"LOVE ACTUALLY" (2003)

A VOICEOVERIN DARKNESS...

AND WE STARTTO SEE THIS - AS 'STYLISHBUT REAL' DOCUMENTARYAS POSSIBLE, THEMOSTMISCELLANEOUS OF GROUPS ANDCOUPLES AT THE ARRIVAL GATE, ALL KISSING, ALL FULLOF AFFECTION AND EMOTION..•

General opinion's starting to make out that we livein a world of hatred and greed - butI don't see that - seems to me that loveis everywhere. Often it's not particularlydignified, or newsworthy - but it'salways there - fathers & sons, mothers & daughters,husbands & wives, friends & strangers.When the planes hit the Twin Towers,as far as I know, none of the phone calls fromthe people about to die were messagesof hate and revenge - they were allmessages of love. If you look for it, I've gota nasty suspicion you'll find that love actuallyis all around ...•

CUT TO TWO MEN'S FACES. WELLDRESSED UP IN WEDDING TIES AND COATS.

PULL BACK - THEYARE BEST MAN ANDGROOM WAITING AT THE END OFAN AISLE. THE CHURCH ISSUNNY AND FULL.

Page2

THE MUSICSTARTSUP ... PACHELBEL'S CANON.ENTERA REALLYLOVELY, OPTIMISTIC GIRL IN HERWEDDING DRESS. THIS IS JULIET.

ANDHE PICKS UP HIS VIDEOAND STARTS DISCREETLY TO FILM PROCEEDINGS - IT'S ONEOF THOSEWHERE YOUCANVIEWTHROUGH A SCREEN,RATHER THANHOLDING IT TO YOUREYE.

AS THE BRIDE WALKS UP THE AISLE A SWEET,SLIGHTLYCHAOTIC 30 YEAR OLD, CALLED SARAH, SNEAKSIN JUST BEHINDHER, SWITCHING OFF ANDPUTTING AWAY HER MOBILEPHONE.SHE SITS DOWN NEXTTO A FRIENDCALLED JAMIE. 38. GOOD-LOOKINGANDGOOD-NATURED.

THE BRIDE GOESON WALKING - EXCHANGINGA BLISSFUL SMILE WITH HER HUSBAND TO BE.

WE COT THROUGH MOMENTS OF THE WEDDINGSERVICE- FINGERS, RINGS, KISS, BIBLES, SIGNING THE REGISTRY.IT'S NOW THE ENDOF THE SERVICE- THEY'RE BACKIN FRONT OF THE ALTAR.

NOW BRIDE ANO GROOM TURNANDHEADDOWN THE AISLE. THE ORGAN STRIKES UP A TRADITIONAL CHURCHEXIT SONG. THEN IT CHANGES...AND STARTSTO PLAYSOMETHING THATSOUNDS SUSPICIOUSLY LIKE THE MARSEILLAISE. PETER LOOKS A BIT SURPRISED- TURNSTO LOOK AT MARK, WHO LOOKSINNOCENT.

AS THE MUSICCHANGES, A CURTAINTHATHAS BEENHIDING THE CONTENTS OF THE BALCONY DROPS.BEHINDIT IS A HUNDRED STRONG CHOIR. THEYBEGIN TO SING.

Fll!lALJUNE19/6/02

Page3

THE CHOIRTHENPARTTO REVEAL A FABULOUSLOOKING SINGER, STANDINGAT A MICROPHONE - SINGING 'ALL YOUNEED ISLOVE'.

THEY ARE NOW JOINED, DURING THE CHORUS,- MAGICALLY FROM ALL OVERTHE CHURCH - BY A HUGEBRASSSECTION- 20 TRUMPETS- 20 SAXOPHONESETC...THEYACTUALLY APPEARIN THE PEWSWHERE THEY'VE BEENHIDING THEIR INSTRUMENTS TILL NOW.

All you need is love All you need is love All you need is love, love, Love is all you need.

THE BRIDE, JULIET, IS RADIANT - ADORING IT...

HUSBANDPETER LOOKS AT BEST MAN MARK. MARK SHRUGSHIS SHOULDERS, PRETENDINGHE HADABSOLUTELY NO IDEA THIS WASGOINGTO HAPPEN. THENA LITTLE SMILE.

3 EX'.r.CBtJRCB.DAY 3

THEYOPENTHE DOORFROM THE CHURCH. WINDMACHINES BLOW 5,000 ROSE PETALSTHROUGH THE SKY. A MAN IS PLAYINGLEADGUITAR, STANDINGON A GRAVESTONE. THEYARE THE HAPPIEST, LAUGHINGEST COUPLEIN THE WORLD.

4 Er.l'.LONDON.DAY. 4

SOME BEAUTIFUL SHOTSOF THE CITY IN ITS WINTERGLORY.

s :INT.CBURCB.DAY. 5

FINALJUNE19/6/02

Page4

) CONTINUED: 5

CUT TO A FUNERAL - A MAN ANDHIS 11 YEAR OLD STEP-SON IN A CHURCH - WITH A CROWD OF 80 BEHINDTHEM, DRESSEDIN BLACK.

DANIELGETS UP AND FACES THE GUESTS. BEHINDHIM A SIMPLE SLIDE- PROJECTOR SCREENSHOWS A PORTRAITOF HIS WIFE.

THROUGH THE SPEAKERS WHAMS THE BAYCITY ROLLERSATROCIOUS COVER VERSION: THE PROJECTOR SCREENSHOWS TERRIBLESHOTS OF THE ROLLERSIN THEIR HEYDAY,MORESHOTSOF JO - AND THENSETTLES ON AN UTTERLY GLEEFUL12 YEAR OLD GIRL, CLEARLYJO - TOTALLY DECKED IN THE SCARF, BADGES ANDHATS OF ROLLERMANIA.

If you hate me after what I say, Can't put it off any longer Oooo 0000 0000 I just gotta tell you anyway •..

Bye bye baby, baby good-bye, Bye baby, baby, bye bye Bye bye baby, don't make me cry, Bye baby, baby bye bye ....

THE CONGREGATION ARE TORNBETWEEN SMILES AT THE SONGANDTHE STILLS,ANDTHE REAL SADNESS OF IT ALL.

MORE TITLES..•

JAMIE,WHO WE GLIMPSEDAT THE WEDDING, COMES BACKINTO A HOUSE. HE HAS A SLIGHT, TOUCHING,MID-SENTENCE STUTTER.

FINALJUNE19/6/02

Page5

HE UNLOCKS THE DOORINTO THE LARGELIVING ROOM.AT THATMOMENT ANOTHER SLIGHTLY YOUNGER MAN ENTERSTHE ROOM THROUGH AN INTERNAL DOOR.

THERE'SA CALL FROM OFF.

HE STARTSTO DO SO - ANDTHENCONTINUES TO DO SO, SORTOF IN SLOWMOTION,AS HE TALKSON ...

This is a bit odd, actually. My girlfriend doesn'tknow I'm here - and she calls you 'Chris'- not 'da-da-darling'- unless she callsyou... 'darling'when I'mnot here - in which case the reason you're here is probablyless to do with borrowing, let's say,an old Paul Simon album and more to do with, let'ssay, you having sex with my girlfriendwhen I'm out.

FINALJUN&19/6/02

Page6

MORE TITLES...

COT TO THE PM'S CARMOVING ALONG THE EMBANKMENT, WITH BIKE RIDERS.

CUT TO THE CAR DRIVINGUP WHITEHALL.

8 EX'l'.DONNINGSTDET. DAY. 8

CUT TO OUTSIDE10 DOWNINGSTREET- HOGENOISE - PRESS AND PEOPLE - OUTOF THE CAR COMESTHENEWPRIMEMINISTER. HE WAVES - HUGE CHEER. IN HIS FORTIES. HE'S AN ATTRACTIVEMAN.

HE ENTERS- THE DOOR CLOSESBEHINDHIM

SUDDENLY, BIZARRESILENCE ANDFORMALITY INSIDE IN COMPARISON TO THE CHAOS OUTSIDE.

THERETO GREETHIM IS HIS PERSONALADVISOR, 40, A WOMAN, ANNIE, STRONG ANDINTELLIGENT LOOKING.HIS DEMEANOUR IMMEDIATELY CHANGES, HE OE-FORMALISES.

FINAL.JUNE29/6/02

Page7

CUT ON - HE GOESALONG A LINE OF EMPLOYEES.

HE LAUGHS.SHE BLUSHES HUGELY - A BEAUTIFUL LOVELY,YOUNG, BRIGHTFACEDGIRL. HE LOOKS AT HER. SOMETHING'S HAPPENING.

(CONTINUED}

FINA~JUN£19/6/02

Page8

AS HE WALKS AWAY,HE JUST CASUALLY LOOKSBACK OVERHIS SHOULDER - NATALIEIS ONEOF THE THINGSHE LOOKSBACKON.

10 In. PM'S OITICE.10 DOWNING STREET.DAY. 10

PM ENTERS, AND CLOSESTHE DOOR AND SUDDENLYPINS HIMSELFBACK AGAINSTTHE DOOR, LIKE A MANBEING PURSUEDBY THE POLICE.

11 In. 1Ui1CEPTIONBALL.NIGHT. 11

IT'S THE RECEPTION OF THE 'ALL YOUNEEDIS LOVE' WEDDING. LATER THATNIGHT. THE NEWLYWEDS ARE DANCING TO A SLIGHTLYDODGY HIRED BAND...

OURBEST MAN, MARK,IS FILMINGTHEM. NEARHIM IS SARAH, STILL TALKING ON HER MOBILEPHONE.A PERKY WAITERIN A MESSYBLACK TIE APPROACHES HIM - HE'S CALLED COLIN.

COLIN HEADSON TO SARAH.

TOTALLY UNCHARMEO, SHE JUST SHAKES HER HEAD. COLIN HEADSOFF DISCOURAGED.SEES ANOTHER PRETTYGIRL BY THE DOOR TO THE KITCHEN.

FINAL.JUNE:J9/6/02

Page9

HECLIPS THROUGH THE DOORSINTO THE KITCHEN.

12 Ift.RECEPTION KI'l'CBEN.NIGB'l'. 12

COLIN SITS DOWNNEXTTO ANOTHER QUITE GEEKYGUY, CALLED TONY, A FRIENDWHO'S JUST COME ALONG FOR THE RIDE. HE WEARSNORMAL CLOTHES.

FINALJUNE19/6/02

Page10

HEWINKS AT A PASSING WAITRESS.SHE TOTALLY FREEZESHIM OUT. THEYBOTHTHINK IT PROVESTHEIR POINT.

COLIN/TONY See...

CUTTO THE NEWLYWEDS DANCING TO A HORRIBLY PERFORMED CLASSIC TUNE- THE BANDISN'T THE BEST IN THE WORLD. MARK IS FILMING THEM- SARAH,THE PHONE GIRL, COMES AND SITS NEXTTO HIM. SHE WATCHESHIM CURIOUSLY,THENGENTLY ...

FINALJUNB19/6/02

Page11

LITTLE PAUSE- HE RETURNSTO FILMING....

This band.. what youreckon - the worst in history?

CUT TO THE LEAD SINGER...

CUT ROUND A BUNCH OF HAPPY COUPLES...AFAMOUSINTRO PLAYS...

14 Ilff.RECORDING S'l'ODIO.DAY. 14

CUT TO A RECORDING STUDIO -A WONDERFUL-LOOKING BATTERED 55 YEAR OLD EX-GIANTOF ROCKIS SINGING IN A LITTLE BLACKBOOTH. 3 NOISY BACKING SINGERS ARE REALLY GOINGFOR IT IN THE STUDIO OUTSIDE.

JOE HIS MANAGER IS IN THE CONTROLROOM WITH THE ENGINEER. JOE IS UNPREPOSSESSING, WOOLLY, CHUBBY,MOIST, IN HIS FORTIES.

FINAL.JUNE1916/02

Page12

14 CONTINO.ED: 14

THE INTRO STRIKES UP AGAIN...

I BILLY (CONT D) ''I feel it in my fingers,I feel it in my toes - Love is all ...."o fuckwankbuggershittingarseheadandhole. Start again ...(THE INTROPLAYS) "I feel it in my fingers, I feel it in my toes. Christmas is all aroundme...

CUT TO JOE - DEEPLYPLEASED.

And so the feeling grows. It's written in the wind, it's everywhere I go. So if you really love Christmas, come on and let it snow...."

(TO JOE) Thisis shit, isn't it?

JOE GIVES HIM A BIG SMILE.AND A THUMBSUP. HE IS SITTING NEXTTO A SOUND ENGINEER, READING A NEWSPAPERWITH A PICTUREOF THE PM ON THE FRONT.

15 ~- PM'S O!Tl:CB.10 DOWNING STREB'.l'.DAY. 15

E'INALoJVNE19/6/02

Page13

A FEW DAYSLATER...THE PM'S STUDYAGAIN. HE' S DEALINGWITHHIS 60 YEAROLD SECRETARY.

THE SECRETARY ACCEDES AND LEAVES.A KNOCK ON THE DOOR.

IT IS NATALIE, CARRYING A SOMEFILES ANDA TRAY ..

HE SMILES. THE TRAYHAS A TEA CUP- WITHTHREEBISCUITS ON A PLATE.

SHE LEAVES- HE DROPSHIS HEAD, SLAMMING IT ON THE TABLEIN DESPAIR.

AND NOW WECUT TO DANIEL, THE STEP-FATHER ANDHUSBAND FROM THE FUNERAL,SITTING VERYALONEIN HIS OFFICE IN HIS HOUSE, HIS HEAD ALSO ON THE DESK. A MOMENT OF STILLNESSANDSORROW. THENHE LIFTSHIS HEAD, PICKS UP THE PHONE AND DIALS...

SHE IS IN HERKITCHEN - OBVIOUSLY MID-FORTIES, VERYENGLISH, STILL QUITE NICE LOOKING,ANOGOOD.

FINAL~UNE19/6/02

Page14

HE HANGS OP

KAREN GOES BACKTO THE QUESTION IN HAND. HER 2 CHILDREN,JUST BACK FROM SCHOOL.DAISY IS SWEET & 6. BERNIE ISGRUMPY AND 10. KAREN IS COOKING CHICKENKEBABS FOR THEIR DINNER.

LITTLE·oAISY. We've been given our parts in the Nativity play. I'm the lobster.

BERNIE IS AN UNPLEASANT GRUMPY LITTLE BUGGER.

E'INAL.JUNEl9/6/02

Page15

18 BX'l'./'IWJ!.FA:RMROUSED1FRANCE.DAY. 18

CUTTO TOTALDARKNESS. THENWINDOWS STARTTO OPEN- ON THE LIVING ROOM OF JAMIE'S CHAOTICBOT LOVELY FRENCHFARM HOUSE. JAMIE, WITHHIS SUITCASESDEPOSITEDIN THE MIDDLE OF THE ROOM, ISOPENING THE WINDOWS, SOMEOF WHICH HAVELITTLE ANGEL SILHOUETTESCOT IN THE WOOD.

EXTERIORSHOT, AS THE WINDOWS CONTINUE TO OPEN.

BACKINSIDE JAMIE STANDSIN FRONT OF A LITTLE DESK.HE PUTS DOWN A TYPEWRITER. AND HE SITS.

CUTTO A GROUPOF CHILDREN SINGING AT SCHOOL- THEYARE SINGING 'CATCHA FALLINGSTAR'.

E'INJU,,JUNE29/6/02

Page16

l9 CONTINUED: 19

WE PANALONG THE HAPPYSINGING FACESANDTHEN COME TO SAM- SILENT, DOWNCAST.

OVERTHE SONG- WE HEARKAREN & DANIEL TALKING...

CUT.TO THEMIN DANIEL'S STREET, ENTERING THE HOUSE. THE CAMERA FOLLOWSTHEM.

He now spends literally all the time in his room - he'll be up there now.

THE CAMERALEAVES THEMAND TRACKS UP THE STAIRS TOWARDS SAM'S DOOR... .

And I'm afraid, you know, that there's something really wrong - I mean clearly it's about his Mum, but Christ, he might be injecting heroin into his eyeballs for all Iknow.

THE CAMERASITS ON THE DOOR.

FINALJUNE19/6/02

Page17

21 EX'l!.BALCONYOF DANIEL'S BOUSE. DAY. 21

DANIELAND KAREN, STANDING ON THE BALCONY OUTSIDETHE HOUSE.

HE SMILES.

KAREN JUST TOUCHESHIS SHOULDER.

22 Drl'.DANIEL'SHOUSE. HALLWAY. DAY. 22

CUT TO KARENAT THE DOOROF DANIEL'S HOUSE.

FINAL.JUNE19/6/02

Page18

23 IN'l'.DANIEL'SBOUSE.COBRIDOR. NIGB~. 23

CUT TO DANIELUPSTAIRS OUTSIDESAM'S ROOM.

IT SAYS- 'I SAID - I'MNOT HUNGRY.'

24 BX'l'.SmEET.DAY. 24

COLIN IN THE CAR. HE STOPS FOR A WOMANCROSSINGTHE ROAD, AND GIVES HER A BIG THUMBSUP - SHE TURNSAWAY,DESPISING HIM. HE RAISES HIS EYEBROWSANDSHOOTS ON -

HE PULLS UP - OPENSTHE CAR DOOR AND IN GETS TONY- THEY'RE THE TWOWHO WERE DISCUSSINGAMERICA AT THE WEDDING.

FINALJUNE19/6/02

Page19

'25 CONTINUED: 25

26 IN'l'.THEFAJ:RTRADEOFFICE.MORNING. 26

COLIN ENTERS- HE'S THE GUYWHO BRINGS SANDWICHES ROUNDTO COMPANIES.IT'S AN INTERESTINGPLACE- A FAIR-TRADINGCOMPANY - MIXTUREBETWEEN CHARITY ANDTHE BODY SHOP - BIG ANDMESSY- 50 PEOPLE- LOTS OF SMARTLY DESIGNED POSTERSAND MARKETINGSTUFF ON DESKSANDWALLS. COLIN IS VERYBOUNCY. HE SMILESANDDOESA THOMBS UP AT A BEAUTIFULGIRL AT ONE DESK - NO REACTION.STAY WITH HER- HER NAME IS MEL. SHE GETS UP ANDKNOCKS ON THE DOOR BEHINDHER.

FINALJUNE19/6/()2

Page20

SHE ENTERSTHE OFFICE OF HARRY - IN HIS MID FORTIES, STYLISH - QUITE A SERIOUSMAN- BUT WITHHIDDENPLACES.

SARAH WALKS IN A BIT AWKWARDLY.MELLEAVES GRACEFULLY.

SARAHIS TAKEN ABACK - SHE THOUGHT THIS WASA TOTALSECRET.

FINALJUNE19/6/02

Page21

SHE OPENSTHE DOOR TO LEAVEANDA VERYGOODLOOKING GUY WALKS IN.

AND SHE WALKS OUT.

28 IN'l.TB FAIRTRADZ OFl'XCE.MORNJ:NG. 28

WE FOLLOW HER THROUGH THE DOOR.SHE STOPS - TAKESA DEEP BREATH - SWITCHES ON HER PHONE ANDIT RINGS IMMEDIATELY. SHE ANSWERS.

SHE TURNSTO MELAT HER DESK.

FINAi,JUNE19/6/02

Page22

Actually - Mel, isn't it? (MELNODS) Could you turn the radio off - Ican't take that song this time of the day ...

WE REALISETHAT IN THE BACKGROUNDWE HAVEBEENLISTENING TO 'CHRISTMASIS ALL AROUND'.

A LOCALRADIO STATION. A DISC JOCKEYAT THE MIKE - 'CHRISTMASIS ALL AROUND'JUST COMING TO AN END.

LOOKING THROUGH TO THE OTHERSIDE, THE NEXT DISC JOCKEY IS DOING A THROAT CUTTINGMOTION - THE FIRST DISC JOCKEYLOOKS AT A SHEET ON HIS DESKANDREALISES HIS FAUXPAS.

J\ndyes, coincidentally, Ibelieve Billy is a guest on my esteemed colleague'sshow in a few minutes time. Welcome back,Bill.

CUT OUTSIDE- JOE & BILLY SITTING THEREIN THE FOYER, WHERE THE STATION'S OUTPUTIS ON. JUST LOOKINGTOTALLY BROKEN.

TEN MINUTES LATER.

FrNALJUNE19/6/02

Page23

CUT TO JOE'S V. UNHAPPY REACTION.

wouldn't it be great if Number One this Christmas wasn't some smug teenager- but an ugly old ex-heroin addict searching for a come-back at any price. All these young popsters, come Christmas day, they'llbe stretched out naked with a cute bird balancing on their balls - but I'll be stuck in a seedy hotel with my manager Joe- ugliest man in the world -fucking miserable because our fucking gamble didn't pay off. (MORE)

FINAL.JUNB29/6/02

Page24

JOE IS QUIETLY HITTING HIS HEADAGAINST A WALL.

And after this it's thenews - is the new Prime Minister in troublealready?

COT TO LATERTHATNIGHT. THE PMIS WALKING OUTWITHA MINISTER ANDHIS TOP AIDE.

HE CLOSESTHE DOOR - INSTANTLY,A KNOCK ON THE DOOR. IT OPENS - THERE'S NATALIE.

SHE ENTERS WITH A PILE OF PAPERS ANDFILES. PUTSTHEM DOWN, AND HEADSOFF. THEN ...

FINALJUNE19/6/02

Page25

SUDDENLY THERE'S A GLIMPSEOF VULNERABILITY IN HER.

FINA£JUNB19/6/02

Page26

THEY BOTHLOOKAT EACHOTHER AND THERE'S A L1TTLE LAUGH.FOR A MOMENT SHE WASSAD AND HE'S CHEERED HER UP. SHE LEAVES.

CUT UP TO A VERYSTERN PORTRAITOF MARGARET THATCHER.

Ivery much suspect not.

33 IN'l'.ARTGALLBRY.DAY. 33

A HUGEWRAPPED PICTURE AGAINSTTHE WALL OF AN EMPTYART GALLERY. LOTSOF OTHER WRAPPED PICTURE FRAMES ON THE FLOOR. IT'SWHERE MARKWORKS.

SHE IS· DRESSEDTOTALLYCASUALLY, ALMOST UNRECOGNISABLE FROMTHE WORK PERSONWE SAW EARLIER, VERYMODERN AND SEXY.

HE OPENS ITUP...

WE SEE WHATHE'S JUST OPENED.A HUGEPHOTOGRAPH OF A REALLY NAKED WOMAN,HER PUBIC HAIR NEATLY SHAVED INTO THE SHAPEOF A CHRISTMAS TREE.

FZNALJONSl9/6/02

Page27

MARK IN TOTALSELF-CONTAINED DESPAIRAN HOURLATER. THEY'RE SITTING ON THE FLOOR.THEY'VE BEENOUTANDBOUGHT A STARBUCKS AND SWITCHED ON A RADIO•.

LOOKSAT HER, SHE'S LOUNGING GORGEOUSLY.

Do youlook as gorgeous as this at work?

MARI< Then he'sdoomed, isn't he?

FINALJUNS19/6/02

Page28

SHE LIGHTS A CIGARETTE. ON THE RADIOWEHEAR •••

35 IN'.r.HARRY'SOFFJ:CB.DAY. 35

MEL IS THERE- SHE IS, IT MUSTBE SAID, LOOKING GORGEOUS IN HER GREY SKIRT SUIT.

SHE LOOKSAT HIM HARD. SUDDENLY REALELECTRICITY IN THE ROOM.

SHEWALKS OUT - HE SORTSOF SHAKES HIS HEADIN A "WAKE-UP/WHAT'S GOING ON?" WAY. OUTSIDE, MELSITS AND STARTSTO TYPEON HER COMPUTER.

FINAi..mNB19/6/02

Page29

36 m'r. ~ ROUSE IN FRANCE. DAY. 36

WHICH BLENDSTHROUGH TO JAMIE TYPINGIN FRANCE,ON OLD-FASHIONED TYPE-WRITER ANDPAPER.

A KNOCK ON THE DOOR.

JAMIE OPENSTHE DOOR. THERE'S A CONFIDENT,MIDDLE-AGED FRENCH WOMAN, ELEONORE. SHE IS CLEARLY IN CHARGE OF THE HOUSEIN SOME WAY,WITH A NICE THICK FRENCH ACCENT.

THE SHOTWIDENSTO REVEAL, STANDING BACK NERVOUSLY,AURELIA- A PLEASANTLOOKING DARK-HAIRED WOMAN - ABOUT35. A NICE FACE- NATHALIE BAYE,.NOT EMMANUELLE BEART - ISABELLEHUPPERT,NOT ISABELLEADJANI. WEARING A VERYORDINARY CHEAPDRESS.

FINAi,.JUNB19/6/02

Page30

SHE LOOKSPUZZLED.

HE MIMESA LITTLE BIT OF FOOTBALL.

HE SHAKES HER HANO.

ELtONORE And perhaps you can driveher home at the end of her work.

IT'S A SATURDAY MORNING. DANIELWALKS PASTSAM'S ROOM - IT'S LOCKED - THERE'S STRANGE MUSICCOMING FROMIN THERE....

HE WALKS PAST, SHAKING HIS HEAD,ANDHEADSDOWN INTO HIS OFFICE. HE SITS DOWN AND PUSHESA BUTTON - THE COMPUTER STARTS UP - A BORING WORKSPREADSHEET ... HE'S BORED.

HE TYPES IN 'EXCITE' - THEN 'NICOLE KIDMAN'. INSTANTLYOP COMEA LIST OF TEN NICOLE KIDMAN BASEDSITES.

THE FOURTH ONE SAYS 'NICOLE KIDMAN NAKEDNAKED NAKED'

DANIEL GOESTO IT - THERE'S A SEDUCTIVEPICTUREOF NICOLE, ANDA LIST OF PHOTOS - GALLERY 1, GALLERY 2 ETC. HE OPENSONE - ANDUP COMETINY PICTURES OF NICOLE, MANY NOT FULLYCLOTHED.

FINALJUPE19/6/02

Page31

HE DOUBLECLICKS ON ONEOF THEM- BUT IT DOESN'T COMEUP - INSTEAD,THERE'S A FORM THAT SAYS HE CAN'T GO ANYFURTHER WITHOUT GIVING A CREDIT CARD NUMBER.

SO HE CLOSESIT. BUT WHEN HE DOES, LOTS OF PICTURESOF NAKED GIRLS COMEUP UNINVITED. IT'S A SITE CALLED 'XXXX TEENSLUTS.'

AT WHICHMOMENT DANIELHEARS A CAR PULLINGUP OUTSIDE. HE SWIFTLYCLOSES 'XXXXTEEN SLUTS' - BUT OTHERTHINGSCOME UP, INCREASINGLYPORNOGRAPHIC ANDALWAYS WITH THE WORDS 'COME' OR 'PINK'IN THEIR TITLE - HE TRIES TO CLOSETHEM, BUTMORE AND MORE BOXESSTARTCOMING UP - FINALLY - THE COMPUTER SETTLESON A SITE CALLED'WOMEN F**KING ANIMALS'- WITH ACCORDINGLYGRAPHIC PICTURES. HE TRIES TO CLOSEIT - BUT IT WON'TCLOSE. IN FACTTHE MACHINEFREEZES-

AS THE DOORBELLGOES.

ANDNOW DANIELCAN'T MOVE THE CURSOR TO GET THE DAMNTHING TO SHOTDOWN...

HE GOESTO THE PLUGTO TURNOFF THE ELECTRICITY- BUTIT DOESN'T MAKEANYDIFFERENCE.

IN DESPERATION,HE TAKESOFF HIS JUMPER ANDTHROWS IT OVERTHE QUITE BIG COMPUTERSCREEN.

CUTTO DANIELAT THE FRONT DOOR.

THEYSHAKE HANDS - ANDTHEN.AWKWARDLY DRIFT INTO A HUG. AT THIS MOMENT, BOTHCANONLYTHINKOF WIFE, OF DAUGHTER.

FINAL.JUNE:19/6/02

Page32

FATHER-IN-LAW HEADSIN •..

HE TAKESTHE JUMPEROFF THE MACHINE,THE SCREENIS BLACK- HE PUSHESA BUTTON ANDUP FLICKS 'WOMEN F**KING ANIMALS'.

HE LOOKSUP AT DANIEL- DANIELAT HIM. PAUSE.

HE RUNS UP THE STAIRS.

DANIELOPENS SAM'S DOOR.

CUT TO THE THREEOF THEMIN THE OFFICE -

FINALJUNBl9/6/<J2

Page33

PAUSE. DANIELREALISES THATWASTOOCOMPLEX.

All right. I'll tell you how it got here. You've been using my computer, Sam, and calling up this filth - haven't you?

HE LOOKSAT HIM WITH SLIGHTLYRAISEDEYEBROWS.

SAM PUSHESA BUTTON ON THE BACK. DANIELIS TAKEN ABACK.•

FINALJUN£19/6/02

Page34

CUT TO 3 HOURS LATER- A CASHMACHINE - OUT POPS £100QUID AND DANIELPOTS IT STRAIGHTINTO SAM'S HAND.

44 EX'l!.WALKHOME. DAY 44

THEY ARE WALKING HOME.

PAUSE.THEN FAST...

HE STARTS TO LAUGH.

FINALJUNB19/6/02

Page35

THEY'RE NOWLAUGHING A LOT - FRIENDSTOGETHER AT LAST. MAYBE THEIR FIRST LAUGH SINCE SAM'SMUM DIED.

NATALIE IS JOSTLEAVING,HAVING LEFT THE PMA CUP OF COFFEE, AND A PLATEOF BROWNIES.HE IS IN A MEETING WITH CARTER.

THENNATALIECOMES BACKANDREMOVES THE BROWNIE PLATE.

A FEWMINUTES LATER - DANIEL TAKESTHE PLUNGE.

FINALJUNE19/6/02

Page36

FINALJUNE19/6/02

Page37

CUT TO THE ROOM - THE DOOR OPENS- IT IS FULLOF POSTERSOF ROMANTIC MOVIES- SLEEPLESSIN SEATTLE, MOULINROUGE,DIRTY DANCING. SAM SWITCHES ON THE CD - THE HIGH DRAMAOF DUSTY SPRINGFIELDSINGING 'YOU DON'T HAVETO SAY YOULOVEME.' - HE THENOPENSTHE VIDEO CUPBOARD - MORE ROMANTICMOVIESGHOST, WHEN HARRY METSALLY, CROSSROADS, SHE'S ALL THATAND PRETTY WOMAN - HE SWITCHES ON THE TELLY- IT'S ROMEO ANDJULIET, DI CAPRIOAND DANES LOOKING THROUGH THE FISH-TANK.

THE PHONE STARTSTO RING. DANIELANSWERS IT

48 IN'.r.UREN'SBOUSE. DAY 48

SHE HANGSUP ANDTURNS TO HER HUSBAND•.•

HE IS SITTING THEREREADING THE PAPER- HE IS HARRYFROM THE OFFICE, WITHTHE DANGEROUS SECRETARY. HIS ATTITUDEAT HOME IS A LITTLE DISENGAGED.KAREN PASSES.A MIRROR.

O God. Since when did my bottom stop being my bottom and turn into the second largest sea-portin Britain.

HARRY JUST LOOKSOP AT HER•••

FINALJUNE19/6/02

Page38

49 IN'.r.J'AIP.TRADEOFFICE.EVE. 49

IT'SLATE IN THE OFFICE. SARAH AT HER DESK - SHE IS POTTINGON A BIT OF LIPSTICK FURTIVELY.WENOTICE A FRAMED PHOTOOF A GOOD LOOKINGYOONG MAN ON HER DESK. THENSUDDENLY KARL ISWALKING FROM THE FAREND OF THE LONGOFFICE TOWARDS HER. SHE WATCHESHIM - HE REACHESHER DESKNEARTHE DOOR.

HE LEAVES. SHE JUST SITS THERE, FROZENANDUSELESS.HERPHONE RINGS.

Yup,absolutely, free as a bird - fire away.

so IN'r.DANIEL'SLIVING P.0al.NIGB'l. so

A BIT LATER- DANIEL & SAMSITTING OPPOSITE EACHOTHER- LIKE AN INTERVIEW- EACHIN THE MIDDLEOF A BIG COUCH. DANIELFOLL OF ENERGY.

SAM NODS.

FINAL.JUHe29/6/02

Page39

LATERTHATNIGHT- CUT TO DIRTY DANCING -THE ENDWHERE PATRICK SWAYZE IS DANCING VERYATHLETICALLY. 'I'VE HADTHE TIME OF MY LIFE' ROCKS. SAM ANDDANIEL ARE WATCHING.

SAMDOESA BRILLIANTHANDSPRING TO GO GET A COKE.

CUT TO A COUPLE HAVING SLIGHTLY WEIRDSEX RATHER HALF-HEARTEDLY - THEY'RE BOTHDRESSED,ANDHE APPEARSTO BE TAKINGHER FROM BEHIND, HER LEANING FORWARD AGAINST A PILLAR IN A STYLISH, DRAMATICALLYLIT LIVING ROOM.

CUTBACKTO SHOW THE PARAPHERNALIA OF A HUGEFILM CREW. THE o.o.e.IMMEDIATELY SLIPS INTO DISCUSSION WITHTHE DIRECTOR.THE TWOSTAND-INS, BECAUSE THAT'S WHAT THEYARE, STARTTO CHAT. THEY'RETWO PLAIN, SWEET, SIMPLE PEOPLE.

(CONTINOED)

FINAL.JUN£19/6/02

Page40

THE ASSISTANTDIRECTOR COMES UP. HE ISTONY, COLIN'S DISCOURAGING FRIEND. HE IS NOTVERYCOMFORTABLE WITH HIS JOB AT THIS MOMENT.

SHE LAUGHS A BIT, THEN TAKES HER JUMPERAND BRA OFF - PULLINGA BIT OF A 'WHAT CAN YOUDO?' LOOK AT JOHN. "ANDACTION" THEN THEY START TO MIME THE SEX AGAIN. THE CAMERAMAN STANDSVERYCLOSE, JUDGINGTHELIGHT WITH HIS LITTLEMACHINE.

HE DOES SO.

And massage them, please.

FINALJUN&l9/6/02

Page41

53 BX'?..J.MllE'SCARIN FRANCE. ])AY. 53

CUT TO FRANCE - TOTALLY EMPTY ROAD.AURELIAAND JAMIE IN THE CAR. TOTAL SILENCE....JAMIE GETTINGEMBARRASSED.HE LOOKSAT THE GORGEOUS VALLEY THEY ARE DRIVINGTHROUGH.

SHE LOOKSPUZZLED.

Montagno. Agua.

HE KISSES HIS FINGERS TO SHOW APPROVAL.SHE JOST ~OOKS SLIGHTLY PERPLEXED.

No, right. Silence isgolden. As the Tremeloes said. Clever guys.Though I believe the original versionwas by Fxankie Valli and the 4 Seasons.G-g-great band."Ooooo-000-000" - o shutup.

HE JOST GOESBACKTO DRIVING.

THE TWOSTAND-INS HAVINGSEX AGAIN- ON A BED IN AN ULTRA-MODERN FLAT - HE IS FULLYCLOTHED - SHE ISON TOP OF HIM, STILL NAKED ON TOP. A FEWMIMEDSECONDS.TONYSTILL A BIT SHY ABOUT ALL THIS.

CUT TO THE D.O.P. -

FINA!..JUN£19/6/02

Page42

THE CAMERA MOVES SLIGHTLYSIDEWAYS FROM WHERE HE IS STANDING, MEASURING THE LIGHT, TO FINDTHEY'RE NOW TOTALLY NAKED IN THE SAMEPOSITION - THEYMIMESEX UNPASSIONATELY AND CHAT.

55 IN'l'.CABINS'?ROOM.10 DOWNING S'1'1\EE'l'.DAY. 55

ALL THE CABINET ARE THERE. AT LEAST4 WOMEN.

HE HANDS OUTA PIECE OF PAPERTO EVERYONE.

EVERYONE LAUGHS.

FINALJUNB19/6/02

Page43

-;5 CONTINUED: 55

THE ENTIRE CABINETIS HORRIFIED.

EVERYONELOUDLY AGREES.

THEYLAUGH.

FINALJUNE19/6/02

Page44

BIG SIGH...

Of course we'll try to be clever, but let's not forget, we're a very small country, one of many, and America is the most powerful country in the world. We're lucky to be friendsand we'll behave accordingly. I'm not going to act like a child here.

GENERAL GRUDGINGACCEPTANCE.

Right- now who do you have to screw around here to get a cup of tea and a chocolate biscuit?

AT WHICHMOMENT NATALIEENTERSWITHREFRESHMENTS.

56 BX'l'.WHITEHALL/10 DOWNING STBEET. DAY. 56

DRAMATIC CUTTO HUGECROWDS OUTSIDEDOWNING STREET- BRIGHT SUNSHINE- THE DOOROPENS- ANDOUT OF THE CAR STEP TWO SECURITY GUARDS ANDTHENTHE AMERICAN PRESIDENT.HE IS IMMENSELY GLAMOROUS- A HANDSOME, CHARISMATIC MAN.

57 IN'l'.10DOWNINGSDEE'r. ENTRANCE BALL/INND LOBBY. DAY. 57

CUT INSIDE THE FRONTDOOR.THIS TIME IT'S NOISY WITHLOTS OF PEOPLE- SOME PRESS -HUGENUMBERS OF STAFF.

THE PRIMEMINISTERAND PRESIDENT SHAKE HANDS - THESETWO ARE KINGS OF THEIR DOMAINS- BUT THE PM'S STYLESEEMSQUIETER, AND MORE MODEST AGAINSTTHE AMERICAN SEXY, CONFIDENCE.

FZNALJUN£l9/6/02

Page45

THEYWALK ALONG THE CORRIDOR.ANDPASS NATALIE.•.

A BURSTOF THUNDER OUTSIDE...

CUT INTO THE MIDDLEOF A CD:UKTYPE SATURDAY MORNING POP SHOW... BILLY BEING INTERVIEWED BY ANT & DEC, NEXTTO A BIG PILE OF POP PRIZES. JOE GETS A WORD IN JUST BEFORETHE INTERVIEW STARTS.

AND THEY'REON AIR.

CUT TO JOE, DELIGHTED AT THIS TACTFULAPPROACH.

FINALJUNE19/6/02

Page46

HE WRITES- 'WE'VE GOT LITTLE PRICKS'

HEADIN HANDS JOE. YOU CAN HEM THUNDER & RAIN OUTSIDE.

59 IN'1'.MEE'rDTGROOM.DOWNINGS~T. DAY. 59

THE ROOMIS NOW FULL OF PEOPLE- 8 OF THEM- 3 AMERICANS- 5 ENGLISH, INCLUDINGTHE PM AND THE PRESIDENT...

THE EXPERTSARE TALKING. PM LOOKING INTENTLYON. THE MEETING IS VERYTENSE.

FINALJONE19/6/02

Page47

THE PRIMEMINISTER IS CLEARLY ON CARTER'S SIDE - BUT HE IS TAKING HIS PROMISEDMODERATING STANCE.

SOON AFTERWARDS- THE PRIMEMINISTER WALKING ALONG WITHCARTER.

61 IN'I'.PM'SOFFICE. 10DOWNING STBBET. NIGB'r. 61

THE PRESIDENTFLOPS DOWN INTO A CHAIR. THE END OF THE DAY.

PM SMILES WRYLYAT THE REFLECTION OF HIS SENTENCE.

FrNALJUNB19/6/02

Page48

PM WALKS OUTINTO THE CORRIDOR - PASSINGNATALIEON THE WAY WITH THE WHISKIES. HE SMILESAT HER IN THE AWKWARD WAY OF A MAN IN LOVE. THE CAMERA CONTINUES TO FOLLOW HIM.

HE GOESINTO A DOOR,ENTERSA SECOND OFFICE, GRABS A FILE AND WALKS BACKTOWARDS HIS STUDY. HE ENTERS- ANDSOMETHING ODDIS GOINGON. THE PRESIDENT ANDNATALIEARE STANDING IN A GUILTY PROXIMITY.HIS HAND ON HER HIP. SHE BLUSHES COMPLETELY ANDMOVES A FOOTAWAY.

THE PRESIDENTIS UNTHROWN - HE JUST STRAIGHTENS HIS TIE - AND REACHES FORHIS WHISKY.SOMETHING WEIRDHAPPENS TO THE SOUND FOR A SECOND- THIS IS AWFUL FOR THE PRIMEMINISTER.

SHE WALKS OUT, HERHEAD BOWED, PASTTHE PM.

SHE LEAVES.

FINALvUNE19/6/02

Page49

HE IS CLEARLY QUITE SHAKEN BY WHAT'SHAPPENED.THE CAMERA LINGERSON HIM AS HE TRIES TO GATHER HIMSELF. A CLAP OF THUNDER.

62 IN'?./Brr.TON%'S &'LAT.DAY•• 62

IT'S A PRETTY SMALL, UNIMPRESSIVE,VERYSINGLE MAN'S FLAT. KNOCK ON THE DOOR. TONY OPENSTHE DOORTO A SOAKING,CASE-CARRYING COLIN.

HE'S OP THE STAIRS INTO THE LIVING ROOM.THE TV IS ON, ANDTHE PRESIDENTIS ON IT. TONY'S SINGLE PIZZA SITS THERE. COLINHELPS HIMSELF.

Great - pizza. 0 look, sexy Pres is intown - the 'deeds'he's done - those are the deeds I want to do. Woof woof!

CUT INTO THE ROOMOF THE FINAL PRESS CONFERENCE... WESEE THE PM ANOPRESIDENTSITTING A COUPLE OF YARDS APART, IN FORMALCHAIRS, HUGEAMOUNTS OF PRESS FACETHEM.THE PM LOOKSVERYSERIOUS.

FINAi,JUNE19/6/02

Page50

PAUSE.

HUGEEXCITEDPHOTOGRAPHING AND WRITINGFROM THE PRESS - THIS IS NOW A REALSTORY. AT THE BACKOF THE HALL- OR BEHINDTHEM WE SEE THE CABINET MEMBERSCOMPLETELY DELIGHTED, PARTICULARLY CARTER.AT LAST THE PM HAS COME OFF THE FENCE. THE PRESS ALL SHOUT OUTTO GET THEPRESIDENT'S REACTION.

THE PMLOOKS ACROSS AT HIM- THE PRESIDENT LOOKS BACK WITHA MIXTURE OF ANGER AND NEW FOUNDRESPECT.THEN WESEE SOMEONE OUT OF FOCUSBEHIND HIM - THE FOCUSCHANGES - IT'S NATALIE.THE PM LOOKS AT HER. SHE AT HIM. THENSHE DROPSHER HEAD.

64 IN'l'.N'S OFFICE. 10 DONNINGSTREET. DAY. 64

A CLUSTER OF PEOPLEAROUND THE PM IN HIS OFFICE CONGRATULATING HIM. HIS CABINETARE VERYPROUD AND OVER-EXCITED. ENTERHIS SECRETARY

E'INALJUNEl9/6/02

Page51

PM PICKS UP.

KAREN ON THE PHONE -

SHE HANGS UP. ANDGATHERS HERSELF.HARRY IS THERE.SHE FLICKS A BUTTON TO TURNON THE CD. A PRETTY,SLIGHTLY JAZZYSONGPLAYSAS KAREN GOESOVER TO A TABLE FULLOF CHRISTMAS PRESENTS THATNEED WRAPPING...

FINALJUNE19/6/02

Page52

HE SMILESAS SHE SHOWS HIM THE TWODOLLS. LITTLE DAISY ENTERS.

THE PRIMEMINISTERGETING READY FOR BED. HE LOOKSSERIOUS, AND ALONE. HE PUTS ON A CD. POSHESIT TO THE RIGHT TRACK - WAITSA SECOND- AND IN IT WHAMS - IT IS A FAVOURITEHIGH TEMPO NUMBER FROMTHE 80S - HE DANCES UNEXPECTEDLY FUNKILYTO IT, IN TOTAL EXHILARATIONANDTRIUMPH - IT'S BEENA GOOD DAY.

JAMIEIS EATING BREAKFAST IN A BIG OLD FASHIONEDLIKE-SCHOOL DRESSINGGOWN. AURELIA ENTERS~ TAKES HIS COFFEECOP OFF THE PILE OF PAPERS. HE OFFERSHER A CROISSANT. SHE SMILES. (FROM NOW ON WHEN SHE SPEAKSIN PORTUGUESE, IT'S IN ITALICS. ON SCREEN IT WOULDHAVE SUBTITLES)

AURELIANODS.

SHE SHAKESHER HEADAGAIN.

FINAL.JUN£Z9/6/"2

Page53

SHE LOOKSAT HIM AND SMILES. THERE'SA FRIENDSHIPDEVELOPING. THE PHONE RINGS- LAUGHING - THEY SEARCH FOR HIS MOBILE, EVENTUALLY FINDINGIT DOWN A COUCH.

CUT BACKTO JAMIE - A BIT IN SHOCK- HE LOOKS ACROSS AT AURELIA - SHE SMILES GENTLY ANDTHENCONTINUES WORKING•••

68 IN':r.l'AIR'rRADBOFl'XCB.MORNING. 68

MEL SITS AT HER DESK. HARRY ISOVERWITH SARAH.WE SEE THAT PHOTO OF THE YOUNG MAN AGAIN.

FINAL.JUNE19/6/02

Page54

HE POINTSTO A DESPERATELY SAD, DRAMATICALLY LOCATED POSTEROF AN AFRICANMANIN A FIELD, HIS CROPS DESTROYED (THIS SHOULDBE THE PICTUREBEHINDHER, SO WE SEE IT QUITE OFTEN, WHENEVERWE'RE AT HER DESK) SHE LOOKSAT THE POSTER- ANDTAKES IN AND APPRECIATESHIS POINT.

HER MOBILEGOES

SHE LOOKS AT HIMHARD.

69 Dr.r.PM'S OFFICE.10 DOWNING S'l'REB'r.DAY. 69

A DOOR - A KNOCK ON IT- IT'S ANNIE.

FINALJUN£19/6/02

Page55

SHE LEAVES.HE TAKES IN WHAT HE'S DONE,LOOKS OUTTHEWINDOW, TO A WORLD WHERE PEOPLEARE FREE. ANDTHEN OPENS A NEWHUGE OFFICIAL FILE ANDBEGINSTO MAKE NOTES.THE CAMERA MOVES AWAY FROM HIM, ROUND THE ROOM,'IT SEEMSTO GET DARKER - ANDTHENTHE CAMERA FINDS HIM AGAIN, AT THE OTHEREND OF THE ROOM.

HE JUST SITS THERE...AKNOCK ON THE DOOR- HE ALMOST FLINCHES.

THE DOOR OPENSSLOWLY - IT IS A GIRL WITHTEA - NOTNATALIE.HE LOOKS AT HER, THINKING. A POSSIBILITY ISGONE. HE TALKSINTO HIS SPEAI<ERPHONE.

70 EX'?.GARDEN. na:NCB DBM BOUSE. DAY. 70

JAMIE IS TYPINGOUTSIDEIN· A JUMPER, POTTINGTHE FINISHED PAPERS UNDER HIS COFFEECUP - IT'S A LOVELY BIG RAMSHACKLEGARDEN, WITH A LAKE, EVEN A LITTLE WATERFALL AND LAKEAT THE END. AURELIA TAKES THE CUP OFF THE PILE OF PAPERS, TO CLEAN IT,AS SHE HAS DONEBEFORE.

FINALJUNE29/6/02

Page56

BUT THIS TIME, BECAUSE IT'SOUTSIDE,MOVING THE CUP SUDDENLY LETS ALL THE PAPERS FLY- AURELIALEAPS TO GRAB THEM - ANDSO DOESHE ... BUTTHE PAGESAREFLYING AWAY - ANDHEADING IN THE DIRECTION OF THE LAKEAT THE ENDOF THE GARDEN.

SHE RONSANDCATCHES SOMEOF THEM - BUT A HUGE HEAPHAVEHEADED INTO THE WATER...

SHE GETSTO THE WATER'SEDGE- HESITATES FOR A MOMENT, ANDTHEN WHIPS OFF HER DRESS TO REVEALJUST PANTSANDA BRA. TIME SLOWS DOWN. JAMIEWATCHES. IT'SAN UNEXPECTEDLY LOVELY BODY UNDER HER FUNNY OLD CLOTHES.

BUTSHE DIVES IN.

HE REACHES THE EDGE.

HE HESITATES, THENWHIPS OFF HIS JUMPER ANOTROUSERS AND DIVES IN...

THEYSWIMAROUND AFTERTHE FLOATING PAPERS...

FnlALJUNE19/6/02

Page57

AS HE TREADSIN DISGUSTING MOD.

71 ·INT.L:IVmG ROOM / KITCHEN. DAY. 71

CUTTO A FEWMINUTES LATERIN THE KITCHEN, OR LIVING ROOM- SHE'S IN HIS BIG OLDDRESSING GOWN - HE'S JUST IN A TOWEL.

SHE POINTS TO THE PAGESANDMIMESLAUGHTER, TEARS & A HEART.

MIMES KNIFE -MURDER.

FINALJUNE19/6/-02

Page58

SHE MIMESA SCARED FACE... HE MIMESBACKAN UNCERTAIN HAND...

A SLIGHTLY AWKWARD PAUSE

SHE MIMESCLEANING.

And then maybe lateryou will take me home.

SHE POINTS TO 6 O'CLOCKON HER WATCH AND THEN MIMES DRIVING••. HE NODS 'YES'.

72 :INT/EXT.CAR & FRENCH SCENERY. 72

THEYDRIVEALONG.HE LOOKS AT HER - HER HAIR STILL WET. SHE CATCHES HIM LOOKING AT HER.HE LOOKS AWAY.

73 '13

A SIGN OUTSIDETHE PHOTOGRAPHERS GALLERY SAYS "CHRISTMAS CAPERS"

'74 :INT.GAI,I,ERY.DAY. 74

CUT INSIDE. MARK IS NERVOUS- HARRY ANDMELARE THERE.

F'ENALJUNE29/6/02

Page59

KAREN COMES OVERTO HARRY.SHE'S BEENAT THE OTHERENDOF THE GALLERY.

CUT TO A LARGE PHOTO OF FOURBLACKPENISES

O Jesus - I've got to go see thesca~y headmistress - Bernie's in troubleagain.

SHE KISSESHARRY AND HEADSOUT. ANDPASSES, IN THE DOOR, PETER, BACKFROM THE HONEYMOON. MARK IS THRILLED.

THEYLOOKAT ONE OF THE PICTURES

l'INAl,JUNE1.9/6/02

Page60

A VERYLARGE PENIS

I<ARENSPEEDS IN RATHERTOO FAST.

76 Zft. BBADMISTRESS'Ol'l'ICB.SCHOOL.DAY. 76

A SLIGHTLY SCARY FORMALROOM - THE HEADMISTRESS IS THERE, A VERY SCARY,SERIOUS, OLDER LADY - WITHA FORM TEACHER ANDHER SON, GRUMPY BERNARD. KARENGIVES HIM A PRETTY ST~RN LOOK.

SHE HANDS OVER TO THEBOY'S R.E. TEACHER.

SHE IS HANDED AN ESSAY.

FINALJUNEl9l6/02

Page61

What? I have to do it here?

SHE STARTSTO READ - WEHEARHER SON'S VOICE-OVER AND ACTUALLY SEE THE IMAGESHE IS DESCRIBING.

BERNIE{V/0) I havethought long and hard about what I would wish forat Christmas - but after longconsidaration....

KAREN SHAKES HER HEAD, DISAPPOINTEDANDGOES BACK TO READING

CUT BACKTO KAREN FORA SECOND - SHE LOOKSUP - THEYALL KNOW WHAT SHE'S JUST READ -AN ATMOSPHERE OF GREAT GRAVITY...

Can you imagineanything more fun?

77 m'.r.A CBRISDGS BOMB.AFTERNOON. 77

A LOVELY TRADITIONAL CHRISTMASDUNNER IS BEING EATEN - ALL THE FAMILY THERE.

A SMALLBLUE BUBBLERISES UP FROM THE GRANDMOTHER.

78 nrl'.CBURCB. NIGB'r 78

AN IDEAL OLD COUNTRY CHURCH.

FINALJUN&19/6/02

Page62

THE PLACEIS JUST BOBBLING WITHBLUENESS. LARGEFARTSOUT OF TINY PEOPLE- SMALL ONES OUT OF BIG PEOPLE. THE CHOIRARE ALL BREAKINGWIND.

- and then finally, you get the moment we've waited for all our lives...

79 INT/"&rtBUCKINGHAMPALACE. DAY. 79

IT'S THE QUEEN'S SPEECH, WITHBLUE FARTS IN IT.

A HUGELY FORMALPARADE - HER ON HER HORSE- ANDTHE HORSEBREAKS WIND.

- and the importance of family.

THENA SHOTOF HER ANDHER TWOSONS WALKING THROUGH ST JAMES PARK. SHEBREAKS WIND.

KAREN SHAKESHER HEAD.

THEYGO OUT INTO THE CORRIDORTOGETHER••.

81 Dn. SCHOOLCORIUDOR. DAY. 81

FINA£JUN£19/6/02

Page63

82 IN'l'.RECORDCOMPANYBOUDaooM. DAY. 82

A LARGE CORPORATEBOARDROOM: BILLY IS SEATED, JOE IS PACING.

THE DOOR OPENS. IN COME 3 QUITEHIP LOOKING POP EXECUTIVES. TWO OLDER GUYS AND A YOUNGERWOMAN.

FINALJUNEl9/6/02

Page64

B2 CONTINUED: 82

Dave - Alain - Gina - wow - good to see you. I'm Joe - and this is, well, we know who this is, this is •.•Billy Mann.

JOE LAUGHSLOUDLY TO COVER-UP THE MOMENT.

83 En. FRENCH FARM BOtJSB.DAY. 83

CUTTO JAMIE PUTTINGHIS CASES ANOLOTS OF FRENCHYPRESENTS- WINEANDCHEESEETC IN THE CAR. AURELIA STANDSBY.

84 EX'l!.NEARAURELIA'SBotrSB.DAY. 84

CUT TO HIM LETTINGHER OFF AT THE EDGEOF THE TOWN.SHE IS GETTINGOUT WHEN HE STOPS HER. HE PUTS FORWARD HIS HANDTO SHAKE IT. SHE TAKESIT AND SHAKES IT. THEN...

HE SHRUGSHIS SHOULDERS - NONETHE WISER. SO SHE SIMPLYLEANSIN ANDKISSES HIM GENTLY ON THE CHEEK. AND SHE WALKS AWAY.HE STOPS ANDTHINKS ANDTHEN SETS OFF AGAIN, A LITTLE DAZEDANOCONFUSED.

FINALJUNE19/6/02

Page65

THEN, COMINGROUND THE CORNER,SUDDENLY THEREIS A CARIN FRONT OF HIM- HE'S DRIVINGON THE WRONG SIDE OF THE ROAD. HE SWERVES AND JUST GETSAWAY WITH HIS LIFE.

SMART CUTTO A BUSYLONDON STREET, AT NIGHT••. AS THE LIGHTS FROM THE CAR'S ILLUMINATETHE SIDEWALK, WE JUST CATCH.A GLIMPSE OF THE HEADMISTRESSFROM BERNARD'S SCHOOL - A LONELY FIGURE NERVOUSLYCROSSINGTHE STREET.

SEE THE OUTSIDEOF MARK'SGALLERY - HARRY'SOFFICE PARTYIN FULL SWINGINSIDE.

CUT INSIDE. A CHRISTMASSONGPLAYS. THE GALLERY LOOKSWARM AND PARTY-READY.

WE SEE KARL, SURROUNDEDBY PRETTYGIRLS AND SARAH STANDINGA BIT NERVOUSLYON HER OWN,BESIDE A HUGEGRAPHICNAKED PHOTO. SHE IS LOOKING QUITE LOVELYHERSELF.

MEL IS LOOKINGABSOLUTELY DEVASTATING, AS GIRLS CANDO AT CHRISTMAS,WITH A TIGHT RED DRESSANDA TINY PAIR OF DEVILS HORNS. SHE TALKSSLIGHTLYDISINTERESTEDLY TO ANOTHER GIRL. HARRY TALKSWITH KARENANDA FRIEND- THEN•••

YOUSEE HIM LOOKING ACROSS AT FABULOUS MELANDTHENHE GOES BACK TO HIS CONVERSATION- ANDSURREALLY QUICKLY,MEL IS THERE, TAPPINGHIM ON THE SHOULDER.

CUT TO MARK - HE IS TALKINGTO AN OLDMAN, PROBABLY A RETIRED PARTNER OF THE FIRM••.

YlllALJUNE19/6/02

Page66

A PHOTO WITH 100 NAKED PEOPLE, WITHNO HEADS.

ANDTHENCUT TO MEL& HARRY DANCING- WE'RE AWARE OF KAREN ELSEWHERE, JUST TALKING SWEETLY TO A VERYDULLCOUPLE.

LITTLE PAUSE

THE MOVING CAMERA MOVES AROUND A DARK STREETCORNER - TO FIND A NAKED BODY,CURLED AROUND A DRESSEDMAN. IT FEELSLIKE HARRY & MEL OUTSIDETHE GALLERY BACK DOOR.THENTHE D.O.P. JUST APPEARS IN SHOT. THENTHE SOUND OF SNEEZING. -

JOHNIMMEDIATELY WHIPSOFF HIS JACKETANDGIVES IT TO HER.

HE'S OBVIOUSLY DEVELOPING A BIT OF A CRUSH.

88 :aft.GALLDY. NIGB'l'. 88

THE PARTY AGAIN. MARK HAVING A SEXLESS DANCE WITH A SHORTGIRL. SARAHTALKING TO KAREN

FINAL.JUNE:19/6/02

Page67

SHE LOOKSACROSS AT MELWHO IS TALKING TO HARRY.THENSUDDENLY KARLIS THERE.

A PERKYTUNEPLAYS...BUT THE SECOND THEYSTARTTO DANCE ... A ROMANTIC TUNEBEGINS. THEYHAVE TO GET CLOSER ANDTHEYSEEMTO FIT PRETTYWELL "TOGETHER.A MOMENT OF HAPPINESS.

89 Dr.l'.BEADNISfftBSS'!'LAT.NIGHT. 89

THE CAMERA MOVESOUTANDAROUND TO A NEARBY FLAT. A NICE BUT QUITE SMALL LONDONMANSION FLAT- MRSMONROE, THE HEADMISTRESS FROM BERNARD'S SCHOOL,LETS HERSELFIN.

THE HEADMISTRESS HEADSIN TO THE KITCHEN - ANDCALLSOUTAS SHE POURSA GLASSOF WATER ••

E'INAI..JUNEl9/6/02

Page68

HEADMISTRESS HEADSINTO THE BEDROOM WHERE HER BED-BOUND PARTNER IS SITTING IN HER PAJAMAS- SHE IS A VERY SICK WOMAN OF THE SAME AGE. YOUCANTELL IMMEDIATELY THE DYNAMIC OF THE RELATIONSHIP - GERALDINE'S THE TEASINGFUNNY ONE- HEADMISTRESS IS THE ROCK.

SHE SITS DOWN NEXTTO HER

SHE LAUGHS - THENSUDDENLY GETSA STABOF PAIN, ANDLETS OUTA LITTLE MOAN.

GERALDINE ROARS WITH LAUGHTER. HEADMISTRESSTOO. LOVEMAKES HER LOVELY.

FINA£JUNB29/6/02

Pege69

90 IN'l.CAR.NIGB't. 90

CUT TO KARL & SARAHIN A CAR TOGETHER - THE MUSIC PLAYSON ... SARAH STILL IN A STATEOF SHOCK.

91 Dff. BEDROOM.IOUU!:N'SBOUSE.NIGBl'. 91

THE SONG CONTINUESTO PLAYOVER HARRY AND KAREN IN THEIR BEDROOM.

SHE SLIPS OFF HER DRESSSHYLY. SHE IS.A LITTLE CHUNKY NOW.

CUT BACK TO HARRY,WATCHING HER.

92 ~. MIL'S BEDROOM. N:IGBT. 92

MEL, SLIPPING OFF HER DRESSIN HER SEDUCTIVE BEDROOM. RED UNDERWEAR. STARTLING FIGURE.

93 Dft'.HALI,WA!'.SARAH'SFLAT.NIGHT. 93

LATERTHATNIGHT. IN SARAH' S HALLWAY...

HE KISSES HER- NOT ON THE CHEEK -ON THE LIPS. PAUSE. HE'S VERY STRAIGHT-FACED.

(CONTINUED}

FZNllLJUN£19/6/02

Page70

IT'SNOT THAT SHE'S SMUG ABOUT THIS - IT'STHE BEST MOMENT OF HERLIFE. SHE JUST MUSTN'TLEAP UP AND SCREAM.SHE TRIES TO PLAY IT COOL.

94 Drl.LIVING ROOM. SARAH'S i'LA't.NIQB'l. 94

SHE GOESNEXTDOOR - ANDSCREAMS SILENTLYAND JUMPS UP ANDDOWN HYSTERICALLYANDGESTURES TO GODIN PRAYER.AND THEN RE-SORTS HERSELFAND GOES BACKINTO THE HALLWAY COOLLY.

95 :IN'i.HALLWAY.SARAH'Sl'LAT. NIGB'l'. 95

SHE ISTIDYING FRANTICALLY - THENHE ENTERS.

THEYMOVE TOGETHER AND KISS.

A FEWMOMENTS PASS IN A DISSOLVE...

SHE UNBUTTONSHIS SHIRT. HE JUST LOOKSAT HER. OFF COMES THE SHIRT. SHE POTS HERARMS AROUND HIS SHOULDERSANDKISSES HIS NECK. THENHE KISSES HER AGAIN.

IN BED -SHE IS IN JUST HER BRA ANDPANTS - HE LIES ALMOSTON TOP OFHER - HIS SHIRT OFF - BUT HIS ~ROUSER$ ON. THEYKISS. THEN....

I<ARL(CONT'D) Here, let me take these off.

HE STARTSTO ONDO HIS BELT.

NOTA GRAPHICSEX SCENE. BUT WHAT HAPPENS NEXT, WHILE CONCENTRATINGON THEIR FACES, IS THAT HE LIES DOWN, ANDWITHIN 20 SECONDS SHE SITS OP ON HIM. HE LOOKSUP.

(CONTINUED}

FINAL.:JUNE19/6/02

Page71

SOFTMUSICPLAYS. SHE IS LOOKING HARD AT HIM. THENFULLOF SHYNESS,SHE REMOVES HER BRA....

AND THENTHE PHONE STARTSTO RING. 6 RINGS. SHE GLANCES AT HER WATCH.IT IS 12.30AM.

SHE TIPS OFF HIM TO ANSWERTHE PHONE,WHICH IT'S A SCRAMBLETO FIND. THE PERSONON THE OTHERENDIS TALKING A LOT.

SHE LOOKSAT KARL. NAKED BESIDE HER.

SLOWLY KARLSLIPS SIDEWAYS, TO SIT BY THE BED••• SHE MOUTHSTO HIM.. 'SORRY'.

KARLSITS UP ON THE SIDE OF THE BED.

FrNALJVNB19/6/02

Page72

HE LEANSIN ANDKISSES HER, AND THENWE HAVE20 MORE SECONDS OF ROMANCE AND THE PHONEGOESAGAIN. SHE WATCHES IT RING.

PAUSE. SHE LOOKSAT KARL - AND REACHES SACK AND ANSWERS.

KARL SITS QUIETLYBY THE BEDSIDE

ANO KARL PUTS HIS HEADIN HIS HANDS,WAITING.

AND KARL JUST STARESAT HERANDSHE DROPSHER HEAD. SADMUSIC PLAYS. ONLY THE BED BETWEENTHEM - BUT THEY'RE WORLDS APART.

97 Im:. BEDROOM. BEADMCSTRBSS':E'LM:.NIGB't. 97

COT TO GERALDINE FASTASLEEP, BUT BREATHING BADLY. THE HEADMISTRESS IN BED BESIDEHER LOOKS AT THE CEILING - V. WORRIED.

/!'INAL'7UNE29/6/02

Page73

CUT TO KAREN, LYING AWAKE BESIDE HARRY. VERY SAD. SHE KNOWSIN SOMEWAYSHE'S LOST HIM. SHE LOOKSACROSSAT HIM, THEN BACKUP, A TINY TEARGATHERED IN HER EYE.

THE SAME SAD MUSIC PLAYS - DANIEL IS IN HIS BEDROOM,VERY LATE. WE'VE CAUGHT HIM AT A BAD MOMENT - HE IS LOOKINGAT A PICTURE OF HIS JOANNA, AND IS NEARTO TEARS. THE DOOROPENS - HE SNAPS OUT OF IT,AS BEST HE CAN - GOODENOUGH TO FOOL SAM,WHO ENTERS IN HIS PAJAMAS.

100 IN'l'.KITCHEN.DANIEL'SBOUSE. NIGHT. 100

CUT TO THEMIN THE KITCHEN, IN PAJAMAS,EATING ICE-CREAMFROM TUBS, ANDWATCHING THE ENDOF 'SLEEPLESS IN SEATTLE' - FIRST THE MOMENT SHE APPROACHESTHE DESK IN THE EMPIRE STATEAND THE GUY SAYS 'IT'SCLOSED'. THEN CUT BACKTO THE BOYS - THEN BACKTO THE END, AS MEGAND TOMHOLD HANDS AND JIMMY DURANTE COMESIN - 'IT'S SO IMPORTANTTO MAKESOMEONE HAPPY'

Page74

HE LIFTS HIS FINGERIN A DISTINCTIVE 'ONE' MOVEMENT.

101 Dr.r.LIVING ROOM. DANIEL'S BOUSE.NIGHT. 101

CUT TO THEMSITTING THERE, LISTENINGTO SCOTTSINGINGTHE GLORIOUSLY MELANCHOLIC "JOANNA": DURINGTHE FIRST LINE, DANIEL MIMESTHE LITTLE PIANO FLURRY - BUTTHENHE BEGINSTO JOIN IN GENTLY SAYINGTHE WORDS - THEN MELODRAMATICALLYMIMING ALONG TO MIGHTY SCOTT. ANDSAMMIMESTHE DRUMS BEHIND.

102 Dff. BEATBllOWAIRPORT. DAY. 102

THE NEXTDAY- HEATHROW AIRPORT:

CUT TO HEATHROW AIRPORT. TONY & COLINARE JUST RUSHING IN OUT OF THE SAME RAIN.

COT ON - COLIN IS HEADING TO CUSTOMS - TONYIS BEHIND A BARRIER- THEYSHOUT THESE FINAL WORDS•••

FINAi,.JONE29/6/02

Page75

ANDHE'S GONE.TONY WALKS AWAY,SUDDENLY ALONE -HE'S REALLY GOINGTO MISS COLIN - DOESN'TKNOW QUITEWHAT TO 00WITH HIMSELF...

NEXT DAY.A SLIGHTLY POST-PARTY MOOD. HARRY &MELIN HIS OFFICE.

HE HEADSOUT - BUT JUST BEFORE HE'S GONE..

THERE'SA NEW SEXUAL TENSIONBETWEEN THEM.

HERNEARBY DESKWITHTHATPHOTO ON IT, IS EMPTY.

FINAL.JUNEl9/6/02

ANDHE HEADS OUT, ALL PERPLEXED BY HOW HE'S FEELING.

CUT TO SARAHAND HER BROTHER MICHAEL.IN A HIGH SECURITY HOSPITALWARD. VERY BARE.A LONELY ROOM.

HE IS ATERRIBLE VERSIONOF THE YOONG MAN WE SAWIN THE PHOTO ON HER DESK. GHOSTLY,PALE, WITHDIRTYHAIR - A DIFFERENT WEIGHT, EITHERTHINNER OR FATTER.

THEY AREJUST SITTING OPPOSITEEACHOTHER. PAUSE. HE JUST LOOKS AT HER.

PAUSE. HE SLOWLYLIFTS HIS HAND TO HIT HER. A MALE NURSEMOVES TO PROTECT HER.SARAH TAKESTHE RAISEDHAND ANDSAYS, VERY GENTLY•••

I SARAH (CONT D) Don't do that,my darling.

105 EX'l'.LONDONSTRBB'l'.DAY 105

COT TO HARRY WALKINGDOWN THE STREET- IT'S ALL HUGELY CHRISTMASSY NOW- TREES ANDLIGHTS EVERYWHERE. HE TAKESOUTHIS MOBILEPHONE AND SPEEDDIALS.

FINAL.JUNE29/6/02

Pagan

SLIGHTLY SHOCKED,HE PASSES MARK'S GALLERY

106 IN'l'.~IJ,EP.Y./PETER'SOFFICE/JUI.IET'SOFFICE. DAY.. 106

WEMOVE IN TO THE SHOP- MARK IS ALSOON THE PHONE - TWO SCHOOLGIRLS GIGGLEIN THE BACKGROUND, INSPECTINGTHE PHOTOS.

CUT TO PETERIN HIS OFFICE, ON THE PHONE.

CUTTO PETERIN HIS OFFICE, ON THE PHONE.

MARK SIGHS. NOTHAPPY

FUNNY CLICKINGSOUND.THEN ...

F:nlll,JUNE19/6/02

Page78

SHE IS MAKING THE CALL FROMHER OFFICE. PAUSE.

WHILEHE IS TALKINGMORE AND MORE SCHOOLGIRLS COME IN. IT'S LIKE THE BIRDS IN 'THE BIRDS'EVERYTIME WE CUT ROUND, THERE ARE 10 MORE THERE.

PAUSE. THE PLACE IS NOW REALLYPACKED WITH 50 GIGGLING, UNIFORMED SCHOOLGIRLS.

10'7 EX'J!.MllNS'l'RBBT.DAY. 107

BACKTO HARRY NOW ON A BIG MAINSTREET, ON HIS MOBILE.

FINA!,.JUNE19/6/02

Page79

HE CLOSESHIS PHONE - DISTURBED BY THIS EXCHANGE.THENSPOTS KAREN IN THE CROWD ANDWAVES.

THEY HEAD INTO THE BIG STORE - SELFRIDGE$AS IT WERE...

108 Dn. DEPAR'l'MBN'.rSTORE.DAY. 108

SHE KISSES HIM ANDHEADS OFF. HE QUICKLYLOOKS AROUND - ANDSEES THE JEWELLERY SECTION. PAUSES- ANDHEADSFOR IT FAST. REACHES A COUNTER. SEES EXACTLY WHAT HE WANTS.THERE'S A QUEUE. DAMN. THEN SUDDENLY, A NEWVOICE ...

HE IS A VERY PARTICULAR LOOKING MAN,VERY ACCURATE, SLIGHTLY CAMP,WITH A VERY PARTICULAR TIE.

FINALJONE19/~/02

Page80

IT IS A BEAUTIFUL, DELICATEGOLDHEARTNECKLACE.

HE TAKESTHE NECKLACE OUT- ANOPOTS IT DOWN ON A LITTLE BLUE PAD. THENTURNS, OPENSA DRAWER, AND TAKES OUT A LITTLE BOX.

PUTS THE NECKLACE ON IT - PLACINGIT TENDERLY - RE-ORGANISING IT A BIT. THENGETS THE TOP OF THE BOXANDPOTS IT ON.

THIS MAKES HARRY A LITTLE TENSE.RUFUSDOESN'T NOTICE- BOT GOES OVERTO A VARIETYOF RIBBONS.

IN A VERYTRAINED MANNER HE COTSTWO FEET OF THE RIBBON- WRAPS IT ROUND THE BOX- THENWRAPS IT ROUNDAGAIN. THENTIES IT.

FINAL~UNB19/6/02

Page81

RUFUS TAKES OUT SOME SCISSORS AND PULLSTHE RIBBONTO CURLIT. HARRY VERYTENSENOW,BUT IT'S THE FINAL FLOURISH.

RUFUSTURNS ANDOPENSANOTHER DRAWER- AND TAKES OUTA SEE- THROUGH CELLOPHANE BAG

HE OPENSTHE BAG, TURNS, ANDOPENSANOTHER DRAWER, ANDTAKESOUT LITTLE DRIED ROSES- ANDTHENSOME LAVENDER- ANDSPRINKLES THEM IN THE BAG. HARRYLOOKS AT HIS WATCH- ANDSTARTSTO LOOK WORRIEDLY AT PEOPLECOMING DOWN THE LIFT.

ANDAT THATMOMENT HIS MOBILE RINGS. HARRYGETTING VERY EXASPERATED NOW.

Just a moment, please, sir. (HE ANSWERS) Hello-o. O hello, Gabriel - yes, I'msure it is, but I'm afraid I'll have tocall you back. Bye now. (TO HARRY)Sorry, sir.Now, just..••

RUFUSTWISTSTHE TOP OF THE BAG. THENHE TURNS AROUND AND OPENS ANOTHER DRAWER - ANDTAKESOUTA FOURINCH STICK OF CINNAMON ..

FINALJUNE19/6/02

Page82

LOOK;INGROUND MORE FRANTICALLY...

HE TWISTS THE CINNAMON STICK AND TIES IT ON.

I RUFUS (CONTO) There we go. Almost finished.

HE ISLOOKING DESPERATELY ROUND...

FINAL,JUNE19/6/02

Page83

BECAUSE SUREENOUGH, KAREN IS RIGHT THERE. HARRY BOUNCES AWAY FROMTHE COUNTER

HARRY SMILES. ANDAS THEYWALK OUTOF THE STORE, RUFUSLOOKS AFTERTHEM ANDWIPES HIS BROWS.

HE TURNSANDJUST CASUALLY DISAPPEARS.HE'S A PROTECTING ANGEL.

109 EX'l.MJUN S'D\BBT.DAY. 109

KAREN & HARRY HIT THE VERYCHRISTMASSY STREET- AND PASS JAMIE, NOW BACKFROM FRANCE,OF COURSE.HE IS LOOKING UP FOR AN ADDRESS,OR SIGN - ANDFINDS IT - WE SEE HIM ENTERA DOOR LEADING OP TO A RATHER TACKY OUTFIT- "BEDFORD SCHOOL OF LANGUAGES'. HE PUSHESPAST A FATHER CHRISTMAS AS HE HEADS IN.

BACKAT THE STUDIOWITH JUDYANDJOHN. THEY ARE BACKIN THE MODERN FLAT, ON A GREYLEATHER SOFA.

SHE IS ON ALL FOURS - HE'S BEHIND HER...THE D.O.P.CASUALLY STANDING BEHINDTHE PAIR OF THEM.

FZNALvUNE19/6/02

Page84

HE LAUGHS.SO DOES SHE. HE LAUGHS EVENMORE - IT'S TURNINGINTO GIGGLES. THE DIRECTORWHISPERSSOMETHING TO TONY

THEYBEGIN TO MIMEAGAINWITH COMMITMENT.

111 :INT.LANGUAGE SCHOOL.MAIN S!rl\EE'l'.DAY. 111

CUT TO A HUGE, NEONLIT ROOM.IT'S FULL OF PEOPLE AT FORMICA DESKSLISTENING TO TAPES, WITHBIG EARPHONES - WE OVERHEAR SOME OF THE TAPES, ALL SPOKENIN VERYPEDANTICENGLISH, AS WE PAN ACROSS5 PEOPLELEARNING ENGLISH, FROMEVERYCORNER OF THE WORLD.THE SIXTH PERSONIS JAMIE, CONSCIENTIOUSLYTAKINGNOTES - AND IT'S NOT ENGLISHHE'S LEARNING.IT'S PORTUGUESE.

112 :tN'l.MJ\RK'SFLAT.DAY. 112

MARK IS AT HOME.HE IS WATCHINGTHE TELLY. THE DOORBELL GOES. HE HEADSDOWNSTAIRS, OPENS THE DOOR. IT'SJULIET, CLEARLY JUST HAVINGBEENTO STARBUCKS.

FXNALJUNE19/6/02

Page85

THEYHEAD UPSTAIRS. HE SWITCHESOFF THE TELLY. SATURDAYMORNING KIDS TV.

FINAL.JVNBl9/6/02

Page86

SHE'S A LITTLE HURTHOW LITTLE HE HASGIVENBACK - BOTIT JOST SUMS UP HOWLITTLE HE LIKES HER. SO SHE HEADS ON AGAIN...

CUTTO TAPE GOINGINTO THE VIDEO. SHE SITS - HE STANDS. IT STARTSWITHA SHOTOF HER COMING DOWN THE AISLE.

ANOA SHOTOF HER DURING THE PRIESTLY STUFF ...

HE PULLSA RESIGNED, "WELL, I'M GLADI COULD HELP" FACE...

BACK TO THETAPE - OUTSIDETHE CHURCH - CLOSE-UPSOF HER ..

SHE LOOKSROUND.MARK NOW HAS HIS HANDS OVERHIS NOSE- YOUCAN JUST SEE HIS EYES. HE'S LOOKINGAT HER. THE MUSICOF OURFILM STARTSTO TAKEOVERFROM NATURAL SOUND•••

E'1NALJUNEl9/6/02

Page87

CUTTO HUSBAND PETER'S SPEECH - BUTTHE CAMERA INSTANTLY MOVES TO JULIET'S DIVINE LAUGHING, BLUSHING FACE... ALL THETIME. THERE'S NO ONEELSE IN THIS VIDEO.

THENCOTTO JULIET DURING THATFIRST DANCE WEGLIMPSED - JOST HER FACE- PETER'S NOSEJOST COMING INTO FRAMEMOMENTARILY ONCE IN AWHILE.

AND THENTHE END OF THE DAY, JOLIET DRESSED IN GOINGAWAY CLOTHES,WAVING, WAVING GOODBYE. THEMOVIEMUSICHAS GROWN DURINGTHIS...

THE TAPECOMES TO AN END- TURNS INTOA FLICKER- SHE LOOKS AT HIM - HE LOOKS AT HER.

l?AUSE

PAUSE.NOTHING IMPATIENT HERE- HE JUST CAN'T GOTHERE.

113 EX'l'.MARK'SJ"Ua./STREET. DAY. 113

CUTTO OUTSIDETHE HOOSE - MARK WALKS AWAY- SADMUSICPLAYS- AFTER7 STEPS HE HESITATES ANDSLOWLY TURNS- TAKESTWOSTEPS BACK TO THE HOOSE - THENTURNS AGAINAND HEADS AWAY.

HE PASSESA PRETTYSAD SAM, WALKING ALONGTHE STREET. THE CAMERA STAYSWITH SAM. HE STOPS OUTSIDE A MUSICSTORE. A VIDEOIS PLAYING.

THE VIDEOOF BILLY'S POP SONGIN WHICH HE IS SINGING- ANDGIRL FANS ARE SWAYING, DRESSED AS SANTA'SSEXYHELPERS,HOLDING UP LIGHTERS ANDSCREAMING ADMIRINGLY.

FZllALJUNE19/6/02

Page88

A THOUGHT GOESTHROUGH SAM'S MIND- HE TURNSANDRUNS.

DANIELIS THERE. SAM BURSTSIN WEARING SCHOOL UNIFORM.

DANIEL LOOKSA BIT WORRIED.

115 IN'f.DANlBL'S BOUR. CORRIDOR. EVE. 115

LOUD, LOUDNOISE OF DRUMMING. DANIEL, ALL PAJAMA-EDUP, VERY LATE AT NIGHT, WALKS PAST SAM'S ROOM - FROMINSIDE WHICHCOMES THE SOUNDOF TOTALLY OBSESSIVE, REPETITIVE DRUMMING.

E'INAL.1utlB29/6/02

Page89

THE DRUMMINGCONTINUES - AND FORMS THE BASIS OF THE MUSICOVERA SHORTMONTAGE THATSEES US GETTINGCLOSERANDCLOSERTO CHRISTMAS.

CHRISTMASTREES BEING PUT UP LEFT, RIGHT ANDCENTRE. IN WINDOWS, OUTSIDE STORES,IN THE WINDOW OF 10 DOWNING STREET, INTRAFALGAR SQUARE.

117 Im. FAIR'llU\DEOFFXCE.NIGe. 117

SARAH PUTTINGUP A LITTLE TREE ON HER OFFICE DESK- THECAMERA MOVES SLIGHTLYDELIBERATELY OVER THE BIG, SAD AFRICANPICTURE BEHINDHER.

118 Dt'l.Al\RrVALSGATE. AIRPOll'l'.WJ:SCONSIN.DAY. 118

ANDTHE FINAL CHRISTMAS TREE IS BEING PUT UP IN THE AIRPORTOF MADISON,WISCONSIN.MOCH FLURRY ANDTHENTHERE'S COLIN.

119 EX'r/Dl'l.CAB:MADISON AIBPOllT/ MAD:I:SONSTRBB'l'S.DAY. 119

COLIN GETS INTO A CAB-

FDIALJUNE29/6/02'

Page90

AS HE DRIVES, HE PASSES HOUSEAFTERHOOSEWITH GORGEOUSLY TACKY CHRISTMAS NEONS, SANTAON THE LAWN,RODOLPH ON THE ROOF, . "SEASONSGREETINGS"EVERYWHERE. FINALLY, THOUGH,THEYPOLL OP OUTSIDEA REALLY ORDINARY DAGGY BAR.

120 Dt'r.BM.. WISCONSIN. DAY. 120

HE HEADSIN - THERE'S NOTMUCH GOINGON - HE GOES TO THE BAR.

A VOICE FROM OFF.

HE TURNS ANDSEES AN EXQUISITE GIRL. JUST IMAGINEYOURFAVOURITE BEAUTIFUL FEMALE AMERICAN STARS••.•

OUT OF THE SHADOWS COMES HER BEST FRIEND. IT'SANOTHER STARTLINGLY FAMOUS ACTRESS.

FINALJUNS19/6/02

Page91

THE DOOR OPENS. ENTERA THIRD LEGEND.

COLIN HAS AN INSANELY HUGEGRIN ON HIS FACE. SOMEONE PUTS A CHEERFUL CHRISTMASSY SONGON THE JUKEBOX- IT BUBBLES UP THROUGH THE NEXTSCENES ... APPARENTLYWITHTHE SAMEDRUM BEATTHAT SAM IS PRACTICING.

DANIELSTOPS AT THE DOOR OF SAM'S ROOM,STILL DRUMMING. HE· WINCES.

122 tlff.BARER'S BOUSE. NXGB'?. 122

KAREN IS COMING IN, WHIPPINGOFF HARRY'SCOAT ..•

SHE PICKS UP HIS COATANDGOESTO HANG IT - IN THE POCKETSHE FEELS SOMETHING - AND TAKES IT OUT - IT ISA SMALL FLAT BOX- SHE OPENSIT - IT HAS A DELICATE HEARTNECKLACE IN IT. SHE SMILES ANDPUTS IT BACK. THENHEADSINTO THE LIVING ROOM - WHERE A NOW TOTALBODY-SUITLOBSTER ANDVERYHIP ANGEL AWAIT.

FINAL.JUN£19/6/02

Page92

AN UNDERGROUND TRAIN - PANALONG A GROUP OF HIP PEOPLE- THEY'RE ALL WEARING WALKMANS, OR I-TUNES -THEY MUMBLE LITTLE BITS OF TUNE- THEYBOBTHEIR HEADS, THEYWEAR HOODS ANDSWEAT-SHIRTS. THE FOURTH PERSONIN LINE IS JAMIE, MUCH MORE TRADITIONALLY DRESSED.HE TOO IS LISTENINGTO HEAD-PHONES - BUT WHILETHE OTHERS SING ANDDANCE -HE IS TALKING - TRYINGTO ACT CONVINCINGLY, EVENIF NOT SOUNDING VERYPORTUGUESE ...

HE'S ALSOGOTA LOT OF CHRISTMAS PRESENTBAGSIN FRONT OF HIM - THIS IS CLEARLY SOMEONE WHOTAKES CHRISTMAS SERIOUSLY.

124 IN'?. 10 DOWNING S'l'RD~.STAXRCASE,CORR:mOR, DBAWDTG ROOM. 124 NIGHT.

THE ENDOF A LONGDAY- THE PM IS LOOKINGTIRED AS HE WANDERS THROUGH DOWNING STREET. ALL XMAS-DECKEDUP FOR NOBODY. A SINGLE MAN IN A BIG HOUSE. HE HEADS UPSTAIRS, ANDALONG A CORRIDOR. HE FINALLYSETTLESDOWN IN FRONTOF THE TV, PARKED NEARA COUCH IN THE CORNER OF A TOO BIG ROOM. PAPERSIN FRONT OF HIM, HE TURNS THE TELLYON - IT'S BILLY MANNON PARKINSON.

l'I'NA£JUNE19/6/02

Page93

- HE GOESTO UNBUTTON HIS TROUSERS. PARKY LAUGHS. THE PM LAUGHS TOO...

126 Dl'l.FILM STODIO/BATBROOM.DAY. 126

JOHN AND JUDY IN A SMARTBATHROOM....SHE IS MIMINGA BLOW-JOB. LIGHTING MAN STILL CLOSE,FITTINGA TINY NEWLIGHT.

ANDCUT ON TO THE NEXTPOSITION. SHE SITS ON HIS FACE.

12'7 Dt'l.BAR. WJ:SCONS:tN.NIGB'l. 12'7

CUT BACKTO 1-\MERICAANDCOLIN'SBAR. IT IS NOW LATE AT NIGHT. A CHRISTMAS SONG PLAYS ON THE JUKEBOX.

FINALJUIIB19/6/02

Page94

Fl'NAl..JUNE19/6/02

Page95

128 IN'l'.DRAWINGROON.10 DOWNING SnDT. NIGft. 128

THE PM'S POTTERINGAROUND A BIG ROOM IN A DRESSINGGOWN NOW, STILL LEAFING THROUGHHIS BIG WORK PILE. HE COMES ACROSSA BUNCH OF CHRISTMAS CARDS... WITHA NOTEFROM HISSECRETARY ON A POST-IT NOTE: 'Read these- a random sample.'

HE CONSIDERS IT, THENPUTS THEM ASIDE ANDWORKS ON.

129 IN'l'.KAREN'SBOOSE.LIVJ:NGROOM. NIGB'l'. 129

ANOTHER TREE. IT'SKAREN, IN A DRESSINGGOWN ANDPUTTINGAN EXTRAGIFT UNDER THE TREE, LATEAT NIGHT. SHE COMES ACROSS A SQUARE PACKAGE, GIFT-WRAPPEDIN GOLD- SHE SMILES- IT TWINKLES LIKE THE HOLY GRAIL.

THERE'S A CARD. SHE OPENSIT. HER HUSBAND'S HAND WRITING

"Sorry I'm such a grumpy bugger.Merry Christmas, darling. Xx Bad Harry."

THE PACKAGE IS EXACTLYTHE SIZE OF THE NECKLACE CASE - INDEED, SHE PUTS IT UP TO HERTHROAT ANDSMILES.

130 INT• .:mMIE'SPARE'N'rS'BOUSE.NIGHT. 130

A DOOROPENS.

JAMIE IS TOTALLY COVERED IN PRESENTS- HE'S BROUGHT HUNDREDS. INSTANTLY 8 FAMILY MEMBERSOF ALL AGES SURROUND HIM. HUGE EXCITEMENT. HE DUMPS ALL THE PRESENTSANDGETS HOGGED.

FINA£JUNE19/6/02

Page96

HE TURNSTAIL AND LEAVES.

131 Ilft'.HOSPITAL.HIGHT. 131

SARAH IN THEWARD WITHHER BROTHER AGAIN.

HE JUST LOOKSAT HER. NOTHING.THEN ...

HE JUST LOOKSAT HER STONILY. THENA TINY SMILE.

HE THINKS. LOOKSAT HER. ANOTHER TINY SMILE.

FINALJUNB19/6/02

Page97

HE NODS.

SHE TAKESHIS HAND.

V. LATE TOO. MARK WATCHESTHE END OF THE MOVIEOF "WHITE CHRISTMAS" ON THE TELEVISION- ALL THE LEADSDRESSEDIN RED ANO WHITE, SINGING WHITECHRISTMAS, WITH THE REAL SNOW FALLING BEHINDTHEM- ROSEMARYCLOONEY OPENSHER PRESENT BY THE BIG CHRISTMAS TREE AS BING CROSBYLOOKSON SMILING IN HIS CHRISTMAS HAT. HE SWITCHES IT OFF.

133 BX'l'.JMCXE'Sl'LA'l'.NIGB'.r. 133

CUT TO JAMIE, WITHA SMALLBAGANDA COATON - LEAVING HIS FLAT AND HEADING OUT INTO THE ROADTO CATCH A TAXI.

134 EX'l'.FLA'.rINWISCONSIN.NIGHT. 134

A LITTLE HOKEY AMERICAN FLAT- SEXYMUSIC- ANO A WOMAN IS SILHOUETTED IN THE WINDOW, CLEARLYTAKINGOFF A TINY T-SHIRT - THENTWO MORE GIRLS ENTERTHE SHADOW, ALSO STRIPPING DOWN.

BACKAT STREET-LEVEL,A GIRL WALKS UP TO THE FRONTDOOR - AND LETS HERSELFIN. SHE HAS SHOULDERLENGTH CURLYHAIR ANDGORGEOUS LEGS BELOW HER MICRO-SKIRT. SHE SHOOTSUP - IN A VOICE THAT IS ALMOST FAMILIAR ..

GIRL 4 / HARRIET Hi girls - I'm home.

FINAL.JONE19/6/02

Page98

SAMANDDANIELWATCHING THE GREAT BIG ENDOF OFFICER & A GENTLEMAN,AS HE SWEEPS HER UP ANDCARRIES HERTHROUGH THE FACTORYTO THE SOUND OF 'UP WHERE WE BELONG'.

THE NEXT DAY- 6.50 PM. THE CAMERAMOVES ACROSSLONDON - A RADIO 1 DJ IS BROADCASTINGTO THE NATION•.•

THE ROOM,ONCEEMPTY, ISTOTALLY PACKED WITHRECORD PEOPLE, ALL GOINGBERSERK. 'YES, YES, YES' JOE STANDS NEARBILLY.

FINALJUN£J9/6/02

Page99

A PHONE GOES. THE ROOMGOESSILENT. BILLY ANSWERS.

RADIO·l DJ Billy ...

JOE LEAPS IN THE AIR.

ANDTHENBACKS AWAY INEMBARRASSMENT.

RADIO1 DJ.· Let's hope it'sthe latter. And here it is - number one - from BillyMann... It's "Christmas isAll Around".

FINALJUNE19/6/02

Page100

GINA STEPS FORWARD,HOLDING HER MOBILE.

BILLY TAKESTHE PHONE.

HE HANGSUP

JOE, A BIT LOSTNOWIN THE CROWD OF NEWFRIENDS, GRINS FROM EAR TO EAR.

138 IN'l'.AIUU:VALSGAD.FRENCH AZRPOI\T. 138

CUT TO JAMIE COMINGTHROUGH A FRENCH AIRPORT- LOOKING DETERMINED, NOT CARRYINGANY LUGGAGE. HE ACTUALLY BREAKS INTO A RUN FOR NO REASON.

139 :tNT.THE DRDXNG ROOM.10 DOWNING STREET. EVE. 139

BACKTO THE PM - IT'S JUST AFTER7 PM ON CHRISTMAS EVE. STILL SO ALONE. HE SPOTS THE CHRISTMASCARDS AGAIN. IT'S RAININGANDDULL ANDHE PICKS THEMUP CASUALLY.

FIRST A COUPLEOF BORINGONES- HE TURNSONE OVERTO READTHE SIGNATURE,WHICHSTILL DOESN'T MAKE SENSE UPSIDE DOWN.

THE THIRD ONE JOLTS HIM -IT IS FROM NATALIE. HE READS IT. IT SAYS THIS•..•

FINALJUNE19/6/02

Page101

HE PAUSES. PUTS IT DOWN.RE-READS IT. THEN, AS MUSIC STARTSTO PLAY, HE MAKESUP HIS MIND. HE LEAVESTHE DRAWING ROOM.

140 IN'l'.DOWNINGS'lREE'r•STAIRCASB/ CORRJDOR / INNER 140 LOBBY/ENTIWfCEBALL. NIGHT.

HE RUNSRIGHTTHROUGH THE CORRIDOR - DOWN THE STAIRCASE- THROUGH THE EMPTYINNER LOBBY AND OUT TOWARDS THE FRONT DOOR. THERE'S A SECURITYPERSON THERE.

CUT ON. HE GETS INTO THECAR OUTSIDE DOWNING STREET- A DARK, WETNIGHT.

142 EX'l'.TD ~BAMBS.NIGH~. 142

HIS BIG CAR SHOOTSACROSS BATTERSEA BRIDGE. A POLICE CAR FOLLOWS IT.

THE CAMERA SWEEPSUP ANOOVERON TO THE NEXTBRIDGE, ANDTHERE, CROSSING IT, IS A HUGEWHITE, ELTON JOHNNY LIMOUSINE- WITH BILLY INSIDE IT,DRINKING CHAMPAGNE.

THENIT SWEEPS ON TO THE NEXT BRIDGE, ANDTHERERUSHING PAST IS MARK, THE BESTMAN, IN HIS CAR...

143 IN'r.KAREN'SBOUSE. NIGB'l'. 143

CUT ON - CHRISTMASIS REALLY IN SWING NOW - IT'S PRESENT-OPENING TIME AT KAREN'S. SHETWINKLES IN HARRY'S DIRECTION.

IT'S HARRY'SPRESENT.SHE SMILESAS SHE STARTSTO UNWRAP IT.

FINALJON&19/6/02

Page102

SHE OPENSIT SLOWLY.IT IS •..A CD OF JONI MITCHELL.

SHE MOVES SLOWLYOUTOF THE ROOM WITH A SLIGHTLY GLAZED SMILE. A SLIGHTLY MYSTERIOUSMUSICAL SOUND STARTS•••

THE PM & HISCARS ARRIVEIN WANDSWORTH & TURNINTO QUITE A SHORT STREET.

14S UT. BARRIS STRBST.NIGH. 145

HARD CUT - HE STANDSAT THE DOOR OF NUMBER ONE, HARRIS STREET- ANOKNOCKS. HE HASWITHHIM A BODYGUARD, WHO IS FIVE YARDS AWAY, DISCREET. AN OLD LADY COMES.OUT.

l"INALJUNE19/6/02

Page103

CUT TO HIM RINGINGON THE NEXTDOOR.THE TWOCARSALWAYS CRUISINGALONG,FOLLOWING HIM. A 6 YEAROLD GIRL ANSWERS

TWOOTHERSAD LITTLE KIDS EDGEUP NEXTTO THEIR BROTHER ANOLOOK OUT DISAPPOINTED.

King Wenceslaslooked out ....(HE GESTURES TOWARDSTHE BODYGUARD, WHO JOINS IN

UNEASILY)" on the Feast of Stephen ....

CUT - THE PMKNOCKS ON ANOTHER DOOR.IT OPENS. THEREIS MEL. AND ON HER NECK, THE NECKLACE.

FINALJVNS19/6/02

Page104

PM STRAIGHTENSHIS TIE AND HIS HAIR, AS HE HAS DONEFOR HER BEFORE,THEN, IN SLOW MOTION,HIS FINGERSLOWLY MOVES TO RING ON THE BELL. FINALLYHE REACHES IT AND RINGS IT.

146 Dr.r.NATALIE'SBOOSE. NIGHT. 146

THE DOOROPENS ·-ANDA WHOLE, EXPLOSIVE FAMILY ISCROWDED INTO A THIN CORRIDOR, ALL IN THEIR WINTER COATS,OBVIOUSLY JUST SECONDSBEFORE ALL GOINGOUT. IT COULDN'T BE MOREAWKWARD - THEY'REALL THERE, 7 PEOPLE- ANDNOTNATALIE.

NATALIE HASN'T SEEN HIM AND IS COMING FROMTHE NEXTROOM.

BIG AWKWARDNESS- AND HE IS LOOKING A BIT LIKE A DROWNEDRAT.

SOMECHILDREN $COTTLE AROUND.

FINAi.JUNE19/6/02

Page105

SHE GIVES HIM AV. HAPPYLOOK.

CUT TO KAREN IN HER BEDROOM. SHE'S JUST STANDINGTHERE- RIGID - LISTENING TO JONI, PLAYINGLOUDON THE CD.

FINA£JUNE19/6/(}2

Page106

A TEAR FALLSFROM HER EYE, WHICH SHE WIPES AWAY. HERHANDS PLAY WITHHER HAIR.

I've looked at love from both sides now From give and take, and still somehow It'slove'~ illusions I recall, Ireally don't know love, Really don't know love at all.

SHE TRIES TO SMILE- AND AS THE SONGCONTINUES, HEADSBACKTO REJOIN FAMILYLIFE, WITHSMILES AND KISSES AND LAUGHTER...ANDA BREAKINGHEART.

148 IN'!./~. PM'S CAR. WANDSWORTB. NIGH. 148

CUT INTO THE PM'S CAR- THEREARE PMAND NATALIE SITTING WITH THE BODYGUARDANDONEBROTHER.

WESEE THE POLICE CARIS TOTALLY FULL OF FAMILY BEHIND. BACKIN THE PM'S CAR•••PAUSE

THIS IS THE KEYMOMENT - WHICH WAY WILL THEYJUMP?

FINALJUNE19/6/02

Page107

149 Erl. SCHOOL CAR I-ARK.NIGB'J!. 149

SHE JUMPSOUT OF THE CAR. MEANTIME THE SCHOOL CAR FARKIS FULL OF ACTION.

DANIELANDSAMARE ARRIVING- SAM.CARRYING DRUMSTICKS- VERY DETERMINEDLOOKING.DANIELTO MAKE HIS HAIR LOOKA LITTLE MORE FASHIONABLE.

THENCUT TO JUDY ANDJOHN, MEETINGJOHN'S FAMILY. THERE'SA LITTLE NEPHEWTHERE.

NATALIECOMES BACKTO THE CAR.

LITTLE PAUSE.

AS THEY STEP OUT, AS EVERWITH THE BODYGUARD, HE PAUSESIN A MOMENT OF CLARITY.

FINAL.JUNEl9/6/()2

Page108

150 EX'l'.!GRSBn.LE.NJ:GBT. 150

JAMIE ARRIVESIN HIS CAR IN A VERY THIN, POORCITY STREET IN MARSEILLE.HE GETS OUT OF HIS CAR, HEADSDOWN ANORINGS ON A DOORBELL.

A MAN ANSWERS. HUGEBLACK MOUSTACHE -ABOUT SIXTY - BIG BELLY- JUST WEARING A VEST. JAMIE SPEAKSIN FLUENTPORTUGUESE.

MR BARROS CALLS BACK.

THROUGH THE PLASTIC CURTAIN LEADING INTO THE NEXTROOM COMES A VERYBIG PORTUGUESE GIRL. THERE'S NO LOVELOST BETWEEN FATHER AND DAUGHTER.

FINAI.o1UN&l9/6/02

Page109

151 nr.r.COIUW)()R/BACKSTAGE.SCHOOL.NIGHT. 151

BACKAT SCHOOL - KAREN ANDKIDS ANDHARRY ARE LATE - SHE'S HAVINGTROUBLE MOVING HER BROOD DOWN THE CORRIDOR.

THE PM & NATALIE& THE BODYGUARD ALSOGOINGDOWN A LITTLE CORRIDOR- IN A SORT OF BACK STAGE AREA.. ANDTHENTHE TWO PARTIESBUMPINTO EACHOTHER ..

SHE HUGSHIM. AND STAYSHUGGING HIM A BIT LONGER THANYOU'D EXPECT. SUDDENLYTHE EMOTION COMES OUT. HE'S SURPRISEDBY HER INTENSITY.

FINAL.JIJNS19/6/02

Page110

I<AREN I'vegot totell you - I've never been gladderto see my stupid big brother. Thank you.

ANDNOW REALLY,NATALIE &THEBODYGUARD CAN'T GO ON STANDING THERE ANY LONGER

THEYALL LAUGH.

MORE UNEASY LAUGHTER. A BELLGOES - THE SHOW'SSTARTING.

SHE GIVES HIMA FINAL HUG, ANDWHISPERS

PMAND NATALIEHEADOFF AND ENTERA SORT OF BACKSTAGE AREA, FOLL OF ROPESAND PULLEYS.

E'INAL.JUNE19/6/02

Page111

JAMIE ANDFATHER ANDSISTER ARE MOVING THROUGH THE STREETS.

THEYPASS ANOTHER FAMILY SITTING OUT...

THE OTHERFAMILYFOLLOW. THEYDON'T WANT TO MISS THIS.

153 ~. LONDON.STREET. NIGB'.r. 153

CUTTO MARK, NOW CRUISINGSLOWLY ... ANDPARKINGHIS CAR- AND GETTINGOUT AFTERA MOMENT'S HESITATION.

CUT INTO THE CONCERT- IT'S THE CLIMAX OF A NATIVITYSCENE. THE CASTARE POINTINGAT THE STARABOVE JESUS ANDSINGING "CATCHA FALLINGSTAR". A LITTLE SIGN SAYS 'FORM2B'

THEREIS JESUS,SURROUNDED BY MARY & JOSEPH AND3 ANGELS - TWO OF THEMDRESSED NORMALLY ANDBAD BERNARD DRESSED LIKE A STREETWISE RAPPER- BUT WITHA HALO. WIDENTO TAKE IN THE CAST OF COWS, SHEEP, ANDLOTS ANDLOTS OF SEA CREATURES - LOBSTERS, SQUID, PENGUINS,AN OCTOPUS, A BLUE WHALE ETC.

155 Dr.r.BACKSTAGE.SCHOOL BALL. NIGH'!. 155

WE GO BACKTO PM & NATALIESTANDING THERE NERVOUSLY, BACKSTAGE, GLIMPSINGTHROUGH .ALITTLE CRACK.

THE SONGENDSTO GREAT APPLAUSE.KAREN COM.ESON TO SPEAK- MR TRENCH STANDSBESIDE HER.

f'INAL.JUNE19/6/02

Page112

WECUT TO THE HEADMISTRESS - SHE IS WEARING DARK GLASSES. SHE JUST NODSPOLITELY.WEALSOSEE HARRY, SORROW-CAUSER.

DANIEL RAISESAN EYEBROW - THIS IS HER.•.•

Backing vocals co-ordinated by her mother, thegreat Mrs Jean Anderson. Some ofthe staff have decided to help, and we askyou to forgive us our sins. Thank ·you.

THE SONGBEGINSIN DARKNESS - THE TINKLING OF INNOCENT CHRISTMAS BELLSANDTHENINTO THE SPOTLIGHT STEPS THE LEADSINGER-

SHE ISA FABULOUS 12 YEAROLDBLACK GIRL - A FEMALE MICHAEL JACKSON.A SLOW MAGNIFICENT START, WHITNEY MEETS MARIAH..•

WE CUT ROUNDEXPECTANT PARENTS - ANDAT ONE POINT CUT TO MRS MONROE- FROMBENEATH HER DARK GLASSES,TEARSFALLGENTLY DOWN HER CHEEKS. SHE DOESN'TWIPE THEM.

I justwant you for my own More than you could ever know. Make my wish come true All Iwant for Christmas is you.....

ANOTHENIT KICKS INTO 'ALL I WANT FOR CHRISTMAS IS YOU', ORIGINALLY SUNGBY MARIAH CAREY. IT IS STUNNING.

FINALJONB19/6/02

Page113

SHE·IS STUNNING. ON PIANOIS BADBERNIE- GRINNING ANDNOW WEARING A T-SHIRT SAYING'HELL'S ANGEL'

SAM'S MONOTONOUS DRUMS SUDDENLYMAKE FANTASTICPHIL SPECTOR SENSE - BOTTHENHE EXPLODES INTO SOMEVERYEXPERIMENTAL RIFFS - HE'S DAMN GOOD!AT ONEMOMENT DANIELLOOKS TOWARDS HIM ANDSENDS BACK A DISTINCTIVE 'SHE'S THE ONE' FINGER- SAM NODSWITHA SMILE.

THE HEAD OF THE BACKING VOCALS IS A MIGHTYWOMAN, CLEARLY JOANNA'SMOM,SUPPORTED BY SELF-CONSCIOUSSTAFFMEMBERS, LETTING THEIR HAIR DOWN FOR THE FIRST TIME THIS CENTURY.BEHIND THEM A CHOIROF KIDS. IT IS AN EXUBERANT, FABULOUSENDTO THE SHOW - SOME PARENTS START TO STAND,LED ON BY JOANNA'SDAD - THOUGH DANIEL ANDTHENHARRY ARE HOTON HIS HEELS- EVENTUALLY EVERYONE IS STANDING... JOHNANDJODY ARE HAVINGA PARTICULARLY FUNKY TIME, BOTHDANCING QUITE BADLY.

ANDTHE PM, QUITE CLOSETO THE STAGE NOW,PEERSTHROUGH THE WINGS AMAZED AT THIS PHENOMENAL GIRL -ALTHOUGH WHEN SOMEONE APPROACHES, HE TRIES TO HIDE ANDFADEINTO THE BACKGROUND - STILL WORKING HARD NOT TO.BE SEEN. HE BACKSUP INTO NATALIE - ANDIN THE DARKNESS, THEIR LIPS COMETOGETHER...

FINALLYJOANNA POINTS ON 'ALL I WANT FORCHRISTMAS IS YOU, IS YOU' - ANDAT ONEPOINT SHE POINTSANDSTARESSTRAIGHT AT SAM. IT IS THE MOMENT WE'VEBEENWAITINGFOR ••••BOT THEN- SHE MOVES ON....SAM'S HEADDROPS ..;.HIS DREAMSDEFEATED.

HYSTERIA JUST BEFORE THE END- THE AUDIENCEEXPLODES INTO APPLAUSE.••

AS THE FINAL REPEATED STRAINSOF 'ALL I WANT FORCHRISTMAS IS YOO, BABY' WE PAN ALONG THE KIDS TO GLEEFULBADBERNARD - WHO LOOKS ROUND ANDSUREENOUGH - HE SEES MRTRENCH,HIS R.E. TEACHER, ALSOBOWING, ANDEMITTING A BRIGHTBLUEVISIBLE FART. BERNIESMILESTHE HUGEST SMILE OF ALL. .

FXNALJUNE19/6/02

Page114

FINALLY FAKE SNOW STARTSTO FLUTTER DOWNON THE CHILDREN ANDTHE STAGEBACKDROP GOES UP TO REVEAL THE LITTLE SURPRISE- A FULL PAINTEDWINTER WONDERLAND, SAYING 'MERRYCHRISTMAS', CLEARLY DONEBY ALL THE CHILDREN.

A SLIGHTLY BIGGERSURPRISEIS THAT STANDINGTHEREIN THE MIDDLE OF THE STAGE, THINKING THEY ARE BACKSTAGEANOTOTALLY PRIVATE, ARE THE PRIMEMINISTER ANDNATALIEKISSING - INSTANTLY OUT COME THE CAMERAS OF EVERY SINGLE PARENT IN THE SCHOOL,IT IS A THUNDER AND LIGHTNING OF FLASHES.• THEREIS NOTHING THE PM AND NATALIE CAN DO.

THEYSTAREAT EACHOTHER- THENHE TURNSAND ••.TAKESA LITTLE NERVOUS BOW.

157 Er.r.lGRSBILLm. NIGHT. 157

QUITE A LARGEGROUPOF PEOPLE NOW WALKINGTHROUGH THE BACKSTREETS - ABOUT22 OF THEM - THEY'VEBEEN COLLECTING AT SISTER SOPHIA'S INSTIGATION. THEYTORN OUTON TO THE HARBOUR - ANDTHENMOVE ALONG TO A RESTAURANT FACINGTHE WATER,ANDBURST INTO IT.

THERE·IS APROPRIETOR BEHINDTHE BAR

·PROPRIETOR He can't do that - she's our best waitress.

AND AT THATMOMENT AURELIABACKSTHROUGH THE DOORHOLDING THREE PLATESOF FOOD- SHE TURNSAND SEES JAMIE STANDINGTHERE. SHE FREEZES. ANDTHENVERYGENTLYPUTS THE FOODDOWN - ANDWIPES THE HAIR ON HER FACE BACK. SHE'S PROBABLY WEARINGMAKE-UP FOR THE FIRST TIME. .

FINALJUNE19/6/02

Page115

PAUSE

CUT TO HER.

PAUSEAS SHE THINKS.

CUTBACK TO AURELIAANDBACK TO JAMIE. THEN- BECAUSE SHE TOO HAS LEARNTTHE LANGUAGE OF THE PERSON SHE LOVES, IN VERYBROKEN ENGLISH.

FINALJUNB19/6/02

Page116

EVERYONE CHEERS.

ANDTHE BANDS STRIKESOP. AND THE ENTIRE PORTUGUESE COMMUNITY HUGSHIM. INCLUDING THE SISTER WITHA HOGE KISS ON THE LIPS.

AND AURELIA ANDJAMIE MOVE TOGETHER AND TWIRL IN GLORIOUS AND GLAMOROUS SLOW MOTION AS THEY DANCEINTO THE FUTURE...

159 Ila'.SCHOOL COMUDOR. NXGBT. 159

AFTERWARDS IN THE SCHOOLCORRIDOR THE ATMOSPHERE IS EXPLOSIVE ANDEXCITED- THE FULLCHRISTMAS MONTY. SAM COMES OP TO DANIEL, NOTHAPPY

PAUSE

FINAL.RJNI&19/6/02

Page117

HE CHARGES OFF INTO AN ART ROOMJUST ACROSS THE CORRIDOR..

DANIEL TURNSANDBUMPS INTO SOMEONE- SHE IS A MOTHER WITH BOY - SHE LOOKS WEIRDLY,SUSPICIOUSLY LIKE NICOLEKIDMAN,THOUGH OBVIOUSLY IT ISN'T HER (THOUGH,IN FACT, IT IS) - THE TEETH, OR HAIR COLOUR, SOMETHING ISVERYWRONG. SHE'S A VERYINDEPENDENT LONDON MUM.

DEEP PAUSE. THE TWO ADULTS JOST LOOKAT EACHOTHER.

FINALJUNE19/6/02

Page118

AS THEYWALK AWAY.

SAM GESTURES TOWARDS THE WOMAN.

ANDHE LOOKSBACKAT HER - JUST AS SHE LOOKSBACK AT HIM - IT'S GOINGTO HAPPEN ....

HARRY AND KAREN ARE ALSO MOVING DOWN THE CORRIDORWITHTHE CHILDREN.

HARRY SMILES AT HER - SHE SMILES BACK. THEYWALK ON, HER LOOKING FORWARD.

HE LOSES THE COLOUR IN HIS CHEEKS, BUT KEEPS ON WALKING.

160 EX'?, SCHOOLYAlm. NIGHT. 160

IN THE SCHOOLYARD.

JOANNA GETS INTO A BIG CAR- WHICHINSTANTLY DRIVESAWAY.

FZNALJURSl9/6/02

Page119

ALL OF THESENEXT SCENES ARE ON DANIEL'S EXOTICSHORTCUT •.• so THE CAR WHIPS PAST A MANSION BLOCK,ANDWE WHIP INSIDE...

162 DlT. JOB'S FLAT. NIGHT. 162

ANDTHERE'S JOE IN HIS ROOM - HE'S GOTA BOTTLEOF CHAMPAGNE OPEN- AND HE'S DRINKING ON HIS OWN,WATCHING BILLY ON TV, HIS FOOTTAPPINGLIKE THE FANHE HAS ALWAYSBEENANOSTILL IS.

163 EX'!'.LONDONSDEETS. NIGH. 163

THE CARWHIPS PAST A BIG WHITEBUILDING.

SARAHAND HER BROTHER - THEYSIT IN THE HOSPITALIN TOTAL SILENCE -HIM, JUST LOOKING OUT. SHE HOLDSHIS HAND.

LITTLE PAUSE

SHE GENTLYSTROKES HIS HAIR.

DANIEL'SCAR SHOOTS THROUGH A SUBURBAN STREET,WHICH ACTUALLY TURNSOUT TO CONTAIN NEWLYWED JULIET AND PETER'S HOUSE.

166 Dr.r./BX'?..JtJLIBTANDPEnR'SBOUSE. NIGHT. 166

INSIDE PETER& JULIET ARE SITTING WATCHING TELLY... IT'STHE END OF 'THE BODYGUARD',KEVIN, WHITNEY ANDTHE PLANE•••

THE DOORBELL RINGS. JULIET GETS UP TO GET IT. SHE LEAVESTHE LIVING ROOM,GOES THROUGH A LITTLE CORRIDORANDOPENS THE FRONT DOOR. IT'SMARK.

FINALJUHS19/6/02

Page120

HE MIMES'SSSSSH'. SHE DOES. HE HASA BUNCH OF BIG WHITECARDS, LIKE BOBDYLAN IN HIS FAMOUS VIDEO. ONTHEM MARK HAS WRITTEN STUFF IN CLUMSY FELT-PEN. THE FIRST ONEREADS'SAY IT'S CAROL SINGERS.'

MARK BENDS AND PUSHESTHE BUTTON ON A SMALL BOOGIEBOXAT HIS FEET. IT STARTS TO PLAY A TAPE OFYOUNG, BADCAROL SINGERS, SINGING 'SILENT NIGHT'. HE'S THOUGHTTHIS THROUGH. THENHE PRODUCES THE REST OF THE CARDS,ONEBY ONE:

WITHANYLUCKBY NEXTYEAR

I'LL BE GOINGOUTWITHONE OF THESEGIRLS.

A CARD SHOWING PICTURESOF THE 4MOST BEAU~IFUL MODELS IN THE WORLD.

BUT FOR NOW,LET ME SAY,

WITHOUT HOPEOR AGENDA,

JUST BECAUSE IT'S CHRISTMAS

AND AT CHRISTMAS YOUTELL THETRUTH

TO ME, YOU ARE PERFECT,

ANDMYWASTED HEART WILL LOVEYOU UNTILYOU LOOK LIKE THIS...

PICTUREOF A VERY, VERYOLDWOMAN - OR W.H. AUDENAGED80 - OR THE LAST PHOTO OF MOTHER THERESA - OR SOMEONEDEAD.

MEANWHILE - FOR YOU

HE HANDS HERA BOX.

NOT ONE- BUT TWO.

FINAi,JUNE29/6/02

Page121

L66 CONTINUED: (2) 166

SHE OPENSIT - IT IS TWOSLICES OF BANOFEE PIE. HE TURNSOVER ONE MORE CARD

MERRY CHRISTMAS

FATSO.

HE GIVES HER A LITTLE THUMBS UP -ANDTURNSAWAY,TAKINGTHE BOOGIEBOX, WITH 'SILENT NIGHT' GETTINGFAINTER.

SODDENLY A TAP ON HIS SHOULDER.HE TURNS. JULIET HAS COME DOWN THE PATH, ANDGENTLY KISSES HIM ONTHE LIPS. HE SMILESANDWALKS AWAY.

167 EX'l'.JUDY'SFLAT. NIGB'l'. 167

CUT TO THE NAKED TWOOUTSIDEHER FRONTDOOR, STILL FULLY CLOTHED AT THE ENDOF THEIR FIRST DATE. NERVOUS.

SHE POINTSAT HIM. A LITTLE LAUGH. PAUSE.THENSHE LEANSFORWARD AND GIVES AN AWKWARD BUT TENDER PARTINGKISS.

SHE SLIPS BACKINTO THE HOUSE ANDCLOSESTHE DOOR - HE TURNS FROMTHE DOOR - THENLEAPS INTO THE AIR, DOWNTHE STEPS, ECSTATIC.

1i'INA1,JUIIB19/6/02

Page122

L68 IH'l'.JOE'SFLM!. HIGH. 168

JOE IS OPENINGTHE DOOR

AS THEY HEADUPSTAIRS AND INTO THE FLAT.

FINALJOH£19/6/02

Page123

PAUSE.

JOE IS ACTUALLY DEEPLY MOVED.

HE STICKS OUT HIS HANDFORA SENTIMENTAL HAND-SHAKE.

ANDGIVES HIM A HUGEBEARHUG.

Come on, let's get pissed and watchporn.

DANIEL'S CARAGAIN- IT PASSESAN OFFICE BLOCK -WECOT INSIDE - SLIGHTLY MYSTERIOUS MIDNIGHT MOOD. WE DRIFT ACROSSTHE OFFICE ANDCOME TO THE BLACK ANDWHITEAFRICANPHOTO BEHINDSARAH'S DESK- ANDMOVE INTO IT - IT SLOWLY TURNSINTO A VERYMUTED COLOUR ••.

170 En'. Al'RlCA.DAY. 170

•••• ANDTHE MANBEGINSTO MOVE - AND THEN INTO FRAMESTEPS A BEAUTIFUL WOMAN. THEYSPEAKTHEIR NATIVELANGUAGE

E'lNALJUNE29/6/02

Page124

L70 CONTINUED: 170

HE GRINS, A BIG BADGRIN.

HE LAUGHS.SHE KISSES HIM. ANDAS THEYWALK OFF, THEIR SON MOVES INTO THE PICTURE, ANDHOLDS HIS FATHER'SHAND.

HEATHROW AIRPORT- DANIEL & SAMARE RUSHINGIN. THEYREACH THE FAST TRACK ENTRYPOINT.

ANOTHER PASSENGER COMES PAST.

THE MANIS IN GREAT CONFUSION.

FINALJUNE19/6/02

Page125

THE GATEMAN NOW HAS A LARGE HAND CASEANDA CAPE OVERHIS ARMS. SAM SPOTSHIS CHANCE. HE MAKES A RUNFOR IT - HE CHARGES THROUGH, PASTTHE GATE MAN - WHO OOESN'T SEE HIM GO....

HE TURNSANDFOR THE FIRST TIME WE SEE HIS FACE- IT ISTHE ANGEL, RUFUS, FROM BEFORE - ANDAS HE WALKS PAST DANIEL, HE GENTLYDISAPPEARS...

MEANTIMEON THE OTHERSIDE, HELL IS BREAKING LOOSE- SAMRUNS THROUGHSECURITY - EVERYONE IS GOINGCRAZY AFTERHIM - HE RONS- HE DODGES- HE LEAPS ON CONVEYOR BELTS. ANDALL TO THE EPIC MAGNIFICENT CONTINUATION OF SCOTTWALKER SINGING 'JOANNA'.••.AND THE MUSICFROM THE ENDOF 'OFFICER ANDA GENTLEMAN' AND 'SLEEPLESS IN SEATTLE' ANDDIRTY DANCING, AND 'LOVE ISALL AROUND'...IT'S EVERYEND OF EVERY ROMANTIC FILM.

THEN, SURROUNDEDBY GUARDS,HE SEEMSCORNERED.

BUTNOT SO FAST - REMEMBER - GYMNASTICS IS SAM'S STRENGTH. HE GORGEOUSLYFLIP FLOPS HIS WAY OUTOF TROUBLE,ANDCARTWHEELS THROUGHTHE AIRPORT. EVENTUALLY HE SEES GATE36. WHENHE GETS THERETHE ROOM IS ALMOST COMPLETELY EMPTY - AND JOANNA ISJUST GOINGTHROUGH TO THE PLANE...

BUTA STURDY SECURITYGUARD ANDA HOSTESSSTANDBETWEEN HIM AND HER. HE'S STUMPED- TILL SUDDENLY THEYTURN- NOTICINGTHAT UP ON THE TELEVISIONSCREEN, BILLY IS STARTING TO TAKEHIS CLOTHES OFF AS HEPERFORMS HIS SONG.

BILLY IS PLAYINGCHRISTMAS IS ALL AROUND, INCREASINGLYNAKED.

SAMTAKESHIS CHANCE AND NIPS IN. THERE'S ONLYHIM ANDJOANNA IN THE WHOLELONGROOM.

TOTALSILENCE. THEN•.•

FINALJONSl9/6/02

Page126

1 172

NOW ALL HIS PURSUERS HAVEARRIVED.

I've got to run. Take this...you know what it means ... thinkForm 2B.

HE REACHES INTO HIS POCKET ANDTAKES OUT OF IT. • •AHANDFUL OF SILVER SPARKLE, LIKE KIDS SPRINKLEON GLUE. ANDTHENHE RUNS AWAY...SHE WATCHESHIM SPRINGING FREE

SHE LOOKSDOWN AT THE SPARKLEIN HER HAND,AS THEY HEADTOWARDS THE PLANE. THENGENTLY - THIS PLAYS...

Catch a falling star and putit in your pocket, save it for a rainyday Catch a falling star and putit in your pocket, never let it fadeaway.

173 IN'l.DBPAR~S. NIGHT. 173

WECUTTO SAM, BEING LED OUT, PAST FAST TRACK,BY GUARDS TO A WAITINGDANIEL.... THENHE GETS A TAP ON HIS SHOULDER. HE TURNS- IT'S JOANNA - SHE KISSES HIM ON THE CHEEK. THENSHE TURNSAND RUNSBACKIMMEDIATELY. HE GRINS LIKE A MADMAN.HE DOESTHE BIG 'ONE' GESTUREAT DANIEL, ANDRUSHESTO HIM. DANIELLIFTS HIM IN THE AIR ANDHUGSHIM.

For love may come and tapyou on the shoulder, Some starless night (MORE)

FINALJUN&19/6/02

Page127

FROM SAM'S POCKET IN SLOW MOTION POURSTHE SILVER SPRINKLE - THEIR STARLIGHT•••.

THE CAMERA MOVES OFF THEM, ANDTHROUGH THE AIRPORT ..•

A CAPTIONSAYS: A M0N'nlLATBR...

IT IS THE ARRIVALSGATE. THE NORMAL GAGGLEOF PEOPLE ARE WAITING - LOTS OF THEMDRIVERSWITHNAMES ON LITTLE BOARDS- BUT A LOT OF REAL FRIENDS. NO-ONEWE KNOW.

THENTHE FIRST PERSONCOMES OUT OF THE ARRIVALGATE- SOMEONE RUSHESFORWARD TO HUGTHEM. THEN...

BILLY STEPS OUT - HE HAS A GORGEOUS SIX-FOOT BLONDEWITHHIM. JOE STEPS OUT OF THE CROWD ANDCOMES ANDTAKESHIS BAG, AND KISSES THE HAND OF THE BLONDE.

CUT TO DANIELAND SAM WAITING- AND 'NICOLE KIDMAN'THEN APPEARS AND HANDS DANIELTHE CUP OF COFFEESHE'S JUSTBOUGHT.

TONYIS ALSO WAITING- HE'S TAPPEDON THE SHOULDER - THEREWITH THEIR LUGGAGE ANDHUGEGRINS ARE JUDYAND JOHN

SHE WIGGLESAN ENGAGEMENT RING ON HER FINGER - THEYCOULDN'T BE HAPPIER.

HARRY COMES OUT & LOOKSAROUND - SEEMSTO BE NO-ONETHERE- THENFROM BEHINDSOMEONE SLIPS KAREN, $MIL.ING,DUTIFUL. AND THEREARE THE KIDS CARRYING A SIGN - 'WELCOMEHOME DAD' -ABOUT WHICH GRUMPY BERNIE LOOKSDISTINCTLYGRUMPY.

NEXTOUT ARE JAMIE ANDTHE RADIANT AURELIA. PETERANDJULIET THERE TO GREET HIM.

FINALJUNB29/6/02

Page128

FOR INDEED, HE IS THERE, HANGING BEHIND.

THEYLAUGH.

THEN IT IS JOANNA,THE LITTLE GIRL- SAMBREAKS THROUGH, RUNSTO HER- THENREALISESHE HAS TO HOLD BACKANDSHAKES HER HAND VIGOROUSLY. DANIELANDNICOLEARE AMUSED.

THEN WE SEE TONYIN THE CROWD - ANDHE FINALLYSEES AMERICAN COLINAND WAVES.

COLIN SEES HIM ANDWAVES BACK - GIVES A BIG THOMBSUP - ANO POINTS BACKWARDS - ANDTHROUGH THE DOORSCOMES HIS NEW GIRLFRIEND.SHE IS HARRIET- THOUGH SHE IS,IN FACT, THE MOST BEAUTIFUL AMERICAN STAR.

E'ZNAJ,JUNE29/6/02

Page129

AND HARRIET GESTURES BACKWARDS- COMING THROUGH THE CUSTOMS IS THE FIFTH STAGGERING ANDFAMOUS AMERICAN WOMAN. WE'LL CALLHER CARLA•••

SHE KISSES HIM FULL ON THE LIPS.

THENA BIG STIR ANDTHE PRIMEMINISTERCOMES THROUGH, SURROUNDED BY QUITE SUBTLESECURITYPEOPLE.

FINAi,JUN&19/6/02

Page130

AFTERA TINY PAUSE, NATALIERUSHESTHROUGH THE CROWD ANDHUGS HIM WITH TOTALLOVE, THROWING HER LEGS ROUND HIS WAIST- FLASHES OF 50 WAITINGPAPARAZZIFLASH.

MUSIC STARTSTO BUILD UP TO A CLIMAX.

THEN THE DOOR OPENS AGAIN,ANDOUT STEPS A MIDDLE-AGED WOMAN WE HAVEN'TSEEN BEFORE. ANDHER OLDERHUSBAND STEPS OUT ANDGRABS HER ANDSWINGSHER AROUND. SHE LAUGHS.

THENA HIPPY LOOKING MAN- ANDHIS HIPPY GIRLFRIENDCHARGES OUT FROM THE CROWD...

THENA MOTHER COMES OUT - ANDA FATHER ANDTHREECHILDREN RUSH TOWARDS HER.

WE'RE BACK IN THE WORLD OF NORMALPEOPLE - WITH LOVE ACTUALLY... ALL AROUND.

TBB END.

FlNALJUNE19/6/02