Exposure Treatment by Joe Kisch


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Exposure is Lantana meets Crash in this ensemble noir thriller-drama film about the secrets we keep from being exposed.

The death of a young woman is witnessed by seven bystanders and as the case unfolds we find they are all interwoven in the dead women’s life.
Several lives interweave as the last moments of a young woman unfold.
Cameron (18, gorgeous by any standard in a figure-hugging short dress over a body to die for) reads her mobile phone text: ‘I need to see you. I’m across the street from our café. Look up’. She looks up, sees her boyfriend, Gary (21, a little bible-study-ish look to him with his black-rimmed designer specs and casual shirt with the buttons done up to the collar) beckoning her from across the street. Cameron waves back but she’s also looking left and right of Gary, as though searching for someone else. Distracted in her scanning, Cameron crosses the road without looking,
BANG! A car hits her.
Cameron cartwheels in the air and THUDS to the ground as the car speeds off. Her head impacts pretty heavily on the tarmac.
We get POV flashes of the seven witnesses to the accident:
  • journalist Robin Bowers (30, something tenacious about her face, short haired, slacks and shirt that make her easily identifiable as either an office worker or a dyke) who jumps from her seat in a café and runs to help, taking rapid photos of the scene as she does;

  • Gary Schuman, who sees Cameron’s smiling face turn into terror as her body is hit by a car and cartwheels into the air;

  • Aamir (25, expressionless Afghani face that would make big bucks at poker tables) walks down the sidewalk with a mobile phone at his ear when he looks up at the moment the car impacts;

  • Mark Oldman (50, short, dressed like a typical public servant with the requisite ID badge hanging around his neck, face prematurely weathered and the kind you’d ignore at a party) hears a bang. By the time he turns around, all he sees is a group of people huddled around an accident victim. But he’s more focused on his eager, almost desperate, search for someone around the plaza;

  • Peter Davis, 28, a big man with cold, hard eyes and a full beard, wearing clothes that make him look like a vagrant. He’s the driver of the car that hits Cameron;

  • About to get out of his car, Theo Morrison (35, carrying a bit of gut, broad-shouldered, impassive face that his tailored detective’s suit only seems to harden) chases the hit-and-run car in his car; and

  • Senator Daniel Bryant, 40, who, in the same café as Robin, quickly gets on his mobile phone as he bolts from the café.

Robin rushes Cameron’s side, rapidly taking photos of the accident and onlookers.

Not wanting to be photographed, Gary, visibly crying as he hovers over Cameron’s body, disappears in the crowd as he sees Robin approach taking photos.

Robin takes a pulse – there is none. She then organises the six or so onlookers – “Someone ring 000; is any of you a doctor; does anyone know CPR; does anybody know her?” – as she places her jacket over Cameron’s face. With calmness she pulls down Cameron’s skirt to cover her exposed groin, then reluctantly, gingerly, respectfully, searches Cameron’s pockets for ID and finds an envelope addressed to Gary. Distracted by the arriving ambulance medics who shove her out of the way, Robin unwittingly, involuntarily, scrunches the envelope in her fist and places her hands in her now-retrieved coat’s pockets, just as Detective Sergeant Theo Morrison arrives to take control of the scene.

Later, back at her desk, Robin’s chief editor sees the state she is in and tells her, if she’s up to it, that she ought to investigate the case as a public interest story and find out who she was. He tells her to start with the cop, so she phones Morrison and arranges a meeting: “Meet me at Central in ten minutes. Ask for Theo Morrison at the front desk.”
Detective Sergeant, Theo Morrison’s Story.
In a quick montage, we see:

  • An alleyway. Morrison aggressively bails up a drug addict and wallops him in the stomach, looking around him to ensure there are no witnesses. His subordinate shakes his head and stops him delivering a second blow, coming between the two and cuffing the man.

  • On a hospital bed, Morrison reads, his arm hooked up to a satchel containing a chemotherapy drug.

  • Morrison throws up in a toilet bowl.

  • Morrison gets out of his car. It is night and the street deserted.

  • Morrison stands listening at the front door of a house then shoulders the door open, taking out his pistol in the process.

  • Inside the house, Aamir rushes at him with a machete but stops when he sees the gun pointed at his face and the man who’s holding it.

  • Morrison steals Aamir’s stash of drugs and undoes the cuffs around Aamir’s wrists.

  • At the broken in doorway, Morrison passes Cameron entering.
  • Morrison bails Cameron up, searching her more than thoroughly for drugs he doesn’t find. While Cameron’s against the wall, Morrison lewdly rubs his groin against Cameron’s arse while he feels her from behind trying to coax Cameron into giving him sexual favours. But Cameron turns around swiftly and refuses - his intimidation won’t work. She threatens to report him so he grabs her throat and threatens physical harm if anyone finds out he’s been to there. She relents. He leaves.

  • Back in his own house, Morrison smokes a joint he makes from the stash he stole off Aamir. It’s instant relief of the pain from his cancer.

Days later, the day of the accident, Morrison is about to get out of his car to get more drugs off Aamir who he sees on a sidewalk talking on his mobile phone. A car (with driver Peter Davis) screeches erratically past him and goes on to hit Cameron. He gives chase, reporting the make and model of the car that comes back as stolen. But he loses sight of the car so returns to the scene where he meets Robin.
In an interview room, Morrison tells Robin that the driver was likely to be very tall – probably over 6’2”, the way he filled up the driver’s seat. Morrison then tells her Cameron Oldman was a known prostitute and drug addict and the way he’s talking it sounds to her like he’s saying she’s not worth the trouble. He even tries coming onto Robin, but he’s so sleazy about it Robin scrunches up her nose in a ‘ee-ewe’ moment. When pressed to clarify, Morrison corrects that they will do everything to find Cameron’s killer; but he’s unconvincing.
Robin senses he’s not telling her everything so decides to not tell him about the envelope she lifted from Cameron’s body. He tells Robin he wants the photos in her camera. She protests; he insists, threatening arrest for perverting the course of justice. She relents and gives him the SD card from the camera. As they prep to leave, Morrison asks if it was she who was assaulted ten years ago. This disarms her, and she unconvincingly denies it was her. But it brings up some old, deeply hidden memories.

Later at night, Robin is tossing around on her bed in a bad dream. In her dream she’s at a bar and a chatty, nice looking nicely dressed man stands with her. The two of them seem to be hitting it off; but she is feeling off after just a couple of drinks. She suspects he’s spiked her drink so tries to leave the pub. She doesn’t make it. She wakes in an alleyway. She’s resisting the man but he hits her.

She wakes from her dream in a sweat. Unable to sleep, she goes to her computer to upload the photos she’d copied from the SD card she eventually gave Morrison. As the photos are downloading, Robin remembers Cameron’s envelope addressed to someone called ‘Gary’ and opens it. In it is a photo and on the back is written “Happy Anniversary Gaz and Cameron, from your mate Daren Cullen and the guys at Brown’s Auto”. Beneath that, in different handwriting, and looking like it was done in a hurry, are the words ‘If anything happens, ask Teddy about SDB1:02:23.flv’. But who is Gary? She places a post-it note on her wall, below the photo of Cameron – she’s beginning tree diagram/flowchart and links Gary with Cameron.
She picks up the yellow pages and looks up Brown’s Auto and takes note of the address. The next day, she finds Darren, 22, an ordinary bloke (he’s one of the people in the photo) who eventually tells her Gary’s address. She asks, ‘Tell me about Cameron’. Darren says that although he, Gary and Cameron were mates and went out together a lot, he doesn’t know her that well, other than she was a real extrovert and overly-confident about her control over people. She did tell him one thing secretly once – out of earshot of Gary: that she has a meal ticket out of her ‘job’, but she didn’t elaborate. She then asks ‘Tell me about Gary’.
Gary’s Story.

Clean-shaven, sweet-faced Gary, 20, approaches his Pastor, 50, clean cut (he walks, talks and looks like a Christian). Gary’s awkward and shy but finally blurts out about him having sex with a member of the Church. After a moment’s deliberation, Pastor delivers his verdict: he has no option but to expel Gary from the church adding that he knew the church’s views on pre-marital sex. Back at home, Gary’s dad gets off the phone and his demeanour changes as he returns to the dinner table at which Gary and his mother are sitting. He tells Gary, as he takes up his knife and fork, that after dinner he’s to pack a bag and get out of the house. He’s never to set foot in there again.

It’s a while later and a now lightly bearded, worst-for-wear, crumple-clothed Gary trundles in with his suitcase to a Salvation Army Men’s Shelter. As he settles in, a drug addict at the shelter tells Gary about a party, says he should come with him. He does.
It’s a thumping loud party where the music rocks. In a corner of the room surrounded by eager boys, Gary meets the extroverted Cameron dressed in a skimpy dress but looking hot. Gary’s shy, innocent and nerdy, but it’s an endearing quality to Cameron. She is offered a line of coke that she eagerly snorts half of then offers the other half to Gary who takes the offer – it’s his first time. While alone, the guy he arrived with warns him to avoid Cameron. He doesn’t say why other than to say she’s not what she appears to be and that she will just disappoint him. But he gets hooked – on Cameron and drugs and before the night is out he gets her phone number.
It is a few days later and Gary gets a job flipping burgers at a take-away. At lunchtime, he phones Cameron who agrees they should hook up. He’s a happy man until he sees Cameron, now sporting a bruised jaw. She tells him not to ask about the bruise. All she says it that it goes with the territory. Asking what that means, she tells Gary she’s a prostitute – a special kind of prostitute for high-end clients. If he’s not cool with that then they should end it there. A moment of indecision sees Cameron turn around to leave but Gary grabs her arm, turns her around and kisses her passionately – he doesn’t care, so long as he never loses her.

They go for picnics in the park, to the movies, dance at parties, and finally go to bed with one another. It’s the one place Cameron is shy at and she always puts out the lights before completely undressing in front of her lover. In the darkened room, Gary’s groans of pleasure don’t stop. They have the best times together and it’s very passionate. But she’s still a prostitute and it bothers him.

One night at Gary’s place, after they’ve made love, he gives her a key to his flat, telling her he wants her to move in. But he wants her to give up prostitution – and he’ll give up drugs if she gives up hooking. She agrees.
He signs in to attend two weeks of rehab. He calls her everyday. On the day of his release two weeks later, Cameron greets him; but she looks distracted. He asks what’s wrong and she replies with ‘something happened to a friend last week; I can’t say anymore’. Gary tries to deflect her attention away from the ‘something’ and tells her he’s clean and ready to commit. Cameron smiles and says she’s honour their agreement to give up hooking. They go back to Gary’s flat and make love.
The next day, he tells her to meet him at lunchtime – he wants to tell her something very important. She says she has to meet someone in town about at that time but it should only take a minute, so why don’t they meet across the road from their fave café. They profess their love for each other.
At lunchtime, Gary waits for Cameron across from the café. He looks at the ring in the case and closes it up as he sees Cameron approach.
It’s the night after her death as a distraught Gary talks to Anita, a prostitute standing on a street corner. ‘You lived with Cameron; what happened during my rehab?” he asks. Anita says Cameron went back to an old client who always paid well – someone high profile and important, someone whose name Cameron would not disclose. Aamir knows, though. He also probably knows what happened to a hooker friend of theirs, Kandy, who went missing after seeing a client in Cameron’s special apartment where she met all her special clients.

Gary goes to her ‘special’ flat. Everything is packed and ready to be transported. He finds her diary and the last entry saying ‘Ask Teddy about SDB1:02:23.flv’. Suddenly, someone enters. It’s Robin. Gary panics but his only safe exit is out a window and they’re five storeys up. He’s cornered so he hides in a closet. Looking through the partly opened closet door, Gary sees Robin looking at a photo of Cameron and Gary; but when something falls over in the closet, Robin approaches the closet. Gary darts out, pushing her backwards onto a table where she hits her head and knocks herself out. Gary makes his escape out the door.

In her unconscious state, Robin is in the alleyway fighting off the man from the bar. She hits him over the head with a bottle and staggers away seeking help from the first person she sees near the alleyway. It’s a man and he comforts her. She sees the man she hit with a bottle stand up and approach them. She tries to tell the man comforting her that they need to get away but he holds her solidly. The attacker comes over and it becomes apparent the two men are friends. The injured man knocks her out.
Robin wakes in the real world screaming and gasping for breath. Hovering above her is Morrison, who had just splashed water on her face. She tells him she didn’t see the attacker. She refuses to go to hospital, as Morrison suggests. ‘How did you find Gary’s flat?’ she asks. He says he watched CCTV camera footage taken at the scene and noticed Gary waving at Cameron just before the accident. Gary then got spooked for some reason and left the scene and drove away in a car. Morrison found the car was registered to a Darren Cullen and gets his address from the license plate. Morrison found Darren who gave him Gary’s address, also telling him some chick asked him the same question a short time ago.

Morrison inspects Cameron’s apartment, leaving Robin alone. Taking the opportunity, Robin re-reads the back of the photo in the envelope to Gary: ‘If anything happens, ask Teddy about SDB1:02:23.flv’. She pockets it then approaches a bookcase with a Teddy Bear in the centre of one shelf and guarded by DVDs, other shelves with a framed photo of Gary and Cameron, CDs and some books and asks herself ‘Who’s Teddy?’ when it dawns on her – it’s the Teddy Bear on the bookshelf; and there’s something different about Teddy’s eyes – they’re different shapes. She picks it up and pulls at one eye. Sure enough, it comes out easy. It’s a spy camera. Morrison enters behind her asking ‘Anything?’ She replaces Teddy and turns around with the photo of Gary and Cameron together. She shows him the photo and, taking out a photo she took the day of the accident she locates Gary’s face in the crowd. Morrison says that it’s a better picture of Gary than the grainy one from the CCTV footage. They leave the flat.

Beside a car, Morrison tells Robin he also has a grainy picture of the man doing the hit and run, taken as he drove past a CCTV camera – he’s seen him somewhere before but can’t finger it. He shows her a picture of Peter, gives her a copy.
Robin goes back to Darren and says she wants to find Gary – ‘Is there another place I can find him at?’ Darren says ‘Try the Salvo’s Shelter’.
Robin finds Gary living in the Salvation Army Men’s Shelter he once stayed in. She tells him she’s okay after the fall back in his flat and takes Gary for a cheap meal where she quizzes him about Cameron and the contents of the envelope he found on Cameron’s body with the note referring to ‘Teddy’ – the camera in the Teddy Bear. Assured Robin wants to find out who killed Cameron, Gary tells Robin of his and Cameron’s ‘special’ relationship; how he didn’t mind that she was a prostitute for some high profile people – Gary is too scared to tell Robin who. Gary gives her Cameron’s diary and points to her last entry: give G the drive. The drive was a secretly hidden video of her having sex with her clients. He remembers Cameron giving him a USB stick and making him promise her to watch it and pass it on only if something was to happen to her. Gary has the flash drive hidden in his locker at work but hasn’t been game to get it since a worker there told him a nosey cop was after him.
Gary mentions to Robin that, in the end, she kicked her drug habit early on and only procured drugs for his habit. After his rehab, the two were planning a life together away from all the old memories. He found out from talking to Cameron that a drug dealer had a hold over her – over a trick that went wrong some weeks earlier. The drug dealer’s name is Aamir. Gary arranges to give Robin the USB stick tomorrow at the funeral. Robin gives him some money and advice to stay at the shelter or at least under the radar for a few more days.

Back at home, Robin adds another branch to the tree diagram on her wall and a post-it note with the word ‘Aamir’ written on it. As she’s looking at the post-it note…

Aamir’s Story.
A young Aamir, 16, moon-faced, naïve Afghani boy, herds some goats with his wooden staff and looks into the distance to his village from which rapid and multiple gunshots emanate. He leaves his flock and runs toward the village.
In a camp encircled with wire and patrolled by security guards (an immigration detention centre), Aamir watches as Middle-Eastern man, 30, enters Aamir’s barrack, approach another Middle-Eastern man, slaps him then holds a knife to the man’s eye demanding payment. Middle-Eastern man forcibly searches the other man’s pants and takes away some money. Middle-Eastern man throws down a sachet with a gram’s worth of coke in it. The other man hurriedly preps a needle.
Years later and Aamir, now 20, stands on a corner in a plaza. People, addicts, come up to score. Suddenly an undercover cop arrests him.
Years later again, we’re in a house where pimp Aamir partners prostitutes with male punters. Other unchosen hookers lounge on sofas, smoking or drinking or snorting lines of coke, including Aamir. Sixteen year old Cameron saunters into the house in a skimpy mini dress and Aamir falls instantly for her.
Aamir holds a party the day Cameron walks in and he’s trying hard to get into her pants. Cameron plays hard to get with Aamir’s advances, until Aamir cokes her up. Then she becomes a fire-cracker and she soon ends up on Aamir’s bed. The two do a line of coke and start kissing. Cameron then unbuttons Aamir’s pants and goes down on him – she’s so good at this she doesn’t need any training, he thinks - turning the lights out as she does. Aamir gasps audibly in the dark, remarking, “my, you are special”.

The next morning in bed, a still radiant-looking Cameron is twirling Aamir’s long curls. She asks him about his story. Aamir tells her he came to Australia as an illegal immigrant (boat refugee). He got ahead by drug trafficking but went underground when he was suspected of terrorism (smuggling in plastique explosive, but it wasn’t true);but he yearns to make a new life. He tells her she will make them both lots of money with her ‘special’ qualities and he knows just the clients who’d love her. Cameron’s nervous about doing tricks but Aamir says it’s all a matter of mind and that she’ll be a natural. She relents, saying it will only be for a short time because she has plans for her future that doesn’t include hooking until she’s 50.

Later, as Aamir readies in front of a mirror in the lounge room, the other female hookers sitting nearby looking jealously on a beautifully coiffed and dressed Cameron who files her nails as she waits for Aamir. A couple of them start bitching to each other knowing Cameron can hear them. One says they don’t know why Aamir favours her over the rest of them and why he plans to give her to his more important clients. Another says Aamir only likes Cameron because she’s young meat and he’ll eventually tire of her. But Cameron can give as good as she gets. Just as things look like getting ugly, Aamir tells them to shut the fuck up. He has a special client for Cameron and he doesn’t want the bitches to fuck things up. Cameron takes Aamir’s arm as they walk out the door – they’re going out.
Aamir stands at the slightly ajar door as he watches a coked out Cameron sitting on a bed in her sexy knickers stand and sashay up to a client we see only from behind. On the other hand, she, we see, is a knockout. She offers him a cocaine spoon of coke, which the man quickly snorts. She begins undressing the man, starting with his tie.
It is weeks later and Aamir, dressed to kill, takes a couple of hookers on each arm and heads out the door. With a carefree look over his shoulder he tells Cameron not to wait up. There are mascara tear tracks rolling down Cameron’s cheeks. She yells “Why are you doing this to me?” “You have work to do, bitch. Make sure you do him good, or I’ll fuckin’ do you good, you cunt.” Aamir just laughs as he exits.
Aamir and his two hookers are in a cab when he answers his mobile. His happy face turns to rage: “The fuck you say! Cabbie, turn the fuck the around!” He breaks free of the clutches of his ‘hoes as he rubs his face in annoyance.

The lights are out in the house when Cameron enters in her skimpy party dress. Aamir is on her in a flash and clocks her on the jaw, knocking her down. He grabs her hair: where’s she been, who’s she been fucking, why’d she stand up the special client? She tells Aamir she and he are over.

He lays into her and threatens to harm her new beau (he knows from her demeanour that there has to be one) if she doesn’t do more tricks for him, especially that important client that pays so well and keeps asking for her ‘special’ talents. She relents.
The day of the accident. Aamir is in the plaza and as Cameron comes up to him. He says if she comes back to him, she’ll be safe. It’s her last chance. Cameron shrugs him off and says she’s done with him; that she hates him; can’t stand the sight of him, in fact. ‘You got it?’ Aamir stands deflated but says ‘Holly has it; across the street from the café. She’s waiting’. She trots off and Aamir snarls then spits behind her.
Aamir walks along the sidewalk with his mobile phone in his hand. He’s texting ‘She’s heading across now’. Hits send. Seconds later, screech of tyres on the tarmac then a loud THUMP.
Aamir then dials another number on his mobile.
Back to the present – Gary’s place. Gary connects a flash drive to his TV. As it begins to play, Peter emerges from the shadows and surprises Gary. Peter’s massive frame frightens Gary who tries to make a run for it but Peter grabs him in a chokehold and squeezes the life from him. During the struggle, the video plays and we see Senator Bryant killing a girl (Kandy, a prostitute friend of Cameron’s and who shared the same place as her). Peter realises he’s been lied to about Cameron. As he realises this, Robin rings Gary’s phone and leaves a voicemail message to contact her at the Times. Peter is confused and angry.

At the funeral the next day, Gary is absent. There are also a lot of young women there (prostitute friends of Cameron’s) who mention the cops did nothing to find their missing friend Kandy, so they don’t hold out any hope of finding who killed Cameron. They say that Robin should write a story about how unsafe it is for prostitutes these days.

Aamir is there, as is an older man. Robin thinks the older man was the ‘special’ client Cameron was prostituting to, so confronts him. His name is Mark Oldman, Cameron’s estranged father. At first, he doesn’t want to talk about Robin but changes his mind and says to meet him at the cemetery café in ten minutes. He walks off.
Not far away, Robin sees Aamir and approaches; but he turns away – he doesn’t want to talk to her. She is persistent and eventually gets in his face and tells him she’s writing a piece for the newspaper and she’d going to mention his name as Cameron’s pimp and does he have anything to say? He looks around – good, no one watching – so grabs his pistol and belts her across the head, making her fall down. He squats down, grabs her lapel then points the gun at her eye. ‘If I see my name in the fuckin’ papers…’ He pulls the trigger. ‘Cunt!’ He leaves her crying.
At the café door, Robin sees Mark at a table. She composes herself then sits opposite him, ordering a coffee.
Mark Oldman’s Story.
A young blonde woman, 27, tries to take hold of a young Cameron, 4, who stands crying beside dad Mark, 37, dressed in a work suit and tie. The woman is young Cameron’s mother and her bags are packed. Mark slaps away his wife’s hand – she wants to leave, she can leave; but she’s not taking the child. The woman pleads but he’s unrelenting – she had the affair, she has to suffer the consequences. The woman leaves, tears rolling down her cheeks, promising to come back for Cameron when the court gives her the right. She says, “I’m not going to let you bring Cameron up as a freak, you hear me?” Mark slams the door and turns to Cameron saying “You’re mother’s a whore and you’re not to see her again!”

Fast-forward ten years. Cameron’s messy room is covered in girl group posters and pictures of muscled men. Cameron is reading a porn magazine, a hand down the pants. Mark barges in, grabs the magazine then realises what it is. He goes berserk, pulling of his belt and belting Cameron with it.

Two years later at dinner. Cameron breaks the awkward silence with the revelation that Cameron is in love with a boy at school. Mark drops his knife and fork and reaches over and slaps Cameron off the chair and kicks into Cameron yelling ‘You’re not going out with boys, understand’.
It is night when, alone in the bedroom, Cameron packs a bag and disappears out the window.
Back to the present and in the café with Robin, Mark admits that was two years ago and that was the last time he saw Cameron; that is, until just before the accident, when he was on a bus and chanced to see Cameron talking animatedly with an Afghani man (Aamir).
Mark DINGS the bus’ button and gets off. When he reaches the place he saw Cameron and Aamir, she’s gone. He searches where he thinks Cameron would have gone but never sees her alive again.
The next morning, as he reads his paper over breakfast, he reads the paper and Robin’s articles about Cameron death. He arranges, and pays for, the funeral. He also tells Robin he had a very good PI find the driver. The PI phoned him this morning – the driver’s name is Peter Davis. “Is this Peter Davis?” she asks as she shows him Morrison’s grainy picture of Peter. Mark nods. He concludes with “I didn’t realise how special Cameron was. I just wanted to say ‘sorry’; and now…”
Back at her home, Robin adds three more post-it note branches to her tree diagram: one leading from Gary to Darren; one for Mark Oldman; and another branch for Peter Davis. She looks at the picture of Peter that Morrison gave her.
Peter Davis’ Story

It is night as Peter, 28, a big man, a do-er not a thinker, squirms his body violently on his bed, sweat on his forehead. He yells “Hobbsey – contact – down!” He squirms again, like he’s dodging bullets.

Around the bedsit, we see remnants of his time in the army: photos of him in battle dress and holding a gun, with his mate Trevor “Hobbsey” Hobbs next to him - one photo says ‘Afghanistan’, the other ‘Iraq’; his crisp laundered uniform hanging on a coat hanger; a crimson beret, with the SAS badge prominent, on the dresser; commando knife on his bedside table; a service pistol in a holster and hanging from a doorknob to the bathroom.
There is also drug paraphernalia and a couple of pills strewn on the coffee table next to empty cans of beer and a half-empty bottle of rum. Covered in cigarette ash and partly obscured by military magazines is an envelope with the words ‘Sue Hobbs’ written on it.
The overhead fan spins like a ‘copter blade.
He wakes up violently gasping for breath. He grabs a smoke and lights it quickly before going to the window to wallow and cool himself in the night breeze. He’s naked and we can see his big frame is well-chiselled. He looks over to the drugs on the coffee table.
Now dressed, he’s about to knock on Aamir’s door when Morrison exits. They exchange brief, suspicious glances as they pass. Inside, Aamir dangles teasingly in front of his face a small bag of coke which he pulls back when Peter grabs at it. ‘Ring that number, it’s yours for quids’. Peter considers it a minute, his cold stare making Aamir squirm in his seat. ‘He’s one of your kind; a fuckin’ good client. Pays well’, says Aamir. Aamir hands him a card with the drugs and Peter takes both.
At home, he’s really stoned. Lines of coke smudge the coffee table. He leans back on the sofa and is playing with his service pistol – twirling it around, aiming it at his reflection in the mirror, pulls back the hammer, loads a bullet in the chamber, puts the gun against his head, uncocks it, takes a swig of rum from the bottle, starts it all again.

As he rolls the pistol around in his hand and aims at his head again, he’s singing Oasis’ Wonderwall: “Today is gonna be the day, that they’re gonna throw it back to you. By now you should’ve somehow, realised what you gotta do. I don’t believe that anybody, feels the way I do, about you now.” He takes another swig of booze and is about to pull the trigger when he accidentally kicks over the pile of magazines on the coffee table and the envelope addressed to Sue Hobbs drops into view. Beneath the envelope is a photo of Trevor and his family. Peter puts down the gun, picks up the photo and cries.

Peter hobbles towards Trevor’s house. He ducks aside as a man in a suit exits the house. Peter overhears the word ‘foreclosure unless you find $50,000’. Sue pleads saying that she is still recovering from her husband’s death, a hero. The man apologises, says he has to do it – it’s his job – then gives her an extra month then leaves her in tears. Peter leaves.
At a public phone, Peter rings the number on the card Aamir gave him. “What do you need done, sir?”
A park at night. A man we don’t see sits next to Peter. The man gives him a picture he says is of a dirty whore named Cameron and her pimp (it’s Gary, not Aamir). They have a USB stick with incriminating evidence on it that, unless it’s destroyed would incriminate the SAS in atrocities in Afghanistan. It’s for the good of the Corps. Peter doesn’t care for a dirty whore, so accepts the job. But he wants $50,000 for it. The unseen man agrees to pay him… after the job.
The day of the accident: Peter sits in a stolen car looking at the photo of Cameron on his mobile phone. He gets a text ‘She’s heading across now’. He sees Cameron and guns the engine. He lines her up perfectly and slams straight into her, sending her frail body cartwheeling into the middle of road. He floors it when he sees a car chasing him; but he soon loses him.
Police station. Morrison sits at his desk looking at the grainy photo of Peter taken by the CCTV camera and finally it twigs: he’d seen him at Aamir’s. Morrison finds Aamir but he doesn’t know Peter – he was a one-off and only sold to him because Peter was going to bash him if he didn’t sell him some gear.

Walking Morrison out, Aamir casually mentions Cameron’s death in passing, referencing Robin’s newspaper article. But Aamir mentions one detail that wasn’t in the article: that she was meeting a boyfriend. Grabbing that slip up like a bull terrier, Morrison pressures Aamir – Morrison knows he’s wanted by ASIO for suspected terrorism – into spilling what he knows: Cameron used to trick for him and was an addict but gave it up for a guy. Morrison shows him a picture of Gary. Yeah, that’s the guy; Cameron’s boyfriend.

But Morrison knows there’s more so really jacks up the heat – ‘Do you know what they do to drug traffickers in Vietnam – that’s where you’re from, isn’t it? Aamir is shitting himself. ‘Tell me who Cameron’s clients were’. Frightened for his life, Aamir says, ‘Bryant. Senator Dan Bryant’. He releases Aamir, shock registering on his face. He turns back, ‘You touch that journalist again I’ll cut your fuckin’ throat and feed your body to m’ dogs. Understand?’ Aamir nods.
Senator Bryant’s Story.
Four years ago. Lieutenant Dan Bryant, 30, takes cover behind a mud-brick wall. He turns to his SAS squad. ‘Enemy is in that mud-brick house. On my go, concentrate fire on that position’. He yells ‘go’, they shoot up the house. When it’s quiet, Trevor Hobbs, a nuggetty squat solder approaches. Inside he sees a dozen women and children, all dead, along with some Taliban. He reports to Bryant who orders him ‘Not a word’.
Just then, the enemy engage them again. Bullets zip past.
Bryant splits up his squad of SAS soldiers to flank the retreating enemy. One large soldier, built like a refrigerator, Corporal Davis, is point as Bryant and three others advance behind him. But they walk into an ambush and Davis is wounded in the leg. His mate, Trevor Hobbs, comes to collect him but is shot and falls. Bryant saves Davis, against Davis’ wishes to save Trevor.
The fighting intensifies, preventing Bryant from collecting the fallen soldier. Bryant shoots the squad’s way to freedom. He’s decorated for saving soldiers and for killing the most enemy combatants (earning the moniker “The butcher of the ‘Stan”).

A year ago. Bryant’s in a bar, drinking with four other suited work associates who toast their success to Bryant’s pre-selection for a safe Liberal Party seat. The election’s a month away and they’ll win that as well. Two leave. Bryant and Col remain and Col’s rolling drunk. After a while of ogling women, he writes on a business card, hands it to Bryant saying ‘Dan, my man, you’re gonna ring this number; you’re gonna ask Aamir to hook you up with Cameron; and you’re gonna have the best fuckin’ time of your sad life. Trust me when I say you will have a night you will never – NEVER – forget’. And with that, he swaggers out, slapping a couple of women’s arses as he does.

The light’s set low when Aamir shows Bryant into the bedroom. But he doesn’t need a spotlight to see a stunning blonde calling herself Cam who’s lying in her knickers on the bed with those begging eyes. He gets hard just looking at her. When she sashays to him, his hormones, his heart rate, his breathing, everything, are racing. When she offers him a spoon of coke, he snorts it; when she begins to undress him, he’s almost cumming. He feels her then stops. But she’s unrelentingly steamy and those lips – he’s never been kissed like that in his life. He thinks he shouldn’t do this; he tries thinking of dead pups, anything to put him off what he knows is about to happen. But she’s hoooottttt! So fucking hot! Fuck it! The sex is torrid, it’s steamy, it’s taboo and she’s taking him to places in his head he’d never dreamed of. He is totally besotted.
His office, he rings her up. She comes over, they fuck. In his car, they fuck; in the toilet, they fuck. On the lounge with his wife in the kitchen in the background, he rings her up: meet me at your place.
He gets roses and chocolates and lets himself into her flat. He waits… and he waits, and he waits. The fucking quim has stood him up. He rings up Aamir – where the fuck is she? Aamir apologises. Says he’s going to send Kandy up to him asap. It’s a freebie, on the house, no questions asked.
But Bryant is pissed and too bad for sexy petite Kandy who rocks up at the door looking tarty and ready for sex. Poor Kandy; she’s about to get his wrath. The first punch sends her reeling and dazed to the ground; but it’s that last punch, the one to the throat, that he shouldn’t have thrown. She lies dead on the bed – the same bed Cameron and he make love on; the one he sits on now and looks at Kandy then turns away, head in his hands. He gets on his phone - ‘Aamir; there’s a problem…’

In a large room filled with supporters, Bryant thanks his team for helping him win the Senate seat. He has the balance of power and will use it expeditiously for the good of the country. To the rousing applause, he kisses his wife and two young children beside him.

They’ve finished having sex and they’re lying under the sheets. Cameron asks him if he’d seen Kandy. He says ‘no’. ‘Funny no one’s seen her’, she says. Bryant sits on the edge of the bed, contemplating. Cameron comes up and cuddles him. He stands, turns and says ‘We have to finish it; you know… end it.’ Cameron looks confused and, for a second, almost sad, as she sits back on her haunches. Bryant dresses, places a wad of money on the dresser and leaves without looking back.
Days later, Bryant turns up at Peter’s door. Peter lets him in, tells him he’s done the deed and hands over the USB stick he’d got from Gary’s place. He asks Bryant what is on the stick. Bryant tells him to mind his own business. Bryant pays him cash; but, when Peter discloses he knows Bryant lied to him about Cameron and Gary and that he wants to hand himself in. Bryant says ‘go ahead’ but Peter then confesses he watched the video on the stick. Peter turns away momentarily. The moment is all Bryant needs to shoot Peter in the temple with a pistol that he wipes for fingerprints and places near Peter’s felled body. Bryant plays the USB stick – it’s empty. A groan, Peter’s not quite dead. Bryant kneels beside him – ‘Who has the stick?’ Peter tells Bryant he sent it to that journalist Robin at the Times.
In his car, Bryant rings a number – it’s a cop and Bryant calls in a favour to give him Robin’s address.
Robin calls Morrison – she just received a couriered package with a USB stick in it; and it implicates Senator Bryant in a murder of a hooker (Kandy) – a friend of Cameron’s. He says he’s on his way.
Robin’s flat. She’s just hung up from talking to Morrison when the doorbell chimes. She answers it – it’s Bryant and he shoves his way in and pistol-whips her unconscious.
Robin’s Story.

It is ten years ago. Teenage Robin wakes to find she is hooded and tied to the four posts of a bed. A naked man gets off her after raping – it’s the one who spiked her drink in the bar. A second naked man – the one he pretended to rescue her – comes in and is naked as well. It’s his turn.

Suddenly, the door busts down and a younger Morrison bursts in, followed by constables. He shoots the second man and beat him and the other man. Once they’re cuffed, he covers Robin and removes the hood. She is battered pretty badly about the face and barely conscious.
Present day. Robin wakes to find she is tied to a chair. Her place has been turned upside down. Bryant paces nervously, undecided, waving his gun around. He wants the USB stick. She tells him where it is. He plays it and, satisfied it is the one, he deletes it just as the doorbell chimes. Bryant places the gun next to Robin’s temple to keep her quiet. She can’t; she screams. Morrison busts down the door so Bryant shoots him in the chest. He drops. Bryant turns to Robin to shoot her but Morrison is not dead and shoots Bryant in the head.
Robin sits at her computer with the editor looking over her shoulder. A copy of the USB stick Bryant wiped plays. Robin fast forwards to position 1:02:23, hits play.
Cameron’s story.
Cameron and Bryant are kissing and making love. Bryant finishes, sits on the edge of the bed and tells Cameron they have to end it. He then gets up and leaves money on the dresser before leaving Cameron in bed smoking.
She gets up and, her back to us, we see…

… her perfect arse…

… her perfectly long blonde hair…

… and perfectly shaped body.
She backs up a little until she’s waist high, turns then…

… walks to a hidden camera – checks it’s on…

… it is. She leaves it hidden, then backs up…

… and…

… we see her perfect face.
She moves back a little more, staring in the camera, ensuring it is still positioned correctly. And…

… we see her perfect breasts.

She steps back further to ensure the lens line is correct. It is.

… we see her perfect waist.
She takes one further step back and it is then…

… we

… see

… Cameron’s…

… groin

… and what shouldn’t be there…

… cock and balls.
Exposure is Lantana (or Vantage Point) meets Crash in this ensemble noir thriller-drama film about the secrets we keep from being exposed.
Stunning Cameron, 18, is hit by a car as she goes to meet boyfriend Gary. Journalist Robin Bowers, who sits in a café interviewing Senator Bryant, sees the collision and goes to help but Cameron’s dead. As Robin takes pictures, Gary disappears in the crowd. She searches Cameron’s pockets for ID, she finds an envelope addressed to Gary. As the ambulance medics arrive, Robin is joined by Theo Morrison, the hard-nosed detective sergeant, who tells her he gave chase but lost the car.
Robin’s boss allows her to investigate the case as a public interest story for her newspaper. The other six people are: boyfriend Gary Schuman; Aamir Trong, Cameron’s drug dealer; Mark Oldman, Cameron’s estranged father; Peter Davis, the driver;; and Senator Daniel Bryant.

Copyright July 2014

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