screenplay samples - out of the dark
See also Outline/Storyline: A Film Project & Its Marketability
(FILM OPENING - YOUNG LINDA CAINE IN RHODESIA BEFORE MOVING TO THE UK IN 1976)
BLACK SCREEN.
From the screen’s blackness A YOUNG WOMAN’S VOICE can be heard singing along to Louis Armstrong’s ‘It’s A Wonderful World’.
YOUNG WOMAN’S SINGING V/O
I see skies of blue, clouds of
white
Bright blessed days, dark sacred
nights
And I think to myself, what a
wonderful world!
Main Title: OUT OF THE DARK
EXT. RHODESIAN BUSH/HIGHWAY - DAY
A saloon cruises along a highway through the heat-hazed African bush. THE YOUNG WOMAN’S VOICE continues singing.
YOUNG WOMAN’S SINGING V/O
I hear babies cry. I watch them
grow...
Subtitle: Rhodesia, August 1976
INT/EXT. LINDA’S SALOON CAR/RHODESIAN BUSH - DAY
THE BEAUTIFUL YOUNG WOMAN (LINDA), now in her late-20’s, with the laughing, open green eyes, her straw blonde hair flowing in the hot breeze, beams at HER BABY lying in his carrier on the passenger seat as she sings;
LINDA
They’ll learn so much more
Than I’ll ever know...
TWO ARMY LORRIES crammed with WHITE RHODESIAN SOLDIERS overtake Linda’s saloon, honking as they roar past. THE SOLDIERS grin and wave at her. She smiles, continues singing.
EXT. RHODESIAN BUSH/HIGHWAY/GARAGE - DAY
LINDA turns off the highway into a garage forecourt by the side of the road. A WHITE MALE MOTORIST in his 50’s is standing by his Land Rover gesticulating angrily at a BLACK PUMP ATTENDANT. LINDA pulls up behind the Range Rover, frowns at the altercation going on a few feet by the pump.
BLACK PUMP ATTENDANT
But, boss, you know I can’t put in
more if you don’t have the coupons!
WHITE MOTORIST
Look, you bloody kaffir, you do as
I bloody well say!
BLACK PUMP ATTENDANT
(harassed, nervous)
But, boss...
WHITE MOTORIST
That’s right!
(pointing at himself
assertively)
Me boss. You...
LINDA, affronted, calls out to THE WHITE MOTORIST;
LINDA
Hey! You know he’s not allowed to
do that!
THE WHITE MOTORIST stops and turns at the sound of LINDA’s white Zimbabwean (Rhodesian) voice, glares at her. She holds his gaze, gets out of her saloon. THE WHITE MOTORIST turns on his heel, stalks in to his Land Rover, drives off. LINDA and THE BLACK PUMP ATTENDANT exchange wordless shrugs.
EXT. MTOKO TOWNSHIP/LINDA’S MUM’S HOME/FRONT DRIVE - DAY
LINDA pulls into the sandy driveway of a modest, neat whitewashed bungalow on the outskirts of a small township. Its windows have wire mesh grilles. She parps the horn in greeting, jumps out, puts a basket with flowers over her shoulder and fetches out the baby carrier.
A STILL BEAUTIFUL, MIDDLE-AGED WOMAN (LINDA’S MUM) in a simple floral dress and sandals emerges from the house. She screws up her eyes in the bright sunlight, waves hello.
LINDA flourishes the baby carrier proudly.
LINDA
The new arrival!
INT. LINDA’S MUM’S HOME/KITCHEN - DAY
The sun streaming through the kitchen windows’ wire mesh grilles forms broken light patterns across the room. LINDA is by the sink, putting her flowers in a vase. HER MUM is sitting at the head of the kitchen table, smiling down at LINDA’S BABY who she’s cradling and fondling. THE BABY stares back at her quietly.
There’s an awkwardness between LINDA and HER MUM.
LINDA
(nods at the window
grilles)
Pity about those...
LINDA’S MUM
(shrugs)
They’re supposed to stop terrorist
grenades.
(sees Linda’s concerned look)
We’ll be fine.
(she carries on playing with
the baby)
A pretty calm little fellow you’ve
got yourself, I’d say.
LINDA
(laughs self-
deprecatingly)
He takes after Chris!
LINDA glances across at HER MUM still gazing at THE BABY.
LINDA’S MUM
You weren’t so bad. Just a bit
lively and wanting your own way.
LINDA
As long as he doesn’t have too much
of my imagination, I guess!
HER MUM looks up at LINDA. Her bright blue eyes turn momentarily pebble-hard. She nods knowingly. LINDA quickly looks away, hurt flitting across her face in the broken light coming through the sink window.
EXT. MUM’S HOME/VERANDAH/BACK GARDEN/RHODESIAN BUSH - DAY
LINDA is sitting on a wooden chair on the verandah at the back of the house, HER BABY asleep in her arms. HER MUM comes out from the kitchen with a couple of glasses of cold drinks and a plate of fried bacon skins. She gives LINDA a glass and a skin, sits on the wooden chair next to LINDA.
LINDA’S MUM
So when are you leaving?
LINDA
On the twenty-fifth.
(she sees her Mum’s questioning
look, shrugs)
Whites like us won’t really have a
future here after majority rule.
Hardly surprising, I guess.
LINDA’S MUM remains tight-lipped. Both women stare at the shimmering vista of the Rhodesian bush.
LINDA’S MUM
You’ll be better off there, I dare
say.
LINDA
(after a pause, quietly)
You’ll be in our prayers.
LINDA’S MUM, still staring into the distance, stretches her arm across towards LINDA. LINDA looks both surprised and gratified. She takes her MUM’s hand. The crickets chatter. The afternoon sun blazes down. A distant roll of African drums, pulsating and ominous, drifts over from the bush.
(LINDA’S FIRST STAY AT TICEHURST MENTAL HOSPITAL UNDER THE CARE OF DR ROBIN ROYSTON)
INT. TICEHURST HOSPITAL/LINDA'S ROOM/BATHROOM - DAY
ANN watches LINDA curiously as she takes the towels and toiletries to the bathroom. LINDA suddenly freezes. She’s staring at the streams of water jetting down from the taps into the swirling bath below. She’s transfixed.
CUT TO:
INT. UNDERWATER/BATH/BATHROOM - DAY
The camera is underwater looking up through the swirling water above. The water roars furiously, reverberating around the bath’s walls. The shimmering, sinister silhouette of LINDA can be seen leaning over the edge of the bath.
CUT TO:
INT. TICEHURST HOSPITAL/CORRIDOR/LINDA’S ROOM/BATHROOM - DAY
A dazed LINDA clasps on to the edge of the bath, pale and trembling, gasping for breath. A frightened ANN hurries out of the door, waves towards the nurses’ station.
BARRY comes hurrying in. He puts his arm on LINDA’s shoulder.
BARRY
Just try and breathe slowly through
your nose, Linda.
(to Ann)
It’s just a panic attack.
BARRY’s cool to the young nurse. ANN is nervous of him.
INT. TICEHURST HOSPITAL/ROYSTON’S CONSULTING ROOM - DAY
A shaken LINDA looks directly at a searching ROYSTON.
ROYSTON
You’ve never had a bad experience
with water?
LINDA
Not that I know of.
ROYSTON
You said you used to go swimming in
the Gwelo River when you were a
child.
LINDA
(brightens)
Oh, yes!
FLASHBACK TO:
EXT. GWELO RIVER, RHODESIA - DAY
A beautiful chestnut horse stands steaming on a river bank in pelting rain. Its ears are pricked at the sound of splashing and a little girl’s laughter from the river it’s overlooking. In the distance beyond the horse LITTLE LINDA can be seen riding piggy back on HER DAD as he swims in flooding water.
CUT TO:
INT. TICEHURST HOSPITAL/ROYSTON’S CONSULTING ROOM - DAY
LINDA glows at the memory of her father.
LINDA
But Dad would always be with me. He
was a really strong swimmer!
FADE TO BLACK.
LINDA remains bright-eyed as she recollects her youth.
LINDA (CONT'D)
Then I met Mike at a disco. My
‘tall, dark, handsome man’! And he
had a great sense of humour!
ROYSTON
He was your first boyfriend?
LINDA
I’d had others. But he was the
first one I really cared about.
ROYSTON
Was he the first man you slept
with?
LINDA shakes her head bashfully.
LINDA
I just loved being held.
(changes the subject)
Mike could see that things were
difficult for me at home with
Connie. He rented a little farm
house so we could live together.
ROYSTON
How did your father react?
LINDA
He wasn’t too happy about it.
LINDA avoids ROYSTON gaze, kneads her hands awkwardly.
FADE TO BLACK.
INT. TICEHURST HOSPITAL/LINDA’S ROOM - NIGHT
The bedroom is dark. LINDA is lying in bed, her closed eyelids flickering. Her eyes snap open. They stare at the light coming in under the door. The eerie, screeching sound comes up.
FLASHBACK TO:
INT. LITTLE GWELO FARMHOUSE/BEDROOM - NIGHT
A SEETHING MASS OF ARMY ANTS, gleaming ominously in the moonlight and screeching furiously, fan out across the bedroom floor from a crack under the farmhouse door. 16 year-old YOUNG LINDA and MIKE - a tall, strong-looking, handsome 19 year-old with dark hair - are standing on the bed thrashing away with their pillows at the vast swarm of army ants pouring over their bedroom. They laugh crazily.
EXT. LITTLE GWELO FARMHOUSE/FRONT DRIVE - NIGHT
MIKE and YOUNG LINDA, in T-shirts and shorts, come fleeing out of the front door. The Crystals’ wistful 1960’s pop paean ‘Chapel Of Love’ accompanies them as they fall into each others’ arms, laughing with hysterical relief, teenage love incarnate.
CUT TO:
INT. TICEHURST HOSPITAL/ROYSTON’S CONSULTING ROOM - DAY
ROYSTON looks up from Linda’s notebook on his lap. ‘Chapel Of Love’ fades as LINDA smiles in wonder at the memory.
LINDA
All that was left of our chickens
was their bones!
ROYSTON
So how long were you married to
Mike?
LINDA
A couple of years. Until he died.
ROYSTON
(taken aback)
What happened?
LINDA
(flatly)
He was killed in a car accident.
ROYSTON
That must have been a terrible
shock.
LINDA
(quickly)
He was drunk.
ROYSTON catches the dismissive note in her voice. LINDA clearly doesn’t want to elaborate.
INT. TICEHURST HOSPITAL/CORRIDOR/LINDA’S ROOM - NIGHT
The hospital corridor glimmers silently in the night light.
INT. TICEHURST HOSPITAL/LOUNGE - NIGHT
The piano stands silent in the empty, moonlit patients’ lounge.
EXT. TICEHURST HOSPITAL/BUILDING/FLOWERBEDS - DAY
A water jet hisses on to the plants at the foot of the main building as A HOSPITAL GARDENER hoses the flower beds.
INT. TICEHURST HOSPITAL/LINDA’S ROOM/CORRIDORS - DAY
LINDA’s drawing book lies closed on her side table. She is lying foetally on her bed in grey tracksuit bottoms, pale blouse and white socks. She starts up at the sudden, roaring whoosh of water on her room window. Her mouth drops. The water hammers on the panes. LINDA leaps off her bed. The hand-held camera follows the panic-stricken LINDA rushing out of her room, bolting down the corridor and hurtling through a fire door and down another corridor.
EXT. KENT COUNTRY ROAD/TICEHURST HOSPITAL - DAY
ROYSTON cruises his car down the sunlit country road approach to the hospital drive entrance, soft blues on his motorola.
EXT. TICEHURST MENTAL HOSPITAL/GROUNDS - DAY
LINDA hares across the Ticehurst grounds in a blind panic. She glances fearfully over her shoulder. From a distance THE
CAMERA’S POINT-OF-VIEW chases after LINDA. A heavy panting can be heard.
EXT. KENT COUNTRY ROAD/TICEHURST HOSPITAL - DAY
As ROYSTON turns his car into the rhodendron-lined hospital drive he starts at the sight of LINDA through the bushes. She’s standing, panting, bathed in sweat. ROYSTON stops his car, switches down the music, calls out urgently;
ROYSTON
Hey, Linda!
She doesn’t respond, is in a world of her own.
ROYSTON (CONT'D)
Hey, Linda, it’s me, Dr Royston!
LINDA looks blankly across at ROYSTON, not recognising him. ROYSTON frowns at this. LINDA blinks, suddenly bolts away, running like a gazelle through the bushes and trees. ROYSTON quickly reverses his car, powers down the lane trying to track LINDA as she flits through the perimeter woodland.
EXT. ANOTHER COUNTRY ROAD/WOODLAND - DAY
ROYSTON powers his car on down the country road. He tuts as he loses sight of LINDA, puts his foot on the accelerator.
EXT. FIELD/FENCE - DAY
A sweating, panting LINDA stands over a barbed wire fence. She slowly and deliberately gashes her arm on a barb. She watches her blood ooze out from the cut. Her face relaxes.
EXT. ANOTHER COUNTRY ROAD/FIELD - DAY
ROYSTON slows his car, stops by a field gate. He can see LINDA standing in a field beyond the gate, stooped, hands on knees, catching her breath. Blood is running down her leg from her gashed arm. ROYSTON switches off the engine. LINDA’s panting rasps in the still summer’s air.
ROYSTON
Hello, Linda.
She doesn’t answer, remains head bowed, then slowly looks up. Their eyes meet. ROYSTON slowly opens the car door.
LINDA
They won’t turn me into a zombie?
ROYSTON
No, I promise. Trust me.
LINDA edges towards the car, kneading her wrists nervously, her eyes to the ground and hair falling across her face.
(LINDA’S RETURN HOME TO HER HUSBAND CHRIS AND THEIR TWO KIDS GARY AND CHRISTY IS SHORTLIVED...)
INT. CAINE FAMILY HOME/PARENTS' BEDROOM - NIGHT
LINDA’s eyes snap open, wide with fear. The drumbeat stops abruptly. The long dark shadow has disappeared from over the bed. LINDA stares around the dark bedroom open-mouthed.
INT. CAINE FAMILY HOME/KITCHEN/STAIRS - EVENING
THE CAINE FAMILY are having supper. No one is talking. An exhausted-looking CHRIS pours himself a glass of wine and retreats to the sitting room beyond the kitchen. A thin, gaunt LINDA eyes CHRISTY’s untouched plate angrily.
LINDA
Christy, you must eat something.
CHRISTY
You can’t talk!
LINDA
Christy!
CHRISTY
I’m not hungry.
CHRISTY gets up, leaves the table, runs up the stairs. LINDA hurries after her furiously.
LINDA
Christy, come back to the table!
(Christy ignores her)
Christy! I told you to come back to
the table!
CHRISTY turns at the top of the stairs, shouts down at LINDA;
CHRISTY
Just leave me alone!
CHRISTY bolts into her bedroom, slams the door. LINDA swings it open furiously, glances around, spots Christy’s doll’s house, points at it threateningly
LINDA
I’ll take that away!
CHRISTY
(defiantly)
Take it!
LINDA blinks. She surges over to the doll’s house, raises her foot and stamps it to smithereens. CHRISTY watches open- mouthed. LINDA seems possessed.
INT. ROYSTON FAMILY HOME/SITTING ROOM - EVENING
ROYSTON is watching a sports programme on the TV. He starts at the sound of the telephone ringing, hurries towards the kitchen. The ringing stops as KATH’s voice can be heard answering the call.
KATH’S V/O
Hello...
INT. ROYSTON FAMILY HOME/KITCHEN - EVENING
KATH is on her way out of the kitchen to get ROYSTON, sees him hurrying keenly towards her.
KATH
It’s Linda Caine...
ROYSTON
Thanks.
There’s a beat as KATH clocks her husband’s telepathy. Her eyes follow ROYSTON a he quickly picks up the telephone, listens. He looks almost relieved.
EXT. TICEHURST HOSPITAL/MAIN BUILDING/GROUNDS - DAY
The hospital is bathed in sunshine. The giant cedar looms in the foreground. ROYSTON strides from the car park to the main entrance, a spring in his step.
INT. TICEHURST HOSPITAL/RECEPTION/MAIN ENTRANCE - DAY
ERIC JACKSON is in the reception as ROYSTON enters.
ERIC JACKSON
That was a pretty damn good call of
your’s! You don’t by any chance do
the gee-gees, do you?
ROYSTON
I like safe bets, Eric!
They both chuckle.
INT. TICEHURST HOSPITAL/ROYSTON’S CONSULTING ROOM - DAY
LINDA sits by the window of ROYSTON’s room kneading the bottom of her T-shirt nervously. She looks perplexed.
LINDA
It was like a waking dream. The man
was there. But he wasn’t there.
ROYSTON
So what did he feel like?
LINDA
(struggling to find the
description)
Just like a kind of...presence.
ROYSTON
So what did he make you feel?
LINDA
Evil. Completely and utterly evil.
ROYSTON
So evil that you have to kill
yourself?
She nods slowly. ROYSTON looks perturbed.
FADE TO BLACK.
LINDA’s troubled as she recollects;
LINDA
I’ve never been violent before.
Well, only with the new teddy my
mother gave me after she’d thrown
my favourite one away. I’d thump
him sometimes. Or try and drown
him. But nothing more than that.
ROYSTON
Children often treat their toys the
same way that they’ve been treated.
LINDA
(regretfully)
Yes, I know. I saw that with
Christy.
ROYSTON waits on LINDA. She shakes her head frustratedly, unable to make any further connection.
INT. TICEHURST HOSPITAL/CORRIDOR/LINDA’S ROOM - NIGHT
The hospital corridor glimmers in the low glow of the night light. A woman’s gagged groaning can be heard.
INT. TICEHURST HOSPITAL/LINDA’S ROOM - NIGHT
LINDA tosses and turns in her sleep, her mouth clenched tight, her moaning suppressed.
CUT TO:
INT. CANTERBURY CATHEDRAL CLOISTERS/RECEPTION ROOM - NIGHT
A ROOMFUL OF SILHOUETTED, TOP-LIT GUESTS turn in slow-motion towards LINDA. They watch her in baleful silence. Among them is A MAN WITH DARK HAIR. The only sound is of her palpitating heartbeat and panicky breathing. LINDA looks petrified.
INT. CANTERBURY CATHEDRAL CLOISTERS/ARCHED WALKWAY - NIGHT
LINDA runs down the wide stone staircase from the reception and away down the moonlit, arched walkway of the cloisters. She glances fearfully back over her shoulder.
THE DARK FIGURE OF THE MAN can be seen emerging from the stairwell into the cloisters. He’s walking slowly and purposefully. His footsteps echo down the cloisters.
INT. CITY ALLEYWAY/CUL-DE-SAC - NIGHT
The footsteps continue to pursue LINDA as she glances back again over her shoulder. She continues to run desperately ahead of them. They get faster and louder. A huge, dark wall rears up ahead of LINDA. The footsteps are now fast and close. In a crash track-and-zoom the camera closes in on LINDA as she slams into the wall, whirls around, her eyes wide with terror. The camera crashes into her gaping mouth. Darkness.
CUT TO:
INT. TICEHURST HOSPITAL/ROYSTON’S CONSULTING ROOM - DAY
LINDA’s dark-ringed eyes are wide as she sits with ROYSTON.
ROYSTON
Did you recognise the man?
LINDA
No.
ROYSTON
Did he remind you of anyone?
LINDA
No.
ROYSTON
How old was he?
(Linda is nonplussed)
Was he young?
LINDA
(perplexed)
All I know is that he had dark
hair.
ROYSTON
(eyes narrowing)
Can you think of any man like that
you know?
LINDA
(ponders)
Only Mike, obviously. But apart
from him...
LINDA shrugs, exhausted. ROYSTON looks frustrated.
FADE TO BLACK.
ROYSTON leans forward, watching LINDA closely.
ROYSTON
So were you and Mike planning to
have children?
LINDA
I did get pregnant once. By
mistake. But we were far too young.
LINDA’s voice tails away. ROYSTON’s silence is demanding.
LINDA (CONT'D)
(flatly)
Mike didn’t want the baby.
ROYSTON
But you wanted it?
LINDA
(uncomfortably)
I was frightened.
ROYSTON
(intrigued)
You were frightened?
LINDA
(defensively)
How could I get a job and have a
baby?
ROYSTON
But Mike was the breadwinner. He
took pride in that, didn’t he?
ROYSTON looks questioningly at LINDA. She avoids his eyes, stares down at the floor, remains silent. ROYSTON presses;
ROYSTON (CONT'D)
So what were you really frightened
of?
LINDA
(sighs, relinquishes)
I just couldn’t stand the rows.
ROYSTON
Was it just him being angry that
frightened you?
(Linda clenches)
Was there any violence involved?
LINDA
(reluctantly)
Only when he was drunk. But he
always said sorry afterwards.
ROYSTON
Did his drinking cause any violence
in your love life?
LINDA
(quickly)
Oh, no. You know, sex was really
never that important to me, Dr
Royston.
LINDA holds ROYSTON’s gaze. Her answer hangs between them.
(LINDA LOOKS LIKE SHE’S BEEN CURED...)
INT. TICEHURST HOSPITAL/ROYSTON'S CONSULTING ROOM - DAY
ROYSTON
(nods)
The question now is if she can
integrate the trauma successfully.
(Barry and Mary are lost;
Royston explains)
That it can be absorbed by her
psyche without it causing any
further damage. That it can simply
become part of the grown-up Linda.
MARY nods. BARRY remains questioning.
BARRY
But why didn’t she tell her Dad?
ROYSTON
There are some things you can’t
tell the ones you love.
(pointedly)
What if he, too, didn’t believe
her?
MARY nods knowingly, shoots a glance at BARRY but BARRY doesn’t look convinced.
INT. TICEHURST HOSPITAL/CORRIDOR - DAY
BARRY walks down the corridor with MARY. He’s frowning.
MARY
So who are you to think he’s got it
wrong?
(Barry shrugs)
I’ve got a spare ticket for The
Communards in Brighton next week.
BARRY
What, that poncey singer with the
missing knackers.
MARY
Well, he’s one of your lefties.
BARRY
No wonder we lost! Now if it were
Bob Dylan...
MARY chuckles, shakes her head in mock despair.
EXT. TICEHURST HOSPITAL/BUILDING/GROUNDS - NIGHT
A full moon hangs over the hospital in the clear summer’s night. An owl hoots in the distance.
EXT. WOODS/RESERVOIR/DAM - NIGHT
Through the trees the expanse of reservoir water is glassy in the moonlight.
CUT TO:
EXT. UNDERWATER - DAY
LINDA is drifting deep under water, which glints crystal clear in the bright pool of sunlight shimmering above. LINDA’s arms are outspread as she drifts lazily on like a basking fish, looking about her in wonderment. Body parts pass her by - A MAN’S SEVERED ARMS AND LEGS, HIS TORSO AND HEAD, BLACK-HAIRED.
ROYSTON’S V/O
And she was swimming perfectly
free...
CUT TO:
INT. TICEHURST MENTAL HOSPITAL/SUPERVISOR’S ROOM - DAY
A gleaming ROYSTON stands at ERIC JACKSON’s table.
ROYSTON
...with no breathing problems
whatsoever!
(laughs)
Even you can’t...!
(Jackson’s inscrutable)
It does look as if she’s
integrating the trauma very
successfully, Eric.
JACKSON nods with a wry smile of acknowledgement. ROYSTON’s pleased.
INT. TICEHURST HOSPITAL/MAIN STAIRCASE/RECEPTION - DUSK
ROYSTON comes down the staircase with a folder. He brightens at the sight of LINDA hurrying towards him, beaming.
LINDA
Dr Royston, you must come and see!
LINDA clasps ROYSTON’s arm, leads him away to the reception.
EXT. TICEHURST HOSPITAL/MAIN ENTRANCE/GROUNDS/WOODS - DUSK
A FAMILY GROUP are chatting nearby as LINDA leads ROYSTON out of the main entrance, gestures to the majestic evening sky, with its blood-orange sun setting behind the huge old cedar tree and woods. She asks ROYSTON with a wondering laugh;
LINDA
How can you not believe in God, Dr
Royston!
ROYSTON
(smiling patiently)
Because I love the mystery of
things, Linda.
LINDA
Sometimes I wonder if you haven’t
got more faith than I have!
ROYSTON’s eyes crease at her remark. He takes a sideways look at her. She’s beaming at the glorious evening sky. ROYSTON looks affectionately quizzical.
(ROBIN ROYSTON TAKES MORE RISKS TO SAVE LINDA’S LIFE...)
INT. TICEHURST HOSPITAL/ROYSTON’S CONSULTING ROOM - DAY
A gaunt LINDA is taut as ROYSTON tries to question her.
ROYSTON
You kept on saying ‘They’re coming
to get me!’. Who were ‘they’?
LINDA
I really don’t remember what
happened, Dr Royston.
She remains silent, staring out of the window.
ROYSTON
How many of them were there?
(no response)
Two? Three? Four?
LINDA looks blank. She suddenly blurts;
LINDA
I hate this! I hate this! I hate
this!
ROYSTON looks perplexed.
INT. TICEHURST HOSPITAL/LINDA’S SECOND ROOM/BATHROOM - EVENING
LINDA cuts open the seam of her dressing gown with her scissors. She takes out the bottle of sleeping pills.
INT. TICEHURST HOSPITAL/LINDA’S SECOND ROOM/CORRIDOR - EVENING
ANN and MARY rush a hospital trolley down the corridor to LINDA’s room.
EXT. ROYSTON FAMILY HOME/GARDEN - EVENING
ROYSTON and KATH are playing Blind Man’s Bluff out on the lawn with their two children LITTLE EMMA and LITTLE MIKE. ROYSTON has a scarf round his eyes playing the Blind Man. The telephone rings. ROYSTON stops, still as a statue as the rings continue. He whips off the blindfold.
ROYSTON
Don’t worry, I’ll get it.
ROYSTON breaks off, hurries back to the house.
INT/EXT. ROYSTON FAMILY HOME/KITCHEN/GARDEN - EVENING
ROYSTON’s on the telephone. He’s frowning.
ROYSTON
If that’s all she’s taken there’s no need. A & E will just freak her out...Just keep her on close obs.
INT/EXT. TICEHURST HOSPITAL/SURGERY/FORECOURT - EVENING
MARY puts down the receiver wearily. ANN notes her weariness.
ANN
Why don’t you go home and get some
rest. I can fill in.
MARY’s spies BARRY passing by the window on his moped. She hesitates, nods gratefully at ANN.
INT/EXT. ROYSTON FAMILY HOME/KITCHEN/GARDEN - EVENING
ROYSTON stands at the kitchen window, sipping at his glass of wine as he watches KATH playing outside with THEIR TWO KIDS. LITTLE EMMA is playing Blind Man, her eyes bound in the scarf. ROYSTON looks vulnerable.
INT. TICEHURST HOSPITAL/ROYSTON’S CONSULTING ROOM/CORRIDOR - DAY
A worn-out CHRIS CAINE emerges from Royston’s consulting room, tight-jawed as he berates ROYSTON, who’s following him out into the corridor.
CHRIS
I don’t understand it, Dr Royston.
All this endless raking over her
past. It just seems to be reopening
old wounds without getting
anywhere. If she’d taken a few
more...
ROYSTON
(sharply)
But she didn’t, Chris. That’s the
point. It wasn’t a serious attempt.
CHRIS
(eyeballing Royston)
But what about next time?
ROYSTON looks away from CHRIS’ angry, demanding gaze.
EXT. TICEHURST HOSPITAL/CORRIDOR/NURSES’ STATION - NIGHT
From the corridor a tired-looking BARRY and ANN can be seen through the nurses’ station glass frontage amusing themselves with cards. BARRY holds up a card to his forehead facing ANN, mouths a guess. She gasps in amazement. They both laugh. BARRY performs a dexterous croupier’s shuffle. They start at the sound of shattering glass from down the corridor, come rushing out and run to Linda’s room.
INT. TICEHURST HOSPITAL/LINDA’S SECOND ROOM - NIGHT
ANN and BARRY drag a blood-spattered LINDA back from the shattered window of her room through which she’s struggling like a demon to get out. ANN wrestles to control her. LINDA’s blood leaves a trail of stains on the carpet. BARRY gives a gratified young ANN a wink of acknowledgement.
INT. TICEHURST HOSPITAL/CORRIDOR/NURSES’ STATION - DAY
A frayed ANN hurries after ROYSTON.
ANN
We can’t go on like this, Dr
Royston, we really can’t. It’s just
getting too much.
INT. TICEHURST HOSPITAL/LINDA’S SECOND ROOM - DAY
LINDA has her ear to the door, listening to the altercation between ANN and ROYSTON.
ANN’S V/O
You’ve got to medicate her, surely!
INT. TICEHURST HOSPITAL/CORRIDOR/NURSES’ STATION - DAY
A harassed ROYSTON tries to be patient with ANN.
ROYSTON
I promised her I’d never do that,
Ann.
ANN
(can’t contain her anger)
But you’re killing her, Dr Royston!
ROYSTON’s pressured features wince.
INT. TICEHURST HOSPITAL/LINDA’S ROOM - NIGHT
BARRY sits in the chair by LINDA’s bed, where she’s lying exhausted but sleepless. He’s holding her hand. LINDA, looking pensively into space, asks;
LINDA
Do you ever miss Him?
BARRY
(thrown, then clocks)
Like I miss the dentist!
LINDA smiles weakly. BARRY’s eyes crease at the sight of her bereft look. She sees his surprised look, shrugs distantly;
LINDA
He has his reasons, I suppose.
BARRY averts his eyes from her, almost embarrassed at her open-woundedness, scratches his head as he digests her words.