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Jane Young 2003 The Gift

The Gift

OPENING CREDITS:

FLASHBACK

1. EXT. CONVENIENCE STORE – DAY.

A child on a bicycle wearing a striped sweater sucks on a lollipop and investigates a bag of sweets while her mother, a harassed woman in her early thirties, prepares to ride off on her own bicycle with a younger toddler harnessed into a rear safety seat.

The older child, a cute young thing with ringlets, drops her bag of sweets and begins to cry. The mother props her bicycle up against the kerb outside the shop and leaves it unattended in order to help her daughter pick up the sweets.

As the child and her mother gather them up the bike topples and falls into the road with the toddler still on board - just as a lorry is approaching. The mother can do nothing more than scream out loud as the lorry ploughs into the bike and the fallen toddler.

WE HEAR the sound of the lorry trying too late to brake.

CUT TO:

2. INT. CINDY’S BEDROOM. CINDY’S HOME – DAY.

CINDY wakes in a panic, the nightmare vision of the toddler being run over, still before her.

WE HEAR the sound of a lorry passing by her window.

CINDY is young, in her late twenties and has a girlish quality. Even if she is hard as nails and crude to boot. The term ‘common as muck’ springs to mind.

CUT TO:

3. INT. BATHROOM. CINDY’S HOME – DAY.

Her pants around her ankles, street alley-cat CINDY is on the toilet. With the door open.

CINDYShit. Why the fuck is there never any bog roll in this house? I suppose I’ll have to wait till I get to work to take a crap.

CUT TO:

4. INT. KITCHEN. CINDY’S HOME – DAY.

In the middle of making breakfast in her cluttered council house kitchen CINDY finds time to write a scrabbled letter.

1


In walks POPPY, a pretty eight-year-old with long untidy hair and a worldly air.

POPPYSkid says there’s no milk left.

CINDYWell tell him to go and bloody well get some.

POPPYWhat are you doing?

CINDYWriting a letter.

POPPYWho to?

CINDYNever you mind. Is he still on the play station?

POPPYWhen isn’t he?

CINDYTell him to go get some milk. He’s the one that used it all.

POPPY exits.

VO POPPYMum says you’d better bloody well go get some milk.

Smiling as if proud of her daughter’s swearing CINDY finishes her letter, then hesitates as to whether to finish it off anonymously or put her name to it. In the end she prints her name. WE SEE that the envelope is addressed to a TAMSIN CARTER.

CUT TO:

5. INT. LOTTO/CIGS COUNTER. 24 HOUR TESCO – DAY.

Wearing an unflattering uniform with her long dark hair braided into two plaits CINDY sells cigarettes, newspapers and lotto tickets for a living. She likes her job but doesn’t always like her customers. Her casual attitude makes this obvious. With her is friend and work colleague HEIDI, a plump sexy piece with shocking red hair and a low IQ.

In between chatting they serve customers – some easily offended by their topic of conversation and lack of service.

HEIDIYou still coming out tonight then or what?

2


CINDYIf Skid will baby-sit.

HEIDIHe hasn’t got a job yet I take it

CINDYWhy would he when he can sponge off me. Where are we meant to be going?

HEIDIChamps - women get in free on Friday nights.Oh come on it’ll be fun and Romeo might be there. Besides I could do with the money.

CINDYYou’re not still pulling off that abortion scam.

HEIDISleep with them once and then hit ‘em with a fake pregnancy. £500 quid in me pocket every time.

CINDYWhat does Clive have to say about it?

HEIDIHaving a hubby is crucial to the plan. It scares the shit out of all the potential fathers. Bless them.

CINDYYou’re all heart you.

CINDYYou’re not exactly Snow White yourself Cindy. (glancing at newspaper)Hey have you heard about the latest rape? A girl’s not safe anymore.

CINDYI don’t read the papers.

HEIDIOh yeah that’s right. You don’t watch the news either do

you?

A CUSTOMER boldly interrupts them.

CUSTOMEREvening Telegraph please.

CINDY hands the newspaper to the CUSTOMER and is unable to avoid seeing the blazing headline ‘RAPIST STRIKES AGAIN’.

CUT TO:

FLASHBACK

3


6. EXT. CHAMPS NIGHTCLUB – NIGHT.

WE SEE the hazy image of a dangerous stranger. It is the RAPIST spying on girls going into the nightclub – as if pondering who his next victim will be. He pulls the fake fur hood of his parka over his head. And we see just a glimpse of an unshaven face.

CUT TO:


Back to the present and the CUSTOMER is still waiting for his change. CINDY is in a world of her own – thinking about the image she has just seen.

CUSTOMERYou didn’t give me any change.

CINDY (slamming money down on counter)Sorry.

CUT TO:

8. INT. LIVING ROOM. CINDY’S HOME – NIGHT.

SKID, an unkempt lazy sort with hair in dreadlocks, plays on the play-station while CINDY’S father JACK watches agitatedly from an armchair. The men ignore each other.

Both are heavy smokers and the room is full of cigarette smoke. Meanwhile CINDY’S two children POPPY and JACK JR. (five) play on the floor. They are complete opposites, the first being dark like her mother, the second very fair.

CINDY arrives home from work and comes into the living room.

JACK JR.Mummy.

The children rush toward CINDY, pleased to see her.

CINDY (wafting smoke)Christ it’s like a crematorium in here. (to Jack)Cup of tea?

JACKFirst offer I’ve had and I’ve been here an hour already.

CINDYOh don’t start dad.

4


CINDY goes into the kitchen and puts the kettle on – bites into a doughnut. JACK follows.

JACKJust what is it with you and that loser anyway? He does nothing all day except play stupid kid’s games.

CINDYHow’s mum?

JACKSame as usual, you know your mother. But don’t change the

subject.

CINDYSkid baby-sits for free so I get to go to work and earn a living. So unless you and mum are going to take the kids for me I don’t see I’m left with any choice.

JACKAlright Cindy. Alright, no need to rub it in. If it were up

to me…

CINDYBut it’s not so do me a favour dad and shut the fuck up.

JACKWhere did you get that filthy mouth from that’s what I want to know? It’s not as if your mother or I swear.

CINDYOh for God’s sake, they’re only words. Words can’t hurt you.

JACKAnd what’s with the name Skid anyway?

CINDY empties the washing machine.

CINDYIf you had to wash his dirty underpants you wouldn’t need to ask. Besides you can talk - you and mum named me after a doll.

JACK hands CINDY a twenty-pound note.

CINDYWhat’s this for?

JACKThe kids tell me you’re off out tonight. But whatever you do don’t let on to your mother, you know what she’s like with money.

5


CUT TO:

9. INT. CINDY’S BEDROOM. CINDY’S HOME – NIGHT.

Sitting on the floor in front of a large mirror CINDY is doing her make up. Next to her sit POPPY and JACK JR.

CINDYMascara.

JACK JR. passes the mascara to POPPY who in turn passes it to CINDY.

CINDYBlusher.

The process is repeated.

CINDYLipstick. (long pause) Lipstick.

WE SEE that JACK JR. still has possession of the lipstick and has plastered it all over his face.

They laugh.

CINDYGive it here. You little shit. What are you?

JACK JR.A little shit.

CUT TO:

10. INT. CHILDREN’S BEDROOM. CINDY’S HOME – NIGHT.

It is a little later. CINDY is ready for her night on the town. Wearing a red off the shoulder gypsy dress with a plastic red rose in her loose hair.

She is tucking the children up in bed. First she kisses POPPY.

POPPYYou look sexy mummy, like Britney Spears.

Next she kisses JACK JR.

CINDYNow behave yourself young man or Mr Naughty will bang on the

wall.

POPPY laughs in a dismissive way - not so JACK JR. who is truly fearful.

JACK JR.Is there really such a thing?

CINDY

6


You’d better believe it.CUT TO:


SKID is still playing on the play-station when CINDY comes into the room, ready for the off. He does not look up.

CINDY (doing a twirl)How do I look?

SKID only grunts.

SKIDGot any money?

CINDYWhat for?

SKIDThought I’d order a curry.

CINDYThere’s twenty. And make sure you save me some. I’m always starving after a night out.

SKID pockets the cash without another word.

CUT TO:

12. EXT. CHAMPS NIGHTCLUB – NIGHT.

CINDY and HEIDI have arrived at the club. It is raining and the two women awkwardly run in their high heels toward the entrance.

CINDYWait for me you old slapper.

PAN: On a street corner WE SEE a glimpse of the same dangerous stranger from before. The RAPIST - wearing the parka with the fake fur hood. Unseen he watches the two women go in.

CUT TO:

13. INT. CHAMPS NIGHTCLUB – NIGHT.

CINDY and HEIDI are at the packed bar ordering drinks – HEIDI greedily eyeing up the talent. She then nudges CINDY a little too obviously.

HEIDIHe’s here. Romeo. The man of your dreams.

7


WE SEE a nice looking young man with sandy hair and a pleasant physique standing alone at the other side of the bar. He has a fresh boy-next-door quality. His name is HUGH.

HUGH notices CINDY and smiles at her. CINDY looks behind her as if to check he is smiling her way before responding.

HEIDIDid you see that? He was definitely looking.

Then an attractive if heavily made up blonde wearing extremely tight trousers and a halter neck top approaches HUGH. He is whisked off to dance but not before smiling apologetically at CINDY.

HEIDIWhore. You can practically see her luncheon meat in those trousers. Why don’t you ask him for a dance later?

CINDYIf he’s interested he’ll find his way over.

CUT TO:

14. INT. LADIES ROOM. CHAMPS NIGHTCLUB - NIGHT.

It is a little later. The ladies room is full of women re-doing their make up.

CINDY and HEIDI are in next door cubicles.

VO CINDYOh shit.

VO HEIDIWhat?

VO CINDYI’ve only gone and wet myself again.

VO HEIDIThat’s giving birth for you. I’m just the same. My bladder’s never been right since I had Joshua.

VO CINDYI’ll have to go knicker-less now and just hope the fluorescent lights don’t show through my dress.

VO HEIDIYou want to watch it - a cold night like this and you could end up with chapped lips.

Toilets flush and CINDY exits her cubicle at exactly the same time as HEIDI.

In walks the attractive over-made up blonde who earlier chatted HUGH up. She goes to the mirror and begins to apply lipstick - notices CINDY and HEIDI looking her up and down and stares defiantly back.

8


HEIDI walks deliberately into the girl.

HEIDISorry didn’t see you there.

Approaching the blonde in an equally threatening manner CINDY does exactly the same. The girl is practically sandwiched between the two women.

CINDY (laughing)Nor me. How silly of me.

HEIDIWe must want our eyes tested.

CINDY (to girl)You’re not an optician by any chance?

The girl does not reply. Others leave, sensing a fight might be underway. Only CINDY, HEIDI and the girl now remain.

CINDYThought not. Otherwise you’d have noticed you’re wearing far too much make up.

HEIDIUnderneath that lot she’s probably got bad skin.

Wisely the girl attempts to walk away but HEIDI bars her exit for a second before letting her go. As the girl exits CINDY and HEIDI laugh.

CINDYWe are such bitches.

CUT TO:


WE SEE HEIDI smooching with a bloke on the dance floor. They snog and grope hungrily.

PAN to CINDY sitting on her own, drinking a bottle of something.

A man joins CINDY at her table. He is tall and dark with olive skin and has an unshaven appearance. It is none other than the RAPIST – though CINDY doesn’t know it yet.

RAPISTCan I get you another?

CINDY

9


I don’t think so.

RAPISTThat’s not quite a no then.

CINDYNo. Non. Neine. Now piss off.

CINDY doesn’t like the look of him though she doesn’t understand why. The RAPIST moves away but still hovers. She looks about for HUGH who is now dancing with some other woman.

HEIDI flounces over.

HEIDIWell that was a complete waste of time.

CINDYThat’s not how it looked to me.

HEIDIHe’s only gone and had a vasectomy.

The women can’t help but laugh at HEIDI’S misfortune. HEIDI then spots the RAPIST smiling at them.

HEIDIHe’s cute. Looks virile too.

CINDY resigns herself to a solitary evening as HEIDI makes a dead set for the RAPIST.

CUT TO:


It is late. Having fetched her coat from the cloakroom CINDY is ready to leave. A gaggle of drunken men leer and try to detain her but one withering look from her sees them quickly move aside.

TRACK to bar where HEIDI and the RAPIST are entwined together. AS CINDY approaches the RAPIST moves off

HEIDIYou off then?

CINDYYeah I’m done in.

HEIDIWe’re about to get off too, want us to walk you home?

CINDYI’ll get a taxi.

The RAPIST comes back with HEIDI’S coat and while she struggles into it, slips on his own. It is a parka with a fake fur collar. Now CINDY

10


recollects her vision and is positive she is looking at none other than the RAPIST.

CINDYToilets now.

HEIDIYou haven’t pissed yourself again.

CINDY physically drags her friend away.

HEIDI (to rapist)Don’t go anywhere squirrel I’ll be right back.

CUT TO:

17. INT. LADIES ROOM. CHAMPS NIGHTCLUB – NIGHT.

CINDY and HEIDI defiantly face each other in the otherwise empty ladies room.

HEIDIIt never bothered you before who I slept with.

CINDYWell it does now. I’m telling you he’s bad news.

HEIDISince when did that matter to girls like us?

Just then WE HEAR a toilet flush. CINDY walks up to the engaged cubicle and bangs on the door.

CINDYYou in there, pull your knickers up and get the fuck out of

here.

A young woman exits the cubicle terrified. She goes over to the washbasin.

CINDYOut. I bet you never wash your hands at home after taking a

piss.

The young woman exits. Alone with HEIDI, CINDY violently pushes at her friend.

CINDYYou’re not going off with him. I mean it. I’ll put your head down that bog first if I have to.

Something of a tough cookie herself HEIDI is clearly afraid of CINDY.

HEIDIAlright. Alright. For fuck sake. Just tell me why.

11


CINDYHe’s the rapist.

HEIDIWhat? Are you mad? I mean how could you possibly know that.

CINDYI just do that’s all. Don’t ask me to explain because I

can’t.

HEIDIOkay, okay. Jesus. This isn’t turning out to be the night I

had planned. (laughing)But I would have shagged him anyway – I mean he wouldn’t have had to… rape…

CINDYYou think it matters to guys like that whether you’re willing or not. Sometimes Heidi you talk such fucking crap.

HEIDI (suddenly tearful)I know. I thought that was why you liked me.

CINDYIt is. Oh it is. Come here you old tart.

The two women hug emotionally.

HEIDIAt least we get to cry. It’s not quite the same as a shag but it’s one way of ending the night.

CUT TO:

18. INT. LIVING ROOM/KITCHEN. CINDY’S HOME – NIGHT.

CINDY has arrived home to find the living room a mess. There are plastic curry cartons and full ashtrays everywhere and SKID has fallen asleep in front of the television.

TRACK: CINDY goes into the kitchen, quietly shuts the door and picks up the phone.

CUT TO:

19. INT. LOCAL SAMARITAN OFFICE – NIGHT.

A dreary office where two all night volunteers take calls from the public.

SAMARITANYou’re through to the Samaritans.

CUT TO:

12


20. INT. KITCHEN. CINDY’S HOME – NIGHT.

CINDY is at the other end of the line.

CINDYAre you sure he’s not there? He could be on the bog, he’s told me all about his irritable bowel problem. No I don’t want to talk to you – Graham’s the only one who knows where I’m coming from.

CINDY hangs up. Thinks. Then redials.

CINDYI need the telephone number for The Evening Telegraph.

CUT TO:

21. INT. NEWS ROOM. EVENING TELEGRAPH – NIGHT.

All alone in a vast darkened newsroom eager news hound MARK MILLER is on the phone. Slightly built he has a partiality for collar-less shirts and spiked hair. As young as he is he has mastered a false yet entirely believable ‘let’s be friends’ approach.

MARKSure you can remain anonymous. Now what is it you’d like to tell me?

CUT TO:


Troubled, CINDY is on her way upstairs to bed when SKID wakes and sees her.

SKIDWhat’s up?

CINDYI forgot to do 141 before I made the phone call.

SKIDWhat? Who on earth have you been ringing this time of night?

CINDYIt doesn’t matter. Are you coming up?

SKID reaches for his cigarettes.

SKIDLater.

CUT TO:

23. INT. BREAKFAST ROOM. TAMSIN CARTER’S HOME - DAY.

13


It is morning. A beautiful former model TAMSIN CARTER is now a rich and famous footballer’s wife living in a modern mansion. While picking delicately at half a grapefruit she goes through the morning’s mail.

Opening a hand written envelope she reads on and becomes quite astonished - WE SEE that the letter is from CINDY MARTIN of 22 Silver Street.

TAMSINSophie, Sophie.

A young woman carrying a toddler enters the room. SOPHIE is TAMSIN’S nanny, employed to look after the CARTER’S three-year-old son BEN. The boy is dressed head to toe in England’s football kit.

TAMSINChange of plan. We’re not going to today’s match after all.

SOPHIEBut it’s the semi final and Mr Carter was so looking forward to you and Ben being there.

TAMSINTell me are you superstitious Sophie?

SOPHIEI’m not sure. Why?

TAMSINRead this and tell me what you think. It’s probably from some crank but…

SOPHIE takes the letter and begins to read. The contents horrify her.

SOPHIECrushed in the crowd! Oh no. If it were my baby Mrs Carter I’d keep him home too. It’s better to be safe than sorry.

CUT TO:

24. INT. LIVING ROOM/DINER. THE MARTIN’S HOUSE – DAY.

Mother of CINDY, ESTHER MARTIN is dusting photograph frames while listening to the radio. She is a peevish, tight lipped, house-proud woman. The word shrew would describe her perfectly.

WE HEAR a tap at the door and CINDY walks in.

CINDY calls out from the kitchen.

CINDYCoowee Mum.

CINDY enters the living room. ESTHER continues with her dusting.

14


ESTHERIt’s Saturday. Where are the children? They’re never with

you.

CINDYPlaying over at Heidi’s. Having a bit of a spring clean are

we?

ESTHERRobert is bringing the children over later.

CINDYOh well that explains all the activity.

CINDY notices an empty spot on the sideboard.

CINDYWhere have Poppy and Jack Jr’s photographs gone?

ESTHERThey got put away - too much for me to dust.

CINDYI see Robert’s kids photos are still out.

ESTHERYour father’s not here so if you’ve come spoiling for a fight I’m all alone and defenseless as you can see.

CINDYSince when did you need anyone to defend you?

A photograph of her son Robert drops out of ESTHER’S hands and shatters.

ESTHERNow look what you’ve made me do.

CINDY (dropping to her knees)Here let me. You’ll only cut yourself.

ESTHERNo. You’re not to touch it.

CINDYYou never did have much time for me or my kids did you? Robert’s family always comes first.

ESTHERI think it best you go before you do any more damage.

CINDY walks to the door, spots a framed photograph of Robert and his children taking pride of place on the wall and changes her mind. Walking back to her mother she re-ignites the row.

CINDYYou’re afraid of me. Always have been.

15


ESTHERAfraid of my own daughter! What a vivid imagination you’ve

got.

CINDYExcept it isn’t what I imagine that bothers you, is it? It’s what I see. You’re scared shitless I’m gonna walk in here one of these days and tell you you’re going to die.

ESTHERThat’s enough of that Cindy.

CINDYYou’re nothing but a bitter narrow-minded old woman and because of your bigotry and ignorance you’ve never dared love your own flesh and blood.

JACK walks in and immediately takes in the atmosphere. He has been fishing – he carries a fishing rod and wears Wellington boots.

JACKOi Oi what’s going on here?

ESTHERShe’s at it again - stirring up trouble as usual.

JACKCindy?

CINDY adores her father and doesn’t want to cause him any unnecessary distress.

CINDYYeah just spoiling for a fight wasn’t I mum? Sorry mum, dad.

CINDY kisses her father and exits.

CUT TO:

25. INT. KITCHEN. THE CARTER’S HOME – DAY.

It is late afternoon. SOPHIE is feeding BEN at the kitchen table while TAMSIN prepares a meal – an exotic salad. The television is on.

PAN NEWS COVERAGE: A REPORTER stands outside Wembley Stadium. Behind him hoards of people frantically exit the pitch.

REPORTERWe’re live at Wembley Stadium where one of the terraces has collapsed causing three people to lose their lives in the ensuing crush. England coach…

FADE NEWS COVERAGE:

16


TAMSIN is deeply shocked. SOPHIE stops feeding BEN and both women are for the moment immune to his cries of protests.

CUT TO:

26. EXT. GARDEN. VALENTINE’S HOME – DAY.

The VALENTINE’S live in a wealthy, exclusive neighborhood. Their garden is large, more of a miniature woodland.

A little girl LUCY VALENTINE (seven) is playing with a tea set in her play-house. Teddy bears and dolls are placed around the china tea service and LUCY helps them to cups of make believe tea.

LUCYYou’re so greedy Annabelle - that’s your third cup. (the door to the playhouse opens)Oh hello, have you come to play with me?

LUCY looks up at the intruder. Her face is one of innocence - without suspicion or any sense of danger.

LUCYWould you like a cup of tea? (pouring out another cup)I’ll be mum.

WE DO NOT see who the visitor is.

CUT TO:

27. INT. LIVING ROOM. CINDY’S HOME – EVENING.

CINDY, POPPY, JACK JR. and SKID are tucking into a meal of fish and chips. They eat their meal off their laps and use their fingers. The television is on.

POPPYI’ve only got one pickle onion and Jack Jr’s got two.

CINDYHere you can have mine, pass the tomato ketchup. (talking with mouth full)And don’t talk with your mouth full Poppy.

PAN NEWS COVERAGE: The same REPORTER remains staked out at his place outside Wembley Stadium although it is now dark and the stadium is quiet except for emergency services vehicles and staff.

REPORTERRecent news in suggests today’s body count could be up to as many as seven.

Using the remote control CINDY switches channels.

SKID

17


I was watching that.

CINDYYou don’t even like football.

CUT TO:

28. INT. DINING ROOM/DRAWING ROOM. THE VALENTINE’S HOUSE – NIGHT.

An elaborate dining table set for three people with napkins, crystal glasses and silver cutlery remains untouched.

The house is classical and elegant – a taste that reflects the mistress of the house.

PAN: Through open doorway to the drawing room where WE HEAR raised voices.

JOHN VALENTINE, a kindly, normally placid barrister with a penchant for expensive suits and gold cufflinks, addresses his severe looking wife.

JANE is a handsome smartly dressed woman with a haughty expression.

JOHNIt’s gone eight. Wherever can she have got to?

JANEPerhaps we should try the play-house again?

JOHNShe’s not in the garden Jane, nor in the house. We have to face up to it - our daughter is missing.

Unable to take it in JANE collapses into an armchair.

JANEDear Lord.

JOHNWill you let me ring the police now?

JANE nods her ascent and JOHN picks up the phone.

JANEThis can’t be happening. Not to people like us.

CUT TO:


It is Monday morning and CINDY and HEIDI are back at work. HEIDI is unusually quiet this morning and this fact does not go unnoticed by CINDY.

18


CINDY serves a lottery ticket to a customer.

CINDYIf you win don’t forget who sold you the ticket. (turning to Heidi)What’s up with you this morning? You’ve got a face like the back end of a constipated cow.

HEIDINothing. Everything. I’m pregnant.

CINDYYeah right.

HEIDINo I mean it. I did a home pregnancy test this morning.

CINDYOh my God Heidi. Is it Clive’s or…

HEIDII don’t know. But I’ve narrowed it down to three.

CINDYWell that’s something (long pause) I suppose.

HEIDIIt’s my own fault for crying wolf so many times in the past. They caught him by the way…

HEIDI passes a copy of The Evening Telegraph newspaper to CINDY.

WE SEE the headline GOT HIM next to a snapshot of the RAPIST. CINDY shows no surprise.

HEIDII owe you big time for that.

CINDYYou won’t tell anyone, will you Heidi?

HEIDIBrownies honour.

CINDYYou were never a Brownie.

CUT TO:

30. INT. PRESS ROOM. POLICE HQ – DAY.

Amid a sea of news reporters, camera crew and police officers JOHN and JANE VALENTINE are doing a television appeal to find their missing daughter.

JOHN (into camera)

19


Somebody out there knows where little Lucy is. Please help us find our daughter.

JANEThis has been the longest two days of our lives. She’s only seven and has never been away from home before.

FADE TO:

31. INT. LIVING ROOM. THE CARTER’S HOME – NIGHT.

In their elaborate, rather tasteless living room TAMSIN and OLIVER CARTER are watching a repeat of the same appeal. OLIVER, an extremely photogenic fashionable young man has their son BEN on his lap.

PAN NEWS COVERAGE:

JOHNSomebody out there knows where little Lucy is. Please help us find our daughter.

TAMSIN jumps up from her chair and hunts out CINDY’S letter from the writing desk.

OLIVERWhat are you doing?

TAMSINI’m not going to sit back and do nothing when I might be able to help that poor family. (handing Oliver Cindy’s letter)If anyone can find that missing girl, she can.

CUT TO:


It is the next day and CINDY and HEIDI are as usual working behind the lotto/cigs counter.

They are very busy today so there is no time for chatter.

Next in line for CINDY to serve is an energetic young man – MARK MILLER.

CINDYCan I help you?

MARKYou already have.

CINDYPardon.

MARK gets out his notebook.

MARK

20


Don’t look so worried, we’ve spoken before. Mark Miller’s the name.

This does not register with CINDY. A queue starts to build up.

MARKI just wanted to ask you a few questions about how you knew the identity of the local rapist. Are you a licensed clairvoyant or a medium? And have you helped the police with their inquiries before? I mean if it wasn’t for your tip off the rapist would still be out there.

At this the remaining customers show immense curiosity - so does HEIDI.

CINDYI’m not any of those things and I don’t know what you’re

talking about.

MARKOh come on Miss Martin… Cindy. When you phoned my office you were able to give an exact description of the rapist. You said you had visions.

CINDYI never gave you my name. I told you I wanted to remain anonymous. How did you find me?

MARKIt wasn’t so hard. You didn’t withhold your number. Maybe you wanted me to track you down. Most psychics will do anything for publicity.

CINDYI’m not a psychic. Now just go away will you, I’m working.

MARKHave you any insight… or feelings in the case of the missing

girl?

CINDYWhat missing girl?

MARKIt’s been all over the news.

HEIDIShe doesn’t watch the news.

MARKAnd you are?

HEIDI

21


Heidi, I’m her best friend and I was with her the night she recognised the rapist. It was real spooky, if it wasn’t for her I might have been his next victim.

CINDYHeidi!

HEIDI immediately shuts up - realising she has done exactly what CINDY asked her not to.

CINDYWe’re busy. If you don’t go I’ll call the manager.

MARKOkay, okay but I’ll leave you my card. Our paper would be prepared to offer a substantial fee for your story.

MARK leaves and the waiting customers now surge forward.

1st CUSTOMERIs it true miss can you really predict what’s going to happen? What lotto numbers should I choose?

2nd CUSTOMERI was next. Should I go for my usual numbers or pick new

ones?

3rd CUSTOMERMy son ran away in 1977 and we haven’t seen him since. His name is Barry. Tell me where he is, please. Is he still alive?

CINDY looks about her at the mayhem and senses her life will never be the same again now that her gift has been discovered.

CUT TO:

33. INT. DRAWING ROOM/BLUE HALL. THE VALENTINE’S HOME – DAY.

JANE is on the phone. Through the open door WE SEE her husband JOHN talking to two plain clothes detectives in the blue hall.

JANEThank you Mrs Carter, I’ll bear it in mind.

Hanging up the phone JANE does not go to find her husband - instead she gathers up her car keys and slips out unnoticed through the French doors.

CUT TO:

34. INT. MANAGER’S OFFICE. 24 HOUR TESCO – DAY.

CINDY sits opposite the uncomfortable store manager in his office. A weighty man with a sweaty face he does not know how to handle the unusual situation he finds himself in.

22


Framing them is a multitude of posters depicting fresh produce.

CINDYBut it’s not my fault they got hold of the wrong end of the

stick.

MANAGEREven so all this publicity is not good for business. We can’t have our customers going crazy on the lottery counter. Some have traveled for hours to get here.

CINDYSo what are you saying - I’m sacked?

MANAGERUnder these rather… special circumstances we’re prepared to offer you paid leave - until the fuss dies down that is.

CINDYWell why didn’t you say so before? In that case I’m out of

here.

MANAGERIs it true Cindy? Can you really see things?

CINDYOh not you as well.

MANAGERWill I get my promotion do you think?

CINDYNot if you keep screwing Bianca off the deli counter.And before you ask it’s common knowledge.

CUT TO:

35. INT/EXT. KITCHEN/LIVING ROOM/FRONT GARDEN. CINDY’S HOME – DAY.

CINDY has just walked in the door when SKID comes out to greet her.

SKIDYou’ve got a visitor in there. Says she’s a friend. And people have been ringing all day. They say they’re reporters. They must have found out I’m screwing the dole office.

CINDY strips off her work overall as if she hates the sight of it.

CINDYSkid, I don’t think your benefit fraud is at the top of anyone’s list right now.

CINDY enters the living room where WE SEE JANE VALENTINE waiting. In spite of her own problems JANE seems appalled by the mess and disarray around her.

23


CINDYI don’t know you, do I?

JANENo, I’m sorry. I rather misled your husband.

CINDYPartner, he’s me partner.

JANEMy name’s Jane Valentine. I expect you’ve heard of me, seen me on the news.

CINDYNo.

JANEIt’s my little girl that’s gone missing.

CINDYAnd you’re here because…

JANETamsin Carter, the footballer’s wife telephoned me. She said you might be able to help.

CINDYI’m not getting involved in this. I don’t know anything about your daughter.

CINDY crosses the room and looks out of the window.

PAN OUTSIDE: WE SEE reporters and camera crews pulling up in the street outside. CINDY sticks her fingers up at them when they spot her.

JANEPerhaps if you came to our house, saw Lucy’s bedroom… you might get a feeling.

CINDYI’m sorry I can’t help you.

JANEForgive my saying, but you don’t sound very sorry.

CINDYI’ve had a bad day, now if you don’t mind.

JANEMy husband’s a top barrister. We could pay you.

CINDYEveryone has a price huh? Especially poor working class girls like me. Did you call the press, you did didn’t you…

JANE

24


No. I’ve told no one about this, not even my husband.

CINDYGood. Just as well. Now you found your way here alright perhaps you could do me a favour and let yourself out the same way.

JANEDo you have any children?

CINDYTwo. A boy and a girl.

JANEI would die for my child.

CINDYThat doesn’t make you so special. Any woman worth her salt

would.

JANEWhy are you being unkind?

CINDYThere’s no law against it is there? Ask your husband.

JANEI’m leaving my number in case you change your mind. You can name your own price.

JANE exits. The doorbell rings – more reporters. CINDY closes the curtains. JACK JR. enters.

JACK JR.Why are they calling you a cyclist when you can’t even ride

a bike?

CINDY hugs her son – more for her own benefit than his.

CUT TO:

36. INT/EXT. CINDY’S BEDROOM/FRONT GARDEN – NIGHT.

We are in and out of the house.

CINDY, POPPY and JACK JR. have lined up buckets, bowls and jugs of water on the windowsill.

Outside WE SEE camera crew and reporters crawling all over CINDY’S front garden.

The doorbell rings incessantly.

CINDYReady, aim - fire.

CINDY, POPPY and JACK JR. let them have it.

25


The reporters are soaked. Some swear out loud, others jump backwards.

CINDY and the children laugh hysterically and poke their heads out of the window.

CINDYNow fuck off.

JACK JR.Yeah get lost peperarmi.

POPPYIt’s paparazzi you idiot.

CUT TO:


It is a little later in the evening and the commotion outside has died away. CINDY is applying make up to POPPY’S face. The girl looks like a miniature hooker.

CINDYThere you go, you look just like a princess.

JACK JR.Why can’t I be a princess?

POPPY (looking at face in mirror)Because you’re a boy stupid. Boys sign on the dole and play all day long on the play-station.

SKID is once more on the play-station. As usual he takes no notice of the conversation around him.

CINDYI thought I’d pop round to Heidi’s tonight.

SKIDWhatever. Leave us some cash though, the lads might come

round later.

CINDYI’ve only got a few quid - I’ll have to go to the cash

machine.

SKIDWhy don’t you get a credit card like everyone else?

CINDY

26


The bastards won’t let me. Something to do with me having C.C.J.’s – whatever they are.

CUT TO:

38. INT. LIVING ROOM. HEIDI’S FLAT – NIGHT.

CINDY has arrived at HEIDI’S flat. It is surprisingly modern and tidy. With everything from new carpets, pine furniture, a wide-screen TV, DVD, CD player and Sky. All ripped off gear.

CINDY helps herself to more wine while HEIDI breast-feeds her child – JOSHUA is four years old and a hefty thing at that. A fag hangs out of the corner of HEIDI’S mouth.

CINDYYou’re not still breast-feeding that kid. It’s sick.

HEIDIOh I don’t know he seems to like it besides it helps my tits stay bigger – keeps Clive happy.

CINDY reaches over and snatches HEIDI’S cigarette – stubs it out in an already full ashtray.

CINDYYou shouldn’t be smoking in your condition - it’s almost as bad as old people swearing. What are you going to do about the baby?

HEIDIClive says I can keep it. He’s worked out it will mean another £70 a month in family allowance. After it’s born we’ll only want a dog to make us the perfect family!

HEIDI does not see the despairing look CINDY gives her.

CUT TO:

39. INT/EXT. LIVING ROOM/DRIVEWAY. CINDY’S HOME – NIGHT.

The children are in bed and SKID plays on the play-station.

WE HEAR a car backfire outside followed by eccentric blasts on the horn.

SKID goes to the window and looks out.

PAN: WE SEE a battered old car on the driveway with four men inside. They spot SKID and gesticulate for him to join them.

SKID gets his coat, switches off the lights and exits. The door does not shut properly and he has to bang it several times before it closes. He then joins his mates in the car.

27


Blasting the horn noisily while burning rubber the car drives noisily away - all the while backfiring.

CUT TO:

40. INT. CHILDREN’S BEDROOM/LANDING/STAIRS. CINDY’S HOME – NIGHT.

The disturbance causes JACK JR. to wake. His eyes open fearfully.

POPPY remains asleep in the next bed. Seeing one of his sister’s dolls lying next to him on the bed JACK JR. throws it off in disgust- he is a boy after all.

JACK JR.Poppy, are you awake? Did you hear that? (shaking her)I think it was Mr Naughty banging.

POPPYGo back to sleep you idiot.

TRACK: JACK JR. gets out of bed, has a change of heart about the doll and holding it tightly makes his way onto the landing. He tries but is not tall enough to reach the light switch. The door to CINDY’S bedroom is open. He looks in and finding no one inside goes to the top of the stairs.

JACK JR.Skid? Mummy?

JACK JR. looks down the stairs – it is all blackness.

JACK JR.I haven’t been bad, I haven’t.

Slowly JACK JR. makes his way down the stairs. Then the sound of a car backfiring startles him, causing him to miss a step.

JACK JR. tumbles to the bottom of the stairs.

CUT TO:


CINDY and HEIDI are quite drunk. HEIDI is changing JOSHUA’S nappy – not a pleasant sight. She uses a baby wipe to clean the toddler’s bottom.

HEIDIHe’s got this thing about wanting his arse-hole licked. So I just wet my finger and pretend it’s my tongue. He can’t tell the difference.

CINDYDisgusting!

28


HEIDIHow come you never talk about your sex life.

CINDYWe haven’t really got one. Skid’s not all that interested.

HEIDISo what do you do? I mean you must have to relieve yourself.

CINDYLet’s just say the shower head comes in very handy.

HEIDIOh well it beats having to carry spunk around in your knickers all day. Sometimes I can feel it trickling down me leg serving the old biddies at work. I don’t know what the manager would say if he knew.

The girls laugh crudely.

CINDYIt’s almost two I’d better be going.

HEIDIWhy don’t you crash on the sofa?

CINDYThe kids will worry if I’m not there when they get up.

HEIDIYou’re a good mum Cindy.

CINDYI don’t think I’ve ever given it my best shot.

HEIDIMost of us don’t. I spend far more time worrying about paying the rent than helping Joshua with his alphabet. (suddenly serious)But I admire you for being brave enough to say it out loud.

CINDYShut the fuck up. What are you a dyke all of a sudden?

CINDY gets up, ready to go.

HEIDIWell at least wait till Clive gets back, he can run you

home.

CINDYWhere is he anyway?

HEIDIHe’s gone to see about some more knocked off gear.

29


CINDYHow many televisions do you need?

HEIDICindy…(long awkward pause) you wouldn’t just feel my belly and tell me if it’s Clive’s… would you?

CINDYI’m gonna pretend you didn’t say that.

HEIDIWe’ve been friends a long time. It’s the only thing I’ve ever asked you.

CINDYBesides all the babysitting and keeping things from Clive you mean.

CINDY sighs and going over to HEIDI resignedly places her hands on her stomach. On a table next to HEIDI is a picture of her and CLIVE’S wedding day. WE SEE that CLIVE is stout with ginger hair.

CUT TO:

FLASHBACK

42. INT. CAR – NIGHT.

WE SEE HEIDI having sex with some guy on the back seat of his car.

The man is slim with dark hair and a goatee. The man is not CLIVE.

CUT TO:


Back to the present and CINDY still has her hands on HEIDI’S stomach.

CINDY (lying)It’s his.

HEIDI begins to cry with relief.

CINDYWhat are you crying for?

HEIDII always cry when something nice happens.

CUT TO:

44. EXT. SILVER STREET – NIGHT.

30


CINDY staggers home. It is almost three o’clock in the morning.

CINDY (singing)Uptown girl, you’ve been living in a white pretty world.

A black neighbour hovers in his open doorway and calls out to her. With him is a small, yappy dog.

NEIGHBOURYou should be ashamed of yourself.

CINDYAnd you shouldn’t let your dog crap all over people’s lawns.

The NEIGHBOUR’S WIFE joins him at the door.

NEIGHBOUR’S WIFEPeople like you shouldn’t be allowed kids.

CINDYOh fuck off back to Africa.

TRACK: CINDY turns the corner and comes to an abrupt standstill. In the driveway of her house is a police car. All the house lights are switched on. Sobering up instantly - she begins to run.

CINDYPoppy! Jack Jr!

CUT TO:


Two uniform police constables question CINDY. The 1st a kindly middle aged male, the second a disapproving young woman – possibly with children of her own.

CINDY paces agitatedly up and down, carrying the doll JACK JR had with him at the time of his accident.

CINDYWhich hospital did they take him to? Is he going to be

alright?

1st PCHe’s got a broken leg, otherwise I’m sure he’s okay.

2nd PCIt’s a bit late in the day to start worrying now. You do know it’s an offence to leave children under twelve alone.

CINDYI didn’t. They were with my boyfriend. Skid, where is he?

2nd PC

31


It’s your daughter’s whereabouts you should be concerned with.

CINDYWhy? Where is she? What have you done with her?

1st PCShe’s safe - with social services. We had no choice but to

call them.

CINDYYou’re telling me he left them on their own. He left them!

2nd PCIf one of your neighbours hadn’t called us your son might still be lying at the bottom of the stairs.

CINDYI bet it was that black bastard up the road.

1st PCWhoever it was you should be grateful.

CINDYWhy didn’t Poppy get you to call her granny and granddad?

2nd PCWe tried your mother but…

CINDYShe wouldn’t come would she? The bitch.

2nd PCYou seem ready to blame everyone but yourself.

CINDYYou’re wrong. I do blame myself.Take me to the hospital now please.

CINDY exits and the police constables follow.

CUT TO:

46. EXT. DRIVEWAY. CINDY’S HOME – NIGHT.

CINDY and the police constables are about to get in the patrol car when SKID and his friends turn up in the battered car.

SKID gets out and looks about him in some bewilderment while his mates blast the horn and make rude signs at the police.

CINDY runs at SKID before the police constables have a chance of restraining her.

CINDYYou bastard. You went out and left them.

32


CINDY starts to punch and kick out at SKID.

SKIDLeave off. What’s up with you?

CINDYYou useless fucking wanker - Jack’s broken his leg because of you and Poppy’s been taken into care.

SKIDDon’t blame me. They’re not my kids!You hit me again and you’ll get one back. I swear.

CINDY violently head-butts him and SKID falls to the floor groaning. CINDY gives him a few good vicious kicks while he is down.

CINDYYou’d better not be here when I get back. And if I lose my kids over you I’ll cut your cock off and shove it up your arse.

Her forehead bleeding profusely CINDY walks back to the patrol car. The police constables remain standing where they were – gob-smacked that a young woman the size of CINDY could floor a grown man.

CINDYWell are you driving or am I?

They all get into the car.

CINDYAnd I swear lady any more of your crap and you’ll be next.

CUT TO:

47. INT. HOSPITAL CORRIDOR – NIGHT.

CINDY and the police constables wait for news of JACK JR. Since witnessing CINDY’S propensity for violence the 2nd PC is more subdued and respectful. She offers CINDY a stick of chewing gum.

2nd PCThey might not let you see him. In your absence they’ve made them both emergency wards of ward.

CINDYI’d like to see them try and stop me.

Just then JACK turns up looking suddenly older and more feeble than CINDY has ever seen him.

JACKCindy, I got here as soon as I could. I’ve only just heard.

CINDY rushes into his arms and begins to sob.

CINDY

33


Oh daddy. Don’t let them take my children away. Don’t let them.

CUT TO:

48. INT. COURT ROOM. COURT HOUSE – DAY.

It is the next day and CINDY is in the family court waiting for a decision regarding her children’s futures. Her face is badly bruised – she looks terrible.

Meanwhile ESTHER, JACK and the two police constables look on. JACK wears a smart suit and ESTHER has bought her knitting.

The judge wades through paperwork and occasionally eyes CINDY.

JUDGEHaving reviewed all your circumstances I’m afraid that unless you can prove to the court your willingness to undergo treatment for alcohol dependency your children will remain temporary wards of this court.

CINDYI’m not an alcoholic. I don’t know who told you that. (to astounded 2nd police constable)Was it you?

JUDGEYou will only address the court when asked Miss Martin. However, in view of your previously unblemished record I am prepared to return them to you on the condition they are housed under the protection of an appropriate guardian. Your parents perhaps?

At this ESTHER drops her knitting in alarm. She avoids eye contact with her daughter.

ESTHERThat’s impossible Your Honour. We already look after my son’s children four days a week. And we don’t have the room.

JUDGEI see. Well in that case I have no option other than to place them in foster care until you Miss Martin have cleaned up your act. We will look at the case again in say four weeks time when your progress will be evaluated.

CINDY

You can’t do that. I’ve done nothing wrong.

JUDGEMy decision is final Miss Martin.

CINDYYeah well your decision stinks. (turning to Esther)You evil old woman. I hate you. I hope you die soon.

34


I’m going to wish for your death every day, every day. Do you hear me?

ESTHER almost faints with fear. Unusually for him JACK does not attempt to prop her up for he is disgusted with his wife. Instead the 1st and the 2nd POLICE CONSTABLES go to her aid.

JUDGEFor the sake of your children I am allowing you fifteen minutes of supervised access before you leave the court.

CUT TO:

49. INT. FAMILY ROOM. COURT HOUSE – DAY.

CINDY is saying goodbye to her children while a young female SOCIAL WORKER looks on. The girl has an irritating all-caring smile glued to her face and is young enough to be a recent college graduate.

CINDY wets her finger and cleans up JACK JR’S snotty nose – he wriggles in complaint.

CINDYListen I’m going to do all I can to get you home soon. I promise. You believe me, don’t you?

POPPY and JACK JR. nod.

JACK JR.Will they make me go to bed early in this new place?

CINDYI expect so.

JACK JR.Bugger.

CINDYLook on the bright side kids. Where you’re going you can be as bad as you like and nobody will tell you off. No smacks from now on.

JACK JR.Cool.

SOCIAL WORKERMiss Martin we have to go now.

The children begin to snivel and cling to CINDY.

CINDYNo crying now - crying is for wimps and for kids who get

bullied.And what do we do to bullies?

35


JACK JR.Punch and kick them.

CINDYThat’s right. And what if they get the better of us?

POPPYWe get right back up and hit ‘em again.

JACK JR.We never back down.

CINDYAnd if anyone ever touches you in the privates?

JACK JR.We kick them in the goolies.

Clearly disapproving of CINDY’S unconventional parental methods the SOCIAL WORKER grows impatient.

SOCIAL WORKERMiss Martin!

CINDYGo on now go. And Jack Jr, make sure you change your pants at least every other day.

The children exit obediently but the SOCIAL WORKER hovers in the doorway.

SOCIAL WORKERDon’t worry, they’ll be fine.

CINDYI know they will be - it’s the foster parents you want to

worry about.

CUT TO:

50. INT. LIVING ROOM/KITCHEN. CINDY’S HOME – DAY.

It is later the same day and CINDY has returned home to an empty house. She is feeling lost without the children.

TRACK: Spying the play-station she unplugs it, picks it up and takes it into the kitchen. Wrenching open the back door she hurls it outside.

VO JANE VALENTINEMy husband’s a top barrister. You can name your price.

CINDY gets her coat and bag and exits hurriedly.

36


CUT TO:

51. EXT/INT. PORCH/HALL. THE VALENTINE’S HOME – DAY.

CINDY bangs persistently on the door of the VALENTINE’S home. JOHN comes to the door looking harassed and exhausted.

JOHNI’m sorry my wife isn’t up to seeing well-wishers right now.

CIDY doesn’t wait to be invited in - taking JOHN off guard she steps past him into the hallway.

CINDYBelieve me I ain’t no well-wisher. Is she through here?

CINDY leads the way.

CUT TO:

52. INT. DRAWING ROOM. THE VALENTINE’S HOME – DAY.

JOHN and JANE sit together on an elegant Chesterfield sofa facing CINDY who is perched uncomfortably on a Louis IV chair. She seems dwarfed by her surroundings.

All three sit with backs rigid, all three have their hands folded tightly in their laps.

JANEWell I for one am not sorry you’ve lost your children. Now you know how we feel.

JOHNJane!

CINDYIt’s alright I deserve that. Name your price you said.

JANEGo on.

CUT TO:

53. INT. KITCHEN. THE VALENTINE’S HOME – DAY.

JANE pours minimal glasses of wine for her husband and herself. A weight has been taken off her shoulders but JOHN does not share her confidence.

JOHNAre you mad? We can’t possibly have that woman and her children come live here.

JANE

37


We can and we will John. My mind’s made up – I won’t be persuaded otherwise.

JOHNDon’t I get a say in this?

JANEDon’t you understand? She’s going to help us find Lucy. Isn’t that all that matters? The cracks in our marriage can wait till after surely.

JOHNWhat if she doesn’t – help us find Lucy?

JANEThen she’ll find herself back out on the street in no time at all.

CUT TO:

54. INT. GYM. LOCAL SCHOOL – DAY.

CINDY is attending her first meeting of Alcoholic’s Anonymous and is in a defiant mood.

There are six others in the class, seven including the COUNSELOR. All have drawn chairs up into a tight circle.

CINDY is on edge, her crossed legs bounce nervously.

A tired looking woman with dank, greasy hair is speaking. A cigarette is never far from this woman’s mouth.

1st AA MEMBERIt’s been six weeks now since I’ve had a drink and I don’t know how I’ll get through another day.

The 2nd AA MEMBER is an obese man.

2ndAA MEMBERYou can do it Doris, I’ve been teetotal for three months and I never thought I’d do it.

COUNSELORAnd what about you Cindy? What’s your story?

CINDY does not stand as she’d seen the others do.

CINDYI haven’t had a drink in… let’s see eight hours and I’m only here because the court insists on it. They won’t give me back custody of my children until I’ve completed this course.

COUNSELORWhatever your reasons you’ve made the right step.

38


CINDYCan’t you just tell them I’m not an alcoholic then I won’t have to come to these stupid pissy classes anymore.

The group snigger but one glance from the COUNSELOR is enough to shut them up.

2nd AA MEMBERShe’s in denial. We’re all in denial Cindy.

CINDYWho asked you fatso? I bet you’re a member of Weight

Watchers an’ all.

COUNSELORNo personal insults please – that’s not the way we operate.

CINDYYeah well maybe I don’t like the way you operate. All this baring of souls isn’t the way we do things where I come from.

1st AA MEMBERAnd how do you do things?

CINDYI don’t know - get drunk, start a fight, have a shag and make everything right again.

The rest of the group is impressed for this is the way they too would prefer to do things. Sensing she is losing ground the COUNSELOR interrupts.

COUNSELORRight well, let’s move along shall we?

1st AA MEMBERDo we have to? I’d like to hear more about Cindy’s methods.

2nd AA MEMBERMe too.

CUT TO:


CINDY has packed a suitcase and is ready to leave for the VALENTINE’S when JACK walks in. He too is carrying a suitcase.

CINDYDad!What’s with the matching luggage?

JACKI’ve left her. I’ve left your mother.

39


CINDYNot again!

JACK begins to unpack his suitcase. He takes out the clothes, re-folds them and puts them back into the suitcase – all without thinking for he is in an agitated state of mind.

JACKShe’s a mean minded woman Cindy. I’ll never forgive her for the way she’s treated you.

CINDYYou’ll go back. You always do. As soon as she starts making beef and onion pie.

JACKCan I stay? (grinning)Until I do.

CINDY hugs her father.

CINDYOh daddy, you don’t need to ask. Anyway you’ll be able to keep an eye on the place while I’m gone.

JACKGone?

CINDYI’m moving in with the Valentine’s. He’s a lawyer or something and he’s going to get the kids back for me.

JACKCindy have you any idea what you’re doing?

CINDYI’m not the one who just walked out on my wife of thirty two

years.

CUT TO:

56. INT. GUEST BEDROOM. THE VALENTINE’S HOME – NIGHT.

JOHN shows CINDY into the luxurious guestroom. It is very pretty with a canopy over the bed, miles of velvet carpet and an en-suite bathroom.

JOHNThe bathroom’s just through there.

CINDYYou want me to be impressed don’t you?

JOHNI… we… want you to feel very welcome.

40


JANE comes and stands at the open doorway. She does not enter – seeming reluctant to witness her best guestroom being given over to such a person.

JANEWould you like to see Lucy’s bedroom now?

CINDYI’ve told you I’m doing nothing until my kids get here.

JOHNI’ll make some calls in the morning.

CINDYWell make sure you do.Jane have you got any pads?

JANEPads?

CINDY (inspecting bed)Sanitary towels. I’ve a weak bladder and I don’t want to leak all over your nice new mattress.

CUT TO:


It is two days later and CINDY’S children have been returned.

Their loud squabbling voices float into the kitchen where JOHN is making a pot of tea.

JANE enters – all of a fluster – carrying with her several pieces of broken china.

JANEThey’re savages. They’ve already broken two pieces of my best Crown Derby. The girl’s the worst.

JOHNThey’re bound to be a bit wild for a day or two. They’ll

soon settle down.

JANE goes to a cabinet and taking out some pills knocks back three sedatives.

JANEI hope so, I don’t know if my nerves will be able to take it. Has she said anything about Lucy yet?

JOHNWe’ll talk to her tonight when the children are in bed.

CUT TO:

41


58. INT. 2nd GUESTROOM/LANDING. THE VALENTINE’S HOME – NIGHT.

POPPY and JACK are tucked up in the twin guest bedroom – fast asleep.

CINDY sits at the bottom of one of the beds drinking them in. WE SEE JOHN walk past the open doorway.

CINDYJohn!

JOHN comes to the door.

CINDYThank you again.

JOHNNo problem… (enters room)This gift you have, how reliable is it? I mean the police investigation has amounted to nothing – how can we be sure?

CINDYIt isn’t a gift.The only gift I’ll ever want, you’ve given back to me.

JOHNCan we talk to you downstairs?

TRACK: CINDY follows JOHN onto the landing. She stops at a closed door.

CINDYIs this Lucy’s bedroom?

JOHN’S eyes moisten. He is unable to speak.

CINDY opens the door.

CUT TO:

59. INT. LUCY’S BEDROOM. THE VALENTINE’S HOUSE – NIGHT.

CINDY and JOHN are inside LUCY’S bedroom.

The room is full of soft toys, games, books and pretty things. A girl’s paradise! The miniature four poster bed is meticulously made – rather like a conscientious soldier’s cot.

CINDY approaches the bed and sits down. Takes in the room’s atmosphere and then from the mountain of toys selects a rag-doll to hold.

CINDYThis was her favourite.

42


JANE appears silently at the doorway. Always quiet and graceful neither CINDY nor JOHN heard her approach. JANE looks like a frightened animal.

JANEAnnabelle. She called it Annabelle.

CINDYShe disappeared from the playhouse didn’t she?

JOHNYou could have found that out.

JANEBe quiet John.

CINDYShe was playing with a tea set when he came in. She offered to make him a cup.

JOHNOh my God.

JANEWhat else? What else? Is she still alive?

CINDYIt doesn’t work like that. Things have to fall into place - there’s a kind of routine I have to follow.

JANEJust tell us what to do and we’ll do it.

CUT TO:

60. INT. KITCHEN. THE VALENTINE’S HOME – NIGHT.

It is late. CINDY, JOHN and JANE are gathered in the kitchen.

Three finished bottles of wine and several used glasses are stacked up in front of CINDY. Having consumed enough to make her very drunk JOHN and JANE remain perfectly sober.

JOHN and JANE watch intently as CINDY finishes yet another glass.

JOHNAnd do you always see things after you’ve been drinking?

JANEI’m not like most people – drink helps me see things more clearly. The opposite effect to normal I know.

JANEHow convenient.

CINDYJust don’t let on to Social Services. (becoming slushy)Or they’ll take my babies away again.

43


Oh God I think I’m going to be sick.

JOHNThe bowl, get the bowl Jane.

JANE reaches for the washing up bowl and while holding it CINDY vomits into it. This makes JANE almost retch herself.

JOHNCome on let’s get you up to bed.

CUT TO:


It is the next morning and JANE is serving breakfast to POPPY and JACK JR. Not an easy task as she’s finding out. At best the children are sloppy eaters. Their table manners appall JANE who as always is neatly dressed with a clean apron protecting her clothes.

POPPYI asked for Marmite on mine.

JACK JR.And I wanted jam not bloody marmalade.

JANEYou mustn’t swear Jack.

POPPYHis name’s Jack Jr.

JACK JR.Mustn’t I? Nobody ever told me that before.

JANE (exasperated)Your mother must be awake by now. I’ll go get her.

JANE exits but POPPY’S voice follows her.

POPPYShe never gets up till dinner-time when she’s pissed.

CUT TO:

62. INT. LANDING/GUEST BEDROOM/2nd GUEST BEDROOM/LUCY’S BEDROOM. THE VALENTINE’S HOME – DAY.

TRACK: JANE is on the landing searching for CINDY.

After knocking she enters the guest bedroom.

JANECindy?

44


Next she tries the 2nd guestroom. This time she doesn’t knock - still no CINDY.

Perplexed JANE comes to stand outside LUCY’S bedroom. She hears something and mistakes the noise for the return of her daughter.

JANELucy!

JANE opens the door and WE SEE CINDY in LUCY’S bed.

JANE is understandably furious. Still she does not enter the room.

CINDYWhat are you doing in there? Get out at once. At once I say.

CINDY stretches lazily and sits up.

CINDYMorning Jane. I dreamt about Lucy last night.

JANETell me. Don’t torment me please.

CINDYIt was a poem, I think. It went –A slumber did my spirit sealI had no human fearsShe seem’d a thing that could not feelThe touch of earthly years

JANE (taking up poem)No motion has she now, no forceShe neither hears nor seesRoll’d round in earth’s diurnal courseWith rocks and stones and trees.

CINDYYou know it.

JANEI used to recite it to Lucy all the time. It’s one of Wordsworth’s Lucy poems. Oh my God, it means she’s dead doesn’t it? She seem’d a thing that could not feel. She’s dead.

CINDY goes to JANE. She is smiling.

CINDYNo Jane. She’s alive.

JANEHow…

CINDY

45


He bought her a hair band – for her hair – from a shop not far from here.

CINDY helps JANE to the bed – so overcome with emotion is she, the older woman can barely walk.

JANE (sobbing)This is the first time I’ve been in this room since…

CINDYSince Lucy disappeared – yes I know. (belching)I’m starving, is there any breakfast going?

CUT TO:

63. INT. DRAWING ROOM/BLUE HALL. THE VALENTINE’S HOME – DAY.

JANE, JOHN and CINDY have shut themselves in the drawing room so that POPPY and JACK JR. do not overhear.

Through the French doors WE SEE two detectives waiting anxiously in the blue hall.

CINDYNo John. No police, that was the deal.I tell you what I see and you tell them.

JOHNBut it would make more sense if you spoke to them.

CINDYNo. Do you think I’ll ever have an ordinary life again if I go public with this? They’d end up dragging me down the station every time somebody lost a purse.

JACK JR. enters shyly.

JACK JR.How come you’re arguing in here with the doors shut? We can’t hear what you’re saying.

CINDYFor most of my life I’ve never been able to pick up a paper or watch the news without dreaming something terrible after. I don’t want to be drawn into every high profile case.

JOHNThen just tell us Cindy, this man, has he hurt… touched her?

CINDYDon’t ask me that! I’ve got two children of my own. Do you really think I want to dig that deep?

46


CINDY exits.

TRACK CINDY into blue hall where the two detectives pounce.

1st DETECTIVECan you tell us any more about the shop or the hair-band

Cindy?

CINDY puts her hands over her ears and walks past them.

PAN BACK TO DRAWING ROOM.

JANEYou’ll apologise John.

JOHNBut it’s what we want to know more than anything.

JANEYou’re wrong. All I’m concerned about is getting her home. Beyond that I don’t care.

JACK JR.My mum can do fanny farts. I heard Skid telling his mates.

JOHN almost smiles at the small boy but JANE’S look of disgust prevents him.

CUT TO:

64. INT. GUEST BEDROOM. THE VALENTINE’S HOME – DAY.

CINDY has shut herself away in the guest bedroom and is on the phone to the Samaritans. She talks to GAHAM most days. Her habit of always chewing gum is repeated here.

CINDYI’ve missed our talks Graham.Yeah pretty bad. What made you want to be a good Samaritan anyway? Believe me it’s not all it’s cracked up to be.

CUT TO:

65. INT. LOCAL SAMARITAN’S OFFICE – DAY.

GRAHAM is at the other end of the line. WE SEE that he has sandy hair but WE DO NOT see his face.

While talking to CINDY he expertly dawdles cartoon characters on a notepad.

GRAHAMHang on in there Susan, you’re stronger than you think. Did you see the kidnappers face when he took her from the playhouse?

CUT TO:

47



GRAHAM’S questioning makes CINDY a little nervous. She spits out her gum and wonders where to put it. It ends up under the mattress.

CINDYHow do you know that? Was it in the papers? I wouldn’t know.

CUT TO:


JOHN, JANE, POPPY and JACK JR. are in the middle of lunch. They are used to good behaviour at the table and no unnecessary talking. Although the lunch is informal – the table is still meticulously set.

POPPYWhen’s mummy coming down?

JOHNShe’s taking a nap Poppy. (to Jane)I think we’re stifling her. Perhaps you could take the kids out this afternoon - to the park?

JANEDo you really think I’m up to playing with other people’s children when my own…

JOHNWe said we’d do what ever is necessary.

JACK JR.I don’t want to go to the stupid park anyway. Wanna watch

telly.

JANEWe don’t have the television on during the day.

JACKWhy not, has the electric been cut off? That happened to mum once when she didn’t pay her bill.

JANEWould you like an orange for dessert?

JACK JR.I’ve never had an orange before.

POPPYHe’s such a bloody liar.

CUT TO:

48



CINDY is asleep on the bed. Sleep makes her appear very young and innocent.

FADE TO:

FLASHBACK

69. INT. BEDROOM. KIDNAPPER’S HOME – DAY.

A bland bedroom that could belong to anyone – it could even be a budget hotel room somewhere.

A bare light bulb is switched on. The curtains are drawn.

LUCY VALENTINE’S KIDNAPPER is sketching her.

The pencil drawing shows a little girl with fair hair cut into a bob and a tearful expression. In her hair she wears the hair-band he bought her.

On the wall behind the KIDNAPPER are portraits of other small children. Similar little girls all wearing Alice bands in their hair.

KIDNAPPER’S POVLUCY sits on an unmade bed looking tired and pensive but not unduly afraid.

KIDNAPPERNot long now Lucy. Nearly done. Then you can see your

picture.

CUT TO:


CINDY wakes with a start and looks around her with some surprise as if she doesn’t know where she is. The vision of the KIDNAPPER is still very clear in her mind.

CINDYHe’s drawing her. The bastard’s drawing her.

CUT TO:


JOHN and CINDY are in the kitchen. CINDY is still in her pajamas. They talk urgently.

JOHNAnything else?

CINDYNo.

49


JOHNAre you sure? Sorry, I don’t mean to pressure you. God I wish Jane were here.The police are checking out local artists now. I’d better

get back.

JOHN exits. WE HEAR him talking to the detectives.

VO JOHNShe didn’t get a description of the man. But she’s still alive!

CUT TO:

72. EXT. PARK – DAY.

JANE sits on a bench while POPPY and JACK JR. play on the swings. She looks a lonely, desolate creature.

In the distance, walking away from the play area WE SEE a man with sandy hair leading a small child with fair hair cut into a bob. They have their backs to JANE so WE DO NOT see their faces.

The child could easily be mistaken for LUCY.

JANE (rising shakily)Lucy.

JACK JR.Come on Jane, give us a push.

JANETake a hold of yourself woman. It isn’t her. It isn’t.

JANE walks over to POPPY and JACK JR. and begins reluctantly to push them on the swings.

CUT TO:

73. EXT. PARK – DAY.

The man and the little girl continue to walk away from the play area.

WE SEE them only from the rear but WE HEAR his voice. It is the KIDNAPPER and LUCY. In the background WE SEE JANE, POPPY and JACK JR. JANE continues to look in their direction.

KIDNAPPERSee Lucy. I told you I’d take you to the swings if you were

a good girl.

CUT TO:

74. INT. DRAWING ROOM. THE VALENTINE’S HOME – NIGHT.

50


JANE, JOHN and CINDY sit in the drawing room. Again several open bottles of wine sit in front of CINDY – ready to be consumed.

JANE has a bible at hand. JOHN plays chess.

CINDYThose Alcoholics Anonymous meetings must be doing something because I can’t face the thought of another drink.

JANEYou’ve got to try Cindy.

CINDYOnly if one of you joins me. I hate drinking alone.It doesn’t feel right otherwise.

JANE gives JOHN a look that suggests he should be CINDY’S drinking companion.

JANEI’ll go check on the children.

CUT TO:

75. INT. 2nd GUEST BEDROOM. THE VALENTINE’S HOME – NIGHT.

As JANE enters the children’s bedroom WE SEE POPPY and JACK JR. in the middle of a pillow fight.

JANECome on you two settle down. It’s bedtime.

POPPYIt’s his fault. He called me a scabby cow.

JACK JR.Well you are. You’ve got creepy crawlies in your hair.

POPPYShut up Jack Jr. You weren’t meant to tell.

JANETell what! Come here Jack and let me look at you.

JACK does as he is told and JANE gingerly inspects his hair.

JANEGood god, he’s riddled with head lice.

CUT TO:


An argument has broken out between JANE and CINDY. Meanwhile JOHN looks on, unwilling to get involved and make things worse.

51


JANEWe’ll have to have the whole house fumigated.

CINDYDon’t be so ridiculous – all children get them. Even Lucy’s bound to have had them.

JANEHow dare you.

CINDYOh no, of course not – what ever was I thinking? Wealthy middle class children don’t get head lice do they? And only children from working class, single parent families like mine get abducted. That’s what you’d like to believe isn’t it?

JOHNCindy, please. That’s enough.

JANEYou have no compassion at all.

CINDYYou can only feel sorry for someone when their problems outweigh your own. And in case you’ve forgotten you’re not the only person scared to death they might lose a child.

POPPY enters.

POPPYMummy, I’ve got a sore fanny.

At this JANE rolls her eyes.

CINDYI suppose you’ve never had a sore minge before either.

JANEDo you have to be so crude?

CINDYYou’re posh, you go to church and serve on committees – and I’m common. It’s what defines me. Come on Poppy let’s go find some Vaseline. And while we’re at it, I think I’ll miss cocktail hour and have an early night.

CINDY and POPPY exit.

JANEWell. Well.

JOHN pushes the chess set away.

JOHNYou’re pushing her away Jane.

52


CUT TO:

77. EXT. PORCH. HUGH’S HOME – NIGHT.

HUGH – the man from the nightclub answers his door to two uniform police constables. He holds the door partially closed. Could he be hiding something?

HUGHIs anything wrong?

1st POLICE CONSTABLEWe’re making door to door inquiries in the search for the

missing girl?

HUGH is relaxed and helpful.

HUGHOh yes, I heard about that. Terrible business.

2nd POLICE COSTABLEWould you look at the photo sir and see if you recognise

her?

HUGHNo. Sorry. I never knew the Valentines.

1st POLICE CONSTABLEBut you’d remember her from the photo if you saw her again?

HUGHOh yes, without a doubt. She’s a lot like my own daughter.

2nd POLICE CONSTABLEIf you did happen to see her out and about with anybody would you call this number immediately.

HUGHTell the Valentines I’m sure she’ll come home soon.

CUT TO:

78. INT. BATHROOM. THE VALENTINE’S HOUSE – DAY.

It is the next morning and JANE is drying POPPY after her bath.

POPPYIs mum still giving you a hard time?You should stand up to her, she won’t respect you if you

don’t.

JANEI don’t think your mum likes me very much right now.

53


POPPY (hugging Jane)I like you Jane.

JANE seems taken aback by this display of emotion and hesitates before allowing herself to give in to this sudden bout of unexpected affection.

JANEI like you too Poppy.

POPPYAnd Jack Jr?

JANEAnd Jack Jr.

POPPYHow old was Lucy?

JANELucy is seven.

POPPYWhere are all her toys? Didn’t she have any?

JANEShe kept them in her room to be tidy.

POPPYCan I see?

JANEAnother time perhaps.

CUT TO:


JOHN and CINDY are in the kitchen – each getting their own breakfast. There is an awkward silence between them.

JOHN listens to Radio 4 and CINDY has headphones on listening to pop music.

JOHNCan we start over again Cindy?

CINDY (removing headphones)What?

JOHNI said can we start over again?

CINDY

54


You make it sound like we’re going through a divorce.

An unspoken truce is called and JOHN and CINDY sit down together at the table. CINDY tucks into cold pizza – JOHN a bowl of muesli.

JOHNWhat happened to the children’s father?

CINDYYou mean father’s.

JOHNI’m sorry, I didn’t intend to pry.

CINDYOh I never mind people asking questions, not when they’re direct about it.Poppy’s father left when she was two and Jack Jr’s wasn’t even around for the birth.

JOHNThat’s terrible.

CINDYActually I threw them out. I only stayed with Poppy’s dad for so long because he kept getting wins on the lottery. I was terrified if I left him it he’d win a big rollover prize or something.

JOHNI’ve heard of women staying with their partners because they’re rich but not over the million to one chance they might be.

CINDYIt’s just the kind of bad luck I expect.

JOHNDon’t they see their… father’s at all?

CINDYAre you having a laugh? Back where I come from we kind of expect the men in our life to do a runner and never hear from them again.

JOHNYou’re always saying ‘back where I come from’ as if you were from the other side of the world.

CINDYCompared to all this – I might as well be.

JOHNYou don’t fool me. You’re not in the least bit daunted by this house or Jane and I.

CINDY

55


I’ve hardly sworn or opened me mouth since I got here.

JOHNIt’s important that you’re yourself Cindy. Otherwise…

CINDYI think that’s why it isn’t working properly. I didn’t dream about Lucy at all last night.

JOHNI’ll have a word with Jane, tell her to let up a bit.And in return can we expect you downstairs this evening?

CINDYSo long as you make it vodka - not wine.And I expect you to match me glass for glass.

CUT TO:

80. INT. HAIR SALON – DAY.

POPPY and JACK JR. are being treated to a haircut and de-lousing.

POPPY is also getting a manicure.

The HAIRDRESSER gives JANE a bottle of ointment.

HAIRDRESSER (to Jane)They’ll want treating again in another 24 hours.

JANEOh thank you so much.

HAIRDRESSERWe don’t usually touch children with knits but in your case we made an exception.

JANEHow much do I owe you?

HAIRDRESSERNo charge - we’ve all heard about your little girl. And I must say I think it marvelous of you fostering these two in the middle of it all.

JANEOh we’re not…I mean we haven’t… thank you.

CUT TO:

81. INT. DRAWING ROOM. THE VALENTINE’S HOME – DAY.

JOHN is playing a game of chess when CINDY comes in. Fresh from a bath and re-plaiting her hair CINDY is unused to having nothing to do and is bored.

56


CINDYWhat are you doing?

JOHNChess. Do you play?

CINDYAre you kidding - my dad had me at it from when I was three.

CINDY pulls up a chair and joins him. Moves one figure across the board in a haphazard way.

CINDYUm… which one’s the Bishop?

JOHNYou don’t play at all do you?

CINDYNah. It’s an old fart’s game.

JOHNWhat do you like to do then?

CINDYI like watching telly and talking about what’s for dinner. Tell you what, I’ll cook tonight if you like. Jane won’t mind will she?

JOHN dare not tell CINDY that JANE will mind very much.

CUT TO:


CINDY has made a big mess in the kitchen. JOHN helps by washing up. Having found a pile of asparagus spears in the fridge she is unsure what to do with them so chops them up as though they were carrots. JOHN sees where she is going wrong but says nothing.

JOHNDo you usually make this much mess when you’re cooking?

CINDYAnd do you always wear Marigolds to wash up? You’re like a man twice your age - always worrying about little things.

JOHN is hurt. Slyly he takes off the gloves and the apron he is wearing and sets about the washing up like a man.

JOHNI’m not that old.

CINDY

57


No you’re not and if you put your mind to it you could be quite attractive really – for a lawyer.

JOHN is pleased.

JOHNWe know so little about you. Tell me about yourself Cindy.

CINDYWell I don’t like fat people or too thin people. I hate bullies even if I’m one sometimes. I can’t stand people that smoke and I never trust anyone that doesn’t drink.

JOHNYou’ve told me what you dislike but not what you do.

CINDY (serious for a moment)You. I like you… (and then)But I can’t stand your wife.

It is meant as a joke. They laugh together. CINDY nibbles on the raw asparagus and spits it out again.

CINDYWhat kind of beans are these anyway?

CUT TO:

83. EXT. FRONT GARDEN. THE VALENTINE’S HOME – DAY.

JANE and the children get out of the car. Spending time with them has helped her – it has proved cathartic She is loaded down with shopping bags – having spent a fortune on POPPY and JACK JR.

JANERace you to the door.

POPPY and JACK JR. run ahead laughing.

JANE pauses to speak to the uniform WPC who remains permanently outside the house in a patrol car.

JANEAny news?

WPC (winding down her window)Sorry Mrs Valentine.

CUT TO:


In the middle of a food fight JOHN and CINDY are still laughing when POPPY and JACK JR. run excitedly in - closely followed by JANE.

58


The smile dies from CINDY’S face as she takes in her daughter’s appearance. For POPPY’S hair has been cut into exactly the same style of pageboy as LUCY’S.

POPPYMummy I got my fingernails painted.

JACK JR.And Aunt Jane bought us new clothes.

CINDYAunt Jane.

JANEI told the children they could call me that.

CINDY bends down to her daughter and touches her hair.

CINDYYour hair. (turning to Jane)My God what have you done? You’ve turned her into somebody

else.

JANEI thought you’d be pleased. The headlice have gone.

CINDYShe’s not Lucy. She’s not.

JANEI’m perfectly aware of that Cindy.

POPPYStop shouting mummy. Stop it.

JANEPoppy, Jack Jr. go upstairs.

JACK JR.Shan’t.

JANEDo as your mother says, there’s good children.

At this POPPY and JACK JR. exit meekly – further enraging CINDY.

CINDYI won’t let you steal my children.

CUT TO:


59


It is later and CINDY and JOHN are well on their way to finishing the bottle of vodka. Both are drunk and giggly. MEANWHILE JANE sips a cup of tea and stares into space as if she is the guest and CINDY the lady of the house.

JOHN chews gum – a fact that hasn’t gone unnoticed by JANE. This evening he has even dispensed with his customary tie and wears a sweater and jeans.

JOHNWhat happens when we finish the bottle?

CINDYWe send out for curry.

CUT TO:

86. INT. KIDNAPPER’S HOME– NIGHT.

THE KIDNAPPER places the finished pencil drawing of LUCY on the wall next to half a dozen others. WE DO NOT see his face.

KIDNAPPERNow you’ll live forever Lucy.

PAN to double bed where LUCY lies inertly.

CUT TO:


JOHN and CINDY roar with drunken laughter at some silly joke. There are empty curry cartons everywhere.

JANEIt’s getting late.

CINDYI don’t feel ready for bed yet. Something’s missing.

JANEWhat?

CINDYUsually I’d get laid about now. It’s all part of the

routine.

This silences JOHN. He and JANE stare at each other.

JANE comes to a decision. And stands up.

JANEI’m going to bed now. I won’t be coming down stairs again until the morning.

JOHNJane! What are you saying?

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JANE exits without looking back.

CINDY refills JOHN’S glass.

CINDYI think she’s saying she’d do anything to find her child including sacrifice her own husband.

CUT TO:

88. INT. JANE’S BEDROOM. THE VALENTINE’S HOME – NIGHT.

JANE prepares for bed as if everything were normal.

Rubbing moisturiser into her face she kneels down by the bed and prays silently.

And then kisses a photograph of LUCY on her bedside table.

CUT TO:

89. INT. STUDY. THE VALENTINE’S HOME – NIGHT.

JOHN and CINDY are in JOHN’S study. There is sexual tension between them. CINDY pokes at this and that – papers and legal documents.

CINDYSo this is where you work out how to send people to jail.

JOHNThat’s putting it rather bluntly.

CINDYWhat’s wrong with being blunt? (sitting on John’s desk)I bet you say make love instead of shag don’t you?

CINDY leans closer to JOHN, intimately touches his hair.

JOHNCindy I don’t think this is a good idea.

CINDYWhy not? We’ve got your wife’s permission. And you want to find Lucy don’t you?

JOHNIf I were to… make love to you – it would be because I wanted to. No other reason.

CINDYDo you love your wife John?

JOHNI love the idea of her.And I like the way you don’t pretend to be kind.

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Say that word again.

CINDYWhat love?

JOHNNo. Shag.

JOHN and CINDY come together urgently. Their passion is violent.

CUT TO:

FLASHBACK

90. EXT. REMOTE COUNTRY LANE – DAWN.

Holding hands the KIDNAPPER and LUCY walk along a deserted country lane. It is almost dawn – still dark.

WE STILL DO NOT SEE the KIDNAPPER’S face.

He bends down to LUCY and re-adjusts her hair-band.

KIDNAPPERIt’s not far. Do you know the way?

LUCY nods and the KIDNAPPER lets go of her hand.

KIDNAPPERGoodbye Lucy.

LUCY walks away.

CUT TO:

91. INT. GUEST BEDROOM. THE VALENTINE’S HOME – DAWN.

CINDY wakes with a start. She is breathing very hard.

Getting out of the bed in a hurry she rushes toward the door - hitting her toe hard against something in the process.

Limping and swearing to herself she exits.

CUT TO:

92. INT. JANE’S BEDROOM. THE VALENTINE’S HOME – DAWN.

JOHN and JANE are making love when CINDY bursts violently into their room. The sight shocks CINDY.

CINDYOh I’m sorry.

JANENo don’t go Cindy. What is it?

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Jealous and confused at seeing them together so soon after her and JOHN, CINDY is curt.

CINDYI thought you might want to know. He’s let her go.

CINDY exits abruptly.

JOHN and JANE look at each other (a long pause) before quickly throwing back the bedcovers and hurriedly getting out of bed.

CUT TO:


Several hours later and CINDY is packing a suitcase when JOHN enters.

JOHNWhat’s all this? You’re not leaving!

CINDYHuh, like you give a shit.

JOHNI do… give a shit as it happens.

CINDYYou told me you didn’t love your wife!

JOHNIs that what this is about? Jesus Christ Cindy half the men in Britain still make love to their wives after they’ve stopped loving them.

CINDYThe police are out looking for your daughter aren’t they? With a bit of luck she’ll be home in a few hours. You don’t need me anymore.

JOHNYou’re jealous. In all the years I’ve been married to Jane she’s never once been jealous.

CINDYPerhaps she doesn’t love you enough.

JOHNPerhaps you’re right. Just a minute… are you saying that you

do?It wasn’t just a shag after all, was it?

JANE enters – almost bright and cheerful – carrying freshly ironed bed linen. Her face drops when she sees the suitcase.

63


JANEYou can’t go. Not yet. Tell her John.

JOHNStay Cindy. I… we… do need you

CINDYJust until Lucy gets home then.

JANEThat’s more like it. I can’t wait for Lucy to meet the

children.

CUT TO:


It is now much later. Hours have passed and LUCY still has not been found. The strain shows on the faces in the room.

CINDY lies on the sofa with a blanket around her. JOHN and JANE sit at a distance from each other. Nobody has spoken for a long time. The clock ticks loudly – monotonously.

JANE suddenly jumps up – begins to pace. And can’t resist running her hand over a dusty surface.

JANEWhat can have gone wrong? Why haven’t they found her? There can’t be that many seven-year-old’s wondering around by themselves.

JOHNThey’ll find her. Try not to worry.

JANEI’m going to lie down. Call me if there’s any news.

JANE walks to the door, pauses, and comes back to kiss JOHN on the cheek. This unusual display of affection takes him by surprise - not knowing how to respond he does nothing.

JOHN studies CINDY.

JOHNCould you have got it wrong?

CINDY (sitting up) I never have before.

JOHNWhen I was fifteen I met this girl. Her name was Lucy. We fell in love. It was the real thing. She died of Leukemia two days before her seventeenth birthday. I couldn’t believe it when Jane chose to name our own child Lucy. It was as if

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the first one was being given back to me. Am I to lose them both Cindy?

CINDY goes to comfort JOHN and wraps them both in the blanket.

CINDY (making light)You think that’s a sad story. When I was fifteen I ran away from home – slept in a graveyard somewhere. In the morning the gravedigger found me and fucked me in one of the open graves. I didn’t call it making love. He was old and smelt of death. I never told anybody. To my mother’s disappointment I turned up at home later the same day. And I never ran away from anything ever again.

It works. JOHN is smiling.

JOHNIs this meant to cheer me up?

CINDYSome people never feel worthy of love John. So no matter what happens - be grateful you’ve experienced it twice.

JOHNThree times.

CINDYJane?

JOHNNo a woman with a different name.

CINDY understands what he is trying to tell her. JOHN loves her.

CINDYHow about experiencing it one more time?

Beneath the blanket they kiss. JOHN reciprocates politely but holds back.

JOHNI’ve always thought that when a woman comes she looks as if she’s dying. Last night you had that look. It made me think of Lucy.

ALTHOUGH disappointed CINDY understands – she does not pressure JOHN.

CUT TO:

95. INT. GUEST BEDROOM. VALENTINE’S HOME – DAY.

It is early the next morning and the sound of dustbin men emptying rubbish bins outside wakes CINDY.

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She stretches lazily and then suddenly remembers something - a dream from last night. She tightly closes her eyes as if desperate to shut out an unpleasant vision.

CINDYLucy.

CUT TO:

96. EXT. GARDEN. THE VALENTINE’S HOME – DAY.

It is later the same day. A pleasant day that sees CINDY sitting on a garden bench doodling in a notebook. JANE is doing some gardening – trying to maintain a semblance of normality. POPPY and JACK JR. run around playing.

The children run toward the playhouse.

CINDYNo not in there.

JANEIt’s alright Cindy. It might as well get some use.

CINDY goes back to her doodling. JOHN comes into the garden and answers his wife’s searching look with a shrug of his shoulders. He joins CINDY on the bench and she immediately closes up the notepad.

Gone is last night’s intimacy – as far as CINDY is concerned – but as yet JOHN doesn’t know it. He talks to her in a secret voice as if they were still lovers.

JOHNWhat are you doing?

CINDYWriting a poem.

JOHNReally? Jane’s the poet in the family – you should ask her to read it when you’re done.

CINDYOh that’s right I forgot– she doesn’t have a proper job,

does she?How long has she been unemployed?

JOHNYou’re laughing at me, us, aren’t you?

CINDYActually I was being sarcastic – I’ve never written more than two lines of anything in my life. Filling in an application form for Income Support is the nearest I’ve come to any literary achievement.

POPPY runs over to JOHN to show off her new pinafore.

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POPPYDo you like my new dress John?

JOHNLovely.

POPPY runs away again – over to JANE.

CINDYShe’ll be dressing her in tweed and pearls next.

JOHNShe means well.Are you alright? You don’t seem your usual self today.

CINDYI feel as if I shouldn’t be here. Anyway where do you get off worrying about me when your own world’s turned upside down. You people are so fucking polite it makes me want to spew.

JOHNCindy there’s no need…

CINDYI used to think me and my kids were a typical example of the broken home. But now I know different. Dysfunctional families are polite to each other all the time. They never fight or argue. And asking someone every day how they are isn’t the same as really wanting to know. Lucy’s not being here doesn’t alter anything, does it?

CINDY storms away, too upset to go on, leaving the notepad behind her.

JOHN opens the notepad and WE SEE a crude drawing of a pick-up truck.

CUT TO:


Having shut herself away in the guest bedroom CINDY is on the phone to her father.

CINDYWell can’t you just make something up dad? Say mum’s been taken ill – anything. Yes I know it’s running away but I feel like I’m in a fucking Stepford Wives prison here.

CUT TO:


JOHN and JANE whisper to each other while POPPY and JACK JR. eat a meal at the table.

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JOHNSomething’s up. She knows more than she’s letting on.

JANEUse your fork Jack.

JOHNAre you even listening to me?

JANEOf course I am. What do you want me to do about it?

JANE goes to the table and pats JACK JR on the head.

JANEI think that’s quite enough tomato ketchup on your plate.

JOHNThis isn’t like you Jane.

JANEI’m just trying to get through this John - the same as you. We have to for the children’s sake.

JOHN looks at his wife in amazement. It is as if JANE really has replaced LUCY with CINDY’S children.

JOHN remembers CINDY’S words spoken only a few hours ago.

JOHNJane, how are you really? I want to know.

JANE is dismissive.

JANEFine thank you darling.

JOHNNo don’t thank me, I’m your husband – I’m expected to care. Would it help if we fought, quarreled more, do you think?

JANEI thought I’d take them swimming this afternoon.

CUT TO:


CINDY is still on the phone – this time to GRAHAM.

CINDYI used to have this recurring dream about a little boy. All I could see was his face going round and round in my head. It didn’t make sense until I heard about a kid two streets away dying in tumble dryer. But it was too late then. I couldn’t help him. Do you have any kids?

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CUT TO:


GRAHAM is on the phone talking to Cindy.

GRAHAMA little girl.Is Susan your real name?

On GRAHAM’S desk WE SEE a photograph of a young girl – his daughter. The little girl is smiling and wears an Alice band in her hair.

WE STILL DO NOT SEE GRAHAM.

CUT TO:


CINDY- at the other end of the line.

CINDY (laughing)No and I bet yours isn’t Graham either.It’s strange I can’t picture you when I’m supposed to have a gift for seeing things. What do you look like? No let me guess….…tall, dark hair, with a moustache…

CUT TO:


WE SEE a glimpse of sandy hair and green eyes.

GRAHAMI feel like I know you too.

At last WE SEE GRAHAM’S face. He is none other than HUGH – the guy from the nightclub. CUT TO:


CINDY is in the en-suite bathroom slyly packing up her cosmetics – preparing to leave when JOHN enters the guest bedroom.

CINDY comes out of the bathroom and shuts the door behind her.

JOHNAm I disturbing you?

CINDY guiltily begins to tidy the room. Since moving into it the bedroom it has become a mess.

CINDY

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You disturb me very much. If I said yes would you leave me alone?

JOHNYou’re the one who said ‘never run away’.

CINDYYou have no idea what you’re running into though, do you?

JOHNWe… I… was wondering if we could give it one last try tonight.

CINDYI don’t want to do this anymore.

JOHNI’m afraid you’re in it for the long haul Cindy. You can’t just get bored of something like this simply because it’s no fun anymore.

CINDYI’ve got a bad feeling John.

JOHNLucy? She’s not… Don’t try and protect me Cindy.

CINDYIf she was dead don’t you think I’d tell you?

JOHNOf course, you must want to get back to normality too. That doesn’t mean I don’t want you to stay for as long as possible but I can’t wish for it. Not when it means every day you’re here Lucy isn’t.

JOHN exits leaving a very troubled CINDY behind him. CINDY kicks out at the dirty laundry she had been tidying. A pair of knickers hits the wall and stay there – causing CINDY to be impressed.

CINDYIt’s not you I’m protecting.

CUT TO:


It is lunchtime and JOHN and JANE go about preparing lunch in a very neatly organised manner when CINDY wanders in.

CINDYIs there anything I can do to help Jane?

JANE (surprised)No, thank you. Everything’s under control.

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CINDYYour hair looks nice, did you get it done?

JANENo.

CINDYI think I’ll take the kids out for a walk.

CINDY exits. JOHN and JANE share meaningful looks – frightened CINDY is about to do a runner.

JOHNIt makes me nervous when she’s nice to you.

JANEMaybe you’d better go with her…

JOHNWait up Cindy.

CUT TO:

104. EXT. RIVER –DAY

POPPY and JACK JR feed the ducks while CINDY and JOHN stroll by the river.

JOHN takes CINDY’S hand. She leans against him – just like any other couple on the riverbank that day.

CUT TO:


JOHN and JANE wait anxiously for CINDY.

A bottle of vodka, one of gin and another of Bacardi sit open on the table.

JANE drums her fingers agitatedly. Both listen out for CINDY’S steps coming down the stairs.

The clock tells us it is seven o’clock.

CUT TO:

106. LANDING. THE VALENTINE’S HOME – NIGHT.

CINDY is making her way downstairs to join the VALENTINE’S when she spies POPPY coming out of LUCY’S bedroom. The girl looks guilty.

CINDYWhat have you been doing in there?

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POPPYNothing.

CINDYShow me what you’ve got in your hand Poppy.

POPPYI didn’t take nothing.

CINDYThen show me.

POPPY refuses and CINDY forces her hands open. There on the girl’s palm is a pretty silver bracelet.

CINDYYou stole it from Lucy’s room didn’t you?

POPPYNo.

CINDY slaps POPPY.

CINDYYou must never steal from the dead – it only brings bad luck.

CINDY snatches the bracelet away and POPPY runs crying to her room. When CINDY turns she sees JOHN standing at the top of the stairs. Having heard everything he is horrified. Looks at CINDY as if she were a monster.

JOHNHow long have you known?

CINDYI was only trying to scare her.

JOHNYou’re scaring me.

JOHN’S actions belie his words for he pushes CINDY up against the wall as if he desperately wanted to hurt her.

CINDYI never asked to get involved. At first I thought it was the other way around but it’s you and your wife who have been using me. Me and the kids. You don’t care about us.

JOHNThat’s right. I only care about my daughter. If you thought Jane was the one who’d stop at nothing to get her back then you were wrong. Now tell me about Lucy.

CINDYI was going to tell you… eventually. I only put it off for a little while because I didn’t want to leave you John and I

72


was worried my kids would be taken back. And then when I did make up my mind to go you wouldn’t let me.

JOHN abruptly releases CINDY – he has never threatened a woman in his life before. Doesn’t like this new image of himself.

JOHNHow long?

CINDYI feel as if I killed her. Instead of dreaming of Lucy I was dreaming about you.

JOHNYou lied to us. You gave us hope.

CINDYNo John I never lied. I was telling the truth when I said

he’d let her go.

JOHN sinks to the carpet.

JOHNTell me. For God’s sake tell me.

CUT TO:

FLASHBACK


LUCY walks along the deserted country lane getting further and further away from the KIDNAPPER - every step taking her closer to home and safety when a pick up truck pulls up alongside her.

The driver winds down his window to speak to her. He is a working type man, possibly a labourer - late forties with balding hair and tattoos.

MAN IN PICK-UP TRUCKWant a lift sweetheart?

LUCY hesitates and looks back toward the disappearing figure of the KIDNAPPER.

MAN IN PICK-UP TRUCKCome on, I ain’t going to bite you. (showing a toothless grin)See I ain’t got no teeth.

At this LUCY grins and hops into the car.

PAN to KIDNAPPER who has turned to take a last look at LUCY. He raises his hand to wave but hesitates when he sees the pick-up truck. The rising sun is behind him – we do not see his face.

CLOSE UP of MAN IN PICK-UP TRUCK’S open wallet on the dashboard. A driving license shows a picture of this man and his name - PETER WELLS.

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CUT TO:

108. INT. LANDING. VALENTINE’S HOME – DAY.

Back to the present.

CINDYI’m sorry John, she never made it.

JOHNDid he?

CINDYI’ll do what you want, tell the police everything – his name

- everything.Just don’t ask me that.

CUT TO:

109. INT. BLUE HALL/DRAWING ROOM. THE VALENTINE’S HOME – NIGHT.

CINDY sits at the bottom of the stairs listening to JANE’S howls of anguish. She does it to punish herself.

PAN through French doors to drawing room where JOHN and JANE are surrounded by grieving members of family and friends. The two detectives are also present.

PAN back to CINDY. Unable to witness any more she heads back up stairs.

CUT TO:

110. INT. GUEST BEDROOM. THE VALENTINE’S HOME – NIGHT.

CINDY is packing her things when JANE enters abruptly. POPPY and JACK JR. are playing on the floor.

JANE is apoplectic with rage, fear and grief.

JANEI want you out of my house.

CINDYI figured that. We’re all packed.

JANEThe children can stay – they haven’t done anything wrong.

CINDYThey’re coming with me.

JANE

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(suddenly pleading)Think about it Cindy. John and I could adopt, foster… they would be better provided for with us.

CINDY is compassionate. She does not want to hurt this woman any more than necessary. Any more than she already has.

CINDYI’m their mother – they belong with me.

JANEWell we’ll see what the court has to say about that. Call yourself a proper mother! You’re not fit…

CINDY’S sympathy runs dry. The children run protectively to her side.

CINDYIs that right? Well where the hell were you when your daughter was out playing on her own? On the phone organising one of your Ladies Circle committee meetings no doubt.

JANEYou really are a… bastard.

CINDY gathers the children to her, picks up her bags and marches to the door but JANE bars their way.

JANE grabs POPPY and strokes her hair.

JANEDon’t take my Lucy, please…

The children are frightened - as is CINDY. Having naively believed she could control and manipulate this couple with her blunt, street-wise style she is now discovering they are far more intimidating than she thought possible.

CINDYLook Jane as sorry as I am for your loss if you don’t move out of our way I’m gonna deck you one.

JANE moves reluctantly aside and only then do CINDY and the children exit.

CUT TO:

111. INT. BLUE HALL. THE VALENTINE’S HOME – NIGHT.

As CINDY and the children reach the bottom of the stairs they run into JOHN.

A look passes between them. JOHN does not hate her - of that CINDY is sure.

CINDYCome with us John.

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JOHNWhat?

CINDY (desperate)I could give you a baby - ten if you liked. I’m young and

healthy.

JOHNIt would make no difference.

CINDYThen come after when Jane’s had time to get used to…

JOHNYou’re a mother yet you imply Jane will ever get over it.All Jane and I have left now is Lucy’s death. That will have to do us for the next twenty years.

CINDYBut you don’t love Jane – you love me. You said so remember?

JOHNDid I? If I did it was all part of the plan.

CINDYThe plan?

JOHNWe were wrong to use you the way we did but it hardly

matters now.Nothing does. Only that we find Lucy.

CINDYJohn - Lucy’s gone.

JOHN (turning away)There’s still the body. The search for that will keep the feeling of hope alive. It will be the same as before.

CUT TO:


CINDY and the children arrive home to an empty house. She picks a pile of bills up from the doormat and then switches on the lights – nothing. The electric has been cut off.

CINDYShit. Dad. Dad.

CINDY can only guess that her father has returned home.

CUT TO:

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113. INT. LIVING ROOM/DINER. THE MARTIN’S HOME – NIGHT.

JACK sits at the dining table while ESTHER waits on him. She appears happy for a change, glad to have her man back.

ESTHER places a generous plateful of beef and onion pie in front of JACK.

ESTHERThere, see, beef and onion pie – your favourite.

The doorbell rings causing JACK and ESTHER to freeze.

JACKBloody reporters. They don’t let up do they?

ESTHERI’ll go. Your tea will get cold.

JACKI don’t know why they can’t leave her alone.

CUT TO:

114. INT. KITCHEN. CINDY’S HOME – DAY.

It is the next morning and CINDY is having a bit of a spring clean – getting rid of a lot of rubbish. An ELECTRICITY MAN comes into the kitchen.

ELECTRICITY MANSign this and I’ll be out of your way.

CINDY does so.

ELECTRICITY MANYou don’t want to leave it so late paying your bill next time.

The man exits. CINDY tries the electric – it is working.

She throws an unopened bottle of wine into the bin, plus a half bottle of gin. Her action is determined.

CINDYIt’s over.

Just then JACK enters.

CINDYOh Dad it’s good to see you.

And then notices his red eyes and somber expression.

CINDY

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Dad what is it?

JACKShe never felt a thing Cindy. One minute she was letting those reporters have it – the next...

CINDYMum? No. But how?

JACKA heart attack the doctor said. It was quick mind, the way she would have wanted it. No time for sentimental goodbyes.

CINDY feels guilty. The sudden loss of her mother hits her harder than she’d ever imagined.

CINDYYou must hate me… what I said. But I didn’t wish for it dad… I saw nothing. I…

JACKI found this letter in her personal belongings. Addressed to you and written the day you were born.

CINDY takes the letter and begins to read.

JACKRead it out loud love.

CINDY‘It’s February the 14th. Today I saw my baby girl for the first time. I won’t love her too much. Don’t want her turning out like her mother, do we? The curse seems to skip the boys in our family – it’s only the girls that see. And that’s not what I want for my Cindy.’ Oh dad. She had it too and she never let on.

JACKWe both misjudged her lass.

CINDYThen she did love me.

JACKShe was just afraid of showing it that was all.

CUT TO:

115. EXT. PORCH. NEIGHBOUR’S HOUSE – DAY.

Several days later and CINDY, POPPY and JACK JR. wait on the doorstep of their black neighbours.

JACK JR. fidgets, wants to be away.

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JACK JR.Will they tell me off for putting dog shit through their

letterbox?

CINDYI don’t know.

The black NEIGHBOUR comes to the door ad takes a hard look at CINDY.

NEIGHBOURJoan.

His wife joins him at the door.

CINDY holds out a bunch of flowers as a peace offering.

From a distance WE SEE the NEIGHBOUR gesture for CINDY to enter the house. CINDY and the children are welcomed inside.

CUT TO:

116. INT. GYM. LOCAL SCHOOL – DAY.

A meeting of Alcoholics Anonymous is already underway when CINDY enters shyly.

The woman with the greasy air and permanent cigarette is speaking.

1st AA MEMBEREveryone keeps saying ‘one won’t do you any harm’. It’s almost impossible to make them understand…

The 1st AA MEMBER trails off as CINDY approaches.

The COUNSELOR gets to her feet.

COUNSELORCindy, what are you doing here? You passed the course – I wrote and told the court just like you asked.

CINDYI’ve come to do it properly this time. May I?

CINDY takes center stage in front of the group.

CINDYI think it goes something like this… My name is Cindy Martin and I am an alcoholic.

The group applauds. The obese 2nd AA MEMBER and the 1st AA MEMBER hug CINDY as if she were truly one of them.

CUT TO:


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CINDY is back in her own bed fast asleep

CUT TO:

FLASHBACK

118. EXT. CONVENIENCE STORE – DAY.

A child on a bicycle wearing a striped sweater sucks on a lollipop and investigates a bag of sweets while her mother, a harassed woman in her early thirties, prepares to ride off on her own bicycle with a younger toddler harnessed into a rear safety seat.

The older child, a cute young thing with ringlets, drops her bag of sweets and begins to cry. The mother props her bicycle up against the kerb outside the shop and leaves it unattended in order to help her daughter pick up the sweets.

As the child and her mother gather them up the bike topples and falls into the road with the toddler still on board – just as a lorry is approaching. The mother can do nothing more than scream out loud as the lorry ploughs into the bike and the fallen toddler.

WE HEAR the sound of the lorry trying too late to brake.

CUT TO:


The nightmare vision has woken CINDY.

Fearful that the premonitions have returned CINDY is determined to ignore them.

CINDYIt’s nothing. It means nothing.

She tries to get back to sleep.

CUT TO:

120. INT. CONVENIENCE STORE – DAY.

Several days later and CINDY and the children have called at the shop to buy sweets.

Queuing up in front of CINDY is none other than HUGH. They smile their recognition at each other.

In front of HUGH is a small child with a striped jumper and ringlets. She is with her mother and baby brother but too taken up with HUGH CINDY barely notices.

HUGHHi.

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CINDYHi.

HUGHSorry I don’t know your name. I’ve seen you about though.

CINDYCindy.

HUGHHugh.

They shake hands. And then neither knows what to say though clearly they fancy each other.

JACK JR. comes to the rescue.

JACK JR.My mum wets herself. She’s not toilet trained like me.

CINDYShut up Jack Jr.

HUGHIt’s alright, my wife suffered with the same problem after our little girl was born.

CINDYOh you’re married. And how old is your little girl?

HUGHAlice was seven when she died.

CINDYOh God. I’m so sorry. How awful.

The little girl, her mother and her brother exit the shop and HUGH moves up in the queue.

HUGHIt was three years ago. My wife and I broke up fairly soon

after.

POPPYMum’s not married. She doesn’t have a boyfriend either. Perhaps you ought to give her your number.

CINDYPoppy!

POPPYI have though – his name’s Daniel.

HUGHPerhaps I’ll meet him one day. (to Cindy)

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And I’d better do as your daughter says and give you my number if that’s alright with you.

JUST then WE HEAR the sound of a lorry trying too late to brake. And screams from outside. CINDY’S vision has just been realised.

CUT TO:

121. INT. LIVING ROOM/KITCHEN. CINDY’S HOME – NIGHT.

Again – several days later. HUGH and CINDY are finishing off a meal of sausages and mash. Meanwhile POPPY and JACK JR. play on the floor in front of the television which is switched on.

HUGH and CINDY are getting on remarkably well. She is almost convinced he might truly be the one for her. After SKID and JOHN this is a huge relief.

HUGHThat was great.

CINDYIt was only sausages and mash.

HUGHNext to beef and onion pie it’s my favourite.

CINDYMy dad loves beef and onion pie. Do you fish as well?

HUGHWhenever I get the chance. You’ll have to introduce us – he sounds like a man after my own heart.

CINDYI might just do that.

HUGHIt was terrible about that toddler – I can’t stop thinking

about it.

CINDYPerhaps if we don’t talk about it we can pretend it never

happened.

HUGHWant a hand washing up?

CINDYNo, you’re alright.

CINDY enters the kitchen.

HUGHI’ll play with the kids for a while then. It’s strange but I feel as if I’ve known you forever.

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PAN: CINDY in the kitchen. She has a big grin glued to her face.

CINDYI know what you mean.

WE HEAR TELEVISION NEWS COVERAGE:

VO REPORTEREarlier this evening the body of a young girl was discovered just fifty yards to my right in wasteland close to an abandoned farm building. Though the police have not yet formally identified the body they cannot rule out the possibility the remains belong to seven year old Lucy Valentine…

TRACK: CINDY storms into the living room to catch the end of this report.

PAN: TELEVISION NEWS COVERAGE:

A REPORTER stands alongside some cordoned off waste ground where police cars are parked and officers go about their duty.

REPORTER…who went missing from her home two weeks ago. Already in custody for Lucy’s abduction is convicted pedophile Peter Wells.The parents of the missing girl have been informed.

CINDY abruptly switches off the television and then tries to make light of her action.

CINDYThat’s all you ever hear on the news these days.

HUGHIt should never have happened. It was a mistake.

Thinking this a funny thing to say CINDY looks enquiringly at HUGH and only then does she notice what he is doing. He has a sketch pad in front of him and appears to be drawing POPPY.

CINDYWhat are you doing?

HUGHCome and have a look. My father always said I was a natural – that I had a gift.

CINDY tentatively walks over to HUGH and looks at the drawing.

WE SEE a pencil drawing of POPPY in an almost identical style to the one the KIDNAPPER did of LUCY.

FADE TO:

FLASHBACK

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The KIDNAPPER walks away from LUCY in the deserted country lane.

PAN: Once more WE SEE the pick-up truck pull up alongside LUCY.

PAN: The KIDNAPPER turns as if to wave a last goodbye to LUCY. But he hesitates when he sees the pick-up truck.

At last WE SEE his face - HUGH.

THE END:

CLOSING CREDITS:

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