LAST CHANCE HARVEY
Written by
Joel Hopkins
Sound of a piano being played. Sparse but beautiful.
FADE IN:
INT. RECORDING ROOM - DAY
HARVEY SHINE, mid-60's, sits at a piano in a scruffy
recording room, tinkering. We hold on his slightly sad,
intense gaze. Just then a shaft of crude light illuminates
him, accompanied by a knocking sound. From behind a studio
window, JOHNNIE, a young rocker type in his 20's beckons.
Harvey closes the piano lid.
INT. STUDIO - DAY
Johnnie, unpacking his lunch and turning on various buttons,
sits at a mixing desk. In front of him are 2 large TV
monitors. Harvey joins him.
HARVEY
Put my score up first.
JOHNNIE
They don't want to hear it, Harvey.
HARVEY
I know, but I want to hear it. Put
it up.
JOHNNIE
I'm backed up already, Harvey.
HARVEY
(interrupting)
Johnnie, you were the one that was
late. Just put it up.
Johnnie reluctantly presses various buttons.
A `cheesy' commercial for a washing detergent plays. It is
accompanied by a jolly classical score. Harvey looks on
forlornly at his work. As it comes to an end with a flourish,
Harvey lowers his head. Beat. Johnnie glances at him.
JOHNNIE
Listen, Harvey. Marvin wants me to
present my ideas while your away.
Harvey looks up, confused.
HARVEY
Huh?
2.
JOHNNIE
Look, I'm not doing myself any
favours here, Harvey. But, I'd
watch your back.
We hold on Harvey's tired, pensive face.
INT. STUDIO CAR PARK / QUEENS - DAY
Harvey hurriedly exits the studio, catching up with a man
walking to his car.
HARVEY
Marvin? Hey, Marvin?
MARVIN
Hey, Harvey. Shouldn't you be in
London?
HARVEY
Yeah, I'm heading there now. What's
going on?
MARVIN
Huh?
HARVEY
Johnnie said something about you
wanting him to present on Monday.
MARVIN
Oh yeah, No, I was just thinking
that, what with you being in London
- you should stay a while.
HARVEY
What?
MARVIN
There's no need to rush back. Enjoy
your daughter's wedding.
HARVEY
What?
MARVIN
Well, Johnnie can do it. I mean, he
can pitch the Samuelson account.
3.
HARVEY
No, I'm coming back. Those are my
connections. They have been for
years.
MARVIN
I know but... they've got new
people running things over there. I
think they're after something...
(beat)
...different.
HARVEY
I want to come back. I should be
there in person.
MARVIN
`There in person'? Harvey, nobody
cares.
HARVEY
I have to stand behind my music!
MARVIN
They're demos! - They're already
pressed. No one needs to be there.
They're not looking for you,
they're not looking for me. They
just need a fucking track.
(beat/sighs)
Harvey, you haven't booked a top
line in 8 months.
HARVEY
You got me doing triangle chimes
for Christ's sake - give me
something to compose!
MARVIN
That's what I'm trying to tell you!
It's not about composition! It's
different now!
Silence. Harvey looks at Marvin.
MARVIN (CONT'D)
What?
Beat.
HARVEY
I'm back on Monday, Marvin. I'm
coming back.
4.
Beat.
MARVIN
(sighs)
You got to land this one, Harvey.
HARVEY
What are you saying?
(beat)
Say it!
MARVIN
I'm saying there are no more
chances, Harvey.
(beat)
Enjoy London.
And with that Marvin gets in and drives off, leaving Harvey
standing alone in the car park. We hold on his face - he's
tired. He looks about him, then down at his raincoat draped
over his arm. He lifts it and drapes it over the other arm.
CUT TO BLACK.
LAST CHANCE HARVEY
Sound of interior airborne plane. The seat-belt `ping'
chimes.
CUT TO:
INT. PLANE - NIGHT
Harvey, seated in a crowded economy cabin, looks down from
the now extinguished seat-belt light. He looks a little hot.
Reaching up to turn on the air, he knocks his tray - knocking
his drink into his lap.
HARVEY
Shit!
An attractive middle-aged woman, seated next to him, looks
over.
HARVEY (CONT'D)
(to a passing Stewardess)
Miss? I'm sorry. I've spilt my
drink.
STEWARDESS
I'll get you some napkins.
5.
HARVEY
(to his neighbour)
Why's it always me?
The woman, perhaps wary of the length of the flight, smiles
noncommittally. The Stewardess returns.
STEWARDESS
Shall I take that?
HARVEY
Thanks... And could I get another?
STEWARDESS
A whiskey, wasn't it?
HARVEY
Yes. `Jamesons', no ice.
The Stewardess heads off. Harvey mops himself up. He places
the small mass of wet towels on his tray and sighs. Glancing
out the window, he then turns to the woman.
HARVEY (CONT'D)
A holiday?
The woman looks over.
WOMAN
No. Business.
Harvey nods.
WOMAN (CONT'D)
(feeling obliged)
Yourself?
HARVEY
My daughter's getting married.
WOMAN
Congratulations.
HARVEY
(smiles)
Thank you.
(beat)
She's marrying an American. But for
some reason we've all got to go
over to London.
(smiling)
I told her we had a perfectly good
wedding system here.
(MORE)
6.
HARVEY (CONT'D)
(beat/expecting more of a
response)
They both work there, you see.
The woman smiles again, then looks up as the Stewardess
returns with Harvey's drink.
HARVEY (CONT'D)
Thank you.
Harvey is about to continue speaking when the woman
interrupts.
WOMAN
I'm really sorry but I have a
meeting in the morning and I must
try and get some sleep.
HARVEY
No... Of course. I'm sorry.
WOMAN
It's just, I'll be useless - unless
I get some sleep.
HARVEY
Sure.
The woman covers herself in a blanket and turns out her
light, turning herself away from Harvey.
We hold on Harvey from a distance, spotlit in a sea of
darkness.
FADE TO BLACK.
Sound of a commercial London Radio Station. A `phone-in'
competition takes place.
FADE IN:
EXT. SUBURBAN STREET - MORNING
A radio hangs from a mail trolley. KATE, mid 40's, dressed in
a green uniform, turns into the path of a suburban house. She
passes a postman - who nods his head.
POSTMAN
Morning Kate. Looking lovely as
ever. If I was younger...
7.
KATE
Careful Paddy.
(pointing to her cheek)
Blushing! Is she up?
POSTMAN
Oh yes.
Kate smiles before unlocking the front door.
INT. HALLWAY - MORNING
Kate comes through the door, picking up a small pile of mail
off the floor.
KATE
(calling out)
Mum. It's me - your daughter.
INT. KITCHEN - MORNING
Kate puts the mail on a kitchen table. Just then MAGGIE,
Kate's mum, enters in her dressing gown.
MAGGIE
Hello, my daughter.
They kiss.
MAGGIE (CONT'D)
Have a cup of tea with me.
KATE
I can't, I'm running late.
Maggie seems to ignore this piece of information and heads to
the kettle. Filling it up, she peers out the back window.
MAGGIE
He's at it again.
KATE
(looking through her bag)
Who? At what?
MAGGIE
The neighbour. Barbecuing or
something.
We see her POV of her neighbour busying himself in his back
garden. Smoke rises from a small garden shed.
8.
MAGGIE (CONT'D)
I heard he's from Poland.
KATE
(pulling a small package
from her bag)
So maybe Polish people like to
barbecue a lot. I'm leaving your
prescription on the table.
(beat)
You know, you don't have to keep
taking these - the Doctor said.
MAGGIE
I like to. It makes me feel better.
(beat)
Its 8 o'clock in the morning. Who
barbecues at 8?
KATE
(looking at her watch)
I've got to go. I'll call you
later.
Kate's mum sighs and turns away from the window.
MAGGIE
Of course. Don't worry about me.
I'll be Ok.
(beat)
Have you got that date thing
tonight?
KATE
I don't know, maybe.
(kisses her mother)
Bye Mum.
MAGGIE
`Time and tide', Kate, as your
father liked to say.
Beat.
KATE
Was that from his terrace in the
South of France?
Kate winces. Kate's mum looks hurt.
KATE (CONT'D)
I'm sorry. That was mean.
(beat/takes a breath)
(MORE)
9.
KATE (CONT'D)
Look, I'll call you later.
(kisses her mum again)
I love you.
As Kate leaves, Maggie watches her go. She sighs, before
returning her attention back to the window.
POV: The Neighbour enters his smoking shed and closes the
door.
EXT. HIGH ST - DAY
A busy High St. Kate moves amongst the throng boarding a bus.
INT. BUS - DAY
Close up on Kate's face gently swaying. She stands reading a
paperback, oblivious to the crowded bus around her.
INT. TRAIN - DAY
Kate sits reading on a speeding train.
INT. HEATHROW AIRPORT / TRAIN PLATFORM - DAY
The Heathrow Express comes into the station. Kate disembarks.
INT. TERMINAL 3 / BOOTH - DAY
Kate arrives at a booth. A sign reads: `PSA - Public
Statistics Agency'. A West Indian woman, dressed in the same
green uniform, stands waiting. She holds a newspaper, folded
open at the crossword.
KATE
Aggie.
AGGIE
Morning darling.
Kate goes behind the counter and turns on a light. As the
booth illuminates, Kate unlocks a door behind and goes in.
Without looking up from her crossword, Aggie follows.
INT. PSA / LOCKER ROOM - DAY
Kate places her bag in a locker and takes out a pair of
heels. Sitting down to put them on, Aggie enters.
10.
AGGIE
Four across. A filmy layer on the
surface of a liquid?
Kate thinks for a beat.
KATE
Scum.
Aggie giggles to herself and writes it in. Kate stands just
as another co-worker hurries in.
OONAGH
Sorry. Sorry.
She kisses Kate on the cheek and opens her locker.
OONAGH (CONT'D)
Thank God you're my boss.
Without looking up, Aggie `tuts' and shakes her head. Oonagh
decides to ignore.
OONAGH (CONT'D)
Are we still on for tonight? Matt's
definitely bringing Simon.
KATE
No.
OONAGH
Please.
KATE
Only if you guys swear you won't
leave if it's not going well.
OONAGH
No way.
KATE
Promise?
OONAGH
Promise.
AGGIE
Seven down. Another word for
`souvenir'?
Kate thinks for a beat.
11.
KATE
Memento.
Aggie laughs and scribbles it in. Oonagh rolls her eyes.
OONAGH
Aggie, why do you bother? You just
get Kate to give you all the
answers.
Aggie `tuts' again and waves Oonagh away. Kate hands Oonagh a
clip-board and the two of them head out.
INT. BAGGAGE CAROUSEL - DAY
As luggage spews out, a dishevelled Harvey looks on. He sees
his case and awkwardly pulling it from the belt, heads off.
INT. ARRIVALS HALL - DAY
Oonagh and Kate stand next to each other, interviewing
returning travellers. Kate interviews an elderly couple. It's
clear she's good at her job.
KATE
So you spent the whole 2 weeks in
the Toronto area?
ELDERLY MAN
Yes. Our daughter lives there, see.
KATE
Ah.
(filling in a form)
So not a business trip then?
ELDERLY MAN
Oh, no. Unless you count grand-
children as work.
KATE
(smiles)
Some might.
INT. ARRIVAL DOORS
Harvey comes through a set of sliding double doors, wheeling
his case behind him.
12.
INT. ARRIVALS HALL - DAY
Kate finishes up the interview with the elderly couple, and
turns to see an approaching Harvey in the distance. She
registers his attempts to steer a wide berth of her, but
matches his movements, bringing him to a stop.
KATE
Sorry, I couldn't just ask you a
few very quick questions, could I?
HARVEY
I'm sorry, but I'm in a bit of a
hurry.
KATE
It won't take a moment.
HARVEY
(starting to walk on)
Look, I'm sorry, but I'm tired, you
know?
KATE
Yes. I do.
Beat. Kate's directness, brings Harvey to a stop. He turns to
look at Kate. She smiles. Beat.
HARVEY
I'm sorry.
Harvey continues on, glancing back once more as he walks
away. Kate turns to Oonagh and shrugs, before returning her
attention back to the sea of arrivals.
EXT. TERMINAL 3 - DAY
A Taxi pulls away from the Terminal.
INT. TAXI - DAY
Harvey sits in the back with his phone to his ear.
HARVEY
Hi Suzie, it's your Dad. I've made
it in one piece. I'm in a Taxi on
my way to the Hotel. I guess i'll
see you all there. Can't wait. Love
you.
13.
Harvey hangs up. He dials another number.
HARVEY (CONT'D)
Hi, it's Harvey, Harvey Shine here.
Just wanted to confirm Mike for
Monday. I'm in London at the
moment, but reachable on my cell.
Which is... Well you've probably
got it on file, but just in case,
917... Well you may have to dial an
international code first, I'm not
sure. Anyway, it's 917 749 7558.
That's 917 74...
A sharp `beep' cuts him off. Harvey hangs up and looks out
the window. Cranes loom on the horizon. He yawns.
EXT. HOTEL - DAY
The Taxi pulls into the forecourt of a mid-market West End
London Hotel. Harvey gets out and pays the driver.
INT. HOTEL LOBBY - DAY
Harvey approaches the front desk.
HARVEY
Hi. I'm with the wedding party.
There should be a room for me.
Harvey Shine.
The Concierge taps into his computer.
CONCIERGE
Yes. I have a double room for you.
HARVEY
Good. Has everyone else checked in?
CONCIERGE
I'm not sure, sir.
HARVEY
My daughter. Susan Shine. Or maybe
she's already going by Wright.
Susan Wright.
The Concierge taps some more.
CONCIERGE
No, sir. No one of that name.
14.
HARVEY
Do you have a Mrs Pearce?
More tapping.
CONCIERGE
No, sir.
The Concierge looks at Harvey. Beat. Harvey shrugs.
HARVEY
I'll go up.
INT. HOTEL SUITE - DAY
Harvey enters the room. He places his case on the bed, takes
off his jacket and goes to the window.
A roller blind is pulled down. Harvey tugs on the cord, to no
avail at first. Then suddenly it whips up, causing Harvey to
duck backwards as the flailing cord almost takes his eye out.
Warily, Harvey steps forward and looks down at the busy
street below. He goes to open the window but it is stuck. He
tries again - but it won't budge.
He looks around the room, then up at the now fully contracted
blind. Tentatively he reaches up and pulls the cord to lower
the blind a little. It slowly starts to unravel and
unravel...and unravel, until it hits the bottom of the window
sill with a gentle thud. Harvey stands in semi-darkness.
Just then, to his relief, his phone rings. He hurries over to
the bed and retrieves it.
HARVEY
Hello?
(beat)
Suzie! Hi darling. Yes, I'm here.
Where are you - where is everyone?
(listens/Harvey's face
drops a little)
Oh...I see. No, I didn't realise. I
thought the plan was for everyone
to stay together.
Noticeably dejected, Harvey sits down on the bed.
HARVEY (CONT'D)
No its...fine. I just wasn't sure.
(beat)
(MORE)
15.
HARVEY (CONT'D)
So your mother has rented a house
for you all.
(beat)
I see. No, no, don't be silly. I'm
a big boy. It's fine.
Harvey looks around the bland room.
HARVEY (CONT'D)
Home from home.
(beat)
Yes, I've got the address. So, I'll
see you there.
(beat)
I love you too. Bye.
Harvey hangs up.
EXT. STREET - DUSK
Kate, dressed for the evening, hurries along a street. Her
phone rings.
KATE
Mum?
INT. KITCHEN - DUSK
Kate's mum stands not far from her back window.
MAGGIE
What are you wearing?
EXT. STREET - DUSK
KATE
Dungarees.
INT. KITCHEN - DUSK
MAGGIE
Oh, you're not!
EXT. STREET - DUSK
KATE
They're completely in again,
haven't you heard?
16.
INT. KITCHEN - DUSK
MAGGIE
(lifting back the curtain)
Oh, you're just being silly.
POV: A now bare chested Neighbour at work in his garden.
Smoke rising from his shed.
MAGGIE (CONT'D)
Now don't be nervous. Just be
yourself.
EXT. STREET - DUSK
KATE
(smiling)
Ok, mum. Thanks for the advice.
INT. KITCHEN - DUSK
MAGGIE
Oh, listen. I've been thinking
about Greece for our holiday.
EXT. STREET - DUSK
KATE
(frowns)
Ok, Let's talk about it later.
(beat)
I love you too.
Kate hangs up and crosses a busy road.
INT. LIVING ROOM - DUSK
Kate's mum continues to spy. POV: The Neighbour bends down
out of sight. On rising again, he sees Maggie at the window
and waves. Maggie flinches, before dropping the curtain.
INT. PUB - DUSK
Kate comes through the door. Oonagh sits on her own at a
booth. Kate joins her.
17.
KATE
Sorry i'm late.
OONAGH
Don't tell me...
(makes the gesture of a
telephone)
...your mother?
KATE
She's worrying about her new
neighbour. Says he barbecues a lot.
OONAGH
Very suspicious.
KATE
(smiles)
I know.
OONAGH
I got you the same as me.
(off Kate's gaze)
They're at the bar. He seems very
nice.
Just then two guys approach from the bar.
MATT
Hey Kate.
KATE
Hi Matt.
Matt embraces Kate, then turns to his friend.
MATT
Kate, this is Simon.
SIMON
Hi.
Simon shakes Kate's hand. Kate blushes ever so slightly.
KATE
Hi.
(beat)
You work with Matt?
SIMON
Yes. If you can call it work.
18.
KATE
(laughs a little too
eagerly)
Right.
Awkward pause.
OONAGH
Come on, i'm feeling small down
here. Sit!
They all sit down.
INT. SHOWER - DUSK
Close up of Harvey's face under shower.
INT. BEDROOM - DUSK
Harvey puts on a cream linen jacket, that matches a pair of
slacks. He looks at himself in a full length mirror. He looks
good. There is a knock at the door, just as his phone rings.
VOICE (O.S.)
Room service.
Harvey opens the door, as he answers his phone.
HARVEY
Just over by the bed. Thank you.
Hello?
A young African man wheels in a trolley with a pot of tea and
some biscuits.
YOUNG AFRICAN MAN
Shall I open this for you?
He heads towards the window. Harvey turns.
HARVEY
Careful!
Too late. The blind wips up - toggle hitting the young man in
the eye.
HARVEY (CONT'D)
Are you Ok?
The porter, covering his eye, nods, backing towards the door.
19.
YOUNG AFRICAN MAN
Oh, yes. Yes, fine.
HARVEY
Are you sure? Here.
Harvey wedges a fiver into his free hand as he retreats
rapidly. The door closes. Beat. Harvey returns the phone to
his ear.
HARVEY (CONT'D)
Hello?
No answer. He sits down on the bed and pours some tea. Just
then his phone rings again. He reaches for it, knocking the
trolley and the tea onto himself.
HARVEY (CONT'D)
Fuck!
Grabbing a tea towel, he dabs his trousers.
INT. PUB - NIGHT
From a distance, across a crowded Friday night bar, we watch
our gang chat. It seems to be going well. Laughter hangs in
the air.
EXT. RESTAURANT - NIGHT
A cab pulls up in front of a posh looking restaurant. Harvey
steps out, dressed in the same cream jacket, but now sporting
a pair of dark trousers. He looks like a bad lounge act. The
cab pulls away as Harvey turns towards the restaurant.
INT. RESTAURANT - NIGHT
Harvey enters. Three young men stand to one side, chatting
animatedly. On seeing Harvey, one of them looks up.
SCOTT
Harvey.
HARVEY
Scott.
SCOTT
You made it.
20.
HARVEY
Yes.
Scott turns to his friends.
SCOTT
This is Susan's father, Harvey.
Harvey Shine.
(beat)
Harvey, this is my best man, Josh
Stillman and Pete Turner.
HARVEY
Hi.
FRIENDS
Hi.
SCOTT
How are you Harvey?
(glancing at Harvey's
attire)
Its great to see you.
HARVEY
Good thanks. Great.
(sensing his gaze)
How are you holding up?
SCOTT
Great.
(turning to his friends)
Can't wait to marry your daughter,
really.
Laughter.
HARVEY
No...
(beat)
Is she..?
SCOTT
She's through there. She'll be
thrilled you're here. I'll go and
find her.
Just then Harvey's phone rings.
HARVEY
Sorry.
Harvey turns away and answers.
21.
HARVEY (CONT'D)
Yes.
(listens)
No, no, that's not right. I booked
Mike. It's important. I spoke to
him about it two weeks ago. I
booked him.
(getting flustered)
Have you told him its Harvey. It's
really important...
(suddenly conscious of
Scott's friends standing
nearby)
Just...Just get him to call me, Ok?
Harvey hangs up. And putting on his `positive' face turns
back to Scott's friends.
HARVEY (CONT'D)
Sorry.
(beat)
Always something.
JOSH
Sure.
(beat)
What's your field, Harvey?
HARVEY
Oh, I'm a...
(beat)
I work in the music industry.
JOSH
Wow. Doing what?
HARVEY
I'm a composer.
(beat)
Sort of.
PETE
Cool. What kind of stuff?
HARVEY
Oh, you know, for...commercials,
that sort of thing. TV.
(beat)
Mostly background stuff, that sort
of thing.
JOSH
I see.
22.
Slightly awkward pause.
PETE
Sounds profitable.
HARVEY
It can be.
(wanting to change
subject)
You guys work with Scott?
PETE/JOSH
Yes.
HARVEY
Oil, right?
JOSH
Futures, yes.
HARVEY
Well, I'm sure that's pretty
profitable too.
The guys smile a little too readily.
JOSH
Sometimes, yes.
Harvey tries to smile back.
HARVEY
Well, I'd better find my daughter.
PETE
Absolutely. Good to meet you,
Harvey. See you in there.
As Harvey moves off into the adjacent room, the guys watch
him go.
INT. PUB / HALLWAY OUTSIDE BATHROOM - NIGHT
Kate and Oonagh wait in line for the bathroom.
OONAGH
So?
KATE
He seems nice.
23.
OONAGH
Nice? Nice like good. Or nice like
dull.
KATE
Nice like how old is he?
Oonagh smiles.
OONAGH
Old enough. Your age...ish.
KATE
He can't be, he's looks like a
baby.
OONAGH
Alright, my age. But Matt says he's
very mature.
KATE
Oh right. Did Matt offer that up -
or was that in response to you two
discussing my approaching
barrenness.
OONAGH
Kate?
Just then Kate's phone rings.
OONAGH (CONT'D)
Don't answer it.
KATE
I have to. She's on her own.
(beat)
She gets lonely.
OONAGH
Just tell her you're busy.
Kate nods and indicates that the loo is free. Oonagh goes in,
as Kate answers her phone.
KATE
Mum?
INT. DINING ROOM / RESTAURANT - NIGHT
Harvey enters the room. He sees his daughter, standing off to
one side, with Scott, talking to some friends.
24.
She looks beautiful. He takes a moment to just watch her. As
she turns in slight slow motion, she smiles on seeing her
father and joins him.
SUSAN
Hi Dad.
HARVEY
Suz...
(beat)
You look beautiful.
SUSAN
Thank you.
Slightly awkward pause.
HARVEY
Give us a hug then, as they say in
this country.
They embrace. Beat. Off Susan's look...
HARVEY (CONT'D)
I know, I look ridiculous.
SUSAN
No. You look...
HARVEY
Like a bad lounge act.
Susan smiles at her Father. Beat.
HARVEY (CONT'D)
I spilt something on my trousers.
(beat)
I've been doing that a lot
recently.
Harvey looks over at Scott in the distance, sharing a laugh
with his buddies.
SUSAN
Dad.
HARVEY
Long way to come to see two
American kids get married.
Susan looks at her father, a little irked.
SUSAN
Sorry for the inconvenience, Dad.
25.
Harvey looks at his daughter.
HARVEY
Sorry.
Beat.
SUSAN
Have you seen mum yet?
HARVEY
No. They're here?
SUSAN
Yes. They're over by our table.
Harvey looks over.
SUSAN (CONT'D)
Please Daddy.
HARVEY
What?
(beat)
I'll be good.
Just then, they are approached by Scott guiding some friends
over to say hello.
SCOTT
Look who i've got!
Susan's girlfriends shriek with delight as they approach.
Susan turns to greet them.
HARVEY
I'll speak to you later Suz. You
enjoy your friends.
As Susan greets her friends, Harvey retreats.
INT. PUB - NIGHT
Kate rejoins the others. Oonagh and Matt are standing. Matt
has his jacket on.
OONAGH
(to Kate)
We've gotta go. Problem at home.
Baby-sitter just rang. Nothing
serious.
(MORE)
26.
OONAGH (CONT'D)
(beat)
But you guys stay.
Kate makes eyes at Oonagh, who shrugs innocently. Oonagh goes
to kiss Kate, while Matt says goodbye to Simon.
OONAGH (CONT'D)
(under breath)
Enjoy yourself - you miserable cow.
And turn off that phone.
(beat)
Are you working tomorrow?
KATE
Yes. Half-day.
OONAGH
I'll see you Tuesday.
Oonagh kisses Kate and heads off with Matt, leaving Kate
standing slightly awkwardly next to a seated Simon.
SIMON
Looks like we've been set up.
KATE
Yes.
(beat)
Sorry.
SIMON
No. It's not your fault. I mean,
I'm fine with it. I mean, I'm happy
to meet new people.
KATE
Yes, me too.
SIMON
Why don't you sit down?
KATE
Yes.
Kate sits down.
SIMON
So you're Oonagh's boss?
KATE
Yes.
(beat)
Sorry, I'm saying `yes' a lot.
27.
SIMON
Yes.
(smiles)
You are.
They share a smile.
SIMON (CONT'D)
Do you want another drink?
KATE
Ye...
(smiles)
Sure. I can get them.
SIMON
No, it's fine. What do you fancy?
KATE
I'll have another white wine.
Anything dry.
Simon heads off to the bar. Kate watches him go. She allows
herself a smile.
INT. RESTAURANT/BAR AREA - NIGHT
Harvey stands at the bar and downs a whiskey. Picking up
another glass, he turns away, and with drink in hand,
approaches a group of people standing around a table. As he
nears, a distinguished older man with a healthy main of white
hair sees him and momentarily touches the arm of the woman
standing next to him. She turns around to see Harvey
approaching.
JEAN
Harvey.
HARVEY
Jean.
Harvey turns his gaze to the white haired man and nods.
HARVEY (CONT'D)
Brian.
BRIAN
Harvey. Good to see you.
There is a palpable sense of tension in the air.
28.
HARVEY
(deliberately only
directed to Jean)
So our baby girl is really getting
married. Who would've thought?
JEAN
Yes.
BRIAN
Harvey you remember the Watsons.
Barry and Jill.
Harvey turns to a couple, standing nearby.
HARVEY
(slight sarcastic tone)
Of course I do. Hell, its been a
while. I guess, not since Jean and
I split up.
JILL
Hi Harvey. You look well.
HARVEY
Thank you, Jill. You're looking
well too. Both of you. I guess you
guys stayed in touch with Jean.
Awkward Beat.
BRIAN
Barry and I work together now.
HARVEY
No kidding? Insurance?
BARRY
No.
(beat)
Property, now. A small portfolio
down in Florida.
HARVEY
Real Estate. That's great.
(beat)
That's really great.
Awkward silence.
29.
BRIAN
Well I think we should sit. I know
Susan wanted us all seated before
they joined us.
HARVEY
Sure. Good idea.
Everyone begins to take their assigned seats. Harvey is on
the inside close to the middle. It's a bit tight and involves
people getting up to make way. Harvey gets to his seat and is
just about to sit when his phone rings. Brian and Jean share
a look. Taking it out of his pocket Harvey looks at the
incoming number.
HARVEY (CONT'D)
Sorry, I have to take this.
(picks up)
Can you hold a minute?
Harvey makes his way back along the table, causing people to
stand again.
HARVEY (CONT'D)
Sorry. Sorry.
Harvey walks away from the table.
INT. PUB - NIGHT
Kate sits waiting. Simon has finally been served and turns
from the bar with drinks in hand. As he does a young woman,
standing with a small party of two other girls and a guy,
greets him. Kate looks on. It's obvious from Simon's reaction
that they know each other well. Just then Kate's phone rings
again. She looks at the number and thinks about ignoring it,
but in the end, reluctantly picks up.
KATE
Mum. You've got to stop calling.
(beat)
What? I can't hear. Hold on.
Kate gets up and moves towards the back-room.
INT. RESTAURANT FOYER - NIGHT
Harvey stands on the phone.
30.
HARVEY
(getting more and more
flustered)
It'll take two hours max. No
longer.
(listens)
Have you told him its Harvey? Look,
we go back! He'll tell you. Just
have him call me.
INT. RESTAURANT - NIGHT
Harvey returns to the table. Everyone is seated.
HARVEY
Sorry...
He notices his name place has been moved to the end.
HARVEY (CONT'D)
(smiling/to Jean)
Did you move me darling?
JEAN
No, Harvey. I didn't touch it.
SUSAN
Dad. I moved you. I thought it
might be easier in case you needed
to get out.
HARVEY
Ok, sweetheart.
Harvey takes the last remaining seat. Brian stands.
BRIAN
Shall we have a quick toast to get
things going?
(beat)
I'm going to save my big speech for
tomorrow.
(laughter)
Dear Susan and Dear Scott, I just
want to take us all back to that
wonderful holiday we all had in
Rome together last year and wish
you `Salute'!
EVERYONE
Salute!
31.
BRIAN
Jean and I love you both so much.
And we're so happy that Scott is
going to part of our clan now. And
so I say many, many, happy, happy
years ahead. Salute!
EVERYONE
Salute!
HARVEY
My turn?
Everyone turns to Harvey as he stands to make a speech. Just
then his phone rings on vibrate.
HARVEY (CONT'D)
Sorry.
Harvey scrambles to turn it off, as Jean rolls her eyes.
HARVEY (CONT'D)
Sorry, I thought it was off.
(flustered he finally
manages to stop it
buzzing)
Um, uh.
(beat)
To Susan and Scott. A great couple.
(beat)
Cheers.
Momentary awkward silence.
EVERYONE
Cheers.
Harvey sits.
SUSAN
Let's eat.
EVERYONE
Yes...
Everyone tucks in. Harvey sits slightly blushing at the end
of the table, knowing he's blown it.
32.
INT. PUB - NIGHT
Kate hangs up and returns to the main room, to find that
Simon has been joined at their table by the young group. Kate
bolsters herself before returning to the table.
KATE
Hi.
SIMON
Hey. Kate.
(beat)
Sorry, i bumped into these guys and
couldn't shake them.
(turning to his friends)
Everyone this is Kate.
Kate holds up her hand, before blushing a little.
KATE
Hi.
SIMON
Kate this is Andrew, Melissa, Gwen,
and Elinor.
EVERYONE
Hi.
Kate sits down.
MELISSA
Sorry, I hope we're not barging in
on your evening.
Kate shakes her head.
MELISSA (CONT'D)
It was Simon's idea. How do you
guys know each other, anyway?
Kate glances at Simon.
KATE
We don't really. We just met.
Melissa looks at Simon and grins.
MELISSA
A blind date?
33.
SIMON
No.
(beat)
We met through friends.
MELISSA
I see. I think we should leave you
guys alone.
KATE
(a little too abruptly)
No.
(beat)
Don't. Stay. It's fine.
Slightly awkward pause, broken by Andrew.
ANDREW
Hey does anyone know the cricket
score?
SIMON
England were all out by tea, when I
last checked.
ANDREW
Bloody hell.
GWEN
Cricket. Don't get it.
MELISSA
What? Men in white. Oh, I do.
Kate looks on as the girls laugh.
INT. RESTAURANT - NIGHT
Harvey sits at the end of the table, looking on, as everyone
talks animatedly around him. He eats his food and drinks
plenty of wine. Up near the middle Scott shares a joke with
Brian. Just then Susan, who has been talking to the best man,
turns and catches her father's eye. He smiles at her and
raises a glass. Susan smiles back before returning her
attention back to her neighbour.
INT. PUB BOOTH - NIGHT
Kate sits among the group. She too seems to be detached from
the proceedings.
34.
GWEN
I heard that they did it in her
bedroom, while she was away.
SIMON
It was her flat?
GWEN
Yep. He has his own, but was
basically living at hers.
ANDREW
Ouch.
MELISSA
That is evil.
As the conversation continues in this vein, Kate glances at
Simon. He seems more at ease in this company.
INT. RESTAURANT - NIGHT
The meal is drawing to a close. People have gotten up and are
circulating around the table and nearby.
INT. BAR AREA - NIGHT
Harvey stands at the bar. He downs a drink. Jean approaches.
JEAN
Harvey.
HARVEY
Hello Jean.
JEAN
(to barman)
Can I get a glass of water please?
The Barman obliges.
JEAN (CONT'D)
You Ok?
HARVEY
(Downing another drink)
Fine.
Beat.
35.
JEAN
Go easy Harvey.
HARVEY
(getting quite loaded)
Why, Jean? Are you worried i'm
going to embarrass you again?
JEAN
No Harvey, I'm worried you're going
to embarrass yourself.
(beat)
And more importantly Susan. This
weekend's just about her and Scott.
Nothing else.
HARVEY
Oh, you're good Jean. You're really
good. You've always known how to
make me feel shit, haven't you?
(beat)
You've always been so good at that.
JEAN
I've had cause to practice.
Beat.
HARVEY
Tell me, Jean. Were you ever proud
of me?
JEAN
Yes. Sometimes.
(beat)
But you never listened.
HARVEY
The parties Jean. The fuckin'
parties, where I would hear you -
dressing up what I did for a living
- film composer this, film composer
that - trying to make it more
palatable for your friends. I'm
a...
JEAN
(cutting him off)
Don't Harvey.
Beat.
36.
HARVEY
What is it you see in Brian?
Jean looks into Harvey's eyes. Long beat.
JEAN
He doesn't talk about himself.
(beat)
He talks about me.
Harvey stares back, momentarily transfixed, before turning
away dismissive.
JEAN (CONT'D)
Go home Harvey. Go to bed and see
your daughter get married tomorrow.
Jean walks away. Harvey stands at the bar. Susan comes into
the room. She approaches.
SUSAN
Hi Dad.
HARVEY
Hey Suz.
SUSAN
Are you alright?
HARVEY
(upbeat)
Yeah. I'm great. How are you doing?
Enjoying yourself?
SUSAN
Yeah.
Beat.
HARVEY
He seems a good guy, Scott. You'll
be alright.
SUSAN
Yeah, he is.
(beat)
I'm sorry, I haven't had much time
to talk to you.
HARVEY
No Sweetheart, it's your weekend.
It's no problem. You just enjoy
yourself.
37.
Beat.
SUSAN
How's work?
HARVEY
Great.
(beat)
Well, not great, but...fine. You
know the usual. Triangle chimes.
Susan smiles.
SUSAN
Are you still doing your own stuff?
You should.
HARVEY
A bit... Not so much.
Beat. Harvey looks away, then back.
HARVEY (CONT'D)
Listen Suz, I'm really sorry about
having to leave early. It's just
bad timing. There's a sudden rush
at work, you know, a couple of big
jobs in at once.
SUSAN
Sure.
HARVEY
It just can't be helped. But I'll
be there at the ceremony, at the
really important bit. I'll be there
to give you away.
(beat)
And then I'm sure Brian or your
mother will talk at the reception.
You know me, I've never been very
good at speech...
SUSAN
(interrupting)
Dad.
HARVEY
Yeah, Suz?
SUSAN
Listen, I've been thinking.
(beat)
(MORE)
38.
SUSAN (CONT'D)
Brian has been a really big part of
my life now for some time. And...
(long beat)
And I'm going to ask him to give me
away tomorrow.
Silence.
SUSAN (CONT'D)
I'm sorry, Dad.
The colour drains from Harvey's ruddy face.
HARVEY
But Suz...
SUSAN
Dad, I've hardly seen you in the
past five years.
HARVEY
That's not true.
SUSAN
Dad, it is. Maybe a quick coffee
here, or a telephone call there but
no, you haven't been part of my
life. And...
(beat)
And Brian has.
Beat.
SUSAN (CONT'D)
You having to leave early this
weekend. I don't know, it just
seems typical.
HARVEY
(flash of irritation)
It's work darling. It pays for
things.
(beat/sighs)
Sorry. Look, I...
SUSAN
(interrupting)
I'm sorry Dad, but it's what I've
decided.
Harvey momentarily turns away from his daughter, to compose
himself, before turning back.
39.
HARVEY
Sure.
(beat)
I understand, Suz.
Harvey leans in and kisses his daughter on the forehead.
HARVEY (CONT'D)
You go and be with your friends. Go
and enjoy yourself.
(pulls out his phone)
I gotta make some stupid calls. You
know. Go and enjoy yourself,
Sweetheart. I'll see you tomorrow.
Susan reluctantly walks away as Harvey lifts the phone to his
ear. We hold on his face. With Susan gone he lowers the
phone. He looks frightened.
INT. MEN'S ROOM - NIGHT
Harvey enters the rest-room and heads to a bank of basins. He
turns on a tap and bends down - drinking profusely. He
splashes his face then rises and begins to dry it with some
paper towels.
HARVEY
You fuckin' asshole!
Harvey suddenly bends over as though he'd been punched hard
in the stomach. He rises, red in the face, holding his nose,
desperately trying to hold it in. But he can't - Harvey sobs
huge heaving muffled cries...
Just then, someone enters. Head down, Harvey lunges for the
door and exits.
EXT. RESTAURANT - NIGHT
Harvey stumbles out of the restaurant and into a waiting cab.
The cab pulls away.
INT. PUB - NIGHT
Kate sits surrounded by laughter. Simon's attention is firmly
fixed on his friends. Kate's humiliation is magnified as we
slowly move into her face.
KATE
Sorry.
40.
Kate gets up and walks away. Everyone momentarily stops
chatting and looks to Simon, who shrugs.
INT. LADIES - NIGHT
Kate enters a cubicle. She sits down to have a pee. We hold
on her sad face. She suddenly grimaces, before holding firm.
But not before a tear has been expelled and rolls down her
cheek. She swats it away.
INT. TAXI - NIGHT
We hold on Harvey's sad face as it gently bobs in the back of
a moving cab.
EXT. PUB - NIGHT
Kate exits the pub, just as a cab pulls up. As Harvey exits
one side, Kate gets into the other, as the cab pulls away
again.
FADE TO BLACK.
FADE IN:
INT. REGISTRY OFFICE - MORNING
Bride and Groom stand at the head of the room, saying their
vows. Harvey stands near the back, looking on. As the
ceremony is concluded the audience spontaneously burst into
applause. Harvey looks around the room, then back at his
daughter, as she smiles giddily at her husband. Harvey slips
out the door.
EXT. STREET - DAY
Carrying his case, Harvey hails a Taxi and gets in.
INT. TERMINAL 3 - DAY
Kate, back in green, stands next to a young couple asking
them questions about their travel arrangements.
41.
EXT. STREET - DAY
The Taxi comes to a stop in `classic' mid-day London traffic.
INT. TAXI - DAY
Harvey glances at his watch, then out at the mass of cars in
front of them. His phone rings. He picks up.
HARVEY
Hello?
The line goes dead. Harvey puts his phone away. He glances
out the window again as the Taxi crawls forward, before again
coming to a stop. Harvey leans forward.
HARVEY (CONT'D)
Is there another way we could try?
The driver, looking a little irked, glances at Harvey in his
mirror.
TAXI DRIVER
It's going to be bad everywhere.
Your president's in town. It's
causing chaos.
Harvey rubs his neck and glances again at his watch.
INT. BOOTH - DAY
Kate eats a snack, while reading a book. Her phone suddenly
rings. She sighs quietly before slowly picking it up.
KATE
Mum?
EXT. HEATHROW / TERMINAL 3 - DAY
A Taxi pulls up. Harvey gets out, pays the driver and hurries
into the Terminal.
INT. TERMINAL 3 / CHECK-IN COUNTER - DAY
The counter is mobbed. A long queue snakes away from it.
Harvey hurries to the front, where a male Steward is
attending to another passenger.
42.
HARVEY
I'm sorry but, I'm on the 4.30 to
JFK.
WAITING PASSENGER
Hey pal, we're all in hurry.
HARVEY
Just hand luggage, can i go
straight to the gate?
STEWARD
Sir, I'm dealing with a passenger,
you'll have to wait.
HARVEY
Please. I've gotta make that
flight.
STEWARD
Sir, everyone is in a hurry. You'll
just have to wait.
Harvey sees another Steward momentarily free, and turns to
her.
HARVEY
Miss, i'm on the 4.30 to JFK. Can
you check me in?
STEWARD #2
I'm afraid that flight's now
closed.
HARVEY
But it's not yet 4! I just have
hand luggage. It doesn't take off
for another 40 minutes.
STEWARD #2
I'm sorry sir, but we have to close
the gate 45 minutes prior to
departure.
HARVEY
But I just have hand luggage.
Please. I've got to get on that
flight.
STEWARD #2
I'm sorry sir, there's nothing I
can do.
43.
Harvey looks around.
HARVEY
When's the next flight?
STEWARD #2
There's one at 8.30. But I know
that's full. I can put you on stand-
by, but I doubt you'll get on.
(beat)
The earliest I can get you on for
sure, is tomorrow morning, 10.30.
HARVEY
(shouts)
Jesus!
People look over.
STEWARD #2
Sir, I'm sorry, but you have to
stay calm.
Harvey looks about him.
INT. TERMINAL 3 - DAY
Harvey sits holding his phone. He dials a number, lifting the
phone to his ear. He gets voice-mail.
HARVEY
Marvin. It's Harvey. Listen,
there's been a mess up, the traffic
was crazy. I'm going to have to
reschedule the pitch slightly.
Frank can set up. I'll email him
the cue numbers - he knows what to
do. And then I'll be there lunch-
time at the latest. I'll come
straight from the airport. I'll try
you again shortly.
Harvey hangs up and stares at the phone. Beat. He looks up
and around the Terminal. A young child has a tantrum nearby.
Suddenly his phone rings.
HARVEY (CONT'D)
Hello?
MARVIN
I got your message.
44.
HARVEY
The traffic was insane. But
listen...
MARVIN
(interrupting)
The traffic, Harvey? Jesus!
Beat. Marvin sighs.
MARVIN (CONT'D)
Listen, Harvey. Stay in London.
Enjoy your daughter's wedding.
We'll talk when you get back.
HARVEY
It's fine, I'll be there lunch-
time. It's no problem. Steve knows
what I need. Mike's coming in. It's
all set u...
MARVIN
(interrupting)
Harvey!
Silence.
MARVIN (CONT'D)
It's over.
(beat/sighs)
It's out of my hands Harvey. I have
people to answer to. We just can't
afford the space.
(beat)
We're letting you go.
HARVEY
Letting me go? Can't afford the
space? Marvin, I'll be there lunch-
time.
Beat.
MARVIN
I'm sorry Harvey.
(beat/sighs)
Call me when you get back.
The line goes dead. Harvey closes his phone. Beat. He stares
ahead into space, then stands and walks away.
45.
INT. BOOTH - DAY
Kate closes up the booth.
INT. TERMINAL 3 / CHEZ GERARD (BAR/RESTAURANT) - DAY
Kate sits at a table near the bar, drinking a glass of wine
and reading her book. She glances up as a man enters. Harvey
takes a seat at the bar.
HARVEY
Jamesons, no ice.
The Barman serves Harvey. Harvey immediately downs it.
HARVEY (CONT'D)
Another.
(beat)
Please.
The Barman refills his glass. Again Harvey knocks it back.
Kate glances up from her book.
HARVEY (CONT'D)
Another, please.
The Barman glances at Harvey.
HARVEY (CONT'D)
What?
BAR MAN
Sorry.
Harvey reaches for the now full glass. But knocks it,
spilling it into his lap.
HARVEY
Shit!
Kate looks up again, along with the few other patrons in the
bar. Harvey registers their gaze.
HARVEY (CONT'D)
Sorry. Vulgar American.
Kate smiles, before returning to her book. Harvey dabs his
trousers with some napkins.
46.
HARVEY (CONT'D)
(to himself)
I know, we don't raise our voices
in this country. It's not done.
Harvey puts the sodden napkins down onto the bar. He looks at
himself in the mirror behind the bar and rubs his chest. He
sighs and glances around the room. He sees Kate and
recognizes her.
HARVEY (CONT'D)
(to Kate)
I'm sorry.
Kate looks up. Beat.
KATE
For what?
HARVEY
For yesterday. I was rude. You
tried to ask me some questions.
Kate nods.
HARVEY (CONT'D)
You were just trying to do your job
and I was rude.
KATE
I don't really remember, but I'm
sure you were. Most people are.
Kate returns to her book. Beat.
HARVEY
Good book?
Kate looks up.
KATE
It probably would be, if i could
finish it.
HARVEY
(holds up his hands)
I get it.
Beat. Harvey downs another shot. Kate looks up again.
KATE
That'll help.
47.
HARVEY
(looks over)
Sorry?
KATE
I said, that'll help.
Beat.
HARVEY
Believe me, it will.
KATE
Right.
Beat.
HARVEY
I reckon it'll help as much as that
trashy novel and a glass of
chardonnay.
Beat.
KATE
O-kay.
Harvey winces, lowering his head into his hand. Putting some
money onto the bar, he turns and joins Kate, taking a seat at
an adjacent table.
HARVEY
I'm really sorry. That was out of
line.
KATE
(looks up)
What? Go away and stop apologizing.
HARVEY
It's just that i've had a really
shitty day.
KATE
(looking back at her book)
Join the club.
HARVEY
No. I mean really shitty. Yours may
have been shitty, but mine was
shittier.
Beat. Finally, Kate looks up again at this strange man.
48.
KATE
How shitty?
HARVEY
I missed my flight. I lost my job.
And my daughter who got married in
London today asked her step father
rather than me to give her away.
Kate looks at Harvey sympathetically for a moment.
KATE
Not bad.
(beat)
But what can I do for you?
(beat)
Make it worse, maybe?
HARVEY
Let me make it up to you.
(beat)
Would you let me buy you lunch.
What time is it - tea time? I'll
buy you tea.
Kate blushes ever so slightly.
KATE
That's very sweet of you, but... I
don't know you. And... you don't
know me.
HARVEY
Exactly. That's why we should have
lunch - tea.
Kate can't help but smile. Beat.
KATE
Thank you, but...no.
She indicates her book.
HARVEY
Because you've got your book. And
it's a good replacement for humans.
Kate smiles and nods. Just then her phone rings.
HARVEY (CONT'D)
If that's for me I'm in the shower.
49.
Kate smiles as she takes out her phone and looks at the
incoming number. She is about to answer, when she stops
herself.
HARVEY (CONT'D)
Aren't you going to answer that?
She thinks for a moment, before putting the phone back.
KATE
No.
HARVEY
Should I take that as a hopeful
sign.
Kate can't help but smile.
KATE
If it is, you could just give me a
little wider smile.
Kate can't help but smile wider.
INT. LIVING ROOM - DAY
Kate's mum pulls the phone away from her ear, perplexed by
the lack of response. Her eyes wander to the window. Drawing
back the curtain, she looks out. POV: The Neighbour, now
sporting a white apron, busies himself as usual. He suddenly
bends down and heaves what would best be described as a body
bag onto his shoulder. As he stumbles under the weight, he
carries it into the shed. Kate's mum turns away ashen.
INT. CHEZ GERARD - DAY
Harvey and Kate remain seated at adjacent tables. Muzak plays
in the background. They are now virtually the sole patrons of
Chez Gerard. Kate eats a salad and reads her book. Just then,
Harvey's food arrives. Beat.
HARVEY
Look we are having lunch together.
KATE
(looks up and smiles)
No. We're having lunch next to each
other.
50.
HARVEY
Ah.
(beat/suddenly holds out
his hand)
I'm Harvey. Harvey Shine.
KATE
(takes it)
Kate. Kate Walker.
Kate can't help but smile at Harvey's persistence. Beat. She
puts down her book.
KATE (CONT'D)
So why aren't you at the wedding?
Harvey, momentarily taken aback by the directness of Kate's
question, is about to answer, when the sound of a vacuum
cleaner erupts. Harvey and Kate look over to see a cleaner
vacuuming the floor nearby.
HARVEY
Ah, that's better. I knew something
was missing.
(shouting over the din)
I had to get back for a work thing.
KATE
(over the din)
A work thing. For the job you just
lost?
Beat.
HARVEY
(over din)
Yes.
KATE
(over din)
I see.
(beat)
So, this job you lost. You liked
it?
HARVEY
(over din)
Yes.
(beat)
No. Not really. They've beaten it
out of me. But its what i do - did.
51.
KATE
(over din)
Which is - was?
HARVEY
(shouts)
I'm a composer.
(stops himself)
I write jingles.
The vacuuming stops. They both look over, then back.
KATE
Wow.
HARVEY
That's about the normal response.
KATE
Anything I would of heard?
HARVEY
Yes. Uh...Uh...
(long beat)
Well, maybe, I mean it maybe before
your time.
KATE
(smiles)
No, go on.
Harvey smiles a little sheepishly.
HARVEY
(singsong voice)
You can take the Salem out of the
country - but you can't take the
country out of Salem.
Beat.
KATE
No.
HARVEY
It's a cigarette.
KATE
Oh really?
HARVEY
Forget it.
52.
KATE
Ok.
The vacuuming starts up again. They look over then back.
KATE (CONT'D)
(over din)
Did you always want to write
jingles or was there something
more?
Harvey laughs.
KATE (CONT'D)
What?
HARVEY
No, I just love the way you...you
just cut through it.
KATE
I'll take that as a compliment.
HARVEY
You should.
(beat)
I was going to be a Jazz pianist.
KATE
Were you good?
Beat.
HARVEY
No. Not enough.
Harvey looks away.
KATE
I'm sorry, I can be nosey. I tend
to blurt stuff out.
Breaking from his reverie.
HARVEY
No. I like it. I like it...
(beat/over din)
...Alot.
Vacuuming stops. Beat. Kate looks away.
53.
HARVEY (CONT'D)
It's a relief to find someone in
this country who actually says what
they feel.
KATE
Oh, haven't you heard?
HARVEY
What?
KATE
That's all changed. We're a nation
changed. Ever since Diana, we've
unlocked ourselves. Everything's
flowing out.
(beat)
You guys showed us the way.
HARVEY
Just as we're trying to adopt your
stiff upper lip.
Kate smiles.
HARVEY (CONT'D)
What is a stiff upper lip, exactly?
Harvey tries to physicalize it.
KATE
No, I think, it's more this.
Kate stretches her top lip.
HARVEY
I see.
(copies her)
How's that?
KATE
(top lip stretched)
Yeah you're getting there. Stretch
it out further.
HARVEY
Let me see again.
KATE
No, now you're doing a bulldog.
HARVEY
Like this?
54.
KATE
No, now you look like you don't
have any teeth.
(beat)
Are they your own?
HARVEY
What?
KATE
Your teeth?
HARVEY
The front ones.
KATE
My dad had a front one that you
could just take out.
HARVEY
Really?
As they sit there, lips stretched, nattering away, we start
to pull back. Accompanied by a simple piano score we look on
as they appear to us, momentarily, like an ordinary couple.
EXT. CHEZ GERARD - DAY
Harvey and Kate exit the restaurant. They stand opposite each
other in the quietening Terminal.
KATE
Thank you. I...enjoyed myself.
HARVEY
Yes. So did I.
Slightly awkward pause. Kate glances at her watch.
KATE
I should get going. I have a class.
HARVEY
A class?
KATE
(a bit sheepish)
Yes. A...writing class.
(beat)
Twice a week. Just something I do.
(changing the subject)
(MORE)
55.
KATE (CONT'D)
I take the Heathrow Express. What
about you?
Harvey hadn't really thought.
HARVEY
I don't know. I guess I'll stay in
a Hotel near here. My flight's in
the morning.
Beat.
KATE
Well...it's been a
pleasure...Harvey Shine.
HARVEY
Yes. Yes it has.
They shake hands, smiling. Just then Kate's phone rings
again.
HARVEY (CONT'D)
There's your phone again.
KATE
Yes.
(beat)
Sorry. I'd better go.
Kate turns and leaves. Harvey watches her go.
INT. TERMINAL / HOTEL PHONE BANK - DAY
Harvey picks up a hotel phone.
HARVEY
I'd like a room please.
(beat)
One night.
INT. HEATHROW EXPRESS PLATFORM - DAY
Kate waits on the platform as a train glides into the
station.
INT. TRAIN - DAY
Kate stands in a crowded middle section. A mild commotion
ensues down the other end of the carriage as somebody
squeezes aboard at the last.
56.
MAN'S VOICE (O.S.)
Sorry. Excuse me.
Kate looks up to see Harvey making his way down the crowded
carriage.
HARVEY
Sorry.
People reluctantly make way for Harvey and his case. He
finally arrives next to Kate as the train jolts forward.
Momentarily losing his balance, Harvey steadies himself on a
businessman's shoulder. Kate leans forward to help, as the
businessman turns slightly irritated.
HARVEY (CONT'D)
Sorry.
(turning to Kate)
Hi.
(a little sheepish)
I thought i might as well stay in
town. More fun than a hotel next to
a runway, right?
Kate nods. Harvey smiles a little sheepishly as the train
speeds off.
EXT. TRACK - DAY
The train speeds past on its way into London.
INT. TRAIN - DAY
Harvey and Kate stand next to each other, gently swaying, in
the crowded carriage. The businessman standing next to
Harvey, talks loudly on his phone about his day's conquest.
Harvey and Kate share a look. In a Keatonesque performance,
Harvey, keeping his body rigid, slowly leans further and
further away from the man, making Kate smile.
INT. PADDINGTON STATION - LATE AFTERNOON
The train pulls into the station. We watch as Harvey and Kate
alight with the crowd.
57.
EXT. PADDINGTON STATION - LATE AFTERNOON
They come to a stop outside. It's still light. A beautiful
fall afternoon.
KATE
Taxi's are over there. They'll take
you to wherever you need to go.
Harvey looks towards the Taxi rank.
KATE (CONT'D)
So, I guess it's goodbye again.
HARVEY
Yes.
(looks up at the evening
sky/beat)
So, I couldn't walk you to your
class, could I?
(beat)
Carry your books?
(beat)
Stand near the curb so you don't
get splashed.
Kate smiles.
KATE
Sure.
HARVEY
Is that a yes?
KATE
Yes.
(beat)
Why not?
EXT. LONDON STREETS - LATE AFTERNOON
Montage: Accompanied by a wonderfully romantic little ditty,
we watch from a distance as Harvey and Kate navigate the
buzzing streets of central London. All is alive and well.
Harvey drops his suitcase off at the same hotel he was
staying in before.
As they wander through the city, foreign students mingle,
policemen chat, and office workers linger. London is at its
best.
58.
EXT. SOUTH BANK - LATE AFTERNOON
The sky glows a pale orange as Harvey and Kate walk and talk
along the South Bank.
HARVEY
Yours is a beautiful city, Kate.
Kate looks at Harvey a moment, then smiles.
HARVEY (CONT'D)
What?
KATE
Its just a funny way of saying it.
Quite old fashioned.
HARVEY
Really?
KATE
But i like it.
(beat)
Yours is glorious country,
Honeychurch.
Harvey looks at Kate quizzically.
KATE (CONT'D)
It's a line from a book. `Room with
a View'.
Harvey shakes his head.
HARVEY
I'm afraid I'm not much of a
reader.
(beat)
Too fidgety, I guess.
Kate looks at Harvey.
HARVEY (CONT'D)
You think less of me.
KATE
No, we're just quite different,
that's all.
HARVEY
Is that bad?
59.
KATE
(thinks about it)
No.
Just then Kate's phone rings again.
HARVEY
Both our phones ring a lot. We have
that in common.
KATE
(smiles)
Ah.
They come to a stop as Kate takes out her phone and looks at
the handset display.
KATE (CONT'D)
Sorry. I should probably take this.
Harvey nods.
KATE (CONT'D)
Mum?
(beat)
I've been busy.
(beat)
No, I'm out. Yes with someone. No
someone else.
(beat)
Yes.
(looks at Harvey)
...a man.
Harvey smiles. We hear Maggie's warble continue as Kate
listens. Beat.
KATE (CONT'D)
You did, did you?
(beat)
An actual body.
Harvey looks at Kate. Kate shakes her head. Maggie continues.
KATE (CONT'D)
Mum. Listen. I'll come over
tomorrow and we can check it out
together.
(beat)
I have to go now. Just get an early
night and i'll see you tomorrow.
(beat)
I love you too.
60.
Kate hangs up.
KATE (CONT'D)
Sorry.
(beat)
My mother.
HARVEY
She worries about you?
KATE
And herself.
(beat)
She's convinced she's living next
to Poland's answer to Ted Bundy.
HARVEY
I see.
They start walking again.
KATE
She means well. She's just had a
tough run.
(long beat)
My Father ran off to France with
his secretary. Then mum got cancer,
about four years ago now. She's
fully recovered. But won't admit
it.
(beat)
She's basically bored. And my
continued `situation' as she calls
it, being single, is her major
distraction. Her pastime if you
will.
HARVEY
I see.
KATE
Yes, my rotting eggs are her raison
d'être.
(grimaces/turns to Harvey)
Sorry.
HARVEY
No.
KATE
I talk too much.
61.
HARVEY
No. I like it.
KATE
Do you?
HARVEY
Yes.
Kate comes to a stop and looks at Harvey.
KATE
Hmm.
(beat)
Well, here we are. My class.
Harvey looks up at a grey municipal building.
HARVEY
How long is the class?
KATE
An hour.
HARVEY
Can I wait?
(beat)
Sorry - I promise I'm not
`Bundyish'.
KATE
(smiles)
It's getting cold. You don't want
to wait.
HARVEY
Yes I do.
KATE
(smiling and backing
towards the building)
Careful, I might get the wrong
impression.
Harvey shrugs.
HARVEY
What can you do?
62.
INT. LIVING ROOM - LATE AFTERNOON
Maggie, very tentatively, lifts her curtain again. No sign of
the `Killer'. Suddenly the doorbell rings.
INT. HALLWAY - LATE AFTERNOON
As Maggie, slowly approaches the front door, the doorbell
rings again. She slowly leans in and peers through the peep-
hole. POV: The Neighbour looms large. He holds in his arms a
large `something' wrapped in paper.
Maggie pulls her head away. Beat. She looks again. POV: The
Neighbour bends down out of sight and then rises again,
turning to leave. Maggie watches him go.
EXT. SUBURBAN HOUSE - LATE AFTERNOON
The door slowly opens. Maggie looks around then notices the
`thing' wrapped in paper on the ground. She quickly picks it
up and takes it inside.
EXT. SOUTH BANK - LATE AFTERNOON
As daylight fades, Harvey sits waiting. Through a large
ground floor window, he watches Kate, as her class wraps up.
As she comes out, he gets up and joins her.
HARVEY
How did it go?
KATE
Oh, the usual.
(beat)
Lovely mild-mannered Mike read us
the latest installment from his
Physcho-Sexual Thriller, and we all
tried to look at him in the same
way after.
Harvey smiles.
KATE (CONT'D)
Shall we keep walking?
HARVEY
Yes.
63.
EXT. SOUTH BANK - LATE AFTERNOON
Harvey and Kate walk under Waterloo bridge past the second
hand bookstalls. A man plays a saxophone melancholically.
KATE
Do you ever wish you could try a
different life?
(beat)
Just for a day. Just to see what it
would be like.
HARVEY
What would yours be?
KATE
(looks down at her
uniform)
Well, no green, that's for sure.
Harvey smiles.
KATE (CONT'D)
(beat/thinks)
It would take place in Spain. A
little house inland.
HARVEY
And what would you do there?
KATE
Oh...I don't know...
(beat)
Write the great novel.
(beat)
I think I've got one inside me.
We're not talking high art. Just a
bloody good holiday read.
Beat.
HARVEY
Ok. So this house in Spain would
have a little cabana looking out
over the plains for you to write
in.
KATE
(smiling)
Yes.
64.
HARVEY
And a little stream running by, to
bathe in.
KATE
(smiling)
Sure.
HARVEY
I'm there.
(beat)
Sorry, that's if you're receiving
guests.
Kate smiles, coming to a stop.
KATE
Sure, you can visit Harvey Shine.
HARVEY
Why, thank you Kate Walker.
Just then a sort of Skiffle come Rockabilly busking act
starts up. Two girls and a guy. They're great! Harvey and
Kate stand amongst the crowd watching. The South Bank is at
its vibrant best.
EXT. SOUTH BANK - DUSK
With the sound of the Skiffle act still playing in the
distant background, Harvey and Kate take a seat on some steps
over-looking the river. As darkness descends, street-lamps
reflect off the water. They sit in silence. Then...
KATE
What happened Harvey?
(beat)
Between you and your daughter?
Beat. Harvey shakes his head.
HARVEY
I don't know.
(beat)
Somewhere along the way I lost her.
I lost my family.
(beat)
I just woke up one morning and
realised i didn't belong.
Beat.
65.
HARVEY (CONT'D)
I'd always had this mean little
feeling in my stomach, that they
were a bit embarrassed by me.
(beat)
If you saw them now, with Brian,
Susan's step-father. You'd see,
they make more sense. They look
right together.
Beat. Harvey looks out over the Thames.
HARVEY (CONT'D)
I've not been a great father.
Kate looks at Harvey's sad profile. Beat. She thinks for a
moment.
KATE
The reception. It's still going on?
HARVEY
(looks at his watch)
I guess.
KATE
Where?
Harvey looks up.
HARVEY
The Grovesnor. Why?
Kate looks at Harvey.
KATE
You must go.
HARVEY
What?
KATE
What the hell are you doing here?
You must go!
Harvey shakes his head.
HARVEY
She doesn't need me.
66.
KATE
Stop feeling so sorry for yourself.
She's your daughter, you're her
father. Go!
Harvey shakes his head again. Kate is not about to give up.
KATE (CONT'D)
Harvey, it would be unforgivable
not to go.
Beat.
KATE (CONT'D)
Harvey?
HARVEY
Wait. I'm thinking.
(beat)
Only if you come with me.
KATE
What?
HARVEY
Please, come with me. As
my...bodyguard.
(smiles)
As my friend.
Kate momentarily blushes, then shakes her head.
KATE
Harvey, firstly, i'm not about to
go to anyone's wedding in a green
polyester work suit. Secondly it's
not right.
HARVEY
We'll find you a dress. If we find
you a dress, will you come?
KATE
No.
HARVEY
Please.
KATE
No.
HARVEY
Please.
67.
KATE
No.
EXT. BURLINGTON ARCADE - NIGHT
Music/Montage: The song is the same as that played by the
buskers. It's a fast, fun Rockabilly Skiffle thingy. We watch
as Harvey and Kate buy a dress. (Handheld/Double speed).
EXT. GROVESNOR - NIGHT
A Taxi pulls up and out step Harvey and Kate. Kate looks
fantastic on Harvey's arm as they walk up the front steps.
INT. WEDDING RECEPTION - NIGHT
A reception is in full swing.
INT. LOBBY - NIGHT
The doors close behind Harvey and Kate as they enter an
elevator.
INT. ELEVATOR - NIGHT
Harvey and Kate stand side by side in silence. They both
smile a little anxiously - almost like teenagers.
INT. RECEPTION FLOOR / HALLWAY - NIGHT
There is a loud `ping' as the elevator doors open onto a
hallway. Harvey and Kate step forward. Down the hall, through
some double doors we hear the familiar din of a buzzing
reception. Harvey momentarily falters.
KATE
Come on.
Kate encourages Harvey forward.
INT. RECEPTION - NIGHT
The doors open and Harvey and Kate enter. Heads turn. Jean
looks up and sees Harvey with Kate. She shakes her head.
Susan sees Harvey and gets up. She joins him.
68.
HARVEY
Hey.
SUSAN
Hi.
HARVEY
I didn't go.
SUSAN
I'm glad.
Off Susan's look, Harvey turns to Kate.
HARVEY
This is Kate. A... friend.
KATE
(sheepish)
Hi. Congratulations. You look
fantastic.
SUSAN
Thank you.
Slightly awkward pause.
KATE
I'm really sorry to gate-crash.
Your father sort of insisted.
SUSAN
No, it's fine. I'm sure...
(looks around)
...there's room.
Susan looks back at the full top table.
HARVEY
You get back. Don't worry about us,
we'll find a place.
KATE
Yes...
SUSAN
No.
(stops a passing waiter)
Could you find them a seat please.
WAITER
Sure.
69.
Pete, acting as Master of Ceremonies, stands and clinks his
glass for attention.
SUSAN
I'd better go.
PETE (MC)
And now for the best man's speech.
Except we seem to be missing the
bride.
(laughter)
Oh, no, here she is.
Susan heads back and resumes her seat at top table. The best
man takes the mic...
JOSH
Scott. What can I say...
INT. RECEPTION / BACK TABLES
The waiter leads Harvey and Kate to a table.
WAITER
I'm afraid this is the only place
left.
The waiter shows them to a few empty seats at the children's
table.
HARVEY
That's fine.
Harvey and Kate take their seats. The kids stare at them.
KATE
Hi.
A brace clad, large girl in a white frilly dress speaks.
GIRL
Are you Uncle Harvey?
HARVEY
Yes. I guess.
GIRL
I've heard about you.
70.
HARVEY
Oh.
(beat)
You're not Miriam's kid are you?
GIRL
Yes.
HARVEY
Wow...You've...got big. I mean
grown up.
GIRL
I'm fourteen.
HARVEY
Wow.
Kate feels someone's eyes on her and turns to her left to
find a smartly dressed young boy of about eight, staring up
at her with his mouth open. Kate nods her head.
KATE
Hello.
The boy remains silent, keeping his gormless gaze fixed on
Kate.
KATE (CONT'D)
Now you're not to dominate the
conversation tonight.
(turning back to Harvey)
Chatterbox to my left.
Harvey smiles.
INT. RECEPTION / TOP TABLE - NIGHT
JOSH
So without further ado, I'd like to
propose a toast to Susan for making
my friend Scott complete.
The audience whoop and clap. Scott gives his best man a hug.
Pete stands...
PETE (MC)
And now ladies and Gentlemen. It is
the turn of the Father of the Bride
to say a few words.
(MORE)
71.
PETE (MC) (CONT'D)
And tonight that task will be
carried out by the very charming
and distinguished Brian.
More clapping as Brian stands. Kate glances at Harvey, who
blushes.
BRIAN
Well, that's quite some speech
Josh. Quite something to follow.
But I shall try...
Harvey suddenly stands and clears his throat.
HARVEY
Um... Excuse me...
Nobody really hears. He picks up his glass and a spoon and
begins to tap it. People stir and turn to Harvey. Brian comes
to a stop. Jean looks on furious. Silence.
HARVEY (CONT'D)
Sorry Brian... Sorry to interrupt.
Everyone stares at Harvey. Silence.
HARVEY (CONT'D)
But you see I can't just sit hear
and watch somebody else give my
baby girl away. Susan's my daughter
and I'm her father. Not the best,
by far, but her father all the
same.
A waiter brings Harvey a microphone.
HARVEY (CONT'D)
Thanks.
It's arrival slightly throws him.
HARVEY (CONT'D)
Um... I should have prepared
something but... I guess it reminds
me of a joke...
Harvey continually knocks the mic against his chest, causing
terrible feedback.
HARVEY (CONT'D)
Sorry. Um...
Then Harvey drops the mic. Jean stands up.
72.
JEAN
For God's sake Harvey, don't make a
scene.
Silence. Harvey stares out at the party. They all stare back
at him. He glances down at Kate who smiles back. Harvey lifts
the microphone up off the table and raises it to his lips.
HARVEY
No Jean. I want to make a scene.
You know. I'm tired of being
embarrassed.
(beat)
If we can't make a scene on the day
of our daughter's wedding, then
when can we? I want to make a
scene. I want to shout! I wanna
tell the world how lucky it is to
have our Suzie in it!
SOMEONE IN THE CROWD
Yeah!
HARVEY
I wanna tell Scott, how damn lucky
he is!
UNCLE FRED
Hear, hear!
People start to clap.
HARVEY
(smiling)
And also if he ever hurts her, I
know people in north of London.
Laughter.
HARVEY (CONT'D)
Seriously though. Scott, I swear
you have found in Susan a bright
and passionate person. And a loyal
friend.
CONGREGATION
Hear, hear!
HARVEY
And I can see from the way she
looks at you. From the way she is
with you, that she is...
(beat)
(MORE)
73.
HARVEY (CONT'D)
...happy.
(beat)
And I thank you and welcome you to
the family.
Harvey and Scott share a look. The room applauds loudly.
HARVEY (CONT'D)
And finally, if I can linger a
moment longer. I would like to turn
it back over to Brian, with a note
of... gratitude.
(beat)
Thank you for being there for my
baby girl. Thank you for being
there, when I wasn't.
Beat. Brian nods to Harvey, before standing and raising his
glass.
BRIAN
If you would all please join Harvey
and I, in a toast.
(beat)
To Susan and Scott.
CONGREGATION
Susan and Scott!
Everyone claps loudly. Susan shares a gentle smile with her
Father. Harvey sits and looks at Kate anxiously. Kate smiles
and nods.
KATE
Well done.
HARVEY
Really?
She indicates to the rest of the table. Harvey turns to their
now animated young neighbours, who all sit clapping.
INT. RECEPTION / BANDSTAND - NIGHT
PETE (MC)
Ladies and Gentlemen, the first
dance.
The BAND strike up as Susan and Scott take to the dance
floor. They dance a slow dance. Harvey and Kate sit watching.
74.
After a while Susan, looks over for her Father. Harvey
hesitates, before Kate encourages him up. She plucks a flower
from the table display and places it in his lapel.
Harvey joins Susan and Scott on the dance-floor. Shaking
Scott's hand, he leads Susan into a dance.
SUSAN
Thanks for coming back Dad.
Beat.
HARVEY
Thanks for having me back.
Kate looks on, as Harvey dances happily with his daughter.
Feeling something, she turns to find the eight year old's
head slumped against her shoulder as he sleeps soundly. Kate
smiles at her lot.
Back on the dance-floor, Harvey encourages Brian to take over
the dance with Susan. Harvey turns away and is joined by
Uncle Fred and gang. They all chat animatedly. Uncle Fred
pushes Harvey into a dance with his wife. A `Boogie' strikes
up.
Kate looks on as Harvey dances and reunites with his extended
family. She sees the delight in his face. She looks around at
all the happy faces. It's time perhaps to let the family
celebrate alone.
Extricating herself from the sleeping boy, she pushes two
chairs together and makes a bed for him. Covering him in a
jacket, she glances back at the dance-floor before turning to
leave.
Back on the dance-floor, a `Boogie' is in full swing. Harvey
caught up in the fun, energetically swings Aunt Maddie
around. He suddenly catches himself and turns to his table to
look for Kate, but finds it empty save for a row of dozing
children.
Harvey makes his excuses and turns away, looking for Kate
amongst the crowded room.
INT. HALLWAY - NIGHT
Kate retrieves her coat and makes her way down the hall
towards the bank of elevators.
75.
INT. RECEPTION - NIGHT
Harvey hurries to the exit.
INT. HALLWAY - NIGHT
On turning into the hall, he sees Kate standing in the
distance. Just then, she steps forward and out of sight.
Harvey runs.
INT. ELEVATOR / CONFERENCE ROOM - NIGHT
Kate stands in the empty elevator, waiting for the doors to
close. She stares at her feet. Just then we hear a burst of a
piano being played. It stops. Kate looks up to see, across
the hallway, in an empty conference room, Harvey seated at a
grand piano. He smiles a showman's smile before giving it
another `old school' burst.
He stops again. Kate smiles. Just then the doors begin to
close. Kate reaches forward and presses a button - opening
them.
Harvey starts up again - but this time he plays something
sincere - beautiful. Kate listens before slowly stepping out
of the elevator. She walks towards him, joining him at the
piano.
INT. CONFERENCE ROOM - NIGHT
Harvey slides along the seat and indicates for Kate to join
him. She does so and listens as Harvey plays beautifully.
He's good.
He finally brings the piece to an end.
KATE
Wow.
Harvey blushes.
KATE (CONT'D)
One of yours?
Harvey smiles at Kate.
76.
HARVEY
You are very kind. But...no.
(beat)
Shearing doing Rogers.
KATE
Ah.
(beat)
Well...you play it very well.
HARVEY
(bows his head a
little/with a smile)
Well, thank you Ms. Walker.
KATE
You're most welcome, Mr Shine.
They share a little smile. Beat.
HARVEY
Me thinks you were leaving?
KATE
Indeed I was, Sire.
HARVEY
Why?
Beat.
KATE
Because you looked happy.
Harvey looks quizzically at Kate. Beat.
KATE (CONT'D)
You should be with your family,
Harvey.
HARVEY
But, you know, maybe I want to be
with you.
(beat/sings)
You make me happy - when skies are
grey.
Kate smiles.
KATE
Careful, Harvey. I'm blushing.
Beat.
77.
HARVEY
Thank you.
KATE
For what?
HARVEY
For making me come here.
Beat.
KATE
You're welcome.
They share a look, before both looking away. Beat.
HARVEY
Can I?
KATE
What?
HARVEY
Can I...?
Just then a vacuum cleaner sounds. They both look up - as a
cleaning lady vacuums the floor nearby. Beat.
HARVEY (CONT'D)
Hey kid, they're playing our song.
Kate smiles.
KATE
Yes.
In the background we hear clapping and cheering coming from
the reception. A funky number starts up. Harvey takes Kate's
hand.
HARVEY
(excited)
Come on. I want you to meet people.
I want them to meet you.
Harvey leads a slightly reluctant Kate back down the hall
towards the reception.
INT. RECEPTION - NIGHT
The band let rip on a funky tune. The congregation fill the
dance-floor.
78.
Harvey leads Kate back into the room and heads straight for
the dance-floor. As they pass relatives along the way, Harvey
introduces them to Kate. Much hugging and kissing ensues.
Harvey and Kate dance a boogie. Uncle Fred and Aunt Maddie
join them. Uncle Fred steals Kate from Harvey and twirls her
off.
MONTAGE: Fun and Frolics on the dance-floor. Harvey is at the
center of it all. He initiates a Horah. A Congo line. Russian
dancing! Kate's face says it all - she's having a ball. The
sleeping kid, sleeps.
INT. RECEPTION / BANDSTAND - NIGHT
Close up on the M.C.
PETE (MC)
Ladies and Gentlemen. The bride and
groom are about to leave. Please
join me outside to send them off in
style.
EXT. HOTEL STEPS - NIGHT
Harvey and Kate join the rest of the congregation outside on
the steps of the hotel. Harvey looks on as his daughter and
son-in-law head to an awaiting car. Susan stops and throws
the bouquet behind her. It is caught by Aunt Maddie, who in
turn throws it and it is caught by Harvey's `all grown up'
niece. She blushes profusely revealing an impressive set of
braces on her teenage teeth.
Susan kisses her mother and Brian goodbye. And is about to
get into the car when she stops and hurries over to Harvey.
SUSAN
Bye Dad.
HARVEY
Bye Suz... Bye Susan.
She hugs him tightly. Pulling away she turns to Kate.
SUSAN
Be gentle with him.
Kate nods as Susan turns to leave.
HARVEY
(to Kate)
Sorry.
79.
Kate smiles. As the car pulls away, everyone cheers. Harvey
looks on. His eyes momentarily lock onto his ex-wife's. They
share a conciliatory look. As Harvey watches his daughter's
car disappear down the street, Kate looks at him. He turns
back. Beat.
KATE
You Ok?
HARVEY
Yes. Yes, I am.
Beat. Harvey looks around.
HARVEY (CONT'D)
You wanna get out of here?
KATE
Sure.
EXT. MEWS STREET - NIGHT/DAWN
Harvey and Kate walk. The streets are quiet. There is already
a hint of dawn in the sky. Rubbish trucks manoeuvre.
EXT. SOMMERSET HOUSE - DAWN
They turn into the courtyard of Sommerset House and take a
seat on some chairs. The sky lightens.
KATE
I don't think I've stayed up all
night since I was a student.
They stare out over the courtyard. Silence. Harvey looks at
Kate for a beat.
HARVEY
You got sad. Why?
Kate looks back at Harvey and tries to read him. She looks
down at her lap, then up, out over the courtyard.
KATE
Oh, I don't know. My uniform's
green?
The sun begins to creep above the buildings. Harvey and Kate
look out across the courtyard.
80.
KATE (CONT'D)
I was pregnant once.
(beat)
I didn't have it. Didn't give it a
moment's thought.
(beat)
That's what smart girls did.
Beat.
KATE (CONT'D)
I do sometimes wonder what they'd
be like today.
(beat)
Whether they'd be smart. Funny.
Serious.
(beat)
I don't know, it's silly.
Harvey looks at Kate in the morning light. Kate blushes and
looks away.
KATE (CONT'D)
I don't know why i just told you
that.
HARVEY
No.
(beat)
I'm glad.
Harvey looks away, then back.
HARVEY (CONT'D)
Meet me here, tomorrow.
KATE
What?
HARVEY
Exactly here, at these chairs. At
noon.
Kate smiles, determinedly trying to keep it light.
KATE
What about your flight, Harvey?
HARVEY
I don't want to leave.
(beat)
Guess why.
81.
KATE
Why?
HARVEY
I wanna be with you.
Kate's blush deepens, she looks away and laughs.
KATE
Shut up, Harvey.
HARVEY
It's true.
Kate glances at Harvey, trying see the truth in his eyes.
KATE
You say that now, but wait until
tomorrow.
HARVEY
Today is tomorrow.
KATE
Harvey we know nothing about each
other. You're...
HARVEY
Old?
KATE
A bit older, yes.
(beat)
I can be mean. Really mean.
HARVEY
So can I.
KATE
No. Truly cantankerous.
HARVEY
So can I.
Kate can't help but smile. Beat. She glances towards the
street.
KATE
(standing)
I should be going.
82.
HARVEY
I know enough to know, I'll be
here. Waiting, at this chair.
Kate looks at Harvey, then again towards the street.
KATE
Sure, Harvey.
HARVEY
Noon. I mean it.
(beat)
I'll be here.
Kate smiles a little smile. She suddenly believes him.
KATE
Ok.
She steps backwards.
HARVEY
Wait.
Harvey gets up and joins her. They look at each other. Harvey
suddenly leans in and kisses Kate.
HARVEY (CONT'D)
(pulling away/can't help
smiling)
Sorry.
Kate smiles.
KATE
Harvey Shine.
HARVEY
Can I have something until
tomorrow.
Kate reaches for her purse and pulls out a photo. She gives
it to Harvey.
KATE
(stepping backwards)
I must go.
She turns and leaves, hurrying to catch a bus.
Harvey stands holding an old library card. He looks down. On
it is a faded photo of toothy young girl, no older than
eleven. Harvey looks up and smiles.
83.
INT. BUS - EARLY MORNING
Kate takes a seat on the top deck of a bus. Taking a moment
to catch her breath, she looks out the window. Turning back,
she allows herself a smile...
FADE TO BLACK.
FADE IN:
EXT. LONDON STREET - EARLY MORNING
Harvey, with a croissant lodged in his mouth and a cup of
coffee in hand, buys a morning paper. He turns and crosses
the road, skipping up the steps of his hotel.
INT. HOTEL LOBBY - EARLY MORNING
Harvey enters, and waving to a slightly bemused concierge,
heads to the bank of elevators.
HARVEY
Morning.
CONCIERGE
I'm afraid they're both out of
order, Sir.
Harvey glances at the sign, then over to the stairwell.
HARVEY
I guess i'll walk, then.
INT. STAIRWELL - MORNING
Harvey, a man, seemingly impatient to start a `new life',
runs up the steps. Surprised at first by his agility, he
begins to slow. He stops to catch his breath. Suddenly his
spare hand holds tight onto the bannister. Unsteady Harvey
sits down. Close up on Harvey's face, confused. He tries to
stand but again is forced back down. He begins to place his
coffee on the stair next to him, but suddenly shudders,
grabbing his shoulder. The coffee topples, spilling down the
steps.
HARVEY
Shit.
Frightened and confused, Harvey sits alone in the stairwell.
84.
Just then, a door opens and the African porter from before,
comes through, carrying a tray. He sees Harvey.
PORTER
Sir, are you Ok?
Harvey looks up in a daze, then shakes his head.
EXT. LONDON STREET - MORNING
Kate, with a skip in her step, walks through the bustling mid-
day streets of London. She stops off and buys a bag of
cherries from a `Fruit & Veg' vendor.
EXT. HOTEL - MORNING
As the porter and concierge talk to a medic, Harvey sits in
the back of an ambulance. The door is closed.
EXT. SOMMERSET HOUSE - DAY
Kate sits waiting, expectantly, on the same chairs they had
sat on earlier. She applies some lipstick.
INT. HOSPITAL - DAY
Harvey sits attached to various monitors and such, surrounded
by doctors and nurses. He looks agitated and confused.
HARVEY
I've got to go. I've got to be
somewhere.
DOCTOR
Sir, I need you to stay calm. It
looks to me like Arrhythmia - an
irregular heart-beat.
HARVEY
Yes, S.V.T'S, that's what I've been
trying to tell the nurse. I've had
it since I was a kid. I take
Primax. I guess i've been
forgetting to take it recently.
I've been under alot of stress,
that's all.
85.
DOCTOR
Well Ok, then we probably know
where we're at. But I need to check
all possibilities.
EXT. SOMMERSET HOUSE - DAY
As time passes, we watch as Kate's expression slowly turns
from expectant to resigned.
INT. HOSPITAL - DAY
HARVEY
I know it's Arrhythmia! Please, I
have to be there.
DOCTOR
Sir, I'm 99% sure it is. But my job
is to make sure it's not that 1%. I
wouldn't be doing my job if I
didn't check out absolutely
everything.
(beat)
Nurse, we'll do an EKG, followed by
Bloods. And can you arranfe a
monitored bed for him for tonight.
As another pad is attached to his chest, Harvey looks beaten.
EXT. SOMMERSET HOUSE - DAY
Kate looks on as some kids play in the fountain nearby. She
self-consciously smooths a fold in her skirt, then looks at
her watch. Beat. She looks down at the brown paper bag of
cherries. Suddenly a resigned smile flashes across her face -
she's been here before nothing new.
Kate gets up and leaves. We watch her walk away.
FADE TO BLACK.
Sound of a vacuum cleaner.
FADE IN:
INT. HALLWAY - DAY
Open on a close up of Kate's face - it says it all. Kate
vacuums her mother's floor. She turns it off and unplugs it.
86.
Coiling up the cord, Kate puts the vacuum cleaner into a
cupboard under the stairs.
KATE
(calling out)
Ok mum, that's me, I'm done.
Maggie comes out of the kitchen.
MAGGIE
Why don't you stay and have some
lunch?
KATE
I can't, I've got to go.
(beat)
Not to pry or anything but why is
there a large smoked ham under the
stairs?
MAGGIE
Oh, that, yes...It's, um...The
neighbour gave it to me.
KATE
The polish neighbour?
(beat)
So probably not a mass murderer.
MAGGIE
Probably not.
Kate smiles.
MAGGIE (CONT'D)
Are you sure you're going to be
alright?
KATE
Of course I will. I'll be fine.
MAGGIE
Men, who needs them. Remember we've
got Greece to look forward to.
Resigned, Kate hugs her mum.
KATE
Yeah.
Kate leaves.
87.
EXT. SUBURBAN HOUSE - DAY
Kate exits her mother's house and passes Paddy the Postman.
PADDY
Morning Kate.
KATE
Morning Paddy.
PADDY
Looking lovely as ever.
KATE
(resigned)
Thank you.
Kate walks off down the street.
INT. HOSPITAL / RECEPTION AREA - DAY
Harvey stands at a counter in a busy reception area. He has
his phone lodged in the crook of his neck. In front of him,
lies an open phone directory.
HARVEY
It's some sort of Statistics
Agency.
(listens)
Yes. That sounds right. Yes, based
out at Heathrow.
(listens)
Thank you. Hold on.
(turns to a receptionist)
Miss, could I borrow, your pen.
The receptionist obliges as Harvey scribbles down a number on
an old envelope.
HARVEY (CONT'D)
Thanks, thanks alot.
INT. HEATHROW / O.N.S. BOOTH - DAY
A phone rings behind the counter. Oonagh picks up.
OONAGH
O.N.S., Heathrow branch.
(beat)
Hold on.
(MORE)
88.
OONAGH (CONT'D)
(calling out)
Kate it's for you. Some guy called
Harvey.
Kate, stands nearby, holding a clipboard, about to head out
onto the floor. She looks at Oonagh. She thinks for a beat,
then shakes her head, silently gesturing she not there.
Oonagh, a little perplexed goes back on the phone.
OONAGH (CONT'D)
Um, I'm sorry. She's not here.
INT. HOSPITAL / RECEPTION AREA - DAY
Harvey, phone to ear, thinks for a beat. He knows she's
there.
HARVEY
Please. It's important.
Beat.
OONAGH
Hold on.
INT. BOOTH - DAY
Oonagh pulls the phone away and gestures again to Kate. Kate
shakes her head. Beat. Oonagh reluctantly lifts the phone to
her ear.
OONAGH
I'm sorry, she's busy.
(beat)
She won't come.
Oonagh hangs up, looking at Kate. Kate shrugs defensively
before turning to go. We hold on Kate's `confused' face as
she walks away.
INT. HOSPITAL / RECEPTION AREA - DAY
Harvey, having hung up, lowers the phone from his ear. He
looks around the room. Seated across the way an old man
stares back at him. A receptionist arrives with some forms.
RECEPTIONIST
If I could just get you to sign
these, you'll be all done.
Harvey signs a form.
89.
RECEPTIONIST (CONT'D)
And there.
(beat)
And that's it.
Harvey glances at the receptionist - she is roughly Kate's
age. Just then his phone rings. He picks up hopefully.
HARVEY
Hello?
MARVIN
Hey Harvey, it's Marvin. Where are
you?
HARVEY
(turns from the counter)
Oh, I'm still in London, Marvin.
MARVIN
Well you get yourself back here my
friend. I've got some great news.
You were right. The Samuelson
account. None of the kids could
handle it. They couldn't nail it.
They ended up picking one of your
old tunes. They want you to come
back and update it.
(beat)
We need you back, Harvey. Your old
room's here waiting for you.
(beat)
Harvey?
Harvey looks around the room at the lonely figures, waiting.
A young boy fidgets. Next to him sits a young man, lost in
thought.
HARVEY
Well, that's great Marvin.
MARVIN
Yeah. Yeah, `it's great'. I mean,
look, I know when to eat humble
pie. So look, hey, when can you get
back here?
(beat)
Harvey?
Harvey glances back at the old man. The old man continues to
stare back. Beat. Something changes in Harvey.
90.
HARVEY
I...I'm not coming back.
MARVIN
What?
HARVEY
I'm quitting Marvin.
MARVIN
What you mean you quit? Harvey,
fuck you man, you need us.
HARVEY
No, you know, I don't. As you said,
it's my `last chance'.
(beat)
Look, I gotta go.
Harvey hangs up. A smile breaks across his face.
EXT. HOSPITAL - DAY
Harvey exits the Hospital.
HARVEY
(calling out)
Taxi!
A taxi pulls up.
HARVEY (CONT'D)
Heathrow please. As quick as you
can.
Harvey gets in as the Taxi speeds away.
INT. HEATHROW / O.N.S. BOOTH - DAY
Aggie, manning the booth, attends to some passengers.
EXT. HEATHROW - DAY
A Taxi pulls up. Harvey hurries out.
INT. HEATHROW / O.N.S. BOOTH - DAY
Harvey approaches the booth.
91.
HARVEY
Excuse me, I'm looking for a Kate.
Kate Walker.
Aggie eyes Harvey, a little warily.
AGGIE
Who wants to know?
HARVEY
A friend.
(beat)
More than a friend.
Aggie tuts and calls behind her.
AGGIE
There's a man here looking for
Kate, says he's `more than a
friend.'
OONAGH (O.S.)
More than a friend?!
Oonagh comes out from the office, eyeing Harvey suspiciously.
OONAGH (CONT'D)
You're the American.
(long beat)
She likes you. I can tell.
(beat)
Now, don't you go messing her
around. Don't you hurt her.
HARVEY
I wouldn't. I won't.
Beat. Oonagh continues to eye Harvey. Finally...
OONAGH
She's not here.
HARVEY
Oh.
OONAGH
She's left for the day.
(beat)
But you might find her at her
class.
(looks at her watch)
I think it starts around now. Down
on the Southbank. At the National.
92.
HARVEY
Yes, I know.
OONAGH
Oh you do, do you?
(beat)
Well, go on. Go get her.
HARVEY
Thank you.
Harvey turns and hurries away. Oonagh and Aggie share a
smile.
INT. WRITING CLASS - DAY
MIKE
The blood oozes from his wound like
dark chocolate on a warm summer's
day.
Kate sits listening in a daze, as `mild-mannered Mike'
unleashes his latest.
EXT. WATERLOO BRIDGE - DAY
Harvey alights from the Taxi, paying the driver. He runs.
INT. CLASS - DAY
Everyone gathers their things as the class wraps.
EXT. WATERLOO BRIDGE - DAY
Harvey hurries towards the Southbank.
EXT. SOUTHBANK - DAY
Kate comes down from the upper terrace of the National,
saying her good-byes to her classmates. In her hand she holds
a book. As she turns she sees Harvey coming to a stop in the
distance. She momentarily falters before approaching.
KATE
Hey.
HARVEY
Hey.
93.
KATE
You're still here - still in
London...
HARVEY
Yeah.
(beat)
Kate, I just wanted to apologise
and explain...
KATE
No, you don't have to - explain -
it's fine -
HARVEY
No, but I do -
KATE
I don't need to hear - it's fine,
seriously.
HARVEY
But I want to...
(comes out)
I had to go to Hospital.
KATE
Oh, God! Why?!
HARVEY
No, it's nothing, I'm fine, I just
forgot to take my pills. I have
this condition, I've had it since I
was a kid - it's an irregular heart-
beat sort of thing.
KATE
Arrythmia.
HARVEY
Yes! How do you know what it is?
KATE
(smiling a little
sheepish)
My...My father has it.
HARVEY
(smiling)
Well, young men get it too.
Kate can't help but smile. Beat.
94.
HARVEY (CONT'D (CONT'D)
Kate, I'm so sorry I wasn't there.
Beat. Kate takes a breath, and gives him the practical
response she's gone over in her head.
KATE
Harvey, I like you, I really do.
And I had a lovely time - it was
great. But, you know, I don't
really do fountains at noon.
(beat)
I live in Willesden. And you live -
in -
HARVEY
White Plains.
KATE
Exactly. And we're not teenagers,
so - you know, monday morning and
life kicks in, all that jobs and
family and brown envelopes with
bills in - it was a lovely day and
I won't forget it, but it's not
exactly real life...
HARVEY
It is. It can be.
KATE
No, Harvey, it's not.
Beat.
HARVEY
Kate, I want this. I want you.
A button is pushed in Kate.
KATE
But it's not just about you, is it?
(beat)
You don't know anything about me.
Look at me. It's pathetic. I
expected you not to show for God's
sake. I think I even wanted you not
to be there, it's easier that way.
(beat)
You - you just dive in wherever,
deep end, whoosh. But, I'm not your
bloody swimming pool Harvey.
(starting to break)
(MORE)
95.
KATE (CONT'D)
And I am not going to do it, I'm
not going to do it because it will
hurt. Not right now, maybe, but
soon - there will be a "it's not
quite working is it" or a "I need
some space" or whatever it is and
it'll end and it'll hurt and I
won't do it, I won't and...I...Oh
fuck, I don't want to cry. I don't
want this...
Kate turns and walks away, standing by the balustrade,
looking down at the river below. Harvey watches. She takes a
seat on a bench. Harvey gives her, her space. Then slowly he
approaches, leaning against a tree nearby. Long beat.
KATE (CONT'D)
I think it's actually easier for me
to be disappointed. I think I'm
actually angry at you for trying to
take that away.
Long beat. Just then Kate's phone rings. She reaches into her
bag and takes it out. She stares at the phone, thinking for a
beat, before answering.
KATE (CONT'D)
(firmly)
Mum, I love you, but not now.
She hangs up. Long beat.
HARVEY
Should I take that as a hopeful
sign?
Kate can't help but smile.
HARVEY (CONT'D)
If you just give me a little wider
smile.
KATE
(smiling/laughing)
Oh, shut up, Harvey.
Beat. Kate collecting herself, looks up at Harvey.
KATE (CONT'D)
So how's this going to work, Mr
Shine?
Beat.
96.
HARVEY
I have absolutely no idea...
(beat)
But it will.
(beat)
I promise you that.
Kate stares at Harvey for the longest while. Then...
KATE
Shall we walk?
Beat. Harvey nods.
HARVEY
Yes.
Kate gathers up her things, stands and joins Harvey. They
begin to walk.
After a short while Kate stops, puts her hand on Harvey's
shoulder and takes off her shoes.
KATE
That's better.
Harvey glances down at Kate's feet, then up at her.
HARVEY
I think you're my kinda girl.
Harvey and Kate smile. And as they walk away from us we hear.
HARVEY (CONT'D)
Why don't you ask me those
questions?
KATE
Which ones?
HARVEY
You know, from the airport. When I
wouldn't stop.
KATE
Oh, the questionnaire.
(beat)
Ok. Name?
HARVEY
Harvey Shine.
97.
KATE
Place of residence?
Beat.
HARVEY
I'm in transition.
We watch as Harvey and Kate disappear into the sea of
London...
THE END
| Last Chance Harvey
Writers : Joel Hopkins
Genres : Drama Romance
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