Cf9 Ep3 Shooting Script 29th September 2019 Revisions

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SERIES NINE
EPISODE THREE
Written by
JAMES CAPEL & MIKE BULLEN
SHOOTING SCRIPT
29/09/2019
*REVISIONS MARKED*
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COLD FEET 9 - EP 3 - SHOOTING SCRIPT - 29.09.19 1.
3/1 INT. BLANK WHITE SPACE (TOILETS). DAY 8 (10:35) 3/1
David stares confidently ahead - a dramatic pause for effect.
DAVID
Ad Meliora - ‘towards better
things’. For a long time this was
my mantra. But what I didn’t *
realise then was that success is
not a destination, but a journey. *
First I had to fail. *
TITLE
CUT TO:
David, as before.
DAVID
It was thanks to those failures *
that I eventually worked out what
success really is...
CUT TO:
3/3 EXT. SCAFELL PIKE - CAR PARK. DAY 9 (14:51) 3/3
Pete perches on the edge of David’s open car boot. He holds a

large map of Scafell Pike in front him.
DAVID (V.O.)(CONT’D)
Success is planning ahead. Being
prepared for the obstacles that lie
in wait...
CUT TO:
3/4 INT. FANCY DRESS SHOP. DAY 8 (11:20) 3/4
Jenny parades in front of the mirror. She has an enormous 80s

blow dried wig on with jeans and an 80s t-shirt.
DAVID (V.O.)
Success is learning from your *
experiences... *
After a few flicks, Jenny decides the wig isn’t quite right.
She adds a a cowboy hat on top. Much better.
DAVID (V.O.
And being proud of how far you’ve
come.
TITLE
CUT TO:
3/5 INT. KAREN’S HOUSE - OLIVIA’S BEDROOM. DAY 7 (11:22) 3/5
Karen passes Olivia’s vacant bedroom. She stops and hangs in

the doorway.
DAVID (V.O.)(CONT’D)
It’s about adapting to change.
Knowing when to hold tight - and
when to let go.
Karen sits on Olivia’s bed and picks up a heart-shaped

cushion.
CUT TO:
3/6 INT. KAREN’S HOUSE - LOUNGE. DAY 7 (13:09) 3/6
Adam types Laura’s full name into Facebook. A number of

candidates pop up. Adam scrolls through them. He finds one
that looks like it might be ‘his’ Laura; he clicks on it.
DAVID (V.O.)
It’s about not accepting defeat,
instead finding new ways to achieve
your goals.
But reaching the page shows this isn’t Adam’s Laura.

Momentarily defeated, Adam has a further idea. He scraps this
search and types a new prompt into the search engine...
TITLE
CUT TO:
David smiles, taking another dramatic pause...
DAVID
But above all. Success is--
ROGER (O.S.)
David?
The whiteness of the background reveals the tiles of the

gents toilets where David is rehearsing in the mirror. He
turns to Roger...
ROGER (CONT'D)
(smirking at him)
Sorry to interrupt an artist’s
preparation - but we’re ready for
you...
Roger gives a look of ‘can’t wait to see this’, then

disappears. David turns back to his reflection one last time.
He takes a long deep breath in...
TITLE: COLD FEET
CUT TO:
3/8 INT. KAREN'S HOUSE - KITCHEN - DAY 7 (12:38) 3/8
Karen sits at the table in front of an open laptop while

Jenny stands over her holding a cup of coffee.
CAPTION: A few days earlier
KAREN *
All booked! *
JENNY *
Looks lovely. Ooh. Big screen TV, *
sound system. *
KAREN *
And a hot tub. *
JENNY
God, I bet that’s seen some action.
Karen hadn’t thought of that. She registers her revulsion.
JENNY (CONT'D)
We’re really looking forward to it. *
An off comment, but Karen lets it pass. *
KAREN *
Course we are. We don’t really need *
a room each. But I wasn’t sure
you’d want to share with me.
JENNY
Better with you than my mother.
Another odd comment. Karen fixes her with a look. Jenny

cracks, takes a seat.
JENNY (CONT'D)
Promise you won’t get mad at me.
KAREN
What have you done?
JENNY
Pinky promise first. *
KAREN
Jenny!
Jenny reluctantly comes clean.
JENNY
I might have invited my mum.
KAREN
What?!!
JENNY
By accident! I didn’t mean to.
KAREN
How do you accidentally invite
someone?!
JENNY
Well, accidentally... *
CUT TO:
3/9 INT. PETE & JENNY’S HOUSE - KITCHEN. DAY NON-SPEC A 3/9
(10:30)
F/B. The day before, Jenny is at the counter eating her

breakfast as Barbara sits at the kitchen table with her back
to her, reading a women’s gossip magazine.
Jenny picks up a leaflet for a Sunshine Cancer Trust coffee

and cake afternoon.
JENNY
Oh I forgot to say. There’s a *
ticket for you there. *
Barbara looks underneath her papers. She sees the tickets for
the ‘80s Weekend’. Jenny doesn’t notice; she’s still looking *
at the cancer fundraiser tickets. *
BARBARA
For me?! Are you sure you want me
along?
Jenny’s surprised her Mum’s making such a big deal of it.
JENNY
Of course I do. It’ll be more fun
with you there.
BARBARA
Oh, Jenny! I’m fair made up! Is it
fancy dress?
Jenny wonders what she’s on about. Barbara crosses to hug

Jenny. Jenny sees the ‘80s weekend’ ticket she’s holding. *
JENNY
What? Oh, wait, Mum... *
Barbara breaks the hug, looks at Jen with eager expectation.

Jenny’s resolve crumbles.
JENNY (CONT'D)
Great!
Over this image we hear Karen’s voice:
KAREN (V.O.)
Jenny!
Cut to continuation of scene 8 (pt2).
JENNY
I’m sorry but if you’d only seen
the joy in those glaucomic old
eyes!
KAREN
Oh God. This was going to be our *
thing!
Enter Heather. *
HEATHER
What was? *
KAREN
(admonishing Jenny)
Jen’s invited Barbara on our 80s *
weekend. *
HEATHER
Oo, is it for mothers too?!
Karen’s look: “Oh, fuck, what have I just done!” Jenny’s look
at Karen: “You see how easy it is?!”
HEATHER (CONT'D)
I loved the 80s. I was just
reaching my prime.
(aside to Jenny)
Some say I’m still in it.
KAREN
It’s fancy dress, Mum. I don’t
think you’d enjoy it.
HEATHER
Nonsense, it sounds like a hoot!
And if Jenny’s invited Barbara... *
Heather looks at Karen like a child asking its mum for an ice
cream. Karen glances at Jenny, a final appeal for help, but
Jenny’s found something of immense interest to her: a mark on
the ceiling, say. Karen is on her own... and stranded.
KAREN
Mum, would you like to come? *
HEATHER
I’ll go and start on my costume!
Heather skips out. Karen looks at Jen accusingly.
JENNY
Hey, that wasn’t my fault.
Karen sighs, as if an 80s weekend in Morecambe wasn’t bad *

enough. *
CUT TO:
3/10 INT. KAREN’S HOUSE - LOUNGE. DAY 7 (14:04) 3/10
Reprise of scene 6: Adam searches in vain for signs of Laura

on social media, when Matt enters, watches him a moment.
MATT
What are you doing?
ADAM
Huh? Oh, trying to find out more
about Laura.
MATT
By stalking her online?
ADAM
It’s not stalking!
(beat)
Well, I suppose technically - if I
was having any joy. I thought the
whole point of social media was to
be seen.
MATT
Not by creepy old men.
ADAM
Help me, will you?
MATT
No!
ADAM
I just want to know she’s okay; you
know, a sense of reassurance.
MATT
That’s all?
ADAM
What else is there? It’s not like
I’m going to try and adopt her
again. She’s in her twenties; it’s
too late.
Matt adds the bit that Adam could have added, but hasn’t.
MATT
And you already have a child.
ADAM
There’s that too.
Adam looks at Matt beseechingly. A beat.
MATT
If I help you, will you do
something for me?
ADAM
Oh, here we go. How much?
MATT
Sign me up to your gym.
ADAM
You want to join a gym?
MATT
My mates all go.
ADAM
Is this because of Liv?
MATT
No! Do you go because of Karen?
ADAM
Well, if I’m being honest... But
you and Liv are okay? I mean she
has moved out.
MATT
(”Leave well alone.”)
We’re fine.
ADAM
Okay, deal. How about tomorrow
lunchtime? I’ll show you the ropes.
Matt takes a seat, starts typing at the keyboard.
ADAM (CONT'D)
Literally. I mean, there are ropes.
Adam’s chuffed with his joke. Out on the street a car alarm
starts going off. Matt stops typing, indicates the alarm.
MATT
Hear that? That’s the Dad-joke
klaxon.
Matt resumes typing. Adam sits beside him, grins, happy to be

the butt of his son’s humour and enjoying this shared moment.
CUT TO:
3/11 INT. MARY’S CAFE. DAY 7 (16:34) 3/11 *
As Ellie delivers orders to tables in the b/g, David is on

the phone confirming the time of his talk with Deborah...
DAVID
The 12th at 10.30 it is. Er, one
thing, Deborah. I’m about to climb
Scafell Pike for charity. I wonder *
whether your investment bank... *
(is interrupted) *
£100! That’s really most generous.
I’ll email you the link.
David punches off the phone, rather pleased with himself,

turns to two old girls scribbling on a form.
DAVID (CONT'D)
Thank you so much ladies.
David picks up the phone, checks on Ellie.
DAVID (CONT'D)
Alright, Ellie?
ELLIE
Well, I could do with a hand!
DAVID
Just got to make a call. *
Ellie looks exasperated. David punches out a number.
CUT TO:
3/12 INT. CARE HOME/INT. MARY’S CAFE. DAY 7 (16:40) 3/12 *
Pete at work, on the phone.
PETE
You’ve raised how much?!
Intercut Pete with David in the cafe, Ellie run off her feet.
DAVID
Just doing my best for a good
cause.
PETE
So nothing to do with our
competition?
DAVID
To see who can raise the most? I’d
forgotten about that.
PETE
I don’t suppose Adam has.
DAVID
(smiles to himself)
No. Look, I should get off the
phone. So you can call him, tell
him my total.
CUT TO:
3/13 EXT. SHOP/INT. CARE HOME. DAY 7 (17:03) 3/13
Adam sits in his car, on a stake-out though this shouldn’t be

obvious, on the phone to Pete.
ADAM
How much?! The bastard! What
(total) are you up to?
Pete checks a large sweet jar on which is stuck a hand-

written label: “PETE’S SCAFELL PIKE CLIMB DONATION JAR”. It
has one £5 note and a desultory pile of silver and copper
coins. His shoulders sag as he replaces it on the side.
PETE
Nowhere near David.
ADAM
Me neither. I’m going to have to up
my game. No way I’m letting him
win.
PETE
Okay, but let’s not lose sight of
why we’re doing this. It’s the SCT
that matters.
ADAM
The what?
PETE
The Sunshine Cancer Trust!
ADAM
Oh, them. Yeah, that’s what it’s
all about. The STC.
PETE
(sighs)
SCT.
ADAM
That bastard!
Rolling his eyes, Pete rings off. He sees Maude, an elderly *

resident, passing on her zimmer frame, assisted by Priti, a
care home assistant.
PETE
Maude! Did you speak to your *
grandson about sponsoring me?
MAUDE *
I did, Peter. He said charity
begins at home.
PETE
Of course he did. Priti?
PRITI
On my hourly rate? I can barely
afford to feed my cat.
PETE
Well, do you really need a cat?
Priti gives Pete a dead-eyed look.
PETE (CONT'D)
I suppose it’s company since your
husband died.
Priti helps Maude totter off. Pete looks defeated. *
CUT TO:
3/14 INT. ROBYN’S HOUSE. NIGHT 7 (20:05) 3/14
Olivia and Ellie pore over a laptop with Robyn, who is passed
a glass of wine by David. He pours himself another. The mood
is light, banterish. If you didn’t know better you’d think
they were a happy family.
OLIVIA
You can’t say that!
(reading)
‘Perhaps all millennials could
benefit from a spell in prison’.
ELLIE
You’ll want national service
bringing back next.
OLIVIA
Or the cane.
DAVID
Now there’s an idea!
Looking on together, David and Robyn laugh. David leans in to

her.
DAVID (CONT'D)
Thanks for inviting me for dinner.
ROBYN
Ellie’s idea. She says you survive
on leftovers you scavenge from the
cafe.
DAVID
I’ve had worse in my time. *
Robyn regards David sympathetically. They drift over towards

the laptop.
CUT TO:
3/15 EXT/INT. ROBYN’S HOUSE. NIGHT 7 (20:06) 3/15
Continuous. Outside, Karen watches a soundless tableau of the

above, thinking the same thing - a happy family.
Olivia happens to glance out of the window and catches Karen

watching.
OLIVIA
Is that Mum?
David, Robyn and Ellie’s heads turn.
OLIVIA (CONT'D)
Why’s she standing there like that?
Karen realises she’s been rumbled. She tries to act casual,

waving nonchalantly as she approaches the front door. Robyn
steps out to greet David’s first ex-wife.
CUT TO:
3/16 EXT/INT. ROBYN'S HOUSE - HALL. NIGHT 7 (20:07) 3/16
Robyn opens the door to Karen. Before Robyn can speak:
KAREN
I won’t come in; I’ve just come to
pick up Ellie.
ROBYN
Nonsense!
Karen’s a little taken aback.
KAREN
I have. Honestly.
ROBYN
No, I mean, you must come in. Join
the fun.
Karen allows Robyn to drag her in and close the door.
CUT TO:
3/17 EXT. SHOP. NIGHT 7 (20:15) 3/17
Adam sits in his car, in the same place we saw him last
(though then it was day). He reacts to something he sees.
Reveal Laura leaving a local DIY store where she works with *
another colleague. They bid each other farewell and set off
in opposite directions. Adam jumps out of his car and runs
across the road to intercept her.
ADAM
Laura!
Laura stops, watches Adam approach. He reaches her, smiles.
ADAM (CONT'D)
I’m Adam. Adam Williams.
Adam waits to see if there’s any recognition. There isn’t.
ADAM (CONT'D)
I was in court the other day. Just
by chance really. I didn’t
recognise you at first.
(still nothing from Laura)
Obviously you don’t me either.
LAURA
No. Who are you?
Adam smiles, knowing how big a surprise she’s about to have.
ADAM
I knew you when you were a kid.
Best part of twenty years ago. My
wife (and I) -
LAURA
(interrupting)
How do you know where I work?
Adam wasn’t expecting that to be her next remark.
ADAM
What?
LAURA
You were waiting for me to come
out.
Adam looks back across the road, buying himself some time.
ADAM
Erm... Well, it was mentioned in
court.
LAURA
Not that I remember.
ADAM
It must have been. How else would I
know...?
CUT TO:
3/18 INT. KAREN'S HOUSE - LOUNGE. DAY 7 (14:16) 3/18
F/B. To Matt searching on Adam’s laptop.
MATT
She has a job.
ADAM
How can you be sure?
Matt clicks on a team photo, men and women in the same gear.
MATT
Her work softball team.
Matt focusses in on and enlarges the team emblem, revealing

the company name. Adam leans in for a closer look, smiles.
Cut to continuation of scene 17 (pt2): Adam, Laura on the

street.
ADAM
You really don’t remember me?
LAURA
No. What do you want?
ADAM
You were eight, living in Stockport *
with a foster family. My wife and I
were going to adopt you. Adam
Williams. And Rachel Bradley.
It appears not to ring any bells, so he goes on.

ADAM (CONT'D)
You spent weekends with us; we took
you to the park, McDonalds. You
must remember.
LAURA
No. I don’t know who you are.
Laura starts to walk away. Adam hurries after her.
ADAM
I just want to help you.
Adam lays a hand on her. She wrenches free, swinging round.
LAURA
I don’t know you, okay?! Now leave
me alone!
Laura strides away. Adam is shocked. And defeated.
END OF PART ONE; PART TWO
3/19 INT. KAREN'S HOUSE - KITCHEN/HALL/LOUNGE. NIGHT 7 (20:58)3/19
Karen takes the herbal tea she’s just made (Adam has a glass
of wine); they go through to the lounge, both a bit down
after their recent experiences with Olivia and Laura.
ADAM
Don’t worry; Liv will come round.
KAREN
Only when she wants something.
ADAM
No, I mean she’ll stop being so
hard on you. Did you manage to
speak to her?
Karen sighs, recalling the moment...
CUT TO:
3/20 INT. ROBYN'S HOUSE - LOUNGE/HALL. NIGHT 7 (20:21) 3/20
F/B. An awkward silence as David and Robyn with Karen, cast

about for conversation. Ellie’s on her phone. Karen’s eyes
are on Liv, who rises from the laptop and heads out.
ROBYN
So... Any holiday plans, Karen?
Karen just ignores Robyn and takes advantage of this

opportunity to get Olivia alone. We briefly acknowledge David
and Robyn’s reaction to Karen’s behaviour as we go with Karen
into the hall. She pulls the lounge door shut behind her.
KAREN
Olivia! Talk to me!
Olivia sighs, realises she’s going to have to do this.
OLIVIA
What do you want to say?
KAREN
Well, I don’t know. Are you okay?
You haven’t replied to my texts. I
mean, I’m used to that with
Ellie... *
Karen attempts a smile, hoping Olivia will soften. No deal. A

beat, Karen waits for more, but Liv lets her do the work.
KAREN (CONT'D)
Do you think you might come home
soon?
OLIVIA
I’m not sharing with Ellie. Or
Matt. I can’t believe you’d throw
us together like that.
KAREN
I wasn’t. I thought you were going
off to uni.
OLIVIA
Look, I’d rather be here. Home’s *
too crowded. And Robyn’s great.
She’s easy. Besides, it makes sense
with me doing work experience at
her firm. She gives me a lift.
Let’s just leave it for now, okay?
Olivia carries on into the kitchen. Karen stays where she is.
Cut to continuation of scene 19 (pt2): Karen and Adam in the

lounge; they sit on the sofa with their drinks.
KAREN
I didn’t even know about the work
experience.
Adam can see how much Karen’s beating herself up over this.
ADAM
I’m sorry. I feel like Liv moving
out is my fault.
KAREN
That’s true. If you and Matt hadn’t
moved in...
Adam had been expecting Karen to say she doesn’t blame him.
Seeing his look, she laughs; she’s messing with him.
KAREN (CONT'D)
...she’d only find something else
to hold against me.
Adam smiles, a nice moment between them. A beat.
ADAM
God, girls are tricky. I wonder how
me and Rach would have fared with
Laura. I can’t believe she doesn’t
remember us.
KAREN
She was only a kid. Maybe she’s
blocked it out.
ADAM
I just wish there was something I
could do for her.
KAREN
Respect her desire to be left
alone?
Adam nods, knowing that Karen’s right. They both smile,

enjoying the comfort they’re getting from each other. They
move in and kiss, leaping apart as Heather crashes in with a
glass of red. But too late. *
HEATHER
Don’t mind me. Pretend I’m not *
here.
Karen disentangles herself from Adam as Heather takes a seat.
KAREN
Did you want something, Mum?
HEATHER
I thought we might watch TV. Love
Island’s about to start.
Heather punches on the TV with the remote. Karen and Adam

take one look at each other and start to leave the room.
CUT TO:
3/21 INT. PETE & JENNY'S HOUSE - LOUNGE. NIGHT 7 (21:01) 3/21
We hear (but don’t see) what sounds like Love Island on the
TV. Young Adam, Chloe, Jenny and Barbara are all trying to
watch it, Jenny having to crane round Pete, who’s on the
floor laying out the contents of a rucksack: maps, guides, a
compass, copious Kendal mint cake bars, water bottle, chafe
cream, sun spray, sun hat, sunglasses, cagoule, etc etc.
CHLOE *
This mountain climb. Is it *
dangerous?
JENNY/YOUNG ADAM/BARBARA
(in unison, scornful)
No!
PETE
It can be. If there’s a sudden
change in the weather. *
CHLOE
(still a tad concerned)
You sure you’re gonna be all right? *
JENNY
He’ll be fine, love.
BARBARA
Biggest risk is what all that mint
cake will do to your system.
PETE
(to Chloe)
With a compass and a map you can’t
go wrong.
BARBARA
(still on the mint cake)
It would bung me up for days.
Young Adam looks revolted by his Gran’s remark.
JENNY
Have you had any more donations?
YOUNG ADAM
Shhhhh.
PETE
Not lately. I’m falling behind the
other two.
BARBARA
(getting her purse)
Oh, we can’t have that. How much do
you need to catch them up.
Barbara takes out two pound coins.
PETE
About five hundred quid.
BARBARA
Oh.
Barbara goes back into her purse and pulls out another pound
coin. She hands the three quid to Pete.
PETE
Every little bit helps, Barbara.
YOUNG ADAM
Are we watching this or what?!
The family shut up and resume watching TV, Jenny having to *

crane to see round Pete.
CUT TO:
3/22 EXT. ADAM’S OFFICE. DAY 8 (10:14) 3/22
Establisher.
CUT TO:
3/23 INT. ADAM’S OFFICE. DAY 8 (10:15) 3/23
Patrick and Amber look on, assessing, as a hip female

photographer takes a group photo of Adam surrounded by his
team: 4 nerdy IT engineers. We’re with Amber and Patrick.
PATRICK
I’m not sure this is the image we
want to project.
AMBER
(”well, it wouldn’t be”)
It’s the I.T. department.
PATRICK
With what looks like their Dad. Is
there anything we can do to hide
the generation gap?
AMBER
Botox?
Patrick ponders the problem. A colleague calls across.
COLLEAGUE
Adam! Phone call for you!
ADAM
Can you take a message, Maisie? I’m
in the middle of a photo shoot.
Patrick seizes the opportunity.
PATRICK
No, no, take it, Adam. We’ll do one
with just the grunts.
Adam walks blithely away. Patrick shoots Amber a look: “that

was a stroke of luck”, as he goes to have a word with the
photographer.
CUT TO:
3/24 INT/EXT. ADAM'S OFFICE. DAY 8 (10:16) 3/24
Adam picks up the phone.
ADAM
This is Adam Williams.
LAURA (O.S.)
It’s Laura.
ADAM
Who?
Silence from his caller. Then it dawns on Adam who she is.
ADAM (CONT'D)
Laura! Hi. How are you?
Laura stands on the street outside Adam’s work.
LAURA
Good. I, uh - I’m outside your
office.
Intercut Adam and Laura as required.
LAURA (CONT'D)
Wondered if you’ve got a minute.
Adam casts a look back to the photo shoot, the photographer

taking pics of Adam’s team. He’s only briefly tempted.
ADAM
I’ll be right there! *
Adam replaces the phone, rushes out of the office. Patrick

and Amber don’t notice, rapt as they are in the photo shoot.
CUT TO:
3/25 THIS SCENE HAS MOVED AND NOW PLAYS AS 3/27A 3/25 *
3/26 THIS SCENE HAS MOVED AND NOW PLAYS AS 3/27B 3/26 *
3/27 INT. CITY CENTRE CAFE. DAY 8 (10:49) 3/27 *
Laura sits at a table as Adam brings over two coffees.
ADAM
I didn’t think I’d hear from you.
How did you track me down?
LAURA
There’s this thing. Called the
internet. I’m surprised you haven’t
come across it, what with your job
and all.
Adam smiles. Things go quiet - Adam regards Laura, waits for

her to speak next. This is her meeting after all.
LAURA (CONT'D)
I did remember you. Not when I
first saw you. But when you told me
who you were. *
ADAM
Why did you say you didn’t?
LAURA
It was a lot to take in!
Adam nods, he gets that. A beat.

LAURA (CONT'D)
I remember you showing me my
bedroom. I couldn’t believe it was
going to be all mine! And going out
with you and Rachel. I loved people
looking at us, thinking we were a
family, just like theirs.
(sudden change of tone)
Why did you change your mind?
ADAM
We didn’t! You mean, you don’t *
know? They didn’t tell you?
LAURA
They might have; I don’t remember.
All I know is that one day you and
Rachel were going to be my Mum and
Dad and the next you weren’t.
ADAM
Oh, Laura! We wanted to be!
Adam’s heart breaks. He reaches across the table to take

Laura’s hand, but she retreats out of reach. He accepts that.
ADAM (CONT'D)
Rachel got pregnant. We didn’t
think she could. They said we
couldn’t proceed with the adoption.
You’d have barely moved in before
this baby came along. They said it
would be too unsettling for you.
LAURA
Unsettling? Like being rejected
wasn’t?!
ADAM
You weren’t rejected, Laura.
LAURA
It felt like that.
They fall silent a moment, each ruing the past.
LAURA (CONT'D)
Are you and Rachel still together?
Adam looks at her, realising she doesn’t have a clue. He

gives a soft smile - how best to explain...
CUT TO:
3/27A EXT. CITY HIGH RISE BUILDING. DAY 8 (10:57) 3/27A *
Suited workers buzz around the entrance of the smart

corporate building ready to start their working day.
CUT TO:
3/27B INT. CONFERENCE ROOM. DAY 8 (10:58) 3/27B *
David stands at the lectern giving his speech to a room of

suited employees, the majority male and young. Off to one
side, Roger and Deborah stand against the wall, looking on.
DAVID
The chap I shared a cell with - my
pad mate in prison slang - was a
career criminal called Robbie. He
could have attended the same school
as me, but circumstance led him
down a very different path. Yet
here we were, banged up together,
both of us...
ROGER
(aside to Deborah)
Losers.
Roger grins at Deborah, whose expression is neutral.
DAVID
At a low point in our lives. But
Robbie taught me a thing or two...
ROGER
(aside to Deborah)
How to jemmy a safe?
DAVID
(wrapping up)
That the values espoused by
society, and here in the financial *
sector: money, glamour, power - *
they’re all transitory and shallow;
it’s the qualities you cannot put a
price on that amount to wealth:
family, friendship and love. Attain
those and you will truly be a
success. Thank you.
A brief moment, then the audience, as it always does,

applauds politely. Deborah and Roger do too.
ROGER
To think I used to look up to him.
Pathetic how far he’s fallen.
But the applause doesn’t abate. Indeed, among the younger

listeners, it’s building. First one gets to his feet, then
another, finally all the under 30s are standing, applauding.
(Note: The older audience members remain seated. And the *
younger are not clapping wildly; standing is their way of *
registering the impact David’s words have had.) *
DEBORAH
(leans in to Roger)
Well, he seems to have struck a
chord with your younger colleagues.
David shyly acknowledges the standing ovation. Roger looks

stunned. Deborah makes her way to David’s side.
DEBORAH (CONT'D)
Thank you, David, for that
inspiring message. I’m sure you’d
be willing to take questions or,
judging by the response, sign
autographs.
Laughter; hands shoot up. David beams. He’s a triumph!
CUT TO:
Karen, Jenny, Heather and Barbara enter a fancy dress shop.
KAREN
(to Heather and Barbara)
Okay, so have either of you any
idea who you’d like to go as?
JENNY
It has to be an icon of the 80s. *
HEATHER
I thought I might go as Sophia
Loren.
KAREN
What’s she got to do with the 80s?
JENNY
She must be in her 80s to be fair. *
HEATHER
She’s the epitome of style. In any
decade. More than one man has said
I look like her.
Jenny sideways glances at Karen who grins.
BARBARA
I might go as Culture Club.
KAREN
Boy George?
BARBARA
No, that lady singer with the hat.
JENNY
Boy George. Mum, he’s not...; oh,
forget it, that’s a great idea.
HEATHER
Come on, Barbara. We can have some
fun trying stuff on.
Jenny joins Karen’s side.
KAREN *
This is going to be painful. *
CUT TO:
Montage to music. Heather as Cher. Barbara as Tina Turner.

Heather as Elton John. Barbara as the Queen. Throughout,
Karen and Jenny look on, unimpressed or perplexed. Then they
get in the spirit and in on the act. Karen as Madonna. Jenny
as Michael Jackson. Then Karen and Jenny together as Wham!
CUT TO:
3/30 INT. CITY CENTRE CAFE. DAY 8 (11:25) 3/30
Back with Adam and Laura.
LAURA
God, I’m sorry, Adam.
Adam shrugs: it was a long time ago.

ADAM
She left me with a wonderful son.
(sudden idea)
You should meet him. Come for
dinner!
Laura’s completely taken aback.
ADAM (CONT'D)
You can meet Karen too! I know
she’d love it!
Over Laura’s less than conviction, we hear Karen’s voice:
KAREN (V.O.)
What?! Why?!
CUT TO:
3/31 INT. KAREN'S HOUSE - KITCHEN. DAY 8 (17:34) 3/31
Karen, interrupted mid cooking, faces Adam, who’s tentative.
ADAM
Because it’s a nice idea?
(re food)
Can you make that stretch?
KAREN
(a little doubtfully) *
I guess so. *
Matt enters, blithely unaware.
KAREN (CONT'D)
Have you told Matt yet?
MATT
Told me what?
Adam looks uncomfortable. He knows how this will go down.
ADAM
Okay... So... I got in touch with
Laura.
MATT
Huh?! You said you just wanted to
know she was all right, that’s all.
ADAM
Yes, but when you found out where
she worked... I couldn’t just
ignore her.
MATT
Why do you have to interfere?!
Aren’t I enough for you?
ADAM
Of course you are.
MATT
So what, now you’re going to have
to know she’s all right every few
months?
The doorbell rings. A beat.
ADAM
I should get that.
Karen thinks Adam should tell Matt the most important bit.
KAREN
Adam!
But Adam’s out of the room. Matt has no idea what’s going on.
3/32 INT. KAREN'S HOUSE - HALLWAY. DAY 8 (17:35) 3/32
Adam opens the door to Laura. He ushers her in.
LAURA
I nearly didn’t come.
ADAM
I’m glad you did.
From the kitchen comes Matt’s voice, raised in shock.
MATT (O.C.)
What?!
ADAM
Come in, come in!
Before Adam can reply, Matt strides out of the kitchen...
ADAM (CONT'D)
Matt, this is Laura.
Matt grunts, nods, barely civil, heads up the stairs.

ADAM (CONT'D)
You’ll meet him properly over
dinner.
(shouts upstairs)
You’re coming down to eat!
Matt’s door slams.
LAURA
Maybe I should go.
ADAM
No, no. Come in, come in.
Adam closes the door behind her, wonders ‘is this a mistake?’
CUT TO:
Matt, Ellie and Laura sit at the table, nothing to say to

each other. Awkward! Adam fills the void as he hands out
plates, then he and Karen take their seats at the table.
ADAM
Laura Joslin. It’s not a name you *
forget. I thought “could that be *
our Laura?” *
ELLIE
Where was this?
Ellie’s innocent question is met with an embarrassed silence.
LAURA
I was up in court.
ADAM
That’s really neither here nor
there.
MATT
“Possession with intent to supply.”
ELLIE
Wow! Hardcore!
Karen gives Ellie an admonishing look. Ellie shrugs: “what?”
ADAM
Laura had fallen in with a bad
crowd.
MATT
Have you noticed how people always
fall in with a bad crowd; they’re
never the bad crowd themselves?
Matt says this in a chatty manner, as though he’s just making

a general point, not at Laura’s expense. Adam glowers at him.
ELLIE
(re size of her serving)
Are we on a diet or something?
Well, there isn’t much.
Karen changes the subject by turning to Laura. *
KAREN *
So did you grow up round here,
Laura?
LAURA
For a bit. Although I didn’t really
stay in one place very long.
MATT
I know the feeling.
Adam feels the criticism and might say something in his

defence, but he notices the brief smile of empathy between
Laura and Matt and realises that’s preferable. Laura begins
to expand but is cut off by Heather and Olivia entering:
KAREN
Liv! I wasn’t expecting you?!
OLIVIA
I’m not stopping; I’ve just come
for a change of clothes.
HEATHER
(holding up some bags)
We’ve been post-work shopping!
KAREN
Have something to eat at least.
I’ll make some more.
ELLIE
For me too!
Karen leaps up to cook. Laura rises.
LAURA
Can I use your bathroom?
ADAM
Of course. It’s upstairs.
Laura heads out. As she reaches the door:
HEATHER
Who on earth’s that?
CUT TO:
3/34 INT. KAREN'S HOUSE - LANDING. DAY 8 (17:53) 3/34
Laura is staring at a picture on the wall of Adam, Rachel and

the gang as Matt and Liv come up the stairs.
OLIVIA (O.C.)
I’d just rather stay at Robyn’s!
MATT (O.C.)
But we’re fine, aren’t we?
OLIVIA (O.C.)
Yes! Stop asking me that!
Liv disappears into her room. Matt catches sight of Laura

looking at the picture and he stops.
LAURA
This is your mum?
Matt nods and approaches: He joins Laura to look at the

picture.
LAURA (CONT'D)
I remember when she hugged me, she
rested her chin on the top of my
head, like she was hugging me with
her whole body.
She looks to Matt, expecting him to agree. But he doesn’t. *
MATT
I never knew her.
Laura is struck by the fact she knows more than he does.
LAURA
No.
MATT
I’m sorry things didn’t work out.
LAURA
I don’t blame you. Like your Dad
said, those were the rules.
That comment makes no sense to Matt.
MATT
What’s it got to do with me?
Laura looks at Matt: does he seriously not know?
CUT TO:
Heather pours herself wine; Adam and Ellie are still at the
table, Karen’s near the door, trying to persuade Liv to stay.
KAREN
It will only take me a minute.
OLIVIA
Robyn’s expecting me to eat there.
KAREN
But I’ve hardly seen you...
Matt enters past Karen and Olivia, with such vehemence they
forget their differences and watch him confront his Dad.
MATT
You never told me! You said it just
fell through!
ADAM
What?!
MATT
I’m the reason you didn’t adopt!
ADAM
No! Your Mum got pregnant!
MATT
It’s the same thing, Dad!
Standing at the kitchen door, Karen sees Laura descend the

stairs and head towards the front door. Karen follows her.
MATT (CONT'D) KAREN

I’m the reason Laura didn’t Laura!
have a family!
Karen is halfway down the hall, when Laura flees the house,
the door slamming behind her. Adam and Matt fall silent and
look towards the door, as Karen re-enters.
KAREN (CONT'D)
She’s gone.
Adam is aghast, looks in shock at Matt, who still can’t

believe that his Dad didn’t give him the full facts. In the
background, unnoticed by the others, Ellie quietly helps
herself to Laura’s dinner.
END OF PART TWO; PART THREE
3/36 EXT. MANCHESTER. DAY 9 (10:05) 3/36
Establisher - a new day.
CUT TO:
3/37 EXT. PETE & JENNY'S HOUSE. DAY 9 (10:50) 3/37
Pete and Young Adam load the cases into the boot of Karen’s
car. Heather looks on as Barbara says goodbye to Young Adam
and Chloe. Jenny and Karen emerge from the house dressed as
Thelma and Louise.
BARBARA
What are you dressed like that for?
JENNY
What? We’re going in character. *
HEATHER
I thought you were doing Wham?
KAREN
We couldn’t agree on who’d be
Andrew Ridgeley.
BARBARA
So who are you then?
JENNY
Well, it’s obvious, isn’t it?
The others all regard Jenny and Karen blankly.
KAREN
Possibly not.
JENNY
Thelma and Louise!
CHLOE
Who?
JENNY
Before your time, love. Absolute
classic. *
Chloe looks it up on her phone.
KAREN *
A feminist textbook. *
YOUNG ADAM
Don’t they murder someone?
HEATHER
(as if this makes it ok)
A man.
CHLOE
(looking at her phone)
I thought it was an 80s weekend?
JENNY
Well, Thelma and Louise was made in
the 80s...
KAREN
Late 80s. ‘89 maybe.
CHLOE
(reads from her phone)
Directed by Ridley Scott. 1991.
Karen and Jenny look at each other.
JENNY
Oh, sod it! Nobody knows who we are
anyway. Come on, Louise!
KAREN
I thought I was Thelma.
HEATHER
Darling, it really doesn’t matter.
Heather and Barbara climb in the back; Pete grabs a private

word with Karen as she heads for the driver’s door.
PETE *
Thanks again for doing this. I owe *
you one. *
Karen gives a look, she won’t disagree. *
PETE (CONT'D)
Will you keep an eye on Jen for us? *
She’s still a bit fragile.
Karen smiles, nods, reassures him. She gets in the driver’s

seat. Jenny says goodbye to Pete.
JENNY
What time are you meeting the lads?
PETE
Twenty minutes ago.
(dismissing Jen’s concern)
They’ll be fine.
JENNY
You think?
PETE
(shrugs: “who knows?”)
I’ll tell you this much; I’m gonna
make sure they’re friends before
this is over, even if it kills me.
CUT TO:
3/38 INT. KAREN’S CAR. DAY 9 (10:51) 3/38
With Barbara and Heather in the back, Jenny and Karen are
ready to go...
KAREN
(as Louise) *
Ready for an adventure, Thelma? *
JENNY
Sure am, Louise! *
KAREN
Two badass women breaking away from
their humdrum lives...
JENNY
...for the weekend.
KAREN
...With their mothers in the back.
Jenny shrugs: ‘ah well’. Karen guns it and to squeals of

delight from the others, the car speeds away. Pete, Young
Adam and Chloe waving goodbye.
CUT TO:
3/39 EXT. KAREN'S HOUSE. DAY 9 (11:30) 3/39
David (in hiking gear) and Adam (dressed for a day out, in
trail running shoes) lean against the back of David’s car,
but at opposite sides, staring in different directions. They
studiously ignore each other, have been for a while. At last:
DAVID
Here he is!
Pete drives up, pulls in behind David’s car.
ADAM
Finally!
CUT TO:
3/40 EXT. KAREN'S HOUSE. DAY 9 (11:32) 3/40
Having deposited his rucksack, Pete slams shut the boot of

David’s car. David’s not keen to have Adam up front.
DAVID
Pete, you can ride shotgun.
PETE
No, I’ll go in the back, give you
two a chance to talk.
David looks at Adam, who in response gets in the back. Pete

looks exasperated. He and David get in, Pete in the front.
CUT TO:
3/41 EXT. PETROL STATION. DAY 9 (13:40) 3/41 *
Karen fills her car; Jenny notices her distant look. Heather
and Barbara go into the service station.
JENNY
Everything all right?
KAREN
Just thinking about Adam.
JENNY
Ahhh, sweet.
KAREN
We had a row this morning.
JENNY
(with undisguised relish)
Oo! What about?!
CUT TO:
3/42 INT. KAREN'S HOUSE - BEDROOM. DAY 9 (09:26) 3/42
F/B. Adam’s packing for Scafell Pike, Karen for the ‘80s
weekend.
KAREN
I’m not accusing Laura!
ADAM
In as many words you are!
Karen indicates an empty necklace box on a chest of drawers.
KAREN
My necklace was here last night and *
now it’s not. And Matt caught Laura *
hanging around outside our room.
ADAM
So she must have stolen it? That’s
profiling!
KAREN
That’s bullshit!
Adam goes to defend Laura further, but Karen cuts him off.
KAREN (CONT'D)
Matt couldn’t see why you needed to
get in touch with her. I don’t know *
what you were hoping to get out of
it.
ADAM
But you think Laura got a necklace.
Cut to continuation of scene 41 (pt2): Jenny and Karen. *
JENNY
Well, she has a record. *
KAREN
That’s what I said! Which is when
Adam stopped talking to me.
Jen’s look: “oh”. The petrol clicks off, the tank being full.
JENNY
I’ll get this.
Karen replaces the hose; Jen starts into the petrol station.
CUT TO:
3/43 EXT. ROAD. DAY 9 (13:43) 3/43 *
David has a flat tyre. His car is jacked up. He’s trying in
vain to get the wheel nuts off. Pete and Adam look on.
ADAM
What’s the point of locking wheel
nuts if you can’t get them off?
DAVID
I can get them off! With a ratchet.
Which I left at home.
PETE
This is going to put us well
behind.
David gives up trying to get the nuts off. A couple of beats. *
ADAM
So who raised the most money then?
DAVID
The fact you ask suggests you think
you have.
ADAM
A final tally of £637.
DAVID
Six hundred and fifty two.
ADAM
Bollocks!
PETE
Six hundred and seventy six.
ADAM DAVID
What?! You were way behind!
PETE
I had a flurry of late donations.
DAVID
Well, well done, Pete. I’m happy to
have been beaten by the better man.
Adam rolls his eyes. Pete’s chuffed about his little victory.
DAVID (CONT'D)
And second is still creditable.
Adam glowers at David, in whose mouth butter wouldn’t melt.
CUT TO:
3/44 INT. PETROL STATION. DAY 9 (13:45) 3/44 *
Jenny pays for petrol, then starts to leave as someone else

is served, distracting the sales clerk. Jenny pauses, an idea
occurring to her, and stands, scanning the shelves.
CUT TO:
3/45 INT. KAREN’S CAR. DAY 9 (13:46) 3/45 *
Karen sits waiting, when Jen emerges from the service station
and, trying to be unobtrusive, scurries across the forecourt.
Karen starts the engine as Jenny throws herself into the car.
JENNY
Go! Go, go, go!
KAREN
What?!
JENNY
Just drive!
Karen screeches out of the petrol station onto the main road.
Jenny is over-excited! She holds up a packet of Jelly Beans.
JENNY (CONT'D)
I nicked these. *
KAREN
You did what?!
JENNY
We’re Thelma and Louise. We live
outside the law. *
Screech! Karen jerks the car over onto the verge and stops.
KAREN
We don’t steal!
Jenny’s excitement dissipates a tad at this telling-off. *
KAREN (CONT'D)
I’m turning this car round, and
you’re going to put those back.
JENNY
Oh, come on! *
From the back seat Heather pipes up.
HEATHER
We have to go back.
KAREN
I agree.
HEATHER
No, we’ve left Barbara in the loo.
Reveal that Barbara’s space is empty. Jenny looks a bit sick.
CUT TO:
3/46 EXT. PETROL STATION. DAY 9 (13:47) 3/46 *
Barbara’s standing looking lost, when Karen’s car pulls up.
CUT TO:
3/47 EXT. SCAFELL PIKE - CAR PARK. DAY 9 (14:59) 3/47
David (wearing full hiking gear) and Adam (wearing trainers

fit for a light trail) stand around as Pete unpacks his gear
from the boot. David takes out his walking poles.
ADAM
Are you going to ski down?
DAVID
They protect the knees.
ADAM
Well, I suppose at your age...
David shoots Adam a dirty look. They both watch as Pete hauls
a huge rucksack out onto the floor.
PETE
We should be at the top of it by
now.
ADAM
We’ll get there quicker if you
don’t take all that stuff.
DAVID
I hate to agree with him, Pete, but
it does seem excessive.
Pete accepts defeat, starts tossing stuff into the boot. Adam
takes a swig from a bottle of water, tosses it into the boot.
ADAM
Right. I’m ready. Let’s go.
CUT TO:
3/48 INT. MORECAMBE HOTEL - HEATHER & BARBARA’S ROOM. DAY 9 3/48 *
(15:42)
Jenny lifts Barbara’s bag onto the bed; Karen checks out the
room; Heather takes a bottle of champagne from a cooler bag.
BARBARA
Well, this will do us, won’t it,
Heather?
Heather uncorks the champagne and pours glasses.
HEATHER
Let’s have pre’s; cheaper than
paying their prices.
KAREN
Did you get that out of my office?
HEATHER
It was just lying around.
KAREN
I got that for a writer!
HEATHER
Oh, they drink enough; you don’t
want to encourage them. Here.
Heather offers Karen a glass. Karen stares at her aghast.

HEATHER (CONT'D)
Well, one little drink isn’t going
to hurt you.
Karen gives her mother a deep-frozen look.
HEATHER (CONT'D)
Oh, darling, you’ve been recovering
for twenty years; surely you must
be cured by now?
(off Karen’s look)
Oh, suit yourself!
Heather passes the glass to Barbara, pours another.
HEATHER (CONT'D)
I hope you’re not going to be a wet
blanket the whole weekend.
Karen is fit to erupt. As Heather proffers a glass to Jenny:
KAREN
We’re in the room next door. Come
on, Jen!
Jenny was just about to take the glass, and would like to,
but knows she must support Karen who’s already making for the
door. A tad reluctantly, Jenny follows. Heather shrugs.
CUT TO:
3/49 EXT. SCAFELL PIKE TRAIL. DAY 9 (16:02) 3/49
Pete rummages in his rucksack, while Adam casts about and

David stares at a signpost, where the path divides in two.
DAVID
It’s a bit confusing.
ADAM
No, it’s not. If we’re climbing a
mountain, we’ve got to go up.
DAVID
What does the map say?
PETE
I left it in the car.
(off David’s reaction)
Well, you told me to unpack!
DAVID
Not the map!
ADAM
We don’t need a map. It’s this way.
DAVID
It looks rather steep.
ADAM
Then the quicker we reach the top.
PETE
We don’t have a lot of time.
They stand undecided a moment, then Adam starts up.
DAVID
Hang on! We ought to have a vote!
Adam ignores him, continues up. Pete looks at David, shrugs,

and follows Adam. David has no choice but to do the same.
DAVID (CONT'D)
I don’t know how I was ever friends
with that...(searches for the
harshest word)... arse.
CUT TO:
3/50 INT. MORECAMBE HOTEL - KAREN & JENNY’S ROOM. DAY 9 3/50 *
(16:10)
Jenny unpacks while Karen’s still bent out of shape.
KAREN
She’s so annoying!
JENNY
All mums are. *
KAREN
Yours is a sweetheart. *
JENNY
My mum’s not always been hugs and
tickles, you know. She repeats *
stories nine times, rations tea *
bags like we’re still at war... *
Jenny’s hoping to get Karen to smile, but no joy. Karen *

violently unzips her bag and unpacks. *
KAREN
It was meant to be just us two.
Jenny’s aware that it’s her fault. While Karen seethes, Jen
quietly unpacks, nervous about the night ahead.
CUT TO:
3/51 EXT. SCAFELL PIKE. DAY 9 (17:52) 3/51 *
Later. In single line, Adam (in the lead), David and Pete
traverse the increasingly treacherous track.
PETE
This is a lot harder than I
expected.
DAVID
That’s because we’re on the wrong
track.
ADAM
Oh, stop your whingeing!
DAVID
Don’t tell me what to do.
ADAM
I wouldn’t have to if you’d shut
up!
PETE
Will you both give it a rest?!
Adam marches on ahead. A good three paces behind, David

regards him darkly, his eyes taking on a malevolent glint.
Cut to a CU of the back of Adam’s head as David’s hand shoots

into frame and shoves him roughly in the back, causing Adam
to teeter than fall over the edge, tumbling to his death.
Cut back to David three steps behind as he allows himself a

smile at this pleasurable fantasy. Ahead, Adam stops, turns.
ADAM
Hey. I reckon we’re almost at
the...
Just then some scree gives way and Adam loses his footing.
His arms cartwheel as he tries to keep his balance...
PETE
Adam!!!
...then he tumbles down the mountainside...

DAVID PETE (CONT'D)

Jesus Christ! Adam!
...before coming to a stop some distance below, howling in

pain. Pete joins David, peering down at Adam’s prone body.
DAVID (CONT'D)
Oh, fuck.
END OF PART THREE; PART FOUR
3/52 EXT. SCAFELL PIKE. DAY 9 (17:54) 3/52 *
Pete and David scramble down to arrive at Adam’s side.
ADAM
I think I’ve broken my ankle.
DAVID
I said this track looked
treacherous.
Adam shoots David a dark look.
DAVID (CONT'D)
See if you can stand.
David and Pete raise Adam to his feet. He cries in pain.
DAVID (CONT'D)
Set him down, set him down.
They put him back down. David pulls out his phone; Pete too.
PETE
Could we get him down the mountain?
DAVID
Not before it goes dark. I don’t
have a signal.
PETE
Shit, neither do I.
Nor does Adam.
DAVID
Maybe there’s someone nearby.
PETE
(shouts)
Help!!? Hello?!! Helllp!!!
They listen. Nothing.
DAVID
One of us will have to go for help.
ADAM
There’s no need to panic.
DAVID
Panic?! If we don’t get help, we’re
going to be out here all night
freezing to death!
ADAM
I wasn’t trying to break my ankle!
DAVID
No, but your pigheadedness (is)...!
ADAM
(interrupting)
It was an accident!
DAVID
If you hadn’t stormed ahead--
PETE
(cutting in, snapping)
Shut up! Just shut up! I’ve had
enough. I just wanted to do
something fun, something worthwhile
for a good cause with my two best
mates. But no, you can’t get over
yourselves and think about other
people, even for a few hours. *
(picking up his rucksack)
Right, I’m going for help. David
you’re staying here. You can argue,
kill each other, I don’t care.
ADAM *
Are you sure you’ll be all right?
PETE
I’ve still got a compass!
David and Adam share a look, and the same thought.
DAVID
It’s not much use without a map.
Pete pauses - annoyed, he concedes the point.

PETE
Okay fine. I’ll keep looking for a
phone signal.
Pete starts walking off, holding his phone.
DAVID
Watch your footing!
Distracted by his phone, Pete stumbles. Pulling a face, he

puts his phone away.
Now alone together, David and Adam share a concerned look.
CUT TO:
3/53 INT. MORECAMBE HOTEL - BAR. NIGHT 9 (20:01) 3/53 *
Barbara (Boy George) and Jen, among a mass of middle aged men *
and women in 80s outfits, dance to Kylie’s ‘Locomotion’. *
BARBARA
This is the most fun I’ve had in
the last fifty years!
A drunk and annoying male dancer gets in Jenny’s space. She *

shoves him away, gives him a look that shrivels him. *
BARBARA (CONT'D)
Oh, it’s good to have you back,
love.
Jenny grins happily; they dance on, together. Cut across to

Karen, watching wistfully. Heather (Bonnie Tyler) joins her.
Heather wears something (a boa?) that hides her necklace.
HEATHER
You look lost in thought.
KAREN
I was just thinking what a nice
time Jen and Barbara are having.
HEATHER
Dancing together? They look
ridiculous. You wouldn’t catch me
doing that.
KAREN
Yet you’re happy to look like a
drag queen?
Looking round the room, Heather doesn’t catch that comment.

HEATHER
Would you like some company?
KAREN
(exasperated)
Sure. Why not.
Karen offers the chair next to her to Heather.
HEATHER
No, I mean, there’s a chap over
there who’s giving me the eye. I
thought you could keep his friend
occupied.
Karen looks over to see two guys (60s) looking their way.
KAREN
Be your wingman?! I’ll pass.
HEATHER
God, if it weren’t for memory of
the pain of childbirth, I wouldn’t
believe you were my daughter!
Heather crosses to the men, leaving Karen taken aback.
CUT TO:
3/54 EXT. SCAFELL PIKE. NIGHT 9 (20:03) 3/54
The light is going; David sits. He checks his phone signal

(in vain), Adam sits a short distance away, feeling the cold
as darkness falls. A beat or two.
ADAM
Thanks for staying with me.
DAVID
I could hardly leave you out here
to die. Although just before you
fell the thought did occur to me.
Adam smiles, assuming David’s joking, then, seeing David’s

face, wonders whether maybe he wasn’t.
ADAM
I’m sorry, David.
DAVID
It was an accident.
ADAM
About us falling out. We never set *
out to hurt you.
(beat)
I am serious about Karen.
David considers that contention. There’s something about *

being in the dark, on a bleak mountain, potentially facing *
death that allows the men to express their emotions more *
openly than they normally would. *
DAVID
I didn’t believe at first that you
were. I do now. I should be
pleased. Stupid thing is, it seems
to have made it harder.
Adam turns that over in his mind; he can buy it. A beat.
ADAM
Do you think we can ever be friends
again?
DAVID
Even leaving Karen aside, you make *
it difficult. *
Adam smiles.
ADAM
Yeah. Sorry if I wind you up.
DAVID
Well, it’s partly my fault for
letting you.
ADAM
Partly.
David smiles; he’s not letting Adam fully off the hook.
ADAM (CONT'D)
I want us to be friends again. “The
‘two’ amigos” - it just doesn’t
work, does it?
DAVID
Oh, you and Pete were best buddies
long before I came along. I started
calling us the three amigos because
I wanted what you already had.
ADAM
Well, it worked.
DAVID
Not really. I’ve always been the
butt of the joke, haven’t I?
ADAM
Well, Pete lost all that weight.
Adam shrugs apologetically; David smiles.
DAVID
You know, I don’t think I’ve made
any new friends in the last ten
years. Not real friends, who I know
are going to last.
ADAM
Me neither. A few women, one wife;
but none to last.
DAVID
Maybe that’s middle age for you.
There’s too much history new
friends have missed out on, so it
never goes that deep.
ADAM
That’s why what we’ve got matters.
David nods, taking that in... Adam shivers. Seeing this,

David rises and unzips the puffer jacket he’s wearing.
DAVID
Here, drape this over you.
David sits, puts the jacket over both their shoulders.
ADAM
Thank you.
David shrugs: it’s nothing. They huddle together a moment.
ADAM (CONT'D)
I thought we might have been
rescued by now.
DAVID
I hope nothing’s happened to Pete.
ADAM
Christ, I’ll never forgive myself
if it has.
Thoughts of Pete give them an extra concern to worry about.
CUT TO:
Karen’s with Jenny and Barbara when Heather joins them.
JENNY
Did he knock you back, Heather? *
HEATHER
I think he might be gay.
KAREN
Why?!
HEATHER
God, who knows? Brought up in a
houseful of women, that seems to do
it.
Karen’s confused: “what?”. A thought occurs to Heather.
HEATHER (CONT'D)
I wonder if that’s why Josh turned
out gay.
KAREN
He didn’t turn out gay, Mum! He was
born that way!
HEATHER
Oh, I know that’s what people say!
KAREN
Oh, my God!
HEATHER
Look, I love Josh. But you have to
admit, he never showed any
tendencies before David left you.
Karen’s fit to burst; Barbara tries to defuse the tension. *
BARBARA
Why don’t I get us some more
drinks?
HEATHER
No need, Barbara!
Heather sneaks a hip-flask out of the folds of her costume,

tops up their drinks. Karen shoots daggers at her Mum.
CUT TO:
Night has fallen, the scene lit only by the pale moon. Adam
and David lie close together for warmth, David spooning Adam,
his jacket laid over them. Adam frowns, unsure of something
and a tad uncomfortable. He searches for the right words...
ADAM
David? Not that I mind, but, erm...
DAVID
Sorry! It’s my torch. Forgot to
take it out of my pocket.
David pulls the torch out of his pocket, to Adam’s relief.

They resume spooning.
ADAM
I don’t think I’m going to be able
to sleep.
DAVID
No.
ADAM
Talk to me. How’s work?
DAVID
I’ve been offered a job.
ADAM
Running the cafe, I know.
DAVID
No, a real job, with real money...
CUT TO:
3/57 INT. CONFERENCE ROOM. DAY 8 (11:21) 3/57
F/B. David shakes hands with a young suit before he joins

other David-adoring colleagues and they leave David alone
with Deborah and Roger.
DAVID
Well, that went better than I
expected.
DEBORAH
You made quite the impression,
David.
ROGER
They’re very naive.
DEBORAH
(An impression) On me. I could use
someone like you. With fresh ideas.
Come and work for me.
DAVID ROGER
What?! What?!
DEBORAH
Director of Social Responsibility.
How does that sound?
DAVID
In a firm like this? Far-fetched.
Deborah smiles: she likes his fearless way of talking.
DEBORAH
I want you to be our conscience.
Capitalism with a caring face.
Deborah’s serious; David’s surprised; Roger’s not happy!
Cut to continuation of scene 56 (pt2): Adam and David on

Scafell Pike.
DAVID
I must admit I’m tempted. I do miss
the cut and thrust of the City. And
this could be a chance to make a
real difference.
ADAM
How often does that happen? At our
age it’s about clinging on. I
barely am.
DAVID
Your job’s under threat?
ADAM
Oh, nobody’s said anything...
CUT TO:
3/58 INT. ADAM'S OFFICE. DAY 8 (15:06) 3/58
F/B. Adam, walking through the office, greets a colleague who

doesn’t respond. Adam thinks nothing of it. He walks past
framed photos of different staff teams on the wall, stopping
dead as he sees the one of the IT team: he’s not in it!
ADAM (V.O.)
But I’m beginning to get the sense
my face no longer fits.
Adam continues to his desk, feeling like a dead man walking.
Cut to continuation of scene 56 (pt3): Adam and David on

Scafell Pike.
ADAM
So I say take it. It could be your
last chance to play in the big
league.
DAVID
You know, I think I will.
(beat)
If we survive this night...
CUT TO:
Barbara proposes a toast. She, Jen and Heather (all a bit

pissed) have champagne; Karen’s sticking to water.
BARBARA
To mothers and their daughters!
JENNY
Chloe, Ellie and Liv!
They clink; Heather clocks that Karen’s a little wistful.
HEATHER
She’s going to be fine! Olivia.
That’s who you were thinking of,
isn’t it?
KAREN
No, Mum, (it was you)...
HEATHER
Liv’s striking out, finding her
independence. I said she should.
KAREN
What?
HEATHER
I encouraged her to move out.
KAREN
So you could have her room?!
HEATHER
No! Because you stifle her. Anyone
can see that.
Heather looks to Jenny and Barbara for support.
KAREN
You’re going to lecture me about
raising a daughter?!
HEATHER
Well, I didn’t do so bad a job, did
I?
Heather again appeals to Jenny and Barbara, who again wish

she wouldn’t. Feeling the heat, Heather removes the boa (?)
from around her neck, revealing the necklace she’s wearing.
KAREN
Wait! Is that my necklace?
HEATHER
Oh. Yes. I borrowed it; I didn’t *
think you’d mind.
KAREN
Oh my God!
Karen gets up, starts out.
JENNY
Where are you going?
KAREN
To phone Adam. To apologise. For my
thieving mother!
Pulling out her phone, Karen exits. Heather is unperturbed.
HEATHER
She does overreact. Her father was
like that.
Jenny and Barbara are appalled; Jenny turns to her Mum.

JENNY
Shall we dance?
BARBARA
Yes!
They can’t get away from Heather quickly enough!
CUT TO:
3/60 EXT. SCAFELL PIKE/EXT. MORECAMBE HOTEL. NIGHT 9 (21:24) 3/60 *
David and Adam still lie cuddled together. A couple of beats.
ADAM
I don’t want to die.
DAVID
We’re not going to die.
A beat.
ADAM
Karen and I aren’t spea(king)...
DAVID
Shhhh! What’s that noise?
ADAM
What noise?
DAVID
That. It sounds like...
ADAM
A ringtone! That’s my phone!
Leaping apart, Adam winces in pain as he forgets his ankle.

He manages to fumble the phone out of his pocket, but in his
panic to answer it, drops it. It skitters over towards David.
ADAM (CONT'D)
Answer it!
David’s all fingers and thumbs as he answers it.
DAVID
Hello?!
Karen’s standing outside the nightclub, on her phone.
KAREN
David?
Intercut David and Karen.
DAVID
Karen!
(to Adam)
It’s Karen.
KAREN
Oh. Is Adam there? I need to speak -
DAVID
Karen! Shut up! And listen!!
Karen’s stunned into silence.
DAVID (CONT'D)
Adam and I are trapped on Scafell
Pike. He thinks he’s broken an
ankle...
ADAM
It is broken!
DAVID
Ring 999. Tell them we need help.
Urgently! Hello? Hello?
David checks his screen. He has no bars of coverage again.
DAVID (CONT'D)
Shit! I’ve lost her.
ADAM
How much do you think she heard?
DAVID
I’ve no idea.
CUT TO:
Barbara and Jen are dancing, when Karen rushes onto the dance
floor and speaks urgently to Jen. The music drowns out her
words, but we can see that Jenny can’t hear her, mouthing
“What?”. Karen tries again. Again, Jen can’t hear. Finally
Karen roughly yanks Jen by the arm and off the dance floor.
CUT TO:
David paces while Adam tries to stay warm under the coat.
ADAM
Check the signal.
DAVID
I just did. Both phones.
ADAM
Well, do it again!
As David does, Adam becomes aware of lights in the distance.
ADAM (CONT'D)
What’s that?
They watch a moment. The (search)lights bob over rough

terrain, heading in their direction.
DAVID
It’s heading in this direction?
They watch a moment longer.
ADAM
UFO? The three wise men?
DAVID
Or Mountain Rescue?
ADAM
Use your torch!
David pulls out his torch, starts flashing it around.
DAVID
Heyyyyyyy!
ADAM
Over here!!!
The Land Rover Defender continues coming, sounding a horn

(whoop, whoop!) to advise the lads their torch has been seen.
ADAM (CONT'D)
We’re saved!
CUT TO:
3/63 INT. LAKE DISTRICT HOSPITAL WARD. NIGHT 9 (23:40) 3/63
Thelma and Louise crash through the doors, to find Adam on a

bed with David sitting beside him sipping tea.
KAREN
Thank God you’re all right.
JENNY
We drove straight here!
KAREN
(to Adam)
I’m so sorry. *
ADAM
So am I. *
Karen kisses Adam, then remembers David, pulls away.
JENNY
You’ve broken your ankle?
ADAM
(a bit sheepishly)
Actually... just sprained.
DAVID
Badly sprained.
Adam smiles at David. Karen notices their rapport.
ADAM
Thank God Pete sent Mountain
Rescue.
JENNY
Pete did?
KAREN
No, that was me. *
A nurse arrives to check Adam’s chart.
JENNY
Where is Pete?
DAVID
We thought he’d be with you.
It begins to dawn on everyone...
ADAM
He must still be out there.
JENNY
Oh my God!
Jenny pulls out her phone and starts frantically dialing.
NURSE
I just heard they’ve brought in
someone else. *
Her call failing to connect, Jenny turns to the nurse.
JENNY
Which way?
The nurse indicates for Jenny to follow her. They hurry out;
the others look concerned. Just then, Karen’s phone rings.
KAREN
Hello?
80S WEEKEND OFFICIAL (V.O.)

Hello? Is that the daughter of -
CRACKLE CRACKLE
KAREN
I’m sorry, what?
CUT TO:
3/64 INT. LAKE DISTRICT HOSPITAL CORRIDOR. NIGHT 9 (23:42) 3/64
The nurse and Jenny running, Jenny’s eyes darting everywhere.
JENNY
(tearing up)
Pete?
Cut to continuation of scene 63 (pt2): Karen paces, on the

phone.
KAREN
I can’t hear you, what did you say?
CUT TO:
3/65 EXT. MORECAMBE HOTEL. NIGHT 9 (23:43) 3/65 *
Drunken clubbers in fancy dress mill around an ambulance, its

back doors open, blue light flashing. An official consults a
clipboard (which has Barbara and Heather’s names written on a
room plan) as he speaks on a mobile.

It’s about your mother.
CUT TO:
3/66 INT. LAKE DISTRICT HOSPITAL - A&E. NIGHT 9 (23:45) 3/66
Jenny crashes in, immediately spots a man with her back to

her, a blanket around him. He looks just like Pete. She runs
up and grabs him.
JENNY
Pete?!
It’s not Pete. Jenny is horrified. Her mind races through all
the possibilities of where Pete might be...
PETE (O.S.)
Jen.
Jenny turns to see Pete staring at her, being escorted by a

paramedic. He’s filthy dirty and wrapped in a shock blanket.
JENNY
Oh my god.
PETE *
I’ve been out all night.
JENNY *
You stupid sod! *
PETE
I was so scared.
Pete starts to break down.
JENNY
Come here! *
Jenny envelops him in a hug. Pete gets himself under control. *
PETE
My phone’s dead. They said the boys *
are safe.
JENNY
Thank God you are. Stick to the *
stairs from now on! *
They embrace again.
Cut to continuation of scene 63 (pt3): Karen on the phone.

KAREN
I’m sorry, you’re breaking up. What
about my mother?
Adam and David, aware that something’s up, are all ears. They
see Karen’s face fall, then she turns to address them.
KAREN (CONT'D)
They say she’s had a stroke.
Cut to continuation of scene 65 (pt2): the 80s weekend

official talks on the phone as a figure on a gurney, her face
hidden under an oxygen mask, is wheeled out of the club.
80S WEEKEND OFFICIAL

I’m afraid she’s in a serious
condition.
As the gurney is loaded into the ambulance, reveal Heather

watching in the crowd, aghast at poor Barbara’s condition.
Cut to continuation of scene 63 (pt4): Karen, shocked at this *

news.

I’d advise you to get here as soon
as you possibly can.
As Adam and David look to Karen in shock, Jenny and Pete

enter. They immediately pick up on the mood...
JENNY
What’s wrong? What’s happened now? *
CUT TO:
3/67 INT. CAR. NIGHT 9 (23:54) 3/67
David drives. Beside him Karen looks haunted as she struggles

to come to terms with the fact her mother might be about to
die. In the back of the car are Pete and Jenny. Pete holds
Jenny’s hand. Her heart goes out to Karen, little knowing the
surprise that awaits her...
The car speeds off up the road to be swallowed by the night.
END OF EPISODE

Cf9 Ep3 Shooting Script 29th September 2019 Revisions

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3/1 INT. BLANK WHITE SPACE (TOILETS). DAY 8 (10:35) 3/1

David stares confidently ahead - a dramatic pause for effect.

3/2 INT. BLANK WHITE SPACE (TOILETS). DAY 8 (10:36) 3/2

3/3 EXT. SCAFELL PIKE - CAR PARK. DAY 9 (14:51) 3/3

Pete perches on the edge of David’s open car boot. He holds a

3/4 INT. FANCY DRESS SHOP. DAY 8 (11:20) 3/4

Jenny parades in front of the mirror. She has an enormous 80s

3/5 INT. KAREN’S HOUSE - OLIVIA’S BEDROOM. DAY 7 (11:22) 3/5

Karen passes Olivia’s vacant bedroom. She stops and hangs in

Karen sits on Olivia’s bed and picks up a heart-shaped

3/6 INT. KAREN’S HOUSE - LOUNGE. DAY 7 (13:09) 3/6

Adam types Laura’s full name into Facebook. A number of

But reaching the page shows this isn’t Adam’s Laura.

3/7 INT. BLANK WHITE SPACE (TOILETS). DAY 8 (10:37) 3/7

David smiles, taking another dramatic pause...

The whiteness of the background reveals the tiles of the

Roger gives a look of ‘can’t wait to see this’, then

TITLE: COLD FEET

3/8 INT. KAREN'S HOUSE - KITCHEN - DAY 7 (12:38) 3/8

Karen sits at the table in front of an open laptop while

CAPTION: A few days earlier

Karen hadn’t thought of that. She registers her revulsion.

An off comment, but Karen lets it pass. *

Another odd comment. Karen fixes her with a look. Jenny

Jenny reluctantly comes clean.

F/B. The day before, Jenny is at the counter eating her

Jenny picks up a leaflet for a Sunshine Cancer Trust coffee

Jenny’s surprised her Mum’s making such a big deal of it.

Jenny wonders what she’s on about. Barbara crosses to hug

Barbara breaks the hug, looks at Jen with eager expectation.

Over this image we hear Karen’s voice:

Cut to continuation of scene 8 (pt2).

Heather skips out. Karen looks at Jen accusingly.

Karen sighs, as if an 80s weekend in Morecambe wasn’t bad *

3/10 INT. KAREN’S HOUSE - LOUNGE. DAY 7 (14:04) 3/10

Reprise of scene 6: Adam searches in vain for signs of Laura

Adam looks at Matt beseechingly. A beat.

Matt takes a seat, starts typing at the keyboard.

Matt resumes typing. Adam sits beside him, grins, happy to be

3/11 INT. MARY’S CAFE. DAY 7 (16:34) 3/11 *

As Ellie delivers orders to tables in the b/g, David is on

David punches off the phone, rather pleased with himself,

David picks up the phone, checks on Ellie.

Ellie looks exasperated. David punches out a number.

3/12 INT. CARE HOME/INT. MARY’S CAFE. DAY 7 (16:40) 3/12 *

Pete at work, on the phone.

3/13 EXT. SHOP/INT. CARE HOME. DAY 7 (17:03) 3/13

Adam sits in his car, on a stake-out though this shouldn’t be

Pete checks a large sweet jar on which is stuck a hand-

Rolling his eyes, Pete rings off. He sees Maude, an elderly *

Priti gives Pete a dead-eyed look.

Priti helps Maude totter off. Pete looks defeated. *

3/14 INT. ROBYN’S HOUSE. NIGHT 7 (20:05) 3/14

Looking on together, David and Robyn laugh. David leans in to

Robyn regards David sympathetically. They drift over towards

3/15 EXT/INT. ROBYN’S HOUSE. NIGHT 7 (20:06) 3/15

Continuous. Outside, Karen watches a soundless tableau of the

Olivia happens to glance out of the window and catches Karen

David, Robyn and Ellie’s heads turn.

Karen realises she’s been rumbled. She tries to act casual,

3/16 EXT/INT. ROBYN'S HOUSE - HALL. NIGHT 7 (20:07) 3/16

Robyn opens the door to Karen. Before Robyn can speak: