Opening shot: FADE FROM BLACK: [Int. of Mitzi's bedroom. Dark shadows, sound of rain outside, curtains blowing around slightly due to open window. Slow pan to Mitzi's sleeping face. Roll opening credits. As credits continue, sound of rain becomes slightly louder, mixes with sounds of human voices, a man and a woman talking in animated tones, words muffled, indistinct.] (As credits end, Mitzi's eyes open. She is drowsy, puzzled.)

SHOT 2. SLIGHTLY LONGER SHOT: (Mitzi gets up from the bed, puts on a robe, goes over slowly and closes the window.) [Sound of rain stops, sound of voices now dominates.] (Mitzi walks across room to door, opens door.) [Light floods in, voices from downstairs become clear.]

SHOT 3. MEDIUM CLOSE SHOT FROM BEHIND MITZI: [Mitzi is back-lighted by the glare from the open door. Scene beyond door indistinct.]

BERNARD (heard in the distance)

… and I think I tried bloody hard too. I need a break every now and again the same as everybody else. I know you're at home with her here every day and it isn't easy. But I have a responsible job. Those people aren't interested in my personal problems: they want to know that I'm a serious guy, a guy they can trust to get the job done. A guy who's going to be around when he's needed, who'll be able to give their contract his full, enthusiastic attention. They're not social workers, Monica, they're goddamn engineers. All I'm asking is that the next time I bring people back here we try to give an impression of…(Monica interrupts)

MONICA

You want to pretend that our daughter doesn't exist! That everything's hunky-dory here. That we're the perfect little family, straight out of the Sunday Supplements…(Bernard interrupts)

BERNARD

Monica, all I'm asking is that the next time I bring people around we plan it so that Mitzi stays the night with one of her friends. Don't you have enough to cope with, getting dinner for six people… (Monica interrupts)

MONICA

Seven, you bastard!

BERNARD

Sorry. Seven. Of course. I meant seven.

SHOT 4. STEADYCAM SHOT: [Camera follows behind Mitzi as she descends slowly to the foot of the stairs which lead into the Sitting Room. Monica and Bernard's conversation continues and they come into view in the Sitting Room, at a dinner table, Monica sitting, Bernard standing in front of her.]

SHOT 5. MEDIUM SHOT FROM BEHIND THE DINNER TABLE, BERNARD's BACK TO CAMERA: [This is a reverse shot. We are now looking into the scene from the opposite direction, towards the staircase, and we can see Bernard and Monica, but there is no-one standing at the bottom of the stairs. Dialogue continues, unbroken.]

MONICA

Why don't you just say it? You don't want Mitzi in this house, I know that. You never have. She doesn't fit in with your big career ambitions, does she? Doesn't fit in with all those fantasies of success you've been carrying around in your head all these years.

BERNARD

Monica, I love Mitzi as much as you do. I love spending time with her - when I can. But the most important thing that I can do for her now is to look after my career, her security, and yours. I know it isn't fashionable, but damn it this isn't a feminist dream we're living in. This is the real world. One of us has to get out there and earn the money and pay the rent, and I'm the one who can do it. I've got the qualifications. Do you want me to sit around here and play games with Mitzi and let us all starve? Now please don't tell me I'm not pulling my weight in this marriage. Because I damn well am. All my weight and then some. I worked myself sick to set up the deal with the Germans, and if we've cocked it up tonight then we all lose: you, me and Mitzi. All I ask is a little bit of… diplomacy. Nothing more.

MONICA (coldly)

Ah yes, the Germans. They have a certain history of intolerance for human imperfection, haven't they?

SHOT 6. CAMERA CUTS BACK TO VIEW FROM BEHIND MITZI, BOTTOM OF STAIRS

BERNARD (now talking straight to camera, oblivious of the presence of Mitzi)

Please don't be ridiculous, Monica. That's the kind of thing your father would have said.

MONICA

Maybe my father knew them a bit better than you do. Anyway, I'm going to bed.

(Monica stands up, walks straight towards camera, oblivious of presence of Mitzi)

BERNARD

I suppose you expect me to wash all those dishes… ?

SHOT 7. CUT TO REVERSE SHOT, LONG SHOT FROM FAR SIDE OF ROOM. MITZI IS NOW INVISIBLE.

MONICA (turning as she is about to go up the stairs, speaks quietly)

I don't expect you to do anything, Bernard. Nothing at all. (Goes upstairs)

FADE TO BLACK

SHOT 8. FADE UP FROM BLACK. MEDIUM SHOT. INSIDE OF A HEADMASTER'S OFFICE [Monica and Bernard are seated on chairs facing a large desk in an ornate, book-lined room. Behind the desk sits the Headmaster. Mitzi is seated off to one side, wearing neat schoolgirl clothes, watching the scene.]

HEAD

Now I don't want to give you the impression that we're unsympathetic. Mitzi is a very charming young lady, and it is the philosophy of this school to cater for every kind of child equally. We believe that no two children have precisely the same needs. This is not an elitist institution, Mr. …

BERNARD

Please call me Bernard.

HEAD [As he speaks the camera zooms in to his face very slowly]

Bernard. But we also have to be realistic. There is no advantage in sending your daughter to a school that is unable to meet her specific needs. And there is no point in my misrepresenting to you what this institution is able to offer. If Mitzi were to come here, she would be placed in a class with twenty, maybe twenty-five other children, and we would have a duty to meet the needs of each and every one of those young people. Teaching is a very practical activity. No matter what one's ideals may happen to be, in the real world, at the coal-face of the classroom as it were, there are compromises that have to be made. Our time is limited. So is the time of the other students. It would be unacceptable, unprofessional even, for us to devote a completely disproportionate amount of our time and energies to the needs of just one child. I don't think we could justify it. Furthermore I don't think it would be in Mitzi's best interests. She would feel socially isolated here. She wouldn't be the same as everybody else. I don't think that it would be the right environment for her. If I were in your position and had a daughter like Mitzi, I wouldn't do it.

SHOT 9. CUT TO MEDIUM SHOT OF MITZI (she now looks very unhappy, hint of a tear in her eye.)

MONICA

But… most of her friends are going to be here…

HEAD

I understand that. I know just how you feel. At this moment it seems as though the best thing would be to treat Mitzi exactly the same as everybody else. She had friends in her Primary School and she would like to remain friends with them as she moves up through the system. But it isn't the same here. It isn't the same for any of them. Children come here to work, Monica. It's a completely different ethos. They make new friends. It's part of growing up. Part of becoming independent. Mitzi wouldn't be able to cope. She wouldn't be happy here. Believe me, I know what I'm talking about.

(Bernard and Monica look at the Head but seem unable to think of anything to say.)

SHOT 10. DISSOLVE TO SHOT INSIDE MOVING CAR [At first we just see Monica and Bernard from behind, plus the view out the front windscreen. Bernard is driving]

BERNARD

I thought what he said was perfectly reasonable. She wasn't going to fit in there. She would have been miserable.

MONICA

He wouldn't even give her a chance. She's never been unhappy at school. She's never been disruptive. She loved her last school. They didn't make her into a social outcast, like he said.

BERNARD

Oh now, come on, Monica, it was no bed of roses. Don't let us start kidding ourselves. It worked because everybody put so much energy into making it work. Everybody including us. You most of all, maybe. All he was saying was that things get more serious at Secondary School. People's careers depend on what grades they get. They're not set up for the Mitzis of this world. It's the wrong place for her. He was only trying to make us see that.

MONICA

So you want us to send her to Latchmore?

BERNARD

It's a perfectly good place. Some of their pupils go on to pretty good things.

MONICA

Pretty good. Not very good, just pretty good. Right?

BERNARD

Monica, it's only right that you want the best for Mitzi. I do as well. But we've got to be realistic. It isn't our fault that she's the way she is, now is it?

(Monica turns and looks at him broodingly. Mitzi, who has been sitting out of sight in the back seat, moves into shot as a blurred presence)

SHOT 11. LONG SHOT. THE CAR DRAWS UP AT THE FRONT DOOR. (Monica and Bernard get out and lock the car, go to the door and let themselves in. They close the door behind them.) [Camera zooms in slowly to back window of car.] (Mitzi is still sitting there.)

SHOT 12. SLOW DISSOLVE TO BRIGHT OUTDOOR SCENE. LONG SHOT. [Trees and parkland. A couple is walking, the man with his arm around the woman's waist. Slow zoom in. The woman is Monica, the man Etienne.]

ETIENNE (with pronounced French accent)

Why do you stay with this man? You are a beautiful woman. You are young. You are intelligent, you are talented: you have everything.

MONICA

I have… a daughter.

ETIENNE

She is wonderful also. Your Mitzi, she will come with us!

MONICA

You don't know anything about her, Etienne.

ETIENNE

What is there I should know? She is beautiful young woman, like her mother!

MONICA

You haven't listened to a word I've been saying, have you?

(They stop walking and Etienne turns to face her.)

ETIENNE

You speak of things that make no difference. Mitzi is not the same as other children. I am not the same as you. Men are not the same as women. The rich are not the same as the poor. Nobody is the same as anybody else. That is the world, Monica. That is how it is. I would not want all to be the same. I want to be different. I want… differences! Yes?

MONICA (embracing him gently)

You make it all sound so simple. So straightforward. But it wouldn't work. Not for long. And then where would I be? Even worse off than I am now. And where would Mitzi be?

ETIENNE

You think I will get tired with you and throw you to one side? That is not true. There you insult me. A man knows when he loves forever. That is how I love you, Monica. It is… forever love. Please, you do not insult me.

MONICA (sadly)

I don't think I believe in forever love any more, Etienne. I want to… but I can't…

ETIENNE

The love between a mother and her child. Is that forever love?

MONICA

With Mitzi, it has to be. Because she's going to need me forever, Etienne. That's what you have to understand. My life isn't entirely my own any more. There's somebody else to think about, and there always will be. Mitzi is settled down at her school now, and she's seeing a bit more of her father too. She's a lot better than she used to be. Her life is beginning to come together. I can't just disrupt everything because….

ETIENNE

Because some silly Frenchman thinks he has.. what is the word?… a crush on you….?

MONICA

No! No! I mean I can't just think about myself…. I mean, we can go on seeing one another. That isn't a problem. I doubt if Bernard even cares….

ETIENNE

You want just affair. Just… hole-in-the-wall relationship. Secret, shameful, hidden from everybody. I am not good enough to be your husband. I am not good enough to be father of your daughter. Is true, right?

MONICA (kissing the unresponsive Etienne)

Etienne, I love you. There's nobody else in the world I love more than you. If there was no Mitzi….

CAMERA ZOOMS BACK [Monica and Etienne's conversation becomes faint, sounds of birds, running water etc. drown out their words.] (They break their embrace and start to walk together away from camera, no longer holding hands. As they recede into the distance Mitzi walks into shot, following them.) [Shot continues for a few seconds, then fades to black]

SHOT 13. FADE UP FROM BLACK [Medium shot from low angle. Mitzi is sitting alone in a crouched posture on the pavement at the side of a busy roadway. A blurred series of cars and trucks are flashing past behind her. We hear loud, aggressive traffic noises. Slow zoom out to show people walking on the pavement between Mitzi and the camera.] (Monica and Etienne walk into shot. They are having an animated conversation but the traffic noises drown out their voices. As they pass Mitzi she stands up and turns to watch them, and begins to totter absentmindedly backwards towards the traffic. As she steps off the pavement...)

CUT TO BLACK [Sound continues over black screen: sound of road traffic accident followed by alarmed voices of onlookers, many people talking at once. Abrupt cut.]

SHOT 14. SLOW FADE UP FROM BLACK [Close-up of Mitzi's face, eyes closed. Slow zoom out to include the hospital bed and some details of the room. Voices of Bernard and Monica off camera.]

BERNARD

I'm not blaming you for anything, Monica. I know it's impossible to watch her every second of the time. I've done the same thing lots of times…

MONICA

The same thing? What thing? What are you trying to tell me I've done?

BERNARD

Taken your eyes off her. Just for a second. That's all it takes. We've both done it…

MONICA

I did not take my eyes off her! I've told you a hundred times! She was right beside me, as close as you are now, and she just turned and stepped off the pavement. It all happened in… in the wink of an eye! I didn't have time to do anything. One step, that was all the warning I had. Can't you understand that?

BERNARD

All right, Monica. I'm not blaming you. I said it wasn't your fault. But I find it very hard to understand. If you were walking together the way you say how could she have stepped off the curb so easily? I mean, why were you walking so close to the edge of the pavement?

MONICA

You say you're not blaming me, then why are you putting me through all this interrogation? What do you want me to say? That I pushed her into the street in front of a car? It was an accident. It happened in a fraction of a second. There was nothing I could do. Now why isn't that good enough for you?

(Mitzi's eye's open. Her face assumes an alert expression but she does not look towards the voices.)

BERNARD

I want to know what happened, damn it! Aren't I entitled to know that? It's not as if you've got anything else to worry about. Looking after Mitzi is all you have to do. You have every material thing money can buy, near enough. If the job's too much for you you could hire help. I just want to know what the problem is, that's all.

SHOT 14. CLOSE-UP. [Cut to a close-up of Monica's face. Sound jumps up in volume.]

MONICA

How dare you! How dare you tell me I don't look after Mitzi properly! When was the last time you did anything with her? Go on. Tell me. When was the last time you took the smallest interest in your daughter?

[Camera draws back slowly to take in Bernard and the room they are sitting in. It is the anteroom to a hospital ward. The connecting door is open and the bed inside is empty.]

BERNARD

Listen to yourself. Just listen to yourself some time, would you? I'm not staying here to watch you becoming hysterical. If you can't have a sensible conversation with me I'll find somebody who can. The nurses will be able to tell me something about how this happened. (Stands up and turns to leave) I'll be in the Reception area if you need me. (Leaves. Monica brings her hands up to her eyes and bows her head.)

FADE TO BLACK.

SHOT 15. SLOW FADE-UP FROM BLACK [Medium shot of the sitting room of Bernard & Monica's house. They are sitting on a sofa together interviewing Stella, a girl of about twenty, who is sitting on a soft chair opposite them. Sound fades up with picture.]

BERNARD

… and her needs are really no different to those of any other girl of her age. What you really have to do with Mitzi is to let her see that you're in control. That you know what you're doing. She'll respond perfectly well if you do that. No problems whatsoever. And of course you need common sense. I'm not saying you can never let her out of your sight, but you need to know what she's doing and that there aren't any physical dangers where she is. (Monica gives him a look of hate.) You can treat her like any other child most of the time, but you have to be aware that she isn't like other children as well. You'll be the one looking out for her. She can't look out for herself. Do I make myself clear?

STELLA

Very clear, Mr. ….(Bernard interrupts.)

BERNARD

Bernard. I want you to call me Bernard. And please call my wife Monica. We don't like formality inside our own home. We may be older than you but believe me you won't find us at all stuffy. Will she, Monica?

MONICA

(Rather stiffly) No, Bernard, she won't.

BERNARD

So, I think that's everything settled, isn't it? When would you be able to move in?

MONICA

Bernard… don't you think we should… ?

BERNARD

What? Don't I think we should what?

MONICA

Oh… nothing.

STELLA

I'm free right now Mr. … I mean, Bernard. (Stella smiles at Bernard and he returns the smile. Monica frowns at the two of them.) [Camera pans around to show Mitzi who has been standing at the bottom of the staircase.] (She turns and starts to climb the stairs slowly.)

SLOW FADE TO BLACK

SHOT 16. SLOW FADE UP FROM BLACK [Medium close shot of Mitzi, sitting on the side of her bed, playing with a collection of small objects on her bedside table.] (She has buttons, bottle-tops, chess pieces, coins etc. and is building little towers with them and then pushing them over. The sound of muffled voices in the background, Stella and her young man, talking and occasionally giggling. Mitzi continues with this activity for a while, then seems to grow bored and gets up slowly to investigate the voices.)

SHOT 17. CUT TO STEADYCAM SHOT [Camera follows Mitzi out of bedroom door and across landing to Stella's room. The door is slightly ajar.] (She opens it wider. Voices become louder. In Stella's room she is having a play-fight with her boyfriend on the bed. He is trying to remove her clothing.)

STELLA

I'm a good girl! I'm a good girl! You can't do that! Stella's a good girl! (Laughs)

BOYFRIEND

Stella's a bloody fantastic girl! (Struggling to undo her bra)

SHOT 18. CUT TO REVERSE SHOT [View across the couple on the bed, taking in Mitzi standing in the open doorway, staring.] (Boyfriend manages to get Stella's bra off and they tumble together in a playful embrace.)

BOYFRIEND

Is that what the kid says then? Mitzi's a good girl?

STELLA

Might be! (She starts to laugh and he quells her laughter with a kiss. As the sounds of their playful love-making continue the camera tilts upwards and zooms in slowly to Mitzi's face watching them. Puzzled, slightly anxious expression.)

STELLA

(Sudden outburst) What was that?

SHOT 19. CUT TO MEDIUM SHOT [The couple on the bed, slightly different angle, no longer taking in the doorway. The couple are now in an advanced state of undress.] (Stella has sat up and there is an alarmed expression on her face.)

BOYFRIEND

What's the matter?

STELLA

I heard something. I think there's somebody out there.

BOYFRIEND

Probably the kid.

SHOT 20. CUT TO SHOT ACROSS BED TOWARDS DOORWAY [The door is ajar as it was when Mitzi first arrived. No sign of Mitzi.] (Stella stares at the door but can see no one.)

BOYFRIEND

There's nobody there, Stella. Now, where were we…? (Tries to pull her down.)

STELLA

No, really, I'm sure there was somebody there. (Gets up, pulls a dressing-gown around her shoulders and pushes open the door. Gasps.)

STELLA

Mr…Bernard! You frightened me. I didn't know you were... at home. (Quickly goes out through the doorway, pushing the door shut behind her to hide her boyfriend. Boyfriend leaps up and starts locating his clothes and getting dressed.)

SHOT 21. CUT TO MEDIUM SHOT OF LANDING (Stella has her back to the camera. The dressing-gown is hanging loosely around her shoulders. Bernard is facing the camera.)

BERNARD

I wasn't… at home. I've just got in. The meeting was cancelled. The flight from Tokyo was delayed. (As he speaks a lustful smile spreads across his face.) Please, don't let me disturb your… rest. (Raises his hand and touches Stella's face affectionately. She does not withdraw.)

STELLA

I was just… Changing.

BERNARD

Yes. Of course. Please don't let me disturb you. (Smiles again, allows his gaze to fall, taking in the whole of her body. He looks her in the eyes and gives her a "knowing" smile, then turns and leaves.)

FADE TO BLACK

SHOT 22. FADE UP FROM BLACK [Medium shot of Mitzi, sitting on her bed again, building the little towers on her bedside table and knocking them over.] (The muffled voices of Monica and Bernard can be heard off camera. Mitzi gets up to see what is going on. Opens her bedroom door.)

SHOT 23. STEADYCAM SHOT [Camera follows Mitzi down the staircase as we hear the conversation between Bernard and Monica.] (She stops at the bottom of the stairs as before.)

BERNARD

Now don't you worry about a thing. Stella is taking Mitzi to the park with the petting-zoo, and then they're having lunch and they're going to take a rowboat out on the lake. They'll have a wonderful time. You go right ahead and enjoy yourself. Shop 'til you drop, that's what they say nowadays, isn't it? Take in a show afterwards if you want to. You deserve a day off. I've got this damned report to finish and if I don't do it today I may as well not go in on Monday. It's as simple as that. So don't worry about me. I don't want to be disturbed until teatime at the earliest. Is that all right with you?

MONICA

(Who is wearing her overcoat and carrying her handbag) If you're absolutely sure, Bernard.

BERNARD

Go on. Indulge yourself. What's the point of earning a decent salary if you never get to spend it?

MONICA

(Turning and smiling weakly.) Okay. Look, I do appreciate this, Bernard... and I'm sorry if I haven't been very easy to live with lately...

BERNARD

Don't be silly. We wouldn't be human beings if we didn't have our little ups and downs. Just enjoy yourself. Have a really good day. You'll feel terrific afterwards. Just wait and see!

MONICA

(Kisses him lightly) Thank you, Bernard. (Turns and leaves. Bernard waves, then closes the door gently behind her.)

SHOT 24. CUT TO MEDIUM SHOT [Camera looking into the room from near the front door.] (Bernard is lowering his hand, having just waved to Monica. The false smile fades from his face. He turns around and walks slowly away from the camera towards the stairs. Mitzi has vanished, but as he approaches the staircase Stella descends, wearing the same dressing-gown from the previous scene. They walk up to one another and embrace tenderly at the bottom of the stairs.)

FADE TO BLACK

SHOT 25. FADE UP FROM BLACK [Medium shot, Mitzi sitting by her bedside table again, playing the tower game.] (In the background we can hear quite loudly and distinctly the sounds of Stella and Bernard, obviously engaged in sexual activity. Mitzi has a few little tubes of sweets and similar which she opens and uses to build towers. Occasionally she unwraps one and puts it in her mouth as she works. She gets up and leaves the room, there is a brief pause and she arrives back with bottles of pills. She opens the bottles and starts building tiny towers with the pills. Opens more and more bottles, empties them out on the table, and builds ever more intricate structures. As before, we see her occasionally place something in her mouth. As Bernard and Stella reach orgasm in the background, Mitzi pushes over the delicate structure that she has built.)

ABRUPT CUT TO BLACK AND SILENCE

SHOT 26. VERY SLOW FADE UP FROM BLACK

LONG SHOT [Outdoor scene of a graveyard.] (A small group of people is gathered around an open grave, wearing suitable dark clothing. A burial ceremony is just ending. We see the group begin to disperse, the minister, wearing dog-collar, walks towards camera and out of shot behind camera.)

SHOT 27. CUT TO MEDIUM SHOT [Closer to the grave.] (We can now identify some of the mourners. Bernard and Monica are initially side by side, but as we watch Monica slowly strolls over towards Etienne and takes his hand, seemingly in a comforting gesture, but they continue to hold hands and look into each other's faces without moving. Stella walks slowly to where Bernard is now standing on his own and they embrace gently. Some others whom we have not met previously walk up to Bernard and take his hand momentarily, murmur a few words of sympathy, and move on. All the time, Stella continues to embrace Bernard. People come up to Monica also and she greets them, exchanges a few words, but without letting go of Etienne. The funeral group has divided into two, with Monica and Bernard "holding court" separately, at opposite ends of the open grave. Neither Monica nor Bernard appear to be very upset or tearful. They are very composed and their expressions border on relief.)

SHOT 28. CUT BACK TO PREVIOUS LONG SHOT [We see the graveside party in the distance again, Monica and Bernard still "holding court".] (Suddenly Mitzi comes into shot, skipping happily across the headstones, singing a little song to herself. As she comes close to the camera she vaults over a headstone, an expression of blissful release on her face.) [The shot freezes as she reaches her highest point above the headstone. The song continues.]