Tough Love

Tough Love By Ewen Glass, Tom Wilton, Howard Rayner, Dominic Jenkinson, Andy McCoy, Silva Neves, Darren Barber

Based on an original idea by Darren Barber

Tough Love 2009

[email protected] Mobile 07990 828042

OPENING CREDITS OF FILM Love can be wonderful, Love can be kind, Love can be Tough. The opening credits are filmed in super8 and will be a handful of people young, old, male, female, in natural loving embraces. People kissing, holding hands, leaning on one another. Children playing with parents, elderly couples very much still in love. INT. DOCTOR’S OFFICE - DAY Richard, a GP, sits opposite ELAINE who fidgets nervously. RICHARD Where’s Micky? ELAINE Managed to get someone to look after him for an hour. RICHARD Must be nice to have a break. He spies her wringing her hands. RICHARD (CONT’D) Or maybe not. ELAINE His exema is bad again. The backs of his hands. Richard is staring intently at a file which bears her name. RICHARD Let’s just concentrate on you for now, huh? ELAINE I know, but it’s really beginning to irritate him, heRICHARD Elaine. She duly trails off. RICHARD (CONT’D) There were some irregularities with your last smear-test. Her face drains of colour and suddenly she’s still. (CONTINUED)

CONTINUED:

2.

RICHARD (CONT’D) It may very well be nothing, but just to be sure I have booked you another exam; is that okay? Elaine is silent for what seems like an eternity. Finally she speaks. ELAINE What about Micky? FADE TO BLACK EXT. BEACH - DAY The tide washes back and forth over the beach, eddies of foam tumble in rivulets of sand. The dawn glints on the distant horizon. The reassuring WASH of the sea turns into INT. BATHROOM - DAY WATER POURING into a bathroom sink. In a magnifying mirror we see a man’s face. But not his entire face, only the hand which holds the razor and his foam covered chin. He shaves meticulously, precisely. EXT. RESIDENTIAL CARE HOME - DAY A really nice period building. Looking up to a window on the second floor we can just make out a woman inside. The woman sits and stares into the distance - it’s not easy to see her, the sun and reflection on the glass create a blurred barrier of light between her and the outside world. INT. BEDROOM - DAY The man’s hand reaches into a tidy wardrobe and chooses a well pressed shirt. He puts it on. As he buttons the shirt we notice a fading scar in the centre of his chest, over his heart. He delves back into the wardrobe and, after a moment’s hesitation, selects a tie. Brightly coloured cheerful. He slips it on and knots it.

3.

INT. RESIDENTIAL CARE HOME - DAY A young woman’s hands slip a blood pressure cuff around an older woman’s arm. The cuff inflates. From the POV of the people inside we look outside, down onto the path which leads to the front door of the home. A man comes up the path. He wears the distinctive shirt and tie we saw previously. He carries a small, but lovely, bunch of flowers. He has a slightly nervous air, like a boy on his first date, this is RALPH, 68. Pulling back into the room we see the nurse (Elaine) take a pressure reading and take the cuff off. ELAINE That’s down nicely. The woman in the chair’s the one we saw at the window. Now her face is clear to us. It’s ANN, 66, her hair’s styled in a modern way, her features calm and relatively unlined. This is not an ’old’ lady. She’s smartly dressed. Ann hears the nurse, but strains to make sense of what she says. ELAINE (CONT’D) Look who’s here. Ralph quickly exchanges a couple of words with another member of staff as he comes in the room. RALPH (to Ann) How’s my girl today? ELAINE Blood pressure down. Had breakfast. Washed and dressed. Ralph kneels by Ann and passes her the flowers. Ann doesn’t reach out to take them. ELAINE (CONT’D) Aren’t they lovely. Ann shies away slightly as Ralph leans to kiss her. RALPH (quietly to nurse) Her favourites. ELAINE I’ll get some water. The nurse goes to the bathroom.

(CONTINUED)

CONTINUED:

4.

RALPH Rusty sends big wags. Mark and Julie send big hugs. ANN (nodding) Oh. RALPH They’re all thinking of us. Ready for the off then? The nurse comes back a jug of water. ELAINE (to Ann) Ready? Ralph’s taking you out. It’s a special day. ANN Aah. The nurse takes the flowers from Ann’s lap and puts them in the jug. ELAINE (to Ralph) Sure you’re up to it? Ralph pats his chest. RALPH Two and a half billion. The nurse squints at him, what does he mean? RALPH (CONT’D) Number of times a human heart beats in a lifetime. Looked it up on the net. Don’t know why. Two and a half billion. The nurse laughs. RALPH (CONT’D) A heart must be strong to beat that many times. Pipework was my problem. Not the pump. (to Ann) Now I’m sorted I’ll have you home in no time.

(CONTINUED)

CONTINUED:

5.

ELAINE Don’t go overdoing it. RALPH I want to see her smile again. ELAINE Well, the fresh air’ll do her good. I’ll go find a wheel chair. The nurse leaves. Ralph kisses Ann’s head. RALPH One smile. Just a little smile? So I know you’re still with me. Ann stares out the window. INT. NURSING HOME - DAY The nurse watches Ralph gently help Ann into the car. She gives a quick hopeful wave, then goes back to her work. EXT. CAR PARK - DAY Ralph takes the wheelchair out of the boot. He looks up to find Ann’s out the car and walking away. He rushes to catch her. RALPH No love. Stay with me. ANN (agitated) Work. I have to get to work. RALPH Not today. We’re having a day out. You know, like the one all those years ago. ANN Oh. She calms and Ralph helps her into the chair. RALPH Here we go, then. Let’s see what we can find.

6. EXT. PROMENADE - DAY It’s a lovely day. Ralph pushes Ann in the wheelchair. Ralph chatters blithely, like someone trying to get a party going. RALPH So I said if he hadn’t left his hat on the bench then my dog wouldn’t have eaten it. And he said, I don’t like your attitude. So I said, it’s not my hat he chewed - it’s your hat he chewed! He pauses and leans down to Ann, her eyes flick nervously. RALPH (CONT’D) Chewed. Hat he chewed. Ralph pushes her along again. RALPH (CONT’D) You’ve never been one for jokes. (beat) Let’s hope the penny arcade’s still there. INT. AMUSEMENT ARCADE - DAY Lots of modern machines. Ralph and Ann in front of an old one armed bandit. RALPH You put it in. For luck. Ralph guides Ann’s hand with a coin towards the slot. RATTLE as it drops in the machine. RALPH (CONT’D) Your cheeks were red. Everyone’s looking, you said! Ralph pulls the lever. The drums roll round. RALPH (CONT’D) The noise of the coins as they tumbled out. And the bells. Jackpot! And it was the first thing we did, that day. (beat) And you wanted to buy something with your win. A memento. The drums come to a halt. Two diamonds and a lemon. No win.

7.

EXT. JEWELER’S SHOP - DAY Ralph pauses with Ann outside a shop display of rings. He glances up at the sign. RALPH Still in the same hands after all these years. You picked a brooch. Gold with green stones. Then you looked at the rings. He looks down to Ann’s hand, a ring with a bright diamond glitters above her wedding ring. RALPH (CONT’D) No hesitation. One like that, you said. I withdrew my savings, took a day off work, and came back to get it. Ralph watches Ann’s face reflected in the glass of the shop window. He leans closer, just to see if her expression changes. RALPH (CONT’D) Your face. What a picture when I proposed and then you saw that ring. But Ann’s face remains impassive, distant eyes. EXT. HOTEL - DAY A charming, but slightly dated, hotel. RALPH I hope it wasn’t just the ring that swung it. I was over the moon when you said yes. A wedding party mill around outside. RALPH (CONT’D) Look, this is we came here for a drink. (navigating crowd) Excuse us. They part and Ralph pushes Ann through the crowd of guests, a bride in white and a handsome groom.

(CONTINUED)

CONTINUED:

8.

RALPH (CONT’D) Forty years ago. That was us. The wedding party laugh and chatter as the bride and groom enter the hotel. RALPH (CONT’D) Funny, I don’t think of our wedding as the start of us. It’s always that day. The day we came here, the year before. Ralph checks Ann’s face. But nothing. He looks at the hotel and remembers. RALPH (CONT’D) But the drink made you woozy. EXT. CHILDREN’S PLAY PARK - DAY Children clamber and slide. One in the corner’s crying. A mother comforts them. Ann shifts uncomfortably. RALPH So we sat here for a while. Talked about kids. Who knew we’d have our own one day? You dreamed of having three. Ralph drops his eyes. RALPH (CONT’D) We did. (to himself) For a while. Ann fidgets in the chair. RALPH (CONT’D) What’s wrong love? What is it? ANN I need...need. I... Ralph gets it. He desperately looks around. RALPH Hang on. I don’t know. Oh, heck. Where? Where can we get you? Hold on, love. Oh heck.

9.

INT. SMALL CAFE - DAY Ann’s empty wheelchair’s by a table. Ralph helps Ann to the ’Ladies’ at the back of the cafe. RALPH Made it. Ralph helps Ann in. He leans back and sighs with relief. Then he hears Ann’s voice on the other side of the door. ANN (O.S.) (frightened) Someone’s here. She’s in here! Ralph notices everyone in the cafe staring at him. He has no choice, he had to go in the ’Ladies’. INT. LADIES TOILET - DAY Ann’s distressed, she turns her face from her reflection in the mirror. ANN She watches! Always watches me. RALPH It’s okay. It’s fine. She’s gone now. Ralph takes his jacket off and covers the mirror. Ralph kicks himself, he should have thought of that. INT. SMALL CAFE - DAY Ralph tries to be cool as he helps Ann out the ladies and back into her chair. People in the cafe give him sidelong glances. Ralph’s rattled. He sweats and runs his fingers round his collar. Puts his hand to his chest to check his heartbeat. A bored young waitress hovers at their side with her pad and pen. WAITRESS What you want, then? Ralph tries to catch his breath. RALPH Air, I need air.

10.

EXT. PROMENADE - DAY Ralph takes deep lungfulls of air. He bends slightly and tries to slow his breathing. Ann seems agitated and she looks around anxiously. RALPH Sorry. Amidst the people going about their daily lives Ralph and Ann seem fragile, and quite alone. RALPH (CONT’D) I thought if we did some of the things we did back then, well, I thought, I hoped something might come back. (Ralph calms) I’ll take you home. Well, back. Ralph despondently pushes Ann along the street. But as they pass a chip shop, Ralph notices Ann lift her head. He leans forward to study her. RALPH (CONT’D) What love? Ann looks around. Ralph notices the chip shop. RALPH (CONT’D) Oh, for Pete’s sake. I’d forgot about this place! EXT. CHIP SHOP - DAY Looking in through the window we see the assistant pass Ralph a bag of chips. EXT. PROMENADE - DAY A row of benches. People sit on the benches. Singles, couples, families. None of them talk. All stare out to the distant horizon on the sea, all lost in their own worlds. RALPH We passed it on our way back to the station. Let’s have a bag, you said. And we sat here and we ate while we watched the sun go down.

(CONTINUED)

CONTINUED:

11.

Ralph sits on a bench. Ann, in her wheelchair, at his side. Ralph blows on a chip and feeds it to Ann. Ralph licks his fingers as he watches Ann eat. She savors the flavour. Ralph picks a chip and eats it. RALPH (CONT’D) Why’s everything nice bad for you? Ann chews slowly and deliberately. ANN Nice. Ralph lifts his eyes to her. A faint smile plays on the corners of her lips. Faint. Small. But a smile. Ralph leans his head in close to her. He kisses her. Rubs his head on hers. Then he leans back. Satisfied. Ralph takes another chip and blows on it. He feeds Ann, she chews and enjoys the taste. As they eat, the other people on the benches get up and drift off and resume their unfinished conversations. Some happy, some sad, some angry. But everyone has someone. Ralph and Ann are left alone together on the row of benches. RALPH (to Ann) You’ll always be my girl. Ralph takes Ann’s hand. Ann and Ralph hold hands, stare out to the distant horizon and watch the sea wash on the sand. Ralph lifts his head. Is it in his imagination or real? Whatever, Ralph hears MUSIC. A waltz. RALPH (CONT’D) And before we went home we found that place. INT. PAVILION - DAY A sparse crowd sit on deck chairs while a three piece band play on the stand. Ralph puts the brake on Ann’s chair. The music relaxes Ann, she sways slightly to the rhythm. RALPH And had one last dance. Ralph comes to the front of the chair. Ralph extends his hand to Ann and helps her up. Ann’s nervous, tentative, but she surrenders to his embrace. Ralph wraps his arms around her.

(CONTINUED)

CONTINUED:

12.

RALPH (CONT’D) Just as then. That day. Slowly they sway to the music, both unaware of the world around them. DISSOLVE TO: EXT. RESIDENTIAL CARE HOME - EVENING Ralph walks away from the care home, he glances back to see Ann in the window. He waves goodbye, she turns away from the window without any response. But he’s strangely happy. EXT. RALPH’S FRONT DOOR - EVENING Ralph puts his key in the door. MIKE, his next door neighbour is weeding his front garden. MIKE How’s Ann? 10. RALPH Fine, just fine. MIKE Good day? RALPH Wonderful. Effing brilliant. MIKE Really? RALPH She smiled. WOOF! Ralph’s dog, RUSTY jumps up as Ralph opens the door. He barks and wags his tail - overjoyed to see Ralph. INT. RALPH’S LOUNGE - NIGHT. Ralph switches the lamp on. On the mantelpiece are lots of cards. Ralph picks one up and looks at it. ’HAPPY 40TH ANNIVERSARY’. ’BEST WISHES ON YOUR DAY TO REMEMBER’. He puts it back. A picture on the mantel of him and Ann together, she’s looking at him and smiling. Ralph sits in his chair. Rusty jumps up and sits on his knee. Ralph stares at the picture (CONTINUED)

CONTINUED:

13.

of him and Ann - he places his hand on his heart and leans back contentedly. Ralph closes his eyes as he counts the beats of his heart. FADE TO BLACK EXT. SCHOOL - DAY KIDS file out of school, their MOTHERS waiting at the gates, wearing expressions that range from utter boredom to excited expectation. JUDITH and ELAINE stand together. In contrast to Judith, Elaine’s searching gaze never lets up as she stares towards the school, waiting... ELAINE How’s Andy getting on? Judith’s response is quick, too quick. JUDITH Fine, absolutely fine. ELAINE MustJUDITH How are things with Micky, anyway? ELAINE Fine. (Beat) Well, the same. Funnily enough, it’s not him I’m worried about. JUDITH Speak of the devil. MICKY, Elaine’s 11-year-old with SPECIAL NEEDS, walks up the school path. Elaine cracks into a grin and waves enthusiastically. The grin soon falls away. ELAINE If Michelle had got the photos developed I could’ve shown you little Jack. JUDITH Aww.

(CONTINUED)

CONTINUED:

14. ELAINE I hope he’ll be okay there. With her.

Judith peers down the school path. Elaine adjusts her game-face, trying to cover up her emotions. JUDITH Billy must have gone early. He sometimes does that. ELAINE Reminds me of Michelle. (Beat) Not that he’ll turn out... This time, a genuinely mirthful smile is raised on both women. Judith playfully slaps Elaine’s arm. JUDITH Relax. INT. LIVING-ROOM - DAY A small terraced house, housing a small cosy living-room. An aged DESKTOP COMPUTER sits in the corner, a thin film of DUST on its surface. It sits apart from the other furniture, different, unused. Reveal two WOMEN standing back, looking at it with a sense of foreboding. Where to begin? The younger woman, JUDITH (34) steps forward. Pretty but tired-looking, bags gently tug from below her eyes. Her friend, TRACY (36), altogether tartier, chews gum. Judith picks up a WEB CAM still in its packaging. She looks at the instructions on the back, her brow furrowing. JUDITH What’s a USB? TRACY Ain’t that a type of rash? JUDITH I think we’re just going to have to do this ourselves. Trial and error. But they stand there, immobile, silent. TRACY Go on then, turn it on. Judith suddenly busies herself opening the web cam. (CONTINUED)

CONTINUED:

15.

JUDITH I’ll do this. TRACY (sighing) For goodness sake. Tracy gropes the computer box seeking out the ’on’ button. She presses it and with a mechanical whir, the ancient machine slowly comes to life. INT. LIVING-ROOM - DAY - LATER The COMPUTER is on, an old running-system aglow on the screen. The silence is punctuated by the odd female grunt. Slowly reveal JUDITH on her back on the floor, contorting in various different ways to gain access to the back of the machine. A mechanic. TRACY, looking a little fed up with the whole enterprise, is reading OK! Magazine. She glances at the WEB CAM. Ain’t this Eastenders sucked his lucky lady

TRACY the thing that guy from used, you know, when he finger, giving some a little show? JUDITH

Ah-ha. Judith plugs the wire in and emerges from below. TRACY (suggestively) Is that why you’re doing this, to give Andy a show? Judith turns away from Tracy, but the hint of a smile does indeed play on her lips. JUDITH (sarcastically) Yeah the troops would love that. TRACY They probably would! It gets lonely out there. At this, Judith’s eyes drop.

(CONTINUED)

CONTINUED:

16. JUDITH I miss him. We both do. TRACY I know darling. I’m sure they’ll be sent home soon. JUDITH They’ll be home by Christmas. Isn’t that what they said about World War... TRACY Oh my God!

Judith suddenly looks concerned. But Tracy flaps her magazine about. TRACY (CONT’D) You should see what Jordan’s done now. EXT. SCHOOL - DAY BILLY, a fairly nervous ten-year-old, walks home alone. His shoulders are slouched, his whole posture apologising for itself. His eyes remain fixed to the ground as he trudges onward. He seems to be carrying something, sheltered beneath his coat. He casts a quick glance around and pulls the object out: a premier league STICKER BOOK. He flips through the pages, the first sign of a smile flashing across his face. Every page, every frame is filled. Apart from one. He is missing the shiny silver club badge for Aston Villa. Suddenly the book is knocked to the ground. Billy looks up as a couple of KIDS circle him, laughing. KID#1 Show-off. KID#2 Look at me with all my stickers. KID#1 My Dad says you’re spoilt if you get bought all them packs of stickers. Billy makes to say something but doesn’t. He walks on, defeated.

(CONTINUED)

CONTINUED:

17.

KID#2 (cackling) What does your Dad say? Billy picks up the pace, slipping the book under his coat. INT. LIVING-ROOM - EVENING JUDITH and BILLY sit in front of the COMPUTER, manoeuvering to be in line of the WEB CAM which sits precariously atop the monitor. JUDITH (to Billy) So what, we just talk? BILLY Yes. Billy, exhibiting ten times the skill of his mother, hits a few buttons on the keyboard and wields the mouse with flair. A live video feed appears on screen. A man, uniformed in Army fatigues, smiles: ANDY (35). JUDITH Don’t touch anything, we’ve got him. Should I go? Billy nods but he is too preoccupied with looking at his Dad. When finally Judith speaks she talks slowly at great volume, enunciating every word. JUDITH (CONT’D) Andy. Can. You. Hear. Us? Billy rolls his eyes and Andy’s laugh travels to them. ANDY I can still speak English, darling! He makes a face and his son giggles. ANDY (CONT’D) How’s my little Bilbo? BILLY Good. Somewhat embarrassed, Billy clams up.

(CONTINUED)

CONTINUED:

18. ANDY Thanks for the detailed progress report, Son! How’s school? BILLY Okay. ANDY Just okay? You sound like you’re a bit like your old Dad. But you have to study hard so you don’t end up out here. BILLY Is it...is it...bad? ANDY It’s okay. It’s got nothing on home, though.

He grins now. An adult grin. JUDITH (her voice wavering) We miss you. ANDY I can’t tell you how great it is to see you. I only have half an hour; the communal computer is always totally booked up. You managed to get it up and running, then? JUDITH With Tracy’s help. ANDY I’m surprised it didn’t blow up. Again, Billy giggles. ANDY (CONT’D) How’s the sticker-book coming on? BILLY I only need one. The Villa silver. ANDY That’s impressive. JUDITH (to Billy) Why don’t you go and get it so you can show your father? (CONTINUED)

CONTINUED:

19.

Billy leaves. JUDITH (CONT’D) How are you baby? When will you be back? The joviality seems suddenly to fall away, a shadow falling on Andy. ANDY (almost snapping) Which question do you want me to answer? (Beat) Sorry, love. I don’t know. That’s the answer to both. I don’t know. INT. JUDITH’S BEDROOM - NIGHT A thick nigh-impenetrable darkness hangs heavy over the bed, in which a restive JUDITH twitches about, very much still awake. She clutches a PILLOW to her bosom as if holding her husband. Her eyes remain wide open, staring through the inky darkness at nothingness itself. INT. BATHROOM - EVENING JUDITH puts on her MAKE-UP and inspects herself in the mirror. She’s gotten dressed up. It looks like she’s going out. INT. LIVING-ROOM - EVENING JUDITH sits talking to ANDY on skype. JUDITH How do I look? ANDY Too good for a man who’s been out here for months on end. Never mind road mines, I’m about to explode! INT. SUPERMARKET - DAY JUDITH pushes her TROLLEY, browsing when her MOBILE RINGS.

(CONTINUED)

CONTINUED:

20.

JUDITH Hello? TRACY (O.S.) It’s Tracy. I don’t want to, you know, alarm you but somethings gone down in Afghanistan. Eric saw it on CNN or something. JUDITH What’s happened? TRACY (O.S.) We could totally have got the wrong end of the stickJUDITH What’s happened?! TRACY (O.S.) An ambush or something, a terrorist offensive. Judith leaves the trolley and bolts away, her breathing suddenly short and urgent. INT. LIVING-ROOM - DAY JUDITH opens skype; despite her panic she still moves the mouse like an amateur, slowly and deliberately. Andy is of course not online. She checks her watch. INT. LIVING-ROOM - EVENING BILLY is lying on his stomach, flicking through his STICKER BOOK. JUDITH sits on the sofa drinking coffee, staring into the distance. She looks at her watch again, barely containing a sudden outbreak of nervous fidgeting. INT. LIVING-ROOM - EVENING - MOMENTS LATER JUDITH slowly makes to connect and open skype as BILLY sits beside her. BILLY You’re so slow. JUDITH (snapping) You do it then! (CONTINUED)

CONTINUED:

21.

He reluctantly takes the reigns, looking somewhat wounded. Logging into skype, they both see that Andy isn’t online. Judith’s features crease into a frown as she checks the time. And then the message comes up. Andy is online. Moments later, the video feed appears, revealing ANDY. JUDITH Oh God, I’m so glad to see you. I heard that... Billy looks at her expectantly. JUDITH (CONT’D) Never mind. INT. LIVING-ROOM - EVENING Days later, JUDITH and BILLY talk to ANDY online. INT. LIVING-ROOM - EVENING Another day. Another set of clothes. JUDITH and BILLY are laughing away, connected with their loved one thousands of miles away. INT. LIVING-ROOM - EVENING Another evening. This time, JUDITH is alone in talking to ANDY. ANDY I have to go now, Jude. JUDITH Don’t you have a while left? ANDY (sheepish) Yeah, but...I have a few things to do. Judith doesn’t look disappointed. She looks crushed. JUDITH Oh.

22.

INT. KITCHEN - DAY TRACY flicks through an OK! MAGAZINE at the kitchen-table. JUDITH sips her coffee. JUDITH He’s done it a few times recently. We only have a very limited time to talk to each other and he doesn’t seem to want to. TRACY Maybe he’s talking to his other wife? Tracy sees it’s no laughing matter. TRACY (CONT’D) Oh, don’t worry, I’m sure there’s a legitimate reason. Tracy points at her magazine. TRACY (CONT’D) Speaking of legitimate, well illegitimate... INT. LIVING-ROOM - EVENING JUDITH and BILLY in their usual positions in front of the COMPUTER, Billy logging them in. No sign of Andy. JUDITH What, he’s not even on tonight?! Her anger communicates itself to Billy, who looks lost. He rises and goes to the sofa, all the while silent. JUDITH (CONT’D) Don’t worry son, I’m not angry at you. He picks up his STICKER BOOK. Judith looks at the Andyless screen again. A silence. JUDITH (CONT’D) How do you turn this thing off?

23.

INT. LIVING-ROOM - EVENING - MOMENTS LATER The COMPUTER clicks off and JUDITH rises. She sighs, running her fingers through her hair and is about to join BILLY on the sofa when they both hear the LETTERBOX opening. INT. HALL - EVENING Coming into the hall and going to the FRONT DOOR, JUDITH and BILLY see something on the mat. Billy picks it up and turns it over, his eyes lighting up instantly. BILLY How on earth... He shows his Mum. The Silver Aston Villa STICKER. BILLY (CONT’D) It’s the only one I don’t have! JUDITH But who would have... But her voice trails off, as she realises. She frantically unlocks the door and swings it open... Standing there with a wry smile on his face: ANDY. BILLY Dad! In an act of exuberance we haven’t thus far seen of the boy, he bounds outside and into his Father’s arms. Billy holds him tightly. ANDY I’ve missed you. Man, you’ve gotten strong. BILLY Did you get me the sticker? ANDY Sure did. Andy looks to Judith who is standing framed in the doorway. ANDY (CONT’D) It took a lot of searching round on the internet. Judith’s eyes fill.

(CONTINUED)

CONTINUED:

24.

ANDY (CONT’D) (to Billy) Why don’t you go in and get your sticker-book and we’ll put the last one in. Billy sprints back in, a skip in his step. Looking her in the eye all the while, Andy comes inside and slowly threads his arms round his wife. ANDY (CONT’D) I’m afraid I don’t have anything for you. JUDITH (Beat) I wouldn’t say that... Andy and Judith kiss slow and tenderly and Judith pushes the front door shut with her foot. FADE TO BLACK INT. CHURCH - DAY A SERVICE is ending and people are leaving. ELAINE enters a little sheepishly and takes a seat at the back as FATHER SIMON tidies away. INT. FATHER SIMON’S OFFICE DAY FATHER SIMON sits serenely behind a large wooden DESK which cuts him off from ELAINE, who sits on the other side. The priest waits quietly for Elaine to find the words. ELAINE And it isn’t even about Micky anymore. Not really. Not solely. Michelle will need help with Jack, she’ll need to stay off the... She fades off, swallowing back her emotion. ELAINE (CONT’D) And Pete needs me. He pretends he doesn’t, but he does, more than ever. He hasn’t seen his own grandson. He just doesn’t know how to deal with Michelle.

(CONTINUED)

CONTINUED:

25.

FATHER SIMON Do you think he feels guilty? ELAINE He shouldn’t. FATHER SIMON Precisely. A silence falls briefly. FATHER SIMON (CONT’D) And neither should you. ELAINE If this turns out to be...something, what will they do? FATHER SIMON They’ll help you through this. ELAINE No, I mean what will they do. FATHER SIMON I know. Father Simon places a hand on Elaine’s. FATHER SIMON (CONT’D) Your not alone. INT. FLAT - DAY The curtains are pulled closed in this small, one bedroom flat. A stale atmosphere presides. The front door opens, and in walks Michelle, twenty-something, waif-like and tired. She carries a moses basket, in which her three-month-old baby, Jack, lies. CUT TO: INT. FLAT - LATER Michelle is laying a towel out on the bottom of a cot. CUT TO:

26.

INT. FLAT - LATER Michelle sits on the edge of her couch, Jack in her arms, mobile phone to her ear. After a beat, it is answered. MICHELLE Call me back, I don’t have any credit. She puts the phone down. A beat. The phone rings and Michelle answers it. MICHELLE Hold on. She puts the phone to Jack’s face. After a beat, she brings it back to her ear. MICHELLE (cont’d) (talking on the phone) Say something. She puts the phone back to Jack’s face. A beat. MICHELLE (CONT’D) Say hello to Nana. INT. FLAT - LATER It is night. Jack is asleep in the cot. Michelle just sits at the side, watching him sleep, nervous of her first night alone with him. INT. PHARMACY - DAY Michelle hands over her prescription to the pharmacist. Jump cut as she stands in front of him, drinking her bottle of methadone. EXT. STREET - NIGHT Trudie, a seventeen-year-old girl, stands by the side of the road in a short skirt on a cold night. After a moment, a car pulls up and she leans against the open window.

27.

INT. FLAT - DAY Michelle is trying to put a baby mobile up over the baby’s cot. There is a knock at the door. Jack wakes up, crying. Michelle goes to answer the door. It’s Trudie. She comes in carrying a pack of sheets under her arm. TRUDIE Hey. Michelle goes straight back to Jack, picking him up as Trudie goes into the front room. Trudie sits on the couch and Michelle brings Jack in. TRUDIE (cont’d) (patting the sheets) I got you these for the cot. MICHELLE You didn’t have to. TRUDIE It’s alright. I had an order for some anyway, so one more pack was easy. MICHELLE Right. TRUDIE So you’re back then? Michelle says nothing. TRUDIE (cont’d) What did they say when you left? MICHELLE He’s better now. TRUDIE You got social watching you? Michelle says nothing. There’s a knock at the door. A beat as Michelle looks at Trudie. CUT TO:

28.

INT. FLAT - LATER Michelle stands in the doorway as Trudie sits on the couch with Chris, a grimy looking young man wearing scruffy jogging bottoms and a hooded top. He’s pulling a tourniquet tight around her arm, tapping on her wrist. Michelle walks out of the room with Jack, into the kitchen. EXT. FLAT - NEXT DAY Michelle stands by her front door, smoking a cigarette. She looks back into the flat, where her mum, Elaine, sits cradling the baby in her arms. Michelle finishes her cigarette, and goes back inside. MICHELLE He likes you. ELAINE He’s an angel. MICHELLE Yeah. But he’s got a set of lungs on him. A pause. ELAINE He’s small. A beat. ELAINE But they always lose a little bit. It’s normal. CUT TO: INT. FLAT - LATER Michelle unfolds the sheet that Trudie brought over. It’s a double bed sheet, far too big for the baby’s cot. Jump cut to Michelle tucking the sheet under the cot mattress. She puts a soft toy on the pillow.

29.

INT. FLAT - LATER Elaine and Michelle stand in the kitchen, talking over a cup of tea. ELAINE I’m glad you called. MICHELLE Yeah? ELAINE Yeah. A beat. ELAINE (CONT’D I didn’t think you would. Pause. ELAINE (CONT’D) I’ve not told your dad yet. MICHELLE There’s no point. ELAINE Of course there is. A beat as Michelle studies her mother’s expression. Elaine smiles. ELAINE (CONT’D) Who else is going to babysit? INT. SHOP - DAY Michelle is stood looking a milk formula, with Jack in his buggy. She keeps looking over at the counter, waiting for the right moment. The guy is pricing some things. A beat. Michelle palms a dummy from Jack’s buggy. She bends down, surreptitiously putting a tin of formula in the bottom of the buggy. As she stands up, she puts dusts the dummy off as if it had been dropped on the floor and that’s why she was bending down.

30.

INT. FLAT - DAY Karen, a midwife, is helping Michelle to bathe Jack in a baby bath. KAREN You’re doing good. MICHELLE I’m frightened I’m going to hurt him. KAREN You’re doing a great job mum, don’t be scared. That’s it. EXT. STREET - NIGHT Trudie stands on the corner of the street with the other girls. A beat. Michelle comes to the corner. TRUDIE Hey. MICHELLE Alright. They share a hug. TRUDIE Didn’t think you were doing this anymore? MICHELLE Didn’t you say the same? A car pulls up, window open. Trudie looks at the car. TRUDIE Back in a bit. Look after yourself tonight. MICHELLE Yeah. Trudie approaches the car. TRUDIE Hello sweetheart... CUT TO:

31.

EXT. REAR OF GARAGES - LATER Michelle leads a punter to a secluded spot by the garages. MICHELLE Here. We’ll do it here. PUNTER You sure? It looks a bit open. MICHELLE It’s fine. PUNTER I’ve never done this before... MICHELLE Don’t worry - I’m not gonna bite. The punter starts to undo his flies. MICHELLE (cont’d) Hold on. PUNTER What? MICHELLE Money up front. PUNTER Right. The punter takes his wallet out. He pulls a few notes from his wallet and hands it to Michelle. She tucks the cash in her bra. MICHELLE Take them down. The punter pulls his trousers down a little MICHELLE (cont’d) All the way. The punter stands, uncertain. MICHELLE (CONT’D) (pulling his trousers down) I’m not getting my hair caught in your belt. As she pulls them all the way down, she pauses.

(CONTINUED)

CONTINUED:

32.

PUNTER What? MICHELLE Ssh. PUNTER (whispering) What is it? MICHELLE (whispering) Over there, in the corner. PUNTER (whispering) Did you hear someone? MICHELLE (whispering) Ssh. It’s nothing. I’m just going to check. Over there. She pushes him into a dark corner, and then starts to creep away to the edge of the garages. Michelle wanders quietly away. After a moment, the punter looks out from the dark corner. PUNTER (whispering) What is it? A beat. PUNTER (CONT’D) (whispering) Hello...? Hello...? CUT TO: EXT. STREET - MOMENTS LATER Michelle is seen walking down a busy street, pulling the money out of her bra, looking at it, and then sticking it back in her bra.

33. INT. SHOP - DAY Michelle is in the same shop as before. Owner is stood behind the counter. Michelle walks over to the nappies. She looks at the nappies, but is soon aware that the shop owner’s wife is whispering in his ear. It is evident that they suspect her of being a shoplifter. Michelle looks away. Jump cut to Michelle wheeling her buggy over to the counter. She pays for the nappies with the money from the guy the night before. INT. FLAT - LATER Michelle is changing Jack’s nappy. There is a knock at the door. Jump cut as Michelle answers the door to Chris. CUT TO: EXT. FLAT - CONTINUOUS CHRIS You alright? MICHELLE Yeah. You okay? CHRIS (nodding) You seen Trudie? MICHELLE Not for a couple of days, why? CHRIS Me either. Not like her though, eh? MICHELLE Not sure. A beat. CHRIS Can I come in? MICHELLE Jack’s sleeping. CHRIS Right. An uneasy pause. (CONTINUED)

CONTINUED:

34.

CHRIS (cont’d) So you’re not wanting any...? MICHELLE I took my script this morning. CHRIS Right. Baby to think about now, eh? MICHELLE Something like that. Another pause. MICHELLE JUST If I see her, I’ll let her know. CHRIS Okay. Michelle goes back inside. EXT. STREET - NIGHT Michelle stands on the street corner with a few of the girls. There is no sign of Trudie. After a moment, a car pulls up. Michelle goes over to it. CUT TO: INT. CAR - LATER Michelle sits in the car as the punter pulls up to a secluded spot outside the same garages as before. He turns off the engine. Michelle goes to open the door. NEW PUNTER Where are you going? Michelle turns to see him holding the cash. Michelle goes to take the money, but he pulls it back. A beat. NEW PUNTER In here. MICHELLE I never do it in a car.

(CONTINUED)

CONTINUED:

35.

NEW PUNTER In here. MICHELLE Nobody will see out there. NEW PUNTER So you can rob me? A beat. MICHELLE Don’t be stupid... NEW PUNTER We’re doing it in here. MICHELLE Fine. Michelle takes the cash from him. MICHELLE (cont’d) Take them down then. The new punter undoes his belt. As he does this, Michelle goes to open the door of the car, but it is locked. A beat. Suddenly the new punter grabs her by the hair. Michelle screams. SHARP CUT TO: INT. FLAT - NEXT DAY Michelle stands by the door, smoking a cigarette. She has a puffy black eye and a split lip. In the background, the TV plays. On screen, a mug shot of Trudie and a river. It is a news report with a banner running across the screen, telling of a girl found in the river. Focus shifts to Jack as he lays on a baby mat on the floor, chewing on a soft toy. FADE TO BLACK

36.

INT. KITCHEN - DAY ELAINE enters carrying some SHOPPING. Her husband, PETE, still dressed in his postman’s uniform, is downing a glass of water. ELAINE Hi, love. PETE Alright? The atmosphere between them is decidedly tepid. PETE (CONT’D) Where’s Micky? ELAINE He went to get his toys. Another heavy silence falls. ELAINE (CONT’D) I, err, went to see Michelle today. Pete is suddenly spurred into action. He sets the glass down with a clink and makes to pass his wife. PETE I’m meeting the boys for a drink soon, have to get changed. He gives his wife a peck on the cheek as he passes. She is soon alone and looks tearful as well as tired. FADE TO BLACK INT. BATHROOM DAY A young casually dressed man David (28) looks at himself in the mirror. The facial expression shows that David is saddened, tears almost in his eyes. DAVID Dad... I

37.

EXT. GOLF COURSE DAY David stands on the golf course with his father Richard (The GP earlier in the film). Richard a seasoned player adjusts the position of his feet and readies himself to strike the ball. RICHARD Golf is like life son. A beat You can see your goal, over there, it can be near enough or further away, it doesn’t matter. A beat You need to keep your eye on your goal. You have to handle your tool well, just like this, and you need to be well-balanced. David listens to his father. A worried expression on his face watching his father line up the shot. David trembles. INT. BATHROOM DAY David stares at himself in the mirror. DAVID Dad... A beat I’m gay The reflection in the mirror changes. David’s face disappears and is replaced with his father’s angry face. RICHARD (Looking upset) Dont be so vile, You disgust me. David begins to hyperventilate. He looks in the mirror again shyly. Davids own face stares back at him in the mirror. David’s boyfriend Paul enters the bathroom. Paul looks at David’s face in the mirror. He smiles at David and places a reassuring hand on his shoulder. PAUL Good morning.

38.

EXT. GOLF COURSE DAY Richard brings back the golf club and strikes the ball hard like a pro. The ball runs along the fairway and gradually comes to a stop. He slowly stretches out and turns to face David. RICHARD Your turn son. Remember what I’ve just said. David takes the club from his father. He positions himself, looking at the ball, and looking at the hole ahead of him. He sweats. His hands shake slightly. INT. BATHROOM DAY David is still staring at himself in the mirror. Paul puts his head against Davids. PAUL It’s going to be one of the hardest things to do, I know that, but you have to do it. A beat Once you’ve told him you’ll feel like a weights been lifted. DAVID I know. I love my dad more than.. PAUL And he loves you. A beat If he loves you as much as you love him, he’ll be fine. DAVID What if he’s not fine. PAUL You’ll always have me. DAVID It’ll break my heart. PAUL You don’t have to do this.

(CONTINUED)

CONTINUED:

39.

DAVID I do need to do this. I don’t want to keep on lying. PAUL You’re a brave man. And you’re a beautiful man. Have faith in your fathers love. Paul kisses David on the head. EXT. GOLF COURSE DAY Richard is bright red in the face and furious almost spitting walking fast towards David. RICHARD You fucking Queer you make me sick. Richard violently wraps the golf club around David’s head. As David hits the floor Richard violently reigns blow after blow on his son. RICHARD No son of mine is a fucking gay. CUT TO: A golf ball moves incredibly fast past the hole missing it completely and going into the rough before coming to a stop. RICHARD (laughing) What on earths the matter David? You seem so tense. Are you all right? DAVID Yes. Sorry dad. RICHARD Have another go. Focus this time. David positions himself again on the tee off spot, he positions his feet and adjusts his hands on the club ready to strike the next ball. David looks uneasy, sweat trickles off his forehead.

40.

INT. BATHROOM DAY David and Paul are still in the bathroom. David is sat on the edge of the bath and Paul stood up in front of him. DAVID I’m an only child. I can’t stop thinking that I’m going to destroy my parents’ dream. PAUL What dream? INT. DINNER TABLE DAY David’s mother Alice sits at the table, in front of David and his father She begins crying loud and deep. ALICE I’m never going to have grandchildren! RICHARD See! See what you’ve done to her David? ALICE Can’t you just go and see a doctor get yourself sorted out! DAVID Mum its not an illness Alice gets up sobbing and running from the table followed by Richard in hot pursuit. David sits isolated. INT. BATHROOM DAY David and Paul are still in the bathroom in the same positions. PAUL David I’m sure their only dream is to see you happy. David nods and places his hand on Paul’s before looking Paul in the eye and smiling. DAVID Thank you.

41.

EXT. DAVID’S PARENT’S HOUSE DAY Richard is throwing Davids clothes out of the house in black bags onto the lawn. He then grabs David and throws him out, David falls onto the lawn. RICHARD Get out of my house and don’t come back you disgust me. Richard spits at David. EXT. GOLF COURSE DAY David is on the putting green, he lines up and gently strikes the ball. Slowly it moves along the green and into the hole. Richard claps his hands excitedly. RICHARD Well done son you do listen to me! Come on then my turn. Richard takes the club and positions himself on the green, sorting his position and smiling about his sons shot. INT. BATHROOM DAY David stands alone in the bathroom, he looks at himself in the mirror finding it hard to look at himself. DAVID Dad. I’m sorry. He pauses. DAVID Dad. I’m gay I’m a homosexual He pauses. DAVID Dad. I’m in love with a man.

42.

EXT. GOLF COURSE DAY Richard is still taking his time lining up his shot. DAVID Dad I Richard stays focused on the ball and looks ahead to the hole. RICHARD Yes son. David trembles. His hands shake and he grips them together trying to compose himself. DAVID I’m gay. Richard doesn’t respond. He focuses on the ball and the hole in front of him. He strikes the ball and it slowly rolls along into the hole. David feels tense at the lack of response and almost breaks down into tears. Richard straightens up and stretches his neck. DAVID (In a shaky voice) I’m sorry. Richard marches back towards David club in hand. David looks frightened and doesn’t know whats coming. Richard stops just short of David. RICHARD David, what do you take me for? David is frozen to the spot he looks down at the ground. Unable to speak. He trembles. RICHARD (Smiling) Don’t you think that your mother and I knew? DAVID (shocked) What?

(CONTINUED)

CONTINUED:

43.

RICHARD Don’t take this the wrong way son but it’s a bit you know, obvious. DAVID It is? RICHARD Look I don’t care what you are as long as your happy and healthy. Come on give me a hug. David approaches his father, in disbelief. He hugs his father the first time in many years. RICHARD I’ve not travelled much, son but I know about life. A beat. RICHARD (CONT’D) You mean the world to me, David. In the future, don’t take so bloody long to tell me something important. David looks at his father stunned. RICHARD You’re my boy, always be. David cries heartily tears if happiness in his father’s arms. Richard doesn’t care who on the golf course sees them. FADE TO BLACK INT. KITCHEN EVENING ELAINE, PETE and MICKY are having dinner in silence. Elaine looks at Pete but soon looks away when his eyes meet hers. PETE You okay? ELAINE Yes. (Beat) Actually...Micky, will you do Mummy a favour and get me that book you like me to read from.

(CONTINUED)

CONTINUED:

44. MIKEY Yey.

Mikey exits. Elaine fixes her gaze on PETE. His facade has cracked already and he looks scared. CUT TO INT. BEDROOM NIGHT ELAINE and PETE are in bed together. PETE holds his wife tight and tries to stop his tears. He fails. ELAINE It’s a health-scare, Pete, it’s not the done deal yet. PETE I know. Have you told anyone else? ELAINE I’m going to tell Michelle tomorrow. A silence falls. Finally, Pete speaks, his voice cracking even as he tries to steady it. PETE Do you want me to come? Elaine turns over and looks him in the eye, the hint of a smile on her lips. ELAINE Are you serious? Suddenly he is bashful. He looks away. Now it’s Elaine’s turn to hold him close. She kisses him hard and hugs him close to her. INT. BEDROOM DAY An ornate birdcage. A Love-bird hops from one perch to another and joins its mate. Their green and yellow plumage merges as they nuzzle and CHIRP. A tabby cat sits below the cage. He watches, licks his lips. Old hands lift him up and away from the cage. ERIC (82) holds the cat to his chest and tickles under his chin.

(CONTINUED)

CONTINUED:

45.

ERIC Your breakfast’s downstairs, Monty. Lil first. You know what day it is! Eric’s smile accentuates a lifetime of happy wrinkles. He straightens a few tufts of silver hair, straightens his black horn rimmed glasses, and tightens a belt around his dressing gown. He turns to a double bed. Beside the bed, a wooden vanity table, draped with crocheted doilies and peppered with a sprinkle of knick-knacks. LILY (82) lies under a mound of patchwork quilts. Mouth slightly ajar, hairnet around her grey perm. Eric carries Monty over to her and places a light kiss on her forehead. ERIC (whispers) Happy anniversary, gal. Stay in the warm, my love. He carries Monty to the window and looks out at the iron grey sky, drizzle falls against the window pane. ERIC Bugger. INT. STAIRS DAY Eric carries Monty downstairs. Pauses at a framed picture. Black and white. Eric in armed forces uniform, Lil in plain wedding dress, caught off guard, they laugh heartily. ERIC (to Monty) Sixty four years ago today... And one year later, guess where I was? Eric strokes Monty’s head and tickles his chin. Monty purrs. Eric looks to another framed photo. Himself, in the uniform of a Royal Marine Commando, he salutes the picture. ERIC That’s right. El Alamein. Standing over a dead Nazi officer with a pistol in my hand. Some first Anniversary! He passes a blur of pictures, happy times.

46.

INT. KITCHEN - DAY Eric puts Monty on the floor and rummages through a cupboard. ERIC Thought the bugger was going for his gun. Couldn’t have been much further from the truth! Still, would have cooked my goose if he had the chance. He takes a tin of "Goose Treat" and pops the lid. He empties it into a bowl as Monty paces impatiently. ERIC Some first anniversary. Dunno what sixty four is. Diamond plus four? Ha! Here you go. He places the bowl on the floor and smiles. Monty tucks in. INT. BEDROOM - DAY Eric walks to the birdcage and smiles at the Love-birds. They twitter slightly as he opens their cage. He holds a finger to his lips. ERIC (whispers) Shhh! Princess is asleep. He pours some seed into their feeder and closes the cage. Lil lies silent. He walks over and delivers a gentle kiss to her cheek. He looks at her, a melancholic smile on his face. He walks over to the window and stares at the grey mist. EXT. GARDEN - DAY A portly POSTMAN Pete (55) (Elaine’s husband) opens the garden gate and spies Eric. He raises his hand. Eric raises one back. EXT. FRONT DOOR - DAY The door opens as the rotund Postman approaches. Eric smiles and looks at his watch.

(CONTINUED)

CONTINUED:

47.

ERIC Privatisation my arse! The Postman chuckles. He holds out two envelopes. PETE ’Appy ’versary, Eric. What is it? Sixty odd? He hands Eric the envelopes. Eric holds them up, a slight snort and a faint smile. The envelopes are old and worn. ERIC Four... Sixty four. PETE (sings badly) "Will you be sending me a Valentine, when I’m sixty four." ERIC Bloody hippy. PETE Well, s’about time you bought some new cards. ERIC Aye, these are too precious for your mob to lose! They both chuckle. Pete holds his hand out. Eric is a little taken aback. He shakes hands, tight lipped smile. PETE ’Gratulations, Eric. Say ’ello to Lil for me. ERIC Aye. I will. Thanks, Pete. look after yourself. The Postman nods. Eric smiles and closes the door. INT. KITCHEN - DAY Monty licks his bowl. He fills an electric kettle takes a teapot and drops cups next to the pot and MIAOWS.

looks up at Eric and MIAOWS. Eric with water and clicks it on. He in two teabags. He places two china walks out the kitchen. Monty

(CONTINUED)

CONTINUED:

48.

Drizzle blows against the kitchen window. Water drips from the kitchen tap. Two china cups sit next to a teapot. Steam rises from the kettle. The ON button automatically clicks to OFF. Eric walks in, fully dressed. He wears a white shirt and navy tie, covered with a smart grey pullover. He pours boiling water into the teapot. He looks at the two cups. Takes his glasses off. Tears appear and he makes a small noise, a hint of a sob. He rubs his eyes and snorts. ERIC Silly bugger. Come on. He pours the tea down the sink and walks over to Monty. He picks him up and gives him a kiss. ERIC You behave yourself, General. Eric picks up a telephone and dials. ERIC (into phone) Ambulance, please. He takes a deep breath and leans against the table. ERIC Yes, hello. This is Eric Harris. I live at sixty, Hurst Street. I’d like to -- My wife, Lil. She’s passed away. Could you send somebody, please. He takes some more deep breaths. Looks up at the ceiling as he listens to the phone. ERIC Yes. Number sixty... Yes... I understand. There’s no rush. Thank you. Thank you. Goodbye. He replaces the receiver and walks to the back door. He opens it and Monty whizzes out.

49.

INT. UPSTAIRS LANDING - DAY Eric places a step ladder under a loft hatch and climbs carefully. He pushes the hatch and his upper half disappears into the loft. ERIC (muffled) Where the bugger is it? INT. KITCHEN - DAY Eric places a dusty beige suitcase on the table. He pops the clasps and lifts the lid. He stares at the content for a moment. Shakes his head. He takes out a Nazi officers cap and holds it up. He shakes his head. He lifts up a dagger, a swastika emblem on the handle. He shakes his head again. ERIC Where is it? I’m nearly as bloody slow as he was! He rummages through the case, and finds a small leather pouch. ERIC Ha! He closes the case and exits the kitchen. INT. BEDROOM - DAY Eric opens a wardrobe and takes a navy blazer. He puts it on in front of the mirror. Adjusts the lapels. A row of medals hang from his chest. He turns to Lil, who lies in bed. Mouth closed, hairnet removed, she looks serene. He turns to the birdcage. The Love-birds nuzzle each other. He places the cage on the window ledge, opens the window and opens the cage door. The Love-birds hop from perch to perch. Eric climbs into bed next to Lil. He leans over and places a kiss on her cheek. ERIC Goodnight, my Princess. He takes the brown pouch and opens the drawstring. He empties it into his palm. A small round glass ampule. He places it in his mouth, chews and swallows. He puts the leather pouch on the vanity unit, next to two antique anniversary cards. There is a skull emblem on the pouch.

50. He takes Lil’s hand in his, and lies down. EXT. GARDEN - DAY The rain has stopped. The window to a modest suburban house is open. Two green flashes emerge from the window. The Love-birds flutter around each other and upward, towards a blue sky above. FADE TO BLACK INT. FLAT - DAY MICHELLE paces the flat, JACK bundled in her arms emitting an unholy CRYING sound. MICHELLE Ssh ssh ssh. Her DOORBELL sounds and she answers to ELAINE and MICKY. MICKY Shell! He hugs his sister hard. MICHELLE (CONT’D) Hi Micky, hi Mum. ELAINE (to Jack) What’s all this racket little one? Michelle makes to close the door. ELAINE (CONT’D) Hold on. MICHELLE What? But then she sees him on the landing. PETE Hey Kiddo. MICHELLE Dad. Both of them fight back the tears, Pete looking away. He swallows hard and finds himself able to look at his daughter again. (CONTINUED)

CONTINUED:

51.

PETE Is this Jack? Is this my grandchild? He walks tentatively towards them, then gently peels back the blanket. Jack seems to stop crying. PETE (CONT’D) He’s beautiful. THE DOOR SHUTS FADE TO BLACK INT. BEDROOM - MORNING PAULINE, fifties, mumsy, frantically searches an empty bed in a typical thirty year old’s bedroom. PAULINE (shouts) Martin! She opens drawers but they’re all empty. PAULINE (shouts) Martin! MARTIN enters, late fifties, slim, greying hair. MARTIN What? PAULINE He’s gone. MARTIN Whose gone? PAULINE Dan! His bed’s not been slept in. MARTIN He’s probably just out on the town. PAULINE His stuff’s gone and he’s left this. She holds out a note. Martin takes the note and begins to read.

(CONTINUED)

CONTINUED:

52. DAN (V.O.) Dear mum, sorry to have to put you through this.

INT. BEDROOM - EARLIER DAN, early thirties, ordinary looking is packing items into a suitcase. DAN (V.O.) I know this is going to hurt but I’ve no choice. DAN(cont’d) I know you always wanted a proper wedding with a vicar,a church and all the trimmings plus the chance for you to buy a new hat and I’m sorry you’re not going to get that but this is the only way... CUT TO: INT. SEEMA’S BEDROOM - MORNING SEEMA, is also packing clothes into a suitcase. She’s early thirties, Indian, attractive. DAN (V.O.) Seema and I are going to be able to get married. When we come back we’ll be husband and wife and... EXT. STREET - MORNING Dan helps Seema with a suitcase into a cab. DAN (V.O.) They’ll be nothing her dad or mine will be able to do about it. INT. BEDROOM - MORNING Martin finishes reading the note. MARTIN (reading) Love you lots, Daniel. Pauline stares accusingly at Martin.

(CONTINUED)

CONTINUED:

53.

MARTIN What did I do? INT. LIVING ROOM - DAY Martin sits opposite Dan in the comfy living room. DAN I’ve been seeing someone Dad. MARTIN Seeing someone? Great. What’s her name? DAN Seema, she’s Indian. Martin frowns. DAN She’s British but Indian descent. MARTIN You sure this is a good idea? There’s so many differences. Different cultures, different rituals, even different ways of eating. DAN We’ll manage MARTIN Won’t be easy. DAN Worth it in the end though. MARTIN It’ll be harder than you think. DAN Your the only one making this difficult and I know why. MARTIN That has nothing to do with this. DAN Who are you fooling? You’re turning into a bitter old man.

(CONTINUED)

CONTINUED:

54.

MARTIN I’m just trying to warn you. Dan stands. DAN No you’re not. You’re just trying to put me off. MARTIN Well, you’re right. I think this marriage would be a disaster. DAN Fine. If you don’t want any part of this wedding that suits me. We’ll get married without you. We don’t need you, we don’t need anyone. He storms out the room. Martin stands, goes to call for Dan but doesn’t. INT. HALLWAY - CONTINUOUS Dan storms into the hall, heading for the front door when Pauline calls them back. PAULINE Daniel! Dan stops at the door. DAN Forget it mum. PAULINE Try and understand. DAN What? That my own father doesn’t want me to get married. PAULINE It’s this early retirement business. DAN I know mum but he can’t blame every Indian on the planet because his job got outsourced to Mumbai.

(CONTINUED)

CONTINUED:

55.

PAULINE Oh believe me dear, he can. He hasn’t drank one bottle of German beer since Euro 96. DAN But doesn’t he realise he’s going to ruin my life because he doesn’t like Asians? PAULINE He likes some. That guy on the One Show, he likes him, and the cricketer, Monty what’s his name, the one that does the... On the spot she imitates Monty Panesar’s wicket taking jig, and rather badly. PAULINE (CONT’D) Little dance when he takes a wicket. DAN Maybe so but either something changes or we do something ourselves. INT. LIVING ROOM - DAY Pauline looks accusingly at Martin as he holds the note from Dan. PAULINE Nothing did change, did it? Martin gestures to the note in his hand. MARTIN I didn’t think it would come to this. Pauline puts on her coat as Martin begins to tap away at a laptop. PAULINE I’m gonna go over the road. See if his friend knows anything. MARTIN I’ll see if there’s anything on the laptop. (CONTINUED)

CONTINUED:

56.

Pauline sweeps out of the room. As Martin taps away he spots two CDs by the side. One is of Irish music, the other an Indian Bhangra CD. Martin stares at the CD. As he stares DHOL (Indian drums) begin to pound, beating out a rhythm. Martin looks around confused, not sure where the noise is coming from. He scans round the room and then he works it out. It’s coming from behind the sliding doors that lead to the next room. He stands, not quite believing what he’s hearing. The drums sound like they’re just on the other side of the double doors. Martin is even more surprised when the doors begin to slide open. As the drums get faster, the doors get wider. Faster and faster, wider and wider. And as the gap widens smoke drifts into the living room. Martin can’t believe his eyes, silhouetted in the doorway is KUMAR. Dressed to break every heart in India. Sunglasses perfect, jewelery shining, hair immaculate. He’s poised for action. The drums stop and from nowhere comes fast Bhangra music. Into the room dances Kumar, throwing the best Bollywood moves, the music plays and he dances this way, that way, arms in the air, arms down at his knees, change the light bulb. He’s slick, he’s cool, he’s energetic, he’s dancing like a man possessed. Martin is stunned as this figure gets closer and closer to him. Kumar throws a few more stunning moves and just as the music finishes he ends in a pose right in front of Martin’s face. SILENCE. Martin’s dumbfounded. Kumar’s face turns to disappointment, he looks over the end of his sunglasses. KUMAR Applause? MARTIN What? Kumar relaxes, takes his glasses off. KUMAR Last time I did an entrance like that, four women fainted, another’s waters broke and one guy begged me to marry him.

(CONTINUED)

CONTINUED:

57.

MARTIN What... KUMAR (interrupts) Am I doing here? Martin nods. KUMAR I’m here to help. MARTIN I don’t need any help. KUMAR Really? Martin shakes his head. KUMAR Where’s your son? Martin looks sheepish. KUMAR It’s not too late. You can still repair the rift between you and Dan. It doesn’t have to end this day. MARTIN I don’t know how to make it right though or even where he is? Kumar beams a big smile. KUMAR That’s what I’m here for. This’ll be just like a Christmas Carol except with better hair, better clothes... He does a few more dance moves. KUMAR (CONT’D) And better dancing. Martin looks unimpressed. KUMAR (to self) Tough crowd. (CONTINUED)

CONTINUED:

58.

(to Martin) Lets get started. MARTIN What are you going to do? KUMAR Just relax. Kumar reaches out and places his palms on the side of Martin’s head. MARTIN What are you doing? KUMAR I’m giving you someone’s memories. You’ll see, hear, sense everything this person did. MARTIN What? Their whole life? KUMAR Not quite just a large chunk. MARTIN So it’ll be like I was actually them? KUMAR As if you were inside their body. MARTIN Whose memories are you giving me? KUMAR That’s for you to work out. Martin takes a deep breath. MARTIN Okay. Kumar grips Martin’s head. The DHOL play again, pounding out their rhythm. Images flash into Martin’s mind as the drums go faster and faster. Every bang of the drum brings new moments and new emotions for Martin. More and more. Martin’s face ripples with happiness, tears, joy, sadness.

(CONTINUED)

CONTINUED:

59.

All flashing across his face in a fraction of a second. Faster and faster the drums go, faster, faster, faster, faster until... STOP. Kumar pulls his hands away from Martin’s face. Martin’s breathing is slow but heavy. His face has an almost hypnotised quality. Martin, shocked, sits down. Kumar sits down next to him. KUMAR Well? MARTIN Wow. KUMAR How do you feel? MARTIN Like I’ve just watched every Stanley Kubrick film on fast forward...but you know what? I know what to do now. KUMAR Good. That leaves one last thing for me to do. MARTIN Which is? KUMAR Take this? Kumar holds the Bhangra CD. Martin takes the CD. INT. LIVING ROOM - MORNING Martin is sat in front of the laptop, bhangra CD in one hand. He looks down at where the CD had been on the table and spots a business card from a local garage. Martin snaps it up. MARTIN Of course! Pauline comes back in. PAULINE You say something?

(CONTINUED)

CONTINUED:

60.

MARTIN I know where Dan is. PAULINE Well come on then. He leaps from his chair but then stops MARTIN Hang on, I have to find something first. INT. LIVING ROOM - DAY Bharat paces the room, KAVI, twenties, younger version of Bharat. BHARAT Why would Seema do this? Kavi looks a bit suspicious and Bharat notices. BHARAT What is it? Kavi struggles to speak. BHARAT What do you know? Kavi struggles to keep the words in but they flood out. KAVI She met someone. A guy. BHARAT So? KAVI She didn’t want to tell you. BHARAT Why not? Kavi pauses, not wanting to say. BHARAT Why not? KAVI He’s white. She was scared to tell you because he’s white. (CONTINUED)

CONTINUED:

61.

Bharat is fuming. BHARAT What? KAVI We knew you’d object so she’s gone to get married in secret. BHARAT And you let her? KAVI She made me promise. BHARAT Get the car, I have to stop her doing this. Bharat looks Kavi right in the eye. BHARAT Before it’s too late. EXT. GARAGE - MORNING Seema smiles as Dan struggles to put a large suitcase into his car. Martin hurries towards them. MARTIN Dan! Dan sees him. DAN Oh God! MARTIN Thank God I caught you. DAN Forget it Dad, whatever you’re going to say, forget it. MARTIN You don’t understand, I’ve had an amazing experience. DAN What? Did ITV four have another James Bond all nighter? Dan continues to pack the car as Martin talks. (CONTINUED)

CONTINUED:

62.

MARTIN No, you won’t believe this and don’t ask me how but I experienced someone else’s life. Dan LAUGHS. Seema looks intrigued. MARTIN This guy gave me these memories, it was like I was there, in this other person’s body. Dan stops. DAN You know you can get arrested for that? MARTIN Not like that. I was someone in another country and this person was saying goodbye to his wife, his pregnant wife. (confused) Why was he doing that? (ponders) Because he had to leave, to find work, he was coming over here to find work because he wanted a better life. The kind of work wanted to do but rooms with other ten, twenty in a

that no one here he got by. Sharing workers, sometimes room.

That was until his wife and family came over. Imagine how wonderful that would be, being separated from your wife and then seeing your baby girl for the first time. Seeing that beautiful face for the first time, that made all the sacrifices worth while. DAN Nice story dad but what do you care? There’s thousands of stories like that of people coming over from India. Martin shakes his head.

(CONTINUED)

CONTINUED:

63. MARTIN That was my grandfather, from Ireland. The baby girl my mother. Don’t you see, me, you, Seema, her father we’re all the same.

Dan’s about to speak when... SEEMA Oh shit! Seema sees Bharat getting out of a car driven by Kavi. SEEMA I’m dead, you’re dead, we’re all dead, everyone here is gonna be dead. Dan looks disbelieving. Bharat is storming towards them, mean, purposeful, meaning business. SEEMA You don’t know what my dad’s anger’s like. When he gets going he’s going to strip the paint off every car in this garage. Here goes... BHARAT Seema! SEEMA Dad. BHARAT Seema, stop this now... SEEMA (interrupts) No way Dad. I’ve searched for ages, looking for the right man. I tried the traditional way and that failed. I tried on-line and only met dreadful guys from Asian dating dot com. Bharat nods in agreement. SEEMA I was starting to think no one was out there for me. Until I met Dan. Seema hugs Dan then addresses Bharat directly.

(CONTINUED)

CONTINUED:

64. SEEMA He loves me, cares for me and best of all accepts me for who I am. You can forget all that traditional stuff. All those old fashioned notions of marrying the right cast, the right religion, the right race. All those old prejudices and rules.

A beat SEEMA (CONT’D) I don’t care about them any more and I don’t care that Dan’s white. He makes me happy and I’m going to marry him. Bharat is about to speak when... MARTIN (O.S.) Then make it official. Martin holds out an expensive diamond ring to Dan. MARTIN It was my mother’s but it never really fitted my chubby fingers but it’ll fit Seema’s. DAN I can’t take that. MARTIN She’d have wanted you to have it. Martin offers the ring to Dan again. Dan pauses then takes the ring. Bharat watches him carefully. Martin gives Dan a friendly shove towards Seema. MARTIN Go on lad. Dan kneels down on one knee in front of Seema. He’s a little embarrassed, she smiles. DAN Seema, would you do me the honour of being my wife? Seema pauses then speaks.

(CONTINUED)

CONTINUED:

65.

SEEMA Of course. Dan stands, hugs Seema and kisses her on the cheek. BHARAT (to Seema) You’re going to marry him? She nods. BHARAT You’re absolute sure about this? She nods again. BHARAT Then I only have one thing to say... A beat He breaks out into a smile. BHARAT Congratulations. He races forward and gives Seema a massive hug, lifting her off her feet, much to her amazement. SEEMA But we thought you’d object? Putting her down, he LAUGHS. BHARAT Then you assumed wrong. MARTIN You know what they say if you assume, it makes an ass out of you and me. Bharat holds out his hand to Martin. Dan looks on, unsure what’s going to happen. Martin takes Bharat’s hand and shakes it vigorously. As he does so Bhangra music begins to play. Kavi is turning the stereo up on the car stereo. Bharat begins to dance as he still holds Martin’s hand. Martin can’t help but begin dancing. (CONTINUED)

CONTINUED:

66.

They let go off each other. Bharat begins to clap, find the rhythm and dance to the music. Martin dances, not as well as Bharat and trying to copy the moves he saw Kumar does. He doesn’t do it very well but he is trying. Dan and Seema look amazed then a pair of hands grabs their shoulders. KAVI Come on. Kavi, Seema and Dan join the two dads dancing away. The group dance away in the middle of the repair garage. Differences vanished and all as happy as lamb. FADE TO BLACK EXT. HOSPITAL CAR PARK - DAY Pete’s old estate car is parked in the car park, facing on to the hospital entrance. INT. CAR - DAY PETE and MICHELLE sit in the front seats staring intently at the hospital door, waiting for Elaine to reemerge. MICKY remains silent in the back and Jack sits in his car seat. MICHELLE I hope she’s okay. A beat. PETE Yeah... Another long silence falls. When Michelle breaks it, her voice is loaded with barely restrained emotion. MICHELLE Dad, I’m not proud of some of the things I’ve done, but I’m clean, I’m going to be a daughter you can be proud of. Pete tenderly ’ssh’s’ her in the same way Michelle had Jack. A beat.

(CONTINUED)

CONTINUED:

67. PETE You don’t need to say it. I know.

He extends his arm and finds her hand. He gives it a loving squeeze. MICKY There’s Mummy! There’s Mummy! ELAINE exits the hospital in the distance. FADE TO BLACK EXT. COUNTRY-PARK - DAY Classical heart felt music plays. The sun squints through soft wispy clouds and beats down on a PICNIC BLANKET, upon which ELAINE is sitting, surrounded by decimated tubs and boxes of food. She is alone, yet her expression is serene, almost beatific, matching the perfect majesty of the bright light that shines on everyone in this beautiful country park. She smiles and we see where her satisfied gaze is directed. MICHELLE, PETE and MICKY are carefully pushing baby JACK on the swings. Pete smiles warmly back at his wife more in love with her now than ever. On the other side of the park, BILLY, ANDY and a game but rather uncoordinated JUDITH kick a football back and forth, clearly enjoying themselves. An errant shot whizzes past a young newly married couple in love walking hand in hand DAN and Seema. She smiles as Billy collects it and kicks it back to the others. The couple stop and Dan places his hand on Seema’s tummy before kissing her. Seema looks out across the park. She sees a wheelchair and someone pushing it across the grass, having no small amount of trouble ANN and RALPH. Ralph grimaces but laughs at the absurdity of it all. Ann stares vacantly out of her shell across the grass at... DAVID walking with his Richard, Alice and his Paul. There is a physical gap between them all as if they are still figuring this out. Things look cordial, though. More than that, there is the beginning of affection. Finally two birds perch on the fence, they look like lovebirds together, finally they fly off high into the sky. FADE TO END CREDITS