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1. INT. INSIDE A CAFE. EVENING

 

 

 

ON SCREEN: 'CARIBBEAN SKIES CAFE, WEMBLEY.'

(WORDS FADE OUT)

 

 

 

[THE PLACE IS EMPTY, DARK AND DESERTED. THEN

A VERY NERVOUS AND AGITATED DOMINIC BAXTER

ENTERS FROM THE BACK OF THE CAFE. HE IS VERY

HEAVILY DISGUISED IN A BLACK BALACLAVA, BLACK

GLOVES, BLACK SHIRT AND JEANS. HE IS HOLDING A

HOLDALL AND FLASHLIGHT. A BLANK CCTV MONITOR

IS ON THE WALL. DROPPING THE HOLDALL, HE THEN

CLIMBS UP TO IT USING THE LADDER LEANING ON

THE WALL.

 

TAKING A PENKNIFE OUT OF HIS POCKET, HE FIDDLES

WITH THE BACK THEN GIVES IT A PUSH, WATCHING AS

IT FALLS TO THE FLOOR WITH A BIG SMASH. HE CLIMBS

DOWN THE LADDER AND GOES TO THE TILL. HE OPENS

IT UP AND SHOVES ALL THE MONEY INTO THE HOLDALL,

AND THEN MOVES OUT OF SHOT]

 

 

 

2. INT. THE KITCHEN. EVENING

 

                                                           

 

[DOMINIC STRIDES UP TO THE SAFE ON THE FAR

WALL. AS HE OPENS IT UP WE SEE FAT WADS OF

MONEY BOUND IN PLASTIC MONEY BAGS AND

RUBBER BANDS. DOMINIC'S EYES THROUGH THE

BALACLAVA SLITS SHOW HOW SCARED HE IS.

HE BREATHES HEAVILY AS HE SHOVES THE WADS

INTO THE HOLDALL BEFORE STRIDING BACK OUT

OF THE KITCHEN, THE FLASHLIGHT SHINING LIGHT

ON THE FLOOR]

 

 

 

 

3. EXT. OUTSIDE A MILITARY BASE. DAY

 

 

 

ON SCREEN: CORPORAL STEVEN GODDARD. CAMP

BASTION, AFGHANISTAN. (WORDS FADE OUT.)

 

 

[SOLDIERS ARE WALKING IN AND AROUND THE BASE

IN THEIR CASUAL ARMY WEAR. CORPORAL STEVEN

GODDARD IS A TALL AND HANDSOME MALE IN HIS

MID-20S. HE IS ALSO DRESSED SIMILARLY TO THE

OTHERS. HE WALKS INTO THE BASE]

 

 

 

4. INT. BED HEADQUARTERS. DAY

 

 

 

 

[THERE IS A LETTER ON HIS BED. HE HAS A BIG

SMILE ON HIS FACE AS HE WALKS UP TO HIS BED,

GRABS THE LETTER. HE SCRAMBLES ONTO THE BED,

AND BEGINS TO READ]

 

 

 

ALLIE (NARRATION): 'Hey babe, hope this e-bluey

reaches you in good health and even better spirits,

darling. I'm counting the days till you're back home

with me, safe and sound. I miss you SO MUCH

and can't wait to see you again…'

 

 

 

STEVEN: I miss you too, babe… Everyday…

 

 

 

ALLIE: 'Say "hi" to all the guys for me, especially

Frenchy. Can't wait to finally meet him at the

'welcome home' parade. Did you get the Care

Package I sent you? Mum says she hoped you

liked the cookies she baked. She's scared that 

you're not eating well and get this, she wants to

fatten you up! Please don't change, babe; I want

you to stay the way you were on the day you

left to go on tour. That day is etched on my mind

forever, Stevie. You looked so bloody gorgeous in

your bright shiny uniform and I couldn't be more

proud of you if I tried – even though I was crying

my eyes out and wouldn't let go of you! Two years

on and it never gets easier to say goodbye. But I am

so very proud of you. And do you know why, Babe?

Because you are doing something you love and truly

believe in and for that – and everyone who knows

you - you are a hero. You're my hero. And I cannot

wait for July 17th 2012 to come around, the day that

I finally become Mrs Allie Goddard…'

 

 

 

[STEVEN IS MISTY-EYED AS HE KISSES THE LETTER

THEN CONTINUES READING…]

 

 

 

5. INT. THE CAFE. EVENING

 

 

 

 

[DOMINIC, WITHOUT THE HOLDALL, PICKS UP A

BASEBALL BAT FROM THE FLOOR AND WITH A

DEEP BREATH, SMASHES THE PLACE UP]

 

 

 

6. INT. A BEDROOM. EVENING

 

 

 

ON SCREEN: 'BOBBIE BAXTER'S HOUSE.

WEMBLEY' (WORDS FADE OUT.)

 

 

 

[BOBBIE IS A VERY YOUNG LOOKING 70 YEAR OLD

WOMAN, DRESSED IN A TASTEFUL PARTY DRESS.

SHE IS AT HER DRESSING TABLE, PUTTING THE

FINAL TOUCHES TO HER MAKE UP. A SHADOWY

IMAGE OF WILLIAM, HER LATE HUSBAND STANDS

BEHIND HER AND WITH A SMILE ON HIS FACE HIS

IMAGE FADES AWAY… BOBBIE LOOKS AT THE CHAIN;

TEARS FLOWING FREELY]

 

 

 

BOBBIE: (MUFFLED VOICE) I miss you so much,

William. This day is so hard without you…But I

have to be strong – for the kids; they went to so

much trouble for me…

 

 

 

[SHE COMPOSES HERSELF AND MOVES OUT OF SHOT]

 

 

 

 

7. INT. THE RESTAURANT. EVENING

 

 

 

[DOMINIC INSPECTS THE CARNAGE HE HAS CREATED.

GLASS AND BROKEN BITS OF THE CAFE'S FURNITURE

IS SPREAD EVERYWHERE. HE DISAPPEARS INTO THE

KITCHEN AND REAPPEARS A FEW MOMENTS LATER.

HE IS NOW WITHOUT THE BALACLAVA. HE IS IN HIS

MID 40S. WITH THE BASEBALL BAT IN HIS HAND, HE

STEELS HIMSELF. HE CLOSES HIS EYES AND MUTTERS

TO HIMSELF SILENTLY. WITH HIS EYES CLOSED AND

HIS FACE CONTORTED IN ANTICIPATION, HE HOLDS

UP THE BASEBALL BAT AND FROM OUR POINT OF

VIEW, IT SWINGS TOWARDS HIM WITH A LOUD,

SICKENING 'CRACK']

 

 

                                                           

FADE TO BLACK.

 

 

 

8. INT. A BEDROOM. EVENING

 

 

 

 

ON SCREEN: 'SETH BAXTER AND DEBBIE CAMERON.

HER FLAT. WEST LONDON.' (WORDS FADE OUT.)

 

 

 

 

[SETH, A HANDSOME MAN IN HIS 50S IS TOPLESS

IN BED WITH DEBBIE, A PRETTY WOMAN IN HER MID

20S. SHE MOVES OUT OF HIS EMBRACE AND LEANS

OVER HER SIDE OF THE BED. SHE HANDS HIM A

SMALL GIFT BAG]

 

 

 

 

DEBBIE: Y'know, it's so hard to buy a birthday gift

for the man who has everything - happy marriage

aside, of course…

 

 

 

[SETH LAUGHS]

 

 

 

 

DEBBIE: …so don't get too excited, Seth.

 

 

 

 

 

[SETH OPENS THE BAG AND IS DELIGHTED AS

HE TAKES OUT AN EXPENSIVE SILVER WATCH]

 

 

 

 

 

SETH: Debs, it's beautiful. Thankyou.

 

 

 

 

 

[HE KISSES HER. SHE FASTENS THE WATCH ON

HIS WRIST]

 

 

 

 

DEBBIE: Don't worry, I didn't engrave it, so she

won't twig it's from anyone other than a business

associate with fabulous taste!

 

 

 

 

SETH: Oh, please, the stupid cow doesn't twig

anything. The sooner I'm shot of her, the better.

 

 

 

[HE CHECKS THE TIME THEN SIGHS HEAVILY]

 

 

 

 

SETH: Sorry, babe, I'd better get going; Mum's

birthday party starts soon.

 

 

 

 

[HE SCRAMBLES OUT OF BED AND GRABS HIS

TROUSERS FROM THE FLOOR]

 

 

 

DEBBIE: Speaking of your Mum, have you figured out

a way to get your Dad's death certificate from her yet?

 

 

 

 

SETH: Not yet, but I will. Dad's land has the potential

to be a veritable goldmine in such a prime location and

Nevis is still a very popular Caribbean hot-spot with

the tourists. I could rake it in, I know I could. It's

gonna take some time, Deb, but as I'm concerned,

that land is mine.

 

 

 

 

[HE'S DRESSED IN A BLUE SHIRT AND TROUSERS. A

BEAT, THEN A MOBILE PHONE RINGS. DEBBIE LEANS

OVER TO SETH'S SIDE OF THE BED AND PICKS UP

THE PHONE FROM THE BEDSIDE TABLE. SHE LOOKS

AT IT, THEN AT HIM WITH A SMILE ON HER FACE]

 

 

 

 

 

DEBBIE: Guess who, lover...

 

 

 

 

[SETH TAKES THE PHONE AND LOOKS AT THE

CALLER ID: "SARA MOBILE". HE KISSES HIS

TEETH AS HE PUTS THE PHONE IN HIS POCKET,

STILL RINGING. HE WALKS OVER TO THE BED

AND KISSES HER]

 

                                      

 

SETH: See you tomorrow?

 

 

 

 

 

DEBBIE: [SMILES] Count on it...

 

 

 

 

 

[SMILING, HE EXITS THE ROOM. DEBBIE TAKES HER

iPHONE FROM THE TABLE. FROM HER POINT OF VIEW

WE SEE HER TYPING: 'SETH NEEDS WILLIAM'S DEATH

CERTIFICATE FROM BOBBIE TO GAIN OWNERSHIP OF

HIS LAND AND BUILD ON IT. WHAT, I DON'T KNOW

YET…. BUT WILL FIND OUT…’]

 

 

 

 

9. INT. A HOUSE HALLWAY. EVENING

 

 

 

 

ON SCREEN: 'SETH AND SARA BAXTER'S HOUSE,

KENTON'. (WORDS FADE OUT.)

 

 

 

 

[SARA, A PRETTY WOMAN IN HER LATE 40S  AND

DRESSED IN A PARTY DRESS HAS A SMILE ON HER

FACE AS SHE READS THE TEXT FROM 'D MOBILE'. WE

SEE THE SAME MESSAGE THAT DEBBIE HAD SENT.

SHE THEN CLOSES HER PHONE]

 

                                                           

 

SARA: So, Seth, dear, that's your little game…!

 

 

 

 

 

10. INT.  A LARGE HALL. EVENING

 

 

 

 

 

ON SCREEN: 'THE ROTARY CLUB, WEMBLEY'.

(WORDS FADE OUT.)

 

                                                           

 

 

 

[THE PLACE IS PARTY-READY WITH TABLES PILED

HIGH WITH FOOD, DRINK AND NIBBLES. AT THE

BACK OF THE HALL HANGS A BANNER WHICH

SAYS: "HAPPY 70TH BIRTHDAY, BOBBIE!" POPPY,

MUSIC IS PLAYING AS VARIOUS MEMBERS OF THE

BAXTER FAMILY ALL PUT THE FINISHING TOUCHES

TO THE PARTY. A CONFUSED NATASHA BAXTER, A

PRETTY WOMAN IN HER EARLY 40S, WALKS UP

TO ONE OF THE TABLES. HER SISTER-IN-LAW

JACKIE GREENE, WHO IS OF A SIMILAR AGE

AND APPEARANCE IS PUTTING CLINGFILM OVER

A PLATE OF SANDWICHES]

 

 

 

 

NATASHA: Jackie, you haven't seen Dominic have you?

I've been calling his mobile for ages but he's not

answering.

 

 

 

 

JACKIE: I haven't, Nat, sorry. But don't worry; he's

probably still working at the Café and has lost all

track of time.

 

 

 

 

NATASHA: I've already tried there but no joy. And I

can't think were else he could be at this time of night.

 

 

 

 

 

JACKIE: Couldn't hurt to check, though.

 

 

 

 

NATASHA: Yeah, you're right. I'll bloody swing for him

if he is there. Bloody workaholic!

                                                           

                                                          

 

 

11. INT. THE CAFE. EVENING

 

                                                           

 

 

 

[DOMINIC IS LAYING UNCONSCIOUS ON THE FLOOR,

AMID ALL THE MESS. HIS FACE IS BATTERED AND

BRUISED AND BLOOD SEEPS SOLIDLY FROM A DEEP

CUT ON HIS FOREHEAD]

 

 

 

 

12. EXT. A STREET. EVENING

 

 

 

 

[MAX THOMAS, EARLY 20S, AND CASUALLY DRESSED,

WALKS UP THE STEPS TO THE FRONT DOOR OF A

HOUSE. HE OPENS IT WITH HIS KEYS AND CLOSES

THE DOOR AFTER HIM. ACROSS THE ROAD IN A CAR

SITS TWO VERY THUGGISH LOOKING MEN, BOTH

IN THEIR 30S. THEY ARE WATCHING MAX AND THE

HOUSE INTENTLY. THE MAN BEHIND THE WHEEL THEN

FLICKS THROUGH A SERIES OF PHOTOS OF MAX AND

HIS TWO OLDER PEOPLE – A MAN AND A WOMAN]

 

 

 

 

1ST MAN: I heard back from Felix. The guns finally

arrived yesterday so it's all systems go.

 

 

 

 

 

2ND MAN: (NODS) Good Man. What about the house

to hole them up in after we've move them?

 

 

 

 

 

1ST MAN: All taken care of. (SMILES) This is gonna be

sweet, bro'. All that money! Cannot wait...

 

 

 

 

[THE MEN LOOK AT EACH OTHER AND SMILE.  THE

1ST MAN STARTS THE CAR AND DRIVES OUT OF SHOT]

 

 

 

 

 

13. EXT. STREET OUTSIDE CAFE. EVENING

 

 

 

                       

[NATASHA PARKS HER CAR ON THE DESERTED

STREET AND EXITS. SHE WALKS TOWARDS THE

RESTAURANT AND PEERS THROUGH ONE OF

THE WINDOWS. SHE GASPS IN SHOCK AS SHE

SEES THE UNCONSCIOUS DOMINIC LYING ON

THE FLOOR AND THE MESS]

 

 

 

 

NATASHA: Oh My God! DOMINIC!

 

                                                           

 

 

[SHE FRANTICALLY SEARCHES IN HER BAG FOR

THE KEYS AND OPENS THE DOOR, LEAVING IT

WIDE OPEN AND RUNNING INSIDE]

 

 

 

 

14. INT. INSIDE CARIBBEAN SKIES. EVENING

 

                                                           

 

 

[SHE RUNS TO DOMINIC, CRADLING HIS HEAD ON

HER LAP AND STROKING HIS HAIR AS SHE  TAKES

HER MOBILE OUT OF HER JACKET POCKET AND

PUNCHES OUT 999]

 

 

 

 

NATASHA: (SOBBING) Please, baby, hang on,

hang, Dom, please! I'm getting help, don't worry,

baby, it'll be alright… Please baby, don't leave me,

please, baby, please… Hello! Ambulance, please!

Hurry! It's my husband…. Please, please, please…

 

 

 

HER WORDS FADE AS SCREEN FADES TO BLACK

 

 

 

 

15. EXT. THE THOMAS’S HOUSE. EVENING

 

 

 

 

[A CAR PULLS UP OUTSIDE THE HOUSE AND A VERY

ANGRY CHELSEA MADDEN, FEMALE, 19, EXITS THE CAR,

CARRYING A BABY'S CHANGING BAG. SHE GOES TO

THE BACK SEAT AND TAKES OUT A BABY CARSEAT

WHERE HER DAUGHTER IS FAST ASLEEP.

 

 

CARRYING BOTH, SHE THEN WALKS UP THE  STEPS

TO THE THOMAS’S FRONT DOOR AND PUTTING DOWN

THE CHANGING BAG AND CARSEAT ON THE STEPS, SHE

BANGS LOUDLY AND REPEATEDLY ON THE KNOCKER]

 

 

 

 

MALE VOICE (O.C): Alright, Alright, I'm coming!

 

 

 

 

 

[A FEW BEATS AND A DISHEVELLED AND TIRED MAX

OPENS THE DOOR. THEN WITHOUT WARNING KELLY

PUNCHES HIM IN THE FACE. HE DOUBLES OVER IN PAIN

AND SHOCK]

 

 

 

 

MAX: What the fu-

           

                                                          

 

 

CHELSEA: So you thought you could pretend to be

dead and I wouldn't find out?! What kind of a stupid,

sick bastard are you?! You disgust me! Do you have

any idea how upset I was to hear you'd been shot

and killed, only to find out it's your 'lovely' way of trying

to wriggle out of being with me and your baby!

 

 

 

 

 

MAX: 'Baby'?! Wh-What?-

 

 

 

 

[SHE CUTS HIM OFF AS SHE TAKES THE BABY OUT

OF THE CARSEAT, AND PUTS HER IN HIS ARMS.

HE HOLDS HER IN AN AWKWARD MANNER AND

TRIES AGAIN TO SPEAK, BUT SHE CUTS HIM OFF]

 

 

 

 

 

CHELSEA: Well, you're sure as hell not wriggling out of it

now! This is your daughter, Marley Roberta Madden-

Thomas. She's named after your Grandmother Roberta

and Bob Marley, just like you wanted, remember?

She's five months old, will be a year old October 21st

and as of this minute, she's all yours. Marley, this git is

your Daddy… Better get used to him, as he's going to

be looking after you from now on…

 

 

 

 

[CHELSEA TURNS AND WALKS DOWN THE STEPS,

LEAVING MAX HOLDING THE BABY]

 

 

 

 

 

MAX: (SHOUTS) Where are you going?! You can't just

leave this kid here! She's not mine!

 

 

 

 

 

[CHELSEA STOPS BY HER CAR AND TURNS TO FACE

MAX]

 

 

 

 

CHELSEA: Oh, but she is, Matthew, she is. Of that I'm

certain. You had fun making her; now enjoy all of the

responsibility that comes with it as well…

 

 

 

 

 

[SHE GETS IN THE CAR. THE PENNY DROPS FOR MAX]

 

 

 

 

MAX: Matthew? That's not me! That's my twin! This

is HIS kid!

 

 

 

 

[NOT HEARING HIM, WE SEE CHELSEA ROUGHLY WIPE

HER TEARS AWAY IN THE REFLECTION IN THE CAR

MIRROR AS SHE STARTS THE CAR AND DRIVES OFF]

 

 

 

 

 

MAX: Bollocks, Matt! What have you done now?!

 

 

 

 

[HE THEN LOOKS AT MARLEY, WHO LOOKS BACK

AT HIM. HE SIGHS AGAIN]

 

 

 

 

MAX: Hey, Kid, how you doing?…

 

 

 

 

[RESIGNEDLY, HE PICKS UP HER CARSEAT AND

CHANGE BAG AND WALKS BACK INSIDE…

 

 

 

 

16. EXT. A STREET. EVENING

 

                                                           

 

 

ON SCREEN: 'MATT, SOUTH LONDON'. (WORDS

FADE OUT)

 

                                                           

 

 

[‘FORGET YOU’ BY CEE-LO GREEN IS PLAYING ON THE

CAR RADIO AS MATT, MAX'S IDENTICAL TWIN IS

DRIVING DOWN THE STREET. HE COCKILY WINDS

DOWN HIS WINDOW AND RESTING HIS DESIGNER

SHADES ON HIS NOSE, COCKILY WINKS AT A GOOD-

LOOKING YOUNG WOMAN HE HAS JUST CLOCKED ON

THE PAVEMENT. SHE LOOKS AT HIM, UNIMPRESSED.

 

 

 

HIS PHONE RINGS ON THE SEAT NEXT TO HIM. THE

CALLER ID IS 'MAX MOBILE'. HE MAKES A FACE AND

IGNORES IT, DRIVING OUT OF SHOT.]

 

 

 

 

17. INT. THE THOMAS'S FRONT ROOM. EVENING

 

 

 

 

[MARLEY IS IN HER CARSEAT AS AN ANGRY MAX

PACES THE FLOOR WHILE ON HIS MOBILE PHONE]

 

 

 

MATT: (VO) "Hi, This is Matt. Sorry I can't take your

call, but holler at me, and I'll get back to you…"

 

 

 

 

[THE BEEP TONE IS HEARD]

 

 

 

 

MAX: (ANGRY) Matt, you are in BIG trouble! Now                               

I don't care where you are, what you're doing, or

who you're doing, just… get… your… arse… home…

NOW!

 

 

 

 

[HE ENDS THE CALL AND ANGRILY THROWS THE

PHONE ON THE SOFA. WITH HIS HANDS ON HIS HIPS

HE SILENTLY FUMES, THEN AFTER A FEW BEATS,

SNIFFS THE AIR A FEW TIMES AS HE SUDDENLY

SMELLS SOMETHING VERY UNPLEASANT. HE THEN

TURNS TOWARDS MARLEY IN HER CARSEAT AS THE

REALISATION DAWNS ON HIM]

 

 

 

MAX: Oh, Marley, sweetheart, you haven't…

 

                                                           

[HE GOES OVER TO HER, UNBUCKLES HER FROM THE

CARSEAT AND LIFTS HER UP. TURNING HER AROUND,

HE SNIFFS HER BOTTOM, THEN RECOILS, HOLDING

HER UP ALOFT]

 

MAX: Oh, bloody hell, you have! Phew!

 

 

                                                           

[BALANCING HER ON HIS HIP, WITH HIS FREE HAND,

HE ZIPS OPEN HER CHANGE BAG AND TAKES OUT

A NAPPY AND WIPES, WHICH HE PUTS ON THE SOFA.

HE THEN GINGERLY LAYS MARLEY DOWN ON THE

SOFA AND PAUSES AS HIS HANDS HOVER ON HER

BABYGRO. HE LOOKS AT HIS NIECE]

 

                                                           

MAX: Your father… owes me… big time…

 

                                                           

[CLOSE UP OF MAX AS HE ATTEMPTS TO CHANGE HER

NAPPY, TURNING HIS HEAD AND MAKING A FACE AS

THE SMELL HITS HIM AGAIN. MARLEY GURGLES]

 

 

© Amanda Amory 2012.