'S, HE HAS BROWN HAIR WHICH IS MESSY. HE IS WEARING A LOSE SHIRT WITH A WHITE T-SHIRT UNDERNEATH, BROWN SHORTS AND FLIP FLOPS. HE IS WEARING A GOLD CHAIN AND A GOLD WATCH.

MARY IS A WOMAN OF HER EARLY 30'S, SHE HAS BLONDE HAIR. SHE IS WEARING A BLACK SHIRT (3 BUTTONS UNDONE), SHE IS WEARING UP TO THE KNEE DENIM CULOTTES, A PAIR OF FLAT SANDALS AND A PAIR OF GLASSES.

ROB LOOKS ANXIOUS AND MARY IS VERY CALM. IN THE BACKGROUND THERE IS EXCITED CHATTER AND TALKING.

3. Closeup

Seatbelts being unbuckled.

4. Point of view

Mid shots/ closeups on Rob and Mary and other passengers.

ALL OF A SUDDEN THE PILOT MAKES AN ANNOUNCEMENT.

PILOT:

Welcome to London, Heathrow where the local time is 9:34am. We'll be taxiing to the gate for the next few minutes, so please remain seated with your seatbelts fastened until the captain has turned off the seatbelt sign. On behalf of the flight crew and Virgin Atlantic Airlines, thank you for choosing to fly with us today and we hope to see you again on a future flight. Enjoy your stay here, or at the city of your final destination.

ROB LOOKS AT MARY FOR REASSURANCE.

THE SEAT BELT SIGN GOES OFF AS THEY TAXI INTO THE TERMINAL. THE PASSENGERS GET UP AND START TAKING THERE BAGS OUT OF THE OVERHEAD LOCKERS.

PILOT:

Ladies and Gentlemen, this is your captain speaking. We are sorry for the short delay, we have currently been held up but will be arriving in the terminal shortly.

THE OTHER PASSENGERS LOOK AT EACHOTHER WITH FRUSTRATION.

ROB AND MARY LOOK AT EACHOTHER WITH NERVE.

5. Tracking shot

Behind stevie following him down the aisle. So that we dont see his face. Instead we see his abck and the reactions of the people he speaks to. (over the shoulder)

MARY:

What are you looking at? It's gonna be fine.

ROB SHRUGS AND LOOKS OUT OF THE WINDOW.

A MAN BOARDS THE PLANE AND LOOKS AROUND. HE IS ASSERTIVE WITH HIS LOOKS.

STEVIE IS A MAN IN HIS 40'S, HE IS WEARING A SUIT, HIS

HE WALKS UP TO AN AIR HOSTESS AND SPEAKS TO HER DISCREETLY.

SHE LEADS HIM DOWN THE AISLE TO ROB AND MARY.

MARY LOOKS UP SHARPLY AT STEVIE.

STEVIE:

Miss Adams? Mr Jones?

MARY:

Yes?

STEVIE:

Would you mind stepping off the plane with me?

ROB GRABS MARY'S ARM IN A FRANTIC STATE AND HIS FOREHEAD STARTS TO BECOME SWEATY.

6. Close up

On suitcase

1. MS / LS

range of shots on stevie

2. Closeup

Smoke fogging up the camera lense

MARY:

What's this about? And who are you?

STEVIE:

This is not the time for questions, follow me.

MARY DOES NOT HESITATE. STEVIE GESTURES TO BOTH OF THEM TO LEAD THE WAY.

2 MEN WITH DARK SHADES ON, BOTH WEARING SUITS GREET MARY AND ROB AT THE END OF THE PLANE.

MAN 1 :

Does this look like the suitcase that belongs to you?

EXT. CAR PARK. MORNING

STEVIE HAS HIS BACK TO A RED BRICK WALL, HIS CHEAP GREY SUIT BRUSHES UP AGAINST THE HARD BRICKS. HIS SUIT IS LOOSE AGAINST HIS TALL AND LANKY BODY. THIS IS THE FIRST TIME WE SEE HIS FACE.

HE GOES INTO HIS POCKET FOR A PACK OF CIGARETTES AND A LIGHTER. HE LIGHTS UP AND BREATHES IN THE SMOKE, AS HE EXHALES HE LOOKS UP AT THE GREY SKY (ALMOST AS IF HE IS LOOKING FOR SOME HOPE).

1. LS

Long shots with the camera kept competely still

2. Closeup

Point of view shot as paper is put down, cut from stevies view up to robs reaction

HE GETS OUT HIS PHONE FOR A WHILE AND THEN WALKS BACK INTO THE BLOCK OF OFFICES. HE RUNS HIS HANDS THROUGH HIS CURLY DARK HAIR.

INT. INTERROGATION ROOM. MORNINNG

STEVIE ENTERS A GREY ROOM, THE APPEARANCE AND FEEL OF IT ALL IS MENTALLY DRAINING. THE MAIN SOURCE OF LIGHT COMES FROM A HARSH RECTANGLE LED PANEL ON THE CEILING.

HE SCUFFS HIS FEET AS HE WALKS. HE IS HOLDING A BIRO PEN IN ONE HAND AND A SHEET OF A4 IN THE OTHER.

ROB IS SITTING AT THE BACK OF THE ROOM. HE IS FIDDLING WITH HIS GOLD ROLEX WATCH OUT OF NERVE. ROB QUICKLY LOOKS UP AS STEVIE WALKS IN. STEVIE WALKS IN AND LOOKS AT ROB'S WATCH.

HE SITS UP AND WATCHES STEVIE AS HE WALKS CLOSER. STEVIE PLACES THE PIECE OF PAPER DOWN ON THE TABLE AND ROB LOOKS DOWN AT IT. AT THE TOP OF THE SHEET IS CLEARLY SAYS IN BLACK BOLD WRITING: HUMAN RIGHTS WITHIN INTERROGATION.

STEVIE:

Morning.. I hope you've had a pleasant morning (raises his eyebrow). I am the Investigating Officer on this case so let's just say you'll be seeing a lot of me (doesn't make eye contact).

3. Low angle

Making stevie seem more powerful

4. High angle

Rob seem vulnerable and less power

ROB:

Yes.. urm morning. What's this?

STEVIE:

Your rights. Read them, love them, sign them please.

ROB LOOKS DOWN AT THE PAPER AGAIN AND SCRATCHES THE BACK OF HIS NECK, HIS LEFT LEG IS SHAKING GENTLY UP AND DOWN GENTLY (THIS CONNOTES NERVE AND ANXIETY).

STEVIE TAKES OFF HIS BLAZER AND UNDOES HIS TOP BUTTON AS THE ROOM IS STUFFY. HE PULLS OVER A DEAD BEAT CHAIR TO THE TABLE WHERE ROB IS SITTING AT AND JOINS HIM.

HE PUTS ONE LEG OVER THE OTHER AND LEANS BACK IN A RELAXED MANNER.

HE LOOKS AT ROB'S FACE FOR A FEW AWKWARD SECONDS AND THEN BEGINS TO SPEAK.

STEVIE:

Alright

ROB:

Yeah well nah no really.

STEVIE:

So where have you just come from?

STEVIE:

Listen mate, we don't get this kind of case a lot.. so we are both under a lot of pressure...

ROB:

I think the pressure is higher for others.

STEVIE:

Agreed, I pick my battles, shall we just get straight into it then?

ROB PUT HIS FACE INTO HIS HANDS AND BEGINS TO GET TEARY. HE THEN LOOKS UP AT STEVIE AS IF HE'LL GIVE IN AND LET HIM GO.

STEVIE LOOKS AT ROB WITH DESPAIR, LIKE A NEW PARENT.

ROB:

C.. Can..Can I call my sister?

STEVIE:

You get one call after this hour of questioning, I'm sure you can wait..

ROB:

I told Debbie I'd call as soon as I landed and it's been 2 hours, she'll be going mad (he says this in a panicked state).

STEVIE LOOKS AT HIS WATCH AND THEN BACK

AT ROB. HE UNCROSSES HIS LEGS AND LEANS IN TOWARDS ROB AND STARES AT HIS FACE WITH CURIOUS INTENT.

STEVIE:

Listen Rob, I'll let you in on a little secret... The ones that don't speak end up regretting it by the time they spend behind bars. Just let that sink in. No freedom, no family, no comfort and no life to be quite frank.

ROB:

I know I know. None of this was meant to happen.

STEVIE:

How are you affiliated with mary?

ROB:

Friends

STEVIE:

And?

ROB:

I just said... Friends.

STEVIE STANDS UP AND PLACES HIS 2 FISTS ON THE TABLE. HE BREATHS OUT SLOWLY AND HIS COFFEE BREATH MAKES ROB LOOK DOWN AND MAKE A DISGUSTED FACE. HE WALKS TO THE BACK OF THE ROOM SO HIS BEHIND ROB. THIS MAKES ROB FEEL UNCOMFORTABLE. HE LOOKS TO HIS SIDE TO CATCH A GLIMPSE OF

STEVIE. STEVIE CLEARS HIS THROAT.

STEVIE:

Right, so I'm going to guess and your going to fill in the blanks or correct me... It seems to me like you enjoy playing games. You shouldn't play these kind of games if your not willing to loose.

ROB'S LEG CONTINUES TO SHAKE OUT OF NERVOUSNESS. HE SCRATCHED THE BACK OF HIS NECK AND SIGHS.

ROB:

Try me. But there is no good guy in this room. You wanna rat me out and I wanna protect the people I love.

STEVIE:

That's all well and good son, but this is reality... Welcome (long pause)So Mary? An ex? A lover? A friend?

ROB:

I've known her since primary school when we lived in Lewisham.

STEVIE:

Go on..

ROB:

Where is Mary?

5. Tracking shot

Tracking shot following stevie

1. Mid shot

Cut straight from stevie to Mary

STEVIE WALKS BACK AROUND THE ROOM SO HE IS NOW FACING STEVIE. STEVIE LOOKS AT ROB AS IF TO SAY 'I DON'T HAVE TIME FOR THIS.' HE LEANS AGAINST THE WALL WITH HIS FOOT RESTING AGAINST THE WALL AND HIS ARMS FOLDED.

ROB:

If your not talking I'm not talking.

STEVIE:

You need to think about YOURSELF and YOUR future (emphasis on capitalised words).

ROB:

It's not like I have my freedom anymore after this massive fuck up.

STEVIE SITS DOWN AND GET'S INTO HIS USUAL SITTING POSITION. HE CROSSES ONE LEG OVER THE OTHER AND GET OUT A SMALL BLACK A6 NOTE PAD. HE STARTS TO TAP HIS PEN ON THE LEG OF THE TABLE, ROB FINDS THIS NOISE IRRITATING AND HIS LEG BEGINS TO SHAKE EVEN MORE.

STEVIE NOW MUTTERS TO HIMSELF, AS HE WRITES DOWN A FEW THINGS IN HIS NOTEPAD.

STEVIE:

(mutters) ok.. ok.. so primary school... Lewisham.. Mary.

INT. INTERROGATION ROOM. CONT'D

2. Eye line view

Eye line view shots between Stevi and Mary as Mary feels equally as powerful.

MARY:

Is this the interrogation you see in all of those silly cop shows? (laughs to herself).

STEVIE:

What was Lewisham like as a kid?

MARY:

My god, I underestimated you lot. You've clearly done your research.

STEVIE:

I mean it must have been quite rough.. gang crimes, petty theft or even drug use.

MARY:

What would you know?

STEVIE:

What's a pretty woman like you doing in this situation?

MARY:

Don't talk to me like that... Calling me pretty, it's pathetic and sleazy (she purses her lips and raises an eyebrow).

MARY CROSSES HER LEGS AND TAKES A SIP OF HER TEA. YOU CAN SEE THE HOT STEAM CONTRASTED AGAINST HER BLACK SHIRT. SHE TUCKS HER WHITE BLONDE HAIR BEHIND HER EAR WHERE A GOLD HOOP HANGS.

1. Closeup

camera placed under glass table

2. Panning shot

Panning mid shots going across each character

STEVIE:

I'm going to contract you and Rob a pair of solicitors. Not that it should really help (mutters).

MARY:

Don't take me for a muck. Just because I'm not the man in the suit doesn't mean I'm incapable (she says this is a savvy and aggressive tone, as if this is a warning for Stevie).

INT. MIAMI. NIGHT

A HAZY FEELING TO THIS SCENE AS WE GO BACK TO 1989.

LINE OF COCAINE ON GLASS TABLE.

MUSIC PLAYS IN THE BACKGROUND AND WE SEE ROB SNORT UP THE LINE WITH A NOTE.

THE ROOM IS DIMLY LIT, RUN DOWN AND MESSY. BEER CANS ARE SCATTERED ALL OVER THE ROOM.

ON THE GLASS TABLE NEXT TO A FEW LINES OF COCAINE THERE IS AN ASH TRAY OVERFLOWING WITH THE ENDS OF CIGARETTES.

MARY, ROB AND CONNOR ARE SLOUCHED ON THE COUCH IN A HAZED STATE.

CONNOR IS SCRAWNY AND THIN. HE HAS STRAGGLY/ GREASY HAIR AND A STRIKING

SCAR ACROSS THE RIGHT SIDE OF HIS FACE. HIS STANCE IS HUNCHED AND CARELESS. HE WEAR A PLAIN TOP, A PAIR OF MOM JEANS AND DOC MARTINS. HE ALWAYS HAS A CIGARETTE IN HIS MOUTH. HE IS ONE OF THE MAIN DRUG DEALERS IN MIAMI AND IS THE PERSON WHO FIRST INTRODUCED ROB AND MARY TO COCAINE.

ROB GESTURES TOWARDS MARY WITH THE NOTE IN HIS HAND.

ROB:

You know what, I've got to disagree. I think the velvet underground were much better once they ditched John Cale and his fucking Viola and were a straight rock and roll band. Not to say Nico isnt a good album but...

CONNOR (INTERRUPTING ROB):

Rob, shut the fuck up and do another line.