MUSIC: symbolising the searching for 'first-love' which
the two main characters are unknowingly undertaking.
EXT. SUBURBIA-1977-1 - DAWN
We see a 1977 suburban street of terraced houses.
We FAVOUR one house. A small business van parked outside.
The letters: "JOHN THOMAS COMPUTER SERVICE" painted on
it.
A small garden in front of the house. Garden RICH in
flower. Early Spring.
The SOUNDS of suburban dawn ABOUND.
The first floor window of the house is open.
INT. SAMANTHA'S BEDROOM-1 - DAWN
The room of a young woman, still 'girlish'. Walls adorned
with worn idol pictures. A double bed a few steps from the
open first floor window.
A 1977 style analogue clock radio on the bedside chair, a
flip type calendar resting on its top.
The FIRST SOUND (very low) of the impending transition to
the future. Over view of calendar.
The bedside clock radio hands show: "7.05"
The date on the calendar is: 'MONDAY, APRIL 15, 1977'
The clock TICKS. Loudly.
SAMANTHA, a nubile, attractive, girlish woman and JOHN
THOMAS (J.T.) An ageing, womanising bachelor, lie in bed.
She sleeps, he on elbow, looking out of the open window at
the coming day.
He looks smug after the 'night before'. He thinks:
J.T. (V.O.)
Another day another conquest,
(smiles, looks at Samantha)
and, today,
(turns back to the window)
what will you bring me?
He gets out of bed, discretely seen to be naked, puts on a
dressing gown picked up from the floor and steps to the
open window to sniff the dawn air.
EXT. SUBURBIA-1977-THE STREET - DAWN
The SOUNDS of early morning suburbia awakening.
J.T. P.O.V.: A suburban street from an upstairs window.
Houses all terraced. Narrow road stretching into the
distance. Its greenery conveying warmth.
A MILKMAN Some distance down the far side of the road is
making deliveries.
CLINKING bottles. RATTLING crates from his milk wagon.
EXT. SUBURBIA-1977- MR. THING.- DAWN
The front door of the house directly opposite opens.
MR THING, a factory worker with cheesecutter hat, overcoat
and trousers clipped up with bicycle clips appears pushing
a bicycle.
MRS THING, in dressing gown and hair up in headscarf, close
behind.
J.T. Mentally comments:
J.T. (V.O.)
Hello, Mr. Thing. Nice morning, wonder
where you're off to?
Mr. Thing turns, kisses Mrs. Thing, mounts his bicycle and
cycles off.
Mrs. Thing stands waving to him, then turns to the opposite
direction, an expectant look on her face. She smiles.
'Someone' is seen. She re enters the house leaving the
front door ajar.
The milkman arrives outside the house, stops, extracts
milkbottles from his milk wagon, proceeds towards the open
door, milkbottles in hand.
J.T. Mentally comments.
J.T. (cont'd) (V.O.) (CONT'D)
Hello milky, wouldn't like your job.
The milkman glances cautiously around, smiles, shakes his
head cynically and furtively enters the front door left
ajar by Mrs. Thing. The front door closes.
J.T. Mentally realises.
J.T. (cont'd) (V.O.) (CONT'D)
Ha! ....Poor ole Mr. Thing!
INT. SAMANTHA'S BEDROOM - SAM WAKES - DAWN
J.T. Amused by the happening opposite turns, steps back to
the bed and sits on it to look at the sleeping Samantha.
J.T.
(softly)
Everyone's at it, Sam,
(beat)
just think, that would be you, over
there...
(indicates with a nod)
a few years from now, that is, if I
let you get to me.
(smiles, prods her)
Come on Sam. Wakey wakey!
Samantha turns over and grunts. Half asleep.
J.T. (cont'd)
(cynically)
Sam, it's the morning after!
SAMANTHA
(sleepily)
No more John, ...no more.
(whining)
I'm too tired.
(she pulls the sheets around
her)
J.T. Stands. Smiling proudly. The smile turns to
nostalgia. He remembers the previous night.
INT. SAM'S BEDROOM-THE PREVIOUS NIGHT - NIGHT
Samantha and J.T. Lie in bed after making love. She
adulating, he casual.
Soft, background. "Seducing" MUSIC.
Samantha is infatuated with his manly deeds.
SAMANTHA
(adoringly)
I do love you John, I really do!
J.T. Has heard it all before. He's selfishly had what he
wanted. He nods, smiling in gratification returning the
affection in the only way he knows.
J.T.
I know you do Sam.
He cynically thinks:
J.T. (cont'd) (V.O.)
"They" always do, don't they? You old
stud, John!
His thoughts return to the present.
INT. SAM'S BEDROOM-OFF TO WORK - DAWN
J.T. Shrugs and stands, prods her with his foot.
J.T.
Look, I have to go. Want some
breakfast?
SAMANTHA
(sleepily annoyed)
Leave me alone. I'm tired.
(she moves deeper under the
sheets)
J.T. Smiles. Turns and EXITS.
The TICKING of the bedside clock radio gets LOUDER.
SOUNDS of life slowly FADING, the FIRST SOUND replacing
them. (Low level.)
EXT. FUTURE SUBURBIA-1 - DAWN
The row of suburban terraced houses, 1977. SHIMMER.
They are shimmeringly REPLACED by the row of FUTURISTIC
terraced houses.
FIRST SOUND fades to Absolute SILENCE
-- NOTHING is alive.
Futuristic houses have NOTICEABLY sterile, bare, small,
concrete 'gardens' in front of each one. Everything
REPLICATED in appearance. Little unimaginative boxes. Like
something a computer would design.
We FAVOUR one house, MELT through its wall to;
INT. MAGDA'S BEDROOM-1 - DAWN
Magda's bedroom.
Small, dimly LIT. The bed seemingly the FOCAL point of the
room. Decor is futuristic. Vividly dull. No doors are
visible.
A digital calendar clock mounted above the bedhead. Somehow
not part of the wall, but visible. Like a projection
hologram of a digital clock.
The clock displays: 'MONDAY, APRIL 15, 2277, 7:12 a.m.'
It TICKS. In a soft PURRING manner.
MAGDA, a PERFECT, attractive, female specimen, sleeps on
the bed. Dressed in a loose fitting, bland, full length,
black cotton nightdress. No makeup on her face.
A soft chime ALARM. Repetitively.
Magda wakes and leans back, touches the bedhead.
The CHIME stops. The room is illuminated with soft
pervading LIGHT.
Magda gets off the bed, rubs sleep from her eyes and
stretches. She Touches the wall to the left of the bedhead,
alongside it.
SHIMMER SOUND.
The wall shimmers, DISAPPEARS, revealing a small wardrobe
filled with garments.
Magda selects one white, plain, kaftan looking full length
dress from within the wardrobe, walks further down the room
to touch the wall there.
SHIMMER SOUND.
This part of the wall shimmers, DISAPPEARS, turning into a
small doorway. A shower entrance.
Magda EXITS into the shower.
Beat.
The SOUND of an ultrasonic shower.
INT. MAGDA'S BEDROOM-THE CUBICLE - DAWN
The wall to the right of this door, at right angles to it,
has an horizontal cubicle within it. The cubicle can hold
the supine form of a fully grown man lying down. The inside
wall, above, and to the rear of this cubicle shimmers.
SHIMMER SOUND.
The shimmering wall changes into an opening. The opening
revealed displays a futuristic computer screen. Not part of
the wall, but visible. Like a projection hologram of a
computer screen.
Magda re enters dressed in the garment she took with her.
She Looks plain, no makeup. Very excited. Walks to stand at
the cubicle. Looks into it. Something to enthuse her.
MAGDA
Let me have a look at you, 256.
She bends, carefully examining two things O.S.
Sequentially.
MAGDA (cont'd)
I thought so......
(affirming nod)
...that darn Compu!
I will have to change those hands.
Magda operates the computer by looking at its screen and
moving her eyes over the text displayed.
The computer can see what area she looks at and when she
closes the iris of her eyes, a learnt action, the computer
knows this is the command she looks at and desires
executed.
The computer screen glows, displays:
'ORGAN SELECT CONFIRMED' -- 'CONFIRMED 'flashes'.
'LASER SCALPEL?'
SHIMMER SOUND.
Another part of the wall, above the computer, farther back,
shimmers, DISAPPEARS.
A shelf. Rows of varying sized objects on it. Looking like
jars but NOT jars. Magnetically enclosed volumes of space.
All filled with milky looking liquid. Arrayed below the
objects are rows of surgical looking instruments and a pair
of spectacles.
Magda operates the computer again. The computer screen
changes:
'LASER-SCALPEL ACTIVE' -- 'ACTIVE' 'flashes'.
Magda picks up the spectacles puts them on. Selects one of
the instruments, a laser scalpel. Bends to use it O.S.
Within the cubicle.
Two intense blue white LIGHT flashes. Coincident with use
of the laser scalpel.
The SOUND of a pulsed laser coincident with each flash.
Magda replaces the instrument. Pushes some things aside
within the cubicle, O.S. Sequentially. Stands back.
Surveying the row of jar objects. Choosing, she selects
one. Reaches to touch it.
Her hands DISAPPEAR through its walls.
She moves to OBSCURE the object from us. Takes something
out, O.S. Puts the selected item within the cubicle.
Meticulously positions TWO things, O.S, within the cubicle.
Picks up the laser scalpel. Bends. Operates it again. With
great care.
Many more blue white LIGHT flashes.
The SOUND of a pulsed laser coincident with each flash.
Magda repeats the operation a second time. With great care.
Many more blue white LIGHT flashes.
The SOUND of a pulsed laser coincident with each flash.
Magda stands back. Replaces the instrument. Takes off the
spectacles. Replaces them. Picks up two things,
sequentially, from within the cubicle. Holds them O.S. In
her left hand and operates the computer.
The computer screen changes to:
'LASER-SCALPEL INACTIVE'; 'INACTIVE' 'flashes'.
'RE - CYCLE ORGANS?'
Magda operates the computer again.
INT. MAGDA'S BEDROOM-RECYCLE THING - DAWN
SHIMMER SOUND.
A small section of the wall, within the left end of the
cubicle, changes into an opening. The recycle aperture.
Large enough to accept a supine human body
INT. MAGDA'S BEDROOM-THE HANDS - DAWN
We see: Magda casually holds a pair of bloodless human
hands neatly laser severed from a torso.
A pair of human feet belonging to a body. Bloodlessly
white. Lying in the cubicle. Very near to the recycle
aperture.
Magda casually drops the pair of human hands into the
recycle aperture.
SHIMMER SOUND.
The recycle aperture, shimmers and changes into the end of
the cubicle.
Magda stands back looking into the cubicle. Addressing
something O.S.
MAGDA
(pleased)
There we are!
Now, all we have to do is,
(operates the computer)
The computer screen changes to:'BLOOD SUPPLY TYPED AND
READY'
MAGDA
fill you up
She pulls two plastic pipes from the rear of the cubicle.
Attaches them to something O.S. Within the cubicle.
MAGDA (cont'd)
and set the auto re vive for,
(operates the computer again)
eight today,...and, my lovely, you
will be ready for me tonight.
Magda licks her lips in anticipation, turns, walks back to
the wardrobe. Sorts among the clothes, choosing.
BACKGROUND SOUND of a pumping gurgling noise.
The computer screen changes:
'PLAYMAN 256: FILLING '
256, AS YET UNSEEN, IS BEING FILLED WITH BLOOD AS HE LIES
WITHIN THE CUBICLE.
We see the pipes, connecting to something O.S., Within the
cubicle, turn RED. Blood commencing to flow through them.
INT. MAGDA'S BEDROOM-2 - DAWN
Magda ritualistically arrays a short mini skirt, knickers,
very high stiletto heeled shoes and low cut blouse on the
bed. She casts expectant looks towards the cubicle as she
exits to O.S.
The room LIGHTING dims. LIGHT only from the computer
screen.
It displays: 'PLAYMAN NUMBER 256 HALF FULL'
In the very dim light a pale, naked, hairless man lies
within the cubicle. As yet, unseen. Not yet alive. Blood
pumping into him from attached pipes.
FIRST SOUND. The computer screen flickers. Changes to:
'MONDAY, APRIL 15, 2277, 7.15 am'
'RE - VIVING PLAYMAN 256'
The last bars of FIRST SOUND fade.
INT. SAMANTHA'S BEDROOM-2 - DAWN .
The bedside clock radio displays: '7.15'
Samantha sleeps. J.T. Enters. Dressed for work carrying a
breakfast tray. Walks to the bedside. Places the tray on
the bed.
J.T.
Hey up, Sam, breakfast is served!
Samantha stirs, sits up. Her nudity revealed. Starts
rubbing her eyes.
SAMANTHA
What?
(looks out of the window)
Oh,
(beat)
...is it morning?
(wakens further)
J.T. Looks bored. Samantha slowly realises her nudity.
SAMANTHA
Oh, John, anyone could have seen me.
(pulls the sheets over
herself for cover)
Why did you open the window?
J.T.
(cynically smirking)
'Anyone' deserves some pleasure,
doesn't he?
SAMANTHA
(bitterly)
It's not funny! You don't take
anything seriously, do you?
(beat, bites her lip, unsure)
Even last night meant nothing to you,
did it?
J.T.
(innocently)
Last night? What happened last night?
SAMANTHA
(concerned)
Be serious John, please! I do really
love you, you know. I wasn't just
saying all that last night.
J.T.
(boredly)
I know you do Sam.
(looks at the clock)
Let's see how you feel in a few days
time, shall we?
(beat)
Eat your breakfast.
He bends to kiss her forehead in fatherly like manner and
exits. Samantha feeling it's 'over' becomes spiteful,
shouts.
SAMANTHA
Don't bother to come back!
I'm just your RECYCLED TOY!
Long beat.
A vehicle door SLAMS. The vehicle STARTS. MOVES off into
the distance.
Samantha throws herself back on the pillow. Sobbing
violently. Sorry for herself. Unrequited love.
The clock radio displays: '7.25' It switches its radio
on. A RECORDING plays.
The row of suburban terraced houses, 1977. SHIMMER.
Radio MUSIC fades to FIRST SOUND.
INT. MAGDA'S BEDROOM-3 - DAWN
The computer screen flickers, displays:
'MONDAY, APRIL 15, 2277, 7.25 a.m.'
'PLAYMAN 256 LIFE - FORCING'
The interior of the cubicle commences to GLOW. Emitting
LIGHT pulses from O.S. Within its base in an eerie manner.
EXT. THE STREET-1977-1 - DAY
J.T. Is in his vehicle driving along a suburban road. He
thinks.
J.T. (V.O.)
First call is to the bank, if instead
of DOS, they buy UNIX, .....boy!
...I'll get twice the commission!
(smiles)
Shan't say that it'll double operating
costs, though.
(long pause)
His face takes on a wistful look as he continues driving.
Philosophising mentally.
J.T. (cont'd) (V.O.)
Poor ole Sammy! Give her a few more
years, a few more encounters, and you
might go for her, you old stallion!
He smirks, switches the vehicle radio on.
ANNOUNCER (V.O.)
It's 7.30, Next up we have (Title of
recording):
SOUND of A RECORDING commencing to play.
EXT. THE TRUCK-1 - DAY
A large heavy truck thunders down a major road. From the
right of the T junction J.T. Will soon enter.
FIRST SOUND.
INT. FUTURISTIC REST ROOM-1 - DAY
The room is small, mundanely decorated in a futuristic
manner. Three plastic looking chairs adorn it.
Two women, CATRINA and WOMAN 2 occupy the room. BOTH drab
looking. Dressed in identical Futuristic Kaftan looking
full length work clothing. Entirely non sexy. No facial
makeup.
Catrina sits in one chair. Woman 2 sits facing her.
Catrina holds a small futuristic TV monitor. Peers intently
into it.
Woman 2 looks about. Searching for a conversation starter.
Touches the arm of her chair.
The wall LIGHTS with a digital clock, there but not there.
Like a projection hologram of a clock.
It displays: "7.40 a.m."
WOMAN 2
(slyly)
Magda is late today.
CATRINA
What? ....Oh, yes, she is, is she not.
We will have to speak to her about her
timekeeping, this is the third time
she has been late this period.
(puts the TV monitor down)
WOMAN 2
I think it is man trouble.
CATRINA
Man trouble?
WOMAN 2
Did you not know?
(beat)
She has the most peculiar theories
about men.
(leans forward, secretive)
WOMAN 2 (cont'd)
Why, she has not made one for five
minutes before she re cycles it to
make another!
CATRINA
Oh? What does she do that for?
WOMAN 2
I am sure I do not know. You had
better ask....
Magda ENTERS, interrupting.
MAGDA
(to Woman 2)
Good morning, ask who, what?
(apprehensively sits in the
vacant chair)
WOMAN 2
Oh, nothing, it does not matter.
CATRINA
(to Woman 2)
That is not what you said to me, dear,
(to Magda)
she wants to know what man you are up
to.
(malevolent grin)
Woman 2 looks 'discovered'. She dislikes Magda. Magda
shrugs.
MAGDA
It is no secret, he will be number Two
Hundred and Fifty Six.
WOMAN 2
Two five six?
CATRINA
(cynically)
And, she refers to IT as 'HE'!
MAGDA
Well it is, is it not?
WOMAN 2
(smirking)
You will have to lend it to me before
I can tell you that!
Catrina laughs, Woman 2 pleased.
MAGDA
I see, it is going to be one of
'those' days, is it
WOMAN 2
(pretending hurt)
Well, what do you expect, leaving all
the work for us.
MAGDA
(bitterly)
It is about time you did your share.
WOMAN 2
(to Catrina for help)
Well I never!
(to Magda)
If you want a fight,
CATRINA
(interrupting, interested)
Two five six?
(beat)
Really?
MAGDA
Of course, and HE will be completely
unique.
WOMAN 2
The bitch didn't answer...
CATRINA
(interrupting)
Quiet!
Woman 2 feigns hurt. Catrina dislikes her. Speaks to Magda.
CATRINA
What went wrong with the other two
hundred and fifty five?
MAGDA
(quizzically)
Wrong? Nothing went wrong. They merely
did not bear out my theory so I became
bored with them.
CATRINA
Bored?
(beat)
I get bored with my fifteen, but I do
not re cycle it.
(beat)
Now it, IS the ultimate.
WOMAN 2
(cynically)
And you are fifty years older than
Magda,
(beat)
....are you not dear?
MAGDA
That may be, but my two five six will
be unique.
WOMAN 2
On bed, I suppose.
Magda looks daggers at her. Dislikes them both.
INT. FUTURE REST ROOM-2 - DAY
Catrina is very interested, she continues.
CATRINA
(looking to Woman 2)
Oh, I see, she is developing the
ultimate in bedmates!
(to Magda, smiling)
No wonder you are so late in the
morning, dear.
WOMAN 2
(spitefully)
Yes, and tell us why you are
specifying genitalia about ten times
the normal size. I looked up the one
you specified for this,.....this
.....two five six of yours, and it is
the biggest yet!
MAGDA
(offended)
Oh, you know that is not true.
CATRINA
(sneakily)
Well, dear, what have you been up to?
You can tell me, dear.
MAGDA
I have been experimenting with the men
I make for some time now.
Woman 2 sniggers. A dirty mind. Magda ignores her.
MAGDA (cont'd)
Very slowly, I have come to realise
many things about the way we make our
playmen. Since it is purely an
empirical task, I have had to make a
lot of them.
My present playman, two five six, is
now re viving with several interesting
modifications to its physiology......
WOMAN 2
(cynically interrupting)
Like a big genitay --
MAGDA
(interrupting, continuing)
One factor my past experience has led
me to conclude, is, that all the
playmen we make are identical.
Catrina and Woman 2 are incredulous. Magda savours this.
MAGDA (cont'd)
The re cycled organs Compu provides
have become standardised without us
realising. Only after forty years of
hard work did I realise this.
Catrina and Woman 2 are very interested. Magda pauses,
leans forward. A secret.
MAGDA (cont'd)
You see,
(pause, for effect)
the re cycled parts we use have been
merely shared about. Even the brains
still contain programmed material,
they have to for our playmen to obey
us from re vival time.
Catrina and Woman 2 assent. They know some of this is true.
MAGDA (cont'd)
My two five six will have a sterile
brain. It will have to learn. It may
even attain an opinion of its own.
WOMAN 2
(disbelief)
Hah! Whoever heard of such a thing!
MAGDA
(ignoring her)
It will have unique, original brain
patterns, not just variations on one
re cycled theme.
CATRINA
(hurt)
You are wrong my fifteen IS unique!
WOMAN 2
(blurting out)
So is my one twent.....
(claps her hand over her
mouth)
Magda smiles. She's not the only one! Catrina addresses
Woman 2.
CATRINA
So you are at it as well?
WOMAN 2
(lame excuse)
Well, not for the same reason. I just
seem to wear them out.
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