9875d5a34bf0215171fcc87c84a724c4971cf477
movie
http://www.imsdb.com/scripts/Tamara-Drewe.html
TAMARA DREWE Written
THE END .
 Set in Ewedown, a fictitious village in Dorset, England. Tamara Drewe, a young and attractive journalist, returns home with the intention of selling her now-deceased mother's house which she has inherited, and in which she grew up. Locals are amazed at the improvement in her appearance after she had a rhinoplasty while away. Andy had been interested in her when she was a girl, and when he sees her now it is clear he is attracted to her.
Across the valley is a neighbour's home where authors retreat to work on their stories. The owner, Nicholas, is a prolific crime novelist and a serial philanderer, while his wife Beth provides food, lodging, and encouragement for her patrons. At one point Nicholas embarks on an affair with Tamara, after she finishes with rock-band drummer Ben. Andy has been asked by Tamara to work on the house so she can sell it, and he becomes aware of the affairs, as do two local teenage schoolgirls (Jody and Casey) who cause some havoc due to their childish jealousy of Tamara.
Jody is infatuated with Ben, and when he leaves Ewedown after Tamara's affair, she uses her wiles to lure him back. Eventually her deceit is discovered and she receives a hard dose of reality. In a strange turn of events, Nicholas is killed somewhat accidentally by stampeding cows. Beth's friend (Glen), a Thomas Hardy scholar who had become infatuated with her over the months he spent there, reveals his love for her despite feeling guilty about Nicholas' demise, and she easily persuades him to remain at the retreat with her. By this time the true love of Andy and Tamara brings them together. Tamara then decides to stay in Ewedown after all.
Set in Ewedown , a fictitious village in Dorset , England . Tamara Drewe , a young and attractive journalist , returns home with the intention of selling her now-deceased mother s house which she has inherited , and in which she grew up . Locals are amazed at the improvement in her appearance after she had a rhinoplasty while away . Andy had been interested in her when she was a girl , and when he sees her now it is clear he is attracted to her . Across the valley is a neighbour s home where authors retreat to work on their stories . The owner , Nicholas , is a prolific crime novelist and a serial philanderer , while his wife Beth provides food , lodging , and encouragement for her patrons . At one point Nicholas embarks on an affair with Tamara , after she finishes with rock-band drummer Ben . Andy has been asked by Tamara to work on the house so she can sell it , and he becomes aware of the affairs , as do two local teenage schoolgirls ( Jody and Casey ) who cause some havoc due to their childish jealousy of Tamara . Jody is infatuated with Ben , and when he leaves Ewedown after Tamara s affair , she uses her wiles to lure him back . Eventually her deceit is discovered and she receives a hard dose of reality . In a strange turn of events , Nicholas is killed somewhat accidentally by stampeding cows . Beth s friend ( Glen ) , a Thomas Hardy scholar who had become infatuated with her over the months he spent there , reveals his love for her despite feeling guilty about Nicholas ' demise , and she easily persuades him to remain at the retreat with her . By this time the true love of Andy and Tamara brings them together . Tamara then decides to stay in Ewedown after all .
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Tamara Drewe (film)
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<b>                                   TAMARA DREWE
</b>
                         

                                   Written by                         

                                  Moira Buffini
                         

                         
                              Based on the book by

                                  Posy Simmonds





                                                   20th October 2009

                         

<b>          1 SUMMER. POSY DRAWING 1
</b>
                         

<b>          2 EXT. DAY. STONEFIELD - THE GROUNDS. 2
</b>
           Andy Cobb, early thirties, is digging an English garden in
           the hot sun. He is lean, naked to the waist. It's hard to
           tell which century he inhabits. Only when he stops to drink
           from a plastic bottle do we realise he is of our time.

<b>           TESS (V.O.)
</b>           And love slipped the bonds of
           restraint...
           At a table under a willow tree sits Tess - early fifties,
           funky specs - at a laptop. She pauses in her typing, staring
           at Andy.

<b>           TESS (V.O.)(CONT'D)
</b>           His touch was like a cosmic `yes'.
           Underneath a converted barn, cross-legged on a bench in a
           bikini top, sits Eustacia. She is hunched over a note pad,
           writing at tremendous speed, oblivious to all but her work.

<b>           EUSTACIA (V.O.)
</b>           `Fuck you,' screamed Kelly, `Fuck
           you to hell!' Scott stepped back
           from the cell door as the gob of
           spit flew.'

<b>          1A INT. DAY. GLEN'S ROOM. 1A
</b>
           Sitting at a barn window is American academic Glen McCreavy ;
           a physically awkward man, more at home with his intellect
           than his body. He is surrounded by foolscap, post-it notes,
           books and markers - dominated by a poster of a dour Victorian
           - Thomas Hardy. He is writing. 

<b>           GLEN (V.O.) 
</b>           This complex contemporary matrix is 
           what Hardy meant by `the ache of 
           modernism.' 
           He regards it. 

<b>                          GLEN
</b>           Crap.
           He deletes it. He looks at his blank screen, breathing
           deeply. The only words left say `Chapter Six'.

<b>           NICHOLAS (V.O.)
</b>           Inchcombe had seen it all before.
           He'd seasoned it: the metallic
           smell of blood and gunshot;
           forensics hunched like vultures.
           The dreadful mundanity of murder,
           he thought.



                         

                         

                         

<b>          3 INT. DAY. STONEFIELD - NICHOLAS' SHED. 3
</b>
           Nicholas Hardiment writes fluidly with pencil and paper. A
           good-looking man of fifty. Dark hair, strong figure.

<b>           NICHOLAS (V.O.)
</b>           He approached Patel, who was
           stricken. She was one for whom a
           corpse was still an obscenity.
           Inchcombe realised a disturbing
           truth. His lack of feeling was
           almost...
           (He stops writing. Sighs)

<b>                          NICHOLAS (CONT'D)
</b>           Pathological...

                         

<b>          4 EXT. DAY. EWEDOWN - THE PLAYGROUND. 4
</b>
           A playground on the edge of an idyllic English village. Jody
           Long - fourteen, skinny, restless - is lying at the bottom of
           the slide gazing at the clouds. Casey Shaw, her shy, placid
           best friend, is sitting on a toddler toy, reading aloud from
           a magazine.

<b>                          CASEY
</b>           `I've been wearing the wrong size
           all my life,' said Katie. `I was
           always popping out. Turns out I'm a
           30GG,' she says. `Now my bras
           finally fit - though Simon prefers
           me without one.'
           Jody checks to see if her breasts have grown. She sighs.

                         

<b>          4A INT. DAY. KITCHEN. 4A
</b>
           A woman in an upmarket apron is taking a tray of scones and
           biscuits out of the aga. It's Beth Hardiment. Once pretty,
           she's now mumsy and countrified.
           She examines her baking, satisfied with its perfection.
           Mary, the help, is doing the washing-up.

<b>                          BETH
</b>           Do you think I should be reminding
           them to drink enough? It's very hot
           out there...

<b>                          MARY
</b>           Beth - they're writers, not babies.
           You run round after `em too much.

<b>           GOLDENROD REVISIONS 20.10.09 3.
</b>
                         

                         

                         

<b>          5 EXT. DAY. STONEFIELD - THE GROUNDS. 5
</b>
           Glen walks outside, breathing in the fresh air. Beth
           approaches with her tray of scones and biscuits.

<b>                          BETH
</b>           Can I tempt you, Glen?

<b>                          GLEN
</b>           Wow, thanks.
           Glen picks up a scone.

<b>                          BETH
</b>           I often take something snacky down
           to Nicholas at this time of day. I
           know how the brain needs feeding.
           How are you settling in?

<b>                          GLEN
</b>           Great. The last writer's retreat I
           stayed at kind of froze my balls off,
           you know?

<b>                          BETH
</b>           Oh.

<b>                          GLEN
</b>           Screeching firedoors, curried
           lasagne and a needy poet - from whom
           I still bear the scars.

<b>                          BETH
</b>           We try to keep it peaceful here;
           far from the madding crowd.

<b>                          GLEN
</b>           Well, it's paradise.

                         

<b>          6 EXT. DAY. EWEDOWN - VILLAGE STREET. TRIANGLE. 6
</b>
           The blight on this rural paradise is a vandalised bus shelter
           near the only T-junction in the village. A twee shop, hanging
           baskets and Grade II listed buildings make up the view. It's
           shatteringly dull.
           Casey and Jody walk up towards the bus shelter. Their boredom
           is epic.

<b>           GOLDENROD REVISIONS 20.10.09 4.
</b>
                         

                         
           An open-topped BMW goes past and halts briefly by the
           junction. The tones of Classic FM blare out, much to the
           enjoyment of the middle aged couple within.

<b>                          CASEY
</b>           Frock horrors. This weeks top of
           the shocks goes to Katie Pound in
           an off the shoulder lime by
           Roberto.

<b>                          JODY
</b>           She looks like a bug.
           (Car hoots) Wankers!

<b>                          CASEY
</b>           You wanna sack your stylist girl.

<b>                          JODY
</b>           Bet they did that on purpose,
           dressed her up like an insect.
           Casey agrees. They zoom away.

                         

<b>          7 EXT. DAY. STONEFIELD. THE GROUNDS. 7
</b>
           Glen lowers himself into a comfy garden chair, his mouth full
           of cream and jam. Behind him, Nicholas' shed.

<b>                          GLEN
</b>           Perfect harmony.

                         

<b>          8 INT. DAY. STONEFIELD - NICHOLAS' SHED. 8
</b>
           Nicholas is panicking down the phone.

<b>                          NICHOLAS
</b>           In Ewedown? Nadia, what the ffff
           are you doing there? I haven't told
           her yet.

<b>          8A EXT. EWEDOWN. THE STREET NEAR THE BUS STOP. 8A
</b>
           Nadia is walking up the road from the station in her high
           heels, carrying an overnight bag. She is weeping into her
           phone.

<b>                          NADIA
</b>           Why not? You keep saying you want
           to be with me.
           Jody and Casey are all ears.

<b>                          NICHOLAS
</b>           I can't tell her just like that.
           It's twenty five years; a marriage.

<b>           GOLDENROD REVISIONS 20.10.09 4A.
</b>
                         

                         

<b>                          NADIA
</b>          Come on Nicholas. Or I'm going to
          get in a taxi and find your farm.
          Come up there and -

<b>                          NICHOLAS
</b>
<b>                         NO -
</b>
<b>                          NADIA
</b>          Drag you out -

<b>           GOLDENROD REVISIONS 20.10.09 5.
</b>
                         

                         

<b>                          NICHOLAS
</b>
<b>           NO, NO DON'T!
</b>
<b>                          NADIA
</b>           I want to be with you. I thought
           you'd be pleased...

                         

<b>          8B POV. EXT. DAY. STONEFIELD / INT. DAY. NICHOLAS' SHED 8B
</b>
           Through the window Nicholas sees Beth leaving a scone by
           Diggory, a sleeping poet in a pretentious hat.

<b>                          NICHOLAS
</b>           Of course I'm pleased... Nadia, go
           to the pub and stay there. I'll come
           when I can.

<b>                          NADIA
</b>           Are you going to tell her?

<b>                          NICHOLAS
</b>           Just give me a couple of hours -
           He ends the call just as Beth is nearing the door - panicking
           the phone back on to its holder.

<b>                          NICHOLAS (CONT'D)
</b>           Cock pie.
           Beth opens the door to see Nicholas apparently hard at it.

<b>                          BETH
</b>           How's the worker?

<b>                          NICHOLAS
</b>           Good actually. Just about to embark
           on forensics.

<b>                          BETH
</b>           Well give me your pages and I'll get
           started.
           Nicholas hands her several pages.

<b>                          NICHOLAS
</b>           Reckon I might pack it in a bit
           early today. Need to think about my
           blood smears. Might take a drive;
           have a pint. Stir the old grey
           matter up.

<b>                          BETH
</b>           Who were you talking to just then?

<b>                          NICHOLAS
</b>           Judy. She says the Impala contracts
           should be through in a day or two.

<b>           GOLDENROD REVISIONS 20.10.09 5A.
</b>
                         

                         
          Beth immediately knows he is lying. The lie pains her. She
          goes to the door.

<b>           GOLDENROD REVISIONS 20.10.09 6.
</b>
                         

                         

                         
           Beth decides to try and call his bluff.

<b>                          BETH
</b>           I could come with you.

<b>                          NICHOLAS
</b>           What?

<b>                          BETH
</b>           For a drive. I don't know when we
           last went out.
           Buying time by biting his scone:

<b>                          NICHOLAS
</b>           This is absolutely yummy.

<b>                          BETH
</b>           We could go into Hadditon, get a
           meal.

<b>                          NICHOLAS
</b>           Yes but. What about the guests?

<b>                          BETH
</b>           Mary's got Casey to help.

<b>                          NICHOLAS
</b>           But I'm supposed to be thinking,
           you know about the -

<b>                          BETH
</b>           You can run it by me. I'm good at
           forensics.
           Nicholas has run out of excuses.

                         

<b>          9 EXT. DAY. STONEFIELD - THE GROUNDS. 9
</b>
           Beth approaches Andy with her scones and biscuits. Nearby,
           Glen is sitting back in a sun-lounger. Diggory sleeps on.

<b>                          BETH
</b>           Can I tempt you, Andy?
           Andy takes a scone with a wide smile.

<b>                          BETH (CONT'D)
</b>           That's Glen, our new academic. Turns
           out he's working on Thomas Hardy.
           Said he might have some farming
           questions.

<b>                          ANDY
</b>           Needs an expert yokel, does he?

<b>           GOLDENROD REVISIONS 20.10.09 6A.
</b>
                         

                         

<b>                          BETH
</b>           Would you mind? And the writers are
           eating al fresco tonight; could you
           check there's no bird shit on the
           seats? Sorry.
          Beth looks distant, troubled.

<b>                          ANDY
</b>           You OK?

<b>           GOLDENROD REVISIONS 20.10.09 7.
</b>
                         

                         

<b>                          BETH
</b>           Yes. Nicholas and I are going out
           to dinner.
           As she walks away, Andy glances at the shed, a look of
           puzzled dislike on his face.

                         

<b>          9A INT. DAY. STONEFIELD. 9A
</b>
           Glen settles back in his chair.

<b>                          GLEN
</b>           It's paradise...

                         

<b>          10 INT. DAY. STONEFIELD - NICHOLAS' SHED. 10
</b>
           Nicholas, dreading his predicament, is staring out at a cow's
           arse. The cow starts to piss. He shuts his eyes in
           desperation.

<b>          10A I/E. DAY. TAMARA'S CAR. 10A
</b>           Shooting from inside the car, we pass the sign "Ewedown".

                         

<b>          11 EXT. LATE AFTERNOON. EWEDOWN - HALFWAY DOWN THE STREET. 11
</b>
           The same car drives through the village. Jody and Casey
           appear from behind a wall and chuck eggs at it. They both
           land on the windscreen.

<b>                          JODY
</b>           Fucking bingo!
           Jody and Casey run away, laughing.

                         

<b>          11A EXT. DAY. EWEDOWN. OUTSIDE THE PUB. 11A
</b>
           The driver brakes, swerves and comes to a halt. Tamara Drewe
           gets out. She's twenty eight, startlingly beautiful. She
           looks around shocked, for the culprit.
           The immaculate, picturesque street is deserted. Tamara takes
           it in, with an expression of such distaste that it might as
           well be a landfill site.

<b>                          TAMARA
</b>           What a dump.
           As she drives away, we see Nadia sitting outside the pub in
           her urban heels, anxiously smoking a cigarette.

<b>           GOLDENROD REVISIONS 20.10.09 7A.
</b>
                         

                         

                         

<b>          12 EXT. LATE AFTERNOON. WINNARDS FARM. 12
</b>
           Tamara drives up to an old farmhouse. She gets out of the car
           and stands at the gate. Air of neglect; dark windows. Tamara
           looks at the place as if it stirs memories. She doesn't move.

<b>          12A DELETED 12A
</b>
                         

<b>          14 EXT. LATE AFTERNOON. WINNARDS FARM. 14
</b>
           At the back of the house Tamara walks through an overgrown,
           neglected garden. She peers through the back door into the
           kitchen. A thin layer of dust on the surfaces; a sense of
           recent abandonment.
           Suddenly a pigeon flies out from the porch eaves - just over
           her head. Tamara startles. It completely spooks her. She
           backs away. She doesn't know what to do.

                         

<b>          13 EXT. LATE AFTERNOON. EWEDOWN - BUS SHELTER. 13
</b>
           Jody and Casey are slouched on the bench at the bus stop.
           Three teenage boys are doing wheelies over the T-junction.
           One of them almost lands in the shop. An old lady comes out,
           shoo-ing them away.

<b>                          JODY
</b>           We could walk up the garage.

<b>                          CASEY
</b>           I'm supposed to be helping my mum
           up at Stonefield.

<b>                          JODY
</b>           They keep you busy.

<b>                          CASEY
</b>           Yeah.

<b>                          JODY
</b>           You never stop, you!
           Neither of them moves. The boys are yelling. Two try to put
           the third head first into the bin outside the shop. Jody and
           Casey are not impressed.

                         

                         

                         

<b>          15 DELETED. 15
</b>
<b>           GOLDENROD REVISIONS 20.10.09 8.
</b>
                         

                         

                         

<b>          16 EXT. EVENING. STONEFIELD - THE GROUNDS (PATIO). 16 
</b>
           The writers are sitting round a table lit with tea-lights in
           jars. Casey is helping her mum, Mary, an efficient local
           woman in her late thirties. She wobbles the heavy serving
           dishes dangerously.

<b>                          GLEN
</b>           It was called `From Hearth to Heath
           - Doomsday and Revelation in
           Victorian verse.'

<b>                          TESS 
</b>           What was it about? 

<b>                          GLEN 
</b>           Oh you know. Pale poets on 
           laudanum, dark towers and sunless 
           seas - a little sturm and drang in 
           a teacup. 

<b>           GOLDENROD REVISIONS 20.10.09 9.
</b>
                         

                         
           At an upstairs window we can see Beth hold a dress up to
           herself and then abandon the idea.

<b>                          TESS
</b>           Did it sell?

<b>                          GLEN
</b>           Well my kind of books aren't about
           sales. I mean that's not why I
           write. So... no.

<b>                          TESS
</b>           What are you working on next?
           Upstairs, through a window, we see Beth is putting on a
           blouse.

                         

<b>          17 INT. EVENING. STONEFIELD. BETH'S BEDROOM. 17
</b>
           Beth is looking at herself in a cheval mirror. She's full of
           hope that Nicholas will take her out - and dread that he'll
           find some excuse.

                         

<b>          18 EXT. EVENING. STONEFIELD. THE GROUNDS (PATIO). 18
</b>

<b>                          GLEN
</b>           Thomas Hardy.

<b>                          DIGGORY
</b>           Is there anything left to say about
           that maudlin bore?

<b>                          GLEN
</b>           Excuse me but there is nothing dull
           about Hardy. That is a
           misconception.

<b>                          TESS
</b>           At least you've been published. I'm
           seething with envy; I'd love to be
           published.

<b>                          EUSTACIA
</b>           I publish myself on the internet.

<b>                          TESS
</b>           Oh, do you earn money doing that?

<b>                          EUSTACIA
</b>           No.

<b>                          GLEN
</b>           So what do you write?

<b>                          EUSTACIA
</b>           Lesbian crime.

<b>           GOLDENROD REVISIONS 20.10.09 9A.
</b>
                         

                         
          Casey drops a potato in Glen's wine.

<b>                          EUSTACIA (CONT'D)
</b>           I'm here picking up tips from the
           master.

<b>           GOLDENROD REVISIONS 20.10.09 10.
</b>
                         

                         

                         

<b>          19 INT. EVENING. STONEFIELD - DOWNSTAIRS. 19
</b>
           The door to the garden is open, letting in the eveing air.
           Nicholas is waiting for Beth by the mirror. He is full of
           unease - but can't help finding himself handsome. His phone
           bleeps; a text. He reads it anxiously.

<b>                          NICHOLAS
</b>
<b>                          (CALLING)
</b>           Beth, why don't I just pop out on
           my own?
           Beth, determined to force things, comes downstairs.

<b>                          BETH
</b>           But I'm ready. Come on.
           She's on her way to join him.

<b>                          NICHOLAS
</b>           Is that - I mean - are you wearing
           that?

<b>                          BETH
</b>           Oh.

<b>                          NICHOLAS
</b>           Just looks a bit... hot.
           Now Beth knows she is right. She takes her jacket off,
           gutted.

<b>                          NICHOLAS (CONT'D)
</b>           You know, Haddition's always packed
           with pissed Londonites on a Friday. I
           doubt we'll get a table anyway. Let's
           do it properly next week; make an
           occasion. I'm always taking you for
           granted. I'm vile I know; you should
           kick me really, but -
           He's about to leave. Beth speaks calmly.

<b>                          BETH
</b>           Who is she?
           The question hangs in the air. Nicholas' smile is frozen.

<b>                          NICHOLAS
</b>           What?
           For a moment, he tries to find a lie.

<b>                          NICHOLAS (CONT'D)
</b>           Oh come on, Beth.

<b>                          BETH
</b>           Tell me. Who?

<b>           GOLDENROD REVISIONS 20.10.09 11.
</b>
                         

                         

<b>                          NICHOLAS
</b>           Look, it's nothing. It's been once
           or twice, that's all. Beth, it's
           not anything.
           Beth is raw with pain.

<b>                          BETH
</b>           (her voice raised)
           Who is she?!

                         

<b>          19A EXT. EVENING. STONEFIELD - THE GROUNDS (PATIO) 19A
</b>
           Tess faintly hears. She stops mid chew, listening for more.

                         

<b>          19B INT. EVENING. STONEFIELD - DOWNSTAIRS 19B
</b>
           Nicholas coughs up.

<b>                          NICHOLAS
</b>           Just a researcher with Radio 4.

<b>                          BETH
</b>           What's her name?

<b>                          NICHOLAS
</b>           Nadia, Nadia Patel.
           This hits a nerve.

<b>                          BETH
</b>           Patel? She's in your book.

<b>                          NICHOLAS
</b>           No, no I met her when I was on
           Desert Island Discs.

<b>                          BETH
</b>           You put her in your book!

<b>                          NICHOLAS
</b>           Just the name.

<b>                          BETH
</b>           And Desert Island Discs was a year
           ago.

<b>                          NICHOLAS
</b>           Yes but -

<b>                          BETH
</b>           Once or twice?

<b>                          NICHOLAS
</b>           I was going to tell you but -
           Beth utters an inchoate cry.

<b>           GOLDENROD REVISIONS 20.10.09 11A.
</b>
                         

                         

                         

<b>          19C EXT. EVENING. STONEFIELD. THE GROUNDS (PATIO) 19C
</b>
           Tess hears it.

<b>                          TESS
</b>           Shhh!...
           Beth's pained voice drifts out of the house.

<b>           BETH (O.S.)
</b>           You lying PIG!
           A hush falls over the table.

                         

<b>          19D INT. EVENING. STONEFIELD - DOWNSTAIRS. 19D
</b>

<b>                          NICHOLAS (CONT'D)
</b>           Beth, I'm a ruin, I know - but I've
           been in a real state about this... I
           didn't want to hurt you.
           Another wounded cry from Beth.

                         

<b>          19E INT. EVENING. STONEFIELD. KITCHEN. 19E
</b>
           In the kitchen, Andy picks up his plate and goes.

<b>           GOLDENROD REVISIONS 20.10.09 12.
</b>
                         

                         

                         

<b>          19F INT. EVENING. STONEFIELD - DOWNSTAIRS. 19F
</b>
           Beth is incandescent.

<b>                          BETH
</b>           How can you lie to my face?

<b>                          NICHOLAS
</b>           Can we talk calmly about this?
           There are people out there -

<b>                          BETH
</b>           You look me in the face and LIE!

<b>                          NICHOLAS
</b>           For God's sake; we're surrounded by

<b>                          NOVELISTS -
</b>
<b>                          BETH
</b>           You BASTARD!

                         

<b>          19G EXT. EVENING. STONEFIELD. THE GROUNDS (PATIO) 19G
</b>
           A thrilled intake of breath goes round the table. The writers
           (with the exception of Glen, who is mortified) are poised
           like scavengers, waiting for more.

                         

<b>          19H INT. EVENING. STONEFIELD - DOWNSTAIRS. 19H
</b>

<b>                          NICHOLAS
</b>           Beth, we're like a pair of
           compasses...

<b>                          BETH
</b>           Don't you dare -

<b>                          NICHOLAS
</b>           Joined solidly at the top but with
           the ends able to roam, in freedom -
           His phone beeps.

<b>                          BETH
</b>           That's from her isn't it? Are you
           keeping her waiting?
           Nicholas finally snaps.

<b>                          NICHOLAS
</b>           We've talked a lot about the 
           creative mind and we agreed that it 
           needs freedom to explore! 

<b>           GOLDENROD REVISIONS 20.10.09 12A.
</b>
                         

                         

<b>                          BETH
</b>           (leaving the house)
           Take your freedom. I can't live
           like this any more. It makes me
           feel WORTHLESS!

                         

<b>          20 EXT. EVENING. STONEFIELD - THE GROUNDS (PATIO/PORCH). 20
</b>
           Casey gawps, fascinated.
           Nicholas is following Beth outside. Her agony travels through
           the quiet evening air. The writers are open-mouthed.

<b>                          NICHOLAS
</b>           Calm yourself down!

<b>           BETH (O.S.)
</b>           Go set up home with Patel. See if
           she does your tax return.

<b>           NICHOLAS (O.S.) (CONT'D)
</b>           Will you please -

<b>           BETH (O.S.)
</b>           Do you love her??
           Diggory's fork stays in mid-air. Glen is horribly fascinated.

<b>           GOLDENROD REVISIONS 20.10.09 13.
</b>
                         

                         

<b>                          NICHOLAS
</b>
<b>                          (FIRMLY)
</b>           This is pointless.

<b>                          BETH
</b>           Is she young?

<b>                          NICHOLAS
</b>           For heaven's sake.

<b>                          BETH
</b>
<b>           IS SHE?
</b>
<b>                          NICHOLAS
</b>
<b>           YES!
</b>           The guests are hanging on every word. Beth retreats back into
           the house.

<b>           BETH (O.S.)
</b>           If you leave here tonight to be with
           her... Don't come back.

<b>                          NICHOLAS
</b>           Beth...
           For a moment, she hopes he'll apologise.

<b>                          NICHOLAS
</b>           You're making fools of us both.
           Beth, tears stinging, picks a plant out of the tub by the
           door and hurls it, roots and all. It's a direct hit.

<b>                          BETH
</b>           Liar.
           Glen cringes. Beth slams the door.
           Nicholas wipes soil off his glasses; brushes it off his
           shirt. He realises with a sinking heart that he must pass the
           writers to get to his car.

<b>                          DIGGORY
</b>           I didn't know they provided material
           too.

                         

<b>          20A INT. EVENING. STONEFIELD - DOWNSTAIRS. 20A
</b>
           Beth, her back to the door, is regretting her gesture.

                         

<b>          20B EXT. EVENING. STONEFIELD - THE GROUNDS (PATIO/PORCH). 20B 
</b>

<b>                          EUSTACIA 
</b>           Beth does everything for him you 

<b>                          KNOW; 
</b>
<b>                          (MORE)
</b>
<b>           GOLDENROD REVISIONS 20.10.09 13A.
</b>
                         

<b>                          EUSTACIA (CONT'D)
</b>           types his manuscripts, deals with 
           his agent, makes his female 
           characters convincing. 
           Nicholas still at the door, listening. 

<b>                          EUSTACIA 
</b>           She even came up with the name Dr 
           Inchcombe. 

<b>                          DIGGORY 
</b>           No wonder he's bored. 

<b>                          EUSTACIA 
</b>           I hope she takes him to the fucking 
           cleaners. 
           Nicholas walks to his car. Silence. He roars away. 

                         

<b>          20C INT. EVENING. STONEFIELD - THE KITCHEN. 20C
</b>
           Beth comes into the kitchen. Her eyes flicker over pictures
           of her daughter and Nicholas. She is in shock.

                         

<b>          20D EXT. EVENING. STONEFIELD - THE GROUNDS (PATIO). 20D 
</b>
           Glen is mortified. 

<b>                          GLEN 
</b>           At the end of the day, this is why 
           I'm glad to be single. 

                         

<b>          20E INT. EVENING. STONEFIELD - THE KITCHEN. 20E
</b>
           Beth is going through agonies of self-criticism.

<b>           BETH (V.O.)
</b>           Nadia Patel. Gazelle eyes. Tantric
           sex.
           We see her thoughts: An exotic clinch. Nicholas in thrall to
           Nadia's confident passion.

<b>                          BETH
</b>
<b>                          (TO CAMERA)
</b>           Why would he choose me?!

                         

<b>          20F EXT. EVENING. STONEFIELD - THE GROUNDS (PATIO). 20F 
</b>
           The gossip flutters round the table. 

<b>                          TESS 
</b>           Will she take him back, that's the 
           question. 

<b>           GOLDENROD REVISIONS 20.10.09 13B.
</b>
                         

                         

<b>                          EUSTACIA 
</b>          Would you? 

<b>                          TESS 
</b>          I'd be torn. 

<b>                          EUSTACIA 
</b>          He's far too up himself. 

<b>                          TESS 
</b>          What about the farm though? 
          Splitting up all this? Must be 
          worth a fortune. I think she's 
          very rash, making him choose... 

                          

<b>           GOLDENROD REVISIONS 20.10.09 14.
</b>
                         

                         

                         

<b>          21 EXT. EVENING. STONEFIELD - THE KITCHEN. 21
</b>
           Alone, Beth weeps. 

                         

<b>          22 EXT. NIGHT. EWEDOWN - OUTSIDE THE PUB. 22
</b>
           Nicholas is walking Nadia to his car. 

<b>                          NADIA
</b>           Thought you weren't going to come.

<b>                          NICHOLAS
</b>           I was busy. Rowing with my wife.

<b>                          NADIA
</b>           Where are we going?

<b>                          NICHOLAS
</b>           Home.

<b>                          NADIA
</b>           To your farm?
           A look of frustration crosses his face. He turns to her. 

<b>                          NICHOLAS
</b>           We could have gone on just as we
           were.

<b>                          NADIA
</b>           But you said you wanted to be with
           me...

<b>                          NICHOLAS
</b>           Yes. In London. Now and then.
           Nadia looks at him. The scales are beginning to fall. They
           get in the car. As they drive away, Tamara's car pulls up. 
           She gets out of the car and takes in the pub before entering. 

                         

<b>          23 INT. NIGHT. EWEDOWN - THE PUB. 23
</b>
           Tamara enters. Zoe, a buxom Australian, is behind the bar. 

                          

<b>           GOLDENROD REVISIONS 20.10.09 15.
</b>
                         

                         

<b>                          TAMARA
</b>           Big glass of rioja please. And I
           need a room.

<b>                          ZOE
</b>           Sure, how many nights?

<b>                          TAMARA
</b>           Don't know. Just one.
          Zoe pours the wine. She's disarmingly friendly. 

<b>                          ZOE
</b>           You here on business?

<b>                          TAMARA
</b>           No. Business of a kind.

<b>                          ZOE
</b>           I don't mean to pry; I'm just
           really nosey.

<b>                          TAMARA
</b>           I'm from here. Sort of.

<b>                          ZOE
</b>           Nice place.
          Tamara smiles her disagreement.

<b>                          ZOE (CONT'D)
</b>           I keep meaning to leave but... Hard
           to get away.

<b>                          TAMARA
</b>           My mum's house is just up the road.

<b>                          ZOE
</b>           You're not staying with her?

<b>                          TAMARA
</b>           She's. She died.
          Zoe finishes pouring the wine.

<b>                          ZOE
</b>           Have that on me. And here's your
           key. Up the stairs, right in front.
           You can't miss it.
          Tamara utters her thanks, surprised at Zoe's kindness. She
          takes her drink and the key upstairs. Zoe remains, grinning.
          We see why.
          Andy Cobb has just walked in. Zoe pulls him a pint.

<b>                          ZOE (CONT'D)
</b>           Didn't think I'd see you tonight.

<b>           GOLDENROD REVISIONS 20.10.09 16.
</b>
                         

                         

<b>                          ANDY
</b>           Bit of an atmosphere at Stonefield.

<b>                          ZOE
</b>           Tell me everything... 
           Andy shakes his head. 

<b>                          ANDY
</b>           Marriage. Remind me never to try it.

<b>                          ZOE
</b>           Andy, you're just a sex object. No
           one'd have you.
           He grins back at her.

                         

<b>          24 INT. NIGHT. EWEDOWN - THE PUB. TAMARA'S BATHROOM 24
</b>
           Tamara is in a deep bubble bath. She glances at herself in
           the mirror, scrutinising her beauty. She fingers her nose.
           Slowly a look of doubt steals over her - as if she's not
           quite comfortable in her own skin.

                         

<b>          25 INT. DAY. STONEFIELD - THE KITCHEN. 25
</b>
           Glen is eating his breakfast looking at all the Hardiment's
           family memorabilia in the kitchen. Andy is eating toast. 

<b>                          GLEN
</b>           So the Hardiments have lived here
           centuries, huh?

<b>                          ANDY
</b>           No, `bout twenty years. Still
           strangers by local standards.
           Beth comes in, tense, anxious and haggard.

<b>                          BETH
</b>           Andy, come and look at Ingrid. I
           think she's coming into heat.
           She goes out.

<b>                          GLEN
</b>           She's a nice lady.

<b>                          ANDY
</b>           Yeah, I owe her a lot.

<b>                          GLEN
</b>           Husband's a sleazebag, huh? 

<b>           GOLDENROD REVISIONS 20.10.09 17.
</b>
                         

                         

<b>                          ANDY
</b>           We'd say prick here actually. Or 
           wanker. 

<b>                          GLEN 
</b>           That's good. We might even call him 
           a Fuck.

<b>                          ANDY
</b>           That's good too.

                         

<b>          26 EXT. DAY. STONEFIELD - THE CHICKEN RUN. 26
</b>
           Andy approaches Beth. She is cleaning out the hen coop with
           all the frenetic energy of an abandoned wife.

<b>                          BETH
</b>           This is going rotten underneath.

<b>                          ANDY
</b>           Shall we look at Ingrid?

<b>                          BETH
</b>           It's falling apart.

<b>                          ANDY
</b>           I can do that. Beth...
           Andy takes the shovel. Beth bites back tears.

<b>                          ANDY (CONT'D)
</b>           He won't last five minutes.
           Beth looks down embarrassed by (but grateful for) his
           support.

                         

<b>          26A INT. DAY. STONEFIELD. 26A
</b>
           Glen wanders into Beth's office. The wall in front of him is 
           dominated by a framed newspaper profile of Nicholas, 
           surrounded by framed covers of Inchcombe books. The whole 
           room is a shrine to Nicholas' career. 
           Glen is in the hall looking at Beth's prints and pictures; 
           old maps, wildlife and framed letters from grateful writers 
           who have stayed at the retreat. He stares at a print of farm 
           workers in the nineteenth century. Glen sighs. 

<b>           GLEN (V.O.)
</b>           I know why I'm drawn to Thomas 
           Hardy. He writes about failure 
           better than anyone else. I need 
           this book to go well. I need a tiny 
           reward for my endeavours... 
           His stomach gurgles ominously. 

<b>           GOLDENROD REVISIONS 20.10.09 17A.
</b>
                         

                         

<b>           GLEN (V.O.) 
</b>           I need a dump.

                         

<b>          27 DELETED. 27 
</b>
<b>           GOLDENROD REVISIONS 20.10.09 18.
</b>
                         

                         

                         

<b>          28 INT. DAY. STONEFIELD - THE HALL/DOWNSTAIRS CLOAKROOM 28
</b>
           Glen walks down the corridor by the kitchen, to the
           downstairs cloakroom; a marvellous Victorian toilet of
           reassuring size. He shuts the door in relief.

                         

<b>          29 INT. DAY. STONEFIELD - THE HALL/DOWNSTAIRS CLOAKROOM. 29
</b>
           Glen is on the loo. Even in this small room there are framed
           photographs of Nicholas receiving awards. He looks at them in
           wonder.

<b>           NICHOLAS (O.S.)
</b>           If that's the way you feel...
           Nadia, I'm devastated.
           Through the frosted window Glen sees Nicholas.

<b>           NICHOLAS (O.S.)
</b>           But if that's your decision, I'll
           have to learn to live with it.
           Beth comes in from the garden. Glen sees Nicholas quickly end
           the call. For Beth's benefit:

<b>                          NICHOLAS
</b>           (Into his phone)
           I told you. I love my wife. Don't
           ever phone me again.
           Glen is shocked by this duplicity.

<b>                          NICHOLAS
</b>           Beth...

<b>                          BETH (CONT'D)
</b>           No don't touch me, don't you dare.
           Glen panics, realising their reunion is going to be right by
           the door. He puts his hand on the flush, hoping to warn them
           - too late.

<b>                          NICHOLAS
</b>           I'm sorry.

<b>                          BETH
</b>           Not good enough. Not any more.

<b>                          NICHOLAS
</b>           I'm sorry.

<b>                          BETH
</b>           You do what you like and then you're
           sorry?

<b>           GOLDENROD REVISIONS 20.10.09 18A.
</b>
                         

                         

<b>           NICHOLAS (O.S.)
</b>           I hate myself. I hate myself.
          Glen opens the door a chink. They are feet away from him.
          Nicholas looks unshaven, shagged and guilty.

<b>                          BETH
</b>           Where were you?

<b>                          NICHOLAS
</b>           Drove her back to London. Took all
           night.

<b>                          BETH
</b>           You drove her home?

<b>                          NICHOLAS
</b>           She was in a state.

<b>           GOLDENROD REVISIONS 20.10.09 19.
</b>
                         

                         

<b>                          BETH
</b>           Do you think she'll get over it?...
           Nicholas shrugs. To Glen's horror, he starts to cry.

<b>                          NICHOLAS
</b>           I'm sorry.
           Then Beth is sobbing too. They are in each other's arms,
           holding each other.

<b>                          NICHOLAS (CONT'D)
</b>           I don't know why I'm like this. I
           couldn't do without you.
           Glen looks away from the clinch, horribly embarrassed. He
           opens the toilet window, puts the soap dish straight. Looks
           again - still hugging, sobbing, kissing - puts his hand on
           the flush - too awful to reveal himself - takes it off again.
           Straightens his hair, examines his teeth, sweating.
           He looks again. At last the emotion is abating. Nicholas
           releases Beth. She wipes her eyes.

<b>                          BETH
</b>           I've got to go to the bottle bank.

<b>                          NICHOLAS
</b>           OK... Let's talk later.

<b>                          BETH
</b>           Yes. The goat's come into heat.

<b>                          NICHOLAS
</b>           Has it?

<b>                          BETH
</b>           I love you so much.

<b>                          NICHOLAS
</b>           Me too.
           Beth goes. Nicholas is watching her; his expression strange.
           He walks away. At last Glen emerges, incredulous at Nicholas'
           lies.

                         

<b>                         30 DELETED 30
</b>
<b>           GOLDENROD REVISIONS 20.10.09 20.
</b>
                         

                         

                         

<b>          31 INT. DAY. STONEFIELD - THE GROUNDS. 31
</b>
           Glen flops into a sun-lounger near Diggory.

<b>                          GLEN
</b>           I've just seen the Hardiments kiss
           and make up.

<b>                          DIGGORY
</b>
<b>                          (IRRITATED)
</b>           The hat is on.

<b>                          GLEN
</b>           Looks like she's taking him back.

<b>                          DIGGORY
</b>           When the hat is on, it means don't
           speak.

<b>                          GLEN
</b>
<b>                          (WITH IRONY)
</b>           So... Peace is restored.
           The sound of a burglar alarm suddenly blares over the garden.
           Diggory sits up, infuriated.

                         

<b>          32 EXT. DAY. THE FIELDS (LIMBURY). 32
</b>
           Glen is following Andy down the hill from Stonefield. The
           cows are too close for Glen's comfort. He hurries through.

<b>                          GLEN
</b>           I don't like cows. I mean really.
           They exude bovine malice.

<b>                          ANDY
</b>           Yeah, these girls are killing
           machines. They don't like Americans
           either.

<b>                          GLEN
</b>           Very funny.

                         

<b>          32A EXT. DAY. FIELD AND COPSE. (LARKHAM) 32A
</b>
           Glen and Andy are in the valley between the two farms.

<b>           GOLDENROD REVISIONS 20.10.09 21.
</b>
                         

                         

                         

                         

<b>                          ANDY
</b>           It's Winnards Farm. Lady there died
           a while back. Place is empty.

<b>                          GLEN
</b>           You think it's being robbed?

<b>                          ANDY
</b>           Prob'ly just kids. Nothing to do
           round here except make trouble.

<b>                          GLEN
</b>           What if it's bad guys? Don't you
           have a blunderbuss or a fowling
           piece or something?
           They climb up through a copse.

<b>                          CUT TO:
</b>
<b>          32B EXT. DAY. FIELDS (WINNARDS). 32B
</b>
           Glen and Andy are going up the hill towards Winnards.

<b>                          ANDY
</b>           Used to belong to my dad, this
           place.

<b>                          GLEN
</b>           Really?

<b>                          ANDY
</b>           But it all went tits-up. Land was
           flogged to a consortium and the house
           was sold to Londoners; the Drewes.

<b>                          GLEN
</b>           So this is your ancestral pile?

<b>                          ANDY
</b>           Was. Born in that room up there.
           He points up at the back bedroom window.

<b>                          GLEN
</b>           You must have been pretty resentful.

                         

<b>          33 1995. EXT. DAY. WINNARDS FARM - THE LANE. 33
</b>
           An eighteen year old Andy jumps off a stile into the lane
           behind a slim, fifteen year old girl on a horse.

<b>                          ANDY
</b>           Hey.

<b>           GOLDENROD REVISIONS 20.10.09 21A.
</b>
                         

                         
          The girl turns. She has a huge nose.

<b>                          ANDY
</b>           This farm's mine, big nose.

<b>           GOLDENROD REVISIONS 20.10.09 22.
</b>
                         

                         
           The girl kicks the horse into a trot, her nose in the air.

                         

<b>          34 EXT. DAY. WINNARDS FARM. 34
</b>
           Andy and Glen turn the corner to the back of the house.
           Tamara is up a ladder wielding a hammer at the alarm box.

<b>                          ANDY
</b>           Hey, what're you doing?
           Tamara gives the alarm box a great whack.

<b>                          ANDY (CONT'D)
</b>           Who are you??

<b>                          TAMARA
</b>           Andy, you moron; it's me.
           Andy looks more closely. A disturbing spark of recognition.

<b>                          ANDY
</b>           Tam?... Hardly recognise you. 
           Another whack. The noise becomes a high-pitched squeal.

<b>                          ANDY (CONT'D)
</b>           You won't do it that way.

<b>                          TAMARA
</b>           Then help me!

                         

<b>          35 INT. DAY. WINNARDS FARM - THE KITCHEN. 35
</b>
           Andy turns the alarm off. Tamara enters the dusty kitchen.

<b>                          ANDY
</b>           Used to do bits of work for your mum.
           Been keeping an eye on the place
           since she died.

<b>                          TAMARA
</b>           What sort of work, graphics?

<b>                          ANDY
</b>           I do horticulture now.

<b>                          TAMARA
</b>           You're a gardener?
           Andy says nothing. He stares at her nose. Glen has come in.

<b>           GOLDENROD REVISIONS 20.10.09 23.
</b>
                         

                         

<b>                          GLEN
</b>           This is a great old house.

<b>                          TAMARA
</b>           Would you like to buy it?

<b>                          GLEN
</b>           I'm not really the property-owning
           kind. Prefer my life to fit into hand 
           luggage. 

<b>                          ANDY
</b>           That's why you're back, to flog it?

<b>                          TAMARA
</b>           Yes.

<b>                          ANDY
</b>           Make a nice second home for some
           banker wankers.

<b>                          TAMARA
</b>           Andy if you want it, why don't you
           make me an offer?

<b>                          ANDY
</b>           Because sadly I'm still prey to the 
           economic forces that threw the
           peasant classes off the land.

<b>                          TAMARA
</b>           Unlucky.
           Tamara opens a cupboard. It's full of empty wine bottles. 

<b>                          ANDY
</b>           Tam.
           Their eyes meet.

<b>                          ANDY (CONT'D)
</b>           What the fuck have you done to
           yourself?
           Tamara's face falls.

                         

<b>          36 EXT. DAY. THE FIELDS (LARKHAM). 36
</b>
           Glen and Andy are walking back. Andy is brooding.

<b>                          ANDY 
</b>           She's completely different. 

<b>                          GLEN 
</b>           How was she before? What's the 
           story?... 

<b>           GOLDENROD REVISIONS 20.10.09 24.
</b>
                         

                         

<b>                          ANDY 
</b>           There isn't one. 

<b>                          GLEN 
</b>           Come on. 

<b>                          ANDY 
</b>           Was nothing. Decade ago. Just a 
           teenage thing. 

                         

<b>          37 1996. INT. DAY. WINNARDS FARM - A SHED. 37 
</b>
           Tamara pulling down her pants; Andy unbuttoning his jeans.
           She jumps up on the worktable, pushing a stack of turnips out
           of the way. They kiss passionately.

<b>                          ANDY
</b>           You should find someone you're in
           love with.

<b>                          TAMARA
</b>           You stupid prick.
           Andy looks at her. She is sincere.

<b>                          ANDY
</b>           You saying you love me, frosty tits?

<b>                          TAMARA
</b>           You first.

<b>                          ANDY
</b>           You say it; You're the girl.

<b>                          TAMARA
</b>           Fuck off.
           She kisses him. As they start to make love:

<b>                          TAMARA (CONT'D)
</b>           I love you. Fuck off. I love you. 

                         

<b>          37A EXT. DAY. A FIELD. 37A 
</b>
           Glen looks over at Andy, interrupting his thoughts. 

<b>                          GLEN 
</b>           Romeo and Juliet, huh? 
           Andy carries on down the hill, shaking his head. 

                         

<b>          38 INT. DAY. WINNARDS FARM - THE KITCHEN. 38 
</b>
           Tamara is watching Andy walk away with Glen. Her eyes follow 
           him curiously - then she firmly turns her back. 

<b>           GOLDENROD REVISIONS 20.10.09 24A.
</b>
                         

                         
           Tamara rips a bin liner off the roll and shakes it out.
           She takes a deep breath. She opens the cupboard and begins to
           bin the distressing mountain of empty wine bottles. 

                         

<b>          39 EXT. NIGHT. STONEFIELD - THE GROUNDS. 39
</b>
           Beth is standing at the hedge looking down at the valley with
           Nicholas at her side.

<b>                          BETH
</b>           Thinking of the first time we saw
           this place...

<b>                          NICHOLAS
</b>           You've made it a wonderful home
           Beth.

<b>           GOLDENROD REVISIONS 20.10.09 25.
</b>
                         

                         

<b>                          BETH
</b>           Not wonderful enough.
           She starts to walk away. Nicholas holds her back.

<b>                          NICHOLAS
</b>           If you can't put this behind you,
           then we're stuck.

<b>                          BETH
</b>           Well I'd better sort myself out then. 

<b>                          NICHOLAS
</b>           What has to happen? I am sorry -
           Beth brings her arm up to push him away. Nicholas catches it;
           draws her to him. He kisses her insistently. Beth's
           resistance diminishes. Soon it has gone. We begin to see the
           depth of Beth's physical love for him.
           At that moment, Glen walks round the corner. He tries to
           backtrack, mortified by his intrusion on their passion. Too
           late. They part. Nicholas turns away in frustration.

<b>                          GLEN
</b>           Just taking the air.
           Flustered, he knocks into a tub of lobelias. Beth and
           Nicholas remain. The moment between them is gone. Round the
           corner, Glen is cringing.

<b>                         40 CUT 40
</b>
                         

<b>          41 EXT. DAY. EWEDOWN - BUS SHELTER. 41
</b>
           Jody and Casey are reading a celebrity magazine.

<b>                          JODY
</b>           Would you do him?

<b>                          CASEY
</b>           No.

<b>                          JODY
</b>           What about him?

<b>                          CASEY
</b>           He's gay, you dobbin.

<b>                          JODY
</b>           So?
           They turn to a big spread on a band called Swipe.

<b>                          CASEY
</b>           Swipe.

<b>           GOLDENROD REVISIONS 20.10.09 26.
</b>
                         

                         

<b>                          JODY
</b>           Ben Sergeant...
           I'd walk through fire to do him.

<b>                          CASEY
</b>           The drummer?

<b>                          JODY
</b>           He's not just the drummer. He writes
           the lyrics; it's his band. He's the
           fucking genius, not Steve Culley or
           any of these wankers. It's Ben.

<b>                          CASEY
</b>           OK. I'd do Ben.

<b>                          JODY
</b>           I wanna be her, in that dress with
           him licking my teapot lids.

<b>                          CASEY
</b>           Yeah... me too.

                         

<b>          42 EXT. LATE AFTERNOON. STONEFIELD - THE GROUNDS. 42
</b>
           Casey is still carrying this image as she serves a tray of
           nibbles on the patio. She stands among the writers, watching 
           a fly get caught in one of the vol-au-vents.

<b>                          DIGGORY 
</b>           People talk about the muscularity in 
           prose. I want a similar muscularity 
           in my verse. I don't want a poetry 
           that's flabby or obese - that's why I 
           adhere to the tightest rhyme schemes: 
           Diggory picks the vol-au-vent up and without looking, puts it 
           in his mouth. Casey moves over to Nicholas and Glen. 

<b>                          DIGGORY 
</b>           ABB ACC DEE D. They give you the 
           armature, the beating heart, the 
           nerve ends... 

<b>                          NICHOLAS
</b>           So has the muse shone on you, Greg?

<b>                          GLEN
</b>           I've been pretty distracted. Most
           recently by those delicious cookie
           things that Beth brought round this
           afternoon.

<b>                          NICHOLAS
</b>           Oh yes. Of course we call them
           biscuits here.

<b>           GOLDENROD REVISIONS 20.10.09 26A.
</b>
                         

                         

<b>                          GLEN
</b>          And by the place itself, the people.

<b>                          NICHOLAS
</b>          Sometimes wish I could get
          distracted. Ten page a day man,
          rain or shine.

<b>           GOLDENROD REVISIONS 20.10.09 27.
</b>
                         

                         

<b>                          GLEN
</b>           Wow, that's scary. Ten pages; how 
           do you do that?

<b>                          NICHOLAS
</b>           Well, Greg -

<b>                          GLEN
</b>
<b>                          GLEN -
</b>
<b>                          NICHOLAS
</b>           I wouldn't presume to give an
           academic tips.

<b>                          GLEN
</b>           Matter of fact I read one of your
           books. Another distraction but I
           thought it was decent stuff.

<b>                          NICHOLAS
</b>           Well.
          He's offended.

<b>                          NICHOLAS (CONT'D)
</b>           How do I do it? I just get on with
           it, Greg.
          Nicholas walks away leaving Glen smarting. The female writers
          surround Nicholas. He tops them up, full of charm. Under his
          breath, Glen impersonates:

<b>                          GLEN
</b>           `We call them biscuits, here.'
          Nicholas raises his glass for a toast.

<b>                          NICHOLAS
</b>           To the muse, however you find her.
          He is looking at Beth. She is gratified. Then his eye shifts,
          his glass still in the air.

<b>                          NICHOLAS (CONT'D)
</b>           Who's that?
          Tamara Drewe is climbing the stile at the bottom of the
          garden in a low cut T-shirt, tiny pair of denim shorts and
          bare feet. The evening light bathes her in a golden sheen.

<b>           GOLDENROD REVISIONS 20.10.09 28.
</b>
                         

                         

<b>                          GLEN
</b>           That's Tamara Drewe.

<b>                          NICHOLAS
</b>           No it isn't.

<b>                          GLEN
</b>           I met her with Andy.

<b>                          NICHOLAS
</b>           Good God. What's happened to her?

<b>                          POPPY
</b>           She's had a nose job, Dad.

<b>                          NICHOLAS
</b>           She's completely different.

<b>                          GLEN
</b>           That's what Andy said.

<b>                          BETH
</b>           Poor Tamara. Such a sad girl. She
           used to come and help you wash the
           car, didn't she Nicholas? I think
           she liked a bit of family after her
           dad left.

<b>                          TESS
</b>           Is that Tamara Drewe who writes the
           column in one of the Sundays?

<b>                          BETH
</b>           Used to. Writes for the Independent
           now.

<b>                          TESS
</b>           She spent weeks going on about her
           nose job. Smart way to pay for it I
           suppose. Was her old one an awful
           conk?

<b>                          NICHOLAS
</b>           Yes.

<b>                          BETH
</b>           She's poured herself into those
           shorts. I hope they don't give her
           thrush.

<b>                          TESS
</b>           What's the etiquette with nose
           jobs? Do we mention it, or...
          Tamara has arrived in earshot. Absolutely everyone, including
          a very curious Casey, is staring at her nose.

<b>           GOLDENROD REVISIONS 20.10.09 28A.
</b>
                         

                         

<b>                          TAMARA
</b>           Hello. Sorry to intrude.
          Her hand defensively brushes her nose. Poppy walks towards
          her, full of warmth.

<b>                          POPPY
</b>           Hey, Tamara.

<b>                          TAMARA
</b>           Poppy, how are you?

<b>                          POPPY
</b>           Love your new hooter.

<b>                          TAMARA
</b>           Thanks. It isn't actually new; just
           smaller...

<b>           GOLDENROD REVISIONS 20.10.09 29.
</b>
                         

                         
           At last Beth remembers her manners.

<b>                          BETH
</b>           Tamara, so sorry about your mum.

<b>                          TAMARA
</b>           Thank you...

<b>                          BETH
</b>           Are you staying down for a while?

<b>                          TAMARA
</b>           I'll have to. There's so much to be
           done.

<b>                          BETH
</b>           You must let us know if we can help.

<b>                          TAMARA
</b>           Actually, I was going to ask if you
           could spare a pair of strong arms.
           I've got a skip coming tomorrow and -

<b>                          BETH
</b>           Nicholas? -
           Nicholas is opening another bottle of prosecco. It pops its
           cork over his trousers. He mutters a swear word.

<b>                          GLEN
</b>           I'm available. I do skips.

<b>                          DIGGORY
</b>           I... No.

<b>                          TAMARA
</b>           Well thank you. You're very kind...
           Is Andy around at all?
           Beth is helping Nicholas wipe his trousers.

<b>                          BETH
</b>           Oh, I can't spare Andy. He's making
           a new coop for my Buff Orpingtons.

                         

<b>          43 EXT. NEXT DAY. WINNARDS FARM. 43
</b>
           Tamara and Glen are carrying junk out to a skip. Tamara is in
           big boots and a slightly more practical pair of shorts.

<b>           GOLDENROD REVISIONS 20.10.09 30.
</b>
                         

                         

                         

<b>          44 INT. DAY. STONEFIELD - THE KITCHEN. 44
</b>
           Beth is preparing lunch, talking to Poppy. Nicholas is going 
           through his typed-up manuscript; not really listening.

<b>                          BETH
</b>           She's had the writers down there 
           helping her all day. I hope she 
           realises they're here to work... 

<b>                          POPPY
</b>           Can't believe what a difference 
           her nose makes. 

<b>                          BETH
</b>           Well I think it's a mistake; taken
           away all her character.

<b>                          POPPY
</b>           Come on; she looks ten times
           better.

<b>                          NICHOLAS
</b>           Huh. 

<b>                          BETH
</b>           And she knows it. I found those
           shorts really irritating. Going
           around with half her bum hanging
           out. I mean, why?

<b>                          POPPY 
</b>           To annoy people like you. Might get a
           pair myself.

<b>                          NICHOLAS
</b>           Of course you won't.

<b>                          POPPY
</b>           Why not?

<b>                          NICHOLAS
</b>           Because you're not desperate, are
           you? Always something a bit
           desperate about Tamara Drewe.
           Beth looks at him puzzled as he works on.

                         

<b>          45 EXT. DAY. WINNARDS FARM. 45
</b>
           Tamara and Glen are having a rest.

<b>                          GLEN
</b>           So why did you change your face?

<b>           GOLDENROD REVISIONS 20.10.09 30A.
</b>
                         

                         

<b>                          TAMARA 
</b>          Changing my face is the best thing I
          ever did. And I don't care what 
          anyone thinks. 

<b>           GOLDENROD REVISIONS 20.10.09 31.
</b>
                         

                         

<b>                          GLEN
</b>           Would it work for me? 

<b>                          TAMARA
</b>           Maybe; if you did the wrinkles too.

<b>                          GLEN
</b>           Oh, you're just coming on to me...
           Tamara laughs. She starts work again.

<b>                          GLEN
</b>           In your column, you write about 
           yourself... Does that come easily? 

<b>                          TAMARA
</b>           No... But it feels right. My first 
           novel's definitely going to be
           autobiographical.

<b>                          GLEN
</b>           Your first novel? You're going to
           dash one off just like that?

<b>                          TAMARA
</b>           Ideally, I'd like to make it into 
           fiction before I'm thirty.

<b>                          GLEN
</b>           And then maybe a swimwear collection,
           a chat show, a pasta sauce range?

<b>                          TAMARA
</b>           What? 

<b>                          GLEN
</b>           Life sure is easy for the beautiful.

<b>                          TAMARA 
</b>           You know before I got the nose job 
           I had no trouble getting taken 
           seriously. Maybe, when they removed 
           that bit of cartilage, they pulled 
           my brain out by mistake - what do 
           you think? 
           Glen smiles, won over. 

                         

<b>          46 INT. LATE AFTERNOON. EWEDOWN - THE PUB. 46
</b>
           Glen is coming from the bar with a pint for Andy and a half
           for himself. He has just been served by Zoe.

<b>                          GLEN
</b>           She's single, man.
           Andy looks over at Zoe.

<b>           GOLDENROD REVISIONS 20.10.09 31A.
</b>
                         

                         

<b>                          ANDY
</b>          Well it's not exactly a
          relationship; we just have an
          occasional thing. Zoe doesn't want
          to be tied down and -

<b>                          GLEN
</b>          Not Zoe! Tamara... You should get
          in there. Marry the girl. Then you
          get to live back in your ancestral
          home.

<b>                          ANDY
</b>          No way. Not her type.

<b>                          GLEN
</b>          The trouble is Andy, you think like
          a loser. And I know that because
          I'm the loser that losers turn to
          for tips. I'm the losers loser.

<b>           GOLDENROD REVISIONS 20.10.09 32.
</b>
                         

                         

<b>                          ANDY
</b>           I'm a pedigree loser. I had a
           graphics business; went bust. And
           then with my great business acumen
           I invested in a polytunnel full of
           ganja.

<b>                          GLEN
</b>           Wow. How'd that go?

<b>                          ANDY
</b>           Made a tit of myself. Spent about
           six years stoned out of my box and
           I'm only just getting it back
           together. Besides, even if I was
           the last man in the world, Tamara
           Drewe wouldn't have me.

<b>                          GLEN
</b>           Why not?

<b>                          ANDY
</b>           I dumped her.

<b>                          GLEN
</b>           Oh, you are a loser.

<b>                          ANDY
</b>           I was twenty. My mates thought I
           was cradle snatching... And they
           used to call her Beaky.

                         

<b>          47 1996. EXT. DAY. OUTSIDE THE PUB. 47
</b>
           Tamara in her school uniform, is gutted.

<b>                          TAMARA
</b>           Beaky?...
           We see her stricken face as she turns away. Then she turns
           back and hits Andy. His nose streams blood.

                         

<b>          48 INT. LATE AFTERNOON. EWEDOWN - THE PUB. 48
</b>
           Glen is preparing to leave.

<b>                          GLEN
</b>           You told her the truth... The time
           might come when she respects that.
           Andy, as your love guru, I suggest
           you ask Tamara for a date. But take a
           shower first, OK?

<b>                          ANDY
</b>
<b>                          (SMILING)
</b>           Piss off, Glen.

<b>           GOLDENROD REVISIONS 20.10.09 33.
</b>
                         

                         

                         

<b>          49 EXT. EVENING. WINNARDS FARM. 49
</b>
           Tamara is in her shorts and boots, chucking empty bottles and
           old saucepans into the skip, like an Amazon.

                         

<b>          50 EXT. EVENING. STONEFIELD - THE GROUNDS. 50
</b>
           Nicholas is at the hedge, looking down the valley towards
           Winnards Farm. He is watching Tamara like a hawk - as if he
           can't quite believe what he is seeing.

                         

<b>          51 1996. EXT. DAY. STONEFIELD - THE GROUNDS. 51 
</b>
           Nicholas and Tamara are polishing Nicholas' car. 

<b>                          TAMARA 
</b>           Boys know nothing. 
           Nicholas looks up at her, smiles indulgently. Tamara stops 
           work. 

<b>                          TAMARA (CONT'D) 
</b>           I've been reading `Inchcombe's 
           Dose.' 

<b>                          NICHOLAS 
</b>           Have you? 

<b>                          TAMARA 
</b>           The bit where Doctor Inchcombe 
           finds himself having thoughts about 
           the dead guy's daughter. 
           Tamara walks around the car, bringing her polishing cloth 
           closer to his. 

<b>                          TAMARA (CONT'D) 
</b>           You describe her light smattering 
           of freckles and her striking 
           profile. So... 
           She turns her head. 

<b>                          TAMARA (CONT'D) 
</b>           Who did you base her on? 

<b>                          NICHOLAS 
</b>           What? 

<b>                          TAMARA 
</b>           Have you noticed me? 
           Nicholas looks at her in surprise. 

<b>                          TAMARA (CONT'D) 
</b>           Because I've noticed you... 

<b>           GOLDENROD REVISIONS 20.10.09 33A.
</b>
                         

                         
          She waits, hoping for a kiss, a hug, anything. She puts out a 
          hand - almost touches him. He steps back. 

<b>                          NICHOLAS 
</b>           Think it's time you went. 
          Tamara is mortified. 

<b>                          NICHOLAS (CONT'D) 
</b>           You're making yourself ridiculous. 
          This really hurts. Tamara takes the bucket of soapy water and 
          throws it over the car - and Nicholas. 

<b>                          TAMARA 
</b>           Nicholarse. 

<b>                          NICHOLAS (CONT'D) 
</b>           Oh, grow up. 

                          

                          

<b>           GOLDENROD REVISIONS 20.10.09 34.
</b>
                         

                         

                         

<b>          52 EXT. EVENING. STONEFIELD - THE GROUNDS. 52
</b>
           Nicholas is still staring at Tamara, who is jumping on the
           stuff in the skip. Glen is strolling up the hill from the
           pub. He follows Nicholas' gaze.

<b>                          GLEN
</b>           A man can dream, huh?
           Nicholas looks at him affronted - as if he doesn't know what
           he's talking about.

                         

<b>          53 INT. EVENING. WINNARDS FARM. 53
</b>
           Tamara, hot and dirty, runs up the stairs with her roll of
           bin liners. She opens the door to her mother's bedroom.
           She is completely unprepared for it. A neat, womanly room
           covered in photographs of Tamara as a child, teen and young
           woman. On the dressing table is a lipstick; the lid lying
           next to it as if it has just been used. Tamara picks it up.
           She sits, suddenly exhausted. For the first time, she looks
           lost.

                         

<b>          54 EXT. DAY. ANOTHER FARM - THE GOAT PEN. 54
</b>
           Tamara still looks slightly shaken as she walks up to Andy.
           He is watching Ingrid meet Darcy, a billy goat.

<b>                          ANDY
</b>           Go on Ingrid; have some kids.

<b>                          TAMARA
</b>           Pretty direct isn't he? He's not
           even bought her a coke.
           Andy turns. Sees her.

<b>                          TAMARA (CONT'D)
</b>           And he stinks.

<b>                          ANDY
</b>           She doesn't mind; it's like Lynx to
           her. If she's ready she'll stand for
           him, if not she won't.

<b>                          TAMARA
</b>           That's disturbing human.

<b>                          ANDY
</b>           Refreshing basic.
           Darcy is up and at it.

<b>           GOLDENROD REVISIONS 20.10.09 35.
</b>
                         

                         

<b>                          ANDY (CONT'D)
</b>           Thought you'd have gone back to
           London by now.

<b>                          TAMARA
</b>           I wish. Looks like I'm stuck here for
           a while. Actually, I've got a
           proposition for you.
          Andy glances at the goats; bad idea.

<b>                          ANDY
</b>           We should go for a drink
           sometime, Tam. You know, for old
           times sake.

<b>                          TAMARA
</b>           So we can reminisce about how I
           smashed your nose?

<b>                          ANDY
</b>           You didn't smash it.

<b>                          TAMARA
</b>           Yes I did.

<b>                          ANDY
</b>           It just bled.
          The memory is between them.

<b>                          TAMARA
</b>           I've got to do the house up before I
           sell it. It looks like an eighties
           timewarp. Would you like the job?
          He just looks at her.

<b>                          TAMARA
</b>           Painting it and tidying the garden?
           Good hourly rate.

<b>                          ANDY
</b>           It can't be easy down there, Tam.

<b>                          TAMARA
</b>           What d'you mean?

<b>                          ANDY
</b>           All the memories and stuff. Your
           mum...

<b>                          TAMARA
</b>           I'm fine.

<b>           GOLDENROD REVISIONS 20.10.09 35A.
</b>
                         

                         

<b>                          ANDY
</b>          Is it that you want someone around?
          Like when you look up I'd be there
          too?

<b>           GOLDENROD REVISIONS 20.10.09 36.
</b>
                         

                         

<b>                          TAMARA
</b>           Jesus Christ, the goats are giving

<b>                          YOU IDEAS
</b>
<b>                          ANDY
</b>           OK it's bollocks -

<b>                          TAMARA
</b>           That's very sweet of you Andy -

<b>                          ANDY
</b>           Of course you wouldn't want to
           fraternise with your gardener.

<b>                          TAMARA
</b>           So... is that a yes?
           Andy doesn't reply.

<b>                          TAMARA (CONT'D)
</b>           Come on, goat whisperer - I thought
           I'd be doing you a favour. I thought
           you needed the work.
           It's all over with Ingrid and Darcy.

<b>                          TAMARA (CONT'D)
</b>           She's had a shit time but she'll
           still call him. He'll lose her
           number. He won't ring her back...
           Andy's face cracks into a smile. He is won over.

                         

<b>          54A INT. DAY. STONEFIELD. GLEN'S ROOM. 54A 
</b>
           Glen types a sentence. He reads it. He deletes. He stares at 
           the blank page. It stares back at him. 

<b>                          GLEN 
</b>           No. 
           He stands. He paces. He sits. 

<b>                          GLEN 
</b>           Just write, you numbskull. You 
           moron, you dumb fuck - write! 

                         

<b>          55 EXT./INT. DAY. STONEFIELD - BETH'S OFFICE. 55
</b>
           Glen is passing Beth's office. She's working through a stack
           of fan mail. She smiles when she sees him.

<b>                          BETH
</b>           How's Thomas Hardy?
           Glen unburdens himself.

<b>           GOLDENROD REVISIONS 20.10.09 36A.
</b>
                         

                         

<b>                          GLEN
</b>           I'm wasting my sabbatical.

<b>                          BETH
</b>           Oh dear.

<b>                          GLEN
</b>           I've been working on this book
           forever; why can't I finish it? I'm
           two years past my delivery date and
           Fantail could ask for their
           chickenshit advance back. I can't
           write. I'm fucking constipated.
           It's a disaster.

<b>                          BETH
</b>           Crikey.
          He notices the In-Tray.

<b>           GOLDENROD REVISIONS 20.10.09 37.
</b>
                         

                         

<b>                          GLEN (CONT'D)
</b>           Is this all his fan mail?

<b>                          BETH
</b>           I do a couple of sessions a week,
           to keep on top of it. Pretty good
           at forging Nick's signature.
           Glen looks awed - and defeated.

<b>                          BETH 
</b>           Would you like me to read it? 

<b>                          GLEN 
</b>           You'd do that? 

<b>                          BETH 
</b>           Be glad to. If you think it would 
           help. 
           Beth suddenly sees Andy out of the window. He's leaving.

<b>                          BETH (CONT'D)
</b>           Sorry Glen. Just need Andy -

<b>                          GLEN
</b>           Barging in on you; What an idiot.

                         

<b>          56 EXT. DAY. STONEFIELD - THE GROUNDS. 56
</b>
           Beth catches up with Andy.

<b>                          BETH
</b>           If you're going into Hadditon -
           we're really low on chicken feed.

<b>                          ANDY
</b>           I'll get it tomorrow. I'm on my way
           down to Winnards. Doing one or two
           jobs for Tamara.

<b>                          BETH
</b>           She's got you helping her too?

<b>                          ANDY
</b>           Just painting, decorating, sorting
           the garden.
           Beth is quite put out.

<b>                          BETH
</b>           Andy, that sounds like a lot. I
           need you here.

<b>                          ANDY
</b>           I can easily do both.

<b>           GOLDENROD REVISIONS 20.10.09 37A.
</b>
                         

                         

<b>                          BETH
</b>           As long as you're not working for
           her in the hours that I pay you.
          Without thinking, she has made Andy feel like a servant.

<b>                          ANDY
</b>           Sure, Beth. I won't rip you off.

<b>           GOLDENROD REVISIONS 20.10.09 38.
</b>
                         

                         
           He walks on, leaving Beth feeling very uncomfortable - and
           somehow slightly bereft.

                         

<b>          57 INT. DAY. WINNARDS FARM - THE GROUNDS / KITCHEN. 57
</b>
           Andy comes in. He shouts into the house.

<b>                          ANDY
</b>           Tam? Got some colour charts for you
           to see.
           He sets out all the colours charts and plans he has been 
           working on. Tamara appears. She is dressed to kill. 

<b>                          TAMARA 
</b>           What would you choose for in here? 

<b>                          ANDY 
</b>           Well... I'd have this one. And then 
           upstairs in the bedroom - 

<b>                          TAMARA 
</b>
<b>           OK. 
</b>           She starts gathering her things. 

<b>                          ANDY 
</b>           So what d'you have to do to get a
           cup of tea round here?

<b>                          TAMARA
</b>           Make it.

<b>                          (SHE POINTS)
</b>           Tea bags. Sugar. Fridge.

<b>                          (SHE GRINS)
</b>           I'm off to work.
           Andy stares. Suddenly Tamara is no longer just a blast from
           the past. He sees a future - a future that he wants. He
           slowly smiles back - but she's already striding away.

                         

<b>          58 EXT. DAY. A ROCK FESTIVAL - THE PERIMETER FENCE. 58
</b>
           Pounding rock music, slightly distorted by distance. Jody and
           Casey are trying to get in over the boundary fence. A
           security guard is already running towards them.

<b>                          JODY
</b>           This is our village. Our fucking
           field.

<b>                          GUARD
</b>
<b>           OUT!
</b>
<b>           GOLDENROD REVISIONS 20.10.09 39.
</b>
                         

                         

<b>                          JODY
</b>
<b>           COME ON YOU BASTARD LET US IN!
</b>           Jody is ready for a fight but Casey pulls her back.

<b>          59 CUT. 59
</b>
                         

<b>          60 EXT. DAY. STONEFIELD - THE GROUNDS 60
</b>
           Beth is tending to Ingrid - making sure she's not scared by
           the noise. Ingrid looks as if she couldn't give a damn. Over
           by the barn she sees Glen, unaware that he's being watched,
           breaking out of a mournful walk to groove to the music. She
           smiles.
           At the other end of the farm, Nicholas is staring over the
           hedge with tissue paper ear-plugs. He pretends his arm is a
           rifle, like a little boy. He aims at the cows. He fires.

                         

<b>          61 EXT. DAY. A ROCK FESTIVAL - THE MAIN STAGE. 61
</b>
           Swipe are playing; bit like The Libertines in their prime.
           There is one girl in the band, bass guitarist Fran Redford.
           The drummer, Ben Sergeant, is also vocals. The lead singer,
           Steve Culley, is mixed-race; confident and charismatic.
           He is getting very up-close and personal with Fran. Ben is
           getting more and more furious.
           In the wings, we see Tamara talking to a publicist, trying to
           make herself heard above the roar of the music. She is
           pointing at Steve and Fran. The publicist nods.
           Suddenly Ben leaps up and takes hold of Steve, pulling him
           away from Fran. There is a scuffle, Fran trying to separate
           the boys. Ben takes a microphone.

<b>                          BEN
</b>           Sorry people. I resign. Swipe is no
           more. Steve Culley is a cunt.
           Ben storms off the stage. The audience are in uproar.

<b>                          PUBLICIST
</b>           Ben! Ben! What's happening?

<b>           GOLDENROD REVISIONS 20.10.09 40.
</b>
                         

                         

<b>                          BEN
</b>           He's seeing Fran. I won't work with
           that tosser again.

<b>                          FRAN
</b>           Steve! Don't!
           Steve is coming into the wings. He punches Ben.

<b>                          STEVE
</b>           You fucking baby.
           Ben falls. He virtually lands on Tamara. They both hit the
           ground. Steve storms off - Fran following, calling his name.
           Ben is dazed. He looks up at Tamara.

<b>                          TAMARA
</b>           Hello. I'm Tamara Drewe.

<b>                          BEN
</b>           What?

<b>                          TAMARA
</b>           I'm supposed to be interviewing you
           - for the Independent.
           She smiles sweetly, smoothing his hair.

<b>                          TAMARA (CONT'D)
</b>           It was scheduled for later but
           maybe now's a better time...

                         

<b>          62 EXT. LATE AFTERNOON. EWEDOWN - BUS SHELTER. 62
</b>
           Jody, Casey and the boys are sharing a bottle of cider.

<b>                          JODY
</b>           They should let us in free.

<b>                          RYAN
</b>           Too right. They come here, drink our
           water, use our fields, they leave
           all their crap in our drains -
           Tamara's car sweeps past with the roof down. It is closely
           followed by a bright yellow Porsche. Ben is driving and his
           boxer dog, Boss, is in the passenger seat. Jody clocks him.

<b>                          JODY
</b>           Ben! Ben!
           She jumps up and down in the road with both arms waving.

<b>                          CASEY
</b>           What are you doing?

<b>           GOLDENROD REVISIONS 20.10.09 40A.
</b>
                         

                         

<b>                          JODY
</b>          That was Ben from Swipe! Ben!!

<b>           GOLDENROD REVISIONS 20.10.09 41.
</b>
                         

                         
           Jody and Casey scream with delight, chasing the car.

                         

<b>          63 EXT. LATE AFTERNOON. WINNARDS FARM. 63
</b>
           Ben skids his Porsche to a halt right next to Tamara's car.
           He jumps out. Boss follows. Tamara is walking towards the
           door. The distant festival is still audible. Tamara backs
           towards the door, with Ben inches away.

<b>                          BEN
</b>           That's Boss.

<b>                          TAMARA
</b>           Hi Boss.

<b>                          BEN
</b>           You're not allergic are you?

<b>                          TAMARA
</b>           To indie drummers? Maybe. Who are
           your influences, Ben?

<b>                          BEN
</b>           Everyone asks that. This your place?

<b>                          TAMARA
</b>           I'm selling. D'you want it?

<b>                          BEN
</b>           No, I want something else.
           Tamara grins. Jody and Casey arrive at the brow of the hill,
           breathless. They see Ben pin Tamara against the door.

<b>                          JODY
</b>           Who the fuck's she?

<b>                          CASEY
</b>           I seen her up at Stonefield. She's
           got a nose made of plastic.

<b>                          JODY
</b>           How come she gets Ben? I've loved
           him since March.
           Just as Ben's about to kiss her, Tamara coolly opens the door
           and draws him into the house.

<b>                          CASEY
</b>           Wow...
           Jody is gutted; feeling the full injustice of her life.

<b>           GOLDENROD REVISIONS 20.10.09 42.
</b>
                         

                         

                         

<b>          64 INT. LATE AFTERNOON. WINNARDS FARM - KITCHEN 64
</b>
           Tamara leads Ben to the kitchen. The hall has been stripped.

<b>                          TAMARA
</b>           Would you like a beer?

<b>                          BEN
</b>           Yep. Maureen Tucker.

<b>                          TAMARA
</b>           Who?
           Tamara opens the fridge. Ben is inches away. He still hasn't
           kissed her and he's just about to.

<b>                          BEN
</b>           Moe Tucker, with the Velvets. Five
           foot nothing. Used to stand up to
           play. Put the snare drum on its side
           and hit it with mallets. Mentalist.

<b>                          TAMARA
</b>           You write all the songs; that's
           pretty rare for a drummer.

<b>                          BEN
</b>           Everything you've ever heard about
           drummers is total shit.

<b>                          TAMARA
</b>           You mean you don't spontaneously
           combust?

<b>                          BEN
</b>           Only sometimes.
           She goes in to kiss him. But Ben grabs a pair of chopsticks
           from a utensils jar. He starts to play around Tamara, hitting
           the surfaces, the shelves and everything on them; a brilliant
           rhythm. He gets closer and closer. Tamara is utterly
           mesmerised. Ben stops. He still doesn't kiss her.

<b>                          BEN (CONT'D)
</b>           Any more questions?
           Tamara is speechless. He kisses her.

                         

<b>          65 EXT. DAY. THE FIELD AND THE COPSE - NEXT MORNING (LARKHAM).
</b>

<b>                          65
</b>           Andy is walking in the copse up to Tamara's. He spots a
           couple of wild mushrooms and picks them. In the distance he
           sees Glen bending and stretching. A cow is looking at him
           over the fence. Glen sees it and startles.

<b>           GOLDENROD REVISIONS 20.10.09 43.
</b>
                         

                         
           The sight makes Andy smile. He carries on towards Winnards
           Farm in high spirits.

                         

<b>          66 EXT. DAY. WINNARDS FARM. 66
</b>
           Andy comes up to the house. He sees the yellow Porsche; then
           a large boxer dog sitting by the front garden. It starts
           barking at him. Andy calms him right down.

<b>                          ANDY
</b>           Hey, hey - who are you, mate -
           lost, are you?
           Andy strokes Boss.

                         

<b>          66A EXT. DAY. BACK OF WINNARDS. 66A
</b>
           Andy takes a key from under a flower pot.

                         

<b>          66B INT. DAY. WINNARDS FARM. KITCHEN / HALL. 66B
</b>
           Andy opens the kitchen door.

<b>                          ANDY
</b>           Tam? You want breakfast?
           Boss bounds inside and disappears.

<b>                          ANDY
</b>
<b>                          WOAH -
</b>           Andy is puzzled. He steps into the hall.

<b>                          ANDY
</b>           Do you know about this dog, Tam -
           He notices two half-drunk beers. He wanders into the hall. He
           sees Ben's boots and most of Tamara's clothes, abandoned. The
           unmistakable moans of lovemaking are coming from Tamara's
           room.
           He turns on his heels, pained.

                         

<b>          67 EXT. DAY. THE FIELD. (WINNARDS). 67
</b>
           Andy strides back across the field, chucking the mushrooms in
           the mud on his way.

                         

<b>          68 AUTUMN. 68
</b>
                         
          68aa POSY DRAWING 68aa

<b>           GOLDENROD REVISIONS 20.10.09 43A.
</b>
                         

                         

                         

<b>          68A EXT. DAY. WINNARD'S FARM. 68A 
</b>
           Postcard of Winnards Farm. The exterior is half-decorated. 
           Two cars parked - Tamara's and the yellow Porsche, which 
           looks more like a permanent fixture. The garden has been 
           cleared and dug, ready to plant. 
           Andy is stoking a bonfire. He is smouldering like the embers. 
           He gives the yellow Porsche an angry look. 

                         

<b>          68AA EXT. DAY. STONEFIELD. THE FIELD. 68AA 
</b>
           Nicholas and Glen are both walking in the field. They pass 
           each other, each managing a painful smile. 

<b>                          NICHOLAS 
</b>           How goes the opus? 

<b>                          GLEN 
</b>           Fine Nicholas, just fine... 
           Their smiles fade. Nicholas descending into deep gloom, Glen 
           into deep anxiety. 

                          

<b>           GOLDENROD REVISIONS 20.10.09 44.
</b>
                         

                         

                         

<b>          69 EXT. DAY. STONEFIELD. 69
</b>
           Beth is mending the engine of her huge mower. Glen, now
           wearing a scarf, is sitting on the seat watching her work.

<b>                          GLEN
</b>           It's his most obscure novel `The Well-
           Beloved'. Most people have never even
           heard of it. About this guy of twenty
           who falls in love with a beautiful
           young woman. Then when he's forty, he
           meets the woman's daughter and he
           falls in love with her. And finally,
           when he's sixty he meets the

<b>                          GRANDDAUGHTER -
</b>
<b>                          BETH
</b>           Oh he doesn't.

<b>                          GLEN
</b>           Yeah. Falls in mystical love. Hardy
           was like that in his life, too. Even
           as he aged, he only had eyes for
           young women. Like, in one essential
           way he never grew up.

<b>                          BETH
</b>           In his trousers.

<b>                          GLEN
</b>           He was still at it in his eighties.
           You know? Snow on the rooftop but
           fire in the cellar...

<b>                          BETH
</b>           Why won't it come for you Glen?
           The way you talk about it's so
           engaging.

<b>                          GLEN
</b>           Yeah but there's an academic style,
           you know?

<b>                          BETH
</b>           Who are you writing for? Who's your
           ideal reader?

<b>           GOLDENROD REVISIONS 20.10.09 45.
</b>
                         

                         
           Glen can't answer.

<b>                          BETH
</b>           Because if you wrote the way you
           spoke... it would make me want to
           read Hardy.

<b>                          GLEN
</b>           Really?

<b>                          BETH
</b>           Yes. If you wrote like you were
           talking to a friend... Pass me that
           thing.
           Glen passes it, looking at Beth as she tightens a bolt.

<b>                          BETH
</b>           Try it now.
           Glen turns the key. The engine starts. Glen starts to drive
           the mower, delighted. Beth watches him, amused.

                         

<b>          69A CUT 69A
</b>
                         

<b>          70 INT. NIGHT. STONEFIELD - THE DINING ROOM. 70
</b>
           A cosy dinner for all the writers - more ladies in their
           forties and fifties. Nicholas is topping up his glass.

<b>                          NICHOLAS
</b>           I simply pander to popular taste.

<b>                          CAITLIN
</b>           Oh your books are far more than that.

<b>                          NICHOLAS
</b>           Just airport fodder...
           Glen at the foot of the table, finds this modesty rich.

<b>                          CAITLIN
</b>           Your prose is so vivid. And Inchcombe
           - for all his flaws - is a man with
           total integrity.

<b>                          GLEN
</b>           Who did you base him on, Nicholas?

<b>           GOLDENROD REVISIONS 20.10.09 46.
</b>
                         

                         

<b>                          NICHOLAS
</b>
<b>                          (IGNORING GLEN)
</b>           My books don't say anything
           profound. I can't pretend to be an
           intellectual - not like Glen here,
           illuminating our ignorance with his
           critical glow - but I do love prose.
           And I think I can turn a reasonable
           story.
          Glen peers into the kitchen. Beth is serving desserts.

<b>                          GLEN
</b>           Excuse me.
          He goes to help her, leaving the ladies around Nicholas like
          cups around a teapot.

<b>                          GLEN
</b>           Let me help.

<b>                          BETH
</b>           They need dusting with this.

<b>                          GLEN
</b>           I went to my room and I wrote for
           three hours. The time just
           vanished.

<b>                          BETH
</b>           That's great, that's brilliant.

<b>                          GLEN
</b>           I feel like a man who's just passed
           a gargantuan stool.

<b>                          BETH
</b>           Super. Sprig of mint on the top.
          Glen returns to the dining room with two desserts. He listens
          to Nicholas as he serves them.

<b>                          NICHOLAS
</b>           The real secret of being a writer
           is learning how to lie.
          A frisson of shock goes round the lady writers.

<b>                          NICHOLAS (CONT'D)
</b>           Because that's what storytellers
           are. Thieves and liars...

<b>                          GLEN
</b>           (as he serves Nicholas)
           `The basis of all excellence is
           truth.' Samuel Johnson.
          Glen's intellect wins the day. Nicholas smarts.

<b>           GOLDENROD REVISIONS 20.10.09 46A.
</b>
                         

                         

                         

<b>          71 INT. NIGHT. WINNARDS FARM - TAMARA'S BEDROOM. 71
</b>
           The room - her mother's - is empty except for a mattress on
           the floor, clothes rail, designer bean bag and desk.

<b>           GOLDENROD REVISIONS 20.10.09 47.
</b>
                         

                         
           Tamara is sitting at it, tapping away on her PC, almost
           pained with concentration. Ben is bored.

<b>                          BEN
</b>           Are you done yet?

<b>                          TAMARA
</b>           I'm just starting something.

<b>                          BEN
</b>           That poxy column? Can't it wait?

<b>                          TAMARA
</b>           Not the column. Just stuff coming
           out. Don't want to stop it.

<b>                          BEN
</b>           Do it later. Play with me.
           Ben strums his guitar, determined to get her attention.

<b>                          BEN (CONT'D)
</b>           She is such fun she's sexy
           And she lives on an old farm
           But something gnaws away at me
           It's causing me real harm.
           Tamara, what can you do with it?
           What can you do with her name?
           Its stands there lonely and
           rhymeless It's driving me nearly
           insane.
           Tamara the lovely, the ultimate,
           dazzling girl,
           Make me pasta carbonara,
           Cos I'm ravenous Tamara,
           Then shag me wearing your tiara...
           Tamara is delighted. She leaps on him.

                         

<b>          72 EXT. DAY. WINNARDS FARM - THE GARDEN. 72
</b>
           Andy is planting a bed. Ben's boxer dog is digging up work
           he's just done. Andy swears at him under his breath.

<b>           BEN (O.S.)
</b>           Hey - Andy?
           Andy looks up. Ben is at the bedroom window, naked.

<b>                          BEN (CONT'D)
</b>           Can you let my dog in? Thanks mate.
           Jody and Casey watch from behind the hedge as Andy angrily
           goes to let the dog in.

<b>           GOLDENROD REVISIONS 20.10.09 48.
</b>
                         

                         

<b>                          CASEY
</b>           He must like kissing plastic.

<b>                          JODY
</b>           He doesn't love her. He's just on
           the rebound from losing Fran;
           numbing his pain with loads of
           empty, rampant sex. What he really
           needs...

<b>                          CASEY
</b>           Is a fifteen year old from Ewedown.

<b>                          JODY
</b>           So? Stranger things happen. He's
           only ten years older and that's
           nothing. If he met me, if he just
           met me...

<b>                          CASEY
</b>           It'd be love, right?

<b>                          JODY
</b>           Yeah.

<b>                          (SHE GRINS)
</b>           But I'd settle for sex.

                         

<b>          73 INT. DAY. STONEFIELD. THE BARN 73
</b>
           Beth is feeding the hens.

<b>                          BETH
</b>           Coo-er... In your parents' bedroom?
           Still I suppose being an
           exhibitionist is part of his job -
           strutting about on stage.

<b>                          ANDY
</b>           He doesn't strut; he's a drummer.
           He sits on his arse.

<b>                          BETH
</b>           Very good-looking, isn't he? Poppy
           You-Tubed him and we both got quite
           hot and bothered. Is that his car -
           the yellow Porsche?

<b>                          ANDY
</b>           Yep.

<b>                          BETH
</b>           Bit brash, vrooming through the
           village... But fancy our Tamara
           bagging a bone fide rock star. She
           was such an ugly duckling. She must
           be thrilled to bits.

<b>           GOLDENROD REVISIONS 20.10.09 48A.
</b>
                         

                         
           Andy can't listen to any more.

                         

<b>          74 INT. DAY. EWEDOWN - THE PUB. 74
</b>
           Andy peers through the door. Zoe is setting tables. He
           knocks. Zoe let's him in.

<b>                          ZOE
</b>           We're not open for another hour.

<b>                          ANDY
</b>           Good.

                         

<b>          75 INT. DAY. EWEDOWN - THE PUB STORE ROOM. 75
</b>
           Andy and Zoe are in the near-darkness, making love against
           the wall.

                         

<b>          76 INT. DAY. EWEDOWN - THE PUB. 76
</b>
           Andy is lying on one of the seats, his head on Zoe's lap.

<b>                          ZOE
</b>           I'm going to move on soon, Andy.

<b>                          ANDY
</b>           No way...

<b>           GOLDENROD REVISIONS 20.10.09 49.
</b>
                         

                         

<b>                          ZOE
</b>           Don't know if I can stick a winter
           here. The way the light disappears;
           it's doing me in. I'm a blue sky
           girl. Got to have some warmth.
           Andy just looks up at her, smiling his understanding.

<b>                          ANDY
</b>           We all need a bit of that, don't we.

                         

<b>          76AA EXT. DAY. WINNARDS FARM. 76AA 
</b>
           Boss is outside, sniffing round the front door. Sounds of the 
           end of an epic shag from the upstairs window. He sits, bored. 
           He hears the noise of crows in the field. 
           He is off like a shot. 

                         

<b>          76A EXT. DAY. STONEFIELD. THE FIELD IN FRONT OF NICHOLAS' SHED.
</b>

<b>                          76A
</b>           Boss is having the time of his life chasing the cows. Penny
           Upminister, an uppercrust landowner in a horrible coat is
           trying to catch him.

                         

<b>          78 I/E. DAY. STONEFIELD - NICHOLAS' SHED / THE FIELD (LIMBURY)
</b>
<b>                          78 
</b>           The whole herd is now on the rampage, Boss in pursuit, Penny 
           bringing up the rear. Nicholas sees them heading straight for 
           his shed. 

<b>                          NICHOLAS 
</b>           Fuck Soup. 

                         

<b>          77 INT. DAY. WINNARDS FARM - TAMARA'S BEDROOM. 77
</b>
           Tamara is opening a Tiffany's box. There is a ring inside it.
           She looks at Ben, almost in disbelief. Boss can be heard,
           barks fading in the distance.

<b>                          TAMARA
</b>           What's this?

<b>                          BEN
</b>           What's it look like?

<b>                          TAMARA
</b>           Ben... For which finger?

<b>                          BEN
</b>           Whatever one you like. That's a
           nice one. Why not put it on that?
           He's pointing to her ring finger. Tamara is moved.

<b>           GOLDENROD REVISIONS 20.10.09 49A.
</b>
                         

                         

                         

<b>          79 EXT. DAY. STONEFIELD - THE GROUNDS (LIMBURY). 79 
</b>
           Penny Upminister has managed to get Boss on a bit of rope.
           She is handing him over to Beth at the top of the field.

<b>                          PENNY
</b>           Those girls could have aborted!

<b>           GOLDENROD REVISIONS 20.10.09 50.
</b>
                         

                         

<b>                          BETH
</b>           Calm down, Penny. I'll sort him out.
           Nicholas is approaching.

<b>                          PENNY
</b>           It beats me why you people want to
           live in the country. You've got no
           sense of responsibility.

<b>                          BETH
</b>           It's not our dog!

<b>                          NICHOLAS
</b>           Hello, Penny. How's tricks?
           Penny is suddenly all coy.

<b>                          PENNY
</b>           Oh - Nicholas...

<b>                          NICHOLAS
</b>           You're looking great. Terrific coat.

<b>                          PENNY
</b>           What, this old thing?

<b>                          NICHOLAS
</b>           You look like royalty.

<b>                          PENNY
</b>           (laughs, delighted)
           Well, I try... Can't wait for your
           next book. Inchcombe's such a sauce-
           pot. Giles is always says `What are
           you reading Penny? You've got steam
           coming out of your ears...'
           She laughs like a drain. Nicholas joins in. Beth is striding
           away with the dog, infuriated.

                         

<b>          80 INT. DAY. WINNARDS FARM - TAMARA'S BEDROOM 80
</b>
           Ben has put a ring on Tamara's finger.

<b>                          TAMARA
</b>           So what's the ring saying, Ben?

<b>                          BEN
</b>           It's saying hello I'm a ring. Will
           you marry me?
           Tamara looks at him, searchingly.

<b>                          BEN (CONT'D)
</b>           What's up?

<b>           GOLDENROD REVISIONS 20.10.09 50A.
</b>
                         

                         

<b>                          TAMARA
</b>          I didn't know.

<b>                          BEN
</b>          Didn't know what?

<b>           GOLDENROD REVISIONS 20.10.09 51.
</b>
                         

                         

<b>                          TAMARA
</b>           That you were in love with me.

<b>                          BEN
</b>           The ring says I'm platinum with a
           long guarantee. So give me a reply.
           Tamara is grinning from ear to ear.

<b>                          TAMARA
</b>           You're the best fun in the world.
           I'd love to marry you.
           She throws her arms around his neck.

<b>                          TAMARA (CONT'D)
</b>           Can I say it then?

<b>                          BEN
</b>           Say what?

<b>                          TAMARA
</b>           I love you.
           Tamara holds him, profoundly affected. Something akin to fear
           flickers across Ben's eyes. The phone rings.

<b>                          BEN
</b>
<b>                          (ANSWERING IT)
</b>           What? She's being proposed to.

                         

<b>          81 EXT. DAY. TEN MINUTES LATER. STONEFIELD - THE GROUNDS. 81
</b>
           Ben's Porsche skids to a halt, music blaring. Diggory is 
           looking on in irate astonishment. The hat is on. 

<b>                          BETH
</b>           Shhh! There are writers here, trying
           to write.
           Beth is in the hen enclosure, a hen in her arms. 

<b>                          BETH 
</b>           This is a Buff Orpington. She's 
           looking a bit peaky today. Not a 
           great layer but she's very 
           decorative. 
           Beth puts down the hen. 

<b>                          BETH 
</b>           We're fully organic - but I like to 
           think that our champion product is 
           the written word. 
           Nicholas approaches, his hand held out, heartily. 

<b>           GOLDENROD REVISIONS 20.10.09 52.
</b>
                         

                         

<b>                          NICHOLAS
</b>           The famous Ben - Swipe, eh?
          Ben just about manages to shake it.

<b>                          BEN
</b>           Swipe's over. Thought the whole
           world knew that.

<b>                          NICHOLAS
</b>           It wasn't on Newsnight, no.

<b>                          BETH
</b>           Ben is engaged to Tamara. Isn't
           that lovely? He'd just popped the
           question when I rang.

<b>                          NICHOLAS
</b>           She said yes?
          Nicholas can't hide his disbelief. Ben is insulted.

<b>                          BETH
</b>           We're delighted for you both.
          Boss leaps up, straining against a chain.

<b>                          BEN
</b>           Why's he on a chain?

<b>                          BETH
</b>           He was out of control.

<b>                          BEN
</b>           How'd you like to be chained up?

<b>                          BETH
</b>           He was chasing livestock. He
           could've got shot.

<b>                          BEN
</b>           They shoot him; I'll fucking shoot
           them. 
          He takes Boss. Beth and Nicholas are left alone.

<b>                          NICHOLAS
</b>           I think the word is gobshite.

<b>                          BETH
</b>           I hope he makes her happy. It's hard
           for girls when their dads walk out.
           Gives them bad taste in men.

<b>                          NICHOLAS
</b>           What's that supposed to mean?

<b>           GOLDENROD REVISIONS 20.10.09 53.
</b>
                         

                         

<b>                          BETH
</b>           Just saying her father left when she
           was a girl and -

<b>                          NICHOLAS
</b>           That is ten pence psychology! You
           don't know what you're talking
           about, do you? 
           He walks away. Beth is completely taken aback.

                         

<b>          82 INT. DAY. STONEFIELD - NICHOLAS' SHED/ EXT. WINNARDS 82
</b>
           Nicholas, wearing a woolly hat and scarf, is writing.

<b>           NICHOLAS (V.O.)
</b>           Patel's eyes were open, eloquent in
           death...
           He looks up. In the distance, he can just see Tamara talking
           to Andy in the garden at Winnards Farm.
           Nicholas opens his desk. He finds a pair of old binoculars.
           He focuses them on Tamara. She holds out her hand with the
           ring on it. Andy has his arms wrapped around himself, his
           shoulders hunched. He nods, affecting congratulations.
           Nicholas tries to close in on Tamara. But she turns and goes
           indoors. Also the yellow Porsche arrives. Nicholas puts the
           binoculars down.

<b>           NICHOLAS (V.O.) (CONT'D)
</b>           He knelt down - forensics be damned -
           and closed her eyes, forever.

                         

<b>          83 INT. DAY. 10 MINUTES LATER. WINNARDS FARM - KITCHEN. 83
</b>
           Tamara is turning the ring around her finger.

<b>                          BEN
</b>           `Mai Buff Orpingtons. Oh, the
           written word. That's what the
           country does to you; turns you into
           one. What's up?

<b>                          TAMARA
</b>           It's a shame it doesn't fit. Perhaps
           you should have taken one of mine
           with you when you went to buy it.

<b>                          BEN
</b>           Yeah but I didn't know you then.

<b>                          TAMARA
</b>           So... when did you buy it?

<b>           GOLDENROD REVISIONS 20.10.09 54.
</b>
                         

                         
           Ben realises his mistake. Tamara laughs, shocked.

<b>                          TAMARA (CONT'D)
</b>           Was this for someone else?
           Ben shrugs, not wanting to admit. The truth dawns.

<b>                          TAMARA (CONT'D)
</b>           You gave it to Fran didn't you?

<b>                          BEN
</b>           So? It's yours now. She never wore
           it. She didn't want it.

<b>                          TAMARA
</b>           You asked her to marry you...?

<b>                          BEN
</b>           It was a gesture, OK, when she
           started seeing Steve. Backfired,
           anyway. Look, I love you now.
           Tamara doesn't believe him. She is devastated.

<b>                          BEN (CONT'D)
</b>           It's not the ring that matters. I
           mean fuck the ring. It's just a
           consumerist piece of zinc. What
           matters is I want to marry you.

<b>                          TAMARA
</b>           Do you?

<b>                          BEN
</b>           Yeah. With my whole heart. And all
           the other stuff. Like my brain and my
           entrails and my whatever, pancreas.
           It all wants to marry you.
           He hugs her, starts kissing her but Tamara hardly responds.

                         

<b>          84 INT. NIGHT. STONEFIELD - NICHOLAS' SHED./ EXT. WINNARDS 84
</b>
           Nicholas is staring out at the darkness. Beth is organising
           things around him.

<b>                          BETH
</b>           She wondered if you had a delivery
           date in mind. I told her Easterish.
           Mind that cocoa, it's hot.
           Across at Winnards, Tamara's bedroom light comes on. For a
           moment, she gazes out. Nicholas gazes back.

<b>           GOLDENROD REVISIONS 20.10.09 55.
</b>
                         

                         

<b>                          BETH (CONT'D)
</b>           There's a few invites; I'll pop them
           there. Just tick the ones you want
           to go to.
           Ben wraps his arms lovingly around Tamara. She draws the
           curtains as he pulls her away.

<b>                          BETH (CONT'D)
</b>           And Tim wants to know if you'll do
           your Christmas signing in Hadditon. I
           know he's always ungrateful but I
           think it's so important to keep these
           little bookshops open, don't you?

<b>                          NICHOLAS
</b>           Uh huh.
           Beth is on her way out. She turns and kisses him.

<b>                          BETH
</b>           Come in soon, my love.
           Nicholas stares out into the darkness. He isn't working. He
           isn't doing anything.

                         

<b>          84A EXT. NIGHT. NICHOLAS' SHED. 84A
</b>

                         
           From the field, Nicholas is an ageing, isolated figure in a
           tiny pool of light.

                         

<b>          85 WINTER. POSY DRAWING. 85
</b>
                         

<b>          86 EXT. DAY. EWEDOWN - THE BUS SHELTER. 86
</b>
           Mud, frost and gloom add to the sense of neglect. Jody is
           smoking. Casey is eating Pringles. They share a magazine.

<b>                          CASEY
</b>           Look at that cellulite...

<b>                          JODY
</b>           She been sitting on a bead car-seat
           or what?
           Casey turns a page.

<b>                          CASEY
</b>           `Her latest tattoo count was nine,
           including a Sumatran tiger and
           `Eternity' written in Sanskrit.'

<b>                          JODY
</b>           She'll be getting a barcode done
           next. Right across there.

<b>           GOLDENROD REVISIONS 20.10.09 55A.
</b>
                         

                         

<b>                          CASEY
</b>          Nice baby though. I'd like one that
          colour.

<b>           GOLDENROD REVISIONS 20.10.09 56.
</b>
                         

                         
           Jody chucks her fag-end into the bin.

                         

<b>          87 EXT. DAY. EWEDOWN - THE BUS SHELTER - FIVE MINUTES LATER. 87
</b>
           The bin is on fire. Casey chucks in the Pringles box. They
           warm their hands, watching one of the boys wheelie his bike
           and fall off right into a freezing puddle. Casey giggles.

<b>                          CASEY
</b>           That Ryan...

<b>                          JODY
</b>           What a dick.

<b>                          CASEY
</b>           I think he's cute.

<b>                          JODY
</b>           No you don't. Would you snog him?

<b>                          CASEY
</b>           Maybe.

<b>                          JODY
</b>           Be like having a slug in your mouth.
           Ben's yellow Porsche speeds right through the puddle, further
           soaking Ryan. Ben and Tamara are both wearing designer shades
           despite the gloom; Boss in the back.
           Jody and Casey are both on their feet in a second.

<b>                          JODY (CONT'D)
</b>           Ben! Ben!

<b>                          CASEY
</b>
<b>           BEN!!!
</b>
<b>                          RYAN
</b>           Wankers.
           Ben gives them a grin and a wave. Jody's heart soars.

<b>                          JODY
</b>           Come on.

                         

<b>          88 MERGED WITH 87. 88
</b>
                         

<b>          89 EXT. DAY. 10 MINUTES LATER. WINNARDS FARM. 89
</b>
           Jody is outside the back door. She lifts a flowerpot and
           takes the key from underneath.

<b>                          JODY
</b>           She keeps this here for Andy.

<b>           GOLDENROD REVISIONS 20.10.09 56A.
</b>
                         

                         

<b>                          CASEY 
</b>           What if she's got an alarm? 

<b>                          JODY 
</b>           Soon find out. 
          Jody opens the door. They go in. The alarm is hanging off the 
          wall, the wires pulled out. Jody grins at Casey, satisfied. 

<b>           GOLDENROD REVISIONS 20.10.09 57.
</b>
                         

                         

<b>                          CASEY
</b>           What if they come back?

<b>                          JODY
</b>           If you're too chicken, go home.
           The girls wander in, awed. Jody turns and grins, her eyes
           like a cat's.

                         

<b>          90 INT. NIGHT. HADDITON - A BOOK SHOP. 90
</b>
           Nicholas is doing a book signing. There's a good crowd.

<b>                          NICHOLAS
</b>           Is that Claire with an `i'?
           Beth has a tray of mince pies. Glen is at her side.

<b>                          BETH
</b>           What about you, Glen? Where will you
           be?

<b>                          GLEN
</b>           In London with a collection of spare
           academics. I guess we'll be decking
           the halls in our own erudite way.

<b>                          BETH
</b>           I'll miss our chats. 

<b>                          GLEN
</b>           I've been in a state of writerly
           bliss these last weeks. I hope I
           get to come back.

<b>                          BETH
</b>           Me too. We'd love to have you.
           Glen doesn't want Beth to move away.

<b>                          GLEN (CONT'D)
</b>           You know, this is the best mince pie
           I've ever had.

<b>                          BETH
</b>           Oh?

<b>                          GLEN
</b>           If it was possible to have an orgasm
           from mere food, this mince pie would
           do it.

<b>                          BETH
</b>
<b>                          (EMBARRASSED)
</b>           Golly.
           She moves away. Glen heads for the wine, kicking himself.

<b>           GOLDENROD REVISIONS 20.10.09 58.
</b>
                         

                         
          Tamara and Ben walk in. Ben looks at the country casuals in
          undisguised horror.

<b>                          BEN
</b>           What the fuck are we doing here?

<b>                          TAMARA
</b>           It's kind of research; I want to
           write about them. They're funny, Ben -
           come on.
          They move through the crowd.

<b>                          VINTNER
</b>           The 2001 was the best. Someone just
           bought my last three cases...

<b>                          POSH HIPPY
</b>           So I've got her this gorgeous
           Rajastani gagara skirt...
          Arriving at the mulled wine.

<b>                          TAMARA
</b>           Besides, I want to show you off.

<b>                          BEN
</b>           What am I - arm candy?

<b>                          TAMARA
</b>           More like arm fungus with that face
           on. Ben, meet Glen. Glen, meet Ben,
           my fiance.

<b>                          GLEN
</b>           You're getting married?

<b>                          TAMARA
</b>           Uh huh.

<b>                          GLEN
</b>           OK. Beautiful dress, magazine
           photoshoot - everything the
           aspiring novelist needs.

<b>                          TAMARA
</b>           I knew you'd be pleased.

<b>                          GLEN
</b>           Have a mince pie.

<b>                          BEN
</b>           Can we get out of here?

<b>                          TAMARA
</b>           Wait.

<b>           GOLDENROD REVISIONS 20.10.09 58A.
</b>
                         

                         
          She abandons him. Glen has turned away. Ben stands amid the
          nice chat, like a man being tortured.
          Meanwhile, Tamara is jumping the queue at Nicholas' desk.

<b>                          ARMY GEEK
</b>           In Field of Tares, you made Fred a
           corporal. But there's no such thing
           in the Royal Artillery. They call
           them bombardiers.

<b>                          NICHOLAS
</b>           Oh, thank you for that...

<b>                          TAMARA
</b>           Sorry.
          She flashes a smile at the Army Geek and puts her copy down
          in front of Nicholas.

<b>                          TAMARA
</b>           Could you do it for Ben? He's my
           fiance. We're getting married in
           the summer.

<b>           GOLDENROD REVISIONS 20.10.09 59.
</b>
                         

                         

<b>                          NICHOLAS
</b>           So I hear. You have my heartiest
           commiserations, Tara.
           He hands her the book dismissively. Tamara is smarting.

<b>                          TAMARA
</b>           Well merry Christmas. Nicholarse.
           She turns away.

                         

<b>          91 INT. NIGHT. WINNARDS FARM - TAMARA'S BEDROOM. 91
</b>
           Jody sniffs Ben's aftershave, longingly. Casey plucks his 
           guitar. They listen to the note in hushed awe. 
           Jody puts her foot into one of Tamara's killer stilettos. She 
           picks up Ben's drumsticks and kisses them, reverently. 

<b>                          JODY
</b>           We gotta live the dream, Casey.
           Live the dream...
           Jody and Casey jump up and down on the unmade bed. Jody pulls 
           a black T-shirt from under a pillow. She holds it to her
           face.

<b>                          JODY (CONT'D)
</b>           Ben...
           Casey is looking out of the window. The yellow Porsche is
           heading up the lane.

<b>                          CASEY
</b>           Omigod!
           A wild panic. They put things back where they found them.

<b>                          JODY
</b>           Go! Go! Go!
           She nicks the T-shirt.

<b>          91A INT. NIGHT. WINNARD'S FARM. 91A
</b>

<b>           GOLDENROD REVISIONS 20.10.09 60.
</b>
                         

                         
           The girls sprint down the stairs and out.

<b>          91B EXT. NIGHT. WINNARD'S FARM. 91B
</b>
           They dive behind a bush as the car pulls in. They lie on the
           ground splitting their sides with hushed laughter, as Ben and
           Tamara disappear into the house.

                         

<b>          92 INT. NIGHT. WINNARDS FARM - THE KITCHEN. 92
</b>
           Tamara and Ben are having a heated discussion.

<b>                          BEN
</b>           Why don't you sell it like you keep
           saying?

<b>                          TAMARA
</b>           Because... I've started writing.

<b>                          BEN
</b>           You can write anywhere.

<b>                          TAMARA
</b>           But this is proper. Not just stuff
           for the paper. 'It's about my teens -
           and is working for me here.

<b>                          BEN
</b>           Well it might be memory lane for you
           but it's doing my fucking head in. I
           want London. I want some Urban, OK?
           Are you with me or what? Cos I've had
           it with this place.
           Tamara is hurt - and deeply disappointed.

<b>                          TAMARA
</b>           Of course I'm with you...

<b>                          BEN
</b>           It's drab. It's depressing. And every 
           time I look out of the window I see
           Andy's arse - what's that about?

                         

<b>          93 EXT. NEXT DAY. STONEFIELD - ANDY'S CORRUGATED SHACK. 93
</b>
           Andy is bending down, the top of his arse peeking out in the
           morning sun. Ben stares at it with distaste. Andy is plucking 
           a goose, putting all his frustration into it.

<b>                          BEN
</b>           We're leaving. Thank God. 
           Andy looks at him. 

<b>           GOLDENROD REVISIONS 20.10.09 61.
</b>
                         

                         

<b>                          BEN
</b>           Tamara says you sell Christmas geese.

<b>                          ANDY
</b>           Yep.

<b>                          BEN
</b>           Can I have one?

<b>                          ANDY
</b>           Right now?

<b>                          BEN
</b>           Yeah.
          Andy smirks, pointing at a big white duck.

<b>                          ANDY
</b>           That one's spare.

<b>                          BEN
</b>           Is that a goose?

<b>                          ANDY
</b>           You can take it now if you like.

<b>                          BEN
</b>
<b>                          (DISGUSTED)
</b>           Oh come off it.

<b>                          ANDY
</b>           What?

<b>                          BEN
</b>           It's fucking alive.

<b>                          ANDY
</b>           Oh, you want it from Tesco, all
           plucked and headless sitting on a
           bandage.
          Ben's curiosity gets the better of him.

<b>                          BEN
</b>           How d'you do it then?
          Andy points towards an upturned traffic cone, held in place
          by a metal frame.

<b>                          ANDY
</b>           Gently put it's head down there; then
           quick in the skull with an air rifle. 
           Pluck it while it's warm, little pot 
           to catch all the blood -

<b>                          BEN
</b>           Do you enjoy doing that?

<b>           GOLDENROD REVISIONS 20.10.09 61A.
</b>
                         

                         

<b>                          ANDY
</b>           No, but in my low wage economy, this
           flock's worth a lot.

<b>                          BEN
</b>           You're a sick fuck, Andy.
          Andy has had enough.

<b>           GOLDENROD REVISIONS 20.10.09 62.
</b>
                         

                         

<b>                          ANDY
</b>           Grow up.

<b>                          BEN
</b>
<b>                          (SQUARING UP)
</b>           What did you say?
           Andy stands. He's at least two inches taller than Ben.

<b>                          ANDY
</b>           I said grow up, little drummer boy.
           Ben thinks about it. He walks away. Glen appears with his
           suitcase on wheels containing most of his worldly goods.

<b>                          ANDY
</b>           Tamara rang me this morning. Said 
           to finish the house. It goes on the 
           market in the spring and that's it;
           over.

<b>                          GLEN
</b>           Why does the asshole always get the
           girl?
           He stands with Andy; comrades. Andy slaps him on the back.

<b>                          ANDY
</b>           Come on. Or you'll miss that train.

                         

<b>          94 INT. SIX WEEKS LATER. WINNARDS FARM - TAMARA'S BEDROOM. 94 
</b>
           Snow falling outside. Jody and Casey are in school uniform.
           Jody curled up on the bed; Casey at Tamara's PC. The room has 
           been redecorated. 

<b>                          JODY
</b>           It won't be just a shag, Case. It'll
           be an event. I'll be wearing like a
           gossamer slip with a bra bit; Prada.
           Or like a filmy, linen shirt, and...
           We see Jody's thought bubble. Ben is leaning against the door 
           frame, giving her a smouldering look. 

<b>           JODY (V.O.) (CONT'D)
</b>           He'll be wearing a black T-shirt all
           taut over his buff bod and underneath
           Calvin Klein Boxers, black.
           Jody moves towards Ben. He buries his face in her neck as if
           he's found the love of his life.

<b>           GOLDENROD REVISIONS 20.10.09 62A.
</b>
                         

                         

<b>           JODY (V.O.) (CONT'D)
</b>          And he'll have like one tattoo of my
          name and lush pecs and we'll have
          candles and white sheets and I'll
          smell of Allure by Chanel.

<b>           GOLDENROD REVISIONS 20.10.09 63.
</b>
                         

                         
           Ben lifts Jody on to the bed. They marvel at each other. He
           bends down to kiss her.

<b>           JODY (V.O.) (CONT'D)
</b>           And he tries to stop himself but I'm
           a vision and he gets drawn into my
           power and it'll be like Uhhh... But
           also respectful. And my `V' plates
           will melt into nothing.
           She looks up. Casey is reading at the PC.

<b>                          JODY (CONT'D)
</b>           Are you listening?

<b>                          CASEY
</b>           I like this.

<b>                          JODY
</b>           What?

<b>                          CASEY
</b>           There's this bit right, where her dad
           takes her for dinner and she thinks
           it's some big treat but what he's
           doing, right, is telling her he's
           leaving them. And she, right, she's
           gutted and she yaks all her food into
           a napkin and puts it on his plate.

<b>                          JODY
</b>           So?

<b>                          CASEY
</b>           It's painful. But funny. It's about
           her; Plastic Fantastic. She's sad,
           Jode.

<b>                          JODY
</b>           Sad? She's a lucky cunt. 

                         

<b>          94A EXT. NIGHT. WINNARD'S FARM 94A
</b>
           Outside the farm the snow falls.

                         

<b>          95 INT. DAY. LONDON - BEN'S WAREHOUSE FLAT. 95
</b>
           Tamara is trying to write. Ben is playing his drum kit, high
           as a kite. The noise is deafening. Tamara sits back, looking
           around the boyish pad. It feels alien. The phone rings.

                         

<b>          96 EXT. DAY. WINNARDS FARM 96
</b>
           Andy is on the phone, examining the decrepit shed. Nothing 
           has changed in a decade.

<b>           GOLDENROD REVISIONS 20.10.09 63A.
</b>
                         

                         

<b>                          ANDY 
</b>          So what about the shed? 

<b>           TAMARA (V.0) 
</b>          Hang on... 

<b>                          ANDY
</b>          Am I dismantling it - or mending it? 

<b>           GOLDENROD REVISIONS 20.10.09 64.
</b>
                         

                         

                         

<b>          96A EXT. DAY. LONDON - BEN'S FLAT. BALCONY./ EXT. DAY. WINNARDS
</b>

<b>                          96A 
</b>
<b>           FARM.
</b>           Tamara takes the phone out onto the balcony to escape the
           noise. She slowly smiles, knowing what he's thinking. 

<b>                          TAMARA
</b>           I don't know; the shed... What do
           you think?

<b>                          ANDY
</b>           I recommend preserving it.

<b>                          TAMARA
</b>           Really?

<b>                          ANDY
</b>           Always useful, a good shed.

<b>                          TAMARA
</b>           Well then. Keep it...
           Andy puts the phone down, grinning. Tamara is grinning too,
           sharing the same memory.

                         

<b>          97 INT. NIGHT. STONEFIELD. THE KITCHEN. 97 
</b>
           Beth is decorating a little pink valentine cake. She's on the 
           phone to Nicholas. 

<b>                          BETH 
</b>           Really? Oh dear... 

<b>           NICHOLAS (V.O.) 
</b>           Yes, We thought it'd be a good 
           opportunity to catch up. 

<b>                          BETH 
</b>           Couldn't you do it another day? 

                         

<b>          97B INT. NIGHT. A RESTAURANT. 97B 
</b>
           Nicholas is standing by the window on his phone. 

<b>           NICHOLAS (V.O.) 
</b>           Beth, you know what it's like. 
           Judy's off to New York tomorrow. We 
           can never find a window. Should be 
           home around ten. 
           He puts the phone down. 

<b>           GOLDENROD REVISIONS 20.10.09 64A.
</b>
                         

                         

                         

<b>          97C INT. NIGHT. STONEFIELD - THE KITCHEN. 97C 
</b>
           Beth looks at the cake. It says To My Valentine in piped 
           lettering around the edge. She picks up her icing bag, full 
           of unease. 
           In the middle of the cake she ices a big question mark. Then 
           she quickly looks up a number and dials. 

<b>                          BETH 
</b>           Hello, Judy? 

                         

<b>          97D INT. NIGHT. RESTAURANT. 97D 
</b>
           Judy and Nicholas are eating their starters. 

<b>                          JUDY 
</b>           Beth, hello love. 

<b>                          BETH 
</b>           I'm so sorry, I think Nicholas has 
           got his phone turned off and um - 

<b>                          JUDY 
</b>           He's right here. I'll put him on. 

                         

<b>          97E INT. NIGHT. STONEFIELD - THE KITCHEN. 97E 
</b>

<b>                          BETH 
</b>           Oh - actually - don't worry - I've 
           just found it. 
           Beth puts the phone down, biting her lip. She is relieved, 
           ashamed and ultimately not reassured. She looks to camera. 

<b>                          BETH 
</b>           Nicholas has been telling the truth 
           a lot recently. 
           The cake, with its question mark, is finished. 

<b>           CASEY (V.O.) 
</b>           Roses are red, violets are blue. 

                          

<b>           GOLDENROD REVISIONS 20.10.09 65.
</b>
                         

                         

                         

<b>          98 INT. DAY. WINNARDS FARM - TAMARA'S BEDROOM. 98
</b>
           Jody, dressed in Tamara's leopard skin coat, is admiring
           herself in Tamara's mirror, swigging from a bottle of wine.
           We hear Casey reading the card.

<b>           CASEY (V.O.)
</b>           You are so fit
           I wanna shag you.
           Love from Ben pfwoor!!!
           Jody takes another swig with a wicked grin, she sits at
           Tamara's PC.
           We hear Casey knock three times on the back door.

                         

<b>          99 I/E. DAY. WINNARDS FARM - KITCHEN. 99
</b>           Outside Casey is waiting. Jody lets her in. She has
           accessorised the leopard print coat with red stilettos, a
           Chloe bag and bright red lipstick.

<b>                          CASEY
</b>
<b>                          (SHOCKED)
</b>           What are you doing?

<b>                          JODY
</b>           Just messing. I got one from Mum, one
           from that peanut Ryan, and a mystery
           one from Ben.

<b>                          CASEY
</b>           I sent you that.
           Jody takes another swig from the bottle of wine.

<b>                          CASEY (CONT'D)
</b>           Is that theirs?

<b>                          JODY
</b>           It's my mum's; they don't drink this
           shit.
           She hands it to Casey.

<b>                          JODY
</b>           Look what I'm doing. Come on.

                         

<b>          99A INT. DAY. WINNARDS FARM - TAMARA'S BEDROOM. 99A
</b>
           Jody plonks herself down at Tamara's PC.

<b>                          JODY (CONT'D)
</b>           We have to get him back down here.
           I'm sending him a valentine.

<b>           GOLDENROD REVISIONS 20.10.09 66.
</b>
                         

                         

<b>                          CASEY
</b>           No you are not!

<b>                          JODY
</b>           From her address.

<b>                          CASEY
</b>           He'll think it's from Tamara, you
           dipshit.

<b>                          JODY
</b>           But I know it'll be from me. Subject:
           Hot Love.

<b>                          CASEY
</b>           (amused, despite herself)
           Oh God, Jody...

<b>                          JODY
</b>           Contacts: where are you Ben?

<b>                          CASEY
</b>           Look, there's that bloke my mum works
           for; Nicholas Hardiment.

<b>                          JODY
</b>           Let's put him on. Who else?

<b>                          CASEY
</b>           Uncle Andy. 

<b>                          JODY
</b>           Andy Cobb. 
           (typing as she speaks)
           `Come to Winnards Farm. I'll give you 
           the biggest shagging of your life.
           Love Tamara xxx.'
          They fall about giggling. Jody swigs more wine.

<b>                          CASEY
</b>           Don't ever, ever send that.

<b>                          JODY
</b>           I just did.
          Casey is appalled.

<b>                          CASEY
</b>           You never!
          Jody nods.

<b>                          CASEY (CONT'D)
</b>           You'll spoil it! Jody - I love coming
           here and you'll spoil it!

<b>           GOLDENROD REVISIONS 20.10.09 66A.
</b>
                         

                         

<b>                          JODY
</b>          No I won't.

<b>           GOLDENROD REVISIONS 20.10.09 67.
</b>
                         

                         

<b>                          CASEY
</b>           She'll know someone's read all her
           stuff!

<b>                          JODY
</b>           I'll delete it from sent items. It's
           just a laugh, Case. I only want Ben
           to come back.

                         

<b>          100 INT. DAY. LONDON - BEN'S WAREHOUSE FLAT. 100
</b>
           Ben is reading the email looking angry and jealous.

<b>                          BEN
</b>           What the fuck is this?

                         

<b>          101 INT. DAY. STONEFIELD - BETH'S OFFICE. 101
</b>
           Beth opens the email.

<b>                          BETH
</b>           `Come to Winnards Farm.'

                         

<b>          102 INT. DAY. EWEDOWN - THE VILLAGE PUB. 102
</b>
           Andy is on the public computer looking completely puzzled.

<b>                          ANDY
</b>           `I'll give you the biggest shagging
           of your life...'

                         

<b>          103 INT. DAY. STONEFIELD - BETH'S OFFICE. 103
</b>
           Beth starts, utterly shocked.

                         

<b>          103A INT. DAY. EWEDOWN - THE VILLAGE PUB. 103A
</b>
           Zoe is leaning over Andy's shoulder, reading the email.

<b>                          ZOE
</b>           She must want a foursome. Or
           something.

                         

<b>          104 INT. DAY. LONDON - BEN'S WAREHOUSE FLAT. 104
</b>
           Ben is bashing away at his drums. Boss is barking. Tamara is
           trying to remonstrate with Ben over the din.

<b>                          TAMARA
</b>           How many times? I didn't send it!
           Are you listening to me? BEN! WILL

<b>           YOU STOP DRUMMING?
</b>
<b>           GOLDENROD REVISIONS 20.10.09 68.
</b>
                         

                         
           He stops. He looks at her, betrayed.

<b>                          TAMARA (CONT'D)
</b>           Why don't you believe me? I didn't
           write that email.

<b>                          BEN
</b>           Explain it then.

<b>                          TAMARA
</b>           Is this about Fran?

<b>                          BEN
</b>           What's Fran got to do with it?

<b>                          TAMARA
</b>           She's the reason you don't trust me.
           Just because she fucked around on
           you it doesn't mean that I will.
           Ben, furious, starts drumming again. Tamara boiling with
           frustration, walks away.

                         

<b>                         105 CUT 105
</b>
                         

<b>          105A INT. DAY. LONDON - BEN'S WAREHOUSE FLAT. / EXT. DAY. THE 105A
</b>

<b>           FIELD (LIMBURY) OUTSIDE ANDY'S SHED.
</b>           Tamara is on the phone at the far end of the flat.

<b>                          TAMARA
</b>           I wasn't pissed, or depraved or

<b>                          ANYTHING -
</b>           Andy is outside his shed.

<b>                          ANDY
</b>           It's OK, it's OK...
           The drumming leads up to a massive crescendo and stops.

<b>                          TAMARA
</b>           Can you go to the farm? Just take a
           look, see if anyone's been in.

<b>                          ANDY
</b>           No problem.

<b>                          TAMARA
</b>           Thank you. Ben's really pissed off.
           He's massively got the hump -
           Ben appears from the other end of the large room.

<b>                          BEN
</b>           Have I?

<b>           GOLDENROD REVISIONS 20.10.09 68A.
</b>
                         

                         

<b>                          TAMARA
</b>           Got to go. Sorry.
          She puts the phone down.

<b>           GOLDENROD REVISIONS 20.10.09 69.
</b>
                         

                         

<b>                          TAMARA
</b>           I've just asked him to go and check
           over the farm -

<b>                          BEN
</b>           Are you thick?

<b>                          TAMARA
</b>           What?

<b>                          BEN
</b>           Isn't it obvious who sent it? That
           tosser Andy Cobb.

<b>                          TAMARA
</b>           He wouldn't do that.

<b>                          BEN
</b>           Making himself all cosy in your
           house. Going through your stuff,
           prob'ly wearing your fucking pants -

<b>                          TAMARA
</b>           No way!

<b>                          BEN
</b>           Bet it was him that nicked my black
           T-shirt.

<b>                          TAMARA
</b>           There is no way Andy would do that!
          Ben pulls his jacket on.

<b>                          BEN
</b>           Well that says it all; the way you
           leap to his defence.

<b>                          TAMARA
</b>           He hasn't done anything.

<b>                          BEN
</b>           You know what? I know Fran fucked
           my best friend but at least she was
           straight with me.

<b>                          TAMARA
</b>           Ben - where are you going? Don't
           go!

<b>                          BEN
</b>           Fuck's sake.

<b>           GOLDENROD REVISIONS 20.10.09 70.
</b>
                         

                         
           He pushes her away, harder than he meant to. She lands on the
           sofa, shocked.

<b>                          BEN (CONT'D)
</b>
<b>                          (WITHOUT APOLOGY)
</b>           I'm taking the dog for a crap.
           He grabs the lead and opens the door. It slams shut. Tamara's
           dread overwhelms her.

                         

<b>          106 INT. DAY. STONEFIELD - THE KITCHEN. 106
</b>
           Poppy is reading a print-out of Tamara's email. Beth is
           folding sheets.

<b>                          POPPY
</b>           Oh come on mum. She's just stirring
           shit. Tamara's always done that.

<b>                          BETH
</b>           Why's your father on there - and
           poor Andy? It's so tasteless.

<b>                          POPPY
</b>           (helping with the sheets)
           You know how subversive she is. She
           once sent me a valentine from
           Prince Harry - and I believed it.
           It's her sense of humour; she likes
           causing trouble. At school she used
           to give us first years tips on how
           to shoplift.

<b>                          BETH
</b>           She taught you to shoplift?

<b>                          POPPY
</b>           Mum, she's marrying Ben Sergeant.
           Why would she look at an old git
           like dad?
           Nicholas is in the shadowy hall, listening with interest.
           Poppy helps Beth upstairs with the laundry. Nicholas steps
           into the kitchen. Poppy has left the email on the table.
           Nicholas picks it up, deeply curious.

                         

<b>          106A EXT. DAY. STONEFIELD - ANDY'S SHED (LIMBURY). 106A
</b>
           Nicholas is walking up the field wearing his red scarf. Andy 
           is outside his shed, doing heavy work.

<b>                          NICHOLAS
</b>           What did you make of that email
           from Tamara?

<b>           GOLDENROD REVISIONS 20.10.09 70A.
</b>
                         

                         

<b>                          ANDY 
</b>           It don't make any sense. Her London 
           boyfriend's trying to fuck her up; 
           that's my theory. 
          Andy carries on working. 

<b>                          ANDY (CONT'D) 
</b>           She could do so much better. 
          Nicholas walks on. 

<b>                          NICHOLAS 
</b>
<b>                          (TO HIMSELF) 
</b>           Couldn't agree more. 

<b>           GOLDENROD REVISIONS 20.10.09 71.
</b>
                         

                         

                         

<b>          107 EXT. DAY. EWEDOWN - THE BUS SHELTER. 107
</b>
           Casey and Jody are pouring over a gossip mag; pictures of
           celebrity blonde with new man.

<b>                          CASEY
</b>           How come she's with a different bloke
           every week and when Lesley Hunt's 
           sister shagged Jeff Dobson - just
           once, after he lied he loved her -
           she gets called a dirty slag.

<b>                          JODY
</b>           (Pointing at the blonde)
           That's cos she does it in five star
           resorts around the world - and not
           The Feathers carpark.
           Over the page, Ben canoodling in a freezing park with Fran.

<b>                          JODY
</b>           It's Ben!

<b>                          CASEY
</b>           `Who's the daddy? Steve Culley and
           Fran Redmond recently announced they
           were expecting. But in a Valentine
           tryst shocker Fran is snapped with ex
           Ben Sergeant! Ben and Fran - we say
           Get A Room.'

<b>                          JODY
</b>           He's back with Fran? After...

<b>                          CASEY
</b>           After that email, Jode.

<b>                          JODY
</b>           No way. No way!
           Tamara's car zooms past. Her expression is black.

<b>                          JODY (CONT'D)
</b>           Omigod... what if she's dumped?

<b>           GOLDENROD REVISIONS 20.10.09 72.
</b>
                         

                         

                         

<b>          108 EXT. DAY. WINNARDS FARM. 108 
</b>
           Tamara arrives outside her house. Depressed. She remains in 
           the car, reluctant to go in, to face her isolation. 
           She looks at herself in the mirror. The face that stares back 
           seems like that of a stranger. 

                         

<b>                         109 DELETED 109 
</b>
                         

<b>          109A INT. A HOSPITAL. 109A 
</b>
           Tamara is lying in bed with her brand new nose bandaged up. 
           He face is covered in bruising. She is panicking - 
           experiencing a loss of self. 

                         

<b>          109B EXT. DAY. WINNARDS FARM. 109B 
</b>
           The mask drops. All her old insecurities come back. She gets 
           out of the car and slams the door, unable to stand the sight 
           of herself. She lets herself in. 

                         

<b>          109C INT. DAY. WINNARDS FARM. 109C 
</b>
           The inside of the house has been transformed by Andy. The 
           drab gloomy shades of her mother have gone, replaced by warm 
           tones which bring out the beauty of the house. 
           Tamara wanders through. She turns around taking it all in. 
           She never knew the house was so beautiful. 

                         

<b>          110 INT. DAY. EWEDOWN - JODY'S BEDROOM. 110 
</b>
           Jody is weeping into her mobile phone.

<b>                          JODY
</b>           I'll never see Ben again... And it's
           all MY FAULT.
           Jody's mum comes into the room.

<b>                          MUM
</b>           What's all your fault?

<b>                          JODY
</b>           (putting the phone down)
           None of your business.

<b>                          MUM
</b>           I'm bloody sick of you looking like a
           wet weekend. Who's Ben?

<b>           GOLDENROD REVISIONS 20.10.09 72A.
</b>
                         

                         

<b>                          JODY
</b>           No one.

<b>                          MUM
</b>           What've you done?

<b>                          JODY
</b>           Nothing.

<b>                          MUM
</b>           Are you in trouble?

<b>                          JODY
</b>           NO!... Leave me alone.

<b>                          MUM
</b>           You take care with boys, Jody. You
           know what can happen.

<b>                          JODY
</b>           What can happen? What can ever,
           ever happen in a place like this?
          She throws herself on her duvet, inconsolable.

<b>           GOLDENROD REVISIONS 20.10.09 73.
</b>
                         

                         

                         

<b>          111 EXT. DAY. STONEFIELD - THE GROUNDS (MARVELL'S FARM). 111
</b>
           Beth is with Lucetta, another writer, crossing a field.
           Lucetta raises her binoculars passes them to Beth.

<b>           POV SHOT AT MARVELL'S FARM.
</b>
<b>                          LUCETTA
</b>           Are they crows or jackdaws? It's so
           nice to get these little details
           right.

<b>                          BETH
</b>           They're rooks.

<b>                          LUCETTA
</b>           I've got an unhappy wife and a
           newly qualified vet discovering a
           forbidden world of physical love in
           a bird hide.

<b>                          BETH
</b>
<b>                          (THROUGH BINOCULARS)
</b>           There's Nicholas...
           Nicholas's red scarf makes him visible from afar.

                         

<b>          112 EXT. DAY. THE FIELD AND COPSE. (LARKHAMS) 112
</b>
           Nicholas sees Tamara. He waits while she emerges from the
           copse.

<b>                          TAMARA
</b>           I'm looking for Andy.

<b>                          NICHOLAS
</b>           He's not up at Stonefield.
           Tamara is about to turn back. 

<b>                          NICHOLAS
</b>           So what about this shag I've been 
           reading about? 

<b>                          TAMARA
</b>           Oh fuck off.

<b>                          NICHOLAS
</b>           I liked your email. Very succint. 

<b>                          TAMARA
</b>           Well I didn't send it. And I wouldn't
           shag you if you were the last man
           left after a nuclear winter.

<b>           GOLDENROD REVISIONS 20.10.09 73A.
</b>
                         

                         

<b>                          NICHOLAS
</b>          I'll come round tomorrow then. About
          three?

<b>           GOLDENROD REVISIONS 20.10.09 74.
</b>
                         

                         

<b>                          TAMARA
</b>           Drop dead you smug prick.
           Nicholas watches her storm back up the copse.

                         

<b>          113 EXT. DAY. EWEDOWN. THE VILLAGE PUB. 113
</b>
           Tamara's car pulls up. Jody and Casey wheel around closer on
           their bikes. Tamara tries the door. The pub is shut. She
           looks in through the glass and sees Zoe up on the bar,
           clinging to Andy in a long embrace. Tamara is frozen. Andy
           kisses Zoe, long and tender.
           Tamara turns.
           She gets back in her car, trying to hide her distress - which
           has taken her completely by surprise. Jody and Casey stare
           mutely as she drives away.

                         

<b>          114 INT. DAY. EWEDOWN. THE VILLAGE PUB. 114
</b>
           Andy and Zoe finish their kiss.

<b>                          ZOE
</b>           Still time to change your mind. Blue
           skies. Fun in the sun.

<b>                          ANDY
</b>           Just not a traveller, Zoe.

<b>                          ZOE
</b>
<b>                          (GENTLY)
</b>           I know... you're like a big old
           tree. Stuck here.

                         

<b>          115 EXT. NEXT DAY. A SECLUDED LANE. 115
</b>
           Nicholas parks his 4X4. As he gets out, he is on the phone.

<b>                          NICHOLAS
</b>           I'll probably stay on at the library
           for another hour or two. Yes... just
           checking some law reports.

                         

<b>          115A CUT 115A
</b>
                         

<b>          116 INT. DAY. WINNARDS FARM - THE KITCHEN / HALL. 116
</b>
           Tamara is playing with the ill-fitting ring that Ben gave
           her. She puts it a jar and closes the lid. There's a knock on 
           the front door. She startles, her face falling. She answers 
           it. Nicholas is on the threshold. 

<b>           GOLDENROD REVISIONS 20.10.09 75.
</b>
                         

                         

<b>                          NICHOLAS
</b>           Hello.

<b>                          TAMARA
</b>           So. Nicholas.
           She lets the door fall open. She backs into the hall.
           Nicholas walks in. He closes the door. They look at each
           other. Neither of them moves.

<b>                          NICHOLAS
</b>           You can tell me to leave.
           Tamara says nothing. 

<b>                          NICHOLAS
</b>           You can throw me right out.
           Nicholas slowly takes his red scarf and coat off. He hangs
           them on a coat hook, bringing himself closer to her.

<b>                          NICHOLAS
</b>           Just say and I'll go.
           She still can't speak. Nicholas takes her in his arms. He is 
           big and fatherly and comforting.
           Tamara feels a sense of relief, of not being alone. Her arms 
           go around him. When he kisses her, he's surprisingly real,
           vulnerable even, as if he's left his lordly persona at the
           door. Tamara closes her eyes.
           Their kisses become more urgent.

                         

<b>          117 INT. DUSK. WINNARDS FARM - TAMARA'S BEDROOM. 117
</b>
           Tamara is lying in Nicholas' arms in the growing darkness. He
           looks blissfully post-coital. Tamara is gazing ahead. A tear
           rolls down her cheek. It lands on Nicholas' chest.

<b>                          NICHOLAS
</b>           Are you crying?

<b>                          TAMARA
</b>           No.
           Nicholas is taken aback. He instinctively holds her.

<b>                          NICHOLAS
</b>           Don't cry. Am I really that bad?
           Tamara shakes her head, glad of him.

<b>                          TAMARA
</b>           I'm just not myself. 

<b>           GOLDENROD REVISIONS 20.10.09 76.
</b>
                         

                         

<b>                          NICHOLAS
</b>           Yes you are.
           She looks up at him.

<b>                          NICHOLAS (CONT'D)
</b>           You're relentlessly, rudely,
           uncompromisingly yourself.
           A smile appears on Tamara's face. 

<b>                          TAMARA
</b>           I used to watch you out of my window
           helping your daughter learn to
           skateboard up the lane. Bit of an
           obvious crush, wasn't it.

<b>                          NICHOLAS
</b>           Is that why you're crying?

<b>                          TAMARA
</b>           No.

<b>                          NICHOLAS
</b>           Am I here as revenge on your ex?

<b>                          TAMARA
</b>           I don't know why you're here. Why are
           you here, Nicholas?

<b>                          NICHOLAS
</b>           Because... since you climbed over
           that stile in the summer I haven't 
           thought about very much else.
           She doesn't believe him.

<b>                          TAMARA
</b>           You can use me in one of your books. 

                         

<b>          118 INT. NIGHT. WINNARDS FARM - THE HALL. 118
</b>
           Nicholas is putting his coat on. Tamara is uneasy.

<b>                          NICHOLAS
</b>           When can we do this again?

<b>                          TAMARA
</b>           What about Beth?

<b>                          NICHOLAS
</b>           Look, Beth and I have this kind of

<b>                          OPEN -
</b>
<b>                          TAMARA
</b>           Bullshit.

<b>           GOLDENROD REVISIONS 20.10.09 76A.
</b>
                         

                         

<b>                          NICHOLAS
</b>          Thursday?

<b>           GOLDENROD REVISIONS 20.10.09 77.
</b>
                         

                         

<b>                          TAMARA
</b>           Isn't life complicated enough?
           Nicholas shakes his head. He kisses her.

                         

<b>          119 INT. NIGHT. STONEFIELD - THE KITCHEN. 119
</b>
           Nicholas strolls in. He's ecstatically happy. Beth is getting
           something out of the Aga.

<b>                          BETH
</b>           Oh poor you - was it awful?

<b>                          NICHOLAS
</b>           Bloody terrible. Didn't move till
           well past Chiswick. But look, I
           nipped into Fortnums...
           He hands her a package.

<b>                          BETH
</b>           All my favourite teas - Oh!
           He embraces her. He is affectionate, magnanimous in his
           bliss. Beth is taken aback by his warmth.

<b>                          BETH
</b>           My goodness. You feel like my buzzy
           toothbrush just after I've charged it
           up. You should go up to London more
           often.

<b>                          NICHOLAS
</b>           Maybe I will...
           Nicholas goes to the table. The writers greet him as he sits.

<b>                          NICHOLAS
</b>           Sorry everybody; traffic was a pig.
           Do carry on...

<b>                          LUCETTA
</b>           I'm trying this magic realist bit
           at the end of chapter three, where
           the characters slowly turn into

<b>                          BIRDS -
</b>
<b>                          NICHOLAS
</b>           That sounds very innovative...

<b>                          LUCETTA
</b>           Do you think so? It's sort of the
           key to the structure, which I'm
           thinking of as a nest shape...

<b>           GOLDENROD REVISIONS 20.10.09 78.
</b>
                         

                         
           Nicholas listens benevolently as Lucetta shares. His good
           humour is so out of his recent character that Beth watches
           him with increasing unease. There is something in her eyes
           akin to suspicion.

                         

<b>          121 SPRING. POSY DRAWING. 121
</b>
                         

<b>          122 EXT. DAY. HADDITON - THE STATION / BETH'S CAR. 122
</b>
           Beth is putting Glen's luggage into the boot.

<b>                          GLEN
</b>           So after two years of radio silence
           I contact my editor. And she loves -
           I mean loves the chapters I did in
           the fall.

<b>                          BETH
</b>           Oh Glen.

<b>                          GLEN 
</b>           I tried writing at the library but 
           I could feel that awful paralysis 
           descending again. 

                         

<b>          122A EXT. DAY. THE ROAD TO EWEDOWN / INSIDE BETH'S CAR. 122A 
</b>

<b>           GLEN (V.O.) 
</b>           I missed everything that I've been, 
           you know, finding here. 
           (Seeing the view) 
           Oh my god - it's so beautiful! 
           They are now in the village driving down the main drag. 

<b>                          BETH 
</b>           I'm glad you've come back.

<b>                          GLEN
</b>           A few solid weeks should - holy cow!
           An egg hits the windscreen (shot the same way as the earlier
           scene). Casey and Jody hide. Beth gets out of the car to
           clean the window.

<b>                          GLEN
</b>           Idiots! Morons! Hey, writers! Let's
           egg the self-regarding sacks of shit.

                         

<b>          123 INT. DAY. STONEFIELD - THE KITCHEN. 123
</b>
           Glen is helping Beth prepare the evening meal. They are both
           animated, enjoying one another's company.

<b>           GOLDENROD REVISIONS 20.10.09 79.
</b>
                         

                         

<b>                          GLEN
</b>           There's this theory he gave his
           wife syphilis, right? No evidence
           but the symptoms fit. The poor
           woman gets kind of eccentric and
           moves her bed up to their attic -

<b>                          BETH
</b>           The bastard -

<b>                          GLEN
</b>           Meanwhile, Hardy falls in love with
           a woman who is thirty nine years
           younger than him.

<b>                          BETH
</b>           I don't believe it.
          Nicholas is passing through, reading The Independent.

<b>                          NICHOLAS
</b>           Geoff.

<b>                          GLEN
</b>           Glen.

<b>                          NICHOLAS
</b>           Henry James.

<b>                          GLEN
</b>           Thomas Hardy.

<b>                          NICHOLAS
</b>           That's right, a Hardy book. Coming
           well?

<b>                          GLEN
</b>           Yes, actually.
          Nicholas returns to the paper.

<b>                          BETH
</b>           He gave his wife syphilis.

<b>                          NICHOLAS
</b>           Jolly good.
          He goes. Beth is ashamed of his condescension.

<b>                          BETH
</b>           He's completely distracted. He's up 
           and down to London all the time.
           The latest Inchcombe's taking 
           everything he's got. 

<b>           GOLDENROD REVISIONS 20.10.09 80.
</b>
                         

                         

                         

<b>          124 INT. DAY. WINNARDS FARM - TAMARA'S BEDROOM. 124 
</b>
           Nicholas is reading, hunched over a computer. He glances 
           round. Tamara, wearing a robe, is awaiting his opinion. 

<b>                          TAMARA 
</b>           Is it any good? Because I keep - 

<b>                          NICHOLAS 
</b>           Shush. 
           (Points at the screen) 
           This is brutally candid. You lay 
           yourself completely bare. 

<b>                          TAMARA 
</b>           I'm well-known for it. 

<b>                          NICHOLAS 
</b>           Seriously. It's very moving. 
           Tamara knows this is praise indeed. She is deeply gratified. 

<b>                          TAMARA
</b>           Thank you.

<b>                          NICHOLAS
</b>           So... have I done my duty?

<b>                          TAMARA
</b>           Admirably.

<b>                          NICHOLAS
</b>           Now do I get my treat?
           Tamara, almost in his arms, is crestfallen.

<b>                          TAMARA
</b>           You are so cheesy.
           Tamara is staring at him with something akin to distaste.

                         

<b>          125 EXT. DAY. EWEDOWN. BUS SHELTER. 125
</b>
           Jody and Casey share a magazine and a spliff in the bus stop.

<b>                          JODY
</b>           Zero Ben sightings in two whole
           months.

<b>                          CASEY
</b>           Last time I saw Plastic she looked
           like a minger; all red-eyed and
           gutted. Ben's a Love Rat.

<b>                          (MORE)
</b>
<b>           GOLDENROD REVISIONS 20.10.09 81.
</b>
                         

<b>                          CASEY (CONT'D)
</b>           She should move on...

<b>                          JODY
</b>           She's probably topped herself. I
           would if Ben dumped me.

<b>                          CASEY
</b>           Jode. Don't say that. What if she's
           done something?

<b>                          JODY
</b>           Like got in the bath with her heated
           tongs?

<b>                          CASEY
</b>           Like taken a stack of pills?
           We see Jody's thought bubble of Tamara luridly dead, her
           mouth coated with dried froth and vomit.

<b>                          JODY
</b>           D'you think she might be lying there
           all choked in vomit and drug froth?

<b>                          CASEY
</b>           That'd be dire.

<b>                          JODY
</b>           If we find her we'll get in the
           papers.

<b>                          CASEY
</b>           Oh my God.

<b>                          JODY
</b>           Rock Chick Dead at Winnards Farm.

                         

<b>          125A EXT. DAY. WINNARDS. DAY 125A 
</b>
           Andy is outside the farm beside his landrover. He walks up to 
           the front door. Hesitates. 
           Behind the railings, the girls arrive. 

<b>                          CASEY 
</b>           What's Uncle Andy doing here? 
           Andy knocks. 

                         

<b>          126 INT. DAY. WINNARDS FARM. TAMARA'S BEDROOM. 126 
</b>
           Hearing the knock, Tamara springs out of bed. Nicholas spins 
           into a panic. 

<b>                          NICHOLAS 
</b>           Arse biscuits. 

<b>           GOLDENROD REVISIONS 20.10.09 81A.
</b>
                         

                         

                         

<b>          126A EXT. DAY. WINNARDS FARM. 126A 
</b>
           Casey and Jody are watching as Andy waits. 

<b>                          CASEY 
</b>           No answer... 

<b>                          JODY 
</b>           She could have been lying there 
           days. She could be like putrid now, 
           like rancid - 

<b>                          CASEY 
</b>           Oh no, I'm gonna chuck - 

<b>                          JODY 
</b>           Like bloated and all greeny. 

<b>                          CASEY 
</b>           And Uncle Andy'll find her by the 
           smell! 

<b>                          BOTH 
</b>           Eurrrrr! Shhhhh!! 

                         

                          

<b>                          (MORE)
</b>
<b>           GOLDENROD REVISIONS 20.10.09 82.
</b>
                         

<b>                          BOTH (CONT'D)
</b>
                          

                         

<b>          127 I/E. DAY. WINNARDS FARM - THE HALL. 127
</b>           Tamara opens the door in some deshabille. To her surprise, 
           she sees Andy on the threshold, looking spruced up and 
           handsome. The contrast with Nicholas couldn't be more 
           apparent. She finds herself genuinely pleased to see him. 

<b>                          TAMARA
</b>           Andy... 
           Behind the railings, the girls can't help their look of 
           disappointment at seeing her alive. 

<b>                          JODY 
</b>           Bollocks.

<b>                          ANDY 
</b>           Haven't seen you for a while. Thought
           you might be ill or something. Or
           depressed or -

<b>                          TAMARA
</b>           I've had my head down, writing.

                          

<b>           GOLDENROD REVISIONS 20.10.09 83.
</b>
                         

                         

<b>                          ANDY
</b>           Come for a drink. Let's lighten up. 

<b>                          TAMARA 
</b>           I'd love to, but... 

<b>                          ANDY 
</b>           Shake off the winter blues. Come 
           celebrate the spring. 

<b>                          TAMARA
</b>           I can't... I'm kind of on one with 
           my writing.
           Over her shoulder, Andy sees Nicholas' red scarf and coat
           hanging on the coat hook. He hides his shock. Tamara is 
           unaware that he has seen. 

<b>                          TAMARA (CONT'D)
</b>           Can we do it soon though? I'd 
           really like to; just not right now. 
           He nods at her in disbelief. 

<b>                          ANDY 
</b>
<b>                          (COOLLY) 
</b>           Sure. 
           He turns on his heels and goes. Tamara closes the door. 
           Outside, Andy is leaning over his land-rover, sickened. 

<b>                          JODY 
</b>           D'you think he's in with a chance? 

<b>                          CASEY 
</b>           No way. 

<b>                          JODY 
</b>           Why not? He's fit. I'd do him. 

<b>                          CASEY 
</b>           Jody - he's my uncle. 

<b>                          JODY 
</b>           She'd be mad not to have him - I
           bet he goes a like a train.

                         

<b>          128 INT. DAY. WINNARDS FARM - THE HALL. 128
</b>
           Nicholas is creeping down the stairs. Tamara is troubled. 

<b>                          NICHOLAS 
</b>           What's he doing here? 

<b>                          TAMARA 
</b>           He just came on the off-chance. 

<b>           GOLDENROD REVISIONS 20.10.09 83A.
</b>
                         

                         

<b>                          NICHOLAS 
</b>           Off-chance of what? 

<b>                          TAMARA 
</b>           He wants to know about roofing for 
           the shed... 

                         

<b>          129 EXT. DAY. WINNARD'S FARM. 129 
</b>
           Andy's Land Rover roars away. 

<b>                          JODY
</b>           Let's go. I'm freezing my tits off.

<b>           GOLDENROD REVISIONS 20.10.09 84.
</b>
                         

                         

<b>                          CASEY
</b>           Wait!!
           Casey is looking back at Tamara's door. Tamara is peering
           out. Nicholas joins her, putting his coat on. He kisses her
           passionately. He wants to stay. She's insisting he leaves.

<b>                          JODY
</b>           Oh. My. God.

<b>                          CASEY
</b>           It's him. From Stonefield.

<b>                          JODY
</b>           The dirty cheating sod.

                         

<b>          130 INT. DAY. WINNARDS FARM - THE KITCHEN. 130
</b>
           Tamara wanders in looking like she's trying to shake Nicholas
           out of her hair. She sits, full of apprehension.
           We see her fears: Beth, in her apron, pulling Tamara's hair
           back and coming at her face with an electric hand-held whisk.

<b>                          BETH
</b>           You fucking little slut.
           She puts her head in her hands.

                         

<b>          131 INT. EVENING. JODY'S BEDROOM. 131
</b>
           Jody and Casey have Googled Nicholas. They are outraged.

<b>                          CASEY
</b>           `Prolific author of intelligent
           crime novels.'

<b>                          JODY
</b>           Fucking `D' list. How could she do
           that after Ben?

<b>                          CASEY
</b>           Maybe she's numbing the pain.

<b>                          JODY
</b>           He's not even a proper celeb.

<b>                          CASEY
</b>           Maybe older guys know more... you
           know, bed stuff.

<b>                          JODY
</b>           Eww! He's a perv. I hate him.

<b>                          CASEY
</b>           Jode, I know who I feel sorry for.

<b>           GOLDENROD REVISIONS 20.10.09 84A.
</b>
                         

                         

                         

<b>          132 EXT. NEXT DAY. EWEDOWN - BUS SHELTER. 132
</b>
           Beth is walking to the post box. Jody and Casey are at the
           bus shelter, gazing at her with keenest pity.

<b>                          BETH
</b>           Hello Casey. How are you?
           Jody nudges her. Casey nods. Beth posts her mail.

<b>           GOLDENROD REVISIONS 20.10.09 85.
</b>
                         

                         

<b>                          BETH (CONT'D)
</b>           You waiting for the bus?

<b>                          JODY
</b>           Bus got scrapped.

<b>                          BETH
</b>           So it did. Well. Hope it doesn't
           rain.
           She turns for home.

<b>                          CASEY
</b>           Gutted for her.

<b>                          JODY
</b>           Me too. Fat arse though, hasn't
           she?

                         

<b>                         133 DELETED 133
</b>
                         

<b>                         134 DELETED 134 
</b>
                         

<b>          135 EXT. DAY. A SECLUDED LANE (HALSTOCK). 135
</b>
           Casey and Jody stroll down a lonely lane. Misty. Rooks caw. 

<b>                          CASEY 
</b>           There'll be the divorce and like 
           acrimony and her world'll fall 
           apart... 

<b>                          JODY 
</b>           Yeah. 

<b>                          CASEY 
</b>           But maybe one day, she'll put the 
           bitterness behind her and find a 
           new love... 

<b>                          JODY 
</b>           Don't be daft. She's old, you big 
           sop. 
           A parked 4x4 looms out of the mist. 

<b>                          CASEY
</b>           See? That's D-List's car. 

<b>                          JODY 
</b>           So this is where he hides it when he 
           goes to shag Plastic.

<b>                          CASEY 
</b>           Yeah. Dirty git. 

<b>           GOLDENROD REVISIONS 20.10.09 85A.
</b>
                         

                         

<b>                          JODY
</b>           Big old turd. 

<b>                          CASEY 
</b>           He's a rotten cheater. 

<b>                          JODY 
</b>           Like my dad. Come on Case. Let's 
           fuck him up.

                         

<b>          135A EXT. DAY. WINNARDS FARM. 135A 
</b>
           Nicholas looks to see if the coast is clear - then lets 
           himself out. 

<b>           GOLDENROD REVISIONS 20.10.09 86.
</b>
                         

                         

                         

<b>          136 EXT. DAY. A SECLUDED LANE. 136
</b>
           Nicholas is striding purposefully back to his car with a smug 
           post-coital grin. Then he sees that one of his tyres has been 
           let down. 

<b>                          NICHOLAS
</b>           Shit salad.
           He gets out his phone. Jody and Casey are in the trees
           watching, satisfied.

                         

<b>          136A INT. DAY. STONEFIELD - THE KITCHEN. 136A
</b>
           Beth is on the phone preparing to cook.

<b>                          BETH
</b>           Oh poor you. What a drag.

                         

<b>          137 EXT. DAY. A SECLUDED LANE. 137
</b>
           Tamara is half-running down the track with a foot pump.

                         

<b>                         138 CUT 138
</b>
                         

<b>          139 EXT. DAY. A SECLUDED LANE. 139
</b>
           The rooks are cawing.

<b>                          NICHOLAS
</b>           Yes, it's a frightful bore.

<b>           BETH (O.S.)
</b>           Well I'll hold off on the paella.
           Tamara arrives, breathless. Nicholas signals her to keep
           quiet. She looks guilty, anxious.

<b>                          NICHOLAS
</b>           You're a marvel. See you soon.

                         

<b>          140 INT. DAY. STONEFIELD - THE KITCHEN. 140
</b>
           The line goes dead. Beth is disconcerted. Glen walks in.

<b>                          GLEN
</b>           Beth, could I use your printer?

<b>                          BETH
</b>           Nicholas is on the motorway with a
           flat tyre. But I couldn't hear
           traffic. Just rooks...

<b>           GOLDENROD REVISIONS 20.10.09 87.
</b>
                         

                         
           She snaps out of it. But she knows.

<b>                          BETH
</b>           Did you ask me to read something?

                         

<b>          141 EXT. DAY. A SECLUDED LANE. 141
</b>
           The tyres are done. Nicholas is about to get in the car.

<b>                          TAMARA
</b>           Nicholas, someone knows. Maybe we 

<b>                          SHOULD -
</b>
<b>                          NICHOLAS
</b>           Who cares?
           He kisses her, passionately. She is troubled but eventually
           responds. Jody nudges Casey.

<b>                          JODY
</b>           Casey, pap them. Pap them!
           Casey holds out her mobile and takes a picture. Then Tamara
           extricates herself from his embrace. 
           Jody peers at Casey's photo. A close-up clinch.

<b>                          JODY (CONT'D)
</b>           Fucking bingo.

                         

<b>          141AA CUT 141AA 
</b>
                         

<b>          141A EXT. DAY. WINNARDS FARM - THE GARDEN / LANE. 141A
</b>
           Tamara, dressed for a walk, heads down the lane. She looks
           preoccupied.
           Jody appears from behind the hedge. She heads for the door,
           motioning Casey to follow.

                         

<b>          142 INT. DAY. WINNARDS FARM - TAMARA'S BEDROOM. 142
</b>
           Jody is at the computer. Casey is keeping a nervous watch.

<b>                          CASEY
</b>           This is wrong, Jode.

<b>                          JODY
</b>           She's asking for it; slut. I'm 
           going to email D-List's wife. 

<b>                          CASEY
</b>           We should send the photo and be done
           with it.

<b>           GOLDENROD REVISIONS 20.10.09 87A.
</b>
                         

                         
          Jody suddenly startles.

<b>                          JODY
</b>           Casey.

<b>           GOLDENROD REVISIONS 20.10.09 88.
</b>
                         

                         

<b>                          CASEY
</b>           What?

<b>                          JODY
</b>           While I was sitting here. Look. An
           e-mail from Ben come in. Just like
           that, when I'm here.

<b>                          (SHE READS:)
</b>           `Tamara, Fran's baby has come.'

                         

<b>          143 INT. DAY. LONDON - BEN'S WAREHOUSE FLAT. 143
</b>
           Ben is play-fighting with Boss.

<b>           BEN (V.O.)
</b>           And as it's a cute little brown girl
           with curly black hair I think we can
           safely say it's Steven Culley's and
           not mine. Truth is, I feel released.
           I am free! New band up and running.
           Done three songs about me and you.
           Ben throws a treat lovingly at Boss. Boss catches it.

<b>           BEN (V.O.) (CONT'D)
</b>           Big favour to ask. We're recording in
           Paris. Would you have Boss?

                         

<b>          144 INT. DAY. WINNARDS FARM - TAMARA'S BEDROOM. 144
</b>
           Jody continues to read.

<b>                          JODY
</b>           `Could drop him off next week. And
           when I'm back, maybe we could dot dot
           dot. Ben.'

<b>                          CASEY
</b>           He's coming back.

<b>                          JODY
</b>           Tamara doesn't deserve him, Case.
           (She starts to type)
           `Dear Ben, I can't see you as I am
           shagging an old married man -

<b>                          CASEY
</b>           What're you doing??

<b>                          JODY
</b>           `But I have found a reliable dog-
           lover in the village...

<b>                          CASEY
</b>           No way, Jody! You're not sending it.

<b>           GOLDENROD REVISIONS 20.10.09 89.
</b>
                         

                         

<b>                          JODY
</b>           `Call Jody on 07700 900929.'
           Casey tries to stop her pressing send. Jody digs her nails
           into Casey's hand. Casey yowls. Jody presses send.

<b>                          CASEY
</b>           You stupid cow!

<b>                          JODY
</b>           I'm making something happen!

<b>                          CASEY
</b>           You gone too far!

<b>                          JODY
</b>           I'm getting him down here.

<b>                          CASEY
</b>           / You don't know when to stop!
           You're an idiot. I'm not having
           nothing to do with it.
           Jody shouts over her from /.

<b>                          JODY
</b>           Otherwise my whole life'll go by and
           I'll be washed up and thirty four
           like my mum and no one decent will
           ever even have snogged me!
           Casey is leaving.

<b>                          CASEY
</b>           You twat.

<b>                          JODY
</b>           Fuck off then.

                         

<b>          145 INT. DAY. NICHOLAS' SHED. STONEFIELD. 145
</b>
           Nicholas is writing. Beth approaches.

<b>                          BETH
</b>           There's the festival brochure. You're
           on in the Lanson Marquee. I've marked
           a few bits in case you want to read.
           Beth hands him a hardback.

<b>                          NICHOLAS
</b>           You're a marvel. Cheers.
           He kisses her and prepares to leave. She is suspicious. 

<b>                          BETH
</b>           I could come with you.

<b>           GOLDENROD REVISIONS 20.10.09 89A.
</b>
                         

                         

<b>                          NICHOLAS
</b>           Oh, don't. You hate festivals. 

<b>                          BETH
</b>           But it's only Hadditon. I'll come. 

<b>                          NICHOLAS
</b>           It's completely boring. You'll hate
           it. Stay here.
           Her suspicion will stay silent no longer.

<b>                          BETH
</b>           Have you got anything to tell me,
           Nicholas?

<b>                          NICHOLAS
</b>           Like what?
           Nicholas attacks; the best form of defence.

<b>                          NICHOLAS
</b>           God, it's like living with the
           effing moral police. Are you ever
           going to trust me?
           He goes.

                         

<b>          145A EXT. DAY. EWEDOWN (PIG FIELD). 145A
</b>
           Nicholas drives through a huge puddle in his 4X4, splashing
           Casey. He roars on, oblivious.

<b>                          CASEY
</b>           (getting her mobile out)
           Right. Wanker.

                         

<b>           SCENES 146,147 AND 148 ARE CUT.
</b>
<b>          149 INT. DAY. KITCHEN - STONEFIELD. 149
</b>
           Glen is admiring his finished manuscript. Beth is making
           sponge, preoccupied - but pleased at Glen's achievement.

                         

                         

                         

                          

<b>           GOLDENROD REVISIONS 20.10.09 90.
</b>
                         

                         

<b>                          BETH
</b>           I'm doing this cake in celebration. 
           Well done.
          Glen holds up his mug of coffee.

<b>                          GLEN
</b>           To Hardy. 

<b>                          BETH
</b>
<b>                          (TOASTING HIM)
</b>           Although I can't bear the man for
           what he did to his wife.
          Andy comes in with an armful of logs.

<b>                          GLEN
</b>           Well, things were different then.
           She had no choice. 
          Beth's mobile bleeps. She picks it up.

<b>                          GLEN
</b>           She couldn't just walk away. I mean
           who'd put up with that now?
          Beth drops the mixing bowl. She cannot speak.

<b>                          GLEN (CONT'D)
</b>           What is it?

<b>                          BETH
</b>           (Looking to Andy)
           How do I find out who sent this?
          Andy takes the phone, sees the photo.

<b>                          ANDY
</b>           It says number withheld.
          He returns the phone.

<b>                          BETH 
</b>           Did you know?
          Andy nods guiltily. Beth acknowledges what this means.

<b>                          ANDY
</b>           Couldn't tell you. I'm sorry Beth. 
          He leaves.

<b>                          BETH
</b>           Her...
          Glen looks at the photo; Nicholas and Tamara's clinch.

<b>           GOLDENROD REVISIONS 20.10.09 90A.
</b>
                         

                         

<b>                          GLEN
</b>          Oh My God. This is just - this is
          horrible.

<b>                          BETH
</b>          Right under my nose. I feel sick.

<b>           GOLDENROD REVISIONS 20.10.09 91.
</b>
                         

                         

<b>                          GLEN
</b>           It's so shitty, so insulting. You 
           do not deserve to be treated -

<b>                          BETH
</b>           If you're kind to me, I'll cry. I
           don't want to cry. I must be very
           clear.

<b>                          GLEN
</b>           If there is anything I can do...

<b>                          BETH
</b>
<b>                          (MOVING AWAY)
</b>           I have to do it myself.
           Beth's face cracks into distress.

<b>                          GLEN
</b>           Hey, come on.

<b>                          BETH
</b>           I trod in the sponge mix.

<b>                          GLEN
</b>           It's OK. It's OK.

                         

<b>          149A DELETED 149A
</b>
                         

<b>          150 EXT. DAY. STONEFIELD. ANDY'S CORRUGATED SHED. 150
</b>
           Tamara is out on a walk. She approaches the shed; sees Andy's
           landrover parked beside it.

<b>                          TAMARA (CALLING)
</b>           Andy?
           Andy emerges. Tamara smiles tentatively. 

<b>                          TAMARA
</b>           Hey. How are you? 
           Andy says nothing.

<b>                          TAMARA
</b>           Would you like to have that drink? I 
           could do with a friend / at the 
           moment and - 

<b>                          ANDY 
</b>           You and Nicholas Hardiment. That's a
           nice piece of work isn't it?

<b>           GOLDENROD REVISIONS 20.10.09 92.
</b>
                         

                         
          Tamara is utterly dismayed.

<b>                          ANDY
</b>           I get it from his point of view. He's
           always been a cheating wanker. He
           loves having his cake and eating it - 
           But since when did your standards
           drop so low? You could have anyone.
           All you have to do is bat your eyes.

<b>                          TAMARA
</b>
<b>                          ANDY -
</b>
<b>                          ANDY
</b>           I care a lot about Beth. She helped
           me out when I was at rock bottom.

<b>                          TAMARA
</b>           I'm not going to split them up. It's

<b>                          JUST -
</b>
<b>                          ANDY
</b>
<b>                          (WITH CONTEMPT)
</b>           A bit of fun?
          Tamara is covered with shame. 

<b>                          TAMARA 
</b>           It's none of your bloody business. 

<b>                          ANDY 
</b>           I reckoned I could still see the 
           blazing girl you used to be. But now? 

<b>                          TAMARA 
</b>           Shut up! 

<b>                          ANDY 
</b>           I don't know who you are. 
          She turns away, her eyes stinging. 

<b>           GOLDENROD REVISIONS 20.10.09 93.
</b>
                         

                         

                         

<b>          150A EXT. DAY. A FILLING STATION. 150A
</b>
           Boss is crapping on a verge. Ben is on his phone.

<b>                          BEN
</b>           That Jody? This is Ben Sergeant.

                         

<b>          151 INT. DAY. EWEDOWN - JODY'S BEDROOM. 151
</b>
           Jody falls off her bed.

<b>                          JODY
</b>           That's right, yes... I love dogs.

                         

<b>          151A EXT. DAY. A FILLING STATION. 151A
</b>
           The crap is done. Man and dog are back in the car.

<b>                          BEN
</b>           So I'll meet you at Winnards Farm,
           four thirty.
           Ben zooms off.

                         

<b>          152 INT. DAY. EWEDOWN - JODY'S HOUSE. 152
</b>
           Jody is haranguing with her mum.

<b>                          JODY
</b>           It's a nice dog, Mum!

<b>                          MUM
</b>           Well I don't like `em. Dog-hair and
           slobber all over the place.

<b>                          JODY
</b>           But I said yes.

<b>                          MUM
</b>           No dogs, no way and that's final.
           Jody is devastated.

<b>                          JODY
</b>           You loser. I hate you. You want to

<b>           RUIN MY LIFE!!!
</b>           Jody slams her bedroom door. She stares at herself in the
           mirror. She steels herself.

<b>                          JODY
</b>           Live the dream, Jody...

<b>           GOLDENROD REVISIONS 20.10.09 93A.
</b>
                         

                         

                         

<b>          153 EXT. DAY. HADDITON - OUTSIDE THE FESTIVAL MARQUEE. 153
</b>
           Tamara pulls Nicholas into a quiet corner.

<b>                          TAMARA (CONT'D)
</b>           Andy Cobb has rumbled us.

<b>                          NICHOLAS
</b>           Cock pie. Has he told Beth?

<b>                          TAMARA
</b>           I don't know. But he might. And I
           wouldn't blame him.

<b>           GOLDENROD REVISIONS 20.10.09 94.
</b>
                         

                         

<b>                          NICHOLAS
</b>           Well, I suppose it has to come out 
           sometime.

<b>                          TAMARA
</b>           Does it? 

<b>                          NICHOLAS
</b>           It's a good thing. Feels like a 
           relief. Means you and I can start to 
           think about our plans. For the
           future...

<b>                          TAMARA
</b>           Nicholas?... 

<b>                          NICHOLAS
</b>           I know it's been hard, sharing me 
           with Beth. But I'm yours now. I'm 
           going to leave her. I want a new 
           life - and I want it now. With you. 
           Tamara is appalled. A minder interrupts. 

<b>                          MINDER
</b>           Mr Hardiment? It's time.

<b>                         154 CUT 154
</b>
                         

<b>          155 INT. DAY. HADDITON - THE MARQUEE. 155
</b>
           During the interview, Tamara takes a seat at the end of the
           front row. The audience listens attentively.

<b>                          NICHOLAS
</b>           It all runs very smoothly. I start a
           book in the summer, publish it the
           following spring. Bit of a factory, 
           really. 

<b>                          INTERVIEWER
</b>           So you've just finished `Like The
           Night', Inchcombe's seventeenth
           adventure. Are you already planning
           the next?

<b>                          NICHOLAS
</b>           There won't be a next one. Frankly 
           I'm sick to death of Inchcombe. In 
           fact, I'm about to kill him off.
           There's a gust of dismay in the crowd, as though a real death
           has been announced.

<b>           GOLDENROD REVISIONS 20.10.09 95.
</b>
                         

                         

<b>                          INTERVIEWER
</b>           That's a bombshell for your fans.

<b>                          NICHOLAS
</b>           (all for Tamara)
           Yes, but I'm moving on to fresh
           pastures.

<b>           LADY IN THE CROWD
</b>           No!

<b>                          NICHOLAS
</b>           Inchcombe will be meeting a very
           sticky end. And it's one murder I'm
           really looking forward to.

<b>           LADY IN THE CROWD
</b>           How could you?

<b>                          INTERVIEWER
</b>           This might be a good moment to take a
           few questions. Yes, the lady in the
           apron...

<b>                          BETH
</b>           You write a lot about adultery. Is
           that from personal experience?
           Tamara turns round. Nicholas' colour drains. Beth is with
           Glen, close by - glaring at him. He tries to make a joke.

<b>                          NICHOLAS
</b>           Madam, what a saucy question!

<b>                          BETH
</b>           Why do you cheat persistently on your
           wife?
           Nicholas considers whether he wants to be publicly
           humiliated. He decides not.

<b>                          NICHOLAS
</b>           Because she lets me.
           Beth takes this like a blow. Even Tamara is shocked by it.

                         

<b>          156 EXT. DAY. HADDITON - THE GROUNDS BY THE MARQUEE. 156
</b>
           Tamara is striding away from the Marquee, red with shame.
           Nicholas is at her side almost jogging to keep up. 

<b>                          TAMARA
</b>           It's got to stop, Nicholas.

<b>           GOLDENROD REVISIONS 20.10.09 96.
</b>
                         

                         

<b>                          NICHOLAS
</b>           You're right. I can't go on using 
           her, lying to her. Won't be fun but
           I've got to do it.

<b>                          TAMARA
</b>
<b>                          LISTEN -
</b>
<b>                          NICHOLAS
</b>           I don't feel alive with Beth! I
           haven't been living for years. She's 
           had me smothered in a comfy blanket - 

<b>                          TAMARA
</b>           Nicholas, listen to me.
          She makes him look at her.

<b>                          TAMARA (CONT'D)
</b>           We had fun. But it's wrong. And
           it's over. 

<b>                          NICHOLAS
</b>           But... I'm in love with you.

<b>                          TAMARA
</b>           I'm sorry. 
          Nicholas looks as if he's just been punched.

<b>                          NICHOLAS
</b>           No. You can't end it. Tamara - Fuck
           supper!

<b>                          TAMARA
</b>           Will you keep it down? 

<b>                          NICHOLAS
</b>           My God, you're cold hearted.

<b>                          TAMARA 
</b>           Please don't shout. 

<b>                          NICHOLAS 
</b>           You don't feel a thing, do you? 

<b>                          TAMARA
</b>           I do feel. I feel like I'm blazing
           away inside all the time. Why do I do
           these things? What am I doing with
           you?
          The question hangs between them.

<b>           GOLDENROD REVISIONS 20.10.09 97.
</b>
                         

                         

<b>                          NICHOLAS
</b>           There's someone else isn't there...

<b>                          TAMARA
</b>           Oh for God's sake. 

<b>                          NICHOLAS
</b>           Not that narcissist drummer? 

<b>                          TAMARA
</b>           Goodbye.

<b>                          NICHOLAS
</b>           It's that ignorant lunk isn't it?
           That muscle-bound wastrel Andy Cobb.

<b>                          TAMARA
</b>           Andy Cobb is a far better man than
           you!
           In saying it, Tamara realises it's true. She walks away.
           Nicholas bends almost double in pain, letting out a great
           moan from the soul. A fan has been waiting at a respectful
           distance. He approaches.
           Nicholas numbly takes his book. Instead of signing, he tears
           it to pieces. He hands the tatters back to the fan.

<b>                          NICHOLAS (CONT'D)
</b>           Thank you.

                         

<b>          157 I/E. DAY. WINNARDS FARM - HALL / TAMARA'S BEDROOM 157
</b>           Jody knocks on the door. It's open. She pushes it.

<b>                          JODY (CALLING)
</b>           Hello? It's Jody Long. About the
           dog?
           She looks around.

<b>                          JODY (CONT'D)
</b>           Ben?
           She heads up the stairs.

                         

<b>          157A INT. DAY. WINNARDS FARM - TAMARA'S BEDROOM. 157A
</b>

<b>           GOLDENROD REVISIONS 20.10.09 98.
</b>
                         

                         
          Jody enters Tamara's bedroom. She stares at the bed. She runs
          her hand over the cotton percale. She puts on Tamara's slip
          and looks at herself in the mirror.

<b>                          BEN
</b>           Hello Jody...
          Jody spins round.
          The door closes. Ben is standing behind it. He is wearing a
          tight black T-shirt; the man of her dreams.

<b>                          BEN
</b>           Dog minder? I guessed you might be
           the somebody who's been getting in
           here, pissing about, sending e-mails
           and fucking people up. D'you know 
           what I'm saying? You've been breaking
           in.

<b>                          JODY
</b>           I didn't break in. Used the key.

<b>                          BEN
</b>           What key?

<b>                          JODY
</b>           Found it under a pot.

<b>                          BEN
</b>           Well for fuck's sake. Did you nick
           my T-shirt?

<b>                          JODY
</b>           Took it as a souvenir. I'm sorry!
          Jody is very scared. She is crying.

<b>                          BEN
</b>           Creeping about in our stuff? What
           gives you the right?

<b>                          JODY
</b>           I just... like I always wanted to
           meet you...just once...just to tell
           you stuff...

<b>                          BEN
</b>           What stuff?

<b>                          JODY
</b>           Like... I love you.

<b>                          BEN
</b>           So that's nice. Least someone does.

                          



                         

                         

<b>                          JODY
</b>           I used to lie awake thinking about
           you being here... in Ewedown, the
           bumhole of nowhere. It was the
           best thing to happen ever. I've
           been so in love with you. And when
           you left I couldn't bear it. I
           thought the valentine would make
           you come back...

<b>                          BEN (CONT'D)
</b>           D'you still love me, Jody? Even
           though I wanna lock you up in a
           young offenders institution?
           Jody nods, unsure.

<b>                          BEN (CONT'D)
</b>           What would you do for me then?
           Would you do anything, like a
           proper fan?
           Jody looks at him, scared. She manages a nod. Ben approaches
           her.

<b>                          BEN (CONT'D)
</b>           Let's see then shall we?
           We see Jody's phone flashing on the bed. 

<b>           CASEY (V.O.) 
</b>           Jody! What are you doing not
           fucking answering?

                         

<b>          158 EXT. DAY. EWEDOWN. 158
</b>
           Casey is at the triangle leaving a message on Jody's phone. 
           Boss is running round and round it.

<b>                          CASEY
</b>           Ben's dog. It's here. Means Ben
           must be - 
           Casey suddenly realises where Jody is. The dog runs off up 
           the street. Casey sets off towards Winnards, full of 
           apprehension.

                         

<b>          159 INT. DAY. STONEFIELD - DOWNSTAIRS. 159
</b>
           Beth is taking Nicholas' awards down and chucking them in a
           box. Glen is trying to save them from smashing.

<b>                          BETH
</b>           I bet that bitch wants a baby. Well
           she'll find out; Nicholas doesn't
           do children.

<b>           GOLDENROD REVISIONS 20.10.09 99A.
</b>
                         

                         
          She is brandishing a diamond dagger award.

<b>                          BETH (CONT'D)
</b>           He'll leave it all up to her.
           That'll age her.

<b>                          GLEN
</b>
<b>                          BETH -
</b>
<b>                          BETH
</b>           But suppose he discovers
           fatherhood?

<b>                          (MORE)
</b>
<b>           GOLDENROD REVISIONS 20.10.09 100.
</b>
                         

<b>                          BETH (CONT'D)
</b>           They do, these men, second time
           round. They get all nappy-happy.
           I was barely twenty when I got
           pregnant. I've never done
           anything! Oh God! God!

<b>                          GLEN
</b>           Yes you have. Look at this place!

<b>                          BETH
</b>           I hate him - I've wasted my life! 

<b>                          GLEN
</b>           No... What about all the work you do
           here?

<b>                          BETH
</b>           Breeding goats? Baking fucking
           biscuits? It's meaningless!
          Beth bawls. Glen holds her.

<b>                          GLEN 
</b>           Beth... When I was lost with my
           book you helped me more than you
           know. You asked who I was writing
           it for...
          He starts to really hold her. The sobbing subsides.

<b>                          GLEN
</b>           You.
          He kisses her. Beth looks at Glen; a revelation. The future
          opens up. She kisses him back.

<b>                          NICHOLAS
</b>           Excuse me.
          Nicholas is standing in the doorway, looking grey.

<b>                          NICHOLAS (CONT'D)
</b>           May I speak with my wife?
          Glen releases Beth.

<b>                          BETH
</b>           No. You may not.
          She walks away.

                          

<b>           GOLDENROD REVISIONS 20.10.09 101.
</b>
                         

                         

                         

<b>          160 EXT. DAY. STONEFIELD - THE GROUNDS. 160
</b>
           Beth walks outside towards the chicken coup. Nicholas pursues
           her. She sees Boss running across the grounds chasing birds.

<b>                          NICHOLAS
</b>           It's over.

<b>                          BETH
</b>           That's Ben Sergeant's dog. Perhaps 
           he's come to beat the shit out of 
           you - good! 

<b>                          NICHOLAS
</b>           Beth - I finished it. She's been 
           chasing me; this wild crush - 

<b>                          BETH 
</b>
<b>                          LIAR - 
</b>
<b>                          NICHOLAS 
</b>           There's something desperate about 
           her, something almost unhinged - 

<b>                          BETH
</b>           Good God, even when you try and 
           tell the truth you lie. YOU LIE!!
           Nicholas is falling apart.

<b>                          BETH
</b>           I want you to leave. I want a
           divorce. I want Stonefield.

<b>                          NICHOLAS
</b>           Beth...Don't. You can't.

<b>                          BETH
</b>           I will.

<b>                          (TO BOSS)
</b>           And you - Go home! Bugger Off!!
           She throws a handful of chicken feed at him. Boss runs away.
           Beth storms off.
           Nicholas looks profoundly shocked; like a man who has just
           realised he's in danger of drowning.

                         

<b>          160A EXT. DAY. WINNARDS FARM. 160A 
</b>
           Tamara's car pulls up outside. She gets out, looking at the 
           yellow Porsche in complete disbelief. 

<b>                          TAMARA 
</b>           Ben... 

<b>           GOLDENROD REVISIONS 20.10.09 101A.
</b>
                         

                         

                         

<b>          161 INT. DAY. WINNARDS FARM - THE KITCHEN. 161
</b>
           Jody is shakily pouring a pot of tea.

<b>                          BEN
</b>           Right. Now put two sugars in and
           stir it. OK. That's a decent cup.
           Which is lucky Jody cos if it had
           been shit, I'd be on the phone to
           the extremely scary local cops
           right now.

<b>                          JODY
</b>           Please don't tell my mum.

<b>                          BEN
</b>           I knew it was boring round here but
           for fuck's sake...

<b>                          JODY
</b>           I'm gonna get out as soon as I can.
           Going to work in Vegas - as a
           croupier. Vegas, or a cruise liner.

<b>                          BEN
</b>           Aim high, that's what I say.

                         

<b>          161A INT. DAY. WINNARDS FARM. THE HALL. 161A
</b>
           Tamara lets herself in. She calls: 

<b>                          TAMARA
</b>           Ben?

                         

<b>          161B INT. DAY. WINNARDS FARM. THE KITCHEN. 161B
</b>

<b>           GOLDENROD REVISIONS 20.10.09 102.
</b>
                         

                         

<b>                          BEN
</b>           Tamara. You've had an infestation.

<b>                          TAMARA
</b>
<b>                          (ENTERING)
</b>           Of what?

<b>                          BEN
</b>           Jody.
           Jody, shamefaced, prepares to cough up.

                         

<b>          162 EXT. DAY. A FIELD. 162
</b>
           Boss is lolloping round. He stops. The whole herd of cows is
           staring at him. Boss regards the animals with curiosity. He
           wags his tail. Will they play? He starts to bark.

                         

<b>          163 EXT. DAY. THE FIELDS. 163
</b>
           Nicholas sees Glen sitting on the edge of an old rusting
           trough. Fury overwhelms him. 

<b>                          NICHOLAS
</b>           Oy! Greg! I want a a word with you.

<b>                          GLEN
</b>           It's Glen, asshole.
           Nicholas is stomping through the mud and cowshit. 

<b>                          NICHOLAS
</b>           You fucking devious bastard.

<b>                          GLEN 
</b>           I'm devious? I'm a bastard? 

<b>                          NICHOLAS
</b>           You think I haven't noticed how
           you've been worming your way in? 
           You keep your hands off my wife, 
           you low-rent pedant. 

<b>                          GLEN
</b>           You've abused her long enough / 
           with your goddamn lies - 

<b>                          NICHOLAS 
</b>           I want you out of my house. 

<b>           GOLDENROD REVISIONS 20.10.09 103.
</b>
                         

                         

<b>                          GLEN 
</b>           It's Beth's. She made this place - 

<b>                          NICHOLAS
</b>           And I fucking pay for it. I've 
           given Beth all this. What can you 
           give her? 

<b>                          GLE 
</b>           I can give her / integrity! 

<b>                          NICHOLAS 
</b>           Obscure literary shit not worth ten 

<b>                          PENCE - 
</b>
<b>                          GLEN
</b>           You know if I made my pile
           fantasizing rapes and homicides I
           wouldn't be so proud.

<b>                          NICHOLAS
</b>
<b>                          (SHOVING HIM)
</b>           You cunt.

<b>                          GLEN
</b>           Fuck you.
          Glen grabs him round the middle. They struggle like overgrown
          schoolboys.

<b>                          NICHOLAS (CONT'D)
</b>           Beth'll come to her senses. You
           need an income to run Stonefield.
           And mine's bigger than yours!
          Glen nuts him. Nicholas slips backwards in the mud. He whacks
          his skull on the sharp, rusting corner of the trough. He
          falls to the ground. Glen is astonished at his own prowess.

<b>                          GLEN
</b>           Now... get up, Nicholas. Let's talk
           about this like grown men.
          Blood trickles from the wound on Nicholas' head. He moans.

<b>                          GLEN (CONT'D)
</b>           Oh my God. Nicholas...
          Glen becomes aware of a sound like a drumbeat, the drumming
          of hooves. The herd of cows come over the brow of the hill
          and down towards them. Boss is chasing them, barking. The
          beasts are terrified, stampeding.

<b>           GOLDENROD REVISIONS 20.10.09 104.
</b>
                         

                         
           They are heading straight for the trough. Nicholas is trying
           to get up on his knees.

<b>                          GLEN (CONT'D)
</b>           Nicholas! Get up! Run!
           Glen puts out a hand to help him. But before Nicholas
           notices, he instinctively retrieves it.
           Glen turns on his heels and runs, terrified. He throws
           himself into the hedge as the cows thunder past. They
           disappear down the hill, Boss still behind them.
           Glen looks back towards the water trough. Nicholas is lying
           on his front, his face pressed into the mud, unmoving.
           Glen walks over. He gingerly peers at him. The back of
           Nicholas' skull is broken open. Blood is pooling in the mud
           and shit. Glen panics. He looks all around. Has the accident
           been seen?
           No human is visible. Has his part in it been noticed? He
           bends down as if to turn the body over, in case by some
           miracle Nicholas still lives. He cannot bring himself to
           touch him. Fear overwhelms him. He runs away.

                         

<b>          164 EXT. DAY. WINNARDS FARM - THE KITCHEN / HALL. 164
</b>
           Tamara is looking at Jody, stunned.

<b>                          TAMARA
</b>           It was you?
           Jody can't look her in the eye.

<b>                          BEN
</b>           Jody has explained that she did it
           out of deep love for me.
           To Ben's astonishment, Tamara smiles. He grabs his moment. 

<b>                          BEN (CONT'D)
</b>           Tamara... 
           It's an apology. Tamara takes Ben's hand and leads him 
           through to a dresser in the hall. She opens it.

<b>                          TAMARA (CONT'D)
</b>           Ben. 
           She takes the ring out of the jar and puts it in his hand. 

<b>                          TAMARA (CONT'D)
</b>           I'm in love with someone else.
           At that moment, Casey appears at the back door.

<b>           GOLDENROD REVISIONS 20.10.09 105.
</b>
                         

                         

<b>                          CASEY
</b>           Jody - the dog!

                         

<b>          165 EXT. DAY. THE FIELDS. 165
</b>
           Boss is still worrying the herd. He's got them against a
           gate. The animals are very distressed. Behind them we see
           Andy's Landrover appear.

<b>          165A EXT. DAY. THE FIELDS (LARKHAM) 165A
</b>
           Andy gets out of his Landrover, takes out his rifle, comes
           through the gate. Loads his rifle while watching the dog.

                         

<b>          165B EXT. DAY. THE FIELDS (LARKHAM). 165B
</b>
           His POV. The dog and the cattle.

                         

<b>          165C EXT. DAY. THE FIELDS (LARKHAM). 165C
</b>
           He raises the gun.

                         

<b>          165D EXT. DAY. THE FIELDS (LARKHAM). 165D
</b>
           Through his sights, the dog.

                         

<b>          165E EXT. DAY. THE FIELDS (LARKHAM). 165E
</b>
           As his finger tightens on the trigger.
           Bang. A shot rings out. He looks round, off right.

                         

<b>          165F EXT. DAY. THE FIELDS (LARKHAM). 165F
</b>
           Up on the ridge of the hill, Penny Upminster is standing in a
           straw hat and flowery wellies, with a smoking gun.

<b>                          PENNY
</b>           Got `im. The beast.

                         

<b>                         166 CUT 166
</b>
                         

<b>          167 INT. DAY. STONEFIELD - BETH'S OFFICE. 167
</b>
           Beth, chucking fan mail into the bin, stops in her tracks.

                         

<b>          167A EXT. DAY. WINNARD'S FARM. 167A
</b>
           Tamara's head appears at the front door. 

<b>           GOLDENROD REVISIONS 20.10.09 106.
</b>
                         

                         

                         

<b>                         168 CUT 168
</b>
<b>          168A CUT 168A
</b>
                         

<b>          168B CUT 168B
</b>
                         

<b>          168C EXT. DAY. STONEFIELD - THE FIELD. 168C
</b>
           Beth is coming down the field where Nicholas lies. She sees a
           figure in the distance. She squints, the sun in her eyes.

                         

<b>          168D EXT. DAY. COPSE (LARKHAM'S) 168D
</b>
           Opposite her she sees Tamara descending through the copse.

                         

<b>          169 EXT. DAY. FIELD. (LARKHAMS) 169
</b>
           Tamara, walking down by the trough, discovers Nicholas' body.
           She drops to her knees, light-headed with shock.

                         

<b>          170 EXT. DAY. FIELD. 170
</b>
           Beth walks into the field. She sees Tamara kneeling, looking
           at something on the other side of the trough.

<b>                          BETH
</b>           Bitch.
           Tamara looks up.

<b>                          TAMARA
</b>           Beth - no -

<b>                          BETH
</b>           Brazen. That is brazen.
           Beth carries on walking towards her.

<b>                          TAMARA
</b>           Beth. Don't.
           Tamara is running towards Beth. She cannot bear her to see.
           She throws her arms around her, protecting her.

<b>                          TAMARA (CONT'D)
</b>           Don't look. Don't look...
           It is too late. Beth is seeing the corpse. A great wave of
           shock hits her. Tamara holds her tight, trying to contain it.
           Another great wave of shock.

<b>           GOLDENROD REVISIONS 20.10.09 107.
</b>
                         

                         

<b>                          BETH
</b>           Nicholas. No.
           Her cries of grief soar over the valley.

                         

<b>          171 EXT. DAY. THE FIELD - LATER. 171
</b>
           Tamara, ashen, is on the phone to emergency services. 

<b>                          TAMARA 
</b>           You'll get to it through Byley farm. 
           His skull is broken. It's smashed. No 
           I haven't but... it's obvious. His 
           wife. Yes she is. Thank you. Thank 
           you. I will. 
           Beth has turned Nicholas over. She is washing the mud from 
           his face with water from the trough.

<b>                          TAMARA 
</b>           They're on their way... 
           Beth seems totally closed off. Tamara gingerly approaches. 
           She touches Beth's shoulder.

<b>                          TAMARA
</b>           Beth? Help is coming - 
           Beth cannot bear to be touched. Her hand involuntarily flies
           out. It slams into Tamara's face.
           Tamara steps back. Her nose is broken, pouring blood.

<b>                          TAMARA 
</b>           It's broken! - 
           She gasps, riding the pain, knowing she deserves it. It's the 
           biggest wake-up call of her life.
           Beth stares at her, at first astonished at what she has done -
           then satisfied. Tamara stumbles away.

                         

<b>          171A EXT. DAY. IN THE COPSE. LATER. 171A 
</b>
           Tamara sits beside a dewpond, gingerly washing the blood off
           her face.

<b>                          ANDY
</b>           Tamara...
           Andy is watching. She turns away from him. He approaches. 

<b>                          TAMARA 
</b>           I'm sorry. 
           She starts crying bitter tears. 

<b>           GOLDENROD REVISIONS 20.10.09 107A.
</b>
                         

                         

<b>                          ANDY
</b>           Tam, come on. It was an accident.
          Still Tamara cries. He comforts her. She lets him. He holds 
          her for some time. 

<b>                          ANDY
</b>           I'd better get up to Stonefield. Come
           with me. We'll get this sorted.

<b>           GOLDENROD REVISIONS 20.10.09 108.
</b>
                         

                         
           Tamara shakes her head. She separates herself from him and
           stands.

<b>                          ANDY
</b>           Then get Ben to take you to London. 
           Make sure he looks after you.
           Tamara walks a few paces away. She stares straight ahead.

<b>                          TAMARA
</b>           I don't want to be with Ben. 
           She looks back at Andy. He begins to understand. She walks 
           off.

                         

<b>          171B INT. DAY. STONEFIELD. GLEN'S ROOM. 171B 
</b>
           Glen, sick with dread, is drying his face with a towel. He 
           picks up his muddy shoes and clothes, wraps them in a bag and 
           shoves them in his case. 
           His eyes alight on his poster of Thomas Hardy. He pulls it 
           down. 

                         

<b>          172 EXT. DAY. WINNARDS FARM - THE GARDEN. 172 
</b>
           Ben and the girls have dug a grave for Boss. Casey is putting
           flowers on the top. Ben starts to cry like a broken-hearted 
           little boy. Jody instinctively puts her arms round him. The
           girls are immensely moved. Jody looks over at Casey. She

<b>                          MOUTHS:
</b>
<b>                          JODY
</b>           Pap me! Pap me!
           Casey waits until Ben is not looking. Then she takes pictures
           with her mobile phone. Jody cradles Ben in her arms, doing
           her best moved-but-sultry pose. Casey tries not to laugh.
           Jody is ecstatic. The man of her dreams is in her arms. Her
           wish has come true.

                         

<b>          172A EXT. DAY. STONEFIELD - THE COURTYARD. 172A
</b>
           An ambulance and two police cars are in the courtyard. The
           police are carrying the corpse, covered in blankets. Andy
           crosses the yard to the barn. He bumps into Glen furtively
           coming out of the door. Glen's case is packed.

<b>                          ANDY
</b>           What are you doing?
           Glen can't look him in the eye.

<b>           GOLDENROD REVISIONS 20.10.09 108A.
</b>
                         

                         

<b>                          GLEN
</b>          I figured I'd best, you know, take
          myself off. She doesn't want
          writers around the place now. And
          police, autopsies, not my thing -

<b>           GOLDENROD REVISIONS 20.10.09 109.
</b>
                         

                         

<b>                          ANDY
</b>           You can't run away.

<b>                          GLEN
</b>           I'm not running away! I just
           finished my book; my time here is
           up. Destiny calls.

<b>                          ANDY
</b>           Beth is asking for you.

<b>                          GLEN
</b>           She's... Really?

<b>                          ANDY
</b>           She's on her own over there. Glen,
           she doesn't need a writer around
           the place. She needs a man.

<b>                         173 DELETED 173
</b>
<b>                         174 DELETED 174
</b>
                         

<b>          175 INT. DAY. STONEFIELD - THE KITCHEN. 175
</b>
           Beth is sitting, still pale with shock, her hands around a
           mug of tea. Glen approaches.

<b>                          GLEN
</b>           I'm so sorry.
           Beth looks up at him despairingly.

<b>                          GLEN
</b>           Do they... suspect anyone? I mean
           of like Foul Play?

<b>                          BETH
</b>           It was my fault. I let the dog go!

<b>                          GLEN
</b>           No, no...

<b>                          BETH
</b>           I shooed him away! The police said
           it was an accident but...

<b>                          GLEN 
</b>           It wasn't your fault! 

<b>                          BETH 
</b>           What I don't understand is why was
           he in that field anyway? He hated
           cows. And when they were coming,
           why didn't he get out of their way?

<b>           GOLDENROD REVISIONS 20.10.09 109A.
</b>
                         

                         

<b>                          GLEN
</b>          Beth. I have to tell you...

<b>           GOLDENROD REVISIONS 20.10.09 110-111.
</b>
                         

                         
           For a moment, confession and silence hang in the balance.
           Glen opens his mouth to speak.

<b>                          GLEN (CONT'D)
</b>           You live in the country. You share
           it with those dangerous beasts. And
           when they're scared, they run. Like
           we do...
           Glen is full of horror at his lie.
           But Beth is only grateful.

<b>                          BETH
</b>           Glen. Stay with me.
           Her eyes, still red with grief, are full of their future
           together.
           Glen nods. He will stay. He wants it all.
           Beth leans into him, seeking comfort. He puts his arms around
           her, his face ashen with the weight of his secret.
           As he holds her, he looks around the room. Nicholas is
           everywhere, glaring down at him from photographs.

                         

<b>          176 EXT. EVENING. WINNARDS FARM - THE GARDEN. 176
</b>
           Tamara is in the garden, a strip on her nose. She sees Andy
           in the dusk. He's leaning against the gate watching her.

<b>                          TAMARA
</b>           Don't say anything.

<b>                          ANDY
</b>           Kind of suits you. And I always did
           like the old one.
           They are in each others arms. The embrace lasts and lasts.
           Tamara is leading Andy up to the house.

<b>                          TAMARA
</b>           You did it on purpose, didn't you?

<b>                          ANDY
</b>           What?

<b>                          TAMARA
</b>           Made it so beautiful I'd never be
           able to leave.

<b>                          ANDY
</b>           Been dying to get rid of you. This
           is my house. I was born in that
           room.

<b>           GOLDENROD REVISIONS 20.10.09 112.
</b>
                         

                         

<b>                          TAMARA
</b>           So you were.
          They are at the threshold. They kiss.

<b>                          TAMARA (CONT'D)
</b>           Welcome home.

                         

                         

                         

<b>           THE END.
</b>
<b>                          
</b>
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	<td><h1>Tamara Drewe</h1><br><br>
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Who is Tamara's previous boyfriend?
Who is Tamara s previous boyfriend ?
Ben
Ben
Ben
Ben