The famed Hotel Beboir

INT. CAR - NIGHT

The headlights pierce the dark night, creating a ghostly
tunnel of hedges and trees.
MARCUS DENTON, mid thirties, extremely tired looking and
dressed in an ill fitting suit, almost loses control of
his car.
Marcus has not learned the art of driving a car and
operating a mobile phone at the same time. Success at last
as he locates the right button.
VOICEMAIL (O.S.)
You have five new messages. First
new message.
MARIE DENTON (O.S.)
Hi darling its me. Just
wondering what time youre going
to be back. I really, really need
pickled onions. Love ...
Marcus cuts the message short. The countryside races past.
VOICEMAIL (O.S.)
Next new message.
JOHN JONES (O.S.)
Marcus, John here. Need the Q2
sales pipeline ASAP. Oh and Sally
wants to know how her Sis is
getting on with the cravings.
Leaves and branches scrape past the driver window. Marcus
reacts and brings the car back into the correct lane.
MARCUS DENTON
Fuck! Fuck! Come on Marcus get it
together.
He continues to prod the phone.
VOICEMAIL (O.S.)
Next new message.
SALLY JONES (O.S.)
Hi, hows my little bit of rough.
Johns working late tonight,
fancy some ...
Again he cuts the message short.
VOICEMAIL (O.S.)
Next new message.

(CONTINUED)

CONTINUED:

2.

JOHN JONES (O.S.)

Marcus you little prick. Youve
been fucking my wife. Youre a
low life shit. If I see you in
the office tomorrow, Im going to
...
Marcus rights the car again and prods the phone.
VOICEMAIL (O.S.)
Next new message.
SALLY JONES
Fuck. Fuck. Fuck. Ive really
screwed up. Think I just sent a
text to John rather than you.
Marcus starts to jab at the phone repeatedly.
VOICEMAIL (O.S.)
Next new message.
MARIE DENTON
Jesus Marcus, youre such a
fucking cliche. My sister.
Marcus lowers the window and hurls the phone out, a
protest at his own stupidity.
Turning his attention back to the road he sees a young
lady standing completely still in centre of the road.
Impact is inevitable.
The headlights light her up like an angel. The young lady
has shimmering emerald eyes.
MARCUS DENTON
Fuck!
The young lady folds over the bonnet and bounces onto the
windscreen, shattering it instantly.
EXT. POND - NIGHT
The sound of a two foxes in a bout of rather painful
mating cuts the silence momentarily. Marcus stands in a
shallow pond, the moonlit water lapping against his knees.
He takes in his surroundings. Marcus is in a clearing in a
woods. In the clearing is a pond and in the pond is
himself and his car. His car has seen better days.
MARCUS DENTON
Marcus youre a fucking idiot.
What have I told you about
driving like a spanner. Youre
(MORE)
(CONTINUED)

CONTINUED:

3.

MARCUS DENTON (contd)

never going to be able to get a
tow truck out here.
Looking at the car Marcus realises that something bad has
happened, he just cant think what. Marcus pads he suit
pockets and then his trouser pockets.
MARCUS DENTON
Why am I such a twat. Now
concentrate. Where is it.
Marcus looks at the open window of his car.
MARCUS DENTON
Fuck it! Fuck it! Fuck it!
After a bout of frantic car door kicking, Marcus decides
he needs to get help. Looking around, Marcus notices a
light on the horizon and heads of through the fields
towards it.
EXT. FIELD - NIGHT
The moonlight provides the light Marcus needs to wade
through the long grass of the field towards the light on
the horizon. Marcus senses he is getting nearer and
quickens his pace.
EXT. HOTEL - NIGHT
A looming building almost smothers Marcus as he approaches
its front door. He stops to take in its majestic beauty.
This building has no identifiable period, but in the same
instance identifies all periods.
Through the glass of the front doors there is activity.
INT. HOTEL BAR - NIGHT
The long marble top bar stretches down the room. The whole
back of the bar is lined with beveled mirrors and shelves
of expensive gins and whiskeys. The abundance of cut glass
causes many rainbow like flashes.
A number of people sit at the tables dotted around the
room.
A rather dapper looking gentleman sits at one table, GUY
PENNINGTON-JONES 38 sips at a large tumbler of whiskey,
whilst skimming the pages of the Financial Times.

(CONTINUED)

CONTINUED:

4.

On the next table is the complete opposite. A chubby, drab

man, SEAN THOMPSET 41 gulps down on a pint of lager. His
attention is focused on a photograph he holds in his hand.
VICTOR G
OTZE 55, enters the room slowly surveying the
inhabitants. Victor clears his throat and open his arms
wide.
VICTOR G
OTZE
Ladies and Gentlemen, dinner is
served. Please make your way
through the Dining Room.
Victor leads the guests through from the Hotel Bar through
to Dining room.
GARY SMITH 29, scruffy, but with a touch of debonair about
him, slams back a gin and tonic and scrapes his chair
back. The sudden noise startles those around him.
GARY SMITH
Come on everyone, looks like
theyre bringing out the trough.
Victor shakes his head with disapproval.
INT. HOTEL DINING ROOM - NIGHT
A large chandelier hangs from the ceiling, its many arms
of crystal projecting dazzling light around the large wood
paneled room.
At one end of the room there is a large portrait of a
ghostly woman, her emerald eyes glare out at the diners as
they start to gorge down on the food in front of them.
rd
Franz o
og 54, a large bulky man with a glistening dome
of a head the focus of which is a big, well groomed
moustache, throws the doors to the dining room open.
All the dinners immediately stop eating and turn to look
at him, standing in the doorway. His fitted dark green
suit giving him a military feel.
FRANZ
ORD
OG
Look at you all, gouging away on
my exquisite food. I might as
well wheel out a trough.
FATHER MCGUIRE, a sparrow faced man with small silver
rimmed glasses stands up from his table. He picks up his
serviette and starts to fiddle with it.
FATHER MCGUIRE
Mr
ord
og, we all appreciate the
food and accommodation you
(MORE)
(CONTINUED)

CONTINUED:

5.
FATHER MCGUIRE (contd)
provide for us. There arent many
other places that would have been
so amenable.

Father McGuire starts to fiddle even more frantically with

his serviette.
FATHER MCGUIRE
The thing is, we dont appreciate
the abuse. Some or should I say
most of us are. How should I put
this.
He drops the serviette on the floor.
FATHER MCGUIRE
Are a little frail and this sort
of behavior could push any of us
over the edge.
Franz stares hard at Father McGuire almost burning a hole
in his retina.
FRANZ
ORD
OG
Look here you little Shitehawk, I
dont think YOU are in a position
to question how i treat THIS
gathering of social outcasts.
Franz sweeps his arm around the room identifying the
dinners that sit before him.
Sitting at separate tables are Guy, Sean and Gary. In the
middle is Father McGuire who rather sheepishly sits back
down.
FRANZ
ORD
OG
You need to appreciate what sort
of people I have to deal with on
a day by day basis.
Franz slowly glances one by one at the dinners, who are
still all silent their attention focused on the big man
standing in the doorway.
FRANZ
ORD
OG
A fraudster and an extortionist.
Franz massages the bridge of his nose.
RDO
G
FRANZ O
And Im still trying to weigh up
which is worse. The child
murderer or the child molester.
Franz is interrupted by the sound of a desk bell being
repeatedly hit somewhere behind him.

6.

INT. RECEPTION - NIGHT

Marcus stands at a cubby hole banging away on the desk
bell, he is unable to understand why a Hotel so large has
such a small reception.
A hand appears from within the darkness and silences the
bell. Slowly, the pale gaunt face of Victor emerges,
framed by the cubby hole.
VICTOR G
OTZE
Good evening Sir. How can I help you tonight?
MARCUS DENTON
I need to use you phone.
VICTOR G
OTZE
You NEED to use our phone.
MARCUS DENTON
Yeah, look Ive crashed my car.
Just need to phone the AA. Its a
freephone number so it wont cost
you a penny.
Victor presents a old phone with a number dial from within
the cubby hole and hands it to Marcus.
VICTOR G
OTZE
Here we go Sir. You will need to
dial nine for an outside line.
Marcus takes the phone from Victor in one hand, whilst
fumbling around in his pockets with the other. Finally he
finds his AA Membership card and begins to dial the number
into the phone.
After a couple of minutes, Marcus starts to tap the
receiver.
MARCUS DENTON
Its dead, completely silent.
VICTOR G
OTZE
Did you dial nine first Sir.
MARCUS DENTON
Of course I did.
Marcus dials again and again has no luck.
VICTOR G
OTZE
Im afraid this is a common
occurrence Sir. We are very
remote out here.

(CONTINUED)

CONTINUED:

7.
MARCUS DENTON
Do you have a mobile?
VICTOR G
OTZE
I dont myself Sir, but some of
the other residents have devolved
to me that there is a severe lack
of mobile coverage in this area.
MARCUS DENTON
Youre kidding.
VICTOR G
OTZE
Unfortunately Im not Sir, but
you are more than welcome to ask
them.

Marcus goes turns towards the door and then changes his
mind.
MARCUS DENTON
Do you have any other
suggestions?
VICTOR G
OTZE
These things have a tendency of
sorting themselves out on their
own. Maybe I could suggest
staying here for the night and
trying again in the morning.
Before Victor could even finish his sentence, a second
much rounder head appears alongside him.
FRANZ
ORD
OG
Were fully booked.
VICTOR G
OTZE
Franz, I think you will find that
we are not.
Franz retrieves from the darkness, a large leather bound
reservations book.
FRANZ
ORD
OG
Look at the book Victor, the book
never lies.
Victor scans the reservations noting a number of hastily
scribbled names against all the rooms, all of which are
obviously made up.
TZE
VICTOR GO
Franz, the book can be made to
lie.
Victor slams the reservations book shut and hands it back
to Franz.
(CONTINUED)

CONTINUED:

8.

VICTOR G
OTZE
Mr. Denton, we can certainly
accommodate you tonight and then
well get your current
predicament sorted out.
Victor hands Marcus the room key. The key has a large
wooden pyramid attached to it.
INT. KARAOKE BAR - NIGHT
The Karaoke Bar is typical of a Seventies style function
room. The ceiling is made up of large polystyrene tiles on
which the the florescent tube lighting gives the room a
cold blue tone. The tables and chairs are functional and
look like they havent been used in a while.
At one end of the room is the Karaoke equipment. A
microphone, auto-cue and a large projector screen. A
plain, but deceptively beautiful young woman, CASEY LEE
19, stands behind the auto-cue, while a young man, JAY
G
otze 22 dressed in a bellboy uniform watches on.
Music starts to play from the PA systems as a video starts
on the projection screen behind Casey. The video on the
projection screen is showing a black and white arty effect
scene of two young girls chasing each other on a beach.
Casey begins to sing a monotone version of There maybe
trouble ahead by ???? Jay kicks back his chair and sprints
to the door, almost losing his footing on the way. Casey
carries on singing.
INT. HOTEL ROOM - NIGHT
Moonlight peaks through a small gap in the curtains,
outlining the sleeping body of Marcus.
The shadowy figures of Franz and Victor can just be made
out, lurking in the darkest part of the room.
FRANZ
ORD
OG
He wont stay.
VICTOR G
OTZE
Well see.
FRANZ
ORD
OG
Ill make sure of it
VICTOR G
OTZE
Are you concerned Franz?

(CONTINUED)

CONTINUED:

9.

FRANZ
ORD
OG
Not at all. He just doesnt
belong here.
VICTOR G
OTZE
Whys that? Wasnt he "invited".
Franz points to the expanding and contracting outline of
Marcus.
FRANZ
ORD
OG
There are rules and procedures
and he hasnt followed them.
INT. WORKSHOP - NIGHT
CLARENCE YORK, 67, leathered skin and white wispy hair,
sits at his workbench carefully browsing a magazine. He is
using a magnifying glass to inspect the pages more
closely. The magazine is of swedish origin and is
definitely pornographic.
The workshop is dimly lit by a single light fixture
hanging from the ceiling.
The walls are lined
pictures are tidily
pictures have notes
look as if they are

with more swedish pornography, all the

organized in rows. Some of the
scribbled on them. The pictures all
from the Seventies.

The door to the workshop opens and Victor enters.

VICTOR G
OTZE
Hello Clarence my old friend.
CLARENCE YORK
Its been a while Victor. Please
take a seat.
Clarence gestures to a folding chair, leaning against the
workbench.
VICTOR G
OTZE
How are you getting on? Any luck?
CLARENCE YORK
Still looking, no nearer than
last time we talked. Ive got
another batch arriving tomorrow
and Im starting to run out of
room.
Victor unfolds the chair and sits down alongside Clarence
at the workbench.

(CONTINUED)

CONTINUED:

10.

CLARENCE YORK
Anyway enough about me, I presume
youre here to discuss the new
resident.
VICTOR G
OTZE
For a place so desolate and
isolated, news certainly seems to
travel quickly.
CLARENCE YORK
I saw him marching up the drive,
muttering to himself.
Victor places his hand between the magazine and magnifying
glass.
VICTOR G
OTZE
He wasnt invited.
Victor now has Clarences full attention.
VICTOR G
OTZE
His name wasnt in the
reservation book.
CLARENCE YORK
Is he going to stay.
VICTOR G
OTZE
I managed to convince him to stay
tonight, but Franz isnt to
pleased about it.
CLARENCE YORK
I bet he isnt. Do you think you
can get him to stay any longer?
VICTOR G
OTZE
I dont think so, I have a
feeling hell be off first thing.
CLARENCE YORK
That maybe the case, but I have a
feeling hell be back.
EXT. HOTEL GARDENS - DAY
In the background, the Hotel sits amongst the trees and
the bushes of its large garden.
Marcus, panting and trying to get his breath, marches
quickly through the undergrowth. He notes recognizable
landmarks from his journey in the night before.

(CONTINUED)

CONTINUED:

11.

MARCUS DENTON
Well I definitely climbed over
that.
Marcus mounts the gate and views the field. He smiles to
himself, this is the field he came through. He is sure his
car is in the woods that surrounds the field.
Marcus gathers pace as he progresses through the field.
Finally realising that this nightmare will be over, he can
get home.
He gets to the bottom of the field and vaults the gate
into the wood.
EXT. WOODS - DAY
Marcus hacks his way through the trees and bushes,
following a vague looking path, probably formed by
wildlife. After pushing forward further, the path
completely disappears and the foliage becomes dense.
Panic is setting in.
MARCUS DENTON
Jesus, it cant be too far off.
Marcus breaks through into an opening. His initial sense
of relief is lost as he sees the Hotel standing
prominently in front of him. It seems like the Hotel is
goading him.
Not one to be beaten, Marcus turns back into the woods and
continues to hack through the undergrowth , until he
appears in another opening.
He looks up and there is the Hotel again. Marcus rubs his
eyes. He is sure the hotel is smirking at him.
MARCUS DENTON
What the fuck. No way.
Again, Marcus turns back into the dark mass of the woods.
The panic has now turned into desperation. He continues to
wade through the various types of forna. It is staring to
become like wading through treacle.
Marcus is spat out into another opening. He glances up
with a sense of imminent dread. There are only fields.
MARCUS DENTON
At fucking last. This is
definitely the right way.
A door creaks loudly. Marcus slowly turns his head.

12.

The closing door gives a suggestion that the Hotel is

winking at him.
EXT. HOTEL GARDENS - DAY
All is serene, elegant lawns stretch out from the front of
the hotel. These lawns are "bowling green" perfect and the
geometry of the flower beds is to the degree.
The perfect symmetry is spoiled by the scruffy ball of
cloth that is Marcus, who is curled up in a ball and
rocking gently back and forth.
Victor walks slowly across the lawn towards Marcus, he is
carrying a silver tray with a fine china tea set.
VICTOR G
OTZE
Earl Grey tea with a slice of
lemon.
Victor places the tray down next to Marcus who continues
to rock back and forth.
VICTOR G
OTZE
Is there are problem Sir?
Marcus raises his head, tears and snot run from his face.
MARCUS DENTON
I cant find my car, Ive been
wondering around all day and I
just keep ending up back here.
VICTOR G
OTZE
Im sure its not to far away.
Why dont you come back to the
hotel. Clean yourself up and try
again tomorrow.
INT. HOTEL BAR - DAY
Guy and Father McGuire sit at antique oak table which sits
snug in the large bay windows of the bar. Both are sipping
glasses of crystal clear Gin and Tonic. The windows look
out over the hotel gardens.
Marcus and Victor can be seen walking across the lawns
towards the hotel.
Guy takes a large gulp of his drink and then rattles the
ice round in the empty glass.
GUY PENNINGTON-JONES
Wonder why that chap is trying to
leave. Thought most the residents
(MORE)
(CONTINUED)

CONTINUED:

13.

GUY PENNINGTON-JONES (contd)

here would break a gut NOT to
leave.
Father McGuire takes a small sip from his glass.
FATHER MCGUIRE
Some people just do not realise
that they cant go home. For me
it was obvious from the start,
that I couldnt go back. He just
may have not thought it all
through properly.
GUY PENNINGTON-JONES
I dont know why anyone would
want to leave. Fine food and
drink, all the amenities a man
could ask for and it doesnt cost
a penny.
FATHER MCGUIRE
Mr. Pennington-Jones, there is
always a price.
INT. HOTEL ROOM - NIGHT
A "slightly better than normal" hotel room. the usual
suspects are in attendance. Built in wardrobe, desk with
hotel paper and pencil, tea and coffee making making
facilities.
The only thing that seems to stand out is the hotel
entertainment system. It looks like a cash machine that
has been designed by a Victorian inventor, incorporating
plenty of polished wood and shiny brass. It is accompanied
by a large remote control.
A clean suit and shirt hang from the wardrobe door,
attached is a laundry label. Marcus enters the room from
the bathroom, followed by a cloud of steam. He has a towel
wrapped round his waist and is glistening slightly from
the perspiration.
He picks up the remote control and turns on the hotel
entertainment system.
The screen displays a welcome message and a number of menu
options. "Hotel Information", "Local Attractions",
"Messages" and "TV and Radio".
The "Messages" option is flashing and Marcus decides this
needs further investigation. He has two messages one from
"Franz, Victor and all the staff" and one from "The
Hotel".

(CONTINUED)

CONTINUED:

14.

MARCUS DENTON
Lets see what loveliness Ive
received from the caring people
of this hotel.
Marcus selects the first message and reads it out aloud.
MARCUS DENTON
Dear Resident. Welcome to the
famed Hotel Beboir. We pride
ourselves on looking after you
during your stay here and if
there is anything we can do,
please do not hesitate to contact
us. Make sure you check out the
local attractions option on the
hotel entertainment system. Tim
ONeils Foam Wonderland is a
particularly popular option with
residents looking for somewhere
else to continue onto after their
time here. Yours sincerely Franz,
Victor and all the Staff.
Marcus shakes the small kettle and happy that it contains
enough water, flicks the switch.
MARCUS DENTON
What is a Foam wonderland? I
wonder if its similar to those
parties I used to go to in Ibiza?
Marcus selects the second message from "The Hotel" and
reads it out aloud.
MARCUS DENTON
Hi Marcus. Im glad youve
decided to stay a little longer.
You dont need to worry about me,
Im OK just a few scratches and
brusies. Got to go, but Ill send
you another message soon.
Steam rises up from the kettle. Marcus jumps back,
clutching his elbow.
MARCUS DENTON
Ow fuckity fuck fuck. Holy shit.
Marcus stumbles back onto the bed. All the blood has
drained from his face. He has realised how his car ended
up in the pond.

15.
INT. KARAOKE BAR - NIGHT
Casey is once again behind the microphone. She is singing
along to Road to nowhere by the Talking Heads. She is
not doing it justice.
There is a bigger audience watching her this time. In the
audience is Father McGuire, Guy, Gary, Sean and Jay. They
are all sitting round the same table, drinks in hand.
GARY SMITH
Another classic butchered.
JAY G
OTZE
Shut your face Gary. She has a
beautiful voice.
GARY SMITH
That maybe an opinion only you
hold.
Gary messes up the line of perfectly aligned beer mats in
front of Jay.
Jay jumps up and lunges towards Gary.
FATHER MCGUIRE
Gentlemen, please stop this. It
is not appropriate behavior.
Jay sits back down and realigns the beer mats.
GARY SMITH
Who are you to talk about
appropriate behavior. Father
Charlie Chester the stereo type.
Father McGuire is taken aback, but quickly composes
himself.
FATHER MCGUIRE
Gary, we have agreed not to
discuss our pasts. It is
somewhere none of us want to go.
Before any further aggravation can start, Marcus enters.
He surveys the room and walks to the bar.
GARY SMITH
(Whispering)
Does anyone know why this guy is
here.
GUY PENNINGTON-JONES
(Whispering)
I got the impression yesterday
that he DOESNT want to be here.

(CONTINUED)

CONTINUED:

16.

TZE
JAY GO
What do you mean?
FATHER MCGUIRE
Mr Pennington-Jones and I saw him
with your Father yesterday,
looking rather distressed. He
looked as hed been dragged
through several hedges.
At the bar, Marcus orders a straight double whiskey, downs
it in one and gestures for another. It has not had the
desired effect and Marcus dashes towards the toilets.
INT. TOILETS - NIGHT
The Gentlemans toilets arent particularly pleasant. Damp
and dark with mold growing between some of the tiles.
Retching can be heard from one of the cubicles.
Marcus emerges from that cubicle and splashes his face
with water in one of the working wash basins. He looks at
his face in the dirty mirror and is startled by the
glaring face of Franz behind him.
With one hand, Franz grabs the hair of Marcus and forces
his face down into the basin and with the other puts the
plug in and starts to fill the basin with water.
FRANZ
ORD
OG
I want you gone by tomorrow.
Franz lifts Marcus head out of the basin
MARCUS DENTON
What the fuck are you doing.
Marcus barely finishes his sentence before his head is
forced back down into the basin.
FRANZ
ORD
OG
I dont care what anyone else
says, you are not welcome here.
Franz pulls Marcus head out and pushes it hard against
the mirror.
MARCUS DENTON
Look mate, I dont want to be
here. I just want to get home and
sort out my life.
Franz dunks Marcus head in the basin again.

(CONTINUED)

CONTINUED:

17.

FRANZ
ORD
OG
I dont care for any part of your
insignificant life. I want you
gone. The longer you stay, the
harder I will make it for you.
Franz releases his grasp on Marcuss head and before
Marcus can turn to confront Franz, he has left.
Marcus looks at himself in the mirror, before padding his
face dry on a dirty looking hand towel.
The door to the toilets opens, Marcus turns expecting
further trouble.
JAY G
OTZE
Are you OK? I saw Franz follow
you in and by the look on his
face he wasnt inviting you for
tea.
MARCUS DENTON
Ill survive. Whats his problem.
Does he have a problem with
guests. This is a hotel yeah?
JAY G
OTZE
Franz likes to follow the rules,
strictly. Im Jay by the way.
MARCUS DENTON
Im Marcus.
Marcus shakes Jays hand
MARCUS DENTON
I managed to crash my car which
Im now having a problem trying
to find.
Jay goes to the basin and starts to frantically clean his
hands.
JAY G
OTZE
I can help you find it.
MARCUS DENTON
Really, you know where it is.
JAY G
OTZE
I dont know where it is, but I
know how to find it.
MARCUS DENTON
How?

(CONTINUED)

CONTINUED:

18.

TZE
JAY GO
If I do help you, you need to
promise me something.
MARCUS DENTON
What? Youre a Bell Boy youre
meant to help me. Im pretty sure
itll be in your job description.
JAY G
OTZE
You have to take me with you.
MARCUS DENTON
Look mate, what ever your beef is
with this place, I dont want to
get involved. Just tell me how I
can find my car.
JAY G
OTZE
Its your call Marcus.
MARCUS DENTON
OK look if I find my car, Ill
give you a lift, but only if its
on my way.
JAY G
OTZE
Thank you Marcus. I need to ask
certain people certain questions,
but should have the information
you need by tomorrow.
MARCUS DENTON
How shall I find you?
JAY G
OTZE
Just ring the bell, Marcus.
Jay gives Marcus a friendly salute and quietly leaves the
room.
INT. CELLAR - NIGHT
The room is dark, apart from the flickers of flames from
within a giant industrial boiler.
The flickers highlight the face of Franz as he stares
deeply into the furnace.
FRANZ
ORD
OG
I know what youre trying to do.
The flames get brighter for a second inside the boiler.

(CONTINUED)

CONTINUED:

19.

FRANZ
ORD
OG
He cant and wont help you.
The boiler grinds and rumbles and the flames get brighter
from within.
FRANZ
ORD
OG
I will win.
INT. HOTEL DINING ROOM - DAY
The bright morning sun highlights the crisp and clean
table clothes adorning the many tables of the dining room.
The dining room has been prepared for breakfast.
Gary and Sean sit in the corner round one of the tables.
Sean sits straight, like he has been told many times
before to sit up straight. Gary has never been told this,
as he leans back in his chair, slurping from his cup of
coffee as if it were a mug.
GARY SMITH
Its an expression of that
persons inner most secrets. It
doesnt matter what form it
takes. Whether its the
minimilist painting of ??? or a
detailed landscape by Constable.
SEAN TOMPSET
Did you read that of the back of
a beer mat?
GARY SMITH
Fuck you man, what do you know
about art.
SEAN TOMPSET
What do YOU know about art?
GARY SMITH
Look man, I thought wed all
agreed not mention our pasts.
SEAN TOMPSET
We had, but as you always seem to
ignore it, I thought I would too.
GARY SMITH
Someone like you could never
understand art, you dont have
the passion, the lust to totally
absorb it.

(CONTINUED)

CONTINUED:

20.

SEAN TOMPSET
I understand art, I just think
the majority of it is crap.
The doors to the dining room open and Marcus enters.
Gary beckons him over to their table.
SEAN TOMPSET
What are you doing?
GARY SMITH
Dont want him to feel lonely.
Marcus notices Gary beckoning him and proceeds to sit
himself at the table.
GARY SMITH
Hello there, Im Gary and what
might your name be.
MARCUS DENTON
Marcus, nice to meet you.
Sean gets up from his seat.
SEAN TOMPSET
Im Sean, if youll excuse me,
Ive got some bits and bobs I
need to be getting on with.
Sean leaves the room.
GARY SMITH
Dont mind him, hes always got
something to do. Can never seem
to sit still. Seems like hes
trying to forget something.
MARCUS DENTON
Has he done something bad?
GARY SMITH
Weve all done something bad,
mate. Have you done a bad thing
Marcus?
MARCUS DENTON
No nothing. Well... No definitely
nothing.
GARY SMITH
You dont seem convinced.