Screenwriter Community |
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by Paul Bress (paulbress@talktalk.net)
Rated:
Genre: Drama
User Review: NOT YET RATED
Graham, a fiftysomething counsellor living in the bohmeian seaside town of Whitstable, has a problem: HE'D DO ANYTHING FOR A GROWN-UP RELATIONSHIP. Trouble is, he either runs away from women or runs towards them. He's just as fearful of suffocation as he is of abandonment.
But one day he meets Jenny, an artist who's just moved into town. Jenny knows the importance of honesty and empathy, and she tries to teach Graham how to apply these qualities. Although Graham makes progress at the outset, it looks as if all is lost one night when Jenny goes out with her girlfriends. Graham, feeling abandoned, goes out by himslef in search of someone to fill the gap. Fortunately he realises the error of his ways, aborts his mission, and confesses all to an understanding Jenny. At the end the two of them look set for a bumpy but close relationship.
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
FADE IN:
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INT. ZIZZIS RESTAURANT, WHITSTABLE - EVENING |
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Graham and Angela are sitting in the corner. The restaurant
is packed with well-to-do patrons. |
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GRAHAM
Yeah, yeah, it's good, thanks. And
yours? |
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They both eat in awkward silence. |
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ANGELA
How many clients did you have
today? |
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GRAHAM
Three. Yeah, three altogteher. |
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ANGELA
Is it...Is it hard listening to me
after you've been listening to
other people's problems all day? |
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GRAHAM
Eh? No, no, not at all. Anyway,
with you it's not just problems,
is it? I mean, of course you've
got problems, but everyone's got
problems, haven't they? |
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ANGELA
Yeah, it's just... |
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ANGELA
Sometimes I feel like you're not
listening to me. |
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Graham looks as if he's been rumbled. |
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2.
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GRAHAM
Do you? Really? Shit. Well,
maybe I AM a bit tired tonight.
Sorry. |
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They continue eating, looking even more awkward now. |
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ANGELA
You didn't mind me bringing that
up, did you? |
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GRAHAM
Eh? Course not! I'd prefer it if
you feel you can say anything
that's on your mind. |
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Angela gathers some food on her fork, looks at it for a
second or two, then puts it back down on her plate without
eating it. |
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INT. THE BEDROOM IN GRAHAM'S HOUSE - EVENING |
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Graham and Angela are lying on separate sides of the bed.
Both are gazing up at the ceiling. Graham is looking bored,
while Angela is looking anguished. |
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They continue to look up at the celing, their moods more
intense now. Suddenly Angela reaches over and puts her arm
across Graham's chest. |
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ANGELA
D'you still want to see me? |
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3.
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ANGELA
D'you still want to SEE me? I
feel... |
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GRAHAM
What? WHAT d'you feel? |
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ANGELA
I feel...I dunno...It sounds
stupid, but sometimes we're like
strangers, don't you think? |
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GRAHAM
Strangers? Really? D'you think
so? No, I'm just tired, that's
all. This job gets on top of you. |
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ANGELA
D'you think we should go away
somewhere? For a weekend or
something? What d'you think? |
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ANGELA
I dunno...Brighton or something? |
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ANGELA
It was just the first town that
came to me. I don't mind where we
go. I just think it'd do us good. |
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Angela puts her head on Graham's chest. Both look deeply
troubled. |
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INT. CLASSROOM IN RAMSGATE HOUSE LANGUAGE SCHOOL - MORNING |
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Angela is teaching English to a class of foreign teenagers.
She's looking both weary and on edge. |
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4.
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ANGELA
OK, so can anyone tell me about
any problems that teenagers
sometimes have? |
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ANGELA
Yes, good. Sometimes they have
problems with their parents.
Anything else? |
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ANGELA
Yes, that's good too. Anything
else? |
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PIERRE
Comment dit-on? Ah
oui...relationships? |
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ANGELA
Very good, Pierre. I want you now
to get into pairs, OK? Good. Now
tear out a sheet of paper. Then
IMAGINE a problem that a teenager
has. Then write a letter to a
probelm page, give your sheet of
paper to another pair, and they
have to answer it. D'you
understand, everyone? |
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All the students get to work dutifully apart from two. Luca
and Francesca are gazing into each other's eyes in the
corner. Angela walks towards them furtively. |
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ANGELA
(whispering, to
Luca and
Francesca)
Do you understand what you have to
do? |
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ANGELA
Yes. Can you do it together
please? |
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5.
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Luca and Francesca start writing the letter, but they look
as if they would much prefer to be gazing into each other's
eyes. As Angela walks back to the front of the class, her
eyes look distinctly watery. |
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EXT. THE GARDEN OF RAMSGATE HOUSE LANGUAGE SCHOOL - MORNING |
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Angela is sitting on a bench while foreign students are
milling around her. She punches a number on her moble
phone. Split screen. |
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ANGELA
Hi. Have you finished with your
first client? |
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ANGELA
(looks suddenly
upset)
Oh... |
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ANGELA
Yeah, yeah, I just... |
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ANGELA
I dunno. I s'pose I just wanted
to hear your voice. |
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Angela looks fraught, while Graham looks bored. |
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GRAHAM
How's it going at work? |
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ANGELA
Oh, you know. It's always the
same. They're nice kids,
basically. But today... |
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6.
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Angela lets out a big sigh. |
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ANGELA
Today there were a couple of
students that couldn't take their
eyes off each other... |
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There's an awkward pause. |
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ANGELA
I found myself feeling envious of
them! |
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ANGELA
Yeah, yeah, I did. |
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GRAHAM
Well, it'll soon wear off. |
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GRAHAM
Their love. It's just puppy love,
isn't it? |
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ANGELA
Is it? I don't know. They just
seemed so CONNECTED somehow... |
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GRAHAM
D'you mean we aren't? |
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There's an awkward pause. |
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ANGELA
I don't know, Graham. I don't
know. I just didn't like what I
felt. |
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GRAHAM
Well, let's talk about it tonight,
eh? |
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7.
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GRAHAM
All right, then. Better go. |
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Graham clicks his phone off and sits down at the computer.
Angela looks bereft. |
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INT. THE KITCHEN IN GRAHAM'S FLAT - EVENING |
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Angela is making dinner, looking preoccupied. Graham is
hovering over her. |
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GRAHAM
Looks nice. What is it? Something
new? |
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ANGELA
Yes it is actually. Delia.
S'posed to be foolproof. |
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GRAHAM
I'm sure it'll be really nice. |
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Graham walks into the living area and zaps the TV on with
the remote. A snooker competition is being shown. Angela
dishes up, then looks suddenly tense. Graham sits down on
an armchair. |
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ANGELA
(sounding strained)
Graham? |
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ANGELA
D'you remember what we said? |
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GRAHAM
What? WHAT did we say? |
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GRAHAM
Sorry. WHAT did we say about
tonight? |
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8.
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ANGELA
We said we'd talk. D'you
remember? About what happened to
me in class today? |
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GRAHAM
D'you mean those two young lovers? |
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Angela doesn't answer and looks dispirited. Graham looks
engrossed in the snooker. |
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GRAHAM
They'll soon grow up. Come and
sit down. O'Sullivan is playing
Trump. Should be the match of the
tournament. |
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Angela edges into the living room, carrying two trays. She
places one on Graham's lap, then sits down on the other
armchair. As she chews listlessly on her food, her face
looks blank. |
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INT. THE BEDROOM IN GRAHAM'S HOUSE - NIGHT |
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Grahm and Angela are lying on separate sides of the bed.
Graham is snoring. Angela is tossing and turning.
Exasperated, she gets out of bed, slips on her dressing
gown, and walks downstairs. She picks up her cigartettes
and lighter from the kitchen table, then walks out onto the
patio. She shivers in the cool night air. Then she lights
up. Her face is lit by the patio light. She looks
determined. |
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INT. THE KITCHEN IN GRAHAM'S HOUSE - MORNING |
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Angela and Graham are both standing up, making their own
breakfasts. Angela is spreading margarine on toast, while
Graham is making himself a cup of tea. A heavy silence
hangs in the air. |
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ANGELA
(blurting this out)
I'm leaving you, Graham. |
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The silence feels even heavier now. Graham puts the jar of
tea bags back in the kitchen cupboard. |
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9.
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GRAHAM
(sounds
cold/unemotional)
Are you sure? Have you made your
mind up? |
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ANGELA
(again, blurting)
Yeah. |
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The atmosphere is even denser now. |
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GRAHAM
(sounding
indifferent)
OK. |
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Angela puts the toast in her mouth and chews on it
mechanically. |
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ANGELA
D'you even want to talk about it? |
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GRAHAM
(with a hint of
hostility)
Not if your mind's made up, no. |
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ANGELA
(again, blurting)
OK then. |
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INT. THE LIVING SPACE IN GRAHAM'S HOUSE - MORNING |
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Graham is sitting in an armchair with a pizza on a tray on
his lap. He's watching snooker on TV. His face gradually
reveals the fact that he's compleetly unaware of the
commenetary. He fiddles with his mobile, which is on the
arm of the chair, but he doesn't call or text anyone. |
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INT. THE THERAPY ROOM IN GRAHAM'S HOUSE - MORNING |
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Graham, wearing a jacket and tie, is sitting opposite Jill.
They're in mid conversation. |
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JILL
I could hardly believe he'd said
it to me...I mean...after all I'd
been through...what with my mum
dying and everything...and then he
just comes out with it and says he
wants to leave me...I mean...He
(MORE)
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10.
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JILL (cont'd)
may just as well have punched me
in the face...cos that's what it
FELT like...Yeah...I FELT as if
he'd punched me in the face, d'you
know what I mean?... |
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Jill suddenly looks sideways. She just about manages to
stop herself crying. All the while, Graham studies her
compassionately. Finally Jill can't hold the tears back any
longer. Graham nudges the box of tissues towards her. She
weeps into a big bunch of them, then blows her nose very
loudly. |
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INT. THE KITCHEN IN GRAHAM'S HOUSE - EVENING |
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Graham puts a pizza in the oven and turns the dial to the
correct temperature. Then he paces up and down the kitchen,
looking distinctly ill at ease. He takes his mobile from
off a kitchen surface and holds it in his hand. He looks at
it with a troubled gaze. He then dials a number. |
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ANGELA
(this is just her
voice message)
I'm sorry I'm not able to take
your call at the moment. Please
leave your name and number and
I'll get back to you as soon as I
can. |
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Grahan presses the off button, looking frustrated. He waits
just two or three seconds before trying again. |
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ANGELA
(this is just her
voice message)
I'm sorry I'm not able to take
your call... |
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Graham clicks the off button again, but more angrily this
time. |
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GRAHAM
Fuck! Fuck the bloody woman! |
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Graham can't keep still and looks increasingly manic.
Finally he picks up his mobile a third time. |
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GRAHAM
(speaking into his
mobile)
Angela? It's me: Graham...erm...I
(MORE)
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11.
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GRAHAM (cont'd)
was just wondering how you were
doing really, that's
all...Yeah...Anyway...I hope
you're doing OK...Yeah, that's all
really...Bye now. |
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Graham clicks the off button, looking utterly depressed. |
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INT. THE THERAPY ROOM IN GRAHAM'S HOUSE - MORNING |
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Graham, in formal attire, is sitting opposite Don. They're
in mid-conversation. |
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DON
So anwyay he comes up to me and
says "You finished with these
weights?" and I says "No,
actually" and he says "Well I been
waiting 20 minutes. How long are
you gonna be?" and I says "I'll
finish when I finish"... |
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GRAHAM
All right, Don. I'm afraid the
time's up. |
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GRAHAM
Sorry. D'you remember what we
said about boundaries? |
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DON
Yeah, yeah, all right, then. Same
time next week, then? |
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GRAHAM
Yes please. Take care. |
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Don takes his jakcet off the coat hook and leaves in a
deferential manner. Graham immediately turns his mobile
phone on and looks impatient while he waits for it to
function. Then he immediately clicks on a number. Split
screen. |
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ANGELA
Graham? I got your message from
before but...Well, I've been quite
busy really. |
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12.
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GRAHAM
Have you been all right? |
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ANGELA
Well...It's a big thing, splitting
up, isn't it? |
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There's an awkward silence. |
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ANGELA
How about yourself? Have YOU been
all right? |
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GRAHAM
Me? Yeah, yeah,
Ok...Y'know...It's kinda weird, to
tell you the truth. |
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ANGELA
Well, we were together for a long
time. |
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GRAHAM
Yeah, yeah, we were. |
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Another awkward silence. |
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GRAHAM
Are you...Are you sure you've done
the right thing? |
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ANGELA
D'you mean my moving out? |
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GRAHAM
(very anxiously)
Yeah. |
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ANGELA
Graham, it'd been coming for some
time, but I just didn't want to
admit it. You never really wanted
me like I wanted you. You stuck
with me out of...HABIT. |
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ANGELA
Yes. Yes you did...And now you're
just sad because you're on your
own. But you'll meet someone
before too long. Just choose
(MORE)
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13.
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ANGELA (cont'd)
someone you really want, yeah? |
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Graham looks in anguish, on the verge of tears. |
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GRAHAM
Yeah, yeah, OK then. Better go. |
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Graham clioks the phone off and then bursts into a flood of
tears. |
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INT. CONFERENCE AT UNIVERSITY OF KENT - MORNING |
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Graham, dressed casually, enters the lecture theatre and
looks around him. Slowly all the seats are being taken.
People are chatting to each other enthusiastically. There's
a general hubbub of noise. Graham's gaze fixes on the odd
single attractive woman. The more attractive the woman, the
longer the gaze. It's not until his gaze descends on
Sheilah that he stops looking around for anyone better.
Furtiveley he makes his way towards her, excusing himself as
the seated people get up to make way for him. Finally he
reaches the seat next to Sheilah's. |
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GRAHAM
Is it OK if I sit here? |
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Once Graham's settled in his seat, the speaker's introduced
and starts talking about cognitive behavioural therapy. But
Graham soon loses interest and imagines himself giving
Sheilah a passionate kiss. As the speaker finishes his
speech, Graham comes to his senses again. |
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GRAHAM
There's a coffee break now, isn't
there? |
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SHEILAH
Yeah, I think so. |
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GRAHAM
Mind if I join you? |
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SHEILAH
(sounds distanced)
OK. |
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They get out of their seats and make their way to the table
where the conferees serve themselves coffee. |
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14.
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GRAHAM
Can I pour you a coffee, then? |
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A nervous-looking Graham pours two coffees. |
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Graham hands Sheilah her coffee. |
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GRAHAM
So d'you work in the area? |
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SHEILAH
You mean in Canterbury? |
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SHEILAH
No, I work in South East London.
I've got my own practice. |
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GRAHAM
Oh, good. Me too. What d'you
think of CBT? |
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SHEILAH
Not much but a lot of clients
expect it these days. |
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Graham looks frustrated, as if he would like Sheilah to take
more control of the conversation. Sheilah looks
expressionless as she takes the occsional sip of her coffee. |
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GRAHAM
Know many people here? |
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SHEILAH
One or two. What about you? |
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15.
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GRAHAM
A few, but I try to keep my
distance from the therapy
community. |
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Again Graham looks frustrated. |
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SHEILAH
Actually I just want to have a
look at the notice board. Nice
meeting you. |
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As Sheilah leaves, Graham looks forlorn. |
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INT. A DIFFERENT LECTURE THEATRE - AFTERNOON |
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Graham is sitting at the end of a row towards the back. A
lecture on 'solution-based' therapy is being given. Graham's
virtually comatose with boredom. Suddenly he sees Sheilah,
who is sitting a few rows in front of him, get up and
hastily leave the theatre. Immediately he follows her. He
catches up with her in the lobby area. |
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SHEILAH
Oh hi, I've got to hurry or I'll
miss my train. |
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GRAHAM
Sorry we didn't get the chance to
speak properly. |
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Sheilah keeps walking briskly and doesn't reply. |
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GRAHAM
I'm Graham, by the way. I was
wondering...I don't suppose I
could buy you a coffee in London
one day? I go up there quite a
bit. |
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GRAHAM
So...Mind if I have your number? |
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16.
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Sheilah doesn't break her stride but gives Graham a card
from her inside jacket pocket. |
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GRAHAM
Thanks! It was nice meeting you!
Have a good journey back! |
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Sheilah keeps walking at the same pace until she gets to the
waiting taxi. |
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INT. THE LIVING SPACE IN GRAHAM'S HOUSE - EVENING |
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Graham is pacing around nervously. He looks very ill at
ease with his own company - almost as if he's about to have
a panic attack. Suddenly he grabs hold of his mobile and
the card that Sheilah gave him at the conference. He
punches in her number. Split screen. |
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SHEILAH
(expessionless)
Hello? |
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GRAHAM
Oh hello. Is that Sheilah? |
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GRAHAM
It's me: Graham. D'you remember?
We met at the conference? You
gave me your card? |
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SHEILAH
I met quite a lot of people at the
conference. |
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GRAHAM
Er....We sat together during the
session on CBT? Then we had
coffee together? |
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SHEILAH
Oh yes. I remember you now. |
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SHEILAH
I'm fine. Very busy. |
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17.
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GRAHAM
Good, good. I was wondering if
there was any chance of meeting up
for coffee in London some time? If
you're not too busy? |
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SHEILAH
It's not a good time right now.
Can you call back in a few weeks? |
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Graham looks thwarted. |
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GRAHAM
You mean two weeks? Three weeks? |
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SHEILAH
I don't know. A few weeks. |
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GRAHAM
You're not angry or anything. are
you? |
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GRAHAM
Oh, right...OK, then, I'll try you
again in a few weeks. |
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Graham reverts to pacing around the room. He looks even
more disconnected than before the phone call. He dials
another number on his phone. Split screen. |
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ANGELA
Graham! Hi! How's it going? |
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GRAHAM
Yeah, not too bad thanks. And
yourself? |
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ANGELA
Yeah. Are you just phoning for a
chat? |
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18.
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ANGELA
D'you think that's wise? |
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ANGELA
I mean...When a couple have split
up maybe it's better to wait a
while before they start a
friendship. |
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GRAHAM
No, no, I'm all right, honest. |
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ANGELA
Well, if you're sure... |
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There's an awkward silence. |
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ANGELA
Is there something you're not
telling me? |
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ANGELA
Listen, Graham, I don't think it's
wise that we should be talking
right now. I don't think it's in
either of our interests. Let's
wait a few weeks, OK? |
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Graham looks crestfallen as he hears the line go dead. He
sits down in an armchair and looks at the clock on the wall
as it tick tocks painfully slowly. |
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19.
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GRAHAM
(self-pityingly,
to himself)
A few weeks...A few weeks... |
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INT. THE LIVING SPACE IN GRAHAM'S HOUSE - EVENING |
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Two weeks (exactly) pass. Graham is sitting erect on his
sofa with his moibie in his hand. He's doing his very best
to compose himself. He looks like an inexperienced actor
about to go on stage. Suddenly, with a look of resolve on
his face, he punches in the numbers from Sheilah's card.
Split screen. |
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GRAHAM
Oh, hi. Sheilah. It's Graham
here? D'you remember? From that
conference? I said I'd call back
in a couple of weeks? |
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There's a pregnant pause. |
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GRAHAM
WE had coffee after that session
on CBT? |
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SHEILAH
(
unenthusiastically)
Oh, right. How have you been? |
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GRAHAM
Yeah, good, thanks. Got a steady
trickle of clients keeping the
wolf from the door, y'know? |
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Graham is already looking exasperated about the turn the
conversation is taking. |
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GRAHAM
I was wondering if you'd had any
more thoughts about meeting up in
London some time? |
|
|
|
|
20.
|
|
GRAHAM
Yeah. You remember? We said we
might meet up some time? |
|
|
Graham looks as if he's in agony. |
|
|
SHEILAH
D'you know Greenwich? |
|
|
|
|
|
SHEILAH
There's a Caffe Nero in the High
Street. I've got a lot on on
Saturday, but I could meet for a
quick coffee say at 11. |
|
|
|
GRAHAM
(with heart in
mouth)
11? This Saturday? Caffee Nero
in Greenwich High Street? Sure.
Don't see why not. Good. So
you've been doing OK, then? |
|
|
|
|
Graham looks an odd mixture of excited and disappointed. |
|
|
GRAHAM
Well, I suppose I'd better let you
get on with things. |
|
|
|
|
|
GRAHAM
OK, bye then, and see you on
Saturday. |
|
|
|
|
Graham leans back on the sofa, looking exhausted. He's
surprised to find sweat on his forehead, which he wipes off
with a tissue. |
|
|
21.
|
EXT. HIGH STREET, GREENWICH - MORNING |
|
Graham is striding nervously along the pavement, taking the
occasional look at his watch. He arrives outside Caffe
Nero. He does a 320 degree scan, but there's no sign of
Sheilah. He looks at his watch again, then sighs. He paces
up and down for a few seconds before going inside the cafe. |
|
|
INT. CAFFE NERO, GREENWICH - MOMENTS LATER |
|
Graham sits down anxiously at a table for two. He keeps
looking out for Sheilah. A barista clears the table. |
|
|
GRAHAM
My friend's a bit late. |
|
|
|
|
Graham checks his mobile phone for messages (but there
aren't any). He's looking exasperated now. He looks at his
watch yet again. Then suddenly Sheilah walks in and
approaches him. |
|
|
SHEILAH
(expressionless)
Hello. |
|
|
|
GRAHAM
Hi! I wasn't sure if you were
coming! |
|
|
|
SHEILAH
Something came up. |
|
|
|
GRAHAM
What can I get you? |
|
|
|
SHEILAH
A green tea please. |
|
|
|
|
Graham joins the queue. |
|
|
INT. CAFFE NERO, GREENWICH - MOMENTS LATER |
|
|
|
22.
|
Graham places the two drinks on the table. |
|
|
|
Both take a sip out of their drinks. |
|
|
|
Graham looks suddenly tongue-tied. |
|
|
GRAHAM
How's your day been? |
|
|
|
SHEILAH
Yeah, good, thanks. I've been
working on my Masters. |
|
|
|
GRAHAM
Oh, great! What's it on? |
|
|
|
SHEILAH
Integrational therapy. |
|
|
|
GRAHAM
Sounds interesting. |
|
|
Another awkward silence. |
|
|
GRAHAM
So do you think therapy SHOULD be
intregrational? |
|
|
|
|
|
|
They both take another drink. |
|
|
GRAHAM
I keep wondering what you're like
as a therapist. I've got a
feeling you've got a lot of
integrity. |
|
|
Sheilah doesn't react at all. |
|
|
GRAHAM
Not everyone does. |
|
|
23.
|
Again no reaction. Both of them drink some more. |
|
|
GRAHAM
I suppose you...get quite a lot of
men talking to you when you go to
conferencs? |
|
|
|
SHEILAH
Quite a lot, yes. |
|
|
|
GRAHAM
And are you...are you actually
seeing anyone at the moment? |
|
|
|
SHEILAH
(sounding
defensive)
Not right now, no. |
|
|
|
|
|
SHEILAH
Listen, I'd better be making a
move, but thanks for the tea.
Sorry I didn't have time to finish
it. |
|
|
|
GRAHAM
Oh, OK. That's all right. Mind
if I phone you again? Maybe we
could meet here again some time? |
|
|
|
|
Graham looks confused as Sheilah leaves the cafe. |
|
|
INT. THE THERAPY ROOM IN GRAHAM'S HOUSE - MORNING |
|
Graham is sitting opposite Jill. He's looking a stange
mixture of bored and disturbed. They are in
mid-conversation. |
|
|
JILL
(with profound
sadness)
So I suppose it's finally sinking
in now...the fact that he doesn't
love me any more...the fact that
he really HAS left me for
good...Yeah, it's finally sinking
(MORE)
|
|
24.
|
|
|
Jill takes a tissue from the box on the table and blows her
nose very loudly. |
|
|
JILL
At least I feel I can talk to you
even if I can't talk to anyone
else. I don't know what I'd have
done without you. |
|
|
Jill suddenly stops talking and fixes Graham with her gaze. |
|
|
JILL
Are you actually listening to me?
I've noticed that you've been
turning off more and more
recently. Maybe you're feeling
bored. I think I'd get bored if I
had to listen to myself go on and
on about my problems. |
|
|
Jill looks even sadder now. Graham has an extremely guilty
look on his face. |
|
|
GRAHAM
Actually, I'm afraid the time's
up. |
|
|
|
|
Jill gets to her feet and puts on her jacket. |
|
|
JILL
I'm not sure if I'll be coming
next week. |
|
|
Graham looks dumfounded. He looks as if he's about to
reply, but Jill promptly leaves the room. Graham finds
himself sweating again and wipes his brow with a tissue.
Then, feverishly, he gets his mobile from his inside jacket
pocket, and, trying to harness all his resources, punches in
a number. Split screen. |
|
|
SHEILAH
(sounding
impatient)
Hello? |
|
|
25.
|
|
GRAHAM
Sheilah? It's me: Graham.
Remember? We met briefly in Caffe
Nero? How have you been? |
|
|
|
SHEILAH
(sounds perplexed)
Oh, yes. I remember. I'm a bit
busy at the moment... |
|
|
|
GRAHAM
Any chance we could meet again
this Saturday? Same time and
place maybe? |
|
|
|
SHEILAH
I don't know. I need to check my
diary. |
|
|
|
GRAHAM
OK, tell you what. Get back to me
if there's a problem. Is that all
right? |
|
|
|
|
|
GRAHAM
(through gritted
teeth)
I'm just saying I'll see you on
Saturday unless I hear that
there's some problem your end. Is
that OK? |
|
|
Sheilah lets out a big sigh. |
|
|
SHEILAH
OK. Listen, I'm late for a
meeting and have got to dash, OK? |
|
|
|
GRAHAM
Sure. Don't let me stop you. Take
care. |
|
|
Graham hears the line go dead. He looks a mixture of
excited and terrified. |
|
|
INT. CAFFE NERO, GREENWICH - MORNING |
|
Graham arrives looking grimly determined. He takes a look
at his watch, then looks away quickly, as if he's aware of
|
26.
|
his OCD. Quickly he scans the cafe, but Sheilah isn't
there. He sits down at the same table as last time. Slowly
it dawns on his that she isn't going to turn up. Eventually
he takes out his mobile and starts clicking away on it. |
|
|
GRAHAM
Sheilah Robinson. Sheilah
Robinson. Let's see now... |
|
|
|
EXT. OUTSIDE SHEILAH'S HOUSE IN CATFORD, LONDON. - MORNING |
|
Graham rings the door bell. There's no reply. He rings it
again. Still no reply. He gives the bell a much longer
ring. Still no reply. He takes a few steps back and sees a
half face disappear behind a curtain upstairs. He looks
completely distraught. He walks up to the door and opens
the post hatch. |
|
|
GRAHAM
(very loudly
through the hatch)
Sheilah? Sheilah? Are you there?
It's Graham. D'you remember we
were supposed to meet in the cafe?
You were supposed to tell me if
you couldn't make it? I've just
come all the way from Whitstable!
Sheilah? Sheilah? |
|
|
Graham stands up and lets out a defeated sigh. He looks up
once more at the window where he'd seen the half face
disappear. He remains standing for a few seconds before
sloping off. |
|
|
INT. THE THERAPY ROOM IN JO'S HOUSE - EVENING |
|
Graham, dressed in T shirt and jeans, is in mid-conversation
with Jo. They're sitting opposite each other. |
|
|
JO
So when did it dawn on you? |
|
|
|
GRAHAM
I don't know exactly. Maybe when
I saw that half head dispappear
behind the curtain. |
|
|
|
JO
You're sure it was Sheilah? |
|
|
27.
|
|
GRAHAM
Yes, I'd put money on it. |
|
|
There's a stony silence. Graham looks blocked. |
|
|
GRAHAM
I can hardly believe I did all
that now. |
|
|
Another stony silence. |
|
|
JO
What d'you think you've learned? |
|
|
Graham grimaces. |
|
|
GRAHAM
God knows. Maybe just that I'm
just as fucked up as everyone
else, if not more so. |
|
|
More silence. |
|
|
JO
How would you compare this
experience with the one you had
with Angela? |
|
|
|
GRAHAM
The exact opposite! Yeah, the
exact opposite, I'd say. Funny
that, isn't it? How could I act
in one way with Angela and in a
completely different way with
Sheilah? |
|
|
|
|
|
|
|
JO
Did you REALLY act in two
different ways? |
|
|
|
GRAHAM
What d'you mean? I don't get it. |
|
|
|
JO
Well...Don't you tbink that you
were actually showing two sides of
the same coin? |
|
|
28.
|
Graham looks a mixture of perplexed and enlightened. |
|
|
GRAHAM
God, I can't get my brain round
this right now. |
|
|
|
JO
Time's up, I'm afraid. |
|
|
|
GRAHAM
(frustrated)
OK. Same time next week? |
|
|
|
JO
(nodding)
Take care now. |
|
|
Graham leaves looking as if he has all the world's problems
on his shoulders. |
|
|
INT. THE TEA AND TIMES CAFE, WHITSTABLE - MORNING |
|
The cafe is heaving with artistic types. Graham is sitting
at the bar, browsing through The Guardian. He's doing his
best to look composed. Jenny walks in and orders a
cappuccino with an extra shot. When she leaves, she
exchanges a friendly smile with Graham. |
|
|
GRAHAM
(to the barista)
Blimey. Who was that? |
|
|
|
TEA AND TIMES BARISTA
Er, Jenny, I think her name is.
She hasn't lived here long. |
|
|
|
|
|
TEA AND TIMES BARISTA
She's an artist, I think. Yeah,
in fact, she had an exhibition a
few weeks back. |
|
|
|
GRAHAM
I must have missed that. |
|
|
|
TEA AND TIMES BARISTA
I didn't go either. |
|
|
|
|
29.
|
Graham leans forward and whispers. |
|
|
GRAHAM
Is she with someone as far as you
know? |
|
|
|
TEA AND TIMES BARISTA
(embarrassed)
I don't know. I don't think so. |
|
|
|
GRAHAM
All right. Thanks. |
|
|
Graham goes back to reading his newspaper, but it's obvious
that he's not concentrating properly. |
|
|
INT. THE BEDROOM IN GRAHAM'S HOUSE - NIGHT |
|
Graham is tossing and turning. He's sweating profusely. |
|
|
INT. DREAM SEQUENCE: THE TEA AND TIMES - MORNING |
|
Graham is perched at the bar, casually flicking through The
Guardian. Angela, Sheilah, and Jenny are all standing just
six feet away from him. They all look extremely angry with
each other. |
|
|
ANGELA
I had him first! It's so obvious
he never wanted our relationship
to finish. He KEPT phoning me up
after I left him. He absolutely
couldn't stand living without me! |
|
|
|
SHEILAH
Yeah, but he bloody STALKED me,
didn't he? I bet you anything you
like I'm on his mind every single
moment of the day. He won't go to
his grave peacefully till he's had
me between the sheets. |
|
|
|
JENNY
Hold on, hold on! Give the guy a
break, will you? NEITHER of you
are meant for him. You're too
old, Angela (sorry about that, but
it's true), and you're far too
much of an ice queen, Sheilah.
He's wasting his time on both of
you. What he needs is someone
like me - someone who can turn him
(MORE)
|
|
30.
|
|
JENNY (cont'd)
into the kind of boyfriend he's
dying to be. |
|
|
|
INT. THE BEDROOM IN GRAHAM'S HOUSE - NIGHT |
|
Graham wakes up with a start. Very gradually a look of
relief and hope registers on him. |
|
|
INT. THE TEA AND TIMES CAFE, WHITSTABLE - MORNING |
|
Graham is sitting in his usual spot, skimming distractedly
through his newspaper. He looks sleep deprived,
dishevelled, and yet upbeat. Every time a customer comes
in, he cranes his neck round casually to see who it is. But
Jenny is nowhere to be seen. He looks more and more
frustrated. As he finishes his coffee, he looks resigned to
not seeing her. But as he opens the door to exit the cafe,
he literally bumps into Jenny (who is on her way in). Both
of them laugh at this embarrassing incident. |
|
|
EXT. THE HIGH STREET, WHITSTABLE - MOMENTS LATER |
|
Graham walks along the pavement as if in a trance. He looks
a mixture of frustrated but hopeful. He's walking much more
slowly than he usually does, as if his mind's clearly
elsewhere. When he reaches the sea front, he takes in a few
invigorating breaths, and then turns on his heels with a
look of determination on his face. |
|
|
INT. THE TEA AND TIMES CAFE, WHITSTABLE - MOMENTS LATER |
|
Graham enters the cafe and immediately spots Jenny seated at
the bar. He sidles up to her and sits down next to her with
a faux innocence. She glances at him and giggles. |
|
|
JENNY
Haven't you already been in here
today? |
|
|
|
GRAHAM
Oh, just to pick up a paper. Time
for a coffee now. I'm Graham, by
the way. |
|
|
|
|
31.
|
|
GRAHAM
Hi Jenny. D'you live here, then? |
|
|
|
JENNY
Yeah. I moved here just a couple
of months ago. D'you know Brenda
who's got a shop in Harbour
Street? She bullied me to come
and live here. |
|
|
|
GRAHAM
Where were you before? |
|
|
|
JENNY
London. Shoreditch. |
|
|
|
GRAHAM
Are you getting used to small town
life? |
|
|
|
JENNY
(giggling)
Just about. |
|
|
There's an awkward pause. |
|
|
JENNY
I'd better go. I'm in the middle
of painting a portrait. |
|
|
|
GRAHAM
Oh, you're an artist? |
|
|
|
JENNY
Yes. Self taught. And you? |
|
|
|
|
|
JENNY
Well, I'm sure our paths will
cross again. |
|
|
Jenny shakes Graham formally by the hand. |
|
|
|
Jenny leaves the cafe, leaving Graham looking stunned. |
|
32.
|
|
TEA AND TIMES BARISTA
(to Graham)
Wow, you came on pretty stongly to
her, don't you think? |
|
|
|
|
|
TEA AND TIMES BARISTA
Yeah, but she seems well up for
it. |
|
|
Graham looks quietly satisfied. He drinks his coffee and
manages to concentrate on his newspaper. |
|
|
INT. THE HALLWAY IN GRAHAM'S HOUSE - MORNING |
|
The door bell rings. Graham goes to answer it. When he
opens the door, Jill is standing there. |
|
|
|
|
|
They walk through to the therapy room and sit down in their
usual places. |
|
|
JILL
Well, as you can see, I decided to
keep coming, even though I felt
you weren't concentrating like you
used to. |
|
|
There's an awkward silence. |
|
|
JILL
I came to the conclusion that
you're only human. You can't be
expected to listen full on all the
time. You've got your own life to
lead and your
own...PREOCCUPATIONS, I s'pose. |
|
|
Graham looks increasingly uncomfortable. |
|
|
JILL
You look less troubled today...and
more...like you're in LOVE or
something...But I know you won't
tell me about it. You never do.
Maybe you think I'd get
(MORE)
|
|
33.
|
|
JILL (cont'd)
sidetracked or something. Or
maybe you just don't want to
reveal anything about yourself? |
|
|
Graham looks bewildered. |
|
|
INT. THE TEA AND TIMES CAFE, WHITSTABLE - MORNING |
|
Graham enters the cafe and is delighted to see Jenny sitting
at the same place as last time. He sits down next to her. |
|
|
GRAHAM
(very
enthusiastically)
Hi! |
|
|
|
JENNY
Oh hi there. Been counselling? |
|
|
|
GRAHAM
Yes, a woman I thought was going
to leave. |
|
|
|
JENNY
So she decided to stay on, then? |
|
|
|
GRAHAM
Yeah...Actually clients are always
threatening to leave...It's all
part of the power struggle. |
|
|
|
JENNY
(sounding playful)
Sounds very deep. |
|
|
|
GRAHAM
(also sounding
playful)
Well, that's me, I'm afraid. I
can't help being deep. How's the
portrait coming along? |
|
|
|
JENNY
Good, thanks. Nearly finished -
which is good, cos I'm skint. |
|
|
|
GRAHAM
So you're another struggling
artist, then? |
|
|
34.
|
|
JENNY
You couild say that. I'm
certainly not looking to go out
with another one! |
|
|
|
GRAHAM
Aren't you? What about a
counsellor, though? |
|
|
|
JENNY
Ah, that would depend. |
|
|
|
|
|
JENNY
On whether he was handsome, rich,
and emotionally intelligent. |
|
|
|
GRAHAM
Oh, that rules me out then. |
|
|
|
JENNY
I wouldn't be so sure. |
|
|
They both laugh an easy laugh. |
|
|
JENNY
Why don't you come round for a
bite to eat tonight? To celebrate
the completion of the portait? I
live above the sweet shop. Number
twelve. |
|
|
|
GRAHAM
Oh, wow, thanks. That'd be nice.
What time? |
|
|
|
|
|
|
|
JENNY
All right, then. If I don't go
now, I won't get it finished in
time...So I'd better be off. |
|
|
|
GRAHAM
Yeah, yeah, course. |
|
|
Jenny gives Graham a kiss on the cheek, then leaves. |
|
|
35.
|
INT. HALLWAY, JENNY'S FLAT - EVENING |
|
The door bell rings. Jenny, dressed in boho chic attire,
answers the door. Graham is standing outside with a bottle
of wine in his hand. |
|
|
GRAHAM
Hi. Did you finish the portrait? |
|
|
|
JENNY
Yes, just about. She's taken it
away, though. |
|
|
They kiss each other on the cheek. |
|
|
JENNY
Come through to the kitchen. |
|
|
They walk through, and Graham puts his wine on the table. |
|
|
GRAHAM
Something smells nice. |
|
|
|
JENNY
I hope you don't mind vegetarian
food? |
|
|
|
GRAHAM
No, course not. What is it? |
|
|
|
JENNY
Tofu stir fry. It's better than
it sounds, believe me. You have
to marinate the tofu before you
fry it, y'see? |
|
|
|
GRAHAM
Oh, OK. I don't know the first
thing about cooking, so I'll just
take your word for it. |
|
|
|
JENNY
Could you pour some wine? There's
a bottle already open. |
|
|
|
|
Graham pours two glasses of wine. Then they sit together on
the sofa. |
|
|
|
36.
|
|
|
They clink glasses. |
|
|
JENNY
You were very courageous in the
cafe. |
|
|
|
|
|
JENNY
Men tend not to chat me up. |
|
|
|
|
|
JENNY
I don't know. Maybe they feel a
bit intimidated. |
|
|
|
GRAHAM
Well, I can imagine that. I was a
bit, to tell you the truth. But
my desire got the better of me. |
|
|
|
JENNY
Your desire, eh? You're a very
plain talking man. I like that. |
|
|
Jenny leans forward and gives Graham a little kiss on the
lips. Graham looks embarrassed. |
|
|
JENNY
Let me just serve up, OK? |
|
|
|
|
Jenny empties the contents of the frying pan onto two
plates, which she then places on the dining room table. |
|
|
|
|
GRAHAM
Thanks...So you're settling down
OK in Whststable? |
|
|
|
JENNY
Yes, I love it! There's a great
vibe, don't you think? |
|
|
37.
|
|
GRAHAM
Maybe you don't notice it so much
when you've been here a while. |
|
|
|
JENNY
Oh, I hope that doesn't happen to
me! I like to stay as alive as I
possibly can. You're a long time
dead. |
|
|
|
GRAHAM
You're right there. |
|
|
Graham looks embarrassed. |
|
|
JENNY
I guess in your line of work... |
|
|
|
|
|
JENNY
Well, I guess you must counsel a
lot of depressed people? |
|
|
|
|
|
JENNY
People who...people who DON'T feel
very alive? |
|
|
|
|
|
JENNY
So I was wondering...whether that
can bring you down? I'm not
trying to denigrate what you do,
honest I'm not, but I guess you
must spend most of your time
helping dysfunctional people learn
how to live functionally? |
|
|
|
GRAHAM
That's pretty much what we do,
yeah. |
|
|
Graham looks dejected. Jenny puts her hand on his. |
|
|
JENNY
Sorry I didn't mean to...I wasn't
ATTACKING you, you realise? |
|
|
38.
|
|
GRAHAM
No, no, of course you weren't. |
|
|
|
|
Jenny goes back to eating her food. There's an awkward
silence. |
|
|
GRAHAM
This is great! I've never had
tofu before. |
|
|
|
JENNY
You really like it, then? |
|
|
|
|
|
JENNY
Good. You must come again some
time! |
|
|
As Graham chews his food, he looks more and more
uncomfortable. |
|
|
INT. THE HALLWAY IN GRAHAM'S HOUSE - NIGHT |
|
Graham unlocks the front door and enters his house, looking
rather dazed and confused. His mobile rings. Immediately
he answers it. Split screen. |
|
|
|
|
|
|
JENNY
Yes,I just wanted to check how you
were. I thought you looked a bit
down when you left. Was that
because of something I said? |
|
|
|
GRAHAM
You thought I looked down? Really?
Did you? No, not at all. I had
a lovely evening. Thanks so much
for the meal. I must have you
round some time once I've learned
to cook! |
|
|
39.
|
There's a pregnant pause. |
|
|
|
|
|
|
JENNY
Would you mind being honest with
me? |
|
|
|
|
|
GRAHAM
Well, I can tell that you're just
trying to be jolly. And I don't
think you ARE feeling jolly right
now. So, if you're not, would you
mind letting me know? If we're
going to have a proper
relationship, I think that's
vital. |
|
|
Graham looks fazed. |
|
|
GRAHAM
What am I feeling? What am I
feeling? OK, maybe you're right.
Maybe I am feeling a bit panicky
about us. |
|
|
|
|
|
GRAHAM
All right, then. More than a bit. |
|
|
|
JENNY
Thank you. I appreciate that.
It's OK ot be panicky, y'know. |
|
|
|
|
|
JENNY
(sounding unsure
of herself)
All right then... |
|
|
40.
|
|
GRAHAM
All right then - I'll call you
soon. |
|
|
|
JENNY
Great. Talk soon then. Bye. |
|
|
|
|
Graham lets out a big sigh. |
|
|
INT. THE HALLWAY IN GRAHAM'S HOUSE - EVENING |
|
The door bell rings. Graham, wearing an apron, goes to
answer it. Jenny is standing outside with a bottle of wine
and a bunch of flowers. |
|
|
GRAHAM
Oh, wow! Wine AND flowers! What
have I done to deserve this? |
|
|
|
|
Jenny gives Graham a brief kiss on the lips. |
|
|
JENNY
Where can I put the flowers? |
|
|
|
GRAHAM
Good question. I'm sure I've got
a vase SOMEWHERE. |
|
|
They walk into the kitchen. Here Graham rummages around in
the units. Finaly he finds a vase, which he fills with
water and puts on the dining table. |
|
|
|
Jenny puts the flowers in the vase. |
|
|
GRAHAM
Thanks so much for bringing them. |
|
|
|
JENNY
You are a polite one, aren't you? |
|
|
Graham laughs nervously. |
|
41.
|
|
JENNY
So you've learned to cook, then? |
|
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|
GRAHAM
Well, I've learned to follow a
recipe. I'm doing risotto cos
it's easy. I got the recipe from
the internet. |
|
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|
JENNY
Is it nearly done already? |
|
|
|
GRAHAM
I don't know. Another five or ten
minutes maybe? |
|
|
Graham stirs the frying pan, while Jenny stands behind him
with her arms wrapped around his torso. |
|
|
JENNY
Mm, this feels nice. I'm not
putting you off, am I? |
|
|
|
GRAHAM
No, I'm just stirring. A monkey
could do this. |
|
|
Jenny laughs an easy laugh. |
|
|
JENNY
That's one thing I love about you:
your sense of humour. I really
love it. |
|
|
|
|
Jenny slips her hand under Graham's T shirt and massages his
chest. |
|
|
JENNY
Is there any chance we could
interrupt the cooking and go
upstairs for a few minutes? |
|
|
Graham looks anxious. |
|
|
|
42.
|
|
JENNY
(whispering into
his ear)
Yes. |
|
|
|
|
|
INT. THE BEDROOM IN GRAHAM'S HOUSE - EVENING |
|
Graham and Jenny are lying in bed under the duvet. They're
facing each other. Jenny's looking into Graham's eyes, but
Graham isn't reciprocating. Jenny tousles Graham's hair. |
|
|
JENNY
Mm, that was a bit of all right. |
|
|
Graham laughs nervously. |
|
|
JENNY
I don't normally climax first
time, so... |
|
|
|
|
|
JENNY
Well, maybe we have something
special going on here? |
|
|
Graham doesn't reply. He looks distracted. |
|
|
JENNY
What's on your mind? |
|
|
|
|
|
JENNY
It's like you're somewhere else. |
|
|
|
GRAHAM
Oh, you know, just...I
dunno...maybe thinkng about the
meal? |
|
|
|
JENNY
Can you do me a favour? |
|
|
|
|
43.
|
|
JENNY
Can you share stuff with me? D'you
know what I mean? I mean whatever
it is that you're thinking and
feeling? Can you share it with
me? I've been with blokes before
who... |
|
|
The atmosphere is charged in the ensuing silence. |
|
|
JENNY
...who were DISTANCED,
y'know...like they didn't even
know what they were feeling
themselves... |
|
|
The atmosphere feels even more charged now. |
|
|
JENNY
...And I felt so upset...so SAD... |
|
|
|
|
Graham pulls Jenny closer towards him. |
|
|
JENNY
So you will tell me, then? |
|
|
|
|
|
JENNY
Will you let me into your head and
heart? |
|
|
|
|
Jenny looks disappointed. |
|
|
JENNY
I know that sometimes you have to
dig deep to do it. |
|
|
|
GRAHAM
Yeah, yeah, I guess. |
|
|
Jenny gives Graham a kiss on the forehead, then places her
head back on her pillow. She gazes up at the celing,
looking deep in thought. |
|
|
44.
|
INT. THE KITCHEN IN JENNY'S FLAT - MORNING |
|
Jenny, dressed in typical artist attire, pours coffee from a
cafetiere into a big mug. She looks troubled. She picks up
her mobile and dials a number. Split screen. |
|
|
|
|
JENNY
Ah, you've stored my number? |
|
|
|
|
|
|
|
GRAHAM
Are you OK? I hope you enjoyed
yourself last night. |
|
|
|
|
|
|
There's an uneasy silence. |
|
|
JENNY
Did you think I came on too
strong? |
|
|
|
GRAHAM
Too strong? You're very HONEST
and very DIRECT, but that's a GOOD
thing, isn't it? |
|
|
|
JENNY
Maybe that depends. |
|
|
|
|
|
JENNY
On the kind of life you want to
lead. |
|
|
Another uneasy silence. |
|
45.
|
|
JENNY
I think we only live once, and I
don't want to waste my time
beating about the bush. D'you
know what I mean? So many
people... |
|
|
Jenny sighs. |
|
|
|
|
JENNY
So many people lead such
SUPERFICIAL lives, don't you
think? They go to their graves
with absolutely no awareness of
what their lives are all about... |
|
|
Jenny sighs again. |
|
|
JENNY
...and I don't want ot be one of
them. That's the size of it, I
guess. I know I'm a bit much for
some poeple, but I'm not prepared
to compromise on my principles. |
|
|
|
GRAHAM
Well good for you. |
|
|
|
JENNY
Are you being sarcastic? |
|
|
|
|
|
JENNY
Good. I love humour but I can't
stand sarcasm. |
|
|
|
GRAHAM
OK, I'll remember that. |
|
|
|
JENNY
How are you feeling right now? |
|
|
|
GRAHAM
How am I feeling? How am I
feeling? |
|
|
46.
|
|
JENNY
Ha ha. That's becoming your
mantra, isn't it? |
|
|
|
GRAHAM
Yes, maybe it is. Well I'd say
I'm a mixture of excited and
frightened. Yes: EXCITED AND
FRIGHTENED. |
|
|
|
JENNY
Thanks for telling me. Can I call
you again soon? |
|
|
|
GRAHAM
Yes or me you. Bye. |
|
|
|
|
Jenny looks at her phone reflectively. |
|
|
EXT. THE PROMENADE, WHITSTABLE SEA FRONT - DAY |
|
Graham and Jenny are walking along contentedly, hand in
hand. The sun is shining. |
|
|
JENNY
God, it's so beautiful, isn't it? |
|
|
|
GRAHAM
Yes, it's gorgeous. |
|
|
Graham gives Jenny a kiss on the cheek as they continue
walking. |
|
|
JENNY
Oh about tonight... |
|
|
|
|
|
JENNY
D'you mind if I go out with a
couple of girlfriends instead? |
|
|
|
|
Graham looks sullen. |
|
47.
|
|
JENNY
I hope you don't mind! I just
feel in the mood, y'know? |
|
|
|
|
|
|
Jenny gives Graham a kiss on the cheek, but Graham still
looks sullen. |
|
|
JENNY
You're not hiding those feelings
away from me again, are you? |
|
|
|
|
|
JENNY
I don't mind guessing what's going
on in there, but I can't guarantee
I'm always right...and then things
can begin to slide. |
|
|
|
|
|
JENNY
Yeah, and it can be difficult to
retrieve what you had. |
|
|
|
|
There's a pregnant pause. |
|
|
JENNY
I think you're still processing
what I said. |
|
|
|
|
|
JENNY
About wanting to spend some time
with my girlfriends tonight. |
|
|
|
GRAHAM
No. I'll be all right. I'll
watch the programme by myself. |
|
|
48.
|
|
JENNY
It's just one night. |
|
|
|
GRAHAM
Of course. I don't want to stop
you doing what you want to do. |
|
|
|
JENNY
Even if it doesn't involve you? |
|
|
|
GRAHAM
I suppose so, yes. |
|
|
|
JENNY
Well, thanks. It's good to know
that. |
|
|
Jenny, looking relieved, gives Graham a kiss on the cheek. |
|
|
INT. THE LIVING SPACE IN GRAHAM'S HOUSE - EVENING |
|
Graham is lying down on the sofa and watching the Swedish
crime drama. He looks very fidgety and keeps shuffling his
legs about. Sweat is accumulating on his forehead. Finally,
he can't stand lying there any longer, stands up, and looks
at himself in the mirror on the wall. |
|
|
GRAHAM
(to himself, with
grim
determination)
Sod this. |
|
|
|
INT. THE OLD NEPTUNE PUB ON WHITSTABLE BEACH - EVENING |
|
Graham enters the pub. It's very crowded, and there's a
band playing reggae music. The atmosphere is upbeat, and
the pub is full of arty looking people. There are a few
single women, but it's Dee that catches Graham's attention.
She's standing at the bar, watching the band, and dancing
rythmically to the music. Graham strides up to the space
next to her at the bar and orders a pint of Kronenburg. When
he gets his beer he turns round and watches the band. |
|
|
LEAD SINGER
OK, folks, that's your lot for
now. We're taking a short break.
Back in ten. |
|
|
The audience clap enthusiastically. |
|
49.
|
|
GRAHAM
(to Dee)
Good, aren't they? |
|
|
|
|
|
GRAHAM
D'you want a drink? |
|
|
|
|
|
|
Dee gets her mobile out of her handbag and checks her texts.
Graham studies her out of the corner of his eye. |
|
|
GRAHAM
Are you an artist? Everyone in
Whitstable seems to be one. |
|
|
|
DEE
Me? No! I'm a cleaner. Do you
need your house cleaning? |
|
|
|
GRAHAM
I've got a cleaner already, thanks
unless... |
|
|
|
|
|
GRAHAM
Unless your prices are as low as
your looks are good. |
|
|
Dee goes back to looking at her texts. Graham takes a
couple of swigs of beer. Dee puts her mobile back in her
handbag and looks at Graham very briefly. |
|
|
DEE
Haven't seen you before. |
|
|
|
GRAHAM
No? I've been here a while. Am I
that invisible? |
|
|
Dee scans the room, as if looking for something or someone
more interesting. |
|
50.
|
|
GRAHAM
Where's your boyfriend, then? |
|
|
|
DEE
(still looking
distracted)
Who says I've got one? |
|
|
|
|
|
DEE
(sounding
coquettish now)
I may have. |
|
|
|
GRAHAM
So where is he now? |
|
|
|
DEE
He lets me do what I want. |
|
|
|
GRAHAM
And what DO you want? |
|
|
|
DEE
Me? I'm always looking. |
|
|
|
|
Dee shrugs her shoulders. Graham suddenly looks deep in
thought. |
|
|
INT. DAYDREAM: THERAPY ROOM IN JO'S HOUSE - EVENING |
|
Graham and Jo are sitting opposite each other. |
|
|
JO
(loudly and
ominously)
Couldn't it be that your running
away from women and running
towards women are two sides of the
same coin? Couldn't it be that
your running away from women and
running towards women are two
sides of the same coin? Couldn't
it be that your running away from
women and running towards women
are two sides of the same coin? |
|
|
|
51.
|
EXT. DAYDREAM: WHITSTABLE SEA FRONT - MORNING |
|
Graham and Jenny are walking along hand in hand. |
|
|
JENNY
(loudly and
ominously)
You have to keep telling your
partner what's going on for you -
otherwise things can start to
drift and can be very difficult to
retrrieve. You have to keep
telling your partner what's going
on for you - otherwise things can
start to drift and can be very
difficult to retrrieve. You have
to keep telling your partner
what's going on for you -
otherwise things can start to
drift and can be very difficult to
retrrieve. |
|
|
|
INT. THE OLD NEPTUNE PUB ON WHITSTABLE BEACH - MOMENTS LATER |
|
Graham wakes up from his daydream. |
|
|
GRAHAM
(to Dee)
Sorry, I'd better go. |
|
|
Graham finishes off his pint and leaves. Dee's attention
continues to dart all around the room. |
|
|
INT. THE HALLWAY IN GRAHAM'S HOUSE - EVENING |
|
A very nervous-looking Graham enters his house and walks
along the hallway to the kitchen, where Jenny is sitting
down reading the newspaper. |
|
|
JENNY
Hi! I thought you'd be at home
watching that programme! |
|
|
|
|
|
|
52.
|
|
GRAHAM
Oh God, I don't know how to say
this...I just felt so JEALOUS. |
|
|
Graham looks away from Jenny, shame-faced. |
|
|
GRAHAM
I thought...I thought you'd
probably be out on the pull, if
I'm being honest, and I found
myself feeling so INSECURE. God,
it was horrible! And...well...I
just wanted you to know that. |
|
|
|
|
|
|
|
JENNY
And did you talk to anybody? |
|
|
|
GRAHAM
(looking
shame-faced)
Briefly. |
|
|
There's a charged silence. |
|
|
GRAHAM
I...I got talking to some
woman...and...it was so obvious
that she doesn't follow your
relationship rules, and I suddenly
realised that I'd be falling into
a trap if I ever considered going
with her... |
|
|
|
JENNY
Let me get this clear. You were
frighted of losing me, so you
decided to go off with someone
else? Is that what happened? |
|
|
|
GRAHAM
I...I...Pretty much, yes, I guess.
But don't you see? I had an
EPIPHANY. I realised that your
way of doing things is the only
way. |
|
|
Graham sits down at the table opposite Jenny. |
|
53.
|
|
JENNY
I don't know what to say. |
|
|
Graham looks askance. |
|
|
JENNY
I guess at least you've had a
learning experience. |
|
|
Graham looks up expectantly. |
|
|
JENNY
But you know that...You know that
nobody becomes emotionally
intelligent overnight, don't you? |
|
|
Graham resembles a dog begging for food now. |
|
|
JENNY
D'you have any idea how I'M
feeling now? |
|
|
Graham suddenly looks confused. |
|
|
JENNY
That's all part of the package,
y'know? It's not enough just to
get stuff off your chest whenever
it takes your fancy. |
|
|
|
GRAHAM
Of course it isn't. So how ARE
you? |
|
|
|
JENNY
Shaken up. That's how I feel.
Shaken up but hopeful. |
|
|
With tears in his eyes, Graham stands up and walks towards
Jenny. They embrace emotionally. |
|
FADE OUT. |
|
|
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