Set in a fantasy version of the Blue Mountains, NSW, Full Moon Over Faulconbridge is a story of reconciliation and healing, and deals with the themes of respect for the earth, respect for each other and the misuse of power. Currently in the form of a pilot episode and series bible.
Full Moon Over Faulconbridge was co-written by Victor Spiegel.
SAMPLE
Full Moon Over Faulconbridge
One-Hour Pilot Episode
CAST LIST:
Primary Characters:
BERNARD
ROBYN
MARGARET
MERV
MICK
CHRIS
DAVE KELLY
Secondary Characters:
MASTER
AGATHA (NOT IN PILOT)
WARGON
PRIME MINISTERS/GOVERNORS:
SIR HENRY PARKES, WHITLAM, FRAZER, FISHER, BLIGH,
PHILLIPS, MACQUARIE, GORTON, MENZIES, DEAKIN,
SCULLIN, LYONS, MCMAHON
BULLIES 1 & 2, PARK
PENTATHUS (NOT IN PILOT)
INDIGENOUS ELDER
FADE IN:
1 EXT: CORRIDOR OF OAKS - PREHISTORIC ERA 1
An indigenous ELDER is turning something over in his hand as
he sits crosslegged at the future site of the Corridor of
Oaks, Faulconbridge. A FIRE is burning in a stone circle.
Nine CROWS are perched in various locations, watching
intently. The background is lush, prehistoric and very green.
His temporary hut is made of leaves and bent branches.
The stooped and ancient elder inspects the object, which is
revealed to be a SHE-OAK SEED, looking at it closely and then
holding it away from him.
He exhales slowly.
ELDER
(SPEAKING DARUG WITH
SUBTITLES)
Just a seed.
He looks out across the thick vegetation, takes a deep
breath, kneels down and digs a small depression in the rich
soil. He gently places the spiky pod into the receptive
earth.
An odd melody - with the incongruous timbre of a bamboo flute
- echoes through the canyon and soft evening light
accompanies the slowly setting orange sun and grey purple
clouds. Several birds land and hop forward. The elder stands.
Crows and black cockatiels flap and settle around the aged
man as he listens to the melody.
Pensively he throws a log on the fire and raises his arms out
and wide.
ELDER (CONT'D)
It is done, Sky Father.
(to himself)
But why? What is the point of this?
He throws a pinecone into the coals. The fire suddenly
explodes releasing thousands of white and red incandescent
sparks. The crows scatter. The gathering purple-gray storm
clouds rumble in the distance. The shaman looks up
apprehensively. He is about to apologize for his curiosity
when blurry images appear inside the clouds. The projections
clarify momentarily: people in strange clothing, strangely
shaped dwellings, long ribbons of black and grey, metallic
chariots, and men and women walking quickly and purposefully
in every direction.
He shakes his head.
ELDER (CONT'D)
None of my business.
He pats the earth where he planted the seed as a shaft of sun
lights the mound with an uncanny glow. Throwing dirt over the
fire, he stands for a moment looking out at the lush forest
in the onrushing winds of a monsoon, and then hobbles slowly
back to his hut.
MONTAGE
THE SHE-OAK SPROUTS AND GROWS IN TIME LAPSE.
BLIZZARDS.
BLINDING SNOW BLANKETS THE LAND.
THE FREEZING BITE OF THE LAST ICE AGE SEEPS INTO ROCKS AND
CREVICES.
THE SHE-OAK ENDURES, GATHERING ELEMENTAL STRENGTH AND
KNOWLEDGE.
THE DEEP FREEZE TRANSFORMS THE LAND INTO CLIFFS AND VALLEYS
OVER THOUSANDS OF YEARS.
WE SEE A TIME LAPSE OF PEOPLE COMING AND LEAVING OVER THE
19TH AND 20TH CENTURIES,
THE TREE GROWS...
...And becomes part of The 'Corridor of Oaks' in its
contemporary state: a park by a freeway.
A train whistles past. A branch falls from the she-oak. A
MAN in Shaolin-style robes stoops, picks up the branch and
runs his fingers over it, eyes closed. He inspects it closely
and nods.
CUT TO
The Shaolin man is hand-carving the she-oak branch. He then
puts it into a lathe, then chips away at it, hand-drills
holes at precise points, tests the sound and adds more holes.
He blows away the shavings, polishes it and when he has
cleaned it, puts his lips to it and plays a beautiful melody.
His hands begin carving glyphs into it.
CROSS FADE
TITLES AND CREDITS
2 EXT. BLUE MOUNTAINS BUSH - LATE AFTERNOON 2
A large CROW is perched on a Eucalyptus branch. Its rainbow
colored eye looks quizzically at us and then the crow lifts
off winging its way over the Blue Mountains of New South
Wales, Australia. It dips and rises in the green-blue canyons
until...
3 EXT. BLUE MOUNTAINS BUSH - A CLIFF OVERLOOKING A VALLEY -3
SUNSET
...we reach a CLIFF where MARGARET - a middle-aged housewife
who is worried about her weight and attractiveness - and MERV
- a middle aged, typical Aussie bloke - are having a
"picnic." They stare vacantly away from each other as the
FULL MOON begins to rise. Storm clouds flex their muscles.
Fog spills into the canyon as the crow floats above it and
lands on the cliff.
MARGARET pops the cork on a wine bottle.
MERV
Maggie! That's the good stuff! I
was saving it for a special
occasion!
MARGARET
So our anniversary doesn't count as
a special occasion?
MERV
What's to celebrate? Twenty
whatever years?
Margaret grabs the cake knife and cuts the cake, putting
slices on the paper plates.
MARGARET
It's twenty-seven years. And I've
told you a thousand times, Merv,
don't call me Maggie.
MERV
Yes, Ma-a-argaret.
(Beat noticing Margaret's
LOCKET)
God that thing's ugly. Why do you
wear it anyway?
MARGARET
None of your business. I don't have
to tell you everything.
MERV
Yeah, but you've had it since
before the wedding, and you never
seem to put it down. You made me
miss the footy so you could bring
me to this bloody lookout. Well I'm
looking out, and there's so much
fog I can't see a thing. You say we
never do anything any more, we
never talk. So, come on, Maggie -
talk!
MARGARET
You wouldn't understand. And I told
you not to call me Maggie.
MERV
Oh, here we go.
MARGARET
Here we go what, Merv? What?
MERV
Nothing. Are we done celebrating
now?
Bottle teeters, falls and breaks.
MERV (CONT'D)
Bitch! That cost me two hundred
bucks!
MARGARET
That's all you care about, isn't
it? I'm fine, by the way.
MERV
Well as long as you're fine. I'm
starving- did you cut the cake?
MARGARET
(indicating the lamely
iced slices of chocolate
cake)
Help yourself - you always do.
4 EXT. CORRIDOR OF OAKS - SUNSET 4
BERNARD, intent on reciting his mantra with sacred beads,
trips and falls face first into the mud.
Groaning, he picks himself up. He wipes the red clay from his
perfectly unkempt robes. He sighs, and walks over to a stone
water fountain, washing off the mud as best as he can. He
sits and pulls out a roll of suede, which he unwraps to
reveal a beautiful flute. The patterns on the outside are
worn and undecipherable. He places it on his lips and blows.
The light in the grove shifts to an odd angle. The trees and
grass blades are illuminated from within. The birds and
insects fly in from every direction to be part of the ancient
song.
A MUM and DAD and their 7 year old daughter CARRIE are riding
bicycles through the park. The daughter slows down and pauses
when she hears Bernard's playing. She listens, transfixed
with a smile on her face. Bernard smiles back but the mum
doubles back and hurries her along. The Mum gives Bernard a
dollar.
MUM
Come on, Carrie, don't bother the
nice man.
CARRIE
(riding away)
He smells, Mummy.
MUM
Sssh!
Bernard stops playing and watches the family ride off. He
looks in his swag for something to eat but his last packet of
bread is mouldy.
He sighs, stands and walks, finding a suitable spot where the
energy is right. He begins a slow Qi Gung movement
meditation, full of flowing movements and gentle forms. As he
gains momentum and energy, the Qi Gung flows seamlessly into
powerful martial arts moves, he spins and ducks and weaves
with an almost magical agility.
Suddenly, he hears a sound. A scream? He stops. Listens.
From Bernard's POV, we see a YOUNG MAN (early 20s, white t
shirt, jeans, short hair) arguing with a YOUNG WOMAN (early
20s, leather jacket, vinyl skirt, heels) on the other side of
the park. They have reached screaming pitch.
The young man slaps the young woman on the face.
BERNARD
Hey!
The young man turns toward Bernard, the young woman turns her
head away. Bernard walks towards the couple.
BERNARD (CONT'D)
If you hit her again, I'm gonna
stop you.
YOUNG MAN
Butt out.
BERNARD
(To young woman) You ok?
YOUNG MAN
She's fine.
The young woman nods.
BERNARD
Sure?
YOUNG WOMAN
(nods again, tears on
cheeks)
Fine.
YOUNG MAN
Piss off.
Bernard shrugs and turns to walk away.
YOUNG MAN (CONT'D)
Fucking homeless loser.
Bernard tenses. He turns around, falling naturally into
combat stance. His eyes are full of rage. He moves towards
the young man, who flinches. From Bernard's POV, the whole
world TURNS RED. Bernard moves right up to the young man and
moves to hit him. The young man flinches.
FLASHBACK TO:
5 INT. MARTIAL ARTS DOJO 5
Bernard is standing in line at a Martial Arts grading. He
sees his girlfriend, ROBYN, flirting with another student,
GREG. He is paired with Greg to spar. They trade a few blows,
Greg pins Bernard to the ground and whispers 'loser' in
Bernard's ear. Bernard flies into a rage, throws Greg off him
and kicks him with enough force to slam him into the wall. CU
on horrified faces of other students, disappointed face of
the martial arts MASTER.
6 EXT. CORRIDOR OF OAKS - SUNSET 6
Bernard shakes his head as he comes out of the memory. He
uses a breathing technique to calm himself down, and with
great difficulty he walks away. The young man recovers his
composure and sniggers.
YOUNG MAN
Ha. Told you he was a loser.
YOUNG WOMAN
Yeah.
As the man leads the woman away, she turns to mouth a silent
'thank you', but Bernard doesn't see. Internally fuming, he
walks back to his swag near the fountain and crawls into it
for the night. He looks up at the branches above him, where
the CROW is silhouetted against the full moon.
7 EXT. BLUE MOUNTAINS BUSH - LOOKOUT ABOVE CLIFF- SUNSET 7
Another CROW sits on a branch at a lookout above the cliff
overlooking Margaret and Merv's picnic spot. The crow is
reflected in the compact mirror of ROBYN TREADWELL, cute,
perky, ambitious in her late twenties, who is looking at
herself in the mirror, straightening her hair and applying
makeup. MICK & CHRIS, early twenties, are halfway through
setting up video and sound equipment. As Mick reaches down to
unlock an equipment case, Chris spots a puddle and his inner
two-year-old takes over.
CHRIS
Hey, Mick! Look at me! I made a
rainbow!
Chris splashes Mick.
MICK
Thanks, Chris. Now my pants can
share the rainbow.
CHRIS
Sorry. But they're just so shiny! I
thought: there's puddles! Puddles
splash. See the shiny?
MICK
Yes. Astute of you, Chris. There
are puddles. And they do indeed
splash. Would you like a
demonstration?
Mick splashes Chris deliberately.
CHRIS
Okay that's it - you're dead now!
Enthusiastic splashing and shouting.
Distant thunder, slight drizzle.
ROBYN
Stop it! Can we just get the shot?
We gotta get this in before the
storm hits.
MICK
(play-acting the child)
But he started it!
CHRIS
And are you sorry?
MICK
(laughing)
Not really.
Splashing
ROBYN
Oh, for God's sake.
MICK
Okay, okay... We're sorry.
CHRIS
(chuckles)
Sort of.
MICK
Sound.
CHRIS
Rolling.
WITH CHRIS'S CAMERA
ROBYN
Hi, I'm Robyn Treadwell from Aussie
Weekender. Welcome to the Blue
Mountains, without doubt
Australia's best-known national
park. Easily reached from the
centre of Sydney and well-serviced
by public transport, these
panoramic escarpments are magnets
for abseilers, bush-walkers and
families just wanting to say
they've been there. There are cafŽs
and restaurants offering expansive
views. The Glenbrook trail is
popular with the mountain biking
set. Katoomba hosts the enchanting
Winter Magic Festival. Not to
mention the spectacular natural
surroundings - including the World
Heritage listed Three Sisters
formation. The Blue Mountains is
also known for historic buildings
like the Old Academy, and its many
quaint antique shops, for all you
collectors. I'm about to check out
the Faulconbridge lookout - let's
go.
CHRIS
Okay, got it.
Chris swings the camera around and zooms in on Margaret and
Merv.
CHRIS (CONT'D)
Hey... Check out this old couple...
Mick, come here!
ROBYN
Chris, we don't have time to -
CHRIS
Hey, possible smooching situation
here... Oh, they're standing up...
I - I think they're arguing,
actually.
MICK
Let me see!
From POV of TV camera, the ledge that Margaret and Merv are
standing on cracks down the centre.
CHRIS
Hey, did you see that?!
8 EXT. BLUE MOUNTAINS BUSH - A CLIFF OVERLOOKING A VALLEY -8
EVENING
The moon rises. Mist has crept in. A tremor. The rocks on the
cliff wobble slightly.
MARGARET
Hey, did you just feel the rock
move?
MERV
Ha. I told you: you need to lose
weight.
MARGARET
(If looks could kill)
Oh that's so typical. Do you even
know what feelings are?
MERV
(general mumbled
argumentative sounds)
Huh. Only feeling I've been doing
lately is between me and myself.
MARGARET
That's disgusting.
MERV
Well pardon me for having a libido.
Another tremor.
MARGARET
(stands up)
I'm serious. It's a minor
earthquake or something.
MERV stands too. He steps out towards the edge to see if he
can see what's going on.
MARGARET (CONT'D)
Don't step out onto the -
MERV makes a dismissive gesture.
MARGARET (CONT'D)
Bloody hell. If you fall, I'm not
coming down to get you.
MERV
You'd be delighted, wouldn't you?
MARGARET
How dare you-
MERV
Oh come on. What are we even doing
here. You don't want to have cake
with me, and I don't wanna have
cake with you. I've missed the
Panthers kick off, instead we're
standing here arguing, getting
bitten by flies and surrounded by
creepy birds...
Another tremor, a proper one this time. Merv yelps, as he
loses his footing and begins to slide over the edge.
MARGARET
Merv! Oh you idiot.
MERV
Help me, Margaret!
MARGARET
Alright, don't be such a cry baby.
Here.
Margaret twists the picnic blanket and offers it like a rope
to Merv.
MERV
Don't be so keen to help. I mean,
I'm only dangling off the edge of a
bloody cliff. Aw, Jesus, hold it
still, will ya? You're holding it
all wrong.
MARGARET
You want me to let go? You want to
die?
MERV
(mumbling under breath)
At least I wouldn't be married.
MARGARET
What?
MERV
Hey - watch it...it's slipping.
Hold it tighter!
MARGARET
Okay, so tell me Merv - why should
I?
MERV
What? Bloody crazy woman! Give me
your hand!
MARGARET
I'm just wondering what you've done
to deserve my help.
MERV
(to himself)
Jesus. I'm close to plummeting off
this cliff and she wants to discuss
the relationship. Typical woman.
(to Margaret)
Pull tighter!
MARGARET
Fine. Have it your way.
Margaret loosens her grip slightly.
MERV
Hey - Maggie - Margaret! I'm sorry.
Please, I just need a hand...then
we can talk, okay? No bull.
MARGARET
It's too late for that now, Merv.
(Margaret thinks to
herself)
It's been too late for years.
MERV
What? Margaret! What the bloody
hell do you mean?
Cracking rock, Merv is slipping.
MERV (CONT'D)
Maggie! Please! Don't do this!
MARGARET
GET OFF MY DRESS!
Margaret shoves Merv. He scrabbles and scrapes for purchase.
MERV
(falling)
Aah!
MARGARET
Oh God.
Merv falls bumping and swearing into the canyon mists.
CROSSFADE