Justice and Retribution
A feature length screenplay
by Bob Goodwin
SMASHWORDS EDITION
* * * * *
PUBLISHED BY:
Bob Goodwin on Smashwords
Justice and Retribution
Copyright © 2010 by Bob Goodwin
Smashwords Edition License Notes
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If you are interested in producing this story please contact the author directly.
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FADE IN:
1. EXT.HOUSING ESTATE - DAY
It is a clear day over an older residential area of Melbourne. Most allotments are small with unimaginative low set homes.
A few yards have old car wrecks. Numerous fences are in need of repair.
One home has an empty and partly collapsed above ground pool in the back yard.
2. EXT.HOUSE WITH DAMAGED POOL - CONTINUOUS
The back of the house is overgrown.
There is a shallow pool of green stagnant water in the damaged pool.
Three wooden steps lead up to a small landing and the back door.
3. INT.KITCHEN / DINING AREA - CONTINUOUS
A WELL-DRESSED MAN sits at a rickety wooden dining table reading the Melbourne Age.
He turns the page and leans forward showing an interest in an article headlined:
Internet Forums Give Support to Sexual Predators
His right arm rolls outward slightly revealing a tattoo on his forearm. It depicts the bloodied face of a terrified young woman trying to scream though lips that are sewn together.
WELL-DRESSED MAN
(calling out)
Hey, George!
After a moment a disheveled man enters the room. He stomps his way clumsily through to the kitchen area.
GEORGE
Shit, I need some food.
WELL-DRESSED MAN
We need to be careful. It looks as though they’re trying to track us on the net.
GEORGE
I don’t give a fuck about the internet.
WELL-DRESSED MAN
Don’t be stupid. I know it has been useful for you. You wouldn’t have met up with little Stephanie if not for the net.
George is rummaging through the fridge.
GEORGE
I suppose. We got fuck all in here! I want some bacon.
WELL-DRESSED MAN
Listen up. Follow the rules we set down. Change email addresses every week. Use library, school or café computers. Don’t be predictable.
GEORGE
Okay, I got it! Now, I want some food. I’m walking to the corner store. Fuck it!
WELL-DRESSED MAN
I can’t stay here any longer. I don’t believe it’s safe.
GEORGE
(not bothered)
Suit yourself.
He slams the fridge door, snatches up his wallet and walks out the back door.
The other man SIGHS and gets back to the newspaper.
FADE TO BLACK
4. EXT.HOUSING ESTATE - DAY
FADE IN:
The area is very flat and open with wide bitumen roads.
There are many new houses in various stages of completion. So far there are only a handful of homes that appear to be in a finished state.
It is late afternoon and the sun is dropping quickly in a clear sky.
There are a few workmen around finishing off their days work.
A tall fit looking JOGGER appears at the end of the street.
As he approaches we notice he is bald and wears only shorts and running shoes. His pace is quick and he is bathed in sweat.
A red Falcon ute and a shiny blue Holden Torana round the corner with a SCREECH of tyres. Smoke pours out from the fat rear wheels of both vehicles.
The cars ROAR up the road towards the jogger.
He hears them coming and hops off the road onto the partly grassed footpath.
The Falcon flies past at high speed. The Torana slows as it passes him. There are four young guys inside. Two of them hang out of the window.
FRONT SEAT YOUTH
Why don’t you get some wheels fuckface!
BACK SEAT YOUTH
And grow some hair shit head!
The group has amused themselves, and they LAUGH loudly.
The back seat youth grabs an empty beer bottle and throws it at the jogger. He easily avoids the missile as it smashes on the bumper of a workman’s ute.
The Torana then takes off again with a huge burnout leaving the area momentarily shrouded in smoke.
As the air clears we see the jogger standing next to the WORKMAN who is inspecting the back of his vehicle.
The workman stands.
WORKMAN
Bastards! Almost every day of the fucking week, morning and night, they never give it a rest. Sunday morning they and their fucking mates really tear this place up. Where’s a fucking cop when you need one!
JOGGER
Hmmm... we’ll just have to see what can be done about that won’t we?
FADE TO BLACK
5. EXT.CITY SUBURB - NIGHT
FADE IN:
It is a quiet, still night. The suburb is a working class area. Most houses are low set and on small allotments.
We notice lights on in two houses but most are in total darkness.
A dog BARKS. This sets of a chain reaction and soon several dogs are BARKING. After a while they settle and stop.
We hear the DRONE of a distant motorcycle. It gets LOUDER.
A headlight appears at the end of a street. We follow the bike as it slows and arrives at letterbox number 42.
The engine is cut and the lights go out.
The momentum of the bike is still sufficient for it to turn into the gravel driveway and glide alongside the house and stop.
Ray SWANSON dismounts and removes his helmet. His long hair falls onto his shoulders.
He climbs the 3 back steps onto a small landing and without hesitation swings his helmet and SMASHES the glass panel on the rear door.
The dogs START UP again.
SWANSON reaches in, unlocks the door from the inside and enters.
6. INT.SUBURBAN HOUSE - CONTINUOUS
SWANSON marches through the house.
George LARSON staggers out from a bedroom. He is half asleep and wears a dirty T-shirt and some torn shorts. He has a baseball bat in his hand.
Swanson is on him immediately.
He slams his helmet into Larson’s abdomen while his other hand has him by the throat. He forces him up against a wall.
Larson tries to swing the bat. He WHEEZES, but cannot speak. His feet are off the floor.
The bat flies from his hand and smashes into an empty bottle of Johnny Walker.
SWANSON
No time for pleasantries Larson. The cops are onto you, and they are on their way here. They know, and I know that you tortured and raped young Stephanie Jones...
Swanson pauses and studies Larson’s face. Larson’s eyes are like saucers.
SWANSON (CONT’D)
...Of course, you are now thinking they have nothing on you, and that I’m full of bullshit. But buster they’ve got your DNA...
Larson makes an effort to shake his head side to side in denial. He still can’t speak.
SWANSON (CONT’D)
...Yes I know you didn’t come inside the girl. But you jerked off near the corner fence post didn’t you? Now, that puts you at the scene and shoots your alibi to pieces. The cops will beat the crap out of you Larson. As for the other guys at the prison.... well they’ll probably hack your balls off.
Swanson eases his grip and lowers Larson’s feet.
Larson COUGHS and swings a punch, but Swanson just leans back out of the way, then replies with a hard backhand slap across Larson’s face.
LARSON
Ah! Shit! Okay! Go easy.
Larson cowers.
LARSON (CONT’D)
Who are you? What do you want with me?
SWANSON
I am a person who can save you from the cops. I can help you become a person of real value. Of course, there is a price to be paid.
LARSON
Fuck off. I have no money.
SWANSON
I do not ask for money. We have three minutes, Larson. I have a safe house.
LARSON
Are you a relative?
SWANSON
No.
LARSON
A cop?
SWANSON
No.
LARSON
Are you going to kill me?
SWANSON
Definitely not... promise.
Swanson removes his hand from Larson’s throat.
SWANSON (CONT’D)
...Don’t stuff around Larson. You have a window of opportunity here. I have a Harley outside. Time is of the essence. If I leave without you, your life as you know it is over. Prison could well be the death of you.
LARSON
There’s no law against wanking you know.
SWANSON
But there is when traces of the girl’s blood are in your semen.
LARSON
Fuck! That little fucking bitch. I should have choked her to death.
Swanson turns and walks to the door. He swallows hard. His jaw trembles. We see his hand reach into his jacket. He pulls out a huge Bowie knife. He has his back to Larson and the knife concealed.
SWANSON
Last chance, Larson, I’m leaving. You have less than two minutes.
He moves out the door.
7. EXT.SUBURBAN HOUSE - CONTINUOUS
SWANSON trots down the three steps and turns back to face the door.
SWANSON
Okay that’s it! You had your chance.
He pulls his hand from inside his jacket and reveals the knife. We hear STEPS approaching. Swanson pauses and slips his hand back inside his coat.
LARSON appears.
LARSON
I had to slip some clothes on. Let’s go.
SWANSON
Smart choice.
Larson zips up his coat. They head to the Harley.
8. INT.SWANSON’S UNIT - DAY
The unit style is open plan, with the lounge, dining area and kitchen all together. The walls display numerous framed photographs of children. In one of them we see a smiling Ray Swanson in the middle of four happy children.
On the coffee table we see some health and fitness magazines, and one other called “Weapons and Tactics Illustrated”.
To one end of the lounge is a weight bench. There are a number of assorted weights lying on the floor.
On the kitchen bench is a pile of cut and squeezed oranges, a bottle of multivitamins and another labeled “Hypericum – stress formula”.
There is a RATTLE at the door. It OPENS then CLOSES then LOCKS three times. We hear PANTING.
SWANSON appears. He is completely bald and in a lather of sweat. His shorts and sleeveless T-shirt are soaked.
Swanson looks superbly fit and strong.
He goes straight to the fridge and grabs the orange juice and knocks back a large glass.
He grabs pills from both bottles and washes them down with a second juice.
Swanson moves over to the bench and starts pumping weights.
9. EXT.COUNTRY PROPERTY - DAY
The area is very rural and the property is complete with rolling hills, a small cottage and a large quaker style wooden barn. There are no other dwellings anywhere nearby.
On a hill well behind the house and barn two young boys on their bicycles appear.
They stop and look down the slope.
WILL
Does anyone live there?
ALAN
I think so. I’ve seen a guy drive in. He has a black van.
WILL
Do you want to go closer?
ALAN
I don’t think we should. He might be inside.
WILL
The van’s not there.
ALAN
It could be in the barn. And what if he’s an axe murderer or something?
The boys look at each other.
10. INT.POLICE HQ INSPECTOR’S OFFICE - NIGHT
The very large Inspector John COCHRAN drops heavily down into his padded leather desk chair.
There are notes, papers, folders and some books untidily strew over the desk. A couple of framed photos are to one side.
Detectives Ross THOMPSON, a tall fit looking man in his 30’s, and Cathy INGLIS a slender brunette in her late 20’s, are standing near the office door.
COCHRAN
(loudly)
Well, sit down then. This is not bloody boot camp.
The two sit across from Cochran.
COCHRAN (CONT’D)
... Just so you both know – I had promised Katie that I’d listen to her violin practice tonight and then go out for her favourite takeaway.
INGLIS
And that would be something healthy no doubt.
COCHRAN
Pepperoni pizza.
INGLIS
Or not then.
COCHRAN
Her choice Inglis, not mine, I can assure you...
Inglis nods unconvincingly. Thompson is surprised at her nerve.
The Inspector picks up Katie’s photo and displays it. It is a lovely portrait of Katie’s face against her violin. She has a gold heart shaped locket around her neck and a beaming smile.
COCHRAN (CONT’D)
... She’s got a real talent and pretty as hell too. I’d like to think she takes after her Grandfather, but I haven’t got a musical bone in my body.
INGLIS
Maybe she takes after you in other ways, sir.
COCHRAN
Don’t push it, Inglis. This is not a good time.
INGLIS
I meant in good ways.
COCHRAN
I know exactly what you meant, now shut up. And don’t you worry yourself about it Thompson, Inglis has a history of insulting me. She seems to think it will help her career...
He looks at the picture with great affection.
COCHRAN (CONT’D)
...Katie has a recital coming up and I’ll bet she’ll just knock ‘em dead...
He puts it carefully back in place towards the corner of the desk.
COCHRAN (CONT’D)
...Anyway tell me, where the fuck is Larson?
THOMPSON
We don’t know, Sir.
INGLIS
We believe he left in a hurry with someone else.
THOMPSON
The back door window was smashed. There were signs of a struggle.
INGLIS
We think he left on a motorcycle only moments before we got there.
THOMPSON
It seems likely he was tipped off.
COCHRAN
(irritated)
I’m missing an important engagement with my Grand Daughter because of – “it seems likely; we think; we believe”. Tell me what do we know for Christ’s sake?
THOMPSON
It could be the vigilante, Sir.
COCHRAN
(angrily)
God damn, Thompson! I just said don’t give me fuckin’ maybes!
He slams his hands on his desk.
The framed picture of Katie topples onto the floor. The glass shatters.
Inglis quickly retrieves it.
She holds it gingerly and presents it to Cochran.
From her point of view we see the picture of the pretty smiling Katie through shards of broken glass.
11. INT.POST OFFICE - DAY
There is a large bank of public telephones mounted along one wall. There are small dividers between each phone. Some are in use, but most are unoccupied.
Lester KING, a uniformed policeman, selects one that has a vacancy on either side.
He drops in some coins and dials.
12. INT.SWANSON’S UNIT - CONTINUOUS
SWANSON is still on the bench.
The phone RINGS. He stops pumping and waits. It RINGS three times and stops.
It RINGS again and stops after the third ring. SWANSON gets up and the phone STARTS UP once more. This time he picks it up.
SWANSON
Yeah.
13. INT.POST OFFICE - CONTINUOUS
KING is at the telephone. The Post Office is busy.
KING
Sunny morning, partner. This is Dewdrop. Listen, did you secure that item I left for you?
14. INT.SWANSON’S UNIT - CONTINUOUS
SWANSON
Sunny and bright it is, Dewdrop. Yes I have the item. It is safely secured and will be returned to you in due course.
KING (O.S.)
There are a number of people here who are most upset they didn’t get their hands on it.
SWANSON
No doubt they’ll get their chance. We did cut it a little finer than I would have liked.
KING (O.S.)
I knew it would be tight. Just be warned that the spotters may be out tonight so be careful won’t you.
SWANSON
You know me Dewdrop, careful to excess. Any news on that other matter as yet?
15. INT.POST OFFICE - CONTINUOUS
KING
Not yet, mate. Information is a little hard to come by – they seem to be playing this one pretty close to their chest. But it’s brewing I can assure you. When I know, you’ll know. I’ll be back in touch soon. Cheers for now.
KING hangs up. He looks around the Post Office for a moment, before he leaves.
16. INT.THE JONES HOME - LOUNGE - NIGHT
The room is small, modern and nicely furnished. ANTHONY JONES sits in an armchair.
He wrings his hands, rubs his hands through his hair and checks his watch.
Anthony’s wife, REBECCA, is in the two-seater and next to her sits her brother, NEVILLE.
REBECCA
(to Anthony)
Will you stop that? You’re making me feel sick just watching you.
Anthony bounces up from the chair and begins pacing about the lounge.
ANTHONY
He said he’d call this evening. What’s he up to? Why hasn’t he rung?
REBECCA
Maybe it’s just not going to happen. Quite frankly, I think it’s a stupid and dangerous idea. It won’t help anyone.
ANTHONY
How can you sit there and say that. After what that bastard has done.
REBECCA
Let it be enough, Anthony. We have enough to deal with now. For God’s sake!
Rebecca covers her face and cries. Neville puts his arm around her shoulders.
NEVILLE
Okay Becky. If there’s any risk or danger we won’t be doing anything. You don’t need to worry.
Anthony squats down in front of her and places his hands on her knees.
ANTHONY
I’m sorry honey. I thought this was what you wanted. You said you wanted him strung up. You said he should be hung, drawn and quartered. The way I see it that’s the very least that should happen to him.
Rebecca looks up at Anthony. She wipes her eyes and blows her nose, then speaks softly though her tears.
REBECCA
We all say a lot of things don’t we? But when all is said and all is done, will it make our lives any better? If we do this thing then where will we be five years from now? What will we think of ourselves then? Will we survive as a family, Anthony?
Anthony springs back to his feet and resumes his pacing.
NEVILLE
What will we think of ourselves if we do nothing Becky?
ANTHONY
Listen honey. A man has tortured ... no, not a man, a monster, an animal. This animal has tortured, molested and raped our eight-year-old daughter. Who knows what he will do next time? How long will he need to be in prison so people will feel safe? Will he even go to prison? These days who knows? Just know that as sure as the sun will rise in the morning, this animal will be out there again...
Anthony points aggressively to somewhere outside.
ANTHONY (CONT’D)
...He’ll be walking the streets alongside the likes of you and me. He’ll be driving past schools and playgrounds looking at our children and our grandchildren.
Neville nods in agreement.
NEVILLE
That’s right, Becky.
REBECCA
I’m too tired Anthony. I’m sick, I’m tired and nothing that happens will change that. You go out there and save the world. I’ll be here for Stephanie. She needs one of us to be here for her.
ANTHONY
I am a father. I am supposed to protect my family. My little baby girl should be kept safe. This is my job. Of all the things a father should do, this is the big one. I let her down. I let you down. But, never again. This will never ever happen again.
NEVILLE
Damn right it won’t.
REBECCA
Neville will you please shut up.
The phone RINGS. They all look at each other. It continues RINGING.
REBECCA (CONT’D)
Well Anthony, are you going to answer it? This is the one you’ve been waiting for.
Anthony walks over to the telephone. He looks back at Rebecca and Neville then picks it up.
ANTHONY
Hello...
...Yes...
...Yes we do...
...Okay...
...Okay...
...Yes...
...Yes...
...I understand...
He moves the phone away from his face and looks at it momentarily before hanging up.
ANTHONY (CONT’D)
...He’s gone now.
NEVILLE
And...
ANTHONY
It’s time. Everything is ready. We need to leave. Rebecca, as far as you know we have gone out to a party and we won’t be back until morning.
Rebecca sits staring at Anthony. Tears are streaming down her face. She stands and stretches her arms out towards him.
They embrace.
Anthony takes her shoulders and moves her slightly away from him. They look into each other’s eyes.
17. EXT.TRAIN STATION - NIGHT
It is late and cold. A young couple, arm in arm, walk by quickly.
ANTHONY and NEVILLE are rugged up in coats and sit next to each other on a bench seat.
A whistle BLOWS and a train pulls out of the station.
NEVILLE
There goes another one. What now, we’ve been here for ages?
ANTHONY
We wait.
18. INT.THE JONES HOME – LOUNGE - NIGHT
REBECCA sits in a single lounge chair staring blankly into space.
An old black and white western is screening on the TV.
There is a high pitched SCREAM of a child.
In an instant Rebecca is out of her chair and down the hallway.
19. INT.STEPHANIE'S BEDROOM - CONTINUOUS
STEPHANIE (an eight year old) is sitting bolt upright in bed SCREAMING with her eyes wide open.
REBECCA dashes through the open door. She picks her up, wraps her arms around her and sits on the side of the bed.
REBECCA
(through tears)
My darling. Mummy's here. It's all right now, mummy's here my angel. There there now. No one is going to hurt you anymore. You're safe here with mummy.
The SCREAMS turns into SOBS. Both are crying.
REBECCA
(whispering)
God be with you Anthony.
20. EXT.PRINCE OF WALES HOTEL - NIGHT
It’s late Friday night (St Kilda). The hotel is packed. A band is playing loud rock and roll.
People are milling about in the outside area and onto the street.
A black ford sedan is parked in the street just a few metres from the hotel.
21. INT.BLACK SEDAN - CONTINUOUS
Inspector COCHRAN is wedged behind the steering wheel. THOMPSON is next to him. Both men have headsets on.
COCHRAN
I hope your sources are reliable. It’s been over an hour.
THOMPSON
Robinson’s in there. Tony guarantees it. He saw his tattoo, it was unmistakable. It’s just a matter of whether he makes a move or not.
COCHRAN
Well if he’s here there’s a good chance he’ll move on Inglis. We know he’s a sucker for legs and cleavage. You best hope she’s safe or I’ll have your balls.
THOMPSON
Hey, she volunteered!
COCHRAN
With a little encouragement from you.
THOMPSON
She’ll be fine. We have 3 guys watching her, not that she needs it. She could kick his head off if she chose too.
22. EXT.TRAIN STATION - CONTINUOUS
ANTHONY and NEVILLE watch another train roll into the station.
A dark figure of a man approaches and looms over them.
This is SWANSON, but his features can't be seen and he is unknown to the two men.
SWANSON
Gentleman, this is your train. Get on now and get of when it first stops, wherever that may be.
NEVILLE
But we haven't got a ticket!
He turns at Anthony and looks blankly at him.
He turns back to Swanson who has disappeared.
NEVILLE (CONT’D)
... Sir, we don’t have a tick...
ANTHONY
Neville shut up. Just get on the fucking train.
Anthony grabs Neville's arm and they get aboard.
23. INT.TRAIN CARRIAGE - CONTINUOUS
ANTHONY and NEVILLE sit next to each other as the train moves off.
There is a disheveled man at the other end of the carriage drinking from a large bottle inside in a brown paper bag. No one else is around.
NEVILLE
Only one stop and then we get off. We could have walked there rather than sitting in the cold for two hours.
Anthony turns his head slowly and looks at Neville.
ANTHONY
Neville, it's because you're my brother-in-law that I can tell you this. You are a great guy and a good friend, but you need to make an effort to engage your brain before opening your mouth.
NEVILLE
Okay then, why didn't we just drive there?
ANTHONY
This is not a trip to the bottlo mate. There is an element of cloak and dagger here. All precautions are being taken both for our safety and this other guy's safety. We need to just do as we are told.
NEVILLE
Now you're scaring me, Tony.
ANTHONY
Well that's good. You need that; it'll help you stay focused.
NEVILLE
What about you, are you scared?
ANTHONY
I'm fucking terrified.
NEVILLE
Not as much as poor Stephanie was.
Anthony grabs Neville's gloved hand. He squeezes and shakes it.
The train slows and stops.
Anthony jumps up.
ANTHONY
Come on. We get off here.
NEVILLE
But we’re not at a station.
Neville follows. Anthony pulls hard at the door handle and the doors slide open.
ANTHONY
Jump!
Neville ducks under Anthony’s arm and disappears into the darkness.
Anthony jumps. The doors close. The train moves slowly away.
24. INT.BLACK SEDAN - NIGHT
COCHRAN
(into the headset)
Yeah thanks. Keep waiting. Stay alert.
THOMPSON
Wow, that makes seven guys. I bet Inglis $100 she’d get no more than 3.
COCHRAN
She bet you on getting picked up?
THOMPSON
Sure.
COCHRAN
You’re a mug. She’s looking gorgeous. I’ll bet she’ll get at least a dozen.
THOMPSON
How much?
25. EXT.RAILWAY TRACK - NIGHT
We see a light flashing on and off some metres away near a small roadway.
There is a solitary streetlight nearby that casts some light over the area.
ANTHONY and NEVILLE rather clumsily make their way towards the flashing light.
26. EXT.DIMLY LIT ROADWAY - CONTINUOUS
ANTHONY and NEVILLE emerge onto the road. The torch stops flashing.
SWANSON steps forward to meet the two men. He has a scarf wrapped around his face and a large floppy hat on. He shakes Anthony’s hand.
SWANSON
Anthony Jones, pleased to meet you...
He shakes Neville’s hand.
...Neville Francis, pleased to meet you too.
ANTHONY
What do we call you?
SWANSON
Call me Sonny. I must apologise about all this secret spy stuff. It’s just that I had a tip off that you would be followed. We better keep moving.
ANTHONY
Thank you, Sonny.
SWANSON
I have a van just over here. Let’s go.
The two men follow Swanson into the night.
27. INT.P.O.W. HOTEL – MAIN BAR - NIGHT
Cathy INGLIS is propped against the bar. She wears a very short black mini skirt, a red low cut top and high heels.
She sips on a cocktail.
A neatly attired blonde man in jeans and a Hawaiian style shirt sits on a bar stool near her (this is ROBINSON).
His deep blue eyes meet hers, and he smiles through a thick but neatly cropped beard. There is a bandage on his right forearm.
Inglis looks him up and down with exaggerated movements of her head, then she fixes on his face.
INGLIS
(slurred)
You have nice eyes.
ROBINSON
Well, thank you. I must say you look quite lovely yourself. Why are you alone?
INGLIS
Who says I’m alone, buster.
ROBINSON
I’ve noticed.
INGLIS
You been checking me out then?
ROBINSON
Well, you got me there. I guess I have.
INGLIS
You like what you see?
ROBINSON
You are possibly the most gorgeous woman I’ve seen in a very long time. I’d like to buy you a drink but I see you have one...
Inglis holds her hand up and interrupts him.
She downs her cocktail in two big gulps. She hands him her glass.
INGLIS
I’d love one thanks, Romeo. Sex on the beach if you don’t mind!
ROBINSON
Oh, I definitely don’t mind. Kahlua, Malibu, Pineapple Liquor and cream – it’s one of my favourites!
28. INT.BLACK SEDAN - CONTINUOUS
COCHRAN
(into headset)
This could be him. Everyone stand-by!
We hear a voice come back through the headset.
KELLY (O.S.)
He’s the right height and build, but his hair is blonde and he’s got a beard.
COCHRAN
(into headset)
He’s a clever bastard. He can change his appearance quicker than you can wipe your arse, Kelly.
KELLY (O.S.)
He has a bandage on his right forearm.
COCHRAN
(into headset)
Well fuck! That’s his tattoo arm. I’m sure he’s our guy. Don’t let Inglis out of your sight.
THOMPSON
She has been drinking mocktails hasn’t she?
COCHRAN
Those were the instructions to the barman.
THOMPSON
She does a great drunk. I must get her into the end of year review.
COCHRAN
She’s a damn fine detective for a woman.
Thompson turns his head and looks at Cochran who notices the detective’s raised eyebrows.
COCHRAN
Fuck off! Don’t give me any of that political correctness bullshit.
29. INT.P.O.W.HOTEL – MAIN BAR - CONTINUOUS
The bartender passes over two cocktails. ROBINSON takes them and passes one to INGLIS.
INGLIS
Cheers!
ROBINSON
Cheers!
They chink glasses and sip their drinks. Inglis spills a small amount.
INGLIS
Whoopsie... So what’s your name?
ROBINSON
Robert. And you?
INGLIS
Catherine. Pleased to meet you, Robert.
They shake hands lightly.
ROBINSON
The pleasure is most definitely mine.
INGLIS
And you’ve hurt yourself, you poor darling.
Inglis stares at the bandage and reaches out to touch it gently. Robinson pulls it away.
ROBINSON
I had a mole cut out – nothing too serious. Still a bit tender. I hope you don’t mind me saying so, but you have the most beautiful legs.
INGLIS
I’m not a prostitute you know!
ROBINSON
I never thought that for a moment.
Inglis leans unsteadily towards Robinson’s face.
INGLIS
(loudly & slurred)
But that doesn’t mean I don’t like a good fuck!
She LAUGHS loudly then falls into Robinson. Her drink spills over Robinson’s jeans. The glass falls to the floor and smashes.
INGLIS (CONT’D)
Of crap, fuck, shit. So fucking sorry, Robert.
ROBINSON
It’s okay. Don’t worry. I best get you out to the car and drop you safely home.
He waves and gets the attention of the barman.
ROBINSON (CONT’D)
(calls to the barman)
I best get her home.
The barman nods and gives the thumbs up. Robinson nods back.
Inglis hangs off Robinson as he carefully assists her out to the front of the hotel. A well built bouncer follows them at a short distance.
30. EXT.P.O.W. HOTEL - CONTINUOUS
INGLIS is still holding onto ROBINSON’s left side. She is partly bent over and has her face very close to the bandaged arm.
With a sharp movement of her left hand she grabs the bandage and reefs it down.
From her point of view we see the tattoo. It is the terrified and bloody face of a young woman trying to scream though sewn up lips.
Inglis grabs the right arm and judo throws Robinson over her shoulder.
He lands heavily on his back.
The BOUNCER grabs Inglis around the chest with both arms.
INGLIS
Police! I’m a police officer. Let me go!
She grabs his fingers and bends them back sharply and spins out of his grip.
She pivots around and kicks him in the groin.
He drops to his knees.
Robinson is up and away.
Inglis spots him and is in pursuit.
31. INT.BLACK SEDAN - CONTINUOUS
COCHRAN
He’s coming this way!
Both men get out the car.
32. EXT.BLACK SEDAN - CONTINUOUS
ROBINSON is sprinting and heading towards COCHRAN who is drawing his gun from its holster inside his jacket.
COCHRAN
Freeze!
He has not quite got his gun clear.
Robinson spots him and charges straight into him at full pace. Both men are knocked to the ground. Cochran’s gun is thrown to one side.
Robinson has winded himself and struggles for air. He sees the gun and begins a crawl towards it.
We see the foot of THOMPSON kick the weapon away.
THOMPSON
Don’t fucking move or I’ll just blow the top of your head clean off.
Robinson lifts his head slightly. To his right he sees Cochran’s open wallet lying on the ground.
From his point of view we see Cochran’s license and the address 144 Belmont Ave, Glen Iris.
We see a hand snatch it back up.
Inglis kneels next to Cochran who is in some discomfort.
INGLIS
You okay, Sir? Any major damage?
COCHRAN
Did anyone shoot the bastard?
INGLIS
Thompson has him. Kelly’s got your gun. Here’s your wallet.
COCHRAN
Thanks. Tell Thompson he owes me a hundred bucks.
33. INT.BLACK FORD TRANSIT VAN - SUNRISE
The headlights light up the back area of the cottage as the van swings around the last turn of the long gravel driveway.
It pulls up just in front of several rolls of wire. On the end of one roll is a label “Galvanised Steel Wire – 2.5mm”. There is also a box of “Electric Fence Insulators” and several lengths of narrow conduit.
SWANSON switches off the vehicle and jumps out.
34. EXT.BACK OF COUNTRY COTTAGE - CONTINUOUS
Ray SWANSON wraps his scarf across his face and walks to the back of the vehicle and opens both the doors.