Scripts - Episode 3127

LONDON-THE HOTEL

IRENE and DON are in the reception.

IRENE

Don, I really wish you had of eaten something.

DON

I couldn’t Irene, I couldn’t. I’m just far too.

IRENE

Nervous.

DON

No, I am not nervous. I’m angry.

IRENE

Look, I can’t begin to imagine how you must be feeling Don, but here her out, eh.

DON

I’ll here her all right. Don’t worry about that. I’ve waited a long time for this explanation.

IRENE

You sure you wouldn’t like me to come with you. You know, I could wait around the corner or hide under a table.

DON

No, no, no, no. Don’t be silly. This is something I have to do on my own.

IRENE

Good luck.

DON

Irene, how do I look?

IRENE

You look just fine Don.

DON leaves. IRENE walks into WILL.

IRENE

G’day sunshine. You disappeared early this morning.

WILL

Yeah, I needed to think.

IRENE

And did it help?

WILL

Listen, I’m not going to come back with you tomorrow.

IRENE

What?

WILL

I called Peta and Edward. They’re in Switzerland. I’m going to hang out with them for a week or two.

IRENE

Will, running away from your problems doesn’t help anyone.

WILL

I just need time, OK. I don’t think I’m ready to go back and face this yet.

IRENE

Well, and you think it’s all going to miraculously sort itself out while you’re away do you?

WILL

No, I just need time, all right. Anyway, everything’s already been changed. Changed the flight and I’ve already booked a bus.

HAYLEY walks up to IRENE.

HAYLEY

Irene, Robbie’s taking me to the Tate Modern so I’ll be back around two OK.

IRENE

Well, hang on a minute.

HAYLEY

Irene, I can’t. I was supposed to meet him ten minutes ago.

IRENE

Hayley, you were out with him all last night and now again today.

HAYLEY

I’ve got to go.

HAYLEY walks away.

IRENE

Well, I hope you know what you’re doing girlie. Don’t forget we leave tomorrow, like she’s listening to me.

THE COMMUNITY HALL

JUDE, NOAH, SALLY and FLYNN are there.

FLYNN

Ah, hi. So are you ready?

SALLY

No.

FLYNN

Ah, you’ll be fine. I know it’s short notice, but a rose for you.

SALLY

Oh, thank you.

FLYNN

Ah, listen, Shelley rang. Her parents came to pick Sylvie.

SALLY

All right. Was she OK?

FLYNN

She was. She was OK. You want to help me carry some stuff out.

SALLY

Yeah, sure.

ALEX and DANI stand together.

ALEX

Haven’t seen Brodie around?

DANI

No, she’s spent the day with her mum.

ALEX

All right.

DANI

Yeah, bet you’re really disappointed. Probably stressed she’d cramp you’re style.

ALEX

We’ll at least you’re admitting that I have style.

DANI

Get over yourself.

LONDON-THE TATE MODERN

ROBBIE and HAYLEY walk along.

ROBBIE

It used to be a power station.

HAYLEY

Oh, right. It must have been huge.

ROBBIE

Which brings me to an interesting fact.

HAYLEY

Oh yeah

ROBBIE

The central chimney was kept to a height of three hundred and twenty five feet so it wouldn’t be taller than the Dome on St Paul’s Cathedral.

HAYLEY

Is that right?

ROBBIE

And, did you know, that the original architect of The Battersea Power Station was Gilbert Scott, the same man who designed the red telephone box.

HAYLEY

Full of fascinating information, aren’t you.

ROBBIE

Absolutely, and I could even tell you how many bricks there are, if you like.

HAYLEY

Yeah, well that would save me counting them myself.

THE COMMUNITY HALL

ALEX walks up to someone that has came to look at the band, HEIDI.

ALEX

Alex Poulos.

HEIDI

Congratulations.

ALEX

Are you here to see the band, are you?

HEIDI

Yep.

ALEX

I’ll introduce you. I’m a friend of the band.

HEIDI

Thanks. I’ll let the manager do that. He’s the one how invited me. I’m from Music Monthly. I’m doing the review.

ALEX

So you said the manager invited here.

HEIDI

Yep, is he around because I should let him know that I’m here?

ALEX

Yeah, yeah, I’ll just call him. Hey Seb. Come here man.

SEB walks over to ALEX and HEIDI.

SEB

Oh, hi, Seb Miller. Heidi McIntyre right?

HEIDI

Yeah, that’s right.

SEB

Excellent. I’m glad you could make it. You won’t be disappointed either.

HEIDI

I’m sorry. How old are you?

SEB

Old enough. Now as I was telling you over the phone the band hasn’t been together for quite that long, but I think you’ll be pleasantly surprised by how good the music really is.

HEIDI

Really.

SEB

Yeah, and once they’re finished the set-up, I’ll get you an interview. Yeah, nice meeting you. If there’s anything I can do, I mean anything just let me know

SEB walks away and then HEIDI walks away.

ALEX

Where are you going?

HEIDI

This was a waste of time.

ALEX

Hey, you haven’t even heard the band yet. Give it ten minutes, it can’t hurt, can it?

HEIDI

What was your name again?

JUDE and NOAH stand together.

NOAH

Do you think she’s going to be OK?

JUDE

Yeah, I hope so. Man, relax. I read somewhere that Kurt Cobain used to throw up before every performance.

NOAH

Yeah, that makes me feel a whole lot better.

FLYNN picks up his guitar. SALLY and SHAUNA talk. COLLEEN is at a stall. SHELLEY walks onto the stage.

SHELLEY

Hi, everyone. Can I have your attention please? Ok, hello. My name is Shelley Sutherland. I think most of you know me. I’m the director at the drop-in centre. I am absolutely thrilled by the turnout today. It’s so great to see that community spirit is alive and well in Summer Bay. I’d like to thank everyone here who have donated either their hard earned cash and, or, time to support the centre and that goes for these guys standing behind me who as I understand it, have put everything into getting ready for today. So, would everyone put their hands together for a very warm welcome for Indecision.

SHELLEY leaves the stage. The band comes on. SALLY starts to sing.

SALLY

Come say what you want, and I might listen. You don’t know what you’ve got. I shake hands and listen. Because I am tell you lies. You don’t know what you’ve got, you don’t know what you’ve till it’s gone.

NOAH

Doo, doo, doo, doo

LONDON-THE HOTEL

IRENE, WILL and NICK walk out the hotel.

IRENE

All right. Now, you take care of yourself, OK.

WILL

I will, don’t worry.

IRENE

And make sure you give our love to Peta and to Judith and to Edward.

NICK

See you, when you get back man.

WILL

Yeah, sorry if I’ve been a pain lately.

NICK

No worries man. I don’t know what’s going on, but, you sure need to sort it out.

IRENE

Don’t you get any ideas about staying away, you here me.

WILL walks away.

LONDON-A PARK

DON sees MARILYN across a pond with a pram.

THE COMMUNITY HALL

SALLY is singing.

SALLY

Here’s my voice, I’m running on high. Here’s my voice, I’m feeling it fine. Please come down and it feels all right, please come down and it feels all right, please come down and it feels all right, please come down and it feels all right.

The crowd claps.

SHELLEY

I think I speak for everyone when I say that was fantastic guys. Thank you. Next on the programme we have our slave auction. Now, what that means exactly, is that you get to bid for any of the people on the list here and then they are yours for the day. Of course, they are some rules surrounding what you can make them do, but at the very least you’ll get your lawn mowed or your house cleaned, and the most important thing is that the money spent goes into keeping the drop-in centre on it’s feet. Our first slave up for auction is Seb Miller.

SEB gets onto the stage.

SHELLEY

Hey, Seb. OK, now Seb, nice reception. Seb is a fifteen year-old student at Summer Bay High and extremely fit as you can see. So let’s start the bidding. Let’s start the bidding at ten dollars. Do I hear ten dollars for Seb Millar?

JAN, a student, puts her hand up.

SHELLEY

Thank you very much Jan. Do I hear fifteen? Fifteen dollars.

MAN

Over here.

SHELLEY

Thank you sir. Ok, let’s get it up, let’s get it up. Let’s get twenty dollars.

SIMONE puts her hand up.

SHELLEY

Thank you very much Simone Harris. Twenty dollars, any advance on twenty?

KIRSTY

Twenty-one.

SHELLEY

Twenty-one dollars. Thank you very much to the wealthy young lady down the front.

SIMONE

Twenty-two.

SHELLEY

Thank you Simone. OK, we have twenty-two, any advance on twenty-two? Any advance?

KIRSTY

Twenty-four.

SHELLLEY

Twenty-four, OK, up we go. OK, do I here twenty-five. Twenty-five dollars for Seb Millar everybody.

SIMONE

Twenty-five.

SHELLEY

Thank you very much. We’re on twenty-five dollars. Anymore bids on twenty-five dollars. Going once, going twice, sold to Simone Harris for twenty-five dollars. Thank you very much.

SEB walks down to SIMONE.

SHELLEY

Next up we have Steve Eastlake.

HEIDI walks up to JUDE.

HEIDI

So it must be hard juggling your own business and playing in a band?

JUDE

Not so far. This is our first gig.

HEIDI

Is there any time for romance in that busy schedule?

JUDE

Yeah, recently I got engaged so something must be going right there.

HEIDI

Well, I think that just about does it. Thanks for your time.

JUDE
No problem.

HEIDI walks up to ALEX.

ALEX

How’s it going?

HEIDI

Fine.

LONDON-A PARK

DON and MARILYN are there. MARILYN is pushing a pram with two young kids walking alongside.

MARILYN

When I first came to London I saw an ad for a childminder. I really love it Donald. I suppose it’s, oh, what’s that word?

DON

Ironic.

MARILYN

Yes, ironic. I suppose it’s ironic that looking after the children keeps me sane. I’m using Byron really.

DON

You weren’t the only one Marilyn.

MARILYN

I know that Donald. I know how heartbroken you were. Maybe that’s why I ran away because I couldn’t deal with your grief as well my own.

DON

But I could have helped you. We could have helped each other.

MARILYN

Do you think so?

DON

Yes, I do.

MARILYN

I would just have ended up resenting you for being able to carry on, because you always have Donald. You’ve put up with so much tragedy in your life and you always manage to get through it. You’re so much stronger than I am.

DON

That’s just an excuse.

MARILYN

It may sound look it now because I have got through it, but that doesn’t mean that the pain has gone away. I am managing to get through each day, but there was a time when I never thought I’d get out of it again. Donald, I’m really sorry for hurting you and you were already going through so much pain. It’s just it’s all I could do to get through it. I had to pretend that it didn’t happen. It’s almost; it’s almost like to deal with what happened to Byron, I had to pretend he never existed. When I read about the book launch in the paper I couldn’t stay away. The book is a beautiful tribute to our son.

DON

Marilyn, I’m sorry, but I have to ask you. I never stopped loving you. Have you stopped loving me?

MARILYN

Yes.

DON

Why?

MARILYN

Because it hurts Donald. Even seeing you now it hurts so much.

They cuddle.

THE COMMUNITY HALL

SHELLEY and NOAH are on the stage. A crowd is gathered around the stage.

SHELLEY

I’m sure Noah would be up to any task you have for him so I would like to start the bidding this time at twenty dollars. Do I hear twenty dollars for Noah?

DEBBIE

Twenty dollars.

SHELLEY

Aw, thank you. Twenty dollars to Debbie Rose. Do I hear twenty-five dollars? Oh, thank you very much Danielle. Do I hear twenty-six? Looking for twenty-six.

DEBBIE

Twenty-six.

KIRSTY is standing next to JADE.

KIRSTY

She is going to eat him alive Jade.

SHELLEY

Thank you very much Debbie, twenty-six dollars, looking for twenty-seven. Anyone for twenty-seven dollars.

JADE bids.

SHELLEY

Aw, twenty-seven dollars to the other wealthy young lady down here.

DEBBIE

Twenty-eight.

SHELLEY

Thank you very much Debbie. Looking for twenty-nine.

JADE

Thirty-five.

SHELLEY

Thirty-five dollars. Going once, going twice, sold to Jade Sutherland for thirty-five dollars.

NOAH joins JADE and KIRSTY in the crowd.

KIRSTY

You didn’t tell me you had that much money to spend.

JADE

You didn’t ask.

KIRSTY

You little cow. You could have lent me the money to bid on Seb. Now Simone’s got him.

JADE

Like I said, you didn’t ask.

LONDON-THE TATE MODERN

HAYLEY and ROBBIE are there.

ROBBIE

OK, what’s next?

HAYLEY

How about nude action body.

ROBBIE

My favourite.

LONDON-PICCADILLY CIRCUS

ROBBIE and HAYLEY are walking along.

ROBBIE

Sounds like a good reason to stay. Think about it, London’s perfect for you, there’s art everywhere you look, ever building, every park. We’ve got galleries full of the stuff and it’s not just London you’ve got the whole of England, the rest of Europe on your doorstep. You won’t be short of inspiration.

HAYLEY

Yeah, but I’ve got plenty of inspiration back home. I’ve got the blue skies, the sand, the ocean. You’d love it Robbie. Summer Bay makes you want to get out of bed in the morning and besides I miss everyone at home too much.

ROBBIE

I guess it was a nice thought.

HAYLEY

Yes, let’s just enjoy today.

ROBBIE

And here we have.

LONDON-TRAFALGAR SQUARE

ROBBIE and HAYLEY are walking along.

ROBBIE

Hey, look up.

THE COMMUNITY HALL

JUDE and SHELLEY are on the stage.

SHELLEY

Sold, to Shauna Bradley for fifty dollars. Thanks Jude.

SHAUNA and JUDE kiss.

SHELLEY

OK, next on the list is, oh, Flynn Saunders. Come on up Flynn. OK, well why don’t we start the bidding at thirty dollars? Do I hear thirty dollars?

JAN

Over here.

SHELLEY

Thirty dollars, thank you very much. Do I have thirty-five?

MRS KENNEDY

Thirty-five.

SHELLEY

Thirty-five dollars. Thank you very much Mrs Kennedy. Any advance on thirty-five. Looking forty.

JAN

Forty dollars.

SHELLEY

Thank you, forty dollars.

MRS KENNEDY

Forty-five.

SHELLEY

Forty-five for Mrs Kennedy. Do I here fifty? No, looking for fifty dollars. OK, going once, going twice. Sold to Mrs Kennedy for forty-five dollars. Thanks Flynn.

FLYNN walks over to SALLY.

SALLY

Forty-five dollars, that’s not bad. You don’t look very happy. Did you want more?

FLYNN

It’s not that.

SALLY

What then? You weren’t expecting me to bid for you

FLYNN

The thought had crossed my mind, but, you know, what you do with you r money is.

FLYNN

Have you ever heard of a proxy bid? Look, we haven’t even had our first date yet. I’m not going to let anyone else by you.

SALLY and FLYNN cuddle. HEIDI and ALEX stand together.

HEIDI

So, I take it that all the band members are spoken for?

ALEX

Yep, us unattached bachelor types are a dying breed you see. You need a drink.

HEIDI

Sure, why not?

LONDON-BUCKINGHAM PALACE

IRENE is there. NICK is filming her.

IRENE

Have you got the lens cap off? OK.

NICK

Over a little.

IRENE

This way?

NICK

That’s good.

IRENE

OK. Hello, everyone back home. Look the flags up, I think the queen must be at home.

LONDON-THE HOTEL

IRENE and NICK are walk in. ROBBIE is in there.

IRENE

G’day Robbie. Hayley upstairs?

ROBBIE

Yeah, that’s right.

IRENE

Did you have a nice day?

ROBBIE

Very nice, thanks.

IRENE

Yeah, we had a good one ourselves actually. Did a bit of sightseeing didn’t we Shortie?

ROBBIE

Oh, where did you go?

IRENE

Did the full circle, you know, Palace to the dungeons. Scared this one half to death.

NICK

Yeah, right.

IRENE sees DON sitting in the bar.

IRENE

Em, actually, em, I’ll catch up with you later love. Could you take these up to the room for me?

IRENE walks over to DON.

IRENE

Don, how did you go?

DON

Eh, it’s fine. We came to an understanding.

DON closes his book.

THE COMMUNITY HALL

SHELLEY is on the stage.

SHELLEY

Would everyone please welcome to the stage Alf Stewart. So, who would like to start the bidding?

JUDE and SHAUNA stand together.

SHAUNA

Five dollars.

ALF

Oh, what?

SHELLEY

Any advance on five.

SALLY

Six.

SHELLEY

Six dollars, thank you Sally Fletcher. Do I have seven? Looking for seven dollars.

COLLEEN

I’ve been authorised to make a proxy bid of twenty-five dollars for Leah Patterson.

ALF

Ah, now you’re talking. That’s more like it.

SHELLEY

Excellent. Twenty-five dollars for Leah Patterson. OK, do I hear twenty-six? Looking for twenty-six. No, going once at twenty-five dollars, going twice at twenty-five dollars.

ALF

Hey, come on, come on. You can’t be all done, surely.

COLLEEN

Ah, twenty-five dollars and fifty cents.

SHELLEY

Sold, to Colleen Smart twenty-five dollars and fifty cents.

A TELEPHONE BOX

NOAH walks up to a phone box. He dials a number.

LONDON-THE HOTEL

ROBBIE is there. The phone rings.

ROBBIE

Good afternoon, Radisson Edwardian Hotel, how may I help?

A TELEPHONE BOX

NOAH is on the phone.

NOAH

Good afternoon mate. How’s it going?

LONDON-THE HOTEL

ROBBIE is on the phone.

ROBBIE

Yeah, good, how’s it going with you?

A TELEPHONE BOX

NOAH is on the phone.

NOAH

Oh, yeah, all right. Look, is Hayley around?

LONDON-THE HOTEL

ROBBIE is there.

ROBBIE

Yeah, you’re in luck. I’ll put her through.

HAYLEY is on the phone in the room.

HAYLEY

Noah, thanks for the flowers. They were gorgeous.

A TELEPHONE BOX

NOAH is on the phone.

NOAH

Gladly. How’s it going.

LONDON-THE HOTEL

HAYLEY is on the phone.

HAYLEY

Good, em, great. You know we’re heading home tomorrow.

A TELEPHONE BOX

NOAH is on the phone.

NOAH

Yeah, yeah, I know. I tried to call before, but you were always out.

LONDON-THE HOTEL

HAYLEY is on the phone.

HAYLEY

Yeah, there’s so much to do around here and the daylight seems to last forever.

A TELEPHONE BOX

NOAH is on the phone.

NOAH

Yeah, you probably want to stay longer.

LONDON-THE HOTEL

HAYLEY is on the phone.

HAYLEY

No, I mean it’s nice and everything, but it will be good to get home.

A TELEPHONE BOX

NOAH is on the phone.

NOAH

Yeah.

THE BEACHSIDE DINER

ALF and COLLEEN are there.

COLLEEN

And the gutters haven’t been cleaned for a while. Well of course, I can always get Rhys to do that for me. Yeah, I might be better off getting you to do some painting.

ALF

Painting.

COLLEEN

Yeah, well the mobile homes could use a fresh coat.

ALF

I’m not painting you’re flamin’ mobile home for you.

COLLEEN

Well, all right then, you can take me out for the day instead. We could do a bit of window-shopping and then we can have brunch at the Yabbie Creek tea-rooms and I believe there’s a lovely tour of the local gardens on at the moment.

SARAH MCKAY DROP-IN CENTRE

FLYNN, SHELLEY and GYPSY are there.

FLYNN

And five makes two thousand, six hundred and fifty.

SHELLEY

Plus four, seventy three, sixty makes.

GYPSY

Three thousand, one hundred and twenty-eight dollars and fifty cents.

SHELLEY

That’s great.

GYPSY

Yeah, but it’s not what we wanted.

SHELLEY

Hey, it’s a start and a good one. We’ve still got time to make up the rest.

FLYNN

Absolutely. You guys want a cuppa? You know what. I’ll make it.

DANI walks in.

DANI

I just got a message from Will and he’s gone to Switzerland for two weeks.

SHELLEY

Aw, Dani. Hey, come on. Listen, it’s only two weeks and let face it, he’d be mad to go all that way and not make the most of it.

DANI

But he’s meant to be coming home mum. What if he decides to go to Italy or France or something or what if decides to never come home ever again?