by Gary Kittle
SEAN tries to shush his sister when CHRIS suddenly snaps awake. He looks frightened/disorientated and lashes out at his son with the back of his hand, sending him sprawling across the carpet. ANNABEL stands frozen in shock, eyes wide and mouth agape. CHRIS swears and rolls over back to sleep.
SCENE 22) (FLASHBACK) EXT. Day. The two children walking to school.
ANNABEL:
Why are we walking to school, Sean?
SEAN:
Mum's having a lay in.
ANNABEL:
Has Dad gone to work early?
SEAN:
No.
(BEAT)
You need to stop hassling Mum all the time. She's got enough on her plate.
ANNABEL:
Is she on a diet?
SEAN:
No, silly. But she's got enough to worry about with Dad.
ANNABEL:
What's wrong with Daddy?
SEAN:
I don't know.
ANNABEL:
Eve at school thinks he's lush.
SEAN:
What?
ANNABEL:
She said, 'Your Dad's lush!' Then when I laughed, she laughed too.
SEAN (SIGHING):
No, Annabel. You misheard her. A lush is someone...
SEAN looks away from his sister with tears in his eyes.
ANNABEL (THOUGHTFULLY):
Does lush mean you fall over a lot and shout?
SEAN looks back at ANNABEL and then gives her a squeeze.
SEAN:
Yes. Mum says it's like an illness.
ANNABEL:
Like flu?
SEAN:
Yes. But you can't catch it.
ANNABEL:
Then how did Daddy get it?
SEAN looks sad and tired. He stares up at the sky.
SEAN:
Mum says he must have accidently drunk from a bottle of poison.
ANNABEL:
But Daddy only drinks out of cans.
SEAN (WHISPERING):
Yes... Yes, he does.
They walk off into the distance, and SEAN takes ANNABEL's hand.
SCENE 23) EXT. Day. Back at the boating lake.
VOICE-OVER (SLURRED SHOUT):
‘What d'ya want? Get outta here!’ That’s what you told them.
VOICE-OVER (WHISPERED):
And two days later they did. Remember? Thanks to that backstabbing bitch!
SCENE 24) (FLASHBACK) INT. Day. Living room.
KAREN puts a folded note on the coffee table with CHRIS's name on it. She turns to go, then looks at a photograph of herself and CHRIS happily together. She picks it up and stares at it.
KAREN (WHISPERED):
I know it's a cliché, but....
She places the photograph face down in the spot whence it came. Then she turns and heads for the door, looking determined and brave.
SCENE 25) (FLASHBACK) INT. Day. Hallway, near front door, seconds later.
SEAN and ANNABEL are waiting with their coats on and a bag each on their backs. There is also a large suitcase between them. They stare expectantly at their mother.
ANNABEL:
Where are we going?
SEAN:
Mum, where are we going?
KAREN:
To stay with your Auntie Mary.
SEAN:
In Torquay?
KAREN:
That's right, Sean, in Torquay. Now we have to hurry...
SEAN:
In case Dad comes back?
KAREN looks at her son, irritated, then her shoulders sag and she gives them both a hug.
KAREN:
Daddy's not himself these days...
ANNABEL:
Then who is he?
KAREN (WHISPERED):
I don't know any more, sweetheart. That's why we have to go. Until he finds himself again.
ANNABEL looks concerned.
ANNABEL:
Are we taking the car, then?
KAREN:
Yes, we have to. It's a long way to Torquay. Why?
ANNABEL:
It's got satnav. How will Daddy be able to find himself without it?
KAREN's face crumples into despair and she buries her head between her children, who do their best to console her.
SCENE 26) EXT. Day. Back at the boating lake.
KAREN fiddles with the boat's radio transmitter to no avail.
CHRIS:
Trying to protect the children doesn't make her a bitch.
(BEAT)
But neglecting them makes me a bastard.
VOICE-OVER (SLURRED):
What! You're actually defending her? Priceless! I don't think much of this rehabilitation lark, I can tell you. Sounds like you've had to give up your manhood, too. Not that there was much man-action in those last few months as I recall.
SCENE 27) (FLASHBACK) INT. Night. Living room.
CHRIS stumbles in and sees KAREN's note waiting for him. He snatches it up shakily and reads. His face flushes with anger and indignation.
CHRIS:
No! Don't leave me! Not now. Not like this.
CHRIS crumples up the paper sheet and lurches for the door.
SCENE 28) EXT. Day. Back at the boating lake.
CHRIS:
I'm more of a man than you'll ever be.
VOICE-OVER (SLURRED):
Oh, really! So what's that you've got in the bag, then, Chris, sweeties?
SCENE 29) (FLASHBACK) INT. Earlier that day. A kitchen.
KAREN is talking on the phone. There are tears on her cheek and she stands uncomfortably, swaying slightly.
KAREN:
...I know you have, Chris. But it's a bit sudden. Sean still needs time to come to terms with the fact that you're better now. He's still very angry. And Annabel's been wetting the bed every night up until...
(BEAT)
What? No. It's not that I don't believe you. If I didn't believe you I wouldn't answer the bloody phone!
(BEAT)
Chris? Chris! Oh, bloody hell!
KAREN drops the phone onto the counter and sobs.
SCENE 30) EXT. Day. Back at the boating lake.
VOICE-OVER (SLURRED):
There's no point in crying over spilt milk. But it's not milk you need to spill right now.
(BEAT)
We both know what's in the bag. Because it's me that puts it there every time.
CHRIS retrieves the carrier and clutches it to his chest.
VOICE-OVER (SLURRED):
See, just being close to it makes you feel better, doesn't it? Like being reunited with an old friend.
CHRIS (WHISPERED):
Yes.
VOICE-OVER (MOCKINGLY):
Good boy!
CHRIS looks over at the woman, who stops - noticing him for the first time. She stares, immobile.
VOICE-OVER (TITTERING):
Any minute now she's going to call the police. More trauma for her litter as they drag Daddy away kicking and screaming...
CHRIS:
You want to watch your mouth.
VOICE-OVER (MOCKINGLY):
Gonna wash it out with soapy water, sailor boy? Is that what's in the bag?
SCENE 31) (FLASHBACK) INT. Earlier that day. A kitchen.
The phone rings and the weeping woman, KAREN snatches it up.
KAREN:
Chris?
(SIGHING)
Don't worry about it. The number of times I've put the phone down on you! You probably owed me that.
KAREN laughs, then takes a deep breath.
KAREN:
Listen, Chris, perhaps you're right. They have to see you again one day and it won't be any easier if it's next week or next year.
(BEAT)
Your brother's told me how well you've done since you came out of the clinic. What..?
(BEAT)
No. Don't. It
's too soon. But yes, of course I've missed you.
KAREN closes her eyes momentarily, as if in pain.
KAREN:
Listen. If you're free this Sunday we'll be at the boating lake around three. You know how much he loves that boat you bought him. And I think Annabel's becoming a bit of a tomboy, too.
(BEAT)
Really? He does? Full time? OK. But if you haven't started, remember: Sunday at three.
(BEAT)
Bye, then.
KAREN terminates the call and smiles to herself.
SCENE 32) EXT. Day. Back at the boating lake.
CHRIS stands with his carrier bag and slowly begins to walk towards his wife. SEAN is still trying to get the boat to work, frustrated. He looks up and follows his mother's gaze. KAREN calls to ANNABEL and she skips over to her mum, looking nervous.
VOICE-OVER (SLURRED GROWL):
What... Where are you going? You agreed this... with her? Behind my back? All this time you had this planned?
CHRIS keeps walking, leaving the bench behind him.
VOICE-OVER (SLURRED SHOUT):
You don't love her! You wouldn't go near her if you really loved her! She only wants you because she feels sorry for you. And sorry is exactly what you are.
(BEAT)
Look at her and her perfect bloody kids: Pure as three white sheets. Well you're like a hurricane, you are, and you'll bloody rip them apart all over again, you selfish bastard! What have you got to say to that, then? Hey? Chris? I said...
CHRIS is now over half-way to being reunited with his family and his stride does not falter.
VOICE-OVER (DESPERATE SLURRED SHOUT):
Don't leave me, Chris! Not now. Not like this.
(BEAT)
VOICE-OVER:
Don't leave me... alone!
In the distance CHRIS has reached his family. They talk awkwardly for a few moments. KAREN gives SEAN and ANNABEL a reassuring hug. The voice-over is crying.
VOICE-OVER (WHISPERED):
Please, don't...
CHRIS reaches into the carrier bag and pulls out two packages in coloured wrapping paper. ANNABEL says something.
SCENE 33) EXT. Day. Down at the edge of the boating lake.
CHRIS:
What is it, Annabel?
The girl stares, holding her present limply.
ANNABEL:
Did you find yourself, Daddy?
SCENE 34) EXT. Day. Looking down on the boating lake from a distance. The family have lowered the boat into the water. CHRIS's carrier bag has been blown away by the wind.
VOICE-OVER (WHISPERED/CHOKED):
Good luck...
END.
FOILED AGAIN
SCENE 1) INT. Office. Mid-morning.
Three people at their desks: two men and a woman. One man is on the phone, looking frustrated.
SEAN:
Listen, buddy. This is serious. They're going to fire you if you miss this hearing. You have to come in.
SUSAN (WHISPERED):
Ground Control to Major Tom...
SEAN:
I know you've got problems, Keith...
SUSAN (WHISPERED):
Yes. The wheel's going round but there's no hamster...
SEAN:
Surely an hour's exposure isn't going to kill you? Listen, I've really stuck my neck out for you down here. If you can't do it for yourself, then at least do it for me.
SUSAN:
Tell him we'll switch everything off while he's here...
HUGH:
And there's some spare Bacofoil in the kitchen.
SEAN:
Say that again, Keith...
SEAN waves his hand for quiet.
SEAN:
What? You'll need protection?
(BEAT)
SEAN:
Listen, come in an oil drum if you have to...
(BEAT)
But you'll come? Yes?
(BEAT)
Great! See you in twenty minutes. Don’t think about it. Just come.
SEAN slams the phone down and lets out a long sigh.
HUGH:
How come he answered the phone?
SEAN:
Landlines are all right, apparently.
HUGH:
Give me strength. You're backing a lame horse, Sean.
SEAN:
A lame horse that happens to be a mate.
(BEAT)
Not that I’m saying he is a lame horse.
HUGH and SUSAN give SEAN exasperated looks.
HUGH:
But you've been to his house. You've seen how bad it is.
SUSAN:
NASA-designed silver sheets over the windows, foil-lined wallpaper...
SEAN:
I know. He's even got his bed aligned with magnetic north.
HUGH:
Well at least that's one bearing he hasn't lost.
SEAN:
He's coming in, that's the main thing.
SUSAN:
Shall I inform the Mental Health Team?
SEAN:
Don't joke about it, Sue. It might come to that.
HUGH:
Do me a favour, Sean.
SEAN:
What?
HUGH:
If I crack up like that, make sure I end up somewhere that does compulsory treatment!
SCENE 2) EXT. Various shots of KEITH travelling in to work, all set to the theme music of 'Terminator'.
(A) KEITH'S naked legs walking along the pavement.
(B)A woman with a shopping bag looks up and quickly crosses the road.
(C)Teenagers pointing and laughing from across the road.
(D)KEITH'S bare feet stop and turn to the right.
(E) A clown is handing out silver balloons to children.
(F) Mothers see the naked KEITH approaching and drag their children away quickly.
(G) KEITH looks the clown up and down, matching him for clothes’ size.
KEITH:
I want your clothes, your boots...
(BEAT)
And your unicycle.
SCENE 3) INT. Downstairs foyer.
SEAN rushes into the foyer and pauses abruptly to stare at KEITH, who has a bunch of silver balloons covering his crutch and a silver skull cap on his head. The receptionist has her hand over her mouth to disguise her shock/laughter.
SEAN:
Protection, right?
KEITH merely nods, his silver cap catching the light.
SEAN:
Don't tell me you came here like that.
KEITH:
I walked. They wouldn’t let me on the bus.
SEAN:
You don’t say.
(BEAT)
Listen, let's just get it over and done with, shall we?
KEITH:
They're going to terminate my employment, aren't they?
SEAN:
Your only hope is to seek psychiatric help.
KEITH:
You think I'm mad?
SEAN:
Not at all. I just don't think silver is your colour.
KEITH:
Today's the day, my friend. Judgement Day.
SEAN:
I know, but...
KEITH:
No. I mean today's the day the world ends. That's why I came in. I wanted to see their faces when it happens.
SEAN:
Well, there are a lot of people in this building who would love to see yours when it doesn't, to be honest. Come on, there's no point in putting this off any longer.
KEITH:
We can't anyway. Judgement Day is inevitable.
SEAN:
Oh, Keith...
SCENE 4) EXT. Fire escape stairwell.
SEAN is slightly out of breath. He stops and turns to KEITH.
SEAN:
Do lifts actually have electro-magnetic fields?
Of course. All electrical devices have an EMF signature.
SEAN:
Only I think these stairs are going to kill me a long time before the lift kills you.
KEITH:
Your humour is good. It reduces tension and distracts you from the catastrophe to come.
SEAN:
So why you? Why can't we all detect this - what's it called - electro-soup?
KEITH:
Electro-smog.
(BEAT)
Because I'm an electro-sensitive.
SEAN:
Do you know how that sounds?
KEITH:
Every time someone sends a text or switches on a laptop or activates Bluetooth it goes through our brains. It never stops. The only difference is, I can feel it.
(BEAT)
KEITH starts rubbing the side of his head.
SEAN:
And it's making you sick?
KEITH:
Look at me, Sean. Do I seem well to you?
They stare at each other for a second.
SEAN:
Come on. It wouldn't do to arrive late for your own dismissal... I mean hearing.
They resume their ascent.
SCENE 5) INT. In the office.
SEAN and KEITH enter the office. HUGH and SUSAN turn to face them.
SUSAN:
I've seen it all now...
HUGH:
Not unless he drops his balloons.
KEITH:
Susan. Hugh. It is Judgement Day.
HUGH:
That's one way to put it...
SEAN:
No, he’s not talking about the hearing.
KEITH (LOOKING UP AT THE CLOCK):
In precisely eight minutes and thirty-three seconds the machines that we rely on for everything will execute their absolute domination of our species.
The phone starts ringing.
SUSAN (SMIRKING):
How can you be so sure?
KEITH (LEANING TOWARDS SUSAN):
I have detailed files.
SEAN:
Come on, Keith. We've got a Hearing to attend.
The phone is still ringing.
SEAN:
Aren't you going to get that?
SUSAN:
Get what?
KEITH:
It has started.
SEAN looks at SUSAN and shrugs.
KEITH:
Asta la vista, Susan and Hugh.
KEITH and SEAN leave the office with the phone still ringing unanswered.
SCENE 6) INT. Small room. A man and woman seated behind a large table.
Knock at the door. KEITH and SEAN enter and sit on the opposite side of the table. There are raised eyebrows and frowns from the panel as the balloons squeal against the table edge.
