COME HOME Episode One SHOOTING 23.10.17...

ISSUED TO…………………………………………..…

Come Home

Episode 1

Shooting Script

By Danny Brocklehurst

Issued 24th October 2017

© 2017 MediaCityUK, White, Level 2,

Salford, Manchester M50 2NT. Tel: 0161 886 2340

EXT/INT. MARIE’S CAR - DAY 1. 08:39.1 1

Stylised, everything slightly heightened, slightly more intense than we might expect.

Car crawling through school run traffic. A woman driving, Marie, her face staring ahead -

In the back are three kids - Liam (16), Laura (13) and Molly (4) - they are bickering and moaning as only kids can. It doesn’t matter what - to Marie it’s just noise.

She doesn’t interrupt, protest or referee, she merely stares ahead... hands tightly clutching the wheel.

CUT TO:

EXT. SECONDARY SCHOOL - DAY 1. 08:40.2 2

Marie pulls the car up and the eldest two dive out. There are hasty good-byes from Liam and Laura. As they grab their bags and dash away, same-every-other-day.

MARIEBye - have a good day.

She gets a couple of ‘byes’.

MARIE (CONT’D)Love you -

She watches them go. Out of kilter. But they didn’t notice. They are gone, consumed in their own lives.

We hold on Marie, she is on the edge of something. She turns to her remaining child, Molly. Molly smiles, perhaps sensing all isn’t right with her mother. Marie forces one back.

MARIE (CONT’D)Right then...

She starts the car again, pulls away.

CUT TO:

EXT. PRIMARY SCHOOL - DAY 1. 08:49.3 3

Primary school. Car pulls up for the second part of the daily school run. Marie and Molly get out.

They walk towards the school, hand in hand. Molly is endlessly chatting - almost without pause for breath - again, the contents could be anything (it’s fantasy talk about all the things she’d do if she were a superhero), but to Marie it is a blur of small person talk...

COME HOME BY DANNY BROCKLEHURST. EPISODE 1 - SHOOTING SCRIPT 1.

They reach the school. Parents in a cluster. 80% mums: fitness mums, rag-bag mums who look like they’ve just got out of bed, rushing to work mums, far too smiley for this time in the morning mums etc etc...

Marie passes them, not engaging, blanking everyone, her hand gripping Molly’s tightly...

We hear the bell ring - they have scraped in, as usual.

MOLLYBag mummy, MUMMY -

But Marie won’t let her hand go. She kneels.

MARIELove you -

She pulls Molly into a tight embrace, clinging on to her tightly, like she could never let go...

But then she releases her.

MARIE (CONT’D)Have a good day -

MOLLYBye Mummy -

Molly turns to go, but finds herself anchored. Marie has hold of her arm.

MARIEBye sweetheart -

Molly goes. Marie stays kneeling down and watches as her young daughter trots off into school, merrily chatting with her friends - not a care in the world...

Hold on Marie, still kneeling, still watching - incongruous as parents, at stand level walk past her...

Her eyes have an intensity, burning with the knowledge of what this day holds... the enormity of what she must do...

CUT TO:

EXT/INT. FAMILY HOUSE. HALLWAY - DAY 1. 09:22.4 4

Marie lets herself in to the house, then stands, staring straight ahead. This is a woman on the verge, something has dislodged.

CUT TO:


INT. FAMILY HOUSE. KITCHEN - DAY 1. 09:35.5 5

Marie in the kitchen at home - she is staring at the washing machine, which goes round and round and round.

Hold on her face.

CUT TO:

INT. FAMILY HOUSE. GREG’S BEDROOM - DAY 1. 09:45.6 6

Marie in the bedroom. On auto pilot she starts to fill a suitcase with clothes and possessions.

CUT TO:

EXT. FAMILY HOUSE - DAY 1. 10:10.7 7

Marie making trips to her car. The suitcase is in the boot, she throws in shoes, and coats and a certain picture.

As the boot closes we catch a glimpse of that picture - it is of her and the three kids at the top of the EIFFEL TOWER - a moment in time, all smiling, an image of happiness.

Boot closed.

She goes to the front door and closes it. Then, slowly walks to the driver’s seat of the car. A neighbour passes.

NEIGHBOURMorning Marie -

MARIEMorning -

NEIGHBOURBeautiful day for it -

Marie fake smiles. Starts the engine. And pulls away. As she does so, she looks once into the rear view mirror and sees

Her family home getting smaller in the distance.

Hold on her face. And hold and hold and hold...

Fade through to

CUT TO:

INT. MARIE’S HOUSE. LIVING ROOM - DAY 2. 11:00.8 8

Terrible, stark atmosphere. Marie stands in her new bedsitland home, with her husband GREG FARRELL (a strong man who has been shattered by what has happened here - it’s blown his life apart).


He is almost lost for words... a man on the edge of despair...

GREG -This is what you want is it? This -

He motions to the crappy house.

GREG - (CONT’D)Instead of your kids, instead of your family...

She just stares at him.

GREG - (CONT’D)Why are you doing this Marie?

She says nothing, emotionally closed.

GREG - (CONT’D)(his heart breaking)

I know we’ve had our problems but...

She looks away.

GREG - (CONT’D)What kind of woman walks out on her own children... why the hell would anyone do that -

Hold on Marie.

GREG - (CONT’D)Please, Marie, I’m begging you... come home.

But she can’t... she won’t... and they both know it... whatever has led her to do this is a mystery to us at this stage... he turns and leaves. As the door SLAMS closed, the face she has kept tough for Greg crumples slightly, she fights hard to keep tears from appearing...

CUT TO:

TITLES.

Music kicks in...

And under the titles we take in the geography of where we are. We’re in Belfast, Northern Ireland.

CUT TO:

INT. FAMILY HOUSE. LANDING/GREG’S BEDROOM - DAY 3. 07:30.9 9

Months later.


Morning. House asleep. Then, from a bedroom, we see MOLLY (now 5 years old), appear, holding a teddy.

She trots from her bedroom, along the landing and straight into another bedroom -

Inside is Greg, alone in a double bed.

MOLLYIt’s morning outside.

Greg half wakes, groans and throws the covers back. Molly crawls into bed with him for a cuddle.

He kisses her head. Then farts.

MOLLY (CONT'D)Daddy!

Greg laughs and kisses her again. They snuggle into a tight morning cuddle - she loves her daddy.

CUT TO:


Morning chaos, as they all pile out of the house. Greg has his hands full with Molly’s school bags etc...

Laura (now 14) is the antithesis of every surly teenage cliche we have seen, this girl is bubbly, caring, big hearted, sincere.

Liam (now 17) - more the cliche - lingers behind, reading a violent graphic novel as he walks. N.B. He has a nervous twitch, which gets worse when he’s stressed, so it isn’t very pronounced here but gets worse later on.

Greg bleeps the car open.

GREG Liam - get a move on.

LAURA(in school uniform)

Dad, I’ve got to tell Caroline about the holiday this week, it’s getting embarrassing -

GREG I’ve told you, I need to speak to her parents -

LAURASo speak to them -

GREG I will, when I get a minute - Liam, for God’s sake -


LAURATonight, promise me you’ll do it tonight -

GREG I might be going out tonight -

(to Liam)By the way, can you babysit -

MOLLY(running joke)

We’re not babies.

LIAM(finally looks up -)

If you pay me -

GREG I already pay you, in food and light and heating -

LIAMCall it a tenner -

LAURAWhere you going?

GREG Out -

LAURA(rolls her eyes)

Out where?

GREG There and back, to see how far it is -

LAURA(said with a smile)

That is so idiotic, if I gave that kind of answer to you, you’d be freaking at me by now -

GREG I’m your father, I’m allowed to be idiotic...

They climb into the car - and are about to set off when Molly yells from the back seat -

MOLLYStop!

Greg spins around to her.

MOLLY (CONT'D)I’m not strapped in.


GREG (looks at Liam, weary)

Liam - strap your sister in -

And with that, finally, he pulls away. Greg is coping, but only just - and only because he has no option.

CUT TO:

EXT/INT. FARRELL MOTORS - DAY 3. 12:00.11 11

In the shadow of what used to be the Belfast shipyards - and still a large imposing sight - we find...

A small open plan garage - FARRELL MOTORS - lifting devices, ramps, pits. To one side there’s an office. Music plays from a tinny radio, playing an 80s music station.

In the midst of this we find Greg, in his overalls, standing in front of a flashy sports car, clipboard in hand. Ticking items from an MOT checklist.

GREG Left indicator -

In the car we find his son, LIAM, he flicks the switch.

GREG (CONT’D)Right indicator -

Liam flicks the switch, bored, hates his job.

GREG (CONT’D)Hazards.

Suddenly the music changes on the radio. Greg spins round, to see another young lad, early 20s, at the radio -

GREG (CONT’D)Oy! Nobhead -

DEXGreg, I can’t take it any more, I swear to God, any minute they’ll play Come On Eileen and I’ll have to top myself -

GREG Put it back on -

DEXI refuse, you’ll have to sack me.

Liam is amused, likes Dex.

GREG Fine, you’re sacked. As you leave, put it back on -


A SMALL VAN sweeps into the forecourt, beeping its horn - it has BRENNA’S BAPS written along the side, with a massive picture of a Smiling Sandwich on it.

Dex switches it back to the 80s station. Different track -

DEXOh Jesus, not Marillion. You realise this is abuse, I’m complaining to the European court of human rights...

Liam laughing. BRENNA DOYLE - dresses younger than she is - attractive, likeable smile but has a rough edge to her that betrays a tough life - steps from her van with a tray of sandwiches and light bites.

BRENNAWhat’s it to be boys...

DEXThe usual, Bren -

BRENNAThe usual for Dexie - predictable as the rain -

She finds it and tosses it to him.

LIAMBLT for me, Bren -

BRENNABLT for lovely Liam. Let me guess, Ronnie, ham and pickle -

Ronnie, 50s, rolls out from underneath a car on a trolley, sticks his thumb up and rolls back.

BRENNA (CONT'D)(bit flirty with Greg, long standing spark)

And what about the big man?

GREG What’s the special?

BRENNAI’ve got a nice French onion soup, but you’d have to stick it in your microwave -

GREG (thinks about it, but goes for -)

Give us a tuna mayo -

BRENNAAnd there was me thinking you were gonna be adventurous -


She smiles at him.

BRENNA (CONT'D)What day is it, Thursday, so that means it must be -

LIAM/DEXHis turn.

Greg, ruefully producing his wallet.

GREG What’s the damage?

BRENNA(she does a quick mental tot up -)

Nine eighty. But as it’s you, call it a round tenner.

She laughs. Greg smiles, hands her a note. She delves for his change, but he motions not to -

GREG Have a drink on me.

She smiles and heads back to her van.

BRENNAAu revoir gentlemen - until the same time tomorrow.

DEX(blows her a big elaborate kiss)

Missing you already.

And grabs a spanner and starts singing along to -

DEX (CONT'D)Kayleigh, oh I never thought I’d miss you, and Kayleigh I thought we’d always be friends...

Brenna amused as she pulls away, Greg smiles.

CUT TO:

INT. FARRELL MOTORS. OFFICE - DAY 3. 12:30.12 12

Greg in his small, oil-stained office.

Jump to

Greg staring at a computer screen. And where we might expect him to be looking at something to do with cars, what we actually find is that he is on a DATING WEBSITE.

There is a middle-aged woman’s profile open.


He glances up to make sure the others are working and then types onto the website:

‘Are you still on for tonight?’

He takes a bite of his sandwich and waits. And to his surprise, the reply quickly comes -

‘Definitely, can’t wait.’

On Greg, small hopeful smile.

CUT TO:

INT. FAMILY HOUSE. MOLLY’S BEDROOM - NIGHT 3. 19:00.13 13

MOLLY tucked up in bed. GREG, with his best gear on, is leaning over her bed to kiss her goodnight.

MOLLYI wish you weren’t going.

GREG I’ll only be an hour or two. Liam’s downstairs, you go to sleep.

MOLLY(sitting up)

Who are you meeting?

GREG Just a friend.

MOLLYWho?

GREG(taps her nose)

Little Miss Nosey. Old friend, couple of drinks, lie down.

MOLLYPromise you’ll come home.

This almost kills him.

GREG I promise. I really promise.

He kisses her.

GREG (CONT’D)I’ll always come home.

CUT TO:


INT. FAMILY HOUSE. LIVING ROOM - NIGHT 3. 19:05.14 14

Greg heading out, past Liam and Laura who are watching TV, messing on the iPad, whatever...

GREGRight, I’m off, if you need me, call the mobile -

LIAMYou going like that?

Greg looks down at himself.

GREGWhat?

LIAMYou look like an estate agent.

Liam looks at Laura for affirmation. She nods.

CUT TO:

INT. TRENDY BAR - NIGHT 3. 19:30.15 15

Trendy bar in the centre of town

Greg, now dressed pretty casual, sits with a pint of lager, reading a book (The Psychopath Test) - trying to affect nonchalance. Then, he glances up and...

IN SHE WALKS.

A VISION of beauty. She’s late 30s, stunning looking and has made a massive effort with her clothes and make-up.

GREGOh, crap.

It’s like a slow motion car crash. JULIET scans the room for her ‘date’ and as her eyes finally reach Greg, something happens. HER FACE FALLS.

It’s infinitesimal. But it’s there. The smallest flicker of disappointment, she recovers herself, but it’s there.

Then they both speak at once.

GREG/JULIETHi, it’s -/Sorry I’m a few -

They stop.

GREGYou first.

JULIETNo, you.


GREGI was just going to say, yes, it is me. Greg.

JULIETYes. I guessed.

GREGSorry, what were you going to -

JULIETOh, just apologize. I’m a bit late, that’s all -

GREGNo worries. I’ve been reading. The Psychopath Test, do you know it -

JULIETNo.

GREGIt’s good. Tells you how psychopaths are all around us - mind you, if you do online dating you know that already -

She smiles, thinly. An awkward silence.

JULIETI’ll order a drink.

GREGSorry, of course, let me - what can I get you?

JULIETDry white wine -

GREGGood choice. Have a seat. You look tremendous by the way -

JULIETThank you.

(feels obliged to say something back)

Nice trainers.

Greg turns to go to the bar.

CUT TO:

INT. TRENDY BAR - NIGHT 3. 19:50.16 16

Greg and Juliet sit awkwardly, a reasonable distance apart. There is no flow to the conversation at all.


JULIET (stilted)

...collection’s Wednesday, we have a black bin, for general waste, a green one for garden clippings, brown for glass and plastic and blue for paper.

GREG(nodding, as if fascinated)

Right. Blue.

JULIETHow about you -

GREGSame. Only collection day’s a Monday.

They fall to silence, both sip their drinks. They look at one another, desperately trying to think of another topic.

JULIETSeen any good films lately?

GREG Not really. You?

JULIETNo. I don’t get out as often as I’d like -

GREGI know the feeling -

JULIETYou have kids?

GREGThree.

JULIET(a little surprised)

Oh, sorry, did you say on your profile, widower?

GREGNo. I’m a single parent.

He smiles endearingly. Her face changes.

JULIET What happened to your wife?

His face falls.

JULIET (CONT'D)Sorry - you don’t mind me asking?


GREGNo, no. She left.

JULIETShe left. Without her kids?

GREGThat’s right. It happens.

JULIETWow.

GREGYeah, wow -

An awkwardness. He looks at her, wry...

GREG (CONT'D)And now you’re thinking - what’s up with him? Right? You’re thinking, what would drive a woman to leave her own home, her three beautiful children... What was so bad about life with this man that a woman would do such an unforgivable, unthinkable thing?

JULIET(defensive)

I wasn’t thinking that -

GREGWell, you should. Because it’s the question I’ve asked myself for the last eleven months - but I’m sorry to report, I don’t have the answer...

(she thinks he’s stopped, but he suddenly carries on)

And I know you’ll find that hard to believe, because women don’t just walk out on their life for no good reason. But this one did. Or no reason that’s anywhere close to good enough.

There. Rant over. He downs what’s left of his drink. And the awkwardness between them is now unbridgeable.

GREG (CONT’D)Mind if I get another drink?

JULIET(she does)

Be my guest.

But as he delves in his jacket pocket (which is on the back of his chair) for his wallet, he accidentally drops the jacket to the floor and a


PACKET OF CONDOMS flop onto the floor.

They both stare at them. He’s mortified.

GREGSorry, I -

What can he say? JULIET leans down and retrieves the condoms, she delicately hands them to him.

JULIETYou won’t be needing those.

She stands and leaves. He watches her go, then slowly scoops the condoms back into his pocket. As he does so, he notices a WOMAN across the bar has seen the whole thing.

She gives him a hateful look.

CUT TO:

INT. LOCAL PUB - NIGHT 3. 20:30.17 17

Greg’s local pub, he feels more at home here. That said, he cuts a dejected figure, as he sits alone at the bar.

Music plays, and we just hold on Greg. His loneliness, his isolation...

HARD FLASH TO:

INT. LOCAL PUB - FLASHBACK 2010 - NIGHT A. 21:40.18 18

Greg and Marie, happier days, few years back, pre Molly, with friends, in this pub, laughter, chat, drinks. He says something funny and she’s laughing along, Greg looks at her - an intensity to this - willing her to return his gaze. Sounding out how she is feeling. Marie meets his look. Smiles.

HARD CUT TO:

INT. LOCAL PUB/LADIES TOILETS - NIGHT 3. 20:31.19 19

Greg’s attention is taken by something across the pub, at a far table A COUPLE are engaged in what is obviously a pretty serious argument.

As Greg stares across he realises that the woman he can see - side on - is Brenna, the sandwich woman.

Totally fascinated now, Greg stares as Brenna and her man - fuelled by booze - really give it out to one another. He can’t hear what they are saying but it is obviously bile-filled and expletive strewn.


Then, with a flourish, and a final string of expletives, Brenna rises to her feet and heads off to the toilet.

On Greg, smiling to himself. She can give as good as she gets that girl.

As Brenna disappears into the toilets, Greg’s eyes turn back to the man she is with. He is really pissed, fuming. Pretty much talking to himself as he rails against what has just happened. And then, impulsively, he springs to his feet and also heads towards the toilets. Following her.

But as he does so - ominously - he grabs an empty bottle from the table by its neck.

Hold on Greg a moment.

He is worried for her, but doesn’t want to get involved. Maybe the guy has just gone to the toilet...

Hold on Greg, hold on Greg, hold...

Nope, he has to go and see.

He quickly trots across the bar and swings the door open to the toilets. And immediately hears -

YELLING FROM THE LADIES.

Greg crashes straight into the ladies toilet and sees Brenna pinned by the neck to the wall, Garry yelling at her.

GARRY...how do I know, how can I trust you, you dirty, lying...

GREGStop!

GARRY(spins around)

Walk away, right - this is none of your fucking business -

Brenna is struggling to breathe, she looks desperate.

GREGLet her go -

GARRYWalk away, pal or you’ll get yourself involved -

A threat.

GREGI said - LET HER GO.


GARRYI warned you.

Garry instantly goes for Greg, bottle in hand. Greg has to dodge him. Brenna gasps for breath, doubled over.

GARRY (CONT’D)You know her do you, you had her, like the rest of the town? -

Garry throws the bottle at Greg, it smashes on him. He then lays in with fists and feet. It’s horrible.

Brenna screams for him to stop.

She launches herself at him, dragging him off.

Garry swings at her, knocking her backwards.

GARRY (CONT’D)You whore. WHORE.

And with that he goes. Leaving a scene of destruction. Greg and Brenna are injured, both on the floor.

Broken glass lies in shards all around.

Brenna crawls across to Greg.

BRENNAI’m so sorry, are you alright -

GREG(brave face, clearly hurt)

I’m fine -

BRENNAHe’s a wanker - he’s such a... I’m so sorry you saw that -

GREGDon’t worry about me, as long as you’re okay... I thought he was gonna kill you -

BRENNAAh, believe me, I’ve had much worse than that from him -

She starts to rise to her feet.

GREGWho is he?

BRENNAWho is he? He’s my husband. Well, in a manner of speaking. And that’s why I need another drink right now... care to join me? -


GREG I think your husband might have something to say about that -

She offers her hand, to lift Greg from the floor -

GREG (CONT'D)(as he’s pulled up)

This has been the night from hell.

BRENNACan only get better then, can’t it?

And they smile, a little attraction visible.

CUT TO:

INT/EXT. TAXI/FAMILY HOUSE - NIGHT 3. 22:30.20 20

TAXI pulls up outside Greg’s house. Greg and Brenna peel out as Greg pays the driver.

BRENNAYou sure this is okay?

GREGThe kids’ll be in bed. And I’ve had a bottle of single malt staring at me since Christmas.

CUT TO:


GREG fills up their drinks as BRENNA rifles through his record collection (and I mean records, vinyl - LP’s).

BRENNA(laughing)

Internet dating.

GREGWhat?

BRENNAYou don’t seem the type -

GREGThe type? Everyone’s on it these days.


BRENNACorrection, Greg, they’re not. These are the people that do internet dating - 1) saddo’s, 2) women with their biological clock banging in their ears, 3) hideously ugly people who can’t get laid, 4) weirdos and sexual deviants, 5)

GREG(cuts in)

Men with three kids who have absolutely no idea how to meet women any more...

BRENNASorry, I wasn’t...

GREGNo, you’re right, there’s a lot of oddballs out there, or women like tonight - perfectly nice and everything but just... boring.

BRENNA(holds a The Cure album up)

Do you have anything recorded after 1989? And by the way, what are these strange spherical objects?

She pulls an LP from its sleeve and examines it, like it is the most alien object she has ever seen...

GREGOkay, let me tell you my theory.

BRENNAYour theory -

GREGI have many theories. And they’re all worth listening to -

BRENNAJeez, I bet you’re a blast on those dates -

They smile, and he moves towards her. He is actually enjoying this - some adult company - and the first woman he has been this close to since his wife left.


GREG(he hands her her drink)

We moved from the record to the CD and everybody thought it was better, unbreakable they said, unscratchable, never jumps - and now, few years later, CDs are crap, it has to be downloads, it has to be straight to your iPhone... until the next thing... nobody sticks with anything anymore - noone’s happy with what they’ve got, they’re always looking around for something new, something better -

Brenna looks at him, quizzically.

BRENNAI’m guessing your wife left you for another man, yes?

GREGNo, she didn’t. If she did I could understand it - I’d hate it, but I’d understand it.

Hold the look between them. Greg takes the LP off her and places it on the turntable.

BRENNAShe walked out on three kids. Where is she?

GREGTwo miles away. Living on her own in a terraced house -

Brenna pulls a bemused face.

BRENNAIs she fighting for custody -

GREG -Nope -

BRENNAShe doesn’t want them?

GREG -Nope.

BRENNAWhy?

GREG -(he shrugs, tries to find words that offer explanation...)

She said she was drowning -


BRENNADrowning?

GREG -Like she couldn’t breathe -

Brenna absorbs that, then simply says -

BRENNAShe’s full of shit.

Which makes him laugh.

The Caterpillar by The Cure kicks in...

And we fade through to

LATER.

CUT TO:


They are sitting side by side. Just enjoying some company.

BRENNAHe works away months at a time - private security - Dubai, Cairo - and when he comes back he thinks he can start calling the shots. He drinks too much, talks too much. We can barely be in the same room as one another. Frankly, and I’m not saying this to shock you, I wish he was dead -

She knows it’s a terrible thing to say but doesn’t care. Greg smiles.

BRENNA (CONT'D)I don’t want my son to have to put up with his shit any longer. It’s not good for him.

Hold the look between them.

GREGWhere’s your son tonight?

BRENNAWith his Gran. My mum lives close by so it’s handy -

GREGWould you like to stay here?

BRENNA(examines his face)

You’re a quick mover.


GREGI’ll have the couch, you can take my bed. I’m worried about you going back home on your own -

She smiles, touched.

BRENNAThank you.

She leans in and kisses his cheek. But the intimacy of that simple gesture arouses them both.

They look at one another.

BRENNA (CONT'D)I’ll have the couch. I can’t kick you from your own bed.

GREGI insist.

Hold that look, that sexual tension.

BRENNAI guess... we could reach a compromise. Maybe, sleep top to tail or something...

GREGShare the same bed...

BRENNAWe’re both adults, doesn’t mean anything is going to happen.

Hold the look, hold the look... and then

Brenna does what they are both wanting, she leans in and tenderly kisses him on the lips.

CUT TO:

INT. FAMILY HOUSE. LIVING ROOM - FLASHBACK 2003 - NIGHT B. 23 23

23:02.

Fleeting images, stylised, beautiful e.g someone dancing, a woman’s head going back in laughter, hair being brushed, bodies touching bodies...

CUT TO:

INT. FAMILY HOUSE. GREG’S BEDROOM - NIGHT 3. 00:10.24 24

GREG and BRENNA having sex. But such is his enthusiasm, Greg comes really quickly. He is embarrassed.


GREGSorry -

Brenna rolls over and picks up the condom box, reads -

BRENNA‘For longer lasting performance’ - you wanna see if you can get a refund on these things...

GREG(mortified)

It’s been a while... since...

BRENNAAh well, you know what they say, practice makes perfect.

And she goes back in for another round.

CUT TO:

INT. FAMILY HOUSE. LANDING/GREG’S BEDROOM - DAY 4. 07:30.25 25

Morning. House asleep. As at the top, from a bedroom, we see a five year old, MOLLY, appear, holding a teddy.

She trots from her bedroom, along the landing and straight into Greg’s bedroom -

Where she sees a FEMALE BACK peering from under the covers. Molly stops, surprised. Then peels into a huge smile -

MOLLYMummy! Mummy!

Greg wakes, shit. Molly bounces onto the bed, only to realise, as Brenna groggily rises, that it isn’t mummy.

GREGNo, Molly, sorry - this is my friend Brenna...

MOLLYI thought you were mummy.

And with that, Molly leaves the room. Upset. We stay on Greg’s face. Brenna moves towards him, placatory.

BRENNAWhoops.

CUT TO:


INT. FAMILY HOUSE. LIVING ROOM - DAY 4. 07:45.26 26

Through the window we see a TAXI outside the house. Greg and Brenna kissing (led rather more passionately by Brenna than Greg wants right now).

We find Laura and Liam watching this from the window of the house, their faces a picture.

CUT TO:


Greg enters the kitchen where Liam, Laura and Molly are getting themselves ready, eating breakfast etc.

GREG(fake bravado, cheer -)

Right, are we almost ready to hit the road? -

LIAMAre you for real?

Greg looks at him.

LIAM (CONT'D)The sandwich woman?

GREGHer name’s Brenna, as I think you well know -

LIAMI know she’s a rough arse from the Cleary estate.

GREGYeh? You like her well enough when she’s filling your stomach -

LIAMThat doesn’t mean I want my dad filling her fucking hole -

GREGHey!

Molly looks up. Liam’s twitching increases.

GREG (CONT’D)Mind your mouth.

A stand off. It’s tense.

LAURA(of his cut eyebrow)

What’s happened to your face?


GREGI fell over.

No one believes that. Liam rolls his eyes, makes to leave, but as he goes, Greg delays him by saying -

GREG (CONT'D)We had a drink, she stayed the night. I am allowed a bit of fun from time to time. That is, actually, allowed you know...

Liam goes. Greg fuming. Laura and Molly look at one another. Their new found harmony fracturing.

GREG (CONT'D)(to Molly)

Do NOT say that word at school.

CUT TO:

INT. FARRELL MOTORS - DAY 4. 10:30.28 28

Greg and Liam are fixing a van. They work without words, each focusing their attention on the job in hand.

CUT TO:

OMITTED29 29


They are having a brew after this strenuous task (Liam is flicking through his graphic novel again). Greg decides to broach something.

GREGI’m seeing your mother later.

Liam looks at him and then does a spit on the floor.

GREG (CONT'D)Is there anything you’d like me to say to her, any message -

LIAM(fixes his dad with a tough stare, sarc)

Send her my love.

GREG ...she’s still your mum Liam -

LIAMDon’t wanna talk about it.


GREG- I know this has been hard...

LIAMI don’t wanna talk about it.

GREG...but she’s still your mum and no matter what she’s...

LIAMI don’t wanna talk about it.

GREG...done... I’m not asking you to talk about it, I’m just trying to say that no matter what -

LIAM I don’t wanna hear it.

(more twitching)

And with that Liam grabs his things and heads away. On Greg, worried about the effect all this has had on his son...

CUT TO:

INT. MEDIATION BUILDING. WAITING ROOM - DAY 4. 12:59.31 31

Greg sits in the waiting room of the mediation offices. He gives a tight smile to the FEMALE RECEPTIONIST, she returns it with a ‘you are shit on my shoe’ grin.

He idly flicks through a terrible magazine.

Waiting, waiting, waiting.

And then... in she walks... Marie, looking attractive. In fact, her outward appearance is making a great effort to mask what’s going on beneath - a sense of unease, deep rooted restlessness and inner conflict...

MARIEHi -

GREG(standing)

Marie -

But she barely acknowledges him; she fusses with her clothes as she sits down two seats away from him.

Greg looks at the seats between them. Long pause.

GREG (CONT'D)For years I woke up in the same bed as you.


We did intimate things with each other - and you now can’t sit next to me in a public office -

MARIEDon’t start Greg, okay -

GREG(wry laugh)

Start -

MARIEI don’t need it.

GREGSo sit next to me.

MARIEIt’s inappropriate.

GREGWhy?

She ignores him.

He moves up two seats so they are sitting side by side, she shoots him a killer look. A beat. Then she gets up and goes and sits in the seat that he was previously sitting in.

Greg can’t believe it. He shuffles back up the other way.

MARIE (springs to her feet)

For God’s sake.

She turns awkwardly to see if the RECEPTIONIST is catching all this. She is, but pretending not to.

MARIE (CONT'D)How are the kids?

GREG(can’t hide his bitterness)

What do you care?

She suddenly stands.

The MEDIATOR, Mister Gibbs, appears. He’s straight as they come, like a character from an Enid Blyton book.

GIBBSGregory, Marie. Have you been offered coffee?

GREGNo.

MARIEI’m fine.


GREG(pointedly to the receptionist)

I’ll take a coffee - two sugars, nice and strong.

They stand.

GIBBSShall we go in?

GREG/MARIESure/Absolutely.

They all head into GIBBS’ office.

CUT TO CONTINUOUS:

INT. MEDIATION BUILDING. GIBBS’ OFFICE - DAY 4. 13:00.32 32

GIBBSNow, may I recap from last time -

GREG -At seventy pounds an hour make it the edited highlights -

Marie shoots him a look.

GIBBSWe’re nearly at the end of the road I think. I hope. I want to thank you both for your commitment to the process and your very obvious concern and love for your children -

Greg shoots her a filthy look.

GIBBS (CONT’D)To sum up then. The mediation document isn’t legally binding. It’s a codified assertion of your consensus and agreement. Signing this isn’t committing you to anything, but symbolically at least, it has force.

Greg glances at Marie.

GIBBS (CONT’D)You should both take a few minutes to re-read the document and when you are both in agreement...

Marie grabs the document, skips to the back page and signs without reading. She hands it to Greg.

He just stares at the out-thrust pages.


GREG -Did you hear his little speech? You’re meant to read it.

MARIEI know what it says -

She slides it in front of him. He slides it back to her.

GREG -Read it.

MARIE(pointedly)

You don’t get to tell me what to do anymore.

She slides it back, looks at Gibbs.

GIBBS(conciliatory)

If Marie feels happy that -

GREG -(cuts in)

God’s sake. (he bangs the table)

God’s sake, Marie.

GIBBSGreg, please....

GREG -This was YOUR idea -

MARIEI know what it says -

GREG -You think I want to be here?We agreed. For the sake of the kids, we agreed we’d keep / things -

MARIE(at / cuts in -)

I know what we agreed Greg - you don’t have to be angry with me -

GREG -Yeah - well that’s what happens when your wife walks out, it plays havoc with your mood -

Greg stares at her, slides the document back.

GREG - (CONT’D)I’m not signing til she’s read it.

She doesn’t even look at him, it’s like she doesn’t care.


GREG - (CONT’D)Out of respect for the three children you no longer see - will you READ the document.

MARIE(to Gibbs, almost as a point of factual accuracy)

I see my eldest daughter, it’s just we do it in secret...

News to Greg.

MARIE (CONT’D)I’ll always be their mother.

GREG -You’ve got a funny way of showing it. Walking out. No reasons, just ‘sorry kids, feel like a new life.’

Marie glances at him, pointedly asking.

MARIENo reasons?

Hold their look.

We see her torment, her internal conflict bubble dangerously close to the surface... she regains control.

GREGMolly still wakes in the night, screaming, in tears.

(Marie reacting to that - dagger to her heart)

Sometimes she wets herself. Cries uncontrollably. Because even now, months later, she can’t understand why her mummy left her. And frankly, Marie, neither can I. Read it.

Marie looks away.

GREG -Read it.

She can’t or won’t.

GREG - (CONT’D)Fine.

He stands and makes for the door.

GIBBSMister Farrell -

He doesn’t wait.


GIBBS (CONT’D)Mister Farrell, please -

Greg opens the door to leave, the receptionist appears with his coffee... he barges past her.

GREG -I’ll have that to go.

We hold a beat on Marie.

MARIEThere were reasons.

CUT TO:

INT. GREG’S CAR. MEDIATION OFFICE CAR PARK - DAY 4. 13:15.33 33

Greg in his car, in the car park, punching the steering wheel, in sheer frustration.

He calms down.

CUT TO:

INT. PIZZA JOINT - DAY 4. 18:00.34 34

Greg has taken Liam, Laura and Molly for a pizza meal. This type of place is supposed to be ‘a treat’, ‘happy family time’, but whilst the kids chat/argue with one another, Greg stares across at another family opposite - they have a mother and father, they look happy. And it emphasizes his loneliness. The kids argument gets more heated but he can’t bring himself to intervene...

CUT TO:

INT. FAMILY HOUSE. MOLLY’S BEDROOM - NIGHT 4. 19:20.35 35

Greg reading MOLLY a bedtime story. Kissing her head as he tucks her into bed...

CUT TO:


Greg watching TV alone. He swigs from a beer bottle. Laughter track can be heard from the TV, but his expression doesn’t change.

CUT TO:



Greg lying alone in bed. Big empty space beside him. He stares at the ceiling. There is a strange-shaped stain up there - brown and in the shape of Australia.

Hold on his face, lonely.

HARD FLASH TO:

INT. FAMILY HOUSE. GREG’S BEDROOM - FLASHBACK 2015 - 38 38

NIGHT D. 23:15.

Greg and Marie both staring up at the stain, it is a moment of remembered intimacy between them...

MARIE(amused)

Australia?

GREG -Yes, look - it’s even got a little Tasmania at the bottom -

She laughs.

GREG - (CONT’D)I might paint on a New Zealand.

MARIEWhy stop there, do the whole globe -

GREG -That’s a great idea - ceiling atlas, and I can make Ireland three times its normal size...

She smiles. And in that moment they are the couple that got married, enjoying each other’s company.

HARD CUT TO:


Back on Greg, and the brown stain. He rolls over and we hold on his face as another memory enters his brain.

FLASH TO:

INT. FAMILY HOUSE. GREG’S BEDROOM - FLASHBACK 2015 - 40 40

NIGHT E. 21:32.

Marie wedged into a corner of the bedroom, shaking, make up smeared. Yelling straight at us -


MARIEOne day, that’s all I ask - one bloody day to myself - but no, I can’t have it can I, I might as well be in fucking CHAINS.

End flash with the word ‘chains’ echoing...

CUT TO:


On Greg, a darkness to his expression.

CUT TO:


Greg sitting up, early hours, laptop open, reading the DATING PROFILES of women. But it is just face after face after face. It’s crushingly depressing.

He closes the laptop and folds over the table, laying his head down on his arms.

CUT TO:

INT. FAMILY HOUSE. LANDING/LAURA’S BEDROOM/LIAM’S BEDROOM 43 43

- DAY 5. 08:00.

Greg, brave face on now - father mode - as he zips round the house, flinging doors open, getting everyone up -

GREGLaura - time for school.

Out, and along to...

GREG (CONT'D)Liam - get your arse out of bed.

CUT TO:

INT/EXT. FARRELL MOTORS - DAY 5. 12:06.44 44

80s music banging out.

Greg working under the bonnet of a car, when Brenna’s sandwich van sweeps into the forecourt.

She has her window down and yells across -

BRENNAGregory Farrell - which of my goodies would you like in your mouth today, and keep it clean...


She laughs.

And despite himself, GREG laughs. She is brash but has a likeable energy, and puts a smile on his face.

He catches sight of Liam shaking his head, disapproving. Which seems, perversely, to motivate him...

He moves across to Brenna, and whispers to her -

GREGWhen can I see you again?

CUT TO:

EXT. SEAFRONT - NIGHT 5. 21:08.45 45

Greg’s car parked at the edge of a small dirt road by the seafront - the city can be seen across the water.

The car is moving slightly, to the rhythm of shagging bodies.

CUT TO:

INT./EXT GREG'S CAR/SEAFRONT - NIGHT 5. 21:09.46 46

Greg and Brenna - pants round their ankles, shagging for all they're worth. Going for it like teenagers.

Suddenly from outside - the noise of another vehicle.

GREGWhat's that?

BRENNANothing, don’t stop -

GREG(stops humping)

Sshhh.

Greg wipes a tiny hole in the condensation and peers out. An area POLICE CAR is doing a U-turn at the end of the road.

GREG (CONT'D)Shit. It's the cops.

BRENNA(laughing)

Get your head down.

Greg slumps to his knees and tucks his head down below the window line.

BRENNA (CONT'D)While you’re down there.


She bursts out laughing, giddy. Greg tries to shush her. But it makes her worse.

GREGAre they coming?

BRENNAI wish I was.

GREGBrenna, have a look -

Brenna peers up until she can just see out of the window.

From her POV: The POLICE OFFICER in the police car looking directly at her.

Brenna starts winding the window down.

GREG (CONT’D)(panic stricken)

What you doing?

BRENNA(to copper)

It's alright officer, I'm not charging him for it.

TOMMYAlright, let's see your friend.

Greg slowly raises his head. The COPPER smiles.

TOMMY (CONT’D)Alright Greg.

GREG(bit embarrassed)

Tommy.

TOMMYActually, I'm glad I've seen you. Can you fit the Astra in on Tuesday. Gearbox is playing up again.

GREG What's up with it?

TOMMYSticks in third. It’s driving me mad, so it is. And the missus is getting tired of me using hers.

On Brenna - don't mind me!

GREGYeah, no problem, just bring it in. We'll sort it out.


TOMMY You’re a gent, Greg.

(wry smile)Right, I'll leave you to your... conversation.

COP CAR pulls away.

Greg and Brenna look at each other, piss themselves laughing and snuggle up in the back of the car.

CUT TO:

EXT/INT. BRENNA'S HOUSE/GREG'S CAR - NIGHT 5. 21:49.47 47

Greg's car pulls up outside Brenna's house on the run down Cleary Estate. Greg leans in and kisses her.

BRENNA(as they kiss)

Come in. Come on, come in.

GREG(still kissing)

The kids’ll wonder where I am.

BRENNAI'll set the alarm... you could be home before they even get up.

GREGMolly sometimes comes in, she’d be scared witless if I wasn’t there.

She puts her hand inside his shirt.

GREG (CONT'D)(flirty chuckle)

You are a bad influence.

BRENNAI know.

He looks across at her house, perhaps a little anxious.

GREGWhere’s your husband?

BRENNAAWOL. Haven’t seen him since the night he tried to rearrange my face. This is how it goes with Garry, he’s like the pissed Pimpernell.

She laughs...


GREGListen, Brenna, about all this -

BRENNA(raises a hand)

Stop! Before you say anything, let me speak -

He concedes.

BRENNA (CONT'D)It’s a bit of fun. We’re both adults, we both need some company - I’m not looking for anything and I’m sure as hell you’re not...

He smiles, relieved.

CUT TO:

EXT/INT. MARIE’S HOUSE/GREG’S CAR - NIGHT 5. 22:13.48 48

Greg sits in his car looking at the same house we saw at the top of the episode...

It’s dark outside, cold, street lights illuminate this suburban street.

The curtains are drawn in the house, but lights are on inside...

Greg just stares at the house...

He would love to have the strength to go and knock on the door, but he remains rooted to the spot...

GREG. Fighting big emotions.

CUT TO:

INT. FAMILY HOUSE. LIVING ROOM - FLASHBACK 2003 - NIGHT B. 49 49

23:02

Fleeting images, stylised. E.g, Two bodies, dancing... in a living room...

CUT TO:

INT. FAMILY HOUSE. HALLWAY/STAIRS/LANDING - NIGHT 5. 22:35.50 50

Greg arrives home to an empty house, the kids are in bed. And there is a loneliness to this.


But as he moves towards his bedroom, he can hear the sound of music playing from upstairs, really quietly - and Laura talking to somebody. He heads up...

CUT TO:

INT. FAMILY HOUSE. LAURA’S BEDROOM - NIGHT 5. 22:36.51 51

He knocks on Laura’s door. She quickly ends her conversation ‘Gotta go’ and calls ‘come in’. He tentatively enters her domain. She closes her laptop. Slightly guilty.

GREG I thought you’d be asleep.

LAURAI’m just about to.

GREGTalking to someone -

LAURASkype. Caroline - about the holiday...

Is that a lie? Laura’s a terrible liar. Greg lets it ride, he turns, about to go, when... he stops, turns back to her.

GREG I spoke to your mum the other day. She said you’d seen her.

Laura blushes.

LAURAI was gonna tell you -

GREGIt’s alright, I’m not upset. She’s your mum, you’re allowed to see her if that’s what you want -

LAURAWe had lunch a couple of times...

GREGRight, okay...

LAURAI just didn’t want the others to know. Especially Liam...

GREGI understand. But you should have told me, because me and your mum have things to work out -

Silence. He struggles.


GREG -Has she told you anything... about why she’s doing this?

LAURA(shrugs -)

She says she needed some space - says she felt she was -

GREG -Drowning?

They stare at one another.

GREG - (CONT’D)She’s your mum - why would she need space...


LAURAI think she misses us.

On Greg.

GREG I worry... that’s all...

(can barely admit to this)

...about you seeing her...

Hold that look again, they both know what he is saying.

LAURADad -

(moves to him)

GREG I’m sorry, forget I mentioned it.

LAURAI’ll always want to be with you -

Greg nods, manages to hastily reinstate strong father mode, the solid rock of the household.

GREG I’m not asking you to take sides, Lo, just let me know if you’re seeing her, okay...

She nods. Greg is about to leave, when Laura remembers... she goes to a drawer and produces KEYS.

LAURAShe’s going away. Some kind of holiday - not sure where. Or who with... I offered to feed her fish...


On Greg, staring at those keys.

GREGThat’s fine.

He smiles, Laura smiles. Lovely moment. And then, his mobile starts to ring. He checks the display: BRENNA.

Strange, so late. He answers, jokily.

GREG (CONT'D)I told you no.

BRENNA (V.O.)(urgency to her voice)

He’s gonna kill me. I’m locked in my bathroom. He’s trying to kick the door in, listen -

And there is indeed banging.

GREGCall the police.

Laura hears this line, with alarm.

BRENNA (V.O.)And what will they do, he’ll say it never happened...

GREGJesus, Brenna - where’s your kid?

BRENNA (V.O.)In here with me.

More banging, Brenna screams.

BRENNA (V.O.)Please Greg, you have to help me. I’ve never seen him like this...

GREGI’m on my way.

He heads downstairs.

LAURAWhat is it?

GREGI’ve got to go out.

LAURAWhere you going?

GREGBrenna’s in trouble. I’ll be back soon -


LAURADad... don’t get involved. Don’t be putting yourself in danger...

He doesn’t stop.

LAURA (CONT'D)Be careful.

CUT TO:

EXT. FAMILY HOUSE - NIGHT 5. 22:39.52 52

Greg scrambling into his car, his mobile pinned to his ear, but now it is just ringing out.

GREGAnswer. For God’s sake, Brenna, answer...

It kicks into answer machine.

CUT TO:

EXT/INT. BRENNA’S HOUSE/STAIRS/BATHROOM - NIGHT 5. 22:51.53 53

Greg’s car screams up outside Brenna’s house. He immediately notices that the FRONT DOOR IS WIDE OPEN.

Phone still to his ear, he dives out of the car - grabs a TOOL or CAR JACK from the boot as a potential weapon - and dashes across to the house. He steps inside the open door.

GREGBrenna... Brenna - hello -

No reply.

Greg scans around. He makes his way slowly up the stairs.

What is he going to find here...?

GREG (CONT'D)I’m coming up... I’ve got a weapon...

Silence.

He reaches the top of the stairs. There are three doors, all of them closed. What now...

GREG (CONT'D)Hello -

(beat)Brenna? It’s Greg.

(beat)Bren - are you okay?


Suddenly the BATHROOM door bursts open, Greg braces himself... but Brenna flies out, make-up smeared...

BRENNAThank God you’re here.

She wraps her arms around him. Greg, eyes everywhere.

GREGWhere is he?

BRENNAGone, I think. But I was too scared to come out...

From behind her, out of the bathroom, a young boy appears. This is her son, 10-year-old Davey.

DAVEYCan I go back to bed now?

Which seems odd to Greg, his lack of fear, his lack of any kind of trauma from this incident.

Greg smiles at Davey. But Brenna refuses to release his embrace.

CUT TO:

INT. BRENNA’S HOUSE. BRENNA’S BEDROOM - NIGHT 5. 22:55.54 54

Brenna’s bedroom. She sits on the edge of the bed, smoking. Greg sits beside her.

GREG You can’t stay here, Brenna. What if he comes back?

BRENNAWhat’s the alternative?

GREGCan you not stay at your mum’s?

BRENNAAnd have him kick her door down?

GREGThen, a friend’s...

She shakes her head. Greg makes a decision.

GREG (CONT'D)Fine, then you’re coming to my place.

BRENNADon’t be ridiculous.


GREG(playing protector role)

I’m not leaving you here alone. God knows what’ll happen -

BRENNAWe can’t land on you Greg, this is my problem, not yours.

GREGCouple of days, til we work something out. Pack a bag.

BRENNA(secretly delighted but protesting like it’s not viable)

Where will we sleep?

GREGYou in with me, your boy on the couch. In fact we’ve got a Z-bed, he could go in with Liam.

BRENNAAre you sure this is okay?

GREGYou’re coming.

She looks at him sideways, smiles.

BRENNA My knight in shining armour.

GREGJust don’t tell him where I live.

She kisses him, then springs to her feet.

BRENNAI’ll go wake Davey.

We stay on Greg, shrugging off his doubts...

CUT TO:

INT/EXT. GREG’S CAR/ROAD NEAR BRENNA’S HOUSE - NIGHT 5. 55 55

23:05.

Driving through the deserted night time streets. Greg and Brenna in the front, Davey in the back, staring out of the window, completely unfazed. The sort of kid who is used to the unexpected and has learned to roll with it.

GREGYou alright Davey?


DAVEYAye -

Greg drives, turns to Brenna and smiles.

And we see a glimpse of vulnerability in her - a woman for whom struggle has been a way of life. And for a fleeting moment, she feels safe, protected.

CUT TO:

INT. FAMILY HOUSE. HALLWAY/LIVING ROOM - NIGHT 5. 23:15.56 56

GREG enters the house with Brenna and Davey and their bags. LIAM and LAURA are sitting up for him.

LIAM(springs to his feet)

What the hell’s going on, we’ve been calling you -

LAURAWhy didn’t you answer your phone?

GREGEverything’s fine.

LIAMDoesn’t look like it, what are they doing here?

Liam is eyeing their bags.

GREGStaying with us for a few days. They’ve had a bit of bother -

LAURAWhat kind of bother?

GREGIt’s nothing -

LIAM(not being treated like a kid)

What happened?

BRENNAGreg, I told you this wasn’t a great idea -

LIAMNo, you’re right, it isn’t.

(his twitch kicks in)

GREGCan everyone just calm down.

LIAMThen tell us the truth.


Greg clearly doesn’t want to do that - he always wants to protect them from it, but Brenna has no such woes.

BRENNAYou want the truth, my husband’s a violent prick - he likes to try and kill me. I called your dad because he’s a good man and there aren’t many of them around.

GREGThis was my suggestion, coming here; couple of days -

BRENNALook, if we’re not wanted...

And she makes a dramatic turn on her heel, pushing Davey out of the door. Greg moves to stop her.

GREGNo, Brenna, Bren...

She stalls.

GREG (CONT’D)This is my house and I say what happens. You’re staying.

(he turns to Liam)Right?

Liam reluctantly accepts.

GREG (CONT'D)(to Laura)

Right?

LAURAIf you’re really in trouble -

She smiles.

GREGRight, then we’re all good. Davey - you’re in with Liam. Let’s get some beds sorted out, it’s late.

Brenna likes his assertiveness.

CUT TO:


Greg and Brenna having sex. Brenna giving quite a vocal performance. Greg whispers to her -


GREGBren, I’m flattered, trust me, but... can we turn the volume down a bit -

BRENNADon’t. Stop.

She slams her hand in her mouth. Greg pumps away. They laugh...

CUT TO:


Breakfast. Everyone is eating, getting ready for their day. The room has a strange atmosphere, no one feels at ease.

Molly, who wasn’t present when they arrived last night is staring at Davey, like an alien has landed in their home.

And Greg is all too aware of this.

GREG(to Molly -)

Davey goes to the same school as you, don’t you Davey -

Davey nods.

GREG (CONT'D)He’s in year five.

Molly nods.

GREG (CONT'D)Have you ever seen each other?

They look at one another, don’t know.

GREG (CONT'D)I don’t suppose you’d remember.

Beat.

GREG (CONT'D)How did you sleep Davey?

DAVEYGood.

GREGLiam’s snoring bother you?

DAVEYNah.

GREGWhat about his farting?


Which almost gets a smile. Liam scowls. Greg looks across at Brenna, this is hard work.

CUT TO:


They exit the house and head towards the car, Greg scooping up his mail as he leaves. Brenna links arms with Greg.

BRENNALook, we none of us know each other. It’s bound to be strange. But as my grannie used to say, ‘food fuels friendship’. Tonight I’m cooking a meal. We’ll sit, eat, talk, and by the end of the night there’ll be no more awkwardness. Trust me -

CUT TO:

EXT. BELFAST - NIGHT 6. 18:00.59A 59A

Night falls over Belfast.

CUT TO:

INT. FAMILY HOUSE. KITCHEN - NIGHT 6. 18:1060 60

Meal is served, and it’s impressive. Everyone is gathered at the dinner table as Greg gets everyone drinks.

GREG Wine or beer, Brenna -

BRENNAWine for me, and don’t be skimping...

He pours for her.

GREGLiam?

LIAMNah, I'm alright.

GREGHave a drink.

LIAMI'm alright!

GREGLaura?


LAURABit of wine.

He pours her some, she is delighted.

GREGDavey, wine or beer?

DAVEYBoth, in the same glass.

They laugh.

BRENNAHe’ll have lemonade.

GREGComing up.

Greg exits for the lemonade. An awkward moment hits the room. Everyone sits silently. Laura looks at Brenna and forces a smile. Brenna glances at po-faced Liam.

BRENNA(to Laura, woman to woman)

So, how's your love life going?

LAURAAlright, yeh. Got my eye on a couple of people.

BRENNAAnyone special?

LAURA(lying, or trying to find something to say for conversation)

Well, there's this boy I fancy, Rory, but I'm just, you know, waiting for the right moment -

BRENNAYou don't wanna wait too long. Secret for you - men like women who get on with it. Ask your dad.

Laura pretends to accept the wisdom of those words.

BRENNA (CONT'D)(turns to Liam)

What about you?

LIAM(not biting -)

What about me?


BRENNASeventeen. You should be out there, putting it about.

LIAMWho says I’m not?

BRENNAMe, I can tell. No wonder, working in his place with a bunch of fellas, you wanna get out with Dex, he’s never short of admirers.

LIAMI’ll bear that in mind.

BRENNAYour dad says you packed in college -

LIAM(reacts swiftly)

I didn’t pack it, I didn’t get the grades.

(his twitching visible)

Right on cue, Greg walks back in. Liam shoots evils.

GREGHe’s thinking of resitting, aren’t you - next year.

LIAMNo, you’re thinking of that. I’m happy earning a wage -

GREGYou didn’t wanna be a mechanic Liam. He’s only doing it because he missed out on college.

LIAMAnd why was that, I wonder...

Liam looks accusingly at his father.

GREGIt wasn’t the best time, I know. Which is why you should give yourself a second chance.

LIAMAnd be mister saddo, two years older than everyone else -

GREGThis is your future, Liam. Don’t piss about with it -


We see a sharpness to Greg, a man who likes control. A man who thinks his word in his family should matter.

Liam turns away, doesn’t wanna hear it. Greg gives Brenna a look - kids! - and she rubs his arm. They smile.

Greg raises his lager.

GREG (CONT’D)Right then. To us all. And getting to know one another. Cheers.

Everyone does a cheers. Liam holding up nothing.

CUT TO:


Post dinner. Molly is playing a game on the Wii, Davey stares at her enviously. Music plays from the stereo (something high energy that Brenna has put on, 80s). Brenna, Greg, Liam and Laura sit on the sofas.

Brenna is pissed and on a roll (she is someone who when she drinks, drinks a lot - and talks to match).

BRENNAAll I'm saying is, all I'm saying is this. Young people now don't know how to enjoy themselves. You see 'em moping around as if they've been shat on from a great height. It's not healthy -

(she points to Liam)Your generation don't know how to have a good time.

LIAMBollocks.

BRENNAIt's not bollocks, not bollocks, it's right this. I'm right aren't I Greg? Tell me I'm not right.

LIAMYou're not right.

GREG(light, playing along)

She might have a point.

BRENNAThis is right this is, you don’t see it the same. I know what I was like at seventeen, and it wasn't like him. Look at him. No girlfriend, face like that -


(pulls miserable expression)

Pulling his plonker on the internet every night.

Laura and Liam share a disapproving glance.

BRENNA (CONT'D)Deny it if you want but your dad’s been on your history page.

She laughs.

Greg enjoying her taking the piss out of his kids.

GREGLighten up.

This should be all good fun, but Liam is getting rattled. He starts twitching.

GREG (CONT’D)When was the last time we had a laugh like this - smile... SMILE... I dare you... can he... can he...

Liam forces a smile. Greg applauds. Even Laura laughs at this... but then... Liam twitches and...

BRENNAWhat’s with the face thing -

GREG(a warning)

Bren -

BRENNAThe twitch, the tic -

GREG(trying to end the conversation before it starts)

It’s stress, he’s seen the doctor.

BRENNAStress.

(she’s missing the warning signs that this is off topic)

What have you got to be stressed about?

GREGBren.

He shakes his head, stern - ‘leave it’.


BRENNAYour mum left, it’s crap. But life goes on.

GREGThey’ve had it pretty rough.

BRENNAHaven’t we all.

This is awkward territory, everyone starting to tense up...

BRENNA (CONT’D)My answer to the pain of life -

(holds her glass up)There’s nothing that a few brandies and a good boogie won’t solve, tell me I’m wrong -

LIAMYou’re wrong.

BRENNA(from nowhere, to Liam)

You tried E? Ketamine?

That throws Liam.

LIAMNo.

BRENNALiar.

LIAMI haven't.

BRENNA(to Laura)

'Bout you?

GREGShe’s fourteen.

BRENNAExactly, fourteen, seventeen, stop treating them like babies.

LIAMBig fan of drugs then are you?

BRENNAI’ve done my share - in my youth. Party drugs. For dancing.

Greg is uncomfortable, he’s clearly never touched a drug in his life. And doesn’t want his kids doing either.


BRENNA (CONT'D)I was gonna get some coke for your dad, but I was worried his heart wouldn’t hold out.

She gets up to dance and urges Greg to join her.

GREG(no longer amused)

I’m good with this.

He stands, waggles his empty glass. Heads for the kitchen. Has a face on.

As he leaves, Liam allows himself a small smile. Which irritates Brenna. She follows Greg.

CUT TO:

INT. FAMILY HOUSE. KITCHEN - NIGHT 6. 18:58.62 62

Greg pretending to be fixing himself a drink as she enters behind him. He ignores her a beat then turns with -

GREGThey’re my kids.

BRENNAAnd?

GREGAnd nothing. Just that. You’re out of order.

BRENNA(confrontation her natural first instinct)

‘Out of order’ -

GREGTheir mum left. They’re still hurting - whether you think that’s right or wrong - they’re not past it. So I look after them, right - keep them safe - not ‘cause they’re babies, cause they’re my kids.

Hold their look. Which way will she go? Hard to tell - she could blow up on him, BUT... she nods.

BRENNASorry. Pissed. Trying too hard to be fun...

Hold their look. He smiles, motions her. She goes to him and they embrace. Kiss.

CUT TO:



Brenna fast asleep, snoring through drinking so much booze. Greg lies awake next to her. He looks at her...

His thoughts pondering his situation.

He peels out of bed.

CUT TO:

OMITTED64 64


Greg flicking through his LPs, he finds what he is looking for. He places a needle carefully on a track.

Greg takes a seat. And we go close on his face. And then, something magical happens...

Totally contradicting the realist style we have so far established, the living room comes alive...

With memories.

CUT TO:

INT. FAMILY HOUSE. FLASHBACK 2003 - NIGHT B. 23:02.66 66

First, a party. With Greg and Marie in the middle, dancing with other couples...

BACK ON:


Back on Greg, remembering.

CUT TO:

INT. FAMILY HOUSE. LIVING ROOM. FLASHBACK 2001 - DAY F. 68 68

11:20.

Then we lay on the floor, Greg and Marie with a two-month-old baby between them. The joy of new parents.

BACK ON:



CUT TO:


INT. FAMILY HOUSE. LIVING ROOM. FLASHBACK 2007 - DAY G. 70 70

16:15.

Then we are on them chasing each other around the living room. Greg, Marie and two kids - a young Laura and Liam. Some sort of fun game, playing tig or whatever, just mucking around...

Marie laughing, close on her beautiful face, just laughing.

BACK ON:



CUT TO:

INT. FAMILY HOUSE. GREG’S BEDROOM/LANDING - FLASHBACK 2017 72 72

- DAY 1. 16:15.

And finally, we are on Greg, the day she left - frantically checking Marie’s empty wardrobe, going through her drawers. Panic rising.

Greg turning to find Molly standing on the landing, confused and shocked.

It is gut wrenching.

BACK ON:



CUT TO:

INT. FAMILY HOUSE. LIVING ROOM. FLASHBACK 2017 - DAY H. 74 74

08:20.

Then the simple image of a father trying to plait his little daughter’s hair. Struggling. Can’t do it.

BACK ON:


Then back on Greg remembering. And we hold on his face, and hold, and hold, and hold...

Music out.

CUT TO:



GREG working alone on a fan belt, it is a difficult job and he is getting frustrated. Across the garage he can see Liam and Dex laughing and chatting away. But instead of calling for help, he struggles on alone.

The belt flips off and Greg whacks his hand.

GREG Bollocks.

He throws his spanner across the garage. As it clatters down, everyone stares across.

Greg starts to peel off his overalls, he’s leaving.

GREG -Get back to work.

He goes.

CUT TO:


Greg’s car screeches up. He flies out, still in something of a rage, and heads for the house.

CUT TO:

INT. FAMILY HOUSE. LAURA’S BEDROOM - DAY 7. 16:27.78 78

Greg strides into Laura’s room and goes straight for the drawer where she showed him the keys.

He delves through but they aren’t there. Without care, he starts to rifle through other drawers and to his surprise discovers Laura’s childhood soft BUNNY COMFORTER.

He stops a beat, jolted by this meaningful reminder of Laura’s youth and childhood.

But he places it back and continues searching until he finds

THE HOUSE KEYS.

Greg slams the drawers closed and goes.

CUT TO:

INT/EXT. GREG’S CAR/MARIE’S HOUSE - DAY 7. 16:41.79 79

This is a drab suburban street, no gardens, just a row of front doors straight onto the street.

Greg looks down at his hand, he is holding the HOUSE KEYS.


He looks back at the house. An internal dilemma for him. A struggle.

Then, he makes a decision...

Greg gets out of his car and furtively, glancing around to make sure he isn’t being watched, hurries across the road towards the house.

As he reaches the door, he stops. Can he... should he... well, he has come this far...

He sticks the key in the door and opens it, almost holding his breath as he feels the door release...

With a sense of inevitability now, he pushes the door open.

CUT TO:

OMITTED80 80

OMITTED81 81

INT. MARIE’S HOUSE. HALLWAY/LIVING ROOM/KITCHEN - DAY 7. 82 82

16:42.

He takes in the hallway of the house. Once white walls - totally bare, tatty.

His eyes scan around - no pictures on the wall, female shoes by the door, some coats on hooks.

He tentatively steps towards the living room door, feeling with every step like a burglar...

He opens the living room door and looks inside.

There is little evidence of children here - this place has an adult feel to it.

But the really noticeable thing is how cold it feels. Emotionally cold. It’s functional - nothing screams ‘home’.

A FISH TANK is the only sign of a personal touch.

Greg moves out of the living room and into the kitchen - all the time his eyes scanning, taking in every last detail - wine glass unwashed, a single stool at the breakfast bar, a small pile of magazines and newspapers, a pinboard with various flyers - the recycling bins days, money off coupons - and a few boring post-it messages.

JUMP TO:


INT. MARIE’S HOUSE. STAIRS/BEDROOM - DAY 7. 16:45.83 83

Feet going upstairs. Slowly. Cautiously. Almost fearful of where they are leading their owner.

Greg’s face - what is he doing? He knows this is wrong, a betrayal of privacy, but he can’t stop himself...

He reaches the top of the stairs and glances at the two doors leading off... one of them is slightly ajar and he makes a quick mental assessment that this is the bedroom.

He moves across, reticent, but somehow needing to do it.

He slowly widens the door to look inside.

The bedroom is slightly warmer than the living room, but it is still stark.

He starts to look around - clothes in the wardrobe, beauty products on the sideboard, washing basket in the corner.

He moves to the washing basket and removes the lid. From inside he produces a BRA.

He holds the bra.

He stares at the bed and the bra - and we

HARD FLASH TO:

INT. FLASHBACK - DAY J. 16:50.84 84

Hard flash to SEX. Snatched glimpses. Two bodies writhing. Then more intimate, loving, fun.

HARD CUT TO:

INT. MARIE’S HOUSE. BEDROOM/BATHROOM/STAIRS - DAY 7. 16:46.85 85

The thought makes him want to vomit.

We hold on Greg. And hold and hold. And just watch as this ordinary man fights away those thoughts. He doesn’t cry, he doesn’t despair. He just battles back - tries to remove the dagger from his heart...

But then...

From outside...

THE SOUND OF A CAR PULLING UP OUTSIDE.

Greg tenses, shit.

He surreptitiously scuttles to the side of the window and peers down.


Marie is climbing from the car, with a same age female friend - Nancy. They head towards the house.

On Greg. Fuck, fuck, fuck... Heart pounding. He is a rabbit in the headlights. Literally has no idea what to do.

Can he bolt, does he have time? Hide? What can he do???

Voices from downstairs as they enter.

Greg leaves the bedroom and scurries into the bathroom, he glances through the window, contemplating jumping into the back garden...

We stay on Greg’s terrified face as he listens to the sounds... voices downstairs, can’t quite make out conversation -

On Greg, pleading for them to leave...

But then, footsteps can be heard on the stairs and Marie’s voice shouting up after the friend

MARIEFirst on the left Nancy...

On Greg... no, no...

NANCYThanks - won’t be a sec’.

Greg assesses the jump - it’s too high, and he’d make too much noise... he’ll have to hide... but where... the only option is behind the shower curtain...

Nancy reaches the landing.

We stay on Greg’s terrified face as he listens to the sounds... feet getting ever closer...

He curls as tightly as he can manage. Remains fixed, hardly daring to breathe, behind the shower curtain.

Nancy comes in and jumps straight on to the toilet for a wee - bursting.

We stay on Greg, for what seems like an eternity, as the sound of wee hitting toilet water can be heard. Nancy hums a little song to herself...

And then she is done, she goes to wash her hands. And just as she is finished and heading for the door...

Greg’s mobile bleeps with a text message.

Nancy freezes, turns back. What the...

We stay on her face. And as she moves towards the shower curtain she sees a FOOT in the bath...


She lets out a SCREAM OF SHEER TERROR.

Greg tenses, shit.

Greg flings the shower curtain back.

GREGIt’s alright, it’s okay -

Nancy flees, screaming, she dashes downstairs to where Marie is. Marie alarmed.

Greg trips in his haste getting out of the bath and crashes into the wall.

They hear the noise from downstairs. Nancy is screaming, ‘There’s someone up there...’

Marie, terrified, leads them out of the house. She is already dialling 999 on her phone.

Greg comes pounding down the stairs, he sees the front door open where they have fled and dashes out as quickly as he can...

CUT TO:

EXT. MARIE’S HOUSE - DAY 7. 16:47.86 86

Marie and Nancy are rushing to safety (across the road), mobile to ear, when Marie turns and sees -

Greg standing in the doorway.

She stops dead.

They lock eyes.

Greg makes an apologetic gesture and then, in terror at what will now unfold, starts across to her.

GREGLook, it isn’t what you think -

MARIE(to the friend)

It’s okay, wait here, wait here. I know him -

Greg still making his way across. Marie comes to meet him -

MARIE (CONT'D)Don’t come any further. What on earth are you doing in my house? Look at her, she’s terrified. How did you get in there? Have you lost your mind? -


And throughout this, Greg is repeating an ‘I’m sorry’ mantra. All this played fast/overlapping now...

MARIE (CONT'D)Greg. What are you doing in my house? -

GREGI came to feed the fish, for Laura.

MARIEThat’s crap. What were you doing? Why were you in there?

GREGI don’t know, I don’t know.

MARIEI’m calling the police - this is totally outrageous -

GREGNo, no, please, Marie -

MARIEGet away from me.

GREGDon’t call the police.

MARIEGET AWAY FROM ME.

GREGDon’t call the police.

He grabs the phone from her.

NANCY(calls across -)

Marie - is everything okay -

GREG -Who’s she -

MARIENone of your business -

GREG -(to the friend)

I’m her husband - see - her husband - right - her husband -

Marie is looking at Greg now, worried about his state of mind, feelings of guilt rising...

MARIEShe’s a friend, new friend - please can I have my phone -


GREGJust let me talk to you.

MARIE(takes the phone)

Greg - I think you should go -

GREGPlease Marie -

(in mitigation)I just needed to look around, okay. See what kind of life you had... see if -

(can barely admit it)There was someone else.

Marie fighting her upset, seeing what she has done to him.

GREG (CONT’D)I miss you. I wanted to see what you had left me for... that’s all... I’m sorry...

MARIEPlease go...

GREGMarie - listen to me, listen to what I’m telling you -

She can’t, needs to protect herself, starts to walk away.

GREG (CONT'D)You’ve broken my heart. You’ve broken your kids’ hearts -

She stalls...

GREG (CONT'D)We need you. We need you so much. Whatever I did, whatever was wrong - I’ll put it right.

(but she is shaking her head...)

Please, please Marie - we’ve history, we’ve got nineteen years - that can’t count for nothing. All this -

(he motions to the house)

Whatever it is you think you’ve got here - ‘single life’, ‘freedom’ - it’s not real, it’s not...

(tails off, choking up)In a couple of years you’ll wake up and wonder what the hell you’re doing - and by then it’ll be too late. The kids, Marie - you’re losing your own kids...


She is vehemently shaking her head. Total denial.

GREG (CONT'D)Oh for God’s sake, wake up and see what you are doing...

MARIEPlease, just GO HOME -

GREGI love you.

She stares at him, torn, in agony, only just holding herself together.

GREG (CONT'D)Every day since you left there’s been a hole. And it hurts. It really hurts... and I can’t imagine a day when it will hurt any less...

NANCY(feels for Greg but -)

I think you should leave her alone -

GREGStay out of it -

Nancy feels terrible for him as Greg ploughs on with Marie.

GREG (CONT’D)I’m begging you. We can get past this - we can put this all behind us, if you’ll just come on home...

They are both looking at him now.

GREG (CONT’D)Your children love you - and they want you in their lives. And for you to walk back through that door and be their mother again...

He cracks. Because he can see he is making no impact. He has laid himself bare and got nowhere for his efforts.

MARIEI’m sorry.

Marie motions to Nancy and they set off across the street to her house... Nancy shocked at Greg’s tears.

Marie fighting back tears.

They leave Greg standing there alone.


He is a broken man.

CUT TO:

OMITTED87 87

OMITTED88 88

INT. FAMILY HOUSE. HALLWAY/LIVING ROOM/KITCHEN - DAY 7. 89 89

17:45.

Greg walks into the family house. There is a chaos of noise as a stereo blasts out. He follows the noise through to the living room, where he finds Molly and Davey playing Wii Dance - really enjoying themselves.

Laura, in the chair opposite, does her homework.

Greg just stares at this picture a moment. He then heads through to the kitchen where Liam is busy cooking some dinner, totally immersed in it.

GREGAlright -

LIAMThis’ll be ready in ten minutes if you wanna get a shower.

Greg nods his thanks.

LIAM (CONT’D)By the way, I’m out tonight -

Greg acknowledges that, rare event. He’s pleased for his son. Smiles, great.

GREGHave fun.

LIAMI will.

(no twitching)

Greg turns and heads towards the stairs.

CUT TO:

INT. FAMILY HOUSE. GREG’S BEDROOM - DAY 7. 17:46.90 90

Greg enters his bedroom, where Brenna, is sitting at the dressing table doing her make-up (post shower).

BRENNAHiya gorgeous - good day?


GREGAh - the usual.

He perches on the edge of the bed and starts to peel his boots and socks off.

BRENNAListen, I spoke to housing today, explaining my circumstances and they’re putting us on the list for a new place - in the meantime my cousin has said there’s a room at her place if we need it, it’s a bit of a squeeze, but at least we’ll be -

GREGForget about it.

She turns to him, quizzical.

BRENNAHow do you mean?

GREGForget about it.


GREG (CONT'D)Just stay here as long as you need.

BRENNA...but...

GREGGive me one good reason why that’s a bad idea -

He looks at her. She smiles. Then she springs to her feet and launches herself at him for a cuddle.

She kisses his face and cuddles right up to him on the bed. But we hold on Greg... knowing this isn’t right. Knowing he is reacting to his own abandonment...

... and yet, unable to stop himself...

But as they do... we roll into a flashback...

CUT TO:

INT. FAMILY HOUSE. GREG’S BEDROOM - FLASHBACK 2013 DAY L. 91 91

07:28.

Greg, post shower, in this very room. Door opens.

He reacts to a presence coming this way, turns to see


Marie coming at him with fists (we might notice a pregnancy tester clutched in one of them)

MARIEYou lying prick. You lying fucking bastard...

She rains hits down on him and he takes it until she is spent. The pregnancy test drops to the floor.

They both stare at it.

Marie collapses to the floor in tears. Like life has bestowed her some terrible, terrible burden.

Hold on Greg. The trace of a smile...

Hard to black.

END EPISODE ONE


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