Nothing Land (The Screenplay)

PROLOGUE: The Murder.

INT. MADER’S LOUNGE – AFTERNOON

A youth with a frighteningly lifeless gaze, KEVIN MADER – 17 yrs, clocks a shirtless YOUTH violently over the head with a champagne bottle and kills him.

Kevin hoists the cadaver onto a lounge chair and sits laconically on the armrest. He stares at the corpse with a disturbing smile.

KEVIN
It’s so good of you to stay. Most people leave.

END PROLOGUE.


EXT. COUNTRY TOWN – DAY 1.

Heat fumes rise from a barren, lifeless paddock seemingly in the middle of nowhere.

A crow pecks at a sheep carcass, stripping the last remnants of flesh from its skull.

More heat fumes rise from a lengthy stretch of gravel road bordering the paddock.

A stock truck, its two trailers crammed full of sheep, barrels along the gravel road leaving a monster trail of dust in its wake.

At the local stock yards...

preparations are underway for a sheep sale. Amongst the claustrophobic dust churned up by sheep and vehicles are FARMERS, STOCK & STATION AGENTS, flies, flies and more flies. The great Aussie salute is getting a workout...

At the local slaughter yards...

a BUTCHER slits a sheep’s throat.

The stock truck decelerates as it approaches a small rural town. It continues along the main street, passing...

A butcher’s shop.

Inside the butcher’s shop, the butcher who slit the sheep’s throat, hangs a sheep carcass on a meat hook in the freezer room.

BUTCHER #2 slaps a handful of lamb chops on the weighing scales.

More heat fumes rise from a blinding white limestone road on the edge of town.

From the heat fumes...

A bespectacled boy in school uniform, KEVIN MADER – 7 yrs, walks briskly along the limestone road swinging a school satchel.


EXT. LOT 312 – AFTERNOON 2.

A dirt track leads to a plain country house surrounded by hectares of barren dusty land.

At the entrance to the property is a hand-painted sign wired to an iron dropper: LOT 312.

Kevin veers from the limestone road onto the dirt track and continues his brisk walk.


EXT. MADER’S HOUSE – AFTERNOON 3.

Kevin arrives at the house and enters.

He leaves the main door ajar. The screen door slams shut behind him.


INT. MADER’S KITCHEN – AFTERNOON 4.

Kevin enters and places his satchel on the floor. He looks around.

KEVIN
Mum? Mum?

Kevin opens the fridge door and stares at its minimal contents.

The sound of an out-of-tune car engine turning over.

Kevin races from the room.

The fridge door slams shut.

EXT. MADER’S HOUSE – AFTERNOON 5.

At the rear of the house...

A wisp of a woman, Kevin’s mother, JOY – late 20s, sits in a battered old Holden Torana.

After some coercion the car ignites and splutters off down the dirt track.

Kevin appears from the rear of the house and sprints after the Torana.

KEVIN
Mum. Mum.

The Torana continues along the dirt track.

A forlorn Kevin watches the Torana leave the property then mopes back towards the house.


EXT. LOT 312 – AFTERNOON 6.

Quite some distance from the house Kevin wanders along the property fenceline with a teddy bear dangling from his grip.

An immaculately-kept V8 70s Ford Falcon cruises along the dusty dirt track churning up clouds of dust.

The driver is a bullish man, Kevin’s father, LEON – late 20s.

Kevin turns, drops his teddy bear, and runs in the direction of the car.

Leon’s Falcon pulls up in front of the house and remains idling.

Leon gets out and carefully shuts the car door in anal-retentive fashion.

Leon enters the house.

He leaves the main door ajar. The screen door slams shut behind him.



INT. MADER’S KITCHEN – AFTERNOON 7.

Leon enters, snatches some paperwork from the kitchen table and exits.


EXT. MADER’S HOUSE – AFTERNOON 8.

Leon exits the house with paperwork in hand.

He leaves the main door ajar. The screen door slams shut behind him.

Leon gets into his Falcon, shuts the door carefully, and motors off along the dirt track.

Kevin, nearing the dirt track, continues running towards the Falcon.

KEVIN
Dad. Dad.

Leon continues driving.

Kevin is smothered in dust.

The screen fills with dust.

FREEZE-FRAME.

ROLL OPENING CREDITS over the dust.


EXT. INDUSTRIAL CITY – SEVEN YEARS EARLIER 9.

What appears to be the same dust cloud in FREEZE-FRAME clears, revealing:

A grimy industrial city bordered by a murky gulf on one side and saltbush plains stretching to the horizon on the other. A steelworks is prominent.

Beyond the steelworks...

A particularly grimy street in the CBD is lined with business premises displaying faded frontages. One reads: TV REPAIRS.


INT. TV REPAIR SHOP SHOWROOM – DAY 10.

A messy showroom cluttered with second-hand televisions.
A slovenly man, THE OWNER – 60ish, checks the time on his wristwatch, and slouches towards a doorway shielded with multi-coloured plastic strips.


INT. TV REPAIR WORKROOM – DAY 11.

A messy workroom except for the bench space where a YOUNGER LEON – 20ish, is engrossed in the contents of a technical manual and the inside of a TV.

Leon’s tools are laid out fastidiously on the bench by his kitbag.

The owner pokes his head through the multi-coloured plastic strips shielding the doorway and looks at Leon.


INT. SUPERMARKET – AFTERNOON 12.

A YOUNGER JOY – 20ish, in supermarket uniform, stands at the inquiry counter.

A rather TRAGIC WOMAN with five ill-dressed children (all under five years of age) stands on the customer side of the counter holding her youngest child against her hip.

The tragic woman hands Joy an opened packet of Jelly Babies.

TRAGIC WOMAN
It must have been a bad mix.

Joy sniffs at the packet. She extracts a Jelly Baby, tentatively bites into it then spits it into a tissue.

JOY
It’s easy fixed. I’ll replace it with another one.

TRAGIC WOMAN
Can I exchange it for something else?

JOY
I can give you your money back.

The tragic woman thinks over the proposition. Joy is frustrated by her indecisiveness.



TRAGIC WOMAN
I’ll take the money.
(beat)
Pity it’s not that simple with real ones.

JOY
Sorry?

TRAGIC WOMAN
Real babies. Pity we can’t get a refund or return them.

JOY
You don’t mean that?

TRAGIC WOMAN
It’s a joke. Never.

Joy checks the tragic woman’s docket to ascertain the price.


INT. LEON’S FATHER’S LOUNGE – AFTERNOON 13.

An elderly man in underpants and singlet, still grimy from a day at the steelworks, LEON’S FATHER, sits in front of a noisy fan cutting his toenails with a pair of dressmaking scissors.

Leon enters carrying his kitbag and stares at his father. His father barely acknowledges his presence.

Communication is a dirty word in this house.


EXT. INDUSTRIAL CITY STREETS – AFTERNOON 14.

Joy, in supermarket uniform and carrying a handbag, walks along the streets.

An inordinate number of houses display FOR SALE signs.

LISTLESS UNEMPLOYED MEN with hollow eyes stare at Joy from the front porches and yards of the houses.


EXT. CARAVAN PARK – AFTERNOON 15.

A crowded run-down caravan park situated on the edge of the murky gulf.

Joy makes her way towards an annexed caravan attached to an old car.

A DISHEVELLED LECHEROUS MAN sitting on the steps of a caravan leers at her.


INT. CARAVAN – AFTERNOON 16.

The sound of a TV on high volume.

An obese lady, JOY’S MOTHER, is eating and watching TV in the caravan as Joy enters.

The TV goes fuzzy then blank then black.

Joy’s mother hyperventilates.

JOY’S MOTHER
Oh God, oh God, I’ll miss the news.

JOY
It’s alright mum, you can have mine.

Joy retreats into the annex and returns with another TV.

Joy moves her mother’s TV, puts her TV in its place and turns it on. Joy adjusts the volume to a considerate audible level.

Joy’s mother reaches across and turns the volume up.

JOY’S MOTHER
What about mine?

JOY
(sighs)
I’ll see if I can get if fixed.

Joy’s mother calms down enough to continue eating.


INT. TV REPAIR SHOP SHOWROOM – MIDDAY 17.

An irritated Joy, in supermarket uniform, carries her mother’s TV aggressively into the TV repair shop.

Leon appears at the counter.

Joy’s expression softens.
Leon and Joy find each other attractive in a desperate sort of way.

JOY
It’s my mum’s. It just went bung. I don’t even know if it can be fixed.

LEON
Nothing’s unfixable.


INT. CARAVAN – AFTERNOON 18.

Joy’s mother’s TV is back in place and in working order. The volume is up. Two meals are on the bench.

Joy’s mother is stuffing her face.

An irritated and aggravated Joy, dressed for night-time activity, glares at her mother.

JOY’S MOTHER
Where are you going?

JOY
Out.

JOY’S MOTHER
Just out?

JOY
Yes.

JOY’S MOTHER
But you haven’t eaten.

JOY
I’m not hungry.


JOY’S MOTHER
What am I going to do with all this food?

JOY
I’m sure you’ll work something out.

A frustrated Joy exits.

Joy’s mother slide’s the spare meal across the bench towards herself and starts eating from it.


EXT. CARAVAN PARK – AFTERNOON 19.

Leon’s Falcon is idling by the caravan park entrance. Leon is sitting in the driver’s seat.

Joy, smiling now, opens the passenger side door, gets in and shuts the door a little too firmly for Leon’s liking. Leon winces then drives off.


EXT. ISOLATED ROAD – DUSK 20.

Leon’s Falcon purrs along the road and cruises to a halt.

Leon and Joy get out and walk arm-in-arm along a foot-track. They disappear over a sandy ridge.

The sound of a high-pitched scream.


INT. CARAVAN – DAY 21.

The sound of a high-pitched scream on the TV.

An irritated Joy stands with her hands on her hips.

Joy’s mother is on all fours trying to reach a scrap of food under the eating bench.

JOY’S MOTHER
Pregnant? You’re sure?

JOY
Positive. I’ve seen a doctor.

JOY’S MOTHER
Do you know who the father is?

JOY
Thanks a lot.

JOY’S MOTHER
I suppose you did it on purpose. To abandon me. Just like your father did.

JOY
Give it a break.
Joy’s mother grunts and wheezes as she finally reaches the scrap of food.

JOY’S MOTHER
Don’t speak to me like your father used to. I’m not a dog.


INT. LEON’S FATHER’S LOUNGE – AFTERNOON 22.

Leon’s father, employing a magnifying mirror and dressmaking scissors, is trimming his nostril hairs with difficulty.

An embarrassed Leon stands before his father.

Leon’s father finally looks up at his son.

LEON’S FATHER
You’d better do the right thing and marry the girl.


EXT. REGISTRY OFFICE – DAY 23.

Leon and Joy, both dressed in their best clothes, exit the registry office.

Joy approaches a MALE PEDESTRIAN and hands him a manual camera.

Joy sprinkles Leon with confetti as the bemused male pedestrian takes their photo.


INT. CRUMMY FLAT – DAY 24.

Leon and Joy enter and survey the rather dubious interior.

Joy smiles. Leon isn’t overly impressed. Joy notices.

JOY
Anywhere’s better than where we were.

Leon nods but not with total conviction.


INT. CRUMMY FLAT – AFTERNOON 25.

The interior is furbished with cheap second-hand furniture.

Joy is in a daze staring at the wall. She appears to share Leon’s sentiments about the flat now.

The sound of loose corrugated iron flapping competes with the sound of baby Kevin crying and the sound of a neighbouring flat’s TV.

Baby Kevin is in a pram in the open lounge by Leon’s cramped-but-meticulously-tidy study area.

Joy lowers her head into her hands.

JOY
Shut up.

Baby Kevin continues crying.

JOY
Shut up for God’s sake.

Joy rises and exits the flat leaving the door ajar.


INT. CRUMMY FLAT – LATE AFTERNOON 29.

The sound of baby Kevin crying.

Leon enters with his kitbag and notices the pram near his study area.

Leon shifts the pram. He carefully unpacks his kitbag and arranges the contents neatly on his desk and in the drawers as baby Kevin continues crying.

LEON
Joy?

Leon places the kitbag on the floor by his desk, straightens and looks around.

LEON
Joy? Joy?

No Joy. Leon notices the back door is open. He looks through the doorway then turns back.

Leon heads through a doorway and returns wearing a full-length raincoat and carrying an umbrella.

Baby Kevin continues crying.

Leon picks baby Kevin up, gives him a token and somewhat awkward cradle then returns him to his pram.

Baby Kevin continues crying as Leon exits.


EXT. GULF – DUSK 30.

Black clouds sprint across an already dark sky. Sand and grit whips along the gulf shoreline.

Leon walks along the shore using a raised hand to protect his face from the stinging sand and grit.

A torrential downpour starts accompanied by the rumble of approaching thunder.

Leon opens his umbrella. It flips inside-out in the wind. He stops and corrects the problem, then folds the umbrella up.

Leon continues striding against the wind and rain.

Further along the shore a drenched Joy is slumped by the shoreline as waves wash in and out over her ankles.

Leon arrives at Joy’s side.

LEON
What on earth’s wrong?

JOY
I don’t want to live here any more, Leon. What chance will the child have?

Leon sighs and hoists Joy to her feet. Leon assists Joy to walk back along the shore.

A deafening crack of thunder terrifies both Leon and Joy.


EXT. LOT 312 – FOUR YEARS LATER 31.

The sound of thunder reverberates.

An OLDER LEON, and OLDER JOY and FOUR-YEAR-OLD KEVIN arrive at Lot 312 for the first time in Leon’s Falcon.

Leon’s Falcon, dusty and splattered with insects, stops by the Lot 312 sign.

Joy and Leon are dusty, fatigued and perspiring heavily.

Kevin is in the back seat leaning over the front seat between Leon and Joy. He is excited with childish enthusiasm.

Kevin gets out of the car and runs along the dirt track towards the house.

Leon’s Falcon drives past Kevin smothering him in dust.

When the dust clears we are back at Scene 8 again, with SEVEN-YEAR-OLD KEVIN standing, watching Leon’s Falcon leave the property.


INT. MADER’S KITCHEN – EVENING 32.

Seven-year-old Kevin stands watching his parents.

Joy in unpacking groceries from plastic bags. Leon is perusing business documents.

LEON
(chuffed)
The expenses this month aren’t too bad.

JOY
(self-congratulatory)
No.
(beat)
Don’t forget, I did work in a supermarket.

LEON
Sorry?

Joy picks up a supermarket docket and waves it around.

JOY
I know how supermarkets operate, so I can spot bargains. I can tell in a flash whether two half-dozen packs of eggs at normal prices are better value than the dozen pack on special. Take these...

Joy hold up a six-pack carton of eggs.

Leon’s a bit deflated. He waves a business statement around.

LEON
I meant the electrical business.

Joy can’t disguise her disappointment.

JOY
Oh.

Leon and Joy stare at each other.

Leon retreats to continue perusing his business documents.

Joy returns to unpacking the groceries.

Kevin doesn’t understand what is going on. His puzzled eyes flicker back and forth between his parents.


INT. MADER’S KITCHEN – EVENING 33.

Kevin, Joy and Leon are sitting at the kitchen table eating dinner (lamb chops, chips and eggs). Leon’s meal is enormous. Joy’s is meagre.

The atmosphere is decidedly sombre. Leon and Joy steal glances at each other.

JOY
How are your eggs?

LEON
As good, if not better than the expensive ones.

Leon is expecting a positive response from his witticism. Joy is not amused.

A prolonged silence between Leon and Joy.

Kevin’s eyes flicker back and forth between his parents.


INT. KEVIN’S ROOM – NIGHT 34.

Kevin is sitting on his bed holding a story book in his hand but telling a different bedtime story to his teddy bear, MR. TEDDY.

KEVIN
Then Daddy Human said I want the same thing for tea every night. And Mummy Human said even bears don’t just eat honey.

Kevin claps Mr. Teddy’s paws together.

KEVIN
I knew you’d like that bit.
(beat)
But Daddy Human didn’t find what Mummy Human said very funny at all. And no-one’s sure if they lived happily ever after or not.

Kevin claps Mr. Teddy’s paws together. He stops then claps Mr. Teddy’s paws together again.

KEVIN
No. No more, Mr. Teddy. It’s time for all good little teddy bears to go night-nights.

Kevin tucks himself and Mr. Teddy into bed and turns his bedside lamp out.


INT. MADER’S KITCHEN – MORNING 35.

A cracked mirror hangs over the kitchen sink.

Leon stands in front of the mirror attempting to form a dead-straight part in his hair with a wet comb.

Kevin enters and watches his father.

Leon finally gets the part dead-straight. He finishes combing his hair to his own satisfaction, dries the comb and lays it down on the window ledge.

Leon turns and finally notices Kevin.

LEON
You’re lunch money’s on the table, pal.

Leon exits.

Kevin stares at a five-dollar-note on the kitchen table. He picks it up and pockets it.


INT. LEON & JOY’S BEDROOM – MORNING 36.

Joy is asleep in the marital bed. She stirs and wakes.

Joy looks across at the other side of the bed which is empty. She rolls over and glances at the bedside clock. She rolls back over and promptly goes back to sleep.


INT. BEV’S PASSAGE – MORNING 37.

Leon places a ladder-end through a manhole in the ceiling.

A buxom lady in a dressing gown, the house owner, BEV – 30ish, stands in the passage watching Leon. Her interest is definitely not electrical repairs.

BEV
I didn’t expect you this early.

LEON
I’ve had a fair bit on my plate lately.

Leon picks up a kitbag and torch and begins climbing the ladder. Bev continues to watch him.

The sound of a knock at the door.

Bev opens the passage door and is confronted by TWO JEHOVAH’S WITNESSES. One thrusts a copy of the Watchtower magazine in her face.

JEHOVAH’S WITNESS #1
The magazine’s free. All we ask for is a small donation.

BEV
(indignant)
So if I give you ten dollars, I can have it for nothing.

JEHOVAH’S WITNESS #2
That is correct.

Bev is flabbergasted at their lack of perception.


EXT. CEMETERY – MORNING 38.

Kevin, in school uniform and carrying his satchel, climbs through a barbed-wire fence and makes his way through the local cemetery.

Kevin stops by one particular tombstone with an angel on top of it which has been stained black by years of dirt and grime. He stares at it.


EXT. COUNTRY TOWN MAIN STREET – MORNING 39.

Kevin walks along the main street passing various shop frontages.

He passes his father’s shop which is creatively marked: LEON’S ELECTRICAL.


EXT. COUNTRY TOWN AREA SCHOOL – MORNING 40.

CHILDREN arrive at school in pairs and groups.

PARENTS drop their CHILDREN off in vehicles.

Kevin cuts a solitary figure arriving alone but he doesn’t seem to mind.


INT. BEV’S PASSAGE – MORNING 41.

Bev stands holding the passage door open.

The two Jehovah’s Witnesses are still in the doorway.

JEHOVAH’S WITNESS #1
In this issue Jehovah speaks of the wickedness of men in the last days and how terrible it will be when he utters those final words to the damned...

LEON (O/S)
(booming, echoing)
Are those bastards still here?

The Jehovah’s Witnesses are terrified. The copy of the Watchtower drops on the passage floor. The Jehovah’s Witnesses march away, arms pumping.

Bev smirks and looks towards the manhole.
Leon’s head is poking through the manhole. He offers Bev a broad grin.


INT. GRADE 1 CLASSROOM – DAY 42.

Kevin sits among a GROUP OF GRADE 1 STUDENTS.

A female teacher, MISS ODDLUM is at the front of the classroom reading the results of a test.

MISS ODDLUM
Kevin Mader. Twenty out of twenty.

Kevin, all smiles, rises and walks to the front of the classroom.

A couple of students pull faces and whisper amongst themselves.

Miss Oddlum hands Kevin his report card and pats him on the head.

MISS ODDLUM
Well done, Kevin.

Kevin relishes the human contact and wants to stay.


MISS ODDLUM
You can sit down now, Kevin.

Kevin reluctantly returns to his seat and stares at his report card.


EXT. MADER’S HOUSE – AFTERNOON 43.

Leon’s Falcon is gleaming like a brand-new car.

A bucket and car-cleaning equipment are arranged neatly on the ground.

Leon is replacing a door rubber.

Kevin arrives with a spring in his step and takes his report card from his satchel.

KEVIN
Dad?

LEON
Not now, pal. I’m busy. Go and annoy your mother.

Kevin heads towards the front door of the house.


INT. MADER’S KITCHEN – AFTERNOON 44.

Joy is trimming excess fat from a lamb chop.

The sound of a door opening. Joy cringes. The door slams. Joy winces.

Kevin enters with his report card.

KEVIN
Mum?

Joy waves Kevin away with the knife.

JOY
Can’t you see I’m busy. Go and annoy your father.

Kevin trudges off.


INT. MADER’S LOUNGE – AFTERNOON 45.

Kevin is sitting on the floor within touching distance of the TV with Mr. Teddy on his lap, watching the beginning of Play School. The volume of the TV is barely audible.

Kevin claps Mr. Teddy’s paws together as he sings along softly to the Play School theme song.

KEVIN + TV
There’s a bear in there and a chair as well, people with games and stories to tell. Open wide, come inside, it’s Play School.

Kevin and Mr. Teddy are having a wow of a time.


INT. KEVIN’S ROOM – NIGHT 46.

Kevin’s report card is prominently displayed on his dresser alongside Mr. Teddy.

Kevin is wrapping a toy apple with gift wrap.


INT. SCHOOL QUADRANGLE – LUNCHTIME 47.

Kevin, carrying a canteen lunch bag, soft drink and his gift-wrapped apple crosses the path of a YOUNG SCHOOLGIRL in uniform.

YOUNG SCHOOLGIRL
Go away, creep.

Kevin screws up his nose and continues walking.

The young schoolgirl joins a GROUP OF YOUNG SCHOOLGIRLS. They whisper and titter and point at Kevin.

Kevin sits on a bench against the wall.

Nearby are ANOTHER GROUP OF YOUNG SCHOOLGIRLS playing a hand-slapping game.

Kevin watches them.

They notice Kevin watching them and move further away.

Kevin starts eating his lunch. He doesn’t appear concerned but rather accustomed and resigned to the other children’s behaviour towards him.


INT. GRADE 1 CLASSROOM – AFTERNOON 48.

Kevin and Miss Oddlum are alone.

Kevin approaches Miss Oddlum shyly and gives her his gift-wrapped present.

Miss Oddlum removes the wrapping paper and picks up the toy apple by the stem. The top half of the jack-in-the-box toy comes clean off and a paper snake springs out frightening her.

Miss Oddlum laughs then picks up the fully-expanded snake from the floor and looks at it. She appears genuinely impressed by the gift.

Miss Oddlum pats Kevin on the head.

MISS ODDLUM
Thank you, Kevin.

Kevin is all smiles.


EXT. PADDOCK – AFTERNOON 49.

Kevin, with a decided spring in his step, arrives at a paddock fence-line.

He watches a mob of sheep following each other in single-file along a well-worn track.

Kevin climbs through the fence and runs towards the sheep making them scatter.

As the sheep reassemble themselves into single-file formation, Kevin springs along the well-worn track.


INT. SHOWROOM/LEON’S ELECTRICAL – AFTERNOON 50.

A meticulous showroom displaying televisions and electrical goods.

A sweaty stock & station agent with a front-veranda stomach, NOBBY – 30ish, saunters in.

He bypasses the service counter and heads towards an open doorway at the rear of the showroom.


INT. WORKROOM/LEON’S ELECTRICAL – AFTERNOON 51.

A picture of neatness and order.

Leon is repairing a TV.

Nobby saunters in and lights a cigarette. He leans casually against the work bench and taps his wristwatch.

NOBBY
It’s beer o’clock.

LEON
(not looking up)
Too busy today, Nobby.

Nobby imitates Leon’s dull staccato tone.

NOBBY
Too busy today. Too busy today.


LEON
(irritated)
Okay, okay.

NOBBY
Joke, mate. Settle.

LEON
Sorry. Got a fair bit on my plate at the moment.

NOBBY
See you over there?

Leon nods but without conviction.

Nobby saunters out.


INT. MADER’S KITCHEN – AFTERNOON 52.

Joy, draped in a protective plastic sheet, is sitting on a chair in the middle of the kitchen.

A local hairdresser, VICKY – 30ish, finishes arranging her tools of trade on the kitchen table. She moves across and trusses Joy’s hair.

VICKY
The same as last time?

JOY
I think I’ll go for something different.

VICKY
They say a change is as good as a holiday. Personally, I’d prefer a holiday.

JOY
What are they?


INT. MADER’S KITCHEN – EVENING 53.

The standard evening meal is over. Kevin, Leon and Joy are sitting at the kitchen table.

Joy’s expression is sour.


JOY
Do you notice anything different?

Leon looks around the room. Kevin looks around the room.

JOY
For God’s sake, Leon, I’ve had my hair coloured.

Leon looks embarrassedly at Joy’s hair. It is decidedly different. Kevin looks at his mother’s hair.

LEON
It wouldn’t matter to me whether...

Leon realises by his choice of words that he’s put his foot in his mouth.

JOY
That’s the whole problem. It doesn’t matter.

LEON
I didn’t mean...

JOY
Forget it. I doubt you’d notice if it all fell out.

LEON
Yes I would.

JOY
Don’t mock me.

Leon reaches out to Joy.

LEON
Come on, Joy.

Joy reels away, rises and storms out of the kitchen.

LEON
Joy. Come on. I was ribbing you.

Leon rises and follows Joy out of the kitchen.

Kevin watches his father leave the room and continues to stare at the doorway.
JOY (O/S)
I’m nothing but a sperm depository to you.

LEON (O/S)
Is that a new dress?

JOY (O/S)
Get out.

The sound of a door slamming.

Leon returns carrying a pillow. He motions for Kevin to follow him.

LEON
Come on, pal.


INT. HOME OFFICE – NIGHT 54.

A meticulously neat home office.

Leon is poring over some paperwork.

Kevin is lying on the floor drawing nice pictures of his teacher, Miss Oddlum.

LEON
It’s good to do something together, eh pal?

Kevin nods without looking up.


EXT. DELICATESSEN – AFTERNOON 55.

Rucksacks are piled up against the delicatessen wall.

A GROUP OF YOUNG SCHOOLBOYS are sitting with their backs to the wall, drinking, eating and chatting.

Kevin arrives and puts his satchel down. He takes some coins from his pocket and enters the delicatessen.


INT. DELICATESSEN – AFTERNOON 56.

Kevin enters and is confronted by TWO SCHOOLBOYS playing with the jack-in-the-box apple.

The paper snake springs out and lands on the floor.
SCHOOLBOY #1
That’s really neat.

SCHOOLBOY #2
Yeah. Miss Oddlum gave it to me.

Schoolboy #1 picks up the snake and motions for Schoolboy #2 to give him the apple.

SCHOOLBOY #1
Give me a go.

Kevin is shattered. He slots the coins back into his pocket and leaves.


EXT. PADDOCK – AFTERNOON 57.

An angry and confused Kevin strides alongside a paddock fence-line.

In the paddock two rams are headbutting each other.

Kevin stops briefly to watch the rams then continues striding out.


INT. KEVIN’S ROOM – NIGHT 58.

Kevin is lying on the floor drawing pictures of a ram head-butting his teacher, Miss Oddlum.

Mr. Teddy is a bit disturbed.


INT. TOILET – MORNING 59.

Kevin sits on the toilet straining to excrete.

After a couple of failed attempts, he sighs, pulls up his pants and exits the toilet without flushing the cistern.


INT. GRADE 1 CLASSROOM – DAY 60.

Kevin is sitting at his desk drawing a picture of Miss Oddlum with a ram’s head.

Miss Oddlum is reading the results of a test.


MISS ODDLUM
Kevin Mader. Zero.

The students are stunned by Kevin’s mark. They look to Kevin and to each other and start whispering.

Kevin continues doodling.

MISS ODDLUM
Kevin?

Kevin rises reluctantly and shuffles somewhat painfully to the front of the classroom. He snatches his paper from Miss Oddlum and scuffs his way back to his desk.

Miss Oddlum is puzzled rather than angry at Kevin’s behaviour.


INT. GRADE 1 CLASSROOM – DAY 61.

Kevin and Miss Oddlum are alone at the front of the classroom.

Kevin, in a state of physical discomfort, keeps his distance from Miss Oddlum and barely looks in her direction.

MISS ODDLUM
What’s wrong, Kevin? Is it home?

Kevin shakes his head.


INT. MADER’S KITCHEN – NIGHT 62.

Leon is preparing his own tea (chops, eggs and chips again). He tests the eggs with the point of a knife.

Kevin stands beside his father. He appears ill and continually presses his upper stomach.

KEVIN
Dad?

Leon hoists Kevin up until he is dangling above the stove. Leon’s actions hurt Kevin. He groans.

In b/g Joy enters.


LEON
Look at that for an egg.

Joy’s expression sours. She is not impressed by Leon’s antics. She exits.

Kevin looks down at the floor. Leon finally puts Kevin down. Kevin continues to press his upper stomach.

KEVIN
Dad. I don’t feel well.

LEON
Wait till you’ve had one of these eggs, pal. You’ll feel better in no time.

Kevin mopes off. He appears sicker with every step.


INT. TOILET – MORNING 63.

Kevin, quite pallid and perspiring heavily, is perched on the toilet seat. He grunts as he strains to excrete.

Worn out by the effort, Kevin pulls up his pants and exits the toilet without flushing the cistern.


INT. KEVIN’S ROOM – MORNING 64.

Kevin flops onto his bed and starts sobbing.

Mr. Teddy stares compassionately at him.


INT. LEON & JOY’S BEDROOM – MORNING 65.

The muffled sound of Kevin’s sobbing filters into the room.

Joy tosses and turns on the bed. She flings the bedsheets back, rises and storms out.


INT. KEVIN’S ROOM – MORNING 66.

Joy storms in and glares at Kevin who is sobbing on the bed.

JOY
What’s wrong now?

KEVIN
I can’t poo.

JOY
Get up and go to school or you’ll have a sore backside from something else.

Kevin gets up and grabs his satchel. He passes his mother warily and exits the room.


INT. GRADE 1 CLASSROOM – MORNING 67.

Kevin is squirming in his seat. Miss Oddlum notices and moves towards Kevin.

MISS ODDLUM
What’s wrong, Kevin?

KEVIN
(whispers)
I can’t poo.

Miss Oddlum moves closer.

MISS ODDLUM
Pardon?

KEVIN
I can’t poo.

Certain students laugh.

MISS ODDLUM
Quiet.
Abrupt silence.

MISS ODDLUM
How long is it since you’ve been to the toilet, Kevin?

KEVIN
More than a week.

MISS ODDLUM
Come with me.

Miss Oddlum leads Kevin from the classroom.



INT. SCHOOL CORRIDOR – MORNING 68.

Miss Oddlum leads Kevin along a lengthy school corridor.


INT. SCHOOL RECEPTION AREA – MORNING 69.

The SCHOOL RECEPTIONIST is on the phone as Miss Oddlum leads Kevin towards her desk.

In b/g is a door marked: Principal.

Miss Oddlum and Kevin stand waiting. Kevin stares at the Principal’s door.

SCENES 70-71 DELETED.


INT. HOSPITAL RECEPTION AREA – MORNING 72.

Kevin stands before a large NURSE.

NURSE
So, you can’t do a number two, huh?

Kevin shakes his head.

NURSE
Come with me.

The nurse leads Kevin by the hand along the corridor.


INT. HOSPITAL WARD – MORNING 73.

Kevin is helped up into a hospital bed by the nurse.

She hands him some children’s picture books and some magazines then leaves.

Kevin looks at the ELDERLY PATIENTS sharing the ward. Some are coughing and wheezing. Their faces appear distorted and surreal to him. He is frightened by their appearance.

Kevin curls up on the bed and flicks through a picture book.


INT. HOSPITAL ENTRANCE FOYER – EVENING 74.

A sign reads: VISITING HOURS 6:00PM—8:30PM.
INT. HOSPITAL WARD – EVENING 75.

The clock on the wall reads: 6:05PM.

Kevin sits forlornly on the bed watching the activity around him. All the elderly patients have VISITORS.

Kevin stares at the clock.


INT. HOSPITAL WARD – EVENING 76.

Visiting hours are over and all the visitors have gone.

Kevin stares at the clock on the wall as it ticks past 8:35PM.


INT. MADER’S BATHROOM – DAY 77.

Joy searches through a collection of prescription packets and pill bottles in a mirror-fronted vanity unit.

She checks her appearance in the mirror and fluffs her hair.


INT. HOSPITAL WARD – DAY 78.

Kevin sits on the hospital bed with a picture book on his lap. He stares out the window expectantly then turns away and lies down.


EXT. HOSPITAL/SURGERY – DAY 79.

The sound of a spluttering car approaching.

Joy arrives in her Torana and parks in front of the hospital. She gets out and appears to be heading into the hospital but bypasses it and enters the doctor’s surgery.


INT. DOCTOR’S SURGERY – DAY 80.

Joy stands before a DOCTOR.

JOY
My head aches, my stomach aches. I can’t sleep. I just need something for the pain.

The doctor administers a shot of morphine to Joy.

DOCTOR
I can’t do any more for you than this, Joy.
(beat)
I really shouldn’t be doing this but...

JOY
Don’t think I don’t appreciate it, Doctor.


INT. HOSPITAL WARD – DAY 81.

Kevin is sitting on the hospital bed looking at a children’s picture book about teddy bears. He starts crying.


EXT. PADDOCK – DAY 82.

Joy is driving the Torana along a dirt road in a state of morphine-induced ecstasy.

The Torana careens from the dirt road up onto the roadside, kangaroo hops then stalls by a paddock fence-line.

Joy stares dumbly at a mob of sheep in the paddock.

One sheep stares back dumbly at Joy.

Joy smiles and closes her eyes.


EXT. 3D ANIMATED SCENE – DAY 83.

Joy’s drugged interior POV: Two sheep frolic joyfully, hoof-in-hoof, across sunburnt paddocks.


INT. DISUSED OPERATING THEATRE – DAY 84.

A disturbed Kevin is bent over the operating table.

The nurse, wearing surgical gloves, is probing into his backside.

The nurse reaches for the dreaded enema instruments; a bucket of soapy solution, a pump and a hose.

Kevin, his eyes full of horror, stares at the items.

The nurse administers an enema to Kevin. The mixture of pleasure and pain disturbs Kevin further.

NURSE
Now sit you little botty up there and hold out as long as you can.

Kevin sits on the operating table as the nurse removes her gloves and dumps them in a bin. She washes her hands quickly and exits.

Kevin sits for a moment than abruptly jumps down from the table and rushes towards an open toilet cubicle.


EXT. PADDOCK – DAY 85.

Meanwhile back at the paddock, Joy is sitting in the Torana with her eyes closed. She is smiling.


EXT. 3D ANIMATED SCENE – DAY 86.

Back in animation land, sheep nuptials are progressing well.

It’s a fleecy-white wedding in a shearing shed converted into a chapel. Quite a mob is in attendance. A sheep dog ushers late arrivals in. A sign reads: NO HUMANS ALLOWED.

A farmer attempts to gatecrash the wedding. He is chased away by a sheep dog and brought to ground.

The nuptials continue in peace and quiet apart from the odd bleat.


INT. DISUSED OPERATING THEATRE – DAY 87.

An embarrassed and distraught Kevin is standing by the toilet.

The nurse enters and stares at him.

NURSE
Didn’t quite make it, huh?

Kevin shakes his head.

NURSE
Come on, we’ll clean your little botty up.

The nurse leads Kevin back to the operating table.


INT. SHOWROOM/LEON’S ELECTRICAL – DAY 88.

Leon is speaking on the phone.

LEON
Really? Hospital? Constipation? I had no idea.

Leon hangs up and punches a number on the phone handset.

He taps his fingers on the counter, mildly at first then violently.


INT. MADER’S KITCHEN – DAY (MIXED MEDIA SCENE) 89.

The sound of a phone ringing.

The sound of church bells ringing.

Joy is leaning over the kitchen sink smiling, staring vacantly at the window.

Joy’s POV, the kitchen window does not offer its normal view onto Lot 312 but a view of sheep-animation-land: A gauntlet of sheep surround the church doors.

Joy continues to stare at the animated scene on the window.

The newly wed sheep exit the church through a gauntlet of invitees and straw confetti.

The church bells continue to ring. The sound of a phone ringing out.

Joy leaves the window and returns with her camera.

The window now offers its normal view onto Lot 312.

Joy takes photos of the window.

Joy stumbles and the camera flash activates as she is facing the kitchen sink.

Joy composes herself and continues taking pictures of the window until the roll of film runs out.


INT. HOSPITAL WARD – AFTERNOON 90.

Kevin is dressed and sitting on the hospital bed watching the elderly patients. They appear sinister to him.

Leon enters. He’s not a happy chappie.

LEON
Come on, pal. Let’s go.

Leon drags Kevin from the ward.


INT. MADER’S KITCHEN – EVENING 91.

Kevin is watching his mother with curiosity and his father with trepidation.

Joy is smiling and chuckling. Leon is fuming.

LEON
I don’t know what you find so funny.

Joy chuckles to herself.

LEON
You could have at least picked him up. Is that too much to ask? I did have to work all day in case you hadn’t noticed.

JOY
Work, work, work. That’s all you think about.

LEON
What are you suggesting? I lie about in bed all day?

JOY
(laughs)
I’m not well.

LEON
You’re sick in the head.


JOY
You’ve changed, Leon.
(blasé)
If I’d known what I know now I never would have had a child.

LEON
If I’d know what I know now I wouldn’t have had the bloody kid either.

Kevin is motionless.


INT. KEVIN’S ROOM – NIGHT 92.

A saddened Kevin is standing looking at Mr. Teddy.

KEVIN
I have to sleep by myself tonight Mr. Teddy.

Mr. Teddy understands.

Kevin lies face down on the bed.

Mr. Teddy stares at Kevin compassionately.


INT. KEVIN’S ROOM – MORNING 93.

Kevin is bent over with his head between his legs. He is examining his backside using Leon’s mirror. He appears puzzled.

Kevin puts the mirror aside and pulls his pants up.

He picks up a pair of dressmaking scissors and approaches Mr. Teddy.

A moment of pure teddy fear.

KEVIN
I’m sorry Mr. Teddy but I just have to know.
(beat)
Don’t worry. It doesn’t hurt too much.

Kevin snips the stitching around Mr. Teddy’s backside and looks inside. He is surprised to see nothing but stuffing.

Mr. Teddy is not impressed by this invasion of privacy.

Kevin pulls some stuffing out of Mr. Teddy’s backside and stares at it.


INT. MADER’S KITCHEN – AFTERNOON 94.

Joy is unloading a roll of film from her camera as Kevin enters.

KEVIN
Mum. Did they take any of my insides out?

JOY
Of course not. Don’t be so stupid.

KEVIN
Can they fall out when you’re doing poos?

JOY
Kevin. Go and do something useful.

An unsatisfied Kevin exits.


INT. SCHOOL LIBRARY – DAY 95.

A clock on the wall ticks loudly.

Kevin is looking through a book on anatomy, seeking an answer to his dilemma.

With a bit of difficulty he begins reading the print, fingering his way slowly through the big adult words.

A woman with excessive facial hair, the LIBRARIAN, appears and looks over Kevin’s shoulder.

LIBRARIAN
That’s a bit beyond your years isn’t it young man?

KEVIN
I just have to know.

LIBRARIAN
Know what?
KEVIN
What’s inside.

The librarian finds Kevin’s answer a little strange. She shrugs and wanders off.


INT. KEVIN’S ROOM – NIGHT 96.

Kevin is sitting on the floor with Mr. Teddy.

Joy’s camera is in pieces on the floor alongside some of Leon’s tools.

Kevin begins putting the pieces back together.


INT. KEVIN’S ROOM – NIGHT 97.

Kevin finishes putting Joy’s camera back together and tests it out. It’s functioning perfectly.

Kevin and Mr. Teddy share a moment of triumph.


INT. CHEMIST – AFTERNOON 98.

Joy stands at the service counter flicking through a stack of recently developed photographs.

Joy’s POV of the photos: all but one print are bland views of Lot 312 from the kitchen window. The remaining print is an overexposed close-up of the kitchen sink.


INT. MADER’S KITCHEN – AFTERNOON 99.

Kevin and Mr. Teddy are sitting on the floor.

Joy’s camera is on pieces on the floor alongside some of Leon’s tools.

The sound of a door opening.

Kevin picks up a screwdriver and begins putting the camera back together.

Joy enters with her photographs, notices her camera in pieces on the floor and glares at Kevin.

JOY
What do you think you’re doing?
Joy picks up the camera casing and stares distraughtly at it. She glares at Kevin.

JOY
It’s useless now.

KEVIN
I can put it back together.

Joy drops the camera casing, hoists Kevin to his feet and smacks him hard on the backside. She pushes him in the direction of the doorway.

JOY
Get to your room.

KEVIN
But mum I can put it...

JOY
(raises hand)
Just do as you’re told.

Kevin picks up Mr. Teddy and leaves.

Joy bundles up the camera parts and dumps them in the bin.

Joy flicks through her photographs. She stares out the window then tears the photos up and dumps them in the bin.


INT. KEVIN’S ROOM – AFTERNOON, EVENING, NIGHT 100.

The hours pass.

Kevin paces back and forth.

Finally, Kevin sits on his bed and looks forlornly at Mr. Teddy.

KEVIN
It looks like we’re both going to lead very lonely lives Mr. Teddy.

Mr. Teddy agrees.


EXT. SCHOOL QUADRANGLE – LUNCHTIME 101.

Kevin sits very alone on a bench against the wall with a canteen lunch bag and soft drink.
Another young boy, a new arrival at the school, GARY NORMAN – 7, sits alongside Kevin with a lunch box and water bottle.

Both boys eye each other’s lunch with envy.

KEVIN
You want to swap?

GARY
Really?

Kevin nods. Kevin and Gary swap lunches and eye the items.

Gary looks ravenously at the pastie and cream bun.

Kevin looks just as ravenously at the meat/salad sandwich and apple.

Both boys hoe into the lunches with delight.

GARY
I’m new.

KEVIN
I’m not.

GARY
We used to live in the city.

KEVIN
So did we.

GARY
My dad works for a bank.

KEVIN
My dad doesn’t.


EXT. SCHOOL QUADRANGLE – LUNCHTIME 102.

Kevin and Gary have finished their lunches.

GARY
Come on. Let’s go and play.

KEVIN
Na.

GARY
Come on.
Gary drags Kevin towards a GROUP OF YOUNG SCHOOLBOYS playing cricket with a tennis ball in the far corner of the quadrangle.

SCHOOLBOY #1
(to Gary)
You can play but Poo Boy can’t.

The other schoolboys laugh.

Schoolboy #2 does an impersonation of Kevin squatting and grunting on the toilet.

SCHOOLBOY #2
I can’t poo.

The other schoolboys laugh.

Schoolboy #1 puts his hands to his face to represent a pair of glasses and wanders around groping as if blind.

SCHOOLBOY #1
I can’t even see the toilet.

The schoolboys laugh again.

Kevin trudges off. Gary watches him.


EXT. SCHOOL – AFTERNOON 103.

Kevin is walking towards the school exit gates.

The sound of running footsteps approaching.

Kevin freezes and turns in fear.

Kevin’s POV, Gary is approaching.

Kevin relaxes.

GARY
You want to come to our place?

KEVIN
Really?

Gary nods.

Kevin and Gary and exit the school grounds together.


EXT. NORMAN’S HOUSE – AFTERNOON 104.

A standard three-bedroom country-town brick house.

Kevin and Gary arrive. Kevin looks intently at the place.

Kevin and Gary enter the house.


INT. NORMAN’S KITCHEN – AFTERNOON 105.

A glass of Milo and slice of chocolate cake are on the bench top.

Gary’s mother, MRS. NORMAN, is placing the remains of a large chocolate cake into a container.

GARY’S THREE SIBLINGS (two sisters and a brother) sit at the kitchen table eating chocolate cake and drinking Milo.

Gary enters with Kevin.

GARY
Mum, can Kevin have some?

Mrs. Norman hugs Gary. Kevin is wide-eyed at this.

MRS. NORMAN
Of course he can.

Mrs. Norman bends down towards Kevin and ruffles his hair. Kevin relishes the human contact.

MRS. NORMAN.
Kevin, is it?

Kevin nods and smiles.

MRS. NORMAN.
I’m Mrs. Norman.

Kevin nods.

MRS. NORMAN
And what does your daddy do, Kevin?

Kevin is shocked that an adult is asking him a question.

KEVIN
He loves cleaning his car.

MRS. NORMAN
Does daddy have a job?

MRS. NORMAN
Mum says he’s always working.

Mrs. Norman decides to change tack.

MRS. NORMAN
And what does mummy do?

KEVIN
She sleeps a lot.

Mrs. Norman decides not to ask any more questions. Her expression is one of distraught compassion.

She cuts another slice of chocolate cake and prepares another glass of Milo.

Kevin watches Mrs. Norman and Gary’s siblings intently. Functional family life is a revelation to him.

Mrs. Norman places the milk back in the fridge, which is full of food. This detail does not go unnoticed by Kevin.


EXT. NORMAN’S HOUSE – AFTERNOON 106.

Kevin and Gary exit the house and sprint off down the road racing each other.


EXT. RUBBISH DUMP – AFTERNOON 107.

A standard country rubbish dump.

Kevin and Gary scour the recently dumped refuse.

Kevin tears open a garbage bag and upends the contents. He discovers the pieces of his mother’s camera and her torn photographs.

Gary gets into a rusted out car shell and pretends to be a rally car driver.

GARY
Brrmm, brrmmmmm.

Kevin sifts through the garbage collecting the pieces of his mother’s camera. He places them on a handkerchief.

EXT. RUBBISH DUMP – AFTERNOON 108.

Kevin and Gary are playing rally car drivers in the rusted out car shell. Gary is pretending to drive. Kevin, holding a Watchtower magazine, is pretending to navigate.

GARY
Brrmm, brrmmmm.

KEVIN
Look out.

Gary makes a screeching sound and they both duck.

KEVIN
Have you ever played King of the Dump?

Gary shakes his head.

KEVIN
Come on. I’ll show you how.

Kevin and Gary get out of the car shell and search through various mounds of rubbish.

Kevin and Gary each pick up a bottle.

Kevin and Gary play a dangerous game with the bottles called King of the Dump. The bottles are used as swords. The object is to smash the bottle out of the other person’s hand. The conquered swordsman searches for another bottle and the game continues.

Kevin finds a champagne bottle. He taps the thick glass and smiles confidently and cunningly to himself.

As the game resumes, instead of swinging the champagne bottle like a sword, Kevin holds it still. Every bottle that Gary hits against the champagne bottle smashes to pieces.

GARY
I give up.

Kevin runs to the top of an excavated dirt mount and performs a victory dance.

KEVIN
I’m King of the Dump. I’m King of the Dump.

Kevin tosses the champagne bottle aside. Gary sprints towards the rubbish dump gates.

GARY
Last one home’s a rotten egg.

Kevin races after Gary then stops. He runs towards the rusted out car shell. From the seat he picks up his mother’s camera casing and a knotted handkerchief bulging with contents.

Kevin runs after Gary. Gary sprints off in front of Kevin.


INT. MADER’S KITCHEN – AFTERNOON 109.

Kevin stands in the kitchen looking around as if comparing his house to the Norman’s.

Kevin opens the fridge and picks up a carton of milk. He shakes it. The solidified contents rattle around inside the carton. He places it back and shuts the fridge.

Kevin stares at the kitchen again.


INT. KEVIN’S ROOM – DAWN 110.

Kevin rises quietly. He has slept in his clothes. He puts his fingers to his lips and looks at Mr. Teddy.

KEVIN
Shsh.

Mr. Teddy doesn’t make a sound.

Kevin tiptoes from the room.


INT. MADER’S KITCHEN – DAWN 111.

Kevin tiptoes through the kitchen and exits, closing both doors carefully and quietly.


EXT. NORMAN’S HOUSE – MORNING 112.

Kevin stands outside Norman’s house. Mrs. Norman exits the house.

MRS. NORMAN
What are you doing Kevin?
KEVIN
Waiting for Gary.

MRS. NORMAN
Have you had breakfast?

Kevin shakes his head.

MRS. NORMAN
You’d better come in and have some.

Kevin tries to temper his excitement as he approaches the house.


INT. NORMAN’S KITCHEN – MORNING 113.

Kevin follows Mrs. Norman into the kitchen.

Kevin is confronted by Gary’s father, MR. NORMAN, dressed in a suit and tie, and Gary’s siblings sitting at the kitchen table eating a healthy breakfast.

Kevin is wide-eyed, taking everything in.

MRS. NORMAN
Kevin, this is Gary’s dad, Mr. Norman.

Mr. Norman stands and shakes Kevin’s hand.

MR. NORMAN
Hello, Kevin.

Kevin stares at Mr. Norman.

MR. NORMAN
One of you kids set a place. Come on, move along.

One of Gary’s sisters rises and heads towards the cupboards. Gary’s other sister and brother move their seats. Mrs. Norman places another seat at the table.

Kevin is almost dizzy watching the early morning movement.


INT. NORMAN’S KITCHEN – MORNING 114.

Breakfast is finished.

Kevin is watching Mr. Norman as he hugs all of his four children, kisses Mrs. Norman and exits.

Mrs. Norman checks a chore schedule on the fridge.

MRS. NORMAN
Gary, it’s your turn to do the dishes.

Gary starts packing the dishes up and carrying them towards the sink.

Mrs. Norman assists Gary’s siblings to pick up their school rucksacks and accompanies them out of the room.

Kevin continues to watch the early morning movement.

GARY
Grab a tea towel.

KEVIN
A what?

Gary indicates a tea towel hanging over the oven handle. Kevin picks it up and looks at it as though it’s a foreign object.

Mrs. Norman returns and starts packing up the condiments from the table and placing them in the cupboards. Kevin watches her.


EXT. WARM FUZZY MONTAGE: 115.

Kevin and Gary chase a mob of sheep in a paddock.

Kevin and Gary run along the railway track chasing a goods train.

Kevin and Gary throw stones as far as they can up the side of the wheat silos.

Kevin and Gary play King of the Dump at the rubbish dump, ending with a champagne bottle breaking to their amazement.


INT. GARY’S ROOM – DAY 116.

Two beds indicate that Gary shares the room with his brother.

Kevin is preoccupied looking at the two beds as Gary hands him an envelope.

GARY
Open it.

Kevin opens the envelope, takes out a card and looks at it.

CU of card: You are invited to Gary’s 8th Birthday Party.


INT. KEVIN’S ROOM – NIGHT 117.

Kevin places Gary’s birthday invitation on his dresser.

He picks up Mr. Teddy and hugs him.


INT. GRADE 1 CLASSROOM – DAY 118.

Miss Oddlum smiles as she reads the results of a test.

MISS ODDLUM
Kevin Mader. Twenty out of twenty.

Kevin goes to the front of the class, collects his report paper, hardly acknowledges Miss Oddlum, returns and sits in his seat next to Gary.

GARY
You’re really brainy.

KEVIN
I don’t care any more.

GARY
What do you mean, any more?

KEVIN
She doesn’t care.

Gary is puzzled by Kevin’s answer.


EXT. SCHOOL QUADRANGLE – LUNCHTIME 119.

Kevin sits with Gary on the bench watching Gary eat.

GARY
Where’s your lunch?

KEVIN
I’m not hungry.

GARY
But you didn’t have any lunch yesterday or the day before.

KEVIN
I’m still not hungry.


INT. NORMAN’S LOUNGE – DAY 120.

The lounge room is set up for Gary’s birthday party.

Gary’s family and Kevin are present.

Kevin is holding a rather flat gift-wrapped present.

MRS. NORMAN
When’s your birthday, Kevin?

KEVIN
November the second.

MRS. NORMAN
You should have told us. We could have had a double celebration.

Kevin shrugs. He hands Gary the wrapped present. Gary looks at it and shakes it.

KEVIN
Open it. Open it.

Gary opens it. Inside are five canteen lunch bags and five five-dollar-notes.

Gary hugs Kevin.

Mr. Norman takes a Polaroid snapshot of the two boys hugging and lays it on the table.

Kevin watches it develop.

MR. NORMAN
Do you want it, Kevin?

KEVIN
Can I?

MR. NORMAN
(nods)
Just wait until it dries.

Kevin looks at the Polaroid photo for a while then picks it up and pockets it, buttoning his shirt pocket.


INT. KEVIN’S ROOM – NIGHT 121.

Kevin writes: ME AND ONLY FRIEND on the Polaroid photo.

Kevin moves Mr. Teddy and places the photo on top of his dresser. It takes pride of place like a trophy.

Mr. Teddy is not overly impressed.


INT/EXT. ONLY FOR SHEEP MONTAGE: 122.

Kevin finishes reassembling his mother’s camera.

Kevin flicks through a photographic book in the library.

Kevin takes photographs of sheep with his mother’s camera.

Kevin sits on the bench in the school quadrangle counting a collection of five-dollar-notes.

Kevin picks up a pack of developed photos from the chemist.

Kevin spreads the photos on the floor alongside the torn pieces of the photographs Joy took of the Lot 312 window.

Kevin photocopy enlarges a photo of a sheep on the school photocopier.


INT. SHOWROOM/LEON’S ELECTRICAL – MORNING 123.

Leon checks his work commitments which are pencilled on a calendar. His finger is under the current date: November 2.


INT. MADER’S KITCHEN – MORNING 124.

Kevin stands alone staring at a five dollar note on the kitchen table.

KEVIN
Happy birthday to me. Happy birthday to me.
EXT. SCHOOL PLAYGROUND – AFTERNOON 125.

Kevin and Gary are standing by the playground swings.

GARY
Close your eyes and hold out your hands.

Kevin closes his eyes and holds out his hands.

Gary places a gift-wrapped present in Kevin’s hands. Kevin feels it and shakes it up and down.

GARY
You can open your eyes now.

Kevin opens his eyes and looks at the present. He smiles at Gary then opens it, revealing a lunch box and water bottle.

Kevin hugs Gary.

Gary picks up his rucksack and runs off.

GARY
Last one home’s a rotten egg.

Kevin puts the present in his satchel.

KEVIN
That’s not fair.


INT. MADER’S KITCHEN – AFTERNOON 126.

Kevin shows Joy the lunch box and water bottle. She looks at them suspiciously.

JOY
Where did you get those?

KEVIN
Gary gave them to me for a birthday present.

JOY
That’s a stupid present. You know your father gives you lunch money every day.

Kevin’s spirits are too high to be offended.


INT. KEVIN’S BEDROOM – NIGHT 127.

Kevin places the lunch box and water bottle on his dresser next to the Polaroid photo.

Mr. Teddy is watching Kevin. Mr. Teddy is beginning to feel abandoned himself.

Kevin gets into bed by himself and turns out the light.

A few beats then the main light goes on revealing Leon standing at the door.

Leon moves across and ruffles Kevin’s hair.

LEON
Happy birthday, pal. Bet you thought I’d forgotten it.

Leon exits and turns out the main light.

A few beats and Kevin’s bedside lamp goes on. Kevin takes the water bottle and lunch box to bed with him and cradles them.

Mr. Teddy is getting quite worried about his own future.

Kevin turns his bedside lamp out on Mr. Teddy.


INT. GRADE 1 CLASSROOM – DAY 128.

Miss Oddlum is inspecting the children’s art work.

Most of the art work is of primary school standard.

Kevin’s piece is a photocopy-enlarged photo of a sheep’s head which stares directly at the viewer. Joy’s torn photographs form the background.

Miss Oddlum is impressed by Kevin’s creativity. She pastes gold stars onto the work.


INT. KEVIN’S ROOM – AFTERNOON 129.

Kevin’s artwork is tacked to the bedroom wall.

His standard items are on the dresser. Mr. Teddy is on the floor in the corner.

Joy enters lethargically with a feather duster. She stares curiously at Kevin’s artwork; the enlarged photocopy of the sheep’s head.

The sheep stares back just as curiously.

Joy gives Kevin’s room a token dust, dusting around the items on the dresser, oblivious to their significance.

Mr. Teddy is watching her closely. He’s a bit lonely and just wants a hug.


EXT. GARBAGE MONTAGE: 130.

Kevin takes photos of:

Gary performing a victory dance on the dirt mound with a champagne bottle.

Gary playing racing car driver in the rusted out car shell.

Gary sprinting from the rubbish dump.


INT. SCHOOL PHOTOCOPY ROOM – AFTERNOON 131.

Kevin is enlarging a print of Gary on the photocopier as Miss Oddlum enters.

MISS ODDLUM
Hurry up, Kevin, or you’ll miss break up.

Kevin turns to Miss Oddlum rather anxiously.

KEVIN
When do we come back?

MISS ODDLUM
Do you like school that much Kevin?

KEVIN
When...?

MISS ODDLUM
Not until next year, Kevin.

KEVIN
Oh.

EXT. SCHOOL – AFTERNOON 132.

Kevin and Gary sprint from the school grounds.

GARY
Yippee. Holidays.

Kevin is not as excited about holidays as Gary is.


INT. MADER’S LOUNGE – EVENING (CHRISTMAS EVE) 133.

Six wrapped presents lie beneath a Christmas tree.

Kevin is lying on the floor with a collection of photos.

Leon enters with a bottle of beer and a plate of beer nuts.

LEON
Did you know these are Father Christmas’s favourite food?

Kevin shakes his head and continues looking at his photos.

Leon sits on a lounge chair and opens an electrical magazine to a Father Christmas advert. He pats the armrest.

LEON
Come and sit up here, pal, and I’ll tell you all about Father Christmas.

Kevin reluctantly moves across and sits on the armrest.

LEON
He lives at the North Pole in a huge cave with lots of reindeers and elves.

KEVIN
Where did he grow up?

Leon is momentarily stumped.

LEON
It’s not important, pal. Anyway...


INT. KEVIN’S ROOM – NIGHT 134.

Kevin is lying on the floor with Mr. Teddy.
Mr. Teddy is back in favour. He is pleased.

Various books and magazines are on the floor alongside some notes Kevin has made.

KEVIN
First of all Mr. Teddy, reindeers can’t fly.

Kevin makes Mr. Teddy nod.

KEVIN
Secondly, Father Christmas is so fat he couldn’t fit down a chimney even if we had one.

Kevin makes Mr. Teddy nod.

KEVIN
Old people must think we’re really dumb.

Kevin makes Mr. Teddy nod again.


INT. MADER’S LOUNGE – NIGHT 135.

Leon puts a wrapped present under the Christmas tree.

Mr. Teddy’s head pops up over the lounge suite.

Kevin’s head pops up over the lounge suite.

Kevin points at his father, then looks to Mr. Teddy and mouths ‘See?’. Kevin makes Mr. Teddy’s head nod.

Leon turns. Kevin and Mr. Teddy’s heads rapidly disappear beneath the lounge suite.

Leon starts drinking the bottle of beer and eating the beer nuts.

Kevin and Mr. Teddy’s head pop up from behind the lounge suite, watch Leon for a few beats then disappear again.

Behind the lounge suite, Kevin and Mr. Teddy share a knowing look.


INT. KEVIN’S ROOM – MORNING 136.

Kevin is whispering to Mr. Teddy.
LEON (O/S)
Kevin. Father Christmas has been.

Kevin beats Mr. Teddy’s paws against Mr. Teddy’s stomach.

KEVIN
(derisive)
Ho, ho, ho.


INT. MADER’S LOUNGE – MORNING 137.

Leon is sitting in a lounge chair as Kevin enters with Mr. Teddy.

Leon points at the empty beer bottle and empty plate on the coffee table.

LEON
I told you he loves those nuts and beer.

Kevin nods then steals a glance at Mr. Teddy.

LEON
Let’s see what he’s brought you.

Leon’s enthusiasm for Christmas morning outstrips Kevin’s.

Leon hands his present to Kevin and begins tearing the wrapping from Kevin’s present to him.

Joy enters and glares at Leon. He quickly hands her his present to her and continues unwrapping his.

Joy places Leon’s present aside, picks up her present to Kevin and hands it to him. She picks up Kevin’s present to her and begins unwrapping it.

Leon uncovers his present. It’s a new (uncracked) mirror and a new comb. He’s taken aback by Kevin’s thoughtfulness.

Joy uncovers her present. It’s her restored camera. She’s unaware that it’s her old one. She’s taken aback by Kevin’s thoughtfulness, and a little guilt-ridden.

Kevin unwraps Leon’s present to him. It’s a toy car. He unwraps Joy’s present to him. It’s a tacky disposable camera. He pretends to like them.

Kevin unwraps Father Christmas’s present to him. It’s a new teddy bear.

Mr. Teddy looks sternly at the other teddy bear. Teddy stand-off.

Leon and Joy open their presents to each other.

Leon’s present to Joy is a new hair dryer.

Joy’s present to Leon is some car polish.

Leon and Joy stare at their presents suspiciously and steal sneaky glances at each other.


INT. KEVIN’S ROOM – DAY 138.

Kevin stuffs his parents’ presents in the bottom drawer of his dresser under his socks.

Mr. Teddy is looking at the competition teddy bear with teddy rage.

Kevin smiles at Mr. Teddy and attacks the competition teddy bear with a pair of dressmaking scissors until there is nothing left of it but fur and stuffing. A teddy eye rolls across the floor.

Mr. Teddy is extremely happy. Kevin and Mr. Teddy perform a victory dance. Pure human/teddy ecstasy.


INT. NORMAN’S DINING ROOM – LUNCHTIME 139.

A sumptuous Christmas spread is on the table.

Gary’s siblings, surrounded by wrapping paper, are reading books.

Gary and Kevin are exchanging presents.

In b/g Leon and Joy are introducing themselves to the Normans.

Kevin unwraps Gary’s present to him. It’s a Polaroid camera and rolls of film.

Gary unwraps Kevin’s monstrous present to him. It’s a framed enlargement of a picture Kevin has taken of Gary performing a victory dance on a mound of excavated dirt at the dump. A plaque reads: KING OF THE DUMP.
Gary is astounded. He hugs Kevin.

Leon and Joy share a disturbed, embarrassed, guilt-ridden glance.

Mrs. Norman hands Leon and Joy a present each.

MRS. NORMAN
I’ll understand if they’re not appropriate. It’s hard to buy presents for people you don’t know very well.

Mrs. Norman winks at Kevin.

Leon and Joy are embarrassed at having nothing to give the Normans.

Leon and Joy, both blushing, unwrap their presents. They’re both books. Leon’s is The Biography of Henry Ford. Joy’s is Advanced Photographic Techniques.

A red-faced moment.


INT. NORMAN’S DINING ROOM – AFTERNOON 140.

The food spread has been devoured. The Maders and Normans are sitting at the table.

Leon and Joy are uncomfortable. Leon looks at Joy and indicates it’s time to go. Joy nods. They both rise.

LEON
We’d better be off.

MRS. NORMAN
So soon? We haven’t even had sweets.

Leon pats his stomach.

LEON
I couldn’t fit another thing in.

MRS. NORMAN.
Stay a bit longer.

Leon and Joy look at each other. Leon looks at Mrs. Norman and shakes his head.

LEON
We have to go. Things to do...

MRS. NORMAN
But...

Mr. Norman gently grasps his wife’s wrist.

MR. NORMAN
Let them go if they’ve got things to do.


INT. MADER’S KITCHEN – AFTERNOON 141.

Leon and Joy sit at the kitchen table.

Apart from breathing they are doing nothing.


INT. MADER’S KITCHEN – NIGHT 142.

A digital clock reads: 11:59PM. The date reads: DECEMBER 31.

Leon and Joy sit at the table doing next-to-nothing as though they haven’t done anything for a week.

A champagne bottle and two glasses are on the kitchen table.

An excited Kevin is counting down with Mr. Teddy.

KEVIN
Ten-nine-eight-seven-six-five...

Leon reaches lethargically for the champagne bottle.

KEVIN
Four-three-two-one-zero. Happy new year.

Kevin and Mr. Teddy celebrate in human/teddy fashion.


Leon pops the champagne cork and pours champagne into the two glasses. Leon and Joy raise the glasses slightly.

LEON & JOY
Happy new year.

JOY
Okay Kevin, off to bed.

Kevin stares in disbelief at his father and mother.

Mr. Teddy gives them both a stern glare.

LEON
Off to bed, pal.

Kevin leaves with Mr. Teddy.


EXT. RUBBISH DUMP – DAY 143.

Kevin and Gary are playing King of the Dump. Gary appears unenthusiastic.

KEVIN
Hey, you want to build a cubby house in the holidays?

Gary shrugs.

KEVIN
Don’t you want to?

GARY
We’re leaving.

KEVIN
For holidays?

GARY
For good.

Kevin is devastated by the news.

SLO-MO: The champagne bottle in Kevin’s hand slips from his grasp and bounces on the ground. END SLO-MO.


EXT. NORMAN’S – PRE-DAWN 144.

The Norman house is crouched in darkness.

A solitary street light illuminates a section of the footpath.

Kevin appears from the darkness and stands under the street light watching the house.

EXT. NORMAN’S – DAWN 145.

On the roadway, the Normans sit in an idling station wagon.

On the footpath, Kevin hugs Gary, unwilling to let him go.

Mrs. Norman’s head extrudes from the car.

MRS. NORMAN
Come on Gary.

Gary pulls reluctantly away from Kevin and gets into the car.

The station wagon departs.

Kevin watches forlornly as the car recedes into the distance.

Gary watches Kevin through the rear window.

The car disappears around a corner.

Kevin continues to stare into the distance then turns and stares at Gary’s house.

Kevin finally trudges off.


EXT. ROAD – MORNING 146.

Kevin scuffs his way along a limestone road lined with pine trees. He kicks the odd stone from the roadway.

Kevin discovers a decomposed cat (almost all bone except for an ear with a piece of blue velvet on it) at the side of the road. He stares at it.

The sound of sheep bleating.

Kevin turns towards the pine trees and listens.

Kevin makes his way towards the pine trees. He negotiates a barbed-wire fence. Something catches his attention. He stops and stares through the pine trees.

Kevin climbs the branches of a pine tree.


EXT. SLAUGHTER YARD – MORNING 147.

A wide-eyed Kevin perches half-way up a pine tree.
Kevin’s POV from his vantage point in the pine tree: The local butcher is killing sheep.


EXT. SLAUGHTER YARD – MORNING 148.

The butcher hangs the last sheep carcass on a meat hook in the slaughter house and leaves in his utility.

Kevin climbs down from the pine tree and inspects the contents of the waste pit. He is fascinated rather than disgusted.

Kevin inspects the carcasses hanging in the slaughter house. He is spellbound by the insides of an animal. He runs his fingers along the ribs of a sheep carcass, counting the ribs as he goes.

KEVIN
One, two, three...

Kevin leaves in wonderment, pondering the event.


EXT. ROAD – MORNING 149.

Kevin walks along the road and stops at the decomposed cat. He searches the grass and finds a discarded paper bag. He places the bones of the cat in the bag and walks off along the road.


EXT. MAIN STREET – MORNING 150.

Kevin searches through a rubbish bin and extracts an alfoil-lined takeaway chicken bag and some paddle pop sticks.


INT. KEVIN’S ROOM – DAY 151.

Kevin lies on the floor drawing pictures on butcher’s paper.

The pictures are titled: NOTHING LAND.

The pictures are intricate disturbing drawings of a fantasy land of skeletal sheep-human puppets titled: DAD SHEEP-HUMAN, MUM SHEEP-HUMAN and ME SHEEP-HUMAN.



INT. KEVIN’S ROOM – DAY 152.

Kevin finishes constructing an intricate miniature model of Nothing Land. It consists of sheep-humans made out of chicken and cat bones, cotton, and paddle-pop sticks.

There is a sense of the macabre and grotesque about the should-be-sheep chicken-cat-humans.

Kevin stares at his drawings then at his models then at the contents of his room.

Kevin begins packing up his picture books and various childhood items into a cardboard box. He takes his parents’ Christmas presents from the bottom drawer of his dresser and places them in the box.

Kevin approaches Mr. Teddy.

A moment of pure teddy desperation and appeal for clemency.

KEVIN
I’m sorry, Mr. Teddy.

Kevin looks away from Mr. Teddy as he places him on top of the box contents.


EXT. MADER’S – DAY 153.

Kevin places the box of childhood paraphernalia into a rusty old wheelbarrow.

Mr. Teddy appears to be staring at Kevin, pleading wide-pawed with him to change his mind.

Kevin looks away as he turns Mr. Teddy face down then pushes the wheelbarrow along the dirt track.


EXT. LOT 312 – DAY 154.

Kevin pushes the wheelbarrow containing the box of childhood paraphernalia from the property past the Lot 312 sign.

Mr. Teddy appears to be trying to take a peek at Kevin.
Kevin looks away as he pushes Mr. Teddy further face down.




EXT. RUBBISH DUMP – DAY 155.

Kevin pushes the wheelbarrow containing the box of childhood paraphernalia into the dump.

Kevin tips the contents of the wheelbarrow into a cesspool of rubbish.

SLO-MO as Mr. Teddy tumbles. END SLO-MO.

Mr. Teddy floats back and forth on the cesspool, face-up, as if waving goodbye to Kevin’s childhood.

Kevin offers Mr. Teddy an embarrassed, somewhat guilty half-wave.

Kevin finds a beer bottle and plays an imaginary game of King of the Dump as though Gary was present. Kevin smashes a number of bottles against the rusted out car shell.

Kevin walks solemnly from the dump pushing an empty wheelbarrow.


EXT. MADER’S DAY 156.

The wheelbarrow is loaded with a collection of electrical and gardening tools and various items of hardware.

Kevin pushes it along the dirt track.


EXT. SLAUGHTER YARD – DAY 157.

Kevin collects sheep bones and sheep skulls and places them in the wheelbarrow.


EXT. SCRUB (NOTHING LAND) – DAY 158.

Kevin constructs a life-size Nothing Land with an elaborate pulley mechanism to operate his Sheep-Human puppets.

Kevin attaches labels, DAD, MUM and ME, to his three sheep-human puppets which all bear elongated sheep-skull heads.

Kevin begins operating the puppets.

MUM and ME accidentally touch.

Kevin picks up a sledge-hammer and threatens the offending ME sheep-human puppet.
KEVIN
No, no, no. No touches or it’s off to Nothing Land with you.

A gust of wind causes ME to almost touch DAD. ME pirouettes in the wind and seems to stare at Kevin as though knowing what he could do.

A lingering shot of the elongated sheep skull.


EXT. LOT 312 – DAY 159.

SEVEN-YEAR-OLD Kevin walks along the edge of the dirt track.

Leon passes him in his Falcon smothering him in dust.

As the dust clears SEVENTEEN-YEAR-OLD KEVIN exits with a lifeless gaze.

Kevin’s appearance is disturbing and frightening. He shuffles along barely swinging his arms.


EXT. MADER’S HOUSE – AFTERNOON 160.

Seventeen-year-old Kevin shuffles towards the house.

An OLDER LEON exits quite aggressively and brushes past Kevin without acknowledging him.

Kevin shuffles in.

The screen door bounces against his back.


INT. MADER’S KITCHEN – AFTERNOON 161.

Kevin shuffles in, arms barely swinging.

An OLDER JOY is present. Her emaciated frame is flopped across the kitchen table like a drought-victim sheep.

Kevin notices his mother in his peripheral vision but his gaze is fixed on an indistinguishable focal point. He continues past his mother in his lifeless-zombie shuffle-walk.




INT. KEVIN’S ROOM – AFTERNOON 162.

Kevin’s room is painted dark colours. The paint job is rugged.

Kevin shuffles in.

The only remnants of Kevin’s childhood are the Polaroid of Kevin and Gary marked: ME AND ONLY FRIEND, Gary’s gift of the lunch box and water bottle, Kevin’s Polaroid camera. Assorted sheep skulls and shattered sheep bones are on the dresser. Selective creative art pieces are on the walls.

Kevin turns a CD Player on. It has an A>B function. He selects a starting point and finishing point and presses the play button. He lies down on his bed and listens to a small repetitive section of a 90s rock/pop song.

A lopsided grin appears on Kevin’s face.


INT. KEVIN’S ROOM – EVENING 163.

Kevin is still lying on his bed. He is still listening to the same repetitive section of the 90s rock/pop song.

The sound of Leon and Joys’ voices filter into the room.

LEON (O/S)
I said it first.

JOY (O/S)
I thought it first.

LEON (O/S)
Grow up.

JOY (O/S)
I’ll do more than grow up. I’ll leave.

LEON (O/S)
Where to? Half way down the road? You can’t even get out of bed in the morning.

JOY (O/S)
How would you know? You’re never here.



LEON (O/S)
No. I’m usually at work by eleven-fifty-nine.

JOY
(mocking)
Oooh, ha, ha. Ha, ha, HA.

Kevin rolls over lethargically and turns up the CD player volume. The music drowns out the sound of Leon and Joys’ argument.


INT. MADER’S KITCHEN – EVENING 164.

Kevin’s family are gathered together for dinner in similar fashion to Kevin’s earlier childhood.

Kevin gazes at an egg on his dinner plate.

Joy serves Leon a plate of chops, eggs and chips. Leon cuts into an egg and slides it to the side of his plate with his knife.

JOY
What’s wrong?

LEON
I told you I’m not eating them if they’re runny.

Joy picks up a knife, leans over Leon and cuts into his chop. Leon slaps her hand away.

LEON
What do you think you’re doing?

JOY
I’m just checking to see your chop isn’t runny.

Leon hurls the plate aside. The food scatters. The plate cartwheels across the floor without breaking and comes to a dizzy spinning stop.

Kevin plays with the egg on his plate, oblivious to what he now considers minor distractions.

LEON
Don’t be so bloody childish.


JOY
Childish? I didn’t throw my plate.

LEON
Don’t start Joy.

JOY
Start? I’m well on my way.
(beat)
Okay you want childish?

Joy picks up the plastic shopping bags and up-ends them, scattering the groceries around the kitchen.

Kevin continues playing with his egg.

Leon rises, bumping the table. Kevin reacts swiftly and saves his egg from danger. His own reflexes surprise him and seem to disturb him somewhat.

Joy continues scattering the groceries around.

Leon moves towards Joy and slaps her across the face with a vicious backhander.

Joy collapses on the floor and puts on a turn as if mortally wounded. She begins hyperventilating.

Leon looks at her with contempt and storms out.

Kevin looks at his mother. Something registers in his brain. [probably some Freudian thing]. Kevin rises lethargically and shuffles across to his mother.

KEVIN
(monotone)
M-u-m?

JOY
Just leave me alone.

Joy lashes out with her arm in an attempt to keep Kevin at a distance, unaware that he is bending over her and is quite close. [adhering to vague principles of Freudian body-language].

Joy’s wrist connects with the bridge of Kevin’s nose.

Kevin is momentarily stunned and reels back. He smiles. [another Freudian thing to do with human contact, no matter how cruel].
Kevin’s nose bleeds. Kevin stares at the dripping blood. He appears quite pleased that something different and new and novel is happening in his life. [another Freudian thing. Don’t try to understand it, just accept it].

Joy is preoccupied with her own woes. [This behaviour belongs more to post-Freudian feminist psychology].

KEVIN
(monotone)
D-a-d?

Kevin applies a peg-grip to his nose and shuffles off. He is still smiling and almost breaks into a walk. [This is something beyond Freud – a dilemma only Dr. Katz could explain, and something only his son would understand].


INT. FRONT BAR – NIGHT 165.

Leon sits with his Stock & Station Agent mate Nobby. Two near-empty beer glasses are on the bar.

Leon is picking the burnt plastic wrapping from a pastie.

LEON
Women.

NOBBY
They’re all stuffed.

Leon nods in total, if somewhat lethargic, agreement.

NOBBY
Throw a kid into the mix and...

LEON
Yeah, well that was the biggest mistake I ever made. Getting her pregnant.
(beat)
Now I’m lucky if I ever get my end in.

Nobby drains the dregs of his beer, topples a stack of coins on the bar and slides them towards the service side.

NOBBY
Have another drink, mate.



INT. MADER’S KITCHEN – NIGHT 166.

Joy is sitting at the table.

Her hairdresser friend Vicky finishes tidying up the kitchen.

JOY
On top of that, he’s insatiable. Sex, sex, sex. That’s all he thinks about.

VICKY
Men. They’re all the same. But if one hit me, I’d be out of there like...
(snaps fingers)
that.

Kevin enters with a blood-stained shirt, still applying a peg-grip to his nose which is still bleeding. He appears a bit concerned.

Vicky notices Kevin and is appalled. She turns to Joy.

VICKY
He didn’t, did he?

Joy nods, misleading Vicky into believing her false assumption that Leon hit Kevin.

Vicky moves across to Kevin, pulls his hand away from his nose and checks the bleeding. Kevin appears pleased with the attention and contact from another human being.

Joy isn’t impressed by the attention Kevin is receiving. She begins hyperventilating.

Vicky abandons Kevin and tends to Joy. Joy begins hyperventilating as if she’s going to die.

Kevin shuffles past as the blood continues to drip.

VICKY
Get out Joy. Just get out.

Vicky cradles Joy. Joy smiles surreptitiously.





INT. MADER’S BATHROOM – NIGHT 167.

Kevin searches through the mirror-fronted vanity unit. He opens a drawer and discovers a roll of cotton-wool.

Kevin plucks some cotton-wool free and stuffs his nose. He looks at his reflection in the mirror and likes what he sees. He tears some more cotton-wool free and stuffs his ears until he resembles a teddy bear.

Kevin looks at his reflection in the mirror.

KEVIN
(monotone)
There’s a bear in there, and a chair as well. People with games and stories to tell. Open wide, come inside, it’s Play School.

Kevin laughs in monotone and continues to look at the mirror.

Kevin’s POV: Mr. Teddy is staring back at Kevin, quite sternly for a teddy bear.

Kevin, in utter terror, pulls the cotton-wool from his ears and exits.


INT. YEAR 12 CLASSROOM – DAY 168.

Kevin’s Grade 12 teacher is a lovely thing, MRS. BERRY.

Mrs. Berry is expounding Shakespeare in animated and enthusiastic fashion.

MRS. BERRY.
The entire play in perfect iamb. His entire works, in fact.

Mrs. Berry illustrates a point like a music conductor.

MRS. BERRY
When-shall-we-meet-again? In-thunder-lightning-or-in-rain?
(beat)
He could have written, In-thunder-lightning-or-rain, but notice how it effects the cadence?
Kevin sits amongst a GROUP OF YEAR 12 STUDENTS. Kevin is doodling on his page.

CU of Kevin’s page: The words: What a bunch of absolute CRAP.

Kevin boldly traces over the word CRAP.


EXT. SCHOOL QUADRANGLE – LUNCHTIME 169.

Kevin is sitting on his customary childhood bench reading the ingredients label on a soft drink bottle. His canteen lunch bag is on the bench.

A TEENAGE MALE STUDENT holding a lunch box and water bottle sits next to Kevin and eyes his lunch.

Kevin stares lifelessly at him, rises and shuffles off.

Kevin finds a solitary position in the corner of the quadrangle and sits on the ground.

He takes a pastie from his canteen lunch bag. He removes the plastic wrapping and places the pastie on the lunch bag. He reads the ingredients list on the plastic wrapper and then starts dissecting the pastie.

In voice-over, Kevin begins drafting a letter to the pastie manufacturer.

KEVIN (V.O.)
Dear Sir, Madam, Ms. I am beyond dissatisfied with your product. Recently I was hospitalised with chronic constipation.


INT. POST OFFICE – AFTERNOON 170.

Kevin shuffles into the post office holding an envelope and his now battered and tattered school satchel.

The voice-over continues.

KEVIN (V.O.)
...otherwise I shall be forced to take legal action. My doctor is right behind me on this one if you’ll pardon the pun. Yours painfully, Kevin Mader.
A smiling Kevin places his envelope on a photocopy machine, licks a stamp and pastes it onto the envelope.


EXT. DELICATESSEN – AFTERNOON 171.

A smiling Kevin shuffles towards the local delicatessen with his satchel. He extracts some coins from his pocket.

TEENAGE MALES are sitting on the bonnets of their cars, drinking alcohol and seemingly enjoying themselves.

Kevin watches them intently then enters the delicatessen.


INT. DELICATESSEN – AFTERNOON 172.

Kevin plays with a coin on the table as he watches the teenage males through the delicatessen window.

Kevin rises and pockets his coin. He picks up his satchel and exits the delicatessen without purchasing anything.


EXT. HOTEL BOTTLE DEPARTMENT – AFTERNOON 173.

Kevin stands outside the hotel bottle department door holding his satchel.

He extracts a fifty-dollar-note from his pocket and enters.


INT. HOTEL BOTTLE DEPARTMENT – AFTERNOON 174.

Kevin stands at the counter with his satchel.

The bartender arrives. Kevin slaps his fifty-dollar-note on the counter.

KEVIN
A box of beer thanks.

BARTENDER
Got some ID?

Kevin hoists his satchel onto the counter, upends it, tips some of the contents onto the counter and scrounges through them.

The bartender is not impressed by Kevin’s antics.


KEVIN
I’ve got a library card here somewhere.

Kevin locates the library card and holds it up, quite pleased with himself.

BARTENDER
Look, mate, I haven’t got time for this.

The bartender abandons Kevin.


EXT. HOTEL BOTTLE DEPARTMENT – AFTERNOON 175.

Kevin exits the bottle department and is almost run over by a beat-up Holden station wagon complete with barking dogs, that kangaroo hops along the driveway and screeches to a halt.

The driver, a dishevelled man, the TOWN DRUNK, opens the driver’s side door and collapses chest-first on the driveway. His dogs exit the car and scamper around barking.

TOWN DRUNK
Here boys, here. Round the back, up the back, down the back. Boys, boys.

The town drunk rises to his feet and makes his way unsteadily towards the bottle department, reaching out and touching the car to steady himself.

Kevin holds his fifty-dollar-note up to the town drunk.

KEVIN
Would you buy me a box of beer?

TOWN DRUNK
A box of beer?

Kevin nods.

The town drunk chuckles, snatches Kevin’s money and stumbles into the bottle department.


EXT. TOWN DRUNK’S HOVEL – DAY 176.

Kevin is sitting in the passenger seat of the town drunk’s car.
The town drunk is driving, after a fashion. His dogs are in the back seat barking.

POV from inside the town drunk’s car behind the town drunk, Kevin and the dogs: A dilapidated house and yard overgrown with weeds gets closer and closer.

Kevin is wide-eyed.

The town drunk’s car runs bonnet-first into the wall of the house.

The town drunk bursts out laughing. Kevin is too shaken to laugh.

Kevin and the town drunk get out. The dogs bolt out. Kevin picks up his box of beer. The town drunk picks up a crate of champagne.

Kevin and the town drunk enter the house. The dogs follow them in. The town drunk chases them out and slams the door.


INT. TOWN DRUNK’S KITCHEN – AFTERNOON 177.

A filthy cluttered interior that would put the tenants-from-hell to shame.

Water boils in an old copper. The town drunk uses a pair of tongs to extract a mud-crab tangled up with a yabbie from the boiling copper.

TOWN DRUNK
Hungry?

Kevin shakes his head. He’s still taking the interior in. He is fascinated rather than repulsed.

TOWN DRUNK
Me neither. Never touch the stuff. Too healthy.

The town drunk bursts into a laugh that degenerates into a drunken coughing fit. The yabbie and mud-crab fall onto the floor as he drops the tongs.

KEVIN
Are you alright?

TOWN DRUNK
(coughing)
Ne-ver be-en bet-ter.
The town drunk sits down, pops the cork on a champagne bottle and elevates the bottle.

TOWN DRUNK
Happy days.

Kevin loosens his belt and tries to remove a beer bottle lid with his buckle.

The town drunk snatches the bottle from Kevin and deftly twists off the lid. He hands the bottle back to Kevin.

Kevin sips from it, unsure of whether or not he likes beer.

TOWN DRUNK
Reckon that might be your first box of beer.

Kevin nods.

The town drunk guzzles from the champagne bottle like it’s water and breaks into another coughing fit.

TOWN DRUNK
I don’t get many visitors.

KEVIN
How come?

TOWN DRUNK
Envy mainly.
(long beat)
Not everyone around here owns their own house.

Kevin begins listening eagerly.

TOWN DRUNK
Oh, they’ll tell you they do but the bank owns the big half of it.

The town drunk loses himself in thought.

TOWN DRUNK
Although technically you can’t have a big half or a small half cos they cease to be halfs. Sorry, halves.

The town drunk degenerates into another coughing fit.

KEVIN
What do you do for a job?

TOWN DRUNK
Did. Past tense. Used to do. Used to be the local English teacher until I won Lotto.
(beat)
Everyone wanted to be my friend back then. Even the principal.

Kevin nods. He understands.

TOWN DRUNK
When I wouldn’t give the bludgers anything they all wrote me off. Reckoned I’d piss the lot up against the wall and be broke in twelve months. Even I couldn’t piss up eight hundred thousand.
(beat)
Mind you it hasn’t been from lack of trying.

The town drunk breaks into another coughing fit.

TOWN DRUNK
It’s a strange thing, human nature. You can’t trust people. In fact, I’d go so far as to say, it’s so untrustworthy, you can’t even trust yourself sometimes.

Kevin is so absorbed in the philosophy that the town drunk is sprouting that he finishes drinking his beer.

The town drunk points at another bottle. Kevin opens it with ease this time and continues drinking. The town drunk applauds Kevin’s effort.

KEVIN
You’re a really interesting person.

The town drunk starts sobbing.

TOWN DRUNK
You know, the kids run away from me in the street.

Tears form in Kevin’s eyes.


INT. TOWN DRUNK’S KITCHEN – EVENING 178.

Kevin’s beer supply has dwindled.

The town drunk uncorks his fourth bottle of champagne and takes a swig.

Kevin is drunk. He takes a swig of beer.

KEVIN
Happy days.

Kevin rises and walks towards a doorway.


INT. TOWN DRUNK’S BATHROOM – EVENING 179.

A filthy cluttered room used mainly as a storage place for literature. Multiple copies of Shakespeare’s works are stored in the shower recess.

Kevin enters and looks at a filthy mirror. Kevin rubs a sphere clean on the mirror and looks at his own reflection. He’s pleased but he’s not pleased.

KEVIN
Mr. Teddy?

Kevin unzips his fly and moves towards a filthy toilet.


INT. MADER’S KITCHEN – NIGHT 180.

Kevin enters carrying a champagne bottle. He is paralytic drunk. He falls over but manages to keep hold of the bottle. He picks himself up and shuffles unsteadily past...

Leon, who is standing holding the fridge door open with one hand and flapping an empty egg carton around in the other...

...and Joy, who is watching Leon.

Neither Joy nor Leon notice Kevin’s drunken state. In fact they hardly notice his presence.

LEON
Have we got any eggs?

JOY
Are there any in there?

Leon flaps the carton around.

LEON
What do you think?

JOY
Then we haven’t got any.

Joy moves towards the stove and picks up a frypan.

JOY
What do you want?

Leon snatches the frypan from her.

LEON
You know what I want.

JOY
And I told you we haven’t got any.

Leon and Joys’ voices have both reached screaming point.

Kevin finally reaches the other side of the room and exits.

LEON
I know that.

JOY
How can you have them, then?


INT. KITCHEN – NIGHT 181.

Abrupt tranquillity.

Leon and Joy are sitting quietly together at the kitchen table. They are both worn out. There is a remnant of the love they once felt for each other but little else.

LEON
We have to do something.

Joy nods.

LEON
Why don’t you go and visit your mother?
JOY
My mother?

LEON
Well I don’t know.

JOY
Perhaps...
(beat)
I think...
(beat)
Maybe...
(beat)
Probably...
(beat)
I just might.


EXT. NEWSAGENCY – MORNING 182.

A passenger bus idles by the kerb in front of the town newsagency.

A BUS DRIVER slams the luggage door shut, gets into the bus and drives off, revealing Leon sitting in his Falcon on the opposite side of the road, staring lifelessly at the bus.

Joy sits in the bus staring lifelessly out of the window.


EXT. MADER’S HOUSE – DAY 183.

Leon is cleaning his car.

Kevin is drawing distorted shapes on the ground with the lip of an empty beer bottle. He looks at the beer bottle, concerned that it is empty.

LEON
It’s good to spend a bit of time together, eh pal? Just the two of us.

Leon continues cleaning his car. Kevin wanders off. Leon is so absorbed in his sparkling rims he fails to notice that Kevin has gone.

LEON
What do you...
(beat)
think?

Leon turns and sees Kevin shuffling along the dirt track.

Leon shrugs and returns to cleaning his car.


EXT. INDUSTRIAL CITY – DAY 184.

The passenger bus motors across vast saltbush plains towards the industrial city.


EXT. CARAVAN PARK – DAY 185.

Joy’s mother’s caravan and annex are a little worse for wear. The car is completely rusted out and sitting on its tyre rims.

Joy’s mother, older but no slimmer, is standing by the annex flap scoffing an apricot tart as Joy arrives carrying a suitcase.

An embarrassing moment for both of them.


INT. CARAVAN – DAY 186.

The sound of a TV on high volume.

Joy, decidedly irritated, stands before her mother. Joy’s mother is eating, glancing at the TV, glancing at Joy.

JOY
I’m going for a walk.

JOY’S MOTHER
You only just got here.

JOY
I’d like to have a look around.

JOY’S MOTHER
Nothing’s changed much. What would you like to know?

JOY
I’d like to see for myself.

JOY’S MOTHER
You don’t even trust your own mother.

Joy exits.

EXT. INDUSTRIAL CITY SUPERMARKET – AFTERNOON 187.

Joy gazes at the supermarket she used to work at, then walks away.


INT. KEVIN’S ROOM – AFTERNOON 188.

The empty Champagne bottle is on Kevin’s dresser.

Kevin is lying on his bed drinking beer and listening to his standard repetitive section of the 90s rock/pop song.

LEON (O/S)
Kevin.

Kevin places the beer bottle under the bed and exits.


INT. MADER’S KITCHEN – AFTERNOON 189.

Leon pours two glasses of beer.

LEON
While the cat’s away...

KEVIN
Kittens get really lonely. Meow. Meooow.

Leon frowns and dismisses Kevin’s comment.

LEON
I thought we’d have a little treat. I think you’re old enough and ugly enough to start having a drink. If you learn moderation at home...

Kevin is drunk. He looks at Leon and nods.

KEVIN
(broad grin)
How’s the car going?

LEON
(forgets about moralising)
Apart from the door rubbers it’d pass for a new car.

Kevin nods, smiles and continues drinking.
LEON
It doesn’t matter how careful you are with the doors, the rubbers still wear out every few years. I used to have to just replace one but with other people to consider I figure I may as well replace the lot every time even though they wear unevenly.

Kevin is bored listless. He downs his drink and pushes his glass aside. Leon hasn’t touched his beer.

LEON
You can have another one if you want.

Kevin shakes his head.

KEVIN
One’s plenty.

LEON
I’m proud of you, pal.

Kevin smiles drunkenly as he rises and exits.


INT. DISCO BAR – DUSK 190.

A BAND is rehearsing on stage.

Joy enters and looks at a photo she is holding.

CU of photo: A teenage Joy at a disco.

Joy looks at the disco bar. The interior hasn’t changed since her teenage years.

A MAN – 40ish, is sitting at the bar by himself checking Joy out.

Joy makes her way towards the bar.

Joy and the man start a conversation which is drowned out by the band rehearsal.


INT. CARAVAN – NIGHT 191.

The TV is turned on but the volume is strangely muted.
Joy’s mother is falling in and out of sleep on the bench.

The sound of an object falling over wakes Joy’s mother. She rises and heads towards the door.


INT. CARAVAN ANNEX – NIGHT 192.

Joy’s mother springs Joy tiptoeing around the annex.

JOY’S MOTHER
Oh you remembered where I live?

JOY
I’m going to bed mum. I’m tired.

JOY’S MOTHER
I’ve hardly seen you since you got here. I don’t know why you bothered coming in the first place.

JOY
Neither do I.

Joy starts packing her luggage into a suitcase.

JOY’S MOTHER
I thought you said you were tired.

JOY
I am. Sick and tired of you.

JOY’S MOTHER
You’re no better than your father.

Joy’s mother starts hyperventilating.

Joy ignores her mother’s histrionics, finishes packing her suitcase and exits.

Joy’s mother’s hyperventilating fit (inexplicably in a medical sense) comes to an abrupt halt. She stands staring at the annex flap then enters the caravan.


EXT. CARAVAN PARK PHONE BOX – NIGHT 193.

Joy’s suitcase is on the ground outside the phone box.
Joy stands in the phone box with the phone handset to her ear.


INT. KEVIN’S BEDROOM – MORNING 194.

Kevin wakes up and sits on the edge of the bed. He reaches under the bed for a bottle of beer, untwists the lid and takes a swig.


INT. SHOWROOM/LEON’S ELECTRICAL – DAY 195.

A thoughtful and somewhat placid Leon leans on the service counter playing with a desk light, flicking the switch on and off.

The light globe blows.

Leon continues to flick the switch on and off.


INT. YEAR 12 CLASSROOM – DAY 196.

Mrs. Berry is reading from Shakespeare’s Macbeth to the group of year 12 students.

MRS. BERRY
Tis safer to be that which we destroy, than by destruction dwell in doubtful joy.

A slightly inebriated Kevin is doodling on his page.

CU of page: Shakespeare sucks big time.

MRS. BERRY
What do you think Lady Macbeth means by this, Kevin?

KEVIN
Who really cares. What I want to know is, how’s this going to help us get a job?

MRS. BERRY
Okay smarty-pants. You tell me how you’re going to get a job without a decent education.

No response from Kevin. He’s thinking about her truism which has pierced his conscience.
MRS. BERRY
(victorious)
Thank you.


INT. MADER’S KITCHEN – DAY 197.

A placid but expectant Leon sits at the table.

Kevin sits with a copy of Macbeth and a notepad and pen. He appears to be studying.

CU of page: Macbeth, the Real Tragedy by Kevin Mader.

The sound of a door opening.

Leon smiles.

Joy enters. She is sedate and calm until she sees Leon. Her expression sours noticeably.

JOY
I didn’t think you’d be home.

LEON
I wanted to be here.

JOY
Where’s the car?

LEON
Around the back.

Joy’s expression is almost expressionless.

LEON
I’ve been thinking lately.
(eagerly)
About us.

JOY
I’m tired Leon.

LEON
Don’t you want to talk?

JOY
I’d like to but I’m tired.

LEON
Let’s talk then.

JOY
You definitely want to talk?

Leon nods.

JOY
Okay, let’s talk.
(beat)
About reality.

Kevin looks up. Reality interests him even though he feels incapable of understanding what it really is.

JOY
I’m leaving you Leon.

Kevin returns to his page. Enough reality for one day.

Leon is initially shocked by Joy’s statement but after a little introspection, twigs.

LEON
It’s someone else isn’t it?

JOY
What if it is?

LEON
It didn’t take long. You’ve only been gone a week.

JOY
You suggested it.

LEON
Seven days.

JOY
It’s been seventeen years Leon. Seventeen long years.

LEON
Don’t think you’re getting anything.

JOY
It’s the twenty-first century. You won’t have a choice.

LEON
Okay then. What about Kevin?

JOY
What about him? What about me?

Kevin continues reading and writing.

LEON
You? What about me? For seventeen years I’ve slaved my guts out to support you...

JOY
Tell someone who’s interested.

Joy exits.

LEON
You’re not getting a damn thing.

Kevin continues reading and writing.


INT. KEVIN’S ROOM – NIGHT 198.

Kevin is writing. He appears disturbed. He swigs from a beer bottle. It makes no difference. He still appears disturbed.

Kevin starts pacing the room, back and forth. He starts guzzling from the beer bottle hoping to numb the pain.


INT. YEAR 12 CLASSROOM – DAY 199.

Kevin sits amongst the group of year 12 students. He is paralytic drunk, staring at a copy of Macbeth on his desk.

Kevin rises and stumbles to the front of the classroom.

Students look at each other with a sense of foreboding. What’s he going to do this time?

Kevin scrawls JOB INTERVIEW TECHNIQUES on the blackboard.

KEVIN
Today’s lesson is on how to get a job as an educated thespian. Even though you’re at school, try and stretch your imaginations a bit and pretend you’re at a job interview.
Kevin begins role-playing, swapping positions for the two different characters.

KEVIN
(as jobseeker)
Hello fine sir, I’ve come for a job.
(as employer)
What skills do you have?
(as jobseeker)
I’ve read a lot of Shakespeare. Let me quote...
(as employer)
But the job’s mechanical.
(as jobseeker)
Wait, wait wait, just one little moment. So foul and fair a day I have not seen. See? See how ready I am for a job?

The students are laughing as Mrs. Berry enters. She is more than a little annoyed.

KEVIN
What bloody woman is that? It’s the bloody teacher. Bloody hell, so it is.

More laughter.

MRS. BERRY
Kevin. Get out and go and see the principal.

Kevin heads towards the door.

KEVIN
Exeunt potential employee.

MRS. BERRY
Get out.

Kevin leaves tardily. The students watch him and snigger. Mrs. Berry forcefully shuts the door behind him.

MRS. BERRY
Don’t encourage him. That’s just what he wants.

Kevin presses his face to the glass insert on the door before leaving.

INT. PRINCIPAL’S OFFICE – DAY 200.

Kevin stands at the doorway looking through the glass insert on the door.

Kevin’s POV: the PRINCIPAL is poring over paperwork.


INT. YEAR 12 CLASSROOM – DAY 201.

Order and tranquillity has been restored to the class.

Mrs. Berry is ruling a line on the blackboard as Kevin barges in.

KEVIN
I’ve seen him.

MRS. BERRY
What?

KEVIN
The principal. I’ve seen him. He doesn’t look much different to yesterday.

The students are mortified by Kevin’s insolence. One student laughs then checks himself.

Mrs. Berry discards her chalk and slams her ruler on the desk. She shunts Kevin towards the door.

KEVIN
Exeunt, pupil. Exeunt.

More laughter.

Kevin stumbles and falls. Mrs. Berry shuts the door.

Kevin rises and waltzes back in. He addresses Mrs. Berry directly in over-the-top melodrama.

KEVIN
When shall we meet again?

The same student laughs again. Other students join in.

Mrs. Berry grabs Kevin by the scruff of the neck and marches him out the doorway.

KEVIN
Fair is foul, and foul is fair.
INT. SCHOOL CORRIDOR – DAY 202.

Mrs. Berry shunts Kevin along the corridor.


INT. PRINCIPAL’S OFFICE – DAY 203.

The principal is at his desk poring over paperwork.

Mrs. Berry marches Kevin into the office without knocking.

MRS. BERRY
Can you please do something about him?

Mrs. Berry leaves.

PRINCIPAL
What is it now, Kevin?

KEVIN
No-one understands the value of Shakespeare any more.

PRINCIPAL
Kevin. Go home. I’m too busy for this, today.

The principal returns to his paperwork. Kevin leaves.


INT. SCHOOL CORRIDOR – DAY 204.

Mrs. Berry is leaning against the lockers in a distraught state, sobbing as silently as she can.

In b/g, Kevin passes and looks at her. He makes a movement towards her then thinks better of it and shuffles off.


EXT. SCRUB (NOTHING LAND) – DAY 205.

Nothing Land is a shattered remnant of what it once was. Kevin is sitting on the ground casting his gaze on what he considers an uncaring world.

KEVIN
I’m sorry but I’m just a bit busy today.

Kevin stands and slides some A-4 papers from his trousers. He begins reading from the front page.
KEVIN
When shall we meet again? In thunder, lightning or in rain?
(beat)
Look, I’ve just about had a gutful of meeting in inclement weather. Why can’t we meet on a fine day for a change?

Kevin amuses himself slightly.


EXT. MADER’S HOUSE – AFTERNOON 206.

A concerned Mrs. Berry knocks at the door.

An O/S argument (slinging match) is in progress.

LEON (O/S)
You haven’t put a cent towards it.

JOY (O/S)
We’ll see.

The door opens.

Joy appears in the doorway. She looks at Mrs. Berry.

MRS. BERRY.
Mrs. Mader?

Joy nods. Leon appears in the doorway.

MRS. BERRY
I’d like to speak to you about Kevin.

Joy glances at Mrs. Berry’s stomach. It’s decidedly bloaty.

JOY
You’re not pregnant are you?

Mrs. Berry is miffed. She adjusts her dress.

MRS. BERRY
I’m his English teacher.

JOY
It’s okay. I was pregnant when I married.

MRS BERRY
I’m not pregnant. I teach at the school and want to speak to you about Kevin’s behaviour.

LEON
We’ve got a few more important issues on our plate at the moment.

MRS. BERRY
Are you aware your son’s an alcoholic?

JOY
It’s alright. I understand. I went through a terrible time during pregnancy.

MRS. BERRY
I’m not pregnant.

LEON
You’ve obviously got him confused with someone else.

MRS. BERRY
Will you listen to me?

Leon’s had enough. He slams the door. Mrs. Berry is distraught.

The O/S argument resumes.

LEON (O/S)
I bet you don’t even want it.

JOY (O/S)
How would you know what I want and don’t want?

Mrs. Berry shakes her head and leaves in a distressed state.


INT. SOLICITOR’S OFFICE – DAY 207.

A SOLICITOR sits with Joy listening intently to her and taking notes.

JOY
Then he hit me.
The solicitor nods gravely and continues taking notes.


INT. SHOWROOM/LEON’S ELECTRICAL – DAY 208.

Leon flicks through a bunch of envelopes. One particular envelope catches his attention. He opens it and is aghast.

Leon locks up the shop and leaves.


INT. MADER’S KITCHEN – DAY 209.

Joy sits smugly at the kitchen table.

For once, the sound of the door slamming pleases her.

Leon storm in and slaps some paperwork on the table.

LEON
What’s this bullshit?

Joy makes a big deal of perusing the paperwork.

JOY
Let me see. I think it says divorce.

LEON
I know what it says.

JOY
Then why ask?

Leon points to a section of the paperwork.

LEON
What about this?

Joy looks at the paperwork.

JOY
I think it says house. Yes, that spells house. H-o...

LEON
I know how to spell house. You’re not having it.

JOY
We’ll see.

LEON
If that’s how you want to play it.

JOY
It is how I want to play it.

LEON
You didn’t even have the guts to hand it to me.

Joy turns away. Leon storms out. Joy sits smugly by herself.


INT. MADER’S KITCHEN – AFTERNOON 210.

Kevin enters and notices the paperwork on the table. He reads it and is a bit disturbed.


INT. SOLICITOR’S OFFICE – DAY 211.

Leon is standing before the same solicitor that Joy visited. The solicitor is listening intently to Leon and taking notes.

SOLICITOR
I can only go on what I’m told.

LEON
Told? Told? Okay you want told? I’ll give you told.

Leon opens his kitbag and dumps a heap of prescription bottles and prescriptions on the solicitor’s desk.

LEON
Did she tell you about the nervous breakdown? The visits to the psychiatrist? Did she tell you about the night she left Kevin in the house and I found her on the beach?

The solicitor shakes his head to each question and reads the label on a prescription bottle.


INT. MADER’S KITCHEN – EVENING 212.

Joy sits smugly at the kitchen table.
The sound of a door slamming. Joy smiles.

Leon storms in and slaps some paperwork on the table.

LEON
If that’s how you want to play it we’ll let the courts decide.

Joy slides the paperwork aside.

JOY
Fine.

LEON
Good. Right. Okay then.


INT. KEVIN’S ROOM – NIGHT 213.

The two legal documents are on Kevin’s bed. Kevin is kneeling beside his bed reading them.

Kevin starts sobbing.

KEVIN
Mr. Teddy. Help me.


INT. COUNTRY COURT – DAY 214.

A MAGISTRATE sits at the bench.

Leon sits by himself. Joy is sitting with Vicky.

MAGISTRATE
In view of the evidence before me, I have no choice but to rule that Mr. Leon Mader vacate the family home and pay maintenance to Mrs. Joy Mader.

Leon is flabbergasted and angry. Joy is smug and contented.

Leon and Joy share a look of pure hatred.


INT. FRONT BAR – AFTERNOON 215.

Leon is sitting at the bar with Nobby.

LEON
Stuff me. I hit her once.
NOBBY
You’re better off without her mate. Have another drink.

LEON
Where am I going to live?


EXT. RUNDOWN FARMHOUSE – DAY 216.

NOBBY (V.O)
Old Plugger’s got a joint.

A Bedford truck loaded with squealing pigs is parked out front of a rundown farmhouse.

An elderly PIG FARMER stands on the front veranda as Leon approaches.

PIG FARMER
She’s a bit rugged but she is fully furnished.

The pig farmer leads Leon into the farmhouse.


INT. RUNDOWN FARMHOUSE – DAY 217.

Leon and the pig farmer inspect various rooms.

The bedroom is dusty and cobweb ridden. It contains broken furniture, a collapsed bed and stained mattress.

The kitchen is grotty. Mouldy food sits in pots and pans on the stove and sink. The fridge interior is maggot ridden.

In the bathroom rusty brown water spurts out of the taps.

In the laundry, mouldy clothes are still in the washing machine.

Leon and the pig farmer finish the inspection and stand in the kitchen.

PIG FARMER
Needs a woman’s touch.

Leon sighs.




EXT. MADER’S HOUSE – DAY 218.

Leon’s car and trailer are loaded to the hilt. Leon is tying down a rope on the trailer.

Kevin is watching his father through the window of his bedroom.


EXT. LEON’S ELECTRICAL – DAY 219.

Leon’s fully-loaded car and trailer are parked out the front. Leon is tacking a sign to the front window: CLOSED.

Bev approaches carrying a television.

BEV
You’re not leaving us?

LEON
Just shutting up shop for a couple of days, maybe a week.

BEV
How come?

LEON
Long story.

BEV
I’ve got plenty of time.

LEON
(shrugs)
Here, let me take that.

BEV
I can come back later.

LEON
No. I’ll have a look at it now.

Leon takes the television from Bev and enters the electrical store. Bev follows him in.


INT. RUNDOWN FARMHOUSE – DAY AND NIGHT 220.

A daunted Leon looks at the rundown farmhouse bedroom. He rolls up his shirt sleeves.

Leon works feverishly to clean every room in the house.
An elated and exhausted Leon proudly inspects the transformation of the farmhouse into a liveable residence.


EXT. MADER’S HOUSE – DAY 221.

A Holden Commodore pulls up in front of the house.

The man Joy met at the disco gets out of the car and makes his way towards the house.


INT. KEVIN’S ROOM – DAY 222.

Kevin is lying on his bed vagueing out to his repetitive music.

Joy enters Kevin’s room and stands in the doorway.

JOY
I’m leaving Kevin.

Kevin continues vagueing out.

Joy leaves, shutting the door behind her.


EXT. MADER’S HOUSE – DAY 223.

Joy’s new man helps Joy load her luggage into his Holden Commodore and helps her into the car.

The Commodore drives along the dirt track.


INT. LEON & JOY’S BEDROOM – DAY 224.

Kevin stands staring at the marital bed.

It finally registers with Kevin that he is alone in the house and completely abandoned.

Kevin shakes his head violently and slaps himself about the face.

He runs full-pelt across the room and smacks forehead-first into the wall.

Kevin reels back, stumbles around for a bit then collapses back first onto the marital bed and starts sobbing.


INT. RUNDOWN FARMHOUSE – NIGHT 225.

Leon and Bev are undressing in the farmhouse bedroom.

BEV
She sounds like a callous bitch to me. Besides, I think a son’s place is with his father.

Leon nods.

BEV
I’d like to meet Kevin.

LEON
He’s a quiet boy. Quite introverted.


INT. MADER’S KITCHEN – DAY 226.

Kevin feverishly rips the cardboard from a carton of beer, extracts a bottle and starts playing air-guitar on the bottle, hopping across the room like a rock star on coke.

KEVIN
Doo-doo-dee-doo. Dwaaaang. Dwang-dwang-de-dwang. Dooo!

Kevin stops abruptly and unscrews the lid on the bottle of beer which froths everywhere. He throws the bottle against the wall and watches it smash.

Kevin feverishly pulls another bottle of beer from the carton.


INT. JOY’S NEW MAN’S BEDROOM – EVENING 227.

Joy and her new man are undressing.

JOY’S NEW MAN
He sounds like a real prick.

Joy nods with total conviction.


INT. KEVIN’S ROOM – DAY 228.

Kevin’s quilt is tent-shaped. There is movement under the quilt.

The sound of the standard repetitive section of music is playing.

The music stops.

The quilt slides down to reveal Kevin playing air-guitar on a beer bottle.

Kevin rolls over and presses buttons on his CD player.

Silence.

Kevin rises and plays with the light switch, turning it on-and-off, on-and-off.

No response from the light.

Kevin exits the room.


EXT. MADER’S HOUSE – DAY 229.

Kevin opens the electrical meter box and looks inside.

Kevin’s POV: The meter box wheel isn’t spinning.


INT. MADER’S KITCHEN – DAY 230.

Kevin picks up a telephone handset and listens.

Silence.

Kevin drops the telephone handset.

He opens the fridge and shifts the beers from the fridge compartment to the freezer compartment.


EXT. SCRUB – DAY 231.

Kevin shuffles aimlessly through the scrub.

Something beyond the scrub catches Kevin’s attention. He stops and stares through the Mallee trees.

The sound of Kevin’s heart beating.

Kevin’s POV through the scrub: A HITCHHIKER is sitting on a rucksack at the side of the road writing in a diary. (The hitchhiker looks like what one would imagine Gary to look like as a teenager).
Kevin looks left and right.

Kevin’s POV: The road to either side of the hitchhiker is devoid of traffic.

Kevin turns and shuffles off. He breaks into a walk, then a brisk walk and finally starts sprinting.

The sound of Kevin’s heart beating faster and faster.


EXT. MADER’S HOUSE – DAY 232.

Kevin arrives at the house breathless. He leans against the bonnet of Joy’s Torana attempting to catch his breath. He coughs like a seasoned alcoholic.

Kevin gets into the Torana and after prolonged coercion the Torana ignites and Kevin splutters off erratically along the dirt track.


EXT. ROAD – DAY 233.

The hitchhiker is still sitting on his rucksack writing in his diary.

The sound of a spluttering vehicle approaching.

The hitchhiker stands and puts out his thumb.

Kevin arrives in Joy’s Torana. He stops by the hitchhiker, leans across and winds the passenger window down.

KEVIN
Where are you headed?

HITCHHIKER
(thick German accent)
The city.

KEVIN
You’ve got no hope here.

Joy’s Torana starts revving excessively, drowning the sound of Kevin and the hitchhiker’s conversation.

The hitchhiker gets into Joy’s Torana and Kevin drives off.




EXT. MADER’S HOUSE – DAY 234.

Kevin and the hitchhiker arrive in Joy’s Torana.

They get out and walk towards the house. The hitchhiker is carrying his rucksack.


INT. MADER’S KITCHEN – DAY 235.

Kevin leads the hitchhiker in.

KEVIN
Place is a bit of a mess. The folks are away.

Kevin takes two bottles of beer from the freezer compartment and hands one to the hitchhiker.


INT. MADER’S LOUNGE – DAY 236.

Kevin and the hitchhiker are sitting on lounge chairs drinking beer.

The hitchhiker continues to speak in a thick German accent.

HITCHHIKER
This country is the freak out.

KEVIN
(monotone)
Ye-ah.

HITCHHIKER
The people are so full on.

KEVIN
(monotone)
Ye-ah.

HITCHHIKER
The talking is so in-tense.

KEVIN
(monotone)
Ye-ah.

The hitchhiker takes a diary from his rucksack and flips through the pages.

Kevin’s curiosity is aroused slightly.
HITCHHIKER
I meet so many interesting people here. Then I write about them.

KEVIN
In there?

HITCHHIKER
No. In the letters. This is my thoughts. So many crazy ones. My mind is everywhere.

Kevin is extremely interested now. He leans forward.

HITCHHIKER
When I don’t have gunja to slow me up I write my thoughts up.

KEVIN
What’s the craziest thought you’ve ever had?

The hitchhiker flips enthusiastically through his diary and stops at a page that has GOD written on it in large print that occupies almost the entire page. Smaller print is visible but not legible.

HITCHHIKER
Tonight I make the connection with God.


INT. MADER’S KITCHEN – DAY 237.

Kevin takes another two bottles from the freezer.


INT. MADER’S LOUNGE – DAY 238.

The shirtless hitchhiker slots his diary back into his rucksack as Kevin enters with two bottles of beer and places them on the coffee table.

HITCHHIKER
I must be the go.

KEVIN
No, stay.

HITCHHIKER
No. Serious.
KEVIN
No, serious too. Really serious. Stay.

HITCHHIKER
No. The bottle. It gets to the head.

The hitchhiker reaches for his shirt.

Kevin looks around. A dark struggle seems to be going on inside him.

Kevin picks up a champagne bottle from the floor.

As the hitchhiker is buttoning his shirt with his back to Kevin, Kevin clocks him extremely hard over the head with the champagne bottle.
The hitchhiker collapses to the floor.

Kevin prods the hitchhiker.

No response.

Kevin prods the hitchhiker again.

Still no response.

Kevin shakes the hitchhiker, gently at first, then violently, shaking the crap out of him.

It is now quite obvious, even to Kevin, that the hitchhiker is dead.

Kevin appears disappointed initially, then quite pleased that he has some company. A lopsided grin appears on his face.

Kevin hoists the corpse onto the lounge chair, sits laconically on the armrest and stares casually at the cadaver.

KEVIN
It’s so good of you to stay. Most people leave.

Kevin continues to stare at the dead hitchhiker as if waiting for a response.

KEVIN
Actually you remind me of a friend of mine.
Kevin exits the room and returns with his Polaroid of himself and Gary.

He sits back on the armrest and holds the Polaroid in front of the dead hitchhiker’s face.

KEVIN
See what I mean?

The enormity and implications of his actions finally register with Kevin. He stands and paces back and forth.

KEVIN
No. No. Shit.

Kevin drags the corpse from the room.

A few beats then Kevin drags the corpse back into the room.

Kevin paces back and forth, back and forth.

Kevin unzips the hitchhiker’s rucksack and empties its contents onto the floor.


INT. MADER’S LOUNGE – EVENING 239.

All is nice and cosy.

A nice little fire has been lit in a metal garbage bin.

The dead hitchhiker is propped up in a lounge chair.

Kevin sits in a lounge chair reading the hitchhiker’s diary, tearing the pages out as he goes along and tossing them into the fire.

Kevin takes a casual sip of beer.

KEVIN
Some of this isn’t bad.

Kevin yawns and places his ‘night-time reading material’ on the armrest.

KEVIN
All good stories, however, must come to an end. It’s time for all good little boys to go night-nights.

Kevin drags the hitchhiker’s corpse from the lounge chair and lays it on the floor.

Kevin lays down beside the corpse and shuts his eyes.


INT. MADER’S LOUNGE – MORNING 240.

Kevin is asleep on the floor cradling the dead body.

The sound of a knock at the door wakes Kevin.

Kevin looks at the dead hitchhiker and the position he is in with it and scares even himself. He sits up and attempts to gain his bearings.

The sound of knocking becomes more insistent.

Kevin sits dead still as the knocking continues.

Kevin rises quietly and tiptoes across to the window. He peers out through the blinds.


EXT. MADER’S HOUSE – MORNING 241.

A JEHOVAH’S WITNESS is propping the screen door open with his shoulder and knocking on the door. His TWO CHILDREN stand alongside him.

The door opens a little and Kevin stares out with his blank, lifeless gaze.

The two children glance at Kevin. His gaze frightens them.

The Jehovah’s Witness hands Kevin a copy of the Watchtower.

JEHOVAH’S WITNESS
The magazine’s free. All we ask is a small donation.

The magazine drops from Kevin’s limp grip. Kevin continues to gaze at the Jehovah’s Witness. The Jehovah’s Witness is too interested in his evangelical ministry to notice much around him.

JEHOVAH’S WITNESS
In this issue Jehovah talks of the evils of idolatry.

The Jehovah’s Witness opens his bible to a tagged section.

JEHOVAH’S WITNESS
Isaiah chapter forty-four verses eight to eleven. The makers of idols are all of them nothing, and their best beloved things shall not profit them.

Kevin shifts his lifeless gaze to the children. The children tug on their father’s trouser legs.

Kevin shifts his gaze to the Jehovah’s Witness.

KEVIN
Tis safer to be that which we destroy, than by destruction to dwell in doubtful joy.

The Jehovah’s Witness finally notices Kevin’s gaze. He turns to his children whose eyes are full of terror.

JEHOVAH’S WITNESS
It’s alright brother, we’ll call back another day.

Kevin stays in the doorway gazing lifelessly at the Jehovah’s Witness and his children and they walk briskly away from the house along the dirt track.

Kevin moves back and lets the door slam shut.


INT. MADER’S LOUNGE – DAY 242.

Kevin makes a pathetic attempt to place the hitchhiker’s corpse into a plastic garbage bag. He abandons the fruitless exercise and exits.


INT. MADER’S BATHROOM – DAY 243.

Kevin stares at his crazed reflection in the mirror. He presses his face to the mirror as though he is looking for something on the other side.

KEVIN
Mr. Teddy?

Kevin abandons his vain search for Mr. Teddy and exits.




EXT. MADER’S HOUSE – DAY 244.

Kevin picks up an axe from the rear of the house and takes a few practice swings.


EXT. RUBBISH DUMP – DAY 245.

Kevin, partly obscured by Joy’s Torana, repeatedly raises the axe and brings it down.

The sound of dull thuds.

Another angle reveals that Kevin is attempting to dig a hole in the ground with the axe.

KEVIN
Mr. Teddy. Where are you? I’m sorry.

Kevin quits his doomed attempt to dig up ten years of compressed dirt to unearth Mr. Teddy. He tosses the axe aside gets into Joy’s Torana and drives off.


EXT. MADER’S HOUSE – DAY 246.

Kevin drags the corpse onto the back seat of Joy’s Torana.

Kevin places one plastic garbage bag over the lower half of the body and another over the top half. He appears pretty pleased with his effort.


EXT. ROAD – DAY 247.

Kevin, pleased with himself, is driving Joy’s Torana.

Kevin passes a police car. His expression turns to worry, then horror, as the police car U-turns and follows him.

Kevin pulls over to the side of the road.

The police car pulls up behind Joy’s Torana. A POLICE OFFICER gets out and approaches the driver’s side door.

POLICE OFFICER
Now when did you get your licence, Kevin?

KEVIN
I didn’t.
POLICE OFFICER
I know. Now, what are we going to do about that?

KEVIN
I don’t know.

The police officer places his hands on the door panel and leans towards Kevin. He reels back.

POLICE OFFICER
Phew. What’s that smell?

KEVIN
Our fridge is playing up. I was taking the bad stuff to the dump.

POLICE OFFICER
Okay, you take it to the dump but then you go straight home.

Kevin nods.

POLICE OFFICER
I can’t turn a blind eye next time. It’s quite a heavy penalty for driving without a licence.

Kevin nods and nervously watches the police officer strut back to the police car.


EXT. RUBBISH DUMP – DAY 248.

Kevin sits in Joy’s Torana staring at a rusty car shell.

Kevin’s POV: Gary sits in the rusty car shell.

GARY
Brmm. Brrmmm.

KEVIN
Brmm. Brmm. Brrrrrrmmmmmmm.

Kevin revs Joy’s Torana excessively and screams off in a cloud of dust through the exit gates.




EXT. SCRUB (NOTHING LAND) – DAY 249.

All is peace and tranquillity.

The sound of a car approaching rapidly, its engine whining and revving excessively.

Joy’s Torana appears from the scrub and skids to a halt.

Kevin gets out of Joy’s Torana and picks up some rusty tools from the ground. He chucks them into the Torana and tears off through the scrub.


EXT. LOT 312 – DAY 250.

Joy’s Torana whines and screams along the dirt track churning up clouds of dust.


EXT. MADER’S HOUSE – DAY 251.

Joy’s Torana skids to a dusty halt.

Kevin gets out, tosses the rusty tools onto the ground and drags the hitchhiker’s corpse from the Torana.


INT. MADER’S LOUNGE – DAY 252.

Kevin drags the hitchhiker’s corpse in and hoists it onto a lounge chair.

Kevin picks up his Polaroid camera. He sits on the armrest alongside the corpse, holds the camera at arm’s length and takes a photo.

The flash is blinding.


INT. POST OFFICE – DAY 253.

The blinding light of a photocopy machine.

Kevin stands by the photocopy machine flicking through a collection of Polaroid photos.


INT. MADER’S LOUNGE – DUSK 254.

The sound of insistent knocking.

Kevin is holding the corpse up by the armpits. He freezes.


EXT. RUNDOWN FARMHOUSE – DAY 255.

A detective, DETECTIVE JOHNSON, is knocking at the door.

The door opens. Leon appears in his underpants and singlet. Bev appears in her nightgown.

DETECTIVE JOHNSON
Leon Mader?

LEON
Yes.

DETECTIVE JOHNSON
I’m Detective Johnson. It’s about your son Kevin. He’s been involved in a homicide.

LEON
Who would want to kill him?

DETECTIVE JOHNSON
Your son’s alive.

LEON
I thought you said he’d been involved in a homicide?

DETECTIVE JOHNSON
We’re investigating your son, Mr. Mader.

LEON
What?

DETECTIVE JOHNSON
It might be best if you just follow me.

LEON
You must have made a mistake.

DETECTIVE JOHNSON
I wish I had.
(beat)
By the way, your wife’s flown in.


LEON
Ex wife.

DETECTIVE JOHNSON
Wife. Ex wife. Defacto. Whatever.

LEON
Flown in? From where?

DETECTIVE JOHNSON
The city I believe.

LEON
What she’s doing there?

DETECTIVE JOHNSON
I gather that’s where she lives.

LEON
Is this some sort of joke?

DETECTIVE JOHNSON
I wish it was. Could you just follow me.

LEON
Where to?

DETECTIVE JOHNSON
Just follow me, if you would.


EXT. LOT 312 – DAY 256.

Leon and Bev, both dressed now, are in Leon’s Falcon following Detective Johnson in the homicide car into Lot 312. They pass the Lot 312 sign and head along the dirt track.

Leon appears angry. Bev’s expression is one of concern.


EXT. MADER’S HOUSE – DAY 257.

A marked and unmarked police car are parked in front of the house.

Joy stands outside the house with her new man alongside his Holden Commodore.

Detective Johnson’s homicide car stops by the other police cars. He gets out and moves towards Leon’s Falcon.

Leon’s Falcon stops near Joy and her new man’s Commodore.

Leon checks out Joy’s new man.

Bev checks out Joy.

Joy checks out Bev.

Joy’s new man checks out Leon.

Leon gets out and slams his car door. Bev gets out sedately.

Joy glances disdainfully at Leon. Leon glares contemptuously at Joy as he approaches her.

Bev and Joy’s new man watch Leon and Joy with a certain intensity.

LEON
What the hell’s going on?

JOY
I don’t know.

LEON
What do you mean, you don’t know?

JOY
I haven’t been living here for over two months, Leon. I’ve been living in the city.

LEON
So I heard. So what’s Kevin doing back here?

JOY
He never left.

LEON
What? You left him here by himself?

JOY
When did you suddenly start caring about him?

LEON
You make such a big deal about the house. You get it. Then you move out and surprise, surprise, you don’t even have the courtesy to tell me.

JOY
You obviously haven’t been here for two months.

LEON
That’s not the point.

JOY
What is the point, Leon?

Leon moves menacingly towards Joy. Detective Johnson steps between them.

DETECTIVE JOHNSON
Could we move inside?

Detective Johnson waits for Leon to move towards the house, then follows him, checking to ensure that Joy is following. She is. They enter the house.

Bev and Joy’s new man are both a bit shocked by the unexpected revelation of their new partners’ dark sides. They turn to each other and shrug.


INT. MADER’S KITCHEN – DAY 258.

The kitchen is an absolute mess: empty beer bottles, broken glass, torn cardboard & etc.

Leon, Detective Johnson and Joy enter.

Leon and Joy look at the interior. They are horrified.

Leon and Joy turn towards each other. A mutual moment.

Detective Johnson indicates for them to enter the lounge.

DETECTIVE JOHNSON
In here.

Leon and Joy move apprehensively towards the lounge.



INT. MADER’S LOUNGE – DAY 259.

Leon, Detective Johnson and Joy enter.

On one wall is a massive enlarged photocopy of the Polaroid of Kevin and Gary marked ME AND ONLY FRIEND. The word EX has been added.

On another wall are massive blown up photocopied photographs Kevin has taken of the corpse.

The photos reveal how Kevin has previously created a puppet structure, and puppet out of the corpse, and attempted to animate it.

There’s a fair bit of visual art mixed-media happening on one of the photocopied photos; some sheep skulls and shattered sheep bone fragments; a champagne bottle glued to the hand area, and large handwritten print: HAPPY DAYS.

The collapsed puppet structure is stacked in a heap in one corner of the room where a FORENSIC POLICE OFFICER is searching for samples of decomposed hitchhiker.
On another wall are giant drawings labelled: MUM and DAD.

One drawing is of Leon cleaning his car. A sheep skull substitutes for his head. A sponge and bucket and various items of Joy’s Torana have been glued to the wall.

The other drawing is of Joy sleeping. Likewise a sheep skull substitutes for her head. The marital bedhead has been nailed to the wall. Prescription boxes and tablet bottles are glued to the wall. ZZZZZZs trail off from the sheep skull along the wall.

Leon and Joy appear more mortified by the drawings of themselves than by any of the photos of the dead hitchhiker.

In b/g, Joy’s new man and Bev enter the room and stand apprehensively by the doorway. They look around with horror and share a mutual glance.

Leon and Joy finally notice Kevin. He is handcuffed. A DETECTIVE #2 is questioning him.

Kevin is smiling at the pictures of his mother and father.

KEVIN
I used to be really good at drawing.

Detective #2 puts his notepad and pen away. He leads Kevin towards the door.

Kevin stops by his parents.

KEVIN
It’s nice to be together again.

A horrified Leon and Joy stare at each other. ‘How on earth did this happen?’

Joy covers her mouth with her hand. Leon’s head sinks into his hands.

A lingering shot on Leon and Joy as Kevin is led away through the house past Joy’s new man and Bev.

FREEZE FRAME.

The end.

ROLL END CREDITS.