2. 2
FADE IN:
SCENE #1
EXT. HENRY’S HOUSE - DAY
AN OVERCAST AUTUMN DAY. A SMALL, QUINTESSENTIALLY ENGLISH
BUNGALOW SITS AMOUNGST A WELL-KEPT GARDEN AND PLANT POTS.
THERE IS A “FOR SALE” SIGN ATTACHED TO THE GATE.
PULL FOCUS TO SEE THE HOUSE
CUTS TO: ESTABLISHING SHOT
CUT TO: MEDIUM CLOSE-UP
A TEENAGE GIRL, EMILY, IS LOOKING AT THE HOUSE BLANKLY
CUT TO: MID SHOT
A WOMEN, GEN, OLDER THAN HER, APPEARS BESIDE HER
GEN
(looking concerned)
Are you alright?
CUT TO: CLOSE-UP
FROM THE SIDE
EMILY
(sighing unconvincingly)
Yeah…
PULL FOCUS
GEN
(not convinced)
Are you sure?
PULL FOCUS
EMILY
(sighing)
It just… it just doesn’t seem real…
PULL FOCUS
GEN
I know sweetheart, but it’s what we need to
do. Come on…
CUT TO: CLOSE-UP
3. 3
(gets the keys out of her pocket)
We’re not standing out here all day.
CUT TO: EXTREME CLOSE-UP, KEYS
The sooner we get in the sooner we’ll be out.
CUT TO: MID SHOT
GEN STARTS TO WALK INTO THE HOUSE, LEAVING EMILY BEHIND. A MID
SHOT TRACKS EMILY AS SHE FOLLOWS HER MUM, SHE LOOKS NERVOUS.
CUTS TO: ESTABLISHING SHOT
OF THEM ENTERING THE HOUSE
4. 4
SCENE #2
INT. THE KITCHEN - DAY
GEN AND EMILY ENTER THE HOUSE INTO THE KITCHEN. THEY AWKWARDLY
LINGER IN THE KITCHEN, NOT REALLY SURE WHAT TO SAY TO EACH
OTHER. GEN PICKS UP A BOX, EMILY IS DISTANT.
GEN
(trying to act as if everything is fine,
she thinks Emily is listening)
Right, I think the best way to go about
this is if we split up and do a room each,
just putting all the little things away and
then anything big we can move together another
day. Don’t forget if anything is breakable
put it in bubble wrap…
GEN LOOKS UP TO REALISE EMILY ISN’T LISTENING
Em?
EMILY IS TRANSFIXED ON SOME MINOR DETAIL IN THE ROOM. SHE
DOESN’T LOOK UP EVEN WHEN SHE FINALLY SPEAKS.
EMILY
It’s like he’s died.
GEN
(sighing)
Emily, you know how hard it was to for
me to make this decision. He can’t look
after himself anymore, and the nursing home
is nice, a lot closer to our house so you
can visit him more often…
EMILY
We’re just packing up his entire life
into boxes while he sits in a home he doesn’t
even recognise. He was fine and now…
GEN CUTS EMILY OFF
5. 5
GEN
(hurt)
He wasn’t fine though was he? We were all
just too blind to see it/You know he can’t live
on his own anymore.
EMILY LOOKS AWAY FROM HER MUM, KNOWING SHE IS RIGHT. GEN’S
PHONE STARTS RINGING AND SHE TAKES IT FROM HER POCKET.
(apologetically)
It’s work. I’ll be two seconds. There’s
some boxes through there. Go and make
a start with the living room,
please. For me.
EMILY DOESN’T RESPOND AS GEN WALKS RUSHES OUT OF THE HOUSE
ANSWERING THE PHONE. AS THE DOOR SLAMS, EMILY PICKS UP A BOX
FROM THE HALLWAY. SHE LOOKS LOST IN A HOME THAT SHE KNOWS SO
WELL. SHE TURNS AROUND AND FACES THE KITCHEN, WHERE A MEMORY
BEGINS TO UNFOLD.
6. 6
SCENE #3
INT. DAY – THE KITCHEN (FLASHBACK)
PRESENT DAY EMILY LOOKS TO THE DOOR, WHERE A SLIGHTLY YOUNGER
LOOKING EMILY AND HER MUM ENTER. THEY ARE WEARING DIFFERENT
CLOTHES, THIS IS CLEARLY A MEMORY FROM THE PAST. THE SOUND
SOMETHING BUBBLING CAN BE HEARD FAINTLY
EMILY
(calling through the house)
Hiya Grandad!
GEN LOOKS PUZZLED AS SHE SPOTS A PAN OF WATER BUBBLING ON THE
SIDE. SHE TAKES IT OFF THE STOVE AS SHE SAYS…
GEN
(casually)
You know you’ve got a pan about
to boil over in here, Dad!
SLOW TRACKING SHOT, GEN STARTS WALKING INTO THE FRONT ROOM.
Don’t worry, I’ve sorted it now.
CUTS BACK TO THE PAN ON THE SIDE
(o.s)
What are you like! Anyway… Emily would like to
know if we can stay for tea!
DIALOUGE FADES OUT. CUTS TO EMILY BACK IN THE KITCHEN, STARING
AT WHERE THE PAN WOULD BE.
EMILY TURNS AND WALKS INTO THE LIVING ROOM, SHE IS NOW
CARRYING A BOX.
7. 7
SCENE #4
INT. DAY – LIVING ROOM
EMILY WALKS OVER TO THE FIREPLACE, WHERE THERE ARE ORNAMENTS
LINED UP ALONG THE TOP OF IT. SHE PICKS ONE UP AND LOOKS AT
IT, SMILING TO HERSELF.
SCENE #5
INT. DAY – LIVING ROOM (FLASHBACK)
CUT TO: MEDIUM LONG SHOT
SHOT OF HENRY SAT IN HIS ARMCHAIR
HENRY
(smiling)
Do you remember when you used to
play with those when you were younger?
CUT TO: REVERSE SHOT
EMILY
Of course I do! How could I forget? In fact…
CUT TO: OVER THE SHOULDER CLOSE-UP
(looking for specific ornament)
This one was my favourite!
CUT TO:
HENRY
Oh you had hours, hours of fun!
CUT TO:
Making up your own little stories in your
own imaginary world. You know I told your
Mum they were just cheap tat, but she insisted
‘No, Gen likes them’, and that’s why we kept them.
The amount of times I nearly bagged them all up for the car
boot…
EMILY CUTS HENRY OFF
EMILY
(concerned, nervous)
Grandad?
EMILY’S SUDDEN WORDS BRING HENRY OUT OF HIS DAZE
8. 8
EMILY
You just called me Gen.
HENRY
(laughing it off)
Oh, well you know what I meant, Emily!
You look so much like your Mum did at your age,
apart from the hair, of course.
EMILY IS CONVINCED, AND LAUGHS IT OFF, PICKING BACK UP ANOTHER
ORNAMENT AND LOOKING AT IT.
CUT TO HENRY, LOOKING EMBARRASSED/CONFUSED/UPSET. EMILY
DOESN’T NOTICE.
CUTS BACK TO PRESENT DAY EMILY IN THE ROOM, SHE PICKS UP THE
ORNAMENT AND PUTS IT IN THE BOX, ALONG WITH A FEW OTHERS.
SCENE #6
INT. DAY – BATHROOM/BATHROOM FLASHBACK
EMILY STANDS IN THE DOORWAY OF THE BATHROOM. THE FRONT DOOR
OPENS AND SHE CAN HEAR HER MUM TALKING TO PEOPLE IN THE
KITCHEN. SHE LOOKS AT THE TIME ON HER WATCH/PHONE. HER
LOCSCKREEN IS HER AND HENRY. SHE SMILES.
EMILY WALKS FURTHER INTO THE BATHROOM AND UP TO THE MIRROR.
SHE ADJUSTS THE MIRROR, AND THIS TRIGGERS ANOTHER FLASHBACK,
HENRY IS STARING AT HIMSELF IN THE MIRROR, HE IS WEARING
DIFFERENT CLOTHES (MAYBE PYJAMAS) AND LOOKING CONFUSED. CUTS
TO A CLOSE-UP, HE LOOKS AS IF HE HAS FORGOTTEN WHY HE IS IN
THE ROOM.
A POINT OF VIEW SHOT SHOWS HIM LOOKING DOWNN AT HIS HANDS OVER
THE SINK, SLIGHTLY SHAKING. HE PICKS UP…
9. 9
SCENE #7
INT. DAY – BEDROOM
SCENE #8
INT. DAY - BEDROOM (FLASHBACK)
SCENE #9
INT. DAY – CONSERVATORY
EMILY WALKS THROUGH INTO THE SECOND BEDROOM. IT CLEARLY HASN’T
BEEN SLEPT IN FOR YEARS, WITH THE ROOM USED AS STORAGE. SHE
LOOKS THROUGH THE CONSERVATORY DOORS AND SEES HERSELF, HER
GRANDAD AND HER MUM AROUND THE TABLE.
SCENE #10
INT. DAY - CONSERVATORY
EMILY AND HENRY ARE SAT AT THE TABLE. EMILY IS ON HER PHONE,
HENRY IS EXPRESSIONLESS. GEN ENTERS THE FRAME CARRYING A DISH
OF FOOD.
GEN
(placing dish on the table)
Here we are!
GEN SITS DOWN AT THE TABLE AND CONTINUES SPEAKING. SHOTS OF
HENRY SHOW THAT HE SEEMS DISTRACTED AND NOT LISTENING.
I’ve been looking forward to this
all day!
GEN NOTICES THAT EMILY IS ON HER PHONE
(to Emily)
Put that away now.
EMILY ROLLS HER EYES AT GEN AND RELUCTANTLY PUTS HER PHONE
AWAY, BUT GOING ON IT AGAIN AS SOOM AS GEN TURNS AWAY. HENRY
STILL HASN’T ENGAGED IN CONVERSATION, BARELY ACKNOWLEDGING GEN
AND EMILY’S PRESENCE.
10. 10
GEN
(happily, dishing out food)
It’s been a long time since we did this.
all here, together. I bet it’s nice to have
someone cook for you for a change Dad… and Emily
is going to do the washing up for you…
How about that, Dad? Being treated like a king…
GEN STOPS DISHING OUT THE FOOD AND REALISES HENRY IS STARING
BLANKLY INTO SPACE.
(concerned, trying to get Henry’s attention)
Dad?
HENRY DOESN’T RESPOND
Dad, what’s wrong?
EMILY FINALLY PUTS HER PHONE AWAY AND SITS QUIETLY, NOT SURE
WHAT TO DO. HENRY SITS AT THE TABLE, SILENTLY, LOOKING
CONFUSED AND CLOSE TO TEARS. UNTIL HE SPEAKS…
HENRY
(confused)
11. 11
SCENE #11
EXT. NIGHT – HENRY’S HOUSE
THE SUN IS SETTING ON A WINTER EVENING. EMILY WALKS DOWN THE
DRIVE TOWARDS HER GRANDAD’S HOUSE JUST LIKE ANY NORMAL VISIT.
ALL OF THE LIGHTS ARE ON, NOTHING LOOKS SUSPICIOUS.
SCENE #12
INT. NIGHT – HENRY’S HOUSE
EMILY ENTER THROUGH THE FRONT DOOR AND CLOSES IT BEHIND HER.
EMILY
(casually)
Hi Grandad, it’s Emily! Mum asked
me to pop round and see how
you’re feeling.
NO RESPONSE, EMILY WALKS THROUGH INTO THE LIVING ROOM AND
LOOKS AROUND, HE IS NOT IN THERE. THE T.V IS ON AND HIS
WALKING FRAME IS NEXT TO THE CHAIR. SHE PUTS HER BAG DOWN IN
THE CORNER OF THE ROOM. GROWING WORRIED, EMILY CONTINUES
THROUGH THE HOUSE, INTO THE BATHROOM, HALLWAY…
EMILY
(confused)
Grandad?
SHE PROGRESSES TO THE BEDROOM AND HENRY IS NOT HERE EITHER.
EVEN MORE WORRIED NOW, SHE CONTINUES RUNNING THROUGH THE HOUSE
AND CALLING OUT FOR HENRY.
EMILY
(worried)
Grandad?!
SHE GETS TO THE CONSERVATORY WHERE THE LIGHT IS ON, WHICH IS
UNUSUAL. SHE STRUGGLES TO OPEN THE DOOR. WHEN SHE GETS IN
THERE, SHE REALISES THE DOOR TO THE GARDEN IS OPEN. RUNNING
OUT, SHE SEES THAT HENRY HAS FALLEN IN THE GARDEN.
12. 12
SCENE ENDS WITH A LOW ANGLE SHOT OF HER LOOKING DOWN AT HIM.
(SCENE POSSIBLY INTERWEAVED WITH SHOTS OF WHAT HAPPENED
LEADING UP TO THE FALL)
SCENE #13
INT. DAY – REWIND SEQUENCE?
SCENE #14
EXT. DAY/NIGHT – VOICEOVER PHONECALL SEQUENCE
MONTAGE EDIT OF INTERIOR AND EXTERIOR SHOTS OF THE HOUSE.
DOCTOR
(v.o)
Hello Mrs ______, my name is
Sarah I’m a doctor at The General. Your Dad’s test
results are back, it looks as if Henry’s had a mini
stroke as a result of his condition. Can you give me a call
back when you get this, I assume you’re aware that once the
dementia reaches this stage, we need to seriously think about
whether Henry can carry on living independently. Speak to you
soon, bye.
SCENE #16
HELPLINE
CREDITS
