LOLLIPOP (POSY STERLING)

1. POSY STERLING olivier@parkvillepictures.com LOLLIPOP Written by Daisy-May Hudson August 2021 © Daisy-May Hudson/ Parkville Pictures / BBC FILMS 2021 cecilia@parkvillepictures.com

2. IN DARKNESS, TENDER PHONE CONVERSATIONS BETWEEN A MOTHER AND HER CHILDREN. POSY STERLING LEO (V.O.) Night mummy. Love you. Night. He whispers lovingly as if trying to get her off to sleep. Then silence. LEO (CONT’D) (Shouting) Are you asleep yet mum? MOLLY (V.O.) I was. LEO (V.O.) Was that a good story? MOLLY (V.O.) The best. AVA (V.O.) I’ve got my maths exam tomorrow, wish me luck. MOLLY (V.O.) You don’t need luck my little genius. You’ve got it all going on up there, just like ya mother. Ava giggles. MOLLY (V.O.) Oi, that wasn’t a joke! Gimme a squeeze then. I’m squeezing the phone, are you? They make squeezing noises like they’re hugging each other really tight. Through squeezed voices, the kids reply. AVA & LEO (V.O.) Yep. ******** MOLLY (V.O.) ...Happy birthday to Ava, happy birthday to you. Silence.

3. 2. 2. LEO (V.O.) POSY STERLING Can I get £10 top up please? Do you sell single cigarettes? (Whispering) Muuuuuum. Ava’s crying. MOLLY (V.O.) It’s your birthday baby, don’t cry. I don’t like hearing you upset. Silence. MOLLY (V.O.) Can you talk to me please? Please don’t cry. A deep breath along with Molly’s soft, muffled tears are heard down the phone. AVA (V.O.) Mum, don’t cry. Sorry. Mum? I’m sorry, I know it’s not your fault okay? LEO (V.O.) I’m looking after her mum! MOLLY (V.O.) (Her voice is tight) I know you are baby. TITLE CARD: LOLLIPOP EXT. PRISON GATES - EARLY MORNING MOLLY (warm face, warm heart and a fiery temper) stands in front of the prison gates. The early morning sky glows orange. The image is cold and bleak but Molly’s face is warm and thoughtful. Clutching her peeling silver handbag, a sleeping bag and a tent, she stands there for a second trying to figure it all out. She rubs her “No1 Mum Necklace” between her fingers. Pushing an escaped tear back into the corner of her eye, she takes a breath to fill her chest and forces her chin up in self-encouragement. INT. CORNER SHOP - DAY. MOLLY

4. 3. 3. SHOPOWNER POSY STERLING Nah, sorry love. The shop is playing Reggaeton. She gets lost temporarily in the music. MOLLY Banger. He laughs, nods and hands over the change. She walks out the shop wiggling to the music whilst trying to top-up her phone. She looks around and moves to a bench away from everyone beginning their working day. Hunching forward, she checks over her shoulder that no one can hear her. MOLLY (CONT'D) (In her poshest voice) Hello, I don’t know if I’ve come through to the right place, my name’s Molly Brown, yeah... She struggles to say the next part of the sentence and checks to see whether anyone is around. MOLLY (CONT'D) ...my children were put in, um, in with you a couple of months ago. The social worker came in and I signed a bit of paper. Yeah, she said to call when I come out to pick them up. When’s best please? She is fiddling nervously with her “No1 Mum” necklace. MOLLY (CONT'D) The social worker didn’t say anything about an appointment. What dya wanna ask me? Will my kids be there? Alright then, tomorrow at eleven. Thank you. Molly rubs on her chest to ease the anxiety. A beat. A woman passes by with a cigarette.

5. 4. 4. MOLLY (CONT'D) POSY STERLING Sorry darling, my train’s about to go. It’s legit I swear. Sorry babe. My husband’s just gone to the bank and he’s taken my fags with him. Could I pinch one off ya till he gets back? WOMAN WITH A FAG 1 Don’t be silly babe. Mine does it all the time. What are they like? MOLLY I know. Drives ya nuts dunnit? Molly smiles, lights and tokes the cigarette hard. WOMAN WITH A FAG 1 Ruby, come here now! Don’t run off from mummy please. A little girl comes running over. Molly smiles at her longingly, then looks up at the woman distantly before finding a smile. MOLLY (Handing back the lighter) Ta babe. INT. TRAIN PLATFORM - DAY Molly runs towards the train guard with her free travel voucher from prison. She’s ashamed to show it though. TRAIN GUARD 1 Oh, going anywhere nice? MOLLY Camping. TRAIN GUARD 1 Lovely. I ain’t seen one of these before. MOLLY It’s a voucher. TRAIN GUARD 1 I don’t know anything about ‘em. It’s not moody is it love? Molly looks embarrassed. MOLLY

6. 5. 5. She tries to walk past him. He stands quickly in front of her. POSY STERLING TRAIN GUARD 1 Excuse me, you cannot board this train madam. You have not paid. He radios loudly. MOLLY Move man. I’m gonna be late. He puts his arm up over the door of the train to stop her from entering. Molly looks at people moving around her to get on the train. Another guard walks quickly towards him and spots it. TRAIN GUARD 2 Yeah, that’s fine mate. They give them out at the nick so they can get home. TRAIN GUARD 1 Oh fucking hell, is that right? He looks at her funny. She rips the ticket from his hand again and rushes onto the train. INT. TRAIN. DAY Molly’s head rests against the window. She checks the time, waiting for her phone to ring. MOLLY My babies, mummy’s coming to get ya. I can’t wait to see ya. I know I’ve got a lot of making up to do. She closes her eyes and leans her head back on the window in bliss as her “No1 Mum” necklace glistens in the sun. INT. PROBATION OFFICE - DAY Molly is sitting opposite CHARLIE, a cocksure woman of similar age in casual clothing and a badge that reads “Probation”. CHARLIE Where you staying tonight then?

7. 6. 6. MOLLY POSY STERLING to Molly. Some happy clappy charity bird gave me this before I left (she lifts up the tent and sleeping bag). CHARLIE You be alright? MOLLY I used to go camping with my dad when I was little. Anyway it’s only for a night cause the council’l sort me out somewhere proper. CHARLIE Can ya stay at your mum’s? MOLLY No fucking way. Not after what she done to me and my kids, nah. CHARLIE What about money? MOLLY Her majesty’s generous donation of forty six pound (She lifts the cash out of her pocket). CHARLIE Have ya signed up to Universal Credit? Doesn’t take a minute. MOLLY Nah, all that stuffs not really me. I’m getting back to work as soon as I can. What dya reckon the chances of getting me old job back are? CHARLIE Well if I’m honest Molly, I doubt people will want ya looking after their kids with a record, ya know what I mean? MOLLY Ya know what I’ve always wanted to do? Teach theatre to kids. You know the naughty ones. CHARLIE You can do whatever you put ya mind

8. 7. 7. Taken back by her sentimentality, she pulls a face. POSY STERLING D’ya member, me and mum couldn’t stop crying and we never cry! CHARLIE (CONT'D) Same again in two weeks then yeah? MOLLY Yeah. CHARLIE Be good then. MOLLY I am. INT. COUNCIL OFFICES - DAY The housing office is full of people. She looks around at all the faces and takes a number, “979”. Shaking her head in disbelief, she leans to the woman next to her and shows her the ticket. MOLLY Gotta be a fucking wind up init? AMINA (Late 20’s) snaps her head up quickly from her phone on hearing the f-word in front of her children. She realises who it is. AMINA Molly. Oh my days, Molly? MOLLY Fucking hell Mina. Amina winces every time Molly swears. AMINA Wow, I ain’t seen you in... how many years is it? MOLLY Cor, fucking....last time I saw ya was yours and Habib’s wedding you know! You looked so beautiful Mina. AMINA (Sarcastically) Oh thanks! MOLLY Nah, nah, shut up! You still do.

9. 8. 8. AMINA POSY STERLING MOLLY Wow, just like ya mum. You were pregnant that’s why! You cried at college when someone held the toilet door open for ya. MOLLY Yeah. Molly and Amina start laughing. AMINA Wow, she must be... MOLLY Ava’s twelve man! Twelve years ago! Then I got my baby Leo who’s four. AMINA Wow, a lot happens in twelve years. MOLLY A lot. What you doing then? AMINA Just paying off Habib’s parking ticket. What about you? MOLLY My mum’s got problems with her bathroom and I’ve got the day off so I said I’d come down and sort it. LIBAN Mum, mum, can I have some money? BILAL Yeah mum, there’s a machine over there. We’ve not had any lunch. I’m starving! Molly starts laughing. AMINA Shhh. Come meet my friend. We met at college just after I came over to live with Aunty Bushra. This is Liban and Bilal. LIBAN Thanks. We can speak for ourselves.

10. 9. 9. AMINA POSY STERLING Molly was the only person who’d actually chat to me. MOLLY (Pulling a funny face) Rude. Amina starts laughing. AMINA You know what I mean! You used to look after me a bit. MOLLY Yeah well, kids can be nasty man. AMINA We used to have fun as well though. Before life all got a bit serious. MOLLY Innit. Amina’s phone starts ringing and she gestures to Molly. AMINA Member Aunty Bushra? Molly nods as Amina speaks Somali down the phone. AMINA (CONT'D) Molly, I gotta go, I got an exam for a nursing apprenticeship. MOLLY That’s amazing. AMINA Yeah, it’s at the same place your mum got me the job. I never forget that. MOLLY Yeah? AMINA Yeah. BILAL Mum, what about the... parking ticket?

11. 10. 10. AMINA POSY STERLING Molly just stares back at her, deadpan. It’s the only time aunty’s around for me to drop you over there. I’ll have to come back. She grabs the kids coats from the chair and holds Bilal’s hand. MOLLY Say hi to Habib. AMINA Yeah. And give my love to ya mum. MOLLY Yeah. Molly watches Amina and the kids rush out. She is alone again. It was nice to be normal for just a minute. INT. COUNCIL OFFICES - DAY Molly sits opposite a housing officer separated by glass. She looks around wondering how to explain it all. MOLLY You got a bit of paper? The confused woman slides paper under the glass. Molly scribbles something down. She holds the note up to the glass, too embarrassed to speak it out loud. It reads “I’ve just left prison. I’m in a tent. My kids are with a foster carer”. MOLLY (CONT'D) I was in there for four months so had to give up my tenancy on the council house. HOUSING OFFICER Ah, I don’t know how you could do that. MOLLY Do what? HOUSING OFFICER Be away from them for so long.

12. 11. 11. HOUSING OFFICER (CONT'D) Right, so that means you made yourself intentionally homeless then? POSY STERLING drive. MOLLY No. You lot made me give it up. HOUSING OFFICER But you went to prison and in doing so, made yourself intentionally homeless. MOLLY Cor, on one today aren’t ya? HOUSING OFFICER Well I’m going to need a statement or passport for your homeless application. MOLLY They’re at my mums. We ain’t talking. HOUSING OFFICER Well, looks like you’ll have to. She gives Molly a little sympathetic smile. EXT. COUNCIL OFFICES-DAY Amina, Bilal and Liban are by their car. Amina is pacing, shouting in Somali on the phone. LIBAN Our car won’t start. Amina waves, stressed but continues to speak to her aunty. MOLLY What time she gotta be there? LIBAN Three I think. MOLLY Where’s aunty live? BILAL Two hours on the bus. She don’t

13. 12. 12. Molly is looking at her watch and looks up to Amina on the phone. POSY STERLING on the phone. MOLLY I’ll take them Mina. She breaks from Somali into English. AMINA Nah, it’s fine. Honestly. I’ll figure something out. MOLLY I can take them to the park and then bring them back to yours. You still live at the same place? AMINA Yes. No. Nah, it’s fine. Seriously. I’m sorting it. Molly shrugs and goes to walk away. MOLLY See ya later. Amina speaks in Somali getting increasingly stressed. She’s looking at her watch. LIBAN Mum, come on, you can’t miss your exam! AMINA (In Somali) Aunty said someone’s coming from the community centre to fix it in an hour. BILAL But you won’t make it in time. Molly turns around. MOLLY Mina, just let me take the kids man. It’s my job. AMINA We’re fine Molly. Amina is getting increasingly upset, turning the key in the ignition over and over again. She’s shouting with her auntie

14. 13. 13. BILAL POSY STERLING you’ll miss him. I’ll be back at five. Mum you look like you’re about to cry. AMINA Yeah, thanks Bilal! She carries on shouting in Somali on the phone. MOLLY Mina? AMINA (Snaps) What? Molly shakes her head annoyed and begins to walk away. Amina hangs up the phone and looks up to the sky trying not to cry. AMINA (CONT'D) Wait. Molly. I can’t. I’m too embarassed. MOLLY What? She’s struggling to find the words. MOLLY (CONT'D) What Mina? AMINA We don’t live there anymore. We live in a room. In a hostel. For homeless families. MOLLY I don’t care about all that Mina, just gimme your keys. Amina’s quickly getting money out of her purse as she’s too proud. She holds out a twenty pound note for Molly. Molly looks at it. AMINA I ain’t a charity case Molly. I’m just late. Molly nods. Amina hands over the key and kisses both the kids on their head. AMINA (CONT'D) Habib will be home at eight so

15. 14. 14. MOLLY POSY STERLING I’ve just gotta go before it gets dark. Amina looks at her. Molly looks back. A standoff. LIBAN AND BILAL (In Somali) Go on mum. Good luck! Amina run walks down the road and the kids do an impression of her behind her. They all laugh. EXT. AMINA’S HOSTEL - DAY The hostel is an institutional building with a putrid smell that curls up your nostrils. The strip lighting is harsh. Molly and the kids push through the fire doors. BILAL That’s the kitchen we share with two other families. Sometimes they leave their washing up and mum has to do it. LIBAN That’s our bathroom. Mum says don’t touch the toilet seat. Molly opens the front door with the key. Amina has made it look nice but it feels temporary. The kids run in and jump on the bed to watch the iPad. MOLLY Take your uniforms please babies. Hang them up. The kids get up and run to the bathroom. Molly slowly walks around the hostel taking it all in. There’s lots of photos of Amina, Bilal and Liban up on the wall. She notices the room looks absent of Habib. Liban and Bilal run out of the bathroom in casual clothes. MOLLY (CONT'D) Much better. They smile.

16. 15. 15. MOLLY (CONT'D) POSY STERLING (She points to a photo) I like this one. I was looking for a photo of ya dad to see if he’s still got a big belly on him. The kids shrug. MOLLY (CONT'D) No photos of ya dad? The kids shrug again. MOLLY (CONT'D) Alright. Molly smiles gently. MOLLY (CONT'D) Have you got any homework? BILAL No. LIBAN Yes we have Bilal! MOLLY Come on, I’ll help ya. I’m more street smart than book smart but... LIBAN Same. They all start laughing. Molly looks out the window and the light is beginning to get low. She checks the time on her phone. It’s 4.30pm. BILAL Why have you gotta leave before it gets dark? MOLLY I can say but you promise you won’t tell anyone, not even ya mum? LIBAN We wont. MOLLY Sure?

17. 16. 16. BILAL POSY STERLING We promise! MOLLY Right, well when the sun goes down, and the moon comes out, I turn into a big...scary...WEREWOLFFFFF!!! She makes a funny face with claws and begins chasing them round the hostel. They are screaming and laughing. EXT. STREETS. - DUSK Molly walks along the streets looking for a place to pitch her tent. The street lights turn on. Suddenly, a group of men fall out of a pub and start shouting “come on then you cunt!”. She makes a sharp turn down Abbey Lane Park. She chucks her tent and bag over the fence then scrambles over. She falls down onto the grass, her half smile half lit by the orange street lamp. INT. TENT - NIGHT Looking up at the stars, she takes down her hair and uses the bobble to tie up the tent zip. CUT TO: She tries to close her eyes but they ping open with every noise. She picks up her phone and stares at the background of her kids. She hears a sudden sound. She pulls out her keys and places them between her knuckles like Wolverine. She closes her eyes but they ping back open again. INT. TENT- MORNING Molly wakes up at 5am with vigour to the sound of a screechy alarm before the public are allowed in. She crawls out of the dewy tent. The morning light is still soft. She smiles as a pigeon traverses the sky above her in a magic moment. As it takes another long swoop, it dives and flies suddenly into her tent. She flaps the pigeon around desperately trying to free it. It eventually flies out in a foreboding chaos.

18. 17. 17. MOLLY POSY STERLING (At the pigeon) Sorry baby! JUMP CUT TO: She squats in her coat and pants to squat. The pressure is hard like she’s bursting. JUMP CUT TO: She sprays perfume from her handbag: armpits, neck, wrists and vagina. She giggles to herself. JUMP CUT TO: She messily packs down the tent, lying on sections to close it whilst repeatedly checking the time. INT. PUBLIC TOILETS - MORNING Tungsten light, toilet roll and graffiti. Molly rushes in, searching through her bag frantically for her mascara. She turns on the tap and washes the sleep from the corner of her eyes. A commuter comes through the door and into a stall making her jump. Embarrassed, she pats her hair down with a wet hand and quickly leaves. INT. CAFE - MORNING Molly is scrolling down her phone looking at photos of her children. A waitress walks around the back of her to take her order. WAITRESS Aren’t they gorgeous? She looks just like ya. Molly jumps, then smiles. WAITRESS (CONT'D) You taking them away? MOLLY Camping. WAITRESS Oohh, they’ll love that. Molly nods and begins dialling her phone.

19. 18. 18. MOLLY POSY STERLING (On the phone) Alright. It’s me. Me mum. Why you fucking starting already? You know who it is. Why you gotta make everything such hard work? Can’t you just be normal? Listen, I just need to get...What’s wrong? What you crying for mum? Where’s Rodney? Put Rodney on the phone please. Mum. Stop fucking crying. I can’t understand ya. Put Rodney on. Molly stares blankly. Her face turns grey as she places a hand over her heart. The waitress walks over with a cup of tea, awkwardly waiting to put it down. INT. SOCIAL SERVICES RECEPTION- MORNING RECEPTIONIST I’m not sure Tamara’s in today, let me have a look. MOLLY Well, she should be. You called me yesterday. RECEPTIONIST Yeah, just a minute. Molly is looking slightly anxious. MOLLY She should be in. RECEPTIONIST Yeah, one minute I said. MOLLY What you being rude for? RECEPTIONIST Is there a problem? They have a stare down. Molly remembers where she is. MOLLY Can you just get Tamara? RECEPTIONIST Here she is. Sign in please.

20. 19. 19. INT. SOCIAL SERVICES CORRIDOR - DAY POSY STERLING Molly and TAMARA (young, friendly, a bit ethereal) are walking down a really long corridor. TAMARA Did you have any trouble getting in? MOLLY (In her posh voice again) No, fine. Tamara holds the door for Molly. MOLLY (CONT'D) Thank you. Tamara holds another door open for Molly. MOLLY (CONT'D) Thank you. Tamara holds another door open for Molly. MOLLY (CONT'D) Thanks. Thank you. Are Ava and Leo here? Can I see them? I need to see them. TAMARA This is us. Tamara opens the door to a room full of people with teas, coffees and biscuits in the middle of the table. Molly looks confused. MOLLY Wow, sorry, I wasn’t expecting all this. Hi, hiya, you alright? (To Tamara) Is it usually this many people? I thought we were just arranging when I could pick them up. Is everything alright? TAMARA Yes all fine. You should recognise some of them. This is Ava’s teacher and Leo’s nursery assistant. Then this is Sheila, who’s looking after them at the minute.

21. 20. 20. MOLLY POSY STERLING Yeah, we spoke this morning, funny you didn’t mention it. TAMARA Take a seat. Molly doesn’t want to sit down and succumb. MOLLY Where are my kids please? TAMARA We just want to iron a few things out. Do take a seat. MOLLY Are they here? TAMARA Would it be okay if ask you to just take a seat please? Molly looks over to the sea of faces all watching to see what she does. She’s trying to work out where to sit. MOLLY Alright. There’s probably a few forms to sign first ain’t there? That’s what Ruth said. Where is she? She came in and talked me through it so probably best I deal with her. TAMARA Oh yeah, Ruth’s lovely isn’t she? She’s been signed off work for a bit unfortunately. But I’ve read your file so I’m all up to speed. I know how frightening all this can be. MOLLY Frightening? This isn’t frightening. Is it? TAMARA Oh gosh no, sorry, ignore me. Would you like a cup of tea? Molly stands up again.

22. 21. 21. MOLLY POSY STERLING end of it. No thanks. Can someone please tell me what’s going on? TAMARA Sorry, if I could just ask you to take a seat... MOLLY Why are you so obsessed with me taking a seat? TAMARA Let me get you a cup of tea. MOLLY I don’t want a fucking cup of tea. TAMARA If I could just ask you to watch your language Molly. Now the reason we’re all here is to review Ava and Leo’s progress under a section seventeen. MOLLY They’re not even meant to be in foster care. My mum was supposed to have them till I got out. I honestly don’t know how you can give up your own grandchildren, but not the first time she’s put a bloke first, lets just say that. Look, call Ruth and ask her. I signed a bit of paper to say you were gonna look after them... TAMARA Yes, a section twenty. And now we’re reviewing the children as a section seventeen. MOLLY Section seventeen of what? I don’t know what you’re talking about. Listen, no disrespect, thank you for your time and all that, but why am I sitting in a room with you all discussing what’s gonna happen with my children? We don’t need no meeting, no discussion, they’re coming home with me and that’s the

23. 22. 22. TAMARA POSY STERLING MOLLY Alright. Actually, could I just take down your home address? Thanks so much, it’s just one of the things we’d like to take a look at, make sure it’s somewhere suitable for them to return to. She forces a fake smile encouragingly at everyone. EXT. HAPPY NEWS AGENT- DAY Molly is leaning on the window scribbling on a piece of paper. She’s looking at job adverts in the window and copying down the numbers, holding the phone between her ear and her shoulder. MOLLY So what colour do you want your room then? Mummy’s sorting out our new home. She opens the door and calls back to Rashid standing at the counter. MOLLY (CONT'D) You will call me if anything comes up won’t ya babe? Ta darling. She shuts the door and begins walking around to Sylvie’s block. MOLLY (CONT'D) Put Sheila on baby. What have they got for lunch today? They had that on Monday. I don’t want you giving my kids the same food all the time. Well, that’s because Leo doesn’t like it, he told you but you wouldn’t listen. You’ll be telling the social he’s off his food next. EXT. SYLVIE'S TOWER BLOCK - DAY CU of Molly’s face by the intercom outside the flats. She takes the last drag of her cigarette and puts it out. A VOICE FROM THE FLAT Alright?

24. 23. 23. The buzzer goes and she walks through the door. POSY STERLING Want a drink darling? Little drink? Winston, do you want a drink? (MORE) INT. SYLVIE’S FLAT - DAY Molly pushes open the front door of the flat. Flower arrangements of a Guinness glass, West Ham badge and Jamaican flags rest along the corridor make it difficult to walk through. INT. SYLVIE’S SPARE ROOM - DAY Molly scans the boxes of her belongings piled high to the ceiling with dismantled furniture leant against the wall. She takes off her clothes and starts rummaging through the boxes in her underwear. She pulls out different items from her old home thoughtfully: a children’s cuddly toy, a jewellery box and a family photo frame of her and the kids on a camping holiday with an engraving that says “home is where mum is”. She kisses the photo and puts the frame up on the side. INT. SYLVIE’S LIVING ROOM. Molly walks in as Charlene Davis - Stealing Love bellows out. SYLVIE (50’s) is at the front of the room, dabbing her eyes with a hanky and singing the words to an over-sized photo of Rodney resting on an easel. Bottles of Wray and Nephew lined up as a shrine. Mourners sit facing him, bopping their heads and swigging from bottles. Sylvie begins to wobble as if overwhelmed by emotion or the drink, almost spilling her glass. MOLLY Sit there mum. Sylvie opens her eyes suddenly. SYLVIE Oh, sorry darling. Didn’t see ya there. Was just having a little drink with me husband. She turns and lifts the glass to toast the photo. The crowd quickly join in raising a glass. SYLVIE (CONT'D) (MORE)

25. 24. 24. SYLVIE (CONT'D) SYLVIE (CONT'D) I can make you a sandwich if ya like? It won’t take me a minute. POSY STERLING She picks up bottles but her hands are shaking so much they clink together. SYLVIE (CONT'D) (To the crowd) I’m nuts aren’t I? Bloody nuts. Molly jumps up and takes the bottle from her. MOLLY Sit there. Sylvie sits in a floral armchair with leopard print cushions holding Rodney’s West Ham shirt and lights up a cigarette. Molly pours herself a large brandy and sits on the arm of the chair trying not to make eye contact with anyone. SYLVIE I do miss him. She begins to cry and dabs her tears with the football shirt. INT. LIFT - DAY Everyone piles into the lift holding the arrangements. A Guinness and “Rodney” balance above their heads whilst their faces squash against the mirrored walls. The lift dings and the doors open. EXT. BLACK LION PUB CARPARK/SEAFOOD STALL - NIGHT In the carpark beside the seafood stall, Molly and her cousin SHAMARA share a cigarette. SHAMARA (In a Birmingham accent) You staying with your mum then? MOLLY Nah. I’ve got too much going on to deal with her and all. SHAMARA What about ya mates? Shamara passes the cigarette to Molly.

26. 25. 25. MOLLY POSY STERLING woulda loved this. Nah, lost touch over the years. Anyway, I ain’t a charity case. SHAMARA We did try and get them up with us but they would have had to move schools and I thought you wouldn’t have wanted that for Ava. She’s doing so well. MOLLY I know she is. Molly takes a drag on the cigarette and downs her wine. SHAMARA Can I do anything to help? MOLLY Could ya chuck a bit of money behind the bar? Don’t tell mum, she’d die if she found out I was asking ya for money. She’s too proud that woman. SHAMARA I know someone else like that. INT. BLACK LION PUB- NIGHT In Paradise - Johnny Clarke, Pat Kelly and Hortense Ellis is playing on the speakers. A wooden panelled room with a disco ball that’s seen better days. The camera pans along as everyone is hugging, dancing or tapping their feet in a melting pot of Cockney and Caribbean culture. Sylvie and Molly sip their drinks at the same time. SYLVIE Have you had a gherkin Dave? I asked for extras cause I know everyone loves a gherkin at a funeral. A beat. SYLVIE (CONT'D) I wish my Rodney was here. He

27. 26. 26. She dabs a tear with her napkin. Sylvie stands up and wobbles over to the iPad. POSY STERLING SYLVIE (CONT'D) (To Molly) Can we put a song on? She gestures for Molly to stand. Downing her drink, she just about makes it towards her mum. The sound of Love Letters- Ketty Lester echoes through the pub. They drunkenly dance in the middle of the room, everyone smiling. MOLLY He woulda loved this mum. SYLVIE My lollipop. INT. SYLVIE’S KITCHEN- DAY Molly’s hair is in a towel and her fingers are pruned as she ashes into an ashtray. Half eaten smiley faces sit on a plate in front of her. SYLVIE Cor, I remember having two glasses of white wine and a brandy, and then I can’t remember the rest. I do remember eating a lot of gherkins though, so it must have been them. A beat. SYLVIE (CONT'D) I know you don’t like me at the moment darling but you know you can sleep here and I don’t even have to look at ya. MOLLY I’m fine. SYLVIE I didn’t do it on purpose lolly. I love them kids more than anything. MOLLY I don’t wanna know mum.

28. 27. 27. SYLVIE POSY STERLING What dya mean? It was a very confusing time for my Rodney cause his dementia was getting bad whilst you were in... you know,(she mimes the word prison) and then I had all your house to pack up on me own, and the kids were playing up cause they was missing ya and I was a bit stressed darling. MOLLY I don’t wanna talk about it mum. SYLVIE You didn’t want to hear it on the phone, you were so wild at me, thinking I’d chosen Rodney over them. I don’t even like leaving the house anymore cause I feel like everyone’s talking about me. I know they’re all saying I’m a bad mother. MOLLY I said I don’t wanna know. SYLVIE You know I grew up in care myself and all I wanted was a better... She starts to choke on her words. MOLLY That’s enough. Drink your tea. Molly lights up a cigarette and passes it over to Sylvie while she catches her breath. Molly lights up a cigarette for herself. INT. SOCIAL SERVICES - DAY TAMARA Molly, we’ve taken everything into consideration and we believe it’s in the best interest of the children to keep them in foster care for now but this of course will be kept under review. MOLLY

29. 28. 28. TAMARA POSY STERLING and more frustrated as parts fall down. Well, we want to ensure they have somewhere suitable to live before they face any more disruption, which I think is fair, don’t you? MOLLY You’re holding my children hostage, what sounds fair about that? I’m their mum and I’m not allowed to look after them because I’ve got no money, but you’ll actually pay someone else to look after them for me. TAMARA Your children have had to cope with a lot Molly. MOLLY I know they have but that’s why they need to be with their mum. Can’t you speak to the housing officer and put in a good word? TAMARA We’re different departments. We can arrange visitation in a contact centre for two days time. You’ll get two hours, twice a week. MOLLY You’ve lost it. TAMARA If all goes well, we can do something fun like go to the park. MOLLY What do you mean if all goes well? Am I being tested? TAMARA No, no. Molly, surely you understand we can’t send them home with you if you haven’t got one to go to? EXT. MOLLY’S TENT - NIGHT Molly is putting her tent up in the dark. She’s getting more

30. 29. 29. She grunts and punches the tent. In exhaustion, she falls face down and lays there, still. POSY STERLING MOLLY (CONT'D) Who did your hair then, Sheila? INT. CAFE - DAY Molly is charging her phone. It rings. MOLLY Wow Leo you sound like you’re having a lot of fun. That’s kind of her. Sheila bought you all those presents did she? Leo? I’m on the phone to you. Don’t be rude. Oh there you are. Guess what baby? Mummy’s gonna bring you so many presents tomorrow when I see ya. Are you excited? INT. CONTACT CENTRE - DAY It’s an unnatural space. No windows, broken multicoloured toys and an assortment of furniture. Molly sits awkwardly on the sofa with two old-looking plastic bags waiting for the kids to come in. Her hand is on her heart trying to steady her breath. AVA (11) and LEO (4) creep around the door, followed by HILDA (60’s) carrying a clipboard. They run towards her. Molly’s eyes are watering. Her arms are outstretched. When they finally reach her, she bursts into tears. MOLLY I’ve missed you so much. I’ve missed you so so much. Ava looks at her mum and with more wisdom, kisses her on the forehead. AVA It’s alright mum. Molly smiles through the tears. MOLLY I know baby. She runs her hand over Ava’s neatly braided hair. She looks over to Leo’s hair too.

31. 30. 30. AVA POSY STERLING Do they? Yeah, she can do braids and stuff. MOLLY I don’t like it. It’s too grown up. Ava looks up at her mum a comforting smile and grabs her hand to soothe her insecurities. Molly takes a breath and releases a smile. MOLLY (CONT'D) I mean, you always look beautiful. AVA She’s teaching me how to cook. MOLLY I can cook. AVA I know you can. LEO (Lifting up a shopping bag) What’s in here mum? Is it for us? Molly nods and smiles. Leo pulls out red secondhand tap shoes looking slightly unimpressed. MOLLY Do you like them? They’re your favourite colour baby. LEO (Sounding unsure) Yeah. MOLLY Sorry, I know they’re not brand new but... AVA Come on Leo. Put em on and give us a twirl. She sits Leo on her lap and puts on the shoes. Molly looks for reassurance. He jumps down and starts tapping. AVA (CONT'D) Wow, they look so cool Leo. LEO

32. 31. 31. MOLLY POSY STERLING you. So handsome. Molly looks at Ava, smiling proudly. MOLLY (CONT'D) My little genius. She turns to Hilda. MOLLY (CONT'D) She’s gonna be the first one in our family to go to University. She’s gonna be a scientist. I don’t know where she gets it from. She puts him on her lap and he clicks his feet together. MOLLY (CONT'D) And this is our very own Fred Astaire. He’s gonna be famous. A drama queen like his mother. AVA He wants to be a vet now mum. MOLLY A vet? He gives a big smile and nods coyly. MOLLY (CONT'D) He starts big school this year. A beat. AVA Are we coming back with you mum? MOLLY I wish you was. Just a couple more sleepovers at Sheila’s then you can. AVA I thought we were coming home today. Leo leans forward to whisper in his mum’s ear. LEO Sheila got us more presents than

33. 32. 32. Ava hits him gently. POSY STERLING squeeze. AVA Leo, don’t say that to mummy. It’s rude. LEO Noooo. I like these the best. I do. He jumps down and stamps, stamps, stamps around the broken toys as Hilda smiles warmly. LEO (CONT'D) See? AVA You won’t leave us again will you? MOLLY Course I wont. We’re going back to normal, how we were, okay? AVA I mean you won’t go back to prison will you mum? MOLLY No Ava. I’m never going back there. She pulls Ava in close. Molly becomes very aware of Hilda making notes in the corner of the room. MOLLY (CONT'D) What are you writing? HILDA Just a few notes dear, just so Tamara knows how you all got on. Molly’s eyes keep flicking to the scribbles on Hilda’s notepad. Ava can tell she’s stressed. She squeezes Molly’s hand reassuringly. Molly peels her eyes away from the notepad and smiles. EXT. CONTACT CENTRE - DAY By the car, outside the contact centre, Sheila’s in the front seat. Molly is carrying Leo. MOLLY Not long now, I promise. Gimme a

34. 33. 33. They all hug tightly. She tries to put Leo down but he starts clinging to her. POSY STERLING Molly is reluctant to shut the door but forces herself. MOLLY (CONT'D) Come on baby, you’ve gotta get in the car now. LEO But I don’t wanna go. Why do I have to go? MOLLY Just a few more sleepovers and then you’re coming home with me okay? Molly starts to peel his arms off even though it goes against every bone in her body. MOLLY (CONT'D) Please baby. Please. Just get down. I’m sorry, I want you to stay with me too... LEO Please mum. Please. I don’t wanna go. Don’t make me go. Leo starts sobbing. Molly is torn because she doesn’t want him to go either but she can see Hilda watching through the window. She tries to put Leo in the car but he clings on even tighter. MOLLY Leo stop it now. That’s enough. Get in the car. Everyone’s watching. Molly is getting more and more stressed. Leo is screaming. Ava walks over to him and strokes his head in a motherly way. AVA Come on Leo, give me a cuddle. Shall we get some ice cream? Leo slides over to Ava’s arms and burrows into her neck. Ava sits back in the car holding Leo and slides him along as he is snivelling. Molly stands there helpless. MOLLY Put your seatbelt on please baby. Ava, put his belt on.

35. 34. 34. MOLLY (CONT'D) POSY STERLING for us to live until I get them back. So what the fuck do I do now? I love ya. SHEILA Come on Leo, let’s put your favourite song on. Okay, say bye to mum. She waves at the kids with a smile through the car window as they drive off. As the car clears the road, her face changes and she drops forward with her hands on her thighs like she’s been punched in the gut. A beat. She controls herself with deep breathing before standing up to reclaim her composure. She wipes an escaped tear quickly from her face and stops a woman walking in the other direction, smoking. MOLLY Sorry babe, I’ve just left my bag on the bus and I’m a bit stressed. Got a fag I could borrow? WOMAN WITH A FAG 2 Course babe. Do you wanna borrow my phone? MOLLY I’m fine angel. Thank you though. She takes a meditative puff and looks up to the sky. INT. HOUSING OFFICE - DAY Either side of the glass again. HOUSING OFFICER 2 I’m sorry darling, it’s just without your children when you make the application, you’re considered a single woman and therefore are only entitled to a one bedroom flat. MOLLY This is fucked. I told ya I can’t get them back until I have somewhere to live but you’re telling me I can’t get somewhere

36. 35. 35. EXT. HIGH STREET -DAY POSY STERLING And I gave you the keys to my yard. Molly is marching down the high street trying to light a fag. She’s shaking it and clicking it and shaking it and clicking it but it won’t light. She throws it against the wall in frustration. In front of her, Amina is walking out of a shop. MOLLY Mina. Amina continues to walk down the road. MOLLY (CONT'D) Amina! AMINA Leave it Molly. She continues to walk and Molly looks confused. MOLLY I was gonna give you my number in case you need any extra help with the kids. I’m looking for work. AMINA Na, I’m good. MOLLY What dya mean you’re good? AMINA Just leave it Molly, I don’t wanna argue with ya. She begins to walk off. MOLLY What you on about? Argue bout what? Amina stops. AMINA Why didn’t you tell me you’d just come out of prison before I let you take care of ma kids? Molly is devastated. AMINA (CONT'D)

37. 36. 36. MOLLY POSY STERLING What you tryna say? Amina shakes her head, trying to hold in her anger. MOLLY (CONT'D) Go on then. Say it. Fucking say it. Amina begins to walk off. MOLLY (CONT'D) Stop walking away. Just say it. AMINA Well anything coulda happened. You lied to me Molly and I swear if anything happened to my kids... MOLLY I’m a mum too ya know. All that’s come out of your mouth since I met ya’s been lies. AMINA What? MOLLY Well where’s your fucking husband for a start? AMINA What dya mean? MOLLY He doesn’t live with you. And you get your kids to lie about it. AMINA I don’t have time for this. Stay away from me. MOLLY You’re a fucking hypocrite man and you know it! AMINA Yeah, well them kids are better off without ya. Molly lets out a loud, outrageous scream like she’s been stabbed through the heart. She turns around and kicks a bin.

38. 37. 37. INT. SYLVIE'S KITCHEN - NIGHT POSY STERLING Molly pours brandy into a mug and downs it. And another. She puts the kettle on. And downs another. She opens a packet of crisps and downs another. CU of Molly aggressively squishing crisps down into buttered white bread. SYLVIE (From the other room) You hungry darling? You not eaten? MOLLY Had a lot on. She opens the cupboard for the teabags. They’re empty. INT. SYLVIE'S LOUNGE - DAY Sylvie is sitting on the sofa in Rodney’s dressing gown doing scratch cards with her fingers crossed and watching Flog It. Molly walks into the lounge. MOLLY Shall we go shops? SYLVIE Not today darling. MOLLY Come on, we’ll have a little walk to Rashid’s. SYLVIE I’ve got plenty in. Stop fussing. A beat. MOLLY Mum, they’ve said I can take them to the park. I need you to come with me. SYLVIE I can’t darling. Molly lights up a cigarette and takes a long drag to calm her nerves.

39. 38. 38. MOLLY POSY STERLING She lights a fag with a shakey hand whilst clutching at the railing. Please mum. I gotta show them we’re a normal family. SYLVIE That’s all I need, neighbours seeing me out with the social. They’re all talking about me. MOLLY Please. SYLVIE Stop going on. Sylvie gets up and walks out in protest. EXT. HAPPY NEWS AGENTS - DAY Molly is puffing on a cigarette outside of the shop. She looks over the road and sees the kids walking towards her. She quickly puts the cigarette out and starts walk-running towards them. The kids run to her. She’s laughing and crying. She bends down to hug them. They make squeezing noises as NINA catches up. Sylvie’s voice is heard from beyond Molly. SYLVIE You got one for ya nan then? They smile and run towards Sylvie. Molly looks round to smile at her. She’s wearing dark sunglasses and an over-sized hat. LEO Why have you got your sunglasses on nanny? MOLLY She’s in disguise. Molly is so excited to see the kids, she forgets Sylvie, frozen and shaking. Molly goes back to link her arm checking to make sure Nina hasn’t clocked. Each step feels like a marathon. They walk across the road. SYLVIE I’ll wait here darling.

40. 39. 39. EXT. ABBEY ROAD PARK - DAY POSY STERLING MOLLY Wave to nanny. Sylvie waves at the kids through the railings. It’s their first moment of normality. Leo and Molly are giggling pushing Ava on the roundabout. Nina is taking a big sip of her drink not really paying attention. MOLLY (CONT'D) Where’s Hilda today then? NINA Hip replacement. Nina takes another big sip of her drink and walks off to take a call. LEO Watch me mummy. Look at me push it. MOLLY Wow, look at you! Suddenly, a dog comes running over, barking. Leo starts screaming hysterically. Molly runs over to pick him up away from the dog. She throws Leo to Ava and grabs the dog by the collar. MOLLY (CONT'D) Get your dog away from him man. Why isn’t he on a lead? Ava tries to calm Leo down. MOLLY (CONT'D) Are you fucking dumb? Get your dog away. Nina looks shocked and unsure of what to do. The owner runs over and puts his dog on a lead. Leo is wrapped around Ava like a koala bear. DOG OWNER I’m so sorry. He’s never done that before. Sorry little one, you okay? MOLLY (To the dog owner) Move!

41. 40. 40. MOLLY (CONT'D) POSY STERLING Calm down baby. I’ve got you. I won’t let anything happen to you. Leo is still hysterically crying and hyperventilating. Molly takes him from Ava. Nina is watching. MOLLY (CONT'D) Baby you’ve got to breathe. NINA Are you okay Leo? The dog’s gone now. He’s chocking and spluttering. MOLLY (To Ava) He won’t breathe. AVA Come on Leo, it’s okay. Deep breaths. Molly stands him on the bench in front of her. MOLLY (Shouting) Leo, listen to me. You’ve got to breathe. She bangs him on his back and he begins to slow down and breathe. She quickly pulls him in for a cuddle. A beat. MOLLY (CONT'D) You’re not scared of dogs baby? He doesn’t respond. He’s just nuzzled into her chest snivelling. Ava looks over to Nina. MOLLY (CONT'D) What Ava? Tell me. AVA (Reluctantly) He was scared of the sniffer dogs when we used to come see you. Molly’s heart is heavy with guilt. She kisses his head.

42. 41. 41. MOLLY POSY STERLING I was you. Oh baby, I’m so sorry. I won’t let anything happen to you, I promise. Nina pulls out a notepad from her bag and writes on it. Ava is stroking his hair. She looks over to a nervous but determined Sylvie making her way to them. AVA You did it nanny. Molly smiles. SYLVIE (To Leo) I had to come see my boy didn’t I? She strokes his cheek. SYLVIE (CONT'D) (Panting) You okay darling? Molly kisses him again all over his cheeks and sees Nina writing on her notebook. MOLLY Why is everyone always writing notes about me? Can you just do it when you’re gone please? Nina ignores her and continues to scribble. MOLLY (CONT'D) Can you wait and write on it after? Nina doesn’t respond and carries on writing. MOLLY (CONT'D) Please can you stop. Nina doesn’t stop. Molly snaps. MOLLY (CONT'D) Stop writing notes about me. What’s your fucking problem? Ava grabs her mum by the hand. She shakes her head and smiles as if to reassure her mum. NINA I wouldn’t speak to me like that if

43. 42. 42. SYLVIE POSY STERLING Well I’d think about getting some manners then darling. Can’t you see she’s doing her best? Molly looks slightly taken back by the support. SYLVIE (CONT'D) We wouldn’t be here if you lot had done what you said you were gonna do. MOLLY Yeah well we wouldn’t be here if you’d done what you said you were gonna do. Nina starts to put her bag away quickly. NINA Get ready to go please. I need to use the bathroom. AVA I don’t want to go back to Sheila’s tonight. SYLVIE I only live up there, you can use me toilet if you like. MOLLY I know baby. Just a few more sleepovers. AVA I don’t understand. You promised only a few more sleepovers last time. When can we come home mum? Ava looks up at her mum with watery eyes trying not to cry. One escapes and she pushes it back in the corner just like her mother does. Molly’s heart breaks all over again. MOLLY I don’t know what to say baby. MOLLY (CONT'D) Come on Leo, lets do your coat up. SYLVIE You coming up darling?

44. 43. 43. NINA POSY STERLING Just up there darling. Come on, I’m going up anyway. (MORE) No, thank you. I’m not allowed. SYLVIE Not allowed? To go to the toilet? That’s ridiculous darling. It’s only up there, you won’t be a minute. MOLLY Why can’t they stay with me? Maybe we could all stay at my mums? NINA You’ll have to speak to your social worker about that. Nothing to do with me. How many rooms is it? SYLVIE Two. NINA Overcrowding. Put your bag on Ava. LEO Mum can I have five minutes on the swings? Please. Can you push me mum? Right up to the sky. Nina looks flustered and overwhelmed by all the questions and the need for the wee. MOLLY You sure you don’t wanna just use my mum’s toilet? It’s only up there. She’ll take ya. LEO Mum? MOLLY Yes Leo? NINA How far is it? LEO Please can we have five more minutes, please? SYLVIE (MORE)

45. 44. 44. SYLVIE (CONT'D) SYLVIE (CONT'D) Give ya nanny a cuddle. I’ll see ya next week. Be good. POSY STERLING Not having these people controlling my life. Get your bag. The kids give her a big cuddle from each side. Nina is looking more and more desperate. MOLLY Can he have five more minutes on the swings? Nina looks confused. NINA Erm, alright. Five more minutes whilst I quickly use the loo and then we’re going. It’s dinner time and Sheila will be waiting. MOLLY Mustn’t be late for Sheila. LEO Yay! Nina smiles at Leo and follows Sylvie up the path to her block. Molly puts Leo on the swing and starts pushing him. She’s watching them walk away intently. Ava notices her mother’s intensity. Leo is smiling and laughing on the swing. Ava looks very unsure. Molly’s eyes keep flicking over to Nina and Sylvie. AVA You alright mum? MOLLY Yeah, fine. Her eyes flick back to Nina and Sylvie who have walked into the building. Molly quickly grabs Leo off the swing and picks up his bag. MOLLY (CONT'D) Come on babies. AVA What you doing? MOLLY

46. 45. 45. AVA POSY STERLING Where we going mum? MOLLY Hurry up. Molly starts running and Ava has no choice but to follow. Molly is in survival mode. She grabs her tent and sleeping bag from behind the bushes and flings it over her arm. She pulls Ava’s hand with her spare one. She gets to the gate of the park and looks right then left trying to think on her feet. AVA We’ve got no money. MOLLY I’ve got about two hundred quid on me card that I was saving for emergencies. And I’ve got eleven pound in me purse. That’ll do us till I can work something out. Anything’s better than this Ava. LEO What about Sheila? MOLLY I don’t wanna hear another word about Sheila thanks. Molly is alive with adrenalin. She sees a black cab drive past and hails it down. She piles the kids into the cab. INT. BUS STATION - DAY A busy bus station is filled with people. Puzzled passengers run from queue to queue as mixed instructions come over the speaker. Molly is in one queue, squinting up at the big screens trying to figure out where to go. She quickly turns around to see where Leo is. MOLLY Have you got him? Put your hoods up please. AVA Yeah I’ve got him. We’ve not got any clothes mum.

47. 46. 46. MOLLY POSY STERLING Molly grabs Ava’s hand who is holding on to Leo’s hand and they move through the crowd like a snake. You’ve both got your P.E. kits and I’ll buy you lots of clothes when we get there. Gimme your phone please baby. AVA What? Why? MOLLY Just gimme your phone. AVA No. It’s mine. I need it. MOLLY Give me your phone. Now. Nina’s gonna be looking for us. AVA Mum, I’m really not sure this is a good idea. Ava reluctantly gives Molly the phone. Molly switches both their phones off and takes the batteries out. INT. BUS STATION - DAY She scrambles for money from her purse. She pulls out a bank card. She kisses it and crosses her fingers as she holds it. MOLLY Can I pay on card please? Hold your sister’s hand. The card goes through. MOLLY (CONT'D) Yessssss. The cashier is printing off the tickets. Molly is full of nervous energy. CASHIER You need to wait at Gate Eight. They’ll start loading you on from there. MOLLY Thanks.

48. 47. 47. AVA POSY STERLING Mum, where are we going? MOLLY Shh, please Ava. AVA Where are we going though mum? Mum? MOLLY What? Molly looks stressed, desperately searching for the gate and trying to watch Leo. MOLLY (CONT'D) That’s it. Over there. She pushes through the crowd and join a queue. It’s moving down as tickets are checked and people are let onto the bus. Molly’s looking at her watch, agitated. Ava is lagging behind. She’s shaking her head but trying not to give the game away. AVA (Whispers)What if we get into trouble? I don’t want you going back in there. MOLLY (Under her breath) Ava, I won’t get into trouble. I’m your mum. Just get on the bus and stop making a fuss. Ava’s eyes are filling with water. AVA (Under her breath)I don’t wanna go. MOLLY (Under her breath) Ava, please. Just hurry up and get on the fucking bus. LEO What’s wrong Ava? Why are you crying? MOLLY (Under her breath) Don’t cry, you’re scaring your brother.

49. 48. 48. TICKET INSPECTOR POSY STERLING (Through a mega phone) Can you have your tickets ready please? The man is calling for everyone to board the bus. MOLLY Ava could you get on the bus please baby. Ava doesn’t move. She’s just staring at Molly, shaking her head slowly. Molly is getting more and more anxious, looking around. A baby starts crying. MOLLY (CONT'D) (Under her breath) Not in front of your brother. Molly pulls Leo to the side to let passengers through. MOLLY (CONT'D) Sing Twinkle Twinkle please baby so I know where you are. Leo starts singing Twinkle Twinkle Little Star. Molly turns and grabs Ava by the hand and pulls her to the side. MOLLY (CONT'D) (Whispering) We’re gonna be fine, I promise. It’s just us three again. They’re gonna forget about us after a while okay? Molly puts her hand lovingly around her face and strokes her head. Molly’s eyes are full of tears. She looks in Ava’s eyes for her approval. MOLLY (CONT'D) Trust me baby, I’m your mum. Ava is reluctant but can see her mother’s desperation. With tears rolling down her cheeks, she nods. Molly kisses her on the head. Leo is still singing Twinkle Twinkle to himself. They run onto the coach. INT. COACH - DAY Leo and Molly are asleep on each other whilst Ava looks out at the changing landscape.

50. 49. 49. EXT. LAKE DISTRICT - MORNING POSY STERLING nature, searching for insects, walking to the lake, climbing trees twisting branches, running after a butterfly. A dewey tent surrounded by rolling hills glistens in the morning sun. The zip slowly moves up and Leo’s face pops out in awe at his surroundings. LEO Wowwwww!! He jumps out. Ava and Molly climb out after him beaming. It’s pure. MOLLY (Screaming into the air like a wolf) Wooooooooo!! LEO Woooooooo! Ava smiles. LEO (CONT'D) Come on Ava! AVA Awoooooooooooo!! They all laugh. MOLLY I used to go camping with ya grandad all the time. LEO Rodney? MOLLY No, my dad. He died when I was Ava’s age. Leo runs around. MOLLY (CONT'D) We’ll just stay here for a bit until things blow over. Ava nods and smiles. EXT. LAKE DISTRICT - DAY Poetic montage of shots of the family looking small against