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1. Abroad Draft 3
Written By
Diara Vassallo
Ted Newman
Misha Conrad
Sol Birch
Maddie Tod
Charlie O'rourke
Francesco Ruvulo
Eden Hopwood
Lauryn Fuller

2. 1. Long shot
Range
of long
shots
and low
angle
shots
(settin
g the
scene)
1. MS
Mid
shot of
Rob and
Mary on
plane.
2. MS/Closeup
Mid
shots/c
loseups
of
other
passeng
ers.
Closeup
s of
Robs
emotion
s.
EXT. RUNWAY. DAY
A PLANE IS LANDING INTO HEATHROW
TERMINAL 5.
INT. PLANE. DAY
ROB AND MARY ARE SEATED ON THE PLANE.
ROB HAS A SHAGGY LOOK TO HIM, HE IS IN
HIS LATE 20'S, HE HAS BROWN HAIR WHICH
IS MESSY. HE IS WEARING A LOSE SHIRT
WITH A WHITE T-SHIRT UNDERNEATH, BROWN
SHORTS AND FLIP FLOPS. HE IS WEARING A
GOLD CHAIN AND A GOLD WATCH.
MARY IS A WOMAN OF HER EARLY 30'S, SHE
HAS BLONDE HAIR. SHE IS WEARING A BLACK
SHIRT (3 BUTTONS UNDONE), SHE IS
WEARING UP TO THE KNEE DENIM CULOTTES,
A PAIR OF FLAT SANDALS AND A PAIR OF
GLASSES.
ROB LOOKS ANXIOUS AND MARY IS VERY
CALM. IN THE BACKGROUND THERE IS
EXCITED CHATTER AND TALKING.

3. 3. Closeup
Seatbel
ts
being
unbuckl
ed.
4. Point of view
Mid
shots/
closeup
s on
Rob and
Mary
and
other
passeng
ers.
ALL OF A SUDDEN THE PILOT MAKES AN
ANNOUNCEMENT.
PILOT:
Welcome to London, Heathrow where the
local time is 9:34am. We'll be taxiing
to the gate for the next few minutes,
so please remain seated with your
seatbelts fastened until the captain
has turned off the seatbelt sign. On
behalf of the flight crew and Virgin
Atlantic Airlines, thank you for
choosing to fly with us today and we
hope to see you again on a future
flight. Enjoy your stay here, or at the
city of your final destination.
ROB LOOKS AT MARY FOR REASSURANCE.
THE SEAT BELT SIGN GOES OFF AS THEY
TAXI INTO THE TERMINAL. THE PASSENGERS
GET UP AND START TAKING THERE BAGS OUT
OF THE OVERHEAD LOCKERS.
PILOT:
Ladies and Gentlemen, this is your
captain speaking. We are sorry for the
short delay, we have currently been
held up but will be arriving in the
terminal shortly.
THE OTHER PASSENGERS LOOK AT EACHOTHER
WITH FRUSTRATION.
ROB AND MARY LOOK AT EACHOTHER WITH
NERVE.

4. 5. Tracking shot
Behind
stevie
followi
ng him
down
the
aisle.
So that
we dont
see his
face.
Instead
we see
his
abck
and the
reactio
ns of
the
people
he
speaks
to.
(over
the
shoulde
r)
MARY:
What are you looking at? It's gonna be
fine.
ROB SHRUGS AND LOOKS OUT OF THE WINDOW.
A MAN BOARDS THE PLANE AND LOOKS
AROUND. HE IS ASSERTIVE WITH HIS LOOKS.
STEVIE IS A MAN IN HIS 40'S, HE IS
WEARING A SUIT, HIS
HE WALKS UP TO AN AIR HOSTESS AND
SPEAKS TO HER DISCREETLY.
SHE LEADS HIM DOWN THE AISLE TO ROB AND
MARY.
MARY LOOKS UP SHARPLY AT STEVIE.
STEVIE:
Miss Adams? Mr Jones?
MARY:
Yes?
STEVIE:
Would you mind stepping off the plane
with me?
ROB GRABS MARY'S ARM IN A FRANTIC STATE
AND HIS FOREHEAD STARTS TO BECOME
SWEATY.

5. 6. Close up
On
suitcas
e
1. MS / LS
range
of
shots
on
stevie
2. Closeup
Smoke
fogging
up the
camera
lense
MARY:
What's this about? And who are you?
STEVIE:
This is not the time for questions,
follow me.
MARY DOES NOT HESITATE. STEVIE GESTURES
TO BOTH OF THEM TO LEAD THE WAY.
2 MEN WITH DARK SHADES ON, BOTH WEARING
SUITS GREET MARY AND ROB AT THE END OF
THE PLANE.
MAN 1 :
Does this look like the suitcase that
belongs to you?
EXT. CAR PARK. MORNING
STEVIE HAS HIS BACK TO A RED BRICK
WALL, HIS CHEAP GREY SUIT BRUSHES UP
AGAINST THE HARD BRICKS. HIS SUIT IS
LOOSE AGAINST HIS TALL AND LANKY BODY.
THIS IS THE FIRST TIME WE SEE HIS FACE.
HE GOES INTO HIS POCKET FOR A PACK OF
CIGARETTES AND A LIGHTER. HE LIGHTS UP
AND BREATHES IN THE SMOKE, AS HE
EXHALES HE LOOKS UP AT THE GREY SKY
(ALMOST AS IF HE IS LOOKING FOR SOME
HOPE).

6. 1. LS
Long
shots
with
the
camera
kept
compete
ly
still
2. Closeup
Point
of view
shot as
paper
is put
down,
cut
from
stevies
view up
to robs
reactio
n
HE GETS OUT HIS PHONE FOR A WHILE AND
THEN WALKS BACK INTO THE BLOCK OF
OFFICES. HE RUNS HIS HANDS THROUGH HIS
CURLY DARK HAIR.
INT. INTERROGATION ROOM. MORNINNG
STEVIE ENTERS A GREY ROOM, THE
APPEARANCE AND FEEL OF IT ALL IS
MENTALLY DRAINING. THE MAIN SOURCE OF
LIGHT COMES FROM A HARSH RECTANGLE LED
PANEL ON THE CEILING.
HE SCUFFS HIS FEET AS HE WALKS. HE IS
HOLDING A BIRO PEN IN ONE HAND AND A
SHEET OF A4 IN THE OTHER.
ROB IS SITTING AT THE BACK OF THE ROOM.
HE IS FIDDLING WITH HIS GOLD ROLEX
WATCH OUT OF NERVE. ROB QUICKLY LOOKS
UP AS STEVIE WALKS IN. STEVIE WALKS IN
AND LOOKS AT ROB'S WATCH.
HE SITS UP AND WATCHES STEVIE AS HE
WALKS CLOSER. STEVIE PLACES THE PIECE
OF PAPER DOWN ON THE TABLE AND ROB
LOOKS DOWN AT IT. AT THE TOP OF THE
SHEET IS CLEARLY SAYS IN BLACK BOLD
WRITING: HUMAN RIGHTS WITHIN
INTERROGATION.
STEVIE:
Morning.. I hope you've had a pleasant
morning (raises his eyebrow). I am the
Investigating Officer on this case so
let's just say you'll be seeing a lot
of me (doesn't make eye contact).

7. 3. Low angle
Making
stevie
seem
more
powerfu
l
4. High angle
Rob
seem
vulnera
ble and
less
power
ROB:
Yes.. urm morning. What's this?
STEVIE:
Your rights. Read them, love them, sign
them please.
ROB LOOKS DOWN AT THE PAPER AGAIN AND
SCRATCHES THE BACK OF HIS NECK, HIS
LEFT LEG IS SHAKING GENTLY UP AND DOWN
GENTLY (THIS CONNOTES NERVE AND
ANXIETY).
STEVIE TAKES OFF HIS BLAZER AND UNDOES
HIS TOP BUTTON AS THE ROOM IS STUFFY.
HE PULLS OVER A DEAD BEAT CHAIR TO THE
TABLE WHERE ROB IS SITTING AT AND JOINS
HIM.
HE PUTS ONE LEG OVER THE OTHER AND
LEANS BACK IN A RELAXED MANNER.
HE LOOKS AT ROB'S FACE FOR A FEW
AWKWARD SECONDS AND THEN BEGINS TO
SPEAK.
STEVIE:
Alright
ROB:
Yeah well nah no really.
STEVIE:
So where have you just come from?

8. STEVIE:
Listen mate, we don't get this kind of
case a lot.. so we are both under a lot
of pressure...
ROB:
I think the pressure is higher for
others.
STEVIE:
Agreed, I pick my battles, shall we
just get straight into it then?
ROB PUT HIS FACE INTO HIS HANDS AND
BEGINS TO GET TEARY. HE THEN LOOKS UP
AT STEVIE AS IF HE'LL GIVE IN AND LET
HIM GO.
STEVIE LOOKS AT ROB WITH DESPAIR, LIKE
A NEW PARENT.
ROB:
C.. Can..Can I call my sister?
STEVIE:
You get one call after this hour of
questioning, I'm sure you can wait..
ROB:
I told Debbie I'd call as soon as I
landed and it's been 2 hours, she'll be
going mad (he says this in a panicked
state).
STEVIE LOOKS AT HIS WATCH AND THEN BACK

9. AT ROB. HE UNCROSSES HIS LEGS AND LEANS
IN TOWARDS ROB AND STARES AT HIS FACE
WITH CURIOUS INTENT.
STEVIE:
Listen Rob, I'll let you in on a little
secret... The ones that don't speak end
up regretting it by the time they spend
behind bars. Just let that sink in. No
freedom, no family, no comfort and no
life to be quite frank.
ROB:
I know I know. None of this was meant
to happen.
STEVIE:
How are you affiliated with mary?
ROB:
Friends
STEVIE:
And?
ROB:
I just said... Friends.
STEVIE STANDS UP AND PLACES HIS 2 FISTS
ON THE TABLE. HE BREATHS OUT SLOWLY AND
HIS COFFEE BREATH MAKES ROB LOOK DOWN
AND MAKE A DISGUSTED FACE. HE WALKS TO
THE BACK OF THE ROOM SO HIS BEHIND ROB.
THIS MAKES ROB FEEL UNCOMFORTABLE. HE
LOOKS TO HIS SIDE TO CATCH A GLIMPSE OF

10. STEVIE. STEVIE CLEARS HIS THROAT.
STEVIE:
Right, so I'm going to guess and your
going to fill in the blanks or correct
me... It seems to me like you enjoy
playing games. You shouldn't play these
kind of games if your not willing to
loose.
ROB'S LEG CONTINUES TO SHAKE OUT OF
NERVOUSNESS. HE SCRATCHED THE BACK OF
HIS NECK AND SIGHS.
ROB:
Try me. But there is no good guy in
this room. You wanna rat me out and I
wanna protect the people I love.
STEVIE:
That's all well and good son, but this
is reality... Welcome (long pause)So
Mary? An ex? A lover? A friend?
ROB:
I've known her since primary school
when we lived in Lewisham.
STEVIE:
Go on..
ROB:
Where is Mary?

11. 5. Tracking shot
Trackin
g shot
followi
ng
stevie
1. Mid shot
Cut
straigh
t from
stevie
to Mary
STEVIE WALKS BACK AROUND THE ROOM SO
HE IS NOW FACING STEVIE. STEVIE LOOKS
AT ROB AS IF TO SAY 'I DON'T HAVE TIME
FOR THIS.' HE LEANS AGAINST THE WALL
WITH HIS FOOT RESTING AGAINST THE WALL
AND HIS ARMS FOLDED.
ROB:
If your not talking I'm not talking.
STEVIE:
You need to think about YOURSELF and
YOUR future (emphasis on capitalised
words).
ROB:
It's not like I have my freedom anymore
after this massive fuck up.
STEVIE SITS DOWN AND GET'S INTO HIS
USUAL SITTING POSITION. HE CROSSES ONE
LEG OVER THE OTHER AND GET OUT A SMALL
BLACK A6 NOTE PAD. HE STARTS TO TAP HIS
PEN ON THE LEG OF THE TABLE, ROB FINDS
THIS NOISE IRRITATING AND HIS LEG
BEGINS TO SHAKE EVEN MORE.
STEVIE NOW MUTTERS TO HIMSELF, AS HE
WRITES DOWN A FEW THINGS IN HIS
NOTEPAD.
STEVIE:
(mutters) ok.. ok.. so primary
school... Lewisham.. Mary.
INT. INTERROGATION ROOM. CONT'D

12. 2. Eye line view
Eye
line
view
shots
between
Stevi
and
Mary as
Mary
feels
equally
as
powerfu
l.
MARY:
Is this the interrogation you see in
all of those silly cop shows? (laughs
to herself).
STEVIE:
What was Lewisham like as a kid?
MARY:
My god, I underestimated you lot.
You've clearly done your research.
STEVIE:
I mean it must have been quite rough..
gang crimes, petty theft or even drug
use.
MARY:
What would you know?
STEVIE:
What's a pretty woman like you doing in
this situation?
MARY:
Don't talk to me like that... Calling
me pretty, it's pathetic and sleazy
(she purses her lips and raises an
eyebrow).
MARY CROSSES HER LEGS AND TAKES A SIP
OF HER TEA. YOU CAN SEE THE HOT STEAM
CONTRASTED AGAINST HER BLACK SHIRT. SHE
TUCKS HER WHITE BLONDE HAIR BEHIND HER
EAR WHERE A GOLD HOOP HANGS.

13. 1. Closeup
camera
placed
under
glass
table
2. Panning shot
Panning
mid
shots
going
across
each
charact
er
STEVIE:
I'm going to contract you and Rob a
pair of solicitors. Not that it should
really help (mutters).
MARY:
Don't take me for a muck. Just because
I'm not the man in the suit doesn't
mean I'm incapable (she says this is a
savvy and aggressive tone, as if this
is a warning for Stevie).
INT. MIAMI. NIGHT
A HAZY FEELING TO THIS SCENE AS WE GO
BACK TO 1989.
LINE OF COCAINE ON GLASS TABLE.
MUSIC PLAYS IN THE BACKGROUND AND WE
SEE ROB SNORT UP THE LINE WITH A NOTE.
THE ROOM IS DIMLY LIT, RUN DOWN AND
MESSY. BEER CANS ARE SCATTERED ALL OVER
THE ROOM.
ON THE GLASS TABLE NEXT TO A FEW LINES
OF COCAINE THERE IS AN ASH TRAY
OVERFLOWING WITH THE ENDS OF
CIGARETTES.
MARY, ROB AND CONNOR ARE SLOUCHED ON
THE COUCH IN A HAZED STATE.
CONNOR IS SCRAWNY AND THIN. HE HAS
STRAGGLY/ GREASY HAIR AND A STRIKING

14. SCAR ACROSS THE RIGHT SIDE OF HIS FACE.
HIS STANCE IS HUNCHED AND CARELESS. HE
WEAR A PLAIN TOP, A PAIR OF MOM JEANS
AND DOC MARTINS. HE ALWAYS HAS A
CIGARETTE IN HIS MOUTH. HE IS ONE OF
THE MAIN DRUG DEALERS IN MIAMI AND IS
THE PERSON WHO FIRST INTRODUCED ROB AND
MARY TO COCAINE.
ROB GESTURES TOWARDS MARY WITH THE NOTE
IN HIS HAND.
ROB:
You know what, I've got to disagree. I
think the velvet underground were much
better once they ditched John Cale and
his fucking Viola and were a straight
rock and roll band. Not to say Nico
isnt a good album but...
CONNOR (INTERRUPTING ROB):
Rob, shut the fuck up and do another
line.