Carmel Scenes.

One.
*this scenes is meant to be filmed with the two other actors but
can be done with carmel alone.

Interior of Christie’s apartment living room. All three char-

acters are standing up. Both Teresa and Luca are shot in slow
motion, shouting at a shocked Christie who is standing still,
motionless. The shouting is muted, to convey a sense of shock
from Christie’s POV. She is positioned in a way that shows
some detail of her apartment, for example a few photo frames,
an empty bottle of wine, a TV. There is several seconds of
Christie looking at the camera, without speaking.

CHRISTIE
Eye spy, with my little eye. I tried
to have it all, but I didn’t care
why. I stand here and stare, what
more can I do? I didn’t want one, I
had to have two.

That’s how I got here. Both of them

screaming at me, screaming at each
other. I liked them both, I did. I
wanted to chose, but was it too
late? It was interesting, they were
both so different, one of them love
rules the other pisses on them.
Could I save my relationship with
either of them? Or could I just...
run.


Two.
*these bits of text are just voice over.

CHRISTIE
(v.o)
Let me explain. I met two people
this year... Luca. The sweetest guy
you could think to meet. He’s Mr.
Society. He follows the rules. After
getting a degree from Cambridge in
Economics, he worked in an orphanage
for two years in Thailand, as he
wanted to do something meaningful.
He now works in Hong Kong for a
Bank, but deals largely interna-
tional charity relations. He plans
to get married before thirty, have
three beautiful but mischievous
children, retire to Australia, grow
old and die.

Then you have Teresa. The party

girl, cares about social status,
drinking and having fun. Teresa left
home at seventeen and moved to Hong
Kong in what was a role of the dice,
flip of the coin sort of decision,
but it worked; she loved it. She has
been to prison once, for drunk driv-
ing. She spent three months there,
where she played cards excessively,
gambling and winning money of other
inmates. Now twenty-three, she bar
tends, and with the exception of a
better understanding of the social
clockwork, she is not that different
from before.

CHRISTIE
He really was the sweetest guy. I
first met him through a friend, they
fixed us up on date, and it was
pretty awkward, but hey, I thought
I’d see how it went.

CHRISTIE
He really was the sweetest guy.

CHRISTIE


But it was all fun. I don’t know if

I’d say just for fun, but Teresa was
different. It could be fun and seri-
ous at the same time. I met her when
I was already dating Luca. She was
fresh, exciting. I wanted her.

CHRISTIE
I knew it was probably too late but
the more I thought about it, the
more I realised that I didn’t want
my future planned. I liked the spon-
taneity. I liked the freshness and
the fun, I liked not knowing what
each day held.


Three.
*this is a montage scene, there will be no dialogue.

Christie runs from the apartment, and now has a running mon-
tage. She runs for ages, using cool locations (perhaps Lamma
using chase scene skills?) Something signifies that time
passes, change of clothing, different hair, slowly slips into
a montage of Christie, showing some of her personality traits.
Show not tell. Through Central etc... Our song plays a little
bit. She’s walking and she sees a no climbing sign. She climbs
over and has a little think.


Four.
*this scene is just a reaction shot, so can be done without other
two actors, even if she is meant to be with them. At Banyan Café.

Ends with Christie outside bar where Teresa works, as if she

has made up her mind. Sees Teresa and smiles, then sees Luca
move and give Teresa a kiss on the cheek.

CHRISTIE
Eye spy, with my little eye. I tried
to have it all, but I didn’t care
why. I stand here and stare, what
more can I do? I tried to pick one,
but they were a-two.


Lynne Scenes.

One.
*this is a montage scene, there will be no dialogue from Teresa,
just accompanying visuals.

The following voice overs will be accompanied by appropriate

images suiting the visuals, for example, Teresa in a cell,
Luca in his bedroom, Luca at work etc...

CHRISTIE
Then you have Teresa. The party
girl, cares about social status,
drinking and having fun. Teresa left
home at seventeen and moved to Hong
Kong in what was a role of the dice,
flip of the coin sort of decision,
but it worked; she loved it. She has
been to prison once, for drunk driv-
ing. She spent three months there,
where she played cards excessively,
gambling and winning money of other
inmates. Now twenty-three, she bar
tends, and with the exception of a
better understanding of the social
clockwork, she is not that different
from before.


Guy Scenes.

One.
*this is a montage scene, there will be no dialogue from Teresa,
just accompanying visuals.

The following voice overs will be accompanied by appropriate

images suiting the visuals, for example, Teresa in a cell,
Luca in his bedroom, Luca at work etc...

CHRISTIE
(v.o)
Let me explain. I met two people
this year... Luca. The sweetest guy
you could think to meet. He’s Mr.
Society. He follows the rules. After
getting a degree from Cambridge in
Economics, he worked in an orphanage
for two years in Thailand, as he
wanted to do something meaningful.
He now works in Hong Kong for a
Bank, but deals largely interna-
tional charity relations. He plans
to get married before thirty, have
three beautiful but mischievous
children, retire to Australia, grow
old and die.


Carmel and Guy Scenes.

One.
*this will be filmed at Lians house

SCENE- CHRISTIE’S APARTMENT

There is a frustrated and loud knocking at the door, Christie

runs out of the bedroom, and goes and thrusts open the front
door. Luca is standing there.

LUCA
Who’s Teresa?

CHRISTIE
Wha-how’d...

LUCA
How’d I Know?

Christie looks down to her side, and taps her pocket, and
looks back up.

CHRISTIE
You took my phone? Earlier... didn’t
you, you took my phone!

Luca reaches into his pocket and takes out Christie’s phone.

LUCA
“You make me feel like nothing ever
before.”

Christie tries to get phone, Luca puts hand to stop her.

LUCA
“I love you too”

CHRISTIE
I can’t believe you would take my
phone...

LUCA
I’m glad I did. You sent a message
at 12:43. You were with me at 12:43.
With me. In bed.

CHRISTIE


Luca, seriously just listen!

LUCA
I’m done listening.

Luca leaves back through the front door.

CHRISTIE
Luca!

Luca comes back through the door.

LUCA
Do you want to know why I stole your
phone?

Pause.

CHRISTIE
Why?

LUCA
Because for some strange reason, I
was gonna put your ringtone for me
as ‘Our Song.’

Pause, Luca starts to walk off again.

CHRISTIE
Babe...

Luca turns back round to face her.

LUCA
Thought it’d be romantic. Then your
phoned beeped. ‘New Message: Teresa-
Hey, coming to yours at around
seven?’ Funny that, as you were
meant to be working that night, so I
read the rest.


Two.
*filmed in Lians house.

MEETING LUCA. SCENE- A DIFFERENT APARTMENT

Christie and Luca are sitting on a sofa at night time, the

lamp is on, and they both have a glass of wine in their hands.
Their body language is leant into each other, both are smil-
ing. There are post-meal empty plates on a table.

LUCA
You don’t think you want kids?!

CHRISTIE
Haha, it’s not that I don’t like them!
It’s just, I see them as very compli-
cated.

Luca looks away, smiling.

CHRISTIE
You really want kids huh?

LUCA
Yeah. Since I was little, I’ve always
wanted to have children knowing that
I’ve given life to someone would...

CHRISTIE
Yeah?

LUCA
It would be amazing.

CHRISTIE
You big softy!

LUCA
Shut up...

CHRISTIE
So how many kids do you want?

LUCA
Well three! Two boys and a girl.

CHRISTIE
Yeah? How come?


MEETING TERESA. SCENE- HONG KONG PARK

Christie and Luca are overlooking the pond on the bridge in

Hong Kong Park. He looks at his watch, kisses her on the
cheek, and leaves.


Carmel and Lynne Scenes.

One.
*filmed at Lians house.

SCENE- CHRISTIE’S APARTMENT

Luca leaves, and Christie leaves the door slightly ajar. She
turns and you she goes into the bedroom, where Teresa is sit-
ting on the bed. She looks annoyed.

CHRISTIE
I’m sorry.

TERESA
You said it was over...

CHRISTIE
I know, it’s just...

TERESA
Come on. What do you take me for?

CHRISTIE
Well what did you expect? We were
gonna get married? Have three kids,
grow old in Australia or something?

TERESA
What?

CHRISTIE
It’s just...

TERESA
You know what? I was changing who I
was for you. But this was obviously
just for fun.

CHRISTIE
Where are you going?

TERESA
Home... I need to clear my head.

CHRISTIE


But you’re Miss Anti-conformist! Are

you really that bothered that I’m
still seeing him?

TERESA
It’s that you lied.


Two.
*filmed- Hong Kong Park, any Park- Lamma?

MEETING TERESA. SCENE- HONG KONG PARK

Christie and Luca are overlooking the pond on the bridge in

Hong Kong Park. He looks at his watch, kisses her on the
cheek, and leaves. She remains on the bridge, looking at the
water. She walks around the corner, where she sees Teresa
looking through the bush, behind a ‘no climbing’ fence.

CHRISTIE
You alright there?

Teresa stands up, and smiles. She has a colourful single hair
extension in her hair.

TERESA
Just looking for stuff.

CHRISTIE
What kinda stuff?

TERESA
Anything.

CHRISTIE
In a bush?

TERESA
Yeah a bush.

CHRISTIE
How come?

TERESA
Well, the way I see it. The sort of
people that climb over fences that say
not to are the sort of people that do
before they think. Trying to impress
girlfriends, boyfriends, mates and
stuff. Those sort of impulsive people
usually don’t check things, like their
pockets for example. Hence, me in a
bush.

Pause- takes time to digest.

CHRISTIE


Makes absolute sense... Want some

help?

TERESA
I’m Teresa.

CHRISTIE
Amen.

TERESA
Funny!

CHRISTIE
I’m Christie.

TERESA
How’d you do?

CHRISTIE
Are you from the 1930’s.

TERESA
I like to be polite.


Carmel, Guy and Lynne scenes.

One.
*this scenes is meant to be filmed with the two other actors but
can be done with carmel alone.
Christie sits down, and Teresa opens the door revealing Luca.

Interior of Christie’s apartment living room. All three char-

acters are standing up. Both Teresa and Luca are shot in slow
motion, shouting at a shocked Christie who is standing still,
motionless. The shouting is muted, to convey a sense of shock.
She is positioned in a way that shows some detail of her
apartment, for example a few photo frames, an empty bottle of
wine, a TV. There is several seconds of Christie looking at
the camera, without speaking.