Misdirected by Ward Booth

Misdirected
By
Ward Booth
Last ammended: 04 July 2009
18 Jenolan St.
Harrison. ACT. 2914
Phone: 02 62427545
torpian@hotmail.com
INT. CONSTRUCTION SITE FOR A MULTI LEVEL CAR PARK. DAY

A young man, TOM (22), is pushing a wheelbarrow around that
is filled with power tools. The sounds of HAMMERING, BUZZ
SAWS and MUSIC from a radio can be heard in the background.
A young bull of a man, heavy set in the shoulders and arms
enters the shot carrying a huge heavy roll of cable over his
left shoulder. This is BILL (35), the electrician.
Bill can be seen talking to Tom but their conversation is
muffled by the sounds around them.
The radio dims and their conversation comes to an end as the
third worker enters the shot. He is a much older man with a
sun weathered complexion and a bit of a limp as he walks. He
wears a strangely delicate pair of reading glasses and a
white hard hat. This is DAVE (50), the foreman.
Dave walks past the two men towards an esky that sits beside
a concrete pillar. He opens the esky and takes out his
sandwiches and a can of soft drink.
Turning to face the two men, he looks at them - as if for
the first time realizing that theyre standing there.
DAVE
Lets eat, Im fuckin starvin.
Tom hardly needs a second offer and immediately drops his
wheelbarrow. He briskly walks across to grab his own lunch
from the esky before slouching against the pillar near the
esky to unwrap it.
Bill eyes the other two off with mild irritation before
lowering his cable to the ground. It is clear now that Bill
is the real worker here, his young apprentice is lazy and
Dave is enjoying his role as the arrogant boss whos earned
his position through a lifetime of hard work.
Bill wanders over to join them. He takes out half a roast
chicken and a couple of rolls of bread from the esky.
Juggling the food in his right arm, he reaches back inside
the esky and takes out a large bottle of coke.
DAVE (contd)
Its no wonder youre so fat Bill,
you eat like a half starved pig
locked in a grain house.
Bill ignores him, but the comment gets a chuckle out of Tom.
An awkward silence begins between the three men. Bill
decides to break it with a loud fart.
(CONTINUED)
CONTINUED: (2)
2.
DAVE (contd)
Jesus Christ Bill, you OK there
mate? That is fucking potent! Did
your boyfriends gerbil die up
there or something?
Bill and Tom both laugh.
Between bites, Tom decides to break the silence.
TOM
Hey Dave, I ended up watching that
horror movie you were talkin about
a couple of days ago.
Dave turns to face Tom. While eating he raises an eyebrow
and squints in Toms direction.
DAVE
What movie?
TOM
(with a mouth full of food)
The horror one, you know - the one
with the old dude in it.
DAVE
Oh, you mean MISDIRECTED? Good
aint it? Bit like SAW or HOSTEL.
TOM
Yeah it was alright. The ending was
pretty shit though. Have you seen
it Bill?
Bill wipes his greasy fingers on his shirt and turns to face
Tom, not really paying attention to their conversation.
BILL
Seen what?
TOM
This movie called MISDIRECTED, its
a horror.
BILL
Nup. I dont have time to watch
shit like that.
DAVE
Fuck off you dont! Ive been to
your house before, all you do is
watch TV.
(CONTINUED)
CONTINUED: (3)
3.
Bill just stares at Dave. Tom breaks the silence again.

TOM
You might like it Bill, its pretty
gory.
BILL
Who stars in it?
TOM
No one famous - no one I know
anyway. It was filmed here in
Australia I think.
DAVE
Its similar to Wolf Creek.
TOM
Its worse than Wolf Creek though,
its way more violent.
BILL
Might be interested in it, I liked
Wolf Creek - those arseholes had it
comin.
TOM
Well, it starts out with this old
geezer...
FADE OUT
OPENING CREDITS
SUPERIMPOSE: MISDIRECTED
CUT TO:
EXT. SUBURBAN HOUSE. DAY
THIS SHOT IS TAKEN FROM THE WINDOW OF A VAN. THE WINDOW IS
WOUND DOWN, HOWEVER ONE FIFTH OF THE WINDOW IS STILL IN THE
SHOT.
It is a cloudy spring morning, water can be seen on the
pavement outside an old modest weather board house set
amidst a row of similar houses. Faded and flaking paint can
be seen on the fence directly in front of us. The CAMERA
rises to slowly to reveal movement in the garden on the
other side of the fence.
(CONTINUED)
CONTINUED: (2)
4.
GEORGE (70), an elderly gentleman can be seen pruning the

roses in this garden. He is a tall man, a little plump
around the mid section, his head is balding but fine wisps
of white hair still blow gently in the breeze. He takes care
with his gardening, inspecting the tiny buds on each stem
before making a precise cut.
1950s swing music plays softly in the background, coming
from inside the house. A womans voice can be heard humming
along to the tune. Her voice gets louder until her
silhouette can be seen behind the fly-screen door of the
entrance. This is MARY (66).
MARY
Come inside Hon, its gonna rain
soon.
George smiles but does not turn to face his wife. Instead he
continues what hes doing before looking up briefly at the
sky above - a storm is brewing.
GEORGE
Ill just be a few more minutes
dear.
George begins to pick up the clippings on the ground and
dumps them in the waste bin by the side of his house. He
briefly looks directly at the camera, his brow is furrowed,
then continues inside.
CUT TO:
INT. SUBURBAN HOUSE. DAY
THE CAMERA HERE IS FIXED BEHIND A GLASS CABINET WHERE SOME
FINE CHINA IS BEING DISPLAYED IN THE KITCHEN, IT CANNOT BE
SEEN AND NO OTHER VIEW IS GIVEN.
Mary can be seen walking around the kitchen, preparing food
and washing the dishes by the sink. The CAMERA does not
move, but is able to pick up the action in an
isometric/voyeuristic style.
George enters the shot via the semi lit hallway that leads
into the kitchen. He pulls out a chair and slowly lowers
himself down.
MARY
Wash up first dear, Joanne is going
to be here shortly.
(CONTINUED)
CONTINUED: (2)
5.
GEORGE
I didnt know she was coming over.
George slowly gets up from the chair and walks over to the
sink in the kitchen. He catches Mary in his arms from
behind. Mary holds his arms and turns to face him. They
share a quick kiss.
MARY
Happy Birthday Georgie.
George smiles at her and proceeds to wash his hands. As he
washes them, he looks out the window. Its beginning to
rain.
GEORGE
You were right about that rain
love. I was hoping it would hold
off a while.
MARY
Why?
GEORGE
I have that appointment with the
Doc after lunch.
MARY
For your knees? I thought that was
next week?
GEORGE
Nah not the knees, he needed to do
a follow up test on my blood
pressure.
MARY
Oh, gosh I completely forgot!
GEORGE
Shouldnt take long. Ill just walk
over there, would do me good if the
rain holds up for it.
MARY
Take the black umbrella, just in
case...
KNOCK. KNOCK. KNOCK.
(CONTINUED)
CONTINUED: (3)
6.
Theyre conversation is cut short by the knock at the door.

George wipes his hands as Mary wanders down the hallway to
answer the door. Though Mary is out of the shot, she can
still faintly be heard. George can be seen looking up the
hallway, his back turned toward the CAMERA.
Voices slowly drift back as Mary walks back down the hallway
to the kitchen. She is pushing an elderly woman, DORIS (77),
in a wheelchair.
DORIS
Hello GEORGIE, happy birthday!
George walks over and leans in to give his sister a kiss on
the cheek.
GEORGE
Gday Sis, hows your friend
coping?
DORIS
Not good. They were married for
nearly fifty years. I remember how
hard it was for me when Bert died.
George nods, reflecting on old memories.
GEORGE
(snaps out of it as he
remembers something)
By the way, I fixed your bed room
door. Shouldnt squeak anymore.
DORIS
Oh, thanks for that.
Mary wheels Doris into place by the dining table as George
resumes sitting down.
MARY
Ill just put the kettle on again,
Joanne is going to be here any
minute now.
DORIS
Jo coming too?
GEORGE
Yes, its a nice surprise isnt it?
MARY
Maybe I should give her a call to
find out where she is.
(CONTINUED)
CONTINUED: (4)
7.
As Mary makes her way to the phone hanging up in the

kitchen, a knock can be heard at the front door.
George rises from his chair and Mary makes her way to the
door to answer it. Once again, voices can be heard in the
background but the CAMERA is fixed in the kitchen. Doris
remains seated, but helps herself to a cup of tea.
Now entering the kitchen from the hallway is George,
followed by is daughter - a short plump woman named JOANNE
(51).
JOANNE
Hello Aunty Doris, how are you?
Joanne bends down and gives her Aunty a kiss on the cheek,
then pulls out a chair and sits down at the dining table.
DORIS
Im fine dear, it was good of you
to come all the way up here to
visit your Father. Wont your
workplace miss you?
Joanne smiles at her before answering. Doris suffers a mild
form of Alzheimer and Joanne has told her about her job a
dozen times already.
JOANNE
I work for myself now Aunty Doris,
besides I wouldnt miss it for the
world - not every day your Dad
turns 70 now is it?
George smiles at her.
Joanne, Doris and George are now seated around the dining
table. Small talk ensues as Mary cuts a cake and portions it
out on their plates.
MARY
Happy Birthday to you..
DORIS, MARY AND JOANNE
(singing all at once)
Happy Birthday to you, Happy
Birthday, Happy Birthday - Happy
Birthday to you!
Mary stands behind George and puts her arms around him.
(CONTINUED)
CONTINUED: (5)
8.
DORIS
Happy 70th Birthday Georgie, lets
hope you have another 30 left in
you!
George smiles and gives his sister a wink.
GEORGE
Ill live to be a hundred and one.
MARY
You will if they sort this bloody
mess out with your knees.
JOANNE
The health system is shit in this
town, youve been on that waiting
list for over a year now Dad. Cant
Veteran Affairs speed things up for
you?
GEORGE
Theres people worse off than me
Jo. I am looking forward to getting
the operation over and done with.
BEAT. Im sure theyll do it when
they can.
MARY
(to Joanne)
Your Dads gotta have his blood
pressure taken this afternoon.
JOANNE
Really? Do you want me to drop you
off there on my way back to work?
GEORGE
No need for that love. Im old not useless! Thanks for the offer
though.
The group begin to eat their cake.
FADE OUT
CUT TO:
9.

Dave has opened up a newspaper and is slowly reading it - or
looking at the pictures would be more precise. Bill lets out
a loud BURP.
BILL
Yeah, I can see how this scared the
shit out of you two. Sounds fucking
boring to me though. If I had a
remote for you Tom, youd be on
another channel right about now.
DAVE
Dont listen to him Tom, youre
doing a good job - cut to the good
bit.
TOM
Alright - anyway, where was I?
BEAT. Oh yeah, so theres another
KNOCK...
CUT TO:
INT. SUBURBAN HOUSE. DAY
FADE IN
George, Mary, Doris and Joanne are enjoying their lunch
together. The plates have been cleared away from the cake
they had earlier, in its place are bowls of fresh salad and
cold meats.
GEORGE
Well I best be off or Ill miss my
appointment.
KNOCK. KNOCK. KNOCK.
MARY
I wonder who that could be?
DORIS
Probably a salesman - they always
know when to annoy you.
GEORGE
Dont get up dear, Ill get it.
(CONTINUED)
CONTINUED: (2)
10.
As George gets up to answer the door, the three remaining

women chatter amongst themselves. George can be heard
opening the door, but there is no conversation between
himself and the guest. A THUD can be heard.
Mary stands up.
MARY
Are you alright George?
Mary looks down the hallway to the main entrance.
She screams.
MARY (contd)
George!!
FADE OUT
CUT TO:
INT. ABANDONED INTERROGATION BLOCK. DAY
FADE IN SLOWLY
ESTABLISHING SHOT: THE BUILDING WE ARE IN NOW IS AN
ABANDONED TRAINING FACILITY BLOCK THAT WAS ONCE USED BY THE
POLICE FOR INTERROGATION PURPOSES. THE BLOCK IS COMPRISED OF
TWO ROOMS - A TORTURE ROOM AND A VIEWING ROOM. UNLIKE A
TYPICAL INTERROGATION BLOCK, THIS BLOCK HAS BEEN CUSTOM
BUILT TO PREVENT THE PERSON IN THE VIEWING ROOM FROM GETTING
OUT. THERE IS ONLY ONE ENTRANCE AND EXIT FROM THE BLOCK AND
THAT IS DIRECTLY IN FRONT OF THE VIEWING ROOM, LEADING INTO
THE TORTURE ROOM.
A CLOCK, LIKE THE BANK DIGITAL FLIP CLOCKS, SITS INSIDE THE
TORTURE ROOM FACING THE VIEWING GLASS. IT HAS BEEN SET FOR A
ONE HOUR COUNTDOWN. THE ONLY OTHER THING IN THE VIEWING ROOM
IS A LIGHT THAT HANGS ABOVE A SOLID INTERROGATION CHAIR.
THE LIGHTING IN THE TORTURE ROOM IS QUITE BRIGHT, BUT POORLY
LIT IN THE VIEWING ROOM.
INSIDE THE VIEWING ROOM, WE SEE GEORGE LYING UNCONSCIOUS ON
THE GROUND.
NOT A SOUND CAN BE HEARD FROM THE VIEWING ROOM, BUT
MICROPHONES HAVE BEEN SET UP IN THE TORTURE ROOM TO CARRY
EVERY NOISE INTO THE VIEWING ROOM SPEAKERS.
FADE TO BLACK
CUT TO:
11.
INT. ABANDONED INTERROGATION BLOCK - VIEWING ROOM. DAY
FADE IN
THERE ARE THREE CAMERAS INSIDE THE VIEWING ROOM. ONE IS
MOUNTED IN THE TOP CORNER OF THE CELL, ANOTHER ON THE
OPPOSITE SIDE IN THE WALL AND THE FINAL ONE IS EMBEDDED IN
THE GLASS WINDOW THAT LOOKS INTO THE TORTURE ROOM. ALL ARE
PROTECTED BY HARDENED PERSPEX AND ARE FIXED INTO PLACE.
George can be seen waking up groggily on the ground. He rubs
his head, then tries to stand but falls back on the ground.
Slowly he finds his feet and starts to look around the room.
He tries to open the door, but it is held firmly in place
and doesnt make a sound with all the padding surrounding
it.
He looks at the clock in the other room. The digits are
ticking down. There are two minutes left. George tries to
smash the glass in front of him by hitting it with his fist.
It doesnt move.
He looks at the cameras and tries to scratch them, but they
are safely protected by the perspex covering them.
GEORGE
HELP!!!! Help me!
His screams go unanswered. Still the clock ticks. As the
clock hits 0:00 the door leading into the Interrogation
Block swings open and light floods into the room from
outside.
GEORGE (contd)
Thank God! Hello, can you help me?!
Im trapped in this room - go and
get help!
A HOODED FIGURE (30-40), fills the doorway - he is easily
64" and dressed entirely in black. As George screams, he
makes no sign of hearing him. The Hooded Figure drags a body
bag into the room behind him. There is someone moving inside
it. Once the bag is in the center of the room by the chair
he leaves it there and goes outside to fetch something else.
He returns quickly with a sports bag, then locks the door
behind him.
The body bag wriggles with movement on the ground.
George begins banging his fists against the glass, but it
doesnt budge - his attempts are clearly futile. From inside
the torture room one would never know that someone was in
the viewing room.
(CONTINUED)
CONTINUED: (2)
12.
The Hooded Figure begins unzipping the body bag. A woman is

inside it, she is wearing a hood over her head and cannot
see out it. Her mouth is bandaged shut so she cant scream.
The Hooded Figure picks her up and places her in the large
wooden chair (similar to an electric chair - without the
electricity). He uses the straps on the side of the chair to
tie her down. The chair is bolted into the ground and though
she is trying to struggle against him her movements dont
seem to hinder him at all. The Hooded Figure stands behind
her and unties the bandage around her mouth. She screams
out.
George reacts to the sound. His hands involuntarily drop to
his side, his shoulders are sunken. Despite the hood still
covering her face, he knows who this is by the sound of her
voice.
The hood is finally removed and George stands on the
opposite side of the glass staring at his sister, Doris, in
the chair. His face is white, fists clenched - dismay
quickly turns to anger.
GEORGE (contd)
Doris! BEAT. (looks at the Hooded
Figure) What are you doing with
her?!
After the hood is removed from Doriss head, Doris appears
frightened and startled. She is momentarily dazed by the
swinging light above her head. She looks around like a deer
caught in the headlights of an oncoming car.
Doris begins mumbling, stuttering words incomprehensible.
Her frail old body is slumped in the chair. Her arms are
tied to the armrest, her legs firmly held in place by straps
on the legs of the chair. She finally sees the Hooded Figure
and screams.
DORIS
Help! What are you doing? What did
you do with the others? Where is
GEORGIE??
There is no answer from the Hooded Figure. He fumbles around
in the sports bag on the ground. Slowly, he withdraws a
sledge hammer from within it...
CUT TO:
13.

THE THREE CONSTRUCTION WORKERS ARE SEEN SITTING TOGETHER.
THE CAMERA FOCUSES IN ON TOM, OUR NARRATOR FOR THE STORY.
TOM
As he pulls the sledge hammer
out...
DAVE
It wasnt a sledge hammer you
dickhead, it was baseball bat.
Tom looks confused.
TOM
Im sure it was a sledge hammer?
DAVE
It was a steel baseball bat.
BILL
Who gives a fuck what it was, get
on with the story.
TOM
The dude takes out this baseball
bat from the bag and...
CUT TO:
INT. ABANDONED INTERROGATION BLOCK - TORTURE ROOM. DAY
THE SHOT IS RESUMED FROM WHERE WE LEFT OFF, INSTEAD OF A
SLEDGE HAMMER COMING OUT OF THE BAG THE HOODED MAN IS NOW
TAKING A BASEBALL BAT OUT.
CUT TO:
George starts banging his fists against the glass in the
viewing room. On the other side we see that the glass
doesnt even vibrate let alone make a sound.
GEORGE
Leave her alone you bastard! Dont
worry Doris, Im right here.. Im
right here...
(CONTINUED)
CONTINUED: (2)
14.
George tries to throw his entire body at the glass wall, but
it is to no avail. The wall does not move, instead George
falls hard against the floor. George gets up from the
ground, bruised and bloody from desperately trying to knock
the wall down. He tries again, and again.
CUT TO:
The Hooded Figure walks up to Doris.
THE VIEW IS SIDE ON FROM YET ANOTHER CAMERA HIDDEN IN THE
WALL DIRECTLY ACROSS FROM THE CHAIR. WE CAN SEE THAT THE
HOODED FIGURE IS BEHIND DORIS, JUST OFF TO THE SIDE.
The hooded figure takes a few practice swings with the bat,
just narrowly missing Doriss head.
George looks terrified as he watches on - helplessly.
GEORGE
NO! What do you want? Ill tell you
anything, just let her go!
From behind Doris we can see what she can see. The mirrored
reflection of the glass before her gives us a good view of
the Hooded Figure taking his practice shots. Doris has no
idea that George is on the other side of that glass.
Doris tries frantically to free herself of her bonds, but
they do not move. The hooded figure steps in close, spreads
his legs, takes two more practice swings to line himself up
and then violently and brutally smashes the bat into Doriss
head.
George screams out and slumps to his knees, still unable to
pull himself away from the glass window. He is crying
silently as he buries his face in his hands - overwhelmed by
the sudden disturbing image before him.
15.

Doriss head is now a deformed bleeding and broken shell. It
is barely recognizable as something that was once human. Her
body convulses twice, then slumps down as death takes over.
Blood begins to pool around the chair.
Suddenly, the light in the room switches off.
George is sobbing heavily.
can no longer see anything
cries subside and he tries
that his hands are swollen
is tired.
The glass before him is black, he

inside the torture room. His
to stand. From here we can see
from beating the glass, his body
The light in the torture room flickers back on. The room is
empty of people, yet the blood on the floor still remains.
ZOOM IN ON CLOCK.
The timer has been reset, 59 minutes to go.
SEVERAL SHOTS PLAY OUT NOW, GEORGE CAN BE SEEN PACING THE
ROOM, SITTING DOWN AND STARING AT THE CLOCK. THE TIME PASSES
SLOWLY FOR GEORGE.
CUT TO: Clock.
There is less than a minute left.
CUT BACK TO: George.
Clearly George is frightened and sick with grief. He closes
his eyes as the clock reaches 0:00.
The door to the torture room opens. Light floods in once
more and the big hooded figure fills the doorway once more.
He is dragging yet another body bag into the center of the
room. He unzips it.
The woman inside is Mary, as is evident by the clothes she
was wearing earlier. Her head is also covered by a
blindfold, her mouth taped shut to stop her from screaming.
The hooded figure picks the body up and throws it into the
chair like a rag doll.
16.
Mary awakens. She is groggy at first, evidence that she has

been drugged before being brought here. She struggles
against the Hooded Figure to try and free herself, so the
hooded figure punches her squarely in the face - busting her
lip.
Now in a state of fear mixed with raw anger, George begins
threatening the man on the other side.
GEORGE
Ill fucking kill you! You hear me
you prick? Ill find you and Ill
kill you!
Once Mary is secured in the chair, the Hooded Figure returns
to his sports bag, which is located behind the chair. This
time he withdraws a foot long piece of fencing wire.
MARY
Let me go you arsehole! Where is
Doris?
Mary looks into her reflection, seemingly straight into the
eyes of George, though she is unable to actually see him.
George stares right back at her, his hand reaching out as if
to comfort her.
The Hooded Figure is behind Mary now. He takes her head in
his hand and holds her still. Slowly and deliberately, he
takes the wire in his other hand and begins to push it up
through her nose, into her head.
Mary screams out in pain, her eyes are wide with pain and
terror. She begs the man to stop.
At one point in the ordeal, she screams out for George.
MARY
Help me George! Please.. help me..
17.
George is motionless. He watches on in utter disbelief. He
tries to move his head away from the ghastly scene, but is
frozen in place. When he hears his wife call for him, tears
begin to roll down his cheek again.
Quietly, as if to himself he stammers:
GEORGE
Im here honey... I cant help
you...
George knows he is useless and unable to do anything. He
turns away from the wall and buries his head in his hands.
Slowly his hands reach around to his ears to block out the
sound of Marys screams.
Incoherent and barely alive, Mary begins rambling. The wire
is all the way into her head now. Still alive she sits
there, crying as blood drips from the tip of the wire
hanging out of her nose.
Believing that his wife is now dead, George finally sits up
and looks into the room again. His wife is still moving in
the chair, but her eyes do not betray any sign of
intelligence. The Hooded Figure silently moves to the bag on
the ground and takes out a knife. He holds it directly above
Marys head, then plunges it down through her skull. Her
body spasms then stops moving. The Hooded Figure leaves the
knife in her skull and turns to face the mirrored wall
again. He looks directly at George, then turns around and
walks to the switch on the wall, bringing darkness to the
room.
George falls to the floor and curls up in a ball. He is old
and frail, the grief and what hes been forced to witness
has now fully taken its toll on him. He rocks back and forth
on the ground in the fetal position.
The light comes on in the torture room once more. The sound
of the clock ticking down can be heard again. George does
not try to get up this time. He remains where he is, wide
eyed - tears silently falling from his eyes.
As the time passes, George finally rouses himself and stands
up. He tries valiantly to bust the door down. His hands are
bleeding, his face is bruised.
(CONTINUED)
CONTINUED: (2)
18.
The glass in the room is marked by Georges blood, he has

given everything to try and escape and now his energy is all
but spent.
George stares at the clock in the room opposite him.
01:00 - One minute to go.
As the time ticks down to zero, the door to the
Interrogation Block opens yet again.
George shakes with fear and stress. He bangs the window.
GEORGE
Run! Scream for help - get out of
here while you can!!
The Hooded Figure enters the room again, his face is still
covered in darkness.
ZOOM INTO THE LIGHT FROM THE OPEN DOOR THEN DISSOLVE.
CUT TO:
THE CAMERA RESUMES THE PICTURE IN THE LIGHT OF THE
CONSTRUCTION SIGHT.
ZOOM IN ON: Bill.
BILL
This is one sick fucking movie
mate. Let me guess, the next victim
is his daughter?
TOM
Yeah, howd you guess?
DAVE
Dont tell me big bad Billy is
scared? Its just a fuckin movie
mate, no need to wet your pants
over it.
BILL
Im sure we have more important
things to do than sit here talking
shit all day.
(CONTINUED)
CONTINUED: (2)
19.
DAVE
Let him finish the story, were
almost there.
BILL
Speed it up then, I still have to
wire the lights on the south side.
TOM
Well the hooded bloke enters the
room and...
CUT TO:
THE INTERROGATION ROOM IS DARK, THE LIGHT HANGING FROM THE
CEILING IS THE ONLY SOURCE OF LIGHT IN THE ROOM. WE SEE
ANOTHER BODY BAG IN THE ROOM AS WELL AS THE SPORTS BAG ON
THE FLOOR.
The new body bag wriggles far more than the previous ones.
George paces the window, searching for a weakness. He leaps
up and tries to smear his blood on the cameras in the room.
It is useless though, the cameras are too high.
As the hooded figure unzips the bag, the person inside
lashes out and tries to attack him. He reaches down and
pulls the body out of the bag by its hair. It is Joanne,
Georges daughter. Her cheek is bleeding and she is wearing
a cloth over her eyes and duct tape across her mouth. Though
her hands are strapped together, she still tries to use them
to attack the Hooded Figure.
Watching on, George stares at the scene before him - a
glimmer of hope emerging within him as he watches his
daughter try to fend off the Hooded Figure.
GEORGE
Get him JO!
20.

The Hooded Figure punches Joanne fully in the face, sending
her reeling to the floor. He walks over to her and grabs her
by the hair - forcing her to sit in the seat.
She tries to kick him as he straps her legs to the seat, but
he holds them firmly in place. As she tries to struggle
against his force, he slaps her across the face. After her
arms and legs are secured, he removes the eye bandage and
the tape on her mouth.
JOANNE
You fucking coward! What a big man
you are, tying up women. Where are
my parents?!
Joanne continues to struggle against her bonds as the Hooded
Figure reaches into the bag behind the seat. He takes out a
hammer and moves in front of her.
WE CANNOT SEE WHAT HE IS DOING, BUT THE SOUNDS INDICATE HE
IS BREAKING JOANNES TEETH WITH THE HAMMER.
From Georges perspective we can see the back of the Hooded
Figure and Joannes hands and feet on either side of him.
Her hands and feet extend out with each bash of the hammer.
When the hooded man steps away, we see from Georges view
that Joanne has had her face pulverized by the hammer. The
hooded man reaches into her mouth and cleans out the broken
and shattered teeth inside with his fingers.
He moves to the side of Joanne.
The Hooded Figure reaches back into the bag and fetches a
saw. It is a crude looking saw, the sort of saw used to
prune tree branches. He moves closer to Joanne and begins
cutting her arms off with the saw.
Joanne screams in agony.
21.
George vomits on the glass and on his feet. He turns his
back on the scene, unable to watch. But the sounds of whats
going on in the other room carry into his chamber. He tries
to block his ears from the noise. At this point, George has
almost lost his sanity.
Joanne is dead, her arms lay on the floor - blood spurts
from the arteries that have been severed.
The light goes off.
We see that George is barely sane now. He falls to the floor
and cries. He sits up after a minute or so and leans against
the back wall.
As George rocks back and forth he whispers to himself:
GEORGE
What have I done to deserve this?
What have I done.. what have I
done? BEAT. (he begins humming the
1950s tune we heard earlier on the
radio at his house)
GAS enters the room via a duct in the corner. George doesnt
seem to care. He just sits there, humming the tune to
himself.
As the gas fills the room, George finally slumps down unconscious.
FADE OUT
CUT TO:
EXT. SUBURBAN HOUSE. NIGHT
FADE IN
IT IS 2AM IN THE MORNING. WE ARE NOW OUTSIDE GEORGES HOUSE,
THE SCENE IS PICKED UP VIA THE SAME VAN USED EARLIER. GEORGE
IS LYING IN FRONT OF HIS DOOR. THERE IS NO ONE ELSE AROUND.
THERE IS SILENCE.
George opens his eyes slowly.
(CONTINUED)
CONTINUED: (2)
22.
As George wakes up, he looks around to find his bearings. He

looks at his hands, they have been cleaned up but the wounds
still remain.
George begins to sob. He stands up and looks around. Slowly
he begins to open the door and walk inside the dark, empty
house.
CUT TO:
INT. SUBURBAN HOUSE. NIGHT
George enters the shot via the camera hidden in the buffet
hutch in the kitchen.
As we watch George enter the kitchen, he appears to be
moving on instinct only. He bumps into the furniture and
slumps against the walls, almost as though he were drunk.
GEORGE
(whispered)
Mary?
George walks to the phone hanging up in the kitchen. He
picks it up and begins to dial the number for the police.
He dials 00 but is unable to dial the final digit. Instead,
George simply drops the phone on the ground. He stands there
bewildered - a thousand thoughts racing through his mind at
once.
He turns and walks over to the kitchen drawers and withdraws
a large butchers knife. He walks back to his seat at the
kitchen table and sits down.
GEORGE (contd)
Ill be with you soon Mary.
George takes the knife and cuts down his wrists. The
movement is deliberate and forceful. His blood flows out of
his forearms and pools on the table before dripping to the
floor.
THE SCENE IS QUIET, NO NOISE CAN BE HEARD - THERE IS NO
MUSIC.
George dies.
FADE OUT.
CUT TO:
23.

THE THREE CONSTRUCTION WORKERS ARE STILL SITTING TOGETHER.
Tom reaches down to grab his drink, his recollection now
complete.
Bill claps slowly - mockingly.
BILL
Bravo, that was just great.. thanks
for wasting my time dip-shit.
Sounds like a real Oscar contender
that one...
DAVE
For your information smart arse, it
won an award at the Cannes Film
Festival when it came out. Got a
standing ovation from the audience.
BILL
For what? Most pointless piece of
shit ever filmed?
TOM
It only came out a month ago. Was
refused classification for the
violence I heard, the old man in it
did a good job though - hes a
solid actor.
Dave starts to get up.
DAVE
Here you have this old codger whos
lived an honest life. Hes a
veteran, has a nice daughter, nice
wife. Why did the guy target him
and torture the ones hes loved?
BILL
Dunno, you saw it - explain it to
me.
DAVE
Who really knows? Thats the thing,
its a head-fuck. Critics love crap
like that - ever heard of David
Lynch? Hes made a living out of
doing shit like that.
(CONTINUED)
CONTINUED: (2)
24.
TOM
David who?
BILL
Who cares, lets get back to work
Im running late now.
Tom makes his way over to the radio and turns it back up so
they can hear it.
RADIO STATION
We have breaking news direct from
Brisbane Police Headquarters.
Acclaimed director Paulo Giavanni,
renowned for the horror film
"Misdirected" has been arrested for
the brutal murders of George, Mary,
Doris and Joanne Cuthbert of Briby
Island.
All three construction workers stop what theyre doing and
look at the radio.
RADIO STATION
The cult film "Misdirected" was
released just over a month ago to
critical success. Police are now
linking the film directly to the
murders - early reports indicate
that the actors in the film were
in fact victims of a well
documented torture. Distributor
"Lightning Pictures" refused to
comment when asked why it was
withdrawing copies of the movie
from shelves across the country.
Dave drops his tools and looks at Bill and Tom.
DAVE
Well Ill be fucked!
TOM
It wasnt a movie?
FADE OUT
THE END

Misdirected by Ward Booth

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Misdirected

Last ammended: 04 July 2009

INT. CONSTRUCTION SITE FOR A MULTI LEVEL CAR PARK. DAY

Bill just stares at Dave. Tom breaks the silence again.

GEORGE (70), an elderly gentleman can be seen pruning the

Theyre conversation is cut short by the knock at the door.

As Mary makes her way to the phone hanging up in the

INT. CONSTRUCTION SITE FOR A MULTI LEVEL CAR PARK. DAY

As George gets up to answer the door, the three remaining

The Hooded Figure begins unzipping the body bag. A woman is

INT. CONSTRUCTION SITE FOR A MULTI LEVEL CAR PARK. DAY

INT. ABANDONED INTERROGATION BLOCK - TORTURE ROOM. DAY

The glass before him is black, he

Mary awakens. She is groggy at first, evidence that she has

The glass in the room is marked by Georges blood, he has

INT. ABANDONED INTERROGATION BLOCK - TORTURE ROOM. DAY

As George wakes up, he looks around to find his bearings. He

INT. CONSTRUCTION SITE FOR A MULTI LEVEL CAR PARK. DAY

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