FALSE MEMORY SYNDROME

A FILM SCRIPT BY

NEVILLE POWELL

1. INT. DAY.

THE FOLLOWING IMAGES OVERLAY CLOSE UPS OF

A DOLLS HOUSE : THE SMALL ROOMS, AN OLD

BOX CAMERA VISIBLE WITHIN:

 A LINE DRAWING OF A NAKED CHILD PINNED UPON

WALL.

A TELEPHONE RINGS THROUGHOUT THE NEXT

12 SCENES.

2 . INT. LA GIMBALETTE BY JEAN MICHEL 18OO.

3. INT. MISS O'MURPHY ON A CHAISE LONGUE BY

FRANCOIS BOUCHER 1751.

4. INT. CRUCIFIX BY GIUNTA PISANO C.1240

5. INT. DEATH AND THE MAIDEN BY HANS. H. GRIEN 1517.

6. INT. MISS PEPO LAMB BY KEES VAN DOGEN C.1912

7. INT. THE MARRIAGE OF CONVENIENCE BY WILLIAM

ORCHARDSON 1884.
8. INT. MONSTERS, FROM THE TEMPTATION OF ST.

ANTHONY BY M. GRUNEWALD C. 1515

9. INT. TIBETAN MANDALA

10. INT. AMATEURISH CRAYON PICTURE OF THE SEA WITH

LARGE RED FISH LEAPING.

11. INT. VICTORIAN PRINT OF AN OVERDRESSED CHILD.

12. INT. DAY.

FRANK BOXER'S SPACIOUS AND LIGHT

STUDIO, WITH VIEW OF COUNTRY AND SEA

THROUGH WINDOWS. A MESS: CANVASSES

SHREWN RANDOMLY. WINE AND WHISKY

BOTTLES ON FLOOR, A LARGE PILE OF MONEY,

NOTES AND CASH, PAINTS, BRUSHES, ARTISTS

PARAPHERNALIA. ENDLESS PICTURES ON

 WALL, INCLUDING A LINE DRAWING OF FRANK'S

NAKED DAUGHTER, DAWN, AT THE AGE OF

EIGHT (SCENE 1) PINNED TO WALL, ALONG

WITH LA GIMBALETTE AND THE OTHERS.

FRANK, MID TO LATE FIFTIES, PAINTS. A DARK

PICTURE, NOT IN HIS USUAL STYLE.

CUT TO, CLOSE UP DETAIL OF PICTURE: DARK

AMORPHOUS TRIANGLE, VAGUELY PUBIC.

A TELEPHONE RINGS, UNANSWERED.

CLOSE UP FRANK LOOKS TIRED, DRAWN, THE

RESIDUE OF RECENT EXPERIENCES, BUT HE IS

RESOLUTE, UNDEFEATED - HE HAS HIS ART.

THE TELEPHONE RINGS, UNANSWERED.

13. INT. DAY.

A PHOTOGRAPHY EXHIBITION. AMONGST

OTHERS, SCENES 1 - 9 ARE MOUNTED, BUT AS

BLACK AND WHITE PHOTOGRAPHS.

A CROWD, GLASSES OF WINE IN THEIR HANDS,

CHAT BENEVOLENTLY, PRETENTIOUSLY.

AN OPENING NIGHT.

A TELEPHONE RINGS IN THE BACKGROUND.

 DAWN BOXER, A TALL BLOND WOMAN IN HER

MID - TWENTIES CHATS TO A COMPANION

ABOUT A PHOTOGRAPH.

COMPANION

What interested you about black and white photography,

as opposed to colour?

DAWN

I think I was attracted to the starkness of it - that you

would have to pay attention to the lines, the form of the

object, rather than be distracted by the .. mere colour of it.

COMPANION

DOUBTFULLY

Interesting. Were you ever interested in colour?

DAWN

I might have been, I probably was, as a child.

DAWN AND COMPANION ARE INTERRUPTED

BY SUSAN POTTY, A DARK CURLY HAIRED

WOMAN IN HER MID FORTIES.

SUSAN POTTY

Excuse me for interrupting. I was particularly struck by

your picture of the gates.

DAWN

Oh thank you.

SUSAN

Where was it? It seems familiar.

DAWN

Hospital gates. Sadly my mother died there many years ago.

COMPANION

How terrible.

DAWN

It was a long time ago.

SUSAN

I would be interested in purchasing that particular photograph.

DAWN

Wonderful!

SUSAN

Perhaps I could give you my address and you could come

over for tea, to discuss a price.

DAWN

Yes, that would be nice.

SUSAN

Here, let me see.

SUSAN POTTY FUMBLES THROUGH HER BAG

 TO FETCH BUSINESS CARD

Ah, here we are.

DAWN BOXER EXAMINES CARD

DAWN

Dr. Susan Potty. You're a hypnotherapist?

SUSAN

Yes. Anytime you need guidance ...

DAWN

I'm not sure I do! But I'll ring you about the picture.

SUSAN

Do that. Please.

SUSAN POTTY RAISES A GLASS

Here's to a successful opening.

DAWN

Thank you.

COMPANION

That's an interesting accent you have there. German?

SUSAN

Ah, I've been over here some time.

SUSAN POTTY WANDERS OFF.

DAWN TO COMPANION:

I think I've made a sale.

 COMPANION

It looks like it. Congratulations.

DAWN

My first one. Probably my only one. Seems a bit slack, today.

COMPANION

Yes.

14. EXT. DAY.

THE EARLY SEVENTIES. 8MM FILM;

IMPRESSIONISTIC COLOURS: A TIME

REMEMBERED.

A CHILD, DAWN, 8, PLAYS WITH HER FATHER,

FRANK BOXER IN A FIELD. SHE RUNS AWAY

FROM HIM, LAUGHING. AS SHE RUNS SHE

PULLS DOWN HER PANTS AND WAVES HER

BOTTOM IN THE AIR.

DAWN

Daddy, smell my bum!

DAWN MAKES FARTING NOISES WITH HER

MOUTH FRANK STOPS RUNNING.

FRANK

FEIGHNING SHOCK
 That's disgusting! You're an animal!

DAWN CONTINUES RUNNING, LAUGHING

AND MAKING NOISES. FRANK CHASES.

15. INT. DAY.

PRESENT DAY. SUSAN POTTY'S HOME. HER

OFFICE. DESK AND CHAIRS, FILES PRECISELY

ARRANGED. CERTIFICATES OF QUALIFICATIONS

HANG ON WALL. PORTRAITS OF FREUD, ADLER,

JUNG, KLIEN ON WALL, ALONG WITH VARIOUS

OTHER NONDESCRIPT PICTURES, INCLUDING

VICTORIAN PICTURE OF OVERDRESSED CHILD

(SCENE 11) :

THE VICTORIAN'S WORLD OF IMAGINED

INNOCENCE. CURIOUSLY, IN LONG SHOT, THE

FORMATION OF THE PICTURES RESEMBLES A

CROSS. BY THE WINDOW STANDS A FLOWER

BOX, WITH SEEDLINGS SURROUNDED BY

SEASHELLS PLANTED BY SUSAN POTTY, MID

 FORTIES, EUROPEAN ACCENT, PSYCHIATRIST.

PAN ACROSS SHELVES WITH TEXT BOOKS BY

FREUD, ADLER, ETC. CLOSE UP SHOT OF 'MAN

AND HIS SYMBOLS' BY CARL JUNG. VARIOUS

BOOKS ON VICTORIAN ART, NOVELS,

INCLUDING PROUST'S A LA RECHERCHE DU

TEMPS PERDU. VIDEOS ARE NEATLY ARRANGED,

WITH STICKERS LISTING TIME AND DATES. A

MUSIC BOX SITS ON DESK.

[ADULT] DAWN SITS OPPOSITE SUSAN POTTY

EXAMINING DAWN'S PORTFOLIO OF

PHOTOGRAPHS.

DAWN IS ABSTRACTLY EXAMINING MUSICAL

BOX - IT SOUNDS STRANGELY FAMILIAR.

DAWN

It was kind of you to come to my exhibition.

SUSAN

It was my pleasure.

FLICKING THROUGH DAWNS PHOTO

COLLECTION

All these photographs are of pictures, except for the gates?

 DAWN

REPLACING MUSICAL BOX ON TABLE, STILL

PUZZLED - SHE'S HEARD THAT MELODY

BEFORE

Yes. I try to find new ways of looking at old, accepted ..objects.

SUSAN

Yes? Did you ever paint yourself?

DAWN

I tried to. My father's an artist.

SUSAN

Yes? I like the gates. Do you still have the negative?

DAWN

The negative? Of the photograph? I suppose so. That's an

unusual request.

SUSAN

Oh it's not important. All we have to do is agree a price.

16. INT. DAY

THE EARLY SEVENTIES. 8MM FILM

IMPRESSIONISTIC COLOURS: A TIME

REMEMBERED.

FRANK BOXER'S HOUSE. AN ADJOINING ROOM

TO FRANK'S STUDIO. A LARGE MIRROR. A

GRANDFATHER CLOCK, STOPPED AT 7.14

 BOHEMIAN CLUTTER. BOOKSHELVES

INCLUDING CLOSE UPS OF ORTON'S 'WHAT THE

BUTLER SAW', SHAKESPEARE, A SCI-FI NOVEL

'DO ANDROIDS DREAM OF ELECTRIC SHEEP?'

A LARGE DOLL'S HOUSE.

DAWN, AS CHILD, PLAYS WITH MINIATURE

FURNITURE ETC. SHE OPENS A TINY MUSICAL

BOX - THE SAME BOX AS IN SCENE 15 - IT PLAYS

A MELODY. {You Can Call Me Anything You Want To}

DAWN PICKS UP A 8MM BOX CAMERA AND

PLACES IT IN ANOTHER ROOM IN DOLL'S

HOUSE.

PULL BACK TO SHOW FRANK BOXER DRAWING

DAWN. FRANK NOTICES CAMERA.

FRANK

Where did you get that from, baby?

DAWN

I found it daddy. At the hospital.

FRANK

Yes?

FRANK PICKS UP CAMERA, EXAMINES IT

DAWN
 It stopped working.

FRANK

Yes.

FRANK PUTS CAMERA BACK IN DOLL'S HOUSE

17. INT. DAY.

THE SEVENTIES. BLACK AND WHITE 8MM

FOOTAGE.

A MEDICAL ESTABLISHMENT.

SUSAN POTTY AS A LATE TEENAGER SITS

ALONE IN A SMALL ROOM DRAWING LARGE

COLOURED CIRCLES WITH VIBRANT LINES

LEADING TO THE INNER CIRCLE : A MANDALA.

(SCENE 9)

A MEDICAL ORDERLY ENTERS ROOM.

MEDICAL ORDERLY

Dr. Protheroe will see you now, Jane.

18. INT DAY.

PRESENT DAY. SUSAN POTTY'S OFFICE. DAWN

BOXER HAS STOOD UP AND NOW SITS ON THE

PATIENTS CHAISE LONGUE. SUSAN POTTY HAS

PUT THE PORTFOLIO TO ONE SIDE.

DAWN

I used to love him so much as a child. He was such fun.

PAUSE

SUSAN

But now?

DAWN

I wonder if he ever feels guilty.

THE PSYCHIATRIST WAITS

19. INT. DAY.

FRANK'S STUDIO. FRANK PAINTS.

DOORBELL RINGS. FRANK IRRITATEDLY

BREAKS OFF.

FRANK

FEIGNING MOCK GERMANIC ACCENT

Must the artistic life always be mein kampf!

20. INT. DAY.

 THE LATE SIXTIES. IMPRESSIONISTIC

COLOURS: A TIME REMEMBERED.

SMALLER STUDIO THAN IN SCENE12.

DAWN, 8, SITS ON FRANK'S LAP. SHE

DRAWS WITH CRAYONS, LARGE

COLOURED CIRCLES.

DAWN

ABTRACTLY COMPARING HER PICTURE

TO FRANKS

You're very good at drawing aren't you.

FRANK

I try to be.

DAWN

Will I ever be as good as you?

FRANK

If you want. I hope so. If you work hard.

DAWN

THOUGHTFULLY

What do you want me to be when I grow up?

FRANK

LAUGHING

Ah! I want you to be whatever that makes you happy, baby.

DAWN
 Shall I be an artist?

FRANK

An astronaut?!

DAWN

An ARTIST.

FRANK

A smelly belly?

DAWN

PUSHING HER FATHER AWAY

Stop being silly! Shall I be an artist like you? Shall I

draw pictures?

FRANK

DOUBTFULLY, LOOKING AT DAWN'S

CRAYON PICTURE

Um, only if you want to, baby.

DAWN

Will you love me as much as you love mummy, when I'm older?

FRANK

I will always love you much, much more - you're my baby.

21. INT.

PRESENT DAY. SUSAN POTTY'S OFFICE.

DAWN AND SUSAN.THE MUSIC BOX PLAYS ITS

 MELODY, DAWN LISTENS WISTFULLY.

SUSAN

Yes, soothing isn't it.

THE PSYCHIATRIST, SUSAN, SITS AT HER DESK

ABSTRACTLY HOLDING A PENCIL

THE FLASH OF A LETTER OPENER -

ABSTRACTLY BETWEEN HER FINGERS,

HORIZONTALLY, A BARRIER.

Perhaps you .. could .. Would like to express your concerns

about your memories with your father. Would you say that you

are .. open with him? - that you could talk to him?

DAWN

Yes, always. But now? I'm not sure how he would take it.

SUSAN

I will help you in any way I can, but perhaps a .. prelimary

discussion with your father would clear the air. Would you like

to me to be present?

DAWN

DOUBTFULLY

Um ..

SUSAN

Or perhaps I could ring a rape crisis support office - a

 female police officer could accompany you-

DAWN

NO!!

22. INT. DAY.

FRANK'S STUDIO. WIPES HIS HANDS WITH

SPIRITS AS HE WALKS TO THE DOOR. HE

MUTTERS HIS PSEUDO GERMAN. HE'S HAPPILY

SURPRISED THAT IT'S DAWN.

FRANK

Baby! Lost your key?!

DAWN STANDS THERE HESITANT

Baby, you OK? Come in!

DAWN FOLLOWS HIM IN, SULLEN

Boyfriend trouble baby? You look .

FRANK MAKES TO HUG DAWN - SHE PUTS

HER ARM UP TO PREVENT HIM. SHE

FREEZES. FRANK SUDDENLY REALISES

THAT ALL IS NOT WELL. HE IS GENUINELY

CONCERNED.

Dawny, what's the matter?

DAWN REMAINS SILENT. FRANK CLEARS

A CHAIR OF PAPERS AND THE SMALL PICTURE

 OF DAWN FALLS TO THE GROUND. FRANK

GESTURES TO DAWN TO SIT DOWN.

Don't worry, Daddy'll take care of it, always did and always

will do, right?

FRANK KNEELS BEFORE DAWN

There, there, tell me all about it. Did he steal from you? You

know you've always been too much of a soft touch, gullible you

know - you'll believe anyone.

SLOWLY DAWN RAISES HER INDEX FINGER

AND TOUCHES FRANK'S FOREHEAD. DAWN

STRUGGLES BUT IS DETERMINED TO SAY

THE WORDS.

DAWN

You. Raped. Me.

FRANK LOOKS PUZZLED. HE LOOKS CLOSE

INTO DAWN'S EYES, QUIZZICAL, SPECULATING.

FINALLY HE LAUGHS AND JUMPS TO HIS FEET.

FRANK

That was brilliant! You really had me going there! I didn't

know you were going to acting classes!

23. EXT. DAY.

EARLY 70'S. BLACK AND WHITE 8MM FOOTAGE.

FIELD NEAR PLAYGROUND.

DAWN AS A CHILD, OVERDRESSED IN

ADULTS CLOTHING PRETENDING TO RECITE

FROM COMIC. FRANK SITS ON GRASS

DRAWING HER.

DAWN

SINGING

To be or not, to be or not, tobee tobee, not not!

FRANK

IMITATING

Do ron ron, do ron ron.

24. INT. DAY.

PRESENT DAY. PSYCHIATRISTS OFFICE.

DAWN LIES ON CHAISE LONGUE, EYES

CLOSED. MUSIC BOX TINKLING.

SUSAN POTTY CLICKS ON A REMOTE

CONTROL. THE CAMERA PULLS BACK TO

SHOW LEAD IS CONNECTED TO VIDEO

CAMCORDER: SUSAN IS TAPING THE

 SESSION. SUSAN HAS HYPNOTISED DAWN

AND IS ATTEMPTING TO RECLAIM THE PAST.

SUSAN

You were telling me, when you were awake.

DAWN

Someone was hitting me. I was too frightened to say

anything, to shout. They kept on. I was frightened, it was dark.

SUSAN

How old are you now, Dawn?

DAWN

I don't know. Am I fourteen?

SUSAN

SURPRISED

Fourteen? Is this the first time?

DAWN

I don't know.

SUSAN

You are fourteen years of age?

DAWN

Yes.

SUSAN

Has your .. daddy touched you before? - before now, before

 fourteen?

DAWN

UNCOMPREHENDING

Daddy? No.

25. INT. DAY.

FRANK'S STUDIO. FRANK SLOWLY REALISES

THAT HIS DAUGHTER DAWN, IS SERIOUS.

THE ENORMITY OF HER SUGGESTION IS

SINKING IN. HE STRUGGLES BUT FAILS TO

KEEP HIS COMPOSURE.

FRANK

What are you saying?! That's the most fucking ridiculous thing

I've ever heard. Me?! You!? Are you nuts? You should see a

shrink!

DAWN

QUIETLY BUT DEFIANTLY

I am.

FRANK IS SHOCKED INTO SILENCE

I have been for a while. Her name is Dr. Susan Potty.

FRANK

FRANK'S RESENTMENT BURSTS INTO ANGER

 Potty?! Potty!? A shrink called Potty? Jesus fucking wept. You're

seeing a shrink called Potty!? Don't tell me - and now you're

having your bread delivered by Mr. Bun! And no doubt he's giving

you one in the oven! And of course your fireman's Mr. Blaze!

Baby you can light my fire! A shrink called Potty - that's fucking

insane.

DAWN

UNAFFECTED BY OUTBURST

But she's very good. She suggested you should pay for

my treatment. Since you're responsible.

FRANK

Oh I am, am I? And she did, did she? That I should pay

to turn my own daughter against me, a sort of self

inflicted, and of course no doubt to your shrink, justifiable,

financial suicide. And how much does this shrink charge you by

the hour for your brain surgery?

DAWN

Forty pounds.

FRANK

Forty pounds?! An hour? Don't you realise how much

money that is? Forty pounds? Once, forty pounds kept me

alive for a month!

DAWN
 INDIFFERENTLY SHRUGGING

I've heard this before. What's past is past. Don't relive it, father.

FRANK

Father? When the fuck have you ever called me father?! It's ME,

daddy, baby.

DAWN

Perhaps it's time for me - us to grow up father. This is something

I have to go through.

FRANK

But ..

DAWN

Susan thinks I'll need therapy for two years.

FRANK

Two years? Why not one? Why not twenty!?

DAWN

I want forty thousand pounds.

FRANK

UNBELIEVING

So do I! Forty thousand?! Forty thousand!?

CYNICALLY

I'll have to sell .. a painting.

DAWN
 To help me forget the past.

FRANK

To forget the past? Well I don't fucking well don't want

to forget the past. I want to remember my money.

DAWN

Perhaps to keep me quiet then.

FRANK

Keep you quiet?! If I ever wanted to keep you quiet I'd

give you a fucking wallop, a good thrashing.

DAWN

SULLENLY TRIUMPHANT

Like you used to? I expect you'd like that.

26. INT. DAY.

THE SEVENTIES BLACK AND WHITE 8MM

FOOTAGE

FRANK'S STUDIO. CHRISTMAS TIME: TINSEL

XMAS TREE.

FRANK IS PUTTING UP XMAS LIGHTS WINDING

THE WIRE AROUND TREE. HE SWITCHES

ON POWER, THE LIGHTS FLICKER. HE

ABSTRACTLY CONTINUES TO EXAMINE HIS

CURRENT WORK.
 DAWN EXAMINES A LIGHT CLOSELY. SHE

UNSCREWS A BULB AND MAKES TO PUT THE

LIVE SOCKET INTO HER MOUTH. FROM HER

VIEW WE HEAR A INDECIPHERABLE ROAR

AS FRANK RUSHES TOWARDS HER. WE SEE

HIM BEAR DOWN ON HER. FROM A LONG

VIEW WE SEE FRANK SHAKING DAWN AND

SHOUTING AT HER.

FRANK

Don't ever, ever do that again!.

HIS FEAR GONE, FRANK CLUTCHES AND HUGS

DAWN AND FALLS TO HIS KNEES

Oh my God.

HE REMOVES THE WIRING AND BULB FROM

DAWN'S HANDS. IN DOING SO HE CRUSHES

BULB AND CUTS HAND.

DAWN

CONTRITE

Did I cut you daddy? I'm sorry.

FRANK

Don't worry baby, don't worry.

27. INT. DAY.

 PRESENT DAY. PSYCHIATRISTS OFFICE.

SUSAN POTTY EXAMINES HER RACKS OF

VIDEOS, SELECTS A TAPE AND INSERTS INTO

VCR. SHE SITS AND WATCHES TAPE.

IT IS AN OLD RECORDED 8 MM BLACK AND

WHITE INTERVIEW WITH DR. PROTHEROE.

WE SEE A FEW SECONDS OF AN OLDER WOMAN

AND A YOUNGER TEENAGE SUSAN POTTY

TALKING, BUT THERE IS NO SOUND.

THE TELEPHONE RINGS. SHE PAUSES THE

TAPE WITH A REMOTE CONTROL BEFORE

STANDING.

SUSAN

TO TELEPHONE

You of so little faith.

SUSAN ANSWERS PHONE

Hello, yes? Dr. Potty here.

PAUSE

Yes, I am Dr. Potty.

28. INT. DAY.

THE SEVENTIES. 8MM FILM, BLACK AND WHITE

 FOOTAGE.

A ROOM IN A MEDICAL ESTABLISHMENT,

A CLINICAL ATMOSPHERE. A TENNAGE SUSAN

POTTY SITS OPPOSITE DR. PROTHEROE, A

MUCH OLDER WOMAN, A GERMAN JEW. CLOSE

UP OF NUMBER TATTOOED ON FOREARM, 77134.

HER FACE SHOWS EXPERIENCE, BUT HER

EXPERIENCES HAVE NOT APPEARED TO HAVE

BRED COMPASSION; SHE ALWAYS APPEARS

INDIFFERENT, NEUTRAL, GIVING NOTHING

AWAY. THE INTERVIEW IS BEING FILMED ON A

8 MM CAMERA. WE SEE SUSAN POTTY AND

DR. PROTHEROE TALKING, A GENIAL INTER-

COURSE, BUT CANNOT HEAR THEM. FILES

ON DESK, PRECISELY ARRANGED. A LETTER

OPENER. A COLLECTION OF SHELLS MAKE A

PLEASANT DECORATION.

29. INT. DAY

PRESENT DAY. SUSAN POTTY'S OFFICE.

CLOSE SHOT OF SHELVES. THE VIDEO TAPES

OF THE INTERVIEWS OF THE SIXTIES ARE

LISTED.
 PULL BACK TO SHOW SUSAN POTTY

ANSWERING PHONE.

SUSAN

PICKING UP RECEIVER

Hello, yes? Dr. Potty here.

30 . INT. DAY.

FRANK'S STUDIO.

FRANK, STANDING, IRRITATED, REPLACES

TELEPHONE RECEIVER. A TELEPHONE

DIRECTORY LIES OPEN.

31. EXT. DAY.

DAWN BOXER, CRYING AND UNABLE TO

TALK, REPLACES TELEPHONE RECEIVER

IN PUBLIC CALL BOX.

32. INT. DAY.

PSYCHIATRIST'S OFFICE. SUSAN POTTY

ANSWERS THE PHONE.

SUSAN

PICKING UP RECEIVER

Hello, yes? I am Dr. Potty.

PAUSE.
 Yes.

HER EXPRESSIONS CHANGES: THIS IS NO

ORDINARY PHONE CALL

I see.

PAUSE

What do you want? I see. Where?

SUSAN MAKES TO COPY DOWN ADDRESS.

SURPRISED

When? Yes. I will.

PAUSE

Why a graveyard?

PAUSE

SUSAN REPLACES PHONE. SHE'S

THOUGHTFUL, CALCULATING

Yes. I will.

33. EXT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS:

A TIME REMEMBERED.

A GRAVEYARD. A COTERIE AT FUNERAL;

FRANK, DAWN, GRANDPARENTS, FRIENDS.

THE SERVICE HAS FINISHED, THE GROUP IS

DISBANDING, BUT FRANK STANDS

RESOLUTE, ARM PROTECTING DAWN.

 FRANK

Don't worry, baby, I'll take care of you. It'll be hard ...

but we'll get through it.

DISSOLVE TO PRESENT DAY. FRANK STANDS

ALONE, SOMBRELY LOOKING AT TOMB

STONE. CLOSE UP SHOT OF HEADSTONE IN

DISREPAIR: CRACKED STONE ANGEL

EMBRACED BY SKELETON (SCENE 5)

INSCRIPTION READS : ANGEL BOXER, 1937 -

1973. RETURNING TO THE OTHER ANGELS.

34. INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS;

A TIME REMEMBERED.

FRANK'S STUDIO. FRANK PAINTING. IN THE

 DISTANCE, SHOUTING, AN ARGUMENT. PULL

BACK TO SHOW ANNEX/PASSAGEWAY WHICH

LEADS TO ANOTHER ROOM; A LARGE DOLL'S

HOUSE, A STOPPED GRANDFATHER CLOCK, AT

7.14. BOHEMIAN CLUTTER, BOOK SHELVES,

INCLUDING 'WHAT THE BUTLER SAW'

BY JOE ORTON, SHAKESPEARE, A SCI-FI NOVEL,

'DO ANDROIDS DREAM OF ELECTRIC SHEEP.' A

LARGE MIRROR ON WALL. THE SHOUTING IS

LOUDER, DECIPHERABLE. ANGEL BOXER,

MOTHER OF DAWN, IS SHOUTING AT DAWN.

ANGEL

How many times have I told you not to do that!

DAWN

UNCOMPREHENDING

But mummy ...

ANGEL

God, I wish I'd never had you! All this time and money! - I've

spent on you! I used to paint too, you know,

SHOUTING TOWARDS CORRIDOR

like that tosser! I'm paying for you all, you know!

CRYING, DAWN RUNS TOWARDS AND DOWN

 CORRIDOR. SHE RUNS INTO FRANK'S

STUDIO AND UP TO HIM.

DAWN

Daddy! Mummy's angry but I don't know why!

FRANK

ABSTRACTLY, WEARILY EXPERIENCED,

CONTINUES PAINTING

Baby? What's the problem?

DAWN HUGS HIS LEG.

DAWN

Daddy, mummy scares me sometimes.

FRANK

EXAMINING CLOSLY A DETAIL OF HIS

PAINTING

It's the pressure, baby, the pressure. Life, you know?

Sometimes it gets hard.

FRANK SCRAPES A SLITHER OF PAINT FROM

CANVAS.

It's the detail, babe, the detail. The devil is in the detail.

FINALLY SATISFIED FRANK LOOKS DOWN AT

DAWN .

Shall we go for a walk in the park?

35. EXT. DAY.

THE EARLY SEVENTIES. 8MM FILM,

IMPRESSIONISTIC COLOURS. THE

SAME SCENE AS IN 14, FRANK AND DAWN

PLAYING, BUT DIFFERENT FILM SPEED,

SHOT FROM DIFFERENT ANGLE, IN SILENCE.

36. EXT. DAY.

PRESENT DAY. A GRAVEYARD. FRANK

TURNS TO LOOK AT A DISTANT FIGURE

APPROACHING. FROM A DISTANCE LOOKS

LIKE ANGEL BOXER BUT AS SHE NEARS IT'S

SUSAN POTTY. FRANK MAKES NO EFFORT AT

AN INTRODUCTION.

SUSAN

Frank Boxer?

PAUSE. THEY STAND, WEIGHING UP EACH

OTHER. FRANK WAITS

You don't think a formal introduction is appropriate?

PAUSE

Presumably you're aware that your daughter is very ...

SEARCHING FOR WORDS

 disturbed, at the moment, which is why

EXPLODING INTO ANGER FRANK PUSHS DR.

SUSAN POTTY TO THE GROUND .

FRANK

Disturbed!? YOU think she's fucking DISTURBED!?

SUSAN POTTY MAKES TO CRAWL

BACKWARD AS FRANK STANDS OVER

HER, THREATENING. FRANK APPEARS

TO TAKE A SMALL POCKET MIRROR

FROM THE INSIDE OF HIS POCKET

JACKET - THE FLASH OF A MIRROR, - BUT IT

IS A PHOTOGRAPH OF HIS DEAD WIFE ANGEL

BOXER.

YOU don't fool ME! A shrink?! My daughter's not sick,

this

BRANDISHING PHOTOGRAPH

is sick.

FRANK PULLS SUSAN OFF THE GROUND

BY HER JACKET LAPELS. HE PULLS HER

CLOSE TO HIS FACE

No, my daughter isn't sick. Just .. unhappy.

 SUSAN IS FRIGHTENED. SHE BREAKS FREE

AND STARTS TO RUN AWAY. FRANK MAKES

NO EFFORT TO FOLLOW SUSAN.

SHOUTING AFTER HER

You're the sick one! You think I don't know about you?! How

did I get your number eh?! Call yourself a doctor? You're a fraud -

all shrinks are insane, right?!

FROM SUSAN POTTY'S VIEWPOINT IN THE

DISTANCE WE SEE FRANK RANTING. FRANK

BRANDISHING PHOTOGRAPH.

You want fucking madness, We've been there! This is normal!

CUT TO: FRANK LOOKING AT PHOTOGRAPH.

HE SCOOPS UP A HANDFUL OF EARTH AND

BURIES PHOTOGRAPH UNDER ANGEL'S GRAVE

And in time, all this will be lost.

FRANK STAMPS ON THE EARTH.

CUT TO: ANOTHER TOMBSTONE IN THE

GRAVEYARD. CLOSE IN TO REVEAL NAME :

DR. D.R. PROTHEROE. 1899 - 1968. KNOWN

FOR HER HUMANITY. KNOWN TO

BARBARIANS AS 771134.
 CUT TO : A SINGLE SHELL ON PROTHEROE'S

GRAVE.

37. INT. DAY.

THE SIXTIES. BLACK AND WHITE FOOTAGE.

A ROOM IN A MEDICAL ESTABLISHMENT.

NO SOUND.

DR. PROTHEROE CONCLUDES THE INTERVIEW

AND LEAVES TEENAGE SUSAN POTTY SITTING.

PULL BACK TO SHOW DR. PROTHEROE LEAVING

ROOM. A MEDICAL ATTENDANT STANDS IN

BACKGROUND. DR. PROTHEROE ISSUES

INSTRUCTIONS TO ATTENDANT. S/HE NODS.

38. INT. DAY.

PRESENT DAY.

PSYCHIATRIST'S OFFICE. DAWN LIES ON

CHAISE LONGUE. DR SUSAN POTTY HAS

HYPNOTISED DAWN. ( CONTINUATION OF SCENE

24.)

SUSAN

And then he hit you?

DAWN

Yes? He was there, yes. Mummy and daddy.

 SUSAN

Mummy? As well?

DAWN

Mummy's frightening.

39. INT. NIGHT.

THE EARLY SEVENTIES.IMPRESSIONISTIC

COLOURS; A TIME REMEMBERED.

FRANK AND ANGEL'S HOUSE.

DAWN'S BEDROOM.

WE SEE ANGEL BOXER RUNNING INTO DAWN'S

BEDROOM AND SHOUTING AT DAWN.

NO SOUND.

ANGEL MAKES TO HIT DAWN AS FRANK

RUSHES INTO ROOM TO PREVENT ASSAULT.

CUT TO: DAWN'S VIEWPOINT: ANGEL BOXER

CLOSE UP, FRANK IN DISTANCE, FRAMED BY

DOORWAY.

WE HEAR AN INDECIPHERABLE ROAR AS

FRANK RUSHES TOWARDS HER. WE SEE FRANK

BEAR DOWN ON HER.

CUT TO: SHOT FROM DOORWAY. FRANK

PULLING ANGEL OFF BED.

 FRANK

What the fuck are you doing? The child is trying to sleep!

ANGEL IS UNCONTROLLABLE, FLAILING FISTS,

HURLING ABUSE. FRANK DRAGS HER FROM

ROOM, THROWS HER TO FLOOR, SHUTS DAWN'S

DOOR. FRANK LOOKS DOWN ON ANGEL,

SHOCKED INTO SILENCE BY THE FORCE OF

THE THROW. PATIENTLY, QUIETLY,

BUT RESOLUTELY

It's time see someone.

40. INT. DAY.

PRESENT DAY.

PSYCHIATRIST'S OFFICE. SUSAN IS AT THE

END OF HYPNOTISING DAWN.

SUSAN

.. now you will open your eyes.

DAWN SLOWLY OPENS HER EYES

DAWN

I remember.
41. INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS

A MEDICAL ESTABLISHMENT. DR. PROTHEROE

IS TALKING TO FRANK OUTSIDE ANGEL

BOXER'S ROOM. THROUGH A WINDOW WE CAN

ANGEL DRAWING HER SEA AND FISH PICTURES.

DAWN HOLDS FRANK'S HAND, UNSETTLED.

DR. PROTHEROE

I'm sorry. It's very unfortunate for you - it's very rare.

FRANK STANDS SILENT

It's a pity this case wasn't brought to our notice earlier.

Perhaps ...?

BUT FRANK REFUSES TO BE PROMPTED. PAUSE.

FINALLY

Has Mrs. Boxer been ill for some time?

FRANK NODS

DAWN

Is mummy going to die?

2.INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

A CORRIDOR IN THE MEDICAL ESTABLISHMENT.

FRANK AND DAWN WALK DOWN CORRIDOR

 WITH DR. PROTHEROE. IN THE DISTANCE,

WALKING TOWARDS THEM IS TEENAGE SUSAN

POTTY WITH HER ATTENDANT ESCORTING BUT

NOT COERCING HER ALONG. DR. PROTHEROE

MAKES NO ACKNOWLEDGEMENT OF SUSAN,

BUT AS THE GROUP OF THREE PASS FRANK

AND SUSAN GLANCE AT EACH OTHER. DAWN

LOOKS UP TO A PICTURE ON THE WALL:

MONSTERS, FROM THE TEMPTATION OF ST.

ANTHONY, C.1515. (SCENE 8) A FLASH AS THE

PICTURE CHANGES TO A BLACK AND WHITE

PHOTOGRAPH.

FRANK

TURNING BACK TO PROTHEROE

Is it genetic?

PROTHEROE
 It's very rare. Unfortunately not much is known about

the disease. It is neurological, though.

FRANK

How long?

PROTHEROE

HESITANT

Mr. Boxer ... It is degenerative. But how long ...?

43. INT. DAY.

THE SEVENTIES.IMPRESSIONISTIC COLOURS.

THE MEDICAL ESTABLISHMENT. ANGEL BOXER

SITS ALONE, OBLIVIOUS OF OTHERS, PAINTING

A BOLDLY COLOURED PICTURE OF WATER

FILLED WITH LARGE RED FISHES. FROM

ANGEL BOXER'S VIEWPOINT : THE FISH SEEM

TO SWIM TOWARDS ANGEL, ENGULFING HER.

SHE SCREAMS. A MEDICAL ORDERLY RUNS

TOWARDS HER.

44. EXT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE GRAVEYARD (REPEAT OF SCENE 33,

BUT DIFFERENT FILM SPEED AND DIFFERENT

 ANGLE). A COTERIE OF PEOPLE; GRAND-

PARENTS, DISBAND. FRANK AND DAWN

STAND AT TOMBSTONE.

FRANK

Don't worry baby, I'll take care of you. It'll be hard, but

we'll get through it.

DAWN BREAKS FREE OF FRANK'S PROTECTING

ARM AND RUNS TO THE MOUND OF MUD.

SHE JUMPS UP AND DOWN ON IT.

DAWN

CHANTING

I'm glad you're dead, I'm GLAD you're dead!

FRANK MAKES NO EFFORT TO CORRECT

DAWN'S BEHAVIOUR.

45. INT. DAY.

PRESENT DAY.

PSYCHIATRIST'S OFFICE.

DAWN LIES ON CHAISE LONGUE, NOW AWAKE.

DAWN

I remember. He jumped on my mother's grave.

SUSAN
 On your mother's grave?

DAWN

Yes, he was singing. He was happy she was dead - free at last!

SUSAN

Were you happy?

DAWN

Me?! At my mother's death? Of course not! She was my

mother, after all. Mother's are meant to take care of you,

aren't they?

SUSAN

Would you say she took care of you?

DAWN

SURPRISED AT QUESTION

I don't know. I would say so - I haven't really thought about it.

46. INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS

FRANK'S STUDIO.

ANGEL BOXER PAINTS. A DARK, CHAOTIC

STYLE, WATER, LARGE RED FISHES, SHELLS.

(INT 10)
 FRANK DRAWS ANGEL. ANGEL IS STRUGGLING

WITH HER WORK. SHE GIVES UP IN DISGUST.

ANGEL

This is fucking shit.

FRANK LOOKS UP BEMUSED

FRANK

I quite like it. I like that primitive elemental style.

ANGEL

What would you know.

FRANK SHRUGS. CLOSE UP OF POSTCARD

PINNED TO THE WALL: THE MARRIAGE OF

CONVENIENCE BY WILLIAM ORCHARDSON,

1884. A FLASH AS THE PICTURE CHANGES TO

BLACK AND WHITE (SCENE 7)

47. INT. DAY.

PRESENT DAY. SUSAN POTTY'S OFFICE. SUSAN

IS ON THE TELEPHONE.

SUSAN

I really must insist you don't come round here, you will not be

welcome. No, I will be with patients. If you come unannounced,

I will call the police.

 THE CALLER CUT HER SHORT

I see. Perhaps we should then make an appointment.

SUSAN CONSULTS DIARY : EMPTY PAGES

Shall we make it 3 o'clock tomorrow?

PAUSE

I see. 2 o'clock. Presumably you now know my address?

THE CALLER HAS HUNG UP

48. INT. DAY.

FRANK'S STUDIO. FRANK, STANDING,

IRRITATED, REPLACES PHONE RECEIVER.

(SCENE 30)

49. INT. DAY.

THE SEVENTIES. BLACK AND WHITE FOOTAGE.

A ROOM IN A MEDICAL ESTABLISHMENT.

DR. PROTHEROE SITS OPPOSITE TEENAGE

SUSAN POTTY. PROTHEROE EXAMINES THE

MEDICAL NOTES IN THE FILE ON SUSAN POTTY.

DR. PROTHEROE

Well ... you've been here a while now, Jane. How do you feel

it is going?
 SUSAN

I'm well enough to leave. Don't you think, Dr. Protheroe? I really

want to go home.

DR. PROTHEROE

Yes ... I can quite understand that. But perhaps ... just a little

longer here?

SUSAN IS CRESTFALLEN

SUSAN

Longer?

DR. PROTHEROE

Yes. Perhaps it will be beneficial if you were to under take some

further therapy? But only if you were to consent ...?

SUSAN

Would it help to get me out of here?

DR. PROTHEROE

Well...

50. INT. DAY.

PRESENT DAY. SUSAN POTTY'S OFFICE. SUSAN

IS BEGINNING TO HYPNOTISE DAWN.

SUSAN

Just look at the light, glowing. See how it pulses, slowly,

 relaxing ...

CLOSE UP OF PULSATING RED LIGHT. PULL

BACK TO REVEAL IT'S THE LIGHT OF THE

VIDEOCAM, RECORDING.

It's gently soothing, yes? Softly soothing, yes? Perchance to

dream.

51. INT. DAY.

THE SEVENTIES. BLACK AND WHITE FOOTAGE.

THE MEDICAL ESTABLISHMENT. DR.

PROTHEROE IS HYPNOTISING SUSAN.

DR. PROTHEROE

It's gently soothing, yes? Softly soothing, yes? Close your eyes

to relax, Jane, perchance to dream purchase a scream ..

SUSAN CLOSES HER EYES BUT AS PROTHEROE

STANDS TO TURN AWAY TO REACH HER NOTES

SUSAN'S EYES FLICK OPEN, ALERT. WHEN

PROTHEROE TURNS AGAIN SUSAN'S EYES SHUT.

52. INT. DAY.

PRESENT DAY. FRANK'S STUDIO. DAWN SITS,

FRANK STANDS. (CONTINUATION OF SCENE 25)

FRANK

ANGRY

Oh right! So now I used to beat you up?! You better start

remembering how things really were! Jesus! She was normal

until she had you.

DAWN

Now you are suggesting that I am to blame? That's -

FRANK

Don't be ridiculous! You ... you're the best thing that ever

happened to me.

FRANK FALLS TO HIS KNEES IN FRONT OF

DAWN AND CLASPS HIS HANDS

How could you say - think such a thing? It's me, baby, me.

DAWN

I remember you came into my room .. you frightened me.

FRANK

STANDING

Maybe I frightened you. It was a bad time with your mother.

Remember? But sexual assault ..?

DAWN

That's what I remember.

FRANK

Bullshit. That's what your shrink tells you to remember!

DAWN

She doesn't tell me anything.

POINTING TO STATUETTE OF LA GIMBALETTE

ON A SHELF

What about that?!

FRANK

What about it?! Fuckable isn't she? But she's supposed to be a

woman and you were a child.

DAWN

She looks young enough for you!

FRANK

Where is this stuff coming from, then? 'Cause you know its

not real?

SUDDENLY CHANGING TOPIC

Anyway, I think I'll pay your shrink a visit...

DAWN

No!

FRANK

No? I'd like to see where my money's going to go.

DAWN
 No! I won't tell you where she lives.

FRANK

Honey, if she's registered, she'll be in the book!

DAWN

I forbid you to see her.

FRANK

I forbid you to see her? Baby, I've heard those words before!

53. INT. NIGHT.

THE SEVENTIES. IMPRESSIONISTIC COLOURS

THE ANNEX THAT LEADS FROM FRANK'S

STUDIO TO THE HOUSE. THE STOPPED

GRANDFATHER CLOCK, THE DOLL'S HOUSE.

ANGEL BOXER STANDS CLOSE TO FRONT OF

MIRROR, TALKING TO HERSELF, REPEATING

A SINGLE SENTENCE.

ANGEL

I forbid you to send me away. I forbid you to send me away. I

forbid you to ...

PULL BACK TO SHOW FRANK STANDING

SILENT, WIPING PAINT FROM HIS HANDS.

TRACK BACK TO DAWN'S BEDROOM, DAWN

AWAKE AND AWARE, EYES OPEN. CUT TO ANGEL

 ATTACKING FRANK WITH A KNIFE. NO SOUND.

54. INT. DAY.

FRANK'S STUDIO. FRANK, STANDING, IS USING

TELEPHONE.

FRANK

You know no one of that name?

PAUSE

No-one?

FRANK, IRRITATED, REPLACES TELEPHONE

RECEIVER. A TELEPHONE DIRECTORY LIES

OPEN. (SCENE 30) HE PICKS UP DIRECTORY AND

FLICKS BACKWARDS A FEW PAGES THROUGH

BOOK.

FRANK

MOCK GERMANIC ACCENT

Not under de psycho? - let's try Potty then.

55. EXT. DAY.

FRANK WALKING DOWN A STREET IN

HOLLAND PARK, LOOKING FOR A NUMBER.

HE FINDS IT AND WALKS UP THE

DRIVEWAY. HE CHECKS THE SMALL BRASS

PLAQUE AND RINGS THE BELL. A

 VOICE ANSWERS.

V/O

Yes?

FRANK

Frank Boxer.

V/O

Ah, yes.

PAUSE

Are you going to attack me again, today?

FRANK

I'll be on my best behaviour.

V/O

We'll see.

A BUZZER GOES AND FRANK PUSHES THE

DOOR. HE ENTERS.

56. INT. DAY.

THE CORRIDOR THAT LEADS TO SUSAN

POTTY'S OFFICE. THERE ARE NUMEROUS

DOORS. FRANK WALKS DOWN CORRIDOR,

TRIES A DOOR, IT IS LOCKED. ANOTHER

LEADS TO A TOILET.
 FRANK

Was this place designed by a lunatic?

SUSAN POTTY STANDS BEHIND HIM.

SUSAN

Are you suggesting I might be mad?

FRANK

Takes one to know one, Potty. Dr. Potty.

SUSAN

Perhaps you would care to visit my asylum?

SUSAN GESTURES TOWARDS DOOR AND

FRANK FOLLOWS HER INTO ROOM.

57. INT. DAY.

SUSAN POTTY'S OFFICE. FRANK

APPRAISES ROOM. HIS ATTENTION

ALIGHTS ON PICTURE OF MANDALA ON

WALL, THE PICTURE FROM SCENE 17

FRANK

What's this?

SUSAN

A picture I drew when I was a student, a mandala. It

illustrates the journey into the inner psyche, by the use

of symbols, circles, the four sides representing

FRANK

DISMISSIVE

I didn't come here for a lecture.

HIS ATTENTION ALIGHTS ON THE

FRAMED CERTIFICATES OF QUALIFICATIONS.

Train long, did you?

SUSAN

It seemed like forever.

FRANK

SITTING HIMSELF ON CHAISE LONGUE

So. This is where you fuck up my daughter?

SUSAN

Mr. Boxer, I have always acted, professionally, in good faith.

FRANK

Good faith? Not a science then. You have a another

religion as well, or is the one enough?

SUSAN

I was brought up a catholic.

CUT TO: CRUCIFIX BY GIUNTA PISANO, C.

1240. (SCENE 4) DISSOLVE TO SHOW

POTTY'S CERTIFICATES ARRANGED

IN STYLE OF CRUCIFIX. (SCENE 15)

FRANK

ABSTRACTLY LOOKING AT CERTIFICATES

You like to hedge your bets then.

SUSAN

I see psychiatry as a science, Mr. Boxer.

FRANK

Bullshit.

POINTING AT CAMERA

Bit of a voyeur too, I see. That's how you get your kicks?

SUSAN

Merely an academic record, Mr. Boxer. You can hardly be

 suggesting a .. sexual connotation.

FRANK

WITH MOCK SHOCK

A sexual connotation? Too bad I don't fancy you honey.

Somehow appropriate, though, sex is the best Freudian

tradition, no doubt.

SUSAN

I am not a Freudian.

58. INT. DAY.

CAFE. FRANK AND DAWN SIT OPPOSITE EACH

OTHER, FRANK DRINKING FROM A MUG, DAWN

FROM A CUP.

FRANK

Twenty thousand, my final offer.

DAWN

I did say forty thousand.

FRANK

Even twenty thousand was a facetious offer. Do you think I'm

a charity?

DAWN

Oh but father, you're doing so well.

FRANK
 Yes, I'm doing so well. It seems a pity you are not. Have you

had a job recently ... in the past decade?

DAWN

I take photographs, father.

FRANK

Yeah, black and white photo's of other people's art. Isn't that

just a little bit .. pointless?

DAWN

That's how I find my expression.

FRANK

Expression? But do you sell your photo's? Even art has a

marketplace.

DAWN

I sold one just the other day. And from what I remember,

mother kept you.

FRANK

Yes .. she was the one made of money. Crap artist though.

Seemed to spend her whole life drawing fishes. Had a thing

about herrings, from what I recall. Shame. A waste. A bit like

you, wouldn't you say.

DAWN REMAINS SILENT

59. INT. DAY.

 THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE MEDICAL ESTABLISHMENT. DR.

PROTHEROE BELIEVES SHE HAS HYPNOTISED

TEENAGE SUSAN.

PROTHEROE

Jane. I want you to remember when you were young.

Where are you?

SUSAN

In the bedroom. It's dark.

PROTHEROE

Are your parents there?

SUSAN

Daddy is.

CROSSFADE TO:

60. INT. DAY.

PRESENT DAY.

SUSAN POTTY'S OFFICE. SUSAN IS TALKING

TO DAWN UNDER HYPNOSIS.

SUSAN

And is daddy in your room?

DAWN

No. Mummy's shouting. She's in my room. She's shouting at me.

 SUSAN

And where is daddy?

DAWN

He's there, but he's .. looking. He's looking at mummy.

SUSAN

He's looking at you?

DAWN

No, mummy!

SUSAN

Is he angry at you?

DAWN

No. Daddy's angry at mummy.

CROSSFADE TO:

61. INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE MEDICAL ESTABLISHMENT. PROTHEROE

IS CONTINUING HER SUPPOSED HYPNOSIS

OF SUSAN.

PROTHEROE

What is daddy doing in the room, Jane?

SUSAN

He's looking at me. He's walking towards me. He's standing

there. He's looking at me.

 FLINCHING

He's touching me. Daddy, don't do that!

62. INT. NIGHT.

THE FLASH OF A KNIFE ENTERING A NECK.

63. INT. DAY.

PRESENT DAY.

SUSAN POTTY'S OFFICE. FRANK BOXER SITS

ON CHAISE LONGUE TALKING TO SUSAN

POTTY. FRANK POINTS TO THE VICTORIAN

PICTURE OF A CHILD.

FRANK

You like that?

SUSAN

Yes. In my own small way I collect Victorian prints.

FRANK

It's a pile of shit. I hate all that stylised crap. Anally retentive I

always thought. That black patch - couldn't they just draw pubic

hair?

SUSAN

Back to sex then?

FRANK
 You wish. Have you been shagged recently? Take your clothes

off and lie down on your chaise longue.

64. INT. DAY.

CLOSE UP SHOT OF MISS O'MURPHY'S

BUTTOCKS BY FRANCOIS BOUCHER C.1751.

(SCENE 3) PULL BACK TO FLASH AS PICTURE

CHANGES TO BLACK AND WHITE PHOTO.

65. INT. DAY

SUSAN POTTY'S OFFICE.

SUSAN

Is everything sex with you?

FRANK

I wish. You mean, there's something else?

SUSAN

You have your art.

66. INT. NIGHT.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

ANGEL BOXER, KNIFE STILL IN HAND, (SCENE

 53) IS BEING HELD FROM BEHIND BY FRANK

BOXER AGAINST THE MIRROR.

CLOSE UP SHOT OF DOLL'S HOUSE. PULL BACK

TO FRANK PULLING HER DRESS UP, TEARING

PANTS DOWN AND ENTERING HER. CLOSE UP

OF COLOURED IMPRINTS OF FRANK'S HANDS

ON ANGEL'S ARMS.

ANGEL

I forbid you to send me away, I forbid you ...

PULL BACK TO SHOW DAWN WATCHING

FROM UPSTAIRS.

67. INT. DAY.

PRESENT DAY. CAFE. DAWN AND FRANK SIT

OPPOSITE EACH OTHER.

FRANK

Yes, I always did like your body.

DAWN

So you admit you're a purvo?

FRANK

AS FRANK SPEAKS THE LINE DRAWING OF

DAWN AS A CHILD FADES IN:

 HE DRAWS THE PICTURE IN THE AIR.

Slim and lithe, fabulous. Such skin texture. Yum. Children are

so wonderful - such innocence, such playfulness. It goes ...

FRANK SNAPS HIS FINGER, THE DRAWING OF

DAWN DISAPPEARS

so soon.

DAWN

So that's why you liked to draw me. Naked.

A NEARBY SITTER HAS HEARD DAWN'S

SENTENCE. A HEAD TURNS

FRANK

And now you try to attract other people's attention, to draw

complete strangers into your squalid little domestic crisis, to

suck out their sympathy. Children become monsters.

DAWN

And yourself?

FRANK

A grotesque diabolique. But I have one saving redemption.

 FRANK WAITS BUT DAWN DOESN'T RESPOND

At least I know myself. What do they say, physician, heal

thyself? Baby, I've been sick, but I am now healed. Shame about

yourself. Shame about your shrink too.

DAWN

What do you mean?

68. INT. DAY

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE MEDICAL ESTABLISHMENT.

DR. PROTHEROE'S OFFICE. TEENAGE

SUSAN POTTY SITS OPPOSITE PROTHEROE.

PROTHEROE EXAMINES MEDICAL FILES.

DR. PROTHEROE

The problem is, Jane, I wouldn't feel ... comfortable authorising

your release into the community ... not just yet. You've made

good progress, but ...

SUSAN

But what happened was a long time ago.

PROTHEROE

Yes.

SUSAN
 And I've come to face it, to accept it - a lot of children get

abused, I'm not the only one, but it's gone now.

PAUSE. PROTHEROE CONSIDERS SUSAN'S

WORDS

PROTHEROE

The problem is, Jane, the violent aspect. Although sexual abuse

of children is a heinous crime, without exception, it rarely leads

to the murder of one's parents.

PAUSE

Except in your case.

69. INT. DAY.

FRANK SITS IN SUSAN POTTY'S OFFICE.

FRANK POINTS TO THE COLLECTION OF TAPES.

FRANK

You itemise everything?

SUSAN

I like to have a record of the past.

FRANK PICKS A TAPE FROM THE SHELF,

EXAMINES IT CLOSELY.

FRANK

FEIGNING SURPRISE
 How extraordinary. My wife was at this hospital. About this time.

And you've written down Dr. Protheroe's name. She was my

wife's doctor.

SUSAN

Really?

FRANK

Did they ever find her killer?

SUSAN

No. It was strange. Anyway, I had left by that time.

FRANK

But she was your professor?

SUSAN

Yes.

FRANK

Can I borrow this? It'll be a trip down memory lane.

SUSAN

I'd prefer it if you didn't. You know, people borrowing things,

never returning them

FRANK

REPLACING VIDEOTAPE ON TABLE.

I understand. Anyway. I came to apologise for my behaviour at

 the cemetery. Even with her dead I find being with my wife

stressful.

SUSAN

At the risk of sounding like ... a psychiatrist, would you like

to talk about it?

FRANK

Maybe. Some other time. Let's talk about your sex life, have

you been shagged recently?

70. INT. DAY. CAFE

FRANK AND DAWN SIT OPPOSITE EACH OTHER.

FRANK

What do I mean? I've got a present for you.

FRANK TAKES PACKAGE AND HANDS IT TO

DAWN.

The truth about your shrink.

DAWN

The truth?

UNWRAPPING THE PACKAGE DAWN REVEALS

A VIDEOTAPE.

Where did you get this? - from my doctor's?

FRANK
 She's not a doctor, baby. But yes, I took it.

DAWN

You stole it?

FRANK

What's this, the innocence of youth? But what I want to know

is, how did she find you?

DAWN

Find me. She didn't - I looked her up in the book.

FRANK

No you didn't baby. I tried.

71. INT. DAY

FRANK'S STUDIO. FRANK, IRRITATED,

REPLACES TELEPHONE. A DIRECTORY LIES

OPEN. (SCENE 15)

72 INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

DR. PROTHEROE SITS OPPOSITE SUSAN POTTY.

PROTHEROE

Another ... problem for me, Jane, to be blunt, is the credibility

of your ... story of the sexual abuse you suffered.

SUSAN

Credibility?

PROTHEROE
 Well, as you know, when you arrived, your were given a medical

examination ...

SUSAN

You're saying I lied?! Why would I do that!?

PROTHEROE

I don't know Jane. Why would you do that?

SUSAN

Of course it happened, what I'm saying is terrible.

PROTHEROE

Yes, it is. But I've always had this ... feeling you're playing a

game with me.

SUSAN

A game?

73. INT. DAY.

SUSAN POTTY'S OFFICE. FRANK BOXER SITS

OPPOSITE SUSAN POTTY.

FRANK

No? Too bad. Come round anytime. Apparently I'm into sexual

molestation. Children anyway. According to you that is.

SUSAN

No. According to Dawn.

FRANK
 Bullshit. Anyway, tut tut, slip slip, you know you're not supposed

to discuss patients with outside parties. Another mistake.

SUSAN

PUZZLED

Another?

FRANK

Oh come on, I know you're not a doctor. Go and make some tea.

Maybe we can strike a deal - your body for my blackmail - the

usual arrangement.

SUSAN HESITATES, UNSURE WHETHER TO

LEAVE FRANK IN THE ROOM

Chop, chop, doctor. Tea in a mug please.

SUSAN

I think I would prefer it if you were to leave.

FRANK

Chockie biscuits would be nice too.

SUSAN HESITATES BUT DECIDES TO LEAVE

ROOM. FRANK STANDS, TAKES VIDEO AND

PUTS IT IN HIS JACKET POCKET. HE LOOKS AT

CERTIFICATES ON WALL CLOSELY. FINALLY,

CASTING A LOOK AT THE MANDALA, HE TAKES

 MARKER PEN FROM SUSAN'S DESK AND WRITE

ON FRAME 'NELSON WAS HERE' FRANK LEAVES

SUSAN POTTY'S OFFICE.

74. INT. DAY.

FRANK BOXER WALKS DOWN SUSAN'S POTTY'S

HALLWAY TOWARDS DOOR.

75. EXT. DAY.

FRANK BOXER CLOSES SUSAN POTTY'S HOUSE

DOOR AND STEPS INTO STREET.

76. INT. DAY.

SUSAN POTTY RE-ENTERS HER OFFICE WITH

TRAY, A MUG AND CUP, BISCUITS, TO FIND

FRANK BOXER GONE. SHE NOTICES AT ONCE

THAT THE VIDEOTAPE HAS GONE.

SUSAN

Bastard. Fucking bastard.

77. INT. DAY.

CAFE. FRANK BOXER SITS OPPOSITE DAWN.

FRANK
 I've got a present for you.

FRANK BOXER HANDS DAWN A PACKAGE.

The truth about your shrink.

78. INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE MEDICAL ESTABLISHMENT.

TEENAGE SUSAN SITS OPPOSITE PROTHEROE.

PROTHEROE

TO MEDICAL ATTENDANT

Some tea would be nice.

TO SUSAN

Would you like some tea, before we begin?

SUSAN NODS. THE ORDERLY LEAVES THE ROOM

SUSAN

So you're not going to let me go?

PROTHEROE

It would be unwise. You would be arrested if you were to leave -

I would have to, I'm obliged to, notify the authorities. After all,

your counsel's defence is that you were ritually, sexually abused,

and that was your ... motivation. I have to say Jane, that I am not

convinced that you were sexually abused, or that you were, or

are, mentally unbalanced. You strike me as extraordinarily ...

 prescient.

SUSAN

Prescient? What's that mean?! I have to prove that I'm mad?

PROTHEOROE

You're not ... disturbed.

SUSAN

So I have to prove that I'm disturbed to get out of here!? Not

that you would, of course, let me go, then!

SUSAN STANDS AND LOOKS AROUND THE ROOM

Fuck, I can prove I'm mad alright!

SUSAN STANDS, LOOKS FOR WEAPON, PICKS

UP CAMERA AND TRIPOD AND SWINGS IT AT

PROTHEROE'S HEAD, THE CAMERA AND TRIPOD

SEPARATE, PROTHEROE FALLS BEHIND DESK.

SUSAN PICKS UP THE LETTER OPENER FROM

PROTHEROE'S DESK. CLOSE UP OF THE KNIFE

ENTERING A NECK.

79. INT. DAY.

PRESENT DAY.

SUSAN POTTY'S OFFICE. DAWN SITS OPPOSITE

SUSAN POTTY. DAWN PLACES THE VIDEOTAPE

ON TABLE.
DAWN

My father gave me this tape. He said he stole it from you. I've

looked at it - it looks like a young you with an old woman.

SUSAN

Yes.

DAWN

It's a pity there is no sound - you have to make up words to fill

the gaps!

SUSAN

Yes. You can make up your own story. What's your story?

DAWN

NOT QUITE COMPREHENDING

Story? I don't have one, I think. But my father says that the

old woman was murdered.

SUSAN

Yes, I remember.

DAWN

By one of her patients. They never found her. She just walked

out of the hospital and disappeared. Did you know her - was she

there then?

SUSAN

Did I know her? I don't know. It was all such a long time ago.

People were always in and out of the hospital.

 DAWN

But these videos ...?

80. INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE MEDICAL ESTABLISHMENT. PROTHEROE'S

OFFICE. PROTHEROE LIES DEAD WITH LETTER

OPENER IN NECK. TEENAGE SUSAN POTTY

LOOKS AROUND ROOM. SEEING FILM REELS

SUSAN EMPTYS RUBBISH BIN TO COLLECT

LINING. SHE BUNDLES FILMS INTO BAG. SHE

PLACES BAG ON FLOOR, GOES OVER TO

PROTHEROE'S BODY, REMOVES COAT. SUSAN

PUTS ON PROTHEROES COAT. SUSAN OPENS

DOOR AND CAUTIOUSLY LOOKS INTO

CORRIDOR.

81. INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE CORRIDOR IN THE MEDICAL

ESTABLISHMENT. TEENAGE SUSAN POTTY'S

HEAD APPEARS AROUND DOOR. THE

YOUNGER FRANK BOXER AND CHILD DAWN

ARE WALKING DOWN CORRIDOR TOWARDS

 DOOR. TEENAGE SUSAN STEPS OUT OUT AND

WALKS DOWN CORRIDOR, PAST FRANK AND

DAWN. DAWN LOOKS UP AT TEENAGE SUSAN.

CLOSE UP OF PROTHEROE'S NAME TAG ON

OVERCOAT. TEENAGE SUSAN MOUTHS 'SHSS'

TO DAWN. IN THE DISTANCE, AT THE OPPOSITE

END OF THE CORRIDOR THE MEDICAL

ORDERLY TURNS A CORNER, INTO SHOT,

CARRYING TWO MUGS.

DAWN

Daddy, that girl was wearing the doctor's coat.

FRANK

ABSTRACTLY

Hm?

FRANK AND DAWN STOP AT DR. PROTHEROE'S

OFFICE DOOR. IT IS OPEN BUT THEY WAIT FOR

THE MEDICAL ATTENDANT.

DAWN

That girl was wearing the doctor's coat. She said shuss to me.

82. INT. DAY.

DR. PROTHEORE'S OFFICE. THE ATTENDANT

ENTERS THE ROOM, FOLLOWED BY FRANK

 BOXER AND DAWN. THE MEDICAL ATTENDANT

CANNOT SEE PROTHEROE'S BODY BEHIND THE

DESK. S/ HE PLACES THE MUGS UPON THE DESK.

MEDICAL ATTENDANT

It seems that Dr. Protheroe and Jane have popped out for a

moment.

DAWN

INSISTENTLY PULLING FRANK'S TROUSERS.

She was wearing the doctor's coat!

THE MEDICAL ORDERLY TURNS TO NOTICE

THE CAMERA AND TRIPOD MISSING AND

TAPES MISSING FROM CABINET.

MEDICAL ATTENDANT

Which way did the doctor go?

DAWN

She wasn't the doctor! She was wearing the doctor's coat - I

saw her badge.

MEDICAL ATTENDANT

What did the badge say?

DAWN

Proaber, prober, probab

 FRANK

Protheroe.

MEDICAL ATTENDANT

Which way did the girl go?

DAWN POINTS IN THE DIRECTION SHE SAW

TEENAGE SUSAN POTTY WALK.

83. INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE MEDICAL ESTABLISHMENT.

THE CORRIDOR OF THE MEDICAL

ESTABLISHMENT. THE ORDERLY LEAVES

PROTHEROE'S OFFICE. S/HE LOOKS BOTH

WAYS, THE CORRIDOR IS EMPTY.

84. INT. DAY.

PRESENT DAY.

THE CAFE. FRANK BOXER AND DAWN SIT

OPPOSITE EACH OTHER.

DAWN

She came to my exhibition. Do you remember? You were there.

She bought a picture.

FRANK

A photograph.

DAWN
 The picture of the hospital where my mother died.

FRANK

The only original picture you ever took.

DAWN

Thank you. I'm glad you liked it.

85. EXT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE MEDICAL ESTABLISHMENT.

THE GROUNDS OF THE MEDICAL

ESTABLISHMENT. THE GATES ARE VISIBLE IN

THE DISTANCE. FRANK AND ANGEL BOXER SIT

OPPOSITE EACH ON A BLANKET WITH AN

OPEN HAMPER. A CASSETTE RECORDER.

DAWN PLAYS IN THE BACKGROUND.

FRANK POURS ANGEL A GLASS OF WINE.

THE ATMOSPHERE IS RELAXED.

FRANK

Are you happy here?

ANGEL NODS, SMILING

It won't be for long, hopefully.

IN THE DISTANCE DAWN CALLS OUT

 DAWN

Daddy, look at me!

ANGEL

Daddy's girl.

FRANK

Jealous?

ANGEL

She says she wants to marry you when she grows up.

FRANK

I hope you said I was already taken?!

FRANK PICKS UP THE CASSETTE RECORDER

Sing for me, I want to see if this works.

ANGEL

DISAPPROVING

Where did you get the money to buy that?

CUT TO: DAWN'S VIEWPOINT OF THE GATES OF

THE MEDICAL ESTABLISHMENT. A FLASH AS

THE PICTURE CHANGES TO THE BLACK AND

WHITE PHOTOGRAPH (SCENE 11)

86. INT. DAY.

PRESENT DAY.

THE CAFE. DAWN AND FRANK SIT OPPOSITE

 EACH OTHER.

FRANK

You saw her - you looked at her badge, remember? You

tried to read the name - Protheroe. Except you said it funny -

prober, prothe, it made me smile, even then.

DAWN

But you were there, you saw the girl.

FRANK

I was hardly in a fit state to pay attention, to notice anything,

your mother was dying, remember?

DAWN

Yes. I remember.

87. INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE CORRIDOR OF THE MEDICAL

ESTABLISHMENT. FRANK BOXER HAS WALKED

ON A FEW STEPS, DAWN HAS TURNED TO LOOK

AT SUSAN WALKING DOWN CORRIDOR, BAG IN

HAND. SUSAN TURNS TO LOOK AT DAWN. SUSAN

RAISES HER INDEX FINGER TO HER LIPS:

'SSHH.' AT THE OTHER END OF THE CORRIDOR

THE MEDICAL ORDERLY HAS TURNED THE

 CORNER, CARRYING TWO MUGS. SUSAN TURNS

AWAY.

88. INT. DAY.

PRESENT DAY. THE CAFE.

FRANK

Do you? Do you remember? But why would she track

you down, now, after all these years?

DAWN

I was only a child, I wouldn't remember a face.

FRANK

But you saw something.

DAWN

She didn't track me down, we just met by chance at my

exhibition.

89. INT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE MEDICAL ESTABLISHMENT.

DR PROTHEROE'S OFFICE. PROTHEROE LIES

DEAD, KNIFE IN NECK. FRANK BOXER AND

DAWN STAND IN ROOM. DAWN WANDERS

AROUND ROOM, WALKS BEHIND DESK AND

DISCOVERS PROTHEROE'S BODY.

 DAWN

Daddy.

DAWN STEPS BACK UNTO CAMERA, AS FRANK

SEES BODY.

FRANK

Good god.

DAWN PICKS UP CAMERA AND PUTS IT TO HER

EARS. IT IS STILL RUNNING. THE MEDICAL

ORDERLY RE-ENTERS THE ROOM.

MEDICAL ORDERLY

Can't see her.

FRANK

No, but you can see the doctor. She's here.

FRANK AND DAWN STAND BACK TO LET

THE ORDERLY SEE THE BODY. DAWN STILL

CARRIES THE CAMERA. SEEING THE BODY

ORDERLY RUSHES TO THE WALL TO PRESS

ALARM.

90. EXT. DAY

THE SEVENTIES. IMPRESSIONISTIC

COLOURS. THE MEDICAL ESTABLISHMENT.

TEENAGE SUSAN POTTY WALKS SWIFTLY BUT

 CALMLY AWAY FROM THE GATES OF THE

MEDICAL ESTABLISHMENT.

91. INT. DAY.

PRESENT DAY. THE CAFE.

FRANK AND DAWN SIT OPPOSITE EACH OTHER.

DAWN

I remember. I did take something, I just walked away with it,

everything was so rushed. A little box. I put it in my doll's house,

the one you made for me.

FRANK

IRONICALLY

In the days when you loved me.

DAWN

It made a funny whirring sound.

FRANK

It was a camera - I found it in the doll's house - wondered where

it came from.

DAWN

Where is it now?

FRANK

I put it back. It must be still there. I found it kinda cute.

Developed the film, looked at it though, obsolete equipment.

DAWN
 I haven't seen it for years. I must have a look at it.

FRANK

You're always welcome at the studio, baby, but only if you admit,

now, there was no possibility of me ever having had my evil way

with you.

DAWN

But you did?

FRANK

No. You're my daughter for fuck's sake.

DAWN

That's what I remember.

FRANK

No. That's what you were told to remember. By your 'qualified'

shrink. Though it seems she made a unqualified success of fucking

your brain up. Next time you see her - are you going to see her? -

take a close look at the wall, at the qualifications - any shit head

can print out certificates on a printer.

DAWN

Are you going to see her again?

92. INT. DAY.

SUSAN POTTY'S OFFICE. DAWN WALKS FROM

 THE ROW OF TAPES TO THE CERTIFICATES.

DAWN

My father says you made these up.

SUSAN

Made them up? I understand the law says you can call yourself

anything you want.

DAWN

REALISING

They're not genuine are they. My father was right - you are a

fraud.

SUSAN

No.

DAWN

All this time, all that money. What did you say to me when I was

under? To get back at my father? My father, when I loved - love

him.

SUSAN

I suggested nothing. Only what was already in your mind. The

doubt ... the possibility ...

DAWN

What's your real name?

 SUSAN

SINGING SOFTLY MELODY FROM MUSIC BOX

IN SCENE 16

~You can call me anything you want to ~

DAWN

Are you going to see him again?

93. EXT. DAY.

THE SEVENTIES. IMPRESSIONISTIC COLOURS.

THE GROUNDS OF THE MEDICAL

ESTABLISHMENT. FRANK AND DAWN

WALK TOWARDS GATES. DAWN CARRIES

THE BOX CAMERA SHE'S PICKED UP. SHE

PRETENDS TO TAKE A PHOTOGRAPH OF

THE GATES. A FLASH OF THE SCENE

CHANGES TO PHOTOGRAPH IN SCENE 11.

DAWN

Daddy, I think I'll take pictures when I grow up. I won't paint

pictures, no.

FRANK

ABSTRACTLY

No? Good.

94. INT. DAY.

 PRESENT DAY. THE CAFE. DAWN AND FRANK

SIT OPPOSITE EACH OTHER.

DAWN

INSISTENT

Are you going to see her again?

FRANK

I'm sure she'll turn up, she hasn't been shagged recently.

I think I'll fuck her, draw her, then hand her over to the police.

Not necessarily in that order. Maybe I'll just start with the

handcuffs. Do you want to come along and join the orgy?

DAWN

And confirm my suspicions?

FRANK

Your suspicions of what? She'll come because she wants the

camera .

DAWN IS QUIZZICAL

The box camera in the doll's house.

DAWN

The doll's house? The camera? Why would she want that?

FRANK

Because of the film baby. It was running when she

killed Dr. Protheroe.

 DAWN

You're mad. Dr. Susan Potty killed that old woman? Dr.

Protheroe? Susan? That's insane.

FRANK

Her name isn't Potty. She made that up. Good choice actually -

Potty the psychiatrist. Who'd have believed it. Potty by name,

potty by nature. I guess you could say she didn't hit it off with

Dr. Protheroe. Or you could say that she did!

DAWN

What's her real name then?

FRANK

Jane Shaw. But she wasn't sure of her name, right, so she changed

it. Sure thing!

DAWN

Everything's a joke to you.

FRANK

Oh no, no. Everything's serious baby. She's already killed,

remember. How do you know you're not next? You're a witness

remember.

95. INT. DAY.

FRANK'S STUDIO.

SUSAN POTTY STANDS NAKED BEFORE

 FRANK BOXER. HE DRAWS HER, CHARCOAL

LINES. TOTAL CONCENTRATION.

SUSAN

I can see you're obsessed.

FRANK

I just love women's bodies. Especially breasts; big ones, small

ones, round ones, curved, cornuted, copious, you name it, I love

'em. Them. I sometimes wonder if women realise what a topic

of endless obsession boobs are with men.

SUSAN

I think we have an idea.

FRANK STANDS, PUT DOWN DRAWING, AND

WALKS TOWARDS SUSAN. HE GRABS HER

ARMS AND BENDS TO LICK A BREAST.

Would you say your sex life life was satisfactory with your wife?

FRANK

Ever the shrink, eh. Was is the word. Fabulous, as it happens.

She argued a lot, became violent actually, when she became ill.

But the sex -

DAWN ENTERS CARRYING THE BOX CAMERA.

 DAWN

So this was what it was all about?

FRANK

My darling daughter. The film has long been exposed on that,

baby.

SUSAN

What?

FRANK

LOOKING AT SUSAN'S BODY

Or overexposed in your case.

DAWN

Jane Shaw, isn't it? I've heard so much about you.

SUSAN

Dawn, it's me, Susan. I'm here because your father offered to

draw me.

DAWN

So I see. My father used to be more interested in finger painting,

if I remember correctly.

96. INT. NIGHT.

THE SEVENTIES. IMPRESSIONISTIC

COLOURS.

FRANK BOXER'S STUDIO ANNEX. CLOSE UP

 OF ANGEL BOXER'S PAINT SPLATTERED

SHOULDER GRIPPED BY FRANK'S HAND.

97. INT. DAY.

PRESENT DAY. FRANK'S STUDIO

FRANK

You don't remember correctly.

SUSAN

You were filming us?

DAWN

No. There's a film in it already, apparently. Of you and Dr.

Protheroe.

SUSAN

Protheroe?

FRANK

SARCASTIC

The doctor you killed, remember? Is it all flooding back?

SUSAN STANDS SILENT. SHE WEIGHS UP

THE SITUATION. WITH A SUDDEN LUNGE

SUSAN LEAPS AT DAWN. DAWN STUMBLES

WITH SHOCK, DROPS THE CAMERA. SUSAN

PICKS IT UP AND, GRABBING A HANDFUL

 OF HER CLOTHES, RUNS THROUGH THE

FRENCH WINDOWS. DAWN SITS ON FLOOR.

FRANK STANDS AND LOOKS THROUGH

WINDOW.

Damn, I didn't even get to shag her.

SUSAN

She's got the camera.

FRANK

I took the film out years ago. Developed it. You could say it's

incriminating.

FRANK PICKS UP DRAWING OF SUSAN

FROM FLOOR.

I didn't get the boobs right.

SUSAN

Aren't you going to call the police?

FRANK

I rang them, an anonymous message. I don't want to get involved

- don't care that much. After all, I've lost a daughter.

DAWN

Lost me?

FRANK

You doubted me, baby. Took the word of a murdering stranger,

 a fruitcake, over me. Me. Don't you see it can never be the same?

DAWN

It can, daddy. I just made a mistake. I was confused.

FRANK

Confused? No kidding. You accused me of the most ..

unspeakable crime. For what? Just because you can't draw?

DAWN

I made a mistake.

FRANK

A mistake. You certainly did, Dawn.

FRANK PINS THE DRAWING OF SUSAN

POTTY OVER THE PICTURE OF DAWN AS

A CHILD.

98. EXT. DAY.

THE ROAD OUTSIDE SUSAN POTTY'S

OFFICE/HOME. TWO POLICE CARS DRIVE

SLOWLY UP ROAD, LOOKING FOR NUMBER.

THEY STOP.

99. INT. DAY.

SUSAN POTTY'S OFFICE.

ON THE DESK THE CAMERA LIES OPEN.

THE ROOM IS EMPTY. NOISES OFF, A

 CRASH, AS THE POLICE ENTER.

V/O POLICEMAN

Which room is it?

V/O POLICEMAN 2

God knows.

POLICE ENTER SUSAN POTTY'S OFFICE.

THE MAN IN AUTHORITY ENTERS.

INSPECTOR

I don't believe it. She gets away again? Search the whole place!

Everywhere.

THE INSPECTOR WALKS TOWARDS ROWS

OF VIDEOS

Well, well, well. All meticulously catalogued. Look at these,

guys - missing for thirty years. Thanks for supplying us with the

evidence already assembled, Jane.

100. EXT. DAY

THE GARDEN OUTSIDE FRANK BOXER'S

STUDIO.

A PHONE RINGS IN THE DISTANCE. FRANK

BURNS MISCELLANEOUS PAINTING

MATERIALS. HE THROWS OLD DRAWINGS

 ON TO FIRE. CLOSE UP OF DRAWING OF

DAWN AS A CHILD BURNING. FRANK THROWS

INTO FIRE OLD CASSETTE RECORDER FROM

SCENE 85. FRANK OPENS A SMALL ROUND

TIN AND THROWS FILM ONTO FIRE. CUT

TO:

101. INT. DAY.

THE SEVENTIES. BLACK AND WHITE 8MM

FOOTAGE.

DR. PROTHEROE'S OFFICE IN THE MEDICAL

ESTABLISHMENT. WE SEE SUSAN POTTY/JANE

SHAW GET UP AND ANGRILY MOVE TOWARDS

CAMERA. A BLUR AS CAMERA IS LIFTED AND

HURLED TOWARDS PROTHEROE. THE CAMERA

SETTLES ON GROUND TO VIEW HEAD OF

PROTHEROE. WE SEE JANE SHAW STAB

PROTHEROE IN NECK - THE FLASH OF A KNIFE -

WITH LETTER OPENER.

102. EXT. DAY.

DAWN BOXER TALKS INTO TELEPHONE CALL

BOX RECEIVER.
 DAWN

Daddy, please answer the phone. Please.

CRYING AND UNABLE TO TALK FURTHER

SUSAN REPLACES TELEPHONE RECEIVER.

103. INT. DAY.

FRANK'S STUDIO. THE TELEPHONE RINGS,

UNANSWERED. FRANK PAINTS HIS DARK

TRIANGLE, RESOLUTELY. (SCENE 1). CLOSE UP

OF TRIANGLE. PULL BACK TO REVEAL PICTURE

OF MISS PEPO LAMB BY KEES VAN DONGEN

C.1912.

A FLASH AS PICTURE CHANGES TO BLACK AND

WHITE PHOTOGRAPH.

CREDITS OVER SCENE 1 10

END.
c@p neville powell 1998